Joanna Moore’s Spitalfields

Artist Joanna Moore undertook this series of drawings of Spitalfields’ less well known landmarksThe Old St Patrick’s School in Buxton St, dating from the eighteen sixties, stands upon the grass of Allen Gardens beside the Georgian vicarage of the former All Saints church – the last survivors of the nineteenth century streets that once stood here, long before the park was laid out. Enfolded by its lofty garden wall, containing huge exotic shrubs and dripping with climbing plants, this finely proportioned cluster of buildings rises with tall attenuated chimneys, like some mysterious castle of romance. St Patrick’s School is a tantalising enigma to those who walk through here regularly and have heard tales of the secret tropical garden which is rumoured to exist behind these implacable walls.

The Watchhouse on the corner of St Matthew’s Churchyard in Wood St was built in 1754 and, with the growing trade in human corpses for dissection, in 1792 it was necessary to appoint a watchman who was paid ten shillings and sixpence a week to be on permanent guard against resurrectionists. A reward of two guineas was granted for the apprehension of any body-snatchers and the watchman was provided with a blunderbuss and permission to fire from an upper window, once a rattle had been sounded three times. The churchwarden who lives there today told me that, according to the terms of his lease, he still holds this right – and the blunderbuss and rattle are stored in the house to this day. The small structure at the rear originally housed the parish fire engine, in the days when it was just a narrow cart. In 1965, the Watchhouse gained notoriety of another kind when fascist leader Oswald Mosley stood upon the step to give his last open air public speech.

Gibraltar Walk off the Bethnal Green Rd is a handsome terrace of red brick nineteenth century artisans’ workshops that once served the furniture trade when it was the primary industry in this area. Of modest construction, yet designed with careful proportions, the terrace curls subtly along Gibraltar Walk, turning a corner and extending the length of Padbury Court, to create one long “L” shaped structure. These appealing back streets still retain their cobbles and there are even a couple of signs left from the days of furniture factories, but, most encouragingly, the majority of these premises are still in use today as workshops for small industries, keeping the place alive.

In Emanuel Litvinoff’s memoir, “Journey Through a Small Planet” describing his childhood in Cheshire St in the nineteen twenties, he recalls the feared Pedley St Arches where, “Couples grappled against the dripping walls and tramps lay around parcelled in old newspaper. The evil of the place was in its gloom, its putrid stench, in the industrial grime of half a century with which it was impregnated.” And today, with a gut-wrenching reek of urine, graced by a profusion of graffiti and scattered with piles of burnt rubbish, the place retains its authentic insalubrious atmosphere – a rare quality now, that is in demand by the numerous street fashion photo shoots, crime dramas and pop videos which regularly use this location. There is a scheme to turn the Great Eastern Railway Viaduct into a raised park – like the High Line in New York – but in the meantime wildlife flourishes peaceably upon these graceful decaying structures dating from the earliest days of the railway, constructed between 1836 and 1840 to bring the Eastern Counties Line from Romford to the terminus at Shoreditch High St.

Nestling at the base of Nicholas Hawksmoor’s monumental spire for Christ Church, Spitalfields, is the tiny private roof garden on the top of 3 Fournier St, where what was once planted as a camomile lawn has grown to become a wildflower meadow with pink campions, oxe-eye daisies and sorrel abounding. The pitched roofs on three sides entirely conceal this verdant arbor from the street and create a favoured climate where freesias, carnations, honeysuckle, wallflowers, foxgloves, wild strawberries and lettuces flourish, surrounded by espalier fruit trees and rambling roses, all unknown to those who tread the dusty pavements of Commercial St far below. Built in 1754 by Peter Le Keux, a silkweaver, this elegant old house follows the same Tuscan Order of architecture that was Hawksmoor’s guiding principle, and as you ascend the staircase endlessly winding up to the roof garden, you come upon subtle intricate details, like banisters with square capitals, that match those across the road at the church.

The Worrall House of 1720 is the quintessence of the Spitalfields nobody knows – built in a secret courtyard between Fournier St and Princelet St by Samuel Worrall, the builder responsible for many of the surrounding houses, it can only be approached through a narrow passage behind a heavily-encrusted door. When you step through this door, into the dark cobbled alley lined with ancient planks covered with paint and tar that has not been renewed in over a century, you feel – more than anywhere in Spitalfields – that you have stepped back in time. Here Samuel Worrall built a handsomely proportioned yet modest house for himself in his own builders’ yard. Just one room deep with a pedimented door and stone balls atop the gateposts, it resembles a perfect lifesize dolls’ house. Facing East and constructed of a single layer of bricks, it only receives sunlight in the morning and is not a warm building in Winter, yet there is an irresistible grace and mystery about this shadowy house of enchantment, presiding silently upon a quiet courtyard that is outside time.

Joanna Moore’s drawing of Victoria Cottages in Deal St was done upon the spot where Geoffrey Fletcher, author of “The London Nobody Knows,”sat and drew the same view in May 1977, when this terrace was threatened by bulldozers. Built in 1855 by the Metropolitan Association for Dwellings for Housing the Industrious Poor, after the design of Prince Albert’s Model Cottages for the Great Exhibition of 1851, these are one of the earliest examples of two storey cottage apartments. Scheduled for demolition in a slum clearance scheme, they were saved in 1978 through the intervention of Peter Shore who was both local MP and Environment Minister. If Geoffrey Fletcher came back today he would be delighted to step through the old iron gate and discover well-tended cottage gardens where the fragrance of flowers hangs in the air. Pairs of neat white front doors lead either to the ground or first floor dwellings, which, although designed as the minimum in the nineteenth century, appear generous and sympathetic by contemporary standards. To the rear is a peaceful flagged courtyard where residents hang their laundry and tend the shared garden.

Drawings copyright © Joanna Moore

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