Houses of Parliament

Houses of Parliament, or, The New Palace at Westminster, on the left bank of the Thames, between the river and Westminster Abbey, one of the most magnificent buildings ever erected continuously in Europe—the largest modern Gothic edifice in the world. It occupies the site of the old Royal Palace of Westminster, burnt down October 16, 1834, and covers an area of nearly 8 acres. [See Westminster Palace.] The architect was Sir Charles Barry, R.A., and the first stone was laid April 27, 1840. The building is Perpendicular in style, but in plan and general character it has the regularity and symmetry of an Italian structure. The River Terrace is of Aberdeen granite. There is very little wood about the building. All the main beams and joists and the framework of the roofs are of iron; and every precaution has been taken to ensure it from destruction by fire. Externally the building has four fronts, of which that towards the east, or the River Front, may be considered the principal. This magnificent façade, 940 feet in length, is divided into five principal compartments, panelled with tracery, and decorated with rows of statues and shields of arms of the kings and queens of England from the Conquest to the present time. The West or Land Front is less regular, but more picturesque, and its principal features are rendered more effective and conspicuous from being brought more directly under the influence of the mid-day and evening sun. The north front, forming the eastern side of New Palace Yard, is complete, and deserves a careful inspection, from the harmony of its design and the beauty of its decoration. Now that New Palace Yard is included within the limits of the new Houses, this portion of the building is seen to great advantage.

There are three principal towers—the Royal or Victoria Tower, the Central Tower, and the Clock Tower. The Royal or Victoria Tower, at the south-west angle—one of the most stupendous works of the kind ever conceived, contains the Royal Entrance, is 75 feet square, and rises to the height of 340 feet, or 64 feet less than the height of the cross of St. Paul's. The entrance archway is 65 feet in height, and the porch is covered with rich and beautifully worked vaulting, while the interior is decorated with the statues of the patron saints of England, Scotland, and Ireland, and with a statue of the Queen, supported on either side by figures emblematical of Justice and Mercy. This stately tower (supplying what Wren considered Westminster was so much in need of) was not finished till 1857, the architect considering it of importance that the works should not proceed, on account of its great height and the danger of settlements, at a greater rate than 30 feet a year. The Central Tower and spire contain the Grand Central Octagon Hall, and is 60 feet in diameter and 300 feet high. The Clock Tower, abutting on Westminster Bridge, is 40 feet square, and surmounted above the clock with a richly decorated belfiry spire, rising to a height of about 320 feet. The dials of the clock are nearly 30 feet in diameter. Various subordinate towers break the line of the roofs, and by their picturesque forms and positions add materially to the effect of the whole building.

The statues on and about the building exceed in number 450, and were executed by and under the superintendence of the late John Thomas the sculptor.

The principal public entrances are through Westminster Hall and Old Palace Yard. Both lead into the Central or Octagon Hall, whence the right-hand passage leads to the Lords, and the left to the Commons. This magnificent hall is covered with a groined roof, containing upwards of 250 elaborately carved bosses, the panels between the ribs being filled with Venetian mosaics. The panels over the great doorway contain mosaics, designed by Mr. E.J. Poynter, R.A., of the patron saints of England, Ireland, Scotland, and Wales. Westminster Hall, together with the ancient cloisters of St. Stephen's and St. Stephen's crypt (the only remains of the ancient palace), have been skilfully incorporated into the new building.

The Cloister Court, surrounded by a richly groined and traceried cloister of two storeys, is in the lower part a restoration, the upper storey being the work of Sir Charles Barry, and is one of the most effective features in the building. It is open to members of the House, but not to the public.

Westminster Hall, the noblest palatial hall that has come down to us from the hands of the great mediæval architects, has been somewhat altered internally, though less than was desired by the architect, who would have raised the roof bodily, and so changed its entire proportions. The great south window has, however, been moved some distance back and filled with painted glass, its original place being occupied by a lofty arch, a flight of steps below it leading to St. Stephen's hall, and a staircase on one side to St. Stephen's crypt. The Courts of Law (designed by Sir John Soane) having been cleared away, a new exterior to the west side was added in 1888.

The Royal Entrance is at the Victoria Tower, leading to the Norman Porch, so called from the frescoes illustrative of the Norman history of this country and the figures of the kings of the Norman line with which it is decorated. On the right hand is the Robing Room, a spacious apartment in the south front of the building, fitted up with much magnificence, and decorated with frescoes from the legend of King Arthur by the late W. Dyce, R.A. After the ceremony of robing, which takes place in this room, Her Majesty passes through a magnificent chamber 110 feet in length, 45 feet in width, and 45 feet high, called the Victoria Gallery. Here, on the right and left walls, are the great pictures of the "Meeting of Wellington and Blucher after the Battle of Waterloo" and "The Death of Nelson," by D. Maclise, R.A., each picture occupying a panel 46 feet long and 12 feet high. They are generally said to have been painted in water-glass (stereochrome), but this is hardly accurate. The only vehicle used in painting them was distilled water, each portion of the picture as it was completed being washed over with the water-glass (a diluted solution of silicate of potash) in the manner of a varnish. The process afforded far greater facilities to the artist than fresco or any method previously devised for mural painting, and Maclise, after visiting Germany and studying the frescoes and water-glass paintings executed there, and consulting with eminent chemists, was led to believe that his new process was as nearly perfect as it well could be, and that, protected with the silicate wash, especially if it were periodically renewed, the picture would be permanent. In this belief he devoted years of undivided and ill requited toil to the production of these two great works—beyond dispute the noblest mural paintings ever produced in this country; but unhappily the process has not proved efficient.

From the Victoria Gallery Her Majesty passes to the Prince's Chamber, decorated with equal splendour, and lined with wood-carvings and portraits of the Tudor and Stuart sovereigns. Here, under a lofty arch, is Gibson's colossal seated statue—far too colossal for the recess (and indeed for the chamber) in which it is placed—of the Queen, with the figures of Justice and Mercy on her right and left.

From the Prince's Chamber Her Majesty passes into the House of Peers, 97 feet long, 45 wide, and 45 high, a noble room, presenting a coup d'œil of the utmost magnificence, no expense having been spared to make it one of the richest chambers in the world. The spectator is hardly aware, however, of the lavish richness of its fittings from the masterly way in which they are harmoniously blended, each detail, however beautiful and intricate it itself, bearing only its due part in the general effect. It was opened for the first time, April 15, 1847. Observe.—The throne, on which Her Majesty sits when she attends the House, with the chair for the Prince of Wales; the woolsack, in the centre of the House, on which the Lord Chancellor sits; the Reporters' Gallery (facing the throne); the Strangers' Gallery (immediately above); the frescoes in the six compartments (the first, on a large scale, executed in this country), viz., the Baptism of Ethelbert, by W. Dyce, R.A. (over the throne); Edward III. conferring the Order of the Garter on the Black Prince, and Henry, Prince of Wales, committed to prison for assaulting Judge Gascoigne, both by C.W. Cope, R.A.; the Spirit of Religion, by J.C. Horsley, R.A., in the centre compartment, over the Strangers' Gallery; and the Spirit of Chivalry and the Spirit of Law, both by D. Maclise, R.A. The windows, twelve in number, are filled with stained glass, made by Messrs. Ballantine and Allan of Edinburgh, and Mr. Hardman of Birmingham, and at night are lighted from the outside. Between the windows, and at either end of the House, are niches, eighteen in number, for statues of the Magna Charta barons. Beneath the windows runs a light and elegant gallery of brass-work. On the soffits of the gallery (or cornice immediately beneath the gallery) are the arms of the Sovereigns and Chancellors of England, from Edward III. to the present time. The body of the House is occupied by a large table of oak, and the red woolsack of the Chancellor.

In the Peers' Robing Room are Mr. Herbert's great frescoes of Moses bringing down the Law, and the Judgment of Daniel. In the Library of the House of Lords are preserved many historical curiosities.

The House of Commons, 70 feet long by 45 feet broad, is smaller and more simple in character than the House of Peers—too small for the proper accommodation of the whole body of members, to say nothing of "strangers." The walls are lined with oak richly carved, and, supported on carved shafts and brackets, is a gallery extending along them on either side. At the north end is the chair for the Speaker, over which is a gallery for visitors and for the reporters of the debates; while the south end is occupied by deep galleries for the Members of the House and for the public. The Entrance for the Members is either by the public approaches or a private entrance and staircase from the Star Chamber Court (one of the twelve courts lighting the interior), so called from occupying the site of that once dreaded tribunal. The libraries of the two Houses are wainscoted with oak, with excellent details throughout.

The Corridors connecting the two houses with Central Hall and with each other are lined with a series of fresco paintings of leading events in the history of England, from Charles I. raising his standard at Montrose to the Lords and Commons presenting the Crown to William III. and Queen Mary, executed by E.M. Ward, R.A.; F.R. Pickersgill, R.A., etc. The upper Waiting Hall, or Poets' Hall, to contain eight frescoes from British poets. Among those completed are Chaucer, by C.W. Cope, R.A., Griselda's First Trial of Patience; Shakespeare, by J.R. Herbert, R.A., Lear and Cordelia; Milton, by J.C. Horsley, R.A., Satan starting at the touch of Ithuriel's Spear; and Dryden, by John Tenniel, St. Cecilia.

St. Stephen's Hall, 95 feet long by 30 wide, and to the apex of the stone groining 56 feet high, derives its name from occupying the same space as St. Stephen's Chapel of the ancient Palace. This well-proportioned hall, lined with statues of distinguished Parliamentary Statesmen—Hampden, by J. Bell; Falkland, by Foley; Clarendon, by Marshall; Selden, by Bell; Sir Robert Walpole, Lords Somers, Chatham, and Mansfield; William Pitt and Charles James Fox, by MacDowell; Burke, by Theed; and Grattan, by Carew. The crypt of St. Stephen's, which had been mutilated more by abuse than by the fire, still exists beneath the hall, and, as a most interesting example of English architecture of the 13th century, has undergone a careful restoration by Mr. E.M. Barry R.A. It is fitted as a chapel.

The clock gave rise to a long and acrimonious controversy, the history of which may be read in various Parliamentary papers, but the final result was the production of a clock far superior to anything which had been known before. It was made by Dent, but was practically designed by Mr. Beckett Denison, now Lord Grimthorpe. After going for some years in the shop it was finally set in motion in the tower in 1860. The time is indicated upon four dials of 22 feet 6 inches diameter, situated at a height of 180 feet from the ground. The minute spaces are a foot square, and the figures 2 feet long. The hour bell weighs 13 tons 11 cwts., and was named "Big Ben," after Sir Benjamin Hall, then first Commissioner of Works. The quarters are struck upon four smaller bells, weighing from 4 tons to 1 ton each. The tune, or rather succession of notes, played by the quarter bells consists of a series of ingenious variations of a passage which may be found in the opening symphony of the air "I know that my Redeemer liveth," in the Messiah. The bells were cast by Warner, but the large bell cracked before leaving the foundry, and it was recast by Mears. After having been hung for some time Big Ben II. also gave way, and for three years the hours were struck upon the largest quarter bell. Eventually, however, it was again brought into use, having been turned round so as to present a fresh striking place to the hammer. The flaw does not show any signs of going farther. The performance of the clock is all that could be desired, the rate never varying more than one second per week, except in cases of storms or other abnormal disturbance. Twice a day an automatic electric signal is sent to Greenwich Observatory, and the performance of the clock is reported by the Astronomer Royal to the Board of Visitors. The going part requires about 20 minutes to wind, whilst no less than 5 hours is necessary for winding up each of the striking parts, which only go for three days. It is important to recollect that the hour is indicated by the first stroke on the great bell, not the first stroke of the first quarter, whilst the time at the intermediate quarters is marked by the first note. The entire cost of this vast and splendid building has been very nearly £3,000,000 sterling. It contains 400 rooms, with distinct residences for the Speaker of the House of Commons, the Serjeant at Arms, the Usher of the Black Rod, and several other of the upper officers of the two Houses.

At the last warm debate in the House of Lords, it was unanimously resolved there should be no crowd of unnecessary auditors; consequently the fair sex were excluded, and the gallery destined to the sole use of the House of Commons. Notwithstanding which determination, a tribe of dames resolved to show on this occasion that neither men nor laws could resist them. These heroines were—Lady Huntingdon, the Duchess of Queensbury, the Duchess of Ancaster, Lady Westmoreland, Lady Cobham, Lady Charlotte Edwin, Lady Archibald Hamilton and her daughter, Mrs. Scott and Mrs. Pendarvis, and Lady Saunderson. I am thus particular in their names, because I look upon them to be the boldest assertors, and most resigned sufferers for liberty, I ever read of. They presented themselves at the door at nine o'clock in the morning, where Sir William Saunderson respectfully informed them—the Chancellor had made an order against their admittance. The Duchess of Queensbury, as head of the squadron, pished at the ill-breeding of a mere lawyer, and desired him to let them up stairs privately. After some modest refusals, he swore by G— he would not let them in. Her Grace, with a noble warmth, answered by G— they would come in, in spite of the Chancellor and the whole House. This being reported, the Peers resolved to starve them out, an order was made that the doors should not be opened till they had raised their siege. These Amazons now showed themselves qualified for the duty even of foot soldiers; they stood there till five in the afternoon, without either sustenance or evacuation, every now and then playing vollies of thumps, kicks, and raps against the door, with so much violence, that the speakers in the house were scarce heard. When the Lords were not to be conquered by this, the two Duchesses (very well apprised of the use of stratagems in war) commanded a dead silence of half an hour; and the Chancellor, who thought this a certain proof of their absence (the Commons also being very impatient to enter), gave order for the opening of the door; upon which they all rushed in, pushed aside their competitors, and placed themselves in the front rows of the gallery. They stayed there till after eleven, when the House rose; and during the debate gave applause, and showed marks of dislike, not only by smiles and winks (which have always been allowed in such cases), but by noisy laughs and apparent contempts; which is supposed the true reason why poor Lord Hervey spoke miserably. —Lady Mary W. Montagu, letter dated 1738 (Works, by Lord Wharncliffe, vol. ii. p. 248).

I could not endure to reside permanently in the country, and no rural ramble can please me so much as a walk through Westminster Hall and St. Stephen's Hall to the great pavilion in the "New Palace," with the House of Lords on the right hand and the House of Commons on the left, the long corridors swarming with persons interested in an impending debate.—Lord Campbell, Life, vol ii. p. 330.

Admission to the Strangers' Gallery of the House of Lords to hear the debates—a Peer's order. Admission to the galleries or area of the House of Lords, by a Lord Chamberlain's order, or Peeress's ticket, for ladies only, when Her Majesty opens, prorogues, or dissolves Parliament, is highly prized. The sight is one of the grandest and most impressive courtly displays still surviving in England. The peers come in their robes, the heralds in tabards, and all officials in civil or military costume. The gallery, which directly fronts the throne, is set apart for ladies in evening dress. Failing to obtain admission here, a seat in the Royal Gallery, or Corridor, through which the procession twice passes, affords an admirable view of the Queen and her great officers. Gentlemen as well as ladies are admitted here, but sit in separate places. The old custom of examining the cellars underneath the House of Lords, about two hours before Her Majesty's arrival—a custom originating in the Gunpowder Plot of 1605—continues to be observed.

Admission to the Strangers' Gallery of the House of Commons to hear a debate is by a member's order, and the right of priority is balloted for.

A Speaker's order admits to a very few select seats under the gallery, and is of course to be preferred, if it can be obtained, which can only be through a member.