The State Rooms + The Queen's Gallery + The Royal Mews

Departs from Central Wharf in Boston New England Aquarium UNFORGETTABLE CRUISES  Whale Watch Nobody offers more departures or gets you to the whales faster to watch them longer.The World Wildlife Fund named Massachusetts one of the top 10 whale-watching spots in the world, saying, “The "wow factor" here is huge, as minke, finback, and humpback whales regularly glide through the waters, and glimpses of them spouting and breaching are practically guaranteed.”

Dublin's Hop up Hop off Tour stops include: Abbey Street  - Lower O'Connell St Trinity College Dublin  - College Green Nassau Street  - Nassau Street National Gallery.   - Merrion Square West Government Buildings  - Merrion Sq West St. Stephen's Green  - Grafton Street. Tourism Centre  - Suffolk Street Temple Bar  - Dame Street. Dublin Castle  - Cork Hill Christchurch / Dublinia  - Christ Church Place. St Patrick's Cathedral  - Patrick Street. Guinness Storehouse  - St James's Gate Museum of Modern Art  - Royal Hospital Kilmainham. Kilmainham Gaol  - Old Kilmainham Heuston Rail Station  - St. John's Road Dublin Zoo  - Phoenix Park Ryan's Victorian Bar  - Parkgate Street National Museum  - Collin's Barracks Jameson Distillery, Bow St.  - Smithfield - Hop off here! The Four Courts  - Ormond Quay Liffey River Cruise  - Bachelors Walk Dublin Bus HQ   Upper O'Connell Writers Museum  Parnell Square North Tours operate daily from 09:00. You can redeem your ticket with the tour driver on any of the buses, or, alternatively, go to Dublin Bus Head Office, 59 Upper O'Connell Street.

The Queen's Gallery was built in the shell of the former Holyrood Free Church and Duchess of Gordon’s School at the entrance to the Palace of Holyroodhouse. The buildings were constructed in the 1840s with funds from the Duchess of Gordon, but fell into disuse in the late 19th century. Benjamin Tindall Architects were appointed project architects for the new Queen’s Gallery in October 1999. Their central visual theme was a celebration of The Queen’s Golden Jubilee, expressed through a series of arches and screens that lead visitors from the Gallery entrance to the exhibition spaces beyond. Their design complements the original 19th-century architecture, elements of which were incorporated into the new spaces. Unsympathetic later internal alterations were removed, and a new exposed steel and concrete floor inserted to reflect the original ‘gallery’ of the Church.   A new stone arched entrance was created at the centre of the Horse Wynd frontage, opposite the new Scottish Parliament building. The use of a stone archway, with a courtyard beyond, is a traditional entrance device in Scottish architecture. The main walling is of Catcastle stone, the dressed work and lettering is of Stainton stone and the base is of Kenmay granite. ‘THE QUEEN’S GALLERY’ lettering above the entrance is the work of John Neilson, a calligrapher and carver. The letters were cut from single pieces of stone. Above sits Scotland’s heraldic lion, designed by Jill Watson. The lion sedant is based on a small red lion that sits at the feet of Mary, Queen of Scots on her tomb in Westminster Abbey. (The Palace of Holyroodhouse was once home to Mary, Queen of Scots.)   The monumental entrance doors of oak have gilded bronze hinges by Jill Watson. Continuing the heraldic theme, the main hinges are decorated with the Scottish lion and unicorn. The beasts are set against the adjacent urban scene of Edinburgh’s Royal Mile and the rural scene of Arthur’s Seat and Salisbury Crags. The upper hinges are made as golden boughs of flowering native trees – chestnut and laburnum, oak, rowan and hawthorn. The stone archway is decorated with a carved and gilded garland of Scottish flowers, including daisies and thistles, created by Graciela Ainsworth, an Edinburgh-based sculptor, carver and conservator. Over the old entrance to the former church is a stained-glass window by Christian Shaw.  The design shows a perspective drawing of the interior of a gallery. At night, the shape of the archway is reflected by the glass lights by Keiko Mukaide set into the paving. The artist has given the tiles a water flow pattern, mirroring the stream of visitors walking in and out of the Gallery. Inside, the reception desk by Hamid van Koten is made from curved pieces of Scottish elm with kilned glass and patinated copper. The pendant lights were designed and made in Edinburgh by Ingrid Phillips. Dividing the reception from the main Gallery area is a patterned glass screen by Jacqueline Poncelet. The screen’s bronze handles by Jill Watson incorporate figures looking at art in a gallery.   The dramatic central stair of native timber leads to the Gallery spaces above. The complex shape was designed by the architects with Charles Taylor Woodwork, who were responsible for the construction. Lights set into the first floor illuminate the curved balustrading.  

Diana: Her Fashion Story ‘Diana: Her Fashion Story’ will trace the evolution of the Princess’s style, from the demure, romantic outfits of her first public appearances, to the glamour, elegance and confidence of her later life. From her earliest royal engagements, everything Diana wore was closely scrutinised, and the exhibition will explore how she navigated her unique position in the public eye: learning to use her image to engage and inspire people, and to champion the causes she cared about. Discover exquisite and celebrated outfits from throughout the Princess’s public life. The exhibition will bring together an extraordinary collection of garments, ranging from the glamorous evening gowns worn on engagements in the 1980s, to the chic Catherine Walker suits that made up Diana’s ‘working wardrobe’ in the 1990s. The Princess’s relationship with her favourite designers will be explored through a display of some of their original fashion sketches, created for her during the design process. Exhibition highlights will include the pale pink Emanuel blouse worn for Diana’s engagement portrait by Lord Snowdon in 1981, and Victor Edelstein’s iconic ink blue velvet gown, famously worn at the White House when the Princess danced with John Travolta. A blue tartan Emanuel suit, worn for an official visit to Venice in the 1980s, will go on display in public for the first time. The suit, a rare survival of the Princess’s daywear, was only recently rediscovered and acquired by Historic Royal Palaces – the charity responsible for Kensington Palace - at auction.  * Please note, this exhibit is due to be very popular, queues are to be expected. The King's State Apartments Explore these sumptuous set of rooms, each grander than the last. Grand chambers of the State Apartments The King's Staircase is the first link to the circuit of rooms making up the King's State Apartments. All the great and good of Georgian London would have climbed up these stairs to visit the king. The Sunken Garden The beautiful Sunken Garden was planted in 1908, transforming part of the gardens previously occupied by potting sheds into a tranquil ornamental garden of classical proportions.  Cradle Walk An arched arbour of red-twigged lime, the walk surrounds the sunken garden with arched viewpoints equally spaced along the sides. In the summer this shady tunnel provides the perfect place to view the bright colours in the Sunken Garden to the north or the re-landscaped gardens to the south. Formal gardens Kensington Gardens began life as a King's playground; for over 100 years, the gardens were part of Hyde Park and hosted Henry VIII's huge deer chase. When William and Mary established the palace in 1689, they began to create a separate park. Mary commissioned a palace garden of formal flower beds and box hedges. This style was Dutch and designed to make William, who came from Holland, feel at home. The Queen's State Apartments Explore these intimate, private rooms created for Queen Mary II, who ruled jointly with her husband, King William III, in the 17th century.  The Queen’s rooms The Queen's Staircase, little changed since its construction in 1690, is deliberately plainer than the King's. Mary would have glided down its steps to reach her beloved gardens, created in the Dutch style, through the door at its foot.