September 26, 2016
Sir Thomas Bludworth (also spelt Bloodworth) is usually only remembered as the man who had the unfortunate job of being Lord Mayor of London when the Great Fire broke out in 1666. So, given the fire’s 350th anniversary this month, we thought it timely to take a more in-depth look at his life and career.
Bludworth was born in London in February, in about 1620, the second surviving son of John Bludworth, master of the Vintner’s Company and a wealthy merchant. Trained to succeed his father – his elder brother having joined the clergy, Bludworth was himself admitted to the Vintner’s Company in the 1640s and joined the Levant Company in 1648.
First elected an alderman in 1658, he was discharged when he refused to serve as a sheriff and the following year served as the master of the Vintner’s Company. In 1660, he was briefly arrested along with 10 other members of City of London’s common council after the body refused to pay taxes until a representative parliament was convened.
Elected MP for Southwark later that year, Bludworth among city and parliamentary representatives who sailed to The Netherlands to attend the king, Charles II, in exile, and invite him to return to England. It was while attending the king in The Hague that he was knighted. Re-elected in 1661, he was an active parliamentarian who served in numerous different capacities.
Sir Thomas was twice married and had a number of children including a formidable daughter Anne who eventually married the historically unpopular George Jeffreys, (later King James II’s Lord Chief Justice and Lord Chancellor).
In mid-1662, he was once again made a City of London alderman and appointed one of two sheriffs for the following year. He became Lord Mayor of London in November, 1665, but apparently there was no pageant as was customary due to the plague.
During his year in the office – “the severest year any man had” – he faced both the plague and the Great Fire and his reputation has been largely formed out of his response to the latter thanks in large part his alleged response when woken and told of the fire as being: “Pish, a woman might piss it out!”.
Bludworth was heavily criticised at the time and over the years since his reaction to the fire – including not pulling down homes to create a firebreak and thus prevent the spread of the fire, but it should be noted that had he done so before he had received the king’s permission, he would have found himself personally liable.
Diarist Samuel Pepys’ who, following two encounters in the months before the fire had already described Bludworth as “mean man of understanding and despatch of any public business”, recorded that when he finally brought a message from the king ordering the creation of a firebreak, Sir Thomas seemed like “a man spent”.
“To the King’s message (to create a firebreak by pulling down houses), he cried, like a fainting woman, ‘Lord, what can I do? I am spent: people will not obey me. I have been pulling down houses, but the fire overtakes us faster than we can do it’.”
Another eyewitness describes him as looking like he was “frighted out of his wits” during the fire.
Sir Thomas’ own property at Gracechurch Street was among the casualties of the fire but he later built a new mansion in Maiden Lane.
He continued to serve as an MP after the fire and was, perhaps ironically, appointed to a committee working on a bill to provide “utensils” for the “speedy quenching of fire”. In the mid-1670s, he become one of the governing members of the Royal African Company.
Sir Thomas died on 12th May, 1682, aged around 60. He was apparently buried in Leatherhead.
November 23, 2015
The National Maritime Museum is hosting a new exhibition on the life of Samuel Pepys and, while we’ve looked at the life of the famous diarist before (see our earlier post here), we thought we’d take a look at his not-so-famous manservant and clerk William Hewer.
“Will” Hewer, who is mentioned several times in Pepys’ diary and, as well as being a business partner also became a fast friend of Pepys, is thought to have been born in about 1642.
He was first introduced to Pepys when still a young man – about 17 – by his uncle Robert Blackborne in 1660. They obviously hit it off because Hewer, who was the son of a stationer, was soon working as a manservant and clerk for Pepys in his role as Clerk of the Acts to the Navy Board.
Hewer, who was subjected to some bullying by Pepys who apparently could reduce him to tears (but at the same time Pepys also defended him at work from attacks from others), at first lived with Pepys at his Seething Lane home. However, by late 1663 – apparently thanks to his misbehaviour which included staying out late, drunkenness and corrupting maids – he was told to leave Pepys’ house and moved into his own lodgings.
Pepys moved to the Admiralty in 1673 and Hewer went with him, appointed Chief Clerk the following year. In 1677, he was appointed as Judge Advocate-General.
Hewer’s star continued to climb and in 1685, he was appointed MP for Yarmouth, on the Isle of Wight. The following year he was appointed to the Special Commission which replaced the Navy Board and had a special responsibility for accounts.
After King James II fled the country in 1688, Hewer, along with Pepys, lost their patronage from the Crown; both were briefly imprisoned, but were released without trial.
Thanks largely to his involvement in trading with his uncle Blackborne – who served as both Secretary to the Admiralty and Secretary to the British East India Company and to an inheritance he received from his father, Hewer became a wealthy man (as was the case with Pepys, there have been suggestions he may have made considerable illicit sums from people doing trade with the Navy thanks to his position, but these claims have not been substantiated).
Hewer, who never married (but he did apparently have a special attachment to Pepys wife Elizabeth who was of a similar age), owned a house near The Strand which became the Admiralty Office when he followed Pepys from the Navy Board. Pepys lived with him in the house when he was at the Admiralty.
He also owned other properties, including a country retreat on Clapham Common which he bought in 1688. It was here that Pepys lived in during his latter years (and where he died in 1703).
Hewer was the executor of Pepys’ will and kept his library – including, of course, his famous diary until his own death on 3rd December, 1715. He was buried in St Paul’s Church, Clapham. In an odd twist, his estate was left to his godson Hewer Edgeley but only on the condition that he change his surname to Hewer, becoming Hewer Edgeley-Hewer.
Hewer is depicted in a painting by Godfrey Kneller (1689) now in the National Maritime Museum’s collection. It was a pair with another painting by Kneller of Pepys.
WHERE: Samuel Pepys: Plague, Fire, Revolution is at the National Maritime Museum, Greenwich (nearest DLR station is Cutty Sark; nearest railway stations are Greenwich and Maze Hill; and nearest river pier is Greenwich); WHEN: 10am to 5pm daily; COST: £12 adults/£6 children WEBSITE: www.rmg.co.uk/see-do/exhibitions-events/samuel-pepys-plague-fire-revolution-exhibition.
For more on Pepys, see Margarette Lincoln’s book Samuel Pepys: Plague, Fire, Revolution.
August 24, 2015
Best known as the “Hanging Judge” thanks to his role in the so-called Bloody Assizes of 1685, George Jeffreys climbed the heights of England’s legal profession before his ignominious downfall.
Born on 15th May, 1645, at the family home of Acton Hall in Wrexham, North Wales, Jeffreys was the sixth son in a prominent local family. In his early 20s, having been educated in Shrewsbury, Cambridge and London, he embarked on a legal career in the latter location and was admitted to the bar in 1668.
In 1671, he was made a Common Serjeant of London, and despite having his eye on the more senior role of Recorder of London, was passed over. But his star had certainly risen and, despite his Protestant faith, he was a few years later appointed to the position of solicitor general to James, brother of King Charles II and the Catholic Duke of York (later King James II), in 1677.
The same year he was knighted and became Recorder of London, a position he had long sought, the following year. Following revelations of the so-called the Popish Plot in 1678 – said to have been a Catholic plot aimed the overthrow of the government, Jeffreys – who was fast gaining a reputation for rudeness and the bullying of defendants – served as a prosecutor or judge in many of the trials and those implicated by what turned out to be the fabricated evidence of Titus Oates (Jeffreys later secured the conviction of Oates for perjury resulting in his flogging and imprisonment).
Having successfully fought against the Exclusion Bill aimed at preventing James from inheriting the throne, in 1681 King Charles II created him a baronet. In 1683 he was made Lord Chief Justice and a member of the Privy Council. Among cases he presided over was that of Algernon Sidney, implicated in the Rye House Plot to assassinate the king and his brother (he had earlier led the prosecution against Lord William Russell over the same plot). Both were executed.
It was following the accession of King James II in February, 1685, that Jeffreys earned the evil reputation that was to ensure his infamy. Following the failed attempt by James Scott, 1st Duke of Monmouth and illegitimate son of the late King Charles II, to overthrow King James II, Jeffreys was sent to conduct the trials of the captured rebels in West Country towns including Taunton, Wells and Dorchester – the ‘Bloody Assizes’.
Of the almost 1,400 people found guilty of treason in the trials, it’s estimated that between 150 and 200 people were executed and hundreds more sent into slavery in the colonies. Jeffreys’, meanwhile, was busy profiting financially by extorting money from the accused.
By now known for his corruption and brutality, that same year he was elevated to the peerage as Baron Jeffreys of Wem and named Lord Chancellor as well as president of the ecclesiastical commission charged with implementing James’ unpopular pro-Catholic religious policies.
His fall was to come only a couple of years later during Glorious Revolution which saw King James II overthrown by his niece, Mary, and her husband William of Orange (who become the joint monarchs Queen Mary II and King William III).
Offered the throne by a coalition of influential figures who feared the creation of a Catholic dynasty following the birth of King James II’s son, James Francis Edward Stuart, William and Mary arrived in England with a large invasion force. King James II’s rule collapsed and he eventually fled the country.
Remaining in London after the king had fled, Lord Jeffreys only attempted to flee as William’s forced approached the city. He made it as far as Wapping where, despite being disguised as a sailor, he was recognised in a pub, now The Town of Ramsgate (pictured above).
Placed in custody in the Tower of London, he died there of kidney problems on 18th April, 1689, and was buried in the Chapel Royal of Saint Peter ad Vincula (before, in 1692, his body was moved to the Church of St Mary Aldermanbury). All traces of his tomb were destroyed when the church was bombed during the Blitz (for more on the church, see our earlier post here).
This Week in London – Charles I’s overlooked artist; St George’s Day in Trafalgar Square; Indigenous Australia; prints from the Royal Collection on show; and, ‘What is Luxury’ at the V&A…
April 23, 2015
• The first ever display of works of overlooked 17th century artist Cornelius Johnson, court painter to Charles I, has opened at the National Portrait Gallery off Trafalgar Square. Cornelius Johnson: Charles I’s Forgotten Painter features rarely viewed portraits of the king’s children including the future Charles II, James II and Mary (later Princess of Orange-Nassau) as well as a painting of Mary’s son William – all of which have been taken from the gallery’s collection. Overshadowed by Sir Anthony van Dyck, Johnson – who emigrated to The Netherlands when the English Civil War broke out – has been largely ignored by art historians despite the breadth of his work – from group portraits, such as his largest surviving English painting, The Capel Family, to tiny miniatures – and the fact that he is thought to be the first English-born artist who took to signing date his paintings as a matter of course, something he is believed to have picked up during his training in The Netherlands. The display features eight painted portraits and six prints from the gallery’s collection as well as three paintings from the Tate. Runs until 13th September in Room 6. Admission is free. For more, see www.npg.org.uk. PICTURE: King Charles II by Cornelius Johnson , 1639. © National Portrait Gallery, London.
• Trafalgar Square will be at the centre of London’s St George’s Day celebrations on Saturday with live music, celebrity chefs, a masterclass by leading tea experts and children’s games and activities. The musical lineup will feature the band from the West End musical Let It Be and the Crystal Palace Brass Band – one of the few traditional brass bands remaining in London. The free event runs between noon and 6pm on Saturday. For more, see www.london.gov.uk/stgeorges.
• Indigenous Australia, the first major exhibition in the UK to present a history of Indigenous Australia through objects, opens at the British Museum today. Drawing on the museum’s collection, Indigenous Australia features objects including a shield believed to have been collected in Botany Bay on Captain Cook’s voyage of 1770, a protest placard from the Aboriginal Tent Embassy established in 1972 and contemporary paintings and specially commissioned artworks from leading indigenous artists. Many of the objects have never been on display before. Runs until 2nd August. Admission charge applies. For more, see www.britishmuseum.org.
• Thirty prints from the Royal Collection will be on show at The London Original Print Fair to mark its 30th anniversary. The fair runs at the Royal Academy from today until Sunday and among the selected works from the more than 100,000 prints in the Royal Collection are the 2.3 metre long woodcut by Albrecht Durer entitled Triumphal Cart of the Emperor Maximillian (1523), Wenceslaus Hollar’s four etchings of tropical Seashells (c1650), a sequence of proofs of Samuel Reynolds’ portrait of King George III at the end of the monarch’s life, and lithographs produced by Queen Victoria and Prince Albert dating from 1842. For more on the fair, see www.londonprintfair.com. For more on the Royal Collection, see www.royalcollection.org.uk.
• The question of what is meant by the concept of luxury is under examination in the V&A’s new exhibition What is Luxury? Opening at the South Kensington museum Saturday, the exhibition will feature a range of luxury objects – from the George Daniels’ Space Travellers’ Watch to a Hermés Talaris saddle, and Nora Fok’s Bubble Bath necklace. Also on show in a section of the exhibit looking at what could determine future ideas of luxury is American artist Gabriel Barcia-Colombo’s DNA Vending Machine (complete with prepackaged DNA samples) and Henrik Nieratschker’s installation The Botham Legacy which tells the fictional story of a British billionaire who sends altered bacteria into space in an attempt to find valuable metals on distant plants. Runs until 27th September. Admission charge applies. See www.vam.ac.uk/whatisluxury.
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Still on designs for royal palaces and today we’re looking at two designs for the same palace. Both Inigo Jones (1573-1652) and Sir Christopher Wren (1632-1723) drew up designs for the remodelling and expansion of Whitehall Palace.
First up was the neo-classical architect Jones who drew up plans for a vast complex of buildings (pictured left) which would replace the Tudor palace King Henry VIII had created when he transformed the grand house formerly known as York Place into a residence suitable for a king (York Place had previously been a residence of Cardinal Thomas Wolsey and prior to that, the London residence of the Archbishops of York).
Jones’ complex – which apparently featured seven internal courts – covered much of what is now known as Whitehall as well as neighbouring St James’s Park with a magnificent River Thames frontage.
The first part of Jones’ grand scheme – the Banqueting House (see our earlier post here) – opened in 1622. It still survives today – pictured above – and gives a taste of the grandeur of his overall scheme.
Yet, despite the eagerness of King James I for the project, it failed to materialise. English Heritage chief executive Simon Thurley told the BBC in 2012 that the hall represented only five per cent of what Jones had planned.
King James I died in 1625 and his son King Charles I was apparently keen to continue the project – so much so that Jones submitted new plans in 1638 – but he didn’t find the funds the project needed (and, of course, as we know, then became consumed by the events of the Civil War before being beheaded outside the Banqueting House in 1649).
Following the Restoration, in the 1660s King Charles II apparently had Sir Christopher Wren quietly draw up plans to redevelop the palace but these weren’t follow through on although during the reign of King James II he did work on several projects at the palace including a new range of royal riverside apartments, terrace (remains of which can still be seen) and a chapel.
In 1698, much of the bloated Whitehall Palace – then the largest palace in Europe with more than 1,500 rooms – burnt down although the Banqueting House, though damaged, survived basically intact (in fact there’s an interesting anecdote, its veracity questionable, which has it that on hearing of the fire Wren rushed to the site and had an adjacent building blown up to create a firebreak and ensure the Banqueting House was saved).
The then king, King William III, approached Wren and he again submitted plans for its rebuilding (prior to the fire, he had already worked on several aspects of the palace including a new range of royal apartments and a chapel for King James II).
But Wren’s plans – images show a grand domed building – were largely never realised (although he did convert the Banqueting House into a chapel) and the destroyed palace never rebuilt (no doubt in large part due to the fact that King William III preferred a more rural and less damp location – such as that of Kensington Palace – thanks to his asthma).
For more on the history of the Palace of Whitehall, see Simon Thurley’s Whitehall Palace: The Official Illustrated History.
September 23, 2014
Following on from the last moment in London’s history which looked at the death of Queen Anne, we pause a moment to look at the day 300 years ago – 18th September, 1714 – when her successor, King George I, landed at Greenwich as he arrived to take up his new throne.
There was apparently thick fog when the Elector of Hanover made his way up the Thames accompanied by a flotilla of boats carrying his family and entourage including 18 cooks as well as his mistress, Ehrengard Melusine von der Schulenburg, and his half-sister Sophia Charlotte von Kielmansegg (known rather nastily among English courtiers as the “Maypole” and the “Elephant”).
He landed at the water gates of the Sir Christopher Wren-designed Royal Hospital for Seamen, now known as the Old Royal Naval College, in Greenwich (pictured above) but when the waiting crowds cheered the disembarking king, it was a case of mistaken identity. In fact, they were cheering his son, George Augustus (and future King George II) and by the time the king actually disembarked, much of the crowd had already dissolved, leaving a much smaller – and probably disappointing – gathering to welcome him.
The arrival of the king – a re-enactment of which took place at the ORNC last week – is depicted in a painting in the upper part of the the college’s Painted Hall. The work of artist James Thornhill, it depicts the king wearing Roman costume riding a chariot and appears alongside a figure of St George defeating the dragon (who, of course, stood for the papacy and family of the deposed King James II).
The Painted Hall also features a family portrait of the new Royal Family, excluding George’s wife Sophia Dorothea who was imprisoned in Germany at the time following allegations of infidelity. The future King George II is featured with his back to the king in reference to the hostility between the two of them.
The ORNC is currently looking to raise £5.5 million to conserve Thornhill’s paintings following a restoration of the Painted Hall in 2013. For more details, head to www.ornc.org/support/current/conserve-the-painted-hall.
Around London – The ‘Line of Kings’ has a makeover; London captured from St Paul’s; and, cycles at the Museum of London…
August 8, 2013
• The Tower of London’s iconic exhibition, the Line of Kings, has had a makeover. Described as the “world’s longest running visitor attraction”, the Line of Kings features more than 500 objects including historic suits of armour – such as those worn by King Henry VIII, King Charles I and King James II – as well as life-sized wooden horses and individually carved king’s heads, many of which were made between 1685 and 1690. The exhibition was originally created following the Restoration in 1660 and was used as propaganda to promote the king’s rule (interestingly omitting queens and featuring only those deemed “good kings”). Rearranged and dispersed over the centuries, it’s been brought back together in the White Tower and reopened last month. Entry to the exhibition – a collaboration between Historic Royal Palaces and the Royal Armouries – is free as part of general admission to the Tower. For more, check out www.royalarmouries.org/line-of-kings. PICTURE: HRP/Newsteam
• Four cameras mounted on top of St Paul’s Cathedral’s Golden Gallery have captured a 360 degree time lapse video of the capital. The video, which was shot in early July, captured 36 hours in the life of London and is the work of specialist photographer Henry Stuart who previously completed two projects from the Golden Gallery – a GigaPixel image of London and a Day Meets Night image. The latest project captured some 8,000 panoramic images. The time lapse video, which is set to Kyrie from Wolfgang Amadeus Mozart’s Missa in C major ‘Missa solemnis’ K337 being sung by the St Paul’s Cathedral Choir, can be found at http://visualise.com/videos/london-360-time-lapse-from-st-pauls-cathedral.
• On Now: London Cycles. This free exhibition at the Museum of London looks at cycling in the capital with highlights including 10 large scale portraits by Ugo Gattoni, bikes including an 1880s “boneshaker”, a penny farthing, an 1930s Enfield cycle and a ‘Boris’ bike as well as head cam footage from riders including from the annual Tweed Run bike. The free display runs until 22nd September. For more, see www.museumoflondon.org.uk.
July 23, 2013
As we all know by now, Prince William and Kate, Duchess of Cambridge, are proud parents of a new born son with news of the new arrival provoking celebrations across Britain and, indeed, the world.
To celebrate the royal birth, here are 10 interesting facts about some previous royal births in London…
• The last time a Home Secretary attended a royal birth was in 1936 for the birth of Princess Alexandria, cousin of the Queen. The practice was officially stopped before the birth of Prince Charles in 1948.
• Such was the doubt over whether Mary of Modena, wife of King James II, was really pregnant that more than 40 eminent people were invited to witness the birth of their son Prince James in 1688 (and even then the rumours of that the stillborn baby had been swapped for another were rife).
• Queen Anne, who ruled from 1702-1714, went through 17 pregnancies but, tragically, outlived all of her children, her last surviving child – the Duke of Gloucester – dying in 1700.
• The tradition of firing a 41 gun salute on the news of the birth of a future monarch dates from the birth of the future King Edward VII. Twenty-one shots are fired in honour of the birth with an additional 21 fired because the guns are located in Green Park, a Royal Park.
• Queen Elizabeth II was born by caesarean section at 2.40am on April 21, 1926, at the home of her mother’s parents – 17 Bruton Street in Mayfair. (See our previous post on this here).
• Such was the animosity between Frederick, Prince of Wales, and his father, King George II, that when Frederick’s wife Augusta went into labour at the king’s home of Hampton Court Palace, he bundled her into a coach and had her taken to his home of St James’s Palace. With no preparations made there, his newly born daughter had to be wrapped in a tablecloth (the story is retold in detail in Lucy Worsley’s terrific book, Courtiers: The Secret History of the Georgian Court)
• Queen Victoria, who had nine children, used chloroform for pain relief during later births, despite the concept being frowned upon by some officials.
• Buckingham Palace (pictured above) has been the birthplace of numerous Royal Family members. Of course, Prince Charles was born here in 1948 as was his brother Prince Andrew (1960) and Prince Edward (1964) but so too – somewhat earlier – were 14 of King George III and Queen Charlotte’s 15 children when the property was known as Buckingham House and, later, the Queen’s House. King Edward VII was the only monarch who both was born and died in the building.
• Such was the desperation of King Henry VIII for a son, that a document announcing the birth were drawn up to that effect prior to Anne Boleyn giving birth to a daughter, the future Queen Elizabeth I. The document was still issued – the only concession being an ‘s’ added to the end of the word prince.
• The oldest English king to father a child was King Edward I – he was 66-years-old when his last child, Princess Eleanor, was born in 1306. Queen Eleanor of Aquitaine, wife of King Henry II, was the oldest queen to father a child when she gave birth to the future King John at 44-years-of-age in 1166.
Originally named King’s Square in honour of King Charles II, Soho Square was laid out on what had been known as Soho Fields as a residential square with a garden at its centre in the late 1670s – part of the general demand for homes that came about after the Great Fire of London in 1666.
A fashionable place to live when built, among the early mansions was Monmouth House, a grand mansion originally built for James Scott, the Duke of Monmouth (and illegitimate son of King Charles II who lost his head after leading a rebellion against King James II) and later used by the French ambassador before it was demolished in the 1770s. Two of the square’s original homes are located at numbers 10 and 15.
A number of trees and shrubs were recorded as being planted here including cherry, peach and almond trees as well as lilacs, jessamine and honeysuckle – it’s suggested these may have been chosen by botanist Sir Joseph Banks who lived at number 32 from 1777 until his death in 1820.
The square, which was opened to the public in 1954, is today at the heart of the West-End district of Soho, once synonymous with late night entertainment including the sex industry but also home to a growing number of film and media-related organisations (for a look at the derivation of the name Soho, see our earlier post).
Indeed, a number of media companies are based in the square itself – British Movietone, which was produced the Movietone news, was located here at number 22 for years while current inhabitants include Twentieth Century Fox (located in a building at number 31-32 where the botanically minded Linnean Society once met).
Other buildings of note in the square include the French Protestant Church, built in 1891-93 and located at numbers eight and nine and St Patrick’s Church, located at on the corner of Soho Square and Sutton Row. While a chapel was first consecrated here in 1792, the current building dates from the 1890s (reopened in 2011 after a £3.5 million restoration) and has catacombs which spread a considerable distance under the square. In a nod to less savoury aspects of the square’s past, the White House Brothel was also located here – at number 21 – in the late 18th century (the building is now known as Manor House).
The oldest statue in the square is that of Caius Gabriel Cibber’s King Charles II which dates from 1681 (pictured right) – a reminder of the square’s past name. Originally part of a larger monument containing a fountain, it was removed in 1875 to make way for the distinctive half-timbered Tudor-style hut (pictured above) used by gardeners which, having been rebuilt in the 1930s, currently sits at the square’s centre and only returned to the gardens in 1938. There’s also a bench in the square which commemorates the late singer Kirsty MacColl, writer of the song Soho Square.
Around London – Bedchamber secrets at Hampton Court; Roman remains at the British Museum; Easter chocolate at Kew Gardens; Harry Beck’s blue plaque; and, Underground art…
March 28, 2013
Happy Easter! We’re taking a break over the Easter weekend…Our next update will be on Tuesday, 2nd April.
• A new exhibition exploring the secrets of the bedchambers of the Stuart and Hanoverian courts of the 17th and 18th centuries opened at Hampton Court Palace this week. At the heart of Secrets of the Royal Bedchamber are six royal beds which tell the story of why the bedchamber became the most important part of the palace and detail some of the events that took place there before an audience of courtiers, politicians and family members – from births and deaths to the consummation of marriages and the discussion of important affairs of state. It tells of why courtiers would fight for positions such as the ‘groom of the stool’ or ‘necessary woman’ and how beds which could cost the same as a London townhouse were sometimes never slept in. Among the beds on display is the ‘Warming Pan Bed’ (pictured), the State Bed of King James II’s queen, Mary of Modena, and scene of the royal birth that ultimately led to the end of the Stuart line, and the ‘Travelling Bed’ of King George II which travelled as far afield as Hanover and the battlefields of Europe. The exhibition also gives rare access into the Prince of Wales’ Apartments, designed by 17th and 18th architect Sir John Vanbrugh, and now open for the first time in 20 years. Admission charge applies. Runs until 3rd November. For more, see www.hrp.org.uk. PICTURE: HRP
• The Roman cities of Pompeii and Herculaneum are the subject of a major exhibition opening at the British Museum today. Life and death in Pompeii and Herculaneum brings together more than 250 objects from the two cities which were buried in just 24 hours during the eruption of Mount Vesuvius in 79 AD. The objects include celebrated finds and recent discoveries, many of which have never before been seen outside Italy, and help explore what daily life was like for the inhabitants. Artefacts include a beautiful wall painting from Pompeii showing baker Terentius Neo and his wife, wooden furnishings including a linen chest, inlaid stool, and even a baby’s crib from Herculaneum, and casts of victims including a family of four and a dog who died at Pompeii. Runs until 29th September. Admission charge applies. For more, see www.britishmuseum.org.
• Find out more about the history of chocolate at Kew Gardens this Easter, from the ritualistic use of cacao in ancient Mayan and Aztec cultures to the arrival of chocolate in 17th century London, where it was a luxury item for high society to indulge in at newly fashionable chocolate houses. Running from tomorrow until 14th April, there will be a range of workshops taking place at the gardens around the chocolate theme along with a traditional Easter Egg Hunt on Easter Sunday (31st March). The garden’s cocoa tree can be found in the Princess of Wales Conservatory. Admission charge applies. See www.kew.org.
• Harry Beck, designer of the innovative first diagrammatic Tube map, has been honoured by an English Heritage blue plaque – inscribed in the Underground’s new Johnston typeface – at his birthplace in Leyton in London’s east. Beck, who was born in a small terraced house at 14 Wesley Road in 1902, was working with London Transport as a draughtsman in the London Underground Serial Engineer’s Office, when, in 1931, he produced his first design for a diagrammatic map. He continued to update the map with new stations and lines even after leaving London Transport with the last version of his map published in 1960. Beck died in 1974. Meanwhile, a blue plaque commemorating railway engineer Sir Nigel Gresley (1876-1941) has been returned to King’s Cross station following the completion of building work. It can be found on platform 8. For more, see www.english-heritage.org.uk/discover/blue-plaques/.
• On Now: The Underground. A commission from Art on the Underground, this exhibition of artist Mark Wallinger’s work at the Anthony Reynolds Gallery (60 Great Marlborough Street) features some examples of 270 labyrinth designs – one representing each of the Underground stations – which are being installed at the Tube stations themselves. Among those stations represented at this showing are Westminster, St James’s Park, Oxford Circus, Victoria, Embankment, Green Park, King’s Cross St Pancras, Baker Street and Tottenham Court Road. While labyrinths are already in place at these locations, the remainder of Wallinger’s labyrinth designs will be appearing at Tube stations over the coming months. Runs until 27th April. For more, see www.anthonyreynolds.com.
September 17, 2012
A late 17th and early 18th century wood carver and sculptor, the curiously named Grinling Gibbons is remembered for his magnificent carvings in numerous English buildings including such London icons as St Paul’s Cathedral and Hampton Court Palace.
Not much is known about Gibbons’ early life. The son of English parents (his father was apparently a draper), he was born in Rotterdam in The Netherlands on 4th April, 1648, and, as a young man, is believed to have undertaken an apprenticeship as a sculptor in that country.
Around the age of 19, he moved to England – first to York and to Deptford in the south. It was the quality of his work which led diarist John Evelyn, having discovered Gibbons working on a limewood relief of Tintoretto’s Crucifixion in a small cottage near Deptford in early 1671, that led him to introduce him to Christopher Wren, the architect of the age, and fellow diarist Samuel Pepys and to eventually present him (and his relief) to King Charles II at Whitehall Palace on 1st March the same year.
But Gibbons’ work apparently failed to initially impress at court and it was only following his ‘discovery’ later that year by the court artist Sir Peter Lely that he began to receive major commissions.
It’s apparently not known when Gibbons married his wife Elizabeth and moved to London they were living there by 1672 and were having the first of their at least 12 children (while at least five of their daughters survived into adulthood, none of their sons did).
In 1672, they were living in an inn, called La Belle Sauvage or The Bell Savage, located on Ludgate Hill near St Paul’s, and, while Gibbons continued to maintain a workshop here into the 1680s, the family moved to Bow Street in Covent Garden around the end of the 1670s (the house here apparently collapsed in 1702 and was subsequently rebuilt in brick).
Gibbons, who was admitted to the Draper’s Company in 1672 and held various posts within it over ensuing years, reached the pinnacle of his success when he was made master sculptor and carver in wood to King William III in 1693, and was later made master carpenter to the king, then King George I, in 1719.
Having worked mostly in limewood, Gibbons, recently called the “British Bernini”, is known for his distinct and exuberant style which features cascading foliage, fruit, animals and cherubs. While he worked on numerous important buildings outside of London – including carvings in the Chapel Royal and king’s dining room at Windsor Castle, in a chapel at Trinity College in Oxford, at Blenheim Palace in Oxfordshire and a famous ‘carved room’ at Petworth House in Sussex – and beyond (he also created two presentation panels – known as the ‘Cosimo’ and ‘Modena’ panels which were sent to Italy as royal gifts), Gibbons is also noted for his work on a number of prominent buildings in London.
Among the buildings he worked on or in around London are the churches of St James’s in Piccadilly, St Mary Abchurch, St Michael Paternoster Royal and, famously, St Paul’s Cathedral (where he carved choir stalls, the bishop’s thrones and choir screen) as well as Hampton Court and Kensington Palaces.
While he is primarily remembered for his limewood carvings, Gibbons’ workshop was also responsible for sculpting statues, memorials and decorative stonework. A couple of the workshop’s statues can still be seen in London – one of King Charles II in Roman dress at the Royal Hospital in Chelsea and another of King James II outside the National Gallery in Trafalgar Square – while the magnificent Westminster Abbey memorial to Admiral Sir Clowdisley Shovell is also attributed to him.
Gibbons died at his Bow Street home on 3rd August, 1721, and was buried in St Paul’s Church in Covent Garden (his wife had been buried there several years before).
For more on Grinling Gibbons, check out David Esterly’s Grinling Gibbons and the Art of Carving.
August 20, 2012
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.