34 



GARDENS OLD AND NEW. 



King's architect, with whom he must often have 

 come into contact in his official capacity. 



The plan of the house was a great quadrangle, 

 measuring iO4ft. by 76ft. internally, entered through 

 the magnificent gatehouse of brick, which is now the 

 principal remaining portion of the house, though 

 some buildings of the quadrangle are there, and in 

 the upper floor of one of them is a long dormitory, 

 with an open timber roof of the period. The aspect 

 of the magnificent pile of the gatehouse is most 

 imposing, and the hue of the ancient brick, broken 

 by the dark glazed lines and the flint, is very 

 pleasing to the eye. There is a low arched gateway, 

 with two storeys over it, each lighted by great terra- 

 cotta mullioned windows of Gothic design but 

 Renaissance detail ; but the most remarkable features 

 are certainly the great octagonal towers which flank 

 the approach, and rise each in eight low storeys to a 

 height of yoft. from the ground. If any fault be 

 found with them it is in a certain monotony arising 

 from the repetition of the same general features in 



ANCIENT CHIMNEYS. 



each successive range. Yet it is not to be denied that 

 in stately form and dignified character this gatehouse 

 has few if any equals. But its special noteworthiness 

 consists in its being of exceptionally early date for a 

 building in which classical features were grafted upon 

 old English forms. The building was begun in 1520, 

 and it could not have been completed when the 

 distinguished builder was raised to the peerage. It 

 will be noticed that, in general character, it conforms 

 to the English style of house, but an examination of 

 its details will show that the Italian spirit has largely 

 influenced the design. Thus, in the enrichment of 

 the north front, Gothic trefoil arcading is associated 

 with a classic egg and tongue moulding. Again, the 

 mullions take the form of Ionic columns, while the 

 trefoil heads of the lights are a curious adaptation of 

 classic curves. Like detail will also be noticed if 

 we look closely at the top of the towers where 

 the corners of the parapet are surmounted with a 

 semi-circular panel of radiating ornament, on the 

 top of which lie a pair of dolphins, instead of with 

 a Gothic finial. 



It is also particularly noteworthy that much of 

 the adornment is executed in moulded brick. The 

 handicraft is most admirable, and the charming 

 character of the twisted chimneys, the hood mouldings 

 to windows, the trefoil bands of the main gateway, 

 and other portions of the structure will be admired. 

 The Layer Marney terra-cotta is, indeed, as good 

 as any old work of the kind in England, although 

 there is fine detail of the class at Sutton Place, Guild- 

 ford, a house built at the same time and forming our 

 other best remaining example of brick and terra-cotta 

 work grafting the new ornament on to the old stock. 

 Layer Marney gatehouse occupies a most important 

 place in the development of domestic architecture. 

 It is more than likely that foreign skill had to do 

 with some parts of the structure, for the workmen of 

 Italy and Flanders were, at that time, much employed 

 in England. 



The tomb of the builder stands under a canopy 

 in the Church of St. Mary the Virgin, in the Marney 

 Chapel at the east end of the north aisle, which the 



first Lord Marney built. 

 The effigy is or black 

 touchstone, and the 

 figure, in its repose and 

 dignity, represents 

 masterly skill in the 

 sculptor's art. The figure 

 is in plate armour, with 

 the Order of the Garter, 

 and the same surrounds 

 the arms upon the side 

 of the tomb. The canopy 

 and its support are 

 entirely in the Italian 

 style, and are both rich 

 and beautiful, the whole 

 composition standing far 

 above the level of many 

 monuments of the time. 

 It seems extremely likely 

 that the very hands 

 which adorned the house 

 that Lord Marney looked 

 forward to dwelling in 

 were those which fashioned 

 his tomb. The church 



is extremely interesting, and has some splendid 

 chestnut roofing. It contains also the alabaster effigy 

 of Sir William de Marney, who died in 1414, and 

 the tomb of the son of the builder of the house, the 

 second and last Lord Marney, who died in 1525, 

 very shortly after his father. 



The ancient house bears no great sign of changes 

 effected by later hands. It is still essentially an 

 original work, so far as it remains. When its great 

 quadrangle was surrounded by the original buildings 

 the manor house must have been a truly noble 

 structure. There are still panelled rooms, with 

 carved oak, and rich plaster ceilings, as well as fine 

 chimney-pieces and other adornments. Some of 

 these appear to date from a little later, perhaps when 

 the estate had passed from the hands of the builder's 

 family. It is said to have been bought by Sir Brian 

 Tuke, but other writers assert that it was conferred 

 upon him by Royal favour in reward for his services. 

 Tuke, who died at Layer Marney in 1545, had risen 

 to a high place in the King's esteem, probably through 

 the influence of the Duke of Norfolk. He had acted 





