size: 279 mm x 216mm (bleed 3mm) client: david & charles...

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Title : Tickets PleaseSize: 279 mm x 216mm (Bleed 3mm) Client: David & Charles

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CONTENTS

INTrOduCTION 6

STaTION arChITECTurE 8

GothicandTudor 10

ClassicalandItalianate 12

Under the Clock 14

CottageandDomestic 16

20thCenturyandModern 18

Ironwork 20

BricksandMortar 22

Wish You Were Here! The West Country 24

TheStationComplex 26

Why Did We Go There? Penzance 30

STaTION STaff 3�

MenatWork 34

WomenatWork 36

Stationmasters 38

Railway Institutions 40

DriversandFiremen 42

Signalmen 44

Wish You Were Here! Southern England 46

KeepThemRunning 48

SmilePlease! 50

PaSSENgErS 5�

TakingtheTrain 54

Why Did We Go There? Brighton 62

Destinations 64

Half-Fare 66

Ten Minutes at Paddington 68

ADayOut 70

Night-Time 74

Romance 76

AlongRoyalLines 78

Wish You Were Here! Central England 80

TOwN aNd COuNTry 8�

LondonTermini 84

Euston Station 92

Why Did We Go There? Harwich 94

CityStations 96

Comic Postcards 104

TownStations 106

Wish You Were Here! East Anglia 110

CountryStations 112

Floods and Snowstorms 120

Halts 122

Smelly and Smoky 130

JunctionStations 132

Crashes 136

SeasideStations 138

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STaTION BuSINESS �44

TheMail 146

GoodsandParcels 148

Animals 150

TheRailwayHotel 152

Why Did We Go There? Llandudno 156

OntheRoad 158

Wish You Were Here! Wales 162

TheBookingOffice 164

ShopsandKiosks 168

Station Gardens 170

FoodandDrink 172

Waiting 174

SOmEThINg dIffErENT �76

DocksandHarbours 178

Why Did We Go There? Scarborough 182

AirportandInternational 184

PitchandTurf 186

Cliff, Beach and Pier Railways 188

LittleTrainsofWales 190

PreservedStations 192

Bits and Pieces 194

MiniatureRailways 196

Wish You Were Here! Northern England 198

ToyStations 200

PuBlICITy aNd PrOmOTION �0�

RailwayPublicity 204

Advertising 206

On the Screen 208

StationSigns 210

aT war ��

OfftoWar 214

TheBlitz 216

Station Sculpture 218

Evacuees 220

FarewellsandGreetings 222

Military Stations 224

ThE fINal whISTlE ��6

LastDays 228

Steam Excursions 230

Dereliction 232

Why Did We Go There? Thurso 238

ANewLife 240

Station Art 244

NewandRebuiltStations 246

Wish You Were Here! Scotland 250

INdEx �5�

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Even in the age of the car, the railway station, and all it represents, is at the heart

of our culture. Yet, when the first passenger railways opened in the 1820s and

1830s stations barely existed. Not only did the Victorians create a national railway

network, they also invented a new type of building, soon to be found in every town

and city, and in many villages all over Britain. Style, scale and structure was infinitely

varied but the station made its way into everyone’s lives, whether they were off to

school, the shops or work, on a day out or away on holiday. It became the setting

for scenes of love and romance, war and conflict, drama and despair.

Since then, things have changed, and thousands of stations have disappeared

as lines have closed. Yet, the station lives on in photographs and postcards, and in

such ephemera as station signs and name boards, tickets and luggage labels. More

importantly, stations live on in the imagination of those who remember them, or

wish they did. This book celebrates stations past and present, and the life they saw,

from busy city terminus to remote rural halt. It explores

the impact of the station on our culture and history, and

it marks the station as the greatest legacy of the railway age.

INTrOduCTION

M Manyclosedstationshavevanished,whileotherssurvive,hiddeninthelandscape.ThisovergrownplatformisallthatremainsofJedfoot,ontheformerJedburghbranchinScotland.

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Thehumorouspostcardispartofthehistoryoftherailwaystation,andthestationexperience.ThisEdwardianexamplefeaturestheuniversalfearofmissingthelasttrain.

Survivingonmanystationsarethecast-ironmonogramsofthecompaniesthatoriginallybuilttherailways,asseeninthisdecorativeTaffValeRailwaybracket.


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N Therailwaysmadeitpossibletotravelaroundthecountryinwayshithertoinconceivable.Sostations,whichwerebuiltentirelyfortheconvenienceofpassengers,becameanintegralpartofeveryone’slife–especiallyforgoingonholiday.Here,well-ladenpassengersdisembarkatSandown,ontheIsleofWightinthe1950s.

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STaTIONarChITECTurE


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GOTHICANDTUDORSTATIONARCHITECTURE

Whencompletedin1848,Brocklesbystation,inLincolnshire,wasdescribedas‘averychasteerectioninthepureElizabethanstyle’.ItwasanambitiousbuildingbytheManchester,Sheffield&LincolnshireRailwayand,althoughclosed,survives.

MTherearemanyfamousGothicstationsbutfewcancompetewithBristolTempleMeads.BrunelwasnotanaturalGoth,buthisoriginal1840 terminus, to the left of thepresentstation,flewtheGothic,orTudor,flag.Thissetthepatternforthe1878station,agloriousandextravagantstructurewithitsfamouscentralclocktower.

STATIONARCHITECTURE:GOTHICANDTUDOR

The great architectural debate of the 19th century was Gothic revival versus

classical. Through the century the battle ranged widely and continuously,

without clear winners or losers. The new Palace of Westminster was Gothic,

the Foreign Office classical. The debate also divided the railway builders but they

added a new regional angle with the north and north-west of England favouring

the classical camp, while Gothic was more associated with the south of England,

the Midlands, East Anglia,Wales and Scotland. Gothic was a very fashionable style

indeed in the first part of the 19th century, and was at its peak from the 1830s to

the 1870s. It was successful because it represented a sense of history, Christianity,

wealth and extravagance, industrial and imperial success, and a strong element

of patriotism. Gothic was above all else perceived as a suitably British style. To

the Victorians, Gothic meant a number of things, including medievalism, Tudor,

Jacobean and many aspects of the traditional vernacular, in fact anything that was

not overtly classical. As a result, it could also incorporate European elements, notably

Flemish, French, German and Italian. As a new building type, the railway station

was a reflection of its age. It gloried in the stylistic confusion that Gothic and Tudor

represented, but still saw it as eminently suitable for the new railway buildings of

the modern age, combining history and

permanence with new technology.

It was also flexible, applicable alike

to city termini and to country halts.

N This1930spanoramicviewofGilbertScott’smajestic1870sMidlandGrandHotelatStPancrasshowsrailwayGothicatitsmostimaginativeandambitious.WiththisbuildingtheMidlandRailwayputitselffirmlyonthemap.

M TheNorthStaffordshireRailwaywasadventurousinitsarchitecture,favouringadecorativeTudorstylethatwasthespecialityofitschosenarchitect,HenryHunt.TypicalisStone,builtin1849,aperfectsmall-scaleexerciseinthestyle,featuringcarefulsymmetry,contrastingbrickandstone,Flemishgablesandtall,decorativechimneys.Recentlyrestored,Stoneisafinememorialtolocalambitionandelegance.

M This1910pictureofBrading,ontheIsleofWight,showsthesimplestpossibleuseofGothic,witharchedwindowsaddedtoaplainbrickbuilding.

MForcountrystationsBrunelcreatedasimplecottagestylewithTudorandvernacularovertones,includinghippedroofsorwell-definedcanopies.ThisdrawingshowsTwyford,inBerkshire,inthe1840s.


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size: 279 mm x 216mm (bleed 3mm) client: david & charles...

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