297 



of Hertford, afterwards Duchess of Somerset, had for her moiety, amongst 

 other Herefordshire property, Pembridge, Earl's Land, Lyonshall, Murcutt (the 

 local name of Moor Court to this day) and "YVeobley. It would seem therefore 

 that at least the manor was in the hands of the Devereux family up to the time 

 of Charles the 2nd's restoration. [See Lives and Letters of the Devereux, Earls 

 of Essex, by Hon. TV. B. Devereux (Murray, 1853), vol. II., 474 and 483.] 



It would seem, however, that previous to the restoration, Moor Court was 

 owned by the Vaughan family, and the Christian names mentioned in the deeds 

 and documents lead to the inference that these Vaughans were of the Bredwar- 

 dine and Hergest stock. From the Vaughans it passed by marriage to the Steads ; 

 and the last of the Steads, a daughter, carried it by marriage into the family of 

 James, with which it remained until purchased by the late James Davies, of 

 Moor Court, in the early years of this century. Sibylla and "Walter seem to 

 be favourite Christian names in all the three families. The first James men- 

 tioned vas a vintner of London; the seller of the estate was father of the 

 too-celebrated Edwin James, Q.C. The Vaughans and James's, of Moor Court, 

 have contributed to the list of the Hi^h Sheriffs of the county of Hereford, and 

 the names of Pember, of Elsdon and Warnecombe Pierrepoint— perhaps a brother 

 of the founder of Lucton School— occur as witnesses to deeds and indentures 

 relative to the property in their day. 



It may be that the four very handsomely-formed three-quarter length life- 

 size portraits in the drawing-room, with a mirror of equally elaborate carving, 

 could, if they had but a voice, unfold the history of the owners of the pro- 

 perty, or, at any rate, explain their connection with one or other of them. The 

 portraits are undoubtedly by a Flemish master ; the date on one of them would 

 point to Sir Peter Lely, or a pupil of his. The frames are pronounced by a 

 very experienced judge to be Venetian. All are elaborately carved in a seemingly 

 soft wcod, and are gilded over. The greatest prodigality of the graver's fancy 

 has been bestowed on the portrait of a warrior, with long flowing hair of raven 

 hue, in full armour, and with his plumed helmet and rich velvet cloak be side 

 him. Carveu upon the frame are a variety of implements of war, instruments 

 of martial music, and divers other accompaniments of military show. The freedom 

 with which the carver wrought is seen in the fact that the instruments and im- 

 plements, the drums, coats of mail, helmets, pikes, bows, on the one side of the 

 frame, are matched by others corresponding in purpose, but not in shape or 

 fashion on the other side. The artiat could not repeat himseF. It is the same 

 with the frame of the mirror, which at its top and at its base has figures of 

 nymphs and Muses, whilst the sides are profusely covered with lighter instru- 

 ments of music, and all the diverse requisites for a lady's toilette. This frame 

 has one or two features which connect it with the portrait of a lady of rank, 

 opposite to the warrior before-mentioned. One is the crest surmounting the 

 frame, a lion rampant, and the other a helmet, introduced heraldically, this 

 helmet facing front, open, but guarded by five bars, and so bespeaking for its 



