Buckingham Palace is among the sites across London which will be hosting events to mark Queen Elizabeth II’s Platinum Jubilee this June. The Queen’s 70th year on the throne will be marked with four days of celebrations across the June bank holiday weekend which will include the Queen’s Birthday Parade (known as Trooping the Colour), the lighting of Platinum Jubilee Beacons – including the principal beacon at Buckingham Palace, a Service of Thanksgiving at St Paul’s Cathedral, the ‘Platinum Party at the Palace’ – a celebration concert in the gardens of Buckingham Palace, The Big Jubilee Lunch in communities across the city, and a special Platinum Jubilee Pageant, part of which will see a moving river of flags rippling down The Mall. For more information, head to www.royal.uk/platinum-jubilee-central-weekend.
• A dazzling light show inspired by the Northern Lights – one of the seven natural wonders of the world – can be seen in the Guildhall Yard this December. Borealis – which can be seen between 11th and 22nd December – is the work of artist Dan Acher and is one of a number of light displays which is illuminating London this winter as part of Mayor Sadiq Khan’s ‘Winter Lights’ campaign. Others include an animal-themed display bringing to life the beasts that once lived at the Tower of London, an outdoor programme of installations and video art projections illuminating the Southbank Centre’s site, the ‘Illuminated River’ display lighting up nine of London’s bridges in what is be the longest public art project in the world, and a free Canary Wharf ‘Winter Lights Spectacular’ in January which will feature 20 new light commissions by some of the most innovative artists across the globe. In Grosvenor Square, Mayfair, thousands of illuminated white roses will form an ‘Ever After Garden’ designed by fashion designer Anya Hindmarch while traditional favourites like the Hyde Park Winter Wonderland as well as winter markets and ice rinks at locations like the Natural History Museum and Somerset House are also once again returning to the city. London’s red buses are an easy way to see the Christmas lights this year with routes 12, 94, 98, 139 and 390 all travelling through Oxford Circus. Free tickets to Borealis can be booked at www.visitlondon.com/Borealis while, for more on the best bus routes, see https://londonblog.tfl.gov.uk/festive-bus-routes/. For more information on all the light shows and events (some of which are already underway), see visitlondon.com .
• Costumes worn by then Princess Elizabeth and her sister Princess Margaret in wartime-era pantomimes are at the heart of a new display at Windsor Castle this Christmas. The princesses spent much of their time at Windsor during World War II – away from the Blitz in London – and, between 1941 and 1944, they performed in and helped to stage a series of pantomimes to raise money for the Royal Household Wool Fund which supplied knitting wool to make comforters for soldiers fighting at the front. Six of the costumes they wore have been brought together for the first time and are being displayed in the castle’s Waterloo Chamber where the pantos were originally performed. The costumes on show were worn in the last two pantos – Aladdin, which was performed in 1943, and Old Mother Red Riding Boots which was performed in 1944. Also on show are 16 large scale pictures of fairy-tale characters that were pasted around the walls to create the space for the performances. Visitors to Windsor this Christmas will also see State Apartments decorated for the festive season and a 20 foot high Christmas tree in St George’s Hall. The Semi-State Rooms, created for King George IV and now used for official entertaining, are also now open to visitors. The costumes can be seen until 31st January. Admission charges apply. For more on the Christmas activities at Windsor, including a ‘Mary, Queen of Scots at Christmas Family Activity Day’ on 18th December, see www.rct.uk/whatson/. Meanwhile, Buckingham Palace is offering guided tours of the State Rooms over winter with special family guided tours available for the first time. The tours run until 30th January. Admission charge applies. For more on the guided tours, head here and for more on the family tours, head here.
• The ancient Greeks’ pursuit of knowledge is the subject of a new exhibition which has opened at the Science Museum in South Kensington. Ancient Greeks: Science and Wisdom takes visitors on a journey in which they will sail the perilous seas with a statue of Hermes that was discovered on a shipwreck off the island of Antikythera, experience the lost music of the aulos instrument through interactive displays and an exclusive video that reimagines its ancient sounds, and gaze at the starry cosmos through ancient Greek eyes via a beautiful and rare silver globe depicting the known constellations and a Byzantine sundial-calendar – the second oldest known geared mechanism in the world. The free display can be seen until 5th June. Tickets are required – to book head to sciencemuseum.org.uk/ancient-greeks.
Send all items for inclusion to firstname.lastname@example.org.
The full Changing of the Guard ceremony returned to Buckingham Palace, St James’s Palace and the Tower of London on Monday after the longest pause in its taking place since World War II. The ceremony, usually a popular tourist drawcard, had been absent from London since March last year due to the COVID-19 pandemic. The return to the ceremonial duty was carried out by the Number 3 Company from 1st Battalion Coldstream Guards based in Windsor, accompanied by the Band of The Coldstream Guards. PICTURES: Sergeant Donald C Todd, RLC (UK MOD © Crown copyright 2021/published under the MOD News Licence).
The historic 39 acre garden at Buckingham Palace opened to the public for the first time last Friday as part of the palace’s summer opening. Visitors can follow a route that takes in the 156-metre Herbaceous Border, plane trees which were planted by and named for Queen Victoria and Prince Albert, and views of the island and its beehives across the 3.5-acre lake. There’s also the opportunity to enjoy a picnic on the lawns and guided tours of the south-west of the garden with features including the Rose Garden, summer house and wildflower meadow. The current landscape dates back to the 1820s when King George IV turned Buckingham House into a place. It features more than 1,000 trees, the National Collection of Mulberry Trees (mulberry trees were first planted by King James I in 1608), 320 different wildflowers and grasses, and, since 2008, five beehives. The Queen traditionally hosts three garden parties in the gardens annually which are each attended by 8,000 guests, who consume around 27,000 cups of tea, 20,000 sandwiches and 20,000 slices of cake. The gardens are open until 19th September. Admission charge applies. For more, see www.rct.uk.
• A social reformer, a former slave turned campaigner and the “people’s princess” are among six women who will be commemorated with new English Heritage Blue Plaques this year. The first of the new plaques – dedicated to crystallographer and peace campaigner Kathleen Lonsdale – was unveiled last week at the home in Seven Kings, Redbridge, where she lived from 1911 to 1927 during her early days at UCL and the Royal Institute. Lonsdale went on to carry out ground-breaking work on crystal structures and played what’s described as a “fundamental role” in progressing x-ray crystallography. Other plaques will commemorate social reformer Caroline Norton, designer Jean Muir, former slave and campaigner Ellen Craft, barrister Helena Normanton, and, Diana, Princess of Wales. For more on English Heritage’s Blue Plaques, see www.english-heritage.org.uk/visit/blue-plaques/.
• The garden at Buckingham Palace will open to the public this summer, allowing visitors to explore the 39 acre grounds on a self-guided tour for the first time. The route will encompass the 156-metre herbaceous border, plane trees planted by Queen Victoria and Prince Albert, and take in views of the garden’s 3.5 acre lake and island with its beehives. Visitors will also have the chance to enjoy a picnic on the lawns and explore the south-west of the garden – which includes the Rose Garden, summer house and wildflower meadow – on guided tours. Meantime, during April and May enthusiasts are able to enjoy the garden in springtime on guided tours. And for those unable to make it in person, a series of digital talks, A Warden’s Welcome, which explore Buckingham Palace, Windsor Castle and the Palace of Holyroodhouse kick off online next Wednesday. Charges apply for all – for more information and tickets, see www.rct.uk.
Send all items for inclusion to email@example.com.
• World renowned artworks from Buckingham Palace’s Picture Gallery go on show at the Queen’s Gallery from tomorrow. Masterpieces from Buckingham Palace features 65 works by the likes of Titian, Rembrandt, Rubens, Vermeer, Van Dyck and Canaletto and, unlike in the tours of the State Rooms, visitors to the Queen’s Gallery will face the chance to enjoy the works close-up. The paintings on show include Johannes Vermeer’s The Music Lesson (early 1660s), Sir Peter Paul Rubens Milkmaids with Cattle in a Landscape, (c1617–18), Rembrandt’s The Shipbuilder and his Wife (1633), Canaletto’s The Bacino di San Marco on Ascension Day (c1733–4), Titian’s Madonna and Child in a Landscape with Tobias and the Angel (c1537) and Gerrit Dou’s The Grocer’s Shop (1672). The exhibition runs until January 2022. Advance booking is essential and admission charge applies. For more, see www.rct.uk.
• The Museum of London is seeking to record the dreams of Londoners during the coronavirus pandemic in a new project with the Museum of Dreams at Western University in Canada. Guardians of Sleep represents the first time dreams as raw encounters and personal testimonies will be collected by a museum. Londoners are being asked to register their interest to take part by 15th January with conversations with members of the Dreams network – an international team of trained scholars from the psychosocial community, slated to be held over Zoom in February. Contributions will be considered for acquisition by the Museum of London as part of its ‘Collecting COVID’ project. To volunteer to participate in the study, or to find out more details, members of the public should contact firstname.lastname@example.org.
• Abdus Salam, a Nobel Prize-winning theoretical physicist, has been honoured with a Blue Plaque at his former property in Putney. The red brick Edwardian house was the Pakistani scientist’s London base from 1957 until his death in 1996. It features a study where Salam would write while listening to long-playing records of Quranic verses and music by composers ranging from Strauss to Gilbert and Sullivan. Salam’s work on electroweak theory contributed to the discovery of the Higgs boson particle – the ‘God particle’ which gives everything mass, and he was also involved in improving the status of science in developing countries.The unveiling comes as English Heritage issues a call for the public to nominate more notable scientists from history for its Blue Plaque scheme in London with only around 15 per cent of the 950 plus blue plaques across the capital dedicated to scientists. For more, see www.english-heritage.org.uk/visit/blue-plaques/.
• A self-portrait series by late Gambian-British artist Khadija Saye can be seen at the British Library’s entrance hall from today. Khadija Saye: in this space we breathe features nine silk-screen prints and demonstrates Saye’s deep concern with “how trauma is embodied in the black experience” as well as her Gambian heritage and mixed-faith background. Saye, who died in 2017, photographed herself with cultural, religious and spiritual objects of significance both to her Christian mother and Muslim father and in African traditions of spirituality. The free display is on show until 2nd May. For more, see www.bl.uk.
Send all items for inclusion to email@example.com.
Old Masters have been removed from the Picture Gallery at Buckingham Palace for the first time in almost 45 years to allow for essential maintenance works. The works, which include paintings by Titian, Rembrandt, Vermeer, Van Dyck and Canaletto, will be featured in a landmark new exhibition – Masterpieces from Buckingham Palace – which, featuring some 65 artworks in total, opens in the palace’s Queen’s Gallery on 4th December. They have been removed from the Picture Gallery – one of the palace’s State Room where Old Master paintings have hung since the reign of King George IV in the 1820s – over a period of four weeks to allow for building improvements which will include the replacement of electrics and pipework – some of which has not been updated since the 1940s – as well as the gallery’s roof. The refurbishment is part of a £370 million, 10 year refit programme being carried out at the palace due for completion in 2027.
It’s well known that John Rennie’s London Bridge was purchased from the City of London by American entrepreneur Robert P McCulloch and in 1967 relocated to Lake Havasu City in Arizona. But what other London buildings have been relocated from their original site, either to elsewhere in the city or further afield?
First up is Marble Arch, originally built as a grand entrance to Buckingham Palace. Designed by John Nash, the arch was constructed from 1827 and completed in 1833 (there was a break in construction as Nash was replaced by Edward Blore) on the east side of Buckingham Palace for a cost of some £10,000.
Inspired by the Arch of Constantine in Rome (and, it has to be said, some envy over the Arc de Triomphe du Carrousel in Paris, built to commemorate Napoleon’s military victories), the 45 foot high structure is clad in white Carrara marble and decorated with sculptural reliefs by Sir Richard Westmacott and Edward Hodges Baily.
An equestrian statue of King George IV was designed for the top by Francis Leggatt Chantrey but it was never put there (instead, it ended up in Trafalgar Square). The bronze gates which bear the lion of England, cypher of King George IV and image of St George and the Dragon – were designed by Samuel Parker.
The arch, said to be on the initiative of Nash’s former pupil, Decimus Burton, was dismantled and rebuilt, apparently by Thomas Cubitt, in its present location on the north-east corner of Hyde Park, close to Speaker’s Corner, in 1851.
There’s a popular story that the arch was relocated after it was found to be too narrow for the wide new coaches – this seems highly unlikely as the Gold State Coach passed under it during Queen Elizabeth II’s coronation in 1952. Actually, it was moved to create room for Buckingham Palace’s new east facade (meaning the palace’s famous balcony, where the Royal Family gather to wave, now stands where the arch once did).
Whatever the reasons, it replaced Cumberland Gate as the new ornamental entrance to Hyde Park, complementing the arch Decimus Burton had designed for Hyde Park Corner in the park’s south-east.
Subsequent roadworks left the arch in its current position on a traffic island. It stands close to where the notorious gallows known as the “Tyburn Tree” once stood.
The rebuilt, now Grade I-listed, arch contains three small rooms which, until the middle of the 20th century, housed what has been described as “one of the smallest police stations in the world”. Only senior members of the Royal family and the King’s Troop Royal Horse Artillery are permitted to pass through the central gates.
PICTURES: Top – Marble Arch in its current location and; Middle – and an 1837 engraving showing the arch outside Buckingham Palace.
The next two entries in Exploring London’s 100 most popular posts countdown…
The Royal Parks have created two flowerbeds outside Buckingham Palace which spell out the letters ‘NHS’ in honour of the service’s 72nd birthday. The two 12 metre long flowerbeds, located in the Memorial Gardens – officially part of St James’s Park – contain some 45,000 flowers including scarlet geraniums, especially selected to match The Queen’s Guard at Buckingham Palace, as well as white begonias on a blue background of drought resistant succulents which, together replicate the colours of the NHS. The floral display – an appropriate tribute in this year of pandemic – can be seen until mid-September. PICTURES: Courtesy of The Royal Parks.
• The Tower of London will officially lower the drawbridge in a symbolic ceremony this Friday morning to announce its reopening after a 16 week closure, the longest since World War II. A new one-way route has been introduced to allow for social distancing and while the Yeoman Warders, known as Beefeaters, won’t be restarting their tour immediately, they will be able to answer visitor questions. The Crown Jewels exhibition will also be reopening. Online bookings are essential. For more, see www.hrp.org.uk/tower-of-london/.
• Westminster Abbey reopens its doors to visitors on Saturday after the longest closure since it did so to prepare for the coronation of Queen Elizabeth II in 1953. The abbey will initially be open to visitors on Saturdays and on Wednesday evenings, with a limited number of timed entry tickets available solely through advance booking online.
• The Queen’s Gallery and the Royal Mews at Buckingham Palace as well as Royal Collection Trust shops reopened to the public this week. The Queen’s Gallery exhibition George IV: Art & Spectacle has been extended until 1st November while Japan: Courts and Culture, which had been originally due to open in June this year, is now expected to open in spring 2022. Tickets must be booked in advance at www.rct.uk/tickets.
• Other reopenings include Kew Gardens’ famous glasshouses (from last weekend) and the Painted Hall, King William Undercroft and interpretation gallery at Greenwich (from Monday 13th July).
Send all items for inclusion to firstname.lastname@example.org.
PICTURE: Nick Fewings/Unsplash.
• The RHS Chelsea Flower Show is on this week but, due to the coronavirus pandemic, this year it’s a virtual affair. That’s good news for those who might not have been able to attend in person thanks to the stream of video content that’s being posted on the RHS website including garden design tips and planting ideas, virtual garden tours, ‘how to’ demonstrations and meet the growers sessions. Among highlights are a video featuring Sarah Eberle, the most decorated female designer in Chelsea history showing you around her woodland garden, a “lockdown tour” of some of London’s public parks, BBC presenter and multi-gold medal winning designer Adam Frost showing you around his Lincolnshire garden, florist Nikki Tibbles showing you how to create a seasonal bouquet and an update on what the Chelsea Pensioners have been up to on their allotment. The show runs until 23rd May. To see what’s on offer, head to www.rhs.org.uk/shows-events/virtual-chelsea. PICTURE: The Florence Nightingale Garden – A Celebration of Modern Day Nursing/© Robert Myers.
• The National Gallery has taken some of its most famous works out onto the streets thanks to a partnership with digital outdoor screen provider, Ocean Outdoor. Seven of the gallery’s most well-known images – Van Gogh’s Sunflowers (1888) and A Wheatfield, with Cypresses (1889), Monet’s The Water-Lily Pond (1899), van Eyck’s The Arnolfini Portrait (1434), Seurat’s Bathers at Asnières (1884), Vigée Le Brun’s Self Portrait in a Straw Hat (1782) and Rousseau’s Surprised! (1891) – are being shown on Ocean Outdoor’s giant screens for two weeks in cities around the UK including London. Head to www.nationalgallery.org.uk for more free art, films, stories and activities.
• The Royal Collection Trust has announced it will not open the State Rooms at Buckingham Palace to the public this summer due to the coronavirus pandemic. But the collection and palaces can be explored online at www.rct.uk.
Send all items to email@example.com.
With the closures of properties around London thanks to the COVID-19 emergency, we’ll be highlighting some online exhibitions instead. Here’s a couple to get you started…
• Osterley House in Isleworth in London’s west was purchased by the Child banking family in 1713 who then set about transforming the property and filling it with treasures sourced from around the world. An exhibition, which was held at the house between November and February but which can now be viewed online, tells the story of the family who developed the banking business Child & Co during Britain’s Financial Revolution between 1660 and 1750. While the property, which is now looked after by the National Trust, is rightfully famous for the interiors Robert Adam created in the later 18th century, Treasures of Osterley: Rise of a Banking Family, features treasures from this earlier era. Among the items featured are a receipt for money signed by King Charles II’s mistress, Nell Gwynn, a lacquered screen from China decorated with the arms of the Child family (c1715-20), and the oil painting Saint Agatha by Carlo Dolci (1616–1687), which was purchased by Sir Robert Child. To view the exhibition (which was open to the public at the house between November and February), head to www.nationaltrustcollections.org.uk/exhibition/treasures-of-osterley. PICTURE: Maxwell Hamilton (licensed under CC BY 2.0)
• Visitors to the Summer Opening of the State Rooms at Buckingham Palace in 2018 were able to see a special display of artworks selected by the Prince of Wales to mark his 70th birthday. The exhibition, Prince and Patron, featured Prince Charles’ favourite works from both the Royal Collection and his private collection. They include a cedar wood pavilion created by classical Afghan-born carver Nasser Mansouri, a red felt cloak which, believed to have been worn by Napoleon, was seized from Napoleon’s baggage train at Waterloo following his defeat, and, various portraits of the Prince and other members of the Royal Family. The display can be viewed on the Google Arts and Culture website.
• King George IV’s public image and his taste for the theatrical and exotic as well as his passion for collecting are all the subject of a new exhibition opening at The Queen’s Gallery, Buckingham Palace, on Friday. Set against the tumultuous backdrop of his times (which included the French Revolution and Napoleonic Wars as well as a period of unprecedented global exploration), George IV: Art & Spectacle shows the contrasts of his character – on the one hand “a recklessly profligate showman” and, on the other, a “connoisseur with intellectual interests whose endless acquisitions made him one of the most important figures in the formation of the Royal Collection”. The display features artworks including Rembrandt’s The Shipbuilder and his Wife (1633) – at 5,000 guineas it was the most expensive artwork he ever purchased (pictured), as well as works by the likes of Jan Steen, Aelbert Cuyp and David Teniers. There’s also portraits the King commissioned from Sir Thomas Gainsborough, a Louis XVI service created by Sevres (1783-92) and the great Shield of Achilles (1821) – designed by John Flaxman, it was on display at his Coronation banquet. Other items include diplomatic gifts sent to the King – such as a red and yellow feather cape (‘ahu’ula) from King Kamehameha II and Queen Kamamalu of the Sandwich Islands (now Hawaii) and a Maori club brought from Hawaii by Captain Cook’s ship Resolution – and a copy of Emma sent to him by Jane Austen’s publisher. Runs until 4th May. Admission charge applies. For more, head to www.rct.uk/visit/the-queens-gallery-buckingham-palace. PICTURE: Sir Thomas Lawrence, George IV (1762-1830), 1821 (Royal Collection Trust/© Her Majesty Queen Elizabeth II 2019)
• A new exhibition commemorating the release of The Clash’s third album, London Calling, 40 years ago opens at Museum of London tomorrow. The display features items from the group’s personal archive such as Paul Simonon’s broken Fender Precision Bass, which Simonon smashed while on stage in New York City on 21st September, 1979, a handwritten album sequence by Mick Jones showing the final order for the four sides of the double album London Calling, one of Joe Strummer’s notebooks from 1979 and the typewriter he used to document his ideas, lyrics and other writing, and Topper Headon’s drumsticks. To coincide with the opening, Sony Music is releasing the London Calling Scrapbook, a hardback companion to the display which comes with the album, on CD. The free display can be seen until next spring. For more, see www.museumoflondon.org.uk.
• Skate at Somerset House with Fortnum & Mason is celebrating its 20th anniversary this year. The ice-skating rink, which opened this week, is being accompanied by the major exhibition 24/7 exploring the non-stop nature of modern life, as well as a programme of events including Somerset’s first skating ‘all-nighter’ on 7th December and special ‘Skate Lates’. There’s also Fortnum’s Christmas Arcade which, along with dining venue Fortnum’s Lodge has been created in Somerset House’s West Wing, as well as the rinkside Skate Lounge – home to the Bailey’s Treat Bar, and the Museum of Architecture’s Gingerbread City, now in its fourth year. Until 12th January. Admission charges apply. Head here for more.
Send all items for inclusion to firstname.lastname@example.org.
• The impact of Queen Victoria on Buckingham Palace, transforming what was empty residence into “the most glittering court in Europe”, is a special focus of this year’s summer opening of Buckingham Palace. Marking the 200th anniversary of the birth of the Queen, the exhibition Queen Victoria’s Palace recreates the music, dancing and entertaining that characterised the early part of the Queen’s reign using special effects and displays. Highlights include the Queen’s costume (pictured) for the Stuart Ball of 13th July, 1851, where attendees dressed in the style of King Charles II’s court. There’s also a recreation of a ball held in the palace’s newly completed Ballroom and Ball Supper Room on 17th June, 1856, to mark the end of the Crimean War and honour returning soldiers which uses a Victorian illusion technique known as Pepper’s Ghost to bring to life Louis Haghe’s watercolour, The Ball of 1856. The table in the State Dining Room, meanwhile, has been dressed with items from the ‘Victoria’ pattern dessert service, purchased by the Queen at the 1851 Great Exhibition, and the room also features the Alhambra table fountain, a silver-gilt and enamel centrepiece commissioned by Victoria and Albert in the same year, and silver-gilt pieces from the Grand Service, commissioned by the Queen’s uncle, King George IV, on which sit replica desserts based on a design by Queen Victoria’s chief cook, Charles Elme Francatelli. The summer opening runs until 29th September. Admission charges apply. For more, see www.rct.uk/visit/the-state-rooms-buckingham-palace. PICTURE: Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019
• The Victorian reign is also the subject of a new exhibition at the British Museum where rare etchings by Queen Victoria and Prince Albert have gone on display. At home: Royal etchings by Queen Victoria and Prince Albert features 20 artworks that they created during the early years of their marriage and depict scenes of their domestic lives at Windsor Castle and Claremont including images of their children and pets. The display includes three works donated to the museum by King George V, Queen Victoria’s grandson, in 1926, and it’s the first time they’ve gone on public display. Prince Albert introduced the Queen to the practice of etching soon after their wedding and under the guidance of Sir George Hayter they made their first works on 28th August, 1840. They would go on to collaborate on numerous works together. The display can be seen in Room 90a until mid-September. Admission is free. For more, see www.britishmuseum.org. PICTURE: The Princess Royal and Prince of Wales, 1843, by Albert, Prince Consort (after Queen Victoria) © The Trustees of the British Museum.
• American artist Ed Ruscha is the subject of the latest “Artist Rooms” annual free display in the Tate Modern’s Blavatnik building on South Bank. The display features works spanning Ruscha’s six-decade career, including large, text-based paintings and his iconic photographic series. There is also a display of Ruscha’s artist’s books – including Various Small Fires 1964 and Every Building on the Sunset Strip 1966 – as well as some 40 works on paper gifted to Tate by the artist. Highlights include his series of photographs of LA’s swimming pools and parking lots, paintings inspired by classic Hollywood cinema, and works such as DANCE? (1973), Pay Nothing Until April (2003) and Our Flag (2017). Runs until spring 2020. Admission is free. For more, see www.tate.org.uk.
Send all items for inclusion to email@example.com.
Queen Victoria and Prince Albert both had an abiding love of performance and were avid theatre-goers (the Queen first attended the theatre as monarch to watch The Siege of Rochelle and Simpson & Co at the Drury Lane Theatre just a few months after ascending the throne in 1837).
Until Prince Albert’s death in 1861, they were regularly seen at various theatres with the Queen attending both ‘in state’ (that is, formally as monarch with all the pomp and ceremony that entails) as well as in private (despite Prince Albert’s concerns over her security). The royal couple’s visits to the theatre generally took place from February to June when the Queen was principally in residence at Buckingham Palace.
As well as the Drury Lane Theatre (more formally, the Theatre Royal Drury Lane – pictured above in 2018), other theatres they attended include the Theatre Royal Haymarket and the Covent Garden Theatre, now the Royal Opera House.
They also attended the now demolished Princess’s Theatre in Oxford Street, most notably to see Charles Kean’s production of The Corsican Brothers in February, 1852. Keen not only directed but played both brothers mentioned in the title. So enamoured was the Queen of it, that she would see it four times.
The royal couple were such great admirers of Kean that they even had him stage private theatrical performances at Windsor Castle and when he died, Queen Victoria sent a letter of condolence to his wife.
It was on this road connecting the western end of The Mall outside Buckingham Palace with Hyde Park Corner that an infamous incident took place during Queen Victoria and Prince Albert’s early years together.
For it was from a footpath on Constitution Hill that the first of eight assassination attempts were made on the Queen as the couple – the Queen then pregnant – rode out from the palace in a low slung carriage headed for Hyde Park as was their custom.
Edward Oxford was just 18-years-old when at on 10th June, 1840, he took up a position on a footpath on Constitution Hill where he stood for a couple of hours before, at about 6pm, as the royal couple’s carriage sailed past, he fired two pistols at them.
Both shots missed (in fact, no bullets were ever found) and Queen Victoria was quick to order the carriage to drive on (she and Albert would also ride out along the same route the next day despite the scare – this time there was a sizeable crowd of well-wishers eager to convey their good sentiments to the Queen and a procession of these followed their carriage up the hill to Hyde Park).
Oxford, meanwhile, was immediately seized by onlookers and stripped of his guns. He immediately admitted his crime, was subsequently arrested, charged with treason and later acquitted on grounds of insanity before being detained in an asylum at Her Majesty’s pleasure (he was eventually discharged with the proviso that he head to one of England’s overseas colonies and ended up living out his days in Melbourne, Australia).
An interesting footnote is that future artist John Everett Millais, then aged just 11-years-old, was among those standing on Constitution Hill watching the Queen drive past on the day of the assassination attempt.
There were another seven assassination attempts on Queen Victoria over the ensuing years. For more on them, check out Paul Thomas Murray’s detailed book Shooting Victoria: Madness, Mayhem and the Modernisation of the Monarchy.
PICTURE: A view down Constitution Hill towards Buckingham Palace fro, the top of Wellington Arch.
You may have noticed that last week we kicked off a new Wednesday series on 10 (more) London garden squares, only having kicked off a new series on 10 sites from Victoria and Albert’s London the week before. To clarify, we are currently running the Victoria and Albert series, the garden squares entry snuck in by accident (but we’ll be returning to the garden squares down the track)! Apologies for any confusion...
Queen Victoria, the first British monarch to use Buckingham Palace as an official residence, moved her household into the palace just three weeks after ascending to the throne on 20th June, 1837.
The palace, which had been empty for seven years following the death of her uncle King George IV, had been undergoing a grand repurposing under architect John Nash, transforming it from a house into a palace.
Originally built in 1703 as a London residence for John Sheffield, the 3rd Earl of Mulgrave, in 1761 the property had been purchased by King George III as a family home for his wife Queen Charlotte (14 of the couple’s 15 children were born here).
Remodelling of the property began the following year and had been continued by King George IV following his accession to the throne in 1820. As a result of the ongoing work, George IV never lived in the palace nor did his successor, King William IV, who preferred Clarence House.
The building works still weren’t finished when Victoria moved in. Her ministers had advised her to remain at Kensington Palace, her childhood home, until the works were finished but Victoria wasn’t having any of that – the move would help her escape the overbearing care of her mother Victoria, Duchess of Kent, the ambitious Sir John Conroy, and the so-called (and stifling) ‘Kensington System’ of rules under which she’d been brought up.
When Victoria married Albert (see the previous entry) on 10th February, 1840, the newly weds made the palace their London home. It was here that, over the next 17 years, Victoria would give birth to eight of their nine children (starting with Victoria ‘Vicky’, in 1840), and where the couple would work, controversially at side-by-side desks.
The couple’s growing family was soon stretching the palace accommodations and following a request from Queen Victoria, in 1846 some £20,000 was granted by Parliament on 13th August to complete and extend the grand property with an additional £50,000 for the works raised from the sale of the Royal Pavilion to the Brighton Corporation.
Under the direction of architect Edward Blore and builder Thomas Cubitt, the East Wing was added at the front of the palace, enclosing what had previously been a horseshoe-shaped courtyard and creating the famous central balcony where the Royal Family now gather on special occasions. Queen Victoria made the first public appearance on the balcony in 1851 during the Great Exhibition (pictured above are members of the Royal Family at the wedding of Prince William and Kate Middleton).
A new ballroom – designed by Nash’s student James Pennethorne – was added to the State Rooms shortly after. This was inaugurated in May, 1856, with a ball held there the following month to mark the end of the Crimean War.
The ball was one of several held at the palace during those years along with official royal ceremonies and other entertainments including musical performances by the likes of Felix Mendelssohn and Johann Strauss II.
A new exhibition, Queen Victoria’s Palace, opens at Buckingham Palace next month.
WHERE: State Rooms, Buckingham Palace (nearest Tube stations are Victoria, Green Park and Hyde Park Corner); WHEN: 20th July to 29th September (opening at 9am, closing times vary – see website for details); COST: £25 an adult/£14 a child (under 17s/under fives free)/£22.80 concession/£64 family; WEBSITE: www.royalcollection.org.uk/visit/buckinghampalace.
This year marks the 200th anniversary of the births of both Queen Victoria (24th May) and Prince Albert (26th August) and, in celebration, we’re running a special series on London locations that played a key role in their joint lives.
First up is the Chapel Royal at St James’s Palace where the royal couple were married on 10th February, 1840. It was the first marriage of a reigning queen since Queen Mary I in 1554.
The chapel, which hosted the christening of Prince George in 2013 and Prince Louis in 2018, was built in about 1540 and substantially altered since, including under the eye of Sir Robert Smirke in 1837. It was built on a north-south axis rather than the more usual east-west (a sizeable window on its northern wall can be seen to the right of the palace’s main gatehouse – see picture).
The chapel, which features a richly decorate ceiling said to have been painted by Holbein, has been used regularly by the Chapel Royal – a department of Royal Household – since 1702.
At the wedding, the Queen wore a white satin gown with a deep flounce of handmade Honiton lace, designed by William Dyce, which featured a long veil and an 18 foot long train (she had 12 train bearers). Her jewellery included a sapphire broach given to her by Albert and she wore a headress of orange blossoms. Victoria’s dress is said by some to have popularised the idea of the white wedding dress among the English (although there is apparently some debate over this).
Among those in attendance was Victoria’s mother, the Dowager Duchess of Kent and Strathearn, Albert’s father and brother, the Duke and Prince of Saxe-Coburg and Gotha respectively, and various other royals including Queen Adelaide, the widow of King William IV, as well as the Prime Minister, Lord Melbourne (who, in fact, carried the Sword of State). Given the fact Victoria’s father was dead, it was her uncle, the Duke of Sussex, who walked her up the aisle.
It was a big affair in the city – people lined the roads between Buckingham and St James’s palaces and some reportedly even climbed trees for a better view. Victoria wrote in her diary that she’d never seen such crowds “and they cheered most enthusiastically”.
The wedding breakfast, which featured a 300lb cake which was nine foot in circumference, was held at Buckingham Palace after which the newly weds headed off to Windsor for a two day honeymoon.
Famously, before the wedding, the Archbishop of Canterbury had apparently asked Victoria whether, given she was Queen, she wanted to remove the word “obey” from her wedding vows. Victoria had refused.
There are limited opportunities for the public to attend services in the Chapel Royal at certain times of the year.
• Queen Victoria’s childhood and later life are being re-examined in two new displays which open this week at Kensington Palace to mark the 200th anniversary of her birth. Victoria: A Royal Childhood features objects related to her early years – such as a scrapbook of mementos created by her German governess, Baroness Lehzen (on public display for the first time) – shown along a newly presented route through the rooms she once occupied in the palace. Visitors will experience how her childhood was governed by the strict rules of the ‘Kensington System’ and see how she escaped isolation and family feuding into a fantasy world of story writing, doll making and drawing inspired by her love of opera and ballet. Her education, family life, closest friendships and bitter struggles are explored with interactive displays helping visitors bring to life the rooms in which she lived. Meanwhile, the palace is also hosting another new exhibition – Victoria: Woman and Crown – which looks at the private woman behind the public monarch and examines her later life, including her response to the death of Prince Albert, her role in shaping royal dynasties and politics across Europe and her complex love affair with India. Among objects on show here are rare survivals from the Queen’s private wardrobe including a simple cotton petticoat dated to around the time of her marriage, and a fashionable pair of silver boots, both of which were recently acquired by Historic Royal Palaces with support from Art Fund. Entry to the two exhibitions is included in the standard admission charge. The palace gardens, meanwhile, are being planted with a special floral display in celebration of the anniversary centred on plant species connected to the Victorian period including heliotrope, canna, pelargonium and begonia. For more, see www.hrp.org.uk/Victoria2019. PICTURES: Top – The Birth Room in ‘Victoria: A Royal Childhood’; Right – Queen Victoria’s Highland dress in the ‘Victoria: Woman and Crown’ exhibition (Both images © Historic Royal Palaces/Richard Lea-Hair)
• A newly identified sketch of the Renaissance master Leonardo da Vinci goes on public view for the first time at The Queen’s Gallery, Buckingham Palace, from tomorrow. Marking 500 years since the artist’s death, Leonardo da Vinci: A Life in Drawing also features the only other surviving portrait of Leonardo made during his lifetime as well as 200 of his drawings in which is a comprehensive survey of his life. The newly identified sketch was discovered by Martin Clayton, head of prints and drawings at the Royal Collection Trust, while he was undertaking research for the exhibition and has been identified as a study of Leonardo made by an assistant shortly before da Vinci’s death in 1519. The other contemporary image of Leonardo, by his pupil Francesco Melzi, was produced at about the same time. Other highlights of the exhibition include Leonardo’s Studies of hands for the Adoration of the Magi (c1481) – also on public display for the first time, studies for The Last Supper and many of the artist’s ground-breaking anatomical studies, such as The Fetus in the Womb (c1511). The drawings in the Royal Collection have been together since Leonardo’s death and are believed to have been acquired in the reign of King Charles II. Runs until 13th October. Admission charge applies. For more, see www.rct.uk/leonardo500/london.
• The use of sound in the art of William Hogarth is being explored in a new exhibition opening in The Foundling Museum on Friday. Hogarth & the Art of Noise focuses on the work The March of the Guards to Finchley and unpacks the social, cultural and political context in which it was created including the Jacobite uprising, the plight of chimney boys and the origins of God Save the King. It uses sound, wall-based interpretation, engravings and a specially commissioned immersive soundscape by musician and producer Martin Ware to reveal how Hogarth orchestrated the natural and man-made sounds of London. Complementing the exhibition is a display of works from contemporary British artist Nicola Bealing which takes as its starting point subjects and narratives found in 18th century broadside ballads. Runs until 1st September. Admission charge applies. For more, see www.foundlingmuseum.org.uk.
Send items for inclusion to firstname.lastname@example.org.