Tag Archives: smithfield

A back passage near to London’s Smithfield and Barbican

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THE CITY OF LONDON has suffered many upheavals including, to mention but a few, the great Fire of London (1666), heavy bombing during WW2, and often overzealous redevelopments after 1945. Despite these major changes, remains of mediaeval London can still be found. One of these is close to the church of St Bartholomew the Great, which escaped being damaged during WW2, and has been standing since 1123. It was founded as part of an Augustinian priory that was dissolved by Henry VIII in 1543. Close to this fascinating church, and running in a straight line from east to west is the narrow East Passage.

This alleyway is about 80 yards long and lined with the rear facades of buildings – mostly not particularly old. Yet, East Passage has been in existence since the dissolution of the priory in the 16th  century (www.ianvisits.co.uk/articles/londons-alleys-east-passage-ec1-36703/). It is a thoroughfare developed on land that had belonged to the priory, and was sold to Sir Richard Rich (1496-1567), who was Lord Chancellor during the short reign of King Edward VI, successor to Henry VIII. East Passage was one of a new series of streets laid out soon after the priory was closed. As the author of the ianvisits.co.uk website pointed out, the group of small straight streets, of which East Passage is one, was one of the earliest planned developments in London (with straight rather than haphazardly arranged, curvy streets), predating the planned development of Covent Garden in the 17th century.

Today, East Passage is about half the length it used to be. Before it was known as East Passage, it was known as ‘Back Court’ or ‘Back Street’. At its west end, there is the rear of a pub called The Old Red Cow. It is one of the longest established pubs near to Smithfield meat market, although the building housing it looks as if it was built in the 19th century. Close to this hostelry, but not on East Passage, there is another pub, The Hand and Shears. Established in 1532, but housed in a more recent building, whose name reminds us that it used to be frequented by cloth merchants. A note in a website (https://darkestlondon.com/tag/old-red-cow/) mentioned that The Hand and Shears:

“… was used as the venue to settle disputes and grievances of people who visited the annual St Bartholomew’s Fair – licences were granted, weights and measures were tested, and fines imposed on fraudulent traders. For many years, the Fair was officially opened from the inn’s doorway by the Lord Mayor – but impatient clothiers would later wait at the pub the night before and declare it open on the stroke of midnight, signalling to gathering crowds that the Fair was officially open by waving a pair of shears in their hands.”

Possibly, I would not have noticed the slender East Passage had we not been sitting in a café nearby. I spotted it through the window of the Pret a Manger on Long Street that runs parallel to East Passage, and felt I had to explore it. As I walked along it, I had not idea that this small back passage had such a long history and would never have existed had Henry VIII not fallen out with the Pope in Rome.

Sell the wife at Smithfield instead of divorcing her

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IF YOU WISH to see the meat market at London’s Smithfield in action, either you must go to bed very late or wake up quite early, because the market is only open between 2 am and 10 am. This April, we visited it at about 1.30 in the afternoon, and there was little to see and there was hardly any odour in the air.

Back in October 2017, I walked from Clerkenwell to Smithfield, and wrote about it in a blog I published (https://londonadam.travellerspoint.com/44/). Here is what I wrote about the meat market:

“At Peters Lane, Cowcross street turns southward towards to meet St Johns Street, which commences at the north side of Smithfield Market, an indoor wholesale meat marketplace. Smithfield’s central Grand Avenue is entered through an archway flanked by two heraldic dragons and a pair of stone sculptures. The Avenue runs beneath a high roof supported by ornate painted ironwork arches. Side aisles are lined with the meat dealers’ stalls and glass-covered display cabinets. In 1852, London’s livestock market was moved from Smithfield to Copenhagen Fields in Islington (off Caledonian Road, where the Caledonian Park is now located). This cleared the area for the construction of the present meat market, which was completed by 1868. Constructed in an era before refrigerators were used, the market was designed to keep out the sun and to take advantages of prevailing breezes.”

I continued as follows:

“In mediaeval times, Smithfield had a bad reputation. It was known for criminal activity, violence, and public executions. In the early 19th century, when obtaining divorce was difficult, men brought their unwanted wives to Smithfield to sell them, then a legal way of ending a marriage (see: “Meat, Commerce and the City: The London Food Market, 1800–1855”, by RS Metcalfe, publ. 2015).”

In relation to disposing of a spouse, I quoted the following verse by an unknown author quoted in “Modern Street Ballads”, by John Ashton (published 1888):

“He married Jane Carter,

No damsel look’d smarter;

But he caught a tartar,

John Hobbs, John Hobbs;

Yes, he caught a tartar, John Hobbs.

He tied a rope to her, John Hobbs, John Hobbs;

He tied a rope to her, John Hobbs!

To ‘scape from hot water,

To Smithfield he brought her;

But nobody bought her …”

What I did not mention in my 2017 piece is that John Ashton noted in his book:

“Wives at the market did not fetch good prices; the highest I know of, is recorded in The Times, September 19, 1797: “An hostler’s wife, in the country, lately fetched twenty-five guineas.” But this was extravagance, as, with the exception of a man who exchanged his wife for an ox, which he sold for six guineas, the next highest quotation is three and a half guineas; but this rapidly dwindled down to shillings, and even pence. In 1881, a wife was sold at Sheffield for a quart of beer; in 1862, another was purchased at Selby Market Cross for a pint; and the South Wales Daily News, May 2, 1882, tells us that one was parted with for a glass of ale. Sometimes they were unsaleable …”

Fascinating, but horrific when you think about it. In any case, you will be pleased to know that although I visited Smithfield with my wife a few days ago, I had no intention of selling her! Instead, we enjoyed some liquid refreshment in the nearby branch of the Pret A Manger café chain.

William Hogarth and Damien Hirst as neighbours in a church in London

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ST BARTHOLOMEW THE GREAT church in the City of London was founded in 1123 by Rahere, a courtier of King Henry the 1st, who reigned from 1100 to 1135. It was originally built as the church for an Augustinian priory, which was abolished and partly destroyed during the reign of King Henry VIII. When this happened (in 1539), the priory church’s nave was demolished, leaving only the apse and beyond it, the Lady Chapel. The choir, which used to be at the west end of the apse and at the eastern end of the demolished nave, now stands at the east end of what is now the nave, but was formerly the apse. The current nave (formerly the apse of the original church) is a magnificent example of Norman architecture. I could go on describing this magnificent church in great detail, but I will not because plenty of people have done it before me (e.g., https://en.wikipedia.org/wiki/St_Bartholomew-the-Great and https://medievallondon.ace.fordham.edu/exhibits/show/medieval-london-sites/stbartsgreatchurch). Instead, I will mention a couple of the many interesting items in the church that caught my interest during a visit today (the 2nd of April 2024).

Both the objects of interest stand in the southwest corner of the church, close to the entrance that leads to the path that runs along the location of the long-since demolished apse of the priory church. The two things stand a few feet from each other. One of them is a carved stone font, said to be one of the two oldest fonts in London – the other being in the parish church of St Dunstan & All Saints in Stepney. What interested me about St Bartholomew’s font, which is still in use, is that it was here that the painter William Hogarth (1697-1764) was baptised. He had been born in a house in Bartholomew Close near the church in the Smithfield district of London.

Hogarth was a successful artist in his time, and has become recognised as one of the famous British artists of the 18th century. Not far from the font, there is a dramatic gold coloured sculpture by one of the most famous British artists of our times – Damien Hirst (born 1965). The sculpture, which is on loan from the artist, is called “Exquisite Pain.” It is Hirst’s depiction of St Bartholomew holding his skin, having been flayed. The church’s website (www.greatstbarts.com/visiting-us/artworks/damien-hirst-exquisite-pain/) revealed:

“St Bartholomew, one of the original twelve disciples, was sent as an Apostle to Armenia, where he was killed by being skinned alive. The classic iconography of the saint sees him naked, his muscles exposed, his skin hanging over his arm – and in his hands, the instruments of his torture. This statue sees Damien Hirst conform to this imagery, but give it a unique twist: the instrument in his hand is not a standard knife, but a scalpel, used in the hospital across the road which also bears the saint’s name.”

I think it is a wonderful sculpture. However, like most works of art, it might not suit everyone’s taste, but there is no doubting that its dramatic impact and skilful execution are remarkable.

While Hirst’s fame is great today, and his works command high prices, I wonder whether his reputation as a notable British artist will survive as long as Hogarth’s.

From the screens of Instagram onto the walls of commercial art galleries

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DO NOT UNDERESTIMATE the power of Instagram.

Today (the 2nd of April 2024), we visited Beers Gallery in Little Britain, a street which is close to St Bartholomew the Great church and Smithfield meat market. Until the 13th of April 2024, they have an exhibition of delightful paintings by Florent Stosskopf, who was born in Rennes (France) in 1989. Based in Brittany, he has qualifications in web and graphic design, as well as holding an Advanced Technician diploma from L’école Multimedia. Yet, he is a self-taught painter. His current exhibition at Beers is called “The Mocking Bird”. The gallery’s press hand-out says:

“The title, he informs us, is a loose reference to elements of his own autobiography that he found mirrored in the song ‘Mockingbird’ by Eminem.”

Be that as it may, the paintings are full of bold colour and vibrancy. It was a joy to see them.

We had never heard of Florent Stosskopf. We asked a lady who worked in the gallery how her establishment had got to know of this artist. The answer astonished us. She told us that it was after he began posting pictures of his paintings on Instagram (see: www.instagram.com/stosskopf_florent/)  that he began to be recognised as being a painter worth exhibiting in commercial galleries.

Many people with artistic tendencies and varying degrees of skill post images of their creations on Instagram. Even I use Instagram to try to promote some of my books. However, just posting on Instagram is not enough. To become truly successful by using Instagram, you need real talent, and that is what Monsieur Stosskopf has in a large amount.