CROMWELL'S HOUSE, FROM AGGAS'S MAP. (Taken from Herbert's "City Companies.")
Aggas's drawing represents Cromwell House almost windowless, on the street side, and with three small embattled turrets; and there was a footway through the garden of Winchester House, which forms the present passage (says Herbert) from the east end of Throgmorton Street, through Austin Friars to Great Winchester Street. The Great Fire stopped northwards at Drapers' Hall. The renter warden lost £446 of the Company's money, but the Company's plate was buried safely in a sewer in the garden. Till the hall could be rebuilt, Sir Robert Clayton lent the Drapers a large room in Austin Friars. The hall was rebuilt by Jarman, who built the second Exchange and Fishmongers' Hall. The hall had a very narrow escape (says Herbert) in 1774 from a fire, which broke out in the vaults beneath the hall (let out as a store-cellar), and destroyed a considerable part of the building, together with a number of houses on the west side of Austin Friars.
The present Drapers' Hall is Mr. Jarman's structure, but altered, and partly rebuilt after the fire in 1774, and partly rebuilt again in 1870. It principally consists of a spacious quadrangle, surrounded by a fine piazza or ambulatory of arches, supported by columns. The quiet old garden greatly improves the hall, which, from this appendage, and its own elegance, might be readily supposed the mansion of a person of high rank.
The present Throgmorton Street front of the building is of stone and marble, and was built by Mr. Herbert Williams, who also erected the splendid new hall, removing the old gallery, adding a marble staircase fit for an emperor's palace, and new facing the court-room, the ceiling of which was at the same time raised. Marble pillars, stained glass windows, carved marble mantelpieces, gilt panelled ceilings—everything that is rich and tasteful—the architect has used with lavish profusion.
The buildings of the former interior were of fine red brick, but the front and entrance, in Throgmorton Street, was of a yellow brick; both interior and exterior were highly enriched with stone ornaments. Over the gateway was a large sculpture of the Drapers' arms, a cornice and frieze, the latter displaying lions' heads, rams' heads, &c., in small circles, and various other architectural decorations.
The old hall, properly so called, occupied the eastern side of the quadrangle, the ascent to it being by a noble stone staircase, covered, and highly embellished by stucco-work, gilding, &c. The stately screen of this magnificent apartment was curiously decorated with carved pillars, pilasters, arches, &c. The ceiling was divided into numerous compartments, chiefly circular, displaying, in the centre, Phaeton in his car, and round him the signs of the zodiac, and various other enrichments. In the wainscoting was a neat recess, with shelves, whereon the Company's plate, which, both for quality and workmanship, is of great value, was displayed at their feasts. Above the screen, at the end opposite the master's chair, hung a portrait of Lord Nelson, by Sir William Beechey, for which the Company paid four hundred guineas, together with the portrait of Fitz-Alwin, the great Draper, already mentioned. "In denominating this portrait curious," says Herbert, "we give as high praise as can be afforded it. Oil-painting was totally unknown to England in Fitz-Alwin's time; the style of dress, and its execution as a work of art, are also too modern."
In the gallery, between the old hall and the livery-room, were full-length portraits of the English sovereigns, from William III. to George III., together with a full-length portrait of George IV., by Lawrence, and the celebrated picture of Mary Queen of Scots, and her son, James I., by Zucchero. The portrait of the latter king is a fine specimen of the master, and is said to have cost the Company between £600 and £700. "It has a fault, however," says Herbert, "observable in other portraits of this monarch, that of the likeness being flattered. If it was not uncourteous so to say, we should call it George IV. with the face of the Prince of Wales. Respecting the portrait of Mary and her son, there has been much discussion. Its genuineness has been doubted, from the circumstance of James having been only a twelvemonth old when this picture is thought to have been painted, and his being here represented of the age of four or five; but the anachronism might have arisen from the whole being a composition of the artist, executed, not from the life, but from other authorities furnished to him." It was cleaned and copied by Spiridione Roma, for Boydell's print, who took off a mask of dirt from it, and is certainly a very interesting picture. There is another tradition of this picture: that Sir Anthony Babington, confidential secretary to Queen Mary, had her portrait, which he deposited, for safety, either at Merchant Taylors' Hall or Drapers' Hall, and that it had never come back to Sir Anthony or his family. It has been insinuated that Sir William Boreman, clerk to the Board of Green Cloth in the reign of Charles II., purloined this picture from one of the royal palaces. Some absurdly suggest that it is the portrait of Lady Dulcibella Boreman, the wife of Sir William. There is a tradition that this valuable picture was thrown over the wall into Drapers' Garden during the Great Fire, and never reclaimed.
The old court-room adjoined the hall, and formed the north side of the quadrangle. It was wainscoted, and elegantly fitted up, like the last. The fire-place was very handsome, and had over the centre a small oblong compartment in white marble, with a representation of the Company receiving their charter. The ceiling was stuccoed, somewhat similarly to the hall, with various subjects allusive to the Drapers' trade and to the heraldic bearings of the Company. Both the (dining) hall and this apartment were rebuilt after the fire in 1774.