Chiswick Old Burial Ground is a large extension to the old churchyard at St Nicholas, Chiswick, close to the River Thames in west London. The Georgian graves clustered closest to the church (including the grand tomb of the artist William Hogarth) give way to Victorian and more modest headstones, filling a site that’s just under 7 acres in size. Unlike some of London’s larger Victorian cemeteries, most of the memorials here are fairly modest in scale and ornamentation, made from stone or occasionally marble. But one incongrous memorial catches the eye, despite being tucked away near the cemetery’s northern boundary wall: a striking copper tomb turned green by the passing of the years, which marks the burial place of two artists.
Part of the A212 road runs along one side of Crystal Palace Park, carrying traffic between the suburbs of south east London. However, beneath a section of the road – unbeknownst to those passing above – is a quite astonishing structure, usually hidden from the public. This is a subway, but not of the concrete, graffiti-ed, dubious-smelling variety more commonly seen beneath Britain’s roads: it is something else altogether.
In a corner of a burial ground in the remote marshland town of Lydd in Kent is a lonely grave, set a little apart from the others. It is the final resting place of a a soldier’s wife – there’s nothing particularly out of the ordinary in that, as Lydd is home to a military base, but her unusual name has attracted attention over the years and rumours spread that this mysterious woman may in fact have been a member of the Russian imperial family.
If you walk along Redcross Way, a quiet street a stone’s throw away from the hustle and bustle of London Bridge Station and Borough High Street, a strange sight can be found. Hundreds of colourful ribbons, flowers, toys and other trinkets are tied to the railings that surround a small garden, some bright and fresh, others faded with time and exposure to the elements. This is Cross Bones, an old burial ground where thousands of Londoners, mostly the poorest members of society, were laid to rest. In recent years this place has been transformed from a bare piece of land to a colourful community garden dedicated to the memory of London’s outcast dead.
Sheffield, in south Yorkshire, is famous around the world as a centre of steel production – stainless steel was invented in the city in 1912 and many thousands of the city’s residents worked in crucibles and factories producing steel and steel products such as cutlery and weapon components. On a peaceful hillside thousands of Sheffield’s citizens lie at rest, some with graves marked by grand memorials, others unseen beneath the trees and undergrowth. After a period of postwar neglect and uncertainty, the Sheffield General Cemetery is now a celebrated part of the city’s heritage.
Most of the grand mausolea we see in Victorian cemeteries are private spaces, accessible only to the families of those interred within or blocked off and sealed forever to keep vandals out. However, today we are visiting a mausoleum with an unusual story attached to it: one where its doors are occasionally opened and where visitors can view the coffins and memorials within. This might seem like a strange thing to do, even an intrusion, but the man who commissioned the mausoleum regularly visited it himself while he was still alive, and today the mausoleum’s well-preserved interior serves as a testament to the affection in which he held his young mistress.
The fenland town of King’s Lynn has a long history, and unsurprisingly a few dark tales have been remembered and passed on through generations of townspeople over the years. Once a thriving port and a member of the prestigious medieval Hanseatic League, King’s Lynn (known as Lynn to locals) retains many of its historic buildings. One such building, an unassuming 17th Century cottage huddled close to the churchyard of St Nicholas’ chapel, is known as the “Exorcist’s house.”
One of the best-known Roman structures that still exists outside of Rome itself is the long defensive wall that snakes from the Solway Firth to Newcastle across the north of England: Hadrian’s Wall. Just south of the wall, in Northumberland, the remains of a Roman fort are being uncovered. Vindolanda’s story is ever-evolving: each summer a team of archaeologists and volunteers uncover more of the fort, discovering buried structures and artefacts that continue to enrich our knowledge of this amazing site. The most precious of all things found at Vindolanda – miraculously preserved due to the damp nature of much of the site – are the little wooden tablets with their written accounts of life on the Roman Empire’s northernmost frontier.
Although the 19th Century is the most notorious period for desperate overcrowding in the churchyards and burial grounds of London, the problem of finding enough space to bury the city’s dead was not a new one. As London grew both in population and size during the 18th Century, little room was set aside for cemeteries and the garden we are visiting today is the first example of Anglican churches being forced to locate their burial grounds in far away from the churches themselves. Today, St George’s Gardens in Bloomsbury is very much a part of central London, but when the two burial grounds that were later landscaped into this pleasant park were first opened, they were surrounded by fields.
The word “necropolis” is incredibly evocative – it is somehow a far more atmospheric term for a burial ground than “graveyard” or “cemetery.” The word derives from the Ancient Greek term nekropolis (νεκρόπολις), which translates as “city of the dead.” Rather fittingly, given the origins of the term necropolis, today we are visiting the Greek Necropolis, a small but dramatic section of West Norwood Cemetery in south London – a Greek Orthodox cemetery that contains the highest concentration of listed funerary monuments anywhere in Britain.