Other roads and streets can prove to be injurious. Dorset Street was the site of Mary Kelly’s murder in the winter of 1888, at the hands of “Jack”; it reclaimed its original name of Duval Street after this peculiarly savage crime, as a way of preserving anonymity, only to be the site of a fatal shooting in 1960. In both cases no murderer was ever convicted.
There are many accounts of such anonymous killers, wandering through crowds and crowded thoroughfares, concealing a knife or some other fatal instrument. It is a true image of the city. The remarks of the killers have on occasion been recorded. “Damn her! Dip her again and finish her … Yours to a cinder … Get the knives out!” The streets themselves then become the object of fascinated enquiry. We read, for example, in The Murder Guide to London that the “murder victim in Baroness Orczy’s Lady Molly of Scotland Yard, had his office in Lombard Street. In Wilkie Collins’s The Moonstone the gem was pledged to a banker in Lombard Street.” An actual police station in Wood Street has been used as an imaginative location by several writers of mysteries, and Edgar Wallace turned All Hallows by the Tower into “St. Agnes on Powder Hill.” In a city where spectacle and theatre become an intimate part of ordinary reality, fact and imagination can be strangely mingled.
A complex of streets can also become haunted by crime, so that Martin Fido, himself an eminent criminologist, writes of “the dense murder area of Islington” located “in the back streets behind Upper Street and the City Road”; in this neighbourhood the sister of Charles Lamb killed her mother in the autumn of 1796, only a few yards from the room where Joe Orton was murdered by his lover in 1967. In the early decades of the twentieth century there were killings known generically as the “North London murders,” although they were in fact separately conducted by Hawley Harvey Crippen and Frederick Seddon.
The list of London murderers is long indeed. Catherine Hayes, proprietress of a tavern called the Gentleman In Trouble, severed her husband’s head in the spring of 1726 and tossed it into the Thames before strewing other parts of the corpse all over London. The head was recovered and placed upon a pole in a city churchyard, where eventually it was recognised. Mrs. Hayes was committed for trial and sentenced to death, earning the further distinction of being one of the last women ever to be burned at Tyburn.
Thomas Henry Hocker, described by an investigating policeman as “a fellow in a long black cloak,” was seen springing from behind some trees in Belsize Lane on a February evening in 1845. Singing to himself, he walked past the scene of the murder he had just committed and, still undiscovered, conversed with the policeman who had found the body. “It is a nasty job,” he said and then took hold of the dead man’s hand. “This site was his own handiwork,” as The Chronicles of Newgate puts it, “yet he could not overcome the strange fascination it had for him, and remained by the side of the corpse until the stretcher came.”
One of the most celebrated of London’s mass murderers was John Reginald Christie, whose house at 10 Rillington Place itself became so notorious that the name of the street was changed. Eventually the house was itself torn down, after harbouring a variety of transient lodgers. Extant photographs reveal a characteristic London location. It was a typical example of a Notting Hill tenement in the early 1950s with tattered curtains, cracked and badly stained plaster, bricks dark with soot. Murder, in such a context, can be concealed.
There is another aspect of London killings to be fathomed in the career of Dennis Nilsen who, while living in Muswell Hill and Cricklewood during the late 1970s and early 1980s, murdered and dismembered many young victims. The details of the lives of these murdered men may no longer seem of much significance except that, in the words of one report, “few of them were missed when they disappeared.” This is the context for many London murders, where the isolation and anonymity of strangers passing through the city leave them peculiarly defenceless to the depredations of an urban killer. One of Nilsen’s victims, for example, was a “down-and-out” whom he had met at the crossroads by the church of St. Giles-in-the-Fields; Nilsen, apparently “horrified by his emaciated condition,” killed him and burned him in the garden of his house in Melrose Avenue. Another victim was a young “skinhead” who had inscribed graffiti upon his own body, among them a dotted line around his neck together with the words, “cut here.” Here in these brutal and brutalising circumstances the darker face of London seems to emerge.
All that was known of Elizabeth Price, condemned to death for theft in 1712, was that she “had follow’d the Business of picking up Rags and Cinders and at other times that of selling Fruit and Oysters, crying Hot Pudding and Grey Pears in the Streets.” We read of “Mary Cut-and-Come-Again” who, when arrested by the watchmen, took out her breasts “and spurted the milk in the fellows’ faces, and said, damn your eyes, What do you want to take my life away?” That spirit of contempt against the forces of law and order is characteristic of London life. It is connected, too, with a buoyant paganism, as in the case of a domestic servant charged with murder who was reported to take “a mighty disgust at Things of Religion.” In similar spirit Ann Mudd, who was convicted of murdering her husband, was equally defiant. “Why, said she, I stabb’d him in the Back with a Knife for Funn.” She spent her last hours singing obscene songs in the condemned cell.
The Whitechapel murders encouraged the earliest use of police photographs recording “the scene of the crime,” while a murder in Cecil Court off St. Martin’s Lane, in 1961, resulted in the first success of the Identikit picture. The device of placing the head of Catherine Hayes’s husband upon a stake, as a means of identification, has had some interesting successors. The essential point remains that crime, and in particular murder, enlivens the urban populace. That is why, in London mythology, the greatest heroes are often the greatest criminals.
CHAPTER 29. London’s Opera
The exploits of Jack Sheppard proved how intense could be the excitement aroused in London by the adventures of a criminal. The most notable painter of the day, Sir James Thornhill, visited him in 1724 in order to complete a portrait which was then sold to the public as a mezzotint.
Nine years later, in 1732, Thornhill’s son-in-law, William Hogarth, made a similar journey to Newgate; here he sketched another famous malefactor, Sarah Malcolm, herself held in the condemned cell. She had strangled two elderly parties, and then cut the throat of their maid, the recklessness of the crimes lending her notoriety among the London public. She was very young-only twenty-two-and very composed. At her trial she declared the blood on her shift to be the issue of menstruation rather than of murder and, after the sentence of death had been pronounced upon her, confessed that she was a Roman Catholic. Hogarth painted her sitting in her cell, her rosary beads before her, and announced in the public press that his print would be ready within two days. It was an advertisement of his skill as well as a tribute to the notoriety of his subject. In her biography of Hogarth, Jenny Uglow describes how Sarah arrived at her hanging, by the scene of her crimes according to custom, “neatly dressed in a crape mourning hood, holding up her head in the cart with an air, and looking as if she was painted.” After she had been cut down, it was reported that there was “among the rest a gentleman in deep mourning, who kissed her, and gave the people half a crown.”