Burning of Parliament (1834). The Palace of Westminster, also known as the Houses of Parliament, has been a significant symbol of British political power and history for centuries. The medieval royal palace was largely destroyed by fire on October 16, 1834, and was subsequently rebuilt in the Gothic Revival style that we see today. One of the earliest paintings of the Palace is by Canaletto. This painting, The Old Horse Guards from St James's Park, shows the palace in the background, with its medieval towers and spires rising above the trees. The painting captures the grandeur and majesty of the building, as well as its historical significance as a symbol of British power. After the fire of 1834, there were numerous depictions of the Palace of Westminster in various states of ruin. One of the most famous is a painting by J.M.W. Turner, titled The Burning of the Houses of Lords and Commons, October 16, 1834. The painting shows the Palace of Westminster engulfed in flames, with the River Thames and St. Paul's Cathedral visible in the background. The painting captures the drama and chaos of the event, as well as the sense of loss and destruction that it represented. As the Palace of Westminster was rebuilt in the Gothic Revival style, it became a symbol of British national identity and pride. This is reflected in numerous paintings and prints from the Victorian era, which show the building in all its Gothic splendor. One of the most famous is a painting by Charles Barry, the architect responsible for the rebuilding of the Palace of Westminster. The painting, titled The New Palace of Westminster from the Thames, shows the building from a low vantage point, with its towers and spires soaring above the river. The painting emphasizes the grandeur and majesty of the building, as well as its importance as a symbol of British political power. In the 20th and 21st centuries, the representation of the Palace of Westminster in art has continued to evolve. Some artists have used the building as a symbol of political power and authority, while others have used it as a backdrop for more personal or abstract explorations. One notable example is a painting by the British artist Frank Auerbach, titled The Houses of Parliament, Summer Afternoon. The painting shows the Palace of Westminster from a distance, with its towers and spires barely visible through a haze of paint. The painting is more concerned with the play of light and color than with the building itself, reflecting a more abstract and experimental approach to representation. The Palace of Westminster in art has reflected the changing attitudes towards the building and its significance over time. From Canaletto's grand depictions of the medieval palace, to Turner's dramatic portrayal of its destruction, to Barry's proud representation of its Gothic Revival rebirth, to Auerbach's more abstract explorations, the Palace of Westminster has been a constant source of inspiration and fascination for artists throughout history. The blaze was caused by the burning of small wooden tally sticks which had been used as part of the accounting procedures of the Exchequer until 1826. The sticks were disposed of carelessly in the two furnaces under the House of Lords, which caused a chimney fire in the two flues that ran under the floor of the Lords' chamber and up through the walls. The resulting fire spread rapidly throughout the complex and developed into the biggest conflagration in London between the Great Fire of 1666 and the Blitz of the Second World War; the event attracted large crowds which included several artists who provided pictorial records of the event. The fire lasted for most of the night and destroyed a large part of the palace, including the converted St Stephen's Chapel, the meeting place of the House of Commons, the Lords Chamber, the Painted Chamber and the official residences of the Speaker and the Clerk of the House of Commons. The actions of Superintendent James Braidwood of the London Fire Engine Establishment ensured that Westminster Hall and a few other parts of the old Houses of Parliament survived the blaze. In 1836 a competition for designs for a new palace was won by Charles Barry. Barry's plans, developed in collaboration with Augustus Pugin, incorporated the surviving buildings into the new complex.