Quite who was responsible for the design is uncertain, although the masons Walter Hancock of Much Wenlock and Lawrence Shipway of Stafford both had significant roles in the building campaign. It is of two principal storeys set above a basement and with an attic storey, and is E-plan, the front originally closed off by a forecourt. Gables, canted ends to the wings, towers, and chimneys add height and interest to the profile of the Hall.
To the rear was a loggia or arcade of nine bays, now enclosed. The interior of the Hall was largely remodelled in a heavy Jacobean style after by Frederick Pepys Cockerell, assisted by the then owner, Reginald Cholmondeley, an enthusiastic amateur sculptor. Further internal changes were made in by Rex Cohen.
As mentioned above Condover was a Royal manor during Anglo Saxon times. Although Owen bought the manor of Condover, near Shrewsbury, in , and built a fine red sandstone house which was completed in , the year of his death and possibly finally completed by his son, Sir Roger Owen. It is thought that Richard Owen did not appear to have lived at Condover Hall.
Contrary to legend, it had not been granted him by Queen Elizabeth I, but was purchased from the previously owning family, the Vynars, having previously leased it from He also bought or leased estates in Montgomeryshire and Essex. According to a legend recounted in by a person in Condover parish to folklorist Charlotte Burne, Owen was the son of an ostler at the Lion Inn at Shrewsbury, who rose by education into the legal profession.
Owen was a favourite of Queen Elizabeth who gave him licence for a retrial, with Owen as counsel for the prosecution or judge, by other accounts.
The trial was held in Shrewsbury where, because of fear for public order, Owen had the Queen invited to visit the town on pretence of seeing a play by the boys of Shrewsbury School to divert interest away from the trial. However the prosecution succeeded in finding the younger Knevett guilty before the Queen got there, for at Coventry she received a coded message from Owen: The play is played out.
Despite it, a curse remained, made by John Viam before his execution, that no heir of Condover would enjoy the estate peacefully, as did a bloodstain of a hand left by the murdered lord as he fell down running to the chapel which resisted all attempts to clean it. The bloodstain was eventually removed in the 20th century. Condover Hall remained in the hands of the Owen family for many years.
In Nicholas Smyth Owen died. He died in and Condover went to his cousin, Thomas Cholmondley. Unfortunately Thomas died in whilst on honeymoon. Whilst resident at Condover, Thomas acquired a painting of a unknown woman.
This painting came from Overleigh Hall, near Chester Strong, , p. It passed into the collection of Thomas Cowper who gained possession of the estate, in part through descent and in part through purchase, in c.
It then descended through the family to Thomas Cholmondeley of Condover The label on the reverse of the portrait which reads T.
It describes Condover …. In this house are many fine paintings, great part of which were collected by the late possessor, Nicholas Owen Smythe Owen, esq by whom the house and grounds were much improved. His reclining effigy in judicial robes rests on his elbow. The Elizabethan mansion remained in the Owen family for many centuries. When he died in the estate passed to his cousin Thomas Cholmondeley, but Thomas had little time to enjoy his inheritance as he died on his honeymoon and the estate passed to his younger brother Reginald Cholmondeley.
Reginald was a colourful character who entertained many important people of his day including the Pre-Raphaelite painter Millais. He invited Mark Twain to stay on two occasions and when Reginald went on his numerous travels around the globe let the house to Clive of India amongst others.
Red sandstone ashlar with yellow stone dressings; machine tile roofs with coped verges and prominent red brick stacks, some with attached shafts of star section, largely re-built in late C E-plan with shallow projecting full-height porch to centre.
Right north return; has rectangular tower with 2-light mullioned and transomed windows and partly open parapet to centre with prominent lateral stacks to left and right; 2-storey projection below tower with 4-light mullioned and transomed windows, flanked by 3-light mullioned and transomed windows to left and right; mullioned and transomed windows to outer sides of stacks, blocked except upper left, lower right painted with imitation Gothic glazing.
West front: has 5 gables, 3 to recessed centre and 2 to projecting wings, which, like those to entrance front, have shallow 2-storey 7-light bay windows; centre with 9-bay round-arched arcade to ground floor, probably once open c.
Burghley and Hatfield but now with C19 Gothic glazing; mezzanine storey above has 3-light mullion windows with wide pediments; shallow 5-light canted bay to centre carried up from mezzanine to gable; mullioned and transomed windows throughout except to mezzanine , all with single transoms.
Left south return: original design partly obscured by additions of late C19, c. Interior: much altered in late C19 and during C20, original stone fireplace in room to right of entrance porch has coupled Ionic columns below with pillars above, 3 round-headed arches above overmantel with 2 standing figures in outer arches flanking coat-of-arms of Roger Owen to centre: late C19 staircase in room to left of entrance porch with 4 flights to landing and carved lions to newels; some of restored early C17 panelling in centre rooms and projecting left wing the latter decorated with rosette and other floral motifs is probably original to the house, but some is said to have been brought here from elsewhere.
Condover Hall is the best large house of its date in the county.
0コメント