The historic 39 acre garden at Buckingham Palace opened to the public for the first time last Friday as part of the palace’s summer opening. Visitors can follow a route that takes in the 156-metre Herbaceous Border, plane trees which were planted by and named for Queen Victoria and Prince Albert, and views of the island and its beehives across the 3.5-acre lake. There’s also the opportunity to enjoy a picnic on the lawns and guided tours of the south-west of the garden with features including the Rose Garden, summer house and wildflower meadow. The current landscape dates back to the 1820s when King George IV turned Buckingham House into a place. It features more than 1,000 trees, the National Collection of Mulberry Trees (mulberry trees were first planted by King James I in 1608), 320 different wildflowers and grasses, and, since 2008, five beehives. The Queen traditionally hosts three garden parties in the gardens annually which are each attended by 8,000 guests, who consume around 27,000 cups of tea, 20,000 sandwiches and 20,000 slices of cake. The gardens are open until 19th September. Admission charge applies. For more, see www.rct.uk.
Next week sees the Royal Albert Hall’s 150th anniversary concert taking place, one of a number of events to mark the anniversary of the hall’s opening.
This spectacular building in South Kensington was officially opened on 29th March, 1871, as The Royal Albert Hall of Arts and Sciences (the opening was actually brought forward from 1st May – 20th anniversary of the opening of the Great Exhibition – at the request of Queen Victoria).
The Queen had laid the foundation stone in 1867 and the work on the building, the creation of which was partly funded by profits from the Great Exhibition of 1851, was complete by the end of 1870 (at least its structure – much of the interior decoration was apparently added later).
Queen Victoria and members of the Royal Family left Buckingham Palace in a line of state carriages for the event at noon escorted by the Royal Horse Guards Blue. Large crowds lined the route of her passage and a guard of honour composed of the Grenadiers stood opposite the entrance.
On arriving, the Queen was met by the Edward, the Prince of Wales (the future King Edward VII), members of the building committee and some of those who has served as commissioners of the Great Exhibition of 1851.
The Queen processed to a dais inside the building’ auditorium where some 8,000 dignitaries and invited guests waited in the audience. But she was apparently too overcome by memories of her late husband – Prince Albert, after whom the building as named – to give a speech. So it was the Prince who did so, although the Queen did reportedly add her own comments, saying according to an account in The Guardian: “I cannot but express my great admiration for this beautiful building, and my earnest wishes for its complete success.”
A battery of artillery performed a salute in nearby Hyde Park after which the Queen and Royal Family took their seats in the Royal Box to watch the musical program that followed. The Queen then returned to Buckingham Palace.
Interestingly, the first concert at the hall, held to test acoustics, actually took place month earlier on 25th February for an audience of some 7,000 people made up of those who had worked on the building and their families as well as officials and various invited members of the public.
• It’s 169 years since the Crystal Palace served as the centrepiece of the ‘Great Exhibition of the Works of Industry of All Nations’ in Hyde Park but for the first time you now have a chance to tour the building virtually. The Royal Parks, working in partnership with educational virtual reality company, Seymour & Lerhn, have recreated the grand glass and iron structure which hosted thousands of exhibits from across the globe at the 1851 exhibition which was spear-headed by Prince Albert. The building has been regenerated digitally using The Royal Commission for the Exhibition’s archive of plans and images, as well as The Royal Parks’ historical documents including old maps. The tour overlays this historic footage over the site as it is now and visitors can switch between the two as well as learn about some of the fascinating stories connected to the Great Exhibition including that of the construction of the first ever public toilets and that of the lady who walked from Cornwall to attend the display. The virtual tour is free to access at www.royalparks.org.uk/parks/hyde-park/things-to-see-and-do/the-great-exhibition-virtual-tour.
• The National Museum of the Royal Navy, National Army Museum and Royal Air Force Museum are hosting their first tri-service celebration with a ‘Virtual VE Day 75 Festival’ to mark the 75th anniversary of the end of the war in Europe. The festival runs from today until 9th May and kicks off with ‘Vying for Victory: Britain’s Navy, Army and Air Force in Myth and Memory’ featuring representatives from the museums discussing the service’s respective roles during the closing stages of World War II. Other events include a live webinar featuring historian and broadcaster James Holland speaking to the National Army Museum’s Dr Peter Johnston about ‘Why the Allies Won’, re-enactors sharing stories from real service personnel during the World War II, and an immersive walk-through of HMS Alliance which will provide insights into the isolation experience of submariners on VE Day. For the full programme of events, head to Virtual VE Day 75 Festival.
• The National Portrait Gallery is launching a new community photography project to capture a snapshot of the nation during the coronavirus lockdown. People are being encouraged to submit pictures responding to three themes – ‘Helpers and Heroes’, ‘Your New Normal’ and ‘Acts of Kindness’ – to the project which is called Hold Still. Launched by the Duchess of Cambridge, patron of the gallery, this week, the project is open to Britons of all ages and will see 100 short-listed pictures featured in a digital exhibition. The closing date for submissions is 18th June. Head to www.npg.org.uk/hold-still/ for more.
Send all items for inclusion to email@example.com.
Before we launch a new Wednesday series, we pause to recap our recent look at significant sites in Queen Victoria and Prince Albert’s London, a series we ran in commemoration of the 200th anniversary of both the royal couple’s births…
• More than 17,500 photographs, prints and private and official papers relating to Prince Albert, consort of Queen Victoria, have been published online. Launched last week, the new website Prince Albert: His Life and Legacy sheds fresh light on Albert’s role as Queen Victoria’s unofficial private secretary and as guide and mentor to some of the greatest national projects of his day as well as his various roles as a university chancellor, art historian, collector, and art and architecture patron. The website is part of the Prince Albert Digitisation Project which, by the end of 2020, will see some 23,500 items from the Royal Archives, the Royal Collection and the Royal Commission for the Exhibition of 1851 published online. PICTURE: After Roger Fenton, Prince Albert, May, 1854, 1889 copy of the original (Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019).
• Sheep have returned to Hampstead Heath for a week-long trial of an initiative aimed at replacing mowing with more natural grazing. The pilot project, which is being managed by the City of London Corporation in partnership with Heath & Hampstead Society, Heath Hands, Historic England, Mudchute Park & Farm and Rare Breeds Survival Trust, involves five sheep and will focus on The Tumulus on the Heath, an ancient Roman monument. If successful, the sheep – which include Oxford Down and Norfolk Horn – will take their grazing talents to other areas.
• Staff from the Tate galleries are showcasing their own artworks in a new free exhibition at the Tate Modern. The first Tate Staff Biennale, which can be seen for free in Tate Exchange on level five of the Blavatnik Building, features the work of 133 staff members from all four Tate Galleries – Tate Britain, Tate Modern, Tate Liverpool and Tate St Ives – and has been curated by the Inside Job Collective – a group of Tate staff dedicated to championing the work of colleagues who are also practicing artists. The biennale is inspired by ‘movement’, the theme of this year’s Tate Exchange, an experimental platform at the Tate Modern and Tate Liverpool which brings together the public, artists and associate partner organisations. Can be seen until 3rd September. For more, see www.tate.org.uk.
Send all emails for inclusion to firstname.lastname@example.org.
But for this series, we’re finishing with a look at a couple of much lesser – and certainly less grand – surviving monuments which adorn a Mayfair building. But it is one of the rare memorials in London which feature both the Queen and the Prince (albeit looking in different directions).
Located at 121 Mount Street (on the corner with Mount Street Mews), is a Victoria-era building now housing the Delfino Pizzeria. The facade, on the first floor, features a bust of Queen Victoria looking down on Mount Street and a bust of Prince Albert looking down on Mount Street Mews.
The Grade II-listed building on which the busts are located is part of a development constructed in the mid-1880s by James Trant Smith. The sculptor is apparently unknown.
Obviously, Prince Albert died in late 1861, well before the building was constructed, but Queen Victoria lived until 1901.
PICTURES: Google Maps.
That’s it for the current series – we’ll be launching a new Wednesday series in a couple of weeks.
The Crystal Palace was the most famous remnant of the 1851 Great Exhibition but there is another less grand monument – and both Prince Albert and Queen Victoria had a connection to it.
Originally constructed for display at the 1851 Great Exhibition in Hyde Park, the Prince Consort Model Lodge, also known as Prince Albert’s Model Cottage, was designed by architect Henry Roberts for the Society for Improving the Conditions of the Labouring Classes.
Prince Albert was president of the society which turned to him for support when it was initially refused permission to build the model home in the exhibition’s grounds and, as a result, it was eventually agreed it could be build close to them at the Knightsbridge Cavalry Barracks.
The two storey red brick cottage (the bricks were hollow, an innovation aimed at making the homes sound-proof and fire-proof as well as cheaper to build) actually contained homes for four families – each with a living room, a scullery, a parent’s bedroom and two other bedrooms as well as a water closet.
Among the estimated 250,000 people who visited the homes were Queen Victoria – who did so on 12th July, 1851, lavishing praise on her husband’s project – as well as writer Charles Dickens and philanthropist Angela Burdett Coutts.
Following the closure of the exhibition, the home was dismantled and rebuilt on the edge of Kennington Park in 1853 (the park became a public recreation ground the following year and was subsequently the first public park in south London). It can still be seen on the Kennington Park Road side of the park today with improvements including the addition of a porch on the rear.
Interestingly, the cottage is decorated with mosaic tiles featuring intertwined ‘V’s’ and ‘A’s’ – the initials of the royal couple, a motif which is repeated in brickwork on the cottage’s sides. There’s also an inscription on the front which reads ‘Model houses for families • Erected by HRH Prince Albert’.
The model cottage, which has previously served as a home for the park’s superintendent, has been the headquarters of Trees for Cities since 2003. It’s also been featured on a new British stamp this year, among a series marking the 200th anniversary of the birth of the Prince.
And, yes, the design was adopted for homes built in several other locations including Stepney and Kensington in London and Hertfordshire as well as in locations overseas including The Hague, St Petersburg and Brussels.
PICTURE: Google Maps
Queen Victoria was a monarch known for breaking records and, thanks to her rule being in an age when technology was advancing at an incredible pace, performing royal-related “firsts”.
Among the latter is the fact that the Queen was the first British monarch to travel by train – a feat she performed with Prince Albert by her side on 13th June, 1842. It was he, who having first travelled on a train in 1839, had encouraged the rather nervous 23-year-old to make the journey (which she apparently agreed to undertake only two days before she actually did).
Travelling in a specially adapted “royal saloon” decorated with flowers, the royal couple travelled on the Great Western Railway, leaving Slough, which they had travelled to from Windsor Castle, at noon and arriving at London’s Paddington Station some 25 minutes later. Queen Victoria later wrote that there was no dust or great heat during the journey which, in fact, was “delightful and so quick”.
The train – which was pulled by the Firefly-class steam engine Phlegethon – was driven by Sir Daniel Gooch who was assisted by engineer Isambard Kingdom Brunel, builder of the railway. The Queen’s carriage was sandwiched in between six other carriages and trucks to act as a buffer in case of an accident.
On arriving at Paddington (at a temporary building which had been opened in 1838 and which would be replaced in 1854), the Queen was greeted by railway officials and their families along with a detachment of hussars on a platform covered with a red carpet. Crowds quickly grew and the royal couple were then escorted to Buckingham Palace.
The Queen would go on to regularly use railways as she travelled about Britain and even had a special signal installed on the roof of the royal carriage so the driver could be instructed to slow down as required.
Interestingly, the current Queen – Elizabeth II – and Prince Philip re-enacted the journey in 2017 to mark its 175th anniversary. They were accompanied by Isambard Thomas, the great, great, great grandson of Brunel and Gillian White, great, great grand-daughter of Gooch.
Following the destruction of much of the Palace of Westminster in a fire which broke out on 16th October, 1834, work was launched on a new building to house both the House of Commons and the House of Lords – a building to which both Queen Victoria and Prince Albert had strong connections.
Rebuilding commenced in earnest for the new building 27th August, 1840, when Sarah Barry, wife of architect Charles Barry (his plans for a new Perpendicular Gothic-style Parliament building had been selected from some 97 submissions), laid the foundation stone of the new complex.
Work, to the designs of Barry with the aid of Augustus Pugin, progressed (although a lot slower than was originally envisaged – and a lot more expensively) and the new House of Lords was opened in 1847 followed by the new House of Commons in 1852 (when Barry received a knighthood).
The Clock Tower, meanwhile, now renamed the Elizabeth Tower, was not completed until 1858, but when the Victoria Tower was roofed in 1860, the work was largely complete (although construction wasn’t officially completed until 10 years later – Barry died in 1860 and the work was continued by his son, Edward Middleton Barry).
In 1852, Queen Victoria became the first monarch to take the route since used by all sovereigns at the State Opening of Parliament – arriving in the Irish State Coach (still used by Queen Elizabeth II today) she entered the entrance at the base of the Victoria Tower (now known as the Sovereign’s Entrance) and proceeded to the Robing Room where she was dressed in the Imperial State Crown and the Robe of State before processing through the Royal Gallery to the chamber of the House of Lords where she took her seat on the Throne (located opposite the door leading to the House of Commons).
Prince Albert, known for his passion for the arts, chief connection came when he was appointed chair of the Royal Fine Arts Commission in 1835. It oversaw the placement of paintings and sculptures in the building, including five vast frescoes by William Dyce depicting the Arthurian legend which can be seen in the Robing Room.
The prince tragically died on 14th December, 1861, and while the structural work had largely been completed, much of the decorative schemes the commission had envisaged for the palace hadn’t been finished. As a result, many of the decorative aspects Prince Albert had overseen the planning of were never completed.
Portrayals of the Queen and Prince in the building today include a white marble statue of Queen Victoria holding a sceptre and laurel crown in the Prince’s Chamber and portraits of the Queen and Prince Albert by Franz Xaver Winterhalter which flank the Chair of State in the Robing Room.
WHERE: Houses of Parliament (nearest Tube stations are Westminster, St James’s Park and Embankment); WHEN: Tours are held on Saturdays until 25th January 2020 and Monday to Friday between until 30th August 2019 (except 26th August); COST: £26.50 adults/£22 concessions/£11.50 children five to 15 years (children under five are free); WEBSITE: www.parliament.uk.
Better known today as the Victoria and Albert Museum following its renaming in 1899, the South Kensington Museum was created in the aftermath of the success of the Great Exhibition of 1851.
Initially located in Marlborough House on the Mall, it moved to its South Kensington site in 1857, opening to the public on 22nd June that year. Recorded among the visitors in the initial couple of years was Queen Victoria – who visited twice in February, 1858, and then again open 14th April when she was accompanied by Prince Albert.
The purpose of the later visit was to open the Art Rooms on the ground floor of Sheepshanks Gallery, a building which had been specifically constructed to house paintings given by John Sheepshanks (the building, located on the eastern side of the John Madejski Garden now contains sculptures on the ground floor and silver and stained glass on the first floor).
One interesting connection between the Queen and the museum can be found in a six metre tall plaster cast of Michelangelo’s David. The cast was given to Queen Victoria as a gift from the Grand Duke of Tuscany in 1857 but she didn’t want the trouble of housing the giant figure (and she was apparently shocked by its nudity – more on that in a moment). So the Queen gave the statue to the museum where it was installed in a prominent position (and can today be seen in Room 46b).
But ah, yes, the nudity. The story goes that in response to the Queen’s shock, a proportionally accurate plaster fig leaf was commissioned to cover David‘s nether regions whenever the Queen visited (apparently by being hung on two small hooks on the cast). The fig leaf, like the statue, can still be seen – it’s housed in a small case on the back of the plinth David‘s standing on.
David is one of only a few items in the V&A’s collection today which once belonged to the Queen or Prince Albert. Others include the Raphael cartoons which she loaned to the museum in 1865 (and are still on loan from the current Queen).
As part of the redevelopment of the museum in the late 19th and early 20th centuries (when it was also renamed the Victoria and Albert Museum despite the Queen’s wishes it be called the Albert Museum), statues of the royal couple were installed above the museum’s main entrance in Cromwell Road with Prince Albert positioned just below the Queen who is flanked by St George and St Michael (see above).
PICTURES: Courtesy V&A
WHERE: Victoria and Albert Museum, Cromwell Road (nearest Tube stations are South Kensington and Gloucester Road); WHEN: 10am to 5.45pm daily (Fridays to 10pm); COST: Free; WEBSITE: www.vam.ac.uk
Queen Victoria and Prince Albert both had an abiding love of performance and were avid theatre-goers (the Queen first attended the theatre as monarch to watch The Siege of Rochelle and Simpson & Co at the Drury Lane Theatre just a few months after ascending the throne in 1837).
Until Prince Albert’s death in 1861, they were regularly seen at various theatres with the Queen attending both ‘in state’ (that is, formally as monarch with all the pomp and ceremony that entails) as well as in private (despite Prince Albert’s concerns over her security). The royal couple’s visits to the theatre generally took place from February to June when the Queen was principally in residence at Buckingham Palace.
As well as the Drury Lane Theatre (more formally, the Theatre Royal Drury Lane – pictured above in 2018), other theatres they attended include the Theatre Royal Haymarket and the Covent Garden Theatre, now the Royal Opera House.
They also attended the now demolished Princess’s Theatre in Oxford Street, most notably to see Charles Kean’s production of The Corsican Brothers in February, 1852. Keen not only directed but played both brothers mentioned in the title. So enamoured was the Queen of it, that she would see it four times.
The royal couple were such great admirers of Kean that they even had him stage private theatrical performances at Windsor Castle and when he died, Queen Victoria sent a letter of condolence to his wife.
As well as being a location for Queen Victoria and Prince Albert’s carriage rides, Hyde Park was the scene of what the Queen described as “the greatest day in our history” – the opening of the Great Exhibition in 1851.
Designed by Joseph Paxton, the vast Crystal Palace had been constructed on the south side of the park and it was at noon on 1st May, 1851 (having already celebrated their son Arthur’s first birthday), that the Queen and Prince arrived in a closed carriage to officially open the exhibition, encountering, as they did so, the biggest crowd they’d ever seen.
They were greeted by massed choirs as they entered the Crystal Palace after which Prince Albert delivered an address to the Queen and she made a short reply before the choir then sang the Hallelujah Chorus. The Royal Family – the Queen holding the hand of Bertie, the Prince of Wales, and the Prince holding that of Princess Victoria “Vicky” – then toured the building, cheered on by thousands of onlookers.
The exhibition, with its thousands of displays from around the world, was then officially declared open by the Lord Chamberlain and 100 cannons were fired outside.
The royal couple returned to Buckingham Palace where, for the first time, they walked out onto the balcony to greet the thousands of people massed outside.
Victoria described the day as one to “live for ever” in her journal. Paul Thomas Murphy, in his book Shooting Victoria, records that she went on to write: “God bless my dearest Albert, God bless my dearest country, which has shown itself so great to-day. One felt so grateful to the great God, who seemed to pervade all and to bless all.”
Interestingly, the park was also where Queen Victoria, in the presence of Prince Albert and other members of the Royal Family, presented 62 men with the first Victoria Crosses on 26th June, 1857. It was also where, sadly without the Prince, the Queen made a surprise appearance on 22nd June, 1887, as thousands of school children ate a free meal given as a gift to celebrate her Golden Jubilee.
PICTURE: ‘Her Majesty and the Princes passing through the Crystal Palace’, 1851 Sharles, H (artist) ; Ackermann & Co. (printer and publisher)/© Victoria and Albert Museum London.
WHERE: Hyde Park (nearest Tube stations are Lancaster Gate, Marble Arch, Hyde Park Corner and Knightsbridge); WHEN: 5am to midnight; COST: Free; WEBSITE: www.royalparks.org.uk/parks/hyde-park
It was on this road connecting the western end of The Mall outside Buckingham Palace with Hyde Park Corner that an infamous incident took place during Queen Victoria and Prince Albert’s early years together.
For it was from a footpath on Constitution Hill that the first of eight assassination attempts were made on the Queen as the couple – the Queen then pregnant – rode out from the palace in a low slung carriage headed for Hyde Park as was their custom.
Edward Oxford was just 18-years-old when at on 10th June, 1840, he took up a position on a footpath on Constitution Hill where he stood for a couple of hours before, at about 6pm, as the royal couple’s carriage sailed past, he fired two pistols at them.
Both shots missed (in fact, no bullets were ever found) and Queen Victoria was quick to order the carriage to drive on (she and Albert would also ride out along the same route the next day despite the scare – this time there was a sizeable crowd of well-wishers eager to convey their good sentiments to the Queen and a procession of these followed their carriage up the hill to Hyde Park).
Oxford, meanwhile, was immediately seized by onlookers and stripped of his guns. He immediately admitted his crime, was subsequently arrested, charged with treason and later acquitted on grounds of insanity before being detained in an asylum at Her Majesty’s pleasure (he was eventually discharged with the proviso that he head to one of England’s overseas colonies and ended up living out his days in Melbourne, Australia).
An interesting footnote is that future artist John Everett Millais, then aged just 11-years-old, was among those standing on Constitution Hill watching the Queen drive past on the day of the assassination attempt.
There were another seven assassination attempts on Queen Victoria over the ensuing years. For more on them, check out Paul Thomas Murray’s detailed book Shooting Victoria: Madness, Mayhem and the Modernisation of the Monarchy.
PICTURE: A view down Constitution Hill towards Buckingham Palace fro, the top of Wellington Arch.
You may have noticed that last week we kicked off a new Wednesday series on 10 (more) London garden squares, only having kicked off a new series on 10 sites from Victoria and Albert’s London the week before. To clarify, we are currently running the Victoria and Albert series, the garden squares entry snuck in by accident (but we’ll be returning to the garden squares down the track)! Apologies for any confusion...
Queen Victoria, the first British monarch to use Buckingham Palace as an official residence, moved her household into the palace just three weeks after ascending to the throne on 20th June, 1837.
The palace, which had been empty for seven years following the death of her uncle King George IV, had been undergoing a grand repurposing under architect John Nash, transforming it from a house into a palace.
Originally built in 1703 as a London residence for John Sheffield, the 3rd Earl of Mulgrave, in 1761 the property had been purchased by King George III as a family home for his wife Queen Charlotte (14 of the couple’s 15 children were born here).
Remodelling of the property began the following year and had been continued by King George IV following his accession to the throne in 1820. As a result of the ongoing work, George IV never lived in the palace nor did his successor, King William IV, who preferred Clarence House.
The building works still weren’t finished when Victoria moved in. Her ministers had advised her to remain at Kensington Palace, her childhood home, until the works were finished but Victoria wasn’t having any of that – the move would help her escape the overbearing care of her mother Victoria, Duchess of Kent, the ambitious Sir John Conroy, and the so-called (and stifling) ‘Kensington System’ of rules under which she’d been brought up.
When Victoria married Albert (see the previous entry) on 10th February, 1840, the newly weds made the palace their London home. It was here that, over the next 17 years, Victoria would give birth to eight of their nine children (starting with Victoria ‘Vicky’, in 1840), and where the couple would work, controversially at side-by-side desks.
The couple’s growing family was soon stretching the palace accommodations and following a request from Queen Victoria, in 1846 some £20,000 was granted by Parliament on 13th August to complete and extend the grand property with an additional £50,000 for the works raised from the sale of the Royal Pavilion to the Brighton Corporation.
Under the direction of architect Edward Blore and builder Thomas Cubitt, the East Wing was added at the front of the palace, enclosing what had previously been a horseshoe-shaped courtyard and creating the famous central balcony where the Royal Family now gather on special occasions. Queen Victoria made the first public appearance on the balcony in 1851 during the Great Exhibition (pictured above are members of the Royal Family at the wedding of Prince William and Kate Middleton).
A new ballroom – designed by Nash’s student James Pennethorne – was added to the State Rooms shortly after. This was inaugurated in May, 1856, with a ball held there the following month to mark the end of the Crimean War.
The ball was one of several held at the palace during those years along with official royal ceremonies and other entertainments including musical performances by the likes of Felix Mendelssohn and Johann Strauss II.
A new exhibition, Queen Victoria’s Palace, opens at Buckingham Palace next month.
WHERE: State Rooms, Buckingham Palace (nearest Tube stations are Victoria, Green Park and Hyde Park Corner); WHEN: 20th July to 29th September (opening at 9am, closing times vary – see website for details); COST: £25 an adult/£14 a child (under 17s/under fives free)/£22.80 concession/£64 family; WEBSITE: www.royalcollection.org.uk/visit/buckinghampalace.
This year marks the 200th anniversary of the births of both Queen Victoria (24th May) and Prince Albert (26th August) and, in celebration, we’re running a special series on London locations that played a key role in their joint lives.
First up is the Chapel Royal at St James’s Palace where the royal couple were married on 10th February, 1840. It was the first marriage of a reigning queen since Queen Mary I in 1554.
The chapel, which hosted the christening of Prince George in 2013 and Prince Louis in 2018, was built in about 1540 and substantially altered since, including under the eye of Sir Robert Smirke in 1837. It was built on a north-south axis rather than the more usual east-west (a sizeable window on its northern wall can be seen to the right of the palace’s main gatehouse – see picture).
The chapel, which features a richly decorate ceiling said to have been painted by Holbein, has been used regularly by the Chapel Royal – a department of Royal Household – since 1702.
At the wedding, the Queen wore a white satin gown with a deep flounce of handmade Honiton lace, designed by William Dyce, which featured a long veil and an 18 foot long train (she had 12 train bearers). Her jewellery included a sapphire broach given to her by Albert and she wore a headress of orange blossoms. Victoria’s dress is said by some to have popularised the idea of the white wedding dress among the English (although there is apparently some debate over this).
Among those in attendance was Victoria’s mother, the Dowager Duchess of Kent and Strathearn, Albert’s father and brother, the Duke and Prince of Saxe-Coburg and Gotha respectively, and various other royals including Queen Adelaide, the widow of King William IV, as well as the Prime Minister, Lord Melbourne (who, in fact, carried the Sword of State). Given the fact Victoria’s father was dead, it was her uncle, the Duke of Sussex, who walked her up the aisle.
It was a big affair in the city – people lined the roads between Buckingham and St James’s palaces and some reportedly even climbed trees for a better view. Victoria wrote in her diary that she’d never seen such crowds “and they cheered most enthusiastically”.
The wedding breakfast, which featured a 300lb cake which was nine foot in circumference, was held at Buckingham Palace after which the newly weds headed off to Windsor for a two day honeymoon.
Famously, before the wedding, the Archbishop of Canterbury had apparently asked Victoria whether, given she was Queen, she wanted to remove the word “obey” from her wedding vows. Victoria had refused.
There are limited opportunities for the public to attend services in the Chapel Royal at certain times of the year.
Queen Elizabeth II posted her first Instagram photo while visiting the Science Museum in South Kensington last Thursday in a promotion for its exhibition on computers. Under the account @theroyalfamily, the Queen posted two images of a letter at the museum which comes from the Royal Archives. It was written to Prince Albert and Queen Victoria by Charles Babbage and in it, the 19th century inventor and mathematician spoke of his invention of an “Analytical Machine” upon which the first computer programs were written by Ada Lovelace, daughter of Lord Byron. Having explained the origins of the letter, the Queen added: “Today, I had the pleasure of learning about children’s computer coding initiatives and it seems fitting to me that I publish this Instagram post, at the Science Museum which has long championed technology, innovation and inspired the next generation of inventors. Elizabeth R.” The Royal Family’s Instagram account has some 4.9 million followers. For more on the Science Museum, see www.sciencemuseum.org.uk.
This grand Victorian hotel – originally known as the Great Western Royal Hotel – was among the first large hotels constructed in London in proximity to railway termini – in this case Paddington Station.
Located 146 Praed Street, it was constructed in the 1850s to the designs of Philip Charles Hardwick and apparently cost some £60,000. The interior was designed in the Louis XIV style and the building as a whole was built with the intention of rivalling the great hotels of Europe.
Isambard Kingdom Brunel, who conceived the project to provide accommodation for people travelling on the Great Western Railway to Bristol and the West Country (and so managed to convince the directors of the GWR to invest), was the hotel’s first managing director.
The now Grade II-listed hotel was officially opened on 9th June, 1854, by Prince Albert and, apparently, the King of Portugal.
The main block, which effectively forms the facade of the railway station behind it, is book-ended by two towers which are said to house two storey bedrooms.
It boasts a sculpted pediment above the main entrance which was designed by John Thomas and features allegorical figures representing peace, plenty, industry and science.
The railway company took over the hotel late in the 19th century and in 1907 it was apparently updated with electric lighting, telephones and a pneumatic messaging service.
Much of the original ornamentation was lost when it was extensively modernised and extended in the 1930s in the art deco style under the eye of architect Percy Emerson Culverhouse.
The hotel was sold off as part of the privatisation of the railways in 1983 and reopened as part of the Hilton hotel chain in 2001. It remains part of that chain today.
For more, see www.hilton.co.uk/paddington.
This important Kensington thoroughfare runs through the heart of South Kensington’s world-famous museum precinct from Thurloe Place, just south of Cromwell Road, all the way to Hyde Park.
Along its length, it takes in such important institutions as the Victoria & Albert Museum, the Natural History Museum, Science Museum and Imperial College London while Royal Albert Hall is only a stone’s throw to the west.
It was, as might be expected given the name, indeed laid out as part of Prince Albert’s grand scheme surrounding the Great Exhibition of 1851 as a means of accessing the vast Crystal Palace which was located in Hyde Park (before moving out to south London).
It wasn’t the only road in the area built specifically for that purpose – the transecting Cromwell Road and Queen’s Gate, which runs in parallel and, yes, is named for Queen Victoria, were also built for to provide access to the Great Exhibition.
After the exhibition was over, Exhibition Road formed part of the precinct known as “Albertopolis” in which, inspired by the Great Exhibition, became something of a knowledge and cultural centre featuring various museums and the great concert hall which sadly Albert didn’t live long enough to see.
In the 2000s, a scheme to give pedestrians greater priority along the road was realised (in time for the 2012 Olympics).
PICTURE: Looking north along Exhibition Road from the intersection with Cromwell Road (the Natural History Museum is on the left; the Victoria & Albert Museum – and the Aston Webb Screen – on the right)/Google Maps.
Located in Old Palace Yard outside the Palace of Westminster, this Grade II-listed equestrian statue of 12th century crusader-monarch King Richard I, known as the “Lionheart” or Coeur de Lion, is the work of 19th century sculptor Baron Carlo Marochetti.
The nine metre high statue was originally exhibited as a clay work at the Great Exhibition of 1851 – it was located outside the west entrance of the Crystal Palace – and, despite the tail falling off soon after it was display, it was well enough received by the crowds attending the exhibition (as well as the critics) that a public subscription was raised to cast the statue in bronze. Queen Victoria and Prince Albert were among those who subscribed.
It was initially proposed that the statue be placed on the site of the Crystal Palace as a memorial to the exhibition (along with a statue of Prince Albert), but this plan was put aside and, after numerous other sites were considered, the current location was settled on.
The statue was erected on the site, facing south, in 1860, although it wasn’t completed with the addition of two bronze bas relief panels until 1867. These depict Richard on his death bed pardoning Bertran de Born, the archer whose arrow caused his death, and Richard fighting Saracens at Ascalon during his crusade in the Holy Land. Two other proposed panels were never made.
The statue was peppered with shrapnel when a bomb landed only a few metres away in 1940 during the Blitz, leaving Richard’s sword bent and damaging the tail and granite pedestal. The sword was fixed soon after. Further conservation works were carried out in 2009.
Italian-born Marochetti had worked in Paris as a sculptor before following King Louis-Philippe to London after the revolution of 1848 and largely remained in the city until his death in 1867. He was created a baron by the King of Sardinia.
His statue of Richard is one of few artworks created by non-British artists in the Parliamentary estate and while Marochetti had plans to create another equestrian statue, this one of Edward, the Black Prince, to face his statue of Richard across the entrance to the House of Lords, it never eventuated. Plans to install the second statue are, however, once more being talked about.
A towering figure of the scientific world, Faraday made significant contributions to understanding the fields of electromagnetism and electrochemistry and was a key figure at the Royal Institution of Great Britain in the 19th century.
Faraday was born in Newington Butts in Surrey (now in south London, part of the Borough of Southwark) on 22nd September, 1791, and, coming from a poorer family, received only a basic education before, at the age of 14, he started an apprenticeship as a bookbinder.
The job proved, however, to be something of a godsend, for Faraday was able to read a wide range of books and educate himself – it was during this time that he began what was a lifelong fascination with science.
In 1812 at the end of his apprenticeship, he attended a series of lectures at the Royal Institution by the chemist Sir Humphry Davy. Subsequently asking Sir Humphry for a job, he eventually was granted one the following year – in 1813 – when Sir Humphry appointed him to the post of chemical assistant in the laboratory at the RA (the job came with accommodation).
Faraday’s ‘apprenticeship’ under Davy – which included an 18 month long tour of Europe in his company – was critical to his future success and from 1820 onward – having now settled at the RA, he made numerous contributions to the field of chemistry – including discovering benzene, inventing the earliest form of Bunsen burner and popularising terms like ‘cathode’ and ‘ion’.
But it was in physics that he made his biggest impact, making discoveries that would, according to the Encyclopaedia Britannica, “revolutionise” our understanding of the field.
Faraday, who married Sarah Barnard, the daughter of a silversmith, in 1821 and was thereafter an active member of the Sandemanian Church to which she belonged, published his ground-breaking first work on electromagnetism in 1821 (it concerned electromagnetic rotation, the principle behind the electric motor). His discovery of electromagnetic induction (the principle behind the electric transformer and generator) was made in 1831 and he is credited with having constructed the first electric motor and the first ‘dynamo’ or electric generator.
Faraday, who would continue his work on ideas concerning electricity over the next decade, was awarded numerous scientific appointments during his life including having been made a member of the Royal Society in 1924, the first Fullerian Professor of Chemistry at the Royal Institution, from 1833 until his death, scientific advisor to lighthouse authority for England and Wales – Trinity House, a post he held between 1836 and 1865, and Professor of Chemistry at the Royal Military Academy in Woolwich, a post her held between 1830 and 1851.
He also, in 1825, founded the Royal Institution’s famous “Friday Evening Discourses” and the “Christmas Lectures”, both of which continue to this day. Over the ensuring years, he himself gave many lectures, firmly establishing himself as the outstanding scientific lecturer of the day.
Faraday’s health deteriorated in the early 1840s and his research output lessened although by 1845 he was able to return to active research and continued working until the mid 1850s when his mind began to fail. He died on 25th August, 1867, at Hampton Court where he had been granted, thanks to Prince Albert, grace and favour lodgings by Queen Victoria (she’d also apparently offered him a knighthood which he’d rejected). He was buried in Highgate Cemetery.
Faraday is commemorated with numerous memorials around London including a bronze statue at Savoy Place outside the Institution of Engineering and Technology, a Blue Plaque on the Marylebone property where he was an apprentice bookbinder (48 Blandford Street), and a rather unusual box-shaped metallic brutalist memorial at Elephant and Castle. And, of course, there’s a famous marble statue of Faraday by John Henry Foley inside the RI (as might be expected, the RI, home of The Faraday Museum, have a host of information about Faraday including a ‘Faraday Walk’ through London’s streets).