High profile and influential though he was during his lifetime – serving as Chancellor and Archbishop of Canterbury, it was the brutal and shocking nature of Thomas Becket’s death that ensured he would be remembered down through the ages.
Already strained, relations between King Henry II and Becket took a further downturn after the Archbishop excommunicated Roger de Pont L’Évêque, the Archbishop of York, Gilbert Foliot, the Bishop of London, and Josceline de Bohon, the Bishop of Salisbury, thanks to their role in crowning Henry, the Young King, in York, without the Archbishop’s permission.
On hearing the news of the excommunication, King Henry II is said to have uttered those immortal words, “Will no one rid me of this turbulent priest?” (although there is considerable dispute over exactly what he said – contemporary biographer (and Canterbury monk) Edward Grim, for example, has the quote as: “What miserable drones and traitors have I nourished and brought up in my household, who let their lord be treated with such shameful contempt by a low-born cleric?”).
Whatever the exact words, the King’s utterance – made while he was at Bur-le-Roi near Bayeaux in modern France – was interpreted as a command by four knights who were present – Reginald FitzUrse, Hugh de Morville, William de Tracy and Richard le Breton. Leaving the castle, they set out for England to confront the Archbishop.
The knights arrived at Canterbury Cathedral on 29th December, 1170, and informed Becket that he was commanded to go to Winchester to answer for his actions. Becket refused and the knights, retrieving weapons and armour they had stashed outside the cathedral, returned to the cathedral and hunted down Becket (who had apparently ordered the doors to remain open) with swords in their hands.
They found him at a door to the cloister near the stairs leading up to the cathedral quire where monks were chanting vespers. Becket is reported to have said “I am no traitor and I am ready to die” before one of the knights tried to pull him inside. Grabbing a pillar, he refused to go. The knights then struck him with a series of blows on the head which proved fatal.
A modern memorial to Becket which features a statue depicting him lying back with his hand raised as though to ward off blows as he is attacked, is located in St Paul’s Churchyard. The statue, which is made from resin coloured to appear as bronze, is the work of Bainbridge Copnall and was created in 1970 as part of commemorations marking 800 years since his death. It was acquired by the City of London Corporation in 1973.
It was damaged by a falling cherry tree in 1987 but was restored by a student of Copnall.
There are 110 livery companies in London, representing various “ancient” and modern trades. But the oldest is said to be the Worshipful Company of Weavers.
What was then known as the Weavers’ Guild was granted a charter by King Henry II in 1155 (although the organisation has an even older origins – there is an entry in the Pipe Rolls as far back as 1130 recording a payment of £16 made on the weaver’s behalf to the Exchequer).
In 1490, the Weaver’s Guild obtained a Grant of Arms, in the early 16th century it claimed the status of an incorporated craft, and, in 1577 it obtained ratification of its ordinances from the City of London.
By the late 16th century, the company – its numbers swollen by foreign weavers including Protestants fleeing persecution in Europe – built a hall on land it owned in Basinghall Street. A casualty of the Great Fire of London, the hall was rebuilt by 1669 but by the mid-1850s had fallen into disrepair and was pulled down and replaced by an office block.
After the office building was destroyed during World War II (fortunately some of the company’s treasures which had been stored there had already been moved), the company considered rebuilding the hall but decided its money could be better used, including on charitable works.
For many years, the company’s business was run from various clerk’s offices outside the City of London but since 1994 it has been run from Saddlers’ House.
The company, which ranks 42nd in the order of precedence for livery companies, has the motto ‘Weave Truth With Trust’.
This month marks 200 years since the death of Romantic poet and London resident John Keats – famous for poems including Ode to a Grecian Urn and Ode to the Nightingale – at the age of just 25.
Born on 31st October, 1795, Keats was the eldest of Thomas Keats and Frances Jennings’ four children. The story goes that he was born in the stable – owned by his mother’s father and managed by his father, located near Finsbury Circus.
At the age of eight, Keats attended the boy’s academy at Enfield (his brothers George and Tom would also attend). He had been at the school for less than a year when, on the night of 15th April, 1804, his father was seriously injured in a horse-riding accident and died the following day.
Within a couple of months, his mother entered an ill-fated marriage and eventually left her family to live with another man. She returned to her family by 1808 but, now ill, she died of tuberculosis in March, 1809. following his mother’s death, his grandmother appointed two London merchants including tea broker Richard Abbey as Keats’ guardians.
Keats, meanwhile, built up a close friendship with headmaster John Clarke and his older son Charles Cowden Clarke at Enfield and through them really began to foster a love of literature (in particular Edmund Spenser‘s Faerie Queene is said to have helped awakened his love of poetry).
But at Abbey’s instruction he left Enfield in 1811 and began to work toward a career as a surgeon, apprenticed to surgeon Thomas Hammond, in nearby Edmonton.
In October, 1815, he left his apprenticeship with Dr Hammond, apparently after a quarrel between them. Moving into London, he registered at Guy’s Hospital for the six-month course of study which was required for him to become a licensed surgeon and apothecary. Lodging with two older students at 28 St Thomas Street, he progressed quickly and was soon promoted to “dresser”, a role which saw him involved dressing wounds daily to prevent or minimize infection, setting bones, and assisting with surgery.
Poetry, however, continued to occupy his mind and his sonnet OSolitude! became his first published poem when it appeared in The Examiner on 5th May, 1816 (editor Leigh Hunt, who was introduced to Keats by Clarke later that year, also went on to publish other works including his sonnet On First Looking into Chapman’s Home).
Keats, who became a certified apothecary in late 1816 (he’d holidayed in Margate with his brother Tom after passing his exams earlier that year), now faced further studies to become a surgeon. But he instead decided to give up medicine and devote himself entirely to his poetry (a move which apparently infuriated his now sole guardian Abbey). About the same time he moved into lodgings at 76 Cheapside with his two brothers, George and Tom (there was also a sister Fanny), having previously lived with that at 8 Dean Street in Southwark.
His circle of artistic acquaintances – which included fellow Romantic poet Percy Bysshe Shelley and painter Benjamin Robert Haydon – now growing, in March, 1817, Keats’ first book of poetry – Poems – was published. It was also around that time that he moved with his brothers to a property at 1 Well Walk in Hampstead, no longer needing to be near the hospitals where he had worked and studied.
In May, 1818, Keats published his 4,000 line allegorical romance, Endymion, but it received a rather scathing reception including by Blackwood’s Magazine which apparently declared the work nonsense and recommended Keats give up writing poetry.
In summer that year, Keats went on a walking tour of Scotland, Ireland and the Lake District with his friend Charles (Armitage) Brown. Following his return to Hampstead, Keats nursed his brother Tom who was ailing from tuberculosis (George having by now left for America) and who died on 1st December.
Following his brother’s death, Keats accepted Brown’s invitation to move into his property at Wentworth Place, located on the edge of Hampstead Heath (now the Keats House museum).
While living at Wentworth Place, Keats developed an intimate relationship with next-door neighbour Frances (Fanny) Brawne and the couple “came to an understanding” but his literary ambitions and failing health – by early 1820 he too had tuberculosis – meant it never came to marriage.
Keats third volume of poetry – containing his famous odes including Ode to a Nightingale and Ode to a Grecian Urn – was published in mid-1820 but now increasingly suffering from tuberculosis, he was advised by his doctors to head to a warmer climate. In September that year he left for Rome with his friend, the painter Joseph Severn (who painted a famous posthumous portrait of Keats), knowing he would probably never see Brawne again.
In Rome – having had to spend 10 days quarantine after the ship arrived in Naples due to a suspected cholera outbreak, he moved into a villa on the Spanish Steps (now home to the Keats-Shelley Memorial House museum) but, despite medical efforts, his health continued to deteriorate.
John Keats died on 23rd February, 1821, and was buried in the city’s Protestant cemetery. His tombstone bears no name or date, just the words “Here lies One whose Name was writ in Water” and an epitaph which speaks of a “young English poet”.
Keats had only been a serious poet for some six years prior to his death and his three volumes of poetry had probably only amounted to some 200 copies. But his reputation continued to grow after his death with support from the likes of Shelley, Tennyson and the pre-Raphaelites, and he is now well-established in the literary canon as one of the greatest English poets.
As well as Keats’ House – which is managed by the City of London and which features an English Heritage Blue Plaque on the facade, Keats is memorialised with several other plaques in London and a famous statue at Guy’s Hospital which features him seated in a former alcove removed from London Bridge – see image above).
• An in-depth exploration of the so-called ‘Raphael Cartoons’ has gone online at the V&A ahead of the reopening of the newly transformed Raphael Court later this year. Among the greatest Renaissance treasures in the UK, the cartoons were commissioned by Pope Leo X for the Sistine Chapel in the Vatican shortly after his election in 1513. The Pope asked artist Raphael to create a series of 10 designs illustrating the lives of St Peter and St Paul which could then be turned into tapestries to grace the walls of the chapel. Created in the workshop of merchant-weaver Pieter van Aelst in Brussels, the 10 tapestries were each five metres wide and 3.5 metres high. Seven of Raphael’s original cartoons survive – they were brought to Britain in the early 17th century by the Prince of Wales (later King Charles I) and remained behind closed doors in the Royal Collection until they were lent to the South Kensington Museum – now the V&A – by Queen Victoria in 1865 in memory of Prince Albert. The cartoons have been on public display in the museum ever since. The new online offering traces the story of the cartoons and using ultra- high-resolution photography, infrared imagery, and 3D scans, and is the first time people have been able to explore the cartoons in such detail. It was produced as part of the V&A’s ‘Raphael Project’, marking the 500th anniversary of Raphael’s death in 2020, which includes a landmark renovation of the Raphael Court – home to the cartoons. The refurbished gallery will be unveiled when the museum reopens. To see the new online display, head to vam.ac.uk/raphael-cartoons.
• A participatory art project exploring the relationship between the UK and France in a post-Brexit world has commenced this week.I Love You, Moi Non Plus – presented in partnership by Somerset House, Dover Street Market London, The Adonyeva Foundation, Collectif Coulanges, Eurostar and coordinated by Sabir, invites artists to share their interpretation of what the British-French relationship means to them with works to be displayed in a new online gallery alongside bespoke pieces from “project ambassadors” including Chinese artistAi Weiwei, fashion designer Stella McCartney, English electronic musician Brian Eno, English National Ballet artistic director Tamara Rojo,and British artist Bob and Roberta Smith. The project seeks to highlight how art and creativity can “maintain connections between communities across the channels, unifying voices from across Britain and the EU”. Participants are asked to contribute either by sharing their creations on social media with hashtags #ILoveYouMoiNonPlus, #ILYMNP and #LifeAfterBrexit or submit them directly to the website here.
• Does this mean a new Tardis for Dr Who? The City of London Corporation is calling on architects, landscape architects, designers and artists to submit ideas for the design of a “21st century police box”. The competition, which is being run by the City in conjunction with the City of London Police, New London Architecture (NLA) and Bloomberg Associates, aims to provide “a modern and engaging way to provide information and safety” to the Square Mile’s residents, workers and visitors. Up to six shortlisted teams will be awarded funding to develop their idea into a design proposal and the winning design will be unveiled in the summer. For more, head to nla.london/submissions/digital-service-point-open-call-competition.
• The Museum of London has acquired 13 tweets shared by Londoners during the initial coronavirus-related lockdown as part of its ongoing ‘Collecting COVID’ project. The tweets, which were collected under the ‘Going Viral’ strand of the Collecting COVID project, now form part of the museum’s permanent collection and lay bare what people were experiencing during 2020. The Going Viral project focused on collecting text, memes, videos and images that were ‘shared’ or ‘liked’ on Twitter more than 30,000 times. Additional tweets will be considered for acquisition this year.
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Around 1145, Thomas Becket left the household of the financier Osbert Huitdeniers and entered the household of Theobold, the Archbishop of Canterbury.
It’s unclear how he made the transition, although it has been speculated it was possibly through family connections, but by the following year, he was well-ensconced as a clerk in the archbishop’s household.
Like many great households, the Archbishop’s moved between various residences including his palace beside Canterbury Cathedral, various manors and the royal court (Lambeth Palace, the current home of the Archbishop of Canterbury in London was constructed after Becket’s death).
Becket rose in the Archbishop’s favour and while serving in his household was given the living of churches including St Mary le Strand in London and Otford in Kent as well as being made a canon of St Paul’s Cathedral (he wasn’t expected to attend the churches to receive the incomes).
The current St Mary le Strand dates from the early 18th century; the church from which Thomas drew an income was an earlier versions and stood a little to the south of the current building.
St Paul’s, meanwhile, was an early version of the pre-Great Fire of London version of the building. During Becket’s time, the grand structure was still under construction (building had been disrupted by a fire in 1135 and the cathedral wasn’t consecrated until 1240, well after Becket’s death).
The present cathedral has a rather spectacular statue of Becket in the churchyard (but we’ll deal with that separately in a later post in this series).
A new regular section in which we explain some of the city’s language. First up, we’re taking a quick look at the word ‘Cockney’.
The word, which has been used as far back as the Middle Ages to describe a ‘cock’s egg’ or weird egg, was apparently once used to refer to “weak” urbanite men (as opposed to the tougher men of the country).
But in more recent times, it was used to refer to someone born within hearing distance of the ‘Bow bells’ – the bells of the church of St Mary-le-Bow in the City.
This meant it came to be particularly associated with people from the city’s East End (although the bells can apparently be heard for at least a couple of miles in any direction – legend has Dick Whittington apparently hearing them calling to him more than four miles away in Highgate).
As well as referring to the people, the word is also used for the distinctive dialect, known as Cockney Rhyming slang, of those who lived in the area.
Interestingly, thanks to World War II preparations, the bells of St Mary-le-Bow were silent from 13th June, 1940, and, following their destruction in an air-raid the following year, were not replaced until 1961. This has led some to conclude that because no bells were rung during this 21 year period, no Cockneys were born then.
• Statues of two prominent men with links to the trans-Atlantic slave trade will be removed from Guildhall, the City of London has said. The City of London Corporation’s policy and resources committee voted to remove statues of William Beckford and Sir John Cass following a recommendation from the corporation’s Tackling Racism Taskforce. The statue of Beckford, a two-time Lord Mayor of London in the late 1700s who accrued wealth from plantations in Jamaica and held African slaves, will be replaced with a new artwork while the likeness of Sir John Cass, a merchant, MP and philanthropist in the 17th and 18th centuries who also profited from the slave trade, will be returned to its owner, the Sir John Cass Foundation. The corporation will now set up a working group to oversee the removal of the statues and replacement works and will also consider commissioning a new memorial to the slave trade in the City.
• An 800-year-old stained glass window from Canterbury Cathedral will form the centrepiece of an upcoming exhibition on Thomas Becket. Now scheduled for April after delays due to the coronavirus pandemic, Thomas Becket: murder and the making of a saint will feature more than 100 objects as it tells the story of Becket’s life, death and enduring legacy. The ‘Miracle Window’ – one of seven surviving from an original series of 12 – will be shown in its original arrangement of the first time in more than 350 years. The fifth in the series, it depicts miracles which took place in the three year after Becket’s death including the healing of eyesight and the replacement of lost genitals. The exhibition will represent the first time a complete stained glass window has been lent by the cathedral. Details of tickets will be announced soon. For more, see www.britishmuseum.org/becket.
• The Worshipful Company of Weavers this week announced the donation of £100,000 towards the creation of the new Museum of London in former market buildings at West Smithfield. The donation is one of the largest ever awarded by the livery company which, having a Royal charter dating from 1155, is the oldest surviving. The masterplan for the new museum received planning permission in June last year.
This week we look at a location representative of Becket’s brief time working for a former City of London Sheriff and banker, Osbert Huitdeniers (“Eightpence”).
About a year after his return from Paris (possibly around his 22nd birthday in late 1142), Becket – driven apparently by a downturn in the family fortunes – started work as a clerk in the household of Huitdeniers.
A relative of the Becket family, Osbert was a man of some significance – apparently holding a knight’s fee in Kent – and was known at the royal court. He had held the post of sheriff of London from 1139 to 1141 (and may have also been a justiciar at different times).
We’ve been unable to determine where Huitdeniers’ home or business was located, hence why we’ve included Guildhall which certainly would have been known to him as sheriff – and indeed to Becket who grew up nearby, though not in its current form.
Becket’s job would have involved keeping Huitdeniers accounts and during the few years he served the banker, it’s believed he gained some invaluable skills that would prove helpful later in life.
• As the inauguration of US President Joe Biden took place in the US this week, the Museum of London announced it had taken possession of the larger-than-life ‘Trump Baby’ balloon. The blimp first appeared at protests in July, 2018, during then-US President Donald Trump’s first visit to the city, and has since followed the President around the world. The museum said it will now form part of its protest collection which also includes objects relating to the Suffrage movement, banners, flags, and tents that belonged to Houses of Parliament protestor Brian Haw and placards used recently by protestors against public spending cuts. Sharon Ament, director of the museum, said: “From the Suffragettes of the early twentieth century to the anti-austerity marches, free speech and Black Lives Matter most recently – the capital has always been the place to have your say. By collecting the baby blimp we can mark the wave of feeling that washed over the city that day and capture a particular moment of resistance – a feeling still relevant today as we live through these exceptionally challenging times – that ultimately shows Londoners banding together in the face of extreme adversity.” The Trump Baby team added that it was their hope the blimp “will stand as a reminder of when London stood against Trump – but will prompt those who see it to examine how they can continue the fight against the politics of hate”. “Most of all we hope the Trump Baby serves as a reminder of the politics of resistance that took place during Trump’s time in office.”
• The V&A is seeking to contact people who have worn fashions designed by the likes of Shade Thomas-Fahm, Chris Seydou, Kofi Ansah, and Alphadi – a group who, along with their peers, represent the first generation of African designers to gain international attention. The call out comes as the South Kensington museum announces plans to hold an exhibition, supported by GRoW @ Annenberg, which aims to celebrate the creativity, ingenuity and global impact of contemporary African fashions in June. The display will feature more than 250 objects, drawn from the personal archives of African fashion creatives, alongside textiles and photographs from the V&A’s collection (many of which are being displayed for the first time). Alongside the objects, the museum is seeking a range of items – and the stories that go with them – from the public. They include Chris Seydou’s 1980s experimental garments in bògòlanfini, 20th century kente, bògòlanfini, khanga and commemorative cloths from the independence and liberation years in Africa, and family portraits and home movies showing African and African diasporic fashion trends. Members of the public with objects that fit the above description are asked to get in touch by email at email@example.com, and to share their pictures and memories on social media, using the hashtag #AfricaFashion. For the full list of sought after items, head to www.vam.ac.uk/blog/news/va-africa-fashion-call-out.
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The 29thDecember, 2020, marked 850 years since the dramatic murder of then Archbishop of Canterbury, Thomas Becket, in Canterbury Cathedral.
While many of the commemorations have been postponed due to the coronavirus pandemic, we’ve decided to push ahead with our series in commemoration of the martyred saint’s connections with London.
First up, it’s the famous City of London street of Cheapside – one of the main commercial streets in the medieval city – which was where, on 21st December, in what is generally believed to be the year 1120, he was born.
Becket was the son of Norman parents – his father, Gilbert, was a mercer (and served as a City sheriff) and his mother was named Matilda. He is believed to have had at least three sisters.
The location of what was a large residence – and the fact the family owned other property in the area – indicated they were relatively prosperous.
The property was next door to the church of St Mary Colechurch – lost in the Great Fire of London and not rebuilt – which was where St Thomas was baptised, apparently on the evening of his birth suggesting he may have initially been sickly. He was named after the Biblical St Thomas.
The site – which was later occupied by a hospital run by the Order of St Thomas of Acre – is marked with a small metallic bust of St Thomas attached to a wall on 90 Cheapside (on the corner with Ironmongers Lane) as well as a City of London blue plaque.
This month marks the 450th anniversary of the opening of London’s Royal Exchange, a complex created to act as a commercial centre in the City of London.
The exchange was built on the orders – and with the funds – of the merchant Sir Thomas Gresham at a site on the junction of Cornhill and Threadneedle streets which was – and still is – jointly owned by the City of London Corporation and the Worshipful Company of Mercers.
Drawing inspiration from the Antwerp Bourse, credited as the oldest financial exchange in the world (and where Sir Thomas had served as an agent of the crown), the Royal Exchange was built in ranges around a central courtyard and designed by an architect from Antwerp.
It was officially opened by Queen Elizabeth I on 23rd January, 1571. The Queen, who was lodging in Somerset House at the time, reportedly took a detailed look at the premises – which had apparently been completed a few years earlier.
At the close of her visit, she awarded the exchange the use of the word ‘Royal’ in its title (an honour announced by a herald and with the sound of a trumpet). She also granted it a license to sell alcohol and other luxury goods.
Earlier in the day, the Queen had dined at Sir Thomas’ own house in Bishopsgate. She was later to return to Somerset House.
Gresham’s original building – to which two floors of retail had been added in 1660, creating what is said to have been England’s first shopping mall – was sadly destroyed in the Great Fire of London in 1666.
It was replaced by a second complex, this time designed by Edward Jarman, in 1669, but this too succumbed to fire, this time on 10th January, 1838. The building which now stands on the site – and is now an upmarket retail centre – was designed by Sir William Tite and was opened by another Queen, Victoria, in 1844.
Gresham’s contribution is remembered by the building’s weathervane which features a golden grasshopper – an insect featured on Sir Thomas’ crest.
This tradition is actually one which is no longer observed – but we thought it worth a mention to finish this short series.
The creation of temporary of ‘boy bishops’ was relatively widespread at greater churches in Middle Ages (and several other churches in London also observed the tradition apparently including Westminster Abbey).
At St Paul’s, it involved one of the choir boys being elected to be the ‘boy bishop’, usually on 6th December, for a role that would run through until Holy Innocents Day on 28th December.
Dressed in child-sized bishop’s robes, the ‘boy bishop’ performed various ceremonial duties throughout the season, culminating with them delivering a sermon and leading a procession through the city.
The tradition apparently became more raucous as time went on, so much so that eventually it was abolished during the Reformation by King Henry VIII, revived by his successor Queen Mary I, and then abolished again by Queen Elizabeth I.
Since then, the idea of a ‘boy bishop’ or ‘youth bishop’ has been revived in a somewhat updated form in certain cathedrals including those in Salisbury and Hereford.
• World renowned artworks from Buckingham Palace’s Picture Gallery go on show at the Queen’s Gallery from tomorrow. Masterpieces from Buckingham Palace features 65 works by the likes of Titian, Rembrandt, Rubens, Vermeer, Van Dyck and Canaletto and, unlike in the tours of the State Rooms, visitors to the Queen’s Gallery will face the chance to enjoy the works close-up. The paintings on show include Johannes Vermeer’s The Music Lesson (early 1660s), Sir Peter Paul Rubens Milkmaids with Cattle in a Landscape, (c1617–18), Rembrandt’s The Shipbuilder and his Wife (1633), Canaletto’s The Bacino di San Marco on Ascension Day (c1733–4), Titian’s Madonna and Child in a Landscape with Tobias and the Angel (c1537) and Gerrit Dou’s The Grocer’s Shop (1672). The exhibition runs until January 2022. Advance booking is essential and admission charge applies. For more, seewww.rct.uk.
• The Museum of London is seeking to record the dreams of Londoners during the coronavirus pandemic in a new project with the Museum of Dreams at Western University in Canada.Guardians of Sleep represents the first time dreams as raw encounters and personal testimonies will be collected by a museum. Londoners are being asked to register their interest to take part by 15th January with conversations with members of the Dreams network – an international team of trained scholars from the psychosocial community, slated to be held over Zoom in February. Contributions will be considered for acquisition by the Museum of London as part of its ‘Collecting COVID’ project. To volunteer to participate in the study, or to find out more details, members of the public should contact email@example.com.
• Abdus Salam, a Nobel Prize-winning theoretical physicist, has been honoured with a Blue Plaque at his former property in Putney. The red brick Edwardian house was the Pakistani scientist’s London base from 1957 until his death in 1996. It features a study where Salam would write while listening to long-playing records of Quranic verses and music by composers ranging from Strauss to Gilbert and Sullivan. Salam’s work on electroweak theory contributed to the discovery of the Higgs boson particle – the ‘God particle’ which gives everything mass, and he was also involved in improving the status of science in developing countries.The unveiling comes as English Heritage issues a call for the public to nominate more notable scientists from history for its Blue Plaque scheme in London with only around 15 per cent of the 950 plus blue plaques across the capital dedicated to scientists. For more, see www.english-heritage.org.uk/visit/blue-plaques/.
• A self-portrait series by late Gambian-British artist Khadija Saye can be seen at the British Library’s entrance hall from today.Khadija Saye: in this space we breathe features nine silk-screen prints and demonstrates Saye’s deep concern with “how trauma is embodied in the black experience” as well as her Gambian heritage and mixed-faith background. Saye, who died in 2017, photographed herself with cultural, religious and spiritual objects of significance both to her Christian mother and Muslim father and in African traditions of spirituality. The free display is on show until 2nd May. For more, see www.bl.uk.
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OK, so our last entry in this series isn’t a house, just a facade. But it is a significant and rare example of part of a pre-Great Fire timber-framed house in London which has been relocated.
The intricately detailed wooden facade, which can now be found in the V&A in South Kensington, was originally part of a three-and-half storey mansion which stood on the west side of Bishopsgate Without (that is, just outside the City of London’s walls).
It was built by Sir Paul Pindar, a wealthy merchant and diplomat who was knighted by King James I in 1620 (we’ll be featuring more of his story in an upcoming ‘Famous Londoners’ article).
He had purchased several properties in the street in 1597 and then incorporated these properties into a single mansion which also included a new section (of which the striking facade survives).
The house, which Shakespeare himself may well have walked past, was unusually large and sufficiently opulent that it served as the residence of Pietro Contarini, the Venetian ambassador, in 1617–18.
By 1660, it had been divided into smaller dwellings and, having survived the Great Fire of London, subsequently became a residence for the indigent. The front rooms on the ground floor, meanwhile, were turned into a tavern named the Sir Paul Pindar’s Head.
By the late 19th century, however, the nearby Liverpool Street Railway Station needed more room for expansion and, as a result, in 1890 the property was demolished to make space.
Part of the facade, however, was carefully dismantled (albeit some large sections, like the projecting carved window frames, were kept intact) and subsequently moved to the V&A where it was reassembled using carpenters’ marks on the wood.
The restored frontage (without the original glass and leading which was replaced in 1890) initially stood near the front of the museum but in the Noughties was delicately moved to where it now stands in the Medieval and Renaissance Galleries.
While the museum is currently closed as a result of coronavirus restrictions, we publish these details for when you can visit.Timed tickets can be booked for future dates here.
WHERE: Victoria and Albert Museum, Cromwell Road (nearest Tube stations are South Kensington and Gloucester Road); WHEN: Special – see above; COST: Free; WEBSITE: www.vam.ac.uk
• A controversial new statue commemorating feminist icon Mary Wollstonecraft was unveiled in Newington Green, near where Wollstonescraft lived and opened a girls’ school, in the city’s north this week. Designed by British artist Maggi Hambling, A Sculpture for Mary Wollstonecraft depicts a small nude female figure – described by those behind the campaign for the statue as “Everywoman, her own person, ready to confront the world” – rising out of other, intermingled, female forms below. Hambling said she wanted the sculpture to reflect Wollstonecraft’s spirit, rather than her likeness. The statue’s unveiling is the culmination of a 10 year campaign to see a statue for Wollstonecraft led by author Bee Rowlatt. The statue has already been the target of protestors who have reportedly used black tape, COVID masks, and a T-shirt to cover it up.
• A new work set in an imagined Yorkshire forest and looking at how natural sound has changed over the last 50 years has gone online this week. Commissioned by the British Library, Faint Signals is the work of Yorkshire-based interactive arts studio Invisible Flock and allows people to explore Yorkshire’s flora, fauna, and wildlife – both past and present. Launched to mark World Science Day on Tuesday, the work can be visited until 2nd January. Head here faintsignals.io.
• The National Gallery has launched a new collaboration with camera maker Nikon to showcase the gallery’s works and “explore the synergies between photography and fine art”. In the first collaboration of its kind, the “digital content partnership” will see the gallery work with Nikon to produce a range of online content over the next year. This kicks off with an exploration of Jan van Kessel the Elder’s 1654 work, Butterflies, Moths and Insects with Sprays of Common Hawthorn and Forget-Me-Not, under the Picture of the Month series (the concept of ‘Picture of the Month’ dates back to 1942, when a single painting was returned to the gallery each month from the disused Welsh slate mine where the collection was kept for safety during World War II). The painting is explored in depth in a range of ways on the gallery’s website including through two short films. Further online films, talks and events are planned. For more on the Picture of the Month, head to the National Gallery website.
• Londoners still have two weeks to have their say on what should happen to statues and other landmarks in the City of London which have links to slavery and historic racism. The City of London Corporation said it has received more than 800 responses since launching the consultative exercise in September in which it’s asking people to give their views on which landmarks – including statues, street and building names – they think are a problem, and what action they think should be taken. Among those monuments which have been mentioned to date are statues at Guildhall depicting former Lord Mayor William Beckford and MP and philanthropist Sir John Cass, both of whom profited from the slave trade. In September, the Sir John Cass’s Foundation Primary School in the City announced it was changing its name to The Aldgate School to break the link with its controversial founder. Head to www.cityoflondon.gov.uk/historiclandmarksconsultation by 24th November to take part.
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