Daniel Rawlinson (Biographical details)

Daniel Rawlinson (merchant/tradesman; English; Male; 1649 - 1672; active)

Also known as

Rawlinson, Daniel; D M R

Address

Fenchurch Street, London

Biography

Issued tokens. Associated with The Mitre. Daniel Rawlinson, citizen and vintner, and his wife Margaret, are the names implied by the intials. He appears to have been a staunch Royalist. Dr. Richard Rawlinson, whose Jacobite principals are sufficiently on record, in a letter to Tom Herne, the non-juring antiquary at Oxford, says "of Daniel Rawlinson, who kept the Mitre Tavern in Fenchurch Street, and of whose being suspected in the Rump time I have heard much. The whigs tell this, that upon the king's murder, January 30th, 1649, he hung his sign in mourning; he certainly judged right; the honour of the mitre was much eclipsed by the loss of so good a parent to the Church of England. These rogues [the whigs] say, this endeared him so much to the churchmen that he strove amian and got a good estate."

Pepys, who expressed great personal fear of the plague in his 'Diary' August 6, 1666, notices that, "notwithstanding Dan Rawlinson's being all the last year in the country, and the sickness in great measure past, one of his men was then dead at the Mitre of the pestilience; his wife Mar(garet) Rawlinson, and one of his maids, got sick, and himself shut up." On the 9th, Pepys minutes "Mrs. Rawlinson dead of the sickness; and her maid continues mightly ill; Rawlinson himself is got out of the house" and on the 10th "At Mr. Rawlinson's, the maid was then dead; three corpses lying there at one time; Mrs. Rawlinson, the man-servant, and a maid servant."

The Mitre appears to have been destroyed in the Great Fire of London of September 1666, and immediately after rebuilt; as Horace Walpole, from Vertue's Notes, observes that "Isaac Fuller was much employed to paint the great taverns of London; particularly the Mitre in Fenchurch Street, where he adorned all the sides of a great room, in pannels, as was then the fashion." Vertue, who had seen them describes "the figures being as large as life; over the chimney, a Venus, satyr, and sleeping Cupid; a boy riding a goat, and another fallen down, " this was, he adds "the best part of the performance. Saturn devouring a child, the colouring raw, and the figure of Saturn too muscular; Mercury, Minerva, Diana, and Apollo; Bacchus, Venus, and Ceres, embracing; a young Silenus fallen down, and holding a goblet into which a boy was pouring wine. The Seasons between the windows, and on the ceiling, in a large circle, two angels supporting a mitre."