No fire without smoke

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Blackpool Tower: access stair to the Crow’s Nest

A false hue-and-cry created post-Christmas entertainment in the centre of Blackpool on Thursday December 28th 2023 when passers-by thought they could see flames shooting from the top of the Tower.

Phone footage does indeed look convincingly like a fire – https://www.bbc.co.uk/news/av/uk-67836123 – but it was an illusion caused by orange netting flapping in the wind.

Lancashire Fire & Rescue Service deployed six fire-engines, a helicopter and a “rope rescue” team to inspect the upper levels of the structure leading to the “Crow’s Nest”.

The excitement was over before teatime.

It wasn’t the first alarm about a fire at the top of the Tower.

There was a real fire above the 380ft landing, where the passenger lifts terminate, late in the evening of Thursday July 22nd 1897, three years after the Tower was opened.

It was a time when there was no possible way to put it out.  The wooden decking was simply left to burn itself out while crowds watched from the Promenade.

All the fire brigade could do was to protect surrounding buildings from catching fire from falling debris.  The Liverpool Mercury (July 24th 1897) reported –

Showers of sparks flew around in all directions, and large pieces of blazing wood dropped away from the burning mass, and sped through the air like rockets.  As the flames got better hold of the woodwork, the heat became more and more intense, and long before midnight the iron framework on the east side of the platform was white heat.

The most dramatic moment came when the wire rope attached to one of the lift cars burnt through, and the eleven-ton counterweight dropped the full height of the Tower, burrowing into the foundations within a private box in the Circus auditorium, where it still remains. 

The noise of its fall was heard all over Blackpool and brought people out into the streets.

The fire burnt itself out shortly after midnight, and at daybreak it was apparent that below the seat of the fire the paintwork was barely scorched.

The following day Blackpool’s entertainments carried on, profiting from additional visitors drawn in by the news reports.

It’s an ill wind…

The Liverpool Mercury news article can be found at https://amounderness.co.uk/blackpool_tower_fire_1897.html.

Whitelock’s, or the Turk’s Head

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Whitelock’s, Briggate, Leeds

My friend Simon has worked for three separate employers in Leeds and had never visited Whitelock’s, the celebrated Victorian pub up an alley off Briggate, so we took a train to Leeds, had coffee in the Tiled Hall Café at Leeds Art Gallery, presented ourselves at Whitelock’s for a substantial, totally traditional pub lunch in Victorian surroundings, and whiled away the afternoon over coffee at the Queens Hotel, which has been impressively refurbished.

There has been a licensed ale house, the Turk’s Head, on the Whitelock’s site since 1715, serving merchants and traders from the market in Briggate on Tuesdays and Saturdays.

Tucked up one of the narrow medieval burgage plots that characterise the centre of Leeds, its opulent interior dates from 1886, a feast of tiles, mirrors, stained glass and brasswork, and has been improved by successive owners. 

John Lupton Whitelock (1834-1896) held the licence from 1867 and purchased the freehold in the 1880s.  His son William Henry Whitelock (1856-1909) employed the Leeds architects Waite & Sons to extend the facilities and install electric lighting and an electric clock.  He renamed it Whitelock’s First City Luncheon Bar.

The brothers Lupton (1878-1941) and Percy Whitelock (1889-1958) took over in the early years of the twentieth century.  Lupton Whitelock was an accomplished flautist, playing with the Leeds Symphony and Hallé orchestras, and he encouraged his musician friends such as Sir John Barbirolli and Sir Malcolm Sargent to visit.

Over the years it has entertained entertainers as varied as Peter O’Toole, Margot Fonteyn and Dame Anna Neagle.  It was a favourite haunt of writers from the Yorkshire Evening Post such as Keith Waterhouse.

In time its connections brought celebrities who valued its intimacy and formality:  for years dinner jackets were obligatory and only gentlemen were served at the bar.  Women customers were served by waiters. 

HRH Prince George, Duke of Kent, held a private party at Whitelock’s, perhaps while staying with his sister the Princess Royal at Harewood House.

The family ownership ended in 1944, when the pub was sold to Scottish & Newcastle Breweries but its character has survived several changes of ownership.  Sir John Betjeman called it “the very heart of Leeds”;  it was listed Grade II in 1963 and upgraded to Grade II* in 2022.  Its Leeds Civic Trust blue plaque, the hundredth to be awarded, was unveiled by Lupton Whitelock’s granddaughter, Sarah Whitelock, in 2008.

The current owners, Mason & Taylor, made a huge effort to restore Whitelock’s to the very heart of Leeds after a marked decline:  Mason & Taylor: A White Knight For Whitelocks? | the CULTURE VULTURE. 

The mission was duly accomplished:  Whitelock’s Ale House Is at the Heart of Leeds and Its Story | Craft Beer & Brewing (beerandbrewing.com).

The most perfect of all station houses 3

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Wingfield Station, South Wingfield, Derbyshire (2023)
Wingfield Station, South Wingfield, Derbyshire (2023)

One summer’s evening in 1965 I caught a train from Wingfield Station to my home in Belper.  I’d no idea of the timetable and I was lucky that a steam-hauled passenger train showed up promptly.  It’s a long walk from South Wingfield to Belper.

The station closed to passengers in 1967, and by the time I photographed it in 1976 it looked distinctly neglected.  A succession of private owners allowed it to become a wreck until the South Wingfield Local History Group successfully campaigned to lift its listing from Grade II to Grade II* in 2015, and prompted Amber Valley Borough Council and the Derbyshire Historic Buildings Trust (DHBT) to plan a thorough, practical restoration.

I visited the site in 2021 when work was about to begin, and returned in late October 2023 when the Trust ran a series of public events to celebrate the completion of their work. 

The result is impressive:  the building is at last not only weatherproof and structurally sound but restored to the highest standard – a remarkable achievement on a site that stands a few feet from a busy main-line railway.

The new lessees will be grateful for the underfloor heating beneath the stone flagstones.  Visitors will be fascinated by the detailed recreation of the ladies’ waiting room based on the discovery and salvage of original wallpaper. 

When the building begins to earn its keep as office accommodation, public visits will be arranged six times a year.

The DHBT website points out that “Whilst Wingfield Station is not the earliest pioneer railway station to survive, it is one of the least altered surviving examples worldwide”. 

As such it has national and international significance, and local volunteers and historians are building a significant resource that will be useful to online visitors:  Our Project | dhbt-live (derbyshirehistoricbuildingstrust.org.uk).

Exciting new discoveries about the context of the station in the development of travel, coal-mining and the growth of neighbouring towns and villages and personal stories of people who worked there are already uploaded and the site has considerable potential for further development.

Already the website offers – as far as I know for the first time – images of all of Francis Thompson’s stations for the North Midland Railway at the end of the 1830s, drawn by Samuel Russell.

Without the DHBT and its partners, on the ground and online, almost all of Francis Thompson’s work for the North Midland Railway would have disappeared, and the talent of a young, pioneering architect of the early railway age could not be fully appreciated.

Derby Roundhouse

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Derby Roundhouse

While the architect Francis Thompson was designing the Trijunct Station in Derby and all the other stations up the North Midland line to Normanton in the late 1830s, the engineer Robert Stephenson was laying out repair and storage facilities alongside.

This was the beginning of the “Works”, where locomotives were built and maintained, and the “Carriage & Wagon Works” (1873-76) on Litchurch Lane, a complex of which vestiges survive under the aegis of the rolling-stock manufacturer Bombardier Transportation.

The singular monument of the Works is the Derby Roundhouse, a sixteen-sided locomotive shed built around a turntable within a prestige building by Francis Thompson.  (There were other roundhouse buildings at the Works, all now demolished.)

Francis Whishaw, in The Railways of Great Britain and Ireland practically described and illustrated (2nd ed, 1840), gave this description:

The engine-house is a polygon of sixteen sides, and 190 feet in diameter, lighted from a dome-shaped roof, of the height of 50 feet.  It contains sixteen lines of rails, radiating from a single turn-table in the centre:  the engines, on their arrival, are taken in there, placed upon the turn-table, and wheeled into any stall that may be vacant.  Each of the sixteen stalls will hold two, or perhaps more, engines.

This innovative structure served its original purpose past the age of steam, but eventually became derelict and was threatened with demolition until Derby City Council acquired it in 1994.  Its Grade II listing dating from 1977 didn’t reflect its importance as the oldest surviving locomotive roundhouse in Britain.  It was subsequently regraded to Grade II*.

Maber Architects skilfully refurbished the Roundhouse as part of a flagship campus for Derby College, preserving the track layout, the elegant supporting columns and the complex roof structure. 

Opened in 2009, it now forms a well-used facility for students and conferences, referencing the significance of the rail industry in Derby’s nineteenth- and twentieth-century growth.

The earliest locomotive roundhouse is thought to have been at Curzon Street, Birmingham, dated 1837;  the better-known Camden Roundhouse in north London dates from 1847.  The Barrow Hill Roundhouse (1870), north of Chesterfield, continues to function as a heritage operation where locomotives and rolling stock are stored and repaired.

Trijunct Station

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Derby Midland Station (1978)
Derby Station (2016)

Derby railway station’s three-way junction forms a hinge in the national railway network, not as extensive or complex as Crewe or York, but pivotal on the north-east/south-west axis and the route from South Yorkshire to London.

The railway came to Derby because the town was chosen as the meeting point of three independent railways, the Midland Counties Railway between Derby, Nottingham, Leicester and Rugby (opened June 4th 1839), the Birmingham & Derby Junction Railway (opened August 12th 1839) and the North Midland Railway between Derby, Chesterfield, Rotherham and Normanton (opened May 11th 1840).

Passenger services for these three companies were provided at the Trijunct Station (1839-41), owned by the North Midland, at Litchurch, just outside the Derby boundary, because the only available nearer site for a single station, at the Holmes, was prone to flooding and would have required a more complicated track layout.

In 1844 the three companies amalgamated to form the Midland Railway, which grew to become an important main-line railway with services to London, Manchester and Carlisle.

The original joint station had a single platform, 1,050 feet long, with terminal bays for trains to Birmingham southwards and for the Midland Counties trains that departed northwards and headed east towards Spondon. 

The equally long Italianate station building was designed by the North Midland Railway architect, Francis Thompson (1808-1895), behind which was a cast-iron train shed by Robert Stephenson (1803-1859). 

Both of these structures are long gone.  An island platform was installed in 1858, along with further offices and a porte-cochère on the street frontage, designed by the Midland Railway architect, John Holloway Sanders (1825-1884).  A second island platform, with a footbridge, followed in 1881.  The front buildings were largely replaced by Sanders’ successor, Charles Trubshaw (1840-1917) c1892.

Following extensive bomb damage in January 1941 which destroyed the train shed and the buildings on Platform 6, all three sets of platform buildings, together with the footbridge and main signal box, were replaced in 1952-54.

The signal box was decommissioned in 1969 when a modern power box was constructed south of the station, and the Victorian front buildings were demolished, despite objections from conservationists, in 1985. 

All that remains of these buildings is the clock and the carved coat of arms of the borough of Derby from the porte-cochère, incongruously located in the station car park.

The replacement building in red brick is uninspiring.  Behind it, the 1950s concrete was found to be weakening.  The concrete footbridge was replaced in 2005, and new platform buildings followed in 2007-2009.  An additional platform was added during 2018 along with comprehensive remodelling of track and signalling to improve freight and passenger flows and to future-proof the station for decades to come.

Peter Stanton, describing the complex construction and engineering that took place over seventy-nine days of service disruption in Rail Engineer (November 15th 2018), remarked that there was “very little heritage to concern designers who could have a free reign to produce the most modern facilities”. 

The original Trijunct Station has been remodelled so frequently – 1858, 1881, 1892, 1952-54, 2005, 2007-09, apart from being bombed in 1941 – that it’s now a 21st-century passenger station. 

But the modern trains gliding in and out of Derby follow the same tracks and routes as the early steam locos that trundled into the Trijunct Station in 1839-40.

Hogarth’s house

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Hogarth’s House, Chiswick, London

William Hogarth (1697-1764) was exceptional.  In our day we have no-one quite like him.

He began his career as a commercial engraver, and began to produce images for sale that exposed social and moral evils in contemporary life, from ‘Emblematical Print on the South Sea Scheme’, published in 1724, to the great narrative series, A Harlot’s Progress (1732), A Rake’s Progress (1735), Marriage A-la-Mode (1743), Industry and Idleness (1747) and the pair Beer Street and Gin Lane (1751).

He was a humane and sensitive portrait-painter, among whose works are a picture of the philanthropist Captain Thomas Coram (1740), a lively study of a ‘The Shrimp Girl’ (1740-45), ‘David Garrick as Richard III’ (1745) and a self-portrait with his dog, Trump, ‘The Painter and his Pug’ (1745).

He maintained a home and studio in Leicester Square, then called Leicester Fields, and by 1749 he could afford to buy a country retreat on the edge of Old Chiswick where he lived with his wife, Jane, the daughter of the painter Sir James Thornhill.  He was buried in the churchyard of St Nicholas’, Chiswick, his monument inscribed by his friend, the actor David Garrick (1717-1779):

Farewell great Painter of Mankind

Who reach’d the noblest point of Art

Whose pictur’d Morals charm the Mind

And through the Eye correct the Heart.

Though the Hogarths were childless, they maintained a lively household of relatives, while William made himself a retreat, his “painting room”, over the coach-house at the end of the garden.  The property remained in the family until the death of his wife’s cousin, Mary Lewis, in 1808.

The house passed through a succession of owners until 1901, when Lieutenant-Colonel Robert William Shipway of Grove House, Chiswick bought it to prevent its demolition and opened it to visitors in 1904, showing examples of Hogarth’s works and replica furniture based on his illustrations.  He gave it to Middlesex County Council in 1909 and it remains in local-authority hands, latterly managed by the London Borough of Hounslow.  Entry is free and donations are welcomed:  Home – Hogarth’s House | London Borough of Hounslow (hogarthshouse.org).  It was damaged by a parachute mine in 1940 but restored and reopened in 1951.  During a later restoration in 2008-09 a fire caused repairable damage while the house was empty of its contents, and the site reopened to the public in 2011.

It’s a delightful retreat, a welcoming, intimate contrast to the hard, chilly splendours of Chiswick House up the road.  The rooms are elegant, yet modest enough for quiet conversation.

It has the same atmosphere of intimacy and grace as the Ladies of Llangollen’s Plas Newydd in north Wales.

The windows look out on the garden, which is bounded by a high brick wall which diminishes even the noise of modern traffic queueing to negotiate the dystopic road junction that carries the name Hogarth Roundabout.

In the mid-eighteenth century it must have been a haven for a busy, creative, sociable artist.

Polish Airmen’s Memorial, Bradley, North Yorkshire

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Polish Airmen’s Memorial, Bradley, North Yorkshire

On the quiet towpath of the Leeds & Liverpool Canal near the settlement of Low Bradley, south of Skipton, there is a memorial marking the site where a Wellington aircraft HZ251, flying from Skipton-on-Swale near Thirsk to Silloth in Cumbria, lost a wing and crashed into the canal embankment on September 23rd 1943.

Seven Polish airmen were killed instantly.  Five of them were the crew of another aircraft which had been grounded, stranding them away from their base.

The seven airmen were –

Flt Lt Jozef WOLNIK age 31 Navigator instructor

Flt Sgt Franciszek CIASTON age 27 pilot

Flt Sgt Wladyslaw OSTROWSKI age 27

Sgt Boleslaw Josef SWIECA age 28

Sgt Boleslaw RYCHEL age 21

Sgt Jan CZYZEWSKI age 23

Sgt Abram KAWENOCKI age 22

Five of them are buried at Fulford Cemetery, York.  Flt Lt Wolnik rests at Layton Cemetery in Blackpool, and Sgt Kawenocki lies in Long Lane Jewish Cemetery, Liverpool.

Among the local people who rushed to the scene was Jack Lockwood, one of three young mechanics repairing tractors for the West Riding War Agricultural Executive Committee, or “War Agg”.  He travelled past the site, near Winifred’s Café, every day by bus:  he noted how quickly the gruesome wreck was cleared away, but thought about the dead airmen twice a day on his way to and from work until in due course he joined the armed services:  https://www.cravenherald.co.uk/news/1341151.i-witnessed-polish-air-crews-death-plunge.

These Polish airmen’s stories have been meticulously researched.  Jan Czyzewski had married in February 1943;  his son was born four weeks before he was killed.  Jozef Wolnik had been married only three weeks.  Details of all seven airmen are recorded at https://www.yorkshire-aircraft.co.uk/aircraft/planes/dales/hz251.html.

A lifetime later, two local men, Peter Whitaker and Jim Hartley, successfully campaigned for the memorial to be built so this episode should not be forgotten.  It was unveiled by Jozef Wolnik’s widow, Mrs Josephine Stebbing MBE, on April 22nd 2007.

Those of us who didn’t live through those times may be tempted to visualise wartime fatalities as the direct result of enemy action, but war spreads its evil further.  These foreign airmen who had come to Britain to fight the Nazis lost their lives while routinely travelling back to base.  Their lives were cut short, and their loved ones’ futures irreparably damaged. 

They deserve to be remembered too.

Tram tracks revealed

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Tram tracks, Fargate and Leopold Street, Sheffield (2023) © John Binns

When Sheffield City Council abandoned its first-generation tram system in the 1950s, most of the redundant trackwork was simply covered with tarmac and forgotten.  At that time there was no value in uprooting the rails for scrap.

Ever since, workmen digging holes in main roads across the city have been repeatedly confronted by heavy steel girders blocking their way.

There was a recent flurry of media interest in Sheffield when most of the delta junction which connected the tracks along Fargate, Pinstone Street and Leopold Street came to light in the course of alterations to the pedestrianised area around the Town Hall.

People queued up to take photographs of the rusting rails, and BBC Look North and the Sheffield Star ran features on this 63-year-old piece of urban archaeology. 

Interviewees were sorry to see the tracks cut up, and wondered why they couldn’t be preserved for their heritage value:  Calls to preserve heritage as historic Sheffield tram tracks torn out for Fargate development (thestar.co.uk).

Actually, that’s already happened.  Tram tracks found in the course of pedestrianising The Moor at the start of the 1980s were included in the landscaping, with immediately recognisable planters representing the lower-deck fronts of two standard Sheffield double deckers:  Searching Picture Sheffield.  These have now vanished.

In Firth Park, when a roundabout was constructed in the 1950s at the bottom of Bellhouse Road and Sicey Avenue, the trams continued to run directly through the road junction for the few years that remained before buses took over.  The tram tracks still slice through the roundabout after six decades’ disuse.

Firth Park, Sheffield: roundabout and tram tracks (2023)

This isn’t simply a Sheffield eccentricity.  Stretches of recovered track, and often the associated stone setts, are preserved in such cities as Birmingham, Bristol and Chester.

The Fargate discovery is old news.  A history forum stream dated 2008-2011 reported numerous excavated tracks across the city:  Tram Tracks on the Moor – Sheffield Buses, Trams and Trains – Sheffield History – Sheffield Memories.

Sheffield was one of the last British cities to eliminate tram services, yet though you have to be pushing seventy years of age even to remember these tracks being used, the nostalgia for the city’s cream and blue four-wheelers is powerful and, it seems, inheritable by younger generations.

It’s tempting to ask why there can’t be tram-tracks in use along Fargate, Pinstone Street and The Moor, heading to the south of the city, now that city-centre bus services are diverted several hundred yards from the city’s pedestrian thoroughfares.

Castlefield Viaduct

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Castlefield Viaduct, Manchester (2023)

Castlefield, the site of Manchester’s first known settlement, the Roman Mamucium, is a cat’s cradle of canals and railways.

The Cheshire Lines Committee, a consortium of three separate railway companies, ran four tracks into the city centre, leading to its Manchester Central passenger station and the vast Great Northern Warehouse, both of which were reborn in recent times, respectively as a conference centre and a leisure complex.

The southern CLC viaduct was adapted to carry Metrolink trams in 1992, but the parallel viaduct has had no practical transport function since the track was lifted in the early 1970s. 

In 2021 the National Trust announced a scheme to use the viaduct to create a sky park – an elevated green space in an urban environment ~ by making use of the abandoned transport infrastructure.

The original linear sky park was the Coulée verte [green belt] René-Dumont (alternatively called the Promenade plantée [planted walkway] René-Dumont) in Paris, opened in 1993.  René Dumont (1904-2001) was a professor of agricultural sciences who began his career advocating the use of chemical fertilizers and eventually became an ecologist and an inspiration to the French Green Party.

The most famous sky park is the New York City High Line, a stretch of the New York Central Railroad’s abandoned West Side Line that was rescued from demolition and redevelopment by the Friends of the High Line.  It was opened in sections between 2009 and 2014.

These and other examples have demonstrated that it’s often cheaper and more profitable to make redundant rail infrastructure an amenity than to scrap it.  It’s well known that developers and property owners are attracted to inland waterways for sound commercial reasons, and it’s apparent that the effort to rejuvenate rail structures can similarly invigorate the surrounding area.

The Castlefield Viaduct is very much a temporary pilot project which is well worth visiting, a thousand-foot stretch accessible from the Deansgate/Castlefield tram stop:  A fly-though of Castlefield Viaduct – YouTube.  Funding for future development seems uncertain at present, and it would be a pity if the project had to be abandoned:  Castlefield Viaduct | Manchester | National Trust.

Other British cities have derelict railway structures that could be potential sky parks. 

Leeds has two such projects, the Monk Bridge Viaduct, built in 1846, closed in 1967 and now adapted as an urban garden, and the 1½-mile Holbeck Viaduct, built in 1882 and abandoned since 1987, for which ambitious plans exist.

Birmingham has the Duddeston Viaduct which, because of a disagreement between competing railway companies, was built and left incomplete in the late 1840s and has never carried a train.  

It would be satisfying to see it eventually find a useful purpose.

The new Adelphi

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Adelphi Cinema, Attercliffe, Sheffield: balcony plasterwork (1982)
Adelphi Cinema, Attercliffe: balcony (2023) [© Dan Bultin]

Sheffield has only two listed cinema buildings, both coincidentally opened in 1920 – the Abbeydale Picture House, designed as a multi-purpose entertainment venue with a full theatre stage, a ballroom, a billiard saloon and a café, and the Adelphi, Attercliffe, a straightforward silent-movie house which at the time of listing in 1996 was largely intact inside and out.

At present the Abbeydale is in a state of limbo.  Problems with the auditorium ceiling have led to a legal stand-off between the landlord and the lessee which needs to be resolved to safeguard the integrity of the building and enable a full restoration to take place.

There has been a flurry of media attention about the Adelphi, which was purchased by Sheffield City Council in March 2023 for refurbishment as a mixed-use cultural space, much needed for the revival and transformation of the local community. The Adelphi is on the market, with a promise of Levelling Up funding to make it once again “occupiable”:  Levelling Up: Adelphi Cinema in Attercliffe out to market (sheffnews.com).

A very attractive CGI image shows what the interior might look like after refurbishment, yet nowhere in the media coverage is there any indication that the original 1920 decoration has completely disappeared.

The auditorium in its current state is a bleak contrast to how it looked at the time it was surveyed for listing, with “pilasters, segment-arched panelled ceiling and [a] moulded proscenium arch with [a] central crest flanked by torches [and a] U-shaped gallery with [a] latticework plaster front”.  The original scheme was delicate and light:  Searching Picture Sheffield;  Searching Picture Sheffield.

The listing inspector observed that “cinemas dating from this period, between 1918 and the introduction of sound in the early 1930s, are comparatively rare”.

What happened? 

I e-mailed a city councillor who will be in a position to know (or find out) but I’ve so far received no response.

I photographed the interior in 1982 when it was a bingo club and again in 1990 when it was unoccupied.  At the time the entire auditorium was bristling with classical plaster decoration designed by the architect William Carter Fenton (1861-1950;  Lord Mayor 1922).

A cluster of urban-explorer reports in 2011 suggests that conversion to a night-club was largely respectful of the building’s listed status, despite the need for structural alterations.

The building was sold for storage use in 2013 and at some point the plasterwork was stripped out.

Recent images show a bleak space that looks nothing like a 1920s cinema.  The CGI image represents an admirable exercise in making the best of a bad job, apart from the puny chandeliers.

Maybe there was a legitimate reason to take down the plasterwork:  perhaps it was unstable and might have injured someone.  Maybe the owner at the time discussed the matter with the Council planning authority, but I’ve never heard any public mention of alterations in the years after the listing.

Though the Adelphi deserves to retain its Grade II listing because its fine exterior survives intact, it now bears no comparison with the Abbeydale, and there are other Sheffield cinemas with surviving interior features which haven’t been considered for protection:

And if the stripping of the auditorium plasterwork was unauthorised, should there not be consequences for a flagrant disregard of the laws about listed buildings?