The grand hall is a lofty imposing structure, and at a casual computation appears to contain an area of eight hundred square yards; between which and the cornice, at the height of about fifteen feet, a moulding or frieze is carried over the surface of each wall, from whence, resting their bases on angels bearing, shields variously blazoned, issue in the alternate spaces of twelve feet, five ligneous pillars, supporting immense beams traversing the intervening distances of the confronting sides. The roof is formed of large solid pieces of timber, running diagonally to a point; the upper compartment of which (springing from perpendicular posts), is ribbed so as to make it have the appearance of a polygonal ellipsis.
On the right of the southern entrance an escutcheon, surmounted by a canopy, is fixed at a considerable height from the pavement, and must have had formerly a splendid appearance, as faint traces even now of its original pomp are discernible in the faint glittering of the gilding, and the exquisite symmetry of its execution. The bearings appeared to me as—party per pall,—dexter division.—Sapphire a cross gules ensigned with fleur de lis between six martlets topaz.—Sinister—quarterly sapphire and ruby, first and third, three fleur de lis; topaz, second and fourth, three lions passant gardant of the same, supported by two angels, and surmounted by a coronet; the whole resting on an angel bearing a scroll with a motto in old English text, but illegible.[1]
This hall is now occupied by a carpenter, and is almost filled with old furniture and timber; other parts of the building are appropriated for charity-schools, and the trade of bleaching is practised in its precincts.
SAGITTARIUS.
FINE ARTS
ENGLISH ACADEMIES FOR PAINTING ANTERIOR TO THE ESTABLISHMENT OF THE ROYAL ACADEMY IN LONDON.
The first attempt to form an academy for the encouragement of the fine arts in this country was made in Great Queen-street, in the year 1697. The laudable design was undertaken by Sir Godfrey Kneller, and by the most respectable artists of the day, who endeavoured to imitate the French Academy founded by Lewis XIV. Their undertaking, however, was wholly without success; jealousies arose among the members, and they were ultimately compelled to relinquish the project as fruitless. Sir James Thornhill, a few years afterwards, commenced an academy in a room he had built for the purpose at the back of his own residence, near Covent-garden theatre; but his attempt, likewise, proved abortive. Notwithstanding these failures, Mr. Vanderbank, a Dutchman, headed a body of artists, and converted an old Presbyterian meeting-house into an academy. Besides plaster figures, Mr. Vanderbank and his associates procured a living female figure for study, which circumstance tended to gain a few subscribers; but, in a very short space of time, for want of money sufficient to defray the necessary expenses, all the effects belonging to the establishment were seized for rent, and the members, in disgust, accordingly separated.
On the demise of Sir James Thornhill, in 1734, the celebrated William Hogarth became possessed of part of his property.[2] Although much averse to the principles on which academies were generally founded, Mr. Hogarth considered that one conducted wisely would probably be of great advantage to the public, as well as to the artists in general. He, therefore, proposed, that a body of artists should enter into a subscription for the purchase of a house sufficiently large and capacious to admit thirty or forty persons to draw from a naked figure. This proposition being unanimously agreed to, a place was forthwith taken in St. Martin's-lane; and Hogarth, to forward the undertaking as far as he could, lent them the furniture, &c. formerly belonging to Sir James Thornhill's academy.