Marking 200 years since the establishment of the National Gallery by Parliament, Claude’s Seaport with the Embarkation of Saint Ursula, (1641) is visiting Parliament. The artwork will be on display in St Stephen’s Hall, Palace of Westminster for three weeks from 25 November – 15 December 2024. 

Members of the public booking onto Parliamentary tours will be able to view the temporary installation as they make their way through St Stephen’s Hall. 

National Gallery 200 

This artwork is one of the original 38 paintings that formed the earliest iteration of the National Gallery. When the financier John Julius Angerstein (1735‒-1823) died, his family decided to sell 38 of his best paintings – included in this selection was this work and several others by Claude. Several influential Members of Parliament were active in persuading the government of Prime Minister Lord Liverpool (in office 1812-1827) to establish an art gallery. On 10 May 1824 the National Gallery opened in Angerstein’s house in Pall Mall. The public could visit four days a week and two other days were reserved for artists. Admission was free, as it remains to this day. In 1838 the collection moved to the purpose-built gallery building, designed by William Wilkins, in Trafalgar Square. 

About the artwork 

This important work is by the French artist, Claude Lorrain (1604/5‒1682), whose classical landscapes and port scenes were much admired and imitated in Britain. In the setting of a meticulously rendered seaport, he has portrayed the moment Saint Ursula prepares to embark on her legendary journey. 

According to Christian tradition, Ursula was a devout British princess from the 4th century. She set sail on a pilgrimage to Rome accompanied by 11,000 virgin followers. On their return, they were attacked in Cologne by the Huns, nomadic warriors who were terrorising much of Europe. After refusing to accept a proposal of marriage from their leader, Ursula and her companions were martyred. Despite variations in the legend’s details, Ursula’s unwavering faith and devotion have made her a revered figure in Christian tradition. She has inspired artistic and cultural interpretations for centuries. 

The scene also allowed the artist to demonstrate his distinctive mastery of light and atmosphere. His techniques went on to inspire the future work of Joseph Mallord William Turner (1775‒1851) and John Constable (1776‒1837). The golden sky suggests the calm of dawn, enveloping the busy port in a peaceful atmosphere.  

View the artwork in detail on the National Gallery website.

The painting may even have inspired a famous British architect. The tall building to the distant left of the port has a remarkable resemblance to the ‘Italianate’ architecture of 18–19 Kensington Palace Gardens. This was designed in 1845 by Sir Charles Barry (1795‒1860), the architect of the Houses of Parliament.   

In St Stephen’s Hall, the maritime theme of the painting complements the painted murals. This series was commissioned in the 1920s by a committee of politicians, artists and historians. They selected topics that they felt told the story of the nation’s ‘liberties’, and the scheme was titled ‘The Building of Britain’. Some scenes reflect narratives of voyage and journey, which the 1920s committee saw as central to British history and legend. 

Celebrating 200 years 

Gabriele Finaldi, Director of the National Gallery, said: ‘The National Gallery has its origin in the decision by Parliament to acquire a collection for the use and enjoyment of the public. In our Bicentenary we want to recognise and celebrate the essential role that Parliament played in establishing a gallery of great paintings for all.’ 

Melissa Hamnett, Director of Heritage Collections and Chief Curator, UK Parliament, said: ‘We are honoured to be welcoming this historic and culturally significant painting to Parliament to mark what is now our 200-year-old relationship with the National Gallery. Central to the vision behind the National Gallery was to inspire the general public through art, which is why we’re ensuring that Claude’s masterpiece is available for all Parliamentary visitors to see as they make their way through St Stephen’s Hall. I want to thank the team at the National Gallery for making this exciting moment possible.’