Having completed our Wellington research at the Hartley Library, University of Southampton, Vicky and I found ourselves faced with a three day holiday weekend before we could move on to begin work at the next archive. Vicky suggested that we take a side trip to the Isle of Wight before moving on to Chichester, and I readily agreed.
From the port of Southampton, we boarded the ferry for the 30 minute trip to Cowes on the Isle of Wight.
On arrival, we found ourselves at the Hythe Pier, completed in 1881.
The 1878 Act of Parliament made provision for the construction of a tramway along the pier. The trucks that carried luggage along the pier were found to be damaging the pier decking, and in 1909 a narrow gauge railway was constructed to replace them and in 1922, the railway was reconstructed and electrified.
Vicky and I found ourselves seated within the Royal car.
Taking a taxi to Ryde, we checked into our room at the Castle Hotel.
Naturally, our first priority was to explore the town. Again, it was a glorious Spring day and we spent the afternoon browsing in the shops and enjoying the seafront. Next time, Vicky and I venture out further afield and see the Isle by bus.
Would you like to experience travel in England first-hand?
Cast your eyes along our recently acquired panorama of London, painted around 1815 by Pierre Prévost. As an added twist, we've pointed out where some more modern buildings now stand. On display 15 March.
A very exciting exhibition featuring a Panorama of London begins March 15 at the Museum of London, and will run until September 2019. This extraordinary work was executed as a study for a panorama that was shown in Paris from 1816-1819 by artist Pierre Prévost. The full-sized work, several times larger than these studies, is now lost. One newspaper referred to the work as “London as the Duke of Wellington would have seen it.” Others have noted it is the London Jane Austen knew.
The artist, Pierre Prévost (1764-1823), viewed London from the bell tower of St Margaret’s Church, adjacent to Westminster Abbey.
The first view in the scan above looks west from the edge of Westminster Abbey (at the left edge); the large building in the center, above, is the now-demolished Middlesex Guildhall and in the distance is St. James Park, and in a better reproduction, you can see Buckingham House, the palace, as it was in 1815.
Above, the studies split in half. The top image is west and north; the bottom image is east and south.
The Sotheby’s Auction Catalogue description:
Pierre Prévost – MONTIGNY-LE-GANNELON 1764 – 1823 PARIS
A PANORAMIC VIEW OF LONDON, FROM THE TOWER OF ST. MARGARET’S CHURCH, WESTMINSTER
Watercolour and bodycolour over pencil, squared for transfer in pencil, the squares numbered, on multiple sheets of paper laid onto canvas 850 by 6050 mm.
Looking north up Whitehall, the Banqueting House is seen at the curve; the steeple in the distance is St. Martin’s-in-the-Fields but Trafalgar Square which it faces today, was not yet created. The Sotheby’s Catalogue states, “To the centre of the composition, one can see the only remaining component of the Palace of Whitehall, the Banqueting House. Designed by the leading English architect Inigo Jones (1573-1652), the Banqueting House was commissioned by Charles I; in 1649, just 27 years after its construction, it was the site of his execution. The neoclassical St. Martin-in-the-Fields stands nearby. The site of a church since the medieval period, this had been re-built by James Gibbs in the 1720s. Prévost’s view shows the area prior to the construction of Trafalgar Square in the 1820s, and the church of St. Martin-in-the-Fields would therefore have appeared considerably different to how it does today. Contemporary accounts of the area describe the church as crowded in by surrounding buildings, which detract from the impressive nature of Gibbs’ edifice.”
Above, looking northeast, beyond Westminster bridge one see the City, mercifully shorn of its tall buildings with the outline of St. Paul’s Cathedral on the horizon slightly left of center.
The view above looks east across the Thames, with the Westminster Bridge on the left and the roof of Westminster Hall parallel to the river in the center. The buildings in the foreground were various elements of the Palace of Westminster which burned in 1834 and were replaced by today’s Houses of Parliament, also known as the Palace of Westminster, incorporating the ancient and restored Westminster Hall.
The final sections, above and below, feature Westminster Abbey in its smoke darkened coating.
In the Georgian era, panoramas were popular exhibitions. The first opened in London in 1792 and according to The Guardian, viewers paid three shillings to view the painting which curved around a room “dramatically” lit.
In preparing this post, I was surprised to learn that the Museum of London is planning to move its entire Barbican operation to a new site in the old Smithfield Market, also located in the City of London. No doubt they will construct a fine exhibit space for this painting when they complete their plans and move, sometime in the next decade.
Being from Milwaukee, Wisconsin, I have occasionally run across the stories of the German Panorama Painters who came to the city in the mid-19th century and painted many of these works installed in various cities. The only remaining one I know of is in Atlanta, Georgia, and recently reopened as the Cyclorama in the Civil War Museum.
However, the only panorama I have ever seen is the one that still exists in Waterloo, Belgium, picturing the famous battle in 1815 when the Duke of Wellington led the Allied forces to victory over the emperor Napoleon, pictured below.
More details about the London Panorama from the Sotheby’s catalogue:
“Of extraordinary size, detail and topographical accuracy, this view of London is a remarkable preparatory study for a lost panorama of approximately 30 metres in diameter, by Pierre Prévost, which shows the artist at the pinnacle of a highly successful career as a panoramist …. The illusion of depth, height and distance is testament to Prévost’s ability to work on such a large scale, and this complete, circular image, joined at Westminster Abbey, is one of the finest drawings of its type to have survived….
“By 1800 panoramas could be viewed in many European capitals. The works were usually exhibited for a short period of time in a rotunda, before travelling on, and ultimately were replaced or sold. The nature of this process has ensured the rarity of the completed panorama, as excessive handling and transportation in most cases resulted in their ultimate destruction.”
The Sotheby’s catalogue entry states: “While the final canvas created by Prévost would have been very much larger (it was exhibited in a purpose built rotunda on the rue Neuve Saint-Augustin in Paris, measuring 32 metres in diameter, over five times the size of this preparatory drawing), even this preliminary study is of an impressive size, and is highly finished ….
“The street scenes in the foreground bring a sense of life to the panorama, and allow the viewer to engage fully with the daily activity of the city’s inhabitants….Here, shops and professions are indicated in the foreground in remarkable detail. On Great George Street, the road running horizontally across the centre foreground, the shops include a wine and brandy merchant and a solicitor, whilst on Bridge Street, which runs towards Westminster Bridge, an apothecary, a shoe-maker and a children’s clothes store are indicated. ”
I hope many people enjoy seeing the London Panorama of 1815.
When Vicky and I visited Beaulieu in September, we were of course aware that the grounds also housed the National Motor Museum, but we were unprepared for the crowds of people who had turned out for a special, televised event that particular day.
Never having planned on visiting the Motor Museum anyway, Vicky and I hurried through the crowds and headed for the gardens and the Abbey.
And we very quickly found ourselves quite alone in the grounds and able to explore at our leisure.
Beaulieu Abbey was a Cistercian abbey founded in 1203–1204 by King John and populated by 30 monks sent from the abbey of Cîteaux in France, the mother house of the Cistercian order.
In 1535 the abbey’s income was assessed in the Valor Ecclesiasticus, Henry VIII‘s general survey of church finances prior to the plunder, at £428 gross, £326 net. According to the terms of the first Suppression Act, Henry’s initial move in the Dissolution of the Monasteries, this meant that it escaped immediate confiscation, though the clouds were gathering.
Though Beaulieu managed to survive until April 1538, at that point it was finally forced to surrender to the government. Many of the monks were granted pensions, the abbot receiving 100 marks per year. Abbot Thomas ended his days as treasurer of Salisbury Cathedral. He died in 1550.
At the dissolution of the monastery in 1538, the Commissioners for the Dissolution reported to the government that thirty-two sanctuary-men, who were here for debt, felony, or murder, were living in houses in the monastic precincts with their wives and families. When the abbey was dissolved there was some debate about what to do with them, however, in the end it was decided, after pleading by the former abbot and certain government officials, to allow the debtors to live in their houses on the abbey grounds permanently.
Following the Dissolution, the monk’s refectory was converted to the current church.
The Abbey and its grounds are said to be haunted by the monks. The video below is a portion of a special called The Stately Ghosts of England, with actress Margaret Rutherford, her husband, Stringer Davis and celebrity ghost hunter of that time, Tom Corbett. In it, you will see the grounds of the Abbey and visit Beaulieu house.
Victoria and I, too, visited Beaulieu House, adjacent to the Abbey and reached via a wooded walk.
Beaulieu Palace House, to give it its full title, is a 13th-century house, originally part of the Abbey. It was purchased by Thomas Wriothesley, 1st Earl of Southampton in 1538, following the Dissolution of the Monasteries and is still owned and occupied by the earl’s descendants, the Barons Montagu of Beaulieu.
Though a grand house, Beaulieu feels more like a family home, as evidenced by the post box in the hall and the children’s table, above, set up in the dining room.
Above and below, the coronation robes worn by family members at the coronations of George IV (top and bottom right) and those of George VI and Elizabeth II.
The memoires (1906-30) of Lord Montagu’s grandmother Pearl Pleydell-Bouverie have been published and tell the story of her childhood and her time as wife to the motoring pioneer John, 2nd Baron Montagu of Beaulieu.
Something was cooking in the kitchen – and it smelled good.
Leaving Beaulieu, we drove through the New Forest and saw many of the famed ponies, who definitely have the right of way. You can read about the breed here.
More adventures to follow . . . .
Would you like to experience travel in England first-hand?
After our morning in Ewelme, we headed off with Beth behind the wheel, on to our next adventure.
Which turned out to be The Abbey Church of St Peter and St Paul, more usually called Dorchester Abbey, a Church of England parish church in Dorchester on Thames, Oxfordshire.
Formerly a Norman abbey church, Dorchester Abbey was built on the site of a Saxon cathedral.
The church of Dorchester Abbey, as it stands today, was built entirely by the Augustinian Canons, although there are traces on the north side of Saxon masonry, probably part of the ancient cathedral.
Between 1998 and 2006 the Dorchester Abbey Campaign Committee raised £4,000,000, allowing the Church Council and the Dorchester Abbey Preservation Trust to undertake significant works in the abbey. These include the Cloister Gallery managed by the Dorchester Museum Committee and restoration of medieval and Victorian wall paintings. Dorchester Abbey Museum was longlisted for the Gulbenkian Prize in 2006.
Afterwards, we strolled the surrounding historic village of Dorchester-on-Thames.
Eventually, we found ourselves at The George, where we sat and enjoyed lattes in the sunshine. The George has a galleried yard dating back to 1495 and it used to serve coaches on the Gloucester-Oxford-London route. The George was used as a filming location for ITV’s Agatha Christie’s Poirot in the episode Taken at the Flood in 2006.
Visit The George and you’ll truly feel as though you’ve stepped back in time.
Several episodes of Midsomer Murders were also filmed in Dorchester, and the photos below will demonstrate why – the bypass road has been diverted so that Dorchester sees little traffic and the village retains it’s historic flavour. It would be hard to find anything as lovely or as quintessentially “oldy worldly” English as Dorchester.
Outside the churchyard is The Toll House, an octagonal brick building erected in 1820. Tolls were collected until 1873, and the building now houses an architectural firm.