Banqueting House, Whitehall in London

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The Banqueting House, Whitehall, London, is the grandest and best known survivor of the architectural genre of banqueting house, and the only remaining component of the Palace of Whitehall. The building is important in the history of English architecture as the first building to be completed in the neo-classical style which was to transform English architecture.

Begun in 1619, and designed by Inigo Jones in a style influenced by Palladio, the Banqueting House was completed in 1622 at a cost of £15,618, just 27 years before King Charles I of England was executed on a scaffold in front of it in January 1649.

The building was controversially re-faced in Portland stone in the 19th century, though the details of the original façade were faithfully preserved. Today, the Banqueting House is a national monument, open to the public and preserved as a Grade I listed building. It is cared for by an independent charity, Historic Royal Palaces, which receives no funding from the Government or the Crown.


The Palace of Whitehall was largely the creation of King Henry VIII, expanding an earlier mansion that had belonged to Cardinal Wolsey, originally known as York Place. The King was determined that his new palace should be the "biggest palace in Christendom", a place befitting his newly created status as the Supreme Head of the Church of England. All evidence of the disgraced Wolsey was eliminated and the building rechristened the Palace of Whitehall.

During Henry's reign, the palace had no designated banqueting house, the King preferring to banquet in a temporary structure purpose-built in the gardens. The first permanent banqueting house at Whitehall had a short life. It was built for James I but was destroyed by fire in January 1619, when workmen, clearing up after New Year's festivities, decided to incinerate the rubbish inside the building.

Much of the work on the Banqueting House was overseen by Nicholas Stone, a Devonshire mason who had trained in Holland. It has been said that until this time English sculpture resembled that described by the Duchess of Malfi: "the figure cut in alabaster kneels at my husband's tomb." Like Inigo Jones, Stone was well aware of Florentine art, and introduced to England a more delicate classical form of sculpture inspired by Michelangelo's Medici tombs. This is evident in his swags on the street façade of the Banqueting House, similar to that which adorns the plinth of his Francis Holles memorial. All of this was quite new to England.

In 1638, Jones drew the designs for a new and massive palace at Whitehall in which his banqueting house was to be incorporated as one wing enclosing a series of seven courtyards. However, Charles I, who commissioned the plans, never truly had the resources to execute them; his lack of funds and the tensions that eventually led to the Civil War intervened and the plans were permanently shelved.

The plans of the new palace reveal the ideas behind Jones' concept of Palladianism, which is not obvious from viewing the Banqueting House today as one entity. The plans show that it was intended to be one small flanking wing of one bay of a monumental façade.

Architecturally, the Banqueting House was always be to be at odds with its surroundings. In January 1698, the Tudor Palace was razed by fire; fire engines pumping water from the adjacent River Thames were unable to check the flames, which raged for seventeen hours, after which all that remained was the Banqueting House and the Whitehall and Holbein Gates.

Following the fire, Christopher Wren and Nicholas Hawksmoor were asked to design a new palace, but nothing came of the scheme. It has been said that the widowed William III never cared for the area, but that had his wife Mary II been alive, with her appreciation of the historical significance of Whitehall, he would have insisted on the rebuilding. To the King's chagrin, having finished the ceiling, Rubens took his knighthood and decamped back to Antwerp, leaving Anthony van Dyck, lured not only with a knighthood but also a pension and a house, to remain in England as the court painter.<ref name="Halliday, p 152"/> Inigo Jones was later to design another double-cube room, this one at Wilton House, to display Van Dyck's portraits of the aristocratic Pembroke family.

Given the attention and effort which were lavished by Charles I on the Banqueting House, his end was not without irony. On the afternoon of 30 January 1649 it was probably from the Banqueting House's central window that he stepped out onto the scaffold which had been erected outside for the purpose of his execution.


Unlike the architecture of the more southern European countries, English architecture went through no period of evolution to classicism. Through Jones it arrived suddenly and fully formed. Before this, English architecture had still been based on the styles of the Middle Ages, if for the previous century influenced indirectly by the Italian Renaissance, which had resulted in an English renaissance style during the late Elizabethan and Jacobean periods. However, as can be seen at Hatfield House, one of England's first purpose-built "Renaissance" houses, even during this era, English domestic architecture never quite lost its "castle air."

Thus, through Inigo Jones' work at the Queen's House and the Banqueting House, English architecture was transformed. The overthrow of the monarch and establishment of the puritanical Commonwealth caused the style to be seen as Royalist, which delayed its spread; but within a few years of the Restoration almost every English county was to have some buildings in the classical style. The Banqueting House and its features became much copied. A much-favoured motif was the placing of pediments above not only the focal point of a façade but also its windows. The use of alternating segmental and triangular pediments, an arrangement employed by Vasari as early as 1550 at the Medicis' Palazzo Uffizi in Florence, was a particular favourite. Provincial architects began to recreate the motifs of the Banqueting House throughout England, with varying degrees of competence. Examples of the style's popularity can be found throughout England; the then-remote county of Somerset alone contains three 17th-century versions of the Banqueting House: Brympton d'Evercy, Hinton House, and Ashton Court. Following the fall of the monarchy, Jones' career was effectively ended, his style seen as royalist. He died in 1652, never having seen the popularity of the architectural concepts he introduced.

James II was the last monarch to live at Whitehall; William III and Mary II preferred to live elsewhere and eventually reconstructed Hampton Court Palace. Following the fire which destroyed Whitehall Palace, the Banqueting Hall became redundant for the purpose for which it was designed, and it was converted to a chapel to replace the Chapel Royal of Whitehall, which had been destroyed in the fire and was used to host concerts. It remained a chapel before being given to the Royal United Services Institute by Queen Victoria in 1893.<ref name="Fletcher, p 716" /> Highly controversial plans to partition the large mansion house space in the service of offices for the Institution were quickly dropped in favour of the creation of a museum which displayed personal items of famous commanders and included the skeleton of Napoleon's horse. The museum closed in 1962, and the great south window, blocked up by the RUSI, was restored.

See also

  • Palace of Whitehall



  • Dunning, Robert. 1991. Somerset Country Houses. Wimborne, Dorset: The Dovecote Press.
  • Fletcher, B (1921). A History of Architecture on the Comparative Method. London: B.T. Batsford, Ltd.
  • Halliday, E. E. (1967). Cultural History of England. London: Thames & Hudson.
  • Williams, Neville (1971). Royal Homes. Lutterworth Press.

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