Kirby Hall.—Although now deserted, this very venerable and exceedingly beautiful Mansion ranks among the finest of the kingdom.[12] For upwards of two centuries, it was the seat of “the Hattons,”—the famous Sir Christopher and his lineal descendants, the Earls of Winchelsea. It was built by Humphrey Stafford, the Sixth Earl of Northampton; the Architect was John Thorpe, and two plans of the building are preserved among his collection of sketches in the Museum bequeathed to the nation by the late Sir John Soane; one of them is thus distinguished:—“Kirby, whereof I layd the first stone, 1570.” Not long afterwards, it came into the possession of the Lord Chancellor Hatton, who obtained it from Queen Elizabeth in exchange for that of Holdenby—a superb structure erected by him, and which Camden describes as “a faire pattern of stately and magnificent building which maketh a faire glorious show,” and as “not to be matched in this land.”[13] It is more than probable that Kirby was largely added to—perhaps finished—by Sir Christopher; but that it was commenced by the unhappy family of Stafford, is evidenced by the “Boar’s head out of a Ducal Coronet,” and the name “Humfree Stafford,” to be found on several parts of the building. The front was decorated by Inigo Jones about the year 1638. The mansion is the property of the present Earl of Winchelsea, who was born there. It remains in a comparatively good state of preservation; but it is certain that in its now neglected and deserted condition, the encroachments of Time will not be withstood much longer. Its situation, like that of so many structures of the same date in England, is unfortunately low, and the difficulty of drainage (it is liable at times to be flooded) offers some excuse for removal to a more eligible site. The approach is through an avenue of finely-grown trees, extending above three quarters of a mile. The first Court-yard resembled that of Holdenby—a balustraded inclosure, with two grand archways. The external front is the work of Inigo Jones, by whom also much of the interior was considerably altered. Passing through this, the visitor enters the principal Quadrangle (which forms the subject of Mr. Richardson’s drawing). “On each side of the arched entrance are fluted Ionic pilasters, with an enriched frieze and entablature; the arched window above, opening upon a Gallery supported by consoles, has a semicircular pediment, broken in the centre, and inclosing a bracket for a bust, with the date 1638.” The window is, however, an insertion by Inigo Jones; and being of a much later date than the other parts of the front, sadly mars the effect of the architecture of old Thorpe. The third story contains the motto and date “Je. Seray 1572, Loyal.” The Garden front has a raised Terrace—now a corn-field—in which the slopes and a few ornamental seats yet remain. This front supplies one of the grandest examples of Elizabethan architecture existing in England. It was built by Thorpe, and essentially agrees with the German School of Architecture of that day—which the British Architect had evidently studied. The Garden seats, vases, &c., of which there endure only broken fragments, are in the style, and believed to be the works, of Inigo Jones. The Garden was terminated by a remarkably picturesque little bridge, ornamented with a balustrade and scroll work, now, like all other objects about the structure, or connected with it, submitted to the wanton assaults of every heedless passer-by. Modern Vandalism has, indeed, been very busy everywhere within and around this venerable Mansion;—a farmer occupies a suite of rooms, the decorations of which would excite astonishment and admiration in a London Club-house; farm-servants sleep surrounded by exquisite carvings; one room in the south side of the Quadrangle, decorated with a fine old fire-place, in which are the arms of the Lord Chancellor, served, at the time of the artist’s visit, the purpose of a dog-kennel; and an elegant Chapel, constructed by Inigo Jones, is entered with difficulty through piles of lumber and heaps of rubbish.

Our initial letter is copied from one of the Finials, which crown the pilasters and gables in the Quadrangle. They formerly held staves with moveable vanes (in metal), “turning with every winde.”