The River Dee.—Chester Rowing Club.—The Earl’s Eye.—Villas on Dee Banks.—The Water Works.—Eccleston.—Eaton Lodge, and the Iron Bridge.—Eaton Hall.—The Grosvenor Family.—The Belgrave Lodge.—The Interior of the Hall.—Eaton Gardens.—Grosvenor Lodge.

Having finished our repast at the Deva Hotel, and tested the merits of Huxley’s prime ale (we should like to know where you can meet with its equal!), we are now fully charged for a “Row on the Dee.” Talk of your Thames and your Tamar, your Tyne and your Clyde! To our minds a quiet little “row up the Dee” has a charm superior far to them all! Yonder gaily-decked barge, adorned with the “red, white, and blue” of old England, is the craft of our choice. While, then, mine host is summoning the oarsmen, and arranging the cushions and seats for our reception, a word or so touching the source of the Dee, and its progress towards Chester, will not be out of place.

Rising in Merionethshire, not far from Dolgelley, a modest little rivulet, fed by a score of tributary brethren, elbows its way through many a chasm and rocky dell, until it reaches Bala Lake. We have so far been tracing a mere mountain stream; but gathering strength and increased impetuosity as it passes through the centre of this beautiful Lake, our little Welsh brook, twin sister of the Wnion, developes into a River, and henceforward assumes the “local habitation and name” of the Dee. Still, as from its source, a pure Welsh river, the “Druid stream of Deva” gambols cheerily on, through the rich Vale of Corwen, ’neath the frowning ruins of Castell Dinas Bran, by the side of the beautiful Abbey of Valle Crucis, and so through Llangollen, “that sweetest of vales.” Winding its way thence, through Overton and Bangor,—the latter the scene of the massacre of the British monks,—our river proceeds by a series of zigzags on its course towards Holt; before reaching which, it serves as the boundary line between Denbighshire and Cheshire. On the Welsh side of the river stand the town and castle of Holt, an important post in the Anglo-Welsh wars. On the opposite side is Farndon, connected with Holt by an ancient stone bridge; and from this, the Dee passes Aldford and Eaton on its way to Chester and the Irish Sea.

River Dee, and Groves

But see; “our bark is by the shore,” and the boatmen are awaiting us; let us, then, take our seats beneath its awning, and launching out into the stream, cast a momentary glance at the landscape behind us. In the foreground is the Deva, “our marine Hotel,” half hidden from view by yon rich Grove of trees stretching along the river’s edge. Behind, and far above it, the tower of St. John’s Church proudly shows its rugged form. To the left is the Queen’s Park Suspension Bridge, more particularly noticed in our “Walk round the Walls.” Away under the Bridge we can see a small portion of the Walls near the Wishing Steps; and beyond that, again, the Dee Mills and Bridge, of ancient fame. Talking of the Dee Mills, of course you know the song, the rare old song, of the “Miller of the Dee,”—that “miller hale and bold,” the burden of whose song

For ever used to be,—
I envy nobody, no, not I!
And nobody envies me!

How few millers there are, who can say as much nowadays!

At length we are off, at a stately pace, for “steady’s the word,” in a Chester barge, and soon we leave the Groves and the Queen’s Park Villas behind us in the distance. Having rounded Aikman’s Gardens, we are opposite the grounds of the Royal Chester Rowing Club. We take a pride in our rowing, we citizens of Chester,—and not without reason, for in 1855, our “crack crew” were twice victors at the Henley Regatta, and then and there acknowledged “Champions of the Isis and the Thames!” Whew! there go the “Royals”—the champion crew, old Chester’s pride!—at a spanking pace, which nought but sterling metal could possibly maintain! They are out for their daily exercise, under the care of their trainer; the smile on whose face betokens the delight with which he views their performance. They are bad ones to beat, are those amateurs of Chester!

Here is Billy Hobby’s Field, with its Well of pure water, bearing the same obscure but euphonious name. The meadows on our right were anciently known as the Earl’s Eye, and used to be covered with water at every tide. A few more strokes of the oar, and we are scudding it past a second grove of trees, overshadowing the river for a considerable distance. The Dee here forms a magnificent crescent, its left bank studded with handsome villas,—foremost among which, “embosomed in foliage,” stands Dee Hills, the residence of Mr. Titherington; while, farther on, we see the new and elegant range of villas, recently erected by that gentleman, called Sandowne Terrace. To these succeed Richmond Villas, and Barrelwell, the sloping gardens of which form a pleasing object in the landscape.

We are now speeding along in front of the Water Works, an establishment which has literally worn itself out in “the temperance cause,” and now, in a great measure, superseded by the New Works lately erected in higher Boughton. Just above is St. Paul’s Church, of which we told you enough in our last chapter.

Onward again, past West Mount and Dee Banks, we are soon in front of another range of villas, of recent construction, called Dee View, from the long stretch of the Dee which the site commands. This part of the River takes the name of the Long Reach, until we come to Iron Bridge, vulgarly Heron Bridge,—yonder house amid the trees—the pleasant residence of C. W. Potts, Esq.

Yonder is the tower of Eccleston Church; and as we are now nearing the village, we may land, if we choose, and indulge in a hasty stroll of inspection. Eccleston is the pet village, and wholly the property of the Marquis of Westminster, whose elegant mansion, Eaton Hall, we are so soon about to visit. Every house in this village is a picture of itself, clothed in woodbine and choicest evergreen, and adorned with small, but sweetly smelling gardens. The Church is a modern structure of red sandstone, having taken the place of an older temple in 1810. The interior has recently been altered and re-decorated by Lord Westminster, and is now a pretty little model of a village sanctuary. The space above the altar is occupied by Westall’s grand painting, “Joseph of Arimathea begging the Body of Jesus from Pilate.”

It is now time to retrace our steps, and row glibly on towards the Iron Bridge and Lodge, the former erected, in 1824, by the late Lord Westminster, at a cost of 8000l. Another course, and one we ourselves prefer, is to row merely to the Eaton Lodge, a short distance up the river, and there, leaving our friendly barge, take the road along the Park,

’Twixt avenues of proud ancestral trees,

till we find ourselves suddenly close to the western entrance to Eaton Hall, the princely seat of the Marquis or Westminster.

It is no part of our present business to assume the herald’s place, by painting the genealogy of the noble house of Grosvenor; else might we show that the family trace back, in the direct male line, to the Norman Conquest,—how that Gilbert le Grosveneur (or the Great Hunter), nephew of Hugh Lupus, first Norman Earl of Chester, came over with his uncle in the train of King William,—that Robert le Grosvenor, a “red-cross knight,” fought with much distinction under Richard I. in the great Crusade,—how that another Robert covered himself with honour at the battle of Cresy,—that his grandson Robert was defendant in the famous “Scroope and Grosvenor suit,” concerning the ancient arms of those two great families. All this we could show,—and that later still, in the Great Rebellion, when other magnates joined the traitorous band, the “House of Eaton” remained steadfast in its loyalty, and, in the person of Sir Richard Grosvenor and his son Roger, raised the posse comitatus of Cheshire, and gallantly therewith did battle for the King. But we must forbear,—for see, we are now approaching the entrance porch at the West Front of the Hall.

The Eaton estate passed to the Grosvenors in the fifteenth century, by the marriage of Raufe le Grosvenor with Joan, daughter of John de Eaton; previously to which, for two centuries, the family had been settled at Hulme, near Northwich.

A mansion of considerable importance existed here long prior to the seventeenth century, being then usually known as Eaton Boat, from its proximity to the ancient ferry of that name, across the river Dee. Sir Thomas Grosvenor, however, son and grandson of the two ardent royalists already mentioned, took unto himself a wife, in the person of Mary Davies, of Ebury, county Middlesex; through whom he acquired her father’s valuable estates in Westminster. The lady, it would seem, admired not the humble palace at Eaton Boat; for Sir Thomas soon after erected in its stead a nobler mansion, from designs furnished by Sir John Vanbrugh, the celebrated architect and dramatist, who is confidently affirmed to have been a native of Chester. This Hall, which was of brick, with a heavy lanthorn roof, was pulled down, in 1803, by the late Lord Westminster, who at once set to work with the magnificent fabric we see now before us. It is built of white freestone from the Manley quarry; Porden being the architect originally consulted. Nine tedious years and a mint of money were exhausted in its erection; and in 1823–5, two new wings were added, so as almost to double its original length. Critics now began to complain that its height was wholly dis-proportioned to its length, and impertinent scribes picked all manner of holes even in the architecture itself.

These and other considerations moved the present worthy Marquis, in 1845, to attempt the remedying of these defects. With his accustomed sagacity, he called in the professional aid of Mr. Burn, an eminent London architect, to whose ability and judgment his lordship confidently entrusted the work. How that gentleman fulfilled his mission it skills not for us to declare,—let the edifice before us speak for itself. Erected and adorned regardless of expense, tasteful and grand in design and execution, this princely pile, Gothic in every material characteristic, is a model of all that is rich and elegant in domestic architecture. Look up for a moment at the gracefully light yet massive structure,—at its sculptured niches, its crocketted pinnacles and embattled parapets, its windows filled with gorgeous tracery, every available space upon its surface bristling with shields charged with the heraldic crests and quarterings of the Grosvenor family,—and say if the sight, rich even to profusion, and wholly indescribable, savours not more of a palace of fairy land than of the house and home of a retiring English nobleman! The Hall itself exceeds four hundred and fifty feet in length; but in addition to that we have the Stables and outbuildings continuing the line, in the same Gothic style, their centre crowned with a lofty Clock Turret of chaste design. The entire length of the Hall and offices is nearly seven hundred feet. But we must not any longer linger here, for it is high time we were turning our attention to the interior of the Hall.

Mounting the flight of steps under the porch,—from the top of which, through that dark vista of trees just a mile in length, we see the Belgrave Lodge,—we present our tickets of admission to the attendants, and are forthwith ushered into the Entrance Hall of certainly the most magnificent mansion in Britain. This is an apartment eminently calculated to prepare the visitor for the gorgeous splendour everywhere pervading this far-famed Hall. In height it extends to two stories of the house, the floor being composed of the most richly varied tesselated marbles of the utmost rarity. Imagine a floor, less than forty feet square, costing its noble owner sixteen hundred guineas! Glance up at the chaste and elegant groined ceiling, the intersections relieved with foliated bosses and heraldic devices,—foremost among the latter being the arms of the Grosvenors, “azure, a garb or,” confirmed to the family after their bootless legal suit with the Scroopes. From the centre of the ceiling depends a gorgeous brass chandelier lamp, of exquisite workmanship. Opposite the entrance runs a Gothic screen of most elaborate character, supporting and half hiding an open gallery, which leads from the upper apartments on the north to those on the south side of the Hall. This screen is furthermore decorated with fourteen heraldic coats, in high relief, representing some of the numerous quarterings of the Grosvenor family. On the right and left are two chaste and beautiful white marble chimney-pieces, corresponding in design with the rest of the apartment. Above these, and on either side, are rich canopied niches, eight in number, in which are placed stalwart figures of warriors, clad in belted mail, and other ancient armour. In the lower recesses of the screen are two massive vases and pedestals of Peterhead marble. Four marble statues give a finishing grace to this noble Entrance Hall,—that on the right representing “Telemachus Arming,” by BienaimÉ; opposite to it, on the left, being Rinaldi’s classic group, “Ulysses Recognised by his Dog.” The other two present to us Gibson’s conception of “The Wounded Amazon,” and the equally meritorious “Dying Amazon,” by Wolff.

From the Entrance Hall we pass through the Gothic arch upon the left, along the Great Corridor,—a handsome gallery, near five hundred feet in length, enriched with numerous portraits of the Grosvenor family, as well as a recumbent statue, in marble, of a Sleeping Bacchante,—to the private or Domestic Chapel of the mansion. This is reached by a short gallery to the left, the two gothic windows of which are adorned with medallions of The Resurrection and the Madonna, in richly stained glass. The Chapel, which measures about 40 × 30 feet, has a handsome groined roof, tastefully relieved with floriated bosses and circular finials, adorned with sacred monograms and other devices. The light of day shines into the Chapel through three rich pointed windows, upon the west side, each filled with stained glass of pristine beauty. In the centres of these we see eighteen vesica-shaped medallions, depicting scenes and events in the life of Our Blessed Lord, viz., in the left-hand window,—“The Annunciation,” “The Virgin and Child,” “The Wise Men of the East,” “The Shepherds Watching,” “The Presentation in the Temple,” and “The Flight into Egypt.” In the right-hand window we have—“Christ giving Sight to the Blind,” “Blessing Little Children,” “Raising the Dead Lazarus,” “The Woman of Samaria,” “The Baptism of Christ,” and “Christ Walking on the Sea.” The subjects in the centre window are—“The Last Supper,” “The Agony in the Garden,” “Christ bearing His Cross,” “The Angel declaring the Resurrection,” “Christ appearing to Mary,” and “The Ascension.” Contrary to usual ecclesiastical rule, the reading-desk and communion-table, of carved oak, are at the south end of the Chapel. Near by is the stall of the noble Marquis, which, together with the rest of the seats, is of oak, appropriately carved, under the superintendence of Mr. Morison, then clerk of the works, but now permanently employed by Lord Westminster in a higher capacity. On the north wall formerly hung the painting now decorating the east side, representing “St. Michael’s Contest with the Dragon,” a copy by Evans from the original by Guido. A handsome window has recently been introduced into the north wall, and filled with embossed fleur-de-lys quarries of plate-glass, producing an admirable effect. Over the communion-table we perceive Weiser’s spirited copy of Rubens’ “Descent from the Cross.” The servants’ entrance is by another door upon the left, leading away to their apartments on the basement story.

Leaving the Chapel by the door at which we entered, we repass through the lobby, observing in our course the fine bust of Our Saviour, in marble, upon our right-hand. Thence crossing the Great Corridor, we move along, through a short passage, into the Dining-Room. This is a splendid apartment, chastely beautiful in all its details, and though less profusely gorgeous than some of its companions, is yet sufficiently so to justify its position as the great Banqueting Room of the mansion. The ceiling is a combination of rich and delicate tracery, dotted here and there with the coats armorial of the family, and radiating almost imperceptibly towards the centre, whence depends, from its elaborate boss, a massive chandelier. Three richly-carved mahogany sideboards, and a splendid mirror in five Gothic panels, add a grace to this room, the walls of which are caparisoned in maroon and gold on a white ground. Each corner of the room has a chaste canopied niche, adorned with statuary from the studio of Sir R. Westmacott,—those at the north end representing the Crusader, “Sir Robert le Grosvenor,” in mail armour, and “Mary, Lady Grosvenor,” the heiress of Westminster. At the south end we have “Sir Gilbert le Grosvenor,” the Norman patriarch of the family, and “Joan de Eaton,” afterwards Lady Grosvenor, a chaste and graceful conception of the sculptor. Over the rich marble fireplace is an original chef-d’oeuvre, of Rubens—“The Meeting of David and Abigail,”—on either side of which are full-length portraits of the first Marquis and Marchioness of Westminster, painted by Jackson.

From this Room we pass through a handsome doorway into the Ante-Dining-Room, a smaller and much plainer apartment, the walls painted a beautiful arabesque of white and gold on a green ground, producing an extremely rich and pleasing effect. The inlaid oak-floor, the delicate ceiling, and the stained glass portraits of three of the Norman Earls of Chester, which ornament the windows, all merit our attention; but we must hurry away, and by a doorway opposite, pass into the Saloon.

This apartment is stated, and with every good reason, to be without exception the most elegant room in Great Britain! Let other scribes presume, if they will, to attempt a description of this sumptuous hall of state,—we, for our part, shrink dismayed from the task. To do anything like justice to its manifold merits would require far more time, and infinitely greater powers, than we have at command; let us be content, then, shortly and without parade, to point out a few of its prevailing features. Measuring nearly eleven yards square, the graceful arches intersecting the angles invest it with quite an octagonal appearance. From these, and the walls, springs the roof, with its majestic dome of dazzling splendour—a matchless epitome of all that is rich, chaste, and beautiful in decorative art. The prevailing colours are crimson, blue, and gold, and these so judiciously blended that the eye never tires in its fascinating mission; but still gazing upwards, allured and bewildered, finds new beauties and richer charms, the longer one remains in this wondrous Saloon. From the marble base springs a lofty fretwork of painted mosaic, in close imitation of the Ambassador’s Court in the Alhambra Palace,—that peerless relic of old Moorish magnificence. Higher still range panels and medallions, apparently in high relief; but this curious effect is a mere illusion of the painter, for the whole of the walls are perfectly flat. Five handsome landscapes, also painted on the walls, adorn this Saloon, four being the work of Mr. Telbin, of London,—and the fifth the production of Mr. John Morris, of Chester, to whose talented management the entire decorative arrangements were confided. The imitation basso-relievos over the doors are the work of a humble but talented artist, the late William Tasker, of Chester. The windows of the Saloon are in perfect consonance with the apartment itself, and contain six handsome figures, representing “William the Conqueror” and his uncle “Odo, Bishop of Bayeux;” “Sir Gilbert le Grosvenor,” nephew of King William, and an imaginary portrait of his wife; “Sir Robert le Grosvenor” (of Scroope and Grosvenor notoriety); and “Joan Pulford,” his wife. The view from these windows, which open out to the Terrace and cloistered arcade on the East side of the Hall, is one of rich and varied beauty. In the foreground we see the elegant Terrace, Gardens, and Lake; and just beyond, catch here and there a glimpse of the “tortuous Dee.” Between yon avenue of trees, and some sixteen miles away, the landscape ends with the towering, rain-clad hill of Beeston, and the noble baronial Castle of Peckforton. Our woodcut illustration of the Hall is taken from near the Terrace beneath us, which is perhaps the best point for viewing to perfection this side of the mansion. Turning again to the Saloon, our eyes rest on the massive and elegant folding door of carved oak, which, thrown open, reveals to us the great Entrance Hall. These two apartments, thus seen at one view, for gorgeous magnificence, stand alone and unrivalled.

Eaton Hall, East Front

We now pass on, by the south door of the Saloon, into the Ante-Drawing-Room, differing materially in its enrichment from the room we have just quitted, but withal an apartment of chastened beauty. It has a flat ceiling, adorned with delicate tracery in cream-colour and gold; the walls painted a rich arabesque, enchased throughout with red and green on a cream-coloured ground. Three bookcases, filled with modern ‘light reading’ in elegant bindings, add a grace to the apartment,—the fine windows of which contain stained glass figures of Hugh Cyvelioc, Randle Blondeville, and John Scot, the last of the line of Norman Earls of Chester.

Next we have the Drawing-Room, second only to the Saloon in the splendour of its decorations. Fifty feet in length—its ceiling sparkling with heraldic shields, and honeycombed with tracery in cream-colour and gold—its walls hung with rich crimson silk damask; its superb niches, vases, and chandelier; its marble chimney-piece and mirror; its glorious original pictures of the “Wise Men’s Offering,” by Rubens, the “Battles of the Boyne and La Hogue,” by West, and other celebrated works of art,—all invest this room with a halo which no words of ours can possibly do justice to. It must be seen to be appreciated; and to be admired as it deserves, must be closely scrutinised in all its bearings.

From the Drawing-Room we proceed, along the corridor, into the Library, a spacious apartment at the southern extremity of the Hall. This well-proportioned room measures sixty-two feet by fifty feet; a range of pillars on either side adding symmetry and strength to its richly groined ceiling. Three bold Gothic windows, facing south, east, and west, shed a fine flood of light into the room; the oaken bookcases of which are filled to overflowing with the richest and rarest works of ancient and modern literature. Upon the left we observe a fine organ, in a carved mahogany case. But the most attractive objects, apart from the library itself, are the remarkably chaste and beautiful conceptions in marble of “Cephalus and Procris,” by Rinaldi, which occupies the centre, and the quite as enchanting chefs-d’oeuvres of Wyatt—“Glycera” and “Hebe.” In this room also is preserved one of those extremely rare Romano-British ornaments, a golden Torque, discovered some years ago near Caerwys, in Flintshire. The Torque was an ornament worn round the necks of illustrious British warriors: Queen Boadicea, and Llewellyn, Lord of Yale, are both recorded to have been so decorated. Who was the original owner of the one now before us is a matter, of course, wrapped in impenetrable obscurity.

But time presses, and we, too, must press on. Passing out from the Library, we may now direct our steps to the State Bedroom. This is a plain, yet elegant, apartment,—its prime feature being the mahogany State Bed, most elaborately carved, whereon have reposed the sleeping majesty of England, and other royal and distinguished personages. The handsome mirror, the rich green Brussels carpet, and other furniture of the chamber, are all in chaste and admirable keeping with the principal Bedroom of this “Palace on the Dee.”

Turn we now to the Grand Staircase, a portion of the Hall which may vie with any we have yet visited, whether for beauty or variety. A flight of stairs running up from the centre, continued again towards the right and left, conduct to the second gallery, and to the private apartments on the higher story. Opposite to us, on either side as we ascend, are two Egyptian statues in coloured marble, within rich Gothic niches. The decorations of this staircase are sumptuous in the extreme, blue and gold being the predominant colours,—the whole producing to the eye of taste a grand, impressive, and lasting effect. Among the paintings embellishing this staircase and its vicinity are the “Leicestershire Hunt,” by Ferneley, the “Grosvenor Hunt,” by Stubbs, and another of the “Cheshire Hunt,” all three introducing portraits of the Grosvenor family, either of the last or present generation. Another picture deserving our notice is that of a “Brood Mare and Foals,” painted also by Stubbs. The private Sitting-Rooms of Lord and Lady Westminster, which with other apartments adjoin the Great Corridor, are not exhibited to strangers. Numerous pieces of statuary, family portraits, and racing pictures, many of them of great interest, arrest our attention as we move along the Corridor; but having now returned to the Entrance Hall, we must beat a hasty retreat from this scene of enchantment, and, emerging from its portals, bid “a last, a long farewell” to Eaton Hall, the palatial home of the Marquis of Westminster.

Before we do so, however, if provided beforehand with tickets from “our publisher,” we may take a turn round the spacious Gardens on the east side of the Hall. Though time and space alike forbid us to enlarge upon their charms, the Gardens of Eaton will amply repay the careful inspection of every admirer of “nature, art-adorned.” The rich groves of trees—the rare shrubs and flowers, with their attendant perfumes—the crystal conservatory—the massive statuary—the dolphin fountain—the Roman altar, dedicated by the Twentieth Legion to the “Nymphs and Fountains”—the fairy lake—the verdant lawns, and walks of “sweet umbrageous beauty,”—each and all combine to invest these Gardens with a charm peculiarly their own! Gladly would we linger all day in this sylvan retreat,—but we must away!—and exchanging our barge for a cab with a party just arrived (cabman and boatmen first of all consenting), we are soon out of sight of the “Palace on the Dee.”

Moving rapidly along the avenue, past yon herd of timid deer, startled into flight at our approach, we soon flit beneath the archway of a lodge which marks the boundary of the park. A ride of two miles, through a serpentine avenue of “old hereditary trees,” now remains to us; and from this we emerge only to behold the Grosvenor Gateway, with old Chester in the distance “lending enchantment to the view!” The Grosvenor Gateway was erected in 1838, on the site of Overleigh Hall, once the manorial seat of the Cowpers of Overleigh. This lodge is a copy of St. Augustine’s Gate, at Canterbury, altered (some say improved) here and there by Mr. Jones, architect of Chester. Built, like the Hall itself, of white freestone, enriched with a profuseness of carving and heraldic sculpture, this Entrance Lodge to the Eaton Estate forms a fitting introduction to the magnificent mansion we have just quitted, and of which, in conclusion, we may truly enough say that

Take it for all in all,
We ne’er shall look upon its like again!

In five minutes more our cab is rolling over the well-paved streets of Chester. And now, as you are off by the next train, and as the best of friends must part, we will shake you by the hand, and trusting you have enjoyed yourselves under our protection, wish you, with all our heart, a swift and pleasant journey to your Home, Sweet Home!

In closing this account of Eaton Hall, it is our pleasing duty gratefully to acknowledge Lord Westminster’s kindness and favour, not only in throwing open the mansion and grounds to us on a “private day,” but also in affording us every possible assistance in our humble endeavours, however feebly, to do justice to his peerless Cheshire home.

To G. Allen, Esq., his Lordship’s house steward, as well as to Mr. J. Morison, we are especially beholden,—to the former, for his courteous attention in pointing out every prominent feature of the Hall—and to the latter, for numerous architectural and other data, of essential service to us in our “labour of love.”

Visitors are reminded that Eaton Hall and Grounds are, by the kindness of Lord Westminster, exhibited to the public during the months of June, July, and August, subject to the following judicious regulations:—

On Mondays, Tuesdays, and Wednesdays, between the hours of ten and four, to Residents and Tourists generally; and on Thursdays also, during the same hours, to Foreigners only, or Travellers from a distance. In order to do away with the unsatisfactory principle of giving fees to the servants, his Lordship has authorised the sale of Admission Tickets, in accordance with the following tariff. The money realised by the sale of these Tickets is generously appropriated by Lord Westminster to the benefit of the funds of the various Chester Charities.

Tickets
	s.	d.
To admit one person to the House only	2	0
,, three ,,	5	0
,, five ,,	7	6
To admit one person to the Gardens only	1	6
„ three ,,	3	0
,, five ,,	5	0

Without such Tickets (which may be obtained in Chester from “Our Publisher,” Mr. T. Catherall, Eastgate Row, Messrs. Prichard and Roberts, or from the Royal and Albion Hotels) no persons will, on any account, be admitted into the Hall.

Eaton Hall being distant nearly four miles from Chester, CABS, &c. can be obtained either on the STAND in Eastgate Street,—from the principal Hotels,—or from Mr. T. Griffith, cab proprietor, Nicholas Street.

For the convenience of those Visitors who have no faith in human nature, especially when hidden under the “thick skin of a cabman,” we have appended a list of

CAB FARES IN CHESTER.

Not exceeding three persons: to or from the Railway Station in Brook Street—from or to any part of the city, within the point where the Whitchurch and Northwich roads turn off—Abbot’s Grange and the College—the Sluice House, including Crane Street and Paradise Row—the May-pole in Handbridge, and the New Bridge Toll-house, One Shilling.

The same distance: four persons, One Shilling and Sixpence. Any distance beyond the Borough, One Shilling per mile.

No gratuities to be demanded by the drivers of any cars plying within the borough, and no charge for luggage not exceeding 100 lbs. in weight.

FARES TO OR FROM ANY OTHER PART OF THE CITY.

Not exceeding three persons: any distance not exceeding one mile, One Shilling; and at the rate of One Shilling per mile for every additional mile; and Sixpence for every additional half-mile or fractional part of half-a-mile.

For four persons: any distance not exceeding one mile, One Shilling and Sixpence; any distance exceeding one mile, and not exceeding two miles, Two Shillings; any distance exceeding two miles, at the rate of Two Shillings for the first mile, and One Shilling per mile for every additional mile, and Sixpence for every additional half-mile or fractional part of half-a-mile.

BY TIME.

Not exceeding one hour, Two Shillings and Sixpence; and Sixpence for every fifteen minutes and fractional part of fifteen minutes beyond the hour. In all cases it shall be at the option of the driver to charge by time or distance.

BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.