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Giltspur Street Compter

1791 establishments in England1853 disestablishments in EnglandDebtors' prisonsDefunct prisons in LondonDemolished prisons
Former buildings and structures in the City of LondonLondon building and structure stubsPrison stubs
Image taken from page 1093 of 'Old and New London, etc' (11189432026)
Image taken from page 1093 of 'Old and New London, etc' (11189432026)

The Giltspur Street Compter was a compter or small prison, designed by English architect and surveyor George Dance the Younger, mainly used to hold debtors. It was situated in Giltspur Street, Smithfield, close to Newgate, in the City of London, between 1791 and 1853.The Compter was adjacent to Christ's Hospital Boys' School (1553-1902). Its construction began in 1787, and the Compter was ready for occupation in 1791. In 1815 it took some prisoners from the nearby Poultry Compter prior to its closure. The Giltspur Street prison was itself closed in 1853 and demolished in 1854, the site being later occupied by the King Edward Buildings Royal Mail Sorting Office.

Excerpt from the Wikipedia article Giltspur Street Compter (License: CC BY-SA 3.0, Authors, Images).

Giltspur Street Compter
Giltspur Street, City of London

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N 51.5165 ° E -0.1016 °
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Bank of America Merrill Lynch

Giltspur Street 20
EC1A 9DE City of London
England, United Kingdom
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Image taken from page 1093 of 'Old and New London, etc' (11189432026)
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Giltspur Street
Giltspur Street

Giltspur Street is a street in Smithfield in the City of London, running north–south from the junction of Newgate Street, Holborn Viaduct and Old Bailey, up to West Smithfield, and it is bounded to the east by St Bartholomew's Hospital. It was formerly known as Knightsriders Street, from the knights riding at the tournaments in Smithfield.In 1381 King Richard II met the leaders of the Peasants' Revolt here, promising to agree to the rebels' demands, which included a repeal of the Statute of Labourers that prevented workers changing jobs for better pay. However, during the negotiations William Walworth, the Lord Mayor of London, lured rebel Wat Tyler away and stabbed him; when Tyler sought refuge in the neighbouring St. Bartholemew's Church he was dragged out and beheaded. The revolt later subsided. Located on the junction of Giltspur Street and Cock Lane is the Golden Boy of Pye Corner, a cherub which is a symbol of gluttony, the sin which supposedly led to divine retribution in the form of the Great Fire of London. An inscription on the monument reads: "The Boy at Pye Corner was erected to commemorate the staying of the Great Fire which beginning at Pudding Lane was ascribed to the sin of gluttony when not attributed to the Papists as on the Monument, and the Boy was made prodigiously fat to enforce the moral. He was originally built into the front of a public house called The Fortune of War which used to occupy this site and was pulled down in 1910." Also on Giltspur Street is a monument to the English essayist Charles Lamb, best known for his Essays of Elia and for co-writing the children's book Tales from Shakespeare. An inscription on the sculpture reads: Perhaps the most loved name in English literature who was a bluecoat boy here for 7 years. B·1775, D·1834.The street gave its name to the Giltspur Street Compter, a small prison located on the street from 1791 to 1855. The nearest London Underground station is St Paul's and the closest mainline railway stations are City Thameslink and Farringdon.

Golden Boy of Pye Corner
Golden Boy of Pye Corner

The Golden Boy of Pye Corner is a small late-17th-century monument located on the corner of Giltspur Street and Cock Lane in Smithfield, central London. It marks the spot where the 1666 Great Fire of London was stopped, whereas the Monument indicates the place where it started. The statue of a naked boy is made of wood and is covered with gold; the figure was formerly winged. The late 19th-century building that incorporates it is a Grade II listed building but listed only for the figure.It bears the following small inscription below it: This Boy is in Memmory Put up for the late FIRE of LONDON Occasion'd by the Sin of Gluttony 1666. The lower inscription, approximately 10 ft (3.0 m) below the boy, reads as follows: The boy at Pye Corner was erected to commemorate the staying of the Great Fire, which, beginning at Pudding Lane, was ascribed to the sin of gluttony when not attributed to the papists as on the Monument, and the boy was made prodigiously fat to enforce the moral. He was originally built into the front of a public-house called "The Fortune of War" which used to occupy this site and was pulled down in 1910. "The Fortune of War" was the chief house of call north of the river for resurrectionists in body snatching days. Years ago the landlord used to show the room where on benches round the walls the bodies were placed labelled with the snatchers' names, waiting till the surgeons at Saint Bartholomew's could run round and appraise them.

The Black Dog of Newgate
The Black Dog of Newgate

The Black Dog of Newgate is a legend concerning the haunting of the former Newgate Prison of London, which was located next to the Old Bailey (The Central Criminal Court), close to St. Pauls Cathedral, in London, England. This account of a haunting based at the prison is an example of the English Black Dog category of supernatural manifestation, featuring a spectral hound of ill-omen or malicious intent, which is a notable archetype in British folklore and superstition. The earliest account of the story dates from the publication The Discovery of a London Monster, called The Blacke Dogg of Newgate: Profitable for all Readers to Take Heed byAlthough believed to have long existed in folklore previously, the earliest recorded account of the legend dates from 1596, and is credited to a prison inmate called Luke Hutton. A notable copy of the book and its woodcut frontispiece is held at the Guildhall Library, LondonThe story recounts that during a famine in the reign of King Henry III of England, a scholar was incarcerated in Newgate prison who had the reputation of being a sorcerer, a warlock who had Done much hurt to the Kings subjects with his Charms and Devilish Witchcraft. The famine was so severe and the conditions so bad during this terrible period that the prisoners had already resorted to cannibalism, and soon after his arrival they consumed this new arrival, who was unable to physically defend himself. Shortly after this crime was committed, the inmates guilty of his death reportedly began seeing the spectre of a monstrous black dog walking up and down the Prison, which they were convinced was the sorcerers spirit returning to avenge himself upon his murderers. This being reportedly killed and consumed those responsible one by one, until the last survivors, driven mad by fear, broke out of the gaol and escaped.This creature is supposed to have pursued the escapes wherever they went or tried to hide until it had avenged itself upon them all. Towards the end of the narrative the unnamed stranger claims that the tale of the spiritual dog is untrue, and that the only Black Dog he has heard any account of is a great blacke Stone standing in the dungeon called "Limbo", the place where the condemned prisoners are put after their judgement, and against which felons have dashed out their brains in their distress. Intended as a morality tale preaching against the low behaviour and base living of the inmates of the prison, during a period when conditions for inmates were particularly horrific, the story was allegedly recounted by Luke Hutton to a stranger only described as a poor Thin-gut fellow in the Black Dog Public House.Hutton dedicated the work to the then Lord Chief Justice Sir John Pophame, and owing to its moral theme it may have helped to secure its release. There is some speculation as to whether this haunting of the Black Dog of Newgate is also connected to nearby Amen Court, where an alleged ghost, supposedly in the form of an amorphous "Black Shape," creeps along the high wall which formerly separated the prison from the homes of many of the churchmen of St. Paul's Cathedral. Sightings of this shape have never been clear enough for its physical form to be identified.

Cock Lane ghost
Cock Lane ghost

The Cock Lane ghost was a purported haunting that attracted mass public attention in 1762. The location was a lodging in Cock Lane, a short road adjacent to London's Smithfield market and a few minutes' walk from St Paul's Cathedral. The event centred on three people: William Kent, a usurer from Norfolk; Richard Parsons, a parish clerk; and Parsons' daughter Elizabeth. Following the death during childbirth of Kent's wife, Elizabeth Lynes, he became romantically involved with her sister, Fanny. Canon law prevented the couple from marrying, but they nevertheless moved to London and lodged at the property in Cock Lane, then owned by Parsons. Several accounts of strange knocking sounds and ghostly apparitions were reported, although for the most part they stopped after the couple moved out, but following Fanny's death from smallpox and Kent's successful legal action against Parsons over an outstanding debt, they resumed. Parsons claimed that Fanny's ghost haunted his property and later his daughter. Regular séances were held to determine "Scratching Fanny's" motives; Cock Lane was often made impassable by the throngs of interested bystanders. The ghost appeared to claim that Fanny had been poisoned with arsenic and Kent was publicly suspected of being her murderer. But a commission whose members included Samuel Johnson concluded that the supposed haunting was a fraud. Further investigations proved the scam was perpetrated by Elizabeth Parsons, under duress from her father. Those responsible were prosecuted and found guilty; Richard Parsons was pilloried and sentenced to two years in prison. The Cock Lane ghost became a focus of controversy between the Methodist and Anglican churches and is referenced frequently in contemporary literature. Charles Dickens is one of several Victorian authors whose work alluded to the story and the pictorial satirist William Hogarth referenced the ghost in two of his prints.