The Court of Chancery was distinctive from other courts of the common law in that its major function was to resolve disputes involving equity. Land disputes and the administration of trusts occupied much of the court’s time, though other matters of financial administration, such as the custodianship of estates in cases of insanity and the guardianship of orphans, were also dealt with there. Traditionally, the court was presided over by the Lord Chancellor and litigants were assisted by one the many barristers who worked there (depicted here).
The Court of Chancery was notorious for its slow pace, backlogs and protracted legal wrangles which quickly earned it a reputation for inefficiency and corruption. Many court officers were paid lucrative sinecures and the fees for litigants were often extortionate. Although significant reforms were made to the proceedings there during the first half of the 19th century, in 1852 Charles Dickens could still lampoon the interminable proceedings of Chancery in the famous fictional case of Jarndyce and Jarndyce, featured in his novel Bleak House.
Background to the Microcosm of London collection of prints
The Microcosm of London was published in three volumes between 1808 and 1810 as a result of an ongoing collaboration between publisher Rudolph Ackermann, cartoonist and illustrator Thomas Rowlandson, architectural draughtsman Auguste Charles Pugin, engravers John Bluck, Joseph Constantine Stadler, Thomas Sunderland, John Hill and Richard Bankes Harraden, anonymous hand-colourists and authors William Henry Pyne and William Combe.
The Microcosm of London tapped into the demand for highly-coloured prints of real-life subjects that proved something of a publishing sensation during the Regency period. As such, the prints stand as a fascinating historical record of London life in the early years of the 19th century. While Pugin’s fine architectural drawings capture the size and shape of the capital’s principal buildings (both externally and from within) Thomas Rowlandson’s keenly observed figures depict the sheer colour and vitality of late Georgian society, rich and poor alike.
- Full title:
- Court of Chancery, Lincoln's Inn Hall from Microcosm of London
- 1808-10, London
- Book / Illustration / Image
- Rudolph Ackermann, W H Pyne, William Combe, Augustus Pugin, Thomas Rowlandson
- Usage terms
- Public Domain
- Held by
- British Library
- Article by:
- John Mullan
- Crime and crime fiction, The novel 1832–1880
Crime exists as a powerful psychological force throughout Dickens’s Great Expectations. Professor John Mullan examines the complicated criminal web in which the novel’s protagonist, Pip, finds himself caught.
- Article by:
- Matthew Sangster
- Town and city, Transforming topography
Advances in print technologies, a growing consumer base and the interventions of clever entrepreneurs led to a burgeoning of prints of London in the 18th and 19th century. Matthew Sangster considers the ways in which these prints represented and organised the city, placing them onto a digital map of London to reveal the geographical and cultural patterns they trace.