Jason swearing fidelity of Medea before the altar of Artemis’ One of a set of four Gobelin tapestries, showing the legend of the Golden Fleece. The set was made in 1773-74, was given by King Louis XVI to the Spanish Ambassador at the French Court and was purchased
by the Company in 1881 portrait of a lady and child Between the tapestries hangs the portrait of a lady and child, the subject of much uncertainty. Little is known of its provenance having been found in the Hall’s lumber room in the early 18th century. Legend has it that the picture was thrown over the wall of the Drapers’ garden at the time of the Great Fire. A more credible theory is that it came from Sir William Boreman’s house at Greenwich and that it depicts Boreman as a child. It has been dated to the early 17th century. For generations it was claimed that the painting portrayed Mary Queen of Scots and her son James however, restoration work on the piece, following a flood in 1996, prompted debate and research. It was found that the painting had been altered in the 18th century, no doubt when it was found in the lumber room and to make it look more like Mary Queen of Scots. In 1996, the Court agreed that the painting should be fully restored – the alterations have been removed and it is now agreed that it is not Mary. The alterations had included the overpainting of a window looking onto a city scene (covering the top left curtain) and the painting of the lady’s eyes blue Medea Medea, with the dead bodies of her
two sons by Jason, escaping from his vengeance in a chariot drawn by winged dragons, leaving the city of Corinth in flames’. One of a set of four Gobelin tapestries, showing the legend of the Golden Fleece. The set was made in 1773-74, was given by King Louis XVI
to the Spanish Ambassador at the
French Court and was purchased
by the Company in 1881 Chandeliers The chandeliers were commissioned of John Blades of Ludgate Hill
in 1796 Chair & Sofa The mahogany leather covered sofas and chairs date to circa 1850 The carpet Designed by Helen Owen and woven by Grosvenor Wilton, was installed in 2019 Designed by Helen Owen

The History of

The Court Room

Situated on the north side of the Courtyard, the Court Room dates to the late 18th century being built after the fire of 1772 which damaged a significant portion of Drapers’ Hall. Since then, it has been redecorated on a number of occasions.

Certain original features do survive principally the woodwork in the doors, doorcases and dado panelling as well as the frieze, designed by Joseph Nollekins.  The chandeliers were made for the room by John Blades in 1796.  Changes were made to the room in the 1860s when the ceiling was redesigned and again in 1914 when the wood panelling around the room was installed.  The ceiling again was redesigned following extensive damage suffered during World War II in October 1940. The present decoration and colour scheme of the ceiling was designed by Lady Casson in 1973.

The golden ram, symbolising the Company’s origins in the woollen cloth trade, is featured in the frieze along with the caduceus, the staff of Mercury who was the god of merchants.  The legend of the Golden Fleece is the subject of the late 18th century Gobelin tapestries, which were purchased in 1881.

The Court Room is so named because it is where the Company’s governing body, the Court of Assistants, meets to manage the Company’s corporate affairs and to administer its charitable trusts.