The Mother of Modern Nursing

“When I am no longer a memory, just a name, I hope my voice may perpetuate the great work of my life.”

Florence Nightingale, 30th July 1890

Situated behind St Thomas’ Hospital opposite the Houses of Parliament, is a small museum devoted to the most influential Victorian woman, second only to Queen Victoria. Florence Nightingale (1820-1910) reformed the methods of nursing and saved the British army from medical disaster during the Crimean War. Now, largely remembered as the “Lady with the Lamp”, the Florence Nightingale Museum aims to deepen the understanding of her achievements and legacy. With a whole range of “Nightingalia”, the museum delves deeper into the life of Florence Nightingale to discover the true woman beneath the sentimental image of a ministering angel.

Split into three main sections, the museum takes visitors through a journey of Florence’s family life, her work during the Crimean war, and her campaign for better health care. Additionally, photographs, posters, medals, and certificates are displayed around the room in tribute to those who followed in her footsteps. Florence Nightingale left an enormous legacy behind her and it is partially due to her industriousness that health care has become the safer and respected field it is today.

Lithograph of Florence Nightingale with Athena the owl after a drawing by Parthenope Nightingale

Florence was born in the Italian town of the same name on 12th May 1820 to an upper-middle-class British family. Her older sister, Frances Parthenope (1819-90) who later married Harry Verney, 2nd Baronet, was also born in Italy. The wealthy family spent a lot of time travelling as well as residing in two homes on the British Isles: Lea Hurst in Derbyshire and Embley Park in Hampshire.

The Nightingale girls were educated at home, firstly by a governess and later by their father, William (1794-1874). Although Florence and Parthenope may not have had the opportunity to attend a school, their education was equal to that of any boy. William taught his children mathematics and statistics, which was not considered a lady-like subject during that era. Florence thoroughly enjoyed these lessons, which soon developed into a passion for health sciences and nursing.

Both sisters were very keen writers and also learnt to speak Greek, Latin, German, French and Italian. Parthenope was less scholarly than her younger sister, however, she developed a passion for art and literature and often produced sketches of Florence, including one with her rescued pet owl. Athena was a cantankerous owl who Florence found on the Acropolis in Athens. She became Florence’s constant companion and her stuffed body is on display at the museum along with a selection of Parthenope’s artwork.

Women in the 19th-century had very little job prospects and those in the middle classes were also restricted by their status. When Florence announced her desire to become a nurse, her family were horrified. Only working-class women were nurses and hospitals were unsanitary, dangerous places. The reputation of nurses at the time was also very demeaning, however, believing that it was God’s calling, 17-year-old Florence was adamant to become a nurse.

After studying nursing in secret, Florence was given permission from her parents to go to the Deaconess’s Institute of Kaiserswerth in the city of Düsseldorf, Germany where the Protestant pastor, Theodor Fliedner (1800-64), owned a hospital, orphanage and college. Here, Florence received a proficient education in medicine, how to dress wounds, and how to care for the sick.

Without this education and experience, Florence would have been in no position to become so heavily involved in the hospitals during the Crimean War. British soldiers were sent to the Crimea (modern-day Ukraine) to join the French and Ottoman Turks to fight against the Tsar’s Russian army for dominance in the eastern Mediterranean. The conflict began in October 1853 and, by the following year, details of the horrific conditions of the army hospitals appeared in reports about the British troops: more soldiers were dying from diseases than enemy action.

Appalled at the news being reported in newspapers, Florence Nightingale was determined to do something about the state of the hospitals. She got her chance when the Secretary of State for War, Sidney Herbert (1810-61), asked her to be in charge of a group of 38 nurses being sent out to help. On arrival at the base hospital in Scutari, Constantinople (now Istanbul), the nurses discovered an overcrowded building without enough beds for the wounded, a shortage of blankets, and barely enough food. Many of the soldiers were worse off than when they first entered the hospital with four times as many dying from cholera and dysentery than their original wounds.

A lack of management in the hospitals meant that no improvements could be made, so Florence Nightingale quickly took charge, instructing the nurses and doctors as well as looking after the wounded. She also wrote to newspapers back home requesting donations to purchase supplies for the hospitals, however, she also used a significant amount of her own money. Gradually, things began to change for the better, the hospital was cleaner, better equipped and a much safer environment.

Illustrated London News, woodcut, published 24 February 1855

On 24th February 1855, Florence Nightingale reached celebrity status after a drawing appeared of her in an edition of the Illustrated London News labelling her “Lady with the Lamp”. Florence treated the soldiers as equals regardless of their ranks and cared about both their physical and mental health, their welfare, and their families back home. Soldiers wrote letters about the nurse, describing her as a guardian angel of the troops. At night, she would stride up and down the ward, lamp in hand, making sure everyone was okay. The sound of footsteps can be heard in one area of the museum, suggesting what the soldiers may have heard every evening.

The “Lady with the Lamp” connotation inspired many artists of the time and numerous drawings began to appear of the exemplary nurse. Most of these artists had never met Florence before, therefore, the imagery looks nothing like her. There was also a misunderstanding about the type of lamp she carried. Artists mistakenly showed Florence holding a Greek or genie lamp, however, this would not have been the case. The type of lamp Florence had access to was a Turkish lantern or a fanoos, which would have been easily obtainable in Scutari. An example is on display in the museum.

 

Florence hated the celebrity “buzz fuzz” and never believed that she deserved the fame; she cared much more about saving men’s lives than her reputation. In fact, she felt like a failure because so many men died, however, the rest of the world did not agree. Known throughout the world, Florence was honoured with souvenirs and pottery figures, which members of the public could purchase. Many examples are displayed in the museum showing the variety of artistic portrayals, none of which were completely accurate. Florence refused to sit for portraits, therefore, these souvenirs were based upon description or memory.

As well as these physical mementoes, a number of songs and poems were written about Florence Nightingale, solidifying the analogy of the lady or angel with the lamp. One of these was written by Henry Wadsworth Longfellow (1807-82) in 1857, titled Santa Filomena.

Lo! in that house of misery
A lady with a lamp I see
Pass through the glimmering gloom,
And flit from room to room.

And slow, as in a dream of bliss,
The speechless sufferer turns to kiss
Her shadow, as it falls
Upon the darkening walls.

Although Florence Nightingale was a significant figure during the Crimean War, her fame has greatly overshadowed the others who helped to improve the lives of the British troops whilst they were fighting overseas. The museum attempts to acknowledge a few of these names, including the French Chef, Alexis Soyer (1810-58) who improved the hospital kitchens and army rations. He also helped to train the army cooks but, unfortunately, became ill due to exposure to the unsanitary conditions and died at the age of 48.

Another person who deserves recognition is the Jamaican-born herbalist, Mary Seacole (1805-81) who went to the Crimea on her own volition, determined to use her skills to aid the troops and the locals. Initially, she had applied to travel as a nurse, however, her application was rejected with the explanation that her methods of nursing were not appropriate. It is also likely, although rarely alluded to, that she was turned down because she was black.

After travelling independently, Mary Seacole set up a surgery near Balaclava named the British Hotel. In her own words, the establishment was “a mess-table and comfortable quarters for sick and convalescent officers.” She used the natural, herbal remedies she had learnt in the Caribbean to relieve the pain and sickness of the wounded. The museum provides details about the herbs and compounds available to her and what she used them for. Although these may not be seen as conventional as the medications available today, Mary helped hundreds of men and earned the affectionate title “Mother Seacole”.

Mary Seacole (1805–1881), c.1869, by otherwise unknown London artist Albert Charles Challen (1847–1881)

Unlike Florence who was well known and funded, Mary Seacole did everything from her own resources. Unfortunately, this meant that after the Crimean War ended in 1856, she found herself bankrupt and unable to return home. Propitiously, she was well loved amongst the veteran troops who organised benefit concerts to raise funds to get her back on her feet. Seacole also wrote a record of her experiences, Wonderful Adventures of Mrs Seacole in Many Lands, which she published and profited from.

Most likely due to her race, Mary Seacole was forgotten about after the war and never received the same recognition as Florence during her lifetime. Due to the Black Civil Rights Movements of the 20th-century, the world is beginning to learn of the figures who had been whitewashed out of history. In 1991, she was posthumously awarded the Order of Merit – an honour that Florence had been presented in 1907. Seacole was also listed as the favourite black Briton in 2004 and, more recently, a formidable statue of the pioneer nurse was erected outside St Thomas’ Hospital in 2016.

It may seem unfair that Florence Nightingale achieved worldwide fame, whereas Mary Seacole received nothing, but as the museum proves, Florence did far more than carrying a lamp up and down a dirty hospital ward. When she returned to England she was critically ill with what doctors labelled the “Crimean fever”. It is thought now that Florence had contracted the bacterial infection brucellosis from consuming infected meat or dairy products whilst abroad. The illness recurred throughout her life, leaving her at the point of death on more than one occasion, however, she did not let this stop her from continuing to campaign for health reform.

A year after the Crimean War, British troops were once again fighting, this time in India. Although she was unable to visit the country, Florence investigated the hospital situations and wrote many letters demanding that the conditions be improved. Whilst confined to bed, Florence penned over 200 books, pamphlets and articles about nursing, hospitals, hygiene, and sanitation. Her Notes on Nursing, published in 1860 was greatly received by ordinary women wishing to provide the best care for their families. Queen Victoria was also an appreciative reader.

As well as nursing, Florence Nightingale wrote about religion, philosophy, statistics, India, travel, and the frustrations of life for educated women. Despite this, reforming the public health system was at the forefront of her mind. During the war, funding was raised to open the Nightingale School in her honour at St Thomas’ Hospital. Here, aspiring nurses could be educated properly and the profession soon became a respectable position for women.

Florence Nightingale died at the age of 90 in 1910, but her legacy remains. Although nursing has moved on from the methods that Florence introduced, her insistence that prevention through cleanliness was better than cure, radically changed the ways hospitals were managed.

 

The Florence Nightingale Museum was opened in 1989 by the Honorable Lady Ogilvy (b1936) and later modernised in May 2010 in acknowledgement of the centenary of Florence’s death. With unique methods of display, the museum provides an enormous amount of information about Florence, the war, and her legacy. Suitable for adults and children, visitors come away far more knowledgeable than when they entered.

The museum is by no means large, however, it is easy to spend over an hour reading the information, looking through drawers, discovering hidden peepholes, watching videos, admiring stuffed animals, and playing Florence’s favourite word game. It is a hidden treasure of London and well worth discovering. It is also a fun place for school parties to attend, complete with an actress dressed up as a rather convincing Florence Nightingale.

The Florence Nightingale Museum is open from 10am and is located at parking level on the grounds of St Thomas’ Hospital. Tickets are priced at £7.50 for adults (£4.80 concessions) and £3.80 for children, and allow you to return throughout the day should you wish to do so. Do not forget to find the Mary Seacole statue whilst you are there, too.

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Opera: Passion, Power and Politics

© Victoria and Albert Museum

After the success of Pink Floyd: Their Mortal Remains, the Victoria and Albert Museum has moved on to a completely different genre of music. Using the newly opened Sainsbury Gallery, the V&A are taking visitors on a journey through four centuries of European history, demonstrating the evolution of opera music and performances leading up to its contemporary interpretations of the 20th and 21st-centuries. Opera: Passion, Power and Politics focuses on seven particular premieres in seven different European cities whilst it not only celebrates the exceptional style of music but explores its effects on society, politics and the changes in the developing world.

In a darkened display room with dramatic lighting, the exhibition weaves through corridors of temporary walls decorated with relevant images, original artworks and a wealth of information. With striking typography, information is presented in an exciting manner, revealing the history of opera and the countries involved.

Opera first came on the scene in Italy during the 17th century, particularly in the cultural city of Venice. Unfortunately, as a result of a plague which killed off 30% of its population, Venice was struggling to maintain its maritime trade and political status. Despite this, it still remained a popular destination for tourists and pleasure seekers, also attracting artists and revolutionaries. Its international status brought a wealth of different cultures to the realm, offering entertainment such as carnivals and gambling.

Initially, opera was a production of spectacular costumes, dances and music, which were put on to impress visiting public figures and to show off the wealth of the theatre owners. The stories acted out were usually mythological retellings that contained parallels with the present day, thus placing current rulers in a positive light. However, in order to boost the Venetian population, opera was opened up to the public as a means of attracting more tourists and visitors.

The first public opera that was not restricted to courtly audiences was L’incoronazione di Poppea, with music composed by Claudio Monteverdi (1567-1643) and a libretto written by Giovanni Francesco Busenello (1598-1659). Premiering at the Teatro Santi Giovanni e Paolo in Venice in 1642, the opera describes the ambition of Poppaea, the mistress of Roman emperor Nero, to be crowned Empress. This was the first opera to recall a historical event rather than a fictionalised story and focused on morality and virtue. Full of problematic characters, it glorified lust and ambition.

View of Venice, print, Frederick de Wit, Netherlands. Museum no. E.1539-1900. © Victoria and Albert Museum, London

From Italy, opera quickly caught on in London due to its influx of foreign visitors. The Reformation during the reign of Henry VIII brought thousands of refugees to the city along with international influences. Covent Garden, in the west end of London, was an artistic community full of coffee houses where many would come to be entertained or partake in political debates. It was only natural for opera to find a home here amongst the existing artists and performers.

As indicated in large letters on the painted walls of the gallery, “G. F. Handel – young German composer takes city by storm”. At the young age of 26, George Frideric Handel (1685-1759) composed the music for the first Italian language opera written for the London stage. Translated from Aaron Hill’s (1685-1750) English version by Italian poet Giacomo Rossi, Rinaldo is a story about love, war and redemption set at the time of the First Crusades (1095-99) demonstrating the conflict between the Saracens and Christians. For the English audience, this would have felt familiar after the not so distant antagonism between Catholics and Protestants.

Impressively, Handel composed the music within a couple of weeks and Rinaldo was opened to the public on 24th February 1711 at the Queen’s Theatre in Haymarket. At this point in the exhibition, the V&A excels itself with a scenographic wooden installation representing part of the 18th-century theatre. A short puppet-like show performs intermittently whilst visitors listen to Il Vostro Maggio – an aria performed by mermaids during Act II of Rinaldo – on headsets provided by the museum.

As with any innovation, opera received its fair share of criticism from the public and became a topic of debate in the neighbouring coffee houses. The artist William Hogarth (1697-1764) illustrated the fears many had about the foreign genre becoming a threat to traditional British Theatre, particularly Shakespeare. These etchings are displayed as part of the exhibition.

The V&A fast forwards seventy-five years to Vienna where another young musician is making his name known. This was, of course, Wolfgang Amadeus Mozart (1756-91). In the late 1700s, Vienna was the heart of European music and opera, which was encouraged by the “musical king” Emperor Joseph II of Habsburg (1749-90).

The philosophical movement, known as the Enlightenment (or the “Age of Reason”), was changing the way Europeans thought, particularly in regard to individual rights. This, along with the Vienesse love of music, made Vienna the perfect location to perform Mozart’s society-questioning opera Le Nozze di Figaro (The Marriage of Figaro).

Le Nozze di Figaro is a comic opera in four acts with an Italian libretto. It contains a range of characters from all classes of society and radically gives servants a central role. Previously, domestic workers were absurd figures to be laughed at, whereas this opera tells the story of Figaro and Susanna, two servants who succeed in getting married despite the corrupt efforts of their philandering employer.

“O, my homeland, so beautiful and lost! O memories, so dear and yet so deadly!”

Hebrew Chorus, Nabucco

The exhibition moves on to Milan, which in the 1840s was still under Austrian rule. Throughout the 19th century, the political and social movement Risorgimento or Italian Unification was gradually reunifying Italian states to consolidate the Kingdom of Italy. The famous opera house La Scala was often used as a venue for political discussion about independence and, therefore, was an ideal location for the first performance of Giuseppe Verdi’s (1813-1901) Nabucco.

Based on the biblical books of Jeremiah and Daniel, Nabucco follows the plight of the Jews facing abuse from the Babylonian King Nabucco (Nebuchadnezzar II). Despite the historical context, the audience would have been able to relate to the passion about national identity and fight for freedom, thus strengthening their own resolve.

With the rise of Nationalism affecting many European countries, new operatic styles began to develop. Two examples appeared in France in the mid-19th century, “Opéra Comique” and “Grand Opéra”. The former was an amalgamation of spoken word with sung arias and became popular with the public. The latter combined expressive scenery, singing and ballet. Richard Wagner’s (1813-83) Tannhäuser followed the form of Grand Opéra, however, he began to challenge tradition by blending orchestra and voice instead of having several different aria performances.

Tannhäuser und der Sängerkrieg auf Wartburg, to use its full title, was first performed at the Parisian Théâtre le Peletier on 13th March 1861 much to the delight of radical thinkers. It was not only Wagner’s Gesamtkunstwerk (all-embracing art form) that upset the traditional audience, it was the choice of themes. Sexuality, spirituality and personal struggle were concepts that disagreed with bourgeois tastes. Tannhäuser combines two legends and focuses on the struggle between sacred and sacrilegious love, naturally causing much discomfort amongst spectators.

The Ballet Scene from Meyerbeer’s Opera Robert Le Diable, oil painting, Edgar Degas, 1876, France. Museum no. CAI.19. © Victoria and Albert Museum, London

A Box at the Theatre des Italiens, Eva Gonzalès, oil painting, 1874, France. © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

Music in the Tuileries Garden, oil painting, Edouard Manet, 1861 – 62. National Gallery NG3260. © The National Gallery, London/Scala, Florence

It is the 20th century that really radicalised the opera genre, as graphically demonstrated in this exhibition. New ideas in psychology and feminism brought new themes for composers to experiment with, much to the audience’s dismay. In Dresden, the Fin de siècle culture was changing the perceptions of women, an attribute that Richard Strauss (1864-1949) took hold of and ran with it his psycho-sexual opera, Salome. The Semperoper opened the revolutionary opera in 1905 with an orchestra of over one hundred instruments. Salome only lasts for one act, but the snippet the V&A shows on a digital screen suggests this is more than enough – particularly for those with a more sensitive stomach.

“Salomania” had affected artists and poets for a number of years before Strauss brought it to the opera house. Salome is the biblical character best known for her desire for the decapitated head of John the Baptist. The “Dance of the Seven Veils” at the end of the story – a term first used by Oscar Wilde – contains erotic dancing and copious amounts of (fake) blood. Strauss’s version of Salome emphasises the passion and hysteria in the women contesting their suppressed status at the beginning of the 1900s.

The final destination on the V&A’s opera tour is Leningrad at the commencement of Stalin’s dictatorship. With avant-garde experiments being all the rage, the young Dmitri Shostakovich (1906-75) composed his Lady Macbeth of the Mtsensk District sharing the writing of the libretto with Alexander Preys (1905-42). Based on a novella by Nikolai Leskov (1831-95), the opera covers themes of rural life, adultery and murder (obviously, since it is derived from the original Shakespearean character).

A common theme between the seven operas explored by the V&A is the discomfort and unrest they caused for some of the spectators. This was no different for Lady Macbeth, however, the person it upset the most was the infamous Stalin who only wanted Socialist Realism depicted in any art form. The heroine did not match Stalin’s ideal Soviet woman, therefore Shostakovich’s opera was condemned to political censorship.

Politbureau ZKVKP (B) (Central Committee of the All Russian Communist Party (Bolshevik), poster, Gustav Klutsis, 1935, Union of Soviet Socialist Republics. Museum no. E.1267-1989. © Victoria and Albert Museum, London

Shostakovich’s First Symphony, oil painting, Pavel Filonov, 1935, Russia. © State Tretyakov Gallery, Moscow / Bridgeman Images

Comparing the first public opera, L’incoronazione di Poppea, with this 20th-century composition goes to show the major metamorphosis the genre has undergone in a period of 400 years. The V&A have presented this exhibition in an outstanding way, combining visual and audio to creates a seamless journey from 1642 to 1934.

Paintings from well-known artists provide glimpses into the way opera goers dressed and behaved in the past centuries, which gradually transform to photographic examples as the exhibition nears its end. Objects from original manuscripts and Mozart’s piano, to modern stage props, are located around the exhibition, adding to the historical aspect and providing more to look at than screens and walls.

Before the exit, although accessible from other areas of the gallery, is a large space full of enormous screens showing clips from a range of operas. With the audio headset, visitors can pick up the music and sit and listen to the various compositions. This video-audio experience uses a selection of 20th and 21st-century operas to quickly take viewers from its origins in Renaissance Europe to the global phenomenon it is today.

Opera: Passion, Power and Politics is an extraordinary feat on behalf of the V&A. The amount of time, effort and research that has gone into its construction is evident in the amazing outcome. Educational from both a historical and political perspective, this exhibition will excite opera fans and interest those that are new to the genre – although not suitable for younger visitors.

After attending this exhibition, opera will no longer merely be a form of entertainment. Who knew how political and socially challenging a seemingly harmless production could be? Opera: Passion, Power and Politics certainly challenges opinions and reveals that it is not only about music and singing.

Opera: Passion, Power and Politics is on now until Sunday, 25 February 2018. Tickets are £19.00 and advance booking is recommended. 

Shattered World, New Beginnings

Copyright © 2017 Senate House Library, University of London

Tuesday 31st October 2017 marks the 500th anniversary of the day Martin Luther sent his Ninety-Five Theses disputing the power of indulgences to the archbishop of Mainz, Germany. This sparked a movement that would alter the world for ever and end the control the Catholic Church held over Europe: the Protestant Reformation. To commemorate the dawn of the reordering of the Christian religion, many establishments throughout the country (National Portrait Gallery, British Museum) are holding exhibitions, events, and workshops to bring to light the significant impact the movement had in England and the way it shaped the lives we lead today. The Senate House Library is one of these many institutions hosting an informative exhibition.

Founded in 1836, the Senate House Library is the central library of the University of London and one of the largest academic research communities in the country. Usually holding two free exhibitions per year, Reformation: Shattered World, New Beginnings is the second public display of 2017 and will run until the middle of December. Making the most of their two million book collection, the Senate House Library has pulled written material and medieval manuscripts from their vast collections, as well as borrowing or purchasing from the archives of other libraries, to put together a display to illustrate the crucial changes in England during the 16th century.

Change is not made without inconvenience, even from worse to better.

– Richard Hooker (1554-1600), Church of England Priest

Vom christlichen Abschied aus diesem tödlichen Leben des ehrwirdigen Herrn D. Martini Luther Bericht – Justus Jonas, 1546

Martin Luther (1483-1546) was a German monk and professor of moral theology at the University of Halle-Wittenburg. Through his own preaching, Luther challenged the Catholic sentiment that freedom from God’s punishment for sins could be purchased – occasionally with monetary donations –  with the idea that salvation and eternal life are given as a gift from God for the believer’s faith in Jesus Christ. His academic debate criticising the ecclesiastical corruption was written up in his Ninety-Five Theses (1517) and sent to Albert of Brandenburg (1490-1545), the Archbishop of Mainz on 31st October 1517. Allegedly, Luther may have also have posted the Theses on the door of All Saints Church, Wittenberg as well as other churches in the area.

Martin Luther refused to abandon his strong views and was eventually excommunicated by Pope Leo X and condemned as an outlaw by Emperor Charles V. However, with the recent mechanisation of printing technology, the Ninety-Five Theses was already spreading rapidly throughout Europe.

At this time, England was under the rule of the second Tudor monarch, the notorious Henry VIII (1491-1547). Initially, Henry debunked Martin Luther’s ideas by writing, or at least commissioning, Assertio Septem Sacramentum (In Defence of the Seven Sacraments) (1521). This earned Henry the title of Fidei Defensor (Defender of the Faith) from the pope, however, he was soon to fall from the pope’s good graces.

For centuries, England had been a Catholic country with most aspects of life revolving around the Church. Although Henry was king, the Pope held higher power, therefore when Henry wished to divorce his first wife, Catherine of Aragon (1485-1536), in order to marry Anne Boleyn (1501-36), permission was denied. Enraged, Henry took matters into his own hands, utilizing Luther’s theory to overthrow authority and establishing himself as the Head of the Church of England in 1534.

Martin Luther, however, remained persona non grata after calling Henry a pig and a drunkard in retaliation to the king’s opinion that Luther was a malicious, evil and impudent monster. Although Protestantism entered England for selfish reasons, it soon spread quickly as the population’s literacy increased allowing people to read texts and form their own opinions. Soon, art and literature were adopting secular themes, theatres became popular, and religion took a back seat.

The manuscripts flew about like butterflies.

– John Aubrey (1626-1697), English antiquary

 

The Life of Thomas Wolsey, Cardinal Archbishop of York – George Cavendish, 1893

Book of Hours

The Booke of the Common Praier and Administracion of the Sacramentes and Other Rites and Ceremonies of the Churche, after the Use of the Churche of Englande

The exhibition at the Senate House Library is divided into four “galleries” (“display cases” would be a better term): Culture, Society, Communications and New World Order. The exhibition in general focuses on the English Reformation rather than the Protestant Reformation as a whole, therefore, each glass cabinet is filled with books and pamphlets relevant to the events and changes in London and the rest of England.

It is fortunate that enough medieval and historical texts remain in order to put together a sufficient display. Not only are they extremely old, many books were destroyed in an attempt to abolish Catholic ideas. Placing Catholic texts alongside Protestant publications emphasises the dramatic impact reform wrought from both a religious point of view and a cultural one.

Previously, English culture had been determined by the church. Expressions of religious ideas were communicated through literature, paintings, and music, the latter often being liturgy accompanied by music. Church services were conducted and the Bible was written in Latin regardless of the congregation’s comprehension. Martin Luther, and thus Protestants, believed that services should be in a language that all can understand, therefore, in England, preachers were ordered to present their sermons in English. Likewise, the Bible and other religious texts were converted to English and made available to the general public. Many translations of the Bible were produced, culminating in 1611 with the King James Version, which, to this day, remains the best selling Bible throughout the world.

Bassus of the Whole Psalmes in Foure Partes

Thomas Cranmer (1489-1556), the Archbishop of Canterbury under Henry VIII and Edward VI, helped to spread the scriptures in English with the development of The Book of Common Prayer (1549).

Thomas Stenhold and John Hopkins revolutionised religious music by rewriting the Book of Psalms in paraphrased English and fitting the vernacular to short metrical stanzas. This allowed for communal singing where lyrics could easily be heard and understood, unlike the Latin versions intoned by a priest.

With printing presses on the rise providing cheaper and faster ways of producing books and pamphlets, it was impossible to prevent the widespread of these new forms of religious texts. However, it was not only the new Protestant Church that made use of this new development.

New authors and playwrights came to light as their novels and literature rapidly spewed out of printing houses. With religion losing its strong grip on society, writers were quick to explore new themes and secular ideas. This period of time brought forth names who have now been immortalised, such as Edmund Spenser (1552-99), The Faerie Queen, 1590), Nicholas Udall (1504-56), John Bale (1495-1563), and, of course, William Shakespeare (1564-1616).

Art was also to be impacted heavily by the English Reformation. European painters, such as Hans Holbein the Younger (1479-1543), arrived in England bringing with them new ideas, which lead to the English Renaissance. This opened up a range of new directions for young artists to explore including the ancient classics, history painting, genre painting, still life, and portraiture. No longer needing to paint for religious purposes, artists could now produce “art for art’s sake”.

To destroy all without consideration, is and will be unto England forever, a most horrible infamy among the grave seniors of other nations.

– John Bale (1495-1563), Bishop of Ossory

Despite society entertaining secular ideas, London was a very dangerous place to be open about personal beliefs, and opinions. Not everyone was happy to accept Protestantism and many Catholics attacked and ridiculed the new form of worship. However, with Henry VIII being head of the Church of England, he tried to dictate everyone’s beliefs, imprisoning and beheading many who refused to comply. People had to make a difficult decision: follow God or follow the King? Antagonism between the two Christian denominations lasted for many years – the Gunpowder Plot of 1605 was a botched attempt by Catholics to overthrow the Protestant king.

Whilst it may have been easy in the past for Rome to control the Catholic faith with the use of incomprehensible Latin and strict rules about what was right and wrong, the introduction of an alternative threw everything into disarray. As more people became educated and religious texts distributed in English, individuals were able to form their own opinions and question everything they had previously been taught.

Determined to abolish Catholicism, Henry VIII ordered the closure of monasteries and destruction of libraries in an attempt to eradicate any Catholic text. It is for this reason that the items at the Senate House Library are particularly rare because very few survived. Visitors are lucky to be able to view a copy of the Book of Hours, an early 15th-century devotional for Roman Catholic use.

Whilst monasteries were shut down, most of the buildings remained standing and were quickly converted into Anglican churches or became theatres and places of entertainment. Westminster Abbey became a cathedral under Henry’s instructions, later becoming a Collegiate Church during the reign of Elizabeth I.

Although this exhibition is focused on the English Reformation, it is important to understand that other European countries were having their own difficulties as a result of Martin Luther’s Theses. In 1562, France descended into the War of Religion, a civil conflict that was primarily fought between the Roman Catholics and the Reformed Protestants or Huguenots. Lasting 36 years, this war is the second deadliest religious conflict recorded in history with over 3,000,000 fatalities.

England, with its newly established Protestant Church, became a safe haven for many Huguenot émigres who escaped over the channel. It is estimated that over the years 50,000 Huguenots found refuge in England – a significant number that resulted in even more changes to English society. As London’s population increased due to the addition of refugees, European trades and skills were introduced to the English people. The French brought new talents such as silk weaving, watchmaking, and silversmith, making it far easier for England to obtain objects that previously had to be shipped from abroad.

Preachers may be silenced or banished when books may be at hand.

– Richard Baxter (1615-1691), English Puritan church leader

It is generally believed that the introduction of the printing press in 1476 led to the increase in literacy and development of the written English language, however, they never became popular until the Reformation. It was not until people wanted to spread God’s word in a language everyone could understand that the printing press became a vital invention. Thousands of pamphlets, as well as books, were printed and distributed, including those from anonymous sources who wished to get their opinion across. The curator at the Senate House Library likens this to today’s impact of social media.

A Nunnes Prophesie, 1615

An example of an anonymous pamphlet displayed in the exhibition is A Nunnes Prophesie, a form of propaganda. It claims that the pope had become the ruler of the world through evil means, but his enemies, having become as strong as unicorns, would destroy him with God’s help.

 

 

 

Look to your conscience and remember that the theatre of the world is wider than the realm of England.

– Mary, Queen of Scots (1542-1587)

The guide book produced to accompany the exhibition in the library jokingly says that taking England out of Catholic Europe was the country’s first “Brexit”. Many enemies were formed with countries that had previously been friendly, in particular, Spain. At the beginning of the Tudor reign, Spain and England had a close relationship, but by the time Elizabeth I became queen, things were quite the opposite. In 1588, the Spanish Armada set sail with the intention of making England Catholic again, however, poor planning on the Spanish behalf proved the attempt futile.

On the other hand, countries further abroad developed positive ties with Protestant England. By the end of the 17th-century, the East India Trading Company had been set up and new products were constantly being brought in from Asia. This introduction of foreign trade, similarly to the Huguenots, completely changed English society and culture. Without this development, life would be very different today.

The Senate House Library has done what it can with its limited resources to mark the 500th anniversary of the Protestant Reformation. Although it is understandable that any tangible evidence of the Reformation is hard to come by, or even nonexistent, the mini display does come across as a little sad and disappointing. In order to learn about the Reformation, it is more beneficial to purchase (or download for free) the exhibition guide book, which provides visuals as well as information of every item on display.

Nonetheless, thanks to the Senate House Library, people of today’s world have the opportunity to learn about the civil conflicts of the past which have greatly impacted the way we currently live. Primarily about religion, the English Reformation altered the way people think, encouraged education, and introduced many new art forms and ideas. Although a worrying and dangerous time for the people who lived through it, they deserve recognition and gratitude.

Reformation runs from 26 June to 15 December 2017. Free entry to all, but please register before hand.

 

St Katharine Docks & the Tower

“I’ve been walking about London for the last thirty years, and I find something fresh in it every day.”

–          Walter Besant, on his deathbed, 1901

Tower Hill Underground

Built on the former Tower of London station and originally named Marks Gate, Tower Hill Underground Station is one of London’s popular destinations for tourists. With over 20 million people going through the ticket gates every year, Tower Hill sits opposite the Tower of London and is a short walk from the famous Tower Bridge. Within a few metres of the largest remaining segment of the Roman London Wall, since 1967 Tower Hill has been the stop to go to in order to begin exploring the historic City of London.

Taking into account the number of cameras and selfie-sticks seen in the vicinity, most tourists are satisfied by seeing and photographing themselves in from of the legendary buildings. Regardless as to whether visitors are willing to pay the price to enter the castle or Tower Bridge Exhibition, they are undoubtedly the objects of most people’s trips to the area. Yet, there is so much more to discover, it is just a case of knowing what to look out for and what is worth exploring.

Tower Hill falls under the London Borough of Tower Hamlets which in turn covers the majority of the East End. Although named due to its association with the Tower of London, the borough includes Canary Wharf, the Isle of Dogs, a section of the Queen Elizabeth Olympic Park, and the West India Docks. From Tower Hill station, it is only a short walk to a part of the old commercial docklands, now mostly privatised, St Katharine Docks.

St Katharine Docks took its name from the former hospital and cemetery, St Katharine’s of the Tower, which was built on this site during the 12th century by Matilda of Boulogne, the wife of King Stephen. The medieval hospital was demolished in the early 19th century to make way for a £2 million dockyard development designed by the Scottish engineer Thomas Telford (1757-1834). Unlike some of the other docks, Telford insisted that the warehouses be built as close to the water as possible in order to limit the amount of activity on the quayside. This explains the narrow passageways between buildings and the riverside.

Unfortunately, the new docks were not able to accommodate the typically large ships that brought goods to London, therefore St Katharine Docks mainly handled luxury commodities, for instance, tea. Although tea may not seem much of a luxury product today, the limited methods of transport meant it was a lot more difficult to ship the leaves from Asia to Europe than it is today.

The docks were targetted by the Germans during the Second World War, leaving most of the warehouses in ruins and any hope of continuing to trade there impossible. Until the 1960s, St Katharine Docks was mostly left in a derelict state, but gradually it was developed into a leisure region and residential estate. Now referred to as a marina, the docks are used to moor privately owned boats and yachts. The quayside also contains cafes, restaurants, shops and a hotel, making it an upmarket division within the Docklands.

Ivory House

Dickens Inn

Despite the destruction caused by the war, one warehouse remained standing. Originally built in 1858, Ivory House, so named for the vast loads of ivory that were stored there, now accommodates a parade of shops, restaurants and luxury apartments. Although the original warehouse also received rare commodities such as perfume and wine, ivory was its primary product.

London of the nineteenth century was the main importer of ivory – more than anywhere else in the world. Approximately, 500 tonnes of ivory was imported to the capital each year, 200 of which was stored in Ivory House at one time. It is estimated that this would have been the equivalent of 4000 elephants. The ivory was either shipped off to workshops in other countries or sent to craftsmen in London to be transformed into piano keys and billiard balls.

Despite Ivory House being the only remaining warehouse of the original docks, it is not the oldest building. Located on the opposite side of Marble Quay – a small section of St Katharine Docks – stands a beautiful building containing the most popular pub on the River Thames: The Dickens’ Inn. Formerly functioning as the King’s Brewery back in the 1740s, the building was originally situated further down the docks.

When works began on St Katharine Docks in the 1960s, a gradual process of repairing the war damage, the original building of The Dickens’ Inn was airlifted from one site to its new location. It was hoped that its prominent position on Marble Quay would help to attract tourism to the area.

The inn was opened in May 1976 and has, hence its name, great connections with the illustrious London author, Charles Dickens (1812-70). The pub, which also functions as a grill and pizzeria, was formally opened to the public by none other than Cedric Charles Dickens, the great grandson of the famous writer. The young Dickens believed that his great grandfather would have loved the inn, especially as many of his characters and books were set around similar areas of London.

Davies BR. London 1843, Publisher: Chapman & Hall, 186 Strand, London, Nov. 1, 1843.

St Katharine Docks is divided into sections that retain their original names. There are three subdivisions of the docks that are separated by quays and bridges. They are aptly titled East Dock, West Dock and Central Basin.

The names of each quay hint at the usage of the docks, providing a ghost of London’s memory and the action it must have seen in this area. Commodity Quay, Marble Quay and The City Quay give some indication of the shipments received there and the potential bustling of each location.

There are also references to people and events that date further back than the existence of the docks. As mentioned, St Katharine was the name of the hospital that originally stood on this site, therefore passages such as St Katharine’s Way make complete sense. However, on the north east side of the docks, lies Thomas More Street, which without any historical context, is a rather curious choice of name.

This area of London has many references to a man named Sir Thomas More (1478-1535). He was a speaker of the House of Commons and Chancellor to the Duchy of Lancaster, later becoming Lord Chancellor. The reign of Henry VIII produced great changes to the Christian faith with the development of the Church of England. Unfortunately, More’s strong religious beliefs prevented him from accepting Henry as the head of the church and, therefore, was imprisoned in the Tower and eventually beheaded. Sir Thomas More put God before the king and became a Catholic Martyr. In 1935, Pope Pius XI canonised More, and, in more recent years, Pope John Paul II proclaimed him the “heavenly Patron of Statesmen and Politicians.”

Wendy Taylor CBE’s sculpture Timepiece seen by Tower Bridge in London

Anchor

Bollard

Girl With a Dolphin

Dotted around St Katharine Docks are historical items and modern sculptures that turn the area into a miniature outdoor museum. Although so easy to walk past without paying the slightest bit of attention, the docks have so much to offer if only one is willing to take the time to appreciate them. For posterity, many of the original bollards used for mooring ships have been retained sporting the words “St Katharine by the Tower” around the edge of the circular top. In the centre, a human figure sporting a halo and sword is depicted next to a ship’s wheel. This is a portrayal of Saint Katharine, a daughter of an Alexandrian King. After converting to Christianity, Katharine refused to sacrifice to the gods of the empire, even after being ordered to do so by Emperor Maximinus. As punishment, Katharine was sentenced to death by being broken on a wheel.

Another historical item located in St Katharine Docks is a large anchor that sits at the mouth of one of the footbridges around the Central Basin. Not much information is offered about the anchor, however, a plaque nearby states “Anchor salvaged from Dutch merchantman ‘AMSTERDAM’ which foundered off Hastings 200 years ago.” Two hundred years before the date that the anchor was put on display would place the sinking of the ship during the period that St Katharine Docks was being put to good use. Presumably, the Amsterdam was a ship that frequented the docks, hence the relevance of its recovered anchor.

Modern sculptures interspersed amongst the old help to bring the docks into the late twentieth and twenty-first century. Some of these depict different animals from elephants to different types of birds. The most impressive, however, is situated just outside the entrance to St Katharine Docks, on the opposite side of the Tower Thistle Hotel, which separates the docks from the main body of the Thames. This statue is titled Girl With a Dolphin.

Sculpted in 1973 by David Wynne (1929-2014), Girl With a Dolphin also functions as a fountain, the water emitting in an upwards stream between the two characters. Wynne was mostly interested in sculpting animals and was excellent at portraying movement in his work. In this instance, it appears the figure of a girl is flying above the jumping dolphin unsupported by anything beneath her. It is a snapshot of a very brief moment in time.

The riverside area contains a few other attractions including another anchor and an eighteenth-century cannon. Between these two relics is another modern sculpture reminiscent of the dock’s past. Produced by Wendy Taylor (b.1945) in 1973, Timepiece is a huge sundial made up of a larger-than-life washer and needle. The chains that support the slanted sculpture are comparable with the chains attached to anchors used on the merchant ships that visited the area.

St Katharine Dock – preserved hydraulic jigger © Copyright Chris Allen

Silver Jubilee Crystal Crown

One more relic of the past can be found on the Central Basin side of the Tower Thistle Hotel. Here, a crane, known as a jigger, is attached to a wall in a similar fashion to the way it would have been fastened to the wall of a warehouse. Using Hydraulic Power, these jiggers, developed by William Armstrong (1810-1900) in the mid-nineteenth century, would hoist cargo in and out of boats and barges.

The most obscure feature exhibited within St Katharine Docks is a giant crown sculpted in the area by Arthur Fleischmann (1896-1990). The almost 11′ long block of Perspex, weighing two tons, is the largest block of Acrylic in the world. It was produced for Stanley Kubrick’s film 2001 – A Space Odyssey (1968) but was rejected by the director. Fleischmann, who was known for working with plastics, acquired the unwanted block and used it to sculpt a crystal crown that he was commissioned to produce for the Queen’s Silver Jubilee in 1977. Originally, the crown was displayed in an open-aired rotunda titled Coronarium Chapel until it moved to the wall of the building opposite in 2000. The rotunda is now a Starbucks.

Tower Bridge letting the Dixie Queen pass through

Along the quayside past the Girl with a Dolphin is one of the best spots to view Tower Bridge. The bridge is the most iconic structure in London and has stood proudly in place since 1894. Originally powered by hydraulics before switching to electricity and oil in the 1970s, the lower section of the bridge can be raised to let passing boats through. If you are lucky, you may see it in action.

Continuing along the quayside in the direction of Tower Hill provides a whole host of things to look at. There are more sculptures and interesting architecture, benches made of mosaics, bright blue lamp posts and so forth. As the path goes past the Tower of London, information boards appear with information about the various sections that can be seen from the river. The most famous, and therefore most popular, part of the castle is Traitor’s Gate, which can be seen equally as well from the outside as it can by the people who have paid to go inside. Without paying a penny, enough information is provided to be able to learn a few fascinating historical facts.

Nearby the souvenir shop outside the Tower of London entrance is a small cylindrical structure that at first glance appears to serve no purpose. This was once an entrance to the former Tower Subway constructed in 1869 which took passengers through a tunnel under the River Thames – the first of its kind in London.

It is amazing how much history can be found in one location and there is still far more than those already mentioned. Nearby the Tower Hill station entrance is Trinity Square Gardens, which contains a number of memorials to those who fought and died for Britain and Commonwealth countries. A vaulted corridor contains the names of Navy members who went missing at sea during the First World War. A sunken garden contains the names of those who suffered the same fate in the Second World War.

It is not only the wars that Trinity Square Gardens pays homage to; indicated by a small plaque is the location of the scaffold where more than 125 people were executed, including the above mentioned Sir Thomas More.

“To commemorate the tragic history and in many cases the martyrdom of those who for the sake of their faith, country or ideals staked their lives and lost.

On this site more than 125 were put to death. The names of some of whom are recorded here.”

Who knew that a visit to Tower Hill could provide such an extensive and detailed look at the history of London? It is not possible to take everything in during one day and future visits will unearth even more wonders. Climbing up to the observation platform above the underground station entrance provides a fantastic view of the castle. Centred in the middle is a large sundial that (on sunny days) tells the time whilst simultaneously explaining the history of London with a decorative timeline around the edge of the dial. Going as far back as the first century AD, it chronologically reveals the most significant events of the past leading up to the present era.

More details about the history of London can be found in the underpasses and subways that lead towards St Katharine Docks. Artist, Stephen B. Whatley, was commissioned by the Historic Royal Palaces and The Pool of London Partnership in 1999 to produce thirty paintings that explain the history of the Tower of London. These can be viewed in the Tower Hill Underpass. The Tower Bridge Approach Subway contains different information including particulars about St Katherine’s Hospice.

Tower Hill Underpass – looking north

With so much more to find, Tower Hill deserves another trip. This goes to show how wonderfully interesting London is and underlines the idea that some of the best things in life are free. Wherever you are in London, keep your eyes wide open; you never know what you may discover.

Special thanks to Treasure Trails for providing such an in-depth self-guided tour of St Katharine Docks with an exciting Treasure Hunt game. Take a look at their website for more information about the trail. (Other areas are available.)

Treasures of Trafalgar Square

Photo by DAVID ILIFF. License: CC-BY-SA 3.0

Trafalgar Square is one of the most popular tourist interests in Central London, attracting well over one million people per year. Surrounded by museums, galleries and historic buildings, the public square is continually travelled through as sightseers make their way from place to place. Containing numerous statues, there are plenty of photographic opportunities for selfies or group pictures as well as the chance to witness a diverse selection of street performance.

With so much to offer, how much do visitors gain from their visit to Trafalgar Square? Apart from the lions and the acclaimed Nelson’s Column, a lot goes unappreciated or even unnoticed. By stepping back from the crowds and taking the time to look around you – up high, down low and side to side – you will discover the history and wonders of the dynamic location.

Trafalgar Square was developed by the architect John Nash (1752-1835) in the early 1800s. After its completion, the new square was officially christened Trafalgar Square in 1830 to commemorate the victory at the infamous Battle of Trafalgar a quarter of a century earlier. Some tourists are frequently confused by the name and incorrectly assume that the battle against Napoleon took place in this very square. The British Naval victory was earned at Cape Trafalgar on the coast of Spain, in which the Vice-Admiral Horatio Nelson lost his life.

In 1843, a bronze statue of Nelson was erected on top of a 145 ft Corinthian column designed by the English architect William Railton (1800-77); a tremendous monument in honour of the war-hero. The bronze lions on the pedestal below, sculpted by Edwin Henry Landseer (1802-73), were added thirty years later to stand guard around the column.

Nelson, literally and figuratively, overshadows all the other statues and plinths around the square and, unless time is taken to study them carefully, many remain unaware of who they represent and the significance of their position. Over the years, several sculptures have been erected (and even removed from) Trafalgar Square and they are worth having a look at.

Jacobus Secundus, Photograph by Prioryman

To the left of the entrance to the National Gallery, stands a particularly old bronze statue. Originally erected in the Palace of Whitehall in 1686, King James II stands in a Contrapposto pose (hips and legs twisted away from the position of the head and shoulders) sculpted to resemble a Roman emperor. With right hand outstretched, it is believed that the King, or Jacobus Secundus as the plinth states, once held a baton, which is now missing.  The rest of the plinth, when translated from the Latin, reads “by the grace of God, King of England, Scotland, France and Ireland. Defender of the Faith. 1686.”

In the top right-hand corner of the square sits an equestrian statue of another king of England. Cast two years before George IV’s death in 1830, his statue depicts him in ancient Roman garments – possibly an attempt at resembling a Roman emperor similarly to James II – and was originally intended for the top of Marble Arch when it was used as the entrance to Buckingham Palace. Temporarily placed upon a plinth in Trafalgar Square, it has remained there ever since, although the inscription below was only added in the late 19th-century once his flattering features were no longer recognised by the public.

The most interesting thing about the George IV statue designed by Sir Francis Leggatt Chantrey (1781-1841) is that he is riding with no stirrups. Whether it was intentional to depict the king bareback riding or an oversight of the sculptor remains unknown.

There is another equestrian statue in Trafalgar Square on the opposite side, near Whitehall. Older than both James II and George IV, the statue was cast in the 1630s by Hubert Le Sueur (1580-1658), a French sculptor, in honour of Charles I. Dressed in armour typical of the era, the King sits proudly on his horse who has its right front leg raised as if walking.

Those who know their English royal history will wonder how the statue survived after the execution of Charles I. The bronze figure was sent to a metalsmith in Holborn along with instructions to melt it down, however, the smithy secretly hid the statue instead. When the royal family was restored to the throne, it was rediscovered and placed in Trafalgar Square in 1675, on the original location of one of the Eleanor crosses.

The Eleanor cross that stood in Trafalgar Square was destroyed during the civil war, however, a replica was produced in 1865 in front of Charing Cross railway station, where it still stands today. The Eleanor crosses were ornately decorated monuments adorned with a cross commissioned by Edward I in memoriam of his beloved wife. Each cross was positioned at the site her coffin lay overnight as it made its twelve-day journey from Lincoln to London before finally being buried in Westminster Abbey. Charing Cross was the final stop and therefore the most elaborate of the twelve monuments.

Victorian sculptor, Thomas Earp (1829-93), constructed the replica cross from designs by E. M. Barry (1830-80), an architect famed for his work in Covent Garden. Using Aberdeen granite, Earp expertly carved the decorative monument, including a statue of Eleanor of Castile standing towards the very top.

 

Flickr: Statue of King George IV in Trafalgar Square, London

The equestrian statue of Charles I on its plinth at Charing Cross

Close-up of the Charing Cross Victorian-era replica

There are a number of other statues located in Trafalgar Square, and there are even more located nearby within short walking distance. When visiting the square, there is so much to see in the surrounding areas, for example, the Eleanor cross, that could so easily be missed by tourists. Diagonally across from the north-east corner of the square, opposite the entrance to the National Portrait Gallery stands a monument to the British nurse, Edith Cavell. Working in Brussels when the First World War broke out in 1914, Edith nursed hundreds of soldier regardless of which army they came from. She also helped some 200 Allied soldiers escape from German occupation.

Unfortunately, Edith Cavell was caught and arrested by German soldiers, found guilty of treason and shot by a firing squad on 12th October 1915. Her remains were brought home after the war, her bravery earning her a state funeral at Westminster Abbey.

Sir George Frampton (1860-1928) constructed the modern-looking, ten-foot marble statue of the British nurse standing on a granite pedestal. Inscribed below are the words “Edith Cavell // Brussels // Dawn // October 12th 1915 // Patriotism is not enough // I must have no hatred or // bitterness for anyone.” The monument was unveiled by Queen Alexandra in 1920 and, since 2014, it received a Grade 1 listing.

Another statue to look out for in the area is the Royal Marines Memorial installed on the north side of The Mall. Created at the beginning of the 20th-century, the memorial honours those who lost their lives during the Boxer Rebellion in China (1899-1901) and the Second Boer War in Africa (1899-1902).

To get to the Royal Marine Memorial from Trafalgar Square, the pavement takes you under Admiralty Arch. This is just one of the many historic structures that surround the square. The Grade 1 listed triumphal arch was commissioned by Edward VII in memory of his long reigning mother, Queen Victoria. Initially used as a residence for the First Sea Lord and Chief of Naval Staff, the arch became government offices at the beginning of the millennium. The neoclassical arch is now in the hands of property developers who intend to reopen it as a luxury hotel in 2020.

Admiralty Arch

London, being steeped in history, has countless plaques around the city commemorating certain events, past and present buildings, notable people and so forth. Although buildings have been demolished, plaques provide information about the past to prevent history from disappearing entirely. On the ground by the Charles I statue is a metal sign explaining that it was once the site of the Eleanor cross. On the railings in front of Charing Cross Station is another plaque with a lengthy description of the design and construction of the replica. Nearby is another sign recording details of a violent storm that occurred in 1987.

It is quite surprising the places that memorial plaques can be found. In St Martin’s Street, little more than an alley way, behind the National Gallery, is a sizable memorial of the 16th century Hampton Site. The information inscribed on the stone explains that the site used to belong to Hamptons furniture store which was flattened by bombs in 1940. Later, in 1959, the government acquired the demolished area allowing the National Gallery to expand. Thus, the Sainsbury Wing was born.

Plenty of tourists take photographs outside the entrances to the National and National Portrait Gallery even if they do not venture inside (although, judging by the crowds, most do!), however, it is not a common thought to look behind the buildings. By continuing along St Martin’s Street and turning right into Orange Street, a small Congregational Church is located sporting more historical information. According to historians, the former resident of the building next door was none other than the mathematician, Sir Isaac Newton.

Orange Street Congregational Church: This church was founded in 1693 by Huguenot refugees who fled from France at the time of the Revocation of the Edict of Nantes. In 1776 the Chapel passed into the hands of the Church of England. The Rev. Augustus III. Toplady author of “Rock of Ages” was one of its ministers. The Chapel passed into the hands of the Congregationalists in 1787. Adjoining the chapel was Sir Isaac Newton’s house which was built in 1710 and condemned in 1913. Mrs Jemima Luke, author of the beloved hymn “I think when we read that sweet story of old” was a teacher in the Sunday School. A copy of the hymn in her own handwriting is in possession of the church.

When exploring, always remember to look up. Approaching the National Portrait Gallery from Orange Street allows the building’s architecture to be seen in a new light. Above the highly positioned windows are sculpted busts that are easily missable from ground level. Sculpted along with the three founders of the gallery are fifteen illustrious portrait painters, writers and historians, notably: Horace Walpole, Hans Holbein the Younger, Sir Anthony van Dyck, Louis François Roubilliac, William Hogarth and Sir Joshua Reynold.

 

There are far too many things to note in and around Trafalgar Square to write about it one go. The more you look the more you discover, especially when glancing in the more obscure places. Whilst standing at the foot of Nelson’s column, look out for the worlds smallest police phone box (now a cleaning store cupboard), and, whilst having a drink at the Cafe on the Square, do not miss the outdated standard Imperial measures plaque where people used to come and check the accuracy of their rulers.

 

The World’s Smallest Police Phone Box

Imperial Standards of Length in Trafalgar Square.

Trafalgar Square is so much more than statues, water fountains and street performers. With so many marvels hidden in plain sight, hours can easily disappear as you tour the area. This goes for the rest of the City of London, too; the more you look the more you find. Do not be blind to the history surrounding you, it is there to be noticed.

Special thanks to Treasure Trails for providing such an in-depth self-guided tour of Trafalgar Square with an exciting Treasure Hunt game. Take a look at their website for more information about the trail. (Other areas are available.)

A Triumphal Arch

View from the top of Wellington Arch

Owned by English Heritage, Wellington Arch, built with the intention of being used as an entrance to Buckingham Palace, still stands in the heart of London and is open to visitors to explore. Since becoming a memorial to celebrate the Duke of Wellington’s defeat of Napoleon, the arch is a museum dedicated to the war, particularly the Battle of Waterloo and the ensuing victory.

For £5, visitors can climb (or take the lift) to the top of the arch and take in the views over London’s Royal Parks from the balconies on either side. One side faces towards Hyde Park and Apsley House – the Duke of Wellington’s residence – whereas the other balcony provides views into the garden of Buckingham Palace (if the trees are not in the way) and the entrance to Green Park.

Wellington Arch, English Heritage

From the outside, it is hard to believe that the arch is hollow, let alone big enough to contain a museum and gift shop. Beginning on the top floor, visitors can make their way through an exhibition about the Battle of Waterloo, which celebrated its 200th anniversary in 2015.

On 18th June 1815, the 1st Duke of Wellington, Arthur Wellesley (1769-1852), led an army of British, Belgian, Dutch and German troops onto the battle fields at Waterloo in Belgium, to stand against the tyrannical French Emperor Napoléon Bonaparte’s (1769-1821) Armée du Nord. War had been raging since 1792 as France tried to extend her territory, but this final battle was to put an end to Napoleon’s dictatorial empire.

The exhibition only focuses on the final battle of the Napoleonic War, although it acknowledges other battles, such as Trafalgar for which a significant monument stands proudly in the capital. Information boards containing facts, figures and historical details are illustrated with paintings of the battles and the armies involved.

Lady Butler, Scotland Forever! (1881; Leeds Art Gallery)

Prussian Attack Plancenoit by Adolf Northern, 1864

The return Napoleons of the island of Elba in February 1815 by Charles Baron von Steuben

Brief biographies are also provided of the three key players in the Battle of Waterloo. Most people assume that the war was fought by two armies, one led by Wellington and the other by Napoleon. However, this war was not as simple as Britain versus France, in fact, Wellington’s army contained just as many Belgian and Dutch soldiers as it did British. Without the alliance of Gebhard Leberecht von Blücher, the Prince of Wahlstatt (1742-1819), and his Prussian army, the Duke of Wellington may not have achieved the impressive victory that altered the future of Europe.

Field Marshal Prince von Blücher (1742–1819) George Dawe (1781–1829) English Heritage, The Wellington Collection, Apsley House

Napoleon Bonaparte

Portrait of Arthur Wellesley 1769-1852 Sir Thomas Lawrence

Wellington’s boots

Located in glass cases are a variety of items belonging to Arthur Wellesley, including commemorative memorabilia, weapons and the renowned boots that gave Wellington boots their name. After touring this exhibition and listening to the recordings and video provided, visitors will be well educated about the successful battle.

Commencing on a lower floor is a second exhibition concentrating on the arch itself as opposed to the war it now commemorates. Interestingly, the arch, commissioned by the Office of Woods and Forests in 1824, was not intended for the celebration of a war hero. The Office wanted new railings and gateways for the royal parks and commissioned the very young architect Decimus Burton (1800-81) to produce the designs. This was a substitute for the elaborate gateway designed by Sir John Soane.

Sir John Soane’s design

Decimus Burton’s proposed design

Initially, Decimus Burton planned for two arches, one to lead into Hyde Park and the opposite to lead into Green Park. The latter would also be an entrance to Constitution Hill and Buckingham Palace and correspond to a neoclassical design, adorned with sculptures commemorating Britain’s victories over Napoleon.

Decimus Burton was a diligent designer, not only did he produce detailed drawings, he sketched certain sections to scale in order to fully show his intentions. Examples of his plans for Corinthian capitals to sit on top of the columns are shown in the exhibition as well as his proposition for ornamental designs of guardsmen and a quadriga (four-horse drawn chariot). Unfortunately, money became scarce and Burton’s arch was left plain with a lack of character.

So, how did this austere arch become known as Wellington Arch? In the 1830s, committees were formed to promote the idea of erecting memorials for the two British army leaders who fought victoriously against Napoleon. For Vice-Admiral Horatio Nelson (1758-1805), who died on the battlefield, a towering column was erected in Trafalgar Square with a statue of the hero upon the crest. The Wellington Memorial Committee was less ambitious and, as the Green Park arch was positioned facing the Duke’s home, it was proposed that a statue of Wellington be planted on top.

In 1838, Matthew Cotes Wyatt (1777-1862), a Victorian painter and sculptor, was commissioned to design the giant equestrian statue of the Duke. By 1846 it was completed and, much to Decimus Burton’s horror, positioned atop the arch. Despite its memorial purpose, the public ridiculed it, claiming it to be ugly and disproportionate to the rest of the structure. However, as the Duke of Wellington was still alive, he demanded that the government keep his statue in place otherwise he would take full offence at its removal. Finally, in 1883, thirty-one years after the Duke’s death, the statue was removed and re-erected in Aldershot Garrison – a military town in Hampshire.

The arch in about 1870, with the Wellington statue still in situ

A cartoon from Punch, September 1846, of the proposed statue of the Duke of Wellington

A particularly fascinating fact about the renamed Wellington Arch is that it is no longer situated in its original position. The arch was moved! By the 1870s, the Hyde Park Corner area was becoming more crowded. Despite it still being a pre-motor vehicle era, the amount of carriages on the roads was increasing as rapidly as London was expanding. The arch in its original position caused too many traffic jams, so in 1883, the government instructed the careful dismantling of the structure so that it could be repositioned out of the way.

Wellington Arch stood in its new place, statue-less, for three decades until a retired cavalry vet turned sculptor, Adrian Jones (1845-1938) produced a model of a quadriga that could potentially be erected where the Duke’s statue once stood. This would also respect the original designs of Decimus Burton, whose idea of a quadriga never came to fruition as a result of poor funding.

Although Edward VII approved Jones’s proposal, there was still a distinct lack of money in order to complete the job. It was not until 1912, after a secret donation from the wealthy banker, Lord Michelham, that the bronze sculpture was finally put in place where it still remains today.

The exhibition about the designing of the arch displays life size replicas of a few of the features of the quadriga sculpture. The quadriga is made up of the angel of peace descending upon a chariot pulled by four rearing horses that, in this instance, represent war. This is an allusion to the memory of the triumphant final battle at Waterloo.

Peace – modelled on Beatrice Stewart

Horse head

Arm of the charioteer

Head of the boy charioteer

Since 1999, Wellington Arch has been owned by English Heritage, refurbished and opened to the public in 2001. However, the arch was in use as a building long before the charity took over. The southern leg of the arch was used as a park keeper’s residence for just over 50 years, whilst the northern section was converted into London’s smallest police station. Fitted with telegraph wires, the police station remained until the 1950s, but after its closure, the arch remained uninhabited.

With thanks to English Heritage, the arch is open for all to enter and contains a wealth of information about its history and about the battle of which it is honouring. Successfully refurbished, the arch-cum-museum feels spacious and easy to navigate – a complete contrast to the impression presented when viewing the structure from outside. Not only are English Heritage preserving a historical piece of architecture, they are keeping the past alive, educating Londoners and tourists about an important war that is generally omitted from school syllabuses.

At only £5 (for adults), Wellington Arch is worth the visit, if not for the museum, then for the views from the balconies. Although the current exhibition in the Quadriga Gallery is about the quadriga (naturally), it has contained different exhibitions in the past. This goes to suggest that the future may see alternative displays, which will be worth looking out for.

English Heritage cares for over 400 historic monuments, buildings and places – Registered Charity 1140351

Havering: More than a Museum

When London was chosen as England’s capital city it was relatively small compared to the area we are familiar with today. It was not until buildings such as Westminster Abbey were erected that London became a place of importance. Prior to that time, Winchester was reportedly considered as the English capital when the various kingdoms united as one country in 927AD. Now, London is so large that it has been split in half: the City of London and Greater London. The latter has been divided further into thirty-two boroughs, one of which is named the London Borough of Havering.

The main towns that make up the London Borough of Havering are Romford, Hornchurch, Upminster and Rainham; but these were not always the built up areas they are today. On the site of the old Romford Brewery (now a shopping centre) is a small museum devoted to preserving the history of the borough and its original background. Although not of a considerable size and mostly run by volunteers, the museum provides an extensive history of the towns, buildings and important people that helped to develop the initial agricultural area.

Havering Museum is set out so that it is easy to navigate around the display cases and follow the information on a journey through different themes. A common theme of most historical museums is the impact of the First and Second World War. Photographs and found or donated items illustrate the war connections with the borough – although, since the London Borough of Havering did not come into existence until 1st April 1965, all historical mentions are about the areas that would eventually become one borough.

A brief history of each town has been researched and collated to provide short stories about the areas from as early as Saxon times to the present-day. Some of this is synonymous with the rest of the country and therefore is a more general history than specific to Havering. This includes developments in public transport, building material and commodities. Glass cabinets house objects from the past such as children’s toys, broken pottery, ancient coins and unidentified articles.

Throughout the year, the museum holds temporary exhibitions about specific themes or events that either affected Havering directly or would have concerned citizens in the London area in general. For example, between 15th June and 2nd September 2017, a selection of radios were on display, from early models to the more recognisable recent versions. Between the same dates was another display: 1950s Fashion. Until 4th November 2017, the museum is focusing on local men at war, which may interest those who grew up in this area during and after the conflict.

Havering Museum will mostly attract those who have lived in the area for a considerable length of time. It will evoke memories of the past but also explain some of the mysteries and questions people have about their local area. On the other hand, the museum curators have made it suitable for children to enjoy, too. There are plenty of hands on activities including puzzles and games, as well as drawers to open and inspect.

One of the activities for children (or those young at heart) is a brass rubbing of a coat of arms. With the supplied paper and crayons, visitors can create their own print of the coat of arms that once belonged to the Hornchurch Urban District Council that existed from approximately 1926 until the creation of the London boroughs in 1965. The motto “A good name endureth” has been adopted by the football club AFC Hornchurch, and they have also appropriated a similar coat of arms as their logo.

Coat of arms of Hornchurch Urban District Council

The Havering coat of arms

The current Havering coat of arms is remarkably different to the original owned by Hornchurch. To begin with, the colour scheme is a complete contrast, using royal blue and gold as opposed to red. This is because these were the colours of the ancient Royal Liberty of Havering – a royal manor built in the 11th century.

The symbols that make up the logo represent different areas of the borough. The gate house reflects on the old Palace of Havering, which was also depicted on the crest of the former Romford Borough Council. The bull’s head is a reference to Hornchurch and the leafy design points out the boroughs connection to green areas such as Epping Forest and Hainault Forest.

The lower half of the coat of arms consists of a shield with a design to represent the sails on a windmill, for example, the one that still exists in Upminster. The ring, however, has an interesting, and only slightly believable story attached to it. Legend claims that Edward the Confessor (1003-1066) gave his ring to a beggar, who later proved to be St John the Apostle, whilst saying the words “have ring”. Hence, Havering. This may seem a bit far-fetched, but no one can prove or deny it.

The logo of the London Borough of Havering is the simple word “Liberty” which means freedom and independence. The word, however, was chosen as a reminder of the Royal Liberty.

As mentioned already, Havering did not become a borough until 1965, therefore most of the story that the museum is telling is not about the borough at all. The most interesting information is about the buildings, some of which no longer exist in the area, but whose names have lived on in the names of parks, streets and schools. Other buildings are still around today, and their history is just as surprising.

There are many churches in the London Borough of Havering but only a handful date back several centuries. St Laurence Church in Upminster is a Grade 1 listed building whose tower stonework dates back as far as the 1200s. Historians believe that a church has existed on the same site since the 7th century. St Laurence Church’s claim to fame is the first accurate measurement of the speed of sound, discovered through the use of the church bells. Another historic connection is the resting place of Alice Perrers, the mistress of King Edward III, who died in 1400.

Although St Laurence Church is considerably old, it is not the most important in the history of Havering. St Andrew’s Church in Hornchurch also dates back to the 1200s, the first record of it being recorded in 1222. St Andrew’s was once the principal church in the areas that now make up Havering. Hornchurch is an Anglicised version of the Latin Monasterium Cornutum, which translates into English as “church with horn like gables”. This is in reference to the stone bull’s head on the Eastern Gable. This may not be as old as the church itself, but records show it existed in 1384. The significance of the bull is most likely associated with the leather industry that Hornchurch was originally involved with.

The horns on St Andrew’s Church – said to give the town Hornchurch its name

St Laurence Church

Other ancient buildings in Upminster and Hornchurch include a 15th-century Tithe barn, a windmill built in 1803 by a local farmer, James Nokes, now the last remaining smock mill in London, “High House” dating from the 1700s, and Fairkytes, an 18th-century house now owned by Havering Arts Centre.

Romford, as previously mentioned, was home to a large brewery that opened in 1799. It ran for almost two centuries, finally closing in 1997. Although most of the original factory has been demolished, the gated entrance to the brewery still stands. This is where the Havering Museum can be found. The rest of the site, still known as The Brewery, is a shopping and leisure centre containing a number of shops, restaurants, a cinema and a gym.

Romford’s greatest attraction throughout history has been the market place. Since 1247, people have travelled to buy and sell in the centre of the town, beginning with sheep but now selling anything from fruit and clothes to digital gadgets. Henry III granted Romford permission to hold a market every Wednesday. This attracted a great number of people, causing the town to expand. The arrival of Romford train station increased the population further, resulting in the large town it is today – one of the largest in the districts outside of central London.

Within the marketplace stands The Golden Lion Pub. Still functioning today, it has been in business since 1440. Unbeknownst to many people, including the locals, in 1601, Sir Francis Bacon inherited the position of the landlord of the pub. This is not its only claim to fame; apparently, Dick Turpin, the English highwayman, may have spent a couple of nights there.

The history of Havering’s towns does little to put it on the map in terms of a tourist attraction, however, alongside Sir Francis Bacon, there are a few significant names connected with the area. Unfortunately, the majority of these people mean nothing to society today. The elite families that inhabited the manors of Upminster and Hornchurch disappeared along with the demolition of the buildings.

“Famous” People

• Lady Edna Clarke Hall (1879-1979) – a watercolour artist and poet who produced illustrations for Wuthering Heights by Emily Brontë. Many of her artworks are owned by the Tate. She lived in Upminster and even painted a miniature study of Upminster Common.
• Henria Williams – a suffragette from Upminster who died two months after the “Black Friday” disturbance in which she was injured. It is highly likely that other suffragettes lived in the area and records report that pillar boxes in Romford were set alight during one of their protests.
• Ian Dury (1942-2000) – another Upminster inhabitant, Ian Dury was a rock-and-roll singer, songwriter and actor who rose to fame during the 1970s. His second solo studio album was titled Lord Upminster.

LANDSCAPE OF UPMINSTER COMMON 1902

Henria Williams

Lord Upminster (1981) album cover

• Joseph Fry – the son of the English prison reformer Elizabeth Fry, lived in Fairkytes between 1870 and 1896.
• Francis Quarles (1592-1644) – a Romford-born poet. This is presumably where the Quarles Campus of Havering College got its name. “Beware of him that is slow to anger; for when it is long coming, it is the stronger when it comes, and the longer kept. Abused patience turns to fury.”

There have also been connections with royalty throughout the past centuries. Harold Godwinson often went hunting in the forests nearby, resulting in the names of two of Havering’s smaller towns: Harold Wood and Harold Hill. Edward the Confessor gave Havering Palace to Harold, which then got passed down the royal family throughout the following centuries. Havering Palace was situated in the Havering-atte-Bower area, however, it has long since been demolished. It is believed that Elizabeth I enjoyed staying there during her reign.

It is disappointing that these buildings were not preserved for posterity. So much of our history is very quickly erased. It is only with thanks to historians and volunteers, such as those at the Havering Museum, that any information about this London borough has been retained.

Most people would travel to central London or other important towns and cities around the country when looking for some historical details. What gets forgotten is that everywhere, regardless of how big or small, has some history attached to it. It is surprising what gets dug up when people put their minds to it.

Those wanting to know more about Havering and its past must take a trip to the Havering Museum. It is open from Wednesday to Saturday between 11 am and 5 pm. It only costs £2.50 to enter and is worth the price.

Regardless of whether you live in Havering or not, think about looking into the history of the area you are from. Museums in central London will provide general details about the city, but the meaningful information will always be closer to home.

Havering Museum is a Heritage Lottery Funded project and an independent Museum run by Havering’s volunteers and supporters. Registered Charity No. 1093763