THE BANQUETING HOUSE. WHITEHALL PALACE, London. Places to visit.
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The story of Banqueting House.A
The story of Banqueting House.
A revolutionary building. Spectacular paintings. Royal execution site.
Banqueting House is a magnificent survivor of the lost royal Palace of Whitehall.
Early banqueting houses
The Banqueting House we see today had two predecessors. Elizabeth I was wooed by her noble suitors in the first building, meant to be temporary, which was made of bricks, timber and canvas, with a ceiling beautifully painted with vines and fruit – all symbols of the hoped-for fecundity of a marriage which never materialised.
Despite its flimsy construction, this old banqueting house was much in demand from Elizabeth’s successor as a venue for masques. James I and his wife Anne of Denmark loved this form of extravagant performance. Eventually James commissioned a more substantial hall from architect Robert Stickells. However, the King was disappointed with the building. Although very ornate, a forest of columns supporting a gallery blocked much of the audiences’ view.
James’s new Surveyor of the Kings Works, Inigo Jones, was chosen to build the third, and final, Banqueting House. Son of a London carpenter, Jones was a skilled costume and scenery designer, as well as a gifted architect. Together with the playwright Ben Jonson, he had created many wonderful masques for Queen Anne.
Inigo Jones knew of the King’s disappointment with his previous building, so he drew up plans for a completely different, classical building. Jones had travelled widely in France and Italy, where he made copious notes and drawings of the architecture of ancient Rome and the Renaissance. Inspired by the classical forms he encountered on his travels, he adapted elements of the buildings he had witnessed, and reinterpreted them in a new and unique way, to suit his royal patrons.
His spectacular Banqueting House building was completed in 1622, to the King’s great delight and the astonishment of all who surveyed it.
Jones’s Banqueting House has an enormous hall, with the dimensions of a double cube, resting on top of a vaulted Undercroft.
The spectacular carved and gilded ceiling now contains the nine paintings by Rubens, which were installed in 1636.
The ceiling was painted a plain white before Rubens' paintings were installed, but was darkened with 'walnut-tree' colour and richly gilded after their installation.
Rubens and the Banqueting House.
The crowning glory of the Banqueting House is its magnificent nine ceiling paintings by Peter Paul Rubens – one of Europe’s most influential and important artists.
These vast oil-on-canvas paintings are unique, in that they remain in the very ceiling for which they were first painted – most of Rubens’s paintings are in art galleries around the world.
The paintings in place
James I began discussions with Rubens about a decorative scheme for the Banqueting House, but it was his son, Charles I who finally commissioned the paintings.
Rubens presented Charles with working sketches, but painted the finished canvases in Antwerp.
They were installed in 1636, and Rubens was paid (rather belatedly) £3000 and given a gold chain for his services.
The paintings glorify the achievements of his father, and depict James as a divine figure – the implication being that his Stuart heirs were too.
Royal healing ceremony
Since the Middle Ages, English monarchs had claimed to have the power to heal, or at least prevent, ‘the King’s Evil’. It’s not clear exactly what this nasty skin disorder was, possibly leprosy, or scrofula, which causes large growths on face and neck. It became known as ‘the Kings Evil’, alluding to the belief that sufferers would be cured by the touch of the monarch.
James I decided to use his fabulous new Banqueting House to stage this mystical ritual of monarchy, which was continued by Charles I. Revived by his son Charles II in 1661, the ritual became wildly popular.
Execution site
Just 13 years after Rubens’ canvas were installed Charles I viewed the ceiling for the last time, as a condemned man.
The irony of the divine right of kings cannot have been lost on him as he walked to his death under the magnificent canvases: commissioned as a tribute to his father.
The King was executed on a specially built scaffold outside the Banqueting House on 30 January 1649.
His death is commemorated in a special service held there every year on the anniversary.
Today's Maundy
Our present Queen continues the Maundy tradition. However, she usually distributes money from different cathedrals, rather than the Banqueting House.
The ritual of foot washing was abandoned in the 18th century. However, to this day, the Lord High Almoner still traditionally carries a towel over his right shoulder during the Maundy service today.
Based on
shorturl.at/bAF26
A revolutionary building. Spectacular paintings. Royal execution site.
Banqueting House is a magnificent survivor of the lost royal Palace of Whitehall.
Early banqueting houses
The Banqueting House we see today had two predecessors. Elizabeth I was wooed by her noble suitors in the first building, meant to be temporary, which was made of bricks, timber and canvas, with a ceiling beautifully painted with vines and fruit – all symbols of the hoped-for fecundity of a marriage which never materialised.
Despite its flimsy construction, this old banqueting house was much in demand from Elizabeth’s successor as a venue for masques. James I and his wife Anne of Denmark loved this form of extravagant performance. Eventually James commissioned a more substantial hall from architect Robert Stickells. However, the King was disappointed with the building. Although very ornate, a forest of columns supporting a gallery blocked much of the audiences’ view.
James’s new Surveyor of the Kings Works, Inigo Jones, was chosen to build the third, and final, Banqueting House. Son of a London carpenter, Jones was a skilled costume and scenery designer, as well as a gifted architect. Together with the playwright Ben Jonson, he had created many wonderful masques for Queen Anne.
Inigo Jones knew of the King’s disappointment with his previous building, so he drew up plans for a completely different, classical building. Jones had travelled widely in France and Italy, where he made copious notes and drawings of the architecture of ancient Rome and the Renaissance. Inspired by the classical forms he encountered on his travels, he adapted elements of the buildings he had witnessed, and reinterpreted them in a new and unique way, to suit his royal patrons.
His spectacular Banqueting House building was completed in 1622, to the King’s great delight and the astonishment of all who surveyed it.
Jones’s Banqueting House has an enormous hall, with the dimensions of a double cube, resting on top of a vaulted Undercroft.
The spectacular carved and gilded ceiling now contains the nine paintings by Rubens, which were installed in 1636.
The ceiling was painted a plain white before Rubens' paintings were installed, but was darkened with 'walnut-tree' colour and richly gilded after their installation.
Rubens and the Banqueting House.
The crowning glory of the Banqueting House is its magnificent nine ceiling paintings by Peter Paul Rubens – one of Europe’s most influential and important artists.
These vast oil-on-canvas paintings are unique, in that they remain in the very ceiling for which they were first painted – most of Rubens’s paintings are in art galleries around the world.
The paintings in place
James I began discussions with Rubens about a decorative scheme for the Banqueting House, but it was his son, Charles I who finally commissioned the paintings.
Rubens presented Charles with working sketches, but painted the finished canvases in Antwerp.
They were installed in 1636, and Rubens was paid (rather belatedly) £3000 and given a gold chain for his services.
The paintings glorify the achievements of his father, and depict James as a divine figure – the implication being that his Stuart heirs were too.
Royal healing ceremony
Since the Middle Ages, English monarchs had claimed to have the power to heal, or at least prevent, ‘the King’s Evil’. It’s not clear exactly what this nasty skin disorder was, possibly leprosy, or scrofula, which causes large growths on face and neck. It became known as ‘the Kings Evil’, alluding to the belief that sufferers would be cured by the touch of the monarch.
James I decided to use his fabulous new Banqueting House to stage this mystical ritual of monarchy, which was continued by Charles I. Revived by his son Charles II in 1661, the ritual became wildly popular.
Execution site
Just 13 years after Rubens’ canvas were installed Charles I viewed the ceiling for the last time, as a condemned man.
The irony of the divine right of kings cannot have been lost on him as he walked to his death under the magnificent canvases: commissioned as a tribute to his father.
The King was executed on a specially built scaffold outside the Banqueting House on 30 January 1649.
His death is commemorated in a special service held there every year on the anniversary.
Today's Maundy
Our present Queen continues the Maundy tradition. However, she usually distributes money from different cathedrals, rather than the Banqueting House.
The ritual of foot washing was abandoned in the 18th century. However, to this day, the Lord High Almoner still traditionally carries a towel over his right shoulder during the Maundy service today.
Based on
shorturl.at/bAF26
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