1814 saw the centenary of the ascension of the House of Hanover to the British throne. Although it was only a few years since George III had celebrated a reign of 50 years, it was decided that a grand national fête would be held in August to mark the occasion, an event which would also commemorate ‘General Peace’ and the anniversary of the ‘Glorious Battle of the Nile’.

The whole of the pageantry in St James’ Park was superintended by Sir William Congreve M.P.; his prowess developing rockets for warfare in the earlier years of the century presumably qualifying him to design the pyrotechnics. The centrepiece was a vast stage-set ‘castle’ which thanks to painted transparencies, lighting and fireworks dramatically transformed from a martial fortress into a Temple of Concord, illustrating Britain’s path from war to peace. The vignettes above illustrate the spectacles and festivities that drew huge crowds to the park.

Another showpiece was the ‘beautiful Chinese bridge’ that was built over the canal. On it was constructed an ‘elegant and lofty pagoda, consisting of seven pyramidal stories’. It was illuminated with gaslights and formed the centrepiece of a huge fireworks display ‘both fixed and missile.’ The canal was the scene of mock naval battles, and there were also pleasure craft in which the public could view the scene from the water. Bands played, and there were food stalls and magnificent marquees in which to dine. Such was the excitement around the celebrations that publishers took presses to the park to issue some prints on the spot.

Sadly timber buildings, fireworks and flaming gas lamps are not good companions, and as midnight approached the pagoda went up in flames, causing two deaths and a number of injuries to the men who were supervising the display. By the time the fire was extinguished the tower was reduced to only one storey and had become ‘a melancholy wreck of its former elegance’. Print makers were quick to issue a reworked view showing the conflagration.

The pagoda was not rebuilt, the bridge was taken down a few years later, and the temporary structures were largely forgotten until the late 1960s when the artist Barbara Jones was asked to design a mural for a new cafe in St. James’ Park. The Cake House, which replaced an earlier cafe of the same name, was designed by Eric Bedford of the Ministry of Public Buildings and Works, and the cafe deliberately echoed the shape of the marquees erected in 1814.

For the interior Jones created a design for a mural based on the history of the park, with the ornamental buildings of the Grand Jubilee playing a major part. Another of the themes was cows, which traditionally had been kept in the park to provide milk for visitors.

According to Building magazine the mural was executed in ceramic tiles by ‘Richard Parkinson Associates’, presumably the Richard Parkinson better known as a creator of ceramic figures in partnership with his wife, Susan. This company name appears only in this magazine feature of 1970, so the associates were probably Parkinson, Jones, and her assistant Tony Raymond. They were apparently credited in the cafe, but like the rest of the mural this is long gone. The thick file on the building of the cafe, now held in the National Archives, contains a memo which notes only that the interior wall is to be ‘finished in blue mosaic tiles’. No designer or contractor for this work is mentioned.

The refreshment pavilion was officially opened by Mary Wilson, wife of Prime Minister Harold, in February 1970 (apparently she took daily walks in the park whilst resident at No. 10). The blue and white tiles were accentuated by white pedestal tables and fashionable polypropylene stacking chairs in charcoal, light grey and deep blue. Featured in The Daily Mirror a few days after opening the mural was ignored, although the exterior (‘looks like a rather gay tent’) was admired. The queues for the new-fangled self-service system did not go down well, and the reviewer was not impressed by the ‘lukewarm’ soup, or indeed the gateau which was ‘a bit mushy’.

The Cake House survived for more years than the pagoda, but by the end of the 20th century it was considered outmoded with ‘insurmountable functional and structural issues’, and was demolished to make way for Inn the Park, which opened in 2004.

Building within a historic park has always led to criticism. In 1969, as the Cake House was under construction, the Architects’ Journal thought the structure ‘far too intrusive’ for its location in the gardens. In 1998 Sir Michael Hopkins designed its replacement, Inn the Park. The Architects’ Journal reported that it too was ‘wholly unsuited to the site’ but thirty years on, fashion being fickle, the old Cake House was now remembered with fondness for fitting into ‘the landscape as a folly or surprise’.

Big thanks to artist Ed Kluz whose recent show at the John Martin Gallery in London featured the Pagoda bridge and awakened my interest. Read more here https://www.jmlondon.com/exhibitions/facades-by-ed-kluz/

Barbara Jones’s series of designs for the Cake House mural can be seen at Neil Jennings Fine Art’s forthcoming show of works of art on paper by Twentieth Century British women artists at Fisher London, Grays Inn Road Wednesday 20th November- Saturday 30th November 11am-6pm (closed Sunday). For further information follow Neil on instagram @neiljenningsfineart or email neiljennings20@gmail.com

For more on the history of London’s public parks there’s a new show at the charming Garden Museum from 20 November 2019 https://gardenmuseum.org.uk/exhibitions/play-protest-and-pelicans-a-peoples-history-of-londons-royal-parks/

Inn the Park remains but is now a branch of the Benugo chain https://www.benugo.com/partnerships/public-spaces/parks/st-jamess

Writing in Tatler magazine in 1961 the writer, and champion of the British countryside, Ronald Blythe, questioned why follies were common in the countryside, but seldom found in the city. Long before the ‘concrete and glass’ that constituted the cities in Blythe’s mind, costly and extravagant ornamental structures could be found on the streets of the capital. These were the triumphal arches built to celebrate the coronation of a new monarch.

Three arches, created as part of the pomp and pageantry surrounding the coronation of James I, feature in a new exhibition by internationally acclaimed artist Ed Kluz. Facades, his new show at the John Martin Gallery in Mayfair, looks at London and includes ‘reconstructions’, in paper collage and oil, of the arches. Always intended to be temporary additions to the London streets, they were built in wood and then plastered, painted, and peopled with ‘engines’ – automata animated from behind the scenes.

The James I coronation pageant was a cause for particular celebration, as it had been postponed due to an outbreak of plague. The 1603 epidemic, coming soon after James I had inherited the throne, caused devastation in London and further afield. The festivities were held over until the following year, when they also marked the city’s recovery and resilience.

Stephen Harrison, architect of the arches, thought his designs would live on only in ‘the tongues and memories of men’, but he hadn’t counted on London’s flourishing print trade. The James I arches were recorded for posterity in a series of annotated engravings, thus allowing Ed Kluz’s programme of ‘rebuilding’ in 2019.

The tradition of building temporary triumphal arches continued over the centuries, as did the publishing of plates:

©Victoria and Albert Museum, E.424_1898. Triumphal arch designed by William Kent. Erected and painted on the West End of Westminster Stall for the Coronation of his Majesty King George the Second and Queen Caroline. October the 11th 1727.

A new take on the genre was Eric Bedford’s design for illuminated steel arches across The Mall at the coronation of the Queen Elizabeth II.

To see Ed’s vibrant works and learn more, you will need to visit the John Martin Gallery on Albemarle Street before 5 October. As a further incentive other works include palaces, pleasure pavilions and pagodas.

https://www.jmlondon.com/exhibitions/facades-by-ed-kluz/