Strolling along High Street, we soon pass the entrance to The Square, giving a passing glance at the old Market House that rises so picturesquely there—whereof more anon,—and pausing beneath Clive's statue to scan the determined features and stalwart bearing of that renowned Salopian. Then we turn our attention to a group of Fine old black-and-white gables that rise upon the opposite side of the street, the doorway of one handsome façade bearing the inscription, Erected by Richard Owen the Elder, Gentelman, Ano. Dm. 1592.
Few towns in the kingdom can boast such stately survivals as these; yet a few yards away appears a still more striking specimen of the mediæval builder's art. Originally the town-house of the Irelands, this noble old fabric is still known by their name, and bears upon its ancient front the family cognizance. Four storeys high it rears its chequered walls, topped by tall, beetling gables, and broken into play of light and shade by ranges of oriel windows. Bits of quaint carving are seen here and there upon bargeboard, lintel and bracket, for the old place has happily suffered but little from modern innovations. The nicely restored black-and-white front of Lloyd's Bank hard by keeps its venerable neighbour well in countenance.
Finding ourselves once more on Pride Hill, we step across that busy thoroughfare, and, passing to the rear of Mother Noblett's Toffee Shop, with its huge, comical signboard, we see before us the pretty Gothic doorway that figures in our sketch. Though much the worse for neglect, and fallen sadly into disrepair, this ancient sandstone structure is clearly the work of at least two periods. The shaft and capital on the left, with the broken archway above it, are of the style known as Early English; while the graceful pointed arch, with its floreated cusps and traces of ball-flower ornamentation, are evidently a later insertion, and probably date from the latter part of the thirteenth century. A wide stone arch, part of which may be noticed above the passage-way, supports the floor of the room within; and a small arched recess, near the head of the steps, appears to have been used as a holy-water stoup.
From these indications it is considered probable the little building before us was at one time the private chapel of Bennett's Hall, the city residence of the Abbot of Haughmond, who, according to the custom of those days, had a town-house in the capital of the county.
Portions of ancient domestic buildings may be traced at the back of the chapel, including the stonework of a good-sized hall, and some indications of a large window. There is a tradition that these buildings were at one time used as a mint; and the fact that a kind of oven, or hearth, formerly existed here gives colour to the story.
Laying a course towards the tall clock-tower of the new Market Hall, we now descend Pride Hill and turn to the right into Mardol, a steep, oldfashioned street, boasting several half-timbered house-fronts dating as far back as the fifteenth and sixteenth centuries. About half-way down we strike into a byway called Hill's Lane, at the corner whereof rises an ancient frontage whose oaken beams display the date 1440. This narrow lane, zig-zagging through one of the oldest quarters of the town, is frequented on market-days by country folk, when the mother-tongue of old Salopia may be heard in all its pristine purity.
After passing one or two oldfashioned inns of the humbler sort, we stumble unexpectedly upon a lordly dwelling, standing somewhat aloof from its dingy neighbours, and presenting an air of dilapidated gentility, like an out-at-elbows aristocrat making shift to maintain his dignity amidst a crowd of tatterdemalions.
Built of dark-red brick, with stone mullions, quoins and copings, this fine old Tudor mansion is believed to have been erected by one William Rowley, draper, and sometime alderman of Shrewsbury, about the beginning of the seventeenth century, and is still called Rowley's Mansion. Sad it is to see the woful plight into which the stately old fabric has fallen, the beautiful porch that once adorned its entrance torn away and destroyed, its mullioned windows yawning wide to wind and rain, and each delicately-traceried ceiling thrown down, or utterly defaced. By strolling into the yard of the old Ship Inn, we get another glimpse of Rowley's mansion; its soaring gables and chimney stacks grouping picturesquely, from this point, with the meaner outhouses and dwellings by which it is surrounded.
We next thread our way through several rather intricate lanes, until, crossing Mardol Head, we soon find ourselves once more in The Square, the very heart of this ancient city. Here the old Market House at once claims our attention; a venerable sandstone structure supported, as our sketch will show, upon a series of semicircular arches, and buttressed at the angles. Overhead its time-stained walls are pierced with mullioned windows, and relieved against the skyline by quaint, fantastic battlements. That clock aloft in the gable is said to occupy the place of the one Falstaff referred to when declaring that, against tremendous odds, he had 'fought a long hour by Shrewsbury clock.' Be that as it may, we are on surer ground when considering the figure in the canopied niche below; for an inscribed panel alongside announces that 'This statue was removed by order of the Mayor from the tower on the Welsh Bridge in the year 1791.' The effigy, that of a knight in full armour, has a stiff, archaic appearance, and is usually supposed to represent Edward IV., father of Richard, Duke of York. Below this figure, in antiquated characters, are the words: The xv day of iune was this Buylding begonn, Wm Jones and Thos. Charlton gent. then Bayliffes, and was erected and covered in their time. The opposite gable has a similar niche, with the figure of an angel bearing a shield charged with the Arms of England and France, and a half-obliterated sundial. A richly carved canopy upon the western front encloses the arms of Queen Elizabeth, and the date of the erection of the building, 1596.
Over against the old Market House, on the eastern side of The Square, rises an ancient timbered dwelling which goes by the name of Lloyd's House. Its rugged beams are curiously carved; grotesque faces leer upon the passer-by from finial and bracket; and the builder's initials are ingeniously interwoven amidst the ornamentation of the weatherworn bargeboard. Glancing backwards from the adjacent lane, we notice how the nodding gables and chimneys of Lloyd's mansion, one end of the old Market House, and a good eighteenth-century building beyond, combine to form a characteristic street scene. Then we push onwards again in search of other quarry.
Traversing a disused cemetery, we come to the Lady Chapel, and only relic, of old St. Chad's, a venerable church which collapsed suddenly in 1788, after surviving the changes and chances of time, it is said, for over a thousand years.
An odd little alley now beguiles our footsteps, where an oldfashioned inn, its prominent signboard overtopped by St. Julian's church-tower, appears as set in a frame beneath an ancient archway. Thence we turn to the right, and pass a handsome new building on the site of Shearmen's Hall, an ancient foundation that in its time had played many parts, as a theatre, a chapel, a warehouse and a shop!
Thus we enter Wyle Cop,—how runs the verse?
'They hew, and they hack, and they chop;
And, to finish the whole, they stick up a pole,
In the place that's still called the Wylde Coppe,
And they pop
Your grim, gory head on the top!'
Several attractive-looking old structures confront us as we descend the steep pavement, prominent amongst them the ancient abode that figures upon page 15. This picturesque façade, with its blackened timbers and pretty traceried window adorned by coats of arms, has an added interest from the fact that it is 'Ye auncient house in which King Henry the VII loged, when he went to Bosworth Field, Augst 1485.' So at least the panel beneath the window has it, though Henry, of course, was but Harry of Richmond until that fateful battle had won for him the crown.
While exploring the vicinity of Wyle Cop, many another bit of old Shrewsbury is brought to light, notably the nicely restored frontage of the Unicorn Hotel; and, hidden away amidst some poor cottages by Severn side, a few scanty relics of Grey Friars' monastery, in its time one of the stateliest religious houses in Shrewsbury. Thenceforward we hug the river brink until, coming to the English Bridge, we traverse it, and find ourselves in the broad thoroughfare called Abbey Foregate—
'A long greate streate, well buildid, large and faire,
In as good Ayre as may be wisht with wit;
Where Abbey stands, and is such ringe of Belles,
As is not found from London unto Welles.'
These lines by Churchyard, the old Shropshire poet, still hold good in the main, though railway encroachments have much to answer for. But the pièce de résistance is happily still there, and the ruddy, timeworn tower of the Abbey Church now rises before us, while its mellow-toned bells speak for themselves, pealing out a quaint, merry chime upon the springlike air as we draw near.
Originally amongst the noblest and wealthiest Abbeys of the Benedictine order in England, this venerable edifice remains to this day one of the few ancient religious houses in everyday use as a parish church. It was founded by no less a personage than Roger de Montgomery, William the Conqueror's kinsman and vicegerent in the Welsh March-lands; who, life's fitful fever ended, lies buried here in his own Abbey Church of St. Peter and St. Paul.
Earl Roger's foundation was probably cruciform in shape, and the central portion of the church is part of the original fabric, displaying the thick, massive pillars and rounded arches, characteristic of the Norman period. In pleasant contrast with their rude simplicity rises a group of gracefully proportioned, pointed arches of a later date; while the tall, slender traceries of the Perpendicular windows, lend a certain air of lightness to the whole. A flat oaken ceiling spans the lofty interior, which cannot fail to impress every beholder by its air of spacious and reposeful dignity.
In the south aisle we notice a recumbent and much defaced stone effigy, which, according to a brass plate upon the adjacent wall, represents 'Sir Roger de Montgomery, Second in command of the army of his kinsman, William the Conqueror, at the Battle of Hastings, the First of the Family of Montgomery in England. He was advanced to high honour as the Over-lord of many counties, and created Earl of Shrewsbury. He founded this church and abbey, wherein he, as a Brother of the Benedictine Order, died the 1st of August, MXCV.' The monuments in the Abbey Church will reward a close examination.
In the course of a walk around the outside of the church, we remark the noble proportions of the great west window, surmounted by a canopied niche, with its mailed figure reputed to represent King Edward III., a picturesque two-storied north porch, and the lofty walls of Mr. Pearson's new chancel. Thence we pass across the street, where, a pathetic object amidst such grimy environments, stands the ancient stone pulpit shown in our sketch, in the midst of a railway coal-yard!
This graceful structure dates from the early part of the fourteenth century, and its cusped and richly moulded arches are charming examples of Decorated work. The panels below are adorned with delicately sculptured figures representing St. Peter, St. Paul, and other saints; while the groined ceiling inside the arches is crowned by a large carved boss, or keystone, emblematical of the Crucifixion.
Very picturesque looks this gem of Gothic art, its grey old stones scored and wrinkled by the tooth of Time, whose ravages are but partially concealed by a mantle of fresh green ivy. At one time the Abbey precincts appear to have extended far and wide in this direction, but the exigencies of modern travel and traffic have played sad havoc with the old, monkish habitation.
This beautiful pulpit is the last remnant of the old monastic buildings, that once nestled beneath the adjacent Abbey Church. It was attached to the refectory, and was doubtless intended for the use of the monk whose duty it was to read to the brethren at meal-times. Its other side gave upon the courtyard of the monastery, and we may suppose that open-air sermons were occasionally delivered from it.
Our sketch completed, we now turn aside from Abbey 'Forrit,' to visit the large red sandstone mansion, paradoxically dubbed 'Whitehall.' It is recorded that Richard Prince, its builder, commenced the erection of his house in the year of grace 1578, but that it was not completed until 1582, 'soe was it iiij yeares in buyldinge, to hys greate chardge, with fame to hym and hys posteritie for ever.' Prince's 'fame' in the matter is somewhat discounted, however, by the fact that he built his dwelling with stones torn from the fabric of the ancient Abbey, then but lately disestablished; and, in order to disguise them, caused the walls to be whitewashed, which gave rise to its name of Whitehall.
The building is a very fine specimen of an Elizabethan mansion, with mullioned windows, high-peaked gables, and the tall, detached chimney-stacks one knows so well. The gatehouse and dovecot are interesting features, and the lawn at the rear of the mansion is overshadowed by a magnificent walnut tree, as old, we should suppose, as Whitehall itself.
We now push on to St. Giles's Church, turning aside to climb to the summit of Lord Hill's Column, and enjoy the wide and varied prospect over hill and dale, town and river, that its balcony affords.
St. Giles's is considered to be one of the oldest churches in Shrewsbury; yet, owing to repeated restoration—'a name that,' as has been well said, 'covers more sins than charity itself,'—a casual observer might easily mistake it for a brand-new edifice. The church owes its foundation, we believe, to King Henry I., who established here a hospital or asylum for lepers, of whom St. Giles was regarded as the special patron. A Norman doorway admits us to the interior, which, though rigorously swept and garnished, still retains one or two of its original windows filled with scraps of ancient stained glass, and a richly moulded archway of rather later date.
Out in the churchyard stands a curious octagonal stone, with a good-sized square recess, several inches deep, in its upper side. It is known as the Pest Basin, and dates from the days when the plague was raging in Shrewsbury, during the seventeenth century. The custom was for the townsfolk to cast their money into the water in this basin, whence it was taken out by the country people in payment for the 'loaves and fishes' they supplied, thus avoiding in some sort the risk of actual contagion.
One of the tombstones here is inscribed with the following laconic legend:
'Here Charles Rathbon hee doth lie
And by misfortun hee did dye
On the 17th of July—1751.'
Through the quiet of the gloaming we now wend our way townwards again, the roofs and steeples of old Shrewsbury showing darkly silhouetted against the golden west as we cross the English Bridge. Thereafter, over a pipe in the chimney-nook of our hostelry, we fall to 'babbling o' green fields' and poring over Ordnance maps, intending on the morrow's morn to quit these scenes of our 'daily walks and ancient neighbourhood,' and fare forth into the open country.
silvery mackerel sky, serene and calm, gives promise of a bright Spring day, as, drawn by the iron horse, we spin along betwixt fields and hedgerows en route for Dorrington Station.
Half-way out we skirt the wooded slopes of Lythwood, once upon a time a royal forest, whence Henry the Third permitted the Hospitallers of St. Giles's to draw wood for their firing. Presently the gently-flowing river Cound is seen, travelling Severn-wards through a pleasant, agricultural country; and then, detraining at the next station, we shoulder our knapsacks and trudge away in the direction of Stapleton.
Old hawthorn hedges fling their scented sprays athwart the dusty highway, and the verdant wheat-fields beyond them are fringed with feathery cow's-parsley, looking for all the world like green carpets edged with white lace. The oaks are beating the ash trees this Spring in their race for precedence, and in yonder grounds a copper beech rears its magnificent purple dome against the deep blue of the sky—a sight for sair e'en!
Arrived at Stapleton church, we notice that it appears to consist of two separate and distinct churches, the one superposed upon the other; the two having been at some past time united by removing the floor of the upper one, giving to the interior somewhat the appearance of a college chapel.
The lower portion of the fabric, with its thick, massive walls and curiously narrow windows, mere loops, appears to be of early Norman date; while the plain lancet lights above might belong to the early part of the thirteenth century. On the south side of the chancel is a pair of two-light windows filled with simple tracery, and between them is seen the door that formerly gave entrance to the upper church. Near to the latter is an arched recess, which it has been conjectured was originally a nativity grotto. Farther east upon the same wall rises the pretty sedilia, surmounted by the double cusped arch seen on the right in the adjoining view. There are little trefoil lights under these arches, but they are later insertions.
Upon the pulpit hangs an antipendium, worked in gold and silver thread with a beautiful scrolly pattern, which, if we are to credit the local tradition, was wrought by the hands of Mary, Queen of Scots. An Easter sepulchre, invisible in our sketch, is in the wall beyond; and the two tall processional candlesticks on either side the altar are exotics here, having been brought, it is said, from Nuremberg, in Germany. They are excellent specimens of Gothic wood-carving, and are richly coloured and gilt.
Returning into the highroad, we follow it for about a mile, and then strike away to the right through leafy by-lanes that land us eventually at Condover, a pleasant, rural-looking village, almost encircled by the waters of the little river Cound.
Near the entrance to the village stands a very ancient dwelling-house, built after the manner of a ship turned keel upwards; the huge oak beams that support both walls and roof curving upwards from the ground, and passing through both storeys to meet at the ridge-pole.
Presently we come to the parish church, a large stone edifice surrounded by luxuriant foliage, and espy, hard by the churchyard wicket, an old derelict font doing duty as a flower-vase. The transepts are evidently of Norman date; while the nave and the fine west tower, though they look considerably older, were built no longer ago than the middle of the seventeenth century.
From the church we pass on to Condover Hall, a noble structure of the Elizabethan period, situated on the outskirts of the village. Viewed through the tall entrance gateway, the old mansion, with its picturesque gables, stone-mullioned windows and clustered chimney-stacks, presents a delightfully old-world appearance, which is enhanced by the quaintly clipped shrubs flanking the broad carriage-drive.
The west front, shown in a neighbouring sketch, overlooks a wide tract of park land, studded with gnarled hawthorns and ancient oaks, and watered by the meanderings of the stream whence the place derives its name.
The estate of Condover having been originally purchased by his father, Thomas of that ilk, Sir Roger Owen, in the year 1598, erected the existing mansion; calling in master Walter Hancocke, a celebrated craftsman of that period, to assist in planning his residence.
Condover passed in after years to the Cholmondeleys, an ancient family in whose hands the estate continued for many generations, having only recently been disposed of, and its interesting treasures dispersed.
We now push on for Pitchford, striking the main road at a place called Cantlop Cross, and following it until we get a glimpse of the old mansion itself, seated on a verdant slope amidst masses of shadowy foliage. A winding pathway, overarched by beech trees and ancestral oaks, meanders through the park, and leads us down to a low stone bridge, where we pause awhile to enjoy the charming view of Pitchford Hall, which our artist has portrayed.
Built by William Ottley, Sheriff of Shropshire, in the early part of the seventeenth century, Pitchford Hall remains a beautiful and interesting example of an old English homestead of that period. Nothing can exceed the picturesqueness of this venerable house, its weather-stained walls chequered by oaken timbers, its solid stone-tiled roofs carpeted with lichens and moss, and surmounted by huge crumbling chimney-stacks of curious design. Embosomed amidst tall trees and luxuriant shrubberies, with a lordly peacock taking the air upon the sunny terrace, and a clear stream whimpling along at our feet, the scene is one to be remembered; such an one, indeed, as this rural England of ours alone can shew.
But let us take a nearer look at the old Hall. The building, after the custom then in vogue, is fashioned like a capital E, the shorter member being represented by a central gable of very unusual appearance, containing a curious clock. By the courtesy of Lieut.-Colonel Cotes, the present proprietor, we are enabled to examine the interesting features of the interior, which contains some notable ancestral portraits, and a singular sort of picture-map showing the Hall and grounds as they existed in 1682. In one wainscoted chamber our attention is directed to a secret closet, or hidie-hole, ingeniously disguised by a sliding panel very difficult to detect; indeed, every corner of the mansion has its interest for the antiquary.
After having been the seat of the Ottley family for considerably more than three centuries, Pitchford Hall passed in the year 1807 into the possession of the late Lord Liverpool, who had the honour of entertaining Her Majesty here when, as Princess Victoria, she visited in this locality with the Duchess of Kent, in the year of the great Reform Bill.
Before taking leave of Pitchford, we pass out into the grounds to visit the so-called House in the Tree. As shewn in the picture here, this consists of a small chamber, about 9 or 10 feet square, and covered with a peaked roof—not much in itself, yet curious from the fact that it is built, high and dry, aloft in the fork of a huge old storm-rent lime tree, and is approached by a crooked flight of steps. Tradition avers that a 'house' has existed in this tree any time these two centuries past, having been formerly used as a dwelling; and the broken stump of more than one huge limb shews how severe have been the gales this venerable lime tree has weathered.
Upon a slight eminence hard by the mansion rises Pitchford church, a plain, simple structure, evidently of great antiquity. Built into its southern wall we notice a rude stone slab, apparently older than the church itself, with a raised cross enclosed by a circle cut in low relief upon its surface. An otherwise ordinary-looking interior is relieved by the handsome, recumbent effigy, of which a sketch will be found on p. 41. This remarkable monument is entirely composed of oak, black and smooth as ebony from lapse of time. The figure, some 7 feet in length, is that of a Crusader, habited in chain-mail, the hands clasping a sword, and the spurred feet resting upon a couchant dog, or talbot. Upon the base of the structure are seven trefoil arches, enclosing shields charged with armorial bearings, all excellently wrought, and in a good state of preservation. From its general character there can be no doubt this monument is of very early date; indeed it is supposed to represent Sir Ralph de Pitchford, who died in 1252.
Retracing our steps to the bridge, let us turn aside there for a moment to look at the ancient Pitch Well, a feature probably unique of its kind, whence the adjacent Hall derives its name.
The Well proves to be a largish shallow affair of an oval shape, and about 2 feet in depth, while the surface of the well (which is almost dried up this drouthy season) has little 'pockets' of semi-liquid pitch, oozing up from below and partially caked on the top. This bituminous spring appears, indeed, to have altered but little since Marmaduke Rawdon visited the spot, during a tour in the seventeenth century. 'Thir is in this Well,' he observes, 'foure littel Hooles about a halfe yard diep, out of whiche comes lyttle lumpes of Pitche, but that which is att ye tope of ye Well is softish, and swimes uppon the water like Tarr, butt being skym'd together itt incorporateth, and is knead together like untoo soft wax, and becometh harde.'
Sketches completed, we now make for the village, and pace on through the quiet, weedgrown street, where the martins are nesting under the lee of the old stone-tiled roofs, and the still, sunny air is redolent of lilac and early honeysuckle. Yonder gable-end with its rough yellow plasterwork, Venetian shutters, and mantle of purple wistaria, greets the eye with a pleasant scheme of colour, calling up visions of far-away Italy.
Thus we take the road again, until, coming to a green, grassy lane—part of the ancient Watling Street—we proceed to follow it up. At a point where the lane crosses a streamlet between hollow, sandy banks, we find unmistakable traces of a very ancient stone bridge, which, though undermined by rabbit burrows and damaged by tangled roots and brushwood, still shews the springing of a massive arch, apparently of semicircular form, while tumbled blocks of mossy sandstone cumber the stream below.
'Yo' mun tek along yonder bonky piece till yo' come to th' foredraught, and then foller it all the way; but 'tis a terr'ble weedy road,' says a country lad of whom we ask a direction. So away we go once more, with the blackbirds and thrushes warbling in every hedgerow; until ere long the homely house-roofs of Acton Burnell come in sight, backed by the rolling woodlands of the park, which spreads away in gentle undulations up the slopes of a neighbouring hill.
A pretty, rustic spot is Acton Burnell, its comely thatched cottages, half submerged amidst oldfashioned country flowers, extending crosswise along the lanes, and never an inn to be found in all the place! Yet, despite its present bucolic aspect, Acton Burnell has figured in the annals of English history, as we shall presently see; so let us now go in search of records of those far-away times.
After passing the cosy-looking rectory, with its cedar trees and sweet-smelling lilac, we soon come to the church, a beautiful structure replete with interest to the lover of old-world scenes; for Acton Burnell church was built just at the time when Gothic architecture had attained its high-water mark, and, though of modest dimensions, so perfect is every detail, that the little edifice is worthy of close examination. The annexed sketch shows the fine geometrical east window, and a beautiful three-light window in the north wall of the chancel. The tower, though modern, harmonizes well with the older work beside it, and contains a peal of very sweet-toned bells:
'A nut and a kernel!
Say the Bells of Acton Burnell.'
There is much to be seen in the interior. Near the porch we observe an elegant font, with small, well moulded arches supporting it. Overhead is a good oak roof, though not so massive as that of the chancel. A curious feature of the latter is a small square window low down in the north wall, supposed to be a leper's, or anchorite's, window, as it appears probable that an anchorite had his dwelling here in very early times. Or may not this have been what was known as a 'dead-light,' a little window whence a light was shown into the graveyard to scare away the ghosts!
Passing into the north transept, which has ancient tiles upon the floor, we are at once attracted by the very handsome and well preserved marble monument of a knight clad in rich armour, a ruff around his neck, a lion at his feet, and a quaint little figure supporting a helmet above his head. Near the right hand lies a gauntlet, and within it crouches a diminutive dog, the emblem of fidelity. Alongside the knight reposes his lady consort, her costume of ruff and stomacher, girdle and flat head-dress, bespeaking the time of Queen Elizabeth; while in the background appear their nine children, habited in the stiff, formal gear of that period. Beneath the enclosing arch are inscribed the words, 'Hic iacet corpus Richardi Lee armigeri qui obiit 27° die Maii Anno Doni 1591.' This fine monument is carved in alabaster, and is surmounted by a knightly helmet and squirrel crest, and coats of arms with supporters.
In the angle of the adjacent wall is another marble tomb, less elaborate than the last, but considerably older. Its arcaded sides are wrought with consummate skill, while the upper surface is inlaid with a handsome brass effigy of Nicholas de Handlo, who in the year 1360 married the heiress, and assumed the name, of the Burnell family. A glance at the sketch will show how well this fine old brass has withstood the wear and tear of more than 500 years. The knight's head is crowned by a peaked hauberk, and the soldierly face, with its long, flowing moustache, looks out from a richly cusped and crocketed canopy. A leather jerkin is worn over the tight-fitting coat of chain-mail, and a jewelled belt supports the long-handled sword and dagger. The legs are encased in greaves; and huge spurs, flexible foot-gear, and gauntlets upon the uplifted hands, complete the tale of this warrior's battle harness. A couchant lion, or griffin, keeps ward beside the feet, and upon a brass plate at the head we read the following inscription:
Hic iacet diis Nichus Burnell miles dus
De holgot qui obiit xixo die Januarii Anno
Dni Mmo CECmo Lxxxiio Cui aie ppiciet ds am.
We have by no means exhausted the attractions of this interesting interior, but, to make a long story short, will merely remark, en passant, there are numerous objects worthy of note in other parts of the church.
A stone's throw distant from the sacred edifice, overshadowed by stately trees, rise the ivy-mantled walls and turrets of Acton Burnell Castle, originally founded by Sir Robert Burnell, sometime chaplain and private secretary to Prince Edward, afterwards King Edward I. It is recorded that in the year 1284 Burnell received the royal license to crenellate his castle at Acton, and the picturesque ruin now before us is a work of that period.
The castle stands four-square, its length from east to west somewhat greater than the width, a slender turret rising at either corner. The moat is conspicuous by its absence, which goes to confirm the theory that Acton Burnell was rather an early embattled mansion, like its neighbour of Stokesay, than a military castle of the usual mediæval type. These massive old ruddy-grey sandstone walls are pierced with mullioned windows, whose vacant cavities still retain fragments of geometrical tracery; while a pathetic-looking wooden turret, in the last stages of decay, peeps out from the mantle of ivy that envelopes the western front. One or two noble old cedar trees, rising close at hand, fling their cool, dappled shadows athwart the level greensward; and beyond them we catch a glimpse of richly timbered park land.
Out there beneath a clump of elms, where the rooks are making merry, certain fragments of grey crumbling stonework are seen, so thither we now bend our steps. These prove to be two lofty massive gables of early Edwardian, or perhaps Norman, date, the last survivals of the hall of the original castle, or manor-house, of Acton Burnell. This secluded spot has become famous from the fact that here, for the first time in history, Lords and Commons sat in council, under the presidency of King Edward I., and proceeded to enact what is known as the 'Statutum de Mercatoribus,' or Statute of Acton Burnell. That took place in the year of grace 1283, just a year before Sir Robert Burnell began the erection of the later mansion, whose ruins we have just visited.
So, before taking leave of the place, we call to mind that when John Leland the antiquary journeyed this way, early in the sixteenth century, he found at Acton Burnell 'a goodly manor Place, or Castel, iiii myles from Shrewsbyri, wher a Parliament was kepte in a greate Barne. It was first made,' he adds, 'by one Burnell, a Byshope.' Robert Burnell, whose name is so closely identified with this his native place, seems to have found favour in the sight of his Sovereign, for Edward I. advanced him to the see of Bath and Wells, and created his faithful liege Lord Treasurer, and Chancellor of the realm. Burnell was frequently employed by the king in affairs of state, especially in connection with the Welsh Marches; and, dying in 1292, was buried in his own cathedral of Wells. His descendants dwelt subsequently at Holgate, in Corve Dale, and the family appears to have finally died out some time in the fifteenth century.
On the brow of a hill two miles away to the eastward stands the diminutive village of Kenley, the birthplace of Sir Archibald Alison, the historian, whose father was incumbent of this parish. The road thither leads past Acton Burnell Hall, a large, white, stone-built mansion, vastly fine with porticoes and pediments, such as our ancestors loved, and seated in a broad, tree-shaded park, very pleasant to behold.
The little church of Kenley is ancient and interesting, having an aisle-less nave, south porch, and broad, low, western tower, with walls thick enough for a fortress, and narrow, deeply-splayed loops by way of windows. The lofty old pulpit, with its sounding-board and curiously carved oak panels, is a pretty feature of the interior; and the chancel window, we notice, is of rather uncommon character, having elegant flowing tracery, and minute sculptured heads outside at the springings of the hoodmould.
Out in the churchyard grows a gnarled old yew tree of immense girth; and from beneath its sombre branches we obtain a glorious prospect over a wide stretch of picturesque, broken country towards the west, with many a familiar Salopian height belted with woods and pastures, and the wild Welsh hills, cloud-capped and blue, rising far away beyond all.
Returning to Acton Burnell, we now put the best foot foremost, and push on again in a southerly direction through a hilly-and-daley country. Just outside the village our attention is arrested by a pair of patriarchal oaks rising close beside the roadway, excellent specimens of the 'Shropshire weed,' which, the rustics will tell you, date from just after the Deluge! Anon we coast beside a belt of woodland all flushed with the shimmery blue of wild hyacinths; and then pause at the crest of the bank for a glance at the distant hills, and the steeples of Salop rising from the vale beneath.
A turn to the left, and yonder is Langley Chapel, standing ruinous and deserted in the midst of a weedgrown meadow, its weather-stained walls and broken roof presenting such a lamentable spectacle of neglect and desecration, that the very genius loci must shed tears, one would suppose, to behold its sorry plight. The exterior is simple, not to say severe, a crazy wooden bell-cot above the western gable alone relieving the skyline of the solid old stone-tiled roof, while wooden shutters, all awry, obscure the ancient windows.
Even worse, if possible, is the state of affairs within; for the sacred edifice presents all the appearance of having been used as a cattle stall or sheep pen. Yet amidst all the dust, mildew and litter, a sharp eye may still discover here and there traces of better things. Opposite the door by which we enter rises the old canopied Reader's pew that figures in our sketch, its panelled roof set about with the nests of house-martins, the little denizens twittering to and fro while we sketch. And yonder beneath the broken east window are ranged the desks, tables and benches, just as they were left by the old Puritan worshippers, a curious if not unique feature of the church; while on the opposite side may be noticed some of the original seventeenth-century oak pews, with their bits of finely executed carving, quaint hinges, and nicely turned finial knobs. The date 1601, cut on one of the tie-beams of the roof, gives a clue to the age of the building.
'Scarce a myle from Acton Burnell,' says John Leland, 'standeth Langley Hall, seated very low and flat in a Parke full of woodds, the dwelling place of the Lees, whiche may well challendge to be ranged among the families that are of the better worthe and greater antiquitie in the tract.' Langley Hall is now, alas! no more, but the Gatehouse seen in our sketch conveys some idea of the appearance it must have presented. This fine old structure probably dates from about John Leland's time, and, though fallen sadly into disrepair, still delights the eye with its rough, mossy roofs, huge chimney stacks, and ancient, weather-stained gables. A tall pointed archway constructed of stone formed the approach to the original mansion; and part of an embattled wall that surrounded the demesne does duty nowadays as a cartshed.
Langley was, as we have seen, for many generations the paternal abode of the Lees, a family of much repute in this locality. Richard Lee, whose handsome monument we saw in Acton Burnell church, was a scion of this house, which at a later period claimed some distinguished sons in America, Colonel Richard Lee having emigrated to that country in 1641. General Henry Lee served under Washington, and his son Robert became famous as the leader of the Confederate armies during the Civil War in America.
So much, then, for Langley. Sketches completed, we now shoulder our knapsacks, and push briskly onwards again, dropping into a secluded lane that runs between low, wooded hills, in the direction of the south. Away upon the crest of the ridge to our right stands Frodesley Lodge, a singular looking pile of Tudor brickwork, with a great stone staircase running from top to bottom, and several large oak-panelled chambers. Down in the vale beyond lies Frodesley village, where Sir Herbert Edwardes, the hero of Mûltan, first saw the light, his father being rector of Frodesley at that time. The church was rebuilt in 1809, and is a fair sample of the dismal 'style' then in vogue, about the only relic of antiquity that has survived being the ancient parish register, the oldest in this county, dating from 1598.
A mile or two to the westward lies Longnor, a pretty village with thatched, half-timbered cottages, rising with nonchalant irregularity beside the highway. Longnor Hall, a substantial red-brick structure, stands in the midst of a finely timbered park, in one corner whereof rises the early eighteenth-century chapel, a curious little edifice with the pigeon-hole pews of the 'churchwarden' era, and gates carefully locked lest, perchance, the lover of old things should spy out the nakedness of the land!
But we digress. Upon overhauling the Ordnance sheet, the name 'Devil's Causeway' whets one's curiosity, and puts one upon the qui vive for what may lie in store. Nor do we have long to wait, for, coming to a brook in the bottom of the vale, our lane is carried across it by a little round-arched stone bridge, showing unmistakable signs of antiquity. The lane, too, becomes as we proceed a veritable causeway, both it and the ancient bridge being rudely paved with large, thick, roughly squared flagstones, partly hidden beneath grass and weeds, and forming a kind of kerb above the ditch by the laneside.
Tradition has it that this causeway marks the track of an old, old road, that in prehistoric times ran across country from the Watling Street, near Acton Burnell, to the Roman encampment at Nordy Bank, on the shoulder of Brown Clee Hill.
Anent the origin of the bridge itself, an old countrywoman good-naturedly comes to our aid, and solves the riddle by explaining, 'It was the Devil as builded un up in one night, and when cock-crow come er dropped they stwuns down in a hurry out of's apern, and flew away to his own place.'
Thus enlightened we go our ways, and, breasting the hill, come by-and-by to Chatwall, a large, antiquated farmhouse, approached through a sort of cutting in the solid limestone rock. Though ignored by the guidebooks, Chatwall is evidently a place that 'could a tale unfold,' had its old grey stones but tongues wherewith to tell it. The house, a big old structure, solidly built of timber and stone, with rough, stone shingled roof, and low-browed, mullioned windows, was for many a day the home of the Corfields, a family of distinction in these parts, whose initials appear upon the carved oak panelling, with the date 1659. The farm-kitchen inside might have served as a subject for Van Ostade, so rude and primitive it is, with its great oaken settle in the ingle nook, and mighty Jacobean table, inches thick, so constructed as to well-nigh double its length when fully extended.