St Mary Mounthaw

Queenhithe is a small and ancient ward of the City of London, situated by the River Thames and to the south of St. Paul's Cathedral. The Millennium Bridge crosses into the City at Queenhithe. Queenhithe is also the name of the ancient, but now disused, dock and a minor street, which runs along that dock, both of which are within the ward. The ward is served by London Buses route 4, which runs along Queen Victoria Street and stops by the Millennium footbridge, and the nearest London Underground station is Mansion House, on Queen Victoria Street.

St. Mary Somerset was a church in the City of London first recorded in the twelfth century. Destroyed in the Great Fire of 1666, it was one of the 51 churches rebuilt by the office of Sir Christopher Wren. The tower is located in Upper Thames Street, the body of the church being demolished in 1871.

St. Michael Queenhithe was a church in the City of London located in what is now Upper Thames Street. First recorded in the 12th century, the church was destroyed during the Great Fire of London in 1666. Rebuilt by the office of Sir Christopher Wren, it was demolished in 1876.

Holy Trinity the Less was a parish church in Knightrider Street in the City of London, destroyed in the Great Fire of London. Following the fire the site was used for a Lutheran church, which was eventually demolished in 1871 to make way for Mansion House underground station.

The Worshipful Company of Painter-Stainers is one of the Livery Companies of the City of London. An organisation of painters of metals and wood is known to have existed as early as 1283. A similar organisation of stainers, who generally worked on staining cloth for decorative wall hangings, existed as early as 1400. The two bodies merged in 1502; the new organisation was incorporated under a Royal Charter in 1581. Today, the Company is less a trade association of painters and more a charitable company, with the promotion of education in the fine and decorative arts and crafts as its main theme. The Painters' Company Scholarship Scheme was established in 2012 to support undergraduates every year at London Art Colleges. Each student receives £5,000 annually from the beginning of their second year until they complete their studies, and they are known as a Painters' Company Scholar. The students are selected entirely on merit, and this is the most meritocratically-awarded scholarship for art students in London today.The Painters Company also co-sponsors one of the largest UK open art competitions: the Lynn Painter-Stainers Prize was created in 2005 by the Worshipful Company of Painter-Stainers and the Lynn Foundation to encourage the very best creative representational painting and promote the skill of draftsmanship. It awards prize money of £30,000. Eleven Liverymen have held the office of Lord Mayor of London since 1922. The Company ranks twenty-eighth in the order of precedence of Livery Companies. The Company's motto is Amor Queat Obedientiam, Latin for Love Can Compel Obedience. The Master for the year ensuing 19 October 2015 is Anthony John Ward, son of the late Liveryman and scribe to the Company, John Ward. The Clerk is Christopher John Twyman. The livery company's hall is situated between Huggin Hill and Little Trinity Lane, in the ward of Queenhithe.

Bankside Pier is a stop for river services in London. It is located on the south bank of the river Thames, close to Tate Modern museum. Three services call at the pier: the river bus routes RB1 (between Embankment and Woolwich Arsenal) and RB2 (from here to St George Wharf Pier and Millbank Pier for the Tate Britain). The third service is the Circular Cruise Westminster which goes to Westminster via St Katherine's.

St Nicholas Cole Abbey is a church in the City of London located on what is now Queen Victoria Street. Recorded from the twelfth century, the church was destroyed in the Great Fire of London in 1666 and rebuilt by the office of Sir Christopher Wren. The church suffered substantial bomb damage from German bombs during the London Blitz in the Second World War and was reconstructed by Arthur Bailey in 1961–2.

The Worshipful Company of Blacksmiths is one of the livery companies of the City of London. The organisation was first mentioned in a court record in 1299. A Royal Charter officially granting it the status of Company was granted in 1571. The Company originally had the right to set regulations and standards for blacksmiths in the City of London. However, the right eroded over time. By the end of the eighteenth century, little remained of the Company's former powers and so the Company did not the renew the lease on its hall at expiration in 1785.

The Worshipful Company of Masons is one of the ancient Livery Companies of the City of London, number 30 in the order of precedence of the 110 companies. It was granted Arms in 1472, during the reign of King Edward IV; its motto is “God Is Our Guide”. The Masons’ Company (not to be confused with the Freemasons), which emerged in the late Middle Ages, played an important role in medieval and early modern London. It regulated the craft of stonemasonry, for example by ensuring that standards and the training of apprentices were properly maintained, at first just in the City of London, but subsequently also in the City of Westminster and seven miles from each. It was also an important social organisation in the lives of its members. Like most Livery Companies, it maintains its social function, but the Company’s economic and administrative role has changed over time and it no longer oversees the craft in this traditional way, although it remains actively involved in supporting those training in stonemasonry and in promoting the use of natural stone. It remains one of the few Livery Companies today whose craft, particularly its tools, would be recognisable to its early members. Of all the ancient crafts used in Britain, masons have left the most impressive and most permanent evidence of their work. Members of the Company are known to have taken part in the construction of many of these famous structures, for example, the London Guildhall, and St Paul’s Cathedral.

The Beargarden or Bear Pit was a facility for bear-baiting, bull-baiting, and other "animal sports" in the London area during the 16th and 17th centuries, from the Elizabethan era to the English Restoration period. Baiting is a blood sport where an animal is tormented or attacked by another animal, often dogs, for the purpose of entertainment or gambling. Samuel Pepys visited the venue in 1666 and described it as "a rude and nasty pleasure". The last recorded event at the Beargarden was the baiting of "a fine but vicious horse" in 1682.

The Hope Theatre was one of the theatres built in and around London for the presentation of plays in English Renaissance theatre, comparable to the Globe, the Curtain, the Swan, and other famous theatres of the era.The Hope was built in 1613–14 by Philip Henslowe and a partner, Jacob Meade, on the site of the old Beargarden on the Bankside in Southwark, on the south side of the River Thames — at that time, outside the legal bounds of the City of London. Henslowe had had a financial interest in the Beargarden (the ring for bear-baiting and similar "animal sports") since 1594; on 29 August 1613 he contracted with the carpenter Gilbert Katherens to tear down the Beargarden, and to build a theatre in its place, for a fee of £360. (After the Hope was built, it was often still called the "Beargarden" in common parlance and in the extant documentary record.) Construction was slow, taking over a year. The Hope may have been delayed because the Globe was being rebuilt at the same time — it had burned down on 29 June 1613 — and two such large jobs, done simultaneously, may have taxed the personnel and resources of the "construction industry" of Southwark, such as it was at the time. (The Hope was located just to the northwest of the Globe, so that the two projects could have competed directly for men and material.) Also, the Hope was likely a more complex construction job, since it was designed as a dual-purpose facility from the start. The contract calls for a: Plaiehouse fitt & convenient in all thinges, bothe for players to playe in, and for the game of Beares and Bulls to be bayted in the same, and also a fitt and convenient Tyre house and a stage to be carryed and taken awaie, and to stande vppon tressels....So, the Hope would have required facilities for keeping animals that the Globe did not need. Because Henslowe's original contract with Katherens survives, we know something about the specifics of the construction of the Hope, more so than for other theatres of the period. The contract states that the Hope must be built according to the pattern of the Swan, with two staircases on the outside, and the "heavens" built over the stage, without posts or supports on the stage to disrupt the audience's view — a somewhat different concept from current ideas about the theatres of the period. (The Hope's stage had to be removable, to make room for the "Beares and Bulls.") The Hope was completed and opened to the public in October 1614. On 31 October, Ben Jonson's Bartholomew Fair was acted in the Hope by the Lady Elizabeth's Men. In the printed text of his play, Jonson describes the Hope as being "as dirty as Smithfield and stinking every whit" — Smithfield being the district of London dominated by the livestock market and slaughterhouses. On Henslowe's death in 1616, his son-in-law Edward Alleyn inherited Henslowe's share in the Hope, which Alleyn then leased to Meade. The Hope remained an active facility for the coming decades. In its early years the Hope was used more for playing than animal baiting — the days devoted to dramas outnumbered those devoted to animal sports by three to one. Lady Elizabeth's Men were joined by Prince Charles's Men around 1615; when the Lady Elizabeth's company left to tour the provinces in 1616, Prince's Charles's Men remained for another three years. Yet the mix of the two activities was never easy, and the actors grew more unhappy with the arrangements at the Hope as time went on. The actors left for the Cockpit Theatre in 1619, and the Hope was thereafter used for bear and bull baiting, prizefighting, fencing contests, and similar entertainments. The Corporation of London outlawed both play-acting and bear-baiting at the start of the English Civil War in 1642. Animal sports were suppressed by the Puritan regime in 1656. The last seven surviving bears were shot to death by a company of soldiers; the dogs and the cocks kept there were also killed. (The Commonwealth commander Thomas Pride was responsible for this action; in 1680 – 24 years after the bears' deaths, and 22 years after Pride's — an anonymous satirist composed Pride's confessional Last Speech...being touched in Conscience for his inhuman Murder of the Bears in the Beargarden.)By one (questionable) account, the Hope Theatre was "pulled down to make tenements, by Thomas Walker, a petticoat maker in Canon Street," on Tuesday, 25 March 1656. Yet the practice of animal sports resumed at the Restoration in 1660; if the Hope had been torn down, a replacement facility was soon established. The Diary of Samuel Pepys records a visit Pepys and his wife made to the Beargarden on 14 August 1666. The last word of animal sports at the facility dates from 12 April 1682. By 1714, a development called Bear Garden Square had been built on the site of the old Hope. The buried archaeological remains of The Hope and three bear gardens are listed as a Scheduled monument.

The Worshipful Company of Vintners is one of the oldest Livery Companies of the City of London, England, thought to date back to the 12th century. It is one of the "Great Twelve" livery companies of London, and its motto is Vinum Exhilarat Animum, Latin for "Wine Cheers the Spirit". One of the more peculiar rights of the Company involves the ceremony of swan upping.