St. James's Park
The Mall, SW1, Website: www.royalparks.gov.uk,
Tube: St James's Park,
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Originally serving as the deer park of St. James's palace (which is across on the other side of The
Mall) it was turned into a garden/park during the 17th century at the behest of King Charles
II.
As a particularly nice spot to picnic on a warm summer's day, the park boasts
a large lake (which is home to wildfowl including ducks, swans, geese and pelicans) as well as a
Victorian bandstand. From the bridge on the lake, visitors can also enjoy an excellent view of
Buckingham Palace (although the contingent of hot-dog sellers in the park brings you sharply back
to earth).
During the summer, gentlemen in top hats and tails (or formal uniforms of the
armed forces) can occasionally be seen strolling along the pedestrian walkways near the park,
accompanied by their wives/partners. No, they're not off to a posh wedding, but almost certainly
one of the Queen's sumptuous garden parties.
St. James's Park Station
 55 Broadway, SW1, Tube: St James's Park,
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Although the city's beleaguered Tube system regularly comes in for public and media
criticism, Charles Holden's (1875-1960) Art Deco station (which serves as the
headquarters for London
Underground Limited) is nonetheless a fine example of 20s and 30s Underground architecture.
Holden, who was commissioned to work on a number of Tube projects (including the Piccadilly line
and Morden extensions) was the architect behind many of London's grander stations. Unquestionably
modern for the time, the building at St. James's Park was not without controversy, as Holden had
hired contemporary artists Jacob Epstein, Eric Gill and Henry Moore to add a number of exterior
sculptures and reliefs. In particular, Epstein's Day and Night came in for much criticism, thanks
to an uncompromising modern design.
St. Katharine's Dock
 E1W
1TW, Tel: 020 7488 0555, Website: www.stkaths.co.uk, Tube: Tower Hill,
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As a centre for commerce and trade since Roman times, St. Katharine's Dock has a rich and turbulent
history, having endured the tragedy of the Great Plague, survived the Great Fire of London and
suffered heavy bomb damage during the Blitz of World War II.
The establishment of the dock can be traced back to the time of King Edgar
(959-975), who had originally sanctioned the use of land here for trade. However, it was only with
the expansion of the Empire in the late 18th century that plans were drawn up to expand London's
existing "legal quays" in the Pool of London. Overburdened by unprecedented trade in sugar, tea,
coffee and spices, Parliament passed The West India Dock Act of 1799 which paved the way for
London's first ever enclosed docks. Followed by a dock at Wapping, the St. Katharine Docks Bill was
passed in 1825. Funded to the tune of nearly £1.5 million, the plan to develop the site
involved uprooting over 11,000 people as well as acquiring (and leveling) the ancient site of St.
Katharine's hospital and church.
Under the guidance of respected engineer Thomas Telford, construction of the
site took more than 2 years to complete and employed over 2000 men. The dock's design, with
warehouses sited directly along the quayside, meant it was possible for ships to offload their
cargos directly, without the need for additional handling or transport. By 1852, the sheer volume
of wool, tobacco, carpets, sugar and tea arriving at the Port of London meant that capacity was
being exceeding again. Moreover, as new buildings were required to handle ivory imports, two new
warehouses (now known as the Ivory House) were constructed.
It was only following the terrible Blitz bombings of World War II that St.
Katharine's was put on the back foot. Suffering appalling damage, warehouse capacity was cut
dramatically when stored oils, matches, rubber, waxes and cloths all went up in
flames. And,
although it continued to operate after the war, increased competition from the railways (combined
with the use of larger cargo ships) meant that trade began to dry up. In particular, the opening of
the huge container port at Tilbury in the 1960s secured the dock's fate, with the area falling into
heavy decline.
 Eventually, redevelopment proposals for the dock were submitted, with
developers Taylor Woodrow Property given the task of creating an attractive waterside environment
that would include shops, restaurants and tourist accommodation. Some 25 years later, the project
has been highly successful. Among the highlights of a trip to St. Katharine's is the famous Dickens Inn, the oldest (and prettiest) building here, along
with a fine assortment of swanky boats moored along the dockside. What's more, the process is
continuing with the creation of residential buildings on the North and East Quays, along with
Richard Rogers' typically modern re-design of Europe House.
St. Martin-in-the-Fields
 Trafalgar Square, WC2, Tel: 020
7839 8362, Open: 8am-6.30pm daily, Website: www.stmartin-in-the-fields.org,
Tube: Charing Cross/rail,
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With an elegant façade and wonderfully ornate interior, the much-loved St.
Martin-in-the-Fields is not only the official parish church of Buckingham palace, but also a fine
classical music venue to boot. Situated right in the heart of London by Trafalgar Square, it should
be regarded as a 'must' visit on any sightseeing trip.
While the present church (designed by James Gibbs) was consecrated is 1726,
the first known place of worship here dates back to the 13th century. Surrounded by unbroken
fields, the monks of Westminster Abbey are said to have pastured their animals nearby. Inside, the
church features a barrel-vaulted ceiling with Italian plasterwork, embellished by an army of cheeky
cherubs.
Throughout the year, a large number of classical concerts are staged at St.
Martin's. If you arrive at lunchtime, chances are you'll be able to take in a concert, along
with the many local office workers who take time-out for a dose of culture.
Down in the Crypt, there's also a self-service café (strangely enough
called 'Café in the Crypt') which serves well-prepared, reasonably priced lunches and decent
coffee.
St. Mary-le-Strand
The Strand, WC2, Tel: 020 7836 3126, Website: www.stmarylestrand.org,
Open: 11am-4pm Mon-Fri
and from 4pm Sun, Tube: Temple/Holborn,
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Although beached on an island in the middle of the Strand, St. Mary's is a charming Baroque style
church, built by James Gibbs in 1717. Influenced in no small part by the churches of Rome (where
Gibbs studied) it has a wedding cake style three-tiered tower crowned by a small cupola and
lantern.
Although left in a state of neglect after World War II, it was partially
restored following a campaign launched by John Betjeman in 1977. And, despite the relentless
traffic, recitals are still regularly held here. The church's interior is particularly impressive,
with an elaborate plasterwork ceiling of white and gold. Well-worth a visit if you don't mind
dodging traffic to get there.
Euston Rd, NW1, Tube: King's Cross/St.
Pancras,
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Without doubt the most majestic of London's railway stations, St. Pancras is a fine example of
Victorian architecture. Gothic in style and incorporating the former Midland Grand Hotel, it easily
outshines nearby King's Cross both in size and splendour. The dimensions of the station are
impressive - a train shed nearly 700 ft long with a height of 100 ft which cost (back in 1876) one
million pounds to build.
With the much neglected hotel now being transformed into a state-of-the-art
Renaissance (Marriott) establishment, its elegant brick and granite façade is worth a visit alone.
However, the station - which now serves as the international terminal for Eurostar
services - also features a wealth of architectural splendours, namely its medieval
cloister with a main arched passage, flanked on either side by two smaller passages. With external
reliefs depicting dragons and gargoyles, it all adds up to an impressive feat of Victorian design
and engineering.
St. Paul's Cathedral
 St. Paul's Churchyard, Ludgate Hill, EC4M 8AD,
Tel: 020 7236 4128, Website: www.stpauls.co.uk,
Tube: St Paul's,
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As one of the city's most recognisable landmarks, St. Paul's also has a special place in the hearts
of many Londoners. Built by the famous architect Sir Christopher Wren to replace the previous
cathedral (which had been completely destroyed during the Great Fire of London in 1666) work began
in 1675, taking some 33 years to complete.
Becoming a symbol of the nation's unflagging spirit during World War II, the
cathedral managed to survive the German Luftwaffe's "Blitz" bombing of London in 1940-1941, even
though many of the buildings in the immediate vicinity were destroyed. With a prolonged bombing
campaign that lasted for over 50 consecutive nights, one the most enduring images of a war-torn
London is the sight of the St. Paul's wreathed in smoke and flame. The cathedral's survival is made
even more incredible by the fact that a bomb, which crashed into the nave, failed to detonate on
impact.
The Great West Door - as the main entrance to St. Paul's, the door is
flanked on each side by a portico with two tiers of classical columns. Housed underneath a pediment
depicting the Conversion of St. Paul, it provides a dramatic frontispiece for the cathedral.
The North Aisle - to the left of the Great West door entrance, the
ceiling of the vaulted North Aisle features several small domes, identical in design to those of
The Nave. Along with a roll of honour for the 33,000 serving Merchant Navy seamen who died during
World War II, the aisle also features a grandiose monument to the Duke of Wellington (d. 1852) who
is buried in the Crypt. Designed by Alfred Stevens, the result is a real mix of architectural
styles, with a shrine-like canopy (which is supported on six classical style columns) surrounded by
two groups of statues. Representing valour over cowardice, and truth over falsehood, the figures
sit beneath the equestrian statue of Wellington astride his long-serving (and favourite) steed
Copenhagen.
The North Transept - housing an Italian marble font dating from 1727,
the North Transept also contains statues of Dr Samuel Johnson and Joshua Reynolds, as well as
Holman Hunt's celebrated work The Light of the World. Full of symbolism (both obvious and less
evident), the night-time scene depicts Christ knocking on a door that has been partially overgrown
with weeds. The door which can only be opened from within, may either represent the ability of God
to forgive, or the power of the human soul. At the end of the north choir aisle is the Chapel of
Modern Martyrs.
The South Transept - dominated by the memorial to Admiral Nelson who
died at the Battle of Trafalgar in 1805, the South Transept also contains tributes to other
national heroes including explorer Captain Robert Scott (who perished during the ill-fated British
Antarctic expedition in 1912) and renowned British landscape artist JMW Turner (d. 1851).
The Nave - central aisle of the cathedral that opens out onto a large
space beneath the main (inner) dome. Made up of a succession of saucer domes, the nave colonnade is
easily distinguishable from dome and choir sections - which are largely white and gold - having
grey stone walls and a rich brown vaulted ceiling. Traditionally used both as a ceremonial and
public space.
The Crossing (Dome) - with the floor underneath the cathedral's most
impressive open space boasting a beautifully decorated (tiled) compass design, the frescos of the
dome are equally ornate with monochrome paintings produced by Sir James Thornhill.
 Many visitors to the cathedral are surprised to find that, when peering
upwards, the dimensions of the dome seem much smaller from the inside. For good reason, Wren had
actually decided to combine functionality with aesthetic, constructing the dome in three separate
shells. Above the Inner Dome lies a concealed conical dome of brick which, in addition to acting as
a load-bearing support for the heavy lantern, takes the weight of the exterior dome's timber
framework.
With the huge outer dome being second in size only to St. Peter's in Rome, Wren
was of the opinion that, if viewed from inside, the dimensions of the dome would be
disproportionately large compared to the interior. Hence the decision to incorporate a much smaller
inner dome into the cathedral's design.
Interestingly enough, Wren is said to have inspected progress on this part of
the cathedral at close quarters, precariously ascending the inner dome several times a week in a
wire basket. When nearing completion, Wren famously had his son accompany him to the top of the
inner dome, in order to help fix the last piece of Portland stone into position. His son is also
credited for the Latin inscription above the main entrance to the cathedral, which reads 'Si
monumentum requiris, circumspice'. Roughly translated it means "if you are looking for his
monument, you will find it all around you".
The Whispering Gallery - located above the arches in the dome, the
gallery is so called because the acoustics here echo even a whisper to the opposite side, some 42
metres away. As the spectacular fresco paintings of the dome are best seen up close, the Whispering
Gallery serves as an ideal vantage point.
The Stone Gallery - some 119 steps above the Whispering Gallery, the
Stone Gallery provides wonderful views of the surrounding area including the Tate Modern, Globe
Theatre and the City of London.
The Golden Gallery - a further 152 steps up from the Stone Gallery
(making 530 in total), the Golden Gallery provides the best views of all. From here you can also
fully appreciate the dome's complicated structure, although it truth, the steep ascent is not for
the feint-hearted.
The Choir (Quire) - as the most richly decorated part of the cathedral,
the Choir forms the top of the building's interior cross shape, also being the place where Wren's
workmen first started construction.
The Organ - although not the cathedral's original organ, this ornate
and beautifully crafted instrument has been enlarged and improved over the years to become the
third largest in the country. With the current version dating back to 1872, the designer - Henry
Willis - retained some of the pipes from the earlier organ, although the original case (designed by
Wren) was cut in half and placed against pillars either side of the Choir.
It was actually German master organ maker Bernard Smith who was responsible
for the design of the original organ in 1694. However, during manufacture, Wren is said to have
called the instrument a 'confounded box of whistles' after learning that his case was too small to
fit an enlarged design by Bernard Smith (who had taken it upon himself to construct a more powerful
instrument, despite the dimensions of the organ being laid down in a previously signed
contract).
The High Altar - serving as the focal point of the cathedral, The High
Alter is separated from the Choir aisles by Jean Tijou's fine black and gold wrought iron gates.
Made from Italian marble, the altar weighs in at over four tonnes, with the cross standing at over
three metres high. With an oak Baldacchino, or canopy, covering the altar (designed in 1959 from an
original sketch by Wren) it is flanked on either side by candlesticks made of lacquered bronze.
Crowned by a gilt figure of Christ, it creates a stunning frontispiece for the cathedral.
The American Memorial Chapel - created as a tribute to the 28,000
Americans based in Britain who lost their lives during WWII, the chapel is located directly behind
the cathedral's High Altar. Dedicated in 1958 (in the presence of Her Majesty the Queen and the
late Richard Nixon) a fitting tribute inscribed into the floor of the chapel reads "To the American
Dead of the Second World War from the People of Britain".
Seen from the River Thames, St. Paul's is a particularly impressive and
imposing sight. London
Pass Accepted Here.
WC2, Tube: Leicester Square/Piccadilly Circus/Covent
Garden/Tottenham Court Road,
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Long associated with London's Chinatown and Theatreland, Shaftesbury Avenue was ostensibly built to
relieve traffic congestion in the area, while at the same time eradicating slums which existed here
during the late 19th century. Designed by George Vulhamy, and named after Lord Shaftesbury the
social reformer, the avenue was poorly received when it opened primarily because of the style and
quality of its buildings. Indeed, over the years, many of the original theatres which stood here
have been rebuilt, including the Apollo, Lyric and Saville. Today, however, it remains synonymous
with the theatre scene, containing no less than six venues along its length.
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