Victoria here, writing about one of my favorite places in London — Kenwood House.  I first visited many years ago and feasted my eyes on the stunning collection of masterworks in the Iveagh Bequest and on the justly famous Adam Library.  But I admit, the rooms used as galleries, were — aside from the paintings — quite bland.  So I was delighted a few years ago to hear that the whole house was to be renovated and restored to the period when the 1st Earl of Mansfield purchased the structure and had Robert Adam remodel it in 1764-1779.
Entrance Hall, 2014
When Lord Iveagh purchased the building to house his art collection, it was primarily to be gallery space, but over the years, English Heritage decided to make changes that complement the architecture and the paintings both. And they did a stunning job!
Entrance Hall
Typical Adam Mantelpiece in the Hall
Great Stairs
Lord Iveagh, one of the heirs of the Guinness Brewery fortune, bequeathed Kenwood and his incredible art collection to the nation in 1927.
Lord Mansfield’s portrait above the fireplace in the library
Below, the library ceiling as it appeared when undergoing restoration.
The painting above the fireplace in the Dining Room is by Anthony Van Dyke, Princess Henrietta of Lorraine Attended by a Page.
Elsewhere in the Dining Room are two priceless masterpieces:
Rembrandt van Rijn, Portrait of the Artist, above, and
Johannes Vermeer, The Guitar Player, below
The furniture is certainly equal to the paintings and the setting: a sidetable
Above,  The Hon. E. S. Russell and His Brother by Landseer.
Above, Angelica Kauffman, RA, The Disarming of Cupid

Kauffman was an  excellent painter and did many Georgian interior medallions and other paintings — and is, in my opinion, quite underrated.

Above, a Carlton House Desk – the original was supposedly designed for the Prince of Wales by George Hepplewhite.
Portrait of Elizabeth Murray and Dido Bell, cousins, once attributed to Johann Zoffany, but currently unattributed; the version hanging at Kenwood is a copy of the original, which can be seen in Scone Palace, Perthshire, Scotland. This painting of Lord Mansfield’s wards has long fascinated art experts and social commentators.  Dido Bell was the subject of a 2013 film exploring her life and times.
In the Music Room
Sir Thomas Lawrence, Miss Murray, 1824-26
Sir Joshua Reynolds, Mrs. Musters as “Hebe”, 1782
Another version of this work can be seen in the staircase of Highclere Castle, sometimes in evidence in scenes from Downton Abbey.
John Hoppner, Mrs. Jordan as Viola from Shakespeare’s Twelfth Night, c.1785-92
Sir Joshua Reynolds,  Kitty Fisher as Cleopatra Dissolving the Pearl, 1759
Sir Joshua Reynolds, The Brummell Children, 1782
Magnificent Chimney piece by Adam, completed in 1773,
a fantasy with mermen, flying griffins and cherubs, and panels of Chinese painted marble tiles.
Marguerite Hyde, 19th Countess of Suffolk
by John Singer Sargent, 1898
Also known as Daisy, Marguerite was the daughter of Levi Leiter of Chicago, a partner in the Marshall Field. and Co. Department Store. She presented her family’s collection of portraits to the nation. They are displayed on the upper level at Kenwood House.  Here are a few examples, taken from the website.
Maria Constantina Trevor, Countess of Suffolk, attributed to Catherine Read
Elizabeth Home, Countess of Suffolk, artist unknown
Charles II by Sir Godfrey Kneller
You can see the fabulous collection of paintings and furniture at Kenwood House during Number One London’s Town and Country House Tour in September.
To visit the Kenwood House website, click here.
For more details on the Iveagh Bequest paintings, click here.



Originally published in 2011

As some of you may already know, I am a great reader of British diaries, letters and journals. There are many such volumes on the shelves of my personal library. From Pepys to Queen Victoria, I adore the immediacy of these personal writings, the way they drop you right into the lives of their authors and introduce you in a very intimate manner to people, places and times otherwise vanished. Recently, I came across the diaries of James Lees-Milne, which had somehow managed to escape my notice over the past few decades. JML was in at the very beginnings of the National Trust and the Georgian Society, amongst other things, and was advisor to the National Trust on which properties should be purchased and preserved by that body. In this capacity, JML travelled around the UK, poking his nose into a variety of stately homes and writing down for posterity his views on their architectural merits, their contents and their owners, often with wit and sometimes with chagrin, but always in a way that can’t help but to amuse the reader. In addition, JML lived in London and spent much of the 1930’s and 1940’s mixing with the Bright Young Things, various celebrities and writers and members of the Royal Family. No doubt you’ll appreciate that all of this makes for great fodder in the diary of someone who had a keen observational eye and a talent for first person prose. To read more about the accomplishments of James Lees-Milne, you will find the 1997 obituary that ran in The Independent here. 

You’ll understand when I tell you that I was prepared to like these Diaries before I’d read Page 1, but I wasn’t prepared to find that so many of the entries would resonate with me on a personal level.

Tuesday, 17th February, 1942

Dined with Harold Nicolson and Jamesey at Rules. We talked about Byron’s sex life . . . .

Do you mean to say that other people sit around various London venues discussing the sex lives of dead people? Granted, in my circle we tend to focus on Brummell’s sex life, but close enough, what? And then there’s this entry –

Wednesday, 13th October, 1948

This evening I dined with the John Wyndhams. . . .  After dinner, when the women left, talk was about how little we know of the everyday life of our ancestors in spite of George Trevalyan’s history. Jock Colville suggested we ought to go home tonight and write down in minute detail how we drove to the Wyndham’s door, left our car at the kerb, its doors firmly locked, rang the bell, were kept waiting on the doorstep, how we were received by a butler wearing black bow tie instead of white, what the hall smelt like, how the man took our coats and hats, putting them on a chest downstairs, and how he preceded us upstairs, one step at a time, etc., etc.

Positively uncanny. How often have myself and my friends, many of whom are writers of historical novels, lamented this very same thing and had almost the exact same discussion? By this time I was finding the diaries so delicious that I had to call Victoria immediately.


“Have you ever heard of James Lees-Milne? You must start reading him now. He’s our new best friend. Where has he been all of our lives? How could either of us not known about his existence before now?”


“James Lees-Milne. The National Trust guy. Friends with everyone, including the Mitfords. He and his friends used to sit around discussing Byron’s sex life.”

“James who?”

“Hang up. I’m emailing you the link to his Diaries now. On Kindle. Buy them.”

Of course, not all of the Diary entries are about such musings. As I’ve said, JML lived in London during this period and there is much to be found about the City, especially during wartime. Again, they resonated with me because much of JML’s London incorporates my London, i.e. the areas and places in London that I revisit and in which I feel most at home.


Bomb damage in Pall Mall/St James’s Street, February 1944

Thursday, 24th February, 1944

There is no doubt our nerves are beginning to be frayed. Frank telephoned this morning. I could tell by his voice he was upset. He said he was going to leave the Paddington area and thought Chelsea or Belgravia would be safer. I said I doubted whether the Germans discriminated to that extent. This evening I went to see a crater in the road, now sealed off, in front of St. James’s Palace. The Palace front sadly knocked about, the clock awry, the windows gaping, and shrapnel marks on the walls. A twisted car in the middle of the road. . .  In King Street Willis’s Rooms (Almack’s) finally destroyed, one half having gone in the raid of (May) 1941 when I was sheltering in the Piccadilly Hotel.

Sunday, 18th June, 1944

At Mass at 11 there was a great noise of gunfire and a rocket. In the afternoon Stuart walked in and said that a rocket had landed on the Guards’ Chapel (Wellington Barracks) during service this morning, totally demolishing it and killing enormous numbers of Guards officers and men. Now this did shake me. After dining at the Churchill Club we walked through Queen Anne’s Gate, where a lot of windows with the old crinkly brown glass panes have been broken. In St. James’s Park crowds of people were looking at the Guard’s Chapel across Birdcage Walk, now roped off. I could see nothing but gaunt walls standing, and gaping windows. No roof at all. While I watched four stretcher-bearers carried a body under a blanket, a (air raid) siren went, and everyone scattered. I felt suddenly sick. Then a rage of fury against the war raged inside me. For sheer damnable devilry what could be worse than this terrible instrument?

To think that Gunter’s and Almack’s had managed to survive until the War. In fact, JML was a patron of Gunter’s –

Saturday, 16th June, 1945

This morning the telephone man came to Alexander Place to say he would install my telephone on Monday . . . the bath however is still unattached to the pipes. The house painter and I picnic together. I leave the house each morning at 7.30 to bathe, shave and breakfast at Brooks’s, where I virtually live. In Heywood’s shop I met Diana (nee Mitford) Mosley and Evelyn Waugh with Nancy (Mitford). I kissed Diana who said the last time we met was when I stayed the night in Wootton Lodge, and we both wept when Edward VIII made his abdication broadcast. I remember it well, and Diana speaking in eggy-peggy to Tom Mosley over the telephone so as not to be overheard. . . . We all lunched together at Gunter’s. . . .

Brooks’s Club, St. James’s Street

Lees-Milne stirs the heartstrings of every Anglophile with this entry –

Saturday, 17th June, 1944

Worked in Brooks’s library this afternoon. I am always happy in this stuffy, dingy Victorian library, in which the silence is accentuated by the relentless ticking of the old, stuffy clock.. I love the old stuffy books on the stuffy brown shelves, books which nobody reads except Eddie Marsh, and he falls fast asleep over them. The very atmosphere is calculated to send one asleep, but into the gentlest, most happy, nostalgic dreams of ninetheenth-century stability, self-satisfaction and promise of an eternity of heavenly stuffiness, world without end. How much I adore this library, and club, nobody knows. May it survive Hitler, Stalin and all the beastliness which besets us.

As I said, JML travelled the length and breadth of the UK both for his National Trust work and in order to visit various friends and relations. His entries concerning the Duke of Wellington were of particular interest, especially as they illustrate the consequences which the burden of caring for the first Duke’s belongings could bring about –

Saturday, 15th April, 1944

I caught the 1.15 to Reading where Gerry Wellington met me at the station in his small car, for he gets twenty gallons a month for being a duke. . .  the western front of Stratfied Saye house clearly shows it to date from Charles I’s reign . . . . the east front is not so regular as the west, and the terraces are deformed by messy Edwardian flower beds. Gerry, who hates flowers, will soon have them away . . . Having eaten little luncheon I was famished, but tea consisted of only a few of the thinnest slices of bread and butter imaginable. After tea we did a tour of the inside of the house, beginning with the hall. When my stomach started to rumble with hunger Gerry looked at it with a reproachful air, and said nothing. It went on making the most awful noise like a horse’s. The hall has a gallery along the wall opposite the entrance. The open balusters were boxed in so as to prevent the servants being seen from below by the visitors. Gerry’s mother used to say that nothing of them was visible except their behinds, as they crouched and bobbed across the gallery. . . . the dining room is shut up, all the Apsley House pictures being stored there for the war, and valued at a million pounds, so G. says. . . . After dinner, at which there were no drinks except beer, (Gerry) showed me his grandfather’s collection of gems and intaglios, mounted on long, gold chains. When held against the oil lights, some of the stones were very beautiful. G. is very fussy over the key bunches, everything being carefully locked up. He has a butler, cook and two housemaids, and a secretary, Miss Jones. The last has meals with him during the week, and nearly drives him mad with her archness. `Aren’t you naughty today?’ she says. She is unable to type, so when he wishes to dispatch a letter not written by himself, he types it and gives it to her to sign.

Gerald Wellesley, 7th Duke of Welligton


Sunday, 26th June, 1948 (at Stratfield Saye)

Lady Hudson and Lady Granville came to tea, and Lady G. suddenly developed St. Vitus’s dance and jangled the cup in her saucer, spilling scalding tea through a thin silk dress on to her knees, and smashing the saucer to smithereens. Gerry leapt up, seized the table upon which a few drops of the tea had sprinkled and rushed away with it to have the surface polished. He made not a gesture of help or sympathy to poor Lady Granville who was in considerable pain and distress. Typical Gerry behaviour. He never lets one down. His patent anxieties about his possessions bring these catastrophes about . . . . .

Below are just three more examples of JML’s entries on stately homes that afford us an insight onto a bygone way of life –

Thursday, 4th May, 1944

Martineau and I lunched at the Hyde Park Hotel with Lord Braybrooke, who has recently succeeded two cousins (killed on active service), inheriting the title and Audley End (House, Essex). He is a bald, common-sensical, very nice business man of 45, embarrassed by his inheritance. At his wit’s end what to do with Audley End. Who wouldn’t be? It was arranged that Martineau and I would visit the house with him in June. It is requisitioned by the Army and used for highly secret purposes, so that even he is not allowed into the rooms except in the company of a senior officer. Consequently he hardly knows the way round his own house. . . .


Saturday, 25th August, 1945

Describing a journey to Birr Castle – I woke at 5.45 and at 6.45 the car ordered by Michael Rosse called for me. It picked him up in Mount Street and drove us to Euston for the 8.15 to Holyhead. Travelled in comfort and ease. . . . After a smooth crossing we reached Kingstown at 7.30. I was at once struck by the old-fashioned air of everythng: horse-cabs on the quay, cobbled streets with delicious horse-droppings on them. Met by a taxi come all the way from Birr, for 8 pounds. Letter of greeting from Anne to Michael. Vodka for Michael and me in the car. We drove straight through Birr. Even through the closed windows of the car I caught the sweet smell of peat in the air. Curious scenes, ragged children on horses drawing old carts along country lanes. Our driver sounded his horn loudly through Birr, that pretty, piercing foreign horn. The gates of the castle shop open as if by magic. A group of people were clustered outside the gate. We swept up the drive. All the castle windows were alight, and there on the sweep was a large crowd of employeees and tenants gathered to welcome Michael home from the war. Anne, the two Parsons boys and Mr. Garvie the agent on the steps. Behind them Leavy the butler, the footman, housekeeper, and six or seven maids. A fire blazing in the library and everywhere immense vases of flowers. We heard Michael make a short speech from the steps, followed by cheers and `For he’s a jolly good fellow,’ a song which always makes me go hot and cold, mostly hot. The crowd then trooped off to a beano and drinks, while we sat down to a huge champagne supper at 11 o’clock.

Sunday, 1st August, 1948

Debo and Andrew (Hartington)(later 11th Duke and Duchess of Devonshire) drove me to Chatsworth this morning. The site of the house, the surroundings unsurpassed. The grass emerald green as in Ireland. The Derwent river, although so far below the house, which it reflects, seems to dominate it. Black and white cattle in great herds. . . . We wandered through the gardens, greyhounds streaming across the lawns. Andrew turned on the fountain from the willow tree. Water not only drips from the tree but jets from nozzles all round. The cascade not working this morning, but will be turned on for the public this afternoon. At present the great house is empty, under covers and dustsheets. Next year the state rooms are to be shown .  .  . As a couple the Hartingtons seem perfection – both young, handsome, and inspired to accomplish great things . . . Both full of faith in themselves and their responsibilities. She has all the Mitford virtues and none of the profanity. I admire them very much.

The Diaries are full of entries that shed light on the many facets to Lees-Milne’s personality, from the profound –

Wednesday, 30th November, 1949 (upon the death of his father after a long illness)

The very worst thing about death are the disprespect, the vulgarity, the meanness. God should have arranged for dying people to disintegrate and disappear like a puff of smoke into the air. There are many other scraps of advice I could have given him.

to the stingingly comic –

Sunday, 14th November, 1948

Newman, the hall porter at Brooks’s, told me I would be surprised if I knew which members, to his knowledge, stole newspapers out of the Club. I said, `You must not tell me,’ so he promptly did.

I urge you, as I urged Victoria, to waste no time in securing yourself a copy of James Lees-Milne’s Diaries. Victoria, I’m pleased to say, took my advice and read the Diaries – she loved them, too. Do let me know what you think when you’re finished with them.


The Duke of Wellington visiting the Effigy and Personal Relics of Napoleon
at Madame Tussaud’s by James Scott, after Sir George Hayter – National Portrait Gallery

Generally speaking, when one thinks about the Duke of Wellington, one seldom thinks of him in connection with trivial amusements. Rather, the formidable soldier and stern politician come to mind. However, the Duke was occasionally up for a jolly time and he had a great interest in new inventions and various amusements of the day. When the Great Exhibition of 1851 opened, the Duke went to see it nearly every day.

In Struggles and Triumphs: or, Forty Years’ Recollections of P. T. Barnum by Phineas Taylor Barnum (1871), Mr. Barnum relates the following anecdote about the Duke:

“On my first return visit to America from Europe, I engaged Mr. Faber, an elderly and ingenious German, who had constructed an automaton speaker. It was of life-size, and when worked with keys similar to those of a piano, it really articulated words and sentences with surprising distinctness. My agent exhibited it for several months in Egyptian Hall, London, and also in the provinces. This was a marvellous piece of mechanism, though for some unaccountable reason it did not prove a success. The Duke of Wellington visited it several times, and at first he thought that the `voice’ proceeded from the exhibitor, whom he assumed to be a skillful ventriloquist. He was asked to touch the keys with his own fingers, and after some instruction in the method of operating, he was able to make the machine speak, not only in English but also in German, with which language the Duke seemed familiar. Thereafter, he entered his name on the exhibitor’s autograph book, and certified that the `Automaton Speaker’ was an extraordinary production of mechanical genius.”

The Duke of Wellington was also a great fan of Madame Tussaud’s and visited her waxworks often to see the exhibits and/or to take tea with Madame herself. He left standing instructions that he was to be told whenever a new addition to the rooms was installed.  As executor of the will of George IV, Wellington was responsible for giving Madame Tussaud the monarch’s coronation robes for her exhibit. Surprisingly, the Duke’s favorite exhibit at the Wax Work was that of Napoleon. From a contemporary book titled The Curiosities of London, we learn that Madame Tussaud’s Napoleon exhibit contained the following:

“Napoleon Relics. — The camp-bedstead on which Napoleon died; the counterpane stained with his blood. Cloak worn at Marengo. Three eagles taken at Waterloo. Cradle of the King of Rome. Bronze posthumous cast of Napoleon, and hat worn by him. Whole-length portrait of the Emperor, from Fontainebleau; Marie Louis and Josephine, and other portraits of the Bonaparte family. Bust of Napoleon, by Canon. Isabey’s portrait Table of the Marshals. Napoleon’s three carriages: two from Waterloo, and a landau from St. Helena. His garden chair and drawing-room chair. “The flag of Elba.” Napoleon’s sword, diamond, tooth-brush, and table-knife; dessert knife, fork, and spoons; coffee-cup; a piece of willow-tree from St. Helena; shoe-sock and handkerchiefs, shirt, &c. Model figure of Napoleon in the clothes he wore at Longwood; and porcelain dessert-service used by him. Napoleon’s hair and tooth, etc.”

As to Wellington’s visits to the Exhibit, we have the following passage from The History Of Madame Tussaud’s ( Originally Published 1920 ) –
Early one morning, soon after the Exhibition had been opened for the day, Joseph, Madame Tussaud’s son, who had been wandering through the rooms, as was his habit, perceived an elderly gentleman in front of the tableau representing the lying-in-state of Napoleon I. The model of the dead exile rested—as it does down to this very day—on the camp bedstead used by Napoleon at St. Helena, and was dressed in the favourite green uniform, the cloak worn at Marengo (bequeathed by Napoleon to his son) lying across the feet. In the hands, crossed upon the chest, was a crucifix. In those days it was the custom to lower at night the curtains that enclosed the bed, in order to exclude the dust, whereas now the whole scene is encased in glass.
Observing that the visitor was desirous of seeing the effigy, and no attendant being at hand, Joseph Tussaud raised the hangings, whereupon the visitor removed his hat, and, to his great surprise, Joseph saw that he was face to face with none other than the great Duke of Wellington himself.
There stood his Grace, contemplating with feelings of mixed emotions the strange and suggestive scene before him. On the camp bed lay the mere presentment of the man who, seven-and-thirty years before, had given him so much trouble to subdue. No feeling of triumph passed through the conqueror’s mind as he looked upon the poor waxen image, too true in its aspect of death; he rather thought upon the vanity of earthly triumphs, of the levelling hand of time, and how soon he, like his great contemporary, might be stretched upon his own bier.

Mr. Joseph Tussaud used frequently to recall this dramatic meeting between the Iron Duke and the effigy of his erstwhile foe, and to imagine the feelings of the old General as he gazed upon the couch. It was probably the first of the Duke’s many visits to the Exhibition.

A few days after this most interesting visit Mr. Tussaud, who was an old friend of Sir George Hayter, related the incident to that artist. Hayter was immediately struck with the potential value of the event for the production of a painting of the historic scene, and the Tussaud brothers at once commissioned him to execute the work for them. Sir George thereupon communicated the idea to the Duke, who readily responded, and offered to give the necessary sittings. We have the sketches made by Hayter in preparation for the work, and among them appears a drawing of Joseph Tussaud himself, although he does not enter the actual picture. Hearing that the artist was making progress with the painting, the Duke visited his studio, and, having expressed himself warmly in appreciation of the picture (the figures had been but lightly limned in at the time), said: “Well, I suppose you’ll want me to sit for my picture here?”
Hayter has given us a most characteristic portrait of Wellington as he then appeared. He is dressed in his usual blue frock-coat, white trousers, and white cravat, fastened with the familiar steel buckle. He stoops a little as was his wont, his head is lightly covered with snow-white hair, and his manly features are marked with an expression of mingled curiosity and sadness as, hat in hand, he looks upon the recumbent Napoleon. The picture was completed early in December, 1852, and has been on view in the Napoleon Rooms at the Exhibition ever since.

The engravings of the picture have been circulated in thousands throughout the world, and, strange to say, they are exceedingly popular in Austria. It is an interesting fact that the painting in question was the last portrait for which the Duke ever sat. When the Duke himself died, Madame Tussaud’s advertised “A full length model of the Great Duke, taken from Life during his frequent visits to the Napoleon Relics.”

Wellington himself would have been least surprised to learn that Madame Tussaud had added his likeness to her collection upon his death. Unfortunately, I’ve yet to find an engraving of the Duke’s tableaux, but we do have the following description found in Our Young Folks: An Illustrated Magazine for Boys and Girls, Volume 8 (1872) By John Townsend Trowbridge:

“In a side room adjoining the long gallery lies the great Duke of Wellington in state. An awful feeling came over me, as if I were in the presence of the dead, as I looked upon that noble form, lying still and cold, with all the “pride of heraldry and pomp of power” around him, insensible alike to both. As he lay there on his tented couch of velvet and gold, it seemed as if that must be the “Great Duke,” and not a waxen image only, that never lived nor spoke. Among the numerous portraits which adorn the walls is a very fine one of the duke visiting the relics of Napoleon, which are shown in another room.”

Many a person has recorded his or her feelings about the Duke of Wellington’s funeral carriage, above, a great monstrosity of a thing weighing 18 tons and made from the French guns taken in battle and designed by Prince Albert himself in a misguided attempt to pay a fitting tribute to the Duke. All agree that it was pretty much a hideous object. Charles Dickens wrote, “For form of ugliness, horrible combination of colour, hideous motion, and general failure, there never was such a work achieved as the Car.” After the funeral, there was a general debate as to what to do with the thing. The question even made its way to Parliament, as mentioned in a book called Stray Papers, published in 1876 –

During a Parliamentary debate, Mr. Layard said, that there was a hideous piece of upholstery under cover opposite Marlborough House at the disposal of anybody who would take it; but, as nobody would take it, they were now asked to vote £840 for its removal to St. Paul’s, where it would be placed beneath one of the crypts. He alluded to the car used at the funeral of the late Duke of Wellington, and that which nothing more hideous had ever been invented. The best thing would be to give it to Madame Tussaud, or, if she would not take it, to burn it.

The carriage now rests at Stratfield Saye. But, the same book goes on to tell us that:

Several years ago, a figure of the late Duke of Wellington stood under one of the skylights in the principal room (at Madame Tussaud’s.) By some unaccountable oversight, the attendant omitted to draw the blinds on one occasion when shutting up for the night, and next morning the hot rays of a July sun fell on the Duke’s countenance with such fervour that his Grace’s nose began to run, and, by the time the doors were opened, had disappeared completely. So much of the figure being destroyed, restoration to its original form was found to be impossible.

There used to be a figure of the Duke of Wellington, and Napoleon, on display at Madame Tussaud’s in London, but when I was there recently I didn’t see it. Then again, the place was so crowded I might have missed it. It’s good to think that the Duke is still around, even in storage, and might be brought out again soon.

Since this post was originally published several years ago, Geri Walton has written an excellent blog post on Madame Tussaud’s Napoleon Relics. You’ll find it here.

Regency Reflections: Sir John Soane’s Museum

Sir John Soane by Sir Thomas Lawrence.
Victoria here.  People often ask me what I recommend for their visits to London.  I always answer, if they are in search of the English Regency, Sir John Soane’s Museum in Lincoln’s Inn Fields.
Sir John Soane (1753-1837) was a brilliant architect and teacher. The Museum is in his house and classrooms, so you will get a taste of a wealthy (but not aristocratic) residence, in addition to all of Sir John’s collections, used for the instruction of his architecture students.
The bust of Sir John Soane in the center of the picture above was sculpted by Sir Francis Chantrey (1781-1841). The Museum is comprised of a rabbit warren of rooms, each one chock-a-block full of architectural specimens, art and Soane’s various and varied collections.

Sir John began his career working for architects George Dance and, later, Henry Holland.  He traveled to Italy to study and came back to London to begin his own practice, in which he prospered, often doing projects to expand, remodel and modernize the country houses of the wealthy. An example, below, is Moggerhanger House in Bedfordshire, finished in 1812 and updated as a conference center in recent years. More information is here.

Sir John Soane’s Museum shows several rooms in which his family lived, and I have always found the Drawing Room amusing.  It’s very brilliant shade of yellow that  was very popular during the Regency, as evidenced in a number of country houses (such as Goodwood House).

Whether you visit on a sunny or a rainy, gray day, this room will be cheerfully bright. The dining room is an equally vivid crimson, also a popular color for walls in the Regency.

Sir John Soane’s Museum also has gallery space for small, very selective exhibitions related to Soane’s era and interests. I recommend browsing the shop on the website for Museum publications. One of my favorites is The Soanes At Home: Domestic Life at Lincoln’s Inn Fields, from 1997.  It’s full of pictures, copies of receipts and invoices and all sorts of fascinating information about life and household management in the early 19th century.

Above, Soane’s drawing of the Bank of England as he rebuilt it in 1814;  since then, it has been remodeled and enlarged so that little of his work is evident today, except in portions of the interior.  The Museum houses a collection of more than 30,000 architectural drawings by England’s finest architects, as well as Soane’s sketchbooks, business records and other valuable research and archival material.
Above is a drawing by J. M. Gandy of Tivoli Corner, part of Soane’s Bank of England, now remodeled.

Above, a statue of Sir John Soane in the Bank of England, where he is honored even though they changed his designs beyond recognition. Soane left the buildings of his Museum and his home to the nation as a resource for training future architects.
We’ll be visiting the Museum in September, as part of the itinerary of Number One London’s Town and Country House Tour – you’ll find further tour details and the full itinerary here.