Smithfield’s Great Day

Meat porters at Smithfield in the 1920s; the market was a bit less bloody by then.

What follows is a mid-19th century description of The Great Day at Smithfield; that is, the Monday before Christmas, when the Christmas dinner was bought.

‘It presented an agitated sea of brute life. Drovers were scurrying hither and thither, carrying flaming torches in their hands, and arranging the cattle in rings and sheep in pens. The poor cattle, could not, from very want of room, be tied up in rows … In one place was a group of brown-coated Devons; in a second a group of bulky Herefords … a mass of black Scottish cattle diversified the picture in one spot; … a small number of rugged-coated monstrously horned Spanish cattle … Here, at one place, was an ox towering over all the rest, and having the reputation of weighing 300 stones; and there, at another spot, was a pig of 40 score, a weight at least equal to that of an average Smithfield ox. … The salesmen, drovers and butchers, many of them booted to the thighs, dashed in amongst the dense masses, and after incredible difficulties separated the animals sufficiently to enable the butchers to inspect them before purchasing. … Great cruelty was practised, the poor animals being goaded on the flanks and struck on the head before they could be marshalled in their proper places.‘ (Unsourced quote: I got it from Smithfield Past and Present, Forshaw and Bergstrom, Heinemann,1980.)

Thirty thousand animals, driven from all over the country (Highland cattle would have been on the road for three weeks), were crowded into a four acre space, beaten through narrow medieval streets by brutal City corporation drovers and lining the pavements with mud and shit. The fact that Smithfield was home to other trades besides butchery was a source of endless tension between the meat merchants and the other local shopkeepers, who bemoaned the mayhem of the cattle trade, the damage to their premises by rogue animals, and so on. Stray animals were constantly turning up in bizarre places, and were occasionally rescued from the Fleet or even the Thames. Contemporary newspapers covered the ‘accidents’ at Smithfield: in 1828 a woman looking in a jewellery shop window in Hatton Garden was killed by a bullock that had been goaded by a group of boys. Market days were great opportunities for pickpockets, who would sometimes attack the drovers and scare their animals, using the ensuing stampede as cover (and this is what the boys who scared that bullock may have been doing). On one day in the 1830s, there were reports of a gentleman gored by a bull in Kingsgate Street, a young lad trampled by a bullock in Long Lane, and of a rogue pig who got into a house in Turnmill Street and attempted to eat a baby. (Urban myth alert: there are other stories about a baby-eating pig that lived hereabouts, so I suggest that this latter item should be taken as a bit of period sensationalism.)

Smithfield live market circa 1830: note the gate to St. Bart’s hospital at rear right.

Apart from live animals causing disturbances, the chaotic conditions in which livestock was butchered lent a hellish, blood-spattered character to Smithfield’s streets. In Oliver Twist, Dickens describes the locale thus: ‘Through the filthy lanes and alleys no-one could pass without being butted by the dripping end of a quarter of beef, or smeared with the greasy carcase of a newly-slain sheep.’ An entire industry of slaughtering, flaying, rendering, dressing, tanning, soap making and tallow making was based in Smithfield, right up until the market was abolished in 1855. The district was peppered with slaughterhouses in basements, yards and even ordinary houses, unlicensed killing pits whose greasy entrances opened onto the street and into which pigs and sheep were flung to their doom. Cowcross St. was known for its knackers’ yards, each one of which would slaughter and boil down as many as sixty worn-out horses per day; this process was known in the trade as ‘melting’. Naturally, they weren’t just trading in old horses, as horse theft was endemic; a gentleman’s horse could be stolen, sold to a slaughterhouse and have its throat cut before its owner noticed it was gone. Sharp’s Alley, a meandering tributary of courts off Cowcross St., was home to Atcheler, ‘knacker to his Majesty’, alongside a ‘bladder-blower’, several cat-gut dealers, a manufacturer of cart-grease and various butchers of diseased cattle. There were furriers who specialised in rabbit and even cats’ fur, often taken from stolen cats, and who flayed the animals whilst still alive so as to preserve the quality of the pelt. Perhaps not coincidentally, the rats in Sharp’s Alley were said to be the biggest and fiercest in London.

Sarah Wise’s terrific book The Italian Boy includes a chapter on the character of Smithfield in the 1830s and mentions The Bear and Ragged Staff, a tavern that used to stand at the north-eastern side of the market, which functioned as a combination pub and slaughterhouse. Market inspectors reported finding a putrefying cow’s carcass hanging up in the doorway, prior to being transformed into the cheapest of cheap meat products: cattle feed. (Even in the 1830s there was concern that feeding any meat – let alone diseased meat – to herbivores was an outrageous practice, yet it wasn’t disallowed until after the BSE crisis in the 1980s.) The Italian Boy is the story of how ‘resurrection men’ ensured that the medical schools of early 19th-century London had a regular supply of fresh meat to work with. This loathsome trade in the dead was centred around Smithfield and the Fortune of War pub, which stood on Giltspur Street, handy for St. Bart’s hospital (and near Newgate Gaol, almost within sight of the public executions held outside the prison’s Debtors Door). Smithfield, a place of slaughter since the 1200s, had evolved its own shadow trade in human corpses. In Great Expectations, Pip calls Smithfield ‘the shameful place, being all asmear with filth and fat and blood and foam […]’; but, like any provincial market town, the area was well-served by pubs: the index to The Italian Boy also lists The George, The King of Denmark, The Bell, The Three Tuns … hostelries where traders in flesh of all kinds could take refreshment between deals and bloodshed. And, in August, Smithfield played host to Bartholomew’s Fair, an ancient cloth fair, est. circa 1180, which functioned as an annual Londoners’ holiday. The rowdiness of Bartholomew’s Fair was celebrated by Ben Jonson in his titular play, celebrating the event as a microcosm of English society. (But that’s for another post.)

Despite the distaste of Charles Dickens and the public at large, private interests kept the live market at Smithfield going until 1855, after which it was moved a much bigger site north of Islington. The noble Victorian City Corporation buildings that comprise today’s Smithfield market constitute a (successful) bid to sanitise the consumption of animal flesh. The City Corporation suppressed Bartholomew Fair at the same time as they closed the live market; but for those who seek contemporary excitement, there’s always the nightclub Fabric, opposite the Corporation market buildings on Charterhouse St., which hosts a distinctly 21st century bacchanalia.

Christmas display at Smithfield Market; note the illuminated crib fashioned from lard. From ‘Panoramas of Lost London’, Philip Davies, pub.: English Heritage.

See also:
Flogging a Dead Thing
Jonathan Wild’s House
From the Betsey to The Black Friar
Fights and Festivities at Hockley Hole

On The Patience Of Bar Staff

The late Glyn Edwards as the pub landlord in ITV’s ‘Minder’.

I have never worked behind a bar. I suspect that if I had I would not be writing A Drinker’s History of London. I have drunk enough in public to wince at fragmentary memories of erratic behaviour that must have drawn the disdain of bar staff; and perhaps the most painful recollections are the ones where I made an arse of myself in places where I was a regular. But the staff in those establishments were never less than welcoming to me; in fact, I am fortunate enough to have encountered very little unpleasantness from anyone behind any bar anywhere. I think they take one look and identify me as a harmless oaf. However, the famous ‘barred’ list from the Half Moon in Herne Hill describes the essential qualities of troublesome punters with concise and admirable precision:

MICKEY TWO SUITS
VITRIOLIC QUEEN …OOHH IT’S NOT HOXTON
THE GLASWEGIAN
THE GINGER TWAT DRUNK
THAT BLONDE BITCH
CRAZY LINDA
ADAM THE DEAF GUY
STARING PERVERT

… and so on. One imagines that lists similar to this one sit behind the bar of every pub in Britain. Like those who work in the emergency services, bar staff are obliged to engage with the less appealing aspects of humanity; this must do something to you as a person. Bar staff themselves come in all flavours: friendly, taciturn, knowing, chaotic, self-absorbed, shouty, flirtatious, officious, hesitant, hostile – and, on just one occasion in my experience, drunk. Irascible landlords of legend include Norman Balon, proprietor of The Coaches And Horses in Soho, whose snarl of ‘You’re barred!’ became a media catchphrase and was turned into graphic art by the great Michael Heath. Last summer I encountered an interesting contemporary variant of the species when I went with a colleague to a pub in Smithfield: the landlord was inordinately proud of his COVID-19 one-way system, enforcing it with comic rigidity even when the pub was empty. At closing time I chose to leave the deserted bar by the ‘IN’ door and heard a furious and indignant cry follow me out into the street: ‘Wrong way!’ – to which I replied, with glee: ‘I KNOW!‘ But today I am concerned with the more urbane type of barkeep; more Gaston of ‘The French’ than Norman of ‘Norman’s’. Those imperturbable professionals who facilitate their patrons’ addictions and endure their conversations with neither stern disapproval or false bonhomie. These men and women are the quiet heroes of our drinking culture.

A souvenir of Seventies London: Tom Baker tells Jeffrey Bernard about a typical day and is photographed by the great Ken Griffiths in The French House with Gaston Berlemont behind the bar. Sunday Times Magazine, 1978. The type is small but is just about legible and I urge everyone to read it.

Fiction offers some well-observed examples. In Evelyn Waugh’s novella Work Suspended (published in 1943 and set in the period just before WW2) the narrator, Plant, is taken to a seedy club off Wimpole Street by ‘Atwater’, a man who recently ran over and killed Plant’s father. Before they enter, Atwater explains that he is known at the club as ‘Norton’.

The room into which he led me was entirely empty. It was at once bar, lounge, and dining room, but mostly bar, for which a kind of film-set had been erected, built far into the room, with oak rafters, a thatched roof, a wrought iron lantern and an inn-sign painted in mock heraldry with quartered bottles and tankards. 
‘Jim!’ Cried Atwater.
‘Sir.’ A head appeared above the bar. ‘Well, Mr Norton, we haven’t seen you for a long time. I was just having my bit of dinner.’
‘May I interrupt that important function and give my friend here something in the nature of a snorter’ – this was a new and greatly expanded version of Atwater the good scout. ‘Two of your specials, please, Jim.’ To me, ‘Jim’s specials are famous.’ To Jim, ’This is one of my best pals, Mr. Plant.’ To me, ‘There’s not much Jim doesn’t know about me.’ To Jim, ‘Where’s the gang?’
‘They don’t seem to come here like they did, Mr Norton. There’s not the money about.’
‘You’ve said it.’ Jim put two cocktails on the bar before us. ‘I presume, Jim, that since this is Mr Plant’s first time among us, in pursuance of the old Wimpole custom, these are on the house?’
Jim laughed rather anxiously. ‘Mr Norton likes his joke.’
‘Joke? Jim, you shame me before my friends. But never fear. I have found a rich backer; if we aren’t having this with you, you must have one with us.’ 
The barman poured himself something from a bottle which he kept for the purpose on a shelf below the bar, and said, ‘First today,’ as we toasted one another. Atwater said, ‘It’s one of the mysteries of the club what Jim keeps in that bottle of his.’ I knew; it was what every barman kept, cold tea, but I thought it would spoil Atwater’s treat if I told him.
Jim’s ‘special’ was strong and agreeable.

… and the pair proceed to spend the rest of the afternoon getting smashed. 

Another personal favourite of mine is Ambrose, the hotel barman who features in Alan Ayckbourn’s Private Fears In Public Places, and who has been co-opted as ‘best friend’ by the alcoholic Dan. This is how the pair are introduced, at the start of Scene Two: 

Dan: Very quiet today isn’t it Ambrose?
Ambrose: Very quiet, sir.
Dan: Why’s it so quiet? Do you know?
Ambrose: No idea sir. Tuesday, possibly. 
Dan: Oh yes. 
Ambrose: Always slow on Tuesday for some reason, this hotel.
Dan: Wonder why that is?
Ambrose: no idea, sir.
Dan: You’d think, Tuesday. People would be up and about by then. I mean, Monday. You can understand a Monday. 
Ambrose: Oh yes.
Dan: Being the day after Sunday, you know. I mean, Saturday night and all that. You’d expect that on Mondays. But Tuesday – I can’t think why – [slight pause.] Did you say it was Tuesday?

(Ayckbourn’s London-set play was turned into a film by, of all people, Alain Resnais, he of Last Year In Marienbad, to create an interesting Anglo-French, London-Parisian, cultural hybrid. Dare I say it evidences deeper emotions than the original play?)

Dan introduces his date to the hotel barman in Alain Resnais’s French language film of Alan Ayckbourn’s ‘Private Fears In Public Places’, 2007.

I think that the reason these two examples resonate with me is down to the uneasy feeling that I am that man: the man on the ‘civilian’ side of the bar, boring the likes of the exemplary, impassive Bernard (of ‘Le Tartin’ and ‘Manouche’) and others of his trade. I do not know – and do not want to know – what Bernard really thought of me, my friends, my dates. But, for all his good manners, I think I can guess. And I still wince at the elaborate courtesy of the Polish landlord of that pub in Waterloo, the one where I fell asleep after an afternoon of drinking with colleagues. I awoke at the start of the evening session, long abandoned by my companions, to feel the landlord gently patting me on the shoulder as he said, with evident concern, ‘You can’t sleep here.’ Even more tragic in recollection is the flirting; the hopeless, desperate attempts at banter with hordes of pretty barmaids in pubs in practically every postcode in London. Now, way too old to be a plausible flirt, I have been forced to retreat to a position of gnomic detachment: sitting alone at a corner table, ostentatiously reading a small-talk defying tome (Our Bones Are Scattered, Andrew Ward’s epic account of the Cawnpore massacres, remains the ultimate conversation-deterrent), I resist commonplace saloon-bar chat in case that nice girl who is collecting the empties says something and I immediately make an arse of myself yet again. Mind you, Christmas is coming up and – omicron variant notwithstanding – I fully expect to engage in festive drinking that could well result in preposterous and embarrassing loquacity on my part. You have been warned.

See also: An Evening With Harold Pinter
and: Wine Bar Nostalgia

Vanished Pubs of The Old Kent Road

Doomed gin palace, Old Kent Road, 1989.

‘The most noticeable feature in the Old Kent Road is the number of public-houses, each with its swinging sign and drinking-trough for horses.’ From The Old Kent Road chapter in Old and New London, Edward Walford, 1878.

The Old Kent Road remains one of the strangest of all London roads, as well as one of the oldest; it incorporates part of Watling Street, that Roman highway which went all the way from Dover to the wild Welsh Marches. A walk along The Old Kent Road today – a fairly short trot between New Cross and the Bricklayers’ Arms roundabout – is impressive by virtue of the vast contrasts in tone and scale. On the one hand you have the residue of the massive gasworks, the acrid colours of the retail sheds, relics of failed residential developments (especially The Aylesbury Estate, which looms like an abandoned supertanker above the artificial water meadows of Burgess Park), the yawning dual-carriageway and the endless stream of traffic thereon … yet there are occasional bright spots amidst the post-industrial wastes. Repurposed evangelical churches in former office units or light engineering premises promise to ‘set the captives free‘, whilst neighbouring buildings are home to equally anomalous nightclubs. The rare and beautiful Licensed Victuallers’ Almshouses (1827) still graces Asylum Road, even if it is now offset by a supermarket car park, and unexpected oases of genteel villas and terraces form tributaries off the churning thoroughfare. And there is real street life to be found along the OKR’s northern stretch, with busy independent shops which proliferate as you come within sight of the Bricklayers’ Arms roundabout. That end of the Old Kent Road has a strangely foreign quality; on a summer afternoon one could almost be in an unreconstructed suburb of Miami or Los Angeles, whereas on a winter afternoon one is reminded of Cleveland or Detroit. This may have something to do with its untended nature; even the Holloway Road doesn’t look this abandoned by civic authority. Perhaps any road in any city, left to its own devices, ends up looking slightly American.

Where Henry boxed and David rehearsed and generations of Londoners drank … the building that was The Thomas a Becket, now a Vietnamese restaurant, ‘Viet Quan’, November 2021.

Like the Strand, The Old Kent Road is a ghost of what it once was.The Bricklayers’ Arms roundabout takes its name from the railway goods depot that drove the development of local industry from the 1850s onwards, making this bit of Southwark a sort of land-locked counterpart of the great Victorian docks. Given its industrial vitality and importance as a route into town from the coast, it’s no wonder there were so many places to drink, as Walford observes in Old And New London. But you are hard pressed to find a boozer hereabouts today, although there are visible ruins of a lost drinking culture. On the western side of the crossroads of the OKR and Albany Street is an ornate Victorian building which was once one of the most iconic (there, I’ve said it) of all London pubs: The Thomas a Becket. Like The Angel in St. Giles, this was one of those pubs that preserves a link to an older London, although it’s hard to feel anything but dismay at the present condition of the locality. The Thomas a Becket premises occupies a site associated with an ancient hostelry, St. Thomas à Waterings, which catered to the needs of pilgrims setting off for Canterbury; it was the first stop on the way out of London and is referenced by Chaucer. (Given its city limits location, this crossroads was also a place of execution, especially notable for politically-motivated disembowellings under Henry VIII, killings that would have happened more-or-less where the big Tesco stands today.) The Victorian pub that bore the name of the martyr eventually morphed into a place of homage for entirely 20th century reasons. This Thomas a Becket was famous as a boxers’ pub, with a gym on the first floor: Henry Cooper patronised this gym, along with various sixties gangland soldiers (also James Fox, preparing for his role as Chas in Performance). The late Dave Prowse (aka Darth Vader) was photographed meeting Muhammed Ali here. Also, David Bowie rehearsed his ‘Spiders From Mars’ band here in the early Seventies. Since the pub closed a decade or so ago the building has been variously an estate agent’s premises, an art gallery and its current iteration is as a Vietnamese restaurant – possibly a very good Vietnamese restaurant, I cannot say, but it is a pity that this pub, of all pubs, is no more.

Ghost pub …

I recently spent a couple of freezing afternoons tramping up and down the Old Kent Road. For many years the OKR was a place I engaged with on a daily basis, as I either lived near it or utilised it as a means of driving to and from town. I am still intrigued by its blasted quality, by its epic dereliction and anomalous fragments of elegance. The image at the top of the page is a photo I took in the late eighties of the crumbling facade of a Victorian gin palace, a fragment of costermongers’ Victoriana which tottered above the traffic until it was finally swept away in the early 2000s. (That photo was taken only a few years after the goods depot finally closed in the early Eighties, contributing greatly to the decline of the area.) A walk around the locality today offers evidence of other ghost pubs; the building in the photo above is one such, now re-purposed as flats. But this can be no surprise, you don’t need me to tell you that pubs are dying all over the country as we forsake social drinking in favour of thrashing our livers in the comfort of our own homes. The least worst option for The Thomas a Becket would be to be made over as a gastro-pub, but I’m guessing that the area won’t support that socially aspirant catering model. Not yet anyway; since the last time I visited the OKR a few blocks have disappeared and hoardings promising residential opportunities have appeared in their place. Dalston-type gentrification seems unlikely, but who knows? I confess that for all my disdain of the untrammelled greed that is taking its toll of so many London neighbourhoods, one can’t avoid the feeling that something needs to happen here. Unfortunately, I suspect that the big residential development proclaimed on a hoarding by the old gasworks will be as chilly and faceless as the new blocks on the site of the old Heygate estate. We’re back to J.G. Ballard again. But amidst the tundra of the Old Kent Road there is an interesting cockney survivor, a landmark on the corner with Trafalgar Avenue, where the traffic peels off towards downtown Peckham: the Lord Nelson is a mid-Victorian pub which remains defiantly open for business, although this is not automatically apparent. On a Thursday afternoon in November the pub appeared to be shut but my colleague (CJ of Sediment notoriety) persisted in his quest for a light half and we found ourselves in a genuine, time warped London boozer. A vaulted hall of a bar, a snooker table in an bleakly-lit adjacent room, a small stage bedecked with tinsel, ready for whatever live entertainments the landlord had corralled for the evening’s punters, and a small cluster of daytime regulars. Collectively, their faces bore the traces of hundreds of years’ worth of drinking in this pub. This is as authentic as it gets. And it is probably doomed. Enjoy it while it lasts. Altogether now