London Wallpaper Biography.
f you were to touch the plinth upon which the equestrian statue of King Charles I is placed, at Charing Cross, your fingers might rest upon the projecting fossils of sea lilies, starfish or sea urchins. There is a photograph of that statue taken in 1839; with its images of hackney cabs and small boys in stove-pipe hats the scene already seems remote, and yet how unimaginably distant lies the life of those tiny marine creatures. In the beginning was the sea. There was once a music-hall song entitled 'Why Can't We Have the Sea in London?', but the question is redundant; the site of the capital, fifty million years before, was covered by great waters.
The waters have not wholly departed, even yet, and there is evidence of their life in the weathered stones of London. The Portland stone of the Customs House and St Pancras Old Church has a diagonal bedding which reflects the currents of the ocean; there are ancient oyster shells within the texture of Mansion House and the British Museum. Seaweed can still be seen in the greyish marble of Waterloo Station, and the force of hurricanes may be detected in the 'chatter-marked' stone of pedestrian subways. In the fabric of Waterloo Bridge, the bed of the Upper Jurassic Sea can also be observed. The tides and storms are still all around us, therefore, and as Shelley wrote of London 'that great sea ... still howls on for more.'
London has always been a vast ocean in which survival is not certain. The dome of St Paul's has been seen trembling upon a 'vague troubled sea' of fog, while dark streams of people flow over London Bridge, or Waterloo Bridge, and emerge as torrents in the narrow thoroughfares of London. The social workers of the mid-nineteenth century spoke of rescuing 'drowning' people in Whitechapel or Shoreditch and Arthur Morrison, a novelist of the same period, invokes a 'howling sea of human wreckage' crying out to be saved. Henry Peacham, the seventeenth-century author of The Art of Living in London, considered the city as 'a vast sea, full of gusts, fearful-dangerous shelves and rocks', while in 1810 Louis Simond was content to 'listen to the roar of its waves, breaking around us in measured time'.
If you look from a distance, you observe a sea of roofs, and have no more knowledge of the dark streams of people than of the denizens of some unknown ocean. But the city is always a heaving and restless place, with its own torrents and billows, its foam and spray. The sound of its streets is like the murmur from a sea shell and in the great fogs of the past the citizens believed themselves to be lying on the floor of the ocean. Even amid all the lights it may simply be what George Orwell described as 'the ocean bottom, among the luminous, gliding fishes'. This is a constant vision of the London world, particularly in the novels of the twentieth century, where feelings of hopelessness and despondency turn the city into a place of silence and mysterious depths.
f you were to touch the plinth upon which the equestrian statue of King Charles I is placed, at Charing Cross, your fingers might rest upon the projecting fossils of sea lilies, starfish or sea urchins. There is a photograph of that statue taken in 1839; with its images of hackney cabs and small boys in stove-pipe hats the scene already seems remote, and yet how unimaginably distant lies the life of those tiny marine creatures. In the beginning was the sea. There was once a music-hall song entitled 'Why Can't We Have the Sea in London?', but the question is redundant; the site of the capital, fifty million years before, was covered by great waters.
The waters have not wholly departed, even yet, and there is evidence of their life in the weathered stones of London. The Portland stone of the Customs House and St Pancras Old Church has a diagonal bedding which reflects the currents of the ocean; there are ancient oyster shells within the texture of Mansion House and the British Museum. Seaweed can still be seen in the greyish marble of Waterloo Station, and the force of hurricanes may be detected in the 'chatter-marked' stone of pedestrian subways. In the fabric of Waterloo Bridge, the bed of the Upper Jurassic Sea can also be observed. The tides and storms are still all around us, therefore, and as Shelley wrote of London 'that great sea ... still howls on for more.'
London has always been a vast ocean in which survival is not certain. The dome of St Paul's has been seen trembling upon a 'vague troubled sea' of fog, while dark streams of people flow over London Bridge, or Waterloo Bridge, and emerge as torrents in the narrow thoroughfares of London. The social workers of the mid-nineteenth century spoke of rescuing 'drowning' people in Whitechapel or Shoreditch and Arthur Morrison, a novelist of the same period, invokes a 'howling sea of human wreckage' crying out to be saved. Henry Peacham, the seventeenth-century author of The Art of Living in London, considered the city as 'a vast sea, full of gusts, fearful-dangerous shelves and rocks', while in 1810 Louis Simond was content to 'listen to the roar of its waves, breaking around us in measured time'.
If you look from a distance, you observe a sea of roofs, and have no more knowledge of the dark streams of people than of the denizens of some unknown ocean. But the city is always a heaving and restless place, with its own torrents and billows, its foam and spray. The sound of its streets is like the murmur from a sea shell and in the great fogs of the past the citizens believed themselves to be lying on the floor of the ocean. Even amid all the lights it may simply be what George Orwell described as 'the ocean bottom, among the luminous, gliding fishes'. This is a constant vision of the London world, particularly in the novels of the twentieth century, where feelings of hopelessness and despondency turn the city into a place of silence and mysterious depths.
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