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A guest post by LH Member Brian Cookson. This article first appeared in London Historians Members’ Newsletter from November 2013.

Like several other Thames bridges, Richmond Bridge replaced a ferry which from medieval times had provided a crossing for horse-drawn vehicles and pedestrians at about the same location on the river.

During the seventeenth and eighteenth centuries, Richmond developed into a thriving and fashionable town. Although Henry VII’s magnificent Palace became neglected and was pulled down, Richmond, kept its royal connections and was the favourite country resort of George II and Queen Caroline.

Whereas Richmond was in the county of Surrey, Twickenham on the opposite side of the river was in the county of Middlesex. The Middlesex bank was less developed, but much favoured by aristocrats, artists and writers. Alexander Pope was among the first to build himself a villa here in 1719. Of the several artists who lived in Twickenham at this time, two were very much connected with the Thames and its bridges – Samuel Scott and his pupil, William Marlow, who both painted central London river scenes in the style of Canaletto.

As a result of the developments here on both banks of the Thames the need for a bridge to replace the ferry was becoming overwhelming. Local inhabitants put forward their proposal which formed the basis of the Act of Parliament which received Royal Assent on 1 July 1773. The Act nominated 90 Commissioners who were to be responsible for building and maintaining a bridge of stone construction. The Commissioners included the landscape gardener, Lancelot ‘Capability’ Brown, the writer, Horace Walpole, the actor, David Garrick and Sir Charles Asgill who was the local MP and former Lord Mayor of London who had recently presided over the removal of the houses from Old London Bridge. The Act also gave a number of key directions to the Commissioners, including the punishment for anyone convicted of damaging the bridge. Convicts were ‘liable for transportation to one of His Majesty’s colonies in America for seven years’. However the colonies decided to declare independence in 1776, a year before the completion of the bridge, so this punishment could never be handed out.

Among the first decisions made by the Commissioners was to choose to use Portland Stone as the main construction material and to appoint James Paine as the architect. Paine had trained as an architect in London where he caught the attention of Lord Burlington, the leading proponent of the now fashionable Palladian style of architecture.

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Richmond Bridge in 1813.

Construction was put out to tender and a contract was signed on 16 May 1774 for Thomas Kerr to build the bridge for the sum of £10,900. It was now time to raise the money to pay him and cover all the other expenses such as for building the approaches and compensating local landowners. The method chosen was known as a ‘tontine’, named after Lorenzo Tonti who had originated the idea in France in the 1650s. £20,000 was raised by the sale of shares which paid an initial annual dividend of four per cent. As each investor died, his or her share was divided between the survivors until the last survivor received the whole of the dividend amounting to £800 per annum. When there were no more survivors, dividends would cease. The list of shareholders held in Richmond Local History Library contains an unusually large number of investments made in the name of children. It is not therefore so surprising that the last survivor did not die until 1859 at the age of 86, having received the maximum £800 for the last five years of her life. A local historian relates an amusing story about one of the investors, an elderly lady, who ‘called on the paymaster, William Smith, for her biannual dividend and found it was the same as her previous one. She exclaimed in a discontented tone “What, has no one died since I was last here – all still alive?” But it was the last time she complained. When the dividends were next due, death had removed her, thus adding to the amount to be shared by those that survived her.’

The bridge was declared open for carriages on 12 January 1777, although not finally completed until December 1777. The author of an article in The London Magazine of September 1779 wrote ‘…it presents the spectator with one of the richest landscapes nature and art ever produced by their joint efforts, and connoisseurs in painting will instantly be reminded of some of the best performances of Claude Lorraine.’ In the 1820s Turner produced about 20 sketches of the bridge from various viewpoints as well as one finished watercolour which can be seen in Tate Britain.

When the last survivor of the first tontine died in 1859 all tolls ceased and the tollhouses were later replaced by iron seats dated 1868, which are still situated in the recesses of the bridge on the Richmond side.

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Richmond Bridge today. 

During the early years of the twentieth century there were many arguments about how to solve the problems of the increasing congestion over the bridge. In the end a new bridge was in fact constructed in 1933 to the north of the town to take the Chertsey arterial road over the river to Twickenham and beyond. By then Surrey and Middlesex County Councils had finally agreed that the old bridge should be widened and its control was transferred to public ownership. Work proceeded to number each of the facing stones on the upstream side before taking them down so that the inner portion of the bridge structure could be widened and subsequently refaced with the original Portland Stone. The result was a bridge which was widened from 24 ft 9 in. to 36 ft. but looked exactly the same as before. The effect of the widening can be noted only by looking up from underneath the arches where the newer bricks on the upstream side are clearly differentiated from the original brickwork. Richmond Bridge’s bicentenary was celebrated on 7 May 1977, and today is the oldest existing structure to cross the Thames in London.


Brian Cookson is a Founder Member of London Historians, Blue Badge guide and author of Crossing the River: The History of London’s Thames River Crossings from Richmond to the Tower (2006).

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A guest post by Roger Williams, LH Member.

1. Exterior

Sandycombe Lodge, the country house that JMW Turner built in 1813 in Twickenham behind Marble Hill, is now open to the public for the first time. It had been bought in a run-down state in 1947 by Professor Harold Livermore, an Hispanic scholar, and his wife Ann, who wrote about Spanish music, and they immediately began trying to restore what had been a small wartime factory. On his death in 2010, Professor Leverhulme bequeathed their house to the nation. Now, after a £2.4 million conservation effort, it has been brought back to what is believed to be as near as can be to Turner’s original home. This involved knocking down extensions, removing external white rendering and uncovering the initial decoration, including marbling on the stairway. The house was designed by Turner, but if some of the detailing echoes Sir John Soane’s house in Lincoln’s Inn Fields, it is because the two were friends and contemporaries, Turner being appointed the Royal Academy’s Professor of Perspective just a year after Soane was made Professor of Architecture.

2.telescope

On first sight it is an unprepossessing, late-Georgian villa, with just two first-floor bedrooms. The larger one is at the back, facing Marble Hill House and the Thames, and although the view is now constricted by subsequent developments, a telescope has been installed (above) through which visitors can spy a re-created picture of the view Turner saw in his day.

3.Kitchen

In the basement is the kitchen and range (above), the domaine of Turner’s ‘Old Dad’ who looked after the house and garden until he was 80. His father had been a barber and wig-maker in Maiden Lane, Covent Garden, where Turner was born on St George’s Day, 1775, and had tirelessly promoted and helped his only child. Turner’s mother had died in Bethlem Hospital nine years before Sandycombe Lodge was built, and William Sr continued to help in the running of Turner’s Gallery in Marylebone, hitching lifts into town for the 10-mile journey.

4.Eel pots

Nothing in the house is labelled, and visitors, in limited numbers, are shown around by knowledgeable guides such as Ken Osbourne, pictured here in the kitchen with fishing rod and eel trap. These and the late-Georgian items of furniture, such as the ‘Turkey’ rugs, have been hunted down by Catherine Parry-Wingfield, Chair of the Turner’s House Trust, who has been instrumental in creating the house-museum.

5. Turnerships

Prints on the walls include some from Turner’s teaching manual, the Liber Studorium, from Professor Livermore’s own collection, but there are no original artworks. Turner bequeathed his drawings and paintings to the nation, and these are now in changing displays in Richard Sterling’s 1986 Clore Wing of Tate Britain, while the Royal Academy has his fishing rods and paint boxes. Security issues mean these cannot be loaned, although, Parry-Wingfield is hopeful that this may one day happen.

The Tate also has custody of the model boats Turner owned and used as aids to his paintings. The Trust commissioned variations of two of them from model maker Kevin Thatcher to go on display in the sitting room . Many of these were originally made by French prisoners during the Napoleonic wars.

Turner was a keen fishermen, but the enormous pond he created, apparently almost the size of a football pitch and stocked with fish, has long since disappeared beneath urban housing. He sometimes went fishing with his friend Soane, both self-made men, both at times socially uneasy and irascible. But Turner enjoyed gatherings, too, and a cunning key in the door of a longcase clock in the dining room starts a recording of an account of a picnic enjoyed by Turner and his friends on Ham Common on the opposite side of the river.

Turner was also instrumental in starting the Royal Academy Dining Club’s annual river jaunts which began at Eel Pie House in Twickenham, not far from Sandycombe Lodge in 1818. Five years later Turner proposed they went to the Crown and Sceptre in Greenwich, which was famous for its whitebait dinners. The RA Dining Club’s annual Whitebait Dinner has continued ever since, now taking place during the Summer Exhibition under the enthusiastic eye of the RA’s current CEO, Charles Saumarez Smith, whose recent blog gives a report of this year’s outings and the riverside architecture seen en-route to Greenwich.

For details and opening hours, see http://turnershouse.org


Roger Williams’ latest book is Whitebait and the Thames Fisheries.

 

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This is an update from a post from June last year, but I think deserves a new one, such is the outrage of this case. Observe this lovely riverside image in Brentford, directly opposite Kew Gardens.

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It is the developer’s own picture of its redevelopment of the St George’s Chapel site, until relatively recently the home of the Musical Museum. Looks lovely, I’m sure you’ll agree. Look at the small white building with the red roof to the left. Let’s zoom in a bit.

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That building is – or was – the historic Sarah Trimmer’s School, dating from 1806. It is – or was – significant as the first and only remaining example of an industrial training school in this country, mainly for young women. Historically highly significant.

Here is all that is left of it as of Sunday.

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Only the west and south facing walls remain. They almost certainly will not survive. The developers – IDM Properties – have sneakily, deliberately and steadily destroyed the building while they got on with the chapel development next door.  Why? Because they can maximise their take by building three teensy bungalow apartments against all advice of local historians and council denial of their planning application for same. Hounslow Council gave them a bit of a slap on the wrist last year, but now seemingly have given up the candle.

The developers are greedy scumbags (show me one that isn’t). The Council are cowardly and lazy collaborators. If they could wash their hands of the hassle of protecting our heritage, they would. I live in this borough. I am ashamed of them.

I say again, delinquent developers must do jail time. I bet that’s in nobody’s manifesto!

 

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A guest post by LH Member Colin Davey.

Forget your Silk, your Garrow’s Law, your Rumpole of the Bailey. For a real dose of legal stimulation, enter the world of conveyancing.

Perhaps you are not convinced. London renters might say that since conveyancing is related to home ownership, its more suitable entertainment connection should be Game of Thrones or some equivalent fantasy world.

However, those who have been lucky enough to own a freehold property will probably at some point have encountered that mysterious creature, the restrictive covenant.

Imagine the scene. Your property purchase is moving steadily forward, the survey has been done, and your mind is turning to whether that new king-size bed with built-in TV will manage the turn in the stairs, even in pieces ready for easy home assembly.

At that moment your solicitors present their report on title, and inform you gravely that the property is affected by an 1838 restrictive covenant under which the land cannot be used for glue making, rag boiling, beer brewing, or any other noxious or noisome activity.

Luckily your solicitors follow immediately with robust advice that the restriction is unlikely to have an adverse material effect on the value of the property, advice surely alone worth the entire fee they will earn from the transaction.

So does that mean restrictive covenants are not to be taken that seriously?

Not at all. We might change the scenario to a developer building an estate of new homes. As the developer goes forward phase by phase, it wants to ensure that homes already built and sold are not altered externally to damage the character of the estate (for which substitute damage the potential sale prices of subsequently built properties). Thus it imposes restrictive covenants covering what cannot be done to the earlier built homes.

Which brings us to Leicester Square and the 19th century case of Tulk v Moxhay.

The case may be old , but it is not to be dismissed for that; indeed, it might deserve the accolade groundbreaking.

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Leicester Square circa 1790. British History Online

First, some background. The area in and around modern day Leicester Square was during earlier years the subject of a labyrinthine web of conveyances, wills, codicils and settlements, peppered with periodic trips to the courts.

One aspect of the development of the Leicester Square area will be relatively well-known – Leicester House, built 1631-35 on the northern side of today’s square, for Robert Sidney, second Earl of Leicester.

The land used for the building was four acres acquired by Lord Leicester in 1630 from Hugh Audley. From his dates (1577-1662) we could presume this Hugh Audley to be the same as he who bequeathed to Mary Davies the 500 acres that became the foundation of the Grosvenor family’s London fortune.

The Tulk name first appears in the mid to late 1700s, when a property interest in the area was acquired by James Stuart Tulk, described as being of Tottenham, merchant.

In 1808 a successor, Charles Augustus Tulk sold the gardens of the square for £210 to Charles Elms, a dentist living around the square. The conveyance contained an obligation for Elms to maintain the gardens “uncovered by any buildings”.

Under Elms’s ownership, the gardens degenerated, to the evident disquiet of surrounding owners.

Various transmissions of ownership then took place – this is critical to the legal argument that followed. Finally in 1839 one John Inderwick, ivory turner, sold the gardens to Edward Moxhay.

Inderwick, who was subject to the obligation to maintain the gardens “uncovered by any buildings”, attempted to impose the same obligation on Moxhay. Moxhay refused to accept the obligation; this was not surprising, as Moxhay was a builder. After various negotiations, Moxhay eventually acquired the gardens free of the obligation.

After completion of his purchase, Moxhay started immediately to cut down trees in the gardens. Tulk responded by seeking an injunction to restrain Moxhay from despoiling or building on the gardens.

The case was heard in the Court of Chancery. Connoisseurs of Jarndyce v Jarndyce may prick up their ears at this point, but in this case at least, the parties appeared to have been spared the law’s delay.

Tulk’s problem was that he could not enforce the maintaining the gardens “uncovered by any buildings” covenant contractually against Moxhay. Up until Moxhay’s purchase there was a chain of indemnity. In other words, if there is A, B, C, D and E in the chain covering a piece of land, and a covenant is passed on each time the ownership of the land is transmitted from A down to E, then, in theory, at least, A can (indirectly) enforce the covenant against E by virtue of the chain.

I say in theory, because anyone can immediately see that the procedure is pretty clunky. What happens if, for example, C cannot be traced? Tulk wanted a direct remedy against Moxhay to stop him in his tracks, and this is what the court, presided over by the Lord Chancellor, gave him.

The court was able to reach this outcome through ruling that:

  • Tulk retained other land in the area that could benefit from the restrictive covenant
  • The covenant “touched and concerned” the land for which it had been imposed; in other words it related directly to the land
  • The covenant had been intended to “run with the land” – here, Elms had entered into the original covenant both for himself and for future owners of the gardens.
  • Moxhay had notice of the covenant.

The case has been overlaid by subsequent decisions refining the application of the law created by the court, and today notice to subsequent owners is achieved by registering the restrictive covenant against the ownership of the affected land when the covenant is first imposed. But the case is a good example of courts, counter intuitively to the perception today by many of how the judicial system functions, achieving an appropriate result.

The case of Tulk v Moxhay was not the end of aggravation concerning the use of Leicester Square Gardens, but that is enough of the law for now and for this article.

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Leicester Square, yesterday (08/03/2017).

The case may not be as exciting as some that have gone through the courts, and the restriction discussed may not be as racy as the context for the same word in the film you can see promoted (if you peer carefully) in the photograph above of today’s Leicester Square, but I think that it is a story worth telling.

© Colin Davey

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I live a matter of a few hundred yards from the major trunk road in question, so when I spotted this in a shop in Kew last week, I had to have it.

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It’s a print commemorating the opening of the Great West Road in 1925 by George V and Queen Mary (who’d be a monarch, eh?). Made of tissue and folded like a paper napkin, it would have been dished out to the local crowds, or perhaps sold for a penny or two. It’s in really good condition, a remarkable survival.

The text badly spills over into the border decoration. This tells us, I think, that the souvenir printers made large stocks of coloured templates and then customised them for different occasions by overprinting text etc in black.

“The new Great West Road which has just been completed at a cost of £1,000,000 , will be opened by the King, accompanied by the Queen to-day. 

This new arterial road, which is eight miles in length, has for the greater part a width of 120ft. It extends from the Chiswick High-road near Kew Bridge, by-passes Brentford and enables traffic to avoid the congestion bottle-neck in the town.

The road continues through Isleworth and meets the main road again at the Bath Road, just beyond the Hounslow Barracks Station, then crosses the main road and passing through Hatton Village, joins the main Staines Road at Bedfont.” 

The building of the Great West Road was essential. Historically, the route to Bath and the west ran through Brentford. There was bad enough congestion during the days of horse-drawn vehicles, but once cars, buses, lorries and especially trams hit the streets, the narrow high street became all but impassable.

It didn’t take long for large businesses to realise the potential that the new thoroughfare offered. Beautiful industrial art deco buildings sprang up, giving us Brentford’s “Golden Mile”.

LH Member James Marshall wrote a book about this back in 1995. It’s out-of-print now, so available copies are very pricy. They are easily borrowed from local libraries however.

 

 

 

 

 

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A guest blog post by London Historians member the artist Liam O’Farrell who describes a London Historians tour of  Smithfield Market in August this year. 

The tour I attended was for Smithfield Market and St John’s. The St John’s Gate visit was just as interesting though for the sake of this blog I have just featured Smithfield Market, and the painting of Smithfield Market.

Arriving at Smithfield Market
The Market opens at 2am would you believe? This is far too early for a visit for even the most intrepid tourist that said we were all still mustered outside Barbican Station at 7.00. I am not a morning person at all though thankfully Peter Twist is, and got us all up and rolling in no time at all.

About Peter Twist (London Historians member)
Peter is a qualified as a City of London Guide since 2012. You may recognise him from the recent groundbreaking Channel 4 show, The Audience. He is a retired Metropolitan Police Senior Officer and brings a wealth of life experience and good humour to bear upon his guided walks.

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Peter Twist leading a group around Smithfield, here at the modern poultry market.

About Smithfield Market
Once on site Peter took us over the history of the market. A livestock market occupied the area as early as the 10th century. That said, it was always a bit of a butchers’ yard as this was where London performed its most gruesome executions. Here in 1305 William Wallace was hanged, drawn and quartered after upsetting Edward I. Wat Tyler too met his end here in an equally revolting fashion after leading the ‘peasants revolt’. You can add to this the protestant martyrs and lord knows how many others.

Thankfully public executions have long since come to an end, and the site we have here today was opened in 1868. It was designed by The City Architect, Sir Horace Jones. In true Victorian style he saw the new meat market as a cathedral of meat complete with its own grand avenue. No expense was spared over its ornamental cast iron, glass, stone and red brick features. Time has proven that from did follow function though the form is certainly impressive.

Once the talk on the history and the outer buildings were complete we passed through the cast giant cast iron doors into the main part of the market. These doors weigh 15 tons each, yet they are so well balanced that you can open them with one finger.

The painting of Smithfield Market
As Peter took us around the market I busied myself in making written notes and drawings around the site, and inside too. The view I finally chose was the three quarter view showing the majestic sweep of Horace Jones’ design with the towers on each corner.

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I produced a small watercolour on site to add to my notes and produced a larger one back in the studio. A print of Liam’s painting will be one of London Historians’ December prizes, see forthcoming newsletter for details.

Inside Smithfield Market

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Once you are inside the market you can really see the advantages of a tour guide as opposed to a guide book. Over the years Peter has got to know many of the market traders and they are more than willing to share stories and traditions of the market.

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Biffo.

The self-styled ‘Biffo’ is more than willing to hold court, and told us that if someone is getting married they are likely to be stripped and covered in flour below the market clock.

He recalled when he first joined workers would fight each other for the best jobs. It was a heavily unionised, hard man’s world. Not a place for a sensitive artist!

In the old days things could seriously get out of hand between the traders to such an extent that the market still has its own police station and police force too. The current police force no longer have powers of arrest, though they can occasionally still be called on to sort out disputes.

The traders and workers traditionally have almost all been white, male, Londoners. These days the market is much more cosmopolitan with even the occasional woman. Biffo said that without the foreign workers willing to do the punishing hours the market would simply die.

Peter took us around the whole site and despite the tough reputation of the market it has a very friendly atmosphere and all the traders were very willing to chat to you about their work and their families’ history of the market.

Visitors are often surprised to know that the market is not totally wholesale. There is no minimum spend and some real bargains can be had. It is not all traditional goods either, as on a few days a month even seagulls eggs can be purchased.

Once the tour was complete we were all pretty hungry and were ready for a big English breakfast at one of the traditional cafes on the square. I stuffed myself!

Tours
I can really recommend this tour. There is a real advantage in having someone on the inside to guide you around the real nooks and crannies of the market. It really made the tour work, and that’s coming from someone who hates mornings!

The City Guides offer a walking tour of Smithfield Market. Tours take place once a month, starting at 7am and lasting an hour and a half. Booking is essential.

Liam O’Farrell
Liam is an extremely talented painter and illustrator who specialises in landscape and cityscape scenes, many of which are on London subjects. His web site.

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A guest post by LH Member David Whittaker

Iron Men How one London Factory Powered The Industrial Revolution And Shaped The Modern World, by David Waller.

ironmenWhen considering the Industrial Revolution some of us, although well aware of earlier developments in that we all know about Coalbrookdale but may not know about the rest of the pre-Victorian era. Many tend to think that the most important phase of the Industrial Revolution took place in the Victorian era and associate it with “Railway mania”. They may also assume that most of this activity took place near the coal fields in northern towns. But what came before this? It was a world almost contemporaneous with well-known changing social commentaries of Jane Austin. So, it’s easy to forget that the beginnings of mass production started in the late Georgian era. Furthermore, ask most people, even those who have an interest in Britain’s industrial history, to name a famous engineering innovator. Only a few would name Maudslay. So, who were Henry Maudslay and his men? As Waller says “Amid the truly voluminous literature on the Industrial Revolution with much on the social impact of mechanisation, but surprisingly little about the machines themselves and the men who built them.”  In “Iron Men” Waller endeavours to fill this gap. Much of this activity, perhaps surprisingly, took place in London.

The book starts with an account of an early example of the mass production maritime pulley block-making mill at The Royal Dockyards Portsmouth. In 1800 The Royal Navy during the Napoleonic Wars required more than a hundred thousand blocks per year. This drove the move to machine manufacture. These block mills were the result on the labour and vision of three men, General Sir Samuel Bentham (Jeremy’s younger brother), Marc Isambard Brunel and thirdly, the young Henry Maudslay. Maudslay moved on to London to work for Bramah’s locks in Denmark Street, then to set up his own machine shop at 64 Wells Street London, developing new and more accurate “boring machines” all the time. These were not only capable of manufacturing rapidly and consistently to fine limits but were also a thing of aesthetic beauty in their own right. In 1810 Maudslay made the move to Lambeth to build his “Most Complete Factory” The greater space allowed far larger projects to be undertaken. Here were manufactured a wide range of mechanical machines and parts including “Time Balls” as synchronising indicators for ships. The one on Greenwich Observatory is one of these.

Through the following thematic chapters, the author moves on to those associated with Maudslay. Here he covers him working with the Brunels and the Thames Tunnel, noting that Brunel’s tunnelling shield was constructed at the Lambeth factory. Then, on to Manchester and Richard Roberts, via Babbage, the great polymath, designer of cowcatchers and his attempts to build his “Difference Engine”. On to railway locomotive design improvements to Nasmyth’s steam hammer and further transportation developments. Then the standardised Whitworth screws nut and bolts. Ending with locks, labour disputes and fire arms. A fast-paced romp, each fact-filled chapter sprinkled with engineering nuggets. Interestingly, these men were mostly of humble practical backgrounds, often educated via apprenticeship and the rise of the technical schools. They had “bashed metal” and possessed an ability to visualise the various interactions of complex mechanical devices.

Waller also interestingly, in several places, likens this period to the computer technological developments of Silicon Valley.

After all this you are probably wondering what happened to Maudslay’s wonderful factory? Founded in 1810, before the battle of Waterloo the site is now that of Lambeth South tube station. Waller writes  “There is nothing left to remind us of Maudslay’s presence, expect a memorial tablet erected  high on the wall inside the ticket office of the tube station, which you would hardly notice if you did not come looking for it:

“On this site between 1810 and 1900 stood the works of Maudslay, Sons & Field famous for marine and general engineering and as the training place of many engineers of renown”.

“This ought to be hallowed ground for all engineers and aficionados of the Industrial Revolution, as it was for knowledgeable contemporaries.” I agree…

In conclusion, this book is very much for the general reader as well as the industrial history enthusiast. It should fill in many gaps in knowledge how everything is put together

Also it should please those like me who delight in all the “connections”. That web of people, places, things and timelines that somehow fall together to make it happen.

Lastly, one minor gripe which seemed rather ironic considering the subject matter of quality and standardisation. Although I thoroughly enjoyed the book’s contents and it has certainly inspired me to investigate the life and technical innovations of Maudslay and his associates, it was slightly spoilt by the rather small type size and inconsistent quality of the print where it appears that the ink has not fully adhereed properly to the page.


Iron Men: How one London Factory Powered The Industrial Revolution And Shaped The Modern World, 244pp, by David Waller is published by Anthem Press in hardback and Kindle. ISBN 978-1-78308-544-6

 

 

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