A Door In Cornhill
The Bronte sisters visit their publisher in Cornhill, 1848
An ancient thoroughfare with a mythic past, Cornhill takes its name from one of the three former hills of the City of London – an incline barely perceptible today after centuries of human activity upon this site, building and razing, rearranging the land. This is a place does not declare its multilayered history – even though the Roman forum was here and the earliest site of Christian worship in England was here too, dating from 179 AD, and also the first coffee house was opened here by Pasqua Rosee in 1652, the Turk who introduced coffee to London. Yet a pair of carved mahogany doors, designed by the sculptor Walter Gilbert in 1939 at 32 Cornhill – opposite the old pump – bring episodes from this rich past alive in eight graceful tableaux.
Walter Gilbert (1871-1946) was a designer and craftsman who developed his visual style in the Arts & Crafts movement at the end of the nineteenth century and then applied it to a wide range of architectural commissions in the twentieth century, including the gates of Buckingham Palace, sculpture for the facade of Selfridges and some distinctive war memorials. In this instance, he modelled the reliefs in clay which were then translated into wood carvings by B.P Arnold at H. H. Martyn & Co Ltd of Cheltenham.
Gilbert’s elegant reliefs appeal to me for the laconic humour that observes the cool autocracy of King Lucius and the sullen obedience of his architects, and for the sense of human detail that emphasises W. M. Thackeray’s curls at his collar in the meeting with Anne and Charlotte Bronte at the offices of their publisher Smith, Elder & Co. In each instance, history is given depth by an awareness of social politics and the selection of telling detail. These eight panels take us on a journey from the early medieval world of omnipotent monarchy and religious penance through the days of exploitative clergy exerting controls on the people, to the rise of the tradesman and merchants who created the City we know today.
“St Peter’s Cornhill founded by King Lucius 179 AD to be an Archbishop’s see and chief church of his kingdom and so it endured for the space of four hundred years until the coming of Augustine the monk of Canterbury.”
“Eleanor, Duchess of Gloucester, did penance walking barefoot to St Michael’s Church from Queen Hithe, 1441.”
“Cornhill was an ancient soke of the Bishop of London who had the Seigneurial oven in which all tenants were obliged to bake their bread and pay furnage or baking dues.”
“Cornhill is the only market allowed to be held afternoon in the fourteenth century.”
“Birchin Lane, Cornhill, place of considerable trade for men’s apparel, 1604.”
“Garraway’s Coffee House, a place of great commercial transaction and frequented by people of quality.”
“Pope’s Head Tavern in existence in 1750 belonging to Merchant Taylor’s Company, the Vinters were prominent in the life of Cornhill Ward.”
You might also like to read about
Jim Howett, Designer
In my opinion, Jim Howett is the best dressed man in Spitalfields. Here he is with a characteristically shy smile, sitting on a seventeen-twenties staircase in a houses in Fournier St he was restoring for the Spitalfields Trust. Jim was entirely at home in this shabby yet elegantly proportioned old house, a specifically localised environment that over time has become his natural habitat and is now the place you are most likely to find him.
For years, I admired Jim’s artisan clothing whenever I caught glimpses of him, always crossing Commercial St and disappearing through the market or off down Folgate St preoccupied with some enigmatic intent. When we were introduced, I discovered that Jim sleeps each night in the attic at Dennis Severs’ House and crosses the market every day to work in Fournier St with Marianna Kennedy, designing the furniture and lamps that have become ubiquitous in the houses around Spitalfields. I also learnt Jim is responsible for a significant number of the most appealing shopfronts in the neighbourhood.
At first, I assumed Jim was Irish on account of his soft vowels and quietly spoken manner, almost whispering sometimes, even swallowing his words before he utters them, and thereby drawing your attention to listen, concentrating to gather both what is said and what is unspoken. Such is the nature of his mind that Jim will begin a sentence and then pursue a digression that leads to another and yet another – though such is the intelligence of the man, that when he leads you back to the resolution of the original thought, it acquires a more precise import on account of all the qualifications and counter arguments. Without a doubt, Jim is a consummate prose talker.
Jim’s origins lie in Ohio in the foothills of the Appalachians, where he grew up in Salem. But Jim’s father worked in international development and in the nineteen-sixties the family moved to the Congo and then his father was transferred Vietnam, with the family ending up in London in 1967. Jim studied at the Architectural Association under the tutelage of Dan Cruickshank, subsequently working for a few years in prehistoric archaeology, before deciding to study at the London College of Furniture which was then in Commercial Rd.
Renting a room on Brick Lane, Jim dropped a card to his former tutor who wrote back to say he had just bought a house in Elder St full of broken furniture, so Jim set up a workbench in Dan’s basement to undertake the repairs.
“Dennis Severs knocked upon the door one day, looking for Dan,” Jim told me. “He said he’d just bought a house round the corner and wanted to do tours, and we thought he was crazy but we helped him set it up. I made the shutters, the partition with the arch in the dining room and I copied the fireplace from one in Princelet St.” he added, revealing the origin of his own involvement with 18 Folgate St, where today he is the sole resident. Before long, Jim was sharing a workshop with Marianna Kennedy and ceramicist Simon Pettet in Gibraltar Walk, sharing aspirations to create new work inspired by historical models by applying traditional craft skills. They found themselves amidst a community centred around the restoration of the eighteenth century houses, dubbed ‘Neo-Georgians’ by the media – a moment recorded today in the collection of magazines and photo features, illustrating the renaissance of Spitalfields, that Jim keeps in a box in his workshop.
Jim taught himself furniture making by copying a Hepplewhite chair – constructing four versions until he could get the proportion right – before he discovered that there was no market for them because dealers considered them too dangerously close to the originals as to approach fakes. Yet this irony, which was to hamper Jim’s early career as a furniture maker, served as a lesson in the significance of proportion in engaging with historical designs.
When Jim won a commission to design an armoire for Julie Christie, he thought he had found the path to success. “She gave me tip of half the value of my commission fee and I thought ‘This is as good as it gets’, but she remains the best client I ever had.” admits Jim, wistfully recognising the severely limited market for custom-built new furniture in antique styles. “I used to make these pieces and have no money left over to buy coffee afterwards,” he declared with a shrug.
The renovation of Spitalfields gave Jim the opportunity to become one of those who has created the visual language of our streets, through his subtle approach to restoring the integrity of old shopfronts that have been damaged or altered. Perhaps the most famous are A.Gold and Verdes in Brushfields St, 1 & 3 Fournier St and 86 Commercial St. In these and numerous other examples, through conscientious research, Jim has been responsible for retaining the quality of vernacular detail and proportion that makes this Spitalfields, rather than any other place. The beauty of Jim’s work is that these buildings now look as if they had always been like they are today.
Yet Jim is quick to emphasise that he is not an architect, explaining that his work requires both more detailed knowledge of traditional building techniques and less ego, resisting the urge to add personal embellishments. “The difference between me and architects, working on historic buildings is that I restrict myself to organising the space. I believe if a building has survived for two hundred years, it has survived because it has certain qualities. The reason, I don’t put my finger in the pie is because I can express myself in other things.”
While Jim spoke, he produced file after file of photographs, plans and maps, spreading them out upon the table in his workshop to create a huge collage, whilst maintaining an extraordinary monologue of interwoven stories about the people, the place and the buildings. I was fascinated by Jim’s collection of maps, spanning the last five hundred years in Spitalfields and I realised that he carries in his mind a concrete picture of how the place has evolved. When I have seen him walking around, he is walking in awareness of all the incarnations of this small parish, the buildings that have come and gone through past centuries.
It fired my imagination when Jim took me into the cellar of 15 Fournier St and pointed out the path across the yard belonging to the sixteenth century building that stood there before the eighteenth century house was built, telling me about the pieces of charred wood they found, because this was where debris was dumped after the Fire of London in 1666.
Simon Pettet portrayed Jim on one of his tiles as a fly on the wall, reflecting Jim’s omnipresence in Spitalfields. “I think if my father had not taken us to the Congo, I should still be there in Salem, Ohio,” confessed Jim with a weary smile, “because at heart I am a localist.” Jim showed me the missing finger on his left hand, sliced off while cutting a mitre from left to right, a mark that today he regards as the proud badge of his carpenter’s trade. In his work and through his modest personal presence, Jim has become an inextricable part of the identity of Spitalfields – after more than forty years, I hope we may now describe him as a local.
Jim at Jocasta Innes’ house in Heneage St, 1990
Jim with Dennis Severs and Simon Pettet, pictured in a magazine feature of 1991
Jim modelling his calfskin apron, 1991
Jim pictured in the penurious weavers’ garret at Dennis Severs’ House that today is his bedroom
In the Victorian Parlour at Dennis Severs’ House
Hoisting up the new cornice in Commercial St
You may also like to read about
Some Favourite London Mulberries
In celebration of the news that the Bethnal Green Mulberry is saved, here is a gallery of some of my favourite London Mulberries
At the Tower of London
At Charlton House
At Middle Temple
At KIng’s Bench Walk
In Haggerston
In Whitechapel
In Stoke Newington
At Charterhouse
In Victoria Park
In the Commissioner’s Garden at Chatham Royal Naval Dockyard
At Mile End Place
At Abbey Wood
At Syon
At Sayes Court, Deptford
In Bunhill Fields
In Dalston
At the London Chest Hospital
You may also like to read about
The Bethnal Green Mulberry Verdict
Nurses dancing around the Bethnal Green Mulberry
After campaigning to Save the Bethnal Green Mulberry since 2017, I am overjoyed to report yesterday’s decision of the High Court to refuse Crest Nicholson’s redevelopment of the former London Chest Hospital and stop the developer digging up the 400 hundred year old tree.
I would like to thank the hundreds of people who funded our legal action, the 17,000 who signed our petition and especially Dame Judi Dench for being patron of our campaign.
Crest Nicholson’s overblown development would have blighted the Victoria Park Conservation Area for generations to come. It demolished a listed building, removed a large number of mature trees and delivered far too few affordable homes.
At the Tower Hamlets Planning meeting in September 2018, Gareth Gwynne, Head of Planning confirmed that it would be possible for Crest Nicholson to avoid disturbing the tree without any loss to their development by simply reconfiguring the design. Yet rather than do this, they made the decision to pursue digging up the historic mulberry and moving it, even though there is no successful precedent for moving such an old mulberry and this would be likely to kill it. I hope Crest Nicholson learn a lesson from this judgement and go back to the drawing board.
In the light of the recent decision to approve the redevelopment of the Whitechapel Bell Foundry, I am dismayed by the shameful way Tower Hamlets Council have repeatedly advocated bad developments, without regard for the community or heritage. But I am delighted that in this case justice has prevailed and the Bethnal Green Mulberry is saved.
At this time of Climate Emergency and, as we move to recover from the coronavirus pandemic, it is obvious that London should not be building such densely-crowded housing and that we need planning decisions which are environmentally responsible.
The Bethnal Mulberry is the oldest tree in the East End, surviving plague, fire and blitz. I hope it will flourish for centuries more to inspire us all.
CLICK HERE TO READ THE FULL VERDICT
We will contact all those supporters who opted to receive a cutting of Shakespeare’s Mulberry this summer once the cuttings have rooted and are ready for collection. When summer arrives, we will also write to those who chose to receive a tub of mulberry sorbet to arrange collection.
Click here to read my feature in The Daily Telegraph about the scandal of the Bethnal Green Mulberry
Read more here about the Bethnal Green Mulberry
The Fate of the Bethnal Green Mulberry
In Search Of The Walbrook
Ever since I learnt that the disused pump outside Shoreditch Church marks the spot where the river Walbrook had its wellspring, I have been curious to discover what happened to this lost river which once flowed from here through the City to the Thames. This haunting photograph of the Walbrook, which was taken by Steve Duncan deep beneath the Bank of England, gives the answer. The river has been endlessly covered over and piped off, until today it is entirely co-opted into the system of sewers and drains.
Yet in spite of this, the water keeps flowing. Irrespective of our best efforts to contain and redirect water courses, the movement of water underground always eludes control. A fascinating detail of this photo, which shows the sewer deep below the City, built in the eighteen forties, is that today the water table in the City has risen to the level where water is actually pouring from the surrounding earth into the tunnel between the bricks. With enviable courage, Steve Duncan enters these secret tunnels through manhole covers and undertakes covert explorations, bringing back photos of the unseen world that he finds down there, as trophies. I was captivated by this nightmarish subterranean image, which reminded me that the primordial force of nature that this river manifests still demands respect.
Lacking such a daredevil nature or any experience in potholing, I decided to keep my exploration above ground, following the path of the river and seeing what sights there are to be discovered upon the former banks of this erstwhile tributary of the Thames. The Walbrook has attracted its share of followers over the years, from anti-capitalist protestors who attempted to liberate the river by opening hydrants along its route, to milder gestures adopted by conceptual artists, sacrificing coins to the river through storm drains and releasing fleets of paper boats into the sewers.
The historian John Stow is the primary source of information about the Walbrook, writing in his “Survey of London” in 1598 – though even in his time it was already a lost river, “The running water so called by William Conquerour in his saide Charter, which entereth the citie,&c. (before there was any ditch) betweene Bishopsgate and the late made Posterne called Mooregate, entred the wall, and was truely of the wall called Walbrooke… it ranne through the citie with divers windings from the North towards the South into the river of Thames… This water course having diverse Bridges, was afterwards vaulted over with bricke, and paved levell with the Streetes and Lanes where through it passed, and since that also houses have beene builded thereon, so that the course of Walbroke is now hidden under ground, and therby hardly knowne.”
Arriving at St Leonard’s Shoreditch, as the first drops of water from the ominous lowering clouds overhead began to fall, the description of the poisoning of the Walbrook (when seepage from the seventy-six thousand human remains in the churchyard found its way into the watercourse) came to mind. The Walbrook, which entered through the wall beside the church of All Hallows on the Wall, was the only watercourse to flow through the City and was both an important source of freshwater as well as a conduit to remove sewage, two entirely irreconcilable functions.
There is no evidence of the route of the brook outwith the wall and so I walked straight down Curtain Rd, entering the City at London Wall, with the church of All Hallows on the Wall to my left. I turned right on London Wall, where the brook was once channeled along the wall itself. At Copthall Avenue, I turned left where the watercourse flowed South down through Token House Yard, under St Margaret’s Church and the Bank of England. As I left Copthall Avenue to walk through the maze of narrow lanes, including Telegraph Alley and Whalebone Alley, the changing scale indicated I was entering the ancient city. Then I enjoyed a breathtaking moment as I passed through the dark low passage into Token House Yard, discovering a long tall street with cliffs of grey buildings on either side, that ended in the towering edifice of the Bank of England.
From here, I walked down Princes St to emerge at the front of the Bank facing the Mansion House, basking for a moment in the drama of this crossroads, before walking onwards down Poultry past Grocer’s Hall and then turning left to arrive at the Bloomberg building which now contains the Temple of Mithras, discovered in 1954 on the bank of the Walbrook, eighteen feet below modern ground level. It is a miraculous survival of two millennia, standing at the head of the navigable river where barges were berthed in Roman times.
At the time of these excavations, a square token of lead with the name Martia Martina carved backwards on it was found, once thrown into the Walbrook – in Celtic culture this was believed to bring bad luck to the subject. Also, in the eighteen sixties, Augustus Pitt Rivers uncovered a large number of human skulls in the river bed, which could be either those of a Roman legion who surrendered to the Britons or the remnants of Boudica’s rebellion. Both these finds may reflect a spiritual significance for the watercourse.
Next stop for me was Christopher Wren’s church of St Stephen Walbrook on the far bank of the Walbrook. My favourite of his City churches, this is always a place to savour a moment of contemplation, beneath the changing light of the dome that appears to float, high up above the roof. The name of this street, Walbrook, within the ward of Walbrook confirms beyond doubt that you are in the vicinity of the lost river, and from here it is a short walk down Cloak Lane by way of College Hill to Walbrook Wharf on the riverfront below Cannon St Station, where the Walbrook meets the river Thames. In the end, whatever route they came by, this is where the raindrops that fell outside Shoreditch Church arrived eventually.
I am entranced by the romance of the lost river Walbrook – even if it may have been a stinking culvert rather than the willow-lined brook of my imagination – because when you are surrounded by the flashy overbearing towers of the City, there remains a certain frail consolation in the knowledge that ancient rivers still flow underground beneath your feet.
All Hallows on the Wall, where the Walbrook entered the City of London
The passage from Whalebone Alley to Token House Yard
Approaching the Bank of England
The Roman temple of Mithras stood on the bank of the Walbrook
Christopher Wren’s church of St Stephen Walbrook with altar by Henry Moore
The dome of St Stephen Walbrook
You may also like to take a look at
Sam Syntax’s Cries Of London
Harris, the publisher’s office, at the corner of St Paul’s Churchyard
Examining more series of Cries of London in my ever-expanding investigation – such as these Sam Syntax Cries from the eighteen-twenties that came to light in the Bishopsgate Institute – old friends from earlier series return in new guises, evidencing the degree to which the creators of these popular prints plagiarised each other.
Do you recognise the Hot Cross Bun Seller from the New Cries Of London 1803 or Green Hasteds from Francis Wheatley’s Cries of London or the Watchman from T. L. Busby’s Costume Of The Lower Orders or the Hot Gingerbread Seller from William Marshall Craig’s Itinerant Traders? The recurrence of these figures demonstrates how common images of tradesmen became standardised through repetition over centuries.
Yet equally, when I see a trader here as particular as the toy lamb seller originally portrayed by John Thomas Smith in his Vagabondiana of 1815, it makes me wonder whether, perhaps, this was a portrait of a celebrated individual, a character once recognisable throughout the city?
Eels, Threepence a Pound! Live Eels! & Rabbits! Fresh Rabbits! Buy a Rabbit!
Milk Below, Maids! Milk Below! & One a Penny, Two a Penny, Hot Cross Buns!
Plum Pudding and Pies! Hot! Piping Hot! & Sweep! Sweep Ho! Sweep!
Water Cresses! Buy My Nice Water Cresses! & Dust! Dust Ho! Dust!
Buy a Mat or a Hair Broom! & Cat’s Meat or Dog’s Meat!
Chairs to Mend! Any Old Chairs To Mend! & Green and Young Hastings! Green and Buy!
Swords, Colours and Standards! & Sweet Briar and Nosegays, So Pretty Come and Buy!
Potatoes, Three Pounds A Penny! Potatoes! & Hot Spice Gingerbread! Hot! Hot! Hot!
Lobsters! Live Lobsters! All Alive, Lobsters! & Choice Banbury Cakes! Nice Banbury Cakes!
Lambs To Sell! Young Lambs To Sell! & Currants Red And White, A Penny A Pot!
Flounders! Jumping Alive! Fine Flounders! & Matches, Please To Want Any Matches, Ma’am!
Sixpence A Pottle, Fine Strawberries! & News! Great News In The London Gazette!
Past Twelve O’Clock and A Cloudy Morning! & Patrol! Patrol!
Buy A Live Goose! Buy A Live Goose! & Live Fowls! Live Fowls! Buy A Live Fowl!
Flowers Blowing! All A-Growing! & Winkles! A Penny A Pint, Periwinkles!
Images courtesy © Bishopsgate Institute
You may also like to take a look at these other sets of the Cries of London
More John Player’s Cries of London
More Samuel Pepys’ Cries of London
Geoffrey Fletcher’s Pavement Pounders
William Craig Marshall’s Itinerant Traders
H.W.Petherick’s London Characters
John Thomson’s Street Life in London
Aunt Busy Bee’s New London Cries
Marcellus Laroon’s Cries of London
William Nicholson’s London Types
Francis Wheatley’s Cries of London
John Thomas Smith’s Vagabondiana of 1817
John Thomas Smith’s Vagabondiana II
John Thomas Smith’s Vagabondiana III
Thomas Rowlandson’s Lower Orders
More of Thomas Rowlandson’s Lower Orders
Adam Dant’s New Cries of Spittlefields
The Departure Of Arthur Beale
PLEASE NOTE: My HOW TO WRITE A BLOG THAT PEOPLE WILL WANT TO READ course sold out immediately, so in response to popular demand I am holding another in November on the weekend of 20th & 21st. Click here for more details
Established as rope chandlers for over four hundred years at the same location in St Giles, Arthur Beale is now being forced out by excessive rents. You have until June 24th to pay a last visit.
Did you ever wonder why there is a ship’s chandler at the top of Neal St where it meets Shaftesbury Avenue in Covent Garden. It is a question that Alasdair Flint proprietor of Arthur Beale gets asked all the time. ‘We were here first, before the West End,’ he explains with discreet pride,’and the West End wrapped itself around us.’
At a closer look, you will discover the phrase ‘Established over 400 years’ on the exterior in navy blue signwriting upon an elegant aquamarine ground, as confirmed by a listing in Grace’s Guide c. 1500. Naturally, there have been a few changes of proprietor over the years, from John Buckingham who left the engraved copper plate for his trade card behind in 1791, to his successors Beale & Clove (late Buckingham) taken over by Arthur Beale in 1903, and in turn purchased by Alasdair Flint of Flints Theatrical Chandlers in 2014.
‘Everyone advised me against it,’ Alasdair confessed with the helpless look of one infatuated. Then he pulled out an old accounts book and laid it on the table in his second floor office above the shop and showed me the signature of Ernest Shackleton upon an order for Alpine Club Rope, as used by Polar explorers and those heroic early mountaineers attempting the ascent of Everest.
In that instant, I too was persuaded. Learning that Arthur Beale once installed the flag pole on Buckingham Palace and started the London Boat Show was just the icing on the cake. Prophetically, Alasdair’s first act upon acquiring the business was to acquire a stock of good quality three-and-a-half metre ash barge poles to fend off any property developers who might have their eye on his premises.
For centuries – as the street name changed from St Giles to Broad St to Shaftesbury Avenue – the business was flax dressing, supplying sacks and mattresses, and twine and ropes for every use – including to the theatres that line Shaftesbury Avenue today. It was only in the sixties that the fashion for yachting offered Arthur Beale the opportunity to specialise in nautical hardware.
The patina of ages still prevails here, from the ancient hidden yard at the rear to the stone-flagged basement below, from the staircase encased in nineteenth century linoleum above, to the boxes of War Emergency brass screws secreted in the attic. Alasdair Flint cherishes it all and so do his customers. ‘We haven’t got to the bottom of the history yet,’ he admitted to me with visible delight.
Arthur Beale’s predecessor John Buckingham’s trade card from 1791
Nineteenth century headed paper (click to enlarge)
Alasdair Flint’s office
Account book with Shackleton’s signature on his order for four sixty-foot lengths of Alpine Club Rope
Drawers full of printing blocks from Arthur Beale and John Buckingham’s use over past centuries
Arthur Beale barometer and display case of Buckingham rope samples
Nineteenth century linoleum on the stairs
War emergency brass screws still in stock
More Breton shirts and Wellingtons than you ever saw
Rope store in the basement
Work bench with machines for twisting wire rope
Behind the counter
Jason Nolan, Shop Manager
James Dennis, Sales Assistant
Jason & James run the shop
Receipts on the spike
Arthur Beale, 194 Shaftesbury Avenue, WC2 8JP
You may also like to read about
