VICTORIAN DETECTIVES IN LIVERPOOL

Today, I’m thrilled to be hosting a guest post from Angela Buckley, a crime history author, who is researching detective history for a PhD at Oxford Brookes University. This post explores the daily lives of detectives in Liverpool Borough Police in the Victorian era.

Since the emergence of Sherlock Holmes in the 1880s, there has been an ongoing fascination with detective adventures. The iconic consulting detective often collaborated with his colleagues at Scotland Yard, about whom he was less than complimentary, but by the time Sir Arthur Conan Doyle was writing his legendary stories, there were efficient crime-busting police detectives in other English cities outside the capital, including Liverpool, Manchester and Birmingham.

Liverpool Borough Police, one of the earliest ‘new’ police forces, was established in 1836. There were two divisions: North and South, covering the docks and the city streets which, in Victorian times, were teeming with inebriated sailors, sex-workers, notorious thieves and violent gangsters. From the very beginning of the Liverpool force’s history, plain clothes police officers were deployed, especially for investigating burglaries in the suburbs.

George’s Dock, Liverpool, in 1897 (Wikimedia Commons)

The first documented reference to a formal detective department was in 1845, when a detective superintendent was appointed to oversee the management of the team and its dedicated office at the police headquarters. (This is contemporaneous with the creation of Scotland Yard, at the Metropolitan Police.) By this time, there were eleven Liverpool police detectives investigating crime in the northern city. A major sea port, Liverpool had a high level of crime throughout the nineteenth century and was particularly infamous for its sex trade. In 1836, there were some 300 brothels, with 1,200 sex workers, who mixed with more than a thousand known male thieves throughout the city. More than 1,200 street children were also engaged in pilfering. Regular offences included brutal assaults, rioting and sectarian clashes, robberies from warehouses, shops and private residences, and disorderly behaviour, especially at night. The police had their work cut out.

Head Constable’s Special Report Book, Liverpool Archives (© A Buckley)

From the very beginning, the detective officers were required to keep a daily record of their investigations. This was acknowledged in the first Inspectors of Constabulary report in 1857, in which it was noted that individual detective officers in Liverpool kept ‘a journal of his duties’. In fact the detective superintendent had implemented a strict daily régime. When information about felonies was received into the detective office, via the uniformed constables, the chief constable, or members of the public, the details were entered into a series of thirteen different log books, each relating to specific crimes, such as the Borough Robbery Book. The superintendent then selected a detective officer with the relevant experience to each case. The detectives started work at 9 a.m., when they received their instructions for the day. They usually began by interviewing the informant and following any leads. Individual officers were out on assignments all day and when they returned to the office in the evening, they entered their findings back into the relevant log book. If they moved outside the force’s jurisdiction, they had to remain in contact whilst they were away by telegraph.

In addition to tackling crime, Liverpool detective officers were involved in a wide range of duties, including conducting prosecutions in court, racecourse surveillance, protecting warehouses, and checking ships moored at the docks. They supervised royal visits, travelled overseas to apprehend suspects and undertook covert missions to track Irish nationalists. Detective Inspector William Cozens, one of the longest-serving and most experienced members of the detective team, summed up his duties: ‘They consist of investigating important cases, such as burglary, robbery on the high seas, cotton robberies, murders, and suspected cases of arson.’ During the Victorian period, high profile crime investigations included the prosecution of Florence Maybrick for murdering her husband, in 1887, which was followed with great interest throughout the nation.

The courtroom at St George’s Hall, Liverpool ( © A Buckley)

Charles Dickens, a stalwart supporter of the police, who had famously interviewed Scotland Yard officers in 1850, visited Liverpool a decade later. After signing up as a special constable, the intrepid writer accompanied Superintendent Benjamin Ride on his nightly patrol into one of the most dangerous quarters of the city’s criminal underworld. When he recounted his experiences in ‘The Uncommercial Traveller’, he praised the Liverpool police force as ‘an admirable force…it is composed, without favour, of the best men that can be picked, it is directed by an unusual intelligence’.

Charles Dickens’ plaque, Liverpool (© A Buckley)

A big thank you to Angela for sharing her research and insight into the intrepid detectives of Liverpool. You can find out more about her sleuthing work at victorian-supersleuth.com

VICTORIAN FASHION: WHAT TO WEAR IN SEPTEMBER (1885)

September can be such a changeable month weather-wise, making it difficult to know what to wear. Luckily for Victorian women, the Paris correspondent who wrote regular ‘Chit Chat on Dress’ articles for Cassell’s Family Magazine was on hand with plenty of tips and advice. She confessed she was an ‘advocate for economy’ and was keen to offer suggestions for altering clothing:

‘A favourite alteration in the mode of making is that the bodice should be full before and behind, sometimes gathered in straight lines back and front, at the shoulder and waist of the dress, sometimes in circular gatherings round the neck. Two or three straight-gathered flounces, mostly edged with lace, is another easy and favourite arrangement of dresses…young ladies can, if they are so minded, make their costumes themselves more easily than usual’.

The Paris correspondent also suggested a couple of ways of introducing bright colouring, for example, ‘a dark green cashmere dress, with a scarf tunic of old-gold and vivid green’ or ‘a grenat [dark red or garnet] cashmere with three flounces of stripped grenat and gold, so arranged so that the gold portion only shows in the plaits’.

Her ideas for September clothing included a tennis apron ‘worked in crewels at the corners and shoulder-straps, and trimmed with coloured work’.

A tennis-apron from ‘What to Wear in September’ (Cassell’s Family Magazine, 1885)

She also suggested replacing tan gloves with white (‘we have done the tan-coloured gloves to death’) and buying tan shoes which were now the rage ‘especially embroidered in a darker tone of brown’. She advised that the Langtry bonnet (named after the actress and socialite Lillie Langtry) was still universally worn:

Anyone can arrange one. The straw can be bought for a few shillings, a wreath of roses or any other flowers must then be placed under the brim, and either flowers, or a silk scarf, or torsade of ribbon or silk twisted round the crown, with strings.

Lillie Langtry by Napoleon Sarony (Public Domain)

The September column went on to note that ‘navy blue silk costumes have found favour in lieu of serge; and black and white checks, principally in wool, are worn with velvet bodices…Some of the new and most stylish woollen dresses have white piqué waistcoats; and even with cotton dresses, jaunty tweed jackets in dark colours are worn, close-fitting and vandyked round the edges. A round tweed cape by way of a wrap is one of the most convenient introductions of late’.

According to the Paris correspondent, ‘the plain all-round skirts, with heavy ruches at the edge and panier tunics above, are still much worn, possibly because it is an easy make for home dressmakers’. She went on to warn that ‘a bodice, however, is unfashionable unless it is pointed’ and noted that ‘the fronts are trimmed with a portion introduced of a contrasting colour’. Grey was still popular, both for day and evening wear, and moire or watered silk was still in high favour.

Below is the main illustration from the September column: ‘The rich mantle worn by the first figure in the lower group is of black velvet grenadine and Spanish lace. The popular Hungarian jacket, with its braided brandebourgs, is seen on the second figure; a dark cloth jacket, smartened with a white piqué waistcoat and thickly embroidered trimming, is worn by the third figure.’

‘What to Wear in September’ (Cassell’s Family Magazine, September 1885)

‘The three ladies in the upper group [in the above image] are in evening demi-toilettes in which broché, satin, gauze, grenadine and nun’s veiling play prominent parts. The panier bodice, the pointed bodice, and the waistcoat bodice are all shown here, for they are all popular.’

Ironically, September 1885 was an unseasonably cold month. On 25 September, snow fell in London and Surrey with a severe frost while the temperature in Oxford was 9.9 degrees centigrade. According to the Nottingham Evening Post, snow fell at Aldershot, Hampshire; Bridlington, East Yorkshire; and on the Yorkshire Wolds. There was also a snow storm in Wales and a considerable fall of snow in Inverness-shire ‘accompanied with a cold biting wind from the north’. I’m not sure how useful the Paris correspondent’s advice would have been that month!

VICTORIAN TRAIN TRAVEL

A few weeks ago, I visited the amazing National Railway Museum in York for the first time. If you’ve never been, it’s definitely worth the trip – you don’t have to be mad about trains! There are some fascinating exhibits relating to the Victorian era, the expansion of the railways in Britain and how the passenger experience changed.

Victorian railways reinforced the Victorian social structure with a choice of first and second class carriages; third class was not offered until late 1838. At the National Railway Museum, it was wonderful to see some early surviving carriages from this era for the Bodmin & Wadebridge Railway. There is a composite first and second-class carriage that would originally have been exclusively first-class. The first-class passengers had upholstered seats while in second-class, they had to make do with wooden seating. You can sit in the second-class section of the composite carriage which gives an amazing feel for the past and how little legroom there would have been, even without the added problem of voluminous petticoats and crinolines!

Composite first and second class railway carriage, National Railway Museum , York (Credit: Hugh Llewelyn [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)%5D

This is what an ordinary second-class carriage would have looked like with a window in the door only:

Second-class carriage at National Railway Museum, York (Credit: Hugh Llewelyn [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)%5D

Coupled next to the composite carriage is the third-class accommodation, more reminiscent of a cattle truck than a carriage.

Third-class carriage at the National Railway Museum, York (Credit: Hugh Llewelyn [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)%5D

Dating from 1896, this image captioned ‘the oldest rolling stock in England from the Bodmin & Wadebridge Branch, London & South Western Railway, in use for fifty years ‘ may show the same or similar carriages to those in the National Railway Museum:

From Locomotive engineering – a practical journal of railway motive power and rolling stock (1896) (Wikimedia Commons/Internet Archive Book Images)

Passengers travelling by train in the 1830s and 1840s had to be a hardy lot. Compartments were unheated, even in first class, although there was a foot warmer for these better-off passengers. In The Early Victorians at Home, Elizabeth Burton describes how noxious these carriages were at night, as they were illuminated ‘by an evil-smelling and dripping oil lamp fixed in the roof’. The cushions in first-class carriages were also inclined to catch the dust from the steam engine.

Second-class carriages had a roof but were open at the sides. Wrapping up warm with a rug, cap and cloak was essential, as was an umbrella. ‘A Constant Traveller’ wrote to the Leicester Chronicle in 1843 about the ‘miserably cold and wretchedly devised carriages’. He commented: ‘The day was windy and wet, the rain poured in so heavily that a pool of water above an inch deep deluged the floor, and…most of the passengers…were wet through, not being provided with any protective clothing.’

‘Second Class: The Parting’ by Abraham Solomon, 1854. (Credit: Abraham Solomon [Public domain] )

The early third-class carriages were little more than cattle trucks with no roof and hard wooden seats. This mirrored the experience of third-class passengers on the top of a stagecoach, but railway travellers also had to contend with the hazards of smoke, soot and cinders.

A passenger travelling from London to Liverpool via Birmingham on the Grand Junction line wrote to the Leeds Mercury in 1841, complaining of the third-class accommodation: ‘I witnessed several instances in and near the carriage in which I was placed, of clothing, umbrellas &c being burnt and utterly spoiled by the ashes from the engine, some pieces the size of a walnut being precipitated, red-hot, into the midst of us. In fact, on arriving at Birmingham, if the seat and floor of that part of the carriage in which I rode had been swept, not less than half a pint of cinders might have been gathered.’

Despite the sub-standard accommodation, railway travel was hugely popular. According to the Railway Times, in the first six months of 1839, the London to Birmingham railway carried 267,527 people. In eight months, the line between Sheffield and Rotherham attracted 330,000 passengers. The Morning Chronicle (1844) reported: ‘Last week, some of the Yorkshire railways offered the public of the West Riding a trip down to Liverpool and back for a few shillings a place, and though the accommodation in the carriages was no better than that given to cattle on the Liverpool and Manchester line, yet no less than five thousand persons availed themselves of this opportunity of visiting Liverpool and the sea!’

After 1844, railway companies were forced to provide roofs on all third-class carriages under new legislation. At least one train every weekday had to run for third-class passengers, stopping at every station along the line. From this time, lighting was also provided in third-class carriages although there was only a single oil lamp per carriage, compared with several in each first-class carriage.

‘First Class: The Meeting’ by Abraham Solomon, 1855, also known as ‘The Return’. (Credit: Yale Center for British Art [Public domain] )

Before 1868, it was not possible for passengers to communicate with the guard if they had a problem, and it was not until the 1890s that they could walk from one compartment to another along a corridor. The corridor walkway became more common after the early 1900s when lavatories started to be introduced on trains. In 1875, the Midland Railway abolished second-class travel altogether and upgraded third-class passengers to second-class standards; it also reduced the fares in first class. Other railways followed suit to keep up with the competition. Around the same time, dining cars were introduced for wealthy passengers. Later in the nineteenth century, long distance trains started to offer refreshment baskets for the less well-off.

Please note: this post contains affiliate links for the British Newspaper Archive.

VICTORIAN CAPITAL PUNISHMENT: WHEN A HANGING WAS A DAY OUT

The weather on the morning of Saturday 14 June 1856 was wet with persistent drizzle, but it did not deter the crowds gathering in Stafford. From the early hours, thousands of people had been arriving on foot and by train, and an air of eager anticipation was building. Was Queen Victoria or another famous dignitary visiting? Or was a travelling fair or circus due in town? In fact, none of these explanations were correct; the crowds were waiting to witness justice meted out to convicted murderer, Dr William Palmer, dubbed by the press the ‘Prince of Poisoners’. In an age before cinema, the Victorians loved a spectacle and the drama of a hanging was certainly that.

Until the 1820s, there were some four hundred criminal offences which carried the death penalty including picking someone’s pocket of anything worth one shilling (5p) or more and stealing anything worth £2. The number of capital offences was gradually reduced by successive governments until 1861 when the Offences Against the Persons Act specified that only wilful murder and treason were punishable by death. 

From the mid-nineteenth century, even when the death sentence was passed on a convicted murderer, there was still a chance that he or she could be reprieved and instead spend the rest of his or her life in penal servitude. In such cases, the prisoner might have to wait several weeks to know whether he or she was to live or die. 

For Dr William Palmer, there was to be no reprieve. On 27 May 1856, he was convicted of murdering his friend, John Parsons Cook by administering strychnine in November 1855 in Rugeley, Staffordshire. Palmer was constantly in debt and regularly gambled on the horses. On 13 November at the Shrewsbury Races, Cook had won about £3,000 but the following day, Palmer lost heavily on another horse. Cook became ill after having a meal with Palmer that evening at the Raven Inn, Shrewsbury. The next day, Cook was slightly better so he and Palmer returned to Rugeley where Cook took a room at the Talbot Arms opposite Palmer’s house.

The Shrew Pub, Rugeley, originally the Talbot Arms, where John Parsons Cook died (Credit: canalandriversidepubs.co.uk)

Over the following days, Cook continued to be sick and Palmer regularly visited his friend to check up on him. On 19 November, Palmer took Cook’s betting books to obtain the various winnings on his behalf. Two days later, Palmer prescribed what he called ‘ammonia pills’ for Cook after which a ‘terrible scene’ ensued:

‘Wildly shrieking, the patient tossed about in fearful convulsions; his limbs were so rigid that it was impossible to raise him, though he entreated that they would do so, as he felt that he was suffocating. Every muscle was convulsed; his body bent upwards like a bow; they turned him over on his left side; the action of the heart gradually ceased; and he was dead.’

The Illustrated Times (2 February 1856)

A coroner’s inquest followed and a botched post-mortem was held in which Palmer himself interfered with the examination; the resulting samples were of such poor quality that the toxicologist, Dr Alfred Swaine Taylor, could not make use of them. A second post-mortem was ordered and although no traces of poison were found, Dr Taylor still believed Cook had been poisoned. On 15 December, the jury at the inquest stated that the deceased had ‘died of poison wilfully administered to him by William Palmer’. Palmer was duly arrested and charged with Cook’s murder.

In the weeks and months after Cook’s death, the newspapers printed various rumours and allegations about Palmer and other possible victims he may have poisoned, including his wife, brother, mother-in-law and four infant children. This trial by the press effectively found him guilty before he had even stepped inside a court. It was felt that local prejudice against him was very strong in the community in which the crime was committed and it was highly unlikely that a jury could be unbiased. As a result, Palmer’s twelve-day-trial in May 1856 took place at the Central Criminal Court (the ‘Old Bailey’) in London, where he was found guilty.

William Palmer (Credit: Wikimedia Commons)

Dr Palmer’s execution was scheduled to take place at 8am on Saturday 14 June outside Stafford Prison. As the trial had attracted so much public interest, huge crowds were expected that rainy morning to witness the hanging. The Times reported that ‘Balconies and platforms were erected on several of the housetops and in almost every imaginable place commanding a view of the spectacle and the windows of the houses in the front and near the scaffold had their full complement of eager spectators. The express train and others from London on Friday night brought down a great number of well-dressed persons…the crowds…kept constantly arriving during the night by railway and other means of conveyance from the adjacent towns for 50 miles around, including the Pottery districts, Birmingham, Wolverhampton, Walsall, Tipton and the rest of what is called “the black country”. The great bulk of the people were young men and lads, labourers and artisans, thousands of whom had left their ordinary occupations and travelled many miles to witness the spectacle…’

Interestingly, the Staffordshire Advertiser, the local newspaper best placed to report on the execution, was at pains to point out the incorrect descriptions of the crowd’s behaviour that appeared in other publications, believing that ‘some of the reports were written by anticipation, which is the only excuse we can find for their strange inaccuracy’. One account had claimed that ‘as soon as Palmer appeared on the scaffold, there was a universal shout of execration. From every part of the dense multitude there issued shrieks, groans and curses, mingled with cries expressing indignant abhorrence.’ Another described the crowd as ‘extremely indecorous and blasphemous’ while yet another said that ‘deep sympathy and pity’ was the predominant feeling of the spectators. The Staffordshire Advertiser was adamant that none of these descriptions were accurate. It did, however, approve of the report in The Times, which was ‘given with much care and correctness’ although special constables were not deployed as had been stated.

According to the Staffordshire Advertiser, on the morning of the execution, ‘people were gradually admitted within the barriers, and the rain helped to keep the crowd thinner than otherwise would have been the case… Precautions were taken by having ladders within the lower walls outside the gaol to remove any who might faint, and the necessity for this was soon evident, as instances of fainting presented themselves at an early hour.’ The newspaper went on to state there were between 30,000 and 35,000 people in the crowd but no more than one in twelve were females ‘none being admitted within the barriers’. The spectators appeared to be ‘chiefly respectable working people and tradesmen, and not to any large extent “swells” and low blackguards. Their demeanour was highly decorous, and the patience with which they awaited the period fixed for the execution was really remarkable. So far as our observation went, no oath was uttered, and the hoarse murmur of voices never rose above the accumulated hum of multitudes speaking in an ordinary tone.’

At seven minutes to eight, the minute bell gave the first toll, announcing to the crowd the departure of the melancholy procession from the cell of the condemned convict. At once

‘the hoarse murmur of the crowd arose into a loud buzz of excited expectation, which the multitude of voices swelled into a roar. A cry of “hats off” was raised…the noise subsided and a respectful, if not solemn, silence succeeded. Every face was eagerly upturned to catch the first glimpse of the wretched culprit. Here and there there was a laugh, but popular feeling was against it, and at the rebukes of the more serious it ceased. The condemned man ascended the steps with a quick, firm step, and placed himself on the centre of the drop, with his face towards the Gaol-square…He never flinched or shuddered as the executioner placed the rope around his neck and drew the white cap over his face. That done, the bolt was immediately withdrawn, and the drop fell. Being a stout heavy man he never struggled at all; a few convulsive twitchings of his arms and legs alone ensued, and after a few seconds his limbs hung motionless in death. The crowd did not shout or yell as do often such gatherings at the Old Bailey, but behaved with the utmost decorum, and in a few minutes after the drop fell began quietly to disperse. The body, after hanging an hour, as prescribed by law, was cut down and removed.’

The death mask of William Palmer (Credit: Wellcome Collection)

Reports of reactions after previous hangings tend to suggest that the crowd would have been disappointed by Palmer’s lack of struggle and relatively quick death. Yet the Staffordshire Advertiser makes no mention of this. It also appears that the well-organised policing of the event prevented any deaths from suffocation among the spectators, as had happened at Newgate in 1807 when 27 people died and 70 needed hospital treatment. At William Palmer’s execution, it seems that the crowd was unusually well-behaved. Such events had a reputation for drunknenness and crime such as pickpocketing, but the Staffordshire Advertiser had not heard ‘of a single case in which the police have had to make an arrest, or a complaint of any theft having been committed, and no accident whatever occurred’.

Public executions were originally designed to act as a deterrent to would-be criminals and a moral lesson, and they were always well-attended. By the 1860s, for the upper- and middle-classes, it became distasteful to witness executions and legislation was introduced to ban public hangings. The last public execution in England took place in 1868. After this date, executions were carried out in private behind closed doors in prison. Crowds still gathered in large numbers outside to see the black flag hoisted above the prison, a sign that the sentence had successfully taken place.

To read more Victorian newspaper reports about criminal cases in the UK, visit the British Newspaper Archive (affiliate link). For further information about the history of capital punishment in the UK, see Richard Clark’s excellent Capital Punishment website. To find out more about the William Palmer case, visit Dave Lewis’s meticulously researched William Palmer the infamous Rugeley poisoner website.

VICTORIAN MUSIC HALL MAYHEM

Today, I’m delighted to be hosting a guest post from Nell Darby, a crime and social historian, whose ancestors were Victorian performers. This post explores the phenomenon of Victorian music halls and how dangerous they could be, both for the audience and those taking part in the shows.

Queen Victoria’s unwarranted posthumous reputation for being ‘not amused’ has tarnished our view of the Victorians somewhat. Many perceive them as having been serious, moralistic individuals who demanded that table legs be covered up and that ankles were rather dangerous things.

Yet in reality, our Victorian ancestors wanted to be amused as much as we do today, and many enjoyed a naughty song lyric, or a knowing look, often enjoyed at the theatre. The development of a new type of theatrical entertainment from the mid-nineteenth century enabled many Victorians, including those from the lower echelons of society, to be entertained on a regular basis.

This new form of theatre was the music hall – an often bawdy, rowdy place where a variety of acts could be enjoyed. Audiences knew that even if they didn’t like a particular act, another would be along soon that might be more to their taste. Songs and comedy were key parts of the music hall’s programme of acts, that could be enjoyed alongside food and drink. To cater for the keen music hall patron, new theatres and halls were built or adapted, with bars and other facilities. The V&A has described these music halls as the successors to the taverns and coffee shops of earlier times, and it’s easy to see why: all were places where you could meet other like-minded souls, to chat, to drink, to learn what was happening in the world – and to escape that world, too. The music hall was a place of escapism, where you could laugh or shout away from the stresses of everyday life.

The Oxford Music Hall in London, c.1875
Source: https://en.wikipedia.org/wiki/Music_hall#/media/File:1875_Oxford_Music_Hall.jpg [public domain]

By the early Victorian era, many taverns, such as the Coal Hole, near Covent Garden, had started to put on musical entertainment several times a week, catering for the labouring classes, while supper rooms, for those in the middle ranks, served songs alongside food. Both men and women were catered for in the taverns, which could often be rather raucous places – the audience was not quiet during performances, and made their feelings known if they didn’t like a performer or act.  Similarly, the new music halls had both male and female performers on their books, with entertainment providing women of few means with a way of earning their own independent living.

One of these women was Kate Garstone (referred to by some contemporaries as the ‘fascinating serio-comic’) who in the early 1870s was a regular at several of the London and provincial music halls. She performed, for example, at the Bedford and Marylebone music halls, where she sang her own adaptations of Offenbach’s operatic creations. She advertised her services in the newspapers, as did several of her contemporaries, making clear her adaptability and willingness to perform either multiple sets, or, alternatively, a single ‘turn’. In fact, one of the perhaps surprising aspects of some of the music hall bills of the late 19th century is the high percentage of female performers listed – for example, the Bow Music Hall, which later became Marlowe’s New Palace of Varieties, included in one programme a theatrical sketch show that included primarily women – actresses playing boys, duettists, vocalists, burlesque actresses, and so on.

Nelly Power, one of the female music hall performers popular with Victorian audiences
Source: https://en.wikipedia.org/wiki/Nelly_Power#/media/File:Nelly_Power.jpg [public domain]

The music hall – whether in London or the provinces – had a reputation for coarse acts, something many theatrical agents and music hall owners were keen to rectify. Performances would be publicised as offering ‘fun without vulgarity’, and stress the more salubrious places where entertainers had previously worked (‘New Music Hall, every evening, Mr WG Robson, Artiste, from the Philharmonic Hall’ read one 1860s advert in Lancashire). Yet alongside these efforts were descriptions of performers that read awkwardly to our modern eyes: Mr Taylor, ‘the funny little man’, and a female dwarf described as ‘the little wonder’, to name two examples. But the most popular acts were those in the middle of the camp: comics, impersonators, character singers and child actors.

The music hall, however, was not always a safe place to be. Some were built or adapted hastily, and did not have adequate facilities such as fire escapes or exits, and these resulted in some significant disasters, such as in 1868, when twenty-three theatregoers were killed at the Victoria Music Hall in Manchester. During a performance, somebody shouted, “Fire!” and the audience duly rushed for the staircase, forming a crush that resulted in panic-stricken audience members being crushed to death or suffocated. Music halls were also, pre-electricity, lit by paraffin lamps, and these could be dangerous both to audiences and performers. Of course, this was the same at home; in 1892, music hall performer William Amery Orr – known professionally as Will Lyons, and aged only 24 – died at his home, when a paraffin lamp exploded, pouring boiling oil on him. He had been due to perform on stage at Stockton a couple of days later, and so the music hall would have had to draft in someone else – or get an existing performer to do an additional ‘turn’ – to replace him.

The stage at Wilton’s Music Hall, in east London, which is still putting on a varied programme for audiences today (Credit: Nell Darby)

Danger was not just inherent in how the music halls were constructed or managed – even performances could be dangerous. In 1881, when an accident at the Oxford Music Hall, or Theatre of Varieties, in Brighton led to a Chinese juggler, Ali Long Look (known as the ‘Great Chinese Salamander’), and his wife, Caroline, appearing at the Sussex Assizes, accused of a 15-year-old boy’s manslaughter at the theatre, during a performance. Ling Look had fired a cannon, as he regularly did, but the ball hit the boy, George Smythe, who was leaning over a rail to watch, and killed him. The accident took place just two days after Christmas. Both performers were found not guilty, though, with a charge against the music hall proprietor, Mrs Ellen Botham, being dropped earlier. You can read more about this case on the Benjamin William Botham Brighton Photographer and Music Hall Proprietor website.

Two years earlier, in a similar incident, John Holtum, known ominously as King of the Cannon, was charged at Leeds with unlawfully wounding labourer Elijah Fenton. 59-year-old Elijah had been an audience member at the Princess’s Palace Music Hall, watching Holtum. Holtum had offered to give £50 to anyone who could catch a ball shot from a cannon, having previously demonstrated that he himself could do this. Fenton accepted the challenge, but instead of catching the ball, it hit him on the forehead, resulting in a fractured skull. At the time of Holtum being charged, Fenton was described as lying ‘in the infirmary in a dying state’ and he did, indeed, die shortly after. Holtum’s immediate reaction was simply to say ‘he would not issue any more challenges’.

These accidents could be varied: some could not have been foreseen, whereas others were, perhaps, an inevitable result of risk-taking. In 1889, Madame Alphonsine, also known as the Queen of the Spiral, was seriously injured at a London music hall when she fell off a suspended ball, falling onto the spiral structure that was the heart of her acrobatics, and then slipping off that, falling 30 feet to the ground. As time went on, there were increasing calls for the buildings to be made safer, both for performers and audiences alike, but the newspapers continued to include tales of mishaps and mayhem, suggesting that these calls did not always result in improvements.

The music hall declined in popularity after World War 1, as entertainment tastes changed, and cinema proved an increasing competition for traditional entertainment – followed, of course, by television. Yet even into fairly modern times, we have been gripped by on-stage (or literal off-stage) dramas, with the deaths of performers such as Eric Morecambe and Sid James gaining increased attention due to the theatre locations where their collapses took place. Theatrical deaths, disasters and dramas have always been part of the entertainment, in a dark way; and in Victorian times, the dangers associated with performing in some music halls may have been part of the attraction for an audience always looking to see something different.

A big thank you to Nell for writing such a fascinating post! You can read more from Nell on her blog www.criminalhistorian.com . Her book on the Victorian theatre, Life on the Victorian Stage, is published by Pen & Sword.

EATING OUT IN VICTORIAN ENGLAND: RESTAURANTS

If they had money in their pockets, the Victorians could find plenty of places to eat out, especially in the towns and cities. From rough-and-ready chop houses and public houses, elegant tea rooms and refreshment rooms, through to oyster bars and high-class restaurants, there was a plethora of eateries for different social classes and budgets.

In the mid-nineteenth century, women were a rare sight in restaurants. The American Stranger’s Guide to London and Liverpool at Table (1859) highlighted that in London and other cities, it was difficult to find restaurants where women could dine: ‘It is true that some have been opened where gentlemen may take their wives and daughters, but it has not yet become a recognised custom, although at Blackwall, Greenwich, Hampton Court, Windsor, Slough, Richmond, ladies are to be found as in the Parisan Cafes, and in London at ‘Verey’s’ in Pall Mall and Regent Street; but to give a private dinner with ladies, it is necessary to go to the ‘Albion’ or ‘London Tavern’ where nothing can exceed the magnificence of the rooms.’ By the 1880s, it had become acceptable for women and girls to eat out, even unaccompanied by men, and the male-dominated world of restaurants was no more.

For the middle classes, restaurants offering table d’hôte (set menus at a fixed price) were extremely popular. Pope’s Restaurant in Birmingham, called the ‘Vatican’ by its proprietor. offered table d’hôte between 5pm and 8.30pm for 3s 6d. The menu included olives stuffed with anchovies; soups (macaroni or hare); fish (boiled turbot and lobster sauce or fried eels); entrées (mutton cutlets and tomato sauce or sauti of rabbit); joints (roast gosling); game (partridge or wild duck); sweets (sweet omelette); savoury (devilled sardines on toast); and cheese and salad. It’s no wonder that indigestion remedies were part and parcel of daily life…

Kitchen scene at the Carlton (from Living London, 1901)

British restaurants were not known for serving high-quality food. In Notes on England (1872), the Frenchman Hippolyte Taine observed that:

‘excepting in the very best clubs and among continentalised English people, who have a French or Italian chef, [the cooking] is devoid of savour. I have dined, deliberately, in twenty different inns, from the highest to the lowest, in London and elsewhere: huge helpings of greasy meat and vegetable without sauce; one is amply and wholesomely fed, but one can take no pleasure in eating. The best restaurant in Liverpool cannot dress a chicken. If your palate demands enjoyment, here is a dish of pimentos, peppers, condiments, Indian vinegars: on one occasion I carelessly put two drops into my mouth. I might just as well have been swallowing a red-hot coal. At Greenwich, having had a helping of ordinary ‘white bait’, I helped myself to more but from another dish: it was a dish of curried whitebait – excellent for taking the skin off one’s tongue.’

By the 1890s, an increasing number of restaurants had developed a reputation for good food, and this even applied to eateries catering for customers lower down the social scale. According to the periodical Living London, Slaters’ in Piccadilly served lunches for ‘the people of modest incomes and half-an-hour to spare’. By the afternoon, it was frequented by ladies looking for tea after shopping, which had now become a leisure pursuit.

Slaters’ Restaurant, Piccadilly, Afternoon (from Living London, 1901)

The Trocadero Restaurant in London is a good example of the new style of restaurant designed to appeal to a wide range of customers. It was opened in 1896 by J Lyons & Co, famous for its tea shops which had been introduced two years earlier. The Trocadero Restaurant was built on the site of the old Trocadero music hall. According to advertisements of the time, it offered ‘the finest cuisine in London’ with a choice of wines. On the ground floor was the entrance hall with its marble staircase, a palatial dining hall in the style of Louis XIV and a grand saloon with decorations from the Louis XV period. Upstairs, there was a large banqueting hall and ‘charming suites of rooms’ for private dining for small and large parties, as well as for weddings, receptions and balls. The orchestra of the Coldstream Guards performed every afternoon and evening when the restaurant first opened.

The managers at the Trocadero were deliberately targeting customers with many different budgets, offering ‘luxury with economy’. Lunches (à la carte and table d’hôte) were 3 shillings while dinners cost 5 shillings; 7s 6d or 10s 6d; suppers were 3s 6d. For those of more modest means, there was the popular half a crown (2s 6d) table d’hôte grill in the Flemish-style grill room.

Table d’hôte at the Trocadero (from Living London, 1901)

You can find out more about the history of the Trocadero Restaurant, and the famous Trocadero music hall that preceded it, on the Arthur Lloyd website. There is also an amazing Trocadero Restaurant banquet book, owned by the Bennett family. Dating from the first few years of the restaurant’s existence, it lists hundreds of menus for banquets staged for individuals, companies and societies. Find out more at the Trocadero Banquet Book website.

VICTORIAN PAWNBROKERS

I’ve written before about pawnbrokers but they were such an integral part of life for the Victorian working classes that I thought they deserved another post. Colloquially known as ‘Uncle’, the pawnbroker offered a vital service for people living close to the bread-line who were in regular, yet poorly paid work. He was always there in times of need and provided loans secured on domestic items as diverse as clothing, shoes and jewellery through to flat irons and occupational tools.

For the majority of the working classes, pawning was simply a way of life. The only way to make ends meet was to pledge their belongings to raise cash for the week ahead. When in work, they used their clothing, especially their Sunday best, as capital. This was why Saturdays and Mondays were the pawnbrokers’ busiest days. Clothing was frequently pledged on a Monday and redeemed on a Saturday after the breadwinner of the family had been paid. It was worn to chapel or church on a Sunday, and pledged again the next day. This cycle of pledging and redeeming, week in, week out, might continue for years, and pawnbrokers made their profits on the interest charged.

‘The Weekly Pledge Room’ from Living London (1901)

Pawnshops, with their distinctive symbol of three golden balls, were an urban phenomenon and the number of pawnbrokers increased dramatically with the rising population; some streets even had more pawnbrokers than public houses. In Sketches by Boz, Charles Dickens described a pawnshop near Drury Lane, London as being situated at the corner of a court, ‘which affords a side entrance for the accommodation of such customers as may be desirous of avoiding the observation of the passers-by, or the chance of recognition in the public street’. The door of the ‘low, dirty-looking, dusty shop’ always stood halfway open, ‘half inviting, half repelling the hesitating visitor, who, if he be as yet uninitiated, examines one of the old garnet brooches in the window for a minute or two with affected eagerness, as if he contemplated making a purchase; and then cautiously looking round to ascertain that no one watches him, hastily slinks in…’

The entrance to a pawnbroker’s shop was usually up a side street. Pledging could be done at an open counter or in separate compartments known as ‘boxes’, which offered some privacy to those ashamed of their predicament. It was not just the working classes who went to ‘Uncle’ for help; any member of the middle or upper classes who had experienced a change in fortunes might find themselves needing to pledge personal belongings for instant cash. The pawnbroker would carefully examine the item to be pledged, offer a sum and if accepted, he would give the pledger a pawn ticket.

From 1872, for loans of ten shillings or less, the interest rate was one halfpenny per calendar month on each two shillings or part of two shillings lent. After the first calendar month, any time not exceeding fourteen days was to be reckoned as half a month only. The pawnbroker could also charge a halfpenny for the ticket, although for very small sums, he might waive this fee. Under the previous legislation, there was no charge for the ticket if the pledge was under five shillings. On loans of between ten and forty shillings, a penny was charged for the ticket, and the interest was one halfpenny per two shillings per calendar month. Loans of more than forty shillings and less than ten pounds attracted interest of a halfpenny on every two and a half shillings per month, and a penny for the ticket. There was also an optional one penny fee for special storage, such as hanging boots and clothes to prevent creases.    

‘Saturday Night at a Pawnbroker’s’ from Living London (1901)

On redemption days, usually Saturdays, pawnshops were extremely noisy with hundreds of people redeeming their belongings. ‘Pawnbroking London’ in Living London (1901) described one such day: “It is a strangely animated scene, with nearly all the characters played by women. It is a rarity to see a man among them… They betray no sense of shame if they feel it. They talk and gossip while waiting for their bundles, and are wonderfully polite to the perspiring assistants behind the counter.” An average of 2,000 bundles were redeemed each Saturday at this particular shop.  

Despite the high interest rates, pawnbrokers provided a vital service to the working classes. The writer of the article in Living London pointed out: “They mean food for the wife and children when cupboard and pocket are empty – a little money to keep things going till next pay-day; they mean to thousands shelter, warmth, and something to eat; and although many consider the pawnbroker’s shop an encouragement to improvidence and unthriftiness, every philanthropist who would abolish it admits that he would have to substitute some municipal or charitable pawnshop in its place.” 

The pawnshops’ dusty window displays featured unredeemed items pledged for less than ten shillings, which the pawnbroker was entitled to keep and sell after the redemption period of one year and seven days. According to Dickens, this sad collection of once-cherished belongings included ‘several sets of chessmen, two or three flutes, a few fiddles…some gaudily-bound prayer books and testaments, two rows of silver watches…numerous old-fashioned table and tea spoons….cards of rings and brooches….cheap silver penholders and snuff-boxes…silk and cotton handkerchiefs, and wearing apparel of every description…’ Unredeemed pledges of more than ten shillings did not automatically become the pawnbroker’s property; these items had to be sold at a public auction, although he could set a reserve to avoid making a loss.  

‘Sale of Unredeemed Stock’ from Living London (1901)