The Heart of the City

In the centre of London, at the eastern end of Cheapside, stand the Royal Exchange, the Mansion House, and Bank of England, all of which merit attention. The official residence of the Lord Mayor—associated with the magnificent hospitality of the city, with the memory of many distinguished men who have held the office of Chief Magistrate, and with the innumerable charitable schemes which have been initiated there—was built by Dance, and completed in 1753. It is in the Italian style, and resembles a Palladian Palace. Its conspicuous front, with Corinthian columns supporting a pediment, in the centre of which is a group of allegorical sculpture, is well known to all frequenters of the city. Formerly it had an open court, but this has been roofed over and converted into a grand banquetting hall, known as the Egyptian Hall. There are other dining rooms, a ball room, and drawing room, all superbly decorated, and the Mansion House is a worthy home for the Lord Mayor of London.

The Bank of England commenced its career in 1691; founded by William Paterson, a Scotsman, and incorporated by William III. The greatest monetary establishment in the world at first managed to contain its wealth in a single chest, not much larger than a seaman's box. Its first governor was Sir John Houblon, who appears largely in the recent interesting volume on the records of the Houblon family, and whose house and garden were on part of the site of the present bank. The halls of the mercers and grocers provided a home for the officials in their early dealings. The site of the bank was occupied by a church, St. Christopher-le-Stocks, three taverns, and several houses. These have all been removed to make room for the extensions which from time to time were found necessary. The back of the Threadneedle Street front is the earliest portion—built in 1734, to which Sir Robert Taylor added two wings; and then Sir John Soane was appointed architect, and constructed the remainder of the present buildings in the Corinthian style, after the model of the Temple of the Sibyl at Tivoli. There have been several subsequent additions, including the heightening of the Cornhill front by an attic in 1850. There have been many exciting scenes without those sombre-looking walls. It has been attacked by rioters. Panics have created "runs" on the bank; in 1745 the managers just saved themselves by telling their agents to demand payment for large sums in sixpences, which took a long time to count, the agents then paying in the sixpences, which had to be again counted, and thus preventing bonâ-fide holders of notes presenting them. At one time the corporation had a very insignificant amount of money in the bank, and just saved themselves by issuing one pound notes. The history of forgeries on the bank would make an interesting chapter, and the story of its defence in the riots of 1780, when old inkstands were used as bullets by the gallant defenders, fills a page of old-world romance.

The Royal Exchange.

Engraved by Hollar, 1644.

But interesting as these buildings are, their stories pale before that of the Royal Exchange. The present building was finished in 1844, and opened by her late Majesty Queen Victoria with a splendid state and civic function. Its architecture is something after the style of the Pantheon at Rome. Why the architects of that and earlier periods always chose Italian models for their structures is one of the mysteries of human error; but, as we have seen, all these three main buildings in the heart of the city are copied from Italian structures. William Tite was the architect, and he achieved no mean success. The great size of the portico, the vastness of the columns, the frieze and sculptured tympanum, and striking figures, all combine to make it an imposing building. Upon the pedestal of the figure of "Commerce" is the inscription: "The earth is the Lord's, and the fulness thereof." The interior has been enriched by a series of mural paintings, representing scenes from the municipal life of London, the work of eminent artists.

This exchange is the third which has stood upon this site. The first was built by Sir Thomas Gresham, one of the famous family of merchants to whom London owes many benefits. It was a "goodly Burse," of Flemish design, having been built by a Flemish architect and Flemish workmen, and closely resembled the great Burse of Antwerp. The illustration, taken from an old engraving by Hollar, 1644, shows the building with its large court, with an arcade, a corridor or "pawn" of stalls above, and, in the high-pitched roof, chambers with dormer windows. Above the roofs a high bell-tower is seen, from which, at twelve o'clock at noon and at six in the evening, a bell sounded forth that proclaimed the call to 'Change. The merchants are shown walking or sitting on the benches transacting their business. Each nationality or trade had its own "walk." Thus there were the "Scotch walk," "Hanbro'," "Irish," "East country," "Swedish," "Norway," "American," "Jamaica," "Spanish," "Portugal," "French," "Greek," and "Dutch and Jewellers'" walks. When Queen Elizabeth came to open the Exchange, the tradesmen began to use the hundred shops in the corridor, and "milliners or haberdashers sold mouse-traps, bird-cages, shoeing-horns, Jews' trumps, etc.; armourers, that sold both old and new armour; apothecaries, booksellers, goldsmiths, and glass-sellers." The Queen declared that this beautiful building should be no longer called the Burse, but gave it the name "The Royal Exchange." In the illustration some naughty boys have trespassed upon the seclusion of the busy merchants, and the beadle is endeavouring to drive them out of the quadrangle.

This fine building was destroyed by the Great Fire, when all the statues fell down save that of the founder, Sir Thomas Gresham. His trustees, now known as the Gresham Committee, set to work to rebuild it, and employed Edward German as their architect, though Wren gave advice concerning the project. As usual, the citizens were not very long in accomplishing their task, and three years after the fire the second Exchange was opened, and resembled in plan its predecessor. Many views of it appear in the Crace collection in the British Museum. In 1838 it was entirely destroyed by fire. In the clock-tower there was a set of chimes, and the last tune they played, appropriately, was, "There's nae luck about the house." As we have seen, in a few years the present Royal Exchange arose, which we trust will be more fortunate than its predecessors, and never fall a victim to the flames.

There is much else that we should like to see in Old London, and record in these Memorials. We should like to visit the old fairs, especially Bartholomew Fair, Smithfield, either in the days of the monks or with my Lady Castlemaine, who came in her coach, and mightily enjoyed a puppet show; and the wild beasts, dwarfs, operas, tight-rope dancing, sarabands, dogs dancing the Morrice, hare beating a tabor, a tiger pulling the feathers from live fowls, the humours of Punchinello, and drolls of every degree. Pages might be written of the celebrities of the fair, of the puppet shows, where you could see such incomparable dramas as Whittington and his Cat, Dr. Faustus, Friar Bacon, Robin Hood and Little John, Mother Shipton, together with "the tuneful warbling pig of Italian race." But our pageant is passing, and little space remains. We should like to visit the old prisons. A friend of the writer, Mr. Milliken, has allowed himself to be locked in all the ancient gaols which have remained to our time, and taken sketches of all the cells wherein famous prisoners have been confined; of gates, and bars, and bolts and doors, which have once restrained nefarious gaol-birds. Terrible places they were, these prisons, wherein prisoners were fleeced and robbed by governors and turnkeys, and, if they had no money, were kicked and buffeted in the most merciless manner. Old Newgate, which has just disappeared, has perhaps the most interesting history. It began its career as a prison in the form of a tower or part of the city gate. Thus it continued until the Great Fire, after which it was restored by Wren. In our illustration of the old gatehouse, it will be seen that it had a windmill at the top. This was an early attempt at ventilation, in order to overcome the dread malady called "gaol distemper," which destroyed many prisoners. Many notable names appear on the list of those who suffered here, including several literary victims, whose writings caused them grievous sufferings. The prison so lately destroyed was designed by George Dance in 1770. A recent work on architecture describes it as almost perfect of its kind. Before it was completed it was attacked by the Gordon rioters, who released the prisoners and set it on fire. It was repaired and finished in 1782. Outwardly so imposing, inwardly it was, for a long period, one of the worst prisons in London, full of vice and villainy, unchecked, unreformed; while outside frequently gathered tumultuous crowds to see the condemned prisoners hanged. We might have visited also the debtors' prisons with Mr. Pickwick and other notables, if our minds were not surfeited with prison fare; and even followed the hangman's cart to Tyburn, to see the last of some notorious criminals. Where the Ludgate Railway Station now stands was the famous Fleet prison, which had peculiar privileges, the Liberty of the Fleet allowing prisoners to go on bail and lodge in the neighbourhood of the prison. The district extended from the entrance to St. Paul's churchyard, Old Bailey, Ludgate Hill, to the Thames. Everyone has heard of the Fleet marriages that took place in this curious neighbourhood. On the other side of New Bridge Street there was a wild district called Alsatia, extending from Fleet Street to the Thames, wherein, until 1697, cheats and scoundrels found a safe sanctuary, and could not be disturbed.

Again, we should like to visit the old public gardens, Vauxhall and Ranelagh, in company with Horace Walpole, or with Miss Burney's Evelina or Fielding's Amelia, and note "the extreme beauty and elegance of the place, with its 1,000 lamps"; "and happy is it for me," the young lady remarks, "since to give an adequate idea of it would exceed my power of description."

But the pageant must at length pass on, and we must wake from the dreams of the past to find ourselves in our ever growing, ever changing, modern London. It is sufficient for us to reflect sometimes on the past life of the great city, to see again the scenes which took place in the streets and lanes we know so well, to form some ideas of the characters and manners of our forefathers, and to gather together some memorials of the greatest and most important city in the world.

[INDEX]

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FOOTNOTES:

[1] Thomas Dekker, the pamphleteer and dramatist, describes the Exchange as it was in 1607, when "at every turn a man is put in mind of Babel, there is such a confusion of languages"; and as late as 1644 the picturesque dresses of the foreign merchants appear in an engraving by Hollar.

[2] Camden speaks of "this so stately building," and in his terse fashion conveys the effect of the interior: "The west part, as also the Cross-yle, are spacious, high-built, and goodly to be seene by reason of the huge Pillars and a right beautiful arched Roof of stone."

[3] This is Stow's figure. Camden gives the measurement as 534 feet.

[4] The name survives in Pike Gardens, Bankside.

[5] See the "Bear-house" near the "Play-house" (i.e., the Rose) in Norden's plan, 1593.

[6] Cal. State Papers, 1603-10, p. 367.

[7] During the time that the Jacobites were formidable, and long after, it was firmly believed that the Old Pretender was brought into this room as a baby in a warming pan, and plans of the room were common to show how the fraud was committed.

[8] Rariora, vol. i., p. 17.

[9] Originally the crosses were of a blue colour, but Dr. Creighton says that the colour was changed to red before the plague of 1603.

[10] A full account of the fire and of the rebuilding of the city has still to be written, and the materials for the latter are to hand in the remarkable "Fire Papers" in the British Museum. I have long desired to work on this congenial subject, but having been prevented by other duties from doing so, I hope that some London expert will be induced to give the public a general idea of the contents of these valuable collections.

[11] Cf. Cathedral Churches of Great Britain. (Dent & Co.)

[12] Cf. Mr. Philip Norman's notes on a recent lecture by Mr. Arthur Keen. Architect, December 27th, 1907.

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