The story behind these curious Egyptian benches by the Thames.
Anyone who has strolled along the Victoria Embankment may have noticed the ornate benches alongside the river. Dotted along the north of the Thames between Battersea and Blackfriars Bridges, the cast iron and wooden benches provide more than just a place to rest your weary bones. Unlike the pedestrian-friendly South Bank, the north bank of the Thames isn’t as pleasurable to walk along due to the busy traffic churning out fumes. As a result, all the benches face the river so you can sit with your back to the traffic and enjoy the view.
The benches are one of the many ornamental details created for the Embankment by English architect George John Vulliamy (1817-1886). As well as the benches, he is also responsible for the sphinxes and pedestal for Cleopatra’s Needle and the ‘dolphin’ lamps on both sides of the river. In the centre of London, the Thames used to be a lot wider until the 19th century, city bosses needed a new sewage system to cope with the rapidly expanding population. Sir Joseph Bazelgette (1819-1891) came up with a scheme to reclaim some 22 acres of marshland, creating a new sewage system and a new road, taking the pressure off The Strand. In the typically Victorian way, the new Embankment needed to have suitable ‘street furniture’ to give London – heart of the British Empire – a look of prestige and style.
Hired as the Superintending Architect of the Metropolitan Board of Works, Vulliamy created the ‘Dolphin’ (actually, sturgeon fish!) street lamps along the retaining river wall in 1870. Several years later, he decided to look to Egypt for inspiration when it came to designing the benches, a place he had visited in the early 1840s. Pre-empting the arrival of Cleopatra’s Needle – a gift from Egypt – in 1878, Vulliamy opted for a design which would complement the ancient monument when it eventually arrived. Near the site of the Needle itself, the benches in the City of Westminster feature armrests of Sphinxes, before camel armrests appear in the City of London section of the Victoria Embankment. The benches were made by Z.D. Berry & Son of Regent Street and placed on the Embankment in 1877 – a year before Cleopatra’s Needle was erected. Of course, weather and pollution have damaged the benches over the years, with Westminster and the City of London councils restoring and faithfully reproducing them when needed.
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Cleopatra’s Needle | How an Egyptian obelisk ended up by the Thames… and why isn’t it Thutmose’s Needle?
Standing on the banks of the River Thames is an ancient piece of Egyptian history.
Regardless of your knowledge of ancient Egyptian history, few would disagree that Cleopatra and Tutankhamun are two of the nation’s most famous rulers. While Tutankhamun’s reign was relatively short and his fame is largely down to the discovery of his tomb, Cleopatra was known for many reasons – her power, her beauty and being the last pharaoh of ancient Egypt. So when it comes to the ancient Egyptian obelisk standing by the River Thames on the Victoria Embankment, Cleopatra’s Needle is a lot more glamorous a name than one would have been a lot more accurate… Thutmose III’s Needle.
The name Cleopatra’s Needle is shared between three Egyptian obelisks – the London one’s twin in New York City and a third in Paris – which came from a completely different site in Egypt. The London and New York pair are made of red granite from the quarries of Aswan, weighing a hefty 224 tons each. Standing tall at 68ft (21 metres), they were originally erected in ancient Egyptian city of Heliopolis by Pharoah Thutmose III (1481-1425BC) around 1450BC. Ramesses II (1300s-1213BC) added the hieroglyphs around 200 years later to commemorate his military victories. The obelisks remained in Heliopolis for around 1,400 years before they were moved north by the Romans to Alexandria to be placed in the Caesareum around 12BC. Although the Caesareum in Alexandria had been built during Cleopatra’s (51-30BC) reign, the obelisks didn’t arrive there until around 15 years after she had committed suicide. So why her name is associated with the obelisk is inaccurate, but probably brings a bit of glamour to it – but when it’s nearly 3,500 years old, I don’t think it needs the help to be any more impressive! The obelisks didn’t stay standing for long and were toppled some time later, spending centuries in the Egyptian sands.
These days, Egypt is rightly intent on keeping on to its treasures. However, in the early 19th century, Egypt’s ruler Muhammad Ali (1769-1849) was happy to give away a piece of antiquity. Following the victories of Lord Nelson and Sir Ralph Abercromby in the Battle of the Nile and the Battle of Alexandra in 1798 and 1801 respectively, Ali gave one of the obelisks to the United Kingdom as a thank you gift in 1819. Although honoured, the then-Prime Minister Robert Banks Jenkinson (1170-1828) and his government couldn’t justify the huge expense it would have cost to transport the 224 ton monument to the UK. It remained in Alexandria for over five decades until anatomist and dermatologist Sir William James Erasmus Wilson (1809-1884) decided to fork out the money and organise the mammoth feat for the obelisk to be dug out of the sand at Alexandria and brought to London. The obelisk left Alexandria on 21 September 1877, encased in an iron cylinder – nicknamed The Cleopatra – which included a stern and rudders and was towed along by the Olga ship. However, when it was over halfway to its destination, a storm in the Bay of Biscay put the crew of The Cleopatra in danger. The initial rescue attempt led to six crewmen from The Olga drowning, but eventually The Cleopatra’s Captain Carter and his five crew were rescued. Amazingly, The Cleopatra didn’t founder and was discovered drifting in the Bay a few days later and eventually retrieved by the Fitzmaurice and towed to Ferrol Harbour in North-West Spain. From there, she was towed to Gravesend, Kent, by the paddle tug Anglia, arriving on 21 January 1878. Finally, on 12 September 1878 – 59 years after the UK had been given it as a gift – Cleopatra’s Needle was erected on the Victoria Embankment of the River Thames.
Although they certainly look the part, the two sphinxes ‘guarding’ the obelisk aren’t quite so old. The bronze sphinxes were designed by George John Vulliamy (1817-1886) and created at the Ecclestone Iron Works in Pimlico in 1881. They include the words ‘the good god, Thuthmosis III given life’ written in hieroglyphics. It has been pointed out they aren’t really guarding it, but rather looking at it and should have been facing outwards from the obelisk. Despite surviving intact for nearly 3,500 years, London’s obelisk came close to being destroyed in World War I. A German bomb landed near the needle on 4 September 1917, causing damage to the pedestal of the obelisk, the pedestal of the sphinxes and to the west sphinx itself. However, the damage remains to commemorate the event and can still be seen to this day. A plaque has been placed on the western sphinx to explain this. Meanwhile, it’s twin was erected in Central Park in New York City in 1881.
- Cleopatra’s Needle is located on Victoria’s Embankment (just south of Embankment Gardens), Westminster, WC2N. Nearest station: Embankment.
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The story behind this racy sculpture in Embankment Gardens and the man who inspired it.
Sitting on reclaimed land on what used to be the River Thames stands Victoria Embankment Gardens. It’s a small pocket of greenery in the West End just a stone’s throw from the waterways located beside Embankment tube station. For many workers and tourists, it’s a nice place to have lunch, but it is often passed by. As well as playing host to a café and summer lunchtime concerts, the Gardens also feature a collection of monuments to the great and good.
One such monument is the Grade II listed memorial to legendary composer Sir Arthur Sullivan (1842-1900). Situated in the slimmer part of the gardens nearest to the north-eastern exit, it is located looking towards The Savoy Hotel. Sullivan and his frequent collaborator, dramatist WS Gilbert (1836-1911) were closely linked to The Savoy Theatre, which was built by their producer Richard D’Oyly Carte (1844-1901) in 1881 using profits from their shows. Gilbert and Sullivan’s last eight comic operas premiered at The Savoy Theatre, so it is only fitting that the Sullivan memorial is so nearby. Eight years later, The Savoy hotel opened next door, also built from profits of their opera The Mikado, which had premiered at the theatre four years previously.
Lambeth-born and Chelsea-raised Sullivan is widely recognised as one of the greatest English composers. Although best known for his operatic collaborations with Gilbert, he also wrote many operas, orchestral works, ballets, plays and hymns, among other musical compositions alone. Among his work with Gilbert included HMS Pinafore, Patience and The Pirates Of Penzance. Following an incredibly successful career and a knighthood in 1883, Sullivan died at his London flat of heart failure in November 1900, aged 58. Despite his wishes to buried with his parents and brother at Brompton Cemetery, Queen Victoria (1819-1901) ordered he be laid to rest at St Paul’s Cathedral.
Nearly three years after his death, Welsh sculptor Sir William Goscombe John’s (1860-1952) memorial to Sullivan was unveiled in Victoria Embankment Gardens by Princess Louise (1848-1939) on 10 July 1903. The monument features a weeping Muse of Music, who is so distraught her clothes are falling off as she leans against the pedestal. This topless Muse has led some art critics to describe the memorial as the sexiest statue in the capital. The sculpture is topped with a bust of Sullivan, with an inscription of Gilbert’s words from The Yeoman Of The Guard inscribed on the side: ‘Is life a boon? If so, it must befall that Death, whene’er he call, must call too soon.’ At the bottom of the pedestal is a mask of Pan, sheet music from The Yeoman Of The Guard and a mandolin inscribed with W Goscombe John A.R.A. 1903.
Meanwhile, if you come out the Gardens and cross the road, there is a memorial to his former writing partner Gilbert on the retaining river wall. It features a profile of the dramatist, two females, two wreaths and a shield. It reads: ‘W.S. Gilbert. Playwright and poet. His Foe was Folly, and his Weapon Wit.’ Gilbert died in May 1911 after suffering a heart attack in the lake of his Harrow Weald estate while trying to rescue the artist Patricia Preece, who was 17 at the time.
- Victoria Embankment Gardens, entrances on Villiers Street, Savoy Place or Victoria Embankment, Westminster, WC2R. Nearest stations: Embankment or Charing Cross. For more information and opening times, visit the Westminster City Council website.
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The history of the sturgeon lamps by the River Thames.
Many capital cities around the world have a river running through them. However, when it comes to the Thames, one thing that makes it so recognisable is the striking Victorian lamps lining the Embankment. The street lighting in question are called the ‘Dolphin lamps’, but appear to be sturgeon fish.
Prior to Victorian times, the Thames was a lot wider in the centre of town, but was slimmed down by the building of the Victoria Embankment on the north side in the late 19th century. Civil engineer Sir Joseph Bazelgette (1819-1891) came up with a scheme to reclaim some 22 acres of marshland and built a new road and sewage system for the rapidly expanding capital. While this transformed the city, it also meant many riverside buildings were demolished, such as York House. Building of the Victoria and Chelsea Embankment meant Londoners had somewhere new to stroll beside the river so of course, some attractive new street lighting would be required.
Step forward George John Vulliamy, (1817-1886) the Superintending Architect of the Metropolitan Board of Works, who created the unique riverside lamps built into the retaining river wall in 1870. Many different designs were submitted, including one by Bazelgette, however Vulliamy’s designs were chosen for the centre of town. The cast-iron lamps featured two sturgeons with their bodies wrapped around the lamp column. Facing the Embankment, the face of Neptune peered out with the year 1870 inscribed underneath him. Vulliamy was said to have been inspired by the dolphin sculptures on the Fontana del Nettuno in Rome’s Piazza del Popolo during his extensive travels around Europe. As well as the lamps, Vulliamy also designed the pedestals and sphinxes for Cleopatra’s Needle – the ancient Egyptian obelisk gifted to London by Egypt in 1819 – and the sphinx and camel benches to complement it along the Victoria Embankment. The 1870 lamps were bronzed by Masefield & Co Founders of Chelsea, with its company name visible on the base of some lamps.
For the rest of the 19th century, these lamps only stood on the Victoria Embankment and part of the Albert Embankment (in between Westminster Bridge and Lambeth Bridge). However, further were added in 1910, 1933 and 1964. In 1977, city authorities created replicas on the rest of Albert Embankment on the South Bank to commemorate the Queen’s Silver Jubilee. Instead of the year underneath Neptune on the Victoria Embankment, ‘EIIR’ was inscribed to mark Queen Elizabeth II.
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