Continuing the occasional posts on London Topography.
Unfortunately the nature of using this blog format means that the resolution of the images is reduced and whilst still useful I do try and provide links to my original source.
169 Bishopsgate Street Without constructed c. 1580 - 1620.
The Former Mansion of Sir Paul Pindar (1565 - 1650).
Sir Paul Pindar’s house was situated on the west side of Bishopsgate Street Without beyond the City wall next to the Priory of St Mary Bethlehem.
Bishopsgate, was a relatively spacious and fashionable street in the 17th Century and as many City of London town houses, it was much deeper than it was wide, with stables and
a garden extending behind.
The house served as the residence of Pietro Contarini, the Venetian
ambassador, in 1617–18.
The building was converted into a public house and smaller lodgings later in the 17th century, having survived the Great Fire of London in 1666, but its impressive three storey oak façade remained intact despite the growing pressures of population and business in the area.
Extract from British History on line - Walter Thornbury, 'Bishopsgate', in Old and New London: Volume 2 (London, 1878), British History Online https://www.british-history.ac.uk/old-new-london/vol2/pp152-170 [accessed 11 June 2026].
"The Ward of Bishopsgate having partially escaped the Great
Fire, is still especially rich in old houses. In most cases the gable ends have
been removed, and, in many, walls have been built in front of the ground floors
up to the projecting storeys; but frequently the backs of the houses present
their original structure. Mr. Hugo, writing in the year 1857, has described
nearly all places of interest; but many of these have since been modified or
pulled down. The houses Nos. 81 to 85 inclusive, in Bishopsgate Street Without,
were Elizabethan. On the front of one of these the date, 1590, was formerly
visible. In Artillery Lane the same antiquary found houses which, at the back,
preserved their Elizabethan character. In No. 19, Widegate Street, there was a
fine ceiling of the time of Charles I. The houses adjoining Sir Paul Pindar's,
numbered 170 and 171, possessed ceilings of a noble character, and had probably
formed part of Sir Paul Pindar's. The lodge in Half-moon Street, now destroyed,
had a most noble chimneypiece, probably executed by Inigo Jones, besides
wainscoted walls and rich ceilings. No. 26, Bishopsgate Street Without
possessed two splendid back rooms, with decorations in the style of Louis XIV.,
full of flowing lines. In Still Alley, in 1857, there were several Elizabethan
houses, since modernised. White Hart Court (though the old inn was gone before)
boasted a row of four houses, of beautiful design, in the Inigo Jones manner".
"The front towards the street," says Mr. (Thomas) Hugo,
"with its gable bay windows, and matchless panelwork, together with a
subsequent addition of brick on its northern side, is one of the best specimens
of the period now extant. The edifice was commenced in one of the closing years
of the reign of Elizabeth, on the return from his residence in Italy of its
great and good master. It was originally very spacious, and extended for a
considerable distance, both to the south side and to the rear of the present
dwelling. The adjoining tenements in Half-moon Street, situated immediately at
the back of the building, which faces Bishopsgate Street, though manifesting no
external signs of interest, are rich beyond expression in internal ornament.
The primary arrangement, indeed, of the mansion is entirely destroyed. Very
little of the original internal woodwork remains, and that of the plainest
character. But, in several of the rooms on the first floors of the houses just
referred to, there still exist some of the most glorious ceilings which our
country can furnish. They are generally mutilated, in several instances the
half alone remaining, as the rooms have been divided into two or more portions,
to suit the needs of later generations. These ceilings are of plaster, and abound
in the richest and finest devices. Wreaths of flowers, panels, shields,
pateras, bands, roses, ribands, and other forms of ornamentation, are
charmingly mingled, and unite in producing the best and happiest effect. One of
them, which is all but perfect, consists of a large device in the centre,
representing the sacrifice of Isaac, from which a most exquisite design
radiates to the very extremities of the room. In general, however, the work
consists of various figures placed within multangular compartments of different
sizes, that in the centre of the room usually the largest. The projecting ribs,
which in their turn enclose the compartments, are themselves furnished with
plentiful ornamentation, consisting of bands of oak-leaves and other vegetable forms;
and, in several instances, have fine pendants at the points of intersection.
The cornices consist of a rich series of highly-ornamented mouldings. Every
part, however, is in strict keeping, and none of the details surfeit the taste
or weary the eye."
At a little distance, in Half-moon Alley, stood an old structure, now pulled down, ornamented with figures, which is traditionally reported to have been the keeper's lodge in the park attached to Sir Paul's residence; and mulberry-trees, and other park-like vestiges in this neighbourhood, are still within memory.
Clipping from the Guardian and Public Ledger 25 Feb 1834.
Clipping from The Morning Advertiser - 16 October 1846
In 1870 Mr Robert Finney formerly of Lucky Bob's advertised that the Sir Paul Pindar was under his management in the Eastern Post of 27 August 1870.
The Bishopsgate freehold was again sold in 1875 by Messrs Crafter and Harris reported in The Morning Advertiser 14 June 1875.
The lease with 86 years unexpired was again put up for sale in 1876 by James Gearns see Morning Advertiser, 7 November 1876.
When its structure was threatened in 1890 with the expansion of Liverpool Street Station, a preservation campaign was launched and the Society for the Preservation of Ancient Buildings was closely involved.
A keen supporter’s letter to the Standard newspaper was published on 4th September 1890:
The house itself survived until 1871 leaving just the facade? which was removed in 1890 when the Great Eastern Railway expanded the station at Liverpool Street which is now itself under threat of a massive redevelopement.
The front was donated to the V and A by the Great Eastern Railway Company it is preserved and displayed in the Victoria and Albert Museum.
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Locating Sir Paul Pindars House Bishopsgate Street Without.
The location of the Half Moon Alley and Court (below) in yellow and
blue respectively) plus Sir Paul Pindar’s house (in red) at the entrance to the
alley of Bishopsgate Street, London (c.1720).
In his survey of London and Westminster (1720) John Strype
describes Half Moon Alley and its environs as follows;
"Half Moon Alley, very
ordinary, and ill inhabited; almost at the entrance it divdes itself, one part
falling into Half Moon Court which is a good large place; and the other part in
a straight Line runs Westwards into Moorfields: On the South side of this place
is Stone Cutters Yard, a pretty open, but ordinary place; and on the North side
is a small Alley that leads unto Dunning’s Alley".
The first mention of
the sign of the Half Moon in this location occurs in 1543 in a land release in
which we learn that Robert Wood dwelt at “le Signe de le hulfe Mone”(1). From
Strype’s Survey we learn a little more of Robert Wood and his family as the
Strype records a monument to Robert’s widow, Joan, inside the Church of St.
Botolph Without, Bishopsgate.
It further appears from Joan Wood’s Will, 1600, that she
sold the Half Moon brew house with it yards, gardens, etc., to Ralph Pindar (older brother of Sir Paul) in
1597 on condition that he should pay a yearly sum of £20 to the parson and
church-wardens of St. Botolph, and that in default of such payment the premises
were to go to them.
It is possible that prior to 1650 the brewer who issued the farthing token paid rent on his brew house to Sir Paul Pindar’s estate.
After Pindar’s death it is not clear who owned the brew house or the other
properties in Half Moon Alley.
Image and information garnered from the very informative website
https://c17thlondontokens.com/2013/08/03/the-half-moon-brew-house-in-bishopsgate-without/
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Revised version of Horwood's Map of London by Fadden 1819.
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Sir Paul Pyndar, From the original Sign in Bishopsgate
Street.
T. Cook del et sculp. plate III in The Gentleman's Magazine,
June 1787.
An interesting image which shows the existance of the Tavern in 1787
Image from the American Philosophical Society.
https://diglib.amphilsoc.org/islandora/object/graphics%3A7812
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Paul Pindar's House.
Anonymous Etching.
Presumably mid/late 18th Century.
Height: 101 millimetres -Width: 56 millimetres (trimmed).
https://www.britishmuseum.org/collection/object/P_G-12-176
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Paul Pindar's House. European Magazine 1787.
From the London Picture Archive.
Presumably the source of the engraving above.
............
Sir Paul Pindar's Lodge or Garden House, Half-Moon Alley,
Bishopsgate Street. 1791
Nathaniel Smith (at May's Buildings).
H 224 mm, W 169 mm (paper size).
...............................
Paul Pindars House - 1797.
Samuel Ireland (1744-1800)
Image courtesy Bishopsgate Institute.
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Sir Paul Pindar's House, Bishopsgate, 1804.
Showing the shop front of J. Stewart, dealer in foreign spirits
and liquors.
John Greig, (fl.1806); James Sargant Storer, (1771-1853).
...........................
Sir Paul Pindar's House, Bishopsgate, 1812
George Sidney Shepherd (1784 -1862).
https://www.britishmuseum.org/collection/object/P_1880-1113-3926
The brick building over the arch is dated 1672
.....................................
Sir Paul Pindar’s Lodge, Bishopsgate (they say c. 1760?)
Image here originally sourced from the Bishopsgate Institute.
https://spitalfieldslife.com/2017/02/04/in-old-spitalfields/
............
Ye old houses in Half Moon Street, Bishopsgate including the Lodge of Sir
Paul Pindar's House. 1810.
Daniel Thorn.
London Picture Archive.
...................................
Sir Paul Pindar's Lodge or Garden House, Half-Moon Alley, at the rear of Bishopsgate Street.
"Londina Illustrata. Graphic and Historic Memorials of
Monasteries, Churches, Chapels, Schools, Charitable Foundations, Palaces,
Halls, Courts, Procefsions, Places Of Early Amusement and Modern & Present
Theatres, In the Cities And Suburbs of London & Westminister." edited
by Robert Wilkinson
Robert Blemmel Schnebbelie (1781 - 1847).
H 318 mm, W 414 mm (paper size).
Watercoour Drawing of the details of decoration on the front of part of Sir Paul Pindar's House which was located on Half Moon Street, Bishopsgate. 1817
Schnebbelie, Robert Blemmell (1792-1849).
Images from the London Picture Archive - used with permission.
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Two views of part of Sir Paul Pindar's House in Half Moon Alley, Bishopsgate. c1860.
Pencil Drawing copied from Photographs taken by Rev. Thomas Hugo FSA taken c. 1860.
London Picture Archive.
An Illustrated Itinerary of the Ward of Bishopsgate: In the City of London byThe Rev.Thomas Hugo MA, FSA, FRSL. pub. 1862.
Available from google books.
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Ludgate Prison and the plan of Sir Paul Pindar's Property... from Londina Illustrata 1819.
View of the front of the prison and adjoining buildings, a
large cart in foreground; below a plan of prison and a small map of the area,
showing the London Workhouse and Sir Paul Pindar's house 1819
Etching and engraving by John William Cook After: Robert Bremmel Schnebbelie
Published by: Robert Wilkinson.
https://www.britishmuseum.org/collection/object/P_1880-1113-3929
Poor resolution but a very useful ground plan of 1819.
Plan showing position of London Workhouse and Sir Paul
Pindar's house on Bishopsgate, also the Half Moon public house and Sir Paul
Pindar's Lodge on Half Moon Street.
Drawn and signed by H Gardner.
they say c.1820.
..............................
Anonymous artist, Ground Plan of part of Sir Paul Pindar's
Mansion, Bishopsgate, after work dated 1783.
A copy of a drawing by William Jupp the Elder (1734 - 1788) in the Soane Museum.
YCBA.
https://collections.britishart.yale.edu/catalog/tms:10797
for a very low resolution image of the Jupp Drawing see -
https://collections.soane.org/prints/item-print?id=THES73367
Richard Sawyer, active 1820–1830.
after Thomas Hosmer Shepherd, (1792–1864).
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Paul Pindar's House - Wood Engraving, 1837.
Note the lack of Gothic cresting on the Barge Boards
They say after Archer - I say treat this image with caution.
Scratched at bottom left of image "JWA", and in pen at bottom of sheet "Cost one farthing Feb 18 1837".
https://www.britishmuseum.org/collection/object/P_1873-0712-1172
British Museum.
 |
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Paul Pindar's House c.1829 - 31.
Thomas Hosmer Shepperd (1793 - 1864).
The 18th Century Classical doorcase on the left of the shopfront has been removed and the shopfront with windows either side of central double doors has been inserted.
https://www.britishmuseum.org/collection/object/P_1880-0911-953
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Paul Pindars House, 1838.
Street View courtesy Bishopsgate Institute via Spitalfields Life.
https://spitalfieldslife.com/2022/10/15/at-paul-pindars-house/
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Long view of the houses on the north and south side of Bishopsgate Street, London, with the names of the shops or buildings of interest printed above or below, showing the streets intersecting or leading off; to the left a view of the façade of Paul Pindar's house; and to the right a map of the area;
https://www.britishmuseum.org/collection/object/P_1919-0201-2
https://www.britishmuseum.org/collection/object/P_1978-U-3642
.................................
The Original Watercolour Drawing of 1843 by the prolific John Wykeham Archer (1804 -64).
British Museum.
https://www.britishmuseum.org/collection/object/P_1874-0314-454
One of a large series of drawings and watercolours of
buildings and antiquities in London by John Wykeham Archer, in 17 portfolios
(mostly stored offsite).
Inscribed on mount: "Sir Paul Pindar's House,
Bishopsgate Street. Drawn 1843.
The Engraving by John Wykeham Archer of 1851.
Archer produced a series of etchings of monuments and
architecture of London: "Vestiges of Old London", published by D.
Bogue, London 1851.
H 380 mm, W 283 mm (paper size).
https://www.londonmuseum.org.uk/collections/v/object-98707/house-of-sir-paul-pindar/
Here the proprieter painted on the signboard is 'H. Bromley'.
..............................
Pencil Sketch Inscribed JR 9 Sept.1864.
The propriotor J Riley
The Gothic cresting on the gable appeas to be disintigrating.
Image Courtesy Lodon Picture Archive
...............................
Somewhat fanciful undated drawing of Paul Pindar's House.
The rendering ofthe perspective is risable.
none of the details of the fenestration the balcony match the other drawings etc included here.
James Lawson Stewart (1841-1929).
Image courtesy Bishopsgate Institute via Watercolour World website.
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Frederick Napoleon Shepherd (1819-1878).
Collection of the Bishopsgate Institute
...............................
View on Bishopsgate Street; street trader illustration in Doré's 'London: A Pilgrimage' (London; Grant & Co, 1872).
the wood-engraving by: Alfred Louis Sargent after Gustave Doré,
https://www.britishmuseum.org/collection/object/P_1979-0407-16-29
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View of Paul Pindars House in Bishopsgate, London, 1878. including the intended site of the Free Hospital and Sir Paul Pindar's house: view of the facade when in use as a tavern, and the interior of the parlour. Wood engraving, 1878.
Image courtesy Wellcome Collection
https://wellcomecollection.org/search/images?query=m9gjxhx2
................................
Architectural Etching by Ernest George (1839 - 1922).
Probably 1880's from Etchings of Old London pub. Fine Artds Society1884
His art was a private side-line to his main occupation as
one of the most successful architects of his period. His long practice is
famous as having been the training ground of many successful architects of the
following generations (most notably Edwin Lutyens) and George was president of
RIBA from 1908-1910.
https://www.britishmuseum.org/collection/object/P_1919-1124-1
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Paul Pindar's House. c. 1890
London Picture Archive
Images used with permission
..................................
SPAB use a photograph from the same photographer.
https://www.spab.org.uk/news/archive-sir-paul-pindars-house-bishopsgate
..............................
William Strudwick (1834 - 1910).
William Strudwick, was born in London in 1834 and lived in Lambeth and West Dulwich. He worked at the Victoria and Albert Museum, but also as a draftsman, architect and artist.
He was admitted to Croydon Union
Workhouse in 1910, where he died the same year.
Photograph V and A.
....................................
The Sir Paul Pindar, Bishopsgate Street, ca.1878.
Photograph by A.& J. Bool.
Published by Society
for Photographing Relics of Old London.
Printed by Henry
Dixon & Son.
https://www.royalacademy.org.uk/art-artists/work-of-art/the-sir-paul-pindar-bishopsgate-street
https://www.royalacademy.org.uk/art-artists/search/works-of-art?works_associated_with=C17009
John Javens, 172 Bishopsgate - in 1888 (Directory of the Tobacco Trade)
"Since the photograph was taken, the house on the spectator's left, marked as the site of a new hospital, has been destroyed. It contained a superb ceiling, which, on representations made by this Society, was secured by the South Kensington Museum. The style of this ceiling, exactly corresponding with one in the public house next door, seems to leave no doubt - though the question has been raised - that this house also formed part of the magnificent mansion erected in the reign of James I. by Sir Paul Pindar, one of the greatest and wealthiest merchant princes of his day. One of his achievements was the introduction into this country of the method of making allum, or allom as it was then spelt, which had before his time been imported from abroad.
It is impossible in our limits to give either any account of his career, or to describe his splendid house. Those who wish for information on these heads are referred to Wilkinson's Londina Illustrata; Smith's (J.T.) Ancient Topography of London; European Magazine for 1787, and Gentleman's Magazine for the same year; Archer's Vestiges of Old London ; and lastly, an admirable paper by the Rev. Thomas Hugo, in the Transactions of the London and Middlesex Archælogical Society for 1857.
The "Sir Paul Pindar" will
not long survive the fate of the house formerly adjoining it on the south, as
it has also been purchased for the Metropolitan Free Hospital."
The above description, by Alfred Marks, was taken from the
letterpress which accompanies the photographs. By the late eighteenth century,
the building shown in A&J Bool's photograph had become a public house which
was demolished in 1890, not to make way for the Metropolitan Free Hospital but
as part of the expansion of Liverpool Street Station. After the Great Fire,
wooden facades were considered to be fire hazards, so it is fortunate that a
section of the 'Sir Paul Pindar' facade has survived and is now in the
collection of the Victorian and Albert Museum having been presented to the
Museum by The Great Eastern Railway Company".
....................................
Another earlier view retrieved from a facebook post - no credit given.
Sir Paul Pindar's House, Bishopsgate Street by Philip E. Norman FSA,
1842 – 1931, British artist, author, and antiquary.
..........................
Paul Pindar's House 1879.
https://www.londonpicturearchive.org.uk/view-item?i=26964&WINID=1781104967456
.................................
image below from -
https://pubwiki.co.uk/LondonPubs/Bishopsgate/SirPaulPindar.shtml
..........................
Paul Pindar's House, 1881.
Etching by Artist and
Image London Picture Archive.
.......................
Drawing by Philip Norman
from The English Illustrated Magazine 1891 - 1892.
..................................
Paul Pindar's House - Nearing the end 1890.
J. Appleton.
Image here courtesy Bishopsgate Institute via -
https://spitalfieldslife.com/2023/05/24/sebastian-harding-at-paul-pindars-house/
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The Interior Paul Pindar's House.
East view of a first floor room drawn in 1810.
Drawn engraved and published by JT Smith pub. 1812.
Note the relief on the overmantle is dated 1600.
Image courtesy YCBA New Haven
Excerpt from British History on line -
https://www.british-history.ac.uk/old-new-london/vol2/pp152-170
"The ceiling was covered with panelled ornamentations, and the
chimney-piece, of carved oak and stone, was adorned with a badly-executed
basso-relievo of Hercules and Atlas supporting an egg-shaped globe. Below this
were tablets of stag hunts. The sides of the chimney-piece were formed by
grotesque figures, the whole being a very splendid specimen of Elizabethan
decorative art. In 1811 the whole of the ornaments, says Mr. Smith, were
barbarously cut away to render the room, as the possessors said, "a little
comfortable." The Pindar arms, "a chevron argent, between three
lyon's heads, erased ermine crowned or," were found hidden by a piece of
tin in the centre of the ceiling".
.....................
Upper Appartment - presumably the second floor.
Images from the London Picture Archive - used with permission.
Drawn, Engraved and published by JT Smith in 1792.
Detail of a first floor ceiling, 1812.
The complete engraving including the frontage of the house is illustrated above.
Image courtesy The London Picture Archives.
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Woodcut 1878.
https://wellcomecollection.org/search/images?query=m9gjxhx2
..........................
The same Upper Room at Paul Pindars House, Bishopsgate Street 1890
Edward Hull (1823 - 1906).
Watercolour
Image courtesy The London Picture Archives.
The Ceiling (from the Second Floor?)
Sections are preserved at the V and A. but currently no photographs are available.
Size of whole (when parts assembled) estimated at 1006 x 578cm (depth c. 60-80cm).
Dimensions of parts when acquired: 53-1902: 10' 6" x 4' 6 1/2".
53A-1902: 10' 4 1/2" x 4' 3" 53B-1902: 10' 4 3/4" x 4' 5".
https://collections.vam.ac.uk/item/O1514355/ceiling/
The ceiling of this room consisted of a design executed in narrow ribs, indicating that the room was of lower status than the great chamber below it. The rib design is identical with that in the great chamber at the Charterhouse of c1570, where circles and small squares are linked by straight ribs and ogee curves that divide the circles in a manner reminiscent of medieval tracery. Small bosses and leaves cover many of the intersections and rosettes are dotted within the circles. The rest of the decoration within the fields consists of cast motifs, all with stylised floral or foliate features:
1. a square of oak leaves and acorns in the centre of the small squares;
2. a rectangular panel in each of the half-fields of the circles. A strapwork cartouche contains paired birds flanking a bunch of grapes, with four rosettes in the border;
3. the sprigs that branch from each corner of the small squares have grotesque beaked bird heads among foliage. This motif was still being used at Forty Hall, Enfield, c1630.
They say - Acquisition description: Three portions of a ceiling, of moulded plaster. From a house which formerly stood in Bishopsgate Without, and was built by Sir Paul Pindar, a wealthy London merchant. Each portion is divided by straight and curved moulded bands into various shaped compartments enclosing repetitions of the following designs: 1) A scrolled cartouche enriched with floral stems and bearing two birds pecking at grapes 2) Four oak stems radiating from a central leafy device 3) A group of lillies and other flowers amid which are grotesque birds' heads. The whole is enriched with pendant bosses. Portions of the rafters are attached.
Dimensions 53-1902: 10' 6" x 4' 6 1/2" 53A-1902: 10' 4 1/2" x 4' 3" 53B-1902: 10' 4 3/4" x 4' 5" "All damaged" [1902]
A note in the dept file states that it came from the second floor of the house, but the source for this information is not given.
.............................
Landlords at The Paul Pindar.
Information Not checked!
culled from - https://pubwiki.co.uk/LondonPubs/Bishopsgate/SirPaulPindar.shtml
1825/Mr Bradley Mr. Paul Pindar, Bishopsgate street
Without/../../Licensed Victuallers Association
1835/James Law/../../Robson’s Directory **
1839/T H Bromley/../../Pigot’s Directory **
1841/Thomas How Bromley/../../Post Office Directory
1842/T H Bromley/../../Robson’s Directory **
1843/Thomas How Bromley/../../Post Office Directory of London **
1851/Joseph Bryant/../../../Kellys Directory
1855/John Fk. Parlour/../../Post Office Directory **
1856/Joseph Townsend/../../../Post Office Directory
October 1859/Joseph Townsend/Outgoing Licensee/../../Era
October 1859/Edmund Muncey/Incoming Licensee/../../Era
April 1861/Edmund Muncey/Outgoing Licensee/../../London City Press
April 1861/James Riley/Incoming Licensee/../../London City Press
1867/Mr Alexander Isaacson/../../../Licensed Victuallers Association
September 1870/A L Isaacson/Outgoing Licensee/../../London City Press
September 1870/R Finney/Incoming Licensee/../../London City Press
1874/J. Hadway, Paul Pindar, 169 Bishopsgate street, EC/../../London 1874 Licensed Victuallers and Hotel Keepers Directory
1882/George Croxton/../../../Post Office Directory1884/George Croxton/../../../Post Office Directory
............................
The following adapted from the V and A website.
Sir Paul Pindar was born in 1566 at Wellingborough, Northamptonshire. A town I know very well, having been brought up in Wellingborough from the age of five and educated at Wellingborough Technical Grammar School - I left in 1969.
Although educated with a view to a university career, he soon decided to enter the trading profession. He was therefore apprenticed to an Italian merchant in London, Mr. John Powish, who sent him after a while to Venice.
Over the next fifteen years or so, he amassed a fortune in Italy and
southern Europe before returning to England. By then renowned for his expertise
as a merchant, he was sent as ambassador to the Sultan of Turkey in 1611 for
nine years, at the instigation of the Turkey Company. Upon his return, he took
up a lucrative appointment as a farmer of the customs.
Throughout his long life, he remained a staunch Royalist, as
demonstrated by the following entries in parish archives:
'1585. Paid for bread and drinke for the ringers, when
Anthony Babington and the rest of the traytors were taken, xxd.
1586 Paid for bread and drinke for the ringers, when they
range for the deathe of the quen of skots.'
Pindar also emerges from historical accounts as a bounteous
benefactor:
'Sir Paul Pindar gave to the parish of St. Botolph, plate
and money to the amount of eight hundred pounds and upwards, together with
plenty of venison for their feasts, yet they made him pay two pounds for eating
of flesh for three years on fish days.'
He was also responsibly for 'richly adorning and exquisitely
beautifying the choir of St. Paul's Church' in 1632.
............................
Bibliography - Courtesy V and A website.
Goss, C.W.F., F.S.A., Sir Paul Pindar and his Bishopsgate
Mansion, (Cambridge, 1930).
John Schofield, Medieval London Houses (New Haven, London
1994).
Oxford Dictionary of National Biography (2004), entry for
Sir Paul Pindar by Robert Ashton.
ESK Miller, 'Evolution in profane window design and glass
use in England between the dissolution of the monasteries and the civil war and
its probable influences'; Architectural Association Diploma Thesis, May 2005.
Walter Thornbury, Old and new London; a narrative of its
history, its people and its places (London, 1873-8), vol.II, pp.152-3.
Robert Wilkinson, Londina Illustrata (London, 1819-25),
pp.99-100.
John Thomas Smith, Ancient Topography of London... (London,
1815), pp.50-1.
J.Alfred Gotch, The Growth of the English House (1909)
pp.157-9.
A Dictionary of London (1918).
Hugo, T. (1866), An Illustrated Itinerary of the Ward of
Bishopsgate in the City of London.
From: H. Clifford Smith, Catalogue of English Furniture
& Woodwork (London 1930), 672, and illus. frontispiece.
John Schofield, The Building of London: from the Conquest to
the Great Fire (London, 1984), p.165.
Carola Schueller, 'Loss compensation at the first floor
interior panelling: Sir Paul Pindar's house front', in V&A Conservation
Journal no. 58 (Autumn/Winter 2009), pp.30-1.
John Kidd and Matthew Nation, 'Sir Paul Pindar's house on
the move again', in V&A Conservation Journal no. 58 (Autumn/Winter 2009),
pp.26-7.
Anna Somers Cocks, The Victoria and Albert Museum, the
making of the collection (London 1980), p.77 'The second half of the
nineteenth-century was also the great period for the redevelopment of the
business heart of the empire, and the old City of London was being rebuilt as
fast as Manhattan in the 1930s. That is how the museum came to own the
twenty-two feet high front of Sir Paul Pindar's house, erected about 1600 in
Bishopsgate Without, and demolished in 1870 to make way for a bigger Liverpool
Street Station. The Chairman and Directors of the Great Eastern Railway Company
stored it away in their warehouse for twenty years without being able to think
about what do with it, and then donated it in 1890.'
On the proper left side another circular metal mark with traces of gilding or yellow paint, showing a lion and Union flag shield, inscribed below 'BRITISH', apparently being the mark of the British Fire Office (1799-1843). See Roy Addis, British Fire Marks in Miniature:
http://web.archive.org/web/20230117104508/http://www.firemarks.co.uk/History.htm
For a general account of English plaster ceilings in London
houses c.1600, see
https://web.archive.org/web/20230502151639/https://clairegapper.info/the-london-evidence.html
with ref. to no 43, figs. 84, 102 (With additional personal communication from
Claire Gapper, 2020)
