Arundel House (c. 1221-1682) was located on the Thames between Milford Lane and Strand Lane. It was to the east of Somerset House, to the south of St. Clement Danes, and adjacent to the Roman Baths at Strand Lane. Walter Thornbury locates it Between Milford Lane and Strand Lane—a narrow and rather winding thoroughfare leading to the Embankment a few yards to
the east of Somerset House—the entire space, about three hundred yards in length and the same in breadth (Thornbury 63-84). The plot of land was 40 ½ ells in width,1 21 ¾ ells at one end, and at the other, sloping towards the Thames, 25 ¼ ells (A Descriptive Catalogue 194, A. 1665), making the property footprint approximately 13,000 square feet. James Howell describes
its location thus in 1657:
Then was the Bishop of Baths Inne, or City-House, builded by the Lord Thomas Seamer, Admiral of England: which House, came afterwards to be possessed by the Earl of Arundel, & so it beares the name of Arundel-house: neer there adjoyning, there was once a Parish-Church, called the Nativity of our Lady, or the Innocents of the Strand, with a fair Cœmitery, or Church-yard, wherein there was a Brother-hood kept, called
Saint Vrsula of the Strand.2 (Howell 349)
Plan of Arundel and Essex Houses (From an original Etching by Hollar, published in
Ogilby and Morgan’s Twenty-Sheet Plan of London). Courtesy of BHO.
A number of early modern maps depict the location of Arundel House. These maps show the physical changes made to the house over the years and offer
insight into its cultural significance, as it becomes more prominently featured over
time. The Wyngaerde map (Part 1 and Part 2), surveyed between 1543 and 1550, features the architecture of the Strand. G.E. Mitton identifies Durham House, Savoy Palace, and Somerset House (Mitton 6) on this map, but Arundel House is not specifically locatable. During the time the Wyngaerade map was made, Thomas Seymour was just beginning to remodel the structures. Arundel House is not labeled in this image because it had not yet become a London landmark.
As the house gained notoriety, cartographers began representing it more carefully. Braun, Hogenberg, and Hoefnagel’s map Londinium Feracissimi Angliae Regni Metropolis, begun in 1560 and completed in the 1570s, depicts Arundel House, labeling it Arundell P. This map outlines the sections of the gardens.
The Civitas Londinum or Agas map, featured here on MoEML, shows the additional wings of Arundel Housevery rudely (Kingsford 249n2).
Ogilby and Morgan’s 1677map shows Arundel House in great detail. The house is carefully labeled. Mitton writes, to the south are the great houses of Essex and Arundel, with their gardens; their
names are preserved in the streets that flow over their sites (Mitton 19). The accuracy with which cartographers represented Arundel House improves in proportion to its notoriety in London.
Morgan’s 1682/3Plan of the Districtmap reveals the demolition of Arundel House, citing the location as ground for Arundel house. Morden and Lea’s 1690Survey of London cites only the Arundell Stairs.
Name and Etymology
Arundel House (1549-c. 1680-1682), spelled variously as Arundel,Arundell,Arondel, and Arondell, was previously known as Bath Place or Bath Inn (1232-1539), Hampton Place (1539-1545), and Seymour Place (1545-1549).3John Stow retells this etymological history in his Survey of London: Then was the Bishop of Bathes Inne, lately new builded, for a great parte thereof by the Lorde Thomas Seamer Admirall, which came sithence to be possessed by the Earle of Arondell, and thereof called Arundell house (Stow 365). Philemon Holland’s1610 English translation and emendation of William Camden’s 1607 Latin Britannia notes its tenure as Hampton Place: Arondel house before called Hampton place (Camden 428). A 1545 Grant shows its etymological change from Bath Place to Hampton Place to Seymour Place: Sir Thomas Seymour, the Kings servant. Grant, in fee, for 700l., of the chief mansion and chief messuage called Hampton PlacealiasBathe Place in the parish of St. Clement without the bars of the New Temple, London (Grants in November, 1545 910.77). After 1549, it kept the name Arundel House until it was demolished between 1680 and 1682.
Today, Arundel Street remains in London as a reminder of the house’s former location. A new Arundel House, constructed in the Tudor Revival style in the nineteenth century, currently stands
on the corner of Arundel Street and has housed the International Institute for Strategic Studies since 1997. This building is unrelated to the original medieval and early modern
estate.
History
In the Medieval period, Bath Inn (later Arundel House) was the largest of the episcopal properties on the Strand, first granted to Eustace de Fauconberg who became bishop of London in 1221. The bishops of Bath and Wells subsequently inherited the property on 23 September 1232, Giving to the churches of Wells and Bath, and succeeding bishops, a place formerly
belonging to Eustace, bishop of London, in the suburbs of London in the street of
St. Clement without the Bar, with all the houses and buildings there (Calendar of the Charter Rolls 168-169). It remained an episcopal property for over three hundred years.
Thomas Seymour inherited the property in 1545 and significantly remodeled the house. Historian Charles Lethbridge Kingsford summarizes
the alterations, which blended old and new: what he did was probably to erect the extensive blocks stretching from the southwest
corner of the old house and down to the river, whilst preserving the ancient courtyard
and hall (Kingsford 249).
When Thomas Seymour was executed for treason, Henry Fitzalan, 12th/19th Earl of Arundel, purchased the newly remodeled house and named it Arundel House. John Strype relates this change: Then was the Bishop of Baths Inn, (called also Hampton Place) lately new builded (for a great Part thereof) by the Lord Thomas Seimour, Admiral, being parcel of his Possessions. This House of the Bishop of Bath and Wells was assured to the said Admiral Seimour in King Edward the Sixth’s Reign; and is now quite severed from that Bishoprick without Recompence. Which
House came sithence to be possessed by the Earl of Arundel, and thereof called Arundel House (Strype4.7.105).
Philip Howard, 13th/20th Earl of Arundel, was convicted of treason in 1585. His wife, Anne, was relegated to tenancy with limited movement throughout the estate.4 In 1589, an extensive survey was performed, revealing a property footprint of over 150,000
square feet. The survey highlighted the structures in need of repair, including a
storehouse, lodging, barn and stables, bakehouse and coalhouse, bowling alley, kitchen
court, and vaulted cellar (Hammerson 212).5 These structures were likely part of the older Bath Inn. The 1589 survey mentions only briefly the newer sections of the house added by Seymour.
Henry Howard gained approval for extensive construction on site, as well for the more beautifying the said buildings by bringing them to a more just
symmetry and proportion all along the river, as for enlarging the gardens of the House (Calendar of State Papers, Charles II226). None of these construction projects materialized, despite completed plans from
Christopher Wren. The house was subsequently demolished between 1680 and 1682 and no new structure was erected in its place.
The site was excavated in 1972 by a team of archaeologists.
Significance
Political Significance
A number of significant political events are directly connected to Arundel House, including Henry VIII’s divorce from Katherine of Aragon; Princess Elizabeth’s upbringing; and Catholic plots against the monarchy.
In the 1540s, Princess (later Queen) Elizabeth stayed at Arundel House, then known as Seymour Place. Seymour Place provided the site of her alleged affair with Thomas Seymour. Elizabeth’s governess, Mrs. Ashley, reported these interactions at Seymour Place: At Seymour Place, when the queen slept there, he did use awhile to come up every morning in his nightgown and slippers; when he found
my lady Elizabeth up, and at her book, then he would look in at the gallery-door, and bid her good
morrow, and so go on his way (Memoirs of the Queens 400). Seymour’s flirtations with Princess Elizabeth, whether or not there was ever an actual affair, created suspicions that he was plotting
to marry her — suspicions that contributed to his downfall; Seymour was eventually executed for treason (Bernard).
The House’s association with secret Catholic affairs continued while it was under
the ownership of Philip Howard, who inherited the property from his grandfather Henry Fitzalan. Although Philip was sent to the Tower in 1585, a secret Jesuit press very likely operated out of Arundel House throughout the 1580s. While Philip was imprisoned, his wife, Anne, Countess of Arundel harbored the Jesuit Robert Southwell (later made a Catholic Saint) at her properties. Historian Anne Sweeney offers a
concise overview of this secret press:
It was in part under Philip’s aegis that Southwell’s works were at first printed, under the noses of the State authorities, any emergent
notion of ideological censorship seemingly giving way to feudal precedence even in
the 1580s. Whatever the reason for its continued existence, some sort of printing facility
certainly existed, and Weston, Southwell, and the other Jesuits had access to it. There is a mention of a secret press operating
from one of the Arundel houses in the 1588 ‘Marprelate’ pamphlet. (Sweeney 113)
John Charlewood, a well-known publisher enjoying the monopoly of printing play-bills, who styled himself,
at least until 1585: Printer to the Rt. Hon. The Earl of Arundel (Devlin 143), was the publisher responsible for this secret press. Southwell’s An Epistle of Comfort, a series of letters originally written to offer religious encouragement to Philip in the Tower of London, was printed on this secret press, despite the fact that the text claims to have
been printed in Paris (Devlin 143).
Though the Earl and Countess of Arundel’s association with this press is certain, scholars do not agree where the press was
located. Most contend that the press was actually in Arundel House. This is supported by an informant who claimed, I do now remember myself of another printer that had press and letter in a place called
the Charterhouse in London (in Anno 1587, near about the time of the Scottish Queenes
death) intelligence was given unto your good grace of the same by some of the Stationers
in London (
). Devlin establishes that the Charterhouse referenced here is Howard House, also known as Arundel House (Devlin 143). However, Nancy Pollard Brown argues that the press was located at the family’s
other property in the Spitalfields (Brown 123). In 1588, John Gerard made reference to this secret press, but placed it at Anne’s property at Acton, not Arundel House itself: there too that Father Southwell had his printing press, where his own admirable books were produced (
). Devlin argues that the press must have been moved from one property to another
in order to escape censorship. Regardless of its exact location, this secret press
was part of a larger movement of clandestine Catholic printing in England (Miola 412).
The site again became embroiled in a conspiracy during the Popish Plot in 1678 when witnesses swore that Titus Oates had been living in one corner of Old Arundel House (A Complete Collection of State Trials 402).7
Artistic Significance
In the seventeenth century, Arundel House became a significant artistic centre in London. According to Haynes, at its greatest extent the sculpture collection is said to have comprised no less
than thirty-seven statues, one hundred and twenty-eight busts and two hundred and
fifty inscriptions, as well as a large number of sarcophagi, altars and fragments (Haynes 10). The inscriptions were ancient Greek and Latin texts carved into pieces of stone
and marble. In a portrait of Thomas Howard by Mytens, one can see the Arundel Eros and the Arundel Homerus now at the Ashmolean.8Howard’s marbles are depicted in another portrait by an anonymous painter, dated to approximately
1627.9 In this portrait, two rows of life-sized marbles can be seen through the window over
Howard’s shoulder, lining the neatly landscaped gardens and showing how the collection
had spilled out of doors.
Inigo Jones designed a number of updates for Arundel House.10Jones’s design for an Italian style gate, later copied at Arundel House by John Smythson, was featured in the garden. Jones also traveled to Europe with Howard to help build the burgeoning art collection, even acting as his art broker (Peacock). These trips influenced seventeenth-century London architecture, like Jones’ Banqueting House at Whitehall, the portico at St. Paul’s Cathedral, and Covent Garden Square.
Arundel House, from the North by Wenceslas Hollar. Courtesy of Wikimedia Commons.
Arundel House, from the South by Wenceslas Hollar. Courtesy of Wikimedia Commons.
Howard brought Bohemian artist Wenceslaus Hollar into his service in 1636.11Hollar’s pair of 1646 images Courtyard of Arundel House Facing North and Courtyard of Arundel House Facing South show an older Tudor timber structure. This is not what we would expect from portraits
of Thomas and Alethea Howard by Daniel Mytens, which depict the house in Palladian style. Haynes claims that by the early 1620s,
Arundel House was rapidly assuming the appearance of an Italian palace (Haynes 4). However, Howarth sees Mytens’s artistic representations as entirely fictitious imaginary views (Howarth and Dethloff). Alice Friedman calls this disconnect between Hollar’s depictions and the impression we get from paintings and visitors’ records startling, noting, we expect arches and pediments and columns, not rambling half-timber structures (Friedman 158). These contradictory reports reveal the way material realities and conceptual impressions
(the Italian ideal vs. the pastoral ideal) did not always align.
Significant Visitors
Arundel House was a cultural centre for elite guests, including British royalty and foreign ambassadors.
King Charles I visited the art collections in December of 1628 and again in 1634 (Hervey 264, 399). Sir Francis Bacon visited in 1626 and expressed shock at the nude statues (Haynes 7). In 1629, the Dutch delegate Abram Booth visited a number of homes in London, keeping a diary with his travels and impressions,
and was especially enamored with the gardens and marbles at Arundel House (Louw 507).
Tours of Arundel House began during Thomas Howard’s residency and remained popular after he died. For instance, Samuel Pepys visited Arundel House on 30 May 1661, touring the gardens, gallery, and wine cellar:
Back to the Wardrobe with my Lord, and then with Mr. Moore to the Temple, and thence to Greatorex, who took me to Arundell-House, and there showed me some fine flowers in his garden, and all the fine statues in
the gallery, which I formerly had seen, and is a brave sight, and thence to a blind
dark cellar, where we had two bottles of good ale, and so after giving him direction
for my silver side-table, I took boat at Arundell stairs, and put in at Milford. (Pepys 30 May 1661)
Pepys also mentions the Arundel Stairs that led directly to the Thames, making the house easily accessible from the main waterway.
Though undeniably an elite estate, so much of the statuary was placed outside on the
bank of the Thames that the general public knew the collection. The bankside display may seem to violate
the division between public and private spaces, but was not unusual for the period.
Other elite private residences, like Whitehall Palace, also served as cultural centres for the public. In 1651, author Christopher Arnold commented on the way Arundel House blurred these boundaries when he wrote of certain gardens on the Thames, where there are rare Greek and Roman inscriptions, stones, marbles; the reading
of which is actually like viewing Greece and Italy at once within the bounds of Great
Britain (
).12 Though many of the marbles featured carved Latin and Greek inscriptions that could
be literally read, the concept of literacy can be applied more broadly to the way
Arundel House became a living text for the city of London, connecting London to classical and continental history and culture.
Intellectual Significance
After the Restoration, Henry Howard helped Arundel House become a centre for intellectual life in London. After the Great Fire of 1666, the Royal Society met at Arundel House:
Since by the firing of London, the first place of their meeting has been restor’d to its original use, and made
an Exchange, he has afforded them a retreat in his own house, where they assemble at this present:
By which favour he has added a new honour to the antient Nobility of his Race: one of his Ancestors had before adorn’d that place with many of the best Monuments of Antiquity: And now by entertaining these new discoveries under his Roof, his Family deserves the double praise of having cherish’d both the old, and new Learning; so that now methinks in Arundel house, there is a perfect representation, what the Real Philosophy ought to be: As there we behold new Inventions to flourish amongst the Marbles, and Images of the Dead: so the present Arts, that are now rising, should not aim at the destruction of those that are past, but
be content to thrive in their company. (Sprat 253)
Samuel Pepys also mentions the Royal Society’s new home: Mr. Henry Howard, of Norfolke, hath given our Royal Society all his grandfather’s library: which noble gift they
value at 1000l.; and gives them accommodation to meet in at his house, Arundell House, they being now disturbed at Gresham College (Pepys 7 January 1666/7). Pepys attended a number of Royal Society experiments at Arundel House. He saw an experiment with gunpowder, microscopes, and an ear trumpet that allowed
him to plainly hear the dashing of the oares of the boats in the Thames to Arundell gallery window, and an experiment on a dog’s spine (Pepys 9 January 1666/7, 30 May 1667, 2 April 1668, 16 July 1668).
Enduring significance
Even after Arundel House was demolished in 1680 to 1682, it was remembered in descriptions of London. John Strype recorded a brief history of Arundel House in his 1720 update to Stow’s A Survey of London, terminating in the house’s demolition:
Formerly the Bishop of Bath’s Inn: Which in Process of Time came to the Family of the Howards, Dukes of Norfolk, the
late Duke dwelling there. It then was a very large and old built House; with a spacious
Yard for Stablings, towards the Strand, and with a Gate to enclose it, where there
was the Porters Lodge; and as large a Garden towards the Thames. This said House and Grounds was some Years since converted into Streets and Buildings. (Strype 4.7.117)
In his 1716 poem Trivia, or, The Art of Walking the Streets of London,John Gay remembers the legacy of Arundel House as he walks through London:
Even though the house had been demolished, it was still able to influence London culture and the experience of moving through and remembering the city.
A 1972 archaeological excavation of the site found very extensive destruction (Hammerson 214) where Arundel House once stood. The majority of remains discovered in the 1970s dated from the sixteenth and seventeenth centuries. The team found no remains from
the medieval Bath Inn house (Hammerson 214). The team was able to map the foundations of the early modern house and excavated
the original cellar in which Pepys drank ale in 1661 (Hammerson 218). They discovered a collection of stoneware, pottery, dishes, tinware, cooking vessels,
and tiles dating from the early modern period. The team also discovered seven classical
marbles from Thomas Howard’s collection that had been lost (Hammerson 247). The architectural skeleton of early modern London continues to be valuable to archaeologists and historians today.
An ell is a unit of measurement, originally a cubit (although later it referred to
longer units), that is, the approximate length of a man’s forearm from his elbow,
about 18 inches. (SM)↑
This church was torn down in 1549 in order to build Somerset House. (SM)↑
MS Lansdowne 45. f. 197. No. 82. After her husband’s death, Countess Anne Howard was contractually relegated to a set of prescribed rooms, including specific passages
and stairways leading to those rooms. Many of these allowable rooms were part of the
old house, referred to as the great old decayed house called the storehouse. She was given a key in her own custody in order to use the gardens. (EKA)↑
For more on the way various private spaces and homes were used in the Ridolfi plot,
see Orlin 247-61. (EKA)↑
The Popish Plot conspiracy was a completely fabricated plot alledging that the Jesuits
were planning to assassinate Charles II. The conspiracy was invented by Titus Oates,
but was widely believed and created widespread anti-Catholic mania, leading tot he
executions of thirty-five people. Oates was eventually discredited and convicted of
perjury (BAE). (SM)↑
Anonymous. Portrait of the Earl of Arundel. c. 1627. Private Collection, Welbeck Estate.
(EKA)↑
Kingsford argues that renovations must have accompanied the growing collection: one may suppose that some changes were necessary to provide an adequate setting for
these splendid collections, and Arundel’s letters in 1618-1619 contain some mention
of works in progress (Kingsford 254). (EKA)↑
For more on Hollar’s work in England, see Howarth. (EKA)↑
Arnold is further discussed in Hunt. Hunt calls these gardens a kind of memory theatre (120). (EKA)↑
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Atwood, Emma. Arundel House.The Map of Early Modern London, edited by Janelle Jenstad, U of Victoria, 20 Jun. 2018, mapoflondon.uvic.ca/ARUN1.htm.
Chicago citation
Atwood, Emma. Arundel House.The Map of Early Modern London. Ed. Janelle Jenstad. Victoria: University of Victoria. Accessed June 20, 2018. http://mapoflondon.uvic.ca/ARUN1.htm.
APA citation
Atwood, E. 2018. Arundel House. In J. Jenstad (Ed), The Map of Early Modern London. Victoria: University of Victoria. Retrieved from http://mapoflondon.uvic.ca/ARUN1.htm.
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Emma Katherine Atwood is an assistant professor of English at the University of Montevallo,
focusing on Renaissance and early modern British studies. At the time of her essay
on Arundel House, Emma was a doctoral candidate at Boston College. Her dissertation is titled Domestic Architecture on the English Renaissance Stage. Emma’s articles and reviews have appeared in The Journal of Medieval and Early Modern Studies, Comparative Drama, Early Theatre, Shakespeare Bulletin, and This Rough Magic. Emma has presented her work for the Northeast Modern Language Association, the Massachusetts
Center for Renaissance Studies, the International Marlowe Society Conference, and
the Association for Theater in Higher Education, among others. Her research has been
funded in part by Alpha Lambda Delta. In 2013, Emma was recognized with a Carter Manny Citation of Special Recognition from the Graham Foundation for Advanced
Studies in the Fine Arts, an award that recognizes interdisciplinary dissertations in architecture.
Janelle Jenstad, associate professor in the department of English at the University
of Victoria, is the general editor and coordinator of The Map of Early Modern London. She is also the assistant coordinating editor of Internet Shakespeare Editions. She has taught at Queen’s University, the Summer Academy at the Stratford Festival,
the University of Windsor, and the University of Victoria. Her articles have appeared
in the Journal of Medieval and Early Modern Studies, Early Modern Literary Studies, Elizabethan Theatre, Shakespeare Bulletin: A Journal of Performance Criticism, and The Silver Society Journal. Her book chapters have appeared (or will appear) in Performing Maternity in Early Modern England (Ashgate, 2007), Approaches to Teaching Othello (Modern Language Association, 2005), Shakespeare, Language and the Stage, The Fifth Wall: Approaches to Shakespeare from
Criticism, Performance and Theatre Studies (Arden/Thomson Learning, 2005), Institutional Culture in Early Modern Society (Brill, 2004), New Directions in the Geohumanities: Art, Text, and History at the Edge of Place (Routledge, 2011), and Teaching Early Modern English Literature from the Archives (MLA, forthcoming). She is currently working on an edition of The Merchant of Venice for ISE and Broadview P. She lectures regularly on London studies, digital humanities, and
on Shakespeare in performance.
Research assistant, 2013-15, and data manager, 2015 to present. Tye completed his
undergraduate honours degree in English at the University of Victoria in 2015.
Director of Pedagogy and Outreach, 2015–present; Associate Project Director, 2015–present;
Assistant Project Director, 2013-2014; MoEML Research Fellow, 2013. Kim McLean-Fiander
comes to The Map of Early Modern London from the Cultures of Knowledge digital humanities project at the University of Oxford, where she was the editor of Early Modern Letters Online, an open-access union catalogue and editorial interface for correspondence from the
sixteenth to eighteenth centuries. She is currently Co-Director of a sister project
to EMLO called Women’s Early Modern Letters Online (WEMLO). In the past, she held an internship with the curator of manuscripts at the Folger Shakespeare Library, completed a doctorate at Oxford on paratext and early modern women writers, and worked a number of years for the
Bodleian Libraries and as a freelance editor. She has a passion for rare books and manuscripts as social
and material artifacts, and is interested in the development of digital resources
that will improve access to these materials while ensuring their ongoing preservation
and conservation. An avid traveler, Kim has always loved both London and maps, and
so is particularly delighted to be able to bring her early modern scholarly expertise
to bear on the MoEML project.
Programmer, 2018-present; Junior Programmer, 2015 to 2017; Research Assistant, 2014
to 2017. Joey Takeda is an MA student at the University of British Columbia in the
Department of English (Science and Technology research stream). He completed his BA
honours in English (with a minor in Women’s Studies) at the University of Victoria
in 2016. His primary research interests include diasporic and indigenous Canadian
and American literature, critical theory, cultural studies, and the digital humanities.
Diane K. Jakacki is the Digital Scholarship Coordinator at Bucknell University. Her research interests include digital humanities applications for early modern
drama, literature and popular culture, and digital pedagogy theory and praxis. Her
current research focuses on sixteenth-century English touring theatre troupes. At
Bucknell she collaborates with faculty and students on several regional digital/public
humanities projects within Pennsylvania. Publications include a digital edition of
King Henry VIII or All is True, essays on A Game at Chess and The Spanish Tragedy and research projects associated with the Map of Early Modern London and the Records of Early English Drama. She is an Assistant Director of and instructor at the Digital Humanities Summer Institute, serves on the digital advisory boards for the Map of Early Modern London, Internet Shakespeare Editions, Records of Early English Drama and the Iter Gateway to the Middle Ages and Renaissance.
Roles played in the project
Vetter
Diane Jakacki is a member of the following organizations and/or groups:
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC).
Martin ported the MOL project from its original PHP incarnation to a pure eXist database
implementation in the fall of 2011. Since then, he has been lead programmer on the
project and has also been responsible for maintaining the project schemas. He was
a co-applicant on MoEML’s 2012 SSHRC Insight Grant.
MoEML Research Affiliate. Research assistant, 2012-14. Sarah Milligan completed her MA
at the University of Victoria in 2012 on the invalid persona in Elizabeth Barrett
Browning’s Sonnets from the Portuguese. She has also worked with the Internet Shakespeare Editions and with Dr. Alison Chapman on the Victorian Poetry Network, compiling an index of Victorian periodical poetry.
Jesuit priest, poet, and secret missionary in England. Following his execution, viewed
as a martyr by the Roman Catholic Church. He was canonized in 1970.
Sixth wife of Henry VIII and queen of England from 1543 until his death in 1547. Married four times; her fourth husband was Thomas Seymour. Died giving birth to their only child.
Named for its location on the bank of the Thames, the Strand leads outside the City of London from
Temple Bar through what was
formerly the Duchy of Lancaster to Charing
Cross in what was once the city of Westminster. There were three main phases in the
evolution of the Strand in early
modern times: occupation by the bishops, occupation by the nobility, and
commercial development.
The Strand is mentioned in the following documents:
Temple Bar was one of the principle entrances to the city of London, dividing the Strand to the west and Fleet Street to the east. It was an ancient right of way and toll gate. Walter Thornbury dates
the wooden gate structure shown in the Agas Map to the early Tudor period, and describes
a number of historical pageants that processed through it, including the funeral procession
of Henry V, and it was the scene of King James I’s first entry to the city (Thornbury 1878). The wooden structure was demolished in 1670 and a stone gate built in its place
(Sugden 505).
Temple Bar is mentioned in the following documents:
St. Paul’s Cathedral was—and remains—an important church in London. In 962, while London was occupied by the Danes, St. Paul’s monastery was burnt and raised anew. The
church survived the Norman conquest of 1066, but in 1087 it was burnt again.
An ambitious Bishop named Maurice took the opportunity to build a new St. Paul’s, even petitioning the king
to offer a piece of land belonging to one of his castles (Times 115). The building Maurice initiated would
become the cathedral of St. Paul’s
which survived until the Great Fire of 1666.
St. Paul’s Cathedral is mentioned in the following documents:
Agas Map
