Category Archives: Architecture

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Shopping in Style – Part 6: The lost Lowther Arcade

A late Georgian shopping arcade became a toy mecca for Victorian children until its demolition in 1902.

The Strand 1901 © Library of Congress via Wikimedia Commons

The Lowther Arcade (left) in 1901 – a year before its demolition
(Image from Wikimedia Commons)

The West End has been a shopping destination for Londoners and tourists for over two centuries. Along with popular thoroughfares like Oxford Street, Bond Street and Regent Street, there is also a selection of shopping arcades, providing a sheltered retail experience whatever the elements. Today, two of the capital’s existing shopping arcades are over 200 years old. However, one Georgian shopping arcade barely survived into the 20th century, let alone the 21st century. This post is a long-delayed addition to Metro Girl’s Shopping in Style series, which explores the history of London’s shopping arcades.

After the success of the capital’s first two shopping arcades – the Royal Opera and Burlington, plans were made for another arcade on Strand. Lowther Arcade was designed by architect Witherden Young and built by William Herbert in 1830 (see Young’s architectural plans). It was named after William Lowther, 2nd Earl of Lonsdale (1787-1872), who was Chief Commissioner of the Woods and Forests from 1828-1830. Lowther Arcade ran from the Strand to Adelaide Street and was 245 foot long, 20 foot wide and 30 foot high. The arcade featured 24 small shops, with two storeys above the shop level. The arcade was designed in a Greco-Italian style and was topped by a series of glass domes, flooding the aisle with light. Its classical design complemented the eastern end of Strand (No.s 430-449), which had been redeveloped by Regency architect John Nash (1752-1835) in 1830. Although shorter in length, Lowther Arcade was often referred to as the ‘twin’ of the Burlington Arcade in Mayfair. Just like the Burlington, the Lowther management also employed a Beadle to maintain order.

An 1883 illustration of the Lowther Arcade shops
(From “London Town” by Felix Leigh, illustrated by Thomas Crane and Ellen Houghton on Wikimedia Commons)

After opening, Lowther Arcade quickly won over Londoners with its architecture and atmosphere. In his 1834 book National History and Views of London and Its Environs, Volumes 1-2, Charles Frederick Partington wrote: “The Lowther Arcade is decidedly the most elegant establishment of this description erected in the metropolis… When we compare the costly and elegant bijoutrie exhibited for sale, it will be found the dealers lose nothing by comparison with those celebrated in the Arabian Nights and other works of eastern fiction.”

At the north end of the arcade was the Adelaide Gallery, a forerunner to the Science Museum. Opened by American inventor Jacob Perkins (1766-1849), it didn’t prove that successful and was replaced by an amusement hall in the 1840s. It then became home to Signor Brigaldi’s Italian Marionettes in 1852, and during another period was used as a music hall. Read the rest of this entry

The story behind Fleet Street’s boldest art deco façade: The Express Building

The Daily Express Building is one of the boldest Art Deco structures in the capital

Along Fleet Street is a bold Art Deco building, which stands out amongst its more muted, grey neighbours. No. 120-129 is a Modernist remainder of the street’s journalism heyday in the early 20th century. Until 30 years ago, the building was home to the Daily Express newspaper. Founded in 1900 by Sir Arthur Pearson (1866-1921), the Express was originally printed in Manchester before moving to Fleet Street in the early 1930s.

The newspaper’s name remains on the building

The bold black and glass building was constructed from 1930-1932 to a design by architects Herbert O. Ellis and W.L. Clarke. The duo were commissioned by the Express’s then owner, William Maxwell Aitken, Baron Beaverbrook (1879-1960) to extend the existing newspaper buildings towards Fleet Street. Their original designs featured a steel-framed structure, clad in Portland Stone. However, the narrowness of the plot and Aitken’s requirements for room to have printing presses in the basement, meant their first proposal was canned. Aitken then brought in London-born architect and engineer, Sir Evan Owen Williams (1890-1969) to improve the plans. Although he started out as an aircraft designer, Williams won fame with his buildings for the British Empire Exhibition in 1924 (including being the engineer for the old Wembley Stadium) and later designed the Dorchester Hotel, the Boots factory in Nottingham, the Peckham Pioneer Health Centre and the first section of the M1 motorway. Williams redesigned the building’s exterior, with black Vitrolite panels and chromium strips replacing the Portland stone façade. Meanwhile, Robert Atkinson (1883-1952) designed the ground floor entrance, with a chrome canopy and the Daily Express spelt out in Art Deco lettering. Atkinson’s striking lobby features two plaster reliefs – ‘Britain’ and ‘Empire’ – by British sculptor Eric Aumonier (1899-1974). as well as silver and gilt decorative features and a grand oval staircase. The finished building is widely considered one of the best examples of Streamline Moderne architecture in the capital.

The building certainly stands out on Fleet Street

The building was joined by neighbouring Aitken House to the east in the mid 1970s, erected on the site of some smaller Victorian buildings. It was clad in similar black panels to the original Daily Express building so the two buildings looked like one huge building on Fleet Street (see a photo in 1990). While the extra office space was needed for Daily and Sunday Express staff, Aitken House ruined the shape and symmetry of the original 1930s design.

In March 1972, the Express building was Grade II* listed because of its Art Deco features, as well as its concrete frame structure. After over 50 years on Fleet Street, the Express group followed in the footsteps of many other newspapers and departed the building in 1989.

By 2000, the building was entirely refurbished and neighbouring Aitken House was demolished. John Robertson Architects restored the original building, including the façade and glazing, as well as replicated and reinstated the lost Art Deco features of the lobby. Investment bank Goldman Sachs leased the building until 2019. It will be interesting to see which tenants move in next…

  • The Express Building, 120-129 Fleet Street, City of London, EC4. Nearest stations: City Thameslink or Temple.

Discover the history of the Daily Telegraph building on Fleet Street.

Find out the story of No.186 Fleet Street.

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The Swan & Edgar building in Piccadilly Circus: One of London’s lost department stores

The history of the Swan & Edgar department store in Piccadilly Circus.

The former Swan & Edgar building at Piccadilly Circus

The decline of the department store is a frequently mentioned casualty of the ever-changing retail industry. A host of department stores in London have been closed down over the decades, with the buildings left behind leaving little trace of the retail giants which one inhabited them. Once household names such as Pontings, Pratts, Bourne & Hollingsworth, and Gamages, have been consigned to the history books. Among these lost London department stores was Swan & Edgar, whose flagship building still exists, looming large over Piccadilly Circus.

Cumbrian-born William Edgar (1791-1869) met George Swan (d.1821) met in the early 19th century. At the time, Edgar was running a haberdashery stall in St James Market, while Swan had a shop on Ludgate Hill in the City of London. They went into business together in Ludgate Hill, before moving to 20 Piccadilly in 1812. Business was booming and they made over £80,000 in their first year. Nine years later, Swan sadly died, but his business partner Edgar honoured his memory by continuing to trade in their joint name. Swan & Edgar moved to 49 Regent Street in 1841. By 1848, business was going so well, the store expanded to numbers 45-51 Regent Street and the corner of Piccadilly Circus.

Edgar ended up outliving with business partner by over four decades, passing away in 1869. He lived the last two decades of his life with his wife Frances and their five children at Eagle House on Clapham Common’s South Side. The Georgian building was mostly demolished after Frances’ death in 1889, although parts of the south wing exist today as mews housing. The couple are buried in one of the ‘Magnificent Seven’ cemeteries: West Norwood Cemetery in south London.

Swan & Edgar 1909 Wikimedia Commons

The Victorian Swan & Edgar store in 1909
(Image from Wikimedia Commons)

Although both founders had died, their names continued to live on through the department store as it continued trading. An 1883 advert boasted the huge range of articles offered for sale, billing the store as “wholesale and retail silk mercers, drapers, furriers/ Mantle and costume makers and seal skin merchants/ Novelty and economy in dress/ All articles of fashion of the latest styles and reliable quality”. The department store’s popularity was boosted by the opening of the nearby Piccadilly Circus tube station in 1906 and became a popular meeting place for friends and lovers to rendezvous. In December 1901, the managing director Walter Morford (who had been in the role since 1895), ended up in trouble with the police over the store. People complained his moving window displays were causing congestion on the pavement, with sometimes hundreds of people blocking the pavement to look at the action. Morford ignored several police summons, complaining he had spent over £100 on designing the windows to attract customers. Read the rest of this entry

Hoxton Hall: Step inside one of the East End’s surviving Victorian music halls

Hoxton Hall has been entertaining Londoners for over 150 years

Long before TV and cinemas captivated Brits, music halls were a popular form of entertainment. Starting in the 1830s, music halls originally began cropping up in taverns and coffee houses. Landlords started putting on a variety of entertainment for the punters, along with providing them with food and drink. By the 1850s, these variety shows had become so popular, many theatres and pubs were knocked down and replaced with music halls. Hoxton had several popular music halls, including The Eagle on Shepherdess Walk and the Britannia Theatre on Hoxton Street, both of which no longer exist today. At the peak of the entertainment genre’s popularity, there were an estimated 375 music halls in the capital. Performers such as Marie Lloyd, Dan Leno and Little Tich became household names and were in high demand by music halls owners to top their bills.

Hoxton Hall railings © Memoirs Of A Metro Girl 2019

The original railings

Although most Victorian music halls are long gone, there is one that is still being used for entertainment today. Hoxton Hall in Hoxton Road was originally erected by builder James Mortimer in 1863. The building followed the traditional music hall design, with balconies on three sides overlooking the stage and open floor. Today, the galleries of seating feature the original iron railings and are supported by cast iron columns. Although more modest in size than many music halls at the time, Hoxton Hall is unique for being purpose-built as a music hall as many were converted from pubs. Originally, Mortimer gave his own name to the building – Mortimer Hall – which opened on 7 November 1863. On the opening night bill were singers and conjurers. However, Mortimer didn’t want his hall to just entertain, he also wanted to educate locals with lectures. Unfortunately for Mortimer, his education program wasn’t quite so popular and by 1865 the building was being used by a waste paper merchant.

In 1866, music hall manager James McDonald Jnr bought Mortimer Hall and renamed it McDonald’s Music Hall. He knew what the people of London wanted and offered affordable entertainment for the working classes, including music, circus and performing dogs. Business was booming and McDonald was able to extend the hall in 1867, raising the ceiling and adding a new upper balcony. However, by 1871, McDonald lost his license following police complaints so it was sold. The subsequent owners applied for a new license in 1876, but were refused.

Two tiers of seating overlooking the stage and ground floor

Philanthropist William Isaac Palmer (1824–1893) bought the hall in 1879 for the use of the Blue Ribbon Gospel Temperance Mission, a sobriety movement. Today, Palmer is honoured with the Palmer Room at the hall. The building became home to the Girls Guild for Good Life, a group founded by Sarah Rae, wife of the secretary of the Blue Ribbon Temperance Society. In contrast to its bawdry music hall origins, the hall was being used to educate working class girls with cooking, dressmaking and elocution classes in a bid to warn them away from the ‘sinful’ hobbies of gambling and drinking. The hall was also used for talks and events to encourage temperance by the Blue Ribbon Mission. Read the rest of this entry

Three centuries of Blewcoat School: From educating the poor to a ‘Posh Frock Shop’

The former Blewcoat School building in Westminster

On an ‘island’ in the side streets of Westminster stands an old remainder of a Georgian poor school. Although the pupils have long moved on, the listed building is now home to an upmarket bridal boutique. At the junction of Buckingham Gate and Caxton Street is a 17th century schoolhouse building. Blewcoat School was originally founded in Duck Lane (now known as St Matthew Street) in Tothill Fields, slightly south of its present site, in 1688. It was established as a charity school to educate 50 impoverished boys from the parish of St Margaret’s and St John. Pupils wore a uniform of long blue coats and yellow stockings, the colour blue being associated with charity at the time.

In 1709, local brewer William Greene (d.1732) leased some land from the Dean and Chapter of Westminster to build a permanent building for the school. Greene and his brothers had inherited a lot of land in the areas of Chelsea, Kensington and Westminster from their brewer father John. The family had owned the Stag Brewery at Tothill Fields since 1641 and it was rebuilt and enlarged in 1715 by William. In the 19th century, the brewery was taken over by Watney, with the Westminster site eventually closing in 1959. Today, there’s a nod to the former brewery with a road by the school being named Brewer’s Green. William Greene built a school and schoolmaster’s house on Caxton Street, with many of the pupils being sons of his brewery workers. The timing to move locations was good as Duck Lane was swiftly going downhill, with the area dubbed Devil’s Acre by Charles Dickens. Devil’s Acre had become one of the capital’s most notorious slums in the mid 18th century, renowned for its stench, dire sanitation standards, and cheap, dark dwellings.

Blewcoat School © Memoirs Of A Metro Girl 2019

The Georgian building was built by local brewer William Greene in 1709

Blewcoat School © Memoirs Of A Metro Girl 2019

A statue of a pupil in the school uniform of a blue coat and yellow stockings

Although there is no record of the architect, there has been speculation it was designed by Sir Christopher Wren (1632-1723). The two-storey building was built of brown brick with two tiers of windows on every side. The main entrance on Caxton Street features a Doric porch with a statue of a Blewcoat pupil in the famous blue coat above the door. The interiors feature pilasters, coving, Corinthian columns and fireplaces.

Now established in Caxton Street, the Blewcoat School pupils spent their days learning to read and write and about religion and trades. The school paid for the education of 20 boys for free, alongside fee-paying boys. Around four-five years after the move to Caxton Street, the school started admitting girls, who were also taught needlework and household chores. In 1842, records showed there were 86 poor children enrolled (52 boys and 34 girls). The school educated generations of boys and girls until 1876 when it ceased hosting female pupils. In 1899, the governors obtained an order to close the school and give the land and the buildings to the Vestry of St Margaret’s and St John. The Blewcoat moved premises to another site, with the original building being used for the Infants’ Department of the Christchurch School. The building ceased educating children in 1926.

During World War II, the Blewcoat School building was used by US services as a store. In peacetime, it was utilised for a spell by the Girl Guides. In 1954, the building was Grade I listed by Historic England and bought by the National Trust. The NT used the school as a membership and head office, later being converted into a gift shop. In 2013, fashion designer Ian Stuart gained permission to refurbish the interior and use the building as a boutique for bridal gowns and evening wear. It was opened the following year, and Stuart remains in business today. You may have seen him and the school building in the Channel 4 show The Posh Frock Shop.

  • Ian Stewart – Blewcoat, 23 Caxton Street, Westminster, SW1H 0PY. Nearest stations: St James’s Park or Victoria.

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Georgian shop life and slum makeovers at 23 and 24 Bedfordbury

Bedfordbury houses © Memoirs Of A Metro Girl 2019

No. 23 and 24 Bedfordbury stands in between New Row and Chandos Place

Due to widespread slum clearance and redevelopment over the centuries, there aren’t many Georgian shop buildings left in the West End. However, two such shops have managed to survive for over 200 years, despite previously standing in one of the most notorious slums in central London.

Bedfordbury is a short road of only about 500ft long, linking New Row to Chandos Place. The name Bedfordbury comes from the Earls of Bedford, who acquired the seven acres of land in the 16th century. As Edward Russell, 3rd Earl of Bedford (1572-1627), focused his energies on developing the centre of estate, the fringes became a magnet for haphazard building. A series of small alleys linking Bedfordbury to St Martin’s Lane, including May’s Buildings, Hop Gardens, Turner’s Court, Goodwin’s Court, and Brydges Place, started to pop up. By 1700, the Earls and Dukes of Bedford had practically lost control over the buildings. The lack of landlord control meant the buildings’ standards were far from adequate and the area started to disintegrate into slums, with large groups of families being squashed into upper storeys above the shop levels. In 1887, the steward of the 9th Duke of Bedford’s London estates, wrote: “Every grantee became his own freeholder and his plot of land was under his own absolute control, with this result: that Bedfordbury commenced its career by every man doing what was right in his own eyes in the way of building. A number of alleys came into existence, and instead of a single house being put upon a single plot … a man would put two or three or four on it, may be half-a-dozen houses, or cottages, or anything he pleased upon it, and that went on in perpetuity; and from the time those grants were made until a few years ago… Bedfordbury gradually became one of the worst dens in London.”

No. 23 and No. 24 are likely to be the oldest existing buildings today on Bedfordbury. Built in late 18th century, the terraced houses incorporate the entrance to Goodwin’s Court. Both buildings stand tall at three storeys and have dormered mansard roofs. However, No.24 is slightly wider and features two dormers, with the entrance passage to the Court on the left. The current ground floor shop fronts are not original. No.24’s shop dates back to around the first half of the 19th century, while No. 23 has a mid-century bowed shop window to complement the similar styled windows of Goodwin’s Court.

From the late 18th century to the present day, there has been a high turnover from businesses in the shops at No. 23 and 24. In 1791, a man named Barnard Baker sold household upholstery and hardware. Next door at No.21 was a pub called the Cock & Bottle, which stood on the site for over 100 years, but has long been demolished. By 1842, 23 and 24 were the premises for surgeon JN Walters and hairdressers Cowan & Co respectively.

Bedfordbury was built in the 1600s after the land was acquired by the Earl of Bedford

Moving into the 19th century, the turnover of shops and residents continued to be high – no doubt many were keen to move on when finances allowed due to area’s reputation as a slum. Among the businesses at 23 and 24 in the mid 19th century were greengrocer Michael McNallay and hairdresser/perfumier Reuben Clamp. In 1859, Victorian author and journalist George Augustus Sala (1828-1895) wrote of his disgust of Bedfordbury, describing it as a “wretched little haunt”. He elaborated: “A devious, slimy little reptile of a place, whose tumble-down tenements and reeking courts spume forth plumps of animated rags, such as can be equalled in no London thoroughfare save Church Lane, St Giles. I don’t think there are five windows in Bedfordbury with a whole pane of glass in them. Rags and filthy loques are hung from poles, like banners from the outward walls.”

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Exploring the history of 55 Broadway with Hidden London

55 Broadway © Memoirs Of A Metro Girl 2019

Visit 55 Broadway on a London Transport Museum Hidden London tour

Tube train monitoring dials in the lobby

If you’re interested in London history, architecture or its transport network, then check out a Hidden London tour from the London Transport Museum. Run for limited periods, I’ve previously visited the disused Aldywch tube station and the former World War II shelter underneath Clapham South tube station and found them fascinating. Although the Hidden London group offers visits to other disused platforms and tube stations, my last booking with them saw me remaining above ground. The tour lasts 90 minutes and covered many of the 14 floors of the building.

55 Broadway in St James was London’s first skyscraper because of the way it was built. Standing tall at 53 metres (175ft), the Grade I listed office block is an impressive piece of art deco architecture in Portland stone. The structure was originally built in 1927-1929 to a design by English architect Charles Holden (1875-1960). As well as 55 Broadway, Holden was also responsible for the University of London’s Senate House, Bristol Central Library and many tube stations, such as Acton Town, Balham, Clapham Common and Leicester Square, among others. 55 Broadway was briefly the tallest office block in London, before it was surpassed by Holden’s Senate House in the mid 1930s. It was originally constructed as the headquarters for the Underground Electric Railways Company of London Limited (UERL), on top of St James’s tube station.

The pink ceiling of the Executive Office

55 Broadway corridor © Memoirs Of A Metro Girl 2019

Walnut panelled doors and travertine marble on every landing

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Holborn Viaduct: The history of London’s first flyover with a royal seal of approval

Holborn Viaduct © Memoirs Of A Metro Girl 2019

Holborn Viaduct links Holborn to the City of London

One of the upper entrances to the step buildings

Linking the City of London and Holborn is a rather ornate road bridge. While other bridges in the capital attract a lot more attention due to their location and viewpoints, the Holborn Viaduct isn’t such a familiar sight to many Londoners. The bridge dates back to the Victorian era when London’s road and sewage system were given a massive overhaul. Built between 1867-69, it spans the valley of the River Fleet, which now exists underground and flows out into the River Thames by Blackfriars Bridge, a short distance south. It connects the steep hill of Holborn (the actual road) and Newgate Street, crossing Farringdon Street below, which follows the trail of the Fleet. It was designed by architect and engineer William Haywood (1821–1894) to improve access to nearby Smithfield Market and the City in general. Haywood had worked closely with Sir Joseph Bazalgette (1818-1891) on improving London’s sewer works in the 1860s, including the creation of pumping stations, like Crossness. Before construction began, city authorities agreed to demolish a series of old streets and buildings by the Fleet Valley, with the owners being financially compensated for the loss of their homes. The plans also meant destruction of St Andrew Holborn’s north churchyard, leading to an estimated 11,000-12,000 remains being reinterred elsewhere.

Holborn Viaduct is 1,400ft long, 80ft wide and made of cast iron. It covers three spans and is supported on granite piers. When it was completed, it became the first flyover in central London. Along the bridge are bronze statues, winged lions and replica Victorian-style globe lamps. The female statues represent Agriculture, Commerce, the Fine Arts and Science. Henry Bursill (1833-1871) sculpted Commerce and Agriculture on the south side, while Science and Fine Art on the north side are by the sculpture firm Farmer & Brindley.

Holborn Viaduct © Illustrated London News. Image from Wikimedia Commons

The royal procession under the Holborn Viaduct in 1869 from the Illustrated London News

Holborn Viaduct © Memoirs Of A Metro Girl 2019

The Holborn Viaduct was designed to span the valley of the River Fleet, which is now covered over by Farringdon Road

Holborn Viaduct © Memoirs Of A Metro Girl 2019

The Viaduct was opened by Queen Victoria in 1869

Two step buildings were erected either end of the viaduct, with steps on both north and south sides allowing pedestrians to move between the upper and lower street levels. The upper storeys now contain offices and have ornate details, including more Bursill sculptures and wrought iron balconies. Each of the four buildings feature a statue of famous Medieval Londoners on the façade: merchant Sir Thomas Gresham (1519-1579); engineer Sir Hugh Myddelton (1560-1631); and London mayors Sir William Walworth (d.1385) and Henry Fitz Ailwin (1135-1212). Gresham founded the Royal Exchange in the City, while Sir Hugh headed the construction of the New River to bring clean water into London. Meanwhile, Alwin was the first ever Mayor of London and Sir William is particularly notorious for killing Wat Tyler during the Peasants’ Revolt. Read the rest of this entry

The fascinating history of Blackfriars: Norman castles, a priory, theatres and Shakespeare’s home

Why Blackfriars is called Blackfriars and the pre-railway history of the area.

Remains believed to be of the Blackfriars Priory in Ireland Yard

A blue plaque commemorates the lost priory

Blackfriars is an area by the southern fringes of the City of London, familiar to many City workers. Now dominated by office blocks, the district used to be a hub for religion and entertainment. Until the early 13th century, the area was home to Norman fortresses Mountfiquet Castle and the original Baynard’s Castle. Mountfiquet was likely named after the Baron of Mountfichet (of the Stansted Mountfichets in Essex), while Baynard’s was built by Ralph Baynard (a sheriff of Essex). Both castles were demolished by King John (1166-1216) in 1213 after their then-residents Robert Montfichet and Robert Fitzwalter took part in the barons’ revolt against the monarchy the previous year.

The name Blackfriars dates back to the 13th century when Dominican Friars established a priory on the site. The Friars first came to the capital in 1221 and established their first London monastery on the outskirts of the City near Lincoln’s Inn at Holborn. However, in 1276 they obtained permission from King Edward I (1239-1307) to move to the area we now know as Blackfriars. The King approved the levelling of the remains of Mountfiquet and Baynard Castle and the demolishing and rebuilding of the Roman City walls to incorporate their priory in 1282. The plot covered around 8 acres and incorporated the main church, a tower and five chapels (the Virgin chapel, a Lady chapel, St John the Baptist chapel, a pardon chapel and the Chapel of St Ann). The name Blackfriars started being used around 1317 to describe the Friars, who were recognised by their black cappas. The City also included Grey Friars (Franciscan), Austin Friars, Crutched Friars, Austin Friars, White Friars (Carmelites), and the Holy Trinity and St Helens Priory priories. In 1322, the Blackfriars was the scene of tragedy when a large number of impoverished Londoners were crushed to death in a rush to beg for food and money at the gates. Read the rest of this entry

Royal Hospital Chelsea: Visiting the historic home of the Chelsea Pensioners with Open House London

Royal Hospital Chelsea chapel exterior © Memoirs Of A Metro Girl 2019

The exterior of the chapel of Royal Hospital Chelsea

As the host venue of the Chelsea Flower Show, the Royal Hospital Chelsea sees over 157,000 visitors pass through its gates every May. However, these horticulture lovers only get to see the outside of this historic venue. Known as the home of the ‘Chelsea Pensioners’, parts of the Royal Hospital are open to visitors, including during Open House London.

Wren’s Chapel with ceiling painting by Sebastiano Ricci

The Royal Hospital Chelsea is a retirement and nursing home for around 300 veterans of the British Army. Until the 17th century, there was no state provision to look after retired or injured soldiers. However, King Charles II (1630-1685) recognised these veterans needed care and founded the Royal Hospital Chelsea in 1682. He chose to establish it on a 66-acre site in Chelsea, which housed a theological college named ‘Chelsey College’, founded 73 years older by his grandfather James I of England (1566-1625). Charles II and his royal administrator Sir Stephen Fox (1627-1716) commissioned architect Sir Christopher Wren (1632-1723) to design and oversee the building’s construction.

Wren designed the Great Hall and Chapel. The 42ft high chapel was completed in 1687 and was consecrated in August 1691. The chapel’s interior features a painting of the Resurrection of Christ by Italian painter Sebastiano Ricci (1659-1734) and his nephew Marco Ricci (1676–1730), which was added in 1710-15 during Queen Anne’s (1665-1714) reign. Just to the south-west of the Chapel was the Great Hall, which was originally intended as a dining hall. It featured 16 long tables with a large mural of King Charles II on horseback being crowned by Victory. Meanwhile, outside in the central court, the King was honoured again with a 7ft 6in statue in copper alloy by Grinling Gibbons (1648-1721). Read the rest of this entry