An Old English Home and Its Dependencies. S. (Sabine) Baring-Gould
security whilst the mother was engaged at the fire. I believe that dealers now call them monks' seats. Monks' seats! they belonged to women and babies. But a dealer knows how to humbug his customers.
I was once in a certain county, I will not say which, and visited a gentleman who had bought and built a fine house, very modern, but very handsome. Then the fancy took him to be possessed of old oak, so he went to a dealer.
"My dear sir," said Lazarus, "I have the very thing for you—a superb antique oak mantelpiece and sideboard—the finest in England of the date of Henry VIII. But they are all in an ancient mansion, a black-timbered hall in Cheshire or Shropshire—I forget which. Would you care to go down and see it? The house is to be pulled down, and I must remove the contents."
Of course Mr. Greenhorn went, bought all at a fabulous price, and brought them to his mansion. Well, anyone with the smallest knowledge of old oak would see at a glance that this was all Belgian stuff, made up of bits from old churches, put together higgledy-piggledy without any unity of design—stuff that no ancient would have designed, for there was no design in it. And the dealer kept this Cheshire or Shropshire black-timbered house regularly supplied with this detestable rubbish, and regularly took greenhorns to it to pay down heavy gold for what was worth nothing but a few Belgian francs.
At the risk of branching away from my topic, I must have another word relative to dealers.
There is still in England a good deal of good plain old oak; old cradles, old standing clock cases, old bureaus, etc., without any carving on them, but fine in their lines and in their simplicity. These wretches buy them up and give them into the hands of mechanical carvers to adorn in "Elizabethan style," and then they sell these good old articles of furniture—defaced and spoiled and rendered all but worthless.
"Good heavens!" said I to one of these gentry; "you have utterly, irrevocably ruined that noble wardrobe."
"Well, sir, I couldn't sell it for one-tenth of the price hadn't I done this. The buyers like this, and I have to suit their taste."
To return to the hearth and to the settle.
A friend one day saw a screen of carved oak in a cottage. He bought it for half a guinea, and then called me into consultation on it. With a little study it revealed itself to be the back of a settle of Henry VII.'s reign. The mortices for the arms and for the seat were there; also nail marks showing that stamped leather had been fastened to the back below the sculpture. There were pegs showing where had been the pilasters sustaining the canopy, and one scrap of canopy still extant. I show the restoration (p. 57).
Fine though this be, I know something better still—not in art, but for cosiness, and that is the curved settle, it is constructed in an arc. In a farmhouse I know well are two such settles, and they are connected by a curved iron rod fastened to the ceiling, and there are green baize curtains depending from this rod.
On a winter evening, the farmer and his wife and the serving maidens and young men come into the kitchen, and the circle is completed with chairs or stools, the curtains are drawn, the fire is made up, and a very jolly evening is spent with cakes and cider, and tales and jokes and song.
I was at a sale one day—a very small farm but an old one. A farmer bid for the settle—a small one. One of his daughters was there. She turned to her sister and said: "I say, Nan, vaither he've gone and bought the settle, and it's lovely; it will hold only two."
"Well, Jane," said her sister, "I reckon—that depends. You must have the right one beside y'; then it's just large enough, and you don't want no more."
When I was a child, some sixty years ago, the mat before the fire was the line of demarcation, beyond which a youngster might not go.
"My dear," said my grandmother, "fires are made to be seen—not felt."
Oh, how we shivered beyond the mat! I used to look at a patent bacon-toaster, and resolve, when I was a man and independent, to have a curved settle formed of burnished tin, and to sit before a roaring fire in the focus of all the converging rays, and never stir therefrom from Michaelmas till Lady Day. But the curved settle answers the purpose.
Among the troubles and irritations of life, one of the worst is a smoky chimney, and among all the hideousness of modern contrivances nothing surpasses the cowl.
It is very curious that architects should set themselves to work to violate first principles, and so involve us in these troubles. In the first place, to ensure that a chimney shall not smoke, the flue must be made large enough to carry the smoke. This is a principle very generally neglected. Next it is necessary that the chimney should not have a flat top, for then the wind beats against the broad surface, and, of course, prevents the smoke from rising, and much of it is deflected down the flue.
What our forefathers did was to reduce the top to a thin edge that could not arrest and drive the smoke down, but would, on the contrary, assist it in rising. Or else they covered over the orifice with a roof, open at the sides, that prevented the wind from descending, and enabled the smoke to get away whichever way the wind blew.
In order to illustrate what I mean, I have simply taken my pencil and gone outside my house, and have drawn an old and a new chimney-top.
The chimney-piece or overmantel is the reredos of the family altar, and should contain the arms of the family or the portraits of ancestors.
No portion of an old manor-house was so decorated and enriched as this; and the hall fireplace received pre-eminent attention.
THE CHIMNEY-TOP, ANCIENT AND MODERN
Happily we have in England numerous and splendid examples; but a vast number were sacrificed at the end of last century and the beginning of the present, when large looking-glasses came into fashion, and to make place for them the glorious old sculptured wood was ruthlessly torn down. If the reader is happy enough to possess a copy of Dr. Syntax's Tours, he will see the period of transition. In the second Tour is a plate representing the doctor visiting the Widow Hopefull at York. The room is panelled with oak, the ceiling is of plaster beautifully moulded, the chimney-piece is of oak carved, but painted over, and the large open hearth has been closed in, reduced, and a little grate inserted.
In the same volume is a picture of Dr. Syntax making his will. Here the large open fireplace remains, lined with Dutch tiles, and the fire is on dogs. All the lower portion of the mantel decoration remains, but above the shelf everything has been removed to make way for the mirror.
In the same volume is Dr. Syntax painting a portrait, and here again is a lovely panelled room with plaster ceiling and a simple but charming chimney-piece of excellent design.
FIREPLACE AND CHIMNEY-PIECE, YORK
Now turn to the first Tour, and look at Dr. Syntax mistaking a gentleman's house for an inn. Here we have the chimney-piece supported on vulgar corbels, all of the period when Rowlandson drew; above the shelf is a painting in the worst description of frame. When Rowlandson made his drawings, he was absolutely incapable of appreciating Gothic design, and whenever he attempted this he failed egregiously, but the feeling for what was later, Elizabethan and Jacobean, was by no means dead in him, and he drew the details with a zest that shows he loved the style.
CHAPTER IV.
To