gallery

Tom Taylor 1817-1880
Richmond Railway Bridge from Richmond Bridge circa 1875

inscribed "Thames" and signed with initials "TT"

pencil and watercolour
20 x 26 cm.
Provenance

Tom and Laura Taylor and thence by descent

Notes

Richmond Railway Bridge in Richmond, south-west London, crosses the River Thames immediately upstream of Twickenham Bridge. It carries National Rail services operated by South Western Railway (SWR) on the Waterloo to Reading Line, and lies between Richmond and St. Margarets stations. The bridge was amongst the first railway crossings of the Thames.

The first Richmond Railway Bridge was built by the contractor Thomas Brassey and designed by the civil engineers Joseph Locke and J. E. Errington on behalf of the London and South Western Railway (L&SWR). Opened during 1848, it was originally known as the Richmond Windsor and Staines Railway Bridge.Due to concerns over the bridge's use of cast iron in its construction, it was rebuilt during the 1900s, the principal change being the substitution of iron elements for steel counterparts. This second bridge, which heavily reused elements of the original, was designed by the L&SWR's then-chief engineer, J. W. Jacomb-Hood, and constructed by the Horseley Bridge Company between 1906 and 1908.

The second bridge is visually similar to the earlier structure, retaining much of its aesthetics and original features despite subsequent refurbishment and maintenance programmes, including the replacement of its decking and girders during the 1980s. Since 2008, both the bridge itself and its brick approach viaduct have been Grade II listed structures, protecting them from unsympathetic alterations.

Shortly after the arrival of the London and South Western Railway (L&SWR) at Richmond station in 1846, ambitions to extend the line through to Windsor, facilitating a direct connection between Clapham Junction, Richmond and Waterloo, would be put into action. Prior to this, the Thames area had experienced relatively little in terms of railway development despite a nationwide boom in the industry, largely due to a prohibition that had been enacted by Parliament which prevented the construction of surface railways in central London. Having secured authorisation to proceed, the Richmond Railway Bridge over the Thames would be amongst the first railway crossings of the river to be constructed.

Responsibility for the design of this first railway bridge was assigned to the accomplished civil engineers Joseph Locke and J. E. Errington; they also worked together on a similar bridge at Barnes. Its construction was performed by the prolific contractor Thomas Brassey.This first bridge comprised three 100-foot cast iron girders, which were supported on stone-faced land arches in combination with a pair of stone-faced river piers with rounded cutwaters. In accompaniment to the bridge itself, a sizable arched brick viaduct crossing Richmond's Old Deer Park, was built for the bridge's eastern approach. This viaduct features ornamentation and decorative features, which was inserted into the design at the insistence of the Crown commissioners of the park.

While the bridge proved itself to be relatively problem-free in operation, by the start of the twentieth century, there were considerable concerns over the Richmond Railway Bridge's structural integrity, largely due to the use of cast iron in its construction. To address these concerns, railway officials decided that the bridge ought to rebuilt to a new design, which was produced by the L&SWR's then-chief engineer, J. W. Jacomb-Hood. A contract to undertake the fabrication and erection of this second bridge was awarded to the Horseley Bridge Company in 1906.

The second bridge, which was completed during 1908, actually retained or reused numerous elements of the first bridge, including the existing piers and abutments. This new design was sympathetic to the original bridge's design, with the distinctive open spandrels having been intentionally reproduced via vertical dividers. Considerable attention was paid to the bridge's aesthetics, particularly in respect to the new steel girders that formed a core element of this new structure.This steel superstructure primarily comprised four shallow-arched ribs for each span, which are braced together as two pairs and are pinned towards their ends as to permit movement; as such, each track is effectively carried by a separate steel arch bridge placed side-by-side.

Further works have been performed to the structure over time. During 1984, the primary girders and decking of the bridge were entirely replaced. Despite having received multiple renewal programmes over the course of a century, the bridge is said to have retained much of the appearance of the original 1848 structure, while a significant proportion of historic fabric has also survived through to the present day.

Both the Richmond Railway Bridge itself and its adjacent approach viaduct were declared to be a Grade II listed structure in 2008. This status is intended to protect the structure from any unsympathetic developments with the aim of preserving its special character.

 

Richmond Bridge is an 18th-century stone arch bridge that crosses the River Thames at Richmond, connecting the two halves of the present-day London Borough of Richmond upon Thames. It was designed by James Paine and Kenton Couse.

The bridge, which is Grade I listed, was built between 1774 and 1777, as a replacement for a ferry crossing which connected Richmond town centre on the east bank with its neighbouring district of East Twickenham to the west. Its construction was privately funded by a tontine scheme, for which tolls were charged until 1859. Because the river meanders from its general west to east direction, flowing from southeast to northwest in this part of London, what would otherwise be known as the north and south banks are often referred to as the "Middlesex" (Twickenham) and "Surrey" (Richmond) banks respectively, named after the historic counties to which each side once belonged.

The bridge was widened and slightly flattened in 1937–40, but otherwise still conforms to its original design. The eighth Thames bridge to be built in what is now Greater London, it is today the oldest surviving Thames bridge in London.

The small town of Sheen on the Surrey bank of the Thames, 10 miles (16 km) west of the City of London or 16 miles (26 km) by river, had been the site of a royal palace since 1299. After it was destroyed by fire in 1497, Henry VII built a new palace on the site, naming it Richmond Palace after his historic title of Earl of Richmond, and the central part of Sheen became known as Richmond.

Richmond, Twickenham Park and the route of the Richmond Ferry in 1746

Although a ferry had almost certainly existed at the site of the present-day bridge since Norman times, the earliest known crossing of the river at Richmond dates from 1439.The service was owned by the Crown, and operated by two boats, a small skiff for the transport of passengers and a larger boat for horses and small carts; the Twickenham Ferry, slightly upstream, was also in service from at least 1652. However, due to the steepness of the hill leading to the shore-line on the Surrey side neither ferry service was able to transport carriages or heavily laden carts, forcing them to make a very lengthy detour via Kingston Bridge.

In the 18th century Richmond and neighbouring Twickenham on the opposite bank of the Thames, both of which were distant from London but enjoyed efficient transport links to the city via the river, became extremely fashionable, and their populations began to grow rapidly. As the ferry was unable to handle large loads and was often cancelled due to weather conditions, the river crossing became a major traffic bottleneck.

Local resident William Windham had been sub-tutor to Prince William, Duke of Cumberland, and was the former husband of Mary, Lady Deloraine, mistress to George II. As a reward for his services, George II leased Windham the right to operate the ferry until 1798.Windham sub-let the right to operate the ferry to local resident Henry Holland.With the ferry unable to serve the demands of the area, in 1772 Windham sought Parliamentary approval to replace the ferry with a wooden bridge, to be paid for by tolls.

The plans for a wooden bridge proved unpopular, and in 1772 the Richmond Bridge Act was passed by Parliament, selecting 90 commissioners, including landscape architect Lancelot "Capability" Brown, historian and politician Horace Walpole and playwright and actor David Garrick, to oversee the construction of a stone bridge on the site of the ferry. The Act stipulated that no tax of any sort could be used to finance the bridge, and fixed a scale of tolls, ranging from ½d for a pedestrian to 2s 6d for a coach drawn by six horses (about 50p and £17 respectively in 2023).Henry Holland was granted £5,350 (about £723,300 in 2023) compensation for the loss of the ferry service. The commission appointed James Paine and Kenton Couse to design and build the new bridge.

Richmond Bridge

The Act specified that the bridge was to be built on the site of the existing ferry "or as much lower down the river as the Commission can settle". Local residents lobbied for it to be built at Water Lane, a short distance downstream from the ferry site. The approach to the river was relatively flat, avoiding the steep slope to the existing ferry pier on the Surrey bank. However, the Dowager Duchess of Newcastle refused to allow the approach road on the Middlesex bank to pass through her land at Twickenham Park, and the commission was forced to build on the site of the ferry, despite a steep 1 in 16 (6.25%) incline.

The bridge was designed as a stone arch bridge of 300 feet (91 m) in length and 24 feet 9 inches (7.54 m) in width, supported by five elliptical arches of varying heights. The tall 60-foot (18 m) wide central span was designed to allow shipping to pass, giving Richmond Bridge a distinctive humpbacked appearance. It was built in Portland stone, and ran between Ferry Hill (Bridge Street today) on the Surrey side and Richmond Road on the Middlesex side; sharp curves in the approach roads on the Middlesex side (still in existence today) were needed to avoid the Dowager Duchess of Newcastle's land at Twickenham Park. Palladian toll houses were built in alcoves at each end.

The milestone at the Surrey end of the bridge

The building was put out to tender, and on 16 May 1774 Thomas Kerr was awarded the contract to build the bridge for the sum of £10,900 (about £1.46 million in 2023). With additional costs, such as compensating landowners and building new approach roads, total costs came to approximately £26,000 (about £3.52 million in 2023).

Most of the money needed was raised from the sale of shares at £100 each (approximately £13,500 in 2023) in two tontine schemes, the first for £20,000 and the second for £5,000. The first was appropriately called the Richmond-Bridge Tontine, but when it became clear that the initial £20,000 would not be sufficient to complete construction a second tontine was set up. Each investor was guaranteed a return of 4% per annum, so £1,000 per annum from the income raised from tolls was divided amongst the investors in the two tontines. On the death of a shareholder their share of the dividend was divided among the surviving shareholders. To avoid fraud, each investor was obliged to sign an affidavit that they were alive before receiving their dividend.Any revenue over the £1,000 per annum required to pay the investors was held in a general fund for the maintenance of the bridge.

Construction began on 23 August 1774.The Prince of Wales was invited to lay the first stone but declined, and so the stone was laid by commission member Henry Hobart. The bridge opened to pedestrians in September 1776 and to other traffic on 12 January 1777, at which time the ferry service was closed, although work on the bridge was not completed until December 1777. A large milestone was placed at the Richmond end, giving the distances to other bridges and to local towns.

There was no formal opening ceremony, and little initial recorded public reaction. However, the bridge soon became much admired for its design; an article in The London Magazine in 1779 said that the bridge was "a simple, yet elegant structure, and, from its happy situation, is ... one of the most beautiful ornaments of the river ... from whatever point of view the bridge is beheld, it presents the spectator with one of the richest landscapes nature and art ever produced by their joint efforts, and connoisseurs in painting will instantly be reminded of some of the best performances of Claude Lorraine". James Paine proudly illustrated it among the designs in the second volume of his Plans, Elevations, and Sections of Noblemen and Gentlemen's Houses, 1783. Richmond Bridge was the subject of paintings by many leading artists, including Thomas RowlandsonJohn Constable and local resident J. M. W. Turner.

Richmond Bridge by Thomas Rowlandsonc. 1810

Severe penalties were imposed for vandalising the bridge. The Richmond Bridge Act 1772 specified that the punishment for "willful or malicious damage" to the bridge should be "transportation to one of His Majesty's Colonies in America for the space of seven years". A warning against damage can still be seen on the milestone at the Surrey end of the bridge.

Richmond Bridge was a commercial success, generating £1,300 per annum in tolls (about £98,130 in 2023) in 1810. By 1822, the company had accumulated a sufficient surplus that all vehicle tolls were reduced to one penny.

Alcove on the site of a former tollbooth

On 10 March 1859 the last subscriber to the main tontine died, having for over five years received the full £800 per annum set aside for subscribers to the first tontine, and with the death of its last member the scheme expired. On 25 March 1859 Richmond Bridge became toll-free.A large procession made its way to the bridge, where a team of labourers symbolically removed toll gates from their hinges. The toll houses were demolished, replaced by seating in 1868; investment income from the revenue accumulated during the 83 years the tolls had been charged was sufficient to pay for the bridge's maintenance.

In 1846 the first railway line reached Richmond. Richmond gasworks opened in 1848, and Richmond began to develop into a significant town. The District Railway (later the District line) reached Richmond in 1877, connecting it to the London Underground. Commuting to central London became feasible and affordable, leading to further population growth in the previously relatively isolated Richmond and Twickenham areas.

By the early 20th century the bridge was proving inadequate for the increasing traffic, particularly with the introduction of motorised transport, and a 10 miles per hour (16 km/h) speed limit was enforced. With the remaining investment income from tolls insufficient to pay for major reconstruction, on 31 March 1931 the bridge was taken into the joint public ownership of Surrey and Middlesex councils, and proposals were made to widen it. The plans were strongly opposed on aesthetic grounds, and the decision was taken to build instead a new bridge a short distance downstream to relieve traffic pressure.

The join between the narrow 1770s structure and the paler 1930s widening is clearly visible under the bridge arches

The new Twickenham Bridge opened in 1933, but Richmond Bridge was still unable to handle the volume of traffic, so in 1933 Sir Harley Dalrymple-Hay proposed possible methods for widening the bridge without significantly affecting its appearance. The cheapest of Dalrymple-Hay's proposals, to transfer the footpaths onto stone corbels projecting from the sides of the bridge thus freeing the entire width for vehicle traffic, was rejected on aesthetic grounds, and a proposal to widen the bridge on both sides was rejected as impractical. A proposal to widen the bridge on the upstream side was settled on as causing the least disruption to nearby buildings, and in 1934 it was decided to widen the bridge by 11 feet (3.4 m), at a cost of £73,000 (about £5.51 million in 2023).

The Cleveland Bridge & Engineering Company of Darlington was appointed to carry out the rebuilding. In 1937 each stone on the upstream side was removed and numbered and the bridge widened; the stone facing of the upstream side was then reassembled and the bridge reopened to traffic in 1940. Throughout the redevelopment, a single lane of traffic was kept open at all times. It was found that the 18th-century foundations, consisting of wooden platforms sunk into the river bed, had largely rotted away, and they were reinforced with steel pilings and concrete foundations. During the widening works the opportunity was also taken to lower slightly the roadbed at the centre of the bridge and raise the access ramps, reducing the humpbacked nature of the bridge's central section.

Victorian gas lamp post on Richmond Bridge

James Paine went on to design three other Thames bridges after Richmond, at Chertsey (1783), Kew (1783), and Walton (1788). Paine and Couse renewed their working relationship on the design of Chertsey Bridge, the only one of the three still in existence. Paine became High Sheriff of Surrey in 1783.

In 1962, Richmond Council announced the replacement of the gaslamps on the bridge with electric lighting. The Richmond Society, a local pressure group, protested at the change to the character of the bridge, and succeeded in forcing the council to retain the Victorian gas lamp-posts, converted to electric light, which remain in place today.

In the history of Richmond Bridge there have only been two reported serious collisions between boats and the bridge. On 20 March 1964, three boats tied together at Eel Pie Island, 1+1⁄2 miles (2.4 km) upstream, broke from their moorings in a storm and were swept downstream, colliding with the bridge. Although no serious damage was caused to the bridge, the Princess Beatrice, an 1896 steamer once used by Gilbert and Sullivan, was damaged beyond repair. On 30 January 1987, the Brave Goose, the £3,500,000 yacht of National Car Parks founder Sir Donald Gosling, became wedged under the central arch of the bridge, eventually being freed at low tide the next day.

The bust of Bernardo O'Higgins near the bridge

The eighth Thames bridge to be built in what is now Greater London,[36] Richmond Bridge is currently the oldest surviving bridge over the Thames in Greater London,[n 3] and the oldest Thames bridge between the sea and Abingdon Bridge in Oxfordshire. Richmond Bridge was Grade I listed in 1952[37] and it is the only Georgian bridge over the Thames in London. Its bicentenary was celebrated on 7 May 1977; the commemoration was held four months after the actual anniversary of 12 January, to avoid poor weather conditions.

The tradition of boat hire, repairs and boatbuilding continues at the bridge and tunnels at Richmond Bridge Boathouses under boatbuilder Mark Edwards, awarded his MBE in 2013 for "services to boatbuilding" including construction of the royal barge Gloriana.

Just to the south of the bridge, in a park at the Richmond end, is a bust of the first president of ChileBernardo O'Higgins, who studied in Richmond from 1795 until 1798. In 1998, 200 years after he left Richmond, the bust, whose sculptor is unknown, was unveiled. The patch of ground which the statue overlooks is called "O'Higgins Square". The Mayor of Richmond lays a wreath at the bust every year in the presence of staff from the Chilean Embassy in London.

Artist biography
Tom Taylor (photograph by Lock and Whitfield)

 

Tom Taylor (19 October 1817 – 12 July 1880) was an English dramatist, critic, biographer, public servant, and editor of Punch magazine. Taylor had a brief academic career, holding the professorship of English literature and language at University College, London in the 1840s, after which he practised law and became a civil servant. At the same time he became a journalist, most prominently as a contributor to, and eventually editor of Punch.

In addition to these vocations, Taylor began a theatre career and became best known as a playwright, with up to 100 plays staged during his career. Many were adaptations of French plays, but these and his original works cover a range from farce to melodrama. Most fell into neglect after Taylor's death, but Our American Cousin (1858), which achieved great success in the 19th century, remains famous as the piece that was being performed in the presence of Abraham Lincoln when he was assassinated in 1865.

Early years

Taylor was born into a newly wealthy family at Bishopwearmouth, a suburb of Sunderland, in north-east England. He was the second son of Thomas Taylor (1769–1843) and his wife, Maria Josephina, née Arnold (1784–1858). His father had begun as a labourer on a small farm in Cumberland and had risen to become co-owner of a flourishing brewery in Durham. After attending the Grange School in Sunderland, and studying for two sessions at the University of Glasgow, Taylor became a student of Trinity College, Cambridge in 1837, was elected to a scholarship in 1838, and graduated with a BA in both classics and mathematics. He was elected a fellow of the college in 1842 and received his MA degree the following year.

Caricature of Taylor by "Spy" in Vanity Fair, 1876

Taylor left Cambridge in late 1844 and moved to London, where for the next two years he pursued three careers simultaneously. He was professor of English language and literature at University College, London, while at the same time studying to become a barrister, and beginning his life's work as a writer. Taylor was called to the bar of the Middle Temple in November 1846. He resigned his university post, and practised on the northern legal circuit until he was appointed assistant secretary of the Board of Health in 1850. On the reconstruction of the board in 1854 he was made secretary, and on its abolition in 1858 his services were transferred to a department of the Home Office, retiring on a pension in 1876.

Writer 

Taylor owed his fame and most of his income not to his academic, legal or government work, but to his writing. Soon after moving to London, he obtained remunerative work as a leader writer for the Morning Chronicle and the Daily News. He was also art critic for The Times and The Graphic for many years. He edited the Autobiography of B. R. Haydon (1853), the Autobiography and Correspondence of C. R. Leslie, R.A. (1860) and Pen Sketches from a Vanished Hand, selected from papers of Mortimer Collins, and wrote Life and Times of Sir Joshua Reynolds (1865). With his first contribution to Punch, on 19 October 1844, Taylor began a thirty-six year association with the magazine, which ended only with his death. During the 1840s he wrote on average three columns a month; in the 1850s and 1860s this output doubled. His biographer Craig Howes writes that Taylor's articles were generally humorous commentary or comic verses on politics, civic news, and the manners of the day. In 1874 he succeeded Charles William Shirley Brooks as editor.

Taylor also established himself as a playwright and eventually produced about 100 plays. Between 1844 and 1846, the Lyceum Theatre staged at least seven of his plays, including extravanzas written with Albert Smith or Charles Kenney, and his first major success, the 1846 farce To Parents and GuardiansThe Morning Post said of that piece, "The writing is admirable throughout – neat, natural and epigrammatic". It was as a dramatist that Taylor made the most impression – his biographer in the Dictionary of National Biography (DNB) wrote that in writing plays Taylor found his true vocation. In thirty-five years he wrote more than seventy plays for the principal London theatres.

Poster for an 1868 revival of The Ticket-of-Leave Man

A substantial portion of Taylor's prolific output consisted of adaptations from the French or collaborations with other playwrights, notably Charles Reade. Some of his plots were adapted from the novels of Charles Dickens or others. Many of Taylor's plays were extremely popular, such as Masks and Faces, an extravaganza written in collaboration with Reade, produced at the Haymarket Theatre in November 1852. It was followed by the almost equally successful To Oblige Benson (Olympic Theatre, 1854), an adaptation from a French vaudeville. Others mentioned by the DNB are Plot and Passion (1853), Still Waters Run Deep (1855) and The Ticket-of-Leave Man (based on Le Retour de Melun by Édouard Brisebarre and Eugène Nus), a melodrama produced at the Olympic in 1863.Taylor also wrote a series of historical dramas (many in blank verse), including The Fool’s Revenge (1869), an adaption of Victor Hugo's Le roi s'amuse (also adapted by Verdi as Rigoletto), 'Twixt Axe and Crown (1870), Jeanne d'arc (1871), Lady Clancarty (1874) and Anne Boleyn (1875). The last of these, produced at the Haymarket in 1875, was Taylor's penultimate piece and only complete failure. In 1871 Taylor supplied the words to Arthur Sullivan's dramatic cantataOn Shore and Sea.

Like his colleague W. S. Gilbert, Taylor believed that plays should be readable as well as actable; he followed Gilbert in having copies of his plays printed for public sale. Both authors did so at some risk, because it made matters easy for American pirates of their works in the days before international copyright protection. Taylor wrote, "I have no wish to screen myself from literary criticism behind the plea that my plays were meant to be acted. It seems to me that every drama submitted to the judgment of audiences should be prepared to encounter that of readers".

middle aged white man with bushy beard, moustache and hat, seated in semi-profile, glaring towards the camera
Taylor by Lewis Carroll, 1863

Many of Taylor's plays were extremely popular, and several survived into the 20th century, although most are largely forgotten today. His Our American Cousin (1858) is now remembered chiefly as the play Abraham Lincoln was attending when he was assassinated, but it was revived many times during the 19th century with great success. It became celebrated as a vehicle for the popular comic actor Edward Sothern, and after his death, his sons, Lytton and E. H. Sothern, took over the part in revivals.

Howes records that Taylor was described as "of middle height, bearded [with] a pugilistic jaw and eyes which glittered like steel". Known for his remarkable energy, he was a keen swimmer and rower, who rose daily at five or six and wrote for three hours before taking an hour's brisk walk from his house in Wandsworth to his Whitehall office.

Some, like Ellen Terry, praised Taylor's kindness and generosity; others, including F. C. Burnand, found him obstinate and unforgiving. Terry wrote of Taylor in her memoirs:

Most people know that Tom Taylor was one of the leading playwrights of the 'sixties as well as the dramatic critic of The Times, editor of Punch, and a distinguished Civil Servant, but to us he was more than this. He was an institution! I simply cannot remember when I did not know him. It is the Tom Taylors of the world who give children on the stage their splendid education. We never had any education in the strict sense of the word yet through the Taylors and others, we were educated.

Terry's frequent stage partner, Henry Irving said that Taylor was an exception to the general rule that it was helpful, even though not essential, for a dramatist to be an actor to understand the techniques of stagecraft: "There is no dramatic author who more thoroughly understands his business".

In 1855 Taylor married the composer, musician and artist Laura Wilson Barker (1819–1905). She contributed music to at least one of his plays, an overture and entr'acte to Joan of Arc (1871), and harmonisations to his translation Ballads and Songs of Brittany (1865). There were two children: the artist John Wycliffe Taylor (1859–1925) and Laura Lucy Arnold Taylor (1863–1940). Taylor and his family lived at 84 Lavender Sweep, Battersea, where they held Sunday musical soirees. Celebrities who attended included Lewis CarrollCharles Dickens, Henry Irving, Charles ReadeAlfred Tennyson, Ellen Terry and William Makepeace Thackeray.

Taylor died suddenly at his home in 1880 at the age of 62 and is buried in Brompton Cemetery. After his death, his widow retired to Coleshill, Buckinghamshire, where she died on 22 May 1905.