You see all those tired people on the benches? Some of them are there simply because they are overstimulated. Instead, with this National Gallery self-guided tour, I’ve curated the most important works and a few of my personal favourites. By following along, you can ensure you have a guide around the museum, but take things at your own pace and don’t get overwhelmed.

Table Of Contents

1. Why Take a National Gallery Self-guided Tour?
2. Admission to the National Gallery of London
3. Map of Self-Guided Tour of the National Gallery of London
4. Room 12: Hans Holbein the Younger, 'The Ambassadors'
5. Room 14: Venus and Mars by Sandro Botticelli
6. Room 9: Leonardo da Vinci, 'The Virgin of the Rocks'
7. Room 15: Saint Michael Triumphs over the Devil by Bartolomé Bermejo
8. Room 18: Samson and Delilah by Peter Paul Rubens
9. Room 22: Rembrandt's A Woman Bathing in a Stream 
10. Room 25: Lucas Cranach the Elder, Cupid complaining to Venus
11. Room 28: The Arnolfini Portrait by Jan van Eyck
12. Room 27: The Ugly Duchess by Quinten Massys
13. Room 29: Titian's Bacchus and Ariadne
14. Room 30: The Toilet of Venus by Diego Velázquez
15. Room 32: The Supper at Emmaus by Caravaggio
16. Room 34: The Fighting Temeraire by Joseph Mallord William Turner
17. Room 41: The Water-Lily Pond by Claude Monet
18. Room 41:  The Umbrellas by Pierre-Auguste Renoir
19. Room 43: A Wheatfield with Cypresses by Vincent van Gogh
20. Room 43:  Bathers at Asnières by Georges Seurat
21. Room 45: The Execution of Lady Jane Grey by Paul Delaroche

Why Take a National Gallery Self-guided Tour?

Even if you’re not in a rush, a self-guided highlights tour of the National Gallery allows you to efficiently explore the vast collection of over 2,300 pieces without feeling overwhelmed.  A phenomenon called ‘museum fatigue‘  happens when we become mentally and physically exhausted due to the overwhelming number of exhibits and information in museums and galleries. This often leads to mental overload and a decreased ability to appreciate the art when we feel overstimulated and disengaged. However, a self-guided tour is short enough not to lose your interest, and being guided means you don’t need to make decisions after making decisions on where to go and what to see.

By focusing on the most notable and significant works, you can enjoy a personalized experience that allows you to spend more time with the art that captivates you. Plus, with the flexibility to control your pace and take breaks as needed, so you’ll avoid feeling lost or overstimulated. This tour will also provide insightful commentary to deepen your understanding while ensuring you maximize your visit. So, whether you’re an art enthusiast or just curious, a self-guided tour lets you explore the National Gallery!

How Long Is This Tour?

This tour is designed to get you through the most important works inside the gallery in under two hours. This is the perfect amount of time and leaves enough wiggle room for you to branch off if you feel like exploring other works that catch your eye.

Do not be discouraged if any paintings are not on display during your visit. There is SO MUCH to see here, and if your favourite is missing, make it your mission to discover another new favourite!

Admission to the National Gallery of London

Admission to the National Gallery in London is free, allowing visitors to explore over 2,300 paintings. Some special exhibitions may require paid tickets, but we won’t cover anything from those on our tour. My self-guided tours are always free, but you are more than welcome to buy me a coffee if you want to support this blog’s free content!

Despite the fact that entry is free, it is always recommended you still book your tickets in advance. You can still select the free option but by doing this, you can skip the long queue and guarantee your entry to the museum as some days frequently fully-book up in advance and you will not be able to get inside. 

Map of Self-Guided Tour of the National Gallery of London

Enter via the Portico Entrance

Currently, visitors to the National Gallery in London enter primarily through the Portico Entrance, at the centre of the Gallery overlooking Trafalgar Square. As you step inside, you’ll be greeted by a stunning, sunfilled atrium that leads to a series of rooms, each filled with beautiful works of art. To start our tour, we will head into Room 12, just off to the left of the Central Hall. Inside this room, you’ll find one of the most enchanting and intriguing paintings of the 16th century, the ‘The Ambassadors’ by Hans Holbein the Younger, painted in 1533.

Room 12: Hans Holbein the Younger, ‘The Ambassadors’

The Ambassadors by Hans Holbein the Younger is a fascinating double portrait with intricate details and hidden meanings. In a room adorned with luxurious fabrics, two men stand side by side, exuding the confidence and wealth of the Renaissance elite. On the left is Jean de Dinteville, a French ambassador dressed in opulent furs and a striking pink satin doublet. On the right is his companion, Georges de Selve, a bishop and ambassador who wears a more sombre yet elegant robe.

In front of them is a meticulously arranged table showcasing their intellectual interests and items popular in the Renaissance era. The upper shelf displays instruments related to astronomy and timekeeping, symbolizing their quest for knowledge and the celestial realm. Below, the lower shelf holds musical instruments, a lute with a broken string, and an open hymn book, hinting at the fragility of harmony in music and life.

But wait, there’s a twist! At the bottom of the painting lies an odd, elongated shape that is difficult to discern. But when viewed from the right angle, it reveals itself as a skull—a stark reminder of mortality cleverly hidden through anamorphosis. This skull, along with a crucifix partially obscured in the upper left corner, contrasts the opulence of the scene and reminds viewers of the transient nature of earthly pleasures.

Holbein masterfully uses perspective and symbolism to infuse the painting with layers of meaning. The globe in the painting is so detailed that it reveals Jean de Dinteville’s estate in Polisy, France, and the lute’s broken string is often interpreted as a symbol of religious discord during the Reformation.

Room 14: Venus and Mars by Sandro Botticelli

Make a quick stop inside Room 14, where you can find the stunning sensuous Venus and Mars by Sandro Botticelli. Venus, the goddess of love, reclines languidly on a grassy bank, her serene expression radiating tranquillity as she gazes across at Mars, the god of war. Mars, overcome by sleep, lies opposite her with his armour carelessly discarded around him, exposing his muscular body. He is utterly at peace, a stark contrast to his usual fierce demeanour, subdued by the power of love.

Venus is elegantly draped in flowing white fabric that cascades around her, accentuating her graceful form. Her long, golden hair tumbles down her shoulders, catching the soft light and adding a touch of warmth to the composition. Her gaze is calm yet commanding, suggesting her mastery over Mars, depicted in a dreamy vulnerability.

In the foreground, a group of mischievous satyrs plays with Mars’s armour, one trying on his helmet while another blows into his conch shell like a trumpet, amusing themselves in the god’s slumbering presence. These playful figures add a whimsical touch to the scene, symbolizing the folly of war and the triumph of love.

Venus and Mars were likely commissioned to celebrate a wedding, and the theme of love conquering all would have resonated with newlyweds of the time. The laurel tree in the background and the myrtle plants near Venus are symbols of fidelity and everlasting love, while the satyrs’ playful antics suggest the joys and challenges of marital life.

Room 9: Leonardo da Vinci, ‘The Virgin of the Rocks’

Continue walking west towards Room #9, where, during the closure of the Sainsbury Wing, you’ll find Leonardo da Vinci‘s The Virgin of the Rocks. This painting, completed in the late 15th century, is a masterpiece of Renaissance art. Leonardo da Vinci transports viewers into an enchanting, mystical grotto where the divine and the natural intertwine. A shadowy cave is bathed in a soft, ethereal light. In the center, the Virgin Mary sits gracefully, her serene face framed by cascading waves of auburn hair. She reaches out to embrace an angelic infant, John the Baptist, who gazes up with adoration at the Christ Child beside her. Jesus, with one hand raised in blessing, looks playfully at John while an angel to the right gently gestures toward them.

The rocky backdrop, lush with ferns and flowers, leads your eye to distant peaks that shimmer in the twilight haze. You can almost hear the trickle of water as it cascades down the moss-covered cliffs, adding a touch of magic to the scene. Using sfumato, Leonardo’s signature blending technique gives the painting a dreamy, soft-focus quality that brings the figures to life. And then there’s the symbolism. The cave itself is thought to represent the Virgin Mary’s womb, while the figures’ careful positioning forms a perfect triangular composition, symbolizing the Holy Trinity. The angel, identified as Uriel, serves as a celestial guide, his enigmatic smile inviting us into the sacred mystery.

Variations on the Painting

But here’s a fascinating twist: The Virgin of the Rocks has two versions. The one hanging in the National Gallery is thought to be the second version, painted by Leonardo and his assistants after a dispute with the Confraternity of the Immaculate Conception over the original, which resides in the Louvre. Despite the controversy, both versions share the same ethereal beauty and attention to detail. In the National Gallery version, the angel Uriel’s right hand initially pointed directly at John the Baptist in a gesture of recognition, but Leonardo later altered this detail to make the composition more subtle and mysterious. 

Room 15: Saint Michael Triumphs over the Devil by Bartolomé Bermejo

Walk north into Room 15; I love to bring people to study Bartolomé Bermejo’s Saint Michael Triumphs over the Devil. Saint Michael Triumphs over the Devil by Bartolomé Bermejo is a dazzling display of medieval imagination and gothic grandeur that whisks you away to a world of celestial battles and divine triumphs. In a richly detailed scene, Saint Michael stands imposingly atop a writhing, grotesque devil, his polished armour gleaming like molten gold in the sunlight. His wings unfurl behind him, a radiant and shimmering rainbow of colours.

Saint Michael’s expression is one of calm determination as he raises a delicate yet formidable sword, preparing to deliver the final blow to his snarling foe. The Devil beneath him is a terrifying fusion of reptile and demon, with scales, horns, and bulging eyes that dart frantically in all directions. Bermejo’s meticulous brushwork brings this nightmarish creature to life, making you almost feel its desperate struggle against the saint’s unwavering might.

The Tiny Details

Look closely at the saint’s breastplate, and you’ll see exquisite reflections of the holy city of Jerusalem as described in the Book of Revelation. The jewel-like colours and intricate patterns of his garments and armour reveal Bermejo’s unparalleled skill, influenced by Flemish painting but distinctly Spanish in style. The golden brocade glimmers with every movement as if the saint is caught between the material and spiritual worlds.

Bermejo painted Saint Michael’s Triumphs over the Devil for a merchant named Antonio Juan, who appears kneeling at the saint’s feet in prayer. His inclusion as a donor reflects the era’s tradition of combining devotional art with personal commemoration. 

Room 18: Samson and Delilah by Peter Paul Rubens

Straight ahead, step into Room 18, where we can find several paintings by Peter Paul Rubens. Samson and Delilah by Peter Paul Rubens is a sumptuous masterpiece that immerses you in the dramatic climax of one of the Bible’s most infamous love stories. A dimly lit room, where the warm glow of a single candle casts dancing shadows on the crimson drapery and richly textured fabrics, is the chamber where lies the mighty Samson, slumped in Delilah’s lap, his muscular body glowing in the soft light as he drifts into a deep, wine-induced sleep. Delilah, draped in a lavish red satin gown that shimmers with golden highlights, looks down at Samson with a sly smile. Her expression is a mix of triumph and tenderness as she strokes his thick curls, signalling to an old woman beside her to cut his hair, the secret of his legendary strength. The old woman watches with a knowing gaze while a furtive barber crouches in the shadows, scissors poised to sever Samson’s fate.

But the scene is far from peaceful. Behind the lovers, hidden in the deep shadows, soldiers armed with spears and helmets wait in anticipation, ready to capture the hero as soon as he is rendered powerless. Rubens brilliantly orchestrates this tense moment, balancing intimacy with looming danger, all within the rich, chiaroscuro palette that evokes the influence of Caravaggio. Rubens was inspired by Caravaggio’s The Taking of Christ and often borrowed motifs from the Italian master’s dramatic style. In Samson and Delilah, he paints Samson’s limp hand mirroring the composition of Michelangelo’s Creation of Adam on the Sistine Chapel ceiling, suggesting a loss of divine power.

Room 22: Rembrandt’s A Woman Bathing in a Stream 

The National Gallery features several famous Rembrandt’s, but Rembrandt‘s A Woman Bathing in a Stream is the most enigmatic to me. This quietly captivating painting invites you into an intimate and contemplative moment frozen in time. In the center stands a solitary woman, her head gently bowed as she lifts the hem of her white chemise, delicately dipping her toes into the cool, reflective water. Rembrandt’s mastery of chiaroscuro is on full display, with the woman bathed in a soft, golden light that contrasts beautifully against the dark, earthy tones of the surrounding foliage. Her youthful face is serene, a faint smile playing on her lips as if she’s caught in a moment of quiet reflection. The subtle blush on her cheeks and slightly furrowed brow convey an innocence and vulnerability that make her seem almost tangible.

The textures are mesmerizing: the delicate folds of her chemise ripple in the soft breeze, her loosely bound hair catches the evening light, and the water swirls gently around her feet. The way Rembrandt has captured the reflection in the stream and the dappled light on her skin adds to the painting’s lifelike quality. Rembrandt portrays the woman naturally, with a softness and realism that celebrates her humanity rather than idealizing her form. The result is a deeply personal and emotive work that transcends time.

The Mystery Woman

What’s particularly intriguing is the identity of the woman. Many believe she is Hendrickje Stoffels, Rembrandt’s companion and muse, who frequently appeared in his later works. Rembrandt painted this intimate piece around 1654 when he was deeply in love with Hendrickje and exploring new forms of expression. His tender attention to her features and posture reflects his affection and admiration for her. However, her simple attire and modest demeanour suggest she may represent a biblical figure, such as Susanna or Bathsheba. Rembrandt leaves this deliberately ambiguous, allowing viewers to interpret the scene through their own lens. The painting also stands out for its departure from classical ideals of beauty. 

Room 25: Lucas Cranach the Elder, Cupid complaining to Venus

Make your way toward Room 25, which contains a myriad of paintings by Lucas Cranach, the Elder. My favourite from this collection is Cupid complaining to Venus due to the delightful and playful nature of this painting. Venus stands in a sunlit glade with towering trees, the epitome of beauty and grace, her delicate form glowing against the dark foliage. She wears nothing but a red, feathered hat and lavish necklace. Her relaxed pose and enigmatic smile hint at a serene confidence.

Beside her stands Cupid, her mischievous son, looking up at her with a pouty expression as he complains about the bees that have stung him after he tried to steal honey from their hive. He holds one hand up to show Venus his plight while she listens with an amused expression, her gaze slightly averted as if she’s in on a secret joke. The contrast between Cupid’s distress and Venus’s calm demeanour adds a touch of humour to the scene. The scene represents the tempting sweetness of love but reminds us that love often comes with a sting.

Room 28: The Arnolfini Portrait by Jan van Eyck

Directly below us is Room 28, which contains perhaps one of the most famous paintings in the entire world: The Arnolfini Portrait by Jan van Eyck. This painting is a mesmerizing glimpse into 15th-century life, brimming with symbolism and exquisite detail. We see a dimly lit, opulent room where every surface shimmers with textures and colours. In the center, a couple stands facing each other, frozen in time. 

Giovanni di Nicolao di Arnolfini, a wealthy merchant, reaches out to grasp the delicate hand of his wife, believed to be Giovanna Cenami. His other hand is raised in a gesture of blessing or perhaps an oath.

Giovanni wears a long, fur-lined robe in deep green, while Giovanna is adorned in a vibrant emerald gown, the fabric pooling luxuriously around her feet. Her high-waisted dress accentuates her rounded belly, hinting at pregnancy. Her hair is carefully coiffed under a white headdress, and a delicate gold chain rests around her neck. Both figures exude wealth and status. The painting has sparked countless interpretations, with scholars debating whether it depicts a wedding, a betrothal, or a double portrait. Whatever the meaning, it’s clear that Jan van Eyck wanted to immortalize this couple in a scene that feels almost cinematic in its composition and attention to detail.

Symbolism of the Room

But the room around them truly captivates viewers to this day. The intricately woven Oriental carpet, the brass chandelier, the carved wooden bedposts, and the sumptuous drapery all speak to the couple’s affluence. The convex mirror on the back wall is the pièce de résistance, reflecting the couple and two other figures entering the room, one of whom is thought to be the artist himself. Above the mirror, Jan van Eyck leaves his unmistakable signature in Latin: “Johannes de Eyck fuit hic 1434” (“Jan van Eyck was here 1434”).

The symbolism in the painting is rich and fascinating. The little dog at their feet symbolizes fidelity, while the single candle burning in the chandelier could represent the all-seeing eye of God or the sanctity of marriage. The ripe oranges on the windowsill and table hint at fertility and wealth, as exotic fruits were rare in Northern Europe back then.

Room 27: The Ugly Duchess by Quinten Massys

In Room 27, we find another famous painting, but unlike many others in the gallery that are famed for their beauty, this one is famed for its hideousness. An Old Woman (‘The Ugly Duchess’) by Quinten Massys is a captivating and curious portrait that grabs your attention with its exaggerated features and striking expression. Despite being called ugly, we must marvel at how the picture has been painted. The old woman stands facing slightly to the left, her broad, muscular shoulders covered by a light white, voluminous blouse contrasting sharply with her wrinkled, ruddy face. Her pursed lips give her an almost comical yet somewhat sympathetic expression. Her large headdress, a lavish horned bonnet draped in white linen, gives her a distinctive, nearly mythical appearance. She holds a delicate red rosebud in her right hand between her thumb and forefinger, an ironic symbol of love and beauty that contrasts starkly with her unconventional looks.

Massys exaggerates her features for satirical effect, giving her a prominent chin, wide jawline, and a wrinkled, weather-beaten complexion. Her sagging breasts and bulging eyes lend her an exaggerated, grotesque appearance reminiscent of a caricature. Despite her somewhat humorous portrayal, there’s an underlying melancholy in her eyes, revealing a depth of emotion beyond the surface. Some speculate that she may have been afflicted with Paget’s disease, a condition that affects bone growth, further enhancing the grotesque distortion of her features. 

Inspiration for Alice in Wonderland

Massys originally painted this as part of a double portrait, paired with a companion piece that featured an older man in a matching caricature style. This pairing hinted at a satirical message about love and vanity in old age. The Duchess’s story is also linked to the tale of Alice in Wonderland, where she inspired John Tenniel’s illustrations of the Ugly Duchess character. Her distinct appearance and exaggerated features have made her an iconic figure in art history, representing the intersection of satire, beauty, and societal norms.

Room 29: Titian’s Bacchus and Ariadne

Moving back down to Room 29, let’s approach Titian‘s fantastical portrayal of the myth of Bacchus and Ariadne. This vivid and dynamic masterpiece brings the mythological story of love and transformation to life. Bacchus, the god of wine, with his crowned wreath of ivy and leopard skin draped across his body, leaps gracefully toward Ariadne from his golden chariot, his eyes locked on her with unwavering passion.

Ariadne stands on the shore, her gaze fixed in surprise and awe at Bacchus, who has fallen in love with her at first sight. Draped in a flowing azure cloak, she raises one hand in shock while the other clutches her rich red and blue robe. Her golden hair catches the sunlight, and her skin glows against the vivid colours of the sky and sea. 

The frenzy of his retinue follows close behind, creating a swirling vortex of revelry. Satyrs and maenads dance ecstatically, their bodies twisting and turning in celebration. One satyr drags a cow’s head, while another, barely visible in the shadows, holds a writhing snake. A pair of cheetahs pulls Bacchus’s chariot, adding an exotic touch to the scene. The scene is bathed in a warm Mediterranean light, illuminating the turquoise sea and the rugged coastline in the background.

Every inch of the canvas bursts with energy and movement, making you almost feel the thundering hooves and swirling drapery. The composition is carefully balanced, with Ariadne’s figure anchoring the left side while the frenetic procession cascades across the right. The cheetahs pulling Bacchus’s chariot symbolize his exotic and wild nature, while the dancing satyrs and maenads embody the spirit of uninhibited revelry.

Room 30: The Toilet of Venus by Diego Velázquez

Walking towards the east, we step into Room 30, which contains The Toilet of Venus by Diego Velázquez. This is an exquisite exploration of beauty and sensuality, inviting viewers into a serene and intimate moment. The word “toilet” might not seem immediately like something that could evoke sensual tranquillity, but we have to consider the historical context of the painting. During the period in which this was painted, the term “toilet” comes from the French word toilette, which means “little cloth” or “dressing table.” The goddess Venus reclines gracefully on a luxurious bed, her supple, alabaster skin contrasting beautifully with the rich, crimson satin sheets beneath her.  The fabric draped around her waist accentuates her delicate curves, adding a touch of modesty to the otherwise sensual scene.

Cupid, with his rosy cheeks and tousled curls, holds up a mirror for his mother, his wings slightly outstretched as if caught in mid-flutter. The mirror captures Venus’s blurred reflection, her gaze meeting ours through the glass with a serene and enigmatic expression. The subtle twist of her lips and the soft blush on her cheeks suggest a playful yet confident awareness of her beauty.

The composition is beautifully balanced, with the deep reds of the bedspread contrasting against the cool, neutral tones of Venus’s skin. The dark background enhances the luminous quality of her figure, while the delicate interplay of light and shadow gives her an almost ethereal glow. The painting is often called The Rokeby Venus because it once belonged to the Rokeby Park estate in England. It is also one of the few surviving nude paintings by Velázquez, a rarity in Spanish art of the time due to strict moral and religious codes.

Room 32: The Supper at Emmaus by Caravaggio

In the next room, framed on the rich red walls, is Caravaggio‘s masterpiece, The Supper at Emmaus. Christ sits at the center of a rustic table just as he reveals his identity to two disciples. Their expressions are a mix of astonishment and disbelief, capturing the moment they recognize him. Christ, dressed in a simple white tunic and deep red robe, raises his right hand in blessing over the bread. His serene yet commanding presence contrasts with the disciples’ startled reactions. 

On the left, one disciple leans back in shock, his mouth open in amazement as he clutches the arm of his chair, while the other disciple, on the right, throws his arms wide in disbelief, almost knocking over a bowl of fruit. Their gestures and expressions are so lifelike that you can practically hear their gasps. In front of Christ sits an innkeeper, who watches the scene with a puzzled expression, oblivious to the miracle unfolding before him. 

The table has simple yet symbolic fare, including a roasted chicken and fruit basket. The latter includes a pomegranate, symbolizing resurrection, and an apple, representing original sin. The fruit teeters precariously on the edge, suggesting the fragile line between the earthly and the divine.

Caravaggio Process

Caravaggio’s mastery of chiaroscuro—the dramatic contrast between light and shadow—creates a powerful sense of depth and immediacy. The figures are illuminated by a soft, focused light that highlights their expressions and gestures while the background remains shrouded in shadow. This technique draws viewers into the scene, making them feel like participants in the miraculous moment.

Caravaggio used real-life models for his paintings, a practice that added a striking naturalism to his work. In The Supper at Emmaus, he paints Christ without a beard, which is unusual and adds to the disciples’ surprise at his identity. The realism and immediacy of the painting caused quite a stir when it was first unveiled.

Room 34: The Fighting Temeraire by Joseph Mallord William Turner

Walking into Room 34, we are surrounded by stunning British landscapes. Joseph Mallord William Turner, commonly known as J.M.W. Turner, is one of Britain’s greatest painters who revolutionized landscape painting by elevating it to the level of historical and religious painting through his innovative use of light and colour. In masterpieces such as The Fighting Temeraire, Turner explored themes like the sublime forces of nature, maritime history, and the Industrial Revolution.

In this painting, the sun sets over the tranquil waters of the Thames, and the mighty HMS Temeraire, once a symbol of British naval power, is towed to her final berth to be broken up for scrap. Looking at the foreground, we can see a small, smoke-belching tugboat dragging the grand old warship, a stark contrast between the modern industrial age and the fading glory of the past. The Temeraire glows with ethereal, ghostly light, her towering masts and rigging silhouetted against the blazing sky. She appears almost spectral, embodying her illustrious past’s pride and sorrow.

Turner’s masterful use of light and colour transforms the scene into a vivid spectacle. The sky is a riot of warm oranges, reds, and yellows, blending seamlessly into twilight’s cool blues and purples. The setting sun’s reflection dances on the water’s surface while the smoke from the tugboat curls into the fading light. The vastness of the sky dwarfs the ships below, emphasizing the grandeur and finality of the Temeraire’s last voyage.

Turner and Temeraire

The HMS Temeraire played a crucial role in the Battle of Trafalgar in 1805, where she fought alongside Nelson’s flagship, the HMS Victory. She became a national hero, and her name was synonymous with bravery and valour. Turner’s painting immortalizes her in a dignified farewell, paying homage to her storied past. The symbolism in the painting is rich and layered. The small, dark tugboat represents the relentless march of progress, towing the old warship toward her final fate. The blazing sunset reflects the end of the sailing era, while the rising moon on the left hints at the dawn of a new age.

Turner’s use of light creates a sense of drama and poignancy. The Temeraire is bathed in the golden glow of the setting sun, emphasizing her faded glory. The painting’s composition draws the eye from the tugboat to the Temeraire and finally to the vast expanse of sky, suggesting a journey from the material to the ethereal.

Room 41: The Water-Lily Pond by Claude Monet

Making our way to Room 41, we enter a room surrounded by some of the most mystifying paintings from world-renowned artists. But now, let us draw our attention towards the Water-Lily Pond by Claude Monet. Monet paints his lush garden at his beloved home in Giverny. Claude Monet lived in Giverny for over 40 years, and this was his artist’s sanctuary and creative haven. The lush gardens he meticulously cultivated inspired his later work, particularly the iconic Water Lilies series. Giverny allowed Monet to immerse himself in the beauty of nature and translate his unique vision onto canvas, making it central to his artistic legacy.

In the center of the painting, the curved green bridge is reflected in the calm water, framed by a cascade of willow branches that drape softly from above. The pond is a riot of colour, with water lilies floating like delicate jewels on the surface, their petals catching the sunlight in shades of pink, white, and yellow. The water shimmers with reflections of the sky and surrounding foliage, creating a mesmerizing interplay of blues, greens, and purples.

Monet’s loose, expressive brushstrokes lend a sense of movement and spontaneity to the scene, as if the lilies and leaves are gently swaying in the breeze. The layering of colours and textures adds depth and richness, drawing the viewer’s eye from the vibrant foreground to the dazzling light in the background. The painting exemplifies Monet’s fascination with capturing the fleeting effects of light and atmosphere. 

Room 41:  The Umbrellas by Pierre-Auguste Renoir

Another painting in this room is The Umbrellas by Pierre-Auguste Renoir,  a bustling, vibrant scene that immerses viewers in the everyday life of 19th-century Paris. We enter a crowded street on a rainy day, where a sea of umbrellas creates a kaleidoscope of grays and blues. The scene is alive with movement, yet Renoir’s deft use of colour and composition brings order and harmony to the chaos.

In the foreground, a stylish young woman in a striking blue dress and a neatly tied hat stands confidently amidst the crowd. She holds her umbrella with one hand while holding her daughter’s hand in the other. The little girl dressed in a matching blue coat and bonnet clings to her mother’s skirt, peering shyly out at the viewer.

In front of her, a woman caught without her umbrella balances a basket of fruit on her hip. Her serene expression and upright posture contrast the hurried, umbrella-clad figures around her. In the background are a group of figures, blurred and faceless in their hurry, each holding an umbrella. A well-dressed man in a bowler hat offers his arm to a lady while another figure raises his umbrella against the rain. The hurried, indistinct crowd creates a sense of depth and movement that draws the eye into the painting.

Colours in Renoir’s Artwork

Renoir’s use of colour is masterful. Cool blues and grays dominate the palette, punctuated by the bright splash of the woman’s blue dress and the warm tones of the child’s bonnet and basket. The umbrellas are painted in broad, loose strokes, creating a rhythmic pattern across the canvas that unifies the composition. The Umbrellas are unique in Renoir’s body of work because they reveal a transition in his style. The right side, with the serene woman and child, reflects his earlier, more Impressionist approach, characterized by softer lines and a luminous palette.

In contrast, the left side, with its crisper outlines and more muted colours, shows the influence of his later “Ingres period,” where he adopted a more classical style. The painting’s composition cleverly divides the scene into two halves, creating a visual dialogue between the Impressionist and classical elements. The crowd’s rhythmic movement, combined with the balanced contrast of colours, gives the painting a sense of unity and harmony despite the chaos of the rainstorm.

Room 43: A Wheatfield with Cypresses by Vincent van Gogh

Room 43, to the west, is one of the best collections of works of art from my favourite artist, Vincent van Gogh. There are so many different paintings from different periods of his life to see here, and while many people float to look at Sunflowers by Vincent van Gogh, I think there is so much more about the great artist to learn from the A Wheatfield with Cypresses. This painting brings you into Provence, stepping into a golden wheatfield under a swirling summer sky, where cypress trees and rolling hills frame the scene, creating a vivid snapshot of the French countryside where Van Gogh spent the last few years of his life.

In the foreground, the rippling wheat undulates in shades of gold and ochre, leading the viewer’s eye toward a trio of cypress trees that stand tall and dark against the bright sky. The distinctive, flame-like shapes of the cypresses are echoed in the swirling clouds above, creating a rhythmic interplay of movement and colour. The backdrop of the Alpilles mountains adds depth and drama to the composition. 

Van Gogh’s characteristic brushwork is evident in the bold, rhythmic strokes that convey the movement of the wheat and the swirling sky. His use of contrasting colours—bright yellows against deep greens and blues—creates a striking visual impact and captures the intensity of the summer heat. A Wheatfield, with Cypresses, was painted in 1889 while van Gogh lived at the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence. Despite his troubled mental state, this painting reflects a sense of optimism and vitality, showing his deep connection to the landscape around him.

Room 43:  Bathers at Asnières by Georges Seurat

Also found in this room is Bathers at Asnières by Georges Seurat. Seurat was only 24 when he painted Bathers at Asnières, his first central canvas. Despite its groundbreaking technique, the painting was rejected by the Paris Salon and instead exhibited at the Groupe des Artistes Indépendants. Seurat’s technique, known as pointillism, is characterized by applying tiny dots of pure colour, which blend together when viewed from a distance. This creates a luminous, shimmering effect that brings the scene to life. The river glistens with blue, green, and white reflections while the dappled sunlight plays across the grass and the bathers’ skin in delicate shades of yellow, orange, and red. Today, it is considered a masterpiece of early Neo-Impressionism. An important message to everyone is never to accept defeat when faced with rejection. 

In the foreground, a young man sits on the riverbank, his feet dipped into the cool water as he gazes across the river. Beside him, a boy lies on his stomach, idly making noises with a reed. A shirtless man in a straw hat rests his chin on his hands, watching the steamers pass by.

Further to the right, a group of boys wade and swim in the river, their laughter echoing through the warm summer air. In the background, factory chimneys rise against the blue sky, hinting at the industrial activity of Paris just beyond this tranquil scene. The soft silhouettes of boats and bridges blend into the hazy horizon, creating a seamless transition between the natural and urban landscapes.

Room 45: The Execution of Lady Jane Grey by Paul Delaroche

The last painting we will see today is my favourite: Paul Delaroche’s The Execution of Lady Jane Grey. It is a haunting and poignant portrayal of one of English history’s most tragic events. Lady Jane Grey, known as the “Nine Days’ Queen,” was an English noblewoman who briefly occupied the throne of England in July 1553. Born into a politically influential family, she was manipulated by ambitious relatives and political figures who sought to prevent the Catholic Mary Tudor from ascending the throne. Following the death of Edward VI, she was declared queen under a dubious will, but her reign lasted only nine days before Mary gathered enough support to depose her. Despite her reluctance to claim the crown, Jane was charged with high treason and executed in February 1554 at the age of 16. Becoming a tragic symbol of political intrigue and the turbulent Tudor succession.

In this painting, we enter a dimly lit execution chamber, where Lady Jane Grey, the “Nine Days’ Queen,” prepares to meet her fate. The scene is shrouded in darkness, illuminated only by the soft, focused light that falls upon Jane, highlighting her innocence and vulnerability. In the center of the composition, Lady Jane stands blindfolded, her delicate hands groping for the execution block.

She is dressed in a simple white gown that glows against the sombre background, symbolizing her purity and youth. She expresses resignation and fear but maintains quiet dignity as she kneels before the block. Behind Jane, a woman—perhaps her lady-in-waiting—buries her face in her hands, unable to watch the tragic scene unfold. Another attendant faces the wall, unable to face the event. To the right, the executioner waits. His axe rests beside him, partially hidden in shadow, adding to the ominous atmosphere. 

Delaroche’s Approach

The stark simplicity of the setting—a stone floor covered in straw and dark, blurred walls—focuses all attention on the figures and their emotions. Delaroche’s masterful use of light and shadow creates a dramatic chiaroscuro effect, emphasizing the tragic tension of the moment. The soft light that bathes Jane’s figure enhances her ethereal beauty and innocence, while the shadowy surroundings evoke the grim reality of her fate. Paul Delaroche painted The Execution of Lady Jane Grey in 1833, almost 300 years after her death. The painting was considered lost for many years after being removed from public display in the mid-19th century, only to be rediscovered and restored in the 1970s. Today, it remains one of Delaroche’s most famous works.

The National Gallery in London offers a captivating journey through centuries of artistic genius. From the soft, shimmering brushstrokes of Monet’s Water-Lily Pond to the dramatic contrasts in Caravaggio’s Supper at Emmaus and the poignant tragedy of Delaroche’s The Execution of Lady Jane Grey, each masterpiece tells a story that resonates across time, offering a glimpse into the rich history of art. With this self-guided tour, you’ll discover the gallery’s most iconic works and hidden gems, uncovering a rich tapestry of human creativity that makes the National Gallery such a treasure trove of art.

Happy Travels, Adventurers

The post Ultimate Self-Guided Highlights Tour of London’s National Gallery first appeared on The Creative Adventurer.

But, more often than not, these highly rated tourist activities are overcrowded, overpriced and sometimes down right overrated. If you’re looking to avoid tourist traps, skip overcrowded stops and discover some true hidden gems of London, check out our list below of the best things to avoid in London and, most importantly, what you can do instead!

Table Of Contents

1. #1 Don't Take a Ride on the London Eye
2. #2 Skip the Instagram Infatuation with Peggy Porschen
3. #3 Don't Bother with Harrods Overpriced Goods
4. But What About the Harrods Food Hall?!
5. #4 Skip Seeing the Crown Jewels at the Tower of London
6. #5 Changing of the Guard at Buckingham Palace
7. #6 Don't Bother Visiting Madame Tussauds Wax Museum
8. #7 Walking across Abbey Road
9. #8 Having Afternoon Tea at the Ritz
10. #9 The Houses of Parliament
11. #10 Skip the British Museum
12. #11 Skip Tourist Trap Central at Leicester Square
13. #12 Don't be fooled by the Notting Hill Book Shop
14. #13 Don't Line Up for Phonebooth Photos Near Big Ben

#1 Don’t Take a Ride on the London Eye

The London Eye is that giant ferris wheel that dominates the west side of the Thames River skyline. A ride inside the giant glass pods that encircle the wheel supposedly offers panoramic city views across London. However, it is hugely expensive. At £34 per person ($41 USD), that’s over £130 if you come as a family of four. Even for a couple you’re looking at more than $80 USD for a 30-minute rotation. And the queues can be hours long to get inside. Even with advanced bookings, you can expect to wait in the queue for more than 20-minutes to finally be able to get inside and ride around the wheel.

And if you happen to book on a cloudy day, once you’re up to the tallest part, you might not even have that great of a view. And this can be super disappointing if you’ve spent your whole day waiting around for not that great of a sight. But I get the appeal, don’t get me wrong. Seeing the skyline of a new city is one of the best ways to see its sprawling architecture and learn all about the city’s layout. Luckily there is another option for you, and this one is FREE!

Instead, head to the Sky Garden

The Sky Garden is London’s highest public garden and observation deck. It is located on the 35th floor of the “Walkie Talkie” buildin, officially known as 20 Fenchurch Street. From the Sky Garden, you get panoramic views all across London. Being up here you get the chance to see London’s landmarks, such as the Tower Bridge, the Shard, and the Thames River. Best of all, entry to the Sky Garden is free! Visitors just need to book tickets in advance online, as there are limited slots available each day. If something happens and you need to cancel last minute, no worries, just be sure to cancel online to give your spot to someone else. 

Once inside, you’ll also get the chance to explore the green oasis in the sky. This garden features plants from around the world, as well as a restaurant and bars if you want to grab a snack or drink. This means that even if you arrive on a cloudy day, there are still a few ways to enjoy your time up here. Unlike inside the London Eye pods, where you’re trapped until you can get back onto the ground. 

#2 Skip the Instagram Infatuation with Peggy Porschen

If you’ve been on Instagram, you’ve undoubtedly seen Peggy Porschen Cakes plastered all over the discovery page. The uber-pink cafe in London’s fancy Belgravia neighbourhood is perhaps one of the most Instagrammed places in the entire city. It is best known most for that iconic pink interior dripping in flowers that rotate throughout the seasons. I won’t lie; I was curious when I first saw these pictures too. So on a jaunt through the neighbourhood, I popped my head in. Not only were the lines out around the block, but I found that anyone actually eating and drinking inside didn’t look too happy. The cakes might look pretty but are overpriced and mediocre. Plus, if you really want a photo of it, you can just hop in front, snap that pic and walk right on by. Without having to wait in line to dine inside.

Instead, Admire the Architecture in Host Cafe

If you’re looking for a stunning spot to sit and actually enjoy your morning brew, then you must get yourself over to Host Cafe. Host Cafe is located inside the Victorian Gothic interiors of St. Mary Aldermary church. The original church was built in the 17th century by Sir Christopher Wren, the master builder of St. Paul’s Cathedral. But over the years, its parish was dwindling and they were losing money trying to keep up with the costs of such a historic church. To help bring in more people and monet throughout the week, a tiny coffee shop was set up at the back of the church. Visitors can enjoy a fancy latte while admiring the beautiful historic architecture sprawling around them.

And while all the original architectural features have been preserved this readaptation of the space is ingenius. Ensuring buildings like this last another lifetime. The soaring vaulted ceilings, stained glass windows, and rich wooden pews make even a simple drip coffee break feel like a special event. This was my favourite spot in the city to come and work. Or just to relax inside while watching the eteral light stream through those fantastical stained glass windows. A magical place to be. And the perfect escape on a rainy day.

#3 Don’t Bother with Harrods Overpriced Goods

True, Harrods is one of the most famous department stores in London. And while its exterior is one of the city’s most iconic symbols, the location leaves much to be desired. Harrods is located in the upmarket Knightsbridge neighbourhood. If you’re a tourist, Knightsbridge won’t be someplace you’ll want to spend much time. There isn’t really anything to see and do around the area except for Harrods itself. At Christmas time, the lights around Knightsbridge are pretty beautiful, which can make the journey up here a little bit more worth your while. But outside of that, it’s a skip if you’re on a time crunch.

And the prices…oh my gosh! There is expensive, and then there is expensive. And Harrods is beyond the beyond. I can imagine that because so many people come here just to gawk and not to buy, results in everything costing more just to offset the price of all that real estate. Even a little plastic, made in China bauble at Chrstimas was priced at £20!

Instead, Try Liberty London

If you are still looking to do a little shopping in London but don’t want to trek out of Knightsbridge, you should check out Liberty London. Liberty London is also a luxury department store. But this one is located SOHO, in the West End of London. While Harrods might be beautiful it doesn’t have the monopoly on interesting architecture. The gorgeous building was designed by Edwin T. Hall, who was inspired by the architecture of the Tudor period. This era was known for its intricate woodwork, steep gables, and decorative half-timbering. Even the store’s interior is given the same beautiful architectural treatment, making walking around inside a joy.

The store was founded in 1875 by Arthur Lasenby Liberty. Liberty was inspired by his travels to the Far East and wanted to bring the exotic and beautiful products that he saw there back to London. Today, Liberty is still known for its unique and eclectic range of product. Including established luxury brands but also up-and-coming British designers. My favourite part of the store are these areas dedicated to new designers. Especially in the home goods selection where the prices are pretty affordable for smaller items. You find such unique and one-of-a-kind things here to jazz up your shelves. One of the store’s highlights is its beautiful floral fabric section. These patterns have become iconic over the years and even if you’re not there to buy, it’s worth a look just for inspiration and eye candy.

But What About the Harrods Food Hall?!

The most interesting part of Harrods for me is their food hall. The Harrods Food Hall is renowned for its gourmet selection of fresh and exotic foods from all over the world. It’s also perhaps the most visually interesting part of the building. Since they aren’t trying to compete with the branding of the high fashion clothes, these rooms are most historic in appearance. The opulent decor features ornate chandeliers, marble floors, and elaborate tiled mosaics along the walls.

Admittedly, the food hall is a beautiful place to come and admire the decor. But the Harrod’s Food Hall isn’t like Food Courts in the US. It’s more like a deli, where you order your food at the counter and then must take it away to eat. There aren’t any communal dining tables where you can sit and enjoy the ambiance inside unless you grab a quick coffee at the coffee bar. And again, you’re paying out the nose for the food and drinks here. While perhaps the food might be of higher quality than you’ll get elsewhere, it’s very overpriced, even for London.

Instead, Dine Inside the Fantasical Mercado Mayfair

If it’s a food hall inside a beautiful historic building with amazing decor and a real wow factor that you’re after, instead of hiking out to Knightsbridge, visit the Mercado Mayfair. Just off busy Oxford Street, the Mercato Mayfair Market offers up fresh, artisanal and sustainably sourced food. All in the heart of this amazingly restored church. Thank to this £5 million restoration, the original 19th century church has been reclaimed and transformed into a modern eatery. Welcoming people from the neighbourhood and beyond.

The nave has been transformed into a cafeteria-style dining room with all the different food stalls located inside the old side chapels. The market offers a range of unique culinary experiences, from Authentic Neapolitan Pizza to dumplings and, of course, fish and chips! Hidden away in the basement’s crypt is an actual gin and beer distillery. Here you can sit inside a cozy alcove and have your very own beer flight tasting. All made right under the floorboards. And one last treat for visitors is a trip up to the rooftop where you get a small but stunning view of the city!

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#4 Skip Seeing the Crown Jewels at the Tower of London

While visiting the Tower of London is absolutely a must-do activity for new visitors, the Crown Jewels aren’t worth your time. Getting into see them can be a real pain. Due to security concerns, they can old let in a certain number of people inside at a time. And each must pass through a security check before hand. Once inside, certain exhibits require you to step on a moving walkway to see them. And you only get so much time to observe these precious jewels. This is to help control the flow of traffic but results in it feeling a little rushed.

Even with these elements in place, when I came in the winter, we still had to queue for over 45 minutes to get inside. And I knew the second we got out that I would never do that again. The crowds inside this tiny basement vault can be overwhelming, and the jewels may not be as impressive as expected. No photos are allowed inside as well if that is a deal breaker for you. Since the royal family is still actively using these accessories, certain pieces are often missing from the exhibition. So if there was a certain crown jewel you needed to see, you are guaranteed to find it all the time.

Instead, Be Dazzled by the V&A’s Jewellery Collection

I prefer spending my time inside the V&A’s Jewellery Collection if I need my sparkly fix. Unlike the Tower of London, which has a whopping entry fee of £29, the Victoria and Albert museum is free to enter. If it’s jewels once owned by Royals that you’re after, this collection has you covered! Queen Victoria‘s sapphire and diamond coronet is on permanent public display. A dazzling collection of embellished swords is in the upper level of the jewellery room. Small swords were items of male jewellery and a way that even the men could accessories for a court appearance. 

The museum’s jewellery collection is an incredible display of artistic and technical excellence. A testament to the cultural importance of jewellery throughout history. The collection showcases items from different periods, demonstrating the evolution of design and using materials. None of which you get at when viewing the Crown Jewels. So make a point to check out this place if you love things that sparkle!

#5 Changing of the Guard at Buckingham Palace

When I lived in London, my flat was only a 10-minute walk to Buckingham Palace. And the Victoria Memorial, across from the Palace gates, was often one of my favourite places to come and sit with a coffee to people watch. But every day, as early as 9 am, the crowd would go from mildly busy to absolute chaos. And I knew it must be time for the changing of the guards. 

The Changing of the Guard at Buckingham Palace is a famous ceremony that occurs daily in the summer, and throughout the rest of the year, it’s usually every other day. The Changing of the Guard is a traditional ceremony that starts to St James’s Palace and ends at Buckingham Palace. If you are dead set on viewing the Parade, don’t line up with the crowds at Buckingham Palace. Instead, wait outside St. James Palace and follow the soldiers down the Royal Mall. This way, at least, you can avoid most of the crowds congregating around Buckingham Palace. That’s really the only way to have a good experience with the ceremony. And honestly, I far prefer the alternative option.

Instead, Hang with the Horses for the Changing of the King’s Life Guard

If it’s regalia you’re after, I prefer watching the Horse Guards Parade, also called the Changing of the King’s Life Guard. This ceremony occurs every day of the week (not on the weekend) when the newly mounted King’s Life Guard leaves Hyde Park Barracks. They ride on horseback to Horse Guards Parade to replace the old guards. Although I’m a bit scared of riding horses myself, I love mounted cavalry. The regalia and spectacle of this ceremony, I think, is far better than the band that is the most interesting part of the Changing of the Guard.

The ceremony’s highlight is when the incoming guard hands over the keys to St James’s Palace. This exchange symbolizes the transfer of responsibility for guarding the palace and is a reminder of the historical significance of this duty. The best place to plant yourself is outside Horse Guard Parade, just opposite St. James Park. This wide open area is huge, making it a much less chaotic alternative to the gated Changing of the Guard at Buckingham Palace. But it still provides a chance to see the pageantry and tradition of the British military. The new guard arrives at Horse Guards Parade at 11 am, so I would advise getting there slightly before.

#6 Don’t Bother Visiting Madame Tussauds Wax Museum

There seems to be a Madame Tussauds Wax Museum everywhere in the world. Ignoring that it costs a jaw-dropping £36 per adult to get inside, once you’re in there, you’ll find little more than room after room of mediocre wax replicas of your favourite celebrities’ and historical figures. Yes, you can get right up close and personal and get a photo with them, but I think in an age of Instagram, where we have much more intimate access to celebrities than we did before, this just doesn’t interest tourists as it did before.

I think one of the reasons that people visit Madame Tussauds is for their kids. They are looking for an easy activity their kids will enjoy and think it will appeal to them. But in fact, your kids probably will have no idea who many of the celebs in here are anyways. Brittany Spears and Obama might be notable to us, but unless they have a giant Bluey puppy, chanes are your kids won’t have a clue.

Instead, take the kids to the Natual History Museum

Now they might not be “celebrities,” but the London Natual History Museum also had plenty of wax mammals on display. And unlike the Queen, dinosaurs are something no kid won’t recognize. The Natural History Museum in London is widely considered one of the best attractions for kids and adults, and for a good reason. The museum boasts an extensive collection of over 80 million specimens spanning millions of years. Making it an ideal destination for anyone interested in history, biology, and the natural world. Add to that, the price of entry is free! Pass those £ 39 savings onto the rest of your trip! 

In addition to their amazing exhibition of dinosaur skeletons, kids and adults can enjoy interactive displays, stunning collections of costly gemstones and a gigantic blue whale skeleton in the Hintze Hall. If you’re like me, and natural history isn’t totally your thing, a visit to the museum is still more than worth your time as the building it’s housed inside is a treasure trove of architectural easter eggs. The architect designed the building to feature carvings of plants and animals integrated into the bones of the building. You’ll be able to spot monkeys poking their heads out from around the arches. Snakes crawl around the lintels, and even etching of fossils can be seen embedded into the ceiling. It makes just wandering around this place an advebture!

#7 Walking across Abbey Road

For many hardcore Beatles fans, trekking to the famous zebra crossing outside the Abbey Road Studios is considered a pilgrimage.Abbey Road is one of the most iconic albums by the Beatles and holds a special place in the hearts of many fans. The album was released in 1969 and was the last studio album the Beatles recorded together. And the band’s image crossing the road on the album cover has become one of the most recognizable images in music history.

But many tourists, even those who couldn’t name a single Beatles song, get the idea of coming here to recreate the album cover for themselves. To get that amazing Instagram shot. And it’s truly just not worth it unless you’re a die-hard fan. The crossing location is extremely north of the centre of London. And it isn’t around a single other attraction most tourists will be interested in seeing. The road is also a busy thoroughfare; it’s not closed down for tourists as their play place. And even yet, there are so many tourists. Even if you make it out here, you’ll find yourself in a throng of others trying to get that very same photo.

Instead, head to the British Library

If you’re a huge Beatles fan but don’t want to fight amongst the hoards of tourists, I would head to the British Library. This true hidden gem of a FREE museum contains thousands of historic literary treasures. Including some of the world’s most famous documents and manuscripts. This includes a collection of handwritten lyrics, original scores, and sketches of some of the Beatle’s most famous songs. 

You can see original notes from the hit songs “Strawberry Fields Forever,” “She Said She Said,” and “In My Life,” handwritten by John Lennon. Who donated them himself to the British Library. The fact that their music is now part of the British Library’s collection is a testament to the band’s enduring cultural significance. And I found that getting this intimated glimpse into their musical process was much more meaningful than walking along a busy crosswalk.

#8 Having Afternoon Tea at the Ritz

While having Afternoon Tea at the Ritz is a bucket list experience, it comes with a steep price tag. Afternoon Tea at the Ritz is priced at £70 for adults (going up to £72 in June 2023), so this meal is a splurge. And no one should feel like they have to go over their budget simply to get a quintessentially British experience like Afternoon Tea.

And even with its high prices, there is huge demand. Getting a reservation at the Ritz can become a chore having to research and book months in advance. Resulting in anyone booking even close to the last minute being disappointed by not securing a spot. Luckily there are plenty of other options for having afternoon tea in London. The Ritz isn’t the only place in town. And my favourite place to go is almost half the price and also comes with some historic architectural cache to rival the Ritz’s history.

Instead, Taste some Tea at St. Ermin’s Tea Lounge

The St. Ermin’s Tea Lounge is a luxurious and elegant tea room in the historic St. Ermin’s Hotel. Located in the heart of London, near Westminster Abbey and Buckingham Palace. The hotel was originally built in 1889 as a mansion block of flats designed by E.T. Hall and Frederick C. Mew. The building later became the base of operations for British intelligence services during WWII. The hotel’s proximity to government buildings and key institutions made it an ideal location for these intelligence operations. It hosted several notable guests, including Winston Churchill. And famed writer Ian Fleming is believed to have used the hotel as inspiration for his James Bond novel, “From Russia With Love.”

St. Ermin Tea Lounge

Its beautiful interior matches the immense importance of the building. When you step inside, that stunning white sweeping staircase with ornate balustrades welcomes you into the tea room. Inside, you can cozy up in one of their beautiful armchairs covered in ornate patterns. All set under the historic white tin ceiling and Victorian architectural details. The most precious spot to enjoy a delectable afternoon cup of tea.

In addition to the tea service, you’re served a three-tiered tray of goodies, including the quintessentially British scones with clotted cream and jam. But it was the finger sandwiches that really wowed me. I was amazed by the flavoured and spices they added to the more traditional ingredients inside, elevating the meal to another level. The same applied to the dessert, which were amazingly flavourful despite their bite-size.

We spent over three hours here, chatting in the comfort of the building while enjoying pot after pot of their delectable teas. The atmosphere was relaxed yet elegant, and it is my favourite spot to get afternoon tea in the city. At £43pp (£48pp with a glass of Champagne), the price is more than worth the amazing experience you get with it!

#9 The Houses of Parliament

When you think of London, one of the first things that come to mind is Big Ben and the Houses of Parliament. Big Ben is the nickname for the Great Bell inside the clock at the north end of the Palace of Westminster in London. But it’s often used to refer to the clock tower as a whole. Today, the clock tower is officially known as the Elizabeth Tower in honour of the late Queen Elizabeth II. The building encircling the Tower is the Houses of Parliament, also known as the Palace of Westminster. This historic building complex is located on the banks of the River Thames and was built all the way back in the 11th century.

But most of the current buildings only date back to the 19th century. For years, Big Ben was undergoing a huge renovation, and its face was totally obscured from the public. But building work has finally been completed, and the clock is back to facing the adoring public along London’s iconic skyline. 

Booking to Visit the Houses of Parliament

But with it being back in action, so are the tourists. Especially after the long years of covid, tourists as more excited than ever to get back inside the building and book a guided tour. While UK residents can book a free guided tour (up to six months in advance by contacting their local MPs,) tourists are only allowed inside for free if they are attending a debate or the Prime Minister’s Questions. If you aren’t booked to either of those events, to get inside, you’ll need to book a guided tour. And at £22 per person it doesn’t come cheap.

The 90-minute tour includes a guide through the House of Commons, House of Lords and Westminster Hall. And while extremely thorough and impressive, many tourists looking to save money on their trip won’t want to spend it. Plus, these tours book up fast and often you need to book at least two months in advance. Especially during the high season in the summer.

Instead, try the Royal Courts of Justice

A visit to the Royal Courts of Justice is an absolute true hidden gem in the centre of London. The Royal Courts of Justice is a stunning Victorian Gothic Revival building designed by architect George Edmund Street in the late 19th century. It was intended to symbolize the power and majesty of the law. With its grand exterior and intricate details reflecting the importance of the legal system in Victorian society. Today, the Royal Courts of Justice is the principal court building for England and Wales and houses the High Court and Court of Appeal. As such, many civil and criminal cases are heard everyday within. 

The exterior of the building features a dramatic façade, with a central tower rising to a height of 73 meters and flanked by two smaller towers. The building is adorned with ornate carvings, statues, and intricate stone details. With every aspect of the design is intended to convey a sense of grandeur and importance.

Exploring the Interiors of the Royal Courts

You must pass through an airport-like security check before entering the court building. But it’s very quick to get thorough. Be aware, just like the Houses of Parliament, you are not allowed to take pictures inside the building. But enjoy the time away from your phone and soak up all the history and architecture.

When you get inside, go to the reception desk and ask for their detailed map to guide you around the building. Walking into the Great Hall, you are overcome with wonder. The amazing interior is wall-to-wall with beautiful stained-glass windows, historical portraits, sumptuous architecture and powerful sculptures. Visitors can explore the various courtrooms, which are ornately decorated and feature a range of different architectural styles, from Gothic Revival to classical. In addition to the courtrooms, visitors can also seek out the Permanent Exhibition of Legal and Judicial Costume. The exhibition showcases a wide range of historical outfits worn by barristers and judges. It gives visitors a glimpse into the rich history of the UK legal system.

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You should also check out the restored Bear Garden on the second floor. No, there aren’t real bears in here. The name comes from Queen Victoria’s description of the noise that the barristers made, so loud it sounded like a pit of fighting bears. If you are keen on having someone lead you through the building, you can book a guided tour. These must be pre-booked in advance but they don’t book up as quickly as the Houses of Parliament. And only cost £16 for adults. 

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#10 Skip the British Museum

The British Museum is one of the world’s largest and most famous museums. Inside these great walls are a vast collection of artifacts and exhibits from around the globe. Covering the entire span of human history. And while many people will put this museum at the top of the things to see in London, I think there are better options for you.

The British Museum specifically has had some controversial history that more and more people are starting to find an issue with. Their history of “collecting” (aka stealing) objects from other cultures during the colonial era and refusing to return them when those countries have requested them, puts some tourists off visiting the museum altogether. The other thing to note is that most of the objects inside the British Museum are, as I mentioned, not British. Making it a rather strange thing to see when you’re visiting the UK and might want to seek out authentically British works of art and artifacts.

Instead, Find Real British Artists inside the Tate Britian

If you want something authentically British, I highly recommend visiting Tate Britain. Tate Britain (as opposed to the more famous Tate Modern) is located along Millbank in the borough of Westminster. Inside the comparably small building, a neo-classical structure designed by architect Sidney R. J. Smith, you’ll find a fantastic collection of British art from the 16th century to present day. The museum’s collection includes works by many celebrated British artists, such as J.M.W. Turner, William Blake, Francis Bacon, and David Hockney.

In addition to their fantastic permanent collection, one of my favourite parts of a visit to Tate Britain is seeing the up-and-coming new British artists. When I was there in 2022, the new exhibition featured British sculptor and contemporary visual artist Hew Locke. His large-scale installation for the 2022 Commission was titled The Procession. It depicted a series of fantastically dressed mannequins taking part in the life cycle. It was a vibrant and dynamic exhibit, and I was thrilled to learn more about this fantastic British artist. Had I not come here, I never would have had the chance to learn more about this new British artist. As well as see more artworks from Britain’s artistic history.

#11 Skip Tourist Trap Central at Leicester Square

Leicester Square is one of those places that people seem to think they should visit, but when they get there, it is often an overwhelming and incredibly disappointing experience. Leicester Square is like Times Square in New York. And while it may have had a storied history, today, you’ll find the square is simply a collection of crappy chain restaurants, rowdy bars and tourist traps. Often it is so crowded here that it can be difficult to easily make your way out. And with so many pickpockets in such a crowded area, it’s a place to avoid.

Instead, visit Sloan Square

If it’s a charming London Square you’re after, I would much rather recommend Sloan Square. Sloane Square is a bustling public square located in the affluent Chelsea neighbourhood. Chelsea is a gorgeous borough to visit as it is both beautiful to explore and has a more relaxed atmosphere. Surrounding the square are ornate estates featuring gothic, classic and Edwardian architecture. In the centre of the square is the beautiful Venus Fountain, designed by sculptor Gilbert Ledward in 1953. Look closely, and you’ll see that the fountain basin contains a relief depicting King Charles II. I love sitting here on a sunny day and watching locals mill about.

If you thought you wanted to visit Leicester Square for the cafes and restaurants, you’ll find that just off Slaon square, along the picturesque Pavillion Road, are some of the BEST cafes and restaurants you’ll find in the entire city! Instead of visiting M&M World store, you can get your sweet fix at Bread Ahead. Dive into one of their sumptuously sweet-filled doughnuts and you’ll forget all about M&Ms. If you walk along Pavillion Road, you can check out the iconic Ottolenghi Cafe, London Cheesemongers or nosh on some vegan food at Wulf & Lamb. You can even eat outside under the cheerful bunting and night-time fairy lights. A perfect way to end the day in London.

#12 Don’t be fooled by the Notting Hill Book Shop

One of the most famous romantic comedies in the 1990s was undoubtedly ‘Notting Hill.‘ It starred British heartthrob Hugh Grant and American darling Julia Roberts. Written by famed British screenwriter Richard Curtis, the film gained international popularity, more so than his other British films. Perhaps due to the presence of Miss Roberts herself. As such, the movie placed itself in the eyes and minds of all young girls growing up in the 90s. And the idea of visiting that very same shop that the character of Hugh Grant owns in the film, became somewhat of a pilgrimage site for millennials. Sadly, the ‘Travel Bookshop’ featured in the film didn’t exist in real life. However, the house at which they filmed in did. Outside the house, a small plaque reads, “The Travel Book Shop” to honour the spot where the movie was filmed.

But interestingly enough, another bookstore calling itself “The Travel Book Shop” opened up just around the corner. And then there is “Notting Hill Bookshop” at 13 Blenheim Crescent, which also boasts a similar blue sign. Hundreds of people visit these shops daily, thinking they are the same ones from the movie. But they’re just imitations. The interiors are super cramped, and it is not at all the cozy, curated interior dreamed up by Hugh grants character. It’s just another tourist trap.

Instead, Get Inspired inside Books For Cooks

But what made the Travel Bookshop so interesting was the concept that you could find these interesting bookshops dedicated to a specific topic. Curated by a loving owner on the quirky stretch of Portobello Road. Thankfully there is such a place that does exist today. And that is the Books For Cooks bookshop. Books For Cooks is exactly what it says on the tin. A book shop for people who love to cook. The selection of books here is unreal. Just browsing the shelves feels like going on vacation around the world.  

The shop has been open even longer than the Notting Hill movie, opening in 1983. Over 8,000 cookbooks ranging from classic to modern featuring different cuisines, techniques, and diets line the shelves. But the shop isn’t just selling cookbooks for fun; the owners are serious about cooking. So much so that at the back of the shop, they have their own “test kitchen.” Here, they test their own recipes from the cookbooks they sell on their shelves.

Visitors can even sample some of these baked goods on tiny cafe chairs squished into the back of the shop. They are only available until they run out, which can be very quick! So get here early. The menu changes daily, so you never know what will be cooking in the oven. They also host cookery workshops throughout the week, so on your next visit, you might find will-be cooks at the back trying their hands at becoming the next British Bake Off contestant.

#13 Don’t Line Up for Phonebooth Photos Near Big Ben

I know what you’ll say, “OMG, that photo below is perfect!” And while it looks great, what you don’t see in the Instagram edited photo is the lineup of people behind the photographer. These red phonebooths outside Westminster station are thronged with tourists, even in the wet and cold weather. I lived about 10 minutes from this station, and every time I walked by the area, I was amazed that no matter how early or how crazy the weather was, there was almost always a lineup of people just waiting to get a photo.

If the line isn’t too long, I get why you’d want this shot. But time is precious on your vacation, and I don’t think waiting for any phone booth photo is worth it. There are hundreds of these red phone booths all over the city. And they all can serve the same purpose without the wait or awkwardness of posing in front of grumpy, impatient strangers.

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Instead, Find the Phone Booth Outside Tate Britain

As I mentioned, these phone boxes are everywhere, so there isn’t a need to search for any particular one. But if you want my opinion on my favourite phonebooth I spotted, the answer would be the one just down the road from Tate Britain. Located on Millbank, at the intersection of Shelton Street. This peaceful street has gorgeous overhanging trees and beautiful brick buildings in the background. Composing the most darling scene that screams London just as much as dear ol’ Big Ben. If you’re in the area, stop to check it out!

I hope this guide helped you suss out what is and isn’t worth your time. But in the end, it’s your vacation, and you should do whatever you want, no matter what anyone else says! But if you are looking to save some time, save some money and save your sanity, I think this helpful guide is here to give you some great alternatives!

Happy Travels, Adventurers!

The post 13 Tourist Mistakes NOT to Make in London and Amazing Alternatives first appeared on The Creative Adventurer.