World of Art Greek Art Fifth Edition

John Boardman
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1 Head of a bronze figure from the Artemisium wreck, more probably a Zeus with
a thunderbolt than Poseidon with a trident. The brows and lips were inlaid in
copper and the eyes inset. About 460 BC. Just over life size. (Athens, National
Museum)
About the Author

Sir John Boardman was born in 1927, and educated at Chigwell

School and Magdalene College, Cambridge. He spent several years in
Greece, three of them as Assistant Director of the British School of
Archaeology at Athens, and he has excavated in Smyrna, Crete,
Chios and Libya. For four years he was an Assistant Keeper in the
Ashmolean Museum, Oxford, and he subsequently became Reader in
Classical Archaeology and Fellow of Merton College, Oxford. He is
now Lincoln Professor Emeritus of Classical Archaeology and Art in
Oxford, and a Fellow of the British Academy, from whom he received
the Kenyon Medal in 1995. He was awarded the Onassis Prize for
Humanities in 2009. Professor Boardman has written widely on the
art and archaeology of Ancient Greece. His other books in the World
of Art series include Athenian Black Figure Vases, Athenian Red
Figure Vases (volumes on the Archaic and Classical periods), and
three volumes on Greek Sculpture covering the Archaic, Classical and
Late Classical periods.
Thames & Hudson world of art

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To find out about all our publications, including other titles in the
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There you can subscribe to our e-newsletter, browse or download
our current catalogue, and buy any titles that are in print.
 Other titles of interest published by
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Greek Sculpture: The Archaic Period

The History of Greek Vases: Potters, Painters and Pictures

The Greeks in Asia

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 Contents

Preface to the Fifth Edition

Introduction

CHAPTER 1 The Beginnings and Geometric Greece

CHAPTER 2 Greece and the Arts of the East and Egypt

CHAPTER 3 Archaic Greek Art

CHAPTER 4 Classical Sculpture and Architecture

CHAPTER 5 Other Arts in Classical Greece

CHAPTER 6 Hellenistic Art

CHAPTER 7 Greek Art and the Greeks

CHAPTER 8 The Legacy

Chronological Chart

Map of the Greek World

Select Bibliography

Acknowledgments
Index

Copyright
Preface to the Fifth Edition

2 Achilles binds the wounds of his companion Patroklos at Troy. Interior of an

Athenian red-figure cup by the Sosias Painter. About 500 BC. From Vulci. (Berlin,
Staatliche Museen 2278)

The first edition of Greek Art was written fifty years ago, and the
text and pictures have been modestly adjusted since. When I wrote
it I was, frankly, learning much of the subject as I was describing it,
and if I think I understand it better now this is because I have spent
years studying and teaching various aspects of it. It is a subject that
has changed no little over the years. One major element here is the
fact that fifty years ago few scholars did more than suspect that
classical sculpture – the great marble nudes – were originally
realistically coloured. Some artists of the nineteenth century, Gibson
and Alma Tadema, had guessed as much, and produced sculptures
and paintings showing it. Closer study over the years has proved the
point. A major recent exhibition of sculpture at the British Museum,
‘Defining beauty: the body in ancient Greek art’, demonstrated it
well, so the phenomenon must now be judged common knowledge,
although it will be hard ever to shake off our view of classical art,
Greek or Roman, as defined by figures and compositions in blank,
austere, ‘pure’ white marble. Classical antiquity was possibly a more
colourful place than the modern world.
Over the same years scholars of Greek art have explored
approaches other than the purely aesthetic. For sculpture, the
understanding of technique has been important – how models in
clay lay behind finished and often larger marbles, the techniques of
copying and enlarging, the practice of partial casting from life. The
social and religious aspects of Greek art are also by now better
defined, and the subject has been subjected, as have so many
others, to ‘structural’ and other techniques of intellectual analysis,
though commonly not leading to any seriously different
understanding for most of us. The role and influence of individual
artists, notably in painting (usually on vases), have been better
understood and recorded, while internet accessibility has enhanced
the breadth of our experience. Significant new finds come thick and
fast, and the miscalled ‘minor arts’ of jewellery and gem engraving
have been more fully studied and recognized in recent years. Only
ancient panel painting really eludes us except in later, but ancient,
copies.
I have attempted here to place Greek art back into Greece and
away from galleries and art books, to try to recapture what it meant
to its makers and viewers, and so better to evaluate what it has
meant to later artists in the western world. The original artists’
intentions and the way these masterpieces are viewed now are often
leagues apart. Classical art and architecture may seem foreign to
much that is produced today but much is still implicit in design and
appearance. The Renaissance’s copying of classical art, without its
colour, has determined the appearance of the figure arts and
architecture of the western world for centuries and can never quite
be shaken off. Nor need it be, since it is but one of the legacies of
ancient Greece which have helped form western thought, society
and art – the product of a civilization which, taking a world view (as
I have attempted in The World of Ancient Art, 2006), had a unique
effect on the history of mankind. But foremost my aim has been to
explain what Greek art looks like, how to look at it, and how to enjoy
it as something beyond the tourist’s Parthenon or a broken marble,
as part of our common heritage.
I use the term ‘classical’ generically, ‘Classical’ for works in the
high style of the 5th century BC. Formulations such as ‘the
Geometric’, ‘the Archaic’, and ‘the Orientalizing’ are simply a matter
of convenience, since the development from one style to another is
smooth, only accelerated by outside influences or the brilliance of
individual artists or schools. It is easy to be deceived by terms such
as ‘about 500’ or ‘the 6th-century style’, which are meaningless in an
antiquity which did not know which century BC it was living in, but
they are useful to us. We talk with more conviction about the
different spirit of Quattrocento and Cinquecento Italy; the passage
into a new decade, century or millennium is more readily felt to be
significant in some way – ‘the nineties’, ‘the twenties’, fin de siecle –
in modern times.
Introduction

I would say that the Parthenon now is probably much more

impressive than when it was first made. You feel the spaces much
more, and the openings, and the fact that it’s not solid throughout
and that the light comes in, makes it into a piece of sculpture and
not, as it was before, a building with four external sides. It’s
completely spatial now.

The enthusiasm for light and space evoked by the greatest

monument of classical antiquity in a great modern sculptor, Henry
Moore, expresses much of what has for many seemed to be the
principal appeal of Greek culture and art: the expression of a people
unsurpassed for their purity of thought, behaviour and design,
democrats, philosophers, poets and historians, the true precursors of
the modern world and all-time successes in the pursuit of the true
and the beautiful, expressing a humanity that anticipated or even
surpassed all that Christianity has been able to achieve [3, 4]. The
truth about Greek art and antiquity is very different, yet in its way no
less marvellous. For about half the time span of this book Greek art
was heavily dependent on non-Greek example; thereafter it was a
leader. That Athenian democracy should be remembered by the
name (Pericles) of the man who effectively ruled the city in the mid-
5th century BC says something about how democratic it was; Greeks
could be ruthlessly cruel and spent more energy fighting each other
than any foreigners; slavery was an essential element – but so it was
worldwide at that date, and it seems that slaves, women, the
disabled and foreigners were marginally better treated in classical
Greece than in most places.
3 The Parthenon today in an unimpeded view not possible to an ancient visitor
(compare [5]). Built 447–433 BC to the plans of Ictinus and Callicrates. All the
ancient sculpture remaining (after Elgin had taken his Marbles to London), much
damaged by pollution in the last hundred years, has been removed and installed in
a new Acropolis Museum, incorporating good casts of the pieces in London. The
temple itself is being skilfully restored
4 The ruined Parthenon has proved an ideal setting for a romanticized view of
ancient Greece. Isadora Duncan danced on the steps, and here a Hungarian
dancer, Nikolska, responds to its appeal in 1929

The starry-eyed view of Greece of a century ago was bred by

generations of a classical education for western ruling classes, by the
undoubted role of classical literature in forming later western
literature, by the feeling that Greeks were proto-Christians, and by
an almost wholly distorted view of what Greek art amounted to. The
brilliance and pervasive quality of its legacy has little to do with its
original function and appearance, but it has taken, and is taking, a
long time to understand just what these were. The Renaissance
rediscovery of classical art led to a variety of Greek revivals in the
arts and architecture, culminating in the later 18th and 19th
centuries in both fine architecture and rather vapid sculpture and
painting. As a result, the architecture of many western buildings of
up to fifty years ago was dominated either by a revival of a
European Gothic style, or by classical colonnades and mouldings,
often both together, while representational art in painting or
sculpture (especially for cemeteries and memorials) was determined
by a style invented in 5th-century BC Greece, transmitted by Rome
and misread by the Renaissance, which was unaware that all
classical sculpture was realistically coloured, not the blank white to
which we are all by now accustomed. We are thus led to believe that
accurate anatomy, form and material are the essentials. The Elgin
Marbles are splendid, but they do not look at all as they did in
antiquity, quite apart from the fact that they were then viewed from
a great distance, not nose to nose. Even much modern art has been
determined by the classical styles it has been consciously trying to
shake off, and post-modernism still makes deliberate reference to
the classical. We are conditioned to, or against, it by our man-made
environment, and this does not make it any easier to judge
dispassionately. Indeed, there is now a fashionable bias against the
‘classical’, even in scholarship.
We have then to try to understand Greek art in the terms in
which it was devised, whatever the functions it may have exercised
since antiquity, and however interesting it may be to observe
modern reactions to the way it is presented in museums, books and
the art market. It is retrievable. Even for Henry Moore who once

thought that the Greek and Renaissance were the enemy, and that
one had to throw all that over and start again from the beginning of
primitive art. It is only perhaps in the last ten or fifteen years [his
40s] that I began to know how wonderful the Elgin Marbles are.
Even so, we may wonder whether his appreciation of the Elgin
Marbles came anywhere close to their function and the intention of
their creators, or was just a recognition of other, timeless standards
of excellence. There is nothing improper about admiring them for
the wrong reasons, but to try to recover the right reasons is a
worthwhile exercise.
And for the Parthenon itself – that windswept child of space and
beauty – in antiquity only its upper parts were visible from afar. On
the Acropolis rock, crowded with statuary, monuments and other
buildings [5], long since lost, it was mainly obscured until the visitor
was close beside it, dominated by its size and the massive columns
receding into the sky. It was bright and colourful, not white and
austere, but hardly a temple of light. High above, the realistic
statues and reliefs provided a presence of gods, heroes and mortals
whose actions reflected on Athens’ glory. The main part of the
building behind the columns seemed a massive, solid marble block,
floor to ceiling, pierced only by two doors, usually closed, and two
windows. Within lay much of Athens’ treasure, and a rich symbol of
her goddess’ wealth in her forty-foot-high gold and ivory statue
[146]. The whole ensemble said more about power, prestige and
patriotism than religion, and although the art and architecture were
exquisite by any standards, their intent was far from what we would
call artistic.
5 Model restoration of the Athenian Acropolis with the Propylaea and the Temple
of Athena Nike in the right foreground, the Parthenon beyond, and the
Erechtheion to the left centre. (Toronto)

Empathy with a people long dead and appreciation of their art

require a knowledge of their environment, their everyday visual
experience, how they dressed, what they ate, how much or little
they believed, how they treated each other, what their politicians
and generals sought for themselves and their people. The richness
of classical literature and monuments makes this a not impossible
task, if we allow for the prejudices of intervening years; at any rate,
it is worth the attempt, and although we know that each age creates
its own view of history, we must hope that we become better able to
make due allowances, can identify our prejudices, and avoid judging
antiquity in terms of concepts created to help us survive and
understand the 21st century and some of its arts.
In dealing with ancient art it is particularly important to try to see
or envisage objects as they were intended, to remember that both
sculpture and architecture were coloured, that the sculpture had a
setting quite unlike that of any modern gallery, that even the most
appearance; it was more a matter of scale. But the 5th century
introduced to world art the Classical revolution and an idiom which
was totally at variance with the way in which man had hitherto
desired to create images of himself, his gods and the world of, and
even beyond, his experience. It was an idiom based essentially on
idealized but realistic presentation of the human figure: a counterfeit
of nature but somewhat more as she should be than as she was.
The idealization was nothing new since it is almost normal in stylized
and unrealistic figures such as the Archaic, but in the 5th century it
involved adjustment of realistic anatomy in the interests of perfect
symmetry, and suppressing much expression of particulars such as
individuality, age, emotion. The realism was new, and for the first
time in the history of art the artist shows complete understanding of
how the body is constructed, how to express nuances of movement
and, even more difficult, repose. Such impersonations or mimicry
(mimesis) of the real world perplexed Greek philosophers, especially
Plato, who was suspicious of art’s deceits and its inability to express
the absolute. Other cultures which seem to have been well capable
of such realism, such as Egypt, had deliberately shunned it in favour
of measures of stylization that in their way distanced art from life.
This was very effective but not what the unusually humanist society
of Classical Greece wanted. There was nothing essentially better
about their approach, although it did prove, in its essentials, to have
a more truly universal appeal than did the arts of other early
cultures. This phenomenon is explored briefly in Chapter 8 because
it helps us to understand what the differences are, regardless of
whether Greek art is still capable of moving us or not. Part of it is
explained by the way Greek art could provide a vivid means of
recording the present and the past in images, and, however literate
the society, images can always communicate more directly than
words.
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The Project Gutenberg eBook of London in the
Jacobite times, Volume II
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Title: London in the Jacobite times, Volume II

Author: Dr. Doran

Release date: November 6, 2023 [eBook #72050]

Language: English

Original publication: London: Richard Bentley & Son, 1877

Credits: Carol Brown, Susan Skinner and the Online Distributed

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by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK LONDON IN

THE JACOBITE TIMES, VOLUME II ***
 LONDON

IN

THE JACOBITE TIMES

VOL. II.
 LONDON: PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND PARLIAMENT STREET
 LONDON
IN

THE JACOBITE TIMES

BY

Dᴿ DORAN, F.S.A.

AUTHOR OF ‘TABLE TRAITS’ ‘QUEENS OF THE HOUSE OF HANOVER’

‘THEIR MAJESTIES’ SERVANTS’ ETC.

IN TWO VOLUMES

VOL. II.
 LONDON
RICHARD BENTLEY & SON, NEW BURLINGTON STREET
Publishers in Ordinary to Her Majesty the Queen
1877

All rights reserved.

 CONTENTS
OF

THE SECOND VOLUME.

CHAPTER I.
(1724-’25-’26-’27.)
PAGE
Loyal and Disloyal Printers—Sacheverel—His Death—A
new Toast—Bolingbroke—Bolingbroke’s Adversaries
—In the Lords’ House—Denunciations against him—
An Epigram—Fresh Intrigues—Political Writers—
Wharton, Boasting—Prince William, Duke of
Cumberland—In Kensington Gardens—Seaforth’s
Pardon—Robert Macgregor Campbell—Rob Roy’s
Letter to Wade—Rob Roy in Newgate—Rob Roy in
London—A Note of Alarm—Patriotic Jacobites—
Voltaire—The New Reign—Coronation—Prince
Frederick 1

CHAPTER II.
(1728 to 1732.)
Mist’s Journal—Lockhart of Carnwath—George II. and 27
Lockhart—The Jacobite Cause—Character of the
House of Commons—The King and Queen—
 Atterbury weary of Exile—The Prince of Wales at
Church—The Morals and Manners of the Time—
Atterbury, on Mist—Thomson’s ‘Sophonisba’—Cibber
made Poet Laureate—Jacobite Hearne—A Jacobite
Threat—Difficulties in Professional Life—Death of
Defoe—‘Fall of Mortimer’—Duels and Sermons—
Young Lord Derwentwater—A Standing Army—The
Duke’s Grenadiers—General Roguery—Death of
Atterbury—Burial of Atterbury—At Scarborough—
Notorious Jacobites—The Earl of Derwentwater

CHAPTER III.
(1733 to 1740.)
Approaching Storm—Wyndham in Parliament—Political
Sermon—Stormy Debates—The Young Chevalier—
Lord Duffus—The Calves’ Head Club—The Calves’
Head Riot—The ‘30th of January’—Objectionable
Toasts—Foster, in the Old Jewry—The Queen and
the Artist—Chesterfield’s Wit—Scene in Westminster
Hall—Jacobites and Gin-Drinkers—The Stage
fettered—Fear of the Pretender—Walpole, on
Jacobites—Curious Discussion—Safety of the Royal
Family—‘Agamemnon’—The King, in Public—Political
Drama—Henry Pelham and the Jacobites—Jacobite
Prospects—Death of Wyndham 55

CHAPTER IV.
(1741 to 1744.)
Incidents in Parliament—Party Characteristics—On 82
Hounslow Heath—Tories not Jacobites—Condition of
Parties—In Leicester Fields—Awaking of Jacobites—
Chesterfield’s Opinions—King and Elector—Highland
Regiment in London—Desertion of the Men—March
of the Deserters—The Highlanders at Oundle—
 Military Execution—Threatened Invasion—Confusion
—Preparations—Declaration of War—Letter from
Hurd—Public Feeling—Lady M. W. Montague—Carte,
the Nonjuror—Carte’s History of England—Various
Incidents—Lady Nithsdale

CHAPTER V.
(1745.)
‘Tancred and Sigismunda’—Political Drama—The young
Chevalier—Feeling in London—Hopes and Fears—
Horace Walpole’s Ideas—Divisions in Families—
Court and City—Varying Opinions—London Wit—The
Parliament—The Radcliffes—The London Jacobites
—The Venetian Ambassador—Monarch and Ministers
—News in private Letters—The London Trainbands—
Scenes at Court—The King’s Speech to the Guards—
Aspects of Society—French News of London—
Anxiety and Confidence—Johnson and Lord Gower—
Bolingbroke 108

CHAPTER VI.
(1746.)
War Criticism—Breaking an Officer—Rebel Prisoners—
London Mobs—Ambassadors’ Chapels—The Havoc
of War—Flying Reports—News of Culloden—A
popular Holiday—Carlyle and Smollett—‘Tears of
Scotland’—Indignation Verses 133

CHAPTER VII.
(1746.)
The Players—Sadler’s Wells and the New Wells— 146
Culloden on the Stage—Mrs. Woffington—The Press,
on Culloden—Savagery and Satire—The
 Caricaturists—Pseudo-Portrait of Charles Edward—
The Duke of Ormond—Burial of Ormond—The
Question of Inhumanity—Instigators of Cruelty—The
Prisoners in London—The Duke in Aberdeen—
Looting—The Duke and his Plunder—A Human Head
—‘Sweet William’—Flattery

CHAPTER VIII.
(1746.)
Colonel Towneley—King’s Evidence—Towneley’s Trial
—Conviction—Captain Fletcher—The Manchester
Officers—‘Jemmy Dawson’—The Jacobite Press—
The Condemned Jacobites—Painful Partings—Within
Prison Walls—The Last Morning—Via Dolorosa—At
Kennington Common—Behaviour—Execution—
Heads and Bodies—Other Trials—A Mad Jacobite—
Sir John Wedderburn ‘Bishop’ Coppock 166

CHAPTER IX.
(1746.)
At the Whipping Posts—In Westminster Hall—
Preparations for the new Trials—The Lord High
Steward—The Spectators’ Gallery—Kilmarnock and
Cromartie—Balmerino—The Prosecution—Balmerino
and Murray—‘Guilty, upon my Honour!’—Kilmarnock’s
Apology—Cromartie’s Plea—Balmerino’s Defence—
Balmerino’s Conduct—George Selwyn—Kilmarnock’s
Principles—The Principles of Balmerino—Leniency of
the Government 188

CHAPTER X.
(1746.)
The Duke at Vauxhall—Opinion in the City—In the 207
 Tower—Lord Cromartie—Lord Kilmarnock—On Tower
Hill—The Executions—Charles Radcliffe—The Trial—
Mr. Justice Foster—Conduct of Radcliffe—To
Kennington Common—Cibber’s ‘Refusal’—Execution
of Radcliffe—Lovat’s Progress—Hogarth’s Portrait of
Lovat—Arrival at the Tower—Rebels and Witnesses
—Tilbury Fort—French Idea—A London Elector’s Wit
—Trial of Lovat—Scene in Westminster Hall—Father
and Son—The Frasers—Murray of Boughton—
Murray’s Evidence—Cross Examination—The Verdict
—Gentleman Harry—The Death Warrant—Execution
—George Selwyn—Lovat’s Body—The White Horse,
Piccadilly—Jacobite Toasts—The Earl of Traquair—
Plotting and Pardoning—Æneas Macdonald—The
Countess of Derwentwater—Sergeant Smith—The
Jacobite’s Journal—Carte’s History of England—
Hume’s ‘History’—Jacobite Johnson—Johnson’s
Sympathies—Flora Macdonald—Flora’s Sons

CHAPTER XI.
(1748 to 1750.)
Depreciation of the Stuarts—The Government and the
Jacobites—Enlargement of Prisoners—In the Park
and on the Mall—The Statue in Leicester Square—An
Eccentric Jacobite—Gloomy Reports—The
Haymarket Theatre—Treasonable Pamphlets—
Murray and Lord Traquair—Political Meeting—Dr.
King’s Oration—The Earl of Bath—The Laureate’s
Ode—The Jacobite Muse—Prisons and Prisoners
—‘Defender of the Faith’—News for London 256

CHAPTER XII.
(1751 to 1761.)
Death of Great Personages—The New Heir to the 275
 Throne—Lord Egmont on Jacobites—In both Houses
—Jacobite Healths—The Royal Family—
Parliamentary Anecdotes—Attempt to make
‘Perverts’—Dr. Archibald Cameron—Before the
Council—Trial of Cameron—The Doctor’s Jacobitism
—Charles Edward, a Protestant—Cameron’s Creed—
The Last Victim—In the Savoy—A Scene at
Richardson’s—Cameron’s Case—A Minor Offender—
Suspicion against the Duke—The Anti-Jacobite Press
—The City Gates

CHAPTER XIII.
(1751 to 1761.)
The old Chevalier and the Cardinal—Roman News in
London Papers—A Son of Rob Roy—Jacobite
Paragraphs—Hume’s ‘History’—At Rome—Hopes
and Interests—Illness of the old Chevalier—
Accession of George III.—King and People—Charles
Edward at Westminster 298

CHAPTER XIV.
(1744 to 1761.)
Charles Edward in Manchester—Miss Byrom’s Diary—
The Visit in 1748—The Visit in 1750—Dr. King and
the Chevalier—Memoranda—Further Memoranda—
Charles Edward’s Statement—The Visit in 1752-3—
Credibility of the Stories—Conflicting Statements—At
the Coronation—At the Banquet—George and
Charles Edward—A Disqualification—The
Protestantism of Charles Edward—Foundation of the
Story 310

CHAPTER XV.
 (1761 to 1775.)
State of London—Good Feeling—A Jacobite Funeral—
Dr. Johnson’s Pension—Johnson’s View of it—His
Definition of a Jacobite—Death of the Duke of
Cumberland—Death of the old Chevalier—Funeral
Rites—George III. and Dr. Johnson—Johnson, on
George III.—Johnson’s Pension opposed—A 30th of
January Sermon—Debate on the Sermon—Marriage
of Charles Edward—Walpole, on the Marriage—The
Last Heads on Temple Bar—Dalrymple’s ‘Memoirs’—
Walpole’s Anti-Jacobitism—Anti-Ultramontanism
—‘The Happy Establishment’—Garrick’s Macbeth 328

CHAPTER XVI.
(1776 to 1826.)
A Plebiscite for the Stuarts—The Last of the Nonjuring
Bishops—The Jacobite Muse—Jacobite Johnson—
Boswell on Allegiance—A Jacobite Actress—Burns’s
‘Dream’—Burns on the Stuarts—The Count of Albany
—Robert Strange—Strange’s Adventures—Strange in
London—New Hopes—Strange at St. James’s—The
Jacobite Knighted—Sir Robert and Lady Strange—
Death of Charles Edward—The Countess of Albany
at Court—In the House of Lords—The Countess, on
English Society—Hanoverian Jacobites—Jacobite
Ballads—‘Henry the Ninth’—Hume’s History of the
Rebellion—A Jacobite Drama—The Drama Revised
—Satirical Ballad—Reversal of Attainders—Debate in
the Commons—A Transpontine Play—The Body of
James the Second—Ceremony at St. Germain—
Something New 351

CHAPTER XVII.
VICTORIA.
Old Jacobite Titles—More Restorations—The Cromartie 385
Title—Titles under Attainder—Fitz-Pretenders—
Admiral Allen’s Son and Grandsons—Working
through Literature—The Romance of the Story—‘Red
Eagle’—‘Tales of the Last Century’—The Lever of
Poetry—Poetical Politics—The Black Cockade—The
Allens in Edinburgh—The Succession to the Crown—
A Derwentwater at Dilston—Descent of the Claimant
—Obstacles in Pedigrees—John Sobieski Stuart—
The elder Son of ‘Red Eagle’—Stuart Alliances—
Fuller Particulars—The Stuart-d’Albanies—Jacobite
Lord Campbell—Lord Campbell, on old Judgments—
Time’s Changes—At Chelsea and Balmoral
 LONDON
IN

THE JACOBITE TIMES.

 CHAPTER I.

(1724-’25-’26-’27.)
singular illustration of the still partially
LOYAL AND
troubled times which followed is DISLOYAL
furnished by a proceeding of Samuel PRINTERS.
Negus, printer. In 1724 he published a
list of all the printers then exercising their craft in
London, and he most humbly laid it before Lord Viscount
Townshend; no doubt, for his guidance. The list is divided into four
parts. The first consists of those ‘known to be well affected to King
George.’ There are thirty-four of these ultra-loyal fellows, with Negus,
of course, among them. The second list is headed ‘Nonjurors;’ in
this, three names are entered, one of which is ‘Bowyer.’ In the third
list, headed, ‘said to be High Flyers,’ there are two and thirty names;
among them are found Alderman Barber (the friend of Swift, of
Bolingbroke and Pope), Richardson (the novelist), and Mist (the
Jacobite and something more!). The fourth list consists of three
names, ‘Roman Catholics.’ Negus was probably a malicious though
loyal busy-body. His list harmed neither Nonjuror nor High Flyer.
When, in 1729, Mr. Speaker Onslow was instrumental in procuring
for Bowyer the printing of the votes of the House of Commons, an
alarmed and loyal Whig asked Mr. Speaker if he was aware that he
was employing a Nonjuror. ‘I am quite sure of this,’ said Onslow, ‘I
am employing a truly honest man.’ There was no lack of them
among Nonjurors, and it is pleasant to find that even the High Flyers
came soon to be looked upon by reasonable Whigs as honourable
men. In 1732 Alderman Barber was elected by his fellow citizens
Lord Mayor of London; and he was the first printer who enjoyed that
dignity. This is the more remarkable, as poor Mrs. Manley, mistress
of the alderman’s house and of the alderman, had bitterly satirised
the Whig Ministry in her ‘New Atalantis.’ But the lady was now dead,
and the High-Flying Barber lost nothing by his old Jacobite opinions.
 In the year 1724, the Nonjurors lost one who had
SACHEVEREL.
been their foremost man till he took the oath of
allegiance; namely Sacheverel. That act of homage to Brunswick
was never forgotten or forgiven by the Jacobites. When Sacheverel
died in the spring of 1724, Hearne could only acknowledge his
boldness and good presence. ‘He delivered a thing better than a
much more modest man, however preferable in learning, could do.’
Hearne sarcastically calls Sacheverel a ‘but,’ and says the best thing
this but ever printed was the speech at his trial, ‘which was none of
his own, but was penned by Dr. Francis Atterbury.’ Hearne’s hardest
hit at this recreant parson is to be found in the following words: ‘He
was but an indifferent scholar, but pretended to a great deal of
honesty, which I could never see in him, since he was the forwardest
to take the oaths, notwithstanding he would formerly be so forward in
speaking for, and drinking the health of, King James III.’
The once famous and audacious Nonjuror, the
HIS DEATH.
friend of Addison when both were young together, lost
caste with the Jacobites without gaining the esteem of the Whigs.
Mist’s High-Flying ‘Weekly Journal,’ of which Sacheverel was once
the Magnus Apollo, recorded his death and burial with no more
ceremony than if he had been an ordinary alderman of no particular
political colour. Perhaps this great reserve showed that sureties
binding Mist to keep the peace were not mere formalities. Not so
with Read and his Whig ‘Weekly.’ On Saturday, June 20, Sacheverel
received therein this charitable notice: ‘Yesterday night was buried,
at St. Andrew’s, Holborn, Dr. Henry Sacheverel, whose virtues are
too notorious to be enlarged upon. One of his most conspicuous
excellences for many years last past was that he got his living in the
high road to—which though through great Mercy he escaped here,
yet some people are so very censorious as to judge,—but this we
look upon to be barbarous and unchristian, and we say we hope the
best, and yet we heartily wish our Hopes were a little better
grounded. However, as there is a good old saying, De mortuis nil nisi
bonum, i.e. “If you speak of the dead, speak in their praise,” and not
being able, upon the strictest enquiry, to find the least commendable
circumstance relating to the Deceased, from his cradle to his coffin,
we choose rather to be silent than uncivil.’
 The doctor seemed to recall his oath of allegiance, when he made
a bequest in his will of 500l. to Atterbury. It was an approval, as far
as the sum went, of the efforts of the ex-prelate to dethrone George
I., and to bring in a Popish sovereign, who was not at all reluctant to
promise especial favours to the Church of England! That Atterbury
was watching events in London is now known, from his
correspondence. In one of his letters from Paris to the Chevalier or
‘King,’ he refers with vexation to the conciliatory course the
Government in London was adopting towards the Jacobites: ‘They
are beginning,’ he says, ‘with Alderman Barber on this head, and
have actually offered him his pardon here for 3,000l., which it shall
not be my fault, if he accepts.’ The ex-Jacobite alderman ‘went over,’
in spite of the Jacobite ex-bishop.
The 30th of January sermons (1725) before the Lords, in the
Abbey, and the Commons, in St. Margaret’s, had now almost ceased
to be political. The former was preached by Waugh, Bishop of
Carlisle, from the Book of Chronicles; the latter, by the Rev. Dr.
Lupton, from 1 Samuel xii. 25, a text which had been much preached
on by expounders on both sides: ‘If ye shall still do wickedly, ye shall
be consumed, both ye and your king.’
Against the king in possession, the Jacobites now A NEW TOAST.
and then flung pointless darts. Mist’s Journal uttered
sarcasms against the Westminster mounted Train Bands,
complimenting the most of them for not tumbling out of their saddles.
The same semi-rebel paper recorded with satisfaction, as a sign of
the Duke of Wharton’s principles, that if the little stranger ‘expected
by the Duchess, proved to be a boy, his name should be James; if a
girl, Clementina;’ or, in other words, the child was to be called after
the King or Queen of England, de jure. Not long after, the bold and
roystering London Jacobites were rapturously drinking a health,
which was given by one guest in the form of ‘Henry,’ to which
another added, ‘Benedict,’ a third named ‘Maria,’ and a fourth raised
his glass to ‘Clement.’ In this form, they greeted the birth of the
second son of the Chevalier de St. George. Some ventured to
(prematurely) speak of him as Duke of York. The Whigs looked upon