Old and New London Part 47

"Then, at the desire of the said notary to go on in this business of confirmation, they, the commissioners, decreed so to do, as was more fully contained in a schedule read by Bishop Barlow, with the consent of his colleagues. It is too long to relate distinctly every formal proceeding in this business; only it may be necessary to add some few of the most material pa.s.sages.

"Then followed the deposition of witnesses concerning the life and actions, learning and abilities of the said elect; his freedom, his legitimacy, his priesthood, and such like. One of the witnesses was John Baker, of thirty-nine years old, gent., who is said to sojourn for the present with the venerable Dr. Parker, and to be born in the parish of St. Clement's, in Norwich. He, among other things, witnessed, 'That the same reverend father was and is a prudent man, commended for his knowledge of sacred Scripture, and for his life and manners. That he was a freeman, and born in lawful matrimony; that he was in lawful age, and in priest's orders, and a faithful subject to the Queen;' and the said Baker, in giving the reason of his knowledge in this behalf, said, 'That he was the natural brother of the Lord Elect, and that they were born _ex unis parentibus_' (or rather, surely, _ex una parente_, _i.e._, of one mother). William Tolwyn, M.A., aged seventy years, and rector of St.

Anthony, London, was another witness, who had known the said elect thirty years, and knew his mother, and that he was still very well acquainted with him, and of his certain knowledge could testify all above said.

"The notary exhibited the process of the election by the Dean and Chapter; which the commissioners did take a diligent view of, and at last, in the conclusion of this affair, the commissioners decreed the said most reverend lord elected and presently confirmed, should receive his consecration; and committed to him the care, rule, and administration, both of the temporals and spirituals of the said archbishopric; and decreed him to be inducted into the real, actual, and corporal possession of the same archbishopric.

"After many years the old story is ventured again into the world, in a book printed at Douay, anno 1654, wherein they thus tell their tale. 'I know they (_i.e._, the Protestants) have tried many ways, and feigned an old record (meaning the authentic register of Archbishop Parker) to prove their ordination from Catholic bishops. But it was false, as I have received from two certain witnesses. The former of them was Dr.

Darbys.h.i.+re, then Dean of St. Paul's (canon there, perhaps, but never dean), and nephew to Dr. b.o.n.e.r, Bishop of London; who almost sixty years since lived at Meux Port, then a holy, religious man (a Jesuit), very aged, but perfect in sense and memory, who, speaking what he knew, affirmed to myself and another with me, _that like good fellows they made themselves bishops at an inn, because they could get no true bishops to consecrate them_. My other witness was a gentleman of honour, worth, and credit, dead not many years since, whose father, a chief judge of this kingdom, visiting Archbishop Heath, saw a letter, sent from Bishop b.o.n.e.r out of the Marshalsea, by one of his chaplains, to the archbishop, read, while they sat at dinner together; wherein he merrily related the manner how these new bishops (because he had dissuaded Ogelthorp, Bishop of Carlisle, from doing it in his diocese) ordained one another at an inn, where they met together. And while others laughed at this new manner of consecrating bishops, the archbishop himself, gravely, and not without tears, expressed his grief to see such a ragged company of men come poor out of foreign parts, and appointed to succeed the old clergy.'

"Which forgery, when once invented, was so acceptable to the Romanists, that it was most confidently repeated again in an English book, printed at Antwerp, 1658, _permissione superiorum_, being a second edition, licensed by Gulielmo Bolognimo, where the author sets down his story in these words:--'The heretics who were named to succeed in the other bishops' sees, could not prevail with Llandaff (whom he calls a little before _an old simple man_) to consecrate them at the "Nag's Head," in Cheapside, where they appointed to meet him. And therefore they made use of Story, who was never ordained bishop, though he bore the name in King Edward's reign. Kneeling before him, he laid the Bible upon their heads or shoulders, and bid them rise up and preach the word of G.o.d sincerely.

'This is,' added he, 'so evident a truth, that for the s.p.a.ce of fifty years no Protestant durst contradict it.'"

"The form adopted at the confirmation of Archbishop Parker," says Dr.

Pusey in a letter dated 1865, quoted by Mr. Timbs, "was carefully framed on the old form used in the confirmations by Archbishop Chichele (which was the point for which I examined the registers in the Lambeth library). The words used in the consecration of the bishops confirmed by Chichele do not occur in the registers. The words used by the consecrators of Parker, 'Accipe Spiritum sanctum,' were read in the later pontificals, as in that of Exeter, Lacy's (Maskell's 'Monumenta Ritualia,' iii. 258). Roman Catholic writers admit _that_ only is essential to consecration which the English service-book retained--prayer during the service, which should have reference to the office of bishop, and the imposition of hands. And, in fact, Cardinal Pole engaged to retain in their orders those who had been so ordained under Edward VI., and his act was confirmed by Paul IV." (Sanders, _De Schism. Angl._, l. iii. 350.)

The house No. 73, Cheapside, shown in our ill.u.s.tration on page 343, was erected, from the design of Sir Christopher Wren, for Sir William Turner, Knight, who served the office of Lord Mayor in the year 1668-9, and here he kept his mayoralty.

At the "Queen's Arms Tavern," No. 71, Cheapside, the poet Keats once lived. The second floor of the house which stretches over the pa.s.sage leading to this tavern was his lodging. Here, says Cunningham, he wrote his magnificent sonnet on Chapman's "Homer," and all the poems in his first little volume. Keats, the son of a livery-stable keeper in Moorfields, was born in 1795, and died of consumption at Rome in 1821.

He published his "Endymion" (the inspiration suggested from Lempriere alone) in 1818. We annex the glorious sonnet written within sound of Bow bells:--

ON FIRST LOOKING INTO CHAPMAN'S "HOMER."

"Much have I travell'd in the realms of gold, And many goodly states and kingdoms seen; Round many western islands have I been, Which bards, in fealty to Apollo, hold.

Oft of one wide expanse had I been told That deep-brow'd Homer ruled as his demesne; Yet did I never breathe its pure serene Till I heard Chapman speak out loud and bold; Then felt I like some watcher of the skies When a new planet swims into his ken; Or like stout Cortez when with eagle eyes He stared at the Pacific--and all his men Look'd at each other with a wild surmise-- Silent, upon a peak in Darien."

Behnes' poor bald statue of Sir Robert Peel, in the Paternoster Row end of Cheapside, was uncovered July 21st, 1855. The _Builder_ at the time justly lamented that so much good metal was wasted. The statue is without thought--the head is set on the neck awkwardly, the pedestal is senseless, and the two double lamps at the side are mean and paltry.

Saddlers' Hall is close to Foster Lane, Cheapside. "Near unto this lane," says Strype, "but in Cheapside, is Saddlers' Hall--a pretty good building, seated at the upper end of a handsome alley, near to which is Half Moon Alley, which is but small, at the upper end of which is a tavern, which gives a pa.s.sage into Foster Lane, and another into Gutter Lane."

"This appears," says Maitland, "to be a fraternity of great antiquity, by a convention agreed upon between them and the Dean and Chapter of St.

Martin's-le-Grand, about the reign of Richard I., at which time I imagine it to have been an Adulterine Guild, seeing it was only incorporated by letters patent of Edward I., by the appellation of 'The Wardens, or Keepers and Commonalty of the Mystery or Art of Sadlers, London.' This company is governed by a prime and three other wardens, and eighteen a.s.sistants, with a livery of seventy members, whose fine of admission is ten pounds.[7] At the entrance is an ornamental doorcase, and an iron gate, and it is a very complete building for the use of such a company. It is adorned with fretwork and wainscot, and the Company's arms are carved in stone over the gate next the street."

In 1736, Prince Frederick of Wales, that hopeless creature, being desirous of seeing the Lord Mayor's show privately, visited the City in disguise. At that time it was the custom for several of the City companies, particularly for those who had no barges, to have stands erected in the streets through which the Lord Mayor pa.s.sed on his return from Westminster, in which the freemen of companies were accustomed to a.s.semble. It happened that his Royal Highness was discovered by some of the Saddlers' Company, in consequence of which he was invited to their stand, which invitation he accepted, and the parties were so well pleased with each other that his Royal Highness was soon after chosen Master of the Company, a compliment which he also accepted. The City on that occasion formed a resolution to compliment his Royal Highness with the freedom of London, pursuant to which the Court of Lord Mayor and Aldermen attended the prince, on the 17th of December, with the said freedom, of which the following is a copy:--

"The most high, most potent, and most ill.u.s.trious Prince Frederick Lewis, Prince of Great Britain, Electoral Prince of Brunswick-Lunenburg, Prince of Wales, Duke of Cornwall, Duke of Rothsay, Duke of Edinburgh, Marquis of the Isle of Ely, Earl of Eltham, Earl of Chester, Viscount Launceston, Baron of Renfrew, Baron of Snowdon, Lord of the Isles, Steward of Scotland, Knight of the most n.o.ble Order of the Garter, and one of his Majesty's most honourable Privy Council, of his mere grace and princely favour, did the most august City of London the honour to accept the freedom thereof, and was admitted of the Company of the Saddlers, in the time of the Right Honourable Sir John Thompson, Knight, Lord Mayor, and John Bosworth, Esq., Chamberlain of the said City." In his "Industry and Idleness," Hogarth shows us the prince and princess on the balcony of Saddler's Hall.

[Ill.u.s.tration: BOW CHURCH, CHEAPSIDE. (_From a view taken about 1750._)]

That dull poet, worthy Sir Richard Blackmore, whom Locke and Addison praised and Dryden ridiculed, lived either at Saddlers' Hall or just opposite. It was on this weariful Tupper of his day that Garth wrote these verses:--

"Unwieldy pedant, let thy awkward muse, With censures praise, with flatteries abuse.

To lash, and not be felt, in thee's an art; Thou ne'er mad'st any but thy schoolboys smart.

Then be advis'd, and scribble not agen; Thou'rt fas.h.i.+oned for a flail, and not a pen.

If B----l's immortal wit thou wouldst descry, Pretend 'tis he that writ thy poetry.

Thy feeble satire ne'er can do him wrong; Thy poems and thy patients live not long."

[Ill.u.s.tration: NO. 73, CHEAPSIDE (_see page 341_). (_From an old View._)]

And some other satirical verses on Sir Richard began:--

"'Twas kindly done of the good-natured cits, To place before thy door a brace of t.i.ts."

Blackmore, who had been brought up as an attorney's clerk and schoolmaster, wrote most of his verses in his carriage, as he drove to visit his patients, a feat to which Dryden alludes when he talks of Blackmore writing to the "rumbling of his carriage-wheels."

At No. 90, Cheapside lived Alderman Boydell, engraver and printseller, a man who in his time did more for English art than all the English monarchs from the Conquest downwards. He was apprenticed, when more than twenty years old, to Mr. Tomson, engraver, and soon felt a desire to popularise and extend the art. His first funds he derived from the sale of a book of 152 humble prints, engraved by himself. With the profits he was enabled to pay the best engravers liberally, to make copies of the works of our best masters.

"The alderman a.s.sured me," says "Rainy Day Smith," "that when he commenced publis.h.i.+ng, he etched small plates of landscapes, which he produced in plates of six, and sold for sixpence; and that as there were very few print-shops at that time in London, he prevailed upon the sellers of children's toys to allow his little books to be put in their windows. These shops he regularly visited every Sat.u.r.day, to see if any had been sold, and to leave more. His most successful shop was the sign of the 'Cricket Bat,' in Duke's Court, St. Martin's Lane, where he found he had sold as many as came to five s.h.i.+llings and sixpence. With this success he was so pleased, that, wis.h.i.+ng to invite the shopkeeper to continue in his interest, he laid out the money in a silver pencil-case; which article, after he had related the above anecdote, he took out of his pocket and a.s.sured me he never would part with. He then favoured me with the following history of Woollett's plate of the 'Niobe,' and, as it is interesting, I shall endeavour to relate it in Mr. Boydell's own words:--

"'When I got a little forward in the world,' said the venerable alderman, 'I took a whole shop, for at my commencement I kept only half a one. In the course of one year I imported numerous impressions of Vernet's celebrated "Storm," so admirably engraved by Lerpiniere, for which I was obliged to pay in hard cash, as the French took none of our prints in return. Upon Mr. Woollett's expressing himself highly delighted with the "Storm," I was induced, knowing his ability as an engraver, to ask him if he thought he could produce a print of the same size which I could send over, so that in future I could avoid payment in money, and prove to the French nation that an Englishman could produce a print of equal merit; upon which he immediately declared that he should like much to try.

"'At this time the princ.i.p.al conversation among artists was upon Mr.

Wilson's grand picture of "Niobe," which had just arrived from Rome. I therefore immediately applied to his Royal Highness the Duke of Gloucester, its owner, and procured permission for Woollett to engrave it. But before he ventured upon the task, I requested to know what idea he had as to the expense, and after some consideration, he said he thought he could engrave it for one hundred guineas. This sum, small as it may now appear, was to me,' observed the alderman, 'an unheard-of price, being considerably more than I had given for any copper-plate.

However, serious as the sum was, I bade him get to work, and he proceeded with all cheerfulness, for as he went on I advanced him money; and though he lost no time, I found that he had received nearly the whole amount before he had half finished his task. I frequently called upon him, and found him struggling with serious difficulties, with his wife and family, in an upper lodging in Green's Court, Castle Street, Leicester Square, for there he lived before he went into Green Street.

However, I encouraged him by allowing him to draw on me to the extent of twenty-five pounds more; and at length that sum was paid, and I was unavoidably under the necessity of saying, "Mr. Woollett, I find we have made too close a bargain with each other. You have exerted yourself, and I fear I have gone beyond my strength, or, indeed, what I ought to have risked, as we neither of us can be aware of the success of the speculation. However, I am determined, whatever the event may be, to enable you to finish it to your wish--at least, to allow you to work upon it as long as another twenty-five pounds can extend, but there we must positively stop." The plate was finished; and, after taking very few proofs, I published the print at five s.h.i.+llings, and it succeeded so much beyond my expectations, that I immediately employed Mr. Woollett upon another engraving, from another picture by Wilson; and I am now thoroughly convinced that had I continued publis.h.i.+ng subjects of this description, my fortune would have been increased tenfold.'"

"In the year 1786," says Knowles, in his "Life of Fuseli," "Mr. Alderman Boydell, at the suggestion of Mr. George Nicol, began to form his splendid collection of modern historical pictures, the subjects being from Shakespeare's plays, and which was called 'The Shakespeare Gallery.' This liberal and well-timed speculation gave great energy to this branch of the art, as well as employment to many of our best artists and engravers, and among the former to Fuseli, who executed eight large and one small picture for the gallery. The following were the subjects: 'Prospero,' 'Miranda,' 'Caliban,' and 'Ariel,' from the _Tempest_; 't.i.tania in raptures with Bottom, who wears the a.s.s's head, attendant fairies, &c.;' 't.i.tania awaking, discovers Oberon at her side, Puck is removing the a.s.s's head from Bottom' (_Midsummer Night's Dream_); 'Henry V. with the Conspirators' (_King Henry V._); 'Lear dismissing Cordelia from his Court' (_King Lear_); 'Ghost of Hamlet's Father' (_Hamlet_); 'Falstaff and Doll' (_King Henry IV., Second Part_); 'Macbeth meeting the Witches on the Heath' (_Macbeth_); 'Robin Goodfellow' (_Midsummer Night's Dream_). This gallery gave the public an opportunity of judging of Fuseli's versatile powers.

"The stately majesty of the 'Ghost of Hamlet's Father' contrasted with the expressive energy of his son, and the sublimity brought about by the light, shadow, and general tone, strike the mind with awe. In the picture of 'Lear' is admirably portrayed the stubborn rashness of the father, the filial piety of the discarded daughter, and the wicked determination of Regan and Goneril. The fairy scenes in _Midsummer Night's Dream_ amuse the fancy, and show the vast inventive powers of the painter; and 'Falstaff with Doll' is exquisitely ludicrous.

"The example set by Boydell was a stimulus to other speculators of a similar nature, and within a few years appeared the Macklin and Woodmason galleries; and it may be said with great truth that Fuseli's pictures were among the most striking, if not the best, in either collection."

"A.D. 1787," says Northcote, in his "Life of Reynolds," "when Alderman Boydell projected the scheme of his magnificent edition of the plays of Shakespeare, accompanied with large prints from pictures to be executed by English painters, it was deemed to be absolutely necessary that something of Sir Joshua's painting should be procured to grace the collection; but, unexpectedly, Sir Joshua appeared to be rather shy in the business, as if he thought it degrading himself to paint for a printseller, and he would not at first consent to be employed in the work. George Stevens, the editor of Shakespeare, now undertook to persuade him to comply, and, taking a bank-bill of five hundred pounds in his hand, he had an interview with Sir Joshua, when, using all his eloquence in argument, he, in the meantime, slipped the bank-bill into his hand; he then soon found that his mode of reasoning was not to be resisted, and a picture was promised. Sir Joshua immediately commenced his studies, and no less than three paintings were exhibited at the Shakspeare Gallery, or at least taken from that poet, the only ones, as has been very correctly said, which Sir Joshua ever executed for his ill.u.s.tration, with the exception of a head of 'King Lear' (done indeed in 1783), and now in possession of the Marchioness of Th.o.m.ond, and a portrait of the Hon. Mrs. Tollemache, in the character of 'Miranda,' in _The Tempest_, in which 'Prospero' and 'Caliban' are introduced.

"One of these paintings for the Gallery was 'Puck,' or 'Robin Goodfellow,' as it has been called, which, in point of expression and animation, is unparalleled, and one of the happiest efforts of Sir Joshua's pencil, though it has been said by some cold critics not to be perfectly characteristic of the merry wanderer of Shakespeare.

'Macbeth,' with the witches and the caldron, was another, and for this last Mr. Boydell paid him 1,000 guineas; but who is now the possessor of it I know not.

"'Puck' was painted in 1789. Walpole depreciates it as 'an ugly little imp (but with some character) sitting on a mushroom half as big as a milestone.' Mr. Nicholls, of the British Inst.i.tution, related to Mr.

Cotton that the alderman and his grandfather were with Sir Joshua when painting the death of Cardinal Beaufort. Boydell was much taken with the portrait of a naked child, and wished it could be brought into the Shakspeare. Sir Joshua said it was painted from a little child he found sitting on his steps in Leicester Square. Nicholls' grandfather then said, 'Well, Mr. Alderman, it can very easily come into the Shakspeare if Sir Joshua will kindly place him upon a mushroom, give him fawn's ears, and make a Puck of him.' Sir Joshua liked the notion, and painted the picture accordingly.

"The morning of the day on which Sir Joshua's 'Puck' was to be sold, Lord Farnborough and Davies, the painter, breakfasted with Mr. Rogers, and went to the sale together. When the picture was put up there was a general clapping of hands, and yet it was knocked down to Mr. Rogers for 105 guineas. As he walked home from the sale, a man carried 'Puck'

before him, and so well was the picture known that more than one person, as they were going along the street, called out, 'There it is!' At Mr.

Rogers' sale, in 1856, it was purchased by Earl Fitzwilliam for 980 guineas. The grown-up person of the sitter for 'Puck' was in Messrs.

Christie and Manson's room during the sale, and stood next to Lord Fitzwilliam, who is also a survivor of the sitters to Sir Joshua. The merry boy, whom Sir Joshua found upon his doorstep, subsequently became a porter at Elliot's brewery, in Pimlico."

In 1804, Alderman Boydell applied through his friend, Sir John W.

Anderson, to the House of Commons, for leave to dispose of his paintings and drawings by lottery. In his pet.i.tion he described himself, with modesty and pathos, as an old man of eighty-five, anxious to free himself from debts which now oppressed him, although he, with his brethren, had expended upwards of 350,000 in promoting the fine arts.

Sixty years before he had begun to benefit engraving by establis.h.i.+ng a school of English engravers. At that time the whole print commerce of England consisted in importing a few foreign prints (chiefly French) "to supply the cabinets of the curious." In time he effected a total change in this branch of commerce, "very few prints being now imported, while the foreign market is princ.i.p.ally supplied with prints from England." By degrees, the large sums received from the Continent for English plates encouraged him to attempt also an English school of pictorial painting, the want of such a school having been long a source of opprobrium among foreign writers on England. The Shakespeare Gallery was sufficient to convince the world that English genius only needed encouragement to obtain a facility, versatility, and independence of thought unknown to the Italian, Flemish, or French schools. That Gallery he had long hoped to have left to a generous public, but the recent Vandalic revolution in France had cut up his revenue by the roots, Flanders, Holland, and Germany being his chief marts. At the same time he acknowledged he had not been provident, his natural enthusiasm for promoting the fine arts having led him after each success to fly at once to some new artist with the whole gains of his former undertaking. He had too late seen his error, having increased his stock of copper-plates to such a heap that all the print-sellers in Europe (especially in these unfavourable times) could not purchase them. He therefore prayed for permission to create a lottery, the House having the a.s.surance of the even tenor of a long life "that it would be fairly and honourably conducted."

The worthy man obtained leave for his lottery, and died December 11, a few days after the last tickets were sold. He was buried with civic state in the Church of St. Olave, Jewry, the Lord Mayor, aldermen, and several artists attending. Boydell was very generous and charitable. He gave pictures to adorn the City Council Chamber, the Court Room of the Stationers' Company, and the dining-room of the Sessions House. He was also a generous benefactor to the Humane Society and the Literary Fund, and was for many years the President of both Societies. The Shakespeare Gallery finally fell by lottery to Mr. Ta.s.sie, the well-known medallist, who thrived to a good old age upon the profits of poor Boydell's too generous expenditure. This enterprising man was elected Alderman of Cheap Ward in 1782, Sheriff in 1785, and Lord Mayor in 1790. His death was occasioned by a cold, caught at the Old Bailey Sessions. His nephew, Josiah Boydell, engraved for him for forty years.

It was the regular custom of Mr. Alderman Boydell (says "Rainy Day"

Smith), who was a very early riser, to repair at five o'clock immediately to the pump in Ironmonger Lane. There, after placing his wig upon the ball at the top, he used to sluice his head with its water.

This well known and highly respected character was one of the last men who wore a three-cornered hat, commonly called the "Egham, Staines, and Windsor."

FOOTNOTES:

[7] I regret that, relying upon authorities which are not corrected up to the present date, I was led into some errors in my account of the Stationers' Company on pp. 229--233 of this work. The table of planetary influences has been for several years discontinued in Moore's Almanack; and the Company are not ent.i.tled to receive for themselves any copies of new books.--W.T.