The story of a former Fleet Street printing house.
Many of the surrounding streets of Fleet Street have the industries of law and the press to thank for their many architectural designs. Although the newspapers and publishing houses have moved on, their legacy in the area lives on through their former offices. One of these buildings, the former Argus Printing Company, now survives as a great example of Victorian commercial architecture and is now luxury apartments. Located on the corner of Temple Avenue and Tudor Street in the district of Whitefriars, is a building now known as Victoria House.
The name Whitefriars comes from the former friary, which stood in the area from the 13th to 16th century. Following the dissolution of the friary, the area swiftly went from religious to run-down. At the time, it was located outside the jurisdiction of the City of London so became a magnet for the badly-behaved. The area was known as ‘Alsatia’ and was renowned for its criminal population. However, the Great Fire of London of 1666 provided an opportunity for officials to clean up the area as it was rebuilt.
By the 17th century, Whitefriars became a hub for trade with its many warehouses and wharves. Horwood’s Map of 1799 shows Grand Junction Wharf, Weft & Coves Wharf and White Friars Dock around the site of current Victoria House. Although today, Tudor Street is just over 300 metres long, on Horwood’s Map the name only leant itself to a short stretch of the eastern end. Meanwhile, the western end leading into Inner Temple was called Temple Street until it was renamed as an extension of Tudor Street in the 19th century when the area was altered by construction of the nearby Victoria Embankment in the 1860s. It was during the 19th century that the area of Fleet Street and the surrounding streets – including those in Whitefriars – became a hub for London’s booming newspaper industry. The Victorian era saw the establishment of buildings for both the editorial and production of newspapers and magazines.
One of the Victorian buildings established for this burgeoning industry was Victoria House, home to the Argus Printing Company. Journalist and politician Harry Marks (1855-1916) established the Argus Printing Company (APC) in 1887 to print his Financial News daily newspaper, which had been founded three years earlier. At its launch, the original Argus printing plant on Bouverie Street wasn’t very large, featuring one machine and rotary press which could produce 12,000 eight-page papers hourly. By 1887, the success of the Financial News meant the APC could buy a larger machine by Hippolyte Auguste Marinoni (1823-1904), which doubled the hourly output. Within a few years, the Bouverie premises were too cramped for the volume of production required so a new site closer to the Thames was acquired in 1891. Read the rest of this entry
The history of 17 Fleet Street, a 17th century building that survived the Great Fire of London.
Standing on a Fleet Street is a rare piece of Jacobean London. Thanks to the Great Fire of London of 1666, hardly any buildings originating prior to the mid-17th century exist within the confines of the Square Mile. Among the few exceptions are 41 – 42 Cloth Fair in Smithfield, a handful of City churches, the Tower of London and St Bartholomew’s Gatehouse. Another one of these survivors is a Jacobean townhouse at 17 Fleet Street.
The site was originally part of an estate owned by the Knights Templar, an order of Catholic soldiers. Following their dissolution in 1312, the land passed to their rivals, the Knights Hospitallers of the Order of St John of Jerusalem. Among their tenants were lawyers, who established the legal district of Temple which still exists today. With its origins as a Roman route, Fleet Street was named and established as a residential road in the Middle Ages. By the early 16th century, one of the Hospitallers’ tenants was the landlord of an inn called The Hand at 17 Fleet Street. After the Hospitallers was dissolved by King Henry VIII in 1540, a lot of the Temple district passed into the hands of the Crown and other landowners.
In 1610, the owner of 17 Fleet Street rebuilt the tavern, by then named the Prince’s Arms. Some have claimed the tavern was named in honour of the investiture of Henry Frederick Prince of Wales (1594-1612) – son of King James I of England – while others claim the tavern’s name dates back to before his birth. Another theory suggests No.17 was built for the Council of the Duchy of Cornwall and that first floor had been reserved for Prince Henry’s use. The building features a three feathers motif on the façade – the symbol for the Prince of Wales. This symbolism appears again in the large room on the first floor, which boasts one of London’s best examples of Jacobean ceiling plaster. It contains the three feather motif, along with the initials P.H. Read the rest of this entry
The story behind a Neo-Gothic office building-turned-holiday let on Fleet Street
Fleet Street has its fair share of striking architecture – from the bold Art Deco design of the Express Building to the old Tudor frontage of Prince Henry’s Room. However, one particular building’s design suggests it’s from an earlier age that it actually is – the Mary Queen of Scots House at 143-4 Fleet Street. The building is situated just two doors down from the temple-like Peterborough House and next door to Ye Olde Cheshire Cheese pub. The Mary Queen of Scots House has two entrances – the eastern one accessing the upper storeys, while the west is the shop door (currently a Pret a Manger). Just to the left of the shop entrance is Cheshire Court, a small alley previously known as Three Falcon Court.
Long before Pret A Manger arrived, and indeed, even the current building was erected, the site had a varied history. In the 1770s, a publisher named Joseph Wenman was operating out of his premises at 144 Fleet Street, producing mostly theatrical reprints. By 1833, No.143-144 was owned by a Sir John Marshall, with one of his tenants being a baker, according to an insurance policy taken out at the time. In the 1840s, wood engraver Edwin Morrett Williams and cutler/hardwareman William Sutton worked on-site. By 1882, 143 had become a restaurant. Nine years later, optician Samuel Poole was operating out of 144.
In the early 20th century, Scottish landowner and liberal politician Sir John Tollemache Sinclair (1825-1912) acquired the land of 143-144 Fleet Street. He commissioned architect Richard Mauleverer Roe (1854-1922) to design an ornate, Neo-Gothic office building in 1905. At the time, Gothic revival was steadily falling out of fashion in architecture, although the new dawn of Modernist design was still a way off. The building has five storeys, one of which being a roof storey. The ground floor is surrounded by a stone arch with zigzag mouldings.
Discover the history of this 1930s London office block, which was once home to Britain’s biggest newspaper.
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…
- The Express Building, 120-129 Fleet Street, City of London, EC4. Nearest stations: City Thameslink or Temple.
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The history of the City of London’s Carmelite monastery.
Most Londoners are aware of Blackfriars, as it lends its name to a bridge and busy train and tube station. The name stems from the Dominican Friars – who wore black mantles – who had a priory in the area. Although the Blackfriars priory was closed during the dissolution of the monasteries in 1538, the name remained. However, the names of some of the City of London’s other monasteries and priories weren’t so durable throughout history.
In Medieval London, a number of monastic organisations owned a lot of property in and around the city. After King Henry VIII (1491-1547) ordered the dissolution of the monasteries, a large number in London were closed. Among those shutting their doors were Grey Friars in Newgate Street and Whitefriars at Fleet Street. Grey Friars managed to survive in name after the King gave its 14th century church to the City Corporation and it was renamed Christ Church Greyfriars. After it was destroyed in the Great Fire of London, Sir Christopher Wren (1632-1723) designed its replacement, which hosted worshippers until it was bombed during the Blitz and now its ruins survive as a public garden.
White Friars was a Carmelite religious house which sat between Fleet Street and the River Thames, spreading west to Temple and its eastern boundary at Whitefriars Street. The order was originally founded on Mount Carmel in what is now Israel in 1150. After fleeing the Saracens in 1239, the White Friars travelled to England and established a church on Fleet Street in 1253. Their name White Friars comes from, you guessed it, the colour of their mantles. In 1350, it was replaced by a larger church, rebuilt by Hugh Courtenay, Earl of Devon (1303-1377). The White Friars were popular with nobility and Londoners, with many leaving money to the monastery in their wills. The friars’ extensive grounds included cloisters, a cemetery and garden, along with the church.
After nearly three centuries in the capital, the White Friars monastery was closed by Henry VIII in 1538. The king gave the White Friars chapter house to his physician, Doctor William Butts (1486-1545) as a residence. The king’s son and successor King Edward VI (1537-1553) ordered the church’s demolition and allowed noblemen’s houses to built on the site. One of the few surviving buildings, the refectory of the convent, became the Whitefriars Theatre. Established in 1608, the Jacobean theatre only lasted for around a decade and was thought to have been abandoned by the art scene by the 1620s. The diarist Samuel Pepys (1633-1703) often frequented the establishment and noted his visits in his famous diary. At the time, the surrounding area was pretty notorious, with refugees, prostitutes and debtors known to hide there from the authorities. This bad reputation lasted well into the 19th century, with Charles Dickens writing about the area in the 1830s.
Now, all that remains of the friary is a 14th century cellar or crypt, believed to be part of the priory mansion. It was discovered in 1895, later being restored in the 1920s when the News of the World were developing their Fleet Street offices. After the NotW moved east to Wapping in the 1980s, a new building was constructed on site. During building in 1991, the ruins were lifted up on a crane and replaced in a slightly different location. Today, the basement of 65 Fleet Street features a large window so the ruins can be viewed from Magpie Alley.
- Ruins of Whitefriars, Magpie Alley (off Bouverie Street), City of London, EC4Y 8DP. Nearest station: City Thameslink, Temple or Blackfriars.
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The Daily Telegraph may have moved on, but its imposing offices remain. Discover the history of this modernist building.
The newspapers have long moved out of Fleet Street, but their buildings remain. Standing halfway along the iconic street is an art deco temple to journalism. Peterborough Court is the former home of the Daily Telegraph. Although the publication has moved on to Victoria, there are still subtle signs of the building’s former use on the façade.
The Daily Telegraph was founded in 1855 and its first offices were in the Strand, before it moved to 135 Fleet Street in 1862. In 1882, the Prince of Wales (King Edward VII – 1841-1910) opened the Telegraph’s new offices made of Portland stone and Aberdeen granite, designed by architects Arding, Bond and Buzzard. The building remained until the twenties when it was torn down to make way for the current design.
Peterborough Court was built in 1927-1928 to a design by architects Elcock and Sutcliffe, with Thomas Tait (1882-1954) and Sir Owen Williams (1890-1969) as consulting engineers. Tait worked on Adelaide House (the City’s tallest office block in 1925), later phases of the Selfridges department store on Oxford Street and the pylons of Sydney Harbour Bridge. Meanwhile, Williams was the head engineer for the original Wembley Stadium (1923-2003) and architect of The Dorchester. The building was named Peterborough Court after the Bishop of Peterborough, who used to have a house on Fleet Street. The name inspired the ‘Peterborough’ diary column in the newspaper, which remained for decades until it was renamed in 2003.
Likes it predecessor, Peterborough Court is also made of Portland stone. The building’s façade features a combination of art deco and neoclassical details. Large Doric columns give the building a sense of heritage, while its modernist elements represents the present. Standing tall with six storeys and a recessed top storey, Peterborough Court features seven windows across each storey. The centrepiece is the ornate coloured clock on its third floor level, full of Art Deco details such as diamonds, chevrons and sunburst motifs. Read the rest of this entry
Demon Barbers and Scottish newspapers at 186 Fleet Street – the real story behind the office building.
Fleet Street is synonymous with Britain’s journalism industry, with most of the country’s newspapers having offices or headquarters in the area in the first half of the 20th century. While most of the papers have moved on to less central areas, such as Canary Wharf, Southwark and Kensington, there still lies some signs of their EC4 past in the heart of the City.
Standing at 186 Fleet Street is an old remainder of Fleet Street‘s tabloid heyday. No.186, along with 184 and 185 belong to DC Thomson – a Scottish publishing house and TV company. The Thomson family originally started out in shipping before branching out in publishing by buying the Dundee Courier and The Daily Argus in 1886. David Coupar Thomson (1861-1954) established DC Thomson in 1905 as the family’s publishing assets expanded.
Although DC Thomson were headquartered in Scotland, they established a London base to cover relevant stories. Prior to the current building, the site featured the street’s last early 17th century timber-framed buildings before they were demolished.
Throughout the 19th century, there was a four-storey Georgian terrace at No.186 beside St-Dunstan-in-the-West church, with various booksellers and publishers, such as Edward Williams; Henry Wood; and Bell & Daldy; based in the building. (See a London Metropolitan Archives photo of the building in 1883). The People’s Journal and People’s Friend were definitely operating out of the building by the 1890s. In 1913, permission was granted “for alterations to 186 Fleet Street to safeguard the external walls of St Dunstan’s Church”. The church’s vestry backed on to the exterior of No.186. Looking at the records, it suggests architects Meakin, Archer and Stoneham made significant alterations to the original Georgian structure, adding a pediment and finials, and changing the façade. The architecture practice had an office in Nicholas Lane near Monument and also designed the Strand Cinema Theatre in 1910 (it closed in 1953 and although the façade remains at No.428 Strand, the auditorium has been demolished). The practice changed in 1916 with Edgar Percy Archer and Frederic Martyn Stoneham remaining in partnership together after Meakin left.
Today, the façade of the building features glazed red bricks with stone dressings. Five of DC Thomson’s titles were written across the building in mosaic bands as a form of advertising. Four of the five titles are still in publication, with The People’s Journal having folded in 1986 after a 128 year history. The remaining publications are Dundee Courier (founded 1801); Dundee Evening Telegraph (founded 1877); Sunday Post (founded 1914); and People’s Friend (founded 1869). Two further storeys have been added as a mansard roof in more recent decades.
In 2014, DC Thomson extensively renovated their London and Dundee offices. However, just two years later, DC Thomson took the decision to close their editorial office, which meant the last journalists to work on Fleet Street were leaving. DC Thomson continues to own the building, with advertising staff remaining on site.
As well being the home to the last Fleet Street journalists, 186 Fleet Street is also where fictional murderer Sweeney Todd’s infamous barber shop was located. The Victorian villain was known to dispatch his victims into the cellar from his barber’s chair and slit their throats with his razor. His sidekick Mrs Lovett then baked their remains in meat pies.
- 186 Fleet Street, City of London, EC4A 2HS. Nearest station: Chancery Lane.
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When it comes to finding a perfect bar, there’s two main things I look for – an extensive cocktail menu and a relatively low-key venue. I’m a sucker for speakeasies and hidden bars off the beaten track so I’m having a new experience and don’t feel I’m jostling for a spot at the bar with a big crowd. When it comes to whisky/whiskey, I’ve flirted with it in the past and am partial to a Bushmills and Coke when I’m visiting family in Ireland, but am yet to become a full whisky convert. However, after hearing of a new hidden Whisky bar in the heart of the City I went to check it out.
Merchant House of Fleet Street is the sister bar to Merchant House Of The City in Bow Lane, the latter being a gin and rum bar with 300 varieties of each. The newer Fleet Street branch focuses on whiskys and whiskeys instead, boasting over 500 different types, predominantly from Ireland and Scotland, but also some offerings from Japan and American Bourbons. To those less experienced whisky drinkers, like myself, there can be the preconceived notion the drink is dark, strong and heavy. However, the experienced mixologists of Merchant House of Fleet Street are here to change your mind, showcasing the fresh and floral side of the mighty Scotch.
The bar is located down Bride Court, a covered alley off Fleet Street dating back to the 18th century. The venue has a natural and contemporary feel, with a rustic wood and white marble bar, lots of plants and green velvet sofas and bar stools giving a subtle nod to the Highlands and Emerald Isle. Behind the bar are huge shelves showcasing the expansive whisky collection. My boyfriend (who happens to be a bit of a whisky aficionado) and I grabbed two stools at the bar as we were looking to experiment with flavours so wanted a seat near the action.
Before we began perusing the extensive menu, we enjoyed a shot of whisky for ‘Whisky Wednesday’ to kick things off. You’ll notice the menu doesn’t list any brands under the cocktail ingredients, just a rough description of the whisky so it means you focus on the flavours instead. I’m a bit of a sucker for floral flavours such as elderflower and rose so started with a Rose Without Thorns (Island Malt, Rosehip Water, Raspberry Cordial and Americano Rosa). It was quite different to any whisky cocktail I’d had before, sweet and light and went down really well. My companion opted for a Karyukai (Japanese whiskey, plum wine and smoked water), which involved the bartender getting out a blowtorch on the water – who doesn’t like a bit of bar theatrics?! Out of the three cocktails we would try that evening, my boyfriend said this was his favourite as he particularly liked the smoky flavour.
Next up, I continued the floral theme with an Émigré (Single Pot Still Whiskey, Bramley Apple Juice, Rhubarb and Elderflower) which came served with a big slice of rhubarb and tasted very dessert-like and I really enjoyed it. My boyfriend opted for something harder – a Sazerac (Cognac, Rye, Sugar, Bitters and Absinthe) which was served in a short glass – definitely one to be sipped slowly!
Finally, we finished with a Mulligan’s Travels (Poitin, Banana, Vanilla Ice Cream and Ginger Soda) and a Brooklyn (Rye, Sweet Vermouth, Picon and Maraschino). The Mulligan’s Travels was my first introduction to Poitin – essentially an Irish moonshine with potatoes as one of the ingredients. The bartender was happy to educate me and I tried a some of it straight before my cocktail. The strength hits you immediately, before the sweet after-taste comes in. When it came to the cocktail, it was somewhat of a hard shake thanks to its ingredients, with the sweetness overpowering the alcohol so it’s a good choice for those who don’t like their concotions too boozy tasting. Meanwhile, the Brooklyn was bittersweet mix served in a sherry glass, complete with maraschino cherry in the bottom.
Overall, it’s a fabulous bar for both whisky and cocktail fans alike. Those unfamiliar with whisky would do well to pay a visit and will be surprised at the variety of flavours in a whisky cocktail. For more seasoned whisky drinkers, with 500 to choose from, there’s more than enough choices to keep your glass topped up. When it came to the venue, the cosy space and the hidden location makes Merchant House particularly appealing. During our couple of hours in the bar, we were never without an empty glass thanks to the attentive and friendly bartenders, who certainly knew their stuff when it came to whisky and were happy to educate us. As well as cocktails, Merchant House also serves a small food menu and host whisky masterclasses if you want to delve in further.
- Merchant House of Fleet Street, 8 Bride Court, City of London, EC4Y 8DU. Nearest stations: City Thameslink, Blackfriars or St Paul’s. Open Mon-Fri 11am-11pm. For more information, visit the Merchant House of Fleet Street website.
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The traditional wedding cake we know today was inspired by one of the City of London’s churches
The name St Bride’s for a church off Fleet Street could not be more apt, because it plays an important role in today’s wedding culture. While the name of St Bride comes from St Bridgit or St Bride of Kildare – a druidic slave and daughter of an Irish prince, who was born in 453. She gave away so many of her father’s possessions, he eventually allowed her to follow her religious calling. St Bridgit is marked by a feast day, when it is customary to donate to the poor and a cake is baked for her travels.
The current St Bride’s was built by architect Sir Christopher Wren (1633-1723) in 1672, one of the first he designed as the City of London was rebuilt following the Great Fire Of London. It is thought to be the seventh church to stand on the site since the 6th century, with the Great Fire potentially destroying one dating back to the 15th century. The previous church was where the famous diarist Samuel Pepys (1633-1703) was baptised in 1633 and was mentioned in his diary entries concerning the great fire. Although the main church was open for worship from 1674, the tower and steeple weren’t complete until 1703.
The steeple, consisting of four tiers, each diminishing in size the higher they are, was originally 234ft high, but lost 8ft in 1764 due to a lightning strike. After St Paul’s Cathedral, St Bride’s was Wren’s tallest church and was prominent on the London’s then-skyline.
At weddings, it is commonplace to expect a tiered cake as the centrepiece of the reception, with everyone grabbing their cameras or smartphones to capture the iconic cutting of the cake by the bride and groom. Dessert at weddings were originally a stack of cakes, then a bride’s pie, before the bride and groom had their own separate cakes. Just like the traditional colour of a bride’s wedding dress, the white icing was meant to symbolise purity.
Who invented the tiered wedding cake?
Pastry chef William Rich (1755-1811), who lived on Ludgate Hill in late 18th century London, is said to be responsible for the tiered wedding cake we know today. Living a stone’s throw from St Bride’s on Fleet Street, he found inspiration for making a cake for his own marriage to Susannah Prichard (1758-1810) in 1776 by looking at the tiered steeple. Despite claims Susannah was the daughter of his boss, William was actually apprenticed to a baker named William Stiles for years, while Susannah’s father Davis Prichard was a peruke maker (wigmaker) from nearby Cheapside. Following the couple’s nuptials, they continued to live on Ludgate Hill and had 12 children, many of which were baptised at St Bride’s. By the time of William’s death in Stockwell, south London in 1811, he had built up quite a bit of wealth and was listed as a venison dealer and cook. The couple were buried at St Bride’s Church, followed by their son Henry Thomas Rich in 1828.
Amazingly, the steeple survived World War II, despite the actual church being fire bombed by the Luftwaffe on 29 December 1940 (see a photo of the bomb damage). By now, the church had been embraced by the journalists and editors of Fleet Street, who financially contributed to the church’s rebuilding in the Fifties, with the building being Grade I listed by Historic England in 1950. Despite the damage, the bombing did uncover the 6th century foundations of an earlier Saxon church on the site, which can be visited on tours.
- St Bride’s Church, Fleet Street, EC4Y 8AU. Nearest stations: Blackfriars or City Thameslink. St Bride’s Church is open for worship and visits. Please check their website for more information.
Read more on Sir Christopher Wren’s churches and other designs
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Many thanks to the talented proprietor of Ashley Jane Cakes – a caterer located in Lancs – for allowing me to use a photograph of one of her wedding cake designs.