THE STORY AND ROMANCE OF SOME SOUTH WARWICKSHIRE MANOR–HOUSES

Some twelve miles to the south–east of Stratford lies Compton Wynyates, one of the most interesting and picturesque manor–houses in Warwickshire, reached by a road scarcely more than a by–way from Upper Tysoe, and lying beautifully situated and secluded in a thickly wooded dell. Scarcely seen until one comes quite close to it, at first sight it gives merely an impression of a multitude of gables, turrets, and chimneys, with the central porch flanked by two picturesque half–timbered gables partly overgrown by creepers and ivy.

The whole building except the gables is battlemented, and the ancient chimneys of zigzag and cable pattern give it an additional and unique picturesqueness. The old moat which formerly surrounded it has been filled in, with the exception of a portion to the north, now enclosing a beautiful flower–garden, which was very probably in former days covered with buildings.

The name Compton Wynyates is supposed by many to have been derived from the fact that in ancient times a vineyard was situated on the slopes which surround the house, and the weight of tradition is also in favour of this derivation. The property has been in the possession of the Compton family since the reign of King John, and although records are lacking to support the view, it seems possible that it came into the hands of the Comptons at the date of the Conquest. But, although in the reign of Edward III. one John de Compton was a knight for the shire in Parliament, the family appear not to have gained any great distinction until the beginning of the sixteenth century.

At the end of the fifteenth century William Compton succeeded his father Edmund, but being then only eleven years of age he became a ward of the Crown, and was brought up with Henry VIII. His association with the latter was destined to bear very material fruit in the way of advancement in later years, as, becoming a great favourite with Henry, he eventually received several important appointments in the State.

Old Fuller, the chronicler, says of Compton, “He was highly and deservedly a favourite to this King, so that, in the Court, no laymen, abating onely Charles Brandon (in whom affection and affinity met), was equall unto him.”

To this William Compton the King granted an augmentation to his arms from his own Royal ensigns and devices, and at the beginning of his reign made him custodian of the castle at Fulbroke, which had fallen into ruins.

About 1509 Sir William Compton, who had gained great distinction at the Battle of Spurs, and had been knighted for his gallantry, pulled down the castle, and with part of the materials—consisting in the main of some of the stone, the chimneys, and part of the woodwork—set about building himself a mansion at Compton Wynyates. Tradition asserts that the chimneys were carried from the ruined castle, for use in the new mansion, in panniers on the backs of horses and donkeys. Thus was built one of the most interesting and picturesque mansions of Warwickshire, and, indeed, of any county in England.

The house was erected round a quadrangle 75 feet square. The four sides of the building, however, were not designed with exactitude, the north being 140 feet, the south 146 feet, the east 155 feet, and the west 152 feet in length. Over the arch of the entrance porch are carved the arms of Henry VIII., supported by a griffin and a greyhound, above which is a crown with the inscription, “DOM.REX.HENRICVS.OCTAV.” On the hollow mouldings of the drip–stone are figures of lizards, other animals, and roses; whilst on each side is the Tudor double rose of York and Lancaster beneath a crown. The left–hand spandril is filled in with a device of Catherine of Aragon formed by the Castle of Castile and the pomegranate of Granada: also a sheaf of arrows, the badge of her mother Isabella. The right–hand spandril contains the portcullis, which was a badge of Henry VIII. Anciently there was, of course, a drawbridge, and inside the archway on either side are stone benches and doors which led out to the moat when the drawbridge was raised. The old oak doors contain a wicket, and still show traces of bombardment from callivers and matchlocks. But these doors, which are strongly panelled inside, would appear to have successfully resisted all the attacks made upon them.

On passing beneath the entrance porch into the inner court one is at once struck by the beautiful bay–window on the right–hand side containing eight lights, with mullions and transoms and carved panels, and battlements above. Between two windows on the left of the door is a lion’s head carved in stone, which is worth notice, as there is a tradition that on festive occasions it ran with wine, which was supplied from the inside of the house and ran into a basin formerly fixed below the head. This courtyard is rendered more picturesque than even it would otherwise be by the beautiful flowers and creepers, more especially the fuchsias, which adorn it.

On entering the house one passes the Buttery on the left, divided from the Hall itself by an oak screen carved in the linen–fold pattern, and from this a short passage leads to the kitchens, which still contain the large recessed fireplaces of Tudor times.

Between the chapel and the Hall is the great parlour, with its oak panelling and plaster ceiling bearing the arms of Compton and Spencer, built in the reign of Elizabeth by William Compton, first Earl of Northampton.

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The great Hall itself extends the full height of the house, and possesses a fine open–timbered roof, the beams of which spring from a richly carved cornice. The roof was apparently brought from some older building and reduced in size to fit its present use. It is probable, too, that it originally extended one bay farther, which would give it its true proportions.

At one end is a picturesque half–timbered Minstrel Gallery, with open panel–work, the gallery in the south–east angle being a modern addition.

There is an interesting survival of the games of our ancestors in the huge slab of elm, over 23 feet in length and 30 inches in width, which was made to rest on tressels, and in all probability was used for playing “shovel–board,” a popular amusement in the sixteenth and seventeenth centuries.

It was in this Hall that the builder, Sir William Compton, received Henry VIII., with whom he had been at the Field of the Cloth of Gold, and doubtless it has been the scene of many almost equally notable festivities during the centuries which have passed since its erection. The Chapel, which is on the south side of the quadrangle, is divided into two portions by an oak screen with a gate in the centre. Over the screen are carved panels, and on the left of the gate on the outer side is one probably representing the scourging of Christ previous to the Crucifixion; whilst that on the left represents a female figure on a pedestal intended apparently for the Virgin Mary, the stag having reference to the legend of St. Hubert. Within the screen on the left are representations of the seven deadly sins, each mounted on a horse with a small demon behind, urging on the rider. At the head of the procession is a monk, and the figure of the devil is seen standing ready to receive them. On the right–hand side there is a carving of figures (probably Twelfth Night mummers) in State robes, having swords in their left hands. The centre panels on both sides of the screen are blank. The general impression is that these carvings, which are certainly of greater age than the house, were brought from Fulbroke Castle, built by John, Duke of Bedford, in the reign of Henry V., the custody of which was given to Sir William Compton by Henry VIII.

The great window on the south–western side of the chapel contains five lights, with cinquefoil heads divided by a transom, and with the spandrils and sill carved. In it was formerly some beautiful painted glass representing the Passion, in which also were depicted the figures of the builder of the house and his wife and three children, and the family arms. The glass was removed to Balliol College, Oxford, during the period of the Civil War. It is difficult to exactly locate the former position of the high altar in reference to the great window, it being possible, as was sometimes the case, that the celebrant took up his position behind it, and thus faced north–east, having his back, of course, towards the window itself.

Amongst the other more notable portions of this fine manor–house, which in its entirety contains eighty rooms with seventeen separate flights of stairs and 275 windows, which in the days of the window tax were reduced to the number of thirty, is the private dining–room built in the reign of Elizabeth by William Compton, first Earl of Northampton, ornamented with the arms of Compton and Spencer. The carving of the chimney–piece moulding of hard fir–wood is supposed to be the work of Thomas Chippendale, the well–known wood–carver of George II.’s time.

The Music– or Smoking–room is probably a comparatively modern addition to the house, about the year 1738; here too the chimney moulding appears to be the work of Chippendale.

On the second floor, approached by the great staircase, which although occupying its original position is a modern reproduction dating only from 1867, King Charles’ room is reached, situated on the north side overlooking the moat. In this room Charles is said to have slept when a guest here. The moat and the upper part of the house could in those days be reached by a spiral staircase just outside the room.

The Drawing–room on the south side of the house is a beautiful room, oak panelled, and with a handsome plaster ceiling placed there in the time of Elizabeth and recently carefully restored. The carving and panelling over the mantelpiece were brought from Canonbury House, which was the manor–house of Islington, purchased by Sir John Spencer, the father of the first Earl, in 1570. The chapel drawing–room, in which are oak carvings and a moulded ceiling, has on the south side hinged panels, and a door which leads into the upper portion of the chapel, and through which people in the room could hear the service.

Next to this room is the bed–chamber occupied by Henry VIII. when visiting the house, and containing a window in which is some old painted glass. In one of the lights is a Tudor rose intact, and in others there are portions of the arms of Catherine of Aragon. The ceiling, which is interesting and curious, was probably made in the reign of Charles I., and contains the arms of the various royal guests who had honoured the house with their presence, including Henry VIII., Queen Elizabeth, James I., and Charles I.

The Council Chamber in the great tower is reached by a circular staircase, and is notable for its beautiful split oak panelling, exhibiting the grain of the wood in a manner impossible where sawn timber is used. In a small chamber adjoining is a well–hole, probably once forming the entrance to a secret passage communicating with a trap–door in the north wing.

There were in ancient times a large number of secret hiding–places at Compton Wynyates. Next but one to the room of Henry VIII. is a chamber from which there was communication with a secret hiding–place of quite considerable dimensions, reached from it by a stairway of eleven steps only 19 inches wide. In this stairway is an “observation hole,” some 10 inches high and about 2–1/2 inches wide, formerly concealed by the panelling, by means of which the approach of the enemy or of a search party could be watched by the fugitive in hiding. The secret chamber is about seven feet square, and has two windows and a small fireplace. One of the distinguishing features of the house is the number of its windows and chimneys; a circumstance that made it extremely difficult for searchers to locate any secret hiding–place, even though furnished with both. Few manor–houses have, or at least had, more numerous places of concealment great and small than Compton Wynyates. In the south–western turret is another hiding–place, stated to have been discovered by Lady Frances Compton about 1770, whilst she was playing there as a child. The story goes that she fell against the plaster–work which concealed the door, and the hollow sound emitted caused investigation to be made. Upon opening the chamber it was found (so tradition states) to contain the skeletons of a woman (a nurse?) and two children, concealed, it is supposed, at some period of trouble and forgotten.

The famous priests’ room or chapel in the roof is reached from the Council Chamber by three newel staircases, and it is even possible there was a fourth in ancient times. This room was undoubtedly used as a chapel, as there were many Popish recusants dwelling in the immediate neighbourhood; a safer and less unostentatious place of worship was scarcely possible. On an elm shelf below the south–west window are, rudely carved, five consecration crosses, showing that it had been used for the purpose of an altar, and was consecrated according to the rites of the Romish Church. The slab of wood is unique, in that it forms the only known instance of a wooden altar in England.

The part played by the Northampton family in the Civil War was such as to attract the attention of the Parliamentary forces to even so secluded a spot as Compton Wynyates, and on Thursday, June 6, a detachment of Parliamentarians under Major Bridges appeared before the house and besieged it for three days, when it surrendered. The Parliamentarians are reported by Dugdale to have killed many of the deer in the park, and also to have wantonly defaced the ornaments in the Church.

James, the third Earl of Northampton, was ultimately permitted to resume possession of the house and estates on payment of a heavy fine to the Parliamentary party.

Since that time the peace of the fine old grey pile has been undisturbed, and the ninth earl, who was created a marquis in 1812, repaired the house, which had fallen somewhat into decay.

Whether one regards Compton Wynyates from the point of view of an ancient building of romantic and architectural interest, or as a mansion set amid scenery of singular beauty, the place deserves to rank very high indeed among the old houses around which has in past days been woven so much of the glory and romance of England.

But to the interest of the house must be added the charm of the most beautiful and picturesque gardens, maintained all the year round with a care and lavishness which make them some of the most lovely in the country.

Some four miles to the south–west of Wormleighton, picturesquely situated amidst a group of the Burton Hills, is the tiny village of Burton Dassett, once said to have been a market–town, and then known as Chipping Dassett. It was, however, almost entirely destroyed in the reign of Henry VII. by Sir Edward Belknap; who, then lord of the manor, destroyed the village for the purpose of making enclosures of the lands. He was never punished for this ruthless act, because of the public services he had rendered the King, and at the close of the fifteenth century was granted immunity by his Sovereign from being punished for or questioned concerning his deeds. The village nowadays consists of but two or three farm–houses.

It possesses, however, a fine and very interesting Church of All Saints, and a romantic interest in its ancient beacon, which stands upon the extreme north–western point of the Burton Hills, near the well–known windmill.

The Beacon, which is a stone fourteenth and fifteenth century building, some sixteen feet in height and sixty–two feet in circumference, with walls of extreme thickness, has a conical roof, and projecting from the top are twenty–five corbels, which apparently supported a gallery in former times reached by a wooden ladder or outside stairs. There are two windows, one looking out westward to the Malvern Hills, and another in a north–easterly direction towards Rugby and High Cross. From the summit of this stunted tower there is on a clear day a wonderful prospect to the south–east, only bounded by Irvinghoe, forty miles distant, where there was another beacon; whilst to the north–east, twenty miles distant, was Bickenhill Beacon, and to the north north–east High Cross in Leicestershire, and the south south–east Nettlebed in Oxfordshire, twenty–five miles off, with all of which places there was in former days signalling communication by means of a fire lighted in a large cresset, some three feet in diameter and some eighteen inches deep, which was placed upon a pole and fixed to the roof.

Very prettily situated below the Beacon, on the southern spur of the hill, is the church, which in its size and beauty speaks eloquently of the town which once supplied it with worshippers, but is now almost untraceable. The building consists of a chancel, transepts, nave, aisles, and north porch, and at the west end an embattled tower. The architectural features of the exterior, which at once attract attention, are the fine Early English five–light window in the north transept, with its plate tracery.

The north porch is Decorative in design, and is ornamented with ball flower moulding; the doorway, however, is Norman, as is also that on the south side of the church. It seems more than possible, indeed, that these doorways are survivals of the ancient Norman Church, which the present building superseded. The tower dates from the early part of the fourteenth century, and has exceedingly massive walls. The interior of the church, when viewed from the tower entrance, is unusually impressive and striking.

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The interior presents a number of most interesting features, for in it is to be found work of the twelfth, thirteenth, fourteenth, fifteenth, and seventeenth centuries. The unusually fine chancel arch is Transitional; the chancel itself is probably early fourteenth–century work.

Some eight miles south–west of Compton Wynyates, retired from the Oxford Road, stands the interesting, picturesque, and considerable manor–house of Little Wolford. With its ancient courtyard, shaded by yews and gay in summer with hollyhocks and other old–time flowers, it is still a fine specimen of a half–timbered stone mansion of the early part of the sixteenth century. Formerly belonging to the Ingraham family, the place has fallen into decay, and from its old estate as a considerable and picturesque mansion.

The Hall, which possesses an open timbered roof, has a good Tudor fireplace, and on the walls are hung old portraits of former owners, and relics in the shape of saddlery and arms, said to have been used during the Civil War. At the back of the house is a chamber with a large oven, in which, tradition asserts, rightly or wrongly, Charles II. hid when a fugitive after Worcester fight.