by Arietta Pouliou
Step into 170 years of history, art, and exquisite flavours in the world’s first museum restaurant
Back in the distant 1850s, Londoners would board horse-drawn cabs to travel from central London to what was then the remote area of Brompton, in order to visit the collections of applied arts and sciences housed at the South Kensington Museum. They could even do so in the late afternoon, thanks to the museum’s galleries being illuminated by gas lamps – a world first at the time. Yet, this was not the only innovation awaiting visitors to the imposing building. Alongside its cultural treasures, it was also home to the world’s first museum restaurant.
More than 170 years later, some aspects of this iconic museum have evolved significantly, while others—fortunately—have preserved their historical continuity for the benefit of its millions of admirers and visitors. The Victoria and Albert Museum, as it is now known—a tribute to Queen Victoria and Prince Albert, fervent patrons of the arts and sciences—is the world’s largest museum of decorative arts, renowned for its vast permanent collections and its outstanding temporary exhibitions. And while reaching South Kensington is now effortless thanks to the London Underground, and gas lighting has long since disappeared, the V&A’s restaurant remains an integral part of the visit – not only for its freshly prepared hot and cold dishes, but for the rare experience of dining within magnificent historic interiors steeped in centuries of cultural legacy.
• The original idea
Henry Cole, the museum’s first director, had a clear objective. On the one hand, the new cultural institution was meant to act as a compelling alternative to the pubs and gin palaces frequented by Londoners – something made possible by allowing afternoon visits. On the other, it sought to encourage the public to engage with the applied arts, with an on-site restaurant adding a social dimension and completing the museum-going experience. Cole’s experience at the Great Exhibition of 1851 -where it became evident that visitors needed a cup of tea and a slice of cake or a proper hot meal- led to the creation of the first museum dining facilities. The V&A’s Refreshment Room, inaugurated in 1856, was a pioneering move, as most cultural institutions would not invest in catering services until well into the 20th century.
As visitors entered the museum grounds through the gardens, they were not greeted by impressive exhibits but by three arched glass doors leading to the three rooms of the refreshment area, a temporary structure located in the eastern wing of the building. Designed by Francis Fowke, the rooms featured exposed wooden beams inspired by Tudor-style architecture and stood in stark contrast to the museum’s aesthetic. The result was so jarring that one of the era’s most respected newspapers described them as repulsively ugly. Much to the critics’ satisfaction, this first structure was demolished in 1867.
- Three brand-new, dazzling dining rooms – The Ggrandeur of the Gamble Room
Three new dining spaces immediately replaced the previous facilities – with the distinct names Gamble, Poynter and Morris, yet forming a unified restaurant – although the decorative work that began in 1868, continued for many years. The first room, initially known as the Centre Refreshment Room and later as Gamble Room, occupied a strategic location directly opposite what was intended to be the main entrance, enticing visitors with the mouthwatering aromas of the kitchen and the cheerful, welcoming atmosphere created by the diners themselves. Yet it achieved much more: it literally dazzled with its stunning decoration -arches, Ionic columns, marble fireplaces, colourful ceramics, glass, and enamel wrapped the space in brilliance, with newspapers now acknowledging it as a bright and joyful room, reminiscent of the richly adorned and cheerful cafés of Paris. The intricate décor was conceived by Godfrey Sykes, a highly respected young artist hired by Cole, and after his untimely death, the design baton passed to James Gamble, who lent his name to the room.
The walls and imposing columns were clad in vibrant majolica tiles, glazed with lead – a pioneering technique first showcased at the 1851 Exhibition, modelled on Italian Renaissance examples. The same period inspired bas-reliefs of putti gathering food, dining, or reading newspapers, while the grand space was further adorned with large mirrors framed in ceramic, carved scenes of elephants and camels surrounding the doors, and stained-glass windows cleverly concealing the kitchens, ice storage, and art school buildings behind. The ceiling featured enamelled iron sheets reminiscent of the glazed signs at contemporary railway stations.
Carefully selected, the luxurious decorative materials were designed not only to impress but also to serve a practical purpose: they were easy to clean, facilitating the maintenance of the dining area, while remaining resistant to steam, cooking odours, and fire, effectively creating a fireproof enclosure within the museum, which was a crucial feature at a time when, in the event of a fire, horse-drawn fire engines would have required a long time to reach the South Kensington site, still a remote, isolated suburb in the 1860s.
- For Grilled Dishes at the Poynter Room
Smaller and exuding a remarkably different atmosphere from the central hall, the dining room to the east of the Gamble Room was originally called the Grill Room -later the Poynter Room– and specialized in grilled dishes, serving hungry V&A visitors ribs and steaks. The painter Edward J. Poynter was commissioned to decorate the space, which featured an open cast-iron hearth on one wall and «warm chambers» on either side where the dishes were kept hot. Like Gamble, Poynter used glazed tiles on the walls, mainly in the blue-and-white tones of traditional Dutch ceramics. The tiles were painted by female students from the National School of Fine Arts, earning 6-9 pence an hour – a rare public commission for women at the time.
In contrast to the European luxury of the Gamble Room, the Poynter Room revealed Oriental influences, particularly in the undulating patterns and exotic floral and peacock motifs, foreshadowing the advent of the Aesthetic Movement in Britain. On the upper walls, sets of painted tiles represented the months, the seasons, and the zodiac signs, while below, fruits and flowers were interspersed with portraits of women from classical literature, including Helen of Troy, Aphrodite, Medea, and Sappho.
Visitors could choose from three different menus according to their social standing. In 1867, the first-class menu included dishes such as hare in a clay pot (1 shilling and 6 pence), meat pudding (1 shilling), and seasonal tarts (half a shilling). The second-class menu offered items like beef steak (10 pence), poached egg with spinach (1 shilling), and for dessert sweet rolls or sponge cake (1 penny). The third-class menu was intended for «engineers and all workers employed in the Museum buildings, as well as humble working-class visitors», but considering that a typical unskilled worker earned just £1 a week, dining at the V&A restaurant was by no means cheap.
- The Revival of Gothic Style in the Morris Room Dining Hall
Although William Morris would later become one of the most famous designers of the Victorian era, at the time Henry Cole hired him to design the West or Green Dining Room -later known as the Morris Room-, he was only 31 years old and his company, Morris, Marshall, Faulkner & Co., was relatively unknown. Morris, who would go on to lead the Arts & Crafts Movement, proposed a design inspired by the features of the Gothic Revival, with Elizabethan-style inset panels.
He also enlisted the help of his friends in the project that would eventually bear his name: architect Philip Webb drew inspiration from a wide range of medieval and ecclesiastical sources, while painter Edward Burne-Jones added zodiac symbols and images of medieval women performing domestic tasks. The result was a green-toned dining room lined with matching beech wood, encircled by a stucco frieze of olive branches and a hunting frieze depicting hounds chasing hares, a ceiling covered in geometric patterns and floral arabesques, and stained-glass windows with figurative motifs. The overall effect was so striking that the room soon became a popular gathering place for artists and friends, including J.M. Whistler, Edward Poynter, and George du Maurier – although Edward Burne-Jones preferred to dine in the Poynter Room.
- 70 Years of Radiant History
Nearly 170 years later, the acclaim garnered by the three dining rooms of the V&A Café and Restaurant for the richness and breadth of their decoration, fully justifies Henry Cole’s pioneering vision and persistence: that these three spaces should reflect a wide spectrum of contemporary artistic trends in design and decoration. From the Renaissance-inspired Gamble Room and the international aesthetic of the Poynter Room to the lavish eclecticism of the Morris Room, the restaurant has always offered -and continues to offer- something for everyone, while celebrating its storied past. The Gamble Room still dazzles with its golden tones and intricate décor, and, remaining virtually unchanged, with a grand piano at its centre, it transports visitors straight back to the late 19th century. On either side, the Poynter and Morris rooms retain their distinctive character, continuing to impress diners today just as they did 169 years ago. Whichever room you choose for a break or a meal in South Kensington, you will first pass through the popular self-service buffets, a lunchtime favourite.
The menu changes daily and consistently features a wide variety of delicious dishes, from salads, soups, and traditional British meat pies to club sandwiches, perfectly crafted burgers, and Indian curries. The freshly made desserts take centre stage as well, including handmade cakes, traditional puddings, muffins, and hearty bars, complemented by hot drinks, juices, and soft beverages. Undoubtedly, this is an experience that delights all the senses, worthy of the fame and masterpieces of the Victoria and Albert Museum.
Address: Cromwell Road, South Kensington, SW7 2RL
*Arietta Pouliou is a Travel journalist, Fashion lover, Foodie, Dreamer, Arts and Sculptures lover, Ice cream addict, Wine enthusiast, you name it. A great contributor to allaboutshipping.co.uk on very special issues accompanied by great photos!
