Imatges de pàgina




with me that this morning they would deliver the castle into my hands by ten of the clock, with colours and arms undefaced and unspoiled; and that the gentlemen and officers should have fair quarter and civil usage, and the ordinary soldiers quarter. For the performance of these covenants, Sir Edward Ford and Sir Edward Bishop were immediately to be yielded to me, which was accordingly done.

“ This morning we entered, and are now, blessed be God, in possession of that place. We have taken seventeen colours of foot, and two of horse, and one thousand prisoners, one with another, besides one hundred and sixty, which we took at the first entering of the town, and such as came from the enemy to us during the siege. I humbly desire that the London regiments may be sent hither to secure this important place, while I advance with what strength I have towards the enemy, who lye at Havant.--I humbly rest,” &c.

The result of this siege was ruinous to the Castle. Its successive occupation by two hostile garrisons; the destructive means employed from within for its defence, and from without for its reduction, left its halls roofless, its noble apartments unlatticed; its Keep, gates, and battlements rent and neglected; and from that day

“ Its huge old halls of knightly state,

Dismantled lay and desolate."

At length, after an interval of seventy years, Thomas Duke of Norfolk, having determined to rescue the baronial seat of his ancestors from utter destruction, repaired the old and added new apartments, till it was once more in a habitable condition. But the restoration to which we have more especially to refer in this place, was commenced in 1786 by the late Duke, who continued it till his demise in 1815-an interval of nearly thirty years, during which, although he is said to have expended six hundred thousand pounds in the execution of his plan, it is still incomplete. The noble proprietor, himself an amateur in the science of architecture, superintended all the designs; and wherever any precious relique of antiquity was to be found, it was carefully drawn or modelled by skilful artists, and introduced into the plan of the Castle. Hence the richness and variety observable in the doors, windows, niches, and architectural ornaments so profusely employed on three sides of the quadrangle.

The grand entrance to the court-yard of the Castle is formed by a lofty arched gateway of immense bulk, and generally admired for the architectural dignity and grandeur of the design. The effect is striking at first sight, and conveys to the mind of the visitor a feature highly characteristic of a feudal residence. The arch is pointed, surmounted by a heavy machicolation, and flanked by two hexagonal towers, which, according to the original design, were to have been'encircled with an external gallery, terminating at each angle in a turret,' but the design remains unfinished. Compared, however, with the

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old gateway, which speaks so audibly of other times, the modern structure possesses no interest; and to enjoy the impression, the stranger must endeavour to divest his mind of the fact that it is a building of yesterday, otherwise he will be apt to exclaim with Delille, in his indignation of modern imitations :

“ Mais loin
Ces restes d'un château qui n'exista jamais :
Ces vieux ponts nés d'hier, et cette tour gothique,
Ayant l'air délabré sans avoir l'air antique,

Artifice à la fois impuissant et grossier.” On entering the court through this gateway, the first object that strikes the eye is a large bas-relief on the opposite side, representing Alfred the Great instituting the trial by jury on Salisbury Plain. The spot chosen was by the side of a dead wall. In his left hand is a roll of parchment, half unfurled, with the Saxon sentence :-" That man fiæbbe gemot on clcum wapentace." “ That man in every hundred shall find twelve jury.” It occupies a large portion of the front of that part of the Castle next to the great library, and bearing the appropriate title of the 'Alfred Saloon.' But from the

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faithful and spirited etching here introduced, the reader will obtain a much clearer idea of the subject than from any description. It is strictly historical, and was designed by Rossi. It is probable, however, that this admirable institution did not originate with Alfred, but that it was only improved and perfected by him *

* In a cause tried at Hawarden, in Flintshire, long previous to his reign, we have a list of the twelve jurors; confirmed, too, by the fact that the descendants of one of them, named Corby of the Gate, still preserve their name and resiuence, at a place in the parish called the Gate.—PHILLIPS.




On the right of the gateway stands the Baronial Chapel, a modern erection of florid Gothic, with pinnacles, niches, buttresses, all in the best taste and of elaborate workmanship. The interior is not finished, but the duke intended to have done so after the models of ancient Saxon and Norman churches, copies of which had been already procured at the time of his demise.

Adjoining the chapel is the Barons' Hall or banquet-chamber, a building much admired. Over four beautiful Saxon arches is a raised parapet, along the base of which are seen, sculptured in stone, a variety of hieroglyphic figures, taken from antique designs, illustrative of the family history, and procured from the Herald's College, of which his Grace is hereditary Earl Marshal.


The south side of the quadrangle is part of the ancient structure, restored from the ruinous condition in which it had been allowed to continue from the last siege, down to the accession of the late Duke to his family honours. It consists of an entirely new front of massive stone, which differs from the others in exhibiting the insignia of the Howards in union with those of their predecessors. The grand entrance is in the Norman style. It is twenty-eight feet wide from the abutments, fronted with Portland stone, curiously carved, and worked with infinite intersections of wreathed vine-leaves, roses, laurel, oak, acorns, and other vegetable emblems. The top is finished with a line of artificial stone in the shape of fence-work, a little elevated. On the right of the doorway is a colossal statue of Hospitality; and on the left is another of Liberty, as seen in the view of the Court already introduced.

The north-east wing, which contains the Library, was commenced in 1801. Its basement is formed upon the Norman model; its upper part is in the style of Henry the Sixth, with a projecting square tower in the centre, and lighted from an oriel window. The sculpture and carving upon the windows and doorways exhibit much delicacy and beauty of workmanship. Those under the bas-relief, in front of the Alfred Saloon, are of elegant design and finish. The Library here mentioned is an apartment of great magnificence; it measures one hundred and seventeen feet in length by thirty-five in width, and is, beyond doubt, one of the finest specimens of modern Gothic in England. It displays the grandeur of ancient designs under the delicate finish of modern art, and brings into one view specimens of almost every ornament of which, during the fourteenth and fifteenth centuries, the graceful Gothic presented so many exquisite combinations. The book-cases and reading-galleries are sup

ported by fifteen columns wrought out of the richest Spanish mahogany; while the spidered roof' displays a beauty of workmanship and delicacy of carving, enriched with fruit-foliage, which have seldom been surpassed. It is divided into several compartments for reading recesses, and communicates with the Alfred Saloon by two magnificent folding-doors. At present, however, the shelves are sparingly furnished, and the mahogany-rich and elaborate as it is-offers a striking contradiction to those ideas of antiquity which the Gothic carving might otherwise convey. The chimney-pieces are of fine Carrara marble, and in their sculpture exhibit pure classical taste.

The great Drawing-room is a spacious noble apartment, and commands an extensive view of the winding vale of the Arun. It is chiefly remarkable, however, for the family portraits which adorn its walls and, to the eye of the historian, throw open a vast and interesting field of retrospection:

“ For, by dim lights, the portraits of the dead
Have something ghastly, desolate, and dread.

Their buried locks still wave
Along the canvas; their eyes glance like dreams
On ours, as stars within some dusky cave;

But death is imaged in their shadowy beams.” Of these portraits we noticed about sixteen, one of which is a beautiful historical piece, by Mather Brown, representing Thomas Howard, Earl of Surrey, vindicating himself before Henry the Seventh for the part he took at the Battle of Bosworth. Henry upbraided him with having served in the cause of the late usurper and tyrant, Richard the Third.

Sir," replied Surrey,“ he was my crowned king. If the authority of Parliament had placed the crown on that stake, I would have fought for it. Let it place it on your head, and you will find me as ready in your defence.” In the back-ground of the painting, the Princess Elizabeth, sister of the young princes who were smothered in the Tower, is seen displaying the red rose as an emblem of the two houses.

Another interesting portrait is that of “ Jocky of Norfolk,” father of the preceding, who fell with Richard at the battle of Bosworth. A third is the portrait of Henry Howard, Earl of Surrey, “ the delight and ornament of his age and nation,” whose bright life and tragical end are familiarly known to every reader.—But to this we purpose to return in a subsequent part of the work. A fourth is that of Thomas, Duke of Norfolk, painted by Holbein, whose evil fortunes are so closely associated with those of Mary Queen of Scots. Also the portraits of his wife, Mary Fitzalan, the last of her family, who died in her eighteenth year; and of her only brother, Henry Fitzalan, Lord Maltravers, painted at Brussels.

There are also portraits of the celebrated Cardinal Howard, of“ belted Will




Howard," and of various other members of the same house, by the eminent painters of the day.

In the furnishing of these state apartments there is little to excite attention; it combines elegance with simplicity, but contains nothing gorgeous in colour or texture. The woodwork is nearly mahogany throughout. Nothing, however, could be more out of place—a wood that has been known in this country little more than a century, is ill associated with the Gothic ornaments of a baronial hall. Old English oak is, beyond doubt, that which best harmonizes with our ideas in such places. A piece of old oak carving is an object of neverfailing interest to the mind of an antiquary; but in Arundel Castle we observed no specimens of native gnarled oak,' except in the “ Windsor rooms."

The Dining-room-formed, as we have already mentioned, out of the ancient family chapel—is a lofty, spacious, well-proportioned room, and chiefly remarkable for its great window of stained glass, which still throws “a religious light” over the banquet. It is quite modern, and the historical subject selected for its embellishment is the Meeting of Solomon and the Queen of Sheba-portraits of the late Duke and Duchess-dowager of Norfolk. "On each side is a beautiful transparency on plate-glass-one representing the Mercyseat in the Jewish tabernacle, the pillars protected by cherubim, with Aaron's pitcher and rod lying at the foot of the altar; the other is a fine representation of the Interior of the Tabernacle, as transmitted to us in the Biblical account ; and both serving to soften and modify the light as it falls on the great painting in the centre *.

The interior of the Barons' Hall, however, is by far the most interesting apartment in the Castle, and claims a high station among the banquet-rooms of modern times. It was designed, in connexion with the chapel already noticed, to commemorate the triumph of the Barons over King John, by the signing of the Great Charter at Runnymede. Its architecture, like that of the appendant chapel, is in the style of the fourteenth century. It is seventy-one feet in length by thirty-five in breadth, lofty in proportion, and, as a whole, produces a striking effect on the spectator. The roof consists of Spanish chestnut, elaborately carved in imitation of the richest Gothic originals, with numerous combinations, emblematical groups, and curious workmanship. The

See list of authorities at the end of this subject, also Append. to this volume.

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