Guild Hall (centre) & Art Gallery (right); line shows extent of amphitheatre. |
Executive Summary
Ambling along Gresham
Street, taking a detour into Guildhall Yard transports you into a microcosm of
London history and architecture. Lining the tranquil square, you’ll find the guild
church St Lawrence Jewry (rebuilt by Wren after the Great Fire of 1666), the
late twentieth century Guildhall Art Gallery (rebuilt after being destroyed in
the Blitz) and the medieval Guildhall, the ceremonial and administrative centre
of the City of London and its Corporation. Guildhall Yard encompasses even more history than these three remarkable buildings suggest: during building work for the new gallery it was revealed that they sit atop the site of an ancient Roman amphitheatre. Head for the Guildhall Art Gallery to see a selection of the City of London Corporation’s
impressive (and free!) art collection, and the evocative remains of the Roman
amphitheatre.
The Great Fire of London, 1666, after Waggoner |
Recruiting in the Guildhall, Charles Wakefield, 1920 |
Go There...
... For surprisingly vivid eyewitness accounts - in oil paint - of London's triumphs, tribulations and proto-celebrities, and a chance to enter a Roman amphitheatre accompanied by rampant applause.
Must-Know Info
Opening Hours: Monday – Saturday 10am-5pm, Sunday 12pm-4pm Admission:
free (small charges for temporary exhibitions) Nearest tube: St Paul’s or Bank
Sir Matthew Hale - Fire Judge, 1670, John Michael Wright |
Background
The Corporation’s art
collection was ignited at a pivotal moment in London’s history: the Great Fire of 1666. In the wake of the devastating fire, which destroyed five sixths of
the walled area of the medieval city and rendered at least 65 000 people
homeless, a panel of judges was appointed to assess property claims. They
worked three to four days a week without pay, listening and deciding on cases
quickly and efficiently: without them, legal wrangling and contradictory interests
would likely have fatally undermined London’s rebuilding and recovery. Instead,
the City effected a Phoenix-like rise from the ashes: in less than ten years
the entire area had been rebuilt (save for a few parish churches). In gratitude
to the judges, the Court of Aldermen commissioned portraits of them to hang in
the newly restored Guildhall. It was from this nucleus that the Guildhall collection
grew over the centuries through commission, bequest and acquisition. While
twenty of the twenty-two original portraits were damaged during the Blitz, two
survive alongside a diverse collection that now numbers over 4500 works
reflecting the city’s social, political, aesthetic and physical landscapes.
The first Guildhall
Art Gallery opened in 1885, with the aim of making the City of London
Corporation’s accessible to public view. This educational and philanthropic
gesture was a leitmotif of Victorian society, simultaneously responding to a
widespread perception of an ‘increased Taste in Art’. The building was destroyed
during an air raid in 1941 – luckily much of the collection had been safely
stowed underground in Wiltshire – but it was only in 1988 that work began on a
new permanent Gallery. While digging the foundations, the Museum of London
Archaeological Service discovered the remains of a Roman amphitheatre, the existence and
location of which had long been the subject of popular speculation. Immediately
declared an Ancient Monument, the ruins precipitated a redesign of the
building, which eventually opened in 1999 (with the Amphitheatre open to the
public since 2002).
Interior, first floor: you can see the top of the Copley painting on the right. |
Curation &
Interpretation
Copley's massive painting spans two storeys |
Of the vast
collection, only about 250 works are on display at any one time. Currently, the
main section of the gallery has a strong nineteenth century focus and
curatorial approach: paintings by Millais, Leighton, Constable and Landseer
amongst others jostle salon-style against walls of rich Pompeian red,
reflecting the influence of the Royal Academy in the Victorian era.
Spanning
the height of two floors, pride of place is reserved for John Singleton Copley’s
The
Defeat of the Floating Batteries at Gibraltar, September 1782, one of the nation’s largest oil paintings
(543 x 754cm). Commemorating a dramatic British victory over Spanish forces for
possession of Gibraltar (where the British had long been besieged), the
painting was commissioned to honour the officers who had bravely withstood the siege,
though it also included the relief fleet that arrived a month after the battle.
Copley’s ability to coherently integrate multiple narratives, dramatic points
of view, and named individuals was what won him the commission, but – with so
many stories, personalities and interests to represent – it was also what led
to the painting taking eight years to complete rather than the estimated two. Today,
the monumental work acts as a connecting device between the upper level and the
ground floor, which houses more of the expansive collection as well as
temporary exhibitions.
The Roman amphitheatre with its flourescent gladiators and spectators. |
Downstairs are urban
and river scenes of the city, from "eyewitness views" of the Great Fire to grandeloquent
ceremonial processions: a kind of pre-photographic scrapbook of the city’s life
and times. Further down, a sub-basement contains the scant remains of Roman
Londinium’s 6000-seater amphitheatre. Integrating this feature into the gallery
must have been no mean feat, and, as a result, entering into its sparse and sepulchral
darkness after the warm collusion of the galleries above is slightly jarring. Only
the remnants of the eastern entrance’s stone walls remain, with some
suggestions of draining flues and animal pens, so it must have been quite a
challenge to make a coherent exhibition from the space. Joining the rest of the
dots for your imagination are black and fluorescent green projections of the
seating area and computer-meshed outlines of gladiators and spectators that
make you feel like you’ve stepped into an early online role-playing environment.
Curiously-stencilled light filters dapple the basement with spectral patterns
and the cranky whirr of dusty technology, while, as you reach the end of the
original entrance and enter the arena, the roaring applause of the crowd is
cued. Plans are apparently afoot to reopen the amphitheatre as an entertainment
venue, enlivening the echoing space once again with living applause (although
spoken word poetry and stand-up comedy events are scheduled to replace public
executions and fights-to-the-death).
Millais's popular companion paintings: First Sermon and Second Sermon |
Best in Show
Don’t miss John
Everett Millais’s charming pair of paintings First Sermon (1863) and Second
Sermon (1864), featuring his five-year-old daughter Effie. In the first
painting, sitting bright-eyed and upright in the old high-backed pews of All
Saints Church, Kingston-on-Thames, Effie’s little face holds a look of concentrated
decorum. The work was such a hit at the Royal Academy exhibition that Millais went on to paint a companion piece depicting the little girl’s
second visit to church, in which the novelty has worn off: in his speech at the
next Royal Academy Banquet, the Archbishop of Canterbury apparently framed it
as a warning against “the evil of
lengthy sermons and drowsy discourses”.
Much of the City of
London Corporation’s collection consists of portraits of royals and other
influential political and civic figures, including a visually arresting 8ft,
£150 000 marble statue of former Prime Minister Margaret Thatcher which stopped
me in my tracks. In 2002, the recently unveiled sculpture was decapitated with
a cricket bat (and a metal bar, when the bat couldn’t hack it) by a man who had
kept the weapon of assault tucked in his trousers to avoid security. At the
subsequent trial, he claimed the act was a satirical vehicle to highlight such
issues as “globalisation, the environment,
religion, capitalism, the third world war, greed, the music industry,
terrorism, Tony Blair, America and Afghanistan”. The work was restored and
returned to display (behind bullet-proof glass) at the Guildhall Art Gallery: Perhaps
if the statue had been in keeping with Thatcher’s moniker of the “Iron Lady”, the
damage would not have been quite so costly…
Postman's Park: you can see the memorial panels under the roofed area. |
Parting Shots
After a visit to the
Guildhall Art Gallery and Roman Amphitheatre, carry on along Gresham Street,
turning right into Aldersgate. At the London City Presbyterian Church, step into
Postman’s Park (near the site of the former headquarters of the General Post
Office) where many postal employees would spend their breaks. Today it is
better known for G.F. Watts’s Memorial
to Heroic Self Sacrifice, which commemorates individuals who died to
save others. Begun in 1900, the memorial represents each through a
hand-painted panel of several tiles with a description of the incident.
Though short, they are often unexpectedly literary (William Donald of Bayswater…
“drowned in the Lea trying to save a lad from a dangerous entanglement of weed”),
intimate (Herbert Maconoghy, schoolboy from Wimbledon… “his parents absent in
India, lost his life in vainly trying to rescue two schoolfellows…”) or bizarre
(Sarah Smith, pantomime artist “who died of terrible injuries received when attempting
in her inflammable dress to extinguish the flames which had enveloped her
companion”).
When the memorial
opened, only four of the planned 120 plaques were in place: Watts added another
nine during his lifetime, and his wife Mary oversaw the installation of another
thirty-four. It was said that Watts had hoped that such extraordinary acts of
heroism by ordinary people – what makes a nation truly great – would continue,
and that society would continue to commemorate them rather than its material
possessions, but it wasn’t until 2009 that a new tablet was added to the
memorial. Leigh Pitt, a print technician from Surrey, died on 7 June 2007
rescuing a nine-year-old boy who was drowning in a canal. His colleague
approached the Diocese of London to suggest adding him to the memorial and,
since then, the Diocese has decided to continue considering suitable names to
be added to the memorial in the future.