The Sun.
London, England, 1844-10-29 00:00:00

THE SUIN, LONDON, TUESDA Y MORNING-, OCTOBER 5.9, 1844,

After the presentation of the address, her Majesty,
accompanied by his Royal Highness Prince Albert
and suite, proceeded to the banqueting-room.
The following is the bill of fare of the dejeuner,
which was provided by Messrs. Staples of the Albion
Tavern :
Roast chickens 1 Filets de soles a la Proven-

Patti of game I Cale
Westphalia hams Crevettes
Beef ala George IV.. ' Grouse sallads
Roast partridges Gateaux a la Francaise
d d Lare capons .
X o3gats d'Abricots

House lanib
Roast pheasants
Tongues
Barons of beef

Jellies
Meringues a la Chantilly
Compotes de fruits
Conserves de pommes

Galantines de poulardes Rhubarbe a lallegence
Cotelettes aux concombres Gelbs mix fruits
Magnonnaises de Hornard Patisserie aux amandes
Salades de Volaille Pine apples
Petit petei a la Rein° Hothouse grapes.
Ris de veau a la Romano Pears
Balotines d'Agncau

Dried fruits
Ice creams.

After the dejeuner the members of the Gresham
Committee went round the room and gave to each
guest a ecmmemorative medal. On one side was a
representation of her Majesty with the inscription,
Royal Exchange, opened by her Majesty Queen
Victoria, 28th Oct., 1844, and on the reverse the
arms of the City, the Mercers' Company, and of Sir
T. Gresham, with the inscription, First Stone laid by
his Royal Highness Prince Albert, January 17,
1842.

During the course of the dejeuner the band sta-
stioned in the vestibule performed several popular airs.
The following gentlemen were present at the ban-
quet, as the representatives of the subscribers to
Lloyd's :—Chairman, E. A. Robinson. Committee—
John Robinson, John Pryor, Wm. Wilson Saunders
John Simpson, John Poole, W. C. Harnett, T. 0:
Powles, C. R. Henford. Thomas Chapman, A.
Jansen, and N. Lea.
The attendants were all attired in the royal house-
hold livery..

The arrangements for the drjeuner reflect the
highest credit on the Messrs. Staples, of the Albion,
by whom it was provided. There was an abundance
of every delicacy of the season, .and the wines were
excellent.

The whole of the Aldermen did not join the civic
procession which went to Temple-bar to meet her
Majesty. Among the Aldermen who remained at
the Exchange was Mr. Alderman Humphery, to whose
judicious care the visitors to the royal banquetting-
room were much indebted. The worthy Alderman
was attired in a court suit of velvet, and wore his
chain of office. He looked remarkably well.
Shortly after half-past one o'clock the company
in Lloyd's Commercial-room began to take their
departure, and long before the banquet in the Royal
banquetting-room was over the greater portion of (he
company in the other rooms had left.

At two o'clock, a flourish of trumpets announced
the conclusion of the banquet at the royal table, and
that the first toast " The Queen," was about to be
proposed. The toast was proposed, as we under-
stood, by the Lord Mayor, and drank with every
demonstration of the most devoted loyalty, the band
in the vestibule performing the National Anthem.
The toasts of "Prince Albert and the Royal Family,"
and " Prosperity to the City of London," followed.
We understand that this last toast was proposed by
his Royal Highness Prince Albert, but the room
and the approaches to it were so crowded that
we were unable to ascertain exactly by whom the
several toasts were proposed.
Shortly after half-past two o'clock her Majesty rose
from the table, and leaning on the arm of Prince
Albert, left the banquetting-room with her suite, pre-
ceded by the Lord Mayor, and followed by the
Cabinet Ministers. The procession proceeded down
the grand staircase, and towards the merchants'
area. On arriving there the heralds advanced
to the centre and made proclamation. Sir
James Graham then handed her Majesty a docu-
ment, when here Majesty declared it to be her royal
will and pleasure that the building should henceforth
bear the name of the Royal Exchange. This
gracious announcement was received with
loud cheers, and her Majesty having taken
leave of the Lord. Mayor, immediately proceeded to
her carriage.
In addition to the Lloyd's Commercial-room and
Subscribers'-room, a banquet was likewise spread in
the ambulatory, around the merchants' area, and in
most of the ante-rooms. The interior of the Ex-
change was guarded by the Honourable Artillery
Company.

The following are copies of the Address and her
Majesty's Answer:—

" TO THE QUEEN'S MOST EXCELLENT MAJESTY.

‘‘ The humble Address.of the Lord Mayor, Aldermen
and Commons of the City of London, in Common'
Council assembled.
" Most Gracious Sovereign,

" We, your Majesty's faithful subjects, the Lord
Mayor, Aldermen, and Commons of the city of Lon-
don in Common Council assembled, together with the
Master, Wardens, and Commonalty of the Mystery of
the Mercers, joint trustees of Sir Thomas Gresham,
hail your Majesty's auspicious presence in the heart
of the metropolis on this renowned anti favoured spot
with the liveliest sentiments of
_devoted loyalty and
attachment.

" The privilege we this day enjoy of approaching
your royal person under the roof of the new Exchange
revives the memory of the olden time, when your
Majesty's illustrious predecessor, Queen Elizabeth,
vouchsafed to adorn by her presence the simple edifice
raised by a citizen, and dedicated to the commerce of
the world.

" Your Majesty in this respect emulates the ex-
ample of that great Monarch who deemed it no dispa-
ragement of her imperial state to proclaim by the
herald, and to distinguish the work of a subject, by the
title of the Royal Exchange.' _ .

" It is recorded in the graceful narrative of events
inscribed on the foundation stone of this building
that the relief of indigence and the advancement of
literature and science,' entered into the capacious
scheme of the original founder of this noble insti-
tution, and were made subsidiary to the stability and
grandeur of a commerce co-extensive with the habit-
able globe.
" Yielding to that eminent citizen and benefactor
of his kind, Sir Thomas Gresham, the signal merit
to plan and execute at his own charge this glo-
rious work, we still rejoice to trace the assisting hand
of the City, and the ancient Company of Mercers, from
the earliest prosecution of the design, and our grati-
tude is kindled in reflecting that each memorable
epoch of the Royal Exchange is marked by the solici-
tude of the reigning Monarch to raise and to rebuild
the structure from the ashes to which it has been
twice reduced by the calamitous eftects of fire.
" King Charless 11. commenced the former build-
ing on the 23d of October, 1667, and the illustrious
Prince, the Royal Consort of your Majesty, under
your Majesty's auspices, laid the first stone of the
present edifice on the 17th January, 1842.

" Deign, therefore, most gracious Lady, to regard
with your royal approbation this work of our hands,
the noble and well-constructed pile again raised by
the citizens of London, and erected on a site rendered
worthy of the object of so vast an undertaking, to en-
dure, we fervently pray, for ages, a memorial and im.
perishable monument of the commercial grandeur
and prosperity, and of the peaceful triumphs of your
Majesty's happy reign.
" Signed by order of Court,
" HENRY ALWORTH MEREWETLIER."

to promote the prosprity and happiness of all classes
of my subjects:'

The Lord Mayor and the Lady Mayoress had
between 400 and 500 visitors at the Mansion-house
in the early part of the day to witness the magnifi-
cent spectacle, and entertained them in the most hos-
pitable and elegant manner; and in the evening his
Lordship and the Lady Mayoress gave a grand ball
and supper to about 500 more. Nothing could be
more satisfactory to the Chief Magistrate, his family,
and friends, in every respect than the proceedings of
the day. In the diawing-room a bust of his Lord-
ship had been placed in the morning. It was executed
by Mr. Jones, a young artist of very high talent, and
attracted great admiration.

The banquet at the Mansion-house was supplied
by Messrs. Birch, of Cornhill, who also splendidly
supplied the tables of the Merchant Tailors' Com-
pany, the Mercers' Company, the Fishmongers'
Company, the. ChOworkers' Company, and some
other Companies, to the number in the whole ofnearly
4,000 individuals.

creased amount of accommodation required in the new
Exchange, together with the necessity for keeping
that accommodation within an easily accessible eleva-
tion from the great thoroughfares, rendered it impe-
rative that all the available ground on the north and
south boundary lines should be occupied with build-
ing, in spite of the irregularity and want of paral-
lelism to which we have just referred.
We pass on, then, to examine what is the nature of
that accommodation which principally governs the
extent and distribtrtion of the building under our no-
tice. In the structure first raised by Sir Thomas
Gresham only two objects seemed to have been pro-
vided for—the daily meeting of the merchants, and
the reception of the shopkeepers ; the upper part of
the building having been, as it seems, arranged very
much after the manner of a bazaar. Its successor,
the late Royal Exchange, rebuilt after the great fire,
ultimately received some new and important bodies of
occupants, in lieu of the upstairs shopkeepers of the
former establishment. First in order of time, came
the association that originated in Lloyd's Coffee-house;
their introduction was followed by that of the Royal
Exchange Assurance Corporation, and this again by
the provision for the Gresham College, on the pur-
chase of its establishment by Government for the
use of the Excise. In rebuilding the :Exchange once
more, the Gresham Committee have made provision,
not only for an increase in the extent of accommoda-
tion to the shops, but for the reception of an additional
company, that of the London Assurance ; while they
have assigned the Gresham College to a separate edi-
fice, and prodded a suite'of rooms, hitherto unallotted,
in the situation at first devoted to that body. The
principal departments of the present building consist,
therefore, of the following portions, as to number and
order :

The Merchants' Quadrangle.
Lloyd's.
The Royal Exchange Assurance.
The London Assurance.
The unappropriated offices.
The offices and shops of private parties.
But, before we can make the situation and extent of
these portions clear to the reader, we must endeavour
to give him an outline of the general plan of the struc-
ture. Setting the portico out of notice for the mo-
ment, the remaining mass of building produces a
figure about 272 feet in length from east to west,
with a frontage of 118 feet at the west end, and of
176 feet at the opposite extremity, the north and
south sides being equaljand connected with the eastern
face, by large quadrant corners. The portico gives
a further extension to the west of about 28 feet in
depth, by a length or frontage of 90 feet. Nearly in
the centre of this entire mass is the Merchants' Quad-
rangle, occupying a space of 167 feet from east to
west by 111 feet across, these dimensions being in-
clusive of the covered arcade or ambulatory all round,
which is about 26 feet wide, leaving an open centre
in the proportion of a double square. In the interval
remaining to the east of the Merchants' Quadrangle
occurs another little court, some 60 feet in length
from north to south, and 19 feet in width. It is only
necessary to add to this general description of what is
technically " the plan," that there is an entrance to
the quadrangle from the centre of each of the four
fronts of the building; that the centre of the portico
is recessed to a depth equal to its projection ;.and that
the entrance from the east front occupies the base of
the tower. We may, however, mention further, by
anticipation, that the height of the building embraces
a basement story, ground floor, mezzanine, one pair or
principal floor, and, in many cases, a two-pair story.
Returning, then, to the distribution of the ground
floor, we have all its western portion, between the
quadrangle and the portico, occupied by the Royal
Exchange Assurance, with an entrance within the
portico on each side. The London Assurance en-
gages a small portion or space on the south or Corn-
hill side for an entrance; while the establishment of
Lloyd's has its approach by the small eastern court,
before referred to, between the quadrangle and the
tower. Almost the whole remaining space on the
ground story, both in the three street frontages and
in the eastern court, is devoted to the shops and pri-
vate offices, some thirty-seven in number, which,
accordingly, form the characteristic external features
of the lower portion of the building. It is on the
one-pair or principal floor, that the three great public
establishments have their chief accommodation. Two-
thirds of the space to the north and east of the qua-
drangle are occupied by Lloyd's rooms. Thence,
from the south-east corner, past the centre of the
Cornhill front westward, extend the rooms of the
London Assurance. The Royal Exchange Assur-
ance continues the range to the south-west extremity,
and then northward past the centre of the west front,
where the unappropriated offices complete the circuit
by the occupation of the north-west corner. It would
be tedious and unnecessary to particularise the rooms
in each department ; a sufficient notion of their ex-
tent may be gathered from the following comparison
of surface. We believe that we shall not be found
far from the truth, if we estimate the whole covered
superficies upon this story at 31,000 feet. Out of
this total a rough allotment will give to
Lloyd's

London Assurance

Royal Exchange Asssurance 5,700
Unappropriated offices 3,900

32,000
The only rooms that appear to demand a more de-
tailed notice are the important suite devoted to the
business of Lloyd's, which, however, will more pro-
perly engage the attention in the course of the exa-
mination which we proceed to institute into the
architectural composition and decoration of the
structure.

To consider the Royal Exchange, then, as a work
of art, we presume that the west front, the principal,
though smallest of the four—furnishes the governing
lines to the rest of the external design from the pro-
portions of its portico. The order employed is
Corinthian, fifty feet in height, that is, forty-one feet
for the column, and the remainder for its superin-
cumbent entablature. (This order is continuous round
the entire building, being elevated upon a granite
stylobate or pedestal, varying in height from four to
eight feet, according to the fall of the ground ; and
it is also surrounded generally by an attic and balus-
trade about ten feet in height. To this mention of
the order and its proportions we will just add, that
in all matters of detail preference appears to have
been given to the Italian school of design, that reigned
universally in this country at the beginning of the
last century.
But, to return to the west facade, we have a portico
of eight columns in width, and two in projection,
leaving a narrow blank wing in the back ground on
each side. The front rank of eight columns is backed
by a line of four, so placed as to give an internal space
to the centre and sides in the proportion of three to
two ; the centre, as we have before intimated, is also
deeply recessed. To avoid a multiplicity of small
windows for lighting the various apartments behind
the portico, that object is attained by means of two
large and boldly arched Venetian windows of lonic
detail; and between them, in the central division, is
an archway of corresponding outline, which gives ac-
cess to an inner vestibule communicating at once with
the quadrangle. These three arches are finished with
well-executed keystone shields and foliage, exhibiting
in the centre the merchant's mark of Sir Thomas
Gresham, and, over the windows, the bearings of the
old Merchant Adventurers, and the Merchants of the
Staple of Calais. The distribution of space in the
portico affords an opportunity for carrying over it a
vaulted ceiling in three compartments, enriched with
panelling and flowers. Of the pediment, which con-
tains a display of sculpture by Mr. Westmacott, we
shall speak hereafter, in noticing the accessories to
the general design : and shall only add to this des-
cription of the portico that, as it occupies the lowest
position in the declivity of the site, it is approached
with effect by a flight of nine steps, well flanked by
the advancing stylobate at each end.
The abuse of such an architectural appliance as that
of the Greco-Roman portico is so much more common
than its felicitous use, that we do not wonder that
professional men of high genius forego its application
altogether, rather than have recourse to it in an un-
favourable position and aspect, or under circumstances
where it would be unsuited to internal arrangements.
` Wren's porticoes of this descriptions are extremely
rare, and so are those of the late Sir John Soane.
We have already in London porticoes usque ad
nauseam, crammed with little openings at the back,
telling all the same story of a house built within the
shell of a temple. On the other hand, those architects
whose taste has led them to avoid this incongruity
and trifling have produced by the reverse an effect
that may be classical, if that be any recommendation,
but which is too frequently sombre and destitute of
animation, manifestly unsuited to the dull atmosphere
of Britain, and especially so to the genius of commer-
cial London. It is a great relief, therefore, to meet
with a specimen that does not excite our indignation
at the repetition of the " everlasting portico ;"
and that relief we certainly enjoy in the inspection of
the west front of the Royal Exchange. The situation
it occupies is one so temptingly commanding that though
we might have recommended the trial of some more
novel combination, we can excuse the architect's pre-
ference for a portico, since his choice has been con-
ducted to so happy a result. The composition under
notice has the merit of character; it is manifestly the
portico to an important secular building, and not to a
church, much less to a pagan temple. It
,hhasre,adi _nthft
❑
eminent degree, the advantage of artistical_ro 'of
shadow
and possesses a play of outline
lan f
unequalled in any other exampedinothee metropolis,
The arrange-
the west front of St. Paul's excepted.
ment of its plan bears some resemblance to that of the
Roman Pantheon; while the niches or recesses in the
latter offer, to the sticklers for precedent, some lines
of authority for the introduction of the Venetian
windows of the Exchange. As to these windows, we
may just observe, that while their outlines eminently
help the effect of liveliness in this portico, they are so
designed as distinctly to express their multiforw duty,

though combined in such a way as to preserve per-
fect unity. The management of the portico ceilings,
which in the Pantheon are of bald timber, is here so
conducted, by the vaulting we have described, as to
complete the expression of the internal design, to en-
hance the effect of loftiness and general magnitude,
and to meet the eye of the passer-by with a succes-
sion of pleasing forms that would have been lost
under any of the older modes of arrangement. It is
not superfluous to add, that the slope of the pediment,
or roof-line of the portico, approaches more nearly to
the outline of beauty for such subjects than in most
cases to which we can refer. This may be felt by
any one who looks at the two extreme instances in
Trafalgar-square; the one pediment gaping for more
than its allowance of the royal arms—the other in-
capable, from its flatness, of receiving any sculptured
device worthy of attention.
Resuming our description, it only remains to be
stated, respecting the west front, that the narrow
compartments beyond the portico on the north and
south are occupied by solid rustication in the lower
part, above which, in each case, is a parcel containing
a flowered wreath and mantle, charged with the royal
cypher; this again is surmounted by a festoon, and
the crowning attic exhibits a device formed with the
prmtorial insignia.
But it is time that we look at the other fronts of
the building. Throughout the south façade the main
order is continued by pilastres, divided the whole
length into thirteen equal portions, the pilastres being
doubled at the extremities of the front. In each of
these thirteen divisions is a rusticated arch of due
proportions, the rustic arrangement, with its sur-
mounting mouldings, occupying about two-thirds of
the available height beneath the general entablature.
The arch we speak of contains ordinarily a shop, with
its mezzanine story above; in addition to which, each
shop has a room in the basement, furnished with all
appropriate accommodation. Above the rusticated
shop arches appear the windows of the principal story,
deeply sunk, and surrounded by enriched architraves,
with boldly-carved keystones and panelings. Of the
thirteen compartments into which this front is divi-
ded, the central one, as the entrance, and that on
each side of it, are deeply recessed within the main
order; in each is a screen arch carried upon corbels,
and decorated wilh a bold shield having rich fes-
toons of flowers attached. These shields are
charged respectively with the arms of Sir Thomas
Gresham in the centre, those of the city of London on
the dexter, and of the Mercer's Company on the
sinister. In the spaces above are three windows,
boldly composed with scrolled piers, carrying en-
riched segmental pediments, and decorated with lion-
masks and massive drops of flowers. The attic,
which crowns the five middle divisions of this front,
is elevated above the wing portions, its extremities
being charged with devices of mantles and regalia,
with the cyphers of Queens Elizabeth and Victoria,
and the dates at which their respective Exchanges
were completed ; while the three middle compart-
ments are recessed like those below, and occupied by
deeply-enriched panels.
The quadrant corners which connect this façade
with the eastern, and that again with the north front,
are without pilasters, but contain three rusticated
arches below, and as many windows above. The
central window is finished semicircularly, with some-
what massive accompaniments; and above it, to give
variety to the line of attic, is a pedimented tablet-
composition, exhibiting the grasshopper, as Sir
Thomas Gresham's crest, surrounded by branches of
the oak and palm.
The east front, at which we now arrive, sustains in
general the character of the south, and is divided into
seven compartments, three of them being formed into
a centre, and the remaining two on each side being
treated precisely in the same manner as the ten
wing-divisions in the Cornhill front. The three cen-
tral compartments are somewhat recessed, and are di-
vided by four columns instead of pilasters, two of the
columns being isolated, and two partly attached. The
arches in these are of a more ornate character than
their neighbours, each being surrounded by a band of
oak-leaves, and finished with a massive keystone, that
branches out with scrolls to form a corbelling for the
support of the window-dressings above, which are of
large proportions and elaborate finish. The attic
above this portion of the design is elevated, and forti-
fied with massive inverted consoles, one rising from
each portion of the entablature which breaks over
the columns below. In each of the three divisions
of this attic is a large shield, with foliage, displaying,
respectively the arms of the City, Gresham, and the
Mercers. Each extremity of the attic is crowned
with a fanciful terminal, bearing the caduceus of
commerce, and apparently designed to produce a
proper combination with the outline of the tower,
which rises from the centre. This important feature,
whose practical object is to contain the clock, with an
improved chime-apparatus of fifteen bells, is carried
to a height of 170 feet from the ground by four suc-
cessive stages of design, above the general order of
the building. In the first or lowest of these its plan
is a square, fortified with double buttress-like piers at
the angles, of which the two on the eastern face aro
made to carry up the perpendiculars of the columns
below, so as to produce continuity of line from the
ground. This stage of the design is occupied in the
east front by a niche, and, in the others by correspond-
ing openings, with architraves and bold keystones,
the whole being bounded by a massive cornice. The
niche is intended for the reception of a colossal statue
of Sir Thomas Gresham, from the chisel of Mr.
Behnes. The next story of the design exhibits in four
aspects the clock-dials, which are nearly nine feet in
diameter; it is flanked at each angle by two vases, and
is somewhat more broken than the former stage. The
next consists of an octagonal lantern pierced with a
long ornamental outlet on each alternate face, and
fortified anglewise on the remaining four by two
columns of a composed order, with their appropriate
accompaniments. The fourth and last stage consists
of a circular tambour, surrounded by eight consoles,
and pierced with outlets in the intervals ; the whole
carrying the dome, from which is elevated the grass-
hopper vane rescued from the former building.
We pass on to the north front, which differs in its
subdivision from the south, having, instead of thirteen,
fifteen arches of narrower proportion, five of them
forming an advanced centre, and the remaining five
on each side being carried by rusticated piers without
any pilasters. The centre of five arches consists again
of three, with recessed divisions in the upper story,
flanked by two of a more solid character. In the
former, between the arches and the richly decorated
windows which surmount them, is a tablet-course
bearing three inscriptions ; over the entrance the
motto of Gresham, in old French, Fortun a my ; to the
east, or dexter, Duce dirige nos; and on the west the
Honor Deo of the Mercers' Company. The advanced
compartment on each side of these central three con-
tains, on a level with the windows, an enriched
niche; that on the east is intended to receive a
statue of Sir Richard Whittington, by Mr. Carew,
and that on the west a figure of Sir Hugh
Myddelton, by Mr. Joseph. As the upward
termination to these portions of the design,
the attic is raised to form ornamental groups of
chimneys, faced with carved festoons of fruit and
flowers. The three intermediate divisions of this
attic follow the recessed lines of the architecture
below, and have the piers surmounted by altar-like
terminals, carved with the Mercurial caduceus. The
wing portions of this front have, above the shop-story of
arches, a tier of elaborately composed windows, whose
dressings reach the entablature above, an arrange-
ment which is evidently intended to obviate the feeble-
ness of effect that would otherwise result from the
absence of pilasters. These wings are terminated by
the general balustrade.
Having thus carried our survey round the exterior
of the building, we will briefly offer our opinion that
the merit of expression, which we conceded to the
west front, may be justly claimed by the other
three; the whole effect is distinctly commercial ; the
structure solid, as the representative of British trade,
yet ornate, as the centre of our mercantile wealth.
This fitness we conceive to constitute the first requi-
site to good design ; and we find it in this building
not unaccompanied with unity and breadth,:nor yet
destitute of the variety attainable from light and
shade. The detail is of a clear and decided character,
evidently studied with a view to future effect under
the discolouring hand of time. It is generally
original in design, and free from the charge
of uninventive repetition. Among other points
we may notice the windows in the prin-
cipal story, of which we have counted seven
carefully-studied varieties, yet so applied as to avoid
any frivolous disturbance of continuity and breadth.
We could have wished that some of the shops had
been dispensed with, so as to have allowed of more
spacious entrances to the quadrangle from the north
and south sides ; but this we presume was a conside-
ration of rental too powerful for the architect to en-
counter. A threefold, instead of single external. ves-
tibule in these aspects, would have formed
TabaelaiP impor-
tant accession to the effect of the design.
treat-
ment of the tower, considered
asa
portion of the
bip and
building, is felicitous,
wsuhbe-tshttr va crter as
utilorcues, omaonrglViewedesofwith
growing out from the sight.
reference to its outline a
The obstruction of its fron.t vieweftrielamn tthheateaswitleicrhn
approaches is a much less nisfortun
discordance of outlines,
would have arisen from the
had the tower been placed either in the north or
south front; and to have raised it in the west, behind
the portico, would have been in point of character the
most fatal of architectural errors. Situated as it is,
the tower produces one of its happiest effects as a
termination to the vista obtained on approaching the
quadrangle bythe great western entrance.
To this portion of the building it is necessary that
we should now direct our attention. The Merchants'
Quadrangle, Of which we have already stated the
dimensions, presents to our view an open court, whose
length from east to west is twice its width. Its
height presents us with a composition of two
orders—Doric below, and lonic above, the co-
lumns being engaged to the solids behind;

and elevated upon pedestals. Each of these ord >rs
comprehends a line of well-proportioned arches,
with appropriate imposts and dressings. The arches
of the lower tier being open, communicate with
the ambulatory or arcade that surrounds the court;
and at the back of this ambulatory are corresponding
divisions of piers with arches deeply recessed. The
arches of the upper tier, compthed within: the lonic
order, are treated as large curved recesses, enriched
with panelling both articulated and plain, and con-
taining each a window, whose dressings are advanced
in a very prominent relief, standing wiihin a carved
stone balcony, and finished above with an elaborate
and pedimented top, that occupies the head of the
great recessed arch. Above this window, in the
crown of each arch, is a keystone, forming a handsome
cartouche-shield, charged with the arms of one of the
states with which we have commercial intercourse.
This is surmounted by the entablature of the order,
the cornice of which is of unusually bold projection
and detail ; and from this rises the attic, which, with
its broken outline of piers and open panelling of play-
ful design, terminates the composition. This descrip-
tion embraces one vertical compartment of the general
design ; to complete the circuit, it must be understood
that on each side of the length of the court there are
seven of these compartments with two small ones, and
at each end of the court three such compartments with
two small ones. These smaller compartments, being
two at each corner of the quadrangle, have each a
rusticated double arch below, and, variously, a window
or niche above, surmounted, successively, with a
carved festoon and a panel containing a wreath of oak
and laurel. An ornamented group of chimneys ter-
minates the attic over each of these corners.
We consider the composition of this court emi-
nently successful. It is more imaginative than any
of the external design ; the combination of forms is
grateful even to the uninitiated eye, while the subdi-
vision and character of detail are calculated to en-
hance its apparent magnitude. We are only uncer-
tain whether we should not have proposed a greater
width'of proportion—whether that of three to five,
for instance, would not have been preferable to the
present of one or two.
But, we must complete our description of the sur-
rounding ambulatory, by observing that its ceiling is
formed on a principle somewhat analogous to that
developed in the wooden ceilings to some of our
churches of the later Gothic period. Every pier of
the arcade has a band or beam crossing over to its
neighbour against the opposite wall, which beam is
curved down to its springing at each end, and carried
by a corbel or console. In the opposite, or longitu-
dinal direction, these beams are intersected by two
others, so as to form in each division of the ambula-
tory one large panel between two narrow ones. Pen-
dants of varied are foliage applied at all points where
these beams or bands intersect each other. A similar
arrangement is recognised in the pavement, which re-
peats in party-coloured stone the architectural lines
of the ceiling.
It is on the ceiling and walls of this ambulatory that
the extent of the so-called encaustic painting, of which
we have heard, has been executed by, and under the
direction of, M. Sang, the artist of Munich. Some
notices of the day have proved a verbal description to
be of so little use in elucidating mere matters of
colour and pictorial device, that we shall abstain from
anything more than a very general notice of M. Sang's
performance. His object has been to obtain colour by,
the Raffaellesque style of decorative design, and in
this he has admirably succeeded, displaying a most
inventive fancy, great elegance of outline, large re-
sources for the enrichment of purely architectural.
members, a perfect knowledge of the harmony and
balance of colours, and extreme beauty of execution.
Under the advice of the architect, he has maintained
the expression of the edifice by the various national
heraldic subjects introduced into the leading com-
partments of the ceiling, while the somewhat minute
character of his detail increases the expansiveness or
the general architectural effect. Notwithstanding its
frequently-questioned appropriateness, we are glad to
see this class of decoration finding its way into the
mart of merchandise ; even there the loiterer may
now become impregnated with some of that zeal for
art, which shall ultimately vindicate us from the
alleged tastelessness of the mere nation boutiqui6v.
Not that we speak of this mode of embellishment,
fur a moment, in the same tone that we should adopt
towards the highest school of pictorial composition ;
but it is still a department well calculated not only
to please but to improve the common taste, and
quicken the perception of beauty in general. It is,
moreover, a department to which English skill has
been very little directed : while on the Continent, and
especially under the auspices of the King of Bavaria,
it has for years been cultivated with great assiduity
and success. Hence the difficulty in the present in-
stance, where expedition seems to have been a pri-
mary object, of decorating such a large extent of
surface without some assistance from those accus-
tomed to the same work abroad. Had the Gresham
Committee been prepared to authorise the execution
of a series of paintings of a far higher order, in the
historical and descriptive departments, so far as these
might have been applicable, it is matter of evidence
that English talent would have been more than ade-
quate to every exigency ; it is from the novelty and
peculiarity of the work alone that any necessity arises
for extraneous assistance

We have hitherto omitted to state, that the north
and south approaches to the quadrangle, as well as thtt
entrance under the tower, have also had their cielingl
painted by M. Sang, in fresco; the eastern entrance
is particularly successful. We must also mention;
before leaving the ambulatory and its decorations,
that its north-east and south-east extremities contain]
niches, which are tenanted respectively by the statu/
of Queen Elizabeth, by Mr. Watson, and of Charlo
11., by Gibbons; the latter being the identical
occupant of the central place in the former Exchange,
These statues, of course, refer to the buildings for the
same purpose erected in the reigns of the Sovereign
they represent.
In closing our account of the quadrangle, we havi;
only to observe that its open area is floored with
tessellated pavement, under the care of Mr. Singer]
Its design consists, generally, of a large fret and ac,
companiments, forming a broad external border, afte;
which the elongated form within is subdivided b:l
other bands of ornament into a square between twl,
oblongs ; each of these figures has then a lozengit
inscribed within it, entwined with a circle at each
the angles. The space left in the centre of the )arge
figure is intended to afford the site for Mr. Lough'.',
statue of her Majesty; the centres of the smallei:
lozenge are occupied by a semi-arabesque flower;
The general design is by no means characterises;
by the exuberant fancy of some of the Roman
remains ; but its effect of colour is rich and good;
harmonising well with the tout ensemble of M. Sang'l-
adjacent performance. We have only to hope that
the dust of traffic may not totally obscure, nor expo!,
sure to the elements quickly destroy, Mr. Singer
production ; as the experiment which he has her::
made is one which we would willingly see repeated
and with success, wherever a favourable opportunitk
may present itself.
We are sorry that, after going the round of tl-t,
building, we find that we must be very brief in tht.
consideration of the remaining accessory, that tt
sculpture. Mr. Westmacott's production, whicl:
occupies the tympanum of the pediment, seems to
a display of individual figures, civic, commercial, an,
foreign, rather than a composition, those figures beini
well executed, but minute withal. The whole ;;Y•
meagre as to descriptive interest ; and the isolated t-
well as emblematical character of the presiding figure
of Commerce, amidst sixteen occupied realities, leavv,
it open to the charge of that want of significant,V
urged by the author of a jeu d'esinit which appearei;
in the Times about a month since. The generi,
effect, however, is rich, the relief powerful, and tl
principal lines in harmony with and subordinate ti
those of the architecture. We object to the motit.
from Scripture, as being a mere sculpturi
subterfuge, and especially out of keeping with tl7.
Latin inscription beneath.
The department of architectural sculpture, such s'
that of devices, draperies, flower-carving, and the lilc t
has, we are given to understand, been committed'
tt
Mr. Westmacott. The golden days of Grinliq
Gibbons are gone, without leaving to us his worth,.
representative. Greatly is it to be lamented that out
present architects are not more solicitousrtorepveiNry-eatnil
ancient school of carving, and reject the turn
maffeorredtsritcoioeuvserfiyneprryetoenf
dpelrasatemr
eaanndsc,coofumtdip.biosnps.ilaiyoTnasi,lewezhicsii:
vocal in taste as it is cheap
pteht
iet
imo
ne c ooafn is
idual geniu •
if chiefdore a t
the
efr alltl the
imaginative,hriesni ethd at thc
reietpa
etsiruope! ssttuioetafxui execution.
v
wishingrn und
thatthe it
ouwt2ik
side or outside of St.
auarchitecturalprofession could 1
tAhes
mace to feel this fact as deeply as IN e o. n
membersordinary spectatorrs wersniclN,iethr
of the
ti
I;:change, however, there appear many steps taken i
the right direction; and we
,hype to see the sans:
truck followed with increasing success by all fatty
practitioners who value their art for anything mot
than its commission.

Before closing our remarks, we must notic,.
Lloyd's rooms, which are the only apartments of an'
public interest. They occupy, as before stated, tl-
north-eastern portion of the prin:ipal story of ti
building, and are approached by a staircase of mil:
tude and solidity, arranged in easy stages, but extt
biting little effort at display. From this we ent,
the archway leading to what is, specifically, the lobb i
a lofty apartment, equal to a square of about 35 fec,
but of irregular form on the north side. From tl•
I irregular portion, however, a symmetrical space
cut off by the intervention of a columned arcade
three openings. This lobby communicates to tl ,
west with the ' Commercial-room, to the south wit
the subscribers' or underwriters'-room and its suit, .
and to the east with the captains'-room. The con
mercial-room is affected in plan by the genera
obliquity of the site, but is treated in such a way s
almost entirely to disguise that fact. Its extreu:.