Measuring Victorian London: Mogg’s cab fare map

3 01 2012

1. Mogg’s Postal-District and Cab-Fare Map, 1859. Drawn by Edward Mogg, lithographed by C. Whittingham, London, published by William Mogg, London. 532 x 720 mm (Paul Dobraszczyk)

Running parallel to the development of fare books in the nineteenth century (like Mogg’s Ten Thousand Cab Fares) was the publication of what might be described as ‘at a glance’ information: that is, information contained on one sheet of paper in the form of comprehensive fare tables or maps. Books of fares, no matter how well designed, were clearly problematic to use, whether carried in a pocket or consulted in a cab: in a book format information could never be ascertained ‘at a glance’; pages had to be turned, indexes consulted, destinations and cab stands memorised.

2. Detail of Mogg's Cab-Fare map, 1859

Mogg attempted to address this problem with his series of Postal-District and Cab-Fare maps (1 & 2), drawn by his brother Edward. Superimposed onto a conventional topographic map of London are grid squares at half-mile intervals, labels of the postal districts, and the four-mile radius from Charing Cross (shown as a dark circle) that marked the transition from a sixpence to a shilling fare per mile. In addition, referencing aids are included around the edges of the map: letters along the top and bottom; numbers on the sides. In the 33-page index that accompanied the map and listed 3,000 places, readers were instructed on how use the map (3): first, they were to locate their required destination in the index, and, second, to memorise the letter and figure of the square required (4). By then consulting the map and matching the letter and figure to those given around its edges, the user could find the required place ‘instantly’.

3. Explanation of how to use Mogg's map

4. Index to Mogg's Cab-Fare map

Whether cab maps were indeed ‘useful’ to visitors to London is difficult to ascertain. Punch, in 1851, provided its own satirical image of a map like Mogg’s being used (5). It showed two visitors to London engaged in a ‘topographic problem’, that is, trying to use a similar map to find their way from Seven Dials to the Eastern Counties Railway Station (now Liverpool Street), a distance of about 3 miles. With one visitor holding the map securely while the other squints up close at the obviously far too detailed map to try and measure the distance with his fingers, Punch mocks the optimistic claims publishers like Mogg generally made of their maps.

4. 'Topographical problem', Punch, 1851





The city as labyrinth: the medina of Fez

2 12 2010

The old city of Fez from above

Fes-el-Bali – the old city or medina of Fez in Morocco – is believed to be the world’s largest car-free urban area. Founded in the early 9th century, the medina covers only around a square mile, but contains over 9000 streets and around 150,000 residents. Virtually unchanged since the gigantic ramparts and seven monumental gates were built around it in the 16th century, the old city is a self-enclosed world, working to its own internal rhythms. Each small district within the city has its own public utilities – water fountains, mosques, baths – and the city’s streets are sharply delineated between the busy public shopping streets and the almost silent private streets of housing leading off to dead ends. Sandwiched between the endless lines of shops selling everything imaginable – from fabulous ornaments and sparkling textiles to fruit and vegetables and tourist tat – are oases of peace: richly decorated medersas built by the Merinids in the 14th century; mosque courtyards; elaborate medieval funduqs (inns for itinerant traders); and tree-filled courtyards of opulent Riyads – the traditional Moroccan home.

A private street in the medina

One of the medina's many public streets lined with shops

Not surprisingly, the medina of Fez presents problems to the first-time visitor, especially in navigating its tortuous geography. Here, the standard way of getting hold of new cities – seeing them from a high viewpoint – only serves to confuse, the streets disappearing in the extraordinary density of low-rise housing that only becomes apparent when above the city. On the ground, maps are virtually useless for the tourist as most of the streets are either unnamed or only given in Arabic script. At the very centre of the old city, conventional geography seems to stand on its head: covered streets lead around the enormous central mosque in a whirl of dense crowds and heavilly-laden donkeys, and the connecting side streets are so narrow and dark they seem to be underground.

Courtyard of a medersa in the medina

Narrow street passing from dark to light in the medina

In this place, one navigates initially by trial and error as if in a maze (getting lost, retracing one’s steps, discovering dead ends); then by remembering certain features that remind you to turn left or right; then by the gradients (down towards the centre of the city, up to get out). After a few days, certain streets begin to link up in the mind and a skeletal outline of the city is mentally constructed. Only with many weeks – even months – of exploration would the rest of the labyrinth slowly unfold itself and connect together.

For the tourist, navigating the medina of Fez inevitably brings you into contact with that peculiarly Moroccan character: the faux guide (false guide). Usually male youths, they lay in wait for tourists at strategic points in the old city (each seemingly having their own patch) and approach whenever there is a pause, hesitation or misdirected glance. After leading you to where you want to go they demand payment, usually much more than you wish to give. Most will try and divert you into a shop, presumably owned by a relative or even their employer. The only way to avoid being ensnared is to always know where you are going and thus Fes is ideal picking ground for these would-be-guides, preying on tourists’ most vulnerable weakness – their lack of environmental awareness. And so, in Fez, the tourist becomes like any other commodity being peddled in the souks, stripped of that special status that so characterises Islamic attitudes towards the ‘guest’.

Night in the medina

At night, when the shops close down and the touts go home, the medina quietens and takes on a new charm, one defined by private lives – boys kicking around a football, young girls walking with their mothers, groups of men gossiping in doorways, animals heard behind thick walls. This sharp disjunction between the public world of commerce – aggressive and male – and the private world of the family, is common to all cities, but particularly intense in a city like Fez, where the regular pulsations between these realms have been continuing unchanged for centuries.





Underground cities

6 10 2009
Underground city, 2007, charcoal & watercolour on chalk and ink

Underground city, 2007, charcoal & watercolour on chalk and ink

Just south of Maastricht in the Netherlands, the Sint Petersburg tunnels were developed by the Romans, who quarried the soft marlstone, creating an underground system that provided refuge during the many occasions when Maastricht found itself under attack. During the Second World War, the whole complex became an underground city, housing a well, storeroom, chapel, kitchen, bakery, and a pen for livestock. Comprising a vast number of separate passages – up to 20,000 – the complete system adds up to 200km, stretching into nearby Belgium.

Underground cities are always places of retreat when life above-ground becomes threatened, whether seen in the early Christian tunnels beneath Cappadocia in Turkey, the Chislehurst caves on the edge of London, or nuclear bunkers in countless secret – and not-so secret – locations. In these places, underground space reverts to its primal role of providing safety, originating from the time when we sheltered in caves from predators or perhaps in the enclosed world of the nine months before we are born. It is in literature and film that the underground city continues to be presented as an imagined future for civilization, once the threats above ground become unendurable: from the subterranean factory in H. G. Wells’s The Time Machine (1895) and Fritz Lang’s Metropolis (1927); the hermetically-sealed space of E. M. Forster’s The Machine Stops (1909); the nightmarish prison of Twelve Monkeys (1995); to the only free place left in the cyberspace of The Matrix (1999).

Caverns beneath Sint Petersburg, Maastricht, 2007

Tunnels beneath Sint Petersburg, Maastricht, 2007





Aleppo

7 09 2009
Aleppo, 2009, charcoal and watercolour on chalk and ink

Aleppo, 2009, charcoal and watercolour on chalk and ink

Syria’s second city, Aleppo (Halab) vies with Damascus as the oldest continually-inhabited city in the world – as long as 8000 years. It’s old city has long-since burst out of its once-walled confines and now merges into the surrounding newer development, creating a richly undefined palimpsest of ancient and modern. Like a series of concentric circles, historical time radiates out from the city’s massive hilltop citadel: from the grid-plan of the medieval covered souks to the impenetrable geography of the Bayada quarter in the northeast. Tracing the convoluted city plan, one relives the twists and turns of the old city, where all the senses were engaged and the mind frustrated, but now with a sense of quiet calm and detachment that comes with the view from above.

view of part of the old city, Aleppo, Sept. 2008

view of part of the old city, Aleppo, Sept. 2008








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