Battersea Railway Bridge

Battersea Bridge, a five-span arch bridge made of cast-iron girders and supported by granite piers, links Battersea on the south bank with Chelsea to the north. Built on a sharp bend in the river, it replaced a ferry service that had been operating since the 16th century.

The first bridge at the site, a toll bridge, was commissioned by John Earl Spencer, who had acquired the ferry rights. Although initially planned as a stone bridge, funding shortfalls led to the construction of a wooden one instead. Designed by Henry Holland, the wooden bridge opened to pedestrians in November 1771 and to vehicles in 1772. However, the bridge was poorly designed, creating hazards for both pedestrians and boats. To improve safety, two of its piers were later removed, and iron girders were added to reinforce the structure.

Despite its dangers, the original Battersea Bridge inspired artists like J.M.W. Turner and James McNeill Whistler. Whistler famously painted the bridge in works such as Nocturne: Blue and Gold – Old Battersea Bridge and Nocturne in Black and Gold – The Falling Rocket. Nevertheless, the bridge was not long-lasting, and in 1885, it was demolished and replaced with the current structure.

In 1879, the bridge came under public ownership, and by 1885, it was replaced with a new design by Sir Joseph Bazalgette, constructed by John Mowlem & Co. Today’s bridge is the narrowest surviving road bridge over the Thames. Its location on a sharp river bend has made it particularly hazardous to shipping boats, leading to several collisions over the years. Notable incidents include a 1948 collision with the 200-ton MV Delta and a more serious one in 1950 when the collier John Hopkinson struck the bridge, forcing it to close temporarily. Another significant collision occurred in 2005 when the barge, James Prior, caused extensive damage, leading to another closure for repairs.

Historically, Chelsea and Battersea, though opposite each other across the Thames, were somewhat isolated. Chelsea, a settlement dating back to Anglo-Saxon times, became a hub for industries like porcelain and baking, including the famous Chelsea buns. Its proximity to Westminster and the City of London made it a desirable location for affluent residents by the 18th century. On the other hand, Battersea, on the marshy south bank, was prone to flooding but was well-suited for farming lavender and asparagus. A small market town grew around these industries, and by the 19th century, the population expanded as London’s urban sprawl reached the area.

The wooden bridge, though functional, was far from popular, and by the 1870s, it was in disrepair. In 1885, the Metropolitan Board of Works purchased and promptly demolished the bridge. Construction of the current bridge, designed by Bazalgette, began in 1887 and was completed in 1890. The new structure featured five arches of cast-iron girders supported by granite piers and was officially opened by Lord Rosebery, chairman of the London County Council. Despite its narrow 24-foot-wide roadway, the bridge carried trams until 1950.

In 1983, Battersea Bridge was given Grade II listed status, protecting it from significant alterations. A restoration in 1992 returned the bridge to its original dark green colour with gilded spandrels. At the bridge’s north end, a statue of James McNeill Whistler was erected in 2005, commemorating his artistic connection to the area.

The bridge made national headlines in 2006 when a 19-foot bottlenose whale became stranded near it. Despite extensive efforts to rescue the whale, it died before being returned to the sea. The whale’s skeleton was later displayed at The Guardian offices before being moved to the Natural History Museum.

Whistler’s painting *Nocturne: Blue and Gold – Old Battersea Bridge* gained notoriety in 1877 when critic John Ruskin mocked it as a “flinging a pot of paint in the public’s face”. Whistler sued Ruskin for libel, resulting in a famous court case in 1878. The judge, humorously confused, even asked, “Which part of the picture is the bridge?” The painting now hangs in Tate Britain, a testament to both the bridge and Whistler’s enduring legacy.