The hall was situated near the base of a gently declining hill, terminating a noble avenue of limes, and partially embosomed in an immemorial wood of the same timber, which had given its name to the family that dwelt amongst its rook-haunted shades. Descending the avenue, at the point of access afforded by a road that wound down the hill-side, towards a village distant about half a mile, as you advanced, the eye was first arrested by a singular octagonal turret of brick, of more recent construction than the house; and in all probability occupying the place where the gateway stood of yore. This tower rose to a height corresponding with the roof of the mansion; and was embellished on the side facing the house with a flamingly gilt dial, peering, like an impudent observer, at all that passed within doors. Two apartments, which it contained, were appropriated to the house-porter. Despoiled of its martial honors, the gateway still displayed the achievements of the family — the rook and the fatal branch — carved in granite, which had resisted the storms of two centuries, though stained green with moss, and mapped over with lichens. To the left, overgrown with ivy, and peeping from out a tuft of trees, appeared the hoary summit of a dovecot, indicating the near neighborhood of an ancient barn, contemporary with the earliest dwelling-house, and of a little world of offices and outbuildings buried in the thickness of the foliage. To the right was the garden — the pleasaunce of the place — formal, precise, old-fashioned, artificial, yet exquisite! — for commend us to the bygone, beautiful English garden —really a garden— not that mixture of park, meadow, and wilderness3, brought up to one’s very windows — which, since the days of the innovators, Kent, and his “bold associates,” Capability Brown and Co., has obtained so largely — this was a garden! There might be seen the stately terraces, such as Watteau, and our own Wilson, in his earlier works, painted — the trim alleys exhibiting all the triumphs of topiarian art —
The sidelong walls Of shaven yew; the holly’s prickly arms, Trimm’d into high arcades; the tonsile box, Wove in mosaic mode of many a curl, Around the figured carpet of the lawn;4
the gayest of parterres and greenest of lawns, with its admonitory sun-dial, its marble basin in the centre, its fountain, and conched water-god; the quaint summer-house, surmounted with its gilt vane; the statue, glimmering from out its covert of leaves; the cool cascade, the urns, the bowers, and a hundred luxuries besides, suggested and contrived by Art to render Nature most enjoyable, and to enhance the recreative delights of home-out-of-doors — for such a garden should be — with least sacrifice of indoor comfort and convenience.
When Epicurus to the world had taught, That pleasure was the chiefest good; — And was perhaps i’ th’ right, if rightly understood, His life he to his doctrine brought — And in his garden’s shade that sovereign pleasure sought.5
All these delights might once have been enjoyed. But at the time of which we write, this fair garden was for the most part a waste. Ill-kept, and unregarded, the gay parterres were disfigured with weeds; grass grew on the gravel walk; several of the urns were overthrown; the hour upon the dial was untold; the fountain was choked up, and the smooth-shaven lawn only rescued, it would seem, from the general fate, that it might answer the purpose of a bowling-green, as the implements of that game, scattered about, plainly testified.
Diverging from the garden to the house, we have before remarked that the more ancient and characteristic features of the place had been, for the most part, destroyed; less by the hand of time than to suit the tastes of different proprietors. This, however, was not so observable in the eastern wing, which overlooked the garden. Here might be discerned many indications of its antiquity. The strength and solidity of the walls, which had not been, as elsewhere, masked with brickwork; the low, Tudor arches; the mullioned bars of the windows — all attested its age. This wing was occupied by an upper and lower gallery, communicating with suites of chambers, for the most part deserted, excepting one or two, which were used as dormitories; and another little room on the ground-floor, with an oriel window opening upon the lawn, and commanding the prospect beyond — a favorite resort of the late Sir Piers. The interior was curious for his honeycomb ceiling, deeply moulded in plaster, with the arms and alliances of the Rookwoods. In the centre was the royal blazon of Elizabeth, who had once honored the hall with a visit during a progress, and whose cipher E. R. was also displayed upon the immense plate of iron which formed the fire-grate.
To return, for a moment, to the garden, which we linger about as a bee around a flower. Below the lawn there was another terrace, edged by a low balustrade of stone, commanding a lovely view of park, water, and woodland. High hanging-woods waved in the foreground, and an extensive sweep of flat champaign country stretched out to meet a line of blue, hazy hills bounding the distant horizon.
* * * * *
3. Payne Knight, the scourge of Repton and his school, speaking of the license indulged in by the modern landscape-gardeners, thus vents his indignation:
But here, once more, ye rural muses weep
The ivy’d balustrade, and terrace steep;
Walls, mellowed into harmony by time,
On which fantastic creepers used to climb;
While statues, labyrinths, and alleys pent
Within their bounds, at least were innocent! —
Our modern taste — alas! — no limit knows; O’er hill, o’er dale, through wood and field it flows; Spreading o’er all its unprolific spawn, In never-ending sheets of vapid lawn. The Landscape, a didactic Poem, addressed to Uvedale Price, Esq.
4. Mason’s English Garden.
5. Cowley.
CHAPTER 5
SIR REGINALD ROOKWOOD
A king who changed his wives as easily as a woman changes her dress. He threw aside the first, cut off the second’s head, the third he disemboweled: as for the fourth, he pardoned her, and simply turned her out of doors, but to make matters even, cut off the head of number five. —Victor Hugo: Marie Tudor.
From the house to its inhabitants the transition is natural. Besides the connexion between them, there were many points of resemblance; many family features in common; there was the same melancholy grandeur, the same character of romance, the same fantastical display. Nor were the secret passages, peculiar to the one, wanting to the history of the other. Both had their mysteries. One blot there was in the otherwise proud escutcheon of the Rookwoods, that dimmed its splendor, and made pale its pretensions: their sun was eclipsed in blood from its rising to its meridian; and so it seemed would be its setting. This foul reproach attached to all the race; none escaped it. Traditional rumors were handed down from father to son, throughout the county, and, like all other rumors, had taken to themselves wings, and flown abroad; their crimes became a by-word. How was it they escaped punishment? How came they to evade the hand of justice? Proof was ever wanting; justice was ever baffled. They were a stern and stiff-necked people, of indomitable pride and resolution, with, for the most part, force of character sufficient to enable them to breast difficulties and dangers that would have overwhelmed ordinary individuals. No quality is so advantageous to its possessor as firmness; and the determined energy of the Rookwoods bore them harmless through a sea