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At The Cutting Of The Baddeley Cake

January 8, 2015
by the gentle author

Harry Nicholls cuts the Baddeley Cake with the cast of ‘Babes in the Wood’ in 1908

Contributing Photographer Sarah Ainslie & I made one of our rare trips up to the West End this week to join the excited throng at Drury Lane celebrating London’s oldest theatrical tradition, the cutting of the Baddeley Cake, which has been taking place on Twelfth Night since 1795.

After the performance, members of the cast of “Charlie & the Chocolate Factory” gathered for the ceremony in the palatial neo-classical theatre bar dating from 1821, in front of a large party of fellow actors and actresses who had trod the boards of the Theatre Royal Drury Lane in former years, and Alex Jennings – who stars as Willy Wonka – cut the cake. Liberal servings of strong punch containing wine, brandy and gin, concocted by the Theatre Manager to a secret recipe handed down through the centuries, ensured that the evening went with a swing. In recent years, the cake has been themed to the show running at the theatre and we were treated to huge chocolate cake, cunningly baked in the shape of a Wonka bar by a Master Chocolatier.

It was an occasion coloured with sentiment as the performers, still flushed from the night’s performance, came to recognise their part in this theatre’s long history while the retired actors filled with nostalgic emotion to be reunited with old friends and recall happy past times at Drury Lane. The splendid event is organised annually by the Drury Lane Theatrical Fund which was founded by the great actor-manager David Garrick in 1766 to provide pensions to performers from Drury Lane and still functions today, for this notoriously most-uncertain of professions, offering support to senior actors down on their luck.

Twelfth Cake was a medieval tradition that is the origin of our contemporary Christmas Cake. Originally part of the feast of Epiphany, the cake was baked with a bean inside and whoever got the slice with the bean was crowned King of Misrule. The Baddeley Cake is the last surviving example of this ancient custom of the Twelfth Cake and – appropriately enough – owes its name to Robert Baddeley, a pastry chef who became a famous actor, and left a legacy to the Drury Lane Fund to “provide cake and wine for the performers in the green room of Drury Lane Theatre on Twelfth Night.”

A Cockney by origin, Robert Baddeley was pastry chef to the actor Samuel Foote when he grew stage-struck and asked his employer, who was performing at Drury Lane, if he could join him on the stage. “You are a good cook, why do you want to be a bad actor?” queried Foote, dismissing the request, but offering to find him a role on the stage if Baddeley was still keen in a year’s time.

With theatrical daring, Baddeley left his employer, travelled the continent for a year and returned to marry Sophia Snow, the glamorous daughter of George III’s State Trumpeter. On the anniversary of his original request, he presented himself at the Stage Door of the Theatre Royal, Drury Lane, and asked Foote for the job which he had been promised. In fact, Baddeley turned out to be a talented actor and quickly made a name for himself in comic roles, playing foreigners. The attractive Sophia Baddeley was also offered roles, exploiting her musical abilities and natural charms, and her husband arranged with the management to pocket both their salaries himself. Perhaps unsurprisingly, it proved to be a volatile marriage, especially when she took revenge on her husband by working her way through all the male members of the company.

The situation came to crisis in a duel over Sophia Baddeley’s honour between George Garrick (David’s brother) and Robert Baddeley in Hyde Park, yet she managed to reconcile the opponents with a suitably theatrical demonstration of her astonishing powers of persuasion. It appears that the constant tide of marital scandal published in the newspapers did no harm to the careers of either Mr & Mrs Baddeley.

Eventually, Robert Baddeley became a permanent member of His Majesties Company of Comedians at Drury Lane at a salary of twelve pounds a week. He was best known for originating the role of Moses in ‘The School for Scandal’ which premiered at Drury Lane in 1777, and it was in costume for this character that he collapsed on stage on November 19th 1794 and died at home in Store St next morning.

Baddeley’s will extended to seventy pages, including the legacy of his house in Moulsey as an asylum for decayed actors and a three pound annuity for the provision of an annual Twelfth Cake and punch for the performers at Drury Lane. The asylum failed because the old actors did not like being labelled as decayed, so the property was sold and his estate merged with the Drury Lane Theatrical Fund – but the annual ceremony of the cake which bears his name lives on.

Each year before the Baddeley Cake is cut, the Master of the Fund proposes a toast to Robert Baddeley and everyone raises their glasses of punch – as we all did this week – in celebration of London’s oldest living theatrical tradition and in remembrance of the Cockney pastry chef who fulfilled his dream of becoming an actor.

Robert Baddeley (1733-1794) The pastry chef who became a famous actor

Painted by Zoffany, Robert Baddeley as Moses in Sheridan’s “The School for Scandal,” which premiered at Theatre Royal Drury Lane in 1777

Robert Baddeley “I have taken my last draught in this world” Henry IV Part II

Baddeley’s Twelfth Cake

William Terriss cuts the Baddeley cake in 1883

Cutting the Baddeley Cake on the stage of Drury Lane in 1890

Alex Jennings (currently starring as Willie Wonka) cuts the Baddeley Cake 2015, accompanied by the cast of “Charlie & The Chocolate Factory”

Theatre Royal Drury Lane

New photographs copyright © Sarah Ainslie

Click here to learn more about the Drury Lane Theatrical Fund

Spitalfields In Kodachrome

January 7, 2015
by the gentle author

While the weather is grey, enjoy a tour of Spitalfields in Kodachrome courtesy of Photographer Philip Marriage who rediscovered these colourful images of his over the holiday – taken on 11th July 1984 and published here for the first time today.

Brushfield St

Crispin St

Widegate St

White’s Row

Artillery Passage

Brushfield St

Artillery Passage

Brushfield St

Fashion St

Widegate St

Artillery Passage

Gun St

Brushfield St

Gun St

Brushfield St

Parliament Court

Leyden St

Fort St

Commercial St

Brushfield St

Photographs copyright © Philip Marriage

You may also like to take a look at

Philip Marriage’s Spitalfields

Photographs of Time Passing in Spitalfields

Eleanor Crow’s East End Ironmongers

January 6, 2015
by the gentle author
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Daniel Lewis & Son Ltd, Hackney Rd

As you can see, illustrator Eleanor Crow shares my love of ironmongers. “The inventive displays and signage of hardware stores make these my favourite shopfronts,” she confessed to me, I have only to see the serried ranks of brooms, pots, latches and pans to be reminded of some useful item that needs purchasing immediately.” Alas, three favourites have closed recently but we trust the others will be fulfilling our architectural ironmongery and plumbing requirements for years to come.

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C W Tyzack, Kingsland Rd

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Bernardes Trading Ltd, Barking Rd

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Bradbury’s, Broadway Market

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Chas Tapp, Southgate Rd

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Emjay Decor, Bethnal Green Rd

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General Woodwork Supplies, Stoke Newington High St

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Diamond Ladder Factory, Lea Bridge Rd

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Farringdon Tool Supplies, Exmouth Market

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Histohome, Stoke Newington High St

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KAC Hardware, Church St

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Leyland SDM, Balls Pond Rd

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KTS the Corner, Kingsland Rd

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Mix Hardware, Blackstock Rd

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City Hardware, Goswell Rd

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Travis Perkins, Kingsland Rd

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SX, Essex Rd

Illustrations copyright © Eleanor Crow

You may also like to see Eleanor Crow’s other East End illustrations

Eleanor Crow’s East End Cafes

Eleanor Crow’s East End Bakers

Eleanor Crow’s East End Fish Shops

and read about more ironmongers

At London’s Oldest Ironmongers

Receipts from London’s Oldest Ironmongers

Photos from London’s Oldest Ironmongers

At General Woodwork Supplies

At KTS the Corner

At MG Ironmongery & Hardware

At City Hardware

Objecting To The Goodsyard Proposals

January 5, 2015
by the gentle author

Today I publish the complete text of The East End Preservation Society‘s formal objection letter to the Bishopsgate Goodsyard Proposals as sent to the Planning Officers at Hackney & Tower Hamlets Councils this week. There is still time to make your own voice heard and you can read the Society’s guide to How to Object Effectively by clicking here.

Bishopsgate Goodsyard development proposals – Applications PA/14/02011 & PA/14/02096 (Tower Hamlets) 2014/2425 & 2014/2427 (Hackney)

We wish to register our strong objection to these applications for the proposed redevelopment of the Bishopsgate Goodsyard site.

Difficulty in assessing applications

We would like at this point to state that this application has proved extremely hard to access and interpret, despite the commitment made by the applicant in its statement of community involvement. The Design and Access Statement alone is in three volumes and split into over one hundred and eighty separate downloadable documents on Tower Hamlets’ planning website. The document has no executive summary, making an already extremely complicated application even harder to penetrate. With this in mind we appreciate that your Council is accepting responses to these applications beyond the statutory consultation period of twenty-one days.

Significance and planning history

The Bishopsgate Goodsyard is the site of a major Victorian London terminus, originally the main passenger station for the lines to Norwich and Yarmouth. Its construction began in 1839 under John Braithwaite. It was therefore part of the early, pioneering railway age in Britain. The original building – an elegant Italianate design – was redeveloped as a goods station in 1880-81 following the opening of Liverpool Street station in 1875. This new building had three storeys, a street-level basement, the goods station above that and a warehouse at the top.

These buildings were extensively damaged by fire in 1964. However, the surviving structures were nevertheless later recognised by English Heritage as of great importance – both on account of the remains of the two-level goods station but also of the Braithwaite Viaduct (listed in 2002) built as part of the original development in the eighteen-thirties. Despite this recognition and a hard-fought conservation campaign, demolition of the unlisted structures was granted in 2003 – and the site was substantially cleared. Sir Neil Cossons, Chairman of English Heritage in 2002, commented at the time (with extraordinary prescience) ‘Bishopsgate Goodsyard is one of London’s forgotten treasures. To reduce it to a pile of rubble with no clear idea of what would replace it would be tragic, generating years of uncertainty and blight’.

This recent history makes the surviving historic structures within Bishopsgate Goodsyard exceptionally important both to the history and character of the area and also in the wider context of Britain’s railway heritage.

The site has been identified as the location for tall buildings in the Mayor of London’s draft City Fringe Opportunity Area Planning Framework (see below). Unhelpfully, the Interim Planning Guidance (IPG) does not give any actual indication of what height might be acceptable but designates the western end of the site, west of Braithwaite Street, as the location for tall buildings, with a graduation in height across the site to the east where ‘street’ scale buildings that relate to the scale of Brick Lane should be located.

Furthermore, new guidance issued by the Mayor of London (see ‘Policy’ section below) makes it clear that new development in any part of London should take into account the character and history of the surrounding area.

SUMMARY OF OBJECTIONS

This objection is based on a number of grounds. We are concerned a) about the level of demolition of existing structures b) about the height, massing and design of the proposed new buildings and c) of the failure to deliver affordable housing on the site.

1. Substantial harm to designated and undesignated heritage assets

We consider that the new development would cause substantial harm to the following designated heritage assets:

– the listed entrance and forecourt walls of the Goodsyard,

– the setting of the Grade II-listed Braithwaite viaduct,

– the setting of the five surrounding conservation areas (the Brick Lane and Fournier Street Conservation Area, South Shoreditch Conservation Area, Boundary Estate Conservation Are, Redchurch Street Conservation Area and the Elder Street Conservation Area) and the eighty-two listed buildings that surround the site.

Substantial harm will also be caused to some of the undesignated heritage assets on the site including a number of nineteenth-century railway arches which survived demolition in 2003 and which are to be demolished under this scheme. The unlisted structures are arguably curtilage-listed – the appropriate tests for demolition should therefore be applied (NPPF 133). 66-68 Sclater Street, undesignated assets within the Brick Lane and Fournier Street Conservation Area are also proposed for demolition. This represents callous destruction of the historic environment and would result in the loss of an important piece of streetscape, which the conservation area designation is intended to protect.

2. General impact on the area

This is an exceptionally sensitive urban setting. As well as the designated and undesignated heritage assets within the Goodsyard itself there are five conservation areas which extend almost to the boundaries of the site (see above). These conservation areas contain some of the most outstanding survivals of historic townscape in London. It is inevitable that new development on the Goodsyard site will have an impact on these surrounding areas.

Owing to a failure by the owners to adequately maintain the historic buildings on the site, the current state of the structures is poor (the two listed structures on site are on English Heritage’s Buildings at Risk Register). This has helped create an air of neglect which has a detrimental affect on the wider area. There is clearly an opportunity here for a new development which regenerates the urban fabric in a way that draws its energy from the character of the surrounding conservation areas – and learns from their success.

We accept that the site was identified as a potential location for tall buildings in the Mayor’s draft City Fringe Opportunity Area Planning Framework and that the Interim Planning Guidance (Hackney and Tower Hamlet’s Councils, 2010) stipulated that the western extremity of the site should be the location for tall buildings. However, a tall building is generally defined as one that is significantly taller than its surroundings. This area is characterised by buildings which are generally no more than 6 storeys but with some warehouses and commercial structures which rise to 8. The proposed towers on site range from 15 to 46 storeys making them grossly out of scale with their immediate surroundings and representing an incursion of the City of London’s commercial district into this vulnerable and fragile ‘fringe’ area.

The applicant’s Heritage Statement inevitably plays down the impact of the effect of the height of the new development on the conservation areas, with statements like ‘Fournier Street and associated streets will be unaffected for example.’ It’s very hard to believe that Wilkes Street and Brick Lane which both adjoin Fournier Street will be unaffected since both have direct views to the site and, indeed, the CGIs of the proposals from the surrounding streets tells a very different story – highlighting the overwhelming impact of the proposed towers.

Towers F and G (of 46 and 42 stories) are the tallest and have the greatest and most far-reaching impact. They are both within a few hundred metres of the Elder Street Conservation Area which is made up predominantly of buildings of 4 and 5 stories including many important early eighteenth-century houses.

One of the major associated effects of the height of the proposed development is the literal overshadowing of the surrounding areas. The applicant’s Daylight Assessment concludes that 43% of the buildings surveyed will have major reductions of sunlight. Unsurprisingly, many of these buildings are in the conservation areas to the north of the site, including buildings along Sclater Street, Redchurch Street and Old Nichol Street. This result speaks for itself in terms of the profoundly negative effect of the proposed tall buildings on the surrounding area.

The design of those buildings which are covered by the full planning applications is very disappointing, failing to relate in any way to the character of the surrounding area. It is admittedly difficult to articulate and detail a 46 storey tower so that it responds appropriately to its historic setting. but even the lower blocks on Plots D and E appear bland and bulky. The very nature of very tall buildings means they have an uncomfortable relationship with the street, requiring larger footprints at the lower levels and tall podiums to support the upper levels.

PROPOSALS

A. The Development

As discussed above, the proposals include a series of towers. At the south-west corner are the tallest at 46 and 42 storeys (with plant above that, increasing the height further). In the north-west corner is a large block (in plots A and B) which ranges in height between 10 and 12 storeys and would run along much of the length the site where it meets Bethnal Green Road, creating an overbearing presence on this northern boundary.

In the middle of the site are two further towers of 34 and 30 storeys on a podium of lower blocks. To the eastern end of the site are a series of buildings ranging from 24 down to 9 stories with lower building around the perimeter of the site.

B. Designated and Undesignated assets

The site includes a number of designated and undesignated heritage assets. The listed Braithwaite Viaduct is due to be repaired and converted to a shopping arcade, a use it is well suited to. The ‘shell’ of the grade II forecourt walls and gateway will also be repaired. We disagree with the assessment in the Heritage Statement that concludes that the boundary walls are not listed with the gate and forecourt walls – they are all of the same date and form the same structure.

The walls are also an important part of the setting of the Goodsyard and the listed structures there. The original Goodsyard needed to be a secure area – and the surviving walls are therefore integral to its history. The walls also form part of the setting of the surrounding conservation areas – they define the historic relationship of the Goodsyard to its residential and commercial surroundings. The stretch along Commercial Street is particularly handsome and well preserved despite recent neglect. The permeability of this boundary could be increased by creating openings without such extensive demolition.

The applicant attempts to mitigate the demolition of these walls by the restoration of the listed Oriel Gateway, a Building at Risk. This is disingenuous – the Oriel Gateway is a Building at Risk largely because the current owners have not maintained it and only the shell is proposed to be repaired as part of these applications. This justification for demolishing the surrounding walls should therefore not be taken into account.

Vaults V1 and V2 which are behind the wall running along Commercial St (at a lower level) are curtilage to the gateway and forecourt walls and are due for demolition, along with vaults V3 to V11 and G9 to V1 which are unlisted but Victorian vaults all the same. These are on Plots F and G which is the proposed location for the 46 and 42 storey towers. The justification given for the demolition is the need to increase permeability to the site and to create wider public benefit (such as improved public realm and the provision of some public open space). Preserving and reusing these attractive historic structures (perhaps building a few storeys above them) would in our view result in a far more exciting, contextual and engaging scheme.

The former Mission Room and Weavers’ Cottages are within the Brick Lane and Fournier Street Conservation Area. As the applicant states, the buildings are interesting examples of their type with the former Mission Hall, a rare survival highlighting the role of social welfare in the neighbourhood. Unfortunately, despite the proposals to repair these interesting survivals they will be cast into almost permanent shadow by the new blocks to south of them, ruining their setting.

We support the Victorian Society’s objection to the demolition of 66-68 Sclater Street. These are handsome nineteenth-century buildings which the conservation area designation should protect.

C. Lack of Affordable Housing

Hackney and Tower Hamlets are two of the London’s most densely populated boroughs with combined housing waiting lists of over 40,000 people. Remarkably, the applicant gives no commitment to affordable housing within this scheme (instead stating 10% affordable housing as an aim). This is in clear conflict with local planning guidance (see ‘Policy’ section below) and has already been criticised by the Mayor of London in his initial assessment.

POLICY

A. The Interim Planning Guidance

The purpose of the Interim Planning Guidance (IPG), published in 2010 by Hackney and Tower Hamlets Councils, was to ensure that the new development on the site achieved a number of basic principles. The proposals fail to achieve these basic design principles regarding character and height.

The IPG states one of its principal aims is:

“to ensure new development on the site integrates with the surrounding area taking into account local character”

The application comprehensively fails to achieve this. The overwhelming scale of the proposed buildings and their complete disregard for the architectural character and materials used in the surrounding areas means the development will loom over the neighbourhood and utterly dilute its distinctive character.

The applicant even states that:

“It will be a new place with its own distinct scale, identity and character; it will not attempt to become a seamless part of the existing neighbourhood.”[Design and Access Statement, Volume 1]

The IPG also directed:

“In line with current planning policies a minimum of 35% affordable housing (calculated by habitable room) should be provided on site.”

However, the developers offer no commitment to providing a specific percentage of affordable housing. They state only that they will aim to provide 10% affordable housing on the site. This 20% less than the required 35% by Tower Hamlets and Hackney Councils for new development.

B. Height

The IPG states that the west end of the site (west of Braithwaite Street) should be the location for any tall buildings. Also, that in accordance with the Mayor’s advice development should be

“acceptable in terms of design and impact on their surroundings.”

The IPG’s principle of graduated heights across the site is adhered to in the proposals but the tall buildings are not restricted to the area west of Braithwaite Street. Buildings of 34, 30, 20, 17 and 15 stories in this area are undoubtedly also tall buildings in that they are significantly higher than the majority of the structures in the local area. Buildings of these heights are proposed for the middle and east of the site, all eastward of Braithwaite Street.

The proposals therefore do not conform with the Guidance set out in the Interim Planning Guidance on building heights.

c. The London Plan

A Supplementary Planning Guidance document on Character and Context was published in June 2014 under the London Plan. Policy 7.4 entitled ‘Local Character’ which is particularly relevant to this application states:

“Development should have regard to the form, function, and structure of an area, place or street and the scale, mass and orientation of surrounding buildings. It should improve an area’s visual or physical connection with natural features. In areas of poor or ill-defined character, development should build on the positive elements that can contribute to establishing an enhanced character for the future function of the area.”

And

“Buildings, streets and open spaces should provide a high quality design response that:

a. has regard to the pattern and grain of the existing spaces and streets in orientation, scale, proportion and mass

c. is human in scale, ensuring buildings create a positive relationship with street level activity and people feel comfortable with their surroundings;

d. allows existing buildings and structures that make a positive contribution to the character of a place to influence the future character of the area;

e. is informed by the surrounding historic environment.”

The applications for redeveloping the Bishopsgate Goodsyard fail to take account of this guidance through an apparent disregard of the character of the surrounding area.

CONCLUSION

The Goodsyard should be seen as an opportunity to reunite the surrounding areas with an exemplary development that is sensitive and contextual – worthy of the area that surrounds it. What is proposed will effectively undermine the fabric of this characterful and creative area and blight the surrounding conservation areas. The popularity and interest of Spitalfields and Shoreditch which is now so commercially attractive to property developers depends upon the flexible historic fabric and intimate urban spaces that lend themselves to reinvention – something the IPG attempts to capture. The subtle approach needed is totally absent in this vast, intrusive and alien development.

Yours sincerely,

THE EAST END PRESERVATION SOCIETY


Follow the East End Preservation Society

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Click here to join the East End Preservation Society

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You may also like to read about

On The Bishopsgate Goodsyard

Towers Over The Goodsyard

A Brief History of the Bishopsgate Goodsyard

Ancient Arches

How To Write A Blog That People Will Want To Read

January 4, 2015
by the gentle author

If readers are inspired to seek a new venture in 2015, they are very welcome to join my course HOW TO WRITE A BLOG THAT PEOPLE WILL WANT TO READ on Saturday 7th & Sunday 8th of February in Spitalfields. Here are a few examples written by participants from previous courses.

RESERVATION & HILLYBILLY NIPPERS

http://www.flytippings.com

This picture was taken in 1905 and is of students at Tunassassa Indian School. This was a Quaker-run boarding school for Indians. My grandmother is the girl above the left shoulder of the matron in white. My grandmother married another student from the school and had three children with him. After he died, she married my grandfather. He had gone to Thomas Indian School. They had two children, my uncle and my mom. One of the many things my grandmother learned in school was how to quilt, and she is the reason that I became a professional quilter.

This is my mom – in the braids – when she attended the local school, before she went away to college where she met my father.  They were married for forty-three years until his death. She had seven children, me and my brothers. She died after a long illness two years ago. She attended a one room school house, then went to high school with white students. She hated to have to wear braids, and when she went to high school she cut her hair and never wore it long again.

Here’s a picture from about 1934 – seated is my dad and standing next to him is his half-brother.

There was this was big family secret I only found out years after he died, that they were half-brothers. My great uncle revealed the story after I said my grandmother had told me that my grandfather was “the handsomest man” that she ever laid eyes on. This was a puzzler as no-one would describe my grandfather like that.

So my great uncle told me the story of the mystery man who worked with my great uncle, he met my grandmother, they got married (?) and he left her before my dad was born. Later my grandfather had moved to the city and lived next door to my grandmother. When they married he made her a deal, she would never speak of my dad’s father and would have no contact with his family. She kept the deal, except for that stray comment.

My dad lived with his grandparents when he was little and was a native Russian speaker. He was a boxer, an artist and a bum. He died in 1992.

BUG WOMAN’S WEDNESDAY WEED

Every Wednesday, I find a new ‘weed’ to investigate. My only criterion will be that I will not have deliberately planted the subject of my inquiry.

http://bugwomanlondon.com/

The Totteridge Yew (Taxus baccata)

I always feel a little melancholy at New Year. Maybe it is because I am an introvert and I no longer drink alcohol, which makes me uneasy in situations of forced jollity and large crowds? Or maybe it is because January feels more like a time for staying in bed – preferably with an excellent novel and a bowl of syrup pudding – than a time for taking up jogging and eating kale?

So, to give myself some perspective, I went to see the oldest living thing in London with my long-suffering husband, John. This magnificent Yew tree lives in St Andrew’s churchyard in Totteridge, a twenty-minute bus ride from East Finchley. It has seen at least two thousand New Year’s days come and go, and is still full of fresh growth and vigor. To ensure its health, a team from Kew Gardens visited thirty years ago and did a little judicious pruning and shoring up of the centre of the plant, which invariably becomes hollow as the plant ages.

Yew is often found in churchyards. In this, as in many other examples, the tree long predates the church even though there has been some kind of ecclesiastical building here since around 1250. It is likely that the church was built on a site that was already sacred and the tree, then a stripling of just over a thousand years old, was already a place for rituals and meetings. In 1722, a baby was found under the tree, named ‘Henry Totteridge’ and made a ward of the parish.

Part of the reason for the longevity of Yew is that it is very slow-growing and some scientists believe it can reach ages of four to five thousand years – the Totteridge Yew is one of only ten trees in the country that date from before the tenth century.  The oldest wooden artifact in Europe, a 450,000 year-old spearhead found in Clacton-on-Sea, is made of Yew. All parts of the plant are poisonous, except the red flesh on the berry,  and chief of the Celtic tribe the Eburones (the ancient word for Yew was Eburos) killed himself by ingesting a toxin from it rather than submitting to the Romans.

Yew is known to be poisonous to horses and, in hot weather, the foliage produces a gas which is said to cause hallucinations. But it can also be used to produce a drug for use in breast cancer and so, for a while, pharmaceutical companies were looking for Yew forests to destroy. However, what is new to science is often already known by native peoples and Yew has long been used by Himalayans as a treatment for breast and ovarian cancer.

Yet this is not the first time Yew has been subjected to over-harvesting. It is perfect for the making of longbows and in the fifteenth century compulsory longbow practice for all adult males was introduced, depleting these slow-growing trees so profoundly that Richard III introduced a ‘tax’, insisting that every ship bringing goods to England had to include ten bowstaves for every ton of goods. During the sixteenth century, the supply of Yew dwindled until there was none left in Bavaria or Austria and the custom of planting Yews in churchyards to ensure future demand may have begun at this time.

Spending time outdoors  soothes my soul, especially when I am in the company of a tree of such remarkable character as the Totteridge Yew. It was already a thousand years old when the Normans came with their stone masonry and castle-building. How many babies have been borne past it in their mother’s arms for Christening? How many young couples have passed under its branches on their wedding day? How many sombre coffins have been carried under the lych-gate to the freshly-dug graves that surround it? Once people came up to the church on foot or in horse-drawn carts, where now they swoosh past in cars. If only it could tell me what it has seen.

As I go, I rest my hand for a moment on that smooth, rose-pink bark, as I suspect so many others have done before me. I feel a sense of calm descend, as if I have been holding my breath for a week and finally let it out.

PEOPLE I MEET – DAVID CANTOR

http://davidcantor.weebly.com/blog

David was a promising young boxer with aspirations to turn professional until, leaving a disco one night in Peckham, someone pointed a loaded shotgun at his head. David lost an eye and suffered a head full of pellets.  It took a full year and a great deal of personal courage just to learn to walk and talk again .Today, David is an active campaigner against the carrying and use of guns by urban gangs, often finding himself at odds with the civic authorities. David argues, with a great deal of authority, that he is uniquely qualified to talk about the dangers of gun crime.  Despite this, he tells me that he has been barred from entering City Hall and discussing the issues by Boris Johnson’s office. Different people, same objective, unable to agree on a common approach. What needs to happen, David asserts, is that ‘young stars’ take greater heed from someone who talks their language and fully understands the peer and other pressures that lead to the carrying of guns. Whatever the difficulties, David continues his campaign in his own personal and distinctive style.  That he is a survivor not a victim is undeniable – his resilience and determination to ensure that what happened to him does not happen to others is a tribute to this remarkable man.

PAPER BLOGGING

http://www.paperblogging.com/

Roxbury Puddingstone

We have a type of rock in my neighbourhood that is all our own, geologically found only in a corner of Boston. A messy mix of ‘non-glacial subaqueous mass flow’ or ‘leftovers’ it is not elegant but I love it because it is ours – and I look for it and notice it constantly.

Everywhere I go here, I ask if people know about our Roxbury Puddingstone. Very often they do not. One mom exclaimed, “Oh! That’s why a Massachusetts monument I saw in Washington looks like that! I thought they were being cheap!” Yes, our State Rock looks like poured concrete full of builder’s detritus.

Back in the day, Boston proper was a small peninsula jutting into the harbor. The large lump inland was Roxbury and, this huge region south of the peninsula, is where this conglomerate stone is found. It is also known as the Church Stone, since at least thirty-five nineteenth century Boston churches were built from Roxbury Puddingstone.

The Museum of Science in Boston boasts a marvellous Rock Walk, a Geological Hall of Fame. There you will find samples from such superstars as The Rock of Gibraltar and the Giant’s Causeway – such highs and lows as the peak of Denali and the depths of Death Valley, even a petrified tree from Arizona. As the local favorite, dear old Puddingstone gets a look in too, humble and shy amid such greats.

Perhaps because it is so ugly, the Museum prepared the specimen by cutting off a slice and polishing the cut surface to a beautiful, unnatural shine. It really brings out the unique qualities of the individual rocks in the mix. Actually it is lovely. “But look, kids!” I say to my children, “Look at the ugly side. That’s what it really looks like. Our Puddingstone.”

One Geologist states, “The Roxbury is to geologists what the dropped ‘R’ is to linguists, a sign that you are in Boston, for the Puddingstone only occurs in and around the Hub. And like this linguistic trait, no one knows exactly where these rocks originated.”

Oliver Wendell Holmes in his eighteen-thirties poem, The Dorchester Giant, imagined a fanciful origin for the stone and used to wax lyrical about the joys of it. “It is interesting to see how the same subject presented itself to the poet in different moods,” ponders an editor at Eldritch Press. “There is a passage in ‘The Professer at the Breakfast-Table’ which begins, ‘I wonder whether the boys who live in Roxbury and Dorchester are ever moved to tears or filled with silent awe as they look upon the rocks and fragments of ‘Puddingstone’ abounding in those localities.’ Then follows a half page of eloquent speculation on the Puddingstone.”

Creative Edwardian house builders perched mansions on precipices of the stuff rather than battle reality. Since driving kids past these mansions occupies far more of my time than writing this blog, I look and notice the Puddingstone and enjoy the journey far more. I scan sideways for the great, thrusting outcrops of the gray, bulbous mess, and smile lovingly at the knowledge that Oliver Wendell Holmes was just as filled with wonder.


HERNE HILL PIANO – RANDOM ENCOUNTERS IN A RAILWAY WALKWAY

http://hernehillpiano.co.uk/

Maureen Ni Fiann wrote a blog about the Herne Hill People’s Piano and now she has made this film


CHIRPS FROM AROUND THE WORLD – EITHNE NIGHTINGALE

https://eithnenightingale.wordpress.com/

The Muslim Museum Of Australia

I take the number 86 tram to the end of the line and then walk through a creek for about forty minutes. I sigh with relief when I see a mosque, enter and ask the warder, “Can you direct me to the Islamic Museum of Australia?” The warder looks blank. He knows nothing about any museum so I hail a taxi. I fall lucky. The cab driver is a Lebanese Muslim who has taken his children to this new museum that recently opened in February 2014. “It’s a Turkish mosque,” he says as if that explains the ignorance of the warder.

I enter into a hall way filled with light filtered through a frieze of stars.  I pass quickly through the sections on Islamic way of life although stop to read an illuminating interpretation of ‘jihad’ and to listen to young enlightened Muslim women. In the next gallery, I stop to read about the Islamic take on the Dark Ages. It is the Golden Age of Islamic science, engineering, literature, art, architecture and navigation communicated through an up-beat, child-friendly film. The text too is engaging. I learn about a Muslim who opened vapour baths on Brighton seafront in 1759 and was appointed Shampooing Surgeon to King George IV and William IV.

Passing through the contemporary art gallery, I am stopped in my tracks by an upright surfing board decorated with Islamic design – even more startling than the Aboriginal kippah. It is the history of Muslims in Australia that captures me.

As early as the seventeenth century, Muslim fisherman came from Indonesia to Australia’s shores. They sailed across the ocean, fifty boats at a time, to fish for sea slugs, considered a delicacy by the Chinese. That is until their visits were banned in 1907. Then came the camel-handlers from Afghanistan, Pakistan and India. Two thousand came between 1870 and 1920 to drive twenty thousand camels. The animals were ideal for exploring into the interior, and transporting material for constructing roads. Unable to bring over their wives and children the handlers left in the 1940s when camels were no longer needed. That is except for those who had married Indigenous or European women.

On the way back to the city, I pick up a newspaper and read about the siege in Sydney – a radical Muslim or a deranged individual? It was a timely reminder of the importance of such a museum.

HOW TO WRITE A BLOG THAT PEOPLE WILL WANT TO READ, 5 Fournier St, Spitalfields, 7th & 8th February

Spend a weekend in an eighteenth century weaver’s house in Spitalfields and learn how to write a blog with The Gentle Author.

This course will examine the essential questions which need to be addressed if you wish to write a blog that people will want to read.

“Like those writers in fourteenth century Florence who discovered the sonnet but did not quite know what to do with it, we are presented with the new literary medium of the blog – which has quickly become omnipresent, with many millions writing online. For my own part, I respect this nascent literary form by seeking to explore its own unique qualities and potential.” – The Gentle Author

COURSE STRUCTURE

1. How to find a voice – When you write, who are you writing to and what is your relationship with the reader?
2. How to find a subject – Why is it necessary to write and what do you have to tell?
3. How to find the form – What is the ideal manifestation of your material and how can a good structure give you momentum?
4. The relationship of pictures and words – Which comes first, the pictures or the words? Creating a dynamic relationship between your text and images.
5. How to write a pen portrait – Drawing on The Gentle Author’s experience, different strategies in transforming a conversation into an effective written evocation of a personality.
6. What a blog can do – A consideration of how telling stories on the internet can affect the temporal world.

SALIENT DETAILS

The course will be held at 5 Fournier St, Spitalfields on 7th & 8th February from 10am -5pm on Saturday and 11am-5pm on Sunday. Lunch catered by Leila’s Cafe and tea, coffee and cakes by the Townhouse.

Email spitalfieldslife@gmail.com to book a place on the course.

Doors Of Spitalfields

January 3, 2015
by the gentle author

As we enter the threshold and commence the New Year, I present you with the doors of Spitalfields. How many do you recognise and how many will you walk through in 2015?

Underwood Rd

Pedley St

Brick Lane

Fournier St

Commercial St

Deal St

Brick Lane

Fournier St

Princelet St

Fournier St

Brick Lane

Fournier St

Toynbee St

Elder St

Hanbury St

Fournier St

Blossom St

Elder St

Brick Lane

Fournier St

Woodseer St

Fournier St

Hanbury St

Fournier St

Brushfield St

Toynbee St

Princelet St

Wentworth St

Leyden St

Sandys Row

Artillery Lane

Crispin St

Elder St

Spital St

Elder St

Quaker St

Hanbury St

Folgate St

You may also wish to look at

The Doors of Old London

The Manhole Covers of Spitalfields

The Dead Signs of Spitalfields

In Search Of Val Perrin’s Brick Lane

January 2, 2015
by the gentle author

In recent days, the weather in London has been bright but yesterday offered a suitably occluded sky to set out with my camera in search of Val Perrin’s Brick Lane and below you can see my photographs beneath Val’s shots from 1972, revealing forty years of change in Spitalfields.

Brick Lane 1972

Brick Lane 2015

Cheshire St 1972

Cheshire St 2015

Cheshire St 1972

Cheshire St 2015

Brick Lane 1972

Brick Lane 2015

Cheshire St 1972

Cheshire St 2015

Brick Lane 1972

Brick Lane 2015

St Matthew’s Row & The Carpenters’ Arms 1972

St Matthew’s Row & The Carpenters’ Arms 2015

St Matthew’s Row 1972

St Matthew’s Row 2015

Sclater St 1972

Sclater St 2015

Corbett Place from Hanbury St 1972

Corbett Place from Hanbury St 2015

Bacon St 1972

Bacon St 2015

Code St & Shoreditch Station 1972

Code St & Shoreditch Station 2015

Pedley St Bridge 1972

Pedley St Bridge 2015

1972 Photographs copyright © Val Perrin

You may also like to take a look at

Val Perrin’s Brick Lane

More of Val Perrin’s Brick Lane

Val Perrin’s Empty Brick Lane