Visitors can safely check out the grounds, Painted Hall, and other buildings of the iconic Greenwich attraction.
The historic heart of Greenwich, the Old Royal Naval College, is reopening to the public this month following lockdown. Implementing safety measures in line with government guidance, the iconic 17th century complex will be opening its doors to its building and grounds from 13 July 2020. Londoners and tourists alike will be able to safely visit the stunning Painted Hall, King William Undercroft and interpretation gallery. The safety of visitors and staff will be prioritised with people advised to book in advance, with limited tickets available daily to ensure social distancing. As well being able to check out some of the college’s famous sights, there will also be special events and entertainment for the remainder of the summer season.
The Old Royal Naval College’s buildings were designed by Sir Christopher Wren and date back to the 17th century and early 18th century. Its glorious Painted Hall, painted by James Thornhill, re-opened late last year following several years of restoration. (Read about Metro Girl’s visit to see the ceiling up close during the project).
Visitors to the Old Royal Naval College can learn about its centuries of history with a new smartphone tour, free on the Smartify app. Families will enjoy the Building Detectives treasure trail tour for children aged 5-12 years.
Kicking off on 28 August – 12 September is the Greenwich + Docklands International Festival, with plenty of events taking place within the grounds. This year’s festival will celebrate the heroes of the Covid-19 pandemic – the NHS, along with the strength of community spirit and the environment. Roaming film club Luna Cinema will also be pitching up for alfresco cinema screenings in August. Meanwhile, Amber Markets are also planning to return later this year with global street food.
To mark Black History Month in October, the ORNC will launch a new exhibition exploring the history of the black sailors in the British Navy in the 18th and 19th centuries, curated by black British historian S.I. Martin.
- Old Royal Naval College, King William Walk, Greenwich, SE10 9NN. Nearest stations: Greenwich, Cutty Sark or Maze Hill. For more information, visit the ORNC website.
- The grounds will be open daily 7am-7pm. The Painted Hall, King William Undercroft, Visitor Centre Shop and Ticket Desk will be open daily from 10am–5pm. The Chapel will be open from 10am–2pm for private prayer. (The Victorian Skittle Alley remains closed). Spaces must be booked in advance for tours and the ORNC recommends visitors bring their own headphones for use with the multimedia guides. Guided tours will be limited to a maximum of five people. Groups larger than 25 will not be permitted to visit the site. No cash payments will be accept: Card and mobile payments preferred.
The history of 17 Fleet Street, a 17th century building that survived the Great Fire of London.
Standing on a Fleet Street is a rare piece of Jacobean London. Thanks to the Great Fire of London of 1666, hardly any buildings originating prior to the mid-17th century exist within the confines of the Square Mile. Among the few exceptions are 41 – 42 Cloth Fair in Smithfield, a handful of City churches, the Tower of London and St Bartholomew’s Gatehouse. Another one of these survivors is a Jacobean townhouse at 17 Fleet Street.
The site was originally part of an estate owned by the Knights Templar, an order of Catholic soldiers. Following their dissolution in 1312, the land passed to their rivals, the Knights Hospitallers of the Order of St John of Jerusalem. Among their tenants were lawyers, who established the legal district of Temple which still exists today. With its origins as a Roman route, Fleet Street was named and established as a residential road in the Middle Ages. By the early 16th century, one of the Hospitallers’ tenants was the landlord of an inn called The Hand at 17 Fleet Street. After the Hospitallers was dissolved by King Henry VIII in 1540, a lot of the Temple district passed into the hands of the Crown and other landowners.
In 1610, the owner of 17 Fleet Street rebuilt the tavern, by then named the Prince’s Arms. Some have claimed the tavern was named in honour of the investiture of Henry Frederick Prince of Wales (1594-1612) – son of King James I of England – while others claim the tavern’s name dates back to before his birth. Another theory suggests No.17 was built for the Council of the Duchy of Cornwall and that first floor had been reserved for Prince Henry’s use. The building features a three feathers motif on the façade – the symbol for the Prince of Wales. This symbolism appears again in the large room on the first floor, which boasts one of London’s best examples of Jacobean ceiling plaster. It contains the three feather motif, along with the initials P.H. Read the rest of this entry
The story behind a Neo-Gothic office building-turned-holiday let on Fleet Street
Fleet Street has its fair share of striking architecture – from the bold Art Deco design of the Express Building to the old Tudor frontage of Prince Henry’s Room. However, one particular building’s design suggests it’s from an earlier age that it actually is – the Mary Queen of Scots House at 143-4 Fleet Street. The building is situated just two doors down from the temple-like Peterborough House and next door to Ye Olde Cheshire Cheese pub. The Mary Queen of Scots House has two entrances – the eastern one accessing the upper storeys, while the west is the shop door (currently a Pret a Manger). Just to the left of the shop entrance is Cheshire Court, a small alley previously known as Three Falcon Court.
Long before Pret A Manger arrived, and indeed, even the current building was erected, the site had a varied history. In the 1770s, a publisher named Joseph Wenman was operating out of his premises at 144 Fleet Street, producing mostly theatrical reprints. By 1833, No.143-144 was owned by a Sir John Marshall, with one of his tenants being a baker, according to an insurance policy taken out at the time. In the 1840s, wood engraver Edwin Morrett Williams and cutler/hardwareman William Sutton worked on-site. By 1882, 143 had become a restaurant. Nine years later, optician Samuel Poole was operating out of 144.
In the early 20th century, Scottish landowner and liberal politician Sir John Tollemache Sinclair (1825-1912) acquired the land of 143-144 Fleet Street. He commissioned architect Richard Mauleverer Roe (1854-1922) to design an ornate, Neo-Gothic office building in 1905. At the time, Gothic revival was steadily falling out of fashion in architecture, although the new dawn of Modernist design was still a way off. The building has five storeys, one of which being a roof storey. The ground floor is surrounded by a stone arch with zigzag mouldings.
Details of outdoor and drive-in cinemas in and around London, including ticket prices, locations and more
This summer, our social lives have been changed beyond all recognition due to the Covid-19 pandemic. Although the lockdown is gradually easing in stages, going to the cinema is a more complex activity as we practice social distancing. However, film fans missing their big screen experience can now book a ticket for one of London’s outdoor or drive-in cinemas. For those with a car and don’t mind travelling a bit further, there are also drive-ins appearing outside the capital in the home counties.
Key: 🧘 Seated viewings only (bring a blanket/cushion)
🚗 Can only attend in a car
- 4 – 31 July : Rooftop Film Club
This summer, the Rooftop Film Club are launching a drive-in experience for those with cars while their usual rooftop experience is on hold. Food and drink will be available, delivered to your car by roller-skating servers. Daytime and evening screenings available. Tickets: One vehicle £27.50-£29 (depending on screening time). Alexandra Palace, Alexandra Palace Way, N22 7AY. For more information, visit the Rooftop Film Club website. 🚗
- 5 – 31 July : Sunset Cinema
Enjoy a US-style, vintage drive-in experience. Food and drink available to pre-order, as well as on the night. Movies include Rocketman, Dirty Dancing, La La Land, Mamma Mia!, Grease, Knives Out, Back To The Future, and more. Tickets: £50 (1 car and 2 passengers), £15 for each additional passenger. Twyford Avenue Sports Ground, Twyford Avenue, Acton, W3 9QA. For more information, visit the Sunset Cinema website. 🚗
- 5 July – 31 August : The Drive-In (from Secret Cinema and Goodwood)
Enjoy a drive in experience in Chichester, West Sussex (80 miles from London). The famous Goodwood Motor Circuit is teaming up with Secret Cinema and Häagen-Dazs to host screenings of classics and family favourites, such as Toy Story, Pretty Woman, Dirty Dancing, The Incredibles and more. Tickets: £50-£57.50 (1 car and up to 5 passengers). Discounts available for NHS workers. Goodwood Motor Circuit, Chichester, West Sussex, PO18 0PX. For more information, visit the Secret Cinema website. 🚗 Read the rest of this entry
Long demolished, this West End venue was home to a museum, art exhibitions, Victorian ‘freak shows’ and magic shows.
Over the centuries, many London landmarks have come and gone. Sometimes bombs or fire were to blame, but others have fallen victim to changing tastes. One these lost London buildings was the Egyptian Hall, a piece of architectural pastiche that was home to many attractions and exhibitions during its 93 year history.
The Egyptian hall was originally a museum on Piccadilly, built in 1811-1812 on the site of the original Hatchards book shop (now at 187 Piccadilly) and the White Horse Inn. Following Horatio Nelson’s (1758-1805) victory over the French at the Battle of the Nile in 1799, public interest in Egypt began to grow. By the early 19th century, wealthy Europeans were desperate for a genuine piece of Egyptian history. For those who couldn’t afford it, seeing millennia-old antiquities in an exhibition would have to suffice. English traveller and naturalist William Bullock (1773-1849) commissioned architect Peter Fredrick Robinson (1776-1858) to design a museum to house his collection. Erected on a budget of £16,000, the Egyptian Hall was the first English building to be influenced by Egypt architecture. It took inspiration from the Egyptian room at collector Thomas Hope’s (1769-1831) house in Marylebone. He filled his Georgian terrace in Duchess Street with antiquities from ancient Greece, Egypt, Italy and Turkey and opened it to the public.
The hall’s grand façade outshone the simple Georgian terraces surrounding it. Many of its details were copied from the Dendera Temple complex in Egypt, such as the winged mundus, scarabreus, columns and hieroglyphics. Above the entrance were two huge Coade stone figures of Isis and Osiris by either sculptor Lawrence Gahagan or his son Sebastian (1778-1838). Inside, was a Grand Hall, lecture rooms, a bazaar and a large central room called ‘the Waterloo Gallery’. Over its lifetime, the hall was also known as Bullock’s Museum or the London Museum. In 1816, an exhibition of Napoleonic relics was a big success. Bullock made £35,000 from the 220,000 visitors to the display, which included Napoleon’s field carriage from the Battle of Waterloo. In 1819, Bullock sold off his collection of objects in an auction lasting 26 days and embarked on more adventures.
The building was then converted into an exhibition hall. Italian adventurer and strongman Giovanni Battista Belzoni, aka ‘The Great Belzoni’, (1778-1823) showcased his collection from May 1821, acquired from his extensive travels. Four years previously he had taken the white sarcophagus of Seti I from his tomb in Egypt’s Valley of the Kings. A year later, Belzoni put up his collection for auction. English architect Sir John Soane (1753-1837) bought the sarcophagus (now found in the Sir John Soane Museum) for £2,000 – the most expensive item in his collection. Over the next few years, the hall was used for exhibiting art by the Old Water-Colour Society and the Society of Painters in Water Colours, costing only a shilling to enter. Paintings by Joseph Mallord William Turner (1775-1851) were among those displayed in the early 1820s. Read the rest of this entry
Contemporary artists Robert Sample, Joseph Loughborough and Bael feature in the June 2020 exhibition.
Lockdown may be easing in some areas, but art lovers are still patiently waiting to return to London’s galleries. While you may not be able to visit art displays in person, the Ben Oakley Gallery have just launched a new 3D art exhibition to enjoy in lockdown.
Contemporary artists Robert Sample, Joseph Loughborough and Bael will showcase their drawings and paintings in the new exhibition, Triptych. Having launched on 12 June, the three-man exhibition is available to view in 3D, along with the new virtual reality gallery space. These three artists have very different styles, but each explores the human figure in this new exhibition.
Sample’s signature gritty style is on show, with his latest work depicting monochromatic figures in oil paint. Meanwhile, Bael focuses on stillness and simplicity with delicate lines and hints of colour. Finally, Loughborough’s dreamy work brings the viewer to another dimension.
- The Triptych exhibition is on virtually until 28 June 2020. To book your time slot, email the gallery. For more information, please visit BenOakleyGallery.com.
For more of Metro Girl’s art posts, click here.
The history of one of Roman London’s first gates.
Today, the City of London covers the area of the original Roman settlement of Londinium. Although the capital’s population spread out far beyond these boundaries in more recent centuries, the City gates remained until the mid 18th century.
One of the four original gates of London was Aldersgate, located in the north corner. It’s believed it was built by the Romans in the late 4th century to replace an older gate to the nearby Cripplegate Fort. It was built into the defensive City wall, which had been erected between 190-220 AD. The gates were designed to control traffic in and out of Londinium so taxes could be imposed on incoming goods. The first Aldersgate is believed to have had semi-circular towers with a pair of roadways and a platform for catapults.
After the Romans abandoned the City in the early 5th century, Londinium rapidly deteriorated over the years. It wasn’t until the 9th century that the Saxons began to resettle the area under Alfred the Great (847/9-899 AD). At some point in the Medieval period, the gate was named Ealdredesgate (AEldresgate). When it comes to what inspired the name, there has been much debate. In his 1603 Survey of London, John Stow (1524/5-1605) wrote some Londoners claimed it was named after a Saxon man Aldrich, while others believed it was after the alder trees which grew nearby. However, Stow theorised it was called so due to its age, writing: “The next is AEldresgate, or Aldersgate, so-called not of Aldrich, or of Elders, that is to say, ancient men, builders therefore, nor of Eldarne trees, growing there more abundantly than in other places as some have fabuled, but for the very antiquity of the gate itself, as being one of the first 4 gates of the city and serving for the Northerne parts, as Aldegate for the East.” The Anglo-Saxon word ‘Aeld’ was used to describe the type of tree or an older person. Another suggestion is the gate may have been named after Ealdrād, Archbishop of York (d.1069), who crowned King William I (1028-1087) in 1066. It’s likely we’ll never know for sure which theory is correct.
Throughout the early centuries of the second millennium, the gate was frequently used by Londoners heading to nearby Smithfield, known for its fairs, markets, executions and jousting competitions, as well as St Bartholomew’s Priory. During the mid 16th century, the gate was home to Protestant printer John Day (1522-1584), who printed the Bible dedicated to the young King Edward VI (1537-1553) from the building in May 1551. His work was forced underground during Catholic Queen Mary I’s (1516-1558) reign and he was arrested and imprisoned at the Tower of London in 1554. He was later released and returned to live at Aldersgate during the reign of Mary’s Protestant sister Queen Elizabeth I (1553-1603). Read the rest of this entry
The story behind London’s Art Deco riverside structure and the buildings which came before.
Most of us would agree that the Elizabeth Tower (known more popularly by its nickname ‘Big Ben’ – actually the name of the bell), is one of the world’s most famous clocks. When it comes to iconic symbols of London, the Palace of Westminster’s time-keeper is up there with the Tower of London. While the clock faces of Big Ben are 23ft (7m) in diameter, there’s actually a bigger clock in the capital – just under a mile down river from Parliament.
Shell Mex House at No.80 Strand is a few years shy of its 90th birthday. Overlooking the River Thames and dwarfing the nearby Cleopatra’s Needle, the Art Deco structure is the latest in a series of interesting buildings to stand on the site over the centuries.
The Earls of Bedford at Russell Place
The land was first owned by the Bishop of Carlisle prior to the 16th century. It was around the Dissolution of the Monasteries, it came under the ownership of the famous landowning family, the Russells. John Russell, 1st Earl of Bedford (1485-1555), acquired some of the Carlisle estate in 1539, naming his home Russell Place (also known as Russell House and becoming later Bedford House). Eleven years later, the Earl took possession of more land in nearby Covent Garden. Following his death at Russell House in 1555, his home and land passed to his son, Francis, 2nd Earl of Bedford (1527-1585), who also died there. Francis’ grandson and heir to the peerage, Edward Russell, 3rd Earl of Bedford (1572-1627) built a second Bedford House on the north side of Strand in 1586, which remained the centre for the family’s estate until it was demolished in 1705-6.
It appears it was a case of musical chairs houses for the aristocratic families of Russell and Cecil. While the Russells moved the name Bedford House from south of the Strand to the north, the Cecils started north before expanding south. William Cecil, 1st Baron Burghley (1520-1598), originally lived in the 16th century Burghley House on the north side of the Strand, where the Strand Palace Hotel is today. It was renamed Exeter House in the early 17th century when William’s son Thomas Cecil (1542-1623) became the 1st Earl of Exeter. Meanwhile, Thomas’s younger brother Robert Cecil, 1st Earl of Salisbury (1563-1612), expanded the family land across the road, acquiring the site of the original Bedford House in 1599. Read the rest of this entry
The latest art installation by Frank Styles raises awareness of mental health.
The latest public art commission has been unveiled on Wembley Park’s Spanish Steps. The new piece, entitled ‘One in Four’, will give North-West Londoners a splash of colour while on their socially distanced walks. Spray can artist Frank Styles is the latest artist to decorate the Spanish Steps, leading from the national stadium with The SSE Arena. Styles’ design features a series of 12 portraits running down the stairs. Viewing the stairs from head on, only three of four portraits on each row are visible. However, the fourth was be viewed if you look over from an adjacent flight of stairs. The artwork symbolises the need to understand mental health and how a different perspective is sometimes required.
The new art installation, put in place this spring and officially unveiled in May, is a collaboration with the English Football League (EFL) and Mind’s charity partnership, which aims to highlight awareness of mental health issues among football fans. According to statistics, one in four people suffer mental health problem every year. ‘One in Four’ is the fourth public art commission for the steps, following Clare Page and Harry Richardson’s LOVE, LOVE, LOVE; Remi Rough’s Flight; and Maser’s Saturation Surge.
- One in Four will be show until late September 2020. At the Spanish Steps, Wembley Park, HA9. Nearest stations: Wembley Park or Wembley Stadium. For more information, visit the Wembley Park website.
For more of Metro Girl’s art posts, click here.
The story of how an ancient oak was given an artistic makeover to delight imaginative children.
Like most of the Royal Parks, Kensington Gardens is home to several unique attractions and artworks. One of these is the Elfin Oak, in the north-west corner of the Gardens. Located near the Diana, Princess of Wales Memorial Playground is an ancient oak tree with dozens of whimsical decorations.
Now protected by a cage, the Elfin Oak was made from the trunk of an ancient oak tree which originally grew in Richmond Park. Politician George Lansbury (1859-1940) conceived the idea, with Lady Winifred Fortescue (1888-1951) funding the project in a bid of improve facilities in Royal Parks.
Scottish-born artist Ivor Innes carved and painted 74 miniatures of fairies, elves, goblins, witches and animals into the oak, said to be around 800 years old. Among the characters are Wookey the Witch, Hucklebery the Gnome, Mother Cinders, Harebell the fairy, and elves named Grumples and Groodle.
The Elfin Oak was unveiled in August 1930 by the Mayoress of Kensington, Mrs Robinson – wife of then-Mayor Henry Robinson (1877-1960). Located near the children’s playground, it was the perfect place to inspire young minds’ about far off fairylands. The same year, Ivor’s wife Elise published a short story called ‘The Elfin Oak of Kensington Gardens’.
Over the years, the Elfin Oak was exposed to the elements, with a lot of the figurines losing their colour, being damaged and some pieces even going missing. Late comedian and local, Spike Milligan (1918-2002) helped restore the oak in both 1964-1966 and 1996. The nineties restoration was unveiled by Prince Charles in June 1997 with Historic England declaring it Grade II listed the same year. It is now surrounded by a cage in a bid to preserve the oak for future generations.
- The Elfin Oak can be found near the Diana, Princess of Wales Memorial Playground in the north-west corner of Kensington Gardens, W2 4RU. Nearest stations: Queensway or Bayswater. For more information, visit the Royal Parks website.
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