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dows, two rows in height, the jambs ornamented with roses impanelled. On the north side are painted, in chiaro obscuro, the following allegorical figures, viz. Hospitalitas, Magnanimitas, Liberalitas, Misericordia, Generositas, Bonitas, Benignitas, Humanitas.

In the frize round the hall is the following inscription:

Pietas augusta ut habitent secure et publice alantur qui publicæ securitati invigilarunt regia Grenovoci Mariæ auspiciis sublevandis nautis destinata regnantibus, Gulielmo & Maria MDCXCIV.

On the cieling are the portraits of king William and queen Mary, the royal founders, surrounded by the Cardinal Virtues, &c. and with the emblematical representation of the Four Seasons of the year; this cieling is very well described by Sir Richard Steel in his Lover; of which the following is a copy:

"In the middle of the cieling is a very large oval frame painted and carved in imitation of gold, with a great thickness rising in the inside to throw up the figures to the greater height; the oval is fastened to a great suffite adorned with roses in imitation of copper. The whole is supported by eight gigantic figures of slaves four on each side, as though they were carved in stone; between the figures, thrown in heaps into a covering are all manner of maritime trophies in metzo-relievo; as anchors, cables, rudders, masts, sails, blocks, capitals, sea guns, sea carriages, boats, pinnaces, oars, stretchers, colours, ensigns, pennants, drums, trumpets, bombs, mortars, small arms, granades, powder barrels, fire arrows, grapling irons, cross staves, quadrants, compasses, &c. all in stone colours, to give the greater beauty to the rest of the cieling, which is more significant.

"About the oval in the inside are placed the twelve signs of the Zodiac; the six northern signs, as Aries, Taurus, Gemini, Cancer, Leo, Virgo, are placed on the north side of the oval; and the six southern signs, as Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces, are to the south, with three of them in a groupe, which compose one quarter of the year: the signs have their attitudes, and their draperies are varied and VOL. V. No. 105.

N

adapted

adapted to the seasons they possess, as the cool, the blue, and the tender green to the spring; the yellow to the summer; and the red and flame colour to the dog days and autumnal season; the white and cold to the winter: likewise the fruits and the flowers of every season as they succeed each other.

"In the middle of the oval are represented king William and queen Mary sitting on a throne under a great pavilion, or purple canopy, attended by the four cardinal virtues, as Prudence, Temperance, Fortitude, and Justice.

"Over the queen's head is Concord, with the fasces, at her feet two doves, denoting mutual concord and innocent agreement, with Cupid holding the king's sceptre while he is presenting Peace with the lamb and olive branch, and Liberty expressed by the Athenian cap to Europe, who laying her crowns at his feet receives them with an air of respect and gratitude. The king tramples Tyranny under his feet, which is exprest by a French personage with his leaden crown falling off, his chains, yoke, and iron sword broken to pieces, cardinal's cap, triple crown, mitres, &c. tumbling down. Just beneat his Time bringing Truth to light, near which is a figure of Architecture holding a large drawing of part of the hospital with the cupola, and pointing up to the royal founders, attended by the little Genii of her art. Beneath her is Wisdom and Heroic Virtue, represented by Pallas and Hercules, destroying Ambition, Envy, Covetousness, Detraction, Calumny, with other vices, which seem to fall to the earth, the place of their more natural abode.

Over the royal pavilion is shewn at a great height Apollo in his golden chariot, drawn by four white horses attended by the Horæ, and morning dews falling before him, going his course through the twelve signs of the Zodiac; and from him the whole plafond or cieling is enlightened

"Each end of the cieling is raised in perspective, with a ballustrade and eliptic arches, supported by groupes of stone figures, which form a gallery of the whole breadth of the hall; in the middle of which gallery (as though on the stock) going into the upper Hall, is seen in perspective the tafferil of the Blenheim man of war, with all her galleries, port-holes open, &c. to one side of which is a figure of Victory flying with spoils taken from the enemy, and putting them aboard the English man of Before the ship is a figure representing the city of Lon

war.

don,

don, with the arms, sword and cap of maintenance, supported by Thame and Isis, with other small rivers offering up their treasures to her. The river Tine pouring forth sacks of coals. In the gallery on each side the ship are the Arts and Sciences that relate to navigation with the great Archimedes, many old philosophers consulting the compass, &c.

"At the other end, as you return out of the Hall, is a gallery in the same manner, in the middle of which is the stern of a beautiful galley filled with Spanish trophies. Under which is the Humber with his pigs of lead. The Severn with the Avon falling into her, with other lesser rivers. In the north end of the gallery is the famous Ticho Brahe, that noble Danish knight, and great ornament of his profession and human nature. Near him is Copernicus with his Pythagorean system in his hand; next to him is an old mathematician holding a large table, and on it are described two principal figures, of the incomparable Sir Isaac Newton, on which many extraordinary things in that art are built. On the other end of the gallery, to the south, is our learned Mr. Flamstead, reg. astron. profess. with his ingenious disciple, Mr. Thomas Weston. In Mr. Flamstead's hand is a large scroll of paper, on which is drawn the great eclipse of the sun that will happen in April—1715; near him is an old man with a pendulum counting the seconds of Time, as Mr. Flamstead makes his observations with his great mural arch and tube on the descent of the moon on the Severn, which at certain times form such a roll of the tides as the sailors corruptly call the Higre, instead of the Eager, and is very dangerous to all ships in its way. This is also expressed by rivers tumbling down by the moon's influence into the Severn. In this gallery are more arts and sciences relating to navigation.

"All the great rivers, at each end of the Hall, have their proper product of fish issuing out of their vases.

"In the four great angles of the cieling, which are over the arches of the galleries, are the four elements, as Fire, Air, Earth, and Water, represented by Jupiter, Juno, Cybele, and Neptune, with their lesser deities accompanying, as Vulcan, Iris, the Fauni, Amphitrite, with all their proper attitudes, &c. "At one end of the great oval is a large figure of Fame descending, riding on the winds, and sounding forth the praises of the royal pair.

"All the sides of the Hall are adorned with fluted pilasters, trophies of shells, corals, pearls; the jambs of the windows ornamented with roses impaneled, or the opus reticulamium, heightened with green gold.

"The whole raises in the spectator the most lively images of Glory and Victory, and cannot be beheld without much passion and emotion."

Another flight of steps leads into the upper Hall: the centre of the cieling represents queen Anne and prince George of Denmark, accompanied with various emblematical figures.

On the left hand side is a painting in imitation of bassorelievo, representing the landing of king William. On the right hand over the chimney the landing of king George the First at Greenwich.

At the further end of this Hall are painted the portraits of king George the First and his family, with many emblematical figures; amongst which Sir James Thornhill has also introduced his own portrait.

On the right and left of the entrance are allegorical paintings representing The Public Weal, and Public Safety.

Over the three doors are large oval tables, with the names, in gold letters, of such benefactors as have given 100%. or upward, toward the building; among the most considerable of which were, king WILLIAM, who gave 19,500. Queen ANNE, 6,4721. JOHN DE LA FONTAIN, Esq. 20007. ROBERT OSBOLSTON, Esq. 20001. Sir JOHN CROPLE and Mr. EVELYN, each 2000. JOHN EVELYN, Esq. 1000l. Each table is attended by two charity boys, as if carved in white marble, sitting on great corbels, pointing up to the figure of Charity, in a niche, intimating that what money is given there is for their support.

The whole of this celebrated work was not completed till 1727, and cost 6,6857. being after the rate of 31. per yard for the ceiling, and 17. per yard for the sides, agreeable to a resolution of the directors, after consulting the following eminent painters, viz. Vandervelt, Cooper, Richardson,

Sykes,

Sykes, and Degard, who reported the performance to be equal to any of the like kind in England, and superior in number of figures and ornaments*.

At the upper end of the COUNCIL ROOM is a wholelength portrait of king George the Second in his robes, by Schakleton, the bequest of admiral Townsend. Two halflengths of king William and queen Mary, by Kneller. Also a whole-length, by Gainsborough, of the late earl of Sandwich, the gift of Sir Hugh Palliser, bart. A halflength portrait, by Lely, of Edward the first earl of Sandwich, who was killed in the engagement in Solbay in 1672, the gift of the late earl. A half-length of lord viscount Torrington, by Davison. A whole-length portrait of Robert Osbolston, Esq. (whose munificent benefaction has al

ready

* When Sir James had finished the ceiling and sides of the great saloon in 1717, he delivered in a memorial to the directors, stating the prices which were given for paintings of the like kind at the Banqueting House, Whitehall, the duke of Montague's, the palaces of Windsor and Hampton Court, Bulstrode chapel, and other works at the duke of Portland's, and at the earl of Burlington's, which is too curious to be omitted, and the following copy of it is therefore inserted:

To the Right Honourable the Commissioners for building the Royal Hospital at Greenwich.

The Memorial of James Thornhill, History-painter,

Sheweth,

That, in pursuance of an order of the 10th inst. signified to me by Mr. Corbet that I should make a demand and valuation of the painting done by me at the said hospital, I have made diligent enquiry into the prices of history painting in this kingdom, and find, that when money was at much greater value, greater prices were given, and beg leave to instance in one, not presuming to a parallel, Sir Peter Paul Rubens had 40001. for the ceiling of the Banqueting House, at Whitehall, which is little more than four hundred yards of work, so was near 101. a yard.

The late duke of Montague paid monsieur Rosso for his salloon 20001. and kept an extraordinary table for him, his friends and servants, for two years, whilst the work was doing, at an expence computed at 5001. per ann.; which is near four hundred and fifty yards, amounting to about 71. per yard, ceiling and sides.

Signior Varrio was paid for the whole palaces of Windsor and Hampton Court, ceilings, sides, stairs, and back stairs, 8s. per foot, which is 31. 12s.

per

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