the Pantheon, along with Henry Dagge, Tomkyns Drew, William Franks, Robert Ireland, Thomas Moore, Edmund Pepys, Sir Thomas Robinson, Paul Valliant, John Wyatt and Turst himself. John Wyatt (according to the
Monthly Magazine
of October 1813) had encouraged the scheme from the beginning and his brother James was the designer. Another brother, Samuel, was the builder, while yet another brother, William, was the treasurer in both 1771 and 1772.
Johann Von Archenholz describes the building thus: âThe construction of the Pantheon, which in grandeur and extent exceeds that of Rome, proves that Mrs Cornelysâ lessons were not thrown away on the English ⦠everything is great, majestic andmagnificent â¦â The entrance was through a sheltered portico with four columns to the front, which in turn opened out into a hall 50 feet wide and 15 feet deep. Doorways opened into card rooms and then on to the grand staircases and corridors which gave access to the rotunda. This large assembly room was inspired by the church of Santa Sophia in Istanbul, with its enormous circular dome, some 60 feet in diameter, occupying the centre. The famous architect Robert Adam called it âthe most beautiful edifice in Englandâ.
A print from 1810 included in Ackermanâs
Microcosm of London
shows the main assembly room painted pale green, with colonnaded upper walkways, a lavishly painted ceiling, large chandeliers and a huge crush of people engaged in what looks to be a frenetic dance, with more than one ankle being flashed among the ladies. At the back of the vast hall are an elevated stage with an orchestra and six private boxes overlooking the throng.
Despite rumours emanating from Horace Walpole that the Pantheon had cost £60,000 (£3.8 million), the actual cost was much lower. Turst continued to clash with some of his shareholders, and in the 1770s filed a suit in Chancery which listed the bills: the building itself had cost £27,407 2s. 11d.; there was £2,500 for expenses connecting it to Poland Street; and the furnishings, paintings, statues, the organ, and James Wyattâs 5 per cent fee for designing the furnishings came to £7,058 16s. 6d. The total for the whole building was therefore £36,965 19s. 5d. â or £2.354 million in todayâs money.
Donellan, still manager despite the debacle with Sophia Baddeley, must have felt that he was at the centre of the social universe. Not bad for a bastard son who had found it necessary only a year before to plead for a half-pension from the army. He now had an obliging mistress and a share in a wealthy venture; so perhaps the figure lounging casually against the column in the Lewis Walpole library print really is him â master of all he surveyed. But he was living on his wits and a slightly dubious reputation; to be truly secure in society, he needed respectability.
The stage was set for the next part of his story: the seduction of Theodosia Boughton.
6
The Major Players
John and Theodosia
âWilt thou go with me, sweet maid,
Say, maiden, wilt thou go with me
Through the valley-depths of shadeâ
John Clare, âAn Invite, to Eternityâ (1847)
IN THE MAGAZINE
ALL
Year Round
which Charles Dickens owned and edited, an anonymous contributor recounted the John and Theodosia story in 1871, over ninety years later, in an article entitled âOld Stories Re-Told. An old Rugby story. the Little Bottle of Laurel Waterâ. In it, John Donellan and Theodosia Boughtonâs first meeting is described. Anna Maria and her daughter were travelling to Bath and stopped at a roadside inn for the night, only to find that every room had been taken. âThere he was in all his glory,â it continues. âSmooth, graceful, stealthy as a snake ⦠butterfly King of all that sham world ⦠young, handsome, soft of speech he came, he saw, he conquered.â The captain insinuated himself into the ladiesâ lives by offering them
Monthly Magazine
of October 1813) had encouraged the scheme from the beginning and his brother James was the designer. Another brother, Samuel, was the builder, while yet another brother, William, was the treasurer in both 1771 and 1772.
Johann Von Archenholz describes the building thus: âThe construction of the Pantheon, which in grandeur and extent exceeds that of Rome, proves that Mrs Cornelysâ lessons were not thrown away on the English ⦠everything is great, majestic andmagnificent â¦â The entrance was through a sheltered portico with four columns to the front, which in turn opened out into a hall 50 feet wide and 15 feet deep. Doorways opened into card rooms and then on to the grand staircases and corridors which gave access to the rotunda. This large assembly room was inspired by the church of Santa Sophia in Istanbul, with its enormous circular dome, some 60 feet in diameter, occupying the centre. The famous architect Robert Adam called it âthe most beautiful edifice in Englandâ.
A print from 1810 included in Ackermanâs
Microcosm of London
shows the main assembly room painted pale green, with colonnaded upper walkways, a lavishly painted ceiling, large chandeliers and a huge crush of people engaged in what looks to be a frenetic dance, with more than one ankle being flashed among the ladies. At the back of the vast hall are an elevated stage with an orchestra and six private boxes overlooking the throng.
Despite rumours emanating from Horace Walpole that the Pantheon had cost £60,000 (£3.8 million), the actual cost was much lower. Turst continued to clash with some of his shareholders, and in the 1770s filed a suit in Chancery which listed the bills: the building itself had cost £27,407 2s. 11d.; there was £2,500 for expenses connecting it to Poland Street; and the furnishings, paintings, statues, the organ, and James Wyattâs 5 per cent fee for designing the furnishings came to £7,058 16s. 6d. The total for the whole building was therefore £36,965 19s. 5d. â or £2.354 million in todayâs money.
Donellan, still manager despite the debacle with Sophia Baddeley, must have felt that he was at the centre of the social universe. Not bad for a bastard son who had found it necessary only a year before to plead for a half-pension from the army. He now had an obliging mistress and a share in a wealthy venture; so perhaps the figure lounging casually against the column in the Lewis Walpole library print really is him â master of all he surveyed. But he was living on his wits and a slightly dubious reputation; to be truly secure in society, he needed respectability.
The stage was set for the next part of his story: the seduction of Theodosia Boughton.
6
The Major Players
John and Theodosia
âWilt thou go with me, sweet maid,
Say, maiden, wilt thou go with me
Through the valley-depths of shadeâ
John Clare, âAn Invite, to Eternityâ (1847)
IN THE MAGAZINE
ALL
Year Round
which Charles Dickens owned and edited, an anonymous contributor recounted the John and Theodosia story in 1871, over ninety years later, in an article entitled âOld Stories Re-Told. An old Rugby story. the Little Bottle of Laurel Waterâ. In it, John Donellan and Theodosia Boughtonâs first meeting is described. Anna Maria and her daughter were travelling to Bath and stopped at a roadside inn for the night, only to find that every room had been taken. âThere he was in all his glory,â it continues. âSmooth, graceful, stealthy as a snake ⦠butterfly King of all that sham world ⦠young, handsome, soft of speech he came, he saw, he conquered.â The captain insinuated himself into the ladiesâ lives by offering them
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