Apsley House: The History and Splendor of "Number 1 London"

Situated at the western edge of Piccadilly overlooking Hyde Park Corner stands a resplendent Georgian manor, Apsley House. This elegant structure is not merely a prominent landmark in the British capital—it is a site steeped in history, art, and political intrigue. As the London residence of the Dukes of Wellington, Apsley House bore witness to the tumultuous events of the 19th century and the glittering social world of the Regency elite.

From Lord Apsley to the Iron Duke: A House Through Time

The story of Apsley House begins in the 1770s, when Lord Apsley, the Lord Chancellor, commissioned renowned architect Robert Adam to design a stately home at Hyde Park Corner, then on the outskirts of London. Construction took place between 1771 and 1778, resulting in a neoclassical gem that would serve as a prototype for the grand townhouses of the West End.

In 1807, the house was acquired by Richard Wellesley, 1st Marquess Wellesley, who had gained fame and fortune as the Governor-General of India. However, it was his younger brother, Arthur Wellesley, 1st Duke of Wellington, who would leave the most indelible mark on Apsley House and transform it into a center of political and social influence.

Following his momentous victory over Napoleon at the Battle of Waterloo in 1815, the Duke of Wellington returned to England as a national hero. In recognition of his military achievements and service to the crown, King George III conferred upon Apsley House the honorary address of "Number 1 London." This lofty title not only denoted the house‘s physical location as the first in the city encountered after passing the toll gates from the village of Knightsbridge, but also symbolized the Duke‘s unparalleled stature in British society.

Wellington set about renovating and expanding Apsley House to befit his newfound prestige. Between 1828 and 1830, he commissioned architect Benjamin Dean Wyatt to oversee a series of lavish additions and improvements. The most spectacular of these was the Waterloo Gallery, a 28-meter-long, 9-meter-high hall inspired by Italian Renaissance palaces. With its soaring ceilings, glittering chandeliers, and walls lined with Old Master paintings, the Waterloo Gallery was a potent symbol of the Duke‘s power, wealth, and cultured tastes.

Apsley House Renovations	Year Completed
Waterloo Gallery	1830
State Dining Room	1819
Staircase and Inner Hall	1828-1830
Portico Entrance	1828

A Collection Fit for a Conqueror: The Art of Apsley House

One of the most remarkable aspects of Apsley House is the astonishing collection of artwork it contains. The Duke of Wellington was an avid collector and received many paintings and sculptures as gifts from grateful monarchs across Europe. However, the core of his collection was acquired in a single stroke after his victory at the Battle of Vitoria in 1813.

As Wellington‘s troops closed in on the retreating French army, King Joseph Bonaparte, Napoleon‘s brother, abandoned his carriage, leaving behind a trove of artworks he had looted from the Spanish royal palaces. Wellington claimed these masterpieces as spoils of war, and they formed the nucleus of the Spanish Royal Collection now housed at Apsley House.

Among the 165 paintings in the Spanish Royal Collection are works by some of the greatest names in European art history, including:

• Diego Velázquez
• Peter Paul Rubens
• Anthony van Dyck
• Correggio
• Bartolomé Esteban Murillo
• Francisco de Goya

These priceless canvases adorn the walls of the State Rooms at Apsley House, creating an atmosphere of grandeur and majesty that is palpable to this day. Art historian Kenneth Clark once remarked that the collection at Apsley House "gives the visitor the slightly intoxicating impression of being in a Spanish royal palace."

Society and Statecraft: Life at Apsley House During the Duke‘s Lifetime

Beyond its artistic treasures, Apsley House played a pivotal role in the political and social life of Regency and early Victorian Britain. As the Duke of Wellington‘s London base, it functioned as a secondary seat of government, where the hero of Waterloo entertained dignitaries, brokered alliances, and shaped the policies of the empire.

Every year on the anniversary of his victory at Waterloo, Wellington hosted lavish banquets in the State Dining Room, attended by the most prominent figures of the day. These glittering occasions were not only a celebration of the Duke‘s martial prowess but also a powerful demonstration of his influence and authority.

The guest lists for these Waterloo Banquets read like a who‘s who of 19th-century British high society and included:

• Heads of state like Queen Victoria and Prince Albert
• Prominent statesmen like Lord Palmerston and Sir Robert Peel
• Military leaders like Admiral Lord Nelson and Field Marshal Blücher
• Cultural luminaries like Charles Dickens and William Makepeace Thackeray

Benjamin Disraeli, who attended many dinners at Apsley House as a rising star in Parliament, described it as "the seat of royalty in this country, where Princes and Sovereigns are entertained."

The Duke of Wellington‘s tenure as Prime Minister in 1828-1830 and 1834 only enhanced Apsley House‘s status as a nexus of power. From his study on the ground floor, Wellington conducted the business of government and received a constant stream of ministers, diplomats, and supplicants.

Even after retiring from political life, the Duke continued to wield enormous influence from his headquarters at Apsley House. As Lord Warden of the Cinque Ports and Constable of the Tower of London, he remained a towering figure in national affairs until his death in 1852 at the age of 83.

An Enduring Legacy: Apsley House in the Modern Era

Following the Duke of Wellington‘s death, Apsley House passed to his eldest son and subsequent heirs. The 7th Duke of Wellington finally donated the house and its contents to the nation in 1947, though the family continues to maintain a private apartment on the uppermost floor.

Since opening to the public under the auspices of English Heritage in 1952, Apsley House has welcomed millions of visitors eager to explore its opulent interiors and unparalleled art collection. Extensive restoration work has returned the State Rooms to their Regency splendor, while new exhibits and interpretive materials offer insights into the Duke of Wellington‘s extraordinary life and times.

Apsley House Visitor Information	Details
Managing Organization	English Heritage
Annual Visitors (2019)	111,358
Closest Underground Station	Hyde Park Corner
Fully Accessible?	Yes

Each year on the anniversary of Waterloo, the banquet table is still set with Wellington‘s Sèvres porcelain and silver-gilt Portuguese service in honor of his legendary victory. For a few shining hours, the Duke of Wellington‘s guests—portrayed by reenactors in full military regalia—raise their glasses and toast the memory of one of Britain‘s greatest heroes.

In this way, Apsley House does more than preserve the past; it keeps alive the spirit of an age when duty, valor, and service were the watchwords of the realm. To cross its threshold is to step into a world of martial glory, artistic beauty, and political intrigue that continues to captivate and inspire us two centuries on.

As the English Heritage Foundation eloquently states:

"Apsley House offers a unique glimpse into the life of the Duke of Wellington, his family and friends, and provides an unforgettable experience of grandeur and splendor from the Regency period."

A visit to "Number 1 London" is thus more than a sightseeing excursion; it is an encounter with history itself. By exploring the halls and chambers where Wellington lived, worked, and entertained, we gain a deeper appreciation for the forces that shaped the modern world and the individuals who helped forge Britain‘s identity as a nation.

In an ever-changing metropolis like London, where the old is all too often swept away by the new, Apsley House endures as a monument to the abiding power of human achievement, artistry, and ambition. It is a reminder that greatness leaves a lasting mark, not only on the landscape of a city but on the collective memory of a people.