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This book is intended not to raise fears but to record facts. We wish to describe with pen and pencil those features of England which are gradually disappearing, and to preserve the memory of them. It may be said that we have begun our quest too late; that so much has already vanished that it is hardly worth while to record what is left. Although much has gone, there is still, however, much remaining that is good, that reveals the artistic skill and taste of our forefathers, and recalls the wonders of old-time. It will be our endeavour to tell of the old country houses that Time has spared, the cottages that grace the village green, the stern grey walls that still guard some few of our towns, the old moot halls and public buildings. We shall see the old-time farmers and rustics gathering together at fair and market, their games and sports and merry-makings, and whatever relics of old English life have been left for an artist and scribe of the twentieth century to record.

Our age is an age of progress. Altiora peto is its motto. The spirit of progress is in the air, and lures its votaries on to higher flights. Sometimes they discover that they have been following a mere will-o'-the-wisp, that leads them into bog and quagmire whence no escape is possible. The England of a century, or even of half a century ago, has vanished, and we find ourselves in the midst of a busy, bustling world that knows no rest or peace. Inventions tread upon each other's heels in one long vast bewildering procession. We look back at the peaceful reign of the pack-horse, the rumbling wagon, the advent of the merry coaching days, the "Lightning" and the "Quicksilver," the chaining of the rivers with locks and bars, the network of canals that spread over the whole country; and then the first shriek of the railway engine startled the echoes of the countryside, a poor powerless thing that had to be pulled up the steep gradients by a chain attached to a big stationary engine at the summit. But it was the herald of the doom of the old-world England. Highways and coaching roads, canals and rivers, were abandoned and deserted. The old coachmen, once lords of the road, ended their days in the poorhouse, and steam, almighty steam, ruled everywhere.

Now the wayside inns wake up again with the bellow of the motor-car, which like a hideous monster rushes through the old-world villages, startling and killing old slow-footed rustics and scampering children, dogs and hens, and clouds of dust strive in very mercy to hide the view of the terrible rushing demon. In a few years' time the air will be conquered, and aeroplanes, balloons, flying-machines and air-ships, will drop down upon us from the skies and add a new terror to life.

Not in vain the distance beacons. Forward, forward let us range,

Let the great world spin for ever down the ringing grooves of change.

Life is for ever changing, and doubtless everything is for the best in this best of possible worlds; but the antiquary may be forgiven for mourning over the destruction of many of the picturesque features of bygone times and revelling in the recollections of the past. The half-educated and the progressive—I attach no political meaning to the term—delight in their present environment, and care not to inquire too deeply into the origin of things; the study of evolution and development is outside their sphere; but yet, as Dean Church once wisely said, "In our eagerness for improvement it concerns us to be on our guard against the temptation of thinking that we can have the fruit or the flower, and yet destroy the root. … It concerns us that we do not despise our birthright and cast away our heritage of gifts and of powers, which we may lose, but not recover."

Every day witnesses the destruction of some old link with the past life of the people of England. A stone here, a buttress there—it matters not; these are of no consequence to the innovator or the iconoclast. If it may be our privilege to prevent any further spoliation of the heritage of Englishmen, if we can awaken any respect or reverence for the work of our forefathers, the labours of both artist and author will not have been in vain. Our heritage has been sadly diminished, but it has not yet altogether disappeared, and it is our object to try to record some of those objects of interest which are so fast perishing and vanishing from our view, in order that the remembrance of all the treasures that our country possesses may not disappear with them.

The beauty of our English scenery has in many parts of the country entirely vanished, never to return. Coal-pits, blasting furnaces, factories, and railways have converted once smiling landscapes and pretty villages into an inferno of black smoke, hideous mounds of ashes, huge mills with lofty chimneys belching forth clouds of smoke that kills vegetation and covers the leaves of trees and plants with exhalations. I remember attending at Oxford a lecture delivered by the late Mr. Ruskin. He produced a charming drawing by Turner of a beautiful old bridge spanning a clear stream, the banks of which were clad with trees and foliage. The sun shone brightly, and the sky was blue, with fleeting clouds. "This is what you are doing with your scenery," said the lecturer, as he took his palette and brushes; he began to paint on the glass that covered the picture, and in a few minutes the scene was transformed. Instead of the beautiful bridge a hideous iron girder structure spanned the stream, which was no longer pellucid and clear, but black as the Styx; instead of the trees arose a monstrous mill with a tall chimney vomiting black smoke that spread in heavy clouds, hiding the sun and the blue sky. "That is what you are doing with your scenery," concluded Mr. Ruskin—a true picture of the penalty we pay for trade, progress, and the pursuit of wealth. We are losing faith in the testimony of our poets and painters to the beauty of the English landscape which has inspired their art, and much of the charm of our scenery in many parts has vanished. We happily have some of it left still where factories are not, some interesting objects that artists love to paint. It is well that they should be recorded before they too pass away.

Rural Tenements, Capel, Surrey

Old houses of both peer and peasant and their contents are sooner or later doomed to destruction. Historic mansions full of priceless treasures amassed by succeeding generations of old families fall a prey to relentless fire. Old panelled rooms and the ancient floor-timbers understand not the latest experiments in electric lighting, and yield themselves to the flames with scarce a struggle. Our forefathers were content with hangings to keep out the draughts and open fireplaces to keep them warm. They were a hardy race, and feared not a touch or breath of cold. Their degenerate sons must have an elaborate heating apparatus, which again distresses the old timbers of the house and fires their hearts of oak. Our forefathers, indeed, left behind them a terrible legacy of danger—that beam in the chimney, which has caused the destruction of many country houses. Perhaps it was not so great a source of danger in the days of the old wood fires. It is deadly enough when huge coal fires burn in the grates. It is a dangerous, subtle thing. For days, or even for a week or two, it will smoulder and smoulder; and then at last it will blaze up, and the old house with all its precious contents is wrecked.

The power of the purse of American millionaires also tends greatly to the vanishing of much that is English—the treasures of English art, rare pictures and books, and even of houses. Some nobleman or gentleman, through the extravagance of himself or his ancestors, or on account of the pressure of death duties, finds himself impoverished. Some of our great art dealers hear of his unhappy state, and knowing that he has some fine paintings—a Vandyke or a Romney—offer him twenty-five or thirty thousand pounds for a work of art. The temptation proves irresistible. The picture is sold, and soon finds its way into the gallery of a rich American, no one in England having the power or the good taste to purchase it. We spend our money in other ways. The following conversation was overheard at Christie's: "Here is a beautiful thing; you should buy it," said the speaker to a newly fledged baronet. "I'm afraid I can't afford it," replied the baronet. "Not afford it?" replied his companion. "It will cost you infinitely less than a baronetcy and do you infinitely more credit." The new baronet seemed rather offended. At the great art sales rare folios of Shakespeare, pictures, Sevres, miniatures from English houses are put up for auction, and of course find their way to America. Sometimes our cousins from across the Atlantic fail to secure their treasures. They have striven very eagerly to buy Milton's cottage at Chalfont St. Giles, for transportation to America; but this effort has happily been successfully resisted. The carved table in the cottage was much sought after, and was with difficulty retained against an offer of £150. An old window of fifteenth-century workmanship in an old house at Shrewsbury was nearly exploited by an enterprising American for the sum of £250; and some years ago an application was received by the Home Secretary for permission to unearth the body of William Penn, the founder of Pennsylvania, from its grave in the burial-ground of Jordans, near Chalfont St. Giles, and transport it to Philadelphia. This action was successfully opposed by the trustees of the burial-ground, but it was considered expedient to watch the ground for some time to guard against the possibility of any illicit attempts at removal.

Detail of Seventeenth-century Table in Milton's Cottage, Chalfont St. Giles

It was reported that an American purchaser had been more successful at Ipswich, where in 1907 a Tudor house and corner-post, it was said, had been secured by a London firm for shipment to America. We are glad to hear that this report was incorrect, that the purchaser was an English lord, who re-erected the house in his park.

Wanton destruction is another cause of the disappearance of old mansions. Fashions change even in house-building. Many people prefer new lamps to old ones, though the old ones alone can summon genii and recall the glories of the past, the associations of centuries of family life, and the stories of ancestral prowess. Sometimes fashion decrees the downfall of old houses. Such a fashion raged at the beginning of the last century, when every one wanted a brand-new house built after the Palladian style; and the old weather-beaten pile that had sheltered the family for generations, and was of good old English design with nothing foreign or strange about it, was compelled to give place to a new-fangled dwelling-place which was neither beautiful nor comfortable. Indeed, a great wit once advised the builder of one of these mansions to hire a room on the other side of the road and spend his days looking at his Palladian house, but to be sure not to live there.

Many old houses have disappeared on account of the loyalty of their owners, who were unfortunate enough to reside within the regions harassed by the Civil War. This was especially the case in the county of Oxford. Still you may see avenues of venerable trees that lead to no house. The old mansion or manor-house has vanished. Many of them were put in a posture of defence. Earthworks and moats, if they did not exist before, were hastily constructed, and some of these houses were bravely defended by a competent and brave garrison, and were thorns in the sides of the Parliamentary army. Upon the triumph of the latter, revenge suffered not these nests of Malignants to live. Others were so battered and ruinous that they were only fit residences for owls and bats. Some loyal owners destroyed the remains of their homes lest they should afford shelter to the Parliamentary forces. David Walter set fire to his house at Godstow lest it should afford accommodation to the "Rebels." For the same reason Governor Legge burnt the new episcopal palace, which Bancroft had only finished ten years before at Cuddesdon. At the same time Thomas Gardiner burnt his manor-house in Cuddesdon village, and many other houses were so battered that they were left untenanted, and so fell to ruin.¹ Sir Bulstrode Whitelock describes how he slighted the works at Phillis Court, "causing the bulwarks and lines to be digged down, the grafts [i.e. moats] filled, the drawbridge to be pulled up, and all levelled. I sent away the great guns, the granadoes, fireworks, and ammunition, whereof there was good store in the fort. I procured pay for my soldiers, and many of them undertook the service in Ireland." This is doubtless typical of what went on in many other houses. The famous royal manor-house of Woodstock was left battered and deserted, and "haunted," as the readers of Woodstock will remember, by an "adroit and humorous royalist named Joe Collins," who frightened the commissioners away by his ghostly pranks. In 1651 the old house was gutted and almost destroyed. The war wrought havoc with the old houses, as it did with the lives and other possessions of the conquered.

Seventeenth-century Trophy

But we are concerned with times less remote, with the vanishing of historic monuments, of noble specimens of architecture, and of the humble dwellings of the poor, the picturesque cottages by the wayside, which form such attractive features of the English landscape. We have only to look at the west end of St. Albans Abbey Church, which has been "Grimthorped" out of all recognition, or at the over-restored Lincoln's Inn Chapel, to see what evil can be done in the name of "Restoration," how money can be lavishly spent to a thoroughly bad purpose.

Property in private hands has suffered no less than many of our public buildings, even when the owner is a lover of antiquity and does not wish to remove and to destroy the objects of interest on his estate. Estate agents are responsible for much destruction. Sir John Stirling Maxwell, Bart., F.S.A., a keen archæologist, tells how an agent on his estate transformed a fine old grim sixteenth-century fortified dwelling, a very perfect specimen of its class, into a house for himself, entirely altering the character of its appearance, adding a lofty oriel and spacious windows with a new door and staircase, while some of the old stones were made to adorn a rockery in the garden. When he was abroad the elaborately contrived entrance for the defence of a square fifteenth-century keep with four square towers at the corners, very curious and complete, were entirely obliterated by a zealous mason. In my own parish I awoke one day to find the old village pound entirely removed by order of an estate agent, and a very interesting stand near the village smithy for fastening oxen when they were shod disappeared one day, the village publican wanting the posts for his pig-sty. County councils sweep away old bridges because they are inconveniently narrow and steep for the tourists' motors, and deans and chapters are not always to be relied upon in regard to their theories of restoration, and squire and parson work sad havoc on the fabrics of old churches when they are doing their best to repair them. Too often they have decided to entirely demolish the old building, the most characteristic feature of the English landscape, with its square grey tower or shapely spire, a tower that is, perhaps, loopholed and battlemented, and tells of turbulent times when it afforded a secure asylum and stronghold when hostile bands were roving the countryside. Within, piscina, ambrey, and rood-loft tell of the ritual of former days. Some monuments of knights and dames proclaim the achievements of some great local family. But all this weighs for nothing in the eyes of the renovating squire and parson. They must have a grand, new, modern church with much architectural pretension and fine decorations which can never have the charm which attaches to the old building. It has no memories, this new structure. It has nothing to connect it with the historic past. Besides, they decree that it must not cost too much. The scheme of decoration is stereotyped, the construction mechanical. There is an entire absence of true feeling and of any real inspiration of devotional art. The design is conventional, the pattern uniform. The work is often scamped and hurried, very different from the old method of building. We note the contrast. The medieval builders were never in a hurry to finish their work. The old fanes took centuries to build; each generation doing its share, chancel or nave, aisle or window, each trying to make the church as perfect as the art of man could achieve. We shall see how much of this sound and laborious work has vanished, a prey to restoration and ignorant renovation. We shall see the house-breaker at work in rural hamlet and in country town. Vanishing London we shall leave severely alone. Its story has been already told in a large and comely volume by my friend Mr. Philip Norman. Besides, is there anything that has not vanished, having been doomed to destruction by the march of progress, now that Crosby Hall has gone the way of life in the Great City? A few old halls of the City companies remain, but most of them have given way to modern palaces; a few City churches, very few, that escaped the Great Fire, and every now and again we hear threatenings against the masterpieces of Wren, and another City church has followed in the wake of all the other London buildings on which the destroyer has laid his hand. The site is so valuable; the modern world of business presses out the life of these fine old edifices. They have to make way for new-fangled erections built in the modern French style with sprawling gigantic figures with bare limbs hanging on the porticoes which seem to wonder how they ever got there, and however they were to keep themselves from falling. London is hopeless! We can but delve its soil when opportunities occur in order to find traces of Roman or medieval life. Churches, inns, halls, mansions, palaces, exchanges have vanished, or are quickly vanishing, and we cast off the dust of London streets from our feet and seek more hopeful places.

Old Shop, formerly standing in Cliffe High Street, Lewes

But even in the sleepy hollows of old England the pulse beats faster than of yore, and we shall only just be in time to rescue from oblivion and the house-breaker some of our heritage. Old city walls that have defied the attacks of time and of Cromwell's Ironsides are often in danger from the wiseacres who preside on borough corporations. Town halls picturesque and beautiful in their old age have to make way for the creations of the local architect. Old shops have to be pulled down in order to provide a site for a universal emporium or a motor garage. Nor are buildings the only things that are passing away. The extensive use of motor-cars and highway vandalism are destroying the peculiar beauty of the English roadside. The swift-speeding cars create clouds of white dust which settles upon the hedges and trees, covering them with it and obscuring the wayside flowers and hiding all their attractiveness. Corn and grass are injured and destroyed by the dust clouds. The charm and poetry of the country walk are destroyed by motoring demons, and the wayside cottage-gardens, once the most attractive feature of the English landscape, are ruined. The elder England, too, is vanishing in the modes, habits, and manners of her people. Never was the truth of the old oft-quoted Latin proverb—Tempora mutantur, et nos mutamur in illis—so pathetically emphatic as it is to-day. The people are changing in their habits and modes of thought. They no longer take pleasure in the simple joys of their forefathers. Hence in our chronicle of Vanishing England we shall have to refer to some of those strange customs which date back to primeval ages, but which the railways, excursion trains, and the schoolmaster in a few years will render obsolete.

In recording the England that is vanishing the artist's pencil will play a more prominent part than the writer's pen. The graphic sketches that illustrate this book are far more valuable and helpful to the discernment of the things that remain than the most effective descriptions. We have tried together to gather up the fragments that remain that nothing be lost; and though there may be much that we have not gathered, the examples herein given of some of the treasures that are left may be useful in creating a greater reverence for the work bequeathed to us by our forefathers, and in strengthening the hands of those who would preserve them. Happily we are still able to use the present participle, not the past. It is vanishing England, not vanished, of which we treat; and if we can succeed in promoting an affection for the relics of antiquity that time has spared, our labours will not have been in vain or the object of this book unattained.

Paradise Square, Banbury