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We look at Turner's famous depiction of a steam train in 'Rain, Steam and Speed' (1844) and stormy seas in 'Dutch Boats in a Gale' (1801). Rob Bell from the Institution of Mechanical Engineers gives us an engineer's take on these two paintings at the National Gallery.

Snakes for arms; scaly, avian legs; and moth-like wings, find out why this late-Gothic demon was the stuff of nightmares in its day with Daniel Sobrino Ralston, CEEH Associate Curator for Spanish Paintings.

Since the Gallery opened in 1824, its pictures have been arranged in different ways, crowded hangs being replaced by less dense arrangements and pictures arranged by date and place as more galleries were built.

The National Gallery first opened its doors to the public on 10 May 1824. Its first home was a London townhouse at 100 Pall Mall. The original collection, purchased by the British Government, contained just 38 paintings, including Sebastiano del Piombo’s 'The Raising of Lazarus'.

Since opening in 1824, the Gallery has attracted visitors from across the world. Visitor Hester Thomas recalls how her Great Uncle Tom made this etching of the building in Trafalgar Square: “Whenever I visit, I see two places superimposed one on the other, the Gallery of today and the Gallery of a hundred years ago.”

Not long after the start of the Second World War, pianist Myra Hess approached the Gallery’s Director with an idea - to hold music concerts in the empty rooms of the Gallery. The concerts brought joy to war-weary Londoners and became a symbol of resilience. Today, their legacy lives on through regular live music and performances at the Gallery.

Even after the National Gallery moved to a purpose-built new home on Trafalgar Square in 1838, the building has continued to evolve. Existing spaces have been transformed and new ones built to meet the growing needs of the Gallery’s collection and its visitors.

Public generosity helps the National Gallery to remain free. In 1962, an appeal was launched to help fund the acquisition of a drawing by Leonardo da Vinci, 'The Burlington House Cartoon'. Visitor Beatrice Hale recalls, 'My weekly wage wasn't much, but half a crown to the Leonardo, and the Gallery's acquisition, meant so much to me.'

With war looming in 1939, a plan was made to evacuate the National Gallery’s paintings from London. Removed from the threat of air raids in London - the Gallery was bombed nine times between October 1940 and April 1941 - the entire collection was housed safely in an underground home in the caves of Manod Quarry in Wales.

Have you ever wondered just how much the Gallery’s interior has changed over the years? Take a look at how a few of our historic rooms have evolved over our 200-year history.

Have you ever wondered who the people are working to care for the National Gallery’s paintings? Look behind the scenes at some of the many people who have helped care for the Gallery and its paintings over the past 200 years. 

In the 1830s, architect William Wilkins was chosen to design a permanent home for the National Gallery at the heart of London on Trafalgar Square. His plans were inspired by Ancient Greek architecture. To save money, he was ultimately required to reuse materials, including sculptures for the facade, from other London landmarks.

From its location in Trafalgar Square, the National Gallery building has been the backdrop to national life as it unfolds. Over the past 200 years, the Gallery has stood witness to people commemorating milestones, rallying for change, and coming together in everyday moments.

Our art handlers are shown here rehanging Paul Delaroche’s 'The Execution of Lady Jane Grey' in the Towards Modernism rooms.

Our conservators Kristina Mandy, Silvia Tagliante and Marek Goliaš are shown here restoring Orazio Gentileschi’s 'The Finding of Moses'.

They use small brushes to apply liquid putty to areas where paint and ground layers have been lost. These filled in gaps, replicating the original texture and canvas pattern, help to preserve the painting and blend in with the original surrounding areas.