Located on the west bank of the Thames between Waterloo and Hungerford Bridges are two separate memorials to the dramatist Sir WS Gilbert (1836-1911) and composer Sir Arthur Sullivan (1842-1900) – a partnership better known simply as Gilbert and Sullivan.

The first to be unveiled was a now Grade II-listed bronze bust of Sullivan in 1903. Located at the northern end of Victoria Embankment Gardens, it is the work of Sir William Goscombe John and, along with the bust which sits atop a pedestal, the monument features a scantily clad female muse leaning against the pillar in apparent grief.

Sheet music, a mandolin and a Pan mask all lie in a heap beside her – the discarded props of Sullivan’s profession – and on the side of the plinth are inscribed some lines from his work, The Yeoman of the Guard: “Is life a boon? If so, it must befall that Death, whene’er he call, must call too soon” (the same lines are inscribed on the sheet music).

The bronze memorial plaque to Gilbert, meanwhile, was unveiled in 1915, four years after his death. It’s attached to Charing Cross Pier on the downstream side of Hungerford Bridge and, the work of Sir George Frampton, shows Gilbert in profile relief flanked by figures of Comedy and Tragedy.

Gilbert is accompanied by an inscription which reads: “His foe was folly & his weapon wit”. A shield underneath bears a Latin inscription which translates as “I would rather die than change”.

The location of the memorials is not coincidental – the career of Gilbert and Sullivan was closely associated with the nearby Savoy Theatre, where many of their works were premiered thanks to its owner Richard D’Oyly Carte – he’s also commemorated in a memorial opposite the entrance to the Savoy nearby.

 

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Now located just outside St Paul’s Cathedral at the eastern end of Carter Lane Gardens, this Gothic Victorian drinking fountain once stood near the Church of St Lawrence Jewry close by Guildhall. 

Designed by architect John Robinson and featuring bronze sculptural work by Joseph Durham, the now Grade II-listed fountain was paid for jointly by the parishes and St Lawrence and St Mary Magdalene.

One of many fountains erected from the 1850s onwards to provide free, clean water to the city’s residents, it features statues of both St Lawrence – holding the grid iron on which tradition holds he was martyred – and of St Mary Magdalene – holding a cross with a skull at her feet – set in two of four niches in an elaborate canopy. The remaining two niches, now empty, are believed to have once held the names of past benefactors of the churches.

Below the canopy is another niche, from the back of which water streams out into a dish when a button is pushed. The water stream brings an extra dimension to a relief carving depicting a scene from the Biblical book of Exodus in which Moses is striking a rock at Horeb to bring forth water while, beside him, a woman holds a cup to the lips of her child.

The fountain was originally installed to the north of St Lawrence Jewry in Church Passage in 1866 and remained there for more than a century until, in 1970, the redevelopment of Guildhall Yard meant it had to be moved. It was dismantled into about 150 pieces and put into storage in a barn in Epping with the idea that it would be re-erected.

But it wasn’t until 2010 that it underwent an extensive restoration and was placed in its current location.

PICTURE: Top – Another Believer (image cropped); Right – Jordiferrer. Both licensed under CC BY-SA 4.0

An intriguing feature at St Pancras Church are the eight female figures known as caryatids employed to support the rooves of two pavilions standing above the north and south entrances to the crypt.

The caryatids are modelled on those on the Erechtheum on the Acropolis in Athens – Henry William Inwood, who designed the church with his father William Inwood, apparently brought plaster casts of the original back to England to help with their plans for the building.

The caryatids, which were modelled by John Charles Felix Rossi, are made of terracotta constructed around cast iron cores. An original from Athens can be seen in the British Museum.

Unlike the caryatids on the Athens’ structure, however, each of the Inwoods’ statues carries an extinguished torch or empty jug, a reference to their position over the entrance to the crypt – a place of the dead.

The entire building, which is also known as St Pancras New Church to distinguish it the original St Pancras Church which is located to the north, was built between 1819-1822 and is an early example of the Greek Revival style. Other features of the church which also reference this style include its octagonal tower, modelled on the Tower of the Winds in Athens.

The church (we’ll take a more in-depth look at the building as whole in an upcoming post) now has a Grade I listing.

WHERE: St Pancras Church, Euston Road (nearest Tube stations are Kings Cross/St Pancras and Euston Square); WHEN: 8am to 6pm, Monday to Thursday (see website for Sunday times); COST: Free; WEBSITE: http://stpancraschurch.org

PICTURE: Tony Moorey (licensed under CC BY 2.0) Top image cropped. 

It’s Australia Day in the land Downunder so it’s an appropriate one on which to mention a memorial to Admiral Arthur Phillip.

Phillip, then a captain, was the man who led the First Fleet to found a penal settlement at what is now Sydney, the landing date of which – 26th January, 1788 – is (now somewhat controversially) commemorated on Australia Day itself.

Located near the corner of New Change and Watling Street, this memorial is centred on a bust, housed in a small temple-like structure. The bust is a copy of one created in 1932 by CL Hartwell which can be seen in St Mary-le-Bow on Cheapside.

The original memorial was first installed in St Mildred’s Bread Street and was salvaged from its ruins after that was destroyed during World War II.

The memorial records that Phillip was born in Bread Street on 11th October, 1738, entered the Royal Navy in 1753 and, before died on 31st August, 1814. He had retired in 1805, having relinquished his position as first governor of the fledging colony of New South Wales and returning to England in 1792.

As well as the bust of Admiral Philip, the memorial bears two relief images – one on either side. The first depicts figures in a rowing boat – including Governor Phillip as well as Lieutenant P Gidley King and Lieutenant George Johnston – leaving the HMS Supply to plant the British flag on Australian soil.

The second shows five figures in the act of unfurling the British flag on 26th January, 1788 – they include, as well as Phillip and Lt Johnston, surgeon J White, Captain John Hunter (captain of the naval escort HMS Sirius) and Captain David Collins.

Among the inscriptions on the monument is one which reads: “To his indomitable courage, prophetic vision, forbearance, faith, inspiration and wisdom was due the success of the first settlement in Australia at Sydney on Saturday 26th January 1788.”

This is not the only memorial to Admiral Philip in London (the Mary-le-Bow bust aside) – a memorial stone to him was unveiled at Westminster Abbey in 2014 – the bicentenary of his death.

PICTURE: Lonpicman/Wikimedia Commons/licenced under CC BY-SA 3.0

 

Commonly known as Beefeaters (more on that in a moment), the Yeoman Warders have long been a presence at the Tower of London.

The Yeomen Warders, more properly known as the ‘Yeomen Warders of Her Majesty’s Royal Palace and Fortress the Tower of London, and Members of the Queen’s Body Guard of the Yeoman Guard Extraordinary’, are a distinct detachment of the Yeomen of the Guard.

With a history stretching back to at least the reign of King Edward IV (1461-83), they have formed the Royal Bodyguard since at least 1509.

The Warders are nicknamed ‘Beefeaters’, it is thought, due to the fact their privileged position meant they could eat as much beef as they liked from the King’s table.

These days, Yeoman Warders, most of whom live in the Tower with their families (part of their job has always been to guard the Tower at night), must have served in the armed forces for at least 22 years, have reached the rank of warrant officer, and been awarded the Long Service and Good Conduct Medal (the current warders have served in Northern Ireland, during the Falklands War, in Bosnia, in the first and second Gulf conflicts and in Afghanistan).

There are usually around 40 Yeoman Warders at any one time under the command of four Yeoman Serjeants and a Chief Yeoman Warder (currently Alan Kingshott). They wear age dark blue and red undress uniform for everyday duties but also have a state dress uniform featuring the familiar heavy red coat (pictured above).

The first female to be appointed to the role of Yeoman Warder was Moira Cameron in 2007. The most recent person to join the Yeoman Warders is Gary Burridge who did so in August following 32 years in the Royal Navy.

One of the Yeoman Warders – currently Chris Skaife – serves in the role of Ravenmaster of the Tower of London and has the responsibility of caring for the tower’s famous ravens (important because, so they story goes, should the ravens ever leave the tower, the White Tower will fall and disaster will befall the kingdom). Other specialist roles include that of Yeoman Clerk.

Upon joining the Yeoman Warders, the new warders take an oath of allegiance (believed to date back to 1337) after which they drink a toast of port served in an 18th century pewter bowl.

Tradition holds that the Chief Yeoman Warder toasts all new recruits with the words “May you never die a Yeoman Warder”. The origins of this apparently lie in the fact that the positions of Yeoman Warder were in the past purchased from the Constable of the Tower for 250 guineas with most of the money returned to the warder when they retired and the Constable keeping the rest. But if the Yeoman Warder died in office, the Constable would keep all the money – hence the toast. The practice was apparently abolished by the Duke of Wellington in 1826.

Yeoman Warders, as well as participating in ceremonial duties like the daily Ceremony of the Keys and the annual Ceremony of the Constable’s Dues, they also take tours of the Tower of London.

WHERE: Tower of London (nearest Tube is Tower Hill); WHEN: 9am to 4.30pm Tuesday to Saturday/10am to 4.30pm Sunday to Monday; COST: £21.50 adult/£9.70 child (Historic Royal Palaces members free); WEBSITE: www.hrp.org.uk/tower-of-london/

PICTURE: Yeoman Warders at the Ceremony of the Constable’s Dues, 2014 (Peter Rowley/Flickr/CC BY 2.0)

Only the remains of this once mighty tree can now be seen in Greenwich Park. Thought to have been planted in the 12th century, the tree died in the late 1800s but, thanks to the support of the ivy that clung to it, remained standing until it finally collapsed in June, 1991. 

The tree, located to the east of the Royal Observatory, has several links to the Tudors – tradition says King Henry VIII danced around it with Anne Boleyn while their daughter, Queen Elizabeth I, is said to have picnicked beneath its leafy canopy. The proximity of Greenwich Palace may explain the connection.

There was apparently in Victorian times, a large seat placed around the tree and there has been a suggestion that the hollow truck was big enough to make a small prison where people who misbehaved in the park were locked up.

Planted alongside is another English Oak – it was officially dug into the soil on 3rd December, 1992, by Prince Philip, the Duke of Edinburgh, to mark 40 years of the reign of Queen Elizabeth II.

WHERE: Queen Elizabeth’s Oak, Greenwich Park (nearest DLR is Cutty Sark Station and Greenwich Station); WHEN: 6am to 7pm (6pm from end of British Summer Time) daily; COST: free; WEBSITE: www.royalparks.org.uk/parks/greenwich-park

PICTURE: Clem Rutter, Rochester, Kent/www.clemrutter.net/CC BY-SA 3.0

 

Wednesday marked the International Day for the Remembrance of the Slave Trade and its Abolition, so we thought it an appropriate week to feature one of the most moving displays in the Museum of London Docklands’ ‘London, Sugar and Slavery’ gallery.

The permanent gallery, which opened the museum at West India Quay in 2007 to mark the bicentenary of abolition of the trans-Atlantic slave trade, features a wall bearing a list of the many ships that sailed from London to trade in enslaved Africans over what was just a 10 year period.

In what was known as the ‘Triangular Trade’, the ships on leaving London would sail to West Africa where they would bought enslaved Africans before travelling to the Caribbean to sell them and fill their ships with sugar before returning to London.

Among details recorded on the wall are not only the name of each ship, but the captains, owners and destinations of the ships as well as the number of enslaved Africans carried (but not their names; these were not recorded).

A sad record of a shameful time.

WHERE: ‘London, Sugar and Slavery’ Gallery, Museum of London Docklands, No 1 Warehouse, West India Quay (nearest DLR is West India Quay); WHEN: 10am to 6pm daily; COST: Free; WEBSITE: www.museumoflondon.org.uk/museum-london-docklands

PICTURE: Top – © Museum of London; Below – J D Mack/Flickr/CC BY-ND 2.0

Restored and altered as part of the creation of the Victoria and Albert Museum’s £54.5 million Exhibition Road Quarter project, the screen was originally built in 1909 to conceal the museum’s boilers. 

Named for renowned architect Sir Aston Webb, who designed the screen as part of his masterplan of the V&A conceived in the last 1800s (but who is perhaps most famous for designing the facade of Buckingham Palace), the screen originally featured a solid stone wall along Exhibition Road on the museum’s west side topped with a colonnade (through which glimpses of the buildings behind could be seen) and featuring a central arch through which to enter the museum.

The screen, which was damaged during World War II by shrapnel, later had black metal gates fitted in the arch for security. They were topped by a large coat-of-arms.

Under the guidance of architect Amanda Levete and her practice AL_A, the work – which actually involved moving the screen off-site in 2013 and then reassembling its 1375 stones last year – has seen the removal of the wall so that people now have 11 entrances into the courtyard beyond (now redesigned as the porcelain-tiled Sackler Courtyard).

Which means the screen that was once designed to hide what was beyond it has been recast to reveal it instead.

The screen – and the Exhibition Road Quarter project as a whole – is being unveiled to the public today. The V&A is hosting a week long event to celebrate the completion of the project.

WHERE: Aston Webb Screen, Exhibition Road entrance, Victoria and Albert Museum, South Kensington (nearest Tube station is South Kensington); WHEN: Anytime; COST: free; WEBSITE: www.vam.ac.uk

PICTURE: The Aston Webb Screen, the V&A Exhibition Road Quarter, designed by AL_A ©Hufton+Crow

 

 

This tribute to Sir Isaac Newton by artist Eduardo Paolozzi shows him in the unusual pose of being seated and leaning over with compass in hand. Installed in the British Library‘s courtyard off Euston Road in 1997, the 12 foot high bronze is based on a large watercolour by Romantic Age poet and artist William Blake, one of a series of 12 he produced in Lambeth in the 1790s. It’s on show at the Tate Britain. The statue was given a voice in 2014 as part of the Talking Statues project. PICTURE: British Library.

Recently acquired by the British Museum, this 14th century alabaster figure of the Virgin and Child is the best preserved of its kind on display in any UK national collection. The sculpture, which was probably created in the Midlands, is a rare survivor of the Reformation when almost all religious imagery was lost or destroyed. It is speculated that it escaped destruction by being exported to the Continent, whether shortly after its creation or when imagery of its kind was no longer permitted. The work of an unknown master, the figure bears the marks where people have repeatedly touched or kissed it as an act of devotion with the face of the Virgin and the foot of Christ both worn as a result. Having suffered no major breakages, it still bears large portions of the original decoration including imitation jewels on the chest of the Virgins and traces of the original red and green painting and gilding. Kept at the Redemptorist monastery in Saint-Truiden, Belgium, for many years, it was purchased by a famous collector, Dr Albert Figdor, in the late 19th century. Sold at auction after his death, it entered a European private collection where it remained until it was sold to Sam Fogg from whom the British Museum, thanks to support from the Art Fund, National Heritage Memorial Fund and private donations, acquired it. The sculpture is on display in the Sir Paul and Lady Jill Ruddock Gallery of Medieval Europe. PICTURE: Alabaster Figure of the Virgin and Child, 14th century, England, © The Trustees of the British Museum.

WHERE: British Museum (nearest Tube stations are Tottenham Court Road, Holborn, Russell Square and Goodge Street); WHEN: 10am to 5.30pm, daily (open to 8.30pm Friday); COST: Free; WEBSITE: www.britishmuseum.org

This sculpture by London-based Scottish artist David Mach can be found in Kingston upon Thames in south-west London. It depicts 12 K6 red phone boxes falling onto one another like a row of dominoes and was commissioned from the Royal Academician by the Royal Borough of Kingston upon Thames in 1988. Unveiled the following year, it was renovated in 2001. There’s been talk in the past of it being removed (and of the end phone being connected, so it works) but the iconic sculpture remains in situ near the Old London Road gateway (and unconnected). PICTURE: Jim Linwood/CC BY-SA 2.0 (image cropped)

cummings-barograph1Acquired last year by the Science Museum, this rare Georgian clock records changes in air pressure and is one of only four of its type made by London clockmaker Alexander Cumming.

cummings-barograph2Dating from 1766, the clock (pictured) sits in a seven foot tall decorated case, believed to have been made by London cabinet-maker Thomas Chippendale. Inside is a barograph – comprised of two tubes of mercury in which a float rises and falls as atmospheric pressure changes and the data is recorded on the clock dial which rotates once a year.

Scottish-born Cumming, who constructed his first barograph clock on the orders of King George III a year before this one in 1765, designed this clock based on ideas first outlined by Royal Society founding member Robert Hooke.

Following Cumming’s death in 1814, the clock was purchased by meteorologist Luke Howard – known as the ‘father of scientific meteorology’ – who used it to observe atmospheric pressure at his homes in London and Ackworth. The data gathered was published in his book Barometrographia  in 1847.

While it has previously been loaned for display at the museum, it now forms part of the permanent collection.

WHERE: Science Museum, Exhibition Road, South Kensington (nearest Tube stations are South Kensington and Gloucester Road); WHEN: 10am to 6pm daily; COST: free; WEBSITE: www.sciencemuseum.org.uk

PICTURES: Courtesy of the Science Museum.

nonsuch-palaceThe earliest and most detailed depiction of King Henry VIII’s famed Nonsuch Palace, a watercolour by the celebrated Flemish painter Joris Hoefnagel, has been recently acquired by the V&A. 

The painting, made in 1568, is the most faithful only six surviving images of the palace which was located in Cheam, Surrey. The fanciful building was commissioned by the king in 1538 and featured a facade decorated with elaborate plasterwork in Franco-Italianate style with the aim of rivalling the Fontainebleau residence of French King Francois I.

One of the most important buildings of the English Renaissance period, it was unfinished when the king died in 1547 and was subsequently purchased from Queen Mary I by Henry Fitzalan, 12th Earl of Arundel, in 1557 – it was he who finished the building and most likely commissioned the Antwerp-born Hoefnagel to paint it. Later acquired by Queen Elizabeth I, it became one of her favourite residences and was eventually demolished by King Charles II’s mistress, the Duchess of Cleveland, between 1682 and 1688 to pay off gambling debts.

Nonsuch Palace from the South, which is the first major work of Hoefnagel to enter the collection, can be seen in the museum’s British Galleries in South Kensington. Entry is free. For more, see www.vam.ac.uk.

PICTURE: Nonsuch Palace from the South, Joris Hoefnagel, 1558, Watercolour © Victoria and Albert Museum, London.

A fixture of London’s Christmas festivities since 1947, the Trafalgar Square Christmas Tree is given annually to the people of Britain by the city of Oslo as gift thanking them for their support of Norway during World War II.

christmas-treeThis included hosting the Norwegian Government-in-exile and the Royal Family during the Nazi occupation of the country between 1940 and 1945.

The tree is harvested from forests near the Norwegian capital and the selection process for the giant, known by forestry workers as the “Queen of the Forest”, starts in May.

The tree is typically a Norway spruce aged somewhere between 50 and 60 years and stands at least 20 metres high. This year’s tree – the 70th – is said to be 116-years-old, stands 22 metres tall and weighs

In keeping with tradition, it was cut down on 16th November in a special ceremony attended by the Mayor of Oslo, Marianne Borgen, and the Lord Mayor of Westminster, Cr Steve Summers, along with various local school children so it can shipped to Britain ready in time for its unveiling at the start of December.

The tree is adorned with lights – in more recent years these are energy efficient light bulbs – in Norwegian style and these are turned on at a special ceremony on the first Thursday in December. The tree remains on display until just before the Twelfth Night of Christmas when it is taken down and recycled as mulch.

The tree now has its own Twitter account.

design-museum1

The Design Museum’s new home in Kensington finally opened this week and it’s already been getting some rave reviews, hence why, despite its freshness, we thought we’d mention it in our Treasures of London feature.

The museum, which moved to its new premises after 25 years in Shad Thames, now occupies the former Commonwealth Institute building, which dates from 1962 and was designed by Robert Matthew. The building has recently undergone a £83 million makeover with the interiors designed by architect John Pawson.

The new museum has three times the space of the previous premises and features the only collection in the UK devoted exclusively to contemporary design and architecture. At the heart of the building is the Designer Maker User exhibition which, as the museum’s first free permanent display, occupies the top floor of the museum, and includes more than 1,000 items of 20th and 21st century design. At its entrance can be found a wall featuring more than 200 items from 25 countries nominated by the general public including a Bible, Coca-Cola can and a £5 banknote.

design-museum2

Inside, the Designer section focuses on the thought-processes of designers and features a full-sized production of a gerberette used in the Richard Rogers-designed Centre Pompidou in Paris as well as models and images of the works of the late architect Zaha Hadid, David Mellor’s traffic lights, Kinneir and Calvert’s British road signage system and a full scale prototype for a new London Tube train designed by PriestmanGoode as well as Moulton bicycles and London Underground maps.

The Maker section, meanwhile, traces the evolution of manufacturing from Thonet bentwood cafe chairs and Model T Ford cars to robotic arms and 3D printing and includes objects at different stages of production – from tennis balls to the London 2012 Olympic Torch.

And in the User section, visitors will be led to explore the interaction between the consumer and brands that have become household names – Braun, Sony, Apple and Olivetti – as well as the impact of design on politics, fashion and music. Displays in the latter part include Gucci tennis shoes, the fashions of Vivienne Westwood and Christian Louboutin and the pioneering magazine The Face.

design-museum3

As many as 500,000 people are expected to visit the museum in its first year. Along with permanent displays, also unveiled this week was the new exhibition, Fear and Love, featuring 11 new installations by world leading designers. They include The Pan-European Living Room by architecture practice OMA, Room Tone by fashion designer Hussein Chalayan, Pittsburgh-based designer Madeline Gannon’s “mechanical creature” Mimus, and a series of death masks called Vespers created using 3D printing technology Neri Oxman.

And running until 19th February is the Beazley Designs of the Year, a celebration of design that promotes or delivers change, enables access, extends design practice or captures the spirit of the year past. Categories include architecture, digital, fashion, graphics, product and transport.

WHERE: The Design Museum, 224-238 Kensington High Street, Kensington (nearest Tube stations are Kensington High Street. Earl’s Court and Holland Park); WHEN: 10am to 6pm daily; COST: free (admission charges to special exhibitions); WEBSITE: http://designmuseum.org

PICTURES: Top – Gravity; Middle – Gareth Gardner; Bottom – Helene Binet. Courtesy The Design Museum.

fighting-temeraireIt’s an atmospheric image – both literally and metaphorically – that will soon be sitting in wallets and purses across the UK. Painter JMW Turner’s The Fighting Temeraire tugged to her last berth to be broken up, 1838 is among the most famous artworks hanging in The National Gallery and, as the Bank of England has announced earlier this year, will adorn newly produced £20 notes from 2020 onwards. It commemorates the end of the famous ship, the 98 gun HMS Temeraire, which had played a heroic role in Lord Nelson’s victory at the Battle of Trafalgar in 1805 and, say reports, had been dubbed the “Fighting” Temeraire ever since (although it’s also suggested the ship was actually known by the crew as the “Saucy” Temeraire) . The oil painting, which Turner created in 1839, depicts the ship being towed away to be broken up (although, while it was actually towed from Sheerness to Rotherhithe in London –  a westerly trip, the painting depicts it going eastward). The Temeraire itself is drawn romantically, almost spectrally, while in front of it is a steam tug shown in hard modernity and, of course, in the backdrop is the majestic setting sun, evoking a sense of the end. The painting, which was bequeathed to the gallery by the artist in the 1850s, and which incidentally appeared in the James Bond film Skyfall in a scene in which 007 (Daniel Craig) meets Q (Ben Wishaw) in front of it, can be found in Room 34 of gallery.

WHERE: The National Gallery, Trafalgar Square (nearest Tube stations are Charing Cross and Leicester Square); WHEN: 10am to 6pm daily (open to 9pm Saturdays); COST: free; WEBSITE: www.nationalgallery.org.uk.

PICTURE:  Joseph Mallord William Turner, The Fighting Temeraire tugged to her last berth to be broken up, 1838, © National Gallery, London

Fire-Engine-Restoration

Originally built in the late 1670s by John Keeling in the aftermath of the Great Fire of London, the engine was acquired by the Museum of London in 1928.

Late-19th-century-photographThen only consisting of the central barrel and pump, it has been restored for the current exhibition, Fire! Fire!, being held to mark the 350th anniversary of the fire which wiped out much of the City of London.

Based on a 19th century photograph (pictured) which showed it still intact with undercarriage, wheels, tow bar and pumping arm, the restoration was carried out by the museum in partnership with Kent-based Croford Coachbuilders using traditional techniques and materials over a three month period.

Meriel Jeater, curator of the Fire! Fire! exhibition, said the reconstruction had revealed new insights into how the fire engine worked and shows that, weighing more than 500 kilograms without water, it would have been extremely difficult to manoeuvre along London’s narrow streets.

“Also, the relatively crude pump mechanism was only able to squirt out about six pints of water over a rather short distance, so it would have been perilously close to the flames to have had any chance of putting them out.”

Fire! Fire! can be seen at the Museum of London until 17th April. Admission charge applies. For more, see www.museumoflondon.org.uk/fire-fire.

PICTURES: © Museum of London.

Great-Parchment-BookHeld in the collections of the London Metropolitan Archives, the Great Parchment Book of The Honourable the Irish Society was recently inscribed upon the UK register of the UNESCO Memory of the World.

Described as a “hugely significant record of the Ulster Plantation of the early 17th century”, the book was compiled in 1639 by a commission instituted under the Great Seal of King Charles I and is a survey of all the estates in Derry managed by the City of London Corporation through the Irish Society and City of London livery companies.

As such, manuscript and provides a unique insight into this important period in the history of Northern Ireland, containing key data about landholdings and the population in Ulster at the time of its creation including for both English and Scottish settlers and the native Irish population (as well as, exceptionally, for many women at all levels of society).

The Great Parchment Book was badly damaged in a fire in 1786 and as a result was unavailable to researchers for more than 200 years until its successful reconstruction using cutting edge digital imaging technology.

It is the fourth item in the care of the London Metropolitan Archives to be inscribed to the UK register of the UNESCO Memory of the World, a programme which aims to facilitate preservation of the world’s documentary and audio-visual heritage, to assist universal access and to increase awareness worldwide of the existence and significance of this documentary heritage.

The three other objects inscribed on the list which are in the LMA’s care include the Charter of William I to the City of London, London County Council Bomb Damage Maps and Robert Hooke’s Diary 1672-83.

~ www.greatparchmentbook.org

WHERE: London Metropolitan Archives, 40 Northampton Road, Clerkenwell (nearest Tube stations are Farringdon and Angel); WHEN: Open Monday to Thursday and selected Saturdays (check website for times); COST: Free; WEBSITE: www.cityoflondon.gov.uk/things-to-do/london-metropolitan-archives/Pages/default.aspx.

PICTURE: Courtesy London Metropolitan Archives.

 

Elfin-OakDelightfully carved out of a hollow oak tree, the Elfin Oak takes its name from the many colourful figures that adorn it.

The sculpture, which sits beside the Diana Princess of Wales Memorial Playground is the work of children’s book illustrator Ivor Innes.

He spent two years – 1928 to 1930 – carving “Little People” upon an ancient oak tree trunk that had been found in Richmond Park and relocated to Kensington Gardens (and in 1930, with his wife Elsie, published the children’s book, The Elfin Oak of Kensington Gardens).

The characters depicted include animals and fanciful creatures such as a gnome called Huckleberry, a series of elves including Grumples and Groodles and a witch named Wookey.

The hollow, incidentally, had been presented to The Royal Parks by Lady Fortescue in response to an appeal run to improve facilities in line with a scheme by George Lansbury (among other things, he also founded the Serpentine Lido).

Now a Grade II listed structure (and well protected by wire mesh), it has a few pop culture associations – among them, the fact that it appeared on the cover of Pink Floyd’s 1969 album, Ummagumma (the head of the band’s lead singer and guitarist David Gilmour can be seen projecting from the trunk).

Meanwhile, in 1996, Spike Milligan – long a fan of the oak – was the face of a successful campaign to raise funds for its restoration.

Announcing the Grade II listing in 1997, then Heritage Minister Tony Banks noted that the oak sat alongside the late Victorian fascination with Little People and complemented Sir George Frampton’s statue of Peter Pan (also located within the gardens).

“Together the two sculptures make Kensington Gardens very much the world capital of fairies, gnomes and elves,” he reportedly said.

PICTURE: Lonpicman/Wikimedia/CC BY-SA 3.0/

Launched in 1973, this full-sized, working replica of the galleon sailed by Elizabethan seafarer and courtier Sir Francis Drake on his circumnavigation of the globe between 1577 and 1580 is moored at St Mary Overie Dock in Bankside.

Golden-HindeThe ship was made at the behest of two American businessmen, Albert Elledge and Art Blum, who wished to commemorate the 400th anniversary of Sir Francis Drake’s landing on the west coast of North America in 1579.

The ship was designed by Loring Christian Norgaard, a Californian naval architect, who spent three years researching it, drawing on original journals of the crew members and other manuscripts.

The two year job of building the vessel was given to J Hinks & Son who did so in Appledore, North Devon, using traditional methods and tools (with a few modern concessions).

The ship was officially launched from the Hinks shipyard by the Countess of Devon on 5th April, 1973. She sailed out of Plymouth on her maiden voyage in late 1974 and arrived in San Francisco the following May to commemorate Sir Francis’ proclamation of New Albion at a site believed to have been in northern California in 1579.

Since then, the ship has sailed more than 140,000 miles around the world – like its forebear, it has circumnavigated the world – and been feared in various films including Shogun (1979), Drake’s Venture (1980) and St Trinian’s 2: The Legend of Fritton’s Gold (2009).

It has been moored in Southwark since 1996 – it did leave briefly for a visit to Southampton in 2003 – and as well as hosting school visits, is also open for tours and can be booked for private functions.

WHERE: Golden Hinde II, Bankside (nearest Tube station is London Bridge); WHEN: Self-guided tours 10am to 5.30pm daily (check website for other tour times and dates); COST: Various (depending on tour); WEBSITE: www.goldenhinde.com.