Exploring London

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The new exhibition, George IV, Art & Spectacle, at the Queen’s Gallery shows King George IV, our most ‘exuberant king’ as the tube posters have it, to be a mass of contradictions. The portrait by Sir Thomas Lawrence depicts him in all his royal Majesty – and we must remember that he was the King-in-Waiting for many years. George, Prince of Wales, had finally become Prince Regent in 1811 when his father, George III, finally succumbed to madness, and stayed in that difficult position until the king’s death in 1820. George III had been King for over 6o years and the previous coronation had been forgotten. The new George IV was determined that his coronation would be of unparalleled magnificence. Perhaps he felt that, after all that waiting, he was owed something in compensation.

Sir Thomas Lawrence, George IV (1762-1830), 1821. Royal Collection Trust / (c) Her Majesty Queen Elizabeth II 2019.

George IV designed himself a magnificent Coronation costume. – he had good legs, why not show them off?

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By 1938, to many thinking people, the triumphant rise of Fascism in both Italy and Germany was an ominous portent of another war. To others, yes, the situation in Europe was worrying and Fascism was certainly on the rise but another war? Surely not.  Wasn’t the Great War supposed to be ‘The War that ended Wars?’

 

St Leonard’s Court, East Sheen

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‘Bliss was it in that dawn to be alive / But to be young was very Heaven!’

So wrote the poet, William Wordsworth, about his arrival in Paris in 1790 when he was young, in love, and an ardent supporter of the French Revolution. But Wordsworth’s words could equally describe being young in the 1960s, a similarly heady period when the old social mores were chucked out, and a revolutionary, youth-led counter culture in fashion, ideas, music, and much else, swept in.

Swinging London; note the new Post Office tower – with a slowly-revolving restaurant at the top

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Last week I visited the splendid global headquarters of the Institution of Civil Engineering (ICE) at 1, Great George Street, just off Parliament Square and within a stone’s throw of the Houses of Parliament, Westminster Abbey and the Royal Courts of Justice. It is a huge Grade II listed building, designed by James Miller RSA, and built between 1910-1913, an era of huge (if unknowingly teetering on the cusp of collapse) Imperial self-confidence. There it stands in all its Imperial glory; a ‘monumental neo-classical design’ in Portland stone, and I have to say that it is extremely impressive – both outside and in.

The Institution of Civil Engineering (ICE)

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‘For they were young, and the Thames was old,

And this is the tale that the river told.’  Rudyard Kipling

The current exhibition at the Museum of London Docklands, Secret Rivers, is about the various rivers which once flowed openly into the Thames but which nowadays are largely hidden from view. The visitor follows the stories of, in particular, the Fleet, the Walbrook and the Westbourne, all now channelled underground.

We begin in the Bronze Age; metal-working is well established and people have settled down in tribes. This is a time when rivers are thought to be mysterious places which marked the transition between two elements, land and water, and, perhaps, between life and death. We can see this in the offerings found in the Thames, particularly near where the Walbrook flowed into the Thames.

This human skull, 1260-900 BC is one of the oldest objects found in the Thames and it is thought, from its condition, to have been put there deliberately

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Room 61, in the British Museum’s Egyptian Galleries, which showcases the wonderful Tomb of Nebamun, is one of my favourite rooms. The display is created around eleven frescoes from the tomb of Nebamun, who lived in the city of Thebes (present-day Luxor) on the River Nile, around 1325 B.C. He was a middle-ranking official scribe and grain counter working at the nearby temple complex; and an important man. The frescoes were acquired by the museum in the 1820s.

The herdsman and peasant farmers herd Nebamun’s cattle to be counted. (Photo courtesy of the British Museum)

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I’ve always loved Victorian magic shows with their sleights of hand and appearances that trick the eye. To my delight, this year’s exhibition, Queen Victoria’s Palace, at the Summer Opening of the Buckingham Palace State Rooms, offers a genuinely Victorian touch of magic with an optical illusion known as Pepper’s Ghost. I couldn’t wait.

But first, a bit of background…

Queen Victoria by Thomas Scully, 1837-9. She’s Queen, she’s unmarried, and Life beckons. Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019.

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I have long been a fan of the architect Sir John Soane (1753-1837); and his London home in Lincoln’s Inn Fields, now Sir John Soane’s Museum, is one of my favourite places. I love its quirkiness, its ingenious use of light – long horizontal windows in strange places, like just below the ceiling and skylights letting in light from above – and the unexpectedly vibrant colours he liked to use.

Sir John Soane by Sir Thomas Lawrence, courtesy of the National Portrait Gallery

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