Part 5
Two small pictures, by Horizonti.
Two ditto, by Lucatelli.
Prince Henry, by P. Oliver.
Ruins of the Temple of Minerva, by Viviano, or Salvius.
A landscape, by Rubens.
A landscape, by Fauquier.
A frost piece, by Ostade.
A landscape, by Gasp. de Wit, figures by Ferg.
Ruins and figures, by Marco and Seb. Ricci.
A sea view, by Vandervelde.
A landscape, in the manner of Van Uden.
Philippo Laura, by himself.
Two small views, by Cocoranti.
A sea calm, by Woodcock.
David and Abigail, by Brughel.
A sea view, by Bonaventure Peters.
A landscape, by Martin Rykaert.
Two small landscapes, by Artois.
The finding of Moses, by Romanelli.
Dead birds, by Ferguson.
Two landscapes, by Ruysdale.
St. John led by his disciples, by Blanchet.
A landscape, by Rembrandt.
A landscape, by Ruysdale, the figures by Wovermans.
A lady’s head, by Cornelius Johnson.
Lord Carnarvon, by Sir P. Lely.
A Dutch watchmaker, by Fr. Hals.
A landscape, by Van Huysum.
A landscape, by J. Asselyn.
A landscape, by Swanevelt.
A landscape, by Francisco Mille.
The marriage of St. Catharine, after Giorgione.
A landscape, by Swanevelt.
A landscape, with Argus and Hermes.
The last supper, by Vandyke or Dieperbeck.
The flight into Egypt, by Polembergh.
L. D’Honat’s Eden.
A calm, by Vandervelde, best manner.
The good Samaritan.
A landscape, by Tempesta.
St. Peter walking on the sea, by Paul Brill.
Fowls, by Cradock.
A storm (small) by Vandervelde.
Ruins, by Viviano.
The transfiguration, after Raphael.
A landscape and figures, by Bourgognone.
A winter piece, by Molinaer.
St. Jerom, by Teniers.
A landscape, by Rousseau.
Ruins, by Panini.
A sun-rising, by Courtois.
A landscape, by Old Patell.
A church, by De Neef, the priest carrying the host; the figures by Teniers.
St. Sebastian, after Domenichino.
St. Peter delivered out of prison, by De Neef, the figures by O. Teniers.
A head (supposed of an apostle) by Vandyke.
The flight into Egypt, a sketch, by Gius. Passeri.
Part of Titian’s Comari, copied by Dahl.
A head of Christ crowned with thorns, by Guido.
Christ crowned with thorns, with the reed in his hand, of the school of Caracci.
Lot going out of Sodom, and Abraham with three Angels, two drawings, by Cheron.
St. Jerom in a cave, by Teniers.
The murder of the innocents, a drawing after Raphael.
A drawing after Nic. Poussin, by Cheron, of the passage thro’ the red sea.
A Roman sacrifice, a drawing from the antique, by Cheron.
A land storm, by Peters, or Teniers.
Christ driving the buyers and sellers out of the temple, by Jac. Bassano.
Two conversations in water colours, by Fergue.
A boy and girl, heads.
A landscape and sea piece in water colours, by Tillemans.
Two landscapes in the manner of Brughel, by Old Grissier.
A landscape, by Fergue.
A view of Scheveling, by De Vleiger.
A sea piece, by Vandervelde.
A front piece, by Bonaventure Peters.
Two landscapes, by Polembergh.
A landscape, by Sachtleven.
A landscape, by Van Maas.
A gale and view, by Backhuysen.
Two sea pieces, by Vandervelde.
A landscape, by Hobbima.
A head of Seb. Bourdon, by Netschar.
Eliezer and Rebecca, by Vander Cabel.
Christ sleeping, of the school of Carlo Maratti.
A view in Rome, by Gaspar D’Ochiale.
A landscape and cattle, by Cuyp.
A brisk gale, by Vandervelde.
A boy’s head, by Dubois.
Christ and the two Disciples at Emmaus, by Teniers.
A head of Richard Penderith.
A landscape, by Molyn.
A sea piece, by Vandervelde.
A landscape, by Vanderheyden.
A landscape, by Van Balen, with a holy family.
A sea piece, by Backhuysen.
A sea piece, by De Vlieger.
Two landscapes, by Both.
Chickens, a study, by Hondicooter.
A sea piece, by Vangoen.
A sea piece, by Ruysdale.
A frost piece, by Adr. Vandevelde.
A landscape, by Wovermans.
An inn yard, copy from Wovermans.
A moon-light, by Vanderneer.
A frost piece, by Molenaer.
A landscape, by Housemans.
Two Dutch views, Flemish.
Judith with Holofernes’s head, by Bronzino.
Jerome Cardan.
A hermit contemplating eternity, by Salvator Rosa.
St. Jerome, by Guido.
A landscape, with the flight into Egypt, by Domenichino.
A landscape, by Courtois.
Two landscapes, by Godfrey.
Tobias curing his father’s eyes, by Rembrandt.
Morning and Evening, by Berghem.
A landscape, by Old Patelle.
The wise men offering, by Rotenhamer.
A landscape, by Wovermans.
Ruins, by Viviano.
View of the Colisæum, by Paulo Panini.
Dead game, by Baltazar Caro.
Architecture, by Ghisolfi.
A landscape, by Swanevelt.
A landscape with rocks, by Teniers, or P. Snayer.
A landscape, by Van Zwierin.
A landscape with others, by Teniers.
Two landscapes, by Vincaboon.
A landscape, by Fr. Miel.
A view of Willybos, by T. Molinaer.
A landscape, by Both and Bodwyn.
Iphigenia, after Bourdon.
A landscape, by P. Brill, or Vincaboon.
A white fox or racoon, by Hondicooter.
A small gale, by Vandervelde.
A landscape, by Both.
A landscape, by De Vries.
The fable of the Satyr and clown, by Sorgue.
A landscape, by Ruysdale.
Ditto, by Both.
A philosopher’s head, by Pietro da Pietri.
A battle, by Tillemans.
Ruins, by Ghisolfi.
A landscape, by Fauquier.
Ditto, perhaps Artois.
A sketch of a sea fight, by Vandervelde.
A landscape, with Elijah and the ravens, by R. Savory.
Two pictures of lions and tygers, by J. Vanderbank.
Christ and the Samaritan woman, and Mary Magdalen in the garden, by Columbell.
Head of Annibal Caracci, by himself.
A view of the Rhine, by Vosterman.
The nativity, a sketch, by Rubens.
A sea piece, by Monamy.
Two landscapes, by Vandiest.
An emblematical picture of Justice, by Solimeni.
Virgin and child, and St. Francis with angels, by Seb. Concha.
St. Francis asleep, an angel fiddling, after Philippo Laura.
A storm, by Vandervelde.
A landscape, by Kierings.
A landscape, by De la Hire.
A copy, from Claude.
A view, with ruins and figures, by Marco and Sebastian Ricci.
A fresh gale, by Vandervelde.
Hagar and Ishmael, by Val. Castelli.
St. Jerome, by Guido.
Riposo, by L. Caracci, or Carlo Cignani.
Two landscapes, by Vorsterman.
Peter in prison, by Stenwick.
Destruction of Sodom, by ditto.
The deluge, by Polemburgh.
Corps de Guard and its companion, by Bamboccio.
A landscape, by Mat. Brill.
A landscape, in imitation of Ruysdale.
A landscape, with a Magdalen, by Teniers.
A landscape, by Ruysdale.
The head of Isaiah, on paper, by Raphael.
A conversation, by Ostade.
A battle, by Bourgognone.
Soldier and boors fighting, Molinaer.
A landscape, Swanevelt.
Belshazzar’s feast, after Rembrandt, by Tillemans.
Still life, Edema.
A hen and chickens, Cradock.
A battle, by Vander Mulen.
The mocking of Christ, by Cheron.
Incendio del Borgo, after Raphael.
Christ and St. Thomas, Cavedone.
Two portraits of P. Cha. and his mother.
A fruit piece, by Mich. Angelo Campidoglio, o da Pace.
David and Solomon, Rubens.
Two landscapes, Annib. Caracci.
A conversation, Seb. Bourdon.
A conversation, with dancing, Annib. Caracci.
A masquerade, Gobbo Caracci.
Benjamin accused of stealing the cup, by J. De Wit.
Two landscapes, by Mola.
The battle of Amazons, after Jul. Romano.
Two landscapes, Vincaboon.
Mr. Handel’s picture, by Hudson.
Fowls, &c. Y. Wenix.
The passage of the red sea, by De Wit.
A concert of music, by Pasqualini.
Hero and Leander, by Elsheimer.
Two heads of Lodov. and Aug. Caracci.
A sea port, by Storck.
A pieta, Trevisani.
Christ, Simon the Pharisee, and M. Magdalen, by Lappi.
A view of Scheveling, a storm coming on, by Ruysdale.
A battle, by Mich. Angelo delle Battaglie.
St. Sebastian, by Guercino.
Bened. Castiglione, by himself.
A landscape, with cattle, by Cuyp.
The inside of the Jesuits church at Antwerp, by De Neef.
A landscape with cattle, by Rosa of Tivoli.
Æolus and the four winds, by Carlo Maratti.
Two heads of St. Peter and St. Paul, by Guercino.
Christ asleep, with two angels looking on, by Murillo.
A wounded stag swimming across a brook.
St. Jerome and the Angel with a trumpet, by Guercino.
A view of Sulftara, by Berchem and Both.
A battle of the bridge, by Bourgognone.
A landscape, with a Magdalen in it, by Albani, or Bartolom. Breenberg in imitation of him.
A sketch of martyrdom, by Vandyke.
A horse watering, by Wovermans.
A landscape, by Adr. Vandervelde.
A copy of Raphael’s Heliodorus.
A sketch, by Rubens, of binding of Samson.
A sea port, by J. Miel.
A landscape, by Paul Brill.
A landscape, by Tillemans, or Houseman.
A sea piece, by Dubbels.
A chalk kiln, by Ruysdale.
A landscape, by Hobbima.
A moon-light, by Vanderneer.
A landscape, by Wynantz.
Hector and Achilles, by Nic. Poussin, or Pietro Testa.
Two landscapes, by Claude Lorraine.
St. Peter dictating the gospel to St. Mark, by Pietro di Cortona.
A landscape, by Verboom, the figures, &c. by Adr. Vandervelde.
Decollation of St. John the Baptist, by Mich. Angelo da Carravagio, or Valentini.
A man’s head, by Ant. Moore.
A view of the Doge’s palace, after Canaletti.
A landscape, by F. Miel.
A calm, by Vandiest.
A battle, by Tillemans.
A Court de Guard, by Le Duc.
The holy child Jesus in the arms of Joseph, by Giuseppe del Solo, a disciple of Carlo Cignani.
A landscape, by Solomon Ruysdale.
An ascension, the finished sketch for the King’s chapel at Versailles, by Jouvenet.
A holy family, by Erasm. Quiline.
A landscape, by Croose.
A bag piper, by Albert Durer.
Two sketches, after Tintoret, one the trial of Christ, the other leading him away.
A sea piece, by Van Cappel.
A landscape, by Sol. Ruysdale.
Dead game, with a dog and cat, by Fyte.
Two landscapes, by Mola.
A landscape, by Pynas.
A landscape and architecture, by Le Maire, with figures, by Phil. Laura.
A landscape, by Fauquier.
A village carnival, by P. Wovermans.
A holy family, by Carlo Maratti.
Two landscapes, by Bellin.
Christ healing the sick, a sketch, by Tintoret.
Fowls, by Cradock.
A landscape, by Nic. Poussin.
Riposo, F. Vanni.
A cartoon head, by Raphael.
Christ disputing with the doctors, a sketch, by Titian.
A holy family, by Schidoni.
A battle, by Salvator Rosa.
Two views of the Clitumnus and Avernus, by Wilson.
A storm, by Annib. Caracci.
A landscape, with the baptism of Christ, by Nic. Poussin.
Samson slaying the Philistines with the jaw bone of an ass, Val. Castelli.
Fred. Zuccaro’s picture, by himself.
Hercules and Antæus, by Rubens.
Hagar and Ishmael, by Le Sueur.
A woman making lace, by Scalken.
The fall of Simon Magus, a sketch, by Pompeio.
A shepherd and shepherdess with cattle, by C. du Jardin.
A landscape, by Dekker.
A girl sewing, by Ostade.
An ox, by Potter, the landscape by Vanderhyde.
The flight into Egypt, by Dominic. Antolini.
Hercules and Cerberus, a sketch, by Rubens.
A landscape and cattle, by Carree.
A landscape, by Brughel, the figures Rotenhamer.
Moses on the mount, by Jac. Bassan.
A landscape, by Dekker.
A copy of Guido’s Aurora, by Carlo Maratti, or Gius. Cari.
A landscape, by Mr. Wotton.
Lot and his daughters, by Elsheimer.
Christ in the garden, by P. Veronese.
A moon-light, by O. Giffier.
A landscape, by Berkheyde.
A landscape, by De Heusch.
A landscape, by Wynantz, the figures by Wovermans.
Christ’s agony in the garden, by Ant. Balestra.
John Baptist pointing him out to two disciples, ditto.
A landscape, by Vanderneer.
A landscape, by Fauquier, with figures, by Teniers.
A witch and devils, by Hellish Brughel.
A battle, by Wotton.
An old man’s head, by Rembrandt.
A landscape, by Borsam.
Venus coming to Vulcan to beg armour for Æneas, by Goltzius.
A landscape, by Gaspar Poussin.
A landscape, by Nicola Poussin.
Two heads, of an old man and an old woman, by Denier.
King Ahasuerus and Q. Esther, by Gabiani.
The sick man healed at the pool of Bethesda, by Erasmus Quillinius.
The last supper, by Jouvenet.
Head of a madona, with a book, by Elisabetti Sirani.
A landscape, by Studio.
Bustos, Statues, Bas Reliefs, &c.
A girl’s head, marble, after the antique, by Scheemaker.
A model of St. John Baptist in the wilderness, by Bernini, in terra cotta.
The judgment of Midas, an ivory Bas Rel.
Orpheus playing to the beasts, Bas Rel. Bronze.
Erato, Bronze, antique.
The statue of Fides Christiana, by Roubiliac, marble.
A model of St. Andrew, by Fiamingo, terra cotta.
A madona and child, in imitation of Rubens’s manner of painting, terra cotta.
Ceres, after that in the Capitol, by Scheemaker, terra cotta.
St. Jerome, by Mich. Angelo, terra cotta.
A Bacchanalian boy, after Camillo Ruscoin, by Hayward.
A bust of Aratus, after the antique, by ditto, marble.
A model of Mr. Roubiliac’s statue of Fides Christiana, in terra cotta.
A model of Moses, by Mich. Angelo, terra cotta.
A model of Flora, by Roubiliac. ter. cotta.
A vestal, after the antique, by Hayward, marble.
A small antique bust of Æsclepiades, the Greek physician, marble.
ORMOND _yard_, Great Ormond street.
_Court of_ ORPHANS. This court is occasionally held at Guildhall, by the Lord Mayor and Aldermen, who are guardians to the children of freemen under the age of twenty-one years at the decease of their fathers, and take upon them not only the management of their goods and chattels, but likewise that of their persons, by placing them under the care of tutors, to prevent disposing of themselves during their minority, without their approbation.
By this court the common serjeant is authorised to take exact accounts and inventories of all the deceased freemen’s estates; and the youngest attorney of the Lord Mayor’s court being clerk to that of the orphans, is appointed to take securities for their several portions, in the name of the Chamberlain of London, who is a corporation of himself, for the service of the said orphans; and to whom a recognizance or bond, made upon the account of an orphan, shall by the custom of London, descend to his successor.
It may not be improper to add, that when a freeman dies and leaves children in their minority, the clerks of the several parishes are according to a law of the city, to give in their names to the common crier, who is immediately to summon the widow, or executor, to appear before the court of Lord Mayor and Aldermen, to bring an inventory of, and security for the testator’s estate; for which two months time is commonly allowed: and, in case of non-appearance, or refusal of security, the Lord Mayor may commit the contumacious executor to Newgate. _Lex Lond._
OVERMAN’S _court_, Pepper alley.†
OWEN’S _Almshouse_, near the south end of Islington, was erected by the company of Brewers, in the year 1610, for ten poor widows of the parish of St. Mary’s Islington, pursuant to the will of the Lady Alice Owen, who allowed each widow 3_l._ 16_s._ _per annum_, three yards of cloth for a gown every other year, and 6_l._ to be laid out annually in coals for the use of the whole.
OXENDON _street_, Coventry street.
OXFORD ARMS _Inn lane_, Warwick lane, near Newgate market.*
OXFORD ARMS _passage_, Warwick lane.*
OXFORD ARMS _yard_, in the Haymarket.*
OXFORD _court_, 1. Camomile street. 2. Salter’s Hall court, Swithin’s lane. Here was anciently the house of the Prior of Torrington in Suffolk, which afterwards fell to the Earls of Oxford; but that edifice being at length demolished, and this court built in its room, it retained the name of the former possessor. 3. Oxford street.
OXFORD _market_, Oxford street, so called from its being on the estate of the late Earl of Oxford.
OXFORD _street_, St. Giles’s pound. This street, the market, and court of the same name, are all on the estate of the late Earl of Oxford.
P.
PACKER’S _court_, Coleman street.
PACKINGTON’S _Almshouse_, in White Friars, Fleet street, commonly called Clothworkers almshouses, was founded by the Lady Anne Packington, relict of Sir John Packington, Chirographer of the court of Common Pleas, about the year 1560, for the accommodation of eight poor women, each of whom receives annually of the Clothworkers company, who have the trust of this charity, the sum of 4_l._ nine bushels of coals, and new apparel every third year. _Maitland._
PACKSON’S _rents_, Jamaica street.
PACKTHREAD _ground_, 1. Bandy Leg walk. 2. End of Barnaby street. 3. Coleman street. 4. Gravel lane. 5. Near Maiden lane.
PADDINGTON, a village in Middlesex, situated on the north side of Hyde Park.
PAGE (Sir Gregory) for an account of his house and pictures. See BLACKHEATH.
PAGEANT’S _stairs_, Rotherhith.
PAGE’S _walk_, King’s Road.†
PAGE’S _yard_, Brewhouse lane, Wapping.†
PAIN’S _alley_, Wapping Wall.†
PAIN’S _yard_, Swan alley, East Smithfield.†
PAIN’S _hill_, near Cobham, in Surry, is the seat of the Honourable Charles Hamilton, who has made great improvements, by inclosing a large tract of barren land, which though so poor as to produce nothing but heath and broom, he has so well cultivated and adorned, that few places are equal to it. The whole place is about five miles round; it is laid out in the modern taste, and planted with a beautiful variety of trees, plants, and flowers. The fine inequalities of the ground give a perpetual variety to the prospects, especially on that side next the river Mole, which river, though it lies lower than the level of the gardens by twenty feet, is brought into them by means of a wheel curiously contrived, which is turned by the river. Every time it turns round it takes up the water and conveys it through a spiral pipe from the circumference of the wheel to the center of it, from whence it is discharged into a trough, and from thence through pipes into the gardens, where by the joint assistance of nature and art, it is formed into a fine winding lake or piece of water, with an island in it, planted and laid out in walks, with bridges over to it of the most simple contrivance, and the whole surrounded with rising grounds, clumps of trees, and hanging woods, in as romantic and picturesque a manner as imagination can conceive. These gardens are but lately laid out, and consequently some of the plantations will appear to more advantage as they advance in growth. But the place upon the whole is very beautiful, and extremely well worth seeing.
PAINTER’S _court_, Berry street.
PAINTER’S _rents_, Ratcliff highway.
PAINTER STAINERS, a company incorporated by letters patent granted by Queen Elizabeth in the year 1582; by the name of _The Master, Wardens and Commonalty of the freemen of the art and mystery of painting, called Painter Stainers, within the city of London_.
This fraternity is governed by a Master, two Wardens, and nine Assistants, to which belongs a livery of 124 members, who upon their admission pay a fine of 14_l._
PAINTER STAINERS _Hall_, in Little Trinity lane, is adorned with a handsome screen, arches, and pilasters of the Corinthian order, painted in imitation of porphyry, with gilt capitals. The pannels are of wainscot, and on the ceiling is finely painted by Fuller, Pallas triumphant, while Art and Fame, attended by Mercury, suppress their enemies, Sloth, Envy, Pride, &c. the other paintings are Endymion and Luna, by Palmatier; Orpheus slaying Pan, by Brull; Art and Envy, by Hungis; the portraits of King Charles II. and his Queen Catharine, by Houseman; a portrait of Camden; the fire of London; a piece of architecture of the Corinthian order, by Trevit; another of the Ionic order, given by Mr. Thompson, the city painter; Heraclitus and Democritus, by Penn; a landscape, by Aggas; fish and fowl, by Robinson; a piece of birds, by Barlow; a piece of fruit and flowers, by Everbrook; a ruin, by Griffier; and a fine piece of shipping, by Peter Monumea. There are several other pieces in the parlour.
In the court room are some fine pictures, most of which are portraits of the members of the company; and in the front of the room is a fine bust of Mr. Thomas Evans, who left five houses in Basinghall street to the company.
Mr. Camden, the famous antiquarian, whose father was a painter in the Old Bailey, gave the Painter Stainers company a silver cup and cover, which they use every St. Luke’s day at their election; the old Master drinking to the one then elected, out of it. Upon this cup is the following inscription:
GUL. CAMDENUS CLARENCEUX FILIUS SAMPSONIS PICTORIS LONDINENSIS DONO DEDIT. _Maitland._
PALLMALL, a very handsome street, inhabited by several persons of the first quality, extending from the end of the Haymarket to St. James’s palace.
PALLMALL _court_, Pallmall.
PALMER’S _Almshouse_, at Tothill-side, Westminster, was founded by James Palmer, B. D. in the year 1654, for the reception of twelve poor men and women, to each of whom he gave a perpetual annuity of 6_l._ and a chaldron of coals.
To this building also belongs a school, in which twenty boys are taught reading, writing, and arithmetic; for which the master has an annual salary of 12_l._ and a chaldron of coals, with a convenient house, and a gown every other year.
Here also is a chapel for the use of the pensioners and scholars, in which the founder himself for some time preached and prayed twice a day to them. _Maitland._
PALSGRAVE’S HEAD _court_, in the Strand.*
PALYN’S _Almshouse_, in Pesthouse row, near Old street, was founded by George Palyn, citizen and girdler, for six poor members of his company; he also endowed it with an estate of 40_l._ a year, and committed it to the trust of that company. _Maitland._
PANCRAS, a small hamlet in Middlesex, on the north west side of London, in the road to Kentish town. It has a church dedicated to St. Pancras, and called St. Pancras in the Fields, an old plain Gothic structure, with a square tower without a spire. It is a vulgar tradition that this church is of greater antiquity than that of St. Paul’s cathedral, of which it is only a prebend; but this arises from a mistake; for the church of St. Pancras, termed the mother of St. Paul’s, was situated in the city of Canterbury, and was changed from a Pagan temple to a Christian church by St. Austin the monk, in the year 598, when he dedicated it to St. Pancras.
The church yard, is a general burying place for persons of the Romish religion. At a public house on the south side of the church is a medicinal spring.
_St._ PANCRAS, a church which stood on the north side of St. Pancras lane, near Queen street, in Cheap ward, owed its name, as did the church mentioned in the above article, to St. Pancras a young Phrygian nobleman, who suffered martyrdom under the Emperor Dioclesian, for his strict adherence to the Christian religion. This church, which was a rectory, and one of the peculiars in this city belonging to the Archbishop of Canterbury, was destroyed by the fire of London, and not being rebuilt, the parish was, by act of parliament, annexed to the church of St. Mary le Bow in Cheapside.
PANCRAS _lane_, Queen street, Bucklersbury.
PANKETHMAN’S _buildings_, Golden lane.
PANNIER _alley_, near Cheapside, leads from Blowbladder street into Pater noster row, and is said to be the highest ground within the city walls. About the middle of the alley, a stone is fixed in the wall in the form of a pedestal, on the side of which is cut in relief a boy riding astride upon a pannier, and this inscription.
When you have sought the city round, Yet still this is the highest ground.
PANTON _square_, 1. Coventry street. 2. Oxendon street.
PANTON _street_, Haymarket.
PANTON’S _rents_, Chiswell street.†
PAPER _buildings_, a range of buildings in the Temple, originally built in the year 1607; but being consumed by fire, were rebuilt; in a very handsome manner in 1685. At the north end are painted the figures of the four cardinal virtues.