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  Field and Hedgerow, The Last Essays of Richard Jefferies by Richard Jefferies
published by Longmans in 1889
Only those essays written at Crowborough or written about Sussex are included
Refer also to Richard Jefferies biography
Richard Jefferies in Sussex
and Richard Jefferies and Sussex
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The park is open to visitors - here comes a gay four--in-hand heavily loaded sweeping by on its road to that summer town. There is much ironstone in the soil round about. At the edge of the park stands an old farmhouse of timber and red tile, with red oast-house beside it, built with those gables which our ancestors seemed to think made such excellent rooms within. Our modern architects try to make their rooms mathe-matically square, a series of brick boxes, one on the other like pigeon-holes in a bureau, with flat ceilings and right angles in the corners, and are said to go through a profound education before they can produce these wonderful specimens of art. If our old English folk could not get an arched roof, then they loved to have it pointed, with polished timber beams in which the eye rested as in looking upwards through a tree. Their rooms they liked of many shapes, and not at right angles in the corners, nor all on the same dead level of flooring. You had to go up a step into one, and down a step into another, and along a winding passage into a third, so that each part of the house had its individuality. To these houses life fitted itself and grew to them; they were not mere walls, but became part of existence. A man's house was not only his castle, a man's house was himself. He could not tear himself away from his house, it was like tearing up the shrieking mandrake by the root, almost death itself. Now we walk in and out of our brick boxes unconcerned whether we live in this villa or that, here or yonder. Dark beams inlaid in the walls support the gables; heavier timber, placed horizon-tally, forms, as it were, the foundation of the first floor. This horizontal beam has warped a little in the course of time, the alternate heat and cold of summers and winters that make centuries. Up to this beam the lower wall is built of brick set to the curve of the timber, from which circumstance it would appear to be a modern insertion. The beam, we may be sure, was straight originally, and the bricks have been fitted to the curve which it subsequently took. Time, no doubt, ate away the lower work of wood, and necessitated the insertion of new materials. The slight curve of the great beam adds, I think, to the interest of the old place, for it is a curve that has grown and was not premeditated; it has grown like the bough of a tree, not from any set human design. This, too, is the character of the house. It is not large, nor overburdened with gables, not orna-mental, nor what is called striking, in any way, but simply an old English house, genuine and true. The warm sunlight falls on the old red tiles, the dark beams look the darker for the glow of light, the shapely cone of the hop-oast rises at the end; there are swallows and flowers, and ricks and horses, and so it is beautiful because it is natural and honest. It is the simplicity that makes it so touching, like the words of an old ballad. Now at Mayfield there is a timber house which is something of a show place, and people go to see it, and which certainly has many more lines in its curves and woodwork, but yet did not appeal to me, because it seemed too purposely ornamental. A house designed to look well, even age has not taken from it its artificiality. Neither is there any cone nor cart-horses about. Why, even a tall chanticleer makes a home look homely. I do like to see a tall proud chanticleer strutting in the yard and barely giving way as I advance, almost ready to do battle with a stranger like a mastiff. So I prefer the simple old home by Buckhurst Park.

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Currently The Weald is at  Database version 10.4 - 8th March 2014 and contains information on 370,214 people; 9,000 places; 613 maps; 3,136 pictures, engravings and photographs; and 226 books © The Weald and its contributors
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