Part 2
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.