The Egyptian Hall was commissioned by
William Bullock as a museum to house his collection, which included curiosities brought back from the
South Seas by
Captain Cook. It was completed in 1812 at a cost of £16,000. It was the first building in
England to be influenced by the
Egyptian style, partly inspired by the success of the Egyptian Room in
Thomas Hope's house in
Duchess Street, which was open to the public and had been well illustrated in Hope's
Household Furniture and Interior Decoration (London, 1807). Unlike Bullock's Egyptian temple in Piccadilly, Hope's
neoclassical façade betrayed no hint of the Egyptianizing decor it contained. Detailed renderings of various temples on the
Nile, the
Pyramids and the
Sphinx had been accumulating for connoisseurs and designers in works such as
Bernard de Montfaucon's, ten-volume ''L'Antiquité expliquée et representée en figures'' (1719–1724), which reproduces, methodically grouped, all the ancient monuments,
Benoît de Maillet's ''Description de l'Égypte'' (1735),
Richard Pococke's
A Description of the East and Some Other Countries (1743), and
Frederic Louis Norden's ''
Voyage d'Egypte et de Nubie (1755); the first volume of the magisterial Description de l'Egypte'' (1810) had recently appeared in Paris. The plans for the hall were drawn up by architect
Peter Frederick Robinson. Bullock, who had displayed his collection in
Sheffield and
Liverpool before opening in London, used the hall to put on various spectaculars, from which he made money through ticket sales. The museum was variously referred to as the London Museum, the Egyptian Hall or Museum, or Bullock's Museum. in 1819 The Hall was a considerable success, with an exhibition of
Napoleonic era relics in 1816 including
Napoleon's carriage taken at
Waterloo being seen by about 220,000 visitors; Bullock made £35,000. In 1819, Bullock sold his ethnographical and natural history collection at auction and converted the museum into an exhibition hall. Subsequently, the Hall became a major venue for the exhibiting of works of art; it had the advantage of being almost the only London venue able to exhibit really large works. Usually admission was one
shilling. In 1820,
The Raft of the Medusa by
Théodore Géricault was exhibited from 10 June until the end of the year, rather overshadowing
Benjamin Robert Haydon's painting, ''
Christ's Entry into Jerusalem'', on show in an adjacent room; Haydon rented rooms to show his work on several occasions. In 1821, exhibitions included
Giovanni Battista Belzoni's show of the tomb of
Seti I in 1821, and
James Ward's gigantic
Allegory of Waterloo. In 1822, a family of
Laplanders with their reindeer were imported to be displayed in front of a painted backdrop, and give short sleigh-rides to visitors. The bookseller
George Lackington became owner of the Hall in 1825 and went on to use the facilities to show
panoramas, art exhibits, and entertainment productions. The Hall became especially associated with watercolours. The
old Water-Colour Society exhibited there in 1821–22, and it was hired by
Charles Heath to display the watercolours commissioned by from
Joseph Mallord William Turner forming
Picturesque Views in England and Wales. Turner exhibited at the Hall for a number of years and it was also used as a venue for exhibitions by the
Society of Painters in Water Colours. In the "Dudley Gallery" at the Egyptian Hall, the valuable collection of pictures belonging to the
Earl of Dudley was deposited during the erection of his own gallery at Dudley House in
Park Lane. The room gave its name to the
Dudley Gallery Art Society (also known as The Old Dudley Art Society) when they were founded in 1861 and used it for their exhibitions. It was the venue chosen for their first exhibitions by the influential
New English Art Club. The hall was used principally for popular entertainments and lectures. Here Albert Smith related his ascent of Mont Blanc, illustrated by some cleverly dioramic views of the Alpine peaks. By the end of the nineteenth century, the Hall was also associated with
magic and
spiritualism, as a number of performers and lecturers had hired it for shows. In 1873
William Morton took on the management of the Hall and modified it for his protegees,
Maskelyne and Cooke, whose run there lasted a remarkable 31 years. The Hall became known as England's Home of Mystery. Many illusions were staged including the exposition of fraudulent spiritualistic manifestations then being practised by charlatans. The final performance was on 5 January 1905. In 1905 the building was demolished to make room for blocks of flats and offices at 170–173 Piccadilly.
Muirhead Bone captured its demise in his work
The Dissolution of Egyptian Hall. The Maskelynes relocated to the
St. George's Hall in Langham Place, which became known as Maskelyne's Theatre.
John Camden Hotten in
A Dictionary of Modern Slang, Cant, and Vulgar Words documents the name in 1859 used as
rhyming slang for a ball. Franklyn comments in 1960 "The term was demolished with the building." ==See also==