GARDENS OLD AND NEW. 



of building seems to have converted what had 

 previously been a forecourt into a quadrangle, not 

 altogether unlike some of those at Hampton Court. 

 This inner quadrangle is a most beautiful example of 

 the architect's favourite, and we may even say natural, 

 style. The inner side of the entrance gate, and of 

 the buildings on either side, is treated in perfect 

 proportion, and with a lightness and even gaiety of 

 appearance which contrasts favourably with the rather 

 crowded, cramped and gloomy effect of Wren's 

 interior quadrangles at Hampton Court, perhaps the 

 only examples of his work there which are not happy. 

 The reason is not difficult to discover. All four sides 

 of Wren's small courts had to be carried up to the 

 same height, and that the full height of the part of 

 the main palace which he built. At Castle Ashby 

 Inigo Jones was able to keep the front line low, which 



into a whole, by a master hand. The reader may 

 perhaps think it well to pass mentally, and at once, to 

 the opposite, or north, side, by way of contrast, before 

 lingering in the splendid gardens in which the house 

 is set. This north side, overlooking the steep 

 escarpment and the valley of the Nene, is almost in 

 its original state. It is a late Tudor facade of great 

 size and unusual height, with two vast bay windows 

 running up to the top of the house, one on either 

 side. The windows in these are untouched, but the 

 hand of the improver is just seen in the doorway, 

 possibly in the slight arching of the window tops, and in 

 the insertion of the oval a'i/s de bauf below the lettered 

 balustrade, which also bears some indication of having 

 been slightly modified in design. The staircase 

 entrance leading from the grass terrace is very fine. 

 But beyond a doubt the most beautiful and the 





THE CROSSWA YS, SOUTH GARDEN. 



made a vast difference in the proportions, while letting 

 in the sun. 



It will be noticed that in completing his lettered 

 parapet the architect introduced a slight improvement, 

 perhaps made necessary by the difference of style in 

 the wall it caps. The Tudor lettering rises straight 

 up in line with the main face of the wall, though a 

 string-course of stone at the base makes it less abrupt. 

 Above the new south front the lettering is set back 

 slightly, the line of sight being carried back by 

 "kneed" projections, springing from the upper line 

 of pediment and cornice, supported by the columns 

 of the first floor. But the entire front, from the tall 

 octagonal turrets of the very large and lofty Tudor 

 wings to the basement, is a beautiful and thoroughly 

 English example of how two styles can be brought 

 together and combined, and the entire building made 



most attractive side of the castle is on the east. There 

 is the most varied facade, and there are the elaborate 

 gardens, known en bloc as " The Terraces," added by 

 the third Marquess. It will be seen that this front 

 originally showed not two, but three, great bays 

 similar to those on the north. Two of these stood 

 close together near the north-east corner, and lighted 

 the great hall and a large chamber above. The third 

 was at the south-east angle, but looking due east. 

 This bay, and the whole of the central facade down 

 to the first of the two bays of the hall, was completely 

 transmuted into the classical style. But the Tudor 

 windows and architecture of the hall were left 

 untouched. 



As will be seen from the illustrations, the hand 

 of Nature is allowed to assist in the decoration of the 

 classic portion in an unusual degree, and with beautiful 



