Walking the City of London

Category: Sculpture Page 7 of 36

Famous monarchs with City connections.

What better place and person to start with than the Tower of London and William I (a.k.a ‘The Conqueror’ and ‘The Bastard’).

As everyone knows, he invaded England and defeated King Harold at the battle of Hastings in 1066. His reign is primarily remembered for the compilation of the Domesday Book in 1086 and for the building of many castles.

The castle which later became known as the Tower of London was begun in 1066 and was originally a timber fortification enclosed by a palisade. In the next decade work began on the White Tower, the great stone keep that still dominates the castle today …

William was keen to keep the City of London placated and not to disrupt commerce. In order to do this, after his coronation but before he entered the City, he issued the William Charter.

Written on vellum (parchment) in Old English, it measures just six inches by one-and-a-half inches …

Translated into modern English, the Charter reads as follows:

‘William the king, friendly salutes William the bishop and Godfrey the portreeve and all the burgesses within London both French and English. And I declare that I grant you to be all law-worthy, as you were in the days of King Edward; And I grant that every child shall be his father’s heir, after his father’s days; And I will not suffer any person to do you wrong; God keep you.’

City of London historians point out that one of the citizens’ primary concerns, as expressed by the words – “And I grant that every child shall be his father’s heir, after his father’s days” – was to ensure that their property handed down to the son and heir, rather than attracting the interest of the Crown.

Here he is as depicted in the Bayeux Tapestry …

There are two main accounts of his death in 1087. While some vaguely state that he became ill on the battlefield, collapsing through heat and the effort of fighting, William of Malmesbury added the gruesome detail that William’s belly protruded so much that he was mortally wounded when he was thrown onto the pommel of his saddle. Since the wooden pommels of medieval saddles were high and hard, and often reinforced with metal, William of Malmesbury’s suggestion is a plausible one. There’s a witty article about William’s demise here in the journal Historic UK.

William was followed as king by his third son, also called William but commonly called Rufus because of his ruddy complexion and red hair. The gossipy William of Malmsbury hinted that the King was homosexual since he surrounded himself with young men who ‘rival young women in delicacy’. Here he is as illustrated in the miniature from Historia Anglorum, c. 1253 …

Whilst hunting in the New Forest on 2 August 1100 he was accidentally killed by an arrow from one of his own men …

A relic of Rufus’s time is the crypt of St Mary-le-Bow which I wrote about a few weeks ago. I wonder if any of Rufus’s ‘delicate’ young men ever walked down these beautifully worn steps …

You will find some very interesting history and more images in the crypt Conservation and Management Plan of 2007.

William II was followed on the throne by his youngest brother, Henry. He was crowned three days after his brother’s death (3rd August 1100) against the possibility that his eldest brother Robert might claim the English throne on his imminent return from the Crusade. His life was blighted in 1120 when the ‘White Ship’ bearing both his sons sank in the channel. This is a 13th century depiction of the tragic event …

Subsequently he made his barons swear to accept his daughter, Matilda, as his heir. Henry died on 2nd December 1135 from ‘a surfeit of lampreys’ – probably food poisoning.

For a sense of Henry’s time, make a visit to the church of St Bartholomew the Great.

St Bartholomew’s was established by Rahere, a courtier and favourite of the king. It is thought that it was the death of the Henry’s wife, Matilda, followed two years later by the White Ship drownings, that prompted Rahere to renounce his profession for a more worthy life and make his pilgrimage to Rome.

In Rome, like many pilgrims, he fell ill. As he lay delirious he prayed for his life vowing that, if he survived, he would set up a hospital for the poor in London. His prayers were answered and he recovered. As he turned for home the vision of Saint Bartholomew appeared to him and said “I am Bartholomew who have come to help thee in thy straights. I have chosen a spot in a suburb of London at Smoothfield where, in my name, thou shalt found a church.”

True to his word Rahere set up both a church, a priory of Augustinian canons, and the hospital. He lived to see their completion – indeed he served as both prior of the priory and master of the hospital – and it is possible that he was nursed at Barts before his death in 1145. His tomb lies in the church.

He wears the habit of an Augustinian canon and the angel carries a shield with the arms of the priory.

You get a nice view of the flint and Portland Stone western facade of the church from the raised churchyard. An old barrel tomb rests in the foreground …

Bear in mind that the original church was vast and also covered the area now occupied by the graveyard and the path. This used to be the nave, as illustrated in this plan on display in the church …

Stepping into the church seems to transport you to another time and place …

The patchworked exterior gives no hint of the stunning Romanesque interior, with its characteristic round arches and sturdy pillars. It’s a rare sight in London; indeed, this is reckoned to be the best preserved and finest Romanesque church interior in the City. I visited it back in 2020 and you can read the blog here.

Nearby is this impressive statue of Henry VIII over the main entrance to St Bartholomew’s hospital, the only outdoor statue of the king in London. If you have seen and admired the famous Holbein portrait, the king’s pose here is very familiar. He stands firmly and sternly with his legs apart, one hand on his dagger, the other holding a sceptre. He also sports an impressive codpiece …

Bart’s, as it became known affectionately, was put seriously at risk in 1534, when Henry VIII commenced the Dissolution of the Monasteries. The nearby priory of St Bartholomew was suppressed in 1539 and the hospital would have followed had not the City fathers petitioned the king and asked for it to be granted back to the City. Their motives were not entirely altruistic. The hospital, they said, was needed to help:

the myserable people lyeing in the streete, offendyng every clene person passyng by the way with theyre fylthye and nastye savors.

Henry finally agreed in December 1546 on condition that the refounded hospital was renamed ‘House of the poore on West Smithfield in the suburbs of the City of London, of King Henry’s foundation’. I suspect people still tended to call it Bart’s.

You can see the agreement document, along with Henry’s signature, in the hospital museum

It also bears Henry’s seal, the king charging into battle on horseback accompanied by a dog …

The King finally got full public recognition when the gatehouse was rebuilt in 1702 and his statue was placed where we still see it today. The work was undertaken and overseen by the mason John Strong, who was at the same time working for Sir Christopher Wren on St Paul’s Cathedral. Such were the masons’ talents, no architectural plans were needed to complete the work.

And finally, poor Queen Anne, whose statue stands outside St Paul’s Cathedral.

Wearing a golden crown, she has the Order of St George around her neck, a sceptre in her right hand and the orb in her left.

She was close to the architect, the brilliant Christopher Wren, who wrote to her to ask her to help when his salary was being witheld and his work obstructed …

The letter is held in the National Archives SP34/29 f 133.

It’s difficult not to feel sorry for Anne. Her personal life was marked by the tragedy of losing 18 children (including twins) through miscarriage, stillbirth and early death. Two of her daughters, Mary and Anne Sophia, died within days of each other, both aged under two years, of smallpox in 1687.

Anne was 37 years old when she became queen in 1702. At her coronation she was suffering from a bad attack of gout and had to be carried to the ceremony in an open sedan chair with a low back so that her six-yard train could pass to her ladies walking behind. Her medical conditions made her life very sedentary and she gradually put on a lot of weight. She died after suffering a stroke on Sunday 1st August 1714 at the age of 49. You can read much more about her in my blog Queen Anne – tales of tragedy, love and vandalism.

For a glimpse of the architecture of her time there are no finer City examples than 1 and 2 Laurence Pountney Hill …

They were built in 1703 as a pair of red brick, four-storey houses, on the site of a single post-fire house. They are considered to be finest surviving houses of this period in the City with elaborately carved foliage friezes around the doors and cornice above and ornate shell-hoods over the doorways.  The virtuosity of the woodwork is explained by the fact that the houses were built by a master carpenter, Thomas Denning. He had worked on Wren’s church of St Michael Paternoster Royal nearby and would later contribute to Hawksmoor’s St Mary Woolnoth. Like other ambitious craftsmen, Denning branched out into the cut throat world of speculative building. At Laurence Pountney Hill he appealed to the market by ingeniously contriving two basements beneath the houses. This created an abundance of storage space that would be attractive to the London merchants, whose houses doubled as business premises. Denning’s speculation paid off; on 15 July 1704 he sold both houses to Mr John Harris for £3,190, a tidy sum.

The delightful doorway hoods. Look closely – the cherubs on the right are playing bowls!

Here is a close-up (you may have to concentrate – they are not always obvious) …

The date is still visible despite years of over-painting …

The buildings in 1905 with the door to number 1 open revealing the lovely original curved staircase …

There are other fine architectural examples of the period in the very appropriately named Queen Anne’s Gate in Westminster …

The lady herself has a statue there …

When I worked nearby I was told that, at midnight on her birthday, she would step off her plinth and promenade along the street inspecting the houses. The statue has an interesting history which you can read about here.

There is also a fascinating description of the street’s cannopies and carvings in the excellent London Inheritance blog.

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St Mary Aldermary – the most spectacular of the ‘Marys’.

In 1500 there were 15 churches in the City of London dedicated to a St Mary. It was by far the most popular dedication with the next most popular being All Hallows (8 churches) and St Michael (7 churches). This, of course, was helped by the fact that there are two St Marys – Mary the Virgin, the mother of Jesus and Mary Magdalene one of Jesus’s followers who was present at the crucifixion. But even if we count only the churches dedicated to the Virgin Mary, it is still the most popular dedication with a total of 13.

I’ve already written in some detail about the six Marys still in existence but for some reason I rather neglected paying serious attention to St Mary Aldermary – an omission I intend to put right in this week’s blog. Incidentally, the name ‘Aldermary’ possibly derives from ‘Older Mary’ meaning the oldest church in the City dedicated to her.

As every guide to the church will tell you – when you enter just look up!

The nave …

The south side aisle …

The north side aisle …

The fabulous plaster fan-vaulted ceiling is more reminiscent of a cathedral and St Mary’s is the only parish church in England known to have one.

It is unclear why Wren chose to rebuild the church (1679-82) in an uncharacteristically Gothic style. Funding came from a personal estate, so it may have been the desire of the executors, or possibly the will of parishoners. Whatever the cause, the fortunate result is arguably the most important late 17th century Gothic church in England.

A quirky feature of the church is the angle of the east wall which followed the line of a pre-1678 passage …

One of the the east windows by Lawrence Lee (1955) is ‘a fusion of sacred and secular with St Thomas, St John the Baptist and Madonna and Child above and panels depicting important episodes from the dramatic history of the church below. The gothic church tower powerfully depicted appears engulfed in the flames of the Great Fire of London of 1666’ …

In close up, Sir Christopher Wren kneels to present his plans for the new church …

The west window by John Crawford commemorates the defence of London against air attack in the 1939-45 War. It depicts the Risen Christ in Glory with the Hand of God the Father and the Holy Spirit in the form of a Dove. Above are the Instruments of the Passion, while below are the emblems of the four Evangelists. The lower lights show St Michael overcoming the Dragon, representing the force of good vanquishing evil, with St Peter (left) and St Paul (right). At the base is a panorama of London and at the top the arms of the various Services involved …

A blocked off window above the north door, dating from 1876, depicts the Transfiguration …

The pulpit is thought to have been carved in 1682 by Grinling Gibbons

The organ was built by George England in 1791 …

This beautiful, rare wooden sword rest dates from 1682 …

You can read more about the fascinating history of sword rests here.

The font was a gift from a wealthy parishoner called Dutton Seaman in 1627. One commentator describes it as having been ‘designed with jacobean gusto’ …

There is a plaque to James Braidwood, who was married in the church in 1838. He was the first Superintendent of the London Fire Engine Establishment and formed the world’s first municipal fire brigade in Edinburgh. He died tragically whilst fighting the terrible Tooley Street Fire of 1861. You can read all about him and the fire in which he perished in my Tooley Street Fire blog

René Baudouin was a Huguenot refugee from Tours in France. He established himself in Lombard Street, London, with a silk merchant Etienne Seignoret. The pair were successful but they were fined for continuing to trade with France during the Anglo-French war (1689-1697) …

There is also a memorial to the brilliant surgeon Percivall Pott who I wrote about in last week’s blog.

St Mary is the regimental church of the Royal Tank Regiment – ‘Once a Tankie always a Tankie’ …

The nearby old City church of St Antholin was demolished in 1875 and the parish merged with St Mary’s. A plaque on the wall outside memorialises this union …

If you entered St Mary’s from the west, the door casing you walked through came from St Antholin …

The best view of the church is from the south side of Queen Victoria Street …

The golden finials at the top of the tower are now, I’m told, made of fibreglass!

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Fun architecture in Eastcheap (and trying out the camera on my new phone!)

Having got myself a new iPhone I thought I would give it a trial run in Eastcheap where there is some unusual architecture to explore.

This is what you see as you approach from the west …

And if you view from the east …

I thought it would be interesting to include these images to illustrate just how the Fenchurch Building a.k.a. the Walkie Talkie dominates the skyline here. It was amusing that, when the building was finished, it was discovered that the glass concentrated and reflected the sun’s rays in such a way that it was scorching cars parked in the street below. The structure was given a new nickname – the Walkie Scorchie.

The stars of the show at street level are definitely numbers 33-35. Designed by R L Roumieu and built 1868, today the facade is grade II* listed. The ‘masterpiece’ (as described by Architectural Historian; Pevsner) was made for Hill & Evans, vinegar-makers from Worcester …

Pevsner goes on to describe it as ‘one of the maddest displays in London of gabled Gothic’ and he quotes from Ian Nairn – architectural critic – who calls it ‘the scream that you wake on at the end of a nightmare’.

I love it!

Look at the wonderfully detailed brickwork …

There’s a medieval head wearing a coronet …

… and a boar crashing through the undergrowth. What’s that all about? …

The animal is a reference to The Boar’s Head Tavern in Eastcheap where Shakespeare set the meetings of Sir John Falstaff and Prince Hal in his Henry IV plays and the medieval head represents the Prince.

No. 25, by Bird & Walters (1892-93), was a former pub. The narrow and plainer building on the right was built in 1860 …

Another 1860 building is the eye-catching one on the corner. It was once the offices and warehouses for Messers Hunt & Crombie, spice merchants …

Just below the roof is a fabulous combo of dogs’ and boars’ heads along with lovely brickwork …

Walk around the corner to see London’s tiniest public sculpture. Thousands of people walk past it every day and have, I’m sure, no idea it is there.

Can you spot it …

It’s two mice eating a piece of cheese …

There are a number of theories as to its origin but nobody knows for sure.

Further east, on the opposite side of the road, are more Eastcheap animals, including the remains of a dead one.

Constructed between 1883 and 1885, the building at number 20 was once the headquarters of Peek Brothers & Co, dealers in tea, coffee and spices, whose trademark showed three camels bearing different shaped loads being led by a Bedouin Arab …

The firm was particularly well known for its ‘Camel’ brand of tea. When Sir Henry Peek (son of one of the original founders) commissioned this building he wanted the panel over the entrance to replicate the trademark, right down to the dried bones of the dead camel lying in the sand in the foreground.

The Peek Brothers letter heading/trademark – Copyright – British Overprint Society – Mark Matlach

He clearly wanted his prestigious building to be enhanced by a suitably eminent sculptor – preferably one with knowledge of camel anatomy.

The sculptor he picked, William Theed, was indeed an extraordinary choice for such a mundane task. Theed was a great favourite of Queen Victoria and Prince Albert and his work can be seen on the Albert Memorial where he sculpted the group Africa the central figure being, of course, a camel …

The Queen also liked and trusted him so much that she asked him to take her beloved Albert’s death mask when the Prince died tragically young in 1861.

Peeks carried on trading under various names until the 1970s. Another branch of the family ensures that the name lives on by way of the biscuit makers Peek Freans …

As is often the case, I am indebted to Katie Wignall, the Look up London blogger and Blue Badge Guide, for much of the background information on the architecture in today’s blog.

It just remains for me to wish you all a very happy and safe New Year and thank you very much for subscribing.

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