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‘Where Light Falls’ commemorated the brave Londoners who protected St Paul’s during the Blitz.
A bit of historical background and historic events
The West End has been a shopping destination for Londoners and tourists for over two centuries. Along with popular thoroughfares like Oxford Street, Bond Street and Regent Street, there is also a selection of shopping arcades, providing a sheltered retail experience whatever the elements. Today, two of the capital’s existing shopping arcades are over 200 years old. However, one Georgian shopping arcade barely survived into the 20th century, let alone the 21st century. This post is a long-delayed addition to Metro Girl’s Shopping in Style series, which explores the history of London’s shopping arcades.
After the success of the capital’s first two shopping arcades – the Royal Opera and Burlington, plans were made for another arcade on Strand. Lowther Arcade was designed by architect Witherden Young and built by William Herbert in 1830 (see Young’s architectural plans). It was named after William Lowther, 2nd Earl of Lonsdale (1787-1872), who was Chief Commissioner of the Woods and Forests from 1828-1830. Lowther Arcade ran from the Strand to Adelaide Street and was 245 foot long, 20 foot wide and 30 foot high. The arcade featured 24 small shops, with two storeys above the shop level. The arcade was designed in a Greco-Italian style and was topped by a series of glass domes, flooding the aisle with light. Its classical design complemented the eastern end of Strand (No.s 430-449), which had been redeveloped by Regency architect John Nash (1752-1835) in 1830. Although shorter in length, Lowther Arcade was often referred to as the ‘twin’ of the Burlington Arcade in Mayfair. Just like the Burlington, the Lowther management also employed a Beadle to maintain order.
After opening, Lowther Arcade quickly won over Londoners with its architecture and atmosphere. In his 1834 book National History and Views of London and Its Environs, Volumes 1-2, Charles Frederick Partington wrote: “The Lowther Arcade is decidedly the most elegant establishment of this description erected in the metropolis… When we compare the costly and elegant bijoutrie exhibited for sale, it will be found the dealers lose nothing by comparison with those celebrated in the Arabian Nights and other works of eastern fiction.”
At the north end of the arcade was the Adelaide Gallery, a forerunner to the Science Museum. Opened by American inventor Jacob Perkins (1766-1849), it didn’t prove that successful and was replaced by an amusement hall in the 1840s. It then became home to Signor Brigaldi’s Italian Marionettes in 1852, and during another period was used as a music hall. Read the rest of this entry
Along Fleet Street is a bold Art Deco building, which stands out amongst its more muted, grey neighbours. No. 120-129 is a Modernist remainder of the street’s journalism heyday in the early 20th century. Until 30 years ago, the building was home to the Daily Express newspaper. Founded in 1900 by Sir Arthur Pearson (1866-1921), the Express was originally printed in Manchester before moving to Fleet Street in the early 1930s.
The bold black and glass building was constructed from 1930-1932 to a design by architects Herbert O. Ellis and W.L. Clarke. The duo were commissioned by the Express’s then owner, William Maxwell Aitken, Baron Beaverbrook (1879-1960) to extend the existing newspaper buildings towards Fleet Street. Their original designs featured a steel-framed structure, clad in Portland Stone. However, the narrowness of the plot and Aitken’s requirements for room to have printing presses in the basement, meant their first proposal was canned. Aitken then brought in London-born architect and engineer, Sir Evan Owen Williams (1890-1969) to improve the plans. Although he started out as an aircraft designer, Williams won fame with his buildings for the British Empire Exhibition in 1924 (including being the engineer for the old Wembley Stadium) and later designed the Dorchester Hotel, the Boots factory in Nottingham, the Peckham Pioneer Health Centre and the first section of the M1 motorway. Williams redesigned the building’s exterior, with black Vitrolite panels and chromium strips replacing the Portland stone façade. Meanwhile, Robert Atkinson (1883-1952) designed the ground floor entrance, with a chrome canopy and the Daily Express spelt out in Art Deco lettering. Atkinson’s striking lobby features two plaster reliefs – ‘Britain’ and ‘Empire’ – by British sculptor Eric Aumonier (1899-1974). as well as silver and gilt decorative features and a grand oval staircase. The finished building is widely considered one of the best examples of Streamline Moderne architecture in the capital.
The building was joined by neighbouring Aitken House to the east in the mid 1970s, erected on the site of some smaller Victorian buildings. It was clad in similar black panels to the original Daily Express building so the two buildings looked like one huge building on Fleet Street (see a photo in 1990). While the extra office space was needed for Daily and Sunday Express staff, Aitken House ruined the shape and symmetry of the original 1930s design.
In March 1972, the Express building was Grade II* listed because of its Art Deco features, as well as its concrete frame structure. After over 50 years on Fleet Street, the Express group followed in the footsteps of many other newspapers and departed the building in 1989.
By 2000, the building was entirely refurbished and neighbouring Aitken House was demolished. John Robertson Architects restored the original building, including the façade and glazing, as well as replicated and reinstated the lost Art Deco features of the lobby. Investment bank Goldman Sachs leased the building until 2019. It will be interesting to see which tenants move in next…
Discover the history of the Daily Telegraph building on Fleet Street.
Find out the story of No.186 Fleet Street.
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The decline of the department store is a frequently mentioned casualty of the ever-changing retail industry. A host of department stores in London have been closed down over the decades, with the buildings left behind leaving little trace of the retail giants which one inhabited them. Once household names such as Pontings, Pratts, Bourne & Hollingsworth, and Gamages, have been consigned to the history books. Among these lost London department stores was Swan & Edgar, whose flagship building still exists, looming large over Piccadilly Circus.
Cumbrian-born William Edgar (1791-1869) met George Swan (d.1821) met in the early 19th century. At the time, Edgar was running a haberdashery stall in St James Market, while Swan had a shop on Ludgate Hill in the City of London. They went into business together in Ludgate Hill, before moving to 20 Piccadilly in 1812. Business was booming and they made over £80,000 in their first year. Nine years later, Swan sadly died, but his business partner Edgar honoured his memory by continuing to trade in their joint name. Swan & Edgar moved to 49 Regent Street in 1841. By 1848, business was going so well, the store expanded to numbers 45-51 Regent Street and the corner of Piccadilly Circus.
Edgar ended up outliving with business partner by over four decades, passing away in 1869. He lived the last two decades of his life with his wife Frances and their five children at Eagle House on Clapham Common’s South Side. The Georgian building was mostly demolished after Frances’ death in 1889, although parts of the south wing exist today as mews housing. The couple are buried in one of the ‘Magnificent Seven’ cemeteries: West Norwood Cemetery in south London.
Although both founders had died, their names continued to live on through the department store as it continued trading. An 1883 advert boasted the huge range of articles offered for sale, billing the store as “wholesale and retail silk mercers, drapers, furriers/ Mantle and costume makers and seal skin merchants/ Novelty and economy in dress/ All articles of fashion of the latest styles and reliable quality”. The department store’s popularity was boosted by the opening of the nearby Piccadilly Circus tube station in 1906 and became a popular meeting place for friends and lovers to rendezvous. In December 1901, the managing director Walter Morford (who had been in the role since 1895), ended up in trouble with the police over the store. People complained his moving window displays were causing congestion on the pavement, with sometimes hundreds of people blocking the pavement to look at the action. Morford ignored several police summons, complaining he had spent over £100 on designing the windows to attract customers. Read the rest of this entry
Long before TV and cinemas captivated Brits, music halls were a popular form of entertainment. Starting in the 1830s, music halls originally began cropping up in taverns and coffee houses. Landlords started putting on a variety of entertainment for the punters, along with providing them with food and drink. By the 1850s, these variety shows had become so popular, many theatres and pubs were knocked down and replaced with music halls. Hoxton had several popular music halls, including The Eagle on Shepherdess Walk and the Britannia Theatre on Hoxton Street, both of which no longer exist today. At the peak of the entertainment genre’s popularity, there were an estimated 375 music halls in the capital. Performers such as Marie Lloyd, Dan Leno and Little Tich became household names and were in high demand by music halls owners to top their bills.
Although most Victorian music halls are long gone, there is one that is still being used for entertainment today. Hoxton Hall in Hoxton Road was originally erected by builder James Mortimer in 1863. The building followed the traditional music hall design, with balconies on three sides overlooking the stage and open floor. Today, the galleries of seating feature the original iron railings and are supported by cast iron columns. Although more modest in size than many music halls at the time, Hoxton Hall is unique for being purpose-built as a music hall as many were converted from pubs. Originally, Mortimer gave his own name to the building – Mortimer Hall – which opened on 7 November 1863. On the opening night bill were singers and conjurers. However, Mortimer didn’t want his hall to just entertain, he also wanted to educate locals with lectures. Unfortunately for Mortimer, his education program wasn’t quite so popular and by 1865 the building was being used by a waste paper merchant.
In 1866, music hall manager James McDonald Jnr bought Mortimer Hall and renamed it McDonald’s Music Hall. He knew what the people of London wanted and offered affordable entertainment for the working classes, including music, circus and performing dogs. Business was booming and McDonald was able to extend the hall in 1867, raising the ceiling and adding a new upper balcony. However, by 1871, McDonald lost his license following police complaints so it was sold. The subsequent owners applied for a new license in 1876, but were refused.
Philanthropist William Isaac Palmer (1824–1893) bought the hall in 1879 for the use of the Blue Ribbon Gospel Temperance Mission, a sobriety movement. Today, Palmer is honoured with the Palmer Room at the hall. The building became home to the Girls Guild for Good Life, a group founded by Sarah Rae, wife of the secretary of the Blue Ribbon Temperance Society. In contrast to its bawdry music hall origins, the hall was being used to educate working class girls with cooking, dressmaking and elocution classes in a bid to warn them away from the ‘sinful’ hobbies of gambling and drinking. The hall was also used for talks and events to encourage temperance by the Blue Ribbon Mission. Read the rest of this entry
On an ‘island’ in the side streets of Westminster stands an old remainder of a Georgian poor school. Although the pupils have long moved on, the listed building is now home to an upmarket bridal boutique. At the junction of Buckingham Gate and Caxton Street is a 17th century schoolhouse building. Blewcoat School was originally founded in Duck Lane (now known as St Matthew Street) in Tothill Fields, slightly south of its present site, in 1688. It was established as a charity school to educate 50 impoverished boys from the parish of St Margaret’s and St John. Pupils wore a uniform of long blue coats and yellow stockings, the colour blue being associated with charity at the time.
In 1709, local brewer William Greene (d.1732) leased some land from the Dean and Chapter of Westminster to build a permanent building for the school. Greene and his brothers had inherited a lot of land in the areas of Chelsea, Kensington and Westminster from their brewer father John. The family had owned the Stag Brewery at Tothill Fields since 1641 and it was rebuilt and enlarged in 1715 by William. In the 19th century, the brewery was taken over by Watney, with the Westminster site eventually closing in 1959. Today, there’s a nod to the former brewery with a road by the school being named Brewer’s Green. William Greene built a school and schoolmaster’s house on Caxton Street, with many of the pupils being sons of his brewery workers. The timing to move locations was good as Duck Lane was swiftly going downhill, with the area dubbed Devil’s Acre by Charles Dickens. Devil’s Acre had become one of the capital’s most notorious slums in the mid 18th century, renowned for its stench, dire sanitation standards, and cheap, dark dwellings.
Although there is no record of the architect, there has been speculation it was designed by Sir Christopher Wren (1632-1723). The two-storey building was built of brown brick with two tiers of windows on every side. The main entrance on Caxton Street features a Doric porch with a statue of a Blewcoat pupil in the famous blue coat above the door. The interiors feature pilasters, coving, Corinthian columns and fireplaces.
Now established in Caxton Street, the Blewcoat School pupils spent their days learning to read and write and about religion and trades. The school paid for the education of 20 boys for free, alongside fee-paying boys. Around four-five years after the move to Caxton Street, the school started admitting girls, who were also taught needlework and household chores. In 1842, records showed there were 86 poor children enrolled (52 boys and 34 girls). The school educated generations of boys and girls until 1876 when it ceased hosting female pupils. In 1899, the governors obtained an order to close the school and give the land and the buildings to the Vestry of St Margaret’s and St John. The Blewcoat moved premises to another site, with the original building being used for the Infants’ Department of the Christchurch School. The building ceased educating children in 1926.
During World War II, the Blewcoat School building was used by US services as a store. In peacetime, it was utilised for a spell by the Girl Guides. In 1954, the building was Grade I listed by Historic England and bought by the National Trust. The NT used the school as a membership and head office, later being converted into a gift shop. In 2013, fashion designer Ian Stuart gained permission to refurbish the interior and use the building as a boutique for bridal gowns and evening wear. It was opened the following year, and Stuart remains in business today. You may have seen him and the school building in the Channel 4 show The Posh Frock Shop.
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Due to widespread slum clearance and redevelopment over the centuries, there aren’t many Georgian shop buildings left in the West End. However, two such shops have managed to survive for over 200 years, despite previously standing in one of the most notorious slums in central London.
Bedfordbury is a short road of only about 500ft long, linking New Row to Chandos Place. The name Bedfordbury comes from the Earls of Bedford, who acquired the seven acres of land in the 16th century. As Edward Russell, 3rd Earl of Bedford (1572-1627), focused his energies on developing the centre of estate, the fringes became a magnet for haphazard building. A series of small alleys linking Bedfordbury to St Martin’s Lane, including May’s Buildings, Hop Gardens, Turner’s Court, Goodwin’s Court, and Brydges Place, started to pop up. By 1700, the Earls and Dukes of Bedford had practically lost control over the buildings. The lack of landlord control meant the buildings’ standards were far from adequate and the area started to disintegrate into slums, with large groups of families being squashed into upper storeys above the shop levels. In 1887, the steward of the 9th Duke of Bedford’s London estates, wrote: “Every grantee became his own freeholder and his plot of land was under his own absolute control, with this result: that Bedfordbury commenced its career by every man doing what was right in his own eyes in the way of building. A number of alleys came into existence, and instead of a single house being put upon a single plot … a man would put two or three or four on it, may be half-a-dozen houses, or cottages, or anything he pleased upon it, and that went on in perpetuity; and from the time those grants were made until a few years ago… Bedfordbury gradually became one of the worst dens in London.”
No. 23 and No. 24 are likely to be the oldest existing buildings today on Bedfordbury. Built in late 18th century, the terraced houses incorporate the entrance to Goodwin’s Court. Both buildings stand tall at three storeys and have dormered mansard roofs. However, No.24 is slightly wider and features two dormers, with the entrance passage to the Court on the left. The current ground floor shop fronts are not original. No.24’s shop dates back to around the first half of the 19th century, while No. 23 has a mid-century bowed shop window to complement the similar styled windows of Goodwin’s Court.
From the late 18th century to the present day, there has been a high turnover from businesses in the shops at No. 23 and 24. In 1791, a man named Barnard Baker sold household upholstery and hardware. Next door at No.21 was a pub called the Cock & Bottle, which stood on the site for over 100 years, but has long been demolished. By 1842, 23 and 24 were the premises for surgeon JN Walters and hairdressers Cowan & Co respectively.
Moving into the 19th century, the turnover of shops and residents continued to be high – no doubt many were keen to move on when finances allowed due to area’s reputation as a slum. Among the businesses at 23 and 24 in the mid 19th century were greengrocer Michael McNallay and hairdresser/perfumier Reuben Clamp. In 1859, Victorian author and journalist George Augustus Sala (1828-1895) wrote of his disgust of Bedfordbury, describing it as a “wretched little haunt”. He elaborated: “A devious, slimy little reptile of a place, whose tumble-down tenements and reeking courts spume forth plumps of animated rags, such as can be equalled in no London thoroughfare save Church Lane, St Giles. I don’t think there are five windows in Bedfordbury with a whole pane of glass in them. Rags and filthy loques are hung from poles, like banners from the outward walls.”
As much as I love London’s Christmas lights, they can often be little more than some twinkling colours, the same ones from last year (sorry Regent Street, I’m looking at you!), or, even worse, covered in branding which strips out any festive sentiment.
However, this season, the Baker Street Quarter in Marylebone is doing something rather different for their first ever Christmas lights. The district will tell the story of its people and places of years gone by through a series of light installations. The spectacular lights will be featured in four different sites in the area, linked together by stunning illuminated lights along Baker Street. Designed by the Michael Grubb studio, there will designs lighting up Portman Square Garden, Manchester Square Garden, 55 Baker Street and at the Baker Street and Marylebone Road junction. The lights will be switched on on Thursday 21 November 2019, followed by a Christmas lights discovery walk on Wednesday 4 December (6pm).
The first installation in Portman Square Garden is ‘Lady Montagu’s Blue Stocking Parties’ – a nod to the wealthy philanthropist and literary critic’s fabulous bashes she hosted in Montagu House for her 18th century intellectual circle. Next up in Manchester Square Gardens, it will be a classic installation inspired by how the garden would have been lit in the mid 18th century as a ‘Marylebone Pleasure Garden’. Meanwhile, at 55 Baker Street will be memories of the ‘Baker Street Bazaar’, a popular attraction on the very spot which showcased the weird and wonderful from 1822 to World War II, when it was bombed. Finally, at the Baker Street and Marylebone Road junction lights will be inspired by Sherlock Holmes. Four lamp columns on each corner of the junction have been inspired by Sherlock’s sole Christmas tale ‘The Adventure of the Blue Carbuncle’.
For a guide to what else is on in London in January 2020, click here.
This gallery contains 7 photos.
‘Where Light Falls’ commemorated the brave Londoners who protected St Paul’s during the Blitz.
Are you interested in your family history but don’t know where to start? Well, this autumn, the Migration Museum in London is offering visitors insights and opportunities to delve into their ancestry. On 2 November, a day-long event will feature workshops, talks, and meetings with experts to help you delve into your origins. The Migration Museum’s Family History Day will offer activities, talks and assistance from experts from the National Trust, the National Archives and London Metropolitan Archives.
There will be talks from TV star Robert Rinder, who delved into his own family’s past on BBC show Who Do You Think You Are?. Robert Kershaw from the National Archives will explain how its records can be searched and interpreted. Else Churchill from the Society of Genealogists will also be showing how you can search your family’s 20th century history, which can often be more difficult due to sealed records. Meanwhile, Robert Winder – author of Bloody Foreigners – shows how to put historical context into our personal family stories.
Throughout the day, there will also be a photograph dating with a National Trust expert, family history workshop, a chance to search for relatives who fought in WWI and WWII, an installation highlighting the history of black Britons with the Black Cultural Archives, and the chance to speak to war veterans.
Robyn Kasozi, Head of Public Engagement at the Migration Museum, enthused: “Our Family History Day aims to empower people to delve into their past and uncover their family’s migration stories, both within the UK and beyond its borders.”
For a guide to what else is on in London this November, click here.
If you’re interested in London history, architecture or its transport network, then check out a Hidden London tour from the London Transport Museum. Run for limited periods, I’ve previously visited the disused Aldywch tube station and the former World War II shelter underneath Clapham South tube station and found them fascinating. Although the Hidden London group offers visits to other disused platforms and tube stations, my last booking with them saw me remaining above ground. The tour lasts 90 minutes and covered many of the 14 floors of the building.
55 Broadway in St James was London’s first skyscraper because of the way it was built. Standing tall at 53 metres (175ft), the Grade I listed office block is an impressive piece of art deco architecture in Portland stone. The structure was originally built in 1927-1929 to a design by English architect Charles Holden (1875-1960). As well as 55 Broadway, Holden was also responsible for the University of London’s Senate House, Bristol Central Library and many tube stations, such as Acton Town, Balham, Clapham Common and Leicester Square, among others. 55 Broadway was briefly the tallest office block in London, before it was surpassed by Holden’s Senate House in the mid 1930s. It was originally constructed as the headquarters for the Underground Electric Railways Company of London Limited (UERL), on top of St James’s tube station.