Blenheim Palace

The East Gate

If the inscription on the East Gate may be said to give the main theme of the Blenheim story, then its structure strikes the keynote of the palace itself. 'I thought it absolutely best', wrote Vanbrugh of another of his buildings (Kimbolton), 'to give it something of the castle air.' Blenheim too was a castle and was known as such in his day. Vanbrugh looked upon it, as he admitted, 'much more as an intended Monument of the Queen's glory than a private Habitation for the Duke of Marlborough', though it was of course celebrating military glory, in which Marlborough had a giant's share. Blenheim, then, had to be castle, citadel, monument and - less important - private house. Its main entries must speak of strength triumphant; and undoubtedly this East Gate, as Vanbrugh left it, spoke bluntly of that.

But there was yet another and purely practical reason for the gate's massiveness: it was to carry the great cistern upon which the more important half of the palace, containing the private apartments and kitchen, would depend for water-supply.

Grinling Gibbons, famed chiefly for wood carving, was responsible for the stone urns, which he carved in 1708 for £7 each. The two statues are also thought to be from his workshop; sole survivors of the eighteen graces and virtues he contracted to set up on the quadrants flanking the north portico. The lion heads, wreaths and laurels were all added by Sir William Chambers (architect of Somerset House) in 1773. The gates, bearing the Marlborough arms, weigh 17 tons. Made by Bramah, they were shown at the Great Exhibition of 1851.

It is from this gate (Flagstaff Lodge, as it is sometimes called) that the flag is flown when the Duke is in residence. Behind the gate lies the East Court.