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Title: Catalogue of a collection of early drawings and pictures of London: With some contemporary furniture
Author: Club, Burlington Fine Arts
Language: English
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EARLY DRAWINGS AND PICTURES OF LONDON ***
Transcriber’s Note:
Inconsistent hyphenation and spelling in the original document have
been preserved. Obvious typographical errors have been corrected.
Italic text is denoted by _underscores_.
Plate XLI (No.94) is attributed to Canaletto in the Index and to
Samuel Scott in the text and caption.
Plate XLII (No. 95) is attributed to Samuel Scott in the text and caption,
and to Nattes in the Index.
“established 27 Charles II” is a possible misprint.
“notoriety as forger” should possibly be “notoriety as a forger”.
Trevithic and Trevithick appear to refer to the same person.
“Albany” is possibly italicized in error.
Hendrik and Hendrick (Danckerts) appear to be alternate spellings of
the same name.
Burlington Fine Arts Club
[Illustration]
CATALOGUE OF A COLLECTION
OF
EARLY DRAWINGS AND
PICTURES OF
LONDON
WITH SOME CONTEMPORARY FURNITURE
[Illustration]
LONDON
PRIVATELY PRINTED FOR THE BURLINGTON FINE ARTS CLUB
1920
LONDON: PRINTED AT THE CHISWICK PRESS
TOOKS COURT, CHANCERY LANE
COMMITTEE FOR THIS EXHIBITION
[Illustration]
OLIVER BRACKETT, ESQ.
MAJOR SIR EDWARD COATES, BART., M.P.
CAMPBELL DODGSON, ESQ., C.B.E.
SIR WILLIAM LAWRENCE, BART.
PHILIP NORMAN, ESQ., LL.D.
EMERY WALKER, ESQ., F.S.A.
[Illustration]
LIST OF CONTRIBUTORS
[Illustration]
HIS MAJESTY THE KING.
COLIN AGNEW, ESQ.
* THE LORD ALDENHAM.
* A. ACLAND ALLEN, ESQ., M.P.
HERBERT ALLEN, ESQ.
THE GOVERNOR OF THE BANK OF ENGLAND.
THE EARL OF BERKELEY.
THE COMMITTEE OF THE CITY OF BIRMINGHAM MUSEUM AND ART GALLERY.
* THE EARL BROWNLOW, P.C.
THE WORSHIPFUL COMPANY OF CARPENTERS.
THE MASTER OF THE CHARTERHOUSE.
MESSRS. CHRISTIE, MANSON, AND WOODS.
THE WORSHIPFUL COMPANY OF CLOTHWORKERS.
MAJOR SIR EDWARD COATES, BT., M.P.
* E. H. COLES, ESQ.
THE WORSHIPFUL COMPANY OF FISHMONGERS.
THE COMMITTEE OF THE FOUNDLING HOSPITAL.
* THE REV. LEWIS GILBERTSON.
* THOMAS GIRTIN, ESQ.
* E. C. GRENFELL, ESQ.
THE WORSHIPFUL COMPANY OF HABERDASHERS.
J. P. HESELTINE, ESQ.
R. K. HODGSON, ESQ.
* C. H. ST. JOHN HORNBY, ESQ.
MARY, COUNTESS OF ILCHESTER.
* THE EARL OF ILCHESTER.
THE SECRETARY OF STATE FOR INDIA.
THE COMMITTEE OF THE BOROUGH OF LEICESTER MUSEUM AND ART GALLERY.
* H. C. LEVIS, ESQ.
* R. W. LLOYD, ESQ.
THE HON. LADY LYTTELTON.
THE WORSHIPFUL COMPANY OF MERCHANT TAYLORS.
* PHILIP NORMAN, ESQ., LL.D.
* HENRY OPPENHEIMER, ESQ.
SIR WALTER PRIDEAUX.
THE TREASURER AND ALMONERS OF ST. BARTHOLOMEW’S HOSPITAL.
* THE MARQUESS OF SLIGO.
* A. MURRAY SMITH, ESQ.
MESSRS. SOTHEBY, WILKINSON, AND HODGE.
THE EARL SPENCER, K.G., G.C.V.O.
THE WORSHIPFUL COMPANY OF STATIONERS.
THE WORSHIPFUL COMPANY OF WATERMEN AND LIGHTERMEN.
* F. A. WHITE, ESQ.
SIR HARRY WILSON, K.C.M.G.
* Contributors whose names are marked thus are Members of the Club.
[Illustration]
LIST OF PLATES
[Illustration]
I. OLD LONDON BRIDGE. _G. Yates._
NO. 1. Lent by Mr. T. Girtin.
II. BOLINGBROKE HOUSE, BATTERSEA. _Artist Unknown._
NO. 3. Lent by Mr. P. Norman.
III. OLD WESTMINSTER BRIDGE. _Canaletto._
NO. 4. Lent by H.M. the King.
IV. VIEW DOWN RIVER FROM WESTMINSTER. _W. Hollar._
NO. 6. Lent by H.M. the King.
V. WESTMINSTER BRIDGE AND ABBEY. _Canaletto._
NO. 8. Lent by H.M. the King.
VI. WESTMINSTER ABBEY, SOUTH VIEW FROM RIVER. _W. Hollar._
NO. 9. Lent by Mr. J. P. Heseltine.
VII. VIEW UP RIVER TO WESTMINSTER. _Canaletto._
NO. 11. Lent by Mr. J. P. Heseltine.
VIII. OLD WESTMINSTER BRIDGE. _Canaletto._
NO. 12. Lent by H.M. the King.
IX. PIAZZA, COVENT GARDEN. _T. Sandby, R.A._
NO. 14. Lent by H.M. the King.
X. OLD SOMERSET HOUSE AND GARDEN. _T. Sandby, R.A._
NO. 16. Lent by H.M. the King.
XI. OLD LONDON BRIDGE FROM BILLINGSGATE. _G. Yates._
NO. 19. Lent by Sir E. Coates.
XII. CAMP NEAR SERPENTINE, HYDE PARK, 1780. _P. Sandby, R.A._
NO. 23. Lent by H.M. the King.
XIII. INTERIOR OF SECOND ROYAL EXCHANGE. _Artist Unknown._
NO. 31. Lent by Sir E. Coates.
XIV. CHURCH OF ST. PETER LE POOR, OLD BROAD STREET. _Artist Unknown._
NO. 33. Lent by Sir E. Coates.
XV. VIEW FROM THE CHURCHYARD OF ST. MARTIN’S-IN-THE-FIELDS. _W. Hunt._
NO. 34. Lent by Mr. T. Girtin.
XVI. ENCAMPMENT IN THE GROUNDS OF MONTAGUE HOUSE. _S. H. Grimm._
NO. 35. Lent by H.M. the King.
XVII. CHANTREY CHAPEL OF HENRY V, WESTMINSTER ABBEY. _John Carter._
NO. 37. Lent by Sir E. Coates.
XVIII. ABBOT ISLIP’S CHAPEL, WESTMINSTER ABBEY. _J. M. W. Turner, R.A._
NO. 38. Lent by Mr. R. W. Lloyd.
XIX. HALL OF BROTHERHOOD OF HOLY TRINITY, ALDERSGATE. _W. Capon._
NO. 41. Lent by Sir E. Coates.
XX. SITE OF EUSTON SQUARE, 1809. _T. Rowlandson._
NO. 45. Lent by Mr. H. C. Levis.
XXI. OLD CHEESE-CAKE HOUSE, HYDE PARK, 1797. _Artist Unknown._
NO. 47. Lent by H.M. the King.
XXII. FISHMONGERS’ HALL, FROM THE RIVER. _Unknown Artist._
NO. 49. Lent by Sir E. Coates.
XXIII. ST. DUNSTAN’S-IN-THE-WEST, FLEET STREET. _T. Malton the Elder._
NO. 59. Lent by Lord Aldenham.
XXIV. WESTMINSTER ABBEY FROM DEAN’S YARD. _T. Malton the Elder._
NO. 61. Lent by the City of Birmingham Art Gallery.
XXV. WAPPING. _T. Girtin._
NO. 63. Lent by the Leicester Art Gallery.
XXVI. EAST INDIA HOUSE FROM THE WEST. _T. Malton the Younger._
NO. 64. Lent by the Secretary of State for India.
XXVII. SADLER’S WELLS. _R. C. Andrews._
NO. 67. Lent by the Hon. Lady Lyttelton.
XXVIII. GREEN PARK, 1670. _W. Hogarth._
NO. 68. Lent by the Earl Spencer.
XXIX. ST. GEORGE’S HOSPITAL. _R. Wilson, R.A._
NO. 71. Lent by the Foundling Hospital.
XXX. THE CHARTERHOUSE. _T. Gainsborough, R.A._
NO. 72. Lent by the Foundling Hospital.
XXXI. ALDGATE SCHOOL AND WATCH-HOUSE AND TOWER _R. B. Schnebbelie._
OF CHURCH. Lent by Sir E. Coates.
NO. 73.
XXXII. EAST INDIA HOUSE FROM THE EAST. _T. Malton the Younger._
NO. 77. Lent by the Secretary of State for India.
XXXIII. A WATER PAGEANT ON THE THAMES. _School of S. Scott._
NO. 78. Lent by the Earl Brownlow.
XXXIV. WESTMINSTER BRIDGE AND WESTMINSTER ABBEY FROM THE RIVER. _S. Scott._
NO. 81. Lent by the Marquess of Sligo.
XXXV. SIR RICHARD STEELE’S COTTAGE, HAMPSTEAD. _J. Constable, R.A._
NO. 82. Lent by Mr. R. K. Hodgson.
XXXVI. THE PARADE AND WHITEHALL FROM ST. JAMES’S PARK. _S. Scott._
NO. 87. Lent by the Marquess of Sligo.
XXXVII. WHITEHALL FROM THE NORTH. _S. Scott._
NO. 88. Lent by the Marquess of Sligo.
XXXVIII. WESTMINSTER FROM BELOW YORK WATER-GATE. _Thomas Wijck._
NO. 91. Lent by Mr. E. C. Grenfell.
XXXIX. WESTMINSTER FROM LAMBETH. _S. Scott._
NO. 92. Lent by Mr. P. Norman.
XL. THE OLD STOCKS MARKET. _Josef van Aken._
NO. 93. Lent by the Bank of England.
XLI. RIVER VIEW FROM GARDEN OF OLD SOMERSET HOUSE. _Canaletto._
NO. 94. Lent by Mr. F. A. White.
XLII. OLD WESTMINSTER BRIDGE. _J. C. Nattes._
NO. 95. Lent by the Rev. L. Gilbertson.
XLIII. WHITEHALL FROM ST. JAMES’S PARK. H. Danckerts._
NO. 96. Lent by the Earl of Berkeley.
XLIV. ELY PLACE, HOLBORN. _J. Carter._
NO. 100_b_. Lent by Sir E. Coates.
XLV. RANELAGH. _Has been ascribed to Hogarth; perhaps by F. Hayman._
NO. 104. Lent by Mary, Countess of Ilchester.
XLVI. OLD LONDON BRIDGE AND NEW LONDON BRIDGE FROM SOUTHWARK. _G. B. Moore._
NO. 107. Lent by Sir E. Coates.
XLVII. ST. PAUL’S CATHEDRAL FROM ST. MARTIN’S-LE-GRAND. _T. Girtin._
NO. 111. Lent by Sir Walter Prideaux.
XLVIII. OLD WESTMINSTER. _D. Cox._
NO. 112. Lent by the Birmingham Art Gallery.
[Illustration]
[Illustration]
PREFACE
At this great time in the nation’s history, when changes moral and
material are following each other with such speed that we “know not
what a day may bring forth,” it seems all the more incumbent on us
while we live in the present not to forget the past. Accordingly,
the Committee felt that pictures and drawings of the London of our
ancestors would have exceptional interest, and the present exhibition
is the result.
The space at our command being limited, we can only show a tithe of
the material still in existence, but, through the kindness of owners,
many fine works are on our walls, with others which, although as
regards craftsmanship they have only average merit, are valuable
as showing noteworthy scenes and buildings of a former day. Among
the number that have not been exhibited before we would mention the
drawings from Windsor which His Majesty the King has been graciously
pleased to lend, also those belonging to Sir Edward Coates—but a
trifling instalment of his unique collection.
By way of preface a few words on old London views may not be thought
superfluous. In manuscripts and early printed books pictures or
illustrations which purported to represent London were now and then
produced, but the artists did not attempt to imitate nature with
precision, their feeling for decorative effect being paramount.
Indeed, in R. Pynson’s edition of the “Cronycle of Englonde” (1510),
what is probably the earliest engraved view which has any claim to
represent London, shows no pretence of accuracy. With an effort of
faith we may believe that we are looking at representations of old
St. Paul’s, the Tower, London Bridge, Ludgate, and the church of the
Black Friars, but the design is symbolic rather than imitative.
Illuminations in manuscripts of the previous century in one or two
instances give us clearer topographical hints. A volume of the English
poems of Charles, Duke of Orleans, among the royal manuscripts at the
British Museum, shows the duke, who was captured at the battle of
Agincourt, as a prisoner in the Tower of London, where he was kept
for many years. The river side of the keep has been opened, and he
appears seated within. Portions of the Tower and old London Bridge
with its chapel are well portrayed, while other buildings, although
incorrectly placed, add a little to our knowledge. Another of the
royal manuscripts in the British Museum shows Chaucer’s Canterbury
pilgrims starting on their journey, with London in the background,
the most interesting feature of this topographically being the old
city wall, with its bastions at regular intervals. Something more may
be learnt from the engraving (after a picture at Cowdray, destroyed
by fire long ago) of the procession of Edward VI through London in
1547. The artist, however, is still not imitating nature directly, but
introduces conventional renderings of the more important buildings
with which he was familiar, without troubling himself much about
their relative positions.
Two fine representations of Tudor London deserve special mention. The
first of them as regards time is a view of London, not from Suffolk
House as is generally supposed, but from the tower of the church of
St. George the Martyr, Southwark, with Suffolk House, or part of it,
in the foreground. It is a pen drawing, ten feet long or more, and is
now in the Bodleian Library at Oxford. Although the various important
buildings are brought somewhat together in order to include them all,
this view has a look of nature, the style also being free and skilful.
The artist is Anthonie Van den Wyngaerde, now generally held to have
been a Fleming in the train of Philip II. The second Tudor view, which
is at Hatfield House and belongs to the Marquess of Salisbury, is an
oil picture, also by a Flemish artist, Joris Hoefnagel. It was rather
poorly described by George Corner in a paper read before members
of the Surrey Archaeological Society in 1858, and was in the Tudor
Exhibition at the New Gallery in 1890, being then called Horsleydown
Fair; but in all probability it represents a marriage fête by the
old church of St. Mary Magdalen, Bermondsey, which has since been
rebuilt excepting the lower part of the mediaeval tower. The ground
between the church and the river is portrayed with much detail, and
the scene is full of life and incident. The Tower of London appears
in the distance. Hoefnagel, born at Antwerp, was responsible for many
beautiful paintings, mostly of the miniature kind, and drew plans
for Braun and Hogenberg’s “Civitates Orbis Terrarum,” published at
Cologne in 1572, among them that representing London. On this perhaps
the plan ascribed to Agas was based; the alternative being that they
both owe their origin in some degree to a still earlier plan, all
trace of which has disappeared.
In the seventeenth century pictures of London subjects begin to be
fairly plentiful. Among early ones the curious diptych of old St.
Paul’s, dating from the time of James I and belonging to the Society
of Antiquaries, may be mentioned. Although artless and entirely
lacking in perspective, it contains details which are not to be found
elsewhere, and there is a quaint London view at the back. Later in
that century a series of accurate etchings by Hollar throw much light
on the London of his day. About the same time also a few large and
realistic pictures of London were painted, of which we are able to
show two or three examples.
Soon after 1720 the charm of London scenes came to be more generally
recognized, and from then onwards her river, her parks, her streets and
public buildings, have been depicted times innumerable, and by some
of our most famous artists. Until the latter part of the eighteenth
century oil pictures of scenes on the Thames were plentiful, Samuel
Scott, who was also a marine painter, setting the example. He was a
friend of Hogarth, and together they illustrated the account of that
frolicsome jaunt to the Isle of Sheppey and back in 1732, which is
now in the British Museum. Scott, who was latterly much influenced
by Canaletto, founded more or less of a school, some of the pictures
usually ascribed to him being perhaps by his followers. Canaletto
himself paid us a prolonged visit, and several of his fine London
drawings are on our walls. There is also evidence that he designed two
oil pictures here exhibited (Nos. 69 and 94), which were previously
attributed to Scott. As time went on water-colours by the Sandbys
and others gradually came into vogue. Many years before the date to
which this exhibition is confined, our predecessors began to take an
interest not only in river scenes and great public buildings, but
in humbler subjects, such as old houses, and picturesque nooks and
corners threatened with destruction. Pennant’s “London,” of which there
are several splendidly extra illustrated copies, helped to encourage
these varied tastes, so did Wilkinson’s “Londina Illustrata,” to name
only one later publication, and competent draughtsmen and engravers
got something like permanent employment on work of this kind.
We will now say a few words about the great private collections
of London topographical prints, drawings, maps and plans, formed
many years ago, chiefly of material which comes within the period
to which we are limited. Three of these collections are specially
famous, and they were brought together by busy men who died within
living memory. These were Frederick Crace, to whom we owe the many
portfolios catalogued under his name in the Print Room of the British
Museum; James Holbert Wilson, whose collection has unfortunately been
dispersed, and John Edmund Gardner. It is his amazing collection, far
larger than all the rest put together, which has been saved for our
interest and instruction by Sir Edward Coates, and of which a few
examples are here shown. The late Mr. Gardner who formed it, began
when little more than a boy, by the purchase for five guineas of an
extra illustrated Pennant, and he continued buying steadily throughout
a long life. He passed away December 29th, 1899, at the ripe age of
eighty-two, having occupied himself with his beloved portfolios on
that very day. Among his more important purchases were almost all
the original drawings, about two hundred in number, made for the
“Londina Illustrata,” and twenty-eight folio volumes of sketches by
John Carter. Not very many years ago the late J. P. Emslie, who,
with C. J. Richardson and others, carried on the work of previous
generations, told the present writer that he had just completed his
thousandth drawing for the Gardner collection.
To conclude. It is now somewhat the habit to speak slightingly of
topographical pictures and drawings, as if there were something
unworthy in copying with correctness the appearance of an interesting
building or an attractive river or street scene. Such work is supposed
to be outside the region of art, as giving no play to the imagination.
But surely “the originality of a subject is in its treatment.” A man
without a touch of the true spirit may paint the most ideal scene and
leave us cold. On the other hand, while many artists of no exceptional
talent, by their honest efforts have left topographical records for
which we are thankful, almost all our great landscape painters have
deigned now and then to depict London, and for those in sympathy with
them they still give something of the thrill of pleasure which they
themselves felt when they put their whole souls into their work.
PHILIP NORMAN.
[Illustration]
[Illustration]
CATALOGUE
[Illustration]
_The numbering of the Drawings and Pictures begins on the Entrance
Door, and is continued to the left._
_The measurements are in inches (the width preceding the height) and
do not include the frame or mount._
_The Furniture, etc., is described after the Pictures._
_The Committee accept no responsibility for the accuracy of the
attributions in the Catalogue._
PLATE I. 1 OLD LONDON BRIDGE.
Watercolour. 17 by 10 in.
The bridge shortly before its removal. From a point on the Surrey
side of the river, nearly opposite to old Fishmongers’ Hall.
G. Yates, watercolour painter, worked in London on topographical
subjects about 1825-37; in the Crace catalogue he is called Major
Yates.
By _G. Yates_, 1826.
_Lent by Mr. T. Girtin._
2 AUSTIN FRIARS CHURCH FROM THE NORTH-WEST.
Watercolour. 7¾ by 7½ in.
The priory of the Augustine Friars in London was founded A.D. 1253,
and the church was rebuilt about a century afterwards. In 1550 the
nave was made over to the Dutch community in London, and it has been
in their hands ever since. The choir and steeple were destroyed by
the then Marquess of Winchester at the beginning of the seventeenth
century. In 1862 what remained of the church was very much injured
by fire, the roof and all the fittings being burnt. It was “restored”
at a cost of about £12,000.
The interest of this drawing is due to the fact that it shows the
church, with its decorated tracery and staircase turret, before the
disastrous fire.
_Lent by Sir E. Coates._
PLATE II. 3 BOLINGBROKE HOUSE, BATTERSEA.
Watercolour. 7 by 4¾ in.
The St. John family became Lords of the Manor of Battersea in the
early part of the seventeenth century. Henry, Viscount Bolingbroke,
retired to the manor-house when nearing the end of his career, and died
there in 1751. In 1763 the manor was sold to Lord Spencer, and much
of the house is said to have been pulled down not long afterwards.
The remainder was enclosed in ground attached to a mill built about
1794, and it stands in the premises of the existing flour mill near
the parish church, but is now dilapidated.
This old drawing represents the house much as it was a few years
ago. It contained a panelled room, a good staircase, and remains of
a seventeenth-century plaster ceiling still there in 1920.
_Lent by Mr. P. Norman._
PLATE III. 4 OLD WESTMINSTER BRIDGE.
Wash and pen drawing. 19 by 9 in.
View of the bridge and of Westminster from mid-stream. The western
towers of Westminster Abbey, as shown, were completed in 1739. Among
prominent buildings are Westminster Hall, St. Stephen’s Chapel, and
the Church of St. John the Evangelist with its four queer towers
finished in 1728. In the distance is Lambeth Palace. Old Westminster
Bridge, designed by the Swiss architect C. Labelye, was begun in
1738-9 and opened 18 November 1750.
Antonio Canale, the Venetian painter, usually called Canaletto, visited
England in 1746, and remained about two years. During that time he
produced many pictures and drawings, chiefly of London scenes. An
inscription on the back of a picture of the Rotunda at Ranelagh (Nat.
Gal. Cat. 1906, No. 1429) has been thought to prove that he was here
in 1754.
By CANALETTO, _c._ 1747 (1697-1768).
_Lent by H.M. the King._
5 VIEW DOWN RIVER FROM GARDEN OF OLD SOMERSET HOUSE.
Wash and pen drawing. 19 by 7¾ in.
By CANALETTO, _c._ 1747 (1697-1768).
_Lent by H.M. the King._
PLATE IV. 6 VIEW DOWN RIVER FROM WESTMINSTER.
Pen drawing. 15½ by 5¼ in.
Rare example of Hollar’s pen-work, unfinished. The point of view is
about that of the “King’s Bridge,” Westminster. In the distance old
St. Paul’s is faintly pencilled. Signature on a plank to the left.
Wenceslaus Hollar, born at Prague, was brought to England by the
Earl of Arundel in 1637, and worked under his patronage for years.
In the Civil War he served under the Marquess of Winchester, and was
taken prisoner at Basing House, but escaped to Antwerp. He afterwards
returned, was appointed designer to the King, and spent the rest
of his life here with an interval when he was sent by Charles II to
Tangiers. A most industrious artist, we owe to him many fine etchings
of London; died in poverty.
By W. HOLLAR (1607-1677).
_Lent by H.M. the King._
7 VIEW UP RIVER FROM GARDEN OF OLD SOMERSET HOUSE.
Pen and wash. 19 by 8½ in.
Westminster Abbey, Bridge, and Hall are conspicuous, so is the
Banqueting House, Whitehall.
By CANALETTO, _c._ 1747 (1697-1768).
_Lent by H.M. the King._
PLATE V. 8 WESTMINSTER BRIDGE AND ABBEY.
Pen and wash. 19 by 10½ in.
View from Surrey side; a _fête_ of some kind is in progress; the river
crowded with sailing boats and barges and wherries all proceeding up
stream. The chief Westminster buildings are delineated.
By CANALETTO, _c._ 1747 (1697-1768).
_Lent by H.M. the King._
PLATE VI. 9 WESTMINSTER ABBEY, SOUTH VIEW FROM RIVER.
Pen and watercolour. 5¼ by 3 in.
A choice drawing delicately tinted, shows Henry VIIth’s Chapel and
the Chapter-house. The tower to the left of the latter must be the
King’s Jewel-house. The narrow strip to extreme left, intended perhaps
to represent part of a turret of Lambeth Palace, is a later addition
joined on.
By W. HOLLAR (1607-1677).
_Lent by Mr. J. P. Heseltine._
10 VIEW FROM AN ARCHWAY OF WESTMINSTER BRIDGE.
Wash and pen drawing. 19 by 11½ in.
Looking down stream, shows the riverside from York Water-tower to
St. Paul’s.
By CANALETTO, _c._ 1747 (1697-1768).
_Lent by H.M. the King._
PLATE VII. 11 VIEW UP RIVER TO WESTMINSTER.
Wash and pen drawing. 28¼ by 15¼ in.
On spectator’s right the first important object is York Water-gate
still standing at the end of Buckingham Street, Strand, probably
designed by Inigo Jones in 1626, and executed by Nicholas Stone. (The
design is claimed for the latter in his Account Book.) Behind it is
the house where Samuel Pepys lived with Hewer. No. 14 Buckingham
Street is on the site. Next is York Water-tower, a slender wooden
building about seventy feet high, part of the waterworks established
27 Charles II to supply the West End with Thames water. They were
burnt down and re-erected in 1690. Westminster Abbey and Westminster
Hall are prominent. Westminster Bridge is unfinished. Lambeth Palace
appears in the distance to spectator’s left. A drawing apparently
copied from this is in the print room of the British Museum.
By CANALETTO, _c._ 1746 (1697-1768).
_Lent by Mr. J. P. Heseltine._
PLATE VIII. 12 OLD WESTMINSTER BRIDGE.
Wash and pen drawing. 19 by 11½ in.
This view appears to be taken from the Westminster side. According
to Labelye’s “Description,” published in 1751, the bridge was almost
finished in the spring of 1747, but soon afterwards a pier settled
badly. The two adjoining arches were thus wrecked and had to be
supported by wooden framework, the spandrels, balustrades, etc., being
removed. The effects of this accident are here shown; they delayed
the opening for years.
By CANALETTO, 1747 (1697-1768).
_Lent by H.M. the King._
13 LAMBETH PALACE GATE-HOUSE, AND PARISH CHURCH.
Watercolour. 7¼ by 5¼ in.
The Palace cannot be seen; in the distance is Westminster Bridge.
The Gate-house, of red brick, with stone archway and quoins,
was built in the time of Archbishop Morton who died in 1500. The
fifteenth-century church of St. Mary, Lambeth, after being often
altered and repaired, was almost entirely rebuilt in 1850-52.
John Varley, born in 1778, exhibited at the Royal Academy and in 1804
became a foundation member of the Old Watercolour Society. Many of
his earlier subjects are taken from the banks of the Thames.
By J. VARLEY (1778-1842).
_Lent by Mr. J. P. Heseltine._
PLATE IX. 14 PIAZZA, COVENT GARDEN.
Watercolour. 12 by 10¾ in.
A piece of the Piazza designed by Inigo Jones is here shown.
The letters “PS” are stamped on the lower left-hand corner of the
drawing, a proof that it was in the collection of Paul Sandby, but
according to the pencil note beneath it was by Thomas Sandby. Each
brother drew subjects of this character. They were accomplished
artists, and foundation members of the Royal Academy. Thomas was the
first R.A. Professor of Architecture. Paul is believed to have been
the first in this country who practised the art of aquatint.
By T. SANDBY, R.A. (1721-1798).
_Lent by H.M. the King._
15 CHURCH OF ST. DUNSTAN-IN-THE-EAST DURING RECONSTRUCTION.
Pen and wash drawing. 16½ by 17½ in.
After the Great Fire Wren rebuilt the church in his usual style
excepting the tower, which is a bold attempt at Gothic with a spire
on four flying buttresses. In 1817, the body of the church having
become dilapidated, it was resolved to take it down and rebuild it
to match the tower. The first stone of the new structure was laid on
26 November of that year. If the date under this drawing be correct,
the work must have proceeded slowly. The roof is off, but Wren’s
renaissance arches still remain.
Date 1819.
_Lent by Sir E. Coates._
PLATE X. 16 OLD SOMERSET HOUSE AND GARDEN.
Watercolour. 29½ by 20¼ in.
Old Somerset House was built by the Protector, brother of Jane Seymour
and maternal uncle of Edward VI, being begun soon after the death of
Henry VIII. During a portion of Mary’s reign it was assigned to her
sister Elizabeth. James I granted it to his Queen, Anne of Denmark.
Charles handed it over to his Queen, Henrietta Maria, and caused
a chapel for Roman Catholics to be added to the building. This was
designed by Inigo Jones and consecrated in 1635, and he did other
work there. A picture at Dulwich, engraved for Wilkinson’s “Londina
Illustrata,” shows it before his chapel and alterations destroyed the
uniform character of the building. It can hardly be from nature, as
the artist was Cornelis Bol, who also portrayed the Great Fire. The
present view must have been painted shortly before its demolition
in 1775. An arcaded portion designed by Inigo Jones, stands out
prominently.
By T. SANDBY, R.A. (1721-1798).
_Lent by H.M. the King._
17 OLD MANSION IN LEADENHALL STREET.
Watercolour. 12½ by 18 in.
To spectator’s right, above nearer buildings, is the spire of St.
Peter’s Cornhill, and behind it the tower of St. Michael’s, Cornhill.
If, as noted in pencil, this rather ornate structure was pulled down
“for the East India House,” it must have been after the rebuilding of
the latter from Jupp’s design, for it is shown in the large watercolour
by T. Malton (No. 77) as immediately west of that building.
About 1800
_Lent by Sir E. Coates._
18 WESTMINSTER FROM THE GARDEN OF OLD SOMERSET HOUSE.
Watercolour. 14¼ by 10½ in.
This drawing, like No. 14, is stamped with the initials “PS.” It was
therefore in the collection of Paul Sandby, and below it, on mount,
is the following inscription (not contemporary), “Drawn by T Sandby
1752.”
By T. SANDBY, R.A. (1721-1798).
_Lent by H.M. the King._
PLATE XI. 19 OLD LONDON BRIDGE FROM BILLINGSGATE.
Watercolour. 21¼ by 12½ in.
Shows, on the Surrey side of the river, St. Olave’s Church, Tooley
Street, lately closed, a neighbouring shot tower destroyed in a fire
of 1843, and St. Saviour’s Church, now Southwark Cathedral.
By G. YATES, 1828.
_Lent by Sir E. Coates._
20 OLD LONDON BRIDGE FROM THE WEST.
Watercolour. 22 by 12½ in.
The bridge as altered when the houses on it were pulled down soon
after the middle of the eighteenth century. The wide arch was then
formed by the removal of a pier, two arches being thrown into one,
which nearly caused the collapse of the fabric. An archaic steamer
has a greyhound painted on its paddle-box.
By G. YATES, 1830.
_Lent by Sir E. Coates._
21 BARN ELMS, 1793.
Watercolour. 12 by 9½ in.
Scene by the river near Barnes. In the distance are the towers of
Fulham Church and of Putney Church at each end of old Putney Bridge.
Barn Elms, east of what was the village of Barnes and extending to
the river, doubtless derived its second name from the trees that
abounded there. The mansion called Barn Elms, which is the chief
building and has considerable grounds attached to it, is now occupied
by the Ranelagh Club, which moved there from Ranelagh House, Fulham
(not to be confused with Ranelagh, Chelsea), in 1884. At Barn Elms,
Jacob Tonson, the famous publisher, secretary of the Kitcat Club,
built a gallery for the reception of portraits of the members.
The painting, signed “EE,” is by Edward Edwards, elected A.R.A. in
1771, and made Professor of Perspective in 1788.
By E. EDWARDS, A.R.A. (1738-1806).
_Lent by Sir H. Wilson._
22 THE MONUMENT FROM FISH STREET HILL.
Watercolour on etched outline. 9 by 12 in.
The Monument, designed by Sir Christopher Wren to commemorate the
Great Fire of London, was finished in 1677. Beyond it is shown the
steeple of the church of St. Magnus, also designed by Wren; beyond
that again, part of the roadway of old London Bridge. After the
removal of the houses on the bridge, its east path was continued along
a passage then formed through the church tower. Fish Street Hill is
a continuation of Gracechurch Street to the south, and was the main
thoroughfare to old London Bridge.
The painting is unsigned and undated: it belongs perhaps to the
beginning of the nineteenth century.
_Lent by Sir E. Coates._
PLATE XII. 23 CAMP NEAR SERPENTINE, HYDE PARK, 1780.
Watercolour. 19 by 10 in.
Tents near the water. In the foreground a group of figures. To the
left a dog is harnessed to a barrow, a man pushing behind.
Paul Sandby published “Views in the Encampments in the Parks,” 1780,
for which series this was probably done.
By P. SANDBY, R.A., 1780 (1725-1809).
_Lent by H.M. the King._
24 OPERA HOUSE, HAYMARKET.
Watercolour. 10½ by 7¾ in.
The first theatre on this site (designed by Sir John Vanbrugh) was
opened in 1705 and burnt down in 1789. The second building, which is
here represented, was begun in 1790, and was enlarged by J. Nash and
G. S. Repton in 1816-8.
R. B. Schnebbelie, whose father also practised art, and whose
grandfather, a native of Zurich, had been in the Dutch navy, was
employed as a draughtsman for many years beginning about 1803, and
did much good work for Wilkinson’s “Londina Illustrata”; this is the
original of an engraving in that publication. He died about 1849.
By R. B. SCHNEBBELIE, 1819.
_Lent by H.M. the King._
25 KING STREET GATE-HOUSE.
Watercolour. 8¼ by 13 in.
The original of an engraving which is in the first volume of “Vetusta
Monumenta,” published by the Society of Antiquaries, the latter having
on it the date 1725. This building stood at the north end of King
Street and north-east corner of Downing Street, some little distance
south of the so-called Holbein or Whitehall Gate-house, and although
less ornate was of some beauty and importance, as may here be seen.
It also dated from the time of Henry VIII, and was demolished in 1723
to improve the approaches to Westminster.
George Vertue was in 1717 appointed engraver to the Society of
Antiquaries, and did many excellent engravings for them; he also,
as we see, practised in watercolour, and his literary works are of
value. He collected a mass of memoranda relating to former artists,
and this collection, now in the British Museum, having been bought
after his death by Horace Walpole, formed the basis of the latter’s
“Anecdotes of Painting in England.” Vertue lived and died a strict
Roman Catholic.
By G. VERTUE, 1723 (1684-1756).
_Lent by H.M. the King._
26 THE OLD PLAYHOUSE, PORTUGAL STREET, LINCOLN’S INN FIELDS.
Watercolour. 8½ by 7½ in.
A brick building, with stone dressings and a tiled roof. It was on the
site of a former theatre and dated from 1714. Here “The Beggar’s Opera”
was produced, and ran for sixty nights. After various vicissitudes it
became a store-place for Messrs. Copeland and Spode’s china, and was
finally demolished for the enlargement of the Museum of the College
of Surgeons.
_Lent by H.M. the King._
27 CUPER’S GARDENS, LAMBETH, FROM THE RIVER.
Watercolour. 15½ by 6¾ in.
These gardens, over against Somerset House in the Strand, were named
after Boydell Cuper, gardener to Thomas, Earl of Arundel, who, when
Arundel House was taken down, moved some of the mutilated marbles
there, and opened them as a place of popular amusement. It continued
to be thus used, and was famous for its fireworks. Degenerating in
character, it was suppressed about the year 1753. On the site Messrs.
Beaufoy established their works; they moved to South Lambeth when
Waterloo Bridge (which runs over part of the gardens) was erected.
The watercolour hardly looks as if it were earlier than the date of
the closing of the gardens. Perhaps there was no great change in the
entrance for some years.
_Lent by Sir E. Coates._
28 THE NURSERY, GOLDEN LANE.
Watercolour. 6¼ by 8¼ in.
Wrongly named the Fortune Play House, Golden Lane. The latter,
originally built for Henslowe and Alleyn according to contract, “the
frame to be sett square,” was destroyed by fire in 1621, and was
replaced by a fabric of circular plan soon afterwards. In 1661 its
site was advertised to be let for building.
The “Nursery,” here depicted, was a school for the education of
children for the stage, having been erected as the result of a patent
granted by Charles II to one of the Legge family. It was drawn by J.
T. Smith, who called it the Queen’s Nursery. The present watercolour
was the original of an engraving in Wilkinson’s “Londina Illustrata.”
George Shepherd devoted himself to topographical work. There are many
watercolours of old London buildings by him in the Coates and Crace
collections and elsewhere, executed from about 1792 to 1830 (his name
being thus spelt), and they are good records.
By G. SHEPHERD, 1811.
_Lent by H.M. the King._
29 ST. PAUL’S FROM AN ARCH OF BLACKFRIARS BRIDGE.
Watercolour. 6¾ by 8¼ in.
By T. MALTON the Younger (1748-1804).
_Lent by Mr. A. A. Allen._
30_a_ REMAINS OF WINCHESTER HOUSE, AUSTIN FRIARS, FROM GREAT WINCHESTER
STREET.
Watercolour. 8½ by 7 in.
After the Dissolution the precinct of Austin Friars, except the nave
of the church, came into the hands of William Paulet, first Marquis
of Winchester, who there made a residence for himself. A portion
of it remained until 1844, and is here shown; the heavy portico is
evidently a later addition. During recent excavations masonry was
found which must have belonged to this building.
By G. SHEPHERD, 1811.
_Lent by Sir E. Coates._
30_b_ BACK OF WINCHESTER HOUSE, AUSTIN FRIARS.
Watercolour. 7¼ by 4¾ in.
Samuel Ireland, who painted this, was originally a mechanic of
Spitalfields. He took to art, exhibited at the Royal Academy in 1782,
and brought out various illustrated books. The last was “Picturesque
Views of the Inns of Court,” published in 1800, the year in which he
died. His son achieved notoriety as forger of Shakespeare manuscripts.
By S. IRELAND.
_Lent by Sir E. Coates._
PLATE XIII. 31 INTERIOR OF SECOND ROYAL EXCHANGE.
Watercolour. 21½ by 16 in.
The first Royal Exchange was founded by Sir Thomas Gresham, being
opened by Queen Elizabeth 23 January 1570-71. It was destroyed in
the Great Fire.
The second Exchange, designed by Edward Jarman or Jerman, City
surveyor, and begun 1667, was, like the earlier one, a quadrangular
building, with a clock tower on the chief front facing Cornhill.
Business was transacted in the covered walk or cloister within. The
statue of Charles II in the centre was by Grinling Gibbons.
This view was drawn from the north-west corner of the walk; the
pinnacles of St. Michael’s church tower, Cornhill, appear above the
building.
Unsigned. Date probably about 1810.
_Lent by Sir E. Coates._
32 VIEW FROM A HOUSE IN PALL MALL.
Watercolour. 11¼ by 14¾ in.
This view is signed and dated 1824, and forms a fitting companion to
No. 34, which is of the same style. The artist, William Hunt, born
in 1790, had a great reputation in his day as a painter of fruit,
flowers, birds’ nests, and other subjects of the kind, and also of
rustic figures. His landscape is less known, and the works by him
here exhibited are executed with unusual freedom. In these examples
much of the outline is drawn with a pen.
The artist in this case must have been sitting on the balustraded
projection of a building, long ago destroyed, on the north side
of Pall Mall. He looked east, and the steeple of the church of St.
Martin-in-the-Fields appears in the distance.
By W. HUNT, 1824 (1790-1864).
_Lent by Mr. T. Girtin._
PLATE XIV. 33 CHURCH OF ST. PETER LE POOR, OLD BROAD STREET.
Watercolour. 13½ by 17½ in.
This is the old church of St. Peter Le Poor on the west side of Old
Broad Street, which in Stow’s opinion may have been so called because
it was “sometime peradventure a poor parish.” It escaped the Great
Fire, but traffic increasing, as it needed repair and projected into
the street, it was pulled down in 1788 and rebuilt farther back.
The second church, an indifferent piece of architecture, has been
destroyed under the Union of Benefices Act within the last few years.
_Lent by Sir E. Coates._
PLATE XV. 34 VIEW FROM THE CHURCHYARD OF ST. MARTIN’S-IN-THE-FIELDS.
Watercolour. 13¼ by 19½ in.
In “Notes on Prout and Hunt” by Ruskin for an exhibition in 1879-80,
he says: “Hunt learned his business not in spots but in lines. Compare
the sketch of the river-side, No. 124, which is as powerful in lines
as Rembrandt, and the St. Martin’s Church, No. 123, which is like a
bit of Hogarth.” The view is along the colonnaded west front of the
church, and up St. Martin’s Lane, of which the part here shown no
longer exists. The bit of churchyard with tombstones disappeared on
the formation of Duncannon Street.
By W. HUNT (1790-1864).
_Lent by Mr. T. Girtin._
PLATE XVI. 35 ENCAMPMENT IN THE GROUNDS OF MONTAGUE HOUSE.
Watercolour. 26½ by 19½ in.
The first Montague House, Bloomsbury, was destroyed by fire 19 January
1685-6, and the second, here shown, was designed soon afterwards by
a Frenchman, Pierre Puget, or Poughet. The encampment is on the open
space at the back of the mansion. The West Yorkshire Regiment is
represented marching past Dr. John Moore, Bishop of Bangor, afterwards
Bishop of Canterbury. Montague House had been bought for the British
Museum under an Act passed in 1753. Additions were gradually made, but
it was not until 1845 that the old building was entirely demolished.
S. H. Grimm, who painted this watercolour, which is signed and dated,
was born at Burgdorf, Switzerland, and settled in London about 1778.
He sometimes exhibited at the Royal Academy, and was employed by the
Society of Antiquaries, his work being chiefly topographical.
By S. H. GRIMM, 1780 (1734-1794).
_Lent by H.M. the King._
36_a_ VIEW NEAR THE TURNPIKE AT NEW CROSS.
Watercolour, outlined with a pen. 12½ by 9½ in.
The scene is a rural one, with what appear to be an oast-house
and other farm buildings in the foreground. The hill is called in
Rocque’s map showing the Environs of London (1745) Plow’d Garlick
Hill, afterwards Telegraph Hill. On it stands Aske’s School, belonging
to the Haberdashers’ Company. Much of the rest remained open until
a few years ago; now only a recreation ground has been saved from
the builder. This hill is immediately south of the Turnpike site,
now called New Cross Gate. New Cross was an outlying district of the
parish of Deptford. Evelyn, in his “Diary,” 10 November 1675, mentions
going in his coach from Sayes Court to “New Cross” to accompany Lord
Berkeley to Dover.
_Lent by Sir E. Coates._
36_b_ NEW CROSS TURNPIKE ON THE KENT ROAD.
Mezzotint, with an etched outline. 11 by 7¾ in.
This print happened to be mounted on the same sheet as the watercolour
below. It was drawn by J. Dillon, engraved by R. Laurie, and published
in 1783. To spectator’s left is a board with the words, “The New
Cross House”; on the right a sign of a man’s head.
_Lent by Sir E. Coates._
PLATE XVII. 37 CHANTREY CHAPEL OF HENRY V, WESTMINSTER ABBEY.
Drawn with a pen and tinted. 10¼ by 12½ in.
A careful architectural drawing, signed and dated, wherein some
curious figures known as “the Ragged Regiment” are depicted. These are
effigies of royal personages which were exhibited at their funerals.
By degrees they got into a neglected state. Some years ago what
remained of them was collected together, and the relics are now in
the crypt adjoining the pyx chamber. A paper on them was published
in “Archaeologia,” vol. lx, whence the following notes are culled
identifying a few of the figures. The number refers to that on the
drawing. II is thought to have represented Katherine of Valois. It
is carved out of a single piece of wood; the dress has been painted
bright vermilion. III, Anne of Denmark. IV, Henry VII, face finely
modelled in plaster and painted, probably by an Italian. V is held to
be Elizabeth of York. VI may have been James I, and VIII Queen Mary I.
The fronts of the reliquary cupboards, here shown, have disappeared,
their hinges remain. John Carter, an enthusiastic admirer of Gothic
architecture, is referred to in our preface.
By JOHN CARTER, 1786 (1748-1817).
_Lent by Sir E. Coates._
PLATE XVIII. 38 ABBOT ISLIP’S CHAPEL, WESTMINSTER ABBEY.
Watercolour. 15½ by 21½ in.
This painting was exhibited by Turner at the Royal Academy in 1796, and
is an example of the thorough architectural work which he sometimes
did in his earlier years. On a stone in the pavement is “William
Turner natus 1775.” It was exhibited at the Burlington Fine Arts Club
in 1871.
By J. M. W. TURNER, R.A., 1796 (1775-1851).
_Lent by Mr. R. W. Lloyd._
39_a_ SECOND ROYAL EXCHANGE FROM THE WEST.
Watercolour. 6¾ by 9½ in.
On the building at west end are the words: “Royal Exchange Insurance
for lives.” The tower is surmounted by Gresham’s crest, the
grasshopper. Signed and dated.
By G. SHEPHERD, 1810.
_Lent by Sir E. Coates._
39_b_ SECOND ROYAL EXCHANGE FROM THE SOUTH-EAST.
St. Paul’s Cathedral appears in the distance. Signed and dated.
By G. SHEPHERD, 1812.
_Lent by Sir E. Coates._
39_c_ SECOND ROYAL EXCHANGE FROM THE SOUTH-EAST.
Etching and aquatint, touched with sepia. 5 by 7½ in.
Same size as last from same point of view and similar in design, but
tower as rebuilt, from design by G. Smith, surveyor to the Mercers’
Company, between 1819 and 1824, when a sum of over £34,000 was spent
on the fabric.
By G. SHEPHERD.
_Lent by Sir E. Coates._
40_a_ CHURCH OF ST. GILES, CRIPPLEGATE, FROM SOUTH-WEST.
Watercolour. 8 by 9½ in.
A church of Norman foundation, but rebuilt in the fourteenth century,
and again to a great extent after a fire in 1545. Upper part of tower
dates from 1683-4.
Signed and dated.
By G. SHEPHERD, 1815.
_Lent by Sir E. Coates._
40_b_ CHURCH OF ST. GILES, CRIPPLEGATE, FROM FORE STREET.
Pencil. 7¾ by 6 in.
The building here shown against the church, in foreground, was called
the Quest-house. It was destroyed about eighteen years ago.
This drawing is signed by Thomas Hosmer Shepherd, who between about
1820 and 1859 did hundreds of views of old London, but, unlike others
of his surname, never exhibited at the Royal Academy, and is not
noticed by Redgrave.
By T. H. SHEPHERD.
_Lent by Sir E. Coates._
PLATE XIX. 41 HALL OF BROTHERHOOD OF HOLY TRINITY, ALDERSGATE.
Pencil. 16 by 13 in.
This hall, described on the drawing as a chapel, was on the west side
of Aldersgate Street, a little beyond the church of St. Botolph,
and was destroyed about 1790. Here was latterly the Aldersgate
Coffee-house; the site is marked by Trinity Court.
The brotherhood was suppressed by Edward VI. It had been founded in
1377 as a fraternity of St. Fabian and St. Sebastian. The interior
here shown has an open timber roof of the late fourteenth or early
fifteenth century, and a Renaissance fireplace. In the large window
is stained glass.
William Capon, who made this and many other topographical drawings,
was a scene-painter and architect; his antiquarian knowledge was
considerable. He was a conceited man, Sheridan called him “Pompous
Billy.”
By W. CAPON, 1790 (1757-1827).
_Lent by Sir E. Coates._
42_a_ ST. JAMES’S PARK AND BUCKINGHAM HOUSE.
Watercolour. 16½ by 9¼ in.
From the end of the ornamental water looking towards Buckingham House;
on the left are important buildings facing the park. Many figures,
boy in foreground flying a kite. The canal was formed soon after the
Restoration. Pepys on 16 September 1660, mentions seeing the work in
progress.
Carefully drawn with a pen and tinted, after the manner of the artist,
who usually engraved his views on copper.
By J. MAURER, 1741.
_Lent by H.M. the King._
42_b_ ST. JAMES’S PALACE AND THE MALL.
Watercolour. 16¾ by 8¾ in.
In the distance is the steeple of St. Martin’s-in-the-Fields. Deer
can be seen in the open ground to right.
By J. MAURER, 1741.
_Lent by H.M. the King._
43 ST. MARY-LE-BONE CHURCH.
Watercolour. 6½ by 4 in.
The new church built in 1813-4. A rural scene, in the foreground are
trees and a pond.
By J. VARLEY (1778-1842).
_Lent by Mr. J. P. Heseltine._
44 SALE OF BOOKS BY AUCTION AT SOTHEBY’S.
Watercolour. 9¼ by 5¾ in.
Drawn with a pen and tinted after Rowlandson’s usual manner.
We are fortunate in exhibiting caricatures of auction sales by two
historic firms, both still flourishing. Sotheby’s began in 1744
with Mr. Samuel Baker, who at first held sales in taverns and other
convenient places. In 1754 he established himself at York Street,
Covent Garden, and in 1767 formed a partnership with Mr. J. Leigh.
In 1778 the firm became Leigh and Sotheby. We need only add that in
1804 the business was moved to 145 Strand, and in 1818 to 3 Waterloo
Bridge, re-named 13 Wellington Street, which was given up two years
ago for more commodious quarters in New Bond Street.
By T. ROWLANDSON (1756-1827).
_Lent by Messrs. Sotheby, Wilkinson, and Hodge._
PLATE XX. 45 SITE OF EUSTON SQUARE, 1809.
Watercolour. 9¾ by 8½ in.
Signed “T. Rowlandson.” Written in pencil, but hidden, are the words:
“Richard Trevithick’s Railroad, Euston Square 1809.” In fact, the
Square dates only from 1825; as late as 1820 its site was a large
nursery garden, and a group of farm buildings occupied ground on which
the London and North Western Railway now stands. Trevithic, “father
of the locomotive engine,” the main facts of whose remarkable career
are recorded in “Dict. Nat. Biog.,” must have hired the ground in
order to test and exhibit his invention.
In the distance is Primrose Hill, with Hampstead beyond. Attractive
design and colour give charm to a subject not easy of treatment.
Rowlandson, trained in Paris and at the Academy schools, was an
accomplished artist, capable of something much more refined than his
clever caricatures, which most people know by coarse reproductions
of them.
By T. ROWLANDSON, 1809 (1756-1827).
_Lent by Mr. H. C. Levis._
46 SALE OF PICTURES BY AUCTION AT CHRISTIE’S.
Watercolour. 11¼ by 8¼ in.
The firm owes its origin to a notable man, James Christie, who issued
his first catalogue in 1766. A portrait of him, painted by his friend
Gainsborough, originally a good advertisement of the skill of the
artist, was long hanging in the “great auction rooms” on the south side
of Pall Mall, where Christie took up his quarters, next to Schomberg
House. It was afterwards at the present address, No. 8 King Street,
St. James’s, to which the firm moved in 1824. They now only have an
engraving of it. Rowlandson drew another caricature of an auction
sale at Christie’s.
By T. ROWLANDSON (1756-1827).
_Lent by Messrs. Christie, Manson, and Woods._
PLATE XXI. 47 OLD CHEESE-CAKE HOUSE, HYDE PARK, 1797.
Watercolour. 21½ by 12 in.
The building, close to the Serpentine, is thus mentioned in Howard’s
“English Monsieur” (1674): “Nay, ’tis no London female; she’s a thing
that never saw a cheesecake, a tart, or a syllabub at the Lodge in
Hyde Park.” Swift writes to Stella that after his duel with Lord Mohun
the Duke of Hamilton was helped towards the “Cake-house,” but died
on the grass before he could reach it. Later it was sometimes called
the Mince-pie House. Demolished 1835-36. There is an engraving of it
in the “Gentleman’s Magazine” for May 1801.
Date 1797.
_Lent by H.M. the King._
48_a_ BUCKINGHAM HOUSE.
Wash drawing in Indian ink. 10¾ by 5¾ in.
Buckingham House in St. James’s Park was designed by Captain William
Winde, said to have been a pupil of Gerbier, and to have been born at
Bergen-op-Zoom, being finished for John Sheffield, Duke of Buckingham,
in 1705. There is an account of it with elevation in Sir Reginald
Blomfield’s book on English renaissance architecture. It was bought
by George III, settled on Queen Charlotte, and here Dr. Johnson had
his famous interview with the King. The original building was altered
and added to from 1825 onwards until it quite disappeared, Buckingham
Palace covering the site.
Winde was of Norfolk family, well connected. See references to him
in “Notes and Queries,” and his pedigree by Mr. J. Challenor Smith
in Surrey Arch. Coll., vol. x.
By J. MAURER, 1746.
_Lent by H.M. the King._
48_b_ THE HORSE GUARDS PARADE.
Wash drawing in Indian ink. 10¾ by 5¾ in.
On spectator’s left is the Admiralty (on the site of Wallingford
House), surmounted by a semaphore telegraph. To the left of the
Banqueting House is the Guard House, not that designed by Kent and
finished by Vardy, but a previous building. Through the gateway
beneath, a long procession has issued, the royal carriage with eight
horses being in the foreground. Among other buildings shown are the
Holbein Gate-house and the Treasury.
By J. MAURER, about 1750.
_Lent by H.M. the King._
PLATE XXII. 49 FISHMONGERS’ HALL FROM THE RIVER.
Watercolour. 12 by 8¼ in.
The Fishmongers stand fourth on the list of the City Companies. This
was their hall built after the Great Fire by Edward Jerman. It is
said to have been the scene of Plate VIII of Hogarth’s “Industry
and Idleness,” and was destroyed at the time of the rebuilding of
London Bridge, which now covers its site. The present hall, near the
north-west angle of the bridge, is a short distance farther up the
river. The original hall had been the residence of Lord Fanhope.
Date about 1810.
_Lent by Sir E. Coates._
50 LANDING AT THE “CROWN AND SCEPTRE” TAVERN, GREENWICH.
Watercolour. 11¾ by 8¼ in.
Part of Greenwich Hospital in mid-distance. The “Crown and Sceptre”
was one of the old riverside taverns which ministered to the taste
of Londoners for whitebait.
By T. ROWLANDSON (1756-1827).
_Lent by Mr. E. H. Coles._
51 THE BANK LOTTERY.
Watercolour. 23¾ by 16½ in.
A lottery in the Rotunda of the Bank of England.
Between 1709 and 1824 the Government raised large sums from lotteries
authorized by Act of Parliament.
By T. ROWLANDSON (1756-1827).
_Lent by Sir E. Coates._
52 BARTHOLOMEW FAIR.
Watercolour. 13 by 8¾ in.
In Smithfield, entrance of St. Bartholomew’s Hospital on the left.
The fair is in progress: there are booths, swings, etc., and many
figures. St. Sepulchre’s Church-tower in the distance.
In the same frame is an etching of the subject by Rowlandson, to
which colour has been crudely added.
By T. ROWLANDSON, 1807 (1756-1827).
_Lent by Sir E. Coates._
53 SAVOY RUINS.
Wash drawing in sepia. 12¼ by 8¼ in.
The Savoy near the Strand was a house or palace built in 1245 by
Peter, Earl of Savoy and Richmond, uncle of Eleanor, wife to Henry
III. John, King of France, was imprisoned there after the battle of
Poictiers. When in the hands of John of Gaunt it was burnt by Wat
Tyler and his followers. After this it appears to have been neglected,
till in 1505 Henry VII endowed it as a Hospital of St. John Baptist
for the relief of poor people. Suppressed in 1553, and re-endowed by
Queen Mary Tudor, seventeenth century plans show an important river
frontage. It was maintained as a hospital until 1702, but Strype in
1720 describes it as being partly a prison; in another portion was
“the King’s printing press for proclamations,” etc. After gradual
decay the last remains of the building were destroyed in the earlier
years of the nineteenth century.
The arches in mid-distance most likely belong to Blackfriars Bridge.
Waterloo Bridge, first called Strand Bridge, was begun in 1811.
We may call to mind that the gifted artist who drew this, and died at
the age of twenty-seven, was born in the same year as W. M. Turner,
whose well-known saying, “if Tom Girtin had lived I should have
starved,” is a fine tribute to his genius.
By T. GIRTIN (1775-1802).
_Lent by Mr. T. Girtin._
54 DRURY LANE THEATRE.
Watercolour. 9 by 5¾ in.
The first theatre on this site was opened by the King’s Company in
1663, and was burnt down in 1672. The next, designed by Sir Christopher
Wren, was opened in 1674 and was new-faced by the brothers Adam. A
third theatre, designed by H. Holland, was opened in 1794 and burnt
down in 1809. James and Horace Smith’s “Rejected Addresses” were
burlesque prologues for the fourth theatre, designed by Benjamin
Dean Wyatt, which is here portrayed. It was opened 10 October 1812,
with a prologue by Lord Byron, whose style the Smiths had parodied.
The portico in Brydges Street, now Catherine Street, was added when
Elliston was lessee, and the colonnade, Little Russell Street, in 1831.
This is the original of an engraving in Wilkinson’s “Londina
Illustrata.” Whichelo, who painted it, devoted himself to topographical
and afterwards marine subjects. He exhibited at the Royal Academy and
was for many years member of the Old Watercolour Society. He died in
1865.
By J. M. WHICHELO, _c._ 1813.
_Lent by H.M. the King._
55 THAMES BELOW BRIDGE, LOOKING TOWARDS ST. PAUL’S.
Watercolour. 21 by 13 in.
A reach of the river with shipping, and old buildings to left, which,
from their position and that of St. Paul’s in the distance, must be
on the Surrey shore, near Rotherhithe.
By John Thomas, elder son of Domenic Serres, R.A., native of Gascony.
He was a successful painter of landscape and marine views, but was
ruined by the depravity and extravagance of his wife, born Olive
Wilmot, who called herself Princess of Cumberland. He died within
the rules of the King’s Bench Prison.
By J. T. SERRES (1759-1825).
_Lent by Mr. H. Oppenheimer._
56 FIFE HOUSE FROM THE THAMES.
Watercolour. 8¾ by 9½ in.
Fife House, Whitehall Yard, built for James Duff, second Earl of Fife
in 1772, was let by his executors to the Earl of Liverpool, who died
there in 1828, when Prime Minister. It was next to the late United
Service Institution originally Vanbrugh’s “Goose-pie,” and was pulled
down in 1869.
By G. SHEPHERD, 1805.
_Lent by Mr. E. H. Coles._
57 MELBOURNE HOUSE, NOW THE ALBANY, PICCADILLY.
Wash drawing in Indian ink. 8½ by 6 in.
Designed by Sir William Chambers, and sold in 1771 by the first
Lord Holland to the first Viscount Melbourne, who exchanged it with
Frederick, Duke of York and _Albany_ for Melbourne (latterly called
Dover) House, Whitehall. It was afterwards converted into chambers,
the garden behind being built over with additional sets of rooms.
Frederick Nash, who drew this, was son of a builder in Lambeth, and
studied under Malton the younger, being also employed as a draughtsman
by Sir R. Smirke. He began exhibiting at the Academy in 1800, became
a member of the Old Watercolour Society, and architectural draughtsman
to the Society of Antiquaries.
By F. NASH (1782-1856).
_Lent by H.M. the King._
58 RIVER VIEW FROM BELOW YORK WATER-GATE.
Watercolour. 9½ by 6 in.
The artist who painted this was son of George Barret, R.A., and
in 1804 was a foundation member of the Old Watercolour Society. He
excelled in classical landscapes, and published a book on the “Theory
and Practice of Watercolour Painting.”
By G. BARRET the Younger (1767-1842).
_Lent by Mr. H. C. Levis._
PLATE XXIII. 59 ST. DUNSTAN’S-IN-THE-WEST, FLEET STREET.
Watercolour on etched outline. 18¾ by 13 in.
The old Church, of early foundation, had been damaged in the Great
Fire, and was repeatedly altered and patched. It stood more forward in
the street than the present building. When the church was taken down,
about 1830, the projecting clock, with its figures which struck the
hours and quarters, was bought by the then Marquess of Hertford, and
moved to his villa in the Regent’s Park (hence called St. Dunstan’s),
long occupied by the first Lord Aldenham, where it still remains.
The statue of Queen Elizabeth at the east end of the church came
from Ludgate, taken down in 1760, and is now over the entrance of
the present church vestry. On the edge of the pavement is a porters’
rest. Temple Bar in mid-distance.
By T. MALTON the Elder (1726-1801).
_Lent by Lord Aldenham._
60 MIDDLE TEMPLE HALL FROM SOUTH-EAST.
Watercolour. 9¾ by 6¾ in.
Built in 1572. Shakespeare’s “Twelfth Night” is mentioned by a student
named Manningham as having been performed here on 2 February 1601-2.
The outside was dressed with stone in 1757.
To spectator’s left the Temple Fountain is shown, approached by steps.
_Lent by Sir E. Coates._
PLATE XXIV. 61 WESTMINSTER ABBEY FROM DEAN’S YARD.
18¼ by 12¾ in.
A general view of the Abbey from the south-west, Westminster schoolboys
and masters in foreground. There is an engraving of this subject.
By T. MALTON the Elder (1726-1801).
_Lent by the City of Birmingham Art Gallery._
62 BEAUCHAMP TOWER—TOWER OF LONDON.
Watercolour. 6 by 6¾ in.
Under the mount are the words in pencil “Beauchamp Tower,” and this
is probably correct. The building, however, has been much altered
since 1798.
Charles Tomkins, painter and aquatint engraver, son of W. Tomkins,
A.R.A., did a number of topographical views of London. In 1796 he
published a “Tour in the Isle of Wight,” with eighty engravings, and
in 1805 “Views of Reading Abbey.”
By C. TOMKINS, 1798 (1757-1810).
_Lent by Mr. E. H. Coles._
PLATE XXV. 63 WAPPING.
21¼ by 16¾ in.
Important houses on river front. Boat building in progress.
By T. GIRTIN (1773-1802).
_Lent by the Leicester Art Gallery._
PLATE XXVI. 64 EAST INDIA HOUSE FROM THE WEST.
Watercolour. 38 by 28 in.
In “Relics of the Hon. East India Company,” illustrations by W.
Griggs, letterpress by Sir George Birdwood and W. Foster, a plate
from this watercolour is described as follows: “The House occupied
by the East India Company in Leadenhall Street, as refaced in 1726.
From a coloured drawing by T. Malton, March 1800.”
The East India House, on the south side of Leadenhall Street, is shown
on spectator’s right; crowds on the pavement, among them Indians; a
coach in the roadway. Opposite are old buildings which escaped the
Great Fire.
As already implied by the titles, there were two Thomas Maltons,
father and son, and it is sometimes difficult to distinguish their
work. The father (1726-1801) exhibited London views at the Royal
Academy in 1772 and 1774. He taught perspective. His watercolours, as
a rule, were what were known as “tinted drawings,” begun in Indian
ink. The son (1748-1804) received a premium at the Royal Society of
Arts in 1774, and a gold medal at the Royal Academy in 1782. In 1792
he published “A Picturesque Tour through the Cities of London and
Westminster containing a hundred aquatints.” He also exhibited London
views at the Royal Academy.
By T. MALTON the Younger (1748-1804).
_Lent by the Secretary of State for India._
65 THE GENERAL COURT-ROOM, EAST INDIA HOUSE.
Watercolour. 7¾ by 5¾ in.
_Lent by the Secretary of State for India._
66 THE DIRECTORS’ COURT-ROOM, EAST INDIA HOUSE.
Watercolour. 8¾ by 6 in.
Shows the two high chairs here exhibited.
_Lent by the Secretary of State for India._
PLATE XXVII. 67 SADLER’S WELLS.
Oil picture. 15 by 10¾ in.
Sadler’s Wells, between the New River Head and St. John Street Road,
Islington, was so called from a spring of mineral water discovered
there by a man named Sadler, who in 1683 opened a music-room connected
with it. In course of time rope dancing, tumbling, pantomime, and
other entertainments took place there. About 1790 it became a theatre,
being still among fields. The New River flowed by, and water was
introduced from it to a large tank beneath the floor of the stage—used
for naval spectacles, etc.
Here in 1832 T. P. Cooke made his first appearance as William in
“Black-Eyed Susan.” The theatre fell into disrepute, but was revived
by Phelps who, 1844-62, made it “the home of the legitimate drama.”
Closed for some years, it was rebuilt in 1879, and for a short time
was under the management of Mrs. Bateman. This picture agrees with
the view of the old house in Wilkinson’s “Londina Illustrata.”
By R. C. ANDREWS, 1792.
_Lent by the Hon. Lady Lyttelton._
PLATE XXVIII. 68 GREEN PARK, 1760.
Oil picture. 50 by 31 in.
In the foreground is a man seated on a rail, with what looks like a
plan or drawing in his left hand. He turns to the spectator and, with
his right, points in the direction of Spencer House, the park front
of which still remains unaltered. This figure, in all likelihood,
represents John Vardy, the architect who designed it. The pond is
wrongly named Rosamond’s Pond on the frame. It is mentioned in the
Calendar of Treasury Papers, 9 June 1725, as a “canal or basin lately
made over against Devonshire House,” and was soon afterwards converted
into a reservoir of Chelsea Waterworks. A walk by it, planted with
trees, was called the Queen’s Walk. This reservoir was enlarged in
1729, and filled up in 1856. The Green Park Rosamond’s Pond was in
the old bed of the Tyburn, much farther west. A more famous Rosamond’s
Pond, in St. James’s Park, disappeared 1770. All three are marked on
Rocque’s map of 1746. The figures scattered about the foreground and
reflected in the water show very well the costume of the period. In
the distance is Buckingham House (see No. 48).
By W. HOGARTH, 1760 (1697-1764).
_Lent by the Earl Spencer._
69 NORTHUMBERLAND HOUSE, KING CHARLES’S STATUE, AND THE GOLDEN CROSS,
CHARING CROSS.
Oil picture. 16 by 9 in.
This historic mansion was built _c._ 1605 for Henry Howard, Earl of
Northampton, and left by him to his nephew, Thomas Howard, Earl of
Suffolk. It came to the Percys through the marriage, in 1642, of
the daughter of the second Earl of Suffolk with the tenth Earl of
Northumberland. The house was sold under the compulsory clause of
an Act of Parliament in 1873, and Northumberland Avenue covers the
site. The lion on the front is of lead, and is now at Syon House,
Isleworth. The statue of Charles I was the work of Hubert Le Sœur, and
the pedestal, according to Horace Walpole, was by Grinling Gibbons,
but it is now generally assigned to Joshua Marshall, master mason. On
the left appears the famous old Golden Cross coaching inn, its sign
overhanging the roadway. It was rebuilt in 1832. An engraving of this
design, issued in 1753, has on it “Canaletti pinxt et delint.—T
Bowles sculpt.” It was republished by Laurie and Whittle in 1794.
By CANALETTO, 1697-1768.
_Lent by the Marquess of Sligo._
70 FOUNDLING HOSPITAL.
Oil picture. A circle, 21 in. in diameter.
William Hogarth was most active in helping the Foundling Hospital
during its early period. In the charter of incorporation he appears as
a “Governor and Guardian.” Immediately afterwards, in 1740, he gave
one of his masterpieces, the portrait of Captain Coram, founder, and
within a few years the “March to Finchley,” and other pictures. In
1746 various painters were induced through his influence to present
examples of their work; among them were F. Hayman, S. Scott, R. Wilson,
and T. Gainsborough, and all were elected Governors excepting the
last-named, then a mere lad, who, after some years’ work in London,
had lately returned to Norfolk. As time went on further help of
this kind was forthcoming, crowds flocked to see the paintings, and
the success of such informal exhibitions prepared the way for the
foundation of the Royal Academy.
The building here shown was designed by Theodore Jacobsen, who came
of a family long connected with the Steelyard, and whose portrait
was painted by Hudson.
The site of the Hospital had been part of Lamb’s Conduit Fields. Over
the wall, to spectator’s left, is the burial ground of the parish of
St. George the Martyr, now a public garden.
By R. WILSON, R.A., 1746 (1714-1782).
_Lent by the Foundling Hospital._
PLATE XXIX. 71 ST. GEORGE’S HOSPITAL.
Oil picture. A circle, 21 in. in diameter.
The second picture by Wilson represents St. George’s Hospital from
the Green Park. Until 1733 the central part had been the suburban
residence of the second Viscount Lanesborough, created an earl in
1756. It was rebuilt in 1828-29, and since then has been more than
once enlarged.
By R. WILSON, R.A., 1746 (1714-1782).
_Lent by the Foundling Hospital._
PLATE XXX. 72 THE CHARTERHOUSE.
Oil picture. A circle, 21 in. in diameter.
An interesting example of Gainsborough’s early work. It is astonishing
that when he presented it (in the year of his marriage) he was only
nineteen, but the authorities of the Foundling Hospital have no
doubt that it was given by him in 1746. The scene depicted at the
Charterhouse is the “Terrace,” a paved walk resting on the arcade
built with it by the Duke of Norfolk, 1565-1571, as a double ambulatory
to his tennis court. The terrace overlooks (to spectator’s left) the
site of the great cloister of the ancient monastery, afterwards the
Duke’s garden, then the “Upper Green” or match-ground of the school,
and now the Merchant Taylors’ playground. The tower with light shining
on it is the chapel tower.
By T. GAINSBOROUGH, R.A., 1746 (1727-1788).
_Lent by the Foundling Hospital._
PLATE XXXI. 73 ALDGATE SCHOOL AND WATCH-HOUSE AND TOWER OF CHURCH.
Pen and wash drawing. 10 by 9½ in.
The church of St. Botolph, Aldgate, was rebuilt in 1744, from the
designs of George Dance the elder. In 1710 Sir John Cass, alderman,
had presented this school near the church with shops and a vault
beneath, for the benefit of the ward, and he afterwards left property
for educational purposes, which has become of great value. About 1750
a lead statue of him, modelled by Roubiliac, was placed in front of
the building. In 1762 the school was moved into a house in Church Row,
the original building being used for other purposes, but this statue
and statuettes of a schoolboy and a schoolgirl remained in their
niches as here shown. The building was not destroyed until many years
afterwards. Here one sees that in 1815 part of it was a watch-house.
Most of the site has been absorbed by a widening of Houndsditch.
The statue of Sir John is now in the modern building known as the
Cass Foundation, Jewry Street. The drawing was done for Wilkinson’s
“Londina Illustrata,” but does not appear in that publication.
By R. B. SCHNEBBELIE (died about 1849).
_Lent by Sir E. Coates._
74 INTERIOR OF REGENCY THEATRE.
Watercolour. 8¾ by 6¾ in.
The Regency Theatre, Tottenham Street, Tottenham Court Road, was built
on the site of a concert room. After being renamed several times and
passing through various hands, it was remodelled and became the Prince
of Wales’s theatre under the Bancrofts. They moved to the Haymarket
in 1880. The Prince of Wales’s theatre, after remaining vacant for
years, was occupied by the Salvation Army, and on the site is now
the Scala theatre.
By R. B. SCHNEBBELIE, 1816 (died about 1849).
_Lent by H.M. the King._
75 THE MANSION HOUSE.
Watercolour. 6 by 8 in.
The residence of the Lord Mayor during his term of office. Built
on the site of Stocks Market, from the designs of George Dance the
elder, who was City Surveyor. The first stone was laid in 1739, but
it was not finished until 1753. The top story here depicted, and once
familiarly known to cockneys as “the Mare’s Nest,” was taken down in
1842.
By F. NASH, 1802 (1782-1856).
_Lent by Sir E. Coates._
76 RIVER SCENE AT GREENWICH.
Oil picture. 23¼ by 19½ in.
Looking up the river, Greenwich Hospital on the left. Boats and
shipping. In the preface, p. 14, Samuel Scott has already been referred
to.
By S. SCOTT (about 1710-1772).
_Lent by Mr. C. H. St. John Hornby._
PLATE XXXII. 77 EAST INDIA HOUSE FROM THE EAST.
Watercolour. 37 by 25½ in.
Shows the façade of the East India House as rebuilt according to
the design of Richard Jupp, architect of the Company, and afterwards
carried out by his successor, H. Holland, when the house was extended
east to Lime Street. The pediment of the Ionic portico was filled
with sculpture by John Bacon, R.A. The ornate building, of which
we have a separate view (No. 17), is next to the East India House,
on the west. Beyond are the spire of St. Peter’s, Cornhill, and the
tower of St. Michael’s.
By T. MALTON the Younger (1748-1804).
_Lent by the Secretary of State for India._
PLATE XXXIII. 78 A WATER PAGEANT ON THE THAMES.
Oil picture. 43½ by 23½ in.
This doubtless represents a procession of the Lord Mayor elect from
Three Crane Stairs to Westminster, which until the adoption of the
new style in 1752 took place on 29 October (the day after the feast of
SS. Simon and Jude) and was the precursor of the present Lord Mayor’s
Show. A gay scene and evidently a noisy one, the river crowded with
state barges belonging to the Corporation and the City Companies,
adorned with flags, streamers, pendants, etc., and there is much
loud music. To spectator’s left is old Somerset House, every point
of vantage occupied by spectators watching the show. Behind is the
steeple of St. Mary-le-Strand. St. Paul’s Cathedral is conspicuous,
and many church towers and spires appear, also the Monument, part of
old London Bridge before the removal of houses, and in the distance
the Tower of London.
School of S. SCOTT.
_Lent by the Earl Brownlow._
79 OLD BLACKFRIARS BRIDGE.
Oil picture. 20½ by 15¼ in.
This painting is wrongly called on the frame “Southwark Bridge,” the
first stone of which was not laid until 1815. It represents the first
Blackfriars Bridge, originally Pitt Bridge, designed by R. Mylne and
built between 1760 and 1769. The Temple Gardens are shown to the left
and St. Paul’s beyond them.
R. Burford is chiefly known as the painter and proprietor of panoramas
in Leicester Square and in the Strand. He also exhibited at the Royal
Academy from 1812 to 1818. The date on the frames of this and the
companion picture (No. 80) is 1808, which seems too early for such
mature work, as he was born in 1792 and would therefore have been
only sixteen at the time.
By R. BURFORD (1792-1861).
_Lent by Mr. Colin Agnew._
80 OLD LONDON BRIDGE.
Oil picture. 20¼ by 16 in.
The picture shows the old bridge after it had been altered by the
removal of the houses, several arches at the end are blocked by
waterworks.
The Monument is noteworthy, as are the steeples of the churches of
St. Magnus, St. Margaret Pattens, and St. Dunstan-in-the-East, all
designed by Sir Christopher Wren.
By R. BURFORD (1792-1861).
_Lent by Mr. Colin Agnew._
PLATE XXXIV. 81 WESTMINSTER BRIDGE AND WESTMINSTER ABBEY FROM THE RIVER.
Oil picture. 35½ by 18 in.
From mid-stream, below bridge. Among prominent buildings, besides the
Bridge and the Abbey, are the Banqueting House Whitehall, the tower
of St. Margaret’s Church, and Westminster Hall. In distance to left
is Lambeth Palace.
By S. SCOTT (about 1710-1772).
_Lent by the Marquess of Sligo._
PLATE XXXV. 82 SIR RICHARD STEELE’S COTTAGE, HAMPSTEAD.
Oil picture, 10¾ by 7½ in.
In 1832 Constable exhibited this very small picture at the Royal
Academy under the title given above. It is numbered 147 in the
catalogue.
The view was painted from what is now called Haverstock Hill, looking
towards London, St. Paul’s Cathedral in the distance. There is a
mezzotint of it by David Lucas. To the small house on the right Steele
retired during the summer of 1712. In a letter to Pope dated 1 June
of that year he says: “I am at a solitude, an house between Hampstead
and London wherein Sir Charles Sedley died.” Isaac Reed, editor of
Shakespeare, in his edition of Baker’s “Biographia Dramatica,” says:
“part of the building remains.” In 1855-56 it was a dairy, faced by the
“Load of Hay” public-house, here shown with Georgian buildings next to
it. In one of these, then a dame’s school, George Grossmith, second
of that name, was a pupil. Afterwards Steele’s cottage was divided
into two tenements. According to F. Baines (“History of Hampstead,”
1890), they were pulled down in 1867. Steele’s Road covers the site.
By J. CONSTABLE, R.A., 1832 (1776-1837).
_Lent by Mr. R. K. Hodgson._
83 VIEW LOOKING DOWN THE RIVER FROM ABOVE ADELPHI TERRACE.
Oil picture. 17½ by 6½ in.
Shows Adelphi Terrace and low buildings along the foreshore, then
unchanged. In the distance is old London Bridge.
The painter, David Turner, exhibited occasionally at the Free Society
and the Royal Academy, beginning in 1782; his pictures were small,
their subjects for the most part being from London and the Thames.
It is said that his name does not appear after 1801, but a view by
him, lately sold at Christie’s, was catalogued as representing Lord
Nelson’s funeral procession on the river.
By D. TURNER.
_Lent by Mr. F. A. White._
84 ADELPHI TERRACE AND YORK WATER-GATE.
Oil picture. 9 by 5¾ in.
The same subject as the left-hand portion of No. 83, excepting that
it includes York Water-gate. Adelphi Terrace was never faced with
red brick; the painter is trying to improve on Adam’s design.
By D. TURNER.
_Lent by the Fishmongers’ Company._
85 WESTMINSTER BRIDGE AND ABBEY.
Oil picture, 11½ by 7½ in.
Taken from a wharf or shed on the Surrey bank.
By D. TURNER.
_Lent by Mr. A. Murray Smith._
86 VIEW DOWN THE RIVER FROM THE GARDEN OF OLD SOMERSET HOUSE.
Oil picture. 36 by 18 in.
In foreground to left is part of the garden of old Somerset House,
with the stairs or landing-stage. St. Paul’s Cathedral and many church
steeples are shown, also old London Bridge, houses still on it. In
Southwark are St. Olave’s Church, Tooley Street, St. Saviour’s, now
Southwark Cathedral, and on the extreme right an octagonal building
which looks extremely like a Bankside theatre, although, according
to existing evidence, they had all disappeared long before the date
of this picture. The last apparently was the Hope, not known to have
survived after the year 1682, when there was an advertisement in
the “Loyal Protestant,” with reference to “the Hope on the Bankside,
being His Majesty’s Bear Garden.”
By S. SCOTT (about 1710-1772).
_Lent by the Marquess of Sligo._
PLATE XXXVI. 87 THE PARADE AND WHITEHALL FROM ST. JAMES’S PARK.
Oil picture. 28 by 16½ in.
On what is called the Horse Guards Parade, cavalry and infantry are
being exercised. To left is the Admiralty, built 1724-26, T. Ripley
architect; it is surmounted by a semaphore telegraph and has a walled
garden. Near centre is the Guard-house with clock turret, an earlier
building than the Horse Guards designed by Kent and finished by Vardy
1753. In background the Banqueting House and Holbein Gate. To right
Kent’s Treasury (1733-34), and touching frame a building which has
been the official home of the Chief Lord of the Treasury since 1735.
It is only part of the present No. 10 Downing Street, which has been
altered and added to by Soane and others. See note on No. 96.
By S. SCOTT (about 1710-1772).
_Lent by the Marquess of Sligo._
PLATE XXXVII. 88 WHITEHALL FROM THE NORTH.
Oil picture. 28 by 16½ in.
Chief building to left is the Banqueting House, designed by Inigo
Jones and erected 1619-22, afterwards a royal chapel, now added to
(with loss of symmetry) and used by the United Service Institution. The
first English example of pure Palladian design, and still containing
Rubens’s painted ceiling. Beyond it is wall of Privy Garden. Crossing
road is the Holbein, or Whitehall, Gate just mentioned, of which
there is an interesting engraving by Vertue in “Vetusta Monumenta,”
1725. On each side were four glazed terracotta medallions of fine
Italian workmanship. It stood originally “thwart the high streete”
from Charing Cross to Westminster, and was demolished to make room
for Parliament Street in 1759. The material was moved to Windsor,
the then Duke of Cumberland, ranger of the park and forest there,
intending to re-erect it. A gleam of light shows entrance to the Horse
Guards. House to right with pediment must be the present Paymaster
General’s Office.
By S. SCOTT (about 1710-1772).
_Lent by the Marquess of Sligo._
89 WHITEHALL FROM ST. JAMES’S PARK.
Oil picture. 47½ by 29½ in.
Portion of view shown in No. 87, but dating from near the end of
Charles II’s reign. It will presently be pointed out that No. 96
is a still earlier picture of almost the same subject, so to avoid
repetition this has not been reproduced. Here the Banqueting Hall
is prominent; other important buildings are as follows: To extreme
left in background a louvred structure is the Great Hall, Whitehall,
more clearly visible in Wijck’s view from the river, No. 91. Facing
park we see the old Guard House as in No. 87. The upper portions of
Holbein Gate-house and of a battlemented structure are also visible;
for description of the latter and of the great staircase see note
on No. 96. A large brick building some distance to right preceded
Kent’s Treasury, both occupying the site of Henry VIII’s Cockpit,
which still remained when No. 96 was painted. Little is known about
the brick building; it appears in views by Kip, 1710 and 1720, and
in an illustration for J. T. Smith’s “Antiquities of Westminster,”
from a picture resembling this. There are also slight sketches of
it in vol. ii of Lond. Top. Society’s Records, illustrating a paper
by the late Mr. Walter B. Spiers, Soane Curator, who made a special
study of Whitehall. In foreground of our view, among bewigged and
gaily-apparelled figures, a black woman and a black page are prominent.
_Lent by Mary, Countess of Ilchester._
90 OLD LONDON BRIDGE IN THE SEVENTEENTH CENTURY FROM SOUTHWARK.
Oil picture. 41 by 27½ in.
View of old London Bridge, of City of London, and part of Southwark,
before the Great Fire. In foreground, beginning on west or left
side, the following playhouses are shown in their order: the Swan,
destroyed about 1633, the Hope or Bear Garden, and the second Globe.
The turreted building below the Swan was the old Manor House of
Paris Garden. In the reign of Charles I it got a bad reputation, and
was called Holland’s Leaguer from a woman who occupied it. The next
important building is the hall of the Bishop of Winchester’s house.
Then St. Saviour’s, originally church of Priory of St. Mary Overy,
and now Southwark Cathedral. Passing bridge, on right, is the church
of St. Olave, Tooley Street, replaced by present structure (lately
closed) in 1737-39. On Middlesex side, old St. Paul’s has lost its
spire, fatally injured by lightning in 1561.
There is no space to describe bridge in detail. Before removal of
houses under Act of Parliament 1756, it was most picturesque, but with
its many arches, several blocked by mills and waterworks, it checked
flow of water, hence freezing of Thames above bridge, frost fairs,
and danger of passing through in boat, or “shooting the bridge.” On
central pier, projecting to east, was chapel of St. Thomas-à-Becket,
with crypt beneath. In foreground is Southwark gatehouse (afterwards
rebuilt), with heads of traitors above parapet, a display originally
over building farther north, destroyed in 1577.
This picture is clearly not contemporary. It looks like eighteenth
century work, founded on an earlier painting, or on such engraved
views as Visscher’s (1616) and the small one in Howell’s “Londinopolis”
(1657).
_Lent by the Bank of England._
PLATE XXXVIII. 91 WESTMINSTER FROM BELOW YORK WATER-GATE.
Oil picture. 60 by 31½ in.
Dates from soon after the Restoration. In the foreground to right is
York Water-gate, in mid-distance is the Banqueting Hall. Next to that
the louvred stone building is undoubtedly the great Hall, Whitehall,
also visible in No. 89. It was about 100 feet long by 45 feet. Here
several of Shakespeare’s plays were acted before Queen Elizabeth;
destroyed in fire of 1697, Horse Guards Avenue covers most of the
site. Below Westminster Abbey, and projecting into river, is the public
landing stage called Whitehall Stairs, with boats attached to it. The
site of this is immediately east of the present Horse Guards Avenue.
Beyond, but at first glance appearing to be part of same structure,
are Privy Stairs, with covered passage. St. Margaret’s Church,
Westminster Hall, and St. Stephen’s Chapel are grouped together. To
extreme left is Lambeth Palace.
The artist, Thomas Wijck, Wyck, or Van Wyck, was born at Beverwyck
about 1616. He studied with his father, and in Italy, and about the
time of the Restoration came to England, where he was much employed.
He painted several other views of London. Died at Haarlem, 1677.
By THOMAS WIJCK (about 1616-1677).
_Lent by Mr. E. C. Grenfell._
PLATE XXXIX. 92 WESTMINSTER FROM LAMBETH.
Oil picture. 35 by 20½ in.
Westminster Abbey, St. Margaret’s church tower, Westminster Hall, and
St. Stephen’s Chapel are prominent, the last foreshortened. The old
bridge is already finished. In foreground the painter has introduced
part of a tower of Lambeth Palace, much too near the bridge, but
improving composition. Nets with large meshes, doubtless salmon nets,
are hanging on the rails.
By S. SCOTT (?) (about 1710-1772).
_Lent by Mr. P. Norman._
PLATE XL. 93 THE OLD STOCKS MARKET.
Oil picture. 50 by 37½ in.
The Stocks Market was established in 1282, “where some time had stood
a pair of stocks for punishment of offenders.” It was for sale of
meat and fish until the Great Fire, afterwards a market for fruit
and vegetables. Of the equestrian statue here shown, Pennant in his
“London” gives the following account: it was “erected in honour of
Charles II by his most loyal subject Sir Robert Viner, lord mayor.
Fortunately his lordship discovered one (made at Leghorn) of John
Sobieski trampling on a Turk. The good Knight caused some alterations
to be made, christened the Polish monarch by the name of Charles,
and bestowed on the turbaned Turk that of Oliver Cromwell.” Horace
Walpole says the statue “came over unfinished, and a head was added
by Latham.” Stocks Market was removed in 1737 to clear ground for the
present Mansion House. The statue lay neglected until 1779, and was
then given to Mr. Robert Vyner, descendant of the Lord Mayor. He set
it up in Gautby Park, Lincolnshire, and in 1883 it migrated to Newby
Hall, Ripon, the home of the last Mr. Robert Vyner, who died in 1915.
The picture is pleasantly lighted by the gay costumes of those engaged
in marketing. In background appear the tower and dome of church of St.
Stephen, Walbrook, one of Wren’s masterpieces. There is a well-known
print of Stocks Market from similar point of view.
Josef van Aken, who painted this, was born at Antwerp, and passed much
of his life in England. He was much employed by eminent landscape
artists to paint the costumes of the figures in their pictures, in
which he is said to have been very skilful. He died in London.
By JOSEF VAN AKEN (1709-1749).
_Lent by the Bank of England._
PLATE XLI. 94 RIVER VIEW FROM GARDEN OF OLD SOMERSET HOUSE.
Oil picture. 35½ by 23½ in.
In foreground to left part of the garden with trees and figures.
The stone gateway with landing-stage, known as Somerset Stairs, is
prominent. Besides St. Paul’s Cathedral and many church steeples, part
of old London Bridge appears, houses still on it. This view should
be compared with No. 86, as the subjects are much alike, though here
there is a stronger effect. Like No. 69, this picture was ascribed
to Scott, but after our plate had been printed, an engraving of it by
E. Rooker, 1750, was found, with on it the words “Canaletti pinxt”;
the attribution is therefore here changed.
By CANALETTO (1697-1768).
_Lent by Mr. F. A. White._
PLATE XLII. 95 OLD WESTMINSTER BRIDGE.
Oil picture. 59 by 37 in.
This picture is specially interesting as a pendant to No. 91. It
shows a similar view, but is painted from a point much higher up the
river, and is more modern by eighty or ninety years. Observe the men
fishing with nets, probably for salmon. As we have mentioned, when
describing No. 4, Westminster Bridge was opened in 1750. It was the
second stone bridge built over the Thames at London.
The present bridge dates from 1862.
By S. SCOTT (about 1710-1772).
_Lent by Mr. E. C. Grenfell._
PLATE XLIII. 96 WHITEHALL FROM ST. JAMES’S PARK.
Oil picture. 60½ by 37 in.
This picture represents much the same subject as No. 89, though
it takes in less ground to the north or left, but from variations
in buildings is evidently some years earlier. The Banqueting House
appears, and near it on right the Holbein Gate is partly visible.
Figures are emerging from a great staircase which communicated with
a passage over this gate. In an article by the late Sir Reginald
Palgrave, K.C.B., we are told (on the authority of the Sydney papers)
that Philip, 4th Earl of Pembroke, on the day of Charles I’s execution,
“out of his chamber” (in the Cockpit part of Whitehall) “looked upon
the King as he went up those stairs from the Park to the gallery on
the way to the place of his death.” Hard by, to left of staircase,
is a doorway to passage through the Tiltyard. To right of staircase
is a long gallery dating from Henry VIII’s time. Farther to right
is a two-storied building which appears in Fisher’s plan as part
of the Duke of Albemarle’s lodgings. Vertue’s copy of this plan is
dated 1680, but Mr. Spiers gave good reasons for believing that it
was drawn before 1670.
The battlemented structure behind, with buttresses, mullioned windows,
and turrets at the angles (mentioned in note on No. 89), was to
north of passage from Whitehall to the Cockpit, now known as Treasury
Passage. In the “Gentleman’s Magazine” for 1816 it is described as
part of the palace built by Cardinal Wolsey, and other writers have
called it “Wolsey’s Treasury.” Contemporary evidence, however, is
lacking to prove that any part of Wolsey’s “York Place” stood west
of the thoroughfare that led from Charing Cross, the land on the
Park side having apparently been conveyed to Henry VIII by the Abbot
of Westminster in 1532. The material of this important building was
brick and stone. Its external character and the ground plan suggest
a hall, but whatever its origin it was undoubtedly used as a tennis
court by Henry VIII. Being perhaps of inconvenient shape for the
later developments of the game, and Charles II having built himself
a tennis court farther south, floors were inserted in 1664, and it
became the Duke of Monmouth’s lodging. What remained of it in the
early nineteenth century was finally swept away to make room for
Soane’s Council Office as completed by Barry.
The next building in front is the Tudor Cockpit, with its octagonal
roof still intact. For years it had not served its original purpose,
but gave the name to a group of lodgings in which it was evidently
included. The Earl of Pembroke, as we have pointed out, was living
there at the time of the execution of Charles I, after which Oliver
Cromwell took possession of these lodgings, and it was probably in the
veritable Cockpit that music was performed during his protectorate.
There also plays were acted both in the time of Charles I and after
the Restoration. Just before that event the lodgings were assigned
to George Monck, who became Duke of Albemarle, and in Fisher’s plan
it is marked as part of his lodgings. As mentioned in describing No.
89, between the dates of the two pictures this architectural relic
was obliterated by a brick building, which in turn gave way to Kent’s
Treasury. Until about 1806, the word Cockpit was applied to a famous
but elusive political centre included in the Treasury and more or less
on the site of Henry VIII’s building. Lord Welby thought that the
style “Treasury Chambers Cockpit” was known much later. The passage
from Whitehall to the Treasury is partly lighted on the north side by
a large window with mullions and transom, and on the south there is
a two-light window of similar date. Both are involved externally in
Tudor brickwork. On the ground floor a Tudor doorway survives, and
all these must have been in the casing of the original passage that
led to the Cockpit. As mistakes are frequent on the subject we will
add that “Cockpit Steps” leading from Birdcage Walk into Dartmouth
Street have no historical connection with Whitehall. They adjoined
a later Cockpit surmounted by a cupola, which is marked in a map
belonging to Strype’s Stow 1720, and was taken down in 1816. There
was also a “Royal Cockpit” in Tufton Street, Westminster, described
in the “London Magazine,” November 1822, and in the “Every Night
Book” as late as 1827, which was probably the last in London.
To right of the Tudor Cockpit is a house with tiled roof and dormer
windows, apparently that portion of the Prime Minister’s official
residence adjoining the Treasury and facing the garden, for although
much altered, the points of resemblance are strong. In vol. ii of the
Lond. Top. Soc. “Record,” Mr. Spiers attributed the design of this
building to Wren on account of a ground plan doubtless representing
it, signed by him with the addition of the letters “Sr Gll” and
date 1677; but the present writer is of opinion that it already existed
at the time, and, being on Crown land, that Wren merely signed the
plan as Surveyor General. In the “Record” a plan by Sir John Soane
is also given, showing his additions and alterations made in 1825.
That part of No. 10 containing the entrance from the roadway does not
belong to the original structure, although they are linked together
by passages. It forms one block with No. 11, and from the style of
the pair they cannot have been built much before the middle of the
eighteenth century, when they appear in views by J. Maurer, partly
occupying the site of the building with gable and low tower, shown
in our picture to the extreme right. On this subject the late Mr.
C. Eyre Pascoe in his volume entitled “No. 10 Downing Street” was
misinformed.
In studying these old pictures it must always be borne in mind that
artists attached small importance to rigid accuracy; while fairly
correct as regards the main buildings they omitted and arranged with
the object of making an agreeable pattern. The trees in Nos. 89 and
96 differ completely, and in the latter the head of the ornamental
canal, formed soon after the Restoration, has been introduced out of
its place, quite near to the Cockpit. By it are deer, and it is covered
with waterfowl. On the bank is a copy in bronze of the Borghese statue
of a gladiator, executed at Rome by Hubert Le Sœur, removed by Queen
Anne to Hampton Court, and by George IV to Windsor. On the left King
Charles II is taking a walk accompanied by various dogs and a crowd
of courtiers. Near the buildings a detachment of soldiers in scarlet
uniforms marches to the right. The colour carried at their head agrees
with that mentioned by F. Sandwith, Lancaster Herald 1676-89, as the
ensign of the Lieutenant-Colonel of the Coldstream Guards “from 1670
or thereabout to 1683.” According to his description the ensign was
of “blue taffeta with a plain white cross, surmounted by a cross of
crimson or a cross of St. George.” Unfortunately on the scale of our
engraving neither the monarch nor this ensign are distinctly visible.
There is an illustration of the scene in Pennant’s “London” from No.
96 or a replica, and a larger one by S. Mazell. Examples of them are
in the Crace Collection, British Museum.
Hendrik Danckerts, or Dankerts, the artist, was born at the Hague about
1630, studied in Italy, and after his return was invited to England by
Charles II, who employed him to paint pictures of royal palaces and
sea-ports. Walpole speaks of his working in connection with Hollar.
James II had various landscapes by him, and Samuel Pepys, who calls
him “the great landscape painter,” mentions seeing him in 1668-69
and arranging for views of _Whitehall_, Hampton Court, Greenwich,
and Windsor, to adorn his dining-room panels. Danckerts, who was a
Roman Catholic, is said to have left England during the Popish Plot
and to have died at Amsterdam soon afterwards. From what precedes
we may be sure that the picture was painted between 1670 and about
1677, perhaps not much after the earlier date.
By HENDRICK DANCKERTS (_c._ 1630-1678).
_Lent by the Earl of Berkeley._
97_a_ SEARLE’S BOAT-HOUSE, STANGATE, LAMBETH.
Watercolour. 14 by 9¾ in.
The famous boat builders, of Eton and Oxford, had an establishment on
the Surrey side, much frequented by Westminster schoolboys before the
formation of the Embankment and the removal of St. Thomas’s Hospital
from High Street, Southwark, to Stangate. It will be seen that the
boat-house was just above Westminster Bridge; it was afterwards moved
to a point higher up the river.
_Lent by Sir E. Coates._
97_b_ BUILDINGS ADJOINING LAMBETH CHURCH.
Watercolour. 10 by 6¼ in.
Shows picturesque but tumbledown buildings formerly along the riverside
at Lambeth.
_Lent by Sir E. Coates._
98_a_ ST. SAVIOUR’S CHURCH, SOUTHWARK.
Watercolour. 9¾ by 7 in.
Originally the church of the Priory of St. Mary Overy, after the
Reformation St. Saviour’s parish church, and now Southwark Cathedral.
View of the old nave from the west end, shortly before it was replaced
by an unsightly nave in 1838-9. This also has disappeared, being
rebuilt from the designs of the late Sir Arthur Blomfield. The choir
and tower were “restored” 1822-5, by George Gwilt.
By F. NASH (1782-1856).
_Lent by Sir E. Coates._
98_b_ WEST END OF ST. SAVIOUR’S CHURCH, SOUTHWARK, FROM THE SOUTH.
Wash drawing in Indian ink. 6 by 9 in.
Shows the entrance to Montagu Close, which appears also in 98_a_. It
had been the precinct of Montagu House, taken down in a state of decay
when the approaches of the present London Bridge were made. Here were
the cloisters of the Priory. The original Montagu House was built
by Sir Anthony Brown, afterwards Viscount Montagu. The small sepia
drawing and the print from it give the other side of the entrance.
J. C. Buckler, who did the larger drawing, belonged to a family of
architects, and was a good topographical draughtsman. Many Southwark
views by him are in the Guildhall Library.
By J. C. BUCKLER, 1827 (1770-1851).
_Lent by Sir E. Coates._
99_a_ THREE CRANES WHARF.
Wash drawing in Indian ink. 10 by 8¾ in.
The name was derived originally from “three strong cranes of timber
placed on the Vintry wharf by the Thames side to crane up wines there.”
They are shown in Visscher’s View (1616). Three Cranes Wharf, below
Southwark Bridge, and to south of Three Cranes Lane, appears to be
first mentioned in Rocque’s map, 1746.
By G. SHEPHERD, 1811.
_Lent by Sir E. Coates._
99_b_ THREE CRANES WHARF.
Watercolour. 8 by 5½ in.
From rather a more western point of view than the wash drawing. Mr.
Gardner has ascribed this to “Tompkins.” It must be the work of Charles
Tomkins, a topographical artist to whom we have already referred.
By C. TOMKINS (1757-1810).
_Lent by Sir E. Coates._
100_a_ UNDERCROFT OF CHAPEL OF ELY HOUSE, HOLBORN.
Wash drawing. 4 by 5¼ in.
This curious crypt of the Chapel dedicated to St. Etheldreda, Ely
Place, still remains.
By J. CARTER, 1776 (1748-1817).
_Lent by Sir E. Coates._
PLATE XLIV. 100_b_ ELY PLACE, HOLBORN.
Pen and Indian ink, with a little colour. 15 by 9½ in.
Ely Place was the town mansion of the Bishops of Ely, dating apparently
from the time of John de Kirkeby, Bishop, who died 1290. John of Gaunt
died here. Sir Christopher Hatton got hold of part of the garden,
and built himself a house there, hence Hatton Garden. In 1772 the see
transferred to the Crown all its rights to Ely Place, a house being
built as an episcopal residence, now 37 Dover Street, Piccadilly. The
buildings, excepting St. Etheldreda’s Chapel, were afterwards taken
down. The Chapel, a fine piece of fourteenth-century architecture,
belongs to Roman Catholics.
The view is from the west. To epitomise John Carter’s words: To right
is the Chapel, now much altered and restored; in centre, outside of
cloister; to left the great Hall, at the end part of the kitchen,
and above it the tower of St. Andrew’s Church.
By J. CARTER, 1776 (1748-1817).
_Lent by Sir E. Coates._
101 SCREEN FORMERLY IN CHAPEL OF ST. ANDREW, IN NORTH TRANSEPT OF
WESTMINSTER ABBEY.
Indian ink with shields of arms coloured. 17¾ by 20½ in.
This screen replaced one made in the time of Edward III, an
illustration of the cresting of which appears in Professor Lethaby’s
“Westminster Abbey and the King’s Craftsmen” (1906). Trickings of the
coats of arms are given in a Lansdowne manuscript, and they have been
identified by Mr. Lethaby from a manuscript in his own possession,
once belonging to H. Keepe, of the Inner Temple, who died in 1688.
An inscription under the drawing states that the screen was “removed
for the Coronation early in the eighteenth century.”
Written on the drawing is “Mar: 1722.”
_Lent by Sir E. Coates._
102 THE FIRST WINNER OF DOGGETT’S COAT AND BADGE IN HIS WHERRY.
Oil picture. 42 by 33 in.
The annual race for these trophies began on 1 August 1716, the day
of the accession of George I. Strange to say, the name of the first
winner is doubtful, but this portrait is contemporary. He is seated
in his roomy craft; on the river bank are buildings which cannot be
identified.
Doggett, who provided funds for this event, was a well-known actor,
and a keen Hanoverian. The race was originally rowed from the Old
Swan, London Bridge, to the White Swan, Chelsea. One of the most
famous winners was John Broughton, 1730, who was also for many years
champion boxer of England.
_Lent by the Watermans’ Company._
103 LUDGATE HILL FROM THE WEST.
Oil picture. 31 by 39 in.
On left the church of St. Martin, Ludgate, designed by Sir
Christopher Wren, its spire contrasting with the dome of St. Paul’s.
In mid-distance, before the façade of the cathedral, is a crowd
surrounding a State coach. Ludgate was immediately west of St.
Martin’s.
William Marlow, who painted this picture, which has been engraved,
was born in Southwark, 1740. He studied under Samuel Scott and at the
St. Martin’s Lane Academy, travelled in France and Italy, and achieved
some success as a landscape painter, exhibiting at the Royal Academy
and elsewhere, views of London being perhaps his most successful
work. Horace Walpole, in his note on Scott, praises him highly. He
died at Twickenham in 1813.
By W. MARLOW, 1792 (1740-1813).
_Lent by the Governor and Directors of the Bank of England._
PLATE XLV. 104 RANELAGH.
Oil picture. 56 by 36 in.
The following description of this interesting picture is culled from
the “Gentleman’s Magazine,” September 1836: “It represents Ranelagh
Grove, leading to Lord Ranelagh’s house and grounds, Chelsea, so
celebrated afterwards as a place of fashionable resort. In the
foreground are figures setting on two dogs to fight, painted in a
style which reminds one of the ‘Stages of Cruelty.’ Behind is a chariot
richly ornamented with carving and gilding in the taste of the time,
containing a lady and gentleman drawn by two white horses. Another
carriage is seen on the right proceeding towards Chelsea through
a lane lined with high trees. On the same side of the picture is a
village fair, with a number of figures, among which may be recognized
the fire-eater, seen in Hogarth’s ‘Southwark Fair.’ On the left a
man strongly resembling Colonel Charteris, is conducting a young
lady attended by two maids, near whom is the puzzling inscription:
KEE PONT HISS IDE [keep on this side]. The distance is a perspective
view of a long row of trees with houses on each side, to the present
day called Ranelagh Grove.”
Richard Jones, first Earl of Ranelagh, built the house at Chelsea
known by his name in 1689-90, on land granted by lease from the Crown.
He had here a famous garden. The property was sold in 1733, and soon
afterwards it became a place of entertainment.
Has been ascribed to HOGARTH; perhaps by F. HAYMAN (1708-1776).
_Lent by Mary, Countess of Ilchester._
105 A WEDDING FESTIVAL, BILLINGSGATE MARKET.
Oil picture. 29 by 23½ in.
This painting represents a bit of old Billingsgate. In the distance
are houses on the Surrey side of the river. The wedding party are being
entertained by music, their costume belongs to the last quarter of the
eighteenth century. Above is a sign of a woman’s head. Billingsgate
was rebuilt in 1850, and again rebuilt and enlarged 1874-77.
_Lent by the Fishmongers’ Company._
106 THE ROTUNDA, RANELAGH.
Oil picture. 66 by 35 in.
In 1741 the Rotunda was built on the Ranelagh estate, being first
opened with a public breakfast 5 April 1742. It soon became a most
fashionable place of public resort, visited too by the leading literary
men, until the early part of the nineteenth century. Allusions to
it would fill a volume. On 30 September 1805 an order was made for
taking down Ranelagh House and the Rotunda, and the garden, together
with the sites of these buildings, was not long afterwards added
to the Royal Hospital grounds. Part of the Hospital may be seen on
spectator’s right; on the left is a glimpse of the river.
By HAYMAN and HOGARTH.
_Lent by the Earl of Ilchester._
PLATE XLVI. 107 OLD LONDON BRIDGE AND NEW LONDON BRIDGE FROM SOUTHWARK.
Watercolour. 26½ by 9¼ in.
This painting, in which body colour has been used for the high lights,
is of much value as a topographical record. It is signed and dated,
and shows that old London Bridge was still being used for traffic as
late as the year 1830, when the new bridge was nearly finished. It
also gives their relative positions, and the nature of the projecting
starlings which had been added to break the rush of water on the
piers. At the end of new London Bridge is the church of St. Michael,
Crooked Lane, pulled down soon afterwards. The first stone of the new
bridge was laid 15 June 1825, and it was publicly opened by William
IV and Queen Adelaide 1 August 1831.
George Belton Moore, the painter of it, often exhibited at the Royal
Academy, and taught drawing at the Military Academy, Woolwich, and
at University College. He also wrote on perspective, and on the
“Principles of Colour applied to Decorative Art.”
By G. B. MOORE, 1830 (1806-1875).
_Lent by Sir E. Coates._
108 VIEW OF LONDON FROM HIGH GROUND BEYOND ST. GEORGE’S FIELDS.
Watercolour. 28 by 19 in.
Since this was painted, all south London, with its immediate
neighbourhood, has been so thickly covered with buildings that the
artist’s exact point of view cannot be made out. The substantial house
in the foreground was probably the suburban home of some well-to-do
merchant. The nearest church, evidently on the Surrey side of the
river (the tower of which appears a short distance to the right of St.
Paul’s), must be Christchurch, near the west side of the Blackfriars
Road. Christchurch parish was created by Act of Parliament in 1671,
and covers the same ground as the still existing Manor of Paris
Garden. Inscription as follows: WILLM CAPON PINXT. 1804. WESTMINSTER.
By W. CAPON (1757-1827).
_Lent by Sir E. Coates._
109 LONDON FROM WHITEHALL.
Watercolour. 21¼ by 15 in.
View looking down river from garden of the Earl of Fife’s house at
Whitehall. The distance is somewhat idealized. To left is Somerset
House. Waterloo Bridge is not yet built, but near its site at south
end is one of the shot towers, still standing though put to other
uses. The bridge shown is old Blackfriars, opened 1769, as we have
said elsewhere.
John Claude Nattes, painter of this and of the next watercolour,
numbered 110, was an industrious topographical artist. He exhibited
occasionally at the Royal Academy and was one of the foundation members
of the Old Watercolour Society, but was expelled for exhibiting what
was held to be not his own work. With his latest breath he condemned
the action of the Society. He published several topographical volumes
illustrated by himself, and drew for other publications.
By J. C. NATTES, 1801 (1765-1822).
_Lent by the Rev. L. Gilbertson._
110 LONDON FROM THE TEMPLE GARDENS.
Watercolour. 21 by 14¾ in.
View looking up river apparently from the Temple Gardens. To left is
the shot tower shown in last view; in distance Westminster Abbey, other
landmarks being Somerset House, Adelphi Terrace, and York Water-tower.
By J. C. NATTES, 1801 (1765-1822).
_Lent by the Rev. L. Gilbertson._
Plate XLVII. 111 ST. PAUL’S CATHEDRAL FROM ST. MARTIN’S-LE-GRAND.
Watercolour. 14¾ by 19 in.
This view was engraved by J. Baily and published by J. Girtin in 1819.
By T. GIRTIN (1773-1802).
_Lent by Sir Walter Prideaux._
PLATE XLVIII. 112 OLD WESTMINSTER.
Watercolour. 14¾ by 10 in.
An unfinished sketch on sugar paper. Old houses long ago cleared
away, Westminster Abbey in background.
By D. COX (1783-1859).
_Lent by the Birmingham Art Gallery._
113 BUCKINGHAM HOUSE FROM THE GREEN PARK.
Watercolour. 17 by 8½ in.
This is unlike any other painting by David Cox known to the present
writer, but it comes from an undeniable source, and is interesting
as a topographical record. It represents, not Kensington Palace as
stated on the frame, but Buckingham House, the end of the Mall, and
road to Constitution Hill (see Nos. 48_a_ and 68), and the date shows
that it was painted just before the destruction or complete alteration
of the building.
By D. COX, 1825 (1783-1859).
_Lent by the Birmingham Art Gallery._
114 THE TEMPLE STAIRS.
Watercolour. 23½ by 15¼ in.
The above is the title given to this painting by Mr. Gardner; the
stairs are not very apparent. The view shows part of the Temple, and
some picturesque old riverside buildings to the east of it. In the
background are the spires of St. Bride’s and St. Martin’s, Ludgate.
It is undated.
_Lent by Sir E. Coates._
115 MONUMENT TO MARTIN BOND IN ST. HELEN’S CHURCH, BISHOPSGATE.
Watercolour. 10¼ by 13½ in.
Shows him as Captain of Trained Bands seated in his tent at Tilbury
camp, 1588. Two sentinels guard the entrance, and a page holds his
horse. There is a similar monument (1625) to Sir Charles Montagu in
Barking Church, Essex. Both have special interest on account of the
military costumes. Martin Bond died in 1643 at the age of eighty-five.
It will be seen on the last page of catalogue that he gave to St.
Bartholomew’s Hospital the pewter inkstand here exhibited.
_Lent by Mr. P. Norman._
[Illustration]
FURNITURE AND OTHER OBJECTS OF ART
[Illustration]
The furniture in this exhibition lent by the Secretary of State
for India, the Worshipful Companies of Carpenters, Stationers and
Clothworkers, and the Master of the Charterhouse, has been chosen as
a fitting accompaniment to the drawings and paintings of Old London.
They form a representative selection of such relics of London’s history
as have survived the vicissitudes of Time. A certain individuality
stamps the furniture. It was made for a definite reason, had a serious
and official purpose to fulfil, and thus differs in some respects
from the contemporary furniture of the home, in the making of which
comfort, luxury, elegance and other domestic requirements had to
be considered. As would be expected, therefore, the furniture from
the India Office, from the City Halls and from the Charterhouse,
is essentially severe in character, “masculine and unaffected,” and
thoroughly sound both in design and workmanship.
The largest and most important collection is that from the Secretary
of State for India. The India Office is fortunate in possessing
a considerable number of fine pieces of English furniture of the
eighteenth century. Most of these were transferred in the nineteenth
century from the “Old India House” in Leadenhall Street at the time
when the India Office absorbed the business of the East India Company.
These historical events are discussed in full detail in “Records of
the Honourable East India Company,” by Sir George Birdwood and William
Foster.
A variety of interesting pieces have been lent by the Worshipful
Companies of Carpenters, Stationers and Clothworkers. In the course
of their history the City Companies have suffered many misfortunes.
Of these the most disastrous was the Great Fire of 1666, which wrought
havoc with their Halls and historic possessions. Most of the Halls were
destroyed or suffered damage. Many were rebuilt under the influence
of Sir Christopher Wren and his successors, but in most cases have
been reconstructed in the nineteenth century. Fortunately, some of the
panelling, carvings and furniture have been preserved and incorporated
in the new buildings. The octagonal table in this exhibition, lent
by the Carpenters’ Company, is one of the few existing pieces earlier
in date than the Great Fire.
From the Charterhouse a few good pieces of English furniture have
been obtained. First a Carthusian monastery, afterwards a nobleman’s
palace, and lastly a Pensioners’ Hospital, the Charterhouse still shows
records of the different phases of its romantic history. The splendid
Elizabethan staircase and some of the panelling belong to the period
when the Duke of Norfolk occupied the building as a residence. Other
furniture and decoration commemorates the foundation of the hospital by
Thomas Sutton, a wealthy trader and philanthropist; worthy of special
mention is the small communion table in the chapel, bearing his arms
and a mutilated date (16—), perhaps the most distinguished piece of
furniture of its period which the country possesses. Unfortunately, it
has not been possible to secure this table for the present exhibition.
Much of the furniture, here exhibited, was lent to the exhibition at
Bethnal Green Museum organized by the Department of Science and Art
in 1896.
O. B.
[Illustration]
_Near the Alcove_
ARM-CHAIR, walnut wood, carved with the head of Neptune and acanthus
foliage, with front legs in the form of dolphins: upholstered in red
velvet, embroidered on the back in coloured silks and silver thread
with the arms of the East India Company, 1698 (ar. a cross gu. in the
dexter chief quarter an escutcheon of the arms of France and England,
quarterly, the shield ornamented and regally crowned or. _Crest_:
a lion ramp. guard. or, supporting between the fore paws a regal
crown ppr. _Supporters_: two lions ramp. guard. or, each supporting
a banner erect ar. charged with a cross gu. _Motto_: AUSPICIO REGIS
ET SENATUS ANGLIÆ).
In the “Old India House” this chair was the seat of the Chairman when
presiding over the Court of Directors; it is shown in T. H. Shepherd’s
drawing in this exhibition, No. 66. At the India Office it has been
used by each successive Secretary of State for India in Council.
Height, 4 ft. 11½ in.
Middle of the XVIIIth century.
_Lent by the Secretary of State for India._
_On either side of the Alcove_
CLOCK, with circular dial, inscribed AYNSTH THWAITES LONDON, in
case of gilt brass, supported on pedestal of mahogany and other woods,
carved on the frieze with a demi-figure and scrolled foliage.
INSTRUMENT (companion to above) showing sidereal time, the day of the
week, month of the year, phases of the moon, direction of the wind
and the weather: inscribed AYNSTH THWAITES CLERKENWELL LONDON.
The clock was brought from the “Old India House” in Leadenhall Street.
At the time the companion piece was lost sight of, but years afterwards
was found on the continent by Mr. Bertram Currie, who purchased it
and gave it back to the India Office (see “Records of the Honourable
East India Company”).
Height (of each), 6 ft. 11½ in.
Date, 1760-1770.
_Lent by the Secretary of State for India._
_Near the Alcove_
ARM-CHAIR, walnut wood, the arms carved with masks and foliage, the
legs ending in paw feet and carved with negro masks and leafage:
upholstered in red velvet embroidered on the back with the crest of
the East India Company; it is shown in No. 66.
Height, 4 ft. 9½ in.
First half of the XVIIIth century.
_Lent by the Secretary of State for India._
_Against the East Wall_
PAIR OF CHAIRS, mahogany, with “ladder” backs, and seats covered with
red leather.
Height (of each), 3 ft. ½ in.
Third quarter of the XVIIIth century.
_Lent by the Secretary of State for India._
_Against the West Wall_
ARM-CHAIR, mahogany, with shield-shaped back and seat covered with
red leather.
Style of Hepplewhite.
Height, 3 ft. 3½ in.
Last quarter of the XVIIIth century.
_Lent by the Secretary of State for India._
ARM-CHAIR, mahogany, the upper rail of the back carved with the crest
of the East India Company within a circular medallion.
Height, 2 ft. 8½ in.
Early XIXth century.
_Lent by the Secretary of State for India._
ARM-CHAIR, mahogany, the upper rail of the back surmounted by a
lunette carved with the crest of the East India Company.
Height, 3 ft. 1⅜ in.
Early XIXth century.
_Lent by the Secretary of State for India._
ARM-CHAIR, mahogany, with square back having three vertical rails,
and seat covered with red leather.
Height, 3 ft.
Last quarter of the XVIIIth century.
_Lent by the Secretary of State for India._
_In the Centre of the Gallery_
TABLE, oak, composed of octagonal top supported on eight baluster
legs joined by arches below the top; the spandrels are carved with
the initials R. W. (Richard Wyatt, Master); G. I. (G. Isack, Warden);
I. R. (J. Reeve, Warden); and W. W. (W. Willson, Warden), and the
date 1606.
Height, 2 ft. 10 in. Width of top, 3 ft. 4¼ in.
Dated 1606.
_Lent by the Worshipful Company of Carpenters._
_On the South Wall_
SWORD REST, oak, carved, painted and gilt with the Royal Arms, the
Arms of the City of London, of Sir Francis Chaplin, Bart. (Master,
1668; Lord Mayor of London, 1677), and of the Clothworkers’ Company.
Height, 6 ft. 4½ in.
Dated 1677 (the painting and gilding renewed).
_Lent by the Worshipful Company of Clothworkers._
_In the Alcove_
ARM-CHAIR, mahogany, with solid vase-shaped splat and seat covered
with leather.
Height, 3 ft. 5½ in.
First half of the XVIIIth century.
_Lent by the Worshipful Company of Clothworkers._
_Near the South Wall_
TABLE, oak, with plain column legs.
Length, 6 ft. 8½ in.
In the style of the XVIIth century.
_Lent by the Worshipful Company of Stationers._
_Against the East Wall_
ARM-CHAIR and CHAIR, mahogany, with pierced splats, and seats covered
with horsehair.
Height (arm-chair), 3 ft. 8½ in.
Height (chair), 3 ft. 2½ in.
Middle of the XVIIIth century.
_Lent by the Worshipful Company of Stationers._
CARD-TABLE, rosewood, with hinged top inlaid with floral designs in
mother-of-pearl.
Height, 2 ft.; top, 2 ft. 8¼ in.
Early XVIIIth century (with Chinese inlay).
_Lent by the Worshipful Company of Stationers._
ARM-CHAIR and TWO CHAIRS, mahogany, each with pierced splat and leaf
carving; seats covered with horsehair.
Height (arm-chair), 3 ft. 2 in.
Height (chair), 3 ft. 1 in.
Third quarter of the XVIIIth century.
_Lent by the Master of the Charterhouse._
_Near the Octagonal Table_
PAIR OF STOOLS, of oak.
Height, 1 ft. 8 in., and 1 ft. 10½ in.
XVIth century.
_Lent by the Master of the Charterhouse._
_Near the South Wall_
DESK, mahogany, with hinged slope for writing and drawing in upper
part, the stand fitted with a drawer supported on two central legs.
Height, 4 ft. Width, 3 ft.
End of the XVIIIth century.
_Lent by the Master of the Charterhouse._
_On the Long Table_
VASE, “crater” shaped, with two handles. On each side are painted the
arms of the East India Company, with a rose spray below: the ground
is pink, and all mouldings are heavily gilt. Mark impressed on the
base, F B B under a crown (Flight, Barr and Barr, Worcester, 1813-40).
English, XIXth century.
_Lent by Mr. Herbert Allen._
TWO “NANKING” DISHES. Oval blue-and-white dishes, forming part of a
dinner service, each piece of which bears the crest of the Merchant
Taylors’ Company, viz.: a lamb, bearing on its shoulder a banner,
charged with a cross.
Chinese, XVIIIth century.
_Lent by the Worshipful Company of Merchant Taylors._
_On the Desk_
_The Master’s Bell of the Haberdashers’ Company._ White metal
table-bell, with decorations of an armorial character between two
bands of inscriptions: “LOF GOD VAN AL” and “ME FECIT JOHANNES A FINE
AO 1549.” Johannes A Fine of Malines is well known as a maker of
_clochettes_, of which some forty are recorded as bearing his name.
Flemish, XVIth century.
_Lent by the Worshipful Company of Haberdashers._
_On the Mantelpiece_
PAIR OF BRASS CANDLESTICKS, shaped like Corinthian columns.
English, early XIXth century.
_Lent by the Secretary of State for India._
TIMEPIECE in mahogany, lancet-shaped case, the dial inscribed:
“THWAITES AND REED.”
About 1820.
_Lent by the Secretary of State for India._
_On the Octagonal Table_
PEWTER INKSTAND. The steep-pitched lid is inscribed “The guifte of
Mr. Martin Bonnde,” while the flat top bears the arms of the donor
and the date 1619. The inkstand is stamped T L in a beaded circle,
and with two fleur-de-lys.
Mr. Martin Bond was a member of the well-known family which owned
Crosby Place; he was a Captain of Trained Bands, and was Treasurer of
the House of the Poor, commonly known as St. Bartholomew’s Hospital,
from 1620 to 1642.
English, XVIIth century.
_Lent by the Treasurer and Almoners of St. Bartholomew’s Hospital._
[Illustration]
[Illustration]
LONDON: PRINTED AT THE CHISWICK PRESS
TOOKS COURT, CHANCERY LANE.
Plate I
[Illustration: 1. OLD LONDON BRIDGE
G. YATES, 1826]
Plate II
[Illustration: 3. BOLINGBROKE HOUSE, BATTERSEA
ARTIST UNKNOWN, _c._ 1800]
Plate III
[Illustration: 4. OLD WESTMINSTER BRIDGE
CANALETTO, _c._ 1747 (1677-1768)]
Plate IV
[Illustration: 6. VIEW DOWN RIVER FROM WESTMINSTER
W. HOLLAR (1607-1677)]
Plate V
[Illustration: 8. WESTMINSTER BRIDGE AND ABBEY
CANALETTO, _c._ 1747 (1677-1768)]
Plate VI
[Illustration: 9. WESTMINSTER ABBEY, SOUTH VIEW FROM RIVER
W. HOLLAR (1607-1677)]
Plate VII
[Illustration: 11. VIEW UP RIVER TO WESTMINSTER
CANALETTO, _c._ 1747 (1697-1768)]
Plate VIII
[Illustration: 12. OLD WESTMINSTER BRIDGE
CANALETTO, _c._ 1748 (1697-1768)]
Plate IX
[Illustration: 14. PIAZZA, COVENT GARDEN
T. SANDBY, R.A. (1721-1798)]
Plate X
[Illustration: 16. OLD SOMERSET HOUSE AND GARDEN
T. SANDBY, R. A. (1721-1798)]
Plate XI
[Illustration: 19. OLD LONDON BRIDGE FROM BILLINGSGATE
G. YATES, 1828]
Plate XII
[Illustration: 23. CAMP NEAR SERPENTINE, HYDE PARK, 1780
PAUL SANDBY, R. A., 1780 (1725-1809)]
Plate XIII
[Illustration: 31. INTERIOR OF SECOND ROYAL EXCHANGE
ARTIST UNKNOWN, _c._ 1810]
Plate XIV
[Illustration: 33. CHURCH OF ST. PETER LE POOR, OLD BROAD STREET
ARTIST UNKNOWN]
Plate XV
[Illustration: 34. VIEW FROM THE CHURCHYARD OF ST.
MARTIN’S-IN-THE-FIELDS
W. HUNT (1790-1864)]
Plate XVI
[Illustration: 35. ENCAMPMENT IN THE GROUNDS OF MONTAGUE HOUSE
S. H. GRIMM, 1780 (1734-1794)]
Plate XVII
[Illustration: 37. CHANTREY CHAPEL OF HENRY V, WESTMINSTER ABBEY
JOHN CARTER, 1786 (1748-1817)]
Plate XVIII
[Illustration: 38. ABBOT ISLIP’S CHAPEL, WESTMINSTER ABBEY
J. M. W. TURNER, R.A., 1796 (1775-1851)]
Plate XIX
[Illustration: 41. HALL OF BROTHERHOOD OF HOLY TRINITY,
ALDERSGATE
W. CAPON, 1790 (1757-1827)]
Plate XX
[Illustration: 45. SITE OF EUSTON SQUARE, 1809
T. ROWLANDSON, 1809 (1756-1827)]
PLATE XXI
[Illustration: 47. THE OLD CHEESE-CAKE HOUSE, HYDE PARK.
1797]
Plate XXII
[Illustration: 49. FISHMONGERS’ HALL FROM THE RIVER
_c._ 1810]
Plate XXIII
[Illustration: 59. ST. DUNSTAN’S-IN-THE-WEST, FLEET STREET
T. MALTON THE ELDER (1726-1801)]
Plate XXIV
[Illustration: 61. WESTMINSTER ABBEY FROM DEAN’S YARD
T. MALTON THE ELDER (1726-1801)]
Plate XXV
[Illustration: 63. WAPPING
THOMAS GIRTIN (1773-1802)]
Plate XXVI
[Illustration: 64. EAST INDIA HOUSE FROM THE WEST
T. MALTON THE YOUNGER (1748-1804)]
Plate XXVII
[Illustration: 67. SADLER’S WELLS
R. C. ANDREWS]
Plate XXVIII
[Illustration: 68. GREEN PARK, 1760
W. HOGARTH, 1760 (1697-1764)]
Plate XXIX
[Illustration: 71. ST. GEORGE’S HOSPITAL
R. WILSON, R. A., 1746 (1714-1782)]
Plate XXX
[Illustration: 72. THE CHARTERHOUSE
THOMAS GAINSBOROUGH, R. A., 1746 (1727-1788)]
Plate XXXI
[Illustration: 73. ALDGATE PARISH SCHOOL AND WATCH-HOUSE AND
TOWER OF CHURCH
R. R. SCHNEBBELIE (DIED ABOUT 1849)]
Plate XXXII
[Illustration: 77. EAST INDIA HOUSE FROM THE EAST
T. MALTON THE YOUNGER (1748-1804)]
Plate XXXIII
[Illustration: 78. A WATER PAGEANT ON THE THAMES
SCHOOL OF SAMUEL SCOTT]
Plate XXXIV
[Illustration: 81. WESTMINSTER BRIDGE AND WESTMINSTER ABBEY
FROM THE RIVER
SAMUEL SCOTT (ABOUT 1710-1772)]
Plate XXXV
[Illustration: 82. SIR RICHARD STEELE’S COTTAGE, HAMPSTEAD
J. CONSTABLE, R.A., 1832 (1776-1837)]
Plate XXXVI
[Illustration: 87. PARADE AND WHITEHALL FROM ST. JAMES’S PARK
S. SCOTT (_c._ 1710-1772)]
Plate XXXVII
[Illustration: 88. WHITEHALL FROM THE NORTH
S. SCOTT (_c._ 1710-1772)]
Plate XXXVIII
[Illustration: 91. WESTMINSTER FROM BELOW YORK WATER-GATE
THOMAS WIJCK (ABOUT 1616-1677)]
Plate XXXIX
[Illustration: 92. WESTMINSTER FROM LAMBETH
S. SCOTT (?) (_c._ 1710-1772)]
Plate XL
[Illustration: 93. THE OLD STOCKS’ MARKET
JOSEF VAN AKEN (1709-1749)]
Plate XLI
[Illustration: 94. RIVER VIEW FROM GARDEN OF OLD SOMERSET HOUSE
SAMUEL SCOTT (ABOUT 1710-1772)]
Plate XLII
[Illustration: 95. OLD WESTMINSTER BRIDGE
S. SCOTT (_c._ 1710-1772)]
Plate XLIII
[Illustration: 96. WHITEHALL FROM ST. JAMES’S PARK
H. DANCKERTS (_c._ 1630-1678)]
Plate XLIV
[Illustration: 100_b_. ELY PLACE, HOLBORN
J. CARTER, 1776 (1748-1817)]
Plate XLV
[Illustration: 104. RANELAGH
HAS BEEN ASCRIBED TO HOGARTH; PERHAPS BY F. HAYMAN (1708-1776)]
Plate XLVI
[Illustration: 107. OLD LONDON BRIDGE AND NEW LONDON BRIDGE
FROM SOUTHWARK
G. B. MOORE, 1830 (1806-1875)]
Plate XLVII
[Illustration: 111. ST. PAUL’S CATHEDRAL FROM ST.
MARTIN’S-LE-GRAND
THOMAS GIRTIN (1773-1802)]
PLATE XLVIII
[Illustration: 112. OLD WESTMINSTER
D. COX (1783-1859)]
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