London’s Favorite Historic Home: The Soane Museum

London has preserved the homes of many of its famous residents, such as that of Charles Dickens and the Benjamin Franklin house. One local favorite is often overlooked by out-of-towners because its owner has been all but forgotten outside of England.

Sir John Soane (1753-1837) was the most celebrated architect of his day. He worked on numerous important commissions such as the Bank of England, Dulwich Picture Gallery, and many aristocratic mansions. Sadly, his Neo-Classical style went out of fashion and many of his buildings were demolished or radically altered in the early 20th Century.

His best-known building is the one he designed for himself. Located in central London, even from the street you can tell it’s different than most buildings of the period. It’s more open, with big arched windows, Classical-style statues, and a multilayered design quite unlike the flat, rectangular look of most buildings of its day.

It’s the inside, though, that’s really different. Rather than some stuffy old house with a few dull displays about its famous-but-now-decomposing owner, Soane’s house is jam-packed with art and antiquities. Soane was a devoted collector. In one room, the walls are covered floor to ceiling in paintings, and the walls open up like giant cabinets to reveal more paintings. Hogarth’s original paintings of “The Rake’s Progress” are here, along with many works from Soane’s good friend J.M.W. Turner.

Soane loved all things Classical, so much of the space in other rooms is filled with ancient Greek and Roman antiquities and casts. Every now and then something from another culture shows up looking oddly out of place – a steer’s skull from the American Southwest, a collection of Bronze Chinese figurines and the alabaster sarcophagus of Pharaoh Seti I.

%Gallery-162486%The interior of the house is a genius of design. Despite the small rooms and narrow corridors, it never feels cramped. Skylights illuminate everything down to the cellar, and the design is very open, allowing you to peek into other rooms, even other floors, from every room.

When Soane was appointed Professor of Architecture at the Royal Academy in 1806, he began to organize his casts, models, paintings, and books in a display so that students could come here, study, and be inspired. He arranged with friends in Parliament to pass an Act that upon his death, his house would be preserved as a free museum.

His house is still open as the Sir John Soane’s Museum. It’s still free and it looks much the same as it did when Soane died in 1837. When I was there, no electric lights were on but the sunlight coming through the skylights provided plenty of illumination. No photos are allowed (not even for visiting travel bloggers) and the house has an eerie feel to it, like its resident just left two weeks ago rather than two centuries.

The house overlooks Lincoln’s Inn Fields, a lovely green space in the heart of London. It’s a great spot to sit and have a picnic while admiring the Georgian architecture all around.

Exhibition Examines Role Of Scientists And Doctors In Holocaust


This is a poster for the Nazi eugenics program. Printed in 1936, it proclaims, “We are not alone.” The column on the left shows the countries that already had forced sterilization for certain “social undesirables.” The columns on the bottom and right show countries considering eugenics programs.

Note the American flag on the left. Various U.S. states practiced compulsory sterilization as early as 1907, when Indiana instituted sterilization of “confirmed criminals, idiots, imbeciles, and rapists.” The law was overturned in 1921, only to be replaced in 1927 with a law requiring sterilization of the “Insane, feeble minded or epileptic.” That law stayed on the books until 1974. Many states had similar laws and this “social cleansing” program heavily influenced the Nazis.

The Nazis instituted their Law for the Prevention of Hereditarily Diseased Offspring in 1933, the same year Hitler came to power. Many scientists and doctors were quick to jump onto the Nazi bandwagon and began “studies” to prove how the Germanic peoples were superior to all other races. This gave a scholarly stamp of approval to the forced sterilization, and eventual killing, of millions of Jews, Gypsies, Slavs, and physically and mentally disabled.

This unseemly link between science and the Holocaust is being examined in a new exhibition at the National WWII Museum in New Orleans. “Deadly Medicine: Creating The Master Race” brings together posters, leaflets and photos of scientific examinations to show how the scientific community became complicit in the greatest crime of the 20th century.

It also shows how these ideas were sold to the German people. One picture in a high school textbook shows a German man bent under the weight of an alcoholic and a brutish-looking man, perhaps meant to portray a mentally disabled person, with the caption, “You are sharing the load! A hereditarily ill person costs 50,000 Reichsmarks on average up to the age of sixty.”

“Deadly Medicine: Creating The Master Race” runs until October 15, 2012.

[Image courtesy Wikimedia Commons]

Gun-Running Ship On Display At National Museum Of Ireland


A historic gun-running ship from Ireland’s struggle for independence has gone on display at Dublin’s National Museum of Ireland.

The Asgard was built in 1905 for Erskine and Molly Childers, leading Irish nationalists. In 1914, they used the vessel to run guns to the Irish Volunteers in Howth. The smugglers brought in 900 German Mausers and a stock of ammunition, some of which later saw use in the famous standoff at the Dublin General Post Office during the Easter Uprising.

Authorities learned of the shipment, but that helped turn it into a propaganda coup. The Asgard had slipped through a British fleet to make it to shore and Irish nationalists managed to spirit the guns away. The soldiers stationed nearby only managed to grab three guns, and had to return them because they had seized them illegally!

Tragically, when marching back to their barracks, the soldiers met an unarmed crowd that jeered them. One of the soldiers fired, and this led to more shots. Four civilians were killed, including one by bayonet wounds. The Asgard’s victory and bloody aftermath added more fuel to the fire of Irish nationalism.

Erskine Childers was a keen sailor all his life and wrote the classic spy novel “Riddle of the Sands,” in which two yachtsmen discover a sinister German plot in the Baltic Sea. Well worth reading!

USS Edson To Become Part Of Future Ship Museum

Earlier this week, the destroyer USS Edson sailed into the harbor of Bay City, Michigan, to the cheers of an expectant crowd. As Art Daily reports, it will become part of the Saginaw Valley Naval Ship Museum.

This museum’s primary purpose will be to showcase the USS Edson, which saw duty from 1958 to 1988. She saw action in the Vietnam War and was shelled by Vietcong land forces.

The USS Edson has been a museum before. From 1989 to 2004, she was part of the Intrepid Sea-Air-Space Museum in New York City. Although she’s been fitted out as a museum and is seaworthy, there’s still much to be done to make her ready for a new set of visitors. The museum is raising funds to get this work done and open this historic ship to the public. There’s no set opening date at this time. Stay tuned.

[Photo courtesy John McCullough]

6-Year-Old Saves Manet Painting For UK (With A Little Help)

Last weekend my family and I visited the Ashmolean Museum here in Oxford. My 6-year-old son loves this place because of all the headless statues, the bow you can use to shoot deer in the Prehistoric Europe room, and the gold coin of the Roman emperor Julian, who he’s named after.

In the European art section we came across several paintings by Manet. One was “Portrait of Mademoiselle Claus,” painted in 1868. The Ashmolean has been campaigning to keep this painting in the UK.

As an Ashmolean press release explains, “The painting was purchased by a foreign buyer in 2011 for £28.35 million. Following advice from the Reviewing Committee on the Export of Works of Art, the picture was judged to be of outstanding cultural importance and was placed under a temporary export bar … the painting was made available to a British public institution for 27% of its market value.”

So the museum set out to raise £7.83 million ($12.25 million). Julian puzzled through the fundraising plea with a serious look on his face, reached into his pocket for some coins, and plunked them in the box.

Three days later the Ashmolean announced they’d raised the money.

This is what I love about museums. They connect people with the world’s heritage. In some cases, like with the Ashmolean, they connect them for free. Art like this doesn’t belong in the living room of some asshole banker who makes his money from sub-prime mortgages and keeps it in offshore accounts. More and more, art and antiquities are seen as investments for the super rich, commodities to be bought and sold instead of appreciated. I’ve had to mingle with these plastic people in galleries like Sotheby’s in London. It’s the only chance I have to see the art for sale there before it disappears into a private collection.

I don’t even like Manet all that much, but that’s not the point. His work has touched millions of people for more than a century. So congratulations, Ashmolean, thanks for keeping this painting in the public eye where it belongs. And thanks for teaching my kid an important lesson in democracy.

[Photo courtesy Wikimedia Commons]