345

"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 illustration, with the exception of a head of 'King Lear' (done indeed in 1783), and now in possession of the Marchioness of Thomond, 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,

sitting on a mushroom half as big as a mile-stone.' Mr. Nicholls, of the British Institution, 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 door-step, 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 petition 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 establishing 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 principally 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 assurance 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. Tassie, 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."

bury. Subsequently another was appointed, with an establishment in Lombard Street, the ancient rendezvous of the merchants; and it appears not improbable that Queen Elizabeth's intention was to have removed this functionary to what was pre-eminently designated by her 'The Royal Exchange,' and hence the reason for the change of the name of this edifice by Elizabeth."

the reign of Henry VIII. the coin grew so debased as to be difficult to exchange, and the Goldsmiths quietly superseded the royal officer. In 1627 Charles I., ever on the watch for power, re-established the office, and in a pamphlet written by his orders, asserted that the prerogative had always been a flower of the Crown, and that the Goldsmiths had left off their proper trade and turned exchangers of plate and foreign coins for our English coins, although they had no right.' Charles entrusted the office of 'changer, exchanger, and ante-changer' to Henry Rich, first Earl of Holland, who soon deserted his cause for that of the Parliament. The office has not since been re-established." No. 36, Old 'Change was formerly the "Three Morrice Dancers" public-house, with the three figures sculptured on a stone as the sign and an ornament (temp. James I.). The house was taken down about 1801. There is an etching on stone of this very characteristic sign.

The celebrated poet and enthusiast, Lord Herbert of Cherbury, lived, in the reign of James I., in a “house among gardens, near the old Exchange." At the beginning of the last century, the place was chiefly inhabited by American merchants; at this time it is principally inhabited by calico printers and Manchester warehousemen.

"Friday Street was so called," says Stow, "of fishmongers dwelling there, and serving Friday's Market." In the roll of the Scrope and Grosvenor heraldic controversy (Edward III.) the poet Chaucer is recorded as giving the following evidence connected with this street :

"Geffray Chaucere, Esqueer, of the age of forty years, and moreover armed twenty-seven years for the side of Sir Richard Lescrop, sworn and examined, being asked if the arms, azyure, a bend or, belonged or ought to pertain to the said Sir Richard by right and heritage, said, Yes; for he saw him so armed in Frannce, before the town of Petters, and Sir Henry Lescrop armed in the same arms with a white label and with banner; and the said Sir Richard armed in the entire arms azyure a bend or, and so during the whole expedition until the said Geaffray was taken. Being asked how he knew that the said arms belonged to the said Sir Richard, said that he had heard old knights and esquires say that they had had continual possession of the said arms; and that he had seen them displayed on banners, glass paintings, and vestments, and commonly called the arms of Scrope. Being asked whether he had ever heard of any interruption or challenge made by Sir Robert Grosvenor or his ancestors, said No; but that he was once in Friday Street, London, and walking up the street he ob

347

served a new sign hanging out with these arms thereon, and enquired what inn that was that had hung out these arms of Scrope? And one answered him, saying, 'They are not hung out, Sir, for the arms of Scrope, nor painted there for those arms, but they are painted and put there by a Knight of the county of Chester, called Sir Robert Grosvernor.' And that was the first time he ever heard speak of Sir Robert Grosvernor or his ancestors, or of any one bearing the name of Grosvernor." This is one of the few authentic scraps that we possess of the facts of Chaucer's life.

The "White Horse," a tavern in Friday Street, makes a conspicuous figure in the " Merry Conceited Jests of George Peele," the poet and playwriter of Elizabeth's reign.

At the Wednesday Club in Friday Street, William Paterson, the founder of the Bank of England, and originator of the unfortunate Darien scheme, held his real or imaginary "Wednesday club" meetings, at which were discussed proposals for the union of England and Scotland and the redemption of the National Debt. This remarkable financier was born at Lochmaben, in Dumfriesshire, in 1648, and died in 1719. The following extracts from Paterson's probably imaginary conversations are of interest :

"And thus," says Paterson, "supposing the people of Scotland to be in number one million, and that as matters now stand their industry yields them only about five pounds per annum per head, as reckoned one with another, or five millions yearly in the whole, at this rate these five millions will by the union not only be advanced to six, but put in a way of further improvement; and allowing £100,000 per annum were on this foot to be paid in additional taxes, yet there would still remain a yearly sum of about £900,000 towards subsisting the people more comfortably, and making provision against times of scarcity, and other accidents, to which, I understand, that country is very much exposed (1706)."

"And I remember complaints of this kind were very loud in the days of King Charles II.," said Mr. Brooks, "particularly that, though in his time the public taxes and impositions upon the people were doubled or trebled to what they formerly were, he nevertheless run at least a million in debt."

"If men were uneasy with public taxes and debts in the time of King Charles II.," said Mr. May, "because then doubled or trebled to what they had formerly been, how much more may they be so now, when taxed at least three times more, and the public debts increased from about one million, as you say they then were, to fifty millions or up