The word ‘sewage’ doesn’t bring up many positive associations. If we were to list the pros and cons of life, human waste is right at the bottom of the pile. It’s a subject we generally like to avoid and try not to spend much time thinking about. However, as over 8 million of us are cramming into the 611 square mile space we call London, a working sewage system is one of our most important utilities. Back in Victorian London, the Industrial Revolution had caused a huge population boom in the capital and the amenities were struggling to cope. The streets and rivers of the city were streaming with rubbish and human excrement… pretty disgusting and a breeding ground for disease. The frequent outbreaks of Cholera were blamed on the inhalation of ‘bad air’. Of course, it was physician Doctor John Snow (1813-1858) who found it was spread by contaminated water, not oxygen. The River Thames was essentially an open sewer and was so toxic it was unable to sustain fish or wildlife. The existing sewers built in the 17th and 18th century were in a bad state and were unable to cope with a population which had nearly tripled to 3 million. However, it wasn’t until ‘The Great Stink’ in summer 1858, when the hot weather exacerbated the smell of the capital’s untreated waste, that the Government finally took action.
Step forward civil engineer Sir Joseph William Bazalgette (1819-1891), who was the Chief Engineer for the Metropolitan Board of Works at the time of the Great Stink. He had already been working for years on plans to revolutionise London’s sewer system and came up with a solution to create a network of smaller sewers feeding into a network of larger sewers. The Government finally gave Bazalgette the OK for his ambitious plan, with work commencing in 1859. The scheme involved 1,100 miles of street sewers feeding into 82 miles of main interconnecting sewers, with pumping stations located both sides of the River.
One of these pumping stations was Crossness, built in Abbey Wood in south-east London. The large site contained a beam engine house, boiler house, 208ft chimney, workshops, a 25 million gallon covered reservoir and homes for the employees. Crossness was designed by Bazalgette and architect Charles Henry Driver (1832-1900), with James Watt & Co building the four, huge beam engines, named Victoria, Prince Consort, Albert Edward and Alexandra respectively. Crossness was opened on 4 April 1865 by Edward, Prince Of Wales (future King Edward VII). As London’s population rapidly expanded, the need for an even more advanced sewage system grew. Crossness was further extended in 1895 with the addition of a triple extension engine house on the front of the original. This featured two triple expansion engines and reciprocating pumps. In 1916, it was extended again as 4 superheated boilers were added. However, by the 1940s, the beam engines were hardly used and eventually Crossness was closed in the 1950s with its chimney demolished in 1958. It was Grade I listed by Historic England in June 1970. Crossness has been under the care of the Crossness Engines Trust since it was founded in 1987. Read the rest of this entry
I’ve previously blogged about the creation of the Victoria and Albert Embankments in the 19th century which coincided with the creation of the camel and sphinx benches, the sturgeon lamps and Cleopatra Needle’s sphinxes. However, there is another item of street furniture which appeared around the same time – the swan benches on the Albert Embankment.
In Victorian London, the rapidly expanding population were creating major issues including the disposal of waste and sewage, most memorably the ‘Great Stink’ in 1858. The local government recognised the infrastructure couldn’t cope with surge of people living and working in the city and established the Metropolitan Board Of Works in 1855. One of board’s biggest projects was the creation of the Victoria and Chelsea Embankments on the north bank of the River Thames and the Albert Embankment on the south. The MBW’s Chief Engineer Sir Joseph Bazelgette (1819–1891) oversaw the extensive project, which involved reclaiming marshland and making the river slimmer in that part of the capital. As well as creating a sewage system and new streets to relieve traffic congestion, a lot of slums on the banks of the river were cleared. In regards to the south bank, the creation of Albert Embankment was also designed to protect low-lying areas of Lambeth from flooding at high tide. The creation of the Victoria Embankment started in 1862, with work commencing on the Albert Embankment in July 1866 and was finished in November 1869. The Chelsea Embankment wasn’t finished until 1874. The embankments were named after the reigning monarch of the time Queen Victoria and her consort Prince Albert, who died in 1861.
In the typically Victorian way, the new Embankment needed to have suitable ‘street furniture’ to give London – heart of the British Empire – a look of prestige and style. English architect George John Vulliamy (1817–1886) was hired as the Superintending Architect. Among one of his many projects in addition to the iconic London ‘dolphin’ lampposts, were creating benches for both sides of the Thames. On the north side, the benches’ panels and arms were designed in the shape of Egyptian sphinxes and camels – complementing Cleopatra’s Needle. On the south side of the river, there aren’t quite as many ornamental benches. However, on the stretch of Albert Embankment between Lambeth and Westminster Bridges are 15 benches featuring cast iron swan panels and arms. These benches were Grade II listed in 1981 and are established within Lambeth’s Conservation Area due to their aesthetic and historical significance. Although I am yet to find official confirmation, I would assume the swan benches have been similarly designed by Vulliamy and made by Z.D. Berry & Son of Regent Street. While the reason behind the Egyptian theme of the Victoria Embankment benches is established, the significance of the swans is not clear.
The name Henry Doulton is stamped on the base on the benches. I admit I couldn’t find a definite answer (but would welcome anyone who knows to comment below), but perhaps Sir Henry (1820-1897) contributed to the funding of the Embankment. Sir Henry was a key player in the expansion of the family ceramics company Royal Doulton, which was founded by his father John (1793-1873). The company had factories on various sites in Lambeth over the years located just a couple of minutes walk from the Embankment. Sir Henry’s brother Frederick (1824–1872) was a MP for the Liberal Party and a member of the Lambeth Vestry of the Metropolitan Board Of Works from 1855 to 1868. Today, the only remainder of the pottery industry which once stood there is the former Royal Doulton headquarters building on the junction of Black Prince Road and Lambeth High Street, a neo-Gothic building (built 1878) now renamed as Southbank House. Royal Doulton left the Lambeth premises in the 1950s for Stoke-on-Trent.
Whatever the reasoning behind the design of the swan benches, today they stand elevated on a concrete plinth so people can sit and admire the fine view of Big Ben and the Houses of Parliament. Located so near to St Thomas’s Hospital, the stretch of Embankment and benches are popular with hospital patients and visitors.
- The swan benches are on the Albert Embankment, in between Lambeth and Westminster Bridges. Nearest stations: Westminster, Lambeth North or Waterloo.
For Metro Girl’s blog post on the Vulliamy’s camel and sphinx benches on the Victoria Embankment, click here.
Or for more on Vulliamy’s Dolphin lamps, click here.
To read Metro Girl’s other blog posts on London history, click here.
Anyone who has strolled along the Victoria Embankment may have noticed the ornate benches alongside the river. Dotted along the north of the Thames between Battersea and Blackfriars Bridges, the cast iron and wooden benches provide more than just a place to rest your weary bones. Unlike the pedestrian-friendly South Bank, the north bank of the Thames isn’t as pleasurable to walk along due to the busy traffic churning out fumes. As a result, all the benches face the river so you can sit with your back to the traffic and enjoy the view.
The benches are one of the many ornamental details created for the Embankment by English architect George John Vulliamy (1817-1886). As well as the benches, he is also responsible for the sphinxes and pedestal for Cleopatra’s Needle and the ‘dolphin’ lamps on both sides of the river. In the centre of London, the Thames used to be a lot wider until the 19th century, city bosses needed a new sewage system to cope with the rapidly expanding population. Sir Joseph Bazelgette (1819-1891) came up with a scheme to reclaim some 22 acres of marshland, creating a new sewage system and a new road, taking the pressure off The Strand. In the typically Victorian way, the new Embankment needed to have suitable ‘street furniture’ to give London – heart of the British Empire – a look of prestige and style.
Hired as the Superintending Architect of the Metropolitan Board of Works, Vulliamy created the ‘Dolphin’ (actually, sturgeon fish!) street lamps along the retaining river wall in 1870. Several years later, he decided to look to Egypt for inspiration when it came to designing the benches, a place he had visited in the early 1840s. Pre-empting the arrival of Cleopatra’s Needle – a gift from Egypt – in 1878, Vulliamy opted for a design which would complement the ancient monument when it eventually arrived. Near the site of the Needle itself, the benches in the City of Westminster feature armrests of Sphinxes, before camel armrests appear in the City of London section of the Victoria Embankment. The benches were made by Z.D. Berry & Son of Regent Street and placed on the Embankment in 1877 – a year before Cleopatra’s Needle was erected. Of course, weather and pollution have damaged the benches over the years, with Westminster and the City of London councils restoring and faithfully reproducing them when needed.
To read about the history of Cleopatra’s Needle, Click here
Or to read about the swan benches on the Albert Embankment, click here.
Or to find out the story behind Vulliamy’s Dolphin lamps, click here
To read Metro Girl’s other blog posts on London history, click here.
Many capital cities around the world have a river running through them. However, when it comes to the Thames, one thing that makes it so recognisable is the striking Victorian lamps lining the Embankment. The street lighting in question are called the ‘Dolphin lamps’, but actually appear to be sturgeon fish.
Prior to Victorian times, the Thames was a lot wider in the centre of town, but was slimmed down by the building of the Victoria Embankment on the north side in the late 19th century. Civil engineer Sir Joseph Bazelgette (1819-1891) came up with a scheme to reclaim some 22 acres of marshland and built a new road and sewage system for the rapidly expanding capital. While this transformed the city, it also meant many riverside buildings were demolished, such as York House. Building of the Victoria and Chelsea Embankment meant Londoners had somewhere new to stroll beside the river so of course, some attractive new street lighting would be required.
Step forward George John Vulliamy, (1817-1886) the Superintending Architect of the Metropolitan Board of Works, who created the unique riverside lamps built into the retaining river wall in 1870. Many different designs were submitted, including one by Bazelgette, however Vulliamy’s designs were chosen for the centre of town. The cast-iron lamps featured two sturgeons with their bodies wrapped around the lamp column. Facing the Embankment, the face of Neptune peered out with the year 1870 inscribed underneath him. Vulliamy was said to have been inspired by the dolphin sculptures on the Fontana del Nettuno in Rome’s Piazza del Popolo during his extensive travels around Europe. As well as the lamps, Vulliamy also designed the pedestals and sphinxes for Cleopatra’s Needle – the ancient Egyptian obelisk gifted to London by Egypt in 1819 – and the sphinx and camel benches to complement it along the Victoria Embankment.
For decades, these lamps only stood on the Victoria Embankment. However, in 1977, city authorities decided to create replicas on the opposite Albert Embankment on the Southbank to commemorate the Queen’s Silver Jubilee. Instead of the year underneath Neptune on the Victoria Embankment, ‘EIIR’ was inscribed to mark Queen Elizabeth II.
To find out about the swan benches on the Albert Embankment, click here.
For Metro Girl’s other London history blog posts, click here.