The first suggestion for a National Gallery on Trafalgar Square came from John Nash, who envisaged it on the site of the King's Mews, while a Parthenon-like building for the Royal Academy would occupy the centre of the square.
Economic recession prevented this scheme from being built, but a competition for the Mews site was eventually held in 1831, for which Nash submitted a design with C. R. Cockerell as his co-architect.
Nash's popularity was waning by this time, however, and the commission was awarded to William Wilkins, who was involved in the selection of the site and submitted some drawings at the last moment.
Wilkins had hoped to build a "Temple of the Arts, nurturing contemporary art through historical example", but the commission was blighted by parsimony and compromise, and the resulting building was deemed a failure on almost all counts.

The site only allowed for the building to be one room deep, as a workhouse and a barracks lay immediately behind.
To exacerbate matters, there was a public right of way through the site to these buildings, which accounts for the access porticoes on the eastern and western sides of the façade.
These had to incorporate columns from the demolished Carlton House and their relative shortness result in an elevation that was deemed excessively low, and a far cry from the commanding focal point that was desired for the northern end of the Square.
Also recycled are the sculptures on the façade, originally intended for Nash's Marble Arch but abandoned due to his financial problems.
The eastern half of the building housed the Royal Academy until 1868, which further diminished the space afforded to the Gallery.

The building was the object of public ridicule before it had even been completed, as a version of the design had been leaked to the Literary Gazette in 1833.

Two years before completion, its infamous "pepperpot" elevation appeared on the frontispiece of Contrasts (1836), an influential tract by the Gothicist A. W. N. Pugin, as an example of the degeneracy of the classical style.
Even William IV (in his last recorded utterance) thought the building a "nasty little pokey hole", while William Makepeace Thackeray called it "a little gin shop of a building".
The twentieth-century architectural historian Sir John Summerson echoed these early criticisms when he compared the arrangement of a dome and two diminutive turrets on the roofline to "the clock and vases on a mantelpiece, only less useful".
Sir Charles Barry's landscaping of Trafalgar Square, from 1840, included a north terrace so that the building would appear to be raised, thus addressing one of the points of complaint.
Opinion on the building had mellowed considerably by 1984, when Prince Charles called the Wilkins façade a "much-loved and elegant friend", in contrast to a proposed extension. (
See below)
The first suggestion for a National Gallery on Trafalgar Square came from John Nash, who envisaged it on the site of the King's Mews, while a Parthenon-like building for the Royal Academy would occupy the centre of the square. Economic recession prevented this scheme from being built, but a competition for the Mews site was eventually held in 1831, for which Nash submitted a design with C. R. Cockerell as his co-architect. Nash's popularity was waning by this time, however, and the commission was awarded to William Wilkins, who was involved in the selection of the site and submitted some drawings at the last moment. Wilkins had hoped to build a "Temple of the Arts, nurturing contemporary art through historical example", but the commission was blighted by parsimony and compromise, and the resulting building was deemed a failure on almost all counts.
The site only allowed for the building to be one room deep, as a workhouse and a barracks lay immediately behind. To exacerbate matters, there was a public right of way through the site to these buildings, which accounts for the access porticoes on the eastern and western sides of the façade. These had to incorporate columns from the demolished Carlton House and their relative shortness result in an elevation that was deemed excessively low, and a far cry from the commanding focal point that was desired for the northern end of the Square. Also recycled are the sculptures on the façade, originally intended for Nash's Marble Arch but abandoned due to his financial problems. The eastern half of the building housed the Royal Academy until 1868, which further diminished the space afforded to the Gallery.
The building was the object of public ridicule before it had even been completed, as a version of the design had been leaked to the Literary Gazette in 1833.
Two years before completion, its infamous "pepperpot" elevation appeared on the frontispiece of Contrasts (1836), an influential tract by the Gothicist A. W. N. Pugin, as an example of the degeneracy of the classical style. Even William IV (in his last recorded utterance) thought the building a "nasty little pokey hole", while William Makepeace Thackeray called it "a little gin shop of a building". The twentieth-century architectural historian Sir John Summerson echoed these early criticisms when he compared the arrangement of a dome and two diminutive turrets on the roofline to "the clock and vases on a mantelpiece, only less useful". Sir Charles Barry's landscaping of Trafalgar Square, from 1840, included a north terrace so that the building would appear to be raised, thus addressing one of the points of complaint. Opinion on the building had mellowed considerably by 1984, when Prince Charles called the Wilkins façade a "much-loved and elegant friend", in contrast to a proposed extension. (See below)
National Gallery