BRACEBRIDGE HALL (Illustrated Edition). Вашингтон Ирвинг

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      FAMILY RELIQUES.

       Table of Contents

      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.