LONDON DRAGONS 5 - Bank of England and more.

We are nearing our journeys end, in the hunt for London's dragons. This penultimate post finds us at The Bank of England, The Guildhall and St Mary Le Bow. All can be found a short walking distance from each other, and follow on from the dragons of Leadenhall Market.

THE BANK OF ENGLAND

The Bank of England
The dragons found sitting on the street lamps outside the Bank of England are small and black, with gold markings on there wings. They could well be the off-spring of the great Temple Bar dragon in Fleet Street, that divides the City from the West End. (see City of London - Boundary of Dragons post). These small little dragons may seem harmless enough, but any attempt to steal from the great bank will result in an all out attack, so be warned.

The Bank of England is the central bank of the United Kingdom. Sometimes known as the 'Old Lady' of Threadneedle Street, the Bank was founded in 1694, nationalised on 1 March 1946, and gained independence in 1997. Standing at the centre of the UK's financial system, the Bank is committed to promoting and maintaining monetary and financial stability as its contribution to a healthy economy.

Since its foundation, it has been the Government's banker and, since the late 18th century, it has been banker to the banking system more generally - the bankers' bank. As well as providing banking services to its customers, the Bank of England manages the UK's foreign exchange and gold reserves.

The Bank has two core purposes - monetary stability and financial stability. The Bank is perhaps most visible to the general public through its banknotes and, more recently, its interest rate decisions. The Bank has had a monopoly on the issue of banknotes in England and Wales since the early 20th century. But it is only since 1997 that the Bank has had statutory responsibility for setting the UK's official interest rate.

THE GUILDHALL

The Guidlhall
The great hall is believed to be on a site of an earlier Guildhall (one possible derivation for the word 'guildhall' is the Anglo-Saxon 'gild', meaning payment, with a "gild-hall" being where citizens would pay their taxes). During the Roman period, it was the site of an amphitheatre, the largest in Britannia, partial remains of which are on public display in the basement of the Guildhall Art Gallery and the outline of whose arena is marked with a black circle on the paving of the courtyard in front of the hall.

The first documentary reference to a London Guildhall is dated 1128 and the current hall's west crypt may be part of a late-13th century building.

The current building was begun in c. 1411, and it is the only stone building not belonging to the Church to have survived the Great Fire of London in 1666. The complex contains several other historic interiors besides the hall, including the large medieval crypts, the old library, and the print room, all of which are now used as function rooms.

The Great Hall did not completely escape damage in 1666; it was partially restored - with a flat roof - in 1670. The present grand entrance (the east wing of the south front), in what is known as Hindoostani Gothic, was added in 1788 by George Dance (and restored in 1910). A more extensive restoration than that in 1670 was completed in 1866 by City of London architect Sir Horace Joness, who added a new timber roof in close keeping with the original. This replacement was destroyed on the night of 29/30 December 1940, the result of a Luftwaffe fire-raid. It was replaced in 1954 during works designed by Sir Giles Gilbert Scott. 

St Mary-le-Bow Church, Cheapside

The highest dragon by far, is the golden weathervane dragon, found on top of St Mary-le-Bow church. My camera wasn't up to the job at getting a decent picture of this fearsome creature but you can get some idea.

SAINT MARY-LE-BOW

The first references to a church on the site of St Mary-le-Bow seem to date from 1087 by which time a Norman church had been erected there

In 1091 the roof of the church was blown off in a huge storm which battered the south of England during the winter of that year. The roof became embedded by its rafters in the street of Chepe, now Cheapside, Old London’s main thoroughfare which runs east-to-west just to the north of St Mary-le-Bow. A famous siege took place at St Mary’s in 1196 and in 1271 the tower collapsed into the street outside.

By 1512 the tower had been reconstructed and the church was able to enjoy over 150 years of structural peace. But in the Great Fire which raged through London in 1666, the whole of the medieval church apart from the crypt beneath was utterly destroyed. Between 1670 and 1683 St Mary’s was rebuilt by Sir Christopher Wren. In the 1750s a new peal of ten 'Bow Bells' was installed, with all ten bells being rung together for the first time on 4th June 1762 to mark the 25th birthday of King George III.

In 1820 the church was extensively restored by George Gwilt the Younger. From 1905 to 1907 the famous bells were restored, the peal having increased from 10 to 12 in 1881. (Wren had made room for 12 bells but only 8 were installed in 1680). But disaster struck again during the War when the church was destroyed by enemy bombing. A programme of reconstruction was implemented in the 1950s and 60s.

According to London tradition, Cockneys are born within earshot of the bells of St Mary-le-Bow Church, Cheapside. In 1851, the bells could be heard across north and east London, even audible south of the Thames.

TONGUE IN TEAK - I MADE A TABLE

Let’s start by saying, I did indeed make a table, but I had a lot of help along the way, as you will see. I was very privileged, this week, in being able to attend a summer furniture-making course, at Chichester College, in West Sussex. A week-long, intensive course, with a couple of lectures in the evening added in for good measure. Though the week was long and very tiring, it was also very enjoyable and if I was in a position to do the year long version of the course, I would jump at the chance. Chichester is a lovely city, with a very beautiful cathedral and gardens - just a little way from the harbour and beach.

IT'S HARD TO BELIEVE THAT IN THREE DAYS TIME, THESE 10 LENGTHS OF ASH WOULD BECOME A TABLE.

BEFORE WE WERE LET LOSE ON THE ASH, WE PRACTISED THE MORTISE AND TENDON JOINT ON SOME PINE.   

The first two days of the course was all about getting to grips with joinery, lap joint, dovetail, mortise and tendon and the like. We also spent some time learning the best way to sharpen tools and in particular chisels. This is something, that I have struggled with, since doing my letter carving. I’ve come to realise that, the sharper my chisels are, the easier it is to cut the letters. I won’t go into the details of how to keep your chisels sharp, but suffice to say that it involves glass, and several grades of wet and dry paper and a lot of patience and effort. One of the teachers - who will remain nameless - but whom we will call Keith! in this blog - has turned chisel sharpening into a sort of art form. He tells me that it involves many hours on your own, in a shed, away from family and friends, polishing metal so fastidiously, that you can see your reflection of your face in it eventually. One of my fellow learners on the course, Guy, was soon hypnotise by Keith's hand movements and became a devoted member of the new religion Children of the Latter Day Sharpeners. 

THE TABLE STARTS TO TAKE SHAPE.

I CARVED MY WIFE'S INITIALS INTO THE FRONT OF THE TABLE. JUDITH ROSEMARY

THE TABLE IS GLUED TOGETHER AND HELD IN PLACE BY CLAMPS

The other three days were set aside in order to build a small, tapered-legged table. I was advised, at the outset, that the table would have a hinged lid and be made from Ash and Walnut Burr Veneer. The joints for the legs would be mortise and tendon. I will not go into every single aspect of the build, as that would only bore you, but have a look at the pictures, with the comments, and you will get a taste of what was involved. 

GUY CLEANS THE EXCESS GLUE FROM HIS JOINTS WITH IAN LOOKING OVER.

Our main teacher for the week seemed to be an expert in everything. He reminded me of a character in a song by the Jam, called David Watts (original by the Kinks). You will have to look up the lyrics to see what I mean. Ian had a, you can-do attitude ie every one of my many mistakes could be remedied. Ian knew every tool, hand or electric and how it worked, how much it cost, and where you could buy it. Without Ian, I would have brought home some veneered firewood, rather than a fine little table. Where, if you stood back a bit, closed one eye and photographed it at an angle, you’d have a half decent table! Your wife will also like it, especially if you put her initials on it. But don’t expect much of a reaction from your kids, except for “it’s a bit small ain’t it?” or “the legs stick out funny.” “That’s skill that is; and it’s called tapering and they took Ian, I mean me, hours to get right you know!!!” Grrrrr.

THE VENEER IS BUTTED TOGETHER, BEFORE BEING STUCK TO THE TOP OF THE TABLE

It was gone midnight on Friday night before we left the workshop. We were all tired and hungry and fit to drop. I still had the long drive to London to go. It was 2.30am before I finally arrived home. The table was almost complete but not quite. It would have to be finished later in the day. After a few hours sleep, I was able to attach the top of the table and give it a wax finish. 

GUY, ROB AND IAN WITH THE ALMOST FINISHED TABLES. GUY LOOKS ASLEEP ALREADY.

THE FINISHED TABLE

WITH OPEN LID, MY HINGES ARE A LITTLE TOO CLOSE TOGETHER.

THIS IS A  ENLARGEMENT OF THE VENEER TOP. IT REVEALS A SPOOKY IMAGE, THAT  SOMEONE SAID LOOKS LIKE A DEVIL. I MUST ADMIT IN THE LAST 12 MONTHS I FELT LIKE THE DEVIL HAS BEEN ON MY BACK AT TIMES. I WAS RIGHT, HERE HE IS ON MY TABLE TOP

AND FINALLY

Below is what can be achieved on a full time wood working course. This amazing chair and ipod docking station, was made by a student in the same workshop. Who only picked up a chisel for the first time two years to go. Fantastic design and workmanship. I want one of those docking stations!

USEFUL LINKS

http://www.chichester.ac.uk/Mature-Students/What-can-I-do/Furniture-Summer-School/

YESTERDAY - MY SWEET LORD

I have been busy over the last few weeks putting together these items. Most of which will be for sale soon on my new blog, that I am putting together. The first two pieces are carved into Yew tree wood and both have a Beatles theme.

THE YEW TREE

Firstly a little about the Yew tree. In old age they have a distinctive gnarled shape with some branches curving down to the ground and taking root. There has been a long association of yew trees in churchyards and there are at least 500 churchyards in England which contain yew trees which are older than the church itself. It is not known why there is this link but there are many theories- from yews being planted over the graves of plague victims to protect and purify the dead; to the more mundane in that yews could be planted in churchyards as it was one of the only places that cattle did not have access and therefore would not be poisoned by eating the leaves. Yew trees are taken as symbols of immortality in many traditions, but are also seen as omens of doom. For many centuries it was the custom for yew branches to be carried on Palm Sunday and at funerals. In Ireland, it was said that the yew was ‘the coffin of the vine’ as wine barrels were made of yew staves.

YESTERDAY

Yesterday is the most covered Beatles song of all time (over 2000 covers), from the album HELP. According to Paul McCartney who wrote the song he came up with the melody in a dream. McCartney's initial concern was that he had subconsciously plagiarised someone else's work. As he put it, "For about a month I went round to people in the music business and asked them whether they had ever heard it before. Eventually it became like handing something in to the police. I thought if no-one claimed it after a few weeks then I could have it."Upon being convinced that he had not robbed anyone of his melody, McCartney began writing words to suit it. As Lennon and McCartney were known to do at the time, a substitute working lyric, titled "Scrambled Eggs" (the working opening verse was "Scrambled Eggs/Oh, my baby how I love your legs"), was used for the song until something more suitable was written. In his biography, McCartney recalled: "First of all I checked this melody out, and people said to me, 'it's lovely, and I'm sure it's all yours.' It took me a little while to allow myself to claim it, but then like a prospector I finally staked my claim; stuck a little sign on it and said, 'Okay, it's mine!'.

Anyway I came across a small wind up music box, which played 'YESTERDAY'. Which gave me the idea, for the work. If you look to the bottom left I have attached the music box to the carving. So you could say its a musical sign in more ways then one.

MY SWEET LORD

"My Sweet Lord" is a song by former Beatles and now sadly dead, George Harrison. Recorded and released in 1970 on his multi-platinum triple album All Things Must Pass. It was released as a single, and topped the charts worldwide and was the biggest-selling single of 1971 in Britain.

DRIFT WOOD

I have had this piece of drift wood for a very long time now. My wife Judith and I, found it on the south coast, can't remember where exactly. But I thought I would try yo carve into it. Drift wood is not ideal to carve, it is far to spongy and soft. But the finished effect, for my sea cadet daughter Shannon, works well.

CHINESE LETTERING
The first one is carved into Magnolia wood, an of cut from a previous carving. It is my understanding that the letters mean "TREE OF LIFE". But not being expert in Chinese, it could say something else. I just hope its not anything rude.

The second is carved into a wood called Zebrano, sometimes known as Zebra wood. The wood resembles the striping on a Zebra.

Zebrawood is considered a threatened species in its native habitat. Its fast-growing popularity in the West has resulted in some reforestation efforts, but these are not keeping up with the pace of harvesting. The extensive use of zebrawood in the exclusive designer shop Prada, Manhattan, New York. Resulted in protests from environmentalists and a promise from Prada never to use wood from endangered forests again. Again I believe this Chinese symbol means "TREE".

LONDON DRAGONS 4 - The Monument and Leadenhall Market

THE MONUMENT

The continued search for the dragons of London, takes me this week to The Monument and Leadenhall Market. Let’s start our journey at The Monument. The Monument stands at the junction of Monument Street and Fish Street Hill in the City of London. This impressive pillar was built between 1671 and 1677, to commemorate the Great Fire of London and to celebrate the rebuilding of the City.

THE MONUMENT - 61 metres high (202 feet)

THE DRAGONS SIT AT THE BASE OF THE PILLER, GUARDING THE MONUMENT

The fire began in the house of a baker, in Pudding Lane, on Sunday 2nd September, 1666 and finally extinguished on Wednesday 5th September, after destroying a greater part of the City. Surprisingly, there was very little loss of life, but the fire brought all activity to a halt, having consumed or severely damaged thousands of houses, hundreds of streets, the City's gates, public buildings, churches and St. Paul's Cathedral. The only buildings to survive, in part, were those built of stone, like St. Paul's and the Guildhall.

THE FLAMES EMERGING FROM THE URN, SYMBOLISING THE FIRE

As part of the rebuilding of the City, it was decided to erect a permanent memorial of the Great Fire, near the place where it began. Sir Christopher Wren, Surveyor General to King Charles II and the architect of St. Paul's Cathedral, and his friend and colleague, Dr Robert Hooke, provided a design for a colossal Doric column, styled in the antique tradition. They drew up plans for a column containing a cantilevered stone staircase of 311 steps which would lead to a viewing platform. This was surmounted by a drum and a copper urn, from which flames emerged, symbolising the Great Fire. The Monument, as it came to be called, is 61 metres high (202 feet) - the exact distance between it and the site in Pudding Lane where the fire began.

The column was completed in 1677, and in accordance with Wren's original intention, was at first used as a place for certain experiments of the Royal Society, but vibrations caused by ceaseless traffic, proved too great for the success of these experiments and they were discontinued; thereafter the Monument became a place of historic interest, unique of its kind, providing visitors with an opportunity to look across London, in all directions, from a height of about 160 feet, being the level of the public gallery.

The monument is open daily. Visit on a nice sunny day when I took these pictures. To walk the 311 steps it will cost you: Adults £3.00, Concessions: £2.00 Child: £1.50.

THERE IS SOME GREAT RELIEF WORK ON THE MONUMENT, TO LOOK AT AS WELL.

THESE TWO DRAGONS LOOK LIKE THEY ARE ASLEEP

LEADENHALL MARKET

If your not too tired after walking to the top of The Monument. Continue walking North and keeping to the right and you will find yourself on Gracechurch Street. This ten minute walk will lead you Leadenhall Market. Like Holborn Viaduct, you will find a whole bunch of Dragons. But with most of these beasts you have to look upwards in your search.

ONE OF THE SEVERAL ENTRANCES INTO THE MARKET

Going right back to the 1st Century there is evidence of a basilica (law courts) and forum (market place) built on where Leadenhall Market stands today. After Romans left, much of London was left in ruins and little is known of its history throughout the Dark Ages. 

It is not until 1309 where the Manor of Leadenhall is first listed, as belonging to Sir Hugh Neville. By 1321, the area around Leadenhall manor is a known meeting place for poulterers. They are joined, in 1397 by cheesemongers. 

In 1411 the site is acquired by Richard 'Dick' Whittington, the mayor of London. The site grows in importance as a granary and a chapel are built to service those coming to the market. 

THE DRAGONS OF LEADENHALL, LOOK LIKE THEY ARE HOLDING THE ROOF UP.

In 1463, the beam for the tronage and weighing of wool is fixed at Leadenhall market, signifying its importance as a centre for commerce. In 1488 it is decided that leather is sold only from Leadenhall Market. 

In 1622, cutlery is made available only from Leadenhall Market. 

The Great Fire of 1666 destroys much of the city of London, including parts of the market. When it is rebuilt not long after, it becomes a covered structure for the first time and is divided into the Beef Market, the Green Yard and the Herb Market.

The building is knocked down again in 1881 and redesigned by Sir Horace Jones (architect of Billingsgate and Smithfield Markets). It is very interesting that Sir Horace Jones also has very similar dragons at the main market in Smithfield (see previous blog City of London Dragons, Part 2). Wrought iron and glass replace the previous stone structure.

A celebrated character in Leadenhall during the 18th century was 'Old Tom', a goose which managed to escape execution even though it is recorded that 34,000 geese were slaughtered there in two days. He became a great favourite in the market and was fed at the local inns. After his death in 1835 at the age of 38, he lay in state in the market and was buried there. In 1991, Leadenhall Market was extensively restored. Hollywood noticed the charms of Leadenhall, in 2001, when it is used as Diagon Alley, in the film, Harry Potter and the Philosopher’s Stone.

 Sourses
http://www.leadenhallmarket.co.uk/
http://www.themonument.info/
http://www.jimbatty.com/articles/dragonphotos.html

NUNHEAD CEMETERY OPEN DAY 2012

THE LAD AT WORK

Here are some pictures from Nunhead Cemetery Open Day. I must admit the few days leading up to the event, I was pretty nervous. The thought of demonstrating letter carving in front of the general public and having to speak to lots of strangers at the same time filled me dread. But I need not of worried, on the whole things went really well. I had lots of good feed back and several people showed a real interest in my work, many of which took my business card. God willing, it may lead to some work in the future months, here's hoping. One thing that was a real concern was the great British weather. Ever since the hose pipe ban it hasn't stopped raining. Seasoned stall holders came prepared with gazeboes and the like, prepared for any eventuality. I on the other hand made do with prayer. Well I am pleased to say my prayers were answered and not a drop of rain landed all day. In many ways the weather was perfect not to hot and not to cold.

A big thank you, to all who came along and me there support. But a special thanks to Tim and Caroline Stevenson who gave me this opportunity. Nunhead Cemetery is such a beautiful place, one of the magnificent seven old cemeteries of London. Well worth a visit to spend a few hours looking round. www.fonc.org.uk.

On the day, I was carving GRACE (one of my lovely daughters who helped me on the day) into a very old and heavy piece of beach wood. It was one of the best woods I have found to carve so far. The finished result, is in my opinion my best and cleanest work so far.

RUACH - HEBREW CARVING

An artist, and friend of mine, Mr Robert Bain, has been experimenting with designs of Hebrew letter forms, in both classic and modern Hebrew. Robert has asked me if I would like to try and carve some of them. This is one of the them, the word RUACH.

Here Robert, using his own words, explains what the word RUACH means.

A brief explanation of the word RUACH itself, to help in our understanding of the ‘beauty’ of the Hebrew language, especially in its relation to THE WORD of GOD [ELOHIM].

All the Hebrew letters and words are from a basic formation of PICTOGRAMS, RUACH being no exception. Within the word RUACH there is a link in the combination of the letters relating to ‘man’ [REISH] and ‘working outside’ [CHET], these are joined by the ‘and’ or ‘add’ [WAW or VAV in modern Hebrew], leading to the following explanation, as given in The Ancient Hebrew Lexicon, although there is much more of course.

The Hebrew nomads were very familiar with the wind patterns as they would follow a prescribed path indicating the coming season. From this word comes the idea of breath, as it is the wind of man, which also follows a prescribed path of inhaling and exhaling.

I used Oak to carve the image and inlaid the letters with Blue Variagated Gold Leaf Substitute - in other words poor man's gold leaf.

ANOTHER ONE OF ROBERTS DESIGNS - YACHAL MEANING HOPE

MAN OF LETTERS

www.carvedletters.co.uk

See me at Nunhead Cemetery Open Day, 19th May 2012

from 11am. to 5pm Free Admission

http://www.fonc.org.uk/open-day.html

Having got hold of this piece of euro oak, I wasn't sure what to do with it at first. I think the oak was a little green still, because it had several cracks in it, as it was still drying out. But I like wood that is not perfect, it has more character and you have to work with and around the faults.