I USED TO PARK our car in Kensington’s elegant Edwards Square when going to work at my dental surgery in West Kensington. From the square, either I walked to work, or I caught a number 28 bus. When I felt lazy, I used the bus. The nearest stop to Edwards Square is outside a row of three Iranian food shops and their neighbour, the Apadana Iranian restaurant, which is a pleasant place to enjoy Persian cuisine. While waiting for the bus, I used to stare idly at the Persian shops with their outdoor stalls where fruits, especially piles of pomegranates, are displayed.
Today, more than four years since I retired and even longer since I last stood at the bus stop, we visited the Iranian stores to buy a bunch of fresh tarragon. While my wife was making the purchase, once again I stared idly at the colourful shops, some of whose windows are filled with stacks of tins of Iranian caviar from the Caspian Sea. It was then I noticed something I am sure I have never seen before.
What I saw was a newish circular blue commemorative plaque on the wall between one of the shops and Apadana. The plaque reads as follows:
“Kensington & Chelsea. JACK THE RIPPER 1891-1899. Also known as Dr SSA Hasbro. Surgeon & Restauranteur LIVED HERE”
At first sight, this looks like one of many commemorative circular blue plaques, which can be found all over London. On closer examination, there are several things that are worrying. Rarely, if at all, do these blue plaques in the Royal Borough of Kensington and Chelsea bear the words “Kensington & Chelsea”. Often, they bear the words “English Heritage” or “Greater London Council” (or one of its predecessors: GLC or LCC). Another problem is the dates given. Do they refer to the period that Dr SSA Hasbro lived in this spot, or what? The next problem is that the true identity of Jack the Ripper has never been determined. As for Dr SSA Hasbro, all references to this name on Google direct one to the plaque under discussion, including an article by Lucy Elliott.
Ms Elliott wrote an article about blue plaques in “The Kensington Magazine” (September 2020 issue). With regard to the plaque for Dr SSA Hasbro above the Iranian establishments in High Street Kensington, she wrote:
“It is not known when this suddenly appeared but certainly gives visitors to the area, pause for thought (and quite enough consternation for the residents too). Definitely a fake.”
She is most probably right.
It is a little bit worrying is that the so-called Jack the Ripper, who is commemorated on this misleading sign, is said to have been a restauranteur and the plaque is almost directly above the Apadana restaurant.
YOU NEVER KNOW WHAT you might find by chance. While sorting through possessions in our storage unit, or ‘go-down’ as it is called in Indian English, I came across a wooden case. It contains artists’ paint brushes; tubes of oil paint, already used; pencils sharpened with a knife rather than a sharpener; a portable palette stained with usage; a couple of glass bottles; a tin containing Fortis brand thumb tacks (made in the USA); and various other items used for creating oil paintings. One of the pencils is marked “sanguine”. Pencils of this type are like charcoal sticks but a little harder. They can be used to draw lines and are also smudgeable. On the lid of the box, there is a label issued by the Union Castle shipping line. It informs us that the case was travelling Cabin Class in Cabin number 464 on the Pretoria Castle from Cape Town to South Africa. The name of its owner is “BS Yamey”.
BS Yamey was my father, an art lover who never ever created an oil painting in the 101 years of his life. The box most likely belonged to my mother, HB Yamey, who was a trained artist, both a painter and later a sculptor. My mother left South Africa in early 1948 and married my father on March the 16th 1948 in London. No doubt, the artists’ case was amongst her belongings being shipped from South Africa to her new home in England.
The dating of the launch means that the case travelled to England no earlier than July 1948. It is labelled with my father’s name and a cabin number. I assume that this means that it is likely that he travelled with it. As the ship was renamed in 1966, we can say that the case made the voyage before that year. Now, my parents spent most of 1950 in Montreal, Canada, and then returned to London by 1951. Possibly, my parents returned to South Africa for a visit between their marriage and my birth, but I have no evidence of this. I was born in 1952, and as far as I can recall from what I have been told, my parents did not return to South Africa until 1955, when I was taken along as well. We travelled by sea, but I have no idea on which vessel we travelled and whether the artist’s case travelled with us. So, because my parents are no longer around to tell me about this case, the date of its journey from the southern to the northern hemisphere must remain a mystery.
TODAY THE MAIN roads leading from London west, the A4 and the M4, run more or less parallel from Hammersmith west towards Slough and then beyond. Before these roads were modernised, or in the case of the M4 and, existed, the old road from London to Slough and points further west ran through the village of Colnbrook, and onwards to Bath. This was long before London’s Heathrow Airport came into existence. Today, the centre of Colnbrook, bypassed by both the A4 and the M4, lies 1.2 miles west of the western perimeter of the airport. Aeroplanes coming into land fly low over Colnbrook because they are within a minute or two of touching down on the runways. Despite being sandwiched between the airport and the ever-expanding town of Slough and having some new housing, Colnbrook retains many features of a rural English village.
With a bridge crossing the River Colne, a tributary of the Thames, Colnbrook was an important staging post on the coach road between London and the west. An old milestone near The Ostrich pub marks the halfway point between Hounslow (west London) and Maidenhead. A modern sign next to it informs that the toll-road through the village was known as the Colnbrook Turnpike. Writing in 1876, James Thorne noted that during the coaching era, Colnbrook:
“… retained something of its ancient noise and stir; it is now a dull, sleepy, roadside village of a long main street and 2 or 3 shabby offshoots, the many inns testifying to its old character.”
No doubt, the advent of the railways put pay to much of the traffic through the village. It is still rather sleepy if you disregard the ‘planes passing overhead every few minutes. But it is not shabby in my opinion. It has maintained a certain rustic charm and a few of its inns or pubs. Many other buildings in the place have tall archways that might well have led into coaching yards of former hostelries.
A well-restored brick and stone bridge crosses one of the streams of the River Colne. The stonework that lines the tops of the walls of the crossing have carved lettering that shows that the centre of the span was the boundary between Middlesex and Buckinghamshire and that the bridge was built in 1777. A large building with an archway that would have admitted stagecoaches at the eastern entrance to Colnbrook bears the name ‘White Hart House’. When Thorne was writing about the village in 1876, he noted that this was an inn:
“… a good house, with bowling green, and grounds, much in favour for trade dinners and pleasure parties…”
The George Inn, unlike the White Hart, is still in business. It is said that Princess Elizabeth, the future Queen Elizabeth I, might have spent a night there when being taken as a prisoner from Woodstock to Hampton Court in 1588. The pub was first established in the reign of Henry VIII. Its present façade is 18th century (www.sloughhistoryonline.org.uk). Other royal visitors to Colnbrook included the Black Prince with his prisoner King John of France, who were met here by King Edward III (reigned 1327-1377). The half-timbered Ostrich Inn, almost opposite the George, is far older and has a less salubrious history. Its foundations were laid in 1106 but much of its present construction is 16th century. Its name, the Ostrich, might well be a corruption of an earlier name, ‘the Hospice’.
During the 17th century, the Ostrich had an extremely dodgy landlord called Jarman. The pub’s website (https://ostrichcolnbrook.co.uk/history.html) describes his activities well. Here are some extracts from it. Jarman:
“…with his wife made a very profitable sideline by murdering their guests after they had retired for the night.
They had a trap door built into the floor of one of their bedrooms and when a suitably rich candidate arrived Jarman would inform his wife that a fat pig was available if she wanted one! She would reply by asking her husband to put him in the sty for till the morrow. The bedstead was hinged and they would tip the sleeping victim into a vat of boiling liquid immediately below, thus killing him.”
All went well for the Jarmans until they chose a clothier from Reading, named Thomas Cole:
“After persuading him to make his will before he retired, Jarman killed Cole. Unfortunately Cole’s horse was found wandering the streets nearby and caused a search for his owner who had been last seen entering The Ostrich! His body was found some time later in a nearby brook and some say that this Cole-in-the-brook is how Colnbrook got its name. It’s a nice story but whether it is true or not, who’s to say!”
You might be interested to learn that the Ostrich still offers rooms for guests to stay overnight. We met four men, who had done so, sitting quite contentedly in the morning sun that was flooding into the pub’s pleasant courtyard. Despite the story of Thomas Cole, it is far mor likely that the village was originally called ‘Colebroc’ (in 1107) and later ‘Colebrok’ (by 1222).
We visited the parish church of St Thomas just as guest were arriving at a christening. We were given a warm welcome by a female cleric dressed in white with a colourful stole, which she told us that she was wearing at such a happy occasion. The church, a Victorian gothic edifice, was designed by an architect who specialised in Gothic Revival, Benjamin Ferrey (1810-1880). Built between 1849 and 1852, it has walls containing flints. A north aisle, designed by a great practitioner of the Gothic Revival style, George Edmund Street (1824-1881), was added to the church in 1862.
Streams of the River Colne run through parts of the village. In some places their banks are lined with old houses, some half-timbered. Colnbrook, over which millions of people have flown since Heathrow was opened as Great west Aerodrome in 1929 and then as a much larger establishment, now known as London Heathrow, since 1946, is visited by few except mainly locals. Bypassed by major roads and not on the railway, the village has a picturesqueness that rivals many much more frequented places deep in the English countryside. Yet, Colnbrook is a short bus ride from Slough’s railway station and about 40 to 50 minutes’ drive from Hyde Park Corner. Visit the place and be surprised by its charm.
THE GRAND UNION canal, constructed from the late 1790s onwards, is an important artery of England’s canal network. Beginning at Brentford on the River Thames, it winds its way to Braunston and Birmingham. Along its way it meets other canals, some of which are designated ‘arms’. For example, the Paddington Arm joins the main canal at Bulls Bridge in west London and from there it makes its way eastwards to Paddington. Recently, we visited friends, who live in Northamptonshire, and they took us on a walk along another arm of the Grand Union, the Northampton Arm. This branch of the main canal begins near Gayton and Blisworth and runs to nearby Northampton, where it enters the River Nene, which flows eastwards towards The Wash, an enormous inlet of the North Sea.
Much of the Northampton Arm is very narrow, just wide enough for passage of a single narrow boat. At regular intervals, the arm widens to allow vessels travelling in opposite directions to pass each other. Though short in length, only 4.6 miles, the Northampton Arm has seventeen separate, hand-operated locks for vessels to negotiate. The twelve of these, a flight of locks, is 1123 yards from the Gayton junction with the main canal. These twelve locks are along a stretch of canal only nine tenths of a mile long. The northernmost lock, that nearest towards Northampton, is a few yards north of a bridge carrying the M1 motorway. The locks carry the water from a bit over 300 feet above sea level nearest Gayton down to less than about 225 feet, each lock capable of lifting or lowering a vessel over 6 feet on average. Nearer Gayton, there is an old swing bridge, rather like a castle’s drawbridge. Looking at old maps, it appears that there were several more of these along the arm, but we only spotted one in the stretch between Gayton and the M1.
The canal and its associated towpath pass beneath the motorway through a giant concrete arch, paraboloid in shape and reinforced with horizontal concrete beams. Lined with graffiti, both conventional and anarchic artwork, walking under the motorway is an eery, rather science fictional experience. In contrast to this brutalist concrete arch, several lovely brick, hump-backed bridges carry minor roads over the Arm
“Almost immediately the Arm began to carry a large volume of merchandise and stayed busy for over 100 years through to after the First World War. In the post war years coal, grain and timber were supplemented by goods needed for the show industry such as strawboards for packing as well as iron ingots for castings. After World War II the carriage of goods ceased as road competition strengthened.”
Now, the Arm is used by intrepid canal boat owners, who are not averse to too much manipulation of lock gates. On the sunny Saturday afternoon that we visited the lock flight, we only saw one narrow boat attempting to negotiate the flight of twelve locks. In contrast, at Gayton Junction, the main Grand Union Canal, from which the Arm branches off, was full of pleasure-seekers’ narrow boats and other craft.
Though hardly used for freight these days, the canal system provides much pleasure to visitors both afloat and on shore. Wandering along the towpaths, one cannot fail to be amazed when considering the engineering ingenuity of the canal builders that we can still see today, as well as the work that is done to keep these waterways usable so many years after they were constructed.
BEING A RETIRED dentist, I could not resist viewing a special exhibition held at the Museum of Freemasonry in Freemasons Hall in London’s Queen Street near Covent Garden. As a curious Londoner, visiting an exhibition in this imposing building had an additional attraction: a chance to see inside an edifice I have walked past many times, always wondering about it without ever entering it. I was alerted to the special exhibition by a message from a friend in Bombay, who keeps a close eye on current cultural events both in Bombay and London. She thought that this show would interest me because it is about the activities of a dentist, Bartolomeo (also known as ‘Bartholomew’) Ruspini (1728-1813).
Born near Bergamo in northern Italy, son of a minor member of the aristocracy, Ruspini was recognised as a surgeon by The College of Physical Sciences in Bergamo in 1758. He decided to specialise in dentistry and to further his skills, he travelled to Paris, which was then recognised for its training in this field. In those days, dentistry was not a recognised profession as it is nowadays. Most people who had dental problems, sought the assistance of hairdressers, blacksmiths, and others without any professional training. To distinguish himself from these untrained people, he called himself a ‘surgeon dentist’(https://en.wikipedia.org/wiki/Bartholomew_Ruspini). Today, the people, whom you might call ‘dentists’ are in fact ‘dental surgeons’. I was qualified to practise dentistry, and one of my dental degrees was ‘Batchelor in Dental Surgery’.
Ruspini arrived in England by May 1752. He married his first wife, Elizabeth Stiles, in 1757, five years before he was accepted as a member of The Burning Bush Lodge of the Freemasons in Bristol. Later, Ruspini went on to establish several new Freemasons lodges (https://rmsghistoryextra.wordpress.com/tag/elizabeth-orde/). By 1766, he was practising in London under the patronage of the mother of King George III. He had already treated royalty, so great was his reputation as a healer of dental problems. His acceptance into high society was no doubt facilitated by his renunciation of Roman Catholicism and his second marriage, in 1767, by which time his first wife had died, to Elizabeth Orde. The couple were to produce nine children, five of whom survived infancy. Two of his sons became surgeon dentists.
In an England, which was then not particularly friendly to foreigners, Ruspini was accepted well because of his good nature, excellent clinical skills, and great ability to get on well with people and to ‘network’ in high society. He was highly regarded as a Freemason. His skills on the dance floor, delight in display, and flamboyant character made him a wonderful masonic master of ceremonies. In keeping with the ideals of Freemasonry, Ruspini exhibited much benevolence: hospitality, generosity, kindness, and charity. An example of the latter was his important involvement in the founding of the Royal Masonic School for Girls (in 1788).
Ruspini had his main residence at 32 Pall Mall in London, but also visited Bath frequently. He was famed for his patented styptic, a substance that stemmed haemorrhage. He also created a dentifrice as well as an elixir for easing toothache.
In 1768, Ruspini published the first edition of his “Treatise on Teeth”. I found a copy of its eighth edition whilst searching online. The book is well-written and easy to read and, in many places, not too out of date. It would do first-year dental students no harm to read this informative book, well at least as far as the sections on “The Disorders of the Teeth”. This section has become somewhat dated, but not altogether so. For example, the author advises that disorders might arise from:
“… any particles of food that stick between the teeth and putrify … the excessive use of smoking and chewing tobacco … sugar, when used immoderately, is another enemy of the Teeth … All mineral exhalations are also very pernicious, as we see by daily experience in all those persons who work in any of the quicksilver, lead, or copper mines etc…”
Of the causes of caries (tooth decay), Ruspini gives several, but does not mention sugar in connection with this common problem, despite what he wrote in the quote above. However, he did consider that sugar was important in another disorder:
“Children who eat too much sugar, or sweetmeats, generally have their gums corroded; confectioners and chemists are subject to this disorder …”
Although much can be criticised as being out of date in his book, Ruspini did a wonderful job of describing concisely and clearly what was known about dental anatomy and pathology in his time. Part of the book is dedicated to clinical case studies. One of these concerned:
“…Captain Nelson, of the Royal Navy, whom I accidentally met at Portsmouth…”
Ruspini cured him of a painful fleshy growth in his mouth, which other surgeons had wrongly diagnosed as syphilitic.
The book ends with adverts promoting Ruspini’s styptic balsam, elixir, and dentifrice powder. A copy of this book and another about his styptic are on display at the special exhibition in the beautiful library at Freemasons Hall. Other exhibits included documents, drawings, cartoons, and a few other objects. For me the great thing about the exhibition was not its contents but introducing to me a truly remarkable member of my profession.
Members of the public visiting Freemasons Hall in Queen Street are encouraged to see the magnificent collection of items and documents relating to freemasonry before seeing the exhibition dedicated to Ruspini. The museum contains a rich variety of exhibits, many of them displaying the Freemasons’ passion for the use of symbols, and most of them objects of great beauty. Not knowing anything about Freemasonry, this first visit to the museum was for me more a dazzling visual experience than a learning opportunity. On a subsequent visit, I hope to spend much more time examining the artefacts and their informative labels.
The Freemasons Hall is a ‘larger-than-life’, exuberant work of architecture and construction. It is the headquarters of the United Grand Lodge of England as well as the Supreme Grand Chapter of Royal Masons of England. The present building was designed by the architects Henry Victor Ashley (1872-1945) and Francis Winton Newman (1878-1953). It was built between 1927 and 1933 to commemorate the 3,225 Freemasons who died whilst on active service in WW1. Some say that the building is art-deco in style. This is the case, but there are also many elements in the design suggestive of a modern version of neo-classicism.
I am grateful to my friend in Bombay for introducing me to Ruspini and by doing so, giving me a reason to visit the remarkable London headquarters of the Freemasons.
THE ENGLISH COUNTRYSIDE is remarkably rich in mediaeval remains, many of them accessible to members of the public. Quite a few of these reminders of the past resulted from the mass closure of monasteries and nunneries by King Henry VIII during the 16th century. Denny Abbey between Ely and Cambridge is just one of many examples of the results of the king’s policy. We paid it a brief visit whilst driving between the two cities. We arrived there early in the morning before it was open to visitors, but without entering the compound, we were able to see most of what is on offer apart from the attached Farmland Museum, which we might visit in the future.
The abbey was founded by the Benedictine Order in 1159 (www.english-heritage.org.uk/visit/places/denny-abbey-and-the-farmland-museum/) and taken over by the Knights Templars in 1170. The Templars used the place to house old and infirm members of their order. Despite questioning the truth of the Pope’s suspicions about the Templars, King Edward II (reigned 1307-1327) yielded to Rome’s authority, suppressed the Templars in England in 1308-9, and confiscated their properties. In 1327, King Edward III gave the abbey to Marie de Châtillon, Countess of Pembroke (1303-1377), the founder of Pembroke College in nearby Cambridge. She converted the abbey into a Franciscan nunnery (https://en.wikipedia.org/wiki/Denny_Abbey). The nunnery became home to members of The Order of Saint Clare, often known as ‘The Poor Clares’. The abbey was closed by Henry VIII in 1536 and it, like all the other ecclesiastical establishments closed by the king, became property of the Crown.
The last abbess at Denny was Dame Elizabeth Throckmorton (1467-1547), who headed the nunnery from 1512 until its dissolution. During her term as abbess, two of the nuns in her establishment were sisters of Sir Thomas Grey (Thomas Grey, 2nd Marquess of Dorset: 1477-1530), a student of the Dutch philosopher and theologian Desiderius Erasmus (c1466-1536). When Erasmus was in Basel in 1525, Grey persuaded him to write to the community at Denny. His letter was received, and in response the nuns sent him a gift, which was stolen before it reached him. When he learned what had happened, he wrote again. In his second letter, Erasmus wrote of:
“…the troubles of the time war everywhere, and wrath of princes, famine, and plague and divisions in the Church which tore families apart but comforted the ladies with the thought of the humility and strength of St. Francis and St. Clare and asked their prayers, not only for himself but for the conversion of the thief. He sent his greeting to the ‘most religious lady’ abbess, and begged her to greet Grey’s sisters for him by name.” (https://www.british-history.ac.uk/vch/cambs/vol2/pp295-302).
According to one source, Erasmus was attracted to men. While serving as a canon in Stein (Holland), Erasmus:
“…supposedly fell in love with a fellow canon, Servatius Rogerus, and wrote a series of passionate letters in which he called Rogerus “half my soul”, writing that “I have wooed you both unhappily and relentlessly”” (www.hmoob.in/wiki/Desiderus_Erasmus)
Another source (“Erasmus” by Preserved Smith, publ. 1923) might well allude to this excessive friendship:
“…Thomas Grey, a young Englishman, of whom Erasmus was fond …”
Erasmus was in Paris between 1495 and 1499, after which he lived and worked in England (Oxford, then Cambridge) for several periods over the next few years. Clearly, his abrupt dismissal did not deter Grey from writing to him about the nunnery at Denny Abbey. The presence of Grey’s sisters at Denny might have been a consequence of a possible Grey family connection with two other families that were intimately involved with it: the Coleviles and Massinghams.
After the closure of the nunnery, its refectory became used as a barn; the abbess’s lodge, originally built for the Countess of Clare, became used as a farmhouse; and its church, built in 1159, was demolished. Over the centuries, the farm on the former nunnery’s lands was privately owned. In 1928, Pembroke College (Cambridge) bought the plot, and it remained a farm until 1947, when it was leased to The Ministry of Public Works. It was later transferred into the care of English Heritage (founded in the 1980s).
We parked in a grassy field, watched by a small herd of cows, most of whom were seated on the ground, maybe anticipating a rain shower. The farmhouse, the building originally constructed for the Countess of Pembroke, still has doorways and windows in both the Norman and mediaeval gothic styles. A Norman archway was the entrance to the Templar’s church. Some of these features, which must have once led into buildings now non-existent, have been bricked in. It has new roofing and some windows that were added long after it ceased to be part of the nunnery. Likewise with the large barn, once the refectory, it has two tall doors, which are later additions to the structure, as well as bricked in windows and archways that were used when the nunnery existed. Two lines of masonry almost flush with the ground mark the site of the nave of the now demolished church. Little else can be seen, although during the site’s opening times, visitors can see the remains of a mediaeval tiled floor.
Although little survives of the former Denny Abbey, its ruins are worth a short visit. And, while you gaze at it, you can marvel at the thought that you are looking at the remains of the only abbey in England to have been home to not one religious order but three different ones (www.dennyfarmlandmuseum.org.uk/content/things-to-see/history-of-denny-abbey). When we stopped to look at the place on a grey Friday morning in August 2021, I had no inkling that the great Erasmus had taken an interest in it, nor had I any idea that the scholar has been suspected by some of being gay. An anonymous writer denies this rather vehemently (www.erasmatazz.com/library/erasmus-the-hero/erasmus-was-not-gay/the-thomas-grey-affair.html). Whether or not Erasmus’s advances to Thomas Grey were of a homosexual nature or simply expressions of deep friendship and admiration of his intellect, it is for others to decide. Deciding whether or not to explore the remains of Denny Abbey is far less difficult than judging Erasmus.
WALKING ALONG CHARING CROSS ROAD in central London recently, a memory of my childhood sprung into mind. When I was about eight years old, I was told off by my art teacher at school because the horizon on my painting was not straight enough for her. She told me that I should have used a ruler. When I related this incident to my mother, she was quite annoyed because, in her opinion, it did not matter whether a horizon was drawn ruler straight or not. I hoped that she would not complain to the school about her feelings about the ineptitude of the art teacher. I do not recall that she bothered to do so.
My mother was an artist, whose works became increasingly abstract as she grew older. Before WW2, she trained to become a commercial artist at the Michaelis School of Fine Art in Cape Town (South Africa). Her earliest works, which I have never seen, were hand-painted posters, advertisements for the latest films (movies). In 1948, she followed my father from Cape Town to London, where he had taken up an academic post at the London School of Economics. They married in 1948 and, according to my father, Mom took painting classes with the now famous Stanley Spencer (1891-1959). Interestingly, I never heard my mother mentioning these classes.
I was born in 1952, and it was around then that my mother began creating sculpture. One of her earliest sculptures was in terracotta and its subject matter was a mother, seated, holding a child, maybe me. During the late 1950s and early part of the 1960s, my mother worked in the sculpture workshops at St Martin’s School of Art, which was then located on Charing Cross Road. The Sculpture Department was then under the directorship of Frank Martin (1914-2004), whom my mother referred to as ‘Mr Martin’ when talking to us at home. It was there that she worked alongside sculptors, who have since become quite famous. These included Menashe Kadishman (1932-2015), Buky Schwarz (1932-2009), Philip King (1934-2021), and Antony Caro (1924-2013). The latter two helped her learn how to weld and create sculptures in metal, a medium she preferred. It was probably at St Martins that my mother met the sculptor Elizabeth Frink (1930-1993), who also taught in the Sculpture Department. She and Mom became close friends. ‘Liz Frink’, as she was known in our family, was a regular visitor to our home in northwest London.
My mother used to work at St Martins several days a week. She used to do a lot of the family’s food shopping nearby in Soho’s Old Compton Street. Vegetables were bought from a French greengrocer, and meat from a Belgian butcher called Benoit Bulcke. This butcher, according to Mom, knew how to cut meat correctly, unlike most English butchers. As a young child, I accepted that this was the case if Mom said so. The butcher and the greengrocer no longer exist. However, three other stores she frequented are still in business: The Algerian Coffee Store; Camisa; and Lina Stores. My mother was an early disciple of the cookery writer, Elizabeth David (1913-1922), and her encouragement of the preparation of French and Mediterranean dishes. The proximity of St Martins to Old Compton Street was convenient for my mother, as the shops along it provided many ingredients, which were hard to find elsewhere in London in the 1950s and early 1960s.
ONE OF THE JOYS of travelling around in one’s own car is the ability to go almost anywhere one wishes and by any route, direct or indirect. Recently, we were driving along the A1141 between the Suffolk wool towns of Lavenham and Hadleigh when we noticed a small brown and white sign directing tourists to “St James Chapel”. We turned off the main road and drove along a narrow, winding by-road, which threaded its way through cultivated fields and small clumps of trees. We had no idea where the chapel is located and it was almost by chance that we noticed the small building, which is located well away from the lane. The best view of this tiny edifice is through a farmyard next to which it stands, otherwise it is well concealed by tall hedges.
Maintained by English Heritage, the chapel is approached via a narrow L-shaped passage between it and the hedges. A board close by gives the history of the place. The tiny 13th century chapel served the nearby Lindsey Castle, which was abandoned in the 14th century and now exists only as earthworks (www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=384905&resourceID=19191). During the 13th century, a lady called Nesta de Cockfield (c1182-c1248; https://our-royal-titled-noble-and-commoner-ancestors.com/p5161.htm#i154959), who was born near Lindsey Castle at Kersey, established a tithe (tax) to maintain the chapel of St James. Along with all other chantries (usually, chapels on private land), St James was closed in 1547 as part of the religious reforms instigated by King Edward VI.
The chapel was used as a barn from 1547 until the early 1930s, when it became designated as a historic monument. The building is built with roughly cut flints held together with mortar or cement. The entrance with its gothic archway and the windows are trimmed with well-cut stone blocks. The interior walls are not plastered and look the same as the exterior. On the south wall there is a niche or ‘piscina’ (used for draining water used in the Mass in pre-Reformation church services), which, like the windows, is topped by a gothic arch. Apart from the piscina, there is nothing else left within the chapel apart from the ghosts of those who prayed there many centuries ago.
The ceiling of St James is formed of the exposed timbers that support the roof, which is attractively thatched, and looks well-maintained. The north wall of the chapel faces the road across the car park of the farm next door to it.
Without a car or bicycle or horse, reaching the tiny chapel of St James would involve a tiring walk. Without a car and plenty of leisure time we would most likely never have visited this delightful remnant of East Anglia’s rich mediaeval heritage.