Here is a story about a Royal visit to Sheffield that to younger generations will appear extraordinary.
In July 1889, the Shah of Persia (now the Islamic Republic of Iran) was invited to Sheffield by the Duke of Norfolk as part of His Imperial Majesty’s visit to Britain.
The welcome given to Shahanshah, Khaqan, Soltane Saheb Quaran, Quebleye alam (or plain old Naser-al Din Shah Quajar) was on a scale only afforded to British monarchs.
His visit to these shores was politically motivated, with the hope that it might lead to Britain developing Persia’s railways and business interests. Despite the pomp and ceremony that surrounded the Shah the country was regarded a poor relation, but one that might offer riches to our Victorian ancestors.
“Politically, Persia is misgoverned, oppressed, and plundered, and is sunk in barbarism.”
The Shah arrived at the Midland Station on Friday 12th July. He had been fatigued in Birmingham and his journey to Sheffield was delayed, causing unnecessary anxiety to those who had organised the schedule. Nevertheless, the people of Sheffield waited patiently, and gave him a rapturous welcome.
“The sight that met the Shah was one rarely witnessed in Sheffield. Not only were there thousands of people pressing against the barriers, but house tops, walls, boards, and almost every point from which a view of His Imperial Majesty could be obtained was occupied.”
From Midland Station, a huge procession, escorted by a squadron of the Yorkshire Dragoons, made its way to the Corn Exchange where a reception was held. Afterwards he visited the Atlas Works of John Brown and Company before heading to The Farm, the Duke of Norfolk’s residence (now the site of Sheffield College), where he stayed overnight.
Saturday was a rainy day, but it did not stop big crowds gathering along the Shah’s route.
“Flags flapped limply about their poles, the bunting drooped ingloriously, the streamers and floral festoons looked bedraggled, and all the bravery of decoration had departed.”
The Shah posed for a photograph at The Farm taken by Herbert Rose Barraud of Oxford Street, London.
“He was dressed in a dark coat fastened with emerald buttons. He wore a shoulder belt across his breast with bars of precious stones including Cabochin emeralds and rubies, the edges bordered with diamonds. Attached to a slender gold chain was the heart-shaped diamond he wore as an amulet; on his breast gleamed a richly jewelled star of the garter. His shoulder straps were studded with emeralds, rubies, and diamonds. He wore a Kolah cap displaying the Lion and Sun of Persia.”
Once again events ran incredibly late, the Shah’s carriages, accompanied by 30 members of the Yorkshire Dragoons, not leaving The Farm until after mid-day.
“Punctuality is the courtesy of Princes, but in Persia it is an unknown quantity. There every man takes his time from the King who, come what may, is never late.”
Despite the long delay, thousands lined the streets as the Royal procession travelled along St Mary’s Road, The Moor and to Norfolk Street where the Shah visited the works of Joseph Rodgers and Sons, including a tour of the vast ivory cellar, before being presented with a handsome sporting knife.
From here, the Shah was transported to the silver plating company, James Dixon and Sons, at Cornish Works, where a whistle-stop tour ended with the presentation of a silver drinking flask.
By his side throughout the visit was a 10-year-old boy favourite of the Shah. It was said that if the opulently decorated boy were beside him no harm could ever befall the Ruler of Persia.
A late lunch was held at the Cutlers’ Hall where toasts were exchanged, with Prince Michael Khan acting as the Shah’s interpreter.
From here he left for Victoria Station which had been gaily decorated, as was the Royal Victoria Hotel, and a guard of honour was formed by the Artillery Volunteers while a band played the Persian National Hymn. His train set off for Liverpool and at Wardsend a battery of six guns was fired to send him on his way.
Sadly, the Shah of Persia was assassinated in 1896 but the monarchy remained until 1979 when it was abolished after the Iranian Revolution.
A few unsuspecting people across Sheffield might not realise that the houses they live in have a connection to Enid Blyton, that infamous children’s author of over 400 titles, 600 million copies sold, and translated into 42 languages.
Our story begins in the 1870s when a Lincolnshire-born linen draper, Thomas Carey Blyton, and his wife, Mary Ann, moved from Kent to Sheffield. They brought with them four children – Bertha Sidney, Thomas Carey, and Sybil – and a fourth child, Alice May, was born here and died at Dore in 1962. The Blyton family lived at Asline Road, Aizlewood Road and finally moved to Machon Bank.
Their son, Thomas Carey Blyton Jr, married a Sheffield girl, Theresa May Harrison, from Monmouth Street, Broomhall, in London in 1896, moving on account of his job as a cutlery salesman. The newly-married couple lived in a small flat above a shop in East Dulwich where Enid Mary Blyton was born in 1897, followed by two boys, Henly and Carey.
They later separated with Enid’s mother telling people that her husband was “away on business.”
It appears that Thomas Carey wanted Enid to be a concert pianist but in 1916, aged 19, she moved to Ipswich and trained as a teacher. However, she had already started writing and her first book Child Whispers was published in 1922.
She went on to write hundreds of short stories, as well as introducing us to Noddy and Big Ears, the Famous Five, Secret Seven and the Malory Towers series.
Her work was loved by children, less-so by critics who regarded it as being “not great literature – but harmless.” However, some libraries and schools banned her works, and the BBC refused to broadcast it from the 1930s until the 1950s because they were perceived to lack literary merit.
The negativity about Enid Blyton continues today – not least tales of her being a ‘bad mother’, and in 2016 the Royal Mint blocked a proposal to honour her with a commemorative 50p coin on the grounds that she was ‘a racist, a sexist and a homophobe’. Millions of children would probably disagree.
Did Enid Blyton ever visit her Sheffield relations? Perhaps not, she became increasingly distant from her mother and with her less direct relatives, although a visit to Meadway Drive at Dore to see Auntie Alice May might not have been out of the question.
During the 1920s, the bad lads of gangland Sheffield earned it the reputation as ‘Little Chicago’, and so it was appropriate that in November 1978 the Crucible Theatre staged the British premiere of Chicago, the John Kander, Fred Ebb and Bob Fosse musical.
First staged on Broadway in 1975, Chicago had been optioned by a London producer for a year, but Peter James, the Crucible’s artistic director, learned that it had lapsed and wrote to Kander and Ebb’s agent asking whether Sheffield could produce it.
“It was a hundred per cent diplomacy and a 10 per cent royalty.”
The approach was successful, and it opened with hardware, costumes, and scenery costing £13,000, and with nineteen boys and girls, the total estimated expenditure was £45,000.
Ben Cross was cast as Billy Flynn, the role gaining him recognition, and landing him the role of British athlete Harold Abrahams in 1981’s Chariots of Fire, before going on to be a stalwart of TV and film.
Antonia Ellis, a West End regular, played Roxie Hart, and went on to appear on Broadway. Following an accident, where she was hit by a car, she sustained leg injuries and abandoned her career.
Perhaps the most interesting story is that of Jenny Logan as Velma Kelly. She continued to work on stage and screen but became famous as the star of the Shake n’ Vac advert between 1980 and 1986 – “Do the Shake n’ Vac and put the freshness back.”
By opening night, nine West-End managements were vying for a transfer and it launched at London’s Cambridge Theatre in April 1979.
The Crucible production was billed as the European premiere, overlooking the fact it had already been staged at the Malmo City Theatre in Sweden in 1977.
However, it was the first chance that the British public got to see Chicago, the musical going on to become an unwavering favourite and subject of the Renée Zellweger, Catherine Zeta-Jones, and Richard Gere movie in 2002.
Born in Alnwick in 1950, his family moved to Sheffield and he attended King Edward VII School between the ages of 7 to 11. It was here that he started doodling car designs.
After moving to Darlington, Horbury attended art school in Newcastle, going on to complete a master’s at the Royal College of Art in London.
His first job was at Chrysler, before moving to Ford in Essex working on the Ford Sierra programme and joining Volvo in 1979.
After leaving to set up his own business, he re-joined Volvo in Sweden as Head of Design from 1991. His Volvo ECC concept car influenced designs for years to come including the S40, S60, S80 and XC90 SUV.
When Ford bought Volvo, he became Head of Design at Ford’s Premier Automotive Group including Aston Martin, Jaguar, Land Rover as well as Volvo.
Horbury later moved to Detroit and influenced the design of the Ford Fusion, Ford Focus and Ford Taurus as well as remodelling the Lincoln car brand.
In 2009 he returned to Volvo in Gothenburg, remaining when Chinese company Geely bought the brand in 2010. He is now Executive Vice-President, Design, overseeing Geely Auto, Lotus, Lynk and Co and Volvo.
The name suggests that this is one of Sheffield’s ancient roads, perhaps named after Sheffield Castle, this stronghold destroyed by Parliamentarians during the 1600s. Castlegate is the road that runs alongside the River Don between Blonk Street and the junction of Waingate and Bridge Street.
However, you might be surprised to know that Castlegate is a relatively modern road and celebrates its centenary in 2030.
The road is found on the site of the lost castle and was first suggested by Edward Mitchel Gibbs, the Sheffield architect, as part of his ambitious plans for a Viaduct Scheme connecting Great Central Station (Victoria Station) with Haymarket.
The River Don Road was the only portion of the proposal adopted by Sheffield Corporation and built to ease congestion around Blonk Street, The Wicker and Lady’s Bridge. Its construction was made easier by the council’s Castle Hill Market development built on the embankment of the castle.
Castlegate (or Castle Gate), 60 feet wide and 200 yards long, was built at a cost of £13,000 in 1930, using over 9,000 tons of material, with a one-foot layer of strong concrete laid below the asphalt.
It was divided from the River Don by an old stone wall which had to be reinforced by 14 concrete buttresses each weighing 50 tons. Over the buttresses was a solid mass of concrete stretching from the wall halfway under the road and taking the weight of the traffic.
The former Castle Market site lays in transition waiting for the day when a park is created between Castlegate and Exchange Street.
It was demolished in 2015 allowing the few remains of Sheffield Castle to be excavated in detail.
The area might be run-down and demands attention, but had an extravagant scheme been completed over a century ago, the place might look vastly different now.
In 1911, Sheffield Corporation drew up plans to create a new street running from Great Central Station (Victoria Station) into the centre of the city. Objections were made by the Markets Committee that any such road would have made it impossible to complete its proposed new market scheme.
In response, the Sheffield architect Edward Michel Gibbs created an alternative plan whereby, instead of building the street at ground level, a new road could be carried on a viaduct, allowing the site beneath to be developed for market use.
“The street to the station would be similar in position to that recommended by the committee. It would run from Haymarket to Blonk Street, nearly in a direct line for the station, but instead of descending 26 feet to Blonk Street and then ascending 20 feet to the station yard, it would be carried on a viaduct on the level of Haymarket, then by a bridge over Blonk Street (26 feet high), and forward to a viaduct over the side of Smithfield Market to the station yard.”
The viaduct road would have resulted in level access to Great Central Station, avoiding traffic congestion in Blonk Street, and allowing for the expansion of the markets.
It was a radical scheme that also allowed for the creation of brand new market halls. A wholesale market would have been constructed underneath the viaduct, covering an area of 13,960 square yards, and built on part of the River Sheaf.
On top of the viaduct were to be retail markets, with bold balustraded parapets, and set back 40 feet on each side of the new street, fronting onto a decorative space almost as big as Fitzalan Square. With 5,555 square yards of selling space, the markets would have been bigger than the combined areas of the existing Norfolk Market Hall and Fitzalan Market.
Gibbs estimated the cost of the Viaduct Scheme to be £351,000, inclusive of land, road, viaduct, markets, and a new River Don Street from Blonk Street to Lady’s Bridge.
Unsurprisingly, Sheffield Corporation recoiled over the estimated cost (equivalent to over £16 million today) and refused to consider the scheme.
The Sheffield Daily Telegraph favoured the proposal and filled column inches with reasons why the council should at least consider it.
“There can be no doubt that the streets abutting onto the station approach are a disgrace to the town. They are dangerous, congested and filthily dirty, and they give the visitor to Sheffield a first impression of squalor and sordidness.
“If they alight at the station, what do they see? On the right a piece of wasteland: on the left a road that dips under the railway and is flanked with ugly stone walls; straight before them a sloping road leading to a narrow street of dingy, mean-looking buildings, with a dirty, battered ‘convenience’ of the worst and most ancient type standing proudly as a centrepiece.”
Gibbs published a pamphlet to convince people about the scheme and the council eventually agreed to discuss the proposal. However, the projected cost had increased to £398,000 and the Corporation went for the cheaper option.
The Sheffield Daily Telegraph was unimpressed.
“The Corporation have before them a scheme which is only a tinkering with an admitted evil, not a bold and generous attempt to extirpate it. It will suffice only for a generation or so.”
Unfortunately, World War One halted all plans for the markets, and it was not until 1930 that Castle Hill Market opened, subsequently replaced by Castle Market in 1959.
In 1860, James Radley, founder of the Adelphi Hotel in Liverpool, suggested to architect Matthew Ellison Hadfield that Sheffield required a first-class hotel. “Merchants from America, the Continent, and elsewhere, have frequently returned to Manchester and Liverpool, instead of remaining in the town.”
This spurred the Sheffield architect into action, enlisting local businessmen, and choosing a site next to the Victoria Station.
The Duke of Norfolk supported the scheme, but not wishing to be a speculator, gave a £1,000 donation. Encouraged by this, about forty shareholders invested, and the Sheffield Victoria Hotel Company was founded.
However, once plans were made public, there was a negative response from the public.
“An hotel let us have by all means, but pray don’t build it where the first visit will most assuredly be the last.”
This reflected the proposed location of the hotel close to the railway, rolling-mills, forges, and factories, all of which belched gases and smoke from chimneys.
There were also concerns that the “putrid water beneath it,” would make it a most uncomfortable place. A reference to the polluted waters of the River Don.
And there were cries that the site was too far away from the town centre where it might have been more sensible to build a new hotel.
It later emerged that a rival consortium had planned to build a large hotel in the town, with a suggestion that negative press had originated here.
The Manchester, Sheffield, and Lincolnshire Railway Company granted the site next to the Victoria Station on favourable terms. Nevertheless, there were obstacles to be overcome, not least the fact that the land had previously been the site of a dam, and subsequently the solid foundations for the hotel ended up costing the company £1,500.
As a director, Matthew Ellison Hadfield, designed the new hotel and work started in 1861.
The first board meeting of the Sheffield Victoria Hotel Company was held in the boardroom at Victoria Station in February 1862. Those attending were Charles Atkinson (chairman), John Brown (mayor), William Frederick Dixon, Thomas R. Parker, Henry Wilkinson, John Jobson Smith (M, S and L Railway Company) , Michael Joseph Ellison, Frederick Thorpe Mappin, James Willis Dixon, Francis Hoole, John Hobson, Robert Younge, Matthew Ellison Hadfield, and Bernard Wake (law clerk).
With work underway, the company looked for somebody to take over management of the hotel. With the help of James Radley, who had committed £500 to the project, the company appointed George Meyer, proprietor of the Queen’s Hotel at Alderley Edge, Cheshire, built for the London and North Western Railway Company.
The Victoria Hotel consisted of a front and two-wings. It rose four storeys above the entrance to the Victoria Station with a basement.
A covered passage was built from the station platform to the north wing, leading into a lobby which ran through the building. From this were all the various trappings of a fine hotel – coffee rooms, two sitting rooms either side of the main entrance, dining room, assembly room, bar, and smoking room.
The staircases and corridors, illuminated with gas lamps, were built of stone.
The fifty bedrooms on the first, second and third floors occupied the front and outer portions of the building, in addition to servants’ apartments and ten sitting rooms. There were two water closets on each floor as well as a communal bathroom. Luggage was conveyed to each floor using a hoist. The first floor bedrooms and sitting rooms were furnished with mahogany, the second and third floor rooms kitted out at lesser cost.
The kitchen was built behind the front portion of the hotel and contained two stoves and two plate-heaters. The basement extended underneath the kitchen. Half of this was occupied with servants’ rooms and the remainder used as a wines and spirits cellar. A passage with iron bar gates ran through the cellar with perforated zinc windows for ventilation.
George Meyer brought with him a considerable sum of money used to furnish the Victoria Hotel.
“I learned a lesson some years ago from the Emperor of the French. It was said that when Queen Victoria visited, she found all the rooms fitted up so much like those of her own palace that she had difficulty in realising that she was not at home. I hope that this will be just the feeling which all would experience who visited the Victoria Hotel.”
He spent about £15,000 on furnishings. The dining room had chandeliers and silver gas brackets with richly decorated walls. Splendid services of pottery and glass were manufactured in Staffordshire and silver-plate supplied by James Dixon and Sons.
The Victoria Hotel opened on July 28th, 1862. At the invitation of Meyer, a number of leading gentlemen and their families were invited to visit and a sumptuous déjeuner was prepared for them.
“The whole establishment has about it an air of comfort and elegance, and we may add of cleanliness, which in the midst of our smoky atmosphere will not be maintained without considerable exertion.”
An official inauguration ceremony took place in September 1862 when leading gentry and manufacturers were invited to a banquet “with a profusion of the good things of this world, and adorned with silver-plated epergnes, fruit and flowers, presenting a scene of almost Eastern luxuriousness.”
Despite the misgivings about its location the Victoria Hotel was a success. It was visited by the Prince and Princess of Wales in 1875 and hereon it was called the Royal Victoria Hotel.
Shareholders got their money back with a little over 3 per cent interest and hardly a share changed hands while under ownership of the Sheffield Victoria Hotel Company.
Their 24th annual general meeting in 1889 was their last because by negotiation the hotel had practically passed into ownership of the Manchester, Sheffield, and Lincolnshire Railway.
“In the hands of the railway company the hotel will continue to be that great boom to the town which it had been from the outset.”
George Meyer had died in 1873, and his wife chose to retire.
It was the railway company’s first venture into hotel management setting a precedent for the Great Central Railway’s (as it became) later hotels at Nottingham and Marylebone.
The Royal Victoria Hotel was enlarged in 1898, later passing to London and North Eastern Railway (LNER) and on nationalisation was owned by British Transport Hotels.
When the Victoria Station closed in 1970 the hotel might have gone the same way. However, it was sold in 1972 and for a long time was called the Royal Victoria Holiday Inn.
Most of the station’s buildings were demolished by 1989 allowing a new extension to be built and connecting to the main hotel by a covered passageway much the same way as passengers used to leave the platform.
The hotel and the retaining wall and approach ramp of the old railway station were Grade II listed in 1995 and in March 2019 the hotel was rebranded as the Royal Victoria Crowne Plaza.
A photograph for posterity by follower Patrick Crowley. The William Mitchell abstract reliefs are today being removed from Barker’s Pool House on Burgess Street.
Installed in May 1972 the ten panels were commissioned as part of the office and supermarket development. They were constructed in the latter period of Mitchell’s first phase of practising in Britain, following his work as design consultant with London County Council.
“A minor example from a cycle of works produced in Faircrete, a new form of concrete developed at the John Laing Research and Development headquarters.”
It has an Egyptian appearance, a characteristic of his work, first evident in an office building entrance mural for London’s Barbican, in the early sixties.
William Mitchell (born 1925) subsequently left Britain, returning in the 1990s to work with Mohammed Al Fayed of Harrods.
Ironically, he died in January with the fate of his Sheffield work still undecided. It will now be restored and incorporated somewhere in the Heart of the City II development.
In our investigations into the Victoria Station one structure appeared on old photographs that deserved further investigation.
This was an elegant memorial that stood at the entrance of the railway station. The classical portico, with colonnade, contained nine columns with the names of workers of the Great Central Railway who died in World War One.
The names of 1,304 men were inscribed on tablets of French marble, and the memorial was unveiled by Earl Haig on Wednesday 9th August 1922. He had commanded the British Expeditionary Force on the WesternFront from late 1915 until the end of the war.
Sheffield had been chosen for the memorial because it was the centre of the railway’s operations. About 8,000 people turned up for the ceremony, including hundreds of relatives of the fallen.
Haig inspected a guard of honour composed of over 200 ex-servicemen employees who had gained decorations for gallantry in the field.
“The day will come when we in our turn will have passed on, but these stones will still stand as evidence of the splendid sacrifice and glorious achievement of the 1,300 brave and gallant men whose names they bear.”
The ceremony was presided by Lord Faringdon, chairman of the Great Central Railway, who said the memorial had been subscribed by no fewer than 3,000 shareholders and servants of the company as far afield as Canada, India, Australia, and Africa. He pointed out that over 10,000 employees had gone to war.
Canon Houghton dedicated the memorial, after which wreaths of remembrance were laid, and the service closed with a rousing rendition of the National Anthem.
They would have been forgiven that the future of the memorial was secured. However, within two years the marble had crumbled, and some names were already illegible.
In 1925, the London North Eastern Railway (LNER), which had absorbed the Great Central Railway, graciously replaced the tablets with Kupron bronze plaques. The memorial stood on its own until 1938 when LNER improved the station, extending the booking hall, so that the memorial became its eastern wall. (I presume the memorial was reversed and the tablets were relocated inside).
It remained until the Victoria Station’s closure in 1970 and might have been lost with subsequent demolition.
A handful of survivors campaigned for it to be saved and the bronze tablets were re-erected (somewhat hidden) underneath Wicker Arch, where it was rededicated in November 1971. The magnificent portico, in which they had stood, was sadly lost).
The decline of The Wicker is well publicised, and the memorial suffered from neglect and vandalism. Various locations were suggested as an alternative site, but it was the owners of the Royal Victoria Holiday Inn (the former Victoria Station railway hotel) that offered it a permanent home.
With support of the hotel, sponsors and a grant from the Heritage Lottery Fund, the Great Central Railway Society organised rescue of the plaques and relocation to its new home, almost on the site of the original memorial.
It was rededicated on Remembrance Day 2008 and remains outside the Royal Victoria Crowne Plaza. A Roll of Honour for all the men listed, collated by the Great Central Railway Society, can be found inside the hotel.
There is a photograph from January 1970 that shows a train driver, sitting in reflective mood on a bench at Sheffield’s Victoria Station. He was waiting to take out one of the last passenger trains from Sheffield Victoria to Manchester.
Once it had departed the lights went out and darkness descended on a railway station once considered the city’s ‘pride and joy’.
An eventual victim of cuts initiated by Dr Beeching, almost nothing remains today, but if you know where to look, and use a bit of imagination, you can see where once Sheffield folk hopped on a train across the Pennines and down to London’s Marylebone and King’s Cross stations.
The Sheffield, Ashton-under-Lyne and Manchester Railway was engineered by Joseph Locke and opened in 1845, the line originally terminating at Bridgehouses Station (the site on waste land above the lower end of Derek Dooley Way).
In 1847, it merged with two other railway companies to form the Manchester, Sheffield, and Lincolnshire Railway, prompting an extension of the line and construction of a new railway station about 1km to the east.
It was developed by Sheffield-born John Fowler, engineer-in-chief, and included a 40ft-high, 750-yard long, viaduct over The Wicker (Wicker Arches) and was completed in 1847-1848. The new Victoria Station opened on September 15th, 1851.
The railway station was opened for the convenience of the Manchester, Sheffield, and Lincolnshire, the Great Northern, and the south traffic of the Midland Company. It occupied a space between Wicker Arches to the canal, crossing the river, the site of the old Blonk Dam, the cattle market, and fairground, and the back of Sheaf Works.
Built on arches by Miller, Blackie and Shortridge, it rose 40ft above the level of The Wicker, the station fronting south-west with prominent views of the Corn Exchange, the New Market Hall, and canal warehouses.
The approaches to the station and the platforms were the work of John and Amos Ridal, and the station buildings were erected by Robert Tomlinson Carlisle, the builder of Beighton Viaduct and the New Market Hall.
It was not the magnificent station envisaged by Fowler. The architects, Weightman, Hadfield and Goldie, were asked to reduce costs, probably the result of high expenditure engineering the approach to the station.
The front of the Victoria Station was destitute of ornament, being simple in architectural character. It was approached from Blonk Street by a straight incline, built upon the arches, 50ft wide, 220-yards long, and rose at a rate of 1 in 30. As the road approached the station it opened out into an extended area.
The station consisted of a centre and wings, the latter being extended with a high fence wall, with gateways for the exit of arriving passengers, and beyond these, on each side, covered by stands for horse-drawn cabs.
The length of the masonry front was 400ft, built of rock-faced Greenmoor stone, with chiselled beds and joints, and facings of ashlar stone from Wadsley.
A covered veranda, with glazed roof supported by iron brackets, extended the whole length of the centre building, to allow carriages to set people down under cover.
The entrance, or waiting hall, was 50ft by 30ft, and 25ft high, having an enclosed office for booking clerks. Tickets were issued at three windows. At the centre, first-class passengers of the Manchester, Sheffield, and Lincolnshire Railway got their tickets, and on the right-hand side, second and third class passengers got theirs. The left-hand window was for Great Northern passengers.
In the eastern wing were refreshment and waiting rooms, public conveniences, parcels office, and on the chamber floor the station master’s house. The refreshment rooms were rented by Mr Moyes, the landlord of the Great Northern Hotel at Lincoln.
In the western wing were the telegraph and station master’s office, rooms for lamps and porters, guards etc., and the engineer’s office. Above these were the boardroom and other offices.
Having passed through the booking office and reaching the platform, the passengers were greeted with ample light and a conveniently arranged station.
The platforms were covered with a light roof of iron and glass, 83ft wide and 400ft long, regarded as one of the “first fruits of the Crystal Palace.” It was the work of Fox, Henderson and Company, a ridge and furrow roof, with Paxton gutters, designed to carry away rain and condensation underneath (used for water closets and urinals), and the centre of the roof was raised to permit a line of ventilation.
The roof was not supported by pillars, but its principals were set 25ft apart, resting on the inner wall of the station buildings on one side, and a lofty wall on the other. The glass was strong crown glass, about the thickness of ordinary pottery, and extended to an area of 34,600 sq. ft.
Through the station ran four lines of rails – two for passenger trains and two for spare carriages. Two other lines were laid outside the north-eastern wall for goods traffic.
The exits were closed by sliding gates, opened only when a train arrived and thus preventing ‘idlers’ entering the platforms, which themselves were divided by iron railings through which only passengers with tickets could pass.
With the building of Victoria Station, the Bridgehouses Station was converted into a goods, cattle and minerals station that operated until the 1960s.
The Victoria Station opened on Monday September 15th, 1851. Although not fully completed, the station was elaborately decorated with flags, some bearing loyal inscriptions, others wishing good wishes for the prosperity of the railway and docks, while others were simple decorative banners.
The first train to leave the station was an early morning service with 500 passengers bound for Hull and Grimsby. About 9am, a pleasure train with 2000 travellers set off for Worksop, and in the early afternoon a special train left for London. Combined with local services the station was a scene of bustling activity, soon tested by the presence at the same time of two through trains and two Eckington trains sharing the same platforms.
With formalities out of the way, and the Victoria Station left to its daily business, Robert Tomlinson Carlisle, the builder responsible for the station buildings, entertained 500 of his men at the New Market Hall.
His workers were treated to a substantial dinner of beef and ham provided by Mrs Outram of the Black Swan in Snig Hill.
The ceremony was attended by John Fowler, engineer-in-chief, the man responsible for the massive project.
Robert Tomlinson Carlisle gave a toast to “The Queen, Prince Albert, Albert – Prince of Wales, and the rest of the Royal Family; Prosperity to the Manchester, Sheffield and Lincolnshire Railway, and the Grimsby Docks; Success to the Sheffield Markets, the Duke of Norfolk and the Earl of Yarborough.”
Charles Anderson Worsley Anderson-Pelham, 2nd Earl of Yarborough, former MP, was the chairman of the Manchester, Sheffield, and Lincolnshire Railway. His Lincolnshire estate was adjacent to the line and had been responsible for the development of the track through the county, especially its extension to Grimsby Docks
The Victoria Station was a success and received a new roof spanning main line platforms in 1867. Three years later the Midland Railway opened the Midland Station and it received its first real competition. Victoria was enlarged by Logan and Hemingway in 1874 and received a new frontage in 1908.
The Great Central Railway came into being when the Manchester, Sheffield and Lincolnshire Railway changed its name in 1897, anticipating the opening in 1899 of its London Extension. Interestingly, for a short time afterwards Victoria Station was renamed Great Central Station but as was often the case, old names refused to go away, and it reverted to its original name. The Great Central Railway was later grouped into the London and North Eastern Railway.
In 1948 the railways were nationalised, and it brought wholesale change to the network, as governments committed to the elimination of steam traction in favour of diesel and electric power.
After World War Two, the Victoria track was the first main line in the UK to be electrified, reaching Victoria Station by 1954.
Over time, with the growth of the road haulage sector, passengers replaced freight (especially coal transport) as the railways’ main source of income, and Victoria’s glory period was in the 1950s.
The Manchester London Road to London Marylebone service, via Victoria Station, used the Great Central Line. Other expresses ran to King’s Cross over the East Coast main line, and The Master Cutler, The Sheffield Pullman and The South Yorkshireman all served the station.
However, by the end of the decade expresses to Marylebone had either been cut or re-routed to King’s Cross and by the mid-1960s many local and express services had been transferred to the Midland Station. It left Victoria with just one hourly Manchester service and the daily Liverpool-Harwich ‘Continental’.
The Beeching Report of 1963 resulted in the closure of a third of the rail network and originally favoured closing Midland Station. However, in the ensuing years Victoria Station became the chosen casualty instead, the Hope Valley line between Sheffield Midland Station and Manchester preferred because it served more communities. There was a suggestion that the cost of upgrading Victoria’s obsolete electric line was too expensive, but there were also suggestions that politics decided its fate. After much wrangling, and a two-year enquiry, passenger services were withdrawn from Victoria Station on January 5th, 1970.
Goods traffic still ran through the station but all tracks (except one that still exists nearby) were lifted in 1983, and the station buildings demolished in 1989 to make way for extensions to the nearby Royal Victoria Hotel.
Perhaps we should mention HS2. The long-running saga of Britain’s next generation railway originally had plans for a station at Meadowhall, but Sheffield City Council wanted a city centre location.
For a brief time, it seemed that Victoria Station might have been resurrected but alas, once again, its old rival, the Midland Station (now Sheffield Station), became the preferred option instead.
And so, to the present. Much of the site of Victoria Station’s former buildings and platforms is now lost under modern hotel buildings and car-parks. However, the elegant sloping approach to the Crowne Plaza Royal Victoria hotel remains much the same as it did when the station existed.