Bracebridge Hall: Family Reliques

Family Reliques

    My Infelice's face, her brow, her eye,
    The dimple on her cheek; and such sweet skill
    Hath from the cunning workman's pencil flown,
    These lips look fresh and lovely as her own.
    False colours last after the true be dead.
    Of all the roses grafted on her cheeks,
    Of all the graces dancing in her eyes,
    Of all the music set upon her tongue,
    Of all that was past woman's excellence
    In her white bosom; look, a painted board,
    Circumscribes all!
    DEKKER.

An old English family mansion is a fertile subject for study. It
abounds with illustrations of former times, and traces of the tastes,
and humours, and manners of successive generations. The alterations and
additions, in different styles of architecture; the furniture, plate,
pictures, hangings; the warlike and sporting implements of different
ages and fancies; all furnish food for curious and amusing speculation.
As the squire is very careful in collecting and preserving all family
reliques, the Hall is full of remembrances of this kind. In looking
about the establishment, I can picture to myself the characters and
habits that have prevailed at different eras of the family history. I
have mentioned on a former occasion the armour of the crusader which
hangs up in the Hall. There are also several jack-boots, with enormously
thick soles and high heels, that belonged to a set of cavaliers, who
filled the Hall with the din and stir of arms during the time of the
Covenanters. A number of enormous drinking vessels of antique fashion,
with huge Venice glasses, and green hock glasses, with the apostles in
relief on them, remain as monuments of a generation or two of
hard-livers, that led a life of roaring revelry, and first introduced
the gout into the family.

I shall pass over several more such indications of temporary tastes of
the squire's predecessors; but I cannot forbear to notice a pair of
antlers in the great hall, which is one of the trophies of a hard-riding
squire of former times, who was the Nimrod of these parts. There are
many traditions of his wonderful feats in hunting still existing, which
are related by old Christy, the huntsman, who gets exceedingly nettled
if they are in the least doubted. Indeed, there is a frightful chasm, a
few miles from the Hall, which goes by the name of the Squire's Leap,
from his having cleared it in the ardour of the chase; there can be no
doubt of the fact, for old Christy shows the very dints of the horse's
hoofs on the rocks on each side of the chasm.

Master Simon holds the memory of this squire in great veneration, and
has a number of extraordinary stories to tell concerning him, which he
repeats at all hunting dinners; and I am told that they wax more and
more marvellous the older they grow. He has also a pair of Ripon spurs
which belonged to this mighty hunter of yore, and which he only wears on
particular occasions.

The place, however, which abounds most with mementoes of past times, is
the picture-gallery; and there is something strangely pleasing, though
melancholy, in considering the long rows of portraits which compose the
greater part of the collection. They furnish a kind of narrative of the
lives of the family worthies, which I am enabled to read with the
assistance of the venerable housekeeper, who is the family chronicler,
prompted occasionally by Master Simon. There is the progress of a fine
lady, for instance, through a variety of portraits. One represents her
as a little girl, with a long waist and hoop, holding a kitten in her
arms, and ogling the spectator out of the corners of her eyes, as if she
could not turn her head. In another we find her in the freshness of
youthful beauty, when she was a celebrated belle, and so hard-hearted as
to cause several unfortunate gentlemen to run desperate and write bad
poetry. In another she is depicted as a stately dame, in the maturity of
her charms; next to the portrait of her husband, a gallant colonel in
full-bottomed wig and gold-laced hat, who was killed abroad; and,
finally, her monument is in the church, the spire of which may be seen
from the window, where her effigy is carved in marble, and represents
her as a venerable dame of seventy-six.

In like manner I have followed some of the family great men, through a
series of pictures, from early boyhood to the robe of dignity, or
truncheon of command, and so on by degrees until they were gathered up
in the common repository, the neighbouring church.

There is one group that particularly interested me. It consisted of
four sisters of nearly the same age, who flourished about a century
since, and, if I may judge from their portraits, were extremely
beautiful. I can imagine what a scene of gaiety and romance this old
mansion must have been, when they were in the heyday of their charms;
when they passed like beautiful visions through its halls, or stepped
daintily to music in the revels and dances of the cedar gallery; or
printed, with delicate feet, the velvet verdure of these lawns. How must
they have been looked up to with mingled love, and pride, and reverence,
by the old family servants; and followed by almost painful admiration by
the aching eyes of rival admirers! How must melody, and song, and tender
serenade, have breathed about these courts, and their echoes whispered
to the loitering tread of lovers! How must these very turrets have made
the hearts of the young galliards thrill as they first discerned them
from afar, rising from among the trees, and pictured to themselves the
beauties casketed like gems within these walls! Indeed I have discovered
about the place several faint records of this reign of love and romance,
when the Hall was a kind of Court of Beauty. Several of the old romances
in the library have marginal notes expressing sympathy and approbation,
where there are long speeches extolling ladies' charms, or protesting
eternal fidelity, or bewailing the cruelty of some tyrannical fair one.
The interviews, and declarations, and parting scenes of tender lovers,
also bear the marks of having been frequently read, and are scored, and
marked with notes of admiration, and have initials written on the
margins; most of which annotations have the day of the month and year
annexed to them. Several of the windows, too, have scraps of poetry
engraved on them with diamonds, taken from the writings of the fair Mrs.
Phillips, the once celebrated Orinda. Some of these seem to have been
inscribed by lovers; and others, in a delicate and unsteady hand, and a
little inaccurate in the spelling, have evidently been written by the
young ladies themselves, or by female friends, who had been on visits to
the Hall. Mrs. Phillips seems to have been their favourite author, and
they have distributed the names of her heroes and heroines among their
circle of intimacy. Sometimes, in a male hand, the verse bewails the
cruelty of beauty and the sufferings of constant love; while in a female
hand it prudishly confines itself to lamenting the parting of female
friends. The bow-window of my bedroom, which has, doubtless, been
inhabited by one of these beauties, has several of these inscriptions. I
have one at this moment before my eyes, called "Camilla parting with
Leonora:"

    "How perished is the joy that's past,
      The present how unsteady!
    What comfort can be great, and last,
      When this is gone already!"

And close by it is another, written, perhaps, by some adventurous lover,
who had stolen into the lady's chamber during her absence:

    "THEODOSIUS TO CAMILLA.
    "I'd rather in your favour live,
      Than in a lasting name;
    And much a greater rate would give
      For happiness than fame.
    "THEODOSIUS. 1700."

When I look at these faint records of gallantry and tenderness; when I
contemplate the fading portraits of these beautiful girls, and think,
too, that they have long since bloomed, reigned, grown old, died, and
passed away, and with them all their graces, their triumphs, their
rivalries, their admirers; the whole empire of love and pleasure in
which they ruled--"all dead, all buried, all forgotten," I find a cloud
of melancholy stealing over the present gaieties around me. I was
gazing, in a musing mood, this very morning, at the portrait of the lady
whose husband was killed abroad, when the fair Julia entered the
gallery, leaning on the arm of the captain. The sun shone through the
row of windows on her as she passed along, and she seemed to beam out
each time into brightness, and relapse into shade, until the door at the
bottom of the gallery closed after her. I felt a sadness of heart at
the idea that this was an emblem of her lot: a few more years of
sunshine and shade, and all this life, and loveliness, and enjoyment,
will have ceased, and nothing be left to commemorate this beautiful
being but one more perishable portrait; to awaken, perhaps, the trite
speculations of some future loiterer, like myself, when I and my
scribblings shall have lived through our brief existence, and been
forgotten.

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