By MR. HARRY GILL, M.S.A.

"Houses, no less than men, carry their own past with them, and cannot hide front the discerning that subtle influence which is known as character.",

"Soon after the Restoration, Nottingham put on   quite a new Face, since which time many of the Inhabitants have taken to new Fronting their Houses after the newest Fashion, some with Parapet Walls. . . . A considerable Number of handsome Houses have of late been built by Wealthy Tradesmen, and more are daily Building."2

A general statement like this is not peculiar to Nottingham. It might have been written concerning many other towns, for in the 18th century house building was in progess throughout the Kingdom.

I shall make no attempt at comparisons, however, neither shall I make more than passing reference to celebrated architects of the day. I propose to confine my attention to the buildings erected in our own town and district, and to record some of their most interesting features before the inevitable march of time has swept them away.

(1) Pam the Fiddler, by Halliwell Sutcliffe, p. 204.

(2) Deering's History of Nottingham. Section I., p. 6. The com­pilation of this History was apparently completed before Badder and Peet's map was published in 1744, although the History was not published until 1757.

Before entering into details, let me give a brief general description of the town as it appeared two centuries ago.

The stone wall' breast high-a relic of post-Conquest bitterness-still divided the great Market Place, extending from near the Butter Cross in front of the New Change to the Malt Cross2 opposite Sheep Lane. If one stood beneath the shade of the elm trees,3 on Timber Hill (South Parade) and looked eastward, the tall Hen-cross4 could be seen near the top of Cuckstool Row (Poultry) ; while yet another cross5 marked the place of the weekday market, at the junction of the Pavements and Fletcher Gate.

The market square, outside the line of the piazza, 6 and the narrow streets and lanes leading thereto, were unpaved, or at most indifferently paved with " pebbles " obtained from the bed of the river, or with " boulders " from Kegworth. The " Pavements "7 were probably the earliest paved thoroughfares in the town, hence the name, and " The sole ancient Gate,' lately still in being," (Deering) is perpetuated in the name "Chapel Bar,"-the western entrance to the fortified town. There was no public lighting until 1762, when an Act of Parliament was obtained for lighting the Market Place, and all the principal streets. In all probability this only made "the darkness more visible," for the globular lanterns, made of thick coarse glass, and the burners fed with whale-oil

(1) Pulled down 1711 and the Market Place paved.
(2) Re-built 1715, and finally destroyed 1804.
(9) Cut down 1791.
(4) Removed 1801.                                      (5)Removed 1804.
(2) No causeways until 1801.                        (7)So called as early as 1494.
(8) Chapel Bar was pulled down in 1743.

gave but a very small and irregular flare. Of all the public lamp-standards and brackets put up in compliance with this Act, only two remain, while not one specimen of a private lamp, on gateway or wall, is now to be found.

Above the entrance gate­way at the S.E. corner of St. Mary's church­yard there is an ornamental wrought-iron bracket, having a ring in the centre to hold the lantern of an oil-lamp; and a standard in the palisade at the N.E. cor­ner of the churchyard also has a supporting ring still intact; but the lanterns have been removed. These lanterns could not have been long in use, for this palisade was not set up until 1807; and, shortly afterwards, oil as an illuminant was superseded by coal-gas. On April 13th, 1818, ten gas-lamps were put up and lighted in Nottingham, when, "attracted by the novelty of the display, thousands of people crowded the streets and gazed with wonder and admiration on this beautiful triumph of science."

If not equal in importance to Bath, Epsom and Tunbridge Wells, this dear old town must

have been a delightful place to dwell in with its numerous "mansions of the nobility"-the Pierreponts (Stoney Street), Plumtres (St. Mary's Hill), Gregorys (Fletcher Gate), Parsons (Short Hill), Babyngtons (Cheapside), Willoughbys (Low Pavement), Howes (Castle Gate), and the comfortable homes of civic dignitaries situate amid sylvan surroundings -beautiful gardens and fields on the one side and verdant meadows and the Duke's park' on the other wherein the fallow-deer roamed at large.

(1) According to Deering " Hackney sedans were used for hire to carry persons who are taken sick from home, and ancient ladies to church and visiting, as also young ones in rainy weather."

(2) The last sedan to be seen in Nottingham streets was employed to convey Mrs. Hart from her house on St. Peter's Church Walk to the High Pavement Chapel.

Well may Dr. Deering write in his History2 " the Towns of considerable Business and a flourishing Trade seldom give Gentlemen great Encouragement to be found in settling in them, yet this must be said for our Town that the healthful air, the pleasant Site, and the plenty of all sorts of necessaries, as well as Conveniences of Life, maugre all other Objections has even very lately induced some Gentlemen to build themselves Mansion Houses in it."

Some of these houses are now difficult to locate. Records only refer to the name of the occupants, as everyone at that time was supposed to know where everyone else lived. The system of street numbering, adopted in Paris as long ago as 1512, was not introduced into Nottingham until the dawn of the 19th century.3

Foremost amongst those who selected Nottingham as a place of residence was William Cavendish, first Duke of Newcastle, one of the most prominent noblemen of the time, and perhaps this may be cited as an additional reason why the town became so popular. The ducal mansion was built upon the ruins of the mediaeval castle. It was commenced in 1674, and completed five years later by the second duke. The principal rooms are on the first floor above a plain basement storey, containing the domestic offices. The main entrance was in the centre of the east front approached by a broad double flight of steps (now removed). The windows on the principal floor are dressed with architraves and pediments of alternate design, while the windows above are set in squares and surrounded with scroll-work of a somewhat peculiar design. The facade is divided into bays by attached columns after the Corinthian order, and finished with a bold

(1) Discontinued as a deer park 1720.
(2)Deering's History of Nottingham. Section I., p. 6.
(3)Willoughby's Directory, 1799, does not give any numbers.

cornice and parapet. The whole fabric is faced with Castle Donington stone set in large blocks with rebated joints. An equestrian statue of the first duke, who was an accomplished horseman, was placed above the entrance, and his garter, crests, and other insignia of titles and dignities are displayed in conspicu­ous positions about the facade.

This classical style of building was an innovation, in marked contrast with the work of the previous century, when shaped gables after the Dutch manner were pre­dominant. Until a few years ago several brick houses, having cut and shaped gables, were to be seen in Not­tingham, but the only, good example now remaining is a house near the top of Wheelergate on the west side.

I can find no authentic record as to the original owner­ship or date of erection of this house. It is claimed by some authorities to be the " Feathers Tavern " whither Lord Delamere2 repaired in November, 1681, in order to confer with the nobility during the Revolutionary period, but this does not seem likely when we consider the facts. Blackner says "The Feathers Inn is now (1815) a private house and stands near the top, and on the west side of Wheelergate" (p. 378). He also informs us that the Town Hall of the French Borough stood until 1714 on the site where now stands the house of Alderman Ashwell at the N.W. corner of Wheelergate. According to Deering and other writers "the Feathers stood at the corner of Fryer Lane on the spot where the Town Hall

(1) The Old Grammar School at Bulwell still remains, but the "White Horse " Inn, at Radford, erected 1661, has been pulled down and rebuilt this year. See Transactions for illustrations, Vol. XI., 1907.

(2) " Lord Delamere was quartered at the Feathers ; the Duke of Devonshire, Earl of Stamford, Lord Howe and many other nobles came to meet with him." Deering, p. 121.

of the French Borough formerly stood" (hence the terms Moot Hall and Moot Hall Gate, used in old leases, &c.) It would appear that the confusion has arisen from the with " at the corner of " Wheelergate, together with the fact that the buildings were similar in appearance, each block comprising three shaped and moulded gables. The Town Hall of the French Borough was replaced by the Feathers Inn, this in turn gave place to a private house, which eventually was changed to the Moot Hall Vaults, the predecessor of the modern structure which now occupies the site.

The house we are considering near the top of Wheelergate is now given up entirely to business pursuits; and while this has taken away some of its interest, it has not robbed it of all its old-time dignity and importance. Judging by the style of architecture, the shaped and moulded gables, the heavy stone architraves, and pediments to the windows, the stone quoins at the angles, and the elaborate plaster enrichment to the ceiling of the principal room, I am of opinion that this building was erected during the reign of Charles II., to serve as the town-house of a gentleman. I can well remember the demolition of the old Water Offices-the adjoining building on the south-when sufficient evidence was disclosed, to shew that this house was built in between older premises. It is doubtless one of the first of the mansions that were " built soon after the Restoration," and tradition may be right in ascribing it to Lord Mansfield.

This building is worthy of careful study as an example in transition from the earlier type with gables to the later type with horizontal cornice. It should also be noticed that the topmost windows on the front are casements in accordance with the older style, while the lower windows are sliding sashes after the newer style. The sliding sash, however, must not be taken as an infallible indication of the date of erection ; for it was not unusual for old houses to be re-sashed in whole or part, to bring them up to date, in this respect.

(1) Comparing a list of trades in 1641 with facts when writing in 1751, Deering notes (p. 96) that whereas there were eleven bricklayers now and none then, three masons then and only one now " because it was then newly come into Fashion to have Stone Window Frames, or else Bricklayers, who very likely worked both in Brick and Stone, as they now in this Town all do,"

Newdigate House, in Castle Gate-known also as Marshal Tallard's house, from the fact that the French General lived there on parole, after his defeat by the Duke of Marlborough at the battle of Blenheim in 1704 -was built a little later in time, than the house last described. Its probable date is 1675, and the house is therefore coeval with the ducal mansion, which it resembles in a humbler degree. The shaped gables of the earlier period have given place to dormers on the roof, above an overhanging eaves-cornice composed of carved modillions with panelled soffits between ; the architraves to the upper windows are carried all round, and form a complete frame with a carved patera in each corner; the lower windows are treated in the usual way with heavy stone architraves and pediments, and the main angles are emphasized with projecting stone quoins. The walls are built of bricks (10 1/2in. x 2 1/2in.), but the external faces are' covered with stucco and painted in imitation of stone. There is a fine stretch of ornamental wrought-iron railing in front of the house (illustrated and described in Vol. XI., 1907, page 112). The contrast between the classical facade and the gabled brickwork of a former period, as exemplified in the small house adjoining, is very noticeable in the illustration.

A house on Long Row (No. 18) was evidently designed by the same hand, and built by the same craftsmen, for the details are alike in every respect ; save that a peculiar feature was introduced in the central window of the first storey, where the pediment is supported on twisted columns having Corinthian capitals. This was a favourite Jacobean conceit, of which the south porch of St. Mary's, at Oxford, designed and executed by Nicholas Stone, is a well-known example. The house is now denuded of its most prominent feature, the overhanging eaves-cornice. This was removed in March, 1906, by order of the Corporation, owing to its decayed and dangerous con­dition. The cornice was a very fine piece of workmanship. The modillions were hewn out of solid blocks of oak, the carving being apparently roughed out with the chisel, smoothed over with stucco, and thickly coated with paint. The exposed portions of the wood were found to be perfectly sound and good, but decay had set in wherever it had been in contact with the walls.

NEWDIGATE HOUSE, CASTLE GATE.

It is interesting to note in passing that the piazza of this house is the only place on the Row where columns with high bases remain, but whereas all the original ones were said to be oak posts set up on square stone bases to avoid contact with the damp ground, these are yellow Mansfield stone throughout. Two columns in the centre of the facade have been dressed down in recent years, but the two outer ones retain the original pattern.

There is an original oak pillar with a high base in situ on Cheapside, near the Shambles. It is partly hidden behind a larger column, and might easily pass unnoticed. It appears to be a surviving remnant of a Jacobean colonnade of oak pillars and arches, similar in design to the one removed from Long Row and preserved in the Castle Museum.

Thirty years ago a house very similar in its details to the one described, but having a wider frontage (five windows instead of three) was standing on South Parade. It was pulled down in 1878, to clear the site for Smiths' Bank.

Overhanging cornices soon gave place to parapet walls of plain brickwork ; but whether the change was due to apprehension of decay, or to the growing scarcity of oak, I know not.

"The beautiful and well finished house" on Low Pavement built (1730-4o) by Rothwell Willoughby, third son of Thomas Willoughby, of Wollaton; and Bromley House,, on Angel Row, built (1752) are good examples of the mid-century style ; but it will be noticed that whereas the earlier houses give an impression of stateliness, and refined detail, the absence of the boldly carved cornice and the paucity of stonework cause the later work by contrast to look spiritless, insipid and thin. The contrast is in appearance only, for the walls of these later houses are substantial in thickness, and very well built ; the roofs are well timbered and covered with thick hand-made tiles ; and there is a prodigal use of lead in the wide gutters behind the parapets, and on the valleys and hips. Easy access to the roofs was always provided, as the view from the parapet was a consideration.

The internal fittings will be referred to later ; but it may be well to mention here that at the rear of Willoughby House, there is a range of rock cellars which were said to be " the finest in the town " (Deering). The wine-cellar and the beer-cellar, on either side of a main passage, are circular on plan, and there is a large square cellar beyond. To support the ceiling each has a central shaft, having cap and base mouldings of an architectural character. The workmanship is clean and accurate, and may well be mistaken for masonry, despite the fact that it is all carved in the " living sandstone rock."

During the latter half of the century, an elegant and polished style of architecture was introduced by a famous

(1) This house was built by George Smith, the banker. A stone in the wall on the south side of the garden is inscribed with initials and date, G.S., 1752. George Smith, who married Mary Howe, a granddaughter of Prince Rupert, was made a baronet in 1757. He inherited from his father, as a wedding gift, the house and estate at East Stoke. His son, the second baronet, assumed by sign-manual, 7th February, 1778, the name of Bromley, and by Royal license, 6th April, 1803, the name and arms of Pauncefote.

family of four talented brothers named Adam, who carried out extensive works in London and the provinces. It is a moot point whether any work was executed in Nottingham from their designs. The chimney-pieces and decorations in a house on Low Pavement have been attributed to them ; and a stucco facade in St. Mary Gate, if not indeed designed by them, exhibits all the marked features of their style. A house at 19, Castle Gate (corner of Stanford Street), a large brick building with stone sparingly used-is also characteristic of their mode of treatment. In the hands of these brothers, and of Robert Adam especially, the windows always received careful consideration and treatment. An effect of size and importance was often given, as in this instance, by placing a " Venetian window " in the centre of the fenestration - i.e., three windows, having a fanlight above, enclosed within a sunken arch. An attempt was made to lighten the appearance of the parapet wall above the classic frieze and cornice, by placing at intervals a series of stone or stucco balusters in open panels; and this treatment was repeated as an ornamental string course, beneath the first floor window cills. But perhaps the most noteworthy feature in this facade is the portico, and especially the carving on the frieze, which consists of an ox-skull hung amidst garlands and flowers. The explanation is not far to seek. It was the custom in ancient Rome for altars to be decorated in a temporary manner with the skulls of slain animals set as trophies amidst garlands of flowers. The Italian architects of the Renaissance, Vignola and others, embodied this temporary form of decoration in their rendering of the Orders of Roman Architecture, and the English architects of the Georgian era were content to make a slavish copy for the adornment of houses and other buildings, in which such a design became incongruous.

 There is reason to suppose that this fine building was originally the town-house of the illustrious family of Howe of Langar. Lord Howe represented Nottingham in Parliament at the time of the Revolution, and several members of the family held the seat in succession. The house is a spacious one and exhibits in the interior, even more than in the exterior, the influence of the Adams style of treatment.

Of this band of four brothers, Robert Adam (17281792) was the leading light and most indefatigable worker. For forty years he was engaged in making designs for buildings and decorations. Stone, as a building material, was too heavy for his delicate treatment, and so the decorative features were executed in stucco-a secret concoction made up of powdered marble, pitch, oil, and other ingredients, the invention of a Swiss clergyman named Liardet, which, when properly executed, became harder and sharper with every year, and was scarcely distinguishable from stone. Whether we admire the Adams style or not, and opinion is very divided upon it, the individuality is most marked, and the workmanship is always excellent.

It is seldom that a town-house of this period was set back more than a few feet from the street line, but the owner always took care to reserve an open space on the south or west side. If the house stood on the south side of the street and faced the north, it had a garden in the rear ; but if the other way about, then a plot of land on the opposite side of the street formed the garden or " vista." These vistas, once considered essential, have now all been put to other uses, and it is only here and there (notably in St. James's Street and Castle Gate) that the surrounding walls and gateways remain to indicate their former purpose. This is to be regretted ; because the "vista " was always a graceful adjunct of a townhouse, and the walls and gateways were of charming design.

Concerning the " new fronting " process recorded by Deering, one example at least remains in premises at the east end of Cheapside (Rotten Row). Prominent in the illustration thereof, a " frame building " is seen, with projecting storeys and steep gables, said to have been the town-house of the Babyngtons; and adjoining it on the east side, and in sharp contrast therewith, is a building divided into three bays with pilasters, and having a horizontal cornice and parapet of classic design. Upon examination, however, it is clear that this also was once a gabled building; but the projecting barge-boards have been taken away, the gables cut back and " hipped," and a " parapet wall after the newest fashion " substituted.

This is a very interesting remnant of the old town ; for in addition to the " frame building," and the " new fronting with parapet walls," the illustration shews two of the old fashioned shop-fronts with a door in the centre and a bow-window on either side. In one case, the original glass in small panes still survives ; in the other, the glazing bars have been cut away and one large sheet of glass substituted. Since the removal of a similar shopfront from the Long Row a few years ago, I believe these are the only original shop fronts, in the style once so prevalent, now remaining in Nottingham., At the extreme left of the view is seen the oak pillar with the high base before mentioned.

The public buildings of the period call for very little notice. The parish church of St. Nicholas was re-built in 1682 in a very debased style of Gothic architecture. The only point worthy of notice in regard to it is the quality of the brickwork, and the harmonious way in

(1) There is a small bow-window in a private house on Birch Row, Alfreton Road

which it groups with contemporary buildings in the vicinity. Indeed, the brickwork in late 17th and early 18th century buildings is invariably charming. The cottages in Brewhouse Yard,, a group of similar gables in Castle Gate, (best seen from Walnut Tree Lane), and Jessamine Cottages, on Gillyflower Hill,2 originally built in 1729 as a workhouse for the parish of St. Nicholas, and converted into cottages in 1815, are picturesque and pleasing examples of brickwork.

In 1724, the building of the "New Change" was commenced. This was a brick building on ten stone columns and four brick pillars, designed by the mayor, Marmaduke Pennel. It was remodelled and partly rebuilt in 1814 by Edward Staveley, architect. When the piazza was enclosed and the shops brought to the front, a hope was expressed that the whole "when finished will have a very handsome appearance, and be an ornament to the Market Place, being all stuccoed and coloured to imitate stone." The Exchange, very much as we see it to-day, was the outcome, and I will leave you to decide whether the "hope" was realized or not. It was originally intended to construct a balcony across the front, but this portion of the work was not carried out.

In 1770, the old County Hall on the Pavement gave place to the present gloomy and depressing structure. Being a place for the administration of public justice, it was deemed appropriate to carve the Fasces and Pileusthe Roman emblems of magisterial authority,-on the entablature above the four ponderous, engaged, Ionic columns; and the Royal Arms (Geo. III.) are displayed in the shaped pediment above. The original work has been repaired, and in some cases renewed, and modern additions have been made on either side, in order to keep pace with the growing demands.

(1) Illustrated in Transactions, Vol. VIII., 1904 (frontispiece).

(2) Illustrated in Transactions, Vol. XI., 1907, p. 110.

A note by Deering with regard to the constables, gives at once an interesting comparison as to growth, and also a reminder of a custom now almost forgotten, although quite familiar a generation ago. " In the 18th century there were thirty constables, more than sufficient for a town of this extent, whilst too few watchmen are kept, the bare number of four, and these so remiss in their Duty, that they seldom give the Hours above twice in a night."

The Assembly Rooms on Low Pavement-the place where ladies assembled for dancing and social intercourse on the first Tuesday in each month, and the Tradesmen's Assembly in Gridlesmith Gate, whither the " wealthy tradesmen, their wives, sons, and daughters " repaired, are changed and gone beyond recognition. Vie race-course and grand-stand on the Forest, the bull-baiting rings in the Market Place are also things of the past, while the cockpits in the yards and cellars of taverns are occasionally brought to light, when excavations are being made for the foundations of picture palaces and other modern delights.

The General Hospital was founded in 1782, but practically the whole of the original buildings have been superseded by modern additions.

The external aspect of these old buildings is more or less familiar, but it is only the few who are privileged to see the internal work, wherein the chief attraction is to be found ; for the craftsmanship of the joiner, -at one time restricted to upholstery and to the making of "joined" mahogany furniture,-was beginning to embrace the whole of the internal fittings in the house. This change was due to the increasing use of " firre-deales," which were cut from coniferous trees and shipped from the Baltic ports and were beginning to take the place of English oak.

The entrance doorways were invariably narrow -many of them are snot more than three feet wide-and were approached by a flight of stone steps carried over a sunk area protected by iron palisades. It is interesting to note in passing that the pattern of the palisades-the vase-topped standards and square rails with beaded and pointed heads-shew but little variation, the country through. The sunk area was made for the purpose of giving light and air to the basement ; for whilst it must be said of the provincial maid of to-day, that " she always avoided anything low, with care the most punctilious," the same cannot be said of her predecessor ; as the domestic quarters in a town house of the 18th century were always placed beneath the reception rooms. Mr. Gotch has told us, that at Wollaton the domestic offices were relegated to the basement, because there was no back to the house, the design being symmetrical on all sides; and this may account for the adoption of a similar arrangement in subsequent houses.

No matter how simple the design of a doorway might be, the workmanship was good and well considered even to the smallest detail-hinges, knobs, locks, knockers-all well finished and suitable for the purpose, and a projecting pediment or hood was invariably contrived as a protection against the weather. In some instances, the supporting brackets to the hood were made of wrought-iron, in graceful scrolls with "snub" ends, but more frequently wooden consoles were used. Later in the century, probably due to the influence of the brothers Adam, figures were skilfully introduced on medallions and keyblocks, and although the subjects represented were often meaningless, the figures were gracefully modelled and well finished.

A side entrance to a house on the western side of Bridlesmith Gate, composed of reeded pilasters and semi-circular arch, has a very fine figure study on the key block. This house is worthy of inspection, because the oak timbering across the passage is the remnant of an old frame-structure, and clearly shews to what extent the street has been encroached upon and made narrower by putting a modern shop-front in a plumb line with the overhanging upper storey of the old building.

Figure subjects were also frequently introduced in designs for door knockers ; for while the lion's head with a ring in its mouth would appear to have been the favourite design, a variety of other elegant patterns was sometimes used. (See the fine collection in the Art Museum, Nottingham Castle.)

The most distinguishing feature of the period, however, was the fanlight. In these days the term "fanlight" is applied to a light above a door, whether it be shaped like fan or whether it be square and plain, but in the 18th century, when "every lady carried a fan, of which she made constant use, furling, opening, fluttering it ceaselessly,"-when, in fact, the lady's fan was as indis­pensable as the gentleman's silver snuff-box, the semi­circular light was reasonably so-called because of its resemblance to the delicate framework of an open fan.

"The fan shall flutter in all female hands

And various fashions learn from various lands."-T. GAY.

The fanlight and the sliding sash-window were contemporaneous, the one being the outcome of the other; for when casements with tiny panes of lattice-glass gave place to sashes with larger panes, a new problem presented itself, viz., how to cut up a circular table of glass to advantage ; for it should be borne in mind that " blown " glass was then in vogue. A brief description of the process of manufacture may not be out of place, as it has gone out of use and almost out of remembrance ; although, as recently as thirty-five years ago, it was common to see a travelling glazier, hawking in the streets for repairs, with a crate strapped on his shoulders containing semi-circular sheets of glass, the smaller ones known as "slabs," the larger ones, containing the bullion or knot, known as "tables."

The ingredients used for making " crown " glass­white sand, carbonate of lime, carbonate of soda, and other chemicals-were put into a crucible and heated in a furnace for forty-eight hours. After removing the dross from the surface, the liquid glass was allowed to cool down until it assumed the consistency of paste. A small quantity of this paste was then " gathered " on one end of an iron tube about five feet long, and blown by the mouth into a sphere, like a large soap bubble. The side of the sphere opposite to the blow-pipe was then flattened by contact with a hard surface, so that an iron rod, or “punty " could be attached when the blow-pipe was withdrawn. The glass attached to the “punty "-in appearance like an umbrella reversed by the wind-wasup again in front of the furnace, and then twirled round and round on the " punty," until it opened out and became a flat disc; when it was laid down on an iron table and placed in the annealing oven, where it was allowed to cool by slow degrees. It thus became a circular sheet of glass 48in. to 54in. in diameter, uneven in thickness and of varying colour, some parts being an agreeable green tint, others iridescent or smoky in appearance, according to the ingredients and the strength of the sulphur fumes. Each plate of glass was cut into two unequal parts, the larger one having a "bullion" or "knot" near the centre, where the " punty " had been attached. It is obvious that after cutting a certain number of comparatively large square panes out of a "table," the bullion and the pieces with curved edges would go to waste, unless some way of using them could be found.

The problem was solved by the introduction of the fanlight, with its graceful curves and loops. Examples may be found in every old town and village in England, and it is interesting to note the similarity, and at the same time the great variety in design ; at first, they were elegant and pleasing, but later, they became clumsy and out of proportion. The bullions were considered to be abortive pieces, and were relegated to outbuildings, or to the back windows of houses. Although they were the product of a primitive method of manufacture now gone out of use, it has lately become necessary to manufacture spurious imitations in order to meet the growing demand. A genuine bullion is unmistakable, both on account of colour, and the "whirl" effect in the glass, and old crown glazing can always be identified by its smooth but uneven surface.

I have not been able to ascertain how the change from casements to sliding-sashes was brought about ; it would appear to have been gradual and imperceptible and no reliable data can be found. In all probability the idea of the sliding-sash was brought from the Low Countries. It was not used in this country until the reign of Charles I. at the earliest, whilst subsequently, and especially during the reign of William III. and Queen Anne many casement windows were transformed into sash windows ; for it is no unusual thing to find that in houses of the earlier date, window openings in the principal rooms were enlarged and fitted with sliding-sashes, while rooms of lesser importance retained the original casements.

I have in my possession one of the earliest sashpulleys used in Nottingham. It is made entirely of wood -not only the boxing but the grooved pulley also is made of wood, and I know of many sash-pulleys still in use having oak boxings and box-wood wheels. The next advance, was the substitution of metal in place of boxwood for the pulley-wheels ; the modern method is to make the whole thing entirely of metal, and in the best work the pulleys are run on ball-bearings of steel. The balance-weights were made of lead, roughly cast to suit the shape of the boxings and suspended by cords of catgut. The earliest sashes were divided into oblong panes about 12 in. x loin. with moulded glazing bars 1 1/2 in. wide. The size of lattice-panes in casements seldom exceeded 8in. x 4in.

(1) The original sashes in Willoughby House have heavy glazing bars, "crown" glazing and wooden pulley-boxes with metal wheels.

From the Restoration onward until the reign of Queen Anne, doors were framed in two panels, technically known as " raised mitred," from the panel, which was almost as thick as the framing, having a sunk margin all round, and a small moulding worked on the edge of the framing. Throughout the Georgian period, the fashion was to frame them in six panels, i.e., two panels in width and three panels in height. Fir was the material generally used for making doors, but occasionally (as in Lord Howe's house) they were made of mahogany, beautiful in colour and figure. Oak as a material for doors still lingered, but strange to say, only in rooms of little importance. For instance, oak doors are found in the upper rooms only, in Willoughby House.

Wood casings were used for external as well as internal openings, framed and panelled to correspond with the doors. The bolection mouldings were omitted in the lower panels of external doors and casings, so as to leave the panels flush with the framing.

Architrave mouldings were usually enriched and carried up above the door, so as to form a pediment or over-door with a frieze and cornice. Early in the century over-doors were sparingly ornamented, but as time went on, decoration became more lavish, and stucco was used either in whole or in part. The illustration from 22, High Pavement, shewing an adaptation of the Greek honey­suckle pattern, is made entirely of stucco painted in imitation of wood.

In the houses of the previous century, the staircase was either circular on plan,, or arranged in a series of short flights with heavy newels and balustrades. In the 18th century, the fashion was to ascend in two flights, with a spacious landing placed mid-way ; or in one continuous flight round a circular or oval well. In either case the handrail was continuous and finished with a wreath or scroll at the foot. The balustrade was light and elegant, formed with turned mahogany balusters in alternate patterns twisted and straight, set on a cut and carved string-board.

The staircase at Bromley House (1752) may be taken as a typical illustration. It commences with a fine wreath

(1) Bulwell Wood Hall, and an old house in Mettam's Yard, Hucknall Torkard, are good examples.

or scroll and ascends in two flights with a half landing between. The steps are four feet wide, 11 3/8 in. tread, 5 3/4 in. rise, 2ft. 71/2in. from the nosing to top of handrail, which is supported from each step by three elegantly turned balusters, two spiral and one straight. There is a fine bit of carving on the spandrel brackets at the end of each step. Several staircases, almost identical in design, and probably made in the same workshop, are still left in situ, 64, St. James's Street (1776),' 70, St. James's Street, Eldon Chambers Wheeler Gate, Bulwell Hall, and possibly others. In some instances (64, St. James's Street) each step, instead of being built up with tread and riser, was cut out of the solid, a custom by no means uncommon so long as timber was plentiful.

In Willoughby House the lower portion of the staircase is similar to those before described, but the upper portion commencing from the second floor is in oak, with one boldly designed baluster on each step. Dog-gates are fixed at the top and bottom of each flight respectively, where the change in design occurs.

In some houses the staircase is conspicuous, owing to the severity of its treatment. In all such cases it was sought to obtain effect, by the use of costly materials rather than by mouldings or carving. In Lord Howe's house, the balustrade consists of an elegant polished mahogany handrail, carried on ebony balusters tin. square, set Sin. apart.

There is a good staircase of a different type in an old mansion house (now used as a warehouse) at the top of

(1) The figures 1776 on a spout head at rear of the building indicates the date when this house was built. The earliest Deed extant is dated Mich. 40th Elizth. 1598, and consecutive Deeds down to 1677 refer to " 2 messuages in St. James's Lane " which were apparently pulled down to make a site for this spacious house.

Pilcher Gate, having a panelled newel in place of the wreath, and all the balusters are spirals.

A spacious hall, adorned in some cases with columns and enriched with modelled plaster-work on frieze and ceiling, was planned to receive the staircase. The last remaining examples are Lord Howe's house and Bromley House; although in the latter case the full effect cannot be seen, because a portion of the hall has been screened off to form an office. In houses of any pretension, it was the custom to have a small chamber, known as the "powder box," contiguous to the hall or landing, and communicating therewith by means of an oval-shaped window, in order that visitors might pop in their heads and have their wigs powdered up, preparatory to entering the reception room. Needless to say, these apartments have now all been relegated to other uses.

If the craftsman bestowed more care and attention on one detail than another, it surely was on the chimneypiece. When in its original setting, an old chimneypiece always has a homely look, as though it belonged to the house; but in these days when a high price is put upon genuine work of the Queen Anne and Georgian periods, it is no unusual thing to find a good old chimney-piece far away from its original position.

Plumtre House, with its " grand stucko'd front " built in the Italian Taste, and which "joined to the external beauty of the Italian the inside Conveniences of the English Taste "-stood on the north side of the Church of St. Mary until 1853-4 ; when the estate was sold for £'8,410 and the house was pulled down to make room for a new thoroughfare from Stoney Street to St. Mary Gate (Broadway). The house was built by John Plumtre, (1712-15) one of Nottingham's notable sons, a liberal patron of literature and art, a member for the Borough in three Parliaments (17o6-13, 1715-27, 1734-37).

(1) The house is not shewn in Kip's view, but if we may judge by the style of the architecture it must have been built very early in the 18th century. It is shewn and illustrated in the margin of a map " published according to Act of Parliament Nov. 30th, 1744 by Thos. Peet and Jno. Badder, by whom Noblemen, Gentlemen, &c., may have their lands accurately surveyed and map'd, and Artificers work measured at Reasonable very low Rates." Probably John Badder was the architect who designed the house, and the brother of Thos. Peet may have been the builder, as " Feet's Woodyard " is carefully shewn on the map.

So far as I know, the only fragment, remaining is a very fine chimney-piece, which is now fixed in Bulwell Hall. It is a fine example of wood carving in the style known as "Queen Anne," having curious mouldings and terminal figures, of the " Caryatick Order," as Isaac Ware calls them, " where caryatides stand at seeming ease," at either end to support the shelf (7ft. long and 52ft. high). A mask surrounded by oak leaves and swags of flowers on the frieze are 19th century additions. This chimney-piece was removed to Bulwell by Mr. William Stevenson, and he it was, who caused the garlands on the frieze to be added; but apart from this information, no one could tell that it was not all original work. The marble interior and grate are modern, and the chimney-piece has recently been gilded.

There are several fine chimney-pieces in wood and marble in a house, 26, Low Pavements (Mr. Gawthern's house). In the room on the ground-floor, an alcove treated in the same style as the chimney-piece illustrates a familiar feature of the time. The graceful proportions of this room, and the refined details seem to confirm the tradition that it is the work of Robert Adam-the central tablet with figure subjects, and the leaning toward Greek rather than Roman models are very characteristic of his work. The elaborate ornamentation is carved in deal and helped out in stucco, or in some cases it is made entirely of the composition known as Adam's stucco.

(1) The Plumtre arms and a two-light Norman window built in the wall under an archway in Broadway are in grit-stone and belong to a building much older than the one now under consideration.

(2) Formerly known as Vault Hall. The house was sold to Alderman William Drury (hence Drury Hill) for L C103. 21 Charles I. 1645, and resold by his grandson to William Gawthern for £500 in 1733

This stucco was cast in box-wood moulds and used indiscriminately for external, as well as for all the finer internal decorations on chimney-pieces, doors, &c. In some cases the finer scrolls and tendrils appear to have been added after the castings were fixed. This kind of treatment, applied in a liquid form is sometimes referred to as " confectionery " stucco. Enrichment after this manner is now used only by the picture-frame maker and gilder.

At Newdigate House, and at 64, St. James's Street, chimney-pieces with stucco ornaments remain. It should be noticed, however, that the ornamentation, beautiful and delicate in execution though it be, is not to be commend­ed or imitated ; because of its meaningless composition. At St. James's Street, the lion and cupid, symbolical of peace, and the garden implements-a ladder, a rake and a basket of flowers, symbolical of plenty, are all inter­mixed without any regard to size or congruity-the ladder is no larger than the rake, and the two together are only the size of the basket.

John Ruskin,, speaking of the Renaissance sculptors, says :-" Paltry and false alike in every feeling of their narrowed minds, they attach themselves, not only to costume without the person, but to the pettiest details of the costume itself. They could not describe Achilles, but they could describe his shield ; a shield like those of dedicated spoil, without a handle, never to be waved in the face of war. And then we have helmets and lances, banners and swords, sometimes with men to hold them, sometimes without; but always chiselled with a tailor-like love of the chasing or the embroidery,-show helmets of the stage, no Vulcan work on them, no heavy hammer strokes, no Etna fire in the metal of them, nothing but pasteboard crests and high feathers."

(1) Stones of Venice. Vol. I. Chap. XX. p. 213.

In the hall of Bromley House (now a private office) there is a chimney-piece and over-mantel of rococo design, executed in stucco and displaying an interesting armorial achievement. A cartouche on either side contains the arms of the owner (George Smith) and his wife (Mary Howe), and these are impaled upon an uplifted central shield surrounded by leaves and scrolls-Or, a chevron cotised Sable between three demi-griffins segreant of the last, the two in chief respecting each other. Crest : an elephant's head erased Or, eared Gules, charged on the neck with three fleur-de-lis, Sable, two and one-Impaling Howe : Or, a fesse between three wolf's heads, coined, Sable, differenced by a martlet, Gules. Crest : A gauntlet lying fesseways, ppr. lined Gules, holding a fulchion A rgent, hilt Or, the middle part of the blade debruised by a wolf's head, coined, Sable. In the centre of the composition is a medallion bust popularly said by some to represent Queen Anne, some say Queen Caroline, wife of George II., but as this house was not built until 1752, when the two queens mentioned had been some time dead, I think this is probably but another instance of decorative treatment devoid of meaning or purpose. The chimney-piece is thickly coated with dark coloured paint which makes it difficult to decipher the heraldry, but I have been able to give the correct blazon through the kind assistance of my friend Mr. Geo. F. Gascoyne. (See Addenda for Pedigree.)

A far more reasonable style is exhibited in several fine chimney-pieces on the first floor of this house, each having a painting framed in the over-mantel. At the left-hand side of the one shewn in the collotype illustration, a dial may be seen which indicates the direction of the wind. This is worked in connection with the vane on the roof, by means of a bevel-gear made of box-wood. A similar arrangement was also adopted at Willoughby House.

Astronomy appears to have occupied the attention of the philosophers of the age to a very great extent ; for in numerous houses of the nobility elaborate sun-dials, and other contrivances of a scientific kind are to be found. At Bromley House, for instance, a bracket, perforated by a small hole is fixed outside a window on the south side, so that, when the sun sends a ray of light through the hole along a strip of metal fixed across the floor in the meridian line, the solar time-mid-day-is indicated.

It is fair to suppose that the clocks in the town were at one time regulated by this means, for a considerable pile of papers has been found in a long-case clock standing in the same room, and these papers contain the daily calculations necessary to turn solar into Greenwich time.

The chimney-piece illustrated on the opposite page is a very characteristic piece of work. It was taken from an old house, ii, Poultry (recently demolished), and is now carefully preserved in an office in the city. Wood chimney-pieces of great beauty may also be seen in the matron's room at the General Hospital (taken from houses which formerly occupied the site), and also at the Women's Hospital, Castle Gate.

In Lord Howe's house, the change which came about in the later Georgian era is manifest ; for while there is a graceful wooden chimney-piece on the ground floor, the principal rooms have beautiful white marble chimneypieces of classic design enriched with inlaid patterns in vari-coloured marbles. This type of chimney-piece became very fashionable for a time, and a large import trade was carried on with Italy, and also to a lesser extent with Ireland.

Small chimney-pieces, in good condition, may be met with occasionally in rooms now devoted to commercial purposes, but alas, in some cases, I have seen the broken remnants of wood and marble chimney-pieces, chaste in design and beautiful in workmanship, hidden away behind piles of merchandise, and mutely appealing in vain for the protection such beautiful work deserves.

Numerous firegrates of the period are still in use, and, seeing that hob-grates with double semi-circle fronts are coming into fashion again, are now eagerly sought after, and consequently in danger of being removed. They are not economical in regard to fuel, nor efficient in heating capacity, but they are quaint-accounted a saving virtue in these days-the modelling on the hob-fronts is usually very pleasing, and the tile-setting very good in colour and effective in appearance.

The walls of reception rooms were panelled in a broad and effective manner. The usual treatment was a low plain dado capped with a heavily moulded chair-rail, and wide panelling above in one height surmounted by a very ornate plaster cornice having enriched mould­ings and dentils. Wall panelling was sometimes executed in stucco but generally in red deal. Where stucco mould­ings were used, they were enriched with strings of fruit and flowers. A fine example of this kind of treatment is to be seen in the Society's room at Bromley House, and indeed I may say that no finer example of plaster work can be found, than the panelling, the ceilings, and the friezes of this interesting old house.

Bromley House
Plaster Panel and Friezes

The introduction of " firre-deales " from the Baltic produced a change in the mode of laying floors, for instead of oak being used for important rooms and plaster for the remainder as heretofore, we find floors laid with deal in varying widths, very carefully selected and polished with beeswax and brick-dust. The floors were " clean " laid and many ingenious devices were adopted in order to prevent the nailings from being seen. At Newdigate House the boards were fastened down with iron cramps or" dogs," made of shreds of sheet-iron cut out in the shape of the letter L and pointed at both ends; the upper end was then bent over at right angles j-, one point being driven into the joist and the other into the edge of the board. Each board was also clean-dowelled with wood every 8in. apart. The result was a clean, firm, sound floor, and one that cannot be excelled by modern methods ; the only fault to be found after all these years is that the surface of the floor is liable to wear into splinters owing to the boards having been sawn out of timber trees in lines parallel to the taper of the bole and not " die square," and consequently the alternating lines of pith-wood and grain form parabolic curves rather than parallel lines.

The gradual development that was taking place in the construction of floors is exemplified in this house, the ground floor being laid with oak, the first floor with deal, and the second floor with plaster, still in good condition, and almost " as hard as iron."

*          *          *          *          *

The humbler dwellings in the town were plain square structures, having brick walls and tile roofs. " Swart, cold looking, slates" from Wales, were never seen until transport was made easy, by the introduction of canals early in the 19th century.

John Blackner says:-" The Houses of the working class at the present time (1815) generally consist of a cellar, a room to dwell in, called the house place, a chamber, a shop over it to work in, a room in the roof called a cock-loft, and a small pantry ; though in the manner of building there are many exceptions, some for the better and some for the worse ; and they are generally composed of plaster floors, lightly timbered with deal."

Numerous houses answering to this description may be found, and many of them, especially those " with exceptions for the worse," are now occupying the attention of the Housing Committee. It is only fair to say, however, that their present condition is partly due to the faults and failings of the occupants, rather than to inherent defects in the buildings, and partly to the fact that the town has grown beyond them to such an extent, as to leave rows and terraces of houses, once pleasantly situate on the outskirts of the town, in the midst of dense slum areas ; and while the advance of sanitary science has left them a long way behind the times, the workmanship is irreproachable and commands respect, in spite of their present sordid surroundings. I have seen houses, that have been condemned as unfit for habitation, wherein the artificers' work is far in advance of the work being executed to-day in the same class of buildings.

One block of small dwellings, however, cannot be allowed to pass without notice. Collin's Hospital, or as it was originally called "the New Hospital in Fryer Lane," built in 1709 by Thomas Smith under the Will of Abel Collin, has been fittingly described as " an Ornamental

(1) Red tiles appear to have been the predominant roof covering in Nottingham in the 18th century. Westmoreland slates in diminishing courses, and Swithland slates were seldom used

and yet at the same time Suitable Fabrick for the Habitation of 24 poor Men and Women." The main block comprises twenty houses, ranged round a quadrangle, each house being two storeys high and containing two apartments, with a detached chapel at the rear of the block, and four other houses, two on either side of the entrance from Hounds Gate.

The elevation of the main block towards the north (Friar Lane) has a vaulted entrance in the centre, and an ornamental panel above it, containing an inscription, appropriate both in regard to the matter and manner of it. The elevations to the south and east are similar in design, save that the panel facing south contains a sundial-"Our days on the earth areas a shadow,"-and the one facing east an achievement of the Arms of Collin., The west front, partly hidden by adjoining premises, is quite plain. The treatment throughout is simple and none but ordinary materials are used-plain brickwork set upon a stone base, flat-gauged arches over doors and casement windows, door and window-frames set flush with the face of wall, projecting stone quoins to emphasize the angles and arched entrances, a stone string course at the first floor level, overhanging eaves-cornice and red tile roofs - the effect is harmonious and eminently pleasing.

The charming bits of relief in the centre of each facade transform what would otherwise be a plain building without interest, into a very successful architectural composition, while the lettering on the memorial panel, the carved and painted shield, helmet and mantling, and the metal gnomon of the sun-dial, are details worthy of careful study.

(1) Vert. a griffin segreant Or, beaked and membered Gules, upon a chief indented Argent, two crosses formee of the third. Crest : Upon a wreath a talbot's head, erased, per fesse, indented Or and Argent, eared Gules, charged upon the neck with a cross formee of the last. Motto : Laus Deo. " Nottinghamshire Pedigrees," by A. E. Lawson Lowe, Reliquary, Vol. 15, p.162

Country cottages in the surrounding districts have retained their picturesque appearance, being little affected by the manner of building in vogue in the town.

A cottage at Clifton with initials and date (1707) in the gable, having brick walls and thatched roof, is characteristic, but calls for no special remark.

A cottage at Wilford, partly re-built during the same period, is not only a picturesque " bit " beloved by local artists, but it also perpetuates in the older portion of it, a very primitive mode of construction. In the gable end two curved pieces of timber are seen set wide apart at the base, and united at the summit, approximating the form of a gothic arch. This method of erection prevailed from the early Middle Ages down to the time of Henry VIII. A pair of "crocks" or "crooks" (as these timbers were called) were sawn from an oak tree having a trunk naturally bent, and taken to the site where they were framed together on the ground, and then reared up in pairs at either end of the building to form supports for the ridge-pole or roof-tree. Posts were then set up at each corner, with a tie across the ends at the wall-plate level. In this way a framework of timber was made which only required to be filled in-walls with " stud and mud " (or at a later period with brickwork), roof with rafters made from boughs of trees thatched with reeds or straw.

Although this system of erection has long since gone out of use, we still speak of houses having been "reared," when we really mean that they have been built, and the present day workman still looks for a " rearing supper " so soon as the ridge-piece is fixed.

Examples of this mediaeval manner of cottage building may be met with in outlying country places, but so far as I know, the cottage at Wilford is the only instance within easy reach of the city.

We may obtain some information respecting the conditions of labour at the time when these old houses were being built from the accounts kept at the Public Record Office, and from the " Borough Records." It would appear from numerous entries that Saturday was the usual pay-day. "Payde to the Carpenters on Saterdaye the ix" day of Ffebruary," &c., &c. Although in some of the earlier accounts Sunday' is mentioned as pay-day. The work was sometimes " letten to them by Taske," but more frequently by the day "Artyficers and laborers ther workyng as well by the day as by Task," and it would also appear that the baneful system of " hogging," i.e., asking for payment on account before the proper pay-day was not unknown-Redy money Payde in prest (i.e., in advance) unto sundry Carpenters in Party of Payment of serteyn Frames taske worke."

According to the Chamberlain's accounts (Nottingham 1726) the wages then paid were one shilling and sixpence per day for artificers and one shilling per day for laborers ; the number of working hours per week varied from fifty-nine to sixty-four. By the end of the century joiners and bricklayers were getting on an average ten shillings and sixpence per week and laborers nine shillings per week. Strikes were threatened and stoppages occurred then, as they do now, owing to jealousy among the workers; for instance, the wrights, or carpenters in the 18th century objected to joiners,-who were then looked upon as upholsterers and cabinet makers,-being employed about the buildings.

The picturesque costume of the period is well illustrated by a wooden statue of Jonas Hanway (1712-1786) fixed above a shop door, 9, Pelham Street. It was carefully carved and painted under the direction of the late Mr. Samuel Page, for many years a member of the Council of this Society. The figure has lost all its significance now, owing to a change in the tenancy of the premises, but it was appropriate when first set up, for this shop was then noted for the sale of umbrellas, and Jonas Hanway was the first Englishman who made a practice of carrying an umbrella in the streets (of London). "After persevering for thirty years, in spite of the jeers of the passengers, and the clamour of the 'chair-men' and hackney-coach men, he saw his own practice generally adopted not in London only but eventually in the provinces." It was in the year 1777 that parasols and umbrellas were first seen in the streets of Nottingham.

There are two contemporary stone figures on the Blue-coat School, Mansfield Road. These were originally fixed on the old school building erected on High Pavement in 1723-and transferred to their present position when the new schools were built in 1853

A peep in the vicinity of Trinity Square on a market day when carriers' carts and tilted wagons are loading up for the return journey into the country districts reveals a lingering old time service.

Two centuries ago-and even until the introduction of the canal system a century ago-this was the chief means of transport, not only for the nearer towns and villages, but also for towns remote-" three waggons which weekly set out from hence, early on Tuesday morning for London and return on Friday in the evening," other carts journeyed as far as York, Leeds, Sheffield, &c., &c., while one enterprising proprietor in the district advertised his willingness to carry parcels and passengers to " all parts of the world and Bingham." The rising generation will never know the joy of a journey into the country in a jolting van with an inspiring motto brightly blazoned on each side-" Perseverance," "Accommodation," or "Live and let live,"-for motor lorries are rapidly driving these picturesque and leisurely vehicles off the road.

To judge by the present trend of affairs, our handwriting is in imminent danger of being scheduled as a thing of the past. It is refreshing in these type-writing days to turn up a lease or conveyance, and feast our eyes upon the beautiful script and quaint phraseology of the days that are gone.

In the eighteenth century it was said of our town "That it has undergone both Fire and Sword, and weathered all the Vicissitudes of Time, holding up its Head, ever Trading, hardly at any Time wanting some profitable Manufactury or other employ of the poor, constantly advancing, and at this time enjoying the most prosperous State it ever was blessed with, or any inland Town can hope for.",

My endeavour has been to place before you a review as comprehensive as the limit of time would admit, of the work in which our ancestors took such delight. If, in regard to their designs, I have been compelled to withhold a full measure of admiration, I have bestowed unstinted praise upon the excellence of the workmanship, and if I have succeeded in giving a true and faithful account of their work, I have thereby portrayed the character of the people.

Kipling says:-Men and women may sometimes, after great effort, achieve a creditable lie ; but the house, which is their temple, cannot say anything save the truth of those who have lived in it."

When we likewise come to be judged by the houses in which we have lived, what will future generations have to say of us ?

(1) Deering, p. 13.

ADDENDA re BROMLEY HOUSE.

The following pedigree will be interesting:­

JOHN SMITH, OF CROPWELL BOTELER, PARISH OF

Titheby, co. Nottm., by his wife Elizabeth had a son,

THOMAS SMITH, OF NOTTINGHAM AND GADDESBY, CO.

Leicester, bapt. 1 Nov., 1631, who married I. Mary Hooper, by whom he had an only child Mary (m. John Eggleton).
II. Fortune, daughter of Laurence Collin, and sister of Abel Collin, of Nottingham, and had issue three sons 1. Thomas, of Broxtowe ; II. Samuel, ancestor of the family of Dorrien-Smiths ; III. Abel.

ABEL SMITH, OF EAST STOKE AND OF NOTTINGHAM,

Banker, who married, `1713, Jane, daughter of George Beaumont, of Chapelthorpe, co. York., and had issue, the eldest son.

GEORGE SMITH, MARRIED I. MARY, ONLY DAUGHTER

and heiress of Major William Howe, of Epperston, co. Nottm., and had issue, He was created a baronet 31st October, 1757. Lady Smith died in 1761, and in 1768 Sir George married 11. Catherine, daughter of the Rev. William Vyse, archdeacon of Lichfield. No issue from this match. The only surviving son of the first marriage was

SIR GEORGE SMITH, II. BART. BAPT. 18 AUGUST, 1753.

Married the Hon. Esther Curzon, eldest daughter of Assheton, Viscount Curzon, 8 January, 1778. Sir George assumed by sign-manual, 7 February, 1778, the name of Bromley, and by Royal licence, 6 April, 1803, the name and arms of Pauncefote. He died 17 August, 1808, and was succeeded by his son

SIR ROBERT HOWE BROMLEY, III. BART., ADMIRAL OF

the White, who married, 8 June, 1812, Anne, second daughter and co-heir of Daniel Wilson, of Dallam Tower, Westmoreland, and was ancestor of the BROMLEY-WILSONS.

---

MARY HOWE WAS A DESCENDANT OF ELIZABETH, THE

only daughter of His Majesty King James I., who married Frederick V., King of Bohemia.

SIR JOHN HOWE, I. BART., MARRIED BRIDGET, DAUGHTER

of Thomas Rich, one of the Masters in Chancery, whose second son

JOHN GRUBHAM HOWE, M.P. FOR CO. OF GLOUCESTER,

married Annabella, natural daughter and co-heir of Emanuel Scrope, Lord Scrope of Bolton and Earl of Sunderland, by Martha Jeanes. Charles II., in 1663, granted to Mrs. Howe, the precedency of an Earl's legitimate daughter-she became thenceforward Lady Annabella Howe, of Langar, co. Nottingham. She died 21 March, 1703. The fourth son of this union­

EMANUEL SCROPE HOWE, LIEUT.-GEN. AND ENVOY AT

Hanover, married Ruperta, natural daughter of Rupert of Bavaria, Prince Palatine of the Rhine, created by his uncle Charles I., Baron of Kendal, Earl of Holder­ness and Duke of Cumberland, K.G. (He died unmarried in 1682, leaving issue-a son, Dudley Rupert, by Frances, daughter and co-heir of Henry Bard, Viscount Bellamont of Ireland, and by Mrs. Margaret Hughes, a daughter, Ruperta, as above.) Their eldest son

WILLIAM HOWE, MAJOR IN THE ARMY, MARRIED

Elizabeth Pauncefote, third daughter and co-heir of William Pauncefote, of Carswell, co, Gloucester.Major Howe died 28 July, 1733, leaving an only daughter, Mary, bapt. 3 November, 1725, and married at Langar, co. Nottm., by licence, 1747, to Mr., afterwards Sir George Smith, of Bromley House, Nottingham.

GEORGE F. GASCOYNE,.

Sherwood,

6 January, 1913.    Nottingham.