File:More about unknown London (1921) (14591173410).jpg

Identifier: moreaboutunknown00bell (find matches)
Title: More about unknown London
Year: 1921 (1920s)
Authors: Bell, Walter George, 1867-1942
Subjects: London (England) -- Antiquities London (England) -- Description and travel
Publisher: London : John Lane New York, John Lane company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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aining. I amblind to much of the work attributed to Wren,to Grinling Gibbons, and to Chippendale (whoseoutput must have been super-colossal if all weregenuine), and in this case admit myself whollyunconvinced. When in a City church or adealers shop I am told that the wood carvingis by Grinling Gibbons, I reply Of course.It flatters the owners, as though the claim weretoo obviously genuine to be questioned, but reallyis non-committal. But if a link with Wren existsin this printing house, I have found it, not in thebuilding itself (which might be anybodys), but inthat particular large circular compartment of aplaster ceiling above alluded to. Why, allow meto explain. Many people no doubt enter St Vedast Churchin Foster Lane, crowned with that wonderfulpierced steeple which to me has seemed amongstthe finest of Wrens smaller works, without everlooking up to its ceiling. It is worth the glanceup. It is enriched centrally with panels of foliagecontained within one large oblong panel formed
Text Appearing After Image:
. J; Si AN OLD PRINTING HOUSE 87 by bands of ornament, fruit and flowers, inunusually bold relief. This ceiling came to ussomewhat curiously. In the seventeenth centurythe Tobacco Regie had a centre at Bideford, inDevon. Many Italian workmen were there em-ployed, and some of them practised in spare hoursthe artistic craft of plaster-working which theyhad followed in their native country. Wren,chancing to see this work, thought their skillwould be usefully engaged in making ornamentfor his churches, and brought the men to London.Now the design and craftsmanship of this circularplaster panel in the Red Lion Court and CraneCourt printing house are so much like the greaterwork in the City Church of St Vedast that acommon origin is likely, though how far Wrenshand is involved is necessarily problematical.Other ceilings in the house have seemed to me oflater date. Fine door-cases, a great deal of panelling, andvaluable old furniture and fittings engage attentionin the rooms, littered as the

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