of London Bridge for the sixteenth century; but before we pass on to the opening of the following one, let me mention to you the views of this edifice which we possess, illustrative of the period we have now arrived at, and give you a general idea of its appearance, whilst it yet remained in its greatest state of splendour.

66 One of the most ancient representations of London Bridge is contained in that painting of the procession of King Edward VI. from the Tower, to his Coronation at Westminster, February the 19th, 1547; the original of which was executed to decorate a part of the Great Dining Room of Cowdray Hall, Sussex, the seat of Viscount Montague, where it was destroyed by fire in 1793. An engraving of this interesting picture was, however, published by the Society of Antiquaries in May, 1797; and the Bridge is there represented at the left hand of the engraving, containing four or five buildings erected on the side, in the centre of which rises a spire, perhaps meant for the Chapel of St. Thomas; and at the Southern end appears the gate. This, however, is but an oblique view, and by no means to be depended upon for its accuracy; though, at the same time, the plate contains numerous other interesting features of antiquity, which render it invaluable to all the admirers of London in the olden times. The next most ancient prints of this edifice are those maps and plans of London which include the Bridge; such as that contained in the Civitates Orbis Terrarum,' by George Braun and Francis Hohenberg, vol. i., Cologne, 1523, fol., sig. A: the famous map of Radulphus Aggas, published about 1588; and some others of less note, of which you have a tolerably accurate account in Richard Gough's British Topography,' vol. i. pp. 743-760. These plans, however, although exceedingly interesting, are, from their great extent, less pleasing than a view, as it regards particulars; for the buildings are sometimes so rudely and minutely sketched, as to convey no perfect

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idea to the minds of such as desire to contemplate old London in all its original quaintness and antique beauty.

"But, perhaps, the rarest and most curious prospect of London Bridge in the reign of Elizabeth, is that engraven by John Norden, of which an impression rests in Mrs. Sutherland's sumptuously-illustrated copy of Lord Clarendon's History of the Rebellion, in 31 volumes imperial folio, comprising 5800 prints and original drawings. Norden, you will recollect, was Surveyor to Henry, Prince of Wales, and died about 1626; and his view of London Bridge was, most probably, published two years before, for, though it is without date, it bears the arms of, and is dedicated to, Sir John Gore, Lord Mayor in 1624. The dedication states, however, that Norden had described it in the time of Queene Elizabeth, but that the plate had bene neare these 20 yeares imbezeled and detained by a person till of late vnknowne.' The view of the Bridge is taken from the Eastern side, and the edifice is represented horizontally, from South to North; though it is singularly enough stated to be from East to West: it measures 20 inches by 10%, and is engraved on a border surmounted by the arms and supporters of James I., having its name written upon a scroll. At each end of the print is a naked boy flying; the one bearing a shield with the City Arms, and the other those of the person to whom it is dedicated. With respect to the Bridge itself, it is filled with buildings, in which the Traitor's Gate with the heads, the Nonesuch House, and the Chapel of St. Thomas, are particularly visible; whilst above the houses, at the North end, is seen the top of the Water Worke.' From the windows of several of the houses, buckets are being let down by long ropes into the water, which is seen rushing through the arches with great impetuosity, although there is no fall. On the right appears a boat overturned, its oars floating about, one man drowning, and two others being saved by another boat; whilst two or three more vessels

&c., are seen in different parts of the picture. Along the lower part of the water are engraven the words 'Tame Isis Fluvius vulgo Temms;' and below the print are the Dedication, and The description of London Bridge,' in letter-press, in three columns, surrounded by a border of metal flowers, and signed John Norden. As this account is, of course, very short, and is chiefly taken from Stow, it gives us but little information; though, perhaps, the concluding paragraphs may not be unworthy of your attention.-'It were superfluous to relate vnto such as well know, and duely do consider the forme and beauty of this famous Bridge: but to intimate it to the apprehension of strangers, I haue deliniated the same to the eye, how it is adorned with sumptuous buildings, and statelie and beautifull houses on either side, inhabited by wealthy Citizens, and furnished with all manner of trades, comparable in it selfe to a little Citie, whose buildings are so artificially contriued, and so firmely combined, as it seemeth more than an ordinary streete, for it is as one continuall vaute or roofe, except certaine voyde places, reserued from buildings, for the retire of passengers from the danger of carres, carts, and droues of cattell, vsually passing that way. This description representeth vnto the eye the true forme of this famous pyle, as neare as arte-in this kinde of deliniation, -can be demonstrated: the number and forme of euery arch, and all the buildings; their true height, breadth, and distance of euery particular, from the East towards the West as for the other side it like wise appeareth in my prospectiue description of the Citie: the vaults, sellars, and places in the bowels as it were of the same Bridge, which are many and admirable,-excepted, which arte cannot discouer to the outward view. The situation, arte, and workmanship, in and about the Bridge, are affirmed by obseruing trauailers in all respects to exceede all the Bridges of the world. And, therefore, I thought it fit to represent it to the view of

the world, that it may know, that if one part of this Citie be so famous, how much more the whole: which, for state and Christian gouernment, may well challenge place before any Citie in Christendome. And therefore I present vnto you this simple modell of one of the wonders of the world.' So concludes the descriptive eulogy of Master Norden. And now, Sir, having mentioned to you the great rarity of this print of London Bridge, and that if another impression of it were to appear, it would probably produce the respectable price of ten or fifteen guineas; I must add that there has been an excellent fac-simile of it published by Mr. William Scott, of Great May's Buildings, St. Martin's Lane, for the more moderate sum of 10s. 6d., which no genuine lover of London, or London Bridge, should hesitate to procure.

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"The last view of this edifice which I shall at present notice to you, is one copied by Thomas Wood, Engraved by J. Pye, and dedicated to Brass Crosby, Esq., Lord Mayor, the Aldermen, and Common Council of the City of London; and it represents the South View of the said City and part of Southwarke, as it appeared about the year 1599.' I am half inclined to believe, however, that this prospect is made up from Hollar's View, published in 1657; as it is certainly taken from the same point. The Bridge rises obliquely on the right hand: at the South end of it appears the Southwark Gate, and beyond it is placed the rich tower which I have already described to you; whilst a series of buildings, forming two distinct groups, with spaces between them, finish the picture, which has the old Church of St. Magnus for its Northern boundary. Even at this period, probably, some of the Arches of London Bridge had received those names by which they were so long afterwards known, though they were first inserted in Stow's 'Survey,' by Richard Bloom, one of the last of his Continuators before Strype; but his account of these locks I shall speak of