The Walbrook Entrance
This part of the house was originally designed as an
eight-stall stable and coach house, though it was never used
for that purpose. In 1846 James Bunning, an architect working
for the City of London Corporation, was asked to design a new
entrance at the side of the House so that the Lord Mayor could come
and go without being in the full view of the general public. The
benches date back to 1811 and the chairs were made during the
refurbishment in 1991/93 to complement the benches.
The most striking piece of furniture is the 18th
century Hallkeeper's Chair, designed to keep the
draught out as he met and greeted the Lord Mayor's guests
outside the house. The draw at the bottom was used to put a hot pan
or coal in to keep the Hallkeeper warm.
In constant contemporary use, it brings the Lord Mayor's guests
into the vaulted areas on the ground floor ascending
to
The Salon
This was once called the 'Saloon' but over time has become known
as the Salon. On the first floor, it provides a large reception
area under a stunning row of crystal chandeliers (Messrs Osler,
1875). It was originally a roofless courtyard but was covered by
George Dance the Younger almost as soon as the House was
opened.
Originally Mansion House shared the chandeliers to light
banquets with the Guildhall, and they were moved back and
forth at great risk. In the late 1700s the inevitable happened as
they were bringing the chandeliers back from Guildhall: a number of
chandeliers were broken. When it was all swept up, the Court of
Alderman allowed the Mansion House to obtain its own lights. In
1875 the firm of Messrs Osler was asked to create and install
the dramatic row of chandeliers which today adorn the Salon and
ante-room to the Venetian Parlour. Each button and pear
contains more than 30% lead, to deepen the sparkle and colour. The
chandeliers are cleaned and re-pinned on a regular basis. The
skilled craftsmen who undertake this work say that the Mansion
House chandeliers are unmatched.
The Long Parlour
An elegant room, probably the room least changed, the Long Parlour
is primarily used for business meetings and dinners. The present
furnishings and decoration are designed to recall the mid-18th
century character of the room. Directly opposite the Long
Parlour across the floor of the Salon are
The Drawing Rooms
An interlinking pair of rooms with a scheme of decoration inspired
by descriptions from the mid-19th century, when the suite of chairs
and sofas known as the Nile Suite (c.1803 to commemorate Nelson's
sea victories) were first used to furnish these capacious, stately
rooms. The Drawing Rooms provide an intimate setting for part of
the Samuel Collection. As with the Long Parlour and the Salon,
the doors out of the drawing Rooms lead
towards
The Great Egyptian Hall
A grand room, seating 350, that should be known as the Roman Hall.
It is based on designs by the classical Roman architect Vitruvius
of Roman buildings in Egypt, with giant columns supporting a
narrower attic area. The Italian architect Andrea Palladio was much
taken by this style in the 16th century and it was very fashionable
in the 18th century. There is nothing Egyptian about the
decoration. The marble statues date from 1854-64 and the stained
glass from 1868. The paintwork is close to the original stone
colour, which, with the gilding, is intended to create a dignified
effect appropriate to this great civic interior.
On the floor above, of particular note
is
The Old Ballroom
Running from north to south, off which are two state bedrooms.
The mood of the Old Ballroom is light and airy throughout with
an abundance of elaborate plasterwork representing musical
instruments etc and carved timber ornament. It is used for
meetings, conferences and dinners.
Find out more about
tours of the Mansion House.