Here I alighted, and then went round to Wood’s coal-wharf, at the foot of Northumberland Street,[471] where the said Mr. Wood dwells in the very house in which Sir Edmund Berry Godfrey resided, who was strangled in Somerset House.[472] Sir Edmund Berry was a woodmonger, and became the court justice. In this appointment he was so active, that during the time of the Great Plague, 1665, which continued to rage in 1666, upon the refusal of his men to enter a pest-house, to bring out a culprit who had furnished a thousand shops with at least a thousand winding-sheets stolen from the dead, he ventured in alone, and brought the wretch to justice. In Evelyn’s interesting work on medals, the reader will find that four were struck, commemorative of Sir Edmund Berry Godfrey’s death; and in addition to the elaborately engraved portraits noticed by Granger, he will also find an original picture of him in the waiting-room adjoining the vestry of St. Martin’s-in-the-Fields, where he was interred, and his funeral sermon preached by Dr. Lloyd.[473] In a little work published in 1658, entitled _The Two Grand Ingrossers of Coals, viz. the Woodmonger and the Chandler_,[474] the reader will find the subtle practices of the coal-vendors shortly after that article was in pretty general use. It is curious to observe how fond Horace Walpole, and indeed all his followers, have been of attributing the earliest encouragement of the fine arts in England to King Charles I. That is not the fact; nor is that Monarch entitled, munificent as he was, to that degree of praise which biographers have thought proper to attribute to him as a liberal patron; and this I shall immediately prove. King Henry VIII. was the first English Sovereign who encouraged painting, in consequence of Erasmus introducing Hans Holbein to Sir Thomas More, who showed his Majesty specimens of that artist’s rare productions. Upon this the king most liberally invited him to Whitehall, where he gave him extensive employment, not only in decorating the panels and walls of that palace with portraits of the Tudors, as large as life, but with easel pictures of the various branches of his family and courtiers, to be placed over doors and other spaces of the state chambers.