Villa Palmieri in the 19th century, including visits by Queen Victoria

Queen Victoria paid three extended visits to Villa Palmieri in Florence. Florence was one of the favorite holiday locales for the British monarch.  Some labels on trees at the villa record three visits of Queen Victoria to Villa Palmieri in 1888, 1893 and 1894.

In 1888, the New York Times published an article about the Queen’s visit to the villa, giving us an amazing window into 19th-century life. From it we learn that before arriving at Villa Palmieri (she typically came for about a month) sent her personal items. Here’s the Times article:

Queen Victoria’s private apartments at Villa Palmieri, on the first floor, were almost entirely furnished by the Windsors. Her majesty sent the bed, the furniture, a bathroom, with all the bathroom fixtures, a rocking chair, two armchairs, a sofa, a desk and a desk, as well as two portraits of the Prince Consort, a box of photographs of the members of the family and a basket of books. (…) that a kiosk on the ground floor of the villa, with a beautiful view, and here the Queen spends most of the time and during sunny days a tent is mounted above the terrace of the living rooms on the ground floor, overlooking the garden, with a large balustrade to which are hung vases full of flowers.” New York Times, April 29th 1888.

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The view above is of Villa Palmieri from a late 19th-century postcard, showing us how the villa looked as the Queen arrived.

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Data dell’opera: 1873
Collocazione: Firenze, Villa Palmieri
Fotografo: Pachò Lodovico

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Data dell’opera: 1873
Collocazione: Firenze, Villa Palmieri
Fotografo: Pachò Lodovico
Data dello scatto: 1920-1930
Luogo dello scatto: Firenze
Collezione: Collezione privata-ex Collezione Malandrini/Deposito Raccolte Museali F.lli Alinari (RMFA), Firenze

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Veduta parziale del laghetto e del giardino, di Villa Palmieri, a Firenze.
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Data dell’opera: 1873
Periodo e stile: Romanticismo
Collocazione: Firenze, Villa Palmieri
Fotografo: Brogi, Giacomo
Data dello scatto: 1920 – 1930 ca.
Luogo dello scatto: Firenze, Villa Palmieri
Collezione: Archivi Alinari-archivio Brogi, Firenze

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Cortile di Villa Palmieri, a Firenze, con al centro una vasca circolare attorniata da vasi di fiori.
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Data dell’opera: 1697 ca.
Periodo e stile: Tardo Barocco
Collocazione: Firenze
Fotografo: Brogi, Giacomo
Data dello scatto: 1890 ca.
Luogo dello scatto: Firenze
Collezione: Archivi Alinari-archivio Brogi, Firenze

 

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Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Brogi, Giacomo
Data dello scatto: 1890
Luogo dello scatto: Firenze
Collezione: Archivi Alinari-archivio Brogi, Firenze

 

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Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Brogi, Edizioni
Data dello scatto: 1880-1890 ca.
Luogo dello scatto: Firenze
Collezione: Raccolte Museali Fratelli Alinari (RMFA)-collezione Malandrini, Firenze

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Una stanza arredata in stile ottocentesco a Villa Palmieri, Firenze
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Alinari, Fratelli
Data dello scatto: 21/03/1893
Luogo dello scatto: Firenze, Villa Palmieri
Collezione: Archivi Alinari-archivio Alinari, Firenze

 

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Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Borgiotti, Fratelli
Data dello scatto: 1880 ca.
Luogo dello scatto: Firenze
Collezione: Raccolte Museali Fratelli Alinari (RMFA)-collezione Malandrini, Firenze

 

 

 

 

 

Mary Quant

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Last month I got to see the Mary Quant exhibition at the Victoria and Albert Museum in London.  It was a childhood dream to wear Mary Quant fashion.  Her work was not for sale in the small interior West American town where I grew up.  But, my mother could sew anything and she fashioned some Quant designs for me.  It breaks my heart that we didn’t keep all of those great things my mom sewed. But, they are stored in my memory and I remember how I felt when I wore them.  That suffices in a pretty big way.  Thanks mom!

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But Mary Quant’s fashions, along with Twiggy and the Beatles, were a big part of my burgeoning (teenage) identity.  Well, I mean that’s obvious.  The name of my blog is from the Beatles: “Get back!”

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The photo above of legs and the next 3 of hair were the kind of thing that fired my imagination.  I couldn’t buy her fashions in South Dakota in the 1960s, but I could wear the tights and haircuts she inspired!  And I did!

 

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The rest of my pictures of the V & A exhibition are in no particular order.  It was a great and very fun show, and I loved seeing and snapping pix of it.

 

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The next photo was completely my scene.  I wore these styles, these colors, and this vibe.

 

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I didn’t know about Mary Quant’s paper dolls, or sticker books, or I would have been seeking them out.  We didn’t have the internet back then, but I bet I could have figured it out, long-hand, so to speak.  I guarantee you that I would have placed an international order with my babysitting money and waited for months to receive my treasures.  This is how I honed my long game, which I still use with great results.

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The jersey dress changed fashion.  I’m a big fan and I still wear it.

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Was Villa Palmieri the setting for Boccacio’s Decameron?

In Boccaccio’s literary masterpiece, The Decameron, three young Florentine nobles and 10 of their friends (the Decamerone) take refuge from the Black Plague in a villa outside Florence.  It is believed that the actual location for the story was the Villa Palmieri, which still stands today in the village of San Domenico, near Florence.

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An aerial view of the Villa today.

The history of the villa is fascinating. We know that it was in existence at the end of the 14th century, when it was owned by the Fini family. They sold it in 1454 to the noted humanist scholar Matteo di Marco Palmieri, whose name it still bears. Palmieri was a Medici family friend.

One of the descendants, Palmiero Palmieri, restructured the gardens in 1697, sweeping away all vestiges of the earlier arrangements to create a south-facing terrace, an arcaded loggia of five bays, and the symmetrically paired curved stairs (tenaglia) that lead to the lemon garden in the lower level. The lemon garden survives, though postwar renovation stripped the baroque décor from the villa’s stuccoed façade.

In the later 18th century, the house was acquired by a newly ennobled 3rd Earl Cowper.

By 1840, the villa was the home of French novelist, Alexandre Dumas. Dumas describes the villa in his book of Florentine travel essays, La Villa Palmieri (Paris, 1843): “It was in this house that Boccaccio wrote his Decameron. I thought its name would bring me happiness, and set up my office in the same room in which, four hundred and ninety-three years earlier, Boccaccio had established his.”

In 1873 the villa was purchased by James Ludovic Lindsay, 26th Earl of Crawford who recreated part of the grounds in the fashionable English naturalistic landscape manner of parkland dotted with specimen trees.  Lindsay also had plantings of exotic, tender plants that could not be grown in the open in England. His commissions included also the scenic basin of the Fountain of Three Faces and a little chapel in neo-Baroque manner to one side of the villa.

Queen Victoria chose Villa Palmieri as her vacation locale several times in the late 19th century, and the Villa and the Queen will be the subject of another post coming soon.

From 1907-1925, the villa was owned by Chicago industrialist James Ellsworth.

The Villetta, an outbuilding formerly part of the extensive Villa Palmieri grounds, was purchased in 1927 by Myron Taylor, the American ambassador to the Holy see, who recreated a Beaux-Arts version of an Italian terraced garden and named it Villa Schifanoia.

Below, a detail of the villa, photographed c. 1930

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Veduta del cortile di Villa Palmieri, a Firenze.
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
AVVERTENZA:
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Data dell’opera: 1697 ca.
Periodo e stile: Tardo Barocco
Collocazione: Firenze
Fotografo: Brogi, Giacomo
Data dello scatto: 1920 – 1930 ca.
Luogo dello scatto: Firenze, Villa Palmieri
Collezione: Archivi Alinari-archivio Brogi, Firenze

During the WWII the villa became a military garrison and some parts, including the baroque decorations on the façade, were destroyed.

The current owners, the Benellis, restored it.

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“Unlike the Gamberaia, ” Georgina Masson observed in her book Italian Gardens, “Villa Palmieri has suffered from having been a ‘show-place’ and the alterations of many owners to suit the fashions of their day, so that little of its original character remains.”

Today the oldest remaining parts of Villa Palmieri are the oval geometric garden of lemons which are set out in warm weather ranged round the central circular basin, itself framed in quadrant spandrels, all framed in clipped low boxwood hedging, following an 18th-century engraving of this garden space by Giuseppe Zocchi.

The upper terrace is supported on the vaults of the limonaia, glazed in the 19th century, where the lemon trees were protected from the very occasional hard frost. Some labels on trees record three visits of Queen Victoria to Villa Palmieri, in 1888, 1893 and 1894. I’m writing a post about the Queen and the villa soon.

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So, was this villa really the setting for Boccaccio’s Decameron?

In fact, we don’t know.

Describing the Third Day in the Decameron, Boccacio mentioned a paradisiacal garden on the outskirts of Florence where the young people met. From the description, it seems that the garden faces south towards Florence, therefore it would be on the slopes of Fiesole.

There are not many villas of 14-century origin in that area and so scholars believe Boccacio’s setting is almost certainly Villa Palmieri.  At that time, the villa was already endowed with large farms, meadows and water sources described by Boccaccio.

The complication is that in the neighborhood of the Palmieri, there were several annexed buildings, which in turn later became villas, and any of them were as likely to have been the setting described by Boccaccio as Palmieri itself.

Among these are the Villa Benelli from the name of the family that lives there, or Villa Schifanoia, which was once included among the properties of Villa Palmieri.

Boccacio’s description of the fictional villa in Fiesole, where his young people retreated from the Black Death raging in Florence to tell stories, is too general to identify any one villa securely.  You can judge for yourself:

To see this garden, its handsome ordering, the plants, and the fountain

with rivulets issuing from it, was so pleasing to each lady and the

three young men that all began to affirm that,

if Paradise could be made on earth,

they couldn’t conceive a form other

than that of this garden that might be given it.

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Regardless, it is an historic and highly interesting site and I recommend visiting it whenever you have the chance. It is on the outskirts of Florence and an easy bus or cab ride from the center.

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Information Sources: Jones, Ted. Florence and Tuscany: A Literary Guide for Travellers (The I.B.Tauris Literary Guides for Travellers) (p. 44). I.B.Tauris. Kindle Edition and English and Italian versions on Wikipedia.

https://www.elledecor.com/it/lifestyle/a28033941/sfilata-givenchy-firenze-primavera-estate-2020-villa-palmieri/

 

 

 

Liberty of London

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A fixture in the London shopping scene, Liberty is a department store in Great Marlborough Street, in the West End of London. It sells highly curated selections of women’s, men’s and children’s clothing, make-up and perfume, jewelry, accessories, furniture and furnishings, stationery and gifts. The firm is well known for its floral and graphic prints.

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I love any business with a great history and didactic information in a store window.  They could just as well be showing their product line for sale, but they choose to edify.  That’s my kinda store. Especially when it’s Liberty of London!

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While the exterior of this classic London stop has remained in its mock Tudor style best, the interior and the product lines have changed vastly, even in my lifetime.  While I prefer the way the store was when I first visited it with my mother in the 1980s, I have no doubt the management knows how to keep the store vital.  I always enjoy a visit to this lovely emporium on any trip to London.

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Before this summer, the last time I was at Liberty was in the early 2000s with my then 11-year-old red-headed son. At that time, Paula Pryke had a flower shop at the Liberty main entrance.  It was dynamic! Her shop is gone and the store still has a ghost of a flower shop at its front door.  But, I miss seeing Paula Pryke’s gorgeous arrangements there.  He was less interested in Liberty than in going in and out of tube stations and traveling by train.

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Liberty was created by Arthur Lasenby Liberty, who was born in Chesham, Buckinghamshire, in 1843. His father was a draper and, beginning work at 16, he was apprenticed to a draper. Later, Liberty took a job at Farmer and Rogers, a women’s fashions specialist in Regent Street, rising quickly up the ranks.

He was employed by Messrs Farmer and Rogers  in 1862, the year of the International Exhibition. By 1874, inspired by his 10 years of service, he decided to start a business of his own, which he did the next year.

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With a £2,000 loan from his future father-in-law, Liberty took the lease of half a shop at 218a Regent Street with three staff members. His shop opened in 1875 selling ornaments, fabric and objets d’art from Japan and the East.

Liberty hadn’t wanted to open just another store — he dreamed of an “Eastern Bazaar” in London that could fundamentally change homeware and fashion. Naming his new shop “East India House,” his collection of ornaments, fabrics and objects d’art from the Far East captured the attention of London, already in the crux of orientalist fervor.

It only took 18 months for Liberty to repay his loan, purchase the second half of the store, and begin to add neighbouring properties to his portfolio. From the beginning, the store also imported antiques, with the original V&A museum actually purchasing pieces of Eastern embroidery and rugs for its collection. As the business grew, neighboring properties were bought and added.

In 1884, he introduced the costume department, directed by Edward William Godwin (1833–86), a distinguished architect and a founding member of The Costume Society. Godwin and Liberty created in-house apparel to challenge the fashions of Paris.

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In 1885, 142–144 Regent Street was acquired and housed the ever-increasing demand for carpets and furniture. The basement was named the Eastern Bazaar, and it was the vending place for what was described as “decorative furnishing objects”.

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Liberty renamed the property “Chesham House,” after the place in which he grew up. The store became the most fashionable place to shop in London, and Liberty fabrics were used for both clothing and furnishings. Some of its clientele included famous Pre-Raphaelite artists.

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To show the kind of innovative approach Liberty had for his business, in November of 1885, he brought 42 villagers from India to stage a living village of Indian artisans.

Liberty’s specialised in Oriental goods, in particular imported Indian silks, and the aim of the display was to generate both publicity and sales for the store.

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During the 1890s, Liberty built strong relationships with many English designers. Some of these designers, including Archibald Knox, practiced the artistic styles we now call  Arts and Crafts and Art Nouveau.  Liberty helped develop Art Nouveau in England through his encouragement of such designers. The company became associated with this new style, to the extent that even today in Italy, Art Nouveau became known as the Stile Liberty, after the London shop.

In 1882, author and playwright Oscar Wilde went on a tour of the United States, bringing with him a wardrobe full of clothes from Liberty, creating a demand for the store’s fashions with Americans. Wilde was obviously a huge fan of Liberty.

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The iconic Tudor revival building was built by Liberty so that business could continue while renovations were being completed on the other premises.  This great building was constructed in 1924 from the timbers of two ships: HMS Impregnable (formerly HMS Howe) and HMS Hindustan.

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HMS Impregnable (c.1900), one of the two ships used to build Liberty

The emporium was designed by Edwin Thomas Hall and his son, Edwin Stanley Hall. They designed the building at the height of the 1920s fashion for Tudor revival.

In 1922, the builders had been given a lump sum of £198,000 to construct it, which they did from the timbers of two ancient ‘three-decker’ battle ships. Records show more than 24,000 cubic feet of ships timbers were used including their decks now being the shop flooring: The HMS Impregnable – built from 3040 100-year-old oaks from the New Forest – and the HMS Hindustan, which measured the length and height of the famous Liberty building.

The ships were not Liberty’s only association with warfare. Carved memorials line the department store’s old staircase pay tribute to the Liberty staff who lost their lives fighting in WWII for a different kind of liberty – freedom from the regimes of the Axis powers.

One only need to look up to the roof , upon which stands a marvel of a gilded copper weathervane. Standing four feet tall and weighing 112 pounds, this golden ship recreates The Mayflower, the English vessel famous in American history for taking pilgrims to the new world in 1620.

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The interior of the shop was designed around three light wells that form the main focus es of the building. Each of these wells was surrounded by smaller rooms to create a cosy feeling. Many of the rooms had fireplaces and some of them still exist.

 

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Liberty of London was designed to feel like a home, with each atrium was surrounded by smaller rooms, complete with fireplaces and furnishings.

Ever the purveyor of craftsmanship, Arthur Liberty had a furniture workshop in Archway, London. Run by Lawrence Turner, the workshop produced Liberty Arts and Crafts furniture and the intricately carved panels and pillars found throughout the store. The craftsmen allowed his fantasy, ensuring every ornament was a one-off – paving the way for discovery.

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Sadly, Arthur died seven years before the building’s completion and so never saw his dream realised. But, his statue stands proudly at our Flower Shop entrance to welcome you warmly into his emporium of wonder.

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The architectural historian Nikolaus Pevsner was very critical of the building’s architecture, saying: “The scale is wrong, the symmetry is wrong. The proximity to a classical façade put up by the same firm at the same time is wrong, and the goings-on of a store behind such a façade (and below those twisted Tudor chimneys) are wrongest of all”.

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During the 1950s, the store continued its tradition for fashionable and eclectic design. All departments in the shop had a collection of both contemporary and traditional designs. New designers were promoted and often included those still representing the Liberty tradition for handcrafted work.

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In 1955, Liberty began opening several regional stores in other UK cities; the first of these was in Manchester. Subsequent shops opened in Bath, Brighton, Chester, York, Exeter and Norwich.

During the 1960s, extravagant and Eastern influences once again became fashionable, as well as the Art Deco style, and Liberty adapted its furnishing designs from its archive.

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LIBERTY PRINT ‘CONSTANTIA,’ 1961

In 1996, Liberty announced the closure of all of its department stores outside London, and instead focused on small shops at airports.

Since 1988, Liberty has had a subsidiary in Japan which sells Liberty-branded products in major Japanese shops. It also sells Liberty fabrics to international and local fashion stores with bases in Japan.

Liberty’s London store was sold for £41.5 million and then leased back by the firm in 2009, to pay off debts ahead of a sale. Subsequently, in 2010, Liberty was taken over by private equity firm BlueGem Capital in a deal worth £32 million.

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In 2013, Liberty was the focus of a three-part hour-long episode TV documentary series titled Liberty of London, airing on Channel 4. The documentary follows Ed Burstell (Managing Director) and the department’s retail team in the busy lead up to Christmas 2013.

Channel 4 further commissioned a second series of the documentary on 28 October 2014. This series featured four, one hour-long episodes based on six months worth of unprecedented footage. Series two aired in 2014.

Liberty has a history of collaborative projects – from William Morris and Dante Gabriel Rossetti in the nineteenth century to Yves Saint Laurent and Dame Vivienne Westwood in the twentieth.

Recent collaborations include brands such as Scott Henshall, Nike, Dr. Martens, Hello Kitty, Barbour, House of Hackney, Vans, Onia, Manolo Blahnik, Uniqlo, Superga, Drew Pritchard of Salvage Hunters and antique lighting specialist Fritz Fryer.

The website for Liberty also has these suggestions for you to watch for as you sally throughout the sprawling store:

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The clock on the Kingly Street entrance of the Liberty store has some words of wisdom for the shoppers who pass by. It says “No minute gone comes back again, take heed and see ye do nothing in vain.” Above the clock, the striking of the hour chime brings out figures of St. George and the Dragon, to recreate their legendary battle every sixty minutes. On each corner of the clock are the angels of the Four Winds: Uriel (south), Michael (east), Raphael (west), and Gabriel (north).

 

The (extraordinary) British Museum

What can I say that hasn’t already been said 1,00,000 times or more about this incredible museum?

I will let my pictures speak for me.

 

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Whenever I am lucky enough to visit the British Museum, I always go right to the Elgin Marbles.

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Mass tourism is the bane of my existence.  I hate it with every fiber in my being.

 

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Did I mention that I detest mass tourism? I do.

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Mass tourism.

 

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Beautiful, lush St Jame’s Park, London

It’s a beautiful park in the heart of London, but did you know it takes its name from a leper hospital!  It sure does!  Read on…

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St James’s Park is a 57-acre park in the City of Westminster, central London. The park lies at the southernmost tip of the St James’s area, which was named after a leper hospital dedicated to St James the Less. It is the most easterly of a near-continuous chain of parks that also includes (moving westward) Green Park, Hyde Park, and Kensington Gardens.

 

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The park is bounded by Buckingham Palace to the west, the Mall to the north, Horse Guards to the east, and Birdcage Walk to the south. It meets Green Park at Queen’s Gardens with the Victoria Memorial at its center, opposite the entrance to Buckingham Palace. St James’s Palace is on the opposite side of The Mall.

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The park has a small lake, St James’s Park Lake, with two islands, West Island, and Duck Island, named for the lake’s collection of waterfowl.

A resident colony of pelicans has been a feature of the park since pelicans were donated by a Russian ambassador in 1664 to Charles II. While most of the time the wings are clipped, there is a pelican who can be seen flying to the London Zoo in hopes of another meal.

 

The Blue Bridge across the lake affords a view west towards Buckingham Palace framed by trees. Looking east the view includes the Swire Fountain to the north of Duck Island and, past the lake, the grounds of Horse Guards Parade, with Horse Guards, the Old War Office and Whitehall Court behind. To the south of Duck Island is the Tiffany Fountain on Pelican Rock, and past the lake is the Foreign and Commonwealth Office, with the London Eye, the Shell Tower, and the Shard behind.

I first visited St Jame’s Park with my mother on a trip to London many years ago.  She delighted in the flower beds, planted seasonally, and always lush and beautiful.  As I walked through the gardens last month, I thought of my mom and how much she would love how they looked that day!

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Nerd Alert: the history part of this post:

In 1532, Henry VIII purchased an area of marshland through which the Tyburn flowed from Eton College. It lay to the west of York Palace acquired by Henry from Cardinal Wolsey; it was purchased in order to turn York Palace, subsequently renamed Whitehall, into a dwelling fit for a king.

On James I’s accession to the throne in 1603, he ordered that the park be drained and landscaped, and exotic animals were kept in the park, including camels, crocodiles, an elephant and exotic birds, kept in aviaries.

While Charles II was in exile in France under the Commonwealth of England, he was impressed by the elaborate gardens at French royal palaces, and on his ascension he had the park redesigned in a more formal style, probably by the French landscaper André Mollet.

An 850 x 42 yard canal was created as evidenced in the old plan. The king opened the park to the public and used the area to entertain guests and mistresses, such as Nell Gwyn. The park became notorious at the time as a meeting place for impromptu acts of lechery, as described by John Wilmot, 2nd Earl of Rochester in his poem “A Ramble in St James’s Park.”

In the late 17th and early 18th centuries cows grazed on the park, and milk could be bought fresh at the “Lactarian,” described by Zacharias Conrad von Uffenbach in 1710.

The 18th century saw further changes, including the reclamation of part of the canal for Horse Guards Parade and the purchase of Buckingham House (now Buckingham Palace) at the west end of the Mall, for the use of Queen Charlotte in 1761.

Further remodelling in 1826–27, commissioned by the Prince Regent (later George IV) and overseen by the architect and landscaper John Nash, saw the canal’s conversion into a more naturally-shaped lake, and formal avenues rerouted to romantic winding pathways.

At the same time, Buckingham House was expanded to create the palace, and Marble Arch was built at its entrance, while The Mall was turned into a grand processional route. It opened to public traffic 60 years later in 1887.

The Marble Arch was moved to its current location at the junction of Oxford Street and Park Lane in 1851 and the Victoria Memorial was erected between 1906 and 1934.

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Duck Island Cottage, in the pictures above,  has a long history and is now the headquarters for the London Parks & Gardens Trust.

The park is Grade I listed on the Register of Historic Parks and Gardens.

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