The Sketch-Book of Geoffrey Crayon

harried by the moss-troopers of Stratford. The only sign of domestic life that I met with was a white cat stealing with wary look and stealthy pace towards the stables, as if on some nefarious expedition. I must not omit to mention the carcass of a scoundrel crow which I saw suspended against the barn-wall, as it shows that the Lucys still inherit that lordly abhorrence of poachers and maintain that rigorous exercise of territorial power which was so strenuously manifested in the case of the bard.
    After prowling about for some time, I at length found my way to a lateral portal, which was the every-day entrance to the mansion. I was courteously received by a worthy old housekeeper, who, with the civility and communicativeness of her order, showed me the interior of the house. The greater part has undergone alterations and been adapted to modern tastes and modes of living: there is a fine old oaken staircase, and the great hall, that noble feature in an ancient manor-house, still retains much of the appearance it must have had in the days of Shakespeare. The ceiling is arched and lofty, and at one end is a gallery in which stands an organ. The weapons and trophies of the chase, which formerly adorned the hall of a country gentleman, have made way for family portraits. There is a wide, hospitable fireplace, calculated for an ample old-fashioned wood fire, formerly the rallying-place of winter festivity. On the opposite side of the hall is the huge Gothic bow-window, with stone shafts, which looks out upon the courtyard. Here are emblazoned in stained glass the armorial bearings of the Lucy family for many generations, some being dated in 1558. I was delighted to observe in the quarterings the three white luces by which the character of Sir Thomas was first identified with that of Justice Shallow. They are mentioned in the first scene of the "Merry Wives of Windsor," where the justice, is in a rage with Falstaff for having "beaten his men, killed his deer, and broken into his lodge." The poet had no doubt the offences of himself and his comrades in mind at the time, and we may suppose the family pride and vindictive threats of the puissant Shallow to be a caricature of the pompous indignation of Sir Thomas.
    "Shallow. Sir Hugh, persuade me not: I will make a Star Chamber matter of it; if he were twenty John Falstaffs, he shall not abuse Sir Robert Shallow, Esq.
    Slender. In the county of Gloster, justice of peace and coram.
    Shallow. Ay, cousin Slender, and custalorum.
    Slender. Ay, and ratolorum too, and a gentleman born, master parson; who writes himself Armigero in any bill, warrant, quittance, or obligation, Armigero.
    Shallow. Ay, that I do; and have done any time these three hundred years.
    Slender. All his successors gone before him have done't, and all his ancestors that come after him may; they may give the dozen white luces in their coat. . . .
    Shallow. The council shall hear it; it is a riot.
    Evans. It is not meet the council hear of a riot; there is no fear of Got in a riot; the council, hear you, shall desire to hear the fear of Got, and not to hear a riot; take your vizaments in that.
    Shallow. Ha! o' my life, if I were young again, the sword should end it!"
    Near the window thus emblazoned hung a portrait, by Sir Peter Lely, of one of the Lucy family, a great beauty of the time of Charles the Second: the old housekeeper shook her head as she pointed to the picture, and informed me that this lady had been sadly addicted to cards, and had gambled away a great portion of the family estate, among which was that part of the park where Shakespeare and his comrades had killed the deer. The lands thus lost had not been entirely regained by the family even at the present day. It is but justice to this recreant dame to confess that she had a surpassingly fine hand and arm.
    The picture which most attracted my attention was a great painting over the fireplace, containing likenesses of Sir Thomas Lucy and his family who inhabited the hall in the latter part of Shakespeare's lifetime. I at first thought that it was the vindictive knight himself, but the housekeeper assured me that it was his son; the only likeness extant of the former being an effigy upon his tomb in the church of the neighboring hamlet of Charlecot.*
    * This effigy is in white marble, and represents the knight in complete armor. Near him lies the effigy of his wife, and on her tomb is the following inscription; which, if really composed by her