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The Romanesque crypt of St Paul’s with the church of St Faith
View of the crypt of St Paul’s underneath the choir, which served as the parish of St Faith, to whom the altar there was dedicated. A screen is depicted deeper into the crypt after the fourth bay. After 1551, this space was leased out as a warehouse.
The Choir of St. Paul's Cathedral
A view of the choir of St. Pauls Cathederal, looking towards the altar. The retro choir and its rose window can be seen beyond.
St Paul's, east end.
The East end of St Paul's viewed from outside, with the seven lancet windows and the rose window above.
St Paul's Interior. Choir Screen
A view of the steps leading up from the nave to the stone choir screen. The vaulting of the choir can be seen above the screen.
Chapter House of St Paul’s cathedral
The Chapter House of St Paul's, with its buttresses unfinished at the top, stands in the cloister. The nave of the cathedral is depicted behind.
St Paul's from the south showing the spire
St Paul's viewed from the south. The spire appears as it was before being struck by lightning and burned in 1561.
The south side of St Paul's
A view of St Paul's from a more due south point of view. It shows the portico erected by Charles I, and post-medieval changes to the nave. It does not include the spire which was struck by lightening in 1561.
East end of the interior of St Paul's cathedral
The view of St Mary's chapel behind the high altar in St Paul's cathederal. The seven lancet windows and the rose window are visible.
Nave of St Paul's Cathedral
The nave of St Paul's cathedral, including the choir and choir screen.
St. Pauls Cathedral on fire during the Great Fire of 1666
St. Pauls Cathedral on fire as viewed from the south. Flames are coming through the roof and clouds of smoke are visible in the sky.
The north side of St Paul's
A view from the north of St Paul's cathedral, showing the new portico on the right and the changes to the nave. Beneath the nave is a 'Scala pedum.'
The west front of St Paul's
A view from slightly south of west of St Paul's cathedral showing the old Chapter House and the new classical portico built in the early modern period.
The east end of St Paul's
A perspective view of St Paul's cathedral from a little north of east.
Pplan of the crypt of St. Paul's cathedral with St Faith parish church
The plan of the crypt of St Paul's cathedral, also known as St Faiths. Sixteen tombs numbered on the plan can be seen.
Priory of St. John of Jerusalem
The Priory of St John of Jerusalem as viewed from three angles. Two smaller images (a and b) above a larger one (c). (a) The south gate of the Priory. (b) The west side of the chapel and Priory. (c) the back of the Priory as seen from the northeast.
South view of St Catherine's Church of London
St Katharine' of the Tower church as viewed from the south. A small wooden turret is visible at the west end and the lower part of the west window is bricked up.
While this church had held the favor of both King Edward III and King Edward IV, it fell out of favor under Edward VI. Due to this nothing of importance happend in the 70 years before Hollar completed his etching of the Cathedral. The structure and shape of the building as depicted by Hollar remains consistent with that of the Medieval building, although weathered by neglect.
South view of St Mary Overy of Southwark
St Mary Overy church, now known as Southwark Cathedral, as viewed from the south.
The church which would become St. Marie Overie, also known as Southwark cathedral, was consecrated in 604 by a Bishop of Rochester known as Paulinus. On July 10th 1212 the cathedral burned down in a fire which also damaged the first London Bridge. It was rebuilt and it is this Church which was depicted by Hollar in 1661 as no major renovations which would change the view of the cathedral building as seen in this etching.
Bird's eye view of London as it was c. 1550
This view of London appeared in the first volume of Civitates orbis terrarum, originally published in six parts in 1572 and 1617, and printed in Cologne, c. 1600-23, with 546 engraved views of cities around the world. Edited by Georg Braun, most of the engravings were done by Frans Hogenberg who relied on earlier drawings and engravings by other artists. This bird’s eye view of London depicts the city as it was around 1550 since it includes the tall spire of St Paul’s cathedral, which was destroyed in 1561. The people in the foreground are wearing English fasions from the first half of the sixteenth century.
Roadway on London Bridge
This drawing by Pete Urmston illustrates what the roadway of London Bridge might have looked like in 1600. Positioned in the center of the image is what is known as a ‘cross-building,’ which were connecting structures built between houses on either side of the street. References to such structures were recorded as early as the mid 14th century, although they were called by a different name. In the rent records of 1358, the structure used to connect two buildings over the roadway was known as a ‘hautpas’ or high place. These structures were used to provide additional support for the bridge’s buildings, which were frequently subjected to high winds. However, the cross-buildings also presented several disadvantages by obstructing sunlight and, at a height of around 10 feet, making the roadway appear more congested. Despite these drawbacks, real estate on the bridge remained extremely popular. Those who ran the street-level shops located on the bridge also lived on the upper floors of the buildings. During the 14th and 15th centuries, the dominant trades of the bridge were haberdashers, glovers, cutlers (who made or sold edged weapons and tools), bowyers (bow makers), and fletchers (arrow makers). Sellers, more often than manufacturers, were willing to pay the high rents on London Bridge in order to take advantage of access to one of the most prominent shopping areas in the city. Based on the descriptions of leases granted during the medieval period, commerce on London Bridge was geared more towards specialty goods rather than daily purchases although there was a notable lack of such luxury crafts as goldsmiths and jewelers.
A Cutaway View of London Bridge, c. 1590
This drawing of London Bridge by Stephen Conlin depicts the middle section of the bridge as it may have appeared in 1590. Visible in this drawing is not only the outside structure of the bridge, but some interior scenes as well. At the bottom of the bridge are the piers and oblong-shaped starlings, which provided support for the roadway and buildings. Unlike most medieval bridges, the piers of London Bridge extended about fifteen feet from the roadway. As a result, the homes built on London Bridge rested largely on the piers, with added support provided by large hammer beams, visible between the piers in the drawing. In the center of Conlin’s drawing, the pier foundations of several homes are visible. Homes that were located directly over the piers could have cellars; another feature highlighted in this reconstruction. The rooms at street level were used as shops since the bridge was first and foremost a commercial area. ‘Solars’ or private rooms were located on the upper floors. In this drawing the buildings have four stories, which would have been common in 1590. For the majority of the medieval period, however, the buildings on the bridge would likely have had two stories.