When London became more populous, and the buildings about Charing Cross daily increased, ‘twas found inconvenient to live in the apartments, which had been built by Lord Northampton; because they were greatly disturbed by the hurry and noise of passengers and coaches in the street. To avoid therefore that inconvenience, the aforesaid Earl of Northumberland compleated the square by building the fourth side; which being parallel and opposite to that next the street, is placed at a sufficient distance from the aforesaid disturbances, and almost enjoys all the advantages of retirement and a country seat. Inigo Jones appears to have been the architect employed for that purpose, and the front of the new side, which he built facing the garden, is very grand and stately, as the reader may see from the perspective view of it, annexed to this account.
Perhaps it will please some of our readers to be informed, that Lord Northumberland received General Monk, and had a conference with him and several of the leading men in the nation in one of these apartments. At which meeting the King’s restoration was for the first time proposed in direct terms, as a measure absolutely necessary to the peace of the kingdom.
In the year 1682, Charles Duke of Somerset married the Lady Elizabeth Percy, the daughter and heiress of Josceline Earl of Northumberland, and by that means became possessed of this house. Upon his death it descended to his son Algernon, by the aforesaid Lady, who succeeded to the title and a very large estate in 1748. His Grace immediately began to make alterations in some of the apartments, and to rebuild the front next the street; but, dying the year after, he did not live sufficient time to finish either.
The house in that condition, descended to his son-in-law and daughter, the present Earl and Countess of Northumberland; and it is in a great measure owing to the improvements, made by them at a very great expence and in a very fine taste, that Northumberland House is become a building so complete and stately, as to be generally admired for its elegance and grandeur.
The street was immediately made wider, and the front next to it compleated, as it appears in the print prefixed to this description. The four sides of the court were new faced with Portland stone, and finished in the Roman stile of architecture, so as to form as it were four stately fronts. Two new wings were also added, being above 100 feet in length, and extending from the garden front, towards the Thames. By means of these additions Northumberland House is more than twice as large as it was, when first built by Lord Northampton.
The entrance into it is on the side of the court opposite to the great gateway; the vestibule is about 82 feet long, and more than 12 feet broad, being properly ornamented with columns of the Doric order. Each end of it communicates with a stair case, leading to the principal apartments, which face the garden and the Thames. They consist of several spacious rooms, fitted up in the most elegant manner. The ceilings are embellished with copies of antique paintings, or fine ornaments of stucco, richly gilt. The chimney pieces consist of statuary and other curious marble, carved and finished in the most correct taste. The rooms are hung either with beautiful tapestry or the richest damasks, and magnificently furnished with large glasses, chairs, settees, marble tables, &c. with frames of the most exquisite workmanship, and richly gilt. They also contain a great variety of landscapes, history pieces, and portraits, painted by Titian and the most eminent masters. In some of the rooms may be seen large chests, embellished with old genuine japan; which being great rarities, are almost invaluable.
The company passes thro’ many of these apartments to the left wing, which forms a state gallery or ball room, admirable in every respect, whether we consider the dimensions, the taste, and masterly manner in which it is finished, or the elegant magnificence of the furniture.
It is 106 feet long, the breadth being a fourth part of the length, and the height equal to the diagonal of the square of the breadth; which proportions are esteemed to be the most proper for a gallery. The ceiling is coved and ornamented with figures and festoons richly gilt. To avoid repetitions, we beg leave once for all to say the same of the other decorations and frames of the furniture; for there is such a variety of gilding in the different parts of the gallery, that it would be endless to mention it in every particular description. But to proceed, the flat part of the ceiling is divided into five compartments, ornamented with fine imitations of some antique figures, as, a flying Fame blowing a trumpet; a Diana; a triumphal car drawn by two horses; a Flora; and a Victory holding out a laurel wreath. The entablature is Corinthian, and of most exquisite workmanship. The light is admitted thro’ nine windows in the side next the garden, being equidistant from one another, and in the same horizontal direction. Above these is another row of windows, which, tho’ not visible in the room, are so artfully placed as to throw a proper quantity of light over the cornice, so that the highest parts of the room are as much enlightened as the lowest, and the pictures on the opposite side are free from that confused glare, which would arise from a less judicious disposition. In the spaces between the windows, there are tables of antique marble, and stools covered with crimson damask, placed alternately. The piers are also ornamented with large square and oval glasses, arranged in the aforesaid order; the frames of which form a beautiful variety of foliage to adorn the higher parts quite up to the entablature.
Let us now pass over to the opposite side, which is divided into three large spaces by two chimney pieces made of statuary marble, with cornices supported by figures of Phrygian captives, copied from those in the Capitol at Rome, and executed in a very masterly manner. The finishing above the chimney pieces consists of terms, sphinxes, festoons, &c. and within the spaces formed by these ornaments are placed whole length portraits of the Earl and Countess of Northumberland in their robes.
That the three grand divisions of this side might be furnished in an elegant manner, his Lordship employed the most eminent masters to copy five of the most admired paintings in Italy, which are placed as follows: in the middle and largest division is Raphael’s celebrated school of Athens, copied from the original in the Vatican by Raphael Mengs. In the two other divisions on the right and left hand side of the former are placed the feast and council of the Gods, which were also painted by Raphael, and copied by Pompeio Battoni from the originals in the Little Farnese. The two ends of the gallery are ornamented with the triumphal procession of Bacchus and Ariadne (originally painted by Annibal Caracci in the Farnese palace) and Guido’s Aurora. The former was copied by Felice Costansi, and the latter by Masuccio, a scholar of Carlo Maratti, from the original in the Villa Rospigliosi. All these pictures are very large, being exactly of the same dimensions with the originals, and are copied in a very masterly manner. We heartily wish his Lordship’s taste in procuring them may incite those, who can afford it, to follow the example, and purchase copies of such paintings as are universally admired; for by these means not only private curiosity would be gratified, but the public taste also greatly improved.