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Stories Of Norton Folgate, Old & New

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For those readers who were unable to visit Dennis Severs House in Folgate St to view the exhibition I curated for the Spitalfields Trust, I am publishing these panels from the display with my text telling the stories of old Norton Folgate, outlining British Land’s development proposals and setting forward the Trust’s alternative vision for the future.

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click on each panel to enlarge

Click here for a simple guide to HOW TO OBJECT EFFECTIVELY prepared by The Spitalfields Trust

Follow the Campaign at facebook/savenortonfolgate

Follow Spitalfields Trust on twitter @SpitalfieldsT

You may also like to take a look at

Dan Cruickshank in Norton Folgate

Taking Liberties in Norton Folgate

Inside the Nicholls & Clarke Buildings

Save Norton Folgate


Last Days At K C Continental Stores

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Yesterday, I heard the sad news that Leo Giordiani is to retire at the end of April, after half a century behind the counter at K C Continental Stores in the Caledonian Rd, so I am publishing my story with photos by Bob Mazzer to encourage readers to take advantage of these last weeks to visit a legend in the small world of Italian delicatessens and send Leo off with a bumper final month.

Leo Giordani wraps up my Parmesan

Leo Giordani is eighty-one years old and has not had a holiday in twenty-three years, yet he is the picture of vitality and good humour. In his delicatessen in the Caledonian Rd, you discover a constant stream of loyal customers many of whom have been coming for three decades to exchange banter in Italian and cart off delicious salami, ham, sausages, olives, cheese, pasta, bread, wine and oil sold at his exceptionally reasonable prices. Clean shaven in collar and tie, and sporting an immaculately-pressed white coat, Leo stands with his hands clasped like a priest – surveying the passing world with a beatific smile.

While the transformation of Kings Cross and its environs has taken place around him, Leo and his shop remains unchanged – and all the better for it. His red front door matches his hand-made three-dimensional wooden lettering, spelling out “K C Continental Stores” upon the fascia, which contrasts elegantly with the eau de nil tiles at ground level. Note the charming old glass advertisements for Brooke Bond Tea and PG tips before you step over the sunburst doormat into Leo’s realm.

On the right and left, are glass-fronted cabinets displaying packets of pasta in every variety you could imagine. On the counter, sit freshly-made sausages and ravioli and mozzarella, while the walls behind are lined with shelves crammed with cans and bottles displaying brightly coloured labels in Italian. Straight ahead is a chilled cabinet of cheese while to the left is a chilled cabinet of salamis and suspended above all this are rails hung with a magnificent selection of hams and sausages.

Taking avantage of the wooden chair, strategically placed for weary customers, I settled down to observe the drama as Leo greeted everyone personally and customers grew visibly excited at all the enticing smells and colours of the delicacies on offer – and, in between all this, Leo told me the story of his beautiful shop.

“I opened Kings Cross Continental Stores on 1st October 1964, so I have been here more than fifty years. I came from Italy with my wife Noreena to work as waiters at the Italian Embassy but, after three years, the Ambassador went off to America so we stayed here. We knew about food but it took us a long time to learn how to run the shop and speak the language as well. I’ve always been very respectful with my customers, because you have to be good with them if you want them to come back. In those days, it was different here – better, because there were more shops, two fish shops, three greengrocers and a butcher. We had everything and now there’s nothing.

There were plenty of Italians living here, Keystone Crescent was all Italian then, but the old people died and the young people moved away. My customers used to be more Italian than English, but now I get more English than Italian – yet the English know more about this food than the Italians these days.

I have run this shop myself all these years, though sometimes my wife helped out with serving, cleaning and doing everything else that needs to be done. I get in here at nine each morning and I close at six because I’m not young anymore. For the last ten years, we have lived in Muswell Hill but I stay upstairs above the shop during the week while my wife is back in Muswell Hill picking up our grandchildren from school. Every night, I cook and wash-up for myself, and it’s a bit hard but I can make simple things like spaghetti.

I prefer working to watching television and the business has always been good here, but we are working for the Council now – they are my landlords, so I pay rent and Council Tax  to them. We’ve got plenty of customers and we make money but, in recent years, there’s been nothing left after we paid the bills. We took a lot of money at Christmas yet my son, who works for Barclays, did my accounts and he said, ‘You’ve got nothing left.’ So now the time has come to retire. I really enjoy this job even if it is hard work and I know I’ll feel sorry for my customers once I’ve retired.”

I encourage you to pop over to K C Continental Stores before the end of April, so Leo can make you one of his celebrated sandwiches of Parma ham or salami in ciabatta and reminisce about old Kings Cross. And I recommend you take this last chance to stock up some delicious fresh Italian sausages, olives and parmesan – as I did – while you are there, too. And when you settle down to enjoy your sausages, be sure to raise a glass of Chianti in a toast to Leo Giordiani’s triumphant half century behind the counter in the Caledonian Rd.

Rails hung with a magnificent selection of hams and sausages

Leo’s red front door matches his hand-made lettering, spelling out “K C Continental Stores”

“the English know more about this food than the Italians these days…”

Photographs copyright © Bob Mazzer

Kings Cross Continental Stores, 26 Caledonian Rd, N1 9DU - until the end of April

In Old Bow

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Mid-ninenteenth century Gothic Cottages in Wellington Way

Taking advantage of the spring sunshine, Antiquarian Philip Mernick led me on a stroll around the parishes of Bromley and Bow last week so that I might photograph just a few of the hidden wonders alongside the more obvious sights.

Edward II granted land to build the chapel in the middle of the road at Bow in 1320 but the nearby Priory of St Leonard’s in Bromley was founded three centuries earlier. These ecclesiastical institutions were the defining landmarks of the villages of Bromley and Bow until both were absorbed into the expanding East End, and the precise locations of these lost territories became a subject of unending debate for residents. More recently, this was the location of the Bryant & May factory where the Match Girls won landmark victories for workers’ rights in manufacturing industry and where many important Suffragette battles were literally fought on the streets, outside Bow Rd Police Station and in Tomlin’s Grove.

Yet none of this history is immediately apparent when you arrive at the handsome tiled Bow Rd Station and walk out to confront the traffic flying by. In the nineteenth century, Bow was laced with an elaborate web of railway lines which thread the streets to this day and wove the ancient villages of Bromley and Bow inextricably into the modern metropolis.

Bow Rd Station opened in 1902

Bow Rd Station with Wellington Buildings towering over

Wellington Buildings 1900, Wellington Way

Wellington Buildings

Suffragette Minnie Lansbury was imprisoned in Holloway and died at the age of thirty-two

Eighteen-twenties terrace in Bow Rd

Bow Rd

Bow Rd

Bow Rd Police Station 1902

Under the railway arches in Arnold Rd

The former Great Eastern Railway Station and Little Driver pub, both 1879

This house in Campbell Rd was built one room thick to fit between the railway and the road

Arnold Rd once extended beyond the railway line

Arnold Rd

Former Poplar Electricity Generating Station

Railway Bridge leading to the ‘Bow Triangle’

In the ‘Bow Triangle,’ an area surrounded on three sides by railway lines

Handsome nineteenth century villas for City workers in Mornington Grove

Former coach house in Mornington Grove

Bollard of Limehouse Poor Commission 1836 in Kitcat Terrace

Last fragment of Bow North London Railway Station in the Enterprise Rental car park

Edward II gave the land for this chapel of ease in 1320

In the former Bromley Town Hall, 1880

Former Bow Co-operative Society in Bow Rd, 1919

The site of St Leonard’s Priory founded in the eleventh century and believed to have been the origin of Chaucer’s Prioress in the ‘Canterbury Tales’ – now ‘St Leonard’s Adventurous Playground’

Kingsley Hall where Mahatma Ghandi stayed when he visited the East End in 1931

Arch by William Kent (c. 1750) removed from Northumberland House on the Embankment in 1900

Draper’s Almshouses built in 1706 to deliver twelve residences for the poor

The refurbished Crossways Estate, scene of recent alleged election skullduggery

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At St Mary Stratford Atte Bow

The East End Suffragette Map

John Thomas Smith’s Antiquities Of London

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For good reason John Thomas Smith acquired the nickname ‘Antiquity Smith’ – while working as Keeper of Drawings at the British Museum, between 1790 & 1800, he produced a large series of etchings recording all the antiquities of London, from which I publish this selection of favourites today

Old houses in the Butcher Row near Clement’s Inn, taken down 30th March 1798 – the right hand corner house is suggested to have been the one in which the Gunpowder Plot was determined and sworn

A Curious Pump – in the yard of the Leathersellers’ Hall, Bishopsgate

Sir Paul Pindar’s Lodge, Half Moon Alley, Bishopsgate

A Curious Gate in Stepney – traditionally called King John’s Gate, it is the oldest house in Stepney

London Stone – supposed to be the Millinarium of the Romans from which they measured distances

The Queen’s Nursery, Golden Lane, Barbican

Pye Corner, Smithfield – this memorialises the Great Fire of 1666 which ended at Pye Corner

Old house in King St, Westminster – traditionally believed to have been a residence of Oliver Cromwell

Lollards’ Prison – a stone staircase leads to a room at the very top of a tower on the north side of Lambeth Palace, known as Lollard’s Tower

Old house on Little Tower Hill

Principal gate of the Priory of St Bartholomew, Smithfield

Savoy Prison – occupied by the army for their deserters and transports

Mr Salmon’s, Fleet St

Gate of St Saviour’s Abbey, Bermondsey

Rectorial House, Newington Butts

Bloody Tower – the bones of the two murdered princes were found within the right hand window

Traitors’ Gate

The Old Fountain in the Minories – taken down 1793

The White Hart, Bishopsgate

The Conduit, Bayswater

Staple’s Inn, Holborn

The Old Manor House, Hackney

Dissenting Meeting House at the entrance to Little St Helen’s, taken down 1799

Remains of Winchester House, Southwark

London Wall in the churchyard of St Giles Cripplegate

London Wall in the churchyard of St Giles’ Cripplegate

Figures of King Lud and his two sons, taken down from Ludgate and now deposited at St Dunstan’s, Fleet St, in the Bone House

Images courtesy Bishopsgate Institute

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John Thomas Smith’s Ancient Topography

John Thomas Smith’s Vagabondiana

John Thomas Smith’s Vagabondiana II

John Thomas Smith’s Vagabondiana III

Viscountess Boudica’s Easter Celebrations

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I cannot celebrate Easter without a return visit to our dearly-beloved Viscountess Boudica also known as ‘Old Mother Goose of Bethnal Green’

She may be no Spring chicken but that does not stop the indefatigable Viscountess Boudica of Bethnal Green from dressing up as an Easter chick!

As is her custom at each of the festivals which mark our passage through the year, Boudica embraces the spirit of the occasion wholeheartedly – festooning her tiny flat with seasonal decor and contriving a special outfit for herself that suits the tenor of the day. “Easter’s about renewal – birth, life and death – the end of one thing and the beginning of another,” she assured me when I arrived, getting right to the heart of it at once with characteristic forthrightness.

I feel like a child visiting a beloved grandmother or favourite aunt whenever I call round to see Viscountess Boudica because, although I never know what treats lie in store, I am never disappointed. Even as I walk in the door, I know that days of preparation have preceded my visit. Naturally for Easter there were a great many fluffy creatures in evidence, ducks and rabbits recalling her rural childhood. “When my uncle had his farm, I used to put the little chicks in my pocket and carry them round with me,” she confided with a nostalgic grin, as she led me over to admire the wonder of her Easter garden where yellow creatures of varying sizes were gathering upon a small mat of greengrocer’s grass, around a tree hung with glass eggs, as if in expectation of a sacred ritual.

I cast my eyes around at the plethora of Easter cards, testifying to the popularity of the Viscountess, and her Easter bunting and Easter fairy lights that adorned the walls. There could be no question that the festival was anything other than Easter in this place. “As a child, I used to get a twig and  spray it with paint and hang eggs from it,” she explained, recalling the modest origin of the current extravaganza and adding, “I hope this will inspire others to decorate their homes.”

“Cadbury’s Dairy Milk is my favourite,” she confessed to me, chuckling in excited anticipation and patting her waistline warily, “I probably will eat a lot of chocolate on Easter Monday – once I start eating chocolate, I can’t stop.” And then, just like that beloved grandmother or favourite aunt, Viscountess Boudica kindly slipped a chocolate egg into my hands as I said my farewell, and I carried it off under my arm back to Spitalfields as a proud trophy of the day.

Viscountess Boudica writes her Easter cards

“yellow creatures of varying sizes were gathering upon a small mat of greengrocer’s grass, around a tree hung with glass eggs, as if in expectation of a sacred ritual”

Viscountess Boudica turns Weather Girl to present the forecast for the Easter Bank Holiday - “I predict a dull start with a few patches of sunshine and some isolated showers. In the West Country, it will be nice all day with temperatures between sixty and eighty degrees Farenheit. There will be a small breeze on the coast and sea temperature of around fifty-nine degrees Farenheit.”

Easter blessings to you from Viscountess Boudica!

Viscountess Boudica and her fluffy friends

Be sure to follow Viscountess Boudica’s blog There’s More To Life Than Heaven & Earth

Take a look at

Viscountess Boudica’s Domestic Appliances

Viscountess Boudica’s Blog

Viscountess Boudica’s Album

Viscountess Boudica’s Halloween

Viscountess Boudica’s Christmas

Viscountess Boudica’s Valentine’s Day

Viscountess Boudica’s St Patrick’s Day

Read my original profile of Mark Petty, Trendsetter

and take a look at Mark Petty’s Multicoloured Coats

Mark Petty’s New Outfits

Mark Petty returns to Brick Lane

At Boughton House

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In the Great Hall at Boughton

To celebrate the plaster being cut off my arm, Charlie de Wet, Director of the Huguenots of Spitalfields Festival, took me on an Easter trip away from the East End to visit her pal the Duke of Buccleuch & Queensberry, and explore Boughton House, his palatial seventeenth century mansion known as ‘The English Versailles.’

The Duke’s ancestor Ralph Montagu was Ambassador to Paris at the end of the seventeenth century and a Huguenot sympathiser, subsequently employing hundreds of refugee Huguenot artists and craftsmen upon the embellishment of Boughton, creating a lavish country house in the French style in the English countryside. Astonishingly, the house and its contents have survived largely unaltered through the centuries, and it stands today as a showcase of the superlative creative talents of the Huguenot artisans.

There was a bitter wind blowing across the Northamptonshire park land as we arrived and we were relieved to enter the warmth of the kitchen, yet the Duke cautioned us not to remove our overcoats. The chill of the old house has contributed to the preservation of its furnishings all these years and as we stepped into the gloom of the vast shuttered rooms, there was a tangible drop in air temperature below the level of the exterior courtyards where pale sunlight was already encouraging spring flowers into bloom.

Sequestered in darkness since the death of Ralph Montagu in 1749, Boughton has been almost frozen in time and the eternal chill of the tomb prevails in the state rooms where I was able to wander alone – opening single shutters to admit a ray of daylight, illuminating ancient tapestries and refracting in clouded seventeenth century mirrors.

Among myriad treasures, I came upon Britain’s oldest woven carpet with a date of 1585 woven into it and the portrait of Shakespeare’s patron, Henry Wriothesley, Earl of Southampton with his cat. Entire galleries of family portraits by Lely gleamed in the half light and extravagant painted ceilings populated by gods and goddesses desporting themselves in cloudscapes glimmered overhead. From my brief stroll through this overwhelming labyrinth of riches, I offer these glimpses I was able to snatch with my camera.

In Fish Court

The Audit Room with paintings by Anthony Van Dyck, Godfrey Kneller and Peter Lely

The state bed was donated to the V&A in 1918 and returned ninety years later

In the unfinished wing – this door leads from one of the state bedrooms

Seventeenth century pagoda, once painted by Canaletto on the Thames-side terrace of Montagu House

The limed staircase

The Duke once kept his pet lion in this yard

The stable block

Britain’s oldest carpet, dated 1585 in the border

Shakespeare’s patron the Earl of Southampton and his cat, seen here confined in the Tower

Click here for more information about this summer’s exhibition devoted to the work of the Huguenot artists and craftsmen whose work is represented at Boughton House

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The Huguenots of Spitalfields

Huguenot Portraits

At Time For Tea

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Johnny Vercoutre

I had always assumed the words ‘Time for Tea’ emblazoned upon the fascia of a narrow building in Shoreditch High St indicated that it was an occasional tea shop. But when I enquired the meaning of this sign from Johnny Vercoutre, who has lived there for the past twenty years and who painted the text in question, he gave an unexpected reply. “It’s my philosophy of life,” he declared with a swagger and a smile, brushing his languid moustache with a forefinger as a mischievously pleasurable thought popped into his mind, “I’d like to drive a long truck with a line of dancing girls into the middle of the street and stop all traffic, and serve tea to everybody.”

Johnny came to the East End as child to buy a tortoise at the erstwhile animal market in Club Row. He likes to brag of his early prowess at splayed brickwork, which was a matter of pride to his father who was a builder in Kilburn and proved to be an invaluable asset in the restoration of his eighteenth century house. Originally constructed as the London Savings Bank, it served as the premises of Andrews the Clockmakers who supplied the timepiece to St Leonard’s Shoreditch next door, before becoming a pawnbroker and finally Clarkes the Stationers, when Johnny first visited to purchase envelopes.

The upper floors had been unoccupied since the forties when Johnny moved in twenty years ago. He has preserved the eighteenth century fabric and reinstated lost panelling, using vintage doors and windows in the restoration, yet pursuing a pre-war style of interior design with an Eau-de- Nil and black colour scheme that would make the last residents feel at home if they were ever to return, transported magically through time.

At street level, one door opens into an ancient flagged alley that once led through from Shoreditch High St to the Old Nichol, the notorious slum which was replaced by the Boundary Estate at the end of the nineteenth century. A side door here retains its metal grille from when the building was a pawn shop and a narrow staircase winds up through three storeys. A series of curious intermediary spaces are lit by skylights with stained glass and, at the first floor, the kitchen leads onto an attractive yard enclosed by age-old railings and overlooked by iron fire escapes. In the living room at the front, a box protrudes from the wall containing the mechanics of the clock on the exterior, installed by Andrews the Clockmakers.

Johnny boasts the last of the Nicholls & Clarke Eau-de-Nil ceramic suites in Shoreditch, imparting an underwater atmosphere to his third floor bathroom. Up above, the attic resembles the weavers’ lofts of Spitalfields with long windows granting views towards the City on one side and over the rooftops of Shoreditch on the other. Names painstakingly carved upon the beams and an elaborate anchor motif marked out in nails upon the a floorboard bear witness to those who passed through here in the eighteenth and nineteenth century.

Johnny’ s labour over past decades has brought this unique building back to life and every inch speaks of the history of old Shoreditch. Yet such are the changes in the neighbourhood in recent years – now that Shoreditch has grown rich – he can no longer afford the upkeep and has to sell. Developers are circling and, since the building is not listed, they would be free to gut it to maximize their return on the property and destroy its historic fabric. But perhaps there is someone out there who would like to buy it and cherish it for what it is? If so, Johnny Vercoutre would like to hear from you itstimefortea@googlemail.com

I was concerned how Johnny will occupy himself in future without his house to renovate. “I have a motor yacht that once belonged to Donald Campbell,” he confessed to me. In response to my exclamation of wonder at this information, he revealed it was sunk. “Oh dear,” I exclaimed. “I still have the pieces,” he reassured me, stroking his moustache thoughtfully, “I can put them back together again.”

One of Johnny’s collection of veteran vehicles

The first floor living room

The attic bedroom

The hidden eighteenth century alley with its original flags

A grille from the building’s days as a pawnbroker

An eighteenth century house in Shoreditch High St

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At Malplaquet House

At The George Tavern

At The Holland Estate

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Holland Estate in the eighties photographed by Phil Maxwell

More than six hundred residents of Brune House, Bernard House & Carter House on the Holland Estate (between Brune St & Wentworth St) are understandably alarmed to discover that East End Homes, the housing association which manages their Estate, has applied for pre-planning permission to demolish their homes prior to any consultation.

Meanwhile a twenty million pound refurbishment programme, including the installation of lifts, promised in 2006 has not materialised and an image of a twenty-five storey high rise development replacing the current dignified brick structures dating from 1928 has done nothing to allay residents’ fears. Consequently, they are reluctant to take part in any ‘consultation’ lest this be interpreted as tacit consent.

Instead, they are planning a protest against the proposals outside the offices of East End Homes at Resolution Place next to Denning Point, tomorrow Saturday 11th April between 11am & 3pm, and anyone who would like to learn more and show their solidarity with the residents is very welcome to attend.

In celebration of the vibrant community of the Holland Estate, I publish this gallery of photographs by Phil Maxwell recording life on the Estate in the nineteen-eighties.

The Holland Estate today

Looking north-west across Spitalfields from Denning Point, East End Homes’ proposal for the redevelopment of the Holland Estate with a twenty-five storey block in the centre

Photographs copyright © Phil Maxwell

You can follow the Residents Against Demolition campaign on

Facebook/bbcresidents

&

Twitter  @bbcresidents

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Jasmine Stone & Samantha Middleton , Campaigning Stratford Mothers

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Dan Cruickshank’s Tales Of Norton Folgate

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Dan Cruickshank speaks to SAVE NORTON FOLGATE at Shoreditch Church at 6:30pm on Wednesday 22nd April, with guests Sian Phillips reading the poetry of Sir John Betjeman and Conservation Consultant Alec Forshaw dissecting the British Land scheme. Dan will be telling the story of how British Land were defeated in Norton Folgate in 1977 and today he gives us a taster, reminiscing about battles old and new in Spitalfields. Click here to book your free ticket.

Seven years ago, I became involved in a strange East End adventure. At that time there was a plan to level the buildings on the west side of Norton Folgate, destroying a robust piece of railway architecture from around 1890 which, at the time, was used as a bar called The Light. All was to be replaced by a large-scale development named Principal Place, designed by Foster and Partners and incorporating a fifty-storey residential tower.

I have lived in Spitalfields since 1978 – my house is only a few minutes walk east from the site – and, like many, I could not see why a fine building in productive and convivial use, making many people happy, should be swept away so that a few people could make a great deal of money. A campaign to save the building was launched but the going was tough since the developers insisted that all had to be cleared, so their ‘vision’ for the new Norton Folgate could be realised, and local authorities showed little interest in the existing buildings or the extraordinary history of this small yet ancient part of London, that has a somewhat mysterious and exotic past.

The Liberty of Norton Folgate sits astride the Roman Ermine St in an area that contains part of the northern cemetery of Roman London, an early twelfth century emergency cemetery (perhaps related to a disastrous famine) and, from 1197, the main portion of the Augustinian Priory of St. Mary. The Liberty’s association with death continued after the foundation of the Priory, so that by the time it was ‘dissolved’ in the 1530s around 10,000 bodies had been deposited in its grounds, mostly in the Liberty of Norton Folgate.

Given the radical nature of the Reformation, the winding-up of the Priory seems to have been inevitable but, in fact, it almost survived. The Lord Mayor and Corporation of London lobbied Thomas Cromwell for its preservation for the reception of the ill and those needing medical assistance, notably woman in labour. Elsewhere, the Lord Mayor and Corporation were successful in their campaigns to save the former monastic establishments that became St. Bartholomew’s Hospital, St. Thomas’s Hospital and Bedlam. The fact that these medieval institutions survived the Reformations to continue their useful functions is one of the more pleasing tales of sixteenth century London.

But, sadly, Lord Mayor and City Corporation failed to save what would have become St. Mary’s Hospital in what, by the mid-sixteenth century, had become known as Spitalfields, named after the hospital – or ‘spital – in the fields.  So St. Mary’s is London great ‘lost’ London hospital, with the vacuum not filled until 1740 when the London Hospital, serving the City and the East End, and funded through subscription, was founded in Moorfields before moving to Goodman’s Fields and then in 1757 to Whitechapel.

In the 1530s, the land of the Liberty of Norton Folgate passed to secular control with its government eventually vested in the hands its ‘antient’ inhabitants. This secular Liberty inherited some of the key characteristics of its monastic predecessor. The Augustinians, with their fine and large church, were outside the system of parishes, three of which lapped around its borders – St. Botolph to the south and west, St. Leonard to the north, and St. Dunstan to the east. Parishes were not only centres of religious life but also units of local government and – potentially – of political and social control. In addition, the Liberty of Norton Folgate was also largely outside the control of the City of London because the boundary of the City’s ward of Bishopsgate Without met, but did not overlap, the Liberty’s border. Governed by officers chosen annually from among its eligible residents and maintained through taxes raised within its boundaries, the Liberty survived until parish-based local government passed into the hands of the newly created London County Council in 1900.

At the time of the threat to The Light, I was horrified by the ignorance and brutalism of the building industry and the authorities but, while I was left feeling painfully impotent as disaster loomed, a fellow campaigner came up with a brilliantly creative idea.

Research suggested that there was a legal anomaly in the legislation that transferred power from London’s parishes to the LCC. The Liberty of Norton Folgate was not mentioned in documentation so – it was argued – since the Liberty had not been legally divested of its powers, it still existed as a sovereign London authority. This meant that its territory was not subject to the control of the London Boroughs of Hackney or Tower Hamlets and therefore permissions granted by them were not lawful or valid. Instead, governance was legally the right of its elected ‘antient’ residents.  It was heady stuff – ‘Passport to Pimlico’ come to life – and instantly the local residents held an ad-hoc election to nominate officers of the Liberty.

The structure of the Liberty’s government, medieval and manorial, is well described in a draft Act of Parliament for running the Liberty that dates from 1759 and is preserved in Tower Hamlets’ Local History Library. It records that, by tradition, the officers chosen from among the Liberty’s ‘antient’ inhabitants were Headborough, Constable, Overseer and Scavenger who – collectively – were responsible for lighting, cleansing, policing and courts of the Liberty, and for the collection of the local taxes. The Headborough was the senior officer akin to Mayor. These jobs were not token but practical, and could be time-demanding and onerous. Eligible inhabitants might decline the honour of serving the Liberty when their turn came, but had to pay a fine of £10 – a large sum in the mid-eighteenth century when the average wage for a London journeymen was around £50 a year.

The draft Act of Parliament of 1759 offers fascinating detail about life in what was a well-ordered and prosperous part of London at that time. The locally-raised taxes – which, like the national Land Tax, were charged to occupants and based on the rental value of the houses they occupied – were used to pay for a Beadle, six Night-Watchmen, the daily collection of rubbish and a handsome array of globular street lamps, fixed to houses and on stanchions. The 1759 Liberty minute books reveal the mechanism by which the residents acted to assure the smooth governance of their Liberty. The minute book for June that year records that twenty-eight residents were present at a meeting and resolved to employ the beadle at £20 per annum. The Beadle was to ‘set the watch, attend at the watch house, attend collectors in collecting ye rates…keep the Liberty free of vagabonds and people making a shop to sell fruit etc…keep the book which of the watchmen’s turn it is to be on each stand [and] to be a constant resident of the Liberty.’ It was also resolved that six Watchmen (or Charleys) were to be hired at £12 per annum each. These Watchmen were to ‘Beat the round every half hour, watch from 9 o’clock in the evening to six in ye morning from Michaelmas to Ladyday, and from 10 in the evening to four in the morning from Ladyday to Michaelmas.’

A subsequent meeting of occupants of the Liberty determined how its paid work-force was to conduct itself. They were to ‘apprehend and detain Malefactors, Rogues, Vagabonds, Disturbers of the Peace and all Persons whom they have just reason to suspect have any evil designs…deliver to the Constable or Headborough…or the Beadle’ and then ‘with all convenient speed…to…some justice or justices of the Peace to be examined and dealt with according to law.’ The Watchmen were especially instructed to ‘apprehend any Person casting the night soil in the street and carry them to the watch house.’ This instruction suggests this was a particularly common offence.

The effectiveness of the Liberty’s body of Watchmen is open to question. The average age of the six appointed in 1759 was fifty-two, two were described as having bad eyesight and, by October 1759, one of the Watchmen had been dismissed after an earlier reprimand for missing thirty-three nights in one quarter. But, decrepit as the Night Watchmen may have been, it seems clear that in the mid-eighteenth century the Liberty was a model piece of city – well lit, cleaned and watched – which is not surprising since, at that moment of history, it was a wealthy neighbourhood. Spital Sq – developed from the late seventeenth century in ad-hoc manner out of Spital Yard, a former monastic space – was home to some of the leading occupants of the Liberty, with terrace of merchant palaces built along its eastern arm in the early 1730s.

Thus it was that, seven years ago, I became Headborough for a day with various of my neighbours filling other posts and we were joined by distinguished visitors, including Suggs of Madness. Our re-launch of the Liberty was not entirely fruitless. Ultimately, it succeeded in saving a large portion of the railway building occupied by The Light but, while the body of it was saved, the fate of its soul remains in doubt. The Light has gone today, the place stands boarded up and shorn of its western wing, awaiting its fate. Its future is currently scheduled as a place of fine dining in the shadow of the fifty storey tower that will eventually loom over it. Yet this tower is now the least of the problems challenging the survival of the Liberty.

On the east side of Norton Folgate, the former Nicholls & Clarke buildings stand in the way of a dread and brutish British Land proposed development. British Land’s proposal would, if given planning permission, create a terrifying precedent undermining all historic quarters throughout the country.

The particular site in British Land’s target has in recent years been acquired by the City of London Corporation as British Land’s collaborator in this scheme and it lies entirely within, and forms a large portion of, the Elder St Conservation Area. By law, developments in Conservation Areas must protect, reflect and enhance the existing architectural and social character, and preserve existing historic fabric. Tower Hamlets Council in its 2007 Appraisal of the Elder St Conservation Area puts the case correctly, ‘Overall this is a cohesive area that has little capacity for change. Future needs should be met by the sensitive repair of the historic building stock …….. Historic structures and buildings should be retained, and new development should respect the urban form, scale and block structure.’

The existing buildings include a fine row of warehouses of 1886, some of which contain their original, iron-framed interiors. These would be demolished, with only portions of their facades retained, if the British Land scheme gets planning permission. Indeed British Land proposes to demolish over seventy per cent of the existing buildings within the portion of the Conservation Area it controls, mostly replacing them with large-floor plate commercial buildings that rise as high as thirteen stories, instead of the general four-story height of existing buildings. If this happens, the Liberty – whose architectural and social character is still discernible in its street pattern and the tight grain of its buildings and mix of uses – would become no more that a bland corporate enclave of the City of London.

For me, this ghastly scheme possesses a particularly ghoulish character as an awful reminder of the cyclical – and seemingly futile – nature of human affairs. There is a sinister sense of déja vu. Before I moved into my house, I had battled for the existence of the early eighteenth century houses on Elder St’s east side. I was a trustee of the Spitalfields Historic Buildings Trust which had just been formed and, in the late summer of 1977, we fought to save the two most ruinous and threated houses in Elder St – 5 and 7 – which in their plan and details were particularly interesting. We thought if we could save these houses – or even if we failed but made a huge and public fuss – the rest of the street might be saved. We occupied 5 and 7, and we challenged the Development Company (which owned them and desired their demolition and the conversion of neighbouring houses into offices), the Housing Association (that hoped to acquire the site of 5 and 7 for flats), the Historic Buildings Department of the Greater London Council – and, of course, Tower Hamlets Council.

The contest dragged on for weeks – seemingly for months –  and we had been lulled into a sense of false security when the developers regained possession of 5 and 7, and demolition men were immediately moved in. The roof of number 7 was ripped off within hours, but then it was demonstrated that the developers, by failing to give the GLC twenty-four hours notice of demolition, were in breach of their consents. So the demolition men were ejected and we regained possession, and patched up the shattered roof structure with tarpaulins. It was a stalemate. Tougher anti-squatting legislation was on its way – time was against us. The developers would not talk with us, so we moved things forward by occupying their offices in Portman Sq and seeking publicity. A high point was when we were visited and offered public support by Sir John Betjeman in Elder St. The sight of Betjeman – paper cup in hand (with I seem to remember white wine) – tottering along the street, ducking under raking shores, was memorable. The newspapers loved it.

Finally, against all expectation, the Leader of Tower Hamlets Council spoke up and gave the Spitalfields Trust his blessing, saying that we were acting to save the history of Tower Hamlets for the people of the area. This timely political support made all the difference and the Trust was able to buy 5 and 7 Elder Street, repair them and sell them on. This was a watershed in the recent history of Spitalfields. Then the developers put the rest of the houses on the east side of Elder Street on the market and they were bought by people willing and able to repair them and live in them, and this set in motion the revival of houses in the main Georgian streets of Spitalfields. It seemed – at last – Spitalfields was saved.

But now the shadow of demolition and over-scaled commercial development has returned to threaten buildings within a few metres of the site of the Trust’s epoch-making victory nearly forty years ago. And to highlight the frightful symmetry of events then and now – the predatory development company we fought off back in the seventies has returned and is the current opponent  – British Land.

As the Trust fought then, we will fight now – with a firm belief in the justice of our cause. We want to save Spitalfields – with its rich mix of historic and old buildings, distinct character and special atmosphere – for the people of London and for visitors expecting to find something beyond familiar, bland corporate plazas. As we did forty years ago, we want to save Spitalfields from those who seek merely to exploit it as a means to make themselves rich at the expense of the happiness of others.

Blossom St

Fleur de Lys Passage

Blossom St

Star of David in Blossom St

Elder St

Elder St

Elder St

Folgate St

Elder St

Corner of Elder St

Crochet courtesy of the Revolutionary Crafting Circle of Edinburgh

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Take a walk around Norton Folgate with Dan Cruickshank

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Holland Estate Portraits

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In the wake of recent news that East End Homes have submitted a pre-planning application for demolition of the Holland Estate next to Petticoat Lane prior to consulting with the people who live there, a member of the staff of East End Homes told residents their homes were “unfit for human habitation.” So yesterday, Contributing Photographer Sarah Ainslie & I spent an afternoon visiting flats on the Estate to take these portraits and assess the accommodation for ourselves.

We were touched by the strong sense of community we encountered and the generous welcome we received at the Holland Estate. We found the gracious brick structures are built of better quality materials that most modern developments and are humanely conceived, offering hospitable living spaces which are cherished and well-maintained by the occupants.

Ali Sahed Goyas &  Jahnara Choudhury have lived on the Holland Estate for twenty-five years

Alex Rhys-Taylor & Natasha Polyviou, residents for thirteen years, with their son Odysseus

Pascha Singh has lived on the Holland Estate for more than thirty years

Mahjdiyat, Shammi, Manveen & Arshan Ahmed at home

Yolanda De Los Buies has lived on the Holland Estate for seventeen years

Saleha Khanam with her son Shamsur Rahman and his wife Rushna Begum and their children Yaseen and Hamza – Four generations of this family have lived on the Holland Estate

Azar Ali has lived on the Holland Estate for thirty-one years

Nessa Aifun cares for her husband Rustum at home

Saleh Ahmed & Rusnobun  Bibi and their grandchildren Aakifah & Ismael

Kabir Ahmed & Nasrin Rob with their children Aakifah & Ismael

Murtata Choudhury has lived on the Holland Estate for fifty years

Shikiko Aoyama Sanderson & Jarrod Sanderson have lived on the Estate for six years

Samirun Chowdhury  with Saima Chowdhury and Taher Uddin outside Samirun & Saima’s home

Enrico Bonadio has lived on the Holland Estate for three years

Rob Ali, Ali Sayed Goyas, Asab Miah, Murtata Choudhury, Saleh Ahmed with Aakifah Ahmed & Mohammed Ismael Ali

Photographs copyright @ Sarah Ainslie

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At the Holland Estate

Peta Bridle’s London Etchings

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Every couple of months, Peta Bridle sends me her latest drypoint etchings of favourite people and places in London, and this new batch celebrates many beloved landmarks that are at risk of destruction. “It made my visits to these places seem more pressing to record them, not knowing how quickly boarding might go up, preventing anyone from seeing them ever again,” Peta admitted to me.

Gas Holders, Bethnal Green – “Viewed from Mare St, along Corbridge Crescent past Empress Coaches, you see a fine pair of nineteenth century gas holders. English Heritage have decided not to list them and instead granted the owners a Certificate of Immunity against listing, permitting the gas holders to be destroyed and the site redeveloped.”

Blossom St, Norton Folgate – “Running the length of Blossom St are a row of Victorian warehouses built in 1868. Once the headquarters of Nicholls & Clarke they now stand empty, awaiting their fate. This is such a beautiful atmospheric street with its black brickwork and cobbles, I find it inconceivable that a tower block could one day loom in its place.”

Fruit & Wool Exchange, Spitalfields - “Viewed from the top of Spitalfields Market, the dignified Wool and Fruit Exchange has stood in Brushfield St since 1927, yet only a part of the facade will remain when the bulldozers move in this summer.”

Phoenix Wharf, Wapping High St – “This beautiful old wharf caught my eye when I was out on a walk. It was built around 1830 and is the oldest wharf in Wapping. Luckily the building itself is not under threat, but the view we have of it now will change forever as the car park opposite is due for redevelopment along with Swan Wharf next door. The developers plan to reduce the Stepney lamppost, the oldest gas lamp left in London, to a stump.”

Oxgate Farm, Cricklewood – “One could easily walk past this without realising what a beautiful building lies behind the scaffolding. Yet once inside it is peaceful and quiet, and modern London is shut off completely. Oxgate Farm has stood here since 1465 and was once part of a thousand acre Manor of Oxgate owned by St. Paul’s Cathedral but now it is reduced to just the farm and back garden. Although Oxgate Farm has managed to survive the centuries, now it badly needs repairs to stop it falling down.”

Archaeological finds from the Bishopsgate Goodsyard – From the left to right – Bone spoon, bone button (top), ceramic wig curler (beneath), green glass phial(top),  green glass bottle (beneath), white ceramic spoon (top), pair of ceramic marbles and a child’s bone whistle. (Courtesy of Museum of London Archaeology).

Tiles from the Bishopsgate Goodsyard – “Eighteenth century tin-glazed delftware wall tiles, as used in the fire surrounds of upper and middle class households. On the top left, I like the grumpy expression on the fisherman’s face – probably because he had tangled his line around his companions legs –  also, the expressive posture of the couple talking in the meadow below appeals to me, she with her hand on her hip and clutching her bag.” (Courtesy of Museum of London Archaeology)

Gary Arber, W F Arber & Co Ltd - Last year, Gary closed the print shop opened by his grandfather Walter in 1897 - “Gary is stood next to a Golding Jobber which he told me was used to print handbills for the suffragettes. On his right stands a Supermatic machine and, behind him in the corner, is a Heidelberg which he filled with paper to show me how it worked. The whole room was a confusion of boxes and paper with the odd tin toy thrown in, and lots of string hanging from the ceiling. I feel privileged to have been invited downstairs to make this record of his print shop.”

Spoons by Barn The Spoon - “From left to right: A cooking spoon. A spoon of medieval design. A spoon based on a Roma Gypsy design. The small spoon in the centre is a sugar spoon. A shovel. The large spoon on the right is a Roman ladle spoon. Barn told me the word ‘Spon’ which is carved on the handle is an old Norse word which means ‘chip of wood.’”

Leila’s Shop, Calvert Avenue “- I love visiting Leila’s Shop throughout the year to discover the fresh vegetables of every season, straight from the field and piled up in mouth-watering displays.”

Donovan Bros, Crispin St - “Although it is not a shop anymore I believe Donovan Bros are still producing packaging. I like the muted colours the shop front has been painted and wonder what the shop would have looked like inside?”

Borough Market, London Bridge - “This is the view overlooking Borough Market, looking from the top of Southwark Cathedral tower. The views of London from up there are beautiful but I don’t like the height too much!”

Wapping Old Stairs - “To reach the stairs you have a to go along a tiny passage to the side of the Town of Ramsgate. Originally, the stairs were a ferry point for people wishing to catch a boat along the river. I think they are quite beautiful and I like to see the marks of the masons’ tools, still left on the stones after all this time.”

The Widow’s Son, Bow - “The landlady stands  holding a hot cross bun in front of a large glass Victorian mirror with the pub name etched onto it. Every Good Friday, they have a custom where a sailor adds a new bun in a net hanging over the bar to celebrate the widow who once lived here, who made her drowned sailor son a hot cross bun each Easter in remembrance.”

E.Pellicci, Bethnal Green Rd. “Nevio Pellicci kindly allowed me to make a couple of visits to take pictures as reference to create this etching. It was at Christmas time and after they closed for the afternoon. Daisy my daughter is sitting in the corner.”

Paul Gardner at Gardners’ Market Sundriesmen, Commercial St. “I did buy a few bags off Paul whilst I was there!”

Tanya Peixoto at bookartbookshop, Pitfield St. “I am friends with Tanya who runs this shop and she has stocked my homemade books in the past.”

Des at Des & Lorraine’s Junk Shop, Bacon St. “An amazing place that I want to re-visit since I never got to look round it properly …”

Prints copyright © Peta Bridle

Sir George’s Residence for Respectable Girls

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All the years I have been walking through Gunthorpe St, taking a shortcut through the back streets to Spitalfields, I have never had any reason to notice the tall unassuming brick building set back from the street with the date 1886 set in a stucco panel on the top, until current resident Daron Pike wrote to share the intriguing history he has discovered – for this was once ‘Sir George’s Residence for Respectable Girls.’

‘Respectable’ tells it all, distinguishing the residents from those ‘unrespectable’ girls whose presence made Whitechapel a notorious destination for predatory males in the final decades of the nineteenth century. When the Residence was built, Gunthorpe St was known as George Yard, described by the East London Advertiser in 1888 as “one of the most dangerous streets in the locality – a narrow turning out of the High St leads into a number of courts and alleys in which some of the poorest of the poor, together with thieves and roughs and prostitutes, find protection and shelter in the miserable hovels bearing the name of houses.”

Provision merchant turned evangelist, George Holland, founded the George Yard Mission and Ragged School in the eighteen-fifties, winning recognition for his philanthropic work which permitted him to raise the finance for the Residence. “When Mr Holland began his work, George Yard was inhabited by such a desperate class that he often had to be accompanied by two policemen, bricks, flower pots and other missiles being, even then, flung at his head,” wrote the ‘Record of Christian Work’ in October 1885, thirty-five years after George Holland established his Mission, “Now, however anyone may walk through that locality with impunity … the success of this work has mainly been owing to Mr Holland’s untiring soul, three days being the longest holiday he has allowed himself since he first put his hand to the work.”

Yet it was the knife attack upon Emma Smith in George Yard in April 1888 followed by the murder of Martha Tabram close by in August of that year, initiating a spree of violence against women known retrospectively as ‘the Whitechapel Murders,’ which shone a light upon the work of George Holland in the national press. In November 1886, The Times reported on a conference of the Ragged School Union at which “Mr Holland next gave a graphic description of his work in the eastern part of London, remarking that in times past some 50,000 children had passed through his hands and that he now had under his care some 3,000 men, women and children.”

The violent murders of 1888 inspired terror among those at the ‘Residence for Respectable Girls’, while also throwing into relief the necessity of the Mission and the Residence, as the Daily News reported in November that year - “Mr. George Holland, whose remarkable work has been going on for so very many years in premises occupying an obscure position in George Yard, Whitechapel – where it will be remembered one of these unfortunate women was found with thirty or forty stabs – says that the sensation has affected his institution very greatly. He has some hundreds of young women connected with his place, and many of them have been afraid to stir out after dark. He is under some anxiety, too, lest ladies who have been wont to come down there on winter evenings to teach and entertain his young people, should be deterred by this latest addition to the evil reputation of Whitechapel.”

George Holland died in 1900 and, by the First World War, the building had ceased to be a home for girls and was in general residential use by a predominantly Jewish population, until the sixties when it was emptied of inhabitants at the time of the slum clearances in the East End. Today it is well kept and back in use as flats. The Mission itself and the Ragged School are long gone, and just the implacable ‘Sir George’s Residence for Respectable Girls’ remains in Gunthorpe St to remind us of his compassionate purpose.

Sir George’s Residence for Respectable Girls

Gunthorpe St

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In Search Of William Shakespeare’s London

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On the eve of William Shakespeare’s birthday, I present this account of my quest to find his London

Sir William Pickering, St Helen’s, Bishopsgate, 1574.

Ever since I visited the newly-discovered site of  William Shakespeare’s first theatre in Shoreditch, I found myself thinking about where else in London I could locate Shakespeare. The city has changed so much that very little remains from his time and even though I might discover his whereabouts – such as his lodging in Silver St in 1612 – usually the terrain is unrecognisable. Silver St is lost beneath the Barbican now.

Yet, in spite of everything, there are buildings in London that Shakespeare would have known, and, in each case, there are greater or lesser reasons to believe he was there. As the mental list of places where I could enter the same air space as Shakespeare grew, so did my desire to visit them all and discover what remains to meet my eyes that he would also have seen.

Thus it was that I set out under a moody sky in search of Shakespeare’s London – walking first over to St Helen’s Bishopsgate where Shakespeare was a parishioner, according to the parish tax inspector who recorded his failure to pay tax on 15th November 1597. This ancient church is a miraculous survivor of the Fire of London, the Blitz and the terrorist bombings of the nineteen nineties, and contains spectacular monuments that Shakespeare could have seen if he came here, including the eerie somnolent figure of Sir William Pickering of 1574 illustrated above. There is great charm in the diverse collection of melancholic Elizabethan statuary residing here in this quaint medieval church with two naves, now surrounded by modernist towers upon all sides, and there is a colourful Shakespeare window of 1884, the first of several images of him that I encountered upon my walk.

From here, I followed the route that Shakespeare would have known, walking directly South over London Bridge to Southwark Cathedral, where he buried his younger brother Edmund, an actor aged just twenty-seven in 1607, at the cost of twenty shillings “with a forenoone knell of the great bell.” Again there is a Shakespeare window, with scenes from the plays, put up in 1964, and a memorial with an alabaster figure from 1912, yet neither is as touching as the simple stone to poor Edmund in the floor of the choir. I was fascinated by the medieval roof bosses, preserved at the rear of the nave since the Victorians replaced the wooden roof with stone. If Shakespeare had raised his bald pate during a service here, his eye might have caught sight of the appealingly grotesque imagery of these spirited medieval carvings. Most striking is Judas being devoured by Satan, with only a pair of legs protruding from the Devil’s hungry mouth, though I also like the sad face of the old king with icicles for a beard.

Crossing the river again, I looked out for the Cormorants that I delight to see as one of the living remnants of Shakespeare’s London, which he saw when he walked out from the theatre onto the river bank, and wrote of so often, employing these agile creatures that can swallow fish whole as as eloquent metaphors of all-consuming Time. My destination was St Giles Cripplegate, where Edmund’s sons who did not live beyond infancy were baptised and William Shakespeare was the witness. Marooned at the centre of the Barbican today like a galleon shipwrecked upon a beach, I did not linger long here because most of the cargo of history this church carried was swept overboard in a fire storm in nineteen forty, when it was bombed and then later rebuilt from a shell. Just as in that searching game where someone advises you if you are getting warmer, I began to feel my trail had started warm but was turning cold.

Yet, resolutely, I walked on through St John’s Gate in Clerkenwell where Shakespeare once brought the manuscripts of his plays for the approval by the Lord Chamberlain before they could be performed. And, from there, I directed my feet along the Strand to the Middle Temple, where, in one of my favourite corners of the city, there is a sense – as you step through the gates – of entering an earlier London, comprised of small squares and alleys arched over by old buildings. Here in Fountain Court, where venerable Mulberry trees supported by iron props surround the pool, stands the magnificent Middle Temple Hall where the first performance of “Twelfth Night” took place in 1602, with Shakespeare playing in the acting company. At last, I had a building where I could be certain that Shakespeare had been present – but it was closed.

I sat in the shade by the fountain and took stock, and questioned my own sentiment now my feet were weary. Yet I could not leave, my curiosity would not let me. Summoning my courage, I walked past all the signs, until I came to the porter’s lodge and asked the gentleman politely if I might see the hall. He stood up, introducing himself as John and assented with a smile, graciously leading me from the sunlight into the cavernous hundred-foot-long hall, with its great black double hammer-beam roof, like the hand of God with its fingers outstretched or the darkest stormcloud lowering overhead. It was overwhelming.

“You see this table,” said John, pointing to an old dining table at the centre of the hall, “We call this the ‘cup board’ and the top of it is made of the hatch from Sir Francis Drake’s ship ‘The Golden Hind’ that circumnavigated the globe” And then, before I could venture a comment, he continued, “You see that long table at the end – the one that’s the width of the room, twenty-nine feet long – that’s made from a single oak tree which was a gift from Elizabeth I, it was cut at Windsor Great Park, floated down the Thames and constructed in this hall while it was being built. It has never left this room.”

And then John left me alone in the finest Elizabethan hall in Britain. Looking back at the great carved screen, I realised this had served as the backdrop to the performance of ‘”Twelfth Night” and the gallery above was where the musicians played at the opening when Orsino says, “If music be the food of love, play on.” The hall was charged and resonant. Occasioned by the clouds outside, sunlight moved in dappled patterns across the floor from the tall windows above.

I walked back behind the screen where the actors, including Shakespeare, waited, and I walked again into the hall, absorbing the wonder of the scene, emphasised by the extraordinary intricate roof that appeared to defy gravity. It was a place for public display and the show of power, but its elegant proportion and fine detail also permitted it to be a place for quiet focus and poetry. I sat on my own at the head of the twenty-nine foot long table in the only surviving building where one of William Shakespeare’s plays was done in his lifetime, and it was a marvel. I could imagine him there.

Judas swallowed by Satan

An old king at Southwark

St Giles Cripplegate where Edmund’s sons were baptised and William Shakespeare was the witness.

St John’s Gate where William Shakespeare brought the manuscripts of his plays to the Lord Chamberlain’s office to seek approval.

The Middle Temple Hall where “Twelfth Night” was first performed in 1602.

The twenty-nine foot long table made from a single oak from Windsor Great Park.

The wooden screen that served as the backdrop to the first production of” Twelfth Night.”

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Shakespeare’s Younger Brother, Edmund

Huguenot Summer

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The wooden spools that you see hanging in the streets of Spitalfields indicate houses where Huguenots once resided. These symbols were put there in 1985, commemorating the tercentenary of the Revocation of the Edict of Nantes which brought the Huguenots to London and introduced the word ‘refugee’ into the English language. Inspired by the forthcoming Huguenot Summer which runs from May to September, I set out in search of what other visual evidence remains of the many thousands that once passed through these narrow streets and Dr Robin Gwynn, author of The Huguenots of London, explained to me how they came here.

“Spitalfields was the most concentrated Huguenot settlement in England, there was nowhere else in 1700 where you would expect to hear French spoken in the street. If you compare Spitalfields with Westminster, it was the gentry that stayed in Westminster and the working folk who came to Spitalfields – there was a significant class difference. And whereas half the churches in Westminster followed the French style of worship, in Spitalfields they were not interested in holding services in English.

The Huguenots were religious refugees, all they needed to do to stop the persecution in France was to sign a piece of paper that acknowledged the errors of John Calvin and turn up at church each Sunday. Yet if they tried to leave they were subject to Draconian punishments. It was not a planned immigration, it was about getting out when you could. And, because their skills were in their hands, weavers could leave whereas those whose livelihood was tied up in property or land couldn’t go.

Those who left couldn’t choose where they were going, it was wherever the ship happened to be bound – whether Dover or Falmouth. Turning up on the South Coast, they would head for a place where there were other French people to gain employment. Many sought a place where they could set their conscience at rest, because they may have been forced to take communion in France and needed to atone.

The best-known church was “L’Eglise Protestant” in Threadneedle St in the City of London, it dealt with the first wave of refugees by building an annexe, “L’Eglise de l’Hôpital,” in Brick Lane on the corner of Fournier St. This opened in 1743, sixty years after a temporary wooden shack was first built there. There were at least nine other Huguenot Chapels in Spitalfields by then, yet they needed this huge church – it was an indicator of how large the French community was. I don’t think you could have built a French Church of that size anywhere else in Britain at that time.The church was run by elders who made sure the religious and the secular sides tied up so, if you arrived at the church in Threadneedle St, they would send you over to Spitalfields and find you work.

It was such a big migration, estimated now at between twenty to twenty-five thousand, that among the population in the South East more than 90% have Huguenot ancestors.

Sundial in Fournier St recording the date of the building of the Huguenot Church.

Brick Lane Mosque was originally built in 1743 as a Huguenot Church, “L’Eglise de l’Hôpital,” replacing an earlier wooden chapel on the same site, and constructed with capacious vaults which could be rented out to brewers or vintners to subsidise running costs.

Water head  from 1725 at 27 Fournier St with the initials of Pierre Bourdain, a wealthy Huguenot weaver who became Headborough and had the house built for him.

The Hanbury Hall in Hanbury St was built in 1719 as a Huguenot Church, standing back from the road behind a courtyard with a pump. The building was extended in 1864 and is now the church hall for Christ Church, Spitalfields.

Coat of arms in the Hanbury Hall dating from 1740, when “La Patente” Church moved into the building, signifying the patent originally granted by James II.

In Artillery Lane, one of London oldest shop fronts, occupied from 1720 by Nicholas Jourdain, Huguenot Silk Mercer and Director of the French Hospital.

Memorial in Christ Church.

Memorial in Christ Church.

At Dennis Severs’ House in Folgate St.

Graffiti in French recently uncovered in a weavers’ loft in Elder St

Former Huguenot residence in Elder St.

The Fleur de Lis was adopted as the symbol of the Huguenots.

Sandys Row Synagogue was originally built by the Huguenots as “L’Eglise de l’Artillerie” in 1766.

Sandys Row Photograph copyright © Jeremy Freedman

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At Barn The Spoon’s Green Wood Guild

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Barn the Spoon makes a May Day whistle

Taking advantage of the spring sunshine, I wandered over to Stepney City Farm to visit Barn the Spoon’s Green Wood Guild, where ancient wood working techniques are taught. Clouds of smoke were emerging from the forge and inside, Nic Westermann, a Bladesmith was teaching his students how to make knives for spoon carving. They were hammering strips of metal to forge the blades, carving wooden handles and then burning the blades into the handles to fit them in place.

Barn the Spoon and I decided to leave the noisy workshop and seek a quiet corner of the farm, where he showed me how to make a sycamore whistle – a traditional instrument to celebrate May Day and the arrival of summer.

Working quickly with practiced skill and using a straight knife of the kind I had seen being forged, Barn cut out a short section from a sycamore branch. First he carved out the mouthpiece at one end and then incised a line in the bark around the circumference of the branch.

“At this time of year, there’s a lot of activity in the tree with the sap moving,” Barn informed me, while tapping his branch with the handle of his knife playfully,“so you can pull the bark from the tree.” The new year’s growth takes place where the trunk meets the bark, known as the ‘cambium,’ which allows you to slide off a neat cylinder of bark – as Barn did, once he had loosened it by tapping. It was an impressive trick.

Barn’s final step was to carve out the sound chamber for his whistle before sliding the bark back into place. Then, in a moment of expectation, he raised the whistle to his lips and, to our shared amazement, it worked. Justly proud, Barn sat there beneath the tree with his pipe at the ready to welcome summer, just like a character of legend.

Nic Westermann, Bladesmith

Nick hammers a blade

One of the students burns the knife into the wooden handle

A straight knife and a spoon knife

Barn carves the mouthpiece of his sycamore whistle

Barn demonstrates how the loose bark can be slid off the branch

Barn carves the sound chamber of the whistle

Barn tests his whistle

A sycamore whistle

[There is a video that cannot be displayed in this feed. Visit the blog entry to see the video.]

Barn the Spoon’s Green Wood Guild is running a MAY DAY WHISTLE WORKSHOP tomorrow Saturday 2nd May at Stepney City Farm. Anyone is welcome to come along and learn how to make a whistle during the day.

Barn the Spoon’s shop is at 260 Hackney Rd, E2 7SJ. (10am-5pm, Friday-Sunday)

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Hustings For Bethnal Green & Bow

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The Spitalfields Trust presents ELECTION HUSTINGS with Parliamentary Candidates at 7pm on Tuesday 5th May at Toynbee Hall, Commercial St – discussing the proposed developments at Bishopsgate Goodsyard, in Norton Folgate, and on the Holland Estate. Admission free & all welcome.

An Election Entertainment by William Hogarth

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Clare Winsten’s Drawings At 31 Fournier St

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I dropped by to visit Rodney Archer, the Aesthete of Fournier St, yesterday for a Saturday afternoon cup of tea and to admire the new exhibition of drawings by Clare Winsten (born Clara Birnberg in 1894) who was the only woman artist among the so-called ‘Whitechapel Boys.’

Studying at the Slade between 1910 and 1912, with Isaac Rosenberg and David Bomberg, Clare was the sole female exhibitor in the 1914 exhibition at the Whitechapel Gallery which marked the formation of the group. After her marriage to fellow artist Stephen Weinstein, she and her husband changed their names to Winsten.

This new exhibition offers a poignant opportunity to appreciate the work of an unjustly-neglected artist, whose occasional drawings reveal a lively talent and a keen observer of personality. Dating from Clare’s art school years until her death in 1989, these drawings and portrait sketches comprise the contents of a portfolio accumulated throughout a lifetime and they look at home displayed together upon the panelled rooms of Rodney’s old house on Fournier St.

Clare Winston’s Drawings are at 31 Fournier St from next Tuesday 5th until Saturday 16th May. Numbers are limited and visits are by appointment only.

To receive an invitation, please email info@31fournierstreet.london saying when exactly you would like to visit and how many will be in your party.

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The Punch & Judy Festival in Covent Garden

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Today I preview the annual Punch & Judy Festival which is held this year on Sunday 10th May

Carmen Baggs with figures made by her father

On 9th May 1662, Samuel Pepys wrote in his diary “Thence to Covent Garden… to see an Italian puppet play that is within the rayles there, which is very pretty, the best that ever I saw, and a great resort of gallants …” It was the first record of a Punch & Judy show in London and, as a consequence, May 9th has become celebrated as Mr Punch’s birthday – when the all Punch & Judy “professors” gather each year upon the leafy green behind the church.

After an early morning shower on the day of my visit, the sun broke through to impart a lustre to the branches of may blossom growing in the churchyard, which create an elegant foliate surround to the freshly sprouting lawn, where the Punch & Judy booths were being assembled as the centrepiece of the Covent Garden May Fayre. As they set up their booths, the professors were constantly interrupted by the arrival of yet another member of their clan, and emotional greetings were exchanged as they reunited after another year on the road. Yet before long, a whole line of booths encircled the lawn and vibrant red stripes filled my vision whichever direction I chose to turn.

Peter Batty, a Punch & Judy professor of forty years, who has been coming here for thirty years, could not help feeling a touch of melancholy in the churchyard in spite of the beauty of the morn. “We go from one box to another,” he said, reaching up with the hand that was not holding Mr Punch to touch his booth protectively, and recalling those professors who will not be seen upon this green again. “I think of Joe Beeby, Percy Press – the first and the second, Hugh Cecil and Smoky the Clown,” he confided to me regretfully - “People keep getting old.”

Yet Peter works in partnership with his youthful wife, Mariake, and their fourteen year old son, Martin, who is just starting out with his own shows. “It’s such a lovely way of life, we’re really lucky when so many people have to do proper jobs, and it’s a brilliant way to bring up children.” she assured me, cradling Judy, while Martin nodded in agreement, holding the Policeman. “We play together and have a fantastic time  - it suits us very well and it’s completely stress free.” she declared. They were an appealing paradox, this contented family who had found happiness in performing Mr Punch and his bizarre drama of domestic violence.

“I was just a bored housewife,” recalled Mrs Back to Front, a lively Punch & Judy professor with her brightly coloured clothes reversed, “twenty-nine years ago, I had a six month old baby and a three year old son, and I was asked to do a puppet show for a fete at his school and I was converted to it. I came here to Covent Garden and I bought a set of Punch & Judy puppets, and I got a swozzle too and found I could use it straightaway.” Then, with a chuckle of satisfaction at the exuberant life she has invented for herself and batting her glittery eyelashes in pleasure, she announced – “My six month old baby is now Dizzy Lolly – she does magic and she’s very good with a monkey puppet too.”

My next encounter was with Geoff Felix, an experienced puppeteer with a background in film, television and theatre who has been doing Punch & Judy since 1982.“I was influenced by Joe Beeby,he explained, revealing his source of inspiration, “he saw a show in 1926, which the player learnt  from someone in the nineteenth century, and Joe kept it going. And that’s how the oral tradition has been preserved.” Geoff explained that the Punch & Judy characters we recognise today, both in appearance and in the story, are based upon those of Giovanni Piccini whose play was transcribed by John Payne Collier in 1828 and illustrated by George Cruikshank. Casting his eyes around at his peers, “It is the swozzle that unites us,” he whispered to me, as if it were a sacred bond, when referring to the metal instrument in the mouth used to make the shrill voice of Mr Punch - “it forces us to create shows based in action.”

Then, Alix Booth, a feisty Scotswoman in a top hat, who has been a Punch & Judy professor for thirty-seven years, told me, “When I was eleven, I inherited a set of paper mache figures. I started working with them and in the end I was doing small shows in Lanark. I still have the figures, over a hundred years old, and although I had to replace Mr Punch’s coat, his waistcoat and trousers are perfect. My figures are based on the Piccini book of 1828, they have their mouths turned down at the ends and huge staring eyes – nowadays Mr Punch is sometimes given a smile, but I prefer him with his mouth turned down, it’s more realistic.”

“I have learnt my craft, and I can keep a children’s party happy for an hour and a half without any trouble at all.” she informed me plainly. “But it was very much for adults originally –  entertainment for the Georgian man in the street and it’s full of laughs – it’s all in the timing.”

After my conversations with the professors, I was delighted to stand and enjoy the surreal quality of all the booths lined up like buses at a terminus when I have only ever seen them alone before – yet what was fascinating were the differences in spite of the common qualities. There were short fat ones and tall skinny ones, plain and fancy, with the height defined by the reach of each individual puppeteer. And while the red and white theatres standing under the great chestnut tree awaited their audiences, the professors enjoyed the quiet of the morning to catch up and swap stories.

“It has established a club, brought us all together and kept the tradition alive,” Alix asserted, turning impassioned in her enthusiasm, “And that’s so important, because every year new young performers come along and join us.” But then we were interrupted by the brass band heralding the arrival of Mr Punch and we realised that, as we had been talking, crowds of people had gathered. It was a perfect moment of early Summer in London, but for Punch & Judy professors it was the highlight of the year.

Professor David Wilde has the largest collection of Punch & Judy puppets – over six hundred.

Professor Geoffrey Felix, scenery based upon a design by Jesson and Mr Punch in the style of Piccini.

Professor James Arnott restores and repaints old figures.

Mrs Back To Front

Professor Alix Booth, thirty-seven years doing Punch & Judy professionally.

The Batty Family of Puppeteers, Mariake, Martin and Peter.

Professor Brian Baggs, also known as “Bagsie.”

Professor Paul Tuck  - “I’ve only been let out for today – I’m really a ladies’ hairdresser.”

Parade to celebrate the arrival of Mr Punch in Covent Garden.

With grateful thanks to the Punch & Judy Fellowship for making the introductions

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Nicholas Borden’s Spring Paintings

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Thanks to this year’s mild spring weather, these are the pictures that Nicholas Borden has painted on the street since the batch I published in January. Hardy and industrious in equal degree, Nicholas has wrought a fresh vision of the urban landscape that is painterly, atmospheric and entirely personal.

Shoreditch High St (Work in Progress)

Christ Church, Spitalfields

Old St Roundabout

In The Strand

In Cambridge Circus

In Upper St

Hungerford Bridge

In Bloomsbury

Outside The Bank Of England

In Kensington

In New Oxford St

In Trafalgar Sq

Off The Strand

Smithfield Market

London Bridge Approach seen from the steps of Fishmongers’ Hall (Work in Progress)

Nicholas Borden at work on the street

Paintings copyright © Nicholas Borden

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More Of Janet Brooke’s City Churches

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Since I published Janet Brooke‘s linocuts of City Churches last year, she has expanded her portfolio with eight more prints and it is my great pleasure to publish the complete set, as a preview of her new exhibition which runs from 18th May until 19th June at Salvation Army Headquarters, 101 Queen Victoria St, EC4. Janet wants you to know that these were all printed on her Imperial Press, dating from 1832 and manufactured by J. Cope & Sherwin, 5 Cumberland Place, Curtain Rd, Shoreditch.

St Mary-At-Hill

Christ Church Greyfriars

St Clement Eastcheap

St Mary Aldermary

St Olave Jewry

St Peter Cornhill

St Dunstan-In-The-East

Christ Church Spitalfields

St Mary Abchurch

St Mary Somerset

St Edmund King & Martyr

St Stephen Walbrook

St Augustine Watling St

St Nicholas Cole Abbey

St Michael Paternoster Royal

St Benet Paul’s Wharf

St Lawrence Jewry

St Vedast alias Foster

St Alban Wood St

St Magnus the Martyr

St Margaret Lothbury

St Andrew by the Wardrobe

St James Garlickhythe

St Michael Cornhill

St Brides

St Margaret Pattens

St Clement Danes

Images copyright © Janet Brooke

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