The National Gallery — Attraction in London

The architecture built with colossal Cornithian columns is designed by the Greek revival architect William Wilkins.

Excerpts on Ptolemy I Soter (Saviour)

Soter (acoxrip): saviour The Greek term soter meaning saviour is an epithet referenced to Ptolemy, one of the four diadochs (successors) to Alexander the Great who conceived ‘a new artificial Macedonia’ that became the Ptolemaic Dynasty in Egypt (Bevan 1927: 9). ‘In 304 Ptolemy aided the inhabitants of Rhodes against Antigonus and was accorded the divine title Soter (Savio[u]r), which he was commonly called from that time’ (Werner 2025: 1st paragraph).

We cannot know for sure who first called Ptolemy [acoxrip] and the consensus is still the Rhodians, who were following Athenian precedent. However, it is more likely that it was his own people who did so, in 306, after the army proclaimed him king…He thus became acoxrip for saving his kingdom from the Antigonids - just as, by way of analogy, Antiochus I was named acoxrip for rescuing his people from the Gauls in 275 (Worthington 2016: 130).

This epigraphical evidence, along with the silence of Diodoros, allows us to question the comment in Pausanias. But Pausanias, as we have already seen, is a dubious source on Ptolemaic matters, so that we have good grounds to conclude that Ptolemy I may not have got an epiklesis attached to his name in 304 (Hazzard 1992: 56).

Lagos (laagos): leader of the people Ptolemaic Egypt was rooted in ‘that same Greek civilization which is the parent of the modern civilization of Europe’ (Bevan 1927: 38). All the subsequent pharaohs bore the name Ptolemy after Ptolemy Lagos to distinguish the different epithets (Bevan 1927; Escolano-Poved 2023).

The Macedonian chieftain, bearing the Greek name of Ptolemaios, who came to Egypt [a]s its new ruler, was the son of a certain Lagus (Lagos or Laagos: the longer form of the name is given in the contemporary papyrus of Elephantine, and it is probably just the Greek La-agos, "Leader-of-the-People") (Bevan 1927: 20).

Collins (1997) also notes that ‘the poem of Theocritus is thus the earliest, official seal of approval of a connection between Ptolemy I and the patronym “Lagos”. It also confirms that, according to his son Ptolemy II, Ptolemy I was not fathered by Philip (457).

The names of his children – Leontiscus, Lagos [a]nd Eirene – also help to confirm that Ptolemy had not, and never claimed a relationship with Alexander the Great. This can be deduced from the practice of the noble Macedonian families to reuse the names of prestigious members of their family or the family into which they wed (see the genealogical trees of the diadochi in today's standard texts). If Ptolemy was a member of the family of Alexander, or if he had chosen to promote this belief, it is thus odd that he did not use any of the family names of Alexander, or indeed, any of the popular names of any Macedonian nobility for any of his three children, who were apparently born after the death of Alexander the Great (Collins 1927: 441).

Sources: Bevan, E. R. 1927. Ptolemy I (Soter). In The House of Ptolemy. https://penelope.uchicago.edu/thayer/e/gazetteer/places/africa/egypt/_texts/bevhop/2*.html

Collins, N. L. 1997. The various fathers of Ptolemy I. Mnemosyne, 50(4), 436–476. http://www.jstor.org/stable/4432755

Escolano-Poveda, M. n.d. Cleopatra VII: scholar, patron, queen. https://arce.org/resource/cleopatra-vii-scholar-patron-queen/

Hazzard, R. A. 1992. Did Ptolemy I get his surname from the Rhodians in 304? Zeitschrift Für Papyrologie Und Epigraphik, 93, 52–56. http://www.jstor.org/stable/20188734

Ptolemy I Soter I. n.d. British Museum. https://www.britishmuseum.org/collection/term/BIOG55387

Werner, R. Ptolemy I Soter. 2025. Encyclopaedia Britannica. https://www.britannica.com/biography/Ptolemy-I-Soter

Worthington, I. 2016. Ptolemy I as Soter: The silence of epigraphy and the case for Egypt. Zeitschrift Für Papyrologie Und Epigraphik, 198, 128–130....

⭐️⭐️⭐️⭐️⭐️ 5/5

The British Museum is an absolute gem in the heart of London and a paradise for history lovers. With its vast collection of artifacts spanning thousands of years and countless cultures, this museum offers an unparalleled journey through human history. Whether you’re a dedicated history buff or a casual visitor, the British Museum provides an enriching and comfortable experience that’s well worth your time.

World-Class Collection of Artefacts

One of the standout aspects of the British Museum is, of course, its extensive collection of over eight million artifacts, many of which are on display in a variety of themed galleries. It’s incredible to witness the breadth of human civilization housed under one roof. Some of the most famous items include the Rosetta Stone, the key to deciphering Egyptian hieroglyphs, and the Elgin Marbles, a stunning collection of sculptures from the Parthenon in Athens. These pieces alone are worth a visit, given their historical significance and beauty.

The Egyptian mummies are another must-see, offering a fascinating glimpse into ancient burial practices. The detail and preservation of the mummies and coffins are astounding. The museum’s Assyrian Lion Hunt reliefs and colossal statues from ancient Mesopotamia are equally awe-inspiring, transporting you back to an era of grand empires and mythologies.

I was particularly impressed by the Lewis Chessmen — beautifully carved medieval chess pieces — and the intricate Oxus Treasure, an exceptional collection of Persian gold and silver artifacts. Additionally, the galleries featuring Japanese samurai armor, Roman mosaics, and the Sutton Hoo treasures from Anglo-Saxon England are captivating and offer insight into diverse historical periods.

Comfort and Accessibility

The British Museum has done an excellent job in ensuring that visitors have a comfortable experience. Admission is free, which is amazing given the caliber of the collection. Though the museum can be busy, the layout of the galleries is spacious, making it relatively easy to explore at your own pace. The central Great Court, with its stunning glass roof designed by Norman Foster, is a beautiful space to relax, take in the architecture, or plan your visit.

There are plenty of places to sit throughout the museum, including benches within the galleries, which is a welcome feature for those who need to take a break while admiring the exhibits. The signage and maps are clear and informative, making it easy to navigate the expansive building.

Facilities and Services

The facilities at the British Museum are excellent. There are clean restrooms on each level, and the cafés offer a good selection of snacks, drinks, and light meals. If you want to make your visit even more informative, audio guides and guided tours are available, providing deeper insights into the exhibits. The museum also has a well-stocked gift shop where you can find books, replicas, and souvenirs related to the collections.

For those with accessibility needs, the museum is very accommodating. There are lifts to all floors, accessible restrooms, and helpful staff ready to assist. This thoughtfulness adds to the overall ease and comfort of the visit.

Final Thoughts

The British Museum offers a truly world-class experience. The diversity and richness of the artifacts provide an unforgettable journey through the history of humanity. Whether you’re marveling at ancient wonders, enjoying the beautifully designed spaces, or simply soaking in the atmosphere, the museum does an outstanding job of making history accessible and enjoyable. A 5/5 star experience — absolutely not to be missed...

The National Gallery is not a single building but a fascinating, evolving structure that tells a story of architectural compromise, ambition, and adaptation over two centuries. Located prominently on the north side of Trafalgar Square, its architecture presents a powerful contrast between Neoclassical tradition and Postmodern modernism.

The Wilkins Building: Neoclassical Grandeur The main, central building, known as the Wilkins Building, is the iconic face of the National Gallery, designed by William Wilkins and opened in 1838.

Appearance and Style: It is a prime example of Greek Revival architecture, featuring a long, relatively low facade topped by a triangular pediment and flanked by impressive Corinthian columns. It was intended to be a "temple to art," giving the new national collection a prestigious public home accessible to all social classes.

The Compromise: The design was notoriously criticized upon opening. Wilkins was forced to compromise due to budgetary constraints and the requirement to incorporate an existing barracks building behind it, which led to a structure that many contemporaries found too shallow and lacking the grandeur of the Louvre or other European galleries. The columns themselves were salvaged from the demolished Carlton House.

Adaptation and Expansion: The building has been continually expanded over the decades to house the growing collection. Notable additions include the central Barry Rooms (1872–1876), designed by E. M. Barry, which added a beautiful central octagonal dome, and other extensions that have subtly expanded the gallery's footprint while retaining the Neoclassical feel of the main public spaces.

The Sainsbury Wing: Postmodern Intervention The most significant architectural addition is the Sainsbury Wing, which opened in 1991 on the western side of the complex.

Context and Controversy: The initial design for an extension was famously rejected after Prince Charles described it as a "monstrous carbuncle." The final, Grade I-listed design was done by the American architectural pioneers Robert Venturi and Denise Scott Brown, masters of Postmodern architecture.

Postmodern Dialogue: The Sainsbury Wing deliberately uses the same Neoclassical vocabulary—limestone cladding, columns, and cornices—as the Wilkins Building, but with postmodern inflection. It mimics the style but uses a different, more spare grammar. For instance, columns appear where they are not structurally necessary, reinforcing a feeling of weight and anticipation.

Interior Experience: The interior was specifically designed to house the gallery's early Renaissance paintings (13th to 16th centuries). The galleries feature white walls and grey pietra serena sandstone columns, deliberately evoking the ambiance of a Florentine Renaissance church or palazzo. The architects created a sense of procession, leading visitors from a more compressed entrance hall (recently brightened in a 2024 refurbishment by Selldorf Architects) up a grand staircase and into the beautifully lit...