Londina Illustrata. Graphic and Historical Memorials of Monasteries, Churches, Chapels, Schools, Charitable Foundations, Palaces, Halls, Courts, Processions, Places of Early Amusement, and Modern Present Theatres, in the Cities and Suburbs of London and Westminster, Volume 1
St. Paul's Cross and Cathedral: With King James I. And his Court at a Sermon.
St. Paul's Cross and Cathedral: With King James I. And his Court at a Sermon.
The original Painting of this extremely curious historical picture, is of a series of , designed as a lively supplication and prophecy, to call the attention of the Sovereign to the dilapidated and degraded state of ; invented by Henry Farley, and executed by John Gipkyn in . They are painted upon leaves of wood, shaped at the top like a pediment, and made to fold together with hinges at the back, in the manner of the ancient , or folding tables; or the ordinary representations of the Tables of the Decalogue. Each of the leaves measures feet inches to the point of the pediment, by feet inches in breadth; and each painting is surrounded by a black frame, with an inscription upon it in gold capital letters. The painting is on the outside of the right-hand leaf, and represents a view of London, , and the river. On the Surrey side of the Thames appear churches, being the principal; and before it is the Palace of the Bishop of Winchester, in the gate of which are men in gowns with white sleeves, following a long procession of trumpeters, chaplains in black gowns with white sleeves, &c. over . This edifice appears lined with houses, and secured by a gate surmounted with a pediment and cross; and the right-hand terminates in perspective, with the massive tower of the old church of St. Magnus. Beyond the Bridge, in , the procession is continued by the Corporation of London; the Common- Council walking last in black gowns, and , then Aldermen in red, with chains, in the same order, and then the Sword-bearer and the Lord Mayor. Before these appear clergymen in black, following as many Bishops in their rochets, with the Archbishop of Canterbury at their head, holding his cap in his hand. He is preceded by noblemen, some in black, and others in red, doublets; before whom are ladies in black, and red gowns, and stiff ruffs, with pages in cloaks walking before them. This part of the procession has arrived at the west door of , under which appears the King, in a red dress faced with ermine, wearing his crown. On side of the gate stands a boy of , holding his cap in his left hand, and presenting the usual address to the Sovereign with his right; and on the opposite side is a girl of the same charity. On the left hand, without the door, is the Bishop of London, in the ordinary place for meeting the Sovereign at his entrance into the Church; over the gate of which is inscribed in capitals
The View of London comprises churches in the City, Baynard's Castle, and the Tower; the latter appearing like a square fort surrounded by an embattled wall, with round turrets at the corners and a gate to the water. In the centre of the south side of the building is a circular tower of several stages, with a lofty cross upon it; probably intended for that called the Hall Tower at the inner gate. The Thames is covered with ships, bearing the union flag introduced by King James I.; and beyond London is the usual prospect of hills, especially that of Highgate, on the right, which is found in all the ancient views of the metropolis. From the sky proceed these lines in capital letters:—
Round the black frame of this leaf the following texts are inscribed in gold capitals:—
Beneath the painting is written 'Amore, Veritate, et Reverentiâ.'—So Invented, and at my Costs made for me, H. Farley, . Wrought by John Gipkyn. Fyat voluntas Dei."—The picture on the inside of this leaf is that curious View of a Royal Sermon at Cross, engraven in the annexed Plate; which requires no description, excepting that the person bowing to the elderly citizen by the Cross at the left hand corner, is saying
to which the other is answering
From the chimneys of the houses built against the nave of the Church, on the right of the view, the following lines issue directed towards the royal gallery.
On the opposite, or left hand, leaf within, is represented the Cathedral repaired, and decorated with gilded vanes, turrets, and statues of the King and Queen, &c.; the houses cleared away, the gallery ornamented with the arms of England, the City, and the Sees of Canter bury and London, and these inscriptions written upon it.
On each side of the steeple are angels with trumpets, sounding the following verses.
At the top of this painting is the Holy Dove surrounded by glory; and round the frame is written,
The deviser of this extraordinary picture appears to have been a pious, disinterested, and zealous person, named Henry Farley, who for years importuned both the King and the nation with schemes and entreaties for the reparation of ; which had remained defaced and without a spire, ever since the latter was destroyed . In appeared a tract by him on the subjects entituled
But his most curious work describing all his labours in the cause was published in , in small quarto, consisting of unpaged leaves, with a neat wood-cut on the title page and last leaf but , of the Cathedral and Cross, and preaching there. It is called
As the contents of this very singular collection are especially connected with the Painting engraven for the present work, and are also of great curiosity, some account of the tract shall now be given.
It commences with a dedication to the High Court of Parliament, and Verses between and the Book; which are followed by
these are, as might be supposed, a collection of texts of Scripture concerning the rebuilding of the Temple at Jerusalem, with quaint marginal comments. Next succeeds
and after this comes a series of prayers or petitions on behalf of the Cathedral. The is in metre, entitled,
, an Acrostic
directed to the Prince of Princes: in Prose,
it is written in the name of the Church, and mentions the author as
at the end of it is
, a petition also written in the name of the Church,
This address commences in the following curious manmer:—
to which the margin adds
[a] At the end is
in verse, which is followed by petitions to the Prince and the Lords of the Privy Council; and then
After this commences the account of Farley's former labours for the restoration of the Cathedral, the general title to which is
as they have been given to the King at sundry times, but not till now published. The narrative is conducted in a Dialogue between the Church and the Author, which thus commences.
and he then proceeds to give the preceding description of the triform Painting he had executed as a pictorial delineation of his vision. It seems, however, to have been
since he states in a metrical Prologue, also delivered to the King, that it begun on the Eve of St. James the Apostle, but continued long after. At the request of the Cathedral Farley goes on to repeat his other labours on her behalf, as follow: a Conceipt presented with the Cathedral's Complaint to the Lord Mayor of London, Sir John Jolles, Knight, with a Petition, a little after Christmas, , to which, he observes, the
a Letter devised in the name of
a Carol given to the King the Christmas-day before his departure for Scotland: Verses to the King when he took coach at Theobald's in his progress to Scotland:
another Christmas Carol given to the King on the Christmas-day after his return from Scotland.
says the author to the Church, with much ludicrous pathos,
—The voices are cries from the spirits in the tombs and different parts of the building, complaining of its dilapidation in verse; to which the author answers, also in metre, that he will forsake England and go to Virginia.
The tract concludes with thanking the author in rhyme, promising that he shall be buried within her walls, and reciting an odd epitaph upon him; to which Farley adds that ever upon Mid-Lent Sunday, or the , he will present something to his Sovereign on the behalf of the Cathedral.
occupies the recto of the last leaf. In closing the account of this very curious tract, it may be noticed that in Messrs. Longman and Co's. , Lond. . vo. No. , p. , a copy of it bound in morocco is marked
The ancient Painting now described belonged for many years to the family of Tooke, of which persons successively had been Rectors of Lamborne, in Essex, from to . On the death of the last it was bought for a few shillings by a Mr. Webster, a surgeon of Chigwell, as a neglected piece of furniture which had never quitted the attic wherein it was deposited. A description of it with this notice, appeared in the for , Vol. . p. ; but in it was again sold to the Society of Antiquaries by a person named Sheen, for From the disregard with which it was formerly treated, the leaves are now separated and the paintings are scarcely visible.
[a] For a full account of this notorious person, see the Rev. J. Granger's Biographical History of England, Lond. 1824. Vol. ii. 8vo. pp. 205-208. James I. Class xii.