July 5, 2016
The remains of the 17th century Old Keeper’s Cottage in Greenwich Park are being brought to light in an archaeological dig underway in the park this week. The lodge stood close to Queen Elizabeth’s Oak near the centre of the park and was demolished in 1853. This year’s dig is the final of a three year project to unearth the lodge’s remains, sparked after tiles were discovered near the site of the cottage in 2010. Finds so far include a second century Roman brooch, post-medieval pottery and a Victorian watch-winder. The digs have also revealed remains associated with the lodge including two buildings and part of the boundary of the complex. Toni Assirati, head of education and community engagement at Royal Parks, says while much is already known about the history of Greenwich Park – which dates back to 1427 – much remains to be yet discovered about its social history. “This project will hopefully help us find out more about the lives of the people who worked and lived in the park.” Members of the public are invited to attend from 3pm to 6pm on 13th July to hear more about the project from the archaeologists involved as well as see some of the unearthed artefacts. For more about Greenwich Park, see our earlier post here or head to www.royalparks.org.uk/parks/greenwich-park. PICTURE: Greenwich Park, looking toward Observatory Hill (the site of the dig is to the left of the hill). © Anne Marie Briscombe/Royal Parks.
June 17, 2016
Located on the south side of the Strand, the then-named Exeter House was built in the 1300s as the London palace of the Bishops of Exeter on land which had previously been occupied by the Knights Templar.
It was Bishop Walter Stapledon who had the palace constructed – as well as being Bishop of Exeter, he was Lord High Treasurer to the unpopular King Edward II, a role which eventually led to him being dragged from his horse in the City of London and murdered.
King Henry VIII gave the property to his Secretary of State, William, Lord Paget, and, in the late 16th century, it came into the hands of Robert Dudley, the 1st Earl of Leicester. He rebuilt it and renamed it Leicester House which it remained until, following his death in 1588, it was inherited by his stepson, Robert Devereux, the 2nd Earl of Essex and a favourite of Queen Elizabeth I, and renamed Essex House.
The house was rather large and in 1590 was reported as having as many as 42 bedrooms as well as a picture gallery, a banqueting suite and chapel.
Devereux ended up beheaded for treason on Tower Hill in 1601 but his son, also Robert Devereux, became a distinguished general for the Parliamentarians during the Civil War. He received a delegation from the House of Commons at the property to offer their congratulations after the Battle of Newbury in 1643 and was laid out in state there in 1646 (insatiable diarist Samuel Pepys, then a 13-year-old boy, was among those who saw the body).
After the Civil War, the family’s debts resulted into the property passing into the hands of other families. The main part of the house was eventually demolished in the 1670s and part of the property sold to developer Nicholas Barbon. He built Essex Street, which still stands in the area, was built on the site.
The remaining part of the house, meanwhile, was used to house the Cotton Library before, in 1777, it too was demolished.
The mansion’s chapel, meanwhile, became a dissenters meeting house, known as the Essex Street Chapel, which became the birthplace of Unitarianism in England. The denomination’s headquarters, named Essex Hall, still stands on the site.
The pub The Devereux (pictured above), named for Robert Devereux, is among the buildings which now stand on the site (for more on the pub, see our earlier post here).
Photographer John Pannell was among the crowds who gathered in The Mall to witness Trooping the Colour on Saturday. Traditionally held to mark the Queen’s birthday, this year’s event – in honour of the fact that the Queen has turned 90 (her actual birthday being 21st April) – was followed on Sunday by a lunch for 10,000, known as the Patron’s Lunch, in The Mall. Trooping the Colour has marked the official birthday of the sovereign since the reign of King George II. Above are the Queen and Prince Philip while below are part of the Massed Bands of the Household Division, among those who marched, and, RAF planes fly-past Buckingham Palace while watched from the palace’s famed balcony by the Queen and the royal family.
PICTURES: John Pannell/Flickr
June 8, 2016
Much has been made about the dearth of women featured on blue plaques in this 150th year of the scheme – according to English Heritage, only 13 per cent of the 900 odd blue plaques in London commemorate a woman.
The oldest surviving blue plaque commemorating a woman, however, is that commemorating what is today a less well-known name, that of Fanny Burney.
Burney (1752-1840), who was known as Madame D’Arblay after she married, was a widely applauded novelist who was also noted for her diaries which record her involvement in the literary circles around Samuel Johnson and the Bluestocking Group.
The blue plaque commemorating her residence at 11 Bolton Street in Mayfair was erected in 1885 by the Society of Arts (which means that like others erected by the society, later the Royal Society of Arts, it’s brown not blue).
Burney, whose most profitable work, Camilla, was published in 1796 after she had spent five years as Second Keeper of the Robs to Queen Charlotte, lived in the house following the death of her husband, the Frenchman Alexandre D’Arblay.
She spent 10 years here – from 1818 until 1828 – and had apparently thought it would be her last residence but she went on to move into three further properties after this one.
May 20, 2016
The Augustinian Nunnery of St Mary was founded in about 114o by Jorden de Briset, the lord of Clerkenwell Manor (he also founded the Hospitaller Priory of St John of Jerusalem which lay to the south – more on this here) on 14 acres of land to the east of the famous “Clerk’s Well” (more on the well, which was located close to, but within, the western border of the nunnery, in our earlier post here).
By 1160 a wall had been built around the precinct said to have been roughly bounded by Farringdon Lane, Clerkenwell Green (an open space between the two religious houses), St James’s Walk and a boundary to the south of, and parallel with, Bowling Green Lane to the north.
The church – where Briset and his wife were later buried and which doubled as a parish church – was built about the same time, along with an adjoining chapter-house – both of which were made of stone in contrast to the timber buildings which initially made up the rest of the complex.
A cloister and other stone buildings were erected to the north of the church later in the 12th and 13th centuries including a lodging for the prioress, a dormitory, refectory and kitchen for the nuns. Other buildings on the site included a gatehouse, what was known as the “Nun’s Hall” – possibly a hall for guests – and an infirmary with its own chapel, the location of which is apparently something of a mystery.
Substantial renovation works were carried out in the late 15th and early 16th centuries and by the time of King Henry VIII’s dissolution, it had become one of the wealthiest monasteries in England (although it only ever housed about 20 canonesses).
One of the last nunneries to be suppressed, it was dissolved in 1539 with the nuns being pensioned off.
The site was initially granted to Thomas Howard, 3rd Duke of Norfolk, who held it only briefly being returning it to the king in a deal for another property and subsequently purchased by a succession of different owners.
Many of the buildings were converted for use as private mansions and outbuildings, among them Newcastle House and Challoner (later Cromwell due to the legend that Oliver Cromwell resided there) House which faced them across what had been the cloister courtyard.
The mansions were gradually redeveloped into smaller properties – it remained a popular residential area despite the building of a House of Detention to the immediate north – and in 1788-92, the parish church of St James was rebuilt to the designs of local architect James Carr, with the spire apparently modelled on St Martin-in-the-Fields (Carr also bought Newcastle House and pulled most of it down before redeveloping the area).
Church gardens, which are open to the public, now occupy some of the site of the former nunnery – in 1987, part of the medieval cloisters were excavated here.
For some insightful walks delving into the history of London, see Stephen Millar’s three books, London’s Hidden Walks: Volumes 1-3.
This Week in London – Of Empress Catherine the Great and Capability Brown; a blue plaque double; and, the British graphic novel on show…
April 28, 2016
• A once forgotten collection of watercolour paintings and drawings owned by Empress Catherine the Great of Russia has gone on show at Hampton Court Palace as part of commemorations marking the 300th anniversary of the birth of Lancelot ‘Capability’ Brown. The Empress and the Gardener exhibition features almost 60 intricately detailed views of the palace and its park and gardens during the time when Brown worked there as chief gardener to King George III between 1764 and 1783. The works came to be in the collection of the Empress – a renowned fan of English gardens – after Brown’s assistant, John Spyers, sold two albums of his drawings of the palace to the her for the considerable sum of 1,000 roubles. The albums disappeared into her collection at the Hermitage (now the State Hermitage Museum) and lay forgotten for more than 200 years before they were rediscovered by curator Mikhail Dedinkin in 2002. As well as the collection – on public show for the first time, the exhibition features portraits of Brown and the Empress, previously unseen drawings of her ‘English Palace’ in the grounds of the Peterhof near St Petersburg, and several pieces from the ‘Green Frog’ dinner service, created for the Empress by Wedgwood, which is decorated with some of the landscapes the prolific Brown created across England. Runs until 4th September. Admission charge applies. For more, see www.hrp.org.uk/hampton-court-palace/.
• A house in Chelsea has become only one of 19 homes in London to bear two official blue plaques. Number 48 Paultons Square has the honour of having been home to two Nobel prize winners (albeit in different fields) – dramatist Samuel Beckett, who lived there for seven months in 1934 while writing his first novel, Murphy, and physicist Patrick Blackett, noted for his revolutionary work in U-boat detection during World War II, who lived there from 1953 to 1969. Other ‘doubles’ include 20 Maresfield Gardens in Hampstead (home to Sigmund Freud and Anna Freud) and 29 Fitzroy Street in Fitzrovia (home to George Bernard Shaw and Virginia Woolf). This year marks the 150th anniversary of the blue plaques scheme. For more, see www.english-heritage.org.uk/visit/blue-plaques/.
• The rise of the British graphic novel is the subject of a new exhibition at the Cartoon Museum in Bloomsbury. The Great British Graphic Novel features works by 18th century artist William Hogarth as well as Kate Charlesworth, Dave Gibbons (one of the creators of the ground-breaking Watchmen), Martin Row, Posy Simmonds (creator of the Tamara Drewe comic strip) and Bryan and Mary Talbot. It runs until 24th July. Admission charge applies. For more, see www.cartoonmuseum.org.
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April 18, 2016
This year marks 300 years since the birth of Lancelot “Capability” Brown, the most famed landscape designer of the Georgian age and a man who has been described as the “father of landscape architecture”.
Brown is understood to have been born in 1716 in the village of Kirkharle in Northumberland, the fifth of six children of a land agent and a chambermaid (he was baptised in on 30th August so it is believed his birth happened sometime earlier that same year).
He attended the village school before he worked as apprentice or assistant to the head gardener in Sir William Loraine’s kitchen garden at Kirkharle Hall.
Having left home in 1741 he joined the gardening staff of Lord Cobham, as one of the gardeners at his property in Stowe, Buckinghamshire.
There he worked with William Kent, another famed landscape architect of the Georgian age and one of the founders of the new English style of gardens, until, at the age of 26, he was appointed head gardener.
He remained in Stowe until 1750 and while there, in 1744, married Bridget Wayet (with whom he went on to have nine children). During his time there, he also created the Grecian Valley and also took on freelance work from Lord Cobham’s noble friends, a fact which allowed him to produce a body of work that would start to make his reputation.
Having struck out on his own from Stowe, he settled with his family in Hammersmith, London, in the early 1750s, already widely known and considered by some the finest gardener in the kingdom.
The work continued to flow in and it’s believed that, over the span of his career, Brown was responsible for designing or contributing to the design of as many as 250 gardens at locations across the UK, – many of which can still be seen today. As well as Stowe, these included gardens at Blenheim Palace, Appuldurcombe House on the Isle of Wight, Warwick Castle, Harewood House and Petworth House in West Sussex.
Following on from the work of Kent, Brown was known for his naturalistic undulating landscapes, in particular their immense scale, flowing waterways and a feature known as a ‘ha-ha’, a ditch which blended seamlessly into the landscape but which was aimed at keeping animals away from the main house of the estate.
His style, which contrasted sharply with the more formalised, geometric gardens epitomised in the French style of gardening, did not, however, meet with universal praise. Criticisms levelled against him including that he had often erased the works of gardeners of previous generations to complete gardens which were, in the end, described by some as looking no different to “common fields”.
It’s worth noting that Brown also dabbled in architecture itself – his first country house project was the remodelling of Croome Court in Worcestershire and he went on to design and contribute to the design of several houses including Burghley House Northamptonshire as well as outbuildings including stable blocks.
The nickname ‘Capability’ apparently came from his habit of informing his client that their estates had great “capability” for improvement. It’s wasn’t apparently a name he used himself.
So established became his reputation that in 1764 Brown was appointed King George III’s Master Gardener at Hampton Court Palace (as well as Richmond and St James’ Palaces), taking up residence with his family at Wilderness House. He also worked on the gardens at Kew Palace.
Brown died on 6th February, 1783, in Hertford Street in London at the door of his daughter Bridget’s house (she had married architect Henry Holland with whom he Brown had, at times, collaborated). He was buried in the churchyard of St Peter and St Paul, the parish church of a small estate Brown owned at Fenstanton Manor in Cambridgeshire.
Brown impact on garden design in England is now undisputed although it wasn’t always the case – his contribution was largely dismissed in the 18th century and it was only in the later 20th century that he had become firmly established as a giant figure in the gardening world.
A celebrated portrait of Brown (pictured above) – painted by Nathaniel Dance in about 1773 – is in the collection of National Portrait Gallery.
For more on events surrounding the 300th anniversary of Brown’s birth, see www.capabilitybrown.org.
PICTURE: Capability Brown by Nathaniel Dance, circa 1773. © National Portrait Gallery, London
This Week in London – Seminal moments in Shakespearean performance; Maria Merian’s Butterflies; and, British conceptual art…
April 14, 2016
• It’s the 400th anniversary of Shakespeare’s death (in case you missed that), and among the many events marking the occasion comes a major exhibition at the British Library focusing on 10 key performances that it says have made the Bard the “cultural icon” he is today. Shakespeare in Ten Acts, which opens on Friday, focuses on performances which may not be the most famous but which represent key moments in shaping his legacy. They span the period the first performance of Hamlet at the Globe theatre in around 1600 to a radical interpretation of the same play from US theatre company The Wooster Group in 2013. Among the exhibition highlights are a human skull which was given to the actress Sarah Bernhardt by writer Victor Hugo (and which she used as Yorik’s skull when she played Hamlet in 1899), a dress worn by Vivien Leigh playing Lady Macbeth in the 1955 production of Macbeth at the Royal Shakespeare Company, the only surviving play script written in the Bard’s own hand and rare printed editions including Shakespeare’s First Folio and the earliest printed edition of Hamlet from 1603 (one of only two copies in the world). The exhibition, which runs until 6th September, is accompanied by a season of events. Admission charge applies. For more, see www.bl.uk. PICTURE: Shakespeare’s First Folio 1623 British Library Photo by Clare Kendall.
• Still talking exhibitions commemorating Shakespeare’s death and a manuscript of William Boyce’s Ode to the Memory of Shakespeare will be on display at The Foundling Museum’s Handel Gallery from tomorrow. The work, which was composed in 1756, was performed annually at the Theatre Royal in Drury Lane. The manuscript, the first page of which was thought to be lost until it was acquired in 2006, formerly belonged to Samuel Arnold, who compiled the first complete edition of Handel’s works. Runs at the Bloomsbury-based museum until 30th May. Admission charge applies. For more, see www.foundlingmuseum.org.uk.
• Exquisite watercolours depicting the natural world go on show in The Queen’s Gallery at Buckingham Palace from tomorrow. Maria Merian’s Butterflies features 50 works produced by the eighteenth century German artist and entomologist Maria Sibylla Merian. The works – many of which record the flora and fauna of the then Dutch colony of Suriname in South America, were published in the 1706 work Metamorphosis Insectorum Surinamensium (The Metamorphosis of the Insects of Suriname) and partially printed, partially hand-painted versions of the plates were purchased by King George III for his library at Buckingham House (later Buckingham Palace). As well as insects, the works – which were based on a visit Merian made to the colony in 1699, depict lizards, crocodiles and snakes as well as tropical plants such as the pineapple. The exhibition runs until 9th October. Admission charge applies. For more, see www.royalcollection.org.uk/visit/the-queens-gallery-buckingham-palace.
• The evolution of conceptual art in Britain is the subject of a new exhibition at Tate Britain in Milbank Conceptual Art in Britain 1964-1979 features 70 works by 21 artists and positions conceptual art “not as a style but rather a game-changing shift in the way we think about art, how it is made and what it is for”. Highlights include Michael Craig-Martin’s An Oak Tree (1973) and Roelof Louw’s Soul City (Pyramid of Oranges) (1987) as well as Victor Burgin’s Possession (1976), Mary Kelly’s Post-Partum Document (1974-78) and Conrad Atkinson’s Northern Ireland 1968 – May Day 1975 (1975-76). Admission charge applies. Runs until 29th August. For more, see www.tate.org.uk.
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April 11, 2016
A street and small district based just to the north of Holborn in the Borough of Camden, the origins of Hatton Garden’s name stem from the Elizabethan-era courtier Sir Christopher Hatton.
Sir Christopher, Lord Chancellor during the reign of Queen Elizabeth I and one of her favourites, acquired land here in the 1570s after the Queen forced the bishops of Ely to rent him some of the land they owned which was attached to their London residence, Ely Palace (commemorated today in nearby Ely Place, still home to London’s oldest Catholic church).
Hatton, whose annual rent was apparently fixed at £10, 10 stacks of hay and a red rose at midsummer, subsequently built a property, Hatton House, on the garden.
This survived until the mid-1600s when a series of properties were laid out on the site, centred on what is now the street known as Hatton Garden (Sir Christopher, who was buried in Old St Paul’s Cathedral, had died in 1591). Wren House, originally apparently a chapel and later a charity school, which still stands in Hatton Garden, was built around this time.
The houses were mostly replaced in the mid 18th century with new homes built for prosperous merchants but, as the years passed, while the street itself remained home to some of the wealthy, the same could not be said of some other streets nearby, like Saffron Hill, which became notorious slums.
In the early 1800s artisans started moving into Hatton Garden – London’s Little Italy was born around this time just to the north when Italian craftsmen started moving in (the St Peter’s Italian Church opened in 1863 in Clerkenwell Road) – and the area was gradually transformed into a commercial district.
Jewellery and watch-makers, who had long been based in Clerkenwell, started moving in and the street soon became particularly noted as a centre for cutting diamonds, initially those from India. It was an association which only grew stronger following the discovery of diamonds in South Africa’s Kimberley diamond field in the 1870s.
Today, the street known as Hatton Garden – which runs between Holborn and Clerkenwell Road – still contains the most concentrated cluster of jewellery retailers in the UK (as well as apparently an extensive subterranean network of tunnels and passageways as well as many heavily guarded underground vaults) and is still the centre of London’s diamond trade.
Incidentally, the street was also home to workshops at number 57 which, from 1881, produced the rapid firing Maxim Gun following its invention by Sir Hiram Maxim (and, of course, it was also the location of last year’s safe depository robbery and another famous jewellery robbery back in 1993).
A short side note – it was the wife of Sir Christopher Hatton’s nephew, Lady Elizabeth Hatton, who become associated with Bleeding Heart Yard (you can revisit that story in our earlier post here).
This Week in London – On the education of Georgian princesses; servant’s lives on show; and, 100 years of Vogue…
March 24, 2016
• The education of the daughters of King George III and Queen Charlotte is the subject of a new display which has opened at Kew Palace in Kew Gardens. The queen’s progressive approach to learning meant the princesses received a “thoroughly modern” schooling covering everything from geography to art, upholstery to tackling brain-teasers as well as botany and music. The latter, in particular the harpsichord, was a particular passion of Princess Augusta, and to instruct her and the other girls, JC Bach, son of world-renowned composer JS Bach, was employed as music master (the display features a hand-written copy of his father’s Well-Tempered Clavier – designed to train and test the skills of harpsichord players). Other items on show include a copy of Queen Charlotte’s own tortoiseshell notebook embellished with gold and diamonds, a letter the queen wrote to the princesses’ governess – reputedly the first letter she wrote in English, and a series of newly acquired satirical prints from the Baker Collection depicting Queen Charlotte and her daughters. The new display can be seen from today. Admission charges apply. For more, see www.hrp.org.uk/kew-palace/. PICTURE: Newsteam/Historic Royal Palaces.
• The lives of servants working in middle-class houses in London over the last 400 years are the subject of an exhibition which opened at the Geffrye Museum in Shoreditch earlier this month. Swept Under The Carpet? Servants in London Households, 1600-2000 illustrates the dynamic nature of the relationship between servants and their employers – from the intimacy of a maid checking her master’s hair for nits in the late 17th century to an ayah caring for an Anglo-Indian family’s children in the late 19th century and an au-pair picking up after the children in the middle of the 20th century. It explores their story through an examination of the places in which they worked – the middle class parlour, drawing room and living room. Entry to the exhibition, which runs until 4th September, is free. For more, www.geffrye-museum.org.uk.
• On Now – Vogue 100: A Century of Style. This exhibition currently running at the National Portrait Gallery off Trafalgar Square features iconic images of some of the 20th century’s most famous faces. Included are rarely seen images of the Beatles and Jude Law as well as portraits of everyone from artists Henri Matisse and Francis Bacon, actors Marlene Dietrich and Gwyneth Paltrow, Lady Diana Spencer and soccer player David Beckham. There’s also complete set of prints from Corinne Day’s controversial Kate Moss 1993 underwear shoot, Peter Lindbergh’s famous 1990 cover shot – said to define the ‘supermodel era’, a series of World War II photographs by Vogue‘s official war correspondent Lee Miller and vintage prints from the first professional fashion photographer, Baron de Meyer. The display can be seen until 22nd May. Admission charge applies. For more, see www.npg.org.uk.
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This Week in London – Russia’s finest portraiture on show, Scottish art from the Royal Collection; and photographer/film-maker Paul Strand revisited…
March 17, 2016
• The “most important exhibition of Russian portraits ever to take place at a British museum” opens at the National Portrait Gallery off Trafalgar Square today. The portraits of key figures from Russia spanning the period from 1867 to 1914 come from Moscow’s State Tretyakov Gallery which is simultaneously displaying a selection of portraits of famous Britons from the National Portrait Gallery in a joint event being held to mark the 160th anniversary of both institutions. Russia and the Arts: The Age of Tolstoy and Tchaikovsky features portraits of the likes of Akhmatova, Chekhov, Dostoevsky, Mussorgsky, Rimsky-Korsakov, Rubinstein, Tchaikovsky, Tolstoy and Turgenev by artists including Nikolai Ge, Ivan Kramskoy, Vasily Perov, Ilia Repin, Valentin Serov and Mikhail Vrubel. The majority of the works featured were commissioned directly from the artists by Pavel Tretyakov, a merchant, philanthropist and founder of the State Tretyakov Gallery, whose own portrait by Repin opens the exhibition. The exhibition at the National Portrait Gallery runs until 26th June. Admission charge applies. For more, see www.npg.org.uk/russia. PICTURE: Ivan Morozov by Valentin Serov (1910) © State Tretyakov Gallery, Moscow.
• The best Scottish art in the Royal Collection goes on show at The Queen’s Gallery, Buckingham Palace, from tomorrow. Scottish Artists 1750-1900: From Caledonia to the Continent brings together more than 80 works collected by monarchs since King George III. It tells the story of the emergence of a distinctly Scottish school of art through works painted by the likes of Allan Ramsay – who in 1760 was commissioned to paint King George III’s State portrait and subsequently became the first Scot appointed to the role of Principal Painter in Ordinary to His Majesty, and Sir David Wilkie – whose works depicting small-scale scenes of everyday life attracted the attention of the Prince Regent (later King George IV) in the early 17th century. Other artists represented in the collection include Sir Joseph Noel Paton, David Roberts, James Giles, John Phillip, William Leighton Leith, and William Dyce. Runs until 9th October. Admission charge applies. For more, see www.royalcollection.org.uk.
• The work of American photographer Paul Strand is on show at the V&A from Saturday in the first retrospective showing of his art in the UK in 40 years. One of the greatest photographers of the 20th century, Strand (1890-1976) was instrumental in defining the way fine art and documentary photography is understood and practiced today. He is also credited with creating the first avant-garde film, Manhatta. The exhibition, Paul Strand: Photography and Film for the 20th Century, features more than 200 objects including vintage photographic prints, films, books, notebooks, sketches and Strand’s cameras and includes newly acquired photographs from his only UK project – a 1954 study of the island of South Uist in the Scottish Hebrides. Can be seen until 3rd July. Admission charge applies. For more, see www.vam.ac.uk/paulstrand.
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March 14, 2016
Another Greenwich pub whose name references an aspect of maritime history (see our previous posts on the The Gipsy Moth and the Trafalgar Tavern), this riverside establishment takes its name from a former tea clipper (which, not coincidentally, is on display nearby).
The clipper Cutty Sark was constructed in Dumbarton in 1869 to facilitate the transport of tea from China to Britain in as short a time span as possible. It made its maiden voyage the following year and but only ended up working the tea route for a few years before being used to bring wool from Australia.
Later sold to a Portuguese company, the vessel continued to be used as a cargo ship until she was sold in 1922 and used as training ship, first in Cornwall, and later at Greenhithe in Kent.
In 1954, the vessel found a new permanent dry dock at Greenwich and was put on public display. Damaged by fire in 2007, the ship underwent extensive restoration and is now displayed in a state-of-the-art purpose-built facility which allows you to walk underneath the vessel.
The three level Cutty Sark pub, located at 4-6 Ballast Quay (formerly known as Union Wharf), features a Georgian-style bow windows on the first and second floors (the first floor is home to the Willis Dining Room which has great views of the Thames).
The present Grade II-listed building apparently dates from the early 19th century (although the sign out the front suggests 1795 and it’s been suggested the building was substantially altered in the mid-19th century) but there is evidence of a public house on the location by the early 18th century.
Known at one stage at the Green Man, in 1810 it became the Union Tavern – a reference, apparently, to the union of England and Ireland which took effect in 1801. It took its current name after the Cutty Sark arrived in Greenwich in the 1950s.
March 11, 2016
Described as the first dedicated Indian restaurant in Britain, the Hindoostanee (also spelt Hindoostane) Coffee House was established by Dean Mahomet (later Sheikh or ‘Sake’ Dean Mahomet), an Indian who served with the East India Company Army before coming to Britain.
Accompanying East India Company man Godfrey Baker to Ireland, he lived initially with the Baker family before meeting and marrying a young woman while learning English and subsequently establishing his own household in Cork.
In 1794, he published a book, The Travels of Dean Mahomet, which, written as a series of letters to an imaginary friend, described his own life and Indian customs. It is credited as the first book to be written and published in English by an Indian.
Around 1807, he and his wife and son moved to London where he initially found employment with Sir Basil Cochrane at a “vapour spa” Sir Basil had established in Portman Square. While Mahomet introduced Indian innovations such as “shampooing” to the spa, he was given little credit for his work, however, and so decided to break out on his own.
In 1810, he set-up the coffee house at 34 George Street, Portman Square, just behind Sir Basil’s house.
The establishment was aimed at Anglo-Indians who had spent time in India and offered them Indian-style foods – such as curries and spiced dishes – along with other reminders of the sub-Continent such as a room set up for the use of the hookah with “real Chilm tobacco” – all in an Indian-style setting.
Sadly, the establishment was only rather short-lived and, despite taking on a partner, Mahomet was forced to declare bankruptcy in 1812. But he did go on to establish a very successful Indian-style baths in Brighton, Mahomet’s Baths (and later even opened a second branch in St James’s London which would be managed by his son).
A plaque was erected by the City of Westminster close to the site of the former coffee house in 2005.
PICTURE: Simon Harriyott from Uckfield, England [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons.
February 22, 2016
As with so many London locations, the name Camden Town comes from a previous landowner – but more indirectly it originates with the great 16th and 17th century antiquarian and topographer William Camden.
The story goes like this: late in his life William Camden – author of Britannia, a comprehensive description of Great Britain and Ireland – settled near Chislehurst in Kent on a property which became known as Camden Place.
In the 18th century, the property came into the possession of Sir Charles Pratt, a lawyer and politician (among other things, he was Lord Chancellor in the reign of King George III), who was eventually named 1st Earl of Camden.
It was Pratt who, having come into the possession of the property by marriage, in about 1791 divided up land he owned just to the north of London (which has apparently once been the property of St Paul’s Cathedral) and leased it, resulting in the development of what became Camden Town (Pratt, himself, meanwhile, is memorialised in the name of Pratt Street which runs between Camden High Street and Camden Street).
In 1816, the area received a boost when Regent’s Canal was built through it – the manually operated, twin Camden Lock is located in the heart of Camden Town.
Although it has long carried a reputation of one of the less salubrious of London’s residential neighbourhoods (a reputation which is changing), Camden Town is today a vibrant melting pot of cultures, thanks, in no small part, to the series of markets, including the Camden Lock Market, located there as well as its live music venues.
Past residents have included author Charles Dickens, artist (and Jack the Ripper candidate) Walter Sickert, a member of the so-called ‘Camden Town Group’ of artists, and, in more recent times, the late singer Amy Winehouse.
Of course, the name Camden – since 1965 – has also been that of the surrounding borough.
February 19, 2016
The Royal Mews – a stables and carriage house – is these days located at Buckingham Palace but prior to being moved there, the Royal Mews, previously usually referred to as the King’s and Queen’s Mews depending who was on the throne, was located on the site where the National Gallery (pictured) and Trafalgar Square now stand.
The name ‘mews’ actually refers to the fact that, from at least the reign of King Richard II in the late 14th century (although official records suggest there may have been a mews on the site as far back as the reign of King Edward I), the royal hawks were initially housed on the site – then in the village of Charing Cross – (the word ‘mew’ refers to the moulting of the birds and originally referred to when they were confined here for that purpose but later come to simply mean the place were the birds were caged).
The title of Keeper of the King’s Mews became a sought-after honour during the 15th century (although largely honorary with the actual work done by deputies) but among those who held the honour were Richard Neville, Earl of Warwick, known, during the Wars of the Roses as the ‘Kingmaker’.
In 1534, the King’s Mews was destroyed by fire and when it was rebuilt a few years later, it took the form of a stable but kept the original name of mews (although it has been suggested the change of use took place before the fire).
During the Civil War, the Mews were apparently used as a prison by the Parliamentarians for captured Royalists and during the Commonwealth, soldiers were apparently quartered here. Diarist Samuel Pepys also apparently visited several times.
In 1732 the building was again rebuilt, but this time it was to the grand designs of William Kent – images show a grand building with turrets and a great open square before it. In the 1760s, King George III had some of his horses and carriages moved to facilities on the grounds of Buckingham Palace (he had purchased this from the Duke of Buckingham for his wife’s use) but the bulk remained on the Charing Cross site.
In the early 19th century they were opened to the public but in the 1820s, King George IV – making Buckingham Palace his main residence – had the entire stables moved (the Royal Mews which now stand at Buckingham Palace were designed by John Nash and completed in 1825).
The old mews were subsequently demolished and Trafalgar Square – another Nash design – built on the site between 1827 and 1835 while the National Gallery opened in 1838.
An official public record of the British Government, The London Gazette, initially known as The Oxford Gazette, was first published on 7th November, 1665.
But its publication didn’t take place in London – rather it was in Oxford (hence its being initially named – The Oxford Gazette) where King Charles II, having fled London due to the plague, ordered the publication to be printed at the University Press.
There’s several reasons behind its publication – one is that courtiers were apparently so worried about the plaque they didn’t even want to touch newspapers from London for fears of contagion of the plaque. But there was also a need, amid the swirl of rumours, gossip and sensationalism found in other publications, for a reputable publication of record (not the least because the introduction of censorship a few years before had suppressed other publications).
Published for the first couple of months under its Oxford masthead, it wasn’t until the following year – on 5th February, 1666 – that the gazette was first published in London (issue 24) after the royal court’s return.
The gazette had unparalleled access to government information – including reports from foreign embassies about what was happening abroad (important when news from overseas was limited), and official reports, including those ‘Mentioned in despatches’ from the War Office and Ministry of Defence.
Adopting the same model, official government gazettes followed in the coming years in Edinburgh (1699) and Dublin (1706 – later The Belfast Gazette). All three, from 1889, were published by Her Majesty’s Stationery Office. Today, The Gazette is published by The Stationary Office (TSO), on behalf of The National Archives (and is now online as well as in print).
Initially published only a couple of days a week, it is now published every weekday except on Bank Holidays.
Notable events published in The London Gazette include the Great Fire of London in 1665 (issue 85), the founding of the Bank of England in 1694 (issue 2982), the burial of Sir Isaac Newton in 1727 (issue 6569), the announcement of the American Declaration of Independence in 1776 (issue 11690), the outcome of the Battle of Waterloo in a “Gazette Extraordinary” in 1815 (issue 17028), and the Coronation of Queen Elizabeth II in 1953 (Supplement 40020).
You can see The London Gazette today and back issues as well as to order commemorative editions, head to www.thegazette.co.uk.
January 18, 2016
Famous around the world as the home of bespoke tailoring in London, Savile Row owes its name – like so many other streets in Mayfair – to landowner Richard Boyle, the 3rd Earl of Burlington.
Burlington (1612-98) resided at Burlington House (now home of the Royal Academy of Arts) on Piccadilly and after his death the land around his former home was developed and the streets named for Burlington and members of his family.
Among them was his wife, Lady Burlington, née Lady Dorothy Savile, after whom Savile Row was named. Laid out in 1695, the street was actually located on the site of the former kitchen gardens of Burlington House and was given its name (originally Savile Street) in the 1730s.
The first to reside here were apparently mostly military and politicians (these included PM William Pitt the Younger) and it was only in the early 19th century that the first tailors started to set up shop here. With clients including society dandy Beau Brummell (see our our earlier post here) and the Prince Regent (later King George IV), the street’s fame grew rapidly and continued into the 20th century when customers included some of the biggest names in Hollywood – Cary Grant, Bing Crosby and Frank Sinatra among them.
Among the famous tailoring firms still operating in Savile Row are Anderson & Sheppard (at number 30, it’s where the Prince of Wales has his suits made), Henry Poole (at number 15, Victorian-era owner Henry Poole is credited as the inventor of the tuxedo), and Hardy Amies.
Headquartered at number 14 (with a shop at number 8), Amies gained an international reputation when appointed dressmaker to Queen Elizabeth II in 1955/the address was previously owned by the playwright Richard Brinsley Sheridan and was also the address Jules Vernes gave Phileas Fogg in Around the World in Eighty Days).
One last tailor worth a particular mention is that of Tommy Nutter, who set up shop at number 35 in the late Sixties with a nameplate out front simply reading Nutters and shocked traditionalists with his modern take on tailoring – this modern approach continues among some tailors in the street even today.
The street also has a famous claim in the story of the Beatles – the moved their company Apple Corps Company into number 3 in July, 1968, and it was on the roof of this building that they played their last live gig on 3rd January, 1969.
December 14, 2015
A Marylebone street which is synonymous the world over with the private medical profession, Harley Street’s name is taken from the surname of the second Earl of Oxford, Edward Harley.
As was the fashion, he named Harley Street after himself – but it’s certainly not the only street which he dubbed with his own moniker. The earl also held the titles of Earl Mortimer (Mortimer Street) and Baron Wigmore (Wigmore Street, Wigmore Place and hence the music venue Wigmore Hall) and also came to own Wimpole Hall in Cambridgeshire (Wimpole Street) and Welbeck Abbey in Northamptonshire (Welbeck Street and Welbeck Way).
But the ties to the earl don’t end there: in 1713 he married Lady Henrietta Cavendish Holles (Henrietta Place, Cavendish Square, New Cavendish Street and Holles Street) while their daughter Margaret married William Bentinck (Bentinck Street), the 2nd Duke of Portland (Great Portland Street, Little Portland Street and Portland Place).
Incidentally, after the earl’s death, the area passed to his daughter and become known as the Portland Estate. It remained the property of the Dukes of Portland for five generations until the fifth duke died without issue in 1879 and the land passed to Lucy Joan Bentinck, widow of the 6th Baron Howard de Walden. Thus Harley Street now forms part of a 92 acre area known as the Howard de Walden Estate.
But back to Harley Street itself. Its association with the private medical profession dates from the latter half of the 19th century when there was a dramatic increase in the number of those engaged in the profession moving into the area, attracted by its quality housing and accessibility (the numbers still remain significant today). The name Harley Street today refers to both the street and also more generally to the surrounding area.
The long list of famous residents who have lived in the street have included painter JMW Turner (number 64 between 1799 and 1805), Victorian-era PM William Ewart Gladstone (number 73 and geologist Sir Charles Lyell also lived here in a premises which is now The Harley Street General Practice) and, made famous through the film, The King’s Speech, Australian speech therapist Lionel Logue who had his practice at number 146.