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THE COURT MAGAZINE,

AND

Belle Assemblée,

FOR MAY, 1835.

GENEALOGICAL MEMOIR OF LADY NEWARK.

LADY NEWARK is the second daughter of the Right Hon. Edward John Littleton, of Teddesly, in the county of Stafford, and wife of Charles Viscount Newark, eldest son of the present Earl Manvers.

The family of Littleton, from which her Ladyship descends, has been of long standing in the county of Worcester, and had considerable possessions in the vale of Evesham, particularly at South Lyttleton, whence the name has probably been assumed in the beginning of the thirteenth century.

THOMAS DE LUTTLETON, about the nineteenth year of Henry III, wedded Emma, only daughter and heiress of Sir Simon de Frankley, Knt., by whom he had an only daughter, Emma, wife of Augerus de Tatlynton. Thomas de Luttleton espoused, secondly, Anselm, daughter and heiress of William Fitswarren, of Upton, in the county of Worcester, one of the Justices itinerant, and Judge of the Common Pleas, 12th Henry III, and Sheriff of Worcestershire the following year, by whom he left three He was succeeded at his decease by

sons.

the eldest,

EDMUND DE LUTTLETON, who resided at Cowlesdon, and had lands at Naunton, in Worcestershire, which still continue in possession of a branch of the family of Lyttleton. He died without issue, and his estates devolved upon his youngest and only surviving brother,

THOMAS DE LUTTLETON, who represented the county of Worcester in Parliament from 9th Edward I, to the 34th Edward III, and was succeeded at his decease by his eldest son, THOMAS DE LUTTLETON, who recovered the manor of Frankley by a writ of right, in failure of issue, to his cousin Thomas de

VOL. VI.NO. V.

Tatlynton. This Thomas de Luttleton was Esquire of the body of three successive Kings, Richard II, Henry IV, and Henry V, and from each of those monarchs he received several grants of money, timber, &c. He died in the first year of Henry VI, and left an only daughter and heiress,

ELIZABETH DE LUTTLETON, who was married to Thomas Westcote, Esq., a gentleman of Devonshire, of ancient descent. Her family pride however, and the large possessions and inheritances she obtained from her ancestors, De Luttleton, and from her mother, the daughter and co-heiress of Quartermain, and other ancestors, induced her to continue the honour of her name, and therefore to provide, by Westcote's assent before marriage, that her issue inheritable should bear the name of Luttleton. Upon this marriage, Mr. Westcote settled at Frankley, and served the office of Escheator of Worcester, in 1450. Dying soon after, he was succeeded by his eldest son,

THOMAS DE LYTTLETON, the celebrated Judge. This gentleman having adopted the legal profession, was, in 1454, called to the degree of Serjeant-at-law, and in the following year nominated King's Serjeant, when he rode Justice of Assize in the Northern Circuit. In 1464, Mr. Serjeant Lyttleton was appointed one of the Judges of the Court of Common Pleas. In the 15th year of Edward IV, he was created with the Prince of Wales, and other persons of distinction, a Knight of the Bath. Sir Thomas wrote his "Treatise on Tenures" after he had ascended the bench. He married Joan, widow of Sir Philip Chetwynd, of Ingestre, in the county of Stafford, and daughter and co-heir of Sir William Burley, Knt., of Broms

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croft Castle, in Shropshire, by whom he had, with other issue, William his successor, ancestor of the Lords Lyttleton, and

RICHARD LITTLETON, Esq., who followed the profession of his father, and to whom the treatise on tenures is inscribed. He married Alice, daughter and heir of William Winesbury, Esq. of Pillaton Hall, in the county of Stafford, by whom he had, with other issue, a son and successor,

SIR EDWARD LITTLETON, Knt., who inherited, twelve years after, the estates of his mother, upon that lady's decease. This gentleman had a grant from King Henry VIII, for life, of the office of Constable and Keeper of the Castle of Stafford, Keeper of the King's Parks, and Bailiff of his manor of Fairbriggs in Staffordshire. By his first wife, Helen, daughter of Humphrey Swynnerton, Esq., of Swynnerton, he left two daughters and a son and successor,

SIR EDWARD LITTLETON, Knt., who wedded Alice, daughter of Francis Cockain, Esq., of Ashburne, in Derbyshire. He died 19th July, 1574, and was succeeded by his eldest surviving son,

SIR EDWARD LITTLETON, Knt., who represented the county of Stafford in Parliament, in the 39th year of the reign of Queen Elizabeth. Sir Edward wedded Margaret, daughter and co-heir of Sir William Devereux, Knt., youngest son of Walter, Viscount Hereford, and was succeeded by his eldest

son,

SIR EDWARD LYTTLETON, M. P. for Staffordshire, in the 21st James I, and Sheriff of the same county in three years afterwards. He married Mary, daughter of Sir Clement Fisher, of Packington, in Warwickshire, Knt., and had, with other issue, a son and successor, EDWARD LITTLETON, Esq., Sheriff and Deputy-Lieutenant for Staffordshire. In the third year of Charles I. this gentleman was raised to the dignity of Baronet. In consequence of his loyalty, he was rated by the Sequestrators at £1347 6s. 8d. for composition for his estate. He married Hester, daughter of Sir William Courteen, of Lon

don, Knt., and was succeeded by his eldest surviving son,

SIR EDWARD LITTLETON, second Baronet, High Sheriff and Deputy-Lieutenant for the county of Stafford. By his first wife, Mary, daughter of Sir Walter Wrotesley, Bart., of Wrotesley, in Staffordshire, he had, with other issue, Edward, who espoused Susanna, daughter of Sir Theophilus Biddulph, of Elm-hurst, in Staffordshire, and died before his father, leaving, with other issue, a son, who succeeded his grandfather

as

SIR EDWARD LITTLETON, third Baronet. This gentleman married Mary, only daughter of Sir Richard Hoare, Knt., who had been Lord Mayor of the city of London, and one of its representatives in Parliament during the reign of Queen Anne; but died without issue, 2nd Jan. 1742, when he was succeeded by his nephew,

SIR EDWARD LITTLETON, fourth Baronet, who removed the family seat from Pillaton to TEDDESLY. He wedded Frances, eldest daughter of Christopher Horton, Esq., of Catton, in the county of Derby; but dying without issue, in 1812, the baronetcy expired, and the estates devolved upon his grandnephew,

EDWARD JOHN WALHOUSE, the present proprietor, who assumed the surname and arms of LITTLETON, and now represents the Staffordshire branch of that family. Mr. Littleton, who recently held office as chief Secretary for Ireland, and who represents in Parliament the Southern Division of Staffordshire, was born 18th March 1791, and married, 21st Dec. 1812, Hiacinthe Mary, daughter of Richard, Marquess Wellesley, by whom he has issue,

Edward Richard- Kiacinthe-AnneEmily.-Caroline Anne.

The second daughter, EMILY, whose por trait illustrates this month's number, was married, as aforesaid, on the 16th August 1832, to Charles, Viscount Newark, eldest son of Charles Herbert Pierrepoint, Earl Manvers.

SKETCHES FROM REAL LIFE.-No. III.

TAKEN AT THE ATHENEUM CLUB HOUSE.

As the locale in which our sketches of this month will be taken, may be supposed to possess some interest in the eyes of those of our readers who have not yet found admittance to its favoured precincts, we shall doubtless he doing an acceptable service to many in giving an outline of its chief features for the places where the remarkable individuals "do congregate," whom we are now and in future to introduce to the reader's personal acquaintance, must not be regarded in any other light than as classical spots. Indeed the above-named among those spots has intrinsic claims to the title, even in its strictest sense; for Rome herself, in the height of her grandeur and beauty, might have been proud to point the attention even of a Greek sojourner within her walls, to such a building as the Athenæum Club-house in Waterloo Place-at least so far as relates to all its external, and to some of its internal features. Not that any such building as the Athenæum could have existed either at Rome or Athens during the “ palmy state" of those marvellous capitals; because it combines features and ornaments that could not have been united together in the architecture of the periods in question. The religious and the secular were never permitted to associate their characteristics in the same edifice; the feeling for the one being too intense and universal, and the taste in the other being too simple and severe: whereas we of modern times have wholly repudiated the one, and magnificently violated the other. There are buildings to be found in each of the European capitals of any note, that unite in their own individual forms, every characteristic of every form known and recognised among the inventors and perfectors of the most noble and beautiful of all the mechanical arts.

The Athenæum does not violate the severity of the antique taste to this extent; nor indeed does it violate that severity at all, so as to be felt as an abandonment of the true principles of taste itself; for the placing of the statue of the Goddess on the summit of the pediment over the eastern portico, and the sculpture of the Panathenaic festival beneath the entablature of the building all round, are not felt as a desecration of those strictly religious associations originally connected with such objects and ceremonies. But there is one feature of the Athenæum which is felt as

such a desecration—at least by the few who still attach any associated sentiment to such matters, and regard the relics that have come to us from the times in question, as something more than forms merely, and to be looked at solely with reference to their merit and beauty as such. We now refer to the placing of a cast of the Venus Victrix in the vestibule of this (quasi) resort of wisdom, learning, and literary distinction alone.

But this is, perhaps, "to consider too curiously." At any rate, it is not to describe, which is all that we profess to do in these sketches, whether they appertain to persons or things.

The Athenæum Club-house, then, is a rectangular building, three sides only of which are visible to observation. The western side forms a beautiful Doric façade, with a projecting portico, surmounted by a pediment, on the exterior apex of which is placed a statue of Minerva. The simplicity of the Doric order is, of course, preserved in all the minor details of the building; and the chief feature of the work, as a whole, is a series of copies from that unrivalled production of Greek art, the Panathenaic procession, which formerly occupied the upper portion of the wall within and beneath the portico that surrounded the Parthenon at Athens. This wonderful piece of sculpture, unquestionably designed by Phidias himself, and many parts of which were doubtless touched at least by his own hand-extended, in its original state, round the whole outer wall of the Parthenon, at the top, nearest to the ceiling of the portico. Of the original fragments which remain to us, several are at the British Museum-some of them in a state as perfect as when they left the artist's hand. Several others are in the gallery of the Louvre at Paris, and elsewhere; and of these latter, casts are added to the collection in the British Museum. But the series, as it now exists round the upper portion of the external walls of the Athenæum Club-house, has, we believe, been rendered more complete than it is elsewhere to be found, by restoring the wanting parts, from Stewart's drawings of the frieze, as it existed in his time.

There is unquestionably nothing in existence of its kind at once so beautiful in itself, and so extensively and intimately connected with grand, noble, and beautiful associations,

as this series of sculptures; and therefore it is that we have referred to it more in detail than we should otherwise have felt called upon to do.

On passing beneath the portico of the Athenæum, which is reached by a short flight of steps, you enter a spacious vestibule, the ceiling of which is supported by a double range of columns. This vestibule is, by many degrees, the most elegant and imposing portion of the interior of this building. Its chief individual feature of attraction is a spacious stone staircase, which faces you as you enter; ascends in a line (between bronzed and gilded balustrades) to about half its height; and then branches off right and left, conducting you at once to the corridor leading to the upper rooms. The only one of these that we need refer to in detail, is the grand drawing-room, or whatever else that noble apartment may be called, within whose gorgeous walls we shall find some of the objects of our search. It is of great length, extending along the whole front of the building; its proportions are good, excepting, perhaps, that its height is not quite sufficient to carry off its length. Its architectural ornaments are in correct taste, in point of design, but too heavy and massive in detail and execution, and its furniture is more gorgeous and glaring than the ostensible purposes and objects of the establishment demand or justify.

This latter is the crying error of the Athenæum, as it is of nearly all the other similar establishments which have arisen out of its happy example. Their apartments, and various other appointments, put forth a lavish display of wealth, and include a combination of superfluous luxuries, which, however they may correspond with the means and habits of many of the persons to whom they appeal, have had a mischievous effect upon the whole, by engendering artificial wants and necessities in a grade of life to which they had not before descended. At present, the son of a well-to-do city shopkeeper fancies he cannot read the Times newspaper in comfort, unless he has about him all the objects of personal luxury, which his grandfather associated exclusively with the establishment of a nobleman.

But to our office," the office opposite to St. Peter's" we expect it will be deemed, by all on whom it is destined to be exercised, except those happy few whom our consciences will allow us to hold up as angels,-between which latter and the opposite extreme there

is no intermediate state, or, at best, only such a one as its inmates feel to be purgatory.

Let us, however, first guard against any misinterpretation of the design of these immortal effigies of our fragile pencil (for immortal they are destined to be-for at least a month), as evinced in the mere execution. As will have been already felt by those discriminating spectators who have done us the honour to inspect them with the eyes of real connoisseurship, their nature is Epic, rather than either historical or dramatic, and we shall freely avail ourselves of the poetic licence proper to that noblest department of our art. In a word, our pencil, like that of our illustrious contemporary and coadjutor, H. B., is not to be "cabinned, cribbed, confined" by the saucy rules of time and place; but, in the exercise of its magical power of calling up at will the images and effigies of living men*, feels itself wholly free to place them in whatsoever situation, and under whatsoever circumstances, it sees fitting, in the exercise of its high will and pleasure, always and only provided those circumstances and situations be fitting and proper to the individuals respectively connected with them. For example,--should we think it meet to place upon our canvas the effigy of Mr. Cobbett-(and we may do so-for, in respect of mere worldly grade,

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'Naught is for us too high, nor aught too low," provided the party holding it be sufficiently distinguished from his or her contemporaries in the same grade, to have become a "public character,")—if, we say, it should please us, for example, to place on record the outward man of Mr. Cobbett, assuredly we shall not introduce him into a Wednesday evening's conversazione at Lady Salisbury's, in Arlington-street; but rather at his own back shop in Bolt-court, or his pig-sty at "Normandy Farm.” Or, should we dare to delineate the

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anti-population" features of Miss Martineau, we shall certainly not associate them with the inviting Ottomans of Lady Jy's boudoir, but rather with the wooden forms of the Mechanics' Institution.

In like manner (and this is what we desire to impress upon the spectator of our Gallery of National Portraits)-it is not to be supposed, of any particular individual whom we may from time to time hand down to posterity, that he or she does in point of fact, in any

*Aye, and women too-for "to that complexion it will come-at last," so our fair friends must look about them.

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