Showing posts with label London. Show all posts
Showing posts with label London. Show all posts

Saturday, July 7, 2012

Games Week: A celebration of games in London, 7th-15th July

The History and Heritage Adult Learning London network, convened by the Raphael Samuel History Centre, will be holding a week-long celebration of games in history from 7th-15 July 2012, with events planned at leading museums and archives across London.

Whether you’re discovering children’s forgotten street games, finding out about stadium architecture, or learning about Nazi board games, there will be something for every age and interest.

As part of the week, we'll be offering From Games of Goose to Snakes and Ladders, a free Wellcome Library Insight session which will uncover some of the surprising puzzles, games and notions of play to be found in the Library's collections.

This session will take place on Saturday 14th July, 2pm-3pm. Tickets will be issued on a first-come, first-served basis, from the Wellcome Collection Info point on the day. More details are available through the Wellcome Collection website.

Other Games Week Events include:

Sir John Soane’s Museum, Stadia: Sporting Architecture through History, 10th July (6.30pm)

London Metropolitan Archives, Sporting London talk on 10th July (2pm-3pm) and 11th July (6pm-7pm) and This Sporting Life conference (PDF), Friday 13th July (10am-4pm)

Wiener Library, Playing at war: an up-close look at games and childhood in times of conflict, 12th July (2.30pm-4pm)

Bishopsgate Institute Library, Parlour Games and Street Play, 13th July (2pm-4.30pm)

More details on both Games Week (including a full listing of all events) and also on the History and Heritage Adult Learning London network, are available from the Raphael Samuel History Centre website.

Image: A large goose, with three golden eggs: numbered circles printed on the body of the goose for playing a counter game. Coloured engraving. 1848 (Wellcome Library no. 35130i)

Monday, May 14, 2012

They Made It

LinkTired but elated the three girls at the end of their 300 mile ride from London to Paris. What a ride. They battled torrential rain, hail and high winds. Washed out roads and dead animals. Six punctures. Aching muscles and they can still smile.

They now have just 4 more weeks to finish their fundraising. They're nearly there. A few more £'s and they'll have succeeded in that goal to.
Suzanne and Annette's donating page here.
Tulip's donating page here.

Tuesday, May 8, 2012

Wellcome Library Insight: Water-borne



A new Insight entitled 'Water-borne' debuts this week featuring a guest speaker from Wellcome Collection, Will Giller, who is plunging into the often murky waters of London's famous River Thames. Take a dip into the history of the benefits and hazards it has posed to local inhabitants in this richly illustrated talk.

The talk takes place on Thursday 10th May 3-4pm. Places are limited, free tickets can collected from the Information Desk after 1.30pm on the day.

Our popular Insight sessions offer visitors to the Wellcome Library an opportunity to explore the variety of our holdings. These free sessions are thematic in style, last around an hour and offer a chance to learn about our collections.

For further details, please follow the links above to the appropriate pages on the Wellcome Collection website.

Image: A boat capsized on the Thames leaving three ladies and four men swimming to the shore. Engraving. 1793. (Library no. 43063i)

Monday, April 23, 2012

Wellcome Library Insight: Get behind 'Good Health'


A new Insight talk this week entitled 'Good Health: Medicine and Modernism' tells the story behind our current lightbox exhibit 'Here Comes Good Health!'. Co-curator Alex Green reveals how the local London boroughs like Bermondsey adopted new technologies and strategies to persuade communities to become cleaner and healthier.

The talk takes place on Thursday 26th April 3-4pm. Places are limited, free tickets can collected from the Information Desk after 13.30hrs on the day.

Our popular Insight sessions offer visitors to the Wellcome Library an opportunity to explore the variety of our holdings. These free sessions are thematic in style, last around an hour and offer a chance to learn about our collections.

For further details, please follow the links above to the appropriate pages on the Wellcome Collection website.

Image: L0070009 Public Health cinema van, Bermondsey, 1937.Credit Southwark Local History Library Archive, Wellcome Images.

Thursday, March 29, 2012

The Georgian medicine vendor as physician: William Brodum

Wellcome Library no. 20131i
A watercolour in the Wellcome Library (left) shows an interior with three figures.  In the centre a plump, self-satisfied looking man  looks down with approval at the work of the second figure, on the right, who is Death himself. Death is a tall and physically active skeleton wearing a tie-wig: he vigorously stirs a pestle in a mortar to grind up ingredients for medicines. Some pharmaceutical vessels are shown on the floor around them, and the shelves in the background are full of apothecary's glassware.  The third figure is a woman patient who sits in front of the fireplace on the left, gripped by illness.

The obvious interpretation is that the man is an apothecary (pharmacist), hence the glassware on the shelves of his house. Death is the apothecary's business partner, making up medicines with lethal side-effects: clearly the woman is going to die as a result of taking the harmful medicine. Right?

No, not exactly.  If the setting is an apothecary's shop, the sick woman wearing night-clothes would be sitting in front of the fire in the pharmacist's establishment, not in her own home. To explain that improbability, one would have to assume that she is meant to be a member of his household -- which would rather reduce the applicability of the joke and take the edge off the humour. As the watercolour is attributed to the ever-humorous Thomas Rowlandson (1756-1827), that would be a problem.

A possible clue to the subject came to light in January 2012 when Christie's in New York offered at auction another watercolour version of the same composition, inscribed in what looks like Rowlandson's hand "Dr Brodum and his assistant at work pro publico bono". [1] So who was Dr Brodum?

Wellcome Library no. 1397i
William Brodum (right) was one of several members of the Georgian medical fringe who were portrayed by caricaturists. Samuel Phillips Eady, also portrayed by Rowlandson and discussed in this blog-post, was another who could be so described. Unlike Eady, Brodum is dignified by an entry in the Oxford Dictionary of National Biography (ODNB), where evidence is cited that he was a Danish Jew, born Issachar Cohen in Copenhagen around 1767. [2] He came to England around 1787 to work for another medicine vendor (Dr Bossy), using the name William Brodum. He obtained an Aberdeen M.D. degree in 1791, and from his house at 9 Albion Street, Blackfriars Road, London, launched his own career as a medicine vendor, specializing in two product lines: "Doctor Brodum's Botanical Syrup for the cure of scorbutic, leprous and scrofulous complaints" and "Doctor Brodum's Nervous Cordial for the cure of consumptive, nervous and debilitated constitutions, and people who have been in hot countries". His advertising for these products included a lot of code words that were euphemisms for syphilis (debility, leprosy, nervous weakness etc.), and the same insinuation was gracefully made in the title and body of a two-volume publication, Guide to old age, or, A cure for the indiscretions of youth (1795), dedicated to King George III, whose favour he received. A miniature portrait of him around this time was published in an engraving by Ezekiel Abraham Ezekiel (1757–1806), a member of the Jewish community in Exeter (above).

Brodum was therefore both a commercial medicine vendor and a doctor of medicine. Since the two professions were theoretically distinct and incompatible, problems could arise with the regulatory bodies, one of which was the Royal College of Physicians of London. In practice, this combination was not unusual at the time: Sir Hans Sloane, Dr Robert James, and Dr Richard Mead were among physicians associated with proprietary medicines (chocolate in Sloane's case), a fact which led one commentator to ask "Have not members of the College dined at Dr Brodum's table?". [3] In any case, Brodum was summoned before the College and told he could not accept consultation fees and should remove from his house the brass plate which described him as “Dr Brodum”. Brodum refused to accept this ruling, and the academic authorities in Aberdeen did not appreciate the College’s scorn for the value of their doctorate. Brodum continued to visit patients for an advertised cost of 5 guineas a week, while outpatients could visit him at his house every Monday, Tuesday or Wednesday. [4]

Whether by accident or design,the goings-on in Rowlandson's watercolour fit this situation perfectly. If the man is meant to be identified with Brodum -- he died in 1824 and Rowlandson in 1827 -- we need not ask whether it shows a medicine vendor or a physician. Brodum and Death together make up the medicines at Brodum's pharmaceutical laboratory in Southwark, while the patient in the background, huddled in front of her own fireplace, represents the use to which the medicine will be put in Brodum's medical practice.

[1] Christie's, Old Master and early British drawings and watercolors, New York, Rockefeller Plaza, 26 January 2012, lot 38
[2] Edgar Samuel, 'Brodum, William (fl. 1767–1824)', Oxford dictionary of national biography, Oxford University Press, 2004; online edn, Jan 2008. Brodum wrote that he was "born and bred" in the same country as the Queen, Charlotte of Mecklenburg-Strelitz, in north Germany (Guide to old age, or, A cure for the indiscretions of youth, 1795, vol. 1, fol. A2r)
[3] Roy Porter, Health for sale, Manchester 1989, p. 9
[4] William Brodum, Guide to old age, or, A cure for the indiscretions of youth, 1795, pp. 153-155

Sunday, January 1, 2012

January 2012 - Best of 2011

Traditionally on the first day of the New Year those of us at CDP post a copy of our best image of the previous year. I don't know that this was my best but it was one that you all seemed to like. I'll probably be looking a bit like this after my Bollywood dancing last night - pink that is! I have preposted this as I have no intention of getting up early today. Besides I'm probably still out on the town kicking up my heels, and welcoming in 2012.

Click here to view thumbnails for all participants

Wednesday, September 7, 2011

Wellcome Library Insight - Dirty London

This week's free Wellcome Library Insight session - on Thursday 8th September - explores how doctors, governments and ordinary citizens in London have struggled against poor hygiene, pollution and dreadful epidemics, developing the themes of the recent Wellcome Collection Dirt exhibition.

Our Insight sessions offer visitors to the Wellcome Library an opportunity to explore the variety of our holdings. Sessions are thematic in style, last around an hour and offer a chance to learn about our collections from a member of Library staff.

This Thursday's session starts at 6pm. It is being run in response to heavy demand at earlier sessions (the New Statesman picked out Dirty London as that week's "hot ticket" when we ran it in early August). Online ordering for this session will not be possible: the remaining tickets will be allocated on the day on a first come, first served basis. You can pick up your free ticket for this event from the Information Desk from 4:30pm on the day.

Image: 'The Sewer Hunter' from Henry Mayhew, London labour and the London poor (London, 1851).

Thursday, September 1, 2011

Camberwell House Asylum

One of the fastest-growing categories of Wellcome Library users in the past ten years has been family historians. Many people, of course, have medical practitioners among their ancestors: doctors, nurses, physiotherapists, opticians, vets… But the Library’s holdings for family historians go further than this: they also provide sources for those of us (which realistically, in the United Kingdom, will be everyone) whose ancestors have passed through the medical system as patients.



In recent years the family history community has become aware that the Wellcome Library’s holdings are not confined to high-level abstract thought on medical history, but contain a huge amount of nitty-gritty information on named individuals. (The Library’s sources for family historians are summarised in a downloadable sources guide here, and described in a talk on “Hunt the Ancestor” which is repeated regularly). The difficulty, of course, is to identify the relevant records from the library’s catalogues. Census records, for example, may identify that an ancestor was a patient in a particular institution, but it may then be a matter of working through the records of that institution in search of a particular name.



To assist in this process, the Library’s archive department has recently enhanced the catalogue records relating to its casebooks from Camberwell House Asylum. Among family historians working with London records, this institution is something of a cause célèbre: it was set up in the mid-nineteenth century and accepted patients – many of them “paupers” referred by the relevant Poor Law authorities – for over one hundred years, but only three of its casebooks are known to survive. One is held at the Royal College of Psychiatrists and the other two at the Wellcome Library, as MSS.6220-6221. Those held here describe patients admitted between 1847 and 1853, but continue to document those patients throughout their time in the asylum, some still being there as late as 1887. As a result, for a family historian who knows that an ancestor was in that asylum in, for example, 1870, there is a chance that the ancestor may be documented in our casebooks; but it is a slim chance, and there is a strong likelihood that he or she might make a journey to London, or hire a research assistant, only to find no mention of the name needed (constraints on staff time, unfortunately, mean that the archivists here have not been able to carry out searches for researchers).



The enhancements to the catalogue mean that this no longer applies. Over a period of some weeks, in little pieces of time here and there, one of our Library Services Assistants has compiled an index of patients’ names in our two Camberwell House volumes, and these have been added to the catalogue records to make them available through the normal search interface. The results can be seen here and here. A researcher looking for any of the unfortunate patients listed there – for Mary Ann Binstead, Alfred Hobday, Christopher West… - can now simply enter the name in the “Any Text” box on the archive catalogue search page (making sure to click the And option in the “Word Options” below, as this finds the names in whatever order they are given – both “Christopher West” and “West, Christopher”) and find out immediately whether their ancestor is one of the lucky few whose details survive.



Many of the patients, as noted above, were extremely poor; many were admitted with severe depression or other causes of unhappiness. At this distance in time we can do nothing to help them; but this work on the catalogue makes it a little likelier that at the very least they can be remembered.



Images: both of MS.6220, which documents patients admitted 1847-1850.

Thursday, August 18, 2011

Dr Eady--from Soho to Beverly Hills

Watercolour by Thomas Rowlandson, ca. 1825. Wellcome Library no. 726498i
The Wellcome Library in London has acquired a watercolour by Thomas Rowlandson (1756-1827). Yes, without apology, yet another work by Rowlandson has been added to the large number of prints and drawings by him already in the Wellcome Library.



This one is signed by Rowlandson and inscribed "Dr Eady and his patients" (click on image above for larger view). The bespectacled Dr Eady is having a good look at the prominently exposed breasts of the woman in front of him, while another woman in the background pours liquor from a bottle into a glass, with an expression suggesting that she has drunk enough already. So who was Dr Eady, and who were these women patients of his?



Eady is not in the Oxford dictionary of national biography, and most of what we know about him is derived from an advertising pamphlet (left) which he issued touting his treatment for "those who are unhappily afflicted with diseases of the generative system", meaning syphilis. He is named as Samuel Phillips Eady and writes from 38 Dean Street, Soho. He agrees with the use of mercury treatment, but not indiscriminately: its effectiveness depends on how it is used. His literary style is high-flown: a quotation from the Roman poet Horace stands at the beginning of the text, there is much reference to ancient and learned authorities, and an allegorical woodcut on the front cover shows Eady dispersing the clouds of Prejudice and triumphing over Calumny and Detraction. It is a characteristic puffing pamphlet issued by a quackdoctor or commercial medicine vendor in late Georgian London.



A caricature etching from 1821 purporting to be by "Dr ED" (Eady) but probably by George Cruikshank shows a man with two prostitutes. "Dr to Mrs Wood" is the name on the long bill on the right. Mrs ("Mother") Wood was apparently a brothel-owner and supplier of the two women shown in the etching. The goods supplied by the doctor are piled up on the table: they include a good deal of liquor and a statue of Mercury, representing mercury treatment for syphilis. (Above right: detail of 'The commercial dandy & his sleeping partners', 1821, British Museum Catalogue of satires no. 14273; image from the British Museum online catalogue).



Eady is portrayed in a second caricature by George Cruikshank, an aquatint dated 1824 (above). [1] This shows, on the left seen from behind, Richard Martin, the campaigner against cruelty to animals and originator of one of the earliest laws on that subject, named after him "Martin's Act". He is bringing a parish constable in to a room to arrest two miscreants who are committing cruelty to animals. The miscreants, seated at table, are Dr William Kitchiner (an eccentric eye-doctor, musician and gastronome who lived in Warren Street) and our friend Dr Eady, and they are committing the crime of causing cruelty to oysters by eating them alive: this was a notorious reductio ad absurdum example used by opponents of Martin's Bill. Eady, wearing a plaid greatcoat (image left), appears here a few years younger than the man depicted by Rowlandson, though the basic physiognomy is the same in both portraits.



There are further comments on Dr Eady in a series of articles entitled 'Annals of quackery', in The medical adviser which were brought together by our late colleague at the Wellcome Library, John Symons. The first ('Eady the wall-chalker', 1823-1824, 1: 40-42) states that he had previously been a haberdasher, and refers to him as a dealer in threads and thimbles. The second (ibid., pp. 249-250) is a general attack on his medical pretensions. The third ('Caution to the public. Eady's escape from St Luke's', 1824, 2: 77-79) avers that Eady was involved in litigation in the King's Bench which disturbed the balance of his mind, as a result of which he was restrained in St Luke's lunatic asylum in Old Street, London. However it is not completely clear whether this is reportage, satire, or fantasy.



Several pieces of new evidence about him were published in 2010 by the contributor to a numismatic website. [2] First, Eady issued metal tokens advertising his name and his cures: several of these metal pieces exist today. Second, a comic song about him was recorded in 1826, including these verses:

Doctor Eady!



For every ill he had a pill, a powder or bolus,

And patients plenty flock’d around and never left him solus;

He gave advice for nothing,

And to prove he was not greedy,

He charged only for physic

- what a generous Doctor Eady!



Old Galen's rules he left for fools,

He had no time for study,

Reading tries the best of eyes,

And makes men’s brains more muddy,



His pills he tried on patients,

That is if they were not needy,

Th’ regulars either kill or cure,

And so did Doctor Eady.



Young men would go, all in a glow,

And to him make confessions,

Sad relate how hard their fate,

Thro' youthful indiscretions;



With kind commiseration then he'd vow to cure them speedy,

For for promises of cure there was none like Doctor Eady.


Thirdly he was recorded in 1821 as advertising his services by chalking his name on walls all over London, to such an extent that, according to one witness, "it is scarcely possible to travel ten miles round the metropolis without meeting with his name, which naturally excites enquiry into the object and pretensions of the chalked up Hero."



From these scraps of evidence we deduce that Dr Eady was a bon viveur who practised as a physician (probably without paper qualifications) in London during the reign of King George IV (1820-1830). It is likely that he was associated with William Kitchiner and others in popularising healthy ways of life and deprecating the over-use of potentially toxic drugs. He also acted as a syphilis expert in Soho, where his patients included prostitutes, notably those under the protection of Mother Wood. He advertised his services lavishly, provoking opposition from rivals.



The Rowlandson watercolour describes his louche character and vividly illustrates his specialisation as a Soho pox-doctor. Is one of the two women in Rowlandson's watercolour Mrs Wood? A documented portrait of her does not seem to be available from the obvious places, but if Cruikshank knew of Eady's association with Wood, presumably Rowlandson would have known as well. One of the articles in The medical adviser mentions that Eady was visited in St Luke's by "Mrs Woods of Lisle Street": Lisle street is a street in Soho that is very close to Dean Street, and this Mrs Woods is presumably the same as Mrs Wood the brothel-keeper.





It must have been in London that Rowlandson painted the watercolour in the 1820s, and it was in London also that the Wellcome Library acquired it in 2010, but between those two dates the watercolour had travelled nearly half way round the Earth. It has on the reverse two inscriptions recording its previous owner. One gives his name and address: Stephen Longstreet, of 610 N. Elm Drive, Beverly Hills, Calif. The other gives his name and the date on which he acquired it: 24 April 1954 (above).



Stephen Longstreet (1907-2002: image left) was a versatile American who was himself a watercolour artist. His original name was Chauncey Weiner [or Wiener]-Langstrasse. He worked as a cartoonist and illustrator under the name Henri, and, with the encouragement of William Faulkner, became a writer as well. In 1940 his publisher, Bennet Cerf of Random House, suggested he use the pen-name Longstreet: as Stephen Longstreet he was the writer of numerous novels, television programmes, movies, books on jazz, and ghosted autobiographies such as that of Hoagy Carmichael.







Longstreet was also a prolific watercolour artist on various themes, including jazz, show business, political cartoons, Hollywood artistes such as Greta Garbo, and a British portrait-subject: Winston Churchill (right). Longstreet's ownership of Thomas Rowlandson's watercolour of Dr Eady, hanging for many years in his Beverly Hills residence, united one watercolourist with another across a continent, an ocean, and more than a century.



[1] William Schupbach, 'Iconography of Dr William Kitchiner (1775?-1827)', Medical history, 1984, 28: 202-209. Online here.

[2] 'Dr. Samuel Phillips Eady - farthing token', Numismatic Society 12 November 2010. Online
here.



Images of Stephen Longstreet and his works are reproduced by kind permission of Larry and Lisa Hupman.


Wednesday, August 17, 2011

Ultimate Endurance

Warning to all couch potatoes, you will find this extremely stressful!

London’s Air Ambulance pilot, Captain Neil Jeffers, and doctor, Dr. Tom Konig, are soon to complete the ultimate endurance test, seeing them run 8 marathons in 6 days through the deserts of Jordan, in a bid to raise money for the charity. On 3rd September 2011 the London’s Air Ambulance duo will be running 200 miles (360 km) through Wadi Rum, a protected area covering 720 square kilometres of dramatic desert wilderness in the south of Jordan, and will finish at Petra.

Thanks to London's Air Ambulance service you will be rescued without having to show an insurance card or a bank card. Their medical expertise at the scene of an accident may be critical in saving your life. This is a charity.

On their days off they run 8 marathons in the dessert to fund saving you're life!

Londoners and anyone who has ever visited or intends to visit London find a few £'s to support these guys.

Support their txt campaign. To donate Text LAAM26 £(1,5,10,) to 70070

For further information and to support Neil and Tom visit:

www.laajordanultra.com



Friday, August 12, 2011

Black Cab Tours

What a perfect way to see the best of London in the ultimate London icon, a black cab. Graham is your driver and a trained guide who has a history degree. Black cab drivers have to know every street within a 6 mile radius of the centre of London as part of the "knowledge". More important than any of that Graham is passionate about the London he knows so very well and his enthusiasm is infectious. I now know that the centre of London is not really Trafalgar Square but is actually the statue of Charles I in Whitehall. To be absolutely correct it is the raised hoof of the horse he is riding and all distances are measured from here. Want to know anything about the Beatles? Hendrix? maybe Dickens or Shakespeare? Architecture? Graham's your man. Check out his web site for information on all his tours.

p.s. if you ask him really really nicely he just might let you sit for a moment in the front seat of his cab. If he does make sure you have your camera for a photo you can show off back home.



Monday, August 1, 2011

Wellcome Library Insight - Dirty London

This week's free Wellcome Library Insight session - on Thursday 4th August - ties in with Wellcome Collection's current Dirt exhibition.

The session will show how doctors, governments and ordinary citizens in London have struggled against poor hygiene, pollution and dreadful epidemics.

Our Insight sessions offer visitors to the Wellcome Library an opportunity to explore the variety of our holdings. Sessions are thematic in style, last around an hour and offer a chance to learn about our collections from a member of Library staff.

This Thursday's session starts at 6pm. For more details on attending, see the Wellcome Collection website.

Image: 'The Sewer Hunter' from Henry Mayhew, London labour and the London poor (London, 1851)

Saturday, June 25, 2011

The lost world of Snow Hill


The image above captures the popular conception of London's reaction to the Blitz, which was arguably at its most fearsome during May and June 70 years ago. During the night-time bombings, lives were lost and buildings were destroyed. But come the morning... a cyclist trundles by, a roadsweeper brushes up: life goes on.

The remains of the building you see here are actually enormously important to the story of our founder Henry Wellcome, as this is the corner of Snow Hill and Holborn Viaduct in London, the site of the head office of the pharmaceutical company he co-founded, Burroughs Wellcome & Co.


Opened in 1883, three years after Silas Mainville Burroughs and Henry Wellcome entered into partnership, the scale of their head office matched the expectations Burroughs and Wellcome had for their nascent pharmaceutical company.

The imposing building was constructed of red brick, with granite pilars guarding the entrance. The tiled mosaic floor of the was illustrated with images of Commerce and Industry and the rich wood used for the walls was best American Walnut. [1]


Henry Wellcome was personally involved in designing and furnishing the interior of the building: no easy task given the building's curved shape. As the image above shows, Moorish curves were ideal for a building Wellcome himself described as having "not a single right-angle". The interior arrangements were executed under the direction of Christopher Dresser, now regarded as Britain's first industrial designer. Snow Hill was also one of the first business houses in London to be lit using electric light.

The interior alluded to Burroughs and Wellcome's country of birth with models of the Statue of Liberty and the American Eagle (visible towards the back of the image above) and the building captured something of the entrepreneurial get-up-and-go of these two salesmen.

The building also hinted at another aspect of Wellcome's personality: his growing interest in collecting. This is how Wellcome's office was described in a praiseworthy report on the building in Chemist and Druggist:

"It is furnished as a library, although hunting trophies, works of art from countries visited by the occupant...and a varied selection of general literature give it less the look of a commercial room and more the appearance of a bachelor's den". [1]

Fast forward to 1941 and it seems this example of late Victorian architecture was no longer fit for the purposes of twentieth century business: five years after Henry Wellcome's death, the Wellcome Foundation still retained Snow Hill as offices, but sought to build new premises elsewhere in London.

On the night of 10-11 May 1941, during one of the heaviest nights of the Blitz, the Snow Hill building was destroyed. Afterwards, staff were temporarily moved to other Wellcome owned sites - such as the main warehouse where Wellcome's collection was stored in Willesden and to the Wellcome Research Institution on Euston Road (which is now, of course, where the Library and the rest of Wellcome Collection is situated). Not ideal accommodation, but just as for the figures beside the bombed out Snow Hill offices shown above, life had to go on for the employees as well.

But with its carefully designed interior - and his collection-rich office - the lost world of Snow Hill captures something of Henry Wellcome's - often elusive - personality.

[1] Clues to the furnishings of the Snow Hill office remain through drawings which survive in the papers of the Wellcome Foundation Archive, WF/CA/P/01
[2] Chemist and Druggist, 28th January, 1888

Images:
- Burroughs Wellcome & Co Headquarters, Snow Hill, London, after being destroyed in the Blitz, 1941 (Wellcome Images, M0020173)
- Burroughs Wellcome & Co Head Office, Snow Hill, London (Wellcome Images, M0007868)
- Interior of the Burroughs Wellcome & Co building, Snow Hill, London (Chemist & Druggist, 28th January 1888)

Tuesday, December 14, 2010

Item of the Month, December 2010: The London Monster

On this day in 1790, this man, Rhynwick Williams, a young unemployed Welshman was convicted of three counts of assault and sentenced to six years in prison. This - seemingly - brought to an end a sequence of attacks on women in London over the previous two years. Images from the Wellcome Library's collections will help us tell this rather odd story.

There were over 50 reported, seemingly linked, attacks on women in London between 1788 and 1790. Whilst some women received deep wounds, it does not appear the aim of their assailant was to cause life threatening injuries - the attacker at times seemed as concerned with slashing the garments of the women as stabbing them. Often he would attempt to stab the women in the buttocks, sometimes those attacked reported they were offered a nosegay to sniff, out of which a sharp instrument would emerge and at least one report suggested the attacker approached a woman with sharp instruments attached to his knees. The description of the assailant also wildly differed.

Understandably, the attacks received a certain degree of late eighteenth century media hype: THE MONSTER! was how the newspapers of the day dubbed the attacker. There was also a certain degree of sensationalism in how artists and printmakers such as James Gillray responded to the attacks.

In an etching by Gillray, The Monster disappointed of his Afternoon Luncheon, or Porridge Potts preferable to Cork Rumps, the Monster is a true Ogre: about to feast on his victim whose only protection is a copper pan covering her posterior.



The Wellcome Library holds a copy of this related etching by Gillray, The Monster going to take his Afternoons luncheon which was issued in May 1790. Here, the victim has no protection, bare skin is revealed and there's a rather more salacious edge in how the victim is being portrayed.


There's a similar ribaldry in another of Gillray's prints of May 1790, Swearing to the Cutting Monster, or a Scene in Bow Street. Here, a victim shows her injuries - which the officials are making perhaps too close an examination of - to the Bow Street Magistrates. Note too the political connotations of the engraving: instead of our wild-haired ogre, here 'The Monster' in the Dock bears more than a passing resemblance to the politician Charles James Fox...

In June 1790, one victim claimed she recognised her attacker walk past her in the street - this was Rhynwick Williams. Williams was arrested and charged with the attacks. After his first trial collapsed on a technicality, Williams underwent a second trial leading to his conviction on 14th December 1790.

However, the story doesn't quite end there. In Jan Bondeson's The London Monster - the best account of these events - Bondeson talks of similar attacks to these in the centuries that have followed (for example, the 'Brooklyn Monster', depicted left); questions the reliability of Williams's conviction and explores the possibility that the explanation for the attacks may even lie in a massive case of Mass Hysteria (it's certainly the case that some 'victims' lied about the nature of their injuries).

Interestingly, Williams went back to his previous career as an artificial flowermaker after he left jail. His time spent behind bars did have one major transformative effect on him: by the time he left he was father to a child - which was conceived whilst Williams was behind bars (Williams would marry the mother of his child on release). As for the sensationalism of the 'Monster', it's almost tempting now to see this as prefiguring in some ways the newspaper reporting of the Whitechapel murders of 1888.

Image credits:
1/ Renwick Williams, a man convicted of wounding women. Reproduction of a stipple engraving (Wellcome Library no. 1970i)
2/ Renwick Williams, a man who attacked women; represented by a grotesque fiend wielding an exaggerated knife and fork and holding a young woman up by the skirt. Etching by J. Gillray, 1790. (Wellcome Library no. 11193i)
3/ The dismayed Charles Fox in handcuffs, implicated by a woman who is displaying her wounded posterior to three Bow Street Justices; satirizing Fox as being 'The 'monster'. Etching by J. Gillray, 1790. (Wellcome Library no. 12176i)
4/ A man who stabs women in the leg. Wood engraving. (Wellcome Library no. 3411i)

Monday, October 4, 2010

Wellcome Library Insight - Anatomies of London


This week offers two opportunities to catch one of our most popular 'Insight' sessions.

Come along to 'Anatomies of London' and discover some fascinating - and often lurid - tales of London life, told through the collections of the Wellcome Library.

The 'Insight' Sessions are at the following times:

Thursday 7th October - 6pm-7pm
Saturday 9th October - 2.30pm-3.30pm (this session will also be BSL interpreted)

The session are free and tickets are available from the Wellcome Collection Information Desk from 4.30pm onwards on Thursday 7th and from 1pm on Saturday 9th.

More details are available from the Wellcome Collection website - just clink on the links above.

Image: Panorama of the river Thames and the buildings of the City, looking northwards beside London Bridge. Coloured engraving, 1730, after J. Kip. 1730 (Wellcome Library no. 24305i)

Tuesday, August 31, 2010

Wellcome Library Insights - September and October


Our popular Insight sessions offer visitors to the Wellcome Library an opportunity to explore the variety of our holdings. These free sessions are thematic in style, last around an hour and offer a chance to learn about our collections.

The next series of Insights begins this Thursday afternoon (2nd September) at 3pm, with a session exploring the manuscripts and early printed books once owned by William Morris that are now part of the Wellcome Library's collections.

You can pick up your free ticket for this event from the Wellcome Collection Information Desk from 13.30 on the day. Tickets are issued on a first-come, first-served basis: for more details, see the Wellcome Collection website.

Our other Insights sessions for September and October are:

The Quest for Perfect Skin - Thursday 9th September, 3-4pm

Mind and Body, Heart and Soul – Thursday 23rd September, 6-7pm

London Faces - Saturday 2nd October, 2.30-3.30pm

Anatomies of London - Thursday 7th October, 6-7pm and Saturday 9th October, 2.30-3.30pm

Henry Wellcome: His Life and Work - 21st October, 3-4pm

For more details on attending the sessions, please follow the links above to the appropriate pages on the Wellcome Collection website.

For a preview of other Wellcome Collection events over the next few months, have a look at this post on the Wellcome Collection Blog.

Image: Liber chronicarum, previously owned by William Morris.

Thursday, August 19, 2010

Medical London Free iPhone App

Wellcome Collection have produced a free iPhone app to accompany the Medical London: City of Diseases, City of Cures book. The app offers an audiovisual tour of Bloomsbury and the surrounding area, delving into the medical heritage quite literally on the Wellcome Library's doorstep.

The original work by author Richard Barnett drew heavily on the Library's holdings. Subtitled Blood, Guts, Brains and Babies, the tour begins at Lincoln's Inn Fields and covers approximately three miles. On average it should take around two hours to complete, but of course depends on your pace - and how sidetracked you get.

If you can't get to Bloomsbury to hit the pavements for yourself, we would still heartily encourage you to check the free app out (or indeed, viewing the content online). For those who are in and around London this coming October another series of medically-themed free walks are scheduled for the Bloomsbury area. Keep an eye on the Wellcome Collection website for more details.

Friday, July 23, 2010

Wellcome Images on screen

Photographs of books and manuscripts in Wellcome Library’s collections and images submitted directly to the photo library, Wellcome Images, are regularly featured on television programmes. Television viewers might have seen Wellcome Library material without even realising it.

Two of these programmes have been nominated for the Association of British Science Writers Awards in the “Best scripted or edited programme” category. The winners will be announced tonight. BBC Four’s Cell featured early imaginations of the cell and modern micrographs from Wellcome Images. The drawings shown here are taken from Theodor Schwann’s 1839 "Microscopic Investigations…" and were presented by Dr Adam Rutherford in the first episode of the three-part series.

The other nominated television programme, Darwin’s Dangerous Idea on BBC Two used engravings from the Library’s copy of Robert Fitzroy’s "Narratives…" of the Beagle’s voyage. Andrew Marr introduced a group of Tierra del Fuego natives with whom Darwin travelled on the Beagle, each illustrated by a portrait from the page shown here.

This year, photographs from Wellcome Images’ clinical collection were used on Channel 4’s Dispatches: Gun Crime to show the real effects of an injury caused by a bullet. Genius of Britain made use of Sir Christopher Wren’s plan of London as drawn by Gwynn. Back on BBC One, many of our images have been used in the Who Do You Think You Are? series. Most recently, two illustrations of 19th-century East London schools were used in an episode where actor Rupert Everett explored his family history.

Engravings of London slums were shown in BBC Two’s Victorian Pharmacy this month, which reconstructed life in a 19th-century pharmacy. Many more historical images have been used by the BBC this year in Children of the Revolution; The Story of Science; Victoria: A Royal Love Story; Mapping the World and Jenner’s Marvellous Medicine.

It’s not just the small screen where you’ll find our images. Creation, the 2009 film featuring Paul Bettany as Charles Darwin, used some phrenology images as part of the set. Clinical images were provided to the Harry Potter production team, who have used them to recreate wounds in the next instalment of the magical series. Finally, keep your eyes peeled for an eerie photograph from the historical collection appearing in The Awakening, a ghost story due in cinemas next year.

Author: Louise Crane

Wednesday, June 2, 2010

Fire, Riot and Compound Fracture

"Hannah Stewart, 21 years of age of a good habit of body, a married Woman was brought into the Hosp[ita]l on Wednesday night the 7th Inst. with a compound Fracture of the Wrist Joint wherein both Radius and Ulna were fractured, and the soft parts received considerable Injury…"


On June 7th 1780 – almost exactly 230 years ago - a young woman is brought, no doubt frightened and in severe pain, to St Bartholomew's Hospital with a serious injury to her wrist, and other soft tissue wounds. She is seen by Percival Pott, the Surgeon of St Bartholomew's: a man of considerable eminence in his field, and as luck would have it someone who is chiefly remembered now for his work on compound fractures. A medical man named Watt writes notes on the case in a tall, narrow volume now held at the Wellcome Library as MS.4337. For the moment, the survival of her arm is in the balance. Her pain and distress, however, form part of a wider historical picture: she comes to the hospital on that summer night as a result of a train of events that began a few days earlier, exactly 230 years ago on June 2nd 1780.

London in 1780 was a city in ferment. The explosive growth in Britain's trade and industry during the preceding century had led to an expansion of the city's population and even further strain placed upon the creaking assemblage of local bodies, many of them private or voluntary, responsible for the city's infrastructure. Perhaps most significantly, there was no centrally organised professional police force. The London mob was notoriously volatile and, in these days before the vote was extended to any but the better-off, riot and civil disorder were almost the only means whereby the populace could make its views felt to power.

To this explosive mix was added the strain of war. By 1780 the American colonies had been in revolt for some years and there was considerable political division, not merely over the competance of the government's war effort but also over whether the war should be fought at all: many sympathised openly with the rebels, whose maxim that if one was taxed by a government one should have the right to elect it struck a chord with many radicals on this side of the Atlantic. The colonists' allegations of despotic behaviour by George III and his ministers mirrored similar allegations made by British critics of the status quo.

Into this volatile situation arrived the issue of Catholic emancipation, in the shape of the 1778 Papists Act that reduced some of the restrictions placed upon Roman Catholics by law. To the twenty-first century reader, it seems axiomatic that greater religious tolerance is a progressive cause. In the eighteenth century, however, this was not necessarily accepted. Catholicism for many had been associated with attempts by foreign despots to subdue English or British independence: the liberties of the British subject and of Parliament, as established most notably after the Glorious Revolution of 1688, had been prised out of the grip of Stuart monarchs who were Catholic in their sympathies and often allied with Catholic absolutist régimes abroad, such as the France of Louis XIV. There was widespread fear – whether or not this was justified – that extending liberty to Roman Catholics was the thin end of a wedge that would end up with absolutism and the denial of liberties to all. Particularly pointed was the issue of the army. The inheritors of the Glorious Revolution settlement had a strong mistrust of a large standing army, as a tool that could potentially be used by a despotic monarch. One driver of the 1778 Act was the need for more soldiers to wage war in America: in order to achieve this, it would be made easier for Catholics to join the army by absolving them of the requirement to take an oath to defend the established religion. To some this measure looked profoundly dangerous: not merely letting loose a force that tended to despotism, but arming it. To understand the events of 1780, we have to put away our modern ideas about religious tolerance and try to see this situation as its contemporaries did; only then can we make sense of the forces that converged to bring Hannah Stewart to St Bartholomew’s on that June night.

In 1780 Lord George Gordon, a gifted and eccentric propagandist, became President of the Protestant Association, whose aim was to force the repeal of these new measures. Playing on the fears of despotic monarchy and a Catholic army outlined above, he managed to prevent the legislation being extended to Scotland, but had no success in gaining its repeal in England and Wales through peaceful channels. In late spring 1780, he took his campaign to the streets. Now the pace of events quickens, hurrying Hannah Stewart towards her injury and meeting with the surgeon Percival Pott.

On June 2nd, 230 years ago today, the Protestant Association led a march to Parliament to deliver a petition for the repeal of the 1778 Act. The march on June 2nd was huge, estimated at around 50,000 people and swelling as it passed through the city waving banners proclaiming "No Popery". On arrival at Westminster the crowd attempted to force their way into the House of Commons: Lord George Gordon was allowed in to hand the petition over but his followers remained outside, milling around in a state of agitation without a clear object. It was almost inevitable that this situation turned ugly. Members of the House of Lords, arriving for a sitting, were attacked and their carriages destroyed. Although troops eventually dispersed the mob around Parliament without violence, it was the beginning of several days of sporadic, increasing disorder. Later that night there were attacks on the embassies of Catholic powers and areas known to house rich Catholics. The following night the poor area of Moorfields, home to many Irish Catholic immigrants, was ransacked and many houses burned. Dickens in his novel Barnaby Rudge gives vivid descriptions of days of mounting disorder, of how the Lord Chief Justice's house was attacked, how Newgate Prison was broken open and largely burned down, how streets filled with looters were lit by burning houses as the gutters ran with blazing alcohol. The situation deteriorated until 7th June, when the Army was called out to disperse any assemblies of more than four people, with orders to start shooting if they refused.

Here we return to Hannah Stewart. It is the night of 7th June when she is brought to St Bartholomew's, and the passage immediately after the one quoted at the head of this article identifies the cause of her injury:

Both Radius and Ulna were fractured, and the soft parts received considerable Injury from a musket ball shot by one of the soldiers who was on duty quelling the disturbances that arose…


Whether a rioter or a bystander, Hannah Stewart is one of the walking wounded who were the casualties of that night. In a sense, she is lucky – almost three hundred were shot dead in the suppression of the rioting. Although she cannot have thought herself fortunate, she is also in luck in the man who sees her. Percival Pott was a senior man at the hospital, at the height of his career, and an important figure in the slow rise of surgery to medical respectability. Before the advent of anaesthesia and antisepsis in the second half of the nineteenth century, surgeons were the poor relations of the medical world: their profession depended heavily on speed and strength as much as skill and knowledge, and deaths of their patients were common. The rise of surgery to its current exalted position, rather than its being perceived as next door to butchery, was a slow process. Pott was instrumental in some of the steps along the way. He was born in London in 1714, in Threadneedle Street – the rioters who attacked the Bank of England in 1780 were probably attacking a building put up over his birthplace. Like most surgeons of the time he learned on the job, by apprenticeship to the then Assistant Surgeon at St Bartholomew's, Edward Nourse. He became Assistant Surgeon himself in 1745, the year in which the Surgeons at last formed their own professional organisation: previously they were governed by the one of the City of London's craft guilds, the Barber-Surgeons' Company, a combination that reflected the way one man might in the medieval and early modern period combine surgery and bone-setting, hair-cutting, tooth-drawing and various other skills. In this year, however, a separate Company of Surgeons was formed, marking a step in the march to medical respectability. (Twenty years after the Gordon Riots, the Royal College of Surgeons of England was founded and replaced the Company.)

Pott himself was instrumental in another such step when, in 1756, he was thrown from his horse and suffered a compound fracture of the leg. At the time, amputation was often seen as the only remedy; however, Pott and Nourse, his old master, concluded that the leg could be saved. Convalescing afterwards and unable to work, Pott discovered a talent for writing about medicine; he used the time at home to write a treatise on hernias that was the start of a string of monographs issued over the next decades. Among them, in 1768, was a work on Fractures and Dislocations which drew on his own experience when describing compound fracture of the long leg bones. The combined fracture and dislocation of the ankle that he analysed in this treatise is now known as a Pott’s Fracture after his description. As well as writing copiously, Pott had a large and eminent private practice, being consulted by (among others) the writer Samuel Johnson, the painter Thomas Gainsborough and the actor David Garrick. Hannah Stewart is being seen by London's top surgeon, and a man who had made a particular study of her type of injury.

The seriousness of that injury can be judged by the fact that Pott, according to the casebook, gave little hope for her hand: "From the appearance of the Fracture at the Time, … it was thought advisable to amputate". Hannah Stewart, however, refuses: "the woman not giving her consent, the wound was put up in a common Poultice." "Opiates were given to appease the pain" but she must have remained in severe discomfort. The case history, written up a few days later, notes "her arm today looks less inflamed - but rather painful – her hand is swell'd and also painful. Mr Pott saw it and ordered her to go on with the Poultice. Some small fragments of loose stones were taken out on her admission."

At the foot of the page, Watt scrawls "Discharged well." The absence of inflammation means, perhaps, that she has escaped serious infection, which would be a key factor in keeping the limb; Pott identified the presence or not of inflammation as a key to prognosis in fractures when describing his own case. Whether infection developed later and she lost the hand after all, where she went on leaving the hospital, and where her bones lie – shattered or otherwise – is unknown. But in this one page from the hospital casebook we see a vivid window opening into the past, showing us how various historical forces converge on that summer night in 1780 and how, at the point that they meet, a young woman lies afraid and in pain, not knowing whether the next day will bring her an appointment with the surgeon's knife.

After the rioting was put down by troops, Gordon was tried for treason, but found not guilty. However, he died some years later in the rebuilt Newgate prison, confined there after further political activity. In a final interesting twist, he was buried not far from the Wellcome Library. Just north of the Euston Road lies the former churchyard of St James's, a church that was originally a chapel in a burial ground serving the parish of St James Piccadilly, set up when central London began to run out of space for burials. In the nineteenth century the space was converted to a park and the gravestones stacked around the edges. A Victorian plaque at the Hampstead Road entrance, now sadly dilapidated, proudly records its conversion to public open space, but makes no mention of the eccentric agitator whose grave lies somewhere below the pleasure garden and children's playground.

Illustrations show, in order: Wellcome MS.4337 (close-up and full page); the burning of Newgate Prison; an early 19th century collection of images of St Bartholomew's Hospital; Percival Pott; and the entrance to St James's Gardens today.

Monday, May 31, 2010

Quacks and Cures: new and improved!

Friday 4th June sees the return of Wellcome Collection’s hugely popular Quacks and Cures all-building spectacular. The event aims to present a snapshot of some of the opinions and ideas threaded through three centuries of medical history.

Friday’s event will see a new line-up, including Hope Springs Eternal, a talk on medical spas and waters by Medical London’s Dr Richard Barnett, as well as the return of the advice panel spanning three centuries of practitioners, which will now be relocated to the more stately atmosphere of the Wellcome Library due to its popularity last year. We are very excited to be welcoming science writer and broadcaster Dr Simon Singh who will be speaking in the auditorium. The hugely popular leeches will be making a return visit too.

For those who missed the event, have a look at this short clip on our first event here on the Wellcome Collection site.

The event is free and there is no need to book.