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.
A blue plaque on a building in Euston marks one of the former sites of the Hospital for Tropical Diseases – a short-lived episode in the life of a hospital which started life aboard a ship on the Thames.
The hospital, the idea for which originated with the Seamen’s Hospital Society and was funded by public subscription, was founded in 1821 aboard the former naval ship, the HMS Grampus for the relief of ill seamen with none less than King George IV himself as patron.
It was moved aboard the HMS Dreadnought in 1831 and then to the HMS Caledonia, renamed the Dreadnought, in 1857, before finally moving into a section of the Royal Greenwich Hospital in 1870 which in turn became known as the Dreadnought Hospital.
In 1919 the hospital moved to the Endsleigh Palace Hotel at the corner of Endsleigh Gardens and Gordon Street in Euston which was at the time being used as a hospital by the Red Cross. There it was joined by the School of Tropical Medicine which had been founded at the Albert Dock Seamen’s Hospital in 1899 (although this merged with the School of Hygiene in the 1920s and moved out).
It only remained there, however, until the start of World War II when it was temporarily relocated back at the Dreadnought Hospital where it remained for the war’s duration.
After the war – with the hotel damaged during then Blitz, the hospital relocated to 23 Devonshire Street in Marylebone before, in 1951 it became part of the National Health Service and moved into the then vacant St Pancras Hospital as part of the University College of London Hospital group.
It remained located there until 1998 when it moved to new purpose-built premises in Capper Street in Bloomsbury and then in 2004 made the move to its current location in the University College Hospital Tower in Euston Road. The hospital remains the only dedicated institution of its kind within the NHS.
The plaque on the Gordon Street property (the blue dot seen in the image above) was erected by the Seamen’s Hospital Society.
• 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.
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This Bloomsbury square is another that’s one of a pair – in this case with Mecklenburgh Square which stands on the other side of the site of the now-demolished Foundling Hospital (across what’s now known as Coram’s Fields).
The three acre square was planned by Samuel Pepys Cockerell, who was appointed to develop the estate around the hospital with the intention of maintaining some open space around the hospital while allowing spare land to be leased for housing (and so raise some much needed funds for the hospital).
The name comes from Caroline of Brunswick, wife of the then Prince Regent (later King George IV).
The square, which is Grade II-listed along with Coram’s Fields and Mecklenburgh Square, was a respectable if not highly fashionable residential location.
Famous residents have included numerous members of the Bloomsbury Group such as siblings Virginia (later Woolf) and Adrian Stephen, economist John Maynard Keynes and Leonard Woolf – all of whom lived in the same property (Virginia and Leonard moved out of the square when they married in 1912) as well as EM Forster. Writer JM Barrie, creator of Peter Pan, also lived for a time in a house overlooking the square.
Jane Austen refers to the square in Emma in which her sister Isabella praises it as “very superior to most others” and “very airy”.
All of the original buildings around the square have since been demolished and replaced – among them number is 40 which was built for the Thomas Coram Foundation for Children in the 1920s and now houses the Foundling Museum (there’s a statue of the hospital’s founder Thomas Coram outside by William MacMillan – pictured right).
The north side of the square is home to the UCL School of Pharmacy, the west side features tiered apartments which form part of the Grade II-listed Brunswick Centre development, which dates from the late 1960s and early 1970s, while on the south side is the university residence known as International Hall.
The gardens were extensively renovated in 2002-03 by Camden Council; works which included restoration of railings apparently taken for munitions during World War II. Its trees include a London plane tree, said to be the second oldest in London, which in 2009 was declared one of the Great Trees of Britain.
On one of the garden’s railings, close to the statue of Captain Coram, is a tiny bronze sculpture of a mitten by artist Tracey Emin, a fitting symbol of the childhoods connected with the Foundling Hospital.
PICTURES: Top – Looking across Brunswick Square Gardens (Google Maps); Right – Thomas Coram (David Adams).
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.
It’s perhaps the most famous of the visits that Jane Austen made during her London stays and while the property no longer exists, we thought it was worth mentioning.
But first, let’s explain. The Prince Regent (later King George IV) was an admirer of Jane’s novels, so much so that when he was aware of the author’s presence in London, he issued – via his librarian and chaplain Rev James Stanier Clarke – an invitation for her to visit the library and tour his palatial London property, Carlton House.
The grand, lavishly decorated property, created from an existing property between 1783 and 1812 by the architect Henry Holland, was among the grandest in London at the time. Facing on to the south side of Pall Mall, the building sat across what is now Waterloo Place while its gardens abutted St James’s Park.
Jane visited on 13th November, 1815, and in the company of Rev Clarke toured the library. During her visit, it was suggested she could dedicate her next novel to the Prince Regent, an idea which didn’t sit that well with Jane who was a supporter of his estranged wife, Princess Caroline.
After her initial equivocation, her publisher John Murray apparently managed to prevail upon Jane to do so and she eventually capitulated, dedicating her novel Emma to him (a special copy of the novel was sent to the Prince at Carlton House).
Carlton House, meanwhile, didn’t last for much longer. King George IV, on his accession to the throne, decided to create a property more fitting for a king and ordered works to be carried out on Buckingham House so it could be his main London residence (as Buckingham Palace).
Carlton House, despite the exorbitant sums the Prince had spent transforming it, was demolished in 1825 and the John Nash-designed Carlton House Terrace built upon the site. Columns from the Carlton House were reused in creating the portico of the National Gallery on Trafalgar Square.
PICTURE: Carlton House (via Wikipedia).
The ‘blanketeers’ were a group of weavers, mainly from Lancashire, who in March, 1817, controversially intended to march from Manchester to London to petition the Prince Regent (later King George IV).
One of a series of protests which came amid the economic hardship facing England in the aftermath of the Napoleonic Wars (they would eventually culminate in the infamous Peterloo Massacre of 1819 in which 11 people died in Manchester), participants in the so-called ‘blanket march’ hoped to bring to the attention of the Prince Regent the poor state of the textile industry in Lancashire,
They were also protesting against the recent suspension of the Habeas Corpus Act (this was done in the wake of the Spa Fields Riots in late 1816 and an attack on the Prince Regent’s coach a couple of months earlier).
About 5,000 weavers gathered at St Peter’s Field in Manchester – each carrying a blanket on their back, both for sleeping under during the journey (they apparently hoped people would provide shelter along the way) and to identify their association with the textile industry (hence the name ‘blanketeers’).
Thousands more spectators came to see off the men who intended to march in small groups of 10 to avoid accusations of an illegal mass gathering (meetings of more than 50 had been banned). Each group leader would carry a petition tied around his arm.
They didn’t get far. The Riot Act was read and troops sent in – the King’s Dragoon Guards – who initially arrested more than a score of people including key reform movement leaders Samuel Drummond and John Bagguley.
Several hundred men did manage to set off but the cavalry set off in pursuit. Some were taken into custody by police, and most were turned back including some 300 who reached Stockport. But there is a story, albeit apparently rather a dubious one, that one marcher – some report his name as ‘Abel Couldwell’ – did reach London and handed in his petition.
• The “most important exhibition of Russian portraits ever to take place at a British museum” opens at the National Portrait Gallery off Trafalgar Square today. The portraits of key figures from Russia spanning the period from 1867 to 1914 come from Moscow’s State Tretyakov Gallery which is simultaneously displaying a selection of portraits of famous Britons from the National Portrait Gallery in a joint event being held to mark the 160th anniversary of both institutions. Russia and the Arts: The Age of Tolstoy and Tchaikovsky features portraits of the likes of Akhmatova, Chekhov, Dostoevsky, Mussorgsky, Rimsky-Korsakov, Rubinstein, Tchaikovsky, Tolstoy and Turgenev by artists including Nikolai Ge, Ivan Kramskoy, Vasily Perov, Ilia Repin, Valentin Serov and Mikhail Vrubel. The majority of the works featured were commissioned directly from the artists by Pavel Tretyakov, a merchant, philanthropist and founder of the State Tretyakov Gallery, whose own portrait by Repin opens the exhibition. The exhibition at the National Portrait Gallery runs until 26th June. Admission charge applies. For more, see www.npg.org.uk/russia. PICTURE: Ivan Morozov by Valentin Serov (1910) © State Tretyakov Gallery, Moscow.
• The best Scottish art in the Royal Collection goes on show at The Queen’s Gallery, Buckingham Palace, from tomorrow. Scottish Artists 1750-1900: From Caledonia to the Continent brings together more than 80 works collected by monarchs since King George III. It tells the story of the emergence of a distinctly Scottish school of art through works painted by the likes of Allan Ramsay – who in 1760 was commissioned to paint King George III’s State portrait and subsequently became the first Scot appointed to the role of Principal Painter in Ordinary to His Majesty, and Sir David Wilkie – whose works depicting small-scale scenes of everyday life attracted the attention of the Prince Regent (later King George IV) in the early 17th century. Other artists represented in the collection include Sir Joseph Noel Paton, David Roberts, James Giles, John Phillip, William Leighton Leith, and William Dyce. Runs until 9th October. Admission charge applies. For more, see www.royalcollection.org.uk.
• The work of American photographer Paul Strand is on show at the V&A from Saturday in the first retrospective showing of his art in the UK in 40 years. One of the greatest photographers of the 20th century, Strand (1890-1976) was instrumental in defining the way fine art and documentary photography is understood and practiced today. He is also credited with creating the first avant-garde film, Manhatta. The exhibition, Paul Strand: Photography and Film for the 20th Century, features more than 200 objects including vintage photographic prints, films, books, notebooks, sketches and Strand’s cameras and includes newly acquired photographs from his only UK project – a 1954 study of the island of South Uist in the Scottish Hebrides. Can be seen until 3rd July. Admission charge applies. For more, see www.vam.ac.uk/paulstrand.
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The Royal Mews – a stables and carriage house – is these days located at Buckingham Palace but prior to being moved there, the Royal Mews, previously usually referred to as the King’s and Queen’s Mews depending who was on the throne, was located on the site where the National Gallery (pictured) and Trafalgar Square now stand.
The name ‘mews’ actually refers to the fact that, from at least the reign of King Richard II in the late 14th century (although official records suggest there may have been a mews on the site as far back as the reign of King Edward I), the royal hawks were initially housed on the site – then in the village of Charing Cross – (the word ‘mew’ refers to the moulting of the birds and originally referred to when they were confined here for that purpose but later come to simply mean the place were the birds were caged).
The title of Keeper of the King’s Mews became a sought-after honour during the 15th century (although largely honorary with the actual work done by deputies) but among those who held the honour were Richard Neville, Earl of Warwick, known, during the Wars of the Roses as the ‘Kingmaker’.
In 1534, the King’s Mews was destroyed by fire and when it was rebuilt a few years later, it took the form of a stable but kept the original name of mews (although it has been suggested the change of use took place before the fire).
During the Civil War, the Mews were apparently used as a prison by the Parliamentarians for captured Royalists and during the Commonwealth, soldiers were apparently quartered here. Diarist Samuel Pepys also apparently visited several times.
In 1732 the building was again rebuilt, but this time it was to the grand designs of William Kent – images show a grand building with turrets and a great open square before it. In the 1760s, King George III had some of his horses and carriages moved to facilities on the grounds of Buckingham Palace (he had purchased this from the Duke of Buckingham for his wife’s use) but the bulk remained on the Charing Cross site.
In the early 19th century they were opened to the public but in the 1820s, King George IV – making Buckingham Palace his main residence – had the entire stables moved (the Royal Mews which now stand at Buckingham Palace were designed by John Nash and completed in 1825).
The old mews were subsequently demolished and Trafalgar Square – another Nash design – built on the site between 1827 and 1835 while the National Gallery opened in 1838.
The pub, located at 18 Wilton Row not far from Belgrave Square in Belgravia, was apparently first constructed in 1720 and, located in the barracks of the 1st Royal Regiment of Foot Guards, originally housed the officer’s mess.
It first opened as a pub in 1818 and was initially known as The Guardsman but subsequently renamed The Grenadier after the regiment was renamed – by Royal Proclamation – the First Grenadier Regiment of Foot Guards in honour of their actions in fending off the French at the Battle of Waterloo in 1815.
A bright red painted sentry box – matching the patriotic red, white and blue of the pub – stands outside the pub today in honour of its history.
Renowned around the world for its Bloody Mary, it has apparently attracted the patronage of some big names – back in the day these included King George IV and the Iron Duke Arthur Wellesley, and, in more recent times, Prince William and Madonna.
There is said to be ghost – known as ‘Cedric’ – which haunts the pub – it’s often referred to as the most haunted pub in London – and is apparently that of a young guardsman who was flogged a little over-enthusiastically after cheating at cards and ended up dead. He is apparently most active in September – said to be the time of year when he was killed.
A tradition of attaching money to the ceiling and walls has developed in an effort to pay off Cedric’s debt (and presumably stop the haunting). Along with the memorabilia relating to the pub’s history, the walls also feature a collection of newspaper clippings about the haunting.
For details, including opening times, head to the Taylor Walker website here.
PICTURE: Ewan Munro/Flickr/CC BY-SA 2.0 (image has been cropped).
Famous around the world as the home of bespoke tailoring in London, Savile Row owes its name – like so many other streets in Mayfair – to landowner Richard Boyle, the 3rd Earl of Burlington.
Burlington (1612-98) resided at Burlington House (now home of the Royal Academy of Arts) on Piccadilly and after his death the land around his former home was developed and the streets named for Burlington and members of his family.
Among them was his wife, Lady Burlington, née Lady Dorothy Savile, after whom Savile Row was named. Laid out in 1695, the street was actually located on the site of the former kitchen gardens of Burlington House and was given its name (originally Savile Street) in the 1730s.
The first to reside here were apparently mostly military and politicians (these included PM William Pitt the Younger) and it was only in the early 19th century that the first tailors started to set up shop here. With clients including society dandy Beau Brummell (see our our earlier post here) and the Prince Regent (later King George IV), the street’s fame grew rapidly and continued into the 20th century when customers included some of the biggest names in Hollywood – Cary Grant, Bing Crosby and Frank Sinatra among them.
Among the famous tailoring firms still operating in Savile Row are Anderson & Sheppard (at number 30, it’s where the Prince of Wales has his suits made), Henry Poole (at number 15, Victorian-era owner Henry Poole is credited as the inventor of the tuxedo), and Hardy Amies.
Headquartered at number 14 (with a shop at number 8), Amies gained an international reputation when appointed dressmaker to Queen Elizabeth II in 1955/the address was previously owned by the playwright Richard Brinsley Sheridan and was also the address Jules Vernes gave Phileas Fogg in Around the World in Eighty Days).
One last tailor worth a particular mention is that of Tommy Nutter, who set up shop at number 35 in the late Sixties with a nameplate out front simply reading Nutters and shocked traditionalists with his modern take on tailoring – this modern approach continues among some tailors in the street even today.
The street also has a famous claim in the story of the Beatles – the moved their company Apple Corps Company into number 3 in July, 1968, and it was on the roof of this building that they played their last live gig on 3rd January, 1969.
On Sunday, Princess Charlotte, daughter of Prince William and Princess Kate, was christened at Sandringham. So we thought we’d take a quick look at another christening that took place in London almost 200 years ago, that of Princess Victoria.
The future Queen Victoria was born on 24th May, 1819 – the daughter of Edward, Duke of Kent (fourth son of King George III), and his wife, Princess Victoria Mary Louisa of Saxe-Coburg-Saalfeld.
At the insistence of the Prince Regent (later King George IV), the christening was a small affair and was held a month after the birth on the afternoon of 24th June in the magnificent Cupola or Cube Room of Kensington Palace (pictured as it is now, above).
The guest list was small and included the Prince Regent, Prince Frederick, the Duke of York, and his wife Princess Frederica, Princess Augusta Sophia, Princess Mary, the Duchess of Gloucester, and her husband, Prince William, and Prince Leopold, who had recently become a widower after the death of Princess Charlotte.
The ceremony was conducted by Charles Manners-Sutton, the archbishop of Canterbury, and, thanks to the intransigence of the Prince Regent, her name was apparently only decided at the last minute.
The Prince Regent has earlier forbidden the use of such ‘royal’ names including Charlotte, Elizabeth, Georgina or Augusta and when asked by the archbishop what she would be named, he replied brusquely that she would be named Alexandrina in honour of the Russian Tsar Alexander, one of the new princess’s godparents.
Her second name was Victoria in honour of her mother, and while Victoria was often called “Drina” while a girl, she herself apparently preferred her second name to her first.
The gold font used in the ceremony formed part of the Crown Jewels and its origins go back to the time of King Charles II.
Interestingly, there were a couple of significant Victorian connections during Princess Charlotte’s christening – the font used at this christening was known as the Lily Font (like its predecessor, it is usually found with the Crown Jewels in the Tower of London).
It was commissioned by Queen Victoria and Prince Albert for the christening of their first daughter, Princess Victoria, in 1841, apparently due to Queen Victoria’s dislike for the gold font used at her own christening – it had been used by King Charles II to christen his illegitimate children.
The Lily Font has apparently been used at every royal christening since except that of Princess Eugenie who had a public baptism in Sandringham in 1990.
Princess Charlotte also wore a replica of the christening gown worn by Princess Victoria.
WHERE: The Broad Walk, Kensington Gardens, Kensington (nearest Tube stations are High Street Kensington or Queensway); WHEN: Daily 10am to 6pm (until 31st October); COST: £17.50 adult/£14.10 concession/children under 16 free (online booking discounts available, Historic Royal Palaces members free); WEBSITE: www.hrp.org.uk/KensingtonPalace.
News this week that Historic Royal Palaces and the Royal Botanic Gardens are embarking on a two year project to restore eighty decorative dragons to the Kew Pagoda has led us to take a look at the history of the exotic tower set amid the trees.
Designed by architect Sir William Chambers (one of his drawings is depicted here), the pagoda was built in 1762 during the eighteenth century craze for Chinoiserie and was probably commissioned by Princess Augusta as part of the ongoing works she undertook in the gardens after the death of her husband Prince Frederick, eldest son of King George II and Queen Caroline.
Standing 163 feet (or almost 50 metres) high, the 10 storey pagoda was originally decorated with eighty golden dragons. It was designed to be the high point of a world tour through the gardens which also took in Roman ruins and Arabic mosques.
While the pagoda remains, the dragons were only on the structure for some 22 years before being removed in 1784 during roof repairs. Thanks to rumours they were made of solid gold, it was suggested they were sold off to pay the debts of the Prince Regent (the future King George IV), but experts say the wooden figures had simply rotted and so had to be removed.
Following their removal, the dragons subsequently disappeared and despite several attempts to find them – including one by Decimus Burton, architect of the famous Palm House (for more on that, see our earlier post), in 1843 – they have never been found.
Historic Royal Palaces and the Royal Botanic Gardens have now decided to replace them with new ones, drawing on contemporary accounts and drawings and using a team of specialist craftsmen to create them.
The restored pagoda – complete with new dragons – will be open to the public in 2017.
It is one of several ornamental buildings still located in the gardens. Others include a Japanese gateway and a Japanese wooden house called a minka.
WHERE: The Great Pagoda, Kew Gardens (nearest Tube station is Kew Gardens); WHEN: 10am daily (closing times vary – see websites for details); COST: £16.50 adults/£13 concessions/children £3.50 (discounts apply for online bookings); WEBSITE: www.kew.org.
PICTURES: RBG Kew
Prolific early 19th century architect Sir John Soane designed many public buildings in London including, famously, the Bank of England (since considerably altered) and the somewhat revolutionary Dulwich Picture Gallery. He also designed a number that were merely fanciful works and never commissioned nor constructed.
While Soane had been designing royal palaces as far back as the late 1770s when in Rome on his Grand Tour, in 1821 he designed one, apparently as a new home for the newly crowned King George IV.
Birds-eye view drawings show a triangular-shaped palace with grand porticoes at each of the three corners as well as in the middle of each of the three sides. Three internal courtyards surround a large central dome.
Despite Soane’s hopes for a royal commission, the king appointed John Nash to the job of official architect and so Soane’s palace never went any further than the drawing board.
He also designed a grand gateway marking the entrance to London at Kensington Gore through which the monarch would travel when heading to the State Opening of Parliament in Westminster – it, too, was never realised.
A Palladian villa located on the bank of the Thames between Richmond and Twickenham, Marble Hill House was built in the mid to late 172os for Henrietta Howard, mistress of King George II and later Countess of Suffolk.
The symmetrical property – seen as a model for later Georgian-era villas in both England and overseas – was constructed by Roger Morris. He, along with Henry Herbert – a friend of the countess and later the 9th Earl of Pembroke – was also involved in its design as was Colen Campbell, architect to the Prince of Wales and future King George II, who is believed to have drawn up the first sketch designs for the house.
As well as being familiar with the work of neo-Palladian Inigo Jones, Lord Herbert had travelled in Italy and there is it believed had directly encountered the works of sixteenth century Italian architect Andrea Palladio whose architecture the property emulated (see our earlier post on Chiswick House here).
Key rooms include the ‘great room’ – a perfect cube, this is the central room of the house and boasts a wealth of gilded carvings; the dining parlour which had hand-painted Chinese wallpaper; and, Lady Suffolk’s rather sparsely furnished but nonetheless impressive, bedchamber.
Howard, who as well as being a mistress of King George II both before and after his accession to the throne in 1727, was a Woman of the Bedchamber to his wife, Queen Caroline of Ansbach, and, as a result, initially spent little time at the property (which coincidentally was built using money the King had given her while he was still Prince of Wales).
But after she become the Countess of Suffolk in 1731 when her estranged husband Charles Howard became 9th Earl of Suffolk after his brothers’ deaths, Lady Suffolk was appointed Mistress of the Robes, and following the death of her husband in 1733, retired from court.
In 1735 following the end of her intimate relationship with the King, she married a second time, this time happily, to George Berkeley, younger brother of the 3rd Earl of Berkeley and an MP. Together the new couple split their time between a house in Savile Row and Marble Hill. Her husband died in 1746 and Lady Suffolk, who had come to be considered a very “model of decorum”, died at Marble Hill in 1767.
Among the visitors who had spent time at the property were poet and neighbour Alexander Pope (responsible for the design of the grounds along with royal landscape gardener Charles Bridgeman), writer and satirist Jonathan Swift, and, in Lady Suffolk’s later years, Horace Walpole – son of PM Sir Robert Walpole and builder of the Gothic masterpiece Strawberry Hill.
Following Lady Suffolk’s death, later residents of the property included another Royal Mistress – Mrs Fitzherbert, mistress to the future King George IV, Swedenborgian Charles Augustus Tulk and Jonathan Peel, brother of Sir Robert Peel (you can read more about Sir Robert Peel here).
Following the latter’s death, the house stood empty for many years before publication of plans for a redevelopment by then owner William Cunard caused a public outcry which saw the property pass into the hands of the London County Council around the year 1900.
The house opened to the public as a tea room in 1903 and remained as such until the mid-1960s when, now in the hands of the Greater London Council, it underwent a major restoration project and was reopened as a museum. In 1996, the house – which now stands on 66 acres and can be seen in a much lauded view from Richmond Hill – came into the care of English Heritage.
The grounds – Marble Hill Park – are open to the public for free and include a cafe located in the former coach house. Other features in the grounds include Lady Suffolk’s Grotto – pictured above – based on one at Pope’s residence nearby. It was restored after being rediscovered in the 1980s.
WHERE: Marble Hill House, Richmond Road, Twickenham (nearest Tub-e station is Richmond (1 miles) or train stations at St Margaret’s or Twickenham); WHEN: Various times Saturday and Sunday – entry to the house by guided tour only; COST: £5.90 adults/£3.50 children (5-15 years)/£5.30 concession/£15.30 family; WEBSITE: www.english-heritage.org.uk/daysout/properties/marble-hill-house/.
Arguably the greatest architect of Regency London, John Nash’s imprint can still be seen in numerous sites around the city, from the master-planning of Regent’s Park and Regent Street to the beautiful buildings of All Soul’s Church in Langham Place and Marble Arch on the edge of Hyde Park.
Born the son of a Welsh millwright in Lambeth, London, on 18th January, 1752, Nash – who went on to work in a range of different architectural styles – trained as a draughtsman under the tutelage of architect Sir Robert Taylor and in 1777 established his own business as a builder and surveyor.
But he certainly didn’t meet with immediate success and, following failure as a building speculator (he built properties in Bloomsbury Square and Great Russell Street but failed to make enough money from the venture – there’s a blue plaque on one of the houses, which he lived in, at 66 Great Russell Street), was declared bankrupt in 1783.
Meanwhile, his personal life was also in turmoil during these years – in 1775 he had married, Jane Kerr, the daughter of a Surrey surgeon, but separated from her in the early 1780s after various troubles including her eventually apparently having a child with a Welshman named Charles Charles, who is said to have died in prison after he was jailed for adultery.
Brought down by his misfortune, in the mid 1780s Nash moved to Carmarthen in Wales where he had family. Taking up work here, by the late 1780s he was designing prisons – the first was at Carmarthen – and worked on a number of other prominent buildings including St David’s Cathedral and various country houses.
Rising to prominence in Carmarthen society, by 1797, however, Nash was again working in London, initially in partnership with the renowned landscape architect Humphrey Repton with whom he had formed a business relationship some years earlier (although the partnership had soured over finances by 1800).
He built a substantial home at 29 Dover Street in Mayfair and in 1798, his first wife presumably dead, he married his second wife, Mary Anne Bradley, and soon started work on building a Gothic-inspired residence for them, known as East Cowes Castle, on the Isle of Wight. It was completed in 1802 but enlarged some years later.
Nash designed numerous country properties in the early 19th century, inspired by everything from castles to Italianate architecture, both in England and Ireland and soon came to the attention of the Prince Regent, the future King George IV (there was a rumour his wife was one of the prince’s discarded mistresses).
In 1806 he was officially made Deputy Surveyor General in the Office of Woods and Forests – the office which managed the Crown estate, and from 1815 on, he largely worked for the prince alone. Among the major London commissions from his royal patron were the design of Regent Street (he and his wife moved into number 14 in 1823) and the development of Regent’s Park on land formerly known as Marylebone Park and surrounding housing estates (for more on The Regent’s Park, see our earlier entry here). He also redeveloped St James’s Park.
In 1815, he was commissioned to develop the Prince Regent’s Marine Pavilion in Brighton and by 1822 had transformed the building into the spectacular Royal Pavilion which can be visited there today.
Nash was also involved in the development of The Regent’s Canal – which linked the Grand Union Canal in London’s west to the River Thames in London’s east and was completed in 1820 – and built many of the grand villas which still line it (for more on Regent’s Canal, see our earlier entry here).
Becoming an official architect to the Office of Works in 1813 (an appointment which only ended in 1832, three years before his death), Nash went on to design churches – including All Soul’s in Langham Place (he’s depicted above in a bust at the church) – as well as West End theatres including the Haymarket Theatre and the Royal Opera House (which burnt down in 1867) as well as the adjacent Royal Opera Arcade and residences including Carlton House Terrace and Clarence House (for more on this, see our earlier entry here).
Other major commissions included the redevelopment of Buckingham Palace (parts of the current building are his work but the main facade isn’t – for more on the palace history, see our earlier entry here) and the Royal Mews, and the creation of Marble Arch, originally envisaged as the main gateway to the palace (see our earlier entry here). Nash also designed a conservatory for Kew Gardens.
Nash’s close relationship with the Prince Regent (who become King George IV on 29th January, 1820), meant that when the king died in 1830, he found himself on the outer (and his reputation took many years to recover thanks to his association with the unpopular king). With no knighthood forthcoming for his efforts (unlike many of his contemporaries) and the chance of further work unlikely (his work on Buckingham Palace had been left unfinished due to concerns over rising costs), Nash retired to his house on the Isle of Wight.
He died there on 13th May, 1835, and was buried in the churchyard at St James’s Church in East Cowes. He was survived by his wife who, having settled his debts, retired to Hampstead.
For an in-depth study of Nash, try Geoffrey Tyack’s book, John Nash: Architect of the Picturesque.
A white tiled plunge bath which once belonged to Princess Caroline of Brunswick, the estranged wife of George, Prince of Wales (later King George IV), still lies in the south-west corner of Greenwich Park between the Rose Garden and Chesterfield Gate.
Princess Caroline, a cousin of the prince, married him in 1795 in an arrangement made so he could get out of debt. Theirs was never a marriage of love – the prince is said to have spread rumours that she was adulterous, had bad breath and never washed – and after Princess Caroline gave birth to a daughter, Princess Charlotte, the couple separated.
Two years later, in 1798, Princess Caroline was banished to live at Montague House near Greenwich Park while the prince dallied with his mistress Maria Fitzherbert. The princess, known for her scandalous and indiscreet behaviour during her residence at the house, used the sunken bath, which the stood inside a bathhouse partly attached to the main building.
The house was demolished in 1815 on the orders of the king (a decision apparently prompted by a fit of pique at the Queen’s lifestyle), a year after Princess Caroline left England for the Continent plagued by rumours that she’d mothered an illegitimate child (a secret commission into her behaviour cleared her of a charge of adultery but did find her behaviour to be improper).
The sunken bath, meanwhile, was filled in during the 1980s and served as a flowerbed until, in 2001, it was re-excavated by Royal Parks in a dig funded by the Friends of Greenwich Park, Greenwich Society, the Friends of Ranger’s House and donations from individuals.
WHERE: Princess Caroline’s Bath, south-west corner of Greenwich Park (nearest DLR station is Cutty Sark – other nearby stations include Greenwich, Maze Hill and Blackheath); WHEN: 6am to at least 8pm (but beware, closing times vary depending on the month); COST: Free entry; WEBSITE: www.royalparks.gov.uk/Greenwich-Park.aspx
It wasn’t until some time after Admiral Lord Nelson’s victory over the French fleet in the Battle of Trafalgar off the coast of Spain on 21st October, 1805, that the large public space in Westminster we now know as Trafalgar Square took its name.
Prior to the development of the square, much of the area it covers was occupied the King’s Mews – stables linked to the Palace of Whitehall – and was simply seen as part of the district known as Charing Cross (named for the memorial cross which stood close to where the equestrian statue of King Charles I now stands – for more on this, see our earlier post and follow the links).
Following the relocation of the Mews in the early 19th century, plans were drawn up by architect-of-the-age John Nash to redevelop the area while the square itself, completed in 1845, was designed by Sir Charles Barry (best known for his work on the Houses of Parliament).
The final design incorporated a statue of Admiral Lord Nelson atop a column, known as ‘Nelson’s Column’, in the centre – apparently against Barry’s wishes (see our earlier post for more on Nelson’s Column).
Originally designed with an upper terrace and a lower piazza linked by stairs at the eastern and western end of the terrace, the square contains two fountains on either side of the column – the current fountains were designed by Sir Edwin Lutyens in 1937-9 and replaced earlier ones.
It was originally suggested that the square be named King William IV Square but it was apparently architect George Ledwell Taylor who provided the alternative of Trafalgar Square in honor of Nelson’s great battle.
Bordered by significant landmarks including the National Gallery to the north, the church of St Martin’s-in-the-Fields to the north-east, South Africa House to the east and Canada House to the west, the square stands at the confluence of a number of major roadways including Whitehall, Strand, Charing Cross Road and The Mall.
Aside from the aforementioned statue of King Charles I, monuments within the square include Nelson’s Column along with plinths set in the four corners of the square. These bear statues of King George IV, Victorian military figures General Sir Charles James Napier and Major-General Sir Henry Havelock while the fourth plinth, located in the north-west corner, was originally intended to bear an equestrian statue of King William IV.
Instead, it was left empty for many years before the advent of the Fourth Plinth project under which a variety of contemporary artworks – most recently a massive sculpture of a boy astride a rocking horse – have occupied the space (you can see a picture of the current work in our earlier post here).
The square, once known as the home of thousands of pigeons before these were banished midway through last decade to allow greater public use of the space, also features the busts of three admirals – John Jellicoe, David Beatty and Andrew Cunningham, located against the north wall under the terrace.
There are also two statues on a lawn in front of the National Gallery – these are of US President George Washington and King James II. Curiously, the square also features a small pillar box in the south-east corner, referred to by some as the smallest police station in London.
A renovation project in 2003 pedestrianised the roadway along the north side of the square and installed a central stairway between the the upper and lower levels along with lifts, public toilets and a cafe.
For some more on the history of Trafalgar Square, see Jean Hood’s Trafalgar Square: A Visual History of London’s Landmark Through Time.
In keeping with the sporting theme, we decided to take a look at a pub that bears that name of a sportsman – in this case Tom Cribb, a celebrated early nineteenth century boxer.
Born in 1781, Cribb moved to London from his home in Gloucestershire at just the tender age of 13 and worked in various jobs including as a bellhanger and a porter on the wharves before in taking up the sport of bare knuckle boxing with his first public bout in 1805 (he was known as the ‘Black Diamond’ thanks to his previous work as a coal porter).
Further fights followed and Cribb’s skill was such that in 1809 he won the British title and the following year he fought American and former slave Tom Molineaux to become world champion, a feat he repeated the in 1811 by beating Molineaux again.
Cribb retired from boxing in 1812 and later became a publican, running a couple of different pubs before taking up the job the Union Arms, located at 26 Panton Street, in the West End. He did apparently marry and in 1821 was among the prize fighters who guarded the entrance to Westminster Hall on the day of King George IV’s coronation.
Forced to give up his pub to creditors to pay off gambling debts, he retired to Woolwich in 1839 and died there in 1848 – he was buried in St Mary’s Churchyard where there is a memorial to him.
The pub which now bears his name is located on the same site as the Union Arms, although it is numbered 36 due to a numbering change. Inside it features a boxing theme with photos of some of Britain’s greatest boxers adorning the wall.
For more, see www.shepherdneame.co.uk/pubs/london/tom-cribb.
For a book on Tom Cribb, try Tom Cribb: The Life of the Black Diamond.
PICTURE: Tom Cribb in an engraving published in 1842. Source – Wikipedia.
We venture just to the west of London this week for a quick look at the five day horseracing event known as Royal Ascot which concludes tomorrow with the Diamond Jubilee Stakes, renamed to mark Queen Elizabeth II’s Diamond Jubilee.
While Royal Ascot is now a highlight of the horse-racing calendar around the world (and all eyes this year on Frankel and Black Caviar), the origins of horse-racing at the 179 acre Ascot Racecourse, located at Ascot, adjacent to Windsor Great Park, go back some 300 years.
The first race meeting was held here on 11th August, 1711 – it was apparently Queen Anne who first spotted the potential of the site, then known as East Cote, as a suitable location for a racecourse when out riding from Windsor Castle earlier that year, hence she is celebrated as the founder of the event (today, the Queen Anne Stakes is run in memory of Queen Anne’s vital contribution).
The inaugural event was Her Majesty’s Plate, which carried a prize packet of 100 guineas. Seven horses, each carrying 12 stone of weight, took part in what were three separate heats, each four miles long, but there is apparently no record of who won.
While the racecourse was laid out by William Lowen and his team on the orders of Queen Anne, the first permanent building, constructed by a Windsor builder, wasn’t erected until 1794 – capable of holding 1,650 people, it remained in use until 1838. Meanwhile, the future of the course, which stands on Crown property, was pretty much guaranteed in 1813 when an Act of Parliament ensured the area on which the course stands would remain in use as a public racecourse.
It was the introduction of the Gold Cup in 1807 which is believed to have ushered in the race meet we now know. It remains the feature race of the third day of Royal Ascot which, known as Ladies Day, became the dominant day of the race meeting.
In 1825, King George IV established the first Royal Procession, which still occurs on each day of the meeting and makes its way from the Golden Gates and along the racecourse and into the Parade Ring.
Up until 1901, the racecourse was run on behalf of the Sovereign by the Master of the Royal Buckhounds – an officer in the Royal Household. In that year the situation changed when Lord Churchill was appointed as His Majesty’s Representative and made responsible for running the course and entrance to the Royal Enclosure.
In 1913, the Ascot Authority was established to handle the running of the racecourse and His Majesty’s Representative become the chairman of the new organisation. The chairman, who is currently Johnny Weatherby, remains at the head of Ascot Authority (Holdings) Limited today and is still referred to by the title Her Majesty’s Representative.
In 2002, Ascot Racecourse Ltd was incorporated and is now the organisation responsible for running the racecourse – this underwent a £200 million redevelopment in the mid 2000s which included construction of the spectator stand, reopening in 2006 (pictured in the last picture is the Queen arriving at the reopening).
Among the traditions associated with Royal Ascot is that the jockeys who ride the Queen’s horses wear purple with gold braid, scarlet sleeves and a black velvet cap with gold fringe – the same colors used by King Edward VII and King George IV when Prince Regent. It’s also the role of the Queen, who first attended Royal Ascot in 1945 and who, prior to this year’s race meeting has owned some 63 Ascot winners including 20 at Royal Ascot, to make a number of presentations to race winners, including the Gold Cup, the Royal Hunt Cup and The Queen’s Vase.
Royal Ascot today is Britain’s most popular race meeting attracting 300,000 spectators and holding the position of the most valuable horserace meeting in Europe with £4.5 million in prize money on offer over 30 races.
A key event on Britain’s social calendar, for many Royal Ascot has also become as much about fashion and people-watching as it has the horseracing. For those who can gain entry – including meeting strict dress code requirements – the Royal Enclosure, which traces its history back to King George IV who first commissioned a two-storey building to be constructed with surrounding lawn for the pleasure of his invited guests, remains the most exclusive of the spectator enclosures at the race meeting.
As well as the running of the Diamond Jubilee Stakes (previously known as the Golden Jubilee Stakes), Royal Ascot is also marking the Queen’s Diamond Jubilee with a photographic exhibition, 60 years of Royal Ascot during the reign of Her Majesty The Queen, located beside the pre-Parade Ring.
For more, see www.ascot.co.uk.
PICTURES: Courtesy of Ascot Racecourse – top and middle: (c) RPM; bottom: (c) Action Images/Scott Heavey.