If you were to touch the plinth upon which the equestrian statue of King Charles I is placed, at Charing Cross, your fingers might rest upon the projecting fossils of sea lilies, starfish or sea urchins. There is a photograph of that statue taken in 1839; with its images of hackney cabs and small boys in stove-pipe hats the scene already seems remote, and yet how unimaginably distant lies the life of those tiny marine creatures. In the beginning was the sea. There was once a music-hall song entitled "Why Can't We Have the Sea in London?," but the question is redundant; the site of the capital, fifty million years before, was covered by great waters.
The waters have not wholly departed, even yet, and there is evidence of their life in the weathered stones of London. The Portland stone of the Customs House and St. Pancras Old Church has a diagonal bedding which reflects the currents of the ocean; there are ancient oyster shells within the texture of Mansion House and the British Museum. Seaweed can still be seen in the greyish marble of Waterloo Station, and the force of hurricanes may be detected in the "chatter-marked" stone of pedestrian subways. In the fabric of Waterloo Bridge, the bed of the Upper Jurassic Sea can also be observed. The tides and storms are still all around us, therefore, and as Shelley wrote of London "that great sea . . . still howls on for more."
London has always been a vast ocean in which survival is not certain. The dome of St. Paul's has been seen trembling upon a "vague troubled sea" of fog, while dark streams of people flow over London Bridge, or Waterloo Bridge, and emerge as torrents in the narrow thoroughfares of London. The social workers of the mid-nineteenth century spoke of rescuing "drowning" people in Whitechapel or Shoreditch and Arthur Morrison, a novelist of the same period, invokes a "howling sea of human wreckage" crying out to be saved. Henry Peacham, the seventeenth-century author of The Art of Living in London, considered the city as "a vast sea, full of gusts, fearful-dangerous shelves and rocks," while in 1810 Louis Simond was content to "listen to the roar of its waves, breaking around us in measured time."
If you look from a distance, you observe a sea of roofs, and have no more knowledge of the dark streams of people than of the denizens of some unknown ocean. But the city is always a heaving and restless place, with its own torrents and billows, its foam and spray. The sound of its streets is like the murmur from a sea shell and in the great fogs of the past the citizens believed themselves to be lying on the floor of the ocean. Even amid all the lights it may simply be what George Orwell described as "the ocean bottom, among the luminous, gliding fishes." This is a constant vision of the London world, particularly in the novels of the twentieth century, where feelings of hopelessness and despondency turn the city into a place of silence and mysterious depths.
Yet, like the sea and the gallows, London refuses nobody. Those who venture upon its currents look for prosperity or fame, even if they often founder in its depths. Jonathan Swift depicted the jobbers of the Exchange as traders waiting for shipwrecks in order to strip the dead, while the commercial houses of the City often used a ship or boat as a weather-vane and as a sign of good fortune. Three of the most common emblems in urban cemeteries are the shell, the ship and the anchor.
The starlings of Trafalgar Square are also the starlings who nest in the cliff faces of northern Scotland. The pigeons of London are descended from the wild rock-doves who lived among the steep cliffs of the northern and western shores of this island. For them the buildings of the city are cliffs still, and the streets are the endless sea stretching beyond them. But the real confluence lies in this--that London, for so long the arbiter of trade and of the sea, should have upon its fabric the silent signature of the tides and waves.
And when the waters parted, the London earth was revealed. In 1877, in a characteristically grand example of Victorian engineering, a vast well was taken down 1,146 feet at the southern end of Tottenham Court Road. It travelled hundreds of millions of years, touching the primeval landscapes of this city site, and from its evidence we can list the layers beneath our feet from the Devonian to the Jurassic and the Cretaceous. Above these strata lie 650 feet of chalk, outcrops of which can be seen upon the Downs or the Chilterns as the rim of the London Basin, that shallow saucer-like declivity in which the city rests. On top of the chalk itself lies the thick London clay which is in turn covered by deposits of gravel and brick-earth. Here, then, is the making of the city in more than one sense; the clay and the chalk and the brick-earth have for almost two thousand years been employed to construct the houses and public buildings of London. It is almost as if the city raised itself from its primeval origin, creating a human settlement from the senseless material of past time.
This clay is burned and compressed into "London Stock," the particular yellow-brown or red brick that has furnished the material of London housing. It truly represents the genius loci, and Christopher Wren suggested that "the earth around London, rightly managed, will yield as good brick as were the Roman bricks . . . and will endure, in our air, beyond any stone our island affords." William Blake called the bricks of London "well-wrought affections" by which he meant that the turning of clay and chalk into the fabric of the streets was a civilising process which knit the city with its primeval past. The houses of the seventeenth century are made out of dust that drifted over the London region in a glacial era 25,000 years before.
The London clay can yield more tangible evidence, also: the skeletons of sharks (in the East End it was popularly believed that shark's teeth might cure cramp), the skull of a wolf in Cheapside, and crocodiles in the clay of Islington. In 1682 Dryden recognised this now forgotten and invisible landscape of London:
Yet monsters from thy large increase we find
Engender'd on the Slyme thou leav'st behind.
Eight years later, in 1690, the remains of a mammoth were found beside what has since become King's Cross.
London clay can by the alchemy of weather become mud, and in 1851 Charles Dickens noted that there was so "much mud in the streets . . . that it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill." In the 1930s Louis-Ferdinand C*line took the motor buses of Piccadilly Circus to be a "herd of mastodons" returning to the territory they had left behind. In Mother London Michael Moorcock's late twentieth-century hero sees "monsters, by mud and giant ferns" while crossing the footbridge alongside the Hungerford railway bridge.
The mammoth of 1690 was only the first primeval relic to be discovered in the London region. Hippopotami and elephants lay beneath Trafalgar Square, lions at Charing Cross, and buffaloes beside St. Martin-in-the-Fields. A brown bear was discovered in north Woolwich, mackerel in the old brick-fields of Holloway and sharks in Brentford. The wild animals of London include reindeer, giant beavers, hyenas and rhinoceri which once grazed by the swamps and lagoons of the Thames. And that landscape has not entirely faded. Within recent memory the mist from the ancient marshes of Westminster destroyed the frescoes of St. Stephen's. It is still possible, beside the National Gallery, to detect the rise of ground between the middle and upper terraces of the Thames in the Pleistocene era.
This was not, even then, an unpeopled region. Within the bones of the King's Cross mammoth were also found pieces of a flint hand-axe which can be dated to the Palaeolithic period. We can say with some certainty that for half a million years there has been in London a pattern of habitation and hunting if not of settlement. The first great fire of London was started, a quarter of a million years ago, in the forests south of the Thames. That river had by then taken its appointed course but not its later appearance; it was very broad, fed by many streams, occluded by forests, bordered by swamps and marshes.
The prehistory of London invites endless speculation and there is a certain pleasure to be derived from the prospect of human settlement in areas where, many thousands of years later, streets would be laid out and houses erected. There is no doubt that the region has been continually occupied for at least fifteen thousand years. A great gathering of flint tools, excavated in Southwark, is assumed to mark the remains of a Mesolithic manufactory; a hunting camp of the same period has been discovered upon Hampstead Heath; a pottery bowl from the Neolithic period was unearthed in Clapham. On these ancient sites have been found pits and post-holes, together with human remains and evidence of feasting. These early people drank a potion similar to mead or beer. Like their London descendants, they left vast quantities of rubbish everywhere. Like them, too, they met for the purposes of worship. For many thousands of years these ancient peoples treated the great river as a divine being to be placated and surrendered to its depths the bodies of their illustrious dead.
In the late Neolithic period there appeared, from the generally marshy soil on the northern bank of the Thames, twin hills covered by gravel and brick-earth, surrounded by sedge and willow. They were forty to fifty feet in height, and were divided by a valley through which flowed a stream. We know them as Cornhill and Ludgate Hill, with the now buried Walbrook running between. Thus emerged London.
The name is assumed to be of Celtic origin, awkward for those who believe that there was no human settlement here before the Romans ...
"It would be no exaggeration to say that Peter Ackroyd's 'biography' of our capital is the book about London. It contains a lifetime of reading and research-but this huge book is light and airy and playful-[He] leads us on a journey both historical and geographical, but also imaginative. Every street, alley and courtyard has a story, and Ackroyd brings it to life for us - marvellous" (A N Wilson Daily Mail
"Nothing can quite match the huge strange echo chamber of life-stories, folktales, and urban myths conjured up in Peter Ackroyd's epic vision of his native city. Sparkling, witty scholarship is constantly transformed into smoky mystical street-history, with dark hypnotic meditations on fog, fire, sewage, suicide and civic resurrection" (Richard Holmes Daily Telegraph
"Ackroyd is the most effortless guide. You wander by his side through the streets of the old city, savouring its bustle, colours and its smells, the stink of living. This is much more than history; it is a tapestry of inspiration and love. You will not find a better, more visionary book about a place we take for granted" (Observer
"It's this decade's finest work of non-fiction" (Jude Rogers The Word
"[London] may be several years old but it remains one of the leading narratives as he cleverly weaves through centuries of history to reveal to us the hundreds of different cities within a city" (Fiona Hamilton The Times