Vera Hullyer, Parishioner Of St Dunstan’s
This is Vera Hullyer sitting in front of the cupboard in the parish room where she keeps the vases and other paraphernalia she uses for creating the spectacular floral displays at St Dunstan’s – just one of myriad ways she has been involved with this ancient East End church since she first came here in 1945. Vera’s life has been interwoven with that of St Dunstan’s and its community over all these years, and she has become its devoted custodian, captivated by its mythic history and speaking of the distant past as vividly as she describes events of recent years.
Older in origin even than the Tower of London, St Dunstan’s once served the entire area now defined by the Borough of Tower Hamlets, which means that until Christ Church was built in the eighteenth century it was the parish church for Spitalfields. A wooden church dedicated to All Saints was built in Stepney after St Augustine’s conversion of the English in the sixth century and St Dunstan himself built the first stone church here in 952. A rough hewn stone relief from his time survives today, set into the wall behind the altar.
Along Fieldgate St from Whitechapel, I followed the route of the former path across the fields to visit this low-set medieval ragstone church that for centuries stood among orchards and farms until the modern East End grew up around it, spawning no less that sixty-seven “daughter” parishes out of the former rural parish of St Dunstan’s. Stepping in from the rain and placing my umbrella in the stand, I was greeted by that distinctive silence which is unique to old stone buildings, and standing there in the gloom to survey the scene beneath the vast wooden roof, like a great upturned ship, I realised could have been in a country church almost anywhere in England.
A door opened at the far end of the chancel, spilling illumination into the half-light, and Vera came out of the shadows with nimble steps to greet me, shepherding me kindly to the octagonal parish room, where she made me a cup of tea and I was able to dry out my raincoat while she told her story.
“I had an aunt that lived nearby in Stepney, she stayed here all through the war and had her roof blown off seven times. And my mother promised me that when the war ended we could come up from Fordingbridge, where we lived, to visit her for a holiday. So we came in August 1945 for VJ night, and I remember the church bells and the hooters on the river. Next day, we went up to Buckingham Palace and joined the crowd up against the railings.
I came to stay with my aunt every year after that for holidays, until 1953 when I came to London to work at the Air Ministry and I lived with her for the first two years. I was young and impecunious and seventeen and three quarters – people didn’t really go away from home then as they do now.
I’m half a Londoner, on my father’s side – he was born in Lambeth – and that bit came through. I’m a very different person now than if I had stayed down in Fordingbridge. Because I had been up to London for holidays, I knew my way around and I enjoyed it. I worked for several officers who had been in the war and Spitfire pilots who had been promoted – for a young girl it was very exciting. I was responsible for ordering and making sure that all the radio parts were in stock. From the Air Ministry, I went to be PA to a senior officer in Whitehall and I was there all through the Suez crisis and when Cyprus was partitioned.
I moved into a hostel in Queensgate, Kensington, in Spring 1955. It was a nice area, but there were four of us to a room. You got bed, breakfast and an evening meal, and the food was terrible. This was before fridges, and I acquired an ability to drink black Nescafe and toast made on the gas fire. At twenty-two, I moved out to Chiswick because we could afford a shared flat. But I still kept on coming to St Dunstans, and when I got married I came to live here and never moved again.
From when I first came to London, I joined the church badminton club to get to meet people. I met my husband, Charlie Hullyer, through the club, we were members of a big group of people there and I knew him for quite a while before we got married. He worked at the Whitechapel Bell Foundry as a carpenter. He made the frames for the bells and his last job, before he died in 1981, was to make a frame for the bells at Canterbury Cathedral. We got married at St Dunstan’s in 1965 and my son was baptised here. Charlie had a flat because he was the last child to leave home and he took it over after his parents died. So when we got married, we had somewhere to live – we didn’t have to move out like most people did. It was very difficult for the children of families to find homes locally and stay here, that’s why many East End families are split.
When I first came to the Ocean Estate, it was a bomb site and we used to walk my aunt’s dog there and there was this smell I will never forget. Then the flats went up. Most people were living in two-up two-downs, with no bathroom and a toilet in the backyard. Some were still living in bomb damaged homes. People were worn out, they had been evacuated and come back, and many had lost family in the bombing. So they were delighted with the new flats, it was real step up and it was luxurious.
The population then was old East Enders and Jewish people, but it’s changed a lot since 1953 and now it’s changing again. The Jewish people have all gone, and West Indians and Bangladeshis came in. It was all social housing then and people were poor. But the new housing is a mixture of some to buy and some to rent, so we have young professionals today who work in the City or at Canary Wharf. Whereas before it was just secretaries and machinists in the garment trade, while the men all worked in the docks.”
Yet all the changes that Vera has seen are set in perspective by her relationship with St Dunstan’s. “We fly the red duster,” she announced to me with raffish glee, referring to red merchant navy flag fluttering from the tower, “That’s because before the registrar at Trinity House was established, all births and marriages at sea wherever they took place in the world were registered here in St Dunstan’s parish register and those people were parishioners of St Dunstan’s.”
Over more than eighty years now, Vera has pursued a constant involvement with St Dunstan’s, as member of the parish church council, as a church warden, as a sidesperson and as member of the congregation too. She has read the lesson. She has raised money to replace the magnificent wooden roof and to renovate the elaborate churchyard railings. She has headed the 17th Stepney Cub Scouts and she has done the church flowers for the last thirty years. When her husband Charlie brought his carpentry skills to the construction of crosses for elaborate performances of the Stations of the Cross performed upon the streets of Stepney in the seventies, Vera was stitching costumes.
It all adds up to a rich existence for Vera Hullyer at the centre of her chosen community in this remarkable building – a charismatic meeting place with a long history of devotion, offering an endless source of tales of those who have gone before to inspire the imagination.
Vera at the Tower of London when she first moved to London to work at the Air Ministry in the Winter of 1953, aged seventeen and three quarters, in the bottle green coat that she bought with her first earnings.
This tenth century stone relief carving is a relic of the church built by St Dunstan in 952.
St Dunstans on a map of 1615.
Honest Abraham Zouch, Ropemaker of Wapping, died 16th July 1648.
The Carthage stone, a souvenir of a sailor’s visit to Tunis.
Spandrel over the West door – legend has it that the devil came to tempt St Dunstan when he was working at his anvil, and the saint tweaked the devil’s nose with his red-hot pincers.
Vera Hullyer first came to St Dunstan’s on VJ day in the Summer of 1945.
More Spires Of City Churches
St Lawrence Jewry, Gresham St
I waited so long for a clear day to take pictures of spires in the City of London that, when we were blessed with several, I could not resist taking as many photographs as possible. Such has been my preoccupation that, in future, I shall always be inclined now to think of clear days early in the year as “ideal weather to photograph church spires in the City.”
Yet there were other obstacles beyond the meteorological that I had to contend with in my quest for spires, not just delivery vans parked in the wrong places and people standing in front of churches making long mobile phone calls, but the over-zealous guard who challenged my motives as I stood with my camera upon the public footpath, suspiciously implying I might have sinister intent in photographing church spires – which could have grave implications for national security. “You realise this is the City of London,” he informed me in explanation of his impertinence, as if I could be unaware.
Fortunately, it is in the nature of photographing church spires that I had no choice but to lift up my eyes above these trifles of life and I was rewarded for my tenacity in the pursuit with all the wonders that you see here. In Rome or any other European capital, such a close gathering of architectural masterpieces would be venerated among the finest treasures of the city. In London, our overfamiliarity with these epic churches means they have become invisible and hardly anyone looks at them. Commonly, the ancient spires are overshadowed by the modern buildings which surround them today, yet I found – in many cases – that the act of focusing attention upon these under-appreciated edifices revealed them newly to my eyes.
St Mary Le Bow, Cheapside
St Margaret’s, Lothbury
St Vedast, Foster Lane
Christchurch Greyfriars, Newgate St
Christchurch Greyfriars, Newgate St
St Mary Le Bow, Cheapside
St Mary Le Bow, Cheapside
St Stephen, Walbrook
Whittington’s Almshouses, College Hill
St James, Garlickhythe
St Michael Paternoster Royal, College Hill
1 & 2 Lawrence Pountney Hill – Built in 1703, these are the finest surviving merchants’ houses in the City.
Churchyard of St Laurence Pountney
St Magnus the Martyr, Lower Thames St
St Dunstan in the East, Idol Lane
All Hallows Staining, Mark Lane
St Botolph’s, Aldgate
You may also like to take a look at
The Consolation Of Schrodinger
I believe most will agree that life is far from easy and that dark moments are an inescapable part of human existence. When I feel sad, when I feel confused, when I feel conflicted, when it all gets too much and my head is crowded with thoughts yet I do not even know what to do next, I lie down on my bed to calm myself.
On such an occasion recently, I was lying in a reverie and my consciousness was merging with the patterns of the changing light on the ceiling, when I heard small footsteps enter the room followed by a soft clump as Schrodinger landed upon the coverlet in a leap.
I lifted my head for a moment and cast my eyes towards him and he looked at me askance, our eyes meeting briefly in the half-light of the shaded room before I lay my head back and he settled himself down at a distance to rest.
I resumed my contemplation, trying to navigate the shifting currents of troubling thoughts as they coursed through my head but drifting inescapably into emotional confusion. Suddenly my mind was stilled and halted by the interruption of the smallest sensation, as insignificant yet as arresting as a single star in a night sky.
Turning my head towards Schrodinger, I saw that he had stretched out a front leg to its greatest extent and the very tip of his white paw was touching my calf, just enough to register. Our eyes met in a moment of mutual recognition that granted me the consolation I had been seeking. I was amazed. It truly was as if he knew, yet I cannot unravel precisely what he knew. I only know that I was released from the troubles and sorrow that were oppressing me.
When he was the church cat, Schrodinger lived a public life and developed a robust personality that enabled him to survive and flourish in his role as mascot in Shoreditch. After these years living a private domestic life in Spitalfields, he has adapted to a quieter more intimate sequestered existence, becoming more playful and openly affectionate.
At bedtime now, he leaps onto the coverlet, rolling around like a kitten before retreating – once he has wished me goodnight in his own way – to the sofa outside the bedroom door where he spends the night. Thus each day with Schrodinger ends in an expression of mutual delight.
You may also like to read about
Schrodinger’s First Year in Spitalfields
Dicky Lumskull’s Ramble Through London
Courtesy of Mike Henbrey, it is my pleasure to publish this three-hundred-year-old ballad of the London streets and the trades you might expect to find in each of them, as printed and published by J. Pitts, Wholesale Toy & Marble Warehouse, 6 Great St Andrew Street, Seven Dials
Copyright © Mike Henbrey Collection
GLOSSARY
by Spitalfields Life Contributing Slang Lexicographer Jonathon Green
You may also like to read about
Tower Hamlets Adverts 1967
Last call for Walter Donohue’s Screenwriting Course on 5th & 6th April. We have just three places left. Click here for further information.
Walter Donohue, Jeanne Moreau and Wim Wenders filming ‘Until The End of the World’ in Australia in 1991.
Stefan Dickers, archivist at Bishopsgate Institute discovered these wonderful advertisements in a History of Tower Hamlets produced by the council in 1967 and I could not resist showing them to you. It is poignant to contemplate these proud images of manufacturing and long-established local businesses which are now all gone.
Images courtesy Bishopsgate Institute
You might also like to take a look at
Adverts from the Jewish East End
Adverts from Stepney Borough Guide
Postcards From Petticoat Lane
Click here to book for my tours through March, April and May
Today I am sending you postcards from Petticoat Lane. Here are the eager crowds of a century ago, surging down Middlesex St and through Wentworth St, everyone hopeful for a bargain and hungry for wonders, dressed in their Sunday best and out to see the sights. Yet this parade of humanity is itself the spectacle, making its way from Spitalfields through Petticoat Lane Market and up to Aldgate, before disappearing into the hazy distance. There is an epic quality to these teeming processions which, a hundred years later, appear emblematic of the immigrants’ passage through this once densely populated neighbourhood, where so many came in search of a better life.
At a casual glance, these old postcards are so similar as to be indistinguishable – but it is the differences that are interesting. On closer examination, the landmarks and geography of the streets become apparent and then, as you scrutinise the details of these crowded compositions, individual faces and figures stand out from the multitude. Some are preoccupied with their Sunday morning, while others raise their gaze in vain curiosity – like those gentlemen above, comfortable at being snapped for perpetuity whilst all togged up in their finery.
When the rest of London was in church, these people congregated to assuage their Sunday yearning in a market instead, where all temporal requirements might be sought and a necessary sense of collective human presence appreciated within the excited throng. At the time these pictures were taken, there was nowhere else in London where Sunday trading was permitted and, since people got paid in cash on Friday, if you wanted to buy things cheap at the weekend, Petticoat Lane was the only place to go. It was a dramatic arena of infinite possibility where you could get anything you needed, and see life too.
Images copyright © Bishopsgate Institute
You might also like to read about
Laurie Allen of Petticoat Lane
The Wax Sellers of Wentworth St
Inside The Model Of St Paul’s
Click here to book for my tours through March, April and May
Simon Carter, Keeper of Collections at St Paul’s
In a hidden chamber within the roof of St Paul’s sits Christopher Wren’s 1:25 model of the cathedral, looking for all the world like the largest jelly mould you ever saw. When Charles II examined it in the Chapter House of old St Paul’s, he was so captivated by Wren’s imagination as manifest in this visionary prototype that he awarded him the job of constructing the new cathedral.
More than three hundred years later, Wren’s model still works its magic upon the spectator, as I discovered when I was granted the rare privilege of climbing inside to glimpse the view that held the King spellbound. While there is an austere splendour to the exterior of the model, I discovered the interior contains a heart-stopping visual device which was surely the coup that persuaded Charles II of Wren’s genius.
Yet when I entered the chamber in the triforium at St Paul’s to view the vast wooden model, I had no idea of the surprise that awaited me inside. Almost all the paint has gone from the exterior now, giving the dark wooden model the look of an absurdly-outsized piece of furniture but, originally, it was stone-coloured with a grey roof to represent the lead.
At once, you are aware of significant differences between this prototype and the cathedral that Wren built. To put it bluntly, the model looks like a dog’s dinner of pieces of Roman architecture, with a vast portico stuck on the front of the dome of St Peter’s in the manner of those neo-Georgian porches on Barratt Houses. Imagine a fervent hobbyist chopping up models of relics of classical antiquity and rearranging them, and this is the result. It is unlikely that this design would even have stood up if it had been built, so fanciful is the conception. Yet the long process of designing a viable structure, once he had been given instruction by Charles II, permitted Wren to reconcile all the architectural elements into the satisfying whole that we know today.
I had been tempted to visit the cathedral by an invitation to go inside the model but – studying it – I could not imagine how that could be possible. I could not see a way in. ‘Perhaps one end has hinges and Charles II crawled in on his hands and knees like a child entering a Wendy House?’ I was thinking, when Simon Carter, Keeper of Collections opened a door in the plinth and disappeared inside, gesturing me to follow. In blind faith, I dipped my head and walked inside.
When I stood up, I was beneath the dome with the floor of the cathedral at my chest height. There was just room for two people to stand together and I imagined the unexpected moment of intimacy between the Monarch and his architect, yet I believe Wren was quietly confident because he had a trick up his sleeve. From the inside, the drama of the architecture is palpable, with intersecting spaces leading off in different directions, and – as your eyes accustom to the gloom – you grow aware of the myriad refractions of light within this intricately-imagined interior.
Just as Wren directed Charles II, Simon Carter told me to walk to the far end of the model and sit on the bench placed there to bring my eye level down to the point of view of someone entering through the great west door. Then Simon left me there inside, just as I believe Wren left Charles II within the model, to appreciate the full effect.
I have no doubt the King was thrilled by this immersive experience, which quickly takes on a convincing reality of its own once you are alone. Charles II discovered himself confronted by a glorious vision of the future in which he was responsible for the first and greatest classically-designed church in this country, with the largest dome ever built. Such is the nature of the consciousness-filling reverie induced by sitting inside the model that the outside world recedes entirely.
How astonishing, once you have accustomed to the scale of the model, when a giant face appears filling the east window. I could not resist a gasp of wonder when I saw it and neither – I suggest – could Charles II when Christopher Wren’s smiling face appeared, grinning at him from the opposite end of the nave, apparently enlarged to twenty-five times its human scale.
In these unforgettable circumstances, the King could not avoid the realisation that Wren was a colossus among architects and – unquestionably – the man for the job of building the new St Paul’s Cathedral. The model worked its spell.
Behold, the largest jelly mould in the world!
The belfry that was never built
The single portico that was replaced by a two storey version
Just a few fragments of paintwork remain upon the exterior
Original paintwork can be seen inside the model
Charles II’s point of view from inside the model
You may like to read my other stories of St Paul’s