Adams Family Correspondence, volume 7
My fourth Letter I begin to you.1 I dare not reckon the Number I have to write; least I should feel discouraged in the attempt. I must circumscribe myself to half a sheet of Paper. Raree Shows are so much the taste of this Country that they make one even of the corpse of great people, and the other Day a Gentleman presented me with a Card to go and see the corpse of the Duke of Northumberland, who died at his House in the Country but was brought here to be laid in state. It is said he, a senseless peice of Pagentry, but as such, I would advise you to see it. It is practised only with crownd Heads and some of the most ancient families of Dukes. The Late Duke was Father to Lord Peircy, whom the Americans well remember. His Lordship (who lives a few doors from us), being the elder son inherits the title and estate, and is now duke of Northumberland.2
Northumberland House is in the city, a great immence pile of Building to which one enters through massy Iron Gates.3 At this Gate stood four porters clad in Black, the court up to the house was hung in Black and divided by a temporary railing that the spectators 267might pass in, upon one side and out upon the other. From the Court we enterd a long Suit of rooms, 5 in Number through rows of servants on each side of us; all Sabled as well as the rooms. I never before understood that line of Pope's
I believe there were two thousand here, for Day light was totally excluded. Upon the walls were as many Eschutcheon as candles, these are formd so as to place a light in each. These plates are all washd with Silver, being put up upon the black Cloth and lighted in this manner gave the rooms a Tomb like appearence, for in this manner are the Tombs of the Dead enlightned in Catholick Countries, and it is not uncommon for the great to leave a large Sum of Money for lights to be kept constantly burning. Through these rooms we moved with a slow pace and a Solom Silence into that which containd the corps. Here upon a superb Bed of State, surrounded with 24 wax Lights upon enormous silver candle Sticks, lay the remains of his Grace, as I presume, but so buried amidst Stars and Garters, and the various insignias of the different offices he sustaind, that he might as well have been at Sion House;5 for all that one could see of him, for these ornaments are display'd like flags
Upon the Bolster lay the Ducal coronet, and round the bed stood a dozen Men in black whom they call Mutes. It was said that the Corps was cloathd in a white satin tunick and cap richly trimd with Blond lace, but for this I cannot vouch, tho I do not think it more ridiculous than the other parts of the parade which I saw: and this farce was kept up
I have come now to the bottom of the last page. If I have amused my dear Neice it will give great pleasure to her affectionate
PS I send you the fashionable Magizine.17
Letters, ed. CFA, 1840, p. 338–343.
AA's previous letters to Lucy Cranch written from London are dated 27 Aug. 1785 (vol. 6:312–314), 2 April, and 22 May (addressed to both Elizabeth and Lucy Cranch), both above.
Hugh Percy, né Smithson, Duke of Northumberland, died 6 June. He was succeeded by his eldest son, Hugh, Earl Percy, who, as an officer in the 5th Regiment of Fusiliers, commanded the British camp at Boston and covered the British retreat from Lexington and Concord. The elder duke is again linked to the Adams family history, when in the 1830s and 1840s, JQA spearheaded the congressional effort to accept a $500,000 bequest from the duke's illegitimate son, James Smithson, and establish the Smithsonian Institution (
DNB
; The Great Design: Two Lectures on the Smithson Bequest by John Quincy Adams, ed. Wilcomb E. Washburn, Washington, D.C., 1965, p. 13–14).
Northumberland House, Charing Cross, was built in the early seventeenth century in the shape of a “U,” the opening of which led out to the gardens and river and was later enclosed. Additions in the mid-eighteenth century included an art gallery and a statue of the Percy lion above the arched entrance along the Strand. The house was demolished in 1874 (
London Past and Present
, 2:603–605;
London Encyclopaedia
).
Alexander Pope, Moral Essays, Epistle III, line 291.
For AA's visit to the Duke of Northumberland's country seat,
A paraphrase of Pope, Moral Essays, Epistle III, lines 303–304.
The remains of the Duke of Northumberland were brought to London on 8 June for embalming. His funeral took place on the 21st (London Daily Universal Register, 9, 22 June).
Line 2 of Pope's poem describes Windsor as “At once the Monarch's and the Muse's seats” (Pope, The Complete Poetical Works of Alexander Pope, N.Y., 1903, p. 28–34). He praises the rural delights of the town near which he grew up for nearly 300 lines.
William the Conqueror was the first to build on the site of Windsor Castle, which occupies a naturally defensive position along the Thames, and his successors made many improvements and additions. Between 1359 and 1368, Edward III reconstructed and added to the castle to house both the private apartments of the king and queen and the state apartments used for official and ceremonial business. The palace was looted during the English Civil War and allowed to fall into disrepair. Upon the restoration of the monarchy in 1660, Charles II commissioned architect Hugh May to rebuild and restore the grandeur of Windsor Castle (Robin Mackworth-Young, The History and Treasures of Windsor Castle, N.Y., 1982, p. 6–7, 16–19, 33–45).
The text in brackets is supplied from AA, Letters, ed. CFA, 1840, p. 341. For its subsequent loss, see note 16.
While three counties may have been 270pointed out to AA, twelve were visible from Windsor Castle's Round Tower: Bedfordshire, Berkshire, Buckinghamshire, Essex, Hampshire, Hertfordshire, Middlesex, Oxfordshire, Surrey, Sussex, and Wiltshire (W. H. Pyne, The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vols., London, 1819, 1:187–188).
Italian-born artist Antonio Verrio was commissioned by Charles II to decorate the ceilings and walls of the royal apartments at Windsor Castle with scenes illustrating classical mythology and glorifying the monarchy. Verrio's materials proved fragile, and paintings in the queen's bedchamber and other rooms deteriorated and were removed in later renovations. Three rooms by Verrio survive (Mackworth-Young, The History and Treasures of Windsor Castle, p. 40–42).
The Benjamin West painting of Queen Charlotte was completed in 1779. It required several revisions to incorporate additional children as they were born. In the end, it showed the queen full-length with thirteen children around her and was considered to be the king's favorite royal portrait (Robert C. Alberts, Benjamin West: A Biography, Boston, 1978, p. 131).
Sir Peter Lely painted ten of the portraits of the ladies of the court of Charles II, William Wissing three, and Jacob Huysman one. Another of Lely's portraits was of Catherine of Braganza, consort of Charles II (Pyne, History of the Royal Residences of Windsor Castle, 1:116–117, 154).
Queen Caroline, wife of George II and a noted supporter of the arts, owned a substantial quantity of Japanese ware that had originally been a gift from the East India Company (John Van der Kiste, King George II and Queen Caroline, Stroud, Gloucestershire, 1997, p. 123).
Supplied from AA, Letters, ed. CFA, 1840, p. 343. The signature, which was probably “A. Adams,” has been neatly cut out of the RC resulting in the loss of five words on the reverse. In 1839, when CFA began gathering together his grandmother's letters for publication, Lucy Cranch, who married John Greenleaf in 1795, let him copy AA's letters to both her and her mother, Mary Cranch (CFA, Diary
, 8:278, 297).
The Fashionable Magazine; or, Lady's and Gentleman's Monthly Recorder of New Fashions, etc., vol. 1, London, 1786.