Alice Ayres

Ayres's body was not taken to Guy's Hospital's mortuary, but was laid in a room set aside for her. The estimated value of the floral tributes came to over £1,000 (about £115,000 as of 2023).[8][10] Ayres was posthumously recognised by the Metropolitan Board of Works-controlled Royal Society for the Protection of Life from Fire (today the Society for the Protection of Life from Fire), who awarded her father John Ayres a sum of 10 guineas (about £1,210 as of 2023) in her honour.[10] A memorial service for Ayres at St Saviour's Church (now Southwark Cathedral) attracted such a large crowd that mourners were turned away due to lack of standing room, while a collection taken at the memorial service comprised 951 coins, totalling over £7.[3] Ayres was given a large public funeral, attended by over 10,000 mourners.[8][11] Her coffin was carried from her parents' house to her grave in Isleworth Cemetery by a team of 16 firemen, relieving each other in sets of four.[12] The church service was attended by a group of 20 girls, dressed in white, from the village school that Ayres had attended. It had been planned that the girls should follow the coffin to the graveside and sing, but a severe hailstorm prevented this.[13]

Henry and Mary Ann Chandler were buried in Lambeth Cemetery along with the two children who had died in the fire.[6] Edith and Ellen Chandler were accepted by the Orphan Working School in Kentish Town and trained as domestic servants.[6]

Alice Ayres's grave

Shortly after the fire it was decided to erect a monument to Ayres, to be funded by public subscription, and by August 1885 the fund had raised over £100 (about £11,000 as of 2023).[10][12] On 15 August 1885 work began on the memorial. The monument was erected above her grave in Isleworth Cemetery,[14] and was of an Egyptian design inspired by Cleopatra's Needle, which had been raised in central London in 1878.[12][n 3] It took the form of a 14-foot (4.3 m) solid red granite obelisk, and is still today the tallest grave marker in the cemetery.[9] On the front of the obelisk is inscribed:

Sacred to the memory of ALICE AYRES, aged 26 years, who met her death through a fire which occurred in Union Street, Borough, the 24th of April, 1885 A.D.
Amidst the sudden terrors of the conflagration, with true courage and judgement, she heroically rescued the children committed to her charge. To save them, she three times braved the flames; at last, leaping from the burning house, she sustained injuries from the effects of which she died on April 26th 1885.
This memorial was erected by public subscription to commemorate a noble act of unselfish courage.
"Be thou faithful unto death, and I will give thee a crown of life."

The right hand side of the monument lists the ten members of the Alice Ayres Memorial Committee, chaired by Rev H. W. P. Richards. The Union Street fire and Ayres's rescue of the children caused great public interest from the outset, and the fire, Ayres's death and funeral, and the fundraising for and erection of the memorial were all reported in detail in the local and national press and throughout the British Empire.[9]

Emilia Aylmer Blake wrote perhaps the first poem about Ayres, titled Alice Ayres, which she recited at a social gathering in June 1885.[28] Sir Francis Hastings Doyle also wrote a well-received poem in honour of Ayres,[29] as did leading social reformer and women's rights campaigner Laura Ormiston Chant.[9] By the late 1880s Ayres was coming to be seen as a model of British devotion to duty,[9] and her story was told in collections of heroic and inspirational stories for children,[30] including as the first story in F. J. Cross's influential Beneath the Banner,[4] in which Cross remarked that: "She had tried to do her best always. Her loving tenderness to the children committed to her care and her pure gentle life were remarked by those around her before there was any thought of her dying a heroic death. So, when the great trial came, she was prepared; and what seems to us Divine unselfishness appeared to her but simple duty."[7]

The Union Street Fire, Walter Crane

In 1890 a series of painted panels by Walter Crane were unveiled in Octavia Hill's Red Cross Hall, 550 yards (500 m) from the site of the Union Street fire.[31][n 7] Inspired by George Frederic Watts's proposals, the panels depicted instances of heroism in everyday life;[32] Watts himself refused to become involved in the project, as his proposed monument was intended to be a source of inspiration and contemplation as opposed to simply commemoration,[20] and he felt that an artistic work would potentially distract viewers from the most important element of the cases, the heroic sacrifices of the individuals involved.[31]

The first of Crane's panels depicted the Union Street fire.[33] It is an idealised image depicting Ayres as the rescued rather than the rescuer, blending religious imagery with traditional 19th-century symbols of British heroism, and bears no relationship to actual events.[34] Ayres, in a long and flowing pure white gown, stands at a first floor window, surrounded in flames and holding a small child. A fireman stands on a ladder and reaches out to Ayres and the child; meanwhile, a sailor in full Royal Navy uniform holds a second child.[9] Although in reality Ayres had been at a much higher level of the building and the heat of the burning oil and gunpowder had made it impossible for the fire brigade to approach the building,[4] by depicting Ayres with the fireman and sailor, widely seen as symbols of British heroism and British strength, Crane's picture further enhanced her growing reputation as a heroic figure.[9] Crane's picture in the Red Cross Hall was itself mentioned in Alice Ayres, a border ballad by National Trust founder Canon Hardwicke Rawnsley published in his 1896 Ballads of Brave Deeds, for which George Frederic Watts wrote the preface.[9][35]

In 1898 George Frederic Watts was approached by Henry Gamble, vicar of St Botolph's, Aldersgate church in the City of London. St Botolph's former churchyard had recently been converted, along with two smaller adjoining burial grounds, into Postman's Park, one of the largest public parks in the City of London, and the church was engaged in a protracted financial and legal dispute over ownership of part of the park.[36] To provide a public justification for keeping the disputed land as part of the park, and to raise the park's profile and assist in fundraising, the church offered part of the park as a site for his proposed memorial. Watts agreed, and in 1900 the Memorial to Heroic Self-Sacrifice was unveiled by Alfred Newton, Lord Mayor of London, and Mandell Creighton, Bishop of London.[37][38] The memorial consisted of a 50-foot-long (15 m) and 9-foot-tall (2.7 m) wooden loggia with a tiled roof, designed by Ernest George, sheltering a wall with space for 120 ceramic memorial tablets.[25]

Alice Ayres's memorial tablet, designed by William De Morgan and added to the Memorial to Heroic Self-Sacrifice in 1902

The memorial tablets were handmade and expensive to produce, and at the time of the memorial's unveiling only four were in place. In 1902 a further nine tablets were unveiled, including the memorial to Alice Ayres for which Watts had long lobbied.[39] Made by William De Morgan in the Arts and Crafts style, the green-and-white tablet reads "Alice Ayres, daughter of a bricklayer's labourer who by intrepid conduct saved 3 children from a burning house in Union Street, Borough, at the cost of her own young life April 24, 1885".[40]

Although the public would have been familiar with the concept of a female national heroic figure following the widespread coverage and public admiration of Harriet Newell, Grace Darling and Florence Nightingale, the ongoing coverage of Ayres and her elevation as a national hero was unusual for the period.[3] Ayres was an uneducated working-class woman, who after her death underwent what has been described as "a secular canonisation",[41] at a time when, despite the gradual formal recognition of the contributions of the lower classes, national heroes were generally male and engaged in exploration, the military, religion or science and engineering.[18]

This was a period in which political pressures for social reform were growing. The version of Ayres presented to the public as a woman devoted entirely to duty embodied the idealised British character at the time, while the image of a hard-working but uncomplaining woman who set the welfare of others above her own embodied the idealised vision of the working class presented by social reformers, and the ideal selfless and dedicated woman presented by campaigners for women's rights.[3] At the unveiling of the Memorial to Heroic Self-Sacrifice the Lord Mayor, Alfred Newton, had remarked that it was "intended to perpetuate the acts of heroism which belonged to the working classes",[42] while George Frederic Watts, although he was opposed in principle to discrimination based on class and saw the Memorial as being theoretically open to all classes, had remarked that "the higher classes do not or ought not to require reminders or inducements".[42] Watts saw the purpose of his Memorial not as a commemoration of deeds, but as a tool for the education of the lower classes.[42]

Watts's view was shared by others who sought to provide inspirational material on British heroes, and authors writing about Ayres systematically altered the fact that the children rescued were members of her family, instead describing them as the children of her employer.[43] Press reports at the time of the fire described Ayres variously as a "little nursemaid",[5] "a willing, honest, hard-working servant",[5] and a "poor little domestic".[44] As well as Watts's 1887 description of Ayres as "the maid of all work at an oilmonger's",[24] Cross's chapter on Ayres in Beneath the Banner is titled "Only a Nurse Girl!",[4] while Rawnsley called her "the nursemaid in the household".[35] Barrington, writing five years after the fire at the unveiling of Price's panel, acknowledges in a footnote that Ayres was related to the Chandlers,[45] but nonetheless describes her as displaying the "typical English virtues—courage, fortitude, and an unquestioning sense of duty".[46]

While George and Mary Watts and their fellow paternalist social reformers, along with the broadly sympathetic mainstream British press, portrayed Ayres as an inspirational selfless servant to her employer, others had a different view. The left-wing Reynolds's Weekly Newspaper complained that the lack of support for Ayres's family from the state was symbolic of poor treatment of workers as a whole.[43] The pioneering feminist periodical The Englishwoman's Review described their "righteous pride" at Ayres's "instinctive motherhood";[43] on the other hand Young England, a children's story paper with imperialist ideals, said that "there is no sex in self-sacrifice", lauding Ayres as a model of devotion to duty.[43]