LONDON
AND ITS
ENVIRONS
DESCRIBED.
VOL. III.
------------------------------------------------------------------------
LONDON
AND ITS
ENVIRONS
DESCRIBED.
CONTAINING
An Account of whatever is most remarkable for GRANDEUR, ELEGANCE,
CURIOSITY or USE,
In the CITY and in the COUNTRY
Twenty Miles round it.
COMPREHENDING ALSO
Whatever is most material in the History and Antiquities
of this great Metropolis.
Decorated and illustrated with a great Number of Views in Perspective,
engraved from original Drawings, taken on purpose for this Work.
Together with a PLAN of LONDON,
A Map of the ENVIRONS, and several other
useful CUTS.
VOL. III.
LONDON:
Printed for R. and J. DODSLEY in Pall Mall.
----------
M DCC LXI.
------------------------------------------------------------------------
LONDON
AND ITS
ENVIRONS
DESCRIBED, &c.
GAP
_St._ GABRIEL’S, a church which stood opposite to Cullum street, the
middle of Fenchurch street, in Langbourn ward; but being destroyed by
the fire of London and not rebuilt, the parish was annexed to the
church of St. Margaret Pattens.
GAINSFORD _street_, Horselydown lane.†
GALLARD’S _Almshouse_, in Golden lane, was founded by Richard Gallard of
Islington, Esq; for thirteen poor men and women, who were to receive
only two pence a week each, and a load of charcoal yearly amongst them
all. By this small allowance, it appears that this house must be of a
very ancient foundation. _Maitland._
GAP _yard_, Stepney Causeway.
GARDENS _court_, 1. Baldwin’s gardens.☐ 2. St. Botolph Bishopsgate
church yard.☐ 3. Clement’s Inn.☐ 4. Clifford’s Inn.☐ 5. Furnival’s
Inn.☐ 6. Lincoln’s Inn.☐ 7. Middle Temple.☐ 8. Petticoat lane.☐ 9.
Serjeants Inn.☐ 10. Sion College.☐ 11. Staple’s Inn.☐ 12. Star street,
Wapping Wall.☐ 13. Thavie’s Inn.☐
GARDEN _row_, 1. Inner Temple.☐ 2. Lower street, Islington.☐ 3. Unicorn
alley, Shoreditch.☐
GARDENERS, a company incorporated by letters patent granted by King
James I. in the year 1616. They are governed by a Master, two Wardens,
and eighteen Assistants; but have neither hall nor livery.
GARDINER’S _court_, Gardiner’s lane, King street, Westminster.†
GARDINER’S _ground_, Collingwood street.
GARDINER’S _lane_, 1. High Timber street. 2. King street, Westminster.
3. Maiden lane. 4. Neathouse lane. 5. Petty France, Westminster. 6.
Willow street.
GARDINER’S _row_, Chelsea.
GARLAND _alley_, Bishopsgate street.
GARLAND _court_, 1. Ocean street, Stepney. 2. Trinity lane.
GARLIC _hill_, Thames street; so called from the garlick market formerly
held thereabout. _Stow._
GARRAT _street_, Cock lane, Shoreditch.†
GARRET’S _Almshouse_, in Porter’s fields, and in the liberty of Norton
Falgate, was founded in the year 1729, by Nicholas Garret, Esq;
citizen and weaver, for the accommodation of six poor members of his
company, each of whom has also an annual allowance of 8_l._, a
chaldron of coals, and dozen and a half of candles. _Maitland._
GARRET’S _rents_, Coleman street.†
GARTER _court_, Barbican.*
GARTER _yard_, Ratcliff Highway.
GASSON, a village in the parish of Blechingley, in Surry, at the source
of the river Medway.
GATEHOUSE, Tothill street, Westminster, is so called from two gates,
erected there in the reign of Edward III. Here is a prison for debtors
and criminals.
GATE _street_, Lincoln’s Inn fields.
GATTON, a very small borough in Surry, eighteen miles from London, under
the side of a hill in the road to Ryegate. This is a very ancient
town; and from the Roman coins and other antiquities found there, is
supposed to have been well known to the Romans; but though it is a
borough by prescription, and has sent members to parliament ever since
the 29th of Henry VI. and though it was formerly a large and populous
place, it now resembles a very mean village; it having only a small
church, and neither a fair nor market. The members are returned by its
constable, who is annually chosen at the Lord of the manor’s court.
This parish is famous for a quarry of white stone, which, though very
soft, will endure the fire admirably well; but neither the sun nor the
air; on which account it is much used for glass houses, and by
chemists and bakers.
GAUNT’S _key_. Thames street.†
GENEVA _row_, Tyburn road.†
GENTEE’S _passage_, Nibb’s Pound.†
GEORGE _alley_, 1. Aldgate street, within.* 2. Bishopsgate street.* 3.
In the Borough.* 4. Coleman street.* 5. Field lane, at the bottom of
Holborn hill.* 6. George street, York buildings.* 7. Holles street,
Clare market.* 8. King Tudor’s street.* 9. Lombard street, Gracechurch
street.* 10. Lower Shadwell. 11. St. Margaret’s hill.* 12. New George
street, Spitalfields.* 13. Rotherhith.* 14. Saffron hill.* 15. Shoe
lane, Fleet street.* 16. Stony street.* 17. In the Strand.* 18. Thames
street.* 19. Turnmill street.* 20. York buildings.*
GEORGE AND VULTURE _alley_, Cornhill.*
[Illustration:
_S. Wale delin._ _Elliot sculp._
_Bloomsbury Church._
]
GEORGE _court_, 1. Bennet’s hill.* 2. Coleman street.* 3. East
Smithfield.* 4. George street, Conduit street.* 5. George street in
the Mint.* 6. Gravel lane.* 7. Hatton Wall.* 8. St. John’s lane.* 9.
Little St. Thomas Apostles.* 10. Near Newington Turnpike.* 11.
Prince’s street, Spitalfields.* 12. Seacole lane, Snow hill.*
GEORGE INN _yard_, in the Borough.*
GEORGE _lane_, St. Botolph lane.*
GEORGE’S _buildings_, 1. Catharine Wheel alley, Whitechapel.† 2. Near
Rosemary lane.† 3. Jermain street.†
_St._ GEORGE’S _Bloomsbury_, is one of the fifty new churches appointed
to be built by act of parliament within the bills of mortality. The
name of St. George was given to it in honour of his present Majesty;
and it received the additional epithet of Bloomsbury, from its
situation, to distinguish it from others of the same name.
The portico through which you enter the church stands on the south
side, as is represented in the print. It is of the Corinthian order,
and makes a very good figure in the street, but has no affinity to the
church, which is very heavy, and would be better suited with a Tuscan
portico. The tower and steeple at the west, is a very extraordinary
structure. On the top standing on a round pedestal or altar, is a
colossal statue of the late King, supported by a pyramid. At the
corners near the base are alternately placed the lion and unicorn the
British supporters, with festoons between: these animals being very
large, are injudiciously placed over columns very small, which makes
them appear monsters. The under part is heavy enough, but not
connected with the church. The introduction of figures and other
pieces of sculpture into steeples, which are so much the work of
fancy, and where the artist is not so much confined as in the other
parts of the building, if managed with taste and propriety might be
made elegant ornaments, and would make a fine variety with the
architectonic ones with which the city already abounds.
This church was erected at the public expence, and consecrated in
January 1731. A district for its parish was by authority of parliament
taken out of that of St. Giles’s, and the sum of 3000_l._ was given
towards the support of its Rector, to which being added 1250_l._ by
the inhabitants of St. Giles’s parish, both sums were ordered to be
laid out in the purchase of lands, tenements, &c. in fee simple, as a
perpetual fund for the maintenance of the Rector and his successors;
but the poor of this parish and that of St. Giles’s in the Fields, are
to be maintained by the joint assessment of both parishes, in the same
manner as before their being divided.
_St._ GEORGE’S _Botolph lane_, is like all the other churches of this
name, dedicated to St. George of Cappadocia, the martyr and tutelar
saint of the English nation, and is situated on the west side of
Botolph lane, Thames street. The old church was destroyed by the fire
of London in 1666, and the present edifice built in its stead. It is
enlightened with a single series of tall windows, and the steeple
consists of a plain tower ornamented with vases at the four corners.
This is a rectory in the gift of the Crown; and to this parish that of
St. Botolph’s Billingsgate is united by act of parliament.
_St._ GEORGE’S _fields_, a large space between Lambeth and Southwark,
where have been found many Roman coins, chequered pavements, and
bricks, it being the center of three Roman ways. Since the building of
Westminster bridge, a new road has been made across these fields,
which leading into the Borough forms a communication between the two
bridges.
_St._ GEORGE’S _Hanover square_, is situated on the east side of George
street, near the square, whence it had its additional epithet. This is
one of the churches that were found necessary, upon the great increase
of public buildings in this part of the town; for the church of St
Martin’s in the Fields being at too great a distance from the new
streets, and too small for the inhabitants, the Commissioners for the
fifty new churches gave orders for erecting one in the skirts of the
parish, on which this august pile arose, and was consecrated in 1724.
This church, considering the extent of the parish, is too small. It
has a plain body with an elegant portico: the columns, which are
Corinthian, are of a large diameter, and the pediment has its
acroteria, but without farther ornament. It has a tower, which, above
the clock, is elegantly adorned at the corners with coupled Corinthian
columns that are very lofty. These are crowned with their entablature,
which at each corner supports two vases, and over these the tower
still rises till it is terminated by a dome crowned with a turret
which supports a ball, over which rises the weather-cock.
This church is a rectory; the parish at first consisted of the two out
wards of that of St. Martin’s in the Fields; but it has now four
wards, named Conduit street, Grosvenor street, Dover street, and the
out ward. The advowson is settled upon the Bishop of London and his
successors. The profits arising to the Rector, are said to amount to
about 600_l._ _per annum_. Lieutenant General Stewart gave the ground
on which this church was erected, and some time after bequeathed to
this parish the sum of 4000_l._ towards erecting and endowing a
charity school in it.
_St._ GEORGE’S _Middlesex_, situated on the north side of Ratcliff
Highway, is another of the churches occasioned by the increase of
buildings in a part of the town opposite to the former. The
Commissioners for erecting fifty new churches caused the foundation to
be laid in the year 1715, and the structure was finished in 1729.
This is a massy structure, erected in a very singular taste. The floor
is raised a considerable height above the level of the ground; and to
the principal door, which is in the west front of the tower, is an
ascent by a double flight of steps, cut with a sweep, and defended by
a low wall of the same form; but what is most singular in this
structure, is, there are two turrets over the body of the church, and
one on the tower, which last is in the manner of a fortification, with
a staff on the top for an occasional flag. The author of _The Review
of the Public Buildings_ calls this edifice a mere Gothic heap of
stone, without form or order.
The parish is taken out of that of Stepney; and by act of parliament
the hamlet of Wapping Stepney is appropriated to that purpose, and in
all respects rendered independent of Stepney parish. Towards the
maintenance of the Rector and his successors, the parliament gave the
sum of 3000_l._ to be laid out in the purchase of lands, tenements,
&c. in fee simple; and as a farther provision, the churchwardens are
annually to pay him the sum of 100_l._ to be raised by burial fees.
The advowson of this rectory, like that of Stepney, is in the
Principal and Scholars of King’s hall, and Brazen nose college,
Oxford.
_St._ GEORGE’S _Queen square_, also arose from the increase of
buildings. Several gentlemen at the extremity of the parish of St.
Andrew’s Holborn, having proposed the erecting of a chapel for
religious worship, Sir Streynsham Master, and fourteen of the other
neighbouring gentlemen, were appointed trustees for the management of
this affair. These gentlemen in the year 1705, agreed with Mr. Tooley
to give him 3500_l._ for erecting a chapel and two houses, intending
to reimburse themselves by the sale of pews; and this edifice being
finished the next year, they settled annual stipends for the
maintenance of a chaplain, an afternoon preacher who was also reader,
and a clerk, giving to the first and second a salary of 100_l._ each,
and to the last 50_l._ But the Commissioners for erecting fifty new
churches resolving to make this one of them, purchased it, caused a
certain district to be appointed for its parish, and had it
consecrated in the year 1723, when it was dedicated to St. George in
compliment to Sir Streynsham Master, who had been Governor of Fort St.
George in the East Indies. _Maitland._
This church is a plain common building void of all elegance; it is
however convenient and well enlightened. The rectory, like that of St.
Andrew’s, is in the Duke of Montague’s gift.
_St._ GEORGE’S _Southwark_, is situated at the south east corner of St.
Margaret’s hill. There was a church in this place before the year
1122, which in 1629, was repaired and beautified within. This edifice
was preserved by its situation, from the dreadful conflagration in
1666; but the decays of age rendered it necessary to take it down in
1734, when the present church was begun, and finished in 1736.
To this church there is an ascent by a flight of steps, defended by
plain iron rails. The door case, which is Ionic, has a circular
pediment, ornamented with the heads of Cherubims in clouds; and on
each side of this pediment, which reaches to the height of the roof,
the front is adorned with a ballustrade and vases. From this part the
tower rises plain, strengthened with rustic quoins, as is the body of
the building, and on the corners of the tower are again placed vases.
From this part the diminution is too great; and from hence are raised
a series of Ionic columns supporting the base of the spire, which has
ribs on the angles, and openings in all the faces. The top is crowned
with a ball from which rises the vane.
This church is a rectory in the gift of the Crown; the profits of
which to the Incumbent amount to about 220_l._ a year. _English
Architect._ _Maitland._
_St._ GEORGE’S HOSPITAL, near Hyde Park Corner. This undertaking was set
on foot soon after Michaelmas 1733, by some gentlemen who were before
concerned in a charity of the like kind in the lower part of
Westminster. This house they judged convenient for their purpose, on
account of its air, situation, and nearness to town; they therefore
procured a lease of it, and opened a subscription for carrying on the
charity here, which increased so fast, that on the 19th of October
they were formed into a regular society, and actually began to receive
patients on the first of January following.
Here are admitted the poor, sick, and lame, who are supplied with
advice, medicine, diet, washing, lodging, and some of the miserable
with cloaths also. The Physicians visit their patients on Mondays and
Fridays, and on all intermediate days whenever occasion requires; but
the Surgeon attends every day; and on every Friday morning there is a
general consultation of all the Physicians and Surgeons. No security
for the burial of the patients is required, nor any money, gift, or
reward taken of them or their friends, on any account whatsoever.
Those who die, if their friends are unable to bury them, are interred
at the charge of the society. And the money collected in the poor box
at the door, is kept as a separate fund for furnishing those with some
little sum of money, whose distance from their habitations, or other
particular necessities, require it.
The apothecaries, who are Governors, are appointed to attend by
rotation as visitors, to see that the apothecary of the house takes
due care of the medicines and patients. Two visitors are chosen weekly
out of the subscribers, to attend daily, and take care, by examining
the provision and patients, that the orders of the society are
punctually observed, that the patients are treated in every respect
with order and tenderness, and to make a report in writing of their
observations.
Prayers are read daily to the patients; a sermon is preached every
Sunday, the communion is administered every month, and the chaplain
attends at other times to catechize and perform other religious
offices, as often as their cases require; and when the patients are
discharged, religious tracts are given to each of them, for their
farther edification.
A board of Governors meet every Wednesday morning, to do the current
business of the hospital, to receive and examine the reports of the
visitors, to discharge and admit patients, to receive the complaints
and proposals of all persons, and to prepare such matters as are
proper for the consideration of general boards. A general board of the
Governors meet regularly five times a year.
The Governors are in number upwards of three hundred. No person
receiving salary, fee, or reward from the hospital, is capable of
being a Governor; but every other gentleman subscribing 5_l._ a year,
or upwards, or giving one benefaction of 50_l._ although he be not an
annual subscriber, is thereupon put in nomination to be a Governor,
and at the first general court, which is held one month afterwards, is
accordingly ballotted for by the Governors. The subscriptions are
received by the Treasurers, at the weekly board, held every Wednesday
morning in the hospital.
The other rules and regulations of this excellent hospital, are as
follow:
I. No person is to be admitted a patient, except in cases of
accidents, without a note from a Governor or contributor, specifying
the name and place of abode of such patient, and that he or she is a
proper object of this charity.
II. All recommendations are to be delivered every Wednesday morning,
by nine of the clock.
III. In case any out-patients neglect coming two weeks successively on
the day and hour they are ordered to attend, such out-patients shall
be discharged for irregularity, except they have had leave from their
Physician.
IV. No person discharged for irregularity is to be ever again admitted
into the hospital, upon any recommendation whatsoever.
V. No patient is to be suffered to go out of the hospital without
leave in writing; and to avoid giving offence, no leave is to be given
to any patient to go into St. James’s Park, or the Green Park, called
Constitution hill, upon any pretence whatsoever.
VI. No Governor, officer, or servant, must at any time presume, on
pain of expulsion, to take of any tradesman, patient, or other person,
any fee, reward, or gratification of any kind, directly, or
indirectly, for any service done, or to be done, on account of this
hospital.
VII. No person subscribing less than two guineas a year, can recommend
more than two in-patients in the year.
VIII. When there is not room for all the patients recommended at one
time to be received into the hospital, those are taken in whose
admission the board are of opinion, will most effectually answer the
end of the charity; and the rest, if proper objects, are admitted
out-patients, till there is room for them in the hospital. Most
consumptive and asthmatic cases are more capable of relief as
out-patients, than as in-patients.
By this noble foundation, there have been discharged from the
hospital, since its first receiving of patients on the first of
January 1733, to the 27th of December 1752, 60,188. Those in the house
on the 27th of December 1752, amounted to 273. The out-patients in the
books at the same time were 645, which in all made 61,106. _From the
account published by the General Board._
This hospital enjoys a fine situation, and has all the benefit of a
clear and pure air: it has the advantage of being a very neat, though
not an expensive building; and though it is extremely plain, it is not
void of ornament. It has two small wings, and a large front, with only
one door, which is in the middle, and to which there is an ascent by a
few steps. On the top of this part of the building is a pediment
raised above the rest of the edifice, and under this ornament is a
stone with an inscription, expressing the noble use to which this
structure is applied.
_St._ GEORGE’S _court_, Newington causeway.
GEORGE _stairs_, 1. Deptford.* 2. Shad Thames.*
GEORGE _street_, 1. Cambridge Heath.* 2. Foster lane, Cheapside.* 3.
Hanover square. 4. Little Chapel street. 5. In the Mint.* 6. Near
Tothill side. 7. Pall Mall. 8. Ratcliff highway. 9. Tyburn road. 10.
White row, Spitalfields.* 11. Windsor street. 12. York buildings. See
GREAT GEORGE _street_.
Some of the new streets of this name, were thus denominated in honour
of King George I. and II.
A list of the pictures belonging to General Guise, at his house in
George street, Hanover square.
On the left hand of the staircase.
A piece of architecture, rather large, adorned with many small figures
very graceful. The architecture, by Viviani. The figures, in his best
manner, by Sebastiano Ricci.
Two heads in one picture, a little smaller than life. They exhibit two
caricaturas, by Spagnoletto.
A portrait of some Spanish nobleman, half length, after the life, nobly
painted and well preserved, by Moriglio.
A head with part of the shoulders, and it seems to be the portrait of
some great man. In his first manner, by Titiano.
A picture, with many figures two feet high, representing Solomon’s
judgment. The invention, disposition, and colouring are equally
wonderful, by Pasqualini Romano, disciple of Andrea Sacchi.
A representation of our Saviour on his doleful way to Calvary. The
figures almost as big as the life, by Andrea Mantegna.
_Mantegna was Correggio’s master, and this picture was in the
collection of King Charles the First._
The rape of the Sabines. A picture of great merit both for invention and
colouring, the author unknown.
A figure as big as the life, of particular beauty, exhibiting St. Jerome
fervently praying, by Domenichino.
A head with part of the shoulders, as big as the life. It is the
portrait, painted by himself, of Francesco Mola.
A small sketch representing a sacrifice, with the temple of Diana. The
figures are many and wonderfully well disposed, by Pietro da Cortona.
_It goes about in print._
A small sketch in light and shadow, with many figures representing a
Saint, ready to suffer martyrdom, drawn with great liveliness and
taste, by Ant. Vandyke.
A small octagonal picture on a black stone, representing our Saviour
carried to the sepulchre, by Annibal Caracci.
A picture containing several figures about three feet high, exhibiting
St. Laurence’s martyrdom, by Tintoretto.
A landscape with figures one foot high, representing the martyrdom of
St. Peter Martir. The figures, by Agostino Caracci. The landscape, by
Gobbo de Caracci.
A sketch representing a victorious Prince carried in triumph. The
figures are many, a foot and a half high, and many of them
allegorical, by Giordano d’Anversa.
A large piece of architecture with figures. In his first manner, by
Nicol. Poussin.
A picture, containing some half lengths a little bigger than the life,
exhibiting Faith that gives her sword to a General, by Pietro della
Vecchia.
The portrait of a General, half length, a little bigger than the life.
It is believ’d to be a copy from Titian, by Luca Giordano.
A figure very artfully foreshorten’d, representing our Saviour dead, as
big as the life, by Lodovico Caracci.
A picture exhibiting a battle, full of figures about one foot high; and
one of the noblest performances of Bourgognone.
Apollo and Marsyas. The figures about three feet high, by Sebastiano
Ricci.
In the first and second rooms of the
ground floor.
A large picture containing some half lengths as big as the life, and
representing the taking our Saviour in the garden, by Giacomo da
Bassano.
A piece containing many half length figures as big as the life,
representing the prodigal son received by his father. A famous
performance of Guercino da Cento.
Sophonisba dying with grief in the arms of her damsel on receiving
doleful news. The figures are half lengths as big as the life. A
celebrated piece, by Domenichino.
Our Saviour known by the two disciples in the breaking of the bread. The
figures bigger than the life, by Lodovico Caracci.
The flight into Egypt. The figures as big as the life. A noble work, by
Guido Reni.
The heads of St. Andrew and St. Paul, bigger than the life. A valuable
performance, by Andrea Sacchi.
St. Elizabeth with St. John when a babe, musing on a cross made of
reeds. The figures smaller than the life. A renowned piece, by
Leonardo da Vinci.
Judith holding Holofernes’s head. A half length, very beautiful, by
Francesco Salviati.
Our Saviour’s nativity. The figures a little more than one foot high,
finished with extreme diligence. A rare work, by Baldassare Peruzzi.
Our Lady contemplating her babe. The figures about two feet and a half,
wonderfully well done after Correggio’s manner, by Francesco Mazzuoli,
commonly called Parmigianino.
A half length, as big as the life, representing a naked woman, by
Titiano.
_It is thought that this is the portrait of the woman that was
Titian’s model, when he drew the famous Venus now existing in the
room called_ La Tribuna, _in the Medicean gallery at Florence_.
Our Saviour taken down from the cross. The figures a little more than
one foot high, by Daniele da Volterra.
_This appears to be the sketch from which Daniel made the large
famous picture, that is now in one of the chapels of the church
called_ La Trinità de Monit, _at Rome_.
An oval picture representing Medusa’s head, bigger than the life,
painted with astonishing expression, by Rubens.
A holy family. The figures one foot high, compleatly finished, by Annib.
Caracci.
Our Saviour crowned with thorns. The figures a foot and a half high. One
of the best works in his first manner, by Correggio.
Our Lady with the two babes Jesus and John laying hold of a lamb, and
two angels devoutly looking on them, by Fran. Mazzuoli, called
Parmigianino.
_It was formerly in Charles the First’s collection._
Socrates and Alcibiades. Half lengths of about a foot and a half, by
Giorgione da Castelfranco, who was Titiano’s master.
A small picture representing our Lady’s assumption, and the apostles, by
Francesco Naldini.
_This was the sketch of a celebrated picture now in Florence._
Our Saviour’s circumcision. An original sketch, by Polidoro da
Caravaggio.
A picture in light and shadow, representing Diana and her nymphs in the
bath, changing Acteon into a stag. An original beautiful sketch. The
figures one foot high, by Nicolo dell’ Abate.
A small sketch for a ceiling in light and shadow, by Correggio.
Our Saviour’s supper, a small and most beautiful performance, by
Innocenzo da Imola.
_Innocenzo was one of Raphael’s best disciples._
A Venetian history, by Paolo Veronese.
_This is an original sketch of one of the large pictures painted by
Paolo in the_ Sala del Consiglio, _at Venice_.
A boy’s head, as big as the life, by Annibal Caracci.
Diana’s head, as big as the life, by Camillo Procaccini.
St. Catharine, a foot and a half high. A celebrated and well preserved
performance, by Benvenuto da Garofolo.
A landscape exhibiting the hunting of the hare, a beautiful work, by
Gobbo de Caracci.
Adam and Eve driven out of paradise by the angel. The figures one foot
high. A famous and well preserved work, by the Cavaliere Giuseppe d’
Arpino.
The head of a woman smiling, smaller than the life, by Leonardo da
Vinci.
A child’s head, smaller than the life, by Fra. Bartolomeo di San Marco.
The pale of an altar with figures bigger than the life, representing St.
Lucy,
St. John the Evangelist, St. Humphrey, and St. Francis. A famous
performance, by Correggio: except St. Humphrey’s figure, which having
been left unfinish’d by Correggio, was afterwards finished by
Spagnoletto.
The family of the Caracci’s, represented in a butcher’s shop, and those
celebrated painters in butchers dresses. _Annibal_ is weighing some
meat to a Swiss of the Cardinal of Bologna’s guard. _Agostino_ is
shaking a nail and trying if it holds fast, that he may hang on it a
leg of mutton which he holds in his left hand. The _Gobbo_ is lifting
up half a calf to hang it on a beam, and _Lodovico_ stoops down
killing a sheep. The mother of them is represented as a servant-maid
that comes to buy some meat. The likenesses are traditionally said to
be wonderful; and the whole of this no less odd than beautiful picture
was the most celebrated performance of Annibal Caracci.
Three half figures as big as the life, representing three ladies
diverting themselves with music, and a gentleman listening to them. In
all probability they were portraits, by Titiano.
A sketch of one of the most capital pictures in Venice, and preserved
there in a church. It represents our blessed Lady with St. Peter and
St. Francis, and a Venetian General of the Capello’s family come back
victorious from a battle against the Turks, who offers the standard
and the trophies of his victory to the altar of our Lady. The whole
Capello family is exhibited in this picture. A celebrated work, by
Titiano.
A landscape with figures. It represents part of the country near
Bologna, by Domenichino.
A woman representing Simplicity, with a dove in her hand. A half length
as big as the life, by Francesco Furino.
The good Samaritan. The figures are two feet high. A valuable picture,
by Sisto Badalocchi.
Our Lady with her babe, about two feet high, painted much after
Correggio’s manner, by Sebastian Ricci.
The head of a youth, a little smaller than the life, by Raphael.
Two small pictures, exhibiting two different martyrdoms of two saints,
by Giacomo del Po.
A small sketch, by Ciro Ferri, a disciple of Pietro da Cortona.
A picture exhibiting our Saviour’s nativity. The devotion and maternal
affection of our blessed Lady looking on her babe, is prodigiously
well expressed. St. Joseph stands admiring the compunction of two
shepherds contrasted by another that takes care of the ass. Of two
other shepherds, placed at some distance, one holds a light in his
hand and shows the other the manger, expressing a pious wonder.
Further off there is a most beautiful angel in the clouds proclaiming
the birth of our Saviour to the other shepherds. No picture ever
surpassed this most elaborate performance of Titiano.
_It was one of King Charles the First’s collection; and there are two
prints of it, an ancient one in wood, the other in copper-plate._
Another nativity, painted likewise with his usual delicacy and noble
expression, by the same Titiano.
Our Lady with her babe in her arms, near as big as the life, standing on
the clouds, supported and attended by cherubs and angels. Under it
there is a sight of the town of Bologna, and adjacent villages, all
painted in his best manner, by Annibal Caracci.
Susan tempted by the two old men, boldly and vigorously painted as big
as the life, by Agostino Caracci.
The slaughter of the innocents, containing nineteen figures as big as
the life. A master-piece both for composition and colouring, by
Valerio Castelli.
Two children bigger than the life, representing holy Love the conqueror
of profane Love; one of the best performances in his first manner, by
Guido Reni.
A lively figure of an Italian buffoon, drinking merrily, an half figure,
as big as the life, by Annibal Caracci.
The portrait of some Nobleman, a little more than a half length, by
Francesco Torbido, commonly called, il Moro Veronese.
_This painter was much admired by Titian himself._
A nativity of our Saviour. The figures about one foot high. The effect
of the light that shines out of the babe, and irradiates the whole
picture, is astonishing. This is a celebrated piece, by Cavalier
Cavedone.
A head as big as the life, representing our Saviour, painted in a bold
manner, by Agostino Caracci.
Apollo in the attitude of slaying Marsyas. The figures about two feet
high, by Andrea Sacchi.
Two small pictures, the one representing a mountebank drawing a tooth to
a clown, surrounded by many spectators; the other exhibiting many
people playing at balls upon the ground. Tho’ both these pictures are
copious in figures, yet there is none of them but has some posture or
meaning most lively and naturally expressed, by Michelangelo delle
Battaglie.
A small picture, containing our Lady and her babe, St. Joseph, and St.
Catharine, half figures, finely painted, by Bartolomeo Schidone.
A small picture, representing an angel that contemplates with a most
afflicted look one of the nails with which our Saviour was crucified,
holding it up in his hand, by Correggio.
A most beautiful sketch, representing our Saviour laid in the sepulchre,
with the Virgin who has swooned and is supported by the three Marys,
by Giacomo da Bassano.
Four small pictures, containing some figures two feet high, most
masterly painted, by Francesco Mazzuoli, called il Parmigianino.
A small picture with many figures, representing our Saviour shewn to the
people by Pilate. A noble performance, by Federigo Barocci.
A small picture, representing our Saviour appearing to Mary Magdalen in
the gardener’s form, by Raphael’s master Pietro Perugino.
The infant Jesus and St. John embracing. An excellent performance and
well preserved, by Raphael. Three heads in water colours, bigger than
the life, by Raphael.
A head of Joseph of Arimathea, as big as the life, by Federigo Barocci.
Pictures in the rooms of the first floor.
A half length, a little smaller than the life, representing St.
Catharine. A rare ancient picture, by Vettori Carpacio.
Our Lady with her babe and St. John. The proportion of the figures two
feet high. An incomparable performance of Andrea del Sarto.
A small picture representing a father with his two children praying, by
Giovanni Holbens.
A Nativity of our Saviour, containing eighteen figures two feet high.
The posture of our Lady that offers her breast to her babe, and that
of the babe itself, are most graceful; St. Joseph with them completes
one of the best groups that the art of painting ever produced; and
equally graceful is another group of three angels playing upon musical
instruments. Two other angels descend from heaven in an attitude of
adoration. Many more beautiful attitudes of devotion are those of the
shepherds, that fill up the left side of this astonishing performance
of the immortal Raphael.
_There are two fine prints of this picture._
Our Lady with her babe, St. Catharine and St. Francis. The proportion of
the figures two feet. An excellent and well preserved performance of
Paolo Veronese.
The view of a noble temple, our Saviour coming out of it, meets with
Magdalen, who is by him converted in the presence of some other women.
An excellent and well preserved performance, done in his first manner,
by Andrea del Sarto.
Two half lengths as big as the life of two women, one the mistress, the
other her maid. The mistress was probably a portrait. She holds the
looking glass with one hand, and with the other adjusts her head,
listening to the maid that speaks to her. This is one of the best
works of Domenichino.
Our Lady with her babe, the Magdalen, St. John, and St. Jerome. The
figures are about three feet high, painted with the greatest
gracefulness, by Francesco Mauzzoli, called il Parmigianino.
A Cupid drawn by two doves in a golden carr, and two other Cupids
playing about him encircled by a flower garland. A picture extremely
well preserved, as well as masterly done by Domenichino.
A copy of the famous nativity known under the name of _Correggio’s
night_; the figures two feet high, by Carlo Cignani.
Diana in the bath converting Acteon into a stag, with her nymphs about
her. An elegant composition nobly coloured, the figures a foot and a
half, by Tintoretto.
The communion of the Apostles, the figures a little above two feet.
There is a kindled lamp in this picture, which has a striking effect,
and the whole is painted with great vigour, by Tintoretto.
St. John preaching in the desart, beautified with many well-disposed
figures, by Gobbo de Caracci.
The fable of Erictonius delivered to the nymphs to be educated. Their
fear and wonder in spying the boy’s serpentine feet, and their
different attitudes, are most beautifully expressed. Each figure is
about half the bigness of nature, and painted with great spirit, by
Salvator Rosa.
A landscape, exhibiting Moses delivering from the snares of the
shepherds, the daughters of Reuel the Priest of Midian, that came, to
give drink to their cattle, by Domenichino.
Another small landscape, exhibiting some fishermen, and women washing
linen, by the same Domenichino.
A youth little less than the life, that plays upon the guitar, with a
boy behind that listens with pleasure to him. By the celebrated
Spanish disciple of Titian, Fernandos.
A half length, representing our Lord tempted in the desart, by Titiano.
Two most beautiful Cherubs heads as big as the life, by Domenichino.
A St. John’s head with a lamb, as big as the life, in his best manner,
by Guercino da Cento.
Marsyas and Apollo, with Mydas that sits as their judge. The figures
about a foot high. A fine performance both for invention and
colouring, by Andrea Schiavone.
A copy of the famous _Correggio’s Cupid_ as big as the life, by Annibal
Caracci.
An Ecce Homo, as big as the life, painted with great force of expression
by Lodovico Caracci.
Our Lord laid in the sepulchre, the figures a little more than a foot,
another noble work of Lodovico Caracci.
St. Francis in a vision supported by Angels. The proportion of the
figures about two feet high, admirably well painted, by Annibal
Caracci.
A little landscape, adorned with some pretty little figures, and it
looks as if painted after nature, by Gobbo de’ Caracci.
A Venus and Cupid as big as the life. An astonishing performance, by
Titiano.
A copy of one of the celebrated pictures of Raphael in the Roman
Vatican. This represents an achievement of the Emperor Constantine.
This copy appears to be the work of some great painter of the
Florentine school, being done in the most masterly manner.
Second floor.
A choir of Angels playing on several musical instruments, their
proportion about a foot and a half. God the Father supported by three
Cherubs, by Guido Reni.
_This is thought to be the original sketch of a picture done in fresco
by Guido, in St. Gregory’s church at Rome._
The martyrdom of St. Erasmus, the figures about two feet high. This is
the original sketch of the famous picture preserved in St. Peter’s at
Rome, by Nicolo Poussin.
Two pictures adorned with many beautiful figures, whose proportion is
about two feet. One represents the age of iron, the other the age of
copper; and they are the original models of the two pictures in
fresco, that are in the palace of Pitti at Florence, by Pietro da
Cortona.
The original sketch of one of the ceilings painted in the Barberini’s
palace at Rome, by Pietro da Cortona.
_It represents many allegorical figures._
A half length portrait as big as nature. The figure has a letter in one
hand, by Lodovico Caracci.
The portrait of Maria Robusti; a half length as big as nature, by Paris
Bourdon.
The picture of a woman as big as life, half length, by Giorgione da
Castelfranco.
A head with part of the shoulders, representing a Greek merchant, as big
as the life, by Michael Angelo da Caravaggio.
Our Lady with her babe, and St. John; the figures near as big as the
life. An excellent performance, by Titiano.
A half length with the hands, representing Diogenes the Cynic; masterly
done by Spagnoletto.
A half length portrait of himself, by Tintoretto.
A portrait down to the knee, of the celebrated Naugerius, as big as the
life, by Tintoretto.
The nativity of our Saviour, enriched with many beautiful figures about
one foot high, by Francesco Zuccarelli.
A carton in water colours representing the holy family. The figures near
as big as the life, by Andrea del Sarto.
An Emperor on horseback, the horse white, the proportion about two feet;
a bold and noble work of Giulio Romano.
_It was once in King Charles the First’s collection._
A finished sketch of King Charles the First’s white horse, its
proportion about two feet, by Vandyke.
The slaughter of the Innocents, and Herod on a throne commanding it, by
Bourgognone.
Ariadne abandoned by Theseus, a naked figure as big as the life, by
Francesco Furino.
GEORGE _yard_, 1. Beer lane, Tower street.* 2. Bow lane.* 3. Bishopsgate
street.* 4. Cable street.* 5. Dean street, Soho.* 6. Dorset garden,
Fleet street.* 7. Duke street, Grosvenor square.* 8. Fore street,
Lambeth.* 9. Golden lane.* 10. High Holborn.* 11. Hog lane, St.
Giles’s pound.* 12. Islington.* 13. Kent street, Southwark.* 14.
Little Britain.* 15. Little Tower hill.* 16. Gracechurch street,
Lombard street.* 17. Long Acre.* 18. Old street.* 19. Plough yard,
Broadway.* 20. Redcross street, Southwark.* 21. Saffron hill.* 22.
Seacoal lane, Snow hill.* 23. Thames str.* 24. Tower hill.* 25.
Turnmill street.* 26. Whitechapel.*
GEORGIA OFFICE, lately under the government of the Trustees for settling
the colony of Georgia, is now united to the Office of Trade and
Plantations, and kept in the Treasury.
GERRARD’S HALL, on the south side of Basing lane, a large and very old
house built upon stone arches, supported by sixteen pillars, called
Gerard’s Hall from a giant of that name, which it is ridiculously
supposed lived there. In the high roofed hall stood for some time a
large fir pole, which it is pretended Gerard the giant used to run
with in the wars, and a ladder of the same length, said to be made in
order to ascend to the top of the staff. Stow justly supposes that
these circumstances are fabulous, and observes that John Gisors, Mayor
of London, was the owner of this edifice in the year 1245, and that it
was a long time possessed by others of the same name and family;
whence he with great probability concludes, that Gisor’s Hall was by
corruption called Gerard’s Hall. _Maitl._
GERMAN’S _yard_, Stepney rents, Shoreditch.
GERRARD’S _court_, Little Bell alley.†
GERRARD _street_, Prince’s street, Soho.†
GERRARD’S CROSS, a village in Buckinghamshire, situated about 28 miles
from London, between Uxbridge and Beconsfield. Here is a charity
school built and endowed by the late Duke of Portland, for 20 boys and
15 girls, who are taught and cloathed, and two of the children put out
apprentices every year. Near this place is also a fine seat of the
Duke of Portland.
GIBRALTER, Shoreditch.
GIBSON’S _Almshouse_ and _School_, at Ratcliff, were founded by Nicholas
Gibson, Esq; in the year 1537, for fourteen poor widows, seven of whom
to be of Stepney parish, and the other seven of the Coopers company.
The pensioners to have 1_l._ 6_s._ 8_d._ a year each; the
school-master a salary of 10_l._ and an usher 6_l._ 13_s._ 4_d._ a
year. But the estate with which this foundation is endowed being
vastly improved, the Coopers company, who are his trustees, have
lately increased the pensions to 5_l._ and 30 bushels of coals _per
annum_, with a bounty of 10_s._ to each at Christmas; and the
schoolmaster’s salary is also advanced to 23_l._ 6_s._ 8_d._ and the
usher’s to 9_l._ 13_s._ 4_d._ _Maitland._
GIBSON’S _court_, 1. Marybon street.† 2. Narrow wall.†
GIDDY HALL, at the farther end of Rumford in Essex, a very fine mansion
house erected by the late Sir John Eyles, Lord Mayor of London.
GILBERT’S _court_, Monkwell street.†
GILBERT’S _passage_, Clare market.†
GILBERT’S _street_, Bloomsbury.†
_St._ GILES’S _Cripplegate_, at the east end of Redcross street, without
the walls of London, is so denominated from its dedication to St.
Giles, a Grecian and citizen of Athens, in the year 700, and from the
neighbouring gate. A church was built in this place in the year 1030,
which was destroyed by the fire of London in the year 1545; but the
edifice erected in its room escaping the dreadful conflagration in
1666, is still standing, and is likely to continue so a long time.
This Gothic structure is 114 feet in length, 63 in breadth, 32 in
height, and the tower with its turret 122 feet high. This tower is not
gross in proportion to its height; and the turret on the top is light
and open.
This church is a vicarage, the patronage of which is in the Dean and
Chapter of St. Paul’s, and it is constituted a prebend of that
cathedral by the name of Mora. The Vicar receives about 360_l._ a year
by tithes.
In this church are many tombs, and here lies the body of the
incomparable John Milton, the author of _Paradise Lost_.
_St._ GILES’S _in the Fields_, on the south side of St. Giles’s street,
is so named to distinguish it from St. Giles’s Cripplegate. The place
in which it stands was formerly a village of the same name as the
church, which was standing so early as the year 1222, tho’ it was not
made parochial till 1547. The little edifice for divine worship being
taken down in the year 1623, a church of brick was erected in its
room; but the ground in its neighbourhood being gradually raised to
the height of eight feet higher than the floor, it became very damp
and unwholesome. Upon this the inhabitants, by consent of parliament,
had it rebuilt, the sum of 8000_l._ being granted for that purpose.
The present structure is built in a very substantial manner, as indeed
all churches should for the sake of duration. The old fabric was taken
down in 1730, and the new one erected in two years and a half.
The church and steeple are built with Portland stone. The area of the
church within the walls is sixty feet wide, and seventy-five feet in
length, exclusive of the recess for the altar. The roof is supported
with Ionic pillars of Portland stone, on stone piers, and is vaulted
underneath. The outside of the church has a rustic basement, and the
windows of the galleries have semicircular heads, over which is a
modillion cornice. The steeple is 165 feet high, and consists of a
rustic pedestal, supporting a Doric order of pilasters, and over the
clock is an octangular tower with three quarter Ionic columns
supporting a balustrade with vases, on which stands the spire, which
is also octangular and belted.
In 1758 the organ was repaired; and in 1759, two magnificent
chandeliers were hung up, each containing thirty-six lights.
“The new church of St. Giles’s, says the author of _The Review
of the Public Buildings_, is one of the most simple and
elegant of the modern structures: it is raised at a very
little expence, has very few ornaments, and little beside the
propriety of its parts, and the harmony of the whole, to
excite attention, and challenge applause: yet still it
pleases, and justly too; the east end is both plain and
majestic, and there is nothing in the west to object to, but
the smallness of the doors, and the poverty of appearance that
must necessarily follow. The steeple is light, airy, and
genteel, argues a good deal of genius in the architect, and
looks very well both in comparison with the body of the
church, and when ’tis considered as a building by itself, in a
distant prospect. Yet after all I have confessed in favour of
this edifice, I can’t help arraigning the superstition of
situating churches due east and west; for in complaisance to
this custom, the building before us has lost a great advantage
it might have otherwise enjoyed; I mean, the making the east
end the front, and placing it in such a manner as to have
ended the vista of what is called Broad St. Giles’s; whereas
now it is no where to be seen with ease to the eye, or so as
justly to comprehend the symmetry and connection of the
whole.”
There is a marble monument on the outside of the north isle to the
memory of Hugh Merchant, Gent. who died on the 17th of January, 1714,
with this inscription:
When, by inclemency of air,
These golden letters disappear,
And Time’s old cankered teeth have shown
Their malice on this marble stone,
Virtue and Art shall write his name
In annals, and consign his fame
To monuments more lasting far,
Than marble stones, or golden letters are.
The expence of erecting this church amounted to 10,026_l._ 15_s._
9_d._ It is a rectory in the gift of the Crown.