Temple tube station’s grey concrete roof terrace has been given a kaleidoscopic makeover by London-based artist Lakwena Maciver. Titled ‘Back in the Air: A Meditation on Higher Ground,’ Maciver’s rooftop art installation features a series of interlocking geometric patterns inspired by her Ugandan heritage …
You can read more about the work here along with some great aerial images. Highly recommended since it also includes fascinating time lapse footage of the work’s construction.
You may wonder why Temple Station, built in 1870, has this unusual flat roof. Well, when the station building was proposed, the Duke of Norfolk, who owned land to the north, didn’t want a tall structure obstructing his view. As a result of his objection, the flat roof meant he could still gaze happily over the Thames and wander across the roof if that took his fancy. Another constraint was demanded by the barristers in the nearby Inns of Court. Train drivers were not allowed to blow their whistles in their proximity so members would not be distracted from their briefs (nor, presumably, have their slumbers interrupted).
If you like Italian food and produce Eataly, on Bishopsgate beside Liverpool Street Station, is the place for you. Great restaurants with scrumptious food and mini-shops selling all kinds of produce. There’s a great wine shop as well. I love this sparkling arcade …
I like the ‘splashy’ roof over the pavement at 22 Bishopsgate (EC2N 4AJ) …
Fun pink ‘stuff’ at St Pancreas …
Crazy shop window nearby …
Street art near Rivington Street …
The ‘Hanging Gardens of the Barbican’ are gradually changing colour …
Sadly, the last hollyhock of the year …
However, there is cause for optimism. A little green leaf emerging from the Amaryllis!
Last Saturday I went on a guided tour of Highgate Cemetery and took this image of our excellent guide James in his natural green habitat …
The Cemetery is well worth visiting and the guided tours great value for money (or you can go self-guided if you prefer). Details can be found here on their website. You must book a time slot in advance.
And finally, can you spot the Tower 42 orange pumpkin head?
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You may remember that last week I suggested you reflect on the origin of the name of this narrow thoroughfare which has this entrance in St John’s Lane …
And another in St John Street …
As you have probably guessed, it was originally called Pissing Alley and appears as such in John Roque’s map of 1776 …
By 1792, however, according to Horwood’s Plan, it had become Passing Alley. See if you can spot it …
The blog A London Inheritance tells us that, although Passing Alley gives the impression of being one of London’s ancient alleys, in London terms it is relatively recent. It was originally around 40 feet to the north of its current location, however late 19th century development, which included the building that now provides access to the alley, required the shift of the alley to the south. The name does not necessarily refer to 18th century chaps bursting for a wee but may actually reference the location of cesspits in the area.
Incidentally, there was a Pissing Lane in the City. It’s shown on the Agas Map of 1561 but has since disappeared under Cannon Street Station …
Another walk along St John Street has revealed some more interesting buildings.
Number 16 was the former Cross Keys inn. It was rebuilt in 1886–7 for Lovell & Christmas, provision merchants. It has been closed as a pub since the Second World War and was occupied during the 1980s as the London headquarters and library of the Communist Party of Great Britain, before being refurbished as offices in the early 1990s …
You can see the cross keys symbol at roof level.
18-29 is a Gothic-style warehouse of 1886–7. It was built speculatively by Richard Curtis, builder and contractor of Aldersgate Street. Curtis went bankrupt during the work, and the building was completed for his mortgagee, the Nineteenth Century Building Society, who let it in 1889 to S. Oppenheimer & Co., sausage-skin manufacturers …
For more sausage-related history have a look at last week’s blog.
The exact date of construction of Number 22 next door is not known, but the little house is evidently of the early eighteenth century …
It appears to be the survivor of a row of three similar houses mentioned in the will of Frances Ashton, née Chew, proved in 1727. The house was in commercial use by the 1820s, and was occupied from then until the 1890s by a succession of wire-workers, manufacturing being carried on in a workshop in the back yard.
Number 24 was erected in 1863–4 for George Penson, provision merchant, replacing the Golden Lion inn. It’s is a tall, narrow house faced in brick, with, originally, a ground-floor shop …
One can’t fail to be impressed by the Farmiloe building. Until their departure to Mitcham in April 1999, the lead and glass merchants George Farmiloe & Sons were one of Clerkenwell’s longest-established firms, and this was their headquarters.
During the company’s heyday in the first half of the twentieth century, the firm was supplying a variety of materials to the building trade, including paint, brasswork and sanitary ware, as well as lead and glass.
It’s a fine example of Victorian commercial architecture, featuring an attractive Italianate palazzo-style frontage executed in Portland stone, white Suffolk brick and polished Aberdeen granite.
The stonework is embellished with delicate decoration, both incised and in relief …
To the right is an archway leading to a courtyard facing a large covered warehouse at the rear of the building …
At the back of the warehouse, which included offices and a manager’s flat, are outbuildings ranged round a courtyard, originally bacon stoves, stores and stabling but now converted to offices and business units …
I took advantage of a sunny afternoon to inspect more closely the fascinating architecture I had often observed on St John Street. It’s an ancient route, described in 1170 as the street ‘which goeth from the bar of Smithfield towards Yseldon [Islington]’. This is the earliest known documentary reference to the street, which later became known simply as ‘Clerkenwell Streete’. Its present name is taken from the adjacent priory of St John, established by the Knights Hospitallers in the twelfth century.
You can see it here on the Agas Map of 1561 (as reprinted and modified in 1633) …
Starting my walk at the Smithfield Market end the first buildings I encountered were numbers 1 and 3-5 (EC1M 4AA). The sunlight showed them off to great effect …
The ‘Venetian’ style Number 1 appears to have been built in the mid-1880s for the charmingly named Frederick Goodspeed, a grocer who had acquired, and briefly ran, an old coffeehouse on the site.
My camera couldn’t do justice to the decorations on numbers 3-5 so I have borrowed this image from British History Online …
The building was constructed in 1897 for William Harris the ‘Sausage King’, sausage manufacturer and proprietor of a well-known restaurant chain specialising in sausage and mash. Faced in brick with stone dressings, it shows Arts-and-Crafts and Art Nouveau influence; the south front rises to an ornate gable decorated in relief with a wild boar, Harris’s name and the date. Here’s one of his promotional leaflets aimed at ‘City Clerks and others’…
The Victorians loved an eccentric and he obliged, whether it be by dressing entirely inappropriately for his job (opera hat, dinner suit and cravat with diamond pin) or riding a pig from Brighton to London (with the words ‘tomorrow’s sausages’ written cruelly on its back).
Harris’s registered trademark was a colour picture of himself riding a huge pig to victory in the ‘Pork Sausage Derby’ …
Harris in full self-promotion mode …
One anecdote tells of the time when he was visiting Brighton and a tramp ran off with a string of sausages from one of William’s shops. The thief was caught, and was challenged to a sausage-eating contest – if the tramp won he could go free. A huge crowd gathered to watch; when William delightedly won (by four sausages) he gave the tramp a sovereign and his freedom.
William ‘No. 1’ Harris, as he styled himself, lived over the shop at with his family including sons William ‘No. 2’ (Prince of Sausages) and William ‘Nos. 3 and 4’. His firm, William Harris & Son, remained here until the late 1950s or early 60s.
Number 7 was the scene of a tragedy. The so-called Clerkenwell Cinema Fire occurred in the Dream City ‘adult cinema’ (also known as the ‘New City Cinema’) on 26 February 1994. Due to the pornographic nature of the films it screened, and the strict cinema licensing regulations in London at the time, the cinema was operating illegally, and thus was not subject to fire inspections as legal entertainment venues were …
The fire was caused by arson when a deaf, homeless man called David Lauwers (known to his friends as ‘Deaf Dave’) lost a fight with a doorman over entry fees. After being ejected from the cinema, Lauwers returned with a can of petrol and set fire to the entrance area. The fire took hold rapidly, trapping most of the staff and patrons within. Eight men died at the scene, seven from smoke inhalation and one from injuries sustained from jumping from a high window in the building, and there were three further fatalities in the following months in hospital, as well as thirteen injuries. Lauwers was later given a life sentence.
You can read a dramatic recounting of what happened that night in this blog by a Retired London Fireman.
On the left, the building today …
Numbers 69-73 consist essentially of two houses built in 1817–18, originally separated by the entry to a large yard, where warehousing was later built …
British History Online tells us that Number 69 appears to retain its original façade, but the other house has been refronted; this may have been done in 1896 when it was extended over the alley and the two houses thrown into one, together with the cork-warehouses at the rear, which had been partly rebuilt following a fire in 1882. The treatment of the ground floor at No. 69, with arched openings and Ionic pilasters, executed in stucco, is the remnant of a remodelling of the whole ground-floor front of probably carried out in the mid-nineteenth century. The present shopfront at No. 73 dates from 1884, though it has been altered in recent years.
Number 57 was once the White Bear pub dating from 1899 …
Now closed, it looks like a Covid victim.
At 115-121, this block of tenements and shops belongs to the select group of public housing schemes designed by the LCC Architect’s Department in the 1890s and early 1900s in an Arts-and Crafts or ‘English Domestic’ idiom …
Built in 1904–6, Mallory Buildings stands on part of the site of the medieval priory of St John, relics of which were discovered during the excavation for the foundations. The name commemorates Robert Mallory, one of the former priors.
Numbers 159–173 once housed Pollard’s Shopfitting works with construction being carried out in 1925–7. The new building contained showrooms, offices, workshops and stores. On the fourth floor were the main administrative offices, and the boardroom, panelled in Italian walnut with Ionic pilasters …
Black granite was used to frame the bronze entrance doors …
Founded in 1895 by Edward Pollard, Pollards held the English patents for the American invention ‘invisible glass’, used in shopfronts. This employs steeply curved concave glass to deflect light towards matt black ‘baffles’ so that no reflections show in the window. The company installed invisible-glass windows in several important London stores, including Simpsons of Piccadilly (now Waterstones), where they remain intact as well as at Fox’s Umbrellas on London Wall (now a wine bar) …
In 1967 the Pollard Group relocated to Basingstoke and the business continues today as Pollards Fyrespan, now in Enfield. The former Clerkenwell works are now used as offices and small-business workshops.
Three old houses survive at numbers 181–185 …
Finally, at numbers 223-227 you can look up and see the name Ingersoll picked out in green and cream mosaic. The factory was built in the 1930s for property speculator Gilbert Waghorn. Before it was completed, Ingersoll agreed to move in and so the architect, Gilbert’s brother Stanley Waghorn, modified slightly the parapet on the St John Street façade to incorporate the logo …
The Ingersoll Watch Company grew out of a mail order business started in New York City in 1882 by 21-year-old Robert Hawley Ingersoll and his brother Charles Henry Ingersoll. When they added the one-dollar watch to their catalogue, the business really took off. Millions were sold and they cheekily boasted it was …
In 1904 they opened a store in London and in 1905 Robert sailed to England and introduced the Crown pocket watch for 5 shillings, which was the same value as $1 at the time (four dollars to the pound – those were the days!) …
Business boomed even more when they won the contract to produce Mickey Mouse watches for Disney …
Ingersoll went bankrupt during the recession that followed World War I. It was purchased by the Waterbury Clock Company (now the Timex Group USA) shortly after for 1.5 million dollars. Today they are owned by Zeon Watches, a British subsidiary of the Chinese company, Herald Group. They are still distributing Ingersoll watches in more than 50 countries around the world.
I will be returning to St John Street again in a future blog. In the meantime, perhaps you can imagine how this narrow thoroughfare got its name?
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I am always surprised when I come across something that I should have researched years ago but somehow missed and this is the case with the Moorgate lighthouse. Here it is, isn’t it wonderful ..
I love the little windows, the steps leading up from what looks like a choppy sea and the fully rigged ships in the background. And, even more extraordinary, the covering for the beacon at the top of the tower is actually made of real glass (and one source states that when first constructed the light flashed intermittently, just like a real warning to shipping).
42 Moorgate, where the lighthouse lives, is now the home of Habib Bank (EC2R 6EL) …
Originally, however, it was designed in 1910 by the famous architects Aston Webb & Son to house the headquarters of the Ocean Accident and Guarantee Corporation, the lighthouse and other decorations re-emphasising the ‘Ocean’ brand name. Neptune, the God of the sea, stares down at the City traffic (glancing slightly to his left for some reason – possibly searching for the real ocean)…
The arcade facade behind the building on Moorgate Place is by W H Atkin-Berry. More ships under sail …
A ship’s prow cutting through the waves …
3 Moorgate Place.
And another two Neptunes …
This is a nice image by Katie of Look up London showing the sea God crowned with flowers and, above his head, sea horses charging away from the cartouche containing an O and A, presumably for Ocean Accident …
Looking up higher still you can see even more ships’ prows …
Ocean Accident was taken over by Commercial Union in 1910 and is now a footnote in the commercial history of Aviva …
At the other end of Moorgate Place is the stunning Institute of Chartered Accountants building, described by Pevsner as ’eminently original and delightfully picturesque’ …
Look at those imposing bronze doors …
I think the serpent signifies wisdom.
And surely this must be the poshest letter box in the City …
The frieze is magnificent and was intended as a grand symbolic depiction of all the areas of human activity which have benefited from the services of accountants. Groups of figures represent the arts, science, crafts, education, commerce, manufactures, agriculture, mining, railways, shipping and India and the Colonies. I have chosen ones with female figures and the first is entitled ‘Crafts’ …
The shield in the tree is inscribed Laborare est Orare – to work is to pray. To the left, two women represent ‘workers in metal’, the one on the left is holding a sword. On the other side of the panel are ‘Pottery’, a woman with a two-handled vase, and ‘Textiles’, a woman with a weaving frame.
Next is ‘Education’ …
The group on the left represents ‘Early Training’. A mother leads her son, who is carrying a cricket bat, towards a schoolmaster wearing a gown and carrying a textbook. On the other side is a student ‘in collegiate dress’ and holding a book, and a ‘College Don’ wearing a mortar-board and gown.
Onward to ‘Manufactures’ …
Behind the allegorical lady, and just about visible, are beehives ‘betokening industry’. The two women on the left represent ‘Fabrics’ – one holds a bolt of cloth and the other a shuttle and a spool of yarn. The two men on the right represent ‘Hardware goods’. The smith has his shirt open and stands next to an anvil. The other is ‘a Sheffield Knife Grinder’ feeling a chisel blade.
And now ‘Agriculture’ …
On the left are two men – a sower and a mower. On the other side are two girls – one reaping and the other carrying a basket of fruit.
I have written before about the Lady Justice sculpture. She looks like she has stepped out of her niche in order to upstage the accountants number-crunching away behind her …
If you return to Moorgate and look across the road you will find her again in the company of Prudence, Truth and Thrift at number 13-15 …
Here’s a link if you would like to know more about the two Lady Justices along with other representations of her in the City: Lady Justice.
I paused outside the impressive building that used to be called Electra House – you can read more about it here …
Looking across the road, number 87 is a rather elegant listed building squeezed between The Globe pub and the Crossrail development …
It’s an early 19th century red brick terraced house with sash windows. The ground floor shop was added in the late 20th century.
Finally, I’ve always been intrigued by this carving near the entrance to Moorgate Station and presume it was part of the old station which was seriously damaged in the War. It seems to show a bridge over water with little boats sailing underneath it and below them tunnels containing underground trains …
My theory is that it represents the Tube train tunnel under the Thames at Wapping. Here’s an image from 1958 …
Photo credit – London Transport Museum.
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Sometimes, when the weather is nice, I find it great fun to just wander about taking whatever images I fancy, hoping they will eventually build into some kind of coherent whole. For a while now, sunshine has drawn me into looking at subjects in a slightly more abstract way rather than trying to make them tell a story, and this blog is the result.
I am really, really proud of this image. It’s the reflection on the bonnet and windscreen of a car parked in Wood Street. I love the way the nearby building seems to stretch away into infinity …
The Gherkin and part of the tower of St Andrew Undershaft are reflected in the Scalpel skyscraper (EC3M 7BS) …
The poor Gherkin is gradually vanishing behind its more intrusive neighbours …
But it’s still great to visit the restaurant on the roof and just look up …
A mirror sculpture across the road from St Paul’s Cathedral – I waited specially for the red bus …
Stephen Osborne was laid to rest here almost 320 years ago and since then the sunlight has been reflecting off his gravestone in the south aisle of Southwark Cathedral (SE1 9DA). Hundreds of years of footfall have worn down the elaborate family coat of arms but the quality of the stone and the carving mean we still know today the name of the person it commemorates …
Early morning colours, reflections and shadows …
A fiery, dramatic sunset reflection …
These walls alongside London Wall are from the chapel of St Mary Elsing. It was part of a hospital and priory which had been founded by Sir William Elsing early in the 14th century. I can just imagine a hunched medieval monk or nun emerging from the shadows …
If they could look up they’d get a bit of a shock. I like the way the modern building is framed by a six hundred-year-old arch …
Nearby are the lovely red bricks and diamond patterns of the medieval wall, built on top of the original Roman fortification (EC2Y 5DE) …
Now for some more colour.
A lucky shot – red crane and rainbow (a double rainbow, actually, if you look carefully) …
Modern architects seem to be using colour more adventurously …
Offices in Old Bailey –EC4M 7NBView looking up from Sun Street (EC2A). The Georgian terrace house in the foreground and its neighbours are being converted into a hotel.
I like 88 Wood Street, but it’s a bit hemmed in by other buildings (EC2V 7QF) …
This optician on London Wall likes rather wacky window displays (EC2Y 5JA) …
Lady in red on Whitecross Street (EC1Y 8JA). She’s walking past the colourful exterior of the Prior Weston Primary School campus …
Now some very old colours. Crafts people restoring Holborn Viaduct recently discovered layers revealing 150 years of repainting …
Time for some shapes and shadows.
No one does symmetry quite like Mother Nature …
A concrete buttress in a car park resembles the prow of a ship as the sun shines through the grating above …
Practicality combined with aesthetic beauty …
At the corner of Clerkenwell Road and St John Street is the building which once housed the Criterion Hotel (EC1V 4JS). Look up and you will see this lovely, painstakingly created Victorian brick decoration. I don’t know what the frogs represent, or maybe they are toads …
For an expression of grim determination, it would be hard to beat the look on this man’s face …
This is the St Saviour’s War Memorial on Borough High Street, in the former parish of Southwark St Saviour (SE1 1NL). St Saviour’s Church became Southwark Cathedral in 1905 …
An infantryman in battledress advances resolutely through thick mud. He carries a rifle with bayonet attached slung over his shoulder …
Beneath his feet is a Portland Stone pedestal depicting St George doing battle with a dragon.
On the opposite side there is a carving of a mourning woman. Her child is reaching out to a dove …
On the pedestal’s long sides are bronze reliefs.
One with biplanes, to the west …
… and another with battleships, to the east.
The memorial’s sculptor was Philip Lindsey Clark (1889-1977). Having joined up with the Artists’ Rifles in 1914, he had distinguished himself in the First World War having been awarded the Distinguished Service Order (DSO) for ‘ … conspicuous gallantry and devotion to duty when in command of the left flank of the Company of the Battalion’. Despite being severely wounded, he had fought on until relieved two days later. In 1926 he created the Bakers of Widegate Street, details of which can be found in my blog On the Tiles again.
The story of the Artists’ Rifles is a fascinating one, it came as a surprise to me that they had one of the highest casualty rates of the First World War. Click here to read a short History of the Regiment (and watch the last scene from Blackadder – ‘Good luck everyone‘).
Walking along Southwark Street, I came across this magnificent, gently curving building called The Hop Exchange (SE1 1TY) …
This area in Southwark was where the hops from the southern counties, and especially from Kent, were brought to after the autumn picking. After picking, the hops were dried in the oast houses and then packed into large compressed sacks of 6 by 2 feet, called ‘pockets’. These pockets were then transported to Southwark, first by horse and cart, but later by train …
The Hop Exchange was built in 1867 …
You can see the hop pickers at work in the carving contained in the pediment …
Up to the 1960s, many of the poorer London families went to the hop gardens each September for a working-holiday. Not just for the fresh air, but to supplement their all too meagre income …
At 67 Borough High Street you can find the former offices of the hop merchants, or factors as they were usually called, W.H. and H. Le May (SE1 1NF). It is a Grade II listed building with a spectacular frieze on the front depicting hop gatherers and proudly displaying the firm’s name. One may easily assume that the building is constructed of red sandstone, but according to the description on the British Listed Buildings site, it is ‘just’ coloured stucco …
A rather romanticized view of picking …
I am indebted to the London Details blog for much of my research. You can read two of the posts here and here.
These flats, Cromwell Buildings in Redcross Street (SE1 9HR), were constructed in 1864 by Sir Sydney Waterlow, founder of the Improved Industrial Dwellings Company, and were modelled after a pair of houses designed by the Prince Regent for the Great Exhibition of 1851. Waterlow set the company up in 1863 with capital of £50,000 and by 1900 it was said to be housing some 30,000 London people …
If you ever find yourself in Highgate, do visit the beautiful Waterlow Park (N6 5HD). It covers 26 acres and was given to the public by Sir Sydney as ‘a garden for the gardenless’ in 1889. Seek out this statue of the great man – it’s the only statue I have ever come across of a man carrying an umbrella. In his left hand you will see he is handing over the key to the garden gates …
Back in Southwark, if you’re feeling thirsty and a bit peckish treat yourself with a visit to the George Inn, the only surviving galleried coaching inn in London (SE1 1NH) …
When I popped in to take a photo this made me smile …
I’ll visit Southwark again when I also go back to the Cathedral.
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Women feature on many City sculptures (often in an allegorical role) and I have been on another sculpture safari to see how many I can identify. I have written about female sculptures twice before and you can find links here and here.
In quite a few cases they are located high up on buildings and so are easily missed.
A good example is this pediment group on what once was the Cripplegate Institute building on Golden Lane (EC1Y 0RR) …
Education is seated in the centre, whilst Art and Science recline at either side. Although the building opened in 1896 the pediment was only added in 1910-11 when the upper stories were modified to provide, among other facilities, a rifle range.
You can read much more about the Institute in the excellent London Inheritance blog which also contains this 1947 photograph highlighting the vast extent of the wartime bomb damage. The Institute building is circled in red …
If you stand outside the Royal Exchange you will be rewarded with two more female figures along with the mysterious Magic Square, but again you have to look up.
The first lady is sited in a pediment above the Bank of England and is known as The Lady of the Bank …
Sculptor Charles Wheeler 1929-1930.
She is seated on a globe and her right hand holds a cloak which billows out to her left. Her left hand holds a temple-like building which contains a miniature relief of the Lady herself and beside her right leg is a cascade of coins. She is a replacement for the original ‘Old Lady of Threadneedle Street’, which resembled Britannia, since it was considered stylistically incompatible with the new building. She is intended to represent ‘the stability and security of the Bank of England’. Inside the wreath on the right is the date of construction in Roman numerals, MCMXXX.
On the corner across Bank junction is the impressive NatWest building and if you look up you will see this (rather grubby) allegorical group …
Sculptor Ernest Gillick – 1931-2.
Britannia rises on a winged seat, flanked by Mercury (representing Commerce) and Truth with his torch. At Britannia’s knees are crouching nude females representing Higher and Lower Mathematics. Higher Mathematics, on the left, holds a carved version of Dürer’s Magic Square, a numerical acrostic whose numbers add up to 34 when added horizontally, vertically or diagonally. Lower mathematics holds a pen and a book whilst beside her two owls sit on piles of books.
The square is not very clear now due to the dirt on the carving so here are the numbers it contains …
Dürer included it in an engraving entitled Melancholia I …
It can be seen in the top right hand corner and you can read more about it here and here.
Nearby in Prince’s Street, on the same building, you can view this elegant lady at street level …
Sculptor Charles Doman – 1931.
Representing Prosperity, she holds a basket with a rich assortment of fruit and corn.
You have to stretch your neck if you want to examine this relief sculpture at 7 Lothbury (EC2R 7HH) …
Sculptor James Redfern – 1866.
It is rather unusual and is intended as a pastiche of a late medieval Venetian palace. A crowned female figure at the centre sits on a padlocked strong-box and writes in a ledger held up for her by a standing woman with a bunch of large keys suspended from her girdle. Other figures include a woman holding a model steam engine and another figure holding a model boat.
It’s a fascinating building and you can read more about it here.
The frieze on the Institute of Chartered Accountants is magnificent and was intended as a grand symbolic depiction of all the areas of human activity which have benefited from the services of accountants (EC2R 7EF). Groups of figures represent the arts, science, crafts, education, commerce, manufactures, agriculture, mining, railways, shipping and India and the Colonies. I have chosen a few with female figures and the first is entitled ‘Crafts’ …
The shield in the tree is inscribed Laborare est Orare – to work is to pray. To the left, two women represent ‘workers in metal’, the one on the left is holding a sword. On the other side of the panel are ‘Pottery’, a woman with a two-handled vase, and ‘Textiles’, a woman with a weaving frame.
Next is ‘Education’ …
The group on the left represents ‘Early Training’. A mother leads her son, who is carrying a cricket bat, towards a schoolmaster wearing a gown and carrying a textbook. On the other side is a student ‘in collegiate dress’ and holding a book, and a ‘College Don’ wearing a mortar-board and gown.
Onward to ‘Manufactures’ …
Behind the allegorical lady, and just about visible, are beehives ‘betokening industry’. The two women on the left represent ‘Fabrics’ – one holds a bolt of cloth and the other a shuttle and a spool of yarn. The two men on the right represent ‘Hardware goods’. The smith has his shirt open and stands next to an anvil. The other is ‘a Sheffield Knife Grinder’ feeling a chisel blade.
Another example is ‘Agriculture’ …
On the left are two men – a sower and a mower. On the other side are two girls – one reaping and the other carrying a basket of fruit.
In my favourite sculpture from the building Lady Justice looks like she has stepped out of her niche in order to upstage the accountants number-crunching away behind her …
She appears frequently in allegorical representations around the City and I have written about them before. If you are interested you can find my blog here.
You can see her again on the Old Bailey behind my final sculpture, the Peace drinking fountain in the Smithfield Rotunda Garden (EC1A 9DY). She is depicted with her right hand raised in a gesture of blessing while her left holds an olive branch …
Sculptors John Birnie Philip and Farmer & Brindley – 1871-3.
The structure was erected by the Corporation’s Market Improvement Committee in 1873 a few years after the armistice between France and Prussia was signed in 1871. The 11m-high fountain originally comprised a huge stone canopy in an eclectic style with four corner figures of Temperance, Hope, Faith and Charity but the structure fell into disrepair and was taken down. The illustration below appeared in The Builder magazine in 1871 …
I thought I’d add some light relief in these difficult times.
Happy Clerkenwell gnomes …
Santa’s elves, with appropriate face coverings, seconded for Covid prevention duty …
An optician on London Wall goes for the ‘minimalist’ window display approach …
And finally, more spooky clothes models to add to the collection …
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Queen Victoria Street was created in 1871 as an extension to the then new Victoria Embankment and led directly to the Mansion House. The new street was incredibly expensive to build since, obviously, the properties standing in its path had to be purchased before demolition. The cost, over £2,000,000, equates to more than two billion pounds in equivalent value today.
On this extract from the 1847 Reynolds’s Splendid New Map of London a red line has been drawn to show how Queen Victoria Street sliced its way across the City …
This picture gives an idea of the extent of the demolition …
I wanted to try to stand as closely as possible where this picture was taken and, pausing in the street, I looked up and this is what I saw (EC4V 4BQ) …
I climbed some steps and in a grim courtyard outside the gruesome Baynard House is a quite extraordinary sculpture, The Seven Ages of Man by Richard Kindersley (1980) …
At first the infant – mewing and puking in the nurse’s arms …then the whining schoolboy creeping like a snail unwillingly to school … then the lover … then a soldier full of strange oaths …
… and then the justice full of wise saws … then the sixth age …the big manly voice turning again toward childish treble, pipes and whistles in his sound … then second childishness and mere oblivion, sans eyes, sans taste, sans everything.
(Jacques in Shakespeare’s As You Like It Act II Scene vii)
Here is the view from the terrace taken from approximately the same spot as the demolition picture above …
This image and several of the illustrations in today’s blog have been taken from the excellent blog A London Inheritancewhich I wholeheartedly recommend.
By the way, the terrace leads to Blackfriars Station and it’s worth popping in to see this example of the station’s past importance.
The station was badly damaged during the Second World War but the wall displaying a selection of the locations you could catch a train to survived and you can see it today in the ticket hall. It was part of the original façade of the 1886 station (originally known as St Paul’s) and features the names of 54 destinations – each painstakingly carved into separate sandstone blocks …
The letters are gilded in 24 carat gold leaf …
Where shall we buy a ticket to today? Crystal Palace or Marseilles? Westgate-on-Sea or St Petersburg? Tough choices!
Moving westward on the north side of Queen Victoria Street you will find the College of Arms (EC4V 4BT). Founded in 1484, this is where you go to get your family coat of arms designed and granted. As well as this function, the College maintains registers of arms, pedigrees, genealogies, Royal Licences, changes of name, and flags. The officers who run the College have some splendid titles such as Clarenceaux King of Arms, Rouge Dragon Persuivant and various Heralds and Heralds Extraordinary.
The original street plan included the complete demolition of their building but the Heralds objected strongly. As a result Queen Victoria Street merely sliced off the south east and south west wings, requiring remodelling of the two stumps. You can see how the colour of the new brickwork differs from the original in this picture …
This print from 1768 shows the building before the 1871 alterations …
Also on the north side is the 1933 Faraday Building, once one of the major hubs for international and national telephone circuits and operator services (EC4V 4BT) …
Look just above the line of the second set of windows and, in the position associated with a key stone, there are a series of carvings, one above each window, that tell the story of what was state of the art telecommunications at the time the building was constructed.
A bang up to date telephone …
Cables that carried the telephone signal …
An electromagnetic relay …
A Horse Shoe Magnet …
The imposing entrance doors are sadly defaced with signage …
There are two nice places to sit down and rest.
The first I would recommend is the Cleary Garden (EC4V 2AR) …
It is named after Fred Cleary who, during the 1970s, was instrumental in encouraging the planting of trees and the creation of new gardens throughout the square mile. During the blitz, the house which once stood here was destroyed exposing the cellars. A shoemaker called Joe Brandis decided that he would create a garden from the rubble, collecting mud from the river banks and transporting soil from his own garden in Walthamstow to the site. His success was such that on 29th July 1949 Queen Elizabeth the Queen Mother visited his handiwork.
My second recommendation, if you seek some refreshment in extraordinary surroundings, is the Black Friar pub (EC4V 4EG) …
The interior is so amazing that I am going to write about it in more detail in a later blog dedicated to pubs. In the meantime, here are a few pictures to give you some idea of what to expect …
You can watch an interesting video about the pub and its history here.
And finally, it’s cute pigeon time. I saw this one dozing off whilst using a spotlight to dry his feathers and warm his bottom. He’s also managing to do this whilst balanced on one leg …
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Every time I walk along Fleet Street I find something to write about.
This week I decided to take another look at the courts and alleys starting with the curiously named Poppin’s Court (a good name for the restaurant). The wallsign gives tourists a visual clue as to what’s on offer, yummy!) ..
According to The London Encyclopaedia, the abbots of Cirencester, whose crest included a popinjay or parrot, had a town house here in the early 14th century called Le Popyngaye and the name stuck. If this is correct, the apostrophe in the current name is not really appropriate, giving the impression that someone called Poppin used to live there. Or possibly that the court is named after the restaurant. There used to be a stone relief of a parrot over the court’s entrance but this has disappeared.
I was curious to know what a coat of arms with a parrot on it looked like and I found one, on the crest of Sutton United Football Club of all places …
Further west is Peterborough Court, with its ‘IN’ entrance …
… and ‘OUT’ exit …
The Court is named after the Bishop of Peterborough who owned the land in the 14th century. Described as ‘An Art Deco Temple to Journalism’, the Portland Stone building dates from 1928 and was the home of the Daily Telegraph. The newspaper moved out in 1987 and eventually Goldman Sachs International leased the building at a cost of £18 million a year. The lease runs out in 2021 and I think they have already vacated the building since it looks a bit sad and neglected. There was talk last year of it becoming another WeWork site but who knows in the current economic climate. The lovely Art Deco clock usually makes me smile …
Cheshire Court is modest, but its fame comes from its neighbour, Ye Olde Cheshire Cheese – a pub which has been recorded on this location since at least 1538, although it’s original name was probably the Horn Tavern …
Wine Office Court is so named because licences for selling wine were issued at premises here. That’s the entrance to Ye Olde Cheshire Cheese on the right …
The view looking towards Fleet Street …
I can’t find out much about Hind Court, it’s possibly named after a tavern …
Many of the courts have a plaque at the entrance. This one shows a facsimile of the front page of the first edition of Daily Express dated Tuesday 24th April 1900 …
The note in the box reads …
The first edition of the Daily Express was published in Fleet Street. It was one of the first papers in Britain to carry gossip, sports, women’s features and a crossword.
Bolt Court is probably named after another vanished inn, the Bolt-in-Tun, and Dr Johnson lived here at number 8 from 1776 to when he died in 1784. The house was lost in a fire in 1819 …
At the entrance is a facsimile of the front page of The Sun newspaper dated 15th September 1984 …
Bolt Court leads to Gough Square where another house that was occupied by Dr Johnson has survived. There is also a sweet sculpture of his cat Hodge looking towards his old home …
I’ve written more about the Square and Hodge in this blog entitled City Animals 2.
St Dunstan’s Court references the nearby church, St Dunstan-in-the-West …
At its entrance computerisation in the printing industry is illustrated, a bit bizarrely I think, by the Pac-Man game …
The Royal Society met in Crane Court from 1710 until they moved to Somerset House in 1780 …
The plaque shows a facsimile of the front page of the Daily Courant dated Wednesday March 11, 1702 …
It was Britain’s first daily newspaper.
On 14 April 1785 it ran a story about a man murdered after a visit to the barber. Some claim that this was the inspiration behind Victorian penny dreadful Sweeney Todd (allegedly a resident of 183 Fleet St) and the spawning of lots of movies …
It’s worth taking a walk through Crane Court and seeing how it opens up into an area full of character where development has been careful and restrained …
Mitre Court was named after the Mitre Tavern …
The Mitre was Dr. Johnson’s favourite supper-house and James Boswell, his biographer, referred to dining there …
We had a good supper, and port-wine, of which he (Johnson) sometimes drank a bottle.
Like nearby Bouverie Street, the name Pleydell Court comes from the Pleydell-Bouveries, Earls of Radnor, who were landlords in this area …
Now to Hare Place and its interesting history.
The Whitefriars, or Carmelites, once owned land stretching from here to the river. When the monastery was dissolved in November 1538 the land was sold to individuals who subdivided their plots and built tenements on them. However, this precinct had long possessed the privileges of Sanctuary, which were confirmed by a charter of James I in 1608. From about this time the area was known by the cant name Alsatia (after the disputed continental territory of Alsace), and its entrance was in Hare Place, then known as Ram Alley …
It became the ‘asylum of characterless debtors, cheats and gamblers here protected from arrest’. One Edwardian historian spoke of …
Its reeking dens, its bawds and its occupants’ disgusting habits. Every house was a resort of ill-fame, and therein harboured women, and still worse, men, lost to every instinct of humanity.
The privilege of Sanctuary was finally abolished in 1687.
And, finally, I walked through these elaborate gates to Serjeants’ Inn. …
Prudens Simplicitas (Prudent Simplicity) was the motto of the Amicable Society which was based here from 1838 and was the world’s first mutual life insurance company. The unusual choice of creatures may refer to a biblical quotation in which Jesus exhorted followers to be ‘wise as serpents, gentle as doves’. Lost during building works, the gates were rediscovered in a scrapyard in 1937 and returned to their original position here in 1970.
What awaited me inside the gates was quite unexpected …
There is nothing to give a clue as to what this happy elephant represents but I am wondering if he is linked to the green bear that has recently appeared outside Citypoint …
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Last week’s blog was largely concerned with the rather gruesome events that took place in this historic area so I’m aiming to be a bit more lighthearted this week.
Looking up as you walk can be very rewarding. Just opposite Smithfield Central Market on Charterhouse Street I spotted this frieze at the top of one of the buildings …
Here is a close up of the panel on the left …
And here’s the one on the right …
Aren’t they wonderful! I’m pretty sure that’s a bull in the foreground.
And, whilst in livestock mode, if you look just around the corner in Peter’s Lane you will encounter this sight (EC1M 6DS) …
Now look up …
Here’s the bull at the very top …
Surprisingly, they only date from the mid-1990s and are made of glass reinforced resin. The bovine theme was used as a decorative motif because for centuries the appropriately named Cowcross Street was part of a route used by drovers to bring cows to be slaughtered. The tower forms part of The Rookery Hotel and also dates from the mid-1990s, although it looks much older due to the use of salvaged bricks.
I reckon this is a top class piece of sympathetic redevelopment by the architects Gus Alexander. Read all about how they approached the work here.
I’ll say a little about Smithfield’s history.
It appears on some old maps as Smooth Field …
In the Braun and Hogenberg map of 1560/72 it’s Smythe Fyeld …
In the Agas Map of 1633 it’s Schmyt Fyeld …
By the twelfth century, there was a fair held there on every Friday for the buying and selling of horses, and a growing market for oxen, cows and – by-and-by – sheep as well. An annual fair was held every August around St Bartholomew’s Day and was the most prominent and infamous London fair for centuries; and one of the most important in the country. Over the centuries it became a teeming, riotous, outpouring of popular culture, feared and despised like no other regular event by those in power… ‘a dangerous sink for all the vices of London’. This image gives a flavour of it …
In the foreground, a man digs deep into his pocket. It looks like he’s just about to place a bet on a ‘find the pea’ game – a notorious confidence trick being operated here by a distinctly dodgy looking character. In the background musicians play and people dance.
Here’s another view that captures the sheer exuberance of the event …
Bartholomew Fair by Augustus Pugin & Thomas Rowlandson, courtesy Bishopsgate Institute.
In this 1721 image the behaviour looks more sedate …
In 1815 Wordsworth visited the Fair and saw …
Albinos, Red Indians, ventriloquists, waxworks and a learned pig which blindfolded could tell the time to the minutes and pick out any specified card in a pack.
Alongside the entertainment of the Fair there was an undercurrent of trouble, violence and crime. In 1698 a visiting Frenchman, Monsieur Monsieur Sorbière, wrote …
I was at Bartholomew Fair… Knavery is here in perfection, dextrous cutpurses and pickpockets … I met a man that would have took off my hat, but I secured it, and was going to draw my sword, crying, ‘Begar! You rogue! Morbleu!’ &c., when on a sudden I had a hundred people about me crying, ‘Here, monsieur, see Jephthah’s Rash Vow.’ ‘Here, monsieur, see the Tall Dutchwoman’ …
After more than 700 years the Fair was finally banned in 1855 for being …
A great public nuisance, with its scenes of riot and obstruction in the very heart of the city.
As far as livestock trading was concerned it had always been a place of open air slaughter. The historian Gillian Tindall writes: ‘Moo-ing, snorting and baa-ing herds were still driven on the hoof by men and dogs through busy streets towards Smithfield, sometimes from hundred of miles away. Similarly, geese and ducks were hustled along in great flocks, their delicate feet encased in cloth for protection. They were all going to their deaths, though they did not know it – till the stench of blood and the sounds of other animals inspired noisy fear in them’.
In Great Expectations, set in the 1820s, young Pip comes across the market and refers to it as ‘the shameful place, being all asmear with filth and fat and blood and foam [which] seemed to stick to me.
Eventually slaughtering was moved elsewhere and the open air market closed in 1855 …
Smithfield Market’s last day.
The present meat market on Charterhouse Street was established by an 1860 Act of Parliament and was designed by Sir Horace Jones who also designed Billingsgate and Leadenhall Markets. Work on Smithfield, inspired by Italian architecture, began in 1866 and was completed in November 1868. I think this picture was taken not long after construction …
The buildings were a reflection of the modernity of Victorian city. Like many market buildings of the second half the nineteenth century, they owed a debt to Sir Joseph Paxton’s Crystal Palace in their creative use of glass, timber and iron …
One aspect of the London Central Markets, as the Smithfield buildings were known, was particularly revolutionary, though largely hidden. All the buildings were constructed over railway goods yards. For the first time ever, meat was delivered by underground railway direct to a large wholesale market in the centre of a city. In this picture, an underground train whizzes past where the old tracks used to be …
The spectacular colour scheme today replicates what it was when the market opened …
The church of St Bartholomew the Great is always worth a visit but today I’ll just mention the Gatehouse entrance. These pictures show the site before and after the first world war …
The Zeppelin bomb that fell nearby in 1916 partly demolished later buildings revealing the Tudor origins underneath and exposing more of the 13th century stonework from the original nave. By 1932 it was fully restored.
Looking out towards Smithfield you can see the 13th century arch topped by a Tudor building …
Finally, in the Great Avenue (EC1A 9PS), there is this monument commemorating men, women and children who perished both overseas and nearby …
The original memorial (above the red granite plinth) is by G Hawkings & Son and was unveiled on 22 July 1921. 212 names are listed.
Between Fame and Victory holding laurel wreaths, the cartouche at the top reads …
1914-1918 Remember with thanksgiving the true and faithful men who in these years of war went forth from this place for God and the right. The names of those who returned not again are here inscribed to be honoured evermore.
At 11:30 in the morning on 8th March 1945 the market was extremely busy, with long queues formed to buy from a consignment of rabbits that had just been delivered. Many in the queue were women and children. With an explosion that was heard all over London, a V2 rocket landed in a direct hit which also cast victims into railway tunnels beneath – 110 people died and many more were seriously injured. This picture shows some of the terrible aftermath …
The monument was refurbished in 2004/5 and unveiled on 15 June 2005 by the Princess Royal and Lord Mayor Savory. The red granite plinth had been added and refers to lives lost in ‘conflict since the Great War’. On it mention is made of the women and children although the V2 event is not specifically referred to.
This is the coat of arms of the Worshipful Company of Butchers who helped to fund the refurbishment, along with the Corporation of London and the Smithfield Market Tenants’ Association.
The crest translates as : ‘Thou hast put all things under his feet, all Sheep and Oxen’.
Plans have been made for the market to be moved, along with Billingsgate and New Spitalfields markets, to Barking Reach power station, an abandoned industrial site at Dagenham Dock earmarked for redevelopment. The Museum of London will relocate to part of the old market site.
If you want to read more about Smithfield and its history, here is a link to some of my sources:
It has been many years since I crossed Southwark Bridge and then I wasn’t taking much notice of the buildings in Queen Street Place as I headed towards the bridge and out of the City. When I took the trouble to look last week I was absolutely captivated by this delightful but rather strange Art Deco sculpture by H W Palliser …
One writer called it ‘the sexiest sculpture in London‘ – I couldn’t possibly comment.
Built by the Vintners’ Company in 1928, at the centre stands a nude woman clutching to herself bunches of grapes which grow on vines at her side. She is a Bacchante, the ‘spirit of the harvest’, and two goats look up at her adoringly as four doves descend above her head. Two swans are also in attendance, reminding us that the Vintners’ Company is one of the three owners of all the swans on the upper Thames, the others being the Dyers and HM the Queen. The model for the woman was Leopoldine Avico who was also, I believe, the model for The Queen of Time above Selfridges.
You get a nice view of Vintners’ Hall from the Bridge …
Immediately next door is Thames House (1911-12). It was built for the Liebig Extract of Meat Company whose product was imported from a huge plant in Fray Bentos, Uruguay. There is a clue as to what they made over the central entrance …
Yes, the two stone horns symbolise the South American herds that provided the meat for the famous and successful Oxo cube (or ‘boiled up cow’, as one commentator rather unkindly called it). The other carvings represent Abundance – a nude youth pours water from a vase and a nude maiden pours flowers from a cornucopia.
In the pediment on the North Pavilion a pair of nude figures hold a strop to tame the winged horse Pegasus, who beats the cloud with his hooves in his struggle …
This may allude to the alleged energising qualities of the product.
On the South Pavilion pediment a female figure with fruit and flowers represents the fruits of the land with Neptune, holding his trident and a rope for his net, signifies the fruits of the water …
Between them is the figure of a boy standing on two winged wheels symbolising Trade..
Directly over the door is this group …
It’s a particularly lavish doorway surmounted by an arch over a circular window or oculus. The spandrels over the arch contain bas reliefs of women denoting Commerce (left) and Wisdom (right), by Richard Garbe. Commerce holds a caduceus and brandishes an oak branch, symbol of endurance and fortitude. Wisdom holds a torch and proffers a laurel branch, symbol of victory. Above, a dove with an olive branch in her beak brings peace.
In front of the window is a bronze galleon by the metalworker William Bainbridge Reynolds …
The ship is flanked by some rather grotesque fish which look like they are gasping for air. Maybe Neptune has just caught them.
Here’s the full frontal view …
Further along to the north I admired some elaborate doors …
The old doorway to Thames House at the junction with Upper Thames Street is now an entrance to Five Kings House, the interior of the building having now presumably been segmented in some way (EC4R 1QS) …
Above the door the male figure, with a helmet and wings at his heels, is clearly Mercury as God of Commerce. It’s not clear what the lady represents – possibly agriculture. Two seated putti support a cartouche
Queen Street Place was a wonderful surprise to me. I have often been asked if I am ever going to run out of things to write about but I can’t imagine this ever happening. The City seems to have something new to offer me every day I walk around it.
I know I’ve already written about the Viaduct twice this year but I found myself drawn back to it one more time since I hadn’t explored it from ground level in Farringdon Road.
Looking up at the sky on the north east side there are some great beards on display …
And in close-up …
This is one of the Atlantes holding up the balcony. They date from 2014 when the north east pavilion was rebuilt …
In 2013 the Viaduct was repainted and re-gilded with, at the request of the City Conservation Officer, ‘maximum bling’.
You get an idea of how well this was accomplished in this picture. It shows the re-gilded base of one of the lamps, a knight’s helmet and a City dragon …
Here’s a view looking up from Farringdon Street …
There are also some elaborate metal gates …
Walking up the stairs, this old light has lost its top …
Four splendid City dragons …
This functioning light is in the rebuilt North East stair …
Attractive carvings at the South East entrance …
The North Western stair has a giant mural illustrating the Viaduct’s construction …
Work was started in 1863 and the mural reminded me of this photograph of the work in progress looking west …
Further west there is a smaller, more modest bridge over Shoe Lane and this is in grave need of some TLC. Compare this with the restored parts of the main bridge …
It illustrates what time, weather and pollution can do to the most robust of structures.
If you want to read my two previous blogs about Holborn Viaduct they can be found here and here.
My first stop was Unilever House where a lady, her head bowed, strains hard to control a gigantic horse (EC4Y 0DY) …
The sculpture, called Controlled Energy, dates from 1932 and the sculptor, William Reid Dick, had a real horse model for him. Dr Philip Ward-Jackson, in his book Public Sculpture of the City of London, tells us …
This was no ordinary horse. A light bay gelding called Victor, it was a little over 18 hands high and, when shown at Olympia, had been described as ‘the biggest horse in the world’. The sculptor later told a reporter ‘I am sorry to say it died shortly after I finished with it’.
There is a similar male figure at the other end of the building and, when asked why he had included female figures as well as male ones, this was the sculptor’s interesting reply …
These days women are controlling affairs nearly, if not quite, as much as men. They begin to take control in some respects … as soon as they are out of their cradles, and the idea would have been incompletely carried out if only men had been used.
There are a number of female head keystones …
… and a pretty mermaid sculpted by Gilbert Ledward …
Just in case you are not familiar with the building here it is, opposite Blackfriars Station …
Ledward’s sculpture reminded me of the mermaid combing her hair at the Merchant Navy Memorial on Tower Hill …
In last week’s blog I wrote about the numerous female figures decorating the Lloyd’s Register of Shipping’s offices in Fenchurch Street. Here a group of maidens hold models of ships …
In my 2nd April blog, Moorgate and the Goddess of Electricity, I wrote about the impressive building called Electra House. I didn’t, however, venture into the entrance hall. If I had I would have seen two allegorical panels by F.W. Pomeroy who did much work on the Central Criminal Court, including the statue of Lady Justice. Again, there is more in last week’s blog.
The panel to the left has a seated figure, which may be Britannia, holding a rudder in one hand and a loop of cable in the other …
The cable encircles a globe and the figure to the right holds up two batteries on a tray.
This is the panel opposite …
The female figure holds a distaff in one hand and a weaving shuttle in the other. Standing to her left is Mercury, holding his caduceus and a bag of money. The lady on the right writes in a ledger whilst in the background is a telegraph pole. The panel probably represents the advantages to trade and industry of the telegraph.
And now south, to Number 1 Moorgate which was once the Banco di Napoli. Created in the 1980s, the bronze doors portray two ladies in peasant costume …
The woman on the left is sowing seeds and the one on the right holds a sickle and a sheaf of cut corn.
Just off Aldermanbury and to the north of the Guildhall is this 1972 bronze by Karin Jonzen called Beyond Tomorrow …
A young couple look expectantly towards the future.
During the Second World War almost a thousand firefighters sacrificed their tomorrows trying to save property and lives during the intense bombing. On Sermon Lane opposite St Paul’s Cathedral can be found The National Firefighters’ Memorial (1991). On the north side is this representation of the women members of the National Fire Service and a list of those killed whilst on duty …
The lady on the right is a Dispatch Rider and the one on the left an Incident Recorder. Although not meant to actually fight fires, a former wartime firefighter declared …
The reality … was that firewomen were more widely involved in active work than is generally acknowledged, and they could often be found in the midst of things during the blitz, whether helping out on the pumps, in control rooms close to the centre of the severest raids or delivering supplies to firefighters.
Twenty-one-year-old Gillian Tanner was awarded the George Medal for bravery when she delivered petrol to fire pumps around Bermondsey while the docks were being bombed during the height of the Blitz.
Their pay was set at two thirds of that of the men, the Home Office having turned down their union’s request for equal pay in 1943.
Four ladies adorn the memorial to the 786 employees of the Prudential Assurance Company who gave their lives in the First World War. It can be found in the courtyard outside their old headquarters in Holborn and you can read more about it here.
This lady holds a seagoing vessel, representing the Navy …
At the back is a figure holding a shell representing National Service …
The bi-plane represents the Air Force …
And this one holds a field gun and represents the Army …
I like the Queen’s Assurance sign from 1852 at 42-44 Gresham Street …
And finally, she may be the oldest City Lady I have found but she still looks beautiful and serene …
Dated 1669, she must have witnessed much of the rebuilding of the City after the great fire of 1666. She now resides in a sheltered spot in Corbet Court (EC3V 0AT). I have written about Mercer Maidens like her in an earlier blog entitled Dragons and Maidens.
I have been out and about again, taking new pictures as I exercise.
Every now and then when researching I find out something I didn’t know that I really should have – more of this later.
Before the Viaduct was built it had become obvious that a flat route between Bank and Holborn had become desperately needed. The hills leading down into the valley were as steep as 1:15 in places and the following passage from the Observer for the 20th November 1864 tells us something of the horrors of horse drawn traffic using this route:
The great traffic of the city of London is from east to west, and to accommodate this there are at present but two leading lines – those by way of Holborn Hill and Fleet Street. The steep ascents of Holborn Hill and Skinner Street are wholly unsuited for the vehicular traffic which passes over them, and no person can pass along these streets without witnessing the delays which are caused, and the wasteful expenditure of horse flesh and the cruelty to animals which the ascent of these streets involve.
Work was started in 1863 and I really like this splendid photograph of the work in progress looking west …
Note the advertisement for the ‘New’ St Pancras Station.
And another view looking south …
The Holborn Viaduct Improvements Committee turned up for a photo shoot …
True top-hatted Victorian Gentlemen. It’s a good composition, isn’t it, with two of them getting their clothes grubby sitting on bricks. An anonymous artisan looks to be doing a bit of work on the balustrade and lamp post to the right.
Queen Victoria arrives at the formal opening on 6 November 1869 …
It has been called ‘The world’s first flyover’.
She killed two birds with one stone by opening Blackfriars Bridge on the same day.
Up until the turn of this century, the north eastern corner of the viaduct was dominated by an early 1950s building called Bath House. You can see its massive scale in this picture …
When it was demolished it was decided that a new staircase building should be constructed in the same style as the old Victorian one that had been lost in wartime bombing (and that it should include a lift).
It was completed in 2014 and here it is, looking white and pristine in my picture …
Not only that, the north west step building (also on the left) is itself relatively new, being completed in 2001. All this was, I am embarrassed to say, news to me, although the buildings’ colour and cleanliness should have been a clue.
All four pavilions around the viaduct are named after important Londoners from the past.
Sir William Walworth was a 14th century Lord Mayor. He now poses authoritatively, sword in scabbard, on the north west corner …
On June 15th 1381 he was accompanying King Richard II when they debated in Spitalfields with the leader of the Peasants’ Revolt, Wat Tyler. For reasons that are not entirely clear, Walworth ran Tyler through with his sword. Badly wounded, Tyler was carried into nearby St Bartholomew’s Hospital but, rather unsportingly, Walworth had him dragged out and decapitated. Poll Tax protesters were dealt with very ruthlessly in those days!
On the south west corner …
FitzEylwin was the first Mayor of London and probably held office until his death. His hands rest on a battleaxe and he is wearing a surcoat over his chain mail.
There is a City legend portrayed on the south east corner…
Sir Thomas Gresham, founder of the Royal Exchange, is dressed in 16th century costume and holds a parchment.
Finally, on the fourth corner, is this gentleman …
Sir Hugh Myddleton, a goldsmith and entrepreneur, established the New River Company which constructed the New River bringing much needed fresh water from Hertfordshire to London. This remained the most important source of piped water in London for 300 years and Robert Stephenson considered him ‘the first English Engineer’. He is holding the River plans in his hand and I think his right foot is resting on a water conduit pipe.
This is the view of the Viaduct today, giving some idea as to how deep the valley was …
Paint analysts reckon it has been repainted at least fourteen times. Look at this fascinating cross section of old paint layers …
Cross section of paint from one of the lamp standards.
The Viaduct proved much more interesting than I expected, so I shall be continuing its story next week.
Created between the 15th century and the more recent past, I have found a selection for us to admire and, in many cases, still walk through like thousands before us.
The oldest door I have discovered is the medieval chapel door in The Charterhouse. It was damaged by fire when the building was bombed during the Blitz (EC1M 6AN) …
When you visit St Vedast-alias-Foster in Foster Lane you enter through early 17th century oak doors that have remarkably survived both the Great Fire of 1666 and the Blitz (EC2V 6HH) …
The cherubim carved on the keystone above the door are by one of Sir Christopher Wren’s favourite stonemasons, Edward Strong, and date from the 1690s. In total Strong was paid £3106:14:7 for his work on the church – he charged £5 for the cherubs.
On the south side of St Paul’s Cathedral is the Dean’s Door …
The carver was stonemason and architect Christopher Kempster (1627-1715), another of Wren’s favourite craftsmen. His work on the cherub’s heads and foliage was considered so good Wren awarded him an extra £20 for ‘the extraordinary diligence and care used in the said carving and his good performance of the same’. When Kempster died at the age of 88 his son carved a cherub’s head for his memorial.
Incidentally, £1 then was worth about £120 now.
The Cathedral’s main entrance, the 30 foot high Great West Door, is only opened on special occasions …
Look closely and you will see it is surrounded by 18th century graffiti, some in elegant cursive script …
The facade St Martin’s House at 1 Gresham Street is a delight (EC4V 7BX) …
Dating from 1891 it incorporates a wonderfully happy, smiling Mr Sun …
What also makes it charming is the rogue apostrophe ….
Surely it should read St Martin’s House?
What about this trio above what was once the entrance to the City Headquarters of the Royal Insurance Company at 24-28 Lombard Street (EC3V 9AJ) …
The historian Philip Ward-Jackson writes as follows:
‘The winged chimera at the centre of the group has the head of a woman and the legs of a lion. The two personifications are fine looking women, naked to the waist. The Sea holds a caduceus, and therefore also symbolises marine commerce … The attributes of Fire are a torch and bunches of faggots.
This quite sinister allegorical group must have been intended to intensify the fears of potential customers.’
The church of St Stephen Walbrook was constructed between 1672 and 1679 and is another Wren building (EC4N 8BN). The doors look original to me but I haven’t yet found out for sure …
The building is where Dr Chad Varah founded the Samaritans and you can read more about that and the church itself here.
This impressive entrance is just around the corner from St Stephens. Push the doorbell and you never know, the Lord Mayor might answer the door …
The virus shut down has meant that these magnificent doors at 2 Moorgate can now be seen easily during the week rather than just at the weekend (EC2R 6AG). Each door weighs a ton …
Suitably opulent for a private bank, they were designed by John Poole and date from 1975 when the building was opened by Edward Heath (who used to work for the company). Poole had a free hand with the design and said he intended to represent, in the circular forms, the firm’s centres of business. The linear patterns suggest communications between these centres along with ‘the interaction of spheres of influence’.
In 1888 the Institute of Chartered Accountants decided to treat themselves to a permanent headquarters and work was completed in 1893. Described by Sir Nikolaus Pevsner as ’eminently original and delightfully picturesque’, it is ‘a fine example of Victorian neo-Baroque which draws its inspiration from the work of the Italian Renaissance’. This is the formidable and imposing entrance at One Moorgate Place (EC2R 6EA) …
The architect was John Belcher RA.
The large cartouche above the massive bronze doors depicts the Institute’s coat of arms and is held up by two classical male figures.
In the Museum of London you will find a door that must have struck terror into the hearts of the poor souls who were led through it …
Photograph : Museum of London.
It comes from the now demolished Newgate Prison, dates from 1783, and was the one through which criminals were taken to their place of execution. In fact they walked through three doors of which this was the inner one – there was also an iron-cased half door and an outer one of solid iron. The final person to pass through it to his execution by hanging was the Fenian Michael Barrett on 27 May 1868 – the last public execution to take place in England.
Two doors that are a bit tucked away when open are here at 6 Holborn Viaduct (EC1A 2AE) …
They have certainly suffered some brutal treatment over the years and look very unloved, but the lions heads have survived …
And finally, to finish on a more lighthearted note, just off Whitecross Street is this doorway which makes me smile every time I see it. The story I have conjured up in my mind is that, some time in the early 1970s, the people living there found that visitors knocked on the door rather than ringing the bell. When asked why, callers usually said that they didn’t know there was a bell. As a consequence, the residents (who obviously had artistic talents) got out their paint brushes and added this helpful sign to indicate where the push button bell was. Brilliant!
Firstly, I hope you are all keeping well and safe in these troubled times, and that maybe my little blog occasionally offers a welcome distraction.
The diminished traffic flow in the City, combined with the recent really sunny days, meant that I could more easily incorporate some photography with the walks I take for exercise. I was able to pause for some time to take detailed images of this spectacular building on Moorgate …
I think it’s crowning glory is its stained glass window, back-lit from within so its detail can be seen clearly from outside the building. Unfortunately the building was closed and in darkness when I visited so I have copied an image from the splendid London Inheritance website and blog.
Originally the London headquarters of the Eastern Telegraph Company, the current neo-classical building was built by Belcher & Joass between 1900 and 1903. At first it was called Electra House (named after the goddess of electricity) and the centre section shows her perched on top of the world. A glowing orb behind her head sends out rays across the seas, presumably representing the information the company’s cables help spread around the world. To the bottom left of the centre section is a sailing ship under full sail and bottom right is a lighthouse. Between the ship and lighthouse is a rough looking sea. The side panels show clouds and more rough sea and stars are scattered over the three parts …
The architect John Belcher was a prominent member the Catholic Apostolic Church and it is thought that this influenced the ornamentation of buildings he designed. The Moorgate stained glass window embodies the theme of communications but also symbolism from the Book of Revelations. You can read more about Belcher here.
To the left of the arch is a seated girl accompanied by a young winged genius …
Sculptor: George Frampton
She is transmitting a message.
The figure on the right is receiving a message (could be an iPad!) …
And above the arch …
… a winged Mercury, the god of Commerce, carries a caduceus.
Higher up is a beautiful frieze of four female figures …
Sculptor: William Goscombe John
They represent from left to right Egypt, Japan, India and China. Egypt carries a water jar on her shoulder, Japan is in a kimono and carries a fan, India lifts the veil from her face, and China carries a samisen (a three stringed lute).
At the very top of the building four naked boys support an armillary sphere which is itself encircled by a broad band displaying zodiacal signs …
Here it is in close up …
Some small figures decorate the tops of the pillars. Here are a few of them.
The horned god Pan playing his flute …
A blindfolded Lady Justice holding scales and sword …
I have no idea as to what this one represents …
I hope you found this interesting. I have not covered all the building’s decorations in this blog and there are more inside which maybe I will get access to at some future date.
To end on a more lighthearted note, have you noticed that the pigeons seem to have deserted the City? No humans, no food, I suppose. However, I did spot this lonely chap self-isolating on the old Roman/Medieval City wall …
I have been loaned a lovely book called Streets of the City by Judy Pulley and have included some of the photographs from it for those of you who like looking at wonderfully atmospheric pictures from the past. You can buy your copy of the book here.
A photographer recorded the vast scale of the construction site for the Holborn Viaduct looking west towards Holborn in 1869. A hoarding advertises the ‘New’ St Pancras Station which opened the previous year …
The finished product …
A congested Fleet Street in 1905 …
The view today …
Shops alongside the entrance to Cannon Street station in March 1939. Three years later most had been destroyed by the wartime bombing …
Prince Albert doffs his hat to the City in 2020 …
In this picture His Royal Highness makes the same gesture at the turn of the last century…
Below is the view towards the west in 1910. The awnings outside Gamages store can be seen on the right and just behind Prince Albert’s statue a man in an invalid carriage braves the traffic. He should be OK if vehicles obey the sign on the lamp post which urges ‘Caution’ and ‘Drive Slowly’. Wallis & Co on the left advertises linens and blankets and has a display of parasols hanging outside the shop. …
Eastcheap as seen from the end of Cannon Street. The statue of King William IV was erected in 1844 when King William street was created as a new approach to London Bridge. The small cart in the centre is delivering ice and the buses are turning right towards London Bridge, just as they do now …
The busy west end of Cheapside at the corner of New Change around 1905 with omnibuses and a Royal Mail coach to the right. The statue is of Sir Robert Peel and was erected here in 1855 and then removed to Hendon Police Training School in 1939 …
The sign on the lamp post says ‘Standing for 10 Hackney Carriages’.
I particularly like this picture of Fleet Street in the 1930s because it shows the cart on the left laden with massive rolls of paper for use in the nearby printing presses …
It’s 7 o’clock in the morning in February 1937 and Lower Thames Street is at a standstill as fish from old Billingsgate Market is loaded on to carts …
The viaduct carrying the approach road to London bridge can be seen in the distance and to its left the church of St Magnus the Martyr.
Many of these pictures illustrate the enormously important role horses played in the life and commerce of the City right into the 20th century.
As I think I have said before, I never tire of walking around this part of the City, especially spotting things of interest simply by directing my gaze skywards.
I remember the heyday of printed news when the Fleet Street hostelries were frequently packed with journalists, lawyers and print workers ‘refreshing’ themselves at lunchtime and in the evening. Now you are more likely to encounter overseas visitors seeking out ‘authentic old English pub’ experiences.
Mr Punch advertises these listed premises at the east end of the street …
The previous building on the site was known as the Crown and Sugar Loaf but was renamed the Punch Tavern in the late 1840s because of its association with Punch Magazine which had its offices at that end of Fleet Street.
The Old Bell further west is also listed …
The story goes that it was built by Sir Christopher Wren to accommodate the stonemasons working on nearby St Bride’s Church and the rear of the pub does, indeed, date from 1669.
Between the buildings you can glimpse St Bride’s and its famous ‘wedding cake’ spire as you proceed from east to west …
Why would a business stress ‘discretion’?
Because it’s a pawnbrokers, still advertising their presence using the symbol of three spheres suspended from a bar, said to be a reference to the coat of arms of the Florentine Medici family …
I love this pair of spectacles and thought at first that the sign must date from the 19th century but in fact Whitby & Co have only been around for 20 years …
On the north side of the street you can see the evidence of past publications now, alas, defunct or relocated elsewhere …
Further along are the premises previously occupied by the Kings & Keys pub, once a favourite hangout place for journalists from the Daily Telegraph next door. The name is derived by the amalgamation of two licences of separate former pubs, the Cross Keys and the Three Kings …
It’s narrow because, like many other buildings fronting Fleet Street, it follows the size of the original medieval plot.
If you are a little tired by now and need to recharge batteries there are healthy snacks available nearby …
Onward to St Dunstan in the West which boasts this magnificent clock …
It dates from 1671, and was the first public clock in London to have a minute hand. The figures of the two giants strike the hours and quarters, and turn their heads.
The double headed eagle is the emblem of the Hoare family and their bank’s premises are at the Sign of the Golden Bottle – a practice dating from the time before buildings were allocated street numbers …
The London firm was started in 1672 by Richard Hoare and tended to the affairs of many famous literary folk including the diarist Samuel Pepys, poet Lord Byron and novelist Jane Austen.
What about these three squirrels busy chomping on nuts …
Gosling’s, originally a goldsmiths and later a bank, started trading at the Sign of the Three Squirrels around 1650. It was the fourth largest of the banks that joined together in 1896 to establish Barclay and Co Ltd as a joint stock bank. Today, Goslings remains the oldest branch in the Barclays Group and still occupies its original site in the City.
The adjacent Inns of Court were once so important to Lloyd’s Bank that they had a dedicated branch (with a pretty beehive emblem suggesting hard work and prudence) …
Looking skywards, you can observe these muscular chaps supporting the building’s upper stories…
And finally, at number 50 …
Sculpted by A. Stanley Young in 1913, the building housed both the Norwich Union Insurance Company and the lawyers of Serjeant’s Inn. On the left, the Insurance side, Lady Prudence holds a little hoard of fruit and a leafy branch whilst the cherubic figure of Liberality or Plenty spills his cornucopia of coins and fruit. On the right, the lawyers’ side, blindfolded Lady Justice rests against her shield and sword grasping the scales of justice in her left hand.
There are many versions of Lady Justice in the City and I have written about them here.
I was inspired by a recent Spitalfields Life blog to revisit some old City locations and find out what has changed (and what hasn’t!). Most of the old pictures are from the late 1890s or the early days of the 20th century and come from the Bishopsgate Institute archive.
Holborn Circus seemed a good place to start since Prince Albert is still there raising his hat to the City …
And here he is circa 1910 …
What is sad is when some interesting views disappear. Here is a picture I took looking east in June 2017 where Albert appears to be saluting Lady Justice atop the Old Bailey …
Now there is a new building obstructing his view …
The beating heart of the business City – Throgmorton Street circa 1920 …
And today – that clock on the left is still there …
It dates from 1892 …
If you look further along the street you can just glimpse the extraordinary entrance to Draper’s Hall …
The always informative Bob Speel architecture website tells us that the tall, powerful imposing figures are known as Atlantes and were carved by Henry Alfred Pegram in 1896.
It’s hard to imagine now that the Victorians allowed a railway bridge to be built which obstructed the view of St Paul’s from Fleet Street that had existed since 1710. Here’s the view circa 1910 …
The bridge was finally demolished in 1990 and this is the view today …
This is Fetter Lane around 1910 …
You can see mirrors suspended at an angle in order to bring more light into the first floor of number 85.
Numbers 85, 86 and 87 are now gone but 84 and its neighbour survive, albeit somewhat altered …
The Monument around 1900. Note the sign on the left … you could book a room at Lightfoot’s Inn or just pop in and enjoy some fresh oysters, a common food then even for the poor (as this article explains) …
The view of The Monument from the same point today …
Pageantmaster Court, just off Ludgate Hill, refers to the person charged with organising the Lord Mayor’s Show. Here’s a picture taken from there in 1910 …
And today …
The building on the right is still there. Once a bank it’s now a wine bar …
Here is Cheapside in 1892, when horsedrawn vehicles were still in the ascendancy and this picture was probably taken from one. There is a nice selection of male headgear in the image – a few top hats, a homburg and a debonair chap sporting a straw boater …
Around 1910 …
I think the newspaperadvertisement reads ‘France surprise for Turkey – Ambassadors ordered to leave’.Further down the road a haircut will cost you 4d and a shave 2d.
And today from approximately the same spot …
And finally, a favourite of mine, men laying tramlines at the junction of Clerkenwell Road and Goswell Road …
In the background is the Hat and Feathers pub, sadly now closed …
I spend a lot of time looking up as I wander around the City, which is another reason why I tend to take photographs at the weekend. That way I won’t be obstructing bustling City folk going about their business and get tutted at when I stop abruptly.
I hope you find this miscellaneous collection interesting. Some have appeared in blogs already but I have included them again because I just like them.
This globe sits on top of the London Metropolitan University building on Moorgate (EC2M 6SQ) …
I had never noticed before that it is encircled by the signs of the Zodiac.
Here’s what it looks like at street level with the Globe Pub sign in the foreground …
Whilst on the subject of Zodiacs, there are some attractive figures around the door of 107 Cheapside (EC2V 6DN) …
They were sculpted by John Skeaping, Barbara Hepworth’s first husband …
Sagittarius – November 22nd to December 21st. Pisces – February 19th to March 20th.Aquarius January 20th to February 18th.
And in Cheapside there is another globe, this time supported by a straining Atlas balanced on top of a clock …
It was once the headquarters of the Atlas Assurance Company. The entrance was in King Street and above the door is another depiction of Atlas hard at work. I like the detail of his toes curled around the plinth (EC2V 8AU) …
Across the road is Kings House sporting a magnificent crown …
Above it is a very pretty Mercer Maiden dating from 1938 …
This wise old owl watches commuters as they flow back and forth over London Bridge. He was located outside what was once the Guardian Insurance Company headquarters (EC4N 7HR) …
Look up as you walk down Eastcheap and you will see the remains of a dead camel …
Constructed between 1883 and 1885, the building at 20 Eastcheap was once the headquarters of Peek Brothers & Co, dealers in tea, coffee and spices, whose trademark showed three camels bearing different shaped loads being led by a Bedouin Arab. The firm was particularly well known for its ‘Camel’ brand of tea. When Sir Henry Peek (son of one of the original founders) commissioned this building he wanted the panel over the entrance to replicate the trademark, right down to the dried bones of the dead camel lying in the sand in the foreground.
Admire the leopard’s head symbol of the Goldsmith’s Company over the entrance to the old churchyard of St Zachary on Gresham Street (EC2V 7HN) …
Guardian angels are still resting on their swings opposite St Paul’s Underground Station …
This fearsome dragon on Fleet Street guards the western entrance to the City on the site of the old Temple Bar. He looks like something straight out of a Harry Potter story …
I love spotting the wide variety of weather vanes that populate the skyline even in a City crowded with new skyscrapers. This one referencing the horrific death of a martyr sits atop St Lawrence Jewry (EC2V 5AA) …
St Lawrence was executed in San Lorenzo on 10 August 258 AD in a particularly gruesome fashion, being roasted to death on a gridiron. At one point, the legend tells us, he remarked ‘you can turn me over now, this side is done’. Appropriately, he is the patron saint of cooks, chefs and comedians.
The church of Anne and St Agnes also stands in Gresham Street and is unmistakable by its letter ‘A’ on the weather vane on top of the small tower. It is named after Anne, the mother of the virgin Mary and Agnes, a thirteen year old martyr (EC2V 7BX) …
Now compare and contrast these two war memorials.
In Holborn is this work by Albert Toft. Unveiled by the Lord Mayor in 1922, the inscriptions read …
To the glorious memory of the 22,000 Royal Fusiliers who
fell in the Great War 1914-1919 (and added later) To the Royal Fusiliers
who fell in the World war 1939-1945 and those fusiliers killed in
subsequent campaigns.
Toft’s soldier stands confidently as he surveys the terrain, his foot resting on a rock, his rifle bayoneted, his left hand clenched in determination (EC1N 2LL).
Behind him is the magnificent, red terracotta, Gothic-style building by J.W. Waterhouse, which once housed the headquarters of the Prudential Insurance Company. Walk through the entrance arch to the courtyard and you will see the work of a sculptor who has chosen to illustrate war in a very different fashion. The memorial carries the names of the 786 Prudential employees who lost their lives in the First World War …
The sculptor was F V Blunstone and the main group represents a soldier sustained in his death agony by two angels. He is lying amidst war detritus with his right arm resting on the wheel of some wrecked artillery piece. His careworn face contrasts with that of the sombre, beautiful girls with their uplifted wings. I find it incredibly moving.
I have written about angels in the City before and they are usually asexual, but these are clearly female.
And finally, as I walked along Cornhill one day I glanced up and saw these rather sinister figures silhouetted against the sky…
Closer inspection shows them to be devils, and rather angry and malevolent ones too …
They look down on St Peter upon Cornhill and are known as the Cornhill Devils (EC3V 3PD). The story goes that, when plans were submitted for the late Victorian building next to the church, the rector noticed that they impinged slightly on church land and lodged a strong objection. Everything had to literally go back to the drawing board at great inconvenience and expense. The terracotta devils looking down on the entrance to the church are said to be the architect’s revenge with the lowest devil bearing some resemblance to the cleric himself.
If this resembles the rector he must have been a pretty ugly guy!
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