Windsor Castle is a royal residence at Windsor in the English county of Berkshire, about 25 miles (40 km) west of central London. It is strongly associated with the English and succeeding British royal family, and embodies almost a millennium of architectural history.
The original castle was built in the 11th century, after the Norman invasion of England by William the Conqueror. Since the time of Henry I (who reigned 1100–1135), it has been used by the monarch and is the longest-occupied palace in Europe. The castle's lavish early 19th-century state apartments were described by the art historian Hugh Roberts as "a superb and unrivalled sequence of rooms widely regarded as the finest and most complete expression of later Georgian taste". Inside the castle walls is the 15th-century St George's Chapel, considered by the historian John Martin Robinson to be "one of the supreme achievements of English Perpendicular Gothic" design.
Originally designed to project Norman dominance around the outskirts of London and oversee a strategically important part of the River Thames, Windsor Castle was built as a motte-and-bailey, with three wards surrounding a central mound. Gradually replaced with stone fortifications, the castle withstood a prolonged siege during the First Barons' War at the start of the 13th century. Henry III commissioned a luxurious royal palace within the castle during the middle of the century, and Edward III went further, rebuilding the palace to make an even grander set of buildings in what would become "the most expensive secular building project of the entire Middle Ages in England". Edward's core design lasted through the Tudor period, during which Henry VIII and Elizabeth I made increasing use of the castle as a royal court and centre for diplomatic entertainment.
Windsor Castle survived the tumultuous period of the English Civil War, when it was used as a military headquarters by Parliamentary forces and a prison for Charles I. At the Restoration of the monarchy in 1660, Charles II had much of Windsor Castle rebuilt with the help of the architect Hugh May, creating a set of extravagant Baroque interiors. After a period of neglect during the 18th century, George III and George IV had Charles II's palace renovated and rebuilt at colossal expense, producing the current design of the state apartments, full of Rococo, Gothic and Baroque furnishings. Queen Victoria made a few minor changes to the castle, which became the centre for royal entertainment for much of her reign. During the First World War, the historic estate inspired the naming of the royal House of Windsor. In the reign of George VI, it was used as a refuge by the royal family during the Luftwaffe bombing campaigns of the Second World War. An extensive restoration of several state rooms took place after the castle survived a fire in 1992. It is a popular tourist attraction, a venue for hosting state visits, and was the main residence of Elizabeth II from 2011 to 2022.
Architecture
Windsor Castle grounds cover 13 acres (5.3 hectares) and combines the features of a fortification, a palace, and a small town. The present-day castle was created during a sequence of phased building projects, culminating in the reconstruction work after a fire in 1992. It is in essence a Georgian and Victorian design based on a medieval structure, with Gothic features reinvented in a modern style. Since the 14th century, architecture at the castle has attempted to produce a contemporary reinterpretation of older fashions and traditions, repeatedly imitating outmoded or even antiquated styles. As a result, architect Sir William Whitfield has pointed to Windsor Castle's architecture as having "a certain fictive quality", the Picturesque and Gothic design generating "a sense that a theatrical performance is being put on here", despite late 20th century efforts to expose more of the older structures to increase the sense of authenticity. Although there has been some criticism, the castle's architecture and history lends it a "place amongst the greatest European palaces".
Middle Ward
At the heart of Windsor Castle is the Middle Ward, a bailey formed around the "motte" (artificial hill) in the centre of the ward. The motte is 50 feet (15 m) high and made from chalk originally excavated from the surrounding ditch. The keep, called the Round Tower, on the top of the motte is based on an original 12th-century building, extended upwards by 30 feet (9.1 m) in the early 19th century under architect Jeffry Wyatville, to produce a more imposing height and silhouette. The interior of the Round Tower was further redesigned between 1991 and 1993 to provide additional space for the Royal Archives, an additional room being built in the space left by Wyatville's originally hollow extension. The Round Tower is in reality far from cylindrical because of the shape and structure of the motte beneath it. The current height of the tower has been criticised as being disproportionate to its width; archaeologist Tim Tatton-Brown, for example, has described it as a mutilation of the earlier medieval structure.
The western entrance to the Middle Ward is now open, and a gateway leads north from the ward onto the North Terrace. The eastern exit from the ward is guarded by the Norman Gatehouse. Despite its name, this gatehouse dates from the 14th century; it is heavily vaulted and decorated with carvings – including surviving medieval lion masks, which are traditional symbols of majesty – to form an impressive entrance to the Upper Ward. Wyatville redesigned the exterior of the gatehouse, and later in the 19th century the interior was heavily converted for residential use.
Upper Ward
The Upper Ward of Windsor Castle comprises a number of major buildings enclosed by the upper bailey wall, forming a central quadrangle. The State Apartments run along the north of the ward, with a range of buildings along the east wall, the private royal apartments and the King George IV Gate to the south, and the Edward III Tower in the southwest corner. The motte and the Round Tower form the west edge of the ward. Beneath the Round Tower sits a bronze statue of Charles II on horseback, which was inspired by Hubert Le Sueur's statue of Charles I in London; the Charles II statue at Windsor was cast by Josias Ibach in 1679, with a marble plinth featuring carvings by Grinling Gibbons. The Upper Ward adjoins the North Terrace, overlooking the River Thames, and the East Terrace, overlooking the Home Park; both terraces were constructed by Hugh May in the 17th century. The East Terrace has a private formal rose garden, first laid out by George IV in the 1820s. The present garden was updated by Prince Philip, Duke of Edinburgh, after being used for victory garden production during World War II, tended in part by Princesses Elizabeth and Margaret. It was announced in 2020 that, for the first time in 40 years, the garden would be open to the public for a limited time.
Traditionally, the Upper Ward was judged to be "to all intents and purposes a nineteenth century creation [which] stands as the image of what the early nineteenth-century thought a castle should be", as a result of the extensive redesign of the castle by Wyatville under George IV. The walls of the Upper Ward are built of Bagshot Heath stone faced on the inside with regular bricks, the gothic details in yellow Bath stone. The buildings in the Upper Ward are characterised by the use of small pieces of flint in the mortar for galleting, originally started at the castle in the 17th century to give a similar appearance to stonework from disparate periods. The skyline of the Upper Ward is designed to be dramatic when seen from a distance or silhouetted against the horizon, an image of tall towers and battlements influenced by the picturesque movement of the late 18th century. Archaeological and restoration work following the 1992 fire has shown the extent to which the current structure represents a survival of elements from the original 12th-century stone walls onwards, presented within the context of Wyatville's final remodelling.
State Apartments
The State Apartments form the major part of the Upper Ward and lie along the north side of the quadrangle. The modern building follows the medieval foundations laid down by Edward III, with the ground floor comprising service chambers and cellars, and the much grander first floor forming the main part of the palace. On the first floor, the layout of the western end of the State Apartments is primarily the work of architect Hugh May, whereas the structure on the eastern side represents Jeffry Wyatville's plans.
The interior of the State Apartments was mostly designed by Wyatville in the early 19th century. Wyatville intended each room to illustrate a particular architectural style and to display the matching furnishings and fine arts of the period. With some alterations over the years, this concept continues to dominate the apartments. Different rooms follow the Classical, Gothic and Rococo styles, together with an element of Jacobethan in places. Many of the rooms on the eastern end of the castle had to be restored following the 1992 fire, using "equivalent restoration" methods – the rooms were restored so as to appear similar to their original appearance, but using modern materials and concealing modern structural improvements. These rooms were also partially redesigned at the same time to more closely match modern tastes. Art historian Hugh Roberts has praised the State Apartments as "a superb and unrivalled sequence of rooms widely regarded as the finest and most complete expression of later Georgian taste." Others, such as architect Robin Nicolson and critic Hugh Pearman, have described them as "bland" and "distinctly dull".
Wyatville's most famous work are those rooms designed in a Rococo style. These rooms take the fluid, playful aspects of this mid-18th century artistic movement, including many original pieces of Louis XV style, but project them on a "vastly inflated" scale. Investigations after the 1992 fire have shown though that many Rococo features of the modern castle, originally thought to have been 18th-century fittings transferred from Carlton House or France, are in fact 19th-century imitations in plasterwork and wood, designed to blend with original elements. The Grand Reception Room is the most prominent of these Rococo designs, 100 feet (30 m) long and 40 feet (12 m) tall and occupying the site of Edward III's great hall. This room, restored after the fire, includes a huge French Rococo ceiling, characterised by Ian Constantinides, the lead restorer, as possessing a "coarseness of form and crudeness of hand ... completely overshadowed by the sheer spectacular effect when you are at a distance". The room is set off by a set of restored Gobelins French tapestries. Although decorated with less gold leaf than in the 1820s, the result remains "one of the greatest set-pieces of Regency decoration". The White, Green and Crimson Drawing Rooms include a total of 62 trophies: carved, gilded wooden panels illustrating weapons and the spoils of war, many with Masonic meanings. Restored or replaced after the fire, these trophies are famous for their "vitality, precision and three-dimensional quality", and were originally brought from Carlton House in 1826, some being originally imported from France and others carved by Edward Wyatt. The soft furnishings of these rooms, although luxurious, are more modest than the 1820s originals, both on the grounds of modern taste and cost.
Wyatville's design retains three rooms originally built by May in the 17th century in partnership with the painter Antonio Verrio and carver Grinling Gibbons. The Queen's Presence Chamber, the Queen's Audience Chamber and the King's Dining Room are designed in a Baroque, Franco-Italian style, characterised by "gilded interiors enriched with florid murals", first introduced to England between 1648 and 1650 at Wilton House. Verrio's paintings are "drenched in medievalist allusion" and classical images. These rooms were intended to show an innovative English "baroque fusion" of the hitherto separate arts of architecture, painting and carving.
A handful of rooms in the modern State Apartments reflect either 18th-century or Victorian Gothic design. The State Dining Room, for example, whose current design originates from the 1850s but which was badly damaged during the 1992 fire, is restored to its appearance in the 1920s, before the removal of some of the gilded features on the pilasters. Anthony Salvin's Grand Staircase is also of mid-Victorian design in the Gothic style, rising to a double-height hall lit by an older 18th-century Gothic vaulted lantern tower called the Grand Vestibule, designed by James Wyatt and executed by Francis Bernasconi. The staircase has been criticised by historian John Robinson as being a distinctly inferior design to the earlier staircases built on the same site by both Wyatt and May.
Some parts of the State Apartments were completely destroyed in the 1992 fire and this area was rebuilt in a style called "Downesian Gothic", named after the architect Giles Downes. The style comprises "the rather stripped, cool and systematic coherence of modernism sewn into a reinterpretation of the Gothic tradition". Downes argues that the style avoids "florid decoration", emphasising an organic, flowing Gothic structure. Three new rooms were built or remodelled by Downes at Windsor. Downes' new hammer-beam roof of St George's Hall is the largest green-oak structure built since the Middle Ages, and is decorated with brightly coloured shields celebrating the heraldic element of the Order of the Garter; the design attempts to create an illusion of additional height through the gothic woodwork along the ceiling. The Lantern Lobby used to welcome guests features flowing oak columns forming a vaulted ceiling, imitating an arum lily, and is where the pre-fire chapel built for Queen Victoria was located. The new Private Chapel is relatively intimate, only able to fit thirty worshippers, but combines architectural elements of the St George's Hall roof with the Lantern Lobby and the stepped arch structure of the Henry VIII chapel vaulting at Hampton Court. The result is an "extraordinary, continuous and closely moulded net of tracery", complementing the new stained glass windows commemorating the fire, designed by Joseph Nuttgen and Prince Philip. The Great Kitchen, with its newly exposed 14th-century roof lantern sitting alongside Wyatville's fireplaces, chimneys and Gothic tables, is also a product of the reconstruction after the fire.