This Grade II-listed pub owes its name to the fact it was from where “medicinal waters” taken from nearby springs were taken to be bottled before being sold to coffee houses and taverns across London at threepence a flask.

The business was established by the Wells Trustees which had initially intended the waters to be solely for the use of the Hampstead poor. That idea, however, soon developed into a lucrative trade in bottled water with distribution across the city apparently handled by an apothecary, a Mr Philips, from his base at a Fleet Street tavern.

Known initially as the Thatched House due to its roofing material (and later as the Lower Flask to distinguish it from The (Upper) Flask in Highgate), the pub was famously mentioned in Samuel Richardson’s novel, Clarissa.

The current premises at 14 Flask Walk was built in 1874 – designed by Cumming and Nixon – and among its public rooms are a grand saloon bar and a conservatory.

Part of the Young & Co’s chain since 1904. For more, see www.theflaskhampstead.co.uk.

The Flask in an image taken in 2014. PICTURE: Adam Bruderer/Flickr/CC BY 2.0

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.

Methods employed by world renowned 18th century Venetian painter Canaletto in creating his evocative images of the city where he lived are the subject of a new exhibition which opens at The Queen’s Gallery in Buckingham Palace tomorrow. Canaletto & the Art of Venice showcases the findings of recent research in an exhibition which focuses on the Royal Collection’s remarkable group of paintings, drawings and prints by the artist – a collection obtained by King George III in 1762 from dealer (and the then-British Consult in Venice) Joseph Smith. Royal Collection Trust conservators used infrared technology to uncover previously hidden marks on drawings, providing new insights into Canaletto’s artistic techniques and casting doubt on a long held theory that he used a camera obscure to achieve topographical accuracy in his work. The exhibition, which features more than 200 paintings, drawings and prints, displays his work alongside that of contemporary artists Sebastiano, Marco Ricci, Rosalba Carriera, Francesco Zuccarelli, Giovanni Battista Piazzetta and Pietro Longhi. Runs until 12th November. Admission charge applies. For more, see www.royalcollection.org.uk. PICTURE: Canaletto, The Grand Canal looking East from Campo San Vio towards the Bacino, c.1727-8, from a set of 12 paintings of the Grand Canal. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017

• A rare ‘First Folio’ of William Shakespeare’s work – widely regarded as one of the most perfect copies in existence – will be available for viewing before an outdoor performance of Twelfth Night next month. Five actors from acting company The Three Inch Fools will perform the comedy in the St Mary Aldermanbury’s Garden on 1st June at 7pm, the same garden where Henry Condell and John Heminges, two of the Bard’s co-partners at the Globe Theatre and the men behind the production of the First Folio in 1623, were buried. Those attending the performance will be given the chance to view the folio in the nearby Guildhall Library before the performance. Tickets to this one night only opportunity can be purchased from Eventbrite.

Author and naturalist William Henry Hudson, whose work so inspired author Ernest Hemingway that his name was referenced in Hemingway’s first novel The Sun Also Rises, has been commemorated with a City of Westminster Green Plaque in Leinster Square, Bayswater. Born the son of British parents in Argentina, Hudson came to Westminster after leaving South America in 1874. An early support of the Royal Society for the Protection of Birds, his books on the English countryside became famous and helped foster the back to nature movement of the 1920s and 1930s.

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Tradition holds that the spot where this officially protected view originates from – the prehistoric barrow known as King Henry’s Mound – was where King Henry VIII stood on 19th May, 1536, to watch for a rocket fired from the Tower of London.

The signal was to indicate that his former wife, Anne Boleyn, had been beheaded for treason and hence that he was now free to marry Jane Seymour.

Sadly, the story is seen as unlikely – the king was apparently in Wiltshire at the time.

But it adds a nice nostalgia to this tree-framed view which looks across Richmond Park and areas south of the River Thames to the great dome of St Paul’s Cathedral.

The mound, which also offers views west over the Thames Valley towards Windsor, is believed to cover a burial chamber from the Bronze Age (it would have stood more prominently over the Thames Valley in those days) and was later used as a viewing position for hunting deer and falconry.

A permanent public telescope has been set up on the mound which since the 19th century has sat in Pembroke Lodge Garden (named for the Countess of Pembroke who lived in a cottage here between about 1788 and 1831).

The historic view made headlines last year over calls for London’s Mayor to step in and halt building work amid concerns that the 42-storey Manhattan Loft Gardens tower in Stratford, east London, could be seen in the view behind the cathedral dome.

WHERE: King Henry’s Mound, Richmond Park (nearest Tube station is Richmond); WHEN: 24 hour pedestrian access except during the deer cull in November and February; COST: Free entry; WEBSITE: www.royalparks.org.uk/parks/richmond-park

PICTURE: Royal Parks

Looking over the River Thames from the Tate Modern at the dome of St Paul’s. PICTURE: Christian Battaglia/Unsplash

A towering figure of the scientific world, Faraday made significant contributions to understanding the fields of electromagnetism and electrochemistry and was a key figure at the Royal Institution of Great Britain in the 19th century.

Faraday was born in Newington Butts in Surrey (now in south London, part of the Borough of Southwark) on 22nd September, 1791, and, coming from a poorer family, received only a basic education before, at the age of 14, he started an apprenticeship as a bookbinder.

The job proved, however, to be something of a godsend, for Faraday was able to read a wide range of books and educate himself – it was during this time that he began what was a lifelong fascination with science.

In 1812 at the end of his apprenticeship, he attended a series of lectures at the Royal Institution by the chemist Sir Humphry Davy. Subsequently asking Sir Humphry for a job, he eventually was granted one the following year – in 1813 – when Sir Humphry appointed him to the post of chemical assistant in the laboratory at the RA (the job came with accommodation).

Faraday’s ‘apprenticeship’ under Davy – which included an 18 month long tour of Europe in his company – was critical to his future success and from 1820 onward – having now settled at the RA, he made numerous contributions to the field of chemistry – including discovering benzene, inventing the earliest form of Bunsen burner and popularising terms like ‘cathode’ and ‘ion’.

But it was in physics that he made his biggest impact, making discoveries that would, according to the Encyclopaedia Britannica, “revolutionise” our understanding of the field.

Faraday, who married Sarah Barnard, the daughter of a silversmith, in 1821 and was thereafter an active member of the Sandemanian Church to which she belonged, published his ground-breaking first work on electromagnetism in 1821 (it concerned electromagnetic rotation, the principle behind the electric motor). His discovery of electromagnetic induction (the principle behind the electric transformer and generator) was made in 1831 and he is credited with having constructed the first electric motor and the first ‘dynamo’ or electric generator.

Faraday, who would continue his work on ideas concerning electricity over the next decade, was awarded numerous scientific appointments during his life including having been made a member of the Royal Society in 1924, the first Fullerian Professor of Chemistry at the Royal Institution, from 1833 until his death, scientific advisor to lighthouse authority for England and Wales – Trinity House, a post he held between 1836 and 1865, and Professor of Chemistry at the Royal Military Academy in Woolwich, a post her held between 1830 and 1851.

He also, in 1825, founded the Royal Institution’s famous “Friday Evening Discourses” and the “Christmas Lectures”, both of which continue to this day. Over the ensuring years, he himself gave many lectures, firmly establishing himself as the outstanding scientific lecturer of the day.

Faraday’s health deteriorated in the early 1840s and his research output lessened although by 1845 he was able to return to active research and continued working until the mid 1850s when his mind began to fail. He died on 25th August, 1867, at Hampton Court where he had been granted, thanks to Prince Albert, grace and favour lodgings by Queen Victoria (she’d also apparently offered him a knighthood which he’d rejected). He was buried in Highgate Cemetery.

Faraday is commemorated with numerous memorials around London including a bronze statue at Savoy Place outside the Institution of Engineering and Technology, a Blue Plaque on the Marylebone property where he was an apprentice bookbinder (48 Blandford Street), and a rather unusual box-shaped metallic brutalist memorial at Elephant and Castle. And, of course, there’s a famous marble statue of Faraday by John Henry Foley  inside the RI (as might be expected, the RI, home of The Faraday Museum, have a host of information about Faraday including a ‘Faraday Walk’ through London’s streets).

PICTURE: Adambro/Wikimedia Commons/CC BY 3.0

 

Located in Covent Garden, the workshop of 18th century cabinet-maker and interior designer Thomas Chippendale (1718-1778) was a hub of sought-after design.

The Yorkshire-born Chippendale leased the premises at 60-61 St Martin’s Lane in the mid 1750s and, joined by partner James Rannie, in 1754 he published his famous – and then ground-breaking – catalogue, The Gentleman Cabinet Maker’s Director, which illustrated his work.

Chippendale’s clients includes something of a who’s who of the Georgian era – actor David Garrick, architect Robert Adam, Lord Mansfield (he installed Chippendale’s furnishings at Kenwood House in Hampstead) and Mrs (Teresa) Cornelys who apparently counted Casanova among her lovers.

The Chippendale workshop remained at the premises in St Martin’s Lane until 1813 when his son, also Thomas Chippendale, was evicted from the site for bankruptcy. The current building dates from the 19th century.

PICTURE: Diane Griffiths/Flickr/CC BY 2.0

Marking 50 years since the release of their first album, The Piper At The Gates Of Dawn, a new exhibition opens at the V&A this Saturday celebrating the work of pioneering band Pink Floyd. The Pink Floyd Exhibition: Their Mortal Remains is an “immersive, multi-sensory and theatrical journey” through the “extraordinary world” of the band, encompassing their music as well as their iconic visuals and staging, which included ground-breaking use of special effects, sonic experimentation and imagery. The exhibition features more than 350 objects with highlights including set and construction pieces from some of the band’s most famous album covers and stage performances including the more than six metre tall metallic heads from 1994’s The Division Bell and a life-sized model of a British soldier seen in the artwork of 1988’s The Final Cut as well as instruments such as David Gilmour’s famous ‘Black Strat’, Roger Waters’ handwritten lyrics songs Wish You Were Here and Have a Cigar and psychedelic prints and posters. There is also never-seen-before classic Pink Floyd concert footage and a custom-designed laser light show as well as an accompanying sound experience – featuring past and present band members – provided by Sennheiser. Runs until 1st October. Admission charge applies. For more, see www.pinkfloydexhibition.com. PICTURE: © Pink Floyd Music Ltd photo by Storm Thorgerson/Aubrey ‘Po’ Powell 1971 Belsize Park

The ongoing conflict in Syria is the subject of a new exhibition at the Imperial War Museum which explores its origins, escalations and impacts. Syria: Story of a Conflict features a collection of objects – some of which have recently come from Syria – which point to the tragic and complex nature of the conflict as well as a film installation and a series of personal stories from Syrians affected by the fighting. It runs alongside a collection of more than 60 photographs by award-winning Russian documentary photographer Sergey Ponomarev taken around the conflict, a number of which are being displayed for the first time. Both the photography display – Sergey Ponomarev: A Lens on Syria – and the exhibition are part of the IWM’s Syria: A Conflict Explored ‘season’, with Syria the first contemporary conflict to be explored in the Imperial War Museum’s ‘Conflict Now’ ‘strand’, launched to coincide with the museum’s centenary. Both the exhibition and photographic display can be seen until 3rd September. Admission to both, which are accompanied by a programme of events including debates and tours, is free. For more, see www.iwm.org.uk/exhibitions/iwm-london/syria-a-conflict-explored

The work of sculptor, painter and draughtsman, Alberto Giacometti, is the subject of a new exhibition at the Tate Modern – the UK’s first major retrospective of his work for 20 years. More than 250 works are featured in the exhibition, which draws on the collection of Paris’ Fondation Alberto et Annette Giacometti, including rarely seen and never before exhibited plasters and drawings as well as works from across the span of Giacometti’s 50 year career – from Head of a Woman [Flora Mayo] (1926) to Walking Man 1 (1960). While Giacometti is best known for his bronze figures, Tate Modern is, in this exhibition, repositioning him as an artist with a far wider interest in materials and textures, especially plaster and clay, Runs until 10th September. Admission charge applies. See www.tate.org.uk.

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PICTURE: Tom Eversley/Unsplash

Albemarle Street in Mayfair is generally believed to be the first street in London made into a one-way street.

The decision to make the street one-way apparently stems from the popularity of a series of science-oriented lectures at The Royal Institution of Great Britain given in the early 19th century by Sir Humphry Davy, inventor of the miner’s lamp and the first lecturer appointed at the RI following its inception in 1799.

Such was the crush of carriages in Piccadilly to attend Davy’s lectures that in response, the powers that be at The Royal Institution gave instructions to coach drivers about the direction of travel in the street and paid for constables to enforce their ruling.

The concept of the one-way street, however, does apparently go back much further. The Spectator reports that in 1617, Pudding Lane – the site of the start of the famous Great Fire of London in 1666, was among numerous laneways around Thames Street which were designated as one-way only for carts to ease congestion.

Above: The Royal Institution as it is today, where Friday night lectures caused the introduction of one-way traffic in the street. PICTURE: Gryffindor /CC BY-SA 3.0

 

The Great Parchment Book, known as the ‘Domesday Book’ of the Ulster Plantation (now part of Northern Ireland), has gone on display at the City of London’s Heritage Gallery, located in the Guildhall Art Gallery. The book was compiled in 1639 and documents the period following King James I’s settlement of English and Scottish Protestants in Ulster. It came about after King Charles I seized estates around Derry which were managed by the Irish Society on behalf of the City of London and City livery companies and a survey was done to gather information about the lands. Stored at Guildhall, The Great Parchment Book was damaged in a fire in 1786 but following conservation is now on display. Runs until 10th August. Admission is free. For more, see www.greatparchmentbook.org. PICTURE: Courtesy City of London Corporation.

Works by Damien Hirst and David Hockney are among those on show in #LondonTrending which opens at the Guildhall Art Gallery today. A selection of limited edition prints on loan from British Land’s collection charts how collectives of London-based artists created some of the 20th century’s most innovative art. The display will also feature prints by pop artists Peter Blake, who created the sleeve design for The Beatles’ Sgt Pepper’s Lonely Hearts Club Band album, and Eduardo Paolozzi, who designed the mosaic patterned walls at Tottenham Court Road tube station as well as works by Richard Hamilton, Patrick Procktor, Jan Dibbets, Richard Long, Bruce McLean, Michael Lady, Simon Patterson, Gary Hume and Ian Davenport. Runs until 28th August in the Temple Room. Admission is free. A series of curator talks are scheduled. For more, see www.cityoflondon.gov.uk/londontrending.

Sheila Rock’s iconic portraits of musicians ranging from Sir Simon Rattle to Siouxsie Sioux are on show at the City of London’s Barbican Music Library. Picture This includes a wide range of her vintage prints including her work for album and vinyl 12” releases such as the shot of Debbie Harry used in 1978 for Blondie’s Denis’ 12. Other images included in the display feature Irish band U2 and conductor Daniel Barenboim. Rock, who has been based in London since 1970, was introduced to music photography by her ex-husband (and renowned rock photographer) Mick Rock and became known as a highly influential photographer during the punk and post-punk scene, later helping to shape the look of creative magazines such as The Face. Runs until 4th July. Entry is free. For more, follow this link.

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Another of London’s protected views is that from the Grade II-listed statue of General Wolfe in Greenwich Park.

The panoramic scene takes in much of the park itself as well as The Queen’s House and the Old Royal Naval College and across the River Thames to London’s Docklands and around to St Paul’s Cathedral (the key point in London when it comes to protected views).

The bronze statue, which stands on a terrace just outside The Royal Observatory (home of Greenwich Mean Time) atop a stone plinth, was created in 1930 and commemorates General James Wolfe (1727-1759), whose victory in the Battle of Quebec (also known as the Battle of the Plains of Abraham) with the French secured Canada for the British.

Wolfe has local links – he and his father apparently lived in a house on the edge of the park and he is buried in St Alfege’s Church. The statue, unveiled by the Marquis de Montcalm, a descendant of the commander-in-chief of French forces who also died at the Battle of Quebec, was a gift from the Canadians and was designed by Dr Tait Mackenzie.

The statue’s plinth incidentally is pitted with bomb fragments from a bomb which exploded at the Royal Observatory during World War II.

WHERE: Greenwich Park (nearest DLR station is Cutty Sark – other nearby stations include Greenwich, Maze Hill and Blackheath); WHEN: 6am to at least 6pm (closing times vary depending on the month); COST: Free entry; WEBSITE: www.royalparks.gov.uk/Greenwich-Park.aspx

PICTURES: Views from the statue of General Wolfe via Flickr (top – Roman Hobler/CC BY 2.0/image cropped; bottom – Garry Knight/CC BY 2.0)

PICTURE: Negative Space/CC0. Taken in 2015.

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

The Tower of London’s dry moat will be transformed into a 15th century medieval court gathered to welcome a new Queen, Margaret of Anjou, for the May bank holiday this long weekend. The world of 1445 is being reimagined in a series of festivities – under the banner of Go Medieval at the Tower – which will include sword-fighting knights, hands-on experiences for kids such as the chance to fire a real crossbow, the “scents, sights and sounds” of a medieval encampment, and the chance to witness trades such as armoury and coin-striking. As well as, of course, opportunities to meet King Henry VI and his 15-year-old queen, Margaret who, upon her coronation, was honoured with a lavish pageant from Westminster Abbey to the Tower in which she received extravagant gifts including a lion. Runs from 10am to 5pm from Saturday to Monday. Admission charge applies. For more, see www.hrp.org.uk/tower-of-london/. PICTURE: © Historic Royal Palaces.

Working Londoners from the past 500 years are the subject of an open air exhibition opening in Guildhall Yard on Saturday. Londoners: Portraits of a Working City, 1447 to 1980 features a range of photographs, prints and drawings – many displayed for the first time – from the London Metropolitan Archives. The exhibition – which includes images of Jack Black of Battersea, Queen Victoria’s rat-catcher, and Charles Rouse, believed to be the last nightwatchman in 19th century London as well as pictures of Savoy Hotel page boys, a brick dust seller, a farrier in 1980s Deptford and a 15th century Lord Mayor – complements The Londoners exhibition currently running at the LMA in Clerkenwell which features 50 portraits not included in the Guildhall display. The free outdoor exhibition can be seen into 23rd May – for more, see www.cityoflondon.gov.uk/thelondoners. The Clerkenwell display can be seen until 5th July – for more, follow this link.

The life of the butler will be up for examination at Apsley House, home of the Duke of Wellington, this long weekend in an event which will also see the duke’s Prussian Dinner Service laid out in all its glory. Butlers and Banquets will feature talks about the history of the service – commissioned by King Frederick William III of Prussia and presented as a gift to the 1st Duke of Wellington after his victory over Napoleon at the Battle of Waterloo in 1815 – with younger visitors also having the chance to meet the butler of the house and find out what running a grand home like Apsley House was like as well as learning skills such as how to lay a table. Runs between 11am and 4pm from Saturday to Monday. Admission charge applies. For more, see www.english-heritage.org.uk/apsley.

A new exhibition marking the 100th anniversary of the Russian Revolution opens at the British Library in King’s Cross on Friday. Russian Revolution: Hope, Tragedy, Myths tells how the revolution unfolded during the reign of the last tsar, exploring the growth of the revolutionary movements with a special focus on key figures such as Tsar Nicholas II and revolutionary leaders such as Vladimir Lenin. Among the items on display is a letter Lenin wrote in April, 1902, applying to become a reader at the British Museum Library which he signed with his pseudonym, Jacob Richter, to evade the tsarist police. Other items on display include a souvenir album of the Tsar’s coronation and wallpaper hand-painted by women factory workers propaganda along with posters, letters, photographs, banners, weapons, uniform items, recordings and films. Runs until 29th August. Admission charge applies. For more, follow this link.

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Standing some 200 feet above sea level (almost 63 metres), this rounded grassy hill, just to the north of The Regent’s Park proper, has long held a fascination for Londoners partly, at least, for the panoramic views it offers of the city skyline. 

Once part of a hunting ground used by King Henry VIII, the hill – which has also been known as Battle and Greenberry Hill – was purchased in 1841 from Eton College to provide more public space for Londoners.

It has served as the site of a famous unsolved murder (that of magistrate Sir Edmund Berry Godfrey whose mysterious death, exploited by anti-Catholic plotter Titus Oates, caused considerable uproar) as well as duels, prize fights, mass gatherings and mystic happenings.

The latter have included it being the location where Edward Williams (Iolo Morganwg) first organised a gathering of druids, known as a Gorsedd of Bards, in 1792, as well as it being the subject of a prophecy by 16th century ‘soothsayer’ Mother Shipton warning that the streets would “run with blood” if the hill should become surrounded by urban sprawl.

Around the summit of the hill stands a York Stone edging feature bearing an inscription from poet William Blake – “I have conversed with the spiritual sun. I saw him on Primrose Hill” – while standing on the slope below is the famous Shakespeare’s Tree which was originally planted in 1864 to mark the 300th anniversary of the Bard’s birth (but was replaced in 1964).

The view over London is one of a number of protected views in the city (meaning you can’t build anything block it) and the trees below the summit are kept deliberately low so as not to impede sightlines.

The nearby residential district known as Primrose Hill is noted for being home to numerous famous figures including the likes of Jude Law, Kate Moss and the Gallagher brothers. It is also where the aliens in HG Well’s book, War of the Worlds, intended making their headquarters.

WHERE: Primrose Hill, The Regent’s Park (nearest tube stations are Chalk Farm, Swiss Cottage, St John’s Wood and Mornington Crescent); WHEN: Usually always; COST: free; WEBSITE: www.royalparks.org.uk/parks/the-regents-park/things-to-see-and-do/primrose-hill.

PICTURE: Mike Rolls/Flickr/CC BY-SA 2.0 (taken in 2012).

This narrow City of London passageway which runs between Whitefriars Street and Salisbury Square, just south of Fleet Street, is located in what was the precinct of the former Whitefriars monastery (what later became part of a somewhat lawless area known as Alsatia).

The name of the alley, which can be traced back to the mid-16th century, apparently relates to a hanging sign depicting a sword – hence “hanging sword” – and probably refers to a fencing school (the area was known for them) but it’s also been speculated the name could refer to a public house or brothel.

The alley was previously known as Blood Bowl Alley, a moniker derived from Blood Bowl House, a house of ill repute which once stood in the laneway (and featured in a William Hogarth’s Industry and Idleness series, in a plate depicting the Idle Apprentice, betrayed by a prostitute, being arrested).

The alleyway does get a mention in Dickens’ A Tale of Two Cities – it was here that he located the lodgings of Jerry Cruncher, the messenger for Tellsun’s Bank who makes money on the side as a ‘resurrection man’.

PICTURE: Google Maps

The fourth annual ‘Performance Festival’ opens at the V&A in South Kensington tomorrow. Highlights include a preview of the V&A’s exclusive virtual reality recording of David Bowie’s musical Lazarus, the museum’s first ever stand-up comedy night and a premiere screening of the film Lady Macbeth followed by a Q&A with director William Oldroyd, actress Florence Pugh and costume designer Holly Waddington. The festival, which runs until Sunday, 30th April, is being run in conjunction with the display The History of Europe – Told by its Theatres currently in the museum’s Theatre and Performance Gallery. Admission free to most events/selected events are ticketed in advance. For more, see vam.ac.uk/exhibitions/performance-festival.

The secrets and hidden spaces of the London Underground will be laid bare in an open day at the London Transport Museum’s Acton Depot this weekend. Activities include art and poster tours, a program of talks including discussions of the finds made during the Crossrail excavations, London’s mail rail and the Thames Tunnel, miniature railway rides and the chance to see heritage vehicles including the restored 1892 ‘Carriage 353’ . There’s also plenty of options for eating and shopping. Runs Saturday and Sunday (22nd and 23rd April). Admission charge applies but kids are free. For more, see www.ltmuseum.co.uk/whats-on/museum-depot/open-weekends

Turner Prize-winning artist Gillian Wearing has been commissioned to create a statue of suffragist leader Millicent Fawcett for Parliament Square, it was announced last week. The statue will be the first female statue to stand in the square when it’s unveiled next year as well as the first to do so which was created by a woman.

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We kick off a new series this week looking at 10 of most memorable (and historic) views of London and to kick it off, we’re looking at the views from one of London’s most prominent historic institutions, St Paul’s Cathedral.

There are two external galleries at St Paul’s – the first is the Stone Gallery which stands at 173 feet (53.4 metres) above ground level. Encircling the dome, it is reached, via a route which takes the visitor through the internal Whispering Gallery, upon climbing some 378 steps.

Located above it, encircling the cathedral’s famous lantern (which sits on top of the dome), is the Golden Gallery. It stands some 280 ft (85.4 metres) above the cathedral floor, and can be reached by a climb of 528 steps.

From it – and the Stone Gallery below it – can be seen panoramic views of the City of London and across the Thames to Southwark.

The lantern above, meanwhile, weighs some 850 tonnes and on its top sits a golden ball and cross – the current ball and cross, which weigh about seven tonnes, were put there in 1821, replacing the original ball and cross which had been erected in 1708.

St Paul’s Cathedral was the tallest building in London from 1710 into the 1960s (when it was surpassed by Millbank Tower and what is now known as the BT Tower). Sir Christopher Wren’s St Paul’s is not as tall as the original medieval cathedral which reportedly had a spire reaching 489 feet (149 metres) into the sky compared to St Paul’s as it is now, standing to a height of some 365 feet (111.3 metres) above ground level.

WHERE: St Paul’s Cathedral, St Paul’s Churchyard (nearest tube station is St Paul’s); WHEN: The galleries are open from 9.30am to 4.15pm, Monday to Saturday; COST: £18 an adult/£16 concessions and students/£8 a child (6-18 years)/£44 a family of four; WEBSITE: www.stpauls.co.uk

PICTURES: Top – Looking up at the lantern with the Golden Gallery around the base; Below – View looking west from St Paul’s down Fleet Street (the spires of St Brides and St Dunstan-in-the-West can be seen).

The remains of several archbishops of Canterbury are believed to have been found beneath a former parish church in Lambeth. Workers were carrying out renovation works at the deconsecrated St Mary-at-Lambeth, removing flagstone, when they found a hitherto unknown crypt containing some 20 lead coffins one of which had a small gold archbishops’ mitre resting on top of it. Among those whose coffins have been identified are those of Archbishop Richard Bancroft (in office 1604-1610), who played an important role in the creation of the King James Bible, and Archbishop John Moore (1783-1805) as well as Moore’s wife Catherine and that of John Bettesworth, Dean of Arches, Judge of the Archbishop Prerogative court. It is also believed that archbishops Frederick Cornwallis (1768-1783), Matthew Hutton (1757-1758) and Thomas Tenison (1694-1715) were buried in the tomb under the church’s chancel. The church, which is located beside the River Thames adjacent to Lambeth Palace – London home of the archbishops of Canterbury, originally dates from the 11th century and was deconsecrated in the 1960s. The burial place of John Tradescant (c1570-1638), described as the first “great gardener” in British history, it was subsequently transformed into what is now known as the Garden Museum, the world’s first museum of garden history. The museum closed in 2015 for a £7.5 million redevelopment project and is expected to reopen in late May. PICTURE: Top – the lead coffins with metallic bishop’s mitre; a still taken from video posted on the Garden Museum website/Right – St Mary-at-Lambeth (right side of image).