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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..9a57498 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68989 (https://www.gutenberg.org/ebooks/68989) diff --git a/old/68989-0.txt b/old/68989-0.txt deleted file mode 100644 index 4f5f1f1..0000000 --- a/old/68989-0.txt +++ /dev/null @@ -1,3908 +0,0 @@ -The Project Gutenberg eBook of Catalogue of a collection of early -drawings and pictures of London, by Burlington Fine Arts Club - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Catalogue of a collection of early drawings and pictures of - London - With some contemporary furniture - -Author: Burlington Fine Arts Club - -Release Date: September 14, 2022 [eBook #68989] - -Language: English - -Produced by: Melissa McDaniel and the Online Distributed Proofreading - Team at https://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK CATALOGUE OF A COLLECTION OF -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. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Catalogue of a collection of early drawings and pictures of London</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>With some contemporary furniture</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Burlington Fine Arts Club</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: September 14, 2022 [eBook #68989]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Melissa McDaniel and the Online Distributed Proofreading Team at https://www.pgdp.net</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CATALOGUE OF A COLLECTION OF EARLY DRAWINGS AND PICTURES OF LONDON ***</div> - -<div class="tnbox"> -<p class="center"> -<b>Transcriber’s Note:</b> -</p> -<p> - Inconsistent hyphenation and spelling in the original document have - been preserved. Obvious typographical errors have been corrected. -</p> - -<ul> -<li>Plate XLI (No.94) is attributed to Canaletto in the Index and to - Samuel Scott in the text and caption.</li> -<li>Plate XLII (No. 95) is attributed to Samuel Scott in the text and caption, - and to Nattes in the Index.</li> -<li>“established 27 Charles II” is a possible misprint.</li> -<li>“notoriety as forger” should possibly be “notoriety as a forger”.</li> -<li>Trevithic and Trevithick appear to refer to the same person.</li> -<li>“Albany” is possibly italicized in error.</li> -<li>Hendrik and Hendrick (Danckerts) appear to be alternate spellings of - the same name.</li> -</ul> - -</div> - -<div class="chapter"> -<p class="tp b20 post"> Burlington Fine Arts Club</p> - -<div class="figcenter iw004"> - <img src="images/i-001b.png" width="112" height="33" alt="" /></div> - -<h1 class="tp spaced">CATALOGUE OF A COLLECTION<br /> - -<span class="sm">OF</span><br /> - -EARLY DRAWINGS AND<br /> -PICTURES OF<br /> -LONDON<br /> - -<span class="medsm">WITH SOME CONTEMPORARY FURNITURE</span></h1> - -<div class="figcenter iw006"> - <img src="images/i-001.png" width="142" height="161" alt="" /></div> - -<p class="center">LONDON<br /> - -PRIVATELY PRINTED FOR THE BURLINGTON FINE ARTS CLUB<br /> - -1920 -</p> -</div> - -<div class="chapter"> -<p class="center">LONDON: PRINTED AT THE CHISWICK PRESS<br /> -TOOKS COURT, CHANCERY LANE</p> -</div> - -<div class="chapter"> -<h2> -COMMITTEE FOR THIS EXHIBITION -</h2> - -<div class="figcenter iw004"> - <img src="images/i-003a.png" width="85" height="31" alt="" /></div> - -<div class="list-container"> -<ul class="ctrlist"> -<li>OLIVER BRACKETT, ESQ.</li> -<li>MAJOR SIR EDWARD COATES, BART., M.P.</li> -<li>CAMPBELL DODGSON, ESQ., C.B.E.</li> -<li>SIR WILLIAM LAWRENCE, BART.</li> -<li>PHILIP NORMAN, ESQ., LL.D.</li> -<li>EMERY WALKER, ESQ., F.S.A.</li> -</ul> -</div> -<div class="figcenter iw004"> - <img src="images/i-003b.png" width="140" height="94" alt="" /></div> -</div> - -<div class="chapter"> -<h2> -LIST OF CONTRIBUTORS -</h2> - -<div class="figcenter iw004"> - <img src="images/i-005b.png" width="85" height="36" alt="" /></div> - -<div class="list-container"> -<ul class="ctrlist"> -<li>HIS MAJESTY THE KING.</li> -<li><span class="smcap">Colin Agnew, Esq.</span></li> -<li class="outdent">*<span class="smcap">The Lord Aldenham.</span></li> -<li class="outdent">*<span class="smcap">A. Acland Allen, Esq.</span>, M.P.</li> -<li><span class="smcap">Herbert Allen, Esq.</span></li> -<li><span class="smcap">The Governor of the Bank of England.</span></li> -<li><span class="smcap">The Earl of Berkeley.</span></li> -<li><span class="smcap">The Committee of the City of Birmingham Museum and Art Gallery.</span></li> -<li class="outdent">*<span class="smcap">The Earl Brownlow</span>, P.C.</li> -<li><span class="smcap">The Worshipful Company of Carpenters.</span></li> -<li><span class="smcap">The Master of the Charterhouse.</span></li> -<li><span class="smcap">Messrs. Christie, Manson, and Woods.</span></li> -<li><span class="smcap">The Worshipful Company of Clothworkers.</span></li> -<li><span class="smcap">Major Sir Edward Coates, Bt.</span>, M.P.</li> -<li class="outdent">*<span class="smcap">E. H. Coles, Esq.</span></li> -<li><span class="smcap">The Worshipful Company of Fishmongers.</span></li> -<li><span class="smcap">The Committee of the Foundling Hospital.</span></li> -<li class="outdent">*<span class="smcap">The Rev. Lewis Gilbertson.</span></li> -<li class="outdent">*<span class="smcap">Thomas Girtin, Esq.</span></li> -<li class="outdent">*<span class="smcap">E. C. Grenfell, Esq.</span></li> -<li><span class="smcap">The Worshipful Company of Haberdashers.</span></li> -<li><span class="smcap">J. P. Heseltine, Esq.</span></li> -<li><span class="smcap">R. K. Hodgson, Esq.</span></li> -<li class="outdent">*<span class="smcap">C. H. St. John Hornby, Esq.</span></li> -<li><span class="smcap">Mary, Countess of Ilchester.</span></li> -<li class="outdent">*<span class="smcap">The Earl of Ilchester.</span></li> -<li><span class="smcap">The Secretary of State for India.</span></li> -<li><span class="smcap">The Committee of the Borough of Leicester Museum and Art Gallery.</span></li> -<li class="outdent">*<span class="smcap">H. C. Levis, Esq.</span></li> -<li class="outdent">*<span class="smcap">R. W. Lloyd, Esq.</span></li> -<li><span class="smcap">The Hon. Lady Lyttelton.</span></li> -<li><span class="smcap">The Worshipful Company of Merchant Taylors.</span></li> -<li class="outdent">*<span class="smcap">Philip Norman, Esq.</span>, LL.D.</li> -<li class="outdent">*<span class="smcap">Henry Oppenheimer, Esq.</span></li> -<li><span class="smcap">Sir Walter Prideaux.</span></li> -<li><span class="smcap">The Treasurer and Almoners of St. Bartholomew’s Hospital.</span></li> -<li class="outdent">*<span class="smcap">The Marquess of Sligo.</span></li> -<li class="outdent">*<span class="smcap">A. Murray Smith, Esq.</span></li> -<li><span class="smcap">Messrs. Sotheby, Wilkinson, and Hodge.</span></li> -<li><span class="smcap">The Earl Spencer</span>, K.G., G.C.V.O.</li> -<li><span class="smcap">The Worshipful Company of Stationers.</span></li> -<li><span class="smcap">The Worshipful Company of Watermen and Lightermen.</span></li> -<li class="outdent">*<span class="smcap">F. A. White, Esq.</span></li> -<li><span class="smcap">Sir Harry Wilson</span>, K.C.M.G.</li> -</ul> -</div> - -<p class="center"> -* <i>Contributors whose names are marked thus are Members of the Club.</i> -</p> - -<div class="figcenter iw006"> - <img src="images/i-006.png" width="140" height="101" alt="" /></div> -</div> - -<div class="chapter"> -<h2> -LIST OF PLATES -</h2> - -<div class="figcenter iw004"> - <img src="images/i-007b.png" width="65" height="37" alt="" /></div> - -<table> - <tr> - <td class="plate">I.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_1">Old London Bridge.</a></span></td> - <td class="tdr"><i>G. Yates.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 1.</span></td> - <td class="tdr">Lent by Mr. T. Girtin.</td> - </tr> - <tr> - <td class="plate">II.</td> - <td class="tdh"> <span class="smcap"><a href="#Plate_2">Bolingbroke House, Battersea.</a></span></td> - <td class="tdr"><i>Artist Unknown.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 3.</span></td> - <td class="tdr">Lent by Mr. P. Norman.</td> - </tr> - - <tr> - <td class="plate">III.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_3">Old Westminster Bridge.</a></span></td> - <td class="tdr"><i>Canaletto.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 4.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">IV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_4">View down River from Westminster.</a></span></td> - <td class="tdr"><i>W. Hollar.</i></td> - </tr> - - <tr> - <td></td> - <td><span class="smcap">No. 6.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">V.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_5">Westminster Bridge and Abbey.</a></span></td> - <td class="tdr"><i>Canaletto.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 8.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">VI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_6">Westminster Abbey, South View from River.</a></span></td> - <td class="tdr"><i>W. Hollar.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 9.</span></td> - <td class="tdr">Lent by Mr. J. P. Heseltine.</td> - </tr> - <tr> - <td class="plate">VII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_7">View up River to Westminster.</a></span></td> - <td class="tdr"><i>Canaletto.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 11.</span></td> - <td class="tdr">Lent by Mr. J. P. Heseltine.</td> - </tr> - <tr> - <td class="plate">VIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_8">Old Westminster Bridge.</a></span></td> - <td class="tdr"><i>Canaletto.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 12.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">IX.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_9">Piazza, Covent Garden.</a></span></td> - <td class="tdr"><i>T. Sandby, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 14.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">X.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_10">Old Somerset House and Garden.</a></span></td> - <td class="tdr"><i>T. Sandby, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 16.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">XI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_11">Old London Bridge from Billingsgate.</a></span></td> - <td class="tdr"><i>G. Yates.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 19.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_12">Camp near Serpentine, Hyde park, 1780.</a></span></td> - <td class="tdr"><i>P. Sandby, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 23.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">XIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_13">Interior of Second Royal Exchange.</a></span></td> - <td class="tdr"><i>Artist Unknown.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 31.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XIV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_14">Church of St. Peter Le Poor, Old Broad Street.</a></span></td> - <td class="tdr"><i>Artist Unknown.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 33.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_15">View from the Churchyard of St. Martin’s-in-the-Fields.</a></span></td> - <td class="tdr"><i>W. Hunt.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 34.</span></td> - <td class="tdr">Lent by Mr. T. Girtin.</td> - </tr> - <tr> - <td class="plate">XVI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_16">Encampment in the Grounds of Montague House.</a></span></td> - <td class="tdr"><i>S. H. Grimm.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 35.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">XVII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_17">Chantrey Chapel of Henry V, Westminster Abbey.</a></span></td> - <td class="tdr"><i>John Carter.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 37.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XVIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_18">Abbot Islip’s Chapel, Westminster Abbey.</a></span></td> - <td class="tdr"><i>J. M. W. Turner, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 38.</span></td> - <td class="tdr">Lent by Mr. R. W. Lloyd.</td> - </tr> - <tr> - <td class="plate">XIX.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_19">Hall of Brotherhood of Holy Trinity, Aldersgate.</a></span></td> - <td class="tdr"><i>W. Capon.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 41.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XX.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_20">Site of Euston Square, 1809.</a></span></td> - <td class="tdr"><i>T. Rowlandson.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 45.</span></td> - <td class="tdr">Lent by Mr. H. C. Levis.</td> - </tr> - <tr> - <td class="plate">XXI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_21">Old Cheese-Cake House, Hyde Park, 1797.</a></span></td> - <td class="tdr"><i>Artist Unknown.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 47.</span></td> - <td class="tdr">Lent by H.M. the King.</td> - </tr> - <tr> - <td class="plate">XXII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_22">Fishmongers’ Hall, from the River.</a></span></td> - <td class="tdr"><i>Unknown Artist.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 49.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XXIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_23">St. Dunstan’s-in-the-West, Fleet Street.</a></span></td> - <td class="tdr"><i>T. Malton the Elder.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 59.</span></td> - <td class="tdr">Lent by Lord Aldenham.</td> - </tr> - <tr> - <td class="plate">XXIV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_24">Westminster Abbey from Dean’s Yard.</a></span></td> - <td class="tdr"><i>T. Malton the Elder.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 61.</span></td> - <td class="tdr">Lent by the City of Birmingham Art Gallery.</td> - </tr> - <tr> - <td class="plate">XXV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_25">Wapping.</a></span></td> - <td class="tdr"><i>T. Girtin.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 63.</span></td> - <td class="tdr">Lent by the Leicester Art Gallery.</td> - </tr> - <tr> - <td class="plate">XXVI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_26">East India House from the West.</a></span></td> - <td class="tdr"><i>T. Malton the Younger.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 64.</span></td> - <td class="tdr">Lent by the Secretary of State for India.</td> - </tr> - <tr> - <td class="plate">XXVII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_27">Sadler’s Wells.</a></span></td> - <td class="tdr"><i>R. C. Andrews.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 67.</span></td> - <td class="tdr">Lent by the Hon. Lady Lyttelton.</td> - </tr> - <tr> - <td class="plate">XXVIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_28">Green Park, 1670.</a></span></td> - <td class="tdr"><i>W. Hogarth.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 68.</span></td> - <td class="tdr">Lent by the Earl Spencer.</td> - </tr> - <tr> - <td class="plate">XXIX.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_29">St. George’s Hospital.</a></span></td> - <td class="tdr"><i>R. Wilson, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 71.</span></td> - <td class="tdr">Lent by the Foundling Hospital.</td> - </tr> - <tr> - <td class="plate">XXX.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_30">The Charterhouse.</a></span></td> - <td class="tdr"><i>T. Gainsborough, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 72.</span></td> - <td class="tdr">Lent by the Foundling Hospital.</td> - </tr> - <tr> - <td class="plate">XXXI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_31">Aldgate School and Watch-House and Tower of Church.</a></span></td> - <td class="tdr"><i>R. B. Schnebbelie.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 73.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XXXII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_32">East India House from the East.</a></span></td> - <td class="tdr"><i>T. Malton the Younger.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 77.</span></td> - <td class="tdr">Lent by the Secretary of State for India.</td> - </tr> - <tr> - <td class="plate">XXXIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_33">A Water Pageant on the Thames.</a></span></td> - <td class="tdr"><i>School of S. Scott.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 78.</span></td> - <td class="tdr">Lent by the Earl Brownlow.</td> - </tr> - <tr> - <td class="plate">XXXIV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_34">Westminster Bridge and Westminster Abbey from the River.</a></span></td> - <td class="tdr"><i>S. Scott.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 81.</span></td> - <td class="tdr">Lent by the Marquess of Sligo.</td> - </tr> - <tr> - <td class="plate">XXXV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_35">Sir Richard Steele’s Cottage, Hampstead.</a></span></td> - <td class="tdr"><i>J. Constable, R.A.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 82.</span></td> - <td class="tdr">Lent by Mr. R. K. Hodgson.</td> - </tr> - <tr> - <td class="plate">XXXVI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_36">The Parade and Whitehall from St. James’s Park.</a></span></td> - <td class="tdr"><i>S. Scott.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 87.</span></td> - <td class="tdr">Lent by the Marquess of Sligo.</td> - </tr> - <tr> - <td class="plate">XXXVII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_37">Whitehall from the North.</a></span></td> - <td class="tdr"><i>S. Scott.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 88.</span></td> - <td class="tdr">Lent by the Marquess of Sligo.</td> - </tr> - <tr> - <td class="plate">XXXVIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_38">Westminster from below York Water-Gate.</a></span></td> - <td class="tdr"><i>Thomas Wijck.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 91.</span></td> - <td class="tdr">Lent by Mr. E. C. Grenfell.</td> - </tr> - <tr> - <td class="plate">XXXIX.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_39">Westminster from Lambeth.</a></span></td> - <td class="tdr"><i>S. Scott.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 92.</span></td> - <td class="tdr">Lent by Mr. P. Norman.</td> - </tr> - <tr> - <td class="plate">XL.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_40">The Old Stocks Market.</a></span></td> - <td class="tdr"><i>Josef van Aken.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 93.</span></td> - <td class="tdr">Lent by the Bank of England.</td> - </tr> - <tr> - <td class="plate">XLI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_41">River View from Garden of Old Somerset House.</a></span></td> - <td class="tdr"><i>Canaletto.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 94.</span></td> - <td class="tdr">Lent by Mr. F. A. White.</td> - </tr> - <tr> - <td class="plate">XLII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_42">Old Westminster Bridge.</a></span></td> - <td class="tdr"><i>J. C. Nattes.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 95.</span></td> - <td class="tdr">Lent by the Rev. L. Gilbertson.</td> - </tr> - <tr> - <td class="plate">XLIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_43">Whitehall from St. James’s Park.</a></span></td> - <td class="tdr"><i>H. Danckerts.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 96.</span></td> - <td class="tdr">Lent by the Earl of Berkeley.</td> - </tr> - <tr> - <td class="plate">XLIV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_44">Ely Place, Holborn.</a></span></td> - <td class="tdr"><i>J. Carter.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 100</span><i>b</i>.</td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XLV.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_45">Ranelagh.</a></span></td> - <td class="tdr"><i>Has been ascribed to Hogarth; perhaps by F. Hayman.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 104.</span></td> - <td class="tdr">Lent by Mary, Countess of Ilchester.</td> - </tr> - <tr> - <td class="plate">XLVI.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_46">Old London Bridge and New London Bridge from Southwark.</a></span></td> - <td class="tdr"><i>G. B. Moore.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 107.</span></td> - <td class="tdr">Lent by Sir E. Coates.</td> - </tr> - <tr> - <td class="plate">XLVII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_47">St. Paul’s Cathedral from St. Martin’s-le-Grand.</a></span></td> - <td class="tdr"><i>T. Girtin.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 111.</span></td> - <td class="tdr">Lent by Sir Walter Prideaux.</td> - </tr> - <tr> - <td class="plate">XLVIII.</td> - <td class="tdh"><span class="smcap"><a href="#Plate_48">Old Westminster.</a></span></td> - <td class="tdr"><i>D. Cox.</i></td> - </tr> - <tr> - <td></td> - <td><span class="smcap">No. 112.</span></td> - <td class="tdr">Lent by the Birmingham Art Gallery.</td> - </tr> -</table> - -<div class="figcenter iw006"> - <img src="images/i-010.png" width="150" height="105" alt="" /></div> - -<div class="figcenter iw010"> - <img src="images/i-011.png" width="320" height="79" alt="" /></div> -</div> - -<div class="chapter"> - -<h2> -PREFACE -</h2> - -<div class="figcenter iw006"> - <img src="images/i-011b.png" width="85" height="22" alt="" /></div> - - -<div> -<img class="drop-cap" src="images/i-011a.png" width="343" height="364" alt="A" /></div> - -<p class="drop-cap"> -<span class="smcap larger">At</span> -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. -</p> - -<p> -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. -</p> - -<p> -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 -<span class='pagenum'><a id='Page_12' href='#Page_12'>12</a></span> -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. -</p> - -<p> -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. -</p> - -<p> -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, -<span class='pagenum'><a id='Page_13' href='#Page_13'>13</a></span> -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. -</p> - -<p> -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. -</p> - -<p> -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 -<span class='pagenum'><a id='Page_14' href='#Page_14'>14</a></span> -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. -</p> - -<p> -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 -<span class='pagenum'><a id='Page_15' href='#Page_15'>15</a></span> -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. -</p> - -<p> -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. -</p> - -<p class="signature"> -PHILIP NORMAN. -</p> - -<div class="figcenter iw004"> - <img src="images/i-013.png" width="85" height="45" alt="" /></div> - -<span class='pagenum'><a id='Page_16' href='#Page_16'></a></span> -<span class='pagenum'><a id='Page_17' href='#Page_17'>17</a></span> -</div> - -<div class="chapter"> - -<div class="figcenter iw010"> - <img src="images/i-017.png" width="320" height="80" alt="" /></div> - -<h2> -CATALOGUE -</h2> - -<div class="figcenter iw004"> - <img src="images/i-017b.png" width="85" height="35" alt="" /></div> - -<p class="phanging"> -<i>The numbering of the Drawings and Pictures begins on the Entrance Door, and is -continued to the left.</i> -</p> - -<p class="phanging"> -<i>The measurements are in inches (the width preceding the height) and do not include -the frame or mount.</i> -</p> - -<p class="phanging"> -<i>The Furniture, etc., is described after the Pictures.</i> -</p> - -<p class="phanging"> -<i>The Committee accept no responsibility for the accuracy of the attributions in the -Catalogue.</i> -</p> - -<p class="post"> -<span class="medsm">1</span> <a id="Note_1"></a><a href="#Plate_1">OLD LONDON BRIDGE.</a> -<span class="smcap flright">Plate I.</span> -</p> -<p class="cat"> -Watercolour. 17 by 10 in. -</p> - -<p class="cat"> -The bridge shortly before its removal. From a point on the -Surrey side of the river, nearly opposite to old Fishmongers’ Hall. -</p> - -<p class="cat"> -G. Yates, watercolour painter, worked in London on topographical -subjects about 1825-37; in the Crace catalogue he is called -Major Yates. -</p> - -<p class="cat"> -By <i>G. Yates</i>, 1826. -<span class="flright"><i>Lent by Mr. T. Girtin.</i></span> -</p> - -<p class="post"> -<span class="medsm">2</span><a id="Note_2"></a> AUSTIN FRIARS CHURCH FROM THE NORTH-WEST. -</p> - -<p class="cat"> -Watercolour. 7¾ by 7½ in. -</p> - -<p class="cat"> -The priory of the Augustine Friars in London was founded -<span class="smcap">a.d.</span> 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 -<span class='pagenum'><a id='Page_18' href='#Page_18'>18</a></span> -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. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">3</span> <a id="Note_3"></a><a href="#Plate_2">BOLINGBROKE HOUSE, BATTERSEA.</a> -<span class="flright smcap">Plate II.</span> -</p> - -<p class="cat"> -Watercolour. 7 by 4¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by Mr. P. Norman.</i></span> -</p> - -<p class="post"> -<span class="medsm">4</span> <a id="Note_4"></a><a href="#Plate_3">OLD WESTMINSTER BRIDGE.</a> -<span class="flright smcap">Plate III.</span> -</p> - -<p class="cat"> -Wash and pen drawing. 19 by 9 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, <i>c.</i> 1747 (1697-1768). -<span class="flright"><i>Lent by H.M. the King.</i></span> -<span class='pagenum'><a id='Page_19' href='#Page_19'>19</a></span> -</p> - -<p class="post"> -<span class="medsm">5</span><a id="Note_5"></a> VIEW DOWN RIVER FROM GARDEN OF OLD SOMERSET -HOUSE. -</p> - -<p class="cat"> -Wash and pen drawing. 19 by 7¾ in. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, <i>c.</i> 1747 (1697-1768). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">6</span> <a id="Note_6"></a><a href="#Plate_4">VIEW DOWN RIVER FROM WESTMINSTER.</a> <span class="smcap flright">Plate IV.</span> -</p> - -<p class="cat"> -Pen drawing. 15½ by 5¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">W. Hollar</span> (1607-1677). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">7</span><a id="Note_7"></a> VIEW UP RIVER FROM GARDEN OF OLD SOMERSET -HOUSE. -</p> - -<p class="cat"> -Pen and wash. 19 by 8½ in. -</p> - -<p class="cat"> -Westminster Abbey, Bridge, and Hall are conspicuous, so is -the Banqueting House, Whitehall. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, <i>c.</i> 1747 (1697-1768). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">8</span> <a id="Note_8"></a><a href="#Plate_5">WESTMINSTER BRIDGE AND ABBEY.</a> <span class="smcap flright">Plate V.</span> -</p> - -<p class="cat"> -Pen and wash. 19 by 10½ in. -</p> - -<p class="cat"> -View from Surrey side; a <i>fête</i> 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. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, <i>c.</i> 1747 (1697-1768). -<span class="flright"><i>Lent by H.M. the King.</i></span> -<span class='pagenum'><a id='Page_20' href='#Page_20'>20</a></span> -</p> - -<p class="post"> -<span class="medsm">9</span> <a id="Note_9"></a><a href="#Plate_6">WESTMINSTER ABBEY, SOUTH VIEW FROM RIVER.</a> -<span class="smcap flright">Plate VI.</span> -</p> - -<p class="cat"> -Pen and watercolour. 5¼ by 3 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">W. Hollar</span> (1607-1677). -<span class="flright"><i>Lent by Mr. J. P. Heseltine.</i></span> -</p> - -<p class="post"> -<span class="medsm">10</span><a id="Note_10"></a> VIEW FROM AN ARCHWAY OF WESTMINSTER BRIDGE. -</p> - -<p class="cat"> -Wash and pen drawing. 19 by 11½ in. -</p> - -<p class="cat"> -Looking down stream, shows the riverside from York Water-tower -to St. Paul’s. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, <i>c.</i> 1747 (1697-1768). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">11</span> <a id="Note_11"></a><a href="#Plate_7">VIEW UP RIVER TO WESTMINSTER.</a> -<span class="smcap flright">Plate VII.</span> -</p> - -<p class="cat"> -Wash and pen drawing. 28¼ by 15¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, <i>c.</i> 1746 (1697-1768). - -<span class="flright"><i>Lent by Mr. J. P. Heseltine.</i></span> -</p> - -<p class="post"> -<span class="medsm">12</span> <a id="Note_12"></a><a href="#Plate_8">OLD WESTMINSTER BRIDGE.</a> -<span class="smcap flright">Plate VIII.</span> -</p> - -<p class="cat"> -Wash and pen drawing. 19 by 11½ in. -</p> - -<p class="cat"> -This view appears to be taken from the Westminster side. According -to Labelye’s “Description,” published in 1751, the bridge was -<span class='pagenum'><a id='Page_21' href='#Page_21'>21</a></span> -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. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, 1747 (1697-1768). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">13</span><a id="Note_13"></a> LAMBETH PALACE GATE-HOUSE, AND PARISH CHURCH. -</p> - -<p class="cat"> -Watercolour. 7¼ by 5¼ in. -</p> - -<p class="cat"> -The Palace cannot be seen; in the distance is Westminster Bridge. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. Varley</span> (1778-1842). -<span class="flright"><i>Lent by Mr. J. P. Heseltine.</i></span> -</p> - -<p class="post"> -<span class="medsm">14</span> <a id="Note_14"></a><a href="#Plate_9">PIAZZA, COVENT GARDEN.</a> <span class="smcap flright">Plate IX.</span> -</p> - -<p class="cat"> -Watercolour. 12 by 10¾ in. -</p> - -<p class="cat"> -A piece of the Piazza designed by Inigo Jones is here shown. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Sandby</span>, R.A. (1721-1798). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">15</span><a id="Note_15"></a> CHURCH OF ST. DUNSTAN-IN-THE-EAST DURING -RECONSTRUCTION. -</p> - -<p class="cat"> -Pen and wash drawing. 16½ by 17½ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_22' href='#Page_22'>22</a></span> -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. -</p> - -<p class="cat"> -Date 1819. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">16</span> <a id="Note_16"></a><a href="#Plate_10">OLD SOMERSET HOUSE AND GARDEN.</a> -<span class="smcap flright">Plate X.</span> -</p> - -<p class="cat"> -Watercolour. 29½ by 20¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Sandby</span>, R.A. (1721-1798). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">17</span><a id="Note_17"></a> OLD MANSION IN LEADENHALL STREET. -</p> - -<p class="cat"> -Watercolour. 12½ by 18 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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 (<a href="#Note_77">No. 77</a>) as immediately west of that building. -</p> - -<p class="cat"> -About 1800 -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_23' href='#Page_23'>23</a></span> -</p> - -<p class="post"> -<span class="medsm">18</span><a id="Note_18"></a> WESTMINSTER FROM THE GARDEN OF OLD SOMERSET -HOUSE. -</p> - -<p class="cat"> -Watercolour. 14¼ by 10½ in. -</p> - -<p class="cat"> -This drawing, like <a href="#Note_14">No. 14</a>, 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.” -</p> - -<p class="cat"> -By <span class="smcap">T. Sandby</span>, R.A. (1721-1798). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">19</span> <a id="Note_19"></a><a href="#Plate_11">OLD LONDON BRIDGE FROM BILLINGSGATE.</a> <span class="smcap flright">Plate XI.</span> -</p> - -<p class="cat"> -Watercolour. 21¼ by 12½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Yates</span>, 1828. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">20</span><a id="Note_20"></a> OLD LONDON BRIDGE FROM THE WEST. -</p> - -<p class="cat"> -Watercolour. 22 by 12½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Yates</span>, 1830. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">21</span><a id="Note_21"></a> BARN ELMS, 1793. -</p> - -<p class="cat"> -Watercolour. 12 by 9½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_24' href='#Page_24'>24</a></span> -Barn Elms, Jacob Tonson, the famous publisher, secretary of the -Kitcat Club, built a gallery for the reception of portraits of the -members. -</p> - -<p class="cat"> -The painting, signed “EE,” is by Edward Edwards, elected -A.R.A. in 1771, and made Professor of Perspective in 1788. -</p> - -<p class="cat"> -By <span class="smcap">E. Edwards</span>, A.R.A. (1738-1806). - -<span class="flright"><i>Lent by Sir H. Wilson.</i></span> -</p> - -<p class="post"> -<span class="medsm">22</span><a id="Note_22"></a> THE MONUMENT FROM FISH STREET HILL. -</p> - -<p class="cat"> -Watercolour on etched outline. 9 by 12 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -The painting is unsigned and undated: it belongs perhaps to the -beginning of the nineteenth century. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">23</span> <a id="Note_23"></a><a href="#Plate_12">CAMP NEAR SERPENTINE, HYDE PARK, 1780.</a> -<span class="smcap flright">Plate XII.</span> -</p> - -<p class="cat"> -Watercolour. 19 by 10 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -Paul Sandby published “Views in the Encampments in the -Parks,” 1780, for which series this was probably done. -</p> - -<p class="cat"> -By <span class="smcap">P. Sandby</span>, R.A., 1780 (1725-1809). - -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">24</span><a id="Note_24"></a> OPERA HOUSE, HAYMARKET. -</p> - -<p class="cat"> -Watercolour. 10½ by 7¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -R. B. Schnebbelie, whose father also practised art, and whose -<span class='pagenum'><a id='Page_25' href='#Page_25'>25</a></span> -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. -</p> - -<p class="cat"> -By <span class="smcap">R. B. Schnebbelie</span>, 1819. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">25</span><a id="Note_25"></a> KING STREET GATE-HOUSE. -</p> - -<p class="cat"> -Watercolour. 8¼ by 13 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Vertue</span>, 1723 (1684-1756). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">26</span><a id="Note_26"></a> THE OLD PLAYHOUSE, PORTUGAL STREET, LINCOLN’S INN FIELDS. -</p> - -<p class="cat"> -Watercolour. 8½ by 7½ in. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by H.M. the King.</i></span> -<span class='pagenum'><a id='Page_26' href='#Page_26'>26</a></span> -</p> - -<p class="post"> -<span class="medsm">27</span><a id="Note_27"></a> CUPER’S GARDENS, LAMBETH, FROM THE RIVER. -</p> - -<p class="cat"> -Watercolour. 15½ by 6¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> - -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">28</span><a id="Note_28"></a> THE NURSERY, GOLDEN LANE. -</p> - -<p class="cat"> -Watercolour. 6¼ by 8¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1811. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">29</span><a id="Note_29"></a> ST. PAUL’S FROM AN ARCH OF BLACKFRIARS BRIDGE. -</p> - -<p class="cat"> -Watercolour. 6¾ by 8¼ in. -</p> - -<p class="cat"> -By <span class="smcap">T. Malton</span> the Younger (1748-1804). - -<span class="flright"><i>Lent by Mr. A. A. Allen.</i></span> -<span class='pagenum'><a id='Page_27' href='#Page_27'>27</a></span> -</p> - -<p class="post"> -<span class="medsm">30<i>a</i></span> REMAINS OF WINCHESTER HOUSE, AUSTIN FRIARS, -FROM GREAT WINCHESTER STREET. -</p> - -<p class="cat"> -Watercolour. 8½ by 7 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1811. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">30<i>b</i></span> BACK OF WINCHESTER HOUSE, AUSTIN FRIARS. -</p> - -<p class="cat"> -Watercolour. 7¼ by 4¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">S. Ireland</span>. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">31</span> <a id="Note_31"></a><a href="#Plate_13">INTERIOR OF SECOND ROYAL EXCHANGE.</a> -<span class="smcap flright">Plate XIII.</span> -</p> - -<p class="cat"> -Watercolour. 21½ by 16 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -Unsigned. Date probably about 1810. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_28' href='#Page_28'>28</a></span> -</p> - -<p class="post"> -<span class="medsm">32</span><a id="Note_32"></a> VIEW FROM A HOUSE IN PALL MALL. -</p> - -<p class="cat"> -Watercolour. 11¼ by 14¾ in. -</p> - -<p class="cat"> -This view is signed and dated 1824, and forms a fitting companion -to <a href="#Note_34">No. 34</a>, 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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">W. Hunt</span>, 1824 (1790-1864). -<span class="flright"><i>Lent by Mr. T. Girtin.</i></span> -</p> - -<p class="post"> -<span class="medsm">33</span> <a id="Note_33"></a><a href="#Plate_14">CHURCH OF ST. PETER LE POOR, OLD BROAD STREET.</a> -<span class="smcap flright">Plate XIV.</span> -</p> - -<p class="cat"> -Watercolour. 13½ by 17½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> - -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">34</span> <a id="Note_34"></a><a href="#Plate_15">VIEW FROM THE CHURCHYARD OF ST. MARTIN’S-IN-THE-FIELDS.</a> -<span class="smcap flright">Plate XV.</span> -</p> - -<p class="cat"> -Watercolour. 13¼ by 19½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">W. Hunt</span> (1790-1864). -<span class="flright"><i>Lent by Mr. T. Girtin.</i></span> -<span class='pagenum'><a id='Page_29' href='#Page_29'>29</a></span> -</p> - -<p class="post"> -<span class="medsm">35</span> <a id="Note_35"></a><a href="#Plate_16">ENCAMPMENT IN THE GROUNDS OF MONTAGUE -HOUSE.</a> -<span class="smcap flright">Plate XVI.</span> -</p> - -<p class="cat"> -Watercolour. 26½ by 19½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">S. H. Grimm</span>, 1780 (1734-1794). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">36<i>a</i></span> VIEW NEAR THE TURNPIKE AT NEW CROSS. -</p> - -<p class="cat"> -Watercolour, outlined with a pen. 12½ by 9½ in. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_30' href='#Page_30'>30</a></span> -</p> - -<p class="post"> -<span class="medsm">36<i>b</i></span> NEW CROSS TURNPIKE ON THE KENT ROAD. -</p> - -<p class="cat"> -Mezzotint, with an etched outline. 11 by 7¾ in. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">37</span> <a id="Note_37"></a><a href="#Plate_17">CHANTREY CHAPEL OF HENRY V, WESTMINSTER ABBEY.</a> -<span class="smcap flright">Plate XVII.</span> -</p> - -<p class="cat"> -Drawn with a pen and tinted. 10¼ by 12½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">John Carter</span>, 1786 (1748-1817). - -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">38</span> <a id="Note_38"></a><a href="#Plate_18">ABBOT ISLIP’S CHAPEL, WESTMINSTER ABBEY.</a> -<span class="smcap flright">Plate XVIII.</span> -</p> - -<p class="cat"> -Watercolour. 15½ by 21½ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_31' href='#Page_31'>31</a></span> -“William Turner natus 1775.” It was exhibited at the Burlington -Fine Arts Club in 1871. -</p> - -<p class="cat"> -By <span class="smcap">J. M. W. Turner</span>, R.A., 1796 (1775-1851). -<span class="flright"><i>Lent by Mr. R. W. Lloyd.</i></span> -</p> - -<p class="post"> -<span class="medsm">39<i>a</i></span> SECOND ROYAL EXCHANGE FROM THE WEST. -</p> - -<p class="cat"> -Watercolour. 6¾ by 9½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1810. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">39<i>b</i></span> SECOND ROYAL EXCHANGE FROM THE SOUTH-EAST. -</p> - -<p class="cat"> -St. Paul’s Cathedral appears in the distance. Signed and dated. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1812. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">39<i>c</i></span> SECOND ROYAL EXCHANGE FROM THE SOUTH-EAST. -</p> - -<p class="cat"> -Etching and aquatint, touched with sepia. 5 by 7½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd.</span> -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">40<i>a</i></span> CHURCH OF ST. GILES, CRIPPLEGATE, FROM SOUTH-WEST. -</p> - -<p class="cat"> -Watercolour. 8 by 9½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -Signed and dated. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1815. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_32' href='#Page_32'>32</a></span> -</p> - -<p class="post"> -<span class="medsm">40<i>b</i></span> CHURCH OF ST. GILES, CRIPPLEGATE, FROM FORE STREET. -</p> - -<p class="cat"> -Pencil. 7¾ by 6 in. -</p> - -<p class="cat"> -The building here shown against the church, in foreground, was -called the Quest-house. It was destroyed about eighteen years ago. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. H. Shepherd</span>. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">41</span> <a id="Note_41"></a><a href="#Plate_19">HALL OF BROTHERHOOD OF HOLY TRINITY, ALDERSGATE.</a> -<span class="smcap flright">Plate XIX.</span> -</p> - -<p class="cat"> -Pencil. 16 by 13 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -By <span class="smcap">W. Capon</span>, 1790 (1757-1827). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">42<i>a</i></span> ST. JAMES’S PARK AND BUCKINGHAM HOUSE. -</p> - -<p class="cat"> -Watercolour. 16½ by 9¼ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_33' href='#Page_33'>33</a></span> -soon after the Restoration. Pepys on 16 September 1660, mentions -seeing the work in progress. -</p> - -<p class="cat"> -Carefully drawn with a pen and tinted, after the manner of the -artist, who usually engraved his views on copper. -</p> - -<p class="cat"> -By <span class="smcap">J. Maurer</span>, 1741. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">42<i>b</i></span> ST. JAMES’S PALACE AND THE MALL. -</p> - -<p class="cat"> -Watercolour. 16¾ by 8¾ in. -</p> - -<p class="cat"> -In the distance is the steeple of St. Martin’s-in-the-Fields. Deer -can be seen in the open ground to right. -</p> - -<p class="cat"> -By <span class="smcap">J. Maurer</span>, 1741. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">43</span><a id="Note_43"></a> ST. MARY-LE-BONE CHURCH. -</p> - -<p class="cat"> -Watercolour. 6½ by 4 in. -</p> - -<p class="cat"> -The new church built in 1813-4. A rural scene, in the foreground -are trees and a pond. -</p> - -<p class="cat"> -By <span class="smcap">J. Varley</span> (1778-1842). -<span class="flright"><i>Lent by Mr. J. P. Heseltine.</i></span> -</p> - -<p class="post"> -<span class="medsm">44</span><a id="Note_44"></a> SALE OF BOOKS BY AUCTION AT SOTHEBY’S. -</p> - -<p class="cat"> -Watercolour. 9¼ by 5¾ in. -</p> - -<p class="cat"> -Drawn with a pen and tinted after Rowlandson’s usual manner. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Rowlandson</span> (1756-1827). -<span class="flright"><i>Lent by Messrs. Sotheby, Wilkinson, and Hodge.</i></span> -</p> - -<p class="post"> -<span class="medsm">45</span> <a id="Note_45"></a><a href="#Plate_20">SITE OF EUSTON SQUARE, 1809.</a> -<span class="smcap flright">Plate XX.</span> -</p> - -<p class="cat"> -Watercolour. 9¾ by 8½ in. -</p> - -<p class="cat"> -Signed “T. Rowlandson.” Written in pencil, but hidden, are -the words: “Richard Trevithick’s Railroad, Euston Square 1809.” -<span class='pagenum'><a id='Page_34' href='#Page_34'>34</a></span> -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. -</p> - -<p class="cat"> -In the distance is Primrose Hill, with Hampstead beyond. -Attractive design and colour give charm to a subject not easy of -treatment. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Rowlandson</span>, 1809 (1756-1827). -<span class="flright"><i>Lent by Mr. H. C. Levis.</i></span> -</p> - -<p class="post"> -<span class="medsm">46</span><a id="Note_46"></a> SALE OF PICTURES BY AUCTION AT CHRISTIE’S. -</p> - -<p class="cat"> -Watercolour. 11¼ by 8¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Rowlandson</span> (1756-1827). -<span class="flright"><i>Lent by Messrs. Christie, Manson, and Woods.</i></span> -</p> - -<p class="post"> -<span class="medsm">47</span> <a id="Note_47"></a><a href="#Plate_21">OLD CHEESE-CAKE HOUSE, HYDE PARK, 1797.</a> -<span class="smcap flright">Plate XXI.</span> -</p> - -<p class="cat"> -Watercolour. 21½ by 12 in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_35' href='#Page_35'>35</a></span> -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. -</p> - -<p class="cat"> -Date 1797. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">48<i>a</i><a id="Note_48a"></a></span> BUCKINGHAM HOUSE. -</p> - -<p class="cat"> -Wash drawing in Indian ink. 10¾ by 5¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. Maurer</span>, 1746. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">48<i>b</i></span><a id="Note_48b"></a> THE HORSE GUARDS PARADE. -</p> - -<p class="cat"> -Wash drawing in Indian ink. 10¾ by 5¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. Maurer</span>, about 1750. -<span class="flright"><i>Lent by H.M. the King.</i></span> -<span class='pagenum'><a id='Page_36' href='#Page_36'>36</a></span> -</p> - -<p class="post"> -<span class="medsm">49</span> <a id="Note_49"></a><a href="#Plate_22">FISHMONGERS’ HALL FROM THE RIVER.</a> -<span class="smcap flright">Plate XXII.</span> -</p> - -<p class="cat"> -Watercolour. 12 by 8¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -Date about 1810. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">50</span><a id="Note_50"></a> LANDING AT THE “CROWN AND SCEPTRE” TAVERN, GREENWICH. -</p> - -<p class="cat"> -Watercolour. 11¾ by 8¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Rowlandson</span> (1756-1827). -<span class="flright"><i>Lent by Mr. E. H. Coles.</i></span> -</p> - -<p class="post"> -<span class="medsm">51</span><a id="Note_51"></a> THE BANK LOTTERY. -</p> - -<p class="cat"> -Watercolour. 23¾ by 16½ in. -</p> - -<p class="cat"> -A lottery in the Rotunda of the Bank of England. -</p> - -<p class="cat"> -Between 1709 and 1824 the Government raised large sums from -lotteries authorized by Act of Parliament. -</p> - -<p class="cat"> -By <span class="smcap">T. Rowlandson</span> (1756-1827). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">52</span><a id="Note_52"></a> BARTHOLOMEW FAIR. -</p> - -<p class="cat"> -Watercolour. 13 by 8¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -In the same frame is an etching of the subject by Rowlandson, -to which colour has been crudely added. -</p> - -<p class="cat"> -By <span class="smcap">T. Rowlandson</span>, 1807 (1756-1827). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_37' href='#Page_37'>37</a></span> -</p> - -<p class="post"> -<span class="medsm">53</span><a id="Note_53"></a> SAVOY RUINS. -</p> - -<p class="cat"> -Wash drawing in sepia. 12¼ by 8¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -The arches in mid-distance most likely belong to Blackfriars -Bridge. Waterloo Bridge, first called Strand Bridge, was begun in -1811. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Girtin</span> (1775-1802). -<span class="flright"><i>Lent by Mr. T. Girtin.</i></span> -</p> - -<p class="post"> -<span class="medsm">54</span><a id="Note_54"></a> DRURY LANE THEATRE. -</p> - -<p class="cat"> -Watercolour. 9 by 5¾ in. -</p> - -<p class="cat"> -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. -<span class='pagenum'><a id='Page_38' href='#Page_38'>38</a></span> -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. M. Whichelo</span>, <i>c.</i> 1813. -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">55</span><a id="Note_55"></a> THAMES BELOW BRIDGE, LOOKING TOWARDS ST. PAUL’S. -</p> - -<p class="cat"> -Watercolour. 21 by 13 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. T. Serres</span> (1759-1825). -<span class="flright"><i>Lent by Mr. H. Oppenheimer.</i></span> -</p> - -<p class="post"> -<span class="medsm">56</span><a id="Note_56"></a> FIFE HOUSE FROM THE THAMES. -</p> - -<p class="cat"> -Watercolour. 8¾ by 9½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1805. -<span class="flright"><i>Lent by Mr. E. H. Coles.</i></span> -</p> - -<p class="post"> -<span class="medsm">57</span><a id="Note_57"></a> MELBOURNE HOUSE, NOW THE ALBANY, PICCADILLY. -</p> - -<p class="cat"> -Wash drawing in Indian ink. 8½ by 6 in. -</p> - -<p class="cat"> -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 <i>Albany</i> for Melbourne (latterly -called Dover) House, Whitehall. It was afterwards converted into -<span class='pagenum'><a id='Page_39' href='#Page_39'>39</a></span> -chambers, the garden behind being built over with additional sets of -rooms. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">F. Nash</span> (1782-1856). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">58</span><a id="Note_58"></a> RIVER VIEW FROM BELOW YORK WATER-GATE. -</p> - -<p class="cat"> -Watercolour. 9½ by 6 in. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -By <span class="smcap">G. Barret</span> the Younger (1767-1842). -<span class="flright"><i>Lent by Mr. H. C. Levis.</i></span> -</p> - -<p class="post"> -<span class="medsm">59</span> <a id="Note_59"></a><a href="#Plate_23">ST. DUNSTAN’S-IN-THE-WEST, FLEET STREET.</a> -<span class="smcap flright">Plate XXIII.</span> -</p> - -<p class="cat"> -Watercolour on etched outline. 18¾ by 13 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Malton</span> the Elder (1726-1801). -<span class="flright"><i>Lent by Lord Aldenham.</i></span> -<span class='pagenum'><a id='Page_40' href='#Page_40'>40</a></span> -</p> - -<p class="post"> -<span class="medsm">60</span><a id="Note_60"></a> MIDDLE TEMPLE HALL FROM SOUTH-EAST. -</p> - -<p class="cat"> -Watercolour. 9¾ by 6¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -To spectator’s left the Temple Fountain is shown, approached by -steps. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">61</span> <a id="Note_61"></a><a href="#Plate_24">WESTMINSTER ABBEY FROM DEAN’S YARD.</a> -<span class="smcap flright">Plate XXIV.</span> -</p> - -<p class="cat"> -18¼ by 12¾ in. -</p> - -<p class="cat"> -A general view of the Abbey from the south-west, Westminster -schoolboys and masters in foreground. There is an engraving of -this subject. -</p> - -<p class="cat"> -By <span class="smcap">T. Malton</span> the Elder (1726-1801). -<span class="flright"><i>Lent by the City of Birmingham Art Gallery.</i></span> -</p> - -<p class="post"> -<span class="medsm">62</span><a id="Note_62"></a> BEAUCHAMP TOWER—TOWER OF LONDON. -</p> - -<p class="cat"> -Watercolour. 6 by 6¾ in. -</p> - -<p class="cat"> -Under the mount are the words in pencil “Beauchamp Tower,” -and this is probably correct. The building, however, has been much -altered since 1798. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -By <span class="smcap">C. Tomkins</span>, 1798 (1757-1810). -<span class="flright"><i>Lent by Mr. E. H. Coles.</i></span> -</p> - -<p class="post"> -<span class="medsm">63</span> <a id="Note_63"></a><a href="#Plate_25">WAPPING.</a> -<span class="smcap flright">Plate XXV.</span> -</p> - -<p class="cat"> -21¼ by 16¾ in. -</p> - -<p class="cat"> -Important houses on river front. Boat building in progress. -</p> - -<p class="cat"> -By <span class="smcap">T. Girtin</span> (1773-1802). -<span class="flright"><i>Lent by the Leicester Art Gallery.</i></span> -</p> - -<p class="post"> -<span class="medsm">64</span> <a id="Note_64"></a><a href="#Plate_26">EAST INDIA HOUSE FROM THE WEST.</a> -<span class="smcap flright">Plate XXVI.</span> -</p> - -<p class="cat"> -Watercolour. 38 by 28 in. -</p> - -<p class="cat"> -In “Relics of the Hon. East India Company,” illustrations by -W. Griggs, letterpress by Sir George Birdwood and W. Foster, a -<span class='pagenum'><a id='Page_41' href='#Page_41'>41</a></span> -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.” -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Malton</span> the Younger (1748-1804). -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="post"> -<span class="medsm">65</span><a id="Note_65"></a> THE GENERAL COURT-ROOM, EAST INDIA HOUSE. -</p> - -<p class="cat"> -Watercolour. 7¾ by 5¾ in. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="post"> -<span class="medsm">66</span><a id="Note_66"></a> THE DIRECTORS’ COURT-ROOM, EAST INDIA HOUSE. -</p> - -<p class="cat"> -Watercolour. 8¾ by 6 in. -</p> - -<p class="cat"> -Shows the two high chairs here exhibited. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="post"> -<span class="medsm">67</span> <a id="Note_67"></a><a href="#Plate_27">SADLER’S WELLS.</a> -<span class="smcap flright">Plate XXVII.</span> -</p> - -<p class="cat"> -Oil picture. 15 by 10¾ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_42' href='#Page_42'>42</a></span> -River flowed by, and water was introduced from it to a large tank -beneath the floor of the stage—used for naval spectacles, etc. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -By <span class="smcap">R. C. Andrews</span>, 1792. -<span class="flright"><i>Lent by the Hon. Lady Lyttelton.</i></span> -</p> - -<p class="post"> -<span class="medsm">68</span> <a id="Note_68"></a><a href="#Plate_28">GREEN PARK, 1760.</a> -<span class="smcap flright">Plate XXVIII.</span> -</p> - -<p class="cat"> -Oil picture. 50 by 31 in. -</p> - -<p class="cat"> -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 <a href="#Note_48a">No. 48</a>). -</p> - -<p class="cat"> -By <span class="smcap">W. Hogarth</span>, 1760 (1697-1764). -<span class="flright"><i>Lent by the Earl Spencer.</i></span> -</p> - -<p class="post"> -<span class="medsm">69</span><a id="Note_69"></a> NORTHUMBERLAND HOUSE, KING CHARLES’S STATUE, -AND THE GOLDEN CROSS, CHARING CROSS. -</p> - -<p class="cat"> -Oil picture. 16 by 9 in. -</p> - -<p class="cat"> -This historic mansion was built <i>c.</i> 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 -<span class='pagenum'><a id='Page_43' href='#Page_43'>43</a></span> -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 pinx<sup>t</sup> et delin<sup>t</sup>.—T Bowles sculp<sup>t</sup>.” It was republished -by Laurie and Whittle in 1794. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span>, 1697-1768. -<span class="flright"><i>Lent by the Marquess of Sligo.</i></span> -</p> - -<p class="post"> -<span class="medsm">70</span><a id="Note_70"></a> FOUNDLING HOSPITAL. -</p> - -<p class="cat"> -Oil picture. A circle, 21 in. in diameter. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">R. Wilson</span>, R.A., 1746 (1714-1782). -<span class="flright"><i>Lent by the Foundling Hospital.</i></span> -<span class='pagenum'><a id='Page_44' href='#Page_44'>44</a></span> -</p> - -<p class="post"> -<span class="medsm">71</span> <a id="Note_71"></a><a href="#Plate_29">ST. GEORGE’S HOSPITAL.</a> -<span class="smcap flright">Plate XXIX.</span> -</p> - -<p class="cat"> -Oil picture. A circle, 21 in. in diameter. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">R. Wilson</span>, R.A., 1746 (1714-1782). -<span class="flright"><i>Lent by the Foundling Hospital.</i></span> -</p> - -<p class="post"> -<span class="medsm">72</span> <a id="Note_72"></a><a href="#Plate_30">THE CHARTERHOUSE.</a> -<span class="smcap flright">Plate XXX.</span> -</p> - -<p class="cat"> -Oil picture. A circle, 21 in. in diameter. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">T. Gainsborough</span>, R.A., 1746 (1727-1788). -<span class="flright"><i>Lent by the Foundling Hospital.</i></span> -</p> - -<p class="post"> -<span class="medsm">73</span> <a id="Note_73"></a><a href="#Plate_31">ALDGATE SCHOOL AND WATCH-HOUSE AND TOWER -OF CHURCH.</a> -<span class="smcap flright">Plate XXXI.</span> -</p> - -<p class="cat"> -Pen and wash drawing. 10 by 9½ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_45' href='#Page_45'>45</a></span> -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. -</p> - -<p class="cat"> -By <span class="smcap">R. B. Schnebbelie</span> (died about 1849). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">74</span><a id="Note_74"></a> INTERIOR OF REGENCY THEATRE. -</p> - -<p class="cat"> -Watercolour. 8¾ by 6¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">R. B. Schnebbelie</span>, 1816 (died about 1849). -<span class="flright"><i>Lent by H.M. the King.</i></span> -</p> - -<p class="post"> -<span class="medsm">75</span><a id="Note_75"></a> THE MANSION HOUSE. -</p> - -<p class="cat"> -Watercolour. 6 by 8 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">F. Nash</span>, 1802 (1782-1856). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_46' href='#Page_46'>46</a></span> -</p> - -<p class="post"> -<span class="medsm">76</span><a id="Note_76"></a> RIVER SCENE AT GREENWICH. -</p> - -<p class="cat"> -Oil picture. 23¼ by 19½ in. -</p> - -<p class="cat"> -Looking up the river, Greenwich Hospital on the left. Boats -and shipping. In the preface, <a href='#Page_14'>p. 14</a>, Samuel Scott has already been -referred to. -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (about 1710-1772). -<span class="flright"><i>Lent by Mr. C. H. St. John Hornby.</i></span> -</p> - -<p class="post"> -<span class="medsm">77</span> <a id="Note_77"></a><a href="#Plate_32">EAST INDIA HOUSE FROM THE EAST.</a> -<span class="smcap flright">Plate XXXII.</span> -</p> - -<p class="cat"> -Watercolour. 37 by 25½ in. -</p> - -<p class="cat"> -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 (<a href="#Note_17">No. 17</a>), 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. -</p> - -<p class="cat"> -By <span class="smcap">T. Malton</span> the Younger (1748-1804). -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="post"> -<span class="medsm">78</span> <a id="Note_78"></a><a href="#Plate_33">A WATER PAGEANT ON THE THAMES.</a> -<span class="smcap flright">Plate XXXIII.</span> -</p> - -<p class="cat"> -Oil picture. 43½ by 23½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -School of <span class="smcap">S. Scott</span>. -<span class="flright"><i>Lent by the Earl Brownlow.</i></span> -<span class='pagenum'><a id='Page_47' href='#Page_47'>47</a></span> -</p> - -<p class="post"> -<span class="medsm">79</span><a id="Note_79"></a> OLD BLACKFRIARS BRIDGE. -</p> - -<p class="cat"> -Oil picture. 20½ by 15¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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 (<a href="#Note_80">No. 80</a>) 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. -</p> - -<p class="cat"> -By <span class="smcap">R. Burford</span> (1792-1861). -<span class="flright"><i>Lent by Mr. Colin Agnew.</i></span> -</p> - -<p class="post"> -<span class="medsm">80</span><a id="Note_80"></a> OLD LONDON BRIDGE. -</p> - -<p class="cat"> -Oil picture. 20¼ by 16 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">R. Burford</span> (1792-1861). -<span class="flright"><i>Lent by Mr. Colin Agnew.</i></span> -</p> - -<p class="post"> -<span class="medsm">81</span> <a id="Note_81"></a><a href="#Plate_34">WESTMINSTER BRIDGE AND WESTMINSTER ABBEY FROM THE RIVER.</a> -<span class="smcap flright">Plate XXXIV.</span> -</p> - -<p class="cat"> -Oil picture. 35½ by 18 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (about 1710-1772). -<span class="flright"><i>Lent by the Marquess of Sligo.</i></span> -<span class='pagenum'><a id='Page_48' href='#Page_48'>48</a></span> -</p> - -<p class="post"> -<span class="medsm">82</span> <a id="Note_82"></a><a href="#Plate_35">SIR RICHARD STEELE’S COTTAGE, HAMPSTEAD.</a> -<span class="smcap flright">Plate XXXV.</span> -</p> - -<p class="cat"> -Oil picture, 10¾ by 7½ in. -</p> - -<p class="cat"> -In 1832 Constable exhibited this very small picture at the Royal -Academy under the title given above. It is numbered 147 in the -catalogue. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. Constable</span>, R.A., 1832 (1776-1837). -<span class="flright"><i>Lent by Mr. R. K. Hodgson.</i></span> -</p> - -<p class="post"> -<span class="medsm">83</span><a id="Note_83"></a> VIEW LOOKING DOWN THE RIVER FROM ABOVE ADELPHI TERRACE. -</p> - -<p class="cat"> -Oil picture. 17½ by 6½ in. -</p> - -<p class="cat"> -Shows Adelphi Terrace and low buildings along the foreshore, -then unchanged. In the distance is old London Bridge. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">D. Turner</span>. -<span class="flright"><i>Lent by Mr. F. A. White.</i></span> -<span class='pagenum'><a id='Page_49' href='#Page_49'>49</a></span> -</p> - -<p class="post"> -<span class="medsm">84</span><a id="Note_84"></a> ADELPHI TERRACE AND YORK WATER-GATE. -</p> - -<p class="cat"> -Oil picture. 9 by 5¾ in. -</p> - -<p class="cat"> -The same subject as the left-hand portion of <a href="#Note_83">No. 83</a>, 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. -</p> - -<p class="cat"> -By <span class="smcap">D. Turner</span>. -<span class="flright"><i>Lent by the Fishmongers’ Company.</i></span> -</p> - -<p class="post"> -<span class="medsm">85</span><a id="Note_85"></a> WESTMINSTER BRIDGE AND ABBEY. -</p> - -<p class="cat"> -Oil picture, 11½ by 7½ in. -</p> - -<p class="cat"> -Taken from a wharf or shed on the Surrey bank. -</p> - -<p class="cat"> -By <span class="smcap">D. Turner</span>. -<span class="flright"><i>Lent by Mr. A. Murray Smith.</i></span> -</p> - -<p class="post"> -<span class="medsm">86</span><a id="Note_86"></a> VIEW DOWN THE RIVER FROM THE GARDEN OF OLD SOMERSET HOUSE. -</p> - -<p class="cat"> -Oil picture. 36 by 18 in. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (about 1710-1772). -<span class="flright"><i>Lent by the Marquess of Sligo.</i></span> -</p> - -<p class="post"> -<span class="medsm">87</span> <a id="Note_87"></a><a href="#Plate_36">THE PARADE AND WHITEHALL FROM ST. JAMES’S PARK.</a> -<span class="smcap flright">Plate XXXVI.</span> -</p> - -<p class="cat"> -Oil picture. 28 by 16½ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_50' href='#Page_50'>50</a></span> -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 <a href="#Note_96">note on No. 96</a>. -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (about 1710-1772). -<span class="flright"><i>Lent by the Marquess of Sligo.</i></span> -</p> - -<p class="post"> -<span class="medsm">88</span> <a id="Note_88"></a><a href="#Plate_37">WHITEHALL FROM THE NORTH.</a> -<span class="smcap flright">Plate XXXVII.</span> -</p> - -<p class="cat"> -Oil picture. 28 by 16½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (about 1710-1772). -<span class="flright"><i>Lent by the Marquess of Sligo.</i></span> -</p> - -<p class="post"> -<span class="medsm">89</span> <a id="Note_89"></a>WHITEHALL FROM ST. JAMES’S PARK. -</p> - -<p class="cat"> -Oil picture. 47½ by 29½ in. -</p> - -<p class="cat"> -Portion of view shown in <a href="#Note_87">No. 87</a>, but dating from near the end -of Charles II’s reign. It will presently be pointed out that <a href="#Note_96">No. 96</a> -is a still earlier picture of almost the same subject, so to avoid -<span class='pagenum'><a id='Page_51' href='#Page_51'>51</a></span> -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, <a href="#Note_91">No. 91</a>. 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 <a href="#Note_96">note -on No. 96</a>. 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. -<span class="flright"><i>Lent by Mary, Countess of Ilchester.</i></span> -</p> - -<p class="post"> -<span class="medsm">90</span><a id="Note_90"></a> OLD LONDON BRIDGE IN THE SEVENTEENTH CENTURY FROM SOUTHWARK. -</p> - -<p class="cat"> -Oil picture. 41 by 27½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -There is no space to describe bridge in detail. Before removal of -houses under Act of Parliament 1756, it was most picturesque, but -<span class='pagenum'><a id='Page_52' href='#Page_52'>52</a></span> -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. -</p> - -<p class="cat"> -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). -<span class="flright"><i>Lent by the Bank of England.</i></span> -</p> - -<p class="post"> -<span class="medsm">91</span> <a id="Note_91"></a><a href="#Plate_38">WESTMINSTER FROM BELOW YORK WATER-GATE.</a> -<span class="smcap flright">Plate XXXVIII.</span> -</p> - -<p class="cat"> -Oil picture. 60 by 31½ in. -</p> - -<p class="cat"> -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 <a href="#Note_89">No. 89</a>. 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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">Thomas Wijck</span> (about 1616-1677). -<span class="flright"><i>Lent by Mr. E. C. Grenfell.</i></span> -<span class='pagenum'><a id='Page_53' href='#Page_53'>53</a></span> -</p> - -<p class="post"> -<span class="medsm">92</span> <a id="Note_92"></a><a href="#Plate_39">WESTMINSTER FROM LAMBETH.</a> -<span class="smcap flright">Plate XXXIX.</span> -</p> - -<p class="cat"> -Oil picture. 35 by 20½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (?) (about 1710-1772). -<span class="flright"><i>Lent by Mr. P. Norman.</i></span> -</p> - -<p class="post"> -<span class="medsm">93</span> <a id="Note_93"></a><a href="#Plate_40">THE OLD STOCKS MARKET.</a> -<span class="smcap flright">Plate XL.</span> -</p> - -<p class="cat"> -Oil picture. 50 by 37½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -Josef van Aken, who painted this, was born at Antwerp, and -passed much of his life in England. He was much employed by -<span class='pagenum'><a id='Page_54' href='#Page_54'>54</a></span> -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. -</p> - -<p class="cat"> -By <span class="smcap">Josef van Aken</span> (1709-1749). -<span class="flright"><i>Lent by the Bank of England.</i></span> -</p> - -<p class="post"> -<span class="medsm">94</span> <a id="Note_94"></a><a href="#Plate_41">RIVER VIEW FROM GARDEN OF OLD SOMERSET HOUSE.</a> -<span class="smcap flright">Plate XLI.</span> -</p> - -<p class="cat"> -Oil picture. 35½ by 23½ in. -</p> - -<p class="cat"> -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 <a href="#Note_86">No. 86</a>, as the subjects are much alike, -though here there is a stronger effect. Like <a href="#Note_69">No. 69</a>, 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 -pinx<sup>t</sup>”; the attribution is therefore here changed. -</p> - -<p class="cat"> -By <span class="smcap">Canaletto</span> (1697-1768). -<span class="flright"><i>Lent by Mr. F. A. White.</i></span> -</p> - -<p class="post"> -<span class="medsm">95</span> <a id="Note_95"></a><a href="#Plate_42">OLD WESTMINSTER BRIDGE.</a> -<span class="smcap flright">Plate XLII.</span> -</p> - -<p class="cat"> -Oil picture. 59 by 37 in. -</p> - -<p class="cat"> -This picture is specially interesting as a pendant to <a href="#Note_91">No. 91</a>. 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 <a href="#Note_4">No. 4</a>, Westminster Bridge was opened in 1750. It -was the second stone bridge built over the Thames at London. -</p> - -<p class="cat"> -The present bridge dates from 1862. -</p> - -<p class="cat"> -By <span class="smcap">S. Scott</span> (about 1710-1772). -<span class="flright"><i>Lent by Mr. E. C. Grenfell.</i></span> -</p> - -<p class="post"> -<span class="medsm">96</span> <a id="Note_96"></a><a href="#Plate_43">WHITEHALL FROM ST. JAMES’S PARK.</a> -<span class="smcap flright">Plate XLIII.</span> -</p> - -<p class="cat"> -Oil picture. 60½ by 37 in. -</p> - -<p class="cat"> -This picture represents much the same subject as <a href="#Note_89">No. 89</a>, though -it takes in less ground to the north or left, but from variations in -buildings is evidently some years earlier. The Banqueting House -<span class='pagenum'><a id='Page_55' href='#Page_55'>55</a></span> -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. -</p> - -<p class="cat"> -The battlemented structure behind, with buttresses, mullioned -windows, and turrets at the angles (mentioned in <a href="#Note_89">note on No. 89</a>), -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. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_56' href='#Page_56'>56</a></span> -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 <a href="#Note_89">No. 89</a>, 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. -</p> - -<p class="cat"> -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 “S<sup>r</sup> G<sup>ll</sup>” -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 -<span class='pagenum'><a id='Page_57' href='#Page_57'>57</a></span> -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. -</p> - -<p class="cat"> -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 -<a href="#Note_89">Nos. 89</a> 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. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_58' href='#Page_58'>58</a></span> -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 <i>Whitehall</i>, 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. -</p> - -<p class="cat"> -By <span class="smcap">Hendrick Danckerts</span> (<i>c.</i> 1630-1678). -<span class="flright"><i>Lent by the Earl of Berkeley.</i></span> -</p> - -<p class="post"> -<span class="medsm">97<i>a</i></span> SEARLE’S BOAT-HOUSE, STANGATE, LAMBETH. -</p> - -<p class="cat"> -Watercolour. 14 by 9¾ in. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">97<i>b</i></span> BUILDINGS ADJOINING LAMBETH CHURCH. -</p> - -<p class="cat"> -Watercolour. 10 by 6¼ in. -</p> - -<p class="cat"> -Shows picturesque but tumbledown buildings formerly along -the riverside at Lambeth. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">98<i>a</i></span><a id="Note_98a"></a> ST. SAVIOUR’S CHURCH, SOUTHWARK. -</p> - -<p class="cat"> -Watercolour. 9¾ by 7 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">F. Nash</span> (1782-1856). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_59' href='#Page_59'>59</a></span> -</p> - -<p class="post"> -<span class="medsm">98<i>b</i></span> WEST END OF ST. SAVIOUR’S CHURCH, SOUTHWARK, FROM THE SOUTH. -</p> - -<p class="cat"> -Wash drawing in Indian ink. 6 by 9 in. -</p> - -<p class="cat"> -Shows the entrance to Montagu Close, which appears also in <a href="#Note_98a">98<i>a</i></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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. C. Buckler</span>, 1827 (1770-1851). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">99<i>a</i></span> THREE CRANES WHARF. -</p> - -<p class="cat"> -Wash drawing in Indian ink. 10 by 8¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">G. Shepherd</span>, 1811. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">99<i>b</i></span> THREE CRANES WHARF. -</p> - -<p class="cat"> -Watercolour. 8 by 5½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">C. Tomkins</span> (1757-1810). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">100<i>a</i></span> UNDERCROFT OF CHAPEL OF ELY HOUSE, HOLBORN. -</p> - -<p class="cat"> -Wash drawing. 4 by 5¼ in. -</p> - -<p class="cat"> -This curious crypt of the Chapel dedicated to St. Etheldreda, -Ely Place, still remains. -</p> - -<p class="cat"> -By <span class="smcap">J. Carter</span>, 1776 (1748-1817). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_60' href='#Page_60'>60</a></span> -</p> - -<p class="post"> -<span class="medsm">100<i>b</i></span> <a href="#Plate_44">ELY PLACE, HOLBORN.</a> -<span class="smcap flright">Plate XLIV.</span> -</p> - -<p class="cat"> -Pen and Indian ink, with a little colour. 15 by 9½ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. Carter</span>, 1776 (1748-1817). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">101</span><a id="Note_101"></a> SCREEN FORMERLY IN CHAPEL OF ST. ANDREW, IN -NORTH TRANSEPT OF WESTMINSTER ABBEY. -</p> - -<p class="cat"> -Indian ink with shields of arms coloured. 17¾ by 20½ in. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -Written on the drawing is “Mar: 1722.” -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">102</span><a id="Note_102"></a> THE FIRST WINNER OF DOGGETT’S COAT AND BADGE -IN HIS WHERRY. -</p> - -<p class="cat"> -Oil picture. 42 by 33 in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_61' href='#Page_61'>61</a></span> -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. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by the Watermans’ Company.</i></span> -</p> - -<p class="post"> -<span class="medsm">103</span><a id="Note_103"></a> LUDGATE HILL FROM THE WEST. -</p> - -<p class="cat"> -Oil picture. 31 by 39 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">W. Marlow</span>, 1792 (1740-1813). -<span class="flright"><i>Lent by the Governor and Directors of the Bank of England.</i></span> -</p> - -<p class="post"> -<span class="medsm">104</span> <a id="Note_104"></a><a href="#Plate_45">RANELAGH.</a> -<span class="smcap flright">Plate XLV.</span> -</p> - -<p class="cat"> -Oil picture. 56 by 36 in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_62' href='#Page_62'>62</a></span> -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: <span class="smcap">kee pont hiss ide</span> [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.” -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -Has been ascribed to <span class="smcap">Hogarth</span>; perhaps by <span class="smcap">F. Hayman</span> (1708-1776). -<span class="flright"><i>Lent by Mary, Countess of Ilchester.</i></span> -</p> - -<p class="post"> -<span class="medsm">105</span><a id="Note_105"></a> A WEDDING FESTIVAL, BILLINGSGATE MARKET. -</p> - -<p class="cat"> -Oil picture. 29 by 23½ in. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by the Fishmongers’ Company.</i></span> -</p> - -<p class="post"> -<span class="medsm">106</span><a id="Note_106"></a> THE ROTUNDA, RANELAGH. -</p> - -<p class="cat"> -Oil picture. 66 by 35 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">Hayman</span> and <span class="smcap">Hogarth</span>. -<span class="flright"><i>Lent by the Earl of Ilchester.</i></span> -<span class='pagenum'><a id='Page_63' href='#Page_63'>63</a></span> -</p> - -<p class="post"> -<span class="medsm">107</span> <a id="Note_107"></a><a href="#Plate_46">OLD LONDON BRIDGE AND NEW LONDON BRIDGE -FROM SOUTHWARK.</a> -<span class="smcap flright">Plate XLVI.</span> -</p> - -<p class="cat"> -Watercolour. 26½ by 9¼ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -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.” -</p> - -<p class="cat"> -By <span class="smcap">G. B. Moore</span>, 1830 (1806-1875). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">108</span><a id="Note_108"></a> VIEW OF LONDON FROM HIGH GROUND BEYOND -ST. GEORGE’S FIELDS. -</p> - -<p class="cat"> -Watercolour. 28 by 19 in. -</p> - -<p class="cat"> -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: <span class="smcap">Will<sup>m</sup> Capon Pinx<sup>t</sup>. 1804. -Westminster.</span> -</p> - -<p class="cat"> -By <span class="smcap">W. Capon</span> (1757-1827). -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -<span class='pagenum'><a id='Page_64' href='#Page_64'>64</a></span> -</p> - -<p class="post"> -<span class="medsm">109</span><a id="Note_109"></a> LONDON FROM WHITEHALL. -</p> - -<p class="cat"> -Watercolour. 21¼ by 15 in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -John Claude Nattes, painter of this and of the next watercolour, -numbered <a href="#Note_110">110</a>, 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. -</p> - -<p class="cat"> -By <span class="smcap">J. C. Nattes</span>, 1801 (1765-1822). -<span class="flright"><i>Lent by the Rev. L. Gilbertson.</i></span> -</p> - -<p class="post"> -<span class="medsm">110</span><a id="Note_110"></a> LONDON FROM THE TEMPLE GARDENS. -</p> - -<p class="cat"> -Watercolour. 21 by 14¾ in. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat"> -By <span class="smcap">J. C. Nattes</span>, 1801 (1765-1822). -<span class="flright"><i>Lent by the Rev. L. Gilbertson.</i></span> -</p> - -<p class="post"> -<span class="medsm">111</span> <a id="Note_111"></a><a href="#Plate_47">ST. PAUL’S CATHEDRAL FROM ST. MARTIN’S-LE-GRAND.</a> -<span class="flright">Plate XLVII.</span> -</p> - -<p class="cat"> -Watercolour. 14¾ by 19 in. -</p> - -<p class="cat"> -This view was engraved by J. Baily and published by J. Girtin -in 1819. -</p> - -<p class="cat"> -By <span class="smcap">T. Girtin</span> (1773-1802). -<span class="flright"><i>Lent by Sir Walter Prideaux.</i></span> -<span class='pagenum'><a id='Page_65' href='#Page_65'>65</a></span> -</p> - -<p class="post"> -<span class="medsm">112</span> <a id="Note_112"></a><a href="#Plate_48">OLD WESTMINSTER.</a> -<span class="smcap flright">Plate XLVIII.</span> -</p> - -<p class="cat"> -Watercolour. 14¾ by 10 in. -</p> - -<p class="cat"> -An unfinished sketch on sugar paper. Old houses long ago -cleared away, Westminster Abbey in background. -</p> - -<p class="cat"> -By <span class="smcap">D. Cox</span> (1783-1859). -<span class="flright"><i>Lent by the Birmingham Art Gallery.</i></span> -</p> - -<p class="post"> -<span class="medsm">113</span><a id="Note_113"></a> BUCKINGHAM HOUSE FROM THE GREEN PARK. -</p> - -<p class="cat"> -Watercolour. 17 by 8½ in. -</p> - -<p class="cat"> -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. <a href="#Note_48a">48<i>a</i></a> and <a href="#Note_68">68</a>), and -the date shows that it was painted just before the destruction or -complete alteration of the building. -</p> - -<p class="cat"> -By <span class="smcap">D. Cox</span>, 1825 (1783-1859). -<span class="flright"><i>Lent by the Birmingham Art Gallery.</i></span> -</p> - -<p class="post"> -<span class="medsm">114</span><a id="Note_114"></a> THE TEMPLE STAIRS. -</p> - -<p class="cat"> -Watercolour. 23½ by 15¼ in. -</p> - -<p class="cat"> -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. -<span class="flright"><i>Lent by Sir E. Coates.</i></span> -</p> - -<p class="post"> -<span class="medsm">115</span><a id="Note_115"></a> MONUMENT TO MARTIN BOND IN ST. HELEN’S -CHURCH, BISHOPSGATE. -</p> - -<p class="cat"> -Watercolour. 10¼ by 13½ in. -</p> - -<p class="cat"> -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 -<span class='pagenum'><a id='Page_66' href='#Page_66'>66</a></span> -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. -<span class="flright"><i>Lent by Mr. P. Norman.</i></span> -</p> - -<div class="figcenter iw004"> - <img src="images/i-066.png" width="140" height="97" alt="" /></div> - -<span class='pagenum'><a id='Page_67' href='#Page_67'>67</a></span> -</div> - -<div class="chapter"> -<h2> -FURNITURE AND OTHER -OBJECTS OF ART -</h2> - -<div class="figcenter iw004"> - <img src="images/i-067.png" width="85" height="32" alt="" /></div> - -<p> -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. -</p> - -<p> -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. -</p> - -<p> -A variety of interesting pieces have been lent by the Worshipful -<span class='pagenum'><a id='Page_68' href='#Page_68'>68</a></span> -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. -</p> - -<p> -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. -</p> - -<p> -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. -</p> - -<p> -<span class="flright">O. B.</span> -</p> - -<div class="figcenter post iw004"> - <img src="images/i-068b.png" width="85" height="26" alt="" /></div> - -<span class='pagenum'><a id='Page_69' href='#Page_69'>69</a></span> -</div> - -<div class="chapter"> -<h3> -<i>Near the Alcove</i> -</h3> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, 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. <i>Crest</i>: a lion ramp. guard. or, supporting -between the fore paws a regal crown ppr. <i>Supporters</i>: two lions -ramp. guard. or, each supporting a banner erect ar. charged with -a cross gu. <i>Motto</i>: <span class="smcap">auspicio regis et senatus angliæ</span>). -</p> - -<p class="cat"> -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, <a href="#Note_66">No. 66</a>. At the -India Office it has been used by each successive Secretary of State -for India in Council. -</p> - -<p class="cat post"> -Height, 4 ft. 11½ in. -</p> - -<p class="cat post"> -Middle of the XVIIIth century. -</p> - -<p class="cat"> -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<h3> -<i>On either side of the Alcove</i> -</h3> - -<p class="phanging"> -<span class="smcap">Clock</span>, with circular dial, inscribed <span class="smcap">Ayns<sup>th</sup> Thwaites London</span>, in case of -gilt brass, supported on pedestal of mahogany and other woods, -carved on the frieze with a demi-figure and scrolled foliage. -</p> - -<p class="phanging"> -<span class="smcap">Instrument</span> (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 <span class="smcap">Ayns<sup>th</sup> Thwaites Clerkenwell -London</span>. -</p> - -<p class="cat"> -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”). -</p> - -<p class="cat post"> -Height (of each), 6 ft. 11½ in. -</p> - -<p class="cat post"> -Date, 1760-1770. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -<span class='pagenum'><a id='Page_70' href='#Page_70'>70</a></span> -</p> - -<h3> -<i>Near the Alcove</i> -</h3> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, 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 <a href="#Note_66">No. 66</a>. -</p> - -<p class="cat post">Height, 4 ft. 9½ in. -</p> - -<p class="cat post"> -First half of the XVIIIth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<h3> -<i>Against the East Wall</i> -</h3> - -<p class="phanging"> -<span class="smcap">Pair of Chairs</span>, mahogany, with “ladder” backs, and seats covered with -red leather. -</p> - -<p class="cat post">Height (of each), 3 ft. ½ in. -</p> - -<p class="cat post"> -Third quarter of the XVIIIth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<h3> -<i>Against the West Wall</i> -</h3> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, mahogany, with shield-shaped back and seat covered with -red leather. -</p> - -<p class="cat post"> -Style of Hepplewhite. -</p> - -<p class="cat post">Height, 3 ft. 3½ in. -</p> - -<p class="cat post"> -Last quarter of the XVIIIth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, mahogany, the upper rail of the back carved with the crest of -the East India Company within a circular medallion. -</p> - -<p class="cat post">Height, 2 ft. 8½ in. -</p> - -<p class="cat post"> -Early XIXth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, mahogany, the upper rail of the back surmounted by a -lunette carved with the crest of the East India Company. -</p> - -<p class="cat post">Height, 3 ft. 1⅜ in. -</p> - -<p class="cat post"> -Early XIXth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -<span class='pagenum'><a id='Page_71' href='#Page_71'>71</a></span> -</p> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, mahogany, with square back having three vertical rails, and -seat covered with red leather. -</p> - -<p class="cat post">Height, 3 ft. -</p> - -<p class="cat post"> -Last quarter of the XVIIIth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<h3> -<i>In the Centre of the Gallery</i> -</h3> - -<p class="phanging"> -<span class="smcap">Table</span>, 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. -</p> - -<p class="cat post">Height, 2 ft. 10 in. Width of top, 3 ft. 4¼ in. -</p> - -<p class="cat post"> -Dated 1606. -<span class="flright"><i>Lent by the Worshipful Company of Carpenters.</i></span> -</p> - -<h3> -<i>On the South Wall</i> -</h3> - -<p class="phanging"> -<span class="smcap">Sword Rest</span>, 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. -</p> - -<p class="cat post">Height, 6 ft. 4½ in. -</p> - -<p class="cat post"> -Dated 1677 (the painting and gilding renewed). -<span class="flright"><i>Lent by the Worshipful Company of Clothworkers.</i></span> -</p> - -<h3> -<i>In the Alcove</i> -</h3> - -<p class="phanging"> -<span class="smcap">Arm-chair</span>, mahogany, with solid vase-shaped splat and seat covered -with leather. -</p> - -<p class="cat post">Height, 3 ft. 5½ in. -</p> - -<p class="cat post"> -First half of the XVIIIth century. -<span class="flright"><i>Lent by the Worshipful Company of Clothworkers.</i></span> -<span class='pagenum'><a id='Page_72' href='#Page_72'>72</a></span> -</p> - -<h3> -<i>Near the South Wall</i> -</h3> - -<p class="phanging"> -<span class="smcap">Table</span>, oak, with plain column legs. -</p> - -<p class="cat post"> -Length, 6 ft. 8½ in. -</p> - -<p class="cat post"> -In the style of the XVIIth century. -<span class="flright"><i>Lent by the Worshipful Company of Stationers.</i></span> -</p> - -<h3> -<i>Against the East Wall</i> -</h3> - -<p class="phanging"> -<span class="smcap">Arm-chair</span> and <span class="smcap">Chair</span>, mahogany, with pierced splats, and seats covered -with horsehair. -</p> - -<p class="cat post">Height (arm-chair), 3 ft. 8½ in. -</p> - -<p class="cat post">Height (chair), 3 ft. 2½ in. -</p> - -<p class="cat post"> -Middle of the XVIIIth century. -<span class="flright"><i>Lent by the Worshipful Company of Stationers.</i></span> -</p> - -<p class="phanging"> -<span class="smcap">Card-Table</span>, rosewood, with hinged top inlaid with floral designs in -mother-of-pearl. -</p> - -<p class="cat post">Height, 2 ft.; top, 2 ft. 8¼ in. -</p> - -<p class="cat post"> -Early XVIIIth century (with Chinese inlay). -<span class="flright"><i>Lent by the Worshipful Company of Stationers.</i></span> -</p> - -<p class="phanging"> -<span class="smcap">Arm-chair</span> and <span class="smcap">Two Chairs</span>, mahogany, each with pierced splat and -leaf carving; seats covered with horsehair. -</p> - -<p class="cat post">Height (arm-chair), 3 ft. 2 in. -</p> - -<p class="cat post">Height (chair), 3 ft. 1 in. -</p> - -<p class="cat post"> -Third quarter of the XVIIIth century. -<span class="flright"><i>Lent by the Master of the Charterhouse.</i></span> -</p> - -<h3> -<i>Near the Octagonal Table</i> -</h3> - -<p class="phanging"> -<span class="smcap">Pair of Stools</span>, of oak. -</p> - -<p class="cat post">Height, 1 ft. 8 in., and 1 ft. 10½ in. -</p> - -<p class="cat post"> -XVIth century. -<span class="flright"><i>Lent by the Master of the Charterhouse.</i></span> -<span class='pagenum'><a id='Page_73' href='#Page_73'>73</a></span> -</p> - -<h3> -<i>Near the South Wall</i> -</h3> - -<p class="phanging"> -<span class="smcap">Desk</span>, mahogany, with hinged slope for writing and drawing in upper -part, the stand fitted with a drawer supported on two central legs. -</p> - -<p class="cat post">Height, 4 ft. Width, 3 ft. -</p> - -<p class="cat post"> -End of the XVIIIth century. -<span class="flright"><i>Lent by the Master of the Charterhouse.</i></span> -</p> - -<h3> -<i>On the Long Table</i> -</h3> - -<p class="phanging"> -<span class="smcap">Vase</span>, “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). -</p> - -<p class="cat post"> -English, XIXth century. -<span class="flright"><i>Lent by Mr. Herbert Allen.</i></span> -</p> - -<p class="phanging"> -<span class="smcap">Two “Nanking” Dishes.</span> 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. -</p> - -<p class="cat post"> -Chinese, XVIIIth century. -<span class="flright"><i>Lent by the Worshipful Company of Merchant Taylors.</i></span> -</p> - -<h3> -<i>On the Desk</i> -</h3> - -<p class="phanging"> -<i>The Master’s Bell of the Haberdashers’ Company.</i> White metal -table-bell, with decorations of an armorial character between two -bands of inscriptions: “<span class="smcap">lof god van al</span>” and “<span class="smcap">me fecit johannes -a fine a<sup>O</sup> 1549</span>.” Johannes A Fine of Malines is well known as a -maker of <i>clochettes</i>, of which some forty are recorded as bearing -his name. -</p> - -<p class="cat post"> -Flemish, XVIth century. -<span class="flright"><i>Lent by the Worshipful Company of Haberdashers.</i></span> -<span class='pagenum'><a id='Page_74' href='#Page_74'>74</a></span> -</p> - -<h3> -<i>On the Mantelpiece</i> -</h3> - -<p class="phanging"> -<span class="smcap">Pair of Brass Candlesticks</span>, shaped like Corinthian columns. -</p> - -<p class="cat post"> -English, early XIXth century. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<p class="phanging"> -<span class="smcap">Timepiece</span> in mahogany, lancet-shaped case, the dial inscribed: “<span class="smcap">thwaites -and reed</span>.” -</p> - -<p class="cat post"> -About 1820. -<span class="flright"><i>Lent by the Secretary of State for India.</i></span> -</p> - -<h3> -<i>On the Octagonal Table</i> -</h3> - -<p class="phanging"> -<span class="smcap">Pewter Inkstand.</span> 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. -</p> - -<p class="cat"> -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. -</p> - -<p class="cat post"> -English, XVIIth century. -<span class="flright"><i>Lent by the Treasurer and Almoners of St. Bartholomew’s -Hospital.</i></span> -</p> - -<div class="figcenter iw004"> - <img src="images/i-074.png" width="150" height="87" alt="" /></div> -</div> - -<div class="chapter"> -<div class="figcenter iw004"> - <img src="images/i-075.png" width="150" height="248" alt="" /></div> - -<p class="center sm">LONDON: PRINTED AT THE CHISWICK PRESS -<br /> -TOOKS COURT, CHANCERY LANE. -</p> - -</div> - -<div class="chapter"> -<div class="figcenter" style="max-width: 38em;"> - <a id="Plate_1" href="#Plate_1"></a> - <br /> - <img src="images/i-079.jpg" width="1591" height="1052" alt="" /> - <p class="caption">1. OLD LONDON BRIDGE<br /> - <span class="sm">G. YATES, 1826</span><br /> - <span class="sm">Plate I</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_2' href='#Plate_2'></a> - <br /> - <img src="images/i-081.jpg" width="1075" height="725" alt="" /> - <p class="caption">3. BOLINGBROKE HOUSE, BATTERSEA<br /> - <span class="sm">ARTIST UNKNOWN, <i>c.</i> 1800</span><br /> - <span class="sm">Plate II</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_3' href='#Plate_3'></a> - <br /> - <img src="images/i-085.jpg" width="1545" height="720" alt="" /> - <p class="caption">4. OLD WESTMINSTER BRIDGE<br /> - <span class="sm">CANALETTO, <i>c.</i> 1747 (1677-1768)</span><br /> - <span class="sm">Plate III</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_4' href='#Plate_4'></a> - <br /> - <img src="images/i-089.jpg" width="1590" height="590" alt="" /> - <p class="caption">6. VIEW DOWN RIVER FROM WESTMINSTER<br /> - <span class="sm">W. HOLLAR (1607-1677)</span><br /> - <span class="sm">Plate IV</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_5' href='#Plate_5'></a> - <br /> - <img src="images/i-093.jpg" width="1553" height="872" alt="" /> - <p class="caption">8. WESTMINSTER BRIDGE AND ABBEY<br /> - <span class="sm">CANALETTO, <i>c.</i> 1747 (1677-1768)</span><br /> - <span class="sm">Plate V</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_6' href='#Plate_6'></a> - <br /> - <img src="images/i-097.jpg" width="954" height="590" alt="" /> - <p class="caption">9. WESTMINSTER ABBEY, SOUTH VIEW FROM RIVER<br /> - <span class="sm">W. HOLLAR (1607-1677)</span><br /> - <span class="sm">Plate VI</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_7' href='#Plate_7'></a> - <br /> - <img src="images/i-101.jpg" width="1585" height="858" alt="" /> - <p class="caption">11. VIEW UP RIVER TO WESTMINSTER<br /> - <span class="sm">CANALETTO, <i>c.</i> 1747 (1697-1768)</span><br /> - <span class="sm">Plate VII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_8' href='#Plate_8'></a> - <br /> - <img src="images/i-105.jpg" width="1567" height="943" alt="" /> - <p class="caption">12. OLD WESTMINSTER BRIDGE<br /> - <span class="sm">CANALETTO, <i>c.</i> 1748 (1697-1768)</span><br /> - <span class="sm">Plate VIII</span></p> -</div> - -<div class="figcenter" style="max-width: 28em;"> - <a id='Plate_9' href='#Plate_9'></a> - <br /> - <img src="images/i-109.jpg" width="1139" height="1050" alt="" /> - <p class="caption">14. PIAZZA, COVENT GARDEN<br /> - <span class="sm">T. SANDBY, R.A. (1721-1798)</span><br /> - <span class="sm">Plate IX</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_10' href='#Plate_10'></a> - <br /> - <img src="images/i-113.jpg" width="1461" height="1019" alt="" /> - <p class="caption">16. OLD SOMERSET HOUSE AND GARDEN<br /> - <span class="sm">T. SANDBY, R. A. (1721-1798)</span><br /> - <span class="sm">Plate X</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_11' href='#Plate_11'></a> - <br /> - <img src="images/i-117.jpg" width="1498" height="908" alt="" /> - <p class="caption">19. OLD LONDON BRIDGE FROM BILLINGSGATE<br /> - <span class="sm">G. YATES, 1828</span><br /> - <span class="sm">Plate XI</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_12' href='#Plate_12'></a> - <br /> - <img src="images/i-121.jpg" width="1577" height="846" alt="" /> - <p class="caption">23. CAMP NEAR SERPENTINE, HYDE PARK, 1780<br /> - <span class="sm">PAUL SANDBY, R. A., 1780 (1725-1809)</span><br /> - <span class="sm">Plate XII</span></p> -</div> - -<div class="figcenter" style="max-width: 30em;"> - <a id='Plate_13' href='#Plate_13'></a> - <br /> - <img src="images/i-125.jpg" width="1417" height="1050" alt="" /> - <p class="caption">31. INTERIOR OF SECOND ROYAL EXCHANGE<br /> - <span class="sm">ARTIST UNKNOWN, <i>c.</i> 1810</span><br /> - <span class="sm">Plate XIII</span></p> -</div> - -<div class="figcenter" style="max-width: 18em;"> - <a id='Plate_14' href='#Plate_14'></a> - <br /> - <img src="images/i-129.jpg" width="818" height="1050" alt="" /> - <p class="caption">33. CHURCH OF ST. PETER LE POOR, OLD BROAD STREET<br /> - <span class="sm">ARTIST UNKNOWN</span><br /> - <span class="sm">Plate XIV</span></p> -</div> - -<div class="figcenter" style="max-width: 18em;"> - <a id='Plate_15' href='#Plate_15'></a> - <br /> - <img src="images/i-133.jpg" width="730" height="1050" alt="" /> - <p class="caption">34. VIEW FROM THE CHURCHYARD OF ST. MARTIN’S-IN-THE-FIELDS<br /> - <span class="sm">W. HUNT (1790-1864)</span><br /> - <span class="sm">Plate XV</span></p> -</div> - -<div class="figcenter" style="max-width: 30em;"> - <a id='Plate_16' href='#Plate_16'></a> - <br /> - <img src="images/i-137.jpg" width="1415" height="1050" alt="" /> - <p class="caption">35. ENCAMPMENT IN THE GROUNDS OF MONTAGUE HOUSE<br /> - <span class="sm">S. H. GRIMM, 1780 (1734-1794)</span><br /> - <span class="sm">Plate XVI</span></p> -</div> - -<div class="figcenter" style="max-width: 19em;"> - <a id='Plate_17' href='#Plate_17'></a> - <br /> - <img src="images/i-141.jpg" width="871" height="1050" alt="" /> - <p class="caption">37. CHANTREY CHAPEL OF HENRY V, WESTMINSTER ABBEY<br /> - <span class="sm">JOHN CARTER, 1786 (1748-1817)</span><br /> - <span class="sm">Plate XVII</span></p> -</div> - -<div class="figcenter" style="max-width: 18em;"> - <a id='Plate_18' href='#Plate_18'></a> - <br /> - <img src="images/i-145.jpg" width="773" height="1050" alt="" /> - <p class="caption">38. ABBOT ISLIP’S CHAPEL, WESTMINSTER ABBEY<br /> - <span class="sm">J. M. W. TURNER, R.A., 1796 (1775-1851)</span><br /> - <span class="sm">Plate XVIII</span></p> -</div> - -<div class="figcenter" style="max-width: 30em;"> - <a id='Plate_19' href='#Plate_19'></a> - <br /> - <img src="images/i-149.jpg" width="1286" height="1050" alt="" /> - <p class="caption">41. HALL OF BROTHERHOOD OF HOLY TRINITY, ALDERSGATE<br /> - <span class="sm">W. CAPON, 1790 (1757-1827)</span><br /> - <span class="sm">Plate XIX</span></p> -</div> - -<div class="figcenter" style="max-width: 28em;"> - <a id='Plate_20' href='#Plate_20'></a> - <br /> - <img src="images/i-153.jpg" width="1231" height="1050" alt="" /> - <p class="caption">45. SITE OF EUSTON SQUARE, 1809<br /> - <span class="sm">T. ROWLANDSON, 1809 (1756-1827)</span><br /> - <span class="sm">Plate XX</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_21' href='#Plate_21'></a> - <br /> - <img src="images/i-157.jpg" width="1554" height="880" alt="" /> - <p class="caption">47. THE OLD CHEESE-CAKE HOUSE, HYDE PARK.<br /> - <span class="sm">1797</span><br /> - <span class="sm">Plate XXI</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_22' href='#Plate_22'></a> - <br /> - <img src="images/i-161.jpg" width="1504" height="1044" alt="" /> - <p class="caption">49. FISHMONGERS’ HALL FROM THE RIVER<br /> - <i>c.</i> 1810<br /> - <span class="sm">Plate XXII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_23' href='#Plate_23'></a> - <br /> - <img src="images/i-163.jpg" width="1523" height="1065" alt="" /> - <p class="caption">59. ST. DUNSTAN’S-IN-THE-WEST, FLEET STREET<br /> - <span class="sm">T. MALTON THE ELDER (1726-1801)</span><br /> - <span class="sm">Plate XXIII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_24' href='#Plate_24'></a> - <br /> - <img src="images/i-167.jpg" width="1498" height="1027" alt="" /> - <p class="caption">61. WESTMINSTER ABBEY FROM DEAN’S YARD<br /> - <span class="sm">T. MALTON THE ELDER (1726-1801)</span><br /> - <span class="sm">Plate XXIV</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_25' href='#Plate_25'></a> - <br /> - <img src="images/i-171.jpg" width="1470" height="1079" alt="" /> - <p class="caption">63. WAPPING<br /> - <span class="sm">THOMAS GIRTIN (1773-1802)</span><br /> - <span class="sm">Plate XXV</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_26' href='#Plate_26'></a> - <br /> - <img src="images/i-173.jpg" width="1491" height="1078" alt="" /> - <p class="caption">64. EAST INDIA HOUSE FROM THE WEST<br /> - <span class="sm">T. MALTON THE YOUNGER (1748-1804)</span><br /> - <span class="sm">Plate XXVI</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_27' href='#Plate_27'></a> - <br /> - <img src="images/i-177.jpg" width="1118" height="828" alt="" /> - <p class="caption">67. SADLER’S WELLS<br /> - <span class="sm">R. C. ANDREWS</span><br /> - <span class="sm">Plate XXVII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_28' href='#Plate_28'></a> - <br /> - <img src="images/i-181.jpg" width="1521" height="934" alt="" /> - <p class="caption">68. GREEN PARK, 1760<br /> - <span class="sm">W. HOGARTH, 1760 (1697-1764)</span><br /> - <span class="sm">Plate XXVIII</span></p> -</div> - -<div class="figcenter" style="max-width: 25em;"> - <a id='Plate_29' href='#Plate_29'></a> - <br /> - <img src="images/i-185.jpg" width="1048" height="1050" alt="" /> - <p class="caption">71. ST. GEORGE’S HOSPITAL<br /> - <span class="sm">R. WILSON, R. A., 1746 (1714-1782)</span><br /> - <span class="sm">Plate XXIX</span></p> -</div> - -<div class="figcenter" style="max-width: 25em;"> - <a id='Plate_30' href='#Plate_30'></a> - <br /> - <img src="images/i-189.jpg" width="1048" height="1050" alt="" /> - <p class="caption">72. THE CHARTERHOUSE<br /> - <span class="sm">THOMAS GAINSBOROUGH, R. A., 1746 (1727-1788)</span><br /> - <span class="sm">Plate XXX</span></p> -</div> - -<div class="figcenter" style="max-width: 25em;"> - <a id='Plate_31' href='#Plate_31'></a> - <br /> - <img src="images/i-193.jpg" width="1130" height="1050" alt="" /> - <p class="caption">73. ALDGATE PARISH SCHOOL AND WATCH-HOUSE AND TOWER OF CHURCH<br /> - <span class="sm">R. R. SCHNEBBELIE (DIED ABOUT 1849)</span><br /> - <span class="sm">Plate XXXI</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_32' href='#Plate_32'></a> - <br /> - <img src="images/i-197.jpg" width="1412" height="991" alt="" /> - <p class="caption">77. EAST INDIA HOUSE FROM THE EAST<br /> - <span class="sm">T. MALTON THE YOUNGER (1748-1804)</span><br /> - <span class="sm">Plate XXXII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_33' href='#Plate_33'></a> - <br /> - <img src="images/i-201.jpg" width="1565" height="855" alt="" /> - <p class="caption">78. A WATER PAGEANT ON THE THAMES<br /> - <span class="sm">SCHOOL OF SAMUEL SCOTT</span><br /> - <span class="sm">Plate XXXIII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_34' href='#Plate_34'></a> - <br /> - <img src="images/i-205.jpg" width="1556" height="752" alt="" /> - <p class="caption">81. WESTMINSTER BRIDGE AND WESTMINSTER ABBEY FROM THE RIVER<br /> - <span class="sm">SAMUEL SCOTT (ABOUT 1710-1772)</span><br /> - <span class="sm">Plate XXXIV</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_35' href='#Plate_35'></a> - <br /> - <img src="images/i-209.jpg" width="1486" height="1090" alt="" /> - <p class="caption">82. SIR RICHARD STEELE’S COTTAGE, HAMPSTEAD<br /> - <span class="sm">J. CONSTABLE, R.A., 1832 (1776-1837)</span><br /> - <span class="sm">Plate XXXV</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_36' href='#Plate_36'></a> - <br /> - <img src="images/i-213.jpg" width="1577" height="910" alt="" /> - <p class="caption">87. PARADE AND WHITEHALL FROM ST. JAMES’S PARK<br /> - <span class="sm">S. SCOTT (<i>c.</i> 1710-1772)</span><br /> - <span class="sm">Plate XXXVI</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_37' href='#Plate_37'></a> - <br /> - <img src="images/i-217.jpg" width="1552" height="908" alt="" /> - <p class="caption">88. WHITEHALL FROM THE NORTH<br /> - <span class="sm">S. SCOTT (<i>c.</i> 1710-1772)</span><br /> - <span class="sm">Plate XXXVII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_38' href='#Plate_38'></a> - <br /> - <img src="images/i-221.jpg" width="1584" height="817" alt="" /> - <p class="caption">91. WESTMINSTER FROM BELOW YORK WATER-GATE<br /> - <span class="sm">THOMAS WIJCK (ABOUT 1616-1677)</span> <br /> - <span class="sm">Plate XXXVIII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_39' href='#Plate_39'></a> - <br /> - <img src="images/i-225.jpg" width="1561" height="911" alt="" /> - <p class="caption">92. WESTMINSTER FROM LAMBETH<br /> - <span class="sm">S. SCOTT (?) (<i>c.</i> 1710-1772)</span><br /> - <span class="sm">Plate XXXIX</span></p> -</div> - -<div class="figcenter" style="max-width: 30em;"> - <a id='Plate_40' href='#Plate_40'></a> - <br /> - <img src="images/i-229.jpg" width="1315" height="1050" alt="" /> - <p class="caption">93. THE OLD STOCKS’ MARKET<br /> - <span class="sm">JOSEF VAN AKEN (1709-1749)</span><br /> - <span class="sm">Plate XL</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_41' href='#Plate_41'></a> - <br /> - <img src="images/i-233.jpg" width="1554" height="1008" alt="" /> - <p class="caption">94. RIVER VIEW FROM GARDEN OF OLD SOMERSET HOUSE<br /> - <span class="sm">SAMUEL SCOTT (ABOUT 1710-1772)</span><br /> - <span class="sm">Plate XLI</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_42' href='#Plate_42'></a> - <br /> - <img src="images/i-237.jpg" width="1542" height="961" alt="" /> - <p class="caption">95. OLD WESTMINSTER BRIDGE<br /> - <span class="sm">S. SCOTT (<i>c.</i> 1710-1772)</span><br /> - <span class="sm">Plate XLII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_43' href='#Plate_43'></a> - <br /> - <img src="images/i-241.jpg" width="1525" height="902" alt="" /> - <p class="caption">96. WHITEHALL FROM ST. JAMES’S PARK<br /> - <span class="sm">H. DANCKERTS (<i>c.</i> 1630-1678)</span><br /> - <span class="sm">Plate XLIII</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_44' href='#Plate_44'></a> - <br /> - <img src="images/i-245.jpg" width="1521" height="1004" alt="" /> - <p class="caption">100<i>b</i>. ELY PLACE, HOLBORN<br /> - <span class="sm">J. CARTER, 1776 (1748-1817)</span><br /> - <span class="sm">Plate XLIV</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_45' href='#Plate_45'></a> - <br /> - <img src="images/i-249.jpg" width="1505" height="960" alt="" /> - <p class="caption">104. RANELAGH<br /> - <span class="sm">HAS BEEN ASCRIBED TO HOGARTH; PERHAPS BY F. HAYMAN (1708-1776)</span><br /> - <span class="sm">Plate XLV</span></p> -</div> - -<div class="figcenter" style="max-width: 35em;"> - <a id='Plate_46' href='#Plate_46'></a> - <br /> - <img src="images/i-253.jpg" width="1503" height="1068" alt="" /> - <p class="caption">107. OLD LONDON BRIDGE AND NEW LONDON BRIDGE FROM SOUTHWARK<br /> - <span class="sm">G. B. MOORE, 1830 (1806-1875)</span><br /> - <span class="sm">Plate XLVI</span></p> -</div> - -<div class="figcenter" style="max-width: 18em;"> - <a id='Plate_47' href='#Plate_47'></a> - <br /> - <img src="images/i-257.jpg" width="817" height="1050" alt="" /> - <p class="caption">111. ST. PAUL’S CATHEDRAL FROM ST. MARTIN’S-LE-GRAND<br /> - <span class="sm">THOMAS GIRTIN (1773-1802)</span><br /> - <span class="sm">Plate XLVII</span></p> -</div> - -<div class="figcenter" style="max-width: 38em;"> - <a id='Plate_48' href='#Plate_48'></a> - <br /> - <img src="images/i-261.jpg" width="1519" height="1033" alt="" /> - <p class="caption">112. OLD WESTMINSTER<br /> - <span class="sm">D. COX (1783-1859)</span><br /> - <span class="sm">Plate XLVIII</span></p> -</div> - -</div> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CATALOGUE OF A COLLECTION OF EARLY DRAWINGS AND PICTURES OF LONDON ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. 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