Solving the 'Great Stink'

Discover how the Great Stink of London led to the creation of today's modern sewerage system

A pipe with a 1 meter (3 foot) diameter is lowered into place in a new main sewer at Nunhead in London, completed in 1889. Photo courtesy of Thames Water Utilities Limited

A pipe with a 1 meter (3 foot) diameter is lowered into place in a new main sewer at Nunhead in London, completed in 1889. Photo courtesy of Thames Water Utilities Limited

Miles of close wells and pits of houses, where the inhabitants gasped for air, stretched far away towards every point of the compass, through the heart of the town a deadly sewer ebbed and flowed, in the place of a fine fresh river.” Charles Dickens, Little Dorrit, 1857

For many years, London, which in 1801 had a population approaching 1 million, had struggled with the system of sewage disposal inherited from medieval times. Cesspools were emptied by nightsoilmen, who sold the contents to farmers just outside the city. Public sewers in and beneath the streets were intended for the disposal of rainwater, although garbage, including butcher’s offal, was surreptitiously dumped in them and the kennels, as had been observed during the reign of Edward III.

Nevertheless the Thames was a reasonably clean river and salmon – the litmus test of water quality – were still being caught in the first decades of the 19th century. But three factors now combined to interrupt these arrangements. First, London grew and the countryside moved farther away. Moorfields and Spitalfields ceased to be fields by the end of the 18th century, so the nightsoilmen had to carry their sewage a greater distance. Secondly, from 1847, a more effective fertilizer became available in the form of guano (solidified bird droppings), imported from islands off the coast of Chile. The Gibbs family used the enormous fortune they earned from the trade to built Tyntesfield, now a National Trust property in Somerset. The nightsoilmen struggled to compete.

But the most decisive factor was the introduction of the water closet, invented by Sir John Harington. In 1775 a patent was registered by a Bond Street watchmaker named Alexander Cummings (1773-1814) for improved version of Harington’s device. In 1778, a Yorkshire-born carpenter and inventor called Joseph Bramah (1748-1814) was asked to install one of the closets in a private home and realised that he could improve the design further and simplify the process by which its components were manufactured. He patented his version of the WC and started to make them in large quantities. He made and sold over 6,000 closets by 1797 and his company continued to flourish until 1890.

A Victorian businessman called Thomas Crapper (1836-1910) started a competitive business in 1861 and nine years later opened a showroom to display his wares, which were advertised under the slogan ‘A certain flush with every pull’. The business continued to operate from 120 King’s Road, Chelsea until 1966 and still trades, dealing in sanitary fittings online. The products were of high quality, with many still in use – for example at a public house called The Parcel Yard adjacent to the Harry Potter Platform 9¾ at London’s King’s Cross Station. In 1849, Thomas Twyford (1849-1921) opened a factory for the production of sanitary ware in Stoke-on-Trent and in 1883 began to manufacture the ‘Unitas’ ceramic closet for export to the world. To this day the word ‘unitas’ in Russian means ‘toilet’. The WC was one of Britain’s greatest gifts to civilization.

But the greatest ingenuity of all was shown by George Jennings (1810-82), who was born in Hampshire and joined the plumbing business of his uncle in Southampton. He is remembered for his enterprise in installing WCs in the Crystal Palace, which housed the Great Exhibition of 1851. Some 827,000 people used these conveniences, many experiencing them for the first time, and each paying one penny for the privilege. This gave us the expression ‘spend a penny’ and effectively drew attention to the advantages of the devices. But water closets have one major disadvantage when used in conjunction with cesspools. When flushed, they discharged a small amount of faeces and urine, potential fertilizer, and 8 litres (2 gallons) or more of water, rapidly filling the cesspools with liquid that farmers did not wish to buy and which leaked.

It was these conditions, to which Michael Faraday drew attention in 1855, that led to the creation of the Metropolitan Board of Works who began work the following year. The board replaced a multitude of parish vestries, liberties, commissions and similar bodies that had come into existence over centuries. Their aims had been twofold: to spend as little ratepayer’s money as they could and to despatch their sewage to the adjacent parish as quickly as possible. Sizes and shapes of sewers were not coordinated and the arrangement was particularly unfortunate for those parishes that were situated in the low-lying parts of London, close to the Thames, where everyone’s waste accumulated before entering the river. The Metropolitan Board of Works was the first body established for London as a whole, with authority to construct roads, bridges and parks but above all street drains and intercepting sewers or ‘collectors’.

In 1856 Joseph Bazalgette was appointed Chief Engineer to the Metropolican Board of Works. He was born in England, but was descended fro a French grandfather who had arrived in England in 1770s. He learned engineering, as most did at those times, be being an articled pupil, in his case to Sir John MacNeill (1793-1880) who gave him his first experience of draining by employing him on land drainage schemes in Northern Ireland. He also worked on railway proposals, which gave him experience in dealing with politicians and he came a member of the Institution of Civil Engineers in 1838. When applying for the post of the Metropolitan Board’s chief engineer, his referees were Robert Stephenson (1803-59), designer of The Rocket, and Isambard Kingdom Brunel (1806-59).

Bazalgette’s was not the first such appointment. In May 1847, James Newlands (1813-71) had been appointed as the first borough engineer in Britain to prepare a comprehensive sewerage plan for the troubled, disease-ridden city of Liverpool, whose population had been swelled by impoverished Irish fleeing the potato famine and who were living in conditions of inconceivable squalor, in flooded cellars without sanitation. Liverpool was at that time the most populous city in Britain beyond London, with a population of 400,000. The appointment of Newlands had been preceded, in January of the same year, by the appointment of Dr William Henry Duncan (1805-63) as Britain’s first Medical Officer of Health. Together, the two men campaigned, with eventual success, for the construction of sewers and clearance of cellars, which meant that when cholera returned to Britain in 1854, its effects were far less virulent than previous epidemics. Newlands has a claim to have been the first engineer to introduce egg-shaped sewers (sometimes referred to as ‘English sewers’), designed to concentrate the liquid in a narrow channel during times of low flow levels. This speeds the movement of the water and the solids it carries, though even the Cloaca Maxima, the ancestor of all large sewers, was higher than it was wide. During the Crimea War, James Newlands was sent to the Crimea as Sanitary Commissioner, earning from Florence Nightingale the accolade: ‘Truly I may say that to us sanitary salvation came from Liverpool.’ Dr Duncan is remembered in Liverpool by a pub named ‘Dr Duncan’ in his honour in the city centre and a special brew called ‘Dr Duncan’s IPA’.

Bazalgette set to work without delay. He new the task ahead of him, as he had previously been employed by one of the commissions that had done some preparatory work and and built some new street sewers. By June 1856, he was able to submit his plans, a system of intercepting sewers running parallel to the river. On the north side of the river, he proposed that the sewage was taken mostly by gravity to Abbey Mills, near West Ham, before being lifted by huge pumping engines into outfall sewers that took it on to Beckton in Essex for discharge at high tide. On the south side it would taken to Crossness, in Kent, where the largest beam engines ever built could lift it into reservoirs where it was discharged into the river before beginning its voyage to the North Sea.

This is an extract from An Underground Guide to Sewers by Stephen Halliday, published by Thames & Hudson (2019). The book explores the history of sewer networks that lie beneath the world’s greatest cities, and includes archival plans, maps and photographs of these subterranean labyrinths.

Wellcome Collection, London

Wellcome Collection, London

Image courtesy of Library of Congress, Washington, D.C

Image courtesy of Library of Congress, Washington, D.C

Screen Shot 2020-05-01 at 11.16.25 AM.png
Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Bibliotheque nacionale de France, Paris

Photo courtesy of Bibliotheque nacionale de France, Paris

Photo courtesy of Thames Water Utilities Limited

Photo courtesy of Thames Water Utilities Limited

Photo courtest of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtest of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of the Passaic Valley Sewerage Commission, Newark, New Jersey

Photo courtesy of the Passaic Valley Sewerage Commission, Newark, New Jersey

Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Thames Water Utilities Limited

Photo courtesy of Thames Water Utilities Limited

Whistling languages

There are around 70 whistled languages worldwide, all based on spoken tongues and created to communicate across remote terrain. Each one is formed through changes in pitch, either following a tonal structure (where whistles, or syllables, follow the melody of the parent language), or non-tonal (where whistles mimic changes in vowel resonance, while the jump and slide of notes indicate the consonants)

The steep volcanic peaks of La Gomera. Image by Mathias Weil, courtesy of Free Images

The steep volcanic peaks of La Gomera. Image by Mathias Weil, courtesy of Free Images

Silbo Gomero - the most whistled language in the world

The shrill whistles of the Silbadors echo among the steep volcanic peaks of La Gomera, second smallest of the Canary Islands. The 4,000-word language of Silbo Gomero replaces the principal phonetics of Castilian Spanish with two distinct sounds for the five vowels and four for the consonants. It’s understood by over 20,000 people and can be heard up to two miles away – substantially further than a ruddy good yell. As a wise Silbador once said, “whistling is always easier than walking”.

Kus Dili - the ‘bird language’

In an isolated valley on northern Turkey’s mountainous Black Sea coast, locals shoot the breeze with the chirruping sounds of Kus dili. Used by around 10,000 people in Kusköy (‘the village of birds’), this centuries old language takes standard Turkish syllables and transforms them into piercing whistles that you can hear from over half a mile away. It’s in decline, but since 2014 local authorities have been trying to reverse this by teaching it at primary school level.

The h’mong - whistle of courtship

Deep in the Himalayas exists a whistling language with a twist. Used by the H’mong people to penetrate dense forests, their whistles also feature in the delicate act of courtship. Historically, young boys would saunter through the moonlit streets of neighbouring villages, whistling poems to catch the ears of young girls. Although rare today, this ancient language permits a complex and private code of love that’s far more chivalrous than the unwelcome ‘wit-woo’ of a wolf whistle.

Words: Matt Iredale

This article originally featured in issue 9 of Ernest Journal, on sale now

Issue 9
£10.00
Add To Cart

The Waterless Sea

Mirages are “real, but not true”, according to Christopher Pinney in his book The Waterless Sea. Real in that they are genuine optical phenomena (and can even be photographed); but not true in that “the exact nature of what beholders believe they can see reflects, in part, the concerns and anxieties of their times”. Pinney’s book describes some famous examples.

mirage_01.jpg

The thirst of the gazelles

Mirages occur when light is refracted by hot or cold air, making things appear in the wrong place. They can be ‘superior’ or ‘inferior’, depending on whether the apparition is above or below the real object. A typical ‘inferior’ mirage is the desert oasis – actually a refraction of the blue sky above. Known in Sanskrit as mrigtrishna – ‘the thirst of the gazelles’ – Lawrence of Arabia regarded these frustrating visions as “an ever-present feature of the desert”.

FataMorgana_01.jpg

The elusive island of St Brandan

A superior mirage frequently takes the awe-inspiring form of a ‘city in the sky’ – also called a Fata Morgana after the tricksy Arthurian sorceress, Morgan le Fay. The most enduring of these was the phantom isle of St Brandan in the Canary Islands. Seen many times over hundreds of years, this mysterious landmass prompted four abortive expeditions and appeared on maps from the 1400s right up to the 1750s.

shinkiro_01.jpg

The breath of the clam-monsters

In Japan, shinkiro (mirage) was attributed to the breath of giant sea molluscs. When this purple mist bubbled up from the deep, it hung above the water in the form of a spectral island called Horai, complete with palaces and temples. In China, the island was known as Penglai, and 8th-century poet Ch’ien Ch’i declared that any dignitary making the crossing to Japan would spot “the high houses of the clam-monsters bannered with rainbows”.

Words: Joly Braime. Illustrations: Joe Latham.

Taken from The Waterless Sea, by Christopher Pinney (Reaktion Books, 2018), £18.

This article originally featured in issue 9 of Ernest Journal, on sale now.

Issue 9
£10.00
Add To Cart

Under the mountain

Woodworker David White carves spoons, jugs and other objects out of oak that he’s salvaged from the abandoned slate mines of North Wales, which has to be one of the most Ernest projects we’ve ever encountered…

Photo by David White

Photo by David White

David, how did you come up with the idea to create the Mine Oak collection?

I’ve always been fascinated by the slate mining landscapes of Snowdonia. It was while on a tour of the vast slate caverns that opened my eyes to how much wood was still underground. I made a couple of cups from a sample of oak I retrieved from a mine and realised the colours in the wood were completely unique. From there my imagination ran wild with the idea of weathered wood, the rugged landscape and the industrial heritage of the mines.

What was the condition of the oak that you salvaged?

The oak is very variable in condition – it can be very brittle if it’s been closer to the mine surface (nearer bacteria). The wood that’s deeper underground is more preserved; very dense, and dark in colour. The real alchemy I find in using the wood is the colouration throughout the grain, as the iron brought down to the mine has rusted down over a hundred years and made an iron-rich water that reacts with the tannins in the oak, leaving areas of black flowing through the grain like dark clouds. I never know what will be inside the wood until I remove the surfaces. I’ve taught myself to be very open to what the wood condition and colouring suggests as objects to make with it.

Were there any challenges?

The biggest challenge is getting the wood out of the mines. The tunnels linking the caverns are only about five feet high, and I’m six foot tall. The dense, sodden wood can be 30kg per piece. Once back in the workshop the challenge is to make objects while the wood is still wet, so I can use green woodworking techniques with an axe and carving knives. However carefully I dry the wood, it often splits, so I build the splitting in to my processes now and try to forsee where splits will be so I can ‘cold forge’ fill cracks with contrasting metals.

What inspired the shapes of the jugs?

The rugged, industrial looking jugs are a reaction to both the rough wood, the massive landscapes and the industry of the mines. If you imagine a roughly made slate trolley on rails underground, filled with slate and pushed along in the dark tunnels by a young boy, you see the inspiration I had for the shapes.

What's your favourite item from the collection and why?

As I started making pieces from the mine oak, I read about what working life was like in the mines and quarries of Snowdonia a century ago. There was a huge sense of pride and comradeship among the hard working quarrymen. The men self-selected into groups of five, a ‘Bargain Gang’ who would bid for work each month. In underground and cliff-side shelters called cabans, men rested between extracting slate, talking about politics, singing, reading poetry and of course drinking tea. I created a set of five caban jugs that imagine each member of the Bargain Gang; two rock men, a splitter, a dresser and a rybelwr (young apprentice learning the trade). For the two tough rock men, I used the rough weathered surface of the oak as the jug rims. The colours within the oak looked like a Welsh moorland landscape. These jugs somehow communicated everything I wanted to convey about the eerie landscapes of slate mines.

Do you have any further plans to work with salvaged wood?

The amount of inspiration I found from the mine oak versus what I would have created with fresh, green oak was quite surprising to me. I have plans to make further sets of mine oak functional objects that are even more closely linked to the rugged mountain landscapes of Snowdonia. I also want to look to the coast of north Wales with oak in mind; perhaps shipwreck oak?

2008.12.15 Llanberis Slate Quarry-66.jpg
2018.10.19 National Slate Museum - Llanberis-14.jpg
2008.12.15 Llanberis Slate Quarry-65.jpg
2018.10.19 National Slate Museum - Llanberis-16.jpg
2008.12.15 Llanberis Slate Quarry-51.jpg
2018.10.19 National Slate Museum - Llanberis-13.jpg
2018.11.11 Mine Oak Spoon-12.jpg
2018.10.19 National Slate Museum - Llanberis-15.jpg
2018.11.16 Mine Oak Makes-86.jpg
2018.11.16 Mine Oak Makes-70.jpg
2018.11.16 Mine Oak Makes-81.jpg
Black and white images courtesy of National Slate Museum; other images by David White

Black and white images courtesy of National Slate Museum; other images by David White

Explore more of David White’s work at thewhittlings.co.uk

Woolly buggers and booby nymphs

Fly fishermen try to fool fish into thinking that tiny bits of hair, fur, feather and thread tied to a hook are in fact tasty insects. Broadly, there are two types of fishing fly: imitators, which are designed to look like real insects; and attractors, which often look like nothing on God’s green earth, but fish seem to like them anyway. Here are three outlandish patterns that caught (ahem) our eye

red fish bait.jpeg

Woolly Bugger

Still one of the top patterns around, the Woolly Bugger is a popular and widely used fly for catching all sorts of fish. It has proven its effectiveness over many decades, which is perhaps largely down to its versatility – it looks like a lot of things that fish love to eat, from a drowning fly to a large nymph, or even a small baitfish.

green fish bait.jpeg

Booby Nymph

This design, which is often irresistible to trout, came about following a cunning observation: that many emerging insects use a bubble of air to move from the lake bed to the surface, which then holds them in place while they transform into a flying insect. The basic booby is simple in design – a pair of foam boobies at the head, a short body and a fluffy tail of marabou feathers (to simulate the waving legs and wings as the nymph emerges). In still waters it can be ruthlessly effective. However, fly fishing purists consider the use of boobies to be as crude as the name, and akin to cheating. The issue is contentious enough that some lake owners ban boobies from their waters.

yellow fish bait.jpeg

Tups Indispensable

Made for catching brown trout in the chalk streams of south west England, this fly was the brainchild of Devon tobacconist RS Austin in 1890. Its peculiar name stems from the fact that it utilised an unusual material in its manufacture; namely, wool taken from the testicles of a ram or ‘tup’. This fine substance was long noted by anglers for its “beautiful dusty yellow” colouring, as first recorded in Alexander Mackintosh’s 1806 book The Driffield Angler.

Words: Matt Jones, Illustrations: Louise Logsdon

This article originally featured in issue 9 of Ernest Journal, on sale now

Issue 9
£10.00
Add To Cart