Wellington Arch - History

History

The arch, and Marble Arch (originally sited in front of Buckingham Palace), were both planned in 1825 by George IV to commemorate Britain's victories in the Napoleonic Wars. The Wellington Arch was also conceived as an outer gateway to Constitution Hill and therefore a grand entrance into central London from the west. The presence of a turnpike gate at this point had led, in the 18th century, to a strong perception that this was the beginning of London (reflected in the nickname for Apsley House as "No 1, London") and the arch was intended to reflect the importance of the position.

The Wellington Arch was built between 1826-1830 to a design by Decimus Burton. Much of the intended exterior ornamentation was omitted as a cost-saving exercise necessitated by the King's overspending on the refurbishment of Buckingham Palace, which was underway at the same time. The arch originally stood almost directly opposite the Duke of Wellington's, Apsley House, a short distance from, and at a right-angles to, its present location. It faced the screen, also designed by Decimus Burton, and still in its original location, which forms the Hyde Park Corner entrance to Hyde Park. It was intended to form part of a grand ceremonial route towards Buckingham Palace.

In 1846 the arch was selected as a location for a statue of Arthur Wellesley, 1st Duke of Wellington, soldier and Prime Minister. The bronze Wellington Statue by Matthew Cotes Wyatt which eventually crowned the arch was at 40 tons (40.62 tonne)) and 28 feet (8.53 m) high, the largest equestrian figure ever made. It generated considerable controversy and ridicule at the time. Motions were put in place to move it to a different location but as this could have be seen as insulting to Wellington it was left in place on the orders of the Queen and remained there throughout the remainder of the duke's lifetime.

Read more about this topic:  Wellington Arch

Famous quotes containing the word history:

    Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.
    Bertolt Brecht (1898–1956)

    We don’t know when our name came into being or how some distant ancestor acquired it. We don’t understand our name at all, we don’t know its history and yet we bear it with exalted fidelity, we merge with it, we like it, we are ridiculously proud of it as if we had thought it up ourselves in a moment of brilliant inspiration.
    Milan Kundera (b. 1929)

    It’s not the sentiments of men which make history but their actions.
    Norman Mailer (b. 1923)