Tag Archives: Victorian

Self sacrifice remembered

Posted on by
Reply

GEORGE FREDERIC WATTS (1817-1904) was a sculptor and a painter. I first became acquainted with him and his work when I was writing my book about west London (“Beyond Marylebone and Mayfair: Exploring West London”). My interest in him increased when I was writing a book about the Victorian photographer Julia Margaret Cameron (1815-1879).  Between about 1850 and 1870, he lived with Thoby and Sara Prinsep’s family, about whom I have written in another book, in the now-demolished Little Holland House in Kensington. Not far from where he lived, there are two bronze statues by Watts: a portrait of Lord Holland in Holland Park, and the equestrian sculpture “Physical Energy” in Kensington Gardens.  While living with the Prinseps, Watts met Julia Cameron, who was Sara’s sister. Cameron lived at Freshwater on the Isle of Wight in a house that neighboured the property where the poet Alfred Lord Tennyson lived. Watts, who had helped the Prinseps rent Little Holland House, was a frequent visitor to Freshwater, where he met and socialised with both Tennyson and Cameron. Watts, who was briefly married to the actress Ellen Terry, painted Tennyson several times and was himself photographed by Cameron.  And Watts painted at least one portrait of Cameron – now in the National Portrait Gallery.

Apart from the numerous paintings and sculptures created by Watts, one of his most unusual works is neither a sculpture nor a painting – it is what one might describe as a precursor of Conceptual Art. Although attractive, the concept that it conveys – self-sacrifice – is more important than its appearance. Located in Postman’s Park, which extends from Aldersgate Street to King Edward Street, it is a memorial to ordinary people who lost their lives during peacetime whilst trying to save those of others. Created in 1898 but conceived by Watts in 1887, the work of art is called “Memorial to Heroic Self-Sacrifice”. It consists of a stretch of wall protected from the elements by a wooden loggia, which was designed by Ernest George who helped design the buildings at the Golders Green Crematorium. On the wall there are memorials to those who sacrificed their lives whilst rescuing others. Each memorial is made of ceramic tiles and records the name of the hero and a brief account of how he or she met their deaths. The first four memorials were designed and made by William de Morgan. Later, others were made by the Royal Doulton pottery. There is room for 120 memorials but by 1931, only 53 had been placed. In 2009, the Diocese of London permitted another memorial to be added.

Watts supervised this project. When he died, his widow, his second wife Mary, took over its supervision, but after a while she lost interest in it as she began concentrating on the management of the Watts Mortuary Chapel and the Watts Gallery – both near Compton in Surrey. The memorial is in Postman’s Park, which was formerly the graveyard of the nearby St Botolphs Aldersgate Church and is, I am guessing, maintained by the Church of England or a local authority.

The memorials are both fascinating and moving. Here are a few examples:

“Mary Rogers. Stewardess of the Stella. Mar 30 1899.Self sacrificed by giving up her life belt and voluntarily going down in the sinking ship.”

“Herbert Peter Cazaly. Stationer’s clerk. Who was drowned at Kew in endeavouring to save a man from drowning. April 21, 1889”

“Herbert Maconoghu. School boy from Wimbledon aged 13. His parents absent in India, lost his life in vainly trying to rescue his two school fellows who were drowned at Glovers Pool, Croyde, North Devon. August 28, 1882”

According to Wikipedia:

“Maconoghu was actually Herbert Moore McConaghey, the son of Matthew and Martha McConaghey, and he was born in Mynpoorie in India where Matthew was working as a settlement officer for the Imperial Civil Service,”

Standing amidst these memorials is a small sculpture depicting Watts. Its inscription reads:

“The Utmost for the Highest. In memoriam George Frederic Watts, who desiring to honour heroic self-sacrifice placed these records here.”

Luckily for us, Watts’s unusual creation has been kept in good condition. Since 1972, it has been a protected structure. Unlike most of the art made by Watts, the memorial in Postman’s Park was an idea created by him, rather than something he made with his own hands. I had seen the memorial several times in the past, but today, the 17th of May 2023, I took my wife to see it for the first time. A few weeks earlier, while visiting the Tate Britain, we had seen an art installation by Susan Hiller. It incorporated photographs of 41 of the memorials on Watts’s wall of memory in Postman’s Park. Having seen this, we wanted to see the original, and were not disappointed.

You can discover more about Julia Margaret Cameron, Tennyson, the Prinsep family, and Watts in my book “Between Two Islands: Julia Margaret Cameron and her Circle”, which is available from Amazon:

A female pioneer of artistic photography

Posted on by
Reply

Many people will have heard of at least one of the following: Alfred Lord Tennyson, Charles Darwin, Anthony Trollope, Charles Dodgson (Lewis Carroll), Edward Lear, Henry Wadsworth Longfellow, Virginia Woolf, Vanessa Bell, and William Dalrymple.

Fewer might be familiar with George Frederic Watts, Valentine Prinsep, Julia Stephen, and Dejazmatch Alamayou Tewodros.

One thing that all of the people listed above share is that they were in diverse ways connected with a Victorian pioneer of artistic photography – Julia Margaret Cameron (1815-1879).

To discover about this fascinating woman and how her story involves all of the above-mentioned, please read “BETWEEN TWO ISLANDS: JULIA MARGARET CAMERON AND HER CIRCLE” by Adam Yamey. It is available both as a paperback and as an e-book from Amazon:

A letter box in Kerala

Posted on by
Reply

I VISITED INDIA at least 50 times over the last 29 years. It was not until this trip (2022-2023) that I began noticing letter boxes of historic interest. I spotted three of interest in Bangalore, and now I have found one outside the post office in Fort Kochi in Kerala.

Painted green with some gold coloured details it is hexagonal with a decorative top. Between the words “Post” and “Office”, there is a British royal cipher with the lion and unicorn. Beneath this is a V and a R entwined, a logo I have seen on Victorian letter boxes in the UK.

The old letter box, now sealed up so that nothing can be put in it, stands close to the verandah at the front of the post office. Within the verandah, there is a panel giving some information about postal services in the former Kingdoms of Cochin and Travancore

Postal services began in the Kingdom of Cochin in about 1864. It was known as the Anchal Service. The letter box described above might have been an Anchal post box originally, although it is unlikely.

According to an article (https://englisharchives.mathrubhumi.com/news/offbeat/last-anchal-runner-of-kerala-passes-away-1.3462681#:~:text=Anchal%20Post%20was%20the%20postal,on%20which%20bells%20were%20attached):
“Anchal Post was the postal service system started and existed during the Kingdom of Travancore to transfer official letters and documents. The post man of this system was called anchal pillai. He used to run carrying the dispatches in a bag with a stick on his other hand on which bells were attached.”
He used to run eight miles a day. People were required to make way for this important courier, and not to impede his progress. The last surviving anchal pillai, Kannan Chapli, died aged 90 in 2019.

The post office outside which stands the historic letter box is on Ridsdale Road opposite the east end of the church of St Francis (Church of South India), and was constructed in May 1928. At that time, Fort Kochi was in the Kingdom of Cochin. In 1949, it and its neighbour, The Kingdom of Travancore, were integrated into India and merged to form the State of Thiru-Kochi. In 1956, this state was renamed Kerala and its postal service became incorporated into the Indian Post system.

Interestingly, the post box outside the Fort Kochi post office bears the intertwined V and R. The information panel has a drawing of an anchal letter box. Similar in shape to the Victorian post box, the one in the drawing bears a different logo and the words “Travancore Anchal” and something in Malayalam script. If I am not mistaken, Cochin, unlike Travancore, became a British Protectorate. In which case it might well have become part of the British Indian postal system. This could explain why the historic letter box in Fort Kochi has a British logo instead of that used in the Anchal system. There might also have been Anchal boxes in the Kingdom of Cochin, but I am uncertain about that.

Today, letters are posted in a simple red cylindrical letter box not far from the historic one. The Victorian letter box is one of a huge number of interesting historic survivals that can be seen whilst wandering around Fort Kochi.

An unusual letter box in Bangalore

Posted on by
2

A FRIEND IN BANGALORE, Mr Aggarwal, alerted me to the existence of an historic pillar box (letter box) in the city’s Bowring Institute. This private club has been located in its current position on St Marks Road since 1888, when it’s elegant clubhouse was constructed.

In front of the main entrance to the clubhouse, there is a hexagonal pillar box, which is still in use. This six-sided box is topped with six sloping triangular panels which meet at the highest point of the letter box.

The box bears a crest or emblem on the side where the slot for posting letters is located. This consists of a lion and a unicorn facing each other. Their forecast rest on a circle contains a cross. The circle is surmounted by a crown with two crosses. There is also a small crown with a cros on the lion’s head.

Below the crest, there is a diamond shaped lozenge containing the letters R, N, C, I (or possibly O). What these letters signified (or whether this was the manufacturer’s name) has not yet been revealed by an Internet search.

It had been suggested to me that the pillar box was a British East India Company (‘EIC’) letter box. This is unlikely to be the case because, from what I have managed to ascertain, the EIC crests included two lions facing each other, but no unicorns. Furthermore, by 1888 India was governed by the British Government rather than the EIC (which was in charge of governing India prior to 1857).

The letter box is believed to be contemporary with the construction of the Bowring clubhouse. In 1888, Queen Victoria was the Empress of India. The post box is therefore likely to have some connection with the British Indian postal service. I have yet to discover whether I am right about this. A quick search of the Internet did not reveal any examples of historic pillar boxes bearing the crest on the box at the Bowring Institute. If anyone knows more about this particular crest, please do inform me.

HAPPY CHRISTMAS

Glorious detail in a gothic revival church

Posted on by
Reply

I HAD PASSED it often, but never entered it until recently when I attended a concert within it. I am talking about a church on Holland Road in West London not far from Shepherds Bush, St John the Baptist. This Anglican church is an exceptional example of gothic revival style. Designed by James Brooks (1825-1901) with John Standen Adkins (an assistant of Brooks), it was constructed between 1872 and 1910.

Although the façade facing Holland Road is not exceptional, the church’s interior is highly breathtakingly decorative. Unlike mediaeval churches, which took centuries to complete, St John the Baptist was constructed in much less time. Yet, its decorative details, which imitate what is best in many older churches, rival those found within the old ones. The workmanship and fine details in St John’s remind one of the best productions of craftsmen, who flourished many centuries earlier. However, unlike the earlier churches, which inspired the designers of St John’s, the interior of the church on Holland Road looks too good to be true. Completed in a relatively short period, the variety that adds to the charm of gothic churches built in earlier times and more slowly is lacking in St John’s and other fine examples of late Victorian gothic revival buildings. What we see at St John’s is the realisation of the architects’ concept of an ideal ‘mediaeval’ church. What was achieved at St John’s is probably something like the results early creators of (mediaeval) churches hoped to create, but never lived long enough to see fully realised.

The attention to detail in the better gothic revival churches, such as St John’s, is marvellous. The result is an ensemble of decorative features rich in meticulously executed intricate details. While I was listening to the concert in St John’s, my eyes took in the details of the church, and I began thinking it was amazing that the elaborate attention to fiddly ornate minutiae was carried out only a few years before architectural trends turned through 180 degrees from excessively decorative to the greater simplicity of much 20th century architecture.

St Cuthbert’s extraordinary lectern in London’s Earls Court

Posted on by
Reply

HIDDEN IN A residential crescent, Philbeach Gardens, near Earls Court is a late Victorian church, whose exterior is far from attractive. However, St Cuthbert (completed 1888) has an interior which cannot fail to amaze the visitor’s eyes. The church contains what can only be described as an ‘over-the top’ array of decorative features. Some of them are typical of the Gothic Revival style beloved of Victorian church designers, and others that are typical of the Arts and Crafts Movement, which flourished in the last decades of the 19th and the first few of the 20th century.

One item in the church, which is particularly eye-catching, is made of wrought iron and hammered (repoussé) copper. It is a lectern with two large arms on either side of the leather-covered book holder. These are supports for large candles. The lectern is approached by a small set of stairs whose treads have studs on them. The studs are arranged to spell out words, which I found difficult to decipher. The part of the base facing the congregation is an intricately decorated folded screen with Arts and Crafts Style decorative motifs. Most probably handmade, the lectern, although fantastically crafted, has a very slightly amateurish look about it. It is more unusual and eye-catching than beautiful.

I would not have visited St Cuthbert had my friend, the excellent Olsi Qinami, not been conducting the London City Philharmonic Orchestra performing a concert there. The church with its colourful marble pillars and almost surreal interior is well worth a visit even if there is no concert being performed. It is a ‘must-see’ for lovers of Victorian church architecture.

A gothic church for the poor next to a canal

Posted on by
Reply

SPIRAL RAMPS LEAD up to the Ha’penny Bridge, which allows pedestrians to cross the Paddington Arm of the Grand Union Canal, where it runs between Delamere Terrace on one bank and Blomfield Road on the opposite one. A few yards west of the bridge and south of the waterway, there is a Victorian gothic church with a tall tower decorated with layers of red brickwork separated by layers of white masonry and topped with a white spire. It is St Mary Magdalene’s church.

The church was designed by George Edmund Street (1824-1881) and completed in 1878. It was built in what was then an area with poor quality housing, where several hard-up families lived crowded together under one roof. The parish in which it is located began life as an offshoot of All Saints in Margaret Street (near Oxford Circus). Like All Saints, St Mary Magdalene’s was established as an Anglo-Catholic church. Its website, grandjunction.org.uk, revealed that Anglo-Catholicism:

“… emphasises the Catholic heritage and identity of the Church of England. In the mid-nineteenth century Anglo-Catholicism was very controversial and provoked riots. Anglo-Catholic churches were often built in very poor areas, and their clergy believed that their services, full of light, colour, music and ritual, were likely to appeal to the poor.”

Like All Saints Margaret Street, the interior of St Mary Magdalene’s is a masterpiece of Victorian gothic extravaganza, a riot of colour. The nave has a magnificent painted ceiling which includes faces of various saints. This was painted by Daniel Bell, a Victorian artist. Sculptures of saints carved by Thomas Earp (1823-1893) look down on the nave. The floor of the vast nave is decoratively tiled. Street did not believe in fixed pews such as are found in many other Victorian churches and were rented out to parishioners to raise money. He believed in ‘free seating’, especially in a church like St Mary Magdelene’s that was built to serve the poor. The apse is unusual in that it is polygonal, reminiscent of apses that the widely travelled Street had seen in French and Flemish churches.

An unusual feature of this out of the ordinary church is that although the nave is flanked by a south and a north aisle, the latter is barely wide enough to accommodate one person, whereas the south one is almost as wide as the nave. The reason for the narrow north aisle was related to building regulations in force when the church was being constructed.

If it is open, and it was when I visited the church, it is worth entering the undercroft. This area beneath the church is flanked on its south side by a chapel that was undergoing restoration in February 2022. This is the chapel of the Holy Sepulchre created to commemorate the church’s founder and first vicar Fr Richard Temple West (1827-1893). Containing much decorative artwork and resembling a mediaeval chantry chapel, it was created by the architect Ninian Comper (1864-1960).

Outside the church, there is a WW1 memorial, added by Martin Travers in 1929. It is a gold-coloured crucifixion with a stone base on which are inscribed the Latin words “Infinitum est”, which is neither classical nor biblical; it means ‘It is not finished’, which are ominous words on a war memorial and are most portentous on a memorial to the first of (so far) two world wars.

Added on to the west end of the church, there is a modern extension, which houses a pleasant refreshment outlet called the Grand Junction Café. This is a good place to rest for a while after the excitement of seeing inside the spectacular church.

Relief below ground

Posted on by
Reply

IT IS NOT OFTEN that I feel the need to write about answering the call of nature but after a recent visit to Hampstead’s South End Green, I must satisfy the urge.

There is a yard at South End Green, where buses serving the route number 24 wait before setting off to Victoria station. Long ago, this yard used to have tram tracks as it was the terminus of a tram line. A lovely small café, Matchbox by name, stands beside the yard. Its owner, Mirko, a friendly Slovenian, serves excellent hot beverages and a range of mouth-watering snacks, both sweet and savoury. The nearest public toilets are across the yard, almost opposite to Matchbox.

The toilets are below ground level and accessed by staircases with cast-iron structures above them. It was only on our most recent visit to South End Green, in December 2021, that I had reason to descend into the ‘gents’, and I am pleased that I did, not only for reasons related to my physiology but also to satisfy my curiosity.

The ‘gents’ is magnificent, with its white glazed brick walls decorated with bands of light green bricks, its long narrow, black and white chequered floor, its polished dark wood cubicles, and its row of white urinals all topped with grey (marbled with white streaks) granite separators. Although there is electric lighting, a skylight admits some natural light.

The underground toilet facilities, both the men’s and the ladies’, were constructed in 1897 for the benefit of passengers using the tramway. Stephen Emms, writing in the “Kentish Towner” in October 2013, noted that the gent’s underground facility at South End Green was a pick-up place used by homosexuals. He noted:

“But most memorably South End Green is the only public toilet still in use known to have been visited by iconic 1960s playwright Joe Orton. Apparently it was his “favourite pick-up point” too””

You might be relieved to learn that my recent brief visit was completely uneventful.

A notable local art centre in north London

Posted on by
Reply

BETWEEN 1960 AND 1965, I was a pupil at The Hall School in London’s Swiss Cottage. I used to travel between it and home by buses that ran along Finchley Road between Golders Green and Swiss Cottage Underground station. For most of the time I was at the school, Finchley Road between Childs Hill and my destination was plagued by road works connected with widening the road. The bus used to move slowly, and I began to learn by heart what lined both sides of the road. Oddly, one building on the corner of Arkwright Road and the main road escaped my attention. Unbeknownst to me, this Victorian gothic building, erected in 1897, was the Hampstead Central Library, which functioned until 1964 when a newly constructed library, which I remember well from its earliest days, was opened close to Swiss Cottage station. It was at this time that the old Edwardian Swimming Pool that used to stand on the west side of Finchley Road between Swiss Cottage Station and John Barnes (now a large branch of Waitrose food stores) was closed and replaced by a brand new one next to the new library.

Exhibition of works by Phoebe Collings at the Camden Arts Centre

In 1965, the abandoned library on the west end of Arkwright Road became a nucleus for local artists and artistic activity, The Hampstead Arts Centre, which was given its present name, The Camden Arts Centre in 1967 (https://camdenartcentre.org/about/history/). Soon after its creation, the centre became an important hub for artistic education and activities as well as exhibitions. In 2004, the centre underwent a major refurbishment, which was supervised by Tony Fretton Architects.

Today, the Camden Arts Centre is a very pleasant place to visit. Its exhibition spaces are large and airy. It has a fine bookshop and a lovely café with food and beverages that offers seating both indoors and outside next to a well landscaped hillside garden.

During our latest visit, on the 10th of October 2021, we saw three very different exhibitions at the Camden Arts Centre. One was a multi-media installation (photographs, video, sculpture, and music) related to the memories and concerns of its creator, Adam Farah. It is called “What I’ve learnt from You and Myself (Peak Momentations/Inside my velvet Rope Mix)” and was somewhat puzzling at first, but, Jay, one of the invigilators, helped make some sense of it. More easily accessible to my mind was “Softest place (on earth)” a collection of handmade images by Zaineb Saleh. The exhibition I liked most of the three on offer was “James – A Scratch! A Scratch”, a collection of mainly ceramic sculptures by Phoebe Collings. These three shows continue until the 23rd of December 2021 and are worth seeing if you happen to be in the neighbourhood. If these do not appeal to you, then head straight for the centre’s wonderful café!

After enjoying artworks at the Camden Arts Centre, a short, pleasant stroll up Arkwright Road will bring you into the heart of old Hampstead, a district that has been home to artists of all kinds for several centuries, although these days only a very few artists are likely to afford the area’s high property prices.