may, for want of sufficient skill, have been mistaken in the naming of
the authors of some of them; tho’ at the same time he begs it may be
believed, that he has done nothing of that kind, without such reasons
for it, as appeared very good to him; nor has been guided in it by
partiality to the pictures, or any other consideration, but regard to
truth, which he always thought should take place of every thing: so
those who are better judges, are at liberty to name the pictures as
they please, and restore them to the authors to which they may think
they really belong.
On the FIRST FLOOR.
In the hall and stair case.
Over the chimney.
A naked boy blowing bubbles and treading on a death’s head, representing
Vanity, by Elizabetha Sirani.
Near the street door.
A large picture of dogs and foxes, by Peter Sneyders.
Over the door that goes into the first parlour.
A man’s head, by Giuseppe de Ribera, commonly call’d Il Spagnoletto.
On the landing place.
A large picture of David and Abigail, by Sir Peter Paul Rubens.
Over the door.
The adventure of Don Quixote and the barber, by a Spanish painter.
Fronting the landing place at the top.
The portrait of the Duchess of Mantua, grand daughter to the Emperor
Charles the Fifth, with her son in her lap, who was the last Duke of
Mantua, with some allegorical figures, armour, &c. by Giovanni
Benedetto Castiglione.
Under it.
A landscape, and a musical conversation, painted by Sir Peter Lely;
being the portraits of himself and his whole family, drawn by the
life.
Fronting the windows.
The judgment of Paris, by Gerard Lairest.
Under it.
The judgment of Midas, by the same hand.
Over the looking glass.
A young lad blowing bubbles, said to be painted by Hannibal Caracci.
In the first parlour.
Over the chimney.
A Dutch kermis or country fair, painted by Old Pieter Bruegel.
On each side of the chimney.
Next the window, the portrait of a Turk, by Rembrandt van Rijn.
David with the head of Goliath and his sling, by Leonello Spada.
Between the windows.
A man’s head, said to be that of Massaniello the fisherman who caused
the great revolution of Naples, by Salvator Rosa.
The portrait of Francisco de Taxis, the first inventor of the posts in
Europe, for which reason the direction of them has always remained in
one of his family in all the dominions that belongs to the house of
Austria, by a hand not certainly known.
Over the doors out of the hall,
The folly of spending our lives in the pursuit of love, wine, music and
play, an emblematical picture, by Johannes Schorel.
The Virgin, our Saviour, St. Mary Magdalen, St. Peter, St. John the
Baptist, and St. Jerome; by Jacobo Palma, senior, commonly called Old
Palma.
Over the marble table.
The birth of our Saviour, and the adoration of the shepherds, by Giac.
Bassan.
Under it, in the middle.
St. John the Baptist asleep in the desert, by Andrea del Sarto.
On both sides of it.
Two small sea pieces, a port in the Mediterranean, and a fight with the
Turks, by William Vanderveld, junior.
Under them, in the middle.
An emblematical picture, representing a guardian angel pointing out the
way to heaven to a soul, under the figure of a young girl, by Carlino
Dolce.
On both sides of it.
Two very highly finished landscapes on copper, by Salvator Rosa.
Between the two doors.
The portrait of the Duke of Richmond and Lenox, of the Stuart family, at
whole length, with a dog, by Sir Anthony Vandyck.
Over the door to the back parlour.
Vulcan at his forge, with the Cyclops, by Jacob Jordaans of Antwerp.
Over against the windows.
In the middle.
The head of our Saviour crown’d with thorns, by Ludovico Caracci.
On both sides of that.
Two fruit pieces, by Michael Angelo Pase, called Michael Angelo del
Campidoglio.
Under them, in the middle.
A Bacchanal in two colours, by Rubens.
On both sides of it.
A landscape with a robbery, and a battle, both painted by Giacomo
Cortese, commonly called Il Bourgognone.
Under them, in the middle.
A pretty large landscape and figures of Dutch boors, by Adrian Van
Ostade.
On both sides of it.
A stag hunting, and another of hern hawking, by Philip Woverman.
Under them.
Two conversations of boors within doors, by Adrian Van Ostade.
In the second parlour.
Over the chimney.
Lot and his two daughters, with the city of Sodom on fire, by Lorenzo
Lotti, a great imitator of Giorgione and Titian.
Over the closet doors.
Next the window.
The great amphitheatre at Rome, and other buildings, by Viviano
Cadahorra.
A sea port with buildings and ruins, by Salviouch, and the figures by
John Miele.
Over the door to the first parlour.
Omphale the mistress of Hercules, with the lion’s skin and his club by
her, by Augustin Caracci.
Over the two other doors.
Two battles in the stile of Bourgognone, but the hands not certainly
known.
In the passage room.
Over the doors.
A philosopher with a book in his hand, by Pier Francesco Mola.
Mary Magdalen, by Giacinto Brandi.
Our Saviour meditating on the sins of the world, by Giovanni Antonio
Regillio, a competitor of Titian’s, and commonly called Il Pordenone.
In the great room.
Over the door at which you go in.
The portrait of a young man on wood, by Andrea del Sarto.
Between that door and the window.
The head of St. James the apostle.
The head of St. John the evangelist.
N. B. These two last pictures are by
a hand that is not certainly known.
Under them.
A Bacchanal painted on copper, by Cornelius Polembergh.
Between the door and the wall.
In the middle.
A pretty large picture of our Saviour and the Samaritan woman, by
Giovanni Francesco Barbiori da Cento, commonly called Il Guercino.
On the side towards the door.
The Virgin and Child, by Il Cavalier Giovanni Lanfranchio.
On the side towards the wall.
Venus dressing, and Cupid holding her looking-glass, by Paolo Veronese.
Under them, in the middle.
The Virgin and Child, by Raphael de Urbino.
On the side towards the door.
The Virgin and Child in the clouds, and several angels, by Bartolomeo
Murillo.
On the side towards the wall.
The Virgin and our Saviour, by Carlo Cignani.
Next to the door.
The annunciation of the Virgin Mary, by Paolo Veronese.
Next to the wall.
The birth of our Saviour, &c. by Jacapo Robusti, commonly called
Tintoretto.
Over the chimney.
Tobit and the angel, by Michael Angelo Amerighi, commonly called Michael
Angelo Caravaggio.
Between the wall and the chimney.
In the middle.
The portrait of a man, by Antonio Allegri, commonly called Il Correggio.
Towards the wall.
The head of some Spanish general, by Giovanni Giachinette, commonly
called Il Bourgognone delle Teste.
Towards the chimney.
The portrait of the famous Hernando Cortes, conqueror of Mexico, by
Titiano Vecelli, called Il Titiano.
Under them.
A large battle in an oval, painted by Luca Jordano.
Between the chimney and farthest wall.
In the middle.
St. Sebastian, by Guido Reni.
Next the chimney.
The portrait of Sir Anthony Vandyck, painted by himself.
Next to the wall.
The portrait of a young girl, with a little dog asleep in her hands, by
Rembrandt van Rijn.
Under them.
A large oval battle, painted by Luca Jordano.
Over the closet door.
The portrait of a man with a book in his hand, said to be the famous
satirist Berni, by Giorgio Barbarelli, called Il Giorgione.
Between the door and the wall.
A she saint, with angels, by Pietro Berettini, called Pietro Cortona.
Under it, in the middle.
A small battle, by Bourgognone.
On both sides of it.
Two small pictures, done from the gallery of Archduke Leopold, the one
from Paris Bourdon, and the other from young Palma, by David Teniers.
Between the door and the window.
A large picture, representing our Saviour at the Pharisee’s house, and
Mary Magdalen anointing his feet, with the portrait of the person for
whom it was painted, as a servant waiting at table, by Carlo Dolce.
N.B. This picture is out of the stile of Carlo Dolce’s paintings, who
never before attempted so great a subject and composition; and was
done by him, after the drawing of Ludovico Cigoli.
Under it, in the middle.
The portraits of three of Henry the Seventh’s children, viz. Prince
Arthur, Henry the VIII. and Princess Mary, who was afterwards Queen of
France, and Duchess of Brandon, by a hand not certainly known.
On both sides of it.
Two pieces of the history of Judith, the one where she is presented to
Holofernes, and the other where she is entertained by him at a feast,
by Paolo Veronese.
On the SECOND FLOOR.
In the dining room.
Over the door as you go into it.
A fortune teller, with several figures consulting him, by Giorgio
Barbarelli, called Il Giorgione.
Over the door.
The history of Tancred and Erminia, out of Tasso, by Pietro Berettini,
called Pietro de Cortona.
Between the doors.
A large picture, representing the baptism of our Saviour by St. John in
the river Jordan, with angels, by Guido Reni.
Between the wall and middle door.
A Bacchanal, with Silenus and satyrs, by Jacob Jordaans of Antwerp.
Under it.
A large landscape, by Claude Gille, commonly called Claude de Lorraine.
Between that door and the wall.
The Virgin and our Saviour, St. John the Baptist and his lamb, St.
Peter, and the three cardinal virtues, Faith, Charity, and Hope, by
Titiano Vecelli, called Il Titiano.
N.B. This is an emblematical picture, by which the painter meant to
represent the several virtues that are necessary to form the
character of a good Christian.
Under it, in the middle.
The holy family, by Paolo Veronese; the saint which is represented in
armour, being the portrait of Paolo himself.
Next to the door.
A landscape and naked figures, by Cornelius Polembergh.
Next to the wall.
The flight into Egypt, by Filippo Lauri.
Between the wall and chimney.
Scipio and the fair captive at Carthagena, by Pietro de Cortona.
Under that.
A battle, by Giacomo Cortese, called Il Bourgognone.
Between the chimney and the window.
The dead body of our Saviour, with the Virgin Mary, and St. John, by
Hannibal Caracci.
Under it.
A landscape, representing a temple of Bacchus, and the sun setting, by
Claude Gille, commonly called Claude de Lorraine.
Dressing room.
Over the chimney.
The ordination of St. Dennis, patron of France, by Eustache le Sueur.
Between the chimney and the window.
Women at work by candle light, by Giacomo Bassan.
Under it, in the middle.
The annunciation of the blessed Virgin, with God the Father, and several
angels in the clouds, by Francesco Albani.
N.B. This picture belonged to Pope Innocent X. as may be seen by his
arms on the back side of it; and the frame, which is of silver, was
made by the famous statuary Alessandro Algardi.
Under that.
St. Augustine in an ecstasy, contemplating the mystery of the holy
Trinity, and the incarnation of our Saviour; a very high finished
sketch by Vandyck, of the finest picture he ever painted, which is in
the church of St. Augustine at Antwerp.
On both sides, at the top.
A man and a woman smoaking, and a man and woman drinking, by David
Teniers.
Underneath, on each side.
Next the window.
Cephalus and Procris, by Adam Elsheimer.
Next to the chimney.
The will of Eudadimus the Corinthian, a sketch, by Nicholas Poussin.
Between the chimney and the wall.
The flight into Egypt, by Il Cavalier Giovanni Lanfrancho.
Under it, in the middle.
The portrait of Antonio Caracci, son of Augustino, by Annibal Caracci.
Under that.
A garland of flowers, painted on looking glass, by Old Baptiste.
On both sides at top.
Next the chimney.
A satyr squeezing grapes, with a tyger and leopard, by Rubens.
Next the wall.
Cupid shaving his bow, and two other little Cupids, by Parmegiano.
Under them.
Dutch boors in a fury against the Spaniards, by Pieter Bruegel, and a
barber surgeon’s shop, with a cat and monkies, by David Teniers.
Over against the windows.
In the middle.
St. Francis Xavier dying in an island on the coast of China, by Carlo
Maratti.
On both sides of it.
Two sea pieces, by William Vanderveld, jun.
Under them, in the middle.
The Virgin and Child, St. Joseph, St. Anne, and St. Catherine, by John
Abeyk, commonly called John of Bruges.
On both sides of it.
Four pieces of the history of Judith and Holofernes, by Paolo Veronese.
Under them, in the middle.
The martyrdom of the Innocents on copper, by Alessandro Turchi.
On both sides of it.
A small battle piece, by Bourgognone.
A march of soldiers, by the same.
Over the door to the dining room.
The portrait of Cosmus the 3_d._ Duke of Florence, when a child, by
Giustus Subtermans.
Over the two other doors.
Our Saviour breaking the bread, and blessing the cup, and St. Bruno
founder of the order of Carthusians, both of them by Carlo Dolce.
Between the two doors.
The marriage of Jacob, by Ciro Ferri.
Under it.
The Virgin and our Saviour in the clouds, and the several saints,
patrons of the city of Bologna, by Guido Reni.
Under that.
The nativity of our Saviour, by young Palma.
Over against the chimney.
A large landscape, with the baptism of Queen Candace’s eunuch by St.
Philip, by John Both.
Under it, in the middle.
The inside of a church, by Henry Stenwix, and the figures by Velvet
Brughell.
Under each corner of it.
Two little round pictures, one of them being the head of Mary Magdalen,
and the other that of our Saviour crown’d with thorns; both of them by
Francesco Albani.
Under them.
The shipwreck of St. Paul on the island of Malta, by Adam Elsheimer.
On each side of it.
Two small landscapes on copper, by John Brughell, commonly call’d the
Velvet Brughell.
On both sides of them.
The martyrdom of St. Laurence, by Titiano Vecelli, commonly called Il
Titiano; and St. Sebastian, and other saints, by Filippo Lauri.
Between the door and the window.
The education of Bacchus, by Simon Vouet.
Under it.
The Virgin and our Saviour, and several saints, by Ludovico Caracci.
Under that.
The judgment of Paris, by Giovanni Rottenhammer, the landscape by Paul
Brill.
Between the windows over the glass.
A portrait of a Dominican friar, by Giovanni Lanfrancho.
In the passage room, over the doors.
The portrait of Don Antonio de Leyva, General to Charles the Fifth, who
took Francis the First prisoner at the battle of Pavia. By Il Dosso di
Ferrara.
The portrait of Charles Lewis, the eldest Prince Palatine, by Vandyke.
The portrait of the Lady Anne Carre, Countess of Bedford, by the same.
Over the chimney.
Our Saviour carried before Pontius Pilate, in water colours, by Lucas of
Leyden.
In the bedchamber, over the door.
The portrait of a man in a ruff, by Rubens.
Over the chimney.
A large picture of a curtain, carpet, fruit, &c. by the Maltese, and
Mich. Angelo del Campidoglio.
In the closet.
Over the chimney.
A copy of Raphael’s picture of the Madonna della Seggiola in the palace
of Pitti, at Florence.
Under it.
A small flower piece on copper, by Velvet Brughell.
Over the little closet door.
The portrait of Sir Paul Methuen when a boy.
Over the door next the window.
The picture of a woman, &c. by Albert Durer.
Over the bedchamber door.
A man’s head, by Tintoretto, said to be that of the famous Andrea
Vesalio.
GROVE _street_, Hackney.
GRUB _street_, 1. Fore street, Cripplegate. 2. Market street,
Westminster.
GRUB’S _rents_, Whitechapel.†
GUBBINS, or GOBIONS, near North Mims in Hertfordshire, had its name from
its ancient Lord Sir Richard Gobion. In the reign of Henry VII. it
belonged to the family of the Mores, when it was called More Hall; but
on the attainder of the great Sir Thomas More, Lord High Chancellor of
England, it was forfeited to the Crown, and settled on the Princess,
afterwards Queen Elizabeth, who held it till her death. It afterwards
came into the possession of several families, and was at length
purchased by the late Sir Jeremy Sambroke. The manor house and gardens
are very beautiful.
[Illustration:
_Guild Hall._
_S. Wale delin._ _B. Green sc. Oxon._
]
GUILDHALL, at the north end of King street, Cheapside, is the hall for
holding the courts, and transacting the business of the city. The old
hall in Aldermanbury being fallen to decay, the present structure was
begun in the year 1411, upon a larger and more noble plan, and ten
years were employed in compleating it. The executors of the famous
Richard Whittington, long celebrated in song, gave a Purbeck pavement
to the hall, and glazed some of the windows, on every one of which
Whittington’s arms are placed; others of the Aldermen glazed different
windows, and had also their arms painted on the glass.
The hall being however much damaged by the fire of London in 1666, was
repaired and beautified two years after, at the expence of 2500_l._ in
so effectual a manner, that it has stood till this time.
The entrance has a stately Gothic frontispiece, with the King’s arms
under a cornice, pediment and vase; under which are niches; and in the
middle of the front are the following words done in gold:
_Reparata & ornate Thoma Rawlinson, Milit. Majore, An. Dom._ MDCCVI.
That is,
Repaired and adorned in the year 1706, during the Mayoralty of Thomas
Rawlinson.
Over the gate is a balcony, above which are placed in niches on each
side, the figures of Moses and Aaron; and in niches on each side of
the gate below, the four cardinal virtues; also under the balcony are
depicted the arms of twenty-four companies.
On entering this Gothic arch, you come into the hall, which is one
hundred and fifty-three feet long, forty-eight feet broad, and
fifty-five feet high. The roof is flat, and divided into panels; the
walls on the north and south sides are adorned with four Gothic
demi-pillars, painted white with blue veins, and gilt capitals, upon
which are the royal arms, and those of Edward the Confessor.
Nearly fronting the gate, are nine or ten steps, leading to the Lord
Mayor’s court, over which is a balcony supported at each end by four
iron pillars in the form of palm trees; by these is a small enclosure
on each side on the top of the steps, used on some occasions as
offices for clerks to write in, each being just sufficient to hold one
person. Under these are two prisons called Little Ease, from the
lowness of the ceiling, by which prisoners were obliged to sit on the
floor; these prisons are intended for city apprentices, who upon
complaint and a strict examination into the offence, were sometimes
committed thither by the Chamberlain, whose office is at the right
hand at the head of the steps. In the front of this balcony is a
clock, on the frame of which is carved the four cardinal virtues, with
the figure of Time, on the top, and a cock on each side of him. But
the most extraordinary figures are yet behind; these are two monstrous
giants which stand on the outside of the balcony close to the wall,
one on each side: they have black and bushy beards; one holds an
halbert, and the other a ball set round with spikes, hanging by a
chain to a long staff. These absurd ornaments, which Mr. Strype
supposes were designed to represent an ancient Briton and a Saxon, are
painted, as if to give them the greater appearance of life, and render
them more formidable to children.
Round the hall are hung up, the standards and colours taken from the
French, at the battle of Ramilies. At the east end are the King’s arms
between the pictures of his present Majesty King George II. and Queen
Caroline; close by the first is Queen Anne, and by the last his late
Majesty King George I. and at the same end of the hall, but on the
north and south sides, are the pictures of King William III. and Queen
Mary fronting each other. The hall is likewise adorned with the
portraits of eighteen Judges, put up by the city as a testimony of
public gratitude for their signal services, in determining the
differences which arose between landlords and tenants, without the
expence of law suits, on rebuilding the city after the fire. These
Judges are all painted at full length in their scarlet gowns; and in
the Lord Mayor’s court there are the portraits of five other Judges
painted in the same manner.
On the east end of the hall is held the court of Hustings weekly, and
occasionally that of the Exchequer; and before the Hustings is held
the court of Conscience. At the west end is held alternately the
Sheriff’s court for the Poultry and Wood street counters. Opposite to
the Chamberlain’s office, already mentioned, as situated up the steps
underneath the giants, is the office of Auditors of the city accounts,
within which is the Lord Mayor’s court office, where the Lord Chief
Justice occasionally sits in trials by _nisi prius_. On the west side
of the Mayor’s court office is the court of Orphans, where the Lord
Chief Justice of the Common Pleas occasionally sits. Adjoining to this
court on the north, is the old council chamber, now used by the
Commissioners of bankrupts. Contiguous to it is the new council
chamber. Beneath the Mayor’s court is the Town Clerk’s office, where
are deposited the city archives. To the east and north are the
residences of the Chamberlain and Town Clerk; near which are two rooms
wherein the business of bankrupts are dispatched. Contiguous to the
north west is the kitchen; in the porch is the Comptroller’s office,
and over it the Irish chamber. Over the piazzas on the west, are the
common Serjeant’s, Remembrancer’s, and city Solicitor’s offices. See
an account of each of these courts under the articles, _Court of_
COMMON COUNCIL. _Lord_ MAYOR’S _Court_. _Court of_ HUSTINGS, &c.
Guildhall is at the end of a tolerable vista, which shews the building
to some advantage, though the Gothic front has nothing very
extraordinary in it. The hall within is a fine one, but the entrance
would have been better at the lower end than in the middle, for by
this means all the beauty of the perspective is lost. The ascent of
steps across the hall not being opposite the gate, as it ought to have
been, is another material defect. A noble front in the situation of
Guildhall, would have had an advantage hardly to be met with
elsewhere, and give an architect a fine opportunity of displaying his
genius. But the present front is full of little parts which have no
effect at a distance.
GUILDHALL _alley_, Basinghall street, leading to Guildhall.
GUILDHALL CHAPEL, situated between Blackwell hall, and Guildhall, was
founded in the year 1299, dedicated to St. Mary Magdalen and All
Saints, and called London College. A chantry was founded in this
chapel for four chaplains, and lands and tenements left for their
support. It was rebuilt in the reign of Henry VI. and received new
endowments: but at the suppression of religious houses it reverted to
the Crown, and was bought of King Edward VI. with other lands and
tenements, for the sum of 456_l._ 13_s._ 4_d._ and the city holds it
in soccage of the manor of Greenwich. It was defaced, but not burnt
down by the fire of London in 1666, and has been since repaired.
This edifice is perfectly in the Gothic taste. In several niches are
set the figures in stone of King Edward VI. of Queen Elizabeth, with a
phœnix under her; and of King Charles I. treading on a globe. The
windows are extremely large, and on the inside the walls are hung with
tapestry. Over the Aldermen’s seats there is a wainscot covering, and
a particular seat for the Lord Mayor, adorned with cartouches. There
is a gallery at the west end, a handsome wainscot pulpit and desk, and
a neat altar piece inclosed with rails and banisters.
On the south side of this chapel was formerly a library belonging to
Guildhall and the College. But it is said that in the reign of King
Edward VI. Edward Duke of Somerset, then Lord Protector, sent for the
books with a promise of returning them shortly; upon which three
carriages were loaded with them; but they being never returned, the
room has been long made a storehouse for cloths.
GUILDHALL _yard_, 1. King street, Cheapside.☐ 2. King street,
Westminster.