The castles and abbeys of England; Vol. 2 of 2: from the national records, early chronicles, and other standard authorsBeattie, William
History
The castles and abbeys of England; Vol. 2 of 2: from the national records, early chronicles, and other standard authors
Beattie, William
Abbeys -- England; Castles -- England
<g>Grose</g>, in his ‘Antiquities,’ observes that this castle is of no great
antiquity, having been founded, as he conjectures, about the close of
the fifteenth century, although many important additions were
subsequently added. In the time of Henry VIII., as Leland informs us,
Raglan, “yn Middle Venceland [Wentland], was a fair and pleasant castel,
with to goodlye parkes adjacent;” and “the laste Lord Herbertes,” as
Morgan told him, “builded all the best coffes of the Castle of Raglan.”
Camden, in his account of the Silures, or Monmouthshire, notices it very
briefly, as “a fair house of the Earl of Worcester’s, built
castel-like.”[197]
It is not stated by Grose on what authority he places Raglan Castle
among the strongholds erected in the time of Henry VII. His observations
can apply only to those portions of it which are comparatively modern.
The Citadel, or Yellow Tower of Gwent, is of unquestionable antiquity.
In the family history we are told that Sir John Morley, a military
knight, who lived in the time of Richard II., resided here as ‘lord of
Raglan Castle.’ But postponing this question at present, as one that
will be considered more fully when we come to examine the Castle in
detail, we shall merely observe that although, as it now appears, the
Castle does not indicate any more distant origin than the reign of Henry
V., yet traces may be discovered in various portions of towers built, or
reconstructed, during every subsequent reign, down to that of <g>Charles</g>
I.--with whose fate it is so painfully associated. Owing to the
circumstance named, the learned antiquary may discover ‘a disunion of
styles;’ but taken as a whole, the Castle of Raglan presents a
remarkable harmony of proportions that hides every minute discrepancy,
heightens the general effect, and leaves the spectator under a pleasing
conviction that, in design and execution, it is the work, not of many,
but of one master mind. But to this subject we shall return; and, in the
meantime, we proceed to give a brief sketch of
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