ARCHITECTURAL DESCRIPTION.
From the entries in the Court Rolls of the Manor of Hornsey
we have already learnt that in the year 1605 Robert Sprignell
purchased a house in Highgate from George Crowther and it
seems clear from other and later entries that his son Richard, who
came into possession of the estate 1626/7, dismantled or removed the
original (Crowther) structure and built the greater portion of the existing one. From the historical notes also we have learned how the land
now occupied by the forecourt was obtained by Richard from the Lord
of the Manor in 1638/9, and in this entry definite reference is made to
his " Capital messuage, lately built." The use of the word "Capital"
is of importance, as previously the word used has been "messuage"
alone, which suggests that the house was considerably enlarged at the
rebuilding. Very little, if any, of Crowther's house seems to have been
retained, although the details of some door jambs in the basement and
the general arrangement of the basement plan (which is to a certain
extent independent of the superstructure except so far as the external
walls are concerned) lead one to think that perhaps in this portion of the
house fragments of earlier walls may still exist. Some of the panelling
and the backs of certain doors, particularly one on the second floor,
may also be survivals of the earlier structure.
The plan.
The house shews a basement, ground, first and attic floor on the main
front towards Highgate Hill, though the present attic is a reconstruction (possibly on the old lines) after the destruction wrought by a fire
in 1865. (fn. 1)
The ground floor is approached by means of a flight of 5 steps from the
forecourt and the entrance leads directly into a panelled passage 8 feet
wide with two large rooms,one on either side, that to the right handsomely
panelled, that to the left now robbed of any old features. The passage
in its present form is a late feature, but it may represent the "screens" of
the 17th century hall. The end of the entrance passage opposite to the
front door is marked by doors, with fanlight over (of 18th century date),
which give access to the main stair, the carving of which has made the
house famous. This stair with the brickfront to the road and the ceilings
are the most notable features of the Sprignell reconstruction. To the
left and right of the stair are two rooms, the one being in alignment with
the northern boundary of the house, the other not projecting so far
south as the main block facing the road. The northern room (that to
the left on entering the stair from the passage) communicated by means
of a door on the garden or eastern wall with a series of rooms
forming a long narrow wing by the northern boundary of the site. This
wing, like the one over the carriage way, dates from the early 18th century and was no doubt added by the Da Costas; it originally possessed
an attic storey, removed a long time before the present sun-balcony
was planned. It was approached by a stair of which a few steps still
remain in the north room. Only the two external doorways of the wing
are now of interest. The panelled room to the right of the staircase,
used as the matron's room, is of irregular shape and has a large angle
fireplace. There is said to be an old plan in existence that shews a small
staircase in the thickening of the wall near the fireplace, but at the time
of writing the drawing cannot be found. The space remaining between
the external wall of the matron's room and the boundary of the site
is used for a carriage way to the gardens. Part of it is now occupied
with modern buildings.
On the first floor the front portion of the original house is occupied by
two big rooms, of which that to the south is the larger and includes
the space occupied by the entrance passage below. The handsome plaster
ceilings of both these rooms were practically destroyed in the 1865 fire
and have been restored. The back portion again shews the stair with
a room on either side; but about the beginning of the 18th century,
during the tenancy of the Da Costa family, a wing was thrown out over
the carriage-way to the southern end of the house. The main wall of
the house at this end appears to have been entirely removed from the
first floor upwards and, to make the room in the new wing reasonably
square, a large waste space or cupboard was constructed between the
partitions separating the old and new structures. The fireplace in this
room (plates 58 and 59) bears the monogram A.D.C., (fn. 2) while the north-east room retains part of a fine early renaissance plaster frieze round the
chimney breast (plates 60 and 61). The upper floor has lost much of its
interest owing to the fire of 1865, but the cupola and stair giving access
to it seem to have been modelled on lines which recall the original design.
The elevations.
Sprignell's house appears to have been constructed of bricks of a deep
red colour, measuring approximately 8¼" x 4¼" x 2¼", rising on the
average 4 courses to 10" throughout. The bond used is English (alternate courses of all stretchers and all headers), although it can only be
continued a few courses at a time owing to the intervention of windows
and other ornamental features. In the 18th century additions the
bricks in use appear to be of much the same size, though of
smoother texture, while the bond is Flemish (headers and stretchers
alternately in each course). Patching in larger and brighter bricks
occurs in places, while in others some of the older bricks seem to have
been re-used. The elevation to Highgate Hill is naturally the more important and merits the closest study, but the back or garden elevation,
although much plainer, shews certain features of interest in spite of the
fact that it has been so effectively disguised by the efforts of 18th century and more modern "improvers" that it is not easy to discern
exactly what the original arrangement was. The comparative rarity of
good examples of domestic architecture of the period just preceding
and during the Commonwealth invests Cromwell House with a special
value of its own. The front wall is constructed of cut and rubbed
and moulded brick work and, up to the main cornice above the first floor
windows, is in its original state. The entrance doorway appears to be
considerably later and may perhaps have been added in the 18th century
about the same time as the wing over the carriage-way built by the
Da Costas. Excepting this wing, the front of Sprignell's house was
practically symmetrical, the position of the first and second floors being
marked by boldly projecting moulded cornices. A central feature, including the entrance doorway and one window space on either side of
it, is formed by setting forward the front a few inches, the projection
being marked by rusticated quoins, the quoin being formed by cutting
down the bricks every fourth course to one half their depth. Both
cornices break round this projection, but, while the lower one is cut
through to permit the insertion of the 18th century entrance door, the
upper one breaks out again over the central window. The lower members of both these cornices break out also slightly to cover the frieze
above each of the windows, except in the case of the central one on the
first floor. A moulded plinth runs across the full width of the main front,
interrupted only by the principal entrance, while there is a projecting
moulded brick cill beneath each ground floor window which may have
been cut into when the 18th century sashes were added. Except for
the centre one on the first floor, the windows generally are of an uniform
character, with flat arched heads of cut and rubbed bricks and eared
brick architraves, the only variation being that the friezes above them
are curved or "pulvinated" where they occur on the central feature.
The window over the entrance door is further elaborated, the projection
of the architrave being slightly increased as well as the depth of the
upper "ear." There is a double break in the centre of the architrave,
while an additional moulded member is introduced that runsright round
the breaks in the architrave and across the face of the flat arch above
the window, the whole being flanked by a pair of rather severe scrolls
or volutes of cut and rubbed brick standing upon slightly projecting
moulded bases. These volutes are good examples of the method of
building up in soft brick for carving in ordinary brick units, instead of
in soft brick lumps with imitation brick joints added afterwards. The
brick parapet with the four pilaster strips is modern, dating presumably
from the fire of 1865, but it may be on the old lines.
Eighteenth century sashes have replaced the original mullioned
windows, the design of which we may judge from the old light that
still remains concealed in a cupboard in the south-eastern corner of the
front panelled room on the ground floor. (fn. 3) The dormer windows may
replace older lights destroyed in the fire, but it is impossible to say for
certain owing to the disagreement between early woodcuts, one of
which indicates three pedimented dormers and a cupola, while another
omits not only the dormers but the cupola as well. The 18th century
doorway has a semi-circular head with a keyblock, moulded archivolts
and imposts and rusticated surrounds. The composition consists of
two semi-circular Doric columns supporting an entablature of which
the architrave, frieze and lower members of the cornice break out
above the columns. The doorway is approached by a flight of five steps
from the forecourt (itself approached by five more from the roadway).
The gates to the main road are flanked by a pair of square rusticated
stone piers with moulded caps and cavetto finial and ball terminal,
buttressed on either side by stone scrolls with carved spandrels supported
on brickwork piers with moulded bases. The upper part of the brick wall
round the forecourt is modern, but the lower portion may be as early as
the 18th century and contemporary with the gate-piers. No doubt it
marks the limitation of the part taken in from the waste in 1638.
The wooden gates are in two panels, the upper of inverted segmental
shape enriched with pierced carvings; they are probably of 18th century
design and of the same date as the entrance doorway.
The elevation of the building towards the gardens is of a simpler character and shews a second storey in place of the attic on the main front,
while the central portion is carried up to form yet another floor over the
staircase, terminating in a flat roof, from whence a magnificent view of
London can be obtained when conditions are favourable. The wooden
cornice at this point appears to be of 18th century character, but the
brickwork is all in English bond similar to that on the main front,
though the bricks seem to be rather brighter in colour. A moulded
brick string runs across the heads of the ground floor windows and a
moulded brick cornice across those of the first floor, both features being
cut through, as necessary to permit of the insertion of the staircase
windows, which are at varying levels conforming to the quarter
landings.
The windows appear to date from the 18th century, but the two lighting
the charming panelled back-room seem to be of earlier date than the
rest, while they are the only ones without the usual flat arched heads
of cut and rubbed bricks.
The doorhead from the staircase landing on the ground floor into the
garden is possibly of early 18th century character. It exhibits no
features of special interest, but the hood above consists of a pair of
consoles enriched with carving in the spandrels supporting a cornice
with a flat top, the mouldings breaking out slightly above the consoles.
In the narrow wing running alongside the northern boundary
are two 18th century doorways similar to one another in design
and without any projecting hoods. Each door case consists of a pair
of Doric pilasters with entablature, its cornice enriched with dentils,
breaking out slightly over both pilasters. The door itself is in six panels,
of which some have been glazed. The windows all have segmental
arched heads. On the wall of the second floor of the main building is a
blocked elliptical opening with shaped brick ornament above, partly
surrounded by a brick band and apparently of original date, suggesting
a more elaborate treatment of the east front, possibly with shaped brick
gables. A similar elliptical opening existed no doubt behind the
wooden staircase projection that has been constructed on the other side
of the main stair. Beneath the staircase window on the ground floor
is an 18th century stone panel carved with swags, foliage and shells,
refixed no doubt from some other position.
Interior.
Ground Floor.
We have no certain indication of the original plan of Sprignell's house,
but if it followed the normal arrangement it is probable that the present
entrance vestibule and the room to the left of it constituted the original
hall, the door of which would have been nodoubt at the present entrance.
This lefthand room has retained no feature of interest, but a chimney stack of large dimensions remains at the north end. The vestibule,
which would occupy the position of the original screens, has been evidently formed in the late 18th century, to which date we can assign
the entrance and the door and fanlight leading to the old stair. The
walls are lined to a height of 7 feet with oak panelling five panels high,
the uppermost forming a shallow frieze finished with a slender cornice
with shaped dentils. The panels are moulded on three sides, the bottom
being splayed, and it is evident that the panelling is not in its original
position, but has been refitted here; it seems to be of earlier date than
that in the large room to the right of the passage, and resembles some
work in the south-east room leading off the staircase known till recently
as the Matron's room, both being possible survivors of the Crowther
house. The principal room on the right hand of the entrance passage
is panelled throughout and contains a handsome ceiling of a simple
geometric design of circles and half-circles, the regularity of which
is slightly interrupted over the fireplace to allow for the projection
of the plaster cornice. The panelling is five panels high, with an
entablature between it and the ceiling; the moulded cornice is furnished
with dentils, and the frieze (carved with strap and jewel ornament) is
divided into panels by tapering pilasters shaped like triglyphs and
enriched with spindle ornament, around the base of which the moulded
architrave breaks in the form of miniature pendants. The mouldings
of the panels are mitred (plate 13).
The fireplace opening has been partly cut away to allow of the insertion
of an early 19th century chimneypiece, to which a modern interior has
been fitted. The original enriched architrave stops and is mitred on an
unusually high plinth and is surmounted by a deep carved frieze consisting of a central panel of black marble with side consols and similar
supporting brackets in the architrave below. On either side are carved
swags with trophies of arms, including a cuirass, helmet, musket
and pennons, a basket and barrel with bombs and two mounted cannon.
Above the frieze is a small cornice part of which has been cut off square
at the ends. The original overmantel appears to have been removed
but retains two carved pilasters with Ionic capitals. They stand on
square pedestals ornamented with winged cherubs' heads in high relief.
Over the pilasters in the frieze are two boldly carved cartouches
re-painted in modern times with arms, crest and motto (see page 33).
These should be compared with the similar shields by Francis Cleyn in
the Gilt room at Holland House which date from c. 1640. The doors
and architraves in this room may be early 18th century, but the soffits
of the window openings are possibly original. In the east wall, to the
right of the fireplace, a cupboard discloses one of the oak window frames
mentioned on page 40 which date from Sprignell's building and which
were, no doubt, originally the pattern throughout. It is of two lights
with transome and retains its original wrought iron stanchions (plate 51).
The main staircase will be described later; a small secondary stair
leading from the north-east room (otherwise entirely modern in
character) dates from the first half of the 18th century. Its balustrade
is supported on a cut string, with three twisted and moulded balusters to
the first step and two to the second. The balusters above this have
been replaced by wall panelling forming a dado, and alterations have
since been made.
The south-east room, already referred to as the "Matron's room,"
possesses a large angle fireplace and is panelled from floor to ceiling.
The panelling is 8 panels high, moulded on three sides, the lower one
being chamfered like the panelling in the vestibule, and the cornice is
moulded and has shaped dentils. The panelling bears signs of having
been altered or refixed. The door is hung to a moulded frame with
stops, but towards the stair it has been faced with panels and eared
architraves of Sprignell's date. This will be described later. The
window linings are probably of the 18th century.
First Floor
The fireplace opening, which has suffered some alteration, is flanked by
pilasters of Doric character, with two ranges of jewelled and spindle
ornament on the face. The lower part of the pedestals has disappeared.
The mantelshelf is supported by the original three brackets decorated
with spindle ornament, but the frieze between these brackets is filled
with modern mirrors. Above the shelf is another pair of pilasters with
pedestals similar in character to those below, the space between them
being filled with panelling in keeping with the character of the room but
apparently modern or refixed. Above each pilaster is a section of entablature the upper members of the cornice being continued right across,
while over each pilaster is a shaped bracket and a section of architrave.
On the first floor the principal features of interest are the two
enriched plaster ceilings in the large front rooms. The Survey Committee have in their possession letters (already quoted on pp. 32 and 33)
from Mr. Isaac Jones, who assisted the architect who had charge of the
restoration of Cromwell House after the fire in 1865. From these it
appears that the two original ceilings were entirely destroyed, but that
drawings (one of which is reproduced on plate 17) were prepared from
the fragments for the purposes of restoration. The work appears to
have been executed by the usual modern methods and not to have been
pressed in situ, so that the ceilings can claim only to have been fairly
good copies of the originals. They may be briefly described as
follows—
That in the smaller or south-west room consists of a geometrical design of which the principal recurring feature is an octofoil panel inset
with a strapwork pattern and jewelled ornament in low relief. The
panels are formed by flat moulded ribs enriched with leaf pattern, and
the intervening spaces are subdivided by similar ribs intersecting at
points marked by small moulded pendants, each division being furnished
with patterns in relief. The whole is surrounded by a plaster cornice
with guilloche ornament.
[Ceiling design in south-west room]
The south-eastern room is considerably larger and the ceiling is
divided into eleven compartments by heavily moulded plastered beams.
The mouldings have lavish classical enrichments and the soffit is covered
by a double band of guilloche ornament. Each compartment is filled
with strapwork within raised borders of modelled plaster, but in the
central and largest panel, which is oval in shape, is an achievement of
the Sprignell arms surrounded by an enriched band. The inaccuracy
in the arms has been discussed on p. 33.
The walls of the north-east room leading from the staircase are covered
with panelling of early Georgian date. Round the chimney breast
is preserved a plaster frieze (plates 60, 61), composed of cherubs and
vase-shapes alternately, with birds, flowers and strap ornament
between. This design is beautifully executed and may have formed
part of the decoration of the earlier house.
There is little of interest in the large south-east room leading off the
staircase excepting the fireplace (plate 59), which is of marble with
inlaid Ionic columns on each side, dating from the end of the 18th
century.
In the room at the south end of the building over the archway is an
early 18th century marble fireplace with shaped top and carved and
panelled sides (plates 58, 59). The moulded shelf breaks in the centre
over a keystone on which is carved a cartouche bearing the interlaced
monogram ADC. (either Anthony or Alvares Da Costa).
On the second floor little of interest remains, but in the north-east room
off the staircase the fireplace has a narrow cornice and moulded
surround of early 18th century character.
In the basement, as has already been suggested, there are one or two
features that may possibly have belonged to an earlier house. The door
to the kitchen and two others have large solid frames with moulded external angle and stops of the early 17th century. The door opposite
the kitchen has moulded battens and ledges. Across the ceiling are some
large chamfered beams.
The Staircase
The architectural feature for which the house is most famous is the great
staircase, which can certainly be dated to Richard Sprignell's rebuilding
in 1638 (plates 7 to 12 and 29 to 44). The elaborately carved
balustrading from the basement to the second floor and the military
figures (fn. 4) set on the newel posts and the fine doorways on each floor
are of outstanding interest and by their architectural character confirm
the date. Before describing the stair we should note, on the authority
of Mr. Isaac Jones (whose recollections of the restoration of the plaster
ceilings have already been quoted), that copies of the newels, the figures
and the balustrades were discovered, after the fire of 1865, on the walls
of the staircase. These have now vanished, but traces of either a
wooden or painted copy can still be seen in certain markings in the
plaster. Mr. Jones, who made drawings of these, informed the Committee that they resembled the figures in a window in S. Chad's
Church, Farndon, as illustrated in George Ormerod's History of
Cheshire. The Farndon window commemorates local celebrities who
assisted Charles I. at the siege of Chester. The figures on the
newels may also be compared with the drawings published on p. 28
of the London Survey Committee's Monograph on Eastbury Manor,
Barking. The figures, which are detachable, and have evidently been
carved separately from the stair and by a superior hand, are described
as follows by the authorities of the Victoria and Albert Museum—
"They are represented as wearing helmets or broad brimmed hats, both
with plumes of feathers, plain leather jerkins with narrow turn-over
collars, short breeches to the knees and stockings, and shoes with rosettes
and bows or top-boots. The officer, two targeteers and the caliver-man
have metalbreast and back-plates with tassels. All, except the drummer,
wear sword belts and swords. The targeteers carry oval and circular
shields and the musketeers bandoliers; one carries a musket. The figures
include 2 targeteers or rondeliers, 1 drummer, 2 musketeers, 1 pikeman, 1 officer and 1 fifer. The long hair and pointed beard denotes a
survival of the style of Charles 1st." It has been said that the figures
represent the new model army of Oliver Cromwell, but this is precluded by the date and, moreover, there is nothing to suggest Puritan
soldiers in their style. (fn. 5)
The staircase is of massive construction and is planned around a square
well at the angles of which are square oak newels with finials and pendants. Between each pair of newels is a continuous supporting string,
moulded with full entablature—cornice, pulvinated frieze and architrave. The handrail is heavily moulded, the top being formed of three
rolls in place of the usual single one. The newels rise above the handrail and carry pedestal finials, modelled on the tapering pilaster of the
period, with Ionic capitals, jewelled necking above the shoulder and
moulded bases. On each face is a lion's mask and ring carved in high
relief. Upon these pedestals stand the figures of soldiers already
described; they are omitted only on the lowest flights to the basement
and on the topmost half-newel on the second floor. The pendants are
moulded and pierced and terminate with scrolls and jewelled drops.
The space contained by the handrail and string between each pair of
newels is filled with a single panel of vigorously designed carving. The
work is pierced and consists of a framework of strap ornament (partly
interlacing) adorned with scrolls, volutes, etc. upon most of which are
carved military trophies and emblems. These include (from the ground
floor upwards) a collar of plate armour and two spears; a shield and
two pennons; a drum and two halberds; a helmet and two pikes; a
cartouche bearing the cross of St. George and a pike; a circular shield
or targe with scallopped edge and a weapon shaped like a pitchfork; a
cuirass with a tilting spear, pike and baton. The remaining panels are
composed of elaborate strapwork adorned with festoons and wreaths of
laurel and palm branches.
There are five magnificent door cases (fn. 6) and doors on this staircase, one
on the ground floor and four on the first floor. The door on the ground
floor, the inner side of which has already been described, is (towards
the stair) framed in six panels, the two upper ones having shaped
moulded panels. The door case has a wide eared architrave with carved
ornament below the ears consisting of half pilaster strips, scrolls and
jewel ornament. The architrave and pulvinated frieze over are both
broken by a central panel, formed of a shaped tablet with scrolls supported on blocks. A cleft pediment forms the door head, in the centre
of which is a panelled and shaped pilaster supporting a moulded finial.
The doors and cases on the first floor are similar to that just described,
but the doors are of eight panels, the uppermost pair, which are the
smallest, being ornamented with a shaped and raised panel enclosed in a
moulded frame with ears at the angles. There are some doors of simpler
design on the second floor, of five panels with moulded eared architraves. One of these doors is built up of three thicknesses, the internal
face being of much earlier character.
The windows to the staircase are modern, excepting the lower range,
which have moulded architraves and panelled shutters dating from the
18th century.