Day 67 – Lambeth Bridge -Smith Square – Victoria Station

I know I’ve been guilty of false promises in the past but this genuinely is a short one, essentially just filling in the odd shaped gap between the area we covered last time and the south western limits of our original target zone. We’re starting out across Lambeth Bridge, heading up into the shadow of the Houses of Parliament then winding our way west as far as Victoria Rail Station. However, despite the relative brevity of today’s walk it’s not short on places of interest from the political to religious to theatrical.

To get to Lambeth Bridge we walk from Waterloo Station along the South Bank and the Albert Embankment.

The latter provides evidence that the yoof of London have been resorting to some old skool outdoor pursuits to keep them occupied during lockdown.

Also on the Embankment is a monument to The Special Operations Executive, secretly formed during WW2 to recruit agents to fight for freedom by performing acts of sabotage in countries occupied by the Axis powers. The bus on the plinth depicts Violette Szabo (1921 – 45), who was among the 117 SOE agents who did not survive their missions to France and was posthumously awarded the George Cross and the Croix de Guerre.

Lambeth Bridge is one of the more prosaic of Thames crossings in the capital. The current structure is a five-span steel arch, designed by engineer Sir George Humphreys and architects Sir Reginald Blomfield and G. Topham Forrest which opened in 1932. The only notable features are the pairs of obelisks at either end of the bridge topped with stone pinecones (though there is a popular urban legend that they are pineapples, as a tribute to Lambeth resident John Tradescant the younger, who is said to have grown the first pineapple in Britain).

Having crossed the bridge we make our way north through Victoria Tower Gardens towards the HoP. A short way in we pass the Buxton Memorial Fountain which was commissioned by Charles Buxton MP to commemorate the 1834 act of abolition of slavery in the British Empire. It was originally erected in Parliament Square in 1866 (to coincide with the ending of slavery in the USA) from whence it was removed in 1949 and only reinstated in its current location eight years later. At the outset there were eight bronze decorative figures of British rulers on it, ranging from the Ancient Briton Caractacus to Queen Victoria, but four were stolen in 1960 and four in 1971. They were replaced by fibreglass figures in 1980 but by 2005 these too had gone missing and the fountain was no longer working. Restoration work was carried out and the restored fountain was unveiled on 27 March 2007 to coincide with the 200th anniversary of the abolition of the slave trade in the Empire. Though, as you will note if you were paying attention, colonialist landowners were able to keep the slaves they already had for another 27 years.  

At the northern end of the gardens is a statue by Auguste Rodin (1840 -1917) entitled The Burghers of Calais. This is one of twelve casts of the work and was made in 1908 then installed here in 1914. The first cast. done in 1895, is in Calais itself. The sculpture represents an act of heroic self-sacrifice that was recorded as having taken place during the Hundred Years’ War. In 1346, King Edward III of England, after victory in the Battle of Crécy, laid siege to the port of Calais.  Philip VI of France ordered the city to hold out at all costs but starvation eventually forced the residents to parley for surrender. According to contemporary chronicler Jean Froissart, Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, walking out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. They expected to be walking to their deaths, but their lives were spared by the intervention of Edward’s queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming that their deaths would be a bad omen for her unborn child.

Leaving the gardens we head west on Great Peter Street and then follow Lord North Street south to Smith Square (which is actually circular). Smith Square has long had an association with government departments and political parties (not really surprising given its location). Nobel House at no.17 was built in 1928, for the newly-formed Imperial Chemical Industries (ICI). ICI leased it to the government in 1987, and it is currently headquarters for the Department for Environment, Food and Rural Affairs. On the south side is Transport House which from 1928 to 1980 was Labour Party HQ before being taken on by the TGWU until the 1990s. It is now the headquarters of the Local Government Association. №s 32-34 served as Conservative Central Office between 1958 and 2003. It stood empty until 2007 when it was sold to developers. Irony of ironies, it’s now called “Europe House” and is home to the UK office of the European Parliament.

In the centre of Smith Square stands the imposing Grade I listed St John’s Church. Designed by Thomas Archer and completed in 1728, as one of the so-called Fifty New Churches, it is regarded as one of the finest works of English Baroque architecture. It is often referred to as ‘Queen Anne’s Footstool’ because legend has it that when Archer was designing the church he asked the Queen what she wanted it to look like. She kicked over her footstool and said ‘Like that!’, giving rise to the building’s four corner towers. In fact the towers were added to stabilise the building against subsidence. The church was hit by an incendiary bomb in 1941 and stood as a ruin for 20 years until a charitable trust took it on and restored it for use as a concert hall.

The eastern, southern and western approaches to the square are named Dean Stanley Street, Dean Bradley Street and Dean Trench Street. Not sure how Lord North Street fits into that sequence (incidentally Harold Wilson was once a resident). Or Gayfere Street which also leads north away from the square.

Resuming in a westward direction, on the corner of Great Peter Street and Tufton Street stands Mary Sumner House. This is the headquarters of the Mothers’ Union which was founded by the eponymous Mrs Sumner in 1876. The MU was, and still is, an Anglican Church-led organisation which aims to bring mothers of all social classes together to provide mutual support and to be trained in motherhood, from a vocationary perspective. Today the vast majority of its 3.6m members are to be found in India and Africa.

Halfway down Tufton Street we cut through Bennett’s Yard to Marsham Street then continue southward to Romney Street which takes us back to Tufton Street from where we drop down onto the Horseferry Road. We turn back up Marsham Street then take a left onto Medway Street and run down the side of the Home Office building to Monck Street. Opposite the northern end of Monk Street, on Great Peter Street, is the Indonesian Embassy.

Continuing west the next turning south off Great Peter Street is Chadwick Street which doglegs west itself past the Channel 4 building. Back on Horseferry Road I double back to loop round another stretch of Medway Street and on the way pass Michael Portillo who’s talking away on his mobile. (I’m almost 100% certain it’s him despite the absence of vivid pastel coloured trousers that would’ve clinched it – to be clear, he is wearing trousers just bog-standard navy blue ones). Return up Horseferry Road to the roundabout junction with Great Peter Street then complete a northerly circuit of Strutton Ground and St Matthew’s Street before resuming a westerly trajectory past The Grey Coat Hospital which confusingly is actually a C of E secondary school. The school was first established back in 1698 and moved into this building on Greycoat Place three years later. It was restored and extended, with the addition of wings in 1955.

Originally it was intended as an educational facility of 40 boys of charitable or orphaned status. Today that same number of boys have places in the sixth form with all other pupils being girls. Apparently, Ho Chi Minh worked as a labourer here in 1913 whilst a student in England

Next up is Greencoat Place home to the GreenCoat Boy pub which dates back to 1851. I called in here for a drink after one of the anti-Brexit demos only to find it occupied by a bunch of geezers in “Free Tommy” t-shirts. One of the quicker pints I’ve drunk.

From here we work our way up to Victoria Street via Greencoat Row, Francis Street and Howick Place round the back of the House of Fraser store, which I’m somewhat surprised to see still operating. Back when I worked in this area (late 1980’s) it was still called the Army & Navy Store. Army & Navy Stores originated as a co-operative society for military officers and their families during the nineteenth century. The society became a limited liability company in the 1930s and purchased a number of independent department stores during the 1950s and 1960s. Although the flagship store on Victoria Street was acquired along with the rest of the estate by HoF in 1973 it wasn’t until 2005 that it was refurbished and re-branded under the House of Fraser nameplate. We bypass the next section of Victoria Street on Wilcox Place and another stretch of Howick Place and on regaining it walk the 100 metres or so to the station.

Just outside the station, at the intersection of Vauxhall Bridge Road and Victoria Street, stands Little Ben, a cast iron miniature replica of Big Ben.This was manufactured by Gillett & Johnston of Croydon, and was erected in 1892. It was removed from the site in 1964, and restored and re-erected in 1981 by Westminster City Council with sponsorship from Elf Aquitaine Ltd “offered as a gesture of Franco-British friendship”.

Turn around 180 degrees and you’re facing the Victoria Palace Theatre which absent the pandemic would be continuing its run of the deservedly successful Hamilton. The theatre was built in 1911 on the site of the former Royal Standard music hall and was designed by the pre-eminent theatre architect of the era, Frank Matcham (1854 – 1920). Up until WW2 the theatre hosted a mix of plays, variety shows and revues, including a record-breaking (at the time) 1,046 performances of Me And My Girl. After the war, in 1947, the theatre became the home of The Crazy Gang (not Wimbledon F.C – the comedy sextet including Flanagan and Allen) for the next 15 years. After that the egregious Black and White Minstrel Show ran until 1970. In more recent times as the focus switched to narrative musicals the biggest hits have been Buddy and Billy Elliot. Most of Matcham’s original theatre remains but when Delfont MacIntosh Theatres added it to their stable in 2014 it underwent a major two year refurbishment which was completed in time for the opening of Hamilton in November 2017.

London Victoria station was originally built as two separate termini to serve mainline routes to Brighton and Chatham. The Brighton station opened in 1860 with the Chatham station following two years later and construction involved building the Grosvenor Bridge over the Thames. It became well known for luxury Pullman train services and continental boat train trips and as a departure point for soldiers heading to the continent during WWI. In 1898 work began to demolish the Brighton line station and replace it with an enlarged red-brick Renaissance-style building, designed by Charles Langbridge Morgan. At the same time the Chatham line station was extensively reconstructed and enlarged. All of this took until 1908 to be fully concluded. In 1923 the two stations came under the ownership of the newly formed Southern Railway and in 1948, following nationalisation, British Rail assumed control. In the 1980’s the station was redeveloped internally, with the addition of shops within the concourse, and above the western platforms (the “Victoria Plaza” shopping centre) and 220,000 square feet of office space. In a previous post I praised the fact that this was the first London mainline station to do away with the 30p entrance charge to its toilets. This time I am happy to report that, following refurbishment and Covid-related alterations, these are some of the finest public washroom facilities in the capital.

So after that masked visit to the station we complete the loop of Terminus Place, where the buses hang out in front of the station, then circumnavigate another temporarily “dark” place of entertainment, The Apollo Victoria Theatre, via Wilton Place and Wilton Road before heading south on Vauxhall Bridge Road. A rather different aesthetic proposition from the Victoria Palace, the Apollo was originally built in 1930 as a Super Cinema, with stage facilities for Provincial Cinematograph Theatres, who were part of Gaumont British. I think it’s fair to say, judging by the exterior, that it’s not that high up in the pantheon of 1930’s Art Deco cinema buildings though it is Grade II listed. However, the interior was described at the time as being like “a fairy palace under the sea” or “a mermaid’s dream of heaven”. After sympathetic restoration in recent years this alone is apparently worth the price of a ticket for Wicked. Despite being named the New Victoria Theatre when it opened it was soon being used exclusively for cinema releases. Saved from demolition in the 1950’s the New Victoria was spruced up in 1958 and began playing host to ballet and live shows, as well as film presentations. It was later operated by the Rank Organisation, who eventually closed it in 1975. After five years it was taken on by the Apollo Leisure Group and reopened as the Apollo Victoria. Initially playing host to a series of concerts by the likes of Shirley Bassey, Cliff Richard and Dean Martin, the Apollo began its successful espousal of full-scale West End musicals with The Sound of Music in 1981. In 1984 Starlight Express began a run that lasted for 18 years and now Wicked has clocked up 13 years and just prior to lockdown reportedly welcomed its 10 millionth visitor. I haven’t seen either of them.

Continue down VBR for about 200 metres then take a left and head back in the opposite direction up Kings Scholars Passage. Do another about face and take Carlisle Place south down to Francis Street before switching direction again to follow Morpeth Terrace and Ashley Place round to the front entrance to Westminster Cathedral. Carlisle Place and Morpeth Terrace are both lined with the style of redbrick mansion blocks that were so prevalent when we visited the Marylebone to St John’s Wood area some months back. This is the first time I’ve come across them this far south.

Westminster Cathedral (not to be confused with the Anglican Westminster Abbey of course) is the largest Roman Catholic church in England and was designed in the Early Christian Byzantine style by the Victorian architect John Francis Bentley. The foundation stone was laid in 1895 and the fabric of the building was completed eight years later, a year after Bentley had died. For reasons of economy, the decoration of the interior had hardly been started by then and much of it remains incomplete to this day though it does contain some fine marble-work and mosaics. The fourteen Stations of the Cross alongside the outer aisles are by the controversial sculptor Eric Gill (though perhaps not so inappropriate given the Catholic Church’s recent travails). The Cathedral is currently only open for Mass (four times daily) and, to a limited extent, for private prayer between 2pm and 4pm. Since I didn’t want to visit under false pretences I decided not to wait around for the next opportunity. (So the interior shots below are again not my own).

On the east side of the Cathedral we head south yet again on Ambrosden Avenue and then go up and down Thirleby Road before crossing over Francis Street into Emery Hill Street. This takes us back down onto Greencoat Place from where we venture west again, calling in at Windsor Place and Coburg Place, before turning north up Stillington Street. Final photo-op of the day here – the Victoria Telephone Exchange building – about which I can tell you precisely nothing. Nice to end on a note of mystery.

Well almost, we just have to negotiate one last street, Willow Place, before we finish today’s excursion back on Vauxhall Bridge Road with a pint and a fish finger sandwich waiting at the White Swan.

Day 66 – Millbank – Vauxhall Bridge Road – Horseferry Road

Well it’s been a while, for obvious reasons, but I’m finally back pounding the pavements of the mighty capital albeit under the constraints of the “new normal”. In order to minimise use of public transport today’s walk isn’t contiguous with the previous outing back in March. Instead we’ve hopped off the train at Vauxhall and crossed the bridge of the same name to explore the area where the southern part of Westminster rubs up against Pimlico, home to Tate Britain, MI5, Channel 4 and the Royal Horticultural Society.

Vauxhall Bridge is looking a bit of a mess at the moment as it’s in the throes of three months’ of “critical maintenance” which will include addressing the corrosion and deterioration of the Edwardian structure’s metalwork and bearings. As such it’s closed to all vehicles other than southbound buses. In addition to this, just upstream from the bridge on the south side is one of the construction sites for the 25km long so-called “Super Sewer” which will finally prevent raw sewage flowing directly into the Thames when the 150 year old existing Victorian sewer system overflows. This is scheduled for completion in 2024. Let’s hope they manage to keep to the timetable better than Crossrail.

The present Vauxhall Bridge was opened in 1906 replacing the first iron bridge to be built across the Thames which was put in place a century earlier. The new bridge was originally intended to be built of concrete faced with granite in a neo-Gothic style. However when it was discovered that the clay of the riverbed at this point wouldn’t be able to support the weight of the concrete it was decided to impose a steel structure on the granite piers which had already been embedded. The bridge was built to a functional design by engineers, Sir Alexander Binnie and Maurice Fitzmaurice (yes I know). After something of an outcry from the architectural community,  Alfred Drury and Frederick Pomeroy were appointed to design four monumental bronze statues each to be sited above the piers. On the upstream piers are Pomeroy’s AgricultureArchitectureEngineering and Pottery, whilst on the downstream piers are Drury’s ScienceFine ArtsLocal Government and Education each of them weighing approximately two tons (just look closely). 

At the north end of the bridge we turn right on Millbank towards Tate Britain but as I’m slightly early for my booked visit we can knock off Ponsonby Terrace and Ponsonby Place on the way.

Jeté, a bronze sculpture of a dancer, cast by Enzo Plazotta in 1975 which stands outside no.48 Millbank.

Standing opposite Tate Britain on the west side of Atterbury Street is Chelsea College of Arts. The college started life in 1895 as one of the schools of South-Western Polytechnic (which actually was in Chelsea). In 1908 this merged with the Hammersmith School of Art to form the Chelsea School of Art.  The school was renamed Chelsea College of Art and Design in 1989 and then acquired its present name in 2013. It only took over the site here on Millbank in 2005, the buildings having originally been built to house the Royal Army Medical College in 1907. Prior to that, Millbank Prison had occupied the site of both the college and Tate Britain for around 80 years. Amongst its alumni Chelsea includes Anish Kapoor, Steve McQueen, Chris Ofili and Mark Wallinger.

As mentioned, I had pre-booked my visit to Tate Britain in accordance with the current requirements. I had decided to forego the Aubrey Beardsley exhibition and follow the designated route devoted to British Art from 1930 onward despite the fact that there aren’t that many Britons among my favourite artists of the 20th century. The selection of highlights below therefore eschews the obvious Bacon’s and Hockney’s in favour of some lesser-known lights.

Milk and Plain Chocolate (1933) by Ben Nicholson (1894 – 1982). Nicholson’s second wife was the much more widely known sculptor, Barbara Hepworth. The Mondrian influence on his abstract work is clearly apparent here.

Morvah (1958) by Paul Feiler (1918 – 2013). German-born Feiler, he was sent to school in England in the thirties, was a member of the St Ives School of painters. Morvah is a village west of St Ives.

Family Group (1949) and King & Queen (1952-3) by Henry Moore. Immediately recognizable of course. Personally I much prefer Moore’s figurative work to the abstract stuff.

More Moores. Including the posthumous 2020 work “Masked Man” there on the right.

Inversions (1966) by Mary Martin (1907 – 1969). Not just picked in order to provide the reflection of the day.

As noted above, the institution first known as the National Gallery of British Art was built on part of the site of the Millbank Penitentiary, used as the departure point for sending convicts to Australia, which was demolished in 1890.
Sidney R.J. Smith was the chosen architect and his design with its grand porticoed entranceway and central dome resembling a temple remains the core of the building today. The statue of Britannia with a lion and a unicorn on top of the pediment at the Millbank entrance bluntly emphasised its function as a gallery of British art. The gallery opened its doors to the public in 1897, displaying 245 works in eight rooms from British artists dating back to 1790.

Since its original opening, the Millbank site has had seven major building extensions, doubling in size in its first 15 years. And by 1917 it had become responsible for the national collection of British art from 1500. The Tate Gallery name was officially adopted in 1932 and in 1955 it became wholly independent from the National Gallery.  A major extension in the north-east corner, designed by Richard Llewelyn-Davies opened in 1979 and in the same year, the gallery took over the adjacent disused military hospital, enabling the building of the new Clore Gallery, designed by Sir James Stirling and funded by the Clore Foundation. That opened in 1987 and went on to win a Royal Institute of British Architects award the following year.

On the right above is part of Steve McQueen‘s large-scale installation, Year 3. Every Year 3 class in London was invited to have its photograph taken by a team of specially trained Tate photographers. Participants included children from state primaries, independent schools, faith schools, special schools, pupil referral units and home-educated pupils.

Just beyond Tate Britain, heading downstream, is the Millbank Tower, which upon its construction in 1963 as the HQ for the Vickers engineering conglomerate, after which it was originally named, was the tallest building in the UK. It retained that pre-eminence only until the Post Office Tower opened the following year. It was designed by Ronald Ward and Partners and built by John Mowlem & Co. and unlike many of the high-rise buildings of that era has not only survived but attained Grade II listed status. Throughout its history, the Millbank Tower has been home to many high-profile political and other organisations. In the nineties the word Millbank became synonymous with the Labour Party which ran its 1997 General Election campaign from offices here and after the election relocated its HQ to the tower. After five years residence however, the £1 million per annum rent forced another move. The United Nations also had offices in the tower, but moved out in June 2003. Other public bodies such as the Environment Agency and the Audit Commission have continued to occupy the building. I had a brief temporary job here in the mid-1980’s with Whitehall Securities which was the holding company of Pearson plc, then the owner of Penguin Books and the FT.  The floor they leased in the tower basically just comprised the boardroom and the directors’ offices and dining room. My job was to assist the guy who organised the rota for the pool of drivers who ferried those directors to and from their homes and around the city. Different times eh ?           

30 Millbank which is part of the same sixties complex was used as campaign headquarters by the Conservative Party between 2006 and 2014 and more recently the Leave.EU and People’s Vote campaigns have had offices in the tower. In 2016, to the surprise of precisely no-one, a successful application was made to redevelop the complex as a luxury hotel and flats. Post-Covid I can’t but think that the developers might wish to renege on that option. Oh and that sculpture in the top right photo is “Momentum III” by Michael Spiller.

That’s enough of Millbank for now; we’ll make our escape via Thorney Street and then turn onto Page Street which takes us past the back of Burberry HQ to John Islip Street.

John Islip was Abbot of Westminster from 1500 until his death in 1532 and was buried in the chantry chapel he built at Westminster Abbey. We follow the street named after him all the way back to Vauxhall Bridge Road passing en route the rear of Tate Britain and the statue of John Everett Millais (1829 – 96). 

The statue was commissioned shortly after Millais’ death by a committee chaired by Edward, Prince of Wales and was created by Thomas Brock (1847 – 1922) who also designed the Victoria Memorial in front of Buckingham Palace. A leading light of the Pre-Raphaelite movement, Millais is today as well-known for his personal life, rescuing his wife Euphemia “Effie” Gray from her unconsummated first marriage to the critic (and Millais’ patron) John Ruskin, as he is for his art.

Once on Vauxhall Bridge Road (VBR) we swing right past the Embassy of Lithuania and the White Swan Pub (which I visited many times in the late Eighties) and loop round Causton Street and Ponsonby Place back to John Islip Street.

We take the first left, Cureton Street, then continue heading back north-east on Herrick Street, checking out St Oswulf Street and Bulinga Street before arriving at Marsham Street. This area between Tate Britain and Vincent Square is occupied by the Grade II listed red brick buildings of the Millbank Estate built between 1897 and 1902. The bricks were recycled from the demolished prison. The 17 buildings, comprising one of London’s earliest social housing schemes, are all named after painters; below are Rossetti and Ruskin Houses and Turner and Stubbs Houses. The estate has 562 flats and these days roughly half of them are private leases.

Marsham Street takes us back to John Islip Street where we continue on to another stretch of Page Street that links up with Erasmus Street which sends us back south east again. VBR is reached again via Cureton Street, Causton Street and Regency Street. At the junction of the latter two is our sole blue plaque of this outing.

Harry Mallin (1892 -1969) was a middleweight amateur boxer and officer with the Metropolitan Police. He won gold at the 1920 Olympics in Antwerp and successfully defended the title four years later in Paris ( a feat unmatched by a British boxer until Nicola Adams came along). In 1937, he achieved the distinction of being the first British television sports commentator, when he gave commentary on two boxing matches broadcast by the BBC from Alexandra Palace.

Next we work our way north from VBR courtesy of Chapter Street, Douglas Street, Esterbrooke Street and Regency Street as far as Vincent Street. In between Vincent Street and Page Street stands the similarly Grade II Listed Grosvenor Housing Estate  designed by Edwin Lutyens (1869 – 1944) and built between 1929 and 1935.  The estate comprises seven U-shaped blocks faced with grey bricks and white render in a checkerboard pattern. I think influence of that man Mondrian might be in play here as well (Mondrian was an almost exact contemporary of Lutyens – 1872-1944).

Having circumnavigated the estate via Herrick Street, Page Street and Regency Street we wend our way back to VBR by means of Hide Place, Douglas Street and Osbert Street then criss-cross between VBR and Vincent Square along Stanford Street, Bloomburg Street and Udall Street. On the corner of the latter and Vincent Square stands what was the Infants Hospital from 1907 to 1995 but is now of course luxury apartments.

Vincent Square, all 13 acres of it, is owned and principally used as playing fields by Westminster School. The square contains a cricket pavilion, four football pitches (cricket pitches in the summer), about 10 tennis courts, and the groundsman’s house. It was developed in the 18th century on land originally known as Tothill Fields, and was named after William Vincent, a former Dean of Westminster and headmaster of Westminster School. Prior to that its uses had included acting as a burial pit for victims of the Great Plague. In the south and west corners are a couple of concrete-based basketball courts/five-a-side football pitches. The day I passed by coincided with the return to school of the majority of London pupils and so there were about seventy or so year 7s from the local comprehensive crammed into these spaces for their first games lesson. If you’re looking for a visual representation of the British class structure you couldn’t do much better than that.

More upscale accommodation is available at Vincent House on the west side of the square. This elegant 1939 building offers serviced rooms with accompanying facilities including a bar with snooker table and piano.

We detour off to complete a triangle of Fynes Street, Regency Street and Rutherford Street and a loop round Maunsel Street, Horseferry Road and Elverton Street before returning to the north(-ish) side of the square where we find, Lindley Hall, the HQ of the Royal Horticultural Society which also incorporates the Lindley Library which is based upon the book collection of English botanist John Lindley, comprising many rare books dating from 1514. The Hall was built in 1904 to host botanic art exhibitions held by the RHS and nowadays hosts events such as London Fashion Week as well as weddings.

We follow the west side of the square and Hatherley Street  back to VBR for a final time. At the junction of the two is a terracotta plaque to the above-mentioned William Vincent.

Rochester Row lead us back in a north-easterly direction towards Horseferry Road with diversions en route to take in Walcott Street, Vane Street, Rochester Street and Greycoat Street.

On the way we call in at St Stephen’s Church which was built by Angela Burdett-Coutts (1814-1906), grand-daughter and heiress to the banker, Thomas Coutts. She intended it as a memorial to her father, Sir Francis Burdett, a former brilliant and radical Member of Parliament for Westminster. With the encouragement of her close friend, Charles Dickens, she chose to build it in a very poor area on the edge of the notorious Devil’s Acre on land donated by the Dean and Chapter of Westminster Abbey. The chosen architect was Benjamin Ferrey, a pupil of Pugin, and the foundation stone was laid in 1847.

On the building adjacent to the church on Rochester are several signs like the one to the left. “Ancient Lights” refers to the common law right to light which means that the owner of a building with windows that have received natural daylight for 20 years or more is entitled to forbid any construction or other obstruction that would deprive him or her of that illumination. 

Horseferry Road takes its name from the ferry which once used to cross the span of the Thames now occupied by Lambeth Bridge. These days it’s best known for being home to the original (and now London) headquarters of Channel 4 TV. It’s also the site of Westminster Coroner’s Court and the regimental headquarters of the London Scottish Regiment (where the inquiry into the sinking of the Titanic took place). The Channel 4 building was opened on 6 July 1994 and was designed by Richard Rogers and Partners. It was the first major building they had designed since the Lloyd’s building (1978-1986).  The building, which consists of two four-storey office blocks connected to a central entrance block in an L shape, is finished in grey steel cladding, which is perforated by red-ochre steel struts. The precise colour of those struts was reputedly achieved by copying a sample of the paint used for the Golden Gate Bridge and provided by the City of San Francisco.

Having followed Horseferry Road down to the river all that remains is to walk back along Millbank to our starting point. One last important stop before we finish though is Thames House which occupies the block between Millbank and Thorney Street. Originally built in 1929-30 as offices for chemical giant, ICI, Thames House has since 1994 been the home of the UK Internal Security Service, more popularly known as MI5. The building was designed by Sir Frank Baines, of the Government’s Office of Works, in an ‘Imperial Neoclassical’ style.  High up on the frontage are statues of St George and Britannia sculpted by Charles Sargeant JaggerThe building has been Grade II listed since 1981. Reportedly there is an automated miniature monorail within the building which brings files up from the basement for the use of MI5 office staff.