West Norwood, which opened as the South Metropolitan Cemetery in 1837, is one of London’s most spectacular cemeteries, its grand tombs and monuments laid out along landscaped paths and mature trees. Of the “Magnificent Seven” cemeteries that opened on London’s outskirts in the early Victorian period, West Norwood was arguably the most sought-after of them all as a burial place, with its beautiful location on a south London hillside. The wealth of many of those interred there is reflected by the beautiful memorials raised in their memory.
Although the Northumberland village of Bamburgh is dominated by the fortress that has stood on its cliffs since the 7th Century, one figure who looms large in the area’s history is not a king or a warrior, but an ordinary woman whose act of bravery in 1838 made her internationally famous. Grace Horsley Darling’s role in the rescue of sailors from the wrecked vessel Forfarshire in September 1838 was widely covered by the media both in Britain and further afield, and led to an outpouring of donations, gifts and even offers of marriage. The veneration of Grace Darling was not unlike the cults that grew up around many medieval saints, with souvenirs featuring her likeness being sold, items belonging to her and her family put on display or up for sale, and songs and poems being written about Grace and her deeds. Despite her untimely death from tuberculosis at the age of 26, Grace remained a well-known figure, celebrated for her bravery and her Christian values. The fame of Grace Darling provides a fascinating insight into the way that the 19th Century media helped to create modern-day heroes, and how Grace’s character reflected the period’s idea of the virtuous woman.
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.
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.