Part 74 (1/2)
[Ill.u.s.tration: CROMWELL'S HOUSE, FROM AGGAS'S MAP.
(_Taken from Herbert's ”City Companies.”_)]
Aggas's drawing represents Cromwell House almost windowless, on the street side, and with three small embattled turrets; and there was a footway through the garden of Winchester House, which forms the present pa.s.sage (says Herbert) from the east end of Throgmorton Street, through Austin Friars to Great Winchester Street. The Great Fire stopped northwards at Drapers' Hall. The renter warden lost 446 of the Company's money, but the Company's plate was buried safely in a sewer in the garden. Till the hall could be rebuilt, Sir Robert Clayton lent the Drapers a large room in Austin Friars. The hall was rebuilt by Jarman, who built the second Exchange and Fishmongers' Hall. The hall had a very narrow escape (says Herbert) in 1774 from a fire, which broke out in the vaults beneath the hall (let out as a store-cellar), and destroyed a considerable part of the building, together with a number of houses on the west side of Austin Friars.
The present Drapers' Hall is Mr. Jarman's structure, but altered, and partly rebuilt after the fire in 1774, and partly rebuilt again in 1870.
It princ.i.p.ally consists of a s.p.a.cious quadrangle, surrounded by a fine piazza or ambulatory of arches, supported by columns. The quiet old garden greatly improves the hall, which, from this appendage, and its own elegance, might be readily supposed the mansion of a person of high rank.
The present Throgmorton Street front of the building is of stone and marble, and was built by Mr. Herbert Williams, who also erected the splendid new hall, removing the old gallery, adding a marble staircase fit for an emperor's palace, and new facing the court-room, the ceiling of which was at the same time raised. Marble pillars, stained gla.s.s windows, carved marble mantelpieces, gilt panelled ceilings--everything that is rich and tasteful--the architect has used with lavish profusion.
The buildings of the former interior were of fine red brick, but the front and entrance, in Throgmorton Street, was of a yellow brick; both interior and exterior were highly enriched with stone ornaments. Over the gateway was a large sculpture of the Drapers' arms, a cornice and frieze, the latter displaying lions' heads, rams' heads, &c., in small circles, and various other architectural decorations.
The old hall, properly so called, occupied the eastern side of the quadrangle, the ascent to it being by a n.o.ble stone staircase, covered, and highly embellished by stucco-work, gilding, &c. The stately screen of this magnificent apartment was curiously decorated with carved pillars, pilasters, arches, &c. The ceiling was divided into numerous compartments, chiefly circular, displaying, in the centre, Phaeton in his car, and round him the signs of the zodiac, and various other enrichments. In the wainscoting was a neat recess, with shelves, whereon the Company's plate, which, both for quality and workmans.h.i.+p, is of great value, was displayed at their feasts. Above the screen, at the end opposite the master's chair, hung a portrait of Lord Nelson, by Sir William Beechey, for which the Company paid four hundred guineas, together with the portrait of Fitz-Alwin, the great Draper, already mentioned. ”In denominating this portrait _curious_,” says Herbert, ”we give as high praise as can be afforded it. Oil-painting was totally unknown to England in Fitz-Alwin's time; the style of dress, and its execution as a work of art, are also too modern.”
In the gallery, between the old hall and the livery-room, were full-length portraits of the English sovereigns, from William III. to George III., together with a full-length portrait of George IV., by Lawrence, and the celebrated picture of Mary Queen of Scots, and her son, James I., by Zucchero. The portrait of the latter king is a fine specimen of the master, and is said to have cost the Company between 600 and 700. ”It has a fault, however,” says Herbert, ”observable in other portraits of this monarch, that of the likeness being flattered.
If it was not uncourteous so to say, we should call it George IV. with the face of the Prince of Wales. Respecting the portrait of Mary and her son, there has been much discussion. Its genuineness has been doubted, from the circ.u.mstance of James having been only a twelvemonth old when this picture is thought to have been painted, and his being here represented of the age of four or five; but the anachronism might have arisen from the whole being a composition of the artist, executed, not from the life, but from other authorities furnished to him.” It was cleaned and copied by Spiridione Roma, for Boydell's print, who took off a mask of dirt from it, and is certainly a very interesting picture.
There is another tradition of this picture: that Sir Anthony Babington, confidential secretary to Queen Mary, had her portrait, which he deposited, for safety, either at Merchant Taylors' Hall or Drapers'
Hall, and that it had never come back to Sir Anthony or his family. It has been insinuated that Sir William Boreman, clerk to the Board of Green Cloth in the reign of Charles II., purloined this picture from one of the royal palaces. Some absurdly suggest that it is the portrait of Lady Dulcibella Boreman, the wife of Sir William. There is a tradition that this valuable picture was thrown over the wall into Drapers' Garden during the Great Fire, and never reclaimed.
The old court-room adjoined the hall, and formed the north side of the quadrangle. It was wainscoted, and elegantly fitted up, like the last.
The fire-place was very handsome, and had over the centre a small oblong compartment in white marble, with a representation of the Company receiving their charter. The ceiling was stuccoed, somewhat similarly to the hall, with various subjects allusive to the Drapers' trade and to the heraldic bearings of the Company. Both the (dining) hall and this apartment were rebuilt after the fire in 1774.
The old gallery led to the ladies' chamber and livery-room. In the former, b.a.l.l.s, &c., were occasionally held. This was also a very elegant room. The livery-room was a fine lofty apartment, and next in size to the hall. Here were portraits of Sir Joseph Sheldon, Lord Mayor, 1677, by Gerard Soest, and a three-quarter length of Sir Robert Clayton, by Kneller, 1680, seated in a chair--a great benefactor to Christ's Hospital, and to that of St. Thomas, in Southwark; and two benefactors--Sir William Boreman, an officer of the Board of Green Cloth in the reigns of Charles I. and Charles II., who endowed a free school at Greenwich; and Henry Dixon, of Enfield, who left land in that parish for apprenticing boys of the same parish, and giving a sum to such as were bound to freemen of London at the end of their apprentices.h.i.+p. Here was also a fine portrait of Mr. Smith, late clerk of the Company (three-quarters); a smaller portrait of Thomas Bagshaw, who died in 1794, having been beadle to the Company forty years, and who for his long and faithful services has been thus honoured. The windows of the livery-room overlook the private garden, in the midst of which is a small basin of water, with a fountain and statue. The large garden, which adjoins this, is constantly open to the public, from morning till night, excepting Sat.u.r.days, Sundays, and the Company's festival days.
This is a pleasant and extensive plot of ground, neatly laid out with gravelled walks, a gra.s.s-plot, flowering shrubs, lime-trees, pavilions, &c. Beneath what was formerly the ladies' chamber is the record-room, which is constructed of stone and iron, and made fire-proof, for the more effectually securing of the Company's archives, books, plate, and other valuable and important doc.u.ments.
Howell, in his ”Letters,” has the following anecdote about Drapers'
Hall. ”When I went,” he says, ”to bind my brother Ned apprentice, in Drapers' Hall, casting my eyes upon the chimney-piece of the great room, I spyed a picture of an ancient gentleman, and underneath, 'Thomas Howell;' I asked the clerk about him, and he told me that he had been a Spanish merchant in Henry VIII.'s time, and coming home rich, and dying a bachelor, he gave that hall to the Company of Drapers, with other things, so that he is accounted one of the chiefest benefactors. I told the clerk that one of the sons of Thomas Howell came now thither to be bound; he answered that, if he be a right Howell, he may have, when he is free, three hundred pounds to help to set him up, and pay no interest for five years. It may be, hereafter, we will make use of this.”
The Drapers' list of livery states their modern arms to be thus emblazoned, viz.--Azure, three clouds radiated _proper_, each adorned with a triple crown _or_. Supporters--two lions _or_, pelletted.
Crest--on a wreath, a ram couchant _or_, armed _sables_, on a mount _vert_. Motto--”Unto G.o.d only be honour and glory.”
CHAPTER XLVI.
BARTHOLOMEW LANE AND LOMBARD STREET.
George Robins--His Sale of the Lease of the Olympic--St.
Bartholomew's Church--The Lombards and Lombard Street--William de la Pole--Gresham--The Post Office, Lombard Street--Alexander Pope's Father in Plough Court--Lombard Street Tributaries--St. Mary Woolnoth--St. Clement's--Dr. Benjamin Stone--Discovery of Roman Remains--St. Mary Abchurch.
Bartholomew Lane is a.s.sociated with the memory of Mr. George Robins, one of the most eloquent auctioneers who ever wielded an ivory hammer. The Auction Mart stood opposite the Rotunda of the Bank. It is said that Robins was once offered 2,000 and all his expenses to go and dispose of a valuable property in New York. His annual income was guessed at 12,000. It is said that half the landed property in England had pa.s.sed under his hammer. Robins, with incomparable powers of blarney and soft sawder, wrote poetical and alluring advertis.e.m.e.nts (attributed by some to eminent literary men), which were irresistibly attractive. His notice of the sale of the twenty-seven years' lease of the Olympic, at the death of Mr. Scott, in 1840, was a marvel of adroitness:--
”Mr. George Robins is desired to announce To the Public, and more especially to the Theatrical World, that he is authorised to sell By Public Auction, at the Mart, On Thursday next, the twentieth of June, at twelve, The Olympic Theatre, which for so many years Possessed a kindly feeling with the Public, And has, for many seasons past, a.s.sumed An unparalleled alt.i.tude in theatricals, since It was fortunately demised to Madame Vestris; Who, albeit, not content to move at the slow rate Of bygone time, gave to it a spirit and a Consequence, that the march of improvement And her own consummate taste and judgment Had conceived. To crown her laudable efforts With unquestionable success, she has caused To be completed (with the exception of St. James's) THE MOST SPLENDID LITTLE THEATRE IN EUROPE; Has given to the entertainments a new life; Has infused so much of her own special tact, That it now claims to be one of the most FAMED OF THE METROPOLITAN THEATRES. Indeed, It is a fact that will always remain on record, That amid the vicissitudes of all other theatrical Establishments, with Madame at its head, success has Never been equivocal for a moment, and the Receipts have for years past averaged nearly As much as the patent theatres. The boxes are In such high repute, that double the present low Rental is available by this means alone. Madame Vestris has a lease for three more seasons at only one Thousand pounds a year,” &c.
[Ill.u.s.tration: POPE'S HOUSE, PLOUGH COURT, LOMBARD STREET.]
The sale itself is thus described by Mr. Grant, who writes as if he had been present:--”Mr. Robins,” says Grant, ”had exhausted the English language in commendation of that theatre; he made it as clear as any proposition in Euclid that Madame Vestris could not possibly succeed in Covent Garden; that, in fact, she could succeed in no other house than the Olympic; and that consequently the purchaser was quite sure of her as a tenant as long as he chose to let the theatre to her. He proved to demonstration that the theatre would always fill, no matter who should be the lessee; and that consequently it would prove a perfect mine of wealth to the lucky gentleman who was sufficiently alive to his own interests to become the purchaser. By means of such representations, made in a way and with an ingenuity peculiar to himself, Mr. Robins had got the biddings up from the starting sum, which was 3,000, to 3,400.
There, however, the aspirants to the property came to what Mr. Robins called a dead stop. For at least three or four minutes he put his ingenuity to the rack in lavis.h.i.+ng encomiums on the property, without his zeal and eloquence being rewarded by a single new bidding. It was at this extremity--and he never resorts to the expedient until the bidders have reached what they themselves at the time conceive to be the highest point--it was at this crisis of the Olympic, Mr. Robins, causing the hammer to descend in the manner I have described, and accompanying the slow and solemn movement with a 'Going--going--go----,' that the then highest bidder exclaimed, 'The theatre is mine!' and at which Mr.
Robins, apostrophising him in his own bland and fascinating manner, remarked, 'I don't wonder, my friend, that your anxiety to possess the property at such a price should antic.i.p.ate my decision; but,' looking round the audience and smiling, as if he congratulated them on the circ.u.mstance, 'it is still in the market, gentlemen: you have still an opportunity of making your fortunes without risk or trouble.' The bidding that instant re-commenced, and proceeded more briskly than ever.
It eventually reached 5,850, at which sum the theatre was 'knocked down.'”