The Annals of WillenhallHackwood, Frederick William
History
The Annals of Willenhall
Hackwood, Frederick William
Willenhall (Walsall, England)
“The children of the late Rev. Thomas Unett, of Stafford, his
heirs-at-law, placed this monument an. 1800.”
On the floor of the Lane Chapel in Wolverhampton Church will be found
stones to the memory of the Wilkes family, “seated at Willenhall from the
reign of Edward IV.”; there is also a blue slab to the memory of Mary
Unett, who died in 1767.
The old house of Dr. Wilkes, a good specimen of its type of architecture,
stands back from the main road behind iron palisading. Part of it has
been utilised as a stamper’s warehouse; had it received the respect due
to its associations, it might flittingly have been a town Museum, or some
such public institution. It was built by the Doctor’s father, and the
Doctor was born there.
The house has a white stuccoed front, irregularly disposed, the
semi-porticoed doorway with classic columns having three windows on its
left and two on its right, although the shorter side seems to have been
lengthened at a later period by a red brick wing. Along the line of the
first floor are six windows, whose lights in the Annean period, to which
the building belongs, were doubtless of small leaded panes.
From the tiled roof project three dormers, the centre one having a
semi-circular head, the outer ones pointed. The chimneys stand out from
each gable end, and in the brickwork of each of their sides is a plain
recessed panel; the chimney-heads being noticeable for the absence of the
usual projecting courses. Local tradition says that Hall street was once
a stately avenue of trees by which this residence was approached from
Lichfield Street.
On entering the house, the visitor feels a pang of regret that the
venerable building should ever have been degraded to the purposes of
commerce; particularly as the fabric retains many of its characteristics,
thanks to the soundness of the workmanship of two centuries ago. The
decorations in the form of plaster mouldings that cover the beams, and
the medallion or panel pictures, being partly historical and partly
classical, all exhibit the Renaissance feeling of the early eighteenth
century.
Public-domain text, read in full here on John Shaqi.
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