Little Moreton Hall
Little Moreton Hall, also known as Old Moreton Hall, is a moated half-timbered manor house south-west of Congleton in Cheshire, England. The earliest parts of the house were built for the prosperous Cheshire landowner William Moreton in about 1504–08 and the remainder was constructed in stages by successive generations of the family until about 1610. The building is highly irregular, with three asymmetrical ranges forming a small, rectangular cobbled courtyard. A National Trust guidebook describes Little Moreton Hall as being "lifted straight from a fairy story, a gingerbread house." The house's top-heavy appearance, "like a stranded Noah's Ark", is due to the Long Gallery that runs the length of the south range's upper floor.
The house remained in the possession of the Moreton family for almost 450 years, until ownership was transferred to the National Trust in 1938. Little Moreton Hall and its sandstone bridge across the moat are recorded in the National Heritage List for England as a designated Grade I listed building; the ground on which Little Moreton Hall stands is protected as a Scheduled Monument. The house has been fully restored and is open to the public from April to December each year.
At its greatest extent, in the mid-16th century, the Little Moreton Hall estate occupied an area of ; it contained a cornmill, orchards, gardens and an iron bloomery with water-powered hammers. The gardens lay abandoned until their 20th-century re-creation. As there were no surviving records of the layout of the original knot garden, it was replanted according to a pattern published in the 17th century.
History
The name Moreton probably derives from the Old English mor meaning "marshland" and ton, meaning "town". The area where Little Moreton Hall stands today was named Little Moreton to distinguish it from the nearby township of Moreton cum Alcumlow, or Greater Moreton. The Moreton family's roots in Little Moreton can be traced to the marriage in 1216 of Lettice de Moreton to Sir Gralam de Lostock, who inherited land there; succeeding generations of the de Lostocks adopted the name of de Moreton. Gralam de Lostock's grandson, Gralam de Moreton, acquired valuable land from his marriages to Alice de Lymme and then Margery de Kingsley. Another grandson, John de Moreton, married heiress Margaret de Macclesfield in 1329, adding further to the estate. The family also purchased land cheaply after the Black Death epidemic of 1348. Four generations after John de Moreton, the family owned sixteen messuages, a mill and of land, comprising 560 acres of ploughland, 80 acres of pasture, 20 acres of meadow, 20 acres of wood and 20 acres of moss. The dissolution of the monasteries in the mid-16th century provided further opportunities for the Moretons to add to their estate, and by the early years of Elizabeth I's reign, William Moreton II owned two water mills and of land valued at £24 7s 4d, including 500 acres of ploughland, 500 acres of pasture and 100 acres of turbary.Little Moreton Hall first appears in the historical record in 1271, but the present building dates from the early 16th century. The north range is the earliest part of the house. Built between 1504 and 1508 for William Moreton, it comprises the Great Hall and the northern part of the east wing. A service wing to the west, built at the same time but subsequently replaced, gave the early house an H-shaped floor plan. The east range was extended to the south in about 1508 to provide additional living quarters, as well as housing the Chapel and the Withdrawing Room. In 1546 William Moreton's son, also called William, replaced the original west wing with a new range housing service rooms on the ground floor as well as a porch, gallery, and three interconnected rooms on the first floor, one of which had access to a garderobe. In 1559 William had a new floor inserted at gallery level in the Great Hall, and added the two large bay windows looking onto the courtyard, built so close to each other that their roofs abut one another. The south wing was added in about 1560–62 by William Moreton II's son John. It includes the Gatehouse and a third storey containing a Long Gallery, which appears to have been an afterthought added on after construction work had begun. A small kitchen and Brew-house block was added to the south wing in about 1610, the last major extension to the house.
File:Elizabethan Fireplace, Little Moreton Hall.jpg|thumb|upright|right|Fireplace in the Parlour with plasterwork overmantel displaying the royal arms of Queen Elizabeth I, circa 1559 with Caryatids on either side
The fortunes of the Moreton family declined during the English Civil War. As supporters of the Royalist cause, they found themselves isolated in a community of Parliamentarians. Little Moreton Hall was requisitioned by the Parliamentarians in 1643 and used to billet Parliamentary soldiers. The family successfully petitioned for its restitution, and survived the Civil War with their ownership of Little Moreton Hall intact, but financially they were crippled. They tried to sell the entire estate, but could only dispose of several parcels of land. William Moreton died in 1654 leaving debts of £3,000–£4,000, which forced his heirs to remortgage what remained of the estate. The family's fortunes never fully recovered, and by the late 1670s they no longer lived in Little Moreton Hall, renting it out instead to a series of tenant farmers. The Dale family took over the tenancy in 1841, and were still in residence more than 100 years later. By 1847 most of the house was unoccupied, and the deconsecrated Chapel was being used as a coal cellar and storeroom. Little Moreton Hall was in a ruinous condition; its windows were boarded up and its roof was rotten.
During the 19th century, Little Moreton Hall became "an object of romantic interest" among artists; Amelia Edwards used the house as a setting for her 1880 novel Lord Brackenbury. Elizabeth Moreton, an Anglican nun, inherited the almost derelict house following the death of her sister Annabella in 1892. She restored and refurnished the chapel, and may have been responsible for the insertion of steel rods to stabilise the structure of the Long Gallery. In 1912 she bequeathed the house to a cousin, Charles Abraham, Bishop of Derby, stipulating that it must never be sold. Abraham opened up Little Moreton Hall to visitors, charging an entrance fee of 6d collected by the Dales, who conducted guided tours of the house in return.
Abraham carried on the preservation effort begun by Elizabeth Moreton until he and his son transferred ownership to the National Trust in 1938. The Dale family continued to farm the estate until 1945, and acted as caretakers for the National Trust until 1955. The Trust has carried out extensive repair and restoration work, including re-roofing; restoration of elements of the hall's original appearance, and removal of some painted patterning added during earlier restoration work. The familiar black-and-white colour scheme is a fashion introduced by the Victorians; originally the oak beams would have been untreated and left to age naturally to a silver colour, and the rendered infill painted ochre. In 1977 it was discovered that the stone slabs on the roof of the south range had become insecure, and work began on a six-phase programme of structural repairs. Replacement timbers were left in their natural state.
House
The 100-year construction of Little Moreton Hall coincided with the English Renaissance, but the house is resolutely medieval in design, apart from some Renaissance decoration such as the motifs on the Gatehouse, Elizabethan fireplaces, and its "extravagant" use of glass. It is timber-framed throughout except for three brick chimneybreasts and some brick buttressing added at a later date.Simon Jenkins has described Little Moreton Hall as "a feast of medieval carpentry", but the building technique is unremarkable for Cheshire houses of the period – an oak framework set on stone footings. Diagonal oak braces that create chevron and lozenge patterns adorn the façades. The herringbone pattern with quatrefoils present at the rear, which can also be seen at Haslington and Gawsworth Halls, is a typical feature of 15th-century work, while the lozenge patterns, continuous middle rail and lack of quatrefoils in the front façade are typical of 16th-century early Elizabethan work. The south range containing the gatehouse, the last to be completed, has lighter timbers with a greater variety of patterns. The timber frame is completed by rendered infill and Flemish bond brick, or windows. The windows contain 30,000 leaded panes known as quarries, set in patterns of squares, rectangles, lozenges, circles and triangles, complementing the decoration on the timber framing. Much of the original 16th-century glazing has survived and shows the colour variations typical of old glass. Old scratched graffiti is visible in places. The older parts of the roof frame are decorated, and the brickwork of some of the chimneys has diapering in blue brick.
The house stands on an island surrounded by a 33-foot wide moat, which was probably dug in the 13th or 14th century to enclose an earlier building on the site. There is no evidence that the moat served any defensive purpose, and as with many other moated sites it was probably intended as a status symbol. A sandstone bridge leads to a gatehouse in the three-storey south range, which has each of its two upper floors jettied out over the floor beneath. As is typical of Cheshire's timber-framed buildings the overhanging jetties are hidden by coving, which has a recurring quatrefoil decoration. The Gatehouse leads to a rectangular courtyard, with the Great Hall at the northern end. The two-storey tower to the left of the Gatehouse contains garderobes, which empty directly into the moat. Architectural historian Lydia Greeves has described the interior of Little Moreton Hall as a "corridor-less warren, with one room leading into another, and four staircases linking different levels". Some of the grander rooms have fine chimneypieces and wood panelling, but others are "little more than cupboards". The original purpose of some of the rooms in the house is unknown.