Liverpool’s vanished necropolis

Grant Gardens (formerly Low Hill Cemetery), Everton, Liverpool

People who know Liverpool well will be aware of St James’s Cemetery which lies in the eighteenth-century quarry below the site of the twentieth-century Anglican Cathedral. Opened in 1829, it’s the well-known resting place of nineteenth-century Liverpudlians but it’s not the first such cemetery in Liverpool.

The Low Hill General Cemetery was opened in 1825 where Brunswick Street becomes West Derby Road on the approach to Everton – a compact, level five-acre site around which the Liverpool architect John Foster Jnr placed boundary walls and an austere but elegant Greek Revival entrance.

Its title “General Cemetery” indicated that it was open to any who did not wish to be buried according to the rites of the Church of England:

The chapel will be at the service of such persons who may wish to use it, and any religious funeral ceremony may be formed in it by the minister, or other person chosen by the parties who may require its use, provided such ceremony is not an outrage upon the decencies of life or offensive to civilised society…or, if preferred, the interment may be made without any form or religious rite.

The Necropolis Burial Ground, as it came to be called, remained a popular burial place throughout the mid-Victorian period, until in the late 1890s it became full with eighty thousand interments, and was closed by the City Council as insanitary.

The buildings were demolished and the gravestones cleared, but the bodies remain in situ beneath the blank lawns that have replaced the flower beds of Grant Gardens (named after the chairman of the Parks & Gardens Committee), which opened in 1914.

Nothing above ground survives of John Foster Jnr’s design.  The existing ornamental gateposts bear no resemblance to the entrance in early twentieth-century photographs, nor are they in the same position:  Liverpool Necropolis Information – Toxteth Park Cemetery.

No-one would recognise the site now as a place of burial.  However, on at least one occasion dog-walkers in Grant Gardens were made disconcertingly aware of what lies beneath.  In February 2021 a sinkhole appeared caused by an incorrectly backfilled crypt:  Sinkhole appears after former crypt collapses at mass grave site – Liverpool Echo.

There is a compilation of newspaper reports of burials at the Necropolis at Necropolis burial ground (old-merseytimes.co.uk).

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Forty Bridges

Great Northern Railway Pinxton Branch: Giltbrook Viaduct (1973)

One of the highlights of my freelance history lecturing work is speaking to the Kimberley Historical Society, north of Nottingham, where I’m made welcome and feel I know many of the members after repeated visits.

Almost invariably, my lecture is introduced by the chairman, Roy Plumb, and a few years ago I looked forward to visiting as a guest to sit back and listen to Roy lecture on the railways of Kimberley and the neighbouring settlement of Awsworth.

It didn’t work out because of a mix-up of dates, but I eventually caught up with Roy’s presentation when he spoke to the Friends of Bennerley Viaduct at the Hogs Head Pub and Restaurant at Awsworth on January 31st this year.

Roy continues to use a Carousel projector to show his slides, and achieves a clarity and precision that rivals digital projection.  He also has a steady hand with a laser pointer – a skill which I lack – and his account of the growth and decline of the local railways from 1797 until the early 1960s was masterly.

Two rival railway companies served the area between the Erewash and Leen valleys, the Midland and the Great Northern, bitter rivals trying to grab the coal trade from each other.  The Great Northern’s ambitious Derbyshire & Staffordshire Extension opened in 1878, running to Derby Friargate and beyond and with a branch up the Erewash Valley to Pinxton, and the Midland’s Bulwell-Bennerley Branch began working freight trains a year later.

Both lines entailed heavy civil engineering.  The Great Northern built the now-celebrated Bennerley Viaduct, which survived because its wrought-iron construction made demolition uneconomic in the 1970s.

At Awsworth Junction, where the Pinxton branch diverged from the Great Northern main line, the Giltbrook Viaduct curved across a road, two Midland Railway lines and the Greasley Arm of the Nottingham Canal.  Almost a third of a mile long, it was known locally as the Forty Bridges, though there were in fact forty-three arches,

Two arches, 8 and 23, were occupied by four-storey dwellings, which were used by construction workers and later served as an air-raid shelter for Awsworth schoolchildren during the First World War.  Their chimney pots graced the viaduct’s parapet.

This magnificent sinuous structure has disappeared because unlike the Bennerley Viaduct its brick-arch construction made it practical to demolish.  It was taken down in 1973, and much of the trackbed of the Pinxton Branch as far as Eastwood became the A610 trunk road.  Local people of a certain age still bemoan the loss of a magnificent landmark;  younger people haven’t a clue it ever existed.

If I’ve read the 1899-1900 25-inch Ordnance Survey sheet correctly, the Hogs Head pub stands on or near the site of Gilt Briggs Farm, which was surrounded by a cat’s cradle of railway lines.

Stepping out into the night at the end of Roy’s talk, it was possible to sense the ghosts of great embankments and bridges, and the clatter of goods trains in the night, trundling across the arches sixty feet above ground level.

The National Library of Scotland website provides an overlay of historic Ordnance Survey maps against modern satellite imagery:  Explore georeferenced maps – Map images – National Library of Scotland (nls.uk).  If necessary key the name ‘Awsworth’ into the search panel.

Standing at the Sky’s Edge

‘I love you will U marry me’ graffito, Park Hill Flats, Sheffield (2014)

One of the many pleasures of seeing the revised Chris Bush/Richard Hawley drama, Standing at the Sky’s Edge, at the Sheffield Crucible Theatre is that when you walk out at the interval into the bar there through the huge windows – particularly at matinée performances – you see Park Hill Flats, and the horizon behind is Sky Edge.

The play, written by Chris Bush around Richard Hawley’s evocative music, is a tribute to Sheffield – Dan Hayes’ review in The Tribune called it “a musical love letter” – using Park Hill, the landmark 1960s housing development, as a backcloth to the changing fortunes of the city and its people.

Its intricate plot interweaves the lives of three sets of occupants of the same Park Hill flat – a 1960s newly-wed couple, a 1980s family of Liberian refugees and a 2010s London woman seeking a new life up north.

Using the dramatic technique of simultaneous setting, the three narratives overlay in fascinating, pertinent ways.  At one point members of the three families sit at the same dining table, oblivious of any time but their own, and are served meals from the same oven – freshly cooked decades apart, plated up in the kitchen on stage and served with a bottle of Henderson’s Relish.

Newcomers to Park Hill arrive in hope yet don’t necessarily live entirely happily ever after.  The promises on which these streets in the sky were built in the 1960s die unfulfilled.  The bitterness of the 1980s hurts the entire community as the flats begin to decay.  The refurbishment of the largest Grade II* listed building in Europe from 2009 onwards removes the families who remain from the beginning and replaces them with newcomers who are also usurpers.

The script highlights aspects of local culture that resonate with the story of the flats and the city.  The original families moved in alongside their old neighbours to walkways named after the demolished streets of terraces.  A generation later, the working-class tenants who wanted to stay put were evicted.  The story behind the celebrated graffito “I Love You Will U Marry Me” does not end happily:  Sheffield: ‘I Love You Will U Marry Me’ graffiti reinstated – BBC News

I sense that Standing at the Sky’s Edge is becoming a classic which will celebrate Sheffield for future generations, resonating with the way the Park Hill Flats dominate the city’s skyline.  It could achieve national stature as a document of ways our society has changed since the 1960s.

The production transfers to the National Theatre, opening on February 9th 2023.  It will be interesting to see how well it travels.  In the Crucible there was a strong audience reaction to local allusions like Henderson’s Relish (don’t ever compare it to Worcestershire sauce), the rivalry between Sheffield Wednesday and Sheffield United and the belief that Leeds people are not a patch on Sheffield folk.

Both Richard Hawley and Chris Bush are Sheffield-born, and Richard has customarily named his albums after Sheffield locations – Coles’ Corner (2005), Lady’s Bridge (2007), Truelove’s Gutter (2009).  The title Standing at the Sky’s Edge comes from his 2012 album and identifies the scene of illegal pitch-and-toss activities dominated by Sheffield’s notorious Mooney and Garvin gangs in the 1920s.

The physical locations – Sky Edge, Park Hill and the Crucible Theatre – and Richard Hawley’s outstanding music and lyrics combine to celebrate places and people in a city that doesn’t make a fuss and gets on with life.

Aqueduct Cottage

Aqueduct Cottage, Cromford Canal, Derbyshire (1977)
Aqueduct Cottage, Cromford Canal, Derbyshire (2010)
Aqueduct Cottage, Cromford Canal, Derbyshire (2020)
Aqueduct Cottage, Cromford Canal, Derbyshire (2022)

Among the wealth of industrial archaeology structures at the north end of the Cromford Canal, one of the most photographed is the picturesque little lock-keeper’s cottage at the end of the Wigwell Aqueduct, guarding the junction with the private Lea Wood branch.

This branch canal was constructed in 1802 by Peter Nightingale (great-uncle of Florence) to his mills at Lea Bridge 2½ furlongs away.  In 1819, as a result of a dispute over water rights, the branch was reduced to half its length and the wharf resited.

The lock at the junction was required to maintain the water-level in the branch at twelve inches higher than the main line, so that there was no risk of the canal losing water to the branch or vice versa.  An 1811 map shows that only half the existing building is original, extended sometime in the nineteenth century to make two dwellings, each with its own front door, and later combined to make a single house with the second doorway converted to a window.

Maintaining a household in this remote spot must always have been arduous.  Anne Eaton, who lived with her husband Josiah in the two-bedroomed cottage in the 1890s, raised eight children there.  She was on social terms with Florence Nightingale (1820-1910), whose family continued to own the surrounding land after selling the mills to the Smedley family in 1893.

The canal branch was last used in 1936, and traffic ceased on the main line from Hartshay to Cromford two years later.  The then owner, the London, Midland & Scottish Railway, formally abandoned the canal in 1944.

The local writer Alison Uttley (1884-1976) called Aqueduct Cottage “a Hans Anderson dwelling”, but she didn’t have to live in it.

By the time Lea Wood was sold to a private owner, Mr Bowmer, in 1951 the lack of amenities at the cottage was daunting.  The last occupant, Mr Bowler, lived there alone without piped water, sanitation, gas or electricity, until circa 1970.

The Derwent Valley section of the Cromford Canal was taken into guardianship by Derbyshire County Council in 1974 and most of it declared a Site of Special Scientific Interest (SSSI) in 1981, but when Lea Wood was sold to the Leawood Trust for the benefit of the community there seemed no practical way to make the cottage usable, let alone habitable.

After the Derwent Valley World Heritage Site was established in 2001 the County Council produced a Conservation Management Plan which identified Aqueduct Cottage as a significant heritage asset.

In 2012 the Derbyshire Wildlife Trust took over Lea Wood, the canal branch and the cottage, and a volunteer group set about returning Aqueduct Cottage to its nineteenth-century condition as a visitor centre which, despite the interruption of the pandemic, is well on its way to completion [https://www.crichstandard.org/tourism/aqueduct-cottage-restoring-a-local-landmark.php], proving what can be done for a building on the brink with inspiration, energy and the know-how to find funding.

The Leawood Pump

Leawood Pump, Cromford Canal, Derbyshire

There are two reasons why the Cromford Canal terminates at Cromford:  Sir Richard Arkwright was prepared to invest in the waterway in order to secure cheap, easy transportation for his cotton mills, and he had built his water-powered factories at Cromford to take advantage of two reliable sources of water – the Bonsall Brook and the Cromford Moor Sough, a lead-mine adit draining the ore-field below Wirksworth.  Its water emerged at a constant year-round temperature of 52°F so that the upper section of the canal hardly ever froze in winter. 

Sir Richard Arkwright would have preferred the canal to take water from the River Derwent above Masson Mill, presumably to protect the supply to his mills at Cromford.  Instead, after the sough-water had powered the mills it entered the canal through a culvert at Cromford Wharf, later supplemented by an open channel to a second basin.

Soon after the opening of the Cromford Canal, reservoirs were constructed at the watershed between the Amber and Erewash Valleys, at Butterley, Butterley Park (drained in the late 1930s) and Codnor Park, to supply the Nottingham Canal by way of the flight of locks from Codnor Park to Langley Bridge.

The lead miners ultimately needed to extract ore from below the level of the Cromford Moor Sough and in 1772 began to dig the Meerbrook Sough, a lead-mine adit which drains into the River Derwent just north of Whatstandwell.

When the Meerbrook Sough opened circa 1836 it deprived the Cromford Canal of the dependable supply of thermal water from the older Cromford Moor Sough, and obliged the Canal Company to construct the Leawood Pump

Designed by Graham & Co of Elsecar, South Yorkshire and completed in 1849, the pump is a Cornish-type engine located beside the aqueduct over the River Derwent, lifting water thirty feet from the river during the weekend hours when the water-mills downstream were closed. 

The stone chimney, 95 feet high, has a cast-iron crown with a Venturi device to improve the draught. 

The existing locomotive-type boilers were manufactured by the Midland Railway and installed in a specially built extension to the engine house in 1904. 

After years of neglect the engine was restored to working order in 1979.

The pump house is open to visitors from Easter to October:  https://www.derbyshire.gov.uk/leisure/countryside/countryside-sites/wildlife-amenity/leawood-pumphouse.aspx.

A short walk through the history of canal engineering

Wigwell Aqueduct, Cromford Canal, Derbyshire
Leawood Aqueduct, Cromford Canal, Derbyshire (2010)

Two silver threads run down the Derbyshire Derwent Valley between Matlock and Derby, the River Derwent and the Cromford Canal.

The valley bristles with monuments of industrial history, and the stretch of canal south from its terminus in Cromford is particularly rich in structures that typify and explain the archaeology of Britain’s inland waterways.

One of the most impressive – though difficult to see and photograph except in winter – is the Wigwell Aqueduct, designed by William Jessop to cross the River Derwent on a wide arch that carries the date 1793.

In its progress up the Amber and Derwent valleys the canal crossed both rivers by masonry-arch aqueducts – low arches in a long embankment over the Amber at Bull Bridge, now demolished, and a much higher, elegant single span across the Derwent at Lea Wood.  Both of these structures failed during construction and each had to be partly rebuilt at Jessop’s voluntary expense:  his famous comment on the injudicious economy of using Crich lime in the masonry of the Leawood aqueduct was,–

…Painful as it is to me to lose the good opinion of my Friends I would rather receive their censure for the faults of my head than of my heart.

The Wigwell Aqueduct (sometimes called the Leawood Aqueduct) has since stood the test of time, and it’s an outstanding example of the masonry-arch construction that James Brindley had pioneered at the Barton Aqueduct (1761) taking his Bridgewater Canal across the River Irwell west of Manchester.

A short walk further south along the canal stands an example of the successor to the masonry arch – the iron-trough aqueduct that Thomas Telford developed to span the wide Dee Valley at Pontcysyllte, east of Llangollen in North Wales. 

Telford showed that it was possible to carry a waterway in an iron trough at far greater height than was possible with masonry.  On the Cromford Canal, the iron-trough technique proved useful in other ways.

Twice in a decade, railway engineers needed to burrow a way under the canal for double-track railways.  In the late 1830s the North Midland Railway at Bull Bridge pierced the canal embankment to take its main line north towards Rotherham, and within ten years the Manchester, Buxton, Matlock & Midland Junction Railway needed to tunnel through Lea Wood, where the canal main line and a private branch to Lea Mills had hugged the hillside.

In each case, iron troughs in segments were fabricated at Butterley Works near Ripley and floated down the canal.  Dropping them into place and making the join watertight was accomplished in a matter of hours over Saturday night, when canal traffic could be paused, and then the embankment below was excavated and railway track laid.

The iron-trough rail arch and the original gothic road-arch at Bull Bridge were demolished in 1968.  Of the two aqueducts at Lea Wood, the one over the main line survives, and stopping trains to Matlock pass by.  The corresponding aqueduct on the Leawood branch was demolished sometime soon after the Second World War and has been replaced by a footbridge. 

Anyone seeking to understand the difference between the two types of aqueduct found on British canals need only park at the High Peak Junction car park and walk down the canal.

A short distance beyond the Leawood Aqueduct is a bijou example of the other major civil-engineering achievement of the Canal Age, the 42-yard Gregory Tunnel.

The towpath continues south as far as Ambergate, where the line of the canal was lost to a natural gas processing plant in the 1960s.

The hourly Derby-Matlock train service provides opportunities to explore the canal from Cromford, (rather than High Peak Junction), returning from Whatstandwell or Ambergate stations.

Highfield Cocoa and Coffee House

Former Highfield Cocoa & Coffee House, London Road, Sheffield

Some significant historic buildings hide in plain sight, unnoticed and at risk of disappearing without much warning.

It’s a recurring theme in my Demolished Sheffield book that a great many attractive and noteworthy structures are off the radar of listing and conservation planning policies, and need the vigilance of local people to ensure they survive.

I’m grateful, therefore, to Robin Hughes for alerting me to the former Highfield Cocoa and Coffee House on London Road, which is subject to a planning application for its demolition and replacement by an incongruous five-storey structure that intrudes on the surrounding streetscape.

I must have driven past the building thousands of times without even noticing it.  It’s attractive, dignified but reticent, and its historical significance is invisible.

It was built in 1877 to the designs of one of Sheffield’s foremost architectural practices, M E Hadfield & Son, for one of its most generous philanthropists, Frederick Thorpe Mappin (1821-1910), to provide workmen with a safe, comfortable environment to eat, drink and relax before and after their work.

The cocoa houses were in essence pubs with no alcohol, based on the upper-class gentlemen’s clubs that had grown from the coffee houses of the eighteenth century.

The Highfield Cocoa and Coffee House provided food starting with hot breakfasts from 5.00am, non-intoxicating drinks including a pint mug of coffee for one old penny, “the best tobacco and cigars…at the cheapest rate”, and offered billiards, draughts, dominoes, chess and skittles.  Alcohol and gambling were alike strictly prohibited.

The ground floor was occupied by a coffee room, a reading room, a bar and a kitchen.  Above, accessible by a “spacious staircase”, was a second reading room “well supplied with papers”, linking by folding doors to the billiard room with three tables.

The Highfield Cocoa House was the first such establishment in Sheffield when it opened on Monday April 9th 1877 in the presence of almost all the major leaders of Sheffield’s public life, including both Sheffield MPs, John Arthur Roebuck (1802-1879) and A J Mundella (1825-1897), and the MP for Scarborough, Sir Harcourt Johnstone (1829-1916), the Mayor of Sheffield, George Bassett (1818-1886), the Master Cutler, Edward Tozer (c1820-1890), and a whole posse of aldermen, clergy and other gentlemen. 

Mr Roebuck in his speech remarked that “you will not put down intemperance by being intemperate in trying to force upon the people teetotalism”. 

Frederick Thorpe Mappin, before he declared the building open, explained how he and the vicar of St Mary’s Parish Church, Bramall Lane, Rev C E Lamb, had investigated the flourishing cocoa-house movement in Liverpool, Oldham and London to determine the most appropriate model for their scheme.

Within two years the Sheffield Cocoa and Coffee House Company had opened six more cocoa houses with a seventh under construction.

The initial popularity of the Highfield house waned, and it closed on Saturday June 27th 1908.  An illustrated cutting, apparently from the Sheffield Daily Telegraph, remarked,–

At the outset the place was a very popular centre – cafés in those days were in the nature of a rarity – but for a long time past the place has worn a somewhat melancholy appearance…

The building was taken over by a confectioner and a shopfitter and remained in use until at least 2008.  The Tramway pub next door was demolished in 2015.

The Hallamshire Historic Buildings’ detailed, informative comment on the 2022-23 planning application to demolish the Cocoa House is here. Nick Roscoe’s illustrated article is here.

Update, April 4th 2023: Vigilant steps by conservation-minded councillors have secured a six-month reprieve for the coffee house: Mappin Coffee House Sheffield: Historic building ‘saved’ from demolition for six months after notice served | The Star. This will safeguard the building – barring accidents – while alternatives to demolition are debated.

However, accidents can happen: Bringing the house down | Mike Higginbottom Interesting Times.

Collegiate School

Former Collegiate School, Shaw Street, Everton, Liverpool

Liverpool’s St George’s Hall is prominent in a city rich in nineteenth- and twentieth-century architecture, and the remarkable story of its young architect, Harvey Lonsdale Elmes (1814-1847), winning two separate architectural competitions to design it, is well-known.  In his short life he designed few buildings, none of which he saw completed.

The only other surviving design by Elmes is the façade of Liverpool Collegiate School on Shaw Street, Everton.  Its Perpendicular Gothic style, in contrast with the neoclassical St George’s Hall, indicates that the school was an Anglican foundation.

The building behind is not Elmes’ because of an unseemly dispute with the managing committee who deprived him of the commission in order to employ a cheaper local contractor. 

(He had similar trouble over St George’s Hall, when the Corporation commissioned Joseph Franklin, the City Surveyor, to start the project, but Franklin, to his great credit, stood aside in deference to Elmes.)

The foundation stone of the Collegiate School was laid by Lord Stanley (later the 14th Earl of Derby) in October 1840, and the building was opened by W E Gladstone and the Bishop of Chester in 1843. 

One of the first Victorian public schools, its original collegiate organisation provided three separate curricula, an upper school offering a classical syllabus for boys aspiring to the “gentlemanly professions” at twenty guineas a term (who were allowed to use the grand Shaw Street entrance), and two further programmes, the middle school at ten guineas and the lower school at three, preparing pupils for business and commercial occupations (and who used the side entrances).

Its original facilities included an art gallery, museum, evening institute and a shooting range. 

The octagonal lecture hall was at first the largest covered meeting-place in Liverpool, with a reported capacity of 3,000, and was used for concerts by Jenny Lind and the Liverpool Philharmonic Orchestra before the completion of the Philharmonic Hall in 1849.

The Upper School moved to new premises at Lodge Lane, Sefton Park, in 1884, and the Middle and Lower (or Commercial) schools amalgamated when they were taken over by Liverpool Corporation in 1907.

The Shaw Street school’s alumni included the comedian Ted Ray (1905-1977), the actor Leonard Rossiter (1926-1984) and Holly Johnson (b1960), the lead singer of Frankie Goes to Hollywood.

The school was reorganised as a comprehensive school for nine hundred boys in 1973, and after closure in 1983 became vandalised and was partly burnt down. 

It was refurbished by the architectural practice Shed KM for the developer Urban Splash, and reopened as an apartment block in 2000.

The Shaw Street façade is a fortunate survivor, reminding us that Harvey Lonsdale Elmes was adept at a wide range of styles.  His only other surviving work is his Italianate extension to Thingwall Hall, Knotty Ash, c1846-47. 

Other buildings by Elmes have been lost – Druids Cross House, Woolton (1847;  demolished 1978;  Grade-II listed lodge survives), Allerton Tower, Allerton (1849;  demolished 1937) and the West Derby County Asylum, Rainhill (1847-51;  demolished 1992).

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Old buffers

Mansion House Station, London Underground: hydraulic buffer stop

At the end of a platform at Mansion House Underground Station stands a strange-looking urn.

The track has been lifted from Platform 2 because all trains through the station use Platforms 1 and 3.

The buffer stop that protected the terminal track for trains reversing westward remains, however, and the “urn” indicates that it’s a fine example of a hydraulic design by the Ipswich manufacturer Ransomes & Rapier.

The vessel attached to the buffer contains water or hydraulic fluid under pressure, and is designed to resist the sudden force of a vehicle which has failed to stop.

It doesn’t need to be an ornate shape, but elegance is a hallmark of Victorian engineering.

This item of paraphernalia, ignored by the vast proportion of Underground travellers, is a piece of deep arcana that has attracted the attention of rail enthusiasts who specialise in infrastructure and it’s clear that there are or were numerous examples throughout the London Underground system and further afield.

There’s a particularly fine example at Putney Bridge Underground Stationhttps://www.flickr.com/photos/mars1940/9789182564 – and halfway across the world two others at Kalka Station in India, the interchange point between the main line from Delhi and the celebrated Kalka-Shimla railwayhttps://www.flickr.com/photos/14892851@N06/6845505378.

The Wikimedia-Commons page ‘Ransome & Rapier hydraulic buffers’ illustrates examples from many parts of the world, most of all South America – https://commons.wikimedia.org/wiki/Category:Ransomes_%26_Rapier_hydraulic_buffers – but none are as pretty as the one I found on the London Underground at Mansion House.

Two preserved railways in the UK have examples of Ransome & Rapier buffers – the Great Central Railway (Loughborough) at Leicester North and the Somerset & Dorset Railway Heritage Trust at Midsomer Norton.  

In Districtdavesforum there’s discussion about whether TfL could be persuaded to donate an example to the excellent but already crowded Ipswich Transport Museum, which is an admirable thought.

Fenchurch Street Station

Fenchurch Street Station, City of London

Fenchurch Street Station is an anomaly among London rail termini, tucked away down a back street from Fenchurch Street itself , serving only local lines as far out as Southend and Shoeburyness, and lacking any direct link to the Underground.

Its charming façade, designed by George Berkeley (1853-54), looks out on to a modest urban square and the entrance leads by lifts and escalators to four platforms at the level of the viaduct that carries the tracks.

It has a number of historic claims:  it stands on a site rich in archaeology of the Roman period;  when it opened in 1841 it boasted the first railway station bookstall, pioneered by William Marshall who supplied newspapers wholesale to the Great Western Railway;  it’s associated with the first on-train railway murder in July 1864, when Mr Thomas Briggs, aged 70, was robbed and killed on a train from Fenchurch Street to Hackney by Franz Muller, who fled to New York where he was arrested and returned to Britain, found guilty and suffered one of the last public hangings outside Newgate Prison in November 1864.

Fenchurch Street was the first railway terminus to reach within the City of London boundary, followed by Cannon Street (1863-6) serving the area south of the Thames, and Liverpool Street (1874) which became the major terminus for train services to East Anglia and beyond.

Originally built for the 3½-mile-long London & Blackwall Railway, much of which, as far as the West India Docks, was built on a brick viaduct, this isolated line was built to the unusual gauge of 5ft 0½in and neither of its termini admitted steam locomotives:  cable-hauled trains ran in by their own momentum and out again aided by a shove from the station staff.

This couldn’t last.  When other railways brought their services to Fenchurch Street the intensity of traffic necessitated steam locomotives, and the London & Blackwall was converted to the standard 4ft 8½in gauge in 1849.

After successive amalgamations the lines out of Fenchurch Street were operated by two companies, the Great Eastern Railway and the London, Tilbury & Southend Railway, which was taken over by the Midland Railway in 1912.

It’s always been a busy station, though the lines it served provided uncomfortable services because of overcrowding.  Electric trains took over from steam in 1961, but the increasing weight of traffic made the old LT&SR route notorious as the “misery line”.

A major refurbishment, which entirely closed the station for seven weeks in 1994, replaced track, signals and power supply, and a further upgrade took place in 2013.

1970s plans to bring the proposed Fleet Line through Fenchurch Street came to nothing, and the scheme later opened as the Jubilee Line, eventually reaching Stratford in 1999.

Tower Hill Underground Station is a matter of minutes away, as is the Docklands Light Railway Tower Hill Station.

Discussions have taken place to expand Fenchurch Street to six platforms by taking over the site of the DLR Tower Gateway station, running DLR services into an expanded Tower Hill Underground station.

Fenchurch Street was handling around 16 million passengers a day before the pandemic, slightly less than Cannon Street.  It remains to be seen how many of those passengers return in the next few years.