I was going to blog about something ephemeral, academic, insightful and rich today … but then realised that I’m feeling energised by a relaxing weekend in Stratford, the home of Shakespeare, and felt it worth blogging about a few things that were intriguing there.
One of the most intriguing things in Stratford is HSBC’s bank branch.
The bank owns one of Stratford's few Victorian Gothic buildings, and stands at a key junction where examples of 16th century, 18th century, 19th century and 20th century buildings combine to create a small microcosm of history.
The building itself is made from red brick and decorated with red terracotta tiles.
Several of these tiles are actually friezes and sculptures that illustrate Shakespeare’s works.
For example, above the main door of the branch which was built in 1883, is a reference to the Old Bank (the original building it replaced) with a Shakespeare mosaic.
Above that is a scene from the Merchant of Venice in terracotta.
The scene portrays Act 3 Scene 2 of the play, where Nerissa and Portia watch Bassanio make his choice of the caskets, and are watched by Gratiano and a boy.
There are in fact 15 terracotta sculptures on the facia of the bank.
Each frieze portrays a different play and was produced by Samuel Barfield, a stonemason who lived in Leicester. Barfield’s work was well-known in the Midlands and his stone sculptures can still be seen on the clock tower and the Old Midland Bank in Leicester (built in 1872), the Paxton Memorial in Coventry and on the Chamberlain Fountain commemorating the mayoralty of one of Birmingham’s most influential figures, Joseph Chamberlain.
Thousands of tourists pass the HSBC branch today and most will probably spot the Old Bank portrait above the door although I suspect most do not notice the terracotta frieze. Its position high above the heads of passers-by may have given it protection over the years, but also makes it difficult to see.
So here is a guide to the fifteen panels, courtesy of the Shakespeare blog.
The panels are in three groups of four, tragedies, comedies and histories, with three single panels on the corner between comedies and histories.
First there is King Lear, Act 2, Scene 2, where Cornwall, Goneril and Regan encourage Lear and the Fool to go out into the storm.
Next is Hamlet, Act 5, Scene 2, where Claudius recoils as Gertrude, assisted by a lady, collapses. Horatio holds Hamlet back and Laertes, wounded, calls “The King, the King’s to blame”.
Third is Macbeth, Act 1, Scene 3, as the three witches appear to Banquo and Macbeth saying: “All Hail, Macbeth”.
Othello, Act 5 Scene 2, follows as Emilia pulls back the curtain to reveal Desdomona’s murdered body. Othello stands by, watched by Montano.
Next, As You Like It, Act 3, Scene 5 with Phoebe, Silvius, Rosalind, Celia and Corin.
The Two Gentlemen of Verona, Act 5, Scene 4, is shown with Valentine challenging Proteus who is attacking Silvia, while Julia stands by, watching. “Ruffian, let go that rude uncivil touch”.
A Midsummer Night’s Dream, Act 3, Scene 1, portrays Quince calling out as Bottom appears to the mechanicals wearing the ass’s head. “O monstrous! O strange! we are haunted”. Puck watches from above.
Twelfth Night, Act 3, Scene 4, provides us with Sir Toby egging on Sir Andrew to fight with Viola, backed up by Fabian.
Coriolanus, Act 5, Scene 3, shows Virgilia standing with Young Martius who kneels, while Volumnia pleads with her son Coriolanus.
Then we have the scene from the Merchant of Venice as shown above, followed by Antony and Cleopatra, Act 3, Scene 11. Cleopatra, supported by Charmian approaches Antony who is in despair after losing the battle. Eros addresses him “Most noble sir, arise, the queen approaches”.
Then we get the histories with Henry V, Act 3 Scene 1, as Henry cries “Once more unto the breach” and leads his troops at the siege of Harfleur.
Richard II, Act 3 Scene 3 (currently playing at the RSC with David Tenant as the King) is shown where, outside Flint Castle, Bolingbroke kneels to Richard and states: “fair cousin, you debase your princely knee”. Bolingbroke’s supporters are Northumberland, Percy and York, while behind Richard are the Bishop of Carlisle and Aumerle.
King John, Act 4, Scene 3, forms the penultimate frieze as the Bastard intervenes between Salisbury, who has drawn his sword, and Hubert over the body of Prince Arthur. Pembroke and Bigot stand by watching.
Finally, we reach Richard III, Act 1, Scene 2, as Richard offers his breast to Lady Anne for her to kill him. “Nay, now dispatch: ’twas I that stabbed young Edward”.
Such sophistication of bank branches can be seen in many historical buildings but this one is a standout and must be the most amazingly historical bank branch I have ever seen (unless anyone wants to suggest a better one?).
Meanwhile, HSBC celebrated Shakespeare’s birthday this year, with these anecdotes about the Bard.
The word “money” appears more than 150 times in Shakespeare’s complete works, and rarely in complimentary terms. Iago in Othello says cash is worthless compared to a good reputation (“who steals my purse steals trash”); Polonius in Hamlet warns of the dangers of finance in human relationships (“neither a borrower nor a lender be”); and the ruthless banker Shylock in The Merchant of Venice presents a troubled figure.
This has not stopped printers putting Shakespeare’s likeness on money. A £10 note dating from around 1870 was issued by the branch of the Stourbridge & Kidderminster Banking Company, which would later become part of Midland Bank and then HSBC.
The issuing branch is the one with the friezes and sculptures.
You may wonder why a branch could issue a note but, back then, most regional banks outside London printed their own notes. It was traditional to include pictures of local landmarks or local heroes, and it is natural that a bank in Stratford-upon-Avon chose Shakespeare.
Privately issued notes became rarer as the Bank of England gradually consolidated its position as the main body for minting currency, and by the 1920s they had almost disappeared. However, in the 1970s, the Bank of England started putting pictures of notable historical figures on the back of its notes – and the first person chosen was Shakespeare. He was on the back of the £20 note that was in circulation in the 1970s and 1980s.
What culture and so, to conclude, all I can say is that:
All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts ...