Chapter II: Part 2

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).