The Project Gutenberg EBook of London Cries & Public Edifices, by Luke Limner This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: London Cries & Public Edifices Author: Luke Limner Release Date: November 20, 2018 [EBook #58312] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK LONDON CRIES & PUBLIC EDIFICES *** Produced by Chris Curnow, Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) [Illustration] LONDON CRIES & Public Edifices [Illustration] by LVKE LIMNER ESQ GRANT AND GRIFFITH. SUCCESSORS TO NEWBERY AND HARRIS 1 CORNER OF SAINT PAUL’S CHURCH-YARD, LONDON. 1851. [Illustration: THE TOWER OF LONDON. POTS & KETTLES TO MEND, BELLOWS TO MEND.] POTS AND KETTLES TO MEND!--COPPER OR BRASS TO MEND! The Tinker is swinging his fire-pot to make it burn, having placed his soldering-iron in it, and is proceeding to some corner or post, there to repair the saucepan he carries.--We commence with the most interesting edifice in our capital, THE TOWER OF LONDON; the fortress, the palace, and prison, in which so many events, connected with the history of our country, have transpired. The building with four towers in the centre is said to have been erected by William the Conqueror, and is the oldest part of the fortress. The small bell-tower in the front of our picture is that of the church of St. Peter’s, (the tower being a parish itself,) on the Tower Green, erected in the reign of Edward I. Our view is taken from Tower Hill, near which was the scaffold on which so many have fallen. To the left of the picture stood the grand storehouse of William III., destroyed by fire, Nov. 1841. The Regalia is deposited here, and exhibited to the public, as is also the Horse Armoury. The present constable of the Tower is the Duke of Wellington. RHUBARB!--FINE TURKEY RHUBARB! This drug is carried about for sale by Turks, often habited in the costume of their country. They are Turkish Jews, as Mahomedans seldom travel. The mode of fixing his caftan also indicates him to be one; it is fastened on the left: the Turks make a distinction by adjusting theirs on the right. THE EAST INDIA HOUSE is situated in Leadenhall Street: it was built in 1726, and afterwards enlarged, in 1798, by Mr. Jupp, who erected the present front, the pediment of which, by Bacon, exhibits an allegory of the Company, under the protection of George III.: on the apex is a statue of Britannia; on the right hand is a figure of Asia, and on the left one of Europe. Here is conducted all the official business relating to the Company, which now rules a population of 85,000,000 natives of India, besides 51,000,000 who are directly or indirectly affected by them. It contains a Library and Museum, open to the public, free, on Saturdays. [Illustration: THE EAST-INDIA HOUSE. RHUBARB.] [Illustration: THE BANK OF ENGLAND. MATCHES.] MATCHES!--BUY A BOX OF MATCHES OF A POOR GIRL! Of all the poor itinerants of London the Match-sellers are the poorest, and subsist as much by donations as by the sale of their wares. The old match, a splinter of wood, with ends dipped in brimstone, is fast disappearing before the modern lucifer or congreve. The poor creature here represented is appealing to a lady and gentleman, (whose shadows are seen in the picture,) on their way to the BANK OF ENGLAND. This great national establishment was erected in 1788 by Sir John Soane: it covers about eight acres of ground, and consists of nine open courts, almost all the rooms being on the ground-floor, lighted from above, beneath which are very extensive cellars, used for the deposit of bullion. This building is raised on the course of the ancient stream of Wall-Brook. In the Pay-Hall, where the notes are issued and exchanged, is a marble statue of William III., founder of the Bank, by Cheere. The Court-Room windows overlook a piece of ground, laid out as a garden: this was formerly the churchyard of St. Christopher’s; nearly the whole of this parish is within the walls of the Bank, the church having been removed in 1780, after the riots. The Bank of England is isolated from all other buildings, and fire-proof. ORANGES!--BUY ORANGES AND LEMONS! Here is a poor Irish boy endeavouring to dispose of his oranges to some passengers outside an omnibus, in Cornhill, near the ROYAL EXCHANGE. The merchants used, in olden times, to meet in Lombard Street, until Sir Thomas Gresham built the first edifice here, in 1567, from the designs of Henrick, a Fleming, who, it is said, made constant journeys from London to Flanders, to obtain materials and workmen. All the stone, slate, iron, wainscot, and glass, came from Antwerp; so that the first Exchange might be considered a Dutch building. This pile was burnt down at the Fire of London, in 1666, and a second Exchange was built on the old site, by Gernan, the first stone of which was laid by Charles II., and was completed in 1669, at an expense of £59,000, and was again destroyed by fire in 1838. The present edifice occupies the same spot, of which Prince Albert laid the first stone; and it was opened, with great display, by her Majesty, Queen Victoria, in October, 1844, during the mayoralty of Sir W. Magnay. It is from a design by William Tite; the pediment, seen in the drawing, is by R. Westmacott, Jun. [Illustration: THE ROYAL EXCHANGE. ORANGES, SWEET ST:MICHAEL ORANGES.] [Illustration: THE MANSION HOUSE. BUY A CAGE FOR YOUR FINE SINGING BIRD.] BUY A CAGE FOR YOUR FINE SINGING-BIRD! These little prisons are principally manufactured and sold by foreigners, who have them of all sizes and shapes (to suit the nature and habits of the little captive melodists). THE MANSION-HOUSE is the official residence of the Lord Mayor of London during his mayoralty; it is situated at the west end of Cornhill, in Mansion-House Street. When it was first resolved, by the Common Council, to build the Mansion-House, Lord Burlington sent a design of Palladio, for their approbation and adoption. The first question in court was, not as to the applicability of the plan, but as to whether Palladio was a freeman of the city or no. Some discussion ensued, and a member rose, stating it little mattered, as it was notorious that Palladio was a Papist, and incapable as a matter of course. Lord Burlington’s proposal was rejected, and the design of a freeman and Protestant adopted. The architect was originally a shipwright, and it has been likened to a deep-laden Indiaman. The portico is supported by six Corinthian columns. On the pediment is an allegory of the wealth of London. Here the Lord Mayor holds his court, as chief magistrate of the city. It was erected in 1753. OLD CHAIRS TO MEND!--RUSH OR CANE BOTTOMS--OLD CHAIRS TO MEND! This artificer does not necessarily pay much rent for workshops, as he commences operations with his canes or rushes up the nearest court or gateway; or, if the chairs are not wanted in a great hurry, asks permission to take them home, that he may work them in his back-room with more convenience, returning them to their owners when he next comes his rounds. THE OLD COLLEGE OF PHYSICIANS, WARWICK LANE, was erected in 1674, from designs by Sir Christopher Wren, and consists of a quadrangular court. The room over the gateway, surmounted by a cupola and crowned with a ball, was the Lecture Theatre. In the court-yard, which has been roofed in, and is now used as a butchers’ market, are statues of Charles II. and Sir J. Cutler. The building is now occupied by a coppersmith. Warwick Lane is chiefly tenanted by slaughtermen and carcase-butchers, being near to Newgate Market. Our view is taken from Paternoster Row, the literary mart of the world. The new College of Physicians is situated in Pall Mall East. [Illustration: OLD COLLEGE OF PHYSICIANS WARWICK LANE. OLD CHAIRS TO MEND.] [Illustration: SMITHFIELD. ST. BARTHOLOMEW’S HOSPITAL, CHURCH, & CATHEDRAL OF SAINT PAUL. CAT’S MEAT DOGS MEAT.] CATS’ MEAT!--DOGS’ MEAT! The food for these domestic animals is sold about London from barrows or small carts, and consists generally of the flesh of horses. As the vendor approaches, the cats or dogs bound out at the well-known cry, often forming such a group as we have here, in SMITHFIELD; which is the only cattle market in London. It was formerly situated just without the city walls. It has been used as a cattle market since 1150, and was then, as we have stated, in the fields, but is now in the very heart of London. Our view was taken on Friday afternoon, during the horse market. Hay and straw are sold here on Tuesdays, Wednesdays, and Saturdays. In the background may be seen the tower of the church of St. Bartholomew the Less, and the entrance to Bartholomew’s Hospital: the present building was erected in 1730. Immediately above the gateway of the hospital is seen the dome of ST. PAUL’S CATHEDRAL, for a nearer view of which we turn to the title-page. It was built by Sir Christopher Wren, on the site of the former, (burnt in the great fire,) and cost £736,000: it took thirty-five years building, the expenses of which were raised by a duty on coals. DUST OH!--DUST OH! The costume of the Dustman bears a strong resemblance to that of the coalheaver, who appears to be of the same family, probably through their both being connected with the same material, the one before it is burnt, the other after. They formerly rang a bell to intimate their approach, but made so much noise therewith, as to cause the legislature to interfere, prohibiting its use. ST. JOHN’S GATE, CLERKENWELL. This building is the only relic of that once powerful military order of monks, St. John of Jerusalem. The priory was established about 1100, but it was forty years after this that they became a military order, and the noblest of the time sought admission into its ranks. In the thirteenth century they were said to possess thirteen thousand manors, in various Christian lands. The house was suppressed by Henry VIII., who used it as a military storehouse. In the reign of James I. the gate was given to Sir Roger Wilbraham. Here, in 1730, Cave printed the “Gentleman’s Magazine,” which still bears a view of the gate on its cover; it is now used as a public-house, and called the Old Jerusalem Tavern. It has lately been partially restored by voluntary subscriptions. [Illustration: ST JOHNS GATE, CLERKENWELL. DUST O!!!] [Illustration: TEMPLE BAR. BUY A LACE OF THE POOR BLIND.] PITY THE POOR BLIND! The blind must gain a livelihood, as well as those who are blest with sight; but, alas! how few are the arts which can be performed by one so bereft: hence the necessity of an appeal to the benevolent--“Pity the poor blind!” He sells cabbage-nets, kettle-holders, or laces, doubtless the work of his own hands in the evenings, which we term “blindman’s holiday.”--We are proceeding along Fleet Street, soon to pass under TEMPLE BAR, which is the only remaining city gate. It was built in 1670, by Sir Christopher Wren, after the great fire. On this, the city side, are statues of James and Anne of Denmark; on the other are Charles I. and II. The gate is now only closed on such occasions as the Queen going in state to the city, when she is not admitted until the pursuivant has knocked and permission been granted by the Lord Mayor. On the top of this gate were formerly exhibited the heads of traitors: the last exposed here were those of persons who suffered after the rebellion of 1745. Horace Walpole, in a letter dated 16th Aug., 1746, says, “I have this morning been at the Tower, and passed under the new heads at Temple Bar, where people make a trade of letting spy-glasses, at a halfpenny each, to view them.” One of the iron spikes remained till the present century. UMBRELLAS TO MEND!--ANY OLD ONES TO SELL! During the day the Umbrella-mender goes his rounds, repeating these words, “Umbrellas to mend! Sixpence apiece for your old broken umbrellas!” and, having collected enough, he returns home to patch and mend, after which he or some of his family hawks them about for sale. Here he appears in his glory, under the auspices of St. Swithen, the patron saint of umbrella and patten-maker. It is the Strand, near SOMERSET HOUSE. On this site formerly stood Somerset Palace, built by Edward Seymour, Duke of Somerset, about 1549. The present building was begun in 1774, after a design by Sir W. Chambers. The Strand front is one hundred and thirty feet long, has a rustic basement supporting Corinthian columns, and is crowned in the centre with an attic, surmounted by a group consisting of the arms of Britain supported by the genius of England and Fame. Nine large arches compose the basement, three of which open into the court. The key-stones are nine masks, representing the ocean and the eight chief rivers of England. In the quadrangle, directly fronting the entrance, is a bronze figure of the Thames, by Bacon; also a statue of George III. It has a Thames front, with a spacious terrace and water-gate. [Illustration: SOMERSET HOUSE. UMBRELLAS TO MEND, ANY OLD ONES TO SELL.] [Illustration: COVENT GARDEN MARKET. CHERRY RIPE; ROUND & SOUND 4ᴰ. A POUND.] CHERRIES, ROUND AND SOUND!--FULL WEIGHT, FOURPENCE A POUND! Of cherries there are a great variety; most come from the county of Kent, and are sold in the streets of London, sometimes as low as one penny per pound! the sellers of which are often addicted to giving short weight, as their customers apprehend, hence the cry of “full weight.” COVENT-GARDEN MARKET. The ground on which this market stands belonged to the Abbots of Westminster, and was called Convent Garden. On the destruction of the monasteries it was given to the Duke of Somerset; and, after his misfortunes, was granted to the Earl of Bedford, in 1552, who let it for building, and Inigo Jones designed the piazza, a portion of which occupies the north and part of the east sides. The origin of the market was casual. Persons came here, and stood in the centre of the square, until it grew to the establishment of a market, which consisted of rough sheds until about 1830, when the present market was built by the Duke of Bedford. One part is devoted to vegetables, and others to fruits, flowers, and plants. THE COSTARD-MONGER (so called from an apple of that name) is an itinerant vendor of garden stuff. He mostly transports his vegetable wares in a cart drawn by a donkey. His cry varies with the seasons and their produce: at one time we have “Cabbage plants,” “New potatoes,” or “Asparagus;” at another, “Fine young peas, fresh gathered,” “Ripe rhubarb,” “Baking or boiling apples:” he is now calling “Gooseberries! fourpence an ale-house quart, gooseberries!” In the background is a seller of HEARTHSTONES AND FLANDERS BRICK. Punch’s opera is proceeding along Bow Street with dog Toby in the rear, from whose petty stage we turn to one of the largest in the metropolis, COVENT-GARDEN THEATRE. The former theatre was burnt down, Sept. 20, 1808, and the present one erected on its site, at a cost of £150,000, by R. Smirke, R.A., who has taken as his model the temple of Minerva at Athens, and the first stone was laid in September, 1809, by George IV., then Prince of Wales. It was built with great rapidity, having been completed in less than a year after the destruction of the former building. Along the front are basso-relievos representing the ancient and modern drama; and in niches at either end figures of Comedy and Tragedy, by Flaxman. [Illustration: COVENT GARDEN THEATRE. THE COSTARDMONGER. HEARTH STONES, & FLANDERS BRICK.] [Illustration: TRAFALGAR SQUARE. WITH PART OF THE NATIONAL GALLERY AND SAINT MARTIN’S CHURCH IMAGES, BUY IMAGES.] IMAGES!--BUY IMAGES. The dealers in these articles are mostly Italians. The class of subjects sold in the streets were formerly of common-place interest, such as a parrot, horse, cat, or cow, but our vendor has some of a higher class--the Farnese Hercules, Baily’s Eve at the Fountain, Cupid and Psyche, Chantrey’s bust of Sir Walter Scott, &c. See, there is a Greenwich pensioner directing the attention of a young sailor to the Nelson column: he is perhaps describing the victory of the Nile or Trafalgar. There is a student of the Royal Academy observing their movements, very likely to introduce the scene in his next picture. TRAFALGAR SQUARE is an open space, bounded on the north by the National Gallery of Pictures and the Royal Academy of Arts, on the east by St. Martin’s Church, south by Northumberland House and Charing Cross, and on the west by the new College of Physicians: in the centre is the Nelson column; on either side are fountains. The National Gallery was built in 1837, by Sir W. Wilkins. St. Martin’s Church was erected in 1722, by Gibbs: Nell Gwyn, who was buried here, left a weekly entertainment to the bell-ringers, which they still enjoy. The Admiralty being in the parish, it is usual to announce naval victories from the belfry of this church. BAKED POTATOES, ALL HOT! _How_ VERY _cold it is_! the Potato-merchant jumps about to warm his feet. It is fine time for the boys; they are pelting each other with snowballs. The drayman leads his team with care, lest they should slip on the icy road. See the snow on the statue of Charles; it recalls to mind the burial of that unfortunate monarch,--the snow that fell then was looked upon as type of his innocence. CHARING CROSS. So named, from a cross erected there by Edward I., to commemorate his affection for his beloved queen, Eleanor. The cross marked the last resting-place of the body on its way to Westminster: the exact spot is now occupied by the equestrian statue of Charles I.; it is in bronze, and was executed by Le Sœur, in 1633, for the Earl of Arundel. NORTHUMBERLAND HOUSE, the town residence of the Duke of Northumberland, forms one side of Trafalgar Square. It was built by Henry Howard, Earl of Northampton, in whose time it was called Northampton House. In 1643 it fell to Algernon Earl of Northumberland, by marriage; since then it has been called Northumberland House. The only part seen from the street is the screen, which was repaired about 1752, but supposed to have been built in the reign of Edward VI. On the top is a lion passant. A spacious court intervenes between this and the house, behind which are extensive gardens reaching down to the river. Bernard Jansen was architect of this ancient house, to which Inigo Jones erected a fourth side. [Illustration: CHARING CROSS. WITH NORTHUMBERLAND HOUSE, AND STATUE OF KING CHARLES THE FIRST. BAKED POTATOES ALL HOT.] [Illustration: WHITE HALL. BOW POTS.] BOW POTS! (OR BAY POTS!) TWO A PENNY! They are mostly sold by women, who obtain them from Covent-Garden Market or from nurserymen in the suburbs, and are offered to the lovers of nature in the more dense parts of our city. You perceive it is warm weather--a glorious summer’s day; the dust flies, and the watering-cart is about to render it more pleasant. We are in WHITEHALL, opposite the Banqueting House. It was begun in 1619, from designs by Inigo Jones, and is only part of a vast plan left unfinished by reason of the troubled times. Here was executed King Charles I. He passed to the scaffold through the north-end wall (to the left of the picture). George I. converted it into a Chapel Royal, for which it is now used: the ceiling was painted by Rubens, in 1629; the subject is the Apotheosis of James I., for which he received £3000. In the square behind is a bronze statue of James II., by Gibbons. The Banqueting House cost about £17,000; and Inigo Jones, the architect, received but 8_s._ 4_d._ per day, with £46 per annum for house-rent. The master mason, Nicholas Stone, received 4_s._ 10_d._ per day. Such were the wages of architectural labour in those days; though it is true that the value of money was greater then than it is now. WILD DUCK, RABBIT, OR FOWL! Wild Ducks from the fens of Lincolnshire; Rabbits from Hampshire, and Poultry from Norfolk. Our dealer has procured his stock at Leadenhall Market, and is now crying them in Piccadilly. STRAWBERRIES, from Battersea and Fulham, where they are grown in large quantities, and sent to Covent-Garden Market, from whence the London dealer purchases them in large baskets (called rounds), containing many pottles. BURLINGTON HOUSE. We have given the entrance gateway, for no other part of this splendid mansion can be seen from the street. This house was built by Richard Boyle, third Earl of Burlington, (who is said to have erected it there because he was certain no one would build beyond him,) from his own designs, assisted by Kent, who was his intimate friend and companion. It is very large, has a stone front, and a circular Doric colonnade joins the wings. Here were deposited those exquisite specimens of Grecian art, the Elgin Marbles, previous to their purchase by Government and removal to the British Museum. [Illustration: BURLINGTON HOUSE, GATEWAY. WILD DUCK RABBIT OR FOWL. STRAWBERRIES.] [Illustration: SAINT GEORGES HANOVER SQ: NEW MACKEREL.] MACKAREL!--NEW MACKAREL! Perhaps there are more of this fish sold than any other: they are very plentiful during spring. There is a law that permits of their being sold on Sundays, before divine service, on account of their perishable nature; for it has been stated 10,000 mackarel, worth £200 in the morning, would not be worth twenty shillings on the following day. Here comes the beadle, crossing George Street, to warn off a fish-woman, for it is eleven o’clock by ST. GEORGE’S, HANOVER SQUARE. This church was one of fifty, erected by act of Parliament in 1724. John James was the architect. The first stone was laid by General Stewart, with the following ceremony:--Having made a libation of wine, he pronounced these words: “The Lord God of heaven preserve the church of St. George!” It is dedicated to St. George the Martyr, in honour of George I. The subject of the altar-piece is the Last Supper, attributed to Sir James Thornhill. This church is remarkable for the number of fashionable marriages celebrated here. BUY A BOX!--BUY A BAND-BOX! These useful articles are mostly the manufacture of the persons who carry them about for sale: they are of all shapes and sizes--cap-boxes, bonnet-boxes, clothes-boxes, &c. OLD CLOTHES! “_Clo! Clo!!_” This is the abbreviated cry of the old clothesman, when going his rounds. The trade is mostly conducted by Jews, who take the morning purchases to Rosemary Lane, (commonly called Rag Fair,) near Tower Hill, where they dispose of them to dealers, who patch, mend, and sell again to the public. Our Jew, judging from his beard and band round his waist, is some dignitary of the synagogue; he has just made a purchase of an old court suit at ST. JAMES’S PALACE. It is a plain brick building, and was erected by Henry VIII. in 1551. Queen Anne was the first to hold her court here, since which time it has been uniformly used for that purpose. Here is the Chapel Royal, in which our present Queen was married to Prince Albert: it is used only for purposes of state. King Charles I. passed the last eleven days of his life here, during his trial. A great portion of the south-eastern corner was destroyed by fire, in 1809. [Illustration: SAINT JAMES’ PALACE. OLD CLOTHES. BUY A BOX, A BAND BOX.] [Illustration: WESTMINSTER ABBEY. AND TOWER OF SAINT MARGARET’S CHURCH. MILK BELOW.] MILK BELOW! Of dealers in milk there are two classes,--the one keeping cows, the other purchasing from large dairymen in the outskirts, and retailing it on their own account. Their customers mostly live in neighbouring streets, which are called “milk-walks,” and are often disposed of as other trades. It is stated that fifteen thousand cows are necessary to supply London with milk, and it has been calculated that it is usually adulterated one-third. The milk-carriers of London are mostly Welsh girls, and did, until of late, wear the national hat. Our sketch exhibits one of them carrying home the produce of her master’s cows from St. James’s Park, while a man drives a cow and calf from the pasture there; but this is a picture of the past. The park no longer affords pasture for cattle; population has driven them farther away. The background remains the same. WESTMINSTER ABBEY. The present church was erected by Henry III. and his successors; the western towers are by Sir Christopher Wren. Behind the altar is the chapel of Edward the Confessor, in which is kept the coronation chair: adjoining is the chapel of Henry V. Around these chapels are nine others, dedicated to various saints. Next to the eastern end of the church stands the chapel of Henry VII. The first stone was laid in Feb., 1503, by Abbot Islop; the building cost £14,000, an enormous sum for the period. It was designed by Sir Reginald Bray. The Abbey contains the monuments of many great men; one spot is occupied by poets, and called “Poets’ Corner.” In the foreground may be seen the tower of the parish church of St. Margaret’s, Westminster. YOUNG WATER-CRESSES! The morn has been proclaimed with “Sweep! Soot oh!” The inmate of the downy bed has turned again to slumber--then follows “Milk!” and now comes “Water-cresses!” ’Tis half-past eight; all are up, the door is mopped, and Betty runs to get the usual penny for the poor old dame in Milbank, Westminster. From here we obtain a good view of LAMBETH PALACE, which is the principal residence of the Archbishop of Canterbury. It is a very extensive and irregular pile, the principal part of which was built since the thirteenth century, the oldest part being the chapel. The great hall was erected by Archbishop Juxon, about 1600. The gate seen in the picture was built by Cardinal Morton in 1490, in front of which, to this day, is distributed the bishop’s dole, or alms, to thirty poor parishioners of Lambeth, ten of whom are served each day; among them are distributed three stone of beef, ten pitchers of broth, five quartern loaves, and twopence in copper. At the back of this gate is the Lollards’ Prison, a small room of great strength, in which prisoners have been confined for their religious opinions. Adjoining is the parish church of Lambeth. [Illustration: LAMBETH PALACE. WATER CRESSES.] [Illustration: NEW HALL LINCOLNS INN. KNIVES & SCISSORS TO GRIND. BUY A MAT, A ROPE OR PARLOUR MAT.] KNIVES TO GRIND!--SCISSORS TO GRIND! We here have a grinder executing a job under the entrance gateway to New Square, Lincoln’s Inn; who, if we may judge from the smile of satisfaction playing on his countenance, has had merry work amongst the cleavers of Clare Market, adjacent. Hoping he may find the like success with the pen-knives of the lawyers of Lincoln’s Inn, we wish him “Good day!” BUY A MAT!--BUY A DOOR OR PARLOUR MAT! They are manufactured of different materials: rope and rush mats for hall-doors. Parlour and carriage mats are made of sheep-skins, with the wool on, dyed of various hues. NEW HALL, LINCOLN’S INN, is situated on the eastern side of Lincoln’s Inn Fields: it is of Tudor architecture, designed by Philip Hardwick, R.A., and consists of an extensive dining-hall, spacious library, and benchers’ drawingroom. It was opened Oct. 30, 1845, by the Queen, accompanied by his Royal Highness Prince Albert. Lincoln’s Inn is one of the principal inns of court. SWEEP!--SOOT OH! This trade was, until of late, performed by small boys, who used to climb up chimneys, brushing away the soot as they went, until they arrived at the top, where they performed a rattle of triumph on the sides of the pot. Poor little sweep! your “occupation’s gone;” the term “climbing boy” will soon become obselete, for chimneys are now swept by machines, such as the one on the shoulders of the boy in our picture. He has been his morning’s round, and perceives a chimney on fire, which he is off to extinguish, seeming to enjoy it much, no doubt on account of the extra fee on such occasions. The boys have got out the parish engine and the beadle. It is the 1st of May, the sweeps’ grand day, when they perambulate the streets and collect donations, decked in ribbons and finery, and dance round the ivy bower, called “Jack in the Green,” to a drum and pandean pipes, which revelry seems to be forgotten in the excitement of the moment: the smoke rolls over-head; it must be in Guildford Place, opposite THE FOUNDLING HOSPITAL. Its name indicates its use. It is a plain brick edifice, with a chapel in the centre, founded, about the year 1722, by Captain Thomas Coram. It covers a large space, and is enclosed within a wall: here the children play. There are about 360, who are educated in a plain manner; and when old enough the boys are apprenticed, and girls put to service. [Illustration: FOUNDLING HOSPITAL. SWEEP.] [Illustration: NORTH WESTERN RAILWAY. MUFFINS, CRUMPETS.] MUFFINS!--CRUMPETS!--ALL HOT MUFFINS! This is an evening cry in winter, reminding us of a cheerful fire, curtains drawn, pleasant company, the hissing urn, and a goodly pile of these toasted luxuries hot and tempting. They are sold by boys or men, who carry a small bell, which they ring between the times of calling out their wares. Night is fast approaching, the lamp-lighter is at work, while the last rays of departing day gild the horizon, behind the portico of THE NORTH-WESTERN RAILWAY. This is the most important line of communication up the country, and the most extensive in the kingdom: it was commenced in 1837, and originally called the “London and Birmingham Railway,” from its ending in that town, 112 miles from London; but it is now the grand trunk line of numerous tributaries. Our view is of the Doric portico at the Euston station, Euston Square; it is built of granite, from a design by Philip Hardwick, R.A., and is 70 feet in height. BUY A BROOM! These tasteful articles are cut out of a single piece of wood, and carried about our metropolis by Bavarian women, who sing pleasing ditties in broken English; they are very tidy, and have a picturesque appearance. Here we have one offering a broom to the inmates of a carriage in the Regent’s Park, near THE COLOSSEUM. It was erected some few years since for the exhibition of a panorama of London, painted by Mr. Horner, after sketches taken from a scaffold above the dome of St. Paul’s Cathedral, (during the repairs of the ball and cross,) at sunrise, before the lighting of the innumerable fires. This glorious scene has been beautifully described by Wordsworth, in one of his sonnets:-- “Earth has not any thing to show more fair: Dull would he be of soul who could pass by A sight so touching in its majesty: This city now doth like a garment wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields and to the sky; All bright and glittering in the smokeless air. Never did sun more beautifully steep In his first splendour valley, rock, or hill; Ne’er saw I, never felt, a calm so deep! The river glideth at his own sweet will: Dear God! the very houses seem asleep; And all that mighty heart is lying still!” [Illustration: COLISEUM. BUY A BROOM.] [Illustration: IN TWENTY SIX ILLUSTRATIONS THE CRIES OF LONDON AND Public Edifices BY LUKE LIMNER ESQ.] End of Project Gutenberg's London Cries & Public Edifices, by Luke Limner *** END OF THIS PROJECT GUTENBERG EBOOK LONDON CRIES & PUBLIC EDIFICES *** ***** This file should be named 58312-0.txt or 58312-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/8/3/1/58312/ Produced by Chris Curnow, Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation web page at http://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.