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My Infelice’s face, her brow, her eye, The dimple on her cheek: and such sweet skill Hath from the cunning workman’s pencil flown, These lips look fresh and lively as her own. False colours last after the true be dead. Of all the roses grafted on her cheeks, Of all the graces dancing in her eyes, Of all the music set upon her tongue, Of all that was past woman’s excellence In her white bosom; look, a painted board Circumscribes all! —DEKKER.
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I shall pass over several more such indications of temporary tastes of the Squire’s predecessors; but I cannot forbear to notice a pair of antlers in the great hall, which is one of the trophies of a hard-riding squire of former times, who was the Nimrod of these parts. There are many traditions of his wonderful feats in hunting still existing, which are related by old Christy, the huntsman, who gets exceedingly nettled if they are in the least doubted. Indeed, there is a frightful chasm, a few miles from the Hall, which goes by the name of the Squire’s Leap, from his having cleared it in the ardour of the chase; there can be no doubt of the fact, for old Christy shows the very dints of the horse’s hoofs on the rocks on each side of the chasm.
Master Simon holds the memory of this squire in great veneration, and has a number of extraordinary stories to tell concerning him, which he repeats at all hunting dinners; and I am told that they wax more and more marvellous the older they grow. He has also a pair of Rippon spurs which belonged to this mighty hunter of yore, and which he only wears on particular occasions.
The place, however, which abounds most with mementos of past times, is the picture gallery; and there is something strangely pleasing, though melancholy, in considering the long rows of portraits which compose the greater part of the collection. They furnish a kind of narrative of the lives of the family worthies, which I am enabled to read with the assistance of the venerable housekeeper, who is the family chronicler, prompted occasionally by Master Simon. There is the progress of a fine lady, for instance, through a variety of portraits. One represents her as a little girl, with a long waist and hoop, holding a kitten in her arms, and ogling the spectator out of the corners of her eyes, as if she could not turn her head. In another, we find her in the freshness of youthful beauty, when she was a celebrated belle, and so hard-hearted as to cause several unfortunate gentlemen to run desperate and write bad poetry. In another, she is depicted as a stately dame, in the maturity of her charms; next to the portrait of her husband, a gallant colonel in full-bottomed wig and gold-laced hat, who was killed abroad; and, finally, her monument is in the church, the spire of which may be seen from the window, where her effigy is carved in marble, and represents her as a venerable dame of seventy-six.
In like manner, I have followed some of the family great men through a series of pictures, from early boyhood to the robe of dignity, or truncheon of command; and so on by degrees, until they were garnered up in the common repository, the neighbouring church.
There is one group that particularly interested me. It consisted of four sisters, of nearly the same age, who flourished about a century since, and, if I may judge from their portraits, were extremely beautiful. I can imagine what a scene of gayety and romance this old mansion must have been, when they were in the heyday of their charms; when they passed like beautiful visions through its halls, or stepped daintily to music in the revels and dances of the cedar gallery; or printed, with delicate feet, the velvet verdure of these lawns. How must they have been looked up to with mingled love, and pride, and reverence by the old family servants; and followed with almost painful admiration by the aching eyes of rival admirers! How must melody, and song, and tender serenade, have breathed about these courts, and their echoes whispered to the loitering tread of lovers! How must these very turrets have made the hearts of the young galliards thrill, as they first discerned them from afar, rising from among the trees, and pictured to themselves the beauties casketed like gems within these walls! Indeed, I have discovered about the place several faint records of this reign of love and romance, when the Hall was a kind of Court of Beauty.
Several of the old romances in the library have marginal notes expressing sympathy and approbation, where there are long speeches extolling ladies’ charms, or protesting eternal fidelity, or bewailing the cruelty of some tyrannical fair one. The interviews, and declarations, and parting scenes of tender lovers, also bear the marks of having been frequently read, and are scored and marked with notes of admiration, and have initials written on the margins; most of which annotations have the day of the month and year annexed to them. Several of the windows, too, have scraps of poetry engraved on them with diamonds, taken from the writings of the fair Mrs. Philips, the once celebrated Orinda. Some of these seem to have been inscribed by lovers; and others, in a delicate and unsteady hand, and a little inaccurate in the spelling, have evidently been written by the young ladies themselves, or by female friends, who have been on visits to the Hall. Mrs. Philips seems to have been their favourite author, and they have distributed the names of her heroes and heroines among their circle of intimacy. Sometimes, in a male hand, the verse bewails the cruelty of beauty, and the sufferings of constant love; while in a female hand it prudishly confines itself to lamenting the parting of female friends. The bow-window of my bed-room, which has, doubtless, been inhabited by one of these beauties, has several of these inscriptions. I have one at this moment before my eyes, called “Camilla parting with Leonora:”
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“How perish’d is the joy that’s past, The present how unsteady! What comfort can be great and last, When this is gone already;” |
And close by it is another, written, perhaps, by some adventurous lover, who had stolen into the lady’s chamber during her absence:
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“THEODOSIUS TO CAMILLA.
I’d rather in your favour live, THEODOSIUS. 1700.”
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When I look at these faint records of gallantry and tenderness; when I contemplate the fading portraits of these beautiful girls, and think, too, that they have long since bloomed, reigned, grown old, died, and passed away, and with them all their graces, their triumphs, their rivalries, their admirers; the whole empire of love and pleasure in which they ruled—“all dead, all buried, all forgotten,” I find a cloud of melancholy stealing over the present gayeties around me. I was gazing, in a musing mood, this very morning, at the portrait of the lady whose husband was killed abroad, when the fair Julia entered the gallery, leaning on the arm of the captain. The sun shone through the row of windows on her as she passed along, and she seemed to beam out each time into brightness, and relapse into shade, until the door at the bottom of the gallery closed after her. I felt a sadness of heart at the idea, that this was an emblem of her lot: a few more years of sunshine and shade, and all this life and loveliness, and enjoyment, will have ceased, and nothing be left to commemorate this beautiful being but one more perishable portrait; to awaken, perhaps, the trite speculations of some future loiterer, like myself, when I and my scribblings shall have lived through our brief existence, and been forgotten.