A Psychogeographical Christmas. Photo & text: David Secombe.

Cleveland St Workhouse Telecom Tower The Cleveland Street Workhouse and the BT Tower. Photo © David Secombe 2011.

The Cleveland Street Workhouse was built in 1775 as a workhouse infirmary and ended up as part of the Middlesex Hospital until that institution closed in 2005. According to  The Cleveland Street Workhouse it ‘has survived largely unchanged since the Georgian era. Its austere appearance is a rare testimony to the bleak and utilitarian institution it was designed to be. Its back yard was a graveyard for the poor, full of dead to a depth of at least 20 feet.  Recent research has revealed that the building was the likely inspiration for Charles Dickens’ Oliver Twist, since the famous author lived a few doors away, on the same side of the road, for nearly five years of his young life, before he became famous as ‘Boz’’.

As it is Dickens’s bicentennial year, I offer here a glimpse of the grim edifice that loomed over the infant Dickens’s early years in the city. He was only two years old when his parents, fresh from Portsmouth, found lodgings in Norfolk Street – now Cleveland Street – in 1814. At that time the area still had a semi-rural character, with fields and farms lying just east of Tottenham Court Road – although the grand houses of Fitzroy Square were under construction and the churning awfulness of Oxford Street was only a few yards away. Dickens’s friend John Forster said that the novelist was able to recall vivid details of his early childhood, so it is an attractive proposition to believe that the workhouse in the picture above marked itself indelibly upon young Charles’s imagination during the three years (not five) in which he and his family lodged in the district. By 1817, Charles’s father had got a job in Chatham, and it was another five years before Dickens returned to the city, leaving his idyllic years in the Kent countryside for a more permanent engagement with ‘the great wilderness of London’.

The traditional Christmas is in many ways Dickens’s own creation, marked in particular by his characteristic juxtaposition of seasonal conviviality against the bleakness outside: ‘exaggerating the darkness beyond the small circle of light’ as Peter Ackroyd puts it. Dickens described composing A Christmas Carol whilst walking ‘the black streets of London, fifteen and twenty miles, many a night when all the sober folks had gone to bed’ and, for all its fairy-tale sentiment, it succeeded in rousing the conscience of his contemporary audience. The following year he produced The Chimes, another seasonal polemic. According to Ackroyd, The Chimes was partially inspired by a complacent review of A Christmas Carol and also by a story in The Times concerning a young woman, terrified of the workhouse, who had thrown herself and her baby into the Thames – the baby drowned, but the mother was rescued and condemned to death for murder of her child. The Cleveland Street Workhouse was Grade II listed in 2011 and, given Dickens’s agitating for reform of the Poor Law and his disdain for old buildings in general, he would probably have been appalled that this symbol of misery had been preserved for the nation – but there’s no question that the building retains its cruel power, an emblem of the darkness and suffering against which Dickens created some of his most brilliant effects..

Further north on Cleveland Street is the BT Tower, built as The Post Office Tower in 1961, the tallest building in London for nearly 300 years (it was taller than St Paul’s), its construction flattening a block of Workhouse-era buildings on the corner of Howland Street, including the one where Paul Verlaine and Arthur Rimbaud had lived during their stay in the city. The cylindrical form of the Tower was intended to lend stability in high winds – especially, it was darkly muttered, those from a nuclear blast. The Tower is also Grade II listed, and it too is an emblem of its time, redolent of the Cold War and the avowed technological modernity of the MacMillian/Wilson ‘White Heat of Technology’ era. When it opened in 1965, it boasted a revolving restaurant at its top, a concession operated by Billy Butlin; but if a nuclear exchange had taken place, the Tower would have been essential in maintaining contact between whatever was left of Britain and whatever was left of everywhere else. Today, advances in communication technology and the end of the Cold War have left the Tower almost as obsolete as its neighbour the Workhouse. The revolving restaurant was closed after an IRA bomb incident in 1971, and plans to re-open the venue for the 2012 Olympics were quietly shelved – which is a pity, as it would have made a suitably elevated position for the ego of some superchef or other. But, as this is a Christmas post, it is pleasing to report that on Christmas Day 1984, Noel Edmonds’s Live Live Christmas Breakfast Show was broadcast from the top of the Tower, an event described by its coiffed and beaming host as ‘one of the greatest communications projects ever put forward’. Noel went on to present several such Christmas Day TV events from the Tower throughout the 1980s, thus associating an icon of post-war modernity with the traditional late-20th Century Christmas: bored, over-fed and in front of the telly.

(NB: My friend and colleague Chris Brand has just pointed out that I have overlooked the Post Office Tower’s finest moment, in The Goodies’s Kitten Kong episode. Was this a Christmas special? Who cares.)

And on that tenuous and tortuously established link, we would like to wish all our readers a very Happy Christmas.

… for The London Column.

See also: The London Nobody Knows – revisited, Christmas on Greek Street


Royal Hospital, Chelsea. Photo & text: John Londei.

© John Londei 1998.

John Londei writes:

This photograph features Chelsea Pensioners – or ‘Gentlemen’ to give them their correct title – and was taken in the Chapel of the Royal Hospital Chelsea in 1998 to mark the 80th anniversary of the Armistice that, on the “eleventh hour of the eleventh day of the eleventh month”, brought the First World War to an end.

Charles II founded the Royal Hospital in 1681. Sir Christopher Wren was commissioned to design and erect the building. The painting of the Resurrection on the domed ceiling of the Chapel, by the Italian artist Sebastiano Ricci, dates from 1714 and it’s believed to be a donation from Queen Anne. Back then compulsory services were held twice daily in the Chapel.

Seventeen of the Gentlemen in the shot were jokingly called ‘The Spice Boys’ because they always volunteered for such events. Nine days earlier they’d taken part in the Lord Mayor of London’s annual parade appearing on a float depicting The Royal Hospital’s history. But for me the real ‘star’ of this photo was Albert Alexandre, the last veteran of the First World War still resident at the Royal Hospital [the centre row of floor squares point directly to him sitting in the 1st row].

Albert was born in Jersey. Both his parents died when he was six, and he went to live in an orphanage. In 1917 Albert, who looked older than his years, lied about his age (he was 15) and enlisted in the Guernsey Light Infantry. He saw action at Passchendaele, outstanding among the battles of the war not only for its cost in life and limb (almost half a million allied casualties), but also for the weather. In the heaviest rain for 30 years, men, horses and pack mules drowned in the deep shell holes caused by constant bombardment. He witnessed men being blown to pieces all around him, and took part in hand-to-hand fighting. A phrase from one of Siegfried Sassoon’s poems sums it up: ”I died in hell – They called it Passchendaele”.

Albert was discharged in 1919, but re-enlisted into the Royal Garrison Artillery serving in India during World War Two. When Alfred’s wife died in 1992 he moved to the Royal Hospital where he remained until his death in January 2002 aged 100.

A large framed print of this sitting now hangs in the Gentlemen’s Ward at the Royal Hospital. With the passing of time that print, like those old soldiers therein, will just fade away…

© John Londei 2011.


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