382 files changed, 35223 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/37114-8.txt b/37114-8.txt
new file mode 100644
index 0000000..2edf7ac
--- /dev/null
+++ b/37114-8.txt
@@ -0,0 +1,11415 @@
+Project Gutenberg's A History of the Cries of London, by Charles Hindley
+
+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
+
+
+Title: A History of the Cries of London
+       Ancient and Modern
+
+Author: Charles Hindley
+
+Illustrator: Thomas Bewick
+             John Bewick
+
+Release Date: August 17, 2011 [EBook #37114]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE CRIES OF LONDON ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive.)
+
+
+
+
+
+
+
+
+
+  [_SECOND EDITION.--GREATLY ENLARGED._]
+
+
+  A HISTORY
+  OF THE
+  Cries of London.
+
+  _Woodcuts by Thomas & John Bewick_,
+  And their Pupils, &c.
+
+
+  [ENTERED AT STATIONERS' HALL.     _All Rights Reserved._]
+
+
+
+
+[Illustration: HOGARTH'S PIEMAN.
+
+"We frequently meet with the pieman in old prints; and, in Hogarth's
+'March to Finchley,' there he stands in the very centre of the crowd,
+grinning with delight at the adroitness of one robbery, while he is
+himself the victim of another. We learn from this admirable figure by the
+greatest painter of English life, that the pieman of the last century
+perambulated the streets in professional costume; and we gather further,
+from the burly dimensions of his wares, that he kept his trade alive by
+the laudable practice of giving 'a good pennyworth for a penny.' Justice
+compels us to observe that his successors of a later generation have not
+been very conscientious observers of this maxim."]
+
+
+
+
+  A HISTORY OF THE
+  CRIES OF LONDON.
+
+  Ancient and Modern.
+
+
+  "_Let none despise the merry, merry Cries
+  Of famous London Town._"
+
+
+  SECOND EDITION.
+  GREATLY ENLARGED AND CAREFULLY REVISED
+
+
+  BY CHARLES HINDLEY, ESQ.,
+
+  _Editor of "The Old Book Collector's Miscellany; or, a Collection of
+  Readable Reprints of Literary Rarities," "Works of John Taylor--the
+  Water Poet," "The Roxburghe Ballads," "The Catnach Press," "The
+  Curiosities of Street Literature," "The Book of Ready Made Speeches,"
+  "Life and Times of James Catnach, late of the Seven Dials, Ballad
+  Monger," "Tavern Anecdotes and Sayings," etc._
+
+
+  London:
+  CHARLES HINDLEY
+  [THE YOUNGER,]
+  BOOKSELLERS' ROW, ST. CLEMENT DANES,
+  STRAND, W. C.
+
+
+  London:--
+  E. A. BECKETT, PRINTER, 111 & 113 KINGSLAND ROAD.
+
+
+  TO HORATIO NOBLE PYM, ESQ.,
+  OF HARLEY STREET, CAVENDISH SQUARE,
+  AS _A TESTIMONIAL OF ESTEEM_
+  FOR HIS PRIVATE WORTH,
+  AND AS
+  A PATRON OF LITERATURE:
+
+  A HISTORY OF THE CRIES OF LONDON,
+  Ancient and Modern,
+
+  IS RESPECTFULLY DEDICATED BY
+  Charles Hindley.
+
+  RECTORY ROAD, STOKE NEWINGTON,
+  LONDON, N.
+
+
+[Illustration: NOTICE.
+
+On or about LADY DAY, 1885, will be published for the same Author, THE
+HISTORY OF The Catnach Press. To be followed by a New Edition of the
+CURIOSITIES OF STREET LITERATURE]
+
+
+
+
+[Illustration: INTRODUCTION.]
+
+  Oh, dearly do I love "Old Cries,"
+  Your "Lilies all a'blowing!"
+  Your blossoms blue, still wet with dew,
+  "Sweet Violets all a'growing!"
+                                        _Eliza Cook._
+
+The idea of printing and publishing "A History of the Cries of
+London--Ancient and Modern," somewhat in the manner and style here
+presented to the public, was first suggested to me by the late Rev:--
+
+Thomas Hugo.
+
+Author of "The Bewick Collector," 1866. The Supplement to same, 1868, and
+"Bewick's Woodcuts," 1870, etc., and at the time, Rector of West Hackney
+Church, Stoke Newington, London, N., in the year 1876.
+
+
+While actively engaged in preparing for publication "The Life and Times of
+James Catnach late of Seven Dials: Ballad Monger,"--to which the present
+work may be considered a sequel, and the completion of the series on the
+subject of the--
+
+  "CURIOSITIES OF STREET LITERATURE,"
+
+I had frequently to consult the pages of "The Bewick Collector," and other
+works of a kindred character for information respecting the elder Catnach,
+who, by himself, and afterwards in conjunction with his partner, and
+subsequently his successor, William Davison, employed Thomas Bewick, the
+famous English artist who imparted the first impulse to the art of wood
+engraving, for several of their Alnwick publications. This led to my
+communicating with the Rev. Thomas Hugo, wherein I informed him of my
+plans, and of the object I had in view with regard to the publication I
+was then preparing for the press: at the same time soliciting his
+co-operation, especially in reference to the loan of some of the Bewick
+wood-cuts, formerly possessed by the elder Catnach, while he was in
+business as a printer, in Narrowgate Street, Alnwick, an ancient borough
+and market-town in Northumberland.
+
+In answer to my application, I received the letters that follow:--
+
+    THE RECTORY, WEST HACKNEY,
+    STOKE NEWINGTON, LONDON, N.
+
+    _21st August, 1876._
+
+    DEAR SIR,
+
+    I shall be glad to aid you in any way. I must ask you to see me on
+    some _morning_, between nine and eleven o'clock, and to make a
+    previous appointment, as I am a working man, with plenty to do.
+
+      Yours sincerely,
+        Thomas Hugo.
+
+    CHARLES HINDLEY, ESQ.,
+    76, Rose Hill Terrace,
+    Brighton.
+
+
+    WEST HACKNEY RECTORY,
+    AMHURST ROAD, WEST,
+    STOKE NEWINGTON, N.
+
+    Tuesday Night. [_13th September, 1876._]
+
+    DEAR SIR,
+
+    I have been expecting you for the last ten days. In a few hours I am
+    leaving town for my holiday; I shall not return till far on in
+    October.
+
+    As Brighton is but a short way off, I shall hope to see you on my
+    return. You shall be welcome to the loan of some Blocks. You had
+    better examine my folio volume, called "Bewick's Woodcuts," in the
+    British Museum, and give me the numbers of the cuts, when I will see
+    what I can do for you.
+
+      Yours sincerely,
+        Thomas Hugo.
+
+    MR. C. HINDLEY, SENR.,
+    (of Brighton,)
+    8, Booksellers' Row,
+    Strand, W.C.
+
+
+    WEST HACKNEY RECTORY,
+    AMHURST ROAD, WEST,
+    STOKE NEWINGTON, N.
+
+    _8th Nov., 1876._
+
+    Dear Sir,
+
+    I can see you between 9.30 and 10.30 on _Friday_ Morning.
+
+    Be so good as to advise me beforehand _what_ you wish to see.
+
+      Yours sincerely,
+        Thomas Hugo.
+
+    C. HINDLEY, ESQ.,
+    (of Brighton,)
+    8, Booksellers' Row,
+    Strand, W.C.
+
+The proposed interview took place at the Rectory-house, on the 10th of
+November, and was of a very delightful and intellectual character. The
+reverend gentleman found me an apt scholar in all matters with respect to
+his favourite "Hobby-horse," viz:--the Brothers Bewick and their Works.
+All the rich and rare Bewickian gems were placed before me for inspection,
+and all the desired assistance I needed at his hands was freely offered
+and ultimately carried out. During our conversation the learned Rector
+said:--
+
+    "I look upon it as a curious fact that you should have been of late
+    occupying your leisure in working out your own ideas of Catnach and
+    his Times, because, while I was in the office at Monmouth-court, where
+    I went several times to look out all the examples of Bewick I could
+    find, and which I afterwards purchased of Mr. Fortey--the person who
+    has succeeded to the business of the late James Catnach, I one day
+    caught nearly the same notion, but it was more in reference to OLD
+    LONDON CRIES: as I possess a fairly large collection of nicely
+    engraved wood-blocks on the subject, that I met with in 'Canny
+    Newcassel,'--in some of which it is asserted, and can hardly be
+    denied, that Thomas Bewick had a hand. I have since used the set in my
+    'BEWICK'S WOODCUTS.' But, alas!--_Tempus fugit_, and all thoughts on
+    the subject got--by reason of my having so much to do and think
+    of--crowded out of my memory. Now, sir, as you seem to have much more
+    leisure time than myself, I shall be happy to turn the subject-matter
+    over to you and to assist in every way in my power."
+
+I thanked the rev. gentleman, at the same time promising to bear the
+suggestion in mind for a future day.
+
+    WEST HACKNEY RECTORY, AMHURST ROAD, WEST,
+    STOKE NEWINGTON, N., _14th Nov., 1876_.
+
+    DEAR SIR,
+
+    Accept my best thanks for your letter, books, and promises of future
+    gifts, all of which I cordially accept.
+
+    To-morrow, if all be well, I shall have time to look out the Blocks,
+    and they shall be with you soon afterwards.
+
+      Very truly yours,
+        Thomas Hugo.
+
+    C. HINDLEY, ESQ., Rose Hill Terrace,
+    Brighton.
+
+
+    W. H. R. _29th Nov._ [1876.]
+
+    DEAR SIR,
+
+    Herewith the Block. I have made a few corrections (of fact) in your
+    proof.
+
+      Yours sincerely,
+        T. H.
+
+    C. HINDLEY, ESQ., 76, Rose Hill Terrace,
+    Brighton.
+
+The somewhat sudden and unexpected death of the Rev. Thomas Hugo on the
+last day of the year 1876 is now a matter of history.
+
+
+                   In Memoriam.
+              The Rev. T. HUGO, M.A.
+          _Rector of West Hackney Church._
+  Departed this life, Sunday, December 31st, 1876.
+
+  On Christmas Day, before the altar kneeling,
+    Taking that Food by which our souls are fed;
+  Around us all a solemn silence stealing,
+    And broken only by the priests' slow tread.
+
+  Yes, he was there, our good and earnest Rector,
+    And firmly strove his weakness to withstand,
+  Giving the cup, he, the pure Faith's protector--
+    That cup of blessing with a trembling hand.
+
+  His church, for which he felt such admiration,
+    Was deck'd with flow'rs and evergreens that morn,
+  In praise to Christ, who died for our salvation,
+    And deign'd as a weak infant to be born.
+
+  Ah! little did we think that happy morning--
+    So truly, bravely kept he at his post--
+  When next a Sabbath came, to us his warning
+    And kind, yet noble, presence would be lost.
+
+  That solemn sound, which tells of souls departed,
+    Took the glad place of that which calls to prayer,
+  And his loved people, shocked and broken-hearted,
+    Could hardly enter, for _he_ was not there.
+
+  But when they heard it was his last desire
+    That they should meet at midnight as was said,
+  They met by thousands, mov'd with holy fire,
+    And spoke in whispers of their shepherd--_dead_.
+
+  No, no, not dead, but calm in Jesus sleeping;
+    Free from all sorrow, all reproach, all pain:
+  And though he leaves a congregration weeping
+    Their earthly loss is his eternal gain.
+
+  He loved the weak, and all the mute creation,
+    In generous deeds he ever took his part;
+  At Death, the _thrice_-repeated word _Salvation_
+    Showed the firm trust of that true, tender heart.
+
+         *       *       *       *       *
+
+  Again we meet: they come his coffin bringing
+    Midst solemn chant, and deck'd with purest flowers,
+  And feel, whilst we his own sweet hymn are singing,
+    The joy is _his_, the sad rememberance _ours_.
+                                        Mrs. HILDRETH.
+
+
+At the sale of the HUGO COLLECTION, I purchased among many others:--
+
+    LOT 405. London Cries, also used in Newcastle and York Cries, two very
+    pretty series of early Cries, some with back-grounds, from Hodgson's
+    office, and R. Robinson, Newcastle--[51 _blocks_],
+
+To carry out the suggestion before-mentioned, and to utilize the very
+pretty series of fifty-one woodcuts as above, and other Bewick,
+Bewickiana, and _ultra anti_-Bewickian woodcut blocks I possess, formed
+and accumulated by reason of my published works: "The Catnach Press,"
+1868. "Curiosities of Street Literature," 1871. And "Life and Times of
+James Catnach," 1878.
+
+In collecting information on the subject of "The Cries of London--Ancient
+and Modern," I have availed myself of all existing authorities within
+reach, and therefore, to prevent the necessity of continual reference,
+here state that I have drawn largely from Charles Knight's "London."
+Mayhew's "London Labour and the London Poor." Hone's "Every-Day Book." An
+article on Old London Cries, in "Fraser's Magazine." "Cuthbert Bede." Mr.
+Edwin Goadby's "The England of Shakespeare,"--an excellent Text Book,
+forming one of Cassell's Popular Shilling Library. "Our Milk Supply," from
+the columns of _The Daily Telegraph_. Charles Manby Smith's "Curiosities
+of London Life," and his "Little World of London." And what from various
+other sources was suitable for my purpose.
+
+To the one lady, and many gentlemen friends who have responded to my
+enquiries for advice, material, and assistance, and by which they have so
+greatly enriched the contents of this volume, I beg to express my best
+thanks. I must in a more particular manner mention the names of--the one
+lady first--Mrs. Rose Hildreth; then Mr. John Furbor Dexter, Mr. William
+Mansell; next Messrs. W. H. & L. Collingridge, the Proprietors of _The
+City Press_, Aldersgate-street, London, for the use of the following
+woodcuts that have appeared in the pages of their ever-entertaining work,
+"Y{e} OLD CITY," by Aleph.: 1.--Shakespeare's London; 2.--Aldersgate;
+3.--Cheapside Cross; 4.--Old Stage Waggon; 5.--Baynard's Castle; 6.--Old
+London Shop; 7.--St. Pauls Cathedral. I have also to express my cordial
+thanks to Messrs. Longman, Green & Co., who kindly allowed the use of
+1.--Colebrook Cottage; 2.--The Old Queen's Head; and 3.--Canonbury Tower.
+From Howitt's "Northern Heights of London." Messrs. Chatto & Windus,
+Piccadilly: 1.--Charles Lamb's House, Enfield; 2.--House at Edmonton,
+where Charles Lamb died; 3.--Edmonton Church. Messrs. Marks and Sons,
+Publishers of all kinds of Fancy Stationery, Toy-books, Valentines, &c.,
+72, Houndsditch, for the eight blocks used in their "Cries of London," at
+pages 351 to 358. Messrs. Goode, Toy-book Manufacturers, Clerkenwell
+Green. Mr. John W. Jarvis, Mr. William Briggs, Mr. G. Skelly, Alnwick, and
+Dr. David Morgan, Brighton.
+
+       *       *       *       *       *
+
+SECOND EDITION.
+
+The rapid sale of the whole of the First Edition of this work--about one
+half of which went Due-North, that is to say, in and round about "Canny
+Newcassel" (the home-land of the Brothers Bewick), America taking the
+remainder,--will sufficiently explain the re-appearance of "A History of
+the Cries of London" in its new, and, the Author ventures to think,
+improved form.
+
+  RECTORY ROAD, STOKE NEWINGTON,
+  LONDON, N.
+
+  _Lady-Day._, 1884.
+
+
+
+
+  CATALOGUE OF THE
+  CHOICE AND VALUABLE COLLECTION
+  OF BOOKS, WOOD ENGRAVINGS,
+  AND ENGRAVED WOODCUT BLOCKS,
+  Manuscripts, Autograph Letters & Proof Impressions,
+  BY OR RELATING TO THOMAS AND JOHN BEWICK,
+  AND THEIR PUPILS,
+  GLEANED FROM EVERY AVAILABLE SOURCE BY THE LATE
+
+
+  REV. THOMAS HUGO, M.A., F.S.A.,
+
+  AUTHOR OF "THE BEWICK COLLECTOR," 1866;
+  "SUPPLEMENT TO SAME," 1868; AND
+  "BEWICK WOODCUTS," (folio) 1870.
+
+
+  WHICH WILL BE SOLD BY AUCTION,
+  BY MESSRS.
+  SOTHEBY, WILKINSON & HODGE,
+
+  _Auctioneers of Literary Property & Works illustrative of the Fine Arts_,
+  At their House, No. 13, Wellington Street, Strand, W.
+  On WEDNESDAY, 8th of AUGUST, 1877, and following Day,
+  AT ONE O'CLOCK PRECISELY.
+  May be Viewed Two Days prior, and Catalogues had.
+
+  Dryden Press: J. Davy and Sons. 137, Long Acre.
+
+
+
+
+[Illustration]
+
+GOLDSMITH AND PARNELL POEMS: Published by William Bulmer, _Shakespeare
+Printing Office_, London, 1795. Embellished with thirteen designs on wood.
+Most of the cuts were drawn by Robert Johnson and John Bewick, and all
+were engraved by Thomas Bewick, except the vignettes on the title-pages,
+and the large cut of "The Sad Historian," and the tail-piece at the end of
+the volume, which was done by John Bewick.
+
+The most magnificent result of the efforts of the wood-engraver,
+type-founder, paper-maker, and printer, "that ever was produced in any
+age, or in any country." Bulmer realized, after paying all expenses, a
+profit of £1,500 on the work these exquisite blocks adorned.
+
+
+[Illustration: [_John Bewick, del. et Sculp._]
+
+THE SAD HISTORIAN.
+
+_Published January 1, 1795, by William Bulmer, at the Shakespeare Printing
+Office, Cleveland Row._]
+
+
+[Illustration: _John Johnson, del._] [_T. Bewick, Sculp._
+
+THE HERMIT AT HIS MORNING DEVOTIONS.
+
+_Published January 1, 1795, by William Bulmer, at the Shakespeare Printing
+Office, Cleveland Row._]
+
+
+[Illustration: _R Johnson, del._] [_T. Bewick, Sculp._
+
+THE HERMIT, ANGEL, AND GUIDE.
+
+_Published January 1, 1795, by William Bulmer, at the Shakespeare Printing
+Office, Cleveland Row._]
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+  THE CHASE.
+  _A POEM_
+  BY WILLIAM SOMERVILE, ESQ.
+
+  LONDON:
+  Printed by W. Bulmer & Co.,
+  Shakespeare Printing Office, Cleveland Row.
+
+  1796.]
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+SOMERVILE'S CHASE.]
+
+This work contains the best specimens of John Bewick's abilities as a
+designer; all the cuts were drawn by him except one, but none of them were
+engraved by him. Shortly after he had finished the drawings on the blocks,
+he left London and returned to the North in consequence of ill-health.
+They were engraved by Thomas Bewick, with the exception of the tail-piece
+at the end of the volume, which was engraved by Charles Nesbit, one of his
+pupils.
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+SOMERVILE'S CHASE.]
+
+The cuts in the Chase, on the whole, are superior in point of execution to
+those in the Poems of Goldsmith and Parnell. Many conceive it impossible
+that such delicate effects could be produced from blocks of wood, and his
+late Majesty (George III.) ordered his bookseller, Mr. George Nicolls, to
+procure the blocks for his inspection, that he might convince himself of
+the fact.
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+SOMERVILE'S CHASE.]
+
+Speaking of the death of John Bewick, which took place at Ovingham on the
+5th of December, 1795,--aged 35, a writer in the _Gentleman's Magazine_
+says, "The works of this young artist will be held in estimation, and the
+engravings to 'Somervile's Chase' will be a monument of fame of more
+celebrity than marble can bestow."
+
+
+[Illustration: THE PEACOCK. (_Pavo cristatus_, Linn.----_Le Paon_, Buff.)
+(From Bewick's Land Birds.)]
+
+[Illustration: THE COMMON SANDPIPER. (Bewick's Water Birds).]
+
+[Illustration: THE WATER OUZEL. (Bewick's Water Birds.)]
+
+[Illustration: THE SNIPE. (Bewick's Water Birds.)]
+
+[Illustration: THE REDSTART. (Bewick's Water Birds.)]
+
+
+[Illustration: _FIRST STATE!_]
+
+  "THE LITTLE HOUSE" and PIG, &C.
+
+  "Snug in an English garden's shadiest spot
+    A structure stands, and welcomes many a breeze;
+  Lonely and simple as a ploughman's cot!
+    Where monarchs may unbend who wish for ease."
+                                        COLMAN'S--_Broad Grins_.
+
+[Illustration: _SECOND STATE!!_]
+
+Among the very many and all much admired Tail-pieces drawn and engraved by
+Bewick himself, the above, which, in its--_First state!_ is at page 285 of
+vol. i. of 'A History of British Birds,' 1797, has obtained by far the
+greatest notoriety. It appears that soon after publication, it was pointed
+out to Bewick that the nakedness of a prominent part of his subject
+required to be a little more covered--_draped_! So one of his apprentices
+was employed to blacken over with ink all the copies then remaining
+unsold. But by the time Bewick received the 'gentle hint,' a goodly number
+had been delivered to local subscribers and the London agents--Messrs. G.
+G. and J. Robinson. It is these '_not inked!_' copies that are now so
+readily sought after by all "Bewick Collectors."
+
+[Illustration: _THIRD STATE!!!_]
+
+For the next, and all subsequent editions a plug was inserted in the
+block, and the representation of two bars of wood engraved upon it, to
+hide the _part_! However, it seems that before the block was thus altered
+and amended, many impressions on various papers were taken of the--_First
+state!_ The late Rev. Hugo possessed several of such, one of which--_Proof
+on paper_--he gave me on the 10th of November, 1876.--C. H.
+
+
+[Illustration: THE WATER RAIL. (Bewick's Water Birds.)]
+
+[Illustration: THE RED-NECKED GREBE. (Bewick's Water Birds.)]
+
+[Illustration: THE CHILLINGHAM WILD BULL. Used in Richardson's Table Book,
+Vol. vi p. 15. Attributed to T. Bewick.]
+
+[Illustration: _T. Bewick._ GIN AND BITTERS. The Sportsman's Cabinet,
+1803.]
+
+[Illustration: "WILLIE BREW'D A PECK O'MAUT."]
+
+The Poetical Works of Robert Burns. Engravings on Wood by Bewick, from
+designs by Thurston. Alnwick: Printed by Catnach and Davison, 1808. And
+London: Printed for T. Cadell and Davis, Strand, 1814. With cuts
+previously used in Davison's publications.
+
+[Illustration]
+
+"Many of the engravings produced for Burns' Poems, are of a very superior
+class, and cannot be too highly commended."--_Hugo._
+
+[Illustration: "_And for whole days would wander in those places where she
+had been used to walk with Henry._"
+
+  THE HISTORY OF CRAZY JANE.
+  By Sarah Wilkinson.
+  With a Frontispiece by Bewick.
+  ALNWICK: Printed by W. DAVISON, 1813.]
+
+[Illustration: JACKSON'S: A TREATISE ON WOOD ENGRAVING. _See Hugo's
+"Bewick Collector."--The Supplement._]
+
+[Illustration: THE REPOSITORY OF SELECT LITERATURE.
+
+  Adorned with beautiful Engravings by Bewick.
+  ALNWICK: Printed by W. DAVISON, 1808.]
+
+[Illustration: ARMS OF NEWCASTLE. (_Signed_ Bewick, _Sculpt._)]
+
+[Illustration: BULL PURSUING A MAN.
+
+  THE POETICAL WORKS OF ROBERT FERGUSON, with his Life.
+  Engravings on Wood by BEWICK.]
+
+[Illustration: "SANDIE AND WILLIE."
+
+  THE POETICAL WORKS OF ROBERT FERGUSON.
+  Alnwick: Printed by W. DAVISON.--1814.]
+
+[Illustration: SCOTTISH BALLADS AND SONGS. Printed and Sold by G.
+NICHOLSON, Poughnill, Near Ludlow.]
+
+[Illustration: G. NICHOLSON, PRINTER, Poughnill, near Ludlow.]
+
+[Illustration: G. NICHOLSON, Printer, Poughnill, near Ludlow.]
+
+[Illustration: G. NICHOLSON, Printer.]
+
+[Illustration:
+
+  "_Not to return, how painful the remembrance
+                        Of joys departed,_"
+
+  BLAIR'S GRAVE.
+  Alnwick: Printed by CATNACH and DAVISON,--1808.]
+
+[Illustration: FROM NEWCASTLE. HUGO'S Bewick's Woodcuts, No. 1333.]
+
+[Illustration: VIEW OF STRAWBERRY HILL. With Shield of Arms of the Hon.
+Horace Walpole.]
+
+[Illustration: Mr. Bigge's cut of the FIGURE OF LIBERTY.]
+
+[Illustration: TYNE-SIDE SCENE, With Shield of Arms.]
+
+[Illustration: A CHURCHYARD MEMORIAL CUT.]
+
+[Illustration]
+
+[Illustration]
+
+[Illustration: THE SPORTSMAN'S CALENDER. 1818. HUGO'S "_Bewick's
+Woodcuts_," No. 1309.]
+
+[Illustration]
+
+[Illustration: THE DOG IN THE MANGER.]
+
+[Illustration]
+
+[Illustration: HASTIE'S READING EASY. From Angus's Office, where the book
+was printed.]
+
+
+"Bewick cut for Mrs. Angus, twenty-four figures for the Alphabet:--The Fox
+and Grapes, the Crow and Pitcher, the Foolish Stag, Joseph and his
+Brethren, etc. All of them excellent cuts. The fortieth edition was
+printed in 1814, and the seventy-third in 1839, so that they must have
+been done in his early days."
+
+MS. Note of the late Mr. John Bell, of Newcastle. See Hugo's _Bewick's
+Woodcuts_. No. 240-276.
+
+[Illustration: FOX AND THE GRAPES.]
+
+[Illustration: THE CROW AND PITCHER.]
+
+[Illustration: THE FOOLISH STAG.]
+
+[Illustration: JOSEPH AND HIS BRETHREN.]
+
+[Illustration: _T. Bewick.--Sculpt._]
+
+[Illustration: _T. Bewick.--Sculpt._]
+
+[Illustration: [_R. Johnson, del. Charlton Nesbit, sculpt._]
+
+  Cut to the memory of ROBERT JOHNSON.
+  _Bewick's favourite Pupil._]
+
+
+On the South side of Ovingham Church there is this tablet--
+
+  In Memory of
+  ROBERT JOHNSON,
+  PAINTER AND ENGRAVER.
+  A NATIVE OF THIS PARISH.
+  Who died at Kenmore in Perthshire,
+  _The 29th, of October, 1796_.
+  IN THE 26th, YEAR OF HIS AGE.
+
+
+[Illustration: THOMAS BEWICK.]
+
+Thomas Bewick died at his house on the Windmill-Hills, Gateshead, November
+the 8th, 1828, in the seventy-sixth year of his age, and on the 13th he
+was buried in the family burial-place at Ovingham, where his parents,
+wife, and brother were interred.
+
+[Illustration]
+
+[Illustration]
+
+[Illustration: "O death, where is thy sting? O grave, where is thy
+victory?"]
+
+
+
+
+A HISTORY OF THE CRIES OF LONDON.
+
+
+
+
+  A HISTORY
+  OF THE
+  CRIES OF LONDON
+
+  (Ancient & Modern)
+
+
+  SECOND EDITION
+
+  Greatly Enlarged and
+  Carefully Revised.
+
+
+
+
+HISTORY OF THE CRIES OF LONDON.
+
+  "Let none despise the merry, merry cries
+  Of famous London Town":--_Rex. Ballad._
+
+
+The cries of London have ever been very popular, whether as broadsides,
+books, ballads, or engravings. Artists of all countries and times have
+delighted to represent those peculiarities of costume and character which
+belong to the history of street-cries, and the criers thereof. Annibale
+Carracci--1560-1609--has immortalized the cries of Bologna; and from the
+time of Elizabeth to that of Queen Victoria, authors, artists and printers
+combined, have presented the Cries and Itinerant Trades of London, in
+almost numberless forms, and in various degrees of quality, from the
+roughest and rudest wood-cut-blocks to the finest of copper and steel
+plate engravings, or skilfully wrought etchings. While many of the early
+English dramatists often introduced the subject, eminent composers were
+wont to "set to music" as catch, glee, or roundelaye, all the London Cries
+then most in vogue,--"They were, I ween, ryght merrye songs, and the
+musick well engraved."
+
+The earliest mention of London trade-cries is by Dan John Lydgate
+(1370-1450), a Monk of the Benedictine Abbey of Bury St. Edmund's, the
+friend and immediate follower of Geoffrey Chaucer, and one of the most
+prolific writers of his age this country has produced. To enumerate
+Lydgate's pieces would be to write out the catalogue of a small library.
+No poet seems to have possessed a greater versatility of talents. He moves
+with equal ease in every mode of composition; and among his minor pieces
+he has left us a very curious poem entitled "London Lyckpeny," _i.e._,
+_London Lackpenny_: this has been frequently printed; by Strutt, Pugh,
+Nicolas, and partly by John Stow in "A Survey of London," 1598. There are
+two copies in the British Museum, Harl. MSS., 367 and 542. We somewhat
+modernize the text of the former and best of these copies, which differ
+considerably from each other.
+
+  "O Mayster Lydgate! the most dulcet sprynge
+  Of famous rethoryke, with balade ryall
+  The chefe orygynal."
+                      _"The Pastyme of Plasure," by Stephen Hawes, 1509._
+
+In "London Lackpenny" we have a most interesting and graphic picture of
+the hero coming to Westminster, in term time, to obtain legal redress for
+the wrong he had sustained, and explain to a man of law his case--"_How my
+goods were defrauded me by falsehood_," but being without the means to pay
+even the preliminary fee, he was sent--"from pillar to post," that is from
+one Law-court to another, but although he "_crouched, kneeled, prayed for
+God's sake, and Mary's love_, he could not get from one the--_mum of his
+mouth_." So leaving the City of Westminster--minus his hood, he walked on
+to the City of London, which he tells us was crowded with peripatetic
+traders, but tempting as all their goods and offers were, his
+_lack-of-money_ prevented him from indulging in any of them--But, however,
+let _Lackpenny_, through the ballad, speak for himself:--
+
+[Illustration: London Lackpenny.]
+
+  To London once my steps I bent,
+    Where truth in no wise should be faint,
+  To Westminster-ward I forthwith went,
+    To a man of law to make complaint,
+    I said, "for Mary's love, that Holy saint!
+  Pity the poor that would proceed,"
+  But, for lack of money, I could not speed.
+
+  And as I thrust the _prese_ among, [crowd]
+    By froward chance my hood was gone,
+  Yet for all that I stayed not long,
+    Till to the King's Bench I was come,
+    Before the Judge I kneeled anon,
+  And prayed him for God's sake to take heed;
+  But, for lack of money, I might not speed.
+
+  Beneath them sat Clerks a great rout,
+    Which fast did write by one assent,
+  There stood up one and cryed about,
+    Richard, Robert, and John of Kent.
+    I wist not well what this man meant,
+  He cried so thick there indeed,
+  But he that lacked money, might not speed.
+
+  Unto the Common-place _I yode thoo_, [I went then]
+    Where sat one with a silken hood;
+  I did him reverence, for I ought to do so,
+    And told him my case as well as I could,
+    How my goods were defrauded me by falsehood.
+  I gat not a mum of his mouth for my meed,
+  And, for lack of money, I might not speed.
+
+  Unto the Rolls I gat me from thence,
+    Before the clerks of the Chancery,
+  Where many I found earning of pence,
+    But none at all once regarded me,
+    I gave them my plaint upon my knee;
+  They liked it well, when they had it read:
+  But, lacking money, I could not speed.
+
+  In Westminster Hall I found out one,
+    Which went in a long gown of _ray_; [velvet]
+  I crouched and kneeled before him anon,
+    For Mary's love, of help I him pray.
+    "I wot not what thou meanest" gan he say:
+  To get me thence he did me bede,
+  For lack of money, I could not speed.
+
+  Within this Hall, neither rich nor yet poor
+    Would do for me ought, although I should die:
+  Which seeing, I gat me out of the door,
+    Where Flemings began on me for to cry:
+    "Master, what will you _copen or buy_? [chap or exchange]
+  Fine felt hats, or spectacles to read?
+  Lay down your silver, and here you may speed."
+
+Spectacles to read before printing was invented must have had a rather
+limited market; but we must bear in mind where they were sold. In
+Westminster Hall there were lawyers and rich suitors
+congregated,--worshipful men, who had a written law to study and expound,
+and learned treatises diligently to peruse, and titles to hunt after
+through the labyrinths of fine and recovery. The dealer in spectacles was
+a dealer in hats, as we see; and the articles were no doubt both of
+foreign manufacture. But lawyers and suitors had also to feed, as well as
+to read with spectacles; and on the Thames side, instead of the
+coffee-houses of modern date, were tables in the open air, where men every
+day ate of "_bread, ribs of beef, both fat and full fine_," and drank
+jollily of "_ale and wine_," as they do now at a horse-race:--
+
+  Then to Westminster Gate I presently went,
+    When the sun was at high prime:
+  Cooks to me, they took good intent,
+    And proffered me bread, with ale and wine,
+    Ribs of beef, both fat and full fine;
+  A fair cloth they gan for to spread,
+  But, wanting money, I might not there speed.
+
+Passing from the City of Westminster, through the village of Charing and
+along Strand-side, to the City of London, the cries of food and feeding
+were first especially addressed to those who preferred a vegetable diet,
+with dessert and "_spice, pepper, and saffron_" to follow. "_Hot peascod
+one began to cry_," Peascod being the shell of peas; the _cod_ what we now
+call the _pod_:--
+
+  "Were women as little as they are good,
+  A peascod would make them a gown and hood."
+
+"_Strawberry ripe, and cherries in the rise._" Rise--branch, twig, either
+a natural branch, or tied on sticks as we still see them.
+
+  Then unto London I did me hie,
+    Of all the land it beareth the prize;
+  Hot peascods! one began to cry;
+    Strawberry ripe, and Cherries in the rise!
+    One bade me come near and buy some spice;
+  Pepper and saffron they gan me _bede_; [offer to me]
+  But, for lack of money, I might not speed.
+
+In Chepe (Cheapside) he saw "_much people_" standing, who proclaimed the
+merits of their "_velvets, silk, lawn, and Paris thread_." These, however,
+were shopkeepers; but their shops were not after the modern fashion of
+plate-glass windows, and carpeted floors, and lustres blazing at night
+with a splendour that would put to shame the glories of an eastern palace.
+They were rude booths, the owners of which bawled as loudly as the
+itinerants; and they went on bawling for several centuries, like butchers
+in a market, so that, in 1628, Alexander Gell, a bachelor of divinity, was
+sentenced to lose his ears and to be degraded from the ministry, for
+giving his opinion of Charles I., that he was fitter to stand in a
+Cheapside shop with an apron before him, and say "What do ye lack, what do
+ye lack? What lack ye?" than to govern a kingdom.
+
+  Then to the Chepe I began me drawn,
+    Where much people I saw for to stand;
+  One offered me velvet, silk, and lawn;
+    Another he taketh me by the hand,
+    "Here is Paris thread, the finest in the land."
+  I never was used to such things indeed;
+  And, wanting money, I might not speed.
+
+  Then went I forth by London Stone,
+    Throughout all Canwyke Street:
+  Drapers much cloth me offered anon;
+    Then comes in one crying "Hot sheep's feet;"
+    One cried mackerel, rushes green, another gan greet;
+  One bade me buy a hood to cover my head;
+  But, for want of money, I might not speed.
+
+The London Stone, the _lapis milliaris_ (mile stone) of the Romans, has
+never failed to arrest the attention of the "Countryman in Lunnun." The
+Canwyke Street of the days of John Lydgate, is the Cannon Street of the
+present. "_Hot sheep's feet_," which were cried in the streets in the time
+of Henry V., are now sold _cold_ as "sheep's trotters," and vended at the
+doors of the lower-priced theatres, music-halls, and public-houses. Henry
+Mayhew in his "London Labour and the London Poor," estimates that there
+are sold weekly 20,000 sets, or 80,000 feet. The wholesale price at the
+"trotter yard" is five a penny, which gives an outlay by the street
+sellers of £3,033 6s. 8d. yearly. The cry which is still heard and
+tolerated by law, that of _Mackerel_ rang through every street. The cry of
+_Rushes-green_ tells us of by-gone customs. In ages long before the
+luxury of carpets was known in England, the floors of houses were covered
+with rushes. The strewing of rushes in the way where processions were to
+pass is attributed by our poets to all times and countries. Thus at the
+coronation of Henry V., when the procession is coming, the grooms cry--
+
+  "More rushes, more rushes."
+
+_Not worth a rush_ became a common comparison for anything worthless; the
+rush being of so little value as to be trodden under foot. _Rush-lights_,
+or candles with rush wicks, are of the greatest antiquity.
+
+  Then I hied me into East-chepe,
+    One cries ribs of beef, and many a pie;
+  Pewter pots they clattered on a heap;
+    There was harp, pipe, and minstrelsy;
+    "Yea by Cock! Nay by Cock!" some began cry;
+  Some sung of Jenkin and Julian for their meed;
+  But, for lack of money, I might not speed.
+
+Eastcheap, this ancient thoroughfare, originally extended from
+Tower-street westward to the south end of Clement's-lane, where
+Cannon-street begins. It was the Eastern Cheap or Market, as distinguished
+from Westcheap, now Cheapside. The site of the Boar's Head Tavern, first
+mentioned _temp._ Richard II., the scene of the revels of Falstaff and
+Henry V., when Prince of Wales, is very nearly that of the statue of King
+William IV. _Lackpenny_ had presented to him several of the real Signs of
+the Times and of Life in London with "_ribs of beef_--_many a
+pie_--_pewter pots_--_music and singing_"--_strange oaths_, "_Yea by
+Cock_" being a vulgar corruption for a profane oath. Our own taverns still
+supply us with ballad-singers--"_Buskers_"--who will sing of "_Jenkin and
+Julian_"--Ben Block; or, She Wore a Wreath of Roses, "_for their meed_."
+
+  Then into Cornhill anon I _yode_, [went]
+    Where was much stolen gear among;
+  I saw where hung mine own hood
+    That I had lost among the throng;
+    To buy my own hood I thought it wrong;
+  I knew it well, as I did my creed;
+  But, for lack of money, I could not speed.
+
+The manners and customs of the dwellers in Cornhill in the time of John
+Lydgate, when a stranger could have his hood stolen at one end of the town
+and see it exposed for sale at the other, forcibly reminds us of
+Field-lane and the Jew Fagin, so faithfully sketched in pen and ink by
+Charles Dickens of our day. Where "a young man from the country" would run
+the risk of meeting with an Artful Dodger, to pick his pocket of his silk
+handkerchief at the entrance of the Lane, and it would be offered him for
+sale by a Jew fence at the end, not only "Once a Week" but "All the Year
+Round." However, when Charles Dickens and Oliver Twist came in, Field-lane
+and Fagin went out.
+
+At length the Kentish man being wearied, falls a prey to the invitation of
+a taverner, who with a cringing bow, and taking him by the
+sleeve:--"_Sir_," saith he, "_will you our wine assay?_" Whereupon
+_Lackpenny_, coming to the safe conclusion that "_a penny can do no more
+than it may_," enters the tempting and hospitable house of entertainment,
+and there spends his only penny, for which he is supplied with a pint of
+wine:--
+
+  The taverner took me by the sleeve,
+    "Sir," saith he, "will you our wine assay?"
+  I answered "That cannot be much grieve,
+    A penny can do no more than it may;"
+    I drank a pint, and for it did pay;
+  Yet, sore a-hungered from hence I _yode_, [went]
+  And, wanting money, I could not speed.
+
+Worthy old John Stow supposes this interesting incident to have happened
+at the Pope's Head, in Cornhill, and bids us enjoy the knowledge of the
+fact, that:--"Wine one pint for a pennie, and bread to drink it was given
+free in every taverne." Yet Lydgate's hero went away "_Sore a-hungered_,"
+for there was no eating at taverns at this time beyond a crust to relish
+the wine, and he who wished to dine before he drank had to go to the
+cook's.
+
+Wanting money, _Lackpenny_ has now no choice but to return to the country,
+and applies to the watermen at Billingsgate:--
+
+  Then hied I me to Billingsgate,
+    And one cried "Hoo! go we hence!"
+  I prayed a bargeman, for God's sake,
+    That he would spare me my expense,
+    "Thou scap'st not here, quod he, under two-pence,
+  I list not yet bestow any almes deed."
+  Thus, lacking money, I could not speed.
+
+We have a corroboration of the accuracy of this picture in Lambarde's
+"Perambulation of Kent." The old topographer informs us that in the time
+of Richard II. the inhabitants of Milton and Gravesend agreed to carry in
+their boats, from London to Gravesend, a passenger with his truss or
+fardel [burden] for twopence.
+
+  Then I conveyed me into Kent;
+    For of the law would I meddle no more;
+  Because no man to me took entent,
+    I _dyght_ [prepared] me to do as I did before.
+    Now Jesus, that in Bethlem was bore,
+  Save London, and send true lawyers their meed!
+  For whoso wants money, with them shall not speed.
+
+The poor Kentish suitor, without two-pence in his pocket to pay the
+Gravesend bargemen, whispers a mild anathema against London lawyers, then
+takes his solitary way on foot homeward--a sadder and a wiser man.
+
+       *       *       *       *       *
+
+With unpaved streets, and no noise of coaches to drown any particular
+sound, we may readily imagine the din of the great London thoroughfares of
+four centuries ago, produced by all the vociferous demand for custom. The
+chief body of London retailers were then itinerant,--literally pedlars;
+and those who had attained some higher station were simply stall-keepers.
+The streets of trade must have borne a wonderful resemblance to a modern
+fair. Competition was then a very rude thing, and the loudest voice did
+something perhaps to carry the customer.
+
+[Illustration: THE LONDON STONE.]
+
+[Illustration]
+
+In the old play entitled:--"A ryght excellent and famous Comedy called the
+_Three Ladies of London_, wherein is Notable declared and set fourth, how
+by the meanes of Lucar, Love and Conscience is so corrupted, that the one
+is married to Dissimulation, the other fraught with all abhomination. A
+Perfect Patterne of All Estates to looke into, and a worke ryght worthie
+to be marked. Written by R. W.; as it hath been publiquely played. At
+London, Printed by Roger Warde, dwelling neere Holburne Conduit at the
+sign of the Talbot, 1584," is the following poetical description of some
+London cries:--
+
+[Illustration]
+
+  _Enter_ CONSCIENCE, with brooms, singing as followeth:--
+
+  _New broomes, green broomes, will you buy any?
+  Come maydens, come quickly, let me take a penny.
+          My brooms are not steeped,
+            But very well bound:
+          My broomes be not crooked,
+            But smooth cut and round.
+          I wish it would please you,
+            To buy of my broome:
+          Then would it well ease me,
+            If market were done.
+
+          Have you any olde bootes,
+            Or any old shoone:
+          Powch-ringes, or buskins,
+            To cope for new broome?
+          If so you have, maydens,
+            I pray you bring hither;
+          That you and I, friendly,
+            May bargin together.
+  New broomes, green broomes, will you buy any?
+  Come maydens, come quickly, let me take a penny._
+
+
+  CONSCIENCE _speaketh_.
+
+  Thus am I driven to make a virtue of necessity;
+  And seeing God Almighty will have it so, I embrace it thankfully,
+  Desiring God to mollify and lesson Usury's hard heart,
+  That the poor people feel not the like penury and smart.
+  But Usury is made tolerable amongst Christians as a necessary thing,
+  So that, going beyond the limits of our law, they extort, and to many
+      misery bring.
+  But if we should follow God's law we should not receive above what we
+      lend;
+  For if we lend for reward, how can we say we are our neighbour's friend?
+  O, how blessed shall that man be, that lends without abuse,
+  But thrice accursed shall he be, that greatly covets use;
+  For he that covets over-much, insatiate is his mind:
+  So that to perjury and cruelty he wholly is inclined:
+  Wherewith they sore oppress the poor by divers sundry ways,
+  Which makes them cry unto the Lord to shorten cut-throats' days.
+  Paul calleth them thieves that doth not give the needy of their store,
+  And thrice accurs'd are they that take one penny from the poor.
+  But while I stand reasoning thus, I forget my market clean;
+  And sith God hath ordained this way, I am to use the mean.
+
+  Sings again.
+
+  _Have ye any old shoes, or have ye any boots? have ye any buskins, or
+      will ye buy any broome?
+  Who bargins or chops with Conscience? What will no customer come?_
+
+  _Enter_ USURY.
+
+
+  USURY.
+
+  Who is that cries brooms? What, Conscience, selling brooms about the
+      street?
+
+
+  CONSCIENCE.
+
+  What, Usury, it is a great pity thou art unhanged yet.
+
+
+  USURY.
+
+  Believe me, Conscience, it grieves me thou art brought so low.
+
+
+  CONSCIENCE.
+
+  Believe me, Usury, it grieves me thou wast not hanged long ago,
+  For if thou hadst been hanged, before thou slewest Hospitality,
+  Thou hadst not made me and thousands more to feel like Poverty.
+
+By another old comedy by the same author as the preceding one, which he
+entitles:--"The pleasant and Stately Morall of the _Three Lords and Three
+Ladies of London_. With the great Joye and Pompe, Solemnized at their
+Marriages: Commically interlaced with much honest Mirth, for pleasure and
+recreation, among many Morall observations, and other important matters of
+due regard. By R. W., London. Printed by R. Ihones, at the Rose and
+Crowne, neere Holburne Bridge, 1590," it appears that woodmen went about
+with their beetles and wedges on their backs, crying "_Have you any wood
+to cleave?_" It must be borne in mind that in consequence of the many
+complaints against coal as a public nuisance, it was not in common use in
+London until the reign of Charles I., 1625.
+
+There is a character in the play named _Simplicity_, a poor Freeman of
+London, who for a purpose turns ballad-monger, and in answer to the
+question of "What dainty fine ballad have you now to be sold?"
+replies:--"I have '_Chipping-Norton_,' '_A mile from Chapel o' th'
+Heath_'--'_A lamentable ballad of burning of the Pope's dog_;' '_The sweet
+ballad of the Lincolnshire bagpipes_;' and '_Peggy and Willy: But now he
+is dead and gone; Mine own sweet Willy is laid in his grave_.'"
+
+[Illustration: SHAKESPEARE'S LONDON.
+
+  "City of ancient memories! Thy spires
+  Rise o'er the dust of worthy sons; thy walls,
+  Within their narrow compass, hold as much
+  Of Freedom as the whole wide world beside."]
+
+The London of Shakespeare, Ben Jonson and Co.,--_Limited_ as it was within
+its great wall, occupied very much the same space as that now covered by
+the City proper; its streets were narrow and winding, yet there were still
+left many open spaces; it was covered with people; its river was full of
+shipping; it was rich, prosperous, and possessed of a considerable amount
+of liberty. The great wall of London, broad and strong, with towers at
+intervals, was more than two miles long, from end to end, beginning at the
+Tower of London on the east, and ending at the Fleet River and the Thames
+on the west.
+
+[Illustration: ALDERSGATE.]
+
+As regards the gates, there were anciently only four--namely, Aldersgate,
+Aldgate, Ludgate, and Bridgegate--that is to say, one for each of the
+cardinal points. Then other gates and posterns were added for the
+convenience of the citizens: Bishopsgate, for those who had business in
+the direction of Norfolk, Suffolk, or Cambridgeshire; Moorgate, for those
+who would practice archery, or take their recreation in Moor Fields;
+Cripplegate, more ancient than the two preceding, had a prison for debtors
+attached to it; and there was also a postern for the Convent of Grey
+Friars, now Christ's Hospital. At Newgate was a small, incommodious, and
+fever-haunted prison for criminals; and at Ludgate was another prison,
+appropriated to debtors, trespassers, and those who committed contempt of
+Court. Along the river-side were several water-gates, the chief of which
+were Blackfriars, Greenhithe, Dowgate and Billingsgate.
+
+Within the narrow space of the City Walls there rose a forest of towers
+and spires. The piety of Merchants had erected no fewer than a hundred and
+three churches, which successive citizens were continually rebuilding,
+beautifying, or enlarging. They were filled with the effigies and splendid
+tombs, the painted and gilded arms, of their founders and benefactors, for
+whose souls masses were continually said.
+
+[Illustration: CHEAPSIDE CROSS.]
+
+"London was divided into Wards, and was perhaps as catholic in its
+commercial and industrial pursuits then as now. Every kind of trade was
+carried on within its walls, just as every kind of merchandise was sold.
+The combination of fellows of the same craft began in very early times,
+guilds were formed for the protection of trade and its followers; the
+guild-brothers met once a month to consider the interests of the craft,
+regulating prices, recovering debts and so forth. But the London of the
+period was not so gay as Paris, nor so bustling and prosperous as Antwerp,
+nor so full of splendour and intellectual life as Venice.[1] Yet to the
+Englishman of the day it was an ever-lasting wonder. Its towers and
+palaces, its episcopal residences and gentlemen's inns, the bustle of its
+commerce, the number of its foreigners, the wealth of its Companies, and
+the bravery of its pageants, invested it with more poetry than can be
+claimed for it at the present time, unless Wealth be our deity, Hurry our
+companion, and Progress our muse. The rich were leaving their pleasant
+country mansions to plunge into its delights. At the law terms there was a
+regular influx of visitors, who seemed to think more of taking tobacco
+than of winning a lawsuit. Ambitious courtiers, hopeful ecclesiastics,
+pushing merchants, and poetic dreamers, were all caught by the
+fascinations of London. Site, antiquity, life, and, above all, abundance
+of the good things that make up half its charm, in the shape of early
+delicacies, costly meats, and choice wines, combined to make it a
+miraculous city in the eyes of the Elizabethan."
+
+"The external appearance of the City was certainly picturesque. Old grey
+walls threw round it the arm of military protection. Their gates were
+conspicuous objects, and the white uniforms of the train-bands on guard,
+with their red crosses on the back, fully represented the valour which
+wraps itself in the British flag and dies in its defence. To the north
+were the various fields whose names survive, diversified by an occasional
+house, and Dutch-looking windmills, creaking in the breeze. Finsbury was a
+fenny tract, where the City archers practised; Spitalfields, an open,
+grassy place, with grounds for artillery exercise and a market cross; and
+Smithfield, or Smoothfield, was an unenclosed plain, where tournaments
+were held, horses were sold, and martyrs had been burnt. To the east was
+the Tower of London, black with age, armed with cannon and culverin, and
+representing the munificence which entertained royalty as well as the
+power which punished traitors. Beyond it was Wapping, the Port of London,
+with its narrow streets, its rope-walks and biscuit shops. Black fronted
+taverns, with low doorways and leaden framed windows, their rooms reeking
+with smoke and noisy with the chatter of ear-ringed sailors, were to be
+found in nearly every street. Here the merchant adventurer came to hire
+his seamen, and here the pamphleteer or the ballad-maker could any night
+gather materials for many a long-winded yarn about Drake and the Spanish
+main, negroes, pearls, and palm-groves.
+
+[Illustration: OLD STAGE WAGGON.]
+
+"To the west, the scene was broken with hamlets, trees, and country roads.
+Marylebone and Hyde Park were a royal hunting-ground, with a manor house,
+where the Earls of Oxford lived in later times. Piccadilly was 'the road
+to Reading,' with foxgloves growing in its ditches, gathered by the
+simple dealers of Bucklersbury, to make anodynes for the weary-hearted.
+Chelsea was a village; Pimlico a country hamlet, where pudding-pies were
+eaten by strolling Londoners on a Sunday. Westminster was a city standing
+by itself, with its Royal Palace, its Great Hall for banquets and the
+trial of traitors, its sanctuary, its beautiful Abbey, and its famous
+Almonry. St. James's Park was walled with red brick, and contained the
+palace Henry VIII. had built for Anne Boleyn. Whitehall Palace was in its
+glory. The Strand, along which gay ladies drove in their 'crab-shell
+coaches,' had been recently paved, and its streams of water diverted. A
+few houses had made their appearance on the north side of the Strand,
+between the timber house and its narrow gateway, which then formed Temple
+Bar, the boundary between London and Westminster, and the church of St.
+Mary-le-Strand. The southern side was adorned with noble episcopal
+residences, and with handsome turreted mansions, extending to the river,
+rich with trees and gardens, and relieved by flashes of sparkling water.
+
+[Illustration: SMITH'S ARMS, BANKSIDE.[2]]
+
+"To the south, Lambeth, with its palace and church, and Faux Hall, were
+conspicuous objects. Here were pretty gardens and rustic cottages. The
+village of Southwark, with its prisons, its public theatres, its palace,
+and its old Tabard Inn, had many charms. It was the abode of Shakespeare
+himself, as he resided in a good house in the Liberty of the Clink, and
+was assessed in the weekly payment of 6d., no one but Henslowe, Alleyn,
+Collins, and Barrett, being so highly rated. That part of the Borough of
+Southwark known as Bankside was not only famous in Shakespeare's time for
+its Theatres, but also as the acknowledged retreat of the warmest of the
+_demi-monde_!
+
+  "'And here, as in a tavern, or a stew,
+  He and his wild associates spend their hours.'"
+                                        --_Ben Jonson._
+
+"We fear our best zeal for the drama will not authorise us to deny that
+Covent-garden and Drury-lane have succeeded to the _Bank-side_ in every
+species of fame!
+
+[Illustration: THE GLOBE THEATRE.]
+
+"We must not forget the river Thames. It was one of the sights of the
+time. Its waters were pure and bright, full of delicate salmon, and
+flecked by snowy swans, 'white as Lemster wool.' Wherries plied freely on
+its surface. Tall masts clustered by its banks. Silken-covered tiltboats,
+freighted with ruffed and feathered ladies and gentlemen, swept by, the
+watermen every now and then breaking the plash of the waves against their
+boats by singing out, in their bass voices, 'Heave and how, rumbelow.' At
+night, the scene reminded the travelled man of Venice. All the mansions by
+the water-side had river-terraces and steps, and each one its own
+tiltboat, barge, and watermen. Down these steps, lighted by torches and
+lanterns, stepped dainty ladies, in their coloured shoes, with masks on
+their faces, and gay gallants, in laced cloaks, by their side, bound for
+Richmond or Westminster, to mask and revel. Noisy parties of wits and
+Paul's men crossed to Bankside to see _Romeo and Juliet_, or _Hamlet the
+Dane_, or else 'The most excellent historie of the _Merchant of Venice_,
+with the extreme crueltie of _Shylocke_, the Jewe, towards the sayd
+merchant, in cutting a just pound of his flesh, and obtaining of Portia by
+the choyse of three caskets, as it hath diverse times been acted by the
+Lord Chamberlain, his servants. Written by William Shakespeare.'
+
+[Illustration: BAYNARD'S CASTLE.]
+
+"From Westminster to London Bridge was a favourite trip. There was plenty
+to see. The fine Strand-side houses were always pointed
+out--Northumberland House, York House, Baynard's Castle, the scene of the
+secret interview between the Duke of York and the Earls of Salisbury and
+Warwick, was singled out, between Paul's Wharf and Puddle Dock. Next to
+the Temple, and between it and Whitefriars, was the region known as
+Alsatia. Here safe from every document but the writ of the Lord Chief
+Justice and the Lords of the Privy Council, in dark dwellings, with
+subterranean passages, narrow streets, and trap-doors that led to the
+Thames, dwelt all the rascaldom of the time--men who had been 'horned' or
+outlawed, bankrupts, coiners, thieves, cheaters at dice and cards,
+duellists, homicides, and foreign bravoes, ready to do any desperate deed.
+At night the contents of this kingdom of villany were sprayed out over
+London, to the bewilderment of good-natured Dogberries, and country
+gentlemen, making their first visit to town.
+
+"Still further down the river was the famous London Bridge. It consisted
+of twenty arches; its roadway was sixty feet from the river; and the
+length of the bridge from end to end was 926 feet.
+
+"It was one of the wonders that strangers never ceased to admire. Its many
+shops were occupied by pin nacres, just beginning to feel the competition
+with the Netherland pin-makers, and the tower at its Southwark end was
+adorned with three hundred heads, stuck on poles, like gigantic pins,
+memorials of treachery and heresy.
+
+"The roar of the river through the arches was almost deafening. 'The noise
+at London Bridge is nothing near her,' says one of the characters in
+Beaumont and Fletcher's _Woman's Prize_. Shakespeare, Ben Jonson & Co.,
+must have crossed the bridge many a time on their visits to the City, to
+'gather humours of men daily,' as Aubrey quaintly expresses it."
+
+The name of Ben Jonson reminds us that in _The Silent Woman_,--one of the
+most popular of his Comedies,--we have presented to us a more vivid
+picture than can elsewhere be found of the characteristic noises, and
+street-cries of London more than two centuries ago. It is easy to form to
+ourselves a general idea of the hum and buzz of the bees and drones of
+this mighty hive, under a state of manners essentially different from our
+own; but it is not so easy to attain a lively conception of the particular
+sounds that once went to make up this great discord, and so to compare
+them in their resemblances and their differences with the roar which the
+great Babel _now_ "sends through all her gates." We propose, therefore, to
+put before our readers this passage of Jonson's comedy; and then,
+classifying what he describes, illustrate our fine old dramatic painter of
+manners by references to other writers, and by the results of our own
+observation.
+
+[Illustration]
+
+The principal character of Jonson's _Silent Woman_ is founded upon a
+sketch by a Greek writer of the fourth century, Libanius. Jonson
+designates this character by the name of "Morose;" and his peculiarity is
+that he can bear no kind of noise, not even that of ordinary talk. The
+plot turns upon this affectation; for having been entrapped into a
+marriage with the "Silent Woman," she and her friends assail him with
+tongues the most obstreperous, and clamours the most uproarious, until, to
+be relieved of this nuisance, he comes to terms with his nephew for a
+portion of his fortune and is relieved of the "Silent Woman," who is in
+reality a boy in disguise. We extract the dialogue of the whole scene; the
+speakers being "Truewitt," "Clerimont," and a "Page":--
+
+    "_True._ I met that stiff piece of formality, Master Morose, his
+    uncle, yesterday, with a huge turban of night-caps on his head,
+    buckled over his ears.
+
+    "_Cler._ O! that's his custom when he walks abroad. He can endure no
+    noise, man.
+
+    "_True._ So I have heard. But is the disease so ridiculous in him as
+    it is made? They say he has been upon divers treaties with the
+    fish-wives and orange-women; and articles propounded between them:
+    marry, the chimney-sweepes will not be drawn in.
+
+    "_Cler._ No, nor the broom-men: they stand out stiffly. He cannot
+    endure a costard-monger; he swoons if he hear one.
+
+    "_True._ Methinks a smith should be ominous.
+
+    "_Cler._ Or any hammer-man. A brasier is not suffer'd to dwell in the
+    parish, nor an armourer. He would have hang'd a pewterer's 'prentice
+    once upon a Shrove-Tuesday's riot, for being of that trade, when the
+    rest were quit.
+
+    "_True._ A trumpet should fright him terribly, or the hautboys.
+
+    "_Cler._ Out of his senses. The waits of the City have a pension of
+    him not to come near that ward. This youth practised on him one night
+    like the bellman, and never left till he had brought him down to the
+    door with a long sword; and there left him flourishing with the air.
+
+    "_Page._ Why, sir, he hath chosen a street to lie in, so narrow at
+    both ends that it will receive no coaches, nor carts, nor any of these
+    common noises; and therefore we that love him devise to bring him in
+    such as we may now and then, for his exercise, to breathe him. He
+    would grow resty else in his cage; his virtue would rust without
+    action. I entreated a bearward, one day, to come down with the dogs of
+    some four parishes that way, and I thank him he did; and cried his
+    games under Master Morose's window; till he was sent crying away, with
+    his head made a most bleeding spectacle to the multitude. And, another
+    time, a fencer marching to his prize had his drum most tragically run
+    through, for taking that street in his way at my request.
+
+    "_True._ A good wag! How does he for the bells?
+
+    "_Cler._ O! In the queen's time he was wont to go out of town every
+    Saturday at ten o'clock, or on holiday eves. But now, by reason of the
+    sickness, the perpetuity of ringing has made him devise a room with
+    double walls and treble ceilings; the windows close shut and caulk'd;
+    and there he lives by candlelight."
+
+The first class of noises, then, against which "Morose" protected his ears
+by "a huge turban of night-caps," is that of the ancient and far-famed
+LONDON CRIES. We have here the very loudest of them--fish-wives,
+orange-women, chimney-sweepers, broom-men, costard-mongers. But we might
+almost say that there were _hundreds_ of other cries; and therefore,
+reserving to ourselves some opportunity for a special enumeration of a few
+of the more remarkable of these cries, we shall now slightly group them,
+as they present themselves to our notice during successive generations.
+
+We shall not readily associate any very agreeable sounds with the voices
+of the "fish-wives." The one who cried "_Mackerel_" in Lydgate's day had
+probably no such explanatory cry as the "_Mackerel alive, alive ho!_" of
+modern times. In the seventeenth century the cry was "_New Mackerel_." And
+in the same way there was:--
+
+[Illustration: NEW WALL-FLEET OYSTERS.]
+
+[Illustration: NEW FLOUNDERS.]
+
+[Illustration: NEW WHITING.]
+
+[Illustration: NEW SALMON.]
+
+The freshness of fish must have been a considerable recommendation in
+those days of tardy intercourse. But quantity was also to be taken into
+the account, and so we find the cries of "_Buy my dish of Great Smelts_;"
+"_Great Plaice_;" "_Great Mussels_." Such are the fish-cries enumerated in
+Lauron's and various other collections of "London Cries."
+
+[Illustration: BUY GREAT SMELTS.]
+
+[Illustration: BUY GREAT PLAICE.]
+
+[Illustration: BUY GREAT MUSSELS.]
+
+[Illustration: BUY GREAT EELS.]
+
+But, we are forgetting "Morose," and his "turban of night-caps." Was
+Hogarth familiar with the old noise-hater when he conceived his own:--
+
+[Illustration: ENRAGED MUSICIAN.]
+
+In this extraordinary gathering together of the producers of the most
+discordant sounds, we have a representation which may fairly match the
+dramatist's description of street noises. Here we have the milk-maid's
+scream, the mackerel seller's shout, the sweep upon the house top,--to
+match the fish-wives and orange-women, the broom-men and costard-mongers.
+The smith, who was "ominous," had no longer his forge in the busy streets
+of Hogarth's time; the armourer was obsolete: but Hogarth can rival their
+noises with the pavior's hammer, the sow-gelder's horn, and the
+knife-grinder's wheel. The waits of the city had a pension not to come
+near "Morose's" ward; but it was out of the power of the "Enraged
+Musician" to avert the terrible discord of the blind hautboy-player. The
+bellman who frightened the sleepers at midnight, was extinct; but modern
+London had acquired the dustman's bell. The bear-ward no longer came down
+the street with the dogs of four parishes, nor did the fencer march with a
+drum to his prize; but there was the ballad-singer, with her squalling
+child, roaring worse than bear or dog; and the drum of the little boy
+playing at soldiers was a more abiding nuisance than the fencer. "Morose"
+and the "Enraged Musician" had each the church bells to fill up the
+measure of discord.
+
+[Illustration]
+
+The fish-wives are no longer seen in our great city of London
+thoroughfares. In Tottenham Court-road, Hoxton, Shoreditch, Kingsland,
+Whitechapel, Hackney-road, and many other suburban districts, which still
+retain the character of a street-market, they stand in long rows as the
+evening draws in, with paper-lanterns stuck in their baskets on dark
+nights; and there they vociferate as loudly as in the olden time.
+
+[Illustration]
+
+The "costard-monger" whom Morose dreaded, still lives amongst us, and is
+still noisy. He bawls so loud even to this day, that he puts his hand
+behind his ear to mitigate the sensation which he inflicts upon his own
+tympanum. He was originally an apple-seller, whence his name; and, from
+the mention of him in the old dramatists, he appears to have been
+frequently an Irishman. In Jonson's "Bartholomew Fair," he cries
+"_pears_." Ford makes him cry "_pippins_." He is a quarrelsome fellow,
+according to Beaumont and Fletcher:--
+
+  "And then he'll rail like a rude costermonger,
+  That schoolboys had cozened of his apple,
+  As loud and senseless."
+
+The costermonger is now a travelling shopkeeper. We encounter him not in
+Cornhill, or Holborn, or the Strand: in the neighbourhood of the great
+markets and well-stored shops he travels not. But his voice is heard in
+some silent streets stretching into the suburbs; and there, with his
+donkey and hampers stands at the door, as the servant-maid cheapens a
+bundle of cauliflowers. He has monopolized all the trades that were
+anciently represented by such cries as "_Buy my artichokes, mistress_;"
+"_Ripe cowcumbers_;" "_White onions, white St. Thomas' onions_;" "_White
+radish_;" "_Ripe young beans_;" "_Any baking pears_;" "_Ripe
+sparrowgrass_." He would be indignant to encounter such petty chapmen
+interfering with his wholesale operations. He would rail against them as
+the city shopkeepers of the sixteenth and seventeenth centuries railed
+against itinerant traders of every denomination. In the days of Elizabeth,
+they declare by act of common council, that in ancient times the open
+streets and lanes of the city have been used, and ought to be used, as the
+common highway only, and not for hucksters, pedlars, and hagglers, to
+stand or sit to sell their wares in, and to pass from street to street
+hawking and offering their wares. In the seventh year of Charles I. the
+same authorities denounce the oyster-wives, herb-wives, tripe-wives, and
+the like, as "unruly people;" and they charge them somewhat unjustly, as
+it must appear, with "framing to themselves a way whereby to live a more
+easy life than by labour."
+
+  "How busy is the man the world calls idle!"
+
+The evil, as the citizens term it, seems to have increased; for in 1694
+the common council threatened the pedlars and petty chapmen with the
+terrors of the laws against rogues and sturdy beggars, the least penalty
+being whipping, whether for male or female. The reason for this terrible
+denunciation is very candidly put: the citizens and shopkeepers are
+greatly hindered and prejudiced in their trades by the hawkers and
+pedlars. Such denunciations as these had little share in putting down the
+itinerant traders. They continued to flourish, because society required
+them; and they vanished from our view when society required them no
+longer. In the middle of the last century they were fairly established as
+rivals to the shopkeepers. Dr. Johnson, than whom no man knew London
+better, thus writes in the "Adventurer:"--"The attention of a new-comer is
+generally first struck by the multiplicity of cries that stun him in the
+streets, and the variety of merchandise and manufactures which the
+shopkeepers expose on every hand." The shopkeepers have now ruined the
+itinerants--not by putting them down by fiery penalties, but by the
+competition amongst themselves to have every article at hand for every
+man's use, which shall be better and cheaper than the wares of the
+itinerant. Whose ear is now ever deafened by the cries of the broom-man?
+He was a sturdy fellow in the days of old "Morose," carrying on a barter
+which in itself speaks of the infancy of civilization. His cry was "_Old
+Shoes for some Brooms_." Those proclamations for barter no doubt furnished
+a peculiar characteristic of the old London Cries. The itinerant buyers
+were as loud, though not so numerous, as the sellers.
+
+[Illustration: NEW BROOMS FOR OLD SHOES!]
+
+[Illustration: OLD CLOWZE, ANY OLD CLO', CLO'.]
+
+The familiar voice of "_Old Clowze, any old Clo' Clo_," has lasted through
+some generations; but the glories of Monmouth-street were unknown when a
+lady in a peaked bonnet and a laced stomacher went about proclaiming "_Old
+Satin, old Taffety, or Velvet_." And a singular looking party of the
+Hebrew persuasion, with a cocked hat on his head, and a bundle of rapiers
+and sword-sticks under his arm, which he was ready to barter for:--
+
+[Illustration: OLD CLOAKS, SUITS, OR COATS.]
+
+[Illustration: HATS OR CAPS--BUY, SELL, OR EXCHANGE.]
+
+While another of the tribe proclaimed aloud from east to west--and back
+again, "From morn to noon, from noon to dewy eve," his willingness to
+"_Buy, sell, or exchange Hats or Caps_." Why should the Hebrew race
+appear to possess a monopoly in the purchase and sale of dilapidated
+costumes? Why should their voices, and theirs alone, be employed in the
+constant iteration of the talismanic monosyllables "Old Clo'?" Is it
+because Judas carried the bag that all the children of Israel are to
+trudge through London streets to the end of their days with sack on
+shoulder? Artists generally represent the old clothesman with three, and
+sometimes four, hats, superposed one above the other. Now, although we
+have seen him with many hats in his hands or elsewhere, we never yet saw
+him with more than one hat on his head. The three-hatted clothesman, if
+ever he existed, is obsolete. According to Ingoldsby, however, when
+"Portia" pronounced the law adverse to "Shylock":
+
+  "Off went his three hats, and he look'd as the cats
+  Do, whenever a mouse has escaped from their claw."
+
+[Illustration: ANY KITCHEN-STUFF HAVE YOU MAIDS?]
+
+There was trading then going forward from house to house, which careful
+housewifery and a more vigilant police have banished from the daylight,
+if they have not extirpated it altogether. Before the shops are open and
+the chimneys send forth their smoke, there may be now, sometimes, seen
+creeping up an area a sly-looking beldam, who treads as stealthily as a
+cat. Under her cloak she has a pan, whose unctuous contents will some day
+assist in the enlightenment or purification of the world, in the form of
+candles or soap. But the good lady of the house, who is a late riser,
+knows not of the transformation that is going forward. In the old days she
+would have heard the cry of a maiden, with tub on head and pence in hand,
+of "_Any Kitchen-stuff have you Maids?_" and she probably would have dealt
+with her herself, or have forbidden her maids to deal.
+
+So it is with the old cry of "_Any Old Iron take Money for?_" The fellow
+who then went openly about with sack on back was a thief, and an
+encourager of thieves; he now keeps a marine-store.
+
+[Illustration: ANY OLD IRON TAKE MONEY FOR?]
+
+[Illustration: OLD LONDON SHOP.]
+
+Sir Walter Scott, in his _Fortunes of Nigel_, has left us a capital
+description of the shop of a London tradesman during the reign of King
+James in England, the shop in question being that of David Ramsay, maker
+of watches and horologes, within Temple-bar--a few yards eastward of St.
+Dunstan's church, Fleet-street, and where his apprentice, Jenkin
+Vincent--abbreviated to Jin Vin, when not engaged in 'prentices-riots--is
+crying to every likely passer-by:--
+
+    "What d'ye lack?--What d'ye lack?--Clocks--watches--barnacles?--What
+    d'ye lack?--Watches--clocks--barnacles?--What d'ye lack, sir? What
+    d'ye lack, madam?--Barnacles--watches--clocks? What d'ye lack, noble
+    sir?--What d'ye lack, beauteous madam?--God bless your reverence, the
+    Greek and Hebrew have harmed your reverence's eyes. Buy a pair of
+    David Ramsay's barnacles. The king, God bless his sacred Majesty!
+    never reads Hebrew or Greek without them. What d'ye lack? Mirrors for
+    your toilets, my pretty madam; your head-gear is something awry--pity,
+    since it so well fancied. What d'ye lack? a watch, Master Sargeant?--a
+    watch that will go as long as a lawsuit, as steady and true as your
+    own eloquence? a watch that shall not lose thirteen minutes in a
+    thirteen years' lawsuit--a watch with four wheels and a
+    bar-movement--a watch that shall tell you, Master Poet, how long the
+    patience of the audience will endure your next piece at the Black
+    Bull."
+
+The verbal proclaimers of the excellence of their commodities, had this
+advantage over those who, in the present day, use the public papers for
+the same purpose, that they could in many cases adapt their address to the
+peculiar appearance and apparent taste of the passengers. This direct and
+personal mode of invitation to customers became, however, a dangerous
+temptation to the young wags who were employed in the task of solicitation
+during the absence of the principal person interested in the traffic; and,
+confiding in their numbers and civic union, the 'prentices of London were
+often seduced into taking liberties with the passengers, and exercising
+their wit at the expense of those whom they had no hopes of converting
+into customers by their eloquence. If this were resented by any act of
+violence, the inmates of each shop were ready to pour forth in succour;
+and in the words of an old song which Dr. Johnson was used to hum,--
+
+  "Up then rose the 'prentices all,
+  Living in London, both proper and tall."
+
+Desperate riots often arose on such occasions, especially when the
+Templars, or other youths connected with the aristocracy, were insulted,
+or conceived themselves so to be. Upon such occasions, bare steel was
+frequently opposed to the clubs of the citizens, and death sometimes
+ensued on both sides. The tardy and inefficient police of the time had no
+other resource than by the Alderman of the ward calling out the
+householders, and putting a stop to the strife by overpowering numbers, as
+the Capulets and Montagues are separated upon the stage.
+
+[Illustration: ST. PAUL'S CATHEDRAL.]
+
+It must not be imagined that these 'prentices of the City of London were
+of mean and humble origin. The sons of freemen of the City, or country
+boys of good and honourable families, alone were admitted to the seven
+years' apprenticeship. The common people--the _ascripti glebæ_--the poor
+rustics who were bound to the soil, had little or no share in the fortunes
+of the City of London. Many of the burgesses were as proud of their
+descent as of their liberties.
+
+[Illustration: A STREET AT NIGHT--SHAKESPEARE'S LONDON.]
+
+Once apprenticed, and having in a few weeks imbibed the spirit of the
+place, the lad became a Londoner. It is one of the characteristics of
+London, that he who comes up to the City from the country speedily becomes
+penetrated with the magic of the golden pavement, and falls in love with
+the great City. And he who has once felt that love of London can never
+again be happy beyond the sound of Bow Bells, which could formerly be
+heard for ten miles and more. The greatness of the City, its history, its
+associations, its ambitions, its pride, its hurrying crowds--all these
+things affect the imagination and fill the heart. There is no place in the
+world, and never has been, which so stirs the heart of her children with
+love and pride as the City of London.
+
+A year or two later on, the boy would learn, with his fellow-'prentices
+that he must betake himself to the practice of bow and arrow, "pellet and
+bolt," with a view to what might happen. Moorfields was convenient for the
+volunteers of the time. There was, however, never any lack of excitement
+and novelty in the City of London. But this is a digression.
+
+[Illustration]
+
+Amongst the earliest of the Cries of London we must class the "cry" of the
+City watchman; although it essentially differed from the "cries" of the
+shopkeepers and the hawkers; for they, as a rule, had something to
+exchange or sell--_copen or buy?_ as Lydgate puts it--then the watchmen
+were wont to commence their "cry" at, or about, the hour of night when all
+others had finished for the day. After that it was the business of the
+watchman to make his first call, or cry after the manner inscribed over
+the figure here given.
+
+[Illustration]
+
+He had to deal with deaf listeners, and he therefore proclaimed with a
+voice of command, "Lanthorn!" but a lanthorn alone was a body without a
+soul; and he therefore demanded "a _whole_ candle." To render the mandate
+less individually oppressive, he went on to cry, "Hang out your Lights!"
+And, that even the sleepers might sleep no more, he ended with "Heare!" It
+will be seen that he carries his staff and lanthorn with the air of honest
+old Dogberry about him,--"A good man and true," and "the most desartless
+man to be constable."
+
+The making of lanthorns was a great trade in the early times. We clung to
+King Alfred's invention for the preservation of light with as reverend a
+love, during many centuries, as we bestowed upon his civil institutions.
+The horn of the favoured utensil was a very dense medium for illumination,
+but science had substituted nothing better; and, even when progressing
+people carried about a neat glass instrument with a brilliant reflector,
+the watchman held to his ponderous and murky relic of the past, making
+"night hideous" with his voice, to give news of the weather, such as:
+"Past eleven, and a starlight night;" or "Past one o'clock, and a windy
+morning;" in fact, disturbed your rest to tell you "what's o'clock."
+
+We are told by the chroniclers that, as early as 1416, the mayor, Sir
+Henry Barton, ordered lanthorns and lights to be hanged out on the winter
+evenings, betwixt Allhallows and Candlemass. For three centuries this
+practice subsisted, constantly evaded, no doubt through the avarice or
+poverty of individuals, sometimes probably disused altogether, but still
+the custom of London up to the time of Queen Anne. The cry of the
+watchman, "Hang out your Lights," was an exhortation to the negligent,
+which probably they answered only by snores, equally indifferent to their
+own safety and the public preservation. A worthy mayor in the time of
+Queen Mary provided the watchman with a bell, with which instrument he
+accompanied the music of his voice down to the days of the Commonwealth.
+The "Statutes of the Streets," in the time of Elizabeth, were careful
+enough for the preservation of silence in some things. They prescribed
+that, "no man shall blow any horn in the night, or whistle after the hour
+of nine o'clock in the night, under pain of imprisonment;" and, what was a
+harder thing to keep, they also forbade a man to make any "sudden outcry
+in the still of the night, as making any affray, or beating his wife." Yet
+a privileged man was to go about knocking at doors and ringing his
+alarum--an intolerable nuisance if he did what he was ordered to do.
+
+[Illustration: THE WATCH--SHAKESPEARE'S LONDON.]
+
+But the watchmen were, no doubt, wise in their generation. With honest
+Dogberry, they could not "see how sleeping should offend;" and after the
+watch was set, they probably agreed to "go sit upon the church bench till
+two, and then all to bed."
+
+[Illustration: THE BELLMAN--FROM DEKKER, 1608.]
+
+We have observed in our old statutes, and in the pages of authors of
+various kinds, that separate mention is made of the Watchman and the
+Bellman. No doubt there were several degrees of office in the ancient
+Watch and Ward system, and that part of the office of the old Watch, or
+Bellman, was to bless the sleepers, whose door he passed, which blessing
+was often sung or said in verse--hence Bellman's verse. These verses were
+in many cases, the relics of the old incantations to keep off elves and
+hobgoblins. There is a curious work by Thomas Dekker--otherwise
+Decker,--entitled: "The Bellman of London. Bringing to light the most
+notorious Villanies that are now practised in the Kingdom, Profitable for
+Gentlemen, Lawyers, Merchants, Citizens, Farmers, Masters of Households
+and all sortes of servants to Marke, and delightful for all men to Reade,
+_Lege, Perlege, Relege_." Printed at London for Nathaniel Butter, 1608.
+Where he describes the Bellman as a person of some activity--"the child of
+darkness; a common nightwalker; a man that had no man to wait upon him,
+but only a dog; one that was a disordered person, and at midnight would
+beat at men's doors, bidding them (in mere mockery) to look to their
+candles, when they themselves were in their dead sleeps." Stow says that
+in Queen Mary's day one of each ward "began to go all night with a bell,
+and at every lane's end, and at the ward's end, gave warning of fire and
+candle, and to help the poor and pray for the dead." Milton, in his "Il
+Penseroso," has:--
+
+  "Far from the resort of mirth,
+  Save the cricket on the hearth,
+  Or the bellman's drowsy charm,
+  To bless the doors from nightly harm."
+
+In "A Bellman's Song" of the same date, we have:--
+
+  "Maidens to bed, and cover coal,
+  Let the mouse out of her hole,
+  Crickets in the chimney sing,
+  Whilst the little bell doth ring;
+  If fast asleep, who can tell
+  When the clapper hits the bell?"
+
+Herrick, also, has given us a verse of Bellman's poetry in one of the
+charming morsels of his "Hesperides:"--
+
+  "From noise of scare-fires rest ye free,
+  From murders Benedicite;
+  From all mischances that may fright
+  Your pleasing slumbers in the night,
+  Mercy secure ye all, and keep
+  The goblin from ye while ye sleep.
+  Past one o'clock, and almost two,
+  My masters all, 'Good day to you!'"
+
+But, with or without a bell, the real prosaic watchman continued to make
+the same demand as his predecessors for lights through a long series of
+years; and his demand tells us plainly that London was a city without
+lamps. But though he was a prosaic person, he had his own verses. He
+addressed himself to the "maids." He exhorted them to make their lanthorns
+"bright and clear." He told them how long their candles were expected to
+burn. And, finally, like a considerate lawgiver, he gave reason for his
+edict:--
+
+  "That honest men that walk along,
+  May see to pass safe without wrong."
+
+Formerly it was the duty of the bellman of St. Sepulchre's parish, near
+Newgate, to rouse the unfortunates condemned to death in that prison, the
+night before their execution, and solemnly exhort them to repentance with
+good words in bad rhyme, ending with
+
+  "When St. Sepulchre's bell to-morrow tolls,
+  The Lord above have mercy on your souls."
+
+It was customary for the bellman to present at Christmas time to each
+householder in his district "A Copy of Verses," and he expected from each
+in return some small gratuity. The execrable character of his poetry is
+indicated by the contempt with which the wits speak of "Bellman's verses"
+and the comparison they bear to "Cutler's poetry upon a knife," whose
+poesy was--"_Love me, and leave me not_." On this subject there is a work
+entitled--"The British Bellman. Printed in the year of Saint's Fear, Anno
+Domini 1648, and reprinted in the _Harleian Miscellany_." "The Merry
+Bellman's Out-Cryes, or the Cities O Yes! being a mad merry Ditty, both
+Pleasant and Witty, to be cry'd in Prick-Song[3] Prose, through Country
+and City. Printed in the year of Bartledum Fair, 1655." Also--"The
+Bell-man's Treasury, containing above a Hundred several Verses fitted for
+all Humours and Fancies, and suited to all Times and Seasons. London,
+1707." It was from the riches of this "treasury" that the predecessors of
+the present parish Bellman mostly took their _own_ (!) "Copy of Verses."
+
+In the Luttrell Collection of Broadsides (Brit. Mus.) is one dated 1683-4,
+entitled, "A Copy of Verses presented by Isaac Ragg, Bellman, to the
+Masters and Mistresses of Holbourn Division, in the Parish of St.
+Giles's-in-the-Fields." It is headed by a woodcut representing Isaac in
+his professional accoutrements, a pointed pole in his left hand, and in
+the right a bell, while his lanthorn hangs from his jacket in front; below
+is a series of verses, the only specimen worth giving here being the
+expression of Mr. Ragg's official duty; it is as follows:--
+
+  "Time Masters, calls your bellman to his task,
+  To see your doors and windows are all fast,
+  And that no villany or foul crime be done
+  To you or yours in absence of the sun.
+  If any base lurker I do meet,
+  In private alley or in open street,
+  You shall have warning by my timely call,
+  And so God bless you and give rest to all."
+
+In a similar, but unadorned broadside, dated 1666, Thomas Law, Bellman,
+greets his Masters of "St. Giles, Cripplegate, within the Freedom," in
+twenty-three dull stanzas, of which the last may be subjoined:--
+
+  "No sooner hath St. Andrew crowned November,
+  But Boreas from the North brings cold December,
+  And I have often heard a many say
+  He brings the winter month Newcastle way;
+  For comfort here of poor distressed souls,
+  _Would he had with him brought a fleet of coals_."
+
+We have in our possession a "copy of verses," coming down to our own time.
+It is a folio broadside, and contains in addition to a portrait of the
+Bellman of the Parish and his dog on their rounds, fifteen smaller cuts,
+mostly Scriptural. It is entitled:--
+
+[Illustration:
+
+  A COPY OF VERSES FOR 1839,
+  HUMBLY PRESENTED TO ALL MY WORTHY MASTERS AND
+  MISTRESSES, OF THE PARISH OF SAINT JAMES, WESTMINSTER,
+  By Richard Mugeridge, 20, Marshall Street, Golden Square.]
+
+The "Verses" all contain allusions to the prominent events of the past
+year, and have various headings--first we have the:--
+
+  PROLOGUE.
+
+  My Masters and Mistresses, pray lend an ear,
+  While your Bellman recounts some events of the year;
+  For altho' its commencement was rather distressing,
+  We've had reason to thank it for more than one blessing,
+  'Tis true that Canadian proceedings were strange,
+  And a very sad fire was the Royal Exchange;
+  Yet the first, let us hope, is no serious matter,
+  And we'll soon have a new one in lieu of the latter.
+  Our rulers have grappled with one of our crosses,
+  While for beauty and fitness the other no loss is.
+  And still more to make up for these drawbacks vexatious,
+  Dame Fortune has been on the whole, pretty gracious.
+  We've had peace to get wealth, which of war is the sinews.
+  Grant us wit to make hay while the sunshine continues.
+  Then, the Bear of the North, that insatiate beast,
+  Has been check'd in his wily attempts on the East;
+  And his further insidious advances forbidden
+  By the broadsword of Auckland, which warns him from Eden.
+  While our rulers, in earnest, apply to the work,
+  And a treaty concludes with the Austrian and Turk,
+  Which, when next the fell Monster is tempted to roam,
+  May provide him some pleasant employment at home.
+
+
+  TO THE QUEEN.
+
+  Whilst the high and the noble in gallant array,
+  Assemble around her, their homage to pay;
+  While the proud Peers of Britain with rapture, I ween,
+  Place her crown on the brow of their peerless young Queen;
+  While by prince and by peasant her sceptre is blest;
+  Why may not the Bellman chime in with the rest?
+  Tho' alas! my poor muse would long labour in vain,
+  To express our delight in Victoria's reign,
+  Long may we exult in her merciful sway,
+  May her moments speed blithely and sweetly as May,
+  And her days be prolonged till her glories efface
+  The last maiden lady's, who sate in her place.
+
+
+  THE GREAT WESTERN.
+
+  Well, despite of some thousand objections pedantic,
+  The "Great Western" has cross'd and _re-cross'd_ the Atlantic,
+  Nor is _this_ the first time--to the foe's consternation--
+  That the deeds of our tars have defied calculation.
+  Though few of our learned professors did dream
+  That our seamen in steamers would reach the gulf stream,
+  Yet a fortnight's vibration, from Bristol or Cork,
+  Will now set us down with our friends at New York;
+  And a closer acquaintance bind firmer than ever,
+  A friendship which nothing on earth ought to sever.
+
+         *       *       *       *       *
+         *       *       *       *       *
+
+
+  EPILOGUE.
+
+  Now having conducted his well-meant effusion
+  Thus far on its way to a happy conclusion,
+  Your Bellman, tho' not quite so fresh as at starting,
+  Would still have a word with his patrons at parting,
+  Just by way of a cordial and kindly farewell,
+  For his heart, altho' softer, is sound as his bell,
+  And he cannot say more for himself or his strains,
+  Than, whatever his success, he has not spared pains;
+  And that blest in their kindness, and countenance steady,
+  His song and his services always are ready;
+  So he bids them adieu till next season appears--
+  May their wealth and their virtues increase with their years;
+  May they always have more than they ever can spend,
+  With the soul to help on a less fortunate friend;
+  And their Bellman continue to cudgel his brain,
+  For their yearly amusement, again and again.
+
+  +-----------------------------------------------------+
+  |_Cheap and Expeditious Printing by Steam Machinery,  |
+  |executed by_ C. REYNELL, 16, _Little Pulteney Street,|
+  |Golden Square._--First printed in 1735.              |
+  +-----------------------------------------------------+
+
+There is a very rare sheet of woodcuts in the Print-room of the British
+Museum, containing twelve cries, with figures of the "Criers" and the
+cries themselves beneath. The cuts are singularly characteristic, and may
+be assigned with safety, on the authority of Mr. John Thomas Smith, the
+late keeper of the prints and drawings, as of the same date as Ben
+Jonson's "fish-wives," "costard-mongers," and "orange women."
+
+No. 1 on the sheet, is the "Watch;" he has no name, but carries a staff
+and a lanthorn, is well secured in a good frieze gabardine,
+leathern-girdle, and wears a serviceable hat to guard against the weather.
+The worthy here depicted has a most venerable face and beard, showing how
+ancient was the habit of parish officers to select the poor and feeble for
+the office of watchman, in order to keep them out of the poor-house. The
+"cry" of the "watch" is as follows:--
+
+  "A light here, maids, hang out your light,
+  And see your horns be clear and bright,
+  That so your candle clear may shine,
+  Continuing from six till nine;
+  That honest men that walk along,
+  May see to pass safe without wrong."
+
+No. 2 is the "Bellman"--Dekker's "Bellman of London and Dog." (as at page
+49.) He carries a halberd lanthorn, and bell, and his "cry" is curious:--
+
+  "Maids in your smocks, look to your locks,
+  Your fire and candle-light;
+  For well 'tis known much mischief's done
+  By both in dead of night;
+  Your locks and fire do not neglect,
+  And so you may good rest expect."
+
+No. 3 is the "Orange Woman," a sort of full-grown Nell Gwynne, if we can
+only fancy _Nelly_, the favourite mistress of King Charles the Second,
+grown up in her humble occupation. She carries a basket of oranges and
+lemons under her arm, and seeks to sell them by the following "cry":--
+
+  "Fine Sevil oranges, fine lemmons, fine;
+  Round, sound, and tender, inside and rine,
+  One pin's prick their vertue show:
+  They've liquor by their weight, you may know."
+
+No. 4 is the "Hair-line Man," with a bundle of lines under his arm, and a
+line in his hand. Clothes-pegs was, perhaps, a separate "cry." Here is
+his:--
+
+  "Buy a hair-line, or a line for Jacke,
+  If you any hair or hemp-cord lack,
+  Mistris, here's good as you need use;
+  Bid fair for handsel, I'll not refuse."
+
+No. 5 is the "Radish and Lettuce Woman."--Your fine "goss" lettuce is a
+modern cry:--
+
+  "White raddish, white young lettis,
+  White young lettis white;
+  You hear me cry, come mistris, buy,
+  To make my burden light."
+
+No. 6 is the man who sells "Marking Stones," now, unless we except
+slate-pencils, completely out of use:--
+
+  "Buy marking-stones, marking-stones buy,
+  Much profit in their use doth lie:
+  I've marking-stones of colour red,
+  Passing good, or else black lead."
+
+No. 7 is the "Sausage Woman," holding a pound of sausages in her hand:--
+
+  "Who buys my sausages, sausages fine?
+    I ha' fine sausages of the best;
+  As good they are as ere was eat;
+    If they be finely drest.
+  Come, mistris, buy this daintie pound,
+  About a capon roast them round."
+
+No. 8 is a man with "Toasting-forks and Spice-graters":--
+
+  "Buy a fine toasting-fork for toast,
+  Or fine spice-grater--tools for an hoast;
+  If these in winter be lacking, I say,
+  Your guests will pack, your trade decay."
+
+No. 9 is the "Broom Man," and here we have a "cry" different from the one
+we have already given. He carries a pair of old boots in his hand:--
+
+  "Come buy some brooms, come buy of me:
+  Birch, Heath, and green,--none better be;
+  The staves are straight, and all bound sure;
+  Come, maids, my brooms will still endure.
+  Old boots or shoes I'll take for brooms,
+  Come buy to make clean all your rooms!"
+
+No. 10 is a woman with a box of "Wash balls":--
+
+  "Buy fine washing-balls, buy a ball,
+  Cheaper and dearer, greater and small;
+  For scouring none do them excel,
+  Their odour scenteth passing well;
+  Come buy rare balls, and trial make,
+  Spots out of clothes they quickly take."
+
+No. 11 sells Ink and Pens.--He carries an ink-bottle hung by a stick
+behind him, and has a bunch of pens in his hand:--
+
+  "Buy pens, pens, pens of the best,
+  Excellent pens and seconds the least;
+  Come buy good ink as black as jet,
+  A varnish like gloss on writing 'twill set."
+
+The twelfth and last is a woman with a basket of Venice Glasses, such as a
+modern collector would give a great deal to get hold of:--
+
+  "Come glasses, glasses, fine glasses buy;
+  Fine glasses o' the best I call and cry.
+  Fine Venice-glasses,--no chrystal more clear,
+  Of all forms and fashions buy glasses here,
+  Black pots for good ale I also do cry;
+  Come therefore quickly before I pass by."
+
+In the same collection, is a series of three plates, "Part of the Cries in
+London," evidently belonging to the same set, though only one has got a
+title. Each plate contains thirty-six criers, with the addition of a
+principal "Crier" in the centre. These were evidently executed abroad, as
+late, perhaps, as the reign of Charles II. No. 1 (with the title page) is
+ornamented in the centre with the "Rat-Catcher," carrying an emblazoned
+banner of rats, and attended by a boy. The leather investment of the
+rat-catcher of the present day is a pleasant memorial of the banner of the
+past. Beneath the rat-catcher, the following lines occur:--
+
+  "Hee that wil have neither
+    Ratt nor Mowssee
+  Lett him pluck of the tillies
+    And set fire of his hows."
+
+Proving, evidently that the rat-catcher courted more to his banner than
+his poetry. Then follow the thirty-six cries, some of which, it will be
+seen, are extremely curious. The names are given beneath the cuts, but
+without any verse or peculiarity of cry.
+
+  Cooper
+  Ende of Golde
+  Olde Dublets
+  Blackinge man
+  Tinker
+  Pippins
+  Bui a Matte
+  Cooles
+  Chimnie swepes
+  Bui Brumes
+  Camphires
+  Cherry ripe
+  Alminake
+  Coonie skine
+  Mussels
+  Cabeches
+  Kitchen stuff
+  Glasses
+  Cockels
+  Hartti chaks
+  Mackrill
+  Oranges, Lemens
+  Lettice
+  Place
+  Olde Iron
+  Aqua vitæ
+  Pens and Ink
+  Olde Bellows
+  Herrings
+  Buy any Milke
+  Piepin Pys
+  Osters
+  Shades
+  Turneps
+  Rosmarie Baie
+  Onions.
+
+"Haie ye any work for John Cooper?" is the title of one of the Martin
+Marprelate pamphlets. "Haie ye ani gold ends to sell?" is mentioned as a
+"cry," in "Pappe with a Hatchet" (_cir._ 1589). "Camphires," means
+Samphires. The "Alminake" man has completely gone, and "Old Dublets" has
+degenerated into "Ogh Clo," a "cry" which teased Coleridge for a time, and
+occasioned a ludicrous incident, which we had reserved for a place
+somewhat later in our history, had not "Old Dublets" brought it, not
+inopportunely, to mind. "The other day," said Coleridge, "I was what you
+would call _floored_ by a Jew. He passed me several times crying out for
+old clothes, in the most nasal and extraordinary tone I ever heard. At
+last I was so provoked, that I said to him, 'Pray, why can't you say 'old
+clothes' in a plain way, as I do?' The Jew stopped, and looking very
+gravely at me, said in a clear and even accent, 'Sir, I can say 'old
+clothes' as well as you can; but if you had to say so ten times a minute,
+for an hour together, you would say _Ogh Clo_ as I do now;' and so he
+marched off." Coleridge was so confounded with the justice of the retort
+that he followed and gave him a shilling--the only one he had.
+
+The principal figure on the second plate is the "Bellman," with dog, bell,
+halberd, and lanthorns. His "cry" is curious, though we have had it almost
+in the same form before, at page 56:--
+
+  "Mayds in your Smocks, Looke
+  Wel to your lock--your fire
+  And your light, and God
+  Give you good night. At
+    One a Clock."
+
+The cries around him deserve transcription:--
+
+  Buy any Shrimps
+  Buy some Figs
+  Buy a Tosting Iron
+  Lantorne candellyht
+  Buy any Maydes
+  The Water bearer
+  Buy a whyt Pot
+  Bread and Meate
+  Buy a Candelsticke
+  Buy any Prunes
+  Buy a Washing ball
+  Good Sasages
+  Buy a Purs
+  Buy a dish a Flounders
+  Buy a Footestoole
+  Buy a fine Bowpot
+  Buy a pair a Shoes
+  Buy any Garters
+  Featherbeds to dryue
+  Buy any Bottens
+  Buy any Whiting maps
+  Buy any Tape
+  Worcestershyr Salt
+  Ripe Damsons
+  Buy any Marking Stones
+  The Bear bayting
+  Buy any blew Starch
+  Buy any Points
+  New Hadog
+  Yards and Ells
+  Buy a fyne Brush
+  Hote Mutton Poys
+  New Sprats new
+  New Cod new
+  Buy any Reasons
+  P. and Glasses to mend
+
+On the third plate, the principal figure is the "Crier," with his staff
+and keys:--
+
+  "O yis, any man or woman that
+  Can tell any tydings of a little
+  Mayden Childe of the age of 24
+  Yeares. Bring worde to the cryer,
+  And you shal be pleased for
+      Your labor
+  And God's blessinge."
+
+The figures surrounding the Common Crier are in the same style of art, and
+their cries characteristic of bygone times:--
+
+  Buy any Wheat
+  Buy al my Smelts
+  Quick Periwinckels
+  Rype Chesnuts
+  Payres fyn
+  White Redish whyt
+  Buy any Whyting
+  Buy any Bone lays
+  I ha' rype Straberies
+  Buy a Case for a Hat
+  Birds and Hens
+  Hote Podding Pyes
+  Buy a Hair Lyne
+  Buy any Pompeons
+  Whyt Scalions
+  Rype Walnuts
+  Fyn Potatos fyn
+  Hote Eele Pyes
+  Fresh Cheese and Creame
+  Buy any Garlick
+  Buy a longe Brush
+  Whyt Carots whyt
+  Fyne Pomgranats
+  Buy any Russes
+  Hats or Caps to dress
+  Wood to cleave
+  Pins of the maker
+  Any sciruy Grass
+  Any Cornes to pick
+  Buy any Parsnips
+  Hot Codlinges hot
+  Buy all my Soales
+  Good Marroquin
+  Buy any Cocumber
+  New Thornebacke
+  Fyne Oate Cakes.
+
+The only crier in the series who has a horse and cart to attend him is the
+Worcestershire salt-man. Salt is still sold from carts in poor and crowded
+neighbourhoods.
+
+We have been somewhat surprised in not finding a single Thames waterman
+among the criers of London; but the series was, perhaps, confined to the
+streets of London, and the watermen were thought to belong altogether to
+the stairs leading to their silent highway. Three of their cries have
+given titles to three good old English comedies, "Northward, ho!"
+"Eastward, ho!" and "Westward, ho!" But our series of cries is still
+extremely incomplete. Every thing in early times was carried and cried,
+and we have seen two rare prints of old London Cries not to be found in
+the lists already enumerated. One is called "_Clove Water, Stomock
+Water_," and the other "_Buy an new Booke_." Others may still exist. In
+the Duke of Devonshire's collection of drawings, by Inigo Jones, are
+several cries, drawn in pen-and-ink, for the masques at court in the
+reigns of James I. and Charles I.
+
+[Illustration: THE LIGHT OF OTHER DAYS.]
+
+In Thomas Heywood's, "_The Rape of Lucrece_, a True Roman Tragedy, acted
+by Her Majestie's Servants at the _Red-Bull_, 1609," is the following long
+list of LONDON CRIES, but called for the sake of the dramatic action of
+the scene, "_Cries of Rome_," which was the common practice with the old
+dramatists, Rome being the canting name of London. Robert Greene, in his
+"_Perimedes the Blacksmith_, 1588," when he wished to criticise the London
+_Theatre_ at Shoreditch, talks of the _Theatre in Rome_; also in his
+"_Never too Late_, 1590," when he talks of the London actors, he pretends
+only to speak of Roscius and the actors of _Rome_. In the pedlar's French
+of the day Rome-vyle--or ville--was London, and Rome-mort the Queen
+[Elizabeth]. There is some humour in the classification, and if the cries
+were well imitated by the singer, the ballad--or as it would then be
+called "_jig_"--is likely to have been extremely popular in its day.
+
+  THE CRIES OF ROME [_i.e._ London.]
+
+  Thus go the cries in _Rome's_ fair town,
+  First they go up street, and then they go down,
+  Round and sound all of a colour,
+  Buy a very fine marking stone, marking stone,
+  Round and sound all of a colour;
+  Buy a very fine marking stone, marking stone.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Bread and--meat--bread--and meat
+  For the--ten--der--mercy of God to the
+  poor pris--ners of _Newgate_, four-
+  score and ten--poor--prisoners.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+[Illustration: MARKING STONE.]
+
+[Illustration: BREAD AND MEAT.]
+
+[Illustration: WORSTERSHIRE SALT.]
+
+[Illustration: BUY A MOUSE TRAP.]
+
+  Salt--salt--white Wor--stershire Salt,
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Buy a very fine Mouse--trap, or a tormentor for your Fleas.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Kitchen-stuff, maids.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  I have white Radish, white hard Lettuce, white young Onions.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  I have Rock--Samphire Rock--Samphire,
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+    Buy a Mat, a Mil--Mat,
+    Mat or a Hassock for your pew,
+    A stopple for your close-stool,
+    Or a Pesock to thrust your feet in.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Whiting maids, Whiting.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+[Illustration: KITCHEN STUFF, MAIDS.]
+
+[Illustration: WHITE RADISH LETTUCE.]
+
+[Illustration: ROCK SAMPIER.]
+
+[Illustration: MAT, A MILL MAT.]
+
+  Hot fine Oat-Cakes, hot.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Small--Coals here.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Will you buy any Milk to day.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Lanthorn and Candle light here, Maid, a light here.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Here lies a company of very poor
+  Women, in the dark dungeon,
+  Hungary, cold, and comfortless, night and day;
+  Pity the poor women in the dark dungeon.
+
+    Thus go the cries where they do house them,
+    First they come to the grate, and then they go lowse them.
+
+[Illustration]
+
+[Illustration: WHITING MAIDS, WHITING.]
+
+[Illustration: HOT FINE OAT CAKES.]
+
+[Illustration: SMALL COALS HERE.]
+
+[Illustration: ST. THOMAS' ONIONS.]
+
+From "Deuteromelia: or, the Second Part of Pleasant Roundelayes; K. H.
+Mirth, or Freeman's Songs, and such delightful Catches. London, printed
+for Thomas Adams, dwelling in Paul's Church-yard, at the sign of the White
+Lion, 1609."
+
+  Who liveth so merry in all this land
+  As doth the poor widdow that selleth the sand?
+  And ever shee singeth as I can guesse,
+  Will you buy any sand, any sand, mistress?
+
+  The broom-man maketh his living most sweet,
+  With carrying of brooms from street to street;
+  Who would desire a pleasanter thing,
+  Then all the day long to doe nothing but sing.
+
+  The chimney-sweeper all the long day,
+  He singeth and sweepeth the soote away;
+  Yet when he comes home altho' he be weary,
+  With his sweet wife he maketh full merry.
+
+        *       *       *       *       *
+
+  Who liveth so merry and maketh such sport
+  As those that be of the poorest sort?
+  The poorest sort wheresoever they be,
+  They gather together by one, two, three.
+
+  And every man will spend his penny
+  What makes such a shot among a great many?
+
+Thomas Morely, a musical composer, set music of four, six, eight and ten
+parts, to the cries in his time, among them are some used by the
+milliners' girls in the New Exchange, which was on the south side of the
+Strand, opposite the now Adelphi Theatre, it was built in the reign of
+James I., and pulled down towards the end of the last century; among
+others are "_Italian falling Bands_," "_French Garters_," "_Robatos_," a
+kind of ruff then fashionable, "_Nun's Thread_," _&c._
+
+The effeminacy and coxcombry of a man's ruff and band are well ridiculed
+by many of our dramatic writers. There is a small tract bearing the
+following title--"A Merrie Dialogue between Band, Cuffe and Ruffe. Done by
+an excellent Wit, and lately acted in a Shew in the Famous Universitie of
+Cambridge. London, printed by W. Stansby for Miles Partrich, and are to be
+sold at his shop neere Saint Dunstone's Church-yard in Fleet Street,
+1615." This _brochure_ is a _bonne-bouche_ of the period, written in
+dramatic dialogue form, and full of puns as any modern comedy or farcical
+sketch from the pen of the greatest word-twister of the day--Henry J.
+Byron (who, on _Cyril's Success_, _Married in Haste_, _Our Boys_, and _The
+Girls_,)--and is of considerable value as an illustration of the history
+of the costume of the period. The band, as an article of ornament for the
+neck, was the common wear of gentlemen, though now exclusively retained by
+the clergy and lawyers; the cuff, as a fold at the end of a sleeve, or the
+part of the sleeve turned back from the hand, was made highly fantastical
+by means of "cut work;" the ruff, as a female neck ornament, made of
+plaited lawn, or other material, is well-known, but it was formerly worn
+by both sexes.
+
+In a Roxburghe Ballad entitled "The Batchelor's Feast," &c., we have:--
+
+  "The taylor must be pay'd for making of her gowne,
+    The shoomakers for fine shoes: or else thy wife will frowne;
+  For _bands_, fine _ruffes_, and _cuffes_, thou must dispence as free:
+    O 'tis a gallant thing to live at liberty," &c.
+
+In another, "The Lamentations of a New Married Man, briefly declaring the
+sorrow and grief that comes by marrying a young wanton wife":--
+
+  "Against that she is churched, a new Gowne she must have,
+  A daintie fine _Rebato_ about her neck to brave;"
+
+In "_Loyal Subject_," by Beaumont and Fletcher, act iii., sc. 5, we find
+that in the reign of James I., potatoes had become so common, that
+"_Potatoes! ripe Potatoes!_" were publicly hawked about the city.
+
+[Illustration: POTATOES! RIPE POTATOES.]
+
+Orlando Gibbons,--1583-1625--set music in madrigals to several common
+cries of the day. In a play called "_Tarquin and Lucrece_," some of the
+music of the following occur,--"_Rock Samphire_," "_A Marking Stone_,"
+"_Bread and Meat for the poor Prisoners_," "_Hassock for your pew_,"
+"_Lanthorne and Candlelight_," _&c._
+
+In the Bridgewater library (in the possession of the Earl of Ellesmere) is
+a series of engravings on copper thirty-two in number, without date or
+engraver's name; but called, in the handwriting of the second Earl of
+Bridgewater, "The Manner of Crying Things in London." They are, it is
+said, by a foreign artist, and probably proof impressions, for on the
+margin of one of the engravings is a small part of another, as if it had
+been taken off for a trial of the plate. Curious and characteristic they
+certainly are, and of a date anterior to 1686; in which year the second
+Earl of Bridgewater died. The very titles kindle old recollections as you
+read them over:--
+
+    1. Lanthorne and a whole candell light: hang out your lights heare!
+
+    2. I have fresh cheese and creame.
+
+    3. Buy a brush or a table book.
+
+    4. Fine oranges, fine lemons.
+
+    5. Ells or yeards: buy yeard or ells.
+
+    6. I have ripe straw-buryes, ripe straw-buryes.
+
+    7. I have screenes, if you desier to keepe y{r} butey from y{e} fire.
+
+    8. Codlinges hot, hot codlinges.
+
+    9. Buy a steele or a tinder box.
+
+    10. Quicke peravinkells, quicke, quicke.
+
+    11. Worke for a cooper; worke for a cooper.
+
+    12. Bandestringes, or handkercher buttons.
+
+    13. A tanker bearer.
+
+    14. Macarell new: maca-rell.
+
+    15. Buy a hone, or a whetstone, or a marking stone.
+
+    16. White unions, white St. Thomas unions.
+
+    17. Mate for a bed, buy a doore mate.
+
+    18. Radishes or lettis, two bunches a penny.
+
+    19. Have you any work for a tinker?
+
+    20. Buy my hartichokes, mistris.
+
+    21. Maribones, maides, maribones.
+
+    22. I ha' ripe cowcumber, ripe cowcumber.
+
+    23. Chimney sweepe.
+
+    24. New flounders new.
+
+    25. Some broken breade and meate for y{e} poore prisoners; for the
+    Lord's sake pittey the poore.
+
+    26. Buy my dish of great smelts.
+
+    27. Have you any chaires to mend?
+
+    28. Buy a cocke, or a gelding.
+
+    29. Old showes or bootes; will you buy some broome?
+
+    30. Mussels, lilly white mussels.
+
+    31. Small cole a penny a peake.
+
+    32. What kitchen stuff have you, maides?
+
+The figures, male and female, in the engravings, are all three-quarter
+lengths, furnished with the implements of their various trades, or with
+the articles in which they deal. The Watchman (one of the best) is a fine
+old fellow, with a broad brim to his hat, a reverential beard, a halberd
+in one hand, and a lanthorn in the other (after the manner of the one we
+have given at page 46). But perhaps the most curious engraving in the set
+is the "cry" called "Some broken breade and meate for y{e} poore
+prisoners: for the Lord's sake pittey the poore." This represents a poor
+prisoner with a sealed box in his hand, and a basket at his back--the box
+for alms in the shape of money, and the basket for broken bread and meat.
+There is also preserved a small handbill printed in 1664, and entitled,
+"The Humble Petition of the Poor Distressed Prisoners in Ludgate, being
+above an hundred and fourscore poor persons in number, against the time of
+the Birth of our Blessed Lord and Saviour Jesus Christ." "We most humbly
+beseech you," says the handbill "(even for God's cause), to relieve us
+with your charitable benevolence, and to put into this Bearers Boxe, the
+same being sealed with the house seale as it is figured on this Petition."
+
+[Illustration:
+
+  "Pity the sorrows of a poor old man,
+  Whose trembling limbs have borne him to your door."]
+
+To, "O, rare Ben Jonson!" we are indebted for the most perfect picture of
+Smithfield at "Barthol'me-tide," which he gives us, together with the
+popular cries in vogue at the time, in his comedy of "_Bartholomew Fair_,"
+produced at the Hope Theatre, on the Bankside, 1614, and acted, as Jonson
+tells us, by the lady Elizabeth's servants.
+
+The second act opens with "_The Fair. A number of Booths, Stalls, &c., set
+out_." The characters presented are "Lanthorn Leatherhead," _a hobby-horse
+seller_. "Bartholomew Cokes," _an esquire of Harrow_. "Nightingale," _a
+ballad-singer, a costard-monger, mousetrap-man, corn cutter_. "Joan
+Trash," _a gingerbread woman_. "Leatherhead" calls--"What do you lack?
+what is't you buy? what do you lack? rattles, drums, halberts, horses,
+babies o' the best? fiddles o' the finest." "Joan Trash" cries, "Buy my
+gingerbread, gilt gingerbread!" the costard-monger, bawls out, "Buy any
+pears, pears, fine, very fine pears!" "Nightingale," the ballad man
+sings--
+
+  "Hey, now the Fair's a filling!
+    O, for a tune to startle
+  The birds o' the booths here billing
+    Yearly with old saint _Bartle_!
+  The drunkards they are wading,
+    The punks and chapmen trading:
+  Who'd see the _Fair_ without his lading?
+    Buy my ballads! new ballads!"
+
+"What do you lack?" continues Leatherhead, "What do you lack, gentlemen?
+my pretty mistress, buy a fine hobby-horse for your young master; cost you
+but a token a week for his provender." The corn cutter cries, "Have you
+any corns in your feet or toes?" The tinder-box man calls, "Buy a
+mouse-trap, a mouse-trap, or a tormentor for a flea!" Trash cries, "Buy
+some gingerbread!" Nightingale bawls, "Ballads, ballads, fine new
+ballads!" Leatherhead repeats, "What do you lack, gentlemen, what is't you
+lack? a fine horse? a lion? a bull? a bear? a dog? or a cat? an excellent
+fine Bartholomew bird? or an instrument? what is't you lack, what do you
+buy, mistress? a fine hobby-horse, to make your son a tilter? a drum, to
+make him a soldier? a fiddle, to make him a reveller? what is't you lack?
+little dogs for your daughters? or babies, male and female? fine purses,
+pouches, pincases, pipes; what is't you lack? a pair o' smiths to wake you
+i' the morning? or a fine whistling bird?" A character named "Bartholomew
+Cokes," a silly "Esquire of Harrow," stops at Leatherhead's stall to
+purchase.--"Those six horses, friend, I'll have, and the three Jew's
+trumps; and half a dozen o' birds; and that drum; and your smiths--I like
+that devise o' your smiths, and four halberts; and let me see, that fine
+painted great lady, and her three women of state, I'll have. A set of
+those violins I would buy too, for a delicate young noise[4] I have i' the
+country, that are every one a size less than another, just like your
+fiddles." Joan Trash invites the Esquire to buy her gingerbread, and he
+turns to her basket, whereupon Leatherhead says, "Is this well, Goody
+Joan, to interrupt my market in the midst, and call away my customers? Can
+you answer this at the _Pie-poudres_?"[5] whereto Joan Trash replies,
+"Why, if his master-ship have a mind to buy, I hope my ware lies as open
+as anothers; I may show my ware as well as you yours." Nightingale begins
+to sing:--
+
+  "My masters and friends, and good people draw near."
+
+Squire Cokes hears this, and says, "Ballads! hark, hark! pray thee,
+fellow, stay a little! what ballads hast thou? let me see, let me see
+myself--How dost thou call it? _A Caveat against Cut-purses!_--a good jest
+i' faith; I would fain see that demon, your cut-purse, you talk of;" He
+then shows his purse boastingly, and enquires "Ballad-man, do any
+cut-purses haunt hereabout? pray thee raise me one or two: begin and show
+me one." Nightingale answers, "Sir, this is a spell against 'em, spick and
+span new: and 'tis made as 'twere in mine own person, and I sing it in
+mine own defence. But 'twill cost a penny alone if you buy it." The Squire
+replies: "No matter for the price; thou dost not know me, I see, I am an
+old _Bartholomew_." The ballad has "pictures," and Nightingale tells him,
+"It was intended, sir, as if a purse should chance to be cut in my
+presence, now, I may be blameless though; as by the sequel will more
+plainly appear." He adds, "It is, to the tune of _Paggington's Pound_,
+sir." and he finally sings the ballad, the first and last stanzas of which
+follow:--
+
+  "My masters, and friends, and good people draw near,
+  And look to your purses, for that I do say;
+  And though little money, in them you do bear,
+  It cost more to get, than to lose in a day,
+            You oft' have been told,
+            Both the young and the old,
+  And bidden beware of the cut-purse so bold;
+  Then if you take heed not, free me from the curse,
+  Who both give you warning, for, and the cut-purse.
+  Youth, youth, thou hadst better been starved by thy nurse,
+  Than live to be hanged for cutting a purse.
+
+         *       *       *       *       *
+
+  "But O, you vile nation of cut-purses all,
+  Relent, and repent, and amend, and be sound,
+  And know that you ought not by honest men's fall,
+  Advance your own fortunes to die above ground.
+            And though you go gay
+            In silks as you may,
+  It is not the highway to heaven (as they say.)
+  Repent then, repent you, for better, for worse;
+  And kiss not the gallows for cutting a purse.
+  Youth, youth, thou hadst better been starved by thy nurse,
+  Than live to be hanged for cutting a purse."
+
+While Nightingale sings this ballad, a fellow tickles Coke's ear with a
+straw, to make him withdraw his hand from his pocket, and privately robs
+him of his purse, which, at the end of the song, he secretly conveys to
+the ballad-singer; who notwithstanding his "Caveat against cut-purses," is
+their principal confederate, and in that quality, becomes the unsuspected
+depository of the plunder.
+
+In the years 1600-18, there was published a musical work, entitled
+"_Pammelia_--MVSICKES MISCELLANIE; _Or_, Mixed Varietie of pleasant
+ROVNDELAYS and delightful CATCHES. London, Printed by Thomas Snodhom, for
+Matthew Lownes and Iohn Browne." It was compiled by some eminent
+musicians, who had a practice of setting the cries of London to music,
+retaining only the very musical notes of them, here we find, "What
+Kitchen-Stuffe haue you maids," and there is a Round in six parts to the
+cry of "New Oysters:"--
+
+  "New Oysters, new Oysters, new Oysters new,
+  New Oysters, new Wall-fleet Oysters--
+  At a groat a pecke--each Oyster worth twopence.
+  Fetch vs bread and wine, that we may eate,
+  Let vs lose no time with such good meate--
+  A Banquet for a Prince--New Oysters.
+                    New--_vt supra_--Oysters."
+
+From "Meligmata: Musical Phantasies, fitting the Court, City, and Country
+Manners, to three, four and five Voices"--
+
+  "To all delightful, except to the spiteful;
+  To none offensive, except to the pensive."
+
+"London, printed by William Stansby, for Thos. Adams, 1611," we take as
+follows:--
+
+  "CITTIE ROUNDS.
+
+  "Broomes for old shoes! pouch-rings, bootes and buskings!
+  Will yee buy any new broome?
+  New oysters! new oysters! new new cockles!
+  Cockels nye! fresh herrings! will yee buy any straw?
+  Hay yee any kitchen stuffe, maides?
+  Pippins fine, cherrie ripe, ripe, ripe!
+      Cherrie ripe, &c.
+          Hay any wood to cleaue?
+          Give care to the clocke!
+          Beware your locke!
+          Your fire and your light!
+          And God giue you good night!
+              One o' clocke!"
+
+Some of the "Common Cryes i' th' City," as Oysters, Codlings,
+Kitchen-stuff, Matches for your Tinder-box, &c., are enumerated in Richard
+Brome's--The "Court Beggar, A Comedie acted at the _Cock-pit_, by His
+Majesties Servants, _Anno_ 1632."
+
+"The London Chanticleers, a witty Comedy full of Various and Delightful
+Mirth," 1659. This piece is rather an interlude than a play, and is
+amusing and curious, the characters being, with two exceptions, all London
+criers. The allusions to old usages, with the mention of many well known
+ballads, and some known no longer, contribute to give the piece an
+interest and a value of its own.
+
+The principal _dramatis personæ_ consists of:--
+
+    HEATH.--_A broom-man._ "Brooms, maids, broom! Come, buy my brooms,
+    maids; 'Tis a new broom, and will sweep clean. Come, buy my broom,
+    maids!"
+
+    BRISTLE.--_A brush-man._ "Come, buy a save-all. Buy a comb-brush, or a
+    pot-brush; buy a flint, or a steel, or a tinder-box."
+
+    DITTY.--_A ballad-man._ "Come, new books, new books, newly printed and
+    newly come forth! All sorts of ballads and pleasant books! _The Famous
+    History of Tom Thumb_ and _Unfortunate Jack, A Hundred Goodly
+    Lessons_ and _Alas, poor Scholar, whither wilt thou go? The second
+    part of Mother Shipton's Prophecies, newly made by a gentleman of good
+    quality_, foretelling what was done four hundred years ago, and _A
+    Pleasant Ballad of a bloody fight seen i' th' air_, which, the
+    astrologers say, portends scarcity of fowl this year. The _Ballad of
+    the Unfortunate Lover_. I have _George of Green_, _Chivy Chase_,
+    _Collins and the Devil; or, Room for Cuckolds_, _The Ballad of the
+    London 'Prentice_, _Guy of Warwick_, _The Beggar of Bethnal Green, the
+    Honest Milkmaid; or, I must not wrong my Dame_, _The Honest Fresh
+    Cheese and Cream Woman_. Then I have _The Seven Wise Men of Gotham_,
+    _A Hundred Merry Tales_, _Scoggin's Jests; or, A Book of Prayers and
+    Graces for Young Children_. I have very strange news from beyond seas.
+    The King of Morocco has got the black jaundice, and the Duke of
+    Westphalia is sick of the swine-pox, with eating bacon; the Moors
+    increase daily, and the King of Cyprus mourns for the Duke of Saxony,
+    that is dead of the stone; and Presbyter John is advanced to Zealand;
+    the sea ebbs and flows but twice in four-and-twenty hours, and the
+    moon has changed but once the last month."
+
+    BUDGET.--_A Tinker._ "Have you any work for the tinker? Old brass, old
+    pots, old kettles. I'll mend them all with a tara-tink, and never hurt
+    your metal."
+
+    GUM.--_A Tooth drawer._ "Have you any corns upon your feet or toes?
+    Any teeth to draw?"
+
+    JENNITING.--_An Apple wench._ "Come buy my pearmains, curious John
+    Apples, dainty pippins? Come, who buy? who buy?"
+
+    CURDS.--_A fresh Cheese and Cream woman._ "I have fresh cheese and
+    cream; I have fresh cheese and cream."
+
+
+  THE SORROWFUL LAMENTATIONS of the PEDLARS AND PETTY CHAPMEN,
+  For the Hardness of the Times and the Decay of Trade.
+  _To the Tune of_ "My Life and my Death."
+
+  "The times are grown hard, more harder than stone,
+  And therefore the Pedlars may well make their moan,
+  Lament and complain that trading is dead,
+  That all the sweet golden days now are fled.
+      Then maidens and men, come see what you lack,
+      And buy the fine toys that I have in my pack!
+
+  "Come hither and view, here's choice and here's store,
+  Here's all things to please ye, what would you have more?
+  Here's points for the men, and pins for the maid,
+  Then open your purses and be not afraid.
+                        Come, maidens, &c.
+
+  "Let none at a tester repent or repine:
+  Come bring me your money, and I'll make you fine;
+  Young Billy shall look as spruce as the day,
+  And pretty sweet Betty more finer than May.
+                        Then, maidens, &c.
+
+  "To buy a new license your money I crave;
+  'Tis that which I want, and 'tis that which you have:
+  Exchange then a groat for some pretty toy,
+  Come, buy this fine whistle for your little boy.
+                        Come, maidens, &c.
+
+  "Here's garters for hose, and cotton for shoes.
+  And there's a gilt bodkin, which none would refuse:
+  This bodkin let John give to sweet Mistriss Jane,
+  And then of unkindness he shall not complain.
+                        Come, maidens, &c.
+
+  "Come buy this fine coife, this dressing, or hood,
+  And let not your money come like drops of blood:
+  The Pedlar may well of his fortune complain
+  If he brings all his ware to the market in vaine.
+                        Then, maidens, &c.
+
+  "Here's band strings for men, and there you have lace,
+  Bone-lace to adorn the fair virgin's sweet face:
+  Whatever you like, if you will but pay,
+  As soon as you please you may take it away.
+                        Then, maidens, &c.
+
+  "The world is so hard that we find little trade,
+  Although we have all things to please every maid:
+  Come, pretty fair maids, then make no delay,
+  But give me your hansel, and pack me away.
+                        Come, maidens, &c.
+
+  "Here's all things that's fine, and all things that's rare,
+  All modish and neat, all new London ware:
+  Variety here you plainly may see,
+  Then give me your money, and we will agree.
+                        Come, maidens, &c.
+
+  "We travel all day through dirt and through mire,
+  To fetch you fine laces and what you desire;
+  No pains do we spare to bring you choice ware,
+  As gloves and perfumes, and sweet powder for hair.
+                        Then, maidens, &c.
+
+  "We have choice of songs, and merry books, too,
+  All pleasant and witty, delightful and new,
+  Which every young swain may whistle at plough,
+  And every fair milk-maid may sing at her cow.
+                        Then, maidens, &c.
+
+  "Since trading's so dead we must needs complain,
+  And, therefore, pray let us have some little gain:
+  If you will be free, we will you supply
+  With what you do want; therefore, pray come and buy.
+      The world is so hard, that although we take pains,
+      When we look in our purses we find little gains.
+
+  "Printed for J. BACK, at the Black-boy, on London Bridge."
+
+In "Merry Drollery Complete, or, a Collection of Jovial Poems, Merry
+Songs, Witty Drolleries, Intermixed with Pleasant Catches, London, Printed
+for _William Miller_, at the _Gilded Acorn_, in _St. Paul's_ Church-yard,
+1661," the _Catch_ which follows will be found. The Rev. J. Woodfall
+Ebsworth, M.A., Cantab, who has carefully edited and reprinted [1875]
+"Both Parts"; says in his _Appendix of Notes_:--"Hare-skin and Rabbit-skin
+collectors, have always been queer characters. This catch is by JOHN
+FLETCHER, in his 'Beggar's Bush,' act iii., sc. 1, where it is sung by
+'Clause' his boy. Clause, the vagabond beggar, was a popular favourite,
+reproduced in 'Drolls.' We see him represented in the frontispiece of _The
+Wits_, by Kirkman and Cox."
+
+  A CATCH.
+
+  "Bring forth your Cunny skins, fair maids, to me,
+  And hold them fair that I may see
+  Gray, black, and blue; for your smaller skins--
+  I'll give you Glasses, Laces, Pins:
+              And for your whole Cunny
+              I'll give ready money.
+
+  "Come, gentle _Jone_, do thou begin
+  With thy black, black, black Cunny skin,
+  And _Mary_ then, and _Kate_ will follow
+  With their silver'd hair'd skins, and their yellow;
+              Your white Cunny skin I will not lay by,
+              Though it be fat, it is not fair to the Eye.
+
+  "Your gray it is warm, but for my money
+  Give me the bonny, bonny black Coney;
+  Come away, fair maids, your skins will decay,
+  Come take money, maids, put your ware away;
+              I have fine Bracelets, Rings,
+              And I have silver Pins
+              Coney skins, Coney skins,
+              Maids, have you any Coney skins."
+
+In the same Collection there is a vigorous song exposing the cheats of
+mendicants. The hero of which declares:--"_I am a Rogue, and a stout
+one_." And that among the many cheats, counterfeits, deceits and dodges he
+has to resort to, at times he may be seen:--
+
+  "In _Pauls_ Church-yard, by a pillar,
+  Sometimes you see me stand, Sir,
+  With a writ that shows what cares, what woes
+  I have passed by Sea and Land, Sir,
+      Then I do cry, &c.
+
+  "Come buy, come buy a Horn-book,
+  Who buys my Pins and Needles:
+  Such things do I in the City cry
+  Oftimes to 'scape the Beadles,
+      Then I do cry, &c."
+
+For the counterpart of this Rogue and Vagabond, the reader is referred to
+Vol. I, No. 42-3 of the Roxburghe Ballads--(British Museum.) Where there
+is one entitled:--
+
+  THE CUNNING NORTHERN BEGGAR.
+
+  Who all the by-standers doth earnestly pray
+  To bestow a penny upon him to-day.
+  TO THE TUNE OF _Tom of Bedlam_.
+
+[Illustration]
+
+  I am a lusty beggar,
+    And live by others giving!
+      I scorn to work,
+      But by the highway lurk,
+    And beg to get my living:
+  I'll i' the wind and weather,
+    And wear all ragged garments;
+      Yet, though I'm bare,
+      I'm free from care,--
+  A fig for high preferments!
+
+          _Therefore I'll cry, &c._
+
+    *       *       *       *
+
+  My flesh I can so temper
+    That it shall seem to fester,
+      And look all o'er
+      Like a raw sore,
+    Whereon I stick a plaister.
+  With blood I daub my face then,
+    To feign the falling sickness,
+      That in every place
+      They pity my case,
+  As if it came through weakness.
+
+          _Therefore I'll cry, &c._
+
+    *       *       *       *
+
+  No tricks at all shall escape me,
+    But I will by my maunding,
+      Get some relief
+      To ease my grief
+    When by the highway standing:
+  'Tis better be a Beggar,
+    And ask of kind good fellows,
+      And honestly have
+      What we do crave,
+    Than steal and go to the gallows.
+
+  _Therefore I'll cry, "Good your worship, good sir,
+    Bestow one poor denier, sir,
+      Which, when I've got,
+      At the Pipe and Pot
+    I soon will it cashier, sir."_
+
+  FINIS.
+
+  Printed at London for F. Coules.
+
+The following ballad was published in "Playford's Select Ayres," 1659, p.
+95; with music by Dr. John Wilson, and Musical Companion, 1673. It is in
+the Percy Folio MS., iii., 308-11. Also in "Windsor Drollery," 2; and "Le
+Prince d'Amour," 1660, p. 177. It is attributed to Shakespeare, but with
+only manuscript evidence.
+
+  "THE SONG OF THE PEDLARS.
+
+  "From the fair Lavinian shore,
+  I your markets come to store.
+  Muse not though so far I dwell
+  And my wares come here to sell:
+      Such is the insatiate thirst after gold,
+  Then come to my pack
+  While I cry, what d'ye lack,
+      What d'ye buy? for here it is to be sold.
+
+  "Courteous Sir, I've wares for you,
+  Garters red and stockings blue,
+  Dainty gaudes for Sunday gear,
+  Beads and laces for your dear,
+  First let me have but a touch of your gold
+  Then come--Not a swain,
+      Half so neat,
+      On the plain
+      Shall we meet
+  So comely to behold.
+
+  "Madam, come, here you may find
+  Rings with posies to your mind,
+  Silken bands for true-love-knot,
+  And complexion I have got.
+  First let me have but a touch of your gold,
+  Then come--To your face,
+      I'll restore
+      Every grace
+      Though you're more
+  Than three score and ten years old.
+
+  "Gentles all, now fare you well,
+  I must trudge my wares to sell;
+  Lads so blythe and Dames so young,
+  Drop a guerdon for my song.
+  Just let me have but a touch of your gold,
+      I'll come with my pack
+      Again to cry,
+      What d'ye lack,
+      What d'ye buy?
+  For here it is to be sold."
+
+Mr. John Payne Collier, in his "_A Book of Roxburghe Ballads_," London,
+1847, reproduces a capital ditty; "ryhte merrie and very excellent in its
+way," relating to the popular pursuits and the customs of London and the
+Londoners in the early part of the seventeenth century. It is printed
+_verbatim_ from a broadside, signed W. Turner, and called:--
+
+    "The Common Cries of London Town,
+    Some go up street and some go down.
+
+    With Turner's Dish of Stuff, or a Gallymaufery
+
+    To the tune of _Wotton Towns End_.[6] Printed for F. C[oles,] T.
+    V[ere,] and W. G[ilbertson.] 1662."
+
+The only known copy is dated 1662, but contains internal evidence, in the
+following stanza (which occurs in the opening of The Second Part,) that it
+was written in the reign of James I.
+
+  "That's the fat foole of the Curtin:
+    And the lean fool of the Bull:
+  Since _Shancke_ did leave to sing his rimes,
+    He is counted but a gull.
+
+  "The players on the Bankside,
+    The round Globe and the Swan,
+  Will teach you idle tricks of love,
+    But the Bull will play the man."
+
+_Shancke._--John Shancke the comic actor here mentioned was celebrated for
+singing rhymes, and what were technically "jigs" on the stage. In this
+respect, as a low comedian he had been the legitimate successor of
+Tarlton, Kempe, Phillips, and Singer. He was on the stage from 1603 to
+1635, when he died. Then, John Taylor the _Water Poet_, no mean authority,
+informs us that the Swan Theatre, on the Bankside, in the Liberty of Paris
+Gardens, had been abandoned by the players in 1613. The Curtain Theatre in
+Holywell street--or Halliwell street, as it was usually spelt at that
+time--Shoreditch Fields[7] had also fallen into disuse before the reign of
+Charles I. The Globe on the Bankside, and the [Red] Bull Theatre at the
+upper end of St. John's street, Clerkenwell were employed until after the
+restoration. The allusion to the Waterman carrying "bonny lasses over to
+the plays," is also a curious note of time. With these matters before us,
+we may safely conclude that "Turner's Dish of Stuff" is but a reprint of
+an earlier production. As we find it, so we lay it before our readers:
+thus:--
+
+  "THE COMMON CRIES OF LONDON TOWN:
+  SOME GO UP STREET, SOME GO DOWN.
+
+  With Turner's Dish of Stuff, or a Gallymaufery.
+  _To the tune_ of Wotton Towns End."
+
+  [Illustration]
+
+  "My masters all, attend you,
+      if mirth you love to heare,
+  And I will tell you what they cry
+      in London all the yeare.
+  Ile please you if I can,
+      I will not be too long:
+  I pray you all attend awhile,
+      and listen to my song.
+
+  "The fish-wife first begins,
+      Anye muscles lilly white!
+  Herrings, sprats or plaice,
+      or cockles for delight.
+  Anye welflet oysters!
+      Then she doth change her note:
+  She had need to have her tongue be greas'd,
+      for the rattles in the throat.
+
+  "For why, they are but Kentish,
+      to tell you out of doubt.
+  Her measure is too little;
+      goe, beat the bottom out.
+  Half a peck for two pence?
+      I doubt it is a bodge.
+  Thus all the City over
+      the people they do dodge.
+
+  "The wench that cries the kitchin stuff,
+      I marvel what she ayle,
+  She sings her note so merry,
+      but she hath a draggle tayle:
+  An empty car came running,
+      and hit her on the bum;
+  Down she threw her greasie tub,
+      and away straight she did run.
+
+  "But she did give her blessing
+      to some, but not to all,
+  To bear a load to Tyburne,
+      and there to let it fall:
+  The miller and his golden thumb,
+      and his dirty neck,
+  If he grind but two bushels,
+      he must needs steal a peck.
+
+  "The weaver and the taylor,
+      cozens they be sure,
+  They cannot work but they must steal,
+      to keep their hands inure;
+  For it is a common proverb
+      thorowout the town,
+  The taylor he must cut three sleeves
+      to every woman's gown.
+
+  "Mark but the waterman
+      attending for his fare,
+  Of hot and cold, of wet and dry,
+      he alwaies takes his share:
+  He carrieth bonny lasses
+      over to the playes,
+  And here and there he gets a bit,
+      and that his stomach staies.
+
+  "There was a singing boy
+      who did not ride to Rumford;
+  When I go to my own school
+      I will take him in a comfort;
+  But what I leave behind
+      shall be no private gain;
+  But all is one when I am gone:
+      let him take it for his pain.
+
+  "Old shoes for new brooms!
+      the broom-man he doth sing,
+  For hats or caps or buskins,
+      or any old pouch ring.
+  Buy a mat, a bed-mat!
+      a hassock or a presse,
+  A cover for a close stool,
+      a bigger or a lesse.
+
+  "Ripe, cherry ripe!
+      the coster-monger cries;
+  Pippins fine or pears!
+      another after hies,
+  With basket on his head
+      his living to advance,
+  And in his purse a pair of dice
+      for to play at mumchance.
+
+  "Hot pippin pies!
+      to sell unto my friends,
+  Or pudding pies in pans,
+      well stuft with candle's ends.
+  Will you buy any milk?
+      I heard a wench that cries:
+  With a pale of fresh cheese and cream,
+      another after hies.
+
+  "Oh! the wench went neatly;
+      me thought it did me good,
+  To see her cherry cheeks
+      so dimpled ore with blood:
+  Her waistcoat washed white
+      as any lilly floure;
+  Would I had time to talk with her
+      the space of half an hour.
+
+  "Buy black! saith the blaking man,
+      the best that ere was seen;
+  Tis good for poore citizens
+      to make their shoes to shine.
+  Oh! tis a rare commodity,
+      it must not be forgot;
+  It will make them to glister galantly,
+      and quickly make them rot.
+
+  "The world is full of thread-bare poets
+      that live upon their pen,
+  But they will write too eloquent,
+      they are such witty men.
+  But the tinker with his budget,
+      the beggar with his wallet,
+  And Turners turned a gallant man
+      at making of a ballet."
+
+
+  THE SECOND PART.
+
+  _To the same Tune._
+
+  [Illustration]
+
+  "That's the fat foole of the Curtin,
+      and the lean fool of the Bull:
+  Since Shancke did leave to sing his rimes,
+      he is counted but a gull.
+  The players on the Bankside,
+      the round Globe and the Swan,
+  Will teach you idle tricks of love,
+      but the Bull will play the man.
+
+  "But what do I stand tattling
+      of such idle toyes?
+  I had better go to Smith-Field
+      to play among the boyes:
+  But you cheating and deceiving lads,
+      with your base artillery,
+  I would wish you to shun Newgate,
+      and withall the pillory.
+
+  "And some there be in patcht gownes,
+      I know not what they be,
+  That pinch the country-man
+      with nimming of a fee;
+  For where they get a booty,
+      they'le make him pay so dear,
+  They'le entertain more in a day,
+      then he shall in a year.
+
+  "Which makes them trim up houses
+      made of brick and stone,
+  And poor men go a begging,
+      when house and land is gone.
+  Some there be with both hands
+      will swear they will not dally,
+  Till they have turn'd all upside down,
+      as many use to sally.
+
+  "You pedlers, give good measure,
+      when as your wares you sell:
+  Tho' your yard be short, your thumb will slip
+      your tricks I know full well.
+  And you that sell your wares by weight,
+      and live upon the trade,
+  Some beams be false, some waits too light;
+      such tricks there have been plaid.
+
+  "But small coals, or great coals!
+      I have them on my back:
+  The goose lies in the bottom;
+      you may hear the duck cry quack.
+  Thus Grim the black collier,
+      whose living is so loose,
+  As he doth walk the commons ore,
+      sometimes he steals a goose.
+
+  "Thou usurer with thy money bags
+      that livest so at ease,
+  By gaping after gold thou dost
+      thy mighty God displease;
+  And for thy greedy usury,
+      and thy great extortion,
+  Except thou dost repent thy sins,
+      Hell fire will be thy portion.
+
+  "For first I came to Houns-Ditch,
+      then round about I creep,
+  Where cruelty was crowned chief
+      and pity fast asleep:
+  Where usury gets profit,
+      and brokers bear the bell.
+  Oh, fie upon this deadly sin!
+      it sinks the soul to hell.
+
+  "The man that sweeps the chimneys
+      with the bush of thorns,
+  And on his neck a trusse of poles
+      tipped all with horns,
+  With care he is not cumbered,
+      he liveth not in dread?
+  For though he wear them on his pole,
+      some wear them on their head.
+
+  "The landlord with his racking rents
+      turns poor men out of dore;
+  Their children go a begging
+      where they have spent their store.
+  I hope none is offended
+     with that which is endited
+  If any be, let him go home
+     and take a pen and write it.
+
+  "Buy a trap, a mouse trap,
+      a torment for fleas!
+  The hangman works but half the day;
+      he lives too much at ease.
+  Come let us leave this boyes play
+      and idle prittle prat,
+  And let us go to nine holes,
+      to spurn-point, or to cat.
+
+  "Oh! you nimble fingered lads
+      that live upon your wits,
+  Take heed of Tyburn ague,
+      for they be dangerous fits;
+  For many a proper man,
+      for to supply his lack,
+  Doth leap a leap at Tyburn,
+      which makes his neck to crack.
+
+  "And to him that writ this song
+      I give this simple lot:
+  Let every one be ready
+      to give him half a pot.
+  And thus I do conclude,
+      wishing both health and peace
+  To those that are laid in their bed,
+      and cannot sleep for fleas.
+                                        W. TURNER"
+
+The "tink, terry tink" of the Tinker's "Cry" is preserved in a Miscellany
+of the year 1667, called "_Catch that Catch Can; or, the Musical
+Champion_."
+
+[Illustration]
+
+  "The Tinker.
+
+  "Have you any work for a tinker, mistriss?
+  Old brass, old pots, or kettles?
+  I'll mend them all with a tink, terry tink,
+  And never hurt your mettles.
+  First let me have but a touch of your ale,
+  'Twill steel me against cold weather,
+  Or tinkers frees,
+  Or vintners lees,
+  Or tobacco chuse you whether.
+  But of your ale,
+  Your nappy ale,
+  I would I had a ferkin,
+  For I am old
+  And very cold
+  And never wear a jerkin."
+
+The tinker's "Cry" forms the opening lines of "Clout the Cauldron," one of
+the best of our old Scottish songs:--
+
+  "'Hae ye ony pots or pans,
+  Or any broken chanlers,'
+  I am a tinker to my trade,
+  And newly come from Flanders."
+
+But the song is so well known to all who take an interest in our northern
+minstrelsy, and is to be found, moreover, in every good collection of
+Scottish Songs, that it is enough to refer to it.
+
+Honest John Bunyan was a travelling tinker originally. Reader! just for a
+moment fancy the inspired author--poet we may call him--of "_The Pilgrim's
+Progress_," crying the "cry" of his trade through the streets of Bedford,
+thus--"_Mistress, have you any work for the tinker? pots, pans, kettles I
+mend, old brass, lead or old copper I buy. Anything in my way to-day,
+maids?_" While at the same time, through his brain was floating visions of
+Vanity Fair, the Holy War, the Slough of Despond, the Valley of the Shadow
+of Death, the Barren Fig Tree, the Water of Life, &c. beneath the long
+head of hair, shaggy and dirty, too, as a tinker's generally is.
+
+[Illustration]
+
+[Illustration: HOT CODLINGS:--_A Catch_.]
+
+This will be found in "_Windsor Drollery_," and, with music for three
+voices, by Thomas Holmes, in John Hilton's "_Catch that Catch Can_;" and
+also Walsh's "_Catch Club_." Part II., p. 25.
+
+  "Have you observ'd the wench in the street,
+  She's scarce any hose or shoes to her feet;
+  And when she cries, she sings,
+  'I have hot Codlings, hot Codlings.'
+
+  "Or have you ever seen or heard,
+  The mortal with his Lyon tauny beard!
+  He lives as merrily as heart can wish,
+  And still he cries, 'Buy a brush, buy a brush.'
+
+  "Since these are merry, why should we take care?
+  Musicians, like Camelions, must live by the Aire;
+  Then let's be blithe and bonny, no good meeting baulk,
+  What though we have no money, we shall find Chalk."
+
+The best known collection of cries is "The Cryes of the City of London.
+Drawne after the Life. P. Tempest, _Excudit_," a small folio volume, which
+when published, in 1688, consisted of only fifty plates, as the following
+advertisement, extracted from the _London Gazette_ of May 28-31, 1688,
+sufficiently proves:--
+
+    "There is now published the Cryes and Habits of London, lately drawn
+    after the Life in great variety of Actions. Curiously Engraven upon 50
+    Copper plates, fit for the Ingenious and Lovers of Art. Printed and
+    Sold by P. Tempest, over-against Somerset House, in the Strand."
+
+Samuel Pepys, the eccentric diarist, who died 1703, left to Magdalene
+College, Cambridge, an invaluable collection of ballads, manuscript naval
+memoirs, ancient English poetry, three volumes of "Penny Merriments," and
+a numerous assemblage of etchings and engravings. Among the latter are a
+number of Tempest's Cries in the first state. These are still preserved in
+the Pepysian Library in the same College.
+
+In 1711 another edition of Tempest's Cries was published, containing
+seventy-four plates, several of which can scarcely be called cries. They
+are popular "London Characters" rather than "criers." As the book,
+however, is extremely rare, and consequently costly, and as a history of
+the old London Cries would be very imperfect without a particular account
+of Tempest's volume being made, with a few words about Mauron, who
+designed, and Pearce Tempest, who engraved these cries, that which follows
+will not, we trust, be altogether out of place. Of Mauron, we can find no
+better account than the notice in Walpole.
+
+"Marcellus Mauron--sometimes spelt Lauron, was born at the Hague in 1643,
+and learnt to paint of his father, with whom he came when young into
+England. Here he was placed with one La Zoon, a portrait-painter, and then
+with Flesshier, but owed his chief improvement to his own application. He
+lived several years in Yorkshire, and when he returned again to London he
+had very much improved himself in his art. He drew correctly, studied
+nature diligently, copied closely, and so surpassed all his contemporaries
+in drapery, that Sir Godfrey Kneller employed him to clothe his portraits.
+He likewise excelled in imitating the different styles of eminent masters,
+executed conversation pieces of considerable merit. Several prints were
+made from his works, and several plates he etched and scraped himself. A
+book on fencing, and the procession at the coronation of William and Mary,
+were designed by him. He lived in Bow-street, Covent-garden, on the west
+side, about three doors up, and at the back of Sir Godfrey Kneller's house
+in the Piazza; there he died of consumption March 11th, 1702."
+
+Of Pearce Tempest, the engraver, the particulars collected by Vertue were
+so extremely slight that Horace Walpole merely enumerates him among those
+of whom nothing is known. It may be told of him, however, that he lived in
+the Strand, over-against Somerset House, and dying in 1717, was buried on
+the 14th of April, in the church-yard of St. Paul, Covent-garden.
+
+The six woodcuts following are reduced copies of the engraved figures that
+appear in Marcellus Mauron _cum_ Tempest's "The Cryes of the City of
+London;" first we have:--
+
+[Illustration: FINE WRITING INK!]
+
+This engraving pretty well describes the occupation of the figure
+represented. He carries a barrel on his back--pens in his right hand, with
+a pint measure and funnel at his side. But since Mauron's time the cry of
+"_Fine Writing Ink_" has ceased to be heard in the streets of the
+metropolis, so we no longer hear:--
+
+  "My ink is good--as black as jet
+  'Tis used by Princes--and the state,
+  If once you venture it to try,
+  Of this I'm sure--none else you'll buy."
+
+[Illustration: BUY AN IRON FORK, OR A SHOVEL?]
+
+The demand for such an iron fork, or such a shovel as the old woman
+carries is now discontinued.
+
+[Illustration: TROOP, EVERY ONE, ONE!]
+
+The man blowing a trumpet, "Troop, every one, one!" was a street seller of
+hobby-horses--toys for children of three hundred years ago.
+
+  "Call'st thou my love, hobby-horse; the hobby-horse is but a colt."
+                                    _Love's Labour Lost_, Act iii., sc. 1.
+
+He carried them, as represented in the engraving, in a partitioned frame,
+on his shoulder, and to each horse's head was a small flag with two bells
+attached. It was a pretty plaything for a "little master," and helped him
+to imitate the galloping of the real and larger hobby-horse in the
+pageants and mummeries that passed along the streets, or pranced in the
+shows at fairs and on the stage. Now-a-days we give a boy the first stick
+at hand to thrust between his legs as a Bucephalus--the shadow of a
+shadow--or the good natured grandpapa wishing to give my "young master"
+something of the semblance of the generous animal--for the horse is no
+less popular with boys than formerly, takes his charge to the nearest
+toyshop and buys him a painted stick on which is a sawn-out representation
+of a horse's head, which with the addition of a whip will enable him to:--
+
+  "Ride a cock-horse to Banbury-cross,
+    To see what Tommy can buy;
+  A penny white loaf, a penny white cake,
+    And a twopenny apple-pie."
+
+[Illustration: BUY A FINE SINGING BIRD!]
+
+The _cries_ of singing birds are extinct; we have only bird-_sellers_. The
+above engraving, therefore represents a by-gone character.
+
+[Illustration: STRAWBERRIES RIPE, AND CHERRIES IN THE RISE.]
+
+In the earlier days, the above was at once a musical and a poetical cry.
+It must have come over the ear, telling of sunny gardens not a sparrow's
+flight from the City, such as that of the Bishop of Ely in Holborn, and of
+plenteous orchards which could spare their boughs as well as their
+fruit:--
+
+  "_D. of Glou._--My lord of Ely, when I was last in Holborn,
+  I saw good strawberries in your garden there:
+  I do beseech you send for some of them.
+  _B. of Ely._--Marry, and I will, my lord, with all my heart."
+                                        _Richard III._, act iii., sc. 4.
+
+[Illustration: FINE ORANGES AND LEMONS.]
+
+The "orange-women" of Ben Jonson we have figured to the life. The familiar
+mention of the orange-sellers in the "Silent Woman," and this very early
+representation of one of them, show how general the use of this fruit had
+become in England at the beginning of the seventeenth century. It is
+stated, though the story is somewhat apocryphal, that the first oranges
+were imported by Sir Walter Raleigh. It is probable that about his time
+they first became an article of general commerce. We now consume about
+three hundred and fifty millions of oranges every year.
+
+The class of bold young women--"Orange Wenches," that Nell Gwynne made
+famous is sufficiently alluded to in a passage in the _Spectator_, No.
+141:
+
+    "But, indeed, by such representations, a poet sacrifices the best part
+    of his audience to the worst; and, as one would think, neglects the
+    boxes to write to the _orange-wenches_."
+
+Rowe and other writers go far to prove that the "Orange Wenches" who
+frequented theatres had
+
+  "Other Fish to fry, and other Fruit to sell,"
+
+beside supplying refreshment to the young gallants of the day.
+
+In Douglas Jerrold's comedy of "_Nell Gwynne_," which was first
+represented at the Theatre Royal, Haymarket, 9th of January, 1833, with
+the following cast of characters:--
+
+  King Charles the Second                       MR. JONES.
+
+  Sir Charles Berkeley                          MR. FORRESTER.
+
+  Charles Hart, Major Mohun, Managers of
+  the King's Theatre, Drury lane, 1667          MR. DURUSET.
+
+  Betterton, Manager of the Duke's Theatre,
+  Lincoln's-inn                                 MR. DIDDEAR.
+
+  Joe Haynes                                    MR. MEADOWS.
+
+  Counsellor Crowsfoot                          MR. BLANCHARD.
+
+  Stockfish                                     MR. F. MATTHEWS.
+
+  Boy                                           MASTER MACDONALD.
+
+  Nell Gwynne                                   MISS TAYLOR.
+
+  Orange Moll                                   MRS. KEELEY.
+
+  Mrs. Snowdrop                                 MRS. DALY.
+
+There is the following scene and song:--
+
+    _Enter_ NELL GWYNNE, _as orange girl, with orange basket. She carries
+    a mask._
+
+    _Nell._ (_Sings._) "_Buy oranges!_" Ladies and cavaliers, vouchsafe to
+    look at my basket! Maidens, ripen my fruit with your glances; buy my
+    oranges, as bright as hope and as sweet as courtship.--Though they
+    look as hard as gold, they'll melt in the mouth like a lover's
+    promise.--Their juice is syrup, and their coats as thin as a poet's.
+    Buy, gentlemen; or I'll vow that, being jealous, you hate yellow even
+    in an orange.
+
+    _Betterton._ (_Aside._) It is--I'd swear to her face--the very girl!
+
+    _Charles._ (_Coming down with Nelly._) And have your oranges really
+    all these virtues?
+
+    _Nell._ (_Aside._) So, my gallant mercer. All, and a thousand
+    more;--there's nothing good that may not be said of the orange. It
+    sets special examples to elder brothers, misers, and young travellers.
+
+    _Charles._ Aye? What example to elder brothers?
+
+    _Nell._ This; though full of age, it dwells quietly on the same branch
+    with bud and blossom.
+
+    _Charles._ What does it teach misers?
+
+    _Nell._ That golden coats should cover melting hearts.
+
+    _Charles._ And, lastly, what may the young traveller learn of your
+    orange?
+
+    _Nell._ This much; that he is shipped when green, that he may ripen on
+    the voyage.
+
+    _Charles._ Prettily lectured.
+
+    _Betterton._ (_Aside._) The king seems dazzled with the wench.--I must
+    secure her for the Duke's.
+
+    _Nell._ But, gentlemen, fair gentlemen, will no one lighten my basket?
+    Buy my oranges!
+
+    SONG.--NELL GWYNNE.
+
+      Buy oranges!--No better sold,--
+        New brought in Spanish ships;
+      As yellow bright as minted gold,
+        As sweet as ladies' lips.
+      Come, maidens, buy; nor judge my fruit
+        From beauty's bait--the skin;
+      Nor think, like fops, with gaudy suit,
+        They're dull and crude within.
+                          Buy oranges!
+
+      Buy oranges!--Buy courtiers, pray,
+        And as ye drain their juice,
+      Then, cast the poor outside away,
+        A thing that's served its use;
+      Why, courtier, pause; this truth translate,
+        Imprinted in the rind;
+      However gay the courtier's state,
+        'Tis yet of orange kind.
+                                Buy oranges!
+
+      Buy oranges!--Coquetting fair,--
+        As sweet reproach come buy;
+      And, as the fruit ye slice and share,
+        Remember with a sigh--
+      A heart divided needs must cast
+        The faith which is its soul;
+      If, maidens, ye would have it last,
+        Give none--if not the whole.
+                                Buy oranges!
+
+                          (_The by-standers all applaud._)
+
+The orange-woman who carried the golden fruit through every street and
+alley, with the musical cry of:--"_Fine Oranges and Lemons_," lasted for a
+century or two. Then the orange-woman became, as everything else became, a
+more prosaic person as she approached our own times. She was a
+barrow-woman at the end of the last century: and Porson has thus described
+her:--
+
+  "As I walked through the Strand, so cheerful and gay,
+    I met a young girl a-wheeling a barrow;
+  'Fine fruit, sir,' says she, 'and a bill of the play.'"
+
+The transformation was the same with the strawberry and cherry-women.
+
+From the "Collection of Ancient Songs and Ballads, written on various
+subjects, and printed between the years MDLX. and MDCC." in the British
+Museum, and now known as the ROXBURGHE BALLADS, we take the ballad of:--
+
+  THE CRIES OF LONDON.
+
+  Tune--_The Merry Christ-church Bells_.
+
+  Hark! how the cries in every street
+  Make lanes and allies ring:
+  With their goods and ware, both nice and rare,
+  All in a pleasant lofty strain;
+  Come buy my gudgeons fine and new.
+  Old cloaths to change for earthen ware,
+  Come taste and try before you buy,
+  Here's dainty poplin pears.
+  Diddle, diddle, diddle dumplins, ho!
+  With walnuts nice and brown.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Any old cloaths, suits, or coats.
+  Come buy my singing birds.
+  Oranges or lemons. Newcastle salmon.
+  Come buy my ropes of onions, ho!
+  Come buy my sand, fine silver sand.
+  Two bunches a penny, turnips, ho!
+  I'll change you pins for coney-skins.
+  Maids, do you want any milk below?
+  Here's an express from Admiral Hawke,
+  The Admiral of renown.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Maids, have you any kitchen stuff?
+  Will you buy fine artichoaks?
+  Come buy my brooms to sweep your rooms.
+  Will you buy my white-heart cabbages, ho!
+  Come buy my nuts, my fine small nuts,
+  Two cans a penny, crack and try.
+  Here's cherries round, and very sound.
+  Maids, shall I sweep your chimnies high?
+  Tinkle, tinkle, tinkle, goes the tinker's pan,
+  With a merry cheerful sound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's fine herrings, eight a groat.
+  Hot codlins, pies and tarts.
+  New mackerel I have to sell.
+  Come buy my Wellfleet oysters, ho!
+  Come buy my whitings fine and new.
+  Wives, shall I mend your husbands' horns?
+  I'll grind your knives to please your wives,
+  And very nicely cut your corns.
+  Maids, have you any hair to sell.
+  Either flaxen, black, or brown?
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Work for a cooper, maids give ear,
+  I'll hoop your tubs and pails.
+  Come Nell and Sue, and buy my blue.
+  Maids, have you any chairs to mend?
+  Here's hot spiced-gingerbread of the best,
+  Come taste and try before you buy.
+  Here's elder-buds to purge your bloods.
+  But black your shoes is all the cry.
+  Here's hot rice milk, and barley broth.
+  Plumb-pudding a groat a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's fine rosemary, sage, and thyme.
+  Come buy my ground ivy.
+  Here's fatherfew, gilliflowers and rue.
+  Come buy my knotted marjorum, ho!
+  Come buy my mint, my fine green mint.
+  Here's fine lavender for your cloaths.
+  Here's parsley and winter-savory.
+  And heart's-ease which all do choose.
+  Here's balm and hissop, and cinquefoil,
+  All fine herbs, it is well known.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's pennyroyal and marygolds.
+  Come buy my nettle-tops.
+  Here's water-cresses and scurvy-grass.
+  Come buy my sage of virtue, ho!
+  Come buy my wormwood and mugwort.
+  Here's all fine herbs of every sort.
+  Here's southernwood, that's very good,
+  Dandelion and houseleek.
+  Here's dragon's-tongue and wood-sorrel.
+  With bear's-foot and horehound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's green coleworts and brocoli.
+  Come buy my radishes.
+  Here's fine savoys, and ripe hautboys.
+  Come buy my young green hastings, ho!
+  Come buy my beans, right Windsor beans.
+  Two pence a bunch young carrots, ho!
+  Here's fine nosegays, ripe strawberries.
+  With ready picked salad, also.
+  Here's collyflowers and asparagus.
+  New prunes two-pence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's cucumbers, spinnage, and French beans.
+  Come buy my nice sallery.
+  Here's parsnips and fine leeks.
+  Come buy my potatoes, ho!
+  Come buy my plumbs, and fine ripe plumbs.
+  A groat a pound, ripe filberts, ho!
+  Here's corn-poppies and mulberries.
+  Gooseberries and currants also.
+  Fine nectarines, peaches, and apricots.
+  New rice two-pence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Buy a rabbit, wild duck, or fat goose.
+  Come buy a choice fat fowl.
+  Plovers, teal, or widgeons, come buy my pigeons.
+  Maids, do you want any small coal?
+  Come buy my shrimps, my fine new shrimps,
+  Two pots a penny, taste and try.
+  Here's fine saloop, both hot and good.
+  But Yorkshire muffins is the cry.
+  Here's trotters, calf's feet, and fine tripes.
+  Barrel figs, three-pence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's new-laid eggs for ten a groat.
+  Come buy water'd cod.
+  Here's plaice and dabs, lobsters and crabs.
+  Come buy my maids, and flounders, ho!
+  Come buy my pike, my fine live pike.
+  Two-pence a hundred cockles, ho!
+  Shads, eels, and sprats. Lights for your cats.
+  With haddocks, perch, and tench also.
+  Here's carp and tench, mullets and smelts.
+  Butter sixpence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+Printed and sold at the Printing-office in _Bow-church-yard, London_.
+
+"Holloway cheese-cakes" was once one of the London cries; they were sold
+by a man on horseback; and in "_Jack Drum's Entertainment_," a Comedy,
+1601, in a random song, the festive character of this district is
+denoted:--
+
+  "Skip it and trip it nimbly, nimbly,
+    Tickle it, tickle it, lustily,
+  Strike up the tabor for the wenches favour,
+    Tickle it, tickle it, lustily.
+  Let us be seene on Hygate-Greene,
+    To dance for the honour of Holloway.
+  Since we are come hither, let's spare for no leather,
+    To dance for the honour of Holloway."
+
+[Illustration]
+
+Drunken Barnaby, at the "Mother Red Cap," at Holloway, found very bad
+company:--
+
+  _Veni_ Holloway, pileum rubrum,
+  _In cohortem muliebrem_,
+  _Me_ adonidem _vocant omnes_
+  _Meretricis_ Babylonis;
+  _Tangunt_, _tingunt_, _molliunt_, _mulcent_,
+  _At egentem_, _foris pulsant_.
+
+Addison, the essayist and poet, 1672-1719, contributed a capital paper to
+the _Spectator_, on the subject of London Cries, which we deem so much to
+the purpose, that it is here reproduced _in extenso_.
+
+          THE SPECTATOR.
+  No. 251.              TUESDAY, DECEMBER 18.
+
+  ----_Linguæ centum sunt, oraque centum,
+  ----Ferrea vox_----           VIRG., En. 6., v. 625.
+
+  ----A hundred mouths, a hundred tongues,
+  And throats of brass, inspir'd with iron lungs.      DRYDEN.
+
+There is nothing which more astonishes a foreigner, and frightens a
+country 'squire, than the _cries of London_. My good friend Sir _Roger_
+often declares that he cannot get them out of his head, or go to sleep for
+them, the first week that he is in town. On the contrary, _Will
+Honeycombe_ calls them the _Ramage de la ville_, and prefers them to the
+sound of larks, and nightingales, with all the music of the fields and
+woods. I have lately received a letter from some very odd fellow upon this
+subject, which I shall leave with my reader, without saying anything
+further of it.
+
+SIR,
+
+I am a man out of all business, and would willingly turn my head to
+anything for an honest livelihood. I have invented several projects for
+raising many millions of money without burdening the subject, but I cannot
+get the parliament to listen to me, who look upon me forsooth as a crack,
+and a projector; so that despairing to enrich either myself or my country
+by this public-spiritedness, I would make some proposals to you relating
+to a design which I have very much at heart, and which may procure me a
+handsome subsistence, if you will be pleased to recommend it to the cities
+of London and Westminster.
+
+The post I would aim at, is to be comptroller-general of the London cries,
+which are at present under no manner of rules or discipline. I think I am
+pretty well qualified for this place, as being a man of very strong lungs,
+of great insight into all the branches of our British trades and
+manufactures, and of a competent skill in music.
+
+The cries of London may be divided into vocal and instrumental. A freeman
+of London has the privilege of disturbing a whole street for an hour
+together with the twankling of a brass kettle or a frying-pan. The
+watchman's thump at midnight startles us in our beds, as much as the
+breaking in of a thief. The sow-gelder's horn has indeed something musical
+in it, but this is seldom heard within the liberties. I would therefore
+propose that no instrument of this nature should be made use of, which I
+have not tuned and licensed, after having carefully examined in what
+manner it may affect the ears of her majesty's liege subjects.
+
+Vocal cries are of a much larger extent, and indeed so full of
+incongruities and barbarisms, that we appear a distracted city to
+foreigners, who do not comprehend the meaning of such enormous outcries.
+Milk is generally sold in a note above _Ela_, and it sounds so exceedingly
+shrill, that it often sets our teeth on edge. The chimney-sweeper is
+confined to no certain pitch; he sometimes utters himself in the deepest
+bass, and sometimes in the sharpest treble; sometimes in the highest, and
+sometimes in the lowest note of the gamut. The same observation might be
+made on the retailers of small coal, not to mention broken glasses or
+brick-dust. In these therefore, and the like cases, it should be my care
+to sweeten and mellow the voices of these itinerant tradesmen, before they
+make their appearance in our streets, as also to accommodate their cries
+to their respective wares; and to take care in particular, that those may
+not make the most noise who have the least to sell, which is very
+observable in the venders of card matches, to whom I cannot but apply that
+old proverb of _Much cry, but little wool_.
+
+Some of these last mentioned musicians are so very loud in the sale of
+these trifling manufactures, that an honest splenetic gentleman of my
+acquaintance bargained with one of them never to come into the street
+where he lived; but what was the effect of this contract? Why, the whole
+tribe of card-match-makers which frequent that quarter, passed by his door
+the very next day, in hopes of being bought off after the same manner.
+
+It is another great imperfection in our London-cries, that there is no
+just time nor measure observed in them. Our news should indeed be
+published in a very quick time, because it is a commodity that will not
+keep cold. It should not, however, be cried with the same precipitation as
+fire; yet this is generally the case: a bloody battle arms the town from
+one end to another in an instant. Every motion of the French is published
+in so great a hurry, that one would think the enemy were at our gates.
+This likewise I would take upon me to regulate in such a manner, that
+there should be some distinction made between the spreading of a victory,
+a march, or an encampment, a Dutch, a Portugal, or a Spanish mail. Nor
+must I omit, under this head, those excessive alarms with which several
+boisterous rustics infest our streets in turnip-season; and which are
+more inexcusable, because these are wares which are in no danger of
+cooling upon their hands.
+
+There are others who affect a very slow time, and are, in my opinion, much
+more tunable than the former; the cooper in particular swells his last
+note in a hollow voice, that is not without its harmony; nor can I forbear
+being inspired with a most agreeable melancholy, when I hear that sad and
+solemn air with which the public are very often asked, If they have any
+chairs to mend? Your own memory may suggest to you many other lamentable
+ditties of the same nature, in which music is wonderfully languishing and
+melodious.
+
+I am always pleased with that particular time of the year which is proper
+for the pickling of dill and cucumbers; but alas! this cry, like the song
+of the nightingale, is not heard above two months. It would therefore be
+worth while to consider, whether the same air might not in some cases be
+adapted to other words.
+
+It might likewise deserve our most serious consideration, how far, in a
+well-regulated city, those humourists are to be tolerated, who, not
+content with the traditional cries of their forefathers, have invented
+particular songs and tunes of their own: such as was not many years since,
+the pastry-man, commonly known by the name of the Colly-Molly-Puff; and
+such as is at this day the vender of powder and wash-ball, who, if I am
+rightly informed, goes under the name of _Powder-Watt_.
+
+[Illustration: COLLY-MOLLY-PUFF.]
+
+I must not here omit one particular absurdity which runs through this
+whole vociferous generation, and which renders their cries very often not
+only incommodious, but altogether useless to the public; I mean that idle
+accomplishment which they all of them aim at, of crying so as not to be
+understood. Whether or no they have learned this from several of our
+affected singers, I will not take upon me to say; but most certain it is,
+that people know the wares they deal in rather by their tunes than by
+their words: insomuch that I have sometimes seen a country boy run out to
+buy apples of a bellows-mender, and ginger-bread from a grinder of knives
+and scissors. Nay, so strangely infatuated are some very eminent artists
+of this particular grace in a cry, that none but their acquaintance are
+able to guess at their profession; for who else can know, _that work if I
+had it_, should be the signification of a corn-cutter.
+
+Forasmuch, therefore, as persons of this rank are seldom men of genius or
+capacity, I think it would be very proper, that some man of good sense and
+sound judgment should preside over these public cries, who should permit
+none to lift up their voices in our streets, that have not tunable
+throats, and are not only able to overcome the noise of the crowd, and the
+rattling of coaches, but also to vend their respective merchandises in apt
+phrases, and in the most distinct and agreeable sounds. I do therefore
+humbly recommend myself as a person rightly qualified for this post; and
+if I meet with fitting encouragement, shall communicate some other
+projects which I have by me, that may no less conduce to the emolument of
+the public.
+
+  I am,
+    Sir, &c.
+      RALPH CROTCHET.
+
+A curious parallel might be carried out between the itinerant occupations
+which the progress of society has entirely superseded, and those which
+even the most advanced civilization is compelled to retain. We here only
+hastily glance at a few of these differences.
+
+Of the street trades which are past and forgotten, the small-coal-man was
+one of the most remarkable. He tells the tale of a city with few fires;
+for who could now imagine a man earning a living by bawling "_Small
+Coals_" from door to door, without any supply but that in the sack which
+he carries on his shoulders? His cry had, however, a rival in that of
+"_Any Wood to cleave_."
+
+       *       *       *       *       *
+
+But here we must pause awhile to make a passing remark--even if it be no
+more than a mere wayside nod to the memory of Thomas Britton, the
+celebrated "Musical Small Coal Man,"--1654-1714.--to whom Britain is
+greatly indebted for the introduction and cultivation of concerted music,
+and whose influence has been indirectly felt in musical circles throughout
+the world:--
+
+  "Of Thomas Britton every boy
+    And Britain ought to know;
+  To Thomas Britton, 'Small Coal Man.'
+    All Britain thanks doth owe."[8]
+
+This singular man had a small coal shop at the corner of a passage in
+Aylesbury-street, Clerkenwell-green, and his concert-room! which was over
+that, could only be reached by stairs from the outside of the house. The
+facetious Ned Ward, confirms this statement, thus:--
+
+          "Upon Thursdays repair
+          To my palace, and there
+          Hobble up stair by stair;
+          But I pray ye take care--
+  That you break not your shins by a stumble."
+
+[Illustration: THOMAS BRITTON, _The Musical Small Coal Man_.]
+
+Britton was buried in the church-yard of Clerkenwell, being attended to
+the grave by a great concourse of people, especially by those who had been
+used to frequent his concerts.
+
+To resume our argument, we may ask what chance would an aged man now have
+with his flattering solicitation of "_Pretty Pins, pretty Women_?" and the
+musical distich:--
+
+  "Three-rows-a-penny, pins,
+  Short whites, and mid-de-lings!"
+
+Every stationer's or general-shop can now supply all the "_Fine
+Writing-ink_," wanted either by clerks or authors. There is a grocer's
+shop, or co-operative store at every turn; and who therefore needs him who
+cried aloud "_Lilly white Vinegar, three-pence a quart_?" When everybody,
+old and young, wore wigs--when the price for a common one was a guinea,
+and a journeyman had a new one every year; when it was an article in every
+city apprentice's indenture that his master should find him in "One good
+and sufficent wig, yearly, and every year, for, and during, and unto the
+expiration of the full end and term of his apprenticeship"--then, a
+wig-seller made his stand in the street, or called from door to door, and
+talked of a "_Fine Tie, or a fine Bob-wig sir?_" Formerly, women cried
+"_Four pair for a shilling, Holland Socks_," also "_Long Thread Laces,
+long and strong_," "_Scotch or Russian Cloth_," "_Buy any Wafers or Wax_."
+"_London's Gazette, here?_" The history of cries is a history of social
+changes. Many of the _working_ trades, as well as the vendors of things
+that can be bought in every shop, are now nearly banished from our
+thoroughfares. "_Old Chairs to mend_," or "_A brass Pot or an iron Pot to
+mend?_" still salutes us in some retired suburb; and we still see the
+knife-grinder's wheel; but who vociferates "_Any work for John Cooper?_"
+The trades are gone to those who pay scot and lot. What should we think of
+prison discipline, now-a-days, if the voice of lamentation was heard in
+every street, "_Some Bread and Meat for the poor Prisoners; for the
+Lord's sake, pity the Poor_?" John Howard put down this cry. Or what
+should we say of the vigilance of excise-officers if the cry of "_Aqua
+Vitæ_" met our ears? The Chiropodist has now his guinea, a country villa,
+and railway season ticket; in the old days he stood at corners, with knife
+and scissors in hand, crying "_Corns to pick_." There are some occupations
+of the streets, however, which remain essentially the same, though the
+form be somewhat varied. The sellers of food are of course among these.
+"_Hot Peascod_," and "_Hot Sheep's-feet_," are not popular delicacies, as
+in the time of Lydgate. "_Hot Wardens_," and "_Hot Codlings_," are not the
+cries which invite us to taste of stewed pears and baked apples. But we
+have still apples hissing over a charcoal fire; also roasted chesnuts, and
+potatoes steaming in a shining apparatus, with savoury salt-butter to put
+between the "fruit" when cut; the London pieman still holds his ground in
+spite of the many penny pie-shops now established. Rice-milk is yet sold
+out in halfpennyworths. But furmety, barley broth, greasy sausages--"bags
+of mystery," redolent of onions and marjoram--crisp brown flounders, and
+saloop are no longer in request.
+
+The cry of "_Water-cresses_" used to be heard from some barefoot nymph of
+the brook, who at sunrise had dipped her foot into the bubbling runnel, to
+carry the green luxury to the citizens' breakfast-tables. Water-cresses
+are now cultivated, like cabbages, in market-gardens. The cry of
+"_Rosemary and Briar_" once resounded through the throughfares; and every
+alley smelt "like Bucklersbury in simple time," when the whole street was
+a mart for odoriferous herbs. Cries like these are rare enough now; yet we
+do hear them occasionally, when crossing some bye-street, and have then
+smelt an unwonted fragrance in the air; and as someone has truly said
+that scents call up the most vivid associations, we have had visions of a
+fair garden afar off, and the sports of childhood, and the song of the
+lark that:--
+
+  "At my window bade good morrow
+  Through the sweet briar."
+
+Then comes a pale-looking woman with little bunches in her hand, who, with
+a feeble voice, cries "_Buy my sweet Briar, any Rosemary?_" There are
+still, however, plenty of saucy wenches--of doubtful morality--in the more
+crowded and fashionable thoroughfares, who present the passengers with
+moss-roses, and violets. Gay tells us:--
+
+  "Successive cries the seasons' change declare,
+  And mark the monthly progress of the year.
+  Hark! how the streets with treble voices ring,
+  To sell the bounteous product of the spring."
+
+We no longer hear the cries which had some association of harmonious
+sounds with fragrant flowers. The din of "noiseful gain" exterminated
+them.
+
+[Illustration]
+
+[Illustration: THE WATER CARRIER. "Any fresh and fair Spring Water here?"]
+
+This was formerly a very popular London cry, but has now become extinct,
+although it was long kept in vogue by reason of the old prejudices of old
+fashioned people, whose sympathy was with the complaints of the
+water-bearer, who daily vociferated in and about the environs of London,
+"Any fresh and fair spring water here! none of your pipe sludge?"--though
+their own old tubs were often not particularly nice and clean to look at,
+and the water was likely to receive various impurities in being carried
+along the streets in all weathers.--"Ah dear?" cried his customers, "Ah
+dear! Well, what'll the world come to!--they won't let poor people live at
+all by-and-bye--Ah dear! here they are breaking up all the roads and
+footpaths again, and we shall be all under water some day or another with
+all their fine new fandangle goings on, but I'll stick to the poor old
+lame and nearly blind water-carrier, as my old father did before me, as
+long as he has a pailful and I've a penny, and when we haven't we must go
+to the workhouse together."
+
+This was the talk and reasoning of many honest people of that day, who
+preferred taxing themselves, to the daily payment of a penny and very
+often twopence to the water-carrier, in preference to having "_Company's
+water_" at a fixed or _pro-rata_ sum per annum.
+
+[Illustration: THE FIRST VIEW OF THE NEW RIVER--FROM LONDON.]
+
+This is seen immediately on coming within view of Sadler's Wells, a place
+of dramatic entertainment; after manifold windings and tunnellings from
+its source the New River passes beneath the arch in the engraving, and
+forms a basin within the large walled enclosure, from whence diverging
+main pipes convey the water to all parts of London. At the back of the boy
+angling on the wall is a public-house, with tea-gardens and
+skittle-ground, and known as _Sir Hugh Myddleton's Head_, also as
+_Deacon's Music Hall_, which has been immortalized by Hogarth in his print
+of EVENING. But how changed the scene from what he represented it! To this
+stream, as the water nearest London favourable to sport, anglers of
+inferior note _used_ to resort:--
+
+  "Here 'gentle anglers,' and their rods withal,
+  Essaying, do the finny tribe enthral.
+  Here boys their penny lines and bloodworms throw,
+  And scare, and catch, the 'silly fish' below."
+
+We have said above, anglers _used_ to resort, and we have said so
+advisedly, as that portion of the river is now arched over to the end of
+Colebrooke Row.
+
+The New River, Islington, its vicinity, and our own favourite
+author--Charles Lamb, are, as it were, so inseparably bound together, that
+we hope to be excused for occupying a little of our reader's time with
+_Elia_--His Friends--His Haunts--His Walks, and Talk(s), particularly
+about the neighbourhood of:--
+
+                                        "----Islington!
+  Thy green pleasant pastures, thy streamlet so clear,
+  Old classic village! to _Elia_ were dear--
+  Rare child of humanity! oft have we stray'd
+  On Sir Hugh's pleasant banks in the cool of the shade.
+
+  "Joy to thy spirit, aquatic Sir Hugh!
+  To the end of old time shall thy River be New!
+  Thy Head, ancient Parr,[9] too, shall not be forgotten;
+  Nor thine, Virgin (?) Queen, tho' thy timbers are rotten."
+                                George Daniel's "_The Islington Garland_."
+
+Into the old parlour of the ancient "Sir Hugh Myddleton's Head"--_Elia_,
+would often introduce his own, for there he would be sure to find, from
+its proximity to Sadler's Wells Theatre, some play-going old crony with
+whom he could exchange a convival "crack," and hear the celebrated Joe
+Grimaldi call for his tumbler of rum-punch; challenging Boniface to bring
+it to a _rummer_! Many a gleeful hour has been spent in this once rural
+hostelrie. But:--"All, all are gone, the old familiar faces."
+
+[Illustration: COLEBROOKE COTTAGE.
+
+----"to Colebrooke-row, within half a stone's throw of a cottage; endeared
+to me, in later years by its being the abode of 'as much virtue as can
+live.'" Hone, in his _Every-day Book_, Oct. 10, 1827.]
+
+Colebrooke Row was built in 1708. Here Charles Lamb, resided with his
+sister Mary, from 1823 to 1826; during which period--viz, on Tuesday, the
+29th March, 1825, he closed his thirty-three years' clerkship at the East
+India House. Lamb very graphically describes the event in a letter to
+Bernard Barton, dated September 2, 1823, thus:--
+
+    "When you come Londonward, you will find me no longer in Covent
+    Garden; I have a cottage in Colebrooke Row, Islington--a cottage, for
+    it is detached--a white house, with six good rooms in it. The New
+    River (rather elderly by this time) runs (if a moderate walking-pace
+    can be so termed) close to the foot of the house; and behind is a
+    spacious garden, with vines (I assure you), pears, strawberries,
+    parsnips, leeks, carrots, cabbages, to delight the heart of old
+    Alcinous. You enter without passage into a cheerful dining-room, all
+    studded over and rough with old books; and above is a lightsome
+    drawing-room, three windows, full of choice prints. I feel like a
+    great lord, never having had a house before."
+
+And again, in the November following, in a letter to Robert Southey, he
+informs the bard, who had promised him a call, that he is "at Colebrooke
+Cottage, left hand coming from Sadler's Wells." It was here that that
+amiable bookworm, George Dyer, editor of the Delphin Classics, walked
+quietly into the New River from Charles Lamb's door, but was soon
+recovered, thanks to the kind care of Miss Lamb.
+
+[Illustration: THE OLD QUEEN'S HEAD.]
+
+The late Mr. George Daniel, of Canonbury Square, Islington, who formerly
+possessed the "ELIZABETHAN GARLAND," which consists of Seventy Ballads,
+printed between the years 1559 and 1597; a pleasing chatty writer and
+great snapper-up of unconsidered literary trifles, was an old friend and
+jolly companion of Charles Lamb's and frequently accompanied him in his
+favourite walks on the banks of the New River, and to the ancient
+hostelries in and round-about "Merrie Islington." At the Old Queen's
+Head, they, in company with many retired citizens, and thirsty wayfarers,
+met, on at least one occasion, with Theodore Hook, indulged in
+reminiscences of bygone days, merrily puffed their long pipes of the true
+"Churchwarden" or _yard of clay_ type, and quaffed nut-brown ale, out of
+the festivious tankard presented by a choice spirit!--one Master
+Cranch,--to a former host; and in the old oak parlour, too, where,
+according to tradition, the gallant Sir Walter Raleigh received, "full
+souse" in his face, the humming contents of a jolly Black Jack[10] from an
+affrighted clown, who, seeing clouds of tobacco-smoke curling from the
+knight's nose and mouth, thought he was all on fire! fire!! fire!!!.
+
+[Illustration: CANONBURY TOWER.
+
+  "Here stands the tall relic, old Canonbury Tow'r,
+  Where Auburn's sweet bard won the muse to his bow'r,
+  The Vandal that pulls thy grey tenements down,
+  When falls the last stone, may that stone crack his crown!"
+                                   G. Daniel's "_The Islington Garland_."]
+
+Lamb took special delight in watching the setting sun from the top of old
+Canonbury Tower, until the cold night air warned him to retire. He was
+intimate with Goodman Symes, the then tenant-keeper of the Tower, and
+bailiff of the Manor, and a brother antiquary in a small way; who took
+pleasure in entertaining him in the antique panelled chamber where
+Goldsmith wrote his _Traveller_, and supped frugally on buttermilk; and in
+pointing to a small portrait of Shakespeare, in a curiously carved gilt
+frame, which Lamb would look at longingly. He was never weary of toiling
+up and down the winding and narrow stairs of this suburban pile, and
+peeping into its quaint corners and cupboards, as if he expected to
+discover there some hitherto hidden clue to its mysterious origin.
+
+  "What village can boast like fair Islington town
+  Such time-honour'd worthies, such ancient renown?
+  Here jolly Queen Bess, after flirting with Leicester,
+  'Undumpish'd,' herself, with Dick Tarlton her Jester.
+
+  "Here gallant gay Essex, and burly Lord Burleigh
+  Sat late at their revels, and came to them early;
+  Here honest Sir John took his ease at his inn--
+  Bardolph's proboscis, and Jack's double chin.
+
+From Islington, Charles Lamb moved to Enfield Chase Side, there he lived
+from 1827 to 1833, shut out almost entirely from the world, and his
+favourite London in particular.
+
+[Illustration: CHARLES LAMB'S HOUSE, ENFIELD.]
+
+Lamb, in a merry mood, writing to Novello, in 1827, says:--
+
+    "We expect you four (as many as the table will hold without squeezing)
+    at Mrs. Westwood's _Table d'Hôte_ on Thursday. You will find the
+    _White House_ shut up, and us moved under the wing of the _Phoenix_,
+    which gives us friendly refuge. Beds for guests, marry we have none,
+    but cleanly accommodings [_sic._] at the _Crown and Horse-shoes_.
+
+      "Yours harmonically,
+        "C. L.
+
+    "Vincentio (what, ho!) Novello, a Squire.
+    66, Great Queen Street, Lincoln's-Inn Fields."
+
+[Illustration: THE CROWN AND HORSE SHOES INN, ENFIELD CHASE SIDE.]
+
+The above represents one of the humble and wayside "Pubs" of the
+neighbourhood in which Charles Lamb is said to have tested the friendship
+of "fine" friends, by proposing to them a drink of unsophisticated porter
+from bright pewter pots. So did he treat Wordsworth, and that "Child of
+Nature" actress, Miss Frances Maria Kelly, who without hesitation entered
+the tavern, with:--
+
+  "The whitewash'd wall, the nicely sanded floor,
+  The varnish'd clock that click'd behind the door,
+  The chest contriv'd a double debt to pay,--
+  A bed by night, a chest of drawers by day."
+
+About the Midsummer of 1833, Charles Lamb and his sister removed to
+Bay-cottage, Church-street, Edmonton, kept by Mr. Walden, whose wife
+acted as a professional nurse. There, in that poor melancholy looking
+tenement, the delightful humourist found the home in which he breathed his
+last on Saturday, the 27th December, 1834. He was buried in:--
+
+  "Oh, Mirth and Innocence! Oh, Milk and Water!
+  Ye happy mixtures of more happy days!."
+                                        Byron's, _Beppo_. St. 80.
+
+[Illustration: HOUSE AT EDMONTON WHERE CHARLES LAMB DIED.]
+
+[Illustration: EDMONTON CHURCH.]
+
+Time and circumstances have effectually disposed of the water-carrier, his
+occupation is gone, it is impossible London can ever again see a man bent
+beneath the weight of a yoke and two enormous pails, vociferating "_Any
+fresh and fair Spring Water here?_" But the cry of "Milk," or the rattle
+of the milk-pail will never cease to be heard in our streets. There can be
+no reservoirs of milk, no pipes through which it flows into the houses.
+The more extensive the great capital becomes, the more active must be the
+individual exertion to carry about this article of food. The old cry was
+"_Any Milk here?_" and it was sometimes mingled with the sound of "_Fresh
+Cheese and Cream_;" and it then passed into "_Milk, maids below_;" and it
+was then shortened into "_Milk below_;" and was finally corrupted into
+"_Mio_," which some wag interpreted into _mi-eau_--_demi-eau_--half water.
+But it must still be cried, whatever be the cry. The supply of milk to the
+metropolis is perhaps one of the most beautiful combinations of industry
+we have. The days have long since passed when Finsbury had its pleasant
+groves, and Clerkenwell was a village, and there were green pastures in
+Holborn, when St. Pancras boasted only a little church standing in
+meadows, and St. Martin's was literally in the fields. Slowly but surely
+does the baked clay of Mr. Jerry, "the speculative builder" stride over
+the clover and the buttercup; and yet every family in London may be
+supplied with milk by eight o'clock every morning at their own doors.
+Where do the cows abide? They are congregated in wondrous herds in the
+suburbs; and though in spring-time they go out to pasture in the fields
+which lie under the Hampstead and Highgate hills, or in the vales of
+Dulwich and Sydenham, and there crop the tender blade,--
+
+  "When proud pied April, dress'd in all his trim,
+  Has put a spirit of youth in everything."
+
+yet for the rest of the year the coarse grass is carted to their stalls,
+or they devour what the breweries and distilleries cannot extract from the
+grain harvest. Long before "the unfolding star wakes up the shepherd" are
+the London cows milked; and the great wholesale vendors of the commodity,
+who have it consigned to them daily from more distant parts to the various
+railway stations in the metropolis, bear it in carts to every part of the
+town, and distribute it to the hundreds of shopkeepers and itinerants, who
+are anxiously waiting to receive it for re-distribution amongst their own
+customers. It is evident that a perishable commodity which everyone
+requires at a given hour, must be so distributed. The distribution has
+lost its romance. Misson, in his "Travels" published at the beginning of
+the last century, tells of May-games of the London milkmaids thus:--"On
+the first of May, and the five or six days following, all the pretty young
+country girls that serve the town with milk, dress themselves up very
+neatly, and borrow abundance of Silver-Plate, whereof they make a pyramid,
+which they adorn with ribbons and flowers, and carry upon their heads,
+instead of their common milk pails. In this equipage, accompanied with
+some of their fellow milkmaids, and a bagpipe or fiddle, they go from door
+to door, dancing before the houses of their customers, in the midst of
+boys and girls that follow them in troops, and everybody gives them
+something." Alas! the May-games and pretty young country girls have both
+departed, and a milk-woman has become a very unpoetical personage. There
+are few indeed of milkwomen who remain. So it is with most of the
+occupations that associate London with the country.
+
+[Illustration: KATE SMITH, _The Merry Milkmaid_.]
+
+[Illustration:
+
+  "'Where are you going my pretty maid?'
+  'I'm going a milking, sir,' she said."]
+
+Thirty years ago there appeared in the "Quarterly Review" a remarkable
+article on the Commissariat of London, from the pen of Dr. Andrew Wynter.
+In it we were told for how many miles the beasts brought annually to the
+metropolis would stretch, if ranged ten abreast in a seemingly
+interminable column. In order to convey some notion of the stupendous
+quantities of ale, beer, and porter consumed, Dr. Wynter fixed upon Hyde
+Park as his exhibition ground, and piled together all the barrels
+containing the malt liquor drunk by what, in 1854, was a population of two
+million and a half souls. He came to the conclusion that these barrels
+would form a thousand columns not far short of a mile in perpendicular
+height. And among other statistics, Dr. Wynter calculated that there were
+at that time about twenty thousand cows in the metropolitan and suburban
+dairies, some of which establishments contained five hundred cows apiece.
+He also noticed that, the London and suburban dairies could not alone
+supply the population of the metropolis, seeing that twenty thousand cows,
+giving on an average twelve quarts each per diem, would not yield more
+than two hundred and forty thousand quarts. If we suppose this quantity
+increased by the iron-tailed cow to three hundred thousand quarts, the
+allowance to each of the two millions and a half of human beings then
+living within the Bills of Mortality would be about a quarter of a pint
+per head. The "Quarterly" Reviewer, therefore, assumed that, to meet the
+existing demands of the tea-table, the nursery, and the kitchen, half as
+much again as three hundred thousand quarts was consumed annually in
+London. For this excess he looked to the country to supplement the efforts
+of the metropolis and of its suburbs as suppliers of milk, and noticed
+that the precious white liquid was brought daily to London from farms
+lying as far away as eighty miles from the metropolitan railway stations
+to which it was consigned.
+
+[Illustration]
+
+Nothing can be more instructive and entertaining than to turn back in 1884
+to facts, figures, calculations, estimates, and inferences which fitted
+the London of 1854. Instead of two millions and a half, the population
+resident at this moment within the metropolitan and city police districts
+amounts at least to four millions and three-quarters. The area already
+covered by the mighty town, which adds another big town to its entirety
+each successive year, is about four hundred and fifty thousand square
+acres, and there are more than seven hundred thousand houses to be
+provided for, of which it may be presumed that few can do without at least
+a pint of milk per diem. Assuming, however, that each member of this
+enormous population consumed no more than a quarter of a pint of
+milk--that is to say, a small tumblerful--per diem, we come to the
+astounding conclusion that nearly six hundred thousand quarts are wanted
+every day, nearly four million two hundred thousand quarts every week, and
+nearly two hundred and seventeen million quarts every year, to meet the
+demands of London. Few of us are able to fathom the meaning of two hundred
+million quarts of liquid until we are told what an immense reservoir, ten
+feet deep, it would take to hold such an amount. More intelligible are the
+calculations which tell us that, assuming a cow to yield ten--not
+twelve--quarts of milk daily, it would require nearly sixty thousand milch
+cows to maintain this supply from year's end to year's end. If these
+patient and valuable milkers are estimated as being worth no more than
+twenty-pounds apiece, they would represent in their aggregate a capital of
+little less than one million four hundred thousand pounds. Pure milk of a
+reliable character, costs five-pence per quart, and therefore, on the
+above basis, there is spent on milk, in the metropolis and its
+circumjacent districts, twelve thousand four hundred pounds per day,
+nearly eighty-seven thousand pounds per week, and considerably more than
+four and a half million pounds per annum. There are States which have
+made a considerable noise in the world, whose total revenue does not reach
+what London spends annually in milk alone. As for the distribution of this
+inconceivable amount of liquid, which is delivered every morning and
+afternoon in small quantities all over the enormous area of
+bricks-and-mortar to which we have referred, it would utterly baffle the
+most marvellous organiser and administrator that ever existed upon earth,
+to extemporise human machinery for carrying on so minute and yet so
+gigantic a trade. Nevertheless, how smoothly and imperceptibly, not only
+in this one small detail, but throughout the whole of its vast and endless
+complications and ramifications, does the commissariat of London work! We
+are told, for instance, that to distribute every sixteen gallons of milk
+one person is necessary, and that, without counting managers, clerks,
+shopmen and shopwomen, nearly five thousand human beings, assisted by more
+than fifteen hundred horses and mules, are needed to furnish London with
+milk every twenty-four hours. More than a quarter of a million pounds go
+yearly in wages to milkmen and milkwomen with whom we are all so familiar,
+and who will doubtless, acquire additional importance in the eyes of those
+who reflect that these humble servitors are but, in Pope's words, "parts
+of that stupendous whole" without whose useful, patient, and unintermitted
+labours the faultless machinery of the grandest camp of men that ever yet
+existed would instantly stand still.
+
+Then it must not be forgotten that the milk trade exacts constant and
+unintermitted work from its employés--work from which neither Sundays nor
+holidays bring any relief--and demanding very early rising in the morning,
+to say nothing of the greatest personal cleanliness, and of an immense
+array of cans, varying from those capable of holding many gallons down to
+those which contain no more than half-a-pint--the milk-pail and its daily
+history might well attract notice from writers not inferior in grasp and
+imagination to Defoe or Dickens. In 1854 Dr. Wynter calculated that, as
+regards distribution, the commissariat of London was carried on by an army
+of one hundred thousand persons. In thirty years the population has all
+but doubled, and the machinery of distribution has been so improved that
+its working at present approaches very nearly to perfection. This
+perfection is due solely to freedom of trade and to universal competition,
+which so nicely adjust all the varying conditions of life, that, in
+serving themselves, they accomplish more than all the Governments on earth
+could effect by the most ingenious system of centralisation that human wit
+could devise.
+
+[Illustration:
+
+  _Attic Poet_:--"There is a pleasure in poetic pains
+  which only Poets know."]
+
+In our neighbourhood, which, as the lodging-house-keepers advertise in
+_The Kingsland and Shacklewell Slopbasin_, and _The Dalston Dusthole_, is
+situate close to "Bus, Tram, and Rail," we have a milkman who is given to
+Poetry! and he circulates his "verses" pretty freely in the areas and
+letter-boxes about once a month.--
+
+[Illustration: GLORIOUS NEWS! GLORIOUS NEWS!]
+
+  HOW F. WILSON MEETS HIS CUSTOMERS' VIEWS.
+
+  My readers may credit the words of my muse.
+  When telling how Wilson meets Customers' Views;
+  Wilson studies a straightforward system of trade,
+  Whereby to elicit encouraging aid.
+
+  The pure farm-house Milk he daily brings out,
+  Is such as we have no reason to doubt;
+  Encouraged in business his course he pursues,
+  And fails not in meeting his Customers' Views.
+
+  You'll not have occasion to doubt what I say,
+  When testing his Pure Milk day after day;
+  For cheapness and quality you'll find him in trade,
+  As you did when he first asked the public for aid.
+
+  His farm-house Milk and Eggs, which thoroughly please,
+  Are positive proofs of assertions like these;
+  'Tis certain that better can ne'er be supplied,
+  He trusts that in this you'll all coincide.
+
+  The highest of interest his Milk doth possess,
+  Thus boldly we state, for we cannot state less;
+  F. Wilson supplies what all purchasers choose,
+  And thus he is meeting his Customers' Views.
+
+
+  TERMS CASH.
+
+  Customers can have their Milk left in cans any time after 5 a.m.
+  Note the address * * *
+  All complaints to be addressed to Mr. F. Wilson.
+
+[Illustration: TIDDY DIDDY DOLL-LOLL, LOLL, LOLL.]
+
+This celebrated vendor of gingerbread, from his eccentricity of character,
+and extensive dealing in his particular way, was always hailed as the King
+of itinerant tradesmen. He was a constant attendant in the crowd at all
+metropolitan fairs, mob meetings, Lord Mayor's shows, public executions,
+and all other holiday and festive gatherings! In his person he was tall,
+well made, and his features handsome. He affected to dress like a person
+of rank; white and gold lace suit of clothes, lace ruffled shirt, laced
+hat and feather, white stockings, with the addition of a white apron.
+Among his harangues to gain customers, take the following piece as a fair
+sample of the whole:--
+
+"Mary, Mary, where are you _now_, Mary? I live, when at home, at the
+second house in Little diddy-ball-street, two steps under ground, with a
+wiscum, riscum, and a why-not. Walk in, ladies and gentlemen; my shop is
+on the second-floor backwards, with a brass knocker on the door, and steel
+steps before it. Here is your nice gingerbread, it will melt in your mouth
+like a red-hot brickbat, and rumble in your inside like Punch and his
+wheelbarrow." He always finished his address by singing this fag end of
+some popular ballad:--
+
+  "Ti-tid-ty, ti-tid-ty. Ti-tid-ty--tiddy-loll.
+  Ti-tid-ty, ti-tid-ty. Ti-tid-ty--tiddy-doll."
+
+Hence arose his nickname "_Tiddy-Doll_." In Hogarth's print of the "IDLE
+'PRENTICE EXECUTED AT TYBURN," Tiddy-Doll is seen holding up a gingerbread
+cake with his left hand, his right hand within his coat, to imply that he
+is speaking the truth from his heart, while describing the superiority of
+his wares over those of any other vendor in the fair! while he still
+anxiously inquires:--
+
+  "Mary, Mary, where are you _now_, Mary?"
+
+His proper name was Ford, and so well known was he that, on his once being
+missed for a week from his usual stand in the Haymarket, on the occasion
+of a visit which he paid to a country fair, a "Catch penny" account of his
+alleged murder was printed, and sold in the streets by thousands.
+
+Allusions to Tiddy-Doll, and sayings derived from him, have reached to our
+own time, thus, we still say to an over-dressed person--"You are as tawdry
+as Diddy-doll," "You are quite Tiddy-doll, you look as fine as
+Tiddy-doll," he or she is said to be "All Tiddy-doll," &c.
+
+The class of men formerly well known to the citizens of London as
+News-criers, or Hornmen, must now be spoken of in the past sense, as the
+further use of the horn was prohibited long ago by the magistracy, subject
+to a penalty of ten shillings for the first offence, and twenty shillings
+on the conviction of repeating so heinous a crime.
+
+[Illustration]
+
+  "GREAT NEWS, BLOODY BATTLE, GREAT VICTORY!
+  EXTRAORDINARY GAZETTE!
+  SECOND EDITION!"
+
+were the usual loud bellowing of fellows with stentorian lungs,
+accompanied by a loud blast of a long tin-horn, which announced to the
+delighted populace of London the martial achievements of a Marlborough,
+Howe, Hood, Nelson, or Wellington. A copy of the "Gazette" or newspaper
+they "cried" was usually affixed under the hatband, in front, and their
+demand was generally one shilling.
+
+At least one of these news criers has been immortalized. In a volume of
+"Miscellaneous Poems," edited by Elijah Fenton, and printed by Bernard
+Lintot, without date, but anterior to 1720, there are the lines that
+follow, to one old Bennet, who seems to have made a great noise in the
+world of London during the early part of last century:--
+
+  "ON THE DEATH OF OLD BENNET, THE NEWS CRYER
+
+  "One evening, when the sun was just gone down,
+  And I was walking thro' the noisy town,
+  A sudden silence through each street was spread,
+  As if the soul of London had been fled.
+  Much I enquired the cause, but could not hear,
+  Till fame, so frightened, that she did not dare
+  To raise her voice, thus whisper'd in my ear:--
+  Bennet, the prince of hawkers, is no more,
+  Bennet, my _Herald_ on the British shore,
+  Bennet, by whom, I own myself outdone,
+  Tho' I a hundred mouths, he had but one,
+  He, when the list'ning town he would amuse,
+  Made _Echo_ tremble with his '_Bloody news!_'
+  No more shall _Echo_, now his voice return,
+  _Echo_ for ever must in silence mourn,--
+  Lament, ye heroes, who frequent the wars,
+  The great proclaimer of your dreadful scars.
+  Thus wept the conqueror who the world o'ercame,
+  Homer was waiting to enlarge his fame,
+  Homer, the first of hawkers that is known,
+  _Great News_ from Troy, cried up and down the town,
+  None like him has there been for ages past,
+  Till our stentorian Bennet came at last,
+  Homer and Bennet were in this agreed,
+  Homer was blind, and Bennet could not read!"
+
+In our own days there has been legislation for the benefit of tender ears;
+and there are now penalties, with police constables to enforce them,
+against "All persons blowing any horn or using any other noisy
+instrument, for the purpose of calling persons together, or of announcing
+any show or entertainment, or for the purpose of hawking, selling,
+distributing, or collecting any article, or of obtaining money or alms."
+These are the words of the Police Act of 1839; and they are stringent
+enough to have nearly banished from our streets all those uncommon noises
+which did something to relieve the monotony of the one endless roar of the
+tread of feet and the rush of wheels.
+
+Mr. Henry Mayhew, in his admirable work of "London Labour and London
+Poor," writing in 1851, under the head "Of the Sellers of Second
+Editions," says:--
+
+    "I believe that there is not now in existence--unless it be in a
+    workhouse and unknown to his fellows, or engaged in some other
+    avocation, and lost sight of by them--any one who sold 'Second
+    Editions' of the _Courier_ evening paper at the time of the Duke of
+    York's Walcheren expedition, at the period of the battle of the Nile,
+    during the continuance of the Peninsular war, or even at the battle of
+    Waterloo. There were a few old men--some of whom had been soldiers or
+    sailors, and others who have simulated it--surviving within these five
+    or six years and some later, who 'worked Waterloo,' but they were
+    swept off, I was told, by the cholera."
+
+[Illustration]
+
+[Illustration: CLEAN YOUR HONOUR'S SHOES.
+
+  "Temper the foot within this vase of oil,
+  And let the little tripod aid thy toil;
+  On this methinks I see the walking crew,
+  At thy request, support the miry shoe;
+  The foot grows black that was with dirt embrown'd,
+  And in thy pocket jingling halfpence sound."
+                                        _Gay's "Trivia."_]
+
+"About thirty years before the cry of 'Clean your boots, sir!' became
+familiar to the ears of the present generation of Londoners," Mr. Charles
+Knight informs us that:--"In one of the many courts on the north side of
+Fleet-street, might be seen, somewhere about the year 1820, 'The last of
+the London shoe-blacks.' One would think that he deemed himself dedicated
+to his profession by Nature, for he was a Negro. At the earliest dawn he
+crept forth from his neighbouring lodging, and planted his tripod on the
+quiet pavement, where he patiently stood till noon was past. He was a
+short, large-headed son of Africa, subject, as it would appear, to
+considerable variations of spirits, alternating between depression and
+excitement, as the gains of the day presented to him the chance of having
+a few pence to recreate himself beyond what he should carry home to his
+wife and children. For he had a wife and children, this last
+representative of a falling trade; and two or three little woolly-headed
+_décrotteurs_ nestled around him when he was idle, or assisted in taking
+off the roughest of the dirt when he had more than one client. He watched,
+with a melancholy eye, the gradual improvement of the streets; for during
+some twenty or thirty years he had beheld all the world combining to ruin
+him. He saw the foot pavements widening; the large flag-stones carefully
+laid down; the loose and broken piece, which discharged a slushy shower on
+the unwary foot, and known to him and London chairmen as a
+'_Beau-trap_'[11] instantly removed: he saw the kennels diligently
+cleansed, and the drains widened: he saw experiment upon experiment made
+in the repair of the carriage-way, and the holes, which were to him as the
+'old familiar faces' which he loved, filled up with a haste that appeared
+quite unnecessary, if not insulting. One solitary country shopkeeper, who
+had come to London once a year during a long life, clung to our sable
+friend; for he was the only one of the fraternity that he could find
+remaining, in his walk from Charing-cross to Cheapside."
+
+Hone, in "_The Table Book_," 1827, under an article on the Old London
+cries has:--"A Shoeblack; A boy, with a small basket beside him, brushes a
+shoe on a stone, and addresses himself to a wigged beau, who carries his
+cocked hat under his left arm, with a crooked-headed walking stick in his
+left hand, as was the fashion among the dandies of old times. I recollect
+shoeblacks formerly at the corner of almost every street, especially in
+great thoroughfares. There were several every morning on the steps of St.
+Andrew's church, Holborn, till late in the forenoon. But the greatest
+exhibition of these artists was on the site of Finsbury-square, when it
+was an open field, and a depository for the stones used in paving and
+street-masonry. There, a whole army of shoeblacks intercepted the citizens
+and their clerks on their way from Islington and Hoxton to the
+counting-houses and shops in the city, with 'Shoeblack, your honour! Black
+your shoes, sir!'"
+
+Each of them had a large, old tin-kettle, containing his apparatus,
+viz:--a capacious pipkin, or other large earthen-pot, containing the
+blacking, which was made of ivory-black, the coarsest moist sugar, and
+pure water with a little vinegar--a knife, two or three brushes, and an
+old wig. The old wig was an indispensable requisite to a shoeblack; it
+whisked away the dust, or thoroughly wiped off the wet dirt, which his
+knife and brushes could not entirely detach; a rag tied to the end of a
+stick smeared his viscid blacking on the shoe, and if the blacking was
+"real japan," it shone. The old experienced shoe-wearers preferred an
+oleaginous, lustreless blacking. A more liquid blacking, which took a
+polish from the brush, was of later use and invention. Nobody at that time
+wore boots except on horseback; and everybody wore breeches and
+stockings: pantaloons, or trousers, were unheard of. The old shoeblacks
+operated on the shoes while they were on the feet, and so dexterously as
+not to soil the fine white cotton stocking, which was at that time the
+extreme of fashion, or to smear the buckles, which were universally worn.
+Latterly, you were accommodated with an old pair of shoes to stand in, and
+the yesterday's paper to read, while your shoes were cleaning and
+polishing, and your buckles were whitened and brushed. When shoestrings
+first came into vogue, the Prince of Wales (Geo. IV.) appeared with them
+in his shoes, when immediately a deputation from the buckle-makers of
+Birmingham presented a petition to his Royal Highness to resume the
+wearing of buckles, which was good-naturedly complied with. Yet, in a
+short time, shoestrings entirely superseded buckles. The first incursion
+on the shoeblacks was by the makers of "Patent Cake Blacking" on sticks
+formed with a handle, like a small battledoor; they suffered a more
+fearful invasion from the makers of liquid blacking in bottles. Soon
+afterwards, when "Day and Martin" manufactured the _ne plus ultra_ of
+blacking, private shoeblacking became general, public shoeblacks rapidly
+disappeared, and in [1827] they became extinct. The last shoeblack that I
+remember in London sat under the covered entrance of Red Lion-court,
+Fleet-street within the last six years. This unfortunate, "The Last of the
+London Shoeblacks"--was probably the "short, large headed son of Africa"
+alluded to by Charles Knight, under the heading of "Clean your honour's
+shoes," in his "History of London."
+
+In 1851, some gentlemen connected with the Ragged Schools determined to
+revive the brotherhood of boot cleaners for the convenience of the foreign
+visitors to the Exhibition, and commenced the experiment by sending out
+five boys in the now well-known red uniform. The scheme succeeded beyond
+expection; the boys were patronized by natives as well as aliens, and the
+Shoeblack Society and its brigade were regularly organized. During the
+exhibition season, about twenty-five boys were constantly employed, and
+cleaned no less than 100,000 pairs of boots. The receipts of the brigade
+during its first year amounted to £656. Since that time, thanks to the
+combination of discipline and liberality, the Shoeblack Society has gone
+on and prospered, and proved the Parent of other Societies. Every district
+in London now has its corps of shoeblacks, in every variety of uniform,
+and while the number of boys has increased from tens to hundreds, their
+earnings have increased from hundreds to thousands. Numbers of London
+waifs and strays have been rescued from idleness and crime. The Ragged
+School Union, and Shoeblack Brigades, therefore hold a prominent place
+among the indirectly preventive agencies for the suppression of crime: for
+since ignorance is generally the parent of vice, any means of securing the
+benefits of education to those who are hopelessly deprived of it, must
+operate in favour of the well-being of society.
+
+[Illustration:
+
+  "'Tis education forms the common mind;
+  Just as the twig is bent, the tree's inclined."]
+
+[Illustration: THE HEARTH-STONE MERCHANT.]
+
+"Hearth-stones! Do you want any hearth-stones? Now, my maids, here's your
+right sort--reg'lar good'uns, and no mistake--vorth two o'your shop
+harticles, and at half the price. Now my pretty von, lay out a _tanner_,
+and charge your missus a _bob_--and no cheating neither! the cook has
+always a right to make her market penny and to assist a poor cove like me
+in the bargain.
+
+  "They're good uns, you vill find--
+    Choose any, marm, as you prefer.
+  You look so handsome and so kind,
+    I'm sure you'll be a customer.
+  Three halfpence, marm, for this here pair--
+    I only vish as you vould try 'em;
+  I'm sure you'll say the price is fair--
+    Come marm, a penny if you'll buy 'em."
+
+[Illustration: THE FLYING STATIONER, OTHERWISE PATTERER.]
+
+  "Here's tidings sad, for owld and young,
+    Of von who liv'd for years by macing;
+  And vos this werry morning hung,
+    The Debtor's Door at Newgate facing.
+
+  "Here's his confession upon hoath,
+    The vords he spoke ven he vos dying,
+  His birth and eddycation both--
+    The whole pertic'lers--vell vorth the buying.
+
+  "Here's an account of robberies sad.
+    In vich he alus vos a hactor;
+  You must to read the life be glad--
+    Of such a famous malefactor!
+
+  "How to the mob he spinn'd a yarn,
+    And varn'd them from a course unproper,
+  You may, vith all his history, larn--
+    For the small valley of a copper!"
+
+"Now my kind-hearted, haffectionated and wery ready-money
+Christian-hearted, pious and hinfidel customers, here you have the last
+speech and dying vords, life, character, and behaviour of the hunfortunate
+malefactor that vas hexecuted this morning hopposit the Debtor's door in
+the Hold Bailey! together with a full confession of the hoffence vherevith
+he vos found guilty before a hupright Judge and a wery himpartial Jury!
+Here you have likewise a copy of a most affecting letter, written by the
+criminal in the condemned cell the night afore hexecution to his hinnocent
+vife and hunoffending babbies, vith a copy of werses consarning the
+same--all for the small charge of von halfpenny. Yes, my friends, von
+halfpenny buys the werses as follows--von arter the 'tother:--
+
+  "Come, all you blessed Christians dear,
+    That's a-tender, kind, and free,
+  While I a story do relate
+    Of a dreadful tragedy,
+  Which happened in London town,
+    As you shall all be told;
+  But when you hear the horrid deed
+    'Twill make your blood run cold.--
+            _For the small charge of a ha'penny!_
+
+  "'Twas in the merry month of May,
+    When my true love I did meet;
+  She look'd all like an angel bright,
+    So beautiful and sweet.
+  I told her I loved her much,
+    And she could not say nay;
+  'Twas then I stung her tender heart,
+    And led her all astray.--
+                          _Only a ha'penny!_"
+
+JAMES--or as he was popularly called, "_Jemmy_," or, "_Old Jemmy_"
+Catnach, (_Kat-nak_,) late of the Seven Dials, London, printer and
+publisher of ballads, battledores, lotteries, primers, &c., and whose name
+is ever associated with the literature of the streets, was the son of John
+Catnach, a printer, of Alnwick, an ancient borough, market town, and
+parish of Northumberland, where he was born on August 18th, 1792.
+
+At the time Jemmy Catnach commenced business in Seven Dials it took all
+the prudence and tact which he could command to maintain his position, as
+at that time "Johnny" Pitts,[12] of the Toy and Marble Warehouse, No. 6,
+Great St. Andrew-street, was the acknowledged and established printer of
+street literature for the "Dials" district; therefore, as may be easily
+imagined, a powerful rivalry and vindictive jealousy soon arose between
+these "two of a trade"--most especially on the part of "Old Mother" Pitts,
+who is described as being a coarse and vulgar-minded personage, and as
+having originally followed the trade of a bumboat woman at Portsmouth: she
+"wowed wengeance" against the young fellow in the court for daring to set
+up in their business, and also spoke of him as a young "Catsnatch,"
+"Catblock," "Cut-throat;" many other opprobrious terms being also freely
+given to the new comer. Pitts' staff of "bards" were duly cautioned of the
+consequences which would inevitably follow should they dare to write a
+line for Catnach--the new _cove_ in the court. The injunction was for a
+time obeyed, but the "Seven Bards of the Seven Dials" soon found it not
+only convenient, but also more profitable to sell copies of their
+effusions to both sides at the same time, and by keeping their council
+they avoided detection, as each printer accused the other of buying an
+early sold copy, and then reprinting it off with the utmost speed, and
+which was in reality often the case, as "Both Houses" had emissaries on
+the constant look-out for any new production suitable for street-sale.
+Now, although this style of "double dealing" and competition tended much
+to lessen the cost price to the "middle-man," or vendor, the public in
+this case did not get any of the reduction, as a penny broadside was still
+a penny, and a quarter-sheet still a halfpenny to them, the
+"street-patterer" obtaining the whole of the reduction as extra profit.
+
+The feud existing between these rival publishers, who have been somewhat
+aptly designated as the Colburn and Bentley of the "paper" trade, never
+abated, but, on the contrary, increased in acrimony of temper until at
+last not being content to vilify each other by words alone, they resorted
+to printing off virulent lampoons, in which Catnach never failed to let
+the world know that "Old Mother Pitts" had been formerly a bumboat woman,
+while the Pitts' party announced that--
+
+  "All the boys and girls around,
+    Who go out prigging rags and phials,
+  Know Jemmy _Catsnatch_!!! well,
+    Who lives in a back slum in the Dials.
+  He hangs out in Monmouth Court,
+    And wears a pair of blue-black breeches,
+  Where all the 'Polly Cox's crew' do resort
+    To chop their swag for badly printed Dying Speeches."
+
+
+    A mournful and affecting COPY OF VERSES on the death of
+    ANN WILLIAMS,
+    Who was barbarously and cruelly murdered by her sweetheart,
+    W. JONES, near Wirksworth, in Derbyshire, July, 1823.
+
+    William Jones, a young man aged 20, has been fully committed to Derby
+    gaol for the murder of his sweetheart, under circumstances of unheard
+    of barbarity. The poor victim was a servant girl, whom under pretense
+    of marriage he seduced. On her proving with child the villain formed
+    the horrid design of murdering her, and carried his diabolical plan
+    into execution on Monday evening last. The following verses are
+    written upon the occasion, giving a complete detail of this shocking
+    affair:--
+
+      Come all false hearted young men
+        And listen to my song,
+      'Tis of a cruel murder,
+        That lately has been done
+      On the body of a maiden fair
+        The truth I will unfold,
+      The bare relation of this deed
+        Will make your blood run cold.
+      Near Wirksworth town in Derbyshire,
+        Ann Williams she did dwell,
+      In service she long time had lived,
+        Till this to her befel.
+      Her cheeks were like the blushing rose
+        All in the month of May,
+      Which made this wicked young man
+        Thus unto her did say:
+      Nancy, my charming creature,
+        You have my heart ensnared,
+      My love is such I am resolved
+        To wed you I declare.
+      Thus by his false deluding tongue
+        Poor Nancy was beguil'd,
+      And soon to her misfortune,
+        By him she proved with child.
+      Some days ago this damsel fair
+        Did write to him with speed.
+      Such tenderness she did express
+        Would make a heart to bleed.
+      She said, my dearest William,
+        I am with child by thee;
+      Therefore, my dear, pray let me know
+        When you will marry me.
+      The following day at evening,
+        This young man did repair,
+      Unto the town of Wirksworth,
+        To meet his Nancy there.
+      Saying, Nancy dear, come let us walk,
+        Among the flowery fields,
+      And then the secrets of my heart
+        To you I will reveal.
+      O then this wicked young man
+        A knife he did provide,
+      And all unknown to his true love
+        Concealed it by his side.
+      When to the fatal spot they came,
+        These words to her did say:
+      All on this very night I will
+        Your precious life betray.
+      On bended knee she then did fall,
+        In sorrow and despair,
+      Aloud for mercy she did call,
+        Her cries did rend the air;
+      With clasped hands and uplift eyes
+        She cried, Oh spare my life,
+      I never more will ask you
+        To make me your wedded wife.
+      O then this wicked young man said,
+        No mercy will I show;
+      He took the knife all from his side,
+        And pierced her body through.
+      But still she smiling said to him,
+        While trembling with fear,
+      Aä! William, William, spare my life,
+        Think on your baby dear.
+      Twice more then with the bloody knife
+        He ran her body through,
+      Her throat was cut from ear to ear,
+        Most dreadful for to view;
+      Her hands and arms and beauteous face
+        He cut and mangled sore,
+      While down upon her milk white breast
+        The crimson blood did pour.
+      He took the shawl from off her neck,
+        And round her body tied,
+      With pebble stones he did it fill,
+        Thinking the crime to hide.
+      O then into the silver stream
+        He plunged her straightway,
+      But with her precious blood was stained,
+        Which soon did him betray.
+      O then this young man taken was,
+        And into prison sent,
+      In ratling chains he is confin'd
+        His crime for to lament,
+      Until the Asizes do come on
+        When trembling he must stand,
+      Reflecting on the deed he's done;
+        Waiting the dread command.
+      Now all you thoughtless young men
+        A timely warning take;
+      Likewise ye fair young maidens,
+        For this poor damsel's sake.
+      And Oh beware of flattering tongues,
+        For they'll your ruin prove;
+      So may you crown your future day,
+        In comfort, joy, and love.
+
+    Printed at J. Pitts, Wholesale Toy and Marble Warehouse, 6, Great St.
+    Andrew Street, Seven Dials.
+
+There can be little doubt that Catnach, the great publisher of the Seven
+Dials, next to children's books, had his mind mostly centred upon the
+chronicling of doubtful scandals, fabulous duels between ladies of
+fashion, "cooked" assassinations, and sudden deaths of eminent
+individuals, apochryphal elopements, real or catch-penny accounts of
+murders, impossible robberies, delusive suicides, dark deeds and public
+executions, to which was usually attached the all-important and necessary
+"Sorrowful Lamentations," or "Copy of Affectionate Verses," which,
+according to the established custom, the criminal composed in the
+condemned cell the night before his execution, after this manner:--
+
+  "All you that have got feeling hearts, I pray you now attend
+  To these few lines so sad and true, a solemn silence lend;
+  It is of a cruel murder, to you I will unfold----
+  The bare recital of the tale must make your blood run cold."
+
+Or take another and stereotyped example, which from time to time has
+served equally well for the verses _written by_ the culprit--Brown, Jones,
+Robinson, or Smith:
+
+  "Those deeds I mournfully repent,
+    But now it is too late,
+  The day is past, the die is cast,
+    And fixed is my fate.
+
+Occasionally the Last Sorrowful Lamentations contained a "Love
+Letter"--the criminal being unable, in some instances, to read or write,
+being no obstacle to the composition--written according to the street
+patterer's statement: "from the depths of the condemned cell, with the
+condemned pen, ink, and paper." This mode of procedure in "gallows"
+literature, and this style of composition having prevailed for from sixty
+to seventy years.
+
+Then they would say: "Here you have also an exact likeness of the
+murderer, taken at the bar of the Old Bailey by an eminent artist!" when
+all the time it was an old woodcut that had been used for every criminal
+for many years.
+
+"There's nothing beats a stunning good murder after all," said a "running
+patterer" to Mr. Henry Mayhew, the author of "London Labour and London
+Poor." It is only fair to assume that Mr. James Catnach shared in the
+sentiment, for it is said that he made over £500 by the publication of:--
+
+"The Full, True and Particular Account of the Murder of Mr. Weare by John
+Thurtell and his Companions, which took place on the 24th of October,
+1823, in Gill's Hill-lane, near Elstree, in Hertfordshire:--Only One
+Penny." There were eight formes set up, for old Jemmy had no notion of
+stereotyping in those days, and pressmen had to re-cover their own
+sheep-skins. But by working night and day for a week they managed to get
+off about 250,000 copies with the four presses, each working two formes at
+a time.
+
+As the trial progressed, and the case became more fully developed, the
+public mind became almost insatiable. Every night and morning large
+bundles were despatched to the principal towns in the three kingdoms.
+
+One of the many street-ballads on the subject informed the British public
+that:--
+
+  "Thurtell, Hunt, and Probert, too, for trial must now prepare,
+  For that horrid murder of Mr. William Weare."
+
+[Illustration: THURTELL MURDERING MR. WEARE.]
+
+In connection with the murder of Mr. Weare by Thurtell and Co., Sir Walter
+Scott, collected the printed trials with great assiduity, and took care
+always to have to hand the contemporary ballads and prints bound up with
+them. He admired particularly this verse of Theodore Hook's[13]
+broadside:--
+
+  "They cut his throat from ear to ear,
+    His brains they battered in;
+  His name was Mr. William Weare,
+    He dwelt in Lyon's Inn."
+
+
+    THE CONFESSION AND EXECUTION OF JOHN THURTELL
+    AT HERTFORD GAOL, On Friday, the 9th of January, 1824.
+
+
+    THE EXECUTION.
+
+    _Hertford, half-past twelve o'clock._
+
+    This morning, at ten minutes before twelve, a bustle among the
+    javelin-men stationed within the boarded enclosure on which the drop
+    was erected, announced to the multitude without that the preparations
+    for the execution were nearly concluded. The javelin-men proceeded to
+    arrange themselves in the order usually observed upon these melancholy
+    but necessary occurrences. They had scarcely finished their
+    arrangements, when the opening of the gate of the prison gave an
+    additional impulse to public anxiety.
+
+    When the clock was on the stroke of twelve, Mr Nicholson, the
+    Under-Sheriff, and the executioner ascended the platform, followed on
+    to it by Thurtell, who mounted the stairs with a slow but steady step.
+    The principal turnkey of the gaol came next, and was followed by Mr
+    Wilson and two officers. On the approach of the prisoner being
+    intimated by those persons who, being in an elevated situation,
+    obtained the first view of him, all the immense multitude present took
+    off their hats.
+
+    Thurtell immediately placed himself under the fatal beam, and at that
+    moment the chimes of a neighbouring clock began to strike twelve. The
+    executioner then came forward with the rope, which he threw across it.
+    Thurtell first lifted his eyes up to the drop, gazed at it for a few
+    moments, and then took a calm but hurried survey of the multitude
+    around him. He next fixed his eyes on a young gentleman in the crowd,
+    whom he had frequently seen as a spectator at the commencement of the
+    proceedings against him. Seeing that the individual was affected by
+    the circumstance, he removed them to another quarter, and in so doing
+    recognised an individual well known in the sporting circles, to whom
+    he made a slight bow.
+
+    The prisoner was attired in a dark brown great coat, with a black
+    velvet collar, white corduroy breeches, drab gaiters and shoes. His
+    hands were confined with handcuffs, instead of being tied with cord,
+    as is usually the case on such occasions, and, at his own request, his
+    arms were not pinioned. He wore a pair of black kid gloves, and the
+    wrists of his shirt were visible below the cuffs of his coat. As on
+    the last day of his trial, he wore a white cravat. The irons, which
+    were very heavy, and consisted of a succession of chain links, were
+    still on his legs, and were held up in the middle by a Belcher
+    handkerchief tied round his waist.
+
+    The executioner commenced his mournful duties by taking from the
+    unhappy prisoner his cravat and collar. To obviate all difficulty in
+    this stage of the proceedings, Thurtell flung back his head and neck,
+    and so gave the executioner an opportunity of immediately divesting
+    him of that part of his dress. After tying the rope round Thurtell's
+    neck, the executioner drew a white cotton cap over his countenance,
+    which did not, however, conceal the contour of his face, or deprive
+    him entirely of the view of surrounding objects.
+
+    At that moment the clock sounded the last stroke of twelve. During the
+    whole of this appalling ceremony, there was not the slightest symptom
+    of emotion discernible in his features; his demeanour was perfectly
+    calm and tranquil, and he behaved like a man acquainted with the
+    dreadful ordeal he was about to pass, but not unprepared to meet it.
+    Though his fortitude was thus conspicuous, it was evident from his
+    appearance that in the interval between his conviction and his
+    execution he must have suffered much. He looked careworn; his
+    countenance had assumed a cadaverous hue, and there was a haggardness
+    and lankness about his cheeks and mouth, which could not fail to
+    attract the notice of every spectator.
+
+    The executioner next proceeded to adjust the noose by which Thurtell
+    was to be attached to the scaffold. After he had fastened it in such a
+    manner as to satisfy his own mind, Thurtell looked up at it, and
+    examined it with great attention. He then desired the executioner to
+    let him have fall enough. The rope at this moment seemed as if it
+    would only give a fall of two or three feet. The executioner assured
+    him that the fall was quite sufficient. The principal turnkey then
+    went up to Thurtell, shook hands with him, and turned away in tears.
+    Mr Wilson, the governor of the gaol, next approached him. Thurtell
+    said to him, "Do you think, Mr Wilson, I have got enough fall?" Mr
+    Wilson replied, "I think you have, Sir. Yes, quite enough." Mr Wilson
+    then took hold of his hand, shook it, and said, "Good bye, Mr
+    Thurtell, may God Almighty bless you." Thurtell instantly replied,
+    "God bless _you_, Mr Wilson, God bless _you_." Mr Wilson next asked
+    him whether he considered that the laws of his country had been dealt
+    to him justly and fairly, upon which he said, "I admit that justice
+    has been done me--I am perfectly satisfied."
+
+    A few seconds then elapsed, during which every person seemed to be
+    engaged in examining narrowly Thurtell's deportment. His features, as
+    well as they could be discerned, appeared to remain unmoved, and his
+    hands, which were extremely prominent, continued perfectly steady, and
+    were not affected by the slightest tremulous motion.
+
+    Exactly at two minutes past twelve the Under-Sheriff, with his wand,
+    gave the dreadful signal--the drop suddenly and silently fell--and
+
+    JOHN THURTELL WAS LAUNCHED INTO ETERNITY.
+
+    Printed at J. Pitts, Wholesale Toy and Marble Warehouse, 6, Great St.
+    Andrew Street, Seven Dials.
+
+
+    ATROCIOUS MURDER OF A YOUNG WOMAN IN SUFFOLK.
+    SINGULAR DISCOVERY OF THE BODY FROM A DREAM.
+
+[Illustration: THE RED BARN. THE SCENE OF THE MURDER, AND WHERE THE BODY
+OF MARIA MARTEN WAS FOUND CONCEALED.]
+
+Four years after the Thurtell and Weare affair, namely, in the month of
+April, 1828, another "sensational" murder was discovered--that of Maria
+Marten, by William Corder, in the Red Barn, at Polstead, in the county of
+Suffolk. The circumstances that led to the discovery of this most
+atrocious murder were of an extraordinary and romantic nature, and
+manifest an almost special interposition of Providence in marking out the
+offender. As the mother of the girl had on three several nights dreamt
+that her daughter was murdered and buried in Corder's Red Barn, and as
+this proved to be the case, an additional "charm" was given to the
+circumstance. Hence the "Catnach Press" was again set working both day and
+night to meet the great demand for the "Full Particulars." In due course
+came the gratifying announcement of the apprehension of the murderer! and
+the sale continued unabatingly, in both town and country, every "Flying
+Stationer" making great profits by the sale.
+
+[Illustration: LIKENESS OF WILLIAM CORDER.]
+
+The trial of Corder took place at Bury St. Edmonds, on the 7th of August,
+1828, before the Lord Chief Baron (Anderson). The prisoner pleaded "_Not
+Guilty_," and the trial proceeded. On being called on for his defence,
+Corder read a manuscript paper. He declared that he deeply deplored the
+death of the unfortunate deceased, and he urged the jury to dismiss from
+their minds all that prejudice which must necessarily have been excited
+against him by the public press, &c. Having concluded his address, the
+Lord Chief Baron summed up, and a verdict of "_Guilty_" was returned. The
+Last Dying Speech and confession had an enormous sale--estimated at
+1,166,000, a _fac-simile_ copy of which, with the "Lamentable Verses,"
+said to have been written by Old Jemmy Catnach, will be found on the
+opposite page.
+
+
+    CONFESSION AND EXECUTION OF WILLIAM CORDER,
+    THE MURDERER OF MARIA MARTEN.
+
+    Since the tragical affair between Thurtell and Weare, no event has
+    occurred connected with the criminal annals of our country which has
+    excited so much interest as the trial of Corder, who was justly
+    convicted of the murder of Maria Marten on Friday last.
+
+
+    THE CONFESSION.
+
+    "Bury Gaol, August 10th, 1828.--Condemned cell.
+    "Sunday evening, half-past Eleven.
+
+    "I acknowledge being guilty of the death of poor Maria Marten, by
+    shooting her with a pistol. The particulars are as follows:--When we
+    left her father's house, we began quarrelling about the burial of the
+    child: she apprehended the place wherein it was deposited would be
+    found out. The quarrel continued about three quarters of an hour upon
+    this sad and about other subjects. A scuffle ensued, and during the
+    scuffle, and at the time I think that she had hold of me, I took the
+    pistol from the side pocket of my velveteen jacket and fired. She
+    fell, and died in an instant. I never saw her even struggle. I was
+    overwhelmed with agitation and dismay:--the body fell near the front
+    doors on the floor of the barn. A vast quantity of blood issued from
+    the wound, and ran on to the floor and through the crevices. Having
+    determined to bury the body in the barn (about two hours after she was
+    dead). I went and borrowed a spade of Mrs Stow, but before I went
+    there I dragged the body from the barn into the chaff-house, and
+    locked the barn. I returned again to the barn, and began to dig a
+    hole, but the spade being a bad one, and the earth firm and hard, I
+    was obliged to go home for a pickaxe and a better spade, with which I
+    dug the hole, and then buried the body. I think I dragged the body by
+    the handkerchief that was tied round her neck. It was dark when I
+    finished covering up the body. I went the next day, and washed the
+    blood from off the barn-floor. I declare to Almighty God I had no
+    sharp instrument about me, and no other wound but the one made by the
+    pistol was inflicted by me. I have been guilty of great idleness, and
+    at times led a dissolute life, but I hope through the mercy of God to
+    be forgiven. WILLIAM CORDER."
+
+    Witness to the signing by the said William Corder,
+
+      JOHN ORRIDGE.
+
+
+    Condemned cell, Eleven o'clock, Monday morning,
+    August 11th, 1828.
+
+    The above confession was read over carefully to the prisoner in our
+    presence, who stated most solemnly it was true, and that he had
+    nothing to add to or retract from it.--W. STOCKING, chaplain; TIMOTHY
+    R. HOLMES, Under-Sheriff.
+
+
+    THE EXECUTION.
+
+    At ten minutes before twelve o'clock the prisoner was brought from his
+    cell and pinioned by the hangman, who was brought from London for the
+    purpose. He appeared resigned, but was so weak as to be unable to
+    stand without support; when his cravat was removed he groaned heavily,
+    and appeared to be labouring under great mental agony. When his wrists
+    and arms were made fast, he was led round twards the scaffold, and as
+    he paused the different yards in which the prisoners were confined, he
+    shook hands with them, and speaking to two of them by name, he said,
+    "Good bye, God bless you." They appeared considerably affected by the
+    wretched appearance which he made, and "God bless you!" "May God
+    receive your soul!" were frequently uttered as he passed along. The
+    chaplain walked before the prisoner, reading the usual Burial Service,
+    and the Governor and Officers walking immediately after him. The
+    prisoner was supported to the steps which led to the scaffold; he
+    looked somewhat wildly around, and a constable was obliged to support
+    him while the hangman was adjusting the fatal cord. There was a
+    barrier to keep off the crowd, amounting to upwards of 7,000 persons,
+    who at the time had stationed themselves in the adjoining fields, on
+    the hedges, the tops of houses, and at every point from which a view
+    of the execution could be best obtained. The prisoner, a few moments
+    before the drop fell, groaned heavily, and would have fallen, had not
+    a second constable caught hold of him. Everything having been made
+    ready, the signal was given, the fatal drop fell, and the unfortunate
+    man was launched into eternity. Just before he was turned off, he said
+    in a feeble tone, "I am justly sentenced, and may God forgive me."
+
+
+    The Murder of Maria Marten.
+
+    BY W. CORDER
+
+      Come all you thoughtless young men, a warning take by me,
+      And think upon my unhappy fate to be hanged upon a tree;
+      My name is William Corder, to you I do declare,
+      I courted Maria Marten, most beautiful and fair.
+
+      I promised I would marry her upon a certain day.
+      Instead of that, I was resolved to take her life away.
+      I went into her father's house the 18th day of May,
+      Saying, my dear Maria, we will fix the wedding day.
+
+      If you will meet me at the Red-barn, as sure as I have life,
+      I will take you to Ipswich town, and there make you my wife;
+      I then went home and fetched my gun, my pickaxe and my spade,
+      I went into the Red-barn, and there I dug her grave.
+
+      With heart so light, she thought no harm, to meet him she did go
+      He murdered her all in the barn, and laid her body low;
+      After the horrible deed was done, she lay weltering in her gore,
+      Her bleeding mangled body he buried beneath the Red-barn floor.
+
+      Now all things being silent, her spirit could not rest,
+      She appeared unto her mother, who suckled her at her breast,
+      For many a long month or more, her mind being sore oppress'd,
+      Neither night or day she could not take any rest.
+
+      Her mother's mind being so disturbed, she dreamt three nights o'er,
+      Her daughter she lay murdered beneath the Red-barn floor;
+      She sent the father to the barn, when he the ground did thrust,
+      And there he found his daughter mingling with the dust.
+
+      My trial is hard, I could not stand, most woeful was the sight,
+      When her jaw-bone was brought to prove, which pierced my heart quite;
+      Her aged father standing by, likewise his loving wife,
+      And in her grief her hair she tore, she scarcely could keep life.
+
+      Adieu, adieu, my loving friends, my glass is almost run,
+      On Monday next will be my last, when I am to be hang'd,
+      So you, young men, who do pass by, with pity look on me,
+      For murdering Maria Marten, I was hang'd upon the tree.
+
+    Printed by J. Catnach, 2 and 3, Monmouth Court.--Cards, &c., Printed
+    Cheap.
+
+
+    LIFE, TRIAL, CONFESSION, & EXECUTION OF
+    JAMES GREENACRE,
+    FOR THE EDGEWARE ROAD MURDER.
+
+    [Illustration]
+
+    On the 22nd of April, James Greenacre was found guilty of the wilful
+    murder of Hannah Brown, and Sarah Gale with being accessary after the
+    fact. A long and connected chain of evidence was produced, which
+    showed, that the sack in which the body was found was the property of
+    Mr. Ward; that is was usually deposited in a part of the premises
+    which led to the workshop, and could without observation have been
+    carried away by him; that the said sack contained several fragments of
+    shavings of mahogany, such as were made in the course of business by
+    Ward; and that it contained some pieces of linen cloth, which had been
+    patched with nankeen; that this linen cloth matched exactly with a
+    frock which was found on Greenacre's premises, and which belonged to
+    the female prisoner. Feltham, a police-officer, deposed, that on the
+    26th of March he apprehended the prisoners at the lodgings of
+    Greenacre; that on searching the trowsers pockets of that person, he
+    took therefrom a pawnbroker's duplicate for two silk gowns, and from
+    the fingers of the female prisoner two rings, and also a similar
+    duplicate for two veils, and an old-fashioned silver watch, which she
+    was endeavouring to conceal; and it was further proved that these
+    articles were pledged by the prisoners, and that they had been the
+    property of the deceased woman.--Two surgeons were examined, whose
+    evidence was most important, and whose depositions were of the
+    greatest consequence in throwing a clear light on the manner in which
+    the female, Hannah Brown, met with her death. Mr. Birtwhistle deposed,
+    that he had carefully examined the head; that the right eye had been
+    knocked out by a blow inflicted while the person was living; there was
+    also a cut on the cheek, and the jaw was fractured, these two last
+    wounds were, in his opinion, produced after death; there was also a
+    bruise on the head, which had occurred after death; the head had been
+    separated by cutting, and the bone sawed nearly _through_, and then
+    broken off; there were the marks of a saw, which fitted with a saw
+    which was found in Greenacre's box. Mr. Girdwood, a surgeon, very
+    minutely and skilfully described the appearances presented on the
+    head, and showed incontestibly, that the head had been severed from
+    the body _while the person was yet alive_; that this was proved by the
+    retraction, or drawing back, of the muscles at the parts where they
+    were separated by the knife, and further, by the blood-vessels being
+    empty, the body was drained of blood. This part of the evidence
+    produced a thrill of horror throughout the court, but Greenacre
+    remained quite unmoved.
+
+    After a most impressive and impartial summing up by the learned Judge,
+    the jury retired, and, after the absence of a quarter of an hour,
+    returned into court, and pronounced a verdict of "Guilty" against both
+    the prisoners.
+
+    The prisoners heard the verdict without evincing the least emotion, or
+    the slightest change of countenance. After an awful silence of a few
+    minutes, the Lord Chief Justice said they might retire, as they would
+    be remanded until the end of the session.
+
+    They were then conducted from the bar, and on going down the steps,
+    the unfortunate female prisoner kissed Greenacre with every mark of
+    tenderness and affection.
+
+    The crowd outside the court on this day was even greater than on
+    either of the preceding; and when the result of the trial was made
+    known in the street, a sudden and general shout succeeded, and
+    continued huzzas were heard for several minutes.
+
+
+    THE EXECUTION.
+
+    At half past seven the sheriff arrived in his carriage, and in a short
+    time the press-yard was thronged with gentlemen who had been admitted
+    by tickets. The unhappy convict was now led from his cell. When he
+    arrived in the press-yard, his whole appearance pourtrayed the utmost
+    misery and spirit-broken dejection; his countenance haggard, and his
+    whole frame agitated; all that self-possession and fortitude which he
+    displayed in the early part of his imprisonment, had utterly forsaken
+    him, and had left him a victim of hopelessness and despair. He
+    requested the executioner to give him as little pain as possible in
+    the process of pinioning his arms and wrists; he uttered not a word in
+    allusion to his crime; neither did he make any dying request, except
+    that his spectacles might be given to Sarah Gale; he exhibited no sign
+    of hope; he showed no symptom of reconciliation with his offended God!
+    When the venerable ordinary preceded him in the solemn procession
+    through the vaulted passage to the fatal drop, he was so overcome and
+    unmanned, that he could not support himself without the aid of the
+    assistant executioner. At the moment he ascended the faithless floor,
+    from which he was to be launched into eternity, the most terrific
+    yells, groans, and cheers were vociferated by the immense multitude
+    surrounding the place of execution. Greenacre bowed to the sheriff,
+    and begged he might not be allowed to remain long in the concourse;
+    and almost immediately the fatal bolt was withdrawn, and, without a
+    struggle, he became a lifeless corse.--Thus ended the days of
+    Greenacre, a man endowed with more than ordinary talents, respectably
+    connected, and desirably placed in society; but a want of probity, an
+    absolute dearth of principle, led him on from one crime to another,
+    until at length he perpetrated the sanguinary deed which brought his
+    career to an awful and disgraceful period, and which has enrolled his
+    name among the most notorious of those who have expiated their crime
+    on the gallows.
+
+    On hearing the death-bell toll, Gale became dreadfully agitated; and
+    when she heard the brutal shouts of the crowd of spectators, she
+    fainted, and remained in a state of alternate mental agony and
+    insensibility throughout the whole day.
+
+    After having been suspended the usual time, his body was cut down, and
+    buried in a hole dug in one of the passages of the prison, near the
+    spot where Thistlewood and his associates were deposited.
+
+    J. Catnach, Printer, 2 and 3, Monmouth Court.
+
+The following is a fac-simile of the "Execution Paper," from the press of
+Paul and Co.,--successors of Catnach.
+
+
+    TRIAL, SENTENCE, CONFESSION, & EXECUTION OF
+    F. B. COURVOISIER,
+    FOR THE Murder of Lord Wm. Russell.
+
+
+    THE VERDICT.
+
+    Old Bailey, Saturday Evening,
+    _June 20th, 1840_.
+
+    After the jury had been absent for an hour and twenty minutes, they
+    returned into court, and the prisoner was again placed at the bar.
+
+    The names of the jury were then called over, and the clerk of the
+    court said--"How say you, gentlemen, have you agreed on your verdict?
+    Do you find the prisoner Guilty or Not Guilty of the felony of murder
+    with which he stands charged?"
+
+    The foreman of the jury, in a low voice, said--"We find him GUILTY!"
+
+    The Clerk of the Court then said: François Benjamin Courvoisier, you
+    have been found Guilty of the wilful murder of William Russell, Esq.,
+    commonly called Lord William Russell; what have you to say why the
+    court should not give you sentence to die according to law?
+
+    The prisoner made no reply. The usual proclamation for silence was
+    then made.
+
+
+    SENTENCE.
+
+    The LORD CHIEF JUSTICE TINDAL, having put on the black cap, said:
+    François Benjamin Courvoisier, you have been found guilty by an
+    intelligent, patient, and impartial jury of the crime of wilful
+    murder. That crime has been established against you, not indeed by the
+    testimony of eye-witnesses as to the fact, but by a chain of
+    circumstances no less unerring, which have left no doubt of your guilt
+    in the minds of the jury, and all those who heard the trial. It is
+    ordained by divine authority that the murderer shall not escape
+    justice, and this ordination has been exemplified in your case, in the
+    course of this trial, by the disclosure of evidence which has brought
+    the facts to bear against you in a conclusive manner. The murder,
+    although committed in the dark and silent hour of night, has
+    nevertheless been brought clearly to light by Divine interposition.
+    The precise motive which induced you to commit this guilty act can
+    only be known to your own conscience; but it now only remains for me
+    to recommend you most earnestly to employ the short time you have to
+    live in prayer and repentance, and in endeavouring to make your peace
+    with that Almighty Being whose law you have broken, and before whom
+    you must shortly appear. The Learned Judge then passed sentence on the
+    prisoner in the usual form.
+
+    The court was very much crowded to the last.
+
+
+    THE CONFESSION OF THE CONVICT.
+
+    After the Learned Judge had passed sentence on the convict, he was
+    removed from the bar, and immediately made a full confession of his
+    guilt.
+
+
+    THE EXECUTION.
+
+    At eight o'clock this morning, Courvoisier ascended the steps leading
+    to the gallows, and advanced, without looking round him, to the centre
+    of the platform, followed by the executioner and the ordinary of the
+    prison, the Rev. Mr Carver. On his appearance a few yells of
+    execration escaped from a portion of the crowd, but the general body
+    of the people, great as must have been their abhorrence of his
+    atrocious crime, remained silent spectators of the scene which was
+    passing before their eyes. The prisoner's manner was marked by an
+    extraordinary appearance of firmness. His step was steady and
+    collected, and his movements free from the slightest agitation or
+    indecision. His countenance indeed was pale, and bore the trace of
+    much dejection, but it was at the same time calm and unmoved. While
+    the executioner was placing him on the drop he slightly moved his
+    hands (which were tied in front of him, and strongly clasped one
+    within the other) up and down two or three times, and this was the
+    only visible symptom of any emotion or mental anguish which the
+    wretched man endured. His face was then covered with the cap, fitting
+    so closely as not to conceal the outlines of his countenance, the
+    noose was then adjusted. During this operation he lifted up his head
+    and raised his hands to his breast, as if in the action of fervent
+    prayer. In a moment the fatal bolt was withdrawn, the drop fell, and
+    in this attitude the murderer perished. He died without any violent
+    struggle. In two minutes after he had fallen his legs were twice
+    slightly convulsed, but no further motion was observable, excepting
+    that his raised arms, gradually losing their vitality, sank down from
+    their own lifeless weight.
+
+    After hanging one hour, the body was cut down and removed within the
+    prison.
+
+
+    AFFECTING COPY OF VERSES.
+
+      Attention give, both old and young,
+        Of high and low degree,
+      Think while this mournful tale is sung,
+        Of my sad misery.
+      I've slain a master good and kind,
+        To me has been a friend,
+      For which I must my life resign,
+        My time is near an end.
+
+      Oh hark! what means that dreadful sound?
+        It sinks deep in my soul;
+      It is the bell that sounds my knell,
+        How solemn is the toll.
+      See thousands are assembled
+        Around the fatal place,
+      To gaze on my approaching,
+        And witness my disgrace.
+
+      There many sympathising hearts,
+        Who feel another's woe,
+      Even now appears in sorrow,
+        For my sad overthrow.
+      Think of the aged man I slew,
+        Then pity's at an end,
+      I robb'd him of property and life,
+        And the poor man of a friend.
+
+      Let pilfering passions not intrude,
+        For to lead you astray,
+      From step to step it will delude,
+        And bring you to dismay.
+      Think of the wretched Courvoisier,
+        Who thus dies on a tree,
+      A death of shame, I've nought to blame,
+        But my own dishonesty.
+
+      Mercy on earth I'll not implore,
+        To crave it would be vain,
+      My hands are dyed with human gore,
+        None can wash off the stain.
+      But the merits of a Saviour,
+        Whose mercy alone I crave;
+      Good Christians pray, as thus I die,
+        I may his pardon have.
+
+    Paul & Co., Printers, 2, 3, Monmouth Court, Seven Dials.
+
+But the gallows was not always a fruit-bearing tree, and a "stunning good
+murder" did not happen every day. Nevertheless the street patterer must
+live, and lest the increase of public virtue should condemn him to
+starvation, the "Seven Dials Press," stepped forward to his aid, and
+considerately supplied him with a species of street-literature well known
+to the trade as "Cocks," and which are defined in "Hotton's Slang
+Dictionary" thus:--
+
+    COCKS, fictitious narratives, in verse or prose, of murders, fires and
+    terrible accidents, sold in the streets as true accounts. The man who
+    hawks them, a patterer, often changes the scene of the awful event to
+    suit the taste of the neighbourhood he is trying to delude. Possibly a
+    corruption of _cook_--a cooked statement, or may be "the story of a
+    cock and bull" may have had something to do with the term.
+    Improvements in newspapers, especially in those published in the
+    evening, and increased scepticism on the part of the public have
+    destroyed this branch of a once-flourishing business.
+
+The late Mr. Albert Smith, the humourist and novelist, has very happily
+hit off this style of thing in "The Man in the Moon," one of the many
+rivals to "Punch," and edited by that very promising son of genius, the
+late Angus B. Reach, 1832-56. It is entitled--
+
+A COPY OF VERSES
+
+_Found among the Papers of Mr. Catnach, the spirited Publisher of Seven
+Dials; originally intended to have been "printed and published at the Toy
+and Marble Warehouse, 2 and 3, Monmouth Court, Seven Dials."_
+
+DEDICATED TO THE AUTHOR OF "LUCRETIA."
+
+I.
+
+_The Hero claims the attention of virtuous persons, and leads them to
+anticipate a painful disclosure._
+
+[Illustration]
+
+  Draw hither now good people all
+    And let my story warn,
+  For I will tell to you a tale,
+    What will wrend them breasts of yourn.
+
+II.
+
+_He names the place and hour of the disgraceful penalty he is about to
+undergo._
+
+[Illustration]
+
+  I am condemn'd all for to die
+    A death of scorn and horror;
+  In front of Horsemonger-lane Gaol,
+    At eight o'clock to-morrer.
+
+III.
+
+_He hints at his atrocity; and the ebullition produced by the mere
+recollection of it._
+
+[Illustration]
+
+  The crime of which I was found guilty,
+    Oh! it was shocking vile;
+  The very thoughts of the cruel deed
+    Now makes my blood to bile.
+
+IV.
+
+_He speaks of the happy hours of Childhood, never more to return._
+
+[Illustration]
+
+  In Somersetshire I was born'd,
+    And my little sister dear
+  Didn't think then that my sad end
+    Would be like unto this here.
+
+V.
+
+_The revelation of his name and profession; and subsequent avowal of his
+guilt._
+
+[Illustration]
+
+  James Guffin is my hated name,
+    And a footman I'm by trade;
+  And I do confess that I did slay
+    My poor fellow-servant maid.
+
+VI.
+
+_He acknowledges the justice of his sentence._
+
+[Illustration]
+
+  And well I do deserve, I own,
+    My fate which is so bitter:
+  For 'twas most wicked for to kill
+    So innicent a critter.
+
+VII.
+
+_And pictures what might have taken place but for the interference of
+Destiny._
+
+[Illustration]
+
+  Her maiden name was Sarey Leigh,
+    And was to have been Guffin;
+  For we was to have been marri-ed,
+    But Fate brought that to nuffin.
+
+VIII.
+
+_He is particular as to the date of the occurrence._
+
+[Illustration]
+
+  All on a Wednesday afternoon,
+    On the ninth of Janivary,
+  Eighteen hundred and forty-four,
+    Oh! I did kill my Sarey.
+
+IX.
+
+_And narrates the means employed, and the circumstances which led him to
+destroy his betrothed._
+
+[Illustration]
+
+  With arsenic her I did destroy,
+    How could I be so vicious!
+  But of my young master I was jealous,
+    And so was my old Missus.
+
+X.
+
+_He is led away by bad passions._
+
+[Illustration]
+
+  I thought Sarey Leigh warn't true to me,
+    So all pity then despising,
+  Sure I was tempted by the Devil
+    To give to her some p'ison.
+
+XI.
+
+_His bosom is torn by conflicting resolutions; but he is at last decided._
+
+[Illustration]
+
+  Long--long I brooded on the deed,
+    'Til one morning of a sudden,
+  I did determine for to put
+    It in a beef-steak puddin.
+
+XII.
+
+_The victim falls into the snare._
+
+[Illustration]
+
+  Of the fatal pudding she did partake,
+    Most fearful for to see,
+  And an hour arter was to it a martyr,
+    Launch'd into eternity.
+
+XIII.
+
+_He feels that his perception comes too late._
+
+[Illustration]
+
+  Ah! had I then but viewed things in
+    The light that I now does 'em,
+  I never should have know'd the grief
+    As burns in this here buzum.
+
+XIV.
+
+_He commits his secret to the earth._
+
+[Illustration]
+
+  So when I seed what I had done,
+    In hopes of justice retarding,
+  I took and buried poor Sarey Leigh
+    Out in the kitching garding.
+
+XV.
+
+_But the earth refuses to keep it._
+
+[Illustration]
+
+  But it did haunt me, so I felt
+    As of a load deliver'd,
+  When three weeks after the fatal deed,
+    The body was diskiver'd.
+
+XVI.
+
+_Remorse and self examination._
+
+[Illustration]
+
+  O! why did I form of Sarey Leigh
+    Such cruel unjust opinions,
+  When my young master did her find
+    Beneath the bed of inions.
+
+XVII.
+
+_His countrymen form a just estimate of his delinquency._
+
+[Illustration]
+
+  Afore twelve jurymen I was tried,
+    And condemned the perpetrator
+  Of this here awful Tragedy,
+    As shocks one's human natur.
+
+XVIII.
+
+_He conjures up a painful image._
+
+[Illustration]
+
+  But the bell is tolling for my end;
+    How shocking for to see
+  A footman gay, in the prime of life,
+    Die on the fatal tree.
+
+XIX.
+
+_His last words convey a moral lesson._
+
+[Illustration]
+
+  THE MORAL!!!
+
+  Take warning, then, all ye as would
+    Not die like malefactors;
+  Never the company for to keep
+    Of them with bad characters.
+
+[Illustration: J. CATNACH, PRINTER AND PUBLISHER.]
+
+  Little Boys and Girls will find
+  At CATNACH'S something to their mind;
+  From great variety may choose,
+  What will instruct them and amuse.
+  The prettiest plates that you can find,
+  To please at once the eye and mind.
+
+One class of literature which the late Jemmy Catnach made almost his own,
+was children's farthing and halfpenny books. Among the great many that he
+published we select, from our own private collection, the following as a
+fair sample:--"The Tragical Death of an Apple Pie," "The House that Jack
+Built," "Jumping Joan," "The Butterflies Ball and Grasshoppers' Feast,"
+"Jerry Diddle and his Fiddle," "Nurse Love-Child's Gift," "The Death and
+Burial of Cock Robin," "The Cries of London," "Simple Simon," "Jacky
+Jingle and Suky Shingle," and--"Here you have just prin--ted and
+pub--lish--ed, and a--dor--ned with eight beau--ti--ful and ele--gantly
+engraved embellish--ments, and for the low charge of one _farden_--Yes!
+one _farden_ buys."
+
+NURSERY RHYMES.
+
+[Illustration]
+
+  See-saw, sacradown,
+  Which is the way to London town?
+  One foot up, and the other down,
+  And that is the way to London town.
+
+[Illustration]
+
+  Hey diddle, the cat and the fiddle,
+  The cow jumped over the moon,
+  The little dog laughed to see the sport,
+  And the dish ran away with the spoon.
+
+  Ding, dong bell!
+  Pussy's in the well.
+  Who put her in?
+  Little Johnny Green.
+  Who pulled her out?
+  Little Johnny Snout.
+  What a naughty boy was that,
+  To drown poor pussy cat,
+  Who never did him any harm,
+  And kill'd the mice in his father's barn.
+
+[Illustration]
+
+  Jack and Jill went up the hill,
+    To get a pail of water;
+  Jack fell down and broke his crown,
+    And Jill came tumbling after.
+
+[Illustration]
+
+  Cock a doodle do,
+  The dame has lost her shoe,
+  And master's lost his fiddle stick
+  And don't know what to do.
+
+  I had a little husband,
+    No bigger than my thumb.
+  I put him in a quart pot,
+    And there I bid him drum.
+
+[Illustration]
+
+  Who's there? A Grenadier!
+  What do you want? A pot of beer.
+  Where's your money? Oh, I forgot,
+  Then get you gone, you drunken sot.
+
+[Illustration]
+
+  Hush-a-bye, baby, on the tree top,
+  When the wind blows the cradle will rock,
+  When the bough breaks the cradle will fall,
+  Down comes the baby, cradle and all.
+
+[Illustration]
+
+  There was an old woman that lived in a shoe,
+  She had so many children she knew not what to do;
+  She gave them some broth without any bread,
+  Then she beat them all well, and sent them to bed.
+
+[Illustration]
+
+  My mother and your mother
+      Went over the way;
+  Said my mother to your mother,
+      It's chop-a-nose day!
+
+J. Catnach, Printer, 2, Monmouth Court, 7 Dials.
+
+
+THE CRIES OF LONDON.
+
+[Illustration]
+
+_Cherries._
+
+  Here's round and sound,
+  Black and white heart cherries,
+  Two-pence a pound.
+
+[Illustration]
+
+_Oranges._
+
+      Here's oranges nice,
+      At a very small price,
+  I sell them all two for a penny.
+      Ripe, juicy, and sweet,
+      Just fit for to eat,
+  So customers buy a good many.
+
+[Illustration]
+
+_Milk below._
+
+  Rain, frost, or snow, or hot or cold,
+    I travel up and down,
+  The cream and milk you buy of me
+    Is best in all the town.
+  For custards, puddings, or for tea,
+    There's none like those you buy of me.
+
+[Illustration]
+
+_Crumpling Codlings._
+
+  Come buy my Crumpling Codlings,
+    Buy all my Crumplings.
+  Some of them you may eat raw,
+    Of the rest make dumplings,
+  Or pies, or puddings, which you please.
+
+[Illustration]
+
+_Filberts._
+
+  Come buy my filberts ripe and brown,
+  They are the best in all the town,
+  I sell them for a groat a pound,
+  And warrant them all good and sound,
+  You're welcome for to crack and try,
+  They are so good, I'm sure you'll buy.
+
+[Illustration]
+
+_Clothes Pegs, Props, or Lines._
+
+  Come, maids, and buy my pegs and props,
+    Or lines to dry your clothes,
+  And when they are dry they'll smell as sweet
+    As any damask rose.
+  Come buy and save your clothes from dirt,
+  They'll save you washing many a shirt.
+
+[Illustration]
+
+_Sweep._
+
+  Sweep, chimney sweep,
+  Is the common cry I keep,
+      If you rightly understand me;
+  With my brush, broom, and my rake,
+  Such cleanly work I make,
+      There's few can go beyond me.
+
+[Illustration]
+
+_Peas and Beans._
+
+  Four pence a peck, green Hastings!
+    And fine garden beans.
+  They are all morning gathered,
+    Come hither, my queens.
+  Come buy my Windsor beans and peas,
+  You'll see no more this year like these.
+
+_Young Lambs to Sell._
+
+  Get ready your money and come to me,
+  I sell a young lamb for a penny.
+  Young lambs to sell! young lambs to sell!
+  If I'd as much money as I could tell,
+  I never would cry young lambs to sell.
+
+[Illustration]
+
+  Here's your toys for girls and boys,
+  Only a penny, or a dirty phial or bottle.
+
+[Illustration]
+
+_Strawberries._
+
+  Rare ripe strawberries and
+  Hautboys, sixpence a pottle.
+  Full to the bottom, hautboys.
+  Strawberries and Cream are charming and sweet,
+  Mix them and try how delightful they eat.
+
+[Illustration]
+
+  When Good Friday comes,
+  The old woman runs
+  With Hot Cross Buns,
+  One a penny, Buns,
+  Two a penny, Buns,
+  All Hot Buns.
+
+  LONDON:
+  Printed by J. Catnach, 2, Monmouth
+  Court, 7 Dials.
+
+"Songs! Songs! Songs! Beautiful songs! Love songs; Newest songs! Old
+songs! Popular songs! Songs, _Three Yards a Penny!_" was a "standing dish"
+at the "Catnach Press," and Catnach was the Leo X. of street publishers.
+And it is said that he at one time kept a fiddler on the premises, and
+that he used to sit receiving ballad writers and singers, and judging of
+the merits of any production which was brought to him, by having it sung
+then and there to some popular air played by his own fiddler, and so that
+the ballad-singer should be enabled to start at once, not only with the
+new song, but also the tune to which it was adapted. His broad-sheets
+contain all sorts of songs and ballads, for he had a most catholic taste,
+and introduced the custom of taking from any writer, living or dead,
+whatever he fancied, and printing it side by side with the productions of
+his own clients.
+
+Catnach, towards the latter part of his time and in his threefold capacity
+of publisher, compositor, and poet, was in the habit of taking things very
+easy, and always appeared to the best advantage when in his printing
+office, or stationed behind the ricketty counter which for a number of
+years had done good service in the shop in Monmouth-court. In this
+uncongenial atmosphere, where the rays of the sun are seldom or never
+seen, Jemmy was as happy as a prince. "A poor man's home is his castle,"
+so says an old proverb, and no one could have been prouder than he was
+when despatching to almost every town in the kingdom some specialty in the
+printing department. He naturally had a bit of a taste for old ballads,
+music, and song writing; and in this respect he was far in advance of many
+of his contemporaries. To bring within the reach of all, the standard and
+popular works of the day, had been the ambition of the elder Catnach;
+whilst the son was, _nolens volens_, incessant in his endeavours in trying
+to promulgate and advance, not the beauty, elegance, and harmony which
+pervades many of our national airs and ballad poety, but very often the
+worst and vilest of each and every description--in other words, those most
+suitable for street sale. His stock of songs was very like his customers,
+diversified. There were all kinds, to suit all classes. Love, sentimental,
+and comic songs were so interwoven as to form a trio of no ordinary amount
+of novelty. At ordinary times, when the Awfuls and Sensationals were flat,
+Jemmy did a large stroke of business in this line.
+
+It is said that when the "Songs--_Three-yards-a-penny_"--first came out
+and had all the attractions of novelty, some men sold twelve or fourteen
+dozen on fine days during three or four of the summer months, so clearing
+between 6s. and 7s. a day, but on the average about 25s. per week profit.
+The "long songs," however, have been quite superseded by the "Monster" and
+"Giant Penny Song Books." Still there are a vast number of halfpenny
+ballad-sheets worked off, and in proportion to their size, far more than
+the "Monsters" or "Giants." One song book, entitled the "Little Warbler,"
+was published in parts, and had an enormous sale.
+
+There are invariably but two songs printed on the half-penny
+ballad-sheets--generally a new and popular song with another older ditty,
+or a comic and sentimental, and "adorned" with two woodcuts. These are
+selected without any regard to their fitness to the subject, and in most
+cases have not the slightest reference to the ballad of which they form
+the headpiece. For instance:--"The Heart that can feel for another" is
+illustrated by a gaunt and savage-looking lion; "When I was first
+Breeched," by an engraving of a Highlander _sans culotte_; "The Poacher"
+comes under the cut of a youth with a large watering-pot, tending flowers;
+"Ben Block" is heralded by the rising sun; "The London Oyster Girl," by
+Sir Walter Raleigh; "The Sailors Grave," by the figure of Justice; "Alice
+Grey" comes under the very dilapidated figure of a sailor, or "Jolly Young
+Waterman;" "Bright Hours are in store for us yet" is _headed_ with a
+_tail-piece_ of an urn, on which is inscribed FINIS. (?) "Watercresses,"
+with the portrait of a Silly Billy; "The Wild Boar Hunt," by two wolves
+chasing a deer; "The Dying Child to its Mother," by an Angel appearing to
+an old man; "Crazy Jane," by the Royal Arms of England; "Autumn Leaves lie
+strew'd around," by a ship in full sail; "Cherry Ripe," by Death's Head
+and Cross Bones; "Jack at the Windlass," falls under a Roadside Inn; while
+"William Tell" is presented to the British public in form and style of an
+old woman nursing an infant of a squally nature. Here are a few
+examples:--
+
+[Illustration: The Smuggler King.]
+
+[Illustration: Let me like a Soldier fall.]
+
+[Illustration: Fair Phoebe and her Dark-Eyed Sailor.]
+
+[Illustration: My Pretty Jane.]
+
+[Illustration: The Thorn.]
+
+[Illustration: The Saucy Arethusa.]
+
+[Illustration: The Gipsy King.]
+
+[Illustration: Hearts of Oak.]
+
+[Illustration: Harry Bluff.]
+
+[Illustration: Death of Nelson.]
+
+[Illustration: John Anderson, my Jo.]
+
+[Illustration: Old English Gentleman.]
+
+[Illustration: The Bleeding Heart.]
+
+[Illustration: Wapping Old Stairs.]
+
+[Illustration: Poor Bessy was a Sailor's Bride.]
+
+[Illustration: Poor Mary Anne.]
+
+[Illustration: The Muleteer.]
+
+[Illustration: Tom Bowling.]
+
+[Illustration: Ye Banks an' Braes.]
+
+[Illustration: The Mistletoe Bough.]
+
+[Illustration: The Woodpecker.]
+
+[Illustration: The Soldier's Tear.]
+
+[Illustration: LONG-SONG SELLER.]
+
+Besides the chanters, who sing the songs through the streets of every
+city, town, village, and hamlet in the kingdom--the long-song seller, who
+shouts their titles on the kerb-stone, and the countless small
+shop-keepers, who, in swag-shops, toy-shops, sweetstuff-shops,
+tobacco-shops, and general shops, keep them as part of their stock for the
+supply of the street boys and the servant girls--there is another
+important functionary engaged in their distribution, and who is well known
+to the inhabitants of large towns, this is the pinner-up, who takes his
+stand against a dead wall or a long range of iron railings, and first
+festooning it liberally with twine, pins up one or two hundred ballads for
+public perusal and selection. Time was when this was a thriving trade: and
+we are old enough to remember the day when a good half-mile of wall
+fluttered with the minstrelsy of war and love, under the guardianship of a
+scattered file of pinners-up, along the south side of Oxford-street alone.
+Thirty years ago the dead walls gave place to shop fronts, and the
+pinners-up departed to their long homes. As they died out very few
+succeeded to their honours and emoluments. There is one pinner-up,
+seemingly the last of his race, who makes his display on the dead wall of
+the underground railway in Farringdon road.
+
+Catnach, to the day of his retirement from business in 1838, when he
+purchased the freehold of a disused public-house, which had been known as
+the Lion Inn, together with the grounds attached at Dancer's-hill, South
+Mimms, near Barnet, in the county of Middlesex, worked and toiled in the
+office of the "Seven Dials Press," in which he had moved as the pivot, or
+directing mind, for upwards of a quarter of a century. He lived and died a
+bachelor. His only idea of all earthly happiness and mental enjoyment was
+now to get away in retirement to a convenient distance from his old place
+of business, so to give him an opportunity occasionally to go up to town
+and have a chat and a friendly glass with one or two old paper-workers and
+ballad-writers, and a few others connected with his peculiar trade who had
+shown any disposition to work when work was to be done. To them he was
+always willing to give or advance a few pence or shillings, in money or
+stock, and a glass.
+
+Catnach left the whole of the business to Mrs. Anne Ryle, his sister,
+charged, nevertheless, to the amount of £1,000, payable at his death to
+the estate of his niece, Marion Martha Ryle. In the meanwhile Mr. James
+Paul acted as managing man for Mrs. Ryle. This Mr. Paul--of whom Jemmy was
+very fond, and rumour saith, had no great dislike to the mother--had
+grown from a boy to a man in the office of the "Catnach Press." He was,
+therefore, well acquainted with the customers, by whom he was much
+respected; and it was by his tact and judgment that the business was kept
+so well together. At Catnach's death he entered into partnership with Mrs.
+Ryle, and the business was carried on under the title and style of Paul &
+Co. In 1845 the partnership was dissolved, Mr. Paul receiving £800 in
+settlement. He then entered into the public line, taking the Spencer's
+Arms, at the corner of Monmouth-court. A son that was born to him in 1847,
+he had christened James Catnach Paul. About this date "The Catnach Press"
+had a formidable rival in "The Nassau Steam Press," which was originally
+started in Nassau Street, Soho, and afterwards removed to No. 60, St.
+Martin's Lane. Mr. Paul was especially engaged to manage the song
+department at this office. He died in the year 1870, just six weeks after
+Mrs. Ryle, and lies buried in the next grave but one to Catnach and his
+sister, in Highgate Cemetery.
+
+After Mr. Paul had left the business it was carried on as A. Ryle & Co.,
+and ultimately became the property of Mr. W. S. Fortey, who still carries
+on the old business in the same premises. A copy of whose trade
+announcement runs thus:--
+
+    "THE CATNACH PRESS." (Established 1813.)
+
+    "William S. Fortey, (late A. Ryle, successor to the late J. Catnach,)
+    Printer, Publisher, and Wholesale Stationer, 2 and 3, Monmouth-court,
+    Seven Dials, London, W.C."
+
+[Illustration]
+
+[Illustration: SIR JEFFERY DUNSTAN, _Late Mayor of Garratt, and Itinerant
+Dealer in Wigs_.]
+
+Sir Jeffery Dunstan--thrice Mayor of Garratt! was the most popular
+candidate that ever appeared on the Hustings at that very Free and
+Independent Borough! His occupation was that of buying old wigs, once an
+article of trade like that of old clothes. Sir Jeffery usually carried his
+wig bag over his shoulder, and to avoid the charge of vagrancy,
+vociferated, as he passed along the street, "Old Wigs," but having a
+person like Æsop, and a countenance and manner marked by irresistible
+humour, he never appeared without a train of boys and curious persons,
+whom he entertained by his sallies of wit, shrewd sayings, and smart
+repartees; and from whom, without begging, he collected sufficient to help
+to maintain his dignity of Mayor and Knight.
+
+From the earliest period of Sir Jeffery's life, he was a friend to "good
+measures," especially those for "spirituous liquors," and he never saw the
+inside of a pot without going to the bottom of it. This determination of
+character created difficulties to him; for his freedom was not always
+regulated by the doctrines of _meum et tuum_, or, of the great Blackstone,
+"on the rights of persons," and consequences ensued that were occasionally
+injurious to Sir Jeffery's eyes, face, and nose. The same enlightened
+Judge's views of "the rights of property," were not comprehended by Sir
+Jeffery, he had long made free with the porter of manifold pots, and at
+length he made free with a few of the pots--which the publicans in London
+seemed to show in the streets as much as to say "Come and steal me." For
+this he was "questioned" in the high Commission Court of oyer and
+terminer, and suffered an imprisonment, which, according to his manner of
+life, and his notions of the liberty of the subject, was "frivolous and
+vexatious." On his liberation, he returned to an occupation he had long
+followed, the dealing in "Old Wigs." Some other circumstances, developed
+in course of the preceding inquiry, seem to favour a supposition that the
+bag he carried had enabled him to conceal his previous "free trade" in
+pewter pots. But, be that as it might, it is certain that in his armorial
+bearings of four wigs, he added a quart pot for a crest.
+
+Sir Jeffery was remarkably dirty in his person, and always had his shirt
+thrown open, which exposed his breast to public view. This was in him a
+sort of pride; for he would frequently in an exulting manner say to
+_inferiors_ "I've got a _collar_ to my shirt, sir." He had a filthy habit,
+when he saw a number of girls around him, of spitting in their faces,
+saying, "There, go about your business."
+
+Sir Jeffery, in the days of his prosperity, took his "Hodges' best," at
+the "Blind Beggar of Bethnal-green," or the "Horse and Leaping Bar,"
+High-street, Whitechapel, at one or other of these favourite retreats, he
+got in a regular manner "regularly drunk." Then it was that he sung in his
+best style various popular "London Cries," mimicking others in their
+crying, especially one who vended "_Lily, lily, lily, lily white--sand oh!
+oh!! oh!!!_" this afforded sport to a merry company. Afterwards, should
+Sir Jeffery receive sufficient metalic support from his friends, he was
+placed in an arm chair on the table, when he recited to the students of
+the London Hospital and the Bucks of the East, his mock-election speeches.
+He was no respecter of persons, and was so severe in his jokes on the
+corruptions and compromises of power, that he was prosecuted for using
+what were then called seditious expressions. In consequence of this
+affair, and some few charges of dishonesty, he lost his popularity, and,
+at the next general election was ousted by Sir Harry Dimsdale,
+muffin-seller, a man as much deformed as himself. Sir Jeffery could not
+long survive his fall, but, in death as in life, he proved a satire on the
+vices of the proud, for he died, like Alexander the Great, the sailor in
+Lord Byron's "Don Juan," and many other heroes renowned in history--of
+suffocation from excessive drinking!.
+
+[Illustration: SIR HARRY DIMSDALE, M.P., FOR GARRATT, COSMOPOLITE AND
+MUFFIN-SELLER.
+
+  "Those evening bells! those evening bells!
+  How many a tale their music tells!
+  Of youth, and home, and that sweet time
+  When last I heard their soothing chime."]
+
+"Muffins, oh! Crumpets, oh," rank among the old cries of London, and at
+least one of the calling has been made famous, namely, Harry Dimsdale,
+sometime Mayor of Garratt, who, from the moment he stood as candidate,
+received mock knighthood, and was ever after known under the appellation
+of "Sir Harry." This half-witted character was a dealer in
+tin-ware--together with threads, tapes and bootlaces, during the morning,
+and a muffin-seller in the afternoon, when he had a little bell, which he
+held to his ear, and smiling ironically at its tinkling he would
+cry:--"_Muffins! muffins! ladies come buy me! pretty, handsome, blooming,
+smiling maids!_"
+
+Mr. J. T. Smith, in his ever-charming work of "A Book for a Rainy Day; or,
+Recollections of the Events of the Years 1766-1833," writing under date
+1787, gives the following graphic sketch of the sayings and doings--taken
+from life, of "Sir Harry."
+
+"One of the curious scenes I witnessed on a nocturnal visit to the watch
+house of St. Anne, Soho, afforded me no small amusement. Sir Harry
+Dinsdale, usually called Dimsdale, a short, feeble little man, was brought
+in, charged by two colossal guardians of the night with conduct most
+unruly. 'What have you, Sir Harry, to say to all this?' asked the Dogberry
+of St. Anne. The knight, who had been roughly handled, commenced like a
+true orator, in a low tone of voice. 'May it please ye, my magistrate, I
+am not drunk; it is _languor_. A parcel of the Bloods of the Garden have
+treated me cruelly, because I would not treat them. This day, sir, I was
+sent for by Mr. Sheridan, to make a speech upon the table at the
+Shakespeare Tavern, in _Common_ Garden; he wrote the speech for me, and
+always gives half a guinea; he sends for me to the tavern. You see I
+didn't go in my Royal robes, I only put 'um on when I stand to be a
+member.' The constable--'Well, but Sir Harry, why are you brought here?'
+One of the watchmen then observed, 'That though Sir Harry was but a little
+_shambling_ fellow, he was so _upstroppolus_, and kicked him about at such
+a rate, that it was as much as he and his comrade could do to bring him
+along.' As there was no one to support the charge, Sir Harry was advised
+to go home, which, however, he swore he would not do at midnight without
+an escort. 'Do you know,' said he, 'there's a parcel of _raps_ now on the
+outside waiting for me.'
+
+"The constable of the night gave orders for him to be protected to the
+public-house opposite the west end of St. Giles's Church, where he then
+lodged. Sir Harry, hearing a noise in the street, muttered, 'I shall catch
+it; I know I shall.' (_Cries without_,) 'See the conquering hero comes.'
+'Ay, they always use that tune when I gain my election at Garratt.'
+
+"There are several portraits of this singular little object, by some
+called 'Honey-juice.' Flaxman, the sculptor, and Mrs. Mathews, of
+blue-stocking memory, equipped him as a hardware man, and as such I made
+two etchings of him."
+
+  THE MUFFIN MAN.
+
+  (_T. Dibden._)
+
+    While you opera-squallers fine verses are singing,
+      Of heroes, and poets, and such like humguffins;
+    While the world's running round, like a mill in a sail,
+  I'll ne'er bother my head with what other folks ail,
+  But careless and frisky, my bell I keep ringing,
+    And walk about merrily crying my muffins.
+
+  CHORUS.
+
+  Lily-white muffins, O, rare crumpets smoking,
+  Hot Yorkshire cakes, hot loaves and charming cakes,
+      _One-a-penny, two-a-penny, Yorkshire cakes_.
+
+  What matters to me if great folks run a gadding,
+    For politics, fashions, or such botheration;
+  Let them drink as they brew, while I merrily bake;
+  For though I sell muffins, I'm not such a cake--
+  To let other fools' fancies e'er set me a gadding,
+    Or burthen my thoughts with the cares of the nation.
+
+SPOKEN.--What have I to do with politicians? And for your _Parliament
+cakes_. Why! everybody knows they are _bought_ and _sold_, and often _done
+brown_, and made _crusty_ all over the nation. No, no, its enough for me
+to cry--
+
+                        Lily-white muffins, &c.
+
+  Let soldiers and sailors, contending for glory,
+    Delight in the rattle of drums and of trumpets;
+  Undertakers get living by other folks dying,
+  While actors make money by laughing or crying;
+  Let lawyers with quizzels and quiddities bore ye,
+    It's nothing to me, while I'm crying my crumpets.
+
+  SPOKEN.--What do I care for lawyers? A'nt I a baker, and consequently,
+  Master of the Rolls:--Droll enough, too, for a Master of the Rolls to be
+  crying--
+
+  Lily-white muffins, &c.
+
+[Illustration: THE MUFFIN MAN.
+
+  "Muffins, oh! crumpets, oh!
+   Come buy, come buy of me.
+   Muffins and crumpets, muffins,
+   For breakfast or for tea."]
+
+The ringing of the muffin-man's bell--attached to which the pleasant
+associations are not a few--is prohibited by a ponderous Act of
+Parliament, but the prohibition has been all but inoperative, for the
+muffin bell still tinkles along the streets, and is rung vigorously in the
+suburbs, and just at the time when City gents, at winter's eve, are
+comfortably enveloped in fancy-patterned dressing gowns, prettily-worked
+smoking-caps, and easy-going and highly-coloured slippers, and saying
+within themselves or aloud:--
+
+  "Now stir the fire, and close the shutters fast,
+  Let fall the curtains, wheel the sofa round,
+  And while the bubbling and loud hissing urn
+  Throws up a steamy column, and the cups,
+  That cheer but not inebriate, wait on each,
+  So let us welcome peaceful evening in."
+
+"Hot Cross Buns!" Perhaps no "cry"--though it is only for one day in the
+year, is more familiar to the ears of a Londoner, than that of
+"_One-a-penny, two-a-penny, hot cross-buns_." We lie awake early upon Good
+Friday morning and listen to the London bells:--
+
+  "Oranges and lemons, say the bells of St. Clement's
+  Pancakes and fritters, say the bells of St. Peter's,
+  Two sticks and an apple, say the bells of Whitechapel.
+  Kettles and pans, say the bells of St. Ann's.
+  Pokers and tongs, say the bells of St. John's
+  Brickbats and tiles, say the bells of St. Giles'
+  Halfpence and farthings, say the bells of St. Martin's.
+  Bull's eyes and targets, say the bells of St. Marg'rets."
+
+And all the other London bells having rung--or, rather _toll'd_ out their
+own tale of joy or trouble: then comes--rattling over the stones--W. H.
+SMITH'S well-known red EXPRESS-CARTS laden with the early printed
+newspapers of the coming day, while all night long the carts and waggons
+come rumbling in from the country to Covent-garden, and not the least
+pleasant sound--pleasant for its old recollections--is the time-honoured
+old cry of "Hot Cross-Buns." Century after century passes by, and those
+who busily drove their carts day after day from Isleworth, Romford,
+Enfield, Battersea, Blackheath, or Richmond, one hundred years ago, are as
+still and silent as if they had never been; yet still, Passion week after
+Passion week, comes that old cry, nobody knows how old, "Hot Cross Buns,
+Hot Cross Buns." And as we lie in a half dreamy state we hear and think of
+the chimes of St. Clement Danes, which may still be heard, as Fallstaff
+describes, having heard them with Justice Shallow; also, how Pope, as he
+lay in Holywell-street--now Bookseller's-row; and Addison and Johnson;
+and, before their time, Waller, at the house of his old friend the
+merchant of St. Giles's; and the goodly company of poets that lived at
+the cost of the king, near Whitehall; then of the quaint old gossiping
+diarist, Samuel Pepys, Secretary of the Admiralty; John Taylor, the
+_Water-Poet_; even Shakespeare himself, having each in their turn been
+awakened on the Good Friday morning by the same sound ringing in their
+ears. For this is a custom which can hardly be traced to a beginning: and
+all we know about it is, that as far as we can go back, the Good Friday
+was ushered in by the old Good Friday bun; and that the baker in the
+towns, and the old good wife in the country, would have thought the day
+but badly kept, and augured badly for the coming summer's luck, without
+it.
+
+But between the cakes of Cecrops and the modern Hot Cross Bun there is a
+wide gulf of 3,400 years; and yet the one may be traced up to the other.
+There are some, indeed, who would wish to give to the Good Friday Hot
+Cross Bun a still longer pedigree, and to take it back to the time of the
+Patriarchs and their consecrated bread; and there are others who would go
+yet further, and trace it to the earliest age of the world, in a portion
+of Cain's sacrifice. We may, however, content ourselves with stopping
+short at the era of the Egyptian Cecrops, founder of Athens, who made his
+sweet cakes of flour and honey. Such cakes as these, as we learn from the
+prophet Jeremiah, were offered by the idolatrous Hebrew women to "the
+Queen of Heaven,"
+
+  "Ashtoreth, whom the Phoenicians called
+  Astarte, Queen of Heaven, with cresent horns."
+
+Some can even discern Astarte in our "Easter." The Jews of old had the
+shew-bread and the wafer of unleavened bread; and the Egyptians, under the
+Pharaohs, had also their cakes, round, oval, and triangular. The Persians
+had their sacred cakes of flour and honey; and Herodotus speaks of similar
+cakes being offered by the Athenians to a sacred serpent in the temple of
+their citadel. And, not to mention other nations, the circumstance that
+accompanied the outbreak of the Indian Mutiny, 1857, will make memorable
+the "chupatties" or sacred cakes of Khrishna.
+
+The cakes that were offered to Luna by the Greeks and Romans were either
+crescent-shaped, or were marked with the crescent moon; and this stamp
+must have been very similar to that impressed on the cakes offered by the
+Hebrew women to the Queen of Heaven. This mark also resembles that
+representing the horns of the sacred ox which was stamped on the Grecian
+cakes; and the ox was _bous_, and, in one of its oblique cases, _boun_, so
+we derive from that word _boun_ our familiar "bun." There were not only
+horn-marked cakes, but horn-marked pieces of money; so that it is very
+difficult to ascertain the true meaning of that passage in the opening of
+the "Agamemnon" of Æschylus, where the watchman says that a great _bous_
+has come, or set foot, upon his tongue. Although it might mean that
+something as weighty as an ox's hoof had weighed down his tongue, yet it
+more probably signifies either that he was bribed to silence with a piece
+of money marked with the ox's horns, or that the partaking of a sacred
+horn-marked cake had initiated him into a certain secret. Curiously
+enough, in the _argot_ of thieves, at the present day, a crown piece is
+termed "a bull;" and it may also be noted that _pecunia_, "money," is
+derived from _pecus_, "cattle;" and "bull" is derived from _bous_, and
+also "cow" from the same word, through the Sanscrit _gou_, the _b_ and _g_
+being convertible.
+
+Thus, originally, the _boun_ or bun was the cake marked with the horns of
+the sacred ox. The cross mark was first adopted by the Greeks and Romans
+to facilitate the division of the cake into four equal parts; and two such
+cross-marked cakes were found in the ruins of Herculaneum. These cakes
+were adopted by the early Christians in a spirit of symbolism; but,
+although the cross was marked on the cake in token of the badge of their
+faith, yet it was also used by the priest for the breaking of the cake, or
+Eucharistic wafer, into four pieces; and this was so ordered in the
+Liturgy of St. Chrysostom. The cross-marked buns are now, for popular use,
+reserved for Good Friday, and, as Lenten cakes, are peculiar to this
+country. Among the Syrian Christians of Travancore and Cochin, who trace
+their descent from those who were converted by St. Thomas on his
+(supposed) visit to India, a peculiar cake is made for "Sorrowful
+Friday"--as they term Good Friday. The cake is stuffed with sweetmeats in
+the form of an eye, to represent the evil eye of Judas, coveting the
+thirty pieces of silver; and the cake is flung at with sticks by the
+members of the family until the eye is quite put out; they then share the
+remains of the cake among them.
+
+In the days before the Reformation, _eulogiæ_, or cross-marked consecrated
+cakes, were made from the dough of the mass-bread, and distributed by the
+priests to be eaten at home by those who had been prevented by sickness or
+infirmity from attending the mass. After the Reformation, Protestants
+would readily retain the custom of eating in their houses a cross marked
+cake, although no longer connecting it with a sacred rite, but restricting
+its use to that one day of the year known as "Holy Friday," or "Long
+Friday"--from the length of the service on that day--but which gradually
+came to be called, by the Anglican Church, "Good Friday," in remembrance
+of the good things secured to mankind on that day. The presence upon the
+breakfast-table of the cross marked bun, flavoured with allspice, in token
+of the spices that were prepared by the pious women of Galilee, was,
+therefore, regarded in the light of a remembrancer of the solemnities of
+the day. The buns were made on the previous evening, Maundy Thursday so
+called, either from the "maunds," or baskets, in which Easter gifts were
+distributed, or, more probably, because it was the _Dies mandati_, the day
+of the command, "That thou doest, do quickly!" as also, "Do this in
+remembrance of Me!" and that the disciples should love one another and
+should show humility in the washing of feet.
+
+As Chelsea was long famous for its buns--which are mentioned by Swift to
+Stella, in 1712--it was not to be wondered at that it should be celebrated
+for its production of hot cross buns on Good Friday. Early in the present
+century there were two bun-houses at Chelsea, both claiming to be "Royal"
+as well as "Original," until, at last, one of the two proclaimed itself to
+be "The Real Old Original Bun House." These two houses did a roaring trade
+during the whole of Good Friday, their piazzas being crowded, from six in
+the morning to six in the evening, by crowds of purchasers, loungers, and
+gossipers. Good King George the Third would come there with his children;
+and, of course, the nobility and gentry followed his example. These two
+bun-houses were swallowed up, in the march of improvement, some forty
+years ago; but on Good Friday, 1830, 240,000 hot cross buns were sold
+there.
+
+The cross bun is not without its folk-lore. Country folks attach much
+virtue to the Good Friday buns; and many are kept for "luck's sake" in
+cottages from one Good Friday to another. They are not only considered to
+be preservatives from sickness and disease, but also as safeguards from
+fire and lightning. They are supposed never to get mouldy, as was noted by
+"Poor Robin," in his Almanack for 1733, under the head of March:--
+
+  "Good Friday comes this month: the old woman runs
+  With one a penny, two a penny hot cross-buns;
+  Whose virtue is, if you'll believe what's said,
+  They'll not grow mouldy like the common bread."
+
+Furthermore, be it known, then, in the interests of suffering humanity,
+that if a piece of a Good Friday bun is grated and eaten, it will cure as
+many diseases as were ever cured by a patent pill; moreover, the animal
+world is not shut out from sharing in its benefits, for it will cure a
+calf from "scouring," and mixed in a warm mash, it is the very best remedy
+for your cow. Thus the bun is good for the _boun_; in fact, it is good
+both for man and beast.
+
+The sellers of the Good Friday buns are composed of old men and young men,
+old women and young women, big children and little children, but
+principally boys, and they are of mixed classes, as, costers' boys, boys
+habitually and boys occasionally street-sellers, and boys--"some cry now
+who never cried before," and for that occasion only. One great inducement
+to embark in the trade is the hope of raising a little money for the
+Easter holidays following.
+
+The "cry" of the Hot Cross Bun vendor varies at times and in places--as
+thus:--
+
+  "One-a-penny, two-a-penny, hot cross-buns!
+  One-a-penny, two for _tup'ence_, hot cross buns!"
+
+While some of a humorous turn of mind like to introduce a little bit of
+their own, or the borrowed wit of those who have gone before them, and
+effect the _one_ step which is said to exist from the sublime to the
+ridiculous, and cry--
+
+        "One-a-penny, poker; two-a-penny, tongs!
+        One-a-penny; two-a-penny, hot cross buns.
+  One-a-penny, two-a-penny, hot cross-buns!
+  If your daughters will not eat them, give them to your sons.
+  But if you haven't any of those pretty little elves,
+  You cannot then do better than eat them up yourselves;
+  One-a-penny, two-a-penny, hot cross buns:
+                        All, hot, hot, hot, all hot.
+  One-a-penny, two-a-penny, hot cross buns!
+  Burning hot! smoking hot, r-r-r-roking hot--
+  One-a-penny, two-a-penny, hot cross buns."
+
+But the street hot-cross-bun trade is languishing--and languishing, will
+ultimately die a natural death, as the master bakers and pastrycooks have
+entered into it more freely, and now send round to their regular customers
+for orders some few days before each succeeding Good Friday.
+
+A capital writer of NOTES, COMMENT and GOSSIP, who contributes every week
+to the _City Press_, under the _nom de plume_ of "Dogberry," gave--_inter
+alia_--a few "_Good Words_," the result of his "_Leisure Hours_" in that
+journal, on the subject of "Good Friday Customs." March 24, 1883, thus:--
+
+    "That the buns themselves are as popular as ever they were when the
+    Real Original Bun Houses existed in Chelsea, was manifest on Thursday
+    evening, though the scene is now changed from the west to the east.
+    Bishopsgate-street was indeed all alive with people of high and low
+    degree crowding in and out of Messrs. Hill & Sons, who, I am told,
+    turned no less than 47 sacks of flour, representing over 13,000 lbs.,
+    into the favourite Good Friday cakes. This mass was sweetened by 2,800
+    lbs. of sugar, moistened with 1,500 quarts of milk, and 'lightened'
+    with 2,200 lbs. of butter. Something like 25,000 paper bags were used
+    in packing the buns, and upwards of 150 pairs of hands were engaged in
+    the making and distribution of the tasty morsels at Bishopsgate and at
+    the West-end branch of Messrs. Hill, at Victoria. The customary
+    business of the firm must have been interrupted considerably by Good
+    Friday, and the forty-seven sacks of flour made into buns represented,
+    I presume, a considerable deduction from the hundred and ninety to two
+    hundred which the firm work up in one form or another every week. But
+    then you can't eat your (Good Friday) cake and have it. There were
+    other bakers and confectioners in the City, too, who appeared to do a
+    thriving trade in buns--notably Messrs. Robertson & Co., in
+    Aldersgate-street. Long live the Good Friday bun!"
+
+    DOGBERRY.
+
+
+  HOT CROSS BUNS.
+
+  BY MISS ELIZA COOK.
+
+  "The clear spring dawn is breaking, and there cometh with the ray,
+  The stripling boy with 'shining face,' and dame in 'hodden grey:'
+  Rude melody is breathed by all--young--old--the strong, and weak;
+  From manhood with its burly tone, and age with treble squeak.
+  Forth come the little busy 'Jacks' and forth come little 'Jills,'
+  As thick and quick as working ants about their summer hills;
+  With baskets of all shapes and makes, of every size and sort;
+  Away they trudge with eager step, through alley, street, and court.
+  A spicy freight they bear along, and earnest is their care,
+  To guard it like a tender thing from morning's nipping air;
+  And though our rest be broken by their voices shrill and clear,
+  There's something in the well-known 'cry' we dearly love to hear.
+  'Tis old, familiar music, when 'the old woman runs'
+  With 'One-a-penny, two-a-penny, Hot Cross Buns!'
+  Full many a cake of dainty make has gained a great renown,
+  We all have lauded 'Gingerbread' and 'Parliament' done brown;
+  But when did luscious 'Banburies,' or dainty 'Sally Lunns,'
+  E'er yield such merry chorus theme as 'One-a-penny buns!'
+  The pomp of palate that may be like old Vitellius fed,
+  Can never feast as mine did on the sweet and fragrant bread;
+  When quick impatience could not wait to share the early meal,
+  But eyed the pile of 'Hot Cross Buns,' and dared to snatch and steal.
+  Oh, the soul must be uncouth as a Vandal's Goth's, or Hun's,
+  That loveth not the melody of 'One-a-penny Buns!'"
+
+And so, awaking in the early morning, we hear the streets ringing with the
+cry, "Hot Cross Buns." And perhaps when all that we have wrought shall be
+forgotten, when our name shall be as though it had been written on water,
+and many institutions great and noble shall have perished, this little bun
+will live on unharmed. Others, as well as ourselves, will, it may be, lie
+awake upon their beds, and listen to the murmurs going to and fro within
+the great heart of London, and, thinking on the half-forgotten days of the
+nineteenth century, wonder perhaps whether, in these olden times, we too
+heard the sound of "Hot Cross Buns."
+
+The street Pieman with his "cry," of "Pies all hot! hot!! hot!!!--Penny
+pies, all hot! hot!!--fruit, eel, beef, veal or kidney pies! pies, all
+hot-hot-hot," is one of the most ancient of street callings, and to London
+boys of every degree, "Familiar in their mouths as household words." Nor
+is the itinerant trade in pies--"Eel, beef, veal, kidney or fruit,"
+confined to the great metropolis. All large provincial towns have, from a
+time going back much farther than even the proverbial "oldest inhabitant"
+can recollect, had their old and favourite "Penny Pieman," or,
+"_Old-all-Hot!_" as folks were ever wont to call him. He was generally a
+merry dog, and mostly to be found where merriment was going on, he
+scrupled not to force his way through the thickest of the crowd, knowing
+that the very centre of action was the best market for his wares.
+
+[Illustration: THE PIEMAN; OR, O LORD! WHAT A PLACE IS A CAMP.
+
+  "O Lord! what a place is a camp,
+    What wonderful doings are there;
+  The people are all on the tramp,
+    To me it looks devilish queer:
+  Here's ladies a swigging of gin,
+    A crop of macaronies likewise:
+  And I, with my 'Who'll up and win?
+    Come, here is your hot mutton pies.'
+
+  Here's gallopping this way and that,
+    With, 'Madam, stand out of the way;'
+  Here's, 'O fie! sir, what would you be at?--
+    Come, none of your impudence pray:'
+  Here's 'Halt--to the right-about-face,'
+    Here's laughing, and screaming, and cries:
+  Here's milliners'-men out of place,
+    And I with my hot mutton pies.
+
+  Here's the heath all round like a fair,
+    Here's butlers, and sutlers, and cooks;
+  Here's popping away in the air,
+    And captains with terrible looks:
+  Here's 'How do you do?'--'Pretty well;
+    The dust has got into my eyes,'
+  There's--'Fellow what have you to sell?'
+    'Why, only some hot mutton pies.'"]
+
+History informs us, through the medium of the halfpenny plain and penny
+coloured chap book, editions issued by the "Catnach Press," that, one:--
+
+  "Simple Simon met a Pieman,
+    Going to the fair;
+  Says simple Simon to the Pieman,
+    'Let me taste your ware.'
+
+  Says the Pieman unto Simon,
+    'First give me a penny;'
+  Says Simple Simon to the Pieman,
+    'I have not got any.'"
+
+But history is silent as to the birth, parentage, or, even place and date
+of the death of the said Simple Simon, or of this very particular pieman.
+Halliwell informs us, through one of the "Nursery Rhymes of England," that
+on one occasion:--
+
+  "Punch and Judy
+    Fought for a pie;
+  Punch gave Judy
+    A sad blow on the eye."
+
+James Lackington--1746-1816--one of the most celebrated of our early cheap
+booksellers, lived at the "Temple of Muses," Finsbury-place--the shop,
+into which a coach and six could be driven. This curious mixture of
+cobbler's wax, piety, vanity, and love of business, has left us in his
+autobiography, which he published under the title of his "_Memoirs and
+Confessions_," his experience as a pie-boy! or seller of pies, thus:--
+
+    "At ten years old I cried apple pies in the street. I had noticed a
+    famous pieman, and thought I could do it better myself. My mode of
+    crying pies soon made me a street favourite, and the old pie merchant
+    left off trade. You see, friend, I soon began to make a noise in the
+    world. But one day I threw my master's child out of a wheelbarrow, so
+    I went home again, and was set by my father to learn his trade,
+    continuing with him for several years. My fame as a pieman led to my
+    selling almanacks on the market days at Christmas. This was to my
+    mind, and I sorely vexed the [regular] vendors of 'Moore,' 'Wing,' and
+    'Poor Robin.' My next move was to be bound apprentice for seven
+    years."
+
+We frequently meet with the pieman in old prints; and in Hogarth's "March
+to Finchley," there he stands in the very centre of the crowd, grinning
+with delight at the adroitness of one robbery, while he is himself the
+victim of another. We learn from this admirable figure by the greatest
+painter of English life, that the pieman of the last century perambulated
+the streets in professional costume; and we gather further, from the burly
+dimensions of his wares that he kept his trade alive by the laudable
+practice of giving "a good pennyworth for a penny." Justice compels us to
+observe that his successors of a later generation have not been very
+conscientious observers of this maxim.
+
+[Illustration: HOGARTH'S PIEMAN.]
+
+[Illustration: NICE NEW! NICE NEW!
+
+  All hot! All Hot Hot! All Hot!
+  _Here they are, two sizes bigger than last week._]
+
+At this date there was James Sharpe England, a noted flying pieman, who
+attended all the metropolitan festive gatherings; he walked about hatless,
+to sell his savoury wares, with his hair powdered and tied _en queue_, his
+dress neat, apron spotless, jesting wherever he went, with a mighty voice
+in recommendation of the puddings and pies, which, for the sake of greater
+oddity he sometimes carried on a wooden platter.
+
+[Illustration: JAMES SHARPE ENGLAND, _The Flying Pieman_.]
+
+The London pieman, as he takes his walks abroad, makes a practice of
+"looking in" at all the taverns on his way. Here his customers are found
+principally in the tap-room. "Here they are, all 'ot!" the pieman cries,
+as he walks in; "toss or buy! up and win 'em!" For be it known to all whom
+it may concern, the pieman is a gambler, both from inclination and
+principle, and will toss with his customers, either by the dallying
+shilly-shally process of "best five in nine," or "best two in three," or
+the desperate dash of "sudden death!" in which latter case the first toss
+decides the matter, _viz_:--a pie for a penny, or your penny gone for
+nothing, but he invariably declines the mysterious process of "odd man,"
+not being altogether free from suspicion on the subject of collusion
+between a couple of hungry, and not over honestly inclined customers.
+
+Of the "stuff" which pie-dealers usually make their wares, much has been
+sung and said, and in some neighbourhoods the sight of an approaching
+pieman seems to get about an immediate desire for imitating the harmless
+cat and its "Mee-yow," or the "Bow-wow-wow!" of the dog. And opprobrious
+epithets are hurled at the piemen as they parade the streets and alleys,
+and even kidnapping has been slyly hinted at, for the mother of Tom
+Cladpole, finding her son so determined to make a "Jurney to
+Lunnun"--least he should die a fool, tries to frighten the boy out of his
+fixed intention by informing him in pure Sussex dialect that:--
+
+  "Besides, dey kidnap people dere,
+    Ah! ketch um by supprize,
+  An send um off where nub'dy knows,
+    Or _baak um up in pies_."
+
+It was ever a safe piece of comic business with Old Joey Grimaldi and his
+favourite pupil and successor, Tom Matthews, together with all other
+stage clowns following them, that a penny pieman and the bright shining
+block-tin can should be introduced into every Christmas pantomime. The
+pataloon is made to be tossing the safe game of--"heads I win, tails you
+lose" with the stage pieman, while the roguish clown is adroitly managing
+to swallow the whole of the stock of pies from the can, and which are made
+by the stage property-man for the occasion out of tissue-paper painted in
+water-colours. Then follows the wry faces and spasmodic stomach-pinchings
+of the clown, accompanied with the echoing cries of "_Mee, mee, mow,
+woo!_" while the pantaloon takes from the pieman's can some seven or eight
+fine young kittens and the old tabby-cat--also the handy-work of the stage
+property-man. The whole scene usually finishes by the pantaloon pointedly
+sympathizing with the now woebegone clown to the tune of "Serve ye
+right--Greedy! greedy!! greedy!!!" when enter six supernumeraries dressed
+as large and motherly-looking tabbies with aprons and bibs, and bedizened
+with white linen night caps of the pattern known in private life to
+middle-aged married men only. The clown and pantaloon then work together
+in hunting down, and then handing over the poor pieman to the tender
+mercies and talons of the stage-cats, who finish up the "business" of the
+scene by popping the pieman into what looks like a copper of boiling
+water.
+
+Mr. Samuel Weller,--_otherwise_, Veller, that great modern authority on
+Y{e} Manners and Y{e} Customs, of Y{e} English in general, and of London
+Life wery Particular:--for "Mr. Weller's knowldge of London was extensive
+and peculiar"--has left us his own ideas of the baked "mysteries" of the
+pieman's ware:--
+
+    "Weal pie," said Mr. Weller, soliloquising, as he arranged the
+    eatables on the grass. "Werry good thing is a weal pie, when you know
+    the lady as made it, and is quite sure it an't kittens; and arter all,
+    though, where's the odds, when they're so like weal that the wery
+    piemen themselves don't know the difference?"
+
+    "Don't they, Sam?" said Mr. Pickwick.
+
+    "Not they, sir," replied Mr. Weller, touching his hat. "I lodged in
+    the same house vith a pieman once, sir, and a wery nice man he
+    was--reg'lar clever chap too--made pies out o' anything, he could.
+    'What a number o' cats you keep, Mr. Brooks,' says I, when I'd got
+    intimate with him. 'Ah,' says he, 'I do--a good many,' says he. 'You
+    must be wery fond o' cats,' says I. 'Other people is,' says he, a
+    winkin' at me; 'they an't in season till the winter though,' says he.
+    'Not in season!' says I. 'No,' says he, 'fruits is in, cats is out.'
+    'Why, what do you mean?' says I. 'Mean?' says he. 'That I'll never be
+    a party to the combination o' the butchers, to keep up the prices o'
+    meat,' says he. 'Mr. Weller,' says he, a squeezing my hand wery hard,
+    and vispering in my ear--'don't mention this here agin--but it's the
+    seasonin' that does it. They're all made o' them noble animals,' says
+    he, a pointin' to a wery nice little tabby kitten, 'and I seasons 'em
+    for beef-steaks, weal, or kidney, 'cordin to demand. And more than
+    that,' says he, 'I can make a weal a beef-steak, or a beef-steak a
+    kidney, or any one on 'em a mutton, at a minute's notice, just as the
+    market changes, and appetites wary!"
+
+    "He must have been a very ingenious young man, that, Sam," said Mr.
+    Pickwick, with a slight shudder.
+
+    "Just was, sir," replied Mr. Weller, continuing his occupation of
+    emptying the basket, "_and the pies was beautiful_."
+
+The "gravy" given with the meat-pies is poured out of an oil-can and
+consists of a little salt and water browned. A hole is made with the
+little finger in the top of the pie and the "gravy" poured in until the
+crust rises sufficiently to satisfy the young critical gourmand's taste.
+
+"The London piemen," says Mr. Henry Mayhew, "May be numbered at about
+forty in winter, and twice that number in summer." Calculating that there
+are only fifty plying their trade the year through, and their average
+earnings at 8s. a week, we find a street expenditure exceeding £1,040, and
+a street consumption of pies amounting to nearly three quarters of a
+million yearly.
+
+[Illustration: YOUNG LAMBS TO SELL.
+
+  Young lambs to sell! young lambs to sell.
+  If I'd as much money as I could tell,
+  I'd not come here with young lambs to sell!
+      Dolly and Molly, Richard and Nell,
+      Buy my young lambs, and I'll use you well!]
+
+The engraving represents an old "London Crier," one William Liston, from a
+drawing for which he purposely _stood_ in 1826.
+
+This "public character" was born in the City of Glasgow. He became a
+soldier in the waggon-train commanded by Colonel Hamilton, and served
+under the Duke of York in Holland, where, on the 6th of October, 1799, he
+lost his right arm and left leg, and his place in the army. His
+misfortunes thrust distinction upon him. From having been a private in the
+ranks, where he would have remained undistinguished, he became one of the
+popular street-characters of his day.
+
+In Miss Eliza Cook's Poem "Old Cries" she sings in no feeble strain the
+praises of the old man of her youthful days, who cried--"Merry and free as
+a marriage bell":--
+
+  YOUNG LAMBS TO SELL.
+
+  There was a man in olden time,
+    And a troubador was he;
+  Whose passing chant and lilting rhyme
+    Had mighty charms for me.
+
+  My eyes grew big with a sparkling stare,
+    And my heart began to swell,
+  When I heard his loud song filling the air
+    About "Young lambs to sell!"
+
+  His flocks were white as the falling snow,
+    With collars of shining gold;
+  And I chose from the pretty ones "all of a row,"
+    With a joy that was untold.
+
+  Oh, why did the gold become less bright,
+  Why did the soft fleece lose its white,
+    And why did the child grow old?
+
+  'Twas a blithe, bold song the old man sung;
+  The words came fast, and the echoes rung,
+    Merry and free as "a marriage bell;"
+  And a right, good troubadour was he,
+  For the hive never swarmed to the chinking key,
+  As the wee things did when they gathered in glee
+    To his musical cry--"Young lambs to sell!"
+
+  Ah, well-a-day! it hath passed away,
+  With my holiday pence and my holiday play--
+  I wonder if I could listen again,
+  As I listened then, to that old man's strain--
+    All of a row--"Young lambs to sell."
+
+[Illustration: THE LONDON BARROW-WOMAN.
+
+        Round and sound,
+        Two-pence a pound.
+  Cherries, rare ripe cherries!
+
+        Cherries a ha'penny a stick
+        Come and pick! come and pick!
+  Cherries big as plums! who comes, who comes.]
+
+The late George Cruikshank, whose pencil was ever distinguished by power
+of decision in every character he sketched, and whose close observation of
+passing men and manners was unrivalled by any artist of his day,
+contributed the "London Barrow-woman" to the pages of Hone's _Every-Day
+Book_ in 1826 from his own recollection of her.
+
+[Illustration: BUY A BROOM.
+
+  These poor "Buy-a-Broom girls" exactly dress now,
+  As Hollar etch'd such girls two cent'ries ago;
+  All formal and stiff, with legs, only at ease--
+  Yet, pray, judge for yourself; and don't if you please,
+
+         *       *       *       *       *
+
+  But ask for the print, at old print shops--they'll show it,
+  And look at it, "with your own eyes," and you'll _know_ it.]
+
+Buy a Broom? was formerly a very popular London-cry, when it was usually
+rendered thus:--"_Puy a Proom, puy a prooms? a leetle von for ze papy, and
+a pig vons for ze lady: Puy a Proom_." Fifty years ago Madame Vestris
+charmed the town by her singing and displaying her legs as a _Buy-a-Broom
+Girl_.
+
+  Buy a broom, buy a broom,
+  Large broom, small broom,
+  No lady should e'er be without one, &c.
+
+But time and fashion has _swept_ both the brooms and the girls from our
+shores.--Madame Vestris lies head-to-head with Charles Mathews in Kensal
+Green Cemetery. _Tempus omnia revelat._
+
+[Illustration: THE LADY AS CRIES CATS' MEAT.
+
+  Old Maids, your custom I invites,
+    Fork out, and don't be shabby,
+  And don't begrudge a bit of lights
+    Or liver for your Tabby.
+
+  Hark! how the Pusses make a rout--
+    To buy you can't refuse;
+  So may you never be without
+    The _music_ of their _mews_.
+
+  Here's famous meat--all lean, no fat--
+    No better in Great Britain;
+  Come, buy a penn'orth for your Cat--
+    A happ'orth for your Kitten.
+
+  Come all my barrow for a bob!
+    Some charity diskivir;
+  For faith, it ar'n't an easy job
+    To _live_ by selling _liver_.
+
+  Who'll buy? who'll buy of Catsmeat-Nan!
+    I've bawl'd till I am sick;
+  But ready money is my plan;
+    I never gives no tick.
+
+  I've got no customers as yet--
+    In wain is my appeal--
+  And not to buy a single bit
+    Is werry ungenteel!]
+
+[Illustration: OUR DANDY CATS' AND DOGS' MEAT MAN.]
+
+Every morning as true as the clock--the quiet of "Our Village Green" is
+broken by a peculiar and suggestive cry. We do not hear it yet ourselves,
+but Pincher, our black and tan terrier dog, and Smut, our black and white
+cat, have both caught the well-known accents, and each with natural
+characteristic--the one wagging his tail, the other with a stiff
+perpendicular [dorsel appendage] sidles towards the door, demanding as
+plainly as possible, to be let out. Yes, it is "Our Dandy Cats' and Dogs'
+Meat Man," with his "_Ca' me-e-et--dogs' me yet--Ca' or do-args-me-a-yet,
+me a-t--me-yett!!!_" that fills the morning air, and arouses exactly seven
+dogs of various kinds, and exactly thirty-one responsive feline
+voices--there is a cat to every house on "Our Village Green"--and causes
+thirty-one aspiring cat's-tails to point to the zenith. We do not know how
+it is, but the Cat's-meat man is the most unerring and punctual of all
+those peripatetic functionaries who undertake to cater for the public. The
+baker, the butcher, the grocer, the butterman, the fishmonger, and the
+coster, occasionally forget your necessities, or omit to call for your
+orders--the cat's-meat man never!
+
+[Illustration: GUY FAWKES--GUY.]
+
+There cannot be a better representation of "Guy Fawkes," as he was borne
+about the metropolis in effigy in the days "When George the Third was
+King," than the above sketch by George Cruikshank.
+
+  Please to remember the fifth of November,
+    Gunpowder treason and plot;
+  We know no reason, why gunpowder treason,
+    Should ever be forgot!
+          Holla boys! holla boys! huzza-a-a!
+  A stick and a stake, for King George's sake,
+  A stick and a stump, for Guy Fawkes' rump!
+          Holla boys! holla boys! huzza-a-a!
+
+[Illustration: HENRY LEMOINE, The Literary and Pedestrian Bookseller and
+Author, _A well known_ Eccentric Character of the City of London.]
+
+[Illustration: ALL ROUND MY HAT I VEARS A GREEN VILLOW.]
+
+  All round my hat I vears a green villow,
+    All round my hat, for a twelvemonth and a day;
+  If any body axes me the reason vy I vears it,
+    I tells 'em that my own true love is far far away.
+  'Twas a going of my rounds, in the streets I first did meet her,
+    Oh, I thought she vos a hangel just come down from the sky;
+
+  SPOKEN.--She's a nice wegitable countenance; turnup nose, redish cheeks,
+  and carroty hair.
+
+  And I never knew a voice more louder or more sweeter,
+    Vhen she cried, buy my primroses, my primroses come buy.
+
+  SPOKEN.--Here's your fine colliflowers.
+
+                                All round, &c.
+
+  O, my love she was fair, my love she was kind, too,
+    And cruel vos the cruel judge vot had my love to try:
+
+  SPOKEN.--Here's your precious turnups.
+
+  For thieving vos a thing she never vos inclined to:
+    But he sent my love across the seas, far far away.
+
+  SPOKEN.--Here's your hard-hearted cabbages.
+
+                                All round, &c.
+
+  For seven long years my love and I is parted,
+    For seven long years my love is bound to stay.
+
+  SPOKEN.--It's a precious long time 'fore I does any trade to-day.
+
+  Bad luck to that chap vot'd ever be false-hearted,
+    Oh, I'll love my love for ever, tho' she's far far away.
+
+  SPOKEN.--Here's your nice heads of salary!
+
+                                All round, &c.
+
+  There is some young men so preciously deceitful,
+    A coaxing of the young gals they vish to lead astray.
+
+  SPOKEN.--Here's your Valnuts; crack'em and try'em, a shilling a hundred!
+
+  As soon as they deceives'em, so cruelly they leaves 'em,
+    And they never sighs nor sorrows ven they're far far away!--
+
+  SPOKEN.--Do you vant any hingons to-day, marm?
+
+                                All round, &c.
+
+  Oh, I bought my love a ring on the werry day she started,
+    Vich I gave her as a token all to remember me:
+
+  SPOKEN.--Bless her h-eyes,
+
+  And vhen she does come back, oh, ve'll never more be parted
+    But ve'll marry and be happy--oh, for ever and a day.
+
+  SPOKEN.--Here's your fine spring redishes.
+
+  All round, &c.
+
+[Illustration: THE NEW LONDON CRIES.]
+
+  _Tune_--"The Night Coach."
+
+  Dear me! what a squalling and a bawling,
+    What noise, and what bustle in London pervades;
+  People of all sorts shouting and calling,
+    London's a mart, sure, for men of all trades.
+  The _chummy_ so black, sir, with bag on his back, sir,
+    Commences the noise with the cry of "sweep, sweep!"
+  Then Dusty and Crusty with voices so lusty,
+    Fish-men and green-men, their nuisances keep.
+                                        Dear me, &c.
+
+  Fine water cresses, two bunches a penny,
+    Fine new milk, two-pence ha'p'ny a quart!
+  Come buy my fine matches--as long as I've any,
+    Carrots and turnips, the finest e'er bought.
+  Dainty fresh salmon! _without_ any _gammon_,
+    Hare skins or rabbit skins! hare skins, cook I buy!
+  'Taters all sound, sir, two-pence six pounds, sir,
+    Coals ten-pence a bushel, buy them and try.
+                                        Dear me, &c.
+
+  Here's songs three yards for a penny!
+    Comic songs, love songs, and funny songs, too;
+  _Billy Barlow_,--_Little Mike_,--_Paddy Denny!_
+    _The Bailiffs are coming_--_The Hero of Waterloo_.
+  Eels four-pence a pound--pen knives here ground,
+    Scissors ground sharp, a penny a pair!
+  Tin kettles to mend, sir, your fenders here send, sir,
+    For six-pence a piece, I will paint 'em with care.
+                                        Dear me, &c.
+
+  Come buy my _old man_, a penny a root,
+    The whole true account of the murder last night!
+  Fine Seville oranges, ne'er was such fruit,
+    Just printed and published, the last famous fight.
+  Arrived here this morning--strange news from Greece,
+    A victory gain'd o'er the great Turkish fleet;
+  Chairs to mend--hair brooms, a shilling a piece!
+    Cap box, bonnet box--cats' and dogs' meat.
+                                        Dear me, &c.
+
+  Here's _inguns_ a penny a rope,
+    Pots and pans--old clothes, clo' for sale!
+  A dread storm near the Cape of Good Hope.
+    Greens two-pence a bunch--twenty-pence a new pail.
+  Sprats, a penny a plateful--I should feel werry grateful,
+    Kind friends for a ha'p'ny for my babe's sakes;
+  Shrimps, penny a pot--baked 'taters all hot!
+    Muffins and crumpets, or fine Yorkshire cakes.
+                                        Dear me, &c.
+
+  "Had I a _Garden_, a _Field_ and a _Gate_,
+  I would not care for the Duke of Bedford's estate;
+  That is, I would not care for the Duke of Bedford's estate,
+  If I had _Covent Garden_, _Smithfield_, and _Billingsgate_."
+
+Billingsgate has from time immemorial had much to do with "The Cries of
+London," and although a rough and unromantic place at the present day, has
+an ancient legend of its own, that associates it with royal names and
+venerable folk. Geoffrey of Monmouth deposeth that about 400 years before
+Christ's nativity, Belin, a king of the Britons, built this gate and gave
+it its name, and that when he was dead the royal body was burnt, and the
+ashes set over the gate in a vessel of brass, upon a high pinnacle of
+stone. The London historian, John Stow, more prosaic, on the other hand,
+is quite satisfied that one Biling once owned the wharf, and troubles
+himself no further.
+
+Byllngsgate Dock is mentioned as an important quay in "Brompton's
+Chronicle" (Edward III.), under the date 976, when King Ethelred, being
+then at Wantage, in Berkshire, made laws for regulating the customs on
+ships at Byllngsgate, then the only wharf in London. 1. Small vessels were
+to pay one halfpenny. 2. Larger ones, with sails, one penny. 3. Keeles, or
+hulks, still larger, fourpence. 4. Ships laden with wood, one log shall be
+given for toll. 5. _Boats with fish_, according to size, a halfpenny. 6.
+Men of Rouen, who came with wine or peas, and men of Flanders and Liege,
+were to pay toll before they began to sell, but the Emperor's men (Germans
+of the Steel Yard) paid an annual toll. 7. Bread was tolled three times a
+week, cattle were paid for in kind, and butter and cheese were paid more
+for before Christmas than after.
+
+Hence we gather that at a very early period Billingsgate was not merely a
+fish-market, but for the sale of general commodities. Paying toll in kind
+is a curious fiscal regulation; though, doubtless, when barter was the
+ordinary mode of transacting business, taxes must have been collected in
+the form of an instalment of the goods brought to market.
+
+Our ancestors four hundred years ago had, in proportion to the population
+of London, much more abundant and much cheaper fish than we have now.
+According to the "Noble Boke off Cookry," a reprint of which, from the
+rare manuscript in the Holkham Collection, has just been edited by Mrs.
+Alexander Napier, Londoners in the reign of Henry VII. could regale on
+"baked porpois," "turbert," "pik in braissille," "mortins of ffishe,"
+"eles in bruet," "fresh lamprey bak," "breme," in "sauce" and in "brasse,"
+"soal in brasse," "sturgion boiled," "haddock in cevy," "codling haddock,"
+"congur," "halobut," "gurnard or rocket boiled," "plaice or flounders
+boiled," "whelks boiled," "perche boiled," "freeke makrell," "bace molet,"
+"musculles," in "shelles" and in "brothe," "tench in cevy," and "lossenge
+for ffishe daies." For the rich there were "potages of oysters," "blang
+mang" and "rape" of "ffishe," to say nothing of "lampry in galantyn" and
+"lampry bak." Our forefathers ate more varieties of fish, cooked it
+better, and paid much less for it than we do, with all our railways and
+steamboats, our Fisheries' Inspectors, our Fisheries Exhibion and new Fish
+Markets with their liberal rules and regulations. To be sure, those same
+forefathers of ours not only enacted certain very stringent laws against
+"forestalling" and "regrating," but were likewise accustomed to enforce
+them, and to make short work upon occasion of the forestalled and
+regraters of fish, as of other commodities.
+
+In Donald Lupton's "London and the Covntrey Carbonadoed and Quartred into
+seuerall Characters. London, Printed by Nicholas Okes, 1632," the nymphs
+of the locality are thus described:--
+
+    FISHERWOMEN:--These crying, wandering, and travelling creatures carry
+    their shops on their heads, and their storehouse is ordinarily
+    Byllyngsgate, or Ye Brydge-foot; and their habitation Turnagain Lane.
+    They set up every morning their trade afresh. They are easily
+    furnished; get something and spend it jovially and merrily. Five
+    shillings, a basket, and a good cry, are a large stock for them. They
+    are the merriest when all their ware is gone. In the morning they
+    delight to have their shop full; at evening they desire to have it
+    empty. Their shop is but little, some two yards compass, yet it holds
+    all sort of fish, or herbs, or roots, and such like ware. Nay, it is
+    not destitute often of nuts, oranges, and lemons. They are free in all
+    places, and pay nothing for rent, but only find repairs to it. If they
+    drink their whole stock, it is but pawning a petticoate in Long Lane,
+    or themselves in Turnbull Street, to set up again. They change daily;
+    for she that was for fish this day, may be to-morrow for fruit, next
+    day for herbs, another for roots; so that you must hear them cry
+    before you know what they are furnished withal. When they have done
+    their Fair, they meet in mirth, singing, dancing, and end not till
+    either their money, or wit, or credit be clean spent out. Well, when
+    on any evening they are not merry in a drinking house, it is thought
+    they have had bad return, or else have paid some old score, or else
+    they are bankrupt: they are creatures soon up and soon down.
+
+The above quaint account of the ancient Billingsgate ladies answers
+exactly to the costermonger's wives of the present day, who are just as
+careless and improvident; they are merry over their rope of onions, and
+laugh over a basketful of stale sprats. In their dealings and disputes
+they are as noisy as ever, and rather apt to put decency and good manners
+to the blush. Billingsgate eloquence has long been proverbial for coarse
+language, so that low abuse is often termed, "_That's talking
+Billingsgate!_" or, that, "_You are no better than a Billingsgate
+fish-fag_"--_i.e._, You are as rude and ill-mannered as the women of
+Billingsgate fish-market (Saxon, _bellan_, "to bawl," and _gate_, "quay,"
+meaning the noisy quay). The French say "Maubert," instead of
+Billingsgate, as "_Your compliments are like those of the Place
+Maubert_"--_i.e._, No compliments at all, but vulgar dirt-flinging. The
+"Place Maubert," has long been noted for its market.
+
+[Illustration: THE CRIER OF POOR JOHN.
+
+"It is well thou art not a fish, for then thou would'st have been _Poor
+John_"--_Romeo and Juliet_.]
+
+The introduction of steamboats has much altered the aspect of
+Billingsgate. Formerly, passengers embarked here for Gravesend and other
+places down the river, and a great many sailors mingled with the salesmen
+and fishermen. The boats sailed only when the tide served, and the
+necessity of being ready at the strangest hours rendered many taverns
+necessary for the accommodation of travellers. The market formerly opened
+two hours earlier than at present, and the result was demoralising and
+exhausting. Drink led to ribald language and fighting, but the refreshment
+now taken is chiefly tea or coffee, and the general language and behaviour
+has improved. The fish-fags of Ned Ward's time have disappeared, and the
+business is done smarter and quicker. As late as 1842 coaches would
+sometimes arrive at Billingsgate from Dover or Brighton, and so affect the
+market. The old circle from which dealers in their carts attended the
+market, included Windsor, St. Alban's, Hertford, Romford, and other places
+within twenty-five miles. Railways have now enlarged the area of
+purchasers to an indefinite degree.
+
+To see this market in its busiest time, says Mr. Mayhew, "the visitor
+should be there about seven o'clock on a Friday morning." The market opens
+at four, but for the first two or three hours it is attended solely by the
+regular fishmongers and "bummarees," who have the pick of the best there.
+As soon as these are gone the costermonger's sale begins. Many of the
+costers that usually deal in vegetables buy a little fish on the Friday.
+It is the fast day of the Irish, and the mechanics' wives run short of
+money at the end of the week, and so make up their dinners with fish: for
+this reason the attendance of costers' barrows at Billingsgate on a Friday
+morning is always very great. As soon as you reach the Monument you see a
+line of them, with one or two tall fishmongers' carts breaking the
+uniformity, and the din of the cries and commotion of the distant market
+begin to break on the ear like the buzzing of a hornet's nest. The whole
+neighbourhood is covered with hand-barrows, some laden with baskets,
+others with sacks. The air is filled with a kind of sea-weedy odour,
+reminding one of the sea-shore; and on entering the market, the smell of
+whelks, red herrings, sprats, and a hundred other sorts of fish, is almost
+overpowering. The wooden barn looking square[14] where the fish is sold
+is, soon after six o'clock, crowded with shiny cord jackets and greasy
+caps. Everybody comes to Billingsgate in his worst clothes; and no one
+knows the length of time a coat can be worn until they have been to a fish
+sale. Through the bright opening at the end are seen the tangled rigging
+of the oyster boats, and the red-worsted caps of the sailors. Over the hum
+of voices is heard the shouts of the salesmen, who, with their white
+aprons, peering above the heads of the mob, stand on their tables roaring
+out their prices. All are bawling together--salesmen and hucksters of
+provisions, capes, hardware, and newspapers--till the place is a perfect
+Babel of competition.
+
+    "Ha-a-andsome cod! best in the market! All alive! alive! alive,
+    oh!"--"Ye-o-o! ye-o-o! Here's your fine Yarmouth bloaters! Who's the
+    buyer?"--"Here you are, governor; splendid whiting! some of the right
+    sort!"--"Turbot! turbot! All alive, turbot."--"Glass of nice
+    peppermint, this cold morning? Halfpenny a glass!"--"Here you are, at
+    your own price! Fine soles, oh!"--"Oy! oy! oy! Now's your time! Fine
+    grizzling sprats! all large, and no small!"--"Hullo! hullo, here!
+    Beautiful lobsters! good and cheap. Fine cock crabs, all alive,
+    oh!"--"Five brill and one turbot--have that lot for a pound! Come and
+    look at 'em, governor; you won't see a better lot in the
+    market!"--"Here! this way; this way, for splendid skate! Skate, oh!
+    skate, oh!"--"Had-had-had-had-haddock! All fresh and good!"--"Currant
+    and meat puddings! a ha'penny each!"--"Now, you mussel-buyers, come
+    along! come along! come along! Now's your time for fine fat
+    mussels!"--"Here's food for the belly, and clothes for the back; but I
+    sell food for the mind!" shouts the newsvendor.--"Here's smelt,
+    oh!"--"Here ye are, fine Finney haddick!"--"Hot soup! nice pea-soup!
+    a-all hot! hot!"--"Ahoy! ahoy, here! Live plaice! all alive,
+    oh!"--"Now or never! Whelk! whelk! whelk!" "Who'll buy brill, oh!
+    brill, oh?"--"Capes! waterproof capes! Sure to keep the wet out! A
+    shilling apiece!"--"Eels, oh! eels, oh! Alive, oh! alive oh!"--"Fine
+    flounders, a shilling a lot! Who'll have this prime lot of
+    flounders?"--"Shrimps! shrimps! fine shrimps!"--"Wink! wink!
+    wink!"--"Hi! hi-i! here you are; just eight eels left--only
+    eight!"--"O ho! O ho! this way--this way--this way! Fish alive! alive!
+    alive, oh."
+
+  BILLINGSGATE; OR, THE SCHOOL OF RHETORIC.
+
+  Near London Bridge once stood a gate,
+    Belinus gave it name,
+  Whence the green Nereids oysters bring,
+    A place of public fame.
+
+  Here eloquence has fixed her seat,
+    The nymphs here learn by heart
+  In mode and figure still to speak,
+    By modern rules of art.
+
+  To each fair oratress this school
+    Its rhetoric strong affords;
+  They double and redouble tropes,
+    With finger, fish, and words.
+
+  Both nerve and strength and flow of speech,
+    With beauties ever new,
+  Adorn the language of these nymphs,
+    Who give it all their due.
+
+  O, happy seat of happy nymphs!
+    For many ages known,
+  To thee each rostrum's forc'd to yield--
+    Each forum in the town.
+
+  Let other academies boast
+    What titles else they please;
+  Thou shalt be call'd "the gate of tongues,"
+    Of tongues that never cease.
+
+The sale of hot green peas in the streets of London is of great antiquity,
+that is to say, if the cry of "_Hot peascods! one began to cry_," recorded
+by Lydgate in his _London Lackpenny_, may be taken as having intimated the
+sale of the same article under the modern cry of "_Hot green peas! all
+hot, all hot! Here's your peas, hot, hot, hot!_" In many parts of the
+country it is, or was, customary to have a "_scalding of peas_," as a sort
+of rustic festivity, at which green peas scalded or slightly boiled with
+their pods on are the main dish. Being set on the table in the midst of
+the party, each person dips his peapod in a common cup of melted butter,
+seasoned with salt and pepper, and extracts the peas by the agency of his
+teeth. At times one bean, shell and all is put into the steaming mass,
+whoever gets this bean is to be first married.
+
+The sellers of green peas "hot, all hot!" have no stands but carry them in
+a tin pot or pan which is wrapped round with a thick cloth, to retain the
+heat. The peas are served out with a ladle, and eaten by the customers out
+of basins provided with spoons by the vendor. Salt and pepper are supplied
+_at discretion_, but the _fresh!_ butter to grease 'em (_avec votre
+permission_.)
+
+The hot green peas are sold out in halfpennyworths and pennyworths, some
+vendors, in addition to the usual seasoning supplied, add _a suck of
+bacon_. The "suck of bacon" is obtained by the street Arabs from a piece
+of that article, securely fastened by a string, to obtain a "relish" for
+the peas, or as is usually said "to flavour 'em;" sometimes these young
+gamins manage to bite the string and then _bolt_ not only the bacon, but
+away from the vendors. The popular saying "a plate of veal cut with a
+_hammy_ knife" is but a refined rendering of the pea and suck-'o-bacon,
+street luxury trick.
+
+Pea soup is also sold in the streets of London, but not to the extent it
+was twenty years ago, when the chilled labourer and others having only a
+halfpenny to spend would indulge in a basin of--"_All hot!_"
+
+[Illustration: THE FLOWER-POT MAN.
+
+  Here comes the old mail with his flowers to sell,
+    Along the streets merrily going;
+  Full many a year I've remember'd him well,
+    With, "Flowers, a-growing, a-blowing."
+
+  Geraniums in dresses of scarlet and green;
+    Thick aloes, that blossom so rarely;
+  The long creeping cereus with prickles so keen,
+    Or primroses modest and early.
+
+  The myrtle dark green, and the jessamine pale,
+    Sweet scented and gracefully flowing,
+  This flower-man carries and offers for sale,
+    "All flourishing, growing, and blowing."]
+
+With the coming in of spring there is a large sale of Palm; on the
+Saturday preceding and on Palm Sunday; also of May, the fragrant flower of
+the hawthorn, and lilac in flower. But perhaps the pleasantest of all
+cries in early spring is that of "_Flowers--All a-growing--all
+a-blowing_," heard for the first time in the season. Their beauty and
+fragrance gladden the senses; and the first and unexpected sight of them
+may prompt hopes of the coming year, such as seem proper to the spring.
+
+  "Come, gentle spring! ethereal mildness! come."
+
+The sale of English and Foreign nuts in London is enormous, the annual
+export from Tarragona alone is estimated at 10,000 tons. Of the various
+kinds, we may mention the "Spanish," the "Barcelona," the "Brazil," the
+"Coker-nut," the "Chesnut," and "Though last, not least, in love"--The
+"Walnut!"
+
+    "As jealous as Ford, that search'd a hollow wall-nut for his wife's
+    lemon."--_Merry Wives of Windsor._
+
+The walnut-tree has long existed in England, and it is estimated that
+upwards of 50,000 bushels of walnuts are disposed of in the wholesale
+markets of the London district annually. Who is not pleased to hear every
+Autumn the familiar cry of:--
+
+  "Crack 'em and try 'em, before you buy 'em,
+    Eight a-penny--All new walnuts
+  Crack 'em and try 'em, before you buy 'em,
+    A shilling a-hundred--All new-walnuts.
+
+The history of the happy and social walnut involves some curious
+misconceptions. Take its name to begin with. Why walnut? What has this
+splendid, wide-spreading tree to do with walls, except such as are used as
+stepping-stones for the boys to climb up into the branches and steal the
+fruit? Nothing whatever! for, if we are to believe the learned in such
+matters, this fine old English tree, as it is sometimes called, is not an
+English tree at all, but a distinct and emphatic foreigner, and hence the
+derivation. The walnut is a native of Persia, and has been so named to
+distinguish the naturalised European from its companions, the hazel, the
+filbert, and the chesnut. In "the authorities" we are told that "gual" or
+"wall" means "strange" or "exotic," the same root being found in Welsh
+and kindred tongues; hence walnut. It is true, at any rate, that in
+France they retain the distinctive name "Noix Persique." There is another
+mistaken theory connected with the tree which bears a fruit so dear to
+society at large, for someone has been hazardous enough to assert that:--
+
+  "A woman, a spaniel, and a walnut tree,
+  The more you beat them the better they be."
+
+And this ribald rhyme--which is of Latin origin, is now an established
+English proverb, or proverbial phrase, but variously construed. See Nash's
+"_Have with you to Saffron-Walden; or, Gabriel Harvey's Hunt is up_,"
+1596.--Reprinted by J. P. Collier, 1870. Moor, in his "_Suffolk Words_,"
+pp. 465, furnishes another version, which is rather an epigram than a
+proverb:--
+
+    "Three things by beating better prove;
+      A Nut, an Ass, a Woman;
+    The cudgel from their back remove,
+      And they'll be good for no man."
+
+    "Nux, asinus, mulier simili sunt lege ligata.
+    Hæc tria nil recté faciunt si verbera cessant.
+      Adducitur a cognato, est temen novum."--MARTIAL.
+
+    "_Sam_.... Why he's married, beates his wife, and has two or three
+    children by her: for you must note, that any woman beares the more
+    when she is beaten."--_A Yorkshire Tragedy_: "Not so New, as
+    Lamentable and true--1608," edition 1619.--Signature, _A. Verso_.
+
+    "_Flamineo._--Why do you kick her, say?
+    Do you think that she's like a walnut tree?
+    Must she be cudgell'd ere she bear good fruit?"
+
+    --Webster's "_White Devil_," 1612. iv. 4. (Works, edited by W. C.
+    Hazlitt, II. 105.)
+
+Now all these statements are at once unkind and erroneous all round. We
+know what is declared of the "man who, save in the way of kindness, lays
+his hand upon a woman," to say nothing of the punishment awaiting him at
+the adjacent police court.[15] As to dogs, those who respect the calves of
+their legs had best beware of the danger of applying this recipe to any
+but low-spirited animals. In the case of the walnut-tree, the
+recommendation is again distinctly false, and the results mis-described.
+Possibly there are walnut-trees, as there are women, dogs, and horses, who
+seem none the worse for the stick; but, as a general rule, kindly
+treatment, for vegetable and animal alike, is the best, and, in the long
+run, the wisest.
+
+In "_The Miller's Daughter_," one of the most homely and charming poems
+ever penned by the Poet Laureate, occurs a quatrain, spoken by an old
+gentleman addressing his faithful spouse:--
+
+  "So sweet it seems with thee to talk,
+    And once again to woo thee mine;
+  'Tis like an after-dinner talk
+    Across the walnuts and the wine."
+
+[Illustration]
+
+  THE CHRISTMAS HOLLY.
+
+  "The Holly! the Holly! oh, twine it with bay--
+    Come give the Holly a song;
+  For it helps to drive stern Winter away,
+    With his garments so sombre and long.
+  It peeps through the trees with its berries so red,
+    And its leaves of burnished green,
+  When the flowers and fruits have long been dead,
+    And not even the daisy is seen.
+  Then sing to the Holly, the Christmas Holly,
+    That hangs over the peasant and king:
+  While we laugh and carouse 'neath its glittering boughs,
+    To the Christmas Holly we'll sing."
+                                        _Eliza Cook._
+
+In London a large sale is carried on in "Christmasing," or in the sale of
+holly, ivy, laurel, evergreens, bay, and mistletoe, for Christmas sports
+and decorations, by the family greengrocer and the costermongers. The
+latter of whom make the streets ring with their stentorian cry of:--
+
+  Holly! Holly!! Holly, oh!!! Christmas Holly, oh!
+
+
+  OLD CRIES.
+
+  BY MISS ELIZA COOK.
+
+  Oh! dearly do I love "Old Cries"
+    That touch my heart and bid me look
+  On "Bough-pots" plucked 'neath summer skies,
+    And "Watercresses" from the brook.
+  It may be vain, it may be weak,
+  To list when common voices speak;
+  But rivers with their broad, deep course,
+  Pour from a mean and unmarked source:
+  And so my warmest tide of soul
+  From strange, unheeded spring will roll.
+
+  "Old Cries," "Old Cries"--there is not one
+  But hath a mystic tissue spun
+    Around it, flinging on the ear
+    A magic mantle rich and dear,
+  From "Hautboys," pottled in the sun,
+    To the loud wish that cometh when
+  The tune of midnight waits is done
+    With "A merry Christmas, gentlemen,
+  And a Happy New Year--Past one-
+    O'clock, and a frosty morning!"
+
+  And there was a "cry" in the days gone by,
+  That ever came when my pillow was nigh;
+  When, tired and spent I was passively led
+  By a mother's hand, to my own sweet bed--
+  My lids grew heavy, and my glance was dim,
+  As I yawned in the midst of a cradle hymn--
+  When the watchman's echo lulled me quite,
+  With "Past ten o'clock, and a starlight night!"
+
+  Well I remember the hideous dream,
+  When I struggled in terror, and strove to scream,
+  As I took a wild leap o'er the precipice steep,
+  And convulsively flung off the incubus sleep.
+  How I loved to behold the moonshine cold
+  Illume each well-known curtain-fold;
+  And how I was soothed by the watchman's warning,
+  Of "Past three o'clock, and a moonlight morning!"
+
+  Oh, there was music in this "old cry,"
+  Whose deep, rough tones will never die:
+  No rare serenade will put to flight
+  The chant that proclaimed a "stormy night."
+
+  The "watchmen of the city" are gone,
+  The church-bell speaketh, but speaketh alone;
+  We hear no voice at the wintry dawning,
+  With "Past five o'clock, and a cloudy morning!"
+  Ah, well-a-day! it hath passed away,
+    But I sadly miss the cry
+  That told in the night when the stars were bright,
+    Or the rain-cloud veiled the sky.
+  Watchmen, Watchmen, ye are among
+  The bygone things that will haunt me long.
+
+  "Three bunches a penny, Primroses!"
+    Oh, dear is the greeting of Spring;
+  When she offers her dew-spangled posies;
+    The fairest Creation can bring.
+
+  "Three bunches a penny, Primroses!"
+    The echo resounds in the mart;
+  And the simple "cry" often uncloses
+    The worldly bars grating man's heart.
+
+  We reflect, we contrive, and we reckon
+    How best we can gather up wealth;
+  We go where bright finger-posts beckon,
+    Till we wander from Nature and Health.
+
+  But the "old cry," shall burst on our scheming,
+    The song of "Primroses" shall flow,
+  And "Three bunches a penny" set dreaming
+    Of all that we loved long ago.
+
+  It brings visions of meadow and mountain,
+    Of valley, and streamlet, and hill,
+  When Life's ocean but played in a fountain--
+    Ah, would that it sparkled so still!
+
+  It conjures back shadowless hours,
+    When we threaded the dark, forest ways;
+  When our own hand went seeking the flowers,
+    And our own lips were shouting their praise.
+
+  The perfume and tint of the blossom;
+    Are as fresh in vale, dingle, and glen;
+  But say, is the pulse of our bosom
+    As warm and as bounding as then?
+
+  "Three bunches a penny,--Primroses!"
+    "Three bunches a penny,--come, buy!"
+  A blessing on all the sweet posies,
+    And good-will to the poor ones who cry.
+
+  "Lavender, sweet Lavender!"
+    With "Cherry Ripe!" is coming;
+  While the droning beetles whirr,
+    And merry bees are humming.
+
+  "Lavender, sweet Lavender!"
+    Oh, pleasant is the crying;
+  While the rose-leaves scarcely stir,
+    And downy moths are flying,
+
+  Oh, dearly do I love "Old Cries,"
+    Your "Lilies all a-blowing!"
+  Your blossoms blue, still wet with dew,
+    "Sweet Violets all a-growing!"
+
+  Oh, happy were the days, methinks,
+    In truth the best of any;
+  When "Periwinkles, winkle, winks!"
+    Allured my last, lone penny.
+
+  Oh, what had I to do with cares
+    That bring the frown and furrow,
+  When "Walnuts" and "Fine mellow Pears"
+    Beat Catalani thorough.
+
+  Full dearly do I love "Old Cries,"
+    And always turn to hear them;
+  And though they cause me some few sighs,
+    Those sighs do but endear them.
+
+  My heart is like the fair sea-shell,
+    There's music ever in it;
+  Though bleak the shore where it may dwell,
+    Some power still lives to win it.
+
+  When music fills the shell no more,
+    'Twill be all crushed and scattered;
+  And when this heart's deep tone is o'er,
+    'Twill be all cold and shattered.
+
+  Oh, vain will be the hope to break
+    Its last and dreamless slumbers;
+  When "Old Cries" come, and fail to wake
+    Its deep and fairy numbers!
+
+
+  _Dust, O!--Dust, O!--Bring it out to day,
+  Bring it out to-day, I sha'n't be here to-mor-row!_
+
+[Illustration: Dust, O!--Dust, O!]
+
+  His noisy bell the dustman rings,
+  Her dust the housemaid gladly brings:
+  Ringing he goes from door to door,
+  Until his cart will hold no more.
+
+[Illustration: THE DUSTMAN.]
+
+  Bring out your dust, the dustman cries,
+    Whilst ringing of his bell:
+  If the wind blows, pray guard your eyes,
+    To keep them clear and well.
+
+  I am very glad 'tis not my luck
+    To get my bread by carting muck;
+  I am sure I never could be made
+    To work at such a dirty trade.
+
+  Hold, my fine spark, not so fast,
+    Some proud folks get a fall at last;
+  And you, young gentleman, I say,
+    May be a Dustman, one fine day.
+
+  All working folks, who seldom play,
+    Yet get their bread in a honest way,
+  Though not to wealth or honours born,
+    Deserve respect instead of scorn.
+
+  Such rude contempt they merit less
+    Than those who live in idleness;
+  Who are less useful, I'm afraid,
+    Than I, the Dustman, am by trade.
+
+[Illustration: THE BIRDMAN.]
+
+  Have pity, have pity on poor little birds,
+  Who only make music, and cannot sing words;
+  And think, when you listen, we mean by our strain,
+  O! let us fly home to our woodlands again.
+
+  Our dear woody coverts, and thickets so green,
+  Too close for the school-boy to rustle between;
+  No foot to alarm us, no sorrow, no rain,
+  O! let us fly home to our woodlands again.
+
+  There perched on the branches that wave to the wind,
+  No more in this pitiless prison confined,
+  How gaily we'll tune up our merriest strain,
+  If once we get home to our woodlands again.
+
+[Illustration: BUY A DOOR-MAT OR A TABLE-MAT.]
+
+  Stooping o'er the ragged heath,
+    Thick with thorns and briers keen,
+  Or the weedy bank beneath,
+    Have I cut my rushes green;
+  While the broom and spiked thorn
+  Pearly drops of dew adorn.
+
+  Sometimes across the heath I wind,
+    Where scarce a human face is seen,
+  Wandering marshy spots to find,
+    Where to cut my rushes green;
+  Here and there, with weary tread,
+  Working for a piece of bread.
+
+  Then my little child and I
+    Plat and weave them, as you see;
+  Pray my lady, pray do buy,
+    You can't have better than of me;
+  For never, surely were there seen
+  Prettier mats of rushes green.
+
+
+  _I sweep your Chimnies clean, O,
+  Sweep your Chimney clean, O!_
+
+[Illustration: THE CHIMNEY SWEEPER.]
+
+  With drawling tone, brush under arm,
+    And bag slung o'er his shoulder:
+  Behold the sweep the streets alarm,
+    With Stentor's voice, and louder.
+
+
+  _Buy my Diddle Dumplings, hot! hot!
+  Diddle, diddle, diddle, Dumplings hot!_
+
+[Illustration: THE DUMPLING WOMAN.]
+
+  This woman's in industry wise,
+    She lives near Butcher-row;
+  Each night round Temple-bar she plies,
+    With _Diddle Dumplings, ho!_
+
+
+  _Yorkshire Cakes, Who'll buy Yorkshire Cakes,
+  All piping hot--smoking hot! hot!!_
+
+[Illustration: THE YORKSHIRE CAKE MAN.]
+
+  Fine Yorkshire Cakes; Who'll buy Yorkshire cakes?
+    They are all piping hot, and nicely made;
+  His daily walk this fellow takes,
+    And seems to drive a pretty trade.
+
+
+  _Buy my Flowers, sweet Flowers, new-cut Flowers,
+  New Flowers, sweet Flowers, fresh Flowers, O!_
+
+[Illustration: FLOWERS, CUT FLOWERS.]
+
+  New-cut Flowers this pretty maid doth cry,
+    In Spring, Summer and Autumn, gaily;
+  Which shows how fast the Seasons fly--
+    As we pass to our final home, daily.
+
+
+  _Buy green and large Cucumbers, Cucumbers,
+  Green and large Cucumbers, twelve a penny._
+
+[Illustration: CUCUMBERS.]
+
+  A penny a dozen, Cucumbers!
+    Tailors, hallo! hallo!
+  Now from the shop-board each man runs,
+    For Cucumbers below.
+
+
+  _Buy Rosemary! Buy Sweetbriar!
+  Rosemary and Sweetbriar, O!_
+
+[Illustration: ROSEMARY AND SWEETBRIAR.]
+
+  Rosemary and briar sweet,
+    This maiden now doth cry,
+  Through every square and street,
+    Come buy it sweet, come buy it dry.
+
+
+  _Newcastle Salmon! Dainty fine Salmon!
+  Dainty fine Salmon! Newcastle Salmon!_
+
+[Illustration: NEWCASTLE SALMON.]
+
+  Newcastle salmon, very good,
+    Is just come in for summer food;
+  No one hath better fish than I,
+    So if you've money come and buy.
+
+
+  _Buy my Cranberries! Fine Cranberries!
+  Buy my Cranberries! Fine Cranberries!_
+
+[Illustration: CRANBERRIES.]
+
+  Buy Cranberries, to line your crust,
+    In Lincolnshire they're grown;
+  Come buy, come buy, for sell I must
+    Three quarts for half-a-crown.
+
+
+  _Come buy my Walking-Sticks or Canes!
+  I've got them for the young or old._
+
+[Illustration: STICKS AND CANES.]
+
+  How sloven like the school-boy looks,
+    Who daubs his books at play;
+  Give him a new one? No, adzooks!
+    Give him a Cane, I say.
+
+
+  _Buy my fine Gooseberries! Fine Gooseberries!
+  Three-pence a quart! Ripe Gooseberries!_
+
+[Illustration: GOOSEBERRIES.]
+
+  Ripe gooseberries in town you'll buy
+    As cheap as cheap can be;
+  Of many sorts you hear the cry;
+    Pray purchase, sir, of me!
+
+
+  _Pears for pies! Come feast your eyes!
+  Ripe Pears, of every size, who'll buy?_
+
+[Illustration: RIPE PEARS.]
+
+  Pears ripe, pears sound,
+    This woman cries all day;
+  Pears for pies, long or round,
+    Come buy them while you may.
+
+
+  _One a penny, two a penny, hot Cross Buns!
+  One a penny, two a penny, hot Cross Buns!_
+
+[Illustration: HOT CROSS BUNS.]
+
+  Think on this sacred festival;
+    Think why Cross Buns were given;
+  Then think of Him who dy'd for all,
+    To give you right to Heaven.
+
+
+  _Maids, I mend old Pans or Kettles,
+  Mend old Pans or Kettles, O!_
+
+[Illustration: THE TINKER.]
+
+  Hark, who is this? the Tinker bold,
+    To mend or spoil your kettle,
+  Whose wife I'm certain is a scold,
+    Made of basest metal.
+
+
+  _Buy my Capers! Buy my nice Capers!
+  Buy my Anchovies! Buy my nice Anchovies!_
+
+[Illustration: CAPERS, ANCHOVIES.]
+
+  How melodious the voice of this man,
+    The Capers he says are the best;
+  His Anchovies too, beat 'em who can,
+    Are constantly found in request.
+
+
+  _Mulberries, all ripe and fresh to day!
+  Only a groat a pottle--full to the bottom!_
+
+[Illustration: MULBERRIES.]
+
+  Mulberries, ripe and fresh to-day,
+    They warm and purify the blood;
+  Have them a groat a pottle you may.
+    They are all fresh! they are all good!
+
+
+  _Buy my Cockles! Fine new Cockles!
+  Cockles fine, and Cockles new!_
+
+[Illustration: NEW COCKLES.]
+
+  Cockles fine; and cockles new,
+    They are as fine as any.
+  Cockles! New cockles, O!
+    I sell a good lot for a penny, O!
+
+
+  _Buy fine Flounders! Fine Dabs! All alive, O!
+  Fine Dabs! Fine live Flounders, O!_
+
+[Illustration: BUY FINE FLOUNDERS! FINE DABS!]
+
+  There goes a tall fish-woman sounding her cry,
+  "Who'll buy my fine flounders, and dabs, who'll buy?"
+  Poor flounder, he heaves up his fin with a sigh,
+  And thinks that _he_ has most occasion to cry;
+  "Ah, neighbour," says dab, "indeed, so do I."
+
+
+  _Buy my nice and new Banbury Cakes!
+  Buy my nice new Banbury Cakes, O!_
+
+[Illustration: BANBURY CAKES.]
+
+  Buy Banbury Cakes! By fortune's frown,
+    You see this needy man,
+  Along the street, and up and down,
+    Is selling all he can.
+
+
+  _Buy my Lavender! Sweet blooming Lavender!
+  Sweet blooming Lavender! Blooming Lavender!_
+
+[Illustration: LAVENDER.]
+
+  Lavender! Sweet blooming lavender,
+    Six bunches for a penny to-day!
+  Lavender! sweet blooming lavender!
+    Ladies, buy it while you may.
+
+
+  _Live Mackerel! Three a-shilling, O!
+  Le'ping alive, O! Three a-shilling O!_
+
+[Illustration: MACKEREL.]
+
+  Live Mackerel, oh! fresh as the day!
+    At three for a shilling, is giving away;
+  Full row'd, like bright silver they shine;
+    Two persons on one can sup or dine.
+
+
+  _Buy my Shirt Buttons! Shirt Buttons!
+  Buy Shirt Hand Buttons! Buttons!_
+
+[Illustration: SHIRT BUTTONS.]
+
+  At a penny a dozen, a dozen,
+    My Buttons for shirts I sell,
+  Come aunt, uncle, sister, and cousin,
+    I'll warrant I'll use you well.
+
+
+  _Buy my Rabbits! Rabbits, who'll buy?
+  Rabbit! Rabbit! who will buy?_
+
+[Illustration: THE RABBIT MAN.]
+
+  "Rabbit! Rabbit! who will buy?"
+    Is all you hear from him;
+  The Rabbit you may roast or fry,
+    The fur your cloak will trim.
+
+
+  _Buy Rue! Buy Sage! Buy Mint!
+  Buy Rue, Sage and Mint, a farthing a bunch!_
+
+[Illustration: THE HERB-WIFE.]
+
+  As thro' the fields she bends her way,
+    Pure nature's work discerning;
+  So you should practice every day,
+    To trace the fields of learning.
+
+
+  _Apple Tarts! All sweet and good, to-day!
+  Hot, nice, sweet and good, to-day!_
+
+[Illustration: APPLE TARTS. APPLE TARTS.]
+
+  Apple Tarts! Apple Tarts! Tarts, I cry!
+    They are all of my own making,
+  My Apple Tarts! My Apple Tarts, come buy!
+    For, a honest penny I would be taking.
+
+
+  _Ripe Strawberries! a groat a pottle, to-day,
+  Only a groat a pottle, is what I say!_
+
+[Illustration: RIPE AND FRESH STRAWBERRIES.]
+
+  Ripe strawberries, a full pottle for a groat!
+    They are all ripe and fresh gathered, as you see,
+  No finer for money I believe can be bought;
+    So I pray you come and deal fairly with me.
+
+
+  _Any Knives, or Scissors to grind, to-day?
+  Big Knives, or little Knives, or Scissors to grind, O!_
+
+[Illustration: ANY KNIVES OR SCISSORS TO GRIND.]
+
+  Any Knives or Scissors to grind, to-day?
+  I'll do them well and there's little to pay;
+  Any Knives or Scissors to grind, to-day?
+  If you've nothing for me, I'll go away.
+
+
+  _Door-Mat! Door-Mat, Buy a Door-Mat,
+  Rope-mat! Rope-Mat! Buy a Rope-Mat._
+
+[Illustration: ROPE MAT. DOOR MAT.]
+
+  Rope Mat! Door Mat! you really must
+  Buy one to save the mud and dust;
+  Think of the dirt brought from the street
+  For the want of a Mat to wipe your feet.
+
+
+  _Clothes Props! Clothes Props! I say, good wives
+  Clothes Props, all long and very strong, to-day._
+
+[Illustration: CLOTHES PROPS, CLOTHES PROPS.]
+
+  Buy Clothes Props, Buy Clothes Props!
+    Pretty maids, or pretty wives, I say,
+  I sell them half the price of the shops;
+    So you'll buy of the old man, I pray.
+
+
+  _Come take a Peep, boys, take a Peep?
+  Girls, I've the wonder of the world._
+
+[Illustration: THE RAREE-SHOW.]
+
+  Come take a Peep, each lady and gent,
+    My Show is the best, I assure you;
+  You'll not have the least cause to repent,
+    For I'll strive all I can to allure you.
+
+
+  _Water Cresses! Fine Spring Water Cresses!
+  Three bunches a penny, young Water Cresses!_
+
+[Illustration: WATER CRESSES. FRESH AND FINE.]
+
+  Young Cresses, fresh, at breakfast taken
+    A relish will give to eggs and bacon!
+  My profit's small, for I put many
+    In bunches sold at three a penny
+
+
+  _Mutton Pies! Mutton Pies! Mutton Pies,
+  Come feast your eyes with my Mutton Pies._
+
+[Illustration: WHO'LL BUY MY MUTTON PIES?]
+
+  Through London's long and busy streets,
+    This honest woman cries,
+  To every little boy she meets,
+    Who'll buy my Mutton Pies?
+
+
+  _Please to Pity the Poor Old Fiddler!
+  Pity the Poor Old Blind Fiddler!_
+
+[Illustration: THE POOR OLD FIDDLER.]
+
+  The poor old Fiddler goes his rounds,
+    Along with old Dog Tray;
+  The East of London mostly bounds
+    His journeys for the day.
+
+
+  _Muffins, O! Crumpets! Muffins, to-day!
+  Crumpets, O! Muffins, O! fresh, to-day!_
+
+[Illustration: THE MUFFIN MAN.]
+
+  The Muffin Man! hark, I hear
+    His small bell tinkle shrill and clear;
+  Muffins and Crumpets nice he brings,
+    While on the fire the kettle sings.
+
+
+  _Oysters, fresh and alive, three a penny, O!
+  When they are all sold I sha'n't have any, O!_
+
+[Illustration: OYSTERS. FINE NEW OYSTERS.]
+
+  They're all alive and very fine,
+    So if you like them, come and dine;
+  I'll find you bread and butter, too,
+    Or you may have them opened for a stew.
+
+
+  _Buy fine Kidney Potatoes! New Potatoes!
+  Fine Kidney Potatoes! Potatoes, O!_
+
+[Illustration: POTATOES, KIDNEY POTATOES.]
+
+  Potatoes, oh! of kidney kind,
+    Come buy, and boil, and eat,
+  The core, and eke also, the rind,
+    They are indeed so sweet.
+
+
+  _Buy Images! Good and cheap!
+  Images, very good--very cheap!_
+
+[Illustration: BUY MY IMAGES, IMAGES.]
+
+  Come buy my image earthenware,
+    Your mantel pieces to bedeck,
+  Examine them with greatest care,
+    You will not find a single speck.
+
+
+  _Buy 'em by the stick, or buy'em by the pound,
+  Cherries ripe, all round and sound!_
+
+[Illustration: ALL ROUND AND SOUND, MY RIPE KENTISH CHERRIES.]
+
+  Who such Cherries would see,
+  And not tempted be
+    To wish he possessed a small share?
+  But observe, I say small,
+  For those who want all
+    Deserve not to taste of such fare.
+
+
+  _Buy a Mop! Buy a Broom! Good to-day!
+  Buy a Broom! Buy a Mop, I say!_
+
+[Illustration: BUY A MOP OR A BROOM.]
+
+  Ye cleanly housewives come to me,
+    And buy a Mop or Broom,
+  To sweep your chambers, scour your stairs,
+    Or wash your sitting room.
+
+
+  _Golden Pippins, all of the right sort, girls!
+  Golden Pippins, all of the right sort, boys!_
+
+[Illustration: GOLDEN PIPPINS, WHO'LL BUY?]
+
+  Here are fine Golden Pippins;
+    Who'll buy them, who'll buy?
+  Nobody in London sells better than I!
+    Who'll buy them, who'll buy?
+
+
+  _Wash Ball, a Trinket, or a Watch, buy?
+  Buy 'em, all cheap and all good!_
+
+[Illustration: WASH BALL, TRINKET, OR WATCH.]
+
+  Do ye want any Wash Ball or Patch.--
+    Dear ladies, pray, buy of me;--
+  Or Trinkets to hang at your Watch,
+    Or Garters to tie at your knee?
+
+
+  _Past twelve o'clock, and a cloudy morning!
+  Past twelve o'clock; and mind, I give you warning!_
+
+[Illustration: THE CITY WATCHMAN.]
+
+  Past twelve o'clock, and a moonlight night!
+  Past twelve o'clock, and the stars shine bright!
+  Past twelve o'clock, your doors are all fast like you!
+  Past twelve o'clock, and I'll soon be fast, too!
+
+
+  _Young Lambs to sell! Young Lambs to sell!
+  Young Lambs to sell! Young Lambs to sell!_
+
+[Illustration: YOUNG LAMBS TO SELL.]
+
+  Young Lambs to sell! Young Lambs to sell!
+    Two a penny, Young Lambs to sell;
+  If I'd as much money as I could tell,
+    I wouldn't cry young Lambs to sell.
+
+
+  _Buy my sweet and rare Lilies of the Valley?
+  Buy of your Sally--Sally of our Alley?_
+
+[Illustration: LILIES OF THE VALLEY.]
+
+  In London street, I ne'er could find,
+    A girl like lively Sally,
+  Who picks and culls, and cries aloud,
+    Sweet Lilies of the Valley.
+
+
+  _Buy my young chickens! Buy'em alive, O!
+  Buy of the Fowlman, and have 'em alive, O!_
+
+[Illustration: BUY CHICKENS, YOUNG CHICKENS.]
+
+  Buy my young Chickens, or a Fowl, well-fed,
+    And we'll not quarrel about the price;
+  'Tis thus I get my daily bread:
+    As all the year round my Fowls are very nice.
+
+
+  _Green Peas, I say! Green Peas, I say, here,
+  Hav'em at your own price--here! here!_
+
+[Illustration: GREEN PEAS! BUY MY GREEN PEAS?]
+
+  Sixpence a peck, these Peas are sold,
+    Fresh and green, and far from old;
+  Green Marrows, it is quite clear,
+    And as times go, cannot be dear.
+
+
+  _Hat Box! Cap Box! Boxes, all sizes;
+  All good, and at very low prices._
+
+[Illustration: HAT-BOX; CAP BOX.]
+
+  Hat or Cap Box! for ribbons or lace,
+    When in a Box, keep in their place;
+  And in a Box, your favourite bonnet
+    Is safe from getting things thrown on it.
+
+
+  _Eels, fine Silver Eels! Dutch Eels!
+  They are all alive--Silver Eels!_
+
+[Illustration: EELS; FINE DUTCH EELS.]
+
+  Eels, alive! fine Dutch eels, I cry,
+    Mistress, to use you well I'm willing,
+  Come step forth and buy--
+    Take four pounds for one shilling.
+
+
+  _Plumbs, ripe Plumbs! Big as your thumbs!
+  Plumbs! Plumbs! Big as your thumbs!_
+
+[Illustration: PLUMBS; RIPE PLUMBS.]
+
+  Plumbs, for puddings or pies,
+    This noisy woman bawls;
+  Plumbs, for puddings or pies,
+    In every street she calls.
+
+
+  _Buy a Purse; a long and a strong Purse!
+  A good leather or a strong mole-skin Purse!_
+
+[Illustration: BUY A PURSE.]
+
+  Buy a Purse; a long and strong Purse,
+    They'll suit the young--they suit the old!
+  To lose good money, what is worse?
+    Yet it's daily done for the want of a purse.
+
+
+  _Kettles to mend! any Pots to mend?
+  Daily I say as my way I wend._
+
+[Illustration: KETTLES OR POTS TO MEND!]
+
+  Kettles to mend! any pots to mend!
+    You cannot do better to me than send;
+  Think of the mess when the saucepans run,
+    The fire put out, and the dinner not done.
+
+[Illustration: THE JOLLY TINKER.]
+
+  My daddy was a tinker's son,
+  And I'm his boy, 'tis ten to one,
+  Here's pots to mend! was still his cry,
+  Here's pots to mend! aloud bawl I.
+  Have ye any tin pots, kettles or cans,
+  Coppers to solder, or brass pans?
+  Of wives my dad had near a score,
+  And I have twice as many more:
+  My daddy was the lord--I don't know who--
+  With his:--
+              Tan ran tan, tan ran tan tan,
+              For pot or can, oh! I'm your man.
+
+  Once I in my budget snug had got
+  A barn-door capon, and what not,
+  Here's pots to mend! I cried along--
+  Here's pots to mend! was my song.
+  At village wake--oh! curse his throat,
+  The cock crowed so loud a note,
+  The folks in clusters flocked around,
+  They seized my budget, in it found
+  The cock, a gammon, peas and beans,
+  Besides a jolly tinker. Yes, a jolly tinker--
+  With his--
+              Tan ran tan, tan ran tan tan,
+              For pot or can, oh! I'm your man.
+
+  Like dad, when I to quarters come,
+  For want of cash the folks I hum,
+  Here's kettles to mend: Bring me some beer!
+  The landlord cries, "You'll get none here!
+  You tink'ring dog, pay what you owe,
+  Or out of doors you'll instant go,"
+  In rage I squeezed him 'gainst the door,
+  And with his back rubb'd off the score.
+  At his expense we drown all strife
+  For which I praise the landlord's wife--
+  With my
+              Tan ran tan, tan ran tan tan,
+              For pot or can, oh! I'm your man.
+
+
+  _Fine China Oranges, sweet as sugar!
+  They are very fine, and cheap, too, to-day._
+
+[Illustration: FINE CHINA ORANGES.]
+
+  If friends permit, and money suits,
+    The tempting purchase make;
+  But, first, examine well the fruit,
+    And then the change you take.
+
+[Illustration: FINE RIPE ORANGES]
+
+  Here are Oranges, fine ripe Oranges,
+    Of golden colour to the eye,
+  And fragrant perfume they're dispensing,
+    Sweeter than roses; come then and buy.
+  Flowers cannot give forth the fragrance
+    That scents the air from my golden store,
+  Fairest lady, none can excel them,
+    Buy then my Oranges; buy, I implore.
+
+  Here are Oranges, fine ripe Oranges,
+    Golden globes of nectar fine,
+  Luscious juice the gods might envy,
+    Richer far than the finest wine.
+  Flowers cannot give forth the fragrance
+    That scents the air from my golden store,
+  Fairest lady, none can excel them,
+    Buy then my Oranges; buy, I implore.
+
+ROUND FOR FOUR VOICES.
+
+  SIR. J. STEVENSON.
+
+            Come buy my cherries, beauteous lasses;
+            Fresh from the garden pluck'd by me;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Knives ground here by me_."
+
+            Fine apples and choice pears,
+            Eat, boys, forget your cares;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Sweep, sweep, sweep_."
+
+            Fruit in abundance sold by me,
+            Fruit in abundance here you see;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Parsnips, carrots, and choice beans_."
+
+            Whey, fine sweet whey,
+            Come taste my whey;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Fine radish, fine lettuce, sold by me_."
+
+PRIMROSES.
+
+  Come who'll buy my roses, Primroses, who'll buy?
+    They are sweet to the sense, they are fair to the eye;
+  They are covered all o'er with diamond dew,
+    Which Aurora's bright handmaids unsparingly threw
+  On their beautiful heads: and I ask but of you--
+    _To buy, buy, buy, buy_.
+
+  The sun kiss'd the flowers as he rose from the sea bright,
+    And their golden eyes opened with beauty and glee bright,
+  Their sweets are untasted by hornet or bee--
+    They are fresh as the morning and lovely to see--
+  So reject not the blossoms now offered by me--
+    _But buy, buy, buy, buy_.
+
+  Nay, never refuse me, nor cry my buds down,
+    They are nature's production, and sweet ones, you'll own;
+  And tho' torn from the earth, they will smile in your hall,
+    They will bloom in a cottage, be it ever so small--
+  And still look the lovliest flowers of all!
+    _So buy, buy, buy, buy._
+
+
+  THE LONDON CRIES
+  IN LONDON STREETS.
+
+  _Embellished with Pretty Cuts,
+  For the use of Good little Boys and Girls,
+  and a Copy of Verses._
+
+  [Illustration]
+
+  Printed by T. BIRT,     Great St. Andrew Street,
+  Wholesale & Retail, 30, Seven Dials, London.
+
+  _Country Orders punctually attended to._
+
+  EVERY DESCRIPTION OF PRINTING DONE CHEAP.
+
+  TRAVELLERS AND SHOPKEEPERS SUPPLIED WITH SHEET HYMNS,
+  PATTERS, AND SLIP SONGS, AS CHEAP AND GOOD
+  AS ANY SHOP IN LONDON.
+
+
+  T. BIRT.
+
+  TO THE GOOD LITTLE MASTERS AND MISTRESSES
+  IN TOWN AND COUNTRY.
+
+  Here! look at the Cries of London town,
+    For you need not travel there;
+  But view you those of most renown,
+    Whilst sitting in your chair.
+
+  At Home--a hundred miles away,
+    'Tis easy now to look
+  At the Cries of London gay,
+    In this our little book.
+
+  Yes; there in quiet you may be,
+    Beside the winter's fire,
+  And read as well as see,
+    All those that you desire.
+
+  Or underneath the oak so grey,
+    That grows beside the briar;
+  May pass the summer's eve away,
+    And view each City Crier.
+
+[Illustration: BUY A GAZETTE? GREAT NEWS!]
+
+  In the Gazette great news, to-day:
+    The enemy is beat, they say,
+  And all are eager to be told--
+    The news, the new events unfold.
+
+[Illustration: COME BUY MY FINE ROSES.]
+
+  Come buy my fine roses,
+   My myrtles and stocks;
+  My sweet smelling balsams
+   And close growing box.
+
+[Illustration: BUY AN ALMANACK: NEW ALMANACKS.]
+
+  My Almanacks aim at no learning at all,
+   But only to show when the holidays fall:
+  And tell, as by study we easily may,
+   How many eclipses the year will display.
+
+[Illustration: BUY A MOP? BUY A MOP?]
+
+      My Mop is so big,
+      It might serve as a wig
+  For a judge, had he no objection;
+      And as to my brooms,
+      They will sweep dirty rooms,
+  And make the dust fly, to perfection.
+
+[Illustration: LOBSTERS AND CRABS.]
+
+  Here's lobsters and crabs,
+    Alive, O! and good,
+  So buy if you please;
+    This delicate food.
+
+[Illustration: MILK FROM THE COW.]
+
+  Rich Milk from the Cow,
+    Both sweet and fine;
+  The doctors declare;
+    It is better than wine.
+
+[Illustration: BUY A BASKET, LARGE OR SMALL?]
+
+  Buy a basket? large or small?
+    For all sorts I've got by me,
+  So come ye forth, one and all,
+    If you buy once, another time you'll try me.
+
+[Illustration: BUY A CANE FOR NAUGHTY BOYS.]
+
+  I've Sticks and Canes for old and young,
+    To either they are handy,
+  In driving off a barking cur,
+    Or chastising a dandy.
+
+[Illustration: HOT RICE-MILK.]
+
+  Hot Rice-Milk this woman calls--
+    Behold her bright can,
+  As up and down the streets she bawls
+    Hot Rice-Milk to warm the inner man.
+
+[Illustration: PEACHES AND NECTARINES.]
+
+  Nice Peaches and Nectarines
+    Just fresh from the tree;
+  All you who have money,
+    Come buy them of me.
+
+[Illustration: HOT SPICE-GINGERBREAD.]
+
+  Hot Spice-Gingerbread, hot! hot! all hot!
+    This noisy fellow loudly bawls,
+  Hot! hot! hot! smoking hot! red hot!
+    In every street or public place he calls.
+
+COME, BUY MY SPICE-GINGERBREAD, SMOKING HOT! HOT! HOT!
+
+  Come, boys and girls, men and maids, widows and wives,
+  The best penny laid out you e'er spent in your lives;
+  Here's my whirl-a-gig lottery, a penny a spell,
+  No blanks, but all prizes, and that's pretty well.
+  Don't stand humming and ha-aring, with ifs and with buts,
+  Try your luck for my round and sound gingerbread-nuts;
+  And there's my glorious spice-gingerbread, too,
+  Hot enough e'en to thaw the heart of a Jew.
+
+      Hot spice-gingerbread, hot! hot! all hot!
+      Come, buy my spice-gingerbread, smoking hot!
+
+  I'm a gingerbread-merchant, but what of that, then?
+  All the world, take my word, deal in gingerbread ware;
+  Your fine beaus and your belles and your rattlepate rakes--
+  One half are game-nuts, the rest gingerbread cakes;
+  Then in gingerbread coaches we've gingerbread lords,
+  And gingerbread soldiers with gingerbread swords.
+  And what are you patriots, 'tis easy to tell--
+  By their constantly crying they've something to sell.
+  And what harm is there in selling--_hem!_--
+
+                  Hot spice-gingerbread, &c.
+
+  My gingerbread-lottery is just like the world,
+  For its index of chances for ever is twirled;
+  But some difference between'em exist, without doubt,
+  The world's lottery has blanks, while mine's wholly without,
+  There's no matter how often you shuffle and cut,
+  If but once in ten games you can get a game-nut.
+  So I laugh at the world, like an impudent elf,
+  And just like my betters, take care of myself, and my--
+
+                  Hot spice-gingerbread, &c.
+
+  T. BIRT, Printer, 30, Great St. Andrews Street, Seven Dials.
+
+
+  _Marks Edition._
+  THE NEW LONDON CRIES
+  OR A VISIT TO TOWN.
+
+[Illustration: BUY A BROOM.]
+
+  From morn till eve I rove along,
+  And joys my eyes illume,
+  If you but listen to my song,
+  And kindly buy a broom.
+
+[Illustration]
+
+RIPE CHERRIES.
+
+  Cherries ripe four-pence a pound,
+  Come buy of me they're good and sound.
+
+WATER CRESSES.
+
+  O you whom peace and plenty blesses,
+  Buy my fine spring water cresses.
+
+[Illustration]
+
+YOUNG PEDLAR.
+
+  Threads laces bodkins here I cry,
+  Of a wandering orphan buy.
+
+OYSTERS SIR.
+
+  My native oysters here I cry,
+  Gents and ladies come and buy.
+
+[Illustration]
+
+OLD CLOTHES.
+
+  Daily streets and squares I range
+  Calling clothes to sell or change.
+
+YOUNG LAMBS.
+
+  In London streets I'm known full well,
+  Two for a penny young lambs to sell.
+
+[Illustration]
+
+DOLLS TO SELL.
+
+  Come buy a doll my little miss,
+  You'll find no time as good as this.
+
+GREENS CABBAGES HO.
+
+  London daily hears my cry,
+  Carrots Turnips who will buy.
+
+[Illustration]
+
+BONNET BOX.
+
+  Buy a Box for hat and cap,
+  'Twill keep them safe from all mishap.
+
+FLOWER GIRL.
+
+  My basket daily I supply,
+  Come buy my nosegays buy who'll buy.
+
+[Illustration]
+
+IMAGES.
+
+  My casts are form'd to get my bread,
+  And humble shelter for my head.
+
+MILK BELOW.
+
+  At rise of morn my rounds I go,
+  And daily cry my milk below.
+
+[Illustration]
+
+BALLAD SINGER.
+
+  Listen to my tunes so gay,
+  And buy a ballad of me pray.
+
+SWEEP SOOT HO.
+
+  Comfort from my toil you reap,
+  Then pray employ a little sweep.
+
+
+London: Printed and Published by S. MARKS & SONS, 72, Houndsditch.
+
+
+  THE CRIES OF LONDON.
+
+  [Illustration]
+
+  FLOWERY WARE--ALL HOT!
+
+  Here's taters hot, my little chaps,
+  Now just lay out a copper,
+  I'm known up and down the Strand,
+  You'll not find any hotter.
+
+  LONDON:
+  GOODE, BROS.,
+  WHOLESALE STATIONERS AND TOY BOOK MANUFACTURERS,
+  CLERKENWELL GREEN.
+
+[Illustration]
+
+CHERRIES, MY PRETTY MAIDS.
+
+  Here's cherries, oh! my pretty maids,
+   My cherries round and sound;
+  Whitehearts, Kentish, or Blackhearts
+   And only twopence a pound.
+
+[Illustration]
+
+FINE HAMPSHIRE RABBITS.
+
+  Here I am with my rabbits
+  Hanging on my pole,
+  The finest Hampshire rabbits
+  That e'er crept from a hole.
+
+[Illustration]
+
+HEARTHSTONE! HEARTHSTONE.
+
+  Hearthstones my pretty maids,
+  I sell them four a penny,
+  Hearthstones, come buy of me,
+  As long as I have any.
+
+[Illustration]
+
+DUST OH! DUST OH!
+
+  Dust or ash this chap calls out,
+  With all his might and main,
+  He's got a mighty cinder heap
+  Somewhere near Gray's Inn Lane.
+
+[Illustration]
+
+BUY A BONNET BOX OR CAP BOX
+
+  Bonnet boxes and cap boxes,
+  The best that e'er was seen,
+  They are so very nicely made,
+  They'll keep your things so clean.
+
+[Illustration]
+
+ALL A GROWING AND A BLOWING.
+
+  Now ladies here's roots for your gardens,
+  Come buy some of me if you please,
+  There's tulips, heart's-ease, and roses,
+  Sweet Williams, and sweet peas.
+
+[Illustration]
+
+ANY OLD POTS OR KETTLES TO MEND?
+
+  Any old pots or kettles,
+  Or any old brass to mend
+  Come my pretty maids all,
+  To me your aid must lend.
+
+[Illustration]
+
+ANY OLD CHAIRS TO MEND?
+
+  Any old chairs to mend?
+  Any old chairs to seat?
+  I'll make them quite as good as new,
+  And make them look so neat.
+
+
+THE LONDON STREET-MARKETS ON A SATURDAY NIGHT.
+
+Mr. Henry Mayhew has painted a minute yet vivid picture of the London
+street markets, street sellers and purchasers which are to be seen in the
+greatest number on a Saturday night:--
+
+"Here, and in the streets immediately adjoining, the working classes
+generally purchase their Sunday's dinner; and after pay-time on Saturday
+night, or early on Sunday morning, the crowd in the New-cut, and the Brill
+in particular, is almost impassable. Indeed, the scene in these parts has
+more the character of a fair than a market. There are hundreds of stalls,
+and every stall has its one or two lights; either it is illuminated by the
+intense white light of the new self-generating gas-lamp, or else it is
+brightened up by the red smoky flame of the old-fashioned grease-lamp. One
+man shows off his yellow haddock with a candle stuck in a bundle of
+firewood; his neighbour makes a candlestick of a huge turnip, and the
+tallow gutters over its sides; whilst the boy shouting "Eight a penny,
+stunning pears!" has rolled his dip in a thick coat of brown paper, that
+flares away with the candle. Some stalls are crimson with the fire shining
+through the holes beneath the baked chesnut stove; others have handsome
+octohedral lamps, while a few have a candle shining through a sieve;
+these, with the sparkling ground-glass globes of the tea-dealers' shops,
+and the butchers' gaslights streaming and fluttering in the wind, like
+flags of flame, pour forth such a flood of light, that at a distance the
+atmosphere immediately above the spot is as lurid as if the street were on
+fire.
+
+[Illustration: A STREET-MARKET ON SATURDAY NIGHT.]
+
+The pavement and the road are crowded with purchasers and street-sellers.
+The housewife in her thick shawl, with the market-basket on her arm, walks
+slowly on, stopping now to look at the stall of caps, and now to cheapen a
+bunch of greens. Little boys, holding three or four onions in their hands,
+creep between the people, wriggling their way through every interstice,
+and asking for custom in whining tones, as if seeking charity. Then the
+tumult of the thousand different cries of the eager dealers, all shouting
+at the top of their voices, at one and the same time, is almost
+bewildering. "So-old again," roars one. "Chesnuts, all'ot, a penny a
+score," bawls another. "An 'aypenny a skin, blacking," squeaks a boy.
+"Buy, buy, buy, buy,--bu-u-uy!" cries the butcher. "Half-quire of paper
+for a penny," bellows the street-stationer. "An 'apenny a lot ing-uns."
+"Twopence a pound, grapes." "Three a penny! Yarmouth bloaters." "Who'll
+buy a bonnet for fourpence?" "Pick 'em out cheap here! three pair for
+a-halfpenny, bootlaces." "Now's your time! beautiful whelks, a penny a
+lot." "Here's ha'p'orths," shouts the perambulating confectioner. "Come
+and look at'em! here's toasters!" bellows one with a Yarmouth bloater
+stuck on a toasting fork. "Penny a lot, fine russets," calls the apple
+woman: and so the Babel goes on.
+
+One man stands with his red-edge mats hanging over his back and chest,
+like a herald's coat; and the girl with her basket of walnuts lifts her
+brown-stained fingers to her mouth, as she screams, "Fine warnuts! sixteen
+a penny, fine war-r-nuts." A bootmaker, to "ensure custom," has
+illuminated his front-shop with a line of gas, and in its full glare
+stands a blind beggar, his eyes turned up so as to show only "the whites,"
+and mumbling some begging rhymes, that are drowned in the shrill notes of
+the bamboo-flute-player next to him. The boy's sharp cry, the woman's
+cracked voice, the gruff, hoarse shout of the man, are all mingled
+together. Sometimes an Irishman is heard with his "fine ating apples," or
+else the jingling music of an unseen organ breaks out, as the trio of
+street singers rest between the verses.
+
+Then the sights, as you elbow your way through the crowd are equally
+multifarious. Here is a stall glittering with new tin saucepans; there
+another, bright with its blue and yellow crockery, and sparkling with
+white glass. Now you come to a row of old shoes arranged along the
+pavement; now to a stand of gaudy tea-trays; then to a shop with red
+handkerchiefs and blue checked shirts, fluttering backwards and forwards,
+and a counter built up outside on the kerb, behind which are boys
+beseeching custom. At the door of a tea-shop, with its hundred white
+globes of light, stands a man delivering bills, thanking the public for
+past favours, and "defying competition." Here, along side the road, are
+some half-dozen headless tailors' dummies, dressed in Chesterfields and
+fustian jackets, each labelled:--"Look at the prices," or "Observe the
+quality." After this a butcher's shop, crimson and white with meat piled
+up to the first-floor, in front of all the butcher himself, in his blue
+coat, walks up and down, sharpening his knife on the steel that hangs to
+his waist. A little further on stands the clean family, begging; the
+father with his head down as if in shame, and a box of lucifers held forth
+in his hand--the boys in newly-washed pinafores, and the tidyly got up
+mother with a child at her breast. This stall is green and white with
+bunches of turnips--that red with apples, the next yellow with onions, and
+another purple with pickling cabbages. One minute you pass a man with an
+umbrella turned inside up and full of prints; the next, you hear one with
+a peepshow of Mazeppa, and Paul Jones the pirate, describing the pictures
+to the boys looking in at the little round windows. Then is heard the
+sharp snap of the purcussion-cap from the crowd of lads firing at the
+target for nuts; and the moment afterwards, you see either a black man
+half-clad in white, and shivering in the cold with tracts in his hand, or
+else you hear the sounds of music from "Frazier's Circus," on the other
+side of the road, and the man outside the door of the penny concert,
+beseeching you to "Be in time--be in time!" as Mr. Somebody is just about
+to sing his favourite song of the "Knife Grinder." Such, indeed, is the
+riot, the struggle, and the scramble for a living, that the confusion and
+the uproar of the New-cut on Saturday night have a bewildering and sad
+effect upon the thoughtful mind.
+
+Each salesman tries his utmost to sell his wares, tempting the passers-by
+with his bargains. The boy with his stock of herbs offers "a double
+'andful of fine parsley for a penny;" the man with the donkey-cart filled
+with turnips has three lads to shout for him to their utmost, with their
+"Ho! ho! hi-i-i! What do you think of us here? A penny a bunch--hurrah for
+free trade! _Here's_ your turnips!" Until it is seen and heard, we have no
+sense of the scramble that is going on throughout London for a living. The
+same scene takes place at the Brill--the same in Leather-lane--the same in
+Tottenham-court-road--the same in Whitecross-street; go to whatever corner
+of the metropolis you please, either on a Saturday night or a Sunday
+morning, and there is the same shouting and the same struggling to get the
+penny profit out of the poor man's Sunday's dinner.
+
+Since the above description was written, the New Cut has lost much of its
+noisy and brilliant glory. In consequence of a New Police regulation,
+"stands" or "pitches" have been forbidden, and each coster, on a market
+night, is now obliged, under pain of the lock-up house, to carry his tray,
+or keep moving with his barrow. The gay stalls have been replaced by deal
+boards, some sodden with wet fish, others stained purple with
+blackberries, or brown with walnut peel; and the bright lamps are almost
+totally superseded by the dim, guttering candle. Even if the pole under
+the tray or "shallow" is seen resting on the ground, the policeman on duty
+is obliged to interfere.
+
+The mob of purchasers has diminished one-half; and instead of the road
+being filled with customers and trucks, the pavement and kerbstones are
+scarcely crowded.
+
+
+THE SUNDAY MORNING MARKETS.
+
+Nearly every poor man's market does its Sunday trade. For a few hours on
+the Sabbath morning, the noise, bustle, and scramble of the Saturday night
+are repeated, and but for this opportunity many a poor family would pass a
+dinnerless Sunday. The system of paying the mechanic late on the Saturday
+night--and more particularly of paying a man his wages in a
+public-house--when he is tired with his day's work, lures him to the
+tavern, and there the hours fly quickly enough beside the warm tap-room
+fire, so that by the time the wife comes for her husband's wages, she
+finds a large portion of them gone in drink and the streets half cleared,
+thus the Sunday market is the only chance of getting the Sunday's dinner.
+
+Of all these Sunday morning markets, the Brill, perhaps, furnishes the
+busiest scene; so that it may be taken as a type of the whole.
+
+The streets in the neighbourhood are quiet and empty. The shops are closed
+with their different coloured shutters, and the people round about are
+dressed in the shiny cloth of the holiday suit. There are no "cabs," and
+but few omnibuses to disturb the rest, and men walk in the road as safely
+as on the footpath.
+
+As you enter the Brill the market sounds are scarcely heard. But at each
+step the low hum grows gradually into the noisy shouting, until at last
+the different cries become distinct, and the hubbub, din, and confusion of
+a thousand voices bellowing at once, again fill the air. The road and
+footpath are crowded, as on the over-night; the men are standing in
+groups, smoking and talking; whilst the women run to and fro, some with
+the white round turnips showing out of their filled aprons, others with
+cabbages under their arms, and a piece of red meat dangling from their
+hands. Only a few of the shops are closed; but the butcher's and the coal
+shed are filled with customers, and from the door of the shut-up baker's,
+the women come streaming forth with bags of flour in their hands, while
+men sally from the halfpenny barber's, smoothing their clean-shaved chins.
+Walnuts, blacking, apples, onions, braces, combs, turnips, herrings, pens,
+and corn-plasters, are all bellowed out at the same time. Labourers and
+mechanics, still unshorn and undressed, hang about with their hands in
+their pockets, some with their pet terriers under their arms. The pavement
+is green with the refuse leaves of vegetables, and round a cabbage-barrow
+the women stand turning over the bunches, as the man shouts "Where you
+like, only a penny." Boys are running home with the breakfast herring held
+in a piece of paper, and the side-pocket of an apple man's stuff coat
+hangs down with the weight of halfpence stored within it. Presently the
+tolling of the neighbouring church bells break forth. Then the bustle
+doubles itself, the cries grow louder, the confusion greater. Women run
+about and push their way through the throng, scolding the saunterers, for
+in half-an-hour the market will close. In a little time the butcher puts
+up his shutters, and leaves the door still open; the policemen in their
+clean gloves come round and drive the street-sellers before them, and as
+the clock strikes eleven the market finishes, and the Sunday's rest
+begins."
+
+
+As it was in the beginning of our book and in the days of Queen
+Elizabeth:--
+
+    "When the City shopkeepers railed against itinerant traders of every
+    denomination, and the Common Council declared that in ancient times
+    the open streets and lanes had been used, and ought to be used only,
+    as the common highway, and not for the hucksters, pedlars, and
+    hagglers, to stand and sell their wares in"--
+
+so it is now, in the Victorian age, and ever will be a very vexed
+question, and thinking representative men of varied social positions
+materially differ in opinion; some contending that the question is not of
+class interest but that of the interest of the public at large; some argue
+in an effective but perfectly legal and orderly manner for the removal of
+what they term a greivous nuisance; others ask that an industrious and
+useful class of men and women should be allowed their honest calling. They
+protest against the enforcement of an almost obsolete statute which
+conduces to the waste of fruit, fish, and vegetables, in London and large
+towns, which practically maintains a trade monopoly, and discourages an
+abundant supply. They claim for the public a right to buy in the cheapest
+market, and plead for a liberty which is enjoyed unmolested in many parts
+of the kingdom, and protest against a remnant of protectionist restriction
+being put into force against street-hawking.
+
+By the side of this temperate reasoning, let us place the principal
+arguments which are so often reiterated by aldermen, deputies,
+councillors, vestrymen, and others, when "drest in a little brief
+authority," and come at once to the _gravamen_ of the charge against the
+hawkers, which we find to consist in the nuisance of the street cries.
+
+London, as a commercial city, has numbers of visitors and residents to
+whom quiet is of vital importance. The street cries, it is alleged,
+constitute a nuisance to the public, particularly to numbers of
+day-time-alone occupants, to whom time and thought is money. It is the
+same thing repeated with many of the suburban residents, in what is
+generally known as quiet neighbourhoods. Discounting duly the rhetorical
+exaggeration, it is to be feared the charge must be admitted. Therefore,
+the shopkeepers argue, let us put down the hawking of everything and
+everybody. But this does not follow at all. Not only so, but the proposed
+remedy is ridiculously inadequate to the occasion. Admit the principle,
+however, for the sake of argument and let us see whither it will lead us.
+At early morn how often are our matutinal slumbers disturbed by a
+prolonged shriek, as of some unfortunate cat in mortal agony, but which
+simply signifies that Mr. Skyblue, the milkman, is on his rounds. The
+milkman, it is evident, must be abolished. People can easily get their
+breakfast milk at any respectable dairyman's shop, and get it, too, with
+less danger of an aqueous dilution. After breakfast--to say nothing of
+German bands and itinerant organ grinders--a gentleman with a barrow
+wakens the echoes by the announcement of fresh mackerel, salmon, cod,
+whiting, soles or plaice, with various additional epithets, descriptive of
+their recent arrival from the sea. The voice is more loud than melodious,
+the repetition is frequent, and the effect is the reverse of pleasing to
+the public ear. Accordingly we must abolish fish hawking: any respectable
+fishmonger will supply us with better fish without making so much noise
+over it; and if he charges a higher price it is only the indubitable right
+of a respectable tradesman and a ratepayer. Then comes on the scene, and
+determined to have a voice--and a loud one, too, in the morning's
+hullabaloo, the costermonger--Bill Smith, he declares with stentorian
+lungs that his cherries, plums, apples, pears, turnips, carrots, cabbages,
+_cow_cumbers, _sparrow_-grass, _colly_-flow-ers, _inguns_, _ru-bub_, and
+_taters_, is, and allus vos rounder, sounder, longer, stronger, heavier,
+fresher, and ever-so-much cheaper than any shopkeeping greengrocer as ever
+vos: Why? "Vy? cos he don't keep not no slap-up shop vith all plate-glass
+vinders and a 'andsom sixty-five guinea 'oss and trap to take the missus
+and the kids out on-a-arternoon, nor yet send his sons and darters to a
+boarding school to larn French, German, Greek, nor playing on the
+pianoforte." All this may be very true; but Bill Smith, the costermonger,
+is a noisy vulgar fellow; therefore must be put down. Mrs. Curate, Mrs.
+Lawyer, Mrs. Chemist, and Miss Seventy-four must be taught to go to the
+greengrocer of the district, Mr. Manners, a highly respectable man, a
+Vestryman and a Churchwarden, who keeps:--
+
+  PLATE, WAITERS, AND LINEN FOR HIRE.
+  N.B.--EVENING PARTIES ATTENDED.
+
+As the morning wears on we have:--"I say!--I say!! Old hats I buy," "Rags
+or bones," "Hearthstones," "Scissors to grind--pots, pans, kettles or old
+umbrellas to mend," "Old clo! clo," "Cat or dog's meat," "Old china I
+mend," "Clothes props," "Any old chairs to mend?" "Any ornaments for your
+fire stove," "Ripe strawberries," "Any hare skins,"--"rabbit skins," "Pots
+or pans--jugs or mugs," "I say, Bow! wow! and they are all a-growing and
+a-blowing--three pots for sixpence," and other regular acquaintances, with
+the occasional accompaniment of the dustman's bell, conclude the morning's
+performance, which, altogether is reminiscent of the "Market Chorus" in
+the opera of _Masaniello_; and if the public quiet is to be protected, our
+sapient Town Councillors would abolish one and all of these, dustman
+included. One of the latest innovations upon the peace and happiness of an
+invalid, an author, or a quiet-loving resident, is the street vendor of
+coals. "Tyne Main," or "Blow-me-Tight's," Coals! "C-o-a-l-s, _one and
+tuppence a underd--see'em weighed_." This is the New Cry. Small waggons,
+attended by a man and a boy, go to our modern railway sidings to be filled
+or replenished with sacks containing 56 lbs. or 112 lbs. of coals, and
+then proceed to the different suburban quiet neighbourhoods, where the man
+and boy commence a kind of one done the other go on duet to the above
+words, which is enough to drive the strongest trained one crazy. All the
+great coal merchants seem to have adopted this method of retailing coals,
+and have thus caused the almost total abolition of coal sheds, and the
+greengrocer and general dealer to abandon the latter part of his calling.
+Our afternoon hours, after the passing of the muffin bell, are made
+harmonious by public references to shrimps, fine Yarmouth bloaters,
+haddocks, periwinkles, boiled whelks, and water_creases_, which are too
+familiar to need description; and our local governors in their wisdom
+would bid us no longer be luxurious at our tea, or else go to respectable
+shops and buy our "little creature comforts." Professing an anxiety to put
+down street cries, our police persecute one class out of a multitude, and
+leave all the rest untouched. It is not only an inadequate remedy, but the
+remedy is sought in the wrong direction. The fact is, that the street
+noises are an undoubted evil, and in the interests of the public, action
+should be taken not to put them down, but to regulate them by local
+bye-laws, leaving the course of trade otherwise free. It is a plan adopted
+in most of the greater towns which have in any way dealt with the subject.
+
+
+THE DEMONS OF PIMLICO.
+
+[From _Punch_.]
+
+Edwin is a Young Bard, who has taken a lodging in a Quiet Street in
+Belgravia, that he may write his Oxford Prize Poem. The interlocutors are
+Demons of both Sexes.
+
+  EDWIN (composing). Where the sparkling fountain never ceases--
+      _Female Demon._             "_Wa-ter-creece-ses!_"
+
+  EDWIN. And liquid music on the marble floor tinkles--
+      _Male Demon._               "_Buy my perriwinkles!_"
+
+  EDWIN. Where the sad Oread oft retires to weep--
+      _Black Demon._              "_Sweep! Sweep!! Sweep!!!_"
+
+  EDWIN. And tears that comfort not must ever flow--
+      _Demon from Palestine._     "_Clo! Clo!! Old Clo!!!_"
+
+  EDWIN. There let me linger beneath the trees--
+      _Italian Demon._            "_Buy, Im-magees!_"
+
+  EDWIN. And weave long grasses into lovers' knots--
+      _Demon in white apron._     "_Pots! Pots!! Pots!!!_"
+
+  EDWIN. Oh! what vagrant dreams the fancy hatches--
+      _Ragged Old Demon._         "_Matches! Buy Matches!_"
+
+  EDWIN. She opes her treasure-cells, like Portia's caskets--
+      _Demon with Cart._          "_Baskets, any Baskets!_"
+
+  EDWIN. Spangles the air with thousand-coloured silks--
+      _Old Demon._                "_Buy my Wilks! Wilks!! Wilks!!!_"
+
+  EDWIN. Garments which the fairies might make habits--
+      _Lame Demon._               "_Rabbits, Hampshire Rabbits!_"
+
+  EDWIN. Visions like those the Interpreter of Bunyan's--
+      _Demon with a Stick._       "_Onions, a Rope of Onions!_"
+
+  EDWIN. And give glowing utterances to their kin--
+      _Dirty Demon._              "_Hare's skin or Rabbit skin!_"
+
+  EDWIN. In thoughts so bright the aching senses blind--
+      _Demon with Wheel._         "_Any knives or scissors to grind!_"
+
+  EDWIN. Though gone, the Deities that long ago--
+      _Grim Demon._               "_Dust Ho! Dust Ho!!_"
+
+  EDWIN. Yet, from her radiant bow no Iris settles--
+      _Swarthy Demon._            "_Mend your Pots and Kettles!_"
+
+  EDWIN. And sad and silent is the ancient seat--
+      _Demon with Skewers._       "_Cat's M-e-a-t!_"
+
+  EDWIN. For there is a spell that none can chase away--
+      _Demon with Organ._         "_Poor Dog Tray!_"
+
+  EDWIN. And a charm whose power must ever bend--
+      _Demon with Rushes._        "_Chairs! Old chairs to mend!_"
+
+  EDWIN. And still unbanished falters on the ear--
+      _Demon with Can._           "_Beer! Beer, any Beer!_"
+
+  EDWIN. Still Pan and Syrinx wander through the groves--
+      _She Demon._                "_Any Ornaments for your fire stoves!_"
+
+  EDWIN. Thus visited is the sacred ground--
+      _Second Demon with Organ._  "_Bobbing all around!_"
+
+  EDWIN. Ay, and for ever, while the planet rolls--
+      _Demon with Fish._          "_Mackerel or Soles!_"
+
+  EDWIN. Crushed Enceladus in torment groans--
+      _Little Demon._             "_Stones! Hearthstones!_"
+
+  EDWIN. While laves the sea, on the glittering strand--
+      _Third Demon with Organ._   "_O, 'tis hard to give the hand!_"
+
+  EDWIN. While, as the cygnet nobly walks the water--
+      _Fourth Demon with Organ._  "_The Ratcatcher's Daughter!_"
+
+  EDWIN. And the Acropolis reveals to man--
+      _Fifth Demon with Organ._   "_Poor Mary Anne!_"
+
+  EDWIN. So long the presence, yes, the MENS DIVINA--
+      _Sixth Demon with Organ._   "_Villikins and his Dinah!_"
+
+  EDWIN. Shall breathe whereso'er the eye shoots--
+      _Six Dirty Germans with_--  "_The overture to Freischutz!_"
+
+  Here--EDWIN GOES MAD.
+
+
+AND OUR WORK COMES TO A TIMELY
+
+END.
+
+[Illustration]
+
+
+
+
+INDEX.
+
+
+  Addison, on London Cries, 118
+
+  Adelphi Theatre, The, 70
+
+  Aldersgate--Aldgate, 17
+
+  Ale and Wine, 6
+
+  Alexander Gell, 6
+
+  Annibale Carracci, 1
+
+  Alsatia--Its Notoriety, 26
+
+  Archers,--The City, 20
+
+  Attic-Poet, The, 146
+
+
+  Babies--Male and Female, 76
+
+  Bags of Mystery!, 127
+
+  Band-Cuffe-Ruffe, 71
+
+  Bankside, 22, 23, 24
+
+  Bards of Seven Dials, 161
+
+  Barrow-woman, The, 112
+
+  Bartholomew Bird, A, 76
+
+       "      Fair--_see_ Ben Jonson.
+
+  Bay Cottage, Edmonton, 137
+
+  Baynard's Castle, 25
+
+  Beau-Trap, What, 154
+
+  Beaumont and Fletcher, 34
+
+  Bellman of London &c., 49, 50, 51, 52, 53
+
+  Bellman's Merry Out Cryes, 52
+
+      "     Song, A, 50
+
+      "     Treasury, The, 52
+
+      "     Verses, 51, 53, 55
+
+  Ben Jonson's:--
+    Bartholomew Fair, 34, 75, 78
+    Costard-Mongers, 28, 34
+    Fish-Wives, 28
+    London, 16
+    Orange Woman, 28, 109
+    Silent Woman, 26, 29
+
+  Bennett--The News-cryer, 151
+
+  Billingsgate--Bummarees at, &c., 237
+
+  Bishopsgate, 17
+
+  Blacking Man, 60
+
+  Blacking--Day and Martin's, 156
+
+     "    --Patent Cake, 156
+
+  Bookseller's Row, W.C., 203
+
+  Boar's Head Tavern, 8
+
+  Bridgewater Library, The, 73
+
+  Bristle--A Brush-Man, 80
+
+  British Museum--London Cries in, 56
+
+  Brompton's Chronicle, 232
+
+  Broom--Buy-a-Broom Girls, 223
+
+  Broom-men, The, 29, 32
+
+  Bucklersbury--Simple time, 21, 127
+
+  Budget--A Tinker, 81
+
+  Burbadge, R. and J. (Actors), 90
+
+  Buskers, 9
+
+  Butcher's Row, Strand, W.C., 253
+
+  Byron, H. J.--A Word-twister, 71
+
+  Bow Bells, The sound of, 45
+
+  Britton, Small Coalman, 124
+
+  Birdman, The, 250
+
+  Black Jack--What?, 134
+
+
+  Cannon Street, 7, 8
+
+  Canonbury Tower, 135
+
+  Canwyke Street, 7
+
+  Card Matches--Vendors of, 120
+
+  Cardinal Cap Alley, 23
+
+  Catch that Catch Can, 99, 101
+
+  Catnach--"_Old Jemmy_," 161, 180, 186, 194, 195
+
+  Charing, The Village of, 6
+
+  Charles 1st, 6, 15, 35
+
+  Charles Dickens, 9, 146
+
+  Charles Knight's London, 153
+
+  Charles Lamb, 131, 4, 6, 8
+
+  Charles Mathews, 223
+
+  Chaucer, Geoffry, 1
+
+  Cheapside Cross, The, 19
+
+  Chelsea--Bun Houses at, 207
+
+  Churchwarden--Pipes, 134
+
+  Chiropodist, The, of to day, 127
+
+  City Walls, 18
+
+  Clause--A popular Vagabond, 83
+
+  Clerkenwell--A Village, 124, 139
+
+  Clint--The Liberty of, 23
+
+  Coals, a public nuisance, 15
+
+  Coalmen--Small, 73, 124
+
+  Cocks--_i.e._ Catchpennies, 173
+
+  Colebrooke Row, Islington, 132
+
+  Coleridge and the Old clo-man, 60
+
+  Collier, Mr. John Payne, 89
+
+  Colly-Molly--Puff-Pastry-man, 121
+
+  Copy of Verses, 164, 173
+
+  Corder, Wm. Murderer, 169
+
+  Costermongers, 29, 32, 34
+
+  Countryman in Lunnun, The, 7
+
+  Cow--With the iron tail, 143
+
+  Cries of Bologna, 1
+
+  Cries of London ever popular, 1
+
+  Cries of London--a Collection of, 31, 56, 63, 79, 102, 115
+
+  Cries of Rome, _i.e._--London, 64
+
+  Curtain Road, 90
+
+
+CRIES OF LONDON--Ancient and Modern. Alphabetically Arranged.
+
+  Almanack--Buy an, 60, 341
+
+  Aloes, that blossom rarely, 140
+
+  Anchovies--Buy my, &c., 265
+
+  Apples--Baked, 127
+
+  Apricots--Buy fine, 116
+
+  Aqua Vitæ, 60, 127
+
+  Artichokes, 35, 60, 73, 113
+
+  Asparagus--Any ripe, 35, 115
+
+  Apple Tarts, Nice hot to-day, 275
+
+
+  Bacon--A Suck of, 239
+
+  Baked Potatoes, 259
+
+  Ballads--Buy a fine, new, &c., 76
+
+  Balm, 115
+
+  Balsams, Buy fine, 340
+
+  Banbury Cakes, O!, 269
+
+  Bandstrings--Buy, 73, 82, 88
+
+  Barley-Broth--Here's, 114
+
+  Bay--Buy any, &c., 60
+
+  Beans--White, Windsor &c., 35, 115, 184
+
+  Beads and Laces, 88
+
+  Basket, Buy a, 345
+
+  Bear's-foot--Buy my, 115
+
+  Beef--Ribs, fat and fine, 58
+
+  Bellows--Old, to mend, &c., 60
+
+  Birds and Hens--Buy any, 62
+
+  Black your Shoes, Sir?, 155
+
+  Blacking, Buy, 94
+
+  Blue--Buy my, 114
+
+  Blue Starch, 61
+
+  Bodkin--Here's a gilt, 82
+
+  Bone-Lace--Buy, 62, 82
+
+  Book--Buy a new, &c., 63
+
+  Boots--Have you any old?, 13, 14
+
+  Bow or Bough-pot (_flower-pot_), 61
+
+  Box--Buy my growing, 340
+
+  Box--Bonnet or cap, 297
+
+  Brass Pot, or an Iron Pot, 126
+
+  Bread and Meat, for poor prisoners, &c., 61, 64, 72, 126
+
+  Brick-Dust, 119
+
+  Briar--Buy sweet, 127-128
+
+  Broccoli--Here's fine, 115
+
+  Broken-Glasses, 119
+
+  Broom--Buy a, 80, 289
+
+  Brooms for old shoes, 36
+
+  Broom--New green, &c., 13, 58, 80
+
+  Brush--Buy long, new, &c., 61, 62, 73
+
+  Buns--See Hot-Cross-Buns
+
+  Butter--Sixpence a-pound, 116
+
+  Buskins--Have you any?, 14
+
+  Buttons--Buy any?, 61
+
+  Buttons--Hankercher, 73
+
+
+  Cabbage--White-heart, &c., 62, 113
+
+  Calf's Feet--Here's fine, 116
+
+  Candle-stick--Buy a, 61
+
+  Canes--For young and old, 260, 346
+
+  Cap Box--Bonnet Box, 297
+
+  Capers--Buy my, &c., 265
+
+  Carrots--Buy, 62, 115, 277
+
+  Case for a Hat--Buy a, 62
+
+  Cat's and Dog's Meat, 368
+
+  Cauliflowers--Here's, 115
+
+  Celery--Buy my nice, 116
+
+  Chairs to mend, 73, 114, 126, 371
+
+  Cheese and Cream--Any fresh, 62, 117, 139
+
+  Cherries--In the rise, _i.e._ stick, 6, 108
+
+    "       Ripe, 6, 60
+
+    "       Round and Sound, 113, 183
+
+    "       Kentish
+
+  Chesnuts--Roasted &c., 62, 241
+
+  Chickens--Buy alive, 295
+
+  Chimney Sweep, 29, 60, 252
+
+  Cinquefoil, 115
+
+  Clean your Boots, Sir?, 153
+
+  Clo! Clo!--Old Clothes, 37, 354
+
+  Clothes Pegs--Buy my, 184
+
+  Cloth--Scotch or Russian, 126
+
+  Clothes Lines--Props, 184, 278
+
+  Close-stool--Buy a cover for, 66, 93
+
+  Clove Water--Buy any?, 63
+
+  Coal--Maids any small?, 60
+
+  Cock or a Gelding (_Capon_), 73
+
+  Cockles-Ho!, 60, 79, 267
+
+  Cod--New, fine-water'd, 61, 116
+
+  Codlings--Hot, 62, 73, 113, 183
+
+  Codlings--Crumpling, 183
+
+  Coife--Buy a fine, 82
+
+  Coleworts--Here's green, 115
+
+  Cony-Skins--(_Rabbit_), 60, 84
+
+  Corn-Poppies--Here's, 116
+
+  Corns--Any to cut, pick, &c., 62, 75, 113
+
+  Cooper--Any work for a?, 60, 73, 113, 121
+
+  Crabs--Come buy my, &c., 116, 343
+
+  Cranberries--Buy my, &c., 259
+
+  Cream and Cheese, 139
+
+  Cucumbers, Ripe &c., 35, 63, 116, 256
+
+  Curds, 81
+
+  Currants--Here's, 81
+
+  Cut Flowers, 255
+
+
+  Dabs--Come buy my, 116, 128
+
+  Damsons--Buy ripe, 61
+
+  Dandelion--Here's ye, 115
+
+  Dog's Meat, 368
+
+  Door-Mat--Buy a, 279, 376
+
+  Doublets--Any old?, 60
+
+  Dragon's-tongue--Here's ye, 115
+
+  Dumplings Diddle, diddle, 115
+
+  Dust O!, 248
+
+  Duck--Buy a, 116
+
+
+  Earthen-Ware--To-day?, 296
+
+  Eels--Buy a dish of, 41, 116, 298
+
+  Eel Pies--Hot, hot!, 62
+
+  Eggs--New laid, 10 a groat, 116
+
+  Elder-buds--For the blood, 114
+
+  Ells or Yards--Buy, 61
+
+  Ends of gold, 60
+
+
+  Featherfew and Rue, 115
+
+  Felt Hats, 5
+
+  Fenders--I paint, 231
+
+  Figs--Buy any?, 61, 116
+
+  Filberts--Ripe, Brown, &c., 116, 183
+
+  Fleas--Buy a tormentor for, 66, 75
+
+  Flounders, 30, 61, 116, 268
+
+  Flowers--Buy my, 356
+
+  Fowl--A choice, 116
+
+  Footstool--Buy a, 61
+
+  French Beans--Buy, 116
+
+  French Garters, 71
+
+
+  Garlick--Buy any?, 62
+
+  Garters for the knee, 61, 82, 88
+
+  Gazette, London--Here, 126, 339
+
+  Geraniums--Scarlet, &c., 240
+
+  Gilliflowers, &c., 115
+
+  Gingerbread--Hot, 75, 114, 349
+
+  Glass to mend, 61
+
+  Glasses--Broken, 120
+
+  Golden Pippins--Who'll buy, 290
+
+  Gold-end--Have you any?, 60
+
+  Goose--Buy a, 116
+
+  Gooseberries--Buy my fine, 261
+
+  Green Coleworts--Here's, 115
+
+  Greens, 2d. a bunch, 355
+
+  Green Peas--All hot-hot!, 239, 296
+
+  Gudgeons--Fine, &c., 115
+
+  Gaudes--Dainty for Sunday, 88
+
+  Ground-Ivy--Buy my, 115
+
+
+  Haddocks--Buy my fine, 61, 116
+
+  Hair--Maids any to sell?, 113
+
+  Hair Brooms, or a Brush, 289
+
+  Hair-line--Buy a?, 62
+
+  Hang out your Lights here, 46-47
+
+  Handkerchief-buttons--Buy, 73
+
+  Hare Skins--I buy, 83
+
+  Hastings--Young and Green, 115
+
+  Hat, or Cap Box?, 297, 356
+
+  Hat--Buy a case for, 62
+
+  Hats--Fine felt, 5
+
+  Hats or Caps--To dress, 62
+
+  Hats or Caps--Buy or sell, 38
+
+  Hassock for your Pew, 66, 72
+
+  Hautboys--Ripe, 115
+
+  Hearth-stones--Want any?, 158, 362
+
+  Heart's-ease--Buy any?, 115
+
+  Herbs--Here's fine of every sort, 115
+
+  Herrings--Fine new, &c., 60, 113
+
+  Hobby-Horses, 73, 76, 106
+
+  Holly--Christmas ho!, 234
+
+  Hone, or Whetstone, 73
+
+  Hornbook--Buy a, 85
+
+  Horns--Shall I mend your?, 114
+
+  Hot-Cross Buns, 185, 202, 263
+
+  Hot Mutton--Pies, 61, 282
+
+  Hot Pudding--Pies, 62
+
+  Hot Sheep's feet, 7
+
+  Hot Peacods, 6, 127
+
+  Houseleek--Here's ye, 115
+
+  Holloway Cheesecakes, 117
+
+  Hood--Buy a?, 9
+
+  Horehound--Buy any, 115
+
+
+  Images--Come buy my, 287, 357
+
+  Ink--Fine writing-ink, 59, 104, 126
+
+  Ink and Pens, 59
+
+  Iron--Old iron I buy, &c., 40, 60
+
+  Iron Fork or shovel, 105
+
+  Italian Falling Bands, 71
+
+  Ivy--Ground-ivy, 115
+
+
+  Jessamine--Pale, &c., 240
+
+  Jew's Trumps (_i.e. Harps._), 76
+
+  John Apples--Who'll buy, 81
+
+  John the Cooper--Any work for?, 60, 126
+
+
+  Kettles to mend, 64, 303
+
+  Kentish Cherries, 288
+
+  Kitchen-stuff--What have you maids?, 60, 113
+
+  Knives to grind, 277, 373
+
+
+  Laces--Long and Strong, 83, 126
+
+  Lambs--Young to sell, 185, 293
+
+  Lanthorn & Candle, 46, 66, 72
+
+  Lavender--Blooming, 115, 270, 372
+
+  Lawn, Silk, Velvets, 6
+
+  Lights for your cat, 116
+
+  Lilies of the Valley, 294
+
+  Leeks--Here's fine, 116
+
+  Lemons--Fine, 60
+
+  Lettuce--Fine goss, 57, 60, 66
+
+  Lobsters--Buy, 116, 343
+
+
+  Mackerel--Fine, fresh, 7, 29, 60, 73, 271
+
+  Maids--Buy my fresh, 116
+
+  Marjoram--Ho!, 115
+
+  Marking Stone, 57, 61, 64, 72
+
+  Marroguin--Good, 60
+
+  Marrow-bones, Maids, 73
+
+  Marygolds--Here's ye, 115
+
+  Mat--Buy a, 60, 66, 73
+
+  Matches--Buy my, 231
+
+  Milk--Maids below &c., 60, 139, 183, 344
+
+  Mint--Any green, or a bunch, 115, 274
+
+  Mops--Maids buy a, 219, 284
+
+  Mousetrap--Buy a, 65, 75
+
+  Muffins--Buy new, 284
+
+  Muffins, Crumpets
+
+  Mugwort--Buy my, 115
+
+  Mulberries--Here's, 116, 266
+
+  Mullets--Buy my, 116
+
+  Mussels--Lilly-white, 31, 60, 73
+
+  Mutton Dumplings--Hot, 282
+
+  Mutton Pies--Who'll buy?, 61
+
+  Myrtle--Dark green, 340
+
+
+  Nectarines--Fine, 116, 348
+
+  Needles--who buys my, 85
+
+  Nettle-tops--Here's ye, 115
+
+  New River Water--Here 129, 139
+
+  Nosegays--Fine, 115
+
+  Nun's Thread, 71
+
+  Nuts--Fine, new, &c., 113
+
+
+  Oat-Cakes--Fine, 62
+
+  Old Clo! Clo!, 37, 353, 369
+
+  Old Cloaks, Suits or Coats, 38
+
+  Old Doublets, 60
+
+  Old Iron--Take money for, 40
+
+  Old Man--A penny a root, 231
+
+  Old Satin-taffety, or Velvet, 37
+
+  Onions--White St. Thomas', &c., 35, 66, 115
+
+  Oranges--China, golden, ripe, &c., 60, 183, 303
+
+  Oranges and Lemons--Fine, 60
+
+  Oysters--New Wall-Fleet &c., 30, 113, 285, 353
+
+
+  Pail--Buy a new, 231
+
+  Paris-thread, 6
+
+  Parsley--Heres ye, 115
+
+  Parsnips, Buy--Here's fine, 116
+
+  Peaches--Buy my fine, 116, 348
+
+  Pearmains--Buy my, 81
+
+  Pears--Baking, Stewed &c., 85, 61-62, 113, 262
+
+  Peas and Beans--Come buy, 184
+
+  Pea-Soup--All hot!, 239
+
+  Peacods, Hot-hot!, 6, 127
+
+  Penknives to grind, 231
+
+  Pens and Ink, 59-60
+
+  Pennyroyal--Here's ye, 115
+
+  Pepper, Saffron and Spice, 6
+
+  Peppermint--Nice, 237
+
+  Perch--Buy my, 116
+
+  Periwinkles--Quick _i.e. live_, 62, 73, 374
+
+  Pies Hot, 62, 113
+
+  Pigeons--Come buy my, 116
+
+  Pike--Fine live, 116
+
+  Pins of the maker, 63
+
+  Pins and Needles--Who buys?, 85
+
+  Pins for Coney-Skins, 115
+
+  Pippins--Buy my? &c., 60, 290
+
+  Pippin-Pies, 60
+
+  Plaice--Buy dish of, &c., 31, 61, 116
+
+  Plovers--Come buy my, 116
+
+  Plum-Pudding, 4d. a pound, 114
+
+  Plum--Buy my ripe, 116, 299
+
+  Points--Buy any?, 61
+
+  Pomegranites--Fine, 62
+
+  Pompeons (Qy. Pumpkin), 62
+
+  Potatoes--Fine new, 62, 116, 286
+
+  Potatoes--All hot, 359
+
+  Pot--Buy a white, 61
+
+  Pots and Pans, 231
+
+  Pots, Pans, Kettles to mend, 264, 301
+
+  Powder and Wash-ball, 121
+
+  Pretty Pins--Pretty women?, 126
+
+  Primroses--Buy, 228, 246
+
+  Props or Lines, 184
+
+  Prunes--Buy, 2d. a-pound, 61, 115
+
+  Purse--Buy a, 300
+
+
+  Quick (_i.e. live_) Perriwinkles, 62, 73
+
+
+  Rabbits--Who'll buy, 116, 273
+
+  Rabbit-skins--Any to sell, buy, 60, 84
+
+  Radish--Buy my white, &c., 35, 62, 66, 115
+
+  Raisons--Buy any?, 61
+
+  Rareee Show--Take a peep, 280
+
+  Ribs of beef--Fine, 5
+
+  Rice-milk--Here's hot, 114, 127, 347
+
+  Rice--New, 2d. a pound, 116
+
+  Rings--Powch-posies, 13, 88
+
+  Rope-Mats--Buy one, 278
+
+  Roses--Buy my fine, 340
+
+  Rosemary--Buy my, 60, 115, 257
+
+  Rosemary and Briar, 127, 257
+
+  Rue--Buy a bunch, &c., 115, 274
+
+  Rushes--Green, 7-8, 62
+
+
+  Saffron, Spice and Pepper, 6
+
+  Sage--Buy a bunch &c., 115, 274
+
+  Salad--Ready picked, 115
+
+  Salmon--Fine, Newcastle, &c., 30, 258
+
+  Saloop--Hot and good, 116, 127
+
+  Samphire--Rock, 60, 72
+
+  Sand--Silver sand, 113
+
+  Sashes--Ribbons or lace, 179
+
+  Satin--Old, 37
+
+  Sausages, 56, 61
+
+  Save-all--Buy a, 80
+
+  Savoys--Here's fine, 115
+
+  Scissors ground, 1d. per pair, 277
+
+  Screens, from the fire, 73
+
+  Scurvy-grass--Any?, 62, 115
+
+  Shads--Come buy my, 60, 116
+
+  Shirt Buttons--Buy, 272
+
+  Sheep's Trotters--Hot, 7, 127
+
+  Shoes-Buy--I buy, 14, 61
+
+  Shovel and Iron Fork, 105
+
+  Shrimps--Fine, New, 61, 116, 374
+
+  Silk Velvets lawn, 6
+
+  Singing Bird--Buy a fine, 107, 115
+
+  Silver Sand--Buy, 113
+
+  Small Coals, 73, 116, 124
+
+  Smelts--Buy my &c., 31, 62, 116
+
+  Socks--Holland socks, 126
+
+  Soles--Fine, &c., 62
+
+  Songs--A choice of, 83
+
+  Songs--Three yards a penny, 187
+
+  Southernwood, that's very good, 115
+
+  Spice, pepper and saffron, 6
+
+  Spice graters, 58
+
+  Sprats--Buy my, 61, 116
+
+  Spinach--Here's, 116
+
+  Starch--Blue, 61
+
+  Stocks--Buy fine, 340
+
+  Straw--Will you buy any?, 79
+
+  Strawberries--Ripe, &c., 6, 62, 108, 115, 185, 276
+
+  Steel or Tinder-box, 73
+
+  Stopple--For your close-stool, 66
+
+  Stomach water, 63
+
+  Sweep, 184
+
+  Sweet Briar--Buy my, 257, 277
+
+
+  Table-mat--Buy a, 251
+
+  Tape--Buy any?, 61
+
+  Tarts--All hot, 113
+
+  Teal--Come buy my, 116
+
+  Tench--Buy my, 116
+
+  Teeth--Any to draw?, 81
+
+  Thornback--New, 62
+
+  Tinder-Box--Buy a, 79
+
+  Tinker--Have you any work for a?, 60, 73, 264
+
+  Toasting Forks, 58, 61, 99
+
+  Toasting-Iron, 61
+
+  Toys, For girls and boys, 185
+
+  Trap for fleas, 66
+
+  Trinkets--Want any?, 291
+
+  Tripes--Fine, 116
+
+  Troop--Every one, 106
+
+  Trotters--Here's, 116
+
+  Turnips--Buy bunch, 60, 115, 277
+
+  Turbot--All alive, 237
+
+  Thyme, Rue, &c., 115
+
+
+  Velvets, Silk, Lawn, 6
+
+  Venice Glasses--Come buy, 59
+
+  Vinegar--Lilly-white, 126
+
+  Violets--Buy my, 128
+
+  Violins--Buy, 76
+
+
+  Wafers--Buy any?, 126
+
+  Walking-sticks--Buy my, 139, 260
+
+  Walnuts, New, crack and try, &c., 62, 115, 241, 242, 243
+
+  Warders--Hot (Pears), 127
+
+  Wash-Ball--Want any, 58, 62, 291
+
+  Watch--Buy of me, 291
+
+  Water--Buy spring here?, 129, 139
+
+  Water-cresses--Buy fresh, &c., 115, 127
+
+  Wax--Buy any?, 126, 281, 353
+
+  Wheat--Buy any?, 62, 73
+
+  Whetstone--Buy a, 73
+
+  Whistle, for your boy, 82
+
+  White Scallions (_Shalots_), 62
+
+  Whiting--Any new, fresh, &c., 30, 62, 66
+
+  Whiting Maps, 61
+
+  Widgeon--Come buy my, 116
+
+  Wigs--A fine tie or bob?, 126
+
+  Wild Duck--Buy a, 116
+
+  Windsor Beans, 115
+
+  Wine--One penny a pint, 10
+
+  Winter-Savoy--Here you have, 115
+
+  Wood--Any to cleave?, 15, 62, 124
+
+  Wood-sorrel--Here's ye, 115
+
+  Worcestershire Salt, 61, 62
+
+  Wormwood--Here's fine, 115
+
+
+  Yards and Ells, 61
+
+  Yorkshire Cakes, 254
+
+  Yorkshire Muffins, 116
+
+  Yarmouth Bloaters, 237
+
+
+  Cry--_Much cry, but little wool_, 120
+
+  Crying Things in London, 73
+
+  Curds--A cheesewoman, 81
+
+  Cutler's Poetry upon a knife, 52
+
+
+  Deacon's Music Hall, 131
+
+  Decker, Thomas, _alias_ Dekker, 50
+
+  Deuteromelia, or Roundelays, 70
+
+  Dick Tarlton--Jester, 136
+
+  Dick, The Shoe Black, 155
+
+  Dimsdale--Mayor Garrett, 199
+
+  Ditty--A ballad-man, 80
+
+  Dogberry--The Watchman, 49
+
+  Drunken Barnaby at Holloway, 117
+
+  Duke of Devonshire's drawings, 63
+
+  Dumpling Woman--The, 253
+
+  Dunstan--Sir Jeffery, 196
+
+     "     Mayor of Garrett, 197
+
+     "     Death of, 198
+
+  Dustman--The, 249
+
+  Dying Speeches, 160, 172
+
+       "    Albert Smith's, 173
+
+       "    Ann William's, 163
+
+       "    Wm. Corder's, 170
+
+       "    Couvoisier's, 112
+
+       "    Greenacre's, 171
+
+       "    Thurtell's, 167
+
+
+  Earl of Ellesmere, 73
+
+  Eastern Cheap-Market, 8
+
+  Eastwood ho!--A Comedy, 62
+
+  Ebsworth--Rev. J. W, 83
+
+  Edmonton, 137, 138
+
+  Ely Place--The orchards in, 108
+
+  Elizabeth--Queen, 35, 64
+
+  ELIZA COOK, MISS, POEMS:--
+    Christmas Holly, 244
+    Hot-Cross Buns, 210
+    Old Cries, 244
+    Young Lambs to Sell, 221
+
+  Enfield--Charles Lamb at, 136
+
+
+  Falstaff and Henry V, 8
+
+  Faux-Hall, 23
+
+  Field Lane and Fagan, 6
+
+  Fiddler--The blind, 283
+
+  Finsbury, its groves, 139
+
+  Flower Girls--Saucy, 128
+
+  Flower Pot Man--The, 240
+
+  Flying Stationer--The, 159
+
+  Fish-Fags, 236
+
+  Fish-Wives, 29, 32
+
+  Fisherwomen, 234
+
+  Fortunes of Nigel, 40
+
+  Fortey Mr. _late_ Catnach, 194
+
+
+  Garratt--Mayor of, 197, 200
+
+  George Cruikshank, 222
+
+  George Daniel--Mr., 133
+
+  George Dyer, 133
+
+  Gingerbread Lottery, 350
+
+  Goldsmith--Oliver, 135
+
+  Gravesend and Milton, 10
+
+  Grey Friars, 18
+
+  Greenacre, 172
+
+  Greene Robt,--_Never too Late_, 64
+
+  Grim--The Black Collier, 96
+
+  Grimaldi--Old Joe, 132
+
+  Gum--A tooth drawer, 81
+
+  Guy Fawkes--Guy, 226
+
+
+  Halliwell Street, 90
+
+  Heath--A broom-man, 80
+
+  Hearth Stone Merchant, 158
+
+  Herb-wives, unruly people, 35
+
+  Herb-wife--The, 274
+
+  Herrick, Robert--Pretty Jane
+
+          "        Hesperides, 50
+
+  Heywood, T.--Rape of Lucrece
+
+  Hobbyhorse-seller--A, 75, 106
+
+  Hogarth's Print of "_Evening_", 131
+
+     "      "_Enraged Musician_", 32
+
+     "      Idle 'Prentice, 149
+
+     "      Pieman, 214
+
+  Holborn, 12, 35
+
+     "     Green Pastures in, 139
+
+  Holloway Cheese-cakes, 117
+
+  Holywell Street, 203
+
+  Hone's Every-Day Book, 132, 155
+
+  Hornmen, 150
+
+  Hot Codlings--A Catch, 101
+
+  Hucksters, 35
+
+  Hugh Myddleton, 131
+
+  Hyde Park, 20
+
+
+  Inigo Jones' collection of drawings, 63
+
+  Iron-Tailed Cow--The, 143
+
+  Islington, 131
+
+      "    Clerks from, 155
+
+      "    Garland, 131, 135
+
+
+  Jack Drum's Entertainment, 117
+
+  "Jerry" the spec builder, 139
+
+  Jigs on the Stage, 80
+
+  Jin Vin. in Prentices-riots, 41
+
+  John Bunyan--A Tinker, 100
+
+  John Howard, 126
+
+  John Stow's Survey of London, 2
+
+  John Taylor--The Water-Poet, 90
+
+  Johnson, Dr. on London-cries, 36
+
+
+  Kate Smith--Milkmaid, 241
+
+  Kelly--Frances, M., 137
+
+  Kempe--A Comedian, 90
+
+  Kent--Lambarde's, 10
+
+
+  Lackpenny--_see_ London
+
+  Lambeth, 23
+
+  Lauron's Cries--see Mauron
+
+  Law, Thomas--The Bellman, 53
+
+  Lawyer's and Suitors, 11
+
+  La Zoon--Partrait Painter, 103
+
+  Lettuce Woman--The, 57
+
+  Life in London, 8
+
+  Light of other Days--The, 63
+
+  Liston, W., "London Crier", 220
+
+  London, Barrow Women, 112, 222
+
+     "    Bridge, 25, 26
+
+     "    Chanticleers, a Comedy, 79
+
+     "    Labour, 7
+
+     "    Lackpenny, 2, 3, 10
+
+     "    Lawyers, 11
+
+     "    Milk Carriers, 139 to 147
+
+     "    'Prentice riots, 42, 45
+
+     "    Stall Keepers, 11
+
+     "    Stone--The, 7, 11
+
+     "    The Three Ladies of, 12
+
+     "    Wall--The, 17
+
+     "    Without lamps, 51
+
+  Ludgate--Poor Prisioners in, 17, 18
+
+  Lupton's London (1632), 234
+
+  Luttrell's Collection of Broadsides, 52
+
+  Lydgate--A Monk, 1, 2, 7, 9
+
+     "     his numerous works, 2
+
+     "     his London Lackpenny, 2, 3, 10
+
+     "     Cornhill in his time, 9
+
+     "     Mackerel in his day, 29
+
+
+  Madame Vestris--Her legs, 223
+
+  Maria Marten, & Corder, 168
+
+  Marylebone, 20
+
+  Mauron's-_alias_-Lauron--"Cryes,", 31, 103
+
+  Mayhew's, H., London Labour, 7, 152, 165
+
+  Mayors of Garratt, 127, 200
+
+  Merry Bellman's--Out-Cryes, 52
+
+  Merry Drollery--The, 83
+
+  Milliner's Girls, 70
+
+
+  Nassau Press--The, 195
+
+  Ned Ward--His Time, 124
+
+  Nell Gwynne, 57, 109 to 112
+
+  New Exchange--Strand, 70
+
+  New River--First View of, 130
+
+      "      And Charles Lamb, 130
+
+  News-criers, 150
+
+  Newgate, 18
+
+  Nightingale--A ballad-singer, 75
+
+  Novello--Mr. Vincent, 136
+
+  Northumberland House, 25
+
+
+  Milk--London supply of, 142
+
+  Milkmaids, 141
+
+  Milkman--The Poetical, 147
+
+  Milk and water, 139
+
+  Milk from the Cow, 244
+
+  Miller's Golden Thumb, 92
+
+  Milton's Il Penseroso, 50
+
+  Misson's Travels, 140
+
+  Moorfields, 18
+
+  Moorgate, 17
+
+  Morely,--A Musical Composer, 70
+
+  Morose--A Character, 28, 33
+
+  Mother Red Cap--Holloway, 117
+
+  Much cry, but little wool, 120
+
+  Muffin Man--The, 202
+
+  Muffin and Crumpet Company, 201
+
+  Murder of Mr. Weare, 165
+
+
+  Okes--A printer (1632), 234
+
+  Old clo'--A Jew's monopoly, 39
+
+       "    And Coleridge, 60
+
+  Old Parr's Head--The, 131
+
+  Old Stage waggon--The, 21
+
+  Oliver Twist, 6
+
+  Orange-women, 29, 32, 57
+
+  Oranges imported by Sir. W. Raleigh, 109
+
+  Orlando Gibbons--Musician, 72
+
+  Oyster-wives--unruly people, 35
+
+  O Yes--a mad merry ditty, 52
+
+
+  Pammelia--a musical work, 78
+
+  Paris Gardens, 90
+
+  Pastyme of Pleasure--The, 2
+
+  Paul Mr.--And Catnach, 195
+
+  Paul's Wharf, 25
+
+  Pedlar's French, 64
+
+  Pepy's--His collection, &c., 102
+
+  Pewter Pots, 8, 197
+
+  Pewterer's 'prentice, 28
+
+  Phillips--A comedian, 90
+
+  Pieman--London The, 211 to 219
+
+  Pie Shops--The Penny, 127
+
+  Pie-Poudre--A court of, 76
+
+  Pimlico--A country hamlet, 21
+
+  Pinner-up--Of songs, 193
+
+  Pitts--Ballad-monger, 161
+
+  Place Maubert, 236
+
+  Plate-glass windows, 6
+
+  Playford's Select Ayres, 87
+
+  Pope Thos.--Famous Clown, 90
+
+  Pope's Head--in Cornhill, 10
+
+  Porson--on Barrow-woman, 112
+
+  Potatoes--In reign of James I., 72
+
+  Powder-Watt, 121
+
+  Puddle Dock, 25
+
+  'Prentice Riots, 44
+
+  Prick Song--What!, 52
+
+
+  Queen Anne's--London, 47
+
+
+  Rabbit Man--The, 273
+
+  Raddish and Lettuce-woman, 57
+
+  Ragg--The Bellman's copy of verses, 52
+
+  Ragged School, 157
+
+  Rat-catcher--The, 59
+
+  Red Barn--Murder at, 168
+
+  River Fleet, 17
+
+  Robatos--a kind of Ruff, 71
+
+  Roger Warde--Printer (1584), 12
+
+  Rome mort--Romville, 64
+
+  Roxburghe Ballads--The, 71, 80, 89, 113
+
+  Rushes--Green, the strewing of &c., 7, 8
+
+  Ryle--Mrs. Anne, 194
+
+
+  Saint Fear--Years of, 52
+
+  St. Dunstan's Church, 41, 71
+
+  St. James' Park, 21
+
+  St. Pauls' Cathedral, 43
+
+  Salt, sold in the streets, 62
+
+  Sausage-Woman The, 58
+
+  Second Edition--Sellers, 152
+
+  Seven Dials, 164
+
+  Shakespeare's London, 16 to 27
+
+  Shancke, John--Comic actor, 89
+
+  Shoe-Black--The, 155
+
+  Shoe-Blacks--Last of the, 153
+
+  Shoeblack Society, 157
+
+  Shopkeepers--Loud bawling, 6
+
+  Shoreditch-church--Fields, 33, 90
+
+  Singer--A Comedian, 90
+
+  Sir Hugh Myddleton's Head, 131
+
+  Songs--3 yards a penny, 187
+
+  Sow--Gelder's Horn, 32, 119
+
+  Spectacles, first sold, 5
+
+  Spectator, The--on London cries, 118
+
+  Spring water--Here?, 129
+
+  Stall-keepers--The, 11
+
+  Statutes of the Streets, 48
+
+  Stow's Survey of London, 2, 50
+
+  Strawberries in Holborn, 108
+
+  Strawberry-Woman--The, 276
+
+
+  Tarlton, Comedian, 20
+
+  Tempest's, P. Cries of London, 102
+
+  Theatres--Bankside, 23
+
+      "     The Cockpit, 79
+
+      "     Covent Garden, 23
+
+      "     The Curtain, 89, 90, 95
+
+      "     Drury Lane, 23
+
+      "     The Globe, 22, 89, 90, 95
+
+      "     The Hope, 75
+
+      "     Red Bull, 64, 89, 95
+
+      "     Sadler's Wells, 130, 132
+
+      "     The Theatre, 64, 90
+
+      "     The Swan, 89, 90, 95
+
+  Thurtell--John, Murderer, 165
+
+      "     Hook's verses on, 166
+
+  Three Ladies of London, 12, 15
+
+  Tiddy-Doll--Vendor of Gingerbread, 148, 264
+
+  Tinker--The Jolly, 302
+
+  Troop--Every One, 106
+
+  Tripe-wives--unruly people, 35
+
+  Trotter Yard--The, 7
+
+  Turner's Dish of Stuff, 89, 91
+
+
+  Veal, with a _hammy_ knife!, 239
+
+
+  Watchman--The London, 46
+
+  Water Carrier--The, 129
+
+  Water-Poet--_see_ John Taylor
+
+  Walter Raleigh and oranges, 109
+
+  Weare Mr.--The Murder of, 165
+
+  What do you lack?, 7, 41
+
+  Windsor Drollery--The, 87, 101
+
+  Wood--Any to cleave?, 15
+
+  Wotton, Towns End--Tune of, 89
+
+  Wynter, Dr. on our milk supply 142
+
+
+  Yea by cock, 8
+
+  Ye Bridge-foot, 234
+
+  Year of Saint's Fear, 52
+
+
+
+
+FOOTNOTES:
+
+[1] "The England of Shakespeare," by E. Goadby--Cassell, Petter, Galpin &
+Co., London, E.C.
+
+[2] For the use of the woodcut blocks representing the "Smith Arms," and
+the Globe Theatre, we are indebted to our friend Mr. John W. Jarvis,
+author of "Musee-Phusee-Glyptic: A Scrap Book of Jottings from
+Stratford-on-Avon, and Elsewhere," London, 1875, who introduces them into
+the pages of his work thus:--
+
+    "Not long since, after a pleasing and interesting walk, one fine
+    morning on Bankside, and standing near the still existing Cardinal Cap
+    Alley, with the aid of an artist friend, we drew up a fancy picture of
+    what Bankside was in Shakespeare's day.--Here a small creek with craft
+    and busy life around; a small bridge, with road leading to the Globe,
+    the famous theatre afterwards to be so widely known. The sunshiny time
+    of our literature and life, making a red-letter period in happy old
+    England's history. We were interrupted by a kindly-faced,
+    round-shouldered man of the bargee type, who asked us 'if it was
+    Shakespeare, him as writ plays, we was a torkin' on; if so be it were,
+    he could show us the wery 'ouse he used, least ways, all as is left on
+    it.' After a twisting tramp through Cardinal Cap Alley, we were
+    brought out opposite the public-house known by the name of the 'Smith
+    Arms,' which had just then only escaped entire demolition from fire by
+    a very near chance--(the damage done has since necessitated the
+    rebuilding; so the sketch stands as a bit of rescued old London.)
+
+    "Our informant assured us that--'Shakespeare as had a playus nigh
+    there, used to use that wery 'ouse; him as writ the Merchant of
+    Venice, Money, and the Forest of Bondy.' Our kind friend was
+    interrupted by a companion, who said, 'Not Bondy: him didn't write
+    that.' 'I won't give up Money, because the Merchant of Venice is all
+    about Money. You better say he didn't write Richard the Third and
+    Richard the Fourth.'
+
+    "We gladly retired before our historic doubts were confirmed by this
+    traditional scholar, about this double Gloucester. His companion, as
+    we thought rather aptly, but churlishly remarked, 'cheese it,' for
+    they were both getting grumpy, and after this duplicate, we were
+    fearful a fifth or a sixth might appear. But the house itself, one
+    among the oldest in Southwark, we considered worthy a sketch, and, as
+    our guide told us, ought to be '_perpetrated_.' He said he could pull
+    a bit, but draw he couldn't; but he did--that is, four-pence for
+    beer."
+
+[3] PRICK-SONG, music pricked or noted down, full of flourish and
+variety.--_Halliwell._
+
+[4] NOISE.--A set, or company of musicians. "_These terrible noyses, with
+threadbare cloaks_,"--_Decker's Bellman, of London_, 1608.
+
+[5] _Pie-Poudre._ A court formerly held at a fair for the rough-and-ready
+treatment of pedlars and hawkers, to compel them and those with whom they
+dealt to fulfil their contracts. This court arose from the necessity of
+doing justice expeditiously, among persons resorting from distant places
+to a fair or market. It is said to be called the court of _pie-poudre,
+curia, pedis pulverizate_, from the dusty feet of the suitors, or, as Sir
+Edward Coke says, because justice is there done as speedily as dust can
+fall from the feet.
+
+[6] _The Tune of Wotton Towns End_, is the same as "Peg a' Ramsey,"
+mentioned by Shakespeare in Twelfth Night, and is at least as old as 1589.
+It is also in "Robin Good-Fellow: His Mad Pranks, And Merry Jests, Full of
+Honest Mirth, &c., 1628."
+
+[7] The Curtain Road, now notorious for cheap and shoddy furniture, still
+marks the site of the Curtain Theatre; at the same date there was another
+playhouse in the parish of St. Leonard, Shoreditch, distinguished as "The
+Theatre," where the Chamberlain's Company had settled. John Stow, in his
+Survey of London, 1598, speaking of the priory of St. John Baptist, says:
+"And neere thereunto are builded two publique houses for acting of shews
+of comedies, tragedies, and histories, for recreation. Whereof is one
+called the "Courtein," the other "The Theatre;" both standing on the South
+West side toward the field." In both these James Burbadge may have been
+interested; his long residence in the parish may fairly lead to the
+conclusion, that he was a sharer in at least one of them. Richard Tarlton,
+the famous actor of clown's parts, was a near neighbour of James Burbadge,
+and a shareholder and performer at the Curtain. Thomas Pope, a performer
+of rustic clowns, by his will dated July, 1603, left--"All my part, right,
+title, and interest which I have in the playhouse, called the Curtein,
+situated and being in Halliwell, in the parish of St. Leonard's in
+Shoreditch, in the County of Middlesex." At what date one or the other of
+these early Suburban playhouses ceased to be occupied, we have little or
+no satisfactory evidence.
+
+[8] Stoke's Rapid Plan of Teaching Music.
+
+[9] The Old Parr's Head, in Upper Street, Islington.
+
+[10] BLACK JACK. A huge leather drinking vessel. A Frenchman speaking of
+it says, "The English drink out of their boots."--_Heywood._
+
+[11] BEAU-TRAP:--A loose stone in the pavement under which the water
+lodges in rainy weather, which when trodden on squirts it up to the great
+damage of light-coloured clothes and clean stockings. First invented by
+Sedan-chairmen, whose practice it was to loosen a flat-stone so that in
+wet weather those that choose to save their money by walking, might, by
+treading on the "trap" dirt their shoes and stockings.
+
+[12] Pitts, a modern publisher of love garlands, merriments, penny
+ballads, &c.
+
+  "Who, ere he went to heaven,
+  Domiciled in Dials Seven!"
+                              George Daniel's, "_Democritus in London_."
+
+[13] Lockhart's "Life of Sir Walter Scott."
+
+[14] The whole market has been rebuilt during these last few years, &
+Darkhouse-lane abolished.--C. H.
+
+[15] In the glee, "Merrily rang the Bells of St. Michael's Tower," we are
+told that Richard Penlake had a shrew for a wife, and though she had a
+tongue that was longer, yet--
+
+  "Richard Penlake a crabstick would take
+  And show her that he was the stronger."
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted characters are indicated by {superscript}.
+
+Period errors, comma errors, and mismatched quotation marks have been
+corrected without note.
+
+Items in the index are out of order and some do not include missing page
+numbers. These are presented as in the original text.
+
+The original text contains hyphen and spelling variants and spelling
+errors that have been retained.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of A History of the Cries of London, by 
+Charles Hindley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE CRIES OF LONDON ***
+
+***** This file should be named 37114-8.txt or 37114-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/7/1/1/37114/
+
+Produced by 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
+
+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 MERCHANTIBILITY 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.
diff --git a/37114-8.zip b/37114-8.zip
new file mode 100644
index 0000000..1bbde74
--- /dev/null
+++ b/37114-8.zip
diff --git a/37114-h.zip b/37114-h.zip
new file mode 100644
index 0000000..248fa14
--- /dev/null
+++ b/37114-h.zip
diff --git a/37114-h/37114-h.htm b/37114-h/37114-h.htm
new file mode 100644
index 0000000..b1ed3e9
--- /dev/null
+++ b/37114-h/37114-h.htm
@@ -0,0 +1,12377 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of A History of the Cries of London, by Charles Hindley.
+    </title>
+
+    <style type="text/css">
+
+    p {margin-top: .75em; text-align: justify; margin-bottom: .75em;}
+
+    body {margin-left: 12%; margin-right: 12%;}
+
+    .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;}
+
+    hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;}
+
+    table {margin-left: auto; margin-right: auto;}
+
+    .giant {font-size: 200%}
+    .huge {font-size: 150%}
+    .large {font-size: 125%}
+	.finger {font-size: 135%}
+
+    .blockquot {margin-left: 5%; margin-right: 10%;}
+    .poem {margin-left:15%;}
+    .note {margin-left: 20%; margin-right: 20%;}
+    .index {margin-left: 20%;}
+
+    .right {text-align: right;}
+    .center {text-align: center;}
+
+    .smcap {font-variant: small-caps;}
+    .smcaplc {text-transform: lowercase; font-variant: small-caps;}
+
+    .letter {border: solid 7px; padding: 2em; margin-left: 15%; margin-right: 15%;}
+    .border {border: solid 2px; padding: 2em;}
+    .box {border: solid 2px; width: 25em; margin: auto; text-align: center;}
+
+    p.dropcap:first-letter{float: left; padding-right: 3px; font-size: 250%; line-height: 83%; width:auto;}
+    .caps {text-transform:uppercase;}
+
+    .figcenter {margin: auto; text-align: center;}
+
+    a:link {color:#0000ff; text-decoration:none}
+    a:visited {color:#6633cc; text-decoration:none}
+
+    .spacer {padding-left: 1em; padding-right: 1em;}
+
+    .hang {margin-left: 2em; text-indent: -2em;}
+
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+Project Gutenberg's A History of the Cries of London, by Charles Hindley
+
+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
+
+
+Title: A History of the Cries of London
+       Ancient and Modern
+
+Author: Charles Hindley
+
+Illustrator: Thomas Bewick
+             John Bewick
+
+Release Date: August 17, 2011 [EBook #37114]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE CRIES OF LONDON ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+<p class="center">[<span class="finger">&#9758;</span> <i>SECOND EDITION.&mdash;GREATLY ENLARGED.</i>]</p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img001.jpg" alt="A HISTORY OF THE Cries of London. Woodcuts by Thomas &amp; John Bewick, And their Pupils, &amp;c." /></div>
+<p>&nbsp;</p>
+<p class="center">[<span class="smcap">Entered at Stationers&#8217; Hall.</span><span class="spacer">&nbsp;</span><span class="finger">&#9758;</span><i>All Rights Reserved.</i>]</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/img002.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hogarth&#8217;s Pieman.</span></p>
+<p class="note">&#8220;We frequently meet with the pieman in old prints; and, in Hogarth&#8217;s
+&#8216;March to Finchley,&#8217; there he stands in the very centre of the crowd,
+grinning with delight at the adroitness of one robbery, while he is
+himself the victim of another. We learn from this admirable figure by the
+greatest painter of English life, that the pieman of the last century
+perambulated the streets in professional costume; and we gather further,
+from the burly dimensions of his wares, that he kept his trade alive by
+the laudable practice of giving &#8216;a good pennyworth for a penny.&#8217; Justice
+compels us to observe that his successors of a later generation have not
+been very conscientious observers of this maxim.&#8221;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center"><span class="huge">A HISTORY</span><br />
+OF THE<br />
+<span class="giant">CRIES OF LONDON.</span></p>
+<p class="center">Ancient and Modern.</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;<i>Let&nbsp;none&nbsp;despise&nbsp;the&nbsp;merry,&nbsp;merry&nbsp;Cries<br />
+Of famous London Town.</i>&#8221;</td></tr></table>
+<p>&nbsp;</p>
+<p class="center">SECOND EDITION.<br />
+<small>GREATLY ENLARGED AND CAREFULLY REVISED</small></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img003.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center">BY<br />
+CHARLES HINDLEY, <span class="smcap">Esq.</span>,</p>
+<p class="center"><i>Editor of &#8220;The Old Book Collector&#8217;s Miscellany; or, a Collection of Readable Reprints<br />
+of Literary Rarities,&#8221; &#8220;Works of John Taylor&mdash;the Water Poet,&#8221; &#8220;The<br />
+Roxburghe Ballads,&#8221; &#8220;The Catnach Press,&#8221; &#8220;The Curiosities of<br />
+Street Literature,&#8221; &#8220;The Book of Ready Made Speeches,&#8221;<br />
+&#8220;Life and Times of James Catnach, late of the<br />
+Seven Dials, Ballad Monger,&#8221; &#8220;Tavern<br />
+Anecdotes and Sayings,&#8221; etc.</i></p>
+
+<p>&nbsp;</p>
+<p class="center">London:<br />
+CHARLES HINDLEY<br />
+[<span class="smcap">The Younger</span>,]<br />
+BOOKSELLERS&#8217; ROW, ST. CLEMENT DANES,<br />
+STRAND, W. C.</p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">London:&mdash;<br />
+<small>E. A. BECKETT, PRINTER, 111 &amp; 113 KINGSLAND ROAD.</small></p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">TO<br />
+<span class="huge">HORATIO NOBLE PYM, <span class="smcap">Esq.</span>,</span><br />
+OF<br />
+HARLEY STREET, CAVENDISH SQUARE,<br />
+AS<br />
+<i>A TESTIMONIAL OF ESTEEM</i><br />
+<span class="smcap">For His Private Worth</span>,<br />
+AND AS<br />
+A PATRON OF LITERATURE:<br />
+<br />
+A HISTORY OF THE CRIES OF LONDON,<br />
+Ancient and Modern,<br />
+<br />
+<span class="large"><span class="smcap">Is Respectfully Dedicated by</span></span></p>
+
+<div class="figcenter"><img src="images/img004.jpg" alt="Charles Hindley." /></div>
+
+<p class="center"><span class="smcap">Rectory Road, Stoke Newington,</span><br />
+<span class="smcap">London, N.</span></p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img005.jpg" alt="NOTICE. On or about LADY DAY, 1885, will be published for the same Author, The
+History of The Catnach Press. To be followed by a New Edition of the CURIOSITIES OF STREET LITERATURE" /></div>
+<p>&nbsp;</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img006.jpg" alt="INTRODUCTION." /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Oh, dearly do I love &#8220;Old Cries,&#8221;<br />
+Your &#8220;Lilies all a&#8217;blowing!&#8221;<br />
+Your blossoms blue, still wet with dew,<br />
+&#8220;Sweet Violets all a&#8217;growing!&#8221;<br />
+<span style="margin-left: 12em;"><i>Eliza Cook.</i></span></td></tr></table>
+
+<p>The idea of printing and publishing &#8220;A History of the Cries of
+London&mdash;Ancient and Modern,&#8221; somewhat in the manner and style here
+presented to the public, was first suggested to me by the late Rev:&mdash;</p>
+
+<div class="figcenter"><img src="images/img008.jpg" alt="Thomas Hugo" /></div>
+
+<p>Author of &#8220;The Bewick Collector,&#8221; 1866. The Supplement to same, 1868, and
+&#8220;Bewick&#8217;s Woodcuts,&#8221; 1870, etc., and at the time, Rector of West Hackney
+Church, Stoke Newington, London, N., in the year 1876.</p>
+
+
+<p>While actively engaged in preparing for publication &#8220;The Life and Times of</p>
+
+<div class="figcenter"><img src="images/img007.jpg" alt="James Catnach" /></div>
+
+<p>late of Seven Dials: Ballad Monger,&#8221;&mdash;to which the present work may be
+considered a sequel, and the completion of the series on the subject of
+the&mdash;</p>
+
+<p class="center"><strong>&#8220;CURIOSITIES OF STREET LITERATURE,&#8221;</strong></p>
+
+<p>I had frequently to consult the pages of &#8220;The Bewick Collector,&#8221; and other
+works of a kindred character for information respecting the elder Catnach,
+who, by himself, and afterwards in conjunction with his partner, and
+subsequently his successor, William Davison, employed Thomas Bewick, the
+famous English artist who imparted the first impulse to the art of wood
+engraving, for several of their Alnwick publications. This led to my
+communicating with the Rev. Thomas Hugo, wherein I informed him of my
+plans, and of the object I had in view with regard to the publication I
+was then preparing for the press: at the same time soliciting his
+co-operation, especially in reference to the loan of some of the Bewick
+wood-cuts, formerly possessed by the elder Catnach, while he was in
+business as a printer, in Narrowgate Street, Alnwick, an ancient borough
+and market-town in Northumberland.</p>
+
+<p>In answer to my application, I received the letters that follow:&mdash;</p>
+
+<div class="letter">
+<p class="right"><span style="padding-right: 8em;"><span class="smcap">The Rectory</span>,</span><br />
+<span style="padding-right: 6em;"><small>WEST HACKNEY,</small></span><br />
+<span style="padding-right: 3em;"><small>STOKE NEWINGTON,</small></span><br />
+<span style="padding-right: 5.5em;"><small>LONDON,</small></span><br />
+<span style="padding-right: 7em;"><small>N.</small></span></p>
+
+<p><i>21st August, 1876.</i></p>
+
+<p><span class="smcap">Dear Sir</span>,</p>
+
+<p>I shall be glad to aid you in any way. I must ask you to see me on
+some <i>morning</i>, between nine and eleven o&#8217;clock, and to make a
+previous appointment, as I am a working man, with plenty to do.</p>
+
+<p><span style="margin-left: 4em;">Yours sincerely,</span></p>
+<div class="figcenter"><img src="images/img008.jpg" alt="Thomas Hugo" /></div>
+
+<p><span class="smcap">Charles Hindley, Esq.</span>,<br />
+<span style="margin-left: 2em;">76, Rose Hill Terrace,</span><br />
+<span style="margin-left: 4em;">Brighton.</span></p></div>
+
+<p>&nbsp;</p>
+<div class="letter">
+<p class="right"><span style="padding-right: 6em;"><span class="smcap">West Hackney Rectory,</span></span><br />
+<span style="padding-right: 4em;"><span class="smcap">Amhurst Road, West,</span></span><br />
+<span style="padding-right: 2em;"><span class="smcap">Stoke Newington, N.</span></span></p>
+
+<p>Tuesday Night. [<i>13th September, 1876.</i>]</p>
+
+<p><span class="smcap">Dear Sir</span>,</p>
+
+<p>I have been expecting you for the last ten days. In a few hours I am
+leaving town for my holiday; I shall not return till far on in
+October.</p>
+
+<p>As Brighton is but a short way off, I shall hope to see you on my
+return. You shall be welcome to the loan of some Blocks. You had
+better examine my folio volume, called &#8220;Bewick&#8217;s Woodcuts,&#8221; in the
+British Museum, and give me the numbers of the cuts, when I will see
+what I can do for you.</p>
+
+<p><span style="margin-left: 4em;">Yours sincerely,</span></p>
+<div class="figcenter"><img src="images/img008.jpg" alt="Thomas Hugo" /></div>
+
+<p><span class="smcap">Mr. C. Hindley, Senr.</span>,<br />
+<span style="margin-left: 2em;">(of Brighton,)</span><br />
+<span style="margin-left: 1em;">8, Booksellers&#8217; Row,</span><br />
+<span style="margin-left: 4em;">Strand, W.C.</span></p></div>
+
+<p>&nbsp;</p>
+<div class="letter">
+<p class="right"><span style="padding-right: 6em;"><span class="smcap">West Hackney Rectory,</span></span><br />
+<span style="padding-right: 4em;"><span class="smcap">Amhurst Road, West,</span></span><br />
+<span style="padding-right: 2em;"><span class="smcap">Stoke Newington, N.</span></span></p>
+
+<p><i>8th Nov., 1876.</i></p>
+
+<p>Dear Sir,</p>
+
+<p>I can see you between 9.30 and 10.30 on <i>Friday</i> Morning.</p>
+
+<p>Be so good as to advise me beforehand <i>what</i> you wish to see.</p>
+
+<p><span style="margin-left: 4em;">Yours sincerely,</span></p>
+<div class="figcenter"><img src="images/img008.jpg" alt="Thomas Hugo" /></div>
+
+<p><span class="smcap">Mr. C. Hindley, Esq.</span>,<br />
+<span style="margin-left: 2em;">(of Brighton,)</span><br />
+<span style="margin-left: 1em;">8, Booksellers&#8217; Row,</span><br />
+<span style="margin-left: 4em;">Strand, W.C.</span></p></div>
+
+
+<p>The proposed interview took place at the Rectory-house, on the 10th of
+November, and was of a very delightful and intellectual character. The
+reverend gentleman found me an apt scholar in all matters with respect to
+his favourite &#8220;Hobby-horse,&#8221; viz:&mdash;the Brothers Bewick and their Works.
+All the rich and rare Bewickian gems were placed before me for inspection,
+and all the desired assistance I needed at his hands was freely offered
+and ultimately carried out. During our conversation the learned Rector
+said:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;I look upon it as a curious fact that you should have been of late
+occupying your leisure in working out your own ideas of Catnach and
+his Times, because, while I was in the office at Monmouth-court, where
+I went several times to look out all the examples of Bewick I could
+find, and which I afterwards purchased of Mr. Fortey&mdash;the person who
+has succeeded to the business of the late James Catnach, I one day
+caught nearly the same notion, but it was more in reference to <span class="smcap">Old
+London Cries</span>: as I possess a fairly large collection of nicely
+engraved wood-blocks on the subject, that I met with in &#8216;Canny
+Newcassel,&#8217;&mdash;in some of which it is asserted, and can hardly be
+denied, that Thomas Bewick had a hand. I have since used the set in my
+&#8216;<span class="smcap">Bewick&#8217;s Woodcuts</span>.&#8217; But, alas!&mdash;<i>Tempus fugit</i>, and all thoughts on
+the subject got&mdash;by reason of my having so much to do and think
+of&mdash;crowded out of my memory. Now, sir, as you seem to have much more
+leisure time than myself, I shall be happy to turn the subject-matter
+over to you and to assist in every way in my power.&#8221;</p></div>
+
+<p>I thanked the rev. gentleman, at the same time promising to bear the
+suggestion in mind for a future day.</p>
+
+<div class="letter">
+<p class="right"><span style="padding-right: 4em;"><span class="smcap">West Hackney Rectory, Amhurst Road, West,</span></span><br />
+<span style="padding-right: 2em;"><span class="smcap">Stoke Newington, N.</span>, <i>14th Nov., 1876</i>.</span></p>
+
+<p><span class="smcap">Dear Sir</span>,</p>
+
+<p>Accept my best thanks for your letter, books, and promises of future
+gifts, all of which I cordially accept.</p>
+
+<p>To-morrow, if all be well, I shall have time to look out the Blocks,
+and they shall be with you soon afterwards.</p>
+
+
+<p><span style="margin-left: 4em;">Very truly yours,</span></p>
+<div class="figcenter"><img src="images/img008.jpg" alt="Thomas Hugo" /></div>
+
+<p><span class="smcap">C. Hindley, Esq.</span>, Rose Hill Terrace,<br />
+<span style="margin-left: 2em;">Brighton.</span></p></div>
+
+<p>&nbsp;</p>
+<div class="letter">
+<p class="right">W. H. R. <i>29th Nov.</i> [1876.]</p>
+
+<p><span class="smcap">Dear Sir</span>,</p>
+
+<p>Herewith the Block. I have made a few corrections (of fact) in your
+proof.</p>
+
+<p><span style="margin-left: 4em;">Yours sincerely,</span><br />
+<span style="margin-left: 6em;">T. H.</span></p>
+
+<p>
+<span class="smcap">C. Hindley, Esq.</span>, 76, Rose Hill Terrace,<br />
+<span style="margin-left: 2em;">Brighton.</span></p></div>
+
+<p>The somewhat sudden and unexpected death of the Rev. Thomas Hugo on the
+last day of the year 1876 is now a matter of history.</p>
+
+<table class="border" border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><strong>In Memoriam.</strong><br />
+<strong>The Rev. T. HUGO, M.A.</strong><br />
+<i>Rector of West Hackney Church.</i><br />
+Departed this life, Sunday, December 31st, 1876.</td></tr>
+<tr><td align="center"><img src="images/img008b.jpg" alt="" /></td></tr>
+<tr><td>On Christmas Day, before the altar kneeling,<br />
+<span style="margin-left: 1em;">Taking that Food by which our souls are fed;</span><br />
+Around us all a solemn silence stealing,<br />
+<span style="margin-left: 1em;">And broken only by the priests&#8217; slow tread.</span><br />
+<br />
+Yes, he was there, our good and earnest Rector,<br />
+<span style="margin-left: 1em;">And firmly strove his weakness to withstand,</span><br />
+Giving the cup, he, the pure Faith&#8217;s protector&mdash;<br />
+<span style="margin-left: 1em;">That cup of blessing with a trembling hand.</span><br />
+<br />
+His church, for which he felt such admiration,<br />
+<span style="margin-left: 1em;">Was deck&#8217;d with flow&#8217;rs and evergreens that morn,</span><br />
+In praise to Christ, who died for our salvation,<br />
+<span style="margin-left: 1em;">And deign&#8217;d as a weak infant to be born.</span><br />
+<br />
+Ah! little did we think that happy morning&mdash;<br />
+<span style="margin-left: 1em;">So truly, bravely kept he at his post&mdash;</span><br />
+When next a Sabbath came, to us his warning<br />
+<span style="margin-left: 1em;">And kind, yet noble, presence would be lost.</span><br />
+<br />
+That solemn sound, which tells of souls departed,<br />
+<span style="margin-left: 1em;">Took the glad place of that which calls to prayer,</span><br />
+And his loved people, shocked and broken-hearted,<br />
+<span style="margin-left: 1em;">Could hardly enter, for <i>he</i> was not there.</span><br />
+<br />
+But when they heard it was his last desire<br />
+<span style="margin-left: 1em;">That they should meet at midnight as was said,</span><br />
+They met by thousands, mov&#8217;d with holy fire,<br />
+<span style="margin-left: 1em;">And spoke in whispers of their shepherd&mdash;<i>dead</i>.</span><br />
+<br />
+No, no, not dead, but calm in Jesus sleeping;<br />
+<span style="margin-left: 1em;">Free from all sorrow, all reproach, all pain:</span><br />
+And though he leaves a congregration weeping<br />
+<span style="margin-left: 1em;">Their earthly loss is his eternal gain.</span><br />
+<br />
+He loved the weak, and all the mute creation,<br />
+<span style="margin-left: 1em;">In generous deeds he ever took his part;</span><br />
+At Death, the <i>thrice</i>-repeated word <i>Salvation</i><br />
+<span style="margin-left: 1em;">Showed the firm trust of that true, tender heart.</span><br />
+<span style="margin-left: 2em;"><strong><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span><span class="spacer">&#183;</span></strong></span><br />
+Again we meet: they come his coffin bringing<br />
+<span style="margin-left: 1em;">Midst solemn chant, and deck&#8217;d with purest flowers,</span><br />
+And feel, whilst we his own sweet hymn are singing,<br />
+<span style="margin-left: 1em;">The joy is <i>his</i>, the sad rememberance <i>ours</i>.</span><br />
+<span style="margin-left: 12em;">Mrs. HILDRETH.</span></td></tr></table>
+
+
+<p>At the sale of the <span class="smcap">Hugo Collection</span>, I purchased among many others:&mdash;</p>
+
+<div class="blockquot"><p class="hang"><span class="smcap">Lot 405.</span> London Cries, also used in Newcastle and York Cries, two very
+pretty series of early Cries, some with back-grounds, from Hodgson&#8217;s
+office, and R. Robinson, Newcastle&mdash;[51 <i>blocks</i>],</p></div>
+
+<p>To carry out the suggestion before-mentioned, and to utilize the very
+pretty series of fifty-one woodcuts as above, and other Bewick,
+Bewickiana, and <i>ultra anti</i>-Bewickian woodcut blocks I possess, formed
+and accumulated by reason of my published works: &#8220;The Catnach Press,&#8221;
+1868. &#8220;Curiosities of Street Literature,&#8221; 1871. And &#8220;Life and Times of
+James Catnach,&#8221; 1878.</p>
+
+<p>In collecting information on the subject of &#8220;The Cries of London&mdash;Ancient
+and Modern,&#8221; I have availed myself of all existing authorities within
+reach, and therefore, to prevent the necessity of continual reference,
+here state that I have drawn largely from Charles Knight&#8217;s &#8220;London.&#8221;
+Mayhew&#8217;s &#8220;London Labour and the London Poor.&#8221; Hone&#8217;s &#8220;Every-Day Book.&#8221; An
+article on Old London Cries, in &#8220;Fraser&#8217;s Magazine.&#8221; &#8220;Cuthbert Bede.&#8221; Mr.
+Edwin Goadby&#8217;s &#8220;The England of Shakespeare,&#8221;&mdash;an excellent Text Book,
+forming one of Cassell&#8217;s Popular Shilling Library. &#8220;Our Milk Supply,&#8221; from
+the columns of <i>The Daily Telegraph</i>. Charles Manby Smith&#8217;s &#8220;Curiosities
+of London Life,&#8221; and his &#8220;Little World of London.&#8221; And what from various
+other sources was suitable for my purpose.</p>
+
+<p>To the one lady, and many gentlemen friends who have responded to my
+enquiries for advice, material, and assistance, and by which they have so
+greatly enriched the contents of this volume, I beg to express my best
+thanks. I must in a more particular manner mention the names of&mdash;the one
+lady first&mdash;Mrs. Rose Hildreth; then Mr. John Furbor Dexter, Mr. William
+Mansell; next Messrs. W. H. &amp; L. Collingridge, the Proprietors of <i>The
+City Press</i>, Aldersgate-street, London, for the use of the following
+woodcuts that have appeared in the pages of their ever-entertaining work,
+&#8220;Y<sup>e</sup> <span class="smcap">Old City</span>,&#8221; by Aleph.: 1.&mdash;Shakespeare&#8217;s London; 2.&mdash;Aldersgate;
+3.&mdash;Cheapside Cross; 4.&mdash;Old Stage Waggon; 5.&mdash;Baynard&#8217;s Castle; 6.&mdash;Old
+London Shop; 7.&mdash;St. Pauls Cathedral. I have also to express my cordial
+thanks to Messrs. Longman, Green &amp; Co., who kindly allowed the use of
+1.&mdash;Colebrook Cottage; 2.&mdash;The Old Queen&#8217;s Head; and 3.&mdash;Canonbury Tower.
+From Howitt&#8217;s &#8220;Northern Heights of London.&#8221; Messrs. Chatto &amp; Windus,
+Piccadilly: 1.&mdash;Charles Lamb&#8217;s House, Enfield; 2.&mdash;House at Edmonton,
+where Charles Lamb died; 3.&mdash;Edmonton Church. Messrs. Marks and Sons,
+Publishers of all kinds of Fancy Stationery, Toy-books, Valentines, &amp;c.,
+72, Houndsditch, for the eight blocks used in their &#8220;Cries of London,&#8221; at
+pages <a href="#Page_351">351 to 358</a>. Messrs. Goode, Toy-book Manufacturers, Clerkenwell
+Green. Mr. John W. Jarvis, Mr. William Briggs, Mr. G. Skelly, Alnwick, and
+Dr. David Morgan, Brighton.</p>
+
+<hr style="width: 25%;" />
+
+<p class="center">SECOND EDITION.</p>
+
+<p>The rapid sale of the whole of the First Edition of this work&mdash;about one
+half of which went Due-North, that is to say, in and round about &#8220;Canny
+Newcassel&#8221; (the home-land of the Brothers Bewick), America taking the
+remainder,&mdash;will sufficiently explain the re-appearance of &#8220;A History of
+the Cries of London&#8221; in its new, and, the Author ventures to think,
+improved form.</p>
+
+<p><span class="smcap">Rectory Road, Stoke Newington,<br />
+<span style="margin-left: 4em;">London, N.</span></span><br />
+<br />
+<span style="margin-left: 2em;"><i>Lady-Day.</i>, 1884.</span></p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center"><span class="large">CATALOGUE</span><br />
+<small>OF THE</small><br />
+CHOICE AND VALUABLE COLLECTION<br />
+<small>OF</small><br />
+<span class="large">BOOKS, WOOD ENGRAVINGS,</span><br />
+<small>AND</small><br />
+ENGRAVED WOODCUT BLOCKS,<br />
+<span class="large">Manuscripts, Autograph Letters &amp; Proof Impressions,</span><br />
+<small>BY OR RELATING TO</small><br />
+<span class="huge">THOMAS AND JOHN BEWICK,</span><br />
+<span class="large">AND THEIR PUPILS,</span><br />
+<small>GLEANED FROM EVERY AVAILABLE SOURCE BY THE LATE</small></p>
+
+<div class="figcenter"><img src="images/img009.jpg" alt="REV. THOMAS HUGO, M.A., F.S.A., AUTHOR OF &#8220;THE BEWICK COLLECTOR,&#8221; 1866; &#8220;SUPPLEMENT TO SAME,&#8221; 1868; AND &#8220;BEWICK WOODCUTS,&#8221; (folio) 1870." /></div>
+
+<p class="center">WHICH WILL BE SOLD BY AUCTION,<br />
+<small>BY MESSRS.</small><br />
+<span class="large">SOTHEBY, WILKINSON &amp; HODGE,</span></p>
+
+<p class="center"><i>Auctioneers of Literary Property &amp; Works illustrative of the Fine Arts</i>,<br />
+At their House, No. 13, Wellington Street, Strand, W.<br />
+On WEDNESDAY, 8th of AUGUST, 1877, and following Day,<br />
+<span class="smcap">At One O&#8217;clock precisely.</span><br />
+May be Viewed Two Days prior, and Catalogues had.</p>
+
+<p class="center">Dryden Press: J. Davy and Sons. 137, Long Acre.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<div class="figcenter"><img src="images/img010.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p class="note"><span class="smcap">Goldsmith and Parnell Poems</span>: Published by William Bulmer, <i>Shakespeare
+Printing Office</i>, London, 1795. Embellished with thirteen designs on wood.
+Most of the cuts were drawn by Robert Johnson and John Bewick, and all
+were engraved by Thomas Bewick, except the vignettes on the title-pages,
+and the large cut of &#8220;The Sad Historian,&#8221; and the tail-piece at the end of
+the volume, which was done by John Bewick.</p>
+
+<p class="note">The most magnificent result of the efforts of the wood-engraver,
+type-founder, paper-maker, and printer, &#8220;that ever was produced in any
+age, or in any country.&#8221; Bulmer realized, after paying all expenses, a
+profit of &pound;1,500 on the work these exquisite blocks adorned.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img011.jpg" alt="" /></div>
+<p class="center"><small>[<i>John Bewick, del. et Sculp.</i>]</small><br />
+<img src="images/img011b.jpg" alt="" /><br />
+THE SAD HISTORIAN.<br />
+<i>Published January 1, 1795, by William Bulmer, at the<br />
+Shakespeare Printing Office, Cleveland Row.</i></p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img012.jpg" alt="" /></div>
+<p class="center"><i>John Johnson, del.</i>]<span class="spacer">&nbsp;</span>[<i>T. Bewick, Sculp.</i><br />
+<img src="images/img011b.jpg" alt="" /><br />
+THE HERMIT AT HIS MORNING DEVOTIONS.<br />
+<i>Published January 1, 1795, by William Bulmer, at the<br />
+Shakespeare Printing Office, Cleveland Row.</i></p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img013.jpg" alt="" /></div>
+<p class="center"><i>R Johnson, del.</i>]<span class="spacer">&nbsp;</span>[<i>T. Bewick, Sculp.</i><br />
+<img src="images/img011b.jpg" alt="" /><br />
+THE HERMIT, ANGEL, AND GUIDE.<br />
+<i>Published January 1, 1795, by William Bulmer, at the<br />
+Shakespeare Printing Office, Cleveland Row.</i></p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img014.jpg" alt="" /></div>
+<p class="center"><i>John Bewick, del.</i>]<span class="spacer">&nbsp;</span>[<i>T. Bewick, sculp.</i></p>
+<p class="center">THE CHASE.<br />
+<i>A POEM</i><br />
+BY <span class="smcap">William Somervile, Esq.</span></p>
+<p class="center">LONDON:<br />
+Printed by W. Bulmer &amp; Co.,<br />
+Shakespeare Printing Office, Cleveland Row.<br />
+1796.</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img015.jpg" alt="" /></div>
+<p class="center"><i>John Bewick, del.</i>]<span class="spacer">&nbsp;</span>[<i>T. Bewick, sculp.</i></p>
+<p class="center">SOMERVILE&#8217;S CHASE.</p>
+
+<p class="note">This work contains the best specimens of John Bewick&#8217;s abilities as a
+designer; all the cuts were drawn by him except one, but none of them were
+engraved by him. Shortly after he had finished the drawings on the blocks,
+he left London and returned to the North in consequence of ill-health.
+They were engraved by Thomas Bewick, with the exception of the tail-piece
+at the end of the volume, which was engraved by Charles Nesbit, one of his
+pupils.</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img016.jpg" alt="" /></div>
+<p class="center"><i>John Bewick, del.</i>]<span class="spacer">&nbsp;</span>[<i>T. Bewick, sculp.</i></p>
+<p class="center">SOMERVILE&#8217;S CHASE.</p>
+
+<p class="note">The cuts in the Chase, on the whole, are superior in point of execution to
+those in the Poems of Goldsmith and Parnell. Many conceive it impossible
+that such delicate effects could be produced from blocks of wood, and his
+late Majesty (George III.) ordered his bookseller, Mr. George Nicolls, to
+procure the blocks for his inspection, that he might convince himself of
+the fact.</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img017.jpg" alt="" /></div>
+<p class="center"><i>John Bewick, del.</i>]<span class="spacer">&nbsp;</span>[<i>T. Bewick, sculp.</i></p>
+<p class="center">SOMERVILE&#8217;S CHASE.</p>
+
+<p class="note">Speaking of the death of John Bewick, which took place at Ovingham on the
+5th of December, 1795,&mdash;aged 35, a writer in the <i>Gentleman&#8217;s Magazine</i>
+says, &#8220;The works of this young artist will be held in estimation, and the
+engravings to &#8216;Somervile&#8217;s Chase&#8217; will be a monument of fame of more
+celebrity than marble can bestow.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img018.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Peacock.</span><br />
+(<i>Pavo cristatus</i>, Linn.&mdash;&mdash;<i>Le Paon</i>, Buff.)<br />
+(From Bewick&#8217;s Land Birds.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img019a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Common Sandpiper.</span><br />
+(Bewick&#8217;s Water Birds).</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img019b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Water Ouzel.</span><br />
+(Bewick&#8217;s Water Birds.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img020a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Snipe.</span><br />
+(Bewick&#8217;s Water Birds.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img020b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Redstart.</span><br />
+(Bewick&#8217;s Water Birds.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img021a.jpg" alt="" /></div>
+<p class="center"><i>FIRST STATE!</i></p>
+<p class="center">&#8220;<span class="smcap">The Little House</span>&#8221; and <span class="smcap">Pig, &amp;c.</span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Snug in an English garden&#8217;s shadiest spot<br />
+<span style="margin-left: 1em;">A structure stands, and welcomes many a breeze;</span><br />
+Lonely and simple as a ploughman&#8217;s cot!<br />
+<span style="margin-left: 1em;">Where monarchs may unbend who wish for ease.&#8221;</span><br />
+<span style="margin-left: 12em;"><span class="smcap">Colman&#8217;s</span>&mdash;<i>Broad Grins</i>.</span></td></tr></table>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img021b.jpg" alt="" /></div>
+<p class="center"><i>SECOND STATE!!</i></p>
+
+<p>Among the very many and all much admired Tail-pieces drawn and engraved by
+Bewick himself, the above, which, in its&mdash;<i>First state!</i> is at page 285 of
+vol. i. of &#8216;A History of British Birds,&#8217; 1797, has obtained by far the
+greatest notoriety. It appears that soon after publication, it was pointed
+out to Bewick that the nakedness of a prominent part of his subject
+required to be a little more covered&mdash;<i>draped</i>! So one of his apprentices
+was employed to blacken over with ink all the copies then remaining
+unsold. But by the time Bewick received the &#8216;gentle hint,&#8217; a goodly number
+had been delivered to local subscribers and the London agents&mdash;Messrs. G.
+G. and J. Robinson. It is these &#8216;<i>not inked!</i>&#8217; copies that are now so
+readily sought after by all &#8220;Bewick Collectors.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img022.jpg" alt="" /></div>
+<p class="center"><i>THIRD STATE!!!</i></p>
+
+<p>For the next, and all subsequent editions a plug was inserted in the
+block, and the representation of two bars of wood engraved upon it, to
+hide the <i>part</i>! However, it seems that before the block was thus altered
+and amended, many impressions on various papers were taken of the&mdash;<i>First
+state!</i> The late Rev. Hugo possessed several of such, one of which&mdash;<i>Proof
+on paper</i>&mdash;he gave me on the 10th of November, 1876.&mdash;C. H.</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img023a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Water Rail.</span><br />
+(Bewick&#8217;s Water Birds.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img023b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Red-necked Grebe.</span><br />
+(Bewick&#8217;s Water Birds.)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img024a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Chillingham Wild Bull.</span><br />
+Used in Richardson&#8217;s Table Book, Vol. vi p. 15.<br />
+&#8258; Attributed to T. Bewick.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img024b.jpg" alt="" /></div>
+<p class="center"><i>T. Bewick.</i><br />
+<span class="smcap">Gin and Bitters.</span><br />
+The Sportsman&#8217;s Cabinet, 1803.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img025a.jpg" alt="" /></div>
+<p class="center">&#8220;<span class="smcap">Willie Brew&#8217;d a Peck o&#8217;Maut.</span>&#8221;</p>
+
+<p class="note">The Poetical Works of Robert Burns. Engravings on Wood by Bewick, from
+designs by Thurston. Alnwick: Printed by Catnach and Davison, 1808. And
+London: Printed for T. Cadell and Davis, Strand, 1814. With cuts
+previously used in Davison&#8217;s publications.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img025b.jpg" alt="" /></div>
+<p class="note">&#8220;Many of the engravings produced for Burns&#8217; Poems, are of a very superior
+class, and cannot be too highly commended.&#8221;&mdash;<i>Hugo.</i></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img026a.jpg" alt="" /></div>
+<p class="center">&#8220;<i>And for whole days would wander in those places where she
+had been used to walk with Henry.</i>&#8221;</p>
+<p class="center"><span class="smcap">The History of Crazy Jane.</span><br />
+By Sarah Wilkinson.<br />
+With a Frontispiece by Bewick.<br />
+<span class="smcap">Alnwick</span>: Printed by <span class="smcap">W. Davison</span>, 1813.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img026b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Jackson&#8217;s: A Treatise on Wood Engraving.</span><br />
+<i>See Hugo&#8217;s &#8220;Bewick Collector.&#8221;&mdash;The Supplement.</i></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img027a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Repository of Select Literature.</span><br />
+Adorned with beautiful Engravings by Bewick.<br />
+<span class="smcap">Alnwick</span>: Printed by <span class="smcap">W. Davison</span>, 1808.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img027b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Arms of Newcastle.</span><br />
+(<i>Signed</i> Bewick, <i>Sculpt.</i>)</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img028a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Bull Pursuing a Man.</span><br />
+<span class="smcap">The Poetical Works of Robert Ferguson</span>, with his Life.<br />
+Engravings on Wood by <span class="smcap">Bewick</span>.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img028b.jpg" alt="" /></div>
+<p class="center">&#8220;<span class="smcap">Sandie and Willie.</span>&#8221;<br />
+<span class="smcap">The Poetical Works of Robert Ferguson.</span><br />
+Alnwick: Printed by <span class="smcap">W. Davison</span>.&mdash;1814.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img029a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Scottish Ballads and Songs.</span><br />
+Printed and Sold by <span class="smcap">G. Nicholson</span>,<br />
+Poughnill, Near Ludlow.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img029b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">G. Nicholson, Printer</span>,<br />
+Poughnill, near Ludlow.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img030a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">G. Nicholson</span>, Printer,<br />
+Poughnill, near Ludlow.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img030b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">G. Nicholson</span>, Printer.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img031a.jpg" alt="" /></div>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;<i>Not to return, how painful the remembrance</i><br />
+<span style="margin-left: 8em;"><i>Of joys departed,</i>&#8221;</span></td></tr></table>
+
+<p class="center"><span class="smcap">Blair&#8217;s Grave.</span><br />
+Alnwick: Printed by <span class="smcap">Catnach</span> and <span class="smcap">Davison</span>,&mdash;1808.<br />
+</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img031b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">From Newcastle.</span><br />
+<span class="smcap">Hugo&#8217;s</span> Bewick&#8217;s Woodcuts, No. 1333.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img032a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">View of Strawberry Hill.</span><br />
+With Shield of Arms of the Hon. Horace Walpole.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img032b.jpg" alt="" /></div>
+<p class="center">Mr. Bigge&#8217;s cut of the<br />
+<span class="smcap">Figure of Liberty</span>.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img033a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Tyne-side Scene</span>,<br />
+With Shield of Arms.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img033b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">A Churchyard Memorial Cut.</span></p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img034a.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img034b.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img034c.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Sportsman&#8217;s Calender.</span> 1818.<br />
+<span class="smcap">Hugo&#8217;s</span> &#8220;<i>Bewick&#8217;s Woodcuts</i>,&#8221; No. 1309.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img035a.jpg" alt="" /></div>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img035b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Dog in the Manger.</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img035c.jpg" alt="" /></div>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img036.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hastie&#8217;s Reading Easy.</span><br />
+From Angus&#8217;s Office, where the book was printed.</p>
+
+<p class="note">&#8220;Bewick cut for Mrs. Angus, twenty-four figures for the Alphabet:&mdash;The Fox
+and Grapes, the Crow and Pitcher, the Foolish Stag, Joseph and his
+Brethren, etc. All of them excellent cuts. The fortieth edition was
+printed in 1814, and the seventy-third in 1839, so that they must have
+been done in his early days.&#8221;</p>
+
+<p class="note">MS. Note of the late Mr. John Bell, of Newcastle. See Hugo&#8217;s <i>Bewick&#8217;s
+Woodcuts</i>. No. 240-276.</p>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img037a.jpg" alt="" /><br /><span class="smcap">Fox and the Grapes.</span></td>
+    <td align="center"><img src="images/img037b.jpg" alt="" /><br /><span class="smcap">The Crow and Pitcher.</span></td></tr>
+<tr><td colspan="2" align="center"><img src="images/img037c.jpg" alt="" /><br /><span class="smcap">The Foolish Stag.</span></td></tr>
+<tr><td colspan="2" align="center"><img src="images/img037d.jpg" alt="" /><br /><span class="smcap">Joseph and his Brethren.</span></td></tr></table>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><img src="images/img038a.jpg" alt="" /></td><td><span class="spacer">&nbsp;</span></td>
+    <td><img src="images/img038b.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img038c.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img038d.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img038e.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img038f.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img038g.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img038h.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img038i.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img038j.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img038k.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img038l.jpg" alt="" /></td></tr>
+<tr><td colspan="3" align="center"><i>T. Bewick.&mdash;Sculpt.</i></td></tr></table>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><img src="images/img039m.jpg" alt="" /></td><td><span class="spacer">&nbsp;</span></td>
+    <td><img src="images/img039n.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img039o.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img039p.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img039q.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img039r.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img039s.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img039t.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img039u.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img039w.jpg" alt="" /></td></tr>
+<tr><td><img src="images/img039y.jpg" alt="" /></td><td>&nbsp;</td>
+    <td><img src="images/img039z.jpg" alt="" /></td></tr>
+<tr><td colspan="3" align="center"><i>T. Bewick.&mdash;Sculpt.</i></td></tr></table>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img040.jpg" alt="" /></div>
+<p class="center">[<i>R. Johnson, del.</i><span class="spacer">&nbsp;</span><i>Charlton Nesbit, sculpt.</i>]</p>
+<p class="center">Cut to the memory of <span class="smcap">Robert Johnson</span>.<br />
+<i>Bewick&#8217;s favourite Pupil.</i></p>
+
+<p>&nbsp;</p>
+<p class="center">On the South side of Ovingham Church there is this tablet&mdash;</p>
+
+<p class="center">In Memory of<br />
+ROBERT JOHNSON,<br />
+<span class="smcap">Painter and Engraver.</span><br />
+A NATIVE OF THIS PARISH.<br />
+Who died at Kenmore in Perthshire,<br />
+<i>The 29th, of October, 1796</i>.<br />
+IN THE 26th, YEAR OF HIS AGE.</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img041.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Thomas Bewick.</span></p>
+
+<p class="note">Thomas Bewick died at his house on the Windmill-Hills, Gateshead, November
+the 8th, 1828, in the seventy-sixth year of his age, and on the 13th he
+was buried in the family burial-place at Ovingham, where his parents,
+wife, and brother were interred.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img042a.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img042b.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img042c.jpg" alt="" /></div>
+<p class="center">&#8220;O death, where is thy sting? O grave, where is thy victory?&#8221;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p class="center"><span class="huge">A HISTORY</span></p>
+<p class="center">OF THE</p>
+<p class="center"><span class="huge">CRIES OF LONDON.</span></p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img043.jpg" alt="A HISTORY OF THE CRIES OF LONDON (Ancient &amp; Modern) SECOND EDITION Greatly Enlarged and Carefully Revised." /></div>
+<p>&nbsp;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<p class="center"><span class="large">HISTORY</span></p>
+<p class="center"><small>OF THE</small></p>
+<p class="center"><span class="large">CRIES OF LONDON.</span></p>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Let none despise the merry, merry cries<br />
+Of famous London Town&#8221;:&mdash;<i>Rex. Ballad.</i></td></tr></table>
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<p class="dropcap"><span class="caps">The cries of London</span> have ever been very popular, whether as broadsides,
+books, ballads, or engravings. Artists of all countries and times have
+delighted to represent those peculiarities of costume and character which
+belong to the history of street-cries, and the criers thereof. Annibale
+Carracci&mdash;1560-1609&mdash;has immortalized the cries of Bologna; and from the
+time of Elizabeth to that of Queen Victoria, authors, artists and printers
+combined, have presented the Cries and Itinerant Trades of London, in
+almost numberless forms, and in various degrees of quality, from the
+roughest and rudest wood-cut-blocks to the finest of copper and steel
+plate engravings, or skilfully wrought etchings. While many of the early
+English dramatists often introduced the subject, eminent composers were
+wont to &#8220;set to music&#8221; as catch, glee, or roundelaye, all the London Cries
+then most in vogue,&mdash;&#8220;They were, I ween, ryght merrye songs, and the
+musick well engraved.&#8221;</p>
+
+<p>The earliest mention of London trade-cries is by Dan John Lydgate
+(1370-1450), a Monk of the Benedictine Abbey of Bury St. Edmund&#8217;s, the
+friend and immediate follower of Geoffrey Chaucer, and one of the most
+prolific writers of his age<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> this country has produced. To enumerate
+Lydgate&#8217;s pieces would be to write out the catalogue of a small library.
+No poet seems to have possessed a greater versatility of talents. He moves
+with equal ease in every mode of composition; and among his minor pieces
+he has left us a very curious poem entitled &#8220;London Lyckpeny,&#8221; <i>i.e.</i>,
+<i>London Lackpenny</i>: this has been frequently printed; by Strutt, Pugh,
+Nicolas, and partly by John Stow in &#8220;A Survey of London,&#8221; 1598. There are
+two copies in the British Museum, Harl. MSS., 367 and 542. We somewhat
+modernize the text of the former and best of these copies, which differ
+considerably from each other.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;O Mayster Lydgate! the most dulcet sprynge<br />
+Of famous rethoryke, with balade ryall<br />
+The chefe orygynal.&#8221;<br />
+<span style="margin-left: 8em;"><i>&#8220;The Pastyme of Plasure,&#8221; by Stephen Hawes, 1509.</i></span></td></tr></table>
+
+<p>In &#8220;London Lackpenny&#8221; we have a most interesting and graphic picture of
+the hero coming to Westminster, in term time, to obtain legal redress for
+the wrong he had sustained, and explain to a man of law his case&mdash;&#8220;<i>How my
+goods were defrauded me by falsehood</i>,&#8221; but being without the means to pay
+even the preliminary fee, he was sent&mdash;&#8220;from pillar to post,&#8221; that is from
+one Law-court to another, but although he &#8220;<i>crouched, kneeled, prayed for
+God&#8217;s sake, and Mary&#8217;s love</i>, he could not get from one the&mdash;<i>mum of his
+mouth</i>.&#8221; So leaving the City of Westminster&mdash;minus his hood, he walked on
+to the City of London, which he tells us was crowded with peripatetic
+traders, but tempting as all their goods and offers were, his
+<i>lack-of-money</i> prevented him from indulging in any of them&mdash;But, however,
+let <i>Lackpenny</i>, through the ballad, speak for himself:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<div class="figcenter"><img src="images/img044.jpg" alt="" /></div>
+<p class="center">London Lackpenny.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>To London once my steps I bent,<br />
+<span style="margin-left: 1em;">Where truth in no wise should be faint,</span><br />
+To Westminster-ward I forthwith went,<br />
+<span style="margin-left: 1em;">To a man of law to make complaint,</span><br />
+<span style="margin-left: 1em;">I said, &#8220;for Mary&#8217;s love, that Holy saint!</span><br />
+Pity the poor that would proceed,&#8221;<br />
+<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>But, for lack of money, I could not speed.<br />
+<br />
+And as I thrust the <i>prese</i> among, [crowd]<br />
+<span style="margin-left: 1em;">By froward chance my hood was gone,</span><br />
+Yet for all that I stayed not long,<br />
+<span style="margin-left: 1em;">Till to the King&#8217;s Bench I was come,</span><br />
+<span style="margin-left: 1em;">Before the Judge I kneeled anon,</span><br />
+And prayed him for God&#8217;s sake to take heed;<br />
+But, for lack of money, I might not speed.<br />
+<br />
+Beneath them sat Clerks a great rout,<br />
+<span style="margin-left: 1em;">Which fast did write by one assent,</span><br />
+There stood up one and cryed about,<br />
+<span style="margin-left: 1em;">Richard, Robert, and John of Kent.</span><br />
+<span style="margin-left: 1em;">I wist not well what this man meant,</span><br />
+He cried so thick there indeed,<br />
+But he that lacked money, might not speed.<br />
+<br />
+Unto the Common-place <i>I yode thoo</i>, [I went then]<br />
+<span style="margin-left: 1em;">Where sat one with a silken hood;</span><br />
+I did him reverence, for I ought to do so,<br />
+<span style="margin-left: 1em;">And told him my case as well as I could,</span><br />
+<span style="margin-left: 1em;">How my goods were defrauded me by falsehood.</span><br />
+I gat not a mum of his mouth for my meed,<br />
+And, for lack of money, I might not speed.<br />
+<br />
+Unto the Rolls I gat me from thence,<br />
+<span style="margin-left: 1em;">Before the clerks of the Chancery,</span><br />
+Where many I found earning of pence,<br />
+<span style="margin-left: 1em;">But none at all once regarded me,</span><br />
+<span style="margin-left: 1em;">I gave them my plaint upon my knee;</span><br />
+They liked it well, when they had it read:<br />
+But, lacking money, I could not speed.<br />
+<br />
+In Westminster Hall I found out one,<br />
+<span style="margin-left: 1em;">Which went in a long gown of <i>ray</i>; [velvet]</span><br />
+I crouched and kneeled before him anon,<br />
+<span style="margin-left: 1em;">For Mary&#8217;s love, of help I him pray.</span><br />
+<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span><span style="margin-left: 1em;">&#8220;I wot not what thou meanest&#8221; gan he say:</span><br />
+To get me thence he did me bede,<br />
+For lack of money, I could not speed.<br />
+<br />
+Within this Hall, neither rich nor yet poor<br />
+<span style="margin-left: 1em;">Would do for me ought, although I should die:</span><br />
+Which seeing, I gat me out of the door,<br />
+<span style="margin-left: 1em;">Where Flemings began on me for to cry:</span><br />
+<span style="margin-left: 1em;">&#8220;Master, what will you <i>copen or buy</i>? [chap or exchange]</span><br />
+Fine felt hats, or spectacles to read?<br />
+Lay down your silver, and here you may speed.&#8221;</td></tr></table>
+
+<p>Spectacles to read before printing was invented must have had a rather
+limited market; but we must bear in mind where they were sold. In
+Westminster Hall there were lawyers and rich suitors
+congregated,&mdash;worshipful men, who had a written law to study and expound,
+and learned treatises diligently to peruse, and titles to hunt after
+through the labyrinths of fine and recovery. The dealer in spectacles was
+a dealer in hats, as we see; and the articles were no doubt both of
+foreign manufacture. But lawyers and suitors had also to feed, as well as
+to read with spectacles; and on the Thames side, instead of the
+coffee-houses of modern date, were tables in the open air, where men every
+day ate of &#8220;<i>bread, ribs of beef, both fat and full fine</i>,&#8221; and drank
+jollily of &#8220;<i>ale and wine</i>,&#8221; as they do now at a horse-race:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then to Westminster Gate I presently went,<br />
+<span style="margin-left: 1em;">When the sun was at high prime:</span><br />
+Cooks to me, they took good intent,<br />
+<span style="margin-left: 1em;">And proffered me bread, with ale and wine,</span><br />
+<span style="margin-left: 1em;">Ribs of beef, both fat and full fine;</span><br />
+A fair cloth they gan for to spread,<br />
+But, wanting money, I might not there speed.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>Passing from the City of Westminster, through the village of Charing and
+along Strand-side, to the City of London, the cries of food and feeding
+were first especially addressed to those who preferred a vegetable diet,
+with dessert and &#8220;<i>spice, pepper, and saffron</i>&#8221; to follow. &#8220;<i>Hot peascod
+one began to cry</i>,&#8221; Peascod being the shell of peas; the <i>cod</i> what we now
+call the <i>pod</i>:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Were women as little as they are good,<br />
+A peascod would make them a gown and hood.&#8221;</td></tr></table>
+
+<p>&#8220;<i>Strawberry ripe, and cherries in the rise.</i>&#8221; Rise&mdash;branch, twig, either
+a natural branch, or tied on sticks as we still see them.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then unto London I did me hie,<br />
+<span style="margin-left: 1em;">Of all the land it beareth the prize;</span><br />
+Hot peascods! one began to cry;<br />
+<span style="margin-left: 1em;">Strawberry ripe, and Cherries in the rise!</span><br />
+<span style="margin-left: 1em;">One bade me come near and buy some spice;</span><br />
+Pepper and saffron they gan me <i>bede</i>; [offer to me]<br />
+But, for lack of money, I might not speed.</td></tr></table>
+
+<p>In Chepe (Cheapside) he saw &#8220;<i>much people</i>&#8221; standing, who proclaimed the
+merits of their &#8220;<i>velvets, silk, lawn, and Paris thread</i>.&#8221; These, however,
+were shopkeepers; but their shops were not after the modern fashion of
+plate-glass windows, and carpeted floors, and lustres blazing at night
+with a splendour that would put to shame the glories of an eastern palace.
+They were rude booths, the owners of which bawled as loudly as the
+itinerants; and they went on bawling for several centuries, like butchers
+in a market, so that, in 1628, Alexander Gell, a bachelor of divinity, was
+sentenced to lose his ears and to be degraded from the ministry, for
+giving his opinion of Charles I.,<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> that he was fitter to stand in a
+Cheapside shop with an apron before him, and say &#8220;What do ye lack, what do
+ye lack? What lack ye?&#8221; than to govern a kingdom.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then to the Chepe I began me drawn,<br />
+<span style="margin-left: 1em;">Where much people I saw for to stand;</span><br />
+One offered me velvet, silk, and lawn;<br />
+<span style="margin-left: 1em;">Another he taketh me by the hand,</span><br />
+<span style="margin-left: 1em;">&#8220;Here is Paris thread, the finest in the land.&#8221;</span><br />
+I never was used to such things indeed;<br />
+And, wanting money, I might not speed.<br />
+<br />
+Then went I forth by London Stone,<br />
+<span style="margin-left: 1em;">Throughout all Canwyke Street:</span><br />
+Drapers much cloth me offered anon;<br />
+<span style="margin-left: 1em;">Then comes in one crying &#8220;Hot sheep&#8217;s feet;&#8221;</span><br />
+<span style="margin-left: 1em;">One cried mackerel, rushes green, another gan greet;</span><br />
+One bade me buy a hood to cover my head;<br />
+But, for want of money, I might not speed.</td></tr></table>
+
+<p>The London Stone, the <i>lapis milliaris</i> (mile stone) of the Romans, has
+never failed to arrest the attention of the &#8220;Countryman in Lunnun.&#8221; The
+Canwyke Street of the days of John Lydgate, is the Cannon Street of the
+present. &#8220;<i>Hot sheep&#8217;s feet</i>,&#8221; which were cried in the streets in the time
+of Henry V., are now sold <i>cold</i> as &#8220;sheep&#8217;s trotters,&#8221; and vended at the
+doors of the lower-priced theatres, music-halls, and public-houses. Henry
+Mayhew in his &#8220;London Labour and the London Poor,&#8221; estimates that there
+are sold weekly 20,000 sets, or 80,000 feet. The wholesale price at the
+&#8220;trotter yard&#8221; is five a penny, which gives an outlay by the street
+sellers of &pound;3,033 6s. 8d. yearly. The cry which is still heard and
+tolerated by law, that of <i>Mackerel</i> rang through every street. The cry of
+<i>Rushes-green</i> tells us of by-gone customs. In ages<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> long before the
+luxury of carpets was known in England, the floors of houses were covered
+with rushes. The strewing of rushes in the way where processions were to
+pass is attributed by our poets to all times and countries. Thus at the
+coronation of Henry V., when the procession is coming, the grooms cry&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;More rushes, more rushes.&#8221;</td></tr></table>
+
+<p><i>Not worth a rush</i> became a common comparison for anything worthless; the
+rush being of so little value as to be trodden under foot. <i>Rush-lights</i>,
+or candles with rush wicks, are of the greatest antiquity.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then I hied me into East-chepe,<br />
+<span style="margin-left: 1em;">One cries ribs of beef, and many a pie;</span><br />
+Pewter pots they clattered on a heap;<br />
+<span style="margin-left: 1em;">There was harp, pipe, and minstrelsy;</span><br />
+<span style="margin-left: 1em;">&#8220;Yea by Cock! Nay by Cock!&#8221; some began cry;</span><br />
+Some sung of Jenkin and Julian for their meed;<br />
+But, for lack of money, I might not speed.</td></tr></table>
+
+<p>Eastcheap, this ancient thoroughfare, originally extended from
+Tower-street westward to the south end of Clement&#8217;s-lane, where
+Cannon-street begins. It was the Eastern Cheap or Market, as distinguished
+from Westcheap, now Cheapside. The site of the Boar&#8217;s Head Tavern, first
+mentioned <i>temp.</i> Richard II., the scene of the revels of Falstaff and
+Henry V., when Prince of Wales, is very nearly that of the statue of King
+William IV. <i>Lackpenny</i> had presented to him several of the real Signs of
+the Times and of Life in London with &#8220;<i>ribs of beef</i>&mdash;<i>many a
+pie</i>&mdash;<i>pewter pots</i>&mdash;<i>music and singing</i>&#8221;&mdash;<i>strange oaths</i>, &#8220;<i>Yea by
+Cock</i>&#8221; being a vulgar corruption for a profane oath. Our own taverns still
+supply us with ballad-singers&mdash;&#8220;<i>Buskers</i>&#8221;&mdash;who will sing of &#8220;<i>Jenkin and
+Julian</i>&#8221;&mdash;Ben Block; or, She Wore a Wreath of Roses, &#8220;<i>for their meed</i>.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then into Cornhill anon I <i>yode</i>, [went]<br />
+<span style="margin-left: 1em;">Where was much stolen gear among;</span><br />
+I saw where hung mine own hood<br />
+<span style="margin-left: 1em;">That I had lost among the throng;</span><br />
+<span style="margin-left: 1em;">To buy my own hood I thought it wrong;</span><br />
+I knew it well, as I did my creed;<br />
+But, for lack of money, I could not speed.</td></tr></table>
+
+<p>The manners and customs of the dwellers in Cornhill in the time of John
+Lydgate, when a stranger could have his hood stolen at one end of the town
+and see it exposed for sale at the other, forcibly reminds us of
+Field-lane and the Jew Fagin, so faithfully sketched in pen and ink by
+Charles Dickens of our day. Where &#8220;a young man from the country&#8221; would run
+the risk of meeting with an Artful Dodger, to pick his pocket of his silk
+handkerchief at the entrance of the Lane, and it would be offered him for
+sale by a Jew fence at the end, not only &#8220;Once a Week&#8221; but &#8220;All the Year
+Round.&#8221; However, when Charles Dickens and Oliver Twist came in, Field-lane
+and Fagin went out.</p>
+
+<p>At length the Kentish man being wearied, falls a prey to the invitation of
+a taverner, who with a cringing bow, and taking him by the
+sleeve:&mdash;&#8220;<i>Sir</i>,&#8221; saith he, &#8220;<i>will you our wine assay?</i>&#8221; Whereupon
+<i>Lackpenny</i>, coming to the safe conclusion that &#8220;<i>a penny can do no more
+than it may</i>,&#8221; enters the tempting and hospitable house of entertainment,
+and there spends his only penny, for which he is supplied with a pint of
+wine:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>The taverner took me by the sleeve,<br />
+<span style="margin-left: 1em;">&#8220;Sir,&#8221; saith he, &#8220;will you our wine assay?&#8221;</span><br />
+I answered &#8220;That cannot be much grieve,<br />
+<span style="margin-left: 1em;">A penny can do no more than it may;&#8221;</span><br />
+<span style="margin-left: 1em;">I drank a pint, and for it did pay;</span><br />
+Yet, sore a-hungered from hence I <i>yode</i>, [went]<br />
+And, wanting money, I could not speed.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>Worthy old John Stow supposes this interesting incident to have happened
+at the Pope&#8217;s Head, in Cornhill, and bids us enjoy the knowledge of the
+fact, that:&mdash;&#8220;Wine one pint for a pennie, and bread to drink it was given
+free in every taverne.&#8221; Yet Lydgate&#8217;s hero went away &#8220;<i>Sore a-hungered</i>,&#8221;
+for there was no eating at taverns at this time beyond a crust to relish
+the wine, and he who wished to dine before he drank had to go to the
+cook&#8217;s.</p>
+
+<p>Wanting money, <i>Lackpenny</i> has now no choice but to return to the country,
+and applies to the watermen at Billingsgate:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then hied I me to Billingsgate,<br />
+<span style="margin-left: 1em;">And one cried &#8220;Hoo! go we hence!&#8221;</span><br />
+I prayed a bargeman, for God&#8217;s sake,<br />
+<span style="margin-left: 1em;">That he would spare me my expense,</span><br />
+<span style="margin-left: 1em;">&#8220;Thou scap&#8217;st not here, quod he, under two-pence,</span><br />
+I list not yet bestow any almes deed.&#8221;<br />
+Thus, lacking money, I could not speed.</td></tr></table>
+
+<p>We have a corroboration of the accuracy of this picture in Lambarde&#8217;s
+&#8220;Perambulation of Kent.&#8221; The old topographer informs us that in the time
+of Richard II. the inhabitants of Milton and Gravesend agreed to carry in
+their boats, from London to Gravesend, a passenger with his truss or
+fardel [burden] for twopence.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Then I conveyed me into Kent;<br />
+<span style="margin-left: 1em;">For of the law would I meddle no more;</span><br />
+Because no man to me took entent,<br />
+<span style="margin-left: 1em;">I <i>dyght</i> [prepared] me to do as I did before.</span><br />
+<span style="margin-left: 1em;">Now Jesus, that in Bethlem was bore,</span><br />
+Save London, and send true lawyers their meed!<br />
+For whoso wants money, with them shall not speed.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>The poor Kentish suitor, without two-pence in his pocket to pay the
+Gravesend bargemen, whispers a mild anathema against London lawyers, then
+takes his solitary way on foot homeward&mdash;a sadder and a wiser man.</p>
+
+<hr style="width: 25%;" />
+
+<p>With unpaved streets, and no noise of coaches to drown any particular
+sound, we may readily imagine the din of the great London thoroughfares of
+four centuries ago, produced by all the vociferous demand for custom. The
+chief body of London retailers were then itinerant,&mdash;literally pedlars;
+and those who had attained some higher station were simply stall-keepers.
+The streets of trade must have borne a wonderful resemblance to a modern
+fair. Competition was then a very rude thing, and the loudest voice did
+something perhaps to carry the customer.</p>
+
+<div class="figcenter"><img src="images/img045.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The London Stone.</span></p>
+<p>&nbsp;<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+<div class="figcenter"><img src="images/img046.jpg" alt="" /></div>
+
+<p>In the old play entitled:&mdash;&#8220;A ryght excellent and famous Comedy called the
+<i>Three Ladies of London</i>, wherein is Notable declared and set fourth, how
+by the meanes of Lucar, Love and Conscience is so corrupted, that the one
+is married to Dissimulation, the other fraught with all abhomination. A
+Perfect Patterne of All Estates to looke into, and a worke ryght worthie
+to be marked. Written by R. W.; as it hath been publiquely played. At
+London, Printed by Roger Warde, dwelling neere Holburne Conduit at the
+sign of the Talbot, 1584,&#8221; is the following poetical description of some
+London cries:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<div class="figcenter"><img src="images/img047.jpg" alt="" /></div>
+
+<p class="poem"><i>Enter</i> <span class="smcap">Conscience</span>, with brooms, singing as followeth:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>New broomes, green broomes, will you buy any?</i><br />
+<i>Come maydens, come quickly, let me take a penny.</i><br />
+<span style="margin-left: 4em;"><i>My brooms are not steeped,</i></span><br />
+<span style="margin-left: 5em;"><i>But very well bound:</i></span><br />
+<span style="margin-left: 4em;"><i>My broomes be not crooked,</i></span><br />
+<span style="margin-left: 5em;"><i>But smooth cut and round.</i></span><br />
+<span style="margin-left: 4em;"><i>I wish it would please you,</i></span><br />
+<span style="margin-left: 5em;"><i>To buy of my broome:</i></span><br />
+<span style="margin-left: 4em;"><i>Then would it well ease me,</i></span><br />
+<span style="margin-left: 5em;"><i>If market were done.</i></span><br />
+<br />
+<span style="margin-left: 4em;"><i>Have you any olde bootes,</i></span><br />
+<span style="margin-left: 5em;"><i>Or any old shoone:</i></span><br />
+<span style="margin-left: 4em;"><i>Powch-ringes, or buskins,</i></span><br />
+<span style="margin-left: 5em;"><i>To cope for new broome?</i></span><br />
+<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span><span style="margin-left: 4em;"><i>If so you have, maydens,</i></span><br />
+<span style="margin-left: 5em;"><i>I pray you bring hither;</i></span><br />
+<span style="margin-left: 4em;"><i>That you and I, friendly,</i></span><br />
+<span style="margin-left: 5em;"><i>May bargin together.</i></span><br />
+<i>New broomes, green broomes, will you buy any?</i><br />
+<i>Come maydens, come quickly, let me take a penny.</i></td></tr>
+<tr><td align="center"><span class="smcap">Conscience</span> <i>speaketh</i>.</td></tr>
+<tr><td>Thus am I driven to make a virtue of necessity;<br />
+And seeing God Almighty will have it so, I embrace it thankfully,<br />
+Desiring God to mollify and lesson Usury&#8217;s hard heart,<br />
+That the poor people feel not the like penury and smart.<br />
+But Usury is made tolerable amongst Christians as a necessary thing,<br />
+So that, going beyond the limits of our law, they extort, and to many misery bring.<br />
+But if we should follow God&#8217;s law we should not receive above what we lend;<br />
+For if we lend for reward, how can we say we are our neighbour&#8217;s friend?<br />
+O, how blessed shall that man be, that lends without abuse,<br />
+But thrice accursed shall he be, that greatly covets use;<br />
+For he that covets over-much, insatiate is his mind:<br />
+So that to perjury and cruelty he wholly is inclined:<br />
+Wherewith they sore oppress the poor by divers sundry ways,<br />
+Which makes them cry unto the Lord to shorten cut-throats&#8217; days.<br />
+Paul calleth them thieves that doth not give the needy of their store,<br />
+And thrice accurs&#8217;d are they that take one penny from the poor.<br />
+But while I stand reasoning thus, I forget my market clean;<br />
+And sith God hath ordained this way, I am to use the mean.</td></tr>
+<tr><td align="center">Sings again.</td></tr>
+<tr><td><i>Have ye any old shoes, or have ye any boots? have ye any buskins,<br /><span style="margin-left: 2em;">or will ye buy any broome?</span><br />
+Who bargins or chops with Conscience? What will no customer come?</i></td></tr>
+<tr><td align="center"><i>Enter</i> <span class="smcap">Usury.</span></td></tr>
+<tr><td align="center"><span class="smcap">Usury.</span></td></tr>
+<tr><td><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>Who is that cries brooms? What, Conscience, selling brooms about the street?</td></tr>
+<tr><td align="center"><span class="smcap">Conscience.</span></td></tr>
+<tr><td>What, Usury, it is a great pity thou art unhanged yet.</td></tr>
+<tr><td align="center"><span class="smcap">Usury.</span></td></tr>
+<tr><td>Believe me, Conscience, it grieves me thou art brought so low.</td></tr>
+<tr><td align="center"><span class="smcap">Conscience.</span></td></tr>
+<tr><td>Believe me, Usury, it grieves me thou wast not hanged long ago,<br />
+For if thou hadst been hanged, before thou slewest Hospitality,<br />
+Thou hadst not made me and thousands more to feel like Poverty.</td></tr></table>
+
+<p>By another old comedy by the same author as the preceding one, which he
+entitles:&mdash;&#8220;The pleasant and Stately Morall of the <i>Three Lords and Three
+Ladies of London</i>. With the great Joye and Pompe, Solemnized at their
+Marriages: Commically interlaced with much honest Mirth, for pleasure and
+recreation, among many Morall observations, and other important matters of
+due regard. By R. W., London. Printed by R. Ihones, at the Rose and
+Crowne, neere Holburne Bridge, 1590,&#8221; it appears that woodmen went about
+with their beetles and wedges on their backs, crying &#8220;<i>Have you any wood
+to cleave?</i>&#8221; It must be borne in mind that in consequence of the many
+complaints against coal as a public nuisance, it was not in common use in
+London until the reign of Charles I., 1625.</p>
+
+<p>There is a character in the play named <i>Simplicity</i>, a poor Freeman of
+London, who for a purpose turns ballad-monger, and in answer to the
+question of &#8220;What dainty fine ballad have you now to be sold?&#8221;
+replies:&mdash;&#8220;I have &#8216;<i>Chipping-Norton</i>,&#8217; &#8216;<i>A mile from Chapel o&#8217; th&#8217;
+Heath</i>&#8217;&mdash;&#8216;<i>A lamentable ballad of burning of the Pope&#8217;s dog</i>;&#8217; &#8216;<i>The sweet
+ballad of the Lincolnshire bagpipes</i>;&#8217; and &#8216;<i>Peggy and Willy: But now he
+is dead and gone; Mine own sweet Willy is laid in his grave</i>.&#8217;&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<div class="figcenter"><img src="images/img048.jpg" alt="" /></div>
+<p class="center">SHAKESPEARE&#8217;S LONDON.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;City of ancient memories! Thy spires<br />
+Rise o&#8217;er the dust of worthy sons; thy walls,<br />
+Within their narrow compass, hold as much<br />
+Of Freedom as the whole wide world beside.&#8221;</td></tr></table>
+
+<hr style="width: 25%;" />
+
+<p>The London of Shakespeare, Ben Jonson and Co.,&mdash;<i>Limited</i> as it was within
+its great wall, occupied very much the same space as that now covered by
+the City proper; its streets were narrow and winding, yet there were still
+left many open spaces; it was covered with people; its river was full of
+shipping; it was rich, prosperous, and possessed of a considerable amount
+of<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> liberty. The great wall of London, broad and strong, with towers at
+intervals, was more than two miles long, from end to end, beginning at the
+Tower of London on the east, and ending at the Fleet River and the Thames
+on the west.</p>
+
+<div class="figcenter"><img src="images/img049.jpg" alt="" /></div>
+<p class="center">ALDERSGATE.</p>
+
+<p>As regards the gates, there were anciently only four&mdash;namely, Aldersgate,
+Aldgate, Ludgate, and Bridgegate&mdash;that is to say, one for each of the
+cardinal points. Then other gates and posterns were added for the
+convenience of the citizens: Bishopsgate, for those who had business in
+the direction of Norfolk, Suffolk, or Cambridgeshire; Moorgate, for those
+who<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> would practice archery, or take their recreation in Moor Fields;
+Cripplegate, more ancient than the two preceding, had a prison for debtors
+attached to it; and there was also a postern for the Convent of Grey
+Friars, now Christ&#8217;s Hospital. At Newgate was a small, incommodious, and
+fever-haunted prison for criminals; and at Ludgate was another prison,
+appropriated to debtors, trespassers, and those who committed contempt of
+Court. Along the river-side were several water-gates, the chief of which
+were Blackfriars, Greenhithe, Dowgate and Billingsgate.</p>
+
+<p>Within the narrow space of the City Walls there rose a forest of towers
+and spires. The piety of Merchants had erected no fewer than a hundred and
+three churches, which successive citizens were continually rebuilding,
+beautifying, or enlarging. They were filled with the effigies and splendid
+tombs, the painted and gilded arms, of their founders and benefactors, for
+whose souls masses were continually said.</p>
+
+<div class="figcenter"><img src="images/img050.jpg" alt="" /></div>
+<p class="center">CHEAPSIDE CROSS.</p>
+
+<p>&#8220;London was divided into Wards, and was perhaps as catholic in its
+commercial and industrial pursuits then as now. Every kind of trade was
+carried on within its walls, just as every kind of merchandise was sold.
+The combination of fellows of the same craft began in very early times,
+guilds were formed for the protection of trade and its followers; the
+guild-brothers met once a month to consider the interests of the craft,
+regulating prices, recovering debts and so forth. But the London of the
+period was not so gay as Paris, nor so bustling and prosperous as Antwerp,
+nor so full of splendour and intellectual life as Venice.<a name='fna_1' id='fna_1' href='#f_1'><small>[1]</small></a> Yet to the
+Englishman of the day it was an <span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>ever-lasting wonder. Its towers and
+palaces, its episcopal residences and gentlemen&#8217;s inns, the bustle of its
+commerce, the number of its foreigners, the wealth of its Companies, and
+the bravery of its pageants, invested it with more poetry than can be
+claimed for it at the present time, unless Wealth be our deity, Hurry our
+companion, and Progress our muse. The rich were leaving their pleasant
+country mansions to plunge into its delights. At the law terms there was a
+regular influx of visitors, who seemed to think more of taking tobacco
+than of winning a lawsuit. Ambitious courtiers, hopeful ecclesiastics,
+pushing merchants, and poetic dreamers, were all caught by the
+fascinations of London. Site, antiquity, life, and, above all, abundance
+of the good things that make up half its charm, in<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> the shape of early
+delicacies, costly meats, and choice wines, combined to make it a
+miraculous city in the eyes of the Elizabethan.&#8221;</p>
+
+<p>&#8220;The external appearance of the City was certainly picturesque. Old grey
+walls threw round it the arm of military protection. Their gates were
+conspicuous objects, and the white uniforms of the train-bands on guard,
+with their red crosses on the back, fully represented the valour which
+wraps itself in the British flag and dies in its defence. To the north
+were the various fields whose names survive, diversified by an occasional
+house, and Dutch-looking windmills, creaking in the breeze. Finsbury was a
+fenny tract, where the City archers practised; Spitalfields, an open,
+grassy place, with grounds for artillery exercise and a market cross; and
+Smithfield, or Smoothfield, was an unenclosed plain, where tournaments
+were held, horses were sold, and martyrs had been burnt. To the east was
+the Tower of London, black with age, armed with cannon and culverin, and
+representing the munificence which entertained royalty as well as the
+power which punished traitors. Beyond it was Wapping, the Port of London,
+with its narrow streets, its rope-walks and biscuit shops. Black fronted
+taverns, with low doorways and leaden framed windows, their rooms reeking
+
+with smoke and noisy with the chatter of ear-ringed sailors, were to be
+found in nearly every street. Here the merchant adventurer came to hire
+his seamen, and here the pamphleteer or the ballad-maker could any night
+gather materials for many a long-winded yarn about Drake and the Spanish
+main, negroes, pearls, and palm-groves.</p>
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+<div class="figcenter"><img src="images/img051.jpg" alt="" /></div>
+<p class="center">OLD STAGE WAGGON.</p>
+
+<p>&#8220;To the west, the scene was broken with hamlets, trees, and country roads.
+Marylebone and Hyde Park were a royal hunting-ground, with a manor house,
+where the Earls of Oxford lived in later times. Piccadilly was &#8216;the road
+to Reading,&#8217; with foxgloves growing in its ditches, gathered by the
+simple dealers of Bucklersbury, to make anodynes for the weary-hearted.
+Chelsea was a village; Pimlico a country hamlet, where pudding-pies were
+eaten by strolling Londoners on a Sunday. Westminster was a city standing
+by itself, with its Royal Palace, its Great Hall for banquets and the
+trial of traitors, its sanctuary, its beautiful Abbey, and its famous
+Almonry. St. James&#8217;s Park was walled with red brick, and contained the
+palace Henry VIII. had built for Anne Boleyn. Whitehall Palace was in its
+glory. The Strand, along which gay ladies drove in their<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> &#8216;crab-shell
+coaches,&#8217; had been recently paved, and its streams of water diverted. A
+few houses had made their appearance on the north side of the Strand,
+between the timber house and its narrow gateway, which then formed Temple
+Bar, the boundary between London and Westminster, and the church of St.
+Mary-le-Strand. The southern side was adorned with noble episcopal
+residences, and with handsome turreted mansions, extending to the river,
+rich with trees and gardens, and relieved by flashes of sparkling water.</p>
+
+<div class="figcenter"><img src="images/img052.jpg" alt="" /></div>
+<p class="center">SMITH&#8217;S ARMS, BANKSIDE.<a name='fna_2' id='fna_2' href='#f_2'><small>[2]</small></a></p>
+
+<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>&#8220;To the south, Lambeth, with its palace and church, and Faux Hall, were
+conspicuous objects. Here were pretty gardens and rustic cottages. The
+village of Southwark, with its prisons, its public theatres, its palace,
+and its old Tabard Inn, had many charms. It was the abode of Shakespeare
+himself, as he resided in a good house in the Liberty of the Clink, and
+was assessed in the weekly payment of 6d., no one but Henslowe, Alleyn,
+Collins, and Barrett, being so highly rated. That part of the Borough of
+Southwark known as Bankside was not only famous in Shakespeare&#8217;s time for
+its Theatres, but also as the acknowledged retreat of the warmest of the
+<i>demi-monde</i>!</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;&#8216;And here, as in a tavern, or a stew,<br />
+He and his wild associates spend their hours.&#8217;&#8221;<br />
+<span style="margin-left: 8em;">&mdash;<i>Ben Jonson.</i></span></td></tr></table>
+
+<p>&#8220;We fear our best zeal for the drama will not authorise us to deny that
+Covent-garden and Drury-lane have succeeded to the <i>Bank-side</i> in every
+species of fame!</p>
+
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+<div class="figcenter"><img src="images/img053.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Globe Theatre.</span></p>
+
+<p>&#8220;We must not forget the river Thames. It was one of the sights of the
+time. Its waters were pure and bright, full of delicate salmon, and
+flecked by snowy swans, &#8216;white as Lemster wool.&#8217; Wherries plied freely on
+its surface. Tall masts clustered by its banks. Silken-covered tiltboats,
+freighted with ruffed and feathered ladies and gentlemen, swept by, the
+watermen every now and then breaking the plash of the waves against their
+boats by singing out, in their bass voices, &#8216;Heave and how, rumbelow.&#8217; At
+night, the scene reminded the travelled man of Venice. All the mansions by
+the water-side had river-terraces and steps, and each one its own
+tiltboat, barge, and watermen. Down these steps, lighted by torches and
+lanterns, stepped dainty ladies, in their coloured shoes, with masks on
+their faces, and gay gallants, in laced cloaks, by their side, bound for
+Richmond or Westminster, to mask and revel. Noisy parties of wits and
+Paul&#8217;s men crossed to Bankside to see <i>Romeo and Juliet</i>, or <i>Hamlet the
+Dane</i>, or else &#8216;The most excellent<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> historie of the <i>Merchant of Venice</i>,
+with the extreme crueltie of <i>Shylocke</i>, the Jewe, towards the sayd
+merchant, in cutting a just pound of his flesh, and obtaining of Portia by
+the choyse of three caskets, as it hath diverse times been acted by the
+Lord Chamberlain, his servants. Written by William Shakespeare.&#8217;</p>
+
+<div class="figcenter"><img src="images/img054.jpg" alt="" /></div>
+<p class="center">BAYNARD&#8217;S CASTLE.</p>
+
+<p>&#8220;From Westminster to London Bridge was a favourite trip. There was plenty
+to see. The fine Strand-side houses were always pointed
+out&mdash;Northumberland House, York House, Baynard&#8217;s Castle, the scene of the
+secret interview between the Duke of York and the Earls of Salisbury and
+Warwick, was singled out, between Paul&#8217;s Wharf and Puddle Dock. Next to
+the Temple, and between it and Whitefriars, was the region<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> known as
+Alsatia. Here safe from every document but the writ of the Lord Chief
+Justice and the Lords of the Privy Council, in dark dwellings, with
+subterranean passages, narrow streets, and trap-doors that led to the
+Thames, dwelt all the rascaldom of the time&mdash;men who had been &#8216;horned&#8217; or
+outlawed, bankrupts, coiners, thieves, cheaters at dice and cards,
+duellists, homicides, and foreign bravoes, ready to do any desperate deed.
+At night the contents of this kingdom of villany were sprayed out over
+London, to the bewilderment of good-natured Dogberries, and country
+gentlemen, making their first visit to town.</p>
+
+<p>&#8220;Still further down the river was the famous London Bridge. It consisted
+of twenty arches; its roadway was sixty feet from the river; and the
+length of the bridge from end to end was 926 feet.</p>
+
+<p>&#8220;It was one of the wonders that strangers never ceased to admire. Its many
+shops were occupied by pin nacres, just beginning to feel the competition
+with the Netherland pin-makers, and the tower at its Southwark end was
+adorned with three hundred heads, stuck on poles, like gigantic pins,
+memorials of treachery and heresy.</p>
+
+<p>&#8220;The roar of the river through the arches was almost deafening. &#8216;The noise
+at London Bridge is nothing near her,&#8217; says one of the characters in
+Beaumont and Fletcher&#8217;s <i>Woman&#8217;s Prize</i>. Shakespeare, Ben Jonson &amp; Co.,
+must have crossed the bridge many a time on their visits to the City, to
+&#8216;gather humours of men daily,&#8217; as Aubrey quaintly expresses it.&#8221;</p>
+
+<p>The name of Ben Jonson reminds us that in <i>The Silent Woman</i>,&mdash;one of the
+most popular of his Comedies,&mdash;we have presented to us a more vivid
+picture than can elsewhere be found of<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> the characteristic noises, and
+street-cries of London more than two centuries ago. It is easy to form to
+ourselves a general idea of the hum and buzz of the bees and drones of
+this mighty hive, under a state of manners essentially different from our
+own; but it is not so easy to attain a lively conception of the particular
+sounds that once went to make up this great discord, and so to compare
+them in their resemblances and their differences with the roar which the
+great Babel <i>now</i> &#8220;sends through all her gates.&#8221; We propose, therefore, to
+put before our readers this passage of Jonson&#8217;s comedy; and then,
+classifying what he describes, illustrate our fine old dramatic painter of
+manners by references to other writers, and by the results of our own
+observation.</p>
+
+<div class="figcenter"><img src="images/img055.jpg" alt="" /></div>
+
+<p>The principal character of Jonson&#8217;s <i>Silent Woman</i> is founded upon a
+sketch by a Greek writer of the fourth century, Libanius. Jonson
+designates this character by the name of<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> &#8220;Morose;&#8221; and his peculiarity is
+that he can bear no kind of noise, not even that of ordinary talk. The
+plot turns upon this affectation; for having been entrapped into a
+marriage with the &#8220;Silent Woman,&#8221; she and her friends assail him with
+tongues the most obstreperous, and clamours the most uproarious, until, to
+be relieved of this nuisance, he comes to terms with his nephew for a
+portion of his fortune and is relieved of the &#8220;Silent Woman,&#8221; who is in
+reality a boy in disguise. We extract the dialogue of the whole scene; the
+speakers being &#8220;Truewitt,&#8221; &#8220;Clerimont,&#8221; and a &#8220;Page&#8221;:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;<i>True.</i> I met that stiff piece of formality, Master Morose, his
+uncle, yesterday, with a huge turban of night-caps on his head,
+buckled over his ears.</p>
+
+<p>&#8220;<i>Cler.</i> O! that&#8217;s his custom when he walks abroad. He can endure no
+noise, man.</p>
+
+<p>&#8220;<i>True.</i> So I have heard. But is the disease so ridiculous in him as
+it is made? They say he has been upon divers treaties with the
+fish-wives and orange-women; and articles propounded between them:
+marry, the chimney-sweepes will not be drawn in.</p>
+
+<p>&#8220;<i>Cler.</i> No, nor the broom-men: they stand out stiffly. He cannot
+endure a costard-monger; he swoons if he hear one.</p>
+
+<p>&#8220;<i>True.</i> Methinks a smith should be ominous.</p>
+
+<p>&#8220;<i>Cler.</i> Or any hammer-man. A brasier is not suffer&#8217;d to dwell in the
+parish, nor an armourer. He would have hang&#8217;d a pewterer&#8217;s &#8217;prentice
+once upon a Shrove-Tuesday&#8217;s riot, for being of that trade, when the
+rest were quit.</p>
+
+<p>&#8220;<i>True.</i> A trumpet should fright him terribly, or the hautboys.</p>
+
+<p>&#8220;<i>Cler.</i> Out of his senses. The waits of the City have a pension of
+him not to come near that ward. This youth practised on him one night
+like the bellman, and never left till he had brought him down to the
+door with a long sword; and there left him flourishing with the air.</p>
+
+<p>&#8220;<i>Page.</i> Why, sir, he hath chosen a street to lie in, so narrow at
+both ends that it will receive no coaches, nor carts, nor any of these
+common<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> noises; and therefore we that love him devise to bring him in
+such as we may now and then, for his exercise, to breathe him. He
+would grow resty else in his cage; his virtue would rust without
+action. I entreated a bearward, one day, to come down with the dogs of
+some four parishes that way, and I thank him he did; and cried his
+games under Master Morose&#8217;s window; till he was sent crying away, with
+his head made a most bleeding spectacle to the multitude. And, another
+time, a fencer marching to his prize had his drum most tragically run
+through, for taking that street in his way at my request.</p>
+
+<p>&#8220;<i>True.</i> A good wag! How does he for the bells?</p>
+
+<p>&#8220;<i>Cler.</i> O! In the queen&#8217;s time he was wont to go out of town every
+Saturday at ten o&#8217;clock, or on holiday eves. But now, by reason of the
+sickness, the perpetuity of ringing has made him devise a room with
+double walls and treble ceilings; the windows close shut and caulk&#8217;d;
+and there he lives by candlelight.&#8221;</p></div>
+
+<p>The first class of noises, then, against which &#8220;Morose&#8221; protected his ears
+by &#8220;a huge turban of night-caps,&#8221; is that of the ancient and far-famed
+<span class="smcap">London Cries</span>. We have here the very loudest of them&mdash;fish-wives,
+orange-women, chimney-sweepers, broom-men, costard-mongers. But we might
+almost say that there were <i>hundreds</i> of other cries; and therefore,
+reserving to ourselves some opportunity for a special enumeration of a few
+of the more remarkable of these cries, we shall now slightly group them,
+as they present themselves to our notice during successive generations.</p>
+
+<p>We shall not readily associate any very agreeable sounds with the voices
+of the &#8220;fish-wives.&#8221; The one who cried &#8220;<i>Mackerel</i>&#8221; in Lydgate&#8217;s day had
+probably no such explanatory cry as the &#8220;<i>Mackerel alive, alive ho!</i>&#8221; of
+modern times. In the seventeenth century the cry was &#8220;<i>New Mackerel</i>.&#8221; And
+in the same way there was:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img056a.jpg" alt="" /><br /><span class="smcap">New Wall-Fleet Oysters.</span></td>
+    <td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img056b.jpg" alt="" /><br /><span class="smcap">New Flounders.</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img056c.jpg" alt="" /><br /><span class="smcap">New Whiting.</span></td>
+    <td>&nbsp;</td>
+    <td align="center"><img src="images/img056d.jpg" alt="" /><br /><span class="smcap">New Salmon.</span></td></tr></table>
+
+<p>The freshness of fish must have been a considerable recommendation in
+those days of tardy intercourse. But quantity was also to be taken into
+the account, and so we find the cries<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> of &#8220;<i>Buy my dish of Great Smelts</i>;&#8221;
+&#8220;<i>Great Plaice</i>;&#8221; &#8220;<i>Great Mussels</i>.&#8221; Such are the fish-cries enumerated in
+Lauron&#8217;s and various other collections of &#8220;London Cries.&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img057a.jpg" alt="" /><br /><span class="smcap">Buy Great Smelts.</span></td>
+    <td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img057b.jpg" alt="" /><br /><span class="smcap">Buy Great Plaice.</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img057c.jpg" alt="" /><br /><span class="smcap">Buy Great Mussels.</span></td>
+    <td>&nbsp;</td>
+    <td align="center"><img src="images/img057d.jpg" alt="" /><br /><span class="smcap">Buy Great Eels.</span></td></tr></table>
+
+<p>But, we are forgetting &#8220;Morose,&#8221; and his &#8220;turban of night-caps.&#8221; Was
+Hogarth familiar with the old noise-hater when he conceived his own:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+<div class="figcenter"><img src="images/img058.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Enraged Musician.</span></p>
+
+<p>In this extraordinary gathering together of the producers of the most
+discordant sounds, we have a representation which may fairly match the
+dramatist&#8217;s description of street noises. Here we have the milk-maid&#8217;s
+scream, the mackerel seller&#8217;s shout, the sweep upon the house top,&mdash;to
+match the fish-wives and orange-women, the broom-men and costard-mongers.
+The smith, who was &#8220;ominous,&#8221; had no longer his forge in the busy streets
+of Hogarth&#8217;s time; the armourer was obsolete: but Hogarth can rival their
+noises with the pavior&#8217;s hammer, the sow-gelder&#8217;s horn, and the
+knife-grinder&#8217;s wheel. The waits of<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> the city had a pension not to come
+near &#8220;Morose&#8217;s&#8221; ward; but it was out of the power of the &#8220;Enraged
+Musician&#8221; to avert the terrible discord of the blind hautboy-player. The
+bellman who frightened the sleepers at midnight, was extinct; but modern
+London had acquired the dustman&#8217;s bell. The bear-ward no longer came down
+the street with the dogs of four parishes, nor did the fencer march with a
+drum to his prize; but there was the ballad-singer, with her squalling
+child, roaring worse than bear or dog; and the drum of the little boy
+playing at soldiers was a more abiding nuisance than the fencer. &#8220;Morose&#8221;
+and the &#8220;Enraged Musician&#8221; had each the church bells to fill up the
+measure of discord.</p>
+
+<div class="figcenter"><img src="images/img059.jpg" alt="" /></div>
+
+<p>The fish-wives are no longer seen in our great city of London
+thoroughfares. In Tottenham Court-road, Hoxton, Shoreditch,<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> Kingsland,
+Whitechapel, Hackney-road, and many other suburban districts, which still
+retain the character of a street-market, they stand in long rows as the
+evening draws in, with paper-lanterns stuck in their baskets on dark
+nights; and there they vociferate as loudly as in the olden time.</p>
+
+<div class="figcenter"><img src="images/img060.jpg" alt="" /></div>
+
+<p>The &#8220;costard-monger&#8221; whom Morose dreaded, still lives amongst us, and is
+still noisy. He bawls so loud even to this day, that he puts his hand
+behind his ear to mitigate the sensation which he inflicts upon his own
+tympanum. He was originally an apple-seller, whence his name; and, from
+the mention of him in the old dramatists, he appears to have been
+frequently an Irishman. In Jonson&#8217;s &#8220;Bartholomew Fair,&#8221; he cries
+&#8220;<i>pears</i>.&#8221; Ford makes him cry &#8220;<i>pippins</i>.&#8221; He is a quarrelsome fellow,
+according to Beaumont and Fletcher:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;And then he&#8217;ll rail like a rude costermonger,<br />
+That schoolboys had cozened of his apple,<br />
+As loud and senseless.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>The costermonger is now a travelling shopkeeper. We encounter him not in
+Cornhill, or Holborn, or the Strand: in the neighbourhood of the great
+markets and well-stored shops he travels not. But his voice is heard in
+some silent streets stretching into the suburbs; and there, with his
+donkey and hampers stands at the door, as the servant-maid cheapens a
+bundle of cauliflowers. He has monopolized all the trades that were
+anciently represented by such cries as &#8220;<i>Buy my artichokes, mistress</i>;&#8221;
+&#8220;<i>Ripe cowcumbers</i>;&#8221; &#8220;<i>White onions, white St. Thomas&#8217; onions</i>;&#8221; &#8220;<i>White
+radish</i>;&#8221; &#8220;<i>Ripe young beans</i>;&#8221; &#8220;<i>Any baking pears</i>;&#8221; &#8220;<i>Ripe
+sparrowgrass</i>.&#8221; He would be indignant to encounter such petty chapmen
+interfering with his wholesale operations. He would rail against them as
+the city shopkeepers of the sixteenth and seventeenth centuries railed
+against itinerant traders of every denomination. In the days of Elizabeth,
+they declare by act of common council, that in ancient times the open
+streets and lanes of the city have been used, and ought to be used, as the
+common highway only, and not for hucksters, pedlars, and hagglers, to
+stand or sit to sell their wares in, and to pass from street to street
+hawking and offering their wares. In the seventh year of Charles I. the
+same authorities denounce the oyster-wives, herb-wives, tripe-wives, and
+the like, as &#8220;unruly people;&#8221; and they charge them somewhat unjustly, as
+it must appear, with &#8220;framing to themselves a way whereby to live a more
+easy life than by labour.&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;How busy is the man the world calls idle!&#8221;</td></tr></table>
+
+<p>The evil, as the citizens term it, seems to have increased; for in 1694
+the common council threatened the pedlars and petty chapmen with the
+terrors of the laws against rogues and sturdy<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> beggars, the least penalty
+being whipping, whether for male or female. The reason for this terrible
+denunciation is very candidly put: the citizens and shopkeepers are
+greatly hindered and prejudiced in their trades by the hawkers and
+pedlars. Such denunciations as these had little share in putting down the
+itinerant traders. They continued to flourish, because society required
+them; and they vanished from our view when society required them no
+longer. In the middle of the last century they were fairly established as
+rivals to the shopkeepers. Dr. Johnson, than whom no man knew London
+better, thus writes in the &#8220;Adventurer:&#8221;&mdash;&#8220;The attention of a new-comer is
+generally first struck by the multiplicity of cries that stun him in the
+streets, and the variety of merchandise and manufactures which the
+shopkeepers expose on every hand.&#8221; The shopkeepers have now ruined the
+itinerants&mdash;not by putting them down by fiery penalties, but by the
+competition amongst themselves to have<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> every article at hand for every
+man&#8217;s use, which shall be better and cheaper than the wares of the
+itinerant. Whose ear is now ever deafened by the cries of the broom-man?
+He was a sturdy fellow in the days of old &#8220;Morose,&#8221; carrying on a barter
+which in itself speaks of the infancy of civilization. His cry was &#8220;<i>Old
+Shoes for some Brooms</i>.&#8221; Those proclamations for barter no doubt furnished
+a peculiar characteristic of the old London Cries. The itinerant buyers
+were as loud, though not so numerous, as the sellers.</p>
+
+<div class="figcenter"><img src="images/img061.jpg" alt="" /></div>
+<p class="center"><span class="smcap">New Brooms for Old Shoes!</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img062.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Old Clowze, any old Clo&#8217;, Clo&#8217;.</span></p>
+
+<p>The familiar voice of &#8220;<i>Old Clowze, any old Clo&#8217; Clo</i>,&#8221; has lasted through
+some generations; but the glories of Monmouth-street were unknown when a
+lady in a peaked bonnet and a laced stomacher went about proclaiming &#8220;<i>Old
+Satin, old Taffety, or Velvet</i>.&#8221; And a singular looking party of the
+Hebrew persuasion, with a cocked hat on his head, and a bundle of rapiers
+and sword-sticks under his arm, which he was ready to barter for:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p>
+<div class="figcenter"><img src="images/img063a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Old Cloaks, Suits, or Coats.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img063b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hats or Caps&mdash;Buy, Sell, or Exchange.</span></p>
+
+<p>While another of the tribe proclaimed aloud from east to west&mdash;and back
+again, &#8220;From morn to noon, from noon to dewy eve,&#8221; his willingness to
+&#8220;<i>Buy, sell, or exchange Hats or Caps</i>.&#8221;<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> Why should the Hebrew race
+appear to possess a monopoly in the purchase and sale of dilapidated
+costumes? Why should their voices, and theirs alone, be employed in the
+constant iteration of the talismanic monosyllables &#8220;Old Clo&#8217;?&#8221; Is it
+because Judas carried the bag that all the children of Israel are to
+trudge through London streets to the end of their days with sack on
+shoulder? Artists generally represent the old clothesman with three, and
+sometimes four, hats, superposed one above the other. Now, although we
+have seen him with many hats in his hands or elsewhere, we never yet saw
+him with more than one hat on his head. The three-hatted clothesman, if
+ever he existed, is obsolete. According to Ingoldsby, however, when
+&#8220;Portia&#8221; pronounced the law adverse to &#8220;Shylock&#8221;:</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Off went his three hats, and he look&#8217;d as the cats<br />
+Do, whenever a mouse has escaped from their claw.&#8221;</td></tr></table>
+
+<div class="figcenter"><img src="images/img064.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Any Kitchen-Stuff have you Maids?</span></p>
+
+<p>There was trading then going forward from house to house, which careful
+housewifery and a more vigilant police have<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> banished from the daylight,
+if they have not extirpated it altogether. Before the shops are open and
+the chimneys send forth their smoke, there may be now, sometimes, seen
+creeping up an area a sly-looking beldam, who treads as stealthily as a
+cat. Under her cloak she has a pan, whose unctuous contents will some day
+assist in the enlightenment or purification of the world, in the form of
+candles or soap. But the good lady of the house, who is a late riser,
+knows not of the transformation that is going forward. In the old days she
+would have heard the cry of a maiden, with tub on head and pence in hand,
+of &#8220;<i>Any Kitchen-stuff have you Maids?</i>&#8221; and she probably would have dealt
+with her herself, or have forbidden her maids to deal.</p>
+
+<p>So it is with the old cry of &#8220;<i>Any Old Iron take Money for?</i>&#8221; The fellow
+who then went openly about with sack on back was a thief, and an
+encourager of thieves; he now keeps a marine-store.</p>
+
+<div class="figcenter"><img src="images/img065.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Any Old Iron take Money for?</span></p>
+<p>&nbsp;<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+<div class="figcenter"><img src="images/img066.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Old London Shop.</span></p>
+
+<p>Sir Walter Scott, in his <i>Fortunes of Nigel</i>, has left us a capital
+description of the shop of a London tradesman during the reign of King
+James in England, the shop in question being that of David Ramsay, maker
+of watches and horologes, within Temple-bar&mdash;a few yards eastward of St.
+Dunstan&#8217;s church, Fleet-street, and where his apprentice, Jenkin
+Vincent&mdash;abbreviated to Jin Vin, when not engaged in &#8217;prentices-riots&mdash;is
+crying to every likely passer-by:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;What d&#8217;ye lack?&mdash;What d&#8217;ye lack?&mdash;Clocks&mdash;watches&mdash;barnacles?&mdash;What
+d&#8217;ye lack?&mdash;Watches&mdash;clocks&mdash;barnacles?&mdash;What d&#8217;ye lack, sir? What
+d&#8217;ye lack, madam?&mdash;Barnacles&mdash;watches&mdash;clocks? What d&#8217;ye lack,<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> noble
+sir?&mdash;What d&#8217;ye lack, beauteous madam?&mdash;God bless your reverence, the
+Greek and Hebrew have harmed your reverence&#8217;s eyes. Buy a pair of
+David Ramsay&#8217;s barnacles. The king, God bless his sacred Majesty!
+never reads Hebrew or Greek without them. What d&#8217;ye lack? Mirrors for
+your toilets, my pretty madam; your head-gear is something awry&mdash;pity,
+since it so well fancied. What d&#8217;ye lack? a watch, Master Sargeant?&mdash;a
+watch that will go as long as a lawsuit, as steady and true as your
+own eloquence? a watch that shall not lose thirteen minutes in a
+thirteen years&#8217; lawsuit&mdash;a watch with four wheels and a
+bar-movement&mdash;a watch that shall tell you, Master Poet, how long the
+patience of the audience will endure your next piece at the Black
+Bull.&#8221;</p></div>
+
+<p>The verbal proclaimers of the excellence of their commodities, had this
+advantage over those who, in the present day, use the public papers for
+the same purpose, that they could in many cases adapt their address to the
+peculiar appearance and apparent taste of the passengers. This direct and
+personal mode of invitation to customers became, however, a dangerous
+temptation to the young wags who were employed in the task of solicitation
+during the absence of the principal person interested in the traffic; and,
+confiding in their numbers and civic union, the &#8217;prentices of London were
+often seduced into taking liberties with the passengers, and exercising
+their wit at the expense of those whom they had no hopes of converting
+into customers by their eloquence. If this were resented by any act of
+violence, the inmates of each shop were ready to pour forth in succour;
+and in the words of an old song which Dr. Johnson was used to hum,&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Up then rose the &#8217;prentices all,<br />
+Living in London, both proper and tall.&#8221;</td></tr></table>
+
+<p>Desperate riots often arose on such occasions, especially when the
+Templars, or other youths connected with the aristocracy, were insulted,
+or conceived themselves so to be.<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> Upon such occasions, bare steel was
+frequently opposed to the clubs of the citizens, and death sometimes
+ensued on both sides. The tardy and inefficient police of the time had no
+other resource than by the Alderman of the ward calling out the<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+householders, and putting a stop to the strife by overpowering numbers, as
+the Capulets and Montagues are separated upon the stage.</p>
+
+<div class="figcenter"><img src="images/img067.jpg" alt="" /></div>
+<p class="center"><span class="smcap">St. Paul&#8217;s Cathedral.</span></p>
+
+<p>It must not be imagined that these &#8217;prentices of the City of London were
+of mean and humble origin. The sons of freemen of the City, or country
+boys of good and honourable families, alone were admitted to the seven
+years&#8217; apprenticeship. The common people&mdash;the <i>ascripti gleb&aelig;</i>&mdash;the poor
+rustics who were bound to the soil, had little or no share in the fortunes
+of the City of London. Many of the burgesses were as proud of their
+descent as of their liberties.</p>
+
+<div class="figcenter"><img src="images/img068.jpg" alt="" /></div>
+<p class="center"><span class="smcap">A Street at Night&mdash;Shakespeare&#8217;s London.</span></p>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>Once apprenticed, and having in a few weeks imbibed the spirit of the
+place, the lad became a Londoner. It is one of the characteristics of
+London, that he who comes up to the City from the country speedily becomes
+penetrated with the magic of the golden pavement, and falls in love with
+the great City. And he who has once felt that love of London can never
+again be happy beyond the sound of Bow Bells, which could formerly be
+heard for ten miles and more. The greatness of the City, its history, its
+associations, its ambitions, its pride, its hurrying crowds&mdash;all these
+things affect the imagination and fill the heart. There is no place in the
+world, and never has been, which so stirs the heart of her children with
+love and pride as the City of London.</p>
+
+<p>A year or two later on, the boy would learn, with his fellow-&#8217;prentices
+that he must betake himself to the practice of bow and arrow, &#8220;pellet and
+bolt,&#8221; with a view to what might happen. Moorfields was convenient for the
+volunteers of the time. There was, however, never any lack of excitement
+and novelty in the City of London. But this is a digression.</p>
+
+<div class="figcenter"><img src="images/img069.jpg" alt="" /></div>
+
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>Amongst the earliest of the Cries of London we must class the &#8220;cry&#8221; of the
+City watchman; although it essentially differed from the &#8220;cries&#8221; of the
+shopkeepers and the hawkers; for they, as a rule, had something to
+exchange or sell&mdash;<i>copen or buy?</i> as Lydgate puts it&mdash;then the watchmen
+were wont to commence their &#8220;cry&#8221; at, or about, the hour of night when all
+others had finished for the day. After that it was the business of the
+watchman to make his first call, or cry after the manner inscribed over
+the figure here given.</p>
+
+<div class="figcenter"><img src="images/img070.jpg" alt="" /></div>
+
+<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>He had to deal with deaf listeners, and he therefore proclaimed with a
+voice of command, &#8220;Lanthorn!&#8221; but a lanthorn alone was a body without a
+soul; and he therefore demanded &#8220;a <i>whole</i> candle.&#8221; To render the mandate
+less individually oppressive, he went on to cry, &#8220;Hang out your Lights!&#8221;
+And, that even the sleepers might sleep no more, he ended with &#8220;Heare!&#8221; It
+will be seen that he carries his staff and lanthorn with the air of honest
+old Dogberry about him,&mdash;&#8220;A good man and true,&#8221; and &#8220;the most desartless
+man to be constable.&#8221;</p>
+
+<p>The making of lanthorns was a great trade in the early times. We clung to
+King Alfred&#8217;s invention for the preservation of light with as reverend a
+love, during many centuries, as we bestowed upon his civil institutions.
+The horn of the favoured utensil was a very dense medium for illumination,
+but science had substituted nothing better; and, even when progressing
+people carried about a neat glass instrument with a brilliant reflector,
+the watchman held to his ponderous and murky relic of the past, making
+&#8220;night hideous&#8221; with his voice, to give news of the weather, such as:
+&#8220;Past eleven, and a starlight night;&#8221; or &#8220;Past one o&#8217;clock, and a windy
+morning;&#8221; in fact, disturbed your rest to tell you &#8220;what&#8217;s o&#8217;clock.&#8221;</p>
+
+<p>We are told by the chroniclers that, as early as 1416, the mayor, Sir
+Henry Barton, ordered lanthorns and lights to be hanged out on the winter
+evenings, betwixt Allhallows and Candlemass. For three centuries this
+practice subsisted, constantly evaded, no doubt through the avarice or
+poverty of individuals, sometimes probably disused altogether, but still
+the custom of London up to the time of Queen Anne. The cry of the
+watchman, &#8220;Hang out your Lights,&#8221; was an exhortation to the negligent,
+which probably they answered only by snores,<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> equally indifferent to their
+own safety and the public preservation. A worthy mayor in the time of
+Queen Mary provided the watchman with a bell, with which instrument he
+accompanied the music of his voice down to the days of the Commonwealth.
+The &#8220;Statutes of the Streets,&#8221; in the time of Elizabeth, were careful
+enough for the preservation of silence in some things. They prescribed
+that, &#8220;no man shall blow any horn in the night, or whistle after the hour
+of nine o&#8217;clock in the night, under pain of imprisonment;&#8221; and, what was a
+harder thing to keep, they also forbade a man to make any &#8220;sudden outcry
+in the still of the night, as making any affray, or beating his wife.&#8221; Yet
+a privileged man was to go about knocking at doors and ringing his
+alarum&mdash;an intolerable nuisance if he did what he was ordered to do.</p>
+
+<div class="figcenter"><img src="images/img071.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Watch&mdash;Shakespeare&#8217;s London.</span></p>
+
+<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>But the watchmen were, no doubt, wise in their generation. With honest
+Dogberry, they could not &#8220;see how sleeping should offend;&#8221; and after the
+watch was set, they probably agreed to &#8220;go sit upon the church bench till
+two, and then all to bed.&#8221;</p>
+
+<div class="figcenter"><img src="images/img072.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Bellman&mdash;from Dekker, 1608.</span></p>
+
+<p>We have observed in our old statutes, and in the pages of authors of
+various kinds, that separate mention is made of the Watchman and the
+Bellman. No doubt there were several degrees of office in the ancient
+Watch and Ward system, and that part of the office of the old Watch, or
+Bellman, was to bless the sleepers, whose door he passed, which blessing
+was often sung or said in verse&mdash;hence Bellman&#8217;s verse. These verses<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> were
+in many cases, the relics of the old incantations to keep off elves and
+hobgoblins. There is a curious work by Thomas Dekker&mdash;otherwise
+Decker,&mdash;entitled: &#8220;The Bellman of London. Bringing to light the most
+notorious Villanies that are now practised in the Kingdom, Profitable for
+Gentlemen, Lawyers, Merchants, Citizens, Farmers, Masters of Households
+and all sortes of servants to Marke, and delightful for all men to Reade,
+<i>Lege, Perlege, Relege</i>.&#8221; Printed at London for Nathaniel Butter, 1608.
+Where he describes the Bellman as a person of some activity&mdash;&#8220;the child of
+darkness; a common nightwalker; a man that had no man to wait upon him,
+but only a dog; one that was a disordered person, and at midnight would
+beat at men&#8217;s doors, bidding them (in mere mockery) to look to their
+candles, when they themselves were in their dead sleeps.&#8221; Stow says that
+in Queen Mary&#8217;s day one of each ward &#8220;began to go all night with a bell,
+and at every lane&#8217;s end, and at the ward&#8217;s end, gave warning of fire and
+candle, and to help the poor and pray for the dead.&#8221; Milton, in his &#8220;Il
+Penseroso,&#8221; has:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Far from the resort of mirth,<br />
+Save the cricket on the hearth,<br />
+Or the bellman&#8217;s drowsy charm,<br />
+To bless the doors from nightly harm.&#8221;</td></tr></table>
+
+<p>In &#8220;A Bellman&#8217;s Song&#8221; of the same date, we have:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Maidens to bed, and cover coal,<br />
+Let the mouse out of her hole,<br />
+Crickets in the chimney sing,<br />
+Whilst the little bell doth ring;<br />
+If fast asleep, who can tell<br />
+When the clapper hits the bell?&#8221;</td></tr></table>
+
+<p>Herrick, also, has given us a verse of Bellman&#8217;s poetry in one of the
+charming morsels of his &#8220;Hesperides:&#8221;&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;From noise of scare-fires rest ye free,<br />
+From murders Benedicite;<br />
+From all mischances that may fright<br />
+Your pleasing slumbers in the night,<br />
+Mercy secure ye all, and keep<br />
+The goblin from ye while ye sleep.<br />
+Past one o&#8217;clock, and almost two,<br />
+My masters all, &#8216;Good day to you!&#8217;&#8221;</td></tr></table>
+
+<p>But, with or without a bell, the real prosaic watchman continued to make
+the same demand as his predecessors for lights through a long series of
+years; and his demand tells us plainly that London was a city without
+lamps. But though he was a prosaic person, he had his own verses. He
+addressed himself to the &#8220;maids.&#8221; He exhorted them to make their lanthorns
+&#8220;bright and clear.&#8221; He told them how long their candles were expected to
+burn. And, finally, like a considerate lawgiver, he gave reason for his
+edict:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;That honest men that walk along,<br />
+May see to pass safe without wrong.&#8221;</td></tr></table>
+
+<p>Formerly it was the duty of the bellman of St. Sepulchre&#8217;s parish, near
+Newgate, to rouse the unfortunates condemned to death in that prison, the
+night before their execution, and solemnly exhort them to repentance with
+good words in bad rhyme, ending with</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;When St. Sepulchre&#8217;s bell to-morrow tolls,<br />
+The Lord above have mercy on your souls.&#8221;</td></tr></table>
+
+<p>It was customary for the bellman to present at Christmas time to each
+householder in his district &#8220;A Copy of Verses,&#8221; and he expected from each
+in return some small gratuity. The execrable character of his poetry is
+indicated by the contempt with which the wits speak of &#8220;Bellman&#8217;s verses&#8221;
+and the <span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>comparison they bear to &#8220;Cutler&#8217;s poetry upon a knife,&#8221; whose
+poesy was&mdash;&#8220;<i>Love me, and leave me not</i>.&#8221; On this subject there is a work
+entitled&mdash;&#8220;The British Bellman. Printed in the year of Saint&#8217;s Fear, Anno
+Domini 1648, and reprinted in the <i>Harleian Miscellany</i>.&#8221; &#8220;The Merry
+Bellman&#8217;s Out-Cryes, or the Cities O Yes! being a mad merry Ditty, both
+Pleasant and Witty, to be cry&#8217;d in Prick-Song<a name='fna_3' id='fna_3' href='#f_3'><small>[3]</small></a> Prose, through Country
+and City. Printed in the year of Bartledum Fair, 1655.&#8221; Also&mdash;&#8220;The
+Bell-man&#8217;s Treasury, containing above a Hundred several Verses fitted for
+all Humours and Fancies, and suited to all Times and Seasons. London,
+1707.&#8221; It was from the riches of this &#8220;treasury&#8221; that the predecessors of
+the present parish Bellman mostly took their <i>own</i> (!) &#8220;Copy of Verses.&#8221;</p>
+
+<p>In the Luttrell Collection of Broadsides (Brit. Mus.) is one dated 1683-4,
+entitled, &#8220;A Copy of Verses presented by Isaac Ragg, Bellman, to the
+Masters and Mistresses of Holbourn Division, in the Parish of St.
+Giles&#8217;s-in-the-Fields.&#8221; It is headed by a woodcut representing Isaac in
+his professional accoutrements, a pointed pole in his left hand, and in
+the right a bell, while his lanthorn hangs from his jacket in front; below
+is a series of verses, the only specimen worth giving here being the
+expression of Mr. Ragg&#8217;s official duty; it is as follows:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Time Masters, calls your bellman to his task,<br />
+To see your doors and windows are all fast,<br />
+And that no villany or foul crime be done<br />
+To you or yours in absence of the sun.<br />
+If any base lurker I do meet,<br />
+In private alley or in open street,<br />
+You shall have warning by my timely call,<br />
+And so God bless you and give rest to all.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>In a similar, but unadorned broadside, dated 1666, Thomas Law, Bellman,
+greets his Masters of &#8220;St. Giles, Cripplegate, within the Freedom,&#8221; in
+twenty-three dull stanzas, of which the last may be subjoined:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;No sooner hath St. Andrew crowned November,<br />
+But Boreas from the North brings cold December,<br />
+And I have often heard a many say<br />
+He brings the winter month Newcastle way;<br />
+For comfort here of poor distressed souls,<br />
+<i>Would he had with him brought a fleet of coals</i>.&#8221;</td></tr></table>
+
+<p>We have in our possession a &#8220;copy of verses,&#8221; coming down to our own time.
+It is a folio broadside, and contains in addition to a portrait of the
+Bellman of the Parish and his dog on their rounds, fifteen smaller cuts,
+mostly Scriptural. It is entitled:&mdash;</p>
+
+<div class="figcenter"><img src="images/img073.jpg" alt="A Copy of Verses for 1839, Humbly Presented to all my worthy Masters and Mistresses, of the Parish of Saint James, Westminster, By Richard Mugeridge, 20, Marshall Street, Golden Square." /></div>
+
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>The &#8220;Verses&#8221; all contain allusions to the prominent events
+of the past year, and have various headings&mdash;first we have the:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><span class="smcap">Prologue.</span></td></tr>
+<tr><td>My Masters and Mistresses, pray lend an ear,<br />
+While your Bellman recounts some events of the year;<br />
+For altho&#8217; its commencement was rather distressing,<br />
+We&#8217;ve had reason to thank it for more than one blessing,<br />
+&#8217;Tis true that Canadian proceedings were strange,<br />
+And a very sad fire was the Royal Exchange;<br />
+Yet the first, let us hope, is no serious matter,<br />
+And we&#8217;ll soon have a new one in lieu of the latter.<br />
+Our rulers have grappled with one of our crosses,<br />
+While for beauty and fitness the other no loss is.<br />
+And still more to make up for these drawbacks vexatious,<br />
+Dame Fortune has been on the whole, pretty gracious.<br />
+We&#8217;ve had peace to get wealth, which of war is the sinews.<br />
+Grant us wit to make hay while the sunshine continues.<br />
+Then, the Bear of the North, that insatiate beast,<br />
+Has been check&#8217;d in his wily attempts on the East;<br />
+And his further insidious advances forbidden<br />
+By the broadsword of Auckland, which warns him from Eden.<br />
+While our rulers, in earnest, apply to the work,<br />
+And a treaty concludes with the Austrian and Turk,<br />
+Which, when next the fell Monster is tempted to roam,<br />
+May provide him some pleasant employment at home.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><span class="smcap">To the Queen.</span></td></tr>
+<tr><td>Whilst the high and the noble in gallant array,<br />
+Assemble around her, their homage to pay;<br />
+While the proud Peers of Britain with rapture, I ween,<br />
+Place her crown on the brow of their peerless young Queen;<br />
+While by prince and by peasant her sceptre is blest;<br />
+Why may not the Bellman chime in with the rest?<br />
+Tho&#8217; alas! my poor muse would long labour in vain,<br />
+To express our delight in Victoria&#8217;s reign,<br />
+Long may we exult in her merciful sway,<br />
+May her moments speed blithely and sweetly as May,<br />
+And her days be prolonged till her glories efface<br />
+The last maiden lady&#8217;s, who sate in her place.</td></tr>
+<tr><td>&nbsp;<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></td></tr>
+<tr><td align="center"><span class="smcap">The Great Western.</span></td></tr>
+<tr><td>Well, despite of some thousand objections pedantic,<br />
+The &#8220;Great Western&#8221; has cross&#8217;d and <i>re-cross&#8217;d</i> the Atlantic,<br />
+Nor is <i>this</i> the first time&mdash;to the foe&#8217;s consternation&mdash;<br />
+That the deeds of our tars have defied calculation.<br />
+Though few of our learned professors did dream<br />
+That our seamen in steamers would reach the gulf stream,<br />
+Yet a fortnight&#8217;s vibration, from Bristol or Cork,<br />
+Will now set us down with our friends at New York;<br />
+And a closer acquaintance bind firmer than ever,<br />
+A friendship which nothing on earth ought to sever.<br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span><br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><span class="smcap">Epilogue.</span></td></tr>
+<tr><td>Now having conducted his well-meant effusion<br />
+Thus far on its way to a happy conclusion,<br />
+Your Bellman, tho&#8217; not quite so fresh as at starting,<br />
+Would still have a word with his patrons at parting,<br />
+Just by way of a cordial and kindly farewell,<br />
+For his heart, altho&#8217; softer, is sound as his bell,<br />
+And he cannot say more for himself or his strains,<br />
+Than, whatever his success, he has not spared pains;<br />
+And that blest in their kindness, and countenance steady,<br />
+His song and his services always are ready;<br />
+So he bids them adieu till next season appears&mdash;<br />
+May their wealth and their virtues increase with their years;<br />
+May they always have more than they ever can spend,<br />
+With the soul to help on a less fortunate friend;<br />
+And their Bellman continue to cudgel his brain,<br />
+For their yearly amusement, again and again.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="box"><i>Cheap and Expeditious Printing by Steam Machinery,<br />
+executed by</i> <span class="smcap">C. Reynell</span>, 16, <i>Little Pulteney Street,<br />
+Golden Square.</i>&mdash;First printed in 1735.</p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>There is a very rare sheet of woodcuts in the Print-room of the British
+Museum, containing twelve cries, with figures of the &#8220;Criers&#8221; and the
+cries themselves beneath. The cuts are singularly characteristic, and may
+be assigned with safety, on the authority of Mr. John Thomas Smith, the
+late keeper of the prints and drawings, as of the same date as Ben
+Jonson&#8217;s &#8220;fish-wives,&#8221; &#8220;costard-mongers,&#8221; and &#8220;orange women.&#8221;</p>
+
+<p>No. 1 on the sheet, is the &#8220;Watch;&#8221; he has no name, but carries a staff
+and a lanthorn, is well secured in a good frieze gabardine,
+leathern-girdle, and wears a serviceable hat to guard against the weather.
+The worthy here depicted has a most venerable face and beard, showing how
+ancient was the habit of parish officers to select the poor and feeble for
+the office of watchman, in order to keep them out of the poor-house. The
+&#8220;cry&#8221; of the &#8220;watch&#8221; is as follows:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;A light here, maids, hang out your light,<br />
+And see your horns be clear and bright,<br />
+That so your candle clear may shine,<br />
+Continuing from six till nine;<br />
+That honest men that walk along,<br />
+May see to pass safe without wrong.&#8221;</td></tr></table>
+
+<p>No. 2 is the &#8220;Bellman&#8221;&mdash;Dekker&#8217;s &#8220;Bellman of London and Dog.&#8221; (as at <a href="#Page_49">page
+49</a>.) He carries a halberd lanthorn, and bell, and his &#8220;cry&#8221; is curious:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Maids in your smocks, look to your locks,<br />
+Your fire and candle-light;<br />
+For well &#8217;tis known much mischief&#8217;s done<br />
+By both in dead of night;<br />
+Your locks and fire do not neglect,<br />
+And so you may good rest expect.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>No. 3 is the &#8220;Orange Woman,&#8221; a sort of full-grown Nell Gwynne, if we can
+only fancy <i>Nelly</i>, the favourite mistress of King Charles the Second,
+grown up in her humble occupation. She carries a basket of oranges and
+lemons under her arm, and seeks to sell them by the following &#8220;cry&#8221;:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Fine Sevil oranges, fine lemmons, fine;<br />
+Round, sound, and tender, inside and rine,<br />
+One pin&#8217;s prick their vertue show:<br />
+They&#8217;ve liquor by their weight, you may know.&#8221;</td></tr></table>
+
+<p>No. 4 is the &#8220;Hair-line Man,&#8221; with a bundle of lines under his arm, and a
+line in his hand. Clothes-pegs was, perhaps, a separate &#8220;cry.&#8221; Here is
+his:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Buy a hair-line, or a line for Jacke,<br />
+If you any hair or hemp-cord lack,<br />
+Mistris, here&#8217;s good as you need use;<br />
+Bid fair for handsel, I&#8217;ll not refuse.&#8221;</td></tr></table>
+
+<p>No. 5 is the &#8220;Radish and Lettuce Woman.&#8221;&mdash;Your fine &#8220;goss&#8221; lettuce is a
+modern cry:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;White raddish, white young lettis,<br />
+White young lettis white;<br />
+You hear me cry, come mistris, buy,<br />
+To make my burden light.&#8221;</td></tr></table>
+
+<p>No. 6 is the man who sells &#8220;Marking Stones,&#8221; now, unless we except
+slate-pencils, completely out of use:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Buy marking-stones, marking-stones buy,<br />
+Much profit in their use doth lie:<br />
+I&#8217;ve marking-stones of colour red,<br />
+Passing good, or else black lead.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>No. 7 is the &#8220;Sausage Woman,&#8221; holding a pound of sausages in her hand:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Who buys my sausages, sausages fine?<br />
+<span style="margin-left: 1em;">I ha&#8217; fine sausages of the best;</span><br />
+As good they are as ere was eat;<br />
+<span style="margin-left: 1em;">If they be finely drest.</span><br />
+Come, mistris, buy this daintie pound,<br />
+About a capon roast them round.&#8221;</td></tr></table>
+
+<p>No. 8 is a man with &#8220;Toasting-forks and Spice-graters&#8221;:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Buy a fine toasting-fork for toast,<br />
+Or fine spice-grater&mdash;tools for an hoast;<br />
+If these in winter be lacking, I say,<br />
+Your guests will pack, your trade decay.&#8221;</td></tr></table>
+
+<p>No. 9 is the &#8220;Broom Man,&#8221; and here we have a &#8220;cry&#8221; different from the one
+we have already given. He carries a pair of old boots in his hand:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Come buy some brooms, come buy of me:<br />
+Birch, Heath, and green,&mdash;none better be;<br />
+The staves are straight, and all bound sure;<br />
+Come, maids, my brooms will still endure.<br />
+Old boots or shoes I&#8217;ll take for brooms,<br />
+Come buy to make clean all your rooms!&#8221;</td></tr></table>
+
+<p>No. 10 is a woman with a box of &#8220;Wash balls&#8221;:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Buy fine washing-balls, buy a ball,<br />
+Cheaper and dearer, greater and small;<br />
+For scouring none do them excel,<br />
+Their odour scenteth passing well;<br />
+Come buy rare balls, and trial make,<br />
+Spots out of clothes they quickly take.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>No. 11 sells Ink and Pens.&mdash;He carries an ink-bottle hung by a stick
+behind him, and has a bunch of pens in his hand:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Buy pens, pens, pens of the best,<br />
+Excellent pens and seconds the least;<br />
+Come buy good ink as black as jet,<br />
+A varnish like gloss on writing &#8217;twill set.&#8221;</td></tr></table>
+
+<p>The twelfth and last is a woman with a basket of Venice Glasses, such as a
+modern collector would give a great deal to get hold of:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Come glasses, glasses, fine glasses buy;<br />
+Fine glasses o&#8217; the best I call and cry.<br />
+Fine Venice-glasses,&mdash;no chrystal more clear,<br />
+Of all forms and fashions buy glasses here,<br />
+Black pots for good ale I also do cry;<br />
+Come therefore quickly before I pass by.&#8221;</td></tr></table>
+
+<p>In the same collection, is a series of three plates, &#8220;Part of the Cries in
+London,&#8221; evidently belonging to the same set, though only one has got a
+title. Each plate contains thirty-six criers, with the addition of a
+principal &#8220;Crier&#8221; in the centre. These were evidently executed abroad, as
+late, perhaps, as the reign of Charles II. No. 1 (with the title page) is
+ornamented in the centre with the &#8220;Rat-Catcher,&#8221; carrying an emblazoned
+banner of rats, and attended by a boy. The leather investment of the
+rat-catcher of the present day is a pleasant memorial of the banner of the
+past. Beneath the rat-catcher, the following lines occur:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Hee that wil have neither<br />
+<span style="margin-left: 1em;">Ratt nor Mowssee</span><br />
+Lett him pluck of the tillies<br />
+<span style="margin-left: 1em;">And set fire of his hows.&#8221;</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>Proving, evidently that the rat-catcher courted more to his banner than
+his poetry. Then follow the thirty-six cries, some of which, it will be
+seen, are extremely curious. The names are given beneath the cuts, but
+without any verse or peculiarity of cry.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Cooper</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Alminake</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Olde Iron</td></tr>
+<tr><td>Ende of Golde</td><td>&nbsp;</td>
+    <td>Coonie skine</td><td>&nbsp;</td>
+    <td>Aqua vit&aelig;</td></tr>
+<tr><td>Olde Dublets</td><td>&nbsp;</td>
+    <td>Mussels</td><td>&nbsp;</td>
+    <td>Pens and Ink</td></tr>
+<tr><td>Blackinge man</td><td>&nbsp;</td>
+    <td>Cabeches</td><td>&nbsp;</td>
+    <td>Olde Bellows</td></tr>
+<tr><td>Tinker</td><td>&nbsp;</td>
+    <td>Kitchen stuff</td><td>&nbsp;</td>
+    <td>Herrings</td></tr>
+<tr><td>Pippins</td><td>&nbsp;</td>
+    <td>Glasses</td><td>&nbsp;</td>
+    <td>Buy any Milke</td></tr>
+<tr><td>Bui a Matte</td><td>&nbsp;</td>
+    <td>Cockels</td><td>&nbsp;</td>
+    <td>Piepin Pys</td></tr>
+<tr><td>Cooles</td><td>&nbsp;</td>
+    <td>Hartti chaks</td><td>&nbsp;</td>
+    <td>Osters</td></tr>
+<tr><td>Chimnie swepes</td><td>&nbsp;</td>
+    <td>Mackrill</td><td>&nbsp;</td>
+    <td>Shades</td></tr>
+<tr><td>Bui Brumes</td><td>&nbsp;</td>
+    <td>Oranges, Lemens</td><td>&nbsp;</td>
+    <td>Turneps</td></tr>
+<tr><td>Camphires</td><td>&nbsp;</td>
+    <td>Lettice</td><td>&nbsp;</td>
+    <td>Rosmarie Baie</td></tr>
+<tr><td>Cherry ripe</td><td>&nbsp;</td>
+    <td>Place</td><td>&nbsp;</td>
+    <td>Onions.</td></tr></table>
+
+<p>&#8220;Haie ye any work for John Cooper?&#8221; is the title of one of the Martin
+Marprelate pamphlets. &#8220;Haie ye ani gold ends to sell?&#8221; is mentioned as a
+&#8220;cry,&#8221; in &#8220;Pappe with a Hatchet&#8221; (<i>cir.</i> 1589). &#8220;Camphires,&#8221; means
+Samphires. The &#8220;Alminake&#8221; man has completely gone, and &#8220;Old Dublets&#8221; has
+degenerated into &#8220;Ogh Clo,&#8221; a &#8220;cry&#8221; which teased Coleridge for a time, and
+occasioned a ludicrous incident, which we had reserved for a place
+somewhat later in our history, had not &#8220;Old Dublets&#8221; brought it, not
+inopportunely, to mind. &#8220;The other day,&#8221; said Coleridge, &#8220;I was what you
+would call <i>floored</i> by a Jew. He passed me several times crying out for
+old clothes, in the most nasal and extraordinary tone I ever heard. At
+last I was so provoked, that I said to him, &#8216;Pray, why can&#8217;t you say &#8216;old
+clothes&#8217; in a plain way, as I do?&#8217; The Jew stopped, and<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> looking very
+gravely at me, said in a clear and even accent, &#8216;Sir, I can say &#8216;old
+clothes&#8217; as well as you can; but if you had to say so ten times a minute,
+for an hour together, you would say <i>Ogh Clo</i> as I do now;&#8217; and so he
+marched off.&#8221; Coleridge was so confounded with the justice of the retort
+that he followed and gave him a shilling&mdash;the only one he had.</p>
+
+<p>The principal figure on the second plate is the &#8220;Bellman,&#8221; with dog, bell,
+halberd, and lanthorns. His &#8220;cry&#8221; is curious, though we have had it almost
+in the same form before, at <a href="#Page_56">page 56</a>:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Mayds in your Smocks, Looke<br />
+Wel to your lock&mdash;your fire<br />
+And your light, and God<br />
+Give you good night. At<br />
+<span style="margin-left: 1em;">One a Clock.&#8221;</span></td></tr></table>
+
+<p>The cries around him deserve transcription:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy any Shrimps</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Buy a Purs</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Buy any Marking Stones</td></tr>
+<tr><td>Buy some Figs</td><td>&nbsp;</td>
+    <td>Buy a dish a Flounders</td><td>&nbsp;</td>
+    <td>The Bear bayting</td></tr>
+<tr><td>Buy a Tosting Iron</td><td>&nbsp;</td>
+    <td>Buy a Footestoole</td><td>&nbsp;</td>
+    <td>Buy any blew Starch</td></tr>
+<tr><td>Lantorne candellyht</td><td>&nbsp;</td>
+    <td>Buy a fine Bowpot</td><td>&nbsp;</td>
+    <td>Buy any Points</td></tr>
+<tr><td>Buy any Maydes</td><td>&nbsp;</td>
+    <td>Buy a pair a Shoes</td><td>&nbsp;</td>
+    <td>New Hadog</td></tr>
+<tr><td>The Water bearer</td><td>&nbsp;</td>
+    <td>Buy any Garters</td><td>&nbsp;</td>
+    <td>Yards and Ells</td></tr>
+<tr><td>Buy a whyt Pot</td><td>&nbsp;</td>
+    <td>Featherbeds to dryue</td><td>&nbsp;</td>
+    <td>Buy a fyne Brush</td></tr>
+<tr><td>Bread and Meate</td><td>&nbsp;</td>
+    <td>Buy any Bottens</td><td>&nbsp;</td>
+    <td>Hote Mutton Poys</td></tr>
+<tr><td>Buy a Candelsticke</td><td>&nbsp;</td>
+    <td>Buy any Whiting maps</td><td>&nbsp;</td>
+    <td>New Sprats new</td></tr>
+<tr><td>Buy any Prunes</td><td>&nbsp;</td>
+    <td>Buy any Tape</td><td>&nbsp;</td>
+    <td>New Cod new</td></tr>
+<tr><td>Buy a Washing ball</td><td>&nbsp;</td>
+    <td>Worcestershyr Salt</td><td>&nbsp;</td>
+    <td>Buy any Reasons</td></tr>
+<tr><td>Good Sasages</td><td>&nbsp;</td>
+    <td>Ripe Damsons</td><td>&nbsp;</td>
+    <td>P. and Glasses to mend</td></tr></table>
+
+<p>On the third plate, the principal figure is the &#8220;Crier,&#8221; with his staff
+and keys:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;O yis, any man or woman that<br />
+Can tell any tydings of a little<br />
+Mayden Childe of the age of 24<br />
+Yeares. Bring worde to the cryer,<br />
+And you shal be pleased for<br />
+<span style="margin-left: 2em;">Your labor</span><br />
+And God&#8217;s blessinge.&#8221;</td></tr></table>
+
+<p>The figures surrounding the Common Crier are in the same style of art, and
+their cries characteristic of bygone times:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy any Wheat</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Buy a Hair Lyne</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Hats or Caps to dress</td></tr>
+<tr><td>Buy al my Smelts</td><td>&nbsp;</td>
+    <td>Buy any Pompeons</td><td>&nbsp;</td>
+    <td>Wood to cleave</td></tr>
+<tr><td>Quick Periwinckels</td><td>&nbsp;</td>
+    <td>Whyt Scalions</td><td>&nbsp;</td>
+    <td>Pins of the maker</td></tr>
+<tr><td>Rype Chesnuts</td><td>&nbsp;</td>
+    <td>Rype Walnuts</td><td>&nbsp;</td>
+    <td>Any sciruy Grass</td></tr>
+<tr><td>Payres fyn</td><td>&nbsp;</td>
+    <td>Fyn Potatos fyn</td><td>&nbsp;</td>
+    <td>Any Cornes to pick</td></tr>
+<tr><td>White Redish whyt</td><td>&nbsp;</td>
+    <td>Hote Eele Pyes</td><td>&nbsp;</td>
+    <td>Buy any Parsnips</td></tr>
+<tr><td>Buy any Whyting</td><td>&nbsp;</td>
+    <td>Fresh Cheese and Creame</td><td>&nbsp;</td>
+    <td>Hot Codlinges hot</td></tr>
+<tr><td>Buy any Bone lays</td><td>&nbsp;</td>
+    <td>Buy any Garlick</td><td>&nbsp;</td>
+    <td>Buy all my Soales</td></tr>
+<tr><td>I ha&#8217; rype Straberies</td><td>&nbsp;</td>
+    <td>Buy a longe Brush</td><td>&nbsp;</td>
+    <td>Good Marroquin</td></tr>
+<tr><td>Buy a Case for a Hat</td><td>&nbsp;</td>
+    <td>Whyt Carots whyt</td><td>&nbsp;</td>
+    <td>Buy any Cocumber</td></tr>
+<tr><td>Birds and Hens</td><td>&nbsp;</td>
+    <td>Fyne Pomgranats</td><td>&nbsp;</td>
+    <td>New Thornebacke</td></tr>
+<tr><td>Hote Podding Pyes</td><td>&nbsp;</td>
+    <td>Buy any Russes</td><td>&nbsp;</td>
+    <td>Fyne Oate Cakes.</td></tr></table>
+
+<p>The only crier in the series who has a horse and cart to attend him is the
+Worcestershire salt-man. Salt is still sold from carts in poor and crowded
+neighbourhoods.</p>
+
+<p>We have been somewhat surprised in not finding a single Thames waterman
+among the criers of London; but the series was, perhaps, confined to the
+streets of London, and the watermen were thought to belong altogether to
+the stairs leading to their silent highway. Three of their cries have
+given titles to three good old English comedies, &#8220;Northward, ho!&#8221;
+&#8220;Eastward, ho!&#8221; and &#8220;Westward, ho!&#8221; But our series of cries is<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> still
+extremely incomplete. Every thing in early times was carried and cried,
+and we have seen two rare prints of old London Cries not to be found in
+the lists already enumerated. One is called &#8220;<i>Clove Water, Stomock
+Water</i>,&#8221; and the other &#8220;<i>Buy an new Booke</i>.&#8221; Others may still exist. In
+the Duke of Devonshire&#8217;s collection of drawings, by Inigo Jones, are
+several cries, drawn in pen-and-ink, for the masques at court in the
+reigns of James I. and Charles I.</p>
+
+<div class="figcenter"><img src="images/img074.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Light of Other Days.</span></p>
+
+<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>In Thomas Heywood&#8217;s, &#8220;<i>The Rape of Lucrece</i>, a True Roman Tragedy, acted
+by Her Majestie&#8217;s Servants at the <i>Red-Bull</i>, 1609,&#8221; is the following long
+list of <span class="smcap">London Cries</span>, but called for the sake of the dramatic action of
+the scene, &#8220;<i>Cries of Rome</i>,&#8221; which was the common practice with the old
+dramatists, Rome being the canting name of London. Robert Greene, in his
+&#8220;<i>Perimedes the Blacksmith</i>, 1588,&#8221; when he wished to criticise the London
+<i>Theatre</i> at Shoreditch, talks of the <i>Theatre in Rome</i>; also in his
+&#8220;<i>Never too Late</i>, 1590,&#8221; when he talks of the London actors, he pretends
+only to speak of Roscius and the actors of <i>Rome</i>. In the pedlar&#8217;s French
+of the day Rome-vyle&mdash;or ville&mdash;was London, and Rome-mort the Queen
+[Elizabeth]. There is some humour in the classification, and if the cries
+were well imitated by the singer, the ballad&mdash;or as it would then be
+called &#8220;<i>jig</i>&#8221;&mdash;is likely to have been extremely popular in its day.</p>
+
+<p class="center"><span class="smcap">The Cries of Rome</span> [<i>i.e.</i> London.]</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Thus go the cries in <i>Rome&#8217;s</i> fair town,<br />
+First they go up street, and then they go down,<br />
+Round and sound all of a colour,<br />
+Buy a very fine marking stone, marking stone,<br />
+Round and sound all of a colour;<br />
+Buy a very fine marking stone, marking stone.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Bread and&mdash;meat&mdash;bread&mdash;and meat<br />
+For the&mdash;ten&mdash;der&mdash;mercy of God to the<br />
+poor pris&mdash;ners of <i>Newgate</i>, four-<br />
+score and ten&mdash;poor&mdash;prisoners.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img075a.jpg" alt="" /><br /><span class="smcap">Marking Stone.</span></td>
+    <td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img075b.jpg" alt="" /><br /><span class="smcap">Bread and Meat.</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img075c.jpg" alt="" /><br /><span class="smcap">Worstershire Salt.</span></td>
+    <td>&nbsp;</td>
+    <td align="center"><img src="images/img075d.jpg" alt="" /><br />Buy a Mouse Trap.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Salt&mdash;salt&mdash;white Wor&mdash;stershire Salt,<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Buy a very fine Mouse&mdash;trap, or a tormentor for your Fleas.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Kitchen-stuff, maids.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+I have white Radish, white hard Lettuce, white young Onions.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+I have Rock&mdash;Samphire Rock&mdash;Samphire,<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+<span style="margin-left: 1em;">Buy a Mat, a Mil&mdash;Mat,</span><br />
+<span style="margin-left: 1em;">Mat or a Hassock for your pew,</span><br />
+<span style="margin-left: 1em;">A stopple for your close-stool,</span><br />
+<span style="margin-left: 1em;">Or a Pesock to thrust your feet in.</span><br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Whiting maids, Whiting.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img076a.jpg" alt="" /><br /><span class="smcap">Kitchen Stuff, Maids.</span></td>
+    <td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img076b.jpg" alt="" /><br /><span class="smcap">White Radish Lettuce.</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img076c.jpg" alt="" /><br /><span class="smcap">Rock Sampier.</span></td>
+    <td>&nbsp;</td>
+    <td align="center"><img src="images/img076d.jpg" alt="" /><br />Mat, a Mill Mat.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hot fine Oat-Cakes, hot.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Small&mdash;Coals here.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Will you buy any Milk to day.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Lanthorn and Candle light here, Maid, a light here.<br />
+<br />
+<span style="margin-left: 2em;">Thus go the cries in <i>Rome&#8217;s</i> fair town,</span><br />
+<span style="margin-left: 2em;">First they go up street, and then they go down.</span><br />
+<br />
+Here lies a company of very poor<br />
+Women, in the dark dungeon,<br />
+Hungary, cold, and comfortless, night and day;<br />
+Pity the poor women in the dark dungeon.<br />
+<br />
+<span style="margin-left: 1em;">Thus go the cries where they do house them,</span><br />
+<span style="margin-left: 1em;">First they come to the grate, and then they go lowse them.</span></td></tr></table>
+
+<div class="figcenter"><img src="images/img077.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img078a.jpg" alt="" /><br /><span class="smcap">Whiting Maids, Whiting.</span></td>
+    <td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img078b.jpg" alt="" /><br /><span class="smcap">Hot Fine Oat Cakes.</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img078c.jpg" alt="" /><br /><span class="smcap">Small Coals Here.</span></td>
+    <td>&nbsp;</td>
+    <td align="center"><img src="images/img078d.jpg" alt="" /><br />St. Thomas&#8217; Onions.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>From &#8220;Deuteromelia: or, the Second Part of Pleasant Roundelayes; K. H.
+Mirth, or Freeman&#8217;s Songs, and such delightful Catches. London, printed
+for Thomas Adams, dwelling in Paul&#8217;s Church-yard, at the sign of the White
+Lion, 1609.&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Who liveth so merry in all this land<br />
+As doth the poor widdow that selleth the sand?<br />
+And ever shee singeth as I can guesse,<br />
+Will you buy any sand, any sand, mistress?<br />
+<br />
+The broom-man maketh his living most sweet,<br />
+With carrying of brooms from street to street;<br />
+Who would desire a pleasanter thing,<br />
+Then all the day long to doe nothing but sing.<br />
+<br />
+The chimney-sweeper all the long day,<br />
+He singeth and sweepeth the soote away;<br />
+Yet when he comes home altho&#8217; he be weary,<br />
+With his sweet wife he maketh full merry.<br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span><br />
+Who liveth so merry and maketh such sport<br />
+As those that be of the poorest sort?<br />
+The poorest sort wheresoever they be,<br />
+They gather together by one, two, three.<br />
+<br />
+And every man will spend his penny<br />
+What makes such a shot among a great many?</td></tr></table>
+
+<p>Thomas Morely, a musical composer, set music of four, six, eight and ten
+parts, to the cries in his time, among them are some used by the
+milliners&#8217; girls in the New Exchange, which was on the south side of the
+Strand, opposite the now Adelphi<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> Theatre, it was built in the reign of
+James I., and pulled down towards the end of the last century; among
+others are &#8220;<i>Italian falling Bands</i>,&#8221; &#8220;<i>French Garters</i>,&#8221; &#8220;<i>Robatos</i>,&#8221; a
+kind of ruff then fashionable, &#8220;<i>Nun&#8217;s Thread</i>,&#8221; <i>&amp;c.</i></p>
+
+<p>The effeminacy and coxcombry of a man&#8217;s ruff and band are well ridiculed
+by many of our dramatic writers. There is a small tract bearing the
+following title&mdash;&#8220;A Merrie Dialogue between Band, Cuffe and Ruffe. Done by
+an excellent Wit, and lately acted in a Shew in the Famous Universitie of
+Cambridge. London, printed by W. Stansby for Miles Partrich, and are to be
+sold at his shop neere Saint Dunstone&#8217;s Church-yard in Fleet Street,
+1615.&#8221; This <i>brochure</i> is a <i>bonne-bouche</i> of the period, written in
+dramatic dialogue form, and full of puns as any modern comedy or farcical
+sketch from the pen of the greatest word-twister of the day&mdash;Henry J.
+Byron (who, on <i>Cyril&#8217;s Success</i>, <i>Married in Haste</i>, <i>Our Boys</i>, and <i>The
+Girls</i>,)&mdash;and is of considerable value as an illustration of the history
+of the costume of the period. The band, as an article of ornament for the
+neck, was the common wear of gentlemen, though now exclusively retained by
+the clergy and lawyers; the cuff, as a fold at the end of a sleeve, or the
+part of the sleeve turned back from the hand, was made highly fantastical
+by means of &#8220;cut work;&#8221; the ruff, as a female neck ornament, made of
+plaited lawn, or other material, is well-known, but it was formerly worn
+by both sexes.</p>
+
+<p>In a Roxburghe Ballad entitled &#8220;The Batchelor&#8217;s Feast,&#8221; &amp;c., we have:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;The taylor must be pay&#8217;d for making of her gowne,<br />
+<span style="margin-left: 1em;">The shoomakers for fine shoes: or else thy wife will frowne;</span><br />
+For <i>bands</i>, fine <i>ruffes</i>, and <i>cuffes</i>, thou must dispence as free:<br />
+<span style="margin-left: 1em;">O &#8217;tis a gallant thing to live at liberty,&#8221; &amp;c.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>In another, &#8220;The Lamentations of a New Married Man, briefly declaring the
+sorrow and grief that comes by marrying a young wanton wife&#8221;:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Against that she is churched, a new Gowne she must have,<br />
+A daintie fine <i>Rebato</i> about her neck to brave;&#8221;</td></tr></table>
+
+<p>In &#8220;<i>Loyal Subject</i>,&#8221; by Beaumont and Fletcher, act iii., sc. 5, we find
+that in the reign of James I., potatoes had become so common, that
+&#8220;<i>Potatoes! ripe Potatoes!</i>&#8221; were publicly hawked about the city.</p>
+
+<div class="figcenter"><img src="images/img079.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Potatoes! ripe Potatoes.</span></p>
+
+<p>Orlando Gibbons,&mdash;1583-1625&mdash;set music in madrigals to several common
+cries of the day. In a play called &#8220;<i>Tarquin and Lucrece</i>,&#8221; some of the
+music of the following occur,&mdash;&#8220;<i>Rock Samphire</i>,&#8221; &#8220;<i>A Marking Stone</i>,&#8221;
+&#8220;<i>Bread and Meat for the poor Prisoners</i>,&#8221; &#8220;<i>Hassock for your pew</i>,&#8221;
+&#8220;<i>Lanthorne and Candlelight</i>,&#8221; <i>&amp;c.</i></p>
+
+<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>In the Bridgewater library (in the possession of the Earl of Ellesmere) is
+a series of engravings on copper thirty-two in number, without date or
+engraver&#8217;s name; but called, in the handwriting of the second Earl of
+Bridgewater, &#8220;The Manner of Crying Things in London.&#8221; They are, it is
+said, by a foreign artist, and probably proof impressions, for on the
+margin of one of the engravings is a small part of another, as if it had
+been taken off for a trial of the plate. Curious and characteristic they
+certainly are, and of a date anterior to 1686; in which year the second
+Earl of Bridgewater died. The very titles kindle old recollections as you
+read them over:&mdash;</p>
+
+<p class="blockquot"><span style="margin-left: .5em;">1. Lanthorne and a whole candell light: hang out your lights heare!</span><br />
+<span style="margin-left: .5em;">2. I have fresh cheese and creame.</span><br />
+<span style="margin-left: .5em;">3. Buy a brush or a table book.</span><br />
+<span style="margin-left: .5em;">4. Fine oranges, fine lemons.</span><br />
+<span style="margin-left: .5em;">5. Ells or yeards: buy yeard or ells.</span><br />
+<span style="margin-left: .5em;">6. I have ripe straw-buryes, ripe straw-buryes.</span><br />
+<span style="margin-left: .5em;">7. I have screenes, if you desier to keepe y<sup>r</sup> butey from y<sup>e</sup> fire.</span><br />
+<span style="margin-left: .5em;">8. Codlinges hot, hot codlinges.</span><br />
+<span style="margin-left: .5em;">9. Buy a steele or a tinder box.</span><br />
+10. Quicke peravinkells, quicke, quicke.<br />
+11. Worke for a cooper; worke for a cooper.<br />
+12. Bandestringes, or handkercher buttons.<br />
+13. A tanker bearer.<br />
+14. Macarell new: maca-rell.<br />
+15. Buy a hone, or a whetstone, or a marking stone.<br />
+16. White unions, white St. Thomas unions.<br />
+17. Mate for a bed, buy a doore mate.<br />
+18. Radishes or lettis, two bunches a penny.<br />
+19. Have you any work for a tinker?<br />
+20. Buy my hartichokes, mistris.<br />
+21. Maribones, maides, maribones.<br />
+22. I ha&#8217; ripe cowcumber, ripe cowcumber.<br />
+23. Chimney sweepe.<br />
+24. New flounders new.<br />
+25. Some broken breade and meate for y<sup>e</sup> poore prisoners; for the Lord&#8217;s sake pittey the poore.<br />
+26. Buy my dish of great smelts.<br />
+27. Have you any chaires to mend?<br />
+28. Buy a cocke, or a gelding.<br />
+29. Old showes or bootes; will you buy some broome?<br />
+30. Mussels, lilly white mussels.<br />
+31. Small cole a penny a peake.<br />
+32. What kitchen stuff have you, maides?</p>
+
+<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>The figures, male and female, in the engravings, are all three-quarter
+lengths, furnished with the implements of their various trades, or with
+the articles in which they deal. The Watchman (one of the best) is a fine
+old fellow, with a broad brim to his hat, a reverential beard, a halberd
+in one hand, and a lanthorn in the other (after the manner of the one we
+have given at <a href="#Page_46">page 46</a>). But perhaps the most curious engraving in the set
+is the &#8220;cry&#8221; called &#8220;Some broken breade and meate for y<sup>e</sup> poore
+prisoners: for the Lord&#8217;s sake pittey the poore.&#8221; This represents a poor
+prisoner with a sealed box in his hand, and a basket at his back&mdash;the box
+for alms in the shape of money, and the basket for broken bread and meat.
+There is also preserved a small handbill printed in 1664, and entitled,
+&#8220;The Humble Petition of the Poor Distressed Prisoners in Ludgate, being
+above an hundred and fourscore poor persons in number, against the time of
+the Birth of our Blessed Lord and Saviour Jesus Christ.&#8221; &#8220;We most humbly
+beseech you,&#8221; says the handbill &#8220;(even for God&#8217;s cause), to relieve us
+with your charitable benevolence, and to put into this Bearers Boxe, the
+same being sealed with the house seale as it is figured on this Petition.&#8221;</p>
+
+<div class="figcenter"><img src="images/img080.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Pity the sorrows of a poor old man,<br />
+Whose trembling limbs have borne him to your door.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>To, &#8220;O, rare Ben Jonson!&#8221; we are indebted for the most perfect picture of
+Smithfield at &#8220;Barthol&#8217;me-tide,&#8221; which he gives us, together with the
+popular cries in vogue at the time, in his comedy of &#8220;<i>Bartholomew Fair</i>,&#8221;
+produced at the Hope Theatre, on the Bankside, 1614, and acted, as Jonson
+tells us, by the lady Elizabeth&#8217;s servants.</p>
+
+<p>The second act opens with &#8220;<i>The Fair. A number of Booths, Stalls, &amp;c., set
+out</i>.&#8221; The characters presented are &#8220;Lanthorn Leatherhead,&#8221; <i>a hobby-horse
+seller</i>. &#8220;Bartholomew Cokes,&#8221; <i>an esquire of Harrow</i>. &#8220;Nightingale,&#8221; <i>a
+ballad-singer, a costard-monger, mousetrap-man, corn cutter</i>. &#8220;Joan
+Trash,&#8221; <i>a gingerbread woman</i>. &#8220;Leatherhead&#8221; calls&mdash;&#8220;What do you lack?
+what is&#8217;t you buy? what do you lack? rattles, drums, halberts, horses,
+babies o&#8217; the best? fiddles o&#8217; the finest.&#8221; &#8220;Joan Trash&#8221; cries, &#8220;Buy my
+gingerbread, gilt gingerbread!&#8221; the costard-monger, bawls out, &#8220;Buy any
+pears, pears, fine, very fine pears!&#8221; &#8220;Nightingale,&#8221; the ballad man
+sings&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Hey, now the Fair&#8217;s a filling!<br />
+<span style="margin-left: 1em;">O, for a tune to startle</span><br />
+The birds o&#8217; the booths here billing<br />
+<span style="margin-left: 1em;">Yearly with old saint <i>Bartle</i>!</span><br />
+The drunkards they are wading,<br />
+<span style="margin-left: 1em;">The punks and chapmen trading:</span><br />
+Who&#8217;d see the <i>Fair</i> without his lading?<br />
+<span style="margin-left: 1em;">Buy my ballads! new ballads!&#8221;</span></td></tr></table>
+
+<p>&#8220;What do you lack?&#8221; continues Leatherhead, &#8220;What do you lack, gentlemen?
+my pretty mistress, buy a fine hobby-horse for your young master; cost you
+but a token a week for his provender.&#8221; The corn cutter cries, &#8220;Have you
+any corns in your feet or toes?&#8221; The tinder-box man calls, &#8220;Buy a
+mouse-trap, a mouse-trap, or a tormentor for a flea!&#8221; Trash<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> cries, &#8220;Buy
+some gingerbread!&#8221; Nightingale bawls, &#8220;Ballads, ballads, fine new
+ballads!&#8221; Leatherhead repeats, &#8220;What do you lack, gentlemen, what is&#8217;t you
+lack? a fine horse? a lion? a bull? a bear? a dog? or a cat? an excellent
+fine Bartholomew bird? or an instrument? what is&#8217;t you lack, what do you
+buy, mistress? a fine hobby-horse, to make your son a tilter? a drum, to
+make him a soldier? a fiddle, to make him a reveller? what is&#8217;t you lack?
+little dogs for your daughters? or babies, male and female? fine purses,
+pouches, pincases, pipes; what is&#8217;t you lack? a pair o&#8217; smiths to wake you
+i&#8217; the morning? or a fine whistling bird?&#8221; A character named &#8220;Bartholomew
+Cokes,&#8221; a silly &#8220;Esquire of Harrow,&#8221; stops at Leatherhead&#8217;s stall to
+purchase.&mdash;&#8220;Those six horses, friend, I&#8217;ll have, and the three Jew&#8217;s
+trumps; and half a dozen o&#8217; birds; and that drum; and your smiths&mdash;I like
+that devise o&#8217; your smiths, and four halberts; and let me see, that fine
+painted great lady, and her three women of state, I&#8217;ll have. A set of
+those violins I would buy too, for a delicate young noise<a name='fna_4' id='fna_4' href='#f_4'><small>[4]</small></a> I have i&#8217; the
+country, that are every one a size less than another, just like your
+fiddles.&#8221; Joan Trash invites the Esquire to buy her gingerbread, and he
+turns to her basket, whereupon Leatherhead says, &#8220;Is this well, Goody
+Joan, to interrupt my market in the midst, and call away my customers? Can
+you answer this at the <i>Pie-poudres</i>?&#8221;<a name='fna_5' id='fna_5' href='#f_5'><small>[5]</small></a> whereto Joan Trash replies,
+&#8220;Why, if his master-ship have a<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> mind to buy, I hope my ware lies as open
+as anothers; I may show my ware as well as you yours.&#8221; Nightingale begins
+to sing:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;My masters and friends, and good people draw near.&#8221;</td></tr></table>
+
+<p>Squire Cokes hears this, and says, &#8220;Ballads! hark, hark! pray thee,
+fellow, stay a little! what ballads hast thou? let me see, let me see
+myself&mdash;How dost thou call it? <i>A Caveat against Cut-purses!</i>&mdash;a good jest
+i&#8217; faith; I would fain see that demon, your cut-purse, you talk of;&#8221; He
+then shows his purse boastingly, and enquires &#8220;Ballad-man, do any
+cut-purses haunt hereabout? pray thee raise me one or two: begin and show
+me one.&#8221; Nightingale answers, &#8220;Sir, this is a spell against &#8217;em, spick and
+span new: and &#8217;tis made as &#8217;twere in mine own person, and I sing it in
+mine own defence. But &#8217;twill cost a penny alone if you buy it.&#8221; The Squire
+replies: &#8220;No matter for the price; thou dost not know me, I see, I am an
+old <i>Bartholomew</i>.&#8221; The ballad has &#8220;pictures,&#8221; and Nightingale tells him,
+&#8220;It was intended, sir, as if a purse should chance to be cut in my
+presence, now, I may be blameless though; as by the sequel will more
+plainly appear.&#8221; He adds, &#8220;It is, to the tune of <i>Paggington&#8217;s Pound</i>,
+sir.&#8221; and he finally sings the ballad, the first and last stanzas of which
+follow:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;My masters, and friends, and good people draw near,<br />
+And look to your purses, for that I do say;<br />
+And though little money, in them you do bear,<br />
+It cost more to get, than to lose in a day,<br />
+<span style="margin-left: 5em;">You oft&#8217; have been told,</span><br />
+<span style="margin-left: 5em;">Both the young and the old,</span><br />
+And bidden beware of the cut-purse so bold;<br />
+Then if you take heed not, free me from the curse,<br />
+Who both give you warning, for, and the cut-purse.<br />
+Youth, youth, thou hadst better been starved by thy nurse,<br />
+Than live to be hanged for cutting a purse.<br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span><br />
+<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+&#8220;But O, you vile nation of cut-purses all,<br />
+Relent, and repent, and amend, and be sound,<br />
+And know that you ought not by honest men&#8217;s fall,<br />
+Advance your own fortunes to die above ground.<br />
+<span style="margin-left: 5em;">And though you go gay</span><br />
+<span style="margin-left: 5em;">In silks as you may,</span><br />
+It is not the highway to heaven (as they say.)<br />
+Repent then, repent you, for better, for worse;<br />
+And kiss not the gallows for cutting a purse.<br />
+Youth, youth, thou hadst better been starved by thy nurse,<br />
+Than live to be hanged for cutting a purse.&#8221;</td></tr></table>
+
+<p>While Nightingale sings this ballad, a fellow tickles Coke&#8217;s ear with a
+straw, to make him withdraw his hand from his pocket, and privately robs
+him of his purse, which, at the end of the song, he secretly conveys to
+the ballad-singer; who notwithstanding his &#8220;Caveat against cut-purses,&#8221; is
+their principal confederate, and in that quality, becomes the unsuspected
+depository of the plunder.</p>
+
+<p>In the years 1600-18, there was published a musical work, entitled
+&#8220;<i>Pammelia</i>&mdash;<span class="smcap">Mvsickes Miscellanie</span>; <i>Or</i>, Mixed Varietie of pleasant
+<span class="smcap">Rovndelays</span> and delightful <span class="smcap">Catches</span>. London, Printed by Thomas Snodhom, for
+Matthew Lownes and Iohn Browne.&#8221; It was compiled by some eminent
+musicians, who had a practice of setting the cries of London to music,
+retaining only the very musical notes of them, here we find, &#8220;What
+Kitchen-Stuffe haue you maids,&#8221; and there is a Round in six parts to the
+cry of &#8220;New Oysters:&#8221;&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;New Oysters, new Oysters, new Oysters new,<br />
+New Oysters, new Wall-fleet Oysters&mdash;<br />
+At a groat a pecke&mdash;each Oyster worth twopence.<br />
+Fetch vs bread and wine, that we may eate,<br />
+Let vs lose no time with such good meate&mdash;<br />
+A Banquet for a Prince&mdash;New Oysters.<br />
+<span style="margin-left: 7em;">New&mdash;<i>vt supra</i>&mdash;Oysters.&#8221;</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>From &#8220;Meligmata: Musical Phantasies, fitting the Court, City, and Country
+Manners, to three, four and five Voices&#8221;&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;To all delightful, except to the spiteful;<br />
+To none offensive, except to the pensive.&#8221;</td></tr></table>
+
+<p>&#8220;London, printed by William Stansby, for Thos. Adams, 1611,&#8221; we take as
+follows:&mdash;</p>
+
+<p class="center">&#8220;<span class="smcap">Cittie Rounds.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Broomes for old shoes! pouch-rings, bootes and buskings!<br />
+Will yee buy any new broome?<br />
+New oysters! new oysters! new new cockles!<br />
+Cockels nye! fresh herrings! will yee buy any straw?<br />
+Hay yee any kitchen stuffe, maides?<br />
+Pippins fine, cherrie ripe, ripe, ripe!<br />
+<span style="margin-left: 2em;">Cherrie ripe, &amp;c.</span><br />
+<span style="margin-left: 4em;">Hay any wood to cleaue?</span><br />
+<span style="margin-left: 4em;">Give care to the clocke!</span><br />
+<span style="margin-left: 4em;">Beware your locke!</span><br />
+<span style="margin-left: 4em;">Your fire and your light!</span><br />
+<span style="margin-left: 4em;">And God giue you good night!</span><br />
+<span style="margin-left: 6em;">One o&#8217; clocke!&#8221;</span></td></tr></table>
+
+<p>Some of the &#8220;Common Cryes i&#8217; th&#8217; City,&#8221; as Oysters, Codlings,
+Kitchen-stuff, Matches for your Tinder-box, &amp;c., are enumerated in Richard
+Brome&#8217;s&mdash;The &#8220;Court Beggar, A Comedie acted at the <i>Cock-pit</i>, by His
+Majesties Servants, <i>Anno</i> 1632.&#8221;</p>
+
+<p>&#8220;The London Chanticleers, a witty Comedy full of Various and Delightful
+Mirth,&#8221; 1659. This piece is rather an interlude than a play, and is
+amusing and curious, the characters being, with two exceptions, all London
+criers. The allusions to old usages, with the mention of many well known
+ballads, and some known no longer, contribute to give the piece an
+interest and a value of its own.</p>
+
+<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>The principal <i>dramatis person&aelig;</i> consists of:&mdash;</p>
+
+<div class="blockquot"><p><span class="smcap">Heath.</span>&mdash;<i>A broom-man.</i> &#8220;Brooms, maids, broom! Come, buy my brooms,
+maids; &#8217;Tis a new broom, and will sweep clean. Come, buy my broom,
+maids!&#8221;</p>
+
+<p><span class="smcap">Bristle.</span>&mdash;<i>A brush-man.</i> &#8220;Come, buy a save-all. Buy a comb-brush, or a
+pot-brush; buy a flint, or a steel, or a tinder-box.&#8221;</p>
+
+<p><span class="smcap">Ditty.</span>&mdash;<i>A ballad-man.</i> &#8220;Come, new books, new books, newly printed and
+newly come forth! All sorts of ballads and pleasant books! <i>The Famous
+History of Tom Thumb</i> and <i>Unfortunate Jack, A Hundred Goodly
+Lessons</i> and <i>Alas, poor Scholar, whither wilt thou go? The second
+part of Mother Shipton&#8217;s Prophecies, newly made by a gentleman of good
+quality</i>, foretelling what was done four hundred years ago, and <i>A
+Pleasant Ballad of a bloody fight seen i&#8217; th&#8217; air</i>, which, the
+astrologers say, portends scarcity of fowl this year. The <i>Ballad of
+the Unfortunate Lover</i>. I have <i>George of Green</i>, <i>Chivy Chase</i>,
+<i>Collins and the Devil; or, Room for Cuckolds</i>, <i>The Ballad of the
+London &#8217;Prentice</i>, <i>Guy of Warwick</i>, <i>The Beggar of Bethnal Green, the
+Honest Milkmaid; or, I must not wrong my Dame</i>, <i>The Honest Fresh
+Cheese and Cream Woman</i>. Then I have <i>The Seven Wise Men of Gotham</i>,
+<i>A Hundred Merry Tales</i>, <i>Scoggin&#8217;s Jests; or, A Book of Prayers and
+Graces for Young Children</i>. I have very strange news from beyond seas.
+The King of Morocco has got the black jaundice, and the Duke of
+Westphalia is sick of the swine-pox, with eating bacon; the Moors
+increase daily, and the King of Cyprus mourns for the Duke of Saxony,
+that is dead of the stone; and Presbyter John is advanced to Zealand;
+the sea ebbs and flows but twice in <span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>four-and-twenty hours, and the
+moon has changed but once the last month.&#8221;</p>
+
+<p><span class="smcap">Budget.</span>&mdash;<i>A Tinker.</i> &#8220;Have you any work for the tinker? Old brass, old
+pots, old kettles. I&#8217;ll mend them all with a tara-tink, and never hurt
+your metal.&#8221;</p>
+
+<p><span class="smcap">Gum.</span>&mdash;<i>A Tooth drawer.</i> &#8220;Have you any corns upon your feet or toes?
+Any teeth to draw?&#8221;</p>
+
+<p><span class="smcap">Jenniting.</span>&mdash;<i>An Apple wench.</i> &#8220;Come buy my pearmains, curious John
+Apples, dainty pippins? Come, who buy? who buy?&#8221;</p>
+
+<p><span class="smcap">Curds.</span>&mdash;<i>A fresh Cheese and Cream woman.</i> &#8220;I have fresh cheese and
+cream; I have fresh cheese and cream.&#8221;</p></div>
+
+<hr style="width: 25%;" />
+
+<p class="center"><span class="smcap">The Sorrowful Lamentations</span><br />
+of the<br />
+<span class="smcap">Pedlars and Petty Chapmen</span>,</p>
+<p class="center">For the Hardness of the Times and the Decay of Trade.</p>
+<p class="center"><i>To the Tune of</i> &#8220;My Life and my Death.&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;The times are grown hard, more harder than stone,<br />
+And therefore the Pedlars may well make their moan,<br />
+Lament and complain that trading is dead,<br />
+That all the sweet golden days now are fled.<br />
+<span style="margin-left: 2em;">Then maidens and men, come see what you lack,</span><br />
+<span style="margin-left: 2em;">And buy the fine toys that I have in my pack!</span><br />
+<br />
+&#8220;Come hither and view, here&#8217;s choice and here&#8217;s store,<br />
+Here&#8217;s all things to please ye, what would you have more?<br />
+Here&#8217;s points for the men, and pins for the maid,<br />
+Then open your purses and be not afraid.<br />
+<span style="margin-left: 11em;">Come, maidens, &amp;c.</span><br />
+<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span><br />
+&#8220;Let none at a tester repent or repine:<br />
+Come bring me your money, and I&#8217;ll make you fine;<br />
+Young Billy shall look as spruce as the day,<br />
+And pretty sweet Betty more finer than May.<br />
+<span style="margin-left: 11em;">Then, maidens, &amp;c.</span><br />
+<br />
+&#8220;To buy a new license your money I crave;<br />
+&#8217;Tis that which I want, and &#8217;tis that which you have:<br />
+Exchange then a groat for some pretty toy,<br />
+Come, buy this fine whistle for your little boy.<br />
+<span style="margin-left: 11em;">Come, maidens, &amp;c.</span><br />
+<br />
+&#8220;Here&#8217;s garters for hose, and cotton for shoes.<br />
+And there&#8217;s a gilt bodkin, which none would refuse:<br />
+This bodkin let John give to sweet Mistriss Jane,<br />
+And then of unkindness he shall not complain.<br />
+<span style="margin-left: 11em;">Come, maidens, &amp;c.</span><br />
+<br />
+&#8220;Come buy this fine coife, this dressing, or hood,<br />
+And let not your money come like drops of blood:<br />
+The Pedlar may well of his fortune complain<br />
+If he brings all his ware to the market in vaine.<br />
+<span style="margin-left: 11em;">Then, maidens, &amp;c.</span><br />
+<br />
+&#8220;Here&#8217;s band strings for men, and there you have lace,<br />
+Bone-lace to adorn the fair virgin&#8217;s sweet face:<br />
+Whatever you like, if you will but pay,<br />
+As soon as you please you may take it away.<br />
+<span style="margin-left: 11em;">Then, maidens, &amp;c.</span><br />
+<br />
+&#8220;The world is so hard that we find little trade,<br />
+Although we have all things to please every maid:<br />
+Come, pretty fair maids, then make no delay,<br />
+But give me your hansel, and pack me away.<br />
+<span style="margin-left: 11em;">Come, maidens, &amp;c.</span><br />
+<br />
+&#8220;Here&#8217;s all things that&#8217;s fine, and all things that&#8217;s rare,<br />
+All modish and neat, all new London ware:<br />
+Variety here you plainly may see,<br />
+Then give me your money, and we will agree.<br />
+<span style="margin-left: 11em;">Come, maidens, &amp;c.</span><br />
+<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span><br />
+&#8220;We travel all day through dirt and through mire,<br />
+To fetch you fine laces and what you desire;<br />
+No pains do we spare to bring you choice ware,<br />
+As gloves and perfumes, and sweet powder for hair.<br />
+<span style="margin-left: 11em;">Then, maidens, &amp;c.</span><br />
+<br />
+&#8220;We have choice of songs, and merry books, too,<br />
+All pleasant and witty, delightful and new,<br />
+Which every young swain may whistle at plough,<br />
+And every fair milk-maid may sing at her cow.<br />
+<span style="margin-left: 11em;">Then, maidens, &amp;c.</span><br />
+<br />
+&#8220;Since trading&#8217;s so dead we must needs complain,<br />
+And, therefore, pray let us have some little gain:<br />
+If you will be free, we will you supply<br />
+With what you do want; therefore, pray come and buy.<br />
+<span style="margin-left: 2em;">The world is so hard, that although we take pains,</span><br />
+<span style="margin-left: 2em;">When we look in our purses we find little gains.</span></td></tr></table>
+
+<p class="center">&#8220;Printed for <span class="smcap">J. Back</span>, at the Black-boy, on London Bridge.&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p>In &#8220;Merry Drollery Complete, or, a Collection of Jovial Poems, Merry
+Songs, Witty Drolleries, Intermixed with Pleasant Catches, London, Printed
+for <i>William Miller</i>, at the <i>Gilded Acorn</i>, in <i>St. Paul&#8217;s</i> Church-yard,
+1661,&#8221; the <i>Catch</i> which follows will be found. The Rev. J. Woodfall
+Ebsworth, M.A., Cantab, who has carefully edited and reprinted [1875]
+&#8220;Both Parts&#8221;; says in his <i>Appendix of Notes</i>:&mdash;&#8220;Hare-skin and Rabbit-skin
+collectors, have always been queer characters. This catch is by <span class="smcap">John
+Fletcher</span>, in his &#8216;Beggar&#8217;s Bush,&#8217; act iii., sc. 1, where it is sung by
+&#8216;Clause&#8217; his boy. Clause, the vagabond beggar, was a popular favourite,
+reproduced in &#8216;Drolls.&#8217; We see him represented in the frontispiece of <i>The
+Wits</i>, by Kirkman and Cox.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+<p class="center"><span class="smcap">A Catch.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Bring forth your Cunny skins, fair maids, to me,<br />
+And hold them fair that I may see<br />
+Gray, black, and blue; for your smaller skins&mdash;<br />
+I&#8217;ll give you Glasses, Laces, Pins:<br />
+<span style="margin-left: 6em;">And for your whole Cunny</span><br />
+<span style="margin-left: 6em;">I&#8217;ll give ready money.</span><br />
+<br />
+&#8220;Come, gentle <i>Jone</i>, do thou begin<br />
+With thy black, black, black Cunny skin,<br />
+And <i>Mary</i> then, and <i>Kate</i> will follow<br />
+With their silver&#8217;d hair&#8217;d skins, and their yellow;<br />
+<span style="margin-left: 6em;">Your white Cunny skin I will not lay by,</span><br />
+<span style="margin-left: 6em;">Though it be fat, it is not fair to the Eye.</span><br />
+<br />
+&#8220;Your gray it is warm, but for my money<br />
+Give me the bonny, bonny black Coney;<br />
+Come away, fair maids, your skins will decay,<br />
+Come take money, maids, put your ware away;<br />
+<span style="margin-left: 6em;">I have fine Bracelets, Rings,</span><br />
+<span style="margin-left: 6em;">And I have silver Pins</span><br />
+<span style="margin-left: 6em;">Coney skins, Coney skins,</span><br />
+<span style="margin-left: 6em;">Maids, have you any Coney skins.&#8221;</span></td></tr></table>
+
+<p>In the same Collection there is a vigorous song exposing the cheats of
+mendicants. The hero of which declares:&mdash;&#8220;<i>I am a Rogue, and a stout
+one</i>.&#8221; And that among the many cheats, counterfeits, deceits and dodges he
+has to resort to, at times he may be seen:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;In <i>Pauls</i> Church-yard, by a pillar,<br />
+Sometimes you see me stand, Sir,<br />
+With a writ that shows what cares, what woes<br />
+I have passed by Sea and Land, Sir,<br />
+<span style="margin-left: 2em;">Then I do cry, &amp;c.</span><br />
+<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span><br />
+&#8220;Come buy, come buy a Horn-book,<br />
+Who buys my Pins and Needles:<br />
+Such things do I in the City cry<br />
+Oftimes to &#8217;scape the Beadles,<br />
+<span style="margin-left: 2em;">Then I do cry, &amp;c.&#8221;</span></td></tr></table>
+
+<p>For the counterpart of this Rogue and Vagabond, the reader is referred to
+Vol. I, No. 42-3 of the Roxburghe Ballads&mdash;(British Museum.) Where there
+is one entitled:&mdash;</p>
+
+<p class="center"><span class="smcap">The Cunning Northern Beggar</span>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Who all the by-standers doth earnestly pray<br />
+To bestow a penny upon him to-day.</td></tr></table>
+
+<p class="center"><span class="smcap">To the Tune of</span> <i>Tom of Bedlam</i>.</p>
+
+<div class="figcenter"><img src="images/img081.jpg" alt="" /></div>
+
+<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>I am a lusty beggar,<br />
+<span style="margin-left: 1em;">And live by others giving!</span><br />
+<span style="margin-left: 2em;">I scorn to work,</span><br />
+<span style="margin-left: 2em;">But by the highway lurk,</span><br />
+<span style="margin-left: 1em;">And beg to get my living:</span><br />
+I&#8217;ll i&#8217; the wind and weather,<br />
+<span style="margin-left: 1em;">And wear all ragged garments;</span><br />
+<span style="margin-left: 2em;">Yet, though I&#8217;m bare,</span><br />
+<span style="margin-left: 2em;">I&#8217;m free from care,&mdash;</span><br />
+A fig for high preferments!<br />
+<br />
+<span style="margin-left: 4em;"><i>Therefore I&#8217;ll cry, &amp;c.</i></span><br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span><br />
+My flesh I can so temper<br />
+<span style="margin-left: 1em;">That it shall seem to fester,</span><br />
+<span style="margin-left: 2em;">And look all o&#8217;er</span><br />
+<span style="margin-left: 2em;">Like a raw sore,</span><br />
+<span style="margin-left: 1em;">Whereon I stick a plaister.</span><br />
+With blood I daub my face then,<br />
+<span style="margin-left: 1em;">To feign the falling sickness,</span><br />
+<span style="margin-left: 2em;">That in every place</span><br />
+<span style="margin-left: 2em;">They pity my case,</span><br />
+As if it came through weakness.<br />
+<br />
+<span style="margin-left: 4em;"><i>Therefore I&#8217;ll cry, &amp;c.</i></span><br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span><br />
+No tricks at all shall escape me,<br />
+<span style="margin-left: 1em;">But I will by my maunding,</span><br />
+<span style="margin-left: 2em;">Get some relief</span><br />
+<span style="margin-left: 2em;">To ease my grief</span><br />
+<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span><span style="margin-left: 1em;">When by the highway standing:</span><br />
+&#8217;Tis better be a Beggar,<br />
+<span style="margin-left: 1em;">And ask of kind good fellows,</span><br />
+<span style="margin-left: 2em;">And honestly have</span><br />
+<span style="margin-left: 2em;">What we do crave,</span><br />
+<span style="margin-left: 1em;">Than steal and go to the gallows.</span><br />
+<br />
+<i>Therefore I&#8217;ll cry, &#8220;Good your worship, good sir,</i><br />
+<span style="margin-left: 1em;"><i>Bestow one poor denier, sir,</i></span><br />
+<span style="margin-left: 2em;"><i>Which, when I&#8217;ve got,</i></span><br />
+<span style="margin-left: 2em;"><i>At the Pipe and Pot</i></span><br />
+<span style="margin-left: 1em;"><i>I soon will it cashier, sir.&#8221;</i></span></td></tr>
+<tr><td align="center"><span class="smcap">Finis.</span></td></tr>
+<tr><td align="center">Printed at London for F. Coules.</td></tr></table>
+
+<hr style="width: 25%;" />
+
+<p>The following ballad was published in &#8220;Playford&#8217;s Select Ayres,&#8221; 1659, p.
+95; with music by Dr. John Wilson, and Musical Companion, 1673. It is in
+the Percy Folio MS., iii., 308-11. Also in &#8220;Windsor Drollery,&#8221; 2; and &#8220;Le
+Prince d&#8217;Amour,&#8221; 1660, p. 177. It is attributed to Shakespeare, but with
+only manuscript evidence.</p>
+
+<p class="center">&#8220;<span class="smcap">The Song of the Pedlars</span>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;From the fair Lavinian shore,<br />
+I your markets come to store.<br />
+Muse not though so far I dwell<br />
+And my wares come here to sell:<br />
+<span style="margin-left: 2em;">Such is the insatiate thirst after gold,</span><br />
+Then come to my pack<br />
+While I cry, what d&#8217;ye lack,<br />
+<span style="margin-left: 2em;">What d&#8217;ye buy? for here it is to be sold.</span><br />
+<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span><br />
+&#8220;Courteous Sir, I&#8217;ve wares for you,<br />
+Garters red and stockings blue,<br />
+Dainty gaudes for Sunday gear,<br />
+Beads and laces for your dear,<br />
+First let me have but a touch of your gold<br />
+Then come&mdash;Not a swain,<br />
+<span style="margin-left: 2em;">Half so neat,</span><br />
+<span style="margin-left: 2em;">On the plain</span><br />
+<span style="margin-left: 2em;">Shall we meet</span><br />
+So comely to behold.<br />
+<br />
+&#8220;Madam, come, here you may find<br />
+Rings with posies to your mind,<br />
+Silken bands for true-love-knot,<br />
+And complexion I have got.<br />
+First let me have but a touch of your gold,<br />
+Then come&mdash;To your face,<br />
+<span style="margin-left: 2em;">I&#8217;ll restore</span><br />
+<span style="margin-left: 2em;">Every grace</span><br />
+<span style="margin-left: 2em;">Though you&#8217;re more</span><br />
+Than three score and ten years old.<br />
+<br />
+&#8220;Gentles all, now fare you well,<br />
+I must trudge my wares to sell;<br />
+Lads so blythe and Dames so young,<br />
+Drop a guerdon for my song.<br />
+Just let me have but a touch of your gold,<br />
+<span style="margin-left: 2em;">I&#8217;ll come with my pack</span><br />
+<span style="margin-left: 2em;">Again to cry,</span><br />
+<span style="margin-left: 2em;">What d&#8217;ye lack,</span><br />
+<span style="margin-left: 2em;">What d&#8217;ye buy?</span><br />
+For here it is to be sold.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>Mr. John Payne Collier, in his &#8220;<i>A Book of Roxburghe Ballads</i>,&#8221; London,
+1847, reproduces a capital ditty; &#8220;ryhte merrie and very excellent in its
+way,&#8221; relating to the popular pursuits and the customs of London and the
+Londoners in the early part of the seventeenth century. It is printed
+<i>verbatim</i> from a broadside, signed W. Turner, and called:&mdash;</p>
+
+<div class="note">
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;The Common Cries of London Town,<br />
+Some go up street and some go down.</td></tr></table>
+
+<p>With Turner&#8217;s Dish of Stuff, or a Gallymaufery</p>
+
+<p>To the tune of <i>Wotton Towns End</i>.<a name='fna_6' id='fna_6' href='#f_6'><small>[6]</small></a> Printed for F. C[oles,] T.
+V[ere,] and W. G[ilbertson.] 1662.&#8221;</p></div>
+
+<p>The only known copy is dated 1662, but contains internal evidence, in the
+following stanza (which occurs in the opening of The Second Part,) that it
+was written in the reign of James I.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;That&#8217;s the fat foole of the Curtin:<br />
+<span style="margin-left: 1em;">And the lean fool of the Bull:</span><br />
+Since <i>Shancke</i> did leave to sing his rimes,<br />
+<span style="margin-left: 1em;">He is counted but a gull.</span><br />
+<br />
+&#8220;The players on the Bankside,<br />
+<span style="margin-left: 1em;">The round Globe and the Swan,</span><br />
+Will teach you idle tricks of love,<br />
+<span style="margin-left: 1em;">But the Bull will play the man.&#8221;</span></td></tr></table>
+
+<p><i>Shancke.</i>&mdash;John Shancke the comic actor here mentioned was celebrated for
+singing rhymes, and what were technically &#8220;jigs&#8221;<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> on the stage. In this
+respect, as a low comedian he had been the legitimate successor of
+Tarlton, Kempe, Phillips, and Singer. He was on the stage from 1603 to
+1635, when he died. Then, John Taylor the <i>Water Poet</i>, no mean authority,
+informs us that the Swan Theatre, on the Bankside, in the Liberty of Paris
+Gardens, had been abandoned by the players in 1613. The Curtain Theatre in
+Holywell street&mdash;or Halliwell street, as it was usually spelt at that
+time&mdash;Shoreditch Fields<a name='fna_7' id='fna_7' href='#f_7'><small>[7]</small></a> had also fallen into disuse before the reign of
+Charles I. The Globe on the Bankside, and the [Red] Bull Theatre at the
+upper end of St. John&#8217;s street, Clerkenwell were employed until after the
+restoration. The allusion to the Waterman carrying &#8220;bonny lasses over to
+the plays,&#8221; is also a curious note of time. With these matters before us,
+we may safely conclude that &#8220;Turner&#8217;s Dish of Stuff&#8221; is but a reprint of
+an earlier production. As we find it, so we lay it before our readers:
+thus:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
+<p class="center">&#8220;<span class="smcap">The Common Cries of London Town:<br />
+Some go up street, some go down.</span></p>
+<p class="center">With Turner&#8217;s Dish of Stuff, or a Gallymaufery.</p>
+<p class="center"><i>To the tune</i> of Wotton Towns End.&#8221;</p>
+
+<div class="figcenter"><img src="images/img082.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;My masters all, attend you,<br />
+<span style="margin-left: 2em;">if mirth you love to heare,</span><br />
+And I will tell you what they cry<br />
+<span style="margin-left: 2em;">in London all the yeare.</span><br />
+Ile please you if I can,<br />
+<span style="margin-left: 2em;">I will not be too long:</span><br />
+I pray you all attend awhile,<br />
+<span style="margin-left: 2em;">and listen to my song.</span><br />
+<br />
+&#8220;The fish-wife first begins,<br />
+<span style="margin-left: 2em;">Anye muscles lilly white!</span><br />
+Herrings, sprats or plaice,<br />
+<span style="margin-left: 2em;">or cockles for delight.</span><br />
+Anye welflet oysters!<br />
+<span style="margin-left: 2em;">Then she doth change her note:</span><br />
+She had need to have her tongue be greas&#8217;d,<br />
+<span style="margin-left: 2em;">for the rattles in the throat.</span><br />
+<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span><br />
+&#8220;For why, they are but Kentish,<br />
+<span style="margin-left: 2em;">to tell you out of doubt.</span><br />
+Her measure is too little;<br />
+<span style="margin-left: 2em;">goe, beat the bottom out.</span><br />
+Half a peck for two pence?<br />
+<span style="margin-left: 2em;">I doubt it is a bodge.</span><br />
+Thus all the City over<br />
+<span style="margin-left: 2em;">the people they do dodge.</span><br />
+<br />
+&#8220;The wench that cries the kitchin stuff,<br />
+<span style="margin-left: 2em;">I marvel what she ayle,</span><br />
+She sings her note so merry,<br />
+<span style="margin-left: 2em;">but she hath a draggle tayle:</span><br />
+An empty car came running,<br />
+<span style="margin-left: 2em;">and hit her on the bum;</span><br />
+Down she threw her greasie tub,<br />
+<span style="margin-left: 2em;">and away straight she did run.</span><br />
+<br />
+&#8220;But she did give her blessing<br />
+<span style="margin-left: 2em;">to some, but not to all,</span><br />
+To bear a load to Tyburne,<br />
+<span style="margin-left: 2em;">and there to let it fall:</span><br />
+The miller and his golden thumb,<br />
+<span style="margin-left: 2em;">and his dirty neck,</span><br />
+If he grind but two bushels,<br />
+<span style="margin-left: 2em;">he must needs steal a peck.</span><br />
+<br />
+&#8220;The weaver and the taylor,<br />
+<span style="margin-left: 2em;">cozens they be sure,</span><br />
+They cannot work but they must steal,<br />
+<span style="margin-left: 2em;">to keep their hands inure;</span><br />
+For it is a common proverb<br />
+<span style="margin-left: 2em;">thorowout the town,</span><br />
+The taylor he must cut three sleeves<br />
+<span style="margin-left: 2em;">to every woman&#8217;s gown.</span><br />
+<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span><br />
+&#8220;Mark but the waterman<br />
+<span style="margin-left: 2em;">attending for his fare,</span><br />
+Of hot and cold, of wet and dry,<br />
+<span style="margin-left: 2em;">he alwaies takes his share:</span><br />
+He carrieth bonny lasses<br />
+<span style="margin-left: 2em;">over to the playes,</span><br />
+And here and there he gets a bit,<br />
+<span style="margin-left: 2em;">and that his stomach staies.</span><br />
+<br />
+&#8220;There was a singing boy<br />
+<span style="margin-left: 2em;">who did not ride to Rumford;</span><br />
+When I go to my own school<br />
+<span style="margin-left: 2em;">I will take him in a comfort;</span><br />
+But what I leave behind<br />
+<span style="margin-left: 2em;">shall be no private gain;</span><br />
+But all is one when I am gone:<br />
+<span style="margin-left: 2em;">let him take it for his pain.</span><br />
+<br />
+&#8220;Old shoes for new brooms!<br />
+<span style="margin-left: 2em;">the broom-man he doth sing,</span><br />
+For hats or caps or buskins,<br />
+<span style="margin-left: 2em;">or any old pouch ring.</span><br />
+Buy a mat, a bed-mat!<br />
+<span style="margin-left: 2em;">a hassock or a presse,</span><br />
+A cover for a close stool,<br />
+<span style="margin-left: 2em;">a bigger or a lesse.</span><br />
+<br />
+&#8220;Ripe, cherry ripe!<br />
+<span style="margin-left: 2em;">the coster-monger cries;</span><br />
+Pippins fine or pears!<br />
+<span style="margin-left: 2em;">another after hies,</span><br />
+With basket on his head<br />
+<span style="margin-left: 2em;">his living to advance,</span><br />
+And in his purse a pair of dice<br />
+<span style="margin-left: 2em;">for to play at mumchance.</span><br />
+<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span><br />
+&#8220;Hot pippin pies!<br />
+<span style="margin-left: 2em;">to sell unto my friends,</span><br />
+Or pudding pies in pans,<br />
+<span style="margin-left: 2em;">well stuft with candle&#8217;s ends.</span><br />
+Will you buy any milk?<br />
+<span style="margin-left: 2em;">I heard a wench that cries:</span><br />
+With a pale of fresh cheese and cream,<br />
+<span style="margin-left: 2em;">another after hies.</span><br />
+<br />
+&#8220;Oh! the wench went neatly;<br />
+<span style="margin-left: 2em;">me thought it did me good,</span><br />
+To see her cherry cheeks<br />
+<span style="margin-left: 2em;">so dimpled ore with blood:</span><br />
+Her waistcoat washed white<br />
+<span style="margin-left: 2em;">as any lilly floure;</span><br />
+Would I had time to talk with her<br />
+<span style="margin-left: 2em;">the space of half an hour.</span><br />
+<br />
+&#8220;Buy black! saith the blaking man,<br />
+<span style="margin-left: 2em;">the best that ere was seen;</span><br />
+Tis good for poore citizens<br />
+<span style="margin-left: 2em;">to make their shoes to shine.</span><br />
+Oh! tis a rare commodity,<br />
+<span style="margin-left: 2em;">it must not be forgot;</span><br />
+It will make them to glister galantly,<br />
+<span style="margin-left: 2em;">and quickly make them rot.</span><br />
+<br />
+&#8220;The world is full of thread-bare poets<br />
+<span style="margin-left: 2em;">that live upon their pen,</span><br />
+But they will write too eloquent,<br />
+<span style="margin-left: 2em;">they are such witty men.</span><br />
+But the tinker with his budget,<br />
+<span style="margin-left: 2em;">the beggar with his wallet,</span><br />
+And Turners turned a gallant man<br />
+<span style="margin-left: 2em;">at making of a ballet.&#8221;</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+<p class="center">THE SECOND PART.</p>
+<p class="center"><i>To the same Tune.</i></p>
+
+<div class="figcenter"><img src="images/img083.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;That&#8217;s the fat foole of the Curtin,<br />
+<span style="margin-left: 2em;">and the lean fool of the Bull:</span><br />
+Since Shancke did leave to sing his rimes,<br />
+<span style="margin-left: 2em;">he is counted but a gull.</span><br />
+The players on the Bankside,<br />
+<span style="margin-left: 2em;">the round Globe and the Swan,</span><br />
+Will teach you idle tricks of love,<br />
+<span style="margin-left: 2em;">but the Bull will play the man.</span><br />
+<br />
+&#8220;But what do I stand tattling<br />
+<span style="margin-left: 2em;">of such idle toyes?</span><br />
+I had better go to Smith-Field<br />
+<span style="margin-left: 2em;">to play among the boyes:</span><br />
+But you cheating and deceiving lads,<br />
+<span style="margin-left: 2em;">with your base artillery,</span><br />
+I would wish you to shun Newgate,<br />
+<span style="margin-left: 2em;">and withall the pillory.</span><br />
+<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span><br />
+&#8220;And some there be in patcht gownes,<br />
+<span style="margin-left: 2em;">I know not what they be,</span><br />
+That pinch the country-man<br />
+<span style="margin-left: 2em;">with nimming of a fee;</span><br />
+For where they get a booty,<br />
+<span style="margin-left: 2em;">they&#8217;le make him pay so dear,</span><br />
+They&#8217;le entertain more in a day,<br />
+<span style="margin-left: 2em;">then he shall in a year.</span><br />
+<br />
+&#8220;Which makes them trim up houses<br />
+<span style="margin-left: 2em;">made of brick and stone,</span><br />
+And poor men go a begging,<br />
+<span style="margin-left: 2em;">when house and land is gone.</span><br />
+Some there be with both hands<br />
+<span style="margin-left: 2em;">will swear they will not dally,</span><br />
+Till they have turn&#8217;d all upside down,<br />
+<span style="margin-left: 2em;">as many use to sally.</span><br />
+<br />
+&#8220;You pedlers, give good measure,<br />
+<span style="margin-left: 2em;">when as your wares you sell:</span><br />
+Tho&#8217; your yard be short, your thumb will slip<br />
+<span style="margin-left: 2em;">your tricks I know full well.</span><br />
+And you that sell your wares by weight,<br />
+<span style="margin-left: 2em;">and live upon the trade,</span><br />
+Some beams be false, some waits too light;<br />
+<span style="margin-left: 2em;">such tricks there have been plaid.</span><br />
+<br />
+&#8220;But small coals, or great coals!<br />
+<span style="margin-left: 2em;">I have them on my back:</span><br />
+The goose lies in the bottom;<br />
+<span style="margin-left: 2em;">you may hear the duck cry quack.</span><br />
+Thus Grim the black collier,<br />
+<span style="margin-left: 2em;">whose living is so loose,</span><br />
+As he doth walk the commons ore,<br />
+<span style="margin-left: 2em;">sometimes he steals a goose.</span><br />
+<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span><br />
+&#8220;Thou usurer with thy money bags<br />
+<span style="margin-left: 2em;">that livest so at ease,</span><br />
+By gaping after gold thou dost<br />
+<span style="margin-left: 2em;">thy mighty God displease;</span><br />
+And for thy greedy usury,<br />
+<span style="margin-left: 2em;">and thy great extortion,</span><br />
+Except thou dost repent thy sins,<br />
+<span style="margin-left: 2em;">Hell fire will be thy portion.</span><br />
+<br />
+&#8220;For first I came to Houns-Ditch,<br />
+<span style="margin-left: 2em;">then round about I creep,</span><br />
+Where cruelty was crowned chief<br />
+<span style="margin-left: 2em;">and pity fast asleep:</span><br />
+Where usury gets profit,<br />
+<span style="margin-left: 2em;">and brokers bear the bell.</span><br />
+Oh, fie upon this deadly sin!<br />
+<span style="margin-left: 2em;">it sinks the soul to hell.</span><br />
+<br />
+&#8220;The man that sweeps the chimneys<br />
+<span style="margin-left: 2em;">with the bush of thorns,</span><br />
+And on his neck a trusse of poles<br />
+<span style="margin-left: 2em;">tipped all with horns,</span><br />
+With care he is not cumbered,<br />
+<span style="margin-left: 2em;">he liveth not in dread?</span><br />
+For though he wear them on his pole,<br />
+<span style="margin-left: 2em;">some wear them on their head.</span><br />
+<br />
+&#8220;The landlord with his racking rents<br />
+<span style="margin-left: 2em;">turns poor men out of dore;</span><br />
+Their children go a begging<br />
+<span style="margin-left: 2em;">where they have spent their store.</span><br />
+I hope none is offended<br />
+<span style="margin-left: 1.5em;">with that which is endited</span><br />
+If any be, let him go home<br />
+<span style="margin-left: 1.5em;">and take a pen and write it.</span><br />
+<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span><br />
+&#8220;Buy a trap, a mouse trap,<br />
+<span style="margin-left: 2em;">a torment for fleas!</span><br />
+The hangman works but half the day;<br />
+<span style="margin-left: 2em;">he lives too much at ease.</span><br />
+Come let us leave this boyes play<br />
+<span style="margin-left: 2em;">and idle prittle prat,</span><br />
+And let us go to nine holes,<br />
+<span style="margin-left: 2em;">to spurn-point, or to cat.</span><br />
+<br />
+&#8220;Oh! you nimble fingered lads<br />
+<span style="margin-left: 2em;">that live upon your wits,</span><br />
+Take heed of Tyburn ague,<br />
+<span style="margin-left: 2em;">for they be dangerous fits;</span><br />
+For many a proper man,<br />
+<span style="margin-left: 2em;">for to supply his lack,</span><br />
+Doth leap a leap at Tyburn,<br />
+<span style="margin-left: 2em;">which makes his neck to crack.</span><br />
+<br />
+&#8220;And to him that writ this song<br />
+<span style="margin-left: 2em;">I give this simple lot:</span><br />
+Let every one be ready<br />
+<span style="margin-left: 2em;">to give him half a pot.</span><br />
+And thus I do conclude,<br />
+<span style="margin-left: 2em;">wishing both health and peace</span><br />
+To those that are laid in their bed,<br />
+<span style="margin-left: 2em;">and cannot sleep for fleas.</span><br />
+<span style="margin-left: 8em;"><span class="smcap">W. Turner</span>&#8221;</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>The &#8220;tink, terry tink&#8221; of the
+Tinker&#8217;s &#8220;Cry&#8221; is preserved in a Miscellany of the year 1667, called &#8220;<i>Catch that Catch
+Can; or, the Musical Champion</i>.&#8221;</p>
+
+<div class="figcenter"><img src="images/img084.jpg" alt="" /></div>
+
+<p class="center">&#8220;The Tinker.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Have you any work for a tinker, mistriss?<br />
+Old brass, old pots, or kettles?<br />
+I&#8217;ll mend them all with a tink, terry tink,<br />
+And never hurt your mettles.<br />
+First let me have but a touch of your ale,<br />
+&#8217;Twill steel me against cold weather,<br />
+Or tinkers frees,<br />
+Or vintners lees,<br />
+Or tobacco chuse you whether.<br />
+But of your ale,<br />
+Your nappy ale,<br />
+I would I had a ferkin,<br />
+For I am old<br />
+And very cold<br />
+And never wear a jerkin.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>The tinker&#8217;s &#8220;Cry&#8221; forms
+the opening lines of &#8220;Clout the Cauldron,&#8221; one of the best of our old Scottish songs:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;&#8216;Hae ye ony pots or pans,<br />
+Or any broken chanlers,&#8217;<br />
+I am a tinker to my trade,<br />
+And newly come from Flanders.&#8221;</td></tr></table>
+
+<p>But the song is so well known to all who take an interest in our northern
+minstrelsy, and is to be found, moreover, in every good collection of
+Scottish Songs, that it is enough to refer to it.</p>
+
+<p>Honest John Bunyan was a travelling tinker originally. Reader! just for a
+moment fancy the inspired author&mdash;poet we may call him&mdash;of &#8220;<i>The Pilgrim&#8217;s
+Progress</i>,&#8221; crying the &#8220;cry&#8221; of his trade through the streets of Bedford,
+thus&mdash;&#8220;<i>Mistress, have you any work for the tinker? pots, pans, kettles I
+mend, old brass, lead or old copper I buy. Anything in my way to-day,
+maids?</i>&#8221; While at the same time, through his brain was floating visions of
+Vanity Fair, the Holy War, the Slough of Despond, the Valley of the Shadow
+of Death, the Barren Fig Tree, the Water of Life, &amp;c. beneath the long
+head of hair, shaggy and dirty, too, as a tinker&#8217;s generally is.</p>
+
+<div class="figcenter"><img src="images/img085.jpg" alt="" /></div>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+<div class="figcenter"><img src="images/img086.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hot Codlings</span>:&mdash;<i>A Catch</i>.</p>
+
+<p>This will be found in &#8220;<i>Windsor Drollery</i>,&#8221; and, with music for three
+voices, by Thomas Holmes, in John Hilton&#8217;s &#8220;<i>Catch that Catch Can</i>;&#8221; and
+also Walsh&#8217;s &#8220;<i>Catch Club</i>.&#8221; Part II., p. 25.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Have you observ&#8217;d the wench in the street,<br />
+She&#8217;s scarce any hose or shoes to her feet;<br />
+And when she cries, she sings,<br />
+&#8216;I have hot Codlings, hot Codlings.&#8217;<br />
+<br />
+&#8220;Or have you ever seen or heard,<br />
+The mortal with his Lyon tauny beard!<br />
+He lives as merrily as heart can wish,<br />
+And still he cries, &#8216;Buy a brush, buy a brush.&#8217;<br />
+<br />
+&#8220;Since these are merry, why should we take care?<br />
+Musicians, like Camelions, must live by the Aire;<br />
+Then let&#8217;s be blithe and bonny, no good meeting baulk,<br />
+What though we have no money, we shall find Chalk.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>The best known collection of cries is &#8220;The Cryes of the City of London.
+Drawne after the Life. P. Tempest, <i>Excudit</i>,&#8221; a small folio volume, which
+when published, in 1688, consisted of only fifty plates, as the following
+advertisement, extracted from the <i>London Gazette</i> of May 28-31, 1688,
+sufficiently proves:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;There is now published the Cryes and Habits of London, lately drawn
+after the Life in great variety of Actions. Curiously Engraven upon 50
+Copper plates, fit for the Ingenious and Lovers of Art. Printed and
+Sold by P. Tempest, over-against Somerset House, in the Strand.&#8221;</p></div>
+
+<p>Samuel Pepys, the eccentric diarist, who died 1703, left to Magdalene
+College, Cambridge, an invaluable collection of ballads, manuscript naval
+memoirs, ancient English poetry, three volumes of &#8220;Penny Merriments,&#8221; and
+a numerous assemblage of etchings and engravings. Among the latter are a
+number of Tempest&#8217;s Cries in the first state. These are still preserved in
+the Pepysian Library in the same College.</p>
+
+<p>In 1711 another edition of Tempest&#8217;s Cries was published, containing
+seventy-four plates, several of which can scarcely be called cries. They
+are popular &#8220;London Characters&#8221; rather than &#8220;criers.&#8221; As the book,
+however, is extremely rare, and consequently costly, and as a history of
+the old London Cries would be very imperfect without a particular account
+of Tempest&#8217;s volume being made, with a few words about Mauron, who
+designed, and Pearce Tempest, who engraved these cries, that which follows
+will not, we trust, be altogether out of place. Of Mauron, we can find no
+better account than the notice in Walpole.</p>
+
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>&#8220;Marcellus Mauron&mdash;sometimes spelt Lauron, was born at the Hague in 1643,
+and learnt to paint of his father, with whom he came when young into
+England. Here he was placed with one La Zoon, a portrait-painter, and then
+with Flesshier, but owed his chief improvement to his own application. He
+lived several years in Yorkshire, and when he returned again to London he
+had very much improved himself in his art. He drew correctly, studied
+nature diligently, copied closely, and so surpassed all his contemporaries
+in drapery, that Sir Godfrey Kneller employed him to clothe his portraits.
+He likewise excelled in imitating the different styles of eminent masters,
+executed conversation pieces of considerable merit. Several prints were
+made from his works, and several plates he etched and scraped himself. A
+book on fencing, and the procession at the coronation of William and Mary,
+were designed by him. He lived in Bow-street, Covent-garden, on the west
+side, about three doors up, and at the back of Sir Godfrey Kneller&#8217;s house
+in the Piazza; there he died of consumption March 11th, 1702.&#8221;</p>
+
+<p>Of Pearce Tempest, the engraver, the particulars collected by Vertue were
+so extremely slight that Horace Walpole merely enumerates him among those
+of whom nothing is known. It may be told of him, however, that he lived in
+the Strand, over-against Somerset House, and dying in 1717, was buried on
+the 14th of April, in the church-yard of St. Paul, Covent-garden.</p>
+
+<p>The six woodcuts following are reduced copies of the engraved figures that
+appear in Marcellus Mauron <i>cum</i> Tempest&#8217;s &#8220;The Cryes of the City of
+London;&#8221; first we have:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+<div class="figcenter"><img src="images/img087.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fine Writing Ink</span>!</p>
+
+<p>This engraving pretty well describes the occupation of the figure
+represented. He carries a barrel on his back&mdash;pens in his right hand, with
+a pint measure and funnel at his side. But since Mauron&#8217;s time the cry of
+&#8220;<i>Fine Writing Ink</i>&#8221; has ceased to be heard in the streets of the
+metropolis, so we no longer hear:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;My ink is good&mdash;as black as jet<br />
+&#8217;Tis used by Princes&mdash;and the state,<br />
+If once you venture it to try,<br />
+Of this I&#8217;m sure&mdash;none else you&#8217;ll buy.&#8221;</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+<div class="figcenter"><img src="images/img088.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy an Iron Fork, or a Shovel?</span></p>
+
+<p>The demand for such an iron fork, or such a shovel as the old woman
+carries is now discontinued.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span></p>
+<div class="figcenter"><img src="images/img089.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Troop, Every One, One!</span></p>
+
+<p>The man blowing a trumpet, &#8220;Troop, every one, one!&#8221; was a street seller of
+hobby-horses&mdash;toys for children of three hundred years ago.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Call&#8217;st thou my love, hobby-horse; the hobby-horse is but a colt.&#8221;<br />
+<span style="margin-left: 14em;"><i>Love&#8217;s Labour Lost</i>, Act iii., sc. 1.</span></td></tr></table>
+
+<p>He carried them, as represented in the engraving, in a partitioned frame,
+on his shoulder, and to each horse&#8217;s head was a small flag with two bells
+attached. It was a pretty plaything for a &#8220;little master,&#8221; and helped him
+to imitate the galloping of the real and larger hobby-horse in the
+pageants and mummeries that passed along the streets, or pranced in the
+shows at fairs and on the stage. Now-a-days we give a boy the first stick
+at hand to<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> thrust between his legs as a Bucephalus&mdash;the shadow of a
+shadow&mdash;or the good natured grandpapa wishing to give my &#8220;young master&#8221;
+something of the semblance of the generous animal&mdash;for the horse is no
+less popular with boys than formerly, takes his charge to the nearest
+toyshop and buys him a painted stick on which is a sawn-out representation
+of a horse&#8217;s head, which with the addition of a whip will enable him to:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Ride a cock-horse to Banbury-cross,<br />
+<span style="margin-left: 1em;">To see what Tommy can buy;</span><br />
+A penny white loaf, a penny white cake,<br />
+<span style="margin-left: 1em;">And a twopenny apple-pie.&#8221;</span></td></tr></table>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img090.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy a Fine Singing Bird!</span></p>
+
+<p>The <i>cries</i> of singing birds are extinct; we have only bird-<i>sellers</i>. The
+above engraving, therefore represents a by-gone character.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span></p>
+<div class="figcenter"><img src="images/img091.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Strawberries Ripe, and Cherries in the Rise.</span></p>
+
+<p>In the earlier days, the above was at once a musical and a poetical cry.
+It must have come over the ear, telling of sunny gardens not a sparrow&#8217;s
+flight from the City, such as that of the Bishop of Ely in Holborn, and of
+plenteous orchards which could spare their boughs as well as their
+fruit:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;<i>D. of Glou.</i>&mdash;My lord of Ely, when I was last in Holborn,<br />
+I saw good strawberries in your garden there:<br />
+I do beseech you send for some of them.<br />
+<i>B. of Ely.</i>&mdash;Marry, and I will, my lord, with all my heart.&#8221;<br />
+<span style="margin-left: 14em;"><i>Richard III.</i>, act iii., sc. 4.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+<div class="figcenter"><img src="images/img092.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fine Oranges and Lemons.</span></p>
+
+<p>The &#8220;orange-women&#8221; of Ben Jonson we have figured to the life. The familiar
+mention of the orange-sellers in the &#8220;Silent Woman,&#8221; and this very early
+representation of one of them, show how general the use of this fruit had
+become in England at the beginning of the seventeenth century. It is
+stated, though the story is somewhat apocryphal, that the first oranges
+were imported by Sir Walter Raleigh. It is probable that about his time
+they first became an article of general commerce. We now consume about
+three hundred and fifty millions of oranges every year.</p>
+
+<p>The class of bold young women&mdash;&#8220;Orange Wenches,&#8221; that Nell Gwynne made
+famous is sufficiently alluded to in a passage in the <i>Spectator</i>, No.
+141:</p>
+
+<div class="blockquot"><p>&#8220;But, indeed, by such representations, a poet sacrifices the best part
+of his audience to the worst; and, as one would think, neglects the
+boxes to write to the <i>orange-wenches</i>.&#8221;</p></div>
+
+<p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span>Rowe and other writers go far to prove that the &#8220;Orange Wenches&#8221; who
+frequented theatres had</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Other Fish to fry, and other Fruit to sell,&#8221;</td></tr></table>
+
+<p>beside supplying refreshment to the young gallants of the day.</p>
+
+<p>In Douglas Jerrold&#8217;s comedy of &#8220;<i>Nell Gwynne</i>,&#8221; which was first
+represented at the Theatre Royal, Haymarket, 9th of January, 1833, with
+the following cast of characters:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>King Charles the Second</td><td><span class="spacer">&nbsp;</span></td>
+    <td><span class="smcap">Mr. Jones</span>.</td></tr>
+<tr><td>Sir Charles Berkeley</td><td>&nbsp;</td>
+    <td><span class="smcap">Mr. Forrester</span>.</td></tr>
+<tr><td>Charles Hart, Major Mohun, Managers of the King&#8217;s Theatre, Drury lane, 1667</td><td>&nbsp;</td>
+    <td><span class="smcap">Mr. Duruset</span>.</td></tr>
+<tr><td>Betterton, Manager of the Duke&#8217;s Theatre, Lincoln&#8217;s-inn</td><td>&nbsp;</td>
+    <td><span class="smcap">Mr. Diddear</span>.</td></tr>
+<tr><td>Joe Haynes</td><td>&nbsp;</td>
+    <td><span class="smcap">Mr. Meadows</span>.</td></tr>
+<tr><td>Counsellor Crowsfoot</td><td>&nbsp;</td>
+    <td><span class="smcap">Mr. Blanchard</span>.</td></tr>
+<tr><td>Stockfish</td><td>&nbsp;</td>
+    <td><span class="smcap">Mr. F. Matthews</span>.</td></tr>
+<tr><td>Boy</td><td>&nbsp;</td>
+    <td><span class="smcap">Master Macdonald</span>.</td></tr>
+<tr><td>Nell Gwynne</td><td>&nbsp;</td>
+    <td><span class="smcap">Miss Taylor</span>.</td></tr>
+<tr><td>Orange Moll</td><td>&nbsp;</td>
+    <td><span class="smcap">Mrs. Keeley</span>.</td></tr>
+<tr><td>Mrs. Snowdrop</td><td>&nbsp;</td>
+    <td><span class="smcap">Mrs. Daly</span>.</td></tr></table>
+
+<p>There is the following scene and song:&mdash;</p>
+
+<div class="blockquot"><p><i>Enter</i> NELL GWYNNE, <i>as orange girl, with orange basket. She carries
+a mask.</i></p>
+
+<p><i>Nell.</i> (<i>Sings.</i>) &#8220;<i>Buy oranges!</i>&#8221; Ladies and cavaliers, vouchsafe to
+look at my basket! Maidens, ripen my fruit with your glances; buy my
+oranges, as bright as hope and as sweet as courtship.&mdash;Though they
+look as hard as gold, they&#8217;ll melt in the mouth like a lover&#8217;s
+promise.&mdash;Their juice is syrup, and their coats as thin as a poet&#8217;s.
+Buy, gentlemen; or I&#8217;ll vow that, being jealous, you hate yellow even
+in an orange.</p>
+
+<p><i>Betterton.</i> (<i>Aside.</i>) It is&mdash;I&#8217;d swear to her face&mdash;the very girl!</p>
+
+<p><i>Charles.</i> (<i>Coming down with Nelly.</i>) And have your oranges really
+all these virtues?</p>
+
+<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span><i>Nell.</i> (<i>Aside.</i>) So, my gallant mercer. All, and a thousand
+more;&mdash;there&#8217;s nothing good that may not be said of the orange. It
+sets special examples to elder brothers, misers, and young travellers.</p>
+
+<p><i>Charles.</i> Aye? What example to elder brothers?</p>
+
+<p><i>Nell.</i> This; though full of age, it dwells quietly on the same branch
+with bud and blossom.</p>
+
+<p><i>Charles.</i> What does it teach misers?</p>
+
+<p><i>Nell.</i> That golden coats should cover melting hearts.</p>
+
+<p><i>Charles.</i> And, lastly, what may the young traveller learn of your
+orange?</p>
+
+<p><i>Nell.</i> This much; that he is shipped when green, that he may ripen on
+the voyage.</p>
+
+<p><i>Charles.</i> Prettily lectured.</p>
+
+<p><i>Betterton.</i> (<i>Aside.</i>) The king seems dazzled with the wench.&mdash;I must
+secure her for the Duke&#8217;s.</p>
+
+<p><i>Nell.</i> But, gentlemen, fair gentlemen, will no one lighten my basket?
+Buy my oranges!</p>
+
+<p class="center"><span class="smcap">Song.</span>&mdash;NELL GWYNNE.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy oranges!&mdash;No better sold,&mdash;<br />
+New brought in Spanish ships;<br />
+As yellow bright as minted gold,<br />
+As sweet as ladies&#8217; lips.<br />
+Come, maidens, buy; nor judge my fruit<br />
+From beauty&#8217;s bait&mdash;the skin;<br />
+Nor think, like fops, with gaudy suit,<br />
+They&#8217;re dull and crude within.<br />
+<span style="margin-left: 8em;">Buy oranges!</span><br />
+<br />
+Buy oranges!&mdash;Buy courtiers, pray,<br />
+And as ye drain their juice,<br />
+Then, cast the poor outside away,<br />
+<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>A thing that&#8217;s served its use;<br />
+Why, courtier, pause; this truth translate,<br />
+Imprinted in the rind;<br />
+However gay the courtier&#8217;s state,<br />
+&#8217;Tis yet of orange kind.<br />
+<span style="margin-left: 8em;">Buy oranges!</span><br />
+<br />
+Buy oranges!&mdash;Coquetting fair,&mdash;<br />
+As sweet reproach come buy;<br />
+And, as the fruit ye slice and share,<br />
+Remember with a sigh&mdash;<br />
+A heart divided needs must cast<br />
+The faith which is its soul;<br />
+If, maidens, ye would have it last,<br />
+Give none&mdash;if not the whole.<br />
+<span style="margin-left: 8em;">Buy oranges!</span><br />
+<span style="margin-left: 4em;">(<i>The by-standers all applaud.</i>)</span></td></tr></table>
+</div>
+
+<p>The orange-woman who carried the golden fruit through every street and
+alley, with the musical cry of:&mdash;&#8220;<i>Fine Oranges and Lemons</i>,&#8221; lasted for a
+century or two. Then the orange-woman became, as everything else became, a
+more prosaic person as she approached our own times. She was a
+barrow-woman at the end of the last century: and Porson has thus described
+her:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;As I walked through the Strand, so cheerful and gay,<br />
+<span style="margin-left: 1em;">I met a young girl a-wheeling a barrow;</span><br />
+&#8216;Fine fruit, sir,&#8217; says she, &#8216;and a bill of the play.&#8217;&#8221;</td></tr></table>
+
+<p>The transformation was the same with the strawberry and cherry-women.</p>
+
+<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>From the &#8220;Collection of Ancient Songs and Ballads, written on various
+subjects, and printed between the years MDLX. and MDCC.&#8221; in the British
+Museum, and now known as the <span class="smcap">Roxburghe Ballads</span>, we take the ballad of:&mdash;</p>
+
+<p class="center">THE CRIES OF LONDON.</p>
+<p class="center">Tune&mdash;<i>The Merry Christ-church Bells</i>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hark! how the cries in every street<br />
+Make lanes and allies ring:<br />
+With their goods and ware, both nice and rare,<br />
+All in a pleasant lofty strain;<br />
+Come buy my gudgeons fine and new.<br />
+Old cloaths to change for earthen ware,<br />
+Come taste and try before you buy,<br />
+Here&#8217;s dainty poplin pears.<br />
+Diddle, diddle, diddle dumplins, ho!<br />
+With walnuts nice and brown.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Any old cloaths, suits, or coats.<br />
+Come buy my singing birds.<br />
+Oranges or lemons. Newcastle salmon.<br />
+Come buy my ropes of onions, ho!<br />
+Come buy my sand, fine silver sand.<br />
+Two bunches a penny, turnips, ho!<br />
+I&#8217;ll change you pins for coney-skins.<br />
+Maids, do you want any milk below?<br />
+Here&#8217;s an express from Admiral Hawke,<br />
+The Admiral of renown.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span><br />
+Maids, have you any kitchen stuff?<br />
+Will you buy fine artichoaks?<br />
+Come buy my brooms to sweep your rooms.<br />
+Will you buy my white-heart cabbages, ho!<br />
+Come buy my nuts, my fine small nuts,<br />
+Two cans a penny, crack and try.<br />
+Here&#8217;s cherries round, and very sound.<br />
+Maids, shall I sweep your chimnies high?<br />
+Tinkle, tinkle, tinkle, goes the tinker&#8217;s pan,<br />
+With a merry cheerful sound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Here&#8217;s fine herrings, eight a groat.<br />
+Hot codlins, pies and tarts.<br />
+New mackerel I have to sell.<br />
+Come buy my Wellfleet oysters, ho!<br />
+Come buy my whitings fine and new.<br />
+Wives, shall I mend your husbands&#8217; horns?<br />
+I&#8217;ll grind your knives to please your wives,<br />
+And very nicely cut your corns.<br />
+Maids, have you any hair to sell.<br />
+Either flaxen, black, or brown?<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Work for a cooper, maids give ear,<br />
+I&#8217;ll hoop your tubs and pails.<br />
+Come Nell and Sue, and buy my blue.<br />
+Maids, have you any chairs to mend?<br />
+Here&#8217;s hot spiced-gingerbread of the best,<br />
+Come taste and try before you buy.<br />
+Here&#8217;s elder-buds to purge your bloods.<br />
+But black your shoes is all the cry.<br />
+Here&#8217;s hot rice milk, and barley broth.<br />
+Plumb-pudding a groat a pound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span><br />
+Here&#8217;s fine rosemary, sage, and thyme.<br />
+Come buy my ground ivy.<br />
+Here&#8217;s fatherfew, gilliflowers and rue.<br />
+Come buy my knotted marjorum, ho!<br />
+Come buy my mint, my fine green mint.<br />
+Here&#8217;s fine lavender for your cloaths.<br />
+Here&#8217;s parsley and winter-savory.<br />
+And heart&#8217;s-ease which all do choose.<br />
+Here&#8217;s balm and hissop, and cinquefoil,<br />
+All fine herbs, it is well known.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Here&#8217;s pennyroyal and marygolds.<br />
+Come buy my nettle-tops.<br />
+Here&#8217;s water-cresses and scurvy-grass.<br />
+Come buy my sage of virtue, ho!<br />
+Come buy my wormwood and mugwort.<br />
+Here&#8217;s all fine herbs of every sort.<br />
+Here&#8217;s southernwood, that&#8217;s very good,<br />
+Dandelion and houseleek.<br />
+Here&#8217;s dragon&#8217;s-tongue and wood-sorrel.<br />
+With bear&#8217;s-foot and horehound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Here&#8217;s green coleworts and brocoli.<br />
+Come buy my radishes.<br />
+Here&#8217;s fine savoys, and ripe hautboys.<br />
+Come buy my young green hastings, ho!<br />
+Come buy my beans, right Windsor beans.<br />
+Two pence a bunch young carrots, ho!<br />
+Here&#8217;s fine nosegays, ripe strawberries.<br />
+With ready picked salad, also.<br />
+Here&#8217;s collyflowers and asparagus.<br />
+New prunes two-pence a pound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span><br />
+Here&#8217;s cucumbers, spinnage, and French beans.<br />
+Come buy my nice sallery.<br />
+Here&#8217;s parsnips and fine leeks.<br />
+Come buy my potatoes, ho!<br />
+Come buy my plumbs, and fine ripe plumbs.<br />
+A groat a pound, ripe filberts, ho!<br />
+Here&#8217;s corn-poppies and mulberries.<br />
+Gooseberries and currants also.<br />
+Fine nectarines, peaches, and apricots.<br />
+New rice two-pence a pound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Buy a rabbit, wild duck, or fat goose.<br />
+Come buy a choice fat fowl.<br />
+Plovers, teal, or widgeons, come buy my pigeons.<br />
+Maids, do you want any small coal?<br />
+Come buy my shrimps, my fine new shrimps,<br />
+Two pots a penny, taste and try.<br />
+Here&#8217;s fine saloop, both hot and good.<br />
+But Yorkshire muffins is the cry.<br />
+Here&#8217;s trotters, calf&#8217;s feet, and fine tripes.<br />
+Barrel figs, three-pence a pound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span><br />
+<br />
+Here&#8217;s new-laid eggs for ten a groat.<br />
+Come buy water&#8217;d cod.<br />
+Here&#8217;s plaice and dabs, lobsters and crabs.<br />
+Come buy my maids, and flounders, ho!<br />
+Come buy my pike, my fine live pike.<br />
+Two-pence a hundred cockles, ho!<br />
+Shads, eels, and sprats. Lights for your cats.<br />
+With haddocks, perch, and tench also.<br />
+Here&#8217;s carp and tench, mullets and smelts.<br />
+Butter sixpence a pound.<br />
+<span style="margin-left: 2em;">Let none despise the merry, merry cries</span><br />
+<span style="margin-left: 2em;">Of famous London town.</span></td></tr></table>
+
+<p class="center">Printed and sold at the Printing-office in <i>Bow-church-yard, London</i>.</p>
+
+<p><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>&#8220;Holloway cheese-cakes&#8221; was once one of the London cries; they were sold
+by a man on horseback; and in &#8220;<i>Jack Drum&#8217;s Entertainment</i>,&#8221; a Comedy,
+1601, in a random song, the festive character of this district is
+denoted:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Skip it and trip it nimbly, nimbly,<br />
+<span style="margin-left: 1em;">Tickle it, tickle it, lustily,</span><br />
+Strike up the tabor for the wenches favour,<br />
+<span style="margin-left: 1em;">Tickle it, tickle it, lustily.</span><br />
+Let us be seene on Hygate-Greene,<br />
+<span style="margin-left: 1em;">To dance for the honour of Holloway.</span><br />
+Since we are come hither, let&#8217;s spare for no leather,<br />
+<span style="margin-left: 1em;">To dance for the honour of Holloway.&#8221;</span></td></tr></table>
+
+<div class="figcenter"><img src="images/img093.jpg" alt="" /></div>
+
+<p>Drunken Barnaby, at the &#8220;Mother Red Cap,&#8221; at Holloway, found very bad
+company:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Veni</i> Holloway, pileum rubrum,<br />
+<i>In cohortem muliebrem</i>,<br />
+<i>Me</i> adonidem <i>vocant omnes</i><br />
+<i>Meretricis</i> Babylonis;<br />
+<i>Tangunt</i>, <i>tingunt</i>, <i>molliunt</i>, <i>mulcent</i>,<br />
+<i>At egentem</i>, <i>foris pulsant</i>.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>Addison, the essayist and poet, 1672-1719, contributed a capital paper to
+the <i>Spectator</i>, on the subject of London Cries, which we deem so much to
+the purpose, that it is here reproduced <i>in extenso</i>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td colspan="3" align="center">THE SPECTATOR.</td></tr>
+<tr><td>No. 251.</td><td><span class="spacer2">&nbsp;</span></td><td>TUESDAY, <span class="smcap">December</span> 18.</td></tr></table>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&mdash;&mdash;<i>Lingu&aelig; centum sunt, oraque centum,<br />
+&mdash;&mdash;Ferrea vox</i>&mdash;&mdash;<span class="spacer">&nbsp;</span><span class="smcap">Virg.</span>, En. 6., v. 625.<br />
+<br />
+&mdash;&mdash;A hundred mouths, a hundred tongues,<br />
+And throats of brass, inspir&#8217;d with iron lungs.<span class="spacer">&nbsp;</span><span class="smcap">Dryden.</span></td></tr></table>
+
+<p>There is nothing which more astonishes a foreigner, and frightens a
+country &#8217;squire, than the <i>cries of London</i>. My good friend Sir <i>Roger</i>
+often declares that he cannot get them out of his head, or go to sleep for
+them, the first week that he is in town. On the contrary, <i>Will
+Honeycombe</i> calls them the <i>Ramage de la ville</i>, and prefers them to the
+sound of larks, and nightingales, with all the music of the fields and
+woods. I have lately received a letter from some very odd fellow upon this
+subject, which I shall leave with my reader, without saying anything
+further of it.</p>
+
+<p>SIR,</p>
+
+<p>I am a man out of all business, and would willingly turn my head to
+anything for an honest livelihood. I have invented several projects for
+raising many millions of money without burdening the subject, but I cannot
+get the parliament to listen to me, who look upon me forsooth as a crack,
+and a projector; so<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> that despairing to enrich either myself or my country
+by this public-spiritedness, I would make some proposals to you relating
+to a design which I have very much at heart, and which may procure me a
+handsome subsistence, if you will be pleased to recommend it to the cities
+of London and Westminster.</p>
+
+<p>The post I would aim at, is to be comptroller-general of the London cries,
+which are at present under no manner of rules or discipline. I think I am
+pretty well qualified for this place, as being a man of very strong lungs,
+of great insight into all the branches of our British trades and
+manufactures, and of a competent skill in music.</p>
+
+<p>The cries of London may be divided into vocal and instrumental. A freeman
+of London has the privilege of disturbing a whole street for an hour
+together with the twankling of a brass kettle or a frying-pan. The
+watchman&#8217;s thump at midnight startles us in our beds, as much as the
+breaking in of a thief. The sow-gelder&#8217;s horn has indeed something musical
+in it, but this is seldom heard within the liberties. I would therefore
+propose that no instrument of this nature should be made use of, which I
+have not tuned and licensed, after having carefully examined in what
+manner it may affect the ears of her majesty&#8217;s liege subjects.</p>
+
+<p>Vocal cries are of a much larger extent, and indeed so full of
+incongruities and barbarisms, that we appear a distracted city to
+foreigners, who do not comprehend the meaning of such enormous outcries.
+Milk is generally sold in a note above <i>Ela</i>, and it sounds so exceedingly
+shrill, that it often sets our teeth on edge. The chimney-sweeper is
+confined to no certain pitch; he sometimes utters himself in the deepest
+bass, and sometimes in the sharpest treble; sometimes in the highest, and
+sometimes in the<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> lowest note of the gamut. The same observation might be
+made on the retailers of small coal, not to mention broken glasses or
+brick-dust. In these therefore, and the like cases, it should be my care
+to sweeten and mellow the voices of these itinerant tradesmen, before they
+make their appearance in our streets, as also to accommodate their cries
+to their respective wares; and to take care in particular, that those may
+not make the most noise who have the least to sell, which is very
+observable in the venders of card matches, to whom I cannot but apply that
+old proverb of <i>Much cry, but little wool</i>.</p>
+
+<p>Some of these last mentioned musicians are so very loud in the sale of
+these trifling manufactures, that an honest splenetic gentleman of my
+acquaintance bargained with one of them never to come into the street
+where he lived; but what was the effect of this contract? Why, the whole
+tribe of card-match-makers which frequent that quarter, passed by his door
+the very next day, in hopes of being bought off after the same manner.</p>
+
+<p>It is another great imperfection in our London-cries, that there is no
+just time nor measure observed in them. Our news should indeed be
+published in a very quick time, because it is a commodity that will not
+keep cold. It should not, however, be cried with the same precipitation as
+fire; yet this is generally the case: a bloody battle arms the town from
+one end to another in an instant. Every motion of the French is published
+in so great a hurry, that one would think the enemy were at our gates.
+This likewise I would take upon me to regulate in such a manner, that
+there should be some distinction made between the spreading of a victory,
+a march, or an encampment, a Dutch, a Portugal, or a Spanish mail. Nor
+must I omit, under this head, those excessive alarms with which several
+boisterous rustics infest our<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> streets in turnip-season; and which are
+more inexcusable, because these are wares which are in no danger of
+cooling upon their hands.</p>
+
+<p>There are others who affect a very slow time, and are, in my opinion, much
+more tunable than the former; the cooper in particular swells his last
+note in a hollow voice, that is not without its harmony; nor can I forbear
+being inspired with a most agreeable melancholy, when I hear that sad and
+solemn air with which the public are very often asked, If they have any
+chairs to mend? Your own memory may suggest to you many other lamentable
+ditties of the same nature, in which music is wonderfully languishing and
+melodious.</p>
+
+<p>I am always pleased with that particular time of the year which is proper
+for the pickling of dill and cucumbers; but alas! this cry, like the song
+of the nightingale, is not heard above two months. It would therefore be
+worth while to consider, whether the same air might not in some cases be
+adapted to other words.</p>
+
+<p>It might likewise deserve our most serious consideration, how far, in a
+well-regulated city, those humourists are to be tolerated, who, not
+content with the traditional cries of their forefathers, have invented
+particular songs and tunes of their own: such as was not many years since,
+the pastry-man, commonly known by the name of the Colly-Molly-Puff; and
+such as is at this day the vender of powder and wash-ball, who, if I am
+rightly informed, goes under the name of <i>Powder-Watt</i>.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+<div class="figcenter"><img src="images/img094.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Colly-Molly-Puff.</span></p>
+
+<p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>I must not here omit one particular absurdity which runs through this
+whole vociferous generation, and which renders their cries very often not
+only incommodious, but altogether useless to the public; I mean that idle
+accomplishment which they all of them aim at, of crying so as not to be
+understood. Whether or no they have learned this from several of our
+affected singers, I will not take upon me to say; but most certain it is,
+that people know the wares they deal in rather by their tunes than by
+their words: insomuch that I have sometimes seen a country boy run out to
+buy apples of a bellows-mender, and ginger-bread from a grinder of knives
+and scissors. Nay, so strangely infatuated are some very eminent artists
+of this particular grace in a cry, that none but their acquaintance are
+able to guess at their profession; for who else can know, <i>that work if I
+had it</i>, should be the signification of a corn-cutter.</p>
+
+<p>Forasmuch, therefore, as persons of this rank are seldom men of genius or
+capacity, I think it would be very proper, that some man of good sense and
+sound judgment should preside over these public cries, who should permit
+none to lift up their voices in our streets, that have not tunable
+throats, and are not only able to overcome the noise of the crowd, and the
+rattling of coaches, but also to vend their respective merchandises in apt
+phrases, and in the most distinct and agreeable sounds. I do therefore
+humbly recommend myself as a person rightly qualified for this post; and
+if I meet with fitting encouragement, shall communicate some other
+projects which I have by me, that may no less conduce to the emolument of
+the public.</p>
+
+<p><span style="margin-left: 8em;">I am,</span><br />
+<span style="margin-left: 10em;">Sir, &amp;c.</span><br />
+<span style="margin-left: 12em;"><span class="smcap">Ralph Crotchet</span>.</span></p>
+
+<p><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>A curious parallel might be carried out between the itinerant occupations
+which the progress of society has entirely superseded, and those which
+even the most advanced civilization is compelled to retain. We here only
+hastily glance at a few of these differences.</p>
+
+<p>Of the street trades which are past and forgotten, the small-coal-man was
+one of the most remarkable. He tells the tale of a city with few fires;
+for who could now imagine a man earning a living by bawling &#8220;<i>Small
+Coals</i>&#8221; from door to door, without any supply but that in the sack which
+he carries on his shoulders? His cry had, however, a rival in that of
+&#8220;<i>Any Wood to cleave</i>.&#8221;</p>
+
+<p class="center"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></p>
+
+<p>But here we must pause awhile to make a passing remark&mdash;even if it be no
+more than a mere wayside nod to the memory of Thomas Britton, the
+celebrated &#8220;Musical Small Coal Man,&#8221;&mdash;1654-1714.&mdash;to whom Britain is
+greatly indebted for the introduction and cultivation of concerted music,
+and whose influence has been indirectly felt in musical circles throughout
+the world:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Of Thomas Britton every boy<br />
+<span style="margin-left: 1em;">And Britain ought to know;</span><br />
+To Thomas Britton, &#8216;Small Coal Man.&#8217;<br />
+<span style="margin-left: 1em;">All Britain thanks doth owe.&#8221;<a name='fna_8' id='fna_8' href='#f_8'><small>[8]</small></a></span></td></tr></table>
+
+<p>This singular man had a small coal shop at the corner of a passage in
+Aylesbury-street, Clerkenwell-green, and his concert-room! which was over
+that, could only be reached by stairs from the outside of the house. The
+facetious Ned Ward, confirms this statement, thus:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 4em;">&#8220;Upon Thursdays repair</span><br />
+<span style="margin-left: 4em;">To my palace, and there</span><br />
+<span style="margin-left: 4em;">Hobble up stair by stair;</span><br />
+<span style="margin-left: 4em;">But I pray ye take care&mdash;</span><br />
+That you break not your shins by a stumble.&#8221;</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+<div class="figcenter"><img src="images/img095.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Thomas Britton</span>,<br /><i>The Musical Small Coal Man</i>.</p>
+
+<p>Britton was buried in the church-yard of Clerkenwell, being attended to
+the grave by a great concourse of people, especially by those who had been
+used to frequent his concerts.</p>
+
+<p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>To resume our argument, we may ask what chance would an aged man now have
+with his flattering solicitation of &#8220;<i>Pretty Pins, pretty Women</i>?&#8221; and the
+musical distich:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Three-rows-a-penny, pins,<br />
+Short whites, and mid-de-lings!&#8221;</td></tr></table>
+
+<p>Every stationer&#8217;s or general-shop can now supply all the &#8220;<i>Fine
+Writing-ink</i>,&#8221; wanted either by clerks or authors. There is a grocer&#8217;s
+shop, or co-operative store at every turn; and who therefore needs him who
+cried aloud &#8220;<i>Lilly white Vinegar, three-pence a quart</i>?&#8221; When everybody,
+old and young, wore wigs&mdash;when the price for a common one was a guinea,
+and a journeyman had a new one every year; when it was an article in every
+city apprentice&#8217;s indenture that his master should find him in &#8220;One good
+and sufficent wig, yearly, and every year, for, and during, and unto the
+expiration of the full end and term of his apprenticeship&#8221;&mdash;then, a
+wig-seller made his stand in the street, or called from door to door, and
+talked of a &#8220;<i>Fine Tie, or a fine Bob-wig sir?</i>&#8221; Formerly, women cried
+&#8220;<i>Four pair for a shilling, Holland Socks</i>,&#8221; also &#8220;<i>Long Thread Laces,
+long and strong</i>,&#8221; &#8220;<i>Scotch or Russian Cloth</i>,&#8221; &#8220;<i>Buy any Wafers or Wax</i>.&#8221;
+&#8220;<i>London&#8217;s Gazette, here?</i>&#8221; The history of cries is a history of social
+changes. Many of the <i>working</i> trades, as well as the vendors of things
+that can be bought in every shop, are now nearly banished from our
+thoroughfares. &#8220;<i>Old Chairs to mend</i>,&#8221; or &#8220;<i>A brass Pot or an iron Pot to
+mend?</i>&#8221; still salutes us in some retired suburb; and we still see the
+knife-grinder&#8217;s wheel; but who vociferates &#8220;<i>Any work for John Cooper?</i>&#8221;
+The trades are gone to those who pay scot and lot. What should we think of
+prison discipline, now-a-days, if the voice of lamentation was heard in
+every street, &#8220;<i>Some Bread and Meat for the poor<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> Prisoners; for the
+Lord&#8217;s sake, pity the Poor</i>?&#8221; John Howard put down this cry. Or what
+should we say of the vigilance of excise-officers if the cry of &#8220;<i>Aqua
+Vit&aelig;</i>&#8221; met our ears? The Chiropodist has now his guinea, a country villa,
+and railway season ticket; in the old days he stood at corners, with knife
+and scissors in hand, crying &#8220;<i>Corns to pick</i>.&#8221; There are some occupations
+of the streets, however, which remain essentially the same, though the
+form be somewhat varied. The sellers of food are of course among these.
+&#8220;<i>Hot Peascod</i>,&#8221; and &#8220;<i>Hot Sheep&#8217;s-feet</i>,&#8221; are not popular delicacies, as
+in the time of Lydgate. &#8220;<i>Hot Wardens</i>,&#8221; and &#8220;<i>Hot Codlings</i>,&#8221; are not the
+cries which invite us to taste of stewed pears and baked apples. But we
+have still apples hissing over a charcoal fire; also roasted chesnuts, and
+potatoes steaming in a shining apparatus, with savoury salt-butter to put
+between the &#8220;fruit&#8221; when cut; the London pieman still holds his ground in
+spite of the many penny pie-shops now established. Rice-milk is yet sold
+out in halfpennyworths. But furmety, barley broth, greasy sausages&mdash;&#8220;bags
+of mystery,&#8221; redolent of onions and marjoram&mdash;crisp brown flounders, and
+saloop are no longer in request.</p>
+
+<p>The cry of &#8220;<i>Water-cresses</i>&#8221; used to be heard from some barefoot nymph of
+the brook, who at sunrise had dipped her foot into the bubbling runnel, to
+carry the green luxury to the citizens&#8217; breakfast-tables. Water-cresses
+are now cultivated, like cabbages, in market-gardens. The cry of
+&#8220;<i>Rosemary and Briar</i>&#8221; once resounded through the throughfares; and every
+alley smelt &#8220;like Bucklersbury in simple time,&#8221; when the whole street was
+a mart for odoriferous herbs. Cries like these are rare enough now; yet we
+do hear them occasionally, when crossing some bye-street, and have then
+smelt an unwonted fragrance in the air; and as<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> someone has truly said
+that scents call up the most vivid associations, we have had visions of a
+fair garden afar off, and the sports of childhood, and the song of the
+lark that:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;At my window bade good morrow<br />
+Through the sweet briar.&#8221;</td></tr></table>
+
+<p>Then comes a pale-looking woman with little bunches in her hand, who, with
+a feeble voice, cries &#8220;<i>Buy my sweet Briar, any Rosemary?</i>&#8221; There are
+still, however, plenty of saucy wenches&mdash;of doubtful morality&mdash;in the more
+crowded and fashionable thoroughfares, who present the passengers with
+moss-roses, and violets. Gay tells us:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Successive cries the seasons&#8217; change declare,<br />
+And mark the monthly progress of the year.<br />
+Hark! how the streets with treble voices ring,<br />
+To sell the bounteous product of the spring.&#8221;</td></tr></table>
+
+<p>We no longer hear the cries which had some association of harmonious
+sounds with fragrant flowers. The din of &#8220;noiseful gain&#8221; exterminated them.</p>
+
+<div class="figcenter"><img src="images/img096.jpg" alt="" /></div>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span></p>
+<div class="figcenter"><img src="images/img097.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Water Carrier.</span><br />&#8220;Any fresh and fair Spring Water here?&#8221;</p>
+
+<p>This was formerly a very popular London cry, but has now become extinct,
+although it was long kept in vogue by reason of the old prejudices of old
+fashioned people, whose sympathy was with the complaints of the
+water-bearer, who daily vociferated in and about the environs of London,
+&#8220;Any fresh and fair spring water here! none of your pipe sludge?&#8221;&mdash;though
+their own old tubs were often not particularly nice and clean to look at,
+and the water was likely to receive various impurities in being carried
+along the streets in all weathers.&mdash;&#8220;Ah dear?&#8221; cried his customers, &#8220;Ah
+dear! Well, what&#8217;ll the world come to!&mdash;they won&#8217;t let poor people live at
+all by-and-bye&mdash;Ah dear! here they are breaking up all the roads and
+<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>footpaths again, and we shall be all under water some day or another with
+all their fine new fandangle goings on, but I&#8217;ll stick to the poor old
+lame and nearly blind water-carrier, as my old father did before me, as
+long as he has a pailful and I&#8217;ve a penny, and when we haven&#8217;t we must go
+to the workhouse together.&#8221;</p>
+
+<p>This was the talk and reasoning of many honest people of that day, who
+preferred taxing themselves, to the daily payment of a penny and very
+often twopence to the water-carrier, in preference to having &#8220;<i>Company&#8217;s
+water</i>&#8221; at a fixed or <i>pro-rata</i> sum per annum.</p>
+
+<div class="figcenter"><img src="images/img098.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The First View of the New River&mdash;From London.</span></p>
+
+<p>This is seen immediately on coming within view of Sadler&#8217;s Wells, a place
+of dramatic entertainment; after manifold windings and tunnellings from
+its source the New River passes beneath the arch in the engraving, and
+forms a basin within the large<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> walled enclosure, from whence diverging
+main pipes convey the water to all parts of London. At the back of the boy
+angling on the wall is a public-house, with tea-gardens and
+skittle-ground, and known as <i>Sir Hugh Myddleton&#8217;s Head</i>, also as
+<i>Deacon&#8217;s Music Hall</i>, which has been immortalized by Hogarth in his print
+of <span class="smcap">Evening</span>. But how changed the scene from what he represented it! To this
+stream, as the water nearest London favourable to sport, anglers of
+inferior note <i>used</i> to resort:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Here &#8216;gentle anglers,&#8217; and their rods withal,<br />
+Essaying, do the finny tribe enthral.<br />
+Here boys their penny lines and bloodworms throw,<br />
+And scare, and catch, the &#8216;silly fish&#8217; below.&#8221;</td></tr></table>
+
+<p>We have said above, anglers <i>used</i> to resort, and we have said so
+advisedly, as that portion of the river is now arched over to the end of
+Colebrooke Row.</p>
+
+<p>The New River, Islington, its vicinity, and our own favourite
+author&mdash;Charles Lamb, are, as it were, so inseparably bound together, that
+we hope to be excused for occupying a little of our reader&#8217;s time with
+<i>Elia</i>&mdash;His Friends&mdash;His Haunts&mdash;His Walks, and Talk(s), particularly
+about the neighbourhood of:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 12em;">&#8220;&mdash;&mdash;Islington!</span><br />
+Thy green pleasant pastures, thy streamlet so clear,<br />
+Old classic village! to <i>Elia</i> were dear&mdash;<br />
+Rare child of humanity! oft have we stray&#8217;d<br />
+On Sir Hugh&#8217;s pleasant banks in the cool of the shade.<br />
+<br />
+&#8220;Joy to thy spirit, aquatic Sir Hugh!<br />
+To the end of old time shall thy River be New!<br />
+Thy Head, ancient Parr,<a name='fna_9' id='fna_9' href='#f_9'><small>[9]</small></a> too, shall not be forgotten;<br />
+Nor thine, Virgin (?) Queen, tho&#8217; thy timbers are rotten.&#8221;<br />
+<span style="margin-left: 10em;">George Daniel&#8217;s &#8220;<i>The Islington Garland</i>.&#8221;</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>Into the old parlour of the ancient &#8220;Sir Hugh Myddleton&#8217;s Head&#8221;&mdash;<i>Elia</i>,
+would often introduce his own, for there he would be sure to find, from
+its proximity to Sadler&#8217;s Wells Theatre, some play-going old crony with
+whom he could exchange a convival &#8220;crack,&#8221; and hear the celebrated Joe
+Grimaldi call for his tumbler of rum-punch; challenging Boniface to bring
+it to a <i>rummer</i>! Many a gleeful hour has been spent in this once rural
+hostelrie. But:&mdash;&#8220;All, all are gone, the old familiar faces.&#8221;</p>
+
+<div class="figcenter"><img src="images/img099.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Colebrooke Cottage.</span></p>
+
+<p>&mdash;&mdash;&#8220;to Colebrooke-row, within half a stone&#8217;s throw of a cottage; endeared
+to me, in later years by its being the abode of &#8216;as much virtue as can
+live.&#8217;&#8221; Hone, in his <i>Every-day Book</i>, Oct. 10, 1827.</p>
+
+<p><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>Colebrooke Row was built in 1708. Here Charles Lamb, resided with his
+sister Mary, from 1823 to 1826; during which period&mdash;viz, on Tuesday, the
+29th March, 1825, he closed his thirty-three years&#8217; clerkship at the East
+India House. Lamb very graphically describes the event in a letter to
+Bernard Barton, dated September 2, 1823, thus:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;When you come Londonward, you will find me no longer in Covent
+Garden; I have a cottage in Colebrooke Row, Islington&mdash;a cottage, for
+it is detached&mdash;a white house, with six good rooms in it. The New
+River (rather elderly by this time) runs (if a moderate walking-pace
+can be so termed) close to the foot of the house; and behind is a
+spacious garden, with vines (I assure you), pears, strawberries,
+parsnips, leeks, carrots, cabbages, to delight the heart of old
+Alcinous. You enter without passage into a cheerful dining-room, all
+studded over and rough with old books; and above is a lightsome
+drawing-room, three windows, full of choice prints. I feel like a
+great lord, never having had a house before.&#8221;</p></div>
+
+<p>And again, in the November following, in a letter to Robert Southey, he
+informs the bard, who had promised him a call, that he is &#8220;at Colebrooke
+Cottage, left hand coming from Sadler&#8217;s Wells.&#8221; It was here that that
+amiable bookworm, George Dyer, editor of the Delphin Classics, walked
+quietly into the New River from Charles Lamb&#8217;s door, but was soon
+recovered, thanks to the kind care of Miss Lamb.</p>
+
+<div class="figcenter"><img src="images/img100.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Old Queen&#8217;s Head.</span></p>
+
+<p>The late Mr. George Daniel, of Canonbury Square, Islington, who formerly
+possessed the &#8220;<span class="smcap">Elizabethan Garland</span>,&#8221; which consists of Seventy Ballads,
+printed between the years 1559 and 1597; a pleasing chatty writer and
+great snapper-up of unconsidered literary trifles, was an old friend and
+jolly companion of Charles Lamb&#8217;s and frequently accompanied him in his
+favourite walks on the banks of the New River, and to the ancient
+hostelries in and round-about &#8220;Merrie Islington.&#8221; At the<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> Old Queen&#8217;s
+Head, they, in company with many retired citizens, and thirsty wayfarers,
+met, on at least one occasion, with Theodore Hook, indulged in
+reminiscences of bygone days, merrily puffed their long pipes of the true
+&#8220;Churchwarden&#8221; or <i>yard of clay</i> type, and quaffed nut-brown ale, out of
+the festivious tankard presented by a choice spirit!&mdash;one Master
+Cranch,&mdash;to a former host; and in the old oak parlour, too, where,
+according to tradition, the gallant Sir Walter Raleigh received, &#8220;full
+souse&#8221; in his face, the humming contents of a jolly Black Jack<a name='fna_10' id='fna_10' href='#f_10'><small>[10]</small></a> from an
+affrighted clown, who, seeing clouds of tobacco-smoke curling from the
+knight&#8217;s nose and mouth, thought he was all on fire! fire!! fire!!!</p>
+
+<p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>.</p>
+<div class="figcenter"><img src="images/img101.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Canonbury Tower.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Here stands the tall relic, old Canonbury Tow&#8217;r,<br />
+Where Auburn&#8217;s sweet bard won the muse to his bow&#8217;r,<br />
+The Vandal that pulls thy grey tenements down,<br />
+When falls the last stone, may that stone crack his crown!&#8221;<br />
+<span style="margin-left: 10em;">G. Daniel&#8217;s &#8220;<i>The Islington Garland</i>.&#8221;</span></td></tr></table>
+
+<p>Lamb took special delight in watching the setting sun from the top of old
+Canonbury Tower, until the cold night air warned him to retire. He was
+intimate with Goodman Symes, the then tenant-keeper of the Tower, and
+bailiff of the Manor, and a brother antiquary in a small way; who took
+pleasure in entertaining him in the antique panelled chamber where
+Goldsmith wrote his <i>Traveller</i>, and supped frugally on buttermilk; and in
+pointing to a small portrait of Shakespeare, in a curiously carved gilt
+frame, which Lamb would look at longingly. He was never weary of toiling
+up and down the winding and narrow stairs of this suburban pile, and
+peeping into its quaint corners and cupboards, as if he expected to
+discover there some hitherto hidden clue to its mysterious origin.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;What village can boast like fair Islington town<br />
+Such time-honour&#8217;d worthies, such ancient renown?<br />
+Here jolly Queen Bess, after flirting with Leicester,<br />
+&#8216;Undumpish&#8217;d,&#8217; herself, with Dick Tarlton her Jester.<br />
+<br />
+&#8220;Here gallant gay Essex, and burly Lord Burleigh<br />
+Sat late at their revels, and came to them early;<br />
+Here honest Sir John took his ease at his inn&mdash;<br />
+Bardolph&#8217;s proboscis, and Jack&#8217;s double chin.</td></tr></table>
+
+<p>From Islington, Charles Lamb moved to Enfield Chase Side, there he lived
+from 1827 to 1833, shut out almost entirely from the world, and his
+favourite London in particular.</p>
+
+<div class="figcenter"><img src="images/img102.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Charles Lamb&#8217;s House, Enfield.</span></p>
+
+<p>Lamb, in a merry mood, writing to Novello, in 1827, says:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;We expect you four (as many as the table will hold without squeezing)
+at Mrs. Westwood&#8217;s <i>Table d&#8217;H&ocirc;te</i> on Thursday. You will find the
+<i>White House</i> shut up, and us moved under the wing of the <i>Ph&oelig;nix</i>,
+which gives us friendly refuge. Beds for guests, marry we have none,
+but cleanly accommodings [<i>sic.</i>] at the <i>Crown and Horse-shoes</i>.</p>
+
+<p><span style="margin-left: 10em;">&#8220;Yours harmonically,</span><br />
+<span style="margin-left: 14em;">&#8220;C. L.</span></p>
+
+<p>&#8220;Vincentio (what, ho!) Novello, a Squire.<br />
+<span style="margin-left: 4em;">66, Great Queen Street, Lincoln&#8217;s-Inn Fields.&#8221;</span></p></div>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+<div class="figcenter"><img src="images/img103.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Crown and Horse Shoes Inn, Enfield Chase Side.</span></p>
+
+<p>The above represents one of the humble and wayside &#8220;Pubs&#8221; of the
+neighbourhood in which Charles Lamb is said to have tested the friendship
+of &#8220;fine&#8221; friends, by proposing to them a drink of unsophisticated porter
+from bright pewter pots. So did he treat Wordsworth, and that &#8220;Child of
+Nature&#8221; actress, Miss Frances Maria Kelly, who without hesitation entered
+the tavern, with:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;The whitewash&#8217;d wall, the nicely sanded floor,<br />
+The varnish&#8217;d clock that click&#8217;d behind the door,<br />
+The chest contriv&#8217;d a double debt to pay,&mdash;<br />
+A bed by night, a chest of drawers by day.&#8221;</td></tr></table>
+
+<p>About the Midsummer of 1833, Charles Lamb and his sister removed to
+Bay-cottage, Church-street, Edmonton, kept by<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> Mr. Walden, whose wife
+acted as a professional nurse. There, in that poor melancholy looking
+tenement, the delightful humourist found the home in which he breathed his
+last on Saturday, the 27th December, 1834. He was buried in:&mdash;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Oh, Mirth and Innocence! Oh, Milk and Water!<br />
+Ye happy mixtures of more happy days!.&#8221;<br />
+<span style="margin-left: 10em;">Byron&#8217;s, <i>Beppo</i>. St. 80.</span></td></tr></table>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img104a.jpg" alt="" /></div>
+<p class="center"><span class="smcap">House at Edmonton Where Charles Lamb Died.</span></p>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img104b.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Edmonton Church.</span></p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span></p>
+
+<p>Time and circumstances have effectually disposed of the water-carrier, his
+occupation is gone, it is impossible London can ever again see a man bent
+beneath the weight of a yoke and two enormous pails, vociferating &#8220;<i>Any
+fresh and fair Spring Water here?</i>&#8221; But the cry of &#8220;Milk,&#8221; or the rattle
+of the milk-pail will never cease to be heard in our streets. There can be
+no reservoirs of milk, no pipes through which it flows into the houses.
+The more extensive the great capital becomes, the more active must be the
+individual exertion to carry about this article of food. The old cry was
+&#8220;<i>Any Milk here?</i>&#8221; and it was sometimes mingled with the sound of &#8220;<i>Fresh
+Cheese and Cream</i>;&#8221; and it then passed into &#8220;<i>Milk, maids below</i>;&#8221; and it
+was then shortened into &#8220;<i>Milk below</i>;&#8221; and was finally corrupted into
+&#8220;<i>Mio</i>,&#8221; which some wag interpreted into <i>mi-eau</i>&mdash;<i>demi-eau</i>&mdash;half water.
+But it must still be cried, whatever be the cry. The supply of milk to the
+metropolis is perhaps one of the most beautiful combinations of industry
+we have. The days have long since passed when Finsbury had its pleasant
+groves, and Clerkenwell was a village, and there were green pastures in
+Holborn, when St. Pancras boasted only a little church standing in
+meadows, and St. Martin&#8217;s was literally in the fields. Slowly but surely
+does the baked clay of Mr. Jerry, &#8220;the speculative builder&#8221; stride over
+the clover and the buttercup; and yet every family in London may be
+supplied with milk by eight o&#8217;clock every morning at their own doors.
+Where do the cows abide? They are congregated in wondrous herds in the
+suburbs; and though in spring-time they go out to pasture in the fields
+which<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> lie under the Hampstead and Highgate hills, or in the vales of
+Dulwich and Sydenham, and there crop the tender blade,&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;When proud pied April, dress&#8217;d in all his trim,<br />
+Has put a spirit of youth in everything.&#8221;</td></tr></table>
+
+<p>yet for the rest of the year the coarse grass is carted to their stalls,
+or they devour what the breweries and distilleries cannot extract from the
+grain harvest. Long before &#8220;the unfolding star wakes up the shepherd&#8221; are
+the London cows milked; and the great wholesale vendors of the commodity,
+who have it consigned to them daily from more distant parts to the various
+railway stations in the metropolis, bear it in carts to every part of the
+town, and distribute it to the hundreds of shopkeepers and itinerants, who
+are anxiously waiting to receive it for re-distribution amongst their own
+customers. It is evident that a perishable commodity which everyone
+requires at a given hour, must be so distributed. The distribution has
+lost its romance. Misson, in his &#8220;Travels&#8221; published at the beginning of
+the last century, tells of May-games of the London milkmaids thus:&mdash;&#8220;On
+the first of May, and the five or six days following, all the pretty young
+country girls that serve the town with milk, dress themselves up very
+neatly, and borrow abundance of Silver-Plate, whereof they make a pyramid,
+which they adorn with ribbons and flowers, and carry upon their heads,
+instead of their common milk pails. In this equipage, accompanied with
+some of their fellow milkmaids, and a bagpipe or fiddle, they go from door
+to door, dancing before the houses of their customers, in the midst of
+boys and girls that follow them in troops, and everybody gives them
+something.&#8221; Alas! the May-games and pretty young country girls have both
+departed, and a milk-woman has become a very unpoetical personage. There
+are few indeed of <span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>milkwomen who remain. So it is with most of the
+occupations that associate London with the country.</p>
+
+<div class="figcenter"><img src="images/img105.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Kate Smith</span>,<br /><i>The Merry Milkmaid</i>.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span></p>
+<div class="figcenter"><img src="images/img106.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;&#8216;Where are you going my pretty maid?&#8217;<br />
+&#8216;I&#8217;m going a milking, sir,&#8217; she said.&#8221;</td></tr></table>
+
+<p>Thirty years ago there appeared in the &#8220;Quarterly Review&#8221; a remarkable
+article on the Commissariat of London, from the pen of Dr. Andrew Wynter.
+In it we were told for how many miles the beasts brought annually to the
+metropolis would stretch, if ranged ten abreast in a seemingly
+interminable column. In order to convey some notion of the stupendous
+quantities of ale, beer, and porter consumed, Dr. Wynter fixed upon Hyde
+Park as his exhibition ground, and piled together all the barrels
+containing the malt liquor drunk by what, in 1854, was a population of two
+million and a half souls. He came to the conclusion that these barrels
+would form a thousand columns not far short of a mile in perpendicular
+height. And among other statistics, Dr. Wynter calculated that there were
+at that time about twenty thousand cows in the metropolitan and suburban
+dairies, some<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> of which establishments contained five hundred cows apiece.
+He also noticed that, the London and suburban dairies could not alone
+supply the population of the metropolis, seeing that twenty thousand cows,
+giving on an average twelve quarts each per diem, would not yield more
+than two hundred and forty thousand quarts. If we suppose this quantity
+increased by the iron-tailed cow to three hundred thousand quarts, the
+allowance to each of the two millions and a half of human beings then
+living within the Bills of Mortality would be about a quarter of a pint
+per head. The &#8220;Quarterly&#8221; Reviewer, therefore, assumed that, to meet the
+existing demands of the tea-table, the nursery, and the kitchen, half as
+much again as three hundred thousand quarts was consumed annually in
+London. For this excess he looked to the country to supplement the efforts
+of the metropolis and of its suburbs as suppliers of milk, and noticed
+that the precious white liquid was brought daily to London from farms
+lying as far away as eighty miles from the metropolitan railway stations
+to which it was consigned.</p>
+
+<div class="figcenter"><img src="images/img107.jpg" alt="" /></div>
+
+<p>Nothing can be more instructive and entertaining than to turn back in 1884
+to facts, figures, calculations, estimates, and<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> inferences which fitted
+the London of 1854. Instead of two millions and a half, the population
+resident at this moment within the metropolitan and city police districts
+amounts at least to four millions and three-quarters. The area already
+covered by the mighty town, which adds another big town to its entirety
+each successive year, is about four hundred and fifty thousand square
+acres, and there are more than seven hundred thousand houses to be
+provided for, of which it may be presumed that few can do without at least
+a pint of milk per diem. Assuming, however, that each member of this
+enormous population consumed no more than a quarter of a pint of
+milk&mdash;that is to say, a small tumblerful&mdash;per diem, we come to the
+astounding conclusion that nearly six hundred thousand quarts are wanted
+every day, nearly four million two hundred thousand quarts every week, and
+nearly two hundred and seventeen million quarts every year, to meet the
+demands of London. Few of us are able to fathom the meaning of two hundred
+million quarts of liquid until we are told what an immense reservoir, ten
+feet deep, it would take to hold such an amount. More intelligible are the
+calculations which tell us that, assuming a cow to yield ten&mdash;not
+twelve&mdash;quarts of milk daily, it would require nearly sixty thousand milch
+cows to maintain this supply from year&#8217;s end to year&#8217;s end. If these
+patient and valuable milkers are estimated as being worth no more than
+twenty-pounds apiece, they would represent in their aggregate a capital of
+little less than one million four hundred thousand pounds. Pure milk of a
+reliable character, costs five-pence per quart, and therefore, on the
+above basis, there is spent on milk, in the metropolis and its
+circumjacent districts, twelve thousand four hundred pounds per day,
+nearly eighty-seven thousand pounds per week, and considerably more than
+four<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> and a half million pounds per annum. There are States which have
+made a considerable noise in the world, whose total revenue does not reach
+what London spends annually in milk alone. As for the distribution of this
+inconceivable amount of liquid, which is delivered every morning and
+afternoon in small quantities all over the enormous area of
+bricks-and-mortar to which we have referred, it would utterly baffle the
+most marvellous organiser and administrator that ever existed upon earth,
+to extemporise human machinery for carrying on so minute and yet so
+gigantic a trade. Nevertheless, how smoothly and imperceptibly, not only
+in this one small detail, but throughout the whole of its vast and endless
+complications and ramifications, does the commissariat of London work! We
+are told, for instance, that to distribute every sixteen gallons of milk
+one person is necessary, and that, without counting managers, clerks,
+shopmen and shopwomen, nearly five thousand human beings, assisted by more
+than fifteen hundred horses and mules, are needed to furnish London with
+milk every twenty-four hours. More than a quarter of a million pounds go
+yearly in wages to milkmen and milkwomen with whom we are all so familiar,
+and who will doubtless, acquire additional importance in the eyes of those
+who reflect that these humble servitors are but, in Pope&#8217;s words, &#8220;parts
+of that stupendous whole&#8221; without whose useful, patient, and unintermitted
+labours the faultless machinery of the grandest camp of men that ever yet
+existed would instantly stand still.</p>
+
+<p>Then it must not be forgotten that the milk trade exacts constant and
+unintermitted work from its employ&eacute;s&mdash;work from which neither Sundays nor
+holidays bring any relief&mdash;and demanding very early rising in the morning,
+to say nothing of the greatest personal cleanliness, and of an immense
+array of cans,<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> varying from those capable of holding many gallons down to
+those which contain no more than half-a-pint&mdash;the milk-pail and its daily
+history might well attract notice from writers not inferior in grasp and
+imagination to Defoe or Dickens. In 1854 Dr. Wynter calculated that, as
+regards distribution, the commissariat of London was carried on by an army
+of one hundred thousand persons. In thirty years the population has all
+but doubled, and the machinery of distribution has been so improved that
+its working at present approaches very nearly to perfection. This
+perfection is due solely to freedom of trade and to universal competition,
+which so nicely adjust all the varying conditions of life, that, in
+serving themselves, they accomplish more than all the Governments on earth
+could effect by the most ingenious system of centralisation that human wit
+could devise.</p>
+
+<div class="figcenter"><img src="images/img108.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Attic Poet</i>:&mdash;&#8220;There is a pleasure in poetic pains<br />
+which only Poets know.&#8221;</td></tr></table>
+
+<p>In our neighbourhood, which, as the lodging-house-keepers advertise in
+<i>The Kingsland and Shacklewell Slopbasin</i>, and <i>The Dalston Dusthole</i>, is
+situate close to &#8220;Bus, Tram, and Rail,&#8221; we have a milkman who is given to
+Poetry! and he circulates his &#8220;verses&#8221; pretty freely in the areas and
+letter-boxes about once a month.&mdash;</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+<p class="center"><span class="smcap">Glorious News! Glorious News!</span></p>
+<div class="figcenter"><img src="images/img109.jpg" alt="" /></div>
+
+<p class="center"><span class="smcap">How F. Wilson Meets His Customers&#8217; Views.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>My readers may credit the words of my muse.<br />
+When telling how Wilson meets Customers&#8217; Views;<br />
+Wilson studies a straightforward system of trade,<br />
+Whereby to elicit encouraging aid.<br />
+<br />
+The pure farm-house Milk he daily brings out,<br />
+Is such as we have no reason to doubt;<br />
+Encouraged in business his course he pursues,<br />
+And fails not in meeting his Customers&#8217; Views.<br />
+<br />
+You&#8217;ll not have occasion to doubt what I say,<br />
+When testing his Pure Milk day after day;<br />
+For cheapness and quality you&#8217;ll find him in trade,<br />
+As you did when he first asked the public for aid.<br />
+<br />
+His farm-house Milk and Eggs, which thoroughly please,<br />
+Are positive proofs of assertions like these;<br />
+&#8217;Tis certain that better can ne&#8217;er be supplied,<br />
+He trusts that in this you&#8217;ll all coincide.<br />
+<br />
+The highest of interest his Milk doth possess,<br />
+Thus boldly we state, for we cannot state less;<br />
+F. Wilson supplies what all purchasers choose,<br />
+And thus he is meeting his Customers&#8217; Views.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<p class="center"><span class="smcap">Terms Cash.</span></p>
+<p class="center">Customers can have their Milk left in cans any time after 5 a.m.<br />
+Note the address <span class="finger">&#9758;</span> * * *<br />
+All complaints to be addressed to Mr. F. Wilson.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span></p>
+<div class="figcenter"><img src="images/img110.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Tiddy Diddy Doll-loll, Loll, Loll.</span></p>
+
+<p>This celebrated vendor of gingerbread, from his eccentricity of character,
+and extensive dealing in his particular way, was always hailed as the King
+of itinerant tradesmen. He was a constant attendant in the crowd at all
+metropolitan fairs, mob meetings, Lord Mayor&#8217;s shows, public executions,
+and all other holiday and festive gatherings! In his person he was tall,
+well made, and his features handsome. He affected to dress like a person
+of rank; white and gold lace suit of clothes, lace ruffled shirt, laced
+hat and feather, white stockings, with the addition of a white apron.
+Among his harangues to gain customers, take the following piece as a fair
+sample of the whole:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>&#8220;Mary, Mary, where are you <i>now</i>, Mary? I live, when at home, at the
+second house in Little diddy-ball-street, two steps under ground, with a
+wiscum, riscum, and a why-not. Walk in, ladies and gentlemen; my shop is
+on the second-floor backwards, with a brass knocker on the door, and steel
+steps before it. Here is your nice gingerbread, it will melt in your mouth
+like a red-hot brickbat, and rumble in your inside like Punch and his
+wheelbarrow.&#8221; He always finished his address by singing this fag end of
+some popular ballad:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Ti-tid-ty, ti-tid-ty. Ti-tid-ty&mdash;tiddy-loll.<br />
+Ti-tid-ty, ti-tid-ty. Ti-tid-ty&mdash;tiddy-doll.&#8221;</td></tr></table>
+
+<p>Hence arose his nickname &#8220;<i>Tiddy-Doll</i>.&#8221; In Hogarth&#8217;s print of the &#8220;<span class="smcap">Idle
+&#8217;Prentice Executed at Tyburn</span>,&#8221; Tiddy-Doll is seen holding up a gingerbread
+cake with his left hand, his right hand within his coat, to imply that he
+is speaking the truth from his heart, while describing the superiority of
+his wares over those of any other vendor in the fair! while he still
+anxiously inquires:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Mary, Mary, where are you <i>now</i>, Mary?&#8221;</td></tr></table>
+
+<p>His proper name was Ford, and so well known was he that, on his once being
+missed for a week from his usual stand in the Haymarket, on the occasion
+of a visit which he paid to a country fair, a &#8220;Catch penny&#8221; account of his
+alleged murder was printed, and sold in the streets by thousands.</p>
+
+<p>Allusions to Tiddy-Doll, and sayings derived from him, have reached to our
+own time, thus, we still say to an over-dressed person&mdash;&#8220;You are as tawdry
+as Diddy-doll,&#8221; &#8220;You are quite Tiddy-doll, you look as fine as
+Tiddy-doll,&#8221; he or she is said to be &#8220;All Tiddy-doll,&#8221; &amp;c.</p>
+
+<p><span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>The class of men formerly well known to the citizens of London as
+News-criers, or Hornmen, must now be spoken of in the past sense, as the
+further use of the horn was prohibited long ago by the magistracy, subject
+to a penalty of ten shillings for the first offence, and twenty shillings
+on the conviction of repeating so heinous a crime.</p>
+
+<div class="figcenter"><img src="images/img111.jpg" alt="" /></div>
+<p class="center">&#8220;<span class="smcap">Great News, Bloody Battle, Great Victory!</span><br />
+<span class="smcap">Extraordinary Gazette!</span><br />
+<span class="smcap">Second Edition!</span>&#8221;</p>
+
+<p>were the usual loud bellowing of fellows with stentorian lungs,
+accompanied by a loud blast of a long tin-horn, which announced to the
+delighted populace of London the martial achievements of a Marlborough,
+Howe, Hood, Nelson, or Wellington. A copy of the &#8220;Gazette&#8221; or newspaper
+they &#8220;cried&#8221; was usually affixed under the hatband, in front, and their
+demand was generally one shilling.</p>
+
+<p>At least one of these news criers has been immortalized. In a volume of
+&#8220;Miscellaneous Poems,&#8221; edited by Elijah Fenton, and printed by Bernard
+Lintot, without date, but anterior to 1720, there are the lines that
+follow, to one old Bennet, who<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> seems to have made a great noise in the
+world of London during the early part of last century:&mdash;</p>
+
+<p class="center">&#8220;<span class="smcap">On the Death of Old Bennet,<br />
+the<br />
+News Cryer</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;One evening, when the sun was just gone down,<br />
+And I was walking thro&#8217; the noisy town,<br />
+A sudden silence through each street was spread,<br />
+As if the soul of London had been fled.<br />
+Much I enquired the cause, but could not hear,<br />
+Till fame, so frightened, that she did not dare<br />
+To raise her voice, thus whisper&#8217;d in my ear:&mdash;<br />
+Bennet, the prince of hawkers, is no more,<br />
+Bennet, my <i>Herald</i> on the British shore,<br />
+Bennet, by whom, I own myself outdone,<br />
+Tho&#8217; I a hundred mouths, he had but one,<br />
+He, when the list&#8217;ning town he would amuse,<br />
+Made <i>Echo</i> tremble with his &#8216;<i>Bloody news!</i>&#8217;<br />
+No more shall <i>Echo</i>, now his voice return,<br />
+<i>Echo</i> for ever must in silence mourn,&mdash;<br />
+Lament, ye heroes, who frequent the wars,<br />
+The great proclaimer of your dreadful scars.<br />
+Thus wept the conqueror who the world o&#8217;ercame,<br />
+Homer was waiting to enlarge his fame,<br />
+Homer, the first of hawkers that is known,<br />
+<i>Great News</i> from Troy, cried up and down the town,<br />
+None like him has there been for ages past,<br />
+Till our stentorian Bennet came at last,<br />
+Homer and Bennet were in this agreed,<br />
+Homer was blind, and Bennet could not read!&#8221;</td></tr></table>
+
+<p>In our own days there has been legislation for the benefit of tender ears;
+and there are now penalties, with police constables to enforce them,
+against &#8220;All persons blowing any horn or using<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> any other noisy
+instrument, for the purpose of calling persons together, or of announcing
+any show or entertainment, or for the purpose of hawking, selling,
+distributing, or collecting any article, or of obtaining money or alms.&#8221;
+These are the words of the Police Act of 1839; and they are stringent
+enough to have nearly banished from our streets all those uncommon noises
+which did something to relieve the monotony of the one endless roar of the
+tread of feet and the rush of wheels.</p>
+
+<p>Mr. Henry Mayhew, in his admirable work of &#8220;London Labour and London
+Poor,&#8221; writing in 1851, under the head &#8220;Of the Sellers of Second
+Editions,&#8221; says:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;I believe that there is not now in existence&mdash;unless it be in a
+workhouse and unknown to his fellows, or engaged in some other
+avocation, and lost sight of by them&mdash;any one who sold &#8216;Second
+Editions&#8217; of the <i>Courier</i> evening paper at the time of the Duke of
+York&#8217;s Walcheren expedition, at the period of the battle of the Nile,
+during the continuance of the Peninsular war, or even at the battle of
+Waterloo. There were a few old men&mdash;some of whom had been soldiers or
+sailors, and others who have simulated it&mdash;surviving within these five
+or six years and some later, who &#8216;worked Waterloo,&#8217; but they were
+swept off, I was told, by the cholera.&#8221;</p></div>
+
+<div class="figcenter"><img src="images/img112.jpg" alt="" /></div>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span></p>
+<div class="figcenter"><img src="images/img113.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Clean Your Honour&#8217;s Shoes.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Temper the foot within this vase of oil,<br />
+And let the little tripod aid thy toil;<br />
+On this methinks I see the walking crew,<br />
+At thy request, support the miry shoe;<br />
+The foot grows black that was with dirt embrown&#8217;d,<br />
+And in thy pocket jingling halfpence sound.&#8221;<br />
+<span style="margin-left: 10em;"><i>Gay&#8217;s &#8220;Trivia.&#8221;</i></span></td></tr></table>
+
+<p>&#8220;About thirty years before the cry of &#8216;Clean your boots, sir!&#8217; became
+familiar to the ears of the present generation of Londoners,&#8221; Mr. Charles
+Knight informs us that:&mdash;&#8220;In one of the many courts on the north side of
+Fleet-street, might be seen, somewhere about the year 1820, &#8216;The last of
+the London shoe-blacks.&#8217; One would think that he deemed himself dedicated
+to his profession by Nature, for he was a Negro. At the earliest dawn he
+crept forth from his neighbouring lodging, and planted his tripod on the
+quiet pavement, where he patiently<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> stood till noon was past. He was a
+short, large-headed son of Africa, subject, as it would appear, to
+considerable variations of spirits, alternating between depression and
+excitement, as the gains of the day presented to him the chance of having
+a few pence to recreate himself beyond what he should carry home to his
+wife and children. For he had a wife and children, this last
+representative of a falling trade; and two or three little woolly-headed
+<i>d&eacute;crotteurs</i> nestled around him when he was idle, or assisted in taking
+off the roughest of the dirt when he had more than one client. He watched,
+with a melancholy eye, the gradual improvement of the streets; for during
+some twenty or thirty years he had beheld all the world combining to ruin
+him. He saw the foot pavements widening; the large flag-stones carefully
+laid down; the loose and broken piece, which discharged a slushy shower on
+the unwary foot, and known to him and London chairmen as a
+&#8216;<i>Beau-trap</i>&#8217;<a name='fna_11' id='fna_11' href='#f_11'><small>[11]</small></a> instantly removed: he saw the kennels diligently
+cleansed, and the drains widened: he saw experiment upon experiment made
+in the repair of the carriage-way, and the holes, which were to him as the
+&#8216;old familiar faces&#8217; which he loved, filled up with a haste that appeared
+quite unnecessary, if not insulting. One solitary country shopkeeper, who
+had come to London once a year during a long life, clung to our sable
+friend; for he was the only one of the fraternity that he could find
+remaining, in his walk from Charing-cross to Cheapside.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>Hone, in &#8220;<i>The Table Book</i>,&#8221; 1827, under an article on the Old London
+cries has:&mdash;&#8220;A Shoeblack; A boy, with a small basket beside him, brushes a
+shoe on a stone, and addresses himself to a wigged beau, who carries his
+cocked hat under his left arm, with a crooked-headed walking stick in his
+left hand, as was the fashion among the dandies of old times. I recollect
+shoeblacks formerly at the corner of almost every street, especially in
+great thoroughfares. There were several every morning on the steps of St.
+Andrew&#8217;s church, Holborn, till late in the forenoon. But the greatest
+exhibition of these artists was on the site of Finsbury-square, when it
+was an open field, and a depository for the stones used in paving and
+street-masonry. There, a whole army of shoeblacks intercepted the citizens
+and their clerks on their way from Islington and Hoxton to the
+counting-houses and shops in the city, with &#8216;Shoeblack, your honour! Black
+your shoes, sir!&#8217;&#8221;</p>
+
+<p>Each of them had a large, old tin-kettle, containing his apparatus,
+viz:&mdash;a capacious pipkin, or other large earthen-pot, containing the
+blacking, which was made of ivory-black, the coarsest moist sugar, and
+pure water with a little vinegar&mdash;a knife, two or three brushes, and an
+old wig. The old wig was an indispensable requisite to a shoeblack; it
+whisked away the dust, or thoroughly wiped off the wet dirt, which his
+knife and brushes could not entirely detach; a rag tied to the end of a
+stick smeared his viscid blacking on the shoe, and if the blacking was
+&#8220;real japan,&#8221; it shone. The old experienced shoe-wearers preferred an
+oleaginous, lustreless blacking. A more liquid blacking, which took a
+polish from the brush, was of later use and invention. Nobody at that time
+wore boots except on horseback; and everybody wore breeches and
+stockings:<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> pantaloons, or trousers, were unheard of. The old shoeblacks
+operated on the shoes while they were on the feet, and so dexterously as
+not to soil the fine white cotton stocking, which was at that time the
+extreme of fashion, or to smear the buckles, which were universally worn.
+Latterly, you were accommodated with an old pair of shoes to stand in, and
+the yesterday&#8217;s paper to read, while your shoes were cleaning and
+polishing, and your buckles were whitened and brushed. When shoestrings
+first came into vogue, the Prince of Wales (Geo. IV.) appeared with them
+in his shoes, when immediately a deputation from the buckle-makers of
+Birmingham presented a petition to his Royal Highness to resume the
+wearing of buckles, which was good-naturedly complied with. Yet, in a
+short time, shoestrings entirely superseded buckles. The first incursion
+on the shoeblacks was by the makers of &#8220;Patent Cake Blacking&#8221; on sticks
+formed with a handle, like a small battledoor; they suffered a more
+fearful invasion from the makers of liquid blacking in bottles. Soon
+afterwards, when &#8220;Day and Martin&#8221; manufactured the <i>ne plus ultra</i> of
+blacking, private shoeblacking became general, public shoeblacks rapidly
+disappeared, and in [1827] they became extinct. The last shoeblack that I
+remember in London sat under the covered entrance of Red Lion-court,
+Fleet-street within the last six years. This unfortunate, &#8220;The Last of the
+London Shoeblacks&#8221;&mdash;was probably the &#8220;short, large headed son of Africa&#8221;
+alluded to by Charles Knight, under the heading of &#8220;Clean your honour&#8217;s
+shoes,&#8221; in his &#8220;History of London.&#8221;</p>
+
+<p>In 1851, some gentlemen connected with the Ragged Schools determined to
+revive the brotherhood of boot cleaners for the convenience of the foreign
+visitors to the Exhibition, and<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> commenced the experiment by sending out
+five boys in the now well-known red uniform. The scheme succeeded beyond
+expection; the boys were patronized by natives as well as aliens, and the
+Shoeblack Society and its brigade were regularly organized. During the
+exhibition season, about twenty-five boys were constantly employed, and
+cleaned no less than 100,000 pairs of boots. The receipts of the brigade
+during its first year amounted to &pound;656. Since that time, thanks to the
+combination of discipline and liberality, the Shoeblack Society has gone
+on and prospered, and proved the Parent of other Societies. Every district
+in London now has its corps of shoeblacks, in every variety of uniform,
+and while the number of boys has increased from tens to hundreds, their
+earnings have increased from hundreds to thousands. Numbers of London
+waifs and strays have been rescued from idleness and crime. The Ragged
+School Union, and Shoeblack Brigades, therefore hold a prominent place
+among the indirectly preventive agencies for the suppression of crime: for
+since ignorance is generally the parent of vice, any means of securing the
+benefits of education to those who are hopelessly deprived of it, must
+operate in favour of the well-being of society.</p>
+
+<div class="figcenter"><img src="images/img114.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;&#8217;Tis education forms the common mind;<br />
+Just as the twig is bent, the tree&#8217;s inclined.&#8221;</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span></p>
+<div class="figcenter"><img src="images/img115.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Hearth-Stone Merchant.</span></p>
+
+<p>&#8220;Hearth-stones! Do you want any hearth-stones? Now, my maids, here&#8217;s your
+right sort&mdash;reg&#8217;lar good&#8217;uns, and no mistake&mdash;vorth two o&#8217;your shop
+harticles, and at half the price. Now my pretty von, lay out a <i>tanner</i>,
+and charge your missus a <i>bob</i>&mdash;and no cheating neither! the cook has
+always a right to make her market penny and to assist a poor cove like me
+in the bargain.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;They&#8217;re good uns, you vill find&mdash;<br />
+<span style="margin-left: 1em;">Choose any, marm, as you prefer.</span><br />
+You look so handsome and so kind,<br />
+<span style="margin-left: 1em;">I&#8217;m sure you&#8217;ll be a customer.</span><br />
+Three halfpence, marm, for this here pair&mdash;<br />
+<span style="margin-left: 1em;">I only vish as you vould try &#8217;em;</span><br />
+I&#8217;m sure you&#8217;ll say the price is fair&mdash;<br />
+<span style="margin-left: 1em;">Come marm, a penny if you&#8217;ll buy &#8217;em.&#8221;</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>
+<div class="figcenter"><img src="images/img116.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Flying Stationer, otherwise Patterer.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Here&#8217;s tidings sad, for owld and young,<br />
+<span style="margin-left: 1em;">Of von who liv&#8217;d for years by macing;</span><br />
+And vos this werry morning hung,<br />
+<span style="margin-left: 1em;">The Debtor&#8217;s Door at Newgate facing.</span><br />
+<br />
+&#8220;Here&#8217;s his confession upon hoath,<br />
+<span style="margin-left: 1em;">The vords he spoke ven he vos dying,</span><br />
+His birth and eddycation both&mdash;<br />
+<span style="margin-left: 1em;">The whole pertic&#8217;lers&mdash;vell vorth the buying.</span><br />
+<br />
+&#8220;Here&#8217;s an account of robberies sad.<br />
+<span style="margin-left: 1em;">In vich he alus vos a hactor;</span><br />
+You must to read the life be glad&mdash;<br />
+<span style="margin-left: 1em;">Of such a famous malefactor!</span><br />
+<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span><br />
+&#8220;How to the mob he spinn&#8217;d a yarn,<br />
+<span style="margin-left: 1em;">And varn&#8217;d them from a course unproper,</span><br />
+You may, vith all his history, larn&mdash;<br />
+<span style="margin-left: 1em;">For the small valley of a copper!&#8221;</span></td></tr></table>
+
+<p>&#8220;Now my kind-hearted, haffectionated and wery ready-money
+Christian-hearted, pious and hinfidel customers, here you have the last
+speech and dying vords, life, character, and behaviour of the hunfortunate
+malefactor that vas hexecuted this morning hopposit the Debtor&#8217;s door in
+the Hold Bailey! together with a full confession of the hoffence vherevith
+he vos found guilty before a hupright Judge and a wery himpartial Jury!
+Here you have likewise a copy of a most affecting letter, written by the
+criminal in the condemned cell the night afore hexecution to his hinnocent
+vife and hunoffending babbies, vith a copy of werses consarning the
+same&mdash;all for the small charge of von halfpenny. Yes, my friends, von
+halfpenny buys the werses as follows&mdash;von arter the &#8217;tother:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Come, all you blessed Christians dear,<br />
+<span style="margin-left: 1em;">That&#8217;s a-tender, kind, and free,</span><br />
+While I a story do relate<br />
+<span style="margin-left: 1em;">Of a dreadful tragedy,</span><br />
+Which happened in London town,<br />
+<span style="margin-left: 1em;">As you shall all be told;</span><br />
+But when you hear the horrid deed<br />
+<span style="margin-left: 1em;">&#8217;Twill make your blood run cold.&mdash;</span><br />
+<span style="margin-left: 4em;"><i>For the small charge of a ha&#8217;penny!</i></span><br />
+<br />
+&#8220;&#8217;Twas in the merry month of May,<br />
+<span style="margin-left: 1em;">When my true love I did meet;</span><br />
+She look&#8217;d all like an angel bright,<br />
+<span style="margin-left: 1em;">So beautiful and sweet.</span><br />
+I told her I loved her much,<br />
+<span style="margin-left: 1em;">And she could not say nay;</span><br />
+&#8217;Twas then I stung her tender heart,<br />
+<span style="margin-left: 1em;">And led her all astray.&mdash;</span><br />
+<span style="margin-left: 8em;"><i>Only a ha&#8217;penny!</i>&#8221;</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span>JAMES&mdash;or as he was popularly called,
+&#8220;<i>Jemmy</i>,&#8221; or, &#8220;<i>Old Jemmy</i>&#8221;
+Catnach, (<i>Kat-nak</i>,) late of the Seven Dials, London, printer and
+publisher of ballads, battledores, lotteries, primers, &amp;c., and whose name
+is ever associated with the literature of the streets, was the son of John
+Catnach, a printer, of Alnwick, an ancient borough, market town, and
+parish of Northumberland, where he was born on August 18th, 1792.</p>
+
+<p>At the time Jemmy Catnach commenced business in Seven Dials it took all
+the prudence and tact which he could command to maintain his position, as
+at that time &#8220;Johnny&#8221; Pitts,<a name='fna_12' id='fna_12' href='#f_12'><small>[12]</small></a> of the Toy and Marble Warehouse, No. 6,
+Great St. Andrew-street, was the acknowledged and established printer of
+street literature for the &#8220;Dials&#8221; district; therefore, as may be easily
+imagined, a powerful rivalry and vindictive jealousy soon arose between
+these &#8220;two of a trade&#8221;&mdash;most especially on the part of &#8220;Old Mother&#8221; Pitts,
+who is described as being a coarse and vulgar-minded personage, and as
+having originally followed the trade of a bumboat woman at Portsmouth: she
+&#8220;wowed wengeance&#8221; against the young fellow in the court for daring to set
+up in their business, and also spoke of him as a young &#8220;Catsnatch,&#8221;
+&#8220;Catblock,&#8221; &#8220;Cut-throat;&#8221; many other opprobrious terms being also freely
+given to the new comer. Pitts&#8217; staff of &#8220;bards&#8221; were duly cautioned of the
+consequences which would inevitably follow should they dare to write a
+line for Catnach&mdash;the new <i>cove</i> in the court. The injunction was for a
+time obeyed, but the &#8220;Seven Bards of the Seven Dials&#8221; soon found it not<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span>
+only convenient, but also more profitable to sell copies of their
+effusions to both sides at the same time, and by keeping their council
+they avoided detection, as each printer accused the other of buying an
+early sold copy, and then reprinting it off with the utmost speed, and
+which was in reality often the case, as &#8220;Both Houses&#8221; had emissaries on
+the constant look-out for any new production suitable for street-sale.
+Now, although this style of &#8220;double dealing&#8221; and competition tended much
+to lessen the cost price to the &#8220;middle-man,&#8221; or vendor, the public in
+this case did not get any of the reduction, as a penny broadside was still
+a penny, and a quarter-sheet still a halfpenny to them, the
+&#8220;street-patterer&#8221; obtaining the whole of the reduction as extra profit.</p>
+
+<p>The feud existing between these rival publishers, who have been somewhat
+aptly designated as the Colburn and Bentley of the &#8220;paper&#8221; trade, never
+abated, but, on the contrary, increased in acrimony of temper until at
+last not being content to vilify each other by words alone, they resorted
+to printing off virulent lampoons, in which Catnach never failed to let
+the world know that &#8220;Old Mother Pitts&#8221; had been formerly a bumboat woman,
+while the Pitts&#8217; party announced that&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;All the boys and girls around,<br />
+<span style="margin-left: 1em;">Who go out prigging rags and phials,</span><br />
+Know Jemmy <i>Catsnatch</i>!!! well,<br />
+<span style="margin-left: 1em;">Who lives in a back slum in the Dials.</span><br />
+He hangs out in Monmouth Court,<br />
+<span style="margin-left: 1em;">And wears a pair of blue-black breeches,</span><br />
+Where all the &#8216;Polly Cox&#8217;s crew&#8217; do resort<br />
+<span style="margin-left: 1em;">To chop their swag for badly printed Dying Speeches.&#8221;</span></td></tr></table>
+
+<div class="blockquot">
+<p>&nbsp;<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span></p>
+<p class="center"><span class="large">A mournful and affecting</span><br />
+<span class="giant">COPY OF VERSES</span><br />
+<span class="large">on the death of</span><br />
+<img src="images/img117.jpg" alt="ANN WILLIAMS," /><br />
+Who was barbarously and cruelly murdered by her sweetheart,<br />
+W. JONES, near Wirksworth, in Derbyshire, July, 1823.</p>
+
+<p>William Jones, a young man aged 20, has been fully committed to Derby
+gaol for the murder of his sweetheart, under circumstances of unheard
+of barbarity. The poor victim was a servant girl, whom under pretense
+of marriage he seduced. On her proving with child the villain formed
+the horrid design of murdering her, and carried his diabolical plan
+into execution on Monday evening last. The following verses are
+written upon the occasion, giving a complete detail of this shocking
+affair:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come all false hearted young men<br />
+And listen to my song,<br />
+&#8217;Tis of a cruel murder,<br />
+That lately has been done<br />
+On the body of a maiden fair<br />
+The truth I will unfold,<br />
+The bare relation of this deed<br />
+Will make your blood run cold.<br />
+Near Wirksworth town in Derbyshire,<br />
+Ann Williams she did dwell,<br />
+In service she long time had lived,<br />
+Till this to her befel.<br />
+Her cheeks were like the blushing rose<br />
+All in the month of May,<br />
+Which made this wicked young man<br />
+Thus unto her did say:<br />
+Nancy, my charming creature,<br />
+You have my heart ensnared,<br />
+My love is such I am resolved<br />
+To wed you I declare.<br />
+Thus by his false deluding tongue<br />
+Poor Nancy was beguil&#8217;d,<br />
+And soon to her misfortune,<br />
+By him she proved with child.<br />
+Some days ago this damsel fair<br />
+Did write to him with speed.<br />
+Such tenderness she did express<br />
+Would make a heart to bleed.<br />
+She said, my dearest William,<br />
+I am with child by thee;<br />
+Therefore, my dear, pray let me know<br />
+When you will marry me.<br />
+The following day at evening,<br />
+This young man did repair,<br />
+Unto the town of Wirksworth,<br />
+To meet his Nancy there.<br />
+Saying, Nancy dear, come let us walk,<br />
+Among the flowery fields,<br />
+And then the secrets of my heart<br />
+To you I will reveal.<br />
+O then this wicked young man<br />
+A knife he did provide,<br />
+And all unknown to his true love<br />
+Concealed it by his side.<br />
+When to the fatal spot they came,<br />
+These words to her did say:<br />
+All on this very night I will<br />
+Your precious life betray.<br />
+On bended knee she then did fall,<br />
+In sorrow and despair,<br />
+Aloud for mercy she did call,<br />
+Her cries did rend the air;<br />
+With clasped hands and uplift eyes<br />
+She cried, Oh spare my life,<br />
+I never more will ask you<br />
+To make me your wedded wife.<br />
+O then this wicked young man said,<br />
+No mercy will I show;<br />
+He took the knife all from his side,<br />
+And pierced her body through.<br />
+But still she smiling said to him,<br />
+While trembling with fear,<br />
+A&auml;! William, William, spare my life,<br />
+Think on your baby dear.<br />
+Twice more then with the bloody knife<br />
+He ran her body through,<br />
+Her throat was cut from ear to ear,<br />
+Most dreadful for to view;<br />
+Her hands and arms and beauteous face<br />
+He cut and mangled sore,<br />
+While down upon her milk white breast<br />
+The crimson blood did pour.<br />
+He took the shawl from off her neck,<br />
+And round her body tied,<br />
+With pebble stones he did it fill,<br />
+Thinking the crime to hide.<br />
+O then into the silver stream<br />
+He plunged her straightway,<br />
+But with her precious blood was stained,<br />
+Which soon did him betray.<br />
+O then this young man taken was,<br />
+And into prison sent,<br />
+In ratling chains he is confin&#8217;d<br />
+His crime for to lament,<br />
+Until the Asizes do come on<br />
+When trembling he must stand,<br />
+Reflecting on the deed he&#8217;s done;<br />
+Waiting the dread command.<br />
+Now all you thoughtless young men<br />
+A timely warning take;<br />
+Likewise ye fair young maidens,<br />
+For this poor damsel&#8217;s sake.<br />
+And Oh beware of flattering tongues,<br />
+For they&#8217;ll your ruin prove;<br />
+So may you crown your future day,<br />
+In comfort, joy, and love.</td></tr></table>
+
+<p class="center">Printed at J. Pitts, Wholesale Toy and Marble Warehouse, 6, Great St. Andrew Street, Seven Dials.</p></div>
+
+<p><span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span>There can be little doubt that Catnach, the great publisher of the Seven
+Dials, next to children&#8217;s books, had his mind mostly centred upon the
+chronicling of doubtful scandals, fabulous duels between ladies of
+fashion, &#8220;cooked&#8221; assassinations, and sudden deaths of eminent
+individuals, apochryphal elopements, real or catch-penny accounts of
+murders, impossible robberies, delusive suicides, dark deeds and public
+executions, to which was usually attached the all-important and necessary
+&#8220;Sorrowful Lamentations,&#8221; or &#8220;Copy of Affectionate Verses,&#8221; which,
+according to the established custom, the criminal composed in the
+condemned cell the night before his execution, after this manner:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;All you that have got feeling hearts, I pray you now attend<br />
+To these few lines so sad and true, a solemn silence lend;<br />
+It is of a cruel murder, to you I will unfold&mdash;&mdash;<br />
+The bare recital of the tale must make your blood run cold.&#8221;</td></tr></table>
+
+<p>Or take another and stereotyped example, which from time to time has
+served equally well for the verses <i>written by</i> the culprit&mdash;Brown, Jones,
+Robinson, or Smith:</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Those deeds I mournfully repent,<br />
+<span style="margin-left: 1em;">But now it is too late,</span><br />
+The day is past, the die is cast,<br />
+<span style="margin-left: 1em;">And fixed is my fate.</span></td></tr></table>
+
+<p>Occasionally the Last Sorrowful Lamentations contained a &#8220;Love
+Letter&#8221;&mdash;the criminal being unable, in some instances, to read or write,
+being no obstacle to the composition&mdash;written according to the street
+patterer&#8217;s statement: &#8220;from the depths of the condemned cell, with the
+condemned pen, ink, and paper.&#8221;<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> This mode of procedure in &#8220;gallows&#8221;
+literature, and this style of composition having prevailed for from sixty
+to seventy years.</p>
+
+<p>Then they would say: &#8220;Here you have also an exact likeness of the
+murderer, taken at the bar of the Old Bailey by an eminent artist!&#8221; when
+all the time it was an old woodcut that had been used for every criminal
+for many years.</p>
+
+<p>&#8220;There&#8217;s nothing beats a stunning good murder after all,&#8221; said a &#8220;running
+patterer&#8221; to Mr. Henry Mayhew, the author of &#8220;London Labour and London
+Poor.&#8221; It is only fair to assume that Mr. James Catnach shared in the
+sentiment, for it is said that he made over &pound;500 by the publication of:&mdash;</p>
+
+<p>&#8220;The Full, True and Particular Account of the Murder of Mr. Weare by John
+Thurtell and his Companions, which took place on the 24th of October,
+1823, in Gill&#8217;s Hill-lane, near Elstree, in Hertfordshire:&mdash;Only One
+Penny.&#8221; There were eight formes set up, for old Jemmy had no notion of
+stereotyping in those days, and pressmen had to re-cover their own
+sheep-skins. But by working night and day for a week they managed to get
+off about 250,000 copies with the four presses, each working two formes at
+a time.</p>
+
+<p>As the trial progressed, and the case became more fully developed, the
+public mind became almost insatiable. Every night and morning large
+bundles were despatched to the principal towns in the three kingdoms.</p>
+
+<p>One of the many street-ballads on the subject informed the British public
+that:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Thurtell, Hunt, and Probert, too, for trial must now prepare,<br />
+For that horrid murder of Mr. William Weare.&#8221;</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span></p>
+<div class="figcenter"><img src="images/img118.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Thurtell Murdering Mr. Weare.</span></p>
+
+<p>In connection with the murder of Mr. Weare by Thurtell and Co., Sir Walter
+Scott, collected the printed trials with great assiduity, and took care
+always to have to hand the contemporary ballads and prints bound up with
+them. He admired particularly this verse of Theodore Hook&#8217;s<a name='fna_13' id='fna_13' href='#f_13'><small>[13]</small></a>
+broadside:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;They cut his throat from ear to ear,<br />
+<span style="margin-left: 1em;">His brains they battered in;</span><br />
+His name was Mr. William Weare,<br />
+<span style="margin-left: 1em;">He dwelt in Lyon&#8217;s Inn.&#8221;</span></td></tr></table>
+
+<div class="blockquot">
+<p>&nbsp;<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p>
+<p class="center"><span class="large">THE CONFESSION AND EXECUTION OF</span><br />
+<span class="giant">JOHN THURTELL</span><br />
+<img src="images/img119.jpg" alt="AT HERTFORD GAOL," /><br />
+On Friday, the 9th of January, 1824.</p>
+
+<p class="center"><br />THE EXECUTION.</p>
+
+<p class="right"><i>Hertford, half-past twelve o&#8217;clock.</i></p>
+
+<p>This morning, at ten minutes before twelve, a bustle among the
+javelin-men stationed within the boarded enclosure on which the drop
+was erected, announced to the multitude without that the preparations
+for the execution were nearly concluded. The javelin-men proceeded to
+arrange themselves in the order usually observed upon these melancholy
+but necessary occurrences. They had scarcely finished their
+arrangements, when the opening of the gate of the prison gave an
+additional impulse to public anxiety.</p>
+
+<p>When the clock was on the stroke of twelve, Mr Nicholson, the
+Under-Sheriff, and the executioner ascended the platform, followed on
+to it by Thurtell, who mounted the stairs with a slow but steady step.
+The principal turnkey of the gaol came next, and was followed by Mr
+Wilson and two officers. On the approach of the prisoner being
+intimated by those persons who, being in an elevated situation,
+obtained the first view of him, all the immense multitude present took
+off their hats.</p>
+
+<p>Thurtell immediately placed himself under the fatal beam, and at that
+moment the chimes of a neighbouring clock began to strike twelve. The
+executioner then came forward with the rope, which he threw across it.
+Thurtell first lifted his eyes up to the drop, gazed at it for a few
+moments, and then took a calm but hurried survey of the multitude
+around him. He next fixed his eyes on a young gentleman in the crowd,
+whom he had frequently seen as a spectator at the commencement of the
+proceedings against him. Seeing that the individual was affected by
+the circumstance, he removed them to another quarter, and in so doing
+recognised an individual well known in the sporting circles, to whom
+he made a slight bow.</p>
+
+<p>The prisoner was attired in a dark brown great coat, with a black
+velvet collar, white corduroy breeches, drab gaiters and shoes. His
+hands were confined with handcuffs, instead of being tied with cord,
+as is usually the case on such occasions, and, at his own request, his
+arms were not pinioned. He wore a pair of black kid gloves, and the
+wrists of his shirt were visible below the cuffs of his coat. As on
+the last day of his trial, he wore a white cravat. The irons, which
+were very heavy, and consisted of a succession of chain links, were
+still on his legs, and were held up in the middle by a Belcher
+handkerchief tied round his waist.</p>
+
+<p>The executioner commenced his mournful duties by taking from the
+unhappy prisoner his cravat and collar. To obviate all difficulty in
+this stage of the proceedings, Thurtell flung back his head and neck,
+and so gave the executioner an opportunity of immediately divesting
+him of that part of his dress. After tying the rope round Thurtell&#8217;s
+neck, the executioner drew a white cotton cap over his countenance,
+which did not, however, conceal the contour of his face, or deprive
+him entirely of the view of surrounding objects.</p>
+
+<p>At that moment the clock sounded the last stroke of twelve. During the
+whole of this appalling ceremony, there was not the slightest symptom
+of emotion discernible in his features; his demeanour was perfectly
+calm and tranquil, and he behaved like a man acquainted with the
+dreadful ordeal he was about to pass, but not unprepared to meet it.
+Though his fortitude was thus conspicuous, it was evident from his
+appearance that in the interval between his conviction and his
+execution he must have suffered much. He looked careworn; his
+countenance had assumed a cadaverous hue, and there was a haggardness
+and lankness about his cheeks and mouth, which could not fail to
+attract the notice of every spectator.</p>
+
+<p>The executioner next proceeded to adjust the noose by which Thurtell
+was to be attached to the scaffold. After he had fastened it in such a
+manner as to satisfy his own mind, Thurtell looked up at it, and
+examined it with great attention. He then desired the executioner to
+let him have fall enough. The rope at this moment seemed as if it
+would only give a fall of two or three feet. The executioner assured
+him that the fall was quite sufficient. The principal turnkey then
+went up to Thurtell, shook hands with him, and turned away in tears.
+Mr Wilson, the governor of the gaol, next approached him. Thurtell
+said to him, &#8220;Do you think, Mr Wilson, I have got enough fall?&#8221; Mr
+Wilson replied, &#8220;I think you have, Sir. Yes, quite enough.&#8221; Mr Wilson
+then took hold of his hand, shook it, and said, &#8220;Good bye, Mr
+Thurtell, may God Almighty bless you.&#8221; Thurtell instantly replied,
+&#8220;God bless <i>you</i>, Mr Wilson, God bless <i>you</i>.&#8221; Mr Wilson next asked
+him whether he considered that the laws of his country had been dealt
+to him justly and fairly, upon which he said, &#8220;I admit that justice
+has been done me&mdash;I am perfectly satisfied.&#8221;</p>
+
+<p>A few seconds then elapsed, during which every person seemed to be
+engaged in examining narrowly Thurtell&#8217;s deportment. His features, as
+well as they could be discerned, appeared to remain unmoved, and his
+hands, which were extremely prominent, continued perfectly steady, and
+were not affected by the slightest tremulous motion.</p>
+
+<p>Exactly at two minutes past twelve the Under-Sheriff, with his wand,
+gave the dreadful signal&mdash;the drop suddenly and silently fell&mdash;and</p>
+
+<p class="center"><span class="smcap">John Thurtell was Launched into Eternity</span>.</p>
+
+<p class="center">Printed at J. Pitts, Wholesale Toy and Marble Warehouse, 6, Great St. Andrew Street, Seven Dials.</p></div>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span></p>
+
+<p class="center">ATROCIOUS MURDER OF A YOUNG WOMAN<br />
+IN SUFFOLK.<br />
+SINGULAR DISCOVERY OF THE BODY<br />
+FROM A DREAM.</p>
+
+<div class="figcenter"><img src="images/img120.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Red Barn.</span></p>
+<p class="center"><small>THE SCENE OF THE MURDER, AND WHERE THE BODY OF MARIA MARTEN WAS FOUND CONCEALED.</small></p>
+
+<p>Four years after the Thurtell and Weare affair, namely, in the month of
+April, 1828, another &#8220;sensational&#8221; murder was discovered&mdash;that of Maria
+Marten, by William Corder, in the Red Barn, at Polstead, in the county of
+Suffolk. The circumstances that led to the discovery of this most
+atrocious murder were of an extraordinary and romantic nature, and
+manifest an almost special interposition of Providence in marking out the
+offender. As the mother of the girl had on three several nights dreamt
+that her daughter was murdered and buried in Corder&#8217;s Red Barn, and as
+this proved to be the case, an additional &#8220;charm&#8221; was given to the
+circumstance. Hence the &#8220;Catnach Press&#8221; was again set working both day and
+night to meet the great demand for the &#8220;Full Particulars.&#8221; In due course
+came the gratifying announcement of the apprehension of the murderer! and
+the sale continued unabatingly, in both town and country, every &#8220;Flying
+Stationer&#8221; making great profits by the sale.</p>
+
+<p><span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p>
+<div class="figcenter"><img src="images/img121.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Likeness of William Corder.</span></p>
+
+<p>The trial of Corder took place at Bury St. Edmonds, on the 7th of August,
+1828, before the Lord Chief Baron (Anderson). The prisoner pleaded &#8220;<i>Not
+Guilty</i>,&#8221; and the trial proceeded. On being called on for his defence,
+Corder read a manuscript paper. He declared that he deeply deplored the
+death of the unfortunate deceased, and he urged the jury to dismiss from
+their minds all that prejudice which must necessarily have been excited
+against him by the public press, &amp;c. Having concluded his address, the
+Lord Chief Baron summed up, and a verdict of &#8220;<i>Guilty</i>&#8221; was returned. The
+Last Dying Speech and confession had an enormous sale&mdash;estimated at
+1,166,000, a <i>fac-simile</i> copy of which, with the &#8220;Lamentable Verses,&#8221;
+said to have been written by Old Jemmy Catnach, will be found on the
+opposite page.</p>
+
+<div class="blockquot">
+<p>&nbsp;<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span></p>
+<p class="center"><span class="large">CONFESSION AND EXECUTION OF</span><br />
+<img src="images/img122.jpg" alt="WILLIAM CORDER," /><br />
+<span class="large">THE MURDERER OF MARIA MARTEN.</span></p>
+
+<p>Since the tragical affair between Thurtell and Weare, no event has
+occurred connected with the criminal annals of our country which has
+excited so much interest as the trial of Corder, who was justly
+convicted of the murder of Maria Marten on Friday last.</p>
+
+
+<p class="center"><br />THE CONFESSION.</p>
+
+<p class="right">&#8220;Bury Gaol, August 10th, 1828.&mdash;Condemned cell.<br />
+<span style="padding-right: 2em;">&#8220;Sunday evening, half-past Eleven.</span></p>
+
+<p>&#8220;I acknowledge being guilty of the death of poor Maria Marten, by
+shooting her with a pistol. The particulars are as follows:&mdash;When we
+left her father&#8217;s house, we began quarrelling about the burial of the
+child: she apprehended the place wherein it was deposited would be
+found out. The quarrel continued about three quarters of an hour upon
+this sad and about other subjects. A scuffle ensued, and during the
+scuffle, and at the time I think that she had hold of me, I took the
+pistol from the side pocket of my velveteen jacket and fired. She
+fell, and died in an instant. I never saw her even struggle. I was
+overwhelmed with agitation and dismay:&mdash;the body fell near the front
+doors on the floor of the barn. A vast quantity of blood issued from
+the wound, and ran on to the floor and through the crevices. Having
+determined to bury the body in the barn (about two hours after she was
+dead). I went and borrowed a spade of Mrs Stow, but before I went
+there I dragged the body from the barn into the chaff-house, and
+locked the barn. I returned again to the barn, and began to dig a
+hole, but the spade being a bad one, and the earth firm and hard, I
+was obliged to go home for a pickaxe and a better spade, with which I
+dug the hole, and then buried the body. I think I dragged the body by
+the handkerchief that was tied round her neck. It was dark when I
+finished covering up the body. I went the next day, and washed the
+blood from off the barn-floor. I declare to Almighty God I had no
+sharp instrument about me, and no other wound but the one made by the
+pistol was inflicted by me. I have been guilty of great idleness, and
+at times led a dissolute life, but I hope through the mercy of God to
+be forgiven. <span class="smcap">William Corder.</span>&#8221;</p>
+
+<p>Witness to the signing by the said William Corder,</p>
+
+<p><span style="margin-left: 4em;"><span class="smcap">John Orridge</span>.</span></p>
+
+
+<p class="right">Condemned cell, Eleven o&#8217;clock, Monday morning,<br />
+<span style="padding-right: 4em;">August 11th, 1828.</span></p>
+
+<p>The above confession was read over carefully to the prisoner in our
+presence, who stated most solemnly it was true, and that he had
+nothing to add to or retract from it.&mdash;<span class="smcap">W. Stocking</span>, chaplain; <span class="smcap">Timothy
+R. Holmes</span>, Under-Sheriff.</p>
+
+
+<p class="center"><br />THE EXECUTION.</p>
+
+<p>At ten minutes before twelve o&#8217;clock the prisoner was brought from his
+cell and pinioned by the hangman, who was brought from London for the
+purpose. He appeared resigned, but was so weak as to be unable to
+stand without support; when his cravat was removed he groaned heavily,
+and appeared to be labouring under great mental agony. When his wrists
+and arms were made fast, he was led round twards the scaffold, and as
+he paused the different yards in which the prisoners were confined, he
+shook hands with them, and speaking to two of them by name, he said,
+&#8220;Good bye, God bless you.&#8221; They appeared considerably affected by the
+wretched appearance which he made, and &#8220;God bless you!&#8221; &#8220;May God
+receive your soul!&#8221; were frequently uttered as he passed along. The
+chaplain walked before the prisoner, reading the usual Burial Service,
+and the Governor and Officers walking immediately after him. The
+prisoner was supported to the steps which led to the scaffold; he
+looked somewhat wildly around, and a constable was obliged to support
+him while the hangman was adjusting the fatal cord. There was a
+barrier to keep off the crowd, amounting to upwards of 7,000 persons,
+who at the time had stationed themselves in the adjoining fields, on
+the hedges, the tops of houses, and at every point from which a view
+of the execution could be best obtained. The prisoner, a few moments
+before the drop fell, groaned heavily, and would have fallen, had not
+a second constable caught hold of him. Everything having been made
+ready, the signal was given, the fatal drop fell, and the unfortunate
+man was launched into eternity. Just before he was turned off, he said
+in a feeble tone, &#8220;I am justly sentenced, and may God forgive me.&#8221;</p>
+
+
+<p class="center"><br /><strong>The Murder of Maria Marten.</strong></p>
+<p class="center">BY W. CORDER</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come all you thoughtless young men, a warning take by me,<br />
+And think upon my unhappy fate to be hanged upon a tree;<br />
+My name is William Corder, to you I do declare,<br />
+I courted Maria Marten, most beautiful and fair.<br />
+<br />
+I promised I would marry her upon a certain day.<br />
+Instead of that, I was resolved to take her life away.<br />
+I went into her father&#8217;s house the 18th day of May,<br />
+Saying, my dear Maria, we will fix the wedding day.<br />
+<br />
+If you will meet me at the Red-barn, as sure as I have life,<br />
+I will take you to Ipswich town, and there make you my wife;<br />
+I then went home and fetched my gun, my pickaxe and my spade,<br />
+I went into the Red-barn, and there I dug her grave.<br />
+<br />
+With heart so light, she thought no harm, to meet him she did go<br />
+He murdered her all in the barn, and laid her body low;<br />
+After the horrible deed was done, she lay weltering in her gore,<br />
+Her bleeding mangled body he buried beneath the Red-barn floor.<br />
+<br />
+Now all things being silent, her spirit could not rest,<br />
+She appeared unto her mother, who suckled her at her breast,<br />
+For many a long month or more, her mind being sore oppress&#8217;d,<br />
+Neither night or day she could not take any rest.<br />
+<br />
+Her mother&#8217;s mind being so disturbed, she dreamt three nights o&#8217;er,<br />
+Her daughter she lay murdered beneath the Red-barn floor;<br />
+She sent the father to the barn, when he the ground did thrust,<br />
+And there he found his daughter mingling with the dust.<br />
+<br />
+My trial is hard, I could not stand, most woeful was the sight,<br />
+When her jaw-bone was brought to prove, which pierced my heart quite;<br />
+Her aged father standing by, likewise his loving wife,<br />
+And in her grief her hair she tore, she scarcely could keep life.<br />
+<br />
+Adieu, adieu, my loving friends, my glass is almost run,<br />
+On Monday next will be my last, when I am to be hang&#8217;d,<br />
+So you, young men, who do pass by, with pity look on me,<br />
+For murdering Maria Marten, I was hang&#8217;d upon the tree.</td></tr></table>
+
+<p class="center">Printed by J. Catnach, 2 and 3, Monmouth Court.&mdash;Cards, &amp;c., Printed Cheap.</p></div>
+
+<div class="blockquot">
+<p>&nbsp;<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span></p>
+<p class="center"><span class="large">LIFE, TRIAL, CONFESSION, &amp; EXECUTION</span><br />
+<small>OF</small><br />
+<img src="images/img123a.jpg" alt="JAMES GREENACRE," /><br />
+<small>FOR THE</small><br />
+<span class="large">EDGEWARE ROAD MURDER.</span></p>
+
+<div class="figcenter"><img src="images/img123b.jpg" alt="" /></div>
+
+<p>On the 22nd of April, James Greenacre was found guilty of the wilful
+murder of Hannah Brown, and Sarah Gale with being accessary after the
+fact. A long and connected chain of evidence was produced, which
+showed, that the sack in which the body was found was the property of
+Mr. Ward; that is was usually deposited in a part of the premises
+which led to the workshop, and could without observation have been
+carried away by him; that the said sack contained several fragments of
+shavings of mahogany, such as were made in the course of business by
+Ward; and that it contained some pieces of linen cloth, which had been
+patched with nankeen; that this linen cloth matched exactly with a
+frock which was found on Greenacre&#8217;s premises, and which belonged to
+the female prisoner. Feltham, a police-officer, deposed, that on the
+26th of March he apprehended the prisoners at the lodgings of
+Greenacre; that on searching the trowsers pockets of that person, he
+took therefrom a pawnbroker&#8217;s duplicate for two silk gowns, and from
+the fingers of the female prisoner two rings, and also a similar
+duplicate for two veils, and an old-fashioned silver watch, which she
+was endeavouring to conceal; and it was further proved that these
+articles were pledged by the prisoners, and that they had been the
+property of the deceased woman.&mdash;Two surgeons were examined, whose
+evidence was most important, and whose depositions were of the
+greatest consequence in throwing a clear light on the manner in which
+the female, Hannah Brown, met with her death. Mr. Birtwhistle deposed,
+that he had carefully examined the head; that the right eye had been
+knocked out by a blow inflicted while the person was living; there was
+also a cut on the cheek, and the jaw was fractured, these two last
+wounds were, in his opinion, produced after death; there was also a
+bruise on the head, which had occurred after death; the head had been
+separated by cutting, and the bone sawed nearly <i>through</i>, and then
+broken off; there were the marks of a saw, which fitted with a saw
+which was found in Greenacre&#8217;s box. Mr. Girdwood, a surgeon, very
+minutely and skilfully described the appearances presented on the
+head, and showed incontestibly, that the head had been severed from
+the body <i>while the person was yet alive</i>; that this was proved by the
+retraction, or drawing back, of the muscles at the parts where they
+were separated by the knife, and further, by the blood-vessels being
+empty, the body was drained of blood. This part of the evidence
+produced a thrill of horror throughout the court, but Greenacre
+remained quite unmoved.</p>
+
+<p>After a most impressive and impartial summing up by the learned Judge,
+the jury retired, and, after the absence of a quarter of an hour,
+returned into court, and pronounced a verdict of &#8220;Guilty&#8221; against both
+the prisoners.</p>
+
+<p>The prisoners heard the verdict without evincing the least emotion, or
+the slightest change of countenance. After an awful silence of a few
+minutes, the Lord Chief Justice said they might retire, as they would
+be remanded until the end of the session.</p>
+
+<p>They were then conducted from the bar, and on going down the steps,
+the unfortunate female prisoner kissed Greenacre with every mark of
+tenderness and affection.</p>
+
+<p>The crowd outside the court on this day was even greater than on
+either of the preceding; and when the result of the trial was made
+known in the street, a sudden and general shout succeeded, and
+continued huzzas were heard for several minutes.</p>
+
+
+<p class="center"><br />THE EXECUTION.</p>
+
+<p>At half past seven the sheriff arrived in his carriage, and in a short
+time the press-yard was thronged with gentlemen who had been admitted
+by tickets. The unhappy convict was now led from his cell. When he
+arrived in the press-yard, his whole appearance pourtrayed the utmost
+misery and spirit-broken dejection; his countenance haggard, and his
+whole frame agitated; all that self-possession and fortitude which he
+displayed in the early part of his imprisonment, had utterly forsaken
+him, and had left him a victim of hopelessness and despair. He
+requested the executioner to give him as little pain as possible in
+the process of pinioning his arms and wrists; he uttered not a word in
+allusion to his crime; neither did he make any dying request, except
+that his spectacles might be given to Sarah Gale; he exhibited no sign
+of hope; he showed no symptom of reconciliation with his offended God!
+When the venerable ordinary preceded him in the solemn procession
+through the vaulted passage to the fatal drop, he was so overcome and
+unmanned, that he could not support himself without the aid of the
+assistant executioner. At the moment he ascended the faithless floor,
+from which he was to be launched into eternity, the most terrific
+yells, groans, and cheers were vociferated by the immense multitude
+surrounding the place of execution. Greenacre bowed to the sheriff,
+and begged he might not be allowed to remain long in the concourse;
+and almost immediately the fatal bolt was withdrawn, and, without a
+struggle, he became a lifeless corse.&mdash;Thus ended the days of
+Greenacre, a man endowed with more than ordinary talents, respectably
+connected, and desirably placed in society; but a want of probity, an
+absolute dearth of principle, led him on from one crime to another,
+until at length he perpetrated the sanguinary deed which brought his
+career to an awful and disgraceful period, and which has enrolled his
+name among the most notorious of those who have expiated their crime
+on the gallows.</p>
+
+<p>On hearing the death-bell toll, Gale became dreadfully agitated; and
+when she heard the brutal shouts of the crowd of spectators, she
+fainted, and remained in a state of alternate mental agony and
+insensibility throughout the whole day.</p>
+
+<p>After having been suspended the usual time, his body was cut down, and
+buried in a hole dug in one of the passages of the prison, near the
+spot where Thistlewood and his associates were deposited.</p>
+
+<p class="center">J. Catnach, Printer, 2 and 3, Monmouth Court.</p></div>
+
+<p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span>The following is a fac-simile of the &#8220;Execution Paper,&#8221; from the press of
+Paul and Co.,&mdash;successors of Catnach.</p>
+
+<div class="blockquot">
+<p class="center"><span class="large">TRIAL, SENTENCE, CONFESSION, &amp; EXECUTION</span><br />
+<small>OF</small><br />
+<img src="images/img124.jpg" alt="F. B. COURVOISIER," /><br />
+<small>FOR THE</small><br />
+<span class="large">Murder of Lord Wm. Russell.</span></p>
+
+
+<p class="center"><br />THE VERDICT.</p>
+
+<p class="right">Old Bailey, Saturday Evening,<br />
+<span style="padding-right: 2em;"><i>June 20th, 1840</i>.</span></p>
+
+<p>After the jury had been absent for an hour and twenty minutes, they
+returned into court, and the prisoner was again placed at the bar.</p>
+
+<p>The names of the jury were then called over, and the clerk of the
+court said&mdash;&#8220;How say you, gentlemen, have you agreed on your verdict?
+Do you find the prisoner Guilty or Not Guilty of the felony of murder
+with which he stands charged?&#8221;</p>
+
+<p>The foreman of the jury, in a low voice, said&mdash;&#8220;We find him GUILTY!&#8221;</p>
+
+<p>The Clerk of the Court then said: Fran&ccedil;ois Benjamin Courvoisier, you
+have been found Guilty of the wilful murder of William Russell, Esq.,
+commonly called Lord William Russell; what have you to say why the
+court should not give you sentence to die according to law?</p>
+
+<p>The prisoner made no reply. The usual proclamation for silence was
+then made.</p>
+
+
+<p class="center"><br />SENTENCE.</p>
+
+<p>The <span class="smcap">Lord Chief Justice Tindal</span>, having put on the black cap, said:
+Fran&ccedil;ois Benjamin Courvoisier, you have been found guilty by an
+intelligent, patient, and impartial jury of the crime of wilful
+murder. That crime has been established against you, not indeed by the
+testimony of eye-witnesses as to the fact, but by a chain of
+circumstances no less unerring, which have left no doubt of your guilt
+in the minds of the jury, and all those who heard the trial. It is
+ordained by divine authority that the murderer shall not escape
+justice, and this ordination has been exemplified in your case, in the
+course of this trial, by the disclosure of evidence which has brought
+the facts to bear against you in a conclusive manner. The murder,
+although committed in the dark and silent hour of night, has
+nevertheless been brought clearly to light by Divine interposition.
+The precise motive which induced you to commit this guilty act can
+only be known to your own conscience; but it now only remains for me
+to recommend you most earnestly to employ the short time you have to
+live in prayer and repentance, and in endeavouring to make your peace
+with that Almighty Being whose law you have broken, and before whom
+you must shortly appear. The Learned Judge then passed sentence on the
+prisoner in the usual form.</p>
+
+<p>The court was very much crowded to the last.</p>
+
+
+<p class="center"><br />THE CONFESSION OF THE CONVICT.</p>
+
+<p>After the Learned Judge had passed sentence on the convict, he was
+removed from the bar, and immediately made a full confession of his guilt.</p>
+
+
+<p class="center"><br />THE EXECUTION.</p>
+
+<p>At eight o&#8217;clock this morning, Courvoisier ascended the steps leading
+to the gallows, and advanced, without looking round him, to the centre
+of the platform, followed by the executioner and the ordinary of the
+prison, the Rev. Mr Carver. On his appearance a few yells of
+execration escaped from a portion of the crowd, but the general body
+of the people, great as must have been their abhorrence of his
+atrocious crime, remained silent spectators of the scene which was
+passing before their eyes. The prisoner&#8217;s manner was marked by an
+extraordinary appearance of firmness. His step was steady and
+collected, and his movements free from the slightest agitation or
+indecision. His countenance indeed was pale, and bore the trace of
+much dejection, but it was at the same time calm and unmoved. While
+the executioner was placing him on the drop he slightly moved his
+hands (which were tied in front of him, and strongly clasped one
+within the other) up and down two or three times, and this was the
+only visible symptom of any emotion or mental anguish which the
+wretched man endured. His face was then covered with the cap, fitting
+so closely as not to conceal the outlines of his countenance, the
+noose was then adjusted. During this operation he lifted up his head
+and raised his hands to his breast, as if in the action of fervent
+prayer. In a moment the fatal bolt was withdrawn, the drop fell, and
+in this attitude the murderer perished. He died without any violent
+struggle. In two minutes after he had fallen his legs were twice
+slightly convulsed, but no further motion was observable, excepting
+that his raised arms, gradually losing their vitality, sank down from
+their own lifeless weight.</p>
+
+<p>After hanging one hour, the body was cut down and removed within the
+prison.</p>
+
+
+<p class="center"><br />AFFECTING COPY OF VERSES.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Attention give, both old and young,<br />
+Of high and low degree,<br />
+Think while this mournful tale is sung,<br />
+Of my sad misery.<br />
+I&#8217;ve slain a master good and kind,<br />
+To me has been a friend,<br />
+For which I must my life resign,<br />
+My time is near an end.<br />
+<br />
+Oh hark! what means that dreadful sound?<br />
+It sinks deep in my soul;<br />
+It is the bell that sounds my knell,<br />
+How solemn is the toll.<br />
+See thousands are assembled<br />
+Around the fatal place,<br />
+To gaze on my approaching,<br />
+And witness my disgrace.<br />
+<br />
+There many sympathising hearts,<br />
+Who feel another&#8217;s woe,<br />
+Even now appears in sorrow,<br />
+For my sad overthrow.<br />
+Think of the aged man I slew,<br />
+Then pity&#8217;s at an end,<br />
+I robb&#8217;d him of property and life,<br />
+And the poor man of a friend.<br />
+<br />
+Let pilfering passions not intrude,<br />
+For to lead you astray,<br />
+From step to step it will delude,<br />
+And bring you to dismay.<br />
+Think of the wretched Courvoisier,<br />
+Who thus dies on a tree,<br />
+A death of shame, I&#8217;ve nought to blame,<br />
+But my own dishonesty.<br />
+<br />
+Mercy on earth I&#8217;ll not implore,<br />
+To crave it would be vain,<br />
+My hands are dyed with human gore,<br />
+None can wash off the stain.<br />
+But the merits of a Saviour,<br />
+Whose mercy alone I crave;<br />
+Good Christians pray, as thus I die,<br />
+I may his pardon have.</td></tr></table>
+
+<p class="center">Paul &amp; Co., Printers, 2, 3, Monmouth Court, Seven Dials.</p></div>
+
+<p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span>But the gallows was not always a fruit-bearing tree, and a &#8220;stunning good
+murder&#8221; did not happen every day. Nevertheless the street patterer must
+live, and lest the increase of public virtue should condemn him to
+starvation, the &#8220;Seven Dials Press,&#8221; stepped forward to his aid, and
+considerately supplied him with a species of street-literature well known
+to the trade as &#8220;Cocks,&#8221; and which are defined in &#8220;Hotton&#8217;s Slang
+Dictionary&#8221; thus:&mdash;</p>
+
+<div class="blockquot"><p><span class="smcap">Cocks</span>, fictitious narratives, in verse or prose, of murders, fires and
+terrible accidents, sold in the streets as true accounts. The man who
+hawks them, a patterer, often changes the scene of the awful event to
+suit the taste of the neighbourhood he is trying to delude. Possibly a
+corruption of <i>cook</i>&mdash;a cooked statement, or may be &#8220;the story of a
+cock and bull&#8221; may have had something to do with the term.
+Improvements in newspapers, especially in those published in the
+evening, and increased scepticism on the part of the public have
+destroyed this branch of a once-flourishing business.</p></div>
+
+<p>The late Mr. Albert Smith, the humourist and novelist, has very happily
+hit off this style of thing in &#8220;The Man in the Moon,&#8221; one of the many
+rivals to &#8220;Punch,&#8221; and edited by that very promising son of genius, the
+late Angus B. Reach, 1832-56. It is entitled&mdash;</p>
+
+<p class="center">A COPY OF VERSES</p>
+
+<p><i>Found among the Papers of Mr. Catnach, the spirited Publisher of Seven
+Dials; originally intended to have been &#8220;printed and published at the Toy
+and Marble Warehouse, 2 and 3, Monmouth Court, Seven Dials.&#8221;</i></p>
+
+<p class="center">DEDICATED TO THE AUTHOR OF &#8220;LUCRETIA.&#8221;</p>
+
+<p class="center">I.</p>
+<p class="center"><i>The Hero claims the attention of virtuous persons, and leads them to anticipate a painful disclosure.</i></p>
+<p class="center"><img src="images/img125.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Draw hither now good people all<br />
+<span style="margin-left: 1em;">And let my story warn,</span><br />
+For I will tell to you a tale,<br />
+<span style="margin-left: 1em;">What will wrend them breasts of yourn.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span></p>
+<p class="center"><br />II.</p>
+<p class="center"><i>He names the place and hour of the disgraceful penalty he is about to undergo.</i></p>
+<p class="center"><img src="images/img126a.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>I am condemn&#8217;d all for to die<br />
+<span style="margin-left: 1em;">A death of scorn and horror;</span><br />
+In front of Horsemonger-lane Gaol,<br />
+<span style="margin-left: 1em;">At eight o&#8217;clock to-morrer.</span></td></tr></table>
+
+<p class="center"><br />III.</p>
+<p class="center"><i>He hints at his atrocity; and the ebullition produced by the mere recollection of it.</i></p>
+<p class="center"><img src="images/img126b.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>The crime of which I was found guilty,<br />
+<span style="margin-left: 1em;">Oh! it was shocking vile;</span><br />
+The very thoughts of the cruel deed<br />
+<span style="margin-left: 1em;">Now makes my blood to bile.</span></td></tr></table>
+
+<p class="center"><br />IV.</p>
+<p class="center"><i>He speaks of the happy hours of Childhood, never more to return.</i></p>
+<p class="center"><img src="images/img126c.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>In Somersetshire I was born&#8217;d,<br />
+<span style="margin-left: 1em;">And my little sister dear</span><br />
+Didn&#8217;t think then that my sad end<br />
+<span style="margin-left: 1em;">Would be like unto this here.</span><br /></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span></p>
+
+<p class="center"><br />V.</p>
+<p class="center"><i>The revelation of his name and profession; and subsequent avowal of his guilt.</i></p>
+<p class="center"><img src="images/img127a.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>James Guffin is my hated name,<br />
+<span style="margin-left: 1em;">And a footman I&#8217;m by trade;</span><br />
+And I do confess that I did slay<br />
+<span style="margin-left: 1em;">My poor fellow-servant maid.</span></td></tr></table>
+
+<p class="center"><br />VI.</p>
+<p class="center"><i>He acknowledges the justice of his sentence.</i></p>
+<p class="center"><img src="images/img127b.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>And well I do deserve, I own,<br />
+<span style="margin-left: 1em;">My fate which is so bitter:</span><br />
+For &#8217;twas most wicked for to kill<br />
+<span style="margin-left: 1em;">So innicent a critter.</span></td></tr></table>
+
+<p class="center"><br />VII.</p>
+<p class="center"><i>And pictures what might have taken place but for the interference of Destiny.</i></p>
+<p class="center"><img src="images/img127c.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Her maiden name was Sarey Leigh,<br />
+<span style="margin-left: 1em;">And was to have been Guffin;</span><br />
+For we was to have been marri-ed,<br />
+<span style="margin-left: 1em;">But Fate brought that to nuffin.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span></p>
+
+<p class="center"><br />VIII.</p>
+<p class="center"><i>He is particular as to the date of the occurrence.</i></p>
+<p class="center"><img src="images/img128a.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>All on a Wednesday afternoon,<br />
+<span style="margin-left: 1em;">On the ninth of Janivary,</span><br />
+Eighteen hundred and forty-four,<br />
+<span style="margin-left: 1em;">Oh! I did kill my Sarey.</span></td></tr></table>
+
+<p class="center"><br />IX.</p>
+<p class="center"><i>And narrates the means employed, and the circumstances which led him to destroy his betrothed.</i></p>
+<p class="center"><img src="images/img128b.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>With arsenic her I did destroy,<br />
+<span style="margin-left: 1em;">How could I be so vicious!</span><br />
+But of my young master I was jealous,<br />
+<span style="margin-left: 1em;">And so was my old Missus.</span></td></tr></table>
+
+<p class="center"><br />X.</p>
+<p class="center"><i>He is led away by bad passions.</i></p>
+<p class="center"><img src="images/img128c.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>I thought Sarey Leigh warn&#8217;t true to me,<br />
+<span style="margin-left: 1em;">So all pity then despising,</span><br />
+Sure I was tempted by the Devil<br />
+<span style="margin-left: 1em;">To give to her some p&#8217;ison.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span></p>
+
+<p class="center"><br />XI.</p>
+<p class="center"><i>His bosom is torn by conflicting resolutions; but he is at last decided.</i></p>
+<p class="center"><img src="images/img129a.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Long&mdash;long I brooded on the deed,<br />
+<span style="margin-left: 1em;">&#8217;Til one morning of a sudden,</span><br />
+I did determine for to put<br />
+<span style="margin-left: 1em;">It in a beef-steak puddin.</span></td></tr></table>
+
+<p class="center"><br />XII.</p>
+<p class="center"><i>The victim falls into the snare.</i></p>
+<p class="center"><img src="images/img129b.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Of the fatal pudding she did partake,<br />
+<span style="margin-left: 1em;">Most fearful for to see,</span><br />
+And an hour arter was to it a martyr,<br />
+<span style="margin-left: 1em;">Launch&#8217;d into eternity.</span></td></tr></table>
+
+<p class="center"><br />XIII.</p>
+<p class="center"><i>He feels that his perception comes too late.</i></p>
+<p class="center"><img src="images/img129c.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Ah! had I then but viewed things in<br />
+<span style="margin-left: 1em;">The light that I now does &#8217;em,</span><br />
+I never should have know&#8217;d the grief<br />
+<span style="margin-left: 1em;">As burns in this here buzum.</span></td></tr></table>
+
+
+<p><span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span></p>
+<p class="center"><br />XIV.</p>
+<p class="center"><i>He commits his secret to the earth.</i></p>
+<p class="center"><img src="images/img130a.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>So when I seed what I had done,<br />
+<span style="margin-left: 1em;">In hopes of justice retarding,</span><br />
+I took and buried poor Sarey Leigh<br />
+<span style="margin-left: 1em;">Out in the kitching garding.</span></td></tr></table>
+
+<p class="center"><br />XV.</p>
+<p class="center"><i>But the earth refuses to keep it.</i></p>
+<p class="center"><img src="images/img130b.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>But it did haunt me, so I felt<br />
+<span style="margin-left: 1em;">As of a load deliver&#8217;d,</span><br />
+When three weeks after the fatal deed,<br />
+<span style="margin-left: 1em;">The body was diskiver&#8217;d.</span></td></tr></table>
+
+<p class="center"><br />XVI.</p>
+<p class="center"><i>Remorse and self examination.</i></p>
+<p class="center"><img src="images/img130c.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>O! why did I form of Sarey Leigh<br />
+<span style="margin-left: 1em;">Such cruel unjust opinions,</span><br />
+When my young master did her find<br />
+<span style="margin-left: 1em;">Beneath the bed of inions.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span></p>
+
+<p class="center"><br />XVII.</p>
+<p class="center"><i>His countrymen form a just estimate of his delinquency.</i></p>
+<p class="center"><img src="images/img131a.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Afore twelve jurymen I was tried,<br />
+<span style="margin-left: 1em;">And condemned the perpetrator</span><br />
+Of this here awful Tragedy,<br />
+<span style="margin-left: 1em;">As shocks one&#8217;s human natur.</span></td></tr></table>
+
+<p class="center"><br />XVIII.</p>
+<p class="center"><i>He conjures up a painful image.</i></p>
+<p class="center"><img src="images/img131b.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>But the bell is tolling for my end;<br />
+<span style="margin-left: 1em;">How shocking for to see</span><br />
+A footman gay, in the prime of life,<br />
+<span style="margin-left: 1em;">Die on the fatal tree.</span></td></tr></table>
+
+<p class="center"><br />XIX.</p>
+<p class="center"><i>His last words convey a moral lesson.</i></p>
+<p class="center"><img src="images/img131c.jpg" alt="" /></p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><span class="smcap">The Moral!!!</span></td></tr>
+<tr><td>Take warning, then, all ye as would<br />
+<span style="margin-left: 1em;">Not die like malefactors;</span><br />
+Never the company for to keep<br />
+<span style="margin-left: 1em;">Of them with bad characters.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span></p>
+<p class="center"><img src="images/img132a.jpg" alt="J. CATNACH, PRINTER AND PUBLISHER." /></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Little Boys and Girls will find<br />
+At <span class="smcap">Catnach&#8217;s</span> something to their mind;<br />
+From great variety may choose,<br />
+What will instruct them and amuse.<br />
+The prettiest plates that you can find,<br />
+To please at once the eye and mind.</td></tr></table>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img132b.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p>One class of literature which the late Jemmy Catnach made almost his own,
+was children&#8217;s farthing and halfpenny books. Among the great many that he
+published we select, from our own private collection, the following as a
+fair sample:&mdash;&#8220;The Tragical Death of an Apple Pie,&#8221; &#8220;The House that Jack
+Built,&#8221; &#8220;Jumping Joan,&#8221; &#8220;The Butterflies Ball and Grasshoppers&#8217; Feast,&#8221;
+&#8220;Jerry Diddle and his Fiddle,&#8221; &#8220;Nurse Love-Child&#8217;s Gift,&#8221; &#8220;The Death and
+Burial of Cock Robin,&#8221; &#8220;The Cries of London,&#8221; &#8220;Simple Simon,&#8221; &#8220;Jacky
+Jingle and Suky Shingle,&#8221; and&mdash;&#8220;Here you have just prin&mdash;ted and
+pub&mdash;lish&mdash;ed, and a&mdash;dor&mdash;ned with eight beau&mdash;ti&mdash;ful and ele&mdash;gantly
+engraved embellish&mdash;ments, and for the low charge of one <i>farden</i>&mdash;Yes!
+one <i>farden</i> buys.&#8221;</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span></p>
+
+<p class="center">NURSERY RHYMES.</p>
+
+<div class="figcenter"><img src="images/img133a.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>See-saw, sacradown,<br />
+Which is the way to London town?<br />
+One foot up, and the other down,<br />
+And that is the way to London town.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img133b.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hey diddle, the cat and the fiddle,<br />
+The cow jumped over the moon,<br />
+The little dog laughed to see the sport,<br />
+And the dish ran away with the spoon.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Ding, dong bell!<br />
+Pussy&#8217;s in the well.<br />
+Who put her in?<br />
+Little Johnny Green.<br />
+Who pulled her out?<br />
+Little Johnny Snout.<br />
+What a naughty boy was that,<br />
+To drown poor pussy cat,<br />
+Who never did him any harm,<br />
+And kill&#8217;d the mice in his father&#8217;s barn.</td></tr></table>
+
+<div class="figcenter"><img src="images/img133c.jpg" alt="" /></div>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Jack and Jill went up the hill,<br />
+<span style="margin-left: 1em;">To get a pail of water;</span><br />
+Jack fell down and broke his crown,<br />
+<span style="margin-left: 1em;">And Jill came tumbling after.</span></td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img133d.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Cock a doodle do,<br />
+The dame has lost her shoe,<br />
+And master&#8217;s lost his fiddle stick<br />
+And don&#8217;t know what to do.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>I had a little husband,<br />
+<span style="margin-left: 1em;">No bigger than my thumb.</span><br />
+I put him in a quart pot,<br />
+<span style="margin-left: 1em;">And there I bid him drum.</span></td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img134a.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Who&#8217;s there? A Grenadier!<br />
+What do you want? A pot of beer.<br />
+Where&#8217;s your money? Oh, I forgot,<br />
+Then get you gone, you drunken sot.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img134b.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hush-a-bye, baby, on the tree top,<br />
+When the wind blows the cradle will rock,<br />
+When the bough breaks the cradle will fall,<br />
+Down comes the baby, cradle and all.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img134c.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>There was an old woman that lived in a shoe,<br />
+She had so many children she knew not what to do;<br />
+She gave them some broth without any bread,<br />
+Then she beat them all well, and sent them to bed.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img134d.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>My mother and your mother<br />
+<span style="margin-left: 2em;">Went over the way;</span><br />
+Said my mother to your mother,<br />
+<span style="margin-left: 2em;">It&#8217;s chop-a-nose day!</span></td></tr></table>
+
+<p class="center">J. Catnach, Printer, 2, Monmouth Court, 7 Dials.</p>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span></p>
+
+
+<p class="center">THE CRIES OF LONDON.</p>
+
+<div class="figcenter"><img src="images/img135a.jpg" alt="" /></div>
+
+<p class="center"><i>Cherries.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here&#8217;s round and sound,<br />
+Black and white heart cherries,<br />
+Two-pence a pound.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img135b.jpg" alt="" /></div>
+
+<p class="center"><i>Oranges.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 2em;">Here&#8217;s oranges nice,</span><br />
+<span style="margin-left: 2em;">At a very small price,</span><br />
+I sell them all two for a penny.<br />
+<span style="margin-left: 2em;">Ripe, juicy, and sweet,</span><br />
+<span style="margin-left: 2em;">Just fit for to eat,</span><br />
+So customers buy a good many.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img135c.jpg" alt="" /></div>
+
+<p class="center"><i>Milk below.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Rain, frost, or snow, or hot or cold,<br />
+<span style="margin-left: 1em;">I travel up and down,</span><br />
+The cream and milk you buy of me<br />
+<span style="margin-left: 1em;">Is best in all the town.</span><br />
+For custards, puddings, or for tea,<br />
+<span style="margin-left: 1em;">There&#8217;s none like those you buy of me.</span></td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img135d.jpg" alt="" /></div>
+
+<p class="center"><i>Crumpling Codlings.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come buy my Crumpling Codlings,<br />
+<span style="margin-left: 1em;">Buy all my Crumplings.</span><br />
+Some of them you may eat raw,<br />
+<span style="margin-left: 1em;">Of the rest make dumplings,</span><br />
+Or pies, or puddings, which you please.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span></p>
+
+<div class="figcenter"><img src="images/img136a.jpg" alt="" /></div>
+
+<p class="center"><i>Filberts.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come buy my filberts ripe and brown,<br />
+They are the best in all the town,<br />
+I sell them for a groat a pound,<br />
+And warrant them all good and sound,<br />
+You&#8217;re welcome for to crack and try,<br />
+They are so good, I&#8217;m sure you&#8217;ll buy.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img136b.jpg" alt="" /></div>
+
+<p class="center"><i>Clothes Pegs, Props, or Lines.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come, maids, and buy my pegs and props,<br />
+<span style="margin-left: 1em;">Or lines to dry your clothes,</span><br />
+And when they are dry they&#8217;ll smell as sweet<br />
+<span style="margin-left: 1em;">As any damask rose.</span><br />
+Come buy and save your clothes from dirt,<br />
+They&#8217;ll save you washing many a shirt.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img136c.jpg" alt="" /></div>
+
+<p class="center"><i>Sweep.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Sweep, chimney sweep,<br />
+Is the common cry I keep,<br />
+<span style="margin-left: 2em;">If you rightly understand me;</span><br />
+With my brush, broom, and my rake,<br />
+Such cleanly work I make,<br />
+<span style="margin-left: 2em;">There&#8217;s few can go beyond me.</span></td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img136d.jpg" alt="" /></div>
+
+<p class="center"><i>Peas and Beans.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Four pence a peck, green Hastings!<br />
+<span style="margin-left: 1em;">And fine garden beans.</span><br />
+They are all morning gathered,<br />
+<span style="margin-left: 1em;">Come hither, my queens.</span><br />
+Come buy my Windsor beans and peas,<br />
+You&#8217;ll see no more this year like these.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span></p>
+
+<div class="figcenter"><img src="images/img137a.jpg" alt="" /></div>
+
+<p class="center"><i>Young Lambs to Sell.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Get ready your money and come to me,<br />
+I sell a young lamb for a penny.<br />
+Young lambs to sell! young lambs to sell!<br />
+If I&#8217;d as much money as I could tell,<br />
+I never would cry young lambs to sell.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img137b.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here&#8217;s your toys for girls and boys,<br />
+Only a penny, or a dirty phial or bottle.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img137c.jpg" alt="" /></div>
+
+<p class="center"><i>Strawberries.</i></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Rare ripe strawberries and<br />
+Hautboys, sixpence a pottle.<br />
+Full to the bottom, hautboys.<br />
+Strawberries and Cream are charming and sweet,<br />
+Mix them and try how delightful they eat.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<div class="figcenter"><img src="images/img137d.jpg" alt="" /></div>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>When Good Friday comes,<br />
+The old woman runs<br />
+With Hot Cross Buns,<br />
+One a penny, Buns,<br />
+Two a penny, Buns,<br />
+All Hot Buns.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+
+<p class="center"><span class="smcap">London</span>:<br />
+Printed by J. Catnach, 2, Monmouth<br />
+Court, 7 Dials.</p>
+
+<p><br /><span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span>&#8220;Songs! Songs! Songs! Beautiful songs! Love songs; Newest songs! Old
+songs! Popular songs! Songs, <i>Three Yards a Penny!</i>&#8221; was a &#8220;standing dish&#8221;
+at the &#8220;Catnach Press,&#8221; and Catnach was the Leo X. of street publishers.
+And it is said that he at one time kept a fiddler on the premises, and
+that he used to sit receiving ballad writers and singers, and judging of
+the merits of any production which was brought to him, by having it sung
+then and there to some popular air played by his own fiddler, and so that
+the ballad-singer should be enabled to start at once, not only with the
+new song, but also the tune to which it was adapted. His broad-sheets
+contain all sorts of songs and ballads, for he had a most catholic taste,
+and introduced the custom of taking from any writer, living or dead,
+whatever he fancied, and printing it side by side with the productions of
+his own clients.</p>
+
+<p>Catnach, towards the latter part of his time and in his threefold capacity
+of publisher, compositor, and poet, was in the habit of taking things very
+easy, and always appeared to the best advantage when in his printing
+office, or stationed behind the ricketty counter which for a number of
+years had done good service in the shop in Monmouth-court. In this
+uncongenial atmosphere, where the rays of the sun are seldom or never
+seen, Jemmy was as happy as a prince. &#8220;A poor man&#8217;s home is his castle,&#8221;
+so says an old proverb, and no one could have been prouder than he was
+when despatching to almost every town in the kingdom some specialty in the
+printing department. He naturally had a bit of a taste for old ballads,
+music, and song writing; and in this respect he was far in advance of many
+of his contemporaries. To bring within the reach of all, the standard and
+popular works of the day, had been the ambition<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> of the elder Catnach;
+whilst the son was, <i>nolens volens</i>, incessant in his endeavours in trying
+to promulgate and advance, not the beauty, elegance, and harmony which
+pervades many of our national airs and ballad poety, but very often the
+worst and vilest of each and every description&mdash;in other words, those most
+suitable for street sale. His stock of songs was very like his customers,
+diversified. There were all kinds, to suit all classes. Love, sentimental,
+and comic songs were so interwoven as to form a trio of no ordinary amount
+of novelty. At ordinary times, when the Awfuls and Sensationals were flat,
+Jemmy did a large stroke of business in this line.</p>
+
+<p>It is said that when the &#8220;Songs&mdash;<i>Three-yards-a-penny</i>&#8221;&mdash;first came out
+and had all the attractions of novelty, some men sold twelve or fourteen
+dozen on fine days during three or four of the summer months, so clearing
+between 6s. and 7s. a day, but on the average about 25s. per week profit.
+The &#8220;long songs,&#8221; however, have been quite superseded by the &#8220;Monster&#8221; and
+&#8220;Giant Penny Song Books.&#8221; Still there are a vast number of halfpenny
+ballad-sheets worked off, and in proportion to their size, far more than
+the &#8220;Monsters&#8221; or &#8220;Giants.&#8221; One song book, entitled the &#8220;Little Warbler,&#8221;
+was published in parts, and had an enormous sale.</p>
+
+<p>There are invariably but two songs printed on the half-penny
+ballad-sheets&mdash;generally a new and popular song with another older ditty,
+or a comic and sentimental, and &#8220;adorned&#8221; with two woodcuts. These are
+selected without any regard to their fitness to the subject, and in most
+cases have not the slightest reference to the ballad of which they form
+the headpiece. For instance:&mdash;&#8220;The Heart that can feel for another&#8221; is
+illustrated by a gaunt and savage-looking lion; &#8220;When I was first
+Breeched,&#8221; by an engraving of a Highlander <i>sans culotte</i>;<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span> &#8220;The Poacher&#8221;
+comes under the cut of a youth with a large watering-pot, tending flowers;
+&#8220;Ben Block&#8221; is heralded by the rising sun; &#8220;The London Oyster Girl,&#8221; by
+Sir Walter Raleigh; &#8220;The Sailors Grave,&#8221; by the figure of Justice; &#8220;Alice
+Grey&#8221; comes under the very dilapidated figure of a sailor, or &#8220;Jolly Young
+Waterman;&#8221; &#8220;Bright Hours are in store for us yet&#8221; is <i>headed</i> with a
+<i>tail-piece</i> of an urn, on which is inscribed <span class="smcap">Finis</span>. (?) &#8220;Watercresses,&#8221;
+with the portrait of a Silly Billy; &#8220;The Wild Boar Hunt,&#8221; by two wolves
+chasing a deer; &#8220;The Dying Child to its Mother,&#8221; by an Angel appearing to
+an old man; &#8220;Crazy Jane,&#8221; by the Royal Arms of England; &#8220;Autumn Leaves lie
+strew&#8217;d around,&#8221; by a ship in full sail; &#8220;Cherry Ripe,&#8221; by Death&#8217;s Head
+and Cross Bones; &#8220;Jack at the Windlass,&#8221; falls under a Roadside Inn; while
+&#8220;William Tell&#8221; is presented to the British public in form and style of an
+old woman nursing an infant of a squally nature. Here are a few
+examples:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img138a.jpg" alt="" /><br />The Smuggler King.</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img138b.jpg" alt="" /><br />Let me like a Soldier fall.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img139a.jpg" alt="" /><br />Fair Ph&oelig;be and her Dark-Eyed Sailor.</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img139b.jpg" alt="" /><br />My Pretty Jane.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img139c.jpg" alt="" /><br />The Thorn.</td><td>&nbsp;</td>
+    <td align="center"><img src="images/img139d.jpg" alt="" /><br />The Saucy Arethusa.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img139e.jpg" alt="" /><br />The Gipsy King.</td><td>&nbsp;</td>
+    <td align="center"><img src="images/img139f.jpg" alt="" /><br />Hearts of Oak.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img140a.jpg" alt="" /><br />Harry Bluff.</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img140b.jpg" alt="" /><br />Death of Nelson.</td></tr>
+<tr><td colspan="3" align="center"><img src="images/img140c.jpg" alt="" /><br />John Anderson, my Jo.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img141a.jpg" alt="" /><br />Old English Gentleman.</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img141b.jpg" alt="" /><br />The Bleeding Heart.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img141c.jpg" alt="" /><br />Wapping Old Stairs.</td><td>&nbsp;</td>
+    <td align="center"><img src="images/img141d.jpg" alt="" /><br />Poor Bessy was a Sailor&#8217;s Bride.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img141e.jpg" alt="" /><br />Poor Mary Anne.</td><td>&nbsp;</td>
+    <td align="center"><img src="images/img141f.jpg" alt="" /><br />The Muleteer.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td align="center"><img src="images/img142a.jpg" alt="" /><br />Tom Bowling.</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img142b.jpg" alt="" /><br />Ye Banks an&#8217; Braes.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><img src="images/img142c.jpg" alt="" /><br />The Mistletoe Bough.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><img src="images/img142d.jpg" alt="" /><br />The Woodpecker.</td><td><span class="spacer">&nbsp;</span></td>
+    <td align="center"><img src="images/img142e.jpg" alt="" /><br />The Soldier&#8217;s Tear.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span></p>
+
+<div class="figcenter"><img src="images/img143.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Long-song Seller.</span></p>
+
+<p>Besides the chanters, who sing the songs through the streets of every
+city, town, village, and hamlet in the kingdom&mdash;the long-song seller, who
+shouts their titles on the kerb-stone, and the countless small
+shop-keepers, who, in swag-shops, toy-shops, sweetstuff-shops,
+tobacco-shops, and general shops, keep them as part of their stock for the
+supply of the street boys and the servant girls&mdash;there is another
+important functionary engaged in their distribution, and who is well known
+to the inhabitants of large towns, this is the pinner-up, who takes his
+stand against a dead wall or a long range of iron railings, and first
+festooning it liberally with twine, pins up one or two hundred ballads for
+public perusal and selection. Time was when this was a thriving trade: and
+we are old enough to remember the day when a good<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span> half-mile of wall
+fluttered with the minstrelsy of war and love, under the guardianship of a
+scattered file of pinners-up, along the south side of Oxford-street alone.
+Thirty years ago the dead walls gave place to shop fronts, and the
+pinners-up departed to their long homes. As they died out very few
+succeeded to their honours and emoluments. There is one pinner-up,
+seemingly the last of his race, who makes his display on the dead wall of
+the underground railway in Farringdon road.</p>
+
+<p>Catnach, to the day of his retirement from business in 1838, when he
+purchased the freehold of a disused public-house, which had been known as
+the Lion Inn, together with the grounds attached at Dancer&#8217;s-hill, South
+Mimms, near Barnet, in the county of Middlesex, worked and toiled in the
+office of the &#8220;Seven Dials Press,&#8221; in which he had moved as the pivot, or
+directing mind, for upwards of a quarter of a century. He lived and died a
+bachelor. His only idea of all earthly happiness and mental enjoyment was
+now to get away in retirement to a convenient distance from his old place
+of business, so to give him an opportunity occasionally to go up to town
+and have a chat and a friendly glass with one or two old paper-workers and
+ballad-writers, and a few others connected with his peculiar trade who had
+shown any disposition to work when work was to be done. To them he was
+always willing to give or advance a few pence or shillings, in money or
+stock, and a glass.</p>
+
+<p>Catnach left the whole of the business to Mrs. Anne Ryle, his sister,
+charged, nevertheless, to the amount of &pound;1,000, payable at his death to
+the estate of his niece, Marion Martha Ryle. In the meanwhile Mr. James
+Paul acted as managing man for Mrs. Ryle. This Mr. Paul&mdash;of whom Jemmy was
+very fond, and rumour saith, had no great dislike to the mother&mdash;had
+grown<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span> from a boy to a man in the office of the &#8220;Catnach Press.&#8221; He was,
+therefore, well acquainted with the customers, by whom he was much
+respected; and it was by his tact and judgment that the business was kept
+so well together. At Catnach&#8217;s death he entered into partnership with Mrs.
+Ryle, and the business was carried on under the title and style of Paul &amp;
+Co. In 1845 the partnership was dissolved, Mr. Paul receiving &pound;800 in
+settlement. He then entered into the public line, taking the Spencer&#8217;s
+Arms, at the corner of Monmouth-court. A son that was born to him in 1847,
+he had christened James Catnach Paul. About this date &#8220;The Catnach Press&#8221;
+had a formidable rival in &#8220;The Nassau Steam Press,&#8221; which was originally
+started in Nassau Street, Soho, and afterwards removed to No. 60, St.
+Martin&#8217;s Lane. Mr. Paul was especially engaged to manage the song
+department at this office. He died in the year 1870, just six weeks after
+Mrs. Ryle, and lies buried in the next grave but one to Catnach and his
+sister, in Highgate Cemetery.</p>
+
+<p>After Mr. Paul had left the business it was carried on as A. Ryle &amp; Co.,
+and ultimately became the property of Mr. W. S. Fortey, who still carries
+on the old business in the same premises. A copy of whose trade
+announcement runs thus:&mdash;</p>
+
+<div class="blockquot"><p class="center">&#8220;<span class="smcap">The Catnach Press.</span>&#8221; (Established 1813.)</p>
+
+<p>&#8220;William S. Fortey, (late A. Ryle, successor to the late J. Catnach,)
+Printer, Publisher, and Wholesale Stationer, 2 and 3, Monmouth-court,
+Seven Dials, London, W.C.&#8221;</p></div>
+
+<div class="figcenter"><img src="images/img144.jpg" alt="" /></div>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span></p>
+<div class="figcenter"><img src="images/img145.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Sir Jeffery Dunstan</span>,<br />
+<i>Late Mayor of Garratt, and Itinerant Dealer in Wigs</i>.</p>
+
+<p><span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span>Sir Jeffery Dunstan&mdash;thrice Mayor of Garratt! was the most popular
+candidate that ever appeared on the Hustings at that very Free and
+Independent Borough! His occupation was that of buying old wigs, once an
+article of trade like that of old clothes. Sir Jeffery usually carried his
+wig bag over his shoulder, and to avoid the charge of vagrancy,
+vociferated, as he passed along the street, &#8220;Old Wigs,&#8221; but having a
+person like &AElig;sop, and a countenance and manner marked by irresistible
+humour, he never appeared without a train of boys and curious persons,
+whom he entertained by his sallies of wit, shrewd sayings, and smart
+repartees; and from whom, without begging, he collected sufficient to help
+to maintain his dignity of Mayor and Knight.</p>
+
+<p>From the earliest period of Sir Jeffery&#8217;s life, he was a friend to &#8220;good
+measures,&#8221; especially those for &#8220;spirituous liquors,&#8221; and he never saw the
+inside of a pot without going to the bottom of it. This determination of
+character created difficulties to him; for his freedom was not always
+regulated by the doctrines of <i>meum et tuum</i>, or, of the great Blackstone,
+&#8220;on the rights of persons,&#8221; and consequences ensued that were occasionally
+injurious to Sir Jeffery&#8217;s eyes, face, and nose. The same enlightened
+Judge&#8217;s views of &#8220;the rights of property,&#8221; were not comprehended by Sir
+Jeffery, he had long made free with the porter of manifold pots, and at
+length he made free with a few of the pots&mdash;which the publicans in London
+seemed to show in the streets as much as to say &#8220;Come and steal me.&#8221; For
+this he was &#8220;questioned&#8221; in the high Commission Court of oyer and
+terminer, and suffered an imprisonment, which, according to his manner of
+life, and his notions of the liberty of the subject, was &#8220;frivolous and
+vexatious.&#8221; On his liberation, he returned to an occupation he had long
+followed, the dealing in &#8220;Old Wigs.&#8221; Some other circumstances, developed
+in course of the preceding inquiry, seem to favour a supposition that the
+bag he carried had enabled him to conceal his previous &#8220;free trade&#8221; in
+pewter pots. But, be that as it might, it is<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span> certain that in his armorial
+bearings of four wigs, he added a quart pot for a crest.</p>
+
+<p>Sir Jeffery was remarkably dirty in his person, and always had his shirt
+thrown open, which exposed his breast to public view. This was in him a
+sort of pride; for he would frequently in an exulting manner say to
+<i>inferiors</i> &#8220;I&#8217;ve got a <i>collar</i> to my shirt, sir.&#8221; He had a filthy habit,
+when he saw a number of girls around him, of spitting in their faces,
+saying, &#8220;There, go about your business.&#8221;</p>
+
+<p>Sir Jeffery, in the days of his prosperity, took his &#8220;Hodges&#8217; best,&#8221; at
+the &#8220;Blind Beggar of Bethnal-green,&#8221; or the &#8220;Horse and Leaping Bar,&#8221;
+High-street, Whitechapel, at one or other of these favourite retreats, he
+got in a regular manner &#8220;regularly drunk.&#8221; Then it was that he sung in his
+best style various popular &#8220;London Cries,&#8221; mimicking others in their
+crying, especially one who vended &#8220;<i>Lily, lily, lily, lily white&mdash;sand oh!
+oh!! oh!!!</i>&#8221; this afforded sport to a merry company. Afterwards, should
+Sir Jeffery receive sufficient metalic support from his friends, he was
+placed in an arm chair on the table, when he recited to the students of
+the London Hospital and the Bucks of the East, his mock-election speeches.
+He was no respecter of persons, and was so severe in his jokes on the
+corruptions and compromises of power, that he was prosecuted for using
+what were then called seditious expressions. In consequence of this
+affair, and some few charges of dishonesty, he lost his popularity, and,
+at the next general election was ousted by Sir Harry Dimsdale,
+muffin-seller, a man as much deformed as himself. Sir Jeffery could not
+long survive his fall, but, in death as in life, he proved a satire on the
+vices of the proud, for he died, like Alexander the Great, the sailor in
+Lord Byron&#8217;s &#8220;Don Juan,&#8221; and many other heroes renowned in history&mdash;of
+suffocation from excessive drinking!.</p>
+
+<p><span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>
+<div class="figcenter"><img src="images/img146.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Sir Harry Dimsdale, M.P., for Garratt,</span><br />
+<span class="smcap">Cosmopolite and Muffin-Seller.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Those evening bells! those evening bells!<br />
+How many a tale their music tells!<br />
+Of youth, and home, and that sweet time<br />
+When last I heard their soothing chime.&#8221;</td></tr></table>
+
+<p>&#8220;Muffins, oh! Crumpets, oh,&#8221; rank among the old cries of London, and at
+least one of the calling has been made famous, namely, Harry Dimsdale,
+sometime Mayor of Garratt, who, from the moment he stood as candidate,
+received mock knighthood, and was ever after known under the appellation
+of &#8220;Sir Harry.&#8221; This half-witted character was a dealer in
+tin-ware&mdash;together with threads, tapes and bootlaces, during the morning,
+and a muffin-seller in the afternoon, when he had a little bell, which he
+held to his ear, and smiling ironically at its tinkling he would
+cry:&mdash;&#8220;<i>Muffins! muffins! ladies come buy me! pretty, handsome, blooming,
+smiling maids!</i>&#8221;</p>
+
+<p>Mr. J. T. Smith, in his ever-charming work of &#8220;A Book for a Rainy Day; or,
+Recollections of the Events of the Years<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span> 1766-1833,&#8221; writing under date
+1787, gives the following graphic sketch of the sayings and doings&mdash;taken
+from life, of &#8220;Sir Harry.&#8221;</p>
+
+<p>&#8220;One of the curious scenes I witnessed on a nocturnal visit to the watch
+house of St. Anne, Soho, afforded me no small amusement. Sir Harry
+Dinsdale, usually called Dimsdale, a short, feeble little man, was brought
+in, charged by two colossal guardians of the night with conduct most
+unruly. &#8216;What have you, Sir Harry, to say to all this?&#8217; asked the Dogberry
+of St. Anne. The knight, who had been roughly handled, commenced like a
+true orator, in a low tone of voice. &#8216;May it please ye, my magistrate, I
+am not drunk; it is <i>languor</i>. A parcel of the Bloods of the Garden have
+treated me cruelly, because I would not treat them. This day, sir, I was
+sent for by Mr. Sheridan, to make a speech upon the table at the
+Shakespeare Tavern, in <i>Common</i> Garden; he wrote the speech for me, and
+always gives half a guinea; he sends for me to the tavern. You see I
+didn&#8217;t go in my Royal robes, I only put &#8217;um on when I stand to be a
+member.&#8217; The constable&mdash;&#8216;Well, but Sir Harry, why are you brought here?&#8217;
+One of the watchmen then observed, &#8216;That though Sir Harry was but a little
+<i>shambling</i> fellow, he was so <i>upstroppolus</i>, and kicked him about at such
+a rate, that it was as much as he and his comrade could do to bring him
+along.&#8217; As there was no one to support the charge, Sir Harry was advised
+to go home, which, however, he swore he would not do at midnight without
+an escort. &#8216;Do you know,&#8217; said he, &#8216;there&#8217;s a parcel of <i>raps</i> now on the
+outside waiting for me.&#8217;</p>
+
+<p>&#8220;The constable of the night gave orders for him to be protected to the
+public-house opposite the west end of St. Giles&#8217;s Church, where he then
+lodged. Sir Harry, hearing a noise in the street, muttered, &#8216;I shall catch
+it; I know I shall.&#8217; (<i>Cries without</i>,) &#8216;See the conquering hero comes.&#8217;
+&#8216;Ay, they always use that tune when I gain my election at Garratt.&#8217;</p>
+
+<p>&#8220;There are several portraits of this singular little object, by some
+called &#8216;Honey-juice.&#8217; Flaxman, the sculptor, and Mrs. Mathews, of
+blue-stocking memory, equipped him as a hardware man, and as such I made
+two etchings of him.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span></p>
+
+<p class="center"><span class="smcap">The Muffin Man.</span><br />
+(<i>T. Dibden.</i>)</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 1em;">While you opera-squallers fine verses are singing,</span><br />
+<span style="margin-left: 2em;">Of heroes, and poets, and such like humguffins;</span><br />
+<span style="margin-left: 1em;">While the world&#8217;s running round, like a mill in a sail,</span><br />
+I&#8217;ll ne&#8217;er bother my head with what other folks ail,<br />
+But careless and frisky, my bell I keep ringing,<br />
+<span style="margin-left: 1em;">And walk about merrily crying my muffins.</span></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><span class="smcap">Chorus.</span></td></tr>
+<tr><td>Lily-white muffins, O, rare crumpets smoking,<br />
+Hot Yorkshire cakes, hot loaves and charming cakes,<br />
+<span style="margin-left: 2em;"><i>One-a-penny, two-a-penny, Yorkshire cakes</i>.</span><br />
+<br />
+What matters to me if great folks run a gadding,<br />
+<span style="margin-left: 1em;">For politics, fashions, or such botheration;</span><br />
+Let them drink as they brew, while I merrily bake;<br />
+For though I sell muffins, I&#8217;m not such a cake&mdash;<br />
+To let other fools&#8217; fancies e&#8217;er set me a gadding,<br />
+<span style="margin-left: 1em;">Or burthen my thoughts with the cares of the nation.</span></td></tr></table>
+
+<p><span class="smcap">Spoken.</span>&mdash;What have I to do with politicians? And for your <i>Parliament
+cakes</i>. Why! everybody knows they are <i>bought</i> and <i>sold</i>, and often <i>done
+brown</i>, and made <i>crusty</i> all over the nation. No, no, its enough for me
+to cry&mdash;</p>
+
+<p class="center">Lily-white muffins, &amp;c.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Let soldiers and sailors, contending for glory,<br />
+<span style="margin-left: 1em;">Delight in the rattle of drums and of trumpets;</span><br />
+Undertakers get living by other folks dying,<br />
+While actors make money by laughing or crying;<br />
+Let lawyers with quizzels and quiddities bore ye,<br />
+<span style="margin-left: 1em;">It&#8217;s nothing to me, while I&#8217;m crying my crumpets.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;What do I care for lawyers? A&#8217;nt I a baker, and consequently,
+Master of the Rolls:&mdash;Droll enough, too, for a Master of the Rolls to be
+crying&mdash;</p>
+
+<p class="center">Lily-white muffins, &amp;c.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span></p>
+<div class="figcenter"><img src="images/img147.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Muffin Man.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Muffins, oh! crumpets, oh!<br />
+<span style="margin-left: 0.5em;">Come buy, come buy of me.</span><br />
+<span style="margin-left: 0.5em;">Muffins and crumpets, muffins,</span><br />
+<span style="margin-left: 0.5em;">For breakfast or for tea.&#8221;</span></td></tr></table>
+
+<p>The ringing of the muffin-man&#8217;s bell&mdash;attached to which the pleasant
+associations are not a few&mdash;is prohibited by a ponderous Act of
+Parliament, but the prohibition has been all but inoperative, for the
+muffin bell still tinkles along the streets, and is rung vigorously in the
+suburbs, and just at the time when City gents, at winter&#8217;s eve, are
+comfortably enveloped in fancy-patterned dressing gowns, prettily-worked
+smoking-caps, and easy-going and highly-coloured slippers, and saying
+within themselves or aloud:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Now stir the fire, and close the shutters fast,<br />
+Let fall the curtains, wheel the sofa round,<br />
+And while the bubbling and loud hissing urn<br />
+Throws up a steamy column, and the cups,<br />
+That cheer but not inebriate, wait on each,<br />
+So let us welcome peaceful evening in.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span>&#8220;Hot Cross Buns!&#8221;
+Perhaps no &#8220;cry&#8221;&mdash;though it is only for one day in the
+year, is more familiar to the ears of a Londoner, than that of
+&#8220;<i>One-a-penny, two-a-penny, hot cross-buns</i>.&#8221; We lie awake early upon Good
+Friday morning and listen to the London bells:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Oranges and lemons, say the bells of St. Clement&#8217;s<br />
+Pancakes and fritters, say the bells of St. Peter&#8217;s,<br />
+Two sticks and an apple, say the bells of Whitechapel.<br />
+Kettles and pans, say the bells of St. Ann&#8217;s.<br />
+Pokers and tongs, say the bells of St. John&#8217;s<br />
+Brickbats and tiles, say the bells of St. Giles&#8217;<br />
+Halfpence and farthings, say the bells of St. Martin&#8217;s.<br />
+Bull&#8217;s eyes and targets, say the bells of St. Marg&#8217;rets.&#8221;</td></tr></table>
+
+<p>And all the other London bells having rung&mdash;or, rather <i>toll&#8217;d</i> out their
+own tale of joy or trouble: then comes&mdash;rattling over the stones&mdash;W. H.
+<span class="smcap">Smith&#8217;s</span> well-known red <span class="smcap">Express-carts</span> laden with the early printed
+newspapers of the coming day, while all night long the carts and waggons
+come rumbling in from the country to Covent-garden, and not the least
+pleasant sound&mdash;pleasant for its old recollections&mdash;is the time-honoured
+old cry of &#8220;Hot Cross-Buns.&#8221; Century after century passes by, and those
+who busily drove their carts day after day from Isleworth, Romford,
+Enfield, Battersea, Blackheath, or Richmond, one hundred years ago, are as
+still and silent as if they had never been; yet still, Passion week after
+Passion week, comes that old cry, nobody knows how old, &#8220;Hot Cross Buns,
+Hot Cross Buns.&#8221; And as we lie in a half dreamy state we hear and think of
+the chimes of St. Clement Danes, which may still be heard, as Fallstaff
+describes, having heard them with Justice Shallow; also, how Pope, as he
+lay in Holywell-street&mdash;now Bookseller&#8217;s-row; and Addison and Johnson;
+and, before their time, Waller, at the house of his old friend the
+merchant<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span> of St. Giles&#8217;s; and the goodly company of poets that lived at
+the cost of the king, near Whitehall; then of the quaint old gossiping
+diarist, Samuel Pepys, Secretary of the Admiralty; John Taylor, the
+<i>Water-Poet</i>; even Shakespeare himself, having each in their turn been
+awakened on the Good Friday morning by the same sound ringing in their
+ears. For this is a custom which can hardly be traced to a beginning: and
+all we know about it is, that as far as we can go back, the Good Friday
+was ushered in by the old Good Friday bun; and that the baker in the
+towns, and the old good wife in the country, would have thought the day
+but badly kept, and augured badly for the coming summer&#8217;s luck, without
+it.</p>
+
+<p>But between the cakes of Cecrops and the modern Hot Cross Bun there is a
+wide gulf of 3,400 years; and yet the one may be traced up to the other.
+There are some, indeed, who would wish to give to the Good Friday Hot
+Cross Bun a still longer pedigree, and to take it back to the time of the
+Patriarchs and their consecrated bread; and there are others who would go
+yet further, and trace it to the earliest age of the world, in a portion
+of Cain&#8217;s sacrifice. We may, however, content ourselves with stopping
+short at the era of the Egyptian Cecrops, founder of Athens, who made his
+sweet cakes of flour and honey. Such cakes as these, as we learn from the
+prophet Jeremiah, were offered by the idolatrous Hebrew women to &#8220;the
+Queen of Heaven,&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Ashtoreth, whom the Ph&oelig;nicians called<br />
+Astarte, Queen of Heaven, with cresent horns.&#8221;</td></tr></table>
+
+<p>Some can even discern Astarte in our &#8220;Easter.&#8221; The Jews of old had the
+shew-bread and the wafer of unleavened bread; and the Egyptians, under the
+Pharaohs, had also their cakes,<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span> round, oval, and triangular. The Persians
+had their sacred cakes of flour and honey; and Herodotus speaks of similar
+cakes being offered by the Athenians to a sacred serpent in the temple of
+their citadel. And, not to mention other nations, the circumstance that
+accompanied the outbreak of the Indian Mutiny, 1857, will make memorable
+the &#8220;chupatties&#8221; or sacred cakes of Khrishna.</p>
+
+<p>The cakes that were offered to Luna by the Greeks and Romans were either
+crescent-shaped, or were marked with the crescent moon; and this stamp
+must have been very similar to that impressed on the cakes offered by the
+Hebrew women to the Queen of Heaven. This mark also resembles that
+representing the horns of the sacred ox which was stamped on the Grecian
+cakes; and the ox was <i>bous</i>, and, in one of its oblique cases, <i>boun</i>, so
+we derive from that word <i>boun</i> our familiar &#8220;bun.&#8221; There were not only
+horn-marked cakes, but horn-marked pieces of money; so that it is very
+difficult to ascertain the true meaning of that passage in the opening of
+the &#8220;Agamemnon&#8221; of &AElig;schylus, where the watchman says that a great <i>bous</i>
+has come, or set foot, upon his tongue. Although it might mean that
+something as weighty as an ox&#8217;s hoof had weighed down his tongue, yet it
+more probably signifies either that he was bribed to silence with a piece
+of money marked with the ox&#8217;s horns, or that the partaking of a sacred
+horn-marked cake had initiated him into a certain secret. Curiously
+enough, in the <i>argot</i> of thieves, at the present day, a crown piece is
+termed &#8220;a bull;&#8221; and it may also be noted that <i>pecunia</i>, &#8220;money,&#8221; is
+derived from <i>pecus</i>, &#8220;cattle;&#8221; and &#8220;bull&#8221; is derived from <i>bous</i>, and
+also &#8220;cow&#8221; from the same word, through the Sanscrit <i>gou</i>, the <i>b</i> and <i>g</i>
+being convertible.</p>
+
+<p><span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span>Thus, originally, the <i>boun</i> or bun was the cake marked with the horns of
+the sacred ox. The cross mark was first adopted by the Greeks and Romans
+to facilitate the division of the cake into four equal parts; and two such
+cross-marked cakes were found in the ruins of Herculaneum. These cakes
+were adopted by the early Christians in a spirit of symbolism; but,
+although the cross was marked on the cake in token of the badge of their
+faith, yet it was also used by the priest for the breaking of the cake, or
+Eucharistic wafer, into four pieces; and this was so ordered in the
+Liturgy of St. Chrysostom. The cross-marked buns are now, for popular use,
+reserved for Good Friday, and, as Lenten cakes, are peculiar to this
+country. Among the Syrian Christians of Travancore and Cochin, who trace
+their descent from those who were converted by St. Thomas on his
+(supposed) visit to India, a peculiar cake is made for &#8220;Sorrowful
+Friday&#8221;&mdash;as they term Good Friday. The cake is stuffed with sweetmeats in
+the form of an eye, to represent the evil eye of Judas, coveting the
+thirty pieces of silver; and the cake is flung at with sticks by the
+members of the family until the eye is quite put out; they then share the
+remains of the cake among them.</p>
+
+<p>In the days before the Reformation, <i>eulogi&aelig;</i>, or cross-marked consecrated
+cakes, were made from the dough of the mass-bread, and distributed by the
+priests to be eaten at home by those who had been prevented by sickness or
+infirmity from attending the mass. After the Reformation, Protestants
+would readily retain the custom of eating in their houses a cross marked
+cake, although no longer connecting it with a sacred rite, but restricting
+its use to that one day of the year known as &#8220;Holy Friday,&#8221; or &#8220;Long
+Friday&#8221;&mdash;from the length<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span> of the service on that day&mdash;but which gradually
+came to be called, by the Anglican Church, &#8220;Good Friday,&#8221; in remembrance
+of the good things secured to mankind on that day. The presence upon the
+breakfast-table of the cross marked bun, flavoured with allspice, in token
+of the spices that were prepared by the pious women of Galilee, was,
+therefore, regarded in the light of a remembrancer of the solemnities of
+the day. The buns were made on the previous evening, Maundy Thursday so
+called, either from the &#8220;maunds,&#8221; or baskets, in which Easter gifts were
+distributed, or, more probably, because it was the <i>Dies mandati</i>, the day
+of the command, &#8220;That thou doest, do quickly!&#8221; as also, &#8220;Do this in
+remembrance of Me!&#8221; and that the disciples should love one another and
+should show humility in the washing of feet.</p>
+
+<p>As Chelsea was long famous for its buns&mdash;which are mentioned by Swift to
+Stella, in 1712&mdash;it was not to be wondered at that it should be celebrated
+for its production of hot cross buns on Good Friday. Early in the present
+century there were two bun-houses at Chelsea, both claiming to be &#8220;Royal&#8221;
+as well as &#8220;Original,&#8221; until, at last, one of the two proclaimed itself to
+be &#8220;The Real Old Original Bun House.&#8221; These two houses did a roaring trade
+during the whole of Good Friday, their piazzas being crowded, from six in
+the morning to six in the evening, by crowds of purchasers, loungers, and
+gossipers. Good King George the Third would come there with his children;
+and, of course, the nobility and gentry followed his example. These two
+bun-houses were swallowed up, in the march of improvement, some forty
+years ago; but on Good Friday, 1830, 240,000 hot cross buns were sold
+there.</p>
+
+<p><span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span>The cross bun is not without its folk-lore. Country folks attach much
+virtue to the Good Friday buns; and many are kept for &#8220;luck&#8217;s sake&#8221; in
+cottages from one Good Friday to another. They are not only considered to
+be preservatives from sickness and disease, but also as safeguards from
+fire and lightning. They are supposed never to get mouldy, as was noted by
+&#8220;Poor Robin,&#8221; in his Almanack for 1733, under the head of March:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Good Friday comes this month: the old woman runs<br />
+With one a penny, two a penny hot cross-buns;<br />
+Whose virtue is, if you&#8217;ll believe what&#8217;s said,<br />
+They&#8217;ll not grow mouldy like the common bread.&#8221;</td></tr></table>
+
+<p>Furthermore, be it known, then, in the interests of suffering humanity,
+that if a piece of a Good Friday bun is grated and eaten, it will cure as
+many diseases as were ever cured by a patent pill; moreover, the animal
+world is not shut out from sharing in its benefits, for it will cure a
+calf from &#8220;scouring,&#8221; and mixed in a warm mash, it is the very best remedy
+for your cow. Thus the bun is good for the <i>boun</i>; in fact, it is good
+both for man and beast.</p>
+
+<p>The sellers of the Good Friday buns are composed of old men and young men,
+old women and young women, big children and little children, but
+principally boys, and they are of mixed classes, as, costers&#8217; boys, boys
+habitually and boys occasionally street-sellers, and boys&mdash;&#8220;some cry now
+who never cried before,&#8221; and for that occasion only. One great inducement
+to embark in the trade is the hope of raising a little money for the
+Easter holidays following.</p>
+
+<p><span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span>The &#8220;cry&#8221; of the Hot Cross Bun vendor varies at times and in places&mdash;as
+thus:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;One-a-penny, two-a-penny, hot cross-buns!<br />
+One-a-penny, two for <i>tup&#8217;ence</i>, hot cross buns!&#8221;</td></tr></table>
+
+<p>While some of a humorous turn of mind like to introduce a little bit of
+their own, or the borrowed wit of those who have gone before them, and
+effect the <i>one</i> step which is said to exist from the sublime to the
+ridiculous, and cry&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 3em;">&#8220;One-a-penny, poker; two-a-penny, tongs!</span><br />
+<span style="margin-left: 3em;">One-a-penny; two-a-penny, hot cross buns.</span><br />
+One-a-penny, two-a-penny, hot cross-buns!<br />
+If your daughters will not eat them, give them to your sons.<br />
+But if you haven&#8217;t any of those pretty little elves,<br />
+You cannot then do better than eat them up yourselves;<br />
+One-a-penny, two-a-penny, hot cross buns:<br />
+<span style="margin-left: 11em;">All, hot, hot, hot, all hot.</span><br />
+One-a-penny, two-a-penny, hot cross buns!<br />
+Burning hot! smoking hot, r-r-r-roking hot&mdash;<br />
+One-a-penny, two-a-penny, hot cross buns.&#8221;</td></tr></table>
+
+<p>But the street hot-cross-bun trade is languishing&mdash;and languishing, will
+ultimately die a natural death, as the master bakers and pastrycooks have
+entered into it more freely, and now send round to their regular customers
+for orders some few days before each succeeding Good Friday.</p>
+
+<p>A capital writer of <span class="smcap">Notes</span>, <span class="smcap">Comment</span> and <span class="smcap">Gossip</span>, who contributes every week
+to the <i>City Press</i>, under the <i>nom de plume</i> of &#8220;Dogberry,&#8221; gave&mdash;<i>inter
+alia</i>&mdash;a few &#8220;<i>Good Words</i>,&#8221; the result of his &#8220;<i>Leisure Hours</i>&#8221; in that
+journal, on the subject of &#8220;Good Friday Customs.&#8221; March 24, 1883, thus:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;That the buns themselves are as popular as ever they were when the
+Real Original Bun Houses existed in Chelsea, was manifest on Thursday
+evening, though the scene is now changed from the west to the east.
+Bishopsgate-street was indeed all alive with people of high and low
+degree<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> crowding in and out of Messrs. Hill &amp; Sons, who, I am told,
+turned no less than 47 sacks of flour, representing over 13,000 lbs.,
+into the favourite Good Friday cakes. This mass was sweetened by 2,800
+lbs. of sugar, moistened with 1,500 quarts of milk, and &#8216;lightened&#8217;
+with 2,200 lbs. of butter. Something like 25,000 paper bags were used
+in packing the buns, and upwards of 150 pairs of hands were engaged in
+the making and distribution of the tasty morsels at Bishopsgate and at
+the West-end branch of Messrs. Hill, at Victoria. The customary
+business of the firm must have been interrupted considerably by Good
+Friday, and the forty-seven sacks of flour made into buns represented,
+I presume, a considerable deduction from the hundred and ninety to two
+hundred which the firm work up in one form or another every week. But
+then you can&#8217;t eat your (Good Friday) cake and have it. There were
+other bakers and confectioners in the City, too, who appeared to do a
+thriving trade in buns&mdash;notably Messrs. Robertson &amp; Co., in
+Aldersgate-street. Long live the Good Friday bun!&#8221;</p>
+
+<p class="right"><span class="smcap">Dogberry.</span></p></div>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Hot Cross Buns.</span></p>
+<p class="center"><span class="smcap">By Miss Eliza Cook.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;The clear spring dawn is breaking, and there cometh with the ray,<br />
+The stripling boy with &#8216;shining face,&#8217; and dame in &#8216;hodden grey:&#8217;<br />
+Rude melody is breathed by all&mdash;young&mdash;old&mdash;the strong, and weak;<br />
+From manhood with its burly tone, and age with treble squeak.<br />
+Forth come the little busy &#8216;Jacks&#8217; and forth come little &#8216;Jills,&#8217;<br />
+As thick and quick as working ants about their summer hills;<br />
+With baskets of all shapes and makes, of every size and sort;<br />
+Away they trudge with eager step, through alley, street, and court.<br />
+A spicy freight they bear along, and earnest is their care,<br />
+To guard it like a tender thing from morning&#8217;s nipping air;<br />
+And though our rest be broken by their voices shrill and clear,<br />
+There&#8217;s something in the well-known &#8216;cry&#8217; we dearly love to hear.<br />
+&#8217;Tis old, familiar music, when &#8216;the old woman runs&#8217;<br />
+With &#8216;One-a-penny, two-a-penny, Hot Cross Buns!&#8217;<br />
+Full many a cake of dainty make has gained a great renown,<br />
+We all have lauded &#8216;Gingerbread&#8217; and &#8216;Parliament&#8217; done brown;<br />
+But when did luscious &#8216;Banburies,&#8217; or dainty &#8216;Sally Lunns,&#8217;<br />
+E&#8217;er yield such merry chorus theme as &#8216;One-a-penny buns!&#8217;<br />
+The pomp of palate that may be like old Vitellius fed,<br />
+Can never feast as mine did on the sweet and fragrant bread;<br />
+When quick impatience could not wait to share the early meal,<br />
+But eyed the pile of &#8216;Hot Cross Buns,&#8217; and dared to snatch and steal.<br />
+Oh, the soul must be uncouth as a Vandal&#8217;s Goth&#8217;s, or Hun&#8217;s,<br />
+That loveth not the melody of &#8216;One-a-penny Buns!&#8217;&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span>And so, awaking in the early morning, we hear the streets ringing with the
+cry, &#8220;Hot Cross Buns.&#8221; And perhaps when all that we have wrought shall be
+forgotten, when our name shall be as though it had been written on water,
+and many institutions great and noble shall have perished, this little bun
+will live on unharmed. Others, as well as ourselves, will, it may be, lie
+awake upon their beds, and listen to the murmurs going to and fro within
+the great heart of London, and, thinking on the half-forgotten days of the
+nineteenth century, wonder perhaps whether, in these olden times, we too
+heard the sound of &#8220;Hot Cross Buns.&#8221;</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img148.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p>The street Pieman with his &#8220;cry,&#8221; of &#8220;Pies all hot! hot!! hot!!!&mdash;Penny
+pies, all hot! hot!!&mdash;fruit, eel, beef, veal or kidney pies! pies, all
+hot-hot-hot,&#8221; is one of the most ancient of street callings, and to London
+boys of every degree, &#8220;Familiar in their mouths as household words.&#8221; Nor
+is the itinerant trade in pies&mdash;&#8220;Eel, beef, veal, kidney or fruit,&#8221;
+confined to the great metropolis. All large provincial towns have, from a
+time going back much farther than even the proverbial &#8220;oldest inhabitant&#8221;
+can recollect, had their old and favourite &#8220;Penny Pieman,&#8221; or,
+&#8220;<i>Old-all-Hot!</i>&#8221; as folks were ever wont to call him. He was generally a
+merry dog, and mostly to be found where merriment was going on, he
+scrupled not to force his way through the thickest of the crowd, knowing
+that the very centre of action was the best market for his wares.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span></p>
+<div class="figcenter"><img src="images/img149.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Pieman</span>;<br />
+<small>OR, O LORD! WHAT A PLACE IS A CAMP.</small></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;O Lord! what a place is a camp,<br />
+<span style="margin-left: 1em;">What wonderful doings are there;</span><br />
+The people are all on the tramp,<br />
+<span style="margin-left: 1em;">To me it looks devilish queer:</span><br />
+Here&#8217;s ladies a swigging of gin,<br />
+<span style="margin-left: 1em;">A crop of macaronies likewise:</span><br />
+And I, with my &#8216;Who&#8217;ll up and win?<br />
+<span style="margin-left: 1em;">Come, here is your hot mutton pies.&#8217;</span><br />
+<br />
+Here&#8217;s gallopping this way and that,<br />
+<span style="margin-left: 1em;">With, &#8216;Madam, stand out of the way;&#8217;</span><br />
+Here&#8217;s, &#8216;O fie! sir, what would you be at?&mdash;<br />
+<span style="margin-left: 1em;">Come, none of your impudence pray:&#8217;</span><br />
+Here&#8217;s &#8216;Halt&mdash;to the right-about-face,&#8217;<br />
+<span style="margin-left: 1em;">Here&#8217;s laughing, and screaming, and cries:</span><br />
+Here&#8217;s milliners&#8217;-men out of place,<br />
+<span style="margin-left: 1em;">And I with my hot mutton pies.</span><br />
+<br />
+Here&#8217;s the heath all round like a fair,<br />
+<span style="margin-left: 1em;">Here&#8217;s butlers, and sutlers, and cooks;</span><br />
+Here&#8217;s popping away in the air,<br />
+<span style="margin-left: 1em;">And captains with terrible looks:</span><br />
+Here&#8217;s &#8216;How do you do?&#8217;&mdash;&#8216;Pretty well;<br />
+<span style="margin-left: 1em;">The dust has got into my eyes,&#8217;</span><br />
+There&#8217;s&mdash;&#8216;Fellow what have you to sell?&#8217;<br />
+<span style="margin-left: 1em;">&#8216;Why, only some hot mutton pies.&#8217;&#8221;</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span>History informs us, through the medium of the halfpenny plain and penny
+coloured chap book, editions issued by the &#8220;Catnach Press,&#8221; that, one:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Simple Simon met a Pieman,<br />
+<span style="margin-left: 1em;">Going to the fair;</span><br />
+Says simple Simon to the Pieman,<br />
+<span style="margin-left: 1em;">&#8216;Let me taste your ware.&#8217;</span><br />
+<br />
+Says the Pieman unto Simon,<br />
+<span style="margin-left: 1em;">&#8216;First give me a penny;&#8217;</span><br />
+Says Simple Simon to the Pieman,<br />
+<span style="margin-left: 1em;">&#8216;I have not got any.&#8217;&#8221;</span></td></tr></table>
+
+<p>But history is silent as to the birth, parentage, or, even place and date
+of the death of the said Simple Simon, or of this very particular pieman.
+Halliwell informs us, through one of the &#8220;Nursery Rhymes of England,&#8221; that
+on one occasion:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Punch and Judy<br />
+<span style="margin-left: 1em;">Fought for a pie;</span><br />
+Punch gave Judy<br />
+<span style="margin-left: 1em;">A sad blow on the eye.&#8221;</span></td></tr></table>
+
+<p>James Lackington&mdash;1746-1816&mdash;one of the most celebrated of our early cheap
+booksellers, lived at the &#8220;Temple of Muses,&#8221; Finsbury-place&mdash;the shop,
+into which a coach and six could be driven. This curious mixture of
+cobbler&#8217;s wax, piety, vanity, and love of business, has left us in his
+autobiography, which he published under the title of his &#8220;<i>Memoirs and
+Confessions</i>,&#8221; his experience as a pie-boy! or seller of pies, thus:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;At ten years old I cried apple pies in the street. I had noticed a
+famous pieman, and thought I could do it better myself. My mode of
+crying pies soon made me a street favourite, and the old pie merchant
+left off trade. You see, friend, I soon began to make a noise in the
+world. But one day I threw my master&#8217;s child out of a wheelbarrow, so
+I went home again, and was set by my father to learn his trade,
+continuing with him for several years. My fame as a pieman led to my
+selling almanacks on the market days at Christmas. This was to my
+mind, and I sorely vexed the [regular] vendors of &#8216;Moore,&#8217; &#8216;Wing,&#8217; and
+&#8216;Poor Robin.&#8217; My next move was to be bound apprentice for seven
+years.&#8221;</p></div>
+
+<p>We frequently meet with the pieman in old prints; and in Hogarth&#8217;s &#8220;March
+to Finchley,&#8221; there he stands in the very centre of the crowd, grinning
+with delight at the adroitness of one robbery, while he is himself the
+victim of another. We learn from this admirable figure by the greatest
+painter of English<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span> life, that the pieman of the last century perambulated
+the streets in professional costume; and we gather further, from the burly
+dimensions of his wares that he kept his trade alive by the laudable
+practice of giving &#8220;a good pennyworth for a penny.&#8221; Justice compels us to
+observe that his successors of a later generation have not been very
+conscientious observers of this maxim.</p>
+
+<div class="figcenter"><img src="images/img150.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hogarth&#8217;s Pieman.</span></p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span></p>
+<div class="figcenter"><img src="images/img151.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Nice New! Nice New!</span><br />
+All hot! All Hot Hot! All Hot!<br />
+<i>Here they are, two sizes bigger than last week.</i></p>
+
+<p>At this date there was James Sharpe England, a noted flying pieman, who
+attended all the metropolitan festive gatherings; he walked about hatless,
+to sell his savoury wares, with his hair powdered and tied <i>en queue</i>, his
+dress neat, apron spotless, jesting wherever he went, with a mighty voice
+in recommendation of the puddings and pies, which, for the sake of greater
+oddity he sometimes carried on a wooden platter.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span></p>
+<div class="figcenter"><img src="images/img152.jpg" alt="" /></div>
+<p class="center"><span class="smcap">James Sharpe England</span>,<br /><i>The Flying Pieman</i>.</p>
+
+<p><span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span>The London pieman, as he takes his walks abroad, makes a practice of
+&#8220;looking in&#8221; at all the taverns on his way. Here his customers are found
+principally in the tap-room. &#8220;Here they are, all &#8217;ot!&#8221; the pieman cries,
+as he walks in; &#8220;toss or buy! up and win &#8217;em!&#8221; For be it known to all whom
+it may concern, the pieman is a gambler, both from inclination and
+principle, and will toss with his customers, either by the dallying
+shilly-shally process of &#8220;best five in nine,&#8221; or &#8220;best two in three,&#8221; or
+the desperate dash of &#8220;sudden death!&#8221; in which latter case the first toss
+decides the matter, <i>viz</i>:&mdash;a pie for a penny, or your penny gone for
+nothing, but he invariably declines the mysterious process of &#8220;odd man,&#8221;
+not being altogether free from suspicion on the subject of collusion
+between a couple of hungry, and not over honestly inclined customers.</p>
+
+<p>Of the &#8220;stuff&#8221; which pie-dealers usually make their wares, much has been
+sung and said, and in some neighbourhoods the sight of an approaching
+pieman seems to get about an immediate desire for imitating the harmless
+cat and its &#8220;Mee-yow,&#8221; or the &#8220;Bow-wow-wow!&#8221; of the dog. And opprobrious
+epithets are hurled at the piemen as they parade the streets and alleys,
+and even kidnapping has been slyly hinted at, for the mother of Tom
+Cladpole, finding her son so determined to make a &#8220;Jurney to
+Lunnun&#8221;&mdash;least he should die a fool, tries to frighten the boy out of his
+fixed intention by informing him in pure Sussex dialect that:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Besides, dey kidnap people dere,<br />
+<span style="margin-left: 1em;">Ah! ketch um by supprize,</span><br />
+An send um off where nub&#8217;dy knows,<br />
+<span style="margin-left: 1em;">Or <i>baak um up in pies</i>.&#8221;</span></td></tr></table>
+
+<p>It was ever a safe piece of comic business with Old Joey Grimaldi and his
+favourite pupil and successor, Tom Matthews,<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span> together with all other
+stage clowns following them, that a penny pieman and the bright shining
+block-tin can should be introduced into every Christmas pantomime. The
+pataloon is made to be tossing the safe game of&mdash;&#8220;heads I win, tails you
+lose&#8221; with the stage pieman, while the roguish clown is adroitly managing
+to swallow the whole of the stock of pies from the can, and which are made
+by the stage property-man for the occasion out of tissue-paper painted in
+water-colours. Then follows the wry faces and spasmodic stomach-pinchings
+of the clown, accompanied with the echoing cries of &#8220;<i>Mee, mee, mow,
+woo!</i>&#8221; while the pantaloon takes from the pieman&#8217;s can some seven or eight
+fine young kittens and the old tabby-cat&mdash;also the handy-work of the stage
+property-man. The whole scene usually finishes by the pantaloon pointedly
+sympathizing with the now woebegone clown to the tune of &#8220;Serve ye
+right&mdash;Greedy! greedy!! greedy!!!&#8221; when enter six supernumeraries dressed
+as large and motherly-looking tabbies with aprons and bibs, and bedizened
+with white linen night caps of the pattern known in private life to
+middle-aged married men only. The clown and pantaloon then work together
+in hunting down, and then handing over the poor pieman to the tender
+mercies and talons of the stage-cats, who finish up the &#8220;business&#8221; of the
+scene by popping the pieman into what looks like a copper of boiling
+water.</p>
+
+<p>Mr. Samuel Weller,&mdash;<i>otherwise</i>, Veller, that great modern authority on
+Y<sup>e</sup> Manners and Y<sup>e</sup> Customs, of Y<sup>e</sup> English in general, and of London
+Life wery Particular:&mdash;for &#8220;Mr. Weller&#8217;s knowldge of London was extensive
+and peculiar&#8221;&mdash;has left us his own ideas of the baked &#8220;mysteries&#8221; of the
+pieman&#8217;s ware:&mdash;</p>
+
+<div class="blockquot"><p><span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>&#8220;Weal pie,&#8221; said Mr. Weller, soliloquising, as he arranged the
+eatables on the grass. &#8220;Werry good thing is a weal pie, when you know
+the lady as made it, and is quite sure it an&#8217;t kittens; and arter all,
+though, where&#8217;s the odds, when they&#8217;re so like weal that the wery
+piemen themselves don&#8217;t know the difference?&#8221;</p>
+
+<p>&#8220;Don&#8217;t they, Sam?&#8221; said Mr. Pickwick.</p>
+
+<p>&#8220;Not they, sir,&#8221; replied Mr. Weller, touching his hat. &#8220;I lodged in
+the same house vith a pieman once, sir, and a wery nice man he
+was&mdash;reg&#8217;lar clever chap too&mdash;made pies out o&#8217; anything, he could.
+&#8216;What a number o&#8217; cats you keep, Mr. Brooks,&#8217; says I, when I&#8217;d got
+intimate with him. &#8216;Ah,&#8217; says he, &#8216;I do&mdash;a good many,&#8217; says he. &#8216;You
+must be wery fond o&#8217; cats,&#8217; says I. &#8216;Other people is,&#8217; says he, a
+winkin&#8217; at me; &#8216;they an&#8217;t in season till the winter though,&#8217; says he.
+&#8216;Not in season!&#8217; says I. &#8216;No,&#8217; says he, &#8216;fruits is in, cats is out.&#8217;
+&#8216;Why, what do you mean?&#8217; says I. &#8216;Mean?&#8217; says he. &#8216;That I&#8217;ll never be
+a party to the combination o&#8217; the butchers, to keep up the prices o&#8217;
+meat,&#8217; says he. &#8216;Mr. Weller,&#8217; says he, a squeezing my hand wery hard,
+and vispering in my ear&mdash;&#8216;don&#8217;t mention this here agin&mdash;but it&#8217;s the
+seasonin&#8217; that does it. They&#8217;re all made o&#8217; them noble animals,&#8217; says
+he, a pointin&#8217; to a wery nice little tabby kitten, &#8216;and I seasons &#8217;em
+for beef-steaks, weal, or kidney, &#8217;cordin to demand. And more than
+that,&#8217; says he, &#8216;I can make a weal a beef-steak, or a beef-steak a
+kidney, or any one on &#8217;em a mutton, at a minute&#8217;s notice, just as the
+market changes, and appetites wary!&#8221;</p>
+
+<p>&#8220;He must have been a very ingenious young man, that, Sam,&#8221; said Mr.
+Pickwick, with a slight shudder.</p>
+
+<p>&#8220;Just was, sir,&#8221; replied Mr. Weller, continuing his occupation of
+emptying the basket, &#8220;<i>and the pies was beautiful</i>.&#8221;</p></div>
+
+<p>The &#8220;gravy&#8221; given with the meat-pies is poured out of an oil-can and
+consists of a little salt and water browned. A hole is made with the
+little finger in the top of the pie and the &#8220;gravy&#8221; poured in until the
+crust rises sufficiently to satisfy the young critical gourmand&#8217;s taste.</p>
+
+<p>&#8220;The London piemen,&#8221; says Mr. Henry Mayhew, &#8220;May be numbered at about
+forty in winter, and twice that number in summer.&#8221; Calculating that there
+are only fifty plying their trade the year through, and their average
+earnings at 8s. a week, we find a street expenditure exceeding &pound;1,040, and
+a street consumption of pies amounting to nearly three quarters of a
+million yearly.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span></p>
+<div class="figcenter"><img src="images/img153.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Young Lambs to Sell.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Young lambs to sell! young lambs to sell.<br />
+If I&#8217;d as much money as I could tell,<br />
+I&#8217;d not come here with young lambs to sell!<br />
+<span style="margin-left: 2em;">Dolly and Molly, Richard and Nell,</span><br />
+<span style="margin-left: 2em;">Buy my young lambs, and I&#8217;ll use you well!</span></td></tr></table>
+
+<p>The engraving represents an old &#8220;London Crier,&#8221; one William Liston, from a
+drawing for which he purposely <i>stood</i> in 1826.</p>
+
+<p>This &#8220;public character&#8221; was born in the City of Glasgow. He became a
+soldier in the waggon-train commanded by Colonel Hamilton, and served
+under the Duke of York in Holland, where, on the 6th of October, 1799, he
+lost his right arm and left leg, and his place in the army. His
+misfortunes thrust distinction upon him. From having been a private in the
+ranks, where he would have remained undistinguished, he became one of the
+popular street-characters of his day.</p>
+
+<p><span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span>In Miss Eliza Cook&#8217;s Poem &#8220;Old Cries&#8221; she sings in no feeble strain the
+praises of the old man of her youthful days, who cried&mdash;&#8220;Merry and free as
+a marriage bell&#8221;:&mdash;</p>
+
+<p class="center"><span class="smcap">Young Lambs to Sell.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>There was a man in olden time,<br />
+<span style="margin-left: 1em;">And a troubador was he;</span><br />
+Whose passing chant and lilting rhyme<br />
+<span style="margin-left: 1em;">Had mighty charms for me.</span><br />
+<br />
+My eyes grew big with a sparkling stare,<br />
+<span style="margin-left: 1em;">And my heart began to swell,</span><br />
+When I heard his loud song filling the air<br />
+<span style="margin-left: 1em;">About &#8220;Young lambs to sell!&#8221;</span><br />
+<br />
+His flocks were white as the falling snow,<br />
+<span style="margin-left: 1em;">With collars of shining gold;</span><br />
+And I chose from the pretty ones &#8220;all of a row,&#8221;<br />
+<span style="margin-left: 1em;">With a joy that was untold.</span><br />
+<br />
+Oh, why did the gold become less bright,<br />
+Why did the soft fleece lose its white,<br />
+<span style="margin-left: 1em;">And why did the child grow old?</span><br />
+<br />
+&#8217;Twas a blithe, bold song the old man sung;<br />
+The words came fast, and the echoes rung,<br />
+<span style="margin-left: 1em;">Merry and free as &#8220;a marriage bell;&#8221;</span><br />
+And a right, good troubadour was he,<br />
+For the hive never swarmed to the chinking key,<br />
+As the wee things did when they gathered in glee<br />
+<span style="margin-left: 1em;">To his musical cry&mdash;&#8220;Young lambs to sell!&#8221;</span><br />
+<br />
+Ah, well-a-day! it hath passed away,<br />
+With my holiday pence and my holiday play&mdash;<br />
+I wonder if I could listen again,<br />
+As I listened then, to that old man&#8217;s strain&mdash;<br />
+<span style="margin-left: 1em;">All of a row&mdash;&#8220;Young lambs to sell.&#8221;</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span></p>
+<div class="figcenter"><img src="images/img154.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The London Barrow-Woman.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 3em;">Round and sound,</span><br />
+<span style="margin-left: 3em;">Two-pence a pound.</span><br />
+Cherries, rare ripe cherries!<br />
+<br />
+<span style="margin-left: 3em;">Cherries a ha&#8217;penny a stick</span><br />
+<span style="margin-left: 3em;">Come and pick! come and pick!</span><br />
+Cherries big as plums! who comes, who comes.</td></tr></table>
+
+<p>The late George Cruikshank, whose pencil was ever distinguished by power
+of decision in every character he sketched, and whose close observation of
+passing men and manners was unrivalled by any artist of his day,
+contributed the &#8220;London Barrow-woman&#8221; to the pages of Hone&#8217;s <i>Every-Day
+Book</i> in 1826 from his own recollection of her.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span></p>
+<div class="figcenter"><img src="images/img155.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy a Broom.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>These poor &#8220;Buy-a-Broom girls&#8221; exactly dress now,<br />
+As Hollar etch&#8217;d such girls two cent&#8217;ries ago;<br />
+All formal and stiff, with legs, only at ease&mdash;<br />
+Yet, pray, judge for yourself; and don&#8217;t if you please,<br />
+<span style="margin-left: 2em;"><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span><span class="spacer">*</span></span><br />
+But ask for the print, at old print shops&mdash;they&#8217;ll show it,<br />
+And look at it, &#8220;with your own eyes,&#8221; and you&#8217;ll <i>know</i> it.</td></tr></table>
+
+<p>Buy a Broom? was formerly a very popular London-cry, when it was usually
+rendered thus:&mdash;&#8220;<i>Puy a Proom, puy a prooms? a leetle von for ze papy, and
+a pig vons for ze lady: Puy a Proom</i>.&#8221; Fifty years ago Madame Vestris
+charmed the town by her singing and displaying her legs as a <i>Buy-a-Broom
+Girl</i>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy a broom, buy a broom,<br />
+Large broom, small broom,<br />
+No lady should e&#8217;er be without one, &amp;c.</td></tr></table>
+
+<p>But time and fashion has <i>swept</i> both the brooms and the girls from our
+shores.&mdash;Madame Vestris lies head-to-head with Charles Mathews in Kensal
+Green Cemetery. <i>Tempus omnia revelat.</i></p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span></p>
+<div class="figcenter"><img src="images/img156.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Lady as Cries Cats&#8217; Meat.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Old Maids, your custom I invites,<br />
+<span style="margin-left: 1em;">Fork out, and don&#8217;t be shabby,</span><br />
+And don&#8217;t begrudge a bit of lights<br />
+<span style="margin-left: 1em;">Or liver for your Tabby.</span><br />
+<br />
+Hark! how the Pusses make a rout&mdash;<br />
+<span style="margin-left: 1em;">To buy you can&#8217;t refuse;</span><br />
+So may you never be without<br />
+<span style="margin-left: 1em;">The <i>music</i> of their <i>mews</i>.</span><br />
+<br />
+Here&#8217;s famous meat&mdash;all lean, no fat&mdash;<br />
+<span style="margin-left: 1em;">No better in Great Britain;</span><br />
+Come, buy a penn&#8217;orth for your Cat&mdash;<br />
+<span style="margin-left: 1em;">A happ&#8217;orth for your Kitten.</span><br />
+<br />
+Come all my barrow for a bob!<br />
+<span style="margin-left: 1em;">Some charity diskivir;</span><br />
+For faith, it ar&#8217;n&#8217;t an easy job<br />
+<span style="margin-left: 1em;">To <i>live</i> by selling <i>liver</i>.</span><br />
+<br />
+Who&#8217;ll buy? who&#8217;ll buy of Catsmeat-Nan!<br />
+<span style="margin-left: 1em;">I&#8217;ve bawl&#8217;d till I am sick;</span><br />
+But ready money is my plan;<br />
+<span style="margin-left: 1em;">I never gives no tick.</span><br />
+<br />
+I&#8217;ve got no customers as yet&mdash;<br />
+<span style="margin-left: 1em;">In wain is my appeal&mdash;</span><br />
+And not to buy a single bit<br />
+<span style="margin-left: 1em;">Is werry ungenteel!</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span></p>
+<div class="figcenter"><img src="images/img157.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Our Dandy Cats&#8217; and Dogs&#8217; Meat Man.</span></p>
+
+<p>Every morning as true as the clock&mdash;the quiet of &#8220;Our Village Green&#8221; is
+broken by a peculiar and suggestive cry. We do not hear it yet ourselves,
+but Pincher, our black and tan terrier dog, and Smut, our black and white
+cat, have both caught the well-known accents, and each with natural
+characteristic&mdash;the one wagging his tail, the other with a stiff
+perpendicular [dorsel appendage] sidles towards the door, demanding as
+plainly as possible, to be let out. Yes, it is &#8220;Our Dandy Cats&#8217; and Dogs&#8217;
+Meat Man,&#8221; with his &#8220;<i>Ca&#8217; me-e-et&mdash;dogs&#8217; me yet&mdash;Ca&#8217; or do-args-me-a-yet,
+me a-t&mdash;me-yett!!!</i>&#8221; that fills the morning air, and arouses exactly seven
+dogs of various kinds, and exactly thirty-one responsive feline
+voices&mdash;there is a cat to every house on &#8220;Our Village Green&#8221;&mdash;and causes
+thirty-one aspiring cat&#8217;s-tails to point to the zenith. We do not know how
+it is, but the Cat&#8217;s-meat man is the most unerring and punctual of all
+those peripatetic functionaries who undertake to cater for the public. The
+baker, the butcher, the grocer, the butterman, the fishmonger, and the
+coster, occasionally forget your necessities, or omit to call for your
+orders&mdash;the cat&#8217;s-meat man never!</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span></p>
+<div class="figcenter"><img src="images/img158.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Guy Fawkes&mdash;Guy.</span></p>
+
+<p>There cannot be a better representation of &#8220;Guy Fawkes,&#8221; as he was borne
+about the metropolis in effigy in the days &#8220;When George the Third was
+King,&#8221; than the above sketch by George Cruikshank.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Please to remember the fifth of November,<br />
+<span style="margin-left: 1em;">Gunpowder treason and plot;</span><br />
+We know no reason, why gunpowder treason,<br />
+<span style="margin-left: 1em;">Should ever be forgot!</span><br />
+<span style="margin-left: 4em;">Holla boys! holla boys! huzza-a-a!</span><br />
+A stick and a stake, for King George&#8217;s sake,<br />
+A stick and a stump, for Guy Fawkes&#8217; rump!<br />
+<span style="margin-left: 4em;">Holla boys! holla boys! huzza-a-a!</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span></p>
+<div class="figcenter"><img src="images/img159.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Henry Lemoine</span>,<br />
+The Literary and Pedestrian Bookseller and Author,<br />
+<i>A well known</i><br />
+Eccentric Character of the City of London.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span></p>
+<div class="figcenter"><img src="images/img160.jpg" alt="" /></div>
+<p class="center"><span class="smcap">All Round my Hat I Vears a Green Villow.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>All round my hat I vears a green villow,<br />
+<span style="margin-left: 1em;">All round my hat, for a twelvemonth and a day;</span><br />
+If any body axes me the reason vy I vears it,<br />
+<span style="margin-left: 1em;">I tells &#8217;em that my own true love is far far away.</span><br />
+&#8217;Twas a going of my rounds, in the streets I first did meet her,<br />
+<span style="margin-left: 1em;">Oh, I thought she vos a hangel just come down from the sky;</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;She&#8217;s a nice wegitable countenance; turnup nose, redish cheeks,
+and carroty hair.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>And I never knew a voice more louder or more sweeter,<br />
+<span style="margin-left: 1em;">Vhen she cried, buy my primroses, my primroses come buy.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Here&#8217;s your fine colliflowers.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 15em;">All round, &amp;c.</span><br />
+<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span><br />
+O, my love she was fair, my love she was kind, too,<br />
+<span style="margin-left: 1em;">And cruel vos the cruel judge vot had my love to try:</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Here&#8217;s your precious turnups.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>For thieving vos a thing she never vos inclined to:<br />
+<span style="margin-left: 1em;">But he sent my love across the seas, far far away.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Here&#8217;s your hard-hearted cabbages.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 15em;">All round, &amp;c.</span><br />
+<br />
+For seven long years my love and I is parted,<br />
+<span style="margin-left: 1em;">For seven long years my love is bound to stay.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;It&#8217;s a precious long time &#8217;fore I does any trade to-day.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Bad luck to that chap vot&#8217;d ever be false-hearted,<br />
+<span style="margin-left: 1em;">Oh, I&#8217;ll love my love for ever, tho&#8217; she&#8217;s far far away.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Here&#8217;s your nice heads of salary!</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 15em;">All round, &amp;c.</span><br />
+<br />
+There is some young men so preciously deceitful,<br />
+<span style="margin-left: 1em;">A coaxing of the young gals they vish to lead astray.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Here&#8217;s your Valnuts; crack&#8217;em and try&#8217;em, a shilling a hundred!</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>As soon as they deceives&#8217;em, so cruelly they leaves &#8217;em,<br />
+<span style="margin-left: 1em;">And they never sighs nor sorrows ven they&#8217;re far far away!&mdash;</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Do you vant any hingons to-day, marm?</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 15em;">All round, &amp;c.</span><br />
+<br />
+Oh, I bought my love a ring on the werry day she started,<br />
+<span style="margin-left: 1em;">Vich I gave her as a token all to remember me:</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Bless her h-eyes,</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>And vhen she does come back, oh, ve&#8217;ll never more be parted<br />
+<span style="margin-left: 1em;">But ve&#8217;ll marry and be happy&mdash;oh, for ever and a day.</span></td></tr></table>
+
+<p class="note"><span class="smcap">Spoken.</span>&mdash;Here&#8217;s your fine spring redishes.</p>
+
+<p class="center">All round, &amp;c.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span></p>
+<div class="figcenter"><img src="images/img161.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The New London Cries.</span></p>
+
+<p class="center"><i>Tune</i>&mdash;&#8220;The Night Coach.&#8221;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Dear me! what a squalling and a bawling,<br />
+<span style="margin-left: 1em;">What noise, and what bustle in London pervades;</span><br />
+People of all sorts shouting and calling,<br />
+<span style="margin-left: 1em;">London&#8217;s a mart, sure, for men of all trades.</span><br />
+The <i>chummy</i> so black, sir, with bag on his back, sir,<br />
+<span style="margin-left: 1em;">Commences the noise with the cry of &#8220;sweep, sweep!&#8221;</span><br />
+Then Dusty and Crusty with voices so lusty,<br />
+<span style="margin-left: 1em;">Fish-men and green-men, their nuisances keep.</span><br />
+<span style="margin-left: 15em;">Dear me, &amp;c.</span><br />
+<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span><br />
+Fine water cresses, two bunches a penny,<br />
+<span style="margin-left: 1em;">Fine new milk, two-pence ha&#8217;p&#8217;ny a quart!</span><br />
+Come buy my fine matches&mdash;as long as I&#8217;ve any,<br />
+<span style="margin-left: 1em;">Carrots and turnips, the finest e&#8217;er bought.</span><br />
+Dainty fresh salmon! <i>without</i> any <i>gammon</i>,<br />
+<span style="margin-left: 1em;">Hare skins or rabbit skins! hare skins, cook I buy!</span><br />
+&#8217;Taters all sound, sir, two-pence six pounds, sir,<br />
+<span style="margin-left: 1em;">Coals ten-pence a bushel, buy them and try.</span><br />
+<span style="margin-left: 15em;">Dear me, &amp;c.</span><br />
+<br />
+Here&#8217;s songs three yards for a penny!<br />
+<span style="margin-left: 1em;">Comic songs, love songs, and funny songs, too;</span><br />
+<i>Billy Barlow</i>,&mdash;<i>Little Mike</i>,&mdash;<i>Paddy Denny!</i><br />
+<span style="margin-left: 1em;"><i>The Bailiffs are coming</i>&mdash;<i>The Hero of Waterloo</i>.</span><br />
+Eels four-pence a pound&mdash;pen knives here ground,<br />
+<span style="margin-left: 1em;">Scissors ground sharp, a penny a pair!</span><br />
+Tin kettles to mend, sir, your fenders here send, sir,<br />
+<span style="margin-left: 1em;">For six-pence a piece, I will paint &#8217;em with care.</span><br />
+<span style="margin-left: 15em;">Dear me, &amp;c.</span><br />
+<br />
+Come buy my <i>old man</i>, a penny a root,<br />
+<span style="margin-left: 1em;">The whole true account of the murder last night!</span><br />
+Fine Seville oranges, ne&#8217;er was such fruit,<br />
+<span style="margin-left: 1em;">Just printed and published, the last famous fight.</span><br />
+Arrived here this morning&mdash;strange news from Greece,<br />
+<span style="margin-left: 1em;">A victory gain&#8217;d o&#8217;er the great Turkish fleet;</span><br />
+Chairs to mend&mdash;hair brooms, a shilling a piece!<br />
+<span style="margin-left: 1em;">Cap box, bonnet box&mdash;cats&#8217; and dogs&#8217; meat.</span><br />
+<span style="margin-left: 15em;">Dear me, &amp;c.</span><br />
+<br />
+Here&#8217;s <i>inguns</i> a penny a rope,<br />
+<span style="margin-left: 1em;">Pots and pans&mdash;old clothes, clo&#8217; for sale!</span><br />
+A dread storm near the Cape of Good Hope.<br />
+<span style="margin-left: 1em;">Greens two-pence a bunch&mdash;twenty-pence a new pail.</span><br />
+Sprats, a penny a plateful&mdash;I should feel werry grateful,<br />
+<span style="margin-left: 1em;">Kind friends for a ha&#8217;p&#8217;ny for my babe&#8217;s sakes;</span><br />
+Shrimps, penny a pot&mdash;baked &#8217;taters all hot!<br />
+<span style="margin-left: 1em;">Muffins and crumpets, or fine Yorkshire cakes.</span><br />
+<span style="margin-left: 15em;">Dear me, &amp;c.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Had I a <i>Garden</i>, a <i>Field</i> and a <i>Gate</i>,<br />
+I would not care for the Duke of Bedford&#8217;s estate;<br />
+That is, I would not care for the Duke of Bedford&#8217;s estate,<br />
+If I had <i>Covent Garden</i>, <i>Smithfield</i>, and <i>Billingsgate</i>.&#8221;</td></tr></table>
+
+<p>Billingsgate has from time immemorial had much to do with &#8220;The Cries of
+London,&#8221; and although a rough and unromantic place at the present day, has
+an ancient legend of its own, that associates it with royal names and
+venerable folk. Geoffrey of Monmouth deposeth that about 400 years before
+Christ&#8217;s nativity, Belin, a king of the Britons, built this gate and gave
+it its name, and that when he was dead the royal body was burnt, and the
+ashes set over the gate in a vessel of brass, upon a high pinnacle of
+stone. The London historian, John Stow, more prosaic, on the other hand,
+is quite satisfied that one Biling once owned the wharf, and troubles
+himself no further.</p>
+
+<p>Byllngsgate Dock is mentioned as an important quay in &#8220;Brompton&#8217;s
+Chronicle&#8221; (Edward III.), under the date 976, when King Ethelred, being
+then at Wantage, in Berkshire, made laws for regulating the customs on
+ships at Byllngsgate, then the only wharf in London. 1. Small vessels were
+to pay one halfpenny. 2. Larger ones, with sails, one penny. 3. Keeles, or
+hulks, still larger, fourpence. 4. Ships laden with wood, one log shall be
+given for toll. 5. <i>Boats with fish</i>, according to size, a halfpenny. 6.
+Men of Rouen, who came with wine or peas, and men of Flanders and Liege,
+were to pay toll before they began to sell, but the Emperor&#8217;s men (Germans
+of the Steel Yard) paid an annual toll. 7. Bread was tolled three times a
+week, cattle were paid for in kind, and butter and cheese were paid more
+for before Christmas than after.</p>
+
+<p><span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span>Hence we gather that at a very early period Billingsgate was not merely a
+fish-market, but for the sale of general commodities. Paying toll in kind
+is a curious fiscal regulation; though, doubtless, when barter was the
+ordinary mode of transacting business, taxes must have been collected in
+the form of an instalment of the goods brought to market.</p>
+
+<p>Our ancestors four hundred years ago had, in proportion to the population
+of London, much more abundant and much cheaper fish than we have now.
+According to the &#8220;Noble Boke off Cookry,&#8221; a reprint of which, from the
+rare manuscript in the Holkham Collection, has just been edited by Mrs.
+Alexander Napier, Londoners in the reign of Henry VII. could regale on
+&#8220;baked porpois,&#8221; &#8220;turbert,&#8221; &#8220;pik in braissille,&#8221; &#8220;mortins of ffishe,&#8221;
+&#8220;eles in bruet,&#8221; &#8220;fresh lamprey bak,&#8221; &#8220;breme,&#8221; in &#8220;sauce&#8221; and in &#8220;brasse,&#8221;
+&#8220;soal in brasse,&#8221; &#8220;sturgion boiled,&#8221; &#8220;haddock in cevy,&#8221; &#8220;codling haddock,&#8221;
+&#8220;congur,&#8221; &#8220;halobut,&#8221; &#8220;gurnard or rocket boiled,&#8221; &#8220;plaice or flounders
+boiled,&#8221; &#8220;whelks boiled,&#8221; &#8220;perche boiled,&#8221; &#8220;freeke makrell,&#8221; &#8220;bace molet,&#8221;
+&#8220;musculles,&#8221; in &#8220;shelles&#8221; and in &#8220;brothe,&#8221; &#8220;tench in cevy,&#8221; and &#8220;lossenge
+for ffishe daies.&#8221; For the rich there were &#8220;potages of oysters,&#8221; &#8220;blang
+mang&#8221; and &#8220;rape&#8221; of &#8220;ffishe,&#8221; to say nothing of &#8220;lampry in galantyn&#8221; and
+&#8220;lampry bak.&#8221; Our forefathers ate more varieties of fish, cooked it
+better, and paid much less for it than we do, with all our railways and
+steamboats, our Fisheries&#8217; Inspectors, our Fisheries Exhibion and new Fish
+Markets with their liberal rules and regulations. To be sure, those same
+forefathers of ours not only enacted certain very stringent laws against
+&#8220;forestalling&#8221; and &#8220;regrating,&#8221; but were likewise accustomed to enforce
+them, and to make short work upon occasion of the forestalled and
+regraters of fish, as of other commodities.</p>
+
+<p><span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span>In Donald Lupton&#8217;s &#8220;London and the Covntrey Carbonadoed and Quartred into
+seuerall Characters. London, Printed by Nicholas Okes, 1632,&#8221; the nymphs
+of the locality are thus described:&mdash;</p>
+
+<div class="blockquot"><p><span class="smcap">Fisherwomen</span>:&mdash;These crying, wandering, and travelling creatures carry
+their shops on their heads, and their storehouse is ordinarily
+Byllyngsgate, or Ye Brydge-foot; and their habitation Turnagain Lane.
+They set up every morning their trade afresh. They are easily
+furnished; get something and spend it jovially and merrily. Five
+shillings, a basket, and a good cry, are a large stock for them. They
+are the merriest when all their ware is gone. In the morning they
+delight to have their shop full; at evening they desire to have it
+empty. Their shop is but little, some two yards compass, yet it holds
+all sort of fish, or herbs, or roots, and such like ware. Nay, it is
+not destitute often of nuts, oranges, and lemons. They are free in all
+places, and pay nothing for rent, but only find repairs to it. If they
+drink their whole stock, it is but pawning a petticoate in Long Lane,
+or themselves in Turnbull Street, to set up again. They change daily;
+for she that was for fish this day, may be to-morrow for fruit, next
+day for herbs, another for roots; so that you must hear them cry
+before you know what they are furnished withal. When they have done
+their Fair, they meet in mirth, singing, dancing, and end not till
+either their money, or wit, or credit be clean spent out. Well, when
+on any evening they are not merry in a drinking house, it is thought
+they have had bad return, or else have paid some old score, or else
+they are bankrupt: they are creatures soon up and soon down.</p></div>
+
+<p>The above quaint account of the ancient Billingsgate ladies answers
+exactly to the costermonger&#8217;s wives of the present day, who are just as
+careless and improvident; they are merry over their rope of onions, and
+laugh over a basketful of stale sprats. In their dealings and disputes
+they are as noisy as ever, and rather apt to put decency and good manners
+to the blush. Billingsgate eloquence has long been proverbial for coarse
+language, so that low abuse is often termed, &#8220;<i>That&#8217;s talking
+Billingsgate!</i>&#8221;<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span> or, that, &#8220;<i>You are no better than a Billingsgate
+fish-fag</i>&#8221;&mdash;<i>i.e.</i>, You are as rude and ill-mannered as the women of
+Billingsgate fish-market (Saxon, <i>bellan</i>, &#8220;to bawl,&#8221; and <i>gate</i>, &#8220;quay,&#8221;
+meaning the noisy quay). The French say &#8220;Maubert,&#8221; instead of
+Billingsgate, as &#8220;<i>Your compliments are like those of the Place
+Maubert</i>&#8221;&mdash;<i>i.e.</i>, No compliments at all, but vulgar dirt-flinging. The
+&#8220;Place Maubert,&#8221; has long been noted for its market.</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span></p>
+<div class="figcenter"><img src="images/img162.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Crier of Poor John.</span></p>
+
+<p class="center">&#8220;It is well thou art not a fish, for then thou would&#8217;st have been <i>Poor John</i>&#8221;&mdash;<i>Romeo and Juliet</i>.</p>
+
+<p>The introduction of steamboats has much altered the aspect of
+Billingsgate. Formerly, passengers embarked here for Gravesend and other
+places down the river, and a great many sailors mingled with the salesmen
+and fishermen. The boats sailed only when the tide served, and the
+necessity of being ready at the strangest hours rendered many taverns
+necessary for the accommodation of travellers. The market formerly opened
+two hours earlier than at present, and the result was demoralising and
+exhausting. Drink led to ribald language and fighting, but the refreshment
+now taken is chiefly tea or coffee, and the general language and behaviour
+has improved. The fish-fags of Ned Ward&#8217;s time have disappeared, and the
+business is done smarter and quicker. As late as 1842 coaches would
+sometimes arrive at Billingsgate from Dover or Brighton, and so affect the
+market. The old circle from which dealers in their carts attended the
+market, included Windsor, St. Alban&#8217;s, Hertford, Romford, and other places
+within twenty-five miles. Railways have now enlarged the area of
+purchasers to an indefinite degree.</p>
+
+<p>To see this market in its busiest time, says Mr. Mayhew, &#8220;the visitor
+should be there about seven o&#8217;clock on a Friday morning.&#8221; The market opens
+at four, but for the first two or three hours it is attended solely by the
+regular fishmongers and &#8220;bummarees,&#8221; who have the pick of the best there.
+As soon<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> as these are gone the costermonger&#8217;s sale begins. Many of the
+costers that usually deal in vegetables buy a little fish on the Friday.
+It is the fast day of the Irish, and the mechanics&#8217; wives run short of
+money at the end of the week, and so make up their dinners with fish: for
+this reason the attendance of costers&#8217; barrows at Billingsgate on a Friday
+morning is always very great. As soon as you reach the Monument you see a
+line of them, with one or two tall fishmongers&#8217; carts breaking the
+uniformity, and the din of the cries and commotion of the distant market
+begin to break on the ear like the buzzing of a hornet&#8217;s nest. The whole
+neighbourhood is covered with hand-barrows, some laden with baskets,
+others with sacks. The air is filled with a kind of sea-weedy odour,
+reminding one of the sea-shore; and on entering the market, the smell of
+whelks, red herrings, sprats, and a hundred other sorts of fish, is almost
+overpowering. The wooden barn looking square<a name='fna_14' id='fna_14' href='#f_14'><small>[14]</small></a> where the fish is sold
+is, soon after six o&#8217;clock, crowded with shiny cord jackets and greasy
+caps. Everybody comes to Billingsgate in his worst clothes; and no one
+knows the length of time a coat can be worn until they have been to a fish
+sale. Through the bright opening at the end are seen the tangled rigging
+of the oyster boats, and the red-worsted caps of the sailors. Over the hum
+of voices is heard the shouts of the salesmen, who, with their white
+aprons, peering above the heads of the mob, stand on their tables roaring
+out their prices. All are bawling together&mdash;salesmen and hucksters of
+provisions, capes, hardware, and newspapers&mdash;till the place is a perfect
+Babel of competition.</p>
+
+<div class="blockquot"><p>&#8220;Ha-a-andsome cod! best in the market! All alive! alive! alive,
+oh!&#8221;&mdash;&#8220;Ye-o-o! ye-o-o! Here&#8217;s your fine Yarmouth bloaters! Who&#8217;s the
+buyer?&#8221;&mdash;&#8220;Here you are, governor; splendid whiting! some of the right
+sort!&#8221;&mdash;&#8220;Turbot! turbot! All alive, turbot.&#8221;&mdash;&#8220;Glass of nice
+peppermint,<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> this cold morning? Halfpenny a glass!&#8221;&mdash;&#8220;Here you are, at
+your own price! Fine soles, oh!&#8221;&mdash;&#8220;Oy! oy! oy! Now&#8217;s your time! Fine
+grizzling sprats! all large, and no small!&#8221;&mdash;&#8220;Hullo! hullo, here!
+Beautiful lobsters! good and cheap. Fine cock crabs, all alive,
+oh!&#8221;&mdash;&#8220;Five brill and one turbot&mdash;have that lot for a pound! Come and
+look at &#8217;em, governor; you won&#8217;t see a better lot in the
+market!&#8221;&mdash;&#8220;Here! this way; this way, for splendid skate! Skate, oh!
+skate, oh!&#8221;&mdash;&#8220;Had-had-had-had-haddock! All fresh and good!&#8221;&mdash;&#8220;Currant
+and meat puddings! a ha&#8217;penny each!&#8221;&mdash;&#8220;Now, you mussel-buyers, come
+along! come along! come along! Now&#8217;s your time for fine fat
+mussels!&#8221;&mdash;&#8220;Here&#8217;s food for the belly, and clothes for the back; but I
+sell food for the mind!&#8221; shouts the newsvendor.&mdash;&#8220;Here&#8217;s smelt,
+oh!&#8221;&mdash;&#8220;Here ye are, fine Finney haddick!&#8221;&mdash;&#8220;Hot soup! nice pea-soup!
+a-all hot! hot!&#8221;&mdash;&#8220;Ahoy! ahoy, here! Live plaice! all alive,
+oh!&#8221;&mdash;&#8220;Now or never! Whelk! whelk! whelk!&#8221; &#8220;Who&#8217;ll buy brill, oh!
+brill, oh?&#8221;&mdash;&#8220;Capes! waterproof capes! Sure to keep the wet out! A
+shilling apiece!&#8221;&mdash;&#8220;Eels, oh! eels, oh! Alive, oh! alive oh!&#8221;&mdash;&#8220;Fine
+flounders, a shilling a lot! Who&#8217;ll have this prime lot of
+flounders?&#8221;&mdash;&#8220;Shrimps! shrimps! fine shrimps!&#8221;&mdash;&#8220;Wink! wink!
+wink!&#8221;&mdash;&#8220;Hi! hi-i! here you are; just eight eels left&mdash;only
+eight!&#8221;&mdash;&#8220;O ho! O ho! this way&mdash;this way&mdash;this way! Fish alive! alive!
+alive, oh.&#8221;</p></div>
+
+<p class="center"><span class="smcap">Billingsgate; or, the School of Rhetoric.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Near London Bridge once stood a gate,<br />
+<span style="margin-left: 1em;">Belinus gave it name,</span><br />
+Whence the green Nereids oysters bring,<br />
+<span style="margin-left: 1em;">A place of public fame.</span><br />
+<br />
+Here eloquence has fixed her seat,<br />
+<span style="margin-left: 1em;">The nymphs here learn by heart</span><br />
+In mode and figure still to speak,<br />
+<span style="margin-left: 1em;">By modern rules of art.</span><br />
+<br />
+To each fair oratress this school<br />
+<span style="margin-left: 1em;">Its rhetoric strong affords;</span><br />
+They double and redouble tropes,<br />
+<span style="margin-left: 1em;">With finger, fish, and words.</span><br />
+<br />
+Both nerve and strength and flow of speech,<br />
+<span style="margin-left: 1em;">With beauties ever new,</span><br />
+Adorn the language of these nymphs,<br />
+<span style="margin-left: 1em;">Who give it all their due.</span><br />
+<br />
+O, happy seat of happy nymphs!<br />
+<span style="margin-left: 1em;">For many ages known,</span><br />
+To thee each rostrum&#8217;s forc&#8217;d to yield&mdash;<br />
+<span style="margin-left: 1em;">Each forum in the town.</span><br />
+<br />
+Let other academies boast<br />
+<span style="margin-left: 1em;">What titles else they please;</span><br />
+Thou shalt be call&#8217;d &#8220;the gate of tongues,&#8221;<br />
+<span style="margin-left: 1em;">Of tongues that never cease.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span>The sale of hot green peas in the streets of London is of great antiquity,
+that is to say, if the cry of &#8220;<i>Hot peascods! one began to cry</i>,&#8221; recorded
+by Lydgate in his <i>London Lackpenny</i>, may be taken as having intimated the
+sale of the same article under the modern cry of &#8220;<i>Hot green peas! all
+hot, all hot! Here&#8217;s your peas, hot, hot, hot!</i>&#8221; In many parts of the
+country it is, or was, customary to have a &#8220;<i>scalding of peas</i>,&#8221; as a sort
+of rustic festivity, at which green peas scalded or slightly boiled with
+their pods on are the main dish. Being set on the table in the midst of
+the party, each person dips his peapod in a common cup of melted butter,
+seasoned with salt and pepper, and extracts the peas by the agency of his
+teeth. At times one bean, shell and all is put into the steaming mass,
+whoever gets this bean is to be first married.</p>
+
+<p>The sellers of green peas &#8220;hot, all hot!&#8221; have no stands but carry them in
+a tin pot or pan which is wrapped round with a thick cloth, to retain the
+heat. The peas are served out with a ladle, and eaten by the customers out
+of basins provided with spoons by the vendor. Salt and pepper are supplied
+<i>at discretion</i>, but the <i>fresh!</i> butter to grease &#8217;em (<i>avec votre
+permission</i>.)</p>
+
+<p>The hot green peas are sold out in halfpennyworths and pennyworths, some
+vendors, in addition to the usual seasoning supplied, add <i>a suck of
+bacon</i>. The &#8220;suck of bacon&#8221; is obtained by the street Arabs from a piece
+of that article, securely fastened by a string, to obtain a &#8220;relish&#8221; for
+the peas, or as is usually said &#8220;to flavour &#8217;em;&#8221; sometimes these young
+gamins manage to bite the string and then <i>bolt</i> not only the bacon, but
+away from the vendors. The popular saying &#8220;a plate of veal cut with a
+<i>hammy</i> knife&#8221; is but a refined rendering of the pea and suck-&#8217;o-bacon,
+street luxury trick.</p>
+
+<p>Pea soup is also sold in the streets of London, but not to the extent it
+was twenty years ago, when the chilled labourer and others having only a
+halfpenny to spend would indulge in a basin of&mdash;&#8220;<i>All hot!</i>&#8221;</p>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span></p>
+<div class="figcenter"><img src="images/img163.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Flower-Pot Man.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here comes the old mail with his flowers to sell,<br />
+<span style="margin-left: 1em;">Along the streets merrily going;</span><br />
+Full many a year I&#8217;ve remember&#8217;d him well,<br />
+<span style="margin-left: 1em;">With, &#8220;Flowers, a-growing, a-blowing.&#8221;</span><br />
+<br />
+Geraniums in dresses of scarlet and green;<br />
+<span style="margin-left: 1em;">Thick aloes, that blossom so rarely;</span><br />
+The long creeping cereus with prickles so keen,<br />
+<span style="margin-left: 1em;">Or primroses modest and early.</span><br />
+<br />
+The myrtle dark green, and the jessamine pale,<br />
+<span style="margin-left: 1em;">Sweet scented and gracefully flowing,</span><br />
+This flower-man carries and offers for sale,<br />
+<span style="margin-left: 1em;">&#8220;All flourishing, growing, and blowing.&#8221;</span></td></tr></table>
+
+<p>With the coming in of spring there is a large sale of Palm; on the
+Saturday preceding and on Palm Sunday; also of May, the fragrant flower of
+the hawthorn, and lilac in flower. But perhaps the pleasantest of all
+cries in early spring is that of &#8220;<i>Flowers&mdash;All a-growing&mdash;all
+a-blowing</i>,&#8221; heard for the first time in the season. Their beauty and
+fragrance gladden the senses; and the first and unexpected sight of them
+may prompt hopes of the coming year, such as seem proper to the spring.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Come, gentle spring! ethereal mildness! come.&#8221;</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span>The sale of English and Foreign nuts in London is enormous, the annual
+export from Tarragona alone is estimated at 10,000 tons. Of the various
+kinds, we may mention the &#8220;Spanish,&#8221; the &#8220;Barcelona,&#8221; the &#8220;Brazil,&#8221; the
+&#8220;Coker-nut,&#8221; the &#8220;Chesnut,&#8221; and &#8220;Though last, not least, in love&#8221;&mdash;The
+&#8220;Walnut!&#8221;</p>
+
+<div class="blockquot"><p>&#8220;As jealous as Ford, that search&#8217;d a hollow wall-nut for his wife&#8217;s
+lemon.&#8221;&mdash;<i>Merry Wives of Windsor.</i></p></div>
+
+<p>The walnut-tree has long existed in England, and it is estimated that
+upwards of 50,000 bushels of walnuts are disposed of in the wholesale
+markets of the London district annually. Who is not pleased to hear every
+Autumn the familiar cry of:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Crack &#8217;em and try &#8217;em, before you buy &#8217;em,<br />
+<span style="margin-left: 1em;">Eight a-penny&mdash;All new walnuts</span><br />
+Crack &#8217;em and try &#8217;em, before you buy &#8217;em,<br />
+<span style="margin-left: 1em;">A shilling a-hundred&mdash;All new-walnuts.</span></td></tr></table>
+
+<p>The history of the happy and social walnut involves some curious
+misconceptions. Take its name to begin with. Why walnut? What has this
+splendid, wide-spreading tree to do with walls, except such as are used as
+stepping-stones for the boys to climb up into the branches and steal the
+fruit? Nothing whatever! for, if we are to believe the learned in such
+matters, this fine old English tree, as it is sometimes called, is not an
+English tree at all, but a distinct and emphatic foreigner, and hence the
+derivation. The walnut is a native of Persia, and has been so named to
+distinguish the naturalised European from its companions, the hazel, the
+filbert, and the chesnut. In &#8220;the authorities&#8221; we are told that &#8220;gual&#8221; or
+&#8220;wall&#8221; means &#8220;strange&#8221; or &#8220;exotic,&#8221; the same root being found in Welsh
+and<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span> kindred tongues; hence walnut. It is true, at any rate, that in
+France they retain the distinctive name &#8220;Noix Persique.&#8221; There is another
+mistaken theory connected with the tree which bears a fruit so dear to
+society at large, for someone has been hazardous enough to assert that:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;A woman, a spaniel, and a walnut tree,<br />
+The more you beat them the better they be.&#8221;</td></tr></table>
+
+<p>And this ribald rhyme&mdash;which is of Latin origin, is now an established
+English proverb, or proverbial phrase, but variously construed. See Nash&#8217;s
+&#8220;<i>Have with you to Saffron-Walden; or, Gabriel Harvey&#8217;s Hunt is up</i>,&#8221;
+1596.&mdash;Reprinted by J. P. Collier, 1870. Moor, in his &#8220;<i>Suffolk Words</i>,&#8221;
+pp. 465, furnishes another version, which is rather an epigram than a
+proverb:&mdash;</p>
+
+<div class="blockquot">
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Three things by beating better prove;<br />
+A Nut, an Ass, a Woman;<br />
+The cudgel from their back remove,<br />
+And they&#8217;ll be good for no man.&#8221;<br />
+<br />
+&#8220;Nux, asinus, mulier simili sunt lege ligata.<br />
+H&aelig;c tria nil rect&eacute; faciunt si verbera cessant.<br />
+Adducitur a cognato, est temen novum.&#8221;&mdash;<span class="smcap">Martial.</span></td></tr></table>
+
+<p>&#8220;<i>Sam</i>.... Why he&#8217;s married, beates his wife, and has two or three
+children by her: for you must note, that any woman beares the more
+when she is beaten.&#8221;&mdash;<i>A Yorkshire Tragedy</i>: &#8220;Not so New, as
+Lamentable and true&mdash;1608,&#8221; edition 1619.&mdash;Signature, <i>A. Verso</i>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;<i>Flamineo.</i>&mdash;Why do you kick her, say?<br />
+Do you think that she&#8217;s like a walnut tree?<br />
+Must she be cudgell&#8217;d ere she bear good fruit?&#8221;</td></tr></table>
+
+<p class="center">&mdash;Webster&#8217;s &#8220;<i>White Devil</i>,&#8221; 1612. iv. 4. (Works, edited by W. C. Hazlitt, II. 105.)</p></div>
+
+<p><span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span>Now all these statements are at once unkind and erroneous all round. We
+know what is declared of the &#8220;man who, save in the way of kindness, lays
+his hand upon a woman,&#8221; to say nothing of the punishment awaiting him at
+the adjacent police court.<a name='fna_15' id='fna_15' href='#f_15'><small>[15]</small></a> As to dogs, those who respect the calves of
+their legs had best beware of the danger of applying this recipe to any
+but low-spirited animals. In the case of the walnut-tree, the
+recommendation is again distinctly false, and the results mis-described.
+Possibly there are walnut-trees, as there are women, dogs, and horses, who
+seem none the worse for the stick; but, as a general rule, kindly
+treatment, for vegetable and animal alike, is the best, and, in the long
+run, the wisest.</p>
+
+<p>In &#8220;<i>The Miller&#8217;s Daughter</i>,&#8221; one of the most homely and charming poems
+ever penned by the Poet Laureate, occurs a quatrain, spoken by an old
+gentleman addressing his faithful spouse:&mdash;</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;So sweet it seems with thee to talk,<br />
+<span style="margin-left: 1em;">And once again to woo thee mine;</span><br />
+&#8217;Tis like an after-dinner talk<br />
+<span style="margin-left: 1em;">Across the walnuts and the wine.&#8221;</span></td></tr></table>
+
+<div class="figcenter"><img src="images/img164.jpg" alt="" /></div>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span></p>
+
+<p class="center"><span class="smcap">The Christmas Holly.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;The Holly! the Holly! oh, twine it with bay&mdash;<br />
+<span style="margin-left: 1em;">Come give the Holly a song;</span><br />
+For it helps to drive stern Winter away,<br />
+<span style="margin-left: 1em;">With his garments so sombre and long.</span><br />
+It peeps through the trees with its berries so red,<br />
+<span style="margin-left: 1em;">And its leaves of burnished green,</span><br />
+When the flowers and fruits have long been dead,<br />
+<span style="margin-left: 1em;">And not even the daisy is seen.</span><br />
+Then sing to the Holly, the Christmas Holly,<br />
+<span style="margin-left: 1em;">That hangs over the peasant and king:</span><br />
+While we laugh and carouse &#8217;neath its glittering boughs,<br />
+<span style="margin-left: 1em;">To the Christmas Holly we&#8217;ll sing.&#8221;</span><br />
+<span style="margin-left: 10em;"><i>Eliza Cook.</i></span></td></tr></table>
+
+<p>In London a large sale is carried on in &#8220;Christmasing,&#8221; or in the sale of
+holly, ivy, laurel, evergreens, bay, and mistletoe, for Christmas sports
+and decorations, by the family greengrocer and the costermongers. The
+latter of whom make the streets ring with their stentorian cry of:&mdash;</p>
+
+<p class="center">Holly! Holly!! Holly, oh!!! Christmas Holly, oh!</p>
+
+<hr style="width: 25%;" />
+
+<p class="center"><span class="smcap">Old Cries.</span></p>
+<p class="center"><span class="smcap">By Miss Eliza Cook.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Oh! dearly do I love &#8220;Old Cries&#8221;<br />
+<span style="margin-left: 1em;">That touch my heart and bid me look</span><br />
+On &#8220;Bough-pots&#8221; plucked &#8217;neath summer skies,<br />
+<span style="margin-left: 1em;">And &#8220;Watercresses&#8221; from the brook.</span><br />
+It may be vain, it may be weak,<br />
+To list when common voices speak;<br />
+But rivers with their broad, deep course,<br />
+Pour from a mean and unmarked source:<br />
+And so my warmest tide of soul<br />
+From strange, unheeded spring will roll.<br />
+<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span><br />
+&#8220;Old Cries,&#8221; &#8220;Old Cries&#8221;&mdash;there is not one<br />
+But hath a mystic tissue spun<br />
+<span style="margin-left: 1em;">Around it, flinging on the ear</span><br />
+<span style="margin-left: 1em;">A magic mantle rich and dear,</span><br />
+From &#8220;Hautboys,&#8221; pottled in the sun,<br />
+<span style="margin-left: 1em;">To the loud wish that cometh when</span><br />
+The tune of midnight waits is done<br />
+<span style="margin-left: 1em;">With &#8220;A merry Christmas, gentlemen,</span><br />
+And a Happy New Year&mdash;Past one-<br />
+<span style="margin-left: 1em;">O&#8217;clock, and a frosty morning!&#8221;</span><br />
+<br />
+And there was a &#8220;cry&#8221; in the days gone by,<br />
+That ever came when my pillow was nigh;<br />
+When, tired and spent I was passively led<br />
+By a mother&#8217;s hand, to my own sweet bed&mdash;<br />
+My lids grew heavy, and my glance was dim,<br />
+As I yawned in the midst of a cradle hymn&mdash;<br />
+When the watchman&#8217;s echo lulled me quite,<br />
+With &#8220;Past ten o&#8217;clock, and a starlight night!&#8221;<br />
+<br />
+Well I remember the hideous dream,<br />
+When I struggled in terror, and strove to scream,<br />
+As I took a wild leap o&#8217;er the precipice steep,<br />
+And convulsively flung off the incubus sleep.<br />
+How I loved to behold the moonshine cold<br />
+Illume each well-known curtain-fold;<br />
+And how I was soothed by the watchman&#8217;s warning,<br />
+Of &#8220;Past three o&#8217;clock, and a moonlight morning!&#8221;<br />
+<br />
+Oh, there was music in this &#8220;old cry,&#8221;<br />
+Whose deep, rough tones will never die:<br />
+No rare serenade will put to flight<br />
+The chant that proclaimed a &#8220;stormy night.&#8221;<br />
+<br />
+The &#8220;watchmen of the city&#8221; are gone,<br />
+The church-bell speaketh, but speaketh alone;<br />
+We hear no voice at the wintry dawning,<br />
+With &#8220;Past five o&#8217;clock, and a cloudy morning!&#8221;<br />
+Ah, well-a-day! it hath passed away,<br />
+<span style="margin-left: 1em;">But I sadly miss the cry</span><br />
+That told in the night when the stars were bright,<br />
+<span style="margin-left: 1em;">Or the rain-cloud veiled the sky.</span><br />
+Watchmen, Watchmen, ye are among<br />
+The bygone things that will haunt me long.<br />
+<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span><br />
+&#8220;Three bunches a penny, Primroses!&#8221;<br />
+<span style="margin-left: 1em;">Oh, dear is the greeting of Spring;</span><br />
+When she offers her dew-spangled posies;<br />
+<span style="margin-left: 1em;">The fairest Creation can bring.</span><br />
+<br />
+&#8220;Three bunches a penny, Primroses!&#8221;<br />
+<span style="margin-left: 1em;">The echo resounds in the mart;</span><br />
+And the simple &#8220;cry&#8221; often uncloses<br />
+<span style="margin-left: 1em;">The worldly bars grating man&#8217;s heart.</span><br />
+<br />
+We reflect, we contrive, and we reckon<br />
+<span style="margin-left: 1em;">How best we can gather up wealth;</span><br />
+We go where bright finger-posts beckon,<br />
+<span style="margin-left: 1em;">Till we wander from Nature and Health.</span><br />
+<br />
+But the &#8220;old cry,&#8221; shall burst on our scheming,<br />
+<span style="margin-left: 1em;">The song of &#8220;Primroses&#8221; shall flow,</span><br />
+And &#8220;Three bunches a penny&#8221; set dreaming<br />
+<span style="margin-left: 1em;">Of all that we loved long ago.</span><br />
+<br />
+It brings visions of meadow and mountain,<br />
+<span style="margin-left: 1em;">Of valley, and streamlet, and hill,</span><br />
+When Life&#8217;s ocean but played in a fountain&mdash;<br />
+<span style="margin-left: 1em;">Ah, would that it sparkled so still!</span><br />
+<br />
+It conjures back shadowless hours,<br />
+<span style="margin-left: 1em;">When we threaded the dark, forest ways;</span><br />
+When our own hand went seeking the flowers,<br />
+<span style="margin-left: 1em;">And our own lips were shouting their praise.</span><br />
+<br />
+The perfume and tint of the blossom;<br />
+<span style="margin-left: 1em;">Are as fresh in vale, dingle, and glen;</span><br />
+But say, is the pulse of our bosom<br />
+<span style="margin-left: 1em;">As warm and as bounding as then?</span><br />
+<br />
+&#8220;Three bunches a penny,&mdash;Primroses!&#8221;<br />
+<span style="margin-left: 1em;">&#8220;Three bunches a penny,&mdash;come, buy!&#8221;</span><br />
+A blessing on all the sweet posies,<br />
+<span style="margin-left: 1em;">And good-will to the poor ones who cry.</span><br />
+<br />
+&#8220;Lavender, sweet Lavender!&#8221;<br />
+<span style="margin-left: 1em;">With &#8220;Cherry Ripe!&#8221; is coming;</span><br />
+While the droning beetles whirr,<br />
+<span style="margin-left: 1em;">And merry bees are humming.</span><br />
+<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span><br />
+&#8220;Lavender, sweet Lavender!&#8221;<br />
+<span style="margin-left: 1em;">Oh, pleasant is the crying;</span><br />
+While the rose-leaves scarcely stir,<br />
+<span style="margin-left: 1em;">And downy moths are flying,</span><br />
+<br />
+Oh, dearly do I love &#8220;Old Cries,&#8221;<br />
+<span style="margin-left: 1em;">Your &#8220;Lilies all a-blowing!&#8221;</span><br />
+Your blossoms blue, still wet with dew,<br />
+<span style="margin-left: 1em;">&#8220;Sweet Violets all a-growing!&#8221;</span><br />
+<br />
+Oh, happy were the days, methinks,<br />
+<span style="margin-left: 1em;">In truth the best of any;</span><br />
+When &#8220;Periwinkles, winkle, winks!&#8221;<br />
+<span style="margin-left: 1em;">Allured my last, lone penny.</span><br />
+<br />
+Oh, what had I to do with cares<br />
+<span style="margin-left: 1em;">That bring the frown and furrow,</span><br />
+When &#8220;Walnuts&#8221; and &#8220;Fine mellow Pears&#8221;<br />
+<span style="margin-left: 1em;">Beat Catalani thorough.</span><br />
+<br />
+Full dearly do I love &#8220;Old Cries,&#8221;<br />
+<span style="margin-left: 1em;">And always turn to hear them;</span><br />
+And though they cause me some few sighs,<br />
+<span style="margin-left: 1em;">Those sighs do but endear them.</span><br />
+<br />
+My heart is like the fair sea-shell,<br />
+<span style="margin-left: 1em;">There&#8217;s music ever in it;</span><br />
+Though bleak the shore where it may dwell,<br />
+<span style="margin-left: 1em;">Some power still lives to win it.</span><br />
+<br />
+When music fills the shell no more,<br />
+<span style="margin-left: 1em;">&#8217;Twill be all crushed and scattered;</span><br />
+And when this heart&#8217;s deep tone is o&#8217;er,<br />
+<span style="margin-left: 1em;">&#8217;Twill be all cold and shattered.</span><br />
+<br />
+Oh, vain will be the hope to break<br />
+<span style="margin-left: 1em;">Its last and dreamless slumbers;</span><br />
+When &#8220;Old Cries&#8221; come, and fail to wake<br />
+<span style="margin-left: 1em;">Its deep and fairy numbers!</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Dust, O!&mdash;Dust, O!&mdash;Bring it out to day,<br />
+Bring it out to-day, I sha&#8217;n&#8217;t be here to-mor-row!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img165.jpg" alt="" /></div>
+<p class="center">Dust, O!&mdash;Dust, O!</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>His noisy bell the dustman rings,<br />
+Her dust the housemaid gladly brings:<br />
+Ringing he goes from door to door,<br />
+Until his cart will hold no more.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span></p>
+<div class="figcenter"><img src="images/img166.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Dustman</span>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Bring out your dust, the dustman cries,<br />
+<span style="margin-left: 1em;">Whilst ringing of his bell:</span><br />
+If the wind blows, pray guard your eyes,<br />
+<span style="margin-left: 1em;">To keep them clear and well.</span><br />
+<br />
+I am very glad &#8217;tis not my luck<br />
+<span style="margin-left: 1em;">To get my bread by carting muck;</span><br />
+I am sure I never could be made<br />
+<span style="margin-left: 1em;">To work at such a dirty trade.</span><br />
+<br />
+Hold, my fine spark, not so fast,<br />
+<span style="margin-left: 1em;">Some proud folks get a fall at last;</span><br />
+And you, young gentleman, I say,<br />
+<span style="margin-left: 1em;">May be a Dustman, one fine day.</span><br />
+<br />
+All working folks, who seldom play,<br />
+<span style="margin-left: 1em;">Yet get their bread in a honest way,</span><br />
+Though not to wealth or honours born,<br />
+<span style="margin-left: 1em;">Deserve respect instead of scorn.</span><br />
+<br />
+Such rude contempt they merit less<br />
+<span style="margin-left: 1em;">Than those who live in idleness;</span><br />
+Who are less useful, I&#8217;m afraid,<br />
+<span style="margin-left: 1em;">Than I, the Dustman, am by trade.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span></p>
+<div class="figcenter"><img src="images/img167.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Birdman</span>.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Have pity, have pity on poor little birds,<br />
+Who only make music, and cannot sing words;<br />
+And think, when you listen, we mean by our strain,<br />
+O! let us fly home to our woodlands again.<br />
+<br />
+Our dear woody coverts, and thickets so green,<br />
+Too close for the school-boy to rustle between;<br />
+No foot to alarm us, no sorrow, no rain,<br />
+O! let us fly home to our woodlands again.<br />
+<br />
+There perched on the branches that wave to the wind,<br />
+No more in this pitiless prison confined,<br />
+How gaily we&#8217;ll tune up our merriest strain,<br />
+If once we get home to our woodlands again.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></p>
+<div class="figcenter"><img src="images/img168.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy a Door-Mat or a Table-Mat.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Stooping o&#8217;er the ragged heath,<br />
+<span style="margin-left: 1em;">Thick with thorns and briers keen,</span><br />
+Or the weedy bank beneath,<br />
+<span style="margin-left: 1em;">Have I cut my rushes green;</span><br />
+While the broom and spiked thorn<br />
+Pearly drops of dew adorn.<br />
+<br />
+Sometimes across the heath I wind,<br />
+<span style="margin-left: 1em;">Where scarce a human face is seen,</span><br />
+Wandering marshy spots to find,<br />
+<span style="margin-left: 1em;">Where to cut my rushes green;</span><br />
+Here and there, with weary tread,<br />
+Working for a piece of bread.<br />
+<br />
+Then my little child and I<br />
+<span style="margin-left: 1em;">Plat and weave them, as you see;</span><br />
+Pray my lady, pray do buy,<br />
+<span style="margin-left: 1em;">You can&#8217;t have better than of me;</span><br />
+For never, surely were there seen<br />
+Prettier mats of rushes green.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>I sweep your Chimnies clean, O,<br />
+Sweep your Chimney clean, O!</i></td></tr></table>
+<div class="figcenter"><img src="images/img169.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Chimney Sweeper.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>With drawling tone, brush under arm,<br />
+<span style="margin-left: 1em;">And bag slung o&#8217;er his shoulder:</span><br />
+Behold the sweep the streets alarm,<br />
+<span style="margin-left: 1em;">With Stentor&#8217;s voice, and louder.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Diddle Dumplings, hot! hot!<br />
+Diddle, diddle, diddle, Dumplings hot!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img170.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Dumpling Woman.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>This woman&#8217;s in industry wise,<br />
+<span style="margin-left: 1em;">She lives near Butcher-row;</span><br />
+Each night round Temple-bar she plies,<br />
+<span style="margin-left: 1em;">With <i>Diddle Dumplings, ho!</i></span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Yorkshire Cakes, Who&#8217;ll buy Yorkshire Cakes,<br />
+All piping hot&mdash;smoking hot! hot!!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img171.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Yorkshire Cake Man.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Fine Yorkshire Cakes; Who&#8217;ll buy Yorkshire cakes?<br />
+<span style="margin-left: 1em;">They are all piping hot, and nicely made;</span><br />
+His daily walk this fellow takes,<br />
+<span style="margin-left: 1em;">And seems to drive a pretty trade.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Flowers, sweet Flowers, new-cut Flowers,<br />
+New Flowers, sweet Flowers, fresh Flowers, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img172.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Flowers, Cut Flowers.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>New-cut Flowers this pretty maid doth cry,<br />
+<span style="margin-left: 1em;">In Spring, Summer and Autumn, gaily;</span><br />
+Which shows how fast the Seasons fly&mdash;<br />
+<span style="margin-left: 1em;">As we pass to our final home, daily.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy green and large Cucumbers, Cucumbers,<br />
+Green and large Cucumbers, twelve a penny.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img173.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Cucumbers.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>A penny a dozen, Cucumbers!<br />
+<span style="margin-left: 1em;">Tailors, hallo! hallo!</span><br />
+Now from the shop-board each man runs,<br />
+<span style="margin-left: 1em;">For Cucumbers below.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy Rosemary! Buy Sweetbriar!<br />
+Rosemary and Sweetbriar, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img174.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Rosemary and Sweetbriar.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Rosemary and briar sweet,<br />
+<span style="margin-left: 1em;">This maiden now doth cry,</span><br />
+Through every square and street,<br />
+<span style="margin-left: 1em;">Come buy it sweet, come buy it dry.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Newcastle Salmon! Dainty fine Salmon!<br />
+Dainty fine Salmon! Newcastle Salmon!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img175.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Newcastle Salmon.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Newcastle salmon, very good,<br />
+<span style="margin-left: 1em;">Is just come in for summer food;</span><br />
+No one hath better fish than I,<br />
+<span style="margin-left: 1em;">So if you&#8217;ve money come and buy.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Cranberries! Fine Cranberries!<br />
+Buy my Cranberries! Fine Cranberries!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img176.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Cranberries.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy Cranberries, to line your crust,<br />
+<span style="margin-left: 1em;">In Lincolnshire they&#8217;re grown;</span><br />
+Come buy, come buy, for sell I must<br />
+<span style="margin-left: 1em;">Three quarts for half-a-crown.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Come buy my Walking-Sticks or Canes!<br />
+I&#8217;ve got them for the young or old.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img177.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Sticks and Canes.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>How sloven like the school-boy looks,<br />
+<span style="margin-left: 1em;">Who daubs his books at play;</span><br />
+Give him a new one? No, adzooks!<br />
+<span style="margin-left: 1em;">Give him a Cane, I say.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my fine Gooseberries! Fine Gooseberries!<br />
+Three-pence a quart! Ripe Gooseberries!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img178.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Gooseberries.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Ripe gooseberries in town you&#8217;ll buy<br />
+<span style="margin-left: 1em;">As cheap as cheap can be;</span><br />
+Of many sorts you hear the cry;<br />
+<span style="margin-left: 1em;">Pray purchase, sir, of me!</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Pears for pies! Come feast your eyes!<br />
+Ripe Pears, of every size, who&#8217;ll buy?</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img179.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Ripe Pears.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Pears ripe, pears sound,<br />
+<span style="margin-left: 1em;">This woman cries all day;</span><br />
+Pears for pies, long or round,<br />
+<span style="margin-left: 1em;">Come buy them while you may.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>One a penny, two a penny, hot Cross Buns!<br />
+One a penny, two a penny, hot Cross Buns!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img180.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hot Cross Buns.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Think on this sacred festival;<br />
+<span style="margin-left: 1em;">Think why Cross Buns were given;</span><br />
+Then think of Him who dy&#8217;d for all,<br />
+<span style="margin-left: 1em;">To give you right to Heaven.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Maids, I mend old Pans or Kettles,<br />
+Mend old Pans or Kettles, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img181.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Tinker.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hark, who is this? the Tinker bold,<br />
+<span style="margin-left: 1em;">To mend or spoil your kettle,</span><br />
+Whose wife I&#8217;m certain is a scold,<br />
+<span style="margin-left: 1em;">Made of basest metal.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Capers! Buy my nice Capers!<br />
+Buy my Anchovies! Buy my nice Anchovies!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img182.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Capers, Anchovies.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>How melodious the voice of this man,<br />
+<span style="margin-left: 1em;">The Capers he says are the best;</span><br />
+His Anchovies too, beat &#8217;em who can,<br />
+<span style="margin-left: 1em;">Are constantly found in request.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Mulberries, all ripe and fresh to day!<br />
+Only a groat a pottle&mdash;full to the bottom!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img183.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Mulberries.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Mulberries, ripe and fresh to-day,<br />
+<span style="margin-left: 1em;">They warm and purify the blood;</span><br />
+Have them a groat a pottle you may.<br />
+<span style="margin-left: 1em;">They are all fresh! they are all good!</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Cockles! Fine new Cockles!<br />
+Cockles fine, and Cockles new!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img184.jpg" alt="" /></div>
+<p class="center"><span class="smcap">New Cockles.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Cockles fine; and cockles new,<br />
+<span style="margin-left: 1em;">They are as fine as any.</span><br />
+Cockles! New cockles, O!<br />
+<span style="margin-left: 1em;">I sell a good lot for a penny, O!</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy fine Flounders! Fine Dabs! All alive, O!<br />
+Fine Dabs! Fine live Flounders, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img185.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy Fine Flounders! Fine Dabs!</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>There goes a tall fish-woman sounding her cry,<br />
+&#8220;Who&#8217;ll buy my fine flounders, and dabs, who&#8217;ll buy?&#8221;<br />
+Poor flounder, he heaves up his fin with a sigh,<br />
+And thinks that <i>he</i> has most occasion to cry;<br />
+&#8220;Ah, neighbour,&#8221; says dab, &#8220;indeed, so do I.&#8221;</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my nice and new Banbury Cakes!<br />
+Buy my nice new Banbury Cakes, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img186.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Banbury Cakes.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy Banbury Cakes! By fortune&#8217;s frown,<br />
+<span style="margin-left: 1em;">You see this needy man,</span><br />
+Along the street, and up and down,<br />
+<span style="margin-left: 1em;">Is selling all he can.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Lavender! Sweet blooming Lavender!<br />
+Sweet blooming Lavender! Blooming Lavender!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img187.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Lavender.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Lavender! Sweet blooming lavender,<br />
+<span style="margin-left: 1em;">Six bunches for a penny to-day!</span><br />
+Lavender! sweet blooming lavender!<br />
+<span style="margin-left: 1em;">Ladies, buy it while you may.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Live Mackerel! Three a-shilling, O!<br />
+Le&#8217;ping alive, O! Three a-shilling O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img188.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Mackerel.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Live Mackerel, oh! fresh as the day!<br />
+<span style="margin-left: 1em;">At three for a shilling, is giving away;</span><br />
+Full row&#8217;d, like bright silver they shine;<br />
+<span style="margin-left: 1em;">Two persons on one can sup or dine.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Shirt Buttons! Shirt Buttons!<br />
+Buy Shirt Hand Buttons! Buttons!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img189.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Shirt Buttons.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>At a penny a dozen, a dozen,<br />
+<span style="margin-left: 1em;">My Buttons for shirts I sell,</span><br />
+Come aunt, uncle, sister, and cousin,<br />
+<span style="margin-left: 1em;">I&#8217;ll warrant I&#8217;ll use you well.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my Rabbits! Rabbits, who&#8217;ll buy?<br />
+Rabbit! Rabbit! who will buy?</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img190.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Rabbit Man.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&#8220;Rabbit! Rabbit! who will buy?&#8221;<br />
+<span style="margin-left: 1em;">Is all you hear from him;</span><br />
+The Rabbit you may roast or fry,<br />
+<span style="margin-left: 1em;">The fur your cloak will trim.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy Rue! Buy Sage! Buy Mint!<br />
+Buy Rue, Sage and Mint, a farthing a bunch!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img191.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Herb-Wife.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>As thro&#8217; the fields she bends her way,<br />
+<span style="margin-left: 1em;">Pure nature&#8217;s work discerning;</span><br />
+So you should practice every day,<br />
+<span style="margin-left: 1em;">To trace the fields of learning.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Apple Tarts! All sweet and good, to-day!<br />
+Hot, nice, sweet and good, to-day!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img192.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Apple Tarts. Apple Tarts.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Apple Tarts! Apple Tarts! Tarts, I cry!<br />
+<span style="margin-left: 1em;">They are all of my own making,</span><br />
+My Apple Tarts! My Apple Tarts, come buy!<br />
+<span style="margin-left: 1em;">For, a honest penny I would be taking.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Ripe Strawberries! a groat a pottle, to-day,<br />
+Only a groat a pottle, is what I say!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img193.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Ripe and Fresh Strawberries.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Ripe strawberries, a full pottle for a groat!<br />
+<span style="margin-left: 1em;">They are all ripe and fresh gathered, as you see,</span><br />
+No finer for money I believe can be bought;<br />
+<span style="margin-left: 1em;">So I pray you come and deal fairly with me.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Any Knives, or Scissors to grind, to-day?<br />
+Big Knives, or little Knives, or Scissors to grind, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img194.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Any Knives or Scissors to Grind.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Any Knives or Scissors to grind, to-day?<br />
+I&#8217;ll do them well and there&#8217;s little to pay;<br />
+Any Knives or Scissors to grind, to-day?<br />
+If you&#8217;ve nothing for me, I&#8217;ll go away.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Door-Mat! Door-Mat, Buy a Door-Mat,<br />
+Rope-mat! Rope-Mat! Buy a Rope-Mat.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img195.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Rope Mat. Door Mat.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Rope Mat! Door Mat! you really must<br />
+Buy one to save the mud and dust;<br />
+Think of the dirt brought from the street<br />
+For the want of a Mat to wipe your feet.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Clothes Props! Clothes Props! I say, good wives<br />
+Clothes Props, all long and very strong, to-day.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img196.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Clothes Props, Clothes Props.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy Clothes Props, Buy Clothes Props!<br />
+<span style="margin-left: 1em;">Pretty maids, or pretty wives, I say,</span><br />
+I sell them half the price of the shops;<br />
+<span style="margin-left: 1em;">So you&#8217;ll buy of the old man, I pray.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Come take a Peep, boys, take a Peep?<br />
+Girls, I&#8217;ve the wonder of the world.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img197.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Raree-Show.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come take a Peep, each lady and gent,<br />
+<span style="margin-left: 1em;">My Show is the best, I assure you;</span><br />
+You&#8217;ll not have the least cause to repent,<br />
+<span style="margin-left: 1em;">For I&#8217;ll strive all I can to allure you.</span></td></tr></table>
+
+<p><span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Water Cresses! Fine Spring Water Cresses!<br />
+Three bunches a penny, young Water Cresses!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img198.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Water Cresses. Fresh and Fine.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Young Cresses, fresh, at breakfast taken<br />
+<span style="margin-left: 1em;">A relish will give to eggs and bacon!</span><br />
+My profit&#8217;s small, for I put many<br />
+<span style="margin-left: 1em;">In bunches sold at three a penny</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Mutton Pies! Mutton Pies! Mutton Pies,<br />
+Come feast your eyes with my Mutton Pies.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img199.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Who&#8217;ll Buy my Mutton Pies?</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Through London&#8217;s long and busy streets,<br />
+<span style="margin-left: 1em;">This honest woman cries,</span><br />
+To every little boy she meets,<br />
+<span style="margin-left: 1em;">Who&#8217;ll buy my Mutton Pies?</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Please to Pity the Poor Old Fiddler!<br />
+Pity the Poor Old Blind Fiddler!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img200.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Poor Old Fiddler.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>The poor old Fiddler goes his rounds,<br />
+<span style="margin-left: 1em;">Along with old Dog Tray;</span><br />
+The East of London mostly bounds<br />
+<span style="margin-left: 1em;">His journeys for the day.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Muffins, O! Crumpets! Muffins, to-day!<br />
+Crumpets, O! Muffins, O! fresh, to-day!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img201.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Muffin Man.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>The Muffin Man! hark, I hear<br />
+<span style="margin-left: 1em;">His small bell tinkle shrill and clear;</span><br />
+Muffins and Crumpets nice he brings,<br />
+<span style="margin-left: 1em;">While on the fire the kettle sings.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Oysters, fresh and alive, three a penny, O!<br />
+When they are all sold I sha&#8217;n&#8217;t have any, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img202.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Oysters. Fine New Oysters.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>They&#8217;re all alive and very fine,<br />
+<span style="margin-left: 1em;">So if you like them, come and dine;</span><br />
+I&#8217;ll find you bread and butter, too,<br />
+<span style="margin-left: 1em;">Or you may have them opened for a stew.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy fine Kidney Potatoes! New Potatoes!<br />
+Fine Kidney Potatoes! Potatoes, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img203.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Potatoes, Kidney Potatoes.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Potatoes, oh! of kidney kind,<br />
+<span style="margin-left: 1em;">Come buy, and boil, and eat,</span><br />
+The core, and eke also, the rind,<br />
+<span style="margin-left: 1em;">They are indeed so sweet.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy Images! Good and cheap!<br />
+Images, very good&mdash;very cheap!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img204.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy my Images, Images.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come buy my image earthenware,<br />
+<span style="margin-left: 1em;">Your mantel pieces to bedeck,</span><br />
+Examine them with greatest care,<br />
+<span style="margin-left: 1em;">You will not find a single speck.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy &#8217;em by the stick, or buy&#8217;em by the pound,<br />
+Cherries ripe, all round and sound!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img205.jpg" alt="" /></div>
+<p class="center"><span class="smcap">All round and sound, my Ripe Kentish Cherries.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Who such Cherries would see,<br />
+And not tempted be<br />
+<span style="margin-left: 1em;">To wish he possessed a small share?</span><br />
+But observe, I say small,<br />
+For those who want all<br />
+<span style="margin-left: 1em;">Deserve not to taste of such fare.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy a Mop! Buy a Broom! Good to-day!<br />
+Buy a Broom! Buy a Mop, I say!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img206.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy a Mop or a Broom.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Ye cleanly housewives come to me,<br />
+<span style="margin-left: 1em;">And buy a Mop or Broom,</span><br />
+To sweep your chambers, scour your stairs,<br />
+<span style="margin-left: 1em;">Or wash your sitting room.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Golden Pippins, all of the right sort, girls!<br />
+Golden Pippins, all of the right sort, boys!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img207.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Golden Pippins, Who&#8217;ll Buy?</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here are fine Golden Pippins;<br />
+<span style="margin-left: 1em;">Who&#8217;ll buy them, who&#8217;ll buy?</span><br />
+Nobody in London sells better than I!<br />
+<span style="margin-left: 1em;">Who&#8217;ll buy them, who&#8217;ll buy?</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Wash Ball, a Trinket, or a Watch, buy?<br />
+Buy &#8217;em, all cheap and all good!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img208.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Wash Ball, Trinket, or Watch.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Do ye want any Wash Ball or Patch.&mdash;<br />
+<span style="margin-left: 1em;">Dear ladies, pray, buy of me;&mdash;</span><br />
+Or Trinkets to hang at your Watch,<br />
+<span style="margin-left: 1em;">Or Garters to tie at your knee?</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Past twelve o&#8217;clock, and a cloudy morning!<br />
+Past twelve o&#8217;clock; and mind, I give you warning!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img209.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The City Watchman.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Past twelve o&#8217;clock, and a moonlight night!<br />
+Past twelve o&#8217;clock, and the stars shine bright!<br />
+Past twelve o&#8217;clock, your doors are all fast like you!<br />
+Past twelve o&#8217;clock, and I&#8217;ll soon be fast, too!</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Young Lambs to sell! Young Lambs to sell!<br />
+Young Lambs to sell! Young Lambs to sell!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img210.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Young Lambs to Sell.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Young Lambs to sell! Young Lambs to sell!<br />
+<span style="margin-left: 1em;">Two a penny, Young Lambs to sell;</span><br />
+If I&#8217;d as much money as I could tell,<br />
+<span style="margin-left: 1em;">I wouldn&#8217;t cry young Lambs to sell.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my sweet and rare Lilies of the Valley?<br />
+Buy of your Sally&mdash;Sally of our Alley?</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img211.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Lilies of the Valley.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>In London street, I ne&#8217;er could find,<br />
+<span style="margin-left: 1em;">A girl like lively Sally,</span><br />
+Who picks and culls, and cries aloud,<br />
+<span style="margin-left: 1em;">Sweet Lilies of the Valley.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy my young chickens! Buy&#8217;em alive, O!<br />
+Buy of the Fowlman, and have &#8217;em alive, O!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img212.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy Chickens, Young Chickens.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy my young Chickens, or a Fowl, well-fed,<br />
+<span style="margin-left: 1em;">And we&#8217;ll not quarrel about the price;</span><br />
+&#8217;Tis thus I get my daily bread:<br />
+<span style="margin-left: 1em;">As all the year round my Fowls are very nice.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Green Peas, I say! Green Peas, I say, here,<br />
+Hav&#8217;em at your own price&mdash;here! here!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img213.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Green Peas! Buy my Green Peas?</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Sixpence a peck, these Peas are sold,<br />
+<span style="margin-left: 1em;">Fresh and green, and far from old;</span><br />
+Green Marrows, it is quite clear,<br />
+<span style="margin-left: 1em;">And as times go, cannot be dear.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Hat Box! Cap Box! Boxes, all sizes;<br />
+All good, and at very low prices.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img214.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Hat-Box; Cap Box.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hat or Cap Box! for ribbons or lace,<br />
+<span style="margin-left: 1em;">When in a Box, keep in their place;</span><br />
+And in a Box, your favourite bonnet<br />
+<span style="margin-left: 1em;">Is safe from getting things thrown on it.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Eels, fine Silver Eels! Dutch Eels!<br />
+They are all alive&mdash;Silver Eels!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img215.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Eels; fine Dutch Eels.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Eels, alive! fine Dutch eels, I cry,<br />
+<span style="margin-left: 1em;">Mistress, to use you well I&#8217;m willing,</span><br />
+Come step forth and buy&mdash;<br />
+<span style="margin-left: 1em;">Take four pounds for one shilling.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Plumbs, ripe Plumbs! Big as your thumbs!<br />
+Plumbs! Plumbs! Big as your thumbs!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img216.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Plumbs; ripe Plumbs.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Plumbs, for puddings or pies,<br />
+<span style="margin-left: 1em;">This noisy woman bawls;</span><br />
+Plumbs, for puddings or pies,<br />
+<span style="margin-left: 1em;">In every street she calls.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Buy a Purse; a long and a strong Purse!<br />
+A good leather or a strong mole-skin Purse!</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img217.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Buy a Purse.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy a Purse; a long and strong Purse,<br />
+<span style="margin-left: 1em;">They&#8217;ll suit the young&mdash;they suit the old!</span><br />
+To lose good money, what is worse?<br />
+<span style="margin-left: 1em;">Yet it&#8217;s daily done for the want of a purse.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Kettles to mend! any Pots to mend?<br />
+Daily I say as my way I wend.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img218.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Kettles or Pots to Mend!</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Kettles to mend! any pots to mend!<br />
+<span style="margin-left: 1em;">You cannot do better to me than send;</span><br />
+Think of the mess when the saucepans run,<br />
+<span style="margin-left: 1em;">The fire put out, and the dinner not done.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span></p>
+
+<div class="figcenter"><img src="images/img219.jpg" alt="" /></div>
+<p class="center"><span class="smcap">The Jolly Tinker.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>My daddy was a tinker&#8217;s son,<br />
+And I&#8217;m his boy, &#8217;tis ten to one,<br />
+Here&#8217;s pots to mend! was still his cry,<br />
+Here&#8217;s pots to mend! aloud bawl I.<br />
+Have ye any tin pots, kettles or cans,<br />
+Coppers to solder, or brass pans?<br />
+Of wives my dad had near a score,<br />
+And I have twice as many more:<br />
+My daddy was the lord&mdash;I don&#8217;t know who&mdash;<br />
+With his:&mdash;<br />
+<span style="margin-left: 6em;">Tan ran tan, tan ran tan tan,</span><br />
+<span style="margin-left: 6em;">For pot or can, oh! I&#8217;m your man.</span><br />
+<br />
+Once I in my budget snug had got<br />
+A barn-door capon, and what not,<br />
+Here&#8217;s pots to mend! I cried along&mdash;<br />
+Here&#8217;s pots to mend! was my song.<br />
+At village wake&mdash;oh! curse his throat,<br />
+The cock crowed so loud a note,<br />
+The folks in clusters flocked around,<br />
+They seized my budget, in it found<br />
+The cock, a gammon, peas and beans,<br />
+Besides a jolly tinker. Yes, a jolly tinker&mdash;<br />
+With his&mdash;<br />
+<span style="margin-left: 6em;">Tan ran tan, tan ran tan tan,</span><br />
+<span style="margin-left: 6em;">For pot or can, oh! I&#8217;m your man.</span><br />
+<br />
+Like dad, when I to quarters come,<br />
+For want of cash the folks I hum,<br />
+Here&#8217;s kettles to mend: Bring me some beer!<br />
+The landlord cries, &#8220;You&#8217;ll get none here!<br />
+You tink&#8217;ring dog, pay what you owe,<br />
+Or out of doors you&#8217;ll instant go,&#8221;<br />
+In rage I squeezed him &#8217;gainst the door,<br />
+And with his back rubb&#8217;d off the score.<br />
+At his expense we drown all strife<br />
+For which I praise the landlord&#8217;s wife&mdash;<br />
+With my<br />
+<span style="margin-left: 6em;">Tan ran tan, tan ran tan tan,</span><br />
+<span style="margin-left: 6em;">For pot or can, oh! I&#8217;m your man.</span></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><i>Fine China Oranges, sweet as sugar!<br />
+They are very fine, and cheap, too, to-day.</i></td></tr></table>
+
+<div class="figcenter"><img src="images/img220.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fine China Oranges.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>If friends permit, and money suits,<br />
+<span style="margin-left: 1em;">The tempting purchase make;</span><br />
+But, first, examine well the fruit,<br />
+<span style="margin-left: 1em;">And then the change you take.</span></td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span></p>
+
+<div class="figcenter"><img src="images/img221.jpg" alt="" /></div>
+<p class="center"><span class="smcap">Fine ripe Oranges</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here are Oranges, fine ripe Oranges,<br />
+<span style="margin-left: 1em;">Of golden colour to the eye,</span><br />
+And fragrant perfume they&#8217;re dispensing,<br />
+<span style="margin-left: 1em;">Sweeter than roses; come then and buy.</span><br />
+Flowers cannot give forth the fragrance<br />
+<span style="margin-left: 1em;">That scents the air from my golden store,</span><br />
+Fairest lady, none can excel them,<br />
+<span style="margin-left: 1em;">Buy then my Oranges; buy, I implore.</span><br />
+<br />
+Here are Oranges, fine ripe Oranges,<br />
+<span style="margin-left: 1em;">Golden globes of nectar fine,</span><br />
+Luscious juice the gods might envy,<br />
+<span style="margin-left: 1em;">Richer far than the finest wine.</span><br />
+Flowers cannot give forth the fragrance<br />
+<span style="margin-left: 1em;">That scents the air from my golden store,</span><br />
+Fairest lady, none can excel them,<br />
+<span style="margin-left: 1em;">Buy then my Oranges; buy, I implore.</span></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span></p>
+
+<p class="center"><span class="smcap">Round for Four Voices.</span></p>
+<p class="center"><span class="smcap">Sir. J. Stevenson.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span style="margin-left: 5em;">Come buy my cherries, beauteous lasses;</span><br />
+<span style="margin-left: 5em;">Fresh from the garden pluck&#8217;d by me;</span><br />
+<span style="margin-left: 5em;">All on a summer&#8217;s day, so gay,</span><br />
+You hear the London Cries&mdash;&#8220;<i>Knives ground here by me</i>.&#8221;<br />
+<br />
+<span style="margin-left: 5em;">Fine apples and choice pears,</span><br />
+<span style="margin-left: 5em;">Eat, boys, forget your cares;</span><br />
+<span style="margin-left: 5em;">All on a summer&#8217;s day, so gay,</span><br />
+You hear the London Cries&mdash;&#8220;<i>Sweep, sweep, sweep</i>.&#8221;<br />
+<br />
+<span style="margin-left: 5em;">Fruit in abundance sold by me,</span><br />
+<span style="margin-left: 5em;">Fruit in abundance here you see;</span><br />
+<span style="margin-left: 5em;">All on a summer&#8217;s day, so gay,</span><br />
+You hear the London Cries&mdash;&#8220;<i>Parsnips, carrots, and choice beans</i>.&#8221;<br />
+<br />
+<span style="margin-left: 5em;">Whey, fine sweet whey,</span><br />
+<span style="margin-left: 5em;">Come taste my whey;</span><br />
+<span style="margin-left: 5em;">All on a summer&#8217;s day, so gay,</span><br />
+You hear the London Cries&mdash;&#8220;<i>Fine radish, fine lettuce, sold by me</i>.&#8221;</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span></p>
+
+<p class="center"><span class="smcap">Primroses.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come who&#8217;ll buy my roses, Primroses, who&#8217;ll buy?<br />
+<span style="margin-left: 1em;">They are sweet to the sense, they are fair to the eye;</span><br />
+They are covered all o&#8217;er with diamond dew,<br />
+<span style="margin-left: 1em;">Which Aurora&#8217;s bright handmaids unsparingly threw</span><br />
+On their beautiful heads: and I ask but of you&mdash;<br />
+<span style="margin-left: 1em;"><i>To buy, buy, buy, buy</i>.</span><br />
+<br />
+The sun kiss&#8217;d the flowers as he rose from the sea bright,<br />
+<span style="margin-left: 1em;">And their golden eyes opened with beauty and glee bright,</span><br />
+Their sweets are untasted by hornet or bee&mdash;<br />
+<span style="margin-left: 1em;">They are fresh as the morning and lovely to see&mdash;</span><br />
+So reject not the blossoms now offered by me&mdash;<br />
+<span style="margin-left: 1em;"><i>But buy, buy, buy, buy</i>.</span><br />
+<br />
+Nay, never refuse me, nor cry my buds down,<br />
+<span style="margin-left: 1em;">They are nature&#8217;s production, and sweet ones, you&#8217;ll own;</span><br />
+And tho&#8217; torn from the earth, they will smile in your hall,<br />
+<span style="margin-left: 1em;">They will bloom in a cottage, be it ever so small&mdash;</span><br />
+And still look the lovliest flowers of all!<br />
+<span style="margin-left: 1em;"><i>So buy, buy, buy, buy.</i></span></td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td rowspan="11" valign="top"><img src="images/img222_left.jpg" alt="" /></td>
+    <td colspan="3" valign="top"><img src="images/img222_top.jpg" alt="" /></td>
+    <td rowspan="11" valign="top"><img src="images/img222_right.jpg" alt="" /></td></tr>
+<tr><td colspan="3" align="center"><small>THE</small><br />LONDON CRIES<br /><small>IN</small><br />LONDON STREETS.</td></tr>
+<tr><td colspan="3" align="center"><img src="images/img222a.jpg" alt="" /></td></tr>
+<tr><td colspan="3" align="center"><i>Embellished with Pretty Cuts,<br />
+For the use of Good little Boys and Girls,<br />
+and a Copy of Verses.</i></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3" align="center"><img src="images/img222b.jpg" alt="" /></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="right">Printed by T. BIRT,</td><td rowspan="2" align="center"><span class="huge">30,</span></td><td>Great St. Andrew Street,</td></tr>
+<tr><td align="right">Wholesale &amp; Retail,</td><td>Seven Dials, London.</td></tr>
+<tr><td colspan="3" align="center"><i>Country Orders punctually attended to.</i><br />
+<span class="smcap">Every description of Printing done Cheap.</span><br />
+<span class="finger">&#9758;</span> <span class="smcap">Travellers and Shopkeepers supplied<br />with Sheet Hymns,<br />
+Patters, and Slip Songs, as Cheap and Good<br />
+as any Shop in London.</span></td></tr>
+<tr><td colspan="3" valign="bottom"><img src="images/img222_bottom.jpg" alt="" /></td></tr></table>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center">T. BIRT.<br />
+<span class="smcap">To the Good Little Masters and Mistresses<br />
+in Town and Country.</span><br /></td></tr>
+<tr><td><span style="margin-left: 3em;">Here! look at the Cries of London town,</span><br />
+<span style="margin-left: 4em;">For you need not travel there;</span><br />
+<span style="margin-left: 3em;">But view you those of most renown,</span><br />
+<span style="margin-left: 4em;">Whilst sitting in your chair.</span><br />
+<br />
+<span style="margin-left: 3em;">At Home&mdash;a hundred miles away,</span><br />
+<span style="margin-left: 4em;">&#8217;Tis easy now to look</span><br />
+<span style="margin-left: 3em;">At the Cries of London gay,</span><br />
+<span style="margin-left: 4em;">In this our little book.</span><br />
+<br />
+<span style="margin-left: 3em;">Yes; there in quiet you may be,</span><br />
+<span style="margin-left: 4em;">Beside the winter&#8217;s fire,</span><br />
+<span style="margin-left: 3em;">And read as well as see,</span><br />
+<span style="margin-left: 4em;">All those that you desire.</span><br />
+<br />
+<span style="margin-left: 3em;">Or underneath the oak so grey,</span><br />
+<span style="margin-left: 4em;">That grows beside the briar;</span><br />
+<span style="margin-left: 3em;">May pass the summer&#8217;s eve away,</span><br />
+<span style="margin-left: 4em;">And view each City Crier.</span><br /></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_339" id="Page_339">[Pg 339]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img224.jpg" alt="" /><br /><br /><span class="smcap">Buy a Gazette? Great News!</span></td></tr>
+<tr><td><span style="margin-left: 3em;">In the Gazette great news, to-day:</span><br />
+<span style="margin-left: 4em;">The enemy is beat, they say,</span><br />
+<span style="margin-left: 3em;">And all are eager to be told&mdash;</span><br />
+<span style="margin-left: 4em;">The news, the new events unfold.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_340" id="Page_340">[Pg 340]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img225.jpg" alt="" /><br /><br /><span class="smcap">Come Buy my Fine Roses.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">Come buy my fine roses,</span><br />
+<span style="margin-left: 4em;">My myrtles and stocks;</span><br />
+<span style="margin-left: 3em;">My sweet smelling balsams</span><br />
+<span style="margin-left: 4em;">And close growing box.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_341" id="Page_341">[Pg 341]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img226.jpg" alt="" /><br /><br /><span class="smcap">Buy an Almanack: New Almanacks.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">My Almanacks aim at no learning at all,</span><br />
+<span style="margin-left: 4em;">But only to show when the holidays fall:</span><br />
+<span style="margin-left: 3em;">And tell, as by study we easily may,</span><br />
+<span style="margin-left: 4em;">How many eclipses the year will display.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_342" id="Page_342">[Pg 342]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img227.jpg" alt="" /><br /><br /><span class="smcap">Buy a Mop? Buy a Mop?</span></td></tr>
+<tr><td><span style="margin-left: 5em;">My Mop is so big,</span><br />
+<span style="margin-left: 5em;">It might serve as a wig</span><br />
+<span style="margin-left: 3em;">For a judge, had he no objection;</span><br />
+<span style="margin-left: 5em;">And as to my brooms,</span><br />
+<span style="margin-left: 5em;">They will sweep dirty rooms,</span><br />
+<span style="margin-left: 3em;">And make the dust fly, to perfection.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_343" id="Page_343">[Pg 343]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img228.jpg" alt="" /><br /><br /><span class="smcap">Lobsters and Crabs.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">Here&#8217;s lobsters and crabs,</span><br />
+<span style="margin-left: 4em;">Alive, O! and good,</span><br />
+<span style="margin-left: 3em;">So buy if you please;</span><br />
+<span style="margin-left: 4em;">This delicate food.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_344" id="Page_344">[Pg 344]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img229.jpg" alt="" /><br /><br /><span class="smcap">Milk from the Cow.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">Rich Milk from the Cow,</span><br />
+<span style="margin-left: 4em;">Both sweet and fine;</span><br />
+<span style="margin-left: 3em;">The doctors declare;</span><br />
+<span style="margin-left: 4em;">It is better than wine.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_345" id="Page_345">[Pg 345]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img230.jpg" alt="" /><br /><br /><span class="smcap">Buy a Basket, Large or Small?</span></td></tr>
+<tr><td><span style="margin-left: 2em;">Buy a basket? large or small?</span><br />
+<span style="margin-left: 3em;">For all sorts I&#8217;ve got by me,</span><br />
+<span style="margin-left: 2em;">So come ye forth, one and all,</span><br />
+<span style="margin-left: 3em;">If you buy once, another time you&#8217;ll try me.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_346" id="Page_346">[Pg 346]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img231.jpg" alt="" /><br /><br /><span class="smcap">Buy a Cane for Naughty Boys.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">I&#8217;ve Sticks and Canes for old and young,</span><br />
+<span style="margin-left: 4em;">To either they are handy,</span><br />
+<span style="margin-left: 3em;">In driving off a barking cur,</span><br />
+<span style="margin-left: 4em;">Or chastising a dandy.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_347" id="Page_347">[Pg 347]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img232.jpg" alt="" /><br /><br /><span class="smcap">Hot Rice-Milk.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">Hot Rice-Milk this woman calls&mdash;</span><br />
+<span style="margin-left: 4em;">Behold her bright can,</span><br />
+<span style="margin-left: 3em;">As up and down the streets she bawls</span><br />
+<span style="margin-left: 4em;">Hot Rice-Milk to warm the inner man.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_348" id="Page_348">[Pg 348]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img233.jpg" alt="" /><br /><br /><span class="smcap">Peaches and Nectarines.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">Nice Peaches and Nectarines</span><br />
+<span style="margin-left: 4em;">Just fresh from the tree;</span><br />
+<span style="margin-left: 3em;">All you who have money,</span><br />
+<span style="margin-left: 4em;">Come buy them of me.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_349" id="Page_349">[Pg 349]</a></span></p>
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top" rowspan="4"><img src="images/border_left.jpg" alt="" /></td>
+    <td valign="top"><img src="images/border_top.jpg" alt="" /></td>
+    <td valign="top" rowspan="4"><img src="images/border_right.jpg" alt="" /></td></tr>
+<tr><td align="center"><img src="images/img234.jpg" alt="" /><br /><br /><span class="smcap">Hot Spice-Gingerbread.</span></td></tr>
+<tr><td><span style="margin-left: 3em;">Hot Spice-Gingerbread, hot! hot! all hot!</span><br />
+<span style="margin-left: 4em;">This noisy fellow loudly bawls,</span><br />
+<span style="margin-left: 3em;">Hot! hot! hot! smoking hot! red hot!</span><br />
+<span style="margin-left: 4em;">In every street or public place he calls.</span></td></tr>
+<tr><td valign="bottom"><img src="images/border_bot.jpg" alt="" /></td></tr></table>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_350" id="Page_350">[Pg 350]</a></span></p>
+
+<p class="center"><span class="smcap">Come, Buy my Spice-Gingerbread, Smoking Hot! Hot! Hot!</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come, boys and girls, men and maids, widows and wives,<br />
+The best penny laid out you e&#8217;er spent in your lives;<br />
+Here&#8217;s my whirl-a-gig lottery, a penny a spell,<br />
+No blanks, but all prizes, and that&#8217;s pretty well.<br />
+Don&#8217;t stand humming and ha-aring, with ifs and with buts,<br />
+Try your luck for my round and sound gingerbread-nuts;<br />
+And there&#8217;s my glorious spice-gingerbread, too,<br />
+Hot enough e&#8217;en to thaw the heart of a Jew.<br />
+<br />
+<span style="margin-left: 2em;">Hot spice-gingerbread, hot! hot! all hot!</span><br />
+<span style="margin-left: 2em;">Come, buy my spice-gingerbread, smoking hot!</span><br />
+<br />
+I&#8217;m a gingerbread-merchant, but what of that, then?<br />
+All the world, take my word, deal in gingerbread ware;<br />
+Your fine beaus and your belles and your rattlepate rakes&mdash;<br />
+One half are game-nuts, the rest gingerbread cakes;<br />
+Then in gingerbread coaches we&#8217;ve gingerbread lords,<br />
+And gingerbread soldiers with gingerbread swords.<br />
+And what are you patriots, &#8217;tis easy to tell&mdash;<br />
+By their constantly crying they&#8217;ve something to sell.<br />
+And what harm is there in selling&mdash;<i>hem!</i>&mdash;<br />
+<br />
+<span style="margin-left: 8em;">Hot spice-gingerbread, &amp;c.</span><br />
+<br />
+My gingerbread-lottery is just like the world,<br />
+For its index of chances for ever is twirled;<br />
+But some difference between&#8217;em exist, without doubt,<br />
+The world&#8217;s lottery has blanks, while mine&#8217;s wholly without,<br />
+There&#8217;s no matter how often you shuffle and cut,<br />
+If but once in ten games you can get a game-nut.<br />
+So I laugh at the world, like an impudent elf,<br />
+And just like my betters, take care of myself, and my&mdash;<br />
+<br />
+<span style="margin-left: 8em;">Hot spice-gingerbread, &amp;c.</span></td></tr></table>
+
+<p class="center"><span class="smcap">T. Birt</span>, Printer, 30, Great St. Andrews Street, Seven Dials.</p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_351" id="Page_351">[Pg 351]</a></span></p>
+
+<p class="center"><i>Marks Edition.</i></p>
+<p class="center">THE NEW LONDON CRIES</p>
+<p class="center"><small>OR A</small></p>
+<p class="center">VISIT TO TOWN.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img235.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Buy a Broom.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>From morn till eve I rove along,<br />
+And joys my eyes illume,<br />
+If you but listen to my song,<br />
+And kindly buy a broom.</td></tr></table>
+
+<p>&nbsp;<span class="pagenum"><a name="Page_352" id="Page_352">[Pg 352]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img236.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Ripe Cherries.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Cherries ripe four-pence a pound,<br />
+Come buy of me they&#8217;re good and sound.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Water Cresses.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>O you whom peace and plenty blesses,<br />
+Buy my fine spring water cresses.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_353" id="Page_353">[Pg 353]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img237.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Young Pedlar.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Threads laces bodkins here I cry,<br />
+Of a wandering orphan buy.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Oysters Sir.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>My native oysters here I cry,<br />
+Gents and ladies come and buy.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_354" id="Page_354">[Pg 354]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img238.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Old Clothes.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Daily streets and squares I range<br />
+Calling clothes to sell or change.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Young Lambs.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>In London streets I&#8217;m known full well,<br />
+Two for a penny young lambs to sell.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_355" id="Page_355">[Pg 355]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img239.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Dolls To Sell.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Come buy a doll my little miss,<br />
+You&#8217;ll find no time as good as this.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Greens Cabbages Ho.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>London daily hears my cry,<br />
+Carrots Turnips who will buy.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_356" id="Page_356">[Pg 356]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img240.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Bonnet Box.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Buy a Box for hat and cap,<br />
+&#8217;Twill keep them safe from all mishap.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Flower Girl.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>My basket daily I supply,<br />
+Come buy my nosegays buy who&#8217;ll buy.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_357" id="Page_357">[Pg 357]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img241.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Images.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>My casts are form&#8217;d to get my bread,<br />
+And humble shelter for my head.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Milk Below.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>At rise of morn my rounds I go,<br />
+And daily cry my milk below.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_358" id="Page_358">[Pg 358]</a></span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img242.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Ballad Singer.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Listen to my tunes so gay,<br />
+And buy a ballad of me pray.</td></tr></table>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Sweep Soot Ho.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Comfort from my toil you reap,<br />
+Then pray employ a little sweep.</td></tr></table>
+
+<p class="center">London: Printed and Published by <span class="smcap">S. Marks &amp; Sons</span>, 72, Houndsditch.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_359" id="Page_359">[Pg 359]</a></span></p>
+
+<p class="center"><small>THE</small><br />
+CRIES OF LONDON.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img243.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Flowery Ware&mdash;All Hot!</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here&#8217;s taters hot, my little chaps,<br />
+Now just lay out a copper,<br />
+I&#8217;m known up and down the Strand,<br />
+You&#8217;ll not find any hotter.</td></tr></table>
+
+<p class="center">&mdash;&mdash;&mdash;</p>
+<p class="center">LONDON:<br />
+GOODE, BROS.,<br />
+<small><span class="smcap">Wholesale Stationers and Toy Book Manufacturers</span>,<br />
+CLERKENWELL GREEN.</small></p>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_360" id="Page_360">[Pg 360]</a></span></p>
+<div class="figcenter"><img src="images/img244.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Cherries, my Pretty Maids.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here&#8217;s cherries, oh! my pretty maids,<br />
+<span style="margin-left: 0.5em;">My cherries round and sound;</span><br />
+Whitehearts, Kentish, or Blackhearts<br />
+<span style="margin-left: 0.5em;">And only twopence a pound.</span></td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_361" id="Page_361">[Pg 361]</a></span></p>
+<div class="figcenter"><img src="images/img245.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Fine Hampshire Rabbits.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Here I am with my rabbits<br />
+Hanging on my pole,<br />
+The finest Hampshire rabbits<br />
+That e&#8217;er crept from a hole.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_362" id="Page_362">[Pg 362]</a></span></p>
+<div class="figcenter"><img src="images/img246.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Hearthstone! Hearthstone.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Hearthstones my pretty maids,<br />
+I sell them four a penny,<br />
+Hearthstones, come buy of me,<br />
+As long as I have any.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_363" id="Page_363">[Pg 363]</a></span></p>
+<div class="figcenter"><img src="images/img247.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Dust oh! Dust oh!</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Dust or ash this chap calls out,<br />
+With all his might and main,<br />
+He&#8217;s got a mighty cinder heap<br />
+Somewhere near Gray&#8217;s Inn Lane.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_364" id="Page_364">[Pg 364]</a></span></p>
+<div class="figcenter"><img src="images/img248.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Buy a Bonnet Box or Cap Box</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Bonnet boxes and cap boxes,<br />
+The best that e&#8217;er was seen,<br />
+They are so very nicely made,<br />
+They&#8217;ll keep your things so clean.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_365" id="Page_365">[Pg 365]</a></span></p>
+<div class="figcenter"><img src="images/img249.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">All a Growing And a Blowing.</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Now ladies here&#8217;s roots for your gardens,<br />
+Come buy some of me if you please,<br />
+There&#8217;s tulips, heart&#8217;s-ease, and roses,<br />
+Sweet Williams, and sweet peas.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_366" id="Page_366">[Pg 366]</a></span></p>
+<div class="figcenter"><img src="images/img250.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Any Old Pots or Kettles to Mend?</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Any old pots or kettles,<br />
+Or any old brass to mend<br />
+Come my pretty maids all,<br />
+To me your aid must lend.</td></tr></table>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_367" id="Page_367">[Pg 367]</a></span></p>
+<div class="figcenter"><img src="images/img251.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Any Old Chairs to Mend?</span></p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Any old chairs to mend?<br />
+Any old chairs to seat?<br />
+I&#8217;ll make them quite as good as new,<br />
+And make them look so neat.</td></tr></table>
+
+
+<p>&nbsp;</p>
+<p>&nbsp;<span class="pagenum"><a name="Page_368" id="Page_368">[Pg 368]</a></span></p>
+
+<p class="center"><span class="smcap">The London Street-Markets on a Saturday Night.</span></p>
+
+<p>Mr. Henry Mayhew has painted a minute yet vivid picture of the London
+street markets, street sellers and purchasers which are to be seen in the
+greatest number on a Saturday night:&mdash;</p>
+
+<p>&#8220;Here, and in the streets immediately adjoining, the working classes
+generally purchase their Sunday&#8217;s dinner; and after pay-time on Saturday
+night, or early on Sunday morning, the crowd in the New-cut, and the Brill
+in particular, is almost impassable. Indeed, the scene in these parts has
+more the character of a fair than a market. There are hundreds of stalls,
+and every stall has its one or two lights; either it is illuminated by the
+intense white light of the new self-generating gas-lamp, or else it is
+brightened up by the red smoky flame of the old-fashioned grease-lamp. One
+man shows off his yellow haddock with a candle stuck in a bundle of
+firewood; his neighbour makes a candlestick of a huge turnip, and the
+tallow gutters over its sides; whilst the boy shouting &#8220;Eight a penny,
+stunning pears!&#8221; has rolled his dip in a thick coat of brown paper, that
+flares away with the candle. Some stalls are crimson with the fire shining
+through the holes beneath the baked chesnut stove; others have handsome
+octohedral lamps, while a few have a candle shining through a sieve;
+these, with the sparkling ground-glass globes of the tea-dealers&#8217; shops,
+and the butchers&#8217; gaslights streaming and fluttering in the wind, like
+flags of flame, pour forth such a flood of light, that at a distance the
+atmosphere immediately above the spot is as lurid as if the street were on fire.</p>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_369" id="Page_369">[Pg 369]</a></span></p>
+<div class="figcenter"><img src="images/img252.jpg" alt="" /></div>
+<p class="center"><span class="smcap">A Street-Market On Saturday Night.</span></p>
+<p>&nbsp;</p>
+
+<p><span class="pagenum"><a name="Page_370" id="Page_370">[Pg 370]</a></span>The pavement and the road are crowded with purchasers and street-sellers.
+The housewife in her thick shawl, with the market-basket on her arm, walks
+slowly on, stopping now to look at the stall of caps, and now to cheapen a
+bunch of greens. Little boys, holding three or four onions in their hands,
+creep between the people, wriggling their way through every interstice,
+and asking for custom in whining tones, as if seeking charity. Then the
+tumult of the thousand different cries of the eager dealers, all shouting
+at the top of their voices, at one and the same time, is almost
+bewildering. &#8220;So-old again,&#8221; roars one. &#8220;Chesnuts, all&#8217;ot, a penny a
+score,&#8221; bawls another. &#8220;An &#8217;aypenny a skin, blacking,&#8221; squeaks a boy.
+&#8220;Buy, buy, buy, buy,&mdash;bu-u-uy!&#8221; cries the butcher. &#8220;Half-quire of paper
+for a penny,&#8221; bellows the street-stationer. &#8220;An &#8217;apenny a lot ing-uns.&#8221;
+&#8220;Twopence a pound, grapes.&#8221; &#8220;Three a penny! Yarmouth bloaters.&#8221; &#8220;Who&#8217;ll
+buy a bonnet for fourpence?&#8221; &#8220;Pick &#8217;em out cheap here! three pair for
+a-halfpenny, bootlaces.&#8221; &#8220;Now&#8217;s your time! beautiful whelks, a penny a
+lot.&#8221; &#8220;Here&#8217;s ha&#8217;p&#8217;orths,&#8221; shouts the perambulating confectioner. &#8220;Come
+and look at&#8217;em! here&#8217;s toasters!&#8221; bellows one with a Yarmouth bloater
+stuck on a toasting fork. &#8220;Penny a lot, fine russets,&#8221; calls the apple
+woman: and so the Babel goes on.</p>
+
+<p>One man stands with his red-edge mats hanging over his back and chest,
+like a herald&#8217;s coat; and the girl with her basket of walnuts lifts her
+brown-stained fingers to her mouth, as she screams, &#8220;Fine warnuts! sixteen
+a penny, fine war-r-nuts.&#8221; A bootmaker, to &#8220;ensure custom,&#8221; has
+illuminated his front-shop with a line of gas, and in its full glare
+stands a blind beggar, his eyes turned up so as to show only &#8220;the whites,&#8221;
+and mumbling some begging rhymes, that are drowned in the shrill<span class="pagenum"><a name="Page_371" id="Page_371">[Pg 371]</a></span> notes of
+the bamboo-flute-player next to him. The boy&#8217;s sharp cry, the woman&#8217;s
+cracked voice, the gruff, hoarse shout of the man, are all mingled
+together. Sometimes an Irishman is heard with his &#8220;fine ating apples,&#8221; or
+else the jingling music of an unseen organ breaks out, as the trio of
+street singers rest between the verses.</p>
+
+<p>Then the sights, as you elbow your way through the crowd are equally
+multifarious. Here is a stall glittering with new tin saucepans; there
+another, bright with its blue and yellow crockery, and sparkling with
+white glass. Now you come to a row of old shoes arranged along the
+pavement; now to a stand of gaudy tea-trays; then to a shop with red
+handkerchiefs and blue checked shirts, fluttering backwards and forwards,
+and a counter built up outside on the kerb, behind which are boys
+beseeching custom. At the door of a tea-shop, with its hundred white
+globes of light, stands a man delivering bills, thanking the public for
+past favours, and &#8220;defying competition.&#8221; Here, along side the road, are
+some half-dozen headless tailors&#8217; dummies, dressed in Chesterfields and
+fustian jackets, each labelled:&mdash;&#8220;Look at the prices,&#8221; or &#8220;Observe the
+quality.&#8221; After this a butcher&#8217;s shop, crimson and white with meat piled
+up to the first-floor, in front of all the butcher himself, in his blue
+coat, walks up and down, sharpening his knife on the steel that hangs to
+his waist. A little further on stands the clean family, begging; the
+father with his head down as if in shame, and a box of lucifers held forth
+in his hand&mdash;the boys in newly-washed pinafores, and the tidyly got up
+mother with a child at her breast. This stall is green and white with
+bunches of turnips&mdash;that red with apples, the next yellow with onions, and
+another purple with pickling cabbages. One minute you<span class="pagenum"><a name="Page_372" id="Page_372">[Pg 372]</a></span> pass a man with an
+umbrella turned inside up and full of prints; the next, you hear one with
+a peepshow of Mazeppa, and Paul Jones the pirate, describing the pictures
+to the boys looking in at the little round windows. Then is heard the
+sharp snap of the purcussion-cap from the crowd of lads firing at the
+target for nuts; and the moment afterwards, you see either a black man
+half-clad in white, and shivering in the cold with tracts in his hand, or
+else you hear the sounds of music from &#8220;Frazier&#8217;s Circus,&#8221; on the other
+side of the road, and the man outside the door of the penny concert,
+beseeching you to &#8220;Be in time&mdash;be in time!&#8221; as Mr. Somebody is just about
+to sing his favourite song of the &#8220;Knife Grinder.&#8221; Such, indeed, is the
+riot, the struggle, and the scramble for a living, that the confusion and
+the uproar of the New-cut on Saturday night have a bewildering and sad
+effect upon the thoughtful mind.</p>
+
+<p>Each salesman tries his utmost to sell his wares, tempting the passers-by
+with his bargains. The boy with his stock of herbs offers &#8220;a double
+&#8217;andful of fine parsley for a penny;&#8221; the man with the donkey-cart filled
+with turnips has three lads to shout for him to their utmost, with their
+&#8220;Ho! ho! hi-i-i! What do you think of us here? A penny a bunch&mdash;hurrah for
+free trade! <i>Here&#8217;s</i> your turnips!&#8221; Until it is seen and heard, we have no
+sense of the scramble that is going on throughout London for a living. The
+same scene takes place at the Brill&mdash;the same in Leather-lane&mdash;the same in
+Tottenham-court-road&mdash;the same in Whitecross-street; go to whatever corner
+of the metropolis you please, either on a Saturday night or a Sunday
+morning, and there is the same shouting and the same struggling to get the
+penny profit out of the poor man&#8217;s Sunday&#8217;s dinner.</p>
+
+<p>Since the above description was written, the New Cut has lost<span class="pagenum"><a name="Page_373" id="Page_373">[Pg 373]</a></span> much of its
+noisy and brilliant glory. In consequence of a New Police regulation,
+&#8220;stands&#8221; or &#8220;pitches&#8221; have been forbidden, and each coster, on a market
+night, is now obliged, under pain of the lock-up house, to carry his tray,
+or keep moving with his barrow. The gay stalls have been replaced by deal
+boards, some sodden with wet fish, others stained purple with
+blackberries, or brown with walnut peel; and the bright lamps are almost
+totally superseded by the dim, guttering candle. Even if the pole under
+the tray or &#8220;shallow&#8221; is seen resting on the ground, the policeman on duty
+is obliged to interfere.</p>
+
+<p>The mob of purchasers has diminished one-half; and instead of the road
+being filled with customers and trucks, the pavement and kerbstones are
+scarcely crowded.</p>
+
+
+<p class="center"><br /><span class="smcap">The Sunday Morning Markets.</span></p>
+
+<p>Nearly every poor man&#8217;s market does its Sunday trade. For a few hours on
+the Sabbath morning, the noise, bustle, and scramble of the Saturday night
+are repeated, and but for this opportunity many a poor family would pass a
+dinnerless Sunday. The system of paying the mechanic late on the Saturday
+night&mdash;and more particularly of paying a man his wages in a
+public-house&mdash;when he is tired with his day&#8217;s work, lures him to the
+tavern, and there the hours fly quickly enough beside the warm tap-room
+fire, so that by the time the wife comes for her husband&#8217;s wages, she
+finds a large portion of them gone in drink and the streets half cleared,
+thus the Sunday market is the only chance of getting the Sunday&#8217;s dinner.</p>
+
+<p>Of all these Sunday morning markets, the Brill, perhaps, furnishes the
+busiest scene; so that it may be taken as a type of the whole.</p>
+
+<p><span class="pagenum"><a name="Page_374" id="Page_374">[Pg 374]</a></span>The streets in the neighbourhood are quiet and empty. The shops are closed
+with their different coloured shutters, and the people round about are
+dressed in the shiny cloth of the holiday suit. There are no &#8220;cabs,&#8221; and
+but few omnibuses to disturb the rest, and men walk in the road as safely
+as on the footpath.</p>
+
+<p>As you enter the Brill the market sounds are scarcely heard. But at each
+step the low hum grows gradually into the noisy shouting, until at last
+the different cries become distinct, and the hubbub, din, and confusion of
+a thousand voices bellowing at once, again fill the air. The road and
+footpath are crowded, as on the over-night; the men are standing in
+groups, smoking and talking; whilst the women run to and fro, some with
+the white round turnips showing out of their filled aprons, others with
+cabbages under their arms, and a piece of red meat dangling from their
+hands. Only a few of the shops are closed; but the butcher&#8217;s and the coal
+shed are filled with customers, and from the door of the shut-up baker&#8217;s,
+the women come streaming forth with bags of flour in their hands, while
+men sally from the halfpenny barber&#8217;s, smoothing their clean-shaved chins.
+Walnuts, blacking, apples, onions, braces, combs, turnips, herrings, pens,
+and corn-plasters, are all bellowed out at the same time. Labourers and
+mechanics, still unshorn and undressed, hang about with their hands in
+their pockets, some with their pet terriers under their arms. The pavement
+is green with the refuse leaves of vegetables, and round a cabbage-barrow
+the women stand turning over the bunches, as the man shouts &#8220;Where you
+like, only a penny.&#8221; Boys are running home with the breakfast herring held
+in a piece of paper, and the side-pocket of an apple man&#8217;s stuff coat
+hangs down with the weight<span class="pagenum"><a name="Page_375" id="Page_375">[Pg 375]</a></span> of halfpence stored within it. Presently the
+tolling of the neighbouring church bells break forth. Then the bustle
+doubles itself, the cries grow louder, the confusion greater. Women run
+about and push their way through the throng, scolding the saunterers, for
+in half-an-hour the market will close. In a little time the butcher puts
+up his shutters, and leaves the door still open; the policemen in their
+clean gloves come round and drive the street-sellers before them, and as
+the clock strikes eleven the market finishes, and the Sunday&#8217;s rest
+begins.&#8221;</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img253.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p>As it was in the beginning of our book and in the days of Queen
+Elizabeth:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;When the City shopkeepers railed against itinerant traders of every
+denomination, and the Common Council declared that in ancient times
+the open streets and lanes had been used, and ought to be used only,
+as the common highway, and not for the hucksters, pedlars, and
+hagglers, to stand and sell their wares in&#8221;&mdash;</p></div>
+
+<p>so it is now, in the Victorian age, and ever will be a very vexed
+question, and thinking representative men of varied social positions
+materially differ in opinion; some contending that the question is not of
+class interest but that of the interest of the public at large; some argue
+in an effective but perfectly legal and orderly manner for the removal of
+what they term a greivous nuisance; others ask that an industrious and
+useful class of men and women should be allowed their honest calling. They
+protest against the enforcement of an almost obsolete statute which
+conduces to the waste of fruit, fish, and vegetables, in London and large
+towns, which practically maintains a trade monopoly, and<span class="pagenum"><a name="Page_376" id="Page_376">[Pg 376]</a></span> discourages an
+abundant supply. They claim for the public a right to buy in the cheapest
+market, and plead for a liberty which is enjoyed unmolested in many parts
+of the kingdom, and protest against a remnant of protectionist restriction
+being put into force against street-hawking.</p>
+
+<p>By the side of this temperate reasoning, let us place the principal
+arguments which are so often reiterated by aldermen, deputies,
+councillors, vestrymen, and others, when &#8220;drest in a little brief
+authority,&#8221; and come at once to the <i>gravamen</i> of the charge against the
+hawkers, which we find to consist in the nuisance of the street cries.</p>
+
+<p>London, as a commercial city, has numbers of visitors and residents to
+whom quiet is of vital importance. The street cries, it is alleged,
+constitute a nuisance to the public, particularly to numbers of
+day-time-alone occupants, to whom time and thought is money. It is the
+same thing repeated with many of the suburban residents, in what is
+generally known as quiet neighbourhoods. Discounting duly the rhetorical
+exaggeration, it is to be feared the charge must be admitted. Therefore,
+the shopkeepers argue, let us put down the hawking of everything and
+everybody. But this does not follow at all. Not only so, but the proposed
+remedy is ridiculously inadequate to the occasion. Admit the principle,
+however, for the sake of argument and let us see whither it will lead us.
+At early morn how often are our matutinal slumbers disturbed by a
+prolonged shriek, as of some unfortunate cat in mortal agony, but which
+simply signifies that Mr. Skyblue, the milkman, is on his rounds. The
+milkman, it is evident, must be abolished. People can easily get their
+breakfast milk at any respectable dairyman&#8217;s shop, and<span class="pagenum"><a name="Page_377" id="Page_377">[Pg 377]</a></span> get it, too, with
+less danger of an aqueous dilution. After breakfast&mdash;to say nothing of
+German bands and itinerant organ grinders&mdash;a gentleman with a barrow
+wakens the echoes by the announcement of fresh mackerel, salmon, cod,
+whiting, soles or plaice, with various additional epithets, descriptive of
+their recent arrival from the sea. The voice is more loud than melodious,
+the repetition is frequent, and the effect is the reverse of pleasing to
+the public ear. Accordingly we must abolish fish hawking: any respectable
+fishmonger will supply us with better fish without making so much noise
+over it; and if he charges a higher price it is only the indubitable right
+of a respectable tradesman and a ratepayer. Then comes on the scene, and
+determined to have a voice&mdash;and a loud one, too, in the morning&#8217;s
+hullabaloo, the costermonger&mdash;Bill Smith, he declares with stentorian
+lungs that his cherries, plums, apples, pears, turnips, carrots, cabbages,
+<i>cow</i>cumbers, <i>sparrow</i>-grass, <i>colly</i>-flow-ers, <i>inguns</i>, <i>ru-bub</i>, and
+<i>taters</i>, is, and allus vos rounder, sounder, longer, stronger, heavier,
+fresher, and ever-so-much cheaper than any shopkeeping greengrocer as ever
+vos: Why? &#8220;Vy? cos he don&#8217;t keep not no slap-up shop vith all plate-glass
+vinders and a &#8217;andsom sixty-five guinea &#8217;oss and trap to take the missus
+and the kids out on-a-arternoon, nor yet send his sons and darters to a
+boarding school to larn French, German, Greek, nor playing on the
+pianoforte.&#8221; All this may be very true; but Bill Smith, the costermonger,
+is a noisy vulgar fellow; therefore must be put down. Mrs. Curate, Mrs.
+Lawyer, Mrs. Chemist, and Miss Seventy-four must be taught to go to the
+greengrocer of the district, Mr. Manners, a highly respectable man, a
+Vestryman and a Churchwarden, who keeps:&mdash;</p>
+
+<p class="center"><span class="smcap">Plate, Waiters, and Linen for Hire.<br />
+N.B.&mdash;Evening Parties Attended.</span></p>
+
+<p><span class="pagenum"><a name="Page_378" id="Page_378">[Pg 378]</a></span>As the morning wears on we have:&mdash;&#8220;I say!&mdash;I say!!
+Old hats I buy,&#8221; &#8220;Rags or bones,&#8221; &#8220;Hearthstones,&#8221; &#8220;Scissors to grind&mdash;pots, pans, kettles or old
+umbrellas to mend,&#8221; &#8220;Old clo! clo,&#8221; &#8220;Cat or dog&#8217;s meat,&#8221; &#8220;Old china I
+mend,&#8221; &#8220;Clothes props,&#8221; &#8220;Any old chairs to mend?&#8221; &#8220;Any ornaments for your
+fire stove,&#8221; &#8220;Ripe strawberries,&#8221; &#8220;Any hare skins,&#8221;&mdash;&#8220;rabbit skins,&#8221; &#8220;Pots
+or pans&mdash;jugs or mugs,&#8221; &#8220;I say, Bow! wow! and they are all a-growing and
+a-blowing&mdash;three pots for sixpence,&#8221; and other regular acquaintances, with
+the occasional accompaniment of the dustman&#8217;s bell, conclude the morning&#8217;s
+performance, which, altogether is reminiscent of the &#8220;Market Chorus&#8221; in
+the opera of <i>Masaniello</i>; and if the public quiet is to be protected, our
+sapient Town Councillors would abolish one and all of these, dustman
+included. One of the latest innovations upon the peace and happiness of an
+invalid, an author, or a quiet-loving resident, is the street vendor of
+coals. &#8220;Tyne Main,&#8221; or &#8220;Blow-me-Tight&#8217;s,&#8221; Coals! &#8220;C-o-a-l-s, <i>one and
+tuppence a underd&mdash;see&#8217;em weighed</i>.&#8221; This is the New Cry. Small waggons,
+attended by a man and a boy, go to our modern railway sidings to be filled
+or replenished with sacks containing 56 lbs. or 112 lbs. of coals, and
+then proceed to the different suburban quiet neighbourhoods, where the man
+and boy commence a kind of one done the other go on duet to the above
+words, which is enough to drive the strongest trained one crazy. All the
+great coal merchants seem to have adopted this method of retailing coals,
+and have thus caused the almost total abolition of coal sheds, and the
+greengrocer and general dealer to abandon the latter part of his calling.
+Our afternoon hours, after the passing of the muffin bell, are made
+harmonious by public references to shrimps, fine Yarmouth bloaters,
+haddocks, periwinkles, boiled whelks, and water<i>creases</i>,<span class="pagenum"><a name="Page_379" id="Page_379">[Pg 379]</a></span> which are too
+familiar to need description; and our local governors in their wisdom
+would bid us no longer be luxurious at our tea, or else go to respectable
+shops and buy our &#8220;little creature comforts.&#8221; Professing an anxiety to put
+down street cries, our police persecute one class out of a multitude, and
+leave all the rest untouched. It is not only an inadequate remedy, but the
+remedy is sought in the wrong direction. The fact is, that the street
+noises are an undoubted evil, and in the interests of the public, action
+should be taken not to put them down, but to regulate them by local
+bye-laws, leaving the course of trade otherwise free. It is a plan adopted
+in most of the greater towns which have in any way dealt with the subject.</p>
+
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img254.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p class="center">THE DEMONS OF PIMLICO.</p>
+<p class="center">[From <i>Punch</i>.]</p>
+
+<p class="note">Edwin is a Young Bard, who has taken a lodging in a Quiet Street in
+Belgravia, that he may write his Oxford Prize Poem. The interlocutors are Demons of both Sexes.</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td colspan="3"><span class="smcap">Edwin</span> (composing). Where the sparkling fountain never ceases&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Female Demon.</i></span></td>
+    <td><span class="spacer">&nbsp;</span></td>
+    <td>&#8220;<i>Wa-ter-creece-ses!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And liquid music on the marble floor tinkles&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Male Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Buy my perriwinkles!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Where the sad Oread oft retires to weep&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Black Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Sweep! Sweep!! Sweep!!!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And tears that comfort not must ever flow&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon from Palestine.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Clo! Clo!! Old Clo!!!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> There let me linger beneath the trees&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Italian Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Buy, Im-magees!</i>&#8221;</td></tr>
+<tr><td>&nbsp;<span class="pagenum"><a name="Page_380" id="Page_380">[Pg 380]</a></span></td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And weave long grasses into lovers&#8217; knots&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon in white apron.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Pots! Pots!! Pots!!!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Oh! what vagrant dreams the fancy hatches&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Ragged Old Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Matches! Buy Matches!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> She opes her treasure-cells, like Portia&#8217;s caskets&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Cart.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Baskets, any Baskets!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Spangles the air with thousand-coloured silks&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Old Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Buy my Wilks! Wilks!! Wilks!!!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Garments which the fairies might make habits&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Lame Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Rabbits, Hampshire Rabbits!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Visions like those the Interpreter of Bunyan&#8217;s&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with a Stick.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Onions, a Rope of Onions!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And give glowing utterances to their kin&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Dirty Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Hare&#8217;s skin or Rabbit skin!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> In thoughts so bright the aching senses blind&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Wheel.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Any knives or scissors to grind!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Though gone, the Deities that long ago&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Grim Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Dust Ho! Dust Ho!!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Yet, from her radiant bow no Iris settles&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Swarthy Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Mend your Pots and Kettles!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And sad and silent is the ancient seat&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Skewers.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Cat&#8217;s M-e-a-t!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> For there is a spell that none can chase away&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Organ.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Poor Dog Tray!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And a charm whose power must ever bend&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Rushes.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Chairs! Old chairs to mend!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And still unbanished falters on the ear&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Can.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Beer! Beer, any Beer!</i>&#8221;</td></tr>
+<tr><td>&nbsp;<span class="pagenum"><a name="Page_381" id="Page_381">[Pg 381]</a></span></td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Still Pan and Syrinx wander through the groves&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>She Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Any Ornaments for your fire stoves!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Thus visited is the sacred ground&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Second Demon with Organ.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Bobbing all around!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Ay, and for ever, while the planet rolls&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Demon with Fish.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Mackerel or Soles!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Crushed Enceladus in torment groans&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Little Demon.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Stones! Hearthstones!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> While laves the sea, on the glittering strand&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Third Demon with Organ.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>O, &#8217;tis hard to give the hand!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> While, as the cygnet nobly walks the water&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Fourth Demon with Organ.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>The Ratcatcher&#8217;s Daughter!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> And the Acropolis reveals to man&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Fifth Demon with Organ.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Poor Mary Anne!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> So long the presence, yes, the <span class="smcaplc">MENS DIVINA</span>&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Sixth Demon with Organ.</i></span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>Villikins and his Dinah!</i>&#8221;</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td colspan="3"><span class="smcap">Edwin.</span> Shall breathe whereso&#8217;er the eye shoots&mdash;</td></tr>
+<tr><td><span style="margin-left: 2em;"><i>Six Dirty Germans with</i>&mdash;</span></td>
+    <td>&nbsp;</td>
+    <td>&#8220;<i>The overture to Freischutz!</i>&#8221;</td></tr></table>
+
+<p class="center">Here&mdash;<span class="smcap">Edwin goes Mad.</span></p>
+
+<p class="center"><span class="smcap">And Our Work Comes to a Timely</span></p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img255.jpg" alt="END" /></div>
+<p>&nbsp;</p>
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_382" id="Page_382">[Pg 382]</a></span></p>
+<p class="center"><span class="huge">INDEX.</span></p>
+
+
+<p class="index">
+Addison, on London Cries, <a href="#Page_118">118</a><br />
+<br />
+Adelphi Theatre, The, <a href="#Page_70">70</a><br />
+<br />
+Aldersgate&mdash;Aldgate, <a href="#Page_17">17</a><br />
+<br />
+Ale and Wine, <a href="#Page_6">6</a><br />
+<br />
+Alexander Gell, <a href="#Page_6">6</a><br />
+<br />
+Annibale Carracci, <a href="#Page_1">1</a><br />
+<br />
+Alsatia&mdash;Its Notoriety, <a href="#Page_26">26</a><br />
+<br />
+Archers,&mdash;The City, <a href="#Page_20">20</a><br />
+<br />
+Attic-Poet, The, <a href="#Page_146">146</a><br />
+<br />
+<br />
+Babies&mdash;Male and Female, <a href="#Page_76">76</a><br />
+<br />
+Bags of Mystery!, <a href="#Page_127">127</a><br />
+<br />
+Band-Cuffe-Ruffe, <a href="#Page_71">71</a><br />
+<br />
+Bankside, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a><br />
+<br />
+Bards of Seven Dials, <a href="#Page_161">161</a><br />
+<br />
+Barrow-woman, The, <a href="#Page_112">112</a><br />
+<br />
+Bartholomew Bird, A, <a href="#Page_76">76</a><br />
+<br />
+<span style="margin-left: 2.5em;">"</span><span style="margin-left: 2.3em;">&nbsp;</span>Fair&mdash;<i>see</i> <a href="#jonson">Ben Jonson</a>.<br />
+<br />
+Bay Cottage, Edmonton, <a href="#Page_137">137</a><br />
+<br />
+Baynard&#8217;s Castle, <a href="#Page_25">25</a><br />
+<br />
+Beau-Trap, What, <a href="#Page_154">154</a><br />
+<br />
+Beaumont and Fletcher, <a href="#Page_34">34</a><br />
+<br />
+Bellman of London &amp;c., <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a><br />
+<br />
+Bellman&#8217;s Merry Out Cryes, <a href="#Page_52">52</a><br />
+<br />
+<span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Song, A, <a href="#Page_50">50</a><br />
+<br />
+<span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Treasury, The, <a href="#Page_52">52</a><br />
+<br />
+<span style="margin-left: 1.8em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Verses, <a href="#Page_51">51</a>, <a href="#Page_53">53</a>, <a href="#Page_55">55</a><br />
+<br /><a name="jonson" id="jonson"></a>
+Ben Jonson&#8217;s:&mdash;<br />
+<span style="margin-left: 1em;">Bartholomew Fair, <a href="#Page_34">34</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a></span><br />
+<span style="margin-left: 1em;">Costard-Mongers, <a href="#Page_28">28</a>, <a href="#Page_34">34</a></span><br />
+<span style="margin-left: 1em;">Fish-Wives, <a href="#Page_28">28</a></span><br />
+<span style="margin-left: 1em;">London, <a href="#Page_16">16</a></span><br />
+<span style="margin-left: 1em;">Orange Woman, <a href="#Page_28">28</a>, <a href="#Page_109">109</a></span><br />
+<span style="margin-left: 1em;">Silent Woman, <a href="#Page_26">26</a>, <a href="#Page_29">29</a></span><br />
+<br />
+Bennett&mdash;The News-cryer, <a href="#Page_151">151</a><br />
+<br />
+Billingsgate&mdash;Bummarees at, &amp;c., <a href="#Page_237">237</a><br />
+<br />
+Bishopsgate, <a href="#Page_17">17</a><br />
+<br />
+Blacking Man, <a href="#Page_60">60</a><br />
+<br />
+Blacking&mdash;Day and Martin&#8217;s, <a href="#Page_156">156</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>&mdash;Patent Cake, <a href="#Page_156">156</a><br />
+<br />
+Bookseller&#8217;s Row, W.C., <a href="#Page_203">203</a><br />
+<br />
+Boar&#8217;s Head Tavern, <a href="#Page_8">8</a><br />
+<br />
+Bridgewater Library, The, <a href="#Page_73">73</a><br />
+<br />
+Bristle&mdash;A Brush-Man, <a href="#Page_80">80</a><br />
+<br />
+British Museum&mdash;London Cries in, <a href="#Page_56">56</a><br />
+<br />
+Brompton&#8217;s Chronicle, <a href="#Page_232">232</a><br />
+<br />
+Broom&mdash;Buy-a-Broom Girls, <a href="#Page_223">223</a><br />
+<br />
+Broom-men, The, <a href="#Page_29">29</a>, <a href="#Page_32">32</a><br />
+<br />
+Bucklersbury&mdash;Simple time, <a href="#Page_21">21</a>, <a href="#Page_127">127</a><br />
+<br />
+Budget&mdash;A Tinker, <a href="#Page_81">81</a><br />
+<br />
+Burbadge, R. and J. (Actors), <a href="#Page_90">90</a><br />
+<br />
+Buskers, <a href="#Page_9">9</a><br />
+<br />
+Butcher&#8217;s Row, Strand, W.C., <a href="#Page_253">253</a><br />
+<br />
+Byron, H. J.&mdash;A Word-twister, <a href="#Page_71">71</a><br />
+<br />
+Bow Bells, The sound of, <a href="#Page_45">45</a><br />
+<br />
+Britton, Small Coalman, <a href="#Page_124">124</a><br />
+<br />
+Birdman, The, <a href="#Page_250">250</a><br />
+<br />
+Black Jack&mdash;What?, <a href="#Page_134">134</a><br />
+<br />
+<br />
+Cannon Street, <a href="#Page_7">7</a>, <a href="#Page_8">8</a><br />
+<br />
+Canonbury Tower, <a href="#Page_135">135</a><br />
+<br />
+Canwyke Street, <a href="#Page_7">7</a><br />
+<br />
+Card Matches&mdash;Vendors of, <a href="#Page_120">120</a><br />
+<br />
+Cardinal Cap Alley, <a href="#Page_23">23</a><br />
+<br />
+Catch that Catch Can, <a href="#Page_99">99</a>, <a href="#Page_101">101</a><br />
+<br />
+Catnach&mdash;&#8220;<i>Old Jemmy</i>,&#8221; <a href="#Page_161">161</a>, <a href="#Page_180">180</a>, <a href="#Page_186">186</a>, <a href="#Page_194">194</a>, <a href="#Page_195">195</a><br />
+<br />
+Charing, The Village of, <a href="#Page_6">6</a><br />
+<br />
+Charles 1st, <a href="#Page_6">6</a>, <a href="#Page_15">15</a>, <a href="#Page_35">35</a><br />
+<br />
+Charles Dickens, <a href="#Page_9">9</a>, <a href="#Page_146">146</a><br />
+<br />
+Charles Knight&#8217;s London, <a href="#Page_153">153</a><br />
+<br />
+Charles Lamb, <a href="#Page_131">131</a>, <a href="#Page_4">4</a>, <a href="#Page_6">6</a>, <a href="#Page_8">8</a><br />
+<br />
+Charles Mathews, <a href="#Page_223">223</a><br />
+<br />
+Chaucer, Geoffry, <a href="#Page_1">1</a><br />
+<br />
+Cheapside Cross, The, <a href="#Page_19">19</a><br />
+<br />
+Chelsea&mdash;Bun Houses at, <a href="#Page_207">207</a><br />
+<br />
+Churchwarden&mdash;Pipes, <a href="#Page_134">134</a><br />
+<br />
+Chiropodist, The, of to day, <a href="#Page_127">127</a><br />
+<br />
+City Walls, <a href="#Page_18">18</a><br />
+<br />
+Clause&mdash;A popular Vagabond, <a href="#Page_83">83</a><br />
+<br />
+Clerkenwell&mdash;A Village, <a href="#Page_124">124</a>, <a href="#Page_139">139</a><br />
+<br />
+Clint&mdash;The Liberty of, <a href="#Page_23">23</a><br />
+<br />
+Coals, a public nuisance, <a href="#Page_15">15</a><br />
+<br />
+Coalmen&mdash;Small, <a href="#Page_73">73</a>, <a href="#Page_124">124</a><br />
+<br />
+Cocks&mdash;<i>i.e.</i> Catchpennies, <a href="#Page_173">173</a><br />
+<br />
+Colebrooke Row, Islington, <a href="#Page_132">132</a><br />
+<br />
+<span class="pagenum"><a name="Page_383" id="Page_383">[Pg 383]</a></span>Coleridge and the Old clo-man, <a href="#Page_60">60</a><br />
+<br />
+Collier, Mr. John Payne, <a href="#Page_89">89</a><br />
+<br />
+Colly-Molly&mdash;Puff-Pastry-man, <a href="#Page_121">121</a><br />
+<br />
+Copy of Verses, <a href="#Page_164">164</a>, <a href="#Page_173">173</a><br />
+<br />
+Corder, Wm. Murderer, <a href="#Page_169">169</a><br />
+<br />
+Costermongers, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_34">34</a><br />
+<br />
+Countryman in Lunnun, The, <a href="#Page_7">7</a><br />
+<br />
+Cow&mdash;With the iron tail, <a href="#Page_143">143</a><br />
+<br />
+Cries of Bologna, <a href="#Page_1">1</a><br />
+<br />
+Cries of London ever popular, <a href="#Page_1">1</a><br />
+<br />
+Cries of London&mdash;a Collection of, <a href="#Page_31">31</a>, <a href="#Page_56">56</a>, <a href="#Page_63">63</a>, <a href="#Page_79">79</a>, <a href="#Page_102">102</a>, <a href="#Page_115">115</a><br />
+<br />
+Cries of Rome, <i>i.e.</i>&mdash;London, <a href="#Page_64">64</a><br />
+<br />
+Curtain Road, <a href="#Page_90">90</a><br />
+</p>
+
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Cries of London</span>&mdash;Ancient and Modern. Alphabetically Arranged.</p>
+
+<p class="index">
+Almanack&mdash;Buy an, <a href="#Page_60">60</a>, <a href="#Page_341">341</a><br />
+<br />
+Aloes, that blossom rarely, <a href="#Page_140">140</a><br />
+<br />
+Anchovies&mdash;Buy my, &amp;c., <a href="#Page_265">265</a><br />
+<br />
+Apples&mdash;Baked, <a href="#Page_127">127</a><br />
+<br />
+Apricots&mdash;Buy fine, <a href="#Page_116">116</a><br />
+<br />
+Aqua Vit&aelig;, <a href="#Page_60">60</a>, <a href="#Page_127">127</a><br />
+<br />
+Artichokes, <a href="#Page_35">35</a>, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_113">113</a><br />
+<br />
+Asparagus&mdash;Any ripe, <a href="#Page_35">35</a>, <a href="#Page_115">115</a><br />
+<br />
+Apple Tarts, Nice hot to-day, <a href="#Page_275">275</a><br />
+<br />
+<br />
+Bacon&mdash;A Suck of, <a href="#Page_239">239</a><br />
+<br />
+Baked Potatoes, <a href="#Page_259">259</a><br />
+<br />
+Ballads&mdash;Buy a fine, new, &amp;c., <a href="#Page_76">76</a><br />
+<br />
+Balm, <a href="#Page_115">115</a><br />
+<br />
+Balsams, Buy fine, <a href="#Page_340">340</a><br />
+<br />
+Banbury Cakes, O!, <a href="#Page_269">269</a><br />
+<br />
+Bandstrings&mdash;Buy, <a href="#Page_73">73</a>, <a href="#Page_82">82</a>, <a href="#Page_88">88</a><br />
+<br />
+Barley-Broth&mdash;Here&#8217;s, <a href="#Page_114">114</a><br />
+<br />
+Bay&mdash;Buy any, &amp;c., <a href="#Page_60">60</a><br />
+<br />
+Beans&mdash;White, Windsor &amp;c., <a href="#Page_35">35</a>, <a href="#Page_115">115</a>, <a href="#Page_184">184</a><br />
+<br />
+Beads and Laces, <a href="#Page_88">88</a><br />
+<br />
+Basket, Buy a, <a href="#Page_345">345</a><br />
+<br />
+Bear&#8217;s-foot&mdash;Buy my, <a href="#Page_115">115</a><br />
+<br />
+Beef&mdash;Ribs, fat and fine, <a href="#Page_58">58</a><br />
+<br />
+Bellows&mdash;Old, to mend, &amp;c., <a href="#Page_60">60</a><br />
+<br />
+Birds and Hens&mdash;Buy any, <a href="#Page_62">62</a><br />
+<br />
+Black your Shoes, Sir?, <a href="#Page_155">155</a><br />
+<br />
+Blacking, Buy, <a href="#Page_94">94</a><br />
+<br />
+Blue&mdash;Buy my, <a href="#Page_114">114</a><br />
+<br />
+Blue Starch, <a href="#Page_61">61</a><br />
+<br />
+Bodkin&mdash;Here&#8217;s a gilt, <a href="#Page_82">82</a><br />
+<br />
+Bone-Lace&mdash;Buy, <a href="#Page_62">62</a>, <a href="#Page_82">82</a><br />
+<br />
+Book&mdash;Buy a new, &amp;c., <a href="#Page_63">63</a><br />
+<br />
+Boots&mdash;Have you any old?, <a href="#Page_13">13</a>, <a href="#Page_14">14</a><br />
+<br />
+Bow or Bough-pot (<i>flower-pot</i>), <a href="#Page_61">61</a><br />
+<br />
+Box&mdash;Buy my growing, <a href="#Page_340">340</a><br />
+<br />
+Box&mdash;Bonnet or cap, <a href="#Page_297">297</a><br />
+<br />
+Brass Pot, or an Iron Pot, <a href="#Page_126">126</a><br />
+<br />
+Bread and Meat, for poor prisoners, &amp;c., <a href="#Page_61">61</a>, <a href="#Page_64">64</a>, <a href="#Page_72">72</a>, <a href="#Page_126">126</a><br />
+<br />
+Brick-Dust, <a href="#Page_119">119</a><br />
+<br />
+Briar&mdash;Buy sweet, <a href="#Page_127">127-128</a><br />
+<br />
+Broccoli&mdash;Here&#8217;s fine, <a href="#Page_115">115</a><br />
+<br />
+Broken-Glasses, <a href="#Page_119">119</a><br />
+<br />
+Broom&mdash;Buy a, <a href="#Page_80">80</a>, <a href="#Page_289">289</a><br />
+<br />
+Brooms for old shoes, <a href="#Page_36">36</a><br />
+<br />
+Broom&mdash;New green, &amp;c., <a href="#Page_13">13</a>, <a href="#Page_58">58</a>, <a href="#Page_80">80</a><br />
+<br />
+Brush&mdash;Buy long, new, &amp;c., <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_73">73</a><br />
+<br />
+Buns&mdash;See <a href="#buns">Hot-Cross-Buns</a><br />
+<br />
+Butter&mdash;Sixpence a-pound, <a href="#Page_116">116</a><br />
+<br />
+Buskins&mdash;Have you any?, <a href="#Page_14">14</a><br />
+<br />
+Buttons&mdash;Buy any?, <a href="#Page_61">61</a><br />
+<br />
+Buttons&mdash;Hankercher, <a href="#Page_73">73</a><br />
+<br />
+<br />
+Cabbage&mdash;White-heart, &amp;c., <a href="#Page_62">62</a>, <a href="#Page_113">113</a><br />
+<br />
+Calf&#8217;s Feet&mdash;Here&#8217;s fine, <a href="#Page_116">116</a><br />
+<br />
+Candle-stick&mdash;Buy a, <a href="#Page_61">61</a><br />
+<br />
+Canes&mdash;For young and old, <a href="#Page_260">260</a>, <a href="#Page_346">346</a><br />
+<br />
+Cap Box&mdash;Bonnet Box, <a href="#Page_297">297</a><br />
+<br />
+Capers&mdash;Buy my, &amp;c., <a href="#Page_265">265</a><br />
+<br />
+Carrots&mdash;Buy, <a href="#Page_62">62</a>, <a href="#Page_115">115</a>, <a href="#Page_277">277</a><br />
+<br />
+Case for a Hat&mdash;Buy a, <a href="#Page_62">62</a><br />
+<br />
+Cat&#8217;s and Dog&#8217;s Meat, <a href="#Page_368">368</a><br />
+<br />
+Cauliflowers&mdash;Here&#8217;s, <a href="#Page_115">115</a><br />
+<br />
+Celery&mdash;Buy my nice, <a href="#Page_116">116</a><br />
+<br />
+Chairs to mend, <a href="#Page_73">73</a>, <a href="#Page_114">114</a>, <a href="#Page_126">126</a>, <a href="#Page_371">371</a><br />
+<br />
+Cheese and Cream&mdash;Any fresh, <a href="#Page_62">62</a>, <a href="#Page_117">117</a>, <a href="#Page_139">139</a><br />
+<br />
+Cherries&mdash;In the rise, <i>i.e.</i> stick, <a href="#Page_6">6</a>, <a href="#Page_108">108</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">&nbsp;</span>Ripe, <a href="#Page_6">6</a>, <a href="#Page_60">60</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">&nbsp;</span>Round and Sound, <a href="#Page_113">113</a>, <a href="#Page_183">183</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2.2em;">&nbsp;</span>Kentish<br />
+<br />
+<span class="pagenum"><a name="Page_384" id="Page_384">[Pg 384]</a></span>Chesnuts&mdash;Roasted &amp;c., <a href="#Page_62">62</a>, <a href="#Page_241">241</a><br />
+<br />
+Chickens&mdash;Buy alive, <a href="#Page_295">295</a><br />
+<br />
+Chimney Sweep, <a href="#Page_29">29</a>, <a href="#Page_60">60</a>, <a href="#Page_252">252</a><br />
+<br />
+Cinquefoil, <a href="#Page_115">115</a><br />
+<br />
+Clean your Boots, Sir?, <a href="#Page_153">153</a><br />
+<br />
+Clo! Clo!&mdash;Old Clothes, <a href="#Page_37">37</a>, <a href="#Page_354">354</a><br />
+<br />
+Clothes Pegs&mdash;Buy my, <a href="#Page_184">184</a><br />
+<br />
+Cloth&mdash;Scotch or Russian, <a href="#Page_126">126</a><br />
+<br />
+Clothes Lines&mdash;Props, <a href="#Page_184">184</a>, <a href="#Page_278">278</a><br />
+<br />
+Close-stool&mdash;Buy a cover for, <a href="#Page_66">66</a>, <a href="#Page_93">93</a><br />
+<br />
+Clove Water&mdash;Buy any?, <a href="#Page_63">63</a><br />
+<br />
+Coal&mdash;Maids any small?, <a href="#Page_60">60</a><br />
+<br />
+Cock or a Gelding (<i>Capon</i>), <a href="#Page_73">73</a><br />
+<br />
+Cockles-Ho!, <a href="#Page_60">60</a>, <a href="#Page_79">79</a>, <a href="#Page_267">267</a><br />
+<br />
+Cod&mdash;New, fine-water&#8217;d, <a href="#Page_61">61</a>, <a href="#Page_116">116</a><br />
+<br />
+Codlings&mdash;Hot, <a href="#Page_62">62</a>, <a href="#Page_73">73</a>, <a href="#Page_113">113</a>, <a href="#Page_183">183</a><br />
+<br />
+Codlings&mdash;Crumpling, <a href="#Page_183">183</a><br />
+<br />
+Coife&mdash;Buy a fine, <a href="#Page_82">82</a><br />
+<br />
+Coleworts&mdash;Here&#8217;s green, <a href="#Page_115">115</a><br />
+<br />
+Cony-Skins&mdash;(<i>Rabbit</i>), <a href="#Page_60">60</a>, <a href="#Page_84">84</a><br />
+<br />
+Corn-Poppies&mdash;Here&#8217;s, <a href="#Page_116">116</a><br />
+<br />
+Corns&mdash;Any to cut, pick, &amp;c., <a href="#Page_62">62</a>, <a href="#Page_75">75</a>, <a href="#Page_113">113</a><br />
+<br />
+Cooper&mdash;Any work for a?, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_113">113</a>, <a href="#Page_121">121</a><br />
+<br />
+Crabs&mdash;Come buy my, &amp;c., <a href="#Page_116">116</a>, <a href="#Page_343">343</a><br />
+<br />
+Cranberries&mdash;Buy my, &amp;c., <a href="#Page_259">259</a><br />
+<br />
+Cream and Cheese, <a href="#Page_139">139</a><br />
+<br />
+Cucumbers, Ripe &amp;c., <a href="#Page_35">35</a>, <a href="#Page_63">63</a>, <a href="#Page_116">116</a>, <a href="#Page_256">256</a><br />
+<br />
+Curds, <a href="#Page_81">81</a><br />
+<br />
+Currants&mdash;Here&#8217;s, <a href="#Page_81">81</a><br />
+<br />
+Cut Flowers, <a href="#Page_255">255</a><br />
+<br />
+<br />
+Dabs&mdash;Come buy my, <a href="#Page_116">116</a>, <a href="#Page_128">128</a><br />
+<br />
+Damsons&mdash;Buy ripe, <a href="#Page_61">61</a><br />
+<br />
+Dandelion&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+Dog&#8217;s Meat, <a href="#Page_368">368</a><br />
+<br />
+Door-Mat&mdash;Buy a, <a href="#Page_279">279</a>, <a href="#Page_376">376</a><br />
+<br />
+Doublets&mdash;Any old?, <a href="#Page_60">60</a><br />
+<br />
+Dragon&#8217;s-tongue&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+Dumplings Diddle, diddle, <a href="#Page_115">115</a><br />
+<br />
+Dust O!, <a href="#Page_248">248</a><br />
+<br />
+Duck&mdash;Buy a, <a href="#Page_116">116</a><br />
+<br />
+<br />
+Earthen-Ware&mdash;To-day?, <a href="#Page_296">296</a><br />
+<br />
+Eels&mdash;Buy a dish of, <a href="#Page_41">41</a>, <a href="#Page_116">116</a>, <a href="#Page_298">298</a><br />
+<br />
+Eel Pies&mdash;Hot, hot!, <a href="#Page_62">62</a><br />
+<br />
+Eggs&mdash;New laid, 10 a groat, <a href="#Page_116">116</a><br />
+<br />
+Elder-buds&mdash;For the blood, <a href="#Page_114">114</a><br />
+<br />
+Ells or Yards&mdash;Buy, <a href="#Page_61">61</a><br />
+<br />
+Ends of gold, <a href="#Page_60">60</a><br />
+<br />
+<br />
+Featherfew and Rue, <a href="#Page_115">115</a><br />
+<br />
+Felt Hats, <a href="#Page_5">5</a><br />
+<br />
+Fenders&mdash;I paint, <a href="#Page_231">231</a><br />
+<br />
+Figs&mdash;Buy any?, <a href="#Page_61">61</a>, <a href="#Page_116">116</a><br />
+<br />
+Filberts&mdash;Ripe, Brown, &amp;c., <a href="#Page_116">116</a>, <a href="#Page_183">183</a><br />
+<br />
+Fleas&mdash;Buy a tormentor for, <a href="#Page_66">66</a>, <a href="#Page_75">75</a><br />
+<br />
+Flounders, <a href="#Page_30">30</a>, <a href="#Page_61">61</a>, <a href="#Page_116">116</a>, <a href="#Page_268">268</a><br />
+<br />
+Flowers&mdash;Buy my, <a href="#Page_356">356</a><br />
+<br />
+Fowl&mdash;A choice, <a href="#Page_116">116</a><br />
+<br />
+Footstool&mdash;Buy a, <a href="#Page_61">61</a><br />
+<br />
+French Beans&mdash;Buy, <a href="#Page_116">116</a><br />
+<br />
+French Garters, <a href="#Page_71">71</a><br />
+<br />
+<br />
+Garlick&mdash;Buy any?, <a href="#Page_62">62</a><br />
+<br />
+Garters for the knee, <a href="#Page_61">61</a>, <a href="#Page_82">82</a>, <a href="#Page_88">88</a><br />
+<br />
+Gazette, London&mdash;Here, <a href="#Page_126">126</a>, <a href="#Page_339">339</a><br />
+<br />
+Geraniums&mdash;Scarlet, &amp;c., <a href="#Page_240">240</a><br />
+<br />
+Gilliflowers, &amp;c., <a href="#Page_115">115</a><br />
+<br />
+Gingerbread&mdash;Hot, <a href="#Page_75">75</a>, <a href="#Page_114">114</a>, <a href="#Page_349">349</a><br />
+<br />
+Glass to mend, <a href="#Page_61">61</a><br />
+<br />
+Glasses&mdash;Broken, <a href="#Page_120">120</a><br />
+<br />
+Golden Pippins&mdash;Who&#8217;ll buy, <a href="#Page_290">290</a><br />
+<br />
+Gold-end&mdash;Have you any?, <a href="#Page_60">60</a><br />
+<br />
+Goose&mdash;Buy a, <a href="#Page_116">116</a><br />
+<br />
+Gooseberries&mdash;Buy my fine, <a href="#Page_261">261</a><br />
+<br />
+Green Coleworts&mdash;Here&#8217;s, <a href="#Page_115">115</a><br />
+<br />
+Greens, 2d. a bunch, <a href="#Page_355">355</a><br />
+<br />
+Green Peas&mdash;All hot-hot!, <a href="#Page_239">239</a>, <a href="#Page_296">296</a><br />
+<br />
+Gudgeons&mdash;Fine, &amp;c., <a href="#Page_115">115</a><br />
+<br />
+Gaudes&mdash;Dainty for Sunday, <a href="#Page_88">88</a><br />
+<br />
+Ground-Ivy&mdash;Buy my, <a href="#Page_115">115</a><br />
+<br />
+<br />
+Haddocks&mdash;Buy my fine, <a href="#Page_61">61</a>, <a href="#Page_116">116</a><br />
+<br />
+Hair&mdash;Maids any to sell?, <a href="#Page_113">113</a><br />
+<br />
+Hair Brooms, or a Brush, <a href="#Page_289">289</a><br />
+<br />
+Hair-line&mdash;Buy a?, <a href="#Page_62">62</a><br />
+<br />
+Hang out your Lights here, <a href="#Page_46">46-47</a><br />
+<br />
+Handkerchief-buttons&mdash;Buy, <a href="#Page_73">73</a><br />
+<br />
+Hare Skins&mdash;I buy, <a href="#Page_83">83</a><br />
+<br />
+Hastings&mdash;Young and Green, <a href="#Page_115">115</a><br />
+<br />
+Hat, or Cap Box?, <a href="#Page_297">297</a>, <a href="#Page_356">356</a><br />
+<br />
+Hat&mdash;Buy a case for, <a href="#Page_62">62</a><br />
+<br />
+Hats&mdash;Fine felt, <a href="#Page_5">5</a><br />
+<br />
+Hats or Caps&mdash;To dress, <a href="#Page_62">62</a><br />
+<br />
+Hats or Caps&mdash;Buy or sell, <a href="#Page_38">38</a><br />
+<br />
+Hassock for your Pew, <a href="#Page_66">66</a>, <a href="#Page_72">72</a><br />
+<br />
+Hautboys&mdash;Ripe, <a href="#Page_115">115</a><br />
+<br />
+Hearth-stones&mdash;Want any?, <a href="#Page_158">158</a>, <a href="#Page_362">362</a><br />
+<br />
+Heart&#8217;s-ease&mdash;Buy any?, <a href="#Page_115">115</a><br />
+<br />
+Herbs&mdash;Here&#8217;s fine of every sort, <a href="#Page_115">115</a><br />
+<span class="pagenum"><a name="Page_385" id="Page_385">[Pg 385]</a></span><br />
+Herrings&mdash;Fine new, &amp;c., <a href="#Page_60">60</a>, <a href="#Page_113">113</a><br />
+<br />
+Hobby-Horses, <a href="#Page_73">73</a>, <a href="#Page_76">76</a>, <a href="#Page_106">106</a><br />
+<br />
+Holly&mdash;Christmas ho!, <a href="#Page_234">234</a><br />
+<br />
+Hone, or Whetstone, <a href="#Page_73">73</a><br />
+<br />
+Hornbook&mdash;Buy a, <a href="#Page_85">85</a><br />
+<br />
+Horns&mdash;Shall I mend your?, <a href="#Page_114">114</a><br />
+<br /><a name="buns" id="buns"></a>
+Hot-Cross Buns, <a href="#Page_185">185</a>, <a href="#Page_202">202</a>, <a href="#Page_263">263</a><br />
+<br />
+Hot Mutton&mdash;Pies, <a href="#Page_61">61</a>, <a href="#Page_282">282</a><br />
+<br />
+Hot Pudding&mdash;Pies, <a href="#Page_62">62</a><br />
+<br />
+Hot Sheep&#8217;s feet, <a href="#Page_7">7</a><br />
+<br />
+Hot Peacods, <a href="#Page_6">6</a>, <a href="#Page_127">127</a><br />
+<br />
+Houseleek&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+Holloway Cheesecakes, <a href="#Page_117">117</a><br />
+<br />
+Hood&mdash;Buy a?, <a href="#Page_9">9</a><br />
+<br />
+Horehound&mdash;Buy any, <a href="#Page_115">115</a><br />
+<br />
+<br />
+Images&mdash;Come buy my, <a href="#Page_287">287</a>, <a href="#Page_357">357</a><br />
+<br />
+Ink&mdash;Fine writing-ink, <a href="#Page_59">59</a>, <a href="#Page_104">104</a>, <a href="#Page_126">126</a><br />
+<br />
+Ink and Pens, <a href="#Page_59">59</a><br />
+<br />
+Iron&mdash;Old iron I buy, &amp;c., <a href="#Page_40">40</a>, <a href="#Page_60">60</a><br />
+<br />
+Iron Fork or shovel, <a href="#Page_105">105</a><br />
+<br />
+Italian Falling Bands, <a href="#Page_71">71</a><br />
+<br />
+Ivy&mdash;Ground-ivy, <a href="#Page_115">115</a><br />
+<br />
+<br />
+Jessamine&mdash;Pale, &amp;c., <a href="#Page_240">240</a><br />
+<br />
+Jew&#8217;s Trumps (<i>i.e. Harps.</i>), <a href="#Page_76">76</a><br />
+<br />
+John Apples&mdash;Who&#8217;ll buy, <a href="#Page_81">81</a><br />
+<br />
+John the Cooper&mdash;Any work for?, <a href="#Page_60">60</a>, <a href="#Page_126">126</a><br />
+<br />
+<br />
+Kettles to mend, <a href="#Page_64">64</a>, <a href="#Page_303">303</a><br />
+<br />
+Kentish Cherries, <a href="#Page_288">288</a><br />
+<br />
+Kitchen-stuff&mdash;What have you maids?, <a href="#Page_60">60</a>, <a href="#Page_113">113</a><br />
+<br />
+Knives to grind, <a href="#Page_277">277</a>, <a href="#Page_373">373</a><br />
+<br />
+<br />
+Laces&mdash;Long and Strong, <a href="#Page_83">83</a>, <a href="#Page_126">126</a><br />
+<br />
+Lambs&mdash;Young to sell, <a href="#Page_185">185</a>, <a href="#Page_293">293</a><br />
+<br />
+Lanthorn &amp; Candle, <a href="#Page_46">46</a>, <a href="#Page_66">66</a>, <a href="#Page_72">72</a><br />
+<br />
+Lavender&mdash;Blooming, <a href="#Page_115">115</a>, <a href="#Page_270">270</a>, <a href="#Page_372">372</a><br />
+<br />
+Lawn, Silk, Velvets, <a href="#Page_6">6</a><br />
+<br />
+Lights for your cat, <a href="#Page_116">116</a><br />
+<br />
+Lilies of the Valley, <a href="#Page_294">294</a><br />
+<br />
+Leeks&mdash;Here&#8217;s fine, <a href="#Page_116">116</a><br />
+<br />
+Lemons&mdash;Fine, <a href="#Page_60">60</a><br />
+<br />
+Lettuce&mdash;Fine goss, <a href="#Page_57">57</a>, <a href="#Page_60">60</a>, <a href="#Page_66">66</a><br />
+<br />
+Lobsters&mdash;Buy, <a href="#Page_116">116</a>, <a href="#Page_343">343</a><br />
+<br />
+<br />
+Mackerel&mdash;Fine, fresh, <a href="#Page_7">7</a>, <a href="#Page_29">29</a>, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_271">271</a><br />
+<br />
+Maids&mdash;Buy my fresh, <a href="#Page_116">116</a><br />
+<br />
+Marjoram&mdash;Ho!, <a href="#Page_115">115</a><br />
+<br />
+Marking Stone, <a href="#Page_57">57</a>, <a href="#Page_61">61</a>, <a href="#Page_64">64</a>, <a href="#Page_72">72</a><br />
+<br />
+Marroguin&mdash;Good, <a href="#Page_60">60</a><br />
+<br />
+Marrow-bones, Maids, <a href="#Page_73">73</a><br />
+<br />
+Marygolds&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+Mat&mdash;Buy a, <a href="#Page_60">60</a>, <a href="#Page_66">66</a>, <a href="#Page_73">73</a><br />
+<br />
+Matches&mdash;Buy my, <a href="#Page_231">231</a><br />
+<br />
+Milk&mdash;Maids below &amp;c., <a href="#Page_60">60</a>, <a href="#Page_139">139</a>, <a href="#Page_183">183</a>, <a href="#Page_344">344</a><br />
+<br />
+Mint&mdash;Any green, or a bunch, <a href="#Page_115">115</a>, <a href="#Page_274">274</a><br />
+<br />
+Mops&mdash;Maids buy a, <a href="#Page_219">219</a>, <a href="#Page_284">284</a><br />
+<br />
+Mousetrap&mdash;Buy a, <a href="#Page_65">65</a>, <a href="#Page_75">75</a><br />
+<br />
+Muffins&mdash;Buy new, <a href="#Page_284">284</a><br />
+<br />
+Muffins, Crumpets<br />
+<br />
+Mugwort&mdash;Buy my, <a href="#Page_115">115</a><br />
+<br />
+Mulberries&mdash;Here&#8217;s, <a href="#Page_116">116</a>, <a href="#Page_266">266</a><br />
+<br />
+Mullets&mdash;Buy my, <a href="#Page_116">116</a><br />
+<br />
+Mussels&mdash;Lilly-white, <a href="#Page_31">31</a>, <a href="#Page_60">60</a>, <a href="#Page_73">73</a><br />
+<br />
+Mutton Dumplings&mdash;Hot, <a href="#Page_282">282</a><br />
+<br />
+Mutton Pies&mdash;Who&#8217;ll buy?, <a href="#Page_61">61</a><br />
+<br />
+Myrtle&mdash;Dark green, <a href="#Page_340">340</a><br />
+<br />
+<br />
+Nectarines&mdash;Fine, <a href="#Page_116">116</a>, <a href="#Page_348">348</a><br />
+<br />
+Needles&mdash;who buys my, <a href="#Page_85">85</a><br />
+<br />
+Nettle-tops&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+New River Water&mdash;Here <a href="#Page_129">129</a>, <a href="#Page_139">139</a><br />
+<br />
+Nosegays&mdash;Fine, <a href="#Page_115">115</a><br />
+<br />
+Nun&#8217;s Thread, <a href="#Page_71">71</a><br />
+<br />
+Nuts&mdash;Fine, new, &amp;c., <a href="#Page_113">113</a><br />
+<br />
+<br />
+Oat-Cakes&mdash;Fine, <a href="#Page_62">62</a><br />
+<br />
+Old Clo! Clo!, <a href="#Page_37">37</a>, <a href="#Page_353">353</a>, <a href="#Page_369">369</a><br />
+<br />
+Old Cloaks, Suits or Coats, <a href="#Page_38">38</a><br />
+<br />
+Old Doublets, <a href="#Page_60">60</a><br />
+<br />
+Old Iron&mdash;Take money for, <a href="#Page_40">40</a><br />
+<br />
+Old Man&mdash;A penny a root, <a href="#Page_231">231</a><br />
+<br />
+Old Satin-taffety, or Velvet, <a href="#Page_37">37</a><br />
+<br />
+Onions&mdash;White St. Thomas&#8217;, &amp;c., <a href="#Page_35">35</a>, <a href="#Page_66">66</a>, <a href="#Page_115">115</a><br />
+<br />
+Oranges&mdash;China, golden, ripe, &amp;c., <a href="#Page_60">60</a>, <a href="#Page_183">183</a>, <a href="#Page_303">303</a><br />
+<br />
+Oranges and Lemons&mdash;Fine, <a href="#Page_60">60</a><br />
+<br />
+Oysters&mdash;New Wall-Fleet &amp;c., <a href="#Page_30">30</a>, <a href="#Page_113">113</a>, <a href="#Page_285">285</a>, <a href="#Page_353">353</a><br />
+<br />
+<br />
+Pail&mdash;Buy a new, <a href="#Page_231">231</a><br />
+<br />
+Paris-thread, <a href="#Page_6">6</a><br />
+<br />
+<span class="pagenum"><a name="Page_386" id="Page_386">[Pg 386]</a></span>Parsley&mdash;Heres ye, <a href="#Page_115">115</a><br />
+<br />
+Parsnips, Buy&mdash;Here&#8217;s fine, <a href="#Page_116">116</a><br />
+<br />
+Peaches&mdash;Buy my fine, <a href="#Page_116">116</a>, <a href="#Page_348">348</a><br />
+<br />
+Pearmains&mdash;Buy my, <a href="#Page_81">81</a><br />
+<br />
+Pears&mdash;Baking, Stewed &amp;c., <a href="#Page_85">85</a>, <a href="#Page_61">61-62</a>, <a href="#Page_113">113</a>, <a href="#Page_262">262</a><br />
+<br />
+Peas and Beans&mdash;Come buy, <a href="#Page_184">184</a><br />
+<br />
+Pea-Soup&mdash;All hot!, <a href="#Page_239">239</a><br />
+<br />
+Peacods, Hot-hot!, <a href="#Page_6">6</a>, <a href="#Page_127">127</a><br />
+<br />
+Penknives to grind, <a href="#Page_231">231</a><br />
+<br />
+Pens and Ink, <a href="#Page_59">59-60</a><br />
+<br />
+Pennyroyal&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+Pepper, Saffron and Spice, <a href="#Page_6">6</a><br />
+<br />
+Peppermint&mdash;Nice, <a href="#Page_237">237</a><br />
+<br />
+Perch&mdash;Buy my, <a href="#Page_116">116</a><br />
+<br />
+Periwinkles&mdash;Quick <i>i.e. live</i>, <a href="#Page_62">62</a>, <a href="#Page_73">73</a>, <a href="#Page_374">374</a><br />
+<br />
+Pies Hot, <a href="#Page_62">62</a>, <a href="#Page_113">113</a><br />
+<br />
+Pigeons&mdash;Come buy my, <a href="#Page_116">116</a><br />
+<br />
+Pike&mdash;Fine live, <a href="#Page_116">116</a><br />
+<br />
+Pins of the maker, <a href="#Page_63">63</a><br />
+<br />
+Pins and Needles&mdash;Who buys?, <a href="#Page_85">85</a><br />
+<br />
+Pins for Coney-Skins, <a href="#Page_115">115</a><br />
+<br />
+Pippins&mdash;Buy my? &amp;c., <a href="#Page_60">60</a>, <a href="#Page_290">290</a><br />
+<br />
+Pippin-Pies, <a href="#Page_60">60</a><br />
+<br />
+Plaice&mdash;Buy dish of, &amp;c., <a href="#Page_31">31</a>, <a href="#Page_61">61</a>, <a href="#Page_116">116</a><br />
+<br />
+Plovers&mdash;Come buy my, <a href="#Page_116">116</a><br />
+<br />
+Plum-Pudding, 4d. a pound, <a href="#Page_114">114</a><br />
+<br />
+Plum&mdash;Buy my ripe, <a href="#Page_116">116</a>, <a href="#Page_299">299</a><br />
+<br />
+Points&mdash;Buy any?, <a href="#Page_61">61</a><br />
+<br />
+Pomegranites&mdash;Fine, <a href="#Page_62">62</a><br />
+<br />
+Pompeons (Qy. Pumpkin), <a href="#Page_62">62</a><br />
+<br />
+Potatoes&mdash;Fine new, <a href="#Page_62">62</a>, <a href="#Page_116">116</a>, <a href="#Page_286">286</a><br />
+<br />
+Potatoes&mdash;All hot, <a href="#Page_359">359</a><br />
+<br />
+Pot&mdash;Buy a white, <a href="#Page_61">61</a><br />
+<br />
+Pots and Pans, <a href="#Page_231">231</a><br />
+<br />
+Pots, Pans, Kettles to mend, <a href="#Page_264">264</a>, <a href="#Page_301">301</a><br />
+<br />
+Powder and Wash-ball, <a href="#Page_121">121</a><br />
+<br />
+Pretty Pins&mdash;Pretty women?, <a href="#Page_126">126</a><br />
+<br />
+Primroses&mdash;Buy, <a href="#Page_228">228</a>, <a href="#Page_246">246</a><br />
+<br />
+Props or Lines, <a href="#Page_184">184</a><br />
+<br />
+Prunes&mdash;Buy, 2d. a-pound, <a href="#Page_61">61</a>, <a href="#Page_115">115</a><br />
+<br />
+Purse&mdash;Buy a, <a href="#Page_300">300</a><br />
+<br />
+<br />
+Quick (<i>i.e. live</i>) Perriwinkles, <a href="#Page_62">62</a>, <a href="#Page_73">73</a><br />
+<br />
+<br />
+Rabbits&mdash;Who&#8217;ll buy, <a href="#Page_116">116</a>, <a href="#Page_273">273</a><br />
+<br />
+Rabbit-skins&mdash;Any to sell, buy, <a href="#Page_60">60</a>, <a href="#Page_84">84</a><br />
+<br />
+Radish&mdash;Buy my white, &amp;c., <a href="#Page_35">35</a>, <a href="#Page_62">62</a>, <a href="#Page_66">66</a>, <a href="#Page_115">115</a><br />
+<br />
+Raisons&mdash;Buy any?, <a href="#Page_61">61</a><br />
+<br />
+Rareee Show&mdash;Take a peep, <a href="#Page_280">280</a><br />
+<br />
+Ribs of beef&mdash;Fine, <a href="#Page_5">5</a><br />
+<br />
+Rice-milk&mdash;Here&#8217;s hot, <a href="#Page_114">114</a>, <a href="#Page_127">127</a>, <a href="#Page_347">347</a><br />
+<br />
+Rice&mdash;New, 2d. a pound, <a href="#Page_116">116</a><br />
+<br />
+Rings&mdash;Powch-posies, <a href="#Page_13">13</a>, <a href="#Page_88">88</a><br />
+<br />
+Rope-Mats&mdash;Buy one, <a href="#Page_278">278</a><br />
+<br />
+Roses&mdash;Buy my fine, <a href="#Page_340">340</a><br />
+<br />
+Rosemary&mdash;Buy my, <a href="#Page_60">60</a>, <a href="#Page_115">115</a>, <a href="#Page_257">257</a><br />
+<br />
+Rosemary and Briar, <a href="#Page_127">127</a>, <a href="#Page_257">257</a><br />
+<br />
+Rue&mdash;Buy a bunch, &amp;c., <a href="#Page_115">115</a>, <a href="#Page_274">274</a><br />
+<br />
+Rushes&mdash;Green, <a href="#Page_7">7-8</a>, <a href="#Page_62">62</a><br />
+<br />
+<br />
+Saffron, Spice and Pepper, <a href="#Page_6">6</a><br />
+<br />
+Sage&mdash;Buy a bunch &amp;c., <a href="#Page_115">115</a>, <a href="#Page_274">274</a><br />
+<br />
+Salad&mdash;Ready picked, <a href="#Page_115">115</a><br />
+<br />
+Salmon&mdash;Fine, Newcastle, &amp;c., <a href="#Page_30">30</a>, <a href="#Page_258">258</a><br />
+<br />
+Saloop&mdash;Hot and good, <a href="#Page_116">116</a>, <a href="#Page_127">127</a><br />
+<br />
+Samphire&mdash;Rock, <a href="#Page_60">60</a>, <a href="#Page_72">72</a><br />
+<br />
+Sand&mdash;Silver sand, <a href="#Page_113">113</a><br />
+<br />
+Sashes&mdash;Ribbons or lace, <a href="#Page_179">179</a><br />
+<br />
+Satin&mdash;Old, <a href="#Page_37">37</a><br />
+<br />
+Sausages, <a href="#Page_56">56</a>, <a href="#Page_61">61</a><br />
+<br />
+Save-all&mdash;Buy a, <a href="#Page_80">80</a><br />
+<br />
+Savoys&mdash;Here&#8217;s fine, <a href="#Page_115">115</a><br />
+<br />
+Scissors ground, 1d. per pair, <a href="#Page_277">277</a><br />
+<br />
+Screens, from the fire, <a href="#Page_73">73</a><br />
+<br />
+Scurvy-grass&mdash;Any?, <a href="#Page_62">62</a>, <a href="#Page_115">115</a><br />
+<br />
+Shads&mdash;Come buy my, <a href="#Page_60">60</a>, <a href="#Page_116">116</a><br />
+<br />
+Shirt Buttons&mdash;Buy, <a href="#Page_272">272</a><br />
+<br />
+Sheep&#8217;s Trotters&mdash;Hot, <a href="#Page_7">7</a>, <a href="#Page_127">127</a><br />
+<br />
+Shoes-Buy&mdash;I buy, <a href="#Page_14">14</a>, <a href="#Page_61">61</a><br />
+<br />
+Shovel and Iron Fork, <a href="#Page_105">105</a><br />
+<br />
+Shrimps&mdash;Fine, New, <a href="#Page_61">61</a>, <a href="#Page_116">116</a>, <a href="#Page_374">374</a><br />
+<br />
+Silk Velvets lawn, <a href="#Page_6">6</a><br />
+<br />
+Singing Bird&mdash;Buy a fine, <a href="#Page_107">107</a>, <a href="#Page_115">115</a><br />
+<br />
+Silver Sand&mdash;Buy, <a href="#Page_113">113</a><br />
+<br />
+Small Coals, <a href="#Page_73">73</a>, <a href="#Page_116">116</a>, <a href="#Page_124">124</a><br />
+<br />
+Smelts&mdash;Buy my &amp;c., <a href="#Page_31">31</a>, <a href="#Page_62">62</a>, <a href="#Page_116">116</a><br />
+<br />
+Socks&mdash;Holland socks, <a href="#Page_126">126</a><br />
+<br />
+Soles&mdash;Fine, &amp;c., <a href="#Page_62">62</a><br />
+<br />
+Songs&mdash;A choice of, <a href="#Page_83">83</a><br />
+<br />
+Songs&mdash;Three yards a penny, <a href="#Page_187">187</a><br />
+<br />
+Southernwood, that&#8217;s very good, <a href="#Page_115">115</a><br />
+<br />
+Spice, pepper and saffron, <a href="#Page_6">6</a><br />
+<br />
+Spice graters, <a href="#Page_58">58</a><br />
+<br />
+Sprats&mdash;Buy my, <a href="#Page_61">61</a>, <a href="#Page_116">116</a><br />
+<br />
+Spinach&mdash;Here&#8217;s, <a href="#Page_116">116</a><br />
+<br />
+Starch&mdash;Blue, <a href="#Page_61">61</a><br />
+<br />
+<span class="pagenum"><a name="Page_387" id="Page_387">[Pg 387]</a></span>Stocks&mdash;Buy fine, <a href="#Page_340">340</a><br />
+<br />
+Straw&mdash;Will you buy any?, <a href="#Page_79">79</a><br />
+<br />
+Strawberries&mdash;Ripe, &amp;c., <a href="#Page_6">6</a>, <a href="#Page_62">62</a>, <a href="#Page_108">108</a>, <a href="#Page_115">115</a>, <a href="#Page_185">185</a>, <a href="#Page_276">276</a><br />
+<br />
+Steel or Tinder-box, <a href="#Page_73">73</a><br />
+<br />
+Stopple&mdash;For your close-stool, <a href="#Page_66">66</a><br />
+<br />
+Stomach water, <a href="#Page_63">63</a><br />
+<br />
+Sweep, <a href="#Page_184">184</a><br />
+<br />
+Sweet Briar&mdash;Buy my, <a href="#Page_257">257</a>, <a href="#Page_277">277</a><br />
+<br />
+<br />
+Table-mat&mdash;Buy a, <a href="#Page_251">251</a><br />
+<br />
+Tape&mdash;Buy any?, <a href="#Page_61">61</a><br />
+<br />
+Tarts&mdash;All hot, <a href="#Page_113">113</a><br />
+<br />
+Teal&mdash;Come buy my, <a href="#Page_116">116</a><br />
+<br />
+Tench&mdash;Buy my, <a href="#Page_116">116</a><br />
+<br />
+Teeth&mdash;Any to draw?, <a href="#Page_81">81</a><br />
+<br />
+Thornback&mdash;New, <a href="#Page_62">62</a><br />
+<br />
+Tinder-Box&mdash;Buy a, <a href="#Page_79">79</a><br />
+<br />
+Tinker&mdash;Have you any work for a?, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_264">264</a><br />
+<br />
+Toasting Forks, <a href="#Page_58">58</a>, <a href="#Page_61">61</a>, <a href="#Page_99">99</a><br />
+<br />
+Toasting-Iron, <a href="#Page_61">61</a><br />
+<br />
+Toys, For girls and boys, <a href="#Page_185">185</a><br />
+<br />
+Trap for fleas, <a href="#Page_66">66</a><br />
+<br />
+Trinkets&mdash;Want any?, <a href="#Page_291">291</a><br />
+<br />
+Tripes&mdash;Fine, <a href="#Page_116">116</a><br />
+<br />
+Troop&mdash;Every one, <a href="#Page_106">106</a><br />
+<br />
+Trotters&mdash;Here&#8217;s, <a href="#Page_116">116</a><br />
+<br />
+Turnips&mdash;Buy bunch, <a href="#Page_60">60</a>, <a href="#Page_115">115</a>, <a href="#Page_277">277</a><br />
+<br />
+Turbot&mdash;All alive, <a href="#Page_237">237</a><br />
+<br />
+Thyme, Rue, &amp;c., <a href="#Page_115">115</a><br />
+<br />
+<br />
+Velvets, Silk, Lawn, <a href="#Page_6">6</a><br />
+<br />
+Venice Glasses&mdash;Come buy, <a href="#Page_59">59</a><br />
+<br />
+Vinegar&mdash;Lilly-white, <a href="#Page_126">126</a><br />
+<br />
+Violets&mdash;Buy my, <a href="#Page_128">128</a><br />
+<br />
+Violins&mdash;Buy, <a href="#Page_76">76</a><br />
+<br />
+<br />
+Wafers&mdash;Buy any?, <a href="#Page_126">126</a><br />
+<br />
+Walking-sticks&mdash;Buy my, <a href="#Page_139">139</a>, <a href="#Page_260">260</a><br />
+<br />
+Walnuts, New, crack and try, &amp;c., <a href="#Page_62">62</a>, <a href="#Page_115">115</a>, <a href="#Page_241">241</a>, <a href="#Page_242">242</a>, <a href="#Page_243">243</a><br />
+<br />
+Warders&mdash;Hot (Pears), <a href="#Page_127">127</a><br />
+<br />
+Wash-Ball&mdash;Want any, <a href="#Page_58">58</a>, <a href="#Page_62">62</a>, <a href="#Page_291">291</a><br />
+<br />
+Watch&mdash;Buy of me, <a href="#Page_291">291</a><br />
+<br />
+Water&mdash;Buy spring here?, <a href="#Page_129">129</a>, <a href="#Page_139">139</a><br />
+<br />
+Water-cresses&mdash;Buy fresh, &amp;c., <a href="#Page_115">115</a>, <a href="#Page_127">127</a><br />
+<br />
+Wax&mdash;Buy any?, <a href="#Page_126">126</a>, <a href="#Page_281">281</a>, <a href="#Page_353">353</a><br />
+<br />
+Wheat&mdash;Buy any?, <a href="#Page_62">62</a>, <a href="#Page_73">73</a><br />
+<br />
+Whetstone&mdash;Buy a, <a href="#Page_73">73</a><br />
+<br />
+Whistle, for your boy, <a href="#Page_82">82</a><br />
+<br />
+White Scallions (<i>Shalots</i>), <a href="#Page_62">62</a><br />
+<br />
+Whiting&mdash;Any new, fresh, &amp;c., <a href="#Page_30">30</a>, <a href="#Page_62">62</a>, <a href="#Page_66">66</a><br />
+<br />
+Whiting Maps, <a href="#Page_61">61</a><br />
+<br />
+Widgeon&mdash;Come buy my, <a href="#Page_116">116</a><br />
+<br />
+Wigs&mdash;A fine tie or bob?, <a href="#Page_126">126</a><br />
+<br />
+Wild Duck&mdash;Buy a, <a href="#Page_116">116</a><br />
+<br />
+Windsor Beans, <a href="#Page_115">115</a><br />
+<br />
+Wine&mdash;One penny a pint, <a href="#Page_10">10</a><br />
+<br />
+Winter-Savoy&mdash;Here you have, <a href="#Page_115">115</a><br />
+<br />
+Wood&mdash;Any to cleave?, <a href="#Page_15">15</a>, <a href="#Page_62">62</a>, <a href="#Page_124">124</a><br />
+<br />
+Wood-sorrel&mdash;Here&#8217;s ye, <a href="#Page_115">115</a><br />
+<br />
+Worcestershire Salt, <a href="#Page_61">61</a>, <a href="#Page_62">62</a><br />
+<br />
+Wormwood&mdash;Here&#8217;s fine, <a href="#Page_115">115</a><br />
+<br />
+<br />
+Yards and Ells, <a href="#Page_61">61</a><br />
+<br />
+Yorkshire Cakes, <a href="#Page_254">254</a><br />
+<br />
+Yorkshire Muffins, <a href="#Page_116">116</a><br />
+<br />
+Yarmouth Bloaters, <a href="#Page_237">237</a><br />
+</p>
+
+<p>&nbsp;</p>
+<p class="index">
+Cry&mdash;<i>Much cry, but little wool</i>, <a href="#Page_120">120</a><br />
+<br />
+Crying Things in London, <a href="#Page_73">73</a><br />
+<br />
+Curds&mdash;A cheesewoman, <a href="#Page_81">81</a><br />
+<br />
+Cutler&#8217;s Poetry upon a knife, <a href="#Page_52">52</a><br />
+<br />
+<br />
+Deacon&#8217;s Music Hall, <a href="#Page_131">131</a><br />
+<br />
+Decker, Thomas, <i>alias</i> Dekker, <a href="#Page_50">50</a><br />
+<br />
+Deuteromelia, or Roundelays, <a href="#Page_70">70</a><br />
+<br />
+Dick Tarlton&mdash;Jester, <a href="#Page_136">136</a><br />
+<br />
+Dick, The Shoe Black, <a href="#Page_155">155</a><br />
+<br />
+Dimsdale&mdash;Mayor Garrett, <a href="#Page_199">199</a><br />
+<br />
+Ditty&mdash;A ballad-man, <a href="#Page_80">80</a><br />
+<br />
+Dogberry&mdash;The Watchman, <a href="#Page_49">49</a><br />
+<br />
+Drunken Barnaby at Holloway, <a href="#Page_117">117</a><br />
+<br />
+Duke of Devonshire&#8217;s drawings, <a href="#Page_63">63</a><br />
+<br />
+Dumpling Woman&mdash;The, <a href="#Page_253">253</a><br />
+<br />
+Dunstan&mdash;Sir Jeffery, <a href="#Page_196">196</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Mayor of Garrett, <a href="#Page_197">197</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Death of, <a href="#Page_198">198</a><br />
+<br />
+Dustman&mdash;The, <a href="#Page_249">249</a><br />
+<span class="pagenum"><a name="Page_388" id="Page_388">[Pg 388]</a></span><br />
+Dying Speeches, <a href="#Page_160">160</a>, <a href="#Page_172">172</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">&nbsp;</span>Albert Smith&#8217;s, <a href="#Page_173">173</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">&nbsp;</span>Ann William&#8217;s, <a href="#Page_163">163</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">&nbsp;</span>Wm. Corder&#8217;s, <a href="#Page_170">170</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">&nbsp;</span>Couvoisier&#8217;s, <a href="#Page_112">112</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">&nbsp;</span>Greenacre&#8217;s, <a href="#Page_171">171</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 3em;">&nbsp;</span>Thurtell&#8217;s, <a href="#Page_167">167</a><br />
+<br />
+<br />
+Earl of Ellesmere, <a href="#Page_73">73</a><br />
+<br />
+Eastern Cheap-Market, <a href="#Page_8">8</a><br />
+<br />
+Eastwood ho!&mdash;A Comedy, <a href="#Page_62">62</a><br />
+<br />
+Ebsworth&mdash;Rev. J. W, <a href="#Page_83">83</a><br />
+<br />
+Edmonton, <a href="#Page_137">137</a>, <a href="#Page_138">138</a><br />
+<br />
+Ely Place&mdash;The orchards in, <a href="#Page_108">108</a><br />
+<br />
+Elizabeth&mdash;Queen, <a href="#Page_35">35</a>, <a href="#Page_64">64</a><br />
+<br />
+<span class="smcap">Eliza Cook, Miss, Poems</span>:&mdash;<br />
+<span style="margin-left: 1em;">Christmas Holly, <a href="#Page_244">244</a></span><br />
+<span style="margin-left: 1em;">Hot-Cross Buns, <a href="#Page_210">210</a></span><br />
+<span style="margin-left: 1em;">Old Cries, <a href="#Page_244">244</a></span><br />
+<span style="margin-left: 1em;">Young Lambs to Sell, <a href="#Page_221">221</a></span><br />
+<br />
+Enfield&mdash;Charles Lamb at, <a href="#Page_136">136</a><br />
+<br />
+<br />
+Falstaff and Henry V, <a href="#Page_8">8</a><br />
+<br />
+Faux-Hall, <a href="#Page_23">23</a><br />
+<br />
+Field Lane and Fagan, <a href="#Page_6">6</a><br />
+<br />
+Fiddler&mdash;The blind, <a href="#Page_283">283</a><br />
+<br />
+Finsbury, its groves, <a href="#Page_139">139</a><br />
+<br />
+Flower Girls&mdash;Saucy, <a href="#Page_128">128</a><br />
+<br />
+Flower Pot Man&mdash;The, <a href="#Page_240">240</a><br />
+<br />
+Flying Stationer&mdash;The, <a href="#Page_159">159</a><br />
+<br />
+Fish-Fags, <a href="#Page_236">236</a><br />
+<br />
+Fish-Wives, <a href="#Page_29">29</a>, <a href="#Page_32">32</a><br />
+<br />
+Fisherwomen, <a href="#Page_234">234</a><br />
+<br />
+Fortunes of Nigel, <a href="#Page_40">40</a><br />
+<br />
+Fortey Mr. <i>late</i> Catnach, <a href="#Page_194">194</a><br />
+<br />
+<br />
+Garratt&mdash;Mayor of, <a href="#Page_197">197</a>, <a href="#Page_200">200</a><br />
+<br />
+George Cruikshank, <a href="#Page_222">222</a><br />
+<br />
+George Daniel&mdash;Mr., <a href="#Page_133">133</a><br />
+<br />
+George Dyer, <a href="#Page_133">133</a><br />
+<br />
+Gingerbread Lottery, <a href="#Page_350">350</a><br />
+<br />
+Goldsmith&mdash;Oliver, <a href="#Page_135">135</a><br />
+<br />
+Gravesend and Milton, <a href="#Page_10">10</a><br />
+<br />
+Grey Friars, <a href="#Page_18">18</a><br />
+<br />
+Greenacre, <a href="#Page_172">172</a><br />
+<br />
+Greene Robt,&mdash;<i>Never too Late</i>, <a href="#Page_64">64</a><br />
+<br />
+Grim&mdash;The Black Collier, <a href="#Page_96">96</a><br />
+<br />
+Grimaldi&mdash;Old Joe, <a href="#Page_132">132</a><br />
+<br />
+Gum&mdash;A tooth drawer, <a href="#Page_81">81</a><br />
+<br />
+Guy Fawkes&mdash;Guy, <a href="#Page_226">226</a><br />
+<br />
+<br />
+Halliwell Street, <a href="#Page_90">90</a><br />
+<br />
+Heath&mdash;A broom-man, <a href="#Page_80">80</a><br />
+<br />
+Hearth Stone Merchant, <a href="#Page_158">158</a><br />
+<br />
+Herb-wives, unruly people, <a href="#Page_35">35</a><br />
+<br />
+Herb-wife&mdash;The, <a href="#Page_274">274</a><br />
+<br />
+Herrick, Robert&mdash;Pretty Jane<br />
+<br />
+<span style="margin-left: 3em;">"</span><span style="margin-left: 3.5em;">&nbsp;</span>Hesperides, <a href="#Page_50">50</a><br />
+<br />
+Heywood, T.&mdash;Rape of Lucrece<br />
+<br />
+Hobbyhorse-seller&mdash;A, <a href="#Page_75">75</a>, <a href="#Page_106">106</a><br />
+<br />
+Hogarth&#8217;s Print of &#8220;<i>Evening</i>&#8221;, <a href="#Page_131">131</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>&#8220;<i>Enraged Musician</i>&#8221;, <a href="#Page_32">32</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Idle &#8217;Prentice, <a href="#Page_149">149</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Pieman, <a href="#Page_214">214</a><br />
+<br />
+Holborn, <a href="#Page_12">12</a>, <a href="#Page_35">35</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.8em;">&nbsp;</span>Green Pastures in, <a href="#Page_139">139</a><br />
+<br />
+Holloway Cheese-cakes, <a href="#Page_117">117</a><br />
+<br />
+Holywell Street, <a href="#Page_203">203</a><br />
+<br />
+Hone&#8217;s Every-Day Book, <a href="#Page_132">132</a>, <a href="#Page_155">155</a><br />
+<br />
+Hornmen, <a href="#Page_150">150</a><br />
+<br />
+Hot Codlings&mdash;A Catch, <a href="#Page_101">101</a><br />
+<br />
+Hucksters, <a href="#Page_35">35</a><br />
+<br />
+Hugh Myddleton, <a href="#Page_131">131</a><br />
+<br />
+Hyde Park, <a href="#Page_20">20</a><br />
+<br />
+<br />
+Inigo Jones&#8217; collection of drawings, <a href="#Page_63">63</a><br />
+<br />
+Iron-Tailed Cow&mdash;The, <a href="#Page_143">143</a><br />
+<br />
+Islington, <a href="#Page_131">131</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Clerks from, <a href="#Page_155">155</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Garland, <a href="#Page_131">131</a>, <a href="#Page_135">135</a><br />
+<br />
+<br />
+Jack Drum&#8217;s Entertainment, <a href="#Page_117">117</a><br />
+<br />
+&#8220;Jerry&#8221; the spec builder, <a href="#Page_139">139</a><br />
+<br />
+Jigs on the Stage, <a href="#Page_80">80</a><br />
+<br />
+Jin Vin. in Prentices-riots, <a href="#Page_41">41</a><br />
+<br />
+John Bunyan&mdash;A Tinker, <a href="#Page_100">100</a><br />
+<br />
+John Howard, <a href="#Page_126">126</a><br />
+<br />
+John Stow&#8217;s Survey of London, <a href="#Page_2">2</a><br />
+<br /><a name="taylor" id="taylor"></a>
+John Taylor&mdash;The Water-Poet, <a href="#Page_90">90</a><br />
+<br />
+Johnson, Dr. on London-cries, <a href="#Page_36">36</a><br />
+<br />
+<br />
+Kate Smith&mdash;Milkmaid, <a href="#Page_241">241</a><br />
+<br />
+Kelly&mdash;Frances, M., <a href="#Page_137">137</a><br />
+<br />
+Kempe&mdash;A Comedian, <a href="#Page_90">90</a><br />
+<br />
+Kent&mdash;Lambarde&#8217;s, <a href="#Page_10">10</a><br />
+<br />
+<br />
+Lackpenny&mdash;<i>see</i> <a href="#london">London</a><br />
+<br />
+<span class="pagenum"><a name="Page_389" id="Page_389">[Pg 389]</a></span>Lambeth, <a href="#Page_23">23</a><br />
+<br />
+Lauron&#8217;s Cries&mdash;see <a href="#mauron">Mauron</a><br />
+<br />
+Law, Thomas&mdash;The Bellman, <a href="#Page_53">53</a><br />
+<br />
+Lawyer&#8217;s and Suitors, <a href="#Page_11">11</a><br />
+<br />
+La Zoon&mdash;Partrait Painter, <a href="#Page_103">103</a><br />
+<br />
+Lettuce Woman&mdash;The, <a href="#Page_57">57</a><br />
+<br />
+Life in London, <a href="#Page_8">8</a><br />
+<br />
+Light of other Days&mdash;The, <a href="#Page_63">63</a><br />
+<br />
+Liston, W., &#8220;London Crier&#8221;, <a href="#Page_220">220</a><br />
+<br /><a name="london" id="london"></a>
+London, Barrow Women, <a href="#Page_112">112</a>, <a href="#Page_222">222</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Bridge, <a href="#Page_25">25</a>, <a href="#Page_26">26</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Chanticleers, a Comedy, <a href="#Page_79">79</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Labour, <a href="#Page_7">7</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Lackpenny, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_10">10</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Lawyers, <a href="#Page_11">11</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Milk Carriers, <a href="#Page_139">139 to 147</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>&#8217;Prentice riots, <a href="#Page_42">42</a>, <a href="#Page_45">45</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Stall Keepers, <a href="#Page_11">11</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Stone&mdash;The, <a href="#Page_7">7</a>, <a href="#Page_11">11</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>The Three Ladies of, <a href="#Page_12">12</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Wall&mdash;The, <a href="#Page_17">17</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 1.5em;">&nbsp;</span>Without lamps, <a href="#Page_51">51</a><br />
+<br />
+Ludgate&mdash;Poor Prisioners in, <a href="#Page_17">17</a>, <a href="#Page_18">18</a><br />
+<br />
+Lupton&#8217;s London (1632), <a href="#Page_234">234</a><br />
+<br />
+Luttrell&#8217;s Collection of Broadsides, <a href="#Page_52">52</a><br />
+<br />
+Lydgate&mdash;A Monk, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>, <a href="#Page_7">7</a>, <a href="#Page_9">9</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>his numerous works, <a href="#Page_2">2</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>his London Lackpenny, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_10">10</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Cornhill in his time, <a href="#Page_9">9</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Mackerel in his day, <a href="#Page_29">29</a><br />
+<br />
+<br />
+Madame Vestris&mdash;Her legs, <a href="#Page_223">223</a><br />
+<br />
+Maria Marten, &amp; Corder, <a href="#Page_168">168</a><br />
+<br />
+Marylebone, <a href="#Page_20">20</a><br />
+<br /><a name="mauron" id="mauron"></a>
+Mauron&#8217;s-<i>alias</i>-Lauron&mdash;&#8220;Cryes,&#8221;, <a href="#Page_31">31</a>, <a href="#Page_103">103</a><br />
+<br />
+Mayhew&#8217;s, H., London Labour, <a href="#Page_7">7</a>, <a href="#Page_152">152</a>, <a href="#Page_165">165</a><br />
+<br />
+Mayors of Garratt, <a href="#Page_127">127</a>, <a href="#Page_200">200</a><br />
+<br />
+Merry Bellman&#8217;s&mdash;Out-Cryes, <a href="#Page_52">52</a><br />
+<br />
+Merry Drollery&mdash;The, <a href="#Page_83">83</a><br />
+<br />
+Milliner&#8217;s Girls, <a href="#Page_70">70</a><br />
+<br />
+<br />
+Nassau Press&mdash;The, <a href="#Page_195">195</a><br />
+<br />
+Ned Ward&mdash;His Time, <a href="#Page_124">124</a><br />
+<br />
+Nell Gwynne, <a href="#Page_57">57</a>, <a href="#Page_109">109 to 112</a><br />
+<br />
+New Exchange&mdash;Strand, <a href="#Page_70">70</a><br />
+<br />
+New River&mdash;First View of, <a href="#Page_130">130</a><br />
+<br />
+<span style="margin-left: 2em;">"</span><span style="margin-left: 2.5em;">&nbsp;</span>And Charles Lamb, <a href="#Page_130">130</a><br />
+<br />
+News-criers, <a href="#Page_150">150</a><br />
+<br />
+Newgate, <a href="#Page_18">18</a><br />
+<br />
+Nightingale&mdash;A ballad-singer, <a href="#Page_75">75</a><br />
+<br />
+Novello&mdash;Mr. Vincent, <a href="#Page_136">136</a><br />
+<br />
+Northumberland House, <a href="#Page_25">25</a><br />
+<br />
+<br />
+Milk&mdash;London supply of, <a href="#Page_142">142</a><br />
+<br />
+Milkmaids, <a href="#Page_141">141</a><br />
+<br />
+Milkman&mdash;The Poetical, <a href="#Page_147">147</a><br />
+<br />
+Milk and water, <a href="#Page_139">139</a><br />
+<br />
+Milk from the Cow, <a href="#Page_244">244</a><br />
+<br />
+Miller&#8217;s Golden Thumb, <a href="#Page_92">92</a><br />
+<br />
+Milton&#8217;s Il Penseroso, <a href="#Page_50">50</a><br />
+<br />
+Misson&#8217;s Travels, <a href="#Page_140">140</a><br />
+<br />
+Moorfields, <a href="#Page_18">18</a><br />
+<br />
+Moorgate, <a href="#Page_17">17</a><br />
+<br />
+Morely,&mdash;A Musical Composer, <a href="#Page_70">70</a><br />
+<br />
+Morose&mdash;A Character, <a href="#Page_28">28</a>, <a href="#Page_33">33</a><br />
+<br />
+Mother Red Cap&mdash;Holloway, <a href="#Page_117">117</a><br />
+<br />
+Much cry, but little wool, <a href="#Page_120">120</a><br />
+<br />
+Muffin Man&mdash;The, <a href="#Page_202">202</a><br />
+<br />
+Muffin and Crumpet Company, <a href="#Page_201">201</a><br />
+<br />
+Murder of Mr. Weare, <a href="#Page_165">165</a><br />
+<br />
+<br />
+Okes&mdash;A printer (1632), <a href="#Page_234">234</a><br />
+<br />
+Old clo&#8217;&mdash;A Jew&#8217;s monopoly, <a href="#Page_39">39</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>And Coleridge, <a href="#Page_60">60</a><br />
+<br />
+Old Parr&#8217;s Head&mdash;The, <a href="#Page_131">131</a><br />
+<br />
+Old Stage waggon&mdash;The, <a href="#Page_21">21</a><br />
+<br />
+Oliver Twist, <a href="#Page_6">6</a><br />
+<br />
+Orange-women, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_57">57</a><br />
+<br />
+Oranges imported by Sir. W. Raleigh, <a href="#Page_109">109</a><br />
+<br />
+Orlando Gibbons&mdash;Musician, <a href="#Page_72">72</a><br />
+<br />
+Oyster-wives&mdash;unruly people, <a href="#Page_35">35</a><br />
+<br />
+O Yes&mdash;a mad merry ditty, <a href="#Page_52">52</a><br />
+<br />
+<br />
+Pammelia&mdash;a musical work, <a href="#Page_78">78</a><br />
+<br />
+Paris Gardens, <a href="#Page_90">90</a><br />
+<br />
+Pastyme of Pleasure&mdash;The, <a href="#Page_2">2</a><br />
+<br />
+Paul Mr.&mdash;And Catnach, <a href="#Page_195">195</a><br />
+<br />
+Paul&#8217;s Wharf, <a href="#Page_25">25</a><br />
+<br />
+Pedlar&#8217;s French, <a href="#Page_64">64</a><br />
+<br />
+Pepy&#8217;s&mdash;His collection, &amp;c., <a href="#Page_102">102</a><br />
+<br />
+Pewter Pots, <a href="#Page_8">8</a>, <a href="#Page_197">197</a><br />
+<br />
+Pewterer&#8217;s &#8217;prentice, <a href="#Page_28">28</a><br />
+<br />
+Phillips&mdash;A comedian, <a href="#Page_90">90</a><br />
+<br />
+Pieman&mdash;London The, <a href="#Page_211">211 to 219</a><br />
+<br />
+Pie Shops&mdash;The Penny, <a href="#Page_127">127</a><br />
+<br />
+Pie-Poudre&mdash;A court of, <a href="#Page_76">76</a><br />
+<br />
+Pimlico&mdash;A country hamlet, <a href="#Page_21">21</a><br />
+<br />
+<span class="pagenum"><a name="Page_390" id="Page_390">[Pg 390]</a></span>Pinner-up&mdash;Of songs, <a href="#Page_193">193</a><br />
+<br />
+Pitts&mdash;Ballad-monger, <a href="#Page_161">161</a><br />
+<br />
+Place Maubert, <a href="#Page_236">236</a><br />
+<br />
+Plate-glass windows, <a href="#Page_6">6</a><br />
+<br />
+Playford&#8217;s Select Ayres, <a href="#Page_87">87</a><br />
+<br />
+Pope Thos.&mdash;Famous Clown, <a href="#Page_90">90</a><br />
+<br />
+Pope&#8217;s Head&mdash;in Cornhill, <a href="#Page_10">10</a><br />
+<br />
+Porson&mdash;on Barrow-woman, <a href="#Page_112">112</a><br />
+<br />
+Potatoes&mdash;In reign of James I., <a href="#Page_72">72</a><br />
+<br />
+Powder-Watt, <a href="#Page_121">121</a><br />
+<br />
+Puddle Dock, <a href="#Page_25">25</a><br />
+<br />
+&#8217;Prentice Riots, <a href="#Page_44">44</a><br />
+<br />
+Prick Song&mdash;What!, <a href="#Page_52">52</a><br />
+<br />
+<br />
+Queen Anne&#8217;s&mdash;London, <a href="#Page_47">47</a><br />
+<br />
+<br />
+Rabbit Man&mdash;The, <a href="#Page_273">273</a><br />
+<br />
+Raddish and Lettuce-woman, <a href="#Page_57">57</a><br />
+<br />
+Ragg&mdash;The Bellman&#8217;s copy of verses, <a href="#Page_52">52</a><br />
+<br />
+Ragged School, <a href="#Page_157">157</a><br />
+<br />
+Rat-catcher&mdash;The, <a href="#Page_59">59</a><br />
+<br />
+Red Barn&mdash;Murder at, <a href="#Page_168">168</a><br />
+<br />
+River Fleet, <a href="#Page_17">17</a><br />
+<br />
+Robatos&mdash;a kind of Ruff, <a href="#Page_71">71</a><br />
+<br />
+Roger Warde&mdash;Printer (1584), <a href="#Page_12">12</a><br />
+<br />
+Rome mort&mdash;Romville, <a href="#Page_64">64</a><br />
+<br />
+Roxburghe Ballads&mdash;The, <a href="#Page_71">71</a>, <a href="#Page_80">80</a>, <a href="#Page_89">89</a>, <a href="#Page_113">113</a><br />
+<br />
+Rushes&mdash;Green, the strewing of &amp;c., <a href="#Page_7">7</a>, <a href="#Page_8">8</a><br />
+<br />
+Ryle&mdash;Mrs. Anne, <a href="#Page_194">194</a><br />
+<br />
+<br />
+Saint Fear&mdash;Years of, <a href="#Page_52">52</a><br />
+<br />
+St. Dunstan&#8217;s Church, <a href="#Page_41">41</a>, <a href="#Page_71">71</a><br />
+<br />
+St. James&#8217; Park, <a href="#Page_21">21</a><br />
+<br />
+St. Pauls&#8217; Cathedral, <a href="#Page_43">43</a><br />
+<br />
+Salt, sold in the streets, <a href="#Page_62">62</a><br />
+<br />
+Sausage-Woman The, <a href="#Page_58">58</a><br />
+<br />
+Second Edition&mdash;Sellers, <a href="#Page_152">152</a><br />
+<br />
+Seven Dials, <a href="#Page_164">164</a><br />
+<br />
+Shakespeare&#8217;s London, <a href="#Page_16">16 to 27</a><br />
+<br />
+Shancke, John&mdash;Comic actor, <a href="#Page_89">89</a><br />
+<br />
+Shoe-Black&mdash;The, <a href="#Page_155">155</a><br />
+<br />
+Shoe-Blacks&mdash;Last of the, <a href="#Page_153">153</a><br />
+<br />
+Shoeblack Society, <a href="#Page_157">157</a><br />
+<br />
+Shopkeepers&mdash;Loud bawling, <a href="#Page_6">6</a><br />
+<br />
+Shoreditch-church&mdash;Fields, <a href="#Page_33">33</a>, <a href="#Page_90">90</a><br />
+<br />
+Singer&mdash;A Comedian, <a href="#Page_90">90</a><br />
+<br />
+Sir Hugh Myddleton&#8217;s Head, <a href="#Page_131">131</a><br />
+<br />
+Songs&mdash;3 yards a penny, <a href="#Page_187">187</a><br />
+<br />
+Sow&mdash;Gelder&#8217;s Horn, <a href="#Page_32">32</a>, <a href="#Page_119">119</a><br />
+<br />
+Spectacles, first sold, <a href="#Page_5">5</a><br />
+<br />
+Spectator, The&mdash;on London cries, <a href="#Page_118">118</a><br />
+<br />
+Spring water&mdash;Here?, <a href="#Page_129">129</a><br />
+<br />
+Stall-keepers&mdash;The, <a href="#Page_11">11</a><br />
+<br />
+Statutes of the Streets, <a href="#Page_48">48</a><br />
+<br />
+Stow&#8217;s Survey of London, <a href="#Page_2">2</a>, <a href="#Page_50">50</a><br />
+<br />
+Strawberries in Holborn, <a href="#Page_108">108</a><br />
+<br />
+Strawberry-Woman&mdash;The, <a href="#Page_276">276</a><br />
+<br />
+<br />
+Tarlton, Comedian, <a href="#Page_20">20</a><br />
+<br />
+Tempest&#8217;s, P. Cries of London, <a href="#Page_102">102</a><br />
+<br />
+Theatres&mdash;Bankside, <a href="#Page_23">23</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>The Cockpit, <a href="#Page_79">79</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Covent Garden, <a href="#Page_23">23</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>The Curtain, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>, <a href="#Page_95">95</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Drury Lane, <a href="#Page_23">23</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>The Globe, <a href="#Page_22">22</a>, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>, <a href="#Page_95">95</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>The Hope, <a href="#Page_75">75</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Red Bull, <a href="#Page_64">64</a>, <a href="#Page_89">89</a>, <a href="#Page_95">95</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Sadler&#8217;s Wells, <a href="#Page_130">130</a>, <a href="#Page_132">132</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>The Theatre, <a href="#Page_64">64</a>, <a href="#Page_90">90</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>The Swan, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>, <a href="#Page_95">95</a><br />
+<br />
+Thurtell&mdash;John, Murderer, <a href="#Page_165">165</a><br />
+<br />
+<span style="margin-left: 1.5em;">"</span><span style="margin-left: 2em;">&nbsp;</span>Hook&#8217;s verses on, <a href="#Page_166">166</a><br />
+<br />
+Three Ladies of London, <a href="#Page_12">12</a>, <a href="#Page_15">15</a><br />
+<br />
+Tiddy-Doll&mdash;Vendor of Gingerbread, <a href="#Page_148">148</a>, <a href="#Page_264">264</a><br />
+<br />
+Tinker&mdash;The Jolly, <a href="#Page_302">302</a><br />
+<br />
+Troop&mdash;Every One, <a href="#Page_106">106</a><br />
+<br />
+Tripe-wives&mdash;unruly people, <a href="#Page_35">35</a><br />
+<br />
+Trotter Yard&mdash;The, <a href="#Page_7">7</a><br />
+<br />
+Turner&#8217;s Dish of Stuff, <a href="#Page_89">89</a>, <a href="#Page_91">91</a><br />
+<br />
+<br />
+Veal, with a <i>hammy</i> knife!, <a href="#Page_239">239</a><br />
+<br />
+<br />
+Watchman&mdash;The London, <a href="#Page_46">46</a><br />
+<br />
+Water Carrier&mdash;The, <a href="#Page_129">129</a><br />
+<br />
+Water-Poet&mdash;<i>see</i> <a href="#taylor">John Taylor</a><br />
+<br />
+Walter Raleigh and oranges, <a href="#Page_109">109</a><br />
+<br />
+Weare Mr.&mdash;The Murder of, <a href="#Page_165">165</a><br />
+<br />
+What do you lack?, <a href="#Page_7">7</a>, <a href="#Page_41">41</a><br />
+<br />
+Windsor Drollery&mdash;The, <a href="#Page_87">87</a>, <a href="#Page_101">101</a><br />
+<br />
+Wood&mdash;Any to cleave?, <a href="#Page_15">15</a><br />
+<br />
+Wotton, Towns End&mdash;Tune of, <a href="#Page_89">89</a><br />
+<br />
+Wynter, Dr. on our milk supply <a href="#Page_142">142</a><br />
+<br />
+<br />
+Yea by cock, <a href="#Page_8">8</a><br />
+<br />
+Ye Bridge-foot, <a href="#Page_234">234</a><br />
+<br />
+Year of Saint&#8217;s Fear, <a href="#Page_52">52</a><br />
+</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><strong>Footnotes:</strong></p>
+
+<p><a name='f_1' id='f_1' href='#fna_1'>[1]</a> &#8220;The England of Shakespeare,&#8221; by E. Goadby&mdash;Cassell, Petter, Galpin &amp;
+Co., London, E.C.</p>
+
+<p><a name='f_2' id='f_2' href='#fna_2'>[2]</a> For the use of the woodcut blocks representing the &#8220;Smith Arms,&#8221; and
+the Globe Theatre, we are indebted to our friend Mr. John W. Jarvis,
+author of &#8220;Musee-Phusee-Glyptic: A Scrap Book of Jottings from
+Stratford-on-Avon, and Elsewhere,&#8221; London, 1875, who introduces them into
+the pages of his work thus:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;Not long since, after a pleasing and interesting walk, one fine
+morning on Bankside, and standing near the still existing Cardinal Cap
+Alley, with the aid of an artist friend, we drew up a fancy picture of
+what Bankside was in Shakespeare&#8217;s day.&mdash;Here a small creek with craft
+and busy life around; a small bridge, with road leading to the Globe,
+the famous theatre afterwards to be so widely known. The sunshiny time
+of our literature and life, making a red-letter period in happy old
+England&#8217;s history. We were interrupted by a kindly-faced,
+round-shouldered man of the bargee type, who asked us &#8216;if it was
+Shakespeare, him as writ plays, we was a torkin&#8217; on; if so be it were,
+he could show us the wery &#8217;ouse he used, least ways, all as is left on
+it.&#8217; After a twisting tramp through Cardinal Cap Alley, we were
+brought out opposite the public-house known by the name of the &#8216;Smith
+Arms,&#8217; which had just then only escaped entire demolition from fire by
+a very near chance&mdash;(the damage done has since necessitated the
+rebuilding; so the sketch stands as a bit of rescued old London.)</p>
+
+<p>&#8220;Our informant assured us that&mdash;&#8216;Shakespeare as had a playus nigh
+there, used to use that wery &#8217;ouse; him as writ the Merchant of
+Venice, Money, and the Forest of Bondy.&#8217; Our kind friend was
+interrupted by a companion, who said, &#8216;Not Bondy: him didn&#8217;t write
+that.&#8217; &#8216;I won&#8217;t give up Money, because the Merchant of Venice is all
+about Money. You better say he didn&#8217;t write Richard the Third and
+Richard the Fourth.&#8217;</p>
+
+<p>&#8220;We gladly retired before our historic doubts were confirmed by this
+traditional scholar, about this double Gloucester. His companion, as
+we thought rather aptly, but churlishly remarked, &#8216;cheese it,&#8217; for
+they were both getting grumpy, and after this duplicate, we were
+fearful a fifth or a sixth might appear. But the house itself, one
+among the oldest in Southwark, we considered worthy a sketch, and, as
+our guide told us, ought to be &#8216;<i>perpetrated</i>.&#8217; He said he could pull
+a bit, but draw he couldn&#8217;t; but he did&mdash;that is, four-pence for
+beer.&#8221;</p></div>
+
+<p><a name='f_3' id='f_3' href='#fna_3'>[3]</a> <span class="smcap">Prick-Song</span>, music pricked or noted down, full of flourish and
+variety.&mdash;<i>Halliwell.</i></p>
+
+<p><a name='f_4' id='f_4' href='#fna_4'>[4]</a> <span class="smcap">Noise.</span>&mdash;A set, or company of musicians. &#8220;<i>These terrible noyses, with
+threadbare cloaks</i>,&#8221;&mdash;<i>Decker&#8217;s Bellman, of London</i>, 1608.</p>
+
+<p><a name='f_5' id='f_5' href='#fna_5'>[5]</a> <i>Pie-Poudre.</i> A court formerly held at a fair for the rough-and-ready
+treatment of pedlars and hawkers, to compel them and those with whom they
+dealt to fulfil their contracts. This court arose from the necessity of
+doing justice expeditiously, among persons resorting from distant places
+to a fair or market. It is said to be called the court of <i>pie-poudre,
+curia, pedis pulverizate</i>, from the dusty feet of the suitors, or, as Sir
+Edward Coke says, because justice is there done as speedily as dust can
+fall from the feet.</p>
+
+<p><a name='f_6' id='f_6' href='#fna_6'>[6]</a> <i>The Tune of Wotton Towns End</i>, is the same as &#8220;Peg a&#8217; Ramsey,&#8221;
+mentioned by Shakespeare in Twelfth Night, and is at least as old as 1589.
+It is also in &#8220;Robin Good-Fellow: His Mad Pranks, And Merry Jests, Full of
+Honest Mirth, &amp;c., 1628.&#8221;</p>
+
+<p><a name='f_7' id='f_7' href='#fna_7'>[7]</a> The Curtain Road, now notorious for cheap and shoddy furniture, still
+marks the site of the Curtain Theatre; at the same date there was another
+playhouse in the parish of St. Leonard, Shoreditch, distinguished as &#8220;The
+Theatre,&#8221; where the Chamberlain&#8217;s Company had settled. John Stow, in his
+Survey of London, 1598, speaking of the priory of St. John Baptist, says:
+&#8220;And neere thereunto are builded two publique houses for acting of shews
+of comedies, tragedies, and histories, for recreation. Whereof is one
+called the &#8220;Courtein,&#8221; the other &#8220;The Theatre;&#8221; both standing on the South
+West side toward the field.&#8221; In both these James Burbadge may have been
+interested; his long residence in the parish may fairly lead to the
+conclusion, that he was a sharer in at least one of them. Richard Tarlton,
+the famous actor of clown&#8217;s parts, was a near neighbour of James Burbadge,
+and a shareholder and performer at the Curtain. Thomas Pope, a performer
+of rustic clowns, by his will dated July, 1603, left&mdash;&#8220;All my part, right,
+title, and interest which I have in the playhouse, called the Curtein,
+situated and being in Halliwell, in the parish of St. Leonard&#8217;s in
+Shoreditch, in the County of Middlesex.&#8221; At what date one or the other of
+these early Suburban playhouses ceased to be occupied, we have little or
+no satisfactory evidence.</p>
+
+<p><a name='f_8' id='f_8' href='#fna_8'>[8]</a> Stoke&#8217;s Rapid Plan of Teaching Music.</p>
+
+<p><a name='f_9' id='f_9' href='#fna_9'>[9]</a> The Old Parr&#8217;s Head, in Upper Street, Islington.</p>
+
+<p><a name='f_10' id='f_10' href='#fna_10'>[10]</a> <span class="smcap">Black Jack.</span> A huge leather drinking vessel. A Frenchman speaking of
+it says, &#8220;The English drink out of their boots.&#8221;&mdash;<i>Heywood.</i></p>
+
+<p><a name='f_11' id='f_11' href='#fna_11'>[11]</a> <span class="smcap">Beau-Trap</span>:&mdash;A loose stone in the pavement under which the water
+lodges in rainy weather, which when trodden on squirts it up to the great
+damage of light-coloured clothes and clean stockings. First invented by
+Sedan-chairmen, whose practice it was to loosen a flat-stone so that in
+wet weather those that choose to save their money by walking, might, by
+treading on the &#8220;trap&#8221; dirt their shoes and stockings.</p>
+
+<p><a name='f_12' id='f_12' href='#fna_12'>[12]</a> Pitts, a modern publisher of love garlands, merriments, penny
+ballads, &amp;c.</p>
+
+<p class="poem">&#8220;Who, ere he went to heaven,<br />
+Domiciled in Dials Seven!&#8221;<br />
+<span style="margin-left: 10em;">George Daniel&#8217;s, &#8220;<i>Democritus in London</i>.&#8221;</span></p>
+
+<p><a name='f_13' id='f_13' href='#fna_13'>[13]</a> Lockhart&#8217;s &#8220;Life of Sir Walter Scott.&#8221;</p>
+
+<p><a name='f_14' id='f_14' href='#fna_14'>[14]</a> The whole market has been rebuilt during these last few years, &amp;
+Darkhouse-lane abolished.&mdash;C. H.</p>
+
+<p><a name='f_15' id='f_15' href='#fna_15'>[15]</a> In the glee, &#8220;Merrily rang the Bells of St. Michael&#8217;s Tower,&#8221; we are
+told that Richard Penlake had a shrew for a wife, and though she had a
+tongue that was longer, yet&mdash;</p>
+
+<p class="poem">&#8220;Richard Penlake a crabstick would take<br />
+And show her that he was the stronger.&#8221;</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><strong>Transcriber&#8217;s Notes:</strong></p>
+
+<p>Period errors, comma errors, and mismatched quotation marks have been corrected without note.</p>
+
+<p>Items in the index are out of order and some do not include missing page numbers. These are presented as in the original text.</p>
+
+<p>The original text contains hyphen and spelling variants and spelling errors that have been retained.</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of A History of the Cries of London, by 
+Charles Hindley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE CRIES OF LONDON ***
+
+***** This file should be named 37114-h.htm or 37114-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/7/1/1/37114/
+
+Produced by 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
+
+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 MERCHANTIBILITY 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.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/37114-h/images/border_bot.jpg b/37114-h/images/border_bot.jpg
new file mode 100644
index 0000000..8d559ed
--- /dev/null
+++ b/37114-h/images/border_bot.jpg
diff --git a/37114-h/images/border_left.jpg b/37114-h/images/border_left.jpg
new file mode 100644
index 0000000..82b2e0b
--- /dev/null
+++ b/37114-h/images/border_left.jpg
diff --git a/37114-h/images/border_right.jpg b/37114-h/images/border_right.jpg
new file mode 100644
index 0000000..b29c263
--- /dev/null
+++ b/37114-h/images/border_right.jpg
diff --git a/37114-h/images/border_top.jpg b/37114-h/images/border_top.jpg
new file mode 100644
index 0000000..f2a5f62
--- /dev/null
+++ b/37114-h/images/border_top.jpg
diff --git a/37114-h/images/img001.jpg b/37114-h/images/img001.jpg
new file mode 100644
index 0000000..80eca63
--- /dev/null
+++ b/37114-h/images/img001.jpg
diff --git a/37114-h/images/img002.jpg b/37114-h/images/img002.jpg
new file mode 100644
index 0000000..f9fdab8
--- /dev/null
+++ b/37114-h/images/img002.jpg
diff --git a/37114-h/images/img003.jpg b/37114-h/images/img003.jpg
new file mode 100644
index 0000000..87ef404
--- /dev/null
+++ b/37114-h/images/img003.jpg
diff --git a/37114-h/images/img004.jpg b/37114-h/images/img004.jpg
new file mode 100644
index 0000000..b9c63d0
--- /dev/null
+++ b/37114-h/images/img004.jpg
diff --git a/37114-h/images/img005.jpg b/37114-h/images/img005.jpg
new file mode 100644
index 0000000..a07f781
--- /dev/null
+++ b/37114-h/images/img005.jpg
diff --git a/37114-h/images/img006.jpg b/37114-h/images/img006.jpg
new file mode 100644
index 0000000..fc5d257
--- /dev/null
+++ b/37114-h/images/img006.jpg
diff --git a/37114-h/images/img007.jpg b/37114-h/images/img007.jpg
new file mode 100644
index 0000000..ec08c01
--- /dev/null
+++ b/37114-h/images/img007.jpg
diff --git a/37114-h/images/img008.jpg b/37114-h/images/img008.jpg
new file mode 100644
index 0000000..0ebca64
--- /dev/null
+++ b/37114-h/images/img008.jpg
diff --git a/37114-h/images/img008b.jpg b/37114-h/images/img008b.jpg
new file mode 100644
index 0000000..ebe51d8
--- /dev/null
+++ b/37114-h/images/img008b.jpg
diff --git a/37114-h/images/img009.jpg b/37114-h/images/img009.jpg
new file mode 100644
index 0000000..19bfaa3
--- /dev/null
+++ b/37114-h/images/img009.jpg
diff --git a/37114-h/images/img010.jpg b/37114-h/images/img010.jpg
new file mode 100644
index 0000000..932d320
--- /dev/null
+++ b/37114-h/images/img010.jpg
diff --git a/37114-h/images/img011.jpg b/37114-h/images/img011.jpg
new file mode 100644
index 0000000..02248af
--- /dev/null
+++ b/37114-h/images/img011.jpg
diff --git a/37114-h/images/img011b.jpg b/37114-h/images/img011b.jpg
new file mode 100644
index 0000000..438fc60
--- /dev/null
+++ b/37114-h/images/img011b.jpg
diff --git a/37114-h/images/img012.jpg b/37114-h/images/img012.jpg
new file mode 100644
index 0000000..2662d5f
--- /dev/null
+++ b/37114-h/images/img012.jpg
diff --git a/37114-h/images/img013.jpg b/37114-h/images/img013.jpg
new file mode 100644
index 0000000..80be2e3
--- /dev/null
+++ b/37114-h/images/img013.jpg
diff --git a/37114-h/images/img014.jpg b/37114-h/images/img014.jpg
new file mode 100644
index 0000000..b5d24ec
--- /dev/null
+++ b/37114-h/images/img014.jpg
diff --git a/37114-h/images/img015.jpg b/37114-h/images/img015.jpg
new file mode 100644
index 0000000..28f2df1
--- /dev/null
+++ b/37114-h/images/img015.jpg
diff --git a/37114-h/images/img016.jpg b/37114-h/images/img016.jpg
new file mode 100644
index 0000000..a22be51
--- /dev/null
+++ b/37114-h/images/img016.jpg
diff --git a/37114-h/images/img017.jpg b/37114-h/images/img017.jpg
new file mode 100644
index 0000000..088ffa7
--- /dev/null
+++ b/37114-h/images/img017.jpg
diff --git a/37114-h/images/img018.jpg b/37114-h/images/img018.jpg
new file mode 100644
index 0000000..ecf42da
--- /dev/null
+++ b/37114-h/images/img018.jpg
diff --git a/37114-h/images/img019a.jpg b/37114-h/images/img019a.jpg
new file mode 100644
index 0000000..440f620
--- /dev/null
+++ b/37114-h/images/img019a.jpg
diff --git a/37114-h/images/img019b.jpg b/37114-h/images/img019b.jpg
new file mode 100644
index 0000000..ed8858d
--- /dev/null
+++ b/37114-h/images/img019b.jpg
diff --git a/37114-h/images/img020a.jpg b/37114-h/images/img020a.jpg
new file mode 100644
index 0000000..38c1a90
--- /dev/null
+++ b/37114-h/images/img020a.jpg
diff --git a/37114-h/images/img020b.jpg b/37114-h/images/img020b.jpg
new file mode 100644
index 0000000..81179b7
--- /dev/null
+++ b/37114-h/images/img020b.jpg
diff --git a/37114-h/images/img021a.jpg b/37114-h/images/img021a.jpg
new file mode 100644
index 0000000..3e9de24
--- /dev/null
+++ b/37114-h/images/img021a.jpg
diff --git a/37114-h/images/img021b.jpg b/37114-h/images/img021b.jpg
new file mode 100644
index 0000000..b6a02c1
--- /dev/null
+++ b/37114-h/images/img021b.jpg
diff --git a/37114-h/images/img022.jpg b/37114-h/images/img022.jpg
new file mode 100644
index 0000000..ddf6444
--- /dev/null
+++ b/37114-h/images/img022.jpg
diff --git a/37114-h/images/img023a.jpg b/37114-h/images/img023a.jpg
new file mode 100644
index 0000000..64a3bba
--- /dev/null
+++ b/37114-h/images/img023a.jpg
diff --git a/37114-h/images/img023b.jpg b/37114-h/images/img023b.jpg
new file mode 100644
index 0000000..1840ca0
--- /dev/null
+++ b/37114-h/images/img023b.jpg
diff --git a/37114-h/images/img024a.jpg b/37114-h/images/img024a.jpg
new file mode 100644
index 0000000..a79156f
--- /dev/null
+++ b/37114-h/images/img024a.jpg
diff --git a/37114-h/images/img024b.jpg b/37114-h/images/img024b.jpg
new file mode 100644
index 0000000..59fbaa2
--- /dev/null
+++ b/37114-h/images/img024b.jpg
diff --git a/37114-h/images/img025a.jpg b/37114-h/images/img025a.jpg
new file mode 100644
index 0000000..156346a
--- /dev/null
+++ b/37114-h/images/img025a.jpg
diff --git a/37114-h/images/img025b.jpg b/37114-h/images/img025b.jpg
new file mode 100644
index 0000000..e1b7c55
--- /dev/null
+++ b/37114-h/images/img025b.jpg
diff --git a/37114-h/images/img026a.jpg b/37114-h/images/img026a.jpg
new file mode 100644
index 0000000..a569182
--- /dev/null
+++ b/37114-h/images/img026a.jpg
diff --git a/37114-h/images/img026b.jpg b/37114-h/images/img026b.jpg
new file mode 100644
index 0000000..7608619
--- /dev/null
+++ b/37114-h/images/img026b.jpg
diff --git a/37114-h/images/img027a.jpg b/37114-h/images/img027a.jpg
new file mode 100644
index 0000000..4ab57e1
--- /dev/null
+++ b/37114-h/images/img027a.jpg
diff --git a/37114-h/images/img027b.jpg b/37114-h/images/img027b.jpg
new file mode 100644
index 0000000..b99a17f
--- /dev/null
+++ b/37114-h/images/img027b.jpg
diff --git a/37114-h/images/img028a.jpg b/37114-h/images/img028a.jpg
new file mode 100644
index 0000000..5fa18f2
--- /dev/null
+++ b/37114-h/images/img028a.jpg
diff --git a/37114-h/images/img028b.jpg b/37114-h/images/img028b.jpg
new file mode 100644
index 0000000..49ef3a4
--- /dev/null
+++ b/37114-h/images/img028b.jpg
diff --git a/37114-h/images/img029a.jpg b/37114-h/images/img029a.jpg
new file mode 100644
index 0000000..93ec3b9
--- /dev/null
+++ b/37114-h/images/img029a.jpg
diff --git a/37114-h/images/img029b.jpg b/37114-h/images/img029b.jpg
new file mode 100644
index 0000000..df1ad94
--- /dev/null
+++ b/37114-h/images/img029b.jpg
diff --git a/37114-h/images/img030a.jpg b/37114-h/images/img030a.jpg
new file mode 100644
index 0000000..8f0f168
--- /dev/null
+++ b/37114-h/images/img030a.jpg
diff --git a/37114-h/images/img030b.jpg b/37114-h/images/img030b.jpg
new file mode 100644
index 0000000..b71dffb
--- /dev/null
+++ b/37114-h/images/img030b.jpg
diff --git a/37114-h/images/img031a.jpg b/37114-h/images/img031a.jpg
new file mode 100644
index 0000000..2c5a261
--- /dev/null
+++ b/37114-h/images/img031a.jpg
diff --git a/37114-h/images/img031b.jpg b/37114-h/images/img031b.jpg
new file mode 100644
index 0000000..9e12035
--- /dev/null
+++ b/37114-h/images/img031b.jpg
diff --git a/37114-h/images/img032a.jpg b/37114-h/images/img032a.jpg
new file mode 100644
index 0000000..7bfb1d6
--- /dev/null
+++ b/37114-h/images/img032a.jpg
diff --git a/37114-h/images/img032b.jpg b/37114-h/images/img032b.jpg
new file mode 100644
index 0000000..1882cec
--- /dev/null
+++ b/37114-h/images/img032b.jpg
diff --git a/37114-h/images/img033a.jpg b/37114-h/images/img033a.jpg
new file mode 100644
index 0000000..2af8fcb
--- /dev/null
+++ b/37114-h/images/img033a.jpg
diff --git a/37114-h/images/img033b.jpg b/37114-h/images/img033b.jpg
new file mode 100644
index 0000000..9881b3c
--- /dev/null
+++ b/37114-h/images/img033b.jpg
diff --git a/37114-h/images/img034a.jpg b/37114-h/images/img034a.jpg
new file mode 100644
index 0000000..b7c40e8
--- /dev/null
+++ b/37114-h/images/img034a.jpg
diff --git a/37114-h/images/img034b.jpg b/37114-h/images/img034b.jpg
new file mode 100644
index 0000000..bd55b3a
--- /dev/null
+++ b/37114-h/images/img034b.jpg
diff --git a/37114-h/images/img034c.jpg b/37114-h/images/img034c.jpg
new file mode 100644
index 0000000..28c6a67
--- /dev/null
+++ b/37114-h/images/img034c.jpg
diff --git a/37114-h/images/img035a.jpg b/37114-h/images/img035a.jpg
new file mode 100644
index 0000000..a7484f6
--- /dev/null
+++ b/37114-h/images/img035a.jpg
diff --git a/37114-h/images/img035b.jpg b/37114-h/images/img035b.jpg
new file mode 100644
index 0000000..57ce1cc
--- /dev/null
+++ b/37114-h/images/img035b.jpg
diff --git a/37114-h/images/img035c.jpg b/37114-h/images/img035c.jpg
new file mode 100644
index 0000000..935c020
--- /dev/null
+++ b/37114-h/images/img035c.jpg
diff --git a/37114-h/images/img036.jpg b/37114-h/images/img036.jpg
new file mode 100644
index 0000000..ea171b0
--- /dev/null
+++ b/37114-h/images/img036.jpg
diff --git a/37114-h/images/img037a.jpg b/37114-h/images/img037a.jpg
new file mode 100644
index 0000000..923c484
--- /dev/null
+++ b/37114-h/images/img037a.jpg
diff --git a/37114-h/images/img037b.jpg b/37114-h/images/img037b.jpg
new file mode 100644
index 0000000..72f25be
--- /dev/null
+++ b/37114-h/images/img037b.jpg
diff --git a/37114-h/images/img037c.jpg b/37114-h/images/img037c.jpg
new file mode 100644
index 0000000..06347a1
--- /dev/null
+++ b/37114-h/images/img037c.jpg
diff --git a/37114-h/images/img037d.jpg b/37114-h/images/img037d.jpg
new file mode 100644
index 0000000..0ef0fdd
--- /dev/null
+++ b/37114-h/images/img037d.jpg
diff --git a/37114-h/images/img038a.jpg b/37114-h/images/img038a.jpg
new file mode 100644
index 0000000..5e7f2d1
--- /dev/null
+++ b/37114-h/images/img038a.jpg
diff --git a/37114-h/images/img038b.jpg b/37114-h/images/img038b.jpg
new file mode 100644
index 0000000..0d87ec9
--- /dev/null
+++ b/37114-h/images/img038b.jpg
diff --git a/37114-h/images/img038c.jpg b/37114-h/images/img038c.jpg
new file mode 100644
index 0000000..707fc01
--- /dev/null
+++ b/37114-h/images/img038c.jpg
diff --git a/37114-h/images/img038d.jpg b/37114-h/images/img038d.jpg
new file mode 100644
index 0000000..84d7e75
--- /dev/null
+++ b/37114-h/images/img038d.jpg
diff --git a/37114-h/images/img038e.jpg b/37114-h/images/img038e.jpg
new file mode 100644
index 0000000..d29ae30
--- /dev/null
+++ b/37114-h/images/img038e.jpg
diff --git a/37114-h/images/img038f.jpg b/37114-h/images/img038f.jpg
new file mode 100644
index 0000000..8f0cdfd
--- /dev/null
+++ b/37114-h/images/img038f.jpg
diff --git a/37114-h/images/img038g.jpg b/37114-h/images/img038g.jpg
new file mode 100644
index 0000000..bae2c7c
--- /dev/null
+++ b/37114-h/images/img038g.jpg
diff --git a/37114-h/images/img038h.jpg b/37114-h/images/img038h.jpg
new file mode 100644
index 0000000..2f9a662
--- /dev/null
+++ b/37114-h/images/img038h.jpg
diff --git a/37114-h/images/img038i.jpg b/37114-h/images/img038i.jpg
new file mode 100644
index 0000000..0513223
--- /dev/null
+++ b/37114-h/images/img038i.jpg
diff --git a/37114-h/images/img038j.jpg b/37114-h/images/img038j.jpg
new file mode 100644
index 0000000..5f69663
--- /dev/null
+++ b/37114-h/images/img038j.jpg
diff --git a/37114-h/images/img038k.jpg b/37114-h/images/img038k.jpg
new file mode 100644
index 0000000..7dcfcce
--- /dev/null
+++ b/37114-h/images/img038k.jpg
diff --git a/37114-h/images/img038l.jpg b/37114-h/images/img038l.jpg
new file mode 100644
index 0000000..f3f627f
--- /dev/null
+++ b/37114-h/images/img038l.jpg
diff --git a/37114-h/images/img039m.jpg b/37114-h/images/img039m.jpg
new file mode 100644
index 0000000..7c75697
--- /dev/null
+++ b/37114-h/images/img039m.jpg
diff --git a/37114-h/images/img039n.jpg b/37114-h/images/img039n.jpg
new file mode 100644
index 0000000..c0f45ab
--- /dev/null
+++ b/37114-h/images/img039n.jpg
diff --git a/37114-h/images/img039o.jpg b/37114-h/images/img039o.jpg
new file mode 100644
index 0000000..b822a6c
--- /dev/null
+++ b/37114-h/images/img039o.jpg
diff --git a/37114-h/images/img039p.jpg b/37114-h/images/img039p.jpg
new file mode 100644
index 0000000..7b3c1d9
--- /dev/null
+++ b/37114-h/images/img039p.jpg
diff --git a/37114-h/images/img039q.jpg b/37114-h/images/img039q.jpg
new file mode 100644
index 0000000..e0e1c5e
--- /dev/null
+++ b/37114-h/images/img039q.jpg
diff --git a/37114-h/images/img039r.jpg b/37114-h/images/img039r.jpg
new file mode 100644
index 0000000..1035857
--- /dev/null
+++ b/37114-h/images/img039r.jpg
diff --git a/37114-h/images/img039s.jpg b/37114-h/images/img039s.jpg
new file mode 100644
index 0000000..c02b490
--- /dev/null
+++ b/37114-h/images/img039s.jpg
diff --git a/37114-h/images/img039t.jpg b/37114-h/images/img039t.jpg
new file mode 100644
index 0000000..9dfead8
--- /dev/null
+++ b/37114-h/images/img039t.jpg
diff --git a/37114-h/images/img039u.jpg b/37114-h/images/img039u.jpg
new file mode 100644
index 0000000..8694fc8
--- /dev/null
+++ b/37114-h/images/img039u.jpg
diff --git a/37114-h/images/img039w.jpg b/37114-h/images/img039w.jpg
new file mode 100644
index 0000000..58780d1
--- /dev/null
+++ b/37114-h/images/img039w.jpg
diff --git a/37114-h/images/img039y.jpg b/37114-h/images/img039y.jpg
new file mode 100644
index 0000000..da3d881
--- /dev/null
+++ b/37114-h/images/img039y.jpg
diff --git a/37114-h/images/img039z.jpg b/37114-h/images/img039z.jpg
new file mode 100644
index 0000000..bf45961
--- /dev/null
+++ b/37114-h/images/img039z.jpg
diff --git a/37114-h/images/img040.jpg b/37114-h/images/img040.jpg
new file mode 100644
index 0000000..f5bed11
--- /dev/null
+++ b/37114-h/images/img040.jpg
diff --git a/37114-h/images/img041.jpg b/37114-h/images/img041.jpg
new file mode 100644
index 0000000..0bd1ab8
--- /dev/null
+++ b/37114-h/images/img041.jpg
diff --git a/37114-h/images/img042a.jpg b/37114-h/images/img042a.jpg
new file mode 100644
index 0000000..34cfd8e
--- /dev/null
+++ b/37114-h/images/img042a.jpg
diff --git a/37114-h/images/img042b.jpg b/37114-h/images/img042b.jpg
new file mode 100644
index 0000000..ea9ca7e
--- /dev/null
+++ b/37114-h/images/img042b.jpg
diff --git a/37114-h/images/img042c.jpg b/37114-h/images/img042c.jpg
new file mode 100644
index 0000000..a75e0c2
--- /dev/null
+++ b/37114-h/images/img042c.jpg
diff --git a/37114-h/images/img043.jpg b/37114-h/images/img043.jpg
new file mode 100644
index 0000000..bc34941
--- /dev/null
+++ b/37114-h/images/img043.jpg
diff --git a/37114-h/images/img044.jpg b/37114-h/images/img044.jpg
new file mode 100644
index 0000000..e709d2a
--- /dev/null
+++ b/37114-h/images/img044.jpg
diff --git a/37114-h/images/img045.jpg b/37114-h/images/img045.jpg
new file mode 100644
index 0000000..69f487a
--- /dev/null
+++ b/37114-h/images/img045.jpg
diff --git a/37114-h/images/img046.jpg b/37114-h/images/img046.jpg
new file mode 100644
index 0000000..64b979b
--- /dev/null
+++ b/37114-h/images/img046.jpg
diff --git a/37114-h/images/img047.jpg b/37114-h/images/img047.jpg
new file mode 100644
index 0000000..d8423a6
--- /dev/null
+++ b/37114-h/images/img047.jpg
diff --git a/37114-h/images/img048.jpg b/37114-h/images/img048.jpg
new file mode 100644
index 0000000..1a545f7
--- /dev/null
+++ b/37114-h/images/img048.jpg
diff --git a/37114-h/images/img049.jpg b/37114-h/images/img049.jpg
new file mode 100644
index 0000000..dc121d1
--- /dev/null
+++ b/37114-h/images/img049.jpg
diff --git a/37114-h/images/img050.jpg b/37114-h/images/img050.jpg
new file mode 100644
index 0000000..7603908
--- /dev/null
+++ b/37114-h/images/img050.jpg
diff --git a/37114-h/images/img051.jpg b/37114-h/images/img051.jpg
new file mode 100644
index 0000000..84be592
--- /dev/null
+++ b/37114-h/images/img051.jpg
diff --git a/37114-h/images/img052.jpg b/37114-h/images/img052.jpg
new file mode 100644
index 0000000..a6d31a7
--- /dev/null
+++ b/37114-h/images/img052.jpg
diff --git a/37114-h/images/img053.jpg b/37114-h/images/img053.jpg
new file mode 100644
index 0000000..1e06b03
--- /dev/null
+++ b/37114-h/images/img053.jpg
diff --git a/37114-h/images/img054.jpg b/37114-h/images/img054.jpg
new file mode 100644
index 0000000..dbb5fdb
--- /dev/null
+++ b/37114-h/images/img054.jpg
diff --git a/37114-h/images/img055.jpg b/37114-h/images/img055.jpg
new file mode 100644
index 0000000..598209a
--- /dev/null
+++ b/37114-h/images/img055.jpg
diff --git a/37114-h/images/img056a.jpg b/37114-h/images/img056a.jpg
new file mode 100644
index 0000000..57342a9
--- /dev/null
+++ b/37114-h/images/img056a.jpg
diff --git a/37114-h/images/img056b.jpg b/37114-h/images/img056b.jpg
new file mode 100644
index 0000000..700e286
--- /dev/null
+++ b/37114-h/images/img056b.jpg
diff --git a/37114-h/images/img056c.jpg b/37114-h/images/img056c.jpg
new file mode 100644
index 0000000..14454d6
--- /dev/null
+++ b/37114-h/images/img056c.jpg
diff --git a/37114-h/images/img056d.jpg b/37114-h/images/img056d.jpg
new file mode 100644
index 0000000..d21c252
--- /dev/null
+++ b/37114-h/images/img056d.jpg
diff --git a/37114-h/images/img057a.jpg b/37114-h/images/img057a.jpg
new file mode 100644
index 0000000..645a631
--- /dev/null
+++ b/37114-h/images/img057a.jpg
diff --git a/37114-h/images/img057b.jpg b/37114-h/images/img057b.jpg
new file mode 100644
index 0000000..adff853
--- /dev/null
+++ b/37114-h/images/img057b.jpg
diff --git a/37114-h/images/img057c.jpg b/37114-h/images/img057c.jpg
new file mode 100644
index 0000000..d7f9366
--- /dev/null
+++ b/37114-h/images/img057c.jpg
diff --git a/37114-h/images/img057d.jpg b/37114-h/images/img057d.jpg
new file mode 100644
index 0000000..943a4f3
--- /dev/null
+++ b/37114-h/images/img057d.jpg
diff --git a/37114-h/images/img058.jpg b/37114-h/images/img058.jpg
new file mode 100644
index 0000000..49c9afe
--- /dev/null
+++ b/37114-h/images/img058.jpg
diff --git a/37114-h/images/img059.jpg b/37114-h/images/img059.jpg
new file mode 100644
index 0000000..a658087
--- /dev/null
+++ b/37114-h/images/img059.jpg
diff --git a/37114-h/images/img060.jpg b/37114-h/images/img060.jpg
new file mode 100644
index 0000000..9b49e58
--- /dev/null
+++ b/37114-h/images/img060.jpg
diff --git a/37114-h/images/img061.jpg b/37114-h/images/img061.jpg
new file mode 100644
index 0000000..f6976e9
--- /dev/null
+++ b/37114-h/images/img061.jpg
diff --git a/37114-h/images/img062.jpg b/37114-h/images/img062.jpg
new file mode 100644
index 0000000..463b076
--- /dev/null
+++ b/37114-h/images/img062.jpg
diff --git a/37114-h/images/img063a.jpg b/37114-h/images/img063a.jpg
new file mode 100644
index 0000000..1ae1460
--- /dev/null
+++ b/37114-h/images/img063a.jpg
diff --git a/37114-h/images/img063b.jpg b/37114-h/images/img063b.jpg
new file mode 100644
index 0000000..7a36009
--- /dev/null
+++ b/37114-h/images/img063b.jpg
diff --git a/37114-h/images/img064.jpg b/37114-h/images/img064.jpg
new file mode 100644
index 0000000..9b5431a
--- /dev/null
+++ b/37114-h/images/img064.jpg
diff --git a/37114-h/images/img065.jpg b/37114-h/images/img065.jpg
new file mode 100644
index 0000000..5b27519
--- /dev/null
+++ b/37114-h/images/img065.jpg
diff --git a/37114-h/images/img066.jpg b/37114-h/images/img066.jpg
new file mode 100644
index 0000000..96ca460
--- /dev/null
+++ b/37114-h/images/img066.jpg
diff --git a/37114-h/images/img067.jpg b/37114-h/images/img067.jpg
new file mode 100644
index 0000000..60ee97b
--- /dev/null
+++ b/37114-h/images/img067.jpg
diff --git a/37114-h/images/img068.jpg b/37114-h/images/img068.jpg
new file mode 100644
index 0000000..8ce2d6e
--- /dev/null
+++ b/37114-h/images/img068.jpg
diff --git a/37114-h/images/img069.jpg b/37114-h/images/img069.jpg
new file mode 100644
index 0000000..903b60e
--- /dev/null
+++ b/37114-h/images/img069.jpg
diff --git a/37114-h/images/img070.jpg b/37114-h/images/img070.jpg
new file mode 100644
index 0000000..8599f5b
--- /dev/null
+++ b/37114-h/images/img070.jpg
diff --git a/37114-h/images/img071.jpg b/37114-h/images/img071.jpg
new file mode 100644
index 0000000..9d81f93
--- /dev/null
+++ b/37114-h/images/img071.jpg
diff --git a/37114-h/images/img072.jpg b/37114-h/images/img072.jpg
new file mode 100644
index 0000000..0a56955
--- /dev/null
+++ b/37114-h/images/img072.jpg
diff --git a/37114-h/images/img073.jpg b/37114-h/images/img073.jpg
new file mode 100644
index 0000000..ae39bfb
--- /dev/null
+++ b/37114-h/images/img073.jpg
diff --git a/37114-h/images/img074.jpg b/37114-h/images/img074.jpg
new file mode 100644
index 0000000..797ea21
--- /dev/null
+++ b/37114-h/images/img074.jpg
diff --git a/37114-h/images/img075a.jpg b/37114-h/images/img075a.jpg
new file mode 100644
index 0000000..1bd3b5f
--- /dev/null
+++ b/37114-h/images/img075a.jpg
diff --git a/37114-h/images/img075b.jpg b/37114-h/images/img075b.jpg
new file mode 100644
index 0000000..2d07806
--- /dev/null
+++ b/37114-h/images/img075b.jpg
diff --git a/37114-h/images/img075c.jpg b/37114-h/images/img075c.jpg
new file mode 100644
index 0000000..19b6461
--- /dev/null
+++ b/37114-h/images/img075c.jpg
diff --git a/37114-h/images/img075d.jpg b/37114-h/images/img075d.jpg
new file mode 100644
index 0000000..f2a5574
--- /dev/null
+++ b/37114-h/images/img075d.jpg
diff --git a/37114-h/images/img076a.jpg b/37114-h/images/img076a.jpg
new file mode 100644
index 0000000..ff70979
--- /dev/null
+++ b/37114-h/images/img076a.jpg
diff --git a/37114-h/images/img076b.jpg b/37114-h/images/img076b.jpg
new file mode 100644
index 0000000..e2f8b15
--- /dev/null
+++ b/37114-h/images/img076b.jpg
diff --git a/37114-h/images/img076c.jpg b/37114-h/images/img076c.jpg
new file mode 100644
index 0000000..085a756
--- /dev/null
+++ b/37114-h/images/img076c.jpg
diff --git a/37114-h/images/img076d.jpg b/37114-h/images/img076d.jpg
new file mode 100644
index 0000000..c8efced
--- /dev/null
+++ b/37114-h/images/img076d.jpg
diff --git a/37114-h/images/img077.jpg b/37114-h/images/img077.jpg
new file mode 100644
index 0000000..a1e205b
--- /dev/null
+++ b/37114-h/images/img077.jpg
diff --git a/37114-h/images/img078a.jpg b/37114-h/images/img078a.jpg
new file mode 100644
index 0000000..c10d2cf
--- /dev/null
+++ b/37114-h/images/img078a.jpg
diff --git a/37114-h/images/img078b.jpg b/37114-h/images/img078b.jpg
new file mode 100644
index 0000000..d6fa3d4
--- /dev/null
+++ b/37114-h/images/img078b.jpg
diff --git a/37114-h/images/img078c.jpg b/37114-h/images/img078c.jpg
new file mode 100644
index 0000000..5d7ca82
--- /dev/null
+++ b/37114-h/images/img078c.jpg
diff --git a/37114-h/images/img078d.jpg b/37114-h/images/img078d.jpg
new file mode 100644
index 0000000..93eb39f
--- /dev/null
+++ b/37114-h/images/img078d.jpg
diff --git a/37114-h/images/img079.jpg b/37114-h/images/img079.jpg
new file mode 100644
index 0000000..8918dca
--- /dev/null
+++ b/37114-h/images/img079.jpg
diff --git a/37114-h/images/img080.jpg b/37114-h/images/img080.jpg
new file mode 100644
index 0000000..0a3066c
--- /dev/null
+++ b/37114-h/images/img080.jpg
diff --git a/37114-h/images/img081.jpg b/37114-h/images/img081.jpg
new file mode 100644
index 0000000..5774fcd
--- /dev/null
+++ b/37114-h/images/img081.jpg
diff --git a/37114-h/images/img082.jpg b/37114-h/images/img082.jpg
new file mode 100644
index 0000000..3df2b7c
--- /dev/null
+++ b/37114-h/images/img082.jpg
diff --git a/37114-h/images/img083.jpg b/37114-h/images/img083.jpg
new file mode 100644
index 0000000..bf4a4c1
--- /dev/null
+++ b/37114-h/images/img083.jpg
diff --git a/37114-h/images/img084.jpg b/37114-h/images/img084.jpg
new file mode 100644
index 0000000..b6474eb
--- /dev/null
+++ b/37114-h/images/img084.jpg
diff --git a/37114-h/images/img085.jpg b/37114-h/images/img085.jpg
new file mode 100644
index 0000000..6669060
--- /dev/null
+++ b/37114-h/images/img085.jpg
diff --git a/37114-h/images/img086.jpg b/37114-h/images/img086.jpg
new file mode 100644
index 0000000..d88eac2
--- /dev/null
+++ b/37114-h/images/img086.jpg
diff --git a/37114-h/images/img087.jpg b/37114-h/images/img087.jpg
new file mode 100644
index 0000000..07a0a85
--- /dev/null
+++ b/37114-h/images/img087.jpg
diff --git a/37114-h/images/img088.jpg b/37114-h/images/img088.jpg
new file mode 100644
index 0000000..b7fdd6d
--- /dev/null
+++ b/37114-h/images/img088.jpg
diff --git a/37114-h/images/img089.jpg b/37114-h/images/img089.jpg
new file mode 100644
index 0000000..22d5d92
--- /dev/null
+++ b/37114-h/images/img089.jpg
diff --git a/37114-h/images/img090.jpg b/37114-h/images/img090.jpg
new file mode 100644
index 0000000..ff8155c
--- /dev/null
+++ b/37114-h/images/img090.jpg
diff --git a/37114-h/images/img091.jpg b/37114-h/images/img091.jpg
new file mode 100644
index 0000000..14edd53
--- /dev/null
+++ b/37114-h/images/img091.jpg
diff --git a/37114-h/images/img092.jpg b/37114-h/images/img092.jpg
new file mode 100644
index 0000000..bccdea2
--- /dev/null
+++ b/37114-h/images/img092.jpg
diff --git a/37114-h/images/img093.jpg b/37114-h/images/img093.jpg
new file mode 100644
index 0000000..81ecbeb
--- /dev/null
+++ b/37114-h/images/img093.jpg
diff --git a/37114-h/images/img094.jpg b/37114-h/images/img094.jpg
new file mode 100644
index 0000000..8afb824
--- /dev/null
+++ b/37114-h/images/img094.jpg
diff --git a/37114-h/images/img095.jpg b/37114-h/images/img095.jpg
new file mode 100644
index 0000000..51f5986
--- /dev/null
+++ b/37114-h/images/img095.jpg
diff --git a/37114-h/images/img096.jpg b/37114-h/images/img096.jpg
new file mode 100644
index 0000000..15451e6
--- /dev/null
+++ b/37114-h/images/img096.jpg
diff --git a/37114-h/images/img097.jpg b/37114-h/images/img097.jpg
new file mode 100644
index 0000000..2260b34
--- /dev/null
+++ b/37114-h/images/img097.jpg
diff --git a/37114-h/images/img098.jpg b/37114-h/images/img098.jpg
new file mode 100644
index 0000000..97a768c
--- /dev/null
+++ b/37114-h/images/img098.jpg
diff --git a/37114-h/images/img099.jpg b/37114-h/images/img099.jpg
new file mode 100644
index 0000000..cc0284c
--- /dev/null
+++ b/37114-h/images/img099.jpg
diff --git a/37114-h/images/img100.jpg b/37114-h/images/img100.jpg
new file mode 100644
index 0000000..36d8776
--- /dev/null
+++ b/37114-h/images/img100.jpg
diff --git a/37114-h/images/img101.jpg b/37114-h/images/img101.jpg
new file mode 100644
index 0000000..ed0dfb3
--- /dev/null
+++ b/37114-h/images/img101.jpg
diff --git a/37114-h/images/img102.jpg b/37114-h/images/img102.jpg
new file mode 100644
index 0000000..e6789dd
--- /dev/null
+++ b/37114-h/images/img102.jpg
diff --git a/37114-h/images/img103.jpg b/37114-h/images/img103.jpg
new file mode 100644
index 0000000..7566808
--- /dev/null
+++ b/37114-h/images/img103.jpg
diff --git a/37114-h/images/img104a.jpg b/37114-h/images/img104a.jpg
new file mode 100644
index 0000000..a763da6
--- /dev/null
+++ b/37114-h/images/img104a.jpg
diff --git a/37114-h/images/img104b.jpg b/37114-h/images/img104b.jpg
new file mode 100644
index 0000000..546930f
--- /dev/null
+++ b/37114-h/images/img104b.jpg
diff --git a/37114-h/images/img105.jpg b/37114-h/images/img105.jpg
new file mode 100644
index 0000000..e45e22c
--- /dev/null
+++ b/37114-h/images/img105.jpg
diff --git a/37114-h/images/img106.jpg b/37114-h/images/img106.jpg
new file mode 100644
index 0000000..04cfbd5
--- /dev/null
+++ b/37114-h/images/img106.jpg
diff --git a/37114-h/images/img107.jpg b/37114-h/images/img107.jpg
new file mode 100644
index 0000000..706922c
--- /dev/null
+++ b/37114-h/images/img107.jpg
diff --git a/37114-h/images/img108.jpg b/37114-h/images/img108.jpg
new file mode 100644
index 0000000..11ecfd8
--- /dev/null
+++ b/37114-h/images/img108.jpg
diff --git a/37114-h/images/img109.jpg b/37114-h/images/img109.jpg
new file mode 100644
index 0000000..17bd330
--- /dev/null
+++ b/37114-h/images/img109.jpg
diff --git a/37114-h/images/img110.jpg b/37114-h/images/img110.jpg
new file mode 100644
index 0000000..68c1ca6
--- /dev/null
+++ b/37114-h/images/img110.jpg
diff --git a/37114-h/images/img111.jpg b/37114-h/images/img111.jpg
new file mode 100644
index 0000000..34da21b
--- /dev/null
+++ b/37114-h/images/img111.jpg
diff --git a/37114-h/images/img112.jpg b/37114-h/images/img112.jpg
new file mode 100644
index 0000000..e589325
--- /dev/null
+++ b/37114-h/images/img112.jpg
diff --git a/37114-h/images/img113.jpg b/37114-h/images/img113.jpg
new file mode 100644
index 0000000..72fc0b3
--- /dev/null
+++ b/37114-h/images/img113.jpg
diff --git a/37114-h/images/img114.jpg b/37114-h/images/img114.jpg
new file mode 100644
index 0000000..35546c1
--- /dev/null
+++ b/37114-h/images/img114.jpg
diff --git a/37114-h/images/img115.jpg b/37114-h/images/img115.jpg
new file mode 100644
index 0000000..b1d4e83
--- /dev/null
+++ b/37114-h/images/img115.jpg
diff --git a/37114-h/images/img116.jpg b/37114-h/images/img116.jpg
new file mode 100644
index 0000000..d5847a5
--- /dev/null
+++ b/37114-h/images/img116.jpg
diff --git a/37114-h/images/img117.jpg b/37114-h/images/img117.jpg
new file mode 100644
index 0000000..788a462
--- /dev/null
+++ b/37114-h/images/img117.jpg
diff --git a/37114-h/images/img118.jpg b/37114-h/images/img118.jpg
new file mode 100644
index 0000000..b4c4493
--- /dev/null
+++ b/37114-h/images/img118.jpg
diff --git a/37114-h/images/img119.jpg b/37114-h/images/img119.jpg
new file mode 100644
index 0000000..deec270
--- /dev/null
+++ b/37114-h/images/img119.jpg
diff --git a/37114-h/images/img120.jpg b/37114-h/images/img120.jpg
new file mode 100644
index 0000000..fef6457
--- /dev/null
+++ b/37114-h/images/img120.jpg
diff --git a/37114-h/images/img121.jpg b/37114-h/images/img121.jpg
new file mode 100644
index 0000000..65d823f
--- /dev/null
+++ b/37114-h/images/img121.jpg
diff --git a/37114-h/images/img122.jpg b/37114-h/images/img122.jpg
new file mode 100644
index 0000000..f934f23
--- /dev/null
+++ b/37114-h/images/img122.jpg
diff --git a/37114-h/images/img123a.jpg b/37114-h/images/img123a.jpg
new file mode 100644
index 0000000..a5ddc87
--- /dev/null
+++ b/37114-h/images/img123a.jpg
diff --git a/37114-h/images/img123b.jpg b/37114-h/images/img123b.jpg
new file mode 100644
index 0000000..36ed404
--- /dev/null
+++ b/37114-h/images/img123b.jpg
diff --git a/37114-h/images/img124.jpg b/37114-h/images/img124.jpg
new file mode 100644
index 0000000..956cf2c
--- /dev/null
+++ b/37114-h/images/img124.jpg
diff --git a/37114-h/images/img125.jpg b/37114-h/images/img125.jpg
new file mode 100644
index 0000000..898ad05
--- /dev/null
+++ b/37114-h/images/img125.jpg
diff --git a/37114-h/images/img126a.jpg b/37114-h/images/img126a.jpg
new file mode 100644
index 0000000..fa5a400
--- /dev/null
+++ b/37114-h/images/img126a.jpg
diff --git a/37114-h/images/img126b.jpg b/37114-h/images/img126b.jpg
new file mode 100644
index 0000000..e260d6e
--- /dev/null
+++ b/37114-h/images/img126b.jpg
diff --git a/37114-h/images/img126c.jpg b/37114-h/images/img126c.jpg
new file mode 100644
index 0000000..6fe69c9
--- /dev/null
+++ b/37114-h/images/img126c.jpg
diff --git a/37114-h/images/img127a.jpg b/37114-h/images/img127a.jpg
new file mode 100644
index 0000000..76c1a4d
--- /dev/null
+++ b/37114-h/images/img127a.jpg
diff --git a/37114-h/images/img127b.jpg b/37114-h/images/img127b.jpg
new file mode 100644
index 0000000..cb12f75
--- /dev/null
+++ b/37114-h/images/img127b.jpg
diff --git a/37114-h/images/img127c.jpg b/37114-h/images/img127c.jpg
new file mode 100644
index 0000000..561aaca
--- /dev/null
+++ b/37114-h/images/img127c.jpg
diff --git a/37114-h/images/img128a.jpg b/37114-h/images/img128a.jpg
new file mode 100644
index 0000000..bab337f
--- /dev/null
+++ b/37114-h/images/img128a.jpg
diff --git a/37114-h/images/img128b.jpg b/37114-h/images/img128b.jpg
new file mode 100644
index 0000000..8494951
--- /dev/null
+++ b/37114-h/images/img128b.jpg
diff --git a/37114-h/images/img128c.jpg b/37114-h/images/img128c.jpg
new file mode 100644
index 0000000..36ecfb5
--- /dev/null
+++ b/37114-h/images/img128c.jpg
diff --git a/37114-h/images/img129a.jpg b/37114-h/images/img129a.jpg
new file mode 100644
index 0000000..95e8f3c
--- /dev/null
+++ b/37114-h/images/img129a.jpg
diff --git a/37114-h/images/img129b.jpg b/37114-h/images/img129b.jpg
new file mode 100644
index 0000000..b33b027
--- /dev/null
+++ b/37114-h/images/img129b.jpg
diff --git a/37114-h/images/img129c.jpg b/37114-h/images/img129c.jpg
new file mode 100644
index 0000000..e72bb0b
--- /dev/null
+++ b/37114-h/images/img129c.jpg
diff --git a/37114-h/images/img130a.jpg b/37114-h/images/img130a.jpg
new file mode 100644
index 0000000..3a78ad9
--- /dev/null
+++ b/37114-h/images/img130a.jpg
diff --git a/37114-h/images/img130b.jpg b/37114-h/images/img130b.jpg
new file mode 100644
index 0000000..660762b
--- /dev/null
+++ b/37114-h/images/img130b.jpg
diff --git a/37114-h/images/img130c.jpg b/37114-h/images/img130c.jpg
new file mode 100644
index 0000000..1ca0b4f
--- /dev/null
+++ b/37114-h/images/img130c.jpg
diff --git a/37114-h/images/img131a.jpg b/37114-h/images/img131a.jpg
new file mode 100644
index 0000000..31a6708
--- /dev/null
+++ b/37114-h/images/img131a.jpg
diff --git a/37114-h/images/img131b.jpg b/37114-h/images/img131b.jpg
new file mode 100644
index 0000000..a0dfee6
--- /dev/null
+++ b/37114-h/images/img131b.jpg
diff --git a/37114-h/images/img131c.jpg b/37114-h/images/img131c.jpg
new file mode 100644
index 0000000..0928be4
--- /dev/null
+++ b/37114-h/images/img131c.jpg
diff --git a/37114-h/images/img132a.jpg b/37114-h/images/img132a.jpg
new file mode 100644
index 0000000..cc3b0a3
--- /dev/null
+++ b/37114-h/images/img132a.jpg
diff --git a/37114-h/images/img132b.jpg b/37114-h/images/img132b.jpg
new file mode 100644
index 0000000..40d91e4
--- /dev/null
+++ b/37114-h/images/img132b.jpg
diff --git a/37114-h/images/img133a.jpg b/37114-h/images/img133a.jpg
new file mode 100644
index 0000000..bee7add
--- /dev/null
+++ b/37114-h/images/img133a.jpg
diff --git a/37114-h/images/img133b.jpg b/37114-h/images/img133b.jpg
new file mode 100644
index 0000000..0eabd32
--- /dev/null
+++ b/37114-h/images/img133b.jpg
diff --git a/37114-h/images/img133c.jpg b/37114-h/images/img133c.jpg
new file mode 100644
index 0000000..cad0d2a
--- /dev/null
+++ b/37114-h/images/img133c.jpg
diff --git a/37114-h/images/img133d.jpg b/37114-h/images/img133d.jpg
new file mode 100644
index 0000000..bf2d526
--- /dev/null
+++ b/37114-h/images/img133d.jpg
diff --git a/37114-h/images/img134a.jpg b/37114-h/images/img134a.jpg
new file mode 100644
index 0000000..23e7dfc
--- /dev/null
+++ b/37114-h/images/img134a.jpg
diff --git a/37114-h/images/img134b.jpg b/37114-h/images/img134b.jpg
new file mode 100644
index 0000000..f9644e3
--- /dev/null
+++ b/37114-h/images/img134b.jpg
diff --git a/37114-h/images/img134c.jpg b/37114-h/images/img134c.jpg
new file mode 100644
index 0000000..97b43f7
--- /dev/null
+++ b/37114-h/images/img134c.jpg
diff --git a/37114-h/images/img134d.jpg b/37114-h/images/img134d.jpg
new file mode 100644
index 0000000..54320c6
--- /dev/null
+++ b/37114-h/images/img134d.jpg
diff --git a/37114-h/images/img135a.jpg b/37114-h/images/img135a.jpg
new file mode 100644
index 0000000..e5ac1f6
--- /dev/null
+++ b/37114-h/images/img135a.jpg
diff --git a/37114-h/images/img135b.jpg b/37114-h/images/img135b.jpg
new file mode 100644
index 0000000..0644623
--- /dev/null
+++ b/37114-h/images/img135b.jpg
diff --git a/37114-h/images/img135c.jpg b/37114-h/images/img135c.jpg
new file mode 100644
index 0000000..9635d56
--- /dev/null
+++ b/37114-h/images/img135c.jpg
diff --git a/37114-h/images/img135d.jpg b/37114-h/images/img135d.jpg
new file mode 100644
index 0000000..9ecccd5
--- /dev/null
+++ b/37114-h/images/img135d.jpg
diff --git a/37114-h/images/img136a.jpg b/37114-h/images/img136a.jpg
new file mode 100644
index 0000000..60a64a8
--- /dev/null
+++ b/37114-h/images/img136a.jpg
diff --git a/37114-h/images/img136b.jpg b/37114-h/images/img136b.jpg
new file mode 100644
index 0000000..e5aadb3
--- /dev/null
+++ b/37114-h/images/img136b.jpg
diff --git a/37114-h/images/img136c.jpg b/37114-h/images/img136c.jpg
new file mode 100644
index 0000000..2109b2e
--- /dev/null
+++ b/37114-h/images/img136c.jpg
diff --git a/37114-h/images/img136d.jpg b/37114-h/images/img136d.jpg
new file mode 100644
index 0000000..d2b3b28
--- /dev/null
+++ b/37114-h/images/img136d.jpg
diff --git a/37114-h/images/img137a.jpg b/37114-h/images/img137a.jpg
new file mode 100644
index 0000000..fb237a8
--- /dev/null
+++ b/37114-h/images/img137a.jpg
diff --git a/37114-h/images/img137b.jpg b/37114-h/images/img137b.jpg
new file mode 100644
index 0000000..d378877
--- /dev/null
+++ b/37114-h/images/img137b.jpg
diff --git a/37114-h/images/img137c.jpg b/37114-h/images/img137c.jpg
new file mode 100644
index 0000000..5ed1d4c
--- /dev/null
+++ b/37114-h/images/img137c.jpg
diff --git a/37114-h/images/img137d.jpg b/37114-h/images/img137d.jpg
new file mode 100644
index 0000000..59f81e6
--- /dev/null
+++ b/37114-h/images/img137d.jpg
diff --git a/37114-h/images/img138a.jpg b/37114-h/images/img138a.jpg
new file mode 100644
index 0000000..879f8ea
--- /dev/null
+++ b/37114-h/images/img138a.jpg
diff --git a/37114-h/images/img138b.jpg b/37114-h/images/img138b.jpg
new file mode 100644
index 0000000..5b9461d
--- /dev/null
+++ b/37114-h/images/img138b.jpg
diff --git a/37114-h/images/img139a.jpg b/37114-h/images/img139a.jpg
new file mode 100644
index 0000000..e1e6747
--- /dev/null
+++ b/37114-h/images/img139a.jpg
diff --git a/37114-h/images/img139b.jpg b/37114-h/images/img139b.jpg
new file mode 100644
index 0000000..96b4277
--- /dev/null
+++ b/37114-h/images/img139b.jpg
diff --git a/37114-h/images/img139c.jpg b/37114-h/images/img139c.jpg
new file mode 100644
index 0000000..88b5c91
--- /dev/null
+++ b/37114-h/images/img139c.jpg
diff --git a/37114-h/images/img139d.jpg b/37114-h/images/img139d.jpg
new file mode 100644
index 0000000..58149b0
--- /dev/null
+++ b/37114-h/images/img139d.jpg
diff --git a/37114-h/images/img139e.jpg b/37114-h/images/img139e.jpg
new file mode 100644
index 0000000..c09ade4
--- /dev/null
+++ b/37114-h/images/img139e.jpg
diff --git a/37114-h/images/img139f.jpg b/37114-h/images/img139f.jpg
new file mode 100644
index 0000000..6873ccf
--- /dev/null
+++ b/37114-h/images/img139f.jpg
diff --git a/37114-h/images/img140a.jpg b/37114-h/images/img140a.jpg
new file mode 100644
index 0000000..25b9f0c
--- /dev/null
+++ b/37114-h/images/img140a.jpg
diff --git a/37114-h/images/img140b.jpg b/37114-h/images/img140b.jpg
new file mode 100644
index 0000000..8b2e1b6
--- /dev/null
+++ b/37114-h/images/img140b.jpg
diff --git a/37114-h/images/img140c.jpg b/37114-h/images/img140c.jpg
new file mode 100644
index 0000000..3bbfb20
--- /dev/null
+++ b/37114-h/images/img140c.jpg
diff --git a/37114-h/images/img141a.jpg b/37114-h/images/img141a.jpg
new file mode 100644
index 0000000..f3724bc
--- /dev/null
+++ b/37114-h/images/img141a.jpg
diff --git a/37114-h/images/img141b.jpg b/37114-h/images/img141b.jpg
new file mode 100644
index 0000000..35c88e5
--- /dev/null
+++ b/37114-h/images/img141b.jpg
diff --git a/37114-h/images/img141c.jpg b/37114-h/images/img141c.jpg
new file mode 100644
index 0000000..2e8c338
--- /dev/null
+++ b/37114-h/images/img141c.jpg
diff --git a/37114-h/images/img141d.jpg b/37114-h/images/img141d.jpg
new file mode 100644
index 0000000..26496b1
--- /dev/null
+++ b/37114-h/images/img141d.jpg
diff --git a/37114-h/images/img141e.jpg b/37114-h/images/img141e.jpg
new file mode 100644
index 0000000..ec8037e
--- /dev/null
+++ b/37114-h/images/img141e.jpg
diff --git a/37114-h/images/img141f.jpg b/37114-h/images/img141f.jpg
new file mode 100644
index 0000000..fdb3e45
--- /dev/null
+++ b/37114-h/images/img141f.jpg
diff --git a/37114-h/images/img142a.jpg b/37114-h/images/img142a.jpg
new file mode 100644
index 0000000..2f100ae
--- /dev/null
+++ b/37114-h/images/img142a.jpg
diff --git a/37114-h/images/img142b.jpg b/37114-h/images/img142b.jpg
new file mode 100644
index 0000000..873f9ea
--- /dev/null
+++ b/37114-h/images/img142b.jpg
diff --git a/37114-h/images/img142c.jpg b/37114-h/images/img142c.jpg
new file mode 100644
index 0000000..6c4c8a3
--- /dev/null
+++ b/37114-h/images/img142c.jpg
diff --git a/37114-h/images/img142d.jpg b/37114-h/images/img142d.jpg
new file mode 100644
index 0000000..2be8bf1
--- /dev/null
+++ b/37114-h/images/img142d.jpg
diff --git a/37114-h/images/img142e.jpg b/37114-h/images/img142e.jpg
new file mode 100644
index 0000000..c1d79f7
--- /dev/null
+++ b/37114-h/images/img142e.jpg
diff --git a/37114-h/images/img143.jpg b/37114-h/images/img143.jpg
new file mode 100644
index 0000000..8c8ea1e
--- /dev/null
+++ b/37114-h/images/img143.jpg
diff --git a/37114-h/images/img144.jpg b/37114-h/images/img144.jpg
new file mode 100644
index 0000000..afe9846
--- /dev/null
+++ b/37114-h/images/img144.jpg
diff --git a/37114-h/images/img145.jpg b/37114-h/images/img145.jpg
new file mode 100644
index 0000000..77821d5
--- /dev/null
+++ b/37114-h/images/img145.jpg
diff --git a/37114-h/images/img146.jpg b/37114-h/images/img146.jpg
new file mode 100644
index 0000000..fc368ee
--- /dev/null
+++ b/37114-h/images/img146.jpg
diff --git a/37114-h/images/img147.jpg b/37114-h/images/img147.jpg
new file mode 100644
index 0000000..197faf9
--- /dev/null
+++ b/37114-h/images/img147.jpg
diff --git a/37114-h/images/img148.jpg b/37114-h/images/img148.jpg
new file mode 100644
index 0000000..82a71a6
--- /dev/null
+++ b/37114-h/images/img148.jpg
diff --git a/37114-h/images/img149.jpg b/37114-h/images/img149.jpg
new file mode 100644
index 0000000..9563d43
--- /dev/null
+++ b/37114-h/images/img149.jpg
diff --git a/37114-h/images/img150.jpg b/37114-h/images/img150.jpg
new file mode 100644
index 0000000..f2095e0
--- /dev/null
+++ b/37114-h/images/img150.jpg
diff --git a/37114-h/images/img151.jpg b/37114-h/images/img151.jpg
new file mode 100644
index 0000000..6bc3ee4
--- /dev/null
+++ b/37114-h/images/img151.jpg
diff --git a/37114-h/images/img152.jpg b/37114-h/images/img152.jpg
new file mode 100644
index 0000000..120bc5f
--- /dev/null
+++ b/37114-h/images/img152.jpg
diff --git a/37114-h/images/img153.jpg b/37114-h/images/img153.jpg
new file mode 100644
index 0000000..41b2aa5
--- /dev/null
+++ b/37114-h/images/img153.jpg
diff --git a/37114-h/images/img154.jpg b/37114-h/images/img154.jpg
new file mode 100644
index 0000000..3ce107f
--- /dev/null
+++ b/37114-h/images/img154.jpg
diff --git a/37114-h/images/img155.jpg b/37114-h/images/img155.jpg
new file mode 100644
index 0000000..fe6d997
--- /dev/null
+++ b/37114-h/images/img155.jpg
diff --git a/37114-h/images/img156.jpg b/37114-h/images/img156.jpg
new file mode 100644
index 0000000..1c3e632
--- /dev/null
+++ b/37114-h/images/img156.jpg
diff --git a/37114-h/images/img157.jpg b/37114-h/images/img157.jpg
new file mode 100644
index 0000000..8249ed3
--- /dev/null
+++ b/37114-h/images/img157.jpg
diff --git a/37114-h/images/img158.jpg b/37114-h/images/img158.jpg
new file mode 100644
index 0000000..872d2c1
--- /dev/null
+++ b/37114-h/images/img158.jpg
diff --git a/37114-h/images/img159.jpg b/37114-h/images/img159.jpg
new file mode 100644
index 0000000..aa6e677
--- /dev/null
+++ b/37114-h/images/img159.jpg
diff --git a/37114-h/images/img160.jpg b/37114-h/images/img160.jpg
new file mode 100644
index 0000000..edeef77
--- /dev/null
+++ b/37114-h/images/img160.jpg
diff --git a/37114-h/images/img161.jpg b/37114-h/images/img161.jpg
new file mode 100644
index 0000000..8c2ecaf
--- /dev/null
+++ b/37114-h/images/img161.jpg
diff --git a/37114-h/images/img162.jpg b/37114-h/images/img162.jpg
new file mode 100644
index 0000000..bbc4d01
--- /dev/null
+++ b/37114-h/images/img162.jpg
diff --git a/37114-h/images/img163.jpg b/37114-h/images/img163.jpg
new file mode 100644
index 0000000..baaf302
--- /dev/null
+++ b/37114-h/images/img163.jpg
diff --git a/37114-h/images/img164.jpg b/37114-h/images/img164.jpg
new file mode 100644
index 0000000..c5946b5
--- /dev/null
+++ b/37114-h/images/img164.jpg
diff --git a/37114-h/images/img165.jpg b/37114-h/images/img165.jpg
new file mode 100644
index 0000000..aa980d1
--- /dev/null
+++ b/37114-h/images/img165.jpg
diff --git a/37114-h/images/img166.jpg b/37114-h/images/img166.jpg
new file mode 100644
index 0000000..cb1e9f4
--- /dev/null
+++ b/37114-h/images/img166.jpg
diff --git a/37114-h/images/img167.jpg b/37114-h/images/img167.jpg
new file mode 100644
index 0000000..22ffaca
--- /dev/null
+++ b/37114-h/images/img167.jpg
diff --git a/37114-h/images/img168.jpg b/37114-h/images/img168.jpg
new file mode 100644
index 0000000..a4c1eb2
--- /dev/null
+++ b/37114-h/images/img168.jpg
diff --git a/37114-h/images/img169.jpg b/37114-h/images/img169.jpg
new file mode 100644
index 0000000..2639be3
--- /dev/null
+++ b/37114-h/images/img169.jpg
diff --git a/37114-h/images/img170.jpg b/37114-h/images/img170.jpg
new file mode 100644
index 0000000..32e1867
--- /dev/null
+++ b/37114-h/images/img170.jpg
diff --git a/37114-h/images/img171.jpg b/37114-h/images/img171.jpg
new file mode 100644
index 0000000..adbc643
--- /dev/null
+++ b/37114-h/images/img171.jpg
diff --git a/37114-h/images/img172.jpg b/37114-h/images/img172.jpg
new file mode 100644
index 0000000..695daf3
--- /dev/null
+++ b/37114-h/images/img172.jpg
diff --git a/37114-h/images/img173.jpg b/37114-h/images/img173.jpg
new file mode 100644
index 0000000..3939104
--- /dev/null
+++ b/37114-h/images/img173.jpg
diff --git a/37114-h/images/img174.jpg b/37114-h/images/img174.jpg
new file mode 100644
index 0000000..162e745
--- /dev/null
+++ b/37114-h/images/img174.jpg
diff --git a/37114-h/images/img175.jpg b/37114-h/images/img175.jpg
new file mode 100644
index 0000000..86de48c
--- /dev/null
+++ b/37114-h/images/img175.jpg
diff --git a/37114-h/images/img176.jpg b/37114-h/images/img176.jpg
new file mode 100644
index 0000000..a30fa4c
--- /dev/null
+++ b/37114-h/images/img176.jpg
diff --git a/37114-h/images/img177.jpg b/37114-h/images/img177.jpg
new file mode 100644
index 0000000..79d26ee
--- /dev/null
+++ b/37114-h/images/img177.jpg
diff --git a/37114-h/images/img178.jpg b/37114-h/images/img178.jpg
new file mode 100644
index 0000000..a03778b
--- /dev/null
+++ b/37114-h/images/img178.jpg
diff --git a/37114-h/images/img179.jpg b/37114-h/images/img179.jpg
new file mode 100644
index 0000000..c01be4d
--- /dev/null
+++ b/37114-h/images/img179.jpg
diff --git a/37114-h/images/img180.jpg b/37114-h/images/img180.jpg
new file mode 100644
index 0000000..6054bcd
--- /dev/null
+++ b/37114-h/images/img180.jpg
diff --git a/37114-h/images/img181.jpg b/37114-h/images/img181.jpg
new file mode 100644
index 0000000..3f17e69
--- /dev/null
+++ b/37114-h/images/img181.jpg
diff --git a/37114-h/images/img182.jpg b/37114-h/images/img182.jpg
new file mode 100644
index 0000000..320c593
--- /dev/null
+++ b/37114-h/images/img182.jpg
diff --git a/37114-h/images/img183.jpg b/37114-h/images/img183.jpg
new file mode 100644
index 0000000..c7557a8
--- /dev/null
+++ b/37114-h/images/img183.jpg
diff --git a/37114-h/images/img184.jpg b/37114-h/images/img184.jpg
new file mode 100644
index 0000000..c38a8b8
--- /dev/null
+++ b/37114-h/images/img184.jpg
diff --git a/37114-h/images/img185.jpg b/37114-h/images/img185.jpg
new file mode 100644
index 0000000..666da1b
--- /dev/null
+++ b/37114-h/images/img185.jpg
diff --git a/37114-h/images/img186.jpg b/37114-h/images/img186.jpg
new file mode 100644
index 0000000..711910a
--- /dev/null
+++ b/37114-h/images/img186.jpg
diff --git a/37114-h/images/img187.jpg b/37114-h/images/img187.jpg
new file mode 100644
index 0000000..44faddb
--- /dev/null
+++ b/37114-h/images/img187.jpg
diff --git a/37114-h/images/img188.jpg b/37114-h/images/img188.jpg
new file mode 100644
index 0000000..afcc894
--- /dev/null
+++ b/37114-h/images/img188.jpg
diff --git a/37114-h/images/img189.jpg b/37114-h/images/img189.jpg
new file mode 100644
index 0000000..00f100e
--- /dev/null
+++ b/37114-h/images/img189.jpg
diff --git a/37114-h/images/img190.jpg b/37114-h/images/img190.jpg
new file mode 100644
index 0000000..1a5e1af
--- /dev/null
+++ b/37114-h/images/img190.jpg
diff --git a/37114-h/images/img191.jpg b/37114-h/images/img191.jpg
new file mode 100644
index 0000000..3678725
--- /dev/null
+++ b/37114-h/images/img191.jpg
diff --git a/37114-h/images/img192.jpg b/37114-h/images/img192.jpg
new file mode 100644
index 0000000..daf7b04
--- /dev/null
+++ b/37114-h/images/img192.jpg
diff --git a/37114-h/images/img193.jpg b/37114-h/images/img193.jpg
new file mode 100644
index 0000000..b1e6683
--- /dev/null
+++ b/37114-h/images/img193.jpg
diff --git a/37114-h/images/img194.jpg b/37114-h/images/img194.jpg
new file mode 100644
index 0000000..ff53761
--- /dev/null
+++ b/37114-h/images/img194.jpg
diff --git a/37114-h/images/img195.jpg b/37114-h/images/img195.jpg
new file mode 100644
index 0000000..9e26dd0
--- /dev/null
+++ b/37114-h/images/img195.jpg
diff --git a/37114-h/images/img196.jpg b/37114-h/images/img196.jpg
new file mode 100644
index 0000000..df735ed
--- /dev/null
+++ b/37114-h/images/img196.jpg
diff --git a/37114-h/images/img197.jpg b/37114-h/images/img197.jpg
new file mode 100644
index 0000000..6c6776c
--- /dev/null
+++ b/37114-h/images/img197.jpg
diff --git a/37114-h/images/img198.jpg b/37114-h/images/img198.jpg
new file mode 100644
index 0000000..74b1878
--- /dev/null
+++ b/37114-h/images/img198.jpg
diff --git a/37114-h/images/img199.jpg b/37114-h/images/img199.jpg
new file mode 100644
index 0000000..502e392
--- /dev/null
+++ b/37114-h/images/img199.jpg
diff --git a/37114-h/images/img200.jpg b/37114-h/images/img200.jpg
new file mode 100644
index 0000000..9aeaf91
--- /dev/null
+++ b/37114-h/images/img200.jpg
diff --git a/37114-h/images/img201.jpg b/37114-h/images/img201.jpg
new file mode 100644
index 0000000..0d7b6f2
--- /dev/null
+++ b/37114-h/images/img201.jpg
diff --git a/37114-h/images/img202.jpg b/37114-h/images/img202.jpg
new file mode 100644
index 0000000..48d1c86
--- /dev/null
+++ b/37114-h/images/img202.jpg
diff --git a/37114-h/images/img203.jpg b/37114-h/images/img203.jpg
new file mode 100644
index 0000000..2bc3fd4
--- /dev/null
+++ b/37114-h/images/img203.jpg
diff --git a/37114-h/images/img204.jpg b/37114-h/images/img204.jpg
new file mode 100644
index 0000000..43bf5a3
--- /dev/null
+++ b/37114-h/images/img204.jpg
diff --git a/37114-h/images/img205.jpg b/37114-h/images/img205.jpg
new file mode 100644
index 0000000..40fbe26
--- /dev/null
+++ b/37114-h/images/img205.jpg
diff --git a/37114-h/images/img206.jpg b/37114-h/images/img206.jpg
new file mode 100644
index 0000000..7080121
--- /dev/null
+++ b/37114-h/images/img206.jpg
diff --git a/37114-h/images/img207.jpg b/37114-h/images/img207.jpg
new file mode 100644
index 0000000..d2089c3
--- /dev/null
+++ b/37114-h/images/img207.jpg
diff --git a/37114-h/images/img208.jpg b/37114-h/images/img208.jpg
new file mode 100644
index 0000000..20c3180
--- /dev/null
+++ b/37114-h/images/img208.jpg
diff --git a/37114-h/images/img209.jpg b/37114-h/images/img209.jpg
new file mode 100644
index 0000000..c6ee206
--- /dev/null
+++ b/37114-h/images/img209.jpg
diff --git a/37114-h/images/img210.jpg b/37114-h/images/img210.jpg
new file mode 100644
index 0000000..b884144
--- /dev/null
+++ b/37114-h/images/img210.jpg
diff --git a/37114-h/images/img211.jpg b/37114-h/images/img211.jpg
new file mode 100644
index 0000000..ec14b51
--- /dev/null
+++ b/37114-h/images/img211.jpg
diff --git a/37114-h/images/img212.jpg b/37114-h/images/img212.jpg
new file mode 100644
index 0000000..7cc4bd2
--- /dev/null
+++ b/37114-h/images/img212.jpg
diff --git a/37114-h/images/img213.jpg b/37114-h/images/img213.jpg
new file mode 100644
index 0000000..4937234
--- /dev/null
+++ b/37114-h/images/img213.jpg
diff --git a/37114-h/images/img214.jpg b/37114-h/images/img214.jpg
new file mode 100644
index 0000000..a2b984d
--- /dev/null
+++ b/37114-h/images/img214.jpg
diff --git a/37114-h/images/img215.jpg b/37114-h/images/img215.jpg
new file mode 100644
index 0000000..1621ab0
--- /dev/null
+++ b/37114-h/images/img215.jpg
diff --git a/37114-h/images/img216.jpg b/37114-h/images/img216.jpg
new file mode 100644
index 0000000..0f69e27
--- /dev/null
+++ b/37114-h/images/img216.jpg
diff --git a/37114-h/images/img217.jpg b/37114-h/images/img217.jpg
new file mode 100644
index 0000000..ee1d123
--- /dev/null
+++ b/37114-h/images/img217.jpg
diff --git a/37114-h/images/img218.jpg b/37114-h/images/img218.jpg
new file mode 100644
index 0000000..348efb8
--- /dev/null
+++ b/37114-h/images/img218.jpg
diff --git a/37114-h/images/img219.jpg b/37114-h/images/img219.jpg
new file mode 100644
index 0000000..afc0b6a
--- /dev/null
+++ b/37114-h/images/img219.jpg
diff --git a/37114-h/images/img220.jpg b/37114-h/images/img220.jpg
new file mode 100644
index 0000000..b8765c1
--- /dev/null
+++ b/37114-h/images/img220.jpg
diff --git a/37114-h/images/img221.jpg b/37114-h/images/img221.jpg
new file mode 100644
index 0000000..58bb0f0
--- /dev/null
+++ b/37114-h/images/img221.jpg
diff --git a/37114-h/images/img222_bottom.jpg b/37114-h/images/img222_bottom.jpg
new file mode 100644
index 0000000..467e8a6
--- /dev/null
+++ b/37114-h/images/img222_bottom.jpg
diff --git a/37114-h/images/img222_left.jpg b/37114-h/images/img222_left.jpg
new file mode 100644
index 0000000..629b9aa
--- /dev/null
+++ b/37114-h/images/img222_left.jpg
diff --git a/37114-h/images/img222_right.jpg b/37114-h/images/img222_right.jpg
new file mode 100644
index 0000000..32bc9f4
--- /dev/null
+++ b/37114-h/images/img222_right.jpg
diff --git a/37114-h/images/img222_top.jpg b/37114-h/images/img222_top.jpg
new file mode 100644
index 0000000..a5be6fc
--- /dev/null
+++ b/37114-h/images/img222_top.jpg
diff --git a/37114-h/images/img222a.jpg b/37114-h/images/img222a.jpg
new file mode 100644
index 0000000..d96f769
--- /dev/null
+++ b/37114-h/images/img222a.jpg
diff --git a/37114-h/images/img222b.jpg b/37114-h/images/img222b.jpg
new file mode 100644
index 0000000..a167ae1
--- /dev/null
+++ b/37114-h/images/img222b.jpg
diff --git a/37114-h/images/img224.jpg b/37114-h/images/img224.jpg
new file mode 100644
index 0000000..38be496
--- /dev/null
+++ b/37114-h/images/img224.jpg
diff --git a/37114-h/images/img225.jpg b/37114-h/images/img225.jpg
new file mode 100644
index 0000000..365055e
--- /dev/null
+++ b/37114-h/images/img225.jpg
diff --git a/37114-h/images/img226.jpg b/37114-h/images/img226.jpg
new file mode 100644
index 0000000..8b3152c
--- /dev/null
+++ b/37114-h/images/img226.jpg
diff --git a/37114-h/images/img227.jpg b/37114-h/images/img227.jpg
new file mode 100644
index 0000000..86f8b85
--- /dev/null
+++ b/37114-h/images/img227.jpg
diff --git a/37114-h/images/img228.jpg b/37114-h/images/img228.jpg
new file mode 100644
index 0000000..4044910
--- /dev/null
+++ b/37114-h/images/img228.jpg
diff --git a/37114-h/images/img229.jpg b/37114-h/images/img229.jpg
new file mode 100644
index 0000000..70cebbe
--- /dev/null
+++ b/37114-h/images/img229.jpg
diff --git a/37114-h/images/img230.jpg b/37114-h/images/img230.jpg
new file mode 100644
index 0000000..cbf23c8
--- /dev/null
+++ b/37114-h/images/img230.jpg
diff --git a/37114-h/images/img231.jpg b/37114-h/images/img231.jpg
new file mode 100644
index 0000000..18e9b29
--- /dev/null
+++ b/37114-h/images/img231.jpg
diff --git a/37114-h/images/img232.jpg b/37114-h/images/img232.jpg
new file mode 100644
index 0000000..8197fbc
--- /dev/null
+++ b/37114-h/images/img232.jpg
diff --git a/37114-h/images/img233.jpg b/37114-h/images/img233.jpg
new file mode 100644
index 0000000..4174a8c
--- /dev/null
+++ b/37114-h/images/img233.jpg
diff --git a/37114-h/images/img234.jpg b/37114-h/images/img234.jpg
new file mode 100644
index 0000000..61f341e
--- /dev/null
+++ b/37114-h/images/img234.jpg
diff --git a/37114-h/images/img235.jpg b/37114-h/images/img235.jpg
new file mode 100644
index 0000000..01cc2e0
--- /dev/null
+++ b/37114-h/images/img235.jpg
diff --git a/37114-h/images/img236.jpg b/37114-h/images/img236.jpg
new file mode 100644
index 0000000..bde87e3
--- /dev/null
+++ b/37114-h/images/img236.jpg
diff --git a/37114-h/images/img237.jpg b/37114-h/images/img237.jpg
new file mode 100644
index 0000000..feacbd5
--- /dev/null
+++ b/37114-h/images/img237.jpg
diff --git a/37114-h/images/img238.jpg b/37114-h/images/img238.jpg
new file mode 100644
index 0000000..53c6e4f
--- /dev/null
+++ b/37114-h/images/img238.jpg
diff --git a/37114-h/images/img239.jpg b/37114-h/images/img239.jpg
new file mode 100644
index 0000000..da06318
--- /dev/null
+++ b/37114-h/images/img239.jpg
diff --git a/37114-h/images/img240.jpg b/37114-h/images/img240.jpg
new file mode 100644
index 0000000..08576a6
--- /dev/null
+++ b/37114-h/images/img240.jpg
diff --git a/37114-h/images/img241.jpg b/37114-h/images/img241.jpg
new file mode 100644
index 0000000..5cb804b
--- /dev/null
+++ b/37114-h/images/img241.jpg
diff --git a/37114-h/images/img242.jpg b/37114-h/images/img242.jpg
new file mode 100644
index 0000000..b05882a
--- /dev/null
+++ b/37114-h/images/img242.jpg
diff --git a/37114-h/images/img243.jpg b/37114-h/images/img243.jpg
new file mode 100644
index 0000000..3acb829
--- /dev/null
+++ b/37114-h/images/img243.jpg
diff --git a/37114-h/images/img244.jpg b/37114-h/images/img244.jpg
new file mode 100644
index 0000000..f0d952a
--- /dev/null
+++ b/37114-h/images/img244.jpg
diff --git a/37114-h/images/img245.jpg b/37114-h/images/img245.jpg
new file mode 100644
index 0000000..1efcb70
--- /dev/null
+++ b/37114-h/images/img245.jpg
diff --git a/37114-h/images/img246.jpg b/37114-h/images/img246.jpg
new file mode 100644
index 0000000..412b9b6
--- /dev/null
+++ b/37114-h/images/img246.jpg
diff --git a/37114-h/images/img247.jpg b/37114-h/images/img247.jpg
new file mode 100644
index 0000000..a14d218
--- /dev/null
+++ b/37114-h/images/img247.jpg
diff --git a/37114-h/images/img248.jpg b/37114-h/images/img248.jpg
new file mode 100644
index 0000000..9c70bc4
--- /dev/null
+++ b/37114-h/images/img248.jpg
diff --git a/37114-h/images/img249.jpg b/37114-h/images/img249.jpg
new file mode 100644
index 0000000..8ee5f9a
--- /dev/null
+++ b/37114-h/images/img249.jpg
diff --git a/37114-h/images/img250.jpg b/37114-h/images/img250.jpg
new file mode 100644
index 0000000..62e7399
--- /dev/null
+++ b/37114-h/images/img250.jpg
diff --git a/37114-h/images/img251.jpg b/37114-h/images/img251.jpg
new file mode 100644
index 0000000..68d9e7f
--- /dev/null
+++ b/37114-h/images/img251.jpg
diff --git a/37114-h/images/img252.jpg b/37114-h/images/img252.jpg
new file mode 100644
index 0000000..c8199b6
--- /dev/null
+++ b/37114-h/images/img252.jpg
diff --git a/37114-h/images/img253.jpg b/37114-h/images/img253.jpg
new file mode 100644
index 0000000..2bcd6ee
--- /dev/null
+++ b/37114-h/images/img253.jpg
diff --git a/37114-h/images/img254.jpg b/37114-h/images/img254.jpg
new file mode 100644
index 0000000..094cdd5
--- /dev/null
+++ b/37114-h/images/img254.jpg
diff --git a/37114-h/images/img255.jpg b/37114-h/images/img255.jpg
new file mode 100644
index 0000000..7ca31a0
--- /dev/null
+++ b/37114-h/images/img255.jpg
diff --git a/37114.txt b/37114.txt
new file mode 100644
index 0000000..7ff87ae
--- /dev/null
+++ b/37114.txt
@@ -0,0 +1,11415 @@
+Project Gutenberg's A History of the Cries of London, by Charles Hindley
+
+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
+
+
+Title: A History of the Cries of London
+       Ancient and Modern
+
+Author: Charles Hindley
+
+Illustrator: Thomas Bewick
+             John Bewick
+
+Release Date: August 17, 2011 [EBook #37114]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE CRIES OF LONDON ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive.)
+
+
+
+
+
+
+
+
+
+  [_SECOND EDITION.--GREATLY ENLARGED._]
+
+
+  A HISTORY
+  OF THE
+  Cries of London.
+
+  _Woodcuts by Thomas & John Bewick_,
+  And their Pupils, &c.
+
+
+  [ENTERED AT STATIONERS' HALL.     _All Rights Reserved._]
+
+
+
+
+[Illustration: HOGARTH'S PIEMAN.
+
+"We frequently meet with the pieman in old prints; and, in Hogarth's
+'March to Finchley,' there he stands in the very centre of the crowd,
+grinning with delight at the adroitness of one robbery, while he is
+himself the victim of another. We learn from this admirable figure by the
+greatest painter of English life, that the pieman of the last century
+perambulated the streets in professional costume; and we gather further,
+from the burly dimensions of his wares, that he kept his trade alive by
+the laudable practice of giving 'a good pennyworth for a penny.' Justice
+compels us to observe that his successors of a later generation have not
+been very conscientious observers of this maxim."]
+
+
+
+
+  A HISTORY OF THE
+  CRIES OF LONDON.
+
+  Ancient and Modern.
+
+
+  "_Let none despise the merry, merry Cries
+  Of famous London Town._"
+
+
+  SECOND EDITION.
+  GREATLY ENLARGED AND CAREFULLY REVISED
+
+
+  BY CHARLES HINDLEY, ESQ.,
+
+  _Editor of "The Old Book Collector's Miscellany; or, a Collection of
+  Readable Reprints of Literary Rarities," "Works of John Taylor--the
+  Water Poet," "The Roxburghe Ballads," "The Catnach Press," "The
+  Curiosities of Street Literature," "The Book of Ready Made Speeches,"
+  "Life and Times of James Catnach, late of the Seven Dials, Ballad
+  Monger," "Tavern Anecdotes and Sayings," etc._
+
+
+  London:
+  CHARLES HINDLEY
+  [THE YOUNGER,]
+  BOOKSELLERS' ROW, ST. CLEMENT DANES,
+  STRAND, W. C.
+
+
+  London:--
+  E. A. BECKETT, PRINTER, 111 & 113 KINGSLAND ROAD.
+
+
+  TO HORATIO NOBLE PYM, ESQ.,
+  OF HARLEY STREET, CAVENDISH SQUARE,
+  AS _A TESTIMONIAL OF ESTEEM_
+  FOR HIS PRIVATE WORTH,
+  AND AS
+  A PATRON OF LITERATURE:
+
+  A HISTORY OF THE CRIES OF LONDON,
+  Ancient and Modern,
+
+  IS RESPECTFULLY DEDICATED BY
+  Charles Hindley.
+
+  RECTORY ROAD, STOKE NEWINGTON,
+  LONDON, N.
+
+
+[Illustration: NOTICE.
+
+On or about LADY DAY, 1885, will be published for the same Author, THE
+HISTORY OF The Catnach Press. To be followed by a New Edition of the
+CURIOSITIES OF STREET LITERATURE]
+
+
+
+
+[Illustration: INTRODUCTION.]
+
+  Oh, dearly do I love "Old Cries,"
+  Your "Lilies all a'blowing!"
+  Your blossoms blue, still wet with dew,
+  "Sweet Violets all a'growing!"
+                                        _Eliza Cook._
+
+The idea of printing and publishing "A History of the Cries of
+London--Ancient and Modern," somewhat in the manner and style here
+presented to the public, was first suggested to me by the late Rev:--
+
+Thomas Hugo.
+
+Author of "The Bewick Collector," 1866. The Supplement to same, 1868, and
+"Bewick's Woodcuts," 1870, etc., and at the time, Rector of West Hackney
+Church, Stoke Newington, London, N., in the year 1876.
+
+
+While actively engaged in preparing for publication "The Life and Times of
+James Catnach late of Seven Dials: Ballad Monger,"--to which the present
+work may be considered a sequel, and the completion of the series on the
+subject of the--
+
+  "CURIOSITIES OF STREET LITERATURE,"
+
+I had frequently to consult the pages of "The Bewick Collector," and other
+works of a kindred character for information respecting the elder Catnach,
+who, by himself, and afterwards in conjunction with his partner, and
+subsequently his successor, William Davison, employed Thomas Bewick, the
+famous English artist who imparted the first impulse to the art of wood
+engraving, for several of their Alnwick publications. This led to my
+communicating with the Rev. Thomas Hugo, wherein I informed him of my
+plans, and of the object I had in view with regard to the publication I
+was then preparing for the press: at the same time soliciting his
+co-operation, especially in reference to the loan of some of the Bewick
+wood-cuts, formerly possessed by the elder Catnach, while he was in
+business as a printer, in Narrowgate Street, Alnwick, an ancient borough
+and market-town in Northumberland.
+
+In answer to my application, I received the letters that follow:--
+
+    THE RECTORY, WEST HACKNEY,
+    STOKE NEWINGTON, LONDON, N.
+
+    _21st August, 1876._
+
+    DEAR SIR,
+
+    I shall be glad to aid you in any way. I must ask you to see me on
+    some _morning_, between nine and eleven o'clock, and to make a
+    previous appointment, as I am a working man, with plenty to do.
+
+      Yours sincerely,
+        Thomas Hugo.
+
+    CHARLES HINDLEY, ESQ.,
+    76, Rose Hill Terrace,
+    Brighton.
+
+
+    WEST HACKNEY RECTORY,
+    AMHURST ROAD, WEST,
+    STOKE NEWINGTON, N.
+
+    Tuesday Night. [_13th September, 1876._]
+
+    DEAR SIR,
+
+    I have been expecting you for the last ten days. In a few hours I am
+    leaving town for my holiday; I shall not return till far on in
+    October.
+
+    As Brighton is but a short way off, I shall hope to see you on my
+    return. You shall be welcome to the loan of some Blocks. You had
+    better examine my folio volume, called "Bewick's Woodcuts," in the
+    British Museum, and give me the numbers of the cuts, when I will see
+    what I can do for you.
+
+      Yours sincerely,
+        Thomas Hugo.
+
+    MR. C. HINDLEY, SENR.,
+    (of Brighton,)
+    8, Booksellers' Row,
+    Strand, W.C.
+
+
+    WEST HACKNEY RECTORY,
+    AMHURST ROAD, WEST,
+    STOKE NEWINGTON, N.
+
+    _8th Nov., 1876._
+
+    Dear Sir,
+
+    I can see you between 9.30 and 10.30 on _Friday_ Morning.
+
+    Be so good as to advise me beforehand _what_ you wish to see.
+
+      Yours sincerely,
+        Thomas Hugo.
+
+    C. HINDLEY, ESQ.,
+    (of Brighton,)
+    8, Booksellers' Row,
+    Strand, W.C.
+
+The proposed interview took place at the Rectory-house, on the 10th of
+November, and was of a very delightful and intellectual character. The
+reverend gentleman found me an apt scholar in all matters with respect to
+his favourite "Hobby-horse," viz:--the Brothers Bewick and their Works.
+All the rich and rare Bewickian gems were placed before me for inspection,
+and all the desired assistance I needed at his hands was freely offered
+and ultimately carried out. During our conversation the learned Rector
+said:--
+
+    "I look upon it as a curious fact that you should have been of late
+    occupying your leisure in working out your own ideas of Catnach and
+    his Times, because, while I was in the office at Monmouth-court, where
+    I went several times to look out all the examples of Bewick I could
+    find, and which I afterwards purchased of Mr. Fortey--the person who
+    has succeeded to the business of the late James Catnach, I one day
+    caught nearly the same notion, but it was more in reference to OLD
+    LONDON CRIES: as I possess a fairly large collection of nicely
+    engraved wood-blocks on the subject, that I met with in 'Canny
+    Newcassel,'--in some of which it is asserted, and can hardly be
+    denied, that Thomas Bewick had a hand. I have since used the set in my
+    'BEWICK'S WOODCUTS.' But, alas!--_Tempus fugit_, and all thoughts on
+    the subject got--by reason of my having so much to do and think
+    of--crowded out of my memory. Now, sir, as you seem to have much more
+    leisure time than myself, I shall be happy to turn the subject-matter
+    over to you and to assist in every way in my power."
+
+I thanked the rev. gentleman, at the same time promising to bear the
+suggestion in mind for a future day.
+
+    WEST HACKNEY RECTORY, AMHURST ROAD, WEST,
+    STOKE NEWINGTON, N., _14th Nov., 1876_.
+
+    DEAR SIR,
+
+    Accept my best thanks for your letter, books, and promises of future
+    gifts, all of which I cordially accept.
+
+    To-morrow, if all be well, I shall have time to look out the Blocks,
+    and they shall be with you soon afterwards.
+
+      Very truly yours,
+        Thomas Hugo.
+
+    C. HINDLEY, ESQ., Rose Hill Terrace,
+    Brighton.
+
+
+    W. H. R. _29th Nov._ [1876.]
+
+    DEAR SIR,
+
+    Herewith the Block. I have made a few corrections (of fact) in your
+    proof.
+
+      Yours sincerely,
+        T. H.
+
+    C. HINDLEY, ESQ., 76, Rose Hill Terrace,
+    Brighton.
+
+The somewhat sudden and unexpected death of the Rev. Thomas Hugo on the
+last day of the year 1876 is now a matter of history.
+
+
+                   In Memoriam.
+              The Rev. T. HUGO, M.A.
+          _Rector of West Hackney Church._
+  Departed this life, Sunday, December 31st, 1876.
+
+  On Christmas Day, before the altar kneeling,
+    Taking that Food by which our souls are fed;
+  Around us all a solemn silence stealing,
+    And broken only by the priests' slow tread.
+
+  Yes, he was there, our good and earnest Rector,
+    And firmly strove his weakness to withstand,
+  Giving the cup, he, the pure Faith's protector--
+    That cup of blessing with a trembling hand.
+
+  His church, for which he felt such admiration,
+    Was deck'd with flow'rs and evergreens that morn,
+  In praise to Christ, who died for our salvation,
+    And deign'd as a weak infant to be born.
+
+  Ah! little did we think that happy morning--
+    So truly, bravely kept he at his post--
+  When next a Sabbath came, to us his warning
+    And kind, yet noble, presence would be lost.
+
+  That solemn sound, which tells of souls departed,
+    Took the glad place of that which calls to prayer,
+  And his loved people, shocked and broken-hearted,
+    Could hardly enter, for _he_ was not there.
+
+  But when they heard it was his last desire
+    That they should meet at midnight as was said,
+  They met by thousands, mov'd with holy fire,
+    And spoke in whispers of their shepherd--_dead_.
+
+  No, no, not dead, but calm in Jesus sleeping;
+    Free from all sorrow, all reproach, all pain:
+  And though he leaves a congregration weeping
+    Their earthly loss is his eternal gain.
+
+  He loved the weak, and all the mute creation,
+    In generous deeds he ever took his part;
+  At Death, the _thrice_-repeated word _Salvation_
+    Showed the firm trust of that true, tender heart.
+
+         *       *       *       *       *
+
+  Again we meet: they come his coffin bringing
+    Midst solemn chant, and deck'd with purest flowers,
+  And feel, whilst we his own sweet hymn are singing,
+    The joy is _his_, the sad rememberance _ours_.
+                                        Mrs. HILDRETH.
+
+
+At the sale of the HUGO COLLECTION, I purchased among many others:--
+
+    LOT 405. London Cries, also used in Newcastle and York Cries, two very
+    pretty series of early Cries, some with back-grounds, from Hodgson's
+    office, and R. Robinson, Newcastle--[51 _blocks_],
+
+To carry out the suggestion before-mentioned, and to utilize the very
+pretty series of fifty-one woodcuts as above, and other Bewick,
+Bewickiana, and _ultra anti_-Bewickian woodcut blocks I possess, formed
+and accumulated by reason of my published works: "The Catnach Press,"
+1868. "Curiosities of Street Literature," 1871. And "Life and Times of
+James Catnach," 1878.
+
+In collecting information on the subject of "The Cries of London--Ancient
+and Modern," I have availed myself of all existing authorities within
+reach, and therefore, to prevent the necessity of continual reference,
+here state that I have drawn largely from Charles Knight's "London."
+Mayhew's "London Labour and the London Poor." Hone's "Every-Day Book." An
+article on Old London Cries, in "Fraser's Magazine." "Cuthbert Bede." Mr.
+Edwin Goadby's "The England of Shakespeare,"--an excellent Text Book,
+forming one of Cassell's Popular Shilling Library. "Our Milk Supply," from
+the columns of _The Daily Telegraph_. Charles Manby Smith's "Curiosities
+of London Life," and his "Little World of London." And what from various
+other sources was suitable for my purpose.
+
+To the one lady, and many gentlemen friends who have responded to my
+enquiries for advice, material, and assistance, and by which they have so
+greatly enriched the contents of this volume, I beg to express my best
+thanks. I must in a more particular manner mention the names of--the one
+lady first--Mrs. Rose Hildreth; then Mr. John Furbor Dexter, Mr. William
+Mansell; next Messrs. W. H. & L. Collingridge, the Proprietors of _The
+City Press_, Aldersgate-street, London, for the use of the following
+woodcuts that have appeared in the pages of their ever-entertaining work,
+"Y{e} OLD CITY," by Aleph.: 1.--Shakespeare's London; 2.--Aldersgate;
+3.--Cheapside Cross; 4.--Old Stage Waggon; 5.--Baynard's Castle; 6.--Old
+London Shop; 7.--St. Pauls Cathedral. I have also to express my cordial
+thanks to Messrs. Longman, Green & Co., who kindly allowed the use of
+1.--Colebrook Cottage; 2.--The Old Queen's Head; and 3.--Canonbury Tower.
+From Howitt's "Northern Heights of London." Messrs. Chatto & Windus,
+Piccadilly: 1.--Charles Lamb's House, Enfield; 2.--House at Edmonton,
+where Charles Lamb died; 3.--Edmonton Church. Messrs. Marks and Sons,
+Publishers of all kinds of Fancy Stationery, Toy-books, Valentines, &c.,
+72, Houndsditch, for the eight blocks used in their "Cries of London," at
+pages 351 to 358. Messrs. Goode, Toy-book Manufacturers, Clerkenwell
+Green. Mr. John W. Jarvis, Mr. William Briggs, Mr. G. Skelly, Alnwick, and
+Dr. David Morgan, Brighton.
+
+       *       *       *       *       *
+
+SECOND EDITION.
+
+The rapid sale of the whole of the First Edition of this work--about one
+half of which went Due-North, that is to say, in and round about "Canny
+Newcassel" (the home-land of the Brothers Bewick), America taking the
+remainder,--will sufficiently explain the re-appearance of "A History of
+the Cries of London" in its new, and, the Author ventures to think,
+improved form.
+
+  RECTORY ROAD, STOKE NEWINGTON,
+  LONDON, N.
+
+  _Lady-Day._, 1884.
+
+
+
+
+  CATALOGUE OF THE
+  CHOICE AND VALUABLE COLLECTION
+  OF BOOKS, WOOD ENGRAVINGS,
+  AND ENGRAVED WOODCUT BLOCKS,
+  Manuscripts, Autograph Letters & Proof Impressions,
+  BY OR RELATING TO THOMAS AND JOHN BEWICK,
+  AND THEIR PUPILS,
+  GLEANED FROM EVERY AVAILABLE SOURCE BY THE LATE
+
+
+  REV. THOMAS HUGO, M.A., F.S.A.,
+
+  AUTHOR OF "THE BEWICK COLLECTOR," 1866;
+  "SUPPLEMENT TO SAME," 1868; AND
+  "BEWICK WOODCUTS," (folio) 1870.
+
+
+  WHICH WILL BE SOLD BY AUCTION,
+  BY MESSRS.
+  SOTHEBY, WILKINSON & HODGE,
+
+  _Auctioneers of Literary Property & Works illustrative of the Fine Arts_,
+  At their House, No. 13, Wellington Street, Strand, W.
+  On WEDNESDAY, 8th of AUGUST, 1877, and following Day,
+  AT ONE O'CLOCK PRECISELY.
+  May be Viewed Two Days prior, and Catalogues had.
+
+  Dryden Press: J. Davy and Sons. 137, Long Acre.
+
+
+
+
+[Illustration]
+
+GOLDSMITH AND PARNELL POEMS: Published by William Bulmer, _Shakespeare
+Printing Office_, London, 1795. Embellished with thirteen designs on wood.
+Most of the cuts were drawn by Robert Johnson and John Bewick, and all
+were engraved by Thomas Bewick, except the vignettes on the title-pages,
+and the large cut of "The Sad Historian," and the tail-piece at the end of
+the volume, which was done by John Bewick.
+
+The most magnificent result of the efforts of the wood-engraver,
+type-founder, paper-maker, and printer, "that ever was produced in any
+age, or in any country." Bulmer realized, after paying all expenses, a
+profit of L1,500 on the work these exquisite blocks adorned.
+
+
+[Illustration: [_John Bewick, del. et Sculp._]
+
+THE SAD HISTORIAN.
+
+_Published January 1, 1795, by William Bulmer, at the Shakespeare Printing
+Office, Cleveland Row._]
+
+
+[Illustration: _John Johnson, del._] [_T. Bewick, Sculp._
+
+THE HERMIT AT HIS MORNING DEVOTIONS.
+
+_Published January 1, 1795, by William Bulmer, at the Shakespeare Printing
+Office, Cleveland Row._]
+
+
+[Illustration: _R Johnson, del._] [_T. Bewick, Sculp._
+
+THE HERMIT, ANGEL, AND GUIDE.
+
+_Published January 1, 1795, by William Bulmer, at the Shakespeare Printing
+Office, Cleveland Row._]
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+  THE CHASE.
+  _A POEM_
+  BY WILLIAM SOMERVILE, ESQ.
+
+  LONDON:
+  Printed by W. Bulmer & Co.,
+  Shakespeare Printing Office, Cleveland Row.
+
+  1796.]
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+SOMERVILE'S CHASE.]
+
+This work contains the best specimens of John Bewick's abilities as a
+designer; all the cuts were drawn by him except one, but none of them were
+engraved by him. Shortly after he had finished the drawings on the blocks,
+he left London and returned to the North in consequence of ill-health.
+They were engraved by Thomas Bewick, with the exception of the tail-piece
+at the end of the volume, which was engraved by Charles Nesbit, one of his
+pupils.
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+SOMERVILE'S CHASE.]
+
+The cuts in the Chase, on the whole, are superior in point of execution to
+those in the Poems of Goldsmith and Parnell. Many conceive it impossible
+that such delicate effects could be produced from blocks of wood, and his
+late Majesty (George III.) ordered his bookseller, Mr. George Nicolls, to
+procure the blocks for his inspection, that he might convince himself of
+the fact.
+
+
+[Illustration: _John Bewick, del._] [_T. Bewick, sculp._
+
+SOMERVILE'S CHASE.]
+
+Speaking of the death of John Bewick, which took place at Ovingham on the
+5th of December, 1795,--aged 35, a writer in the _Gentleman's Magazine_
+says, "The works of this young artist will be held in estimation, and the
+engravings to 'Somervile's Chase' will be a monument of fame of more
+celebrity than marble can bestow."
+
+
+[Illustration: THE PEACOCK. (_Pavo cristatus_, Linn.----_Le Paon_, Buff.)
+(From Bewick's Land Birds.)]
+
+[Illustration: THE COMMON SANDPIPER. (Bewick's Water Birds).]
+
+[Illustration: THE WATER OUZEL. (Bewick's Water Birds.)]
+
+[Illustration: THE SNIPE. (Bewick's Water Birds.)]
+
+[Illustration: THE REDSTART. (Bewick's Water Birds.)]
+
+
+[Illustration: _FIRST STATE!_]
+
+  "THE LITTLE HOUSE" and PIG, &C.
+
+  "Snug in an English garden's shadiest spot
+    A structure stands, and welcomes many a breeze;
+  Lonely and simple as a ploughman's cot!
+    Where monarchs may unbend who wish for ease."
+                                        COLMAN'S--_Broad Grins_.
+
+[Illustration: _SECOND STATE!!_]
+
+Among the very many and all much admired Tail-pieces drawn and engraved by
+Bewick himself, the above, which, in its--_First state!_ is at page 285 of
+vol. i. of 'A History of British Birds,' 1797, has obtained by far the
+greatest notoriety. It appears that soon after publication, it was pointed
+out to Bewick that the nakedness of a prominent part of his subject
+required to be a little more covered--_draped_! So one of his apprentices
+was employed to blacken over with ink all the copies then remaining
+unsold. But by the time Bewick received the 'gentle hint,' a goodly number
+had been delivered to local subscribers and the London agents--Messrs. G.
+G. and J. Robinson. It is these '_not inked!_' copies that are now so
+readily sought after by all "Bewick Collectors."
+
+[Illustration: _THIRD STATE!!!_]
+
+For the next, and all subsequent editions a plug was inserted in the
+block, and the representation of two bars of wood engraved upon it, to
+hide the _part_! However, it seems that before the block was thus altered
+and amended, many impressions on various papers were taken of the--_First
+state!_ The late Rev. Hugo possessed several of such, one of which--_Proof
+on paper_--he gave me on the 10th of November, 1876.--C. H.
+
+
+[Illustration: THE WATER RAIL. (Bewick's Water Birds.)]
+
+[Illustration: THE RED-NECKED GREBE. (Bewick's Water Birds.)]
+
+[Illustration: THE CHILLINGHAM WILD BULL. Used in Richardson's Table Book,
+Vol. vi p. 15. Attributed to T. Bewick.]
+
+[Illustration: _T. Bewick._ GIN AND BITTERS. The Sportsman's Cabinet,
+1803.]
+
+[Illustration: "WILLIE BREW'D A PECK O'MAUT."]
+
+The Poetical Works of Robert Burns. Engravings on Wood by Bewick, from
+designs by Thurston. Alnwick: Printed by Catnach and Davison, 1808. And
+London: Printed for T. Cadell and Davis, Strand, 1814. With cuts
+previously used in Davison's publications.
+
+[Illustration]
+
+"Many of the engravings produced for Burns' Poems, are of a very superior
+class, and cannot be too highly commended."--_Hugo._
+
+[Illustration: "_And for whole days would wander in those places where she
+had been used to walk with Henry._"
+
+  THE HISTORY OF CRAZY JANE.
+  By Sarah Wilkinson.
+  With a Frontispiece by Bewick.
+  ALNWICK: Printed by W. DAVISON, 1813.]
+
+[Illustration: JACKSON'S: A TREATISE ON WOOD ENGRAVING. _See Hugo's
+"Bewick Collector."--The Supplement._]
+
+[Illustration: THE REPOSITORY OF SELECT LITERATURE.
+
+  Adorned with beautiful Engravings by Bewick.
+  ALNWICK: Printed by W. DAVISON, 1808.]
+
+[Illustration: ARMS OF NEWCASTLE. (_Signed_ Bewick, _Sculpt._)]
+
+[Illustration: BULL PURSUING A MAN.
+
+  THE POETICAL WORKS OF ROBERT FERGUSON, with his Life.
+  Engravings on Wood by BEWICK.]
+
+[Illustration: "SANDIE AND WILLIE."
+
+  THE POETICAL WORKS OF ROBERT FERGUSON.
+  Alnwick: Printed by W. DAVISON.--1814.]
+
+[Illustration: SCOTTISH BALLADS AND SONGS. Printed and Sold by G.
+NICHOLSON, Poughnill, Near Ludlow.]
+
+[Illustration: G. NICHOLSON, PRINTER, Poughnill, near Ludlow.]
+
+[Illustration: G. NICHOLSON, Printer, Poughnill, near Ludlow.]
+
+[Illustration: G. NICHOLSON, Printer.]
+
+[Illustration:
+
+  "_Not to return, how painful the remembrance
+                        Of joys departed,_"
+
+  BLAIR'S GRAVE.
+  Alnwick: Printed by CATNACH and DAVISON,--1808.]
+
+[Illustration: FROM NEWCASTLE. HUGO'S Bewick's Woodcuts, No. 1333.]
+
+[Illustration: VIEW OF STRAWBERRY HILL. With Shield of Arms of the Hon.
+Horace Walpole.]
+
+[Illustration: Mr. Bigge's cut of the FIGURE OF LIBERTY.]
+
+[Illustration: TYNE-SIDE SCENE, With Shield of Arms.]
+
+[Illustration: A CHURCHYARD MEMORIAL CUT.]
+
+[Illustration]
+
+[Illustration]
+
+[Illustration: THE SPORTSMAN'S CALENDER. 1818. HUGO'S "_Bewick's
+Woodcuts_," No. 1309.]
+
+[Illustration]
+
+[Illustration: THE DOG IN THE MANGER.]
+
+[Illustration]
+
+[Illustration: HASTIE'S READING EASY. From Angus's Office, where the book
+was printed.]
+
+
+"Bewick cut for Mrs. Angus, twenty-four figures for the Alphabet:--The Fox
+and Grapes, the Crow and Pitcher, the Foolish Stag, Joseph and his
+Brethren, etc. All of them excellent cuts. The fortieth edition was
+printed in 1814, and the seventy-third in 1839, so that they must have
+been done in his early days."
+
+MS. Note of the late Mr. John Bell, of Newcastle. See Hugo's _Bewick's
+Woodcuts_. No. 240-276.
+
+[Illustration: FOX AND THE GRAPES.]
+
+[Illustration: THE CROW AND PITCHER.]
+
+[Illustration: THE FOOLISH STAG.]
+
+[Illustration: JOSEPH AND HIS BRETHREN.]
+
+[Illustration: _T. Bewick.--Sculpt._]
+
+[Illustration: _T. Bewick.--Sculpt._]
+
+[Illustration: [_R. Johnson, del. Charlton Nesbit, sculpt._]
+
+  Cut to the memory of ROBERT JOHNSON.
+  _Bewick's favourite Pupil._]
+
+
+On the South side of Ovingham Church there is this tablet--
+
+  In Memory of
+  ROBERT JOHNSON,
+  PAINTER AND ENGRAVER.
+  A NATIVE OF THIS PARISH.
+  Who died at Kenmore in Perthshire,
+  _The 29th, of October, 1796_.
+  IN THE 26th, YEAR OF HIS AGE.
+
+
+[Illustration: THOMAS BEWICK.]
+
+Thomas Bewick died at his house on the Windmill-Hills, Gateshead, November
+the 8th, 1828, in the seventy-sixth year of his age, and on the 13th he
+was buried in the family burial-place at Ovingham, where his parents,
+wife, and brother were interred.
+
+[Illustration]
+
+[Illustration]
+
+[Illustration: "O death, where is thy sting? O grave, where is thy
+victory?"]
+
+
+
+
+A HISTORY OF THE CRIES OF LONDON.
+
+
+
+
+  A HISTORY
+  OF THE
+  CRIES OF LONDON
+
+  (Ancient & Modern)
+
+
+  SECOND EDITION
+
+  Greatly Enlarged and
+  Carefully Revised.
+
+
+
+
+HISTORY OF THE CRIES OF LONDON.
+
+  "Let none despise the merry, merry cries
+  Of famous London Town":--_Rex. Ballad._
+
+
+The cries of London have ever been very popular, whether as broadsides,
+books, ballads, or engravings. Artists of all countries and times have
+delighted to represent those peculiarities of costume and character which
+belong to the history of street-cries, and the criers thereof. Annibale
+Carracci--1560-1609--has immortalized the cries of Bologna; and from the
+time of Elizabeth to that of Queen Victoria, authors, artists and printers
+combined, have presented the Cries and Itinerant Trades of London, in
+almost numberless forms, and in various degrees of quality, from the
+roughest and rudest wood-cut-blocks to the finest of copper and steel
+plate engravings, or skilfully wrought etchings. While many of the early
+English dramatists often introduced the subject, eminent composers were
+wont to "set to music" as catch, glee, or roundelaye, all the London Cries
+then most in vogue,--"They were, I ween, ryght merrye songs, and the
+musick well engraved."
+
+The earliest mention of London trade-cries is by Dan John Lydgate
+(1370-1450), a Monk of the Benedictine Abbey of Bury St. Edmund's, the
+friend and immediate follower of Geoffrey Chaucer, and one of the most
+prolific writers of his age this country has produced. To enumerate
+Lydgate's pieces would be to write out the catalogue of a small library.
+No poet seems to have possessed a greater versatility of talents. He moves
+with equal ease in every mode of composition; and among his minor pieces
+he has left us a very curious poem entitled "London Lyckpeny," _i.e._,
+_London Lackpenny_: this has been frequently printed; by Strutt, Pugh,
+Nicolas, and partly by John Stow in "A Survey of London," 1598. There are
+two copies in the British Museum, Harl. MSS., 367 and 542. We somewhat
+modernize the text of the former and best of these copies, which differ
+considerably from each other.
+
+  "O Mayster Lydgate! the most dulcet sprynge
+  Of famous rethoryke, with balade ryall
+  The chefe orygynal."
+                      _"The Pastyme of Plasure," by Stephen Hawes, 1509._
+
+In "London Lackpenny" we have a most interesting and graphic picture of
+the hero coming to Westminster, in term time, to obtain legal redress for
+the wrong he had sustained, and explain to a man of law his case--"_How my
+goods were defrauded me by falsehood_," but being without the means to pay
+even the preliminary fee, he was sent--"from pillar to post," that is from
+one Law-court to another, but although he "_crouched, kneeled, prayed for
+God's sake, and Mary's love_, he could not get from one the--_mum of his
+mouth_." So leaving the City of Westminster--minus his hood, he walked on
+to the City of London, which he tells us was crowded with peripatetic
+traders, but tempting as all their goods and offers were, his
+_lack-of-money_ prevented him from indulging in any of them--But, however,
+let _Lackpenny_, through the ballad, speak for himself:--
+
+[Illustration: London Lackpenny.]
+
+  To London once my steps I bent,
+    Where truth in no wise should be faint,
+  To Westminster-ward I forthwith went,
+    To a man of law to make complaint,
+    I said, "for Mary's love, that Holy saint!
+  Pity the poor that would proceed,"
+  But, for lack of money, I could not speed.
+
+  And as I thrust the _prese_ among, [crowd]
+    By froward chance my hood was gone,
+  Yet for all that I stayed not long,
+    Till to the King's Bench I was come,
+    Before the Judge I kneeled anon,
+  And prayed him for God's sake to take heed;
+  But, for lack of money, I might not speed.
+
+  Beneath them sat Clerks a great rout,
+    Which fast did write by one assent,
+  There stood up one and cryed about,
+    Richard, Robert, and John of Kent.
+    I wist not well what this man meant,
+  He cried so thick there indeed,
+  But he that lacked money, might not speed.
+
+  Unto the Common-place _I yode thoo_, [I went then]
+    Where sat one with a silken hood;
+  I did him reverence, for I ought to do so,
+    And told him my case as well as I could,
+    How my goods were defrauded me by falsehood.
+  I gat not a mum of his mouth for my meed,
+  And, for lack of money, I might not speed.
+
+  Unto the Rolls I gat me from thence,
+    Before the clerks of the Chancery,
+  Where many I found earning of pence,
+    But none at all once regarded me,
+    I gave them my plaint upon my knee;
+  They liked it well, when they had it read:
+  But, lacking money, I could not speed.
+
+  In Westminster Hall I found out one,
+    Which went in a long gown of _ray_; [velvet]
+  I crouched and kneeled before him anon,
+    For Mary's love, of help I him pray.
+    "I wot not what thou meanest" gan he say:
+  To get me thence he did me bede,
+  For lack of money, I could not speed.
+
+  Within this Hall, neither rich nor yet poor
+    Would do for me ought, although I should die:
+  Which seeing, I gat me out of the door,
+    Where Flemings began on me for to cry:
+    "Master, what will you _copen or buy_? [chap or exchange]
+  Fine felt hats, or spectacles to read?
+  Lay down your silver, and here you may speed."
+
+Spectacles to read before printing was invented must have had a rather
+limited market; but we must bear in mind where they were sold. In
+Westminster Hall there were lawyers and rich suitors
+congregated,--worshipful men, who had a written law to study and expound,
+and learned treatises diligently to peruse, and titles to hunt after
+through the labyrinths of fine and recovery. The dealer in spectacles was
+a dealer in hats, as we see; and the articles were no doubt both of
+foreign manufacture. But lawyers and suitors had also to feed, as well as
+to read with spectacles; and on the Thames side, instead of the
+coffee-houses of modern date, were tables in the open air, where men every
+day ate of "_bread, ribs of beef, both fat and full fine_," and drank
+jollily of "_ale and wine_," as they do now at a horse-race:--
+
+  Then to Westminster Gate I presently went,
+    When the sun was at high prime:
+  Cooks to me, they took good intent,
+    And proffered me bread, with ale and wine,
+    Ribs of beef, both fat and full fine;
+  A fair cloth they gan for to spread,
+  But, wanting money, I might not there speed.
+
+Passing from the City of Westminster, through the village of Charing and
+along Strand-side, to the City of London, the cries of food and feeding
+were first especially addressed to those who preferred a vegetable diet,
+with dessert and "_spice, pepper, and saffron_" to follow. "_Hot peascod
+one began to cry_," Peascod being the shell of peas; the _cod_ what we now
+call the _pod_:--
+
+  "Were women as little as they are good,
+  A peascod would make them a gown and hood."
+
+"_Strawberry ripe, and cherries in the rise._" Rise--branch, twig, either
+a natural branch, or tied on sticks as we still see them.
+
+  Then unto London I did me hie,
+    Of all the land it beareth the prize;
+  Hot peascods! one began to cry;
+    Strawberry ripe, and Cherries in the rise!
+    One bade me come near and buy some spice;
+  Pepper and saffron they gan me _bede_; [offer to me]
+  But, for lack of money, I might not speed.
+
+In Chepe (Cheapside) he saw "_much people_" standing, who proclaimed the
+merits of their "_velvets, silk, lawn, and Paris thread_." These, however,
+were shopkeepers; but their shops were not after the modern fashion of
+plate-glass windows, and carpeted floors, and lustres blazing at night
+with a splendour that would put to shame the glories of an eastern palace.
+They were rude booths, the owners of which bawled as loudly as the
+itinerants; and they went on bawling for several centuries, like butchers
+in a market, so that, in 1628, Alexander Gell, a bachelor of divinity, was
+sentenced to lose his ears and to be degraded from the ministry, for
+giving his opinion of Charles I., that he was fitter to stand in a
+Cheapside shop with an apron before him, and say "What do ye lack, what do
+ye lack? What lack ye?" than to govern a kingdom.
+
+  Then to the Chepe I began me drawn,
+    Where much people I saw for to stand;
+  One offered me velvet, silk, and lawn;
+    Another he taketh me by the hand,
+    "Here is Paris thread, the finest in the land."
+  I never was used to such things indeed;
+  And, wanting money, I might not speed.
+
+  Then went I forth by London Stone,
+    Throughout all Canwyke Street:
+  Drapers much cloth me offered anon;
+    Then comes in one crying "Hot sheep's feet;"
+    One cried mackerel, rushes green, another gan greet;
+  One bade me buy a hood to cover my head;
+  But, for want of money, I might not speed.
+
+The London Stone, the _lapis milliaris_ (mile stone) of the Romans, has
+never failed to arrest the attention of the "Countryman in Lunnun." The
+Canwyke Street of the days of John Lydgate, is the Cannon Street of the
+present. "_Hot sheep's feet_," which were cried in the streets in the time
+of Henry V., are now sold _cold_ as "sheep's trotters," and vended at the
+doors of the lower-priced theatres, music-halls, and public-houses. Henry
+Mayhew in his "London Labour and the London Poor," estimates that there
+are sold weekly 20,000 sets, or 80,000 feet. The wholesale price at the
+"trotter yard" is five a penny, which gives an outlay by the street
+sellers of L3,033 6s. 8d. yearly. The cry which is still heard and
+tolerated by law, that of _Mackerel_ rang through every street. The cry of
+_Rushes-green_ tells us of by-gone customs. In ages long before the
+luxury of carpets was known in England, the floors of houses were covered
+with rushes. The strewing of rushes in the way where processions were to
+pass is attributed by our poets to all times and countries. Thus at the
+coronation of Henry V., when the procession is coming, the grooms cry--
+
+  "More rushes, more rushes."
+
+_Not worth a rush_ became a common comparison for anything worthless; the
+rush being of so little value as to be trodden under foot. _Rush-lights_,
+or candles with rush wicks, are of the greatest antiquity.
+
+  Then I hied me into East-chepe,
+    One cries ribs of beef, and many a pie;
+  Pewter pots they clattered on a heap;
+    There was harp, pipe, and minstrelsy;
+    "Yea by Cock! Nay by Cock!" some began cry;
+  Some sung of Jenkin and Julian for their meed;
+  But, for lack of money, I might not speed.
+
+Eastcheap, this ancient thoroughfare, originally extended from
+Tower-street westward to the south end of Clement's-lane, where
+Cannon-street begins. It was the Eastern Cheap or Market, as distinguished
+from Westcheap, now Cheapside. The site of the Boar's Head Tavern, first
+mentioned _temp._ Richard II., the scene of the revels of Falstaff and
+Henry V., when Prince of Wales, is very nearly that of the statue of King
+William IV. _Lackpenny_ had presented to him several of the real Signs of
+the Times and of Life in London with "_ribs of beef_--_many a
+pie_--_pewter pots_--_music and singing_"--_strange oaths_, "_Yea by
+Cock_" being a vulgar corruption for a profane oath. Our own taverns still
+supply us with ballad-singers--"_Buskers_"--who will sing of "_Jenkin and
+Julian_"--Ben Block; or, She Wore a Wreath of Roses, "_for their meed_."
+
+  Then into Cornhill anon I _yode_, [went]
+    Where was much stolen gear among;
+  I saw where hung mine own hood
+    That I had lost among the throng;
+    To buy my own hood I thought it wrong;
+  I knew it well, as I did my creed;
+  But, for lack of money, I could not speed.
+
+The manners and customs of the dwellers in Cornhill in the time of John
+Lydgate, when a stranger could have his hood stolen at one end of the town
+and see it exposed for sale at the other, forcibly reminds us of
+Field-lane and the Jew Fagin, so faithfully sketched in pen and ink by
+Charles Dickens of our day. Where "a young man from the country" would run
+the risk of meeting with an Artful Dodger, to pick his pocket of his silk
+handkerchief at the entrance of the Lane, and it would be offered him for
+sale by a Jew fence at the end, not only "Once a Week" but "All the Year
+Round." However, when Charles Dickens and Oliver Twist came in, Field-lane
+and Fagin went out.
+
+At length the Kentish man being wearied, falls a prey to the invitation of
+a taverner, who with a cringing bow, and taking him by the
+sleeve:--"_Sir_," saith he, "_will you our wine assay?_" Whereupon
+_Lackpenny_, coming to the safe conclusion that "_a penny can do no more
+than it may_," enters the tempting and hospitable house of entertainment,
+and there spends his only penny, for which he is supplied with a pint of
+wine:--
+
+  The taverner took me by the sleeve,
+    "Sir," saith he, "will you our wine assay?"
+  I answered "That cannot be much grieve,
+    A penny can do no more than it may;"
+    I drank a pint, and for it did pay;
+  Yet, sore a-hungered from hence I _yode_, [went]
+  And, wanting money, I could not speed.
+
+Worthy old John Stow supposes this interesting incident to have happened
+at the Pope's Head, in Cornhill, and bids us enjoy the knowledge of the
+fact, that:--"Wine one pint for a pennie, and bread to drink it was given
+free in every taverne." Yet Lydgate's hero went away "_Sore a-hungered_,"
+for there was no eating at taverns at this time beyond a crust to relish
+the wine, and he who wished to dine before he drank had to go to the
+cook's.
+
+Wanting money, _Lackpenny_ has now no choice but to return to the country,
+and applies to the watermen at Billingsgate:--
+
+  Then hied I me to Billingsgate,
+    And one cried "Hoo! go we hence!"
+  I prayed a bargeman, for God's sake,
+    That he would spare me my expense,
+    "Thou scap'st not here, quod he, under two-pence,
+  I list not yet bestow any almes deed."
+  Thus, lacking money, I could not speed.
+
+We have a corroboration of the accuracy of this picture in Lambarde's
+"Perambulation of Kent." The old topographer informs us that in the time
+of Richard II. the inhabitants of Milton and Gravesend agreed to carry in
+their boats, from London to Gravesend, a passenger with his truss or
+fardel [burden] for twopence.
+
+  Then I conveyed me into Kent;
+    For of the law would I meddle no more;
+  Because no man to me took entent,
+    I _dyght_ [prepared] me to do as I did before.
+    Now Jesus, that in Bethlem was bore,
+  Save London, and send true lawyers their meed!
+  For whoso wants money, with them shall not speed.
+
+The poor Kentish suitor, without two-pence in his pocket to pay the
+Gravesend bargemen, whispers a mild anathema against London lawyers, then
+takes his solitary way on foot homeward--a sadder and a wiser man.
+
+       *       *       *       *       *
+
+With unpaved streets, and no noise of coaches to drown any particular
+sound, we may readily imagine the din of the great London thoroughfares of
+four centuries ago, produced by all the vociferous demand for custom. The
+chief body of London retailers were then itinerant,--literally pedlars;
+and those who had attained some higher station were simply stall-keepers.
+The streets of trade must have borne a wonderful resemblance to a modern
+fair. Competition was then a very rude thing, and the loudest voice did
+something perhaps to carry the customer.
+
+[Illustration: THE LONDON STONE.]
+
+[Illustration]
+
+In the old play entitled:--"A ryght excellent and famous Comedy called the
+_Three Ladies of London_, wherein is Notable declared and set fourth, how
+by the meanes of Lucar, Love and Conscience is so corrupted, that the one
+is married to Dissimulation, the other fraught with all abhomination. A
+Perfect Patterne of All Estates to looke into, and a worke ryght worthie
+to be marked. Written by R. W.; as it hath been publiquely played. At
+London, Printed by Roger Warde, dwelling neere Holburne Conduit at the
+sign of the Talbot, 1584," is the following poetical description of some
+London cries:--
+
+[Illustration]
+
+  _Enter_ CONSCIENCE, with brooms, singing as followeth:--
+
+  _New broomes, green broomes, will you buy any?
+  Come maydens, come quickly, let me take a penny.
+          My brooms are not steeped,
+            But very well bound:
+          My broomes be not crooked,
+            But smooth cut and round.
+          I wish it would please you,
+            To buy of my broome:
+          Then would it well ease me,
+            If market were done.
+
+          Have you any olde bootes,
+            Or any old shoone:
+          Powch-ringes, or buskins,
+            To cope for new broome?
+          If so you have, maydens,
+            I pray you bring hither;
+          That you and I, friendly,
+            May bargin together.
+  New broomes, green broomes, will you buy any?
+  Come maydens, come quickly, let me take a penny._
+
+
+  CONSCIENCE _speaketh_.
+
+  Thus am I driven to make a virtue of necessity;
+  And seeing God Almighty will have it so, I embrace it thankfully,
+  Desiring God to mollify and lesson Usury's hard heart,
+  That the poor people feel not the like penury and smart.
+  But Usury is made tolerable amongst Christians as a necessary thing,
+  So that, going beyond the limits of our law, they extort, and to many
+      misery bring.
+  But if we should follow God's law we should not receive above what we
+      lend;
+  For if we lend for reward, how can we say we are our neighbour's friend?
+  O, how blessed shall that man be, that lends without abuse,
+  But thrice accursed shall he be, that greatly covets use;
+  For he that covets over-much, insatiate is his mind:
+  So that to perjury and cruelty he wholly is inclined:
+  Wherewith they sore oppress the poor by divers sundry ways,
+  Which makes them cry unto the Lord to shorten cut-throats' days.
+  Paul calleth them thieves that doth not give the needy of their store,
+  And thrice accurs'd are they that take one penny from the poor.
+  But while I stand reasoning thus, I forget my market clean;
+  And sith God hath ordained this way, I am to use the mean.
+
+  Sings again.
+
+  _Have ye any old shoes, or have ye any boots? have ye any buskins, or
+      will ye buy any broome?
+  Who bargins or chops with Conscience? What will no customer come?_
+
+  _Enter_ USURY.
+
+
+  USURY.
+
+  Who is that cries brooms? What, Conscience, selling brooms about the
+      street?
+
+
+  CONSCIENCE.
+
+  What, Usury, it is a great pity thou art unhanged yet.
+
+
+  USURY.
+
+  Believe me, Conscience, it grieves me thou art brought so low.
+
+
+  CONSCIENCE.
+
+  Believe me, Usury, it grieves me thou wast not hanged long ago,
+  For if thou hadst been hanged, before thou slewest Hospitality,
+  Thou hadst not made me and thousands more to feel like Poverty.
+
+By another old comedy by the same author as the preceding one, which he
+entitles:--"The pleasant and Stately Morall of the _Three Lords and Three
+Ladies of London_. With the great Joye and Pompe, Solemnized at their
+Marriages: Commically interlaced with much honest Mirth, for pleasure and
+recreation, among many Morall observations, and other important matters of
+due regard. By R. W., London. Printed by R. Ihones, at the Rose and
+Crowne, neere Holburne Bridge, 1590," it appears that woodmen went about
+with their beetles and wedges on their backs, crying "_Have you any wood
+to cleave?_" It must be borne in mind that in consequence of the many
+complaints against coal as a public nuisance, it was not in common use in
+London until the reign of Charles I., 1625.
+
+There is a character in the play named _Simplicity_, a poor Freeman of
+London, who for a purpose turns ballad-monger, and in answer to the
+question of "What dainty fine ballad have you now to be sold?"
+replies:--"I have '_Chipping-Norton_,' '_A mile from Chapel o' th'
+Heath_'--'_A lamentable ballad of burning of the Pope's dog_;' '_The sweet
+ballad of the Lincolnshire bagpipes_;' and '_Peggy and Willy: But now he
+is dead and gone; Mine own sweet Willy is laid in his grave_.'"
+
+[Illustration: SHAKESPEARE'S LONDON.
+
+  "City of ancient memories! Thy spires
+  Rise o'er the dust of worthy sons; thy walls,
+  Within their narrow compass, hold as much
+  Of Freedom as the whole wide world beside."]
+
+The London of Shakespeare, Ben Jonson and Co.,--_Limited_ as it was within
+its great wall, occupied very much the same space as that now covered by
+the City proper; its streets were narrow and winding, yet there were still
+left many open spaces; it was covered with people; its river was full of
+shipping; it was rich, prosperous, and possessed of a considerable amount
+of liberty. The great wall of London, broad and strong, with towers at
+intervals, was more than two miles long, from end to end, beginning at the
+Tower of London on the east, and ending at the Fleet River and the Thames
+on the west.
+
+[Illustration: ALDERSGATE.]
+
+As regards the gates, there were anciently only four--namely, Aldersgate,
+Aldgate, Ludgate, and Bridgegate--that is to say, one for each of the
+cardinal points. Then other gates and posterns were added for the
+convenience of the citizens: Bishopsgate, for those who had business in
+the direction of Norfolk, Suffolk, or Cambridgeshire; Moorgate, for those
+who would practice archery, or take their recreation in Moor Fields;
+Cripplegate, more ancient than the two preceding, had a prison for debtors
+attached to it; and there was also a postern for the Convent of Grey
+Friars, now Christ's Hospital. At Newgate was a small, incommodious, and
+fever-haunted prison for criminals; and at Ludgate was another prison,
+appropriated to debtors, trespassers, and those who committed contempt of
+Court. Along the river-side were several water-gates, the chief of which
+were Blackfriars, Greenhithe, Dowgate and Billingsgate.
+
+Within the narrow space of the City Walls there rose a forest of towers
+and spires. The piety of Merchants had erected no fewer than a hundred and
+three churches, which successive citizens were continually rebuilding,
+beautifying, or enlarging. They were filled with the effigies and splendid
+tombs, the painted and gilded arms, of their founders and benefactors, for
+whose souls masses were continually said.
+
+[Illustration: CHEAPSIDE CROSS.]
+
+"London was divided into Wards, and was perhaps as catholic in its
+commercial and industrial pursuits then as now. Every kind of trade was
+carried on within its walls, just as every kind of merchandise was sold.
+The combination of fellows of the same craft began in very early times,
+guilds were formed for the protection of trade and its followers; the
+guild-brothers met once a month to consider the interests of the craft,
+regulating prices, recovering debts and so forth. But the London of the
+period was not so gay as Paris, nor so bustling and prosperous as Antwerp,
+nor so full of splendour and intellectual life as Venice.[1] Yet to the
+Englishman of the day it was an ever-lasting wonder. Its towers and
+palaces, its episcopal residences and gentlemen's inns, the bustle of its
+commerce, the number of its foreigners, the wealth of its Companies, and
+the bravery of its pageants, invested it with more poetry than can be
+claimed for it at the present time, unless Wealth be our deity, Hurry our
+companion, and Progress our muse. The rich were leaving their pleasant
+country mansions to plunge into its delights. At the law terms there was a
+regular influx of visitors, who seemed to think more of taking tobacco
+than of winning a lawsuit. Ambitious courtiers, hopeful ecclesiastics,
+pushing merchants, and poetic dreamers, were all caught by the
+fascinations of London. Site, antiquity, life, and, above all, abundance
+of the good things that make up half its charm, in the shape of early
+delicacies, costly meats, and choice wines, combined to make it a
+miraculous city in the eyes of the Elizabethan."
+
+"The external appearance of the City was certainly picturesque. Old grey
+walls threw round it the arm of military protection. Their gates were
+conspicuous objects, and the white uniforms of the train-bands on guard,
+with their red crosses on the back, fully represented the valour which
+wraps itself in the British flag and dies in its defence. To the north
+were the various fields whose names survive, diversified by an occasional
+house, and Dutch-looking windmills, creaking in the breeze. Finsbury was a
+fenny tract, where the City archers practised; Spitalfields, an open,
+grassy place, with grounds for artillery exercise and a market cross; and
+Smithfield, or Smoothfield, was an unenclosed plain, where tournaments
+were held, horses were sold, and martyrs had been burnt. To the east was
+the Tower of London, black with age, armed with cannon and culverin, and
+representing the munificence which entertained royalty as well as the
+power which punished traitors. Beyond it was Wapping, the Port of London,
+with its narrow streets, its rope-walks and biscuit shops. Black fronted
+taverns, with low doorways and leaden framed windows, their rooms reeking
+with smoke and noisy with the chatter of ear-ringed sailors, were to be
+found in nearly every street. Here the merchant adventurer came to hire
+his seamen, and here the pamphleteer or the ballad-maker could any night
+gather materials for many a long-winded yarn about Drake and the Spanish
+main, negroes, pearls, and palm-groves.
+
+[Illustration: OLD STAGE WAGGON.]
+
+"To the west, the scene was broken with hamlets, trees, and country roads.
+Marylebone and Hyde Park were a royal hunting-ground, with a manor house,
+where the Earls of Oxford lived in later times. Piccadilly was 'the road
+to Reading,' with foxgloves growing in its ditches, gathered by the
+simple dealers of Bucklersbury, to make anodynes for the weary-hearted.
+Chelsea was a village; Pimlico a country hamlet, where pudding-pies were
+eaten by strolling Londoners on a Sunday. Westminster was a city standing
+by itself, with its Royal Palace, its Great Hall for banquets and the
+trial of traitors, its sanctuary, its beautiful Abbey, and its famous
+Almonry. St. James's Park was walled with red brick, and contained the
+palace Henry VIII. had built for Anne Boleyn. Whitehall Palace was in its
+glory. The Strand, along which gay ladies drove in their 'crab-shell
+coaches,' had been recently paved, and its streams of water diverted. A
+few houses had made their appearance on the north side of the Strand,
+between the timber house and its narrow gateway, which then formed Temple
+Bar, the boundary between London and Westminster, and the church of St.
+Mary-le-Strand. The southern side was adorned with noble episcopal
+residences, and with handsome turreted mansions, extending to the river,
+rich with trees and gardens, and relieved by flashes of sparkling water.
+
+[Illustration: SMITH'S ARMS, BANKSIDE.[2]]
+
+"To the south, Lambeth, with its palace and church, and Faux Hall, were
+conspicuous objects. Here were pretty gardens and rustic cottages. The
+village of Southwark, with its prisons, its public theatres, its palace,
+and its old Tabard Inn, had many charms. It was the abode of Shakespeare
+himself, as he resided in a good house in the Liberty of the Clink, and
+was assessed in the weekly payment of 6d., no one but Henslowe, Alleyn,
+Collins, and Barrett, being so highly rated. That part of the Borough of
+Southwark known as Bankside was not only famous in Shakespeare's time for
+its Theatres, but also as the acknowledged retreat of the warmest of the
+_demi-monde_!
+
+  "'And here, as in a tavern, or a stew,
+  He and his wild associates spend their hours.'"
+                                        --_Ben Jonson._
+
+"We fear our best zeal for the drama will not authorise us to deny that
+Covent-garden and Drury-lane have succeeded to the _Bank-side_ in every
+species of fame!
+
+[Illustration: THE GLOBE THEATRE.]
+
+"We must not forget the river Thames. It was one of the sights of the
+time. Its waters were pure and bright, full of delicate salmon, and
+flecked by snowy swans, 'white as Lemster wool.' Wherries plied freely on
+its surface. Tall masts clustered by its banks. Silken-covered tiltboats,
+freighted with ruffed and feathered ladies and gentlemen, swept by, the
+watermen every now and then breaking the plash of the waves against their
+boats by singing out, in their bass voices, 'Heave and how, rumbelow.' At
+night, the scene reminded the travelled man of Venice. All the mansions by
+the water-side had river-terraces and steps, and each one its own
+tiltboat, barge, and watermen. Down these steps, lighted by torches and
+lanterns, stepped dainty ladies, in their coloured shoes, with masks on
+their faces, and gay gallants, in laced cloaks, by their side, bound for
+Richmond or Westminster, to mask and revel. Noisy parties of wits and
+Paul's men crossed to Bankside to see _Romeo and Juliet_, or _Hamlet the
+Dane_, or else 'The most excellent historie of the _Merchant of Venice_,
+with the extreme crueltie of _Shylocke_, the Jewe, towards the sayd
+merchant, in cutting a just pound of his flesh, and obtaining of Portia by
+the choyse of three caskets, as it hath diverse times been acted by the
+Lord Chamberlain, his servants. Written by William Shakespeare.'
+
+[Illustration: BAYNARD'S CASTLE.]
+
+"From Westminster to London Bridge was a favourite trip. There was plenty
+to see. The fine Strand-side houses were always pointed
+out--Northumberland House, York House, Baynard's Castle, the scene of the
+secret interview between the Duke of York and the Earls of Salisbury and
+Warwick, was singled out, between Paul's Wharf and Puddle Dock. Next to
+the Temple, and between it and Whitefriars, was the region known as
+Alsatia. Here safe from every document but the writ of the Lord Chief
+Justice and the Lords of the Privy Council, in dark dwellings, with
+subterranean passages, narrow streets, and trap-doors that led to the
+Thames, dwelt all the rascaldom of the time--men who had been 'horned' or
+outlawed, bankrupts, coiners, thieves, cheaters at dice and cards,
+duellists, homicides, and foreign bravoes, ready to do any desperate deed.
+At night the contents of this kingdom of villany were sprayed out over
+London, to the bewilderment of good-natured Dogberries, and country
+gentlemen, making their first visit to town.
+
+"Still further down the river was the famous London Bridge. It consisted
+of twenty arches; its roadway was sixty feet from the river; and the
+length of the bridge from end to end was 926 feet.
+
+"It was one of the wonders that strangers never ceased to admire. Its many
+shops were occupied by pin nacres, just beginning to feel the competition
+with the Netherland pin-makers, and the tower at its Southwark end was
+adorned with three hundred heads, stuck on poles, like gigantic pins,
+memorials of treachery and heresy.
+
+"The roar of the river through the arches was almost deafening. 'The noise
+at London Bridge is nothing near her,' says one of the characters in
+Beaumont and Fletcher's _Woman's Prize_. Shakespeare, Ben Jonson & Co.,
+must have crossed the bridge many a time on their visits to the City, to
+'gather humours of men daily,' as Aubrey quaintly expresses it."
+
+The name of Ben Jonson reminds us that in _The Silent Woman_,--one of the
+most popular of his Comedies,--we have presented to us a more vivid
+picture than can elsewhere be found of the characteristic noises, and
+street-cries of London more than two centuries ago. It is easy to form to
+ourselves a general idea of the hum and buzz of the bees and drones of
+this mighty hive, under a state of manners essentially different from our
+own; but it is not so easy to attain a lively conception of the particular
+sounds that once went to make up this great discord, and so to compare
+them in their resemblances and their differences with the roar which the
+great Babel _now_ "sends through all her gates." We propose, therefore, to
+put before our readers this passage of Jonson's comedy; and then,
+classifying what he describes, illustrate our fine old dramatic painter of
+manners by references to other writers, and by the results of our own
+observation.
+
+[Illustration]
+
+The principal character of Jonson's _Silent Woman_ is founded upon a
+sketch by a Greek writer of the fourth century, Libanius. Jonson
+designates this character by the name of "Morose;" and his peculiarity is
+that he can bear no kind of noise, not even that of ordinary talk. The
+plot turns upon this affectation; for having been entrapped into a
+marriage with the "Silent Woman," she and her friends assail him with
+tongues the most obstreperous, and clamours the most uproarious, until, to
+be relieved of this nuisance, he comes to terms with his nephew for a
+portion of his fortune and is relieved of the "Silent Woman," who is in
+reality a boy in disguise. We extract the dialogue of the whole scene; the
+speakers being "Truewitt," "Clerimont," and a "Page":--
+
+    "_True._ I met that stiff piece of formality, Master Morose, his
+    uncle, yesterday, with a huge turban of night-caps on his head,
+    buckled over his ears.
+
+    "_Cler._ O! that's his custom when he walks abroad. He can endure no
+    noise, man.
+
+    "_True._ So I have heard. But is the disease so ridiculous in him as
+    it is made? They say he has been upon divers treaties with the
+    fish-wives and orange-women; and articles propounded between them:
+    marry, the chimney-sweepes will not be drawn in.
+
+    "_Cler._ No, nor the broom-men: they stand out stiffly. He cannot
+    endure a costard-monger; he swoons if he hear one.
+
+    "_True._ Methinks a smith should be ominous.
+
+    "_Cler._ Or any hammer-man. A brasier is not suffer'd to dwell in the
+    parish, nor an armourer. He would have hang'd a pewterer's 'prentice
+    once upon a Shrove-Tuesday's riot, for being of that trade, when the
+    rest were quit.
+
+    "_True._ A trumpet should fright him terribly, or the hautboys.
+
+    "_Cler._ Out of his senses. The waits of the City have a pension of
+    him not to come near that ward. This youth practised on him one night
+    like the bellman, and never left till he had brought him down to the
+    door with a long sword; and there left him flourishing with the air.
+
+    "_Page._ Why, sir, he hath chosen a street to lie in, so narrow at
+    both ends that it will receive no coaches, nor carts, nor any of these
+    common noises; and therefore we that love him devise to bring him in
+    such as we may now and then, for his exercise, to breathe him. He
+    would grow resty else in his cage; his virtue would rust without
+    action. I entreated a bearward, one day, to come down with the dogs of
+    some four parishes that way, and I thank him he did; and cried his
+    games under Master Morose's window; till he was sent crying away, with
+    his head made a most bleeding spectacle to the multitude. And, another
+    time, a fencer marching to his prize had his drum most tragically run
+    through, for taking that street in his way at my request.
+
+    "_True._ A good wag! How does he for the bells?
+
+    "_Cler._ O! In the queen's time he was wont to go out of town every
+    Saturday at ten o'clock, or on holiday eves. But now, by reason of the
+    sickness, the perpetuity of ringing has made him devise a room with
+    double walls and treble ceilings; the windows close shut and caulk'd;
+    and there he lives by candlelight."
+
+The first class of noises, then, against which "Morose" protected his ears
+by "a huge turban of night-caps," is that of the ancient and far-famed
+LONDON CRIES. We have here the very loudest of them--fish-wives,
+orange-women, chimney-sweepers, broom-men, costard-mongers. But we might
+almost say that there were _hundreds_ of other cries; and therefore,
+reserving to ourselves some opportunity for a special enumeration of a few
+of the more remarkable of these cries, we shall now slightly group them,
+as they present themselves to our notice during successive generations.
+
+We shall not readily associate any very agreeable sounds with the voices
+of the "fish-wives." The one who cried "_Mackerel_" in Lydgate's day had
+probably no such explanatory cry as the "_Mackerel alive, alive ho!_" of
+modern times. In the seventeenth century the cry was "_New Mackerel_." And
+in the same way there was:--
+
+[Illustration: NEW WALL-FLEET OYSTERS.]
+
+[Illustration: NEW FLOUNDERS.]
+
+[Illustration: NEW WHITING.]
+
+[Illustration: NEW SALMON.]
+
+The freshness of fish must have been a considerable recommendation in
+those days of tardy intercourse. But quantity was also to be taken into
+the account, and so we find the cries of "_Buy my dish of Great Smelts_;"
+"_Great Plaice_;" "_Great Mussels_." Such are the fish-cries enumerated in
+Lauron's and various other collections of "London Cries."
+
+[Illustration: BUY GREAT SMELTS.]
+
+[Illustration: BUY GREAT PLAICE.]
+
+[Illustration: BUY GREAT MUSSELS.]
+
+[Illustration: BUY GREAT EELS.]
+
+But, we are forgetting "Morose," and his "turban of night-caps." Was
+Hogarth familiar with the old noise-hater when he conceived his own:--
+
+[Illustration: ENRAGED MUSICIAN.]
+
+In this extraordinary gathering together of the producers of the most
+discordant sounds, we have a representation which may fairly match the
+dramatist's description of street noises. Here we have the milk-maid's
+scream, the mackerel seller's shout, the sweep upon the house top,--to
+match the fish-wives and orange-women, the broom-men and costard-mongers.
+The smith, who was "ominous," had no longer his forge in the busy streets
+of Hogarth's time; the armourer was obsolete: but Hogarth can rival their
+noises with the pavior's hammer, the sow-gelder's horn, and the
+knife-grinder's wheel. The waits of the city had a pension not to come
+near "Morose's" ward; but it was out of the power of the "Enraged
+Musician" to avert the terrible discord of the blind hautboy-player. The
+bellman who frightened the sleepers at midnight, was extinct; but modern
+London had acquired the dustman's bell. The bear-ward no longer came down
+the street with the dogs of four parishes, nor did the fencer march with a
+drum to his prize; but there was the ballad-singer, with her squalling
+child, roaring worse than bear or dog; and the drum of the little boy
+playing at soldiers was a more abiding nuisance than the fencer. "Morose"
+and the "Enraged Musician" had each the church bells to fill up the
+measure of discord.
+
+[Illustration]
+
+The fish-wives are no longer seen in our great city of London
+thoroughfares. In Tottenham Court-road, Hoxton, Shoreditch, Kingsland,
+Whitechapel, Hackney-road, and many other suburban districts, which still
+retain the character of a street-market, they stand in long rows as the
+evening draws in, with paper-lanterns stuck in their baskets on dark
+nights; and there they vociferate as loudly as in the olden time.
+
+[Illustration]
+
+The "costard-monger" whom Morose dreaded, still lives amongst us, and is
+still noisy. He bawls so loud even to this day, that he puts his hand
+behind his ear to mitigate the sensation which he inflicts upon his own
+tympanum. He was originally an apple-seller, whence his name; and, from
+the mention of him in the old dramatists, he appears to have been
+frequently an Irishman. In Jonson's "Bartholomew Fair," he cries
+"_pears_." Ford makes him cry "_pippins_." He is a quarrelsome fellow,
+according to Beaumont and Fletcher:--
+
+  "And then he'll rail like a rude costermonger,
+  That schoolboys had cozened of his apple,
+  As loud and senseless."
+
+The costermonger is now a travelling shopkeeper. We encounter him not in
+Cornhill, or Holborn, or the Strand: in the neighbourhood of the great
+markets and well-stored shops he travels not. But his voice is heard in
+some silent streets stretching into the suburbs; and there, with his
+donkey and hampers stands at the door, as the servant-maid cheapens a
+bundle of cauliflowers. He has monopolized all the trades that were
+anciently represented by such cries as "_Buy my artichokes, mistress_;"
+"_Ripe cowcumbers_;" "_White onions, white St. Thomas' onions_;" "_White
+radish_;" "_Ripe young beans_;" "_Any baking pears_;" "_Ripe
+sparrowgrass_." He would be indignant to encounter such petty chapmen
+interfering with his wholesale operations. He would rail against them as
+the city shopkeepers of the sixteenth and seventeenth centuries railed
+against itinerant traders of every denomination. In the days of Elizabeth,
+they declare by act of common council, that in ancient times the open
+streets and lanes of the city have been used, and ought to be used, as the
+common highway only, and not for hucksters, pedlars, and hagglers, to
+stand or sit to sell their wares in, and to pass from street to street
+hawking and offering their wares. In the seventh year of Charles I. the
+same authorities denounce the oyster-wives, herb-wives, tripe-wives, and
+the like, as "unruly people;" and they charge them somewhat unjustly, as
+it must appear, with "framing to themselves a way whereby to live a more
+easy life than by labour."
+
+  "How busy is the man the world calls idle!"
+
+The evil, as the citizens term it, seems to have increased; for in 1694
+the common council threatened the pedlars and petty chapmen with the
+terrors of the laws against rogues and sturdy beggars, the least penalty
+being whipping, whether for male or female. The reason for this terrible
+denunciation is very candidly put: the citizens and shopkeepers are
+greatly hindered and prejudiced in their trades by the hawkers and
+pedlars. Such denunciations as these had little share in putting down the
+itinerant traders. They continued to flourish, because society required
+them; and they vanished from our view when society required them no
+longer. In the middle of the last century they were fairly established as
+rivals to the shopkeepers. Dr. Johnson, than whom no man knew London
+better, thus writes in the "Adventurer:"--"The attention of a new-comer is
+generally first struck by the multiplicity of cries that stun him in the
+streets, and the variety of merchandise and manufactures which the
+shopkeepers expose on every hand." The shopkeepers have now ruined the
+itinerants--not by putting them down by fiery penalties, but by the
+competition amongst themselves to have every article at hand for every
+man's use, which shall be better and cheaper than the wares of the
+itinerant. Whose ear is now ever deafened by the cries of the broom-man?
+He was a sturdy fellow in the days of old "Morose," carrying on a barter
+which in itself speaks of the infancy of civilization. His cry was "_Old
+Shoes for some Brooms_." Those proclamations for barter no doubt furnished
+a peculiar characteristic of the old London Cries. The itinerant buyers
+were as loud, though not so numerous, as the sellers.
+
+[Illustration: NEW BROOMS FOR OLD SHOES!]
+
+[Illustration: OLD CLOWZE, ANY OLD CLO', CLO'.]
+
+The familiar voice of "_Old Clowze, any old Clo' Clo_," has lasted through
+some generations; but the glories of Monmouth-street were unknown when a
+lady in a peaked bonnet and a laced stomacher went about proclaiming "_Old
+Satin, old Taffety, or Velvet_." And a singular looking party of the
+Hebrew persuasion, with a cocked hat on his head, and a bundle of rapiers
+and sword-sticks under his arm, which he was ready to barter for:--
+
+[Illustration: OLD CLOAKS, SUITS, OR COATS.]
+
+[Illustration: HATS OR CAPS--BUY, SELL, OR EXCHANGE.]
+
+While another of the tribe proclaimed aloud from east to west--and back
+again, "From morn to noon, from noon to dewy eve," his willingness to
+"_Buy, sell, or exchange Hats or Caps_." Why should the Hebrew race
+appear to possess a monopoly in the purchase and sale of dilapidated
+costumes? Why should their voices, and theirs alone, be employed in the
+constant iteration of the talismanic monosyllables "Old Clo'?" Is it
+because Judas carried the bag that all the children of Israel are to
+trudge through London streets to the end of their days with sack on
+shoulder? Artists generally represent the old clothesman with three, and
+sometimes four, hats, superposed one above the other. Now, although we
+have seen him with many hats in his hands or elsewhere, we never yet saw
+him with more than one hat on his head. The three-hatted clothesman, if
+ever he existed, is obsolete. According to Ingoldsby, however, when
+"Portia" pronounced the law adverse to "Shylock":
+
+  "Off went his three hats, and he look'd as the cats
+  Do, whenever a mouse has escaped from their claw."
+
+[Illustration: ANY KITCHEN-STUFF HAVE YOU MAIDS?]
+
+There was trading then going forward from house to house, which careful
+housewifery and a more vigilant police have banished from the daylight,
+if they have not extirpated it altogether. Before the shops are open and
+the chimneys send forth their smoke, there may be now, sometimes, seen
+creeping up an area a sly-looking beldam, who treads as stealthily as a
+cat. Under her cloak she has a pan, whose unctuous contents will some day
+assist in the enlightenment or purification of the world, in the form of
+candles or soap. But the good lady of the house, who is a late riser,
+knows not of the transformation that is going forward. In the old days she
+would have heard the cry of a maiden, with tub on head and pence in hand,
+of "_Any Kitchen-stuff have you Maids?_" and she probably would have dealt
+with her herself, or have forbidden her maids to deal.
+
+So it is with the old cry of "_Any Old Iron take Money for?_" The fellow
+who then went openly about with sack on back was a thief, and an
+encourager of thieves; he now keeps a marine-store.
+
+[Illustration: ANY OLD IRON TAKE MONEY FOR?]
+
+[Illustration: OLD LONDON SHOP.]
+
+Sir Walter Scott, in his _Fortunes of Nigel_, has left us a capital
+description of the shop of a London tradesman during the reign of King
+James in England, the shop in question being that of David Ramsay, maker
+of watches and horologes, within Temple-bar--a few yards eastward of St.
+Dunstan's church, Fleet-street, and where his apprentice, Jenkin
+Vincent--abbreviated to Jin Vin, when not engaged in 'prentices-riots--is
+crying to every likely passer-by:--
+
+    "What d'ye lack?--What d'ye lack?--Clocks--watches--barnacles?--What
+    d'ye lack?--Watches--clocks--barnacles?--What d'ye lack, sir? What
+    d'ye lack, madam?--Barnacles--watches--clocks? What d'ye lack, noble
+    sir?--What d'ye lack, beauteous madam?--God bless your reverence, the
+    Greek and Hebrew have harmed your reverence's eyes. Buy a pair of
+    David Ramsay's barnacles. The king, God bless his sacred Majesty!
+    never reads Hebrew or Greek without them. What d'ye lack? Mirrors for
+    your toilets, my pretty madam; your head-gear is something awry--pity,
+    since it so well fancied. What d'ye lack? a watch, Master Sargeant?--a
+    watch that will go as long as a lawsuit, as steady and true as your
+    own eloquence? a watch that shall not lose thirteen minutes in a
+    thirteen years' lawsuit--a watch with four wheels and a
+    bar-movement--a watch that shall tell you, Master Poet, how long the
+    patience of the audience will endure your next piece at the Black
+    Bull."
+
+The verbal proclaimers of the excellence of their commodities, had this
+advantage over those who, in the present day, use the public papers for
+the same purpose, that they could in many cases adapt their address to the
+peculiar appearance and apparent taste of the passengers. This direct and
+personal mode of invitation to customers became, however, a dangerous
+temptation to the young wags who were employed in the task of solicitation
+during the absence of the principal person interested in the traffic; and,
+confiding in their numbers and civic union, the 'prentices of London were
+often seduced into taking liberties with the passengers, and exercising
+their wit at the expense of those whom they had no hopes of converting
+into customers by their eloquence. If this were resented by any act of
+violence, the inmates of each shop were ready to pour forth in succour;
+and in the words of an old song which Dr. Johnson was used to hum,--
+
+  "Up then rose the 'prentices all,
+  Living in London, both proper and tall."
+
+Desperate riots often arose on such occasions, especially when the
+Templars, or other youths connected with the aristocracy, were insulted,
+or conceived themselves so to be. Upon such occasions, bare steel was
+frequently opposed to the clubs of the citizens, and death sometimes
+ensued on both sides. The tardy and inefficient police of the time had no
+other resource than by the Alderman of the ward calling out the
+householders, and putting a stop to the strife by overpowering numbers, as
+the Capulets and Montagues are separated upon the stage.
+
+[Illustration: ST. PAUL'S CATHEDRAL.]
+
+It must not be imagined that these 'prentices of the City of London were
+of mean and humble origin. The sons of freemen of the City, or country
+boys of good and honourable families, alone were admitted to the seven
+years' apprenticeship. The common people--the _ascripti glebae_--the poor
+rustics who were bound to the soil, had little or no share in the fortunes
+of the City of London. Many of the burgesses were as proud of their
+descent as of their liberties.
+
+[Illustration: A STREET AT NIGHT--SHAKESPEARE'S LONDON.]
+
+Once apprenticed, and having in a few weeks imbibed the spirit of the
+place, the lad became a Londoner. It is one of the characteristics of
+London, that he who comes up to the City from the country speedily becomes
+penetrated with the magic of the golden pavement, and falls in love with
+the great City. And he who has once felt that love of London can never
+again be happy beyond the sound of Bow Bells, which could formerly be
+heard for ten miles and more. The greatness of the City, its history, its
+associations, its ambitions, its pride, its hurrying crowds--all these
+things affect the imagination and fill the heart. There is no place in the
+world, and never has been, which so stirs the heart of her children with
+love and pride as the City of London.
+
+A year or two later on, the boy would learn, with his fellow-'prentices
+that he must betake himself to the practice of bow and arrow, "pellet and
+bolt," with a view to what might happen. Moorfields was convenient for the
+volunteers of the time. There was, however, never any lack of excitement
+and novelty in the City of London. But this is a digression.
+
+[Illustration]
+
+Amongst the earliest of the Cries of London we must class the "cry" of the
+City watchman; although it essentially differed from the "cries" of the
+shopkeepers and the hawkers; for they, as a rule, had something to
+exchange or sell--_copen or buy?_ as Lydgate puts it--then the watchmen
+were wont to commence their "cry" at, or about, the hour of night when all
+others had finished for the day. After that it was the business of the
+watchman to make his first call, or cry after the manner inscribed over
+the figure here given.
+
+[Illustration]
+
+He had to deal with deaf listeners, and he therefore proclaimed with a
+voice of command, "Lanthorn!" but a lanthorn alone was a body without a
+soul; and he therefore demanded "a _whole_ candle." To render the mandate
+less individually oppressive, he went on to cry, "Hang out your Lights!"
+And, that even the sleepers might sleep no more, he ended with "Heare!" It
+will be seen that he carries his staff and lanthorn with the air of honest
+old Dogberry about him,--"A good man and true," and "the most desartless
+man to be constable."
+
+The making of lanthorns was a great trade in the early times. We clung to
+King Alfred's invention for the preservation of light with as reverend a
+love, during many centuries, as we bestowed upon his civil institutions.
+The horn of the favoured utensil was a very dense medium for illumination,
+but science had substituted nothing better; and, even when progressing
+people carried about a neat glass instrument with a brilliant reflector,
+the watchman held to his ponderous and murky relic of the past, making
+"night hideous" with his voice, to give news of the weather, such as:
+"Past eleven, and a starlight night;" or "Past one o'clock, and a windy
+morning;" in fact, disturbed your rest to tell you "what's o'clock."
+
+We are told by the chroniclers that, as early as 1416, the mayor, Sir
+Henry Barton, ordered lanthorns and lights to be hanged out on the winter
+evenings, betwixt Allhallows and Candlemass. For three centuries this
+practice subsisted, constantly evaded, no doubt through the avarice or
+poverty of individuals, sometimes probably disused altogether, but still
+the custom of London up to the time of Queen Anne. The cry of the
+watchman, "Hang out your Lights," was an exhortation to the negligent,
+which probably they answered only by snores, equally indifferent to their
+own safety and the public preservation. A worthy mayor in the time of
+Queen Mary provided the watchman with a bell, with which instrument he
+accompanied the music of his voice down to the days of the Commonwealth.
+The "Statutes of the Streets," in the time of Elizabeth, were careful
+enough for the preservation of silence in some things. They prescribed
+that, "no man shall blow any horn in the night, or whistle after the hour
+of nine o'clock in the night, under pain of imprisonment;" and, what was a
+harder thing to keep, they also forbade a man to make any "sudden outcry
+in the still of the night, as making any affray, or beating his wife." Yet
+a privileged man was to go about knocking at doors and ringing his
+alarum--an intolerable nuisance if he did what he was ordered to do.
+
+[Illustration: THE WATCH--SHAKESPEARE'S LONDON.]
+
+But the watchmen were, no doubt, wise in their generation. With honest
+Dogberry, they could not "see how sleeping should offend;" and after the
+watch was set, they probably agreed to "go sit upon the church bench till
+two, and then all to bed."
+
+[Illustration: THE BELLMAN--FROM DEKKER, 1608.]
+
+We have observed in our old statutes, and in the pages of authors of
+various kinds, that separate mention is made of the Watchman and the
+Bellman. No doubt there were several degrees of office in the ancient
+Watch and Ward system, and that part of the office of the old Watch, or
+Bellman, was to bless the sleepers, whose door he passed, which blessing
+was often sung or said in verse--hence Bellman's verse. These verses were
+in many cases, the relics of the old incantations to keep off elves and
+hobgoblins. There is a curious work by Thomas Dekker--otherwise
+Decker,--entitled: "The Bellman of London. Bringing to light the most
+notorious Villanies that are now practised in the Kingdom, Profitable for
+Gentlemen, Lawyers, Merchants, Citizens, Farmers, Masters of Households
+and all sortes of servants to Marke, and delightful for all men to Reade,
+_Lege, Perlege, Relege_." Printed at London for Nathaniel Butter, 1608.
+Where he describes the Bellman as a person of some activity--"the child of
+darkness; a common nightwalker; a man that had no man to wait upon him,
+but only a dog; one that was a disordered person, and at midnight would
+beat at men's doors, bidding them (in mere mockery) to look to their
+candles, when they themselves were in their dead sleeps." Stow says that
+in Queen Mary's day one of each ward "began to go all night with a bell,
+and at every lane's end, and at the ward's end, gave warning of fire and
+candle, and to help the poor and pray for the dead." Milton, in his "Il
+Penseroso," has:--
+
+  "Far from the resort of mirth,
+  Save the cricket on the hearth,
+  Or the bellman's drowsy charm,
+  To bless the doors from nightly harm."
+
+In "A Bellman's Song" of the same date, we have:--
+
+  "Maidens to bed, and cover coal,
+  Let the mouse out of her hole,
+  Crickets in the chimney sing,
+  Whilst the little bell doth ring;
+  If fast asleep, who can tell
+  When the clapper hits the bell?"
+
+Herrick, also, has given us a verse of Bellman's poetry in one of the
+charming morsels of his "Hesperides:"--
+
+  "From noise of scare-fires rest ye free,
+  From murders Benedicite;
+  From all mischances that may fright
+  Your pleasing slumbers in the night,
+  Mercy secure ye all, and keep
+  The goblin from ye while ye sleep.
+  Past one o'clock, and almost two,
+  My masters all, 'Good day to you!'"
+
+But, with or without a bell, the real prosaic watchman continued to make
+the same demand as his predecessors for lights through a long series of
+years; and his demand tells us plainly that London was a city without
+lamps. But though he was a prosaic person, he had his own verses. He
+addressed himself to the "maids." He exhorted them to make their lanthorns
+"bright and clear." He told them how long their candles were expected to
+burn. And, finally, like a considerate lawgiver, he gave reason for his
+edict:--
+
+  "That honest men that walk along,
+  May see to pass safe without wrong."
+
+Formerly it was the duty of the bellman of St. Sepulchre's parish, near
+Newgate, to rouse the unfortunates condemned to death in that prison, the
+night before their execution, and solemnly exhort them to repentance with
+good words in bad rhyme, ending with
+
+  "When St. Sepulchre's bell to-morrow tolls,
+  The Lord above have mercy on your souls."
+
+It was customary for the bellman to present at Christmas time to each
+householder in his district "A Copy of Verses," and he expected from each
+in return some small gratuity. The execrable character of his poetry is
+indicated by the contempt with which the wits speak of "Bellman's verses"
+and the comparison they bear to "Cutler's poetry upon a knife," whose
+poesy was--"_Love me, and leave me not_." On this subject there is a work
+entitled--"The British Bellman. Printed in the year of Saint's Fear, Anno
+Domini 1648, and reprinted in the _Harleian Miscellany_." "The Merry
+Bellman's Out-Cryes, or the Cities O Yes! being a mad merry Ditty, both
+Pleasant and Witty, to be cry'd in Prick-Song[3] Prose, through Country
+and City. Printed in the year of Bartledum Fair, 1655." Also--"The
+Bell-man's Treasury, containing above a Hundred several Verses fitted for
+all Humours and Fancies, and suited to all Times and Seasons. London,
+1707." It was from the riches of this "treasury" that the predecessors of
+the present parish Bellman mostly took their _own_ (!) "Copy of Verses."
+
+In the Luttrell Collection of Broadsides (Brit. Mus.) is one dated 1683-4,
+entitled, "A Copy of Verses presented by Isaac Ragg, Bellman, to the
+Masters and Mistresses of Holbourn Division, in the Parish of St.
+Giles's-in-the-Fields." It is headed by a woodcut representing Isaac in
+his professional accoutrements, a pointed pole in his left hand, and in
+the right a bell, while his lanthorn hangs from his jacket in front; below
+is a series of verses, the only specimen worth giving here being the
+expression of Mr. Ragg's official duty; it is as follows:--
+
+  "Time Masters, calls your bellman to his task,
+  To see your doors and windows are all fast,
+  And that no villany or foul crime be done
+  To you or yours in absence of the sun.
+  If any base lurker I do meet,
+  In private alley or in open street,
+  You shall have warning by my timely call,
+  And so God bless you and give rest to all."
+
+In a similar, but unadorned broadside, dated 1666, Thomas Law, Bellman,
+greets his Masters of "St. Giles, Cripplegate, within the Freedom," in
+twenty-three dull stanzas, of which the last may be subjoined:--
+
+  "No sooner hath St. Andrew crowned November,
+  But Boreas from the North brings cold December,
+  And I have often heard a many say
+  He brings the winter month Newcastle way;
+  For comfort here of poor distressed souls,
+  _Would he had with him brought a fleet of coals_."
+
+We have in our possession a "copy of verses," coming down to our own time.
+It is a folio broadside, and contains in addition to a portrait of the
+Bellman of the Parish and his dog on their rounds, fifteen smaller cuts,
+mostly Scriptural. It is entitled:--
+
+[Illustration:
+
+  A COPY OF VERSES FOR 1839,
+  HUMBLY PRESENTED TO ALL MY WORTHY MASTERS AND
+  MISTRESSES, OF THE PARISH OF SAINT JAMES, WESTMINSTER,
+  By Richard Mugeridge, 20, Marshall Street, Golden Square.]
+
+The "Verses" all contain allusions to the prominent events of the past
+year, and have various headings--first we have the:--
+
+  PROLOGUE.
+
+  My Masters and Mistresses, pray lend an ear,
+  While your Bellman recounts some events of the year;
+  For altho' its commencement was rather distressing,
+  We've had reason to thank it for more than one blessing,
+  'Tis true that Canadian proceedings were strange,
+  And a very sad fire was the Royal Exchange;
+  Yet the first, let us hope, is no serious matter,
+  And we'll soon have a new one in lieu of the latter.
+  Our rulers have grappled with one of our crosses,
+  While for beauty and fitness the other no loss is.
+  And still more to make up for these drawbacks vexatious,
+  Dame Fortune has been on the whole, pretty gracious.
+  We've had peace to get wealth, which of war is the sinews.
+  Grant us wit to make hay while the sunshine continues.
+  Then, the Bear of the North, that insatiate beast,
+  Has been check'd in his wily attempts on the East;
+  And his further insidious advances forbidden
+  By the broadsword of Auckland, which warns him from Eden.
+  While our rulers, in earnest, apply to the work,
+  And a treaty concludes with the Austrian and Turk,
+  Which, when next the fell Monster is tempted to roam,
+  May provide him some pleasant employment at home.
+
+
+  TO THE QUEEN.
+
+  Whilst the high and the noble in gallant array,
+  Assemble around her, their homage to pay;
+  While the proud Peers of Britain with rapture, I ween,
+  Place her crown on the brow of their peerless young Queen;
+  While by prince and by peasant her sceptre is blest;
+  Why may not the Bellman chime in with the rest?
+  Tho' alas! my poor muse would long labour in vain,
+  To express our delight in Victoria's reign,
+  Long may we exult in her merciful sway,
+  May her moments speed blithely and sweetly as May,
+  And her days be prolonged till her glories efface
+  The last maiden lady's, who sate in her place.
+
+
+  THE GREAT WESTERN.
+
+  Well, despite of some thousand objections pedantic,
+  The "Great Western" has cross'd and _re-cross'd_ the Atlantic,
+  Nor is _this_ the first time--to the foe's consternation--
+  That the deeds of our tars have defied calculation.
+  Though few of our learned professors did dream
+  That our seamen in steamers would reach the gulf stream,
+  Yet a fortnight's vibration, from Bristol or Cork,
+  Will now set us down with our friends at New York;
+  And a closer acquaintance bind firmer than ever,
+  A friendship which nothing on earth ought to sever.
+
+         *       *       *       *       *
+         *       *       *       *       *
+
+
+  EPILOGUE.
+
+  Now having conducted his well-meant effusion
+  Thus far on its way to a happy conclusion,
+  Your Bellman, tho' not quite so fresh as at starting,
+  Would still have a word with his patrons at parting,
+  Just by way of a cordial and kindly farewell,
+  For his heart, altho' softer, is sound as his bell,
+  And he cannot say more for himself or his strains,
+  Than, whatever his success, he has not spared pains;
+  And that blest in their kindness, and countenance steady,
+  His song and his services always are ready;
+  So he bids them adieu till next season appears--
+  May their wealth and their virtues increase with their years;
+  May they always have more than they ever can spend,
+  With the soul to help on a less fortunate friend;
+  And their Bellman continue to cudgel his brain,
+  For their yearly amusement, again and again.
+
+  +-----------------------------------------------------+
+  |_Cheap and Expeditious Printing by Steam Machinery,  |
+  |executed by_ C. REYNELL, 16, _Little Pulteney Street,|
+  |Golden Square._--First printed in 1735.              |
+  +-----------------------------------------------------+
+
+There is a very rare sheet of woodcuts in the Print-room of the British
+Museum, containing twelve cries, with figures of the "Criers" and the
+cries themselves beneath. The cuts are singularly characteristic, and may
+be assigned with safety, on the authority of Mr. John Thomas Smith, the
+late keeper of the prints and drawings, as of the same date as Ben
+Jonson's "fish-wives," "costard-mongers," and "orange women."
+
+No. 1 on the sheet, is the "Watch;" he has no name, but carries a staff
+and a lanthorn, is well secured in a good frieze gabardine,
+leathern-girdle, and wears a serviceable hat to guard against the weather.
+The worthy here depicted has a most venerable face and beard, showing how
+ancient was the habit of parish officers to select the poor and feeble for
+the office of watchman, in order to keep them out of the poor-house. The
+"cry" of the "watch" is as follows:--
+
+  "A light here, maids, hang out your light,
+  And see your horns be clear and bright,
+  That so your candle clear may shine,
+  Continuing from six till nine;
+  That honest men that walk along,
+  May see to pass safe without wrong."
+
+No. 2 is the "Bellman"--Dekker's "Bellman of London and Dog." (as at page
+49.) He carries a halberd lanthorn, and bell, and his "cry" is curious:--
+
+  "Maids in your smocks, look to your locks,
+  Your fire and candle-light;
+  For well 'tis known much mischief's done
+  By both in dead of night;
+  Your locks and fire do not neglect,
+  And so you may good rest expect."
+
+No. 3 is the "Orange Woman," a sort of full-grown Nell Gwynne, if we can
+only fancy _Nelly_, the favourite mistress of King Charles the Second,
+grown up in her humble occupation. She carries a basket of oranges and
+lemons under her arm, and seeks to sell them by the following "cry":--
+
+  "Fine Sevil oranges, fine lemmons, fine;
+  Round, sound, and tender, inside and rine,
+  One pin's prick their vertue show:
+  They've liquor by their weight, you may know."
+
+No. 4 is the "Hair-line Man," with a bundle of lines under his arm, and a
+line in his hand. Clothes-pegs was, perhaps, a separate "cry." Here is
+his:--
+
+  "Buy a hair-line, or a line for Jacke,
+  If you any hair or hemp-cord lack,
+  Mistris, here's good as you need use;
+  Bid fair for handsel, I'll not refuse."
+
+No. 5 is the "Radish and Lettuce Woman."--Your fine "goss" lettuce is a
+modern cry:--
+
+  "White raddish, white young lettis,
+  White young lettis white;
+  You hear me cry, come mistris, buy,
+  To make my burden light."
+
+No. 6 is the man who sells "Marking Stones," now, unless we except
+slate-pencils, completely out of use:--
+
+  "Buy marking-stones, marking-stones buy,
+  Much profit in their use doth lie:
+  I've marking-stones of colour red,
+  Passing good, or else black lead."
+
+No. 7 is the "Sausage Woman," holding a pound of sausages in her hand:--
+
+  "Who buys my sausages, sausages fine?
+    I ha' fine sausages of the best;
+  As good they are as ere was eat;
+    If they be finely drest.
+  Come, mistris, buy this daintie pound,
+  About a capon roast them round."
+
+No. 8 is a man with "Toasting-forks and Spice-graters":--
+
+  "Buy a fine toasting-fork for toast,
+  Or fine spice-grater--tools for an hoast;
+  If these in winter be lacking, I say,
+  Your guests will pack, your trade decay."
+
+No. 9 is the "Broom Man," and here we have a "cry" different from the one
+we have already given. He carries a pair of old boots in his hand:--
+
+  "Come buy some brooms, come buy of me:
+  Birch, Heath, and green,--none better be;
+  The staves are straight, and all bound sure;
+  Come, maids, my brooms will still endure.
+  Old boots or shoes I'll take for brooms,
+  Come buy to make clean all your rooms!"
+
+No. 10 is a woman with a box of "Wash balls":--
+
+  "Buy fine washing-balls, buy a ball,
+  Cheaper and dearer, greater and small;
+  For scouring none do them excel,
+  Their odour scenteth passing well;
+  Come buy rare balls, and trial make,
+  Spots out of clothes they quickly take."
+
+No. 11 sells Ink and Pens.--He carries an ink-bottle hung by a stick
+behind him, and has a bunch of pens in his hand:--
+
+  "Buy pens, pens, pens of the best,
+  Excellent pens and seconds the least;
+  Come buy good ink as black as jet,
+  A varnish like gloss on writing 'twill set."
+
+The twelfth and last is a woman with a basket of Venice Glasses, such as a
+modern collector would give a great deal to get hold of:--
+
+  "Come glasses, glasses, fine glasses buy;
+  Fine glasses o' the best I call and cry.
+  Fine Venice-glasses,--no chrystal more clear,
+  Of all forms and fashions buy glasses here,
+  Black pots for good ale I also do cry;
+  Come therefore quickly before I pass by."
+
+In the same collection, is a series of three plates, "Part of the Cries in
+London," evidently belonging to the same set, though only one has got a
+title. Each plate contains thirty-six criers, with the addition of a
+principal "Crier" in the centre. These were evidently executed abroad, as
+late, perhaps, as the reign of Charles II. No. 1 (with the title page) is
+ornamented in the centre with the "Rat-Catcher," carrying an emblazoned
+banner of rats, and attended by a boy. The leather investment of the
+rat-catcher of the present day is a pleasant memorial of the banner of the
+past. Beneath the rat-catcher, the following lines occur:--
+
+  "Hee that wil have neither
+    Ratt nor Mowssee
+  Lett him pluck of the tillies
+    And set fire of his hows."
+
+Proving, evidently that the rat-catcher courted more to his banner than
+his poetry. Then follow the thirty-six cries, some of which, it will be
+seen, are extremely curious. The names are given beneath the cuts, but
+without any verse or peculiarity of cry.
+
+  Cooper
+  Ende of Golde
+  Olde Dublets
+  Blackinge man
+  Tinker
+  Pippins
+  Bui a Matte
+  Cooles
+  Chimnie swepes
+  Bui Brumes
+  Camphires
+  Cherry ripe
+  Alminake
+  Coonie skine
+  Mussels
+  Cabeches
+  Kitchen stuff
+  Glasses
+  Cockels
+  Hartti chaks
+  Mackrill
+  Oranges, Lemens
+  Lettice
+  Place
+  Olde Iron
+  Aqua vitae
+  Pens and Ink
+  Olde Bellows
+  Herrings
+  Buy any Milke
+  Piepin Pys
+  Osters
+  Shades
+  Turneps
+  Rosmarie Baie
+  Onions.
+
+"Haie ye any work for John Cooper?" is the title of one of the Martin
+Marprelate pamphlets. "Haie ye ani gold ends to sell?" is mentioned as a
+"cry," in "Pappe with a Hatchet" (_cir._ 1589). "Camphires," means
+Samphires. The "Alminake" man has completely gone, and "Old Dublets" has
+degenerated into "Ogh Clo," a "cry" which teased Coleridge for a time, and
+occasioned a ludicrous incident, which we had reserved for a place
+somewhat later in our history, had not "Old Dublets" brought it, not
+inopportunely, to mind. "The other day," said Coleridge, "I was what you
+would call _floored_ by a Jew. He passed me several times crying out for
+old clothes, in the most nasal and extraordinary tone I ever heard. At
+last I was so provoked, that I said to him, 'Pray, why can't you say 'old
+clothes' in a plain way, as I do?' The Jew stopped, and looking very
+gravely at me, said in a clear and even accent, 'Sir, I can say 'old
+clothes' as well as you can; but if you had to say so ten times a minute,
+for an hour together, you would say _Ogh Clo_ as I do now;' and so he
+marched off." Coleridge was so confounded with the justice of the retort
+that he followed and gave him a shilling--the only one he had.
+
+The principal figure on the second plate is the "Bellman," with dog, bell,
+halberd, and lanthorns. His "cry" is curious, though we have had it almost
+in the same form before, at page 56:--
+
+  "Mayds in your Smocks, Looke
+  Wel to your lock--your fire
+  And your light, and God
+  Give you good night. At
+    One a Clock."
+
+The cries around him deserve transcription:--
+
+  Buy any Shrimps
+  Buy some Figs
+  Buy a Tosting Iron
+  Lantorne candellyht
+  Buy any Maydes
+  The Water bearer
+  Buy a whyt Pot
+  Bread and Meate
+  Buy a Candelsticke
+  Buy any Prunes
+  Buy a Washing ball
+  Good Sasages
+  Buy a Purs
+  Buy a dish a Flounders
+  Buy a Footestoole
+  Buy a fine Bowpot
+  Buy a pair a Shoes
+  Buy any Garters
+  Featherbeds to dryue
+  Buy any Bottens
+  Buy any Whiting maps
+  Buy any Tape
+  Worcestershyr Salt
+  Ripe Damsons
+  Buy any Marking Stones
+  The Bear bayting
+  Buy any blew Starch
+  Buy any Points
+  New Hadog
+  Yards and Ells
+  Buy a fyne Brush
+  Hote Mutton Poys
+  New Sprats new
+  New Cod new
+  Buy any Reasons
+  P. and Glasses to mend
+
+On the third plate, the principal figure is the "Crier," with his staff
+and keys:--
+
+  "O yis, any man or woman that
+  Can tell any tydings of a little
+  Mayden Childe of the age of 24
+  Yeares. Bring worde to the cryer,
+  And you shal be pleased for
+      Your labor
+  And God's blessinge."
+
+The figures surrounding the Common Crier are in the same style of art, and
+their cries characteristic of bygone times:--
+
+  Buy any Wheat
+  Buy al my Smelts
+  Quick Periwinckels
+  Rype Chesnuts
+  Payres fyn
+  White Redish whyt
+  Buy any Whyting
+  Buy any Bone lays
+  I ha' rype Straberies
+  Buy a Case for a Hat
+  Birds and Hens
+  Hote Podding Pyes
+  Buy a Hair Lyne
+  Buy any Pompeons
+  Whyt Scalions
+  Rype Walnuts
+  Fyn Potatos fyn
+  Hote Eele Pyes
+  Fresh Cheese and Creame
+  Buy any Garlick
+  Buy a longe Brush
+  Whyt Carots whyt
+  Fyne Pomgranats
+  Buy any Russes
+  Hats or Caps to dress
+  Wood to cleave
+  Pins of the maker
+  Any sciruy Grass
+  Any Cornes to pick
+  Buy any Parsnips
+  Hot Codlinges hot
+  Buy all my Soales
+  Good Marroquin
+  Buy any Cocumber
+  New Thornebacke
+  Fyne Oate Cakes.
+
+The only crier in the series who has a horse and cart to attend him is the
+Worcestershire salt-man. Salt is still sold from carts in poor and crowded
+neighbourhoods.
+
+We have been somewhat surprised in not finding a single Thames waterman
+among the criers of London; but the series was, perhaps, confined to the
+streets of London, and the watermen were thought to belong altogether to
+the stairs leading to their silent highway. Three of their cries have
+given titles to three good old English comedies, "Northward, ho!"
+"Eastward, ho!" and "Westward, ho!" But our series of cries is still
+extremely incomplete. Every thing in early times was carried and cried,
+and we have seen two rare prints of old London Cries not to be found in
+the lists already enumerated. One is called "_Clove Water, Stomock
+Water_," and the other "_Buy an new Booke_." Others may still exist. In
+the Duke of Devonshire's collection of drawings, by Inigo Jones, are
+several cries, drawn in pen-and-ink, for the masques at court in the
+reigns of James I. and Charles I.
+
+[Illustration: THE LIGHT OF OTHER DAYS.]
+
+In Thomas Heywood's, "_The Rape of Lucrece_, a True Roman Tragedy, acted
+by Her Majestie's Servants at the _Red-Bull_, 1609," is the following long
+list of LONDON CRIES, but called for the sake of the dramatic action of
+the scene, "_Cries of Rome_," which was the common practice with the old
+dramatists, Rome being the canting name of London. Robert Greene, in his
+"_Perimedes the Blacksmith_, 1588," when he wished to criticise the London
+_Theatre_ at Shoreditch, talks of the _Theatre in Rome_; also in his
+"_Never too Late_, 1590," when he talks of the London actors, he pretends
+only to speak of Roscius and the actors of _Rome_. In the pedlar's French
+of the day Rome-vyle--or ville--was London, and Rome-mort the Queen
+[Elizabeth]. There is some humour in the classification, and if the cries
+were well imitated by the singer, the ballad--or as it would then be
+called "_jig_"--is likely to have been extremely popular in its day.
+
+  THE CRIES OF ROME [_i.e._ London.]
+
+  Thus go the cries in _Rome's_ fair town,
+  First they go up street, and then they go down,
+  Round and sound all of a colour,
+  Buy a very fine marking stone, marking stone,
+  Round and sound all of a colour;
+  Buy a very fine marking stone, marking stone.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Bread and--meat--bread--and meat
+  For the--ten--der--mercy of God to the
+  poor pris--ners of _Newgate_, four-
+  score and ten--poor--prisoners.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+[Illustration: MARKING STONE.]
+
+[Illustration: BREAD AND MEAT.]
+
+[Illustration: WORSTERSHIRE SALT.]
+
+[Illustration: BUY A MOUSE TRAP.]
+
+  Salt--salt--white Wor--stershire Salt,
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Buy a very fine Mouse--trap, or a tormentor for your Fleas.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Kitchen-stuff, maids.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  I have white Radish, white hard Lettuce, white young Onions.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  I have Rock--Samphire Rock--Samphire,
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+    Buy a Mat, a Mil--Mat,
+    Mat or a Hassock for your pew,
+    A stopple for your close-stool,
+    Or a Pesock to thrust your feet in.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Whiting maids, Whiting.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+[Illustration: KITCHEN STUFF, MAIDS.]
+
+[Illustration: WHITE RADISH LETTUCE.]
+
+[Illustration: ROCK SAMPIER.]
+
+[Illustration: MAT, A MILL MAT.]
+
+  Hot fine Oat-Cakes, hot.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Small--Coals here.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Will you buy any Milk to day.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Lanthorn and Candle light here, Maid, a light here.
+
+      Thus go the cries in _Rome's_ fair town,
+      First they go up street, and then they go down.
+
+  Here lies a company of very poor
+  Women, in the dark dungeon,
+  Hungary, cold, and comfortless, night and day;
+  Pity the poor women in the dark dungeon.
+
+    Thus go the cries where they do house them,
+    First they come to the grate, and then they go lowse them.
+
+[Illustration]
+
+[Illustration: WHITING MAIDS, WHITING.]
+
+[Illustration: HOT FINE OAT CAKES.]
+
+[Illustration: SMALL COALS HERE.]
+
+[Illustration: ST. THOMAS' ONIONS.]
+
+From "Deuteromelia: or, the Second Part of Pleasant Roundelayes; K. H.
+Mirth, or Freeman's Songs, and such delightful Catches. London, printed
+for Thomas Adams, dwelling in Paul's Church-yard, at the sign of the White
+Lion, 1609."
+
+  Who liveth so merry in all this land
+  As doth the poor widdow that selleth the sand?
+  And ever shee singeth as I can guesse,
+  Will you buy any sand, any sand, mistress?
+
+  The broom-man maketh his living most sweet,
+  With carrying of brooms from street to street;
+  Who would desire a pleasanter thing,
+  Then all the day long to doe nothing but sing.
+
+  The chimney-sweeper all the long day,
+  He singeth and sweepeth the soote away;
+  Yet when he comes home altho' he be weary,
+  With his sweet wife he maketh full merry.
+
+        *       *       *       *       *
+
+  Who liveth so merry and maketh such sport
+  As those that be of the poorest sort?
+  The poorest sort wheresoever they be,
+  They gather together by one, two, three.
+
+  And every man will spend his penny
+  What makes such a shot among a great many?
+
+Thomas Morely, a musical composer, set music of four, six, eight and ten
+parts, to the cries in his time, among them are some used by the
+milliners' girls in the New Exchange, which was on the south side of the
+Strand, opposite the now Adelphi Theatre, it was built in the reign of
+James I., and pulled down towards the end of the last century; among
+others are "_Italian falling Bands_," "_French Garters_," "_Robatos_," a
+kind of ruff then fashionable, "_Nun's Thread_," _&c._
+
+The effeminacy and coxcombry of a man's ruff and band are well ridiculed
+by many of our dramatic writers. There is a small tract bearing the
+following title--"A Merrie Dialogue between Band, Cuffe and Ruffe. Done by
+an excellent Wit, and lately acted in a Shew in the Famous Universitie of
+Cambridge. London, printed by W. Stansby for Miles Partrich, and are to be
+sold at his shop neere Saint Dunstone's Church-yard in Fleet Street,
+1615." This _brochure_ is a _bonne-bouche_ of the period, written in
+dramatic dialogue form, and full of puns as any modern comedy or farcical
+sketch from the pen of the greatest word-twister of the day--Henry J.
+Byron (who, on _Cyril's Success_, _Married in Haste_, _Our Boys_, and _The
+Girls_,)--and is of considerable value as an illustration of the history
+of the costume of the period. The band, as an article of ornament for the
+neck, was the common wear of gentlemen, though now exclusively retained by
+the clergy and lawyers; the cuff, as a fold at the end of a sleeve, or the
+part of the sleeve turned back from the hand, was made highly fantastical
+by means of "cut work;" the ruff, as a female neck ornament, made of
+plaited lawn, or other material, is well-known, but it was formerly worn
+by both sexes.
+
+In a Roxburghe Ballad entitled "The Batchelor's Feast," &c., we have:--
+
+  "The taylor must be pay'd for making of her gowne,
+    The shoomakers for fine shoes: or else thy wife will frowne;
+  For _bands_, fine _ruffes_, and _cuffes_, thou must dispence as free:
+    O 'tis a gallant thing to live at liberty," &c.
+
+In another, "The Lamentations of a New Married Man, briefly declaring the
+sorrow and grief that comes by marrying a young wanton wife":--
+
+  "Against that she is churched, a new Gowne she must have,
+  A daintie fine _Rebato_ about her neck to brave;"
+
+In "_Loyal Subject_," by Beaumont and Fletcher, act iii., sc. 5, we find
+that in the reign of James I., potatoes had become so common, that
+"_Potatoes! ripe Potatoes!_" were publicly hawked about the city.
+
+[Illustration: POTATOES! RIPE POTATOES.]
+
+Orlando Gibbons,--1583-1625--set music in madrigals to several common
+cries of the day. In a play called "_Tarquin and Lucrece_," some of the
+music of the following occur,--"_Rock Samphire_," "_A Marking Stone_,"
+"_Bread and Meat for the poor Prisoners_," "_Hassock for your pew_,"
+"_Lanthorne and Candlelight_," _&c._
+
+In the Bridgewater library (in the possession of the Earl of Ellesmere) is
+a series of engravings on copper thirty-two in number, without date or
+engraver's name; but called, in the handwriting of the second Earl of
+Bridgewater, "The Manner of Crying Things in London." They are, it is
+said, by a foreign artist, and probably proof impressions, for on the
+margin of one of the engravings is a small part of another, as if it had
+been taken off for a trial of the plate. Curious and characteristic they
+certainly are, and of a date anterior to 1686; in which year the second
+Earl of Bridgewater died. The very titles kindle old recollections as you
+read them over:--
+
+    1. Lanthorne and a whole candell light: hang out your lights heare!
+
+    2. I have fresh cheese and creame.
+
+    3. Buy a brush or a table book.
+
+    4. Fine oranges, fine lemons.
+
+    5. Ells or yeards: buy yeard or ells.
+
+    6. I have ripe straw-buryes, ripe straw-buryes.
+
+    7. I have screenes, if you desier to keepe y{r} butey from y{e} fire.
+
+    8. Codlinges hot, hot codlinges.
+
+    9. Buy a steele or a tinder box.
+
+    10. Quicke peravinkells, quicke, quicke.
+
+    11. Worke for a cooper; worke for a cooper.
+
+    12. Bandestringes, or handkercher buttons.
+
+    13. A tanker bearer.
+
+    14. Macarell new: maca-rell.
+
+    15. Buy a hone, or a whetstone, or a marking stone.
+
+    16. White unions, white St. Thomas unions.
+
+    17. Mate for a bed, buy a doore mate.
+
+    18. Radishes or lettis, two bunches a penny.
+
+    19. Have you any work for a tinker?
+
+    20. Buy my hartichokes, mistris.
+
+    21. Maribones, maides, maribones.
+
+    22. I ha' ripe cowcumber, ripe cowcumber.
+
+    23. Chimney sweepe.
+
+    24. New flounders new.
+
+    25. Some broken breade and meate for y{e} poore prisoners; for the
+    Lord's sake pittey the poore.
+
+    26. Buy my dish of great smelts.
+
+    27. Have you any chaires to mend?
+
+    28. Buy a cocke, or a gelding.
+
+    29. Old showes or bootes; will you buy some broome?
+
+    30. Mussels, lilly white mussels.
+
+    31. Small cole a penny a peake.
+
+    32. What kitchen stuff have you, maides?
+
+The figures, male and female, in the engravings, are all three-quarter
+lengths, furnished with the implements of their various trades, or with
+the articles in which they deal. The Watchman (one of the best) is a fine
+old fellow, with a broad brim to his hat, a reverential beard, a halberd
+in one hand, and a lanthorn in the other (after the manner of the one we
+have given at page 46). But perhaps the most curious engraving in the set
+is the "cry" called "Some broken breade and meate for y{e} poore
+prisoners: for the Lord's sake pittey the poore." This represents a poor
+prisoner with a sealed box in his hand, and a basket at his back--the box
+for alms in the shape of money, and the basket for broken bread and meat.
+There is also preserved a small handbill printed in 1664, and entitled,
+"The Humble Petition of the Poor Distressed Prisoners in Ludgate, being
+above an hundred and fourscore poor persons in number, against the time of
+the Birth of our Blessed Lord and Saviour Jesus Christ." "We most humbly
+beseech you," says the handbill "(even for God's cause), to relieve us
+with your charitable benevolence, and to put into this Bearers Boxe, the
+same being sealed with the house seale as it is figured on this Petition."
+
+[Illustration:
+
+  "Pity the sorrows of a poor old man,
+  Whose trembling limbs have borne him to your door."]
+
+To, "O, rare Ben Jonson!" we are indebted for the most perfect picture of
+Smithfield at "Barthol'me-tide," which he gives us, together with the
+popular cries in vogue at the time, in his comedy of "_Bartholomew Fair_,"
+produced at the Hope Theatre, on the Bankside, 1614, and acted, as Jonson
+tells us, by the lady Elizabeth's servants.
+
+The second act opens with "_The Fair. A number of Booths, Stalls, &c., set
+out_." The characters presented are "Lanthorn Leatherhead," _a hobby-horse
+seller_. "Bartholomew Cokes," _an esquire of Harrow_. "Nightingale," _a
+ballad-singer, a costard-monger, mousetrap-man, corn cutter_. "Joan
+Trash," _a gingerbread woman_. "Leatherhead" calls--"What do you lack?
+what is't you buy? what do you lack? rattles, drums, halberts, horses,
+babies o' the best? fiddles o' the finest." "Joan Trash" cries, "Buy my
+gingerbread, gilt gingerbread!" the costard-monger, bawls out, "Buy any
+pears, pears, fine, very fine pears!" "Nightingale," the ballad man
+sings--
+
+  "Hey, now the Fair's a filling!
+    O, for a tune to startle
+  The birds o' the booths here billing
+    Yearly with old saint _Bartle_!
+  The drunkards they are wading,
+    The punks and chapmen trading:
+  Who'd see the _Fair_ without his lading?
+    Buy my ballads! new ballads!"
+
+"What do you lack?" continues Leatherhead, "What do you lack, gentlemen?
+my pretty mistress, buy a fine hobby-horse for your young master; cost you
+but a token a week for his provender." The corn cutter cries, "Have you
+any corns in your feet or toes?" The tinder-box man calls, "Buy a
+mouse-trap, a mouse-trap, or a tormentor for a flea!" Trash cries, "Buy
+some gingerbread!" Nightingale bawls, "Ballads, ballads, fine new
+ballads!" Leatherhead repeats, "What do you lack, gentlemen, what is't you
+lack? a fine horse? a lion? a bull? a bear? a dog? or a cat? an excellent
+fine Bartholomew bird? or an instrument? what is't you lack, what do you
+buy, mistress? a fine hobby-horse, to make your son a tilter? a drum, to
+make him a soldier? a fiddle, to make him a reveller? what is't you lack?
+little dogs for your daughters? or babies, male and female? fine purses,
+pouches, pincases, pipes; what is't you lack? a pair o' smiths to wake you
+i' the morning? or a fine whistling bird?" A character named "Bartholomew
+Cokes," a silly "Esquire of Harrow," stops at Leatherhead's stall to
+purchase.--"Those six horses, friend, I'll have, and the three Jew's
+trumps; and half a dozen o' birds; and that drum; and your smiths--I like
+that devise o' your smiths, and four halberts; and let me see, that fine
+painted great lady, and her three women of state, I'll have. A set of
+those violins I would buy too, for a delicate young noise[4] I have i' the
+country, that are every one a size less than another, just like your
+fiddles." Joan Trash invites the Esquire to buy her gingerbread, and he
+turns to her basket, whereupon Leatherhead says, "Is this well, Goody
+Joan, to interrupt my market in the midst, and call away my customers? Can
+you answer this at the _Pie-poudres_?"[5] whereto Joan Trash replies,
+"Why, if his master-ship have a mind to buy, I hope my ware lies as open
+as anothers; I may show my ware as well as you yours." Nightingale begins
+to sing:--
+
+  "My masters and friends, and good people draw near."
+
+Squire Cokes hears this, and says, "Ballads! hark, hark! pray thee,
+fellow, stay a little! what ballads hast thou? let me see, let me see
+myself--How dost thou call it? _A Caveat against Cut-purses!_--a good jest
+i' faith; I would fain see that demon, your cut-purse, you talk of;" He
+then shows his purse boastingly, and enquires "Ballad-man, do any
+cut-purses haunt hereabout? pray thee raise me one or two: begin and show
+me one." Nightingale answers, "Sir, this is a spell against 'em, spick and
+span new: and 'tis made as 'twere in mine own person, and I sing it in
+mine own defence. But 'twill cost a penny alone if you buy it." The Squire
+replies: "No matter for the price; thou dost not know me, I see, I am an
+old _Bartholomew_." The ballad has "pictures," and Nightingale tells him,
+"It was intended, sir, as if a purse should chance to be cut in my
+presence, now, I may be blameless though; as by the sequel will more
+plainly appear." He adds, "It is, to the tune of _Paggington's Pound_,
+sir." and he finally sings the ballad, the first and last stanzas of which
+follow:--
+
+  "My masters, and friends, and good people draw near,
+  And look to your purses, for that I do say;
+  And though little money, in them you do bear,
+  It cost more to get, than to lose in a day,
+            You oft' have been told,
+            Both the young and the old,
+  And bidden beware of the cut-purse so bold;
+  Then if you take heed not, free me from the curse,
+  Who both give you warning, for, and the cut-purse.
+  Youth, youth, thou hadst better been starved by thy nurse,
+  Than live to be hanged for cutting a purse.
+
+         *       *       *       *       *
+
+  "But O, you vile nation of cut-purses all,
+  Relent, and repent, and amend, and be sound,
+  And know that you ought not by honest men's fall,
+  Advance your own fortunes to die above ground.
+            And though you go gay
+            In silks as you may,
+  It is not the highway to heaven (as they say.)
+  Repent then, repent you, for better, for worse;
+  And kiss not the gallows for cutting a purse.
+  Youth, youth, thou hadst better been starved by thy nurse,
+  Than live to be hanged for cutting a purse."
+
+While Nightingale sings this ballad, a fellow tickles Coke's ear with a
+straw, to make him withdraw his hand from his pocket, and privately robs
+him of his purse, which, at the end of the song, he secretly conveys to
+the ballad-singer; who notwithstanding his "Caveat against cut-purses," is
+their principal confederate, and in that quality, becomes the unsuspected
+depository of the plunder.
+
+In the years 1600-18, there was published a musical work, entitled
+"_Pammelia_--MVSICKES MISCELLANIE; _Or_, Mixed Varietie of pleasant
+ROVNDELAYS and delightful CATCHES. London, Printed by Thomas Snodhom, for
+Matthew Lownes and Iohn Browne." It was compiled by some eminent
+musicians, who had a practice of setting the cries of London to music,
+retaining only the very musical notes of them, here we find, "What
+Kitchen-Stuffe haue you maids," and there is a Round in six parts to the
+cry of "New Oysters:"--
+
+  "New Oysters, new Oysters, new Oysters new,
+  New Oysters, new Wall-fleet Oysters--
+  At a groat a pecke--each Oyster worth twopence.
+  Fetch vs bread and wine, that we may eate,
+  Let vs lose no time with such good meate--
+  A Banquet for a Prince--New Oysters.
+                    New--_vt supra_--Oysters."
+
+From "Meligmata: Musical Phantasies, fitting the Court, City, and Country
+Manners, to three, four and five Voices"--
+
+  "To all delightful, except to the spiteful;
+  To none offensive, except to the pensive."
+
+"London, printed by William Stansby, for Thos. Adams, 1611," we take as
+follows:--
+
+  "CITTIE ROUNDS.
+
+  "Broomes for old shoes! pouch-rings, bootes and buskings!
+  Will yee buy any new broome?
+  New oysters! new oysters! new new cockles!
+  Cockels nye! fresh herrings! will yee buy any straw?
+  Hay yee any kitchen stuffe, maides?
+  Pippins fine, cherrie ripe, ripe, ripe!
+      Cherrie ripe, &c.
+          Hay any wood to cleaue?
+          Give care to the clocke!
+          Beware your locke!
+          Your fire and your light!
+          And God giue you good night!
+              One o' clocke!"
+
+Some of the "Common Cryes i' th' City," as Oysters, Codlings,
+Kitchen-stuff, Matches for your Tinder-box, &c., are enumerated in Richard
+Brome's--The "Court Beggar, A Comedie acted at the _Cock-pit_, by His
+Majesties Servants, _Anno_ 1632."
+
+"The London Chanticleers, a witty Comedy full of Various and Delightful
+Mirth," 1659. This piece is rather an interlude than a play, and is
+amusing and curious, the characters being, with two exceptions, all London
+criers. The allusions to old usages, with the mention of many well known
+ballads, and some known no longer, contribute to give the piece an
+interest and a value of its own.
+
+The principal _dramatis personae_ consists of:--
+
+    HEATH.--_A broom-man._ "Brooms, maids, broom! Come, buy my brooms,
+    maids; 'Tis a new broom, and will sweep clean. Come, buy my broom,
+    maids!"
+
+    BRISTLE.--_A brush-man._ "Come, buy a save-all. Buy a comb-brush, or a
+    pot-brush; buy a flint, or a steel, or a tinder-box."
+
+    DITTY.--_A ballad-man._ "Come, new books, new books, newly printed and
+    newly come forth! All sorts of ballads and pleasant books! _The Famous
+    History of Tom Thumb_ and _Unfortunate Jack, A Hundred Goodly
+    Lessons_ and _Alas, poor Scholar, whither wilt thou go? The second
+    part of Mother Shipton's Prophecies, newly made by a gentleman of good
+    quality_, foretelling what was done four hundred years ago, and _A
+    Pleasant Ballad of a bloody fight seen i' th' air_, which, the
+    astrologers say, portends scarcity of fowl this year. The _Ballad of
+    the Unfortunate Lover_. I have _George of Green_, _Chivy Chase_,
+    _Collins and the Devil; or, Room for Cuckolds_, _The Ballad of the
+    London 'Prentice_, _Guy of Warwick_, _The Beggar of Bethnal Green, the
+    Honest Milkmaid; or, I must not wrong my Dame_, _The Honest Fresh
+    Cheese and Cream Woman_. Then I have _The Seven Wise Men of Gotham_,
+    _A Hundred Merry Tales_, _Scoggin's Jests; or, A Book of Prayers and
+    Graces for Young Children_. I have very strange news from beyond seas.
+    The King of Morocco has got the black jaundice, and the Duke of
+    Westphalia is sick of the swine-pox, with eating bacon; the Moors
+    increase daily, and the King of Cyprus mourns for the Duke of Saxony,
+    that is dead of the stone; and Presbyter John is advanced to Zealand;
+    the sea ebbs and flows but twice in four-and-twenty hours, and the
+    moon has changed but once the last month."
+
+    BUDGET.--_A Tinker._ "Have you any work for the tinker? Old brass, old
+    pots, old kettles. I'll mend them all with a tara-tink, and never hurt
+    your metal."
+
+    GUM.--_A Tooth drawer._ "Have you any corns upon your feet or toes?
+    Any teeth to draw?"
+
+    JENNITING.--_An Apple wench._ "Come buy my pearmains, curious John
+    Apples, dainty pippins? Come, who buy? who buy?"
+
+    CURDS.--_A fresh Cheese and Cream woman._ "I have fresh cheese and
+    cream; I have fresh cheese and cream."
+
+
+  THE SORROWFUL LAMENTATIONS of the PEDLARS AND PETTY CHAPMEN,
+  For the Hardness of the Times and the Decay of Trade.
+  _To the Tune of_ "My Life and my Death."
+
+  "The times are grown hard, more harder than stone,
+  And therefore the Pedlars may well make their moan,
+  Lament and complain that trading is dead,
+  That all the sweet golden days now are fled.
+      Then maidens and men, come see what you lack,
+      And buy the fine toys that I have in my pack!
+
+  "Come hither and view, here's choice and here's store,
+  Here's all things to please ye, what would you have more?
+  Here's points for the men, and pins for the maid,
+  Then open your purses and be not afraid.
+                        Come, maidens, &c.
+
+  "Let none at a tester repent or repine:
+  Come bring me your money, and I'll make you fine;
+  Young Billy shall look as spruce as the day,
+  And pretty sweet Betty more finer than May.
+                        Then, maidens, &c.
+
+  "To buy a new license your money I crave;
+  'Tis that which I want, and 'tis that which you have:
+  Exchange then a groat for some pretty toy,
+  Come, buy this fine whistle for your little boy.
+                        Come, maidens, &c.
+
+  "Here's garters for hose, and cotton for shoes.
+  And there's a gilt bodkin, which none would refuse:
+  This bodkin let John give to sweet Mistriss Jane,
+  And then of unkindness he shall not complain.
+                        Come, maidens, &c.
+
+  "Come buy this fine coife, this dressing, or hood,
+  And let not your money come like drops of blood:
+  The Pedlar may well of his fortune complain
+  If he brings all his ware to the market in vaine.
+                        Then, maidens, &c.
+
+  "Here's band strings for men, and there you have lace,
+  Bone-lace to adorn the fair virgin's sweet face:
+  Whatever you like, if you will but pay,
+  As soon as you please you may take it away.
+                        Then, maidens, &c.
+
+  "The world is so hard that we find little trade,
+  Although we have all things to please every maid:
+  Come, pretty fair maids, then make no delay,
+  But give me your hansel, and pack me away.
+                        Come, maidens, &c.
+
+  "Here's all things that's fine, and all things that's rare,
+  All modish and neat, all new London ware:
+  Variety here you plainly may see,
+  Then give me your money, and we will agree.
+                        Come, maidens, &c.
+
+  "We travel all day through dirt and through mire,
+  To fetch you fine laces and what you desire;
+  No pains do we spare to bring you choice ware,
+  As gloves and perfumes, and sweet powder for hair.
+                        Then, maidens, &c.
+
+  "We have choice of songs, and merry books, too,
+  All pleasant and witty, delightful and new,
+  Which every young swain may whistle at plough,
+  And every fair milk-maid may sing at her cow.
+                        Then, maidens, &c.
+
+  "Since trading's so dead we must needs complain,
+  And, therefore, pray let us have some little gain:
+  If you will be free, we will you supply
+  With what you do want; therefore, pray come and buy.
+      The world is so hard, that although we take pains,
+      When we look in our purses we find little gains.
+
+  "Printed for J. BACK, at the Black-boy, on London Bridge."
+
+In "Merry Drollery Complete, or, a Collection of Jovial Poems, Merry
+Songs, Witty Drolleries, Intermixed with Pleasant Catches, London, Printed
+for _William Miller_, at the _Gilded Acorn_, in _St. Paul's_ Church-yard,
+1661," the _Catch_ which follows will be found. The Rev. J. Woodfall
+Ebsworth, M.A., Cantab, who has carefully edited and reprinted [1875]
+"Both Parts"; says in his _Appendix of Notes_:--"Hare-skin and Rabbit-skin
+collectors, have always been queer characters. This catch is by JOHN
+FLETCHER, in his 'Beggar's Bush,' act iii., sc. 1, where it is sung by
+'Clause' his boy. Clause, the vagabond beggar, was a popular favourite,
+reproduced in 'Drolls.' We see him represented in the frontispiece of _The
+Wits_, by Kirkman and Cox."
+
+  A CATCH.
+
+  "Bring forth your Cunny skins, fair maids, to me,
+  And hold them fair that I may see
+  Gray, black, and blue; for your smaller skins--
+  I'll give you Glasses, Laces, Pins:
+              And for your whole Cunny
+              I'll give ready money.
+
+  "Come, gentle _Jone_, do thou begin
+  With thy black, black, black Cunny skin,
+  And _Mary_ then, and _Kate_ will follow
+  With their silver'd hair'd skins, and their yellow;
+              Your white Cunny skin I will not lay by,
+              Though it be fat, it is not fair to the Eye.
+
+  "Your gray it is warm, but for my money
+  Give me the bonny, bonny black Coney;
+  Come away, fair maids, your skins will decay,
+  Come take money, maids, put your ware away;
+              I have fine Bracelets, Rings,
+              And I have silver Pins
+              Coney skins, Coney skins,
+              Maids, have you any Coney skins."
+
+In the same Collection there is a vigorous song exposing the cheats of
+mendicants. The hero of which declares:--"_I am a Rogue, and a stout
+one_." And that among the many cheats, counterfeits, deceits and dodges he
+has to resort to, at times he may be seen:--
+
+  "In _Pauls_ Church-yard, by a pillar,
+  Sometimes you see me stand, Sir,
+  With a writ that shows what cares, what woes
+  I have passed by Sea and Land, Sir,
+      Then I do cry, &c.
+
+  "Come buy, come buy a Horn-book,
+  Who buys my Pins and Needles:
+  Such things do I in the City cry
+  Oftimes to 'scape the Beadles,
+      Then I do cry, &c."
+
+For the counterpart of this Rogue and Vagabond, the reader is referred to
+Vol. I, No. 42-3 of the Roxburghe Ballads--(British Museum.) Where there
+is one entitled:--
+
+  THE CUNNING NORTHERN BEGGAR.
+
+  Who all the by-standers doth earnestly pray
+  To bestow a penny upon him to-day.
+  TO THE TUNE OF _Tom of Bedlam_.
+
+[Illustration]
+
+  I am a lusty beggar,
+    And live by others giving!
+      I scorn to work,
+      But by the highway lurk,
+    And beg to get my living:
+  I'll i' the wind and weather,
+    And wear all ragged garments;
+      Yet, though I'm bare,
+      I'm free from care,--
+  A fig for high preferments!
+
+          _Therefore I'll cry, &c._
+
+    *       *       *       *
+
+  My flesh I can so temper
+    That it shall seem to fester,
+      And look all o'er
+      Like a raw sore,
+    Whereon I stick a plaister.
+  With blood I daub my face then,
+    To feign the falling sickness,
+      That in every place
+      They pity my case,
+  As if it came through weakness.
+
+          _Therefore I'll cry, &c._
+
+    *       *       *       *
+
+  No tricks at all shall escape me,
+    But I will by my maunding,
+      Get some relief
+      To ease my grief
+    When by the highway standing:
+  'Tis better be a Beggar,
+    And ask of kind good fellows,
+      And honestly have
+      What we do crave,
+    Than steal and go to the gallows.
+
+  _Therefore I'll cry, "Good your worship, good sir,
+    Bestow one poor denier, sir,
+      Which, when I've got,
+      At the Pipe and Pot
+    I soon will it cashier, sir."_
+
+  FINIS.
+
+  Printed at London for F. Coules.
+
+The following ballad was published in "Playford's Select Ayres," 1659, p.
+95; with music by Dr. John Wilson, and Musical Companion, 1673. It is in
+the Percy Folio MS., iii., 308-11. Also in "Windsor Drollery," 2; and "Le
+Prince d'Amour," 1660, p. 177. It is attributed to Shakespeare, but with
+only manuscript evidence.
+
+  "THE SONG OF THE PEDLARS.
+
+  "From the fair Lavinian shore,
+  I your markets come to store.
+  Muse not though so far I dwell
+  And my wares come here to sell:
+      Such is the insatiate thirst after gold,
+  Then come to my pack
+  While I cry, what d'ye lack,
+      What d'ye buy? for here it is to be sold.
+
+  "Courteous Sir, I've wares for you,
+  Garters red and stockings blue,
+  Dainty gaudes for Sunday gear,
+  Beads and laces for your dear,
+  First let me have but a touch of your gold
+  Then come--Not a swain,
+      Half so neat,
+      On the plain
+      Shall we meet
+  So comely to behold.
+
+  "Madam, come, here you may find
+  Rings with posies to your mind,
+  Silken bands for true-love-knot,
+  And complexion I have got.
+  First let me have but a touch of your gold,
+  Then come--To your face,
+      I'll restore
+      Every grace
+      Though you're more
+  Than three score and ten years old.
+
+  "Gentles all, now fare you well,
+  I must trudge my wares to sell;
+  Lads so blythe and Dames so young,
+  Drop a guerdon for my song.
+  Just let me have but a touch of your gold,
+      I'll come with my pack
+      Again to cry,
+      What d'ye lack,
+      What d'ye buy?
+  For here it is to be sold."
+
+Mr. John Payne Collier, in his "_A Book of Roxburghe Ballads_," London,
+1847, reproduces a capital ditty; "ryhte merrie and very excellent in its
+way," relating to the popular pursuits and the customs of London and the
+Londoners in the early part of the seventeenth century. It is printed
+_verbatim_ from a broadside, signed W. Turner, and called:--
+
+    "The Common Cries of London Town,
+    Some go up street and some go down.
+
+    With Turner's Dish of Stuff, or a Gallymaufery
+
+    To the tune of _Wotton Towns End_.[6] Printed for F. C[oles,] T.
+    V[ere,] and W. G[ilbertson.] 1662."
+
+The only known copy is dated 1662, but contains internal evidence, in the
+following stanza (which occurs in the opening of The Second Part,) that it
+was written in the reign of James I.
+
+  "That's the fat foole of the Curtin:
+    And the lean fool of the Bull:
+  Since _Shancke_ did leave to sing his rimes,
+    He is counted but a gull.
+
+  "The players on the Bankside,
+    The round Globe and the Swan,
+  Will teach you idle tricks of love,
+    But the Bull will play the man."
+
+_Shancke._--John Shancke the comic actor here mentioned was celebrated for
+singing rhymes, and what were technically "jigs" on the stage. In this
+respect, as a low comedian he had been the legitimate successor of
+Tarlton, Kempe, Phillips, and Singer. He was on the stage from 1603 to
+1635, when he died. Then, John Taylor the _Water Poet_, no mean authority,
+informs us that the Swan Theatre, on the Bankside, in the Liberty of Paris
+Gardens, had been abandoned by the players in 1613. The Curtain Theatre in
+Holywell street--or Halliwell street, as it was usually spelt at that
+time--Shoreditch Fields[7] had also fallen into disuse before the reign of
+Charles I. The Globe on the Bankside, and the [Red] Bull Theatre at the
+upper end of St. John's street, Clerkenwell were employed until after the
+restoration. The allusion to the Waterman carrying "bonny lasses over to
+the plays," is also a curious note of time. With these matters before us,
+we may safely conclude that "Turner's Dish of Stuff" is but a reprint of
+an earlier production. As we find it, so we lay it before our readers:
+thus:--
+
+  "THE COMMON CRIES OF LONDON TOWN:
+  SOME GO UP STREET, SOME GO DOWN.
+
+  With Turner's Dish of Stuff, or a Gallymaufery.
+  _To the tune_ of Wotton Towns End."
+
+  [Illustration]
+
+  "My masters all, attend you,
+      if mirth you love to heare,
+  And I will tell you what they cry
+      in London all the yeare.
+  Ile please you if I can,
+      I will not be too long:
+  I pray you all attend awhile,
+      and listen to my song.
+
+  "The fish-wife first begins,
+      Anye muscles lilly white!
+  Herrings, sprats or plaice,
+      or cockles for delight.
+  Anye welflet oysters!
+      Then she doth change her note:
+  She had need to have her tongue be greas'd,
+      for the rattles in the throat.
+
+  "For why, they are but Kentish,
+      to tell you out of doubt.
+  Her measure is too little;
+      goe, beat the bottom out.
+  Half a peck for two pence?
+      I doubt it is a bodge.
+  Thus all the City over
+      the people they do dodge.
+
+  "The wench that cries the kitchin stuff,
+      I marvel what she ayle,
+  She sings her note so merry,
+      but she hath a draggle tayle:
+  An empty car came running,
+      and hit her on the bum;
+  Down she threw her greasie tub,
+      and away straight she did run.
+
+  "But she did give her blessing
+      to some, but not to all,
+  To bear a load to Tyburne,
+      and there to let it fall:
+  The miller and his golden thumb,
+      and his dirty neck,
+  If he grind but two bushels,
+      he must needs steal a peck.
+
+  "The weaver and the taylor,
+      cozens they be sure,
+  They cannot work but they must steal,
+      to keep their hands inure;
+  For it is a common proverb
+      thorowout the town,
+  The taylor he must cut three sleeves
+      to every woman's gown.
+
+  "Mark but the waterman
+      attending for his fare,
+  Of hot and cold, of wet and dry,
+      he alwaies takes his share:
+  He carrieth bonny lasses
+      over to the playes,
+  And here and there he gets a bit,
+      and that his stomach staies.
+
+  "There was a singing boy
+      who did not ride to Rumford;
+  When I go to my own school
+      I will take him in a comfort;
+  But what I leave behind
+      shall be no private gain;
+  But all is one when I am gone:
+      let him take it for his pain.
+
+  "Old shoes for new brooms!
+      the broom-man he doth sing,
+  For hats or caps or buskins,
+      or any old pouch ring.
+  Buy a mat, a bed-mat!
+      a hassock or a presse,
+  A cover for a close stool,
+      a bigger or a lesse.
+
+  "Ripe, cherry ripe!
+      the coster-monger cries;
+  Pippins fine or pears!
+      another after hies,
+  With basket on his head
+      his living to advance,
+  And in his purse a pair of dice
+      for to play at mumchance.
+
+  "Hot pippin pies!
+      to sell unto my friends,
+  Or pudding pies in pans,
+      well stuft with candle's ends.
+  Will you buy any milk?
+      I heard a wench that cries:
+  With a pale of fresh cheese and cream,
+      another after hies.
+
+  "Oh! the wench went neatly;
+      me thought it did me good,
+  To see her cherry cheeks
+      so dimpled ore with blood:
+  Her waistcoat washed white
+      as any lilly floure;
+  Would I had time to talk with her
+      the space of half an hour.
+
+  "Buy black! saith the blaking man,
+      the best that ere was seen;
+  Tis good for poore citizens
+      to make their shoes to shine.
+  Oh! tis a rare commodity,
+      it must not be forgot;
+  It will make them to glister galantly,
+      and quickly make them rot.
+
+  "The world is full of thread-bare poets
+      that live upon their pen,
+  But they will write too eloquent,
+      they are such witty men.
+  But the tinker with his budget,
+      the beggar with his wallet,
+  And Turners turned a gallant man
+      at making of a ballet."
+
+
+  THE SECOND PART.
+
+  _To the same Tune._
+
+  [Illustration]
+
+  "That's the fat foole of the Curtin,
+      and the lean fool of the Bull:
+  Since Shancke did leave to sing his rimes,
+      he is counted but a gull.
+  The players on the Bankside,
+      the round Globe and the Swan,
+  Will teach you idle tricks of love,
+      but the Bull will play the man.
+
+  "But what do I stand tattling
+      of such idle toyes?
+  I had better go to Smith-Field
+      to play among the boyes:
+  But you cheating and deceiving lads,
+      with your base artillery,
+  I would wish you to shun Newgate,
+      and withall the pillory.
+
+  "And some there be in patcht gownes,
+      I know not what they be,
+  That pinch the country-man
+      with nimming of a fee;
+  For where they get a booty,
+      they'le make him pay so dear,
+  They'le entertain more in a day,
+      then he shall in a year.
+
+  "Which makes them trim up houses
+      made of brick and stone,
+  And poor men go a begging,
+      when house and land is gone.
+  Some there be with both hands
+      will swear they will not dally,
+  Till they have turn'd all upside down,
+      as many use to sally.
+
+  "You pedlers, give good measure,
+      when as your wares you sell:
+  Tho' your yard be short, your thumb will slip
+      your tricks I know full well.
+  And you that sell your wares by weight,
+      and live upon the trade,
+  Some beams be false, some waits too light;
+      such tricks there have been plaid.
+
+  "But small coals, or great coals!
+      I have them on my back:
+  The goose lies in the bottom;
+      you may hear the duck cry quack.
+  Thus Grim the black collier,
+      whose living is so loose,
+  As he doth walk the commons ore,
+      sometimes he steals a goose.
+
+  "Thou usurer with thy money bags
+      that livest so at ease,
+  By gaping after gold thou dost
+      thy mighty God displease;
+  And for thy greedy usury,
+      and thy great extortion,
+  Except thou dost repent thy sins,
+      Hell fire will be thy portion.
+
+  "For first I came to Houns-Ditch,
+      then round about I creep,
+  Where cruelty was crowned chief
+      and pity fast asleep:
+  Where usury gets profit,
+      and brokers bear the bell.
+  Oh, fie upon this deadly sin!
+      it sinks the soul to hell.
+
+  "The man that sweeps the chimneys
+      with the bush of thorns,
+  And on his neck a trusse of poles
+      tipped all with horns,
+  With care he is not cumbered,
+      he liveth not in dread?
+  For though he wear them on his pole,
+      some wear them on their head.
+
+  "The landlord with his racking rents
+      turns poor men out of dore;
+  Their children go a begging
+      where they have spent their store.
+  I hope none is offended
+     with that which is endited
+  If any be, let him go home
+     and take a pen and write it.
+
+  "Buy a trap, a mouse trap,
+      a torment for fleas!
+  The hangman works but half the day;
+      he lives too much at ease.
+  Come let us leave this boyes play
+      and idle prittle prat,
+  And let us go to nine holes,
+      to spurn-point, or to cat.
+
+  "Oh! you nimble fingered lads
+      that live upon your wits,
+  Take heed of Tyburn ague,
+      for they be dangerous fits;
+  For many a proper man,
+      for to supply his lack,
+  Doth leap a leap at Tyburn,
+      which makes his neck to crack.
+
+  "And to him that writ this song
+      I give this simple lot:
+  Let every one be ready
+      to give him half a pot.
+  And thus I do conclude,
+      wishing both health and peace
+  To those that are laid in their bed,
+      and cannot sleep for fleas.
+                                        W. TURNER"
+
+The "tink, terry tink" of the Tinker's "Cry" is preserved in a Miscellany
+of the year 1667, called "_Catch that Catch Can; or, the Musical
+Champion_."
+
+[Illustration]
+
+  "The Tinker.
+
+  "Have you any work for a tinker, mistriss?
+  Old brass, old pots, or kettles?
+  I'll mend them all with a tink, terry tink,
+  And never hurt your mettles.
+  First let me have but a touch of your ale,
+  'Twill steel me against cold weather,
+  Or tinkers frees,
+  Or vintners lees,
+  Or tobacco chuse you whether.
+  But of your ale,
+  Your nappy ale,
+  I would I had a ferkin,
+  For I am old
+  And very cold
+  And never wear a jerkin."
+
+The tinker's "Cry" forms the opening lines of "Clout the Cauldron," one of
+the best of our old Scottish songs:--
+
+  "'Hae ye ony pots or pans,
+  Or any broken chanlers,'
+  I am a tinker to my trade,
+  And newly come from Flanders."
+
+But the song is so well known to all who take an interest in our northern
+minstrelsy, and is to be found, moreover, in every good collection of
+Scottish Songs, that it is enough to refer to it.
+
+Honest John Bunyan was a travelling tinker originally. Reader! just for a
+moment fancy the inspired author--poet we may call him--of "_The Pilgrim's
+Progress_," crying the "cry" of his trade through the streets of Bedford,
+thus--"_Mistress, have you any work for the tinker? pots, pans, kettles I
+mend, old brass, lead or old copper I buy. Anything in my way to-day,
+maids?_" While at the same time, through his brain was floating visions of
+Vanity Fair, the Holy War, the Slough of Despond, the Valley of the Shadow
+of Death, the Barren Fig Tree, the Water of Life, &c. beneath the long
+head of hair, shaggy and dirty, too, as a tinker's generally is.
+
+[Illustration]
+
+[Illustration: HOT CODLINGS:--_A Catch_.]
+
+This will be found in "_Windsor Drollery_," and, with music for three
+voices, by Thomas Holmes, in John Hilton's "_Catch that Catch Can_;" and
+also Walsh's "_Catch Club_." Part II., p. 25.
+
+  "Have you observ'd the wench in the street,
+  She's scarce any hose or shoes to her feet;
+  And when she cries, she sings,
+  'I have hot Codlings, hot Codlings.'
+
+  "Or have you ever seen or heard,
+  The mortal with his Lyon tauny beard!
+  He lives as merrily as heart can wish,
+  And still he cries, 'Buy a brush, buy a brush.'
+
+  "Since these are merry, why should we take care?
+  Musicians, like Camelions, must live by the Aire;
+  Then let's be blithe and bonny, no good meeting baulk,
+  What though we have no money, we shall find Chalk."
+
+The best known collection of cries is "The Cryes of the City of London.
+Drawne after the Life. P. Tempest, _Excudit_," a small folio volume, which
+when published, in 1688, consisted of only fifty plates, as the following
+advertisement, extracted from the _London Gazette_ of May 28-31, 1688,
+sufficiently proves:--
+
+    "There is now published the Cryes and Habits of London, lately drawn
+    after the Life in great variety of Actions. Curiously Engraven upon 50
+    Copper plates, fit for the Ingenious and Lovers of Art. Printed and
+    Sold by P. Tempest, over-against Somerset House, in the Strand."
+
+Samuel Pepys, the eccentric diarist, who died 1703, left to Magdalene
+College, Cambridge, an invaluable collection of ballads, manuscript naval
+memoirs, ancient English poetry, three volumes of "Penny Merriments," and
+a numerous assemblage of etchings and engravings. Among the latter are a
+number of Tempest's Cries in the first state. These are still preserved in
+the Pepysian Library in the same College.
+
+In 1711 another edition of Tempest's Cries was published, containing
+seventy-four plates, several of which can scarcely be called cries. They
+are popular "London Characters" rather than "criers." As the book,
+however, is extremely rare, and consequently costly, and as a history of
+the old London Cries would be very imperfect without a particular account
+of Tempest's volume being made, with a few words about Mauron, who
+designed, and Pearce Tempest, who engraved these cries, that which follows
+will not, we trust, be altogether out of place. Of Mauron, we can find no
+better account than the notice in Walpole.
+
+"Marcellus Mauron--sometimes spelt Lauron, was born at the Hague in 1643,
+and learnt to paint of his father, with whom he came when young into
+England. Here he was placed with one La Zoon, a portrait-painter, and then
+with Flesshier, but owed his chief improvement to his own application. He
+lived several years in Yorkshire, and when he returned again to London he
+had very much improved himself in his art. He drew correctly, studied
+nature diligently, copied closely, and so surpassed all his contemporaries
+in drapery, that Sir Godfrey Kneller employed him to clothe his portraits.
+He likewise excelled in imitating the different styles of eminent masters,
+executed conversation pieces of considerable merit. Several prints were
+made from his works, and several plates he etched and scraped himself. A
+book on fencing, and the procession at the coronation of William and Mary,
+were designed by him. He lived in Bow-street, Covent-garden, on the west
+side, about three doors up, and at the back of Sir Godfrey Kneller's house
+in the Piazza; there he died of consumption March 11th, 1702."
+
+Of Pearce Tempest, the engraver, the particulars collected by Vertue were
+so extremely slight that Horace Walpole merely enumerates him among those
+of whom nothing is known. It may be told of him, however, that he lived in
+the Strand, over-against Somerset House, and dying in 1717, was buried on
+the 14th of April, in the church-yard of St. Paul, Covent-garden.
+
+The six woodcuts following are reduced copies of the engraved figures that
+appear in Marcellus Mauron _cum_ Tempest's "The Cryes of the City of
+London;" first we have:--
+
+[Illustration: FINE WRITING INK!]
+
+This engraving pretty well describes the occupation of the figure
+represented. He carries a barrel on his back--pens in his right hand, with
+a pint measure and funnel at his side. But since Mauron's time the cry of
+"_Fine Writing Ink_" has ceased to be heard in the streets of the
+metropolis, so we no longer hear:--
+
+  "My ink is good--as black as jet
+  'Tis used by Princes--and the state,
+  If once you venture it to try,
+  Of this I'm sure--none else you'll buy."
+
+[Illustration: BUY AN IRON FORK, OR A SHOVEL?]
+
+The demand for such an iron fork, or such a shovel as the old woman
+carries is now discontinued.
+
+[Illustration: TROOP, EVERY ONE, ONE!]
+
+The man blowing a trumpet, "Troop, every one, one!" was a street seller of
+hobby-horses--toys for children of three hundred years ago.
+
+  "Call'st thou my love, hobby-horse; the hobby-horse is but a colt."
+                                    _Love's Labour Lost_, Act iii., sc. 1.
+
+He carried them, as represented in the engraving, in a partitioned frame,
+on his shoulder, and to each horse's head was a small flag with two bells
+attached. It was a pretty plaything for a "little master," and helped him
+to imitate the galloping of the real and larger hobby-horse in the
+pageants and mummeries that passed along the streets, or pranced in the
+shows at fairs and on the stage. Now-a-days we give a boy the first stick
+at hand to thrust between his legs as a Bucephalus--the shadow of a
+shadow--or the good natured grandpapa wishing to give my "young master"
+something of the semblance of the generous animal--for the horse is no
+less popular with boys than formerly, takes his charge to the nearest
+toyshop and buys him a painted stick on which is a sawn-out representation
+of a horse's head, which with the addition of a whip will enable him to:--
+
+  "Ride a cock-horse to Banbury-cross,
+    To see what Tommy can buy;
+  A penny white loaf, a penny white cake,
+    And a twopenny apple-pie."
+
+[Illustration: BUY A FINE SINGING BIRD!]
+
+The _cries_ of singing birds are extinct; we have only bird-_sellers_. The
+above engraving, therefore represents a by-gone character.
+
+[Illustration: STRAWBERRIES RIPE, AND CHERRIES IN THE RISE.]
+
+In the earlier days, the above was at once a musical and a poetical cry.
+It must have come over the ear, telling of sunny gardens not a sparrow's
+flight from the City, such as that of the Bishop of Ely in Holborn, and of
+plenteous orchards which could spare their boughs as well as their
+fruit:--
+
+  "_D. of Glou._--My lord of Ely, when I was last in Holborn,
+  I saw good strawberries in your garden there:
+  I do beseech you send for some of them.
+  _B. of Ely._--Marry, and I will, my lord, with all my heart."
+                                        _Richard III._, act iii., sc. 4.
+
+[Illustration: FINE ORANGES AND LEMONS.]
+
+The "orange-women" of Ben Jonson we have figured to the life. The familiar
+mention of the orange-sellers in the "Silent Woman," and this very early
+representation of one of them, show how general the use of this fruit had
+become in England at the beginning of the seventeenth century. It is
+stated, though the story is somewhat apocryphal, that the first oranges
+were imported by Sir Walter Raleigh. It is probable that about his time
+they first became an article of general commerce. We now consume about
+three hundred and fifty millions of oranges every year.
+
+The class of bold young women--"Orange Wenches," that Nell Gwynne made
+famous is sufficiently alluded to in a passage in the _Spectator_, No.
+141:
+
+    "But, indeed, by such representations, a poet sacrifices the best part
+    of his audience to the worst; and, as one would think, neglects the
+    boxes to write to the _orange-wenches_."
+
+Rowe and other writers go far to prove that the "Orange Wenches" who
+frequented theatres had
+
+  "Other Fish to fry, and other Fruit to sell,"
+
+beside supplying refreshment to the young gallants of the day.
+
+In Douglas Jerrold's comedy of "_Nell Gwynne_," which was first
+represented at the Theatre Royal, Haymarket, 9th of January, 1833, with
+the following cast of characters:--
+
+  King Charles the Second                       MR. JONES.
+
+  Sir Charles Berkeley                          MR. FORRESTER.
+
+  Charles Hart, Major Mohun, Managers of
+  the King's Theatre, Drury lane, 1667          MR. DURUSET.
+
+  Betterton, Manager of the Duke's Theatre,
+  Lincoln's-inn                                 MR. DIDDEAR.
+
+  Joe Haynes                                    MR. MEADOWS.
+
+  Counsellor Crowsfoot                          MR. BLANCHARD.
+
+  Stockfish                                     MR. F. MATTHEWS.
+
+  Boy                                           MASTER MACDONALD.
+
+  Nell Gwynne                                   MISS TAYLOR.
+
+  Orange Moll                                   MRS. KEELEY.
+
+  Mrs. Snowdrop                                 MRS. DALY.
+
+There is the following scene and song:--
+
+    _Enter_ NELL GWYNNE, _as orange girl, with orange basket. She carries
+    a mask._
+
+    _Nell._ (_Sings._) "_Buy oranges!_" Ladies and cavaliers, vouchsafe to
+    look at my basket! Maidens, ripen my fruit with your glances; buy my
+    oranges, as bright as hope and as sweet as courtship.--Though they
+    look as hard as gold, they'll melt in the mouth like a lover's
+    promise.--Their juice is syrup, and their coats as thin as a poet's.
+    Buy, gentlemen; or I'll vow that, being jealous, you hate yellow even
+    in an orange.
+
+    _Betterton._ (_Aside._) It is--I'd swear to her face--the very girl!
+
+    _Charles._ (_Coming down with Nelly._) And have your oranges really
+    all these virtues?
+
+    _Nell._ (_Aside._) So, my gallant mercer. All, and a thousand
+    more;--there's nothing good that may not be said of the orange. It
+    sets special examples to elder brothers, misers, and young travellers.
+
+    _Charles._ Aye? What example to elder brothers?
+
+    _Nell._ This; though full of age, it dwells quietly on the same branch
+    with bud and blossom.
+
+    _Charles._ What does it teach misers?
+
+    _Nell._ That golden coats should cover melting hearts.
+
+    _Charles._ And, lastly, what may the young traveller learn of your
+    orange?
+
+    _Nell._ This much; that he is shipped when green, that he may ripen on
+    the voyage.
+
+    _Charles._ Prettily lectured.
+
+    _Betterton._ (_Aside._) The king seems dazzled with the wench.--I must
+    secure her for the Duke's.
+
+    _Nell._ But, gentlemen, fair gentlemen, will no one lighten my basket?
+    Buy my oranges!
+
+    SONG.--NELL GWYNNE.
+
+      Buy oranges!--No better sold,--
+        New brought in Spanish ships;
+      As yellow bright as minted gold,
+        As sweet as ladies' lips.
+      Come, maidens, buy; nor judge my fruit
+        From beauty's bait--the skin;
+      Nor think, like fops, with gaudy suit,
+        They're dull and crude within.
+                          Buy oranges!
+
+      Buy oranges!--Buy courtiers, pray,
+        And as ye drain their juice,
+      Then, cast the poor outside away,
+        A thing that's served its use;
+      Why, courtier, pause; this truth translate,
+        Imprinted in the rind;
+      However gay the courtier's state,
+        'Tis yet of orange kind.
+                                Buy oranges!
+
+      Buy oranges!--Coquetting fair,--
+        As sweet reproach come buy;
+      And, as the fruit ye slice and share,
+        Remember with a sigh--
+      A heart divided needs must cast
+        The faith which is its soul;
+      If, maidens, ye would have it last,
+        Give none--if not the whole.
+                                Buy oranges!
+
+                          (_The by-standers all applaud._)
+
+The orange-woman who carried the golden fruit through every street and
+alley, with the musical cry of:--"_Fine Oranges and Lemons_," lasted for a
+century or two. Then the orange-woman became, as everything else became, a
+more prosaic person as she approached our own times. She was a
+barrow-woman at the end of the last century: and Porson has thus described
+her:--
+
+  "As I walked through the Strand, so cheerful and gay,
+    I met a young girl a-wheeling a barrow;
+  'Fine fruit, sir,' says she, 'and a bill of the play.'"
+
+The transformation was the same with the strawberry and cherry-women.
+
+From the "Collection of Ancient Songs and Ballads, written on various
+subjects, and printed between the years MDLX. and MDCC." in the British
+Museum, and now known as the ROXBURGHE BALLADS, we take the ballad of:--
+
+  THE CRIES OF LONDON.
+
+  Tune--_The Merry Christ-church Bells_.
+
+  Hark! how the cries in every street
+  Make lanes and allies ring:
+  With their goods and ware, both nice and rare,
+  All in a pleasant lofty strain;
+  Come buy my gudgeons fine and new.
+  Old cloaths to change for earthen ware,
+  Come taste and try before you buy,
+  Here's dainty poplin pears.
+  Diddle, diddle, diddle dumplins, ho!
+  With walnuts nice and brown.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Any old cloaths, suits, or coats.
+  Come buy my singing birds.
+  Oranges or lemons. Newcastle salmon.
+  Come buy my ropes of onions, ho!
+  Come buy my sand, fine silver sand.
+  Two bunches a penny, turnips, ho!
+  I'll change you pins for coney-skins.
+  Maids, do you want any milk below?
+  Here's an express from Admiral Hawke,
+  The Admiral of renown.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Maids, have you any kitchen stuff?
+  Will you buy fine artichoaks?
+  Come buy my brooms to sweep your rooms.
+  Will you buy my white-heart cabbages, ho!
+  Come buy my nuts, my fine small nuts,
+  Two cans a penny, crack and try.
+  Here's cherries round, and very sound.
+  Maids, shall I sweep your chimnies high?
+  Tinkle, tinkle, tinkle, goes the tinker's pan,
+  With a merry cheerful sound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's fine herrings, eight a groat.
+  Hot codlins, pies and tarts.
+  New mackerel I have to sell.
+  Come buy my Wellfleet oysters, ho!
+  Come buy my whitings fine and new.
+  Wives, shall I mend your husbands' horns?
+  I'll grind your knives to please your wives,
+  And very nicely cut your corns.
+  Maids, have you any hair to sell.
+  Either flaxen, black, or brown?
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Work for a cooper, maids give ear,
+  I'll hoop your tubs and pails.
+  Come Nell and Sue, and buy my blue.
+  Maids, have you any chairs to mend?
+  Here's hot spiced-gingerbread of the best,
+  Come taste and try before you buy.
+  Here's elder-buds to purge your bloods.
+  But black your shoes is all the cry.
+  Here's hot rice milk, and barley broth.
+  Plumb-pudding a groat a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's fine rosemary, sage, and thyme.
+  Come buy my ground ivy.
+  Here's fatherfew, gilliflowers and rue.
+  Come buy my knotted marjorum, ho!
+  Come buy my mint, my fine green mint.
+  Here's fine lavender for your cloaths.
+  Here's parsley and winter-savory.
+  And heart's-ease which all do choose.
+  Here's balm and hissop, and cinquefoil,
+  All fine herbs, it is well known.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's pennyroyal and marygolds.
+  Come buy my nettle-tops.
+  Here's water-cresses and scurvy-grass.
+  Come buy my sage of virtue, ho!
+  Come buy my wormwood and mugwort.
+  Here's all fine herbs of every sort.
+  Here's southernwood, that's very good,
+  Dandelion and houseleek.
+  Here's dragon's-tongue and wood-sorrel.
+  With bear's-foot and horehound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's green coleworts and brocoli.
+  Come buy my radishes.
+  Here's fine savoys, and ripe hautboys.
+  Come buy my young green hastings, ho!
+  Come buy my beans, right Windsor beans.
+  Two pence a bunch young carrots, ho!
+  Here's fine nosegays, ripe strawberries.
+  With ready picked salad, also.
+  Here's collyflowers and asparagus.
+  New prunes two-pence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's cucumbers, spinnage, and French beans.
+  Come buy my nice sallery.
+  Here's parsnips and fine leeks.
+  Come buy my potatoes, ho!
+  Come buy my plumbs, and fine ripe plumbs.
+  A groat a pound, ripe filberts, ho!
+  Here's corn-poppies and mulberries.
+  Gooseberries and currants also.
+  Fine nectarines, peaches, and apricots.
+  New rice two-pence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Buy a rabbit, wild duck, or fat goose.
+  Come buy a choice fat fowl.
+  Plovers, teal, or widgeons, come buy my pigeons.
+  Maids, do you want any small coal?
+  Come buy my shrimps, my fine new shrimps,
+  Two pots a penny, taste and try.
+  Here's fine saloop, both hot and good.
+  But Yorkshire muffins is the cry.
+  Here's trotters, calf's feet, and fine tripes.
+  Barrel figs, three-pence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+  Here's new-laid eggs for ten a groat.
+  Come buy water'd cod.
+  Here's plaice and dabs, lobsters and crabs.
+  Come buy my maids, and flounders, ho!
+  Come buy my pike, my fine live pike.
+  Two-pence a hundred cockles, ho!
+  Shads, eels, and sprats. Lights for your cats.
+  With haddocks, perch, and tench also.
+  Here's carp and tench, mullets and smelts.
+  Butter sixpence a pound.
+      Let none despise the merry, merry cries
+      Of famous London town.
+
+Printed and sold at the Printing-office in _Bow-church-yard, London_.
+
+"Holloway cheese-cakes" was once one of the London cries; they were sold
+by a man on horseback; and in "_Jack Drum's Entertainment_," a Comedy,
+1601, in a random song, the festive character of this district is
+denoted:--
+
+  "Skip it and trip it nimbly, nimbly,
+    Tickle it, tickle it, lustily,
+  Strike up the tabor for the wenches favour,
+    Tickle it, tickle it, lustily.
+  Let us be seene on Hygate-Greene,
+    To dance for the honour of Holloway.
+  Since we are come hither, let's spare for no leather,
+    To dance for the honour of Holloway."
+
+[Illustration]
+
+Drunken Barnaby, at the "Mother Red Cap," at Holloway, found very bad
+company:--
+
+  _Veni_ Holloway, pileum rubrum,
+  _In cohortem muliebrem_,
+  _Me_ adonidem _vocant omnes_
+  _Meretricis_ Babylonis;
+  _Tangunt_, _tingunt_, _molliunt_, _mulcent_,
+  _At egentem_, _foris pulsant_.
+
+Addison, the essayist and poet, 1672-1719, contributed a capital paper to
+the _Spectator_, on the subject of London Cries, which we deem so much to
+the purpose, that it is here reproduced _in extenso_.
+
+          THE SPECTATOR.
+  No. 251.              TUESDAY, DECEMBER 18.
+
+  ----_Linguae centum sunt, oraque centum,
+  ----Ferrea vox_----           VIRG., En. 6., v. 625.
+
+  ----A hundred mouths, a hundred tongues,
+  And throats of brass, inspir'd with iron lungs.      DRYDEN.
+
+There is nothing which more astonishes a foreigner, and frightens a
+country 'squire, than the _cries of London_. My good friend Sir _Roger_
+often declares that he cannot get them out of his head, or go to sleep for
+them, the first week that he is in town. On the contrary, _Will
+Honeycombe_ calls them the _Ramage de la ville_, and prefers them to the
+sound of larks, and nightingales, with all the music of the fields and
+woods. I have lately received a letter from some very odd fellow upon this
+subject, which I shall leave with my reader, without saying anything
+further of it.
+
+SIR,
+
+I am a man out of all business, and would willingly turn my head to
+anything for an honest livelihood. I have invented several projects for
+raising many millions of money without burdening the subject, but I cannot
+get the parliament to listen to me, who look upon me forsooth as a crack,
+and a projector; so that despairing to enrich either myself or my country
+by this public-spiritedness, I would make some proposals to you relating
+to a design which I have very much at heart, and which may procure me a
+handsome subsistence, if you will be pleased to recommend it to the cities
+of London and Westminster.
+
+The post I would aim at, is to be comptroller-general of the London cries,
+which are at present under no manner of rules or discipline. I think I am
+pretty well qualified for this place, as being a man of very strong lungs,
+of great insight into all the branches of our British trades and
+manufactures, and of a competent skill in music.
+
+The cries of London may be divided into vocal and instrumental. A freeman
+of London has the privilege of disturbing a whole street for an hour
+together with the twankling of a brass kettle or a frying-pan. The
+watchman's thump at midnight startles us in our beds, as much as the
+breaking in of a thief. The sow-gelder's horn has indeed something musical
+in it, but this is seldom heard within the liberties. I would therefore
+propose that no instrument of this nature should be made use of, which I
+have not tuned and licensed, after having carefully examined in what
+manner it may affect the ears of her majesty's liege subjects.
+
+Vocal cries are of a much larger extent, and indeed so full of
+incongruities and barbarisms, that we appear a distracted city to
+foreigners, who do not comprehend the meaning of such enormous outcries.
+Milk is generally sold in a note above _Ela_, and it sounds so exceedingly
+shrill, that it often sets our teeth on edge. The chimney-sweeper is
+confined to no certain pitch; he sometimes utters himself in the deepest
+bass, and sometimes in the sharpest treble; sometimes in the highest, and
+sometimes in the lowest note of the gamut. The same observation might be
+made on the retailers of small coal, not to mention broken glasses or
+brick-dust. In these therefore, and the like cases, it should be my care
+to sweeten and mellow the voices of these itinerant tradesmen, before they
+make their appearance in our streets, as also to accommodate their cries
+to their respective wares; and to take care in particular, that those may
+not make the most noise who have the least to sell, which is very
+observable in the venders of card matches, to whom I cannot but apply that
+old proverb of _Much cry, but little wool_.
+
+Some of these last mentioned musicians are so very loud in the sale of
+these trifling manufactures, that an honest splenetic gentleman of my
+acquaintance bargained with one of them never to come into the street
+where he lived; but what was the effect of this contract? Why, the whole
+tribe of card-match-makers which frequent that quarter, passed by his door
+the very next day, in hopes of being bought off after the same manner.
+
+It is another great imperfection in our London-cries, that there is no
+just time nor measure observed in them. Our news should indeed be
+published in a very quick time, because it is a commodity that will not
+keep cold. It should not, however, be cried with the same precipitation as
+fire; yet this is generally the case: a bloody battle arms the town from
+one end to another in an instant. Every motion of the French is published
+in so great a hurry, that one would think the enemy were at our gates.
+This likewise I would take upon me to regulate in such a manner, that
+there should be some distinction made between the spreading of a victory,
+a march, or an encampment, a Dutch, a Portugal, or a Spanish mail. Nor
+must I omit, under this head, those excessive alarms with which several
+boisterous rustics infest our streets in turnip-season; and which are
+more inexcusable, because these are wares which are in no danger of
+cooling upon their hands.
+
+There are others who affect a very slow time, and are, in my opinion, much
+more tunable than the former; the cooper in particular swells his last
+note in a hollow voice, that is not without its harmony; nor can I forbear
+being inspired with a most agreeable melancholy, when I hear that sad and
+solemn air with which the public are very often asked, If they have any
+chairs to mend? Your own memory may suggest to you many other lamentable
+ditties of the same nature, in which music is wonderfully languishing and
+melodious.
+
+I am always pleased with that particular time of the year which is proper
+for the pickling of dill and cucumbers; but alas! this cry, like the song
+of the nightingale, is not heard above two months. It would therefore be
+worth while to consider, whether the same air might not in some cases be
+adapted to other words.
+
+It might likewise deserve our most serious consideration, how far, in a
+well-regulated city, those humourists are to be tolerated, who, not
+content with the traditional cries of their forefathers, have invented
+particular songs and tunes of their own: such as was not many years since,
+the pastry-man, commonly known by the name of the Colly-Molly-Puff; and
+such as is at this day the vender of powder and wash-ball, who, if I am
+rightly informed, goes under the name of _Powder-Watt_.
+
+[Illustration: COLLY-MOLLY-PUFF.]
+
+I must not here omit one particular absurdity which runs through this
+whole vociferous generation, and which renders their cries very often not
+only incommodious, but altogether useless to the public; I mean that idle
+accomplishment which they all of them aim at, of crying so as not to be
+understood. Whether or no they have learned this from several of our
+affected singers, I will not take upon me to say; but most certain it is,
+that people know the wares they deal in rather by their tunes than by
+their words: insomuch that I have sometimes seen a country boy run out to
+buy apples of a bellows-mender, and ginger-bread from a grinder of knives
+and scissors. Nay, so strangely infatuated are some very eminent artists
+of this particular grace in a cry, that none but their acquaintance are
+able to guess at their profession; for who else can know, _that work if I
+had it_, should be the signification of a corn-cutter.
+
+Forasmuch, therefore, as persons of this rank are seldom men of genius or
+capacity, I think it would be very proper, that some man of good sense and
+sound judgment should preside over these public cries, who should permit
+none to lift up their voices in our streets, that have not tunable
+throats, and are not only able to overcome the noise of the crowd, and the
+rattling of coaches, but also to vend their respective merchandises in apt
+phrases, and in the most distinct and agreeable sounds. I do therefore
+humbly recommend myself as a person rightly qualified for this post; and
+if I meet with fitting encouragement, shall communicate some other
+projects which I have by me, that may no less conduce to the emolument of
+the public.
+
+  I am,
+    Sir, &c.
+      RALPH CROTCHET.
+
+A curious parallel might be carried out between the itinerant occupations
+which the progress of society has entirely superseded, and those which
+even the most advanced civilization is compelled to retain. We here only
+hastily glance at a few of these differences.
+
+Of the street trades which are past and forgotten, the small-coal-man was
+one of the most remarkable. He tells the tale of a city with few fires;
+for who could now imagine a man earning a living by bawling "_Small
+Coals_" from door to door, without any supply but that in the sack which
+he carries on his shoulders? His cry had, however, a rival in that of
+"_Any Wood to cleave_."
+
+       *       *       *       *       *
+
+But here we must pause awhile to make a passing remark--even if it be no
+more than a mere wayside nod to the memory of Thomas Britton, the
+celebrated "Musical Small Coal Man,"--1654-1714.--to whom Britain is
+greatly indebted for the introduction and cultivation of concerted music,
+and whose influence has been indirectly felt in musical circles throughout
+the world:--
+
+  "Of Thomas Britton every boy
+    And Britain ought to know;
+  To Thomas Britton, 'Small Coal Man.'
+    All Britain thanks doth owe."[8]
+
+This singular man had a small coal shop at the corner of a passage in
+Aylesbury-street, Clerkenwell-green, and his concert-room! which was over
+that, could only be reached by stairs from the outside of the house. The
+facetious Ned Ward, confirms this statement, thus:--
+
+          "Upon Thursdays repair
+          To my palace, and there
+          Hobble up stair by stair;
+          But I pray ye take care--
+  That you break not your shins by a stumble."
+
+[Illustration: THOMAS BRITTON, _The Musical Small Coal Man_.]
+
+Britton was buried in the church-yard of Clerkenwell, being attended to
+the grave by a great concourse of people, especially by those who had been
+used to frequent his concerts.
+
+To resume our argument, we may ask what chance would an aged man now have
+with his flattering solicitation of "_Pretty Pins, pretty Women_?" and the
+musical distich:--
+
+  "Three-rows-a-penny, pins,
+  Short whites, and mid-de-lings!"
+
+Every stationer's or general-shop can now supply all the "_Fine
+Writing-ink_," wanted either by clerks or authors. There is a grocer's
+shop, or co-operative store at every turn; and who therefore needs him who
+cried aloud "_Lilly white Vinegar, three-pence a quart_?" When everybody,
+old and young, wore wigs--when the price for a common one was a guinea,
+and a journeyman had a new one every year; when it was an article in every
+city apprentice's indenture that his master should find him in "One good
+and sufficent wig, yearly, and every year, for, and during, and unto the
+expiration of the full end and term of his apprenticeship"--then, a
+wig-seller made his stand in the street, or called from door to door, and
+talked of a "_Fine Tie, or a fine Bob-wig sir?_" Formerly, women cried
+"_Four pair for a shilling, Holland Socks_," also "_Long Thread Laces,
+long and strong_," "_Scotch or Russian Cloth_," "_Buy any Wafers or Wax_."
+"_London's Gazette, here?_" The history of cries is a history of social
+changes. Many of the _working_ trades, as well as the vendors of things
+that can be bought in every shop, are now nearly banished from our
+thoroughfares. "_Old Chairs to mend_," or "_A brass Pot or an iron Pot to
+mend?_" still salutes us in some retired suburb; and we still see the
+knife-grinder's wheel; but who vociferates "_Any work for John Cooper?_"
+The trades are gone to those who pay scot and lot. What should we think of
+prison discipline, now-a-days, if the voice of lamentation was heard in
+every street, "_Some Bread and Meat for the poor Prisoners; for the
+Lord's sake, pity the Poor_?" John Howard put down this cry. Or what
+should we say of the vigilance of excise-officers if the cry of "_Aqua
+Vitae_" met our ears? The Chiropodist has now his guinea, a country villa,
+and railway season ticket; in the old days he stood at corners, with knife
+and scissors in hand, crying "_Corns to pick_." There are some occupations
+of the streets, however, which remain essentially the same, though the
+form be somewhat varied. The sellers of food are of course among these.
+"_Hot Peascod_," and "_Hot Sheep's-feet_," are not popular delicacies, as
+in the time of Lydgate. "_Hot Wardens_," and "_Hot Codlings_," are not the
+cries which invite us to taste of stewed pears and baked apples. But we
+have still apples hissing over a charcoal fire; also roasted chesnuts, and
+potatoes steaming in a shining apparatus, with savoury salt-butter to put
+between the "fruit" when cut; the London pieman still holds his ground in
+spite of the many penny pie-shops now established. Rice-milk is yet sold
+out in halfpennyworths. But furmety, barley broth, greasy sausages--"bags
+of mystery," redolent of onions and marjoram--crisp brown flounders, and
+saloop are no longer in request.
+
+The cry of "_Water-cresses_" used to be heard from some barefoot nymph of
+the brook, who at sunrise had dipped her foot into the bubbling runnel, to
+carry the green luxury to the citizens' breakfast-tables. Water-cresses
+are now cultivated, like cabbages, in market-gardens. The cry of
+"_Rosemary and Briar_" once resounded through the throughfares; and every
+alley smelt "like Bucklersbury in simple time," when the whole street was
+a mart for odoriferous herbs. Cries like these are rare enough now; yet we
+do hear them occasionally, when crossing some bye-street, and have then
+smelt an unwonted fragrance in the air; and as someone has truly said
+that scents call up the most vivid associations, we have had visions of a
+fair garden afar off, and the sports of childhood, and the song of the
+lark that:--
+
+  "At my window bade good morrow
+  Through the sweet briar."
+
+Then comes a pale-looking woman with little bunches in her hand, who, with
+a feeble voice, cries "_Buy my sweet Briar, any Rosemary?_" There are
+still, however, plenty of saucy wenches--of doubtful morality--in the more
+crowded and fashionable thoroughfares, who present the passengers with
+moss-roses, and violets. Gay tells us:--
+
+  "Successive cries the seasons' change declare,
+  And mark the monthly progress of the year.
+  Hark! how the streets with treble voices ring,
+  To sell the bounteous product of the spring."
+
+We no longer hear the cries which had some association of harmonious
+sounds with fragrant flowers. The din of "noiseful gain" exterminated
+them.
+
+[Illustration]
+
+[Illustration: THE WATER CARRIER. "Any fresh and fair Spring Water here?"]
+
+This was formerly a very popular London cry, but has now become extinct,
+although it was long kept in vogue by reason of the old prejudices of old
+fashioned people, whose sympathy was with the complaints of the
+water-bearer, who daily vociferated in and about the environs of London,
+"Any fresh and fair spring water here! none of your pipe sludge?"--though
+their own old tubs were often not particularly nice and clean to look at,
+and the water was likely to receive various impurities in being carried
+along the streets in all weathers.--"Ah dear?" cried his customers, "Ah
+dear! Well, what'll the world come to!--they won't let poor people live at
+all by-and-bye--Ah dear! here they are breaking up all the roads and
+footpaths again, and we shall be all under water some day or another with
+all their fine new fandangle goings on, but I'll stick to the poor old
+lame and nearly blind water-carrier, as my old father did before me, as
+long as he has a pailful and I've a penny, and when we haven't we must go
+to the workhouse together."
+
+This was the talk and reasoning of many honest people of that day, who
+preferred taxing themselves, to the daily payment of a penny and very
+often twopence to the water-carrier, in preference to having "_Company's
+water_" at a fixed or _pro-rata_ sum per annum.
+
+[Illustration: THE FIRST VIEW OF THE NEW RIVER--FROM LONDON.]
+
+This is seen immediately on coming within view of Sadler's Wells, a place
+of dramatic entertainment; after manifold windings and tunnellings from
+its source the New River passes beneath the arch in the engraving, and
+forms a basin within the large walled enclosure, from whence diverging
+main pipes convey the water to all parts of London. At the back of the boy
+angling on the wall is a public-house, with tea-gardens and
+skittle-ground, and known as _Sir Hugh Myddleton's Head_, also as
+_Deacon's Music Hall_, which has been immortalized by Hogarth in his print
+of EVENING. But how changed the scene from what he represented it! To this
+stream, as the water nearest London favourable to sport, anglers of
+inferior note _used_ to resort:--
+
+  "Here 'gentle anglers,' and their rods withal,
+  Essaying, do the finny tribe enthral.
+  Here boys their penny lines and bloodworms throw,
+  And scare, and catch, the 'silly fish' below."
+
+We have said above, anglers _used_ to resort, and we have said so
+advisedly, as that portion of the river is now arched over to the end of
+Colebrooke Row.
+
+The New River, Islington, its vicinity, and our own favourite
+author--Charles Lamb, are, as it were, so inseparably bound together, that
+we hope to be excused for occupying a little of our reader's time with
+_Elia_--His Friends--His Haunts--His Walks, and Talk(s), particularly
+about the neighbourhood of:--
+
+                                        "----Islington!
+  Thy green pleasant pastures, thy streamlet so clear,
+  Old classic village! to _Elia_ were dear--
+  Rare child of humanity! oft have we stray'd
+  On Sir Hugh's pleasant banks in the cool of the shade.
+
+  "Joy to thy spirit, aquatic Sir Hugh!
+  To the end of old time shall thy River be New!
+  Thy Head, ancient Parr,[9] too, shall not be forgotten;
+  Nor thine, Virgin (?) Queen, tho' thy timbers are rotten."
+                                George Daniel's "_The Islington Garland_."
+
+Into the old parlour of the ancient "Sir Hugh Myddleton's Head"--_Elia_,
+would often introduce his own, for there he would be sure to find, from
+its proximity to Sadler's Wells Theatre, some play-going old crony with
+whom he could exchange a convival "crack," and hear the celebrated Joe
+Grimaldi call for his tumbler of rum-punch; challenging Boniface to bring
+it to a _rummer_! Many a gleeful hour has been spent in this once rural
+hostelrie. But:--"All, all are gone, the old familiar faces."
+
+[Illustration: COLEBROOKE COTTAGE.
+
+----"to Colebrooke-row, within half a stone's throw of a cottage; endeared
+to me, in later years by its being the abode of 'as much virtue as can
+live.'" Hone, in his _Every-day Book_, Oct. 10, 1827.]
+
+Colebrooke Row was built in 1708. Here Charles Lamb, resided with his
+sister Mary, from 1823 to 1826; during which period--viz, on Tuesday, the
+29th March, 1825, he closed his thirty-three years' clerkship at the East
+India House. Lamb very graphically describes the event in a letter to
+Bernard Barton, dated September 2, 1823, thus:--
+
+    "When you come Londonward, you will find me no longer in Covent
+    Garden; I have a cottage in Colebrooke Row, Islington--a cottage, for
+    it is detached--a white house, with six good rooms in it. The New
+    River (rather elderly by this time) runs (if a moderate walking-pace
+    can be so termed) close to the foot of the house; and behind is a
+    spacious garden, with vines (I assure you), pears, strawberries,
+    parsnips, leeks, carrots, cabbages, to delight the heart of old
+    Alcinous. You enter without passage into a cheerful dining-room, all
+    studded over and rough with old books; and above is a lightsome
+    drawing-room, three windows, full of choice prints. I feel like a
+    great lord, never having had a house before."
+
+And again, in the November following, in a letter to Robert Southey, he
+informs the bard, who had promised him a call, that he is "at Colebrooke
+Cottage, left hand coming from Sadler's Wells." It was here that that
+amiable bookworm, George Dyer, editor of the Delphin Classics, walked
+quietly into the New River from Charles Lamb's door, but was soon
+recovered, thanks to the kind care of Miss Lamb.
+
+[Illustration: THE OLD QUEEN'S HEAD.]
+
+The late Mr. George Daniel, of Canonbury Square, Islington, who formerly
+possessed the "ELIZABETHAN GARLAND," which consists of Seventy Ballads,
+printed between the years 1559 and 1597; a pleasing chatty writer and
+great snapper-up of unconsidered literary trifles, was an old friend and
+jolly companion of Charles Lamb's and frequently accompanied him in his
+favourite walks on the banks of the New River, and to the ancient
+hostelries in and round-about "Merrie Islington." At the Old Queen's
+Head, they, in company with many retired citizens, and thirsty wayfarers,
+met, on at least one occasion, with Theodore Hook, indulged in
+reminiscences of bygone days, merrily puffed their long pipes of the true
+"Churchwarden" or _yard of clay_ type, and quaffed nut-brown ale, out of
+the festivious tankard presented by a choice spirit!--one Master
+Cranch,--to a former host; and in the old oak parlour, too, where,
+according to tradition, the gallant Sir Walter Raleigh received, "full
+souse" in his face, the humming contents of a jolly Black Jack[10] from an
+affrighted clown, who, seeing clouds of tobacco-smoke curling from the
+knight's nose and mouth, thought he was all on fire! fire!! fire!!!.
+
+[Illustration: CANONBURY TOWER.
+
+  "Here stands the tall relic, old Canonbury Tow'r,
+  Where Auburn's sweet bard won the muse to his bow'r,
+  The Vandal that pulls thy grey tenements down,
+  When falls the last stone, may that stone crack his crown!"
+                                   G. Daniel's "_The Islington Garland_."]
+
+Lamb took special delight in watching the setting sun from the top of old
+Canonbury Tower, until the cold night air warned him to retire. He was
+intimate with Goodman Symes, the then tenant-keeper of the Tower, and
+bailiff of the Manor, and a brother antiquary in a small way; who took
+pleasure in entertaining him in the antique panelled chamber where
+Goldsmith wrote his _Traveller_, and supped frugally on buttermilk; and in
+pointing to a small portrait of Shakespeare, in a curiously carved gilt
+frame, which Lamb would look at longingly. He was never weary of toiling
+up and down the winding and narrow stairs of this suburban pile, and
+peeping into its quaint corners and cupboards, as if he expected to
+discover there some hitherto hidden clue to its mysterious origin.
+
+  "What village can boast like fair Islington town
+  Such time-honour'd worthies, such ancient renown?
+  Here jolly Queen Bess, after flirting with Leicester,
+  'Undumpish'd,' herself, with Dick Tarlton her Jester.
+
+  "Here gallant gay Essex, and burly Lord Burleigh
+  Sat late at their revels, and came to them early;
+  Here honest Sir John took his ease at his inn--
+  Bardolph's proboscis, and Jack's double chin.
+
+From Islington, Charles Lamb moved to Enfield Chase Side, there he lived
+from 1827 to 1833, shut out almost entirely from the world, and his
+favourite London in particular.
+
+[Illustration: CHARLES LAMB'S HOUSE, ENFIELD.]
+
+Lamb, in a merry mood, writing to Novello, in 1827, says:--
+
+    "We expect you four (as many as the table will hold without squeezing)
+    at Mrs. Westwood's _Table d'Hote_ on Thursday. You will find the
+    _White House_ shut up, and us moved under the wing of the _Phoenix_,
+    which gives us friendly refuge. Beds for guests, marry we have none,
+    but cleanly accommodings [_sic._] at the _Crown and Horse-shoes_.
+
+      "Yours harmonically,
+        "C. L.
+
+    "Vincentio (what, ho!) Novello, a Squire.
+    66, Great Queen Street, Lincoln's-Inn Fields."
+
+[Illustration: THE CROWN AND HORSE SHOES INN, ENFIELD CHASE SIDE.]
+
+The above represents one of the humble and wayside "Pubs" of the
+neighbourhood in which Charles Lamb is said to have tested the friendship
+of "fine" friends, by proposing to them a drink of unsophisticated porter
+from bright pewter pots. So did he treat Wordsworth, and that "Child of
+Nature" actress, Miss Frances Maria Kelly, who without hesitation entered
+the tavern, with:--
+
+  "The whitewash'd wall, the nicely sanded floor,
+  The varnish'd clock that click'd behind the door,
+  The chest contriv'd a double debt to pay,--
+  A bed by night, a chest of drawers by day."
+
+About the Midsummer of 1833, Charles Lamb and his sister removed to
+Bay-cottage, Church-street, Edmonton, kept by Mr. Walden, whose wife
+acted as a professional nurse. There, in that poor melancholy looking
+tenement, the delightful humourist found the home in which he breathed his
+last on Saturday, the 27th December, 1834. He was buried in:--
+
+  "Oh, Mirth and Innocence! Oh, Milk and Water!
+  Ye happy mixtures of more happy days!."
+                                        Byron's, _Beppo_. St. 80.
+
+[Illustration: HOUSE AT EDMONTON WHERE CHARLES LAMB DIED.]
+
+[Illustration: EDMONTON CHURCH.]
+
+Time and circumstances have effectually disposed of the water-carrier, his
+occupation is gone, it is impossible London can ever again see a man bent
+beneath the weight of a yoke and two enormous pails, vociferating "_Any
+fresh and fair Spring Water here?_" But the cry of "Milk," or the rattle
+of the milk-pail will never cease to be heard in our streets. There can be
+no reservoirs of milk, no pipes through which it flows into the houses.
+The more extensive the great capital becomes, the more active must be the
+individual exertion to carry about this article of food. The old cry was
+"_Any Milk here?_" and it was sometimes mingled with the sound of "_Fresh
+Cheese and Cream_;" and it then passed into "_Milk, maids below_;" and it
+was then shortened into "_Milk below_;" and was finally corrupted into
+"_Mio_," which some wag interpreted into _mi-eau_--_demi-eau_--half water.
+But it must still be cried, whatever be the cry. The supply of milk to the
+metropolis is perhaps one of the most beautiful combinations of industry
+we have. The days have long since passed when Finsbury had its pleasant
+groves, and Clerkenwell was a village, and there were green pastures in
+Holborn, when St. Pancras boasted only a little church standing in
+meadows, and St. Martin's was literally in the fields. Slowly but surely
+does the baked clay of Mr. Jerry, "the speculative builder" stride over
+the clover and the buttercup; and yet every family in London may be
+supplied with milk by eight o'clock every morning at their own doors.
+Where do the cows abide? They are congregated in wondrous herds in the
+suburbs; and though in spring-time they go out to pasture in the fields
+which lie under the Hampstead and Highgate hills, or in the vales of
+Dulwich and Sydenham, and there crop the tender blade,--
+
+  "When proud pied April, dress'd in all his trim,
+  Has put a spirit of youth in everything."
+
+yet for the rest of the year the coarse grass is carted to their stalls,
+or they devour what the breweries and distilleries cannot extract from the
+grain harvest. Long before "the unfolding star wakes up the shepherd" are
+the London cows milked; and the great wholesale vendors of the commodity,
+who have it consigned to them daily from more distant parts to the various
+railway stations in the metropolis, bear it in carts to every part of the
+town, and distribute it to the hundreds of shopkeepers and itinerants, who
+are anxiously waiting to receive it for re-distribution amongst their own
+customers. It is evident that a perishable commodity which everyone
+requires at a given hour, must be so distributed. The distribution has
+lost its romance. Misson, in his "Travels" published at the beginning of
+the last century, tells of May-games of the London milkmaids thus:--"On
+the first of May, and the five or six days following, all the pretty young
+country girls that serve the town with milk, dress themselves up very
+neatly, and borrow abundance of Silver-Plate, whereof they make a pyramid,
+which they adorn with ribbons and flowers, and carry upon their heads,
+instead of their common milk pails. In this equipage, accompanied with
+some of their fellow milkmaids, and a bagpipe or fiddle, they go from door
+to door, dancing before the houses of their customers, in the midst of
+boys and girls that follow them in troops, and everybody gives them
+something." Alas! the May-games and pretty young country girls have both
+departed, and a milk-woman has become a very unpoetical personage. There
+are few indeed of milkwomen who remain. So it is with most of the
+occupations that associate London with the country.
+
+[Illustration: KATE SMITH, _The Merry Milkmaid_.]
+
+[Illustration:
+
+  "'Where are you going my pretty maid?'
+  'I'm going a milking, sir,' she said."]
+
+Thirty years ago there appeared in the "Quarterly Review" a remarkable
+article on the Commissariat of London, from the pen of Dr. Andrew Wynter.
+In it we were told for how many miles the beasts brought annually to the
+metropolis would stretch, if ranged ten abreast in a seemingly
+interminable column. In order to convey some notion of the stupendous
+quantities of ale, beer, and porter consumed, Dr. Wynter fixed upon Hyde
+Park as his exhibition ground, and piled together all the barrels
+containing the malt liquor drunk by what, in 1854, was a population of two
+million and a half souls. He came to the conclusion that these barrels
+would form a thousand columns not far short of a mile in perpendicular
+height. And among other statistics, Dr. Wynter calculated that there were
+at that time about twenty thousand cows in the metropolitan and suburban
+dairies, some of which establishments contained five hundred cows apiece.
+He also noticed that, the London and suburban dairies could not alone
+supply the population of the metropolis, seeing that twenty thousand cows,
+giving on an average twelve quarts each per diem, would not yield more
+than two hundred and forty thousand quarts. If we suppose this quantity
+increased by the iron-tailed cow to three hundred thousand quarts, the
+allowance to each of the two millions and a half of human beings then
+living within the Bills of Mortality would be about a quarter of a pint
+per head. The "Quarterly" Reviewer, therefore, assumed that, to meet the
+existing demands of the tea-table, the nursery, and the kitchen, half as
+much again as three hundred thousand quarts was consumed annually in
+London. For this excess he looked to the country to supplement the efforts
+of the metropolis and of its suburbs as suppliers of milk, and noticed
+that the precious white liquid was brought daily to London from farms
+lying as far away as eighty miles from the metropolitan railway stations
+to which it was consigned.
+
+[Illustration]
+
+Nothing can be more instructive and entertaining than to turn back in 1884
+to facts, figures, calculations, estimates, and inferences which fitted
+the London of 1854. Instead of two millions and a half, the population
+resident at this moment within the metropolitan and city police districts
+amounts at least to four millions and three-quarters. The area already
+covered by the mighty town, which adds another big town to its entirety
+each successive year, is about four hundred and fifty thousand square
+acres, and there are more than seven hundred thousand houses to be
+provided for, of which it may be presumed that few can do without at least
+a pint of milk per diem. Assuming, however, that each member of this
+enormous population consumed no more than a quarter of a pint of
+milk--that is to say, a small tumblerful--per diem, we come to the
+astounding conclusion that nearly six hundred thousand quarts are wanted
+every day, nearly four million two hundred thousand quarts every week, and
+nearly two hundred and seventeen million quarts every year, to meet the
+demands of London. Few of us are able to fathom the meaning of two hundred
+million quarts of liquid until we are told what an immense reservoir, ten
+feet deep, it would take to hold such an amount. More intelligible are the
+calculations which tell us that, assuming a cow to yield ten--not
+twelve--quarts of milk daily, it would require nearly sixty thousand milch
+cows to maintain this supply from year's end to year's end. If these
+patient and valuable milkers are estimated as being worth no more than
+twenty-pounds apiece, they would represent in their aggregate a capital of
+little less than one million four hundred thousand pounds. Pure milk of a
+reliable character, costs five-pence per quart, and therefore, on the
+above basis, there is spent on milk, in the metropolis and its
+circumjacent districts, twelve thousand four hundred pounds per day,
+nearly eighty-seven thousand pounds per week, and considerably more than
+four and a half million pounds per annum. There are States which have
+made a considerable noise in the world, whose total revenue does not reach
+what London spends annually in milk alone. As for the distribution of this
+inconceivable amount of liquid, which is delivered every morning and
+afternoon in small quantities all over the enormous area of
+bricks-and-mortar to which we have referred, it would utterly baffle the
+most marvellous organiser and administrator that ever existed upon earth,
+to extemporise human machinery for carrying on so minute and yet so
+gigantic a trade. Nevertheless, how smoothly and imperceptibly, not only
+in this one small detail, but throughout the whole of its vast and endless
+complications and ramifications, does the commissariat of London work! We
+are told, for instance, that to distribute every sixteen gallons of milk
+one person is necessary, and that, without counting managers, clerks,
+shopmen and shopwomen, nearly five thousand human beings, assisted by more
+than fifteen hundred horses and mules, are needed to furnish London with
+milk every twenty-four hours. More than a quarter of a million pounds go
+yearly in wages to milkmen and milkwomen with whom we are all so familiar,
+and who will doubtless, acquire additional importance in the eyes of those
+who reflect that these humble servitors are but, in Pope's words, "parts
+of that stupendous whole" without whose useful, patient, and unintermitted
+labours the faultless machinery of the grandest camp of men that ever yet
+existed would instantly stand still.
+
+Then it must not be forgotten that the milk trade exacts constant and
+unintermitted work from its employes--work from which neither Sundays nor
+holidays bring any relief--and demanding very early rising in the morning,
+to say nothing of the greatest personal cleanliness, and of an immense
+array of cans, varying from those capable of holding many gallons down to
+those which contain no more than half-a-pint--the milk-pail and its daily
+history might well attract notice from writers not inferior in grasp and
+imagination to Defoe or Dickens. In 1854 Dr. Wynter calculated that, as
+regards distribution, the commissariat of London was carried on by an army
+of one hundred thousand persons. In thirty years the population has all
+but doubled, and the machinery of distribution has been so improved that
+its working at present approaches very nearly to perfection. This
+perfection is due solely to freedom of trade and to universal competition,
+which so nicely adjust all the varying conditions of life, that, in
+serving themselves, they accomplish more than all the Governments on earth
+could effect by the most ingenious system of centralisation that human wit
+could devise.
+
+[Illustration:
+
+  _Attic Poet_:--"There is a pleasure in poetic pains
+  which only Poets know."]
+
+In our neighbourhood, which, as the lodging-house-keepers advertise in
+_The Kingsland and Shacklewell Slopbasin_, and _The Dalston Dusthole_, is
+situate close to "Bus, Tram, and Rail," we have a milkman who is given to
+Poetry! and he circulates his "verses" pretty freely in the areas and
+letter-boxes about once a month.--
+
+[Illustration: GLORIOUS NEWS! GLORIOUS NEWS!]
+
+  HOW F. WILSON MEETS HIS CUSTOMERS' VIEWS.
+
+  My readers may credit the words of my muse.
+  When telling how Wilson meets Customers' Views;
+  Wilson studies a straightforward system of trade,
+  Whereby to elicit encouraging aid.
+
+  The pure farm-house Milk he daily brings out,
+  Is such as we have no reason to doubt;
+  Encouraged in business his course he pursues,
+  And fails not in meeting his Customers' Views.
+
+  You'll not have occasion to doubt what I say,
+  When testing his Pure Milk day after day;
+  For cheapness and quality you'll find him in trade,
+  As you did when he first asked the public for aid.
+
+  His farm-house Milk and Eggs, which thoroughly please,
+  Are positive proofs of assertions like these;
+  'Tis certain that better can ne'er be supplied,
+  He trusts that in this you'll all coincide.
+
+  The highest of interest his Milk doth possess,
+  Thus boldly we state, for we cannot state less;
+  F. Wilson supplies what all purchasers choose,
+  And thus he is meeting his Customers' Views.
+
+
+  TERMS CASH.
+
+  Customers can have their Milk left in cans any time after 5 a.m.
+  Note the address * * *
+  All complaints to be addressed to Mr. F. Wilson.
+
+[Illustration: TIDDY DIDDY DOLL-LOLL, LOLL, LOLL.]
+
+This celebrated vendor of gingerbread, from his eccentricity of character,
+and extensive dealing in his particular way, was always hailed as the King
+of itinerant tradesmen. He was a constant attendant in the crowd at all
+metropolitan fairs, mob meetings, Lord Mayor's shows, public executions,
+and all other holiday and festive gatherings! In his person he was tall,
+well made, and his features handsome. He affected to dress like a person
+of rank; white and gold lace suit of clothes, lace ruffled shirt, laced
+hat and feather, white stockings, with the addition of a white apron.
+Among his harangues to gain customers, take the following piece as a fair
+sample of the whole:--
+
+"Mary, Mary, where are you _now_, Mary? I live, when at home, at the
+second house in Little diddy-ball-street, two steps under ground, with a
+wiscum, riscum, and a why-not. Walk in, ladies and gentlemen; my shop is
+on the second-floor backwards, with a brass knocker on the door, and steel
+steps before it. Here is your nice gingerbread, it will melt in your mouth
+like a red-hot brickbat, and rumble in your inside like Punch and his
+wheelbarrow." He always finished his address by singing this fag end of
+some popular ballad:--
+
+  "Ti-tid-ty, ti-tid-ty. Ti-tid-ty--tiddy-loll.
+  Ti-tid-ty, ti-tid-ty. Ti-tid-ty--tiddy-doll."
+
+Hence arose his nickname "_Tiddy-Doll_." In Hogarth's print of the "IDLE
+'PRENTICE EXECUTED AT TYBURN," Tiddy-Doll is seen holding up a gingerbread
+cake with his left hand, his right hand within his coat, to imply that he
+is speaking the truth from his heart, while describing the superiority of
+his wares over those of any other vendor in the fair! while he still
+anxiously inquires:--
+
+  "Mary, Mary, where are you _now_, Mary?"
+
+His proper name was Ford, and so well known was he that, on his once being
+missed for a week from his usual stand in the Haymarket, on the occasion
+of a visit which he paid to a country fair, a "Catch penny" account of his
+alleged murder was printed, and sold in the streets by thousands.
+
+Allusions to Tiddy-Doll, and sayings derived from him, have reached to our
+own time, thus, we still say to an over-dressed person--"You are as tawdry
+as Diddy-doll," "You are quite Tiddy-doll, you look as fine as
+Tiddy-doll," he or she is said to be "All Tiddy-doll," &c.
+
+The class of men formerly well known to the citizens of London as
+News-criers, or Hornmen, must now be spoken of in the past sense, as the
+further use of the horn was prohibited long ago by the magistracy, subject
+to a penalty of ten shillings for the first offence, and twenty shillings
+on the conviction of repeating so heinous a crime.
+
+[Illustration]
+
+  "GREAT NEWS, BLOODY BATTLE, GREAT VICTORY!
+  EXTRAORDINARY GAZETTE!
+  SECOND EDITION!"
+
+were the usual loud bellowing of fellows with stentorian lungs,
+accompanied by a loud blast of a long tin-horn, which announced to the
+delighted populace of London the martial achievements of a Marlborough,
+Howe, Hood, Nelson, or Wellington. A copy of the "Gazette" or newspaper
+they "cried" was usually affixed under the hatband, in front, and their
+demand was generally one shilling.
+
+At least one of these news criers has been immortalized. In a volume of
+"Miscellaneous Poems," edited by Elijah Fenton, and printed by Bernard
+Lintot, without date, but anterior to 1720, there are the lines that
+follow, to one old Bennet, who seems to have made a great noise in the
+world of London during the early part of last century:--
+
+  "ON THE DEATH OF OLD BENNET, THE NEWS CRYER
+
+  "One evening, when the sun was just gone down,
+  And I was walking thro' the noisy town,
+  A sudden silence through each street was spread,
+  As if the soul of London had been fled.
+  Much I enquired the cause, but could not hear,
+  Till fame, so frightened, that she did not dare
+  To raise her voice, thus whisper'd in my ear:--
+  Bennet, the prince of hawkers, is no more,
+  Bennet, my _Herald_ on the British shore,
+  Bennet, by whom, I own myself outdone,
+  Tho' I a hundred mouths, he had but one,
+  He, when the list'ning town he would amuse,
+  Made _Echo_ tremble with his '_Bloody news!_'
+  No more shall _Echo_, now his voice return,
+  _Echo_ for ever must in silence mourn,--
+  Lament, ye heroes, who frequent the wars,
+  The great proclaimer of your dreadful scars.
+  Thus wept the conqueror who the world o'ercame,
+  Homer was waiting to enlarge his fame,
+  Homer, the first of hawkers that is known,
+  _Great News_ from Troy, cried up and down the town,
+  None like him has there been for ages past,
+  Till our stentorian Bennet came at last,
+  Homer and Bennet were in this agreed,
+  Homer was blind, and Bennet could not read!"
+
+In our own days there has been legislation for the benefit of tender ears;
+and there are now penalties, with police constables to enforce them,
+against "All persons blowing any horn or using any other noisy
+instrument, for the purpose of calling persons together, or of announcing
+any show or entertainment, or for the purpose of hawking, selling,
+distributing, or collecting any article, or of obtaining money or alms."
+These are the words of the Police Act of 1839; and they are stringent
+enough to have nearly banished from our streets all those uncommon noises
+which did something to relieve the monotony of the one endless roar of the
+tread of feet and the rush of wheels.
+
+Mr. Henry Mayhew, in his admirable work of "London Labour and London
+Poor," writing in 1851, under the head "Of the Sellers of Second
+Editions," says:--
+
+    "I believe that there is not now in existence--unless it be in a
+    workhouse and unknown to his fellows, or engaged in some other
+    avocation, and lost sight of by them--any one who sold 'Second
+    Editions' of the _Courier_ evening paper at the time of the Duke of
+    York's Walcheren expedition, at the period of the battle of the Nile,
+    during the continuance of the Peninsular war, or even at the battle of
+    Waterloo. There were a few old men--some of whom had been soldiers or
+    sailors, and others who have simulated it--surviving within these five
+    or six years and some later, who 'worked Waterloo,' but they were
+    swept off, I was told, by the cholera."
+
+[Illustration]
+
+[Illustration: CLEAN YOUR HONOUR'S SHOES.
+
+  "Temper the foot within this vase of oil,
+  And let the little tripod aid thy toil;
+  On this methinks I see the walking crew,
+  At thy request, support the miry shoe;
+  The foot grows black that was with dirt embrown'd,
+  And in thy pocket jingling halfpence sound."
+                                        _Gay's "Trivia."_]
+
+"About thirty years before the cry of 'Clean your boots, sir!' became
+familiar to the ears of the present generation of Londoners," Mr. Charles
+Knight informs us that:--"In one of the many courts on the north side of
+Fleet-street, might be seen, somewhere about the year 1820, 'The last of
+the London shoe-blacks.' One would think that he deemed himself dedicated
+to his profession by Nature, for he was a Negro. At the earliest dawn he
+crept forth from his neighbouring lodging, and planted his tripod on the
+quiet pavement, where he patiently stood till noon was past. He was a
+short, large-headed son of Africa, subject, as it would appear, to
+considerable variations of spirits, alternating between depression and
+excitement, as the gains of the day presented to him the chance of having
+a few pence to recreate himself beyond what he should carry home to his
+wife and children. For he had a wife and children, this last
+representative of a falling trade; and two or three little woolly-headed
+_decrotteurs_ nestled around him when he was idle, or assisted in taking
+off the roughest of the dirt when he had more than one client. He watched,
+with a melancholy eye, the gradual improvement of the streets; for during
+some twenty or thirty years he had beheld all the world combining to ruin
+him. He saw the foot pavements widening; the large flag-stones carefully
+laid down; the loose and broken piece, which discharged a slushy shower on
+the unwary foot, and known to him and London chairmen as a
+'_Beau-trap_'[11] instantly removed: he saw the kennels diligently
+cleansed, and the drains widened: he saw experiment upon experiment made
+in the repair of the carriage-way, and the holes, which were to him as the
+'old familiar faces' which he loved, filled up with a haste that appeared
+quite unnecessary, if not insulting. One solitary country shopkeeper, who
+had come to London once a year during a long life, clung to our sable
+friend; for he was the only one of the fraternity that he could find
+remaining, in his walk from Charing-cross to Cheapside."
+
+Hone, in "_The Table Book_," 1827, under an article on the Old London
+cries has:--"A Shoeblack; A boy, with a small basket beside him, brushes a
+shoe on a stone, and addresses himself to a wigged beau, who carries his
+cocked hat under his left arm, with a crooked-headed walking stick in his
+left hand, as was the fashion among the dandies of old times. I recollect
+shoeblacks formerly at the corner of almost every street, especially in
+great thoroughfares. There were several every morning on the steps of St.
+Andrew's church, Holborn, till late in the forenoon. But the greatest
+exhibition of these artists was on the site of Finsbury-square, when it
+was an open field, and a depository for the stones used in paving and
+street-masonry. There, a whole army of shoeblacks intercepted the citizens
+and their clerks on their way from Islington and Hoxton to the
+counting-houses and shops in the city, with 'Shoeblack, your honour! Black
+your shoes, sir!'"
+
+Each of them had a large, old tin-kettle, containing his apparatus,
+viz:--a capacious pipkin, or other large earthen-pot, containing the
+blacking, which was made of ivory-black, the coarsest moist sugar, and
+pure water with a little vinegar--a knife, two or three brushes, and an
+old wig. The old wig was an indispensable requisite to a shoeblack; it
+whisked away the dust, or thoroughly wiped off the wet dirt, which his
+knife and brushes could not entirely detach; a rag tied to the end of a
+stick smeared his viscid blacking on the shoe, and if the blacking was
+"real japan," it shone. The old experienced shoe-wearers preferred an
+oleaginous, lustreless blacking. A more liquid blacking, which took a
+polish from the brush, was of later use and invention. Nobody at that time
+wore boots except on horseback; and everybody wore breeches and
+stockings: pantaloons, or trousers, were unheard of. The old shoeblacks
+operated on the shoes while they were on the feet, and so dexterously as
+not to soil the fine white cotton stocking, which was at that time the
+extreme of fashion, or to smear the buckles, which were universally worn.
+Latterly, you were accommodated with an old pair of shoes to stand in, and
+the yesterday's paper to read, while your shoes were cleaning and
+polishing, and your buckles were whitened and brushed. When shoestrings
+first came into vogue, the Prince of Wales (Geo. IV.) appeared with them
+in his shoes, when immediately a deputation from the buckle-makers of
+Birmingham presented a petition to his Royal Highness to resume the
+wearing of buckles, which was good-naturedly complied with. Yet, in a
+short time, shoestrings entirely superseded buckles. The first incursion
+on the shoeblacks was by the makers of "Patent Cake Blacking" on sticks
+formed with a handle, like a small battledoor; they suffered a more
+fearful invasion from the makers of liquid blacking in bottles. Soon
+afterwards, when "Day and Martin" manufactured the _ne plus ultra_ of
+blacking, private shoeblacking became general, public shoeblacks rapidly
+disappeared, and in [1827] they became extinct. The last shoeblack that I
+remember in London sat under the covered entrance of Red Lion-court,
+Fleet-street within the last six years. This unfortunate, "The Last of the
+London Shoeblacks"--was probably the "short, large headed son of Africa"
+alluded to by Charles Knight, under the heading of "Clean your honour's
+shoes," in his "History of London."
+
+In 1851, some gentlemen connected with the Ragged Schools determined to
+revive the brotherhood of boot cleaners for the convenience of the foreign
+visitors to the Exhibition, and commenced the experiment by sending out
+five boys in the now well-known red uniform. The scheme succeeded beyond
+expection; the boys were patronized by natives as well as aliens, and the
+Shoeblack Society and its brigade were regularly organized. During the
+exhibition season, about twenty-five boys were constantly employed, and
+cleaned no less than 100,000 pairs of boots. The receipts of the brigade
+during its first year amounted to L656. Since that time, thanks to the
+combination of discipline and liberality, the Shoeblack Society has gone
+on and prospered, and proved the Parent of other Societies. Every district
+in London now has its corps of shoeblacks, in every variety of uniform,
+and while the number of boys has increased from tens to hundreds, their
+earnings have increased from hundreds to thousands. Numbers of London
+waifs and strays have been rescued from idleness and crime. The Ragged
+School Union, and Shoeblack Brigades, therefore hold a prominent place
+among the indirectly preventive agencies for the suppression of crime: for
+since ignorance is generally the parent of vice, any means of securing the
+benefits of education to those who are hopelessly deprived of it, must
+operate in favour of the well-being of society.
+
+[Illustration:
+
+  "'Tis education forms the common mind;
+  Just as the twig is bent, the tree's inclined."]
+
+[Illustration: THE HEARTH-STONE MERCHANT.]
+
+"Hearth-stones! Do you want any hearth-stones? Now, my maids, here's your
+right sort--reg'lar good'uns, and no mistake--vorth two o'your shop
+harticles, and at half the price. Now my pretty von, lay out a _tanner_,
+and charge your missus a _bob_--and no cheating neither! the cook has
+always a right to make her market penny and to assist a poor cove like me
+in the bargain.
+
+  "They're good uns, you vill find--
+    Choose any, marm, as you prefer.
+  You look so handsome and so kind,
+    I'm sure you'll be a customer.
+  Three halfpence, marm, for this here pair--
+    I only vish as you vould try 'em;
+  I'm sure you'll say the price is fair--
+    Come marm, a penny if you'll buy 'em."
+
+[Illustration: THE FLYING STATIONER, OTHERWISE PATTERER.]
+
+  "Here's tidings sad, for owld and young,
+    Of von who liv'd for years by macing;
+  And vos this werry morning hung,
+    The Debtor's Door at Newgate facing.
+
+  "Here's his confession upon hoath,
+    The vords he spoke ven he vos dying,
+  His birth and eddycation both--
+    The whole pertic'lers--vell vorth the buying.
+
+  "Here's an account of robberies sad.
+    In vich he alus vos a hactor;
+  You must to read the life be glad--
+    Of such a famous malefactor!
+
+  "How to the mob he spinn'd a yarn,
+    And varn'd them from a course unproper,
+  You may, vith all his history, larn--
+    For the small valley of a copper!"
+
+"Now my kind-hearted, haffectionated and wery ready-money
+Christian-hearted, pious and hinfidel customers, here you have the last
+speech and dying vords, life, character, and behaviour of the hunfortunate
+malefactor that vas hexecuted this morning hopposit the Debtor's door in
+the Hold Bailey! together with a full confession of the hoffence vherevith
+he vos found guilty before a hupright Judge and a wery himpartial Jury!
+Here you have likewise a copy of a most affecting letter, written by the
+criminal in the condemned cell the night afore hexecution to his hinnocent
+vife and hunoffending babbies, vith a copy of werses consarning the
+same--all for the small charge of von halfpenny. Yes, my friends, von
+halfpenny buys the werses as follows--von arter the 'tother:--
+
+  "Come, all you blessed Christians dear,
+    That's a-tender, kind, and free,
+  While I a story do relate
+    Of a dreadful tragedy,
+  Which happened in London town,
+    As you shall all be told;
+  But when you hear the horrid deed
+    'Twill make your blood run cold.--
+            _For the small charge of a ha'penny!_
+
+  "'Twas in the merry month of May,
+    When my true love I did meet;
+  She look'd all like an angel bright,
+    So beautiful and sweet.
+  I told her I loved her much,
+    And she could not say nay;
+  'Twas then I stung her tender heart,
+    And led her all astray.--
+                          _Only a ha'penny!_"
+
+JAMES--or as he was popularly called, "_Jemmy_," or, "_Old Jemmy_"
+Catnach, (_Kat-nak_,) late of the Seven Dials, London, printer and
+publisher of ballads, battledores, lotteries, primers, &c., and whose name
+is ever associated with the literature of the streets, was the son of John
+Catnach, a printer, of Alnwick, an ancient borough, market town, and
+parish of Northumberland, where he was born on August 18th, 1792.
+
+At the time Jemmy Catnach commenced business in Seven Dials it took all
+the prudence and tact which he could command to maintain his position, as
+at that time "Johnny" Pitts,[12] of the Toy and Marble Warehouse, No. 6,
+Great St. Andrew-street, was the acknowledged and established printer of
+street literature for the "Dials" district; therefore, as may be easily
+imagined, a powerful rivalry and vindictive jealousy soon arose between
+these "two of a trade"--most especially on the part of "Old Mother" Pitts,
+who is described as being a coarse and vulgar-minded personage, and as
+having originally followed the trade of a bumboat woman at Portsmouth: she
+"wowed wengeance" against the young fellow in the court for daring to set
+up in their business, and also spoke of him as a young "Catsnatch,"
+"Catblock," "Cut-throat;" many other opprobrious terms being also freely
+given to the new comer. Pitts' staff of "bards" were duly cautioned of the
+consequences which would inevitably follow should they dare to write a
+line for Catnach--the new _cove_ in the court. The injunction was for a
+time obeyed, but the "Seven Bards of the Seven Dials" soon found it not
+only convenient, but also more profitable to sell copies of their
+effusions to both sides at the same time, and by keeping their council
+they avoided detection, as each printer accused the other of buying an
+early sold copy, and then reprinting it off with the utmost speed, and
+which was in reality often the case, as "Both Houses" had emissaries on
+the constant look-out for any new production suitable for street-sale.
+Now, although this style of "double dealing" and competition tended much
+to lessen the cost price to the "middle-man," or vendor, the public in
+this case did not get any of the reduction, as a penny broadside was still
+a penny, and a quarter-sheet still a halfpenny to them, the
+"street-patterer" obtaining the whole of the reduction as extra profit.
+
+The feud existing between these rival publishers, who have been somewhat
+aptly designated as the Colburn and Bentley of the "paper" trade, never
+abated, but, on the contrary, increased in acrimony of temper until at
+last not being content to vilify each other by words alone, they resorted
+to printing off virulent lampoons, in which Catnach never failed to let
+the world know that "Old Mother Pitts" had been formerly a bumboat woman,
+while the Pitts' party announced that--
+
+  "All the boys and girls around,
+    Who go out prigging rags and phials,
+  Know Jemmy _Catsnatch_!!! well,
+    Who lives in a back slum in the Dials.
+  He hangs out in Monmouth Court,
+    And wears a pair of blue-black breeches,
+  Where all the 'Polly Cox's crew' do resort
+    To chop their swag for badly printed Dying Speeches."
+
+
+    A mournful and affecting COPY OF VERSES on the death of
+    ANN WILLIAMS,
+    Who was barbarously and cruelly murdered by her sweetheart,
+    W. JONES, near Wirksworth, in Derbyshire, July, 1823.
+
+    William Jones, a young man aged 20, has been fully committed to Derby
+    gaol for the murder of his sweetheart, under circumstances of unheard
+    of barbarity. The poor victim was a servant girl, whom under pretense
+    of marriage he seduced. On her proving with child the villain formed
+    the horrid design of murdering her, and carried his diabolical plan
+    into execution on Monday evening last. The following verses are
+    written upon the occasion, giving a complete detail of this shocking
+    affair:--
+
+      Come all false hearted young men
+        And listen to my song,
+      'Tis of a cruel murder,
+        That lately has been done
+      On the body of a maiden fair
+        The truth I will unfold,
+      The bare relation of this deed
+        Will make your blood run cold.
+      Near Wirksworth town in Derbyshire,
+        Ann Williams she did dwell,
+      In service she long time had lived,
+        Till this to her befel.
+      Her cheeks were like the blushing rose
+        All in the month of May,
+      Which made this wicked young man
+        Thus unto her did say:
+      Nancy, my charming creature,
+        You have my heart ensnared,
+      My love is such I am resolved
+        To wed you I declare.
+      Thus by his false deluding tongue
+        Poor Nancy was beguil'd,
+      And soon to her misfortune,
+        By him she proved with child.
+      Some days ago this damsel fair
+        Did write to him with speed.
+      Such tenderness she did express
+        Would make a heart to bleed.
+      She said, my dearest William,
+        I am with child by thee;
+      Therefore, my dear, pray let me know
+        When you will marry me.
+      The following day at evening,
+        This young man did repair,
+      Unto the town of Wirksworth,
+        To meet his Nancy there.
+      Saying, Nancy dear, come let us walk,
+        Among the flowery fields,
+      And then the secrets of my heart
+        To you I will reveal.
+      O then this wicked young man
+        A knife he did provide,
+      And all unknown to his true love
+        Concealed it by his side.
+      When to the fatal spot they came,
+        These words to her did say:
+      All on this very night I will
+        Your precious life betray.
+      On bended knee she then did fall,
+        In sorrow and despair,
+      Aloud for mercy she did call,
+        Her cries did rend the air;
+      With clasped hands and uplift eyes
+        She cried, Oh spare my life,
+      I never more will ask you
+        To make me your wedded wife.
+      O then this wicked young man said,
+        No mercy will I show;
+      He took the knife all from his side,
+        And pierced her body through.
+      But still she smiling said to him,
+        While trembling with fear,
+      Aae! William, William, spare my life,
+        Think on your baby dear.
+      Twice more then with the bloody knife
+        He ran her body through,
+      Her throat was cut from ear to ear,
+        Most dreadful for to view;
+      Her hands and arms and beauteous face
+        He cut and mangled sore,
+      While down upon her milk white breast
+        The crimson blood did pour.
+      He took the shawl from off her neck,
+        And round her body tied,
+      With pebble stones he did it fill,
+        Thinking the crime to hide.
+      O then into the silver stream
+        He plunged her straightway,
+      But with her precious blood was stained,
+        Which soon did him betray.
+      O then this young man taken was,
+        And into prison sent,
+      In ratling chains he is confin'd
+        His crime for to lament,
+      Until the Asizes do come on
+        When trembling he must stand,
+      Reflecting on the deed he's done;
+        Waiting the dread command.
+      Now all you thoughtless young men
+        A timely warning take;
+      Likewise ye fair young maidens,
+        For this poor damsel's sake.
+      And Oh beware of flattering tongues,
+        For they'll your ruin prove;
+      So may you crown your future day,
+        In comfort, joy, and love.
+
+    Printed at J. Pitts, Wholesale Toy and Marble Warehouse, 6, Great St.
+    Andrew Street, Seven Dials.
+
+There can be little doubt that Catnach, the great publisher of the Seven
+Dials, next to children's books, had his mind mostly centred upon the
+chronicling of doubtful scandals, fabulous duels between ladies of
+fashion, "cooked" assassinations, and sudden deaths of eminent
+individuals, apochryphal elopements, real or catch-penny accounts of
+murders, impossible robberies, delusive suicides, dark deeds and public
+executions, to which was usually attached the all-important and necessary
+"Sorrowful Lamentations," or "Copy of Affectionate Verses," which,
+according to the established custom, the criminal composed in the
+condemned cell the night before his execution, after this manner:--
+
+  "All you that have got feeling hearts, I pray you now attend
+  To these few lines so sad and true, a solemn silence lend;
+  It is of a cruel murder, to you I will unfold----
+  The bare recital of the tale must make your blood run cold."
+
+Or take another and stereotyped example, which from time to time has
+served equally well for the verses _written by_ the culprit--Brown, Jones,
+Robinson, or Smith:
+
+  "Those deeds I mournfully repent,
+    But now it is too late,
+  The day is past, the die is cast,
+    And fixed is my fate.
+
+Occasionally the Last Sorrowful Lamentations contained a "Love
+Letter"--the criminal being unable, in some instances, to read or write,
+being no obstacle to the composition--written according to the street
+patterer's statement: "from the depths of the condemned cell, with the
+condemned pen, ink, and paper." This mode of procedure in "gallows"
+literature, and this style of composition having prevailed for from sixty
+to seventy years.
+
+Then they would say: "Here you have also an exact likeness of the
+murderer, taken at the bar of the Old Bailey by an eminent artist!" when
+all the time it was an old woodcut that had been used for every criminal
+for many years.
+
+"There's nothing beats a stunning good murder after all," said a "running
+patterer" to Mr. Henry Mayhew, the author of "London Labour and London
+Poor." It is only fair to assume that Mr. James Catnach shared in the
+sentiment, for it is said that he made over L500 by the publication of:--
+
+"The Full, True and Particular Account of the Murder of Mr. Weare by John
+Thurtell and his Companions, which took place on the 24th of October,
+1823, in Gill's Hill-lane, near Elstree, in Hertfordshire:--Only One
+Penny." There were eight formes set up, for old Jemmy had no notion of
+stereotyping in those days, and pressmen had to re-cover their own
+sheep-skins. But by working night and day for a week they managed to get
+off about 250,000 copies with the four presses, each working two formes at
+a time.
+
+As the trial progressed, and the case became more fully developed, the
+public mind became almost insatiable. Every night and morning large
+bundles were despatched to the principal towns in the three kingdoms.
+
+One of the many street-ballads on the subject informed the British public
+that:--
+
+  "Thurtell, Hunt, and Probert, too, for trial must now prepare,
+  For that horrid murder of Mr. William Weare."
+
+[Illustration: THURTELL MURDERING MR. WEARE.]
+
+In connection with the murder of Mr. Weare by Thurtell and Co., Sir Walter
+Scott, collected the printed trials with great assiduity, and took care
+always to have to hand the contemporary ballads and prints bound up with
+them. He admired particularly this verse of Theodore Hook's[13]
+broadside:--
+
+  "They cut his throat from ear to ear,
+    His brains they battered in;
+  His name was Mr. William Weare,
+    He dwelt in Lyon's Inn."
+
+
+    THE CONFESSION AND EXECUTION OF JOHN THURTELL
+    AT HERTFORD GAOL, On Friday, the 9th of January, 1824.
+
+
+    THE EXECUTION.
+
+    _Hertford, half-past twelve o'clock._
+
+    This morning, at ten minutes before twelve, a bustle among the
+    javelin-men stationed within the boarded enclosure on which the drop
+    was erected, announced to the multitude without that the preparations
+    for the execution were nearly concluded. The javelin-men proceeded to
+    arrange themselves in the order usually observed upon these melancholy
+    but necessary occurrences. They had scarcely finished their
+    arrangements, when the opening of the gate of the prison gave an
+    additional impulse to public anxiety.
+
+    When the clock was on the stroke of twelve, Mr Nicholson, the
+    Under-Sheriff, and the executioner ascended the platform, followed on
+    to it by Thurtell, who mounted the stairs with a slow but steady step.
+    The principal turnkey of the gaol came next, and was followed by Mr
+    Wilson and two officers. On the approach of the prisoner being
+    intimated by those persons who, being in an elevated situation,
+    obtained the first view of him, all the immense multitude present took
+    off their hats.
+
+    Thurtell immediately placed himself under the fatal beam, and at that
+    moment the chimes of a neighbouring clock began to strike twelve. The
+    executioner then came forward with the rope, which he threw across it.
+    Thurtell first lifted his eyes up to the drop, gazed at it for a few
+    moments, and then took a calm but hurried survey of the multitude
+    around him. He next fixed his eyes on a young gentleman in the crowd,
+    whom he had frequently seen as a spectator at the commencement of the
+    proceedings against him. Seeing that the individual was affected by
+    the circumstance, he removed them to another quarter, and in so doing
+    recognised an individual well known in the sporting circles, to whom
+    he made a slight bow.
+
+    The prisoner was attired in a dark brown great coat, with a black
+    velvet collar, white corduroy breeches, drab gaiters and shoes. His
+    hands were confined with handcuffs, instead of being tied with cord,
+    as is usually the case on such occasions, and, at his own request, his
+    arms were not pinioned. He wore a pair of black kid gloves, and the
+    wrists of his shirt were visible below the cuffs of his coat. As on
+    the last day of his trial, he wore a white cravat. The irons, which
+    were very heavy, and consisted of a succession of chain links, were
+    still on his legs, and were held up in the middle by a Belcher
+    handkerchief tied round his waist.
+
+    The executioner commenced his mournful duties by taking from the
+    unhappy prisoner his cravat and collar. To obviate all difficulty in
+    this stage of the proceedings, Thurtell flung back his head and neck,
+    and so gave the executioner an opportunity of immediately divesting
+    him of that part of his dress. After tying the rope round Thurtell's
+    neck, the executioner drew a white cotton cap over his countenance,
+    which did not, however, conceal the contour of his face, or deprive
+    him entirely of the view of surrounding objects.
+
+    At that moment the clock sounded the last stroke of twelve. During the
+    whole of this appalling ceremony, there was not the slightest symptom
+    of emotion discernible in his features; his demeanour was perfectly
+    calm and tranquil, and he behaved like a man acquainted with the
+    dreadful ordeal he was about to pass, but not unprepared to meet it.
+    Though his fortitude was thus conspicuous, it was evident from his
+    appearance that in the interval between his conviction and his
+    execution he must have suffered much. He looked careworn; his
+    countenance had assumed a cadaverous hue, and there was a haggardness
+    and lankness about his cheeks and mouth, which could not fail to
+    attract the notice of every spectator.
+
+    The executioner next proceeded to adjust the noose by which Thurtell
+    was to be attached to the scaffold. After he had fastened it in such a
+    manner as to satisfy his own mind, Thurtell looked up at it, and
+    examined it with great attention. He then desired the executioner to
+    let him have fall enough. The rope at this moment seemed as if it
+    would only give a fall of two or three feet. The executioner assured
+    him that the fall was quite sufficient. The principal turnkey then
+    went up to Thurtell, shook hands with him, and turned away in tears.
+    Mr Wilson, the governor of the gaol, next approached him. Thurtell
+    said to him, "Do you think, Mr Wilson, I have got enough fall?" Mr
+    Wilson replied, "I think you have, Sir. Yes, quite enough." Mr Wilson
+    then took hold of his hand, shook it, and said, "Good bye, Mr
+    Thurtell, may God Almighty bless you." Thurtell instantly replied,
+    "God bless _you_, Mr Wilson, God bless _you_." Mr Wilson next asked
+    him whether he considered that the laws of his country had been dealt
+    to him justly and fairly, upon which he said, "I admit that justice
+    has been done me--I am perfectly satisfied."
+
+    A few seconds then elapsed, during which every person seemed to be
+    engaged in examining narrowly Thurtell's deportment. His features, as
+    well as they could be discerned, appeared to remain unmoved, and his
+    hands, which were extremely prominent, continued perfectly steady, and
+    were not affected by the slightest tremulous motion.
+
+    Exactly at two minutes past twelve the Under-Sheriff, with his wand,
+    gave the dreadful signal--the drop suddenly and silently fell--and
+
+    JOHN THURTELL WAS LAUNCHED INTO ETERNITY.
+
+    Printed at J. Pitts, Wholesale Toy and Marble Warehouse, 6, Great St.
+    Andrew Street, Seven Dials.
+
+
+    ATROCIOUS MURDER OF A YOUNG WOMAN IN SUFFOLK.
+    SINGULAR DISCOVERY OF THE BODY FROM A DREAM.
+
+[Illustration: THE RED BARN. THE SCENE OF THE MURDER, AND WHERE THE BODY
+OF MARIA MARTEN WAS FOUND CONCEALED.]
+
+Four years after the Thurtell and Weare affair, namely, in the month of
+April, 1828, another "sensational" murder was discovered--that of Maria
+Marten, by William Corder, in the Red Barn, at Polstead, in the county of
+Suffolk. The circumstances that led to the discovery of this most
+atrocious murder were of an extraordinary and romantic nature, and
+manifest an almost special interposition of Providence in marking out the
+offender. As the mother of the girl had on three several nights dreamt
+that her daughter was murdered and buried in Corder's Red Barn, and as
+this proved to be the case, an additional "charm" was given to the
+circumstance. Hence the "Catnach Press" was again set working both day and
+night to meet the great demand for the "Full Particulars." In due course
+came the gratifying announcement of the apprehension of the murderer! and
+the sale continued unabatingly, in both town and country, every "Flying
+Stationer" making great profits by the sale.
+
+[Illustration: LIKENESS OF WILLIAM CORDER.]
+
+The trial of Corder took place at Bury St. Edmonds, on the 7th of August,
+1828, before the Lord Chief Baron (Anderson). The prisoner pleaded "_Not
+Guilty_," and the trial proceeded. On being called on for his defence,
+Corder read a manuscript paper. He declared that he deeply deplored the
+death of the unfortunate deceased, and he urged the jury to dismiss from
+their minds all that prejudice which must necessarily have been excited
+against him by the public press, &c. Having concluded his address, the
+Lord Chief Baron summed up, and a verdict of "_Guilty_" was returned. The
+Last Dying Speech and confession had an enormous sale--estimated at
+1,166,000, a _fac-simile_ copy of which, with the "Lamentable Verses,"
+said to have been written by Old Jemmy Catnach, will be found on the
+opposite page.
+
+
+    CONFESSION AND EXECUTION OF WILLIAM CORDER,
+    THE MURDERER OF MARIA MARTEN.
+
+    Since the tragical affair between Thurtell and Weare, no event has
+    occurred connected with the criminal annals of our country which has
+    excited so much interest as the trial of Corder, who was justly
+    convicted of the murder of Maria Marten on Friday last.
+
+
+    THE CONFESSION.
+
+    "Bury Gaol, August 10th, 1828.--Condemned cell.
+    "Sunday evening, half-past Eleven.
+
+    "I acknowledge being guilty of the death of poor Maria Marten, by
+    shooting her with a pistol. The particulars are as follows:--When we
+    left her father's house, we began quarrelling about the burial of the
+    child: she apprehended the place wherein it was deposited would be
+    found out. The quarrel continued about three quarters of an hour upon
+    this sad and about other subjects. A scuffle ensued, and during the
+    scuffle, and at the time I think that she had hold of me, I took the
+    pistol from the side pocket of my velveteen jacket and fired. She
+    fell, and died in an instant. I never saw her even struggle. I was
+    overwhelmed with agitation and dismay:--the body fell near the front
+    doors on the floor of the barn. A vast quantity of blood issued from
+    the wound, and ran on to the floor and through the crevices. Having
+    determined to bury the body in the barn (about two hours after she was
+    dead). I went and borrowed a spade of Mrs Stow, but before I went
+    there I dragged the body from the barn into the chaff-house, and
+    locked the barn. I returned again to the barn, and began to dig a
+    hole, but the spade being a bad one, and the earth firm and hard, I
+    was obliged to go home for a pickaxe and a better spade, with which I
+    dug the hole, and then buried the body. I think I dragged the body by
+    the handkerchief that was tied round her neck. It was dark when I
+    finished covering up the body. I went the next day, and washed the
+    blood from off the barn-floor. I declare to Almighty God I had no
+    sharp instrument about me, and no other wound but the one made by the
+    pistol was inflicted by me. I have been guilty of great idleness, and
+    at times led a dissolute life, but I hope through the mercy of God to
+    be forgiven. WILLIAM CORDER."
+
+    Witness to the signing by the said William Corder,
+
+      JOHN ORRIDGE.
+
+
+    Condemned cell, Eleven o'clock, Monday morning,
+    August 11th, 1828.
+
+    The above confession was read over carefully to the prisoner in our
+    presence, who stated most solemnly it was true, and that he had
+    nothing to add to or retract from it.--W. STOCKING, chaplain; TIMOTHY
+    R. HOLMES, Under-Sheriff.
+
+
+    THE EXECUTION.
+
+    At ten minutes before twelve o'clock the prisoner was brought from his
+    cell and pinioned by the hangman, who was brought from London for the
+    purpose. He appeared resigned, but was so weak as to be unable to
+    stand without support; when his cravat was removed he groaned heavily,
+    and appeared to be labouring under great mental agony. When his wrists
+    and arms were made fast, he was led round twards the scaffold, and as
+    he paused the different yards in which the prisoners were confined, he
+    shook hands with them, and speaking to two of them by name, he said,
+    "Good bye, God bless you." They appeared considerably affected by the
+    wretched appearance which he made, and "God bless you!" "May God
+    receive your soul!" were frequently uttered as he passed along. The
+    chaplain walked before the prisoner, reading the usual Burial Service,
+    and the Governor and Officers walking immediately after him. The
+    prisoner was supported to the steps which led to the scaffold; he
+    looked somewhat wildly around, and a constable was obliged to support
+    him while the hangman was adjusting the fatal cord. There was a
+    barrier to keep off the crowd, amounting to upwards of 7,000 persons,
+    who at the time had stationed themselves in the adjoining fields, on
+    the hedges, the tops of houses, and at every point from which a view
+    of the execution could be best obtained. The prisoner, a few moments
+    before the drop fell, groaned heavily, and would have fallen, had not
+    a second constable caught hold of him. Everything having been made
+    ready, the signal was given, the fatal drop fell, and the unfortunate
+    man was launched into eternity. Just before he was turned off, he said
+    in a feeble tone, "I am justly sentenced, and may God forgive me."
+
+
+    The Murder of Maria Marten.
+
+    BY W. CORDER
+
+      Come all you thoughtless young men, a warning take by me,
+      And think upon my unhappy fate to be hanged upon a tree;
+      My name is William Corder, to you I do declare,
+      I courted Maria Marten, most beautiful and fair.
+
+      I promised I would marry her upon a certain day.
+      Instead of that, I was resolved to take her life away.
+      I went into her father's house the 18th day of May,
+      Saying, my dear Maria, we will fix the wedding day.
+
+      If you will meet me at the Red-barn, as sure as I have life,
+      I will take you to Ipswich town, and there make you my wife;
+      I then went home and fetched my gun, my pickaxe and my spade,
+      I went into the Red-barn, and there I dug her grave.
+
+      With heart so light, she thought no harm, to meet him she did go
+      He murdered her all in the barn, and laid her body low;
+      After the horrible deed was done, she lay weltering in her gore,
+      Her bleeding mangled body he buried beneath the Red-barn floor.
+
+      Now all things being silent, her spirit could not rest,
+      She appeared unto her mother, who suckled her at her breast,
+      For many a long month or more, her mind being sore oppress'd,
+      Neither night or day she could not take any rest.
+
+      Her mother's mind being so disturbed, she dreamt three nights o'er,
+      Her daughter she lay murdered beneath the Red-barn floor;
+      She sent the father to the barn, when he the ground did thrust,
+      And there he found his daughter mingling with the dust.
+
+      My trial is hard, I could not stand, most woeful was the sight,
+      When her jaw-bone was brought to prove, which pierced my heart quite;
+      Her aged father standing by, likewise his loving wife,
+      And in her grief her hair she tore, she scarcely could keep life.
+
+      Adieu, adieu, my loving friends, my glass is almost run,
+      On Monday next will be my last, when I am to be hang'd,
+      So you, young men, who do pass by, with pity look on me,
+      For murdering Maria Marten, I was hang'd upon the tree.
+
+    Printed by J. Catnach, 2 and 3, Monmouth Court.--Cards, &c., Printed
+    Cheap.
+
+
+    LIFE, TRIAL, CONFESSION, & EXECUTION OF
+    JAMES GREENACRE,
+    FOR THE EDGEWARE ROAD MURDER.
+
+    [Illustration]
+
+    On the 22nd of April, James Greenacre was found guilty of the wilful
+    murder of Hannah Brown, and Sarah Gale with being accessary after the
+    fact. A long and connected chain of evidence was produced, which
+    showed, that the sack in which the body was found was the property of
+    Mr. Ward; that is was usually deposited in a part of the premises
+    which led to the workshop, and could without observation have been
+    carried away by him; that the said sack contained several fragments of
+    shavings of mahogany, such as were made in the course of business by
+    Ward; and that it contained some pieces of linen cloth, which had been
+    patched with nankeen; that this linen cloth matched exactly with a
+    frock which was found on Greenacre's premises, and which belonged to
+    the female prisoner. Feltham, a police-officer, deposed, that on the
+    26th of March he apprehended the prisoners at the lodgings of
+    Greenacre; that on searching the trowsers pockets of that person, he
+    took therefrom a pawnbroker's duplicate for two silk gowns, and from
+    the fingers of the female prisoner two rings, and also a similar
+    duplicate for two veils, and an old-fashioned silver watch, which she
+    was endeavouring to conceal; and it was further proved that these
+    articles were pledged by the prisoners, and that they had been the
+    property of the deceased woman.--Two surgeons were examined, whose
+    evidence was most important, and whose depositions were of the
+    greatest consequence in throwing a clear light on the manner in which
+    the female, Hannah Brown, met with her death. Mr. Birtwhistle deposed,
+    that he had carefully examined the head; that the right eye had been
+    knocked out by a blow inflicted while the person was living; there was
+    also a cut on the cheek, and the jaw was fractured, these two last
+    wounds were, in his opinion, produced after death; there was also a
+    bruise on the head, which had occurred after death; the head had been
+    separated by cutting, and the bone sawed nearly _through_, and then
+    broken off; there were the marks of a saw, which fitted with a saw
+    which was found in Greenacre's box. Mr. Girdwood, a surgeon, very
+    minutely and skilfully described the appearances presented on the
+    head, and showed incontestibly, that the head had been severed from
+    the body _while the person was yet alive_; that this was proved by the
+    retraction, or drawing back, of the muscles at the parts where they
+    were separated by the knife, and further, by the blood-vessels being
+    empty, the body was drained of blood. This part of the evidence
+    produced a thrill of horror throughout the court, but Greenacre
+    remained quite unmoved.
+
+    After a most impressive and impartial summing up by the learned Judge,
+    the jury retired, and, after the absence of a quarter of an hour,
+    returned into court, and pronounced a verdict of "Guilty" against both
+    the prisoners.
+
+    The prisoners heard the verdict without evincing the least emotion, or
+    the slightest change of countenance. After an awful silence of a few
+    minutes, the Lord Chief Justice said they might retire, as they would
+    be remanded until the end of the session.
+
+    They were then conducted from the bar, and on going down the steps,
+    the unfortunate female prisoner kissed Greenacre with every mark of
+    tenderness and affection.
+
+    The crowd outside the court on this day was even greater than on
+    either of the preceding; and when the result of the trial was made
+    known in the street, a sudden and general shout succeeded, and
+    continued huzzas were heard for several minutes.
+
+
+    THE EXECUTION.
+
+    At half past seven the sheriff arrived in his carriage, and in a short
+    time the press-yard was thronged with gentlemen who had been admitted
+    by tickets. The unhappy convict was now led from his cell. When he
+    arrived in the press-yard, his whole appearance pourtrayed the utmost
+    misery and spirit-broken dejection; his countenance haggard, and his
+    whole frame agitated; all that self-possession and fortitude which he
+    displayed in the early part of his imprisonment, had utterly forsaken
+    him, and had left him a victim of hopelessness and despair. He
+    requested the executioner to give him as little pain as possible in
+    the process of pinioning his arms and wrists; he uttered not a word in
+    allusion to his crime; neither did he make any dying request, except
+    that his spectacles might be given to Sarah Gale; he exhibited no sign
+    of hope; he showed no symptom of reconciliation with his offended God!
+    When the venerable ordinary preceded him in the solemn procession
+    through the vaulted passage to the fatal drop, he was so overcome and
+    unmanned, that he could not support himself without the aid of the
+    assistant executioner. At the moment he ascended the faithless floor,
+    from which he was to be launched into eternity, the most terrific
+    yells, groans, and cheers were vociferated by the immense multitude
+    surrounding the place of execution. Greenacre bowed to the sheriff,
+    and begged he might not be allowed to remain long in the concourse;
+    and almost immediately the fatal bolt was withdrawn, and, without a
+    struggle, he became a lifeless corse.--Thus ended the days of
+    Greenacre, a man endowed with more than ordinary talents, respectably
+    connected, and desirably placed in society; but a want of probity, an
+    absolute dearth of principle, led him on from one crime to another,
+    until at length he perpetrated the sanguinary deed which brought his
+    career to an awful and disgraceful period, and which has enrolled his
+    name among the most notorious of those who have expiated their crime
+    on the gallows.
+
+    On hearing the death-bell toll, Gale became dreadfully agitated; and
+    when she heard the brutal shouts of the crowd of spectators, she
+    fainted, and remained in a state of alternate mental agony and
+    insensibility throughout the whole day.
+
+    After having been suspended the usual time, his body was cut down, and
+    buried in a hole dug in one of the passages of the prison, near the
+    spot where Thistlewood and his associates were deposited.
+
+    J. Catnach, Printer, 2 and 3, Monmouth Court.
+
+The following is a fac-simile of the "Execution Paper," from the press of
+Paul and Co.,--successors of Catnach.
+
+
+    TRIAL, SENTENCE, CONFESSION, & EXECUTION OF
+    F. B. COURVOISIER,
+    FOR THE Murder of Lord Wm. Russell.
+
+
+    THE VERDICT.
+
+    Old Bailey, Saturday Evening,
+    _June 20th, 1840_.
+
+    After the jury had been absent for an hour and twenty minutes, they
+    returned into court, and the prisoner was again placed at the bar.
+
+    The names of the jury were then called over, and the clerk of the
+    court said--"How say you, gentlemen, have you agreed on your verdict?
+    Do you find the prisoner Guilty or Not Guilty of the felony of murder
+    with which he stands charged?"
+
+    The foreman of the jury, in a low voice, said--"We find him GUILTY!"
+
+    The Clerk of the Court then said: Francois Benjamin Courvoisier, you
+    have been found Guilty of the wilful murder of William Russell, Esq.,
+    commonly called Lord William Russell; what have you to say why the
+    court should not give you sentence to die according to law?
+
+    The prisoner made no reply. The usual proclamation for silence was
+    then made.
+
+
+    SENTENCE.
+
+    The LORD CHIEF JUSTICE TINDAL, having put on the black cap, said:
+    Francois Benjamin Courvoisier, you have been found guilty by an
+    intelligent, patient, and impartial jury of the crime of wilful
+    murder. That crime has been established against you, not indeed by the
+    testimony of eye-witnesses as to the fact, but by a chain of
+    circumstances no less unerring, which have left no doubt of your guilt
+    in the minds of the jury, and all those who heard the trial. It is
+    ordained by divine authority that the murderer shall not escape
+    justice, and this ordination has been exemplified in your case, in the
+    course of this trial, by the disclosure of evidence which has brought
+    the facts to bear against you in a conclusive manner. The murder,
+    although committed in the dark and silent hour of night, has
+    nevertheless been brought clearly to light by Divine interposition.
+    The precise motive which induced you to commit this guilty act can
+    only be known to your own conscience; but it now only remains for me
+    to recommend you most earnestly to employ the short time you have to
+    live in prayer and repentance, and in endeavouring to make your peace
+    with that Almighty Being whose law you have broken, and before whom
+    you must shortly appear. The Learned Judge then passed sentence on the
+    prisoner in the usual form.
+
+    The court was very much crowded to the last.
+
+
+    THE CONFESSION OF THE CONVICT.
+
+    After the Learned Judge had passed sentence on the convict, he was
+    removed from the bar, and immediately made a full confession of his
+    guilt.
+
+
+    THE EXECUTION.
+
+    At eight o'clock this morning, Courvoisier ascended the steps leading
+    to the gallows, and advanced, without looking round him, to the centre
+    of the platform, followed by the executioner and the ordinary of the
+    prison, the Rev. Mr Carver. On his appearance a few yells of
+    execration escaped from a portion of the crowd, but the general body
+    of the people, great as must have been their abhorrence of his
+    atrocious crime, remained silent spectators of the scene which was
+    passing before their eyes. The prisoner's manner was marked by an
+    extraordinary appearance of firmness. His step was steady and
+    collected, and his movements free from the slightest agitation or
+    indecision. His countenance indeed was pale, and bore the trace of
+    much dejection, but it was at the same time calm and unmoved. While
+    the executioner was placing him on the drop he slightly moved his
+    hands (which were tied in front of him, and strongly clasped one
+    within the other) up and down two or three times, and this was the
+    only visible symptom of any emotion or mental anguish which the
+    wretched man endured. His face was then covered with the cap, fitting
+    so closely as not to conceal the outlines of his countenance, the
+    noose was then adjusted. During this operation he lifted up his head
+    and raised his hands to his breast, as if in the action of fervent
+    prayer. In a moment the fatal bolt was withdrawn, the drop fell, and
+    in this attitude the murderer perished. He died without any violent
+    struggle. In two minutes after he had fallen his legs were twice
+    slightly convulsed, but no further motion was observable, excepting
+    that his raised arms, gradually losing their vitality, sank down from
+    their own lifeless weight.
+
+    After hanging one hour, the body was cut down and removed within the
+    prison.
+
+
+    AFFECTING COPY OF VERSES.
+
+      Attention give, both old and young,
+        Of high and low degree,
+      Think while this mournful tale is sung,
+        Of my sad misery.
+      I've slain a master good and kind,
+        To me has been a friend,
+      For which I must my life resign,
+        My time is near an end.
+
+      Oh hark! what means that dreadful sound?
+        It sinks deep in my soul;
+      It is the bell that sounds my knell,
+        How solemn is the toll.
+      See thousands are assembled
+        Around the fatal place,
+      To gaze on my approaching,
+        And witness my disgrace.
+
+      There many sympathising hearts,
+        Who feel another's woe,
+      Even now appears in sorrow,
+        For my sad overthrow.
+      Think of the aged man I slew,
+        Then pity's at an end,
+      I robb'd him of property and life,
+        And the poor man of a friend.
+
+      Let pilfering passions not intrude,
+        For to lead you astray,
+      From step to step it will delude,
+        And bring you to dismay.
+      Think of the wretched Courvoisier,
+        Who thus dies on a tree,
+      A death of shame, I've nought to blame,
+        But my own dishonesty.
+
+      Mercy on earth I'll not implore,
+        To crave it would be vain,
+      My hands are dyed with human gore,
+        None can wash off the stain.
+      But the merits of a Saviour,
+        Whose mercy alone I crave;
+      Good Christians pray, as thus I die,
+        I may his pardon have.
+
+    Paul & Co., Printers, 2, 3, Monmouth Court, Seven Dials.
+
+But the gallows was not always a fruit-bearing tree, and a "stunning good
+murder" did not happen every day. Nevertheless the street patterer must
+live, and lest the increase of public virtue should condemn him to
+starvation, the "Seven Dials Press," stepped forward to his aid, and
+considerately supplied him with a species of street-literature well known
+to the trade as "Cocks," and which are defined in "Hotton's Slang
+Dictionary" thus:--
+
+    COCKS, fictitious narratives, in verse or prose, of murders, fires and
+    terrible accidents, sold in the streets as true accounts. The man who
+    hawks them, a patterer, often changes the scene of the awful event to
+    suit the taste of the neighbourhood he is trying to delude. Possibly a
+    corruption of _cook_--a cooked statement, or may be "the story of a
+    cock and bull" may have had something to do with the term.
+    Improvements in newspapers, especially in those published in the
+    evening, and increased scepticism on the part of the public have
+    destroyed this branch of a once-flourishing business.
+
+The late Mr. Albert Smith, the humourist and novelist, has very happily
+hit off this style of thing in "The Man in the Moon," one of the many
+rivals to "Punch," and edited by that very promising son of genius, the
+late Angus B. Reach, 1832-56. It is entitled--
+
+A COPY OF VERSES
+
+_Found among the Papers of Mr. Catnach, the spirited Publisher of Seven
+Dials; originally intended to have been "printed and published at the Toy
+and Marble Warehouse, 2 and 3, Monmouth Court, Seven Dials."_
+
+DEDICATED TO THE AUTHOR OF "LUCRETIA."
+
+I.
+
+_The Hero claims the attention of virtuous persons, and leads them to
+anticipate a painful disclosure._
+
+[Illustration]
+
+  Draw hither now good people all
+    And let my story warn,
+  For I will tell to you a tale,
+    What will wrend them breasts of yourn.
+
+II.
+
+_He names the place and hour of the disgraceful penalty he is about to
+undergo._
+
+[Illustration]
+
+  I am condemn'd all for to die
+    A death of scorn and horror;
+  In front of Horsemonger-lane Gaol,
+    At eight o'clock to-morrer.
+
+III.
+
+_He hints at his atrocity; and the ebullition produced by the mere
+recollection of it._
+
+[Illustration]
+
+  The crime of which I was found guilty,
+    Oh! it was shocking vile;
+  The very thoughts of the cruel deed
+    Now makes my blood to bile.
+
+IV.
+
+_He speaks of the happy hours of Childhood, never more to return._
+
+[Illustration]
+
+  In Somersetshire I was born'd,
+    And my little sister dear
+  Didn't think then that my sad end
+    Would be like unto this here.
+
+V.
+
+_The revelation of his name and profession; and subsequent avowal of his
+guilt._
+
+[Illustration]
+
+  James Guffin is my hated name,
+    And a footman I'm by trade;
+  And I do confess that I did slay
+    My poor fellow-servant maid.
+
+VI.
+
+_He acknowledges the justice of his sentence._
+
+[Illustration]
+
+  And well I do deserve, I own,
+    My fate which is so bitter:
+  For 'twas most wicked for to kill
+    So innicent a critter.
+
+VII.
+
+_And pictures what might have taken place but for the interference of
+Destiny._
+
+[Illustration]
+
+  Her maiden name was Sarey Leigh,
+    And was to have been Guffin;
+  For we was to have been marri-ed,
+    But Fate brought that to nuffin.
+
+VIII.
+
+_He is particular as to the date of the occurrence._
+
+[Illustration]
+
+  All on a Wednesday afternoon,
+    On the ninth of Janivary,
+  Eighteen hundred and forty-four,
+    Oh! I did kill my Sarey.
+
+IX.
+
+_And narrates the means employed, and the circumstances which led him to
+destroy his betrothed._
+
+[Illustration]
+
+  With arsenic her I did destroy,
+    How could I be so vicious!
+  But of my young master I was jealous,
+    And so was my old Missus.
+
+X.
+
+_He is led away by bad passions._
+
+[Illustration]
+
+  I thought Sarey Leigh warn't true to me,
+    So all pity then despising,
+  Sure I was tempted by the Devil
+    To give to her some p'ison.
+
+XI.
+
+_His bosom is torn by conflicting resolutions; but he is at last decided._
+
+[Illustration]
+
+  Long--long I brooded on the deed,
+    'Til one morning of a sudden,
+  I did determine for to put
+    It in a beef-steak puddin.
+
+XII.
+
+_The victim falls into the snare._
+
+[Illustration]
+
+  Of the fatal pudding she did partake,
+    Most fearful for to see,
+  And an hour arter was to it a martyr,
+    Launch'd into eternity.
+
+XIII.
+
+_He feels that his perception comes too late._
+
+[Illustration]
+
+  Ah! had I then but viewed things in
+    The light that I now does 'em,
+  I never should have know'd the grief
+    As burns in this here buzum.
+
+XIV.
+
+_He commits his secret to the earth._
+
+[Illustration]
+
+  So when I seed what I had done,
+    In hopes of justice retarding,
+  I took and buried poor Sarey Leigh
+    Out in the kitching garding.
+
+XV.
+
+_But the earth refuses to keep it._
+
+[Illustration]
+
+  But it did haunt me, so I felt
+    As of a load deliver'd,
+  When three weeks after the fatal deed,
+    The body was diskiver'd.
+
+XVI.
+
+_Remorse and self examination._
+
+[Illustration]
+
+  O! why did I form of Sarey Leigh
+    Such cruel unjust opinions,
+  When my young master did her find
+    Beneath the bed of inions.
+
+XVII.
+
+_His countrymen form a just estimate of his delinquency._
+
+[Illustration]
+
+  Afore twelve jurymen I was tried,
+    And condemned the perpetrator
+  Of this here awful Tragedy,
+    As shocks one's human natur.
+
+XVIII.
+
+_He conjures up a painful image._
+
+[Illustration]
+
+  But the bell is tolling for my end;
+    How shocking for to see
+  A footman gay, in the prime of life,
+    Die on the fatal tree.
+
+XIX.
+
+_His last words convey a moral lesson._
+
+[Illustration]
+
+  THE MORAL!!!
+
+  Take warning, then, all ye as would
+    Not die like malefactors;
+  Never the company for to keep
+    Of them with bad characters.
+
+[Illustration: J. CATNACH, PRINTER AND PUBLISHER.]
+
+  Little Boys and Girls will find
+  At CATNACH'S something to their mind;
+  From great variety may choose,
+  What will instruct them and amuse.
+  The prettiest plates that you can find,
+  To please at once the eye and mind.
+
+One class of literature which the late Jemmy Catnach made almost his own,
+was children's farthing and halfpenny books. Among the great many that he
+published we select, from our own private collection, the following as a
+fair sample:--"The Tragical Death of an Apple Pie," "The House that Jack
+Built," "Jumping Joan," "The Butterflies Ball and Grasshoppers' Feast,"
+"Jerry Diddle and his Fiddle," "Nurse Love-Child's Gift," "The Death and
+Burial of Cock Robin," "The Cries of London," "Simple Simon," "Jacky
+Jingle and Suky Shingle," and--"Here you have just prin--ted and
+pub--lish--ed, and a--dor--ned with eight beau--ti--ful and ele--gantly
+engraved embellish--ments, and for the low charge of one _farden_--Yes!
+one _farden_ buys."
+
+NURSERY RHYMES.
+
+[Illustration]
+
+  See-saw, sacradown,
+  Which is the way to London town?
+  One foot up, and the other down,
+  And that is the way to London town.
+
+[Illustration]
+
+  Hey diddle, the cat and the fiddle,
+  The cow jumped over the moon,
+  The little dog laughed to see the sport,
+  And the dish ran away with the spoon.
+
+  Ding, dong bell!
+  Pussy's in the well.
+  Who put her in?
+  Little Johnny Green.
+  Who pulled her out?
+  Little Johnny Snout.
+  What a naughty boy was that,
+  To drown poor pussy cat,
+  Who never did him any harm,
+  And kill'd the mice in his father's barn.
+
+[Illustration]
+
+  Jack and Jill went up the hill,
+    To get a pail of water;
+  Jack fell down and broke his crown,
+    And Jill came tumbling after.
+
+[Illustration]
+
+  Cock a doodle do,
+  The dame has lost her shoe,
+  And master's lost his fiddle stick
+  And don't know what to do.
+
+  I had a little husband,
+    No bigger than my thumb.
+  I put him in a quart pot,
+    And there I bid him drum.
+
+[Illustration]
+
+  Who's there? A Grenadier!
+  What do you want? A pot of beer.
+  Where's your money? Oh, I forgot,
+  Then get you gone, you drunken sot.
+
+[Illustration]
+
+  Hush-a-bye, baby, on the tree top,
+  When the wind blows the cradle will rock,
+  When the bough breaks the cradle will fall,
+  Down comes the baby, cradle and all.
+
+[Illustration]
+
+  There was an old woman that lived in a shoe,
+  She had so many children she knew not what to do;
+  She gave them some broth without any bread,
+  Then she beat them all well, and sent them to bed.
+
+[Illustration]
+
+  My mother and your mother
+      Went over the way;
+  Said my mother to your mother,
+      It's chop-a-nose day!
+
+J. Catnach, Printer, 2, Monmouth Court, 7 Dials.
+
+
+THE CRIES OF LONDON.
+
+[Illustration]
+
+_Cherries._
+
+  Here's round and sound,
+  Black and white heart cherries,
+  Two-pence a pound.
+
+[Illustration]
+
+_Oranges._
+
+      Here's oranges nice,
+      At a very small price,
+  I sell them all two for a penny.
+      Ripe, juicy, and sweet,
+      Just fit for to eat,
+  So customers buy a good many.
+
+[Illustration]
+
+_Milk below._
+
+  Rain, frost, or snow, or hot or cold,
+    I travel up and down,
+  The cream and milk you buy of me
+    Is best in all the town.
+  For custards, puddings, or for tea,
+    There's none like those you buy of me.
+
+[Illustration]
+
+_Crumpling Codlings._
+
+  Come buy my Crumpling Codlings,
+    Buy all my Crumplings.
+  Some of them you may eat raw,
+    Of the rest make dumplings,
+  Or pies, or puddings, which you please.
+
+[Illustration]
+
+_Filberts._
+
+  Come buy my filberts ripe and brown,
+  They are the best in all the town,
+  I sell them for a groat a pound,
+  And warrant them all good and sound,
+  You're welcome for to crack and try,
+  They are so good, I'm sure you'll buy.
+
+[Illustration]
+
+_Clothes Pegs, Props, or Lines._
+
+  Come, maids, and buy my pegs and props,
+    Or lines to dry your clothes,
+  And when they are dry they'll smell as sweet
+    As any damask rose.
+  Come buy and save your clothes from dirt,
+  They'll save you washing many a shirt.
+
+[Illustration]
+
+_Sweep._
+
+  Sweep, chimney sweep,
+  Is the common cry I keep,
+      If you rightly understand me;
+  With my brush, broom, and my rake,
+  Such cleanly work I make,
+      There's few can go beyond me.
+
+[Illustration]
+
+_Peas and Beans._
+
+  Four pence a peck, green Hastings!
+    And fine garden beans.
+  They are all morning gathered,
+    Come hither, my queens.
+  Come buy my Windsor beans and peas,
+  You'll see no more this year like these.
+
+_Young Lambs to Sell._
+
+  Get ready your money and come to me,
+  I sell a young lamb for a penny.
+  Young lambs to sell! young lambs to sell!
+  If I'd as much money as I could tell,
+  I never would cry young lambs to sell.
+
+[Illustration]
+
+  Here's your toys for girls and boys,
+  Only a penny, or a dirty phial or bottle.
+
+[Illustration]
+
+_Strawberries._
+
+  Rare ripe strawberries and
+  Hautboys, sixpence a pottle.
+  Full to the bottom, hautboys.
+  Strawberries and Cream are charming and sweet,
+  Mix them and try how delightful they eat.
+
+[Illustration]
+
+  When Good Friday comes,
+  The old woman runs
+  With Hot Cross Buns,
+  One a penny, Buns,
+  Two a penny, Buns,
+  All Hot Buns.
+
+  LONDON:
+  Printed by J. Catnach, 2, Monmouth
+  Court, 7 Dials.
+
+"Songs! Songs! Songs! Beautiful songs! Love songs; Newest songs! Old
+songs! Popular songs! Songs, _Three Yards a Penny!_" was a "standing dish"
+at the "Catnach Press," and Catnach was the Leo X. of street publishers.
+And it is said that he at one time kept a fiddler on the premises, and
+that he used to sit receiving ballad writers and singers, and judging of
+the merits of any production which was brought to him, by having it sung
+then and there to some popular air played by his own fiddler, and so that
+the ballad-singer should be enabled to start at once, not only with the
+new song, but also the tune to which it was adapted. His broad-sheets
+contain all sorts of songs and ballads, for he had a most catholic taste,
+and introduced the custom of taking from any writer, living or dead,
+whatever he fancied, and printing it side by side with the productions of
+his own clients.
+
+Catnach, towards the latter part of his time and in his threefold capacity
+of publisher, compositor, and poet, was in the habit of taking things very
+easy, and always appeared to the best advantage when in his printing
+office, or stationed behind the ricketty counter which for a number of
+years had done good service in the shop in Monmouth-court. In this
+uncongenial atmosphere, where the rays of the sun are seldom or never
+seen, Jemmy was as happy as a prince. "A poor man's home is his castle,"
+so says an old proverb, and no one could have been prouder than he was
+when despatching to almost every town in the kingdom some specialty in the
+printing department. He naturally had a bit of a taste for old ballads,
+music, and song writing; and in this respect he was far in advance of many
+of his contemporaries. To bring within the reach of all, the standard and
+popular works of the day, had been the ambition of the elder Catnach;
+whilst the son was, _nolens volens_, incessant in his endeavours in trying
+to promulgate and advance, not the beauty, elegance, and harmony which
+pervades many of our national airs and ballad poety, but very often the
+worst and vilest of each and every description--in other words, those most
+suitable for street sale. His stock of songs was very like his customers,
+diversified. There were all kinds, to suit all classes. Love, sentimental,
+and comic songs were so interwoven as to form a trio of no ordinary amount
+of novelty. At ordinary times, when the Awfuls and Sensationals were flat,
+Jemmy did a large stroke of business in this line.
+
+It is said that when the "Songs--_Three-yards-a-penny_"--first came out
+and had all the attractions of novelty, some men sold twelve or fourteen
+dozen on fine days during three or four of the summer months, so clearing
+between 6s. and 7s. a day, but on the average about 25s. per week profit.
+The "long songs," however, have been quite superseded by the "Monster" and
+"Giant Penny Song Books." Still there are a vast number of halfpenny
+ballad-sheets worked off, and in proportion to their size, far more than
+the "Monsters" or "Giants." One song book, entitled the "Little Warbler,"
+was published in parts, and had an enormous sale.
+
+There are invariably but two songs printed on the half-penny
+ballad-sheets--generally a new and popular song with another older ditty,
+or a comic and sentimental, and "adorned" with two woodcuts. These are
+selected without any regard to their fitness to the subject, and in most
+cases have not the slightest reference to the ballad of which they form
+the headpiece. For instance:--"The Heart that can feel for another" is
+illustrated by a gaunt and savage-looking lion; "When I was first
+Breeched," by an engraving of a Highlander _sans culotte_; "The Poacher"
+comes under the cut of a youth with a large watering-pot, tending flowers;
+"Ben Block" is heralded by the rising sun; "The London Oyster Girl," by
+Sir Walter Raleigh; "The Sailors Grave," by the figure of Justice; "Alice
+Grey" comes under the very dilapidated figure of a sailor, or "Jolly Young
+Waterman;" "Bright Hours are in store for us yet" is _headed_ with a
+_tail-piece_ of an urn, on which is inscribed FINIS. (?) "Watercresses,"
+with the portrait of a Silly Billy; "The Wild Boar Hunt," by two wolves
+chasing a deer; "The Dying Child to its Mother," by an Angel appearing to
+an old man; "Crazy Jane," by the Royal Arms of England; "Autumn Leaves lie
+strew'd around," by a ship in full sail; "Cherry Ripe," by Death's Head
+and Cross Bones; "Jack at the Windlass," falls under a Roadside Inn; while
+"William Tell" is presented to the British public in form and style of an
+old woman nursing an infant of a squally nature. Here are a few
+examples:--
+
+[Illustration: The Smuggler King.]
+
+[Illustration: Let me like a Soldier fall.]
+
+[Illustration: Fair Phoebe and her Dark-Eyed Sailor.]
+
+[Illustration: My Pretty Jane.]
+
+[Illustration: The Thorn.]
+
+[Illustration: The Saucy Arethusa.]
+
+[Illustration: The Gipsy King.]
+
+[Illustration: Hearts of Oak.]
+
+[Illustration: Harry Bluff.]
+
+[Illustration: Death of Nelson.]
+
+[Illustration: John Anderson, my Jo.]
+
+[Illustration: Old English Gentleman.]
+
+[Illustration: The Bleeding Heart.]
+
+[Illustration: Wapping Old Stairs.]
+
+[Illustration: Poor Bessy was a Sailor's Bride.]
+
+[Illustration: Poor Mary Anne.]
+
+[Illustration: The Muleteer.]
+
+[Illustration: Tom Bowling.]
+
+[Illustration: Ye Banks an' Braes.]
+
+[Illustration: The Mistletoe Bough.]
+
+[Illustration: The Woodpecker.]
+
+[Illustration: The Soldier's Tear.]
+
+[Illustration: LONG-SONG SELLER.]
+
+Besides the chanters, who sing the songs through the streets of every
+city, town, village, and hamlet in the kingdom--the long-song seller, who
+shouts their titles on the kerb-stone, and the countless small
+shop-keepers, who, in swag-shops, toy-shops, sweetstuff-shops,
+tobacco-shops, and general shops, keep them as part of their stock for the
+supply of the street boys and the servant girls--there is another
+important functionary engaged in their distribution, and who is well known
+to the inhabitants of large towns, this is the pinner-up, who takes his
+stand against a dead wall or a long range of iron railings, and first
+festooning it liberally with twine, pins up one or two hundred ballads for
+public perusal and selection. Time was when this was a thriving trade: and
+we are old enough to remember the day when a good half-mile of wall
+fluttered with the minstrelsy of war and love, under the guardianship of a
+scattered file of pinners-up, along the south side of Oxford-street alone.
+Thirty years ago the dead walls gave place to shop fronts, and the
+pinners-up departed to their long homes. As they died out very few
+succeeded to their honours and emoluments. There is one pinner-up,
+seemingly the last of his race, who makes his display on the dead wall of
+the underground railway in Farringdon road.
+
+Catnach, to the day of his retirement from business in 1838, when he
+purchased the freehold of a disused public-house, which had been known as
+the Lion Inn, together with the grounds attached at Dancer's-hill, South
+Mimms, near Barnet, in the county of Middlesex, worked and toiled in the
+office of the "Seven Dials Press," in which he had moved as the pivot, or
+directing mind, for upwards of a quarter of a century. He lived and died a
+bachelor. His only idea of all earthly happiness and mental enjoyment was
+now to get away in retirement to a convenient distance from his old place
+of business, so to give him an opportunity occasionally to go up to town
+and have a chat and a friendly glass with one or two old paper-workers and
+ballad-writers, and a few others connected with his peculiar trade who had
+shown any disposition to work when work was to be done. To them he was
+always willing to give or advance a few pence or shillings, in money or
+stock, and a glass.
+
+Catnach left the whole of the business to Mrs. Anne Ryle, his sister,
+charged, nevertheless, to the amount of L1,000, payable at his death to
+the estate of his niece, Marion Martha Ryle. In the meanwhile Mr. James
+Paul acted as managing man for Mrs. Ryle. This Mr. Paul--of whom Jemmy was
+very fond, and rumour saith, had no great dislike to the mother--had
+grown from a boy to a man in the office of the "Catnach Press." He was,
+therefore, well acquainted with the customers, by whom he was much
+respected; and it was by his tact and judgment that the business was kept
+so well together. At Catnach's death he entered into partnership with Mrs.
+Ryle, and the business was carried on under the title and style of Paul &
+Co. In 1845 the partnership was dissolved, Mr. Paul receiving L800 in
+settlement. He then entered into the public line, taking the Spencer's
+Arms, at the corner of Monmouth-court. A son that was born to him in 1847,
+he had christened James Catnach Paul. About this date "The Catnach Press"
+had a formidable rival in "The Nassau Steam Press," which was originally
+started in Nassau Street, Soho, and afterwards removed to No. 60, St.
+Martin's Lane. Mr. Paul was especially engaged to manage the song
+department at this office. He died in the year 1870, just six weeks after
+Mrs. Ryle, and lies buried in the next grave but one to Catnach and his
+sister, in Highgate Cemetery.
+
+After Mr. Paul had left the business it was carried on as A. Ryle & Co.,
+and ultimately became the property of Mr. W. S. Fortey, who still carries
+on the old business in the same premises. A copy of whose trade
+announcement runs thus:--
+
+    "THE CATNACH PRESS." (Established 1813.)
+
+    "William S. Fortey, (late A. Ryle, successor to the late J. Catnach,)
+    Printer, Publisher, and Wholesale Stationer, 2 and 3, Monmouth-court,
+    Seven Dials, London, W.C."
+
+[Illustration]
+
+[Illustration: SIR JEFFERY DUNSTAN, _Late Mayor of Garratt, and Itinerant
+Dealer in Wigs_.]
+
+Sir Jeffery Dunstan--thrice Mayor of Garratt! was the most popular
+candidate that ever appeared on the Hustings at that very Free and
+Independent Borough! His occupation was that of buying old wigs, once an
+article of trade like that of old clothes. Sir Jeffery usually carried his
+wig bag over his shoulder, and to avoid the charge of vagrancy,
+vociferated, as he passed along the street, "Old Wigs," but having a
+person like AEsop, and a countenance and manner marked by irresistible
+humour, he never appeared without a train of boys and curious persons,
+whom he entertained by his sallies of wit, shrewd sayings, and smart
+repartees; and from whom, without begging, he collected sufficient to help
+to maintain his dignity of Mayor and Knight.
+
+From the earliest period of Sir Jeffery's life, he was a friend to "good
+measures," especially those for "spirituous liquors," and he never saw the
+inside of a pot without going to the bottom of it. This determination of
+character created difficulties to him; for his freedom was not always
+regulated by the doctrines of _meum et tuum_, or, of the great Blackstone,
+"on the rights of persons," and consequences ensued that were occasionally
+injurious to Sir Jeffery's eyes, face, and nose. The same enlightened
+Judge's views of "the rights of property," were not comprehended by Sir
+Jeffery, he had long made free with the porter of manifold pots, and at
+length he made free with a few of the pots--which the publicans in London
+seemed to show in the streets as much as to say "Come and steal me." For
+this he was "questioned" in the high Commission Court of oyer and
+terminer, and suffered an imprisonment, which, according to his manner of
+life, and his notions of the liberty of the subject, was "frivolous and
+vexatious." On his liberation, he returned to an occupation he had long
+followed, the dealing in "Old Wigs." Some other circumstances, developed
+in course of the preceding inquiry, seem to favour a supposition that the
+bag he carried had enabled him to conceal his previous "free trade" in
+pewter pots. But, be that as it might, it is certain that in his armorial
+bearings of four wigs, he added a quart pot for a crest.
+
+Sir Jeffery was remarkably dirty in his person, and always had his shirt
+thrown open, which exposed his breast to public view. This was in him a
+sort of pride; for he would frequently in an exulting manner say to
+_inferiors_ "I've got a _collar_ to my shirt, sir." He had a filthy habit,
+when he saw a number of girls around him, of spitting in their faces,
+saying, "There, go about your business."
+
+Sir Jeffery, in the days of his prosperity, took his "Hodges' best," at
+the "Blind Beggar of Bethnal-green," or the "Horse and Leaping Bar,"
+High-street, Whitechapel, at one or other of these favourite retreats, he
+got in a regular manner "regularly drunk." Then it was that he sung in his
+best style various popular "London Cries," mimicking others in their
+crying, especially one who vended "_Lily, lily, lily, lily white--sand oh!
+oh!! oh!!!_" this afforded sport to a merry company. Afterwards, should
+Sir Jeffery receive sufficient metalic support from his friends, he was
+placed in an arm chair on the table, when he recited to the students of
+the London Hospital and the Bucks of the East, his mock-election speeches.
+He was no respecter of persons, and was so severe in his jokes on the
+corruptions and compromises of power, that he was prosecuted for using
+what were then called seditious expressions. In consequence of this
+affair, and some few charges of dishonesty, he lost his popularity, and,
+at the next general election was ousted by Sir Harry Dimsdale,
+muffin-seller, a man as much deformed as himself. Sir Jeffery could not
+long survive his fall, but, in death as in life, he proved a satire on the
+vices of the proud, for he died, like Alexander the Great, the sailor in
+Lord Byron's "Don Juan," and many other heroes renowned in history--of
+suffocation from excessive drinking!.
+
+[Illustration: SIR HARRY DIMSDALE, M.P., FOR GARRATT, COSMOPOLITE AND
+MUFFIN-SELLER.
+
+  "Those evening bells! those evening bells!
+  How many a tale their music tells!
+  Of youth, and home, and that sweet time
+  When last I heard their soothing chime."]
+
+"Muffins, oh! Crumpets, oh," rank among the old cries of London, and at
+least one of the calling has been made famous, namely, Harry Dimsdale,
+sometime Mayor of Garratt, who, from the moment he stood as candidate,
+received mock knighthood, and was ever after known under the appellation
+of "Sir Harry." This half-witted character was a dealer in
+tin-ware--together with threads, tapes and bootlaces, during the morning,
+and a muffin-seller in the afternoon, when he had a little bell, which he
+held to his ear, and smiling ironically at its tinkling he would
+cry:--"_Muffins! muffins! ladies come buy me! pretty, handsome, blooming,
+smiling maids!_"
+
+Mr. J. T. Smith, in his ever-charming work of "A Book for a Rainy Day; or,
+Recollections of the Events of the Years 1766-1833," writing under date
+1787, gives the following graphic sketch of the sayings and doings--taken
+from life, of "Sir Harry."
+
+"One of the curious scenes I witnessed on a nocturnal visit to the watch
+house of St. Anne, Soho, afforded me no small amusement. Sir Harry
+Dinsdale, usually called Dimsdale, a short, feeble little man, was brought
+in, charged by two colossal guardians of the night with conduct most
+unruly. 'What have you, Sir Harry, to say to all this?' asked the Dogberry
+of St. Anne. The knight, who had been roughly handled, commenced like a
+true orator, in a low tone of voice. 'May it please ye, my magistrate, I
+am not drunk; it is _languor_. A parcel of the Bloods of the Garden have
+treated me cruelly, because I would not treat them. This day, sir, I was
+sent for by Mr. Sheridan, to make a speech upon the table at the
+Shakespeare Tavern, in _Common_ Garden; he wrote the speech for me, and
+always gives half a guinea; he sends for me to the tavern. You see I
+didn't go in my Royal robes, I only put 'um on when I stand to be a
+member.' The constable--'Well, but Sir Harry, why are you brought here?'
+One of the watchmen then observed, 'That though Sir Harry was but a little
+_shambling_ fellow, he was so _upstroppolus_, and kicked him about at such
+a rate, that it was as much as he and his comrade could do to bring him
+along.' As there was no one to support the charge, Sir Harry was advised
+to go home, which, however, he swore he would not do at midnight without
+an escort. 'Do you know,' said he, 'there's a parcel of _raps_ now on the
+outside waiting for me.'
+
+"The constable of the night gave orders for him to be protected to the
+public-house opposite the west end of St. Giles's Church, where he then
+lodged. Sir Harry, hearing a noise in the street, muttered, 'I shall catch
+it; I know I shall.' (_Cries without_,) 'See the conquering hero comes.'
+'Ay, they always use that tune when I gain my election at Garratt.'
+
+"There are several portraits of this singular little object, by some
+called 'Honey-juice.' Flaxman, the sculptor, and Mrs. Mathews, of
+blue-stocking memory, equipped him as a hardware man, and as such I made
+two etchings of him."
+
+  THE MUFFIN MAN.
+
+  (_T. Dibden._)
+
+    While you opera-squallers fine verses are singing,
+      Of heroes, and poets, and such like humguffins;
+    While the world's running round, like a mill in a sail,
+  I'll ne'er bother my head with what other folks ail,
+  But careless and frisky, my bell I keep ringing,
+    And walk about merrily crying my muffins.
+
+  CHORUS.
+
+  Lily-white muffins, O, rare crumpets smoking,
+  Hot Yorkshire cakes, hot loaves and charming cakes,
+      _One-a-penny, two-a-penny, Yorkshire cakes_.
+
+  What matters to me if great folks run a gadding,
+    For politics, fashions, or such botheration;
+  Let them drink as they brew, while I merrily bake;
+  For though I sell muffins, I'm not such a cake--
+  To let other fools' fancies e'er set me a gadding,
+    Or burthen my thoughts with the cares of the nation.
+
+SPOKEN.--What have I to do with politicians? And for your _Parliament
+cakes_. Why! everybody knows they are _bought_ and _sold_, and often _done
+brown_, and made _crusty_ all over the nation. No, no, its enough for me
+to cry--
+
+                        Lily-white muffins, &c.
+
+  Let soldiers and sailors, contending for glory,
+    Delight in the rattle of drums and of trumpets;
+  Undertakers get living by other folks dying,
+  While actors make money by laughing or crying;
+  Let lawyers with quizzels and quiddities bore ye,
+    It's nothing to me, while I'm crying my crumpets.
+
+  SPOKEN.--What do I care for lawyers? A'nt I a baker, and consequently,
+  Master of the Rolls:--Droll enough, too, for a Master of the Rolls to be
+  crying--
+
+  Lily-white muffins, &c.
+
+[Illustration: THE MUFFIN MAN.
+
+  "Muffins, oh! crumpets, oh!
+   Come buy, come buy of me.
+   Muffins and crumpets, muffins,
+   For breakfast or for tea."]
+
+The ringing of the muffin-man's bell--attached to which the pleasant
+associations are not a few--is prohibited by a ponderous Act of
+Parliament, but the prohibition has been all but inoperative, for the
+muffin bell still tinkles along the streets, and is rung vigorously in the
+suburbs, and just at the time when City gents, at winter's eve, are
+comfortably enveloped in fancy-patterned dressing gowns, prettily-worked
+smoking-caps, and easy-going and highly-coloured slippers, and saying
+within themselves or aloud:--
+
+  "Now stir the fire, and close the shutters fast,
+  Let fall the curtains, wheel the sofa round,
+  And while the bubbling and loud hissing urn
+  Throws up a steamy column, and the cups,
+  That cheer but not inebriate, wait on each,
+  So let us welcome peaceful evening in."
+
+"Hot Cross Buns!" Perhaps no "cry"--though it is only for one day in the
+year, is more familiar to the ears of a Londoner, than that of
+"_One-a-penny, two-a-penny, hot cross-buns_." We lie awake early upon Good
+Friday morning and listen to the London bells:--
+
+  "Oranges and lemons, say the bells of St. Clement's
+  Pancakes and fritters, say the bells of St. Peter's,
+  Two sticks and an apple, say the bells of Whitechapel.
+  Kettles and pans, say the bells of St. Ann's.
+  Pokers and tongs, say the bells of St. John's
+  Brickbats and tiles, say the bells of St. Giles'
+  Halfpence and farthings, say the bells of St. Martin's.
+  Bull's eyes and targets, say the bells of St. Marg'rets."
+
+And all the other London bells having rung--or, rather _toll'd_ out their
+own tale of joy or trouble: then comes--rattling over the stones--W. H.
+SMITH'S well-known red EXPRESS-CARTS laden with the early printed
+newspapers of the coming day, while all night long the carts and waggons
+come rumbling in from the country to Covent-garden, and not the least
+pleasant sound--pleasant for its old recollections--is the time-honoured
+old cry of "Hot Cross-Buns." Century after century passes by, and those
+who busily drove their carts day after day from Isleworth, Romford,
+Enfield, Battersea, Blackheath, or Richmond, one hundred years ago, are as
+still and silent as if they had never been; yet still, Passion week after
+Passion week, comes that old cry, nobody knows how old, "Hot Cross Buns,
+Hot Cross Buns." And as we lie in a half dreamy state we hear and think of
+the chimes of St. Clement Danes, which may still be heard, as Fallstaff
+describes, having heard them with Justice Shallow; also, how Pope, as he
+lay in Holywell-street--now Bookseller's-row; and Addison and Johnson;
+and, before their time, Waller, at the house of his old friend the
+merchant of St. Giles's; and the goodly company of poets that lived at
+the cost of the king, near Whitehall; then of the quaint old gossiping
+diarist, Samuel Pepys, Secretary of the Admiralty; John Taylor, the
+_Water-Poet_; even Shakespeare himself, having each in their turn been
+awakened on the Good Friday morning by the same sound ringing in their
+ears. For this is a custom which can hardly be traced to a beginning: and
+all we know about it is, that as far as we can go back, the Good Friday
+was ushered in by the old Good Friday bun; and that the baker in the
+towns, and the old good wife in the country, would have thought the day
+but badly kept, and augured badly for the coming summer's luck, without
+it.
+
+But between the cakes of Cecrops and the modern Hot Cross Bun there is a
+wide gulf of 3,400 years; and yet the one may be traced up to the other.
+There are some, indeed, who would wish to give to the Good Friday Hot
+Cross Bun a still longer pedigree, and to take it back to the time of the
+Patriarchs and their consecrated bread; and there are others who would go
+yet further, and trace it to the earliest age of the world, in a portion
+of Cain's sacrifice. We may, however, content ourselves with stopping
+short at the era of the Egyptian Cecrops, founder of Athens, who made his
+sweet cakes of flour and honey. Such cakes as these, as we learn from the
+prophet Jeremiah, were offered by the idolatrous Hebrew women to "the
+Queen of Heaven,"
+
+  "Ashtoreth, whom the Phoenicians called
+  Astarte, Queen of Heaven, with cresent horns."
+
+Some can even discern Astarte in our "Easter." The Jews of old had the
+shew-bread and the wafer of unleavened bread; and the Egyptians, under the
+Pharaohs, had also their cakes, round, oval, and triangular. The Persians
+had their sacred cakes of flour and honey; and Herodotus speaks of similar
+cakes being offered by the Athenians to a sacred serpent in the temple of
+their citadel. And, not to mention other nations, the circumstance that
+accompanied the outbreak of the Indian Mutiny, 1857, will make memorable
+the "chupatties" or sacred cakes of Khrishna.
+
+The cakes that were offered to Luna by the Greeks and Romans were either
+crescent-shaped, or were marked with the crescent moon; and this stamp
+must have been very similar to that impressed on the cakes offered by the
+Hebrew women to the Queen of Heaven. This mark also resembles that
+representing the horns of the sacred ox which was stamped on the Grecian
+cakes; and the ox was _bous_, and, in one of its oblique cases, _boun_, so
+we derive from that word _boun_ our familiar "bun." There were not only
+horn-marked cakes, but horn-marked pieces of money; so that it is very
+difficult to ascertain the true meaning of that passage in the opening of
+the "Agamemnon" of AEschylus, where the watchman says that a great _bous_
+has come, or set foot, upon his tongue. Although it might mean that
+something as weighty as an ox's hoof had weighed down his tongue, yet it
+more probably signifies either that he was bribed to silence with a piece
+of money marked with the ox's horns, or that the partaking of a sacred
+horn-marked cake had initiated him into a certain secret. Curiously
+enough, in the _argot_ of thieves, at the present day, a crown piece is
+termed "a bull;" and it may also be noted that _pecunia_, "money," is
+derived from _pecus_, "cattle;" and "bull" is derived from _bous_, and
+also "cow" from the same word, through the Sanscrit _gou_, the _b_ and _g_
+being convertible.
+
+Thus, originally, the _boun_ or bun was the cake marked with the horns of
+the sacred ox. The cross mark was first adopted by the Greeks and Romans
+to facilitate the division of the cake into four equal parts; and two such
+cross-marked cakes were found in the ruins of Herculaneum. These cakes
+were adopted by the early Christians in a spirit of symbolism; but,
+although the cross was marked on the cake in token of the badge of their
+faith, yet it was also used by the priest for the breaking of the cake, or
+Eucharistic wafer, into four pieces; and this was so ordered in the
+Liturgy of St. Chrysostom. The cross-marked buns are now, for popular use,
+reserved for Good Friday, and, as Lenten cakes, are peculiar to this
+country. Among the Syrian Christians of Travancore and Cochin, who trace
+their descent from those who were converted by St. Thomas on his
+(supposed) visit to India, a peculiar cake is made for "Sorrowful
+Friday"--as they term Good Friday. The cake is stuffed with sweetmeats in
+the form of an eye, to represent the evil eye of Judas, coveting the
+thirty pieces of silver; and the cake is flung at with sticks by the
+members of the family until the eye is quite put out; they then share the
+remains of the cake among them.
+
+In the days before the Reformation, _eulogiae_, or cross-marked consecrated
+cakes, were made from the dough of the mass-bread, and distributed by the
+priests to be eaten at home by those who had been prevented by sickness or
+infirmity from attending the mass. After the Reformation, Protestants
+would readily retain the custom of eating in their houses a cross marked
+cake, although no longer connecting it with a sacred rite, but restricting
+its use to that one day of the year known as "Holy Friday," or "Long
+Friday"--from the length of the service on that day--but which gradually
+came to be called, by the Anglican Church, "Good Friday," in remembrance
+of the good things secured to mankind on that day. The presence upon the
+breakfast-table of the cross marked bun, flavoured with allspice, in token
+of the spices that were prepared by the pious women of Galilee, was,
+therefore, regarded in the light of a remembrancer of the solemnities of
+the day. The buns were made on the previous evening, Maundy Thursday so
+called, either from the "maunds," or baskets, in which Easter gifts were
+distributed, or, more probably, because it was the _Dies mandati_, the day
+of the command, "That thou doest, do quickly!" as also, "Do this in
+remembrance of Me!" and that the disciples should love one another and
+should show humility in the washing of feet.
+
+As Chelsea was long famous for its buns--which are mentioned by Swift to
+Stella, in 1712--it was not to be wondered at that it should be celebrated
+for its production of hot cross buns on Good Friday. Early in the present
+century there were two bun-houses at Chelsea, both claiming to be "Royal"
+as well as "Original," until, at last, one of the two proclaimed itself to
+be "The Real Old Original Bun House." These two houses did a roaring trade
+during the whole of Good Friday, their piazzas being crowded, from six in
+the morning to six in the evening, by crowds of purchasers, loungers, and
+gossipers. Good King George the Third would come there with his children;
+and, of course, the nobility and gentry followed his example. These two
+bun-houses were swallowed up, in the march of improvement, some forty
+years ago; but on Good Friday, 1830, 240,000 hot cross buns were sold
+there.
+
+The cross bun is not without its folk-lore. Country folks attach much
+virtue to the Good Friday buns; and many are kept for "luck's sake" in
+cottages from one Good Friday to another. They are not only considered to
+be preservatives from sickness and disease, but also as safeguards from
+fire and lightning. They are supposed never to get mouldy, as was noted by
+"Poor Robin," in his Almanack for 1733, under the head of March:--
+
+  "Good Friday comes this month: the old woman runs
+  With one a penny, two a penny hot cross-buns;
+  Whose virtue is, if you'll believe what's said,
+  They'll not grow mouldy like the common bread."
+
+Furthermore, be it known, then, in the interests of suffering humanity,
+that if a piece of a Good Friday bun is grated and eaten, it will cure as
+many diseases as were ever cured by a patent pill; moreover, the animal
+world is not shut out from sharing in its benefits, for it will cure a
+calf from "scouring," and mixed in a warm mash, it is the very best remedy
+for your cow. Thus the bun is good for the _boun_; in fact, it is good
+both for man and beast.
+
+The sellers of the Good Friday buns are composed of old men and young men,
+old women and young women, big children and little children, but
+principally boys, and they are of mixed classes, as, costers' boys, boys
+habitually and boys occasionally street-sellers, and boys--"some cry now
+who never cried before," and for that occasion only. One great inducement
+to embark in the trade is the hope of raising a little money for the
+Easter holidays following.
+
+The "cry" of the Hot Cross Bun vendor varies at times and in places--as
+thus:--
+
+  "One-a-penny, two-a-penny, hot cross-buns!
+  One-a-penny, two for _tup'ence_, hot cross buns!"
+
+While some of a humorous turn of mind like to introduce a little bit of
+their own, or the borrowed wit of those who have gone before them, and
+effect the _one_ step which is said to exist from the sublime to the
+ridiculous, and cry--
+
+        "One-a-penny, poker; two-a-penny, tongs!
+        One-a-penny; two-a-penny, hot cross buns.
+  One-a-penny, two-a-penny, hot cross-buns!
+  If your daughters will not eat them, give them to your sons.
+  But if you haven't any of those pretty little elves,
+  You cannot then do better than eat them up yourselves;
+  One-a-penny, two-a-penny, hot cross buns:
+                        All, hot, hot, hot, all hot.
+  One-a-penny, two-a-penny, hot cross buns!
+  Burning hot! smoking hot, r-r-r-roking hot--
+  One-a-penny, two-a-penny, hot cross buns."
+
+But the street hot-cross-bun trade is languishing--and languishing, will
+ultimately die a natural death, as the master bakers and pastrycooks have
+entered into it more freely, and now send round to their regular customers
+for orders some few days before each succeeding Good Friday.
+
+A capital writer of NOTES, COMMENT and GOSSIP, who contributes every week
+to the _City Press_, under the _nom de plume_ of "Dogberry," gave--_inter
+alia_--a few "_Good Words_," the result of his "_Leisure Hours_" in that
+journal, on the subject of "Good Friday Customs." March 24, 1883, thus:--
+
+    "That the buns themselves are as popular as ever they were when the
+    Real Original Bun Houses existed in Chelsea, was manifest on Thursday
+    evening, though the scene is now changed from the west to the east.
+    Bishopsgate-street was indeed all alive with people of high and low
+    degree crowding in and out of Messrs. Hill & Sons, who, I am told,
+    turned no less than 47 sacks of flour, representing over 13,000 lbs.,
+    into the favourite Good Friday cakes. This mass was sweetened by 2,800
+    lbs. of sugar, moistened with 1,500 quarts of milk, and 'lightened'
+    with 2,200 lbs. of butter. Something like 25,000 paper bags were used
+    in packing the buns, and upwards of 150 pairs of hands were engaged in
+    the making and distribution of the tasty morsels at Bishopsgate and at
+    the West-end branch of Messrs. Hill, at Victoria. The customary
+    business of the firm must have been interrupted considerably by Good
+    Friday, and the forty-seven sacks of flour made into buns represented,
+    I presume, a considerable deduction from the hundred and ninety to two
+    hundred which the firm work up in one form or another every week. But
+    then you can't eat your (Good Friday) cake and have it. There were
+    other bakers and confectioners in the City, too, who appeared to do a
+    thriving trade in buns--notably Messrs. Robertson & Co., in
+    Aldersgate-street. Long live the Good Friday bun!"
+
+    DOGBERRY.
+
+
+  HOT CROSS BUNS.
+
+  BY MISS ELIZA COOK.
+
+  "The clear spring dawn is breaking, and there cometh with the ray,
+  The stripling boy with 'shining face,' and dame in 'hodden grey:'
+  Rude melody is breathed by all--young--old--the strong, and weak;
+  From manhood with its burly tone, and age with treble squeak.
+  Forth come the little busy 'Jacks' and forth come little 'Jills,'
+  As thick and quick as working ants about their summer hills;
+  With baskets of all shapes and makes, of every size and sort;
+  Away they trudge with eager step, through alley, street, and court.
+  A spicy freight they bear along, and earnest is their care,
+  To guard it like a tender thing from morning's nipping air;
+  And though our rest be broken by their voices shrill and clear,
+  There's something in the well-known 'cry' we dearly love to hear.
+  'Tis old, familiar music, when 'the old woman runs'
+  With 'One-a-penny, two-a-penny, Hot Cross Buns!'
+  Full many a cake of dainty make has gained a great renown,
+  We all have lauded 'Gingerbread' and 'Parliament' done brown;
+  But when did luscious 'Banburies,' or dainty 'Sally Lunns,'
+  E'er yield such merry chorus theme as 'One-a-penny buns!'
+  The pomp of palate that may be like old Vitellius fed,
+  Can never feast as mine did on the sweet and fragrant bread;
+  When quick impatience could not wait to share the early meal,
+  But eyed the pile of 'Hot Cross Buns,' and dared to snatch and steal.
+  Oh, the soul must be uncouth as a Vandal's Goth's, or Hun's,
+  That loveth not the melody of 'One-a-penny Buns!'"
+
+And so, awaking in the early morning, we hear the streets ringing with the
+cry, "Hot Cross Buns." And perhaps when all that we have wrought shall be
+forgotten, when our name shall be as though it had been written on water,
+and many institutions great and noble shall have perished, this little bun
+will live on unharmed. Others, as well as ourselves, will, it may be, lie
+awake upon their beds, and listen to the murmurs going to and fro within
+the great heart of London, and, thinking on the half-forgotten days of the
+nineteenth century, wonder perhaps whether, in these olden times, we too
+heard the sound of "Hot Cross Buns."
+
+The street Pieman with his "cry," of "Pies all hot! hot!! hot!!!--Penny
+pies, all hot! hot!!--fruit, eel, beef, veal or kidney pies! pies, all
+hot-hot-hot," is one of the most ancient of street callings, and to London
+boys of every degree, "Familiar in their mouths as household words." Nor
+is the itinerant trade in pies--"Eel, beef, veal, kidney or fruit,"
+confined to the great metropolis. All large provincial towns have, from a
+time going back much farther than even the proverbial "oldest inhabitant"
+can recollect, had their old and favourite "Penny Pieman," or,
+"_Old-all-Hot!_" as folks were ever wont to call him. He was generally a
+merry dog, and mostly to be found where merriment was going on, he
+scrupled not to force his way through the thickest of the crowd, knowing
+that the very centre of action was the best market for his wares.
+
+[Illustration: THE PIEMAN; OR, O LORD! WHAT A PLACE IS A CAMP.
+
+  "O Lord! what a place is a camp,
+    What wonderful doings are there;
+  The people are all on the tramp,
+    To me it looks devilish queer:
+  Here's ladies a swigging of gin,
+    A crop of macaronies likewise:
+  And I, with my 'Who'll up and win?
+    Come, here is your hot mutton pies.'
+
+  Here's gallopping this way and that,
+    With, 'Madam, stand out of the way;'
+  Here's, 'O fie! sir, what would you be at?--
+    Come, none of your impudence pray:'
+  Here's 'Halt--to the right-about-face,'
+    Here's laughing, and screaming, and cries:
+  Here's milliners'-men out of place,
+    And I with my hot mutton pies.
+
+  Here's the heath all round like a fair,
+    Here's butlers, and sutlers, and cooks;
+  Here's popping away in the air,
+    And captains with terrible looks:
+  Here's 'How do you do?'--'Pretty well;
+    The dust has got into my eyes,'
+  There's--'Fellow what have you to sell?'
+    'Why, only some hot mutton pies.'"]
+
+History informs us, through the medium of the halfpenny plain and penny
+coloured chap book, editions issued by the "Catnach Press," that, one:--
+
+  "Simple Simon met a Pieman,
+    Going to the fair;
+  Says simple Simon to the Pieman,
+    'Let me taste your ware.'
+
+  Says the Pieman unto Simon,
+    'First give me a penny;'
+  Says Simple Simon to the Pieman,
+    'I have not got any.'"
+
+But history is silent as to the birth, parentage, or, even place and date
+of the death of the said Simple Simon, or of this very particular pieman.
+Halliwell informs us, through one of the "Nursery Rhymes of England," that
+on one occasion:--
+
+  "Punch and Judy
+    Fought for a pie;
+  Punch gave Judy
+    A sad blow on the eye."
+
+James Lackington--1746-1816--one of the most celebrated of our early cheap
+booksellers, lived at the "Temple of Muses," Finsbury-place--the shop,
+into which a coach and six could be driven. This curious mixture of
+cobbler's wax, piety, vanity, and love of business, has left us in his
+autobiography, which he published under the title of his "_Memoirs and
+Confessions_," his experience as a pie-boy! or seller of pies, thus:--
+
+    "At ten years old I cried apple pies in the street. I had noticed a
+    famous pieman, and thought I could do it better myself. My mode of
+    crying pies soon made me a street favourite, and the old pie merchant
+    left off trade. You see, friend, I soon began to make a noise in the
+    world. But one day I threw my master's child out of a wheelbarrow, so
+    I went home again, and was set by my father to learn his trade,
+    continuing with him for several years. My fame as a pieman led to my
+    selling almanacks on the market days at Christmas. This was to my
+    mind, and I sorely vexed the [regular] vendors of 'Moore,' 'Wing,' and
+    'Poor Robin.' My next move was to be bound apprentice for seven
+    years."
+
+We frequently meet with the pieman in old prints; and in Hogarth's "March
+to Finchley," there he stands in the very centre of the crowd, grinning
+with delight at the adroitness of one robbery, while he is himself the
+victim of another. We learn from this admirable figure by the greatest
+painter of English life, that the pieman of the last century perambulated
+the streets in professional costume; and we gather further, from the burly
+dimensions of his wares that he kept his trade alive by the laudable
+practice of giving "a good pennyworth for a penny." Justice compels us to
+observe that his successors of a later generation have not been very
+conscientious observers of this maxim.
+
+[Illustration: HOGARTH'S PIEMAN.]
+
+[Illustration: NICE NEW! NICE NEW!
+
+  All hot! All Hot Hot! All Hot!
+  _Here they are, two sizes bigger than last week._]
+
+At this date there was James Sharpe England, a noted flying pieman, who
+attended all the metropolitan festive gatherings; he walked about hatless,
+to sell his savoury wares, with his hair powdered and tied _en queue_, his
+dress neat, apron spotless, jesting wherever he went, with a mighty voice
+in recommendation of the puddings and pies, which, for the sake of greater
+oddity he sometimes carried on a wooden platter.
+
+[Illustration: JAMES SHARPE ENGLAND, _The Flying Pieman_.]
+
+The London pieman, as he takes his walks abroad, makes a practice of
+"looking in" at all the taverns on his way. Here his customers are found
+principally in the tap-room. "Here they are, all 'ot!" the pieman cries,
+as he walks in; "toss or buy! up and win 'em!" For be it known to all whom
+it may concern, the pieman is a gambler, both from inclination and
+principle, and will toss with his customers, either by the dallying
+shilly-shally process of "best five in nine," or "best two in three," or
+the desperate dash of "sudden death!" in which latter case the first toss
+decides the matter, _viz_:--a pie for a penny, or your penny gone for
+nothing, but he invariably declines the mysterious process of "odd man,"
+not being altogether free from suspicion on the subject of collusion
+between a couple of hungry, and not over honestly inclined customers.
+
+Of the "stuff" which pie-dealers usually make their wares, much has been
+sung and said, and in some neighbourhoods the sight of an approaching
+pieman seems to get about an immediate desire for imitating the harmless
+cat and its "Mee-yow," or the "Bow-wow-wow!" of the dog. And opprobrious
+epithets are hurled at the piemen as they parade the streets and alleys,
+and even kidnapping has been slyly hinted at, for the mother of Tom
+Cladpole, finding her son so determined to make a "Jurney to
+Lunnun"--least he should die a fool, tries to frighten the boy out of his
+fixed intention by informing him in pure Sussex dialect that:--
+
+  "Besides, dey kidnap people dere,
+    Ah! ketch um by supprize,
+  An send um off where nub'dy knows,
+    Or _baak um up in pies_."
+
+It was ever a safe piece of comic business with Old Joey Grimaldi and his
+favourite pupil and successor, Tom Matthews, together with all other
+stage clowns following them, that a penny pieman and the bright shining
+block-tin can should be introduced into every Christmas pantomime. The
+pataloon is made to be tossing the safe game of--"heads I win, tails you
+lose" with the stage pieman, while the roguish clown is adroitly managing
+to swallow the whole of the stock of pies from the can, and which are made
+by the stage property-man for the occasion out of tissue-paper painted in
+water-colours. Then follows the wry faces and spasmodic stomach-pinchings
+of the clown, accompanied with the echoing cries of "_Mee, mee, mow,
+woo!_" while the pantaloon takes from the pieman's can some seven or eight
+fine young kittens and the old tabby-cat--also the handy-work of the stage
+property-man. The whole scene usually finishes by the pantaloon pointedly
+sympathizing with the now woebegone clown to the tune of "Serve ye
+right--Greedy! greedy!! greedy!!!" when enter six supernumeraries dressed
+as large and motherly-looking tabbies with aprons and bibs, and bedizened
+with white linen night caps of the pattern known in private life to
+middle-aged married men only. The clown and pantaloon then work together
+in hunting down, and then handing over the poor pieman to the tender
+mercies and talons of the stage-cats, who finish up the "business" of the
+scene by popping the pieman into what looks like a copper of boiling
+water.
+
+Mr. Samuel Weller,--_otherwise_, Veller, that great modern authority on
+Y{e} Manners and Y{e} Customs, of Y{e} English in general, and of London
+Life wery Particular:--for "Mr. Weller's knowldge of London was extensive
+and peculiar"--has left us his own ideas of the baked "mysteries" of the
+pieman's ware:--
+
+    "Weal pie," said Mr. Weller, soliloquising, as he arranged the
+    eatables on the grass. "Werry good thing is a weal pie, when you know
+    the lady as made it, and is quite sure it an't kittens; and arter all,
+    though, where's the odds, when they're so like weal that the wery
+    piemen themselves don't know the difference?"
+
+    "Don't they, Sam?" said Mr. Pickwick.
+
+    "Not they, sir," replied Mr. Weller, touching his hat. "I lodged in
+    the same house vith a pieman once, sir, and a wery nice man he
+    was--reg'lar clever chap too--made pies out o' anything, he could.
+    'What a number o' cats you keep, Mr. Brooks,' says I, when I'd got
+    intimate with him. 'Ah,' says he, 'I do--a good many,' says he. 'You
+    must be wery fond o' cats,' says I. 'Other people is,' says he, a
+    winkin' at me; 'they an't in season till the winter though,' says he.
+    'Not in season!' says I. 'No,' says he, 'fruits is in, cats is out.'
+    'Why, what do you mean?' says I. 'Mean?' says he. 'That I'll never be
+    a party to the combination o' the butchers, to keep up the prices o'
+    meat,' says he. 'Mr. Weller,' says he, a squeezing my hand wery hard,
+    and vispering in my ear--'don't mention this here agin--but it's the
+    seasonin' that does it. They're all made o' them noble animals,' says
+    he, a pointin' to a wery nice little tabby kitten, 'and I seasons 'em
+    for beef-steaks, weal, or kidney, 'cordin to demand. And more than
+    that,' says he, 'I can make a weal a beef-steak, or a beef-steak a
+    kidney, or any one on 'em a mutton, at a minute's notice, just as the
+    market changes, and appetites wary!"
+
+    "He must have been a very ingenious young man, that, Sam," said Mr.
+    Pickwick, with a slight shudder.
+
+    "Just was, sir," replied Mr. Weller, continuing his occupation of
+    emptying the basket, "_and the pies was beautiful_."
+
+The "gravy" given with the meat-pies is poured out of an oil-can and
+consists of a little salt and water browned. A hole is made with the
+little finger in the top of the pie and the "gravy" poured in until the
+crust rises sufficiently to satisfy the young critical gourmand's taste.
+
+"The London piemen," says Mr. Henry Mayhew, "May be numbered at about
+forty in winter, and twice that number in summer." Calculating that there
+are only fifty plying their trade the year through, and their average
+earnings at 8s. a week, we find a street expenditure exceeding L1,040, and
+a street consumption of pies amounting to nearly three quarters of a
+million yearly.
+
+[Illustration: YOUNG LAMBS TO SELL.
+
+  Young lambs to sell! young lambs to sell.
+  If I'd as much money as I could tell,
+  I'd not come here with young lambs to sell!
+      Dolly and Molly, Richard and Nell,
+      Buy my young lambs, and I'll use you well!]
+
+The engraving represents an old "London Crier," one William Liston, from a
+drawing for which he purposely _stood_ in 1826.
+
+This "public character" was born in the City of Glasgow. He became a
+soldier in the waggon-train commanded by Colonel Hamilton, and served
+under the Duke of York in Holland, where, on the 6th of October, 1799, he
+lost his right arm and left leg, and his place in the army. His
+misfortunes thrust distinction upon him. From having been a private in the
+ranks, where he would have remained undistinguished, he became one of the
+popular street-characters of his day.
+
+In Miss Eliza Cook's Poem "Old Cries" she sings in no feeble strain the
+praises of the old man of her youthful days, who cried--"Merry and free as
+a marriage bell":--
+
+  YOUNG LAMBS TO SELL.
+
+  There was a man in olden time,
+    And a troubador was he;
+  Whose passing chant and lilting rhyme
+    Had mighty charms for me.
+
+  My eyes grew big with a sparkling stare,
+    And my heart began to swell,
+  When I heard his loud song filling the air
+    About "Young lambs to sell!"
+
+  His flocks were white as the falling snow,
+    With collars of shining gold;
+  And I chose from the pretty ones "all of a row,"
+    With a joy that was untold.
+
+  Oh, why did the gold become less bright,
+  Why did the soft fleece lose its white,
+    And why did the child grow old?
+
+  'Twas a blithe, bold song the old man sung;
+  The words came fast, and the echoes rung,
+    Merry and free as "a marriage bell;"
+  And a right, good troubadour was he,
+  For the hive never swarmed to the chinking key,
+  As the wee things did when they gathered in glee
+    To his musical cry--"Young lambs to sell!"
+
+  Ah, well-a-day! it hath passed away,
+  With my holiday pence and my holiday play--
+  I wonder if I could listen again,
+  As I listened then, to that old man's strain--
+    All of a row--"Young lambs to sell."
+
+[Illustration: THE LONDON BARROW-WOMAN.
+
+        Round and sound,
+        Two-pence a pound.
+  Cherries, rare ripe cherries!
+
+        Cherries a ha'penny a stick
+        Come and pick! come and pick!
+  Cherries big as plums! who comes, who comes.]
+
+The late George Cruikshank, whose pencil was ever distinguished by power
+of decision in every character he sketched, and whose close observation of
+passing men and manners was unrivalled by any artist of his day,
+contributed the "London Barrow-woman" to the pages of Hone's _Every-Day
+Book_ in 1826 from his own recollection of her.
+
+[Illustration: BUY A BROOM.
+
+  These poor "Buy-a-Broom girls" exactly dress now,
+  As Hollar etch'd such girls two cent'ries ago;
+  All formal and stiff, with legs, only at ease--
+  Yet, pray, judge for yourself; and don't if you please,
+
+         *       *       *       *       *
+
+  But ask for the print, at old print shops--they'll show it,
+  And look at it, "with your own eyes," and you'll _know_ it.]
+
+Buy a Broom? was formerly a very popular London-cry, when it was usually
+rendered thus:--"_Puy a Proom, puy a prooms? a leetle von for ze papy, and
+a pig vons for ze lady: Puy a Proom_." Fifty years ago Madame Vestris
+charmed the town by her singing and displaying her legs as a _Buy-a-Broom
+Girl_.
+
+  Buy a broom, buy a broom,
+  Large broom, small broom,
+  No lady should e'er be without one, &c.
+
+But time and fashion has _swept_ both the brooms and the girls from our
+shores.--Madame Vestris lies head-to-head with Charles Mathews in Kensal
+Green Cemetery. _Tempus omnia revelat._
+
+[Illustration: THE LADY AS CRIES CATS' MEAT.
+
+  Old Maids, your custom I invites,
+    Fork out, and don't be shabby,
+  And don't begrudge a bit of lights
+    Or liver for your Tabby.
+
+  Hark! how the Pusses make a rout--
+    To buy you can't refuse;
+  So may you never be without
+    The _music_ of their _mews_.
+
+  Here's famous meat--all lean, no fat--
+    No better in Great Britain;
+  Come, buy a penn'orth for your Cat--
+    A happ'orth for your Kitten.
+
+  Come all my barrow for a bob!
+    Some charity diskivir;
+  For faith, it ar'n't an easy job
+    To _live_ by selling _liver_.
+
+  Who'll buy? who'll buy of Catsmeat-Nan!
+    I've bawl'd till I am sick;
+  But ready money is my plan;
+    I never gives no tick.
+
+  I've got no customers as yet--
+    In wain is my appeal--
+  And not to buy a single bit
+    Is werry ungenteel!]
+
+[Illustration: OUR DANDY CATS' AND DOGS' MEAT MAN.]
+
+Every morning as true as the clock--the quiet of "Our Village Green" is
+broken by a peculiar and suggestive cry. We do not hear it yet ourselves,
+but Pincher, our black and tan terrier dog, and Smut, our black and white
+cat, have both caught the well-known accents, and each with natural
+characteristic--the one wagging his tail, the other with a stiff
+perpendicular [dorsel appendage] sidles towards the door, demanding as
+plainly as possible, to be let out. Yes, it is "Our Dandy Cats' and Dogs'
+Meat Man," with his "_Ca' me-e-et--dogs' me yet--Ca' or do-args-me-a-yet,
+me a-t--me-yett!!!_" that fills the morning air, and arouses exactly seven
+dogs of various kinds, and exactly thirty-one responsive feline
+voices--there is a cat to every house on "Our Village Green"--and causes
+thirty-one aspiring cat's-tails to point to the zenith. We do not know how
+it is, but the Cat's-meat man is the most unerring and punctual of all
+those peripatetic functionaries who undertake to cater for the public. The
+baker, the butcher, the grocer, the butterman, the fishmonger, and the
+coster, occasionally forget your necessities, or omit to call for your
+orders--the cat's-meat man never!
+
+[Illustration: GUY FAWKES--GUY.]
+
+There cannot be a better representation of "Guy Fawkes," as he was borne
+about the metropolis in effigy in the days "When George the Third was
+King," than the above sketch by George Cruikshank.
+
+  Please to remember the fifth of November,
+    Gunpowder treason and plot;
+  We know no reason, why gunpowder treason,
+    Should ever be forgot!
+          Holla boys! holla boys! huzza-a-a!
+  A stick and a stake, for King George's sake,
+  A stick and a stump, for Guy Fawkes' rump!
+          Holla boys! holla boys! huzza-a-a!
+
+[Illustration: HENRY LEMOINE, The Literary and Pedestrian Bookseller and
+Author, _A well known_ Eccentric Character of the City of London.]
+
+[Illustration: ALL ROUND MY HAT I VEARS A GREEN VILLOW.]
+
+  All round my hat I vears a green villow,
+    All round my hat, for a twelvemonth and a day;
+  If any body axes me the reason vy I vears it,
+    I tells 'em that my own true love is far far away.
+  'Twas a going of my rounds, in the streets I first did meet her,
+    Oh, I thought she vos a hangel just come down from the sky;
+
+  SPOKEN.--She's a nice wegitable countenance; turnup nose, redish cheeks,
+  and carroty hair.
+
+  And I never knew a voice more louder or more sweeter,
+    Vhen she cried, buy my primroses, my primroses come buy.
+
+  SPOKEN.--Here's your fine colliflowers.
+
+                                All round, &c.
+
+  O, my love she was fair, my love she was kind, too,
+    And cruel vos the cruel judge vot had my love to try:
+
+  SPOKEN.--Here's your precious turnups.
+
+  For thieving vos a thing she never vos inclined to:
+    But he sent my love across the seas, far far away.
+
+  SPOKEN.--Here's your hard-hearted cabbages.
+
+                                All round, &c.
+
+  For seven long years my love and I is parted,
+    For seven long years my love is bound to stay.
+
+  SPOKEN.--It's a precious long time 'fore I does any trade to-day.
+
+  Bad luck to that chap vot'd ever be false-hearted,
+    Oh, I'll love my love for ever, tho' she's far far away.
+
+  SPOKEN.--Here's your nice heads of salary!
+
+                                All round, &c.
+
+  There is some young men so preciously deceitful,
+    A coaxing of the young gals they vish to lead astray.
+
+  SPOKEN.--Here's your Valnuts; crack'em and try'em, a shilling a hundred!
+
+  As soon as they deceives'em, so cruelly they leaves 'em,
+    And they never sighs nor sorrows ven they're far far away!--
+
+  SPOKEN.--Do you vant any hingons to-day, marm?
+
+                                All round, &c.
+
+  Oh, I bought my love a ring on the werry day she started,
+    Vich I gave her as a token all to remember me:
+
+  SPOKEN.--Bless her h-eyes,
+
+  And vhen she does come back, oh, ve'll never more be parted
+    But ve'll marry and be happy--oh, for ever and a day.
+
+  SPOKEN.--Here's your fine spring redishes.
+
+  All round, &c.
+
+[Illustration: THE NEW LONDON CRIES.]
+
+  _Tune_--"The Night Coach."
+
+  Dear me! what a squalling and a bawling,
+    What noise, and what bustle in London pervades;
+  People of all sorts shouting and calling,
+    London's a mart, sure, for men of all trades.
+  The _chummy_ so black, sir, with bag on his back, sir,
+    Commences the noise with the cry of "sweep, sweep!"
+  Then Dusty and Crusty with voices so lusty,
+    Fish-men and green-men, their nuisances keep.
+                                        Dear me, &c.
+
+  Fine water cresses, two bunches a penny,
+    Fine new milk, two-pence ha'p'ny a quart!
+  Come buy my fine matches--as long as I've any,
+    Carrots and turnips, the finest e'er bought.
+  Dainty fresh salmon! _without_ any _gammon_,
+    Hare skins or rabbit skins! hare skins, cook I buy!
+  'Taters all sound, sir, two-pence six pounds, sir,
+    Coals ten-pence a bushel, buy them and try.
+                                        Dear me, &c.
+
+  Here's songs three yards for a penny!
+    Comic songs, love songs, and funny songs, too;
+  _Billy Barlow_,--_Little Mike_,--_Paddy Denny!_
+    _The Bailiffs are coming_--_The Hero of Waterloo_.
+  Eels four-pence a pound--pen knives here ground,
+    Scissors ground sharp, a penny a pair!
+  Tin kettles to mend, sir, your fenders here send, sir,
+    For six-pence a piece, I will paint 'em with care.
+                                        Dear me, &c.
+
+  Come buy my _old man_, a penny a root,
+    The whole true account of the murder last night!
+  Fine Seville oranges, ne'er was such fruit,
+    Just printed and published, the last famous fight.
+  Arrived here this morning--strange news from Greece,
+    A victory gain'd o'er the great Turkish fleet;
+  Chairs to mend--hair brooms, a shilling a piece!
+    Cap box, bonnet box--cats' and dogs' meat.
+                                        Dear me, &c.
+
+  Here's _inguns_ a penny a rope,
+    Pots and pans--old clothes, clo' for sale!
+  A dread storm near the Cape of Good Hope.
+    Greens two-pence a bunch--twenty-pence a new pail.
+  Sprats, a penny a plateful--I should feel werry grateful,
+    Kind friends for a ha'p'ny for my babe's sakes;
+  Shrimps, penny a pot--baked 'taters all hot!
+    Muffins and crumpets, or fine Yorkshire cakes.
+                                        Dear me, &c.
+
+  "Had I a _Garden_, a _Field_ and a _Gate_,
+  I would not care for the Duke of Bedford's estate;
+  That is, I would not care for the Duke of Bedford's estate,
+  If I had _Covent Garden_, _Smithfield_, and _Billingsgate_."
+
+Billingsgate has from time immemorial had much to do with "The Cries of
+London," and although a rough and unromantic place at the present day, has
+an ancient legend of its own, that associates it with royal names and
+venerable folk. Geoffrey of Monmouth deposeth that about 400 years before
+Christ's nativity, Belin, a king of the Britons, built this gate and gave
+it its name, and that when he was dead the royal body was burnt, and the
+ashes set over the gate in a vessel of brass, upon a high pinnacle of
+stone. The London historian, John Stow, more prosaic, on the other hand,
+is quite satisfied that one Biling once owned the wharf, and troubles
+himself no further.
+
+Byllngsgate Dock is mentioned as an important quay in "Brompton's
+Chronicle" (Edward III.), under the date 976, when King Ethelred, being
+then at Wantage, in Berkshire, made laws for regulating the customs on
+ships at Byllngsgate, then the only wharf in London. 1. Small vessels were
+to pay one halfpenny. 2. Larger ones, with sails, one penny. 3. Keeles, or
+hulks, still larger, fourpence. 4. Ships laden with wood, one log shall be
+given for toll. 5. _Boats with fish_, according to size, a halfpenny. 6.
+Men of Rouen, who came with wine or peas, and men of Flanders and Liege,
+were to pay toll before they began to sell, but the Emperor's men (Germans
+of the Steel Yard) paid an annual toll. 7. Bread was tolled three times a
+week, cattle were paid for in kind, and butter and cheese were paid more
+for before Christmas than after.
+
+Hence we gather that at a very early period Billingsgate was not merely a
+fish-market, but for the sale of general commodities. Paying toll in kind
+is a curious fiscal regulation; though, doubtless, when barter was the
+ordinary mode of transacting business, taxes must have been collected in
+the form of an instalment of the goods brought to market.
+
+Our ancestors four hundred years ago had, in proportion to the population
+of London, much more abundant and much cheaper fish than we have now.
+According to the "Noble Boke off Cookry," a reprint of which, from the
+rare manuscript in the Holkham Collection, has just been edited by Mrs.
+Alexander Napier, Londoners in the reign of Henry VII. could regale on
+"baked porpois," "turbert," "pik in braissille," "mortins of ffishe,"
+"eles in bruet," "fresh lamprey bak," "breme," in "sauce" and in "brasse,"
+"soal in brasse," "sturgion boiled," "haddock in cevy," "codling haddock,"
+"congur," "halobut," "gurnard or rocket boiled," "plaice or flounders
+boiled," "whelks boiled," "perche boiled," "freeke makrell," "bace molet,"
+"musculles," in "shelles" and in "brothe," "tench in cevy," and "lossenge
+for ffishe daies." For the rich there were "potages of oysters," "blang
+mang" and "rape" of "ffishe," to say nothing of "lampry in galantyn" and
+"lampry bak." Our forefathers ate more varieties of fish, cooked it
+better, and paid much less for it than we do, with all our railways and
+steamboats, our Fisheries' Inspectors, our Fisheries Exhibion and new Fish
+Markets with their liberal rules and regulations. To be sure, those same
+forefathers of ours not only enacted certain very stringent laws against
+"forestalling" and "regrating," but were likewise accustomed to enforce
+them, and to make short work upon occasion of the forestalled and
+regraters of fish, as of other commodities.
+
+In Donald Lupton's "London and the Covntrey Carbonadoed and Quartred into
+seuerall Characters. London, Printed by Nicholas Okes, 1632," the nymphs
+of the locality are thus described:--
+
+    FISHERWOMEN:--These crying, wandering, and travelling creatures carry
+    their shops on their heads, and their storehouse is ordinarily
+    Byllyngsgate, or Ye Brydge-foot; and their habitation Turnagain Lane.
+    They set up every morning their trade afresh. They are easily
+    furnished; get something and spend it jovially and merrily. Five
+    shillings, a basket, and a good cry, are a large stock for them. They
+    are the merriest when all their ware is gone. In the morning they
+    delight to have their shop full; at evening they desire to have it
+    empty. Their shop is but little, some two yards compass, yet it holds
+    all sort of fish, or herbs, or roots, and such like ware. Nay, it is
+    not destitute often of nuts, oranges, and lemons. They are free in all
+    places, and pay nothing for rent, but only find repairs to it. If they
+    drink their whole stock, it is but pawning a petticoate in Long Lane,
+    or themselves in Turnbull Street, to set up again. They change daily;
+    for she that was for fish this day, may be to-morrow for fruit, next
+    day for herbs, another for roots; so that you must hear them cry
+    before you know what they are furnished withal. When they have done
+    their Fair, they meet in mirth, singing, dancing, and end not till
+    either their money, or wit, or credit be clean spent out. Well, when
+    on any evening they are not merry in a drinking house, it is thought
+    they have had bad return, or else have paid some old score, or else
+    they are bankrupt: they are creatures soon up and soon down.
+
+The above quaint account of the ancient Billingsgate ladies answers
+exactly to the costermonger's wives of the present day, who are just as
+careless and improvident; they are merry over their rope of onions, and
+laugh over a basketful of stale sprats. In their dealings and disputes
+they are as noisy as ever, and rather apt to put decency and good manners
+to the blush. Billingsgate eloquence has long been proverbial for coarse
+language, so that low abuse is often termed, "_That's talking
+Billingsgate!_" or, that, "_You are no better than a Billingsgate
+fish-fag_"--_i.e._, You are as rude and ill-mannered as the women of
+Billingsgate fish-market (Saxon, _bellan_, "to bawl," and _gate_, "quay,"
+meaning the noisy quay). The French say "Maubert," instead of
+Billingsgate, as "_Your compliments are like those of the Place
+Maubert_"--_i.e._, No compliments at all, but vulgar dirt-flinging. The
+"Place Maubert," has long been noted for its market.
+
+[Illustration: THE CRIER OF POOR JOHN.
+
+"It is well thou art not a fish, for then thou would'st have been _Poor
+John_"--_Romeo and Juliet_.]
+
+The introduction of steamboats has much altered the aspect of
+Billingsgate. Formerly, passengers embarked here for Gravesend and other
+places down the river, and a great many sailors mingled with the salesmen
+and fishermen. The boats sailed only when the tide served, and the
+necessity of being ready at the strangest hours rendered many taverns
+necessary for the accommodation of travellers. The market formerly opened
+two hours earlier than at present, and the result was demoralising and
+exhausting. Drink led to ribald language and fighting, but the refreshment
+now taken is chiefly tea or coffee, and the general language and behaviour
+has improved. The fish-fags of Ned Ward's time have disappeared, and the
+business is done smarter and quicker. As late as 1842 coaches would
+sometimes arrive at Billingsgate from Dover or Brighton, and so affect the
+market. The old circle from which dealers in their carts attended the
+market, included Windsor, St. Alban's, Hertford, Romford, and other places
+within twenty-five miles. Railways have now enlarged the area of
+purchasers to an indefinite degree.
+
+To see this market in its busiest time, says Mr. Mayhew, "the visitor
+should be there about seven o'clock on a Friday morning." The market opens
+at four, but for the first two or three hours it is attended solely by the
+regular fishmongers and "bummarees," who have the pick of the best there.
+As soon as these are gone the costermonger's sale begins. Many of the
+costers that usually deal in vegetables buy a little fish on the Friday.
+It is the fast day of the Irish, and the mechanics' wives run short of
+money at the end of the week, and so make up their dinners with fish: for
+this reason the attendance of costers' barrows at Billingsgate on a Friday
+morning is always very great. As soon as you reach the Monument you see a
+line of them, with one or two tall fishmongers' carts breaking the
+uniformity, and the din of the cries and commotion of the distant market
+begin to break on the ear like the buzzing of a hornet's nest. The whole
+neighbourhood is covered with hand-barrows, some laden with baskets,
+others with sacks. The air is filled with a kind of sea-weedy odour,
+reminding one of the sea-shore; and on entering the market, the smell of
+whelks, red herrings, sprats, and a hundred other sorts of fish, is almost
+overpowering. The wooden barn looking square[14] where the fish is sold
+is, soon after six o'clock, crowded with shiny cord jackets and greasy
+caps. Everybody comes to Billingsgate in his worst clothes; and no one
+knows the length of time a coat can be worn until they have been to a fish
+sale. Through the bright opening at the end are seen the tangled rigging
+of the oyster boats, and the red-worsted caps of the sailors. Over the hum
+of voices is heard the shouts of the salesmen, who, with their white
+aprons, peering above the heads of the mob, stand on their tables roaring
+out their prices. All are bawling together--salesmen and hucksters of
+provisions, capes, hardware, and newspapers--till the place is a perfect
+Babel of competition.
+
+    "Ha-a-andsome cod! best in the market! All alive! alive! alive,
+    oh!"--"Ye-o-o! ye-o-o! Here's your fine Yarmouth bloaters! Who's the
+    buyer?"--"Here you are, governor; splendid whiting! some of the right
+    sort!"--"Turbot! turbot! All alive, turbot."--"Glass of nice
+    peppermint, this cold morning? Halfpenny a glass!"--"Here you are, at
+    your own price! Fine soles, oh!"--"Oy! oy! oy! Now's your time! Fine
+    grizzling sprats! all large, and no small!"--"Hullo! hullo, here!
+    Beautiful lobsters! good and cheap. Fine cock crabs, all alive,
+    oh!"--"Five brill and one turbot--have that lot for a pound! Come and
+    look at 'em, governor; you won't see a better lot in the
+    market!"--"Here! this way; this way, for splendid skate! Skate, oh!
+    skate, oh!"--"Had-had-had-had-haddock! All fresh and good!"--"Currant
+    and meat puddings! a ha'penny each!"--"Now, you mussel-buyers, come
+    along! come along! come along! Now's your time for fine fat
+    mussels!"--"Here's food for the belly, and clothes for the back; but I
+    sell food for the mind!" shouts the newsvendor.--"Here's smelt,
+    oh!"--"Here ye are, fine Finney haddick!"--"Hot soup! nice pea-soup!
+    a-all hot! hot!"--"Ahoy! ahoy, here! Live plaice! all alive,
+    oh!"--"Now or never! Whelk! whelk! whelk!" "Who'll buy brill, oh!
+    brill, oh?"--"Capes! waterproof capes! Sure to keep the wet out! A
+    shilling apiece!"--"Eels, oh! eels, oh! Alive, oh! alive oh!"--"Fine
+    flounders, a shilling a lot! Who'll have this prime lot of
+    flounders?"--"Shrimps! shrimps! fine shrimps!"--"Wink! wink!
+    wink!"--"Hi! hi-i! here you are; just eight eels left--only
+    eight!"--"O ho! O ho! this way--this way--this way! Fish alive! alive!
+    alive, oh."
+
+  BILLINGSGATE; OR, THE SCHOOL OF RHETORIC.
+
+  Near London Bridge once stood a gate,
+    Belinus gave it name,
+  Whence the green Nereids oysters bring,
+    A place of public fame.
+
+  Here eloquence has fixed her seat,
+    The nymphs here learn by heart
+  In mode and figure still to speak,
+    By modern rules of art.
+
+  To each fair oratress this school
+    Its rhetoric strong affords;
+  They double and redouble tropes,
+    With finger, fish, and words.
+
+  Both nerve and strength and flow of speech,
+    With beauties ever new,
+  Adorn the language of these nymphs,
+    Who give it all their due.
+
+  O, happy seat of happy nymphs!
+    For many ages known,
+  To thee each rostrum's forc'd to yield--
+    Each forum in the town.
+
+  Let other academies boast
+    What titles else they please;
+  Thou shalt be call'd "the gate of tongues,"
+    Of tongues that never cease.
+
+The sale of hot green peas in the streets of London is of great antiquity,
+that is to say, if the cry of "_Hot peascods! one began to cry_," recorded
+by Lydgate in his _London Lackpenny_, may be taken as having intimated the
+sale of the same article under the modern cry of "_Hot green peas! all
+hot, all hot! Here's your peas, hot, hot, hot!_" In many parts of the
+country it is, or was, customary to have a "_scalding of peas_," as a sort
+of rustic festivity, at which green peas scalded or slightly boiled with
+their pods on are the main dish. Being set on the table in the midst of
+the party, each person dips his peapod in a common cup of melted butter,
+seasoned with salt and pepper, and extracts the peas by the agency of his
+teeth. At times one bean, shell and all is put into the steaming mass,
+whoever gets this bean is to be first married.
+
+The sellers of green peas "hot, all hot!" have no stands but carry them in
+a tin pot or pan which is wrapped round with a thick cloth, to retain the
+heat. The peas are served out with a ladle, and eaten by the customers out
+of basins provided with spoons by the vendor. Salt and pepper are supplied
+_at discretion_, but the _fresh!_ butter to grease 'em (_avec votre
+permission_.)
+
+The hot green peas are sold out in halfpennyworths and pennyworths, some
+vendors, in addition to the usual seasoning supplied, add _a suck of
+bacon_. The "suck of bacon" is obtained by the street Arabs from a piece
+of that article, securely fastened by a string, to obtain a "relish" for
+the peas, or as is usually said "to flavour 'em;" sometimes these young
+gamins manage to bite the string and then _bolt_ not only the bacon, but
+away from the vendors. The popular saying "a plate of veal cut with a
+_hammy_ knife" is but a refined rendering of the pea and suck-'o-bacon,
+street luxury trick.
+
+Pea soup is also sold in the streets of London, but not to the extent it
+was twenty years ago, when the chilled labourer and others having only a
+halfpenny to spend would indulge in a basin of--"_All hot!_"
+
+[Illustration: THE FLOWER-POT MAN.
+
+  Here comes the old mail with his flowers to sell,
+    Along the streets merrily going;
+  Full many a year I've remember'd him well,
+    With, "Flowers, a-growing, a-blowing."
+
+  Geraniums in dresses of scarlet and green;
+    Thick aloes, that blossom so rarely;
+  The long creeping cereus with prickles so keen,
+    Or primroses modest and early.
+
+  The myrtle dark green, and the jessamine pale,
+    Sweet scented and gracefully flowing,
+  This flower-man carries and offers for sale,
+    "All flourishing, growing, and blowing."]
+
+With the coming in of spring there is a large sale of Palm; on the
+Saturday preceding and on Palm Sunday; also of May, the fragrant flower of
+the hawthorn, and lilac in flower. But perhaps the pleasantest of all
+cries in early spring is that of "_Flowers--All a-growing--all
+a-blowing_," heard for the first time in the season. Their beauty and
+fragrance gladden the senses; and the first and unexpected sight of them
+may prompt hopes of the coming year, such as seem proper to the spring.
+
+  "Come, gentle spring! ethereal mildness! come."
+
+The sale of English and Foreign nuts in London is enormous, the annual
+export from Tarragona alone is estimated at 10,000 tons. Of the various
+kinds, we may mention the "Spanish," the "Barcelona," the "Brazil," the
+"Coker-nut," the "Chesnut," and "Though last, not least, in love"--The
+"Walnut!"
+
+    "As jealous as Ford, that search'd a hollow wall-nut for his wife's
+    lemon."--_Merry Wives of Windsor._
+
+The walnut-tree has long existed in England, and it is estimated that
+upwards of 50,000 bushels of walnuts are disposed of in the wholesale
+markets of the London district annually. Who is not pleased to hear every
+Autumn the familiar cry of:--
+
+  "Crack 'em and try 'em, before you buy 'em,
+    Eight a-penny--All new walnuts
+  Crack 'em and try 'em, before you buy 'em,
+    A shilling a-hundred--All new-walnuts.
+
+The history of the happy and social walnut involves some curious
+misconceptions. Take its name to begin with. Why walnut? What has this
+splendid, wide-spreading tree to do with walls, except such as are used as
+stepping-stones for the boys to climb up into the branches and steal the
+fruit? Nothing whatever! for, if we are to believe the learned in such
+matters, this fine old English tree, as it is sometimes called, is not an
+English tree at all, but a distinct and emphatic foreigner, and hence the
+derivation. The walnut is a native of Persia, and has been so named to
+distinguish the naturalised European from its companions, the hazel, the
+filbert, and the chesnut. In "the authorities" we are told that "gual" or
+"wall" means "strange" or "exotic," the same root being found in Welsh
+and kindred tongues; hence walnut. It is true, at any rate, that in
+France they retain the distinctive name "Noix Persique." There is another
+mistaken theory connected with the tree which bears a fruit so dear to
+society at large, for someone has been hazardous enough to assert that:--
+
+  "A woman, a spaniel, and a walnut tree,
+  The more you beat them the better they be."
+
+And this ribald rhyme--which is of Latin origin, is now an established
+English proverb, or proverbial phrase, but variously construed. See Nash's
+"_Have with you to Saffron-Walden; or, Gabriel Harvey's Hunt is up_,"
+1596.--Reprinted by J. P. Collier, 1870. Moor, in his "_Suffolk Words_,"
+pp. 465, furnishes another version, which is rather an epigram than a
+proverb:--
+
+    "Three things by beating better prove;
+      A Nut, an Ass, a Woman;
+    The cudgel from their back remove,
+      And they'll be good for no man."
+
+    "Nux, asinus, mulier simili sunt lege ligata.
+    Haec tria nil recte faciunt si verbera cessant.
+      Adducitur a cognato, est temen novum."--MARTIAL.
+
+    "_Sam_.... Why he's married, beates his wife, and has two or three
+    children by her: for you must note, that any woman beares the more
+    when she is beaten."--_A Yorkshire Tragedy_: "Not so New, as
+    Lamentable and true--1608," edition 1619.--Signature, _A. Verso_.
+
+    "_Flamineo._--Why do you kick her, say?
+    Do you think that she's like a walnut tree?
+    Must she be cudgell'd ere she bear good fruit?"
+
+    --Webster's "_White Devil_," 1612. iv. 4. (Works, edited by W. C.
+    Hazlitt, II. 105.)
+
+Now all these statements are at once unkind and erroneous all round. We
+know what is declared of the "man who, save in the way of kindness, lays
+his hand upon a woman," to say nothing of the punishment awaiting him at
+the adjacent police court.[15] As to dogs, those who respect the calves of
+their legs had best beware of the danger of applying this recipe to any
+but low-spirited animals. In the case of the walnut-tree, the
+recommendation is again distinctly false, and the results mis-described.
+Possibly there are walnut-trees, as there are women, dogs, and horses, who
+seem none the worse for the stick; but, as a general rule, kindly
+treatment, for vegetable and animal alike, is the best, and, in the long
+run, the wisest.
+
+In "_The Miller's Daughter_," one of the most homely and charming poems
+ever penned by the Poet Laureate, occurs a quatrain, spoken by an old
+gentleman addressing his faithful spouse:--
+
+  "So sweet it seems with thee to talk,
+    And once again to woo thee mine;
+  'Tis like an after-dinner talk
+    Across the walnuts and the wine."
+
+[Illustration]
+
+  THE CHRISTMAS HOLLY.
+
+  "The Holly! the Holly! oh, twine it with bay--
+    Come give the Holly a song;
+  For it helps to drive stern Winter away,
+    With his garments so sombre and long.
+  It peeps through the trees with its berries so red,
+    And its leaves of burnished green,
+  When the flowers and fruits have long been dead,
+    And not even the daisy is seen.
+  Then sing to the Holly, the Christmas Holly,
+    That hangs over the peasant and king:
+  While we laugh and carouse 'neath its glittering boughs,
+    To the Christmas Holly we'll sing."
+                                        _Eliza Cook._
+
+In London a large sale is carried on in "Christmasing," or in the sale of
+holly, ivy, laurel, evergreens, bay, and mistletoe, for Christmas sports
+and decorations, by the family greengrocer and the costermongers. The
+latter of whom make the streets ring with their stentorian cry of:--
+
+  Holly! Holly!! Holly, oh!!! Christmas Holly, oh!
+
+
+  OLD CRIES.
+
+  BY MISS ELIZA COOK.
+
+  Oh! dearly do I love "Old Cries"
+    That touch my heart and bid me look
+  On "Bough-pots" plucked 'neath summer skies,
+    And "Watercresses" from the brook.
+  It may be vain, it may be weak,
+  To list when common voices speak;
+  But rivers with their broad, deep course,
+  Pour from a mean and unmarked source:
+  And so my warmest tide of soul
+  From strange, unheeded spring will roll.
+
+  "Old Cries," "Old Cries"--there is not one
+  But hath a mystic tissue spun
+    Around it, flinging on the ear
+    A magic mantle rich and dear,
+  From "Hautboys," pottled in the sun,
+    To the loud wish that cometh when
+  The tune of midnight waits is done
+    With "A merry Christmas, gentlemen,
+  And a Happy New Year--Past one-
+    O'clock, and a frosty morning!"
+
+  And there was a "cry" in the days gone by,
+  That ever came when my pillow was nigh;
+  When, tired and spent I was passively led
+  By a mother's hand, to my own sweet bed--
+  My lids grew heavy, and my glance was dim,
+  As I yawned in the midst of a cradle hymn--
+  When the watchman's echo lulled me quite,
+  With "Past ten o'clock, and a starlight night!"
+
+  Well I remember the hideous dream,
+  When I struggled in terror, and strove to scream,
+  As I took a wild leap o'er the precipice steep,
+  And convulsively flung off the incubus sleep.
+  How I loved to behold the moonshine cold
+  Illume each well-known curtain-fold;
+  And how I was soothed by the watchman's warning,
+  Of "Past three o'clock, and a moonlight morning!"
+
+  Oh, there was music in this "old cry,"
+  Whose deep, rough tones will never die:
+  No rare serenade will put to flight
+  The chant that proclaimed a "stormy night."
+
+  The "watchmen of the city" are gone,
+  The church-bell speaketh, but speaketh alone;
+  We hear no voice at the wintry dawning,
+  With "Past five o'clock, and a cloudy morning!"
+  Ah, well-a-day! it hath passed away,
+    But I sadly miss the cry
+  That told in the night when the stars were bright,
+    Or the rain-cloud veiled the sky.
+  Watchmen, Watchmen, ye are among
+  The bygone things that will haunt me long.
+
+  "Three bunches a penny, Primroses!"
+    Oh, dear is the greeting of Spring;
+  When she offers her dew-spangled posies;
+    The fairest Creation can bring.
+
+  "Three bunches a penny, Primroses!"
+    The echo resounds in the mart;
+  And the simple "cry" often uncloses
+    The worldly bars grating man's heart.
+
+  We reflect, we contrive, and we reckon
+    How best we can gather up wealth;
+  We go where bright finger-posts beckon,
+    Till we wander from Nature and Health.
+
+  But the "old cry," shall burst on our scheming,
+    The song of "Primroses" shall flow,
+  And "Three bunches a penny" set dreaming
+    Of all that we loved long ago.
+
+  It brings visions of meadow and mountain,
+    Of valley, and streamlet, and hill,
+  When Life's ocean but played in a fountain--
+    Ah, would that it sparkled so still!
+
+  It conjures back shadowless hours,
+    When we threaded the dark, forest ways;
+  When our own hand went seeking the flowers,
+    And our own lips were shouting their praise.
+
+  The perfume and tint of the blossom;
+    Are as fresh in vale, dingle, and glen;
+  But say, is the pulse of our bosom
+    As warm and as bounding as then?
+
+  "Three bunches a penny,--Primroses!"
+    "Three bunches a penny,--come, buy!"
+  A blessing on all the sweet posies,
+    And good-will to the poor ones who cry.
+
+  "Lavender, sweet Lavender!"
+    With "Cherry Ripe!" is coming;
+  While the droning beetles whirr,
+    And merry bees are humming.
+
+  "Lavender, sweet Lavender!"
+    Oh, pleasant is the crying;
+  While the rose-leaves scarcely stir,
+    And downy moths are flying,
+
+  Oh, dearly do I love "Old Cries,"
+    Your "Lilies all a-blowing!"
+  Your blossoms blue, still wet with dew,
+    "Sweet Violets all a-growing!"
+
+  Oh, happy were the days, methinks,
+    In truth the best of any;
+  When "Periwinkles, winkle, winks!"
+    Allured my last, lone penny.
+
+  Oh, what had I to do with cares
+    That bring the frown and furrow,
+  When "Walnuts" and "Fine mellow Pears"
+    Beat Catalani thorough.
+
+  Full dearly do I love "Old Cries,"
+    And always turn to hear them;
+  And though they cause me some few sighs,
+    Those sighs do but endear them.
+
+  My heart is like the fair sea-shell,
+    There's music ever in it;
+  Though bleak the shore where it may dwell,
+    Some power still lives to win it.
+
+  When music fills the shell no more,
+    'Twill be all crushed and scattered;
+  And when this heart's deep tone is o'er,
+    'Twill be all cold and shattered.
+
+  Oh, vain will be the hope to break
+    Its last and dreamless slumbers;
+  When "Old Cries" come, and fail to wake
+    Its deep and fairy numbers!
+
+
+  _Dust, O!--Dust, O!--Bring it out to day,
+  Bring it out to-day, I sha'n't be here to-mor-row!_
+
+[Illustration: Dust, O!--Dust, O!]
+
+  His noisy bell the dustman rings,
+  Her dust the housemaid gladly brings:
+  Ringing he goes from door to door,
+  Until his cart will hold no more.
+
+[Illustration: THE DUSTMAN.]
+
+  Bring out your dust, the dustman cries,
+    Whilst ringing of his bell:
+  If the wind blows, pray guard your eyes,
+    To keep them clear and well.
+
+  I am very glad 'tis not my luck
+    To get my bread by carting muck;
+  I am sure I never could be made
+    To work at such a dirty trade.
+
+  Hold, my fine spark, not so fast,
+    Some proud folks get a fall at last;
+  And you, young gentleman, I say,
+    May be a Dustman, one fine day.
+
+  All working folks, who seldom play,
+    Yet get their bread in a honest way,
+  Though not to wealth or honours born,
+    Deserve respect instead of scorn.
+
+  Such rude contempt they merit less
+    Than those who live in idleness;
+  Who are less useful, I'm afraid,
+    Than I, the Dustman, am by trade.
+
+[Illustration: THE BIRDMAN.]
+
+  Have pity, have pity on poor little birds,
+  Who only make music, and cannot sing words;
+  And think, when you listen, we mean by our strain,
+  O! let us fly home to our woodlands again.
+
+  Our dear woody coverts, and thickets so green,
+  Too close for the school-boy to rustle between;
+  No foot to alarm us, no sorrow, no rain,
+  O! let us fly home to our woodlands again.
+
+  There perched on the branches that wave to the wind,
+  No more in this pitiless prison confined,
+  How gaily we'll tune up our merriest strain,
+  If once we get home to our woodlands again.
+
+[Illustration: BUY A DOOR-MAT OR A TABLE-MAT.]
+
+  Stooping o'er the ragged heath,
+    Thick with thorns and briers keen,
+  Or the weedy bank beneath,
+    Have I cut my rushes green;
+  While the broom and spiked thorn
+  Pearly drops of dew adorn.
+
+  Sometimes across the heath I wind,
+    Where scarce a human face is seen,
+  Wandering marshy spots to find,
+    Where to cut my rushes green;
+  Here and there, with weary tread,
+  Working for a piece of bread.
+
+  Then my little child and I
+    Plat and weave them, as you see;
+  Pray my lady, pray do buy,
+    You can't have better than of me;
+  For never, surely were there seen
+  Prettier mats of rushes green.
+
+
+  _I sweep your Chimnies clean, O,
+  Sweep your Chimney clean, O!_
+
+[Illustration: THE CHIMNEY SWEEPER.]
+
+  With drawling tone, brush under arm,
+    And bag slung o'er his shoulder:
+  Behold the sweep the streets alarm,
+    With Stentor's voice, and louder.
+
+
+  _Buy my Diddle Dumplings, hot! hot!
+  Diddle, diddle, diddle, Dumplings hot!_
+
+[Illustration: THE DUMPLING WOMAN.]
+
+  This woman's in industry wise,
+    She lives near Butcher-row;
+  Each night round Temple-bar she plies,
+    With _Diddle Dumplings, ho!_
+
+
+  _Yorkshire Cakes, Who'll buy Yorkshire Cakes,
+  All piping hot--smoking hot! hot!!_
+
+[Illustration: THE YORKSHIRE CAKE MAN.]
+
+  Fine Yorkshire Cakes; Who'll buy Yorkshire cakes?
+    They are all piping hot, and nicely made;
+  His daily walk this fellow takes,
+    And seems to drive a pretty trade.
+
+
+  _Buy my Flowers, sweet Flowers, new-cut Flowers,
+  New Flowers, sweet Flowers, fresh Flowers, O!_
+
+[Illustration: FLOWERS, CUT FLOWERS.]
+
+  New-cut Flowers this pretty maid doth cry,
+    In Spring, Summer and Autumn, gaily;
+  Which shows how fast the Seasons fly--
+    As we pass to our final home, daily.
+
+
+  _Buy green and large Cucumbers, Cucumbers,
+  Green and large Cucumbers, twelve a penny._
+
+[Illustration: CUCUMBERS.]
+
+  A penny a dozen, Cucumbers!
+    Tailors, hallo! hallo!
+  Now from the shop-board each man runs,
+    For Cucumbers below.
+
+
+  _Buy Rosemary! Buy Sweetbriar!
+  Rosemary and Sweetbriar, O!_
+
+[Illustration: ROSEMARY AND SWEETBRIAR.]
+
+  Rosemary and briar sweet,
+    This maiden now doth cry,
+  Through every square and street,
+    Come buy it sweet, come buy it dry.
+
+
+  _Newcastle Salmon! Dainty fine Salmon!
+  Dainty fine Salmon! Newcastle Salmon!_
+
+[Illustration: NEWCASTLE SALMON.]
+
+  Newcastle salmon, very good,
+    Is just come in for summer food;
+  No one hath better fish than I,
+    So if you've money come and buy.
+
+
+  _Buy my Cranberries! Fine Cranberries!
+  Buy my Cranberries! Fine Cranberries!_
+
+[Illustration: CRANBERRIES.]
+
+  Buy Cranberries, to line your crust,
+    In Lincolnshire they're grown;
+  Come buy, come buy, for sell I must
+    Three quarts for half-a-crown.
+
+
+  _Come buy my Walking-Sticks or Canes!
+  I've got them for the young or old._
+
+[Illustration: STICKS AND CANES.]
+
+  How sloven like the school-boy looks,
+    Who daubs his books at play;
+  Give him a new one? No, adzooks!
+    Give him a Cane, I say.
+
+
+  _Buy my fine Gooseberries! Fine Gooseberries!
+  Three-pence a quart! Ripe Gooseberries!_
+
+[Illustration: GOOSEBERRIES.]
+
+  Ripe gooseberries in town you'll buy
+    As cheap as cheap can be;
+  Of many sorts you hear the cry;
+    Pray purchase, sir, of me!
+
+
+  _Pears for pies! Come feast your eyes!
+  Ripe Pears, of every size, who'll buy?_
+
+[Illustration: RIPE PEARS.]
+
+  Pears ripe, pears sound,
+    This woman cries all day;
+  Pears for pies, long or round,
+    Come buy them while you may.
+
+
+  _One a penny, two a penny, hot Cross Buns!
+  One a penny, two a penny, hot Cross Buns!_
+
+[Illustration: HOT CROSS BUNS.]
+
+  Think on this sacred festival;
+    Think why Cross Buns were given;
+  Then think of Him who dy'd for all,
+    To give you right to Heaven.
+
+
+  _Maids, I mend old Pans or Kettles,
+  Mend old Pans or Kettles, O!_
+
+[Illustration: THE TINKER.]
+
+  Hark, who is this? the Tinker bold,
+    To mend or spoil your kettle,
+  Whose wife I'm certain is a scold,
+    Made of basest metal.
+
+
+  _Buy my Capers! Buy my nice Capers!
+  Buy my Anchovies! Buy my nice Anchovies!_
+
+[Illustration: CAPERS, ANCHOVIES.]
+
+  How melodious the voice of this man,
+    The Capers he says are the best;
+  His Anchovies too, beat 'em who can,
+    Are constantly found in request.
+
+
+  _Mulberries, all ripe and fresh to day!
+  Only a groat a pottle--full to the bottom!_
+
+[Illustration: MULBERRIES.]
+
+  Mulberries, ripe and fresh to-day,
+    They warm and purify the blood;
+  Have them a groat a pottle you may.
+    They are all fresh! they are all good!
+
+
+  _Buy my Cockles! Fine new Cockles!
+  Cockles fine, and Cockles new!_
+
+[Illustration: NEW COCKLES.]
+
+  Cockles fine; and cockles new,
+    They are as fine as any.
+  Cockles! New cockles, O!
+    I sell a good lot for a penny, O!
+
+
+  _Buy fine Flounders! Fine Dabs! All alive, O!
+  Fine Dabs! Fine live Flounders, O!_
+
+[Illustration: BUY FINE FLOUNDERS! FINE DABS!]
+
+  There goes a tall fish-woman sounding her cry,
+  "Who'll buy my fine flounders, and dabs, who'll buy?"
+  Poor flounder, he heaves up his fin with a sigh,
+  And thinks that _he_ has most occasion to cry;
+  "Ah, neighbour," says dab, "indeed, so do I."
+
+
+  _Buy my nice and new Banbury Cakes!
+  Buy my nice new Banbury Cakes, O!_
+
+[Illustration: BANBURY CAKES.]
+
+  Buy Banbury Cakes! By fortune's frown,
+    You see this needy man,
+  Along the street, and up and down,
+    Is selling all he can.
+
+
+  _Buy my Lavender! Sweet blooming Lavender!
+  Sweet blooming Lavender! Blooming Lavender!_
+
+[Illustration: LAVENDER.]
+
+  Lavender! Sweet blooming lavender,
+    Six bunches for a penny to-day!
+  Lavender! sweet blooming lavender!
+    Ladies, buy it while you may.
+
+
+  _Live Mackerel! Three a-shilling, O!
+  Le'ping alive, O! Three a-shilling O!_
+
+[Illustration: MACKEREL.]
+
+  Live Mackerel, oh! fresh as the day!
+    At three for a shilling, is giving away;
+  Full row'd, like bright silver they shine;
+    Two persons on one can sup or dine.
+
+
+  _Buy my Shirt Buttons! Shirt Buttons!
+  Buy Shirt Hand Buttons! Buttons!_
+
+[Illustration: SHIRT BUTTONS.]
+
+  At a penny a dozen, a dozen,
+    My Buttons for shirts I sell,
+  Come aunt, uncle, sister, and cousin,
+    I'll warrant I'll use you well.
+
+
+  _Buy my Rabbits! Rabbits, who'll buy?
+  Rabbit! Rabbit! who will buy?_
+
+[Illustration: THE RABBIT MAN.]
+
+  "Rabbit! Rabbit! who will buy?"
+    Is all you hear from him;
+  The Rabbit you may roast or fry,
+    The fur your cloak will trim.
+
+
+  _Buy Rue! Buy Sage! Buy Mint!
+  Buy Rue, Sage and Mint, a farthing a bunch!_
+
+[Illustration: THE HERB-WIFE.]
+
+  As thro' the fields she bends her way,
+    Pure nature's work discerning;
+  So you should practice every day,
+    To trace the fields of learning.
+
+
+  _Apple Tarts! All sweet and good, to-day!
+  Hot, nice, sweet and good, to-day!_
+
+[Illustration: APPLE TARTS. APPLE TARTS.]
+
+  Apple Tarts! Apple Tarts! Tarts, I cry!
+    They are all of my own making,
+  My Apple Tarts! My Apple Tarts, come buy!
+    For, a honest penny I would be taking.
+
+
+  _Ripe Strawberries! a groat a pottle, to-day,
+  Only a groat a pottle, is what I say!_
+
+[Illustration: RIPE AND FRESH STRAWBERRIES.]
+
+  Ripe strawberries, a full pottle for a groat!
+    They are all ripe and fresh gathered, as you see,
+  No finer for money I believe can be bought;
+    So I pray you come and deal fairly with me.
+
+
+  _Any Knives, or Scissors to grind, to-day?
+  Big Knives, or little Knives, or Scissors to grind, O!_
+
+[Illustration: ANY KNIVES OR SCISSORS TO GRIND.]
+
+  Any Knives or Scissors to grind, to-day?
+  I'll do them well and there's little to pay;
+  Any Knives or Scissors to grind, to-day?
+  If you've nothing for me, I'll go away.
+
+
+  _Door-Mat! Door-Mat, Buy a Door-Mat,
+  Rope-mat! Rope-Mat! Buy a Rope-Mat._
+
+[Illustration: ROPE MAT. DOOR MAT.]
+
+  Rope Mat! Door Mat! you really must
+  Buy one to save the mud and dust;
+  Think of the dirt brought from the street
+  For the want of a Mat to wipe your feet.
+
+
+  _Clothes Props! Clothes Props! I say, good wives
+  Clothes Props, all long and very strong, to-day._
+
+[Illustration: CLOTHES PROPS, CLOTHES PROPS.]
+
+  Buy Clothes Props, Buy Clothes Props!
+    Pretty maids, or pretty wives, I say,
+  I sell them half the price of the shops;
+    So you'll buy of the old man, I pray.
+
+
+  _Come take a Peep, boys, take a Peep?
+  Girls, I've the wonder of the world._
+
+[Illustration: THE RAREE-SHOW.]
+
+  Come take a Peep, each lady and gent,
+    My Show is the best, I assure you;
+  You'll not have the least cause to repent,
+    For I'll strive all I can to allure you.
+
+
+  _Water Cresses! Fine Spring Water Cresses!
+  Three bunches a penny, young Water Cresses!_
+
+[Illustration: WATER CRESSES. FRESH AND FINE.]
+
+  Young Cresses, fresh, at breakfast taken
+    A relish will give to eggs and bacon!
+  My profit's small, for I put many
+    In bunches sold at three a penny
+
+
+  _Mutton Pies! Mutton Pies! Mutton Pies,
+  Come feast your eyes with my Mutton Pies._
+
+[Illustration: WHO'LL BUY MY MUTTON PIES?]
+
+  Through London's long and busy streets,
+    This honest woman cries,
+  To every little boy she meets,
+    Who'll buy my Mutton Pies?
+
+
+  _Please to Pity the Poor Old Fiddler!
+  Pity the Poor Old Blind Fiddler!_
+
+[Illustration: THE POOR OLD FIDDLER.]
+
+  The poor old Fiddler goes his rounds,
+    Along with old Dog Tray;
+  The East of London mostly bounds
+    His journeys for the day.
+
+
+  _Muffins, O! Crumpets! Muffins, to-day!
+  Crumpets, O! Muffins, O! fresh, to-day!_
+
+[Illustration: THE MUFFIN MAN.]
+
+  The Muffin Man! hark, I hear
+    His small bell tinkle shrill and clear;
+  Muffins and Crumpets nice he brings,
+    While on the fire the kettle sings.
+
+
+  _Oysters, fresh and alive, three a penny, O!
+  When they are all sold I sha'n't have any, O!_
+
+[Illustration: OYSTERS. FINE NEW OYSTERS.]
+
+  They're all alive and very fine,
+    So if you like them, come and dine;
+  I'll find you bread and butter, too,
+    Or you may have them opened for a stew.
+
+
+  _Buy fine Kidney Potatoes! New Potatoes!
+  Fine Kidney Potatoes! Potatoes, O!_
+
+[Illustration: POTATOES, KIDNEY POTATOES.]
+
+  Potatoes, oh! of kidney kind,
+    Come buy, and boil, and eat,
+  The core, and eke also, the rind,
+    They are indeed so sweet.
+
+
+  _Buy Images! Good and cheap!
+  Images, very good--very cheap!_
+
+[Illustration: BUY MY IMAGES, IMAGES.]
+
+  Come buy my image earthenware,
+    Your mantel pieces to bedeck,
+  Examine them with greatest care,
+    You will not find a single speck.
+
+
+  _Buy 'em by the stick, or buy'em by the pound,
+  Cherries ripe, all round and sound!_
+
+[Illustration: ALL ROUND AND SOUND, MY RIPE KENTISH CHERRIES.]
+
+  Who such Cherries would see,
+  And not tempted be
+    To wish he possessed a small share?
+  But observe, I say small,
+  For those who want all
+    Deserve not to taste of such fare.
+
+
+  _Buy a Mop! Buy a Broom! Good to-day!
+  Buy a Broom! Buy a Mop, I say!_
+
+[Illustration: BUY A MOP OR A BROOM.]
+
+  Ye cleanly housewives come to me,
+    And buy a Mop or Broom,
+  To sweep your chambers, scour your stairs,
+    Or wash your sitting room.
+
+
+  _Golden Pippins, all of the right sort, girls!
+  Golden Pippins, all of the right sort, boys!_
+
+[Illustration: GOLDEN PIPPINS, WHO'LL BUY?]
+
+  Here are fine Golden Pippins;
+    Who'll buy them, who'll buy?
+  Nobody in London sells better than I!
+    Who'll buy them, who'll buy?
+
+
+  _Wash Ball, a Trinket, or a Watch, buy?
+  Buy 'em, all cheap and all good!_
+
+[Illustration: WASH BALL, TRINKET, OR WATCH.]
+
+  Do ye want any Wash Ball or Patch.--
+    Dear ladies, pray, buy of me;--
+  Or Trinkets to hang at your Watch,
+    Or Garters to tie at your knee?
+
+
+  _Past twelve o'clock, and a cloudy morning!
+  Past twelve o'clock; and mind, I give you warning!_
+
+[Illustration: THE CITY WATCHMAN.]
+
+  Past twelve o'clock, and a moonlight night!
+  Past twelve o'clock, and the stars shine bright!
+  Past twelve o'clock, your doors are all fast like you!
+  Past twelve o'clock, and I'll soon be fast, too!
+
+
+  _Young Lambs to sell! Young Lambs to sell!
+  Young Lambs to sell! Young Lambs to sell!_
+
+[Illustration: YOUNG LAMBS TO SELL.]
+
+  Young Lambs to sell! Young Lambs to sell!
+    Two a penny, Young Lambs to sell;
+  If I'd as much money as I could tell,
+    I wouldn't cry young Lambs to sell.
+
+
+  _Buy my sweet and rare Lilies of the Valley?
+  Buy of your Sally--Sally of our Alley?_
+
+[Illustration: LILIES OF THE VALLEY.]
+
+  In London street, I ne'er could find,
+    A girl like lively Sally,
+  Who picks and culls, and cries aloud,
+    Sweet Lilies of the Valley.
+
+
+  _Buy my young chickens! Buy'em alive, O!
+  Buy of the Fowlman, and have 'em alive, O!_
+
+[Illustration: BUY CHICKENS, YOUNG CHICKENS.]
+
+  Buy my young Chickens, or a Fowl, well-fed,
+    And we'll not quarrel about the price;
+  'Tis thus I get my daily bread:
+    As all the year round my Fowls are very nice.
+
+
+  _Green Peas, I say! Green Peas, I say, here,
+  Hav'em at your own price--here! here!_
+
+[Illustration: GREEN PEAS! BUY MY GREEN PEAS?]
+
+  Sixpence a peck, these Peas are sold,
+    Fresh and green, and far from old;
+  Green Marrows, it is quite clear,
+    And as times go, cannot be dear.
+
+
+  _Hat Box! Cap Box! Boxes, all sizes;
+  All good, and at very low prices._
+
+[Illustration: HAT-BOX; CAP BOX.]
+
+  Hat or Cap Box! for ribbons or lace,
+    When in a Box, keep in their place;
+  And in a Box, your favourite bonnet
+    Is safe from getting things thrown on it.
+
+
+  _Eels, fine Silver Eels! Dutch Eels!
+  They are all alive--Silver Eels!_
+
+[Illustration: EELS; FINE DUTCH EELS.]
+
+  Eels, alive! fine Dutch eels, I cry,
+    Mistress, to use you well I'm willing,
+  Come step forth and buy--
+    Take four pounds for one shilling.
+
+
+  _Plumbs, ripe Plumbs! Big as your thumbs!
+  Plumbs! Plumbs! Big as your thumbs!_
+
+[Illustration: PLUMBS; RIPE PLUMBS.]
+
+  Plumbs, for puddings or pies,
+    This noisy woman bawls;
+  Plumbs, for puddings or pies,
+    In every street she calls.
+
+
+  _Buy a Purse; a long and a strong Purse!
+  A good leather or a strong mole-skin Purse!_
+
+[Illustration: BUY A PURSE.]
+
+  Buy a Purse; a long and strong Purse,
+    They'll suit the young--they suit the old!
+  To lose good money, what is worse?
+    Yet it's daily done for the want of a purse.
+
+
+  _Kettles to mend! any Pots to mend?
+  Daily I say as my way I wend._
+
+[Illustration: KETTLES OR POTS TO MEND!]
+
+  Kettles to mend! any pots to mend!
+    You cannot do better to me than send;
+  Think of the mess when the saucepans run,
+    The fire put out, and the dinner not done.
+
+[Illustration: THE JOLLY TINKER.]
+
+  My daddy was a tinker's son,
+  And I'm his boy, 'tis ten to one,
+  Here's pots to mend! was still his cry,
+  Here's pots to mend! aloud bawl I.
+  Have ye any tin pots, kettles or cans,
+  Coppers to solder, or brass pans?
+  Of wives my dad had near a score,
+  And I have twice as many more:
+  My daddy was the lord--I don't know who--
+  With his:--
+              Tan ran tan, tan ran tan tan,
+              For pot or can, oh! I'm your man.
+
+  Once I in my budget snug had got
+  A barn-door capon, and what not,
+  Here's pots to mend! I cried along--
+  Here's pots to mend! was my song.
+  At village wake--oh! curse his throat,
+  The cock crowed so loud a note,
+  The folks in clusters flocked around,
+  They seized my budget, in it found
+  The cock, a gammon, peas and beans,
+  Besides a jolly tinker. Yes, a jolly tinker--
+  With his--
+              Tan ran tan, tan ran tan tan,
+              For pot or can, oh! I'm your man.
+
+  Like dad, when I to quarters come,
+  For want of cash the folks I hum,
+  Here's kettles to mend: Bring me some beer!
+  The landlord cries, "You'll get none here!
+  You tink'ring dog, pay what you owe,
+  Or out of doors you'll instant go,"
+  In rage I squeezed him 'gainst the door,
+  And with his back rubb'd off the score.
+  At his expense we drown all strife
+  For which I praise the landlord's wife--
+  With my
+              Tan ran tan, tan ran tan tan,
+              For pot or can, oh! I'm your man.
+
+
+  _Fine China Oranges, sweet as sugar!
+  They are very fine, and cheap, too, to-day._
+
+[Illustration: FINE CHINA ORANGES.]
+
+  If friends permit, and money suits,
+    The tempting purchase make;
+  But, first, examine well the fruit,
+    And then the change you take.
+
+[Illustration: FINE RIPE ORANGES]
+
+  Here are Oranges, fine ripe Oranges,
+    Of golden colour to the eye,
+  And fragrant perfume they're dispensing,
+    Sweeter than roses; come then and buy.
+  Flowers cannot give forth the fragrance
+    That scents the air from my golden store,
+  Fairest lady, none can excel them,
+    Buy then my Oranges; buy, I implore.
+
+  Here are Oranges, fine ripe Oranges,
+    Golden globes of nectar fine,
+  Luscious juice the gods might envy,
+    Richer far than the finest wine.
+  Flowers cannot give forth the fragrance
+    That scents the air from my golden store,
+  Fairest lady, none can excel them,
+    Buy then my Oranges; buy, I implore.
+
+ROUND FOR FOUR VOICES.
+
+  SIR. J. STEVENSON.
+
+            Come buy my cherries, beauteous lasses;
+            Fresh from the garden pluck'd by me;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Knives ground here by me_."
+
+            Fine apples and choice pears,
+            Eat, boys, forget your cares;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Sweep, sweep, sweep_."
+
+            Fruit in abundance sold by me,
+            Fruit in abundance here you see;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Parsnips, carrots, and choice beans_."
+
+            Whey, fine sweet whey,
+            Come taste my whey;
+            All on a summer's day, so gay,
+  You hear the London Cries--"_Fine radish, fine lettuce, sold by me_."
+
+PRIMROSES.
+
+  Come who'll buy my roses, Primroses, who'll buy?
+    They are sweet to the sense, they are fair to the eye;
+  They are covered all o'er with diamond dew,
+    Which Aurora's bright handmaids unsparingly threw
+  On their beautiful heads: and I ask but of you--
+    _To buy, buy, buy, buy_.
+
+  The sun kiss'd the flowers as he rose from the sea bright,
+    And their golden eyes opened with beauty and glee bright,
+  Their sweets are untasted by hornet or bee--
+    They are fresh as the morning and lovely to see--
+  So reject not the blossoms now offered by me--
+    _But buy, buy, buy, buy_.
+
+  Nay, never refuse me, nor cry my buds down,
+    They are nature's production, and sweet ones, you'll own;
+  And tho' torn from the earth, they will smile in your hall,
+    They will bloom in a cottage, be it ever so small--
+  And still look the lovliest flowers of all!
+    _So buy, buy, buy, buy._
+
+
+  THE LONDON CRIES
+  IN LONDON STREETS.
+
+  _Embellished with Pretty Cuts,
+  For the use of Good little Boys and Girls,
+  and a Copy of Verses._
+
+  [Illustration]
+
+  Printed by T. BIRT,     Great St. Andrew Street,
+  Wholesale & Retail, 30, Seven Dials, London.
+
+  _Country Orders punctually attended to._
+
+  EVERY DESCRIPTION OF PRINTING DONE CHEAP.
+
+  TRAVELLERS AND SHOPKEEPERS SUPPLIED WITH SHEET HYMNS,
+  PATTERS, AND SLIP SONGS, AS CHEAP AND GOOD
+  AS ANY SHOP IN LONDON.
+
+
+  T. BIRT.
+
+  TO THE GOOD LITTLE MASTERS AND MISTRESSES
+  IN TOWN AND COUNTRY.
+
+  Here! look at the Cries of London town,
+    For you need not travel there;
+  But view you those of most renown,
+    Whilst sitting in your chair.
+
+  At Home--a hundred miles away,
+    'Tis easy now to look
+  At the Cries of London gay,
+    In this our little book.
+
+  Yes; there in quiet you may be,
+    Beside the winter's fire,
+  And read as well as see,
+    All those that you desire.
+
+  Or underneath the oak so grey,
+    That grows beside the briar;
+  May pass the summer's eve away,
+    And view each City Crier.
+
+[Illustration: BUY A GAZETTE? GREAT NEWS!]
+
+  In the Gazette great news, to-day:
+    The enemy is beat, they say,
+  And all are eager to be told--
+    The news, the new events unfold.
+
+[Illustration: COME BUY MY FINE ROSES.]
+
+  Come buy my fine roses,
+   My myrtles and stocks;
+  My sweet smelling balsams
+   And close growing box.
+
+[Illustration: BUY AN ALMANACK: NEW ALMANACKS.]
+
+  My Almanacks aim at no learning at all,
+   But only to show when the holidays fall:
+  And tell, as by study we easily may,
+   How many eclipses the year will display.
+
+[Illustration: BUY A MOP? BUY A MOP?]
+
+      My Mop is so big,
+      It might serve as a wig
+  For a judge, had he no objection;
+      And as to my brooms,
+      They will sweep dirty rooms,
+  And make the dust fly, to perfection.
+
+[Illustration: LOBSTERS AND CRABS.]
+
+  Here's lobsters and crabs,
+    Alive, O! and good,
+  So buy if you please;
+    This delicate food.
+
+[Illustration: MILK FROM THE COW.]
+
+  Rich Milk from the Cow,
+    Both sweet and fine;
+  The doctors declare;
+    It is better than wine.
+
+[Illustration: BUY A BASKET, LARGE OR SMALL?]
+
+  Buy a basket? large or small?
+    For all sorts I've got by me,
+  So come ye forth, one and all,
+    If you buy once, another time you'll try me.
+
+[Illustration: BUY A CANE FOR NAUGHTY BOYS.]
+
+  I've Sticks and Canes for old and young,
+    To either they are handy,
+  In driving off a barking cur,
+    Or chastising a dandy.
+
+[Illustration: HOT RICE-MILK.]
+
+  Hot Rice-Milk this woman calls--
+    Behold her bright can,
+  As up and down the streets she bawls
+    Hot Rice-Milk to warm the inner man.
+
+[Illustration: PEACHES AND NECTARINES.]
+
+  Nice Peaches and Nectarines
+    Just fresh from the tree;
+  All you who have money,
+    Come buy them of me.
+
+[Illustration: HOT SPICE-GINGERBREAD.]
+
+  Hot Spice-Gingerbread, hot! hot! all hot!
+    This noisy fellow loudly bawls,
+  Hot! hot! hot! smoking hot! red hot!
+    In every street or public place he calls.
+
+COME, BUY MY SPICE-GINGERBREAD, SMOKING HOT! HOT! HOT!
+
+  Come, boys and girls, men and maids, widows and wives,
+  The best penny laid out you e'er spent in your lives;
+  Here's my whirl-a-gig lottery, a penny a spell,
+  No blanks, but all prizes, and that's pretty well.
+  Don't stand humming and ha-aring, with ifs and with buts,
+  Try your luck for my round and sound gingerbread-nuts;
+  And there's my glorious spice-gingerbread, too,
+  Hot enough e'en to thaw the heart of a Jew.
+
+      Hot spice-gingerbread, hot! hot! all hot!
+      Come, buy my spice-gingerbread, smoking hot!
+
+  I'm a gingerbread-merchant, but what of that, then?
+  All the world, take my word, deal in gingerbread ware;
+  Your fine beaus and your belles and your rattlepate rakes--
+  One half are game-nuts, the rest gingerbread cakes;
+  Then in gingerbread coaches we've gingerbread lords,
+  And gingerbread soldiers with gingerbread swords.
+  And what are you patriots, 'tis easy to tell--
+  By their constantly crying they've something to sell.
+  And what harm is there in selling--_hem!_--
+
+                  Hot spice-gingerbread, &c.
+
+  My gingerbread-lottery is just like the world,
+  For its index of chances for ever is twirled;
+  But some difference between'em exist, without doubt,
+  The world's lottery has blanks, while mine's wholly without,
+  There's no matter how often you shuffle and cut,
+  If but once in ten games you can get a game-nut.
+  So I laugh at the world, like an impudent elf,
+  And just like my betters, take care of myself, and my--
+
+                  Hot spice-gingerbread, &c.
+
+  T. BIRT, Printer, 30, Great St. Andrews Street, Seven Dials.
+
+
+  _Marks Edition._
+  THE NEW LONDON CRIES
+  OR A VISIT TO TOWN.
+
+[Illustration: BUY A BROOM.]
+
+  From morn till eve I rove along,
+  And joys my eyes illume,
+  If you but listen to my song,
+  And kindly buy a broom.
+
+[Illustration]
+
+RIPE CHERRIES.
+
+  Cherries ripe four-pence a pound,
+  Come buy of me they're good and sound.
+
+WATER CRESSES.
+
+  O you whom peace and plenty blesses,
+  Buy my fine spring water cresses.
+
+[Illustration]
+
+YOUNG PEDLAR.
+
+  Threads laces bodkins here I cry,
+  Of a wandering orphan buy.
+
+OYSTERS SIR.
+
+  My native oysters here I cry,
+  Gents and ladies come and buy.
+
+[Illustration]
+
+OLD CLOTHES.
+
+  Daily streets and squares I range
+  Calling clothes to sell or change.
+
+YOUNG LAMBS.
+
+  In London streets I'm known full well,
+  Two for a penny young lambs to sell.
+
+[Illustration]
+
+DOLLS TO SELL.
+
+  Come buy a doll my little miss,
+  You'll find no time as good as this.
+
+GREENS CABBAGES HO.
+
+  London daily hears my cry,
+  Carrots Turnips who will buy.
+
+[Illustration]
+
+BONNET BOX.
+
+  Buy a Box for hat and cap,
+  'Twill keep them safe from all mishap.
+
+FLOWER GIRL.
+
+  My basket daily I supply,
+  Come buy my nosegays buy who'll buy.
+
+[Illustration]
+
+IMAGES.
+
+  My casts are form'd to get my bread,
+  And humble shelter for my head.
+
+MILK BELOW.
+
+  At rise of morn my rounds I go,
+  And daily cry my milk below.
+
+[Illustration]
+
+BALLAD SINGER.
+
+  Listen to my tunes so gay,
+  And buy a ballad of me pray.
+
+SWEEP SOOT HO.
+
+  Comfort from my toil you reap,
+  Then pray employ a little sweep.
+
+
+London: Printed and Published by S. MARKS & SONS, 72, Houndsditch.
+
+
+  THE CRIES OF LONDON.
+
+  [Illustration]
+
+  FLOWERY WARE--ALL HOT!
+
+  Here's taters hot, my little chaps,
+  Now just lay out a copper,
+  I'm known up and down the Strand,
+  You'll not find any hotter.
+
+  LONDON:
+  GOODE, BROS.,
+  WHOLESALE STATIONERS AND TOY BOOK MANUFACTURERS,
+  CLERKENWELL GREEN.
+
+[Illustration]
+
+CHERRIES, MY PRETTY MAIDS.
+
+  Here's cherries, oh! my pretty maids,
+   My cherries round and sound;
+  Whitehearts, Kentish, or Blackhearts
+   And only twopence a pound.
+
+[Illustration]
+
+FINE HAMPSHIRE RABBITS.
+
+  Here I am with my rabbits
+  Hanging on my pole,
+  The finest Hampshire rabbits
+  That e'er crept from a hole.
+
+[Illustration]
+
+HEARTHSTONE! HEARTHSTONE.
+
+  Hearthstones my pretty maids,
+  I sell them four a penny,
+  Hearthstones, come buy of me,
+  As long as I have any.
+
+[Illustration]
+
+DUST OH! DUST OH!
+
+  Dust or ash this chap calls out,
+  With all his might and main,
+  He's got a mighty cinder heap
+  Somewhere near Gray's Inn Lane.
+
+[Illustration]
+
+BUY A BONNET BOX OR CAP BOX
+
+  Bonnet boxes and cap boxes,
+  The best that e'er was seen,
+  They are so very nicely made,
+  They'll keep your things so clean.
+
+[Illustration]
+
+ALL A GROWING AND A BLOWING.
+
+  Now ladies here's roots for your gardens,
+  Come buy some of me if you please,
+  There's tulips, heart's-ease, and roses,
+  Sweet Williams, and sweet peas.
+
+[Illustration]
+
+ANY OLD POTS OR KETTLES TO MEND?
+
+  Any old pots or kettles,
+  Or any old brass to mend
+  Come my pretty maids all,
+  To me your aid must lend.
+
+[Illustration]
+
+ANY OLD CHAIRS TO MEND?
+
+  Any old chairs to mend?
+  Any old chairs to seat?
+  I'll make them quite as good as new,
+  And make them look so neat.
+
+
+THE LONDON STREET-MARKETS ON A SATURDAY NIGHT.
+
+Mr. Henry Mayhew has painted a minute yet vivid picture of the London
+street markets, street sellers and purchasers which are to be seen in the
+greatest number on a Saturday night:--
+
+"Here, and in the streets immediately adjoining, the working classes
+generally purchase their Sunday's dinner; and after pay-time on Saturday
+night, or early on Sunday morning, the crowd in the New-cut, and the Brill
+in particular, is almost impassable. Indeed, the scene in these parts has
+more the character of a fair than a market. There are hundreds of stalls,
+and every stall has its one or two lights; either it is illuminated by the
+intense white light of the new self-generating gas-lamp, or else it is
+brightened up by the red smoky flame of the old-fashioned grease-lamp. One
+man shows off his yellow haddock with a candle stuck in a bundle of
+firewood; his neighbour makes a candlestick of a huge turnip, and the
+tallow gutters over its sides; whilst the boy shouting "Eight a penny,
+stunning pears!" has rolled his dip in a thick coat of brown paper, that
+flares away with the candle. Some stalls are crimson with the fire shining
+through the holes beneath the baked chesnut stove; others have handsome
+octohedral lamps, while a few have a candle shining through a sieve;
+these, with the sparkling ground-glass globes of the tea-dealers' shops,
+and the butchers' gaslights streaming and fluttering in the wind, like
+flags of flame, pour forth such a flood of light, that at a distance the
+atmosphere immediately above the spot is as lurid as if the street were on
+fire.
+
+[Illustration: A STREET-MARKET ON SATURDAY NIGHT.]
+
+The pavement and the road are crowded with purchasers and street-sellers.
+The housewife in her thick shawl, with the market-basket on her arm, walks
+slowly on, stopping now to look at the stall of caps, and now to cheapen a
+bunch of greens. Little boys, holding three or four onions in their hands,
+creep between the people, wriggling their way through every interstice,
+and asking for custom in whining tones, as if seeking charity. Then the
+tumult of the thousand different cries of the eager dealers, all shouting
+at the top of their voices, at one and the same time, is almost
+bewildering. "So-old again," roars one. "Chesnuts, all'ot, a penny a
+score," bawls another. "An 'aypenny a skin, blacking," squeaks a boy.
+"Buy, buy, buy, buy,--bu-u-uy!" cries the butcher. "Half-quire of paper
+for a penny," bellows the street-stationer. "An 'apenny a lot ing-uns."
+"Twopence a pound, grapes." "Three a penny! Yarmouth bloaters." "Who'll
+buy a bonnet for fourpence?" "Pick 'em out cheap here! three pair for
+a-halfpenny, bootlaces." "Now's your time! beautiful whelks, a penny a
+lot." "Here's ha'p'orths," shouts the perambulating confectioner. "Come
+and look at'em! here's toasters!" bellows one with a Yarmouth bloater
+stuck on a toasting fork. "Penny a lot, fine russets," calls the apple
+woman: and so the Babel goes on.
+
+One man stands with his red-edge mats hanging over his back and chest,
+like a herald's coat; and the girl with her basket of walnuts lifts her
+brown-stained fingers to her mouth, as she screams, "Fine warnuts! sixteen
+a penny, fine war-r-nuts." A bootmaker, to "ensure custom," has
+illuminated his front-shop with a line of gas, and in its full glare
+stands a blind beggar, his eyes turned up so as to show only "the whites,"
+and mumbling some begging rhymes, that are drowned in the shrill notes of
+the bamboo-flute-player next to him. The boy's sharp cry, the woman's
+cracked voice, the gruff, hoarse shout of the man, are all mingled
+together. Sometimes an Irishman is heard with his "fine ating apples," or
+else the jingling music of an unseen organ breaks out, as the trio of
+street singers rest between the verses.
+
+Then the sights, as you elbow your way through the crowd are equally
+multifarious. Here is a stall glittering with new tin saucepans; there
+another, bright with its blue and yellow crockery, and sparkling with
+white glass. Now you come to a row of old shoes arranged along the
+pavement; now to a stand of gaudy tea-trays; then to a shop with red
+handkerchiefs and blue checked shirts, fluttering backwards and forwards,
+and a counter built up outside on the kerb, behind which are boys
+beseeching custom. At the door of a tea-shop, with its hundred white
+globes of light, stands a man delivering bills, thanking the public for
+past favours, and "defying competition." Here, along side the road, are
+some half-dozen headless tailors' dummies, dressed in Chesterfields and
+fustian jackets, each labelled:--"Look at the prices," or "Observe the
+quality." After this a butcher's shop, crimson and white with meat piled
+up to the first-floor, in front of all the butcher himself, in his blue
+coat, walks up and down, sharpening his knife on the steel that hangs to
+his waist. A little further on stands the clean family, begging; the
+father with his head down as if in shame, and a box of lucifers held forth
+in his hand--the boys in newly-washed pinafores, and the tidyly got up
+mother with a child at her breast. This stall is green and white with
+bunches of turnips--that red with apples, the next yellow with onions, and
+another purple with pickling cabbages. One minute you pass a man with an
+umbrella turned inside up and full of prints; the next, you hear one with
+a peepshow of Mazeppa, and Paul Jones the pirate, describing the pictures
+to the boys looking in at the little round windows. Then is heard the
+sharp snap of the purcussion-cap from the crowd of lads firing at the
+target for nuts; and the moment afterwards, you see either a black man
+half-clad in white, and shivering in the cold with tracts in his hand, or
+else you hear the sounds of music from "Frazier's Circus," on the other
+side of the road, and the man outside the door of the penny concert,
+beseeching you to "Be in time--be in time!" as Mr. Somebody is just about
+to sing his favourite song of the "Knife Grinder." Such, indeed, is the
+riot, the struggle, and the scramble for a living, that the confusion and
+the uproar of the New-cut on Saturday night have a bewildering and sad
+effect upon the thoughtful mind.
+
+Each salesman tries his utmost to sell his wares, tempting the passers-by
+with his bargains. The boy with his stock of herbs offers "a double
+'andful of fine parsley for a penny;" the man with the donkey-cart filled
+with turnips has three lads to shout for him to their utmost, with their
+"Ho! ho! hi-i-i! What do you think of us here? A penny a bunch--hurrah for
+free trade! _Here's_ your turnips!" Until it is seen and heard, we have no
+sense of the scramble that is going on throughout London for a living. The
+same scene takes place at the Brill--the same in Leather-lane--the same in
+Tottenham-court-road--the same in Whitecross-street; go to whatever corner
+of the metropolis you please, either on a Saturday night or a Sunday
+morning, and there is the same shouting and the same struggling to get the
+penny profit out of the poor man's Sunday's dinner.
+
+Since the above description was written, the New Cut has lost much of its
+noisy and brilliant glory. In consequence of a New Police regulation,
+"stands" or "pitches" have been forbidden, and each coster, on a market
+night, is now obliged, under pain of the lock-up house, to carry his tray,
+or keep moving with his barrow. The gay stalls have been replaced by deal
+boards, some sodden with wet fish, others stained purple with
+blackberries, or brown with walnut peel; and the bright lamps are almost
+totally superseded by the dim, guttering candle. Even if the pole under
+the tray or "shallow" is seen resting on the ground, the policeman on duty
+is obliged to interfere.
+
+The mob of purchasers has diminished one-half; and instead of the road
+being filled with customers and trucks, the pavement and kerbstones are
+scarcely crowded.
+
+
+THE SUNDAY MORNING MARKETS.
+
+Nearly every poor man's market does its Sunday trade. For a few hours on
+the Sabbath morning, the noise, bustle, and scramble of the Saturday night
+are repeated, and but for this opportunity many a poor family would pass a
+dinnerless Sunday. The system of paying the mechanic late on the Saturday
+night--and more particularly of paying a man his wages in a
+public-house--when he is tired with his day's work, lures him to the
+tavern, and there the hours fly quickly enough beside the warm tap-room
+fire, so that by the time the wife comes for her husband's wages, she
+finds a large portion of them gone in drink and the streets half cleared,
+thus the Sunday market is the only chance of getting the Sunday's dinner.
+
+Of all these Sunday morning markets, the Brill, perhaps, furnishes the
+busiest scene; so that it may be taken as a type of the whole.
+
+The streets in the neighbourhood are quiet and empty. The shops are closed
+with their different coloured shutters, and the people round about are
+dressed in the shiny cloth of the holiday suit. There are no "cabs," and
+but few omnibuses to disturb the rest, and men walk in the road as safely
+as on the footpath.
+
+As you enter the Brill the market sounds are scarcely heard. But at each
+step the low hum grows gradually into the noisy shouting, until at last
+the different cries become distinct, and the hubbub, din, and confusion of
+a thousand voices bellowing at once, again fill the air. The road and
+footpath are crowded, as on the over-night; the men are standing in
+groups, smoking and talking; whilst the women run to and fro, some with
+the white round turnips showing out of their filled aprons, others with
+cabbages under their arms, and a piece of red meat dangling from their
+hands. Only a few of the shops are closed; but the butcher's and the coal
+shed are filled with customers, and from the door of the shut-up baker's,
+the women come streaming forth with bags of flour in their hands, while
+men sally from the halfpenny barber's, smoothing their clean-shaved chins.
+Walnuts, blacking, apples, onions, braces, combs, turnips, herrings, pens,
+and corn-plasters, are all bellowed out at the same time. Labourers and
+mechanics, still unshorn and undressed, hang about with their hands in
+their pockets, some with their pet terriers under their arms. The pavement
+is green with the refuse leaves of vegetables, and round a cabbage-barrow
+the women stand turning over the bunches, as the man shouts "Where you
+like, only a penny." Boys are running home with the breakfast herring held
+in a piece of paper, and the side-pocket of an apple man's stuff coat
+hangs down with the weight of halfpence stored within it. Presently the
+tolling of the neighbouring church bells break forth. Then the bustle
+doubles itself, the cries grow louder, the confusion greater. Women run
+about and push their way through the throng, scolding the saunterers, for
+in half-an-hour the market will close. In a little time the butcher puts
+up his shutters, and leaves the door still open; the policemen in their
+clean gloves come round and drive the street-sellers before them, and as
+the clock strikes eleven the market finishes, and the Sunday's rest
+begins."
+
+
+As it was in the beginning of our book and in the days of Queen
+Elizabeth:--
+
+    "When the City shopkeepers railed against itinerant traders of every
+    denomination, and the Common Council declared that in ancient times
+    the open streets and lanes had been used, and ought to be used only,
+    as the common highway, and not for the hucksters, pedlars, and
+    hagglers, to stand and sell their wares in"--
+
+so it is now, in the Victorian age, and ever will be a very vexed
+question, and thinking representative men of varied social positions
+materially differ in opinion; some contending that the question is not of
+class interest but that of the interest of the public at large; some argue
+in an effective but perfectly legal and orderly manner for the removal of
+what they term a greivous nuisance; others ask that an industrious and
+useful class of men and women should be allowed their honest calling. They
+protest against the enforcement of an almost obsolete statute which
+conduces to the waste of fruit, fish, and vegetables, in London and large
+towns, which practically maintains a trade monopoly, and discourages an
+abundant supply. They claim for the public a right to buy in the cheapest
+market, and plead for a liberty which is enjoyed unmolested in many parts
+of the kingdom, and protest against a remnant of protectionist restriction
+being put into force against street-hawking.
+
+By the side of this temperate reasoning, let us place the principal
+arguments which are so often reiterated by aldermen, deputies,
+councillors, vestrymen, and others, when "drest in a little brief
+authority," and come at once to the _gravamen_ of the charge against the
+hawkers, which we find to consist in the nuisance of the street cries.
+
+London, as a commercial city, has numbers of visitors and residents to
+whom quiet is of vital importance. The street cries, it is alleged,
+constitute a nuisance to the public, particularly to numbers of
+day-time-alone occupants, to whom time and thought is money. It is the
+same thing repeated with many of the suburban residents, in what is
+generally known as quiet neighbourhoods. Discounting duly the rhetorical
+exaggeration, it is to be feared the charge must be admitted. Therefore,
+the shopkeepers argue, let us put down the hawking of everything and
+everybody. But this does not follow at all. Not only so, but the proposed
+remedy is ridiculously inadequate to the occasion. Admit the principle,
+however, for the sake of argument and let us see whither it will lead us.
+At early morn how often are our matutinal slumbers disturbed by a
+prolonged shriek, as of some unfortunate cat in mortal agony, but which
+simply signifies that Mr. Skyblue, the milkman, is on his rounds. The
+milkman, it is evident, must be abolished. People can easily get their
+breakfast milk at any respectable dairyman's shop, and get it, too, with
+less danger of an aqueous dilution. After breakfast--to say nothing of
+German bands and itinerant organ grinders--a gentleman with a barrow
+wakens the echoes by the announcement of fresh mackerel, salmon, cod,
+whiting, soles or plaice, with various additional epithets, descriptive of
+their recent arrival from the sea. The voice is more loud than melodious,
+the repetition is frequent, and the effect is the reverse of pleasing to
+the public ear. Accordingly we must abolish fish hawking: any respectable
+fishmonger will supply us with better fish without making so much noise
+over it; and if he charges a higher price it is only the indubitable right
+of a respectable tradesman and a ratepayer. Then comes on the scene, and
+determined to have a voice--and a loud one, too, in the morning's
+hullabaloo, the costermonger--Bill Smith, he declares with stentorian
+lungs that his cherries, plums, apples, pears, turnips, carrots, cabbages,
+_cow_cumbers, _sparrow_-grass, _colly_-flow-ers, _inguns_, _ru-bub_, and
+_taters_, is, and allus vos rounder, sounder, longer, stronger, heavier,
+fresher, and ever-so-much cheaper than any shopkeeping greengrocer as ever
+vos: Why? "Vy? cos he don't keep not no slap-up shop vith all plate-glass
+vinders and a 'andsom sixty-five guinea 'oss and trap to take the missus
+and the kids out on-a-arternoon, nor yet send his sons and darters to a
+boarding school to larn French, German, Greek, nor playing on the
+pianoforte." All this may be very true; but Bill Smith, the costermonger,
+is a noisy vulgar fellow; therefore must be put down. Mrs. Curate, Mrs.
+Lawyer, Mrs. Chemist, and Miss Seventy-four must be taught to go to the
+greengrocer of the district, Mr. Manners, a highly respectable man, a
+Vestryman and a Churchwarden, who keeps:--
+
+  PLATE, WAITERS, AND LINEN FOR HIRE.
+  N.B.--EVENING PARTIES ATTENDED.
+
+As the morning wears on we have:--"I say!--I say!! Old hats I buy," "Rags
+or bones," "Hearthstones," "Scissors to grind--pots, pans, kettles or old
+umbrellas to mend," "Old clo! clo," "Cat or dog's meat," "Old china I
+mend," "Clothes props," "Any old chairs to mend?" "Any ornaments for your
+fire stove," "Ripe strawberries," "Any hare skins,"--"rabbit skins," "Pots
+or pans--jugs or mugs," "I say, Bow! wow! and they are all a-growing and
+a-blowing--three pots for sixpence," and other regular acquaintances, with
+the occasional accompaniment of the dustman's bell, conclude the morning's
+performance, which, altogether is reminiscent of the "Market Chorus" in
+the opera of _Masaniello_; and if the public quiet is to be protected, our
+sapient Town Councillors would abolish one and all of these, dustman
+included. One of the latest innovations upon the peace and happiness of an
+invalid, an author, or a quiet-loving resident, is the street vendor of
+coals. "Tyne Main," or "Blow-me-Tight's," Coals! "C-o-a-l-s, _one and
+tuppence a underd--see'em weighed_." This is the New Cry. Small waggons,
+attended by a man and a boy, go to our modern railway sidings to be filled
+or replenished with sacks containing 56 lbs. or 112 lbs. of coals, and
+then proceed to the different suburban quiet neighbourhoods, where the man
+and boy commence a kind of one done the other go on duet to the above
+words, which is enough to drive the strongest trained one crazy. All the
+great coal merchants seem to have adopted this method of retailing coals,
+and have thus caused the almost total abolition of coal sheds, and the
+greengrocer and general dealer to abandon the latter part of his calling.
+Our afternoon hours, after the passing of the muffin bell, are made
+harmonious by public references to shrimps, fine Yarmouth bloaters,
+haddocks, periwinkles, boiled whelks, and water_creases_, which are too
+familiar to need description; and our local governors in their wisdom
+would bid us no longer be luxurious at our tea, or else go to respectable
+shops and buy our "little creature comforts." Professing an anxiety to put
+down street cries, our police persecute one class out of a multitude, and
+leave all the rest untouched. It is not only an inadequate remedy, but the
+remedy is sought in the wrong direction. The fact is, that the street
+noises are an undoubted evil, and in the interests of the public, action
+should be taken not to put them down, but to regulate them by local
+bye-laws, leaving the course of trade otherwise free. It is a plan adopted
+in most of the greater towns which have in any way dealt with the subject.
+
+
+THE DEMONS OF PIMLICO.
+
+[From _Punch_.]
+
+Edwin is a Young Bard, who has taken a lodging in a Quiet Street in
+Belgravia, that he may write his Oxford Prize Poem. The interlocutors are
+Demons of both Sexes.
+
+  EDWIN (composing). Where the sparkling fountain never ceases--
+      _Female Demon._             "_Wa-ter-creece-ses!_"
+
+  EDWIN. And liquid music on the marble floor tinkles--
+      _Male Demon._               "_Buy my perriwinkles!_"
+
+  EDWIN. Where the sad Oread oft retires to weep--
+      _Black Demon._              "_Sweep! Sweep!! Sweep!!!_"
+
+  EDWIN. And tears that comfort not must ever flow--
+      _Demon from Palestine._     "_Clo! Clo!! Old Clo!!!_"
+
+  EDWIN. There let me linger beneath the trees--
+      _Italian Demon._            "_Buy, Im-magees!_"
+
+  EDWIN. And weave long grasses into lovers' knots--
+      _Demon in white apron._     "_Pots! Pots!! Pots!!!_"
+
+  EDWIN. Oh! what vagrant dreams the fancy hatches--
+      _Ragged Old Demon._         "_Matches! Buy Matches!_"
+
+  EDWIN. She opes her treasure-cells, like Portia's caskets--
+      _Demon with Cart._          "_Baskets, any Baskets!_"
+
+  EDWIN. Spangles the air with thousand-coloured silks--
+      _Old Demon._                "_Buy my Wilks! Wilks!! Wilks!!!_"
+
+  EDWIN. Garments which the fairies might make habits--
+      _Lame Demon._               "_Rabbits, Hampshire Rabbits!_"
+
+  EDWIN. Visions like those the Interpreter of Bunyan's--
+      _Demon with a Stick._       "_Onions, a Rope of Onions!_"
+
+  EDWIN. And give glowing utterances to their kin--
+      _Dirty Demon._              "_Hare's skin or Rabbit skin!_"
+
+  EDWIN. In thoughts so bright the aching senses blind--
+      _Demon with Wheel._         "_Any knives or scissors to grind!_"
+
+  EDWIN. Though gone, the Deities that long ago--
+      _Grim Demon._               "_Dust Ho! Dust Ho!!_"
+
+  EDWIN. Yet, from her radiant bow no Iris settles--
+      _Swarthy Demon._            "_Mend your Pots and Kettles!_"
+
+  EDWIN. And sad and silent is the ancient seat--
+      _Demon with Skewers._       "_Cat's M-e-a-t!_"
+
+  EDWIN. For there is a spell that none can chase away--
+      _Demon with Organ._         "_Poor Dog Tray!_"
+
+  EDWIN. And a charm whose power must ever bend--
+      _Demon with Rushes._        "_Chairs! Old chairs to mend!_"
+
+  EDWIN. And still unbanished falters on the ear--
+      _Demon with Can._           "_Beer! Beer, any Beer!_"
+
+  EDWIN. Still Pan and Syrinx wander through the groves--
+      _She Demon._                "_Any Ornaments for your fire stoves!_"
+
+  EDWIN. Thus visited is the sacred ground--
+      _Second Demon with Organ._  "_Bobbing all around!_"
+
+  EDWIN. Ay, and for ever, while the planet rolls--
+      _Demon with Fish._          "_Mackerel or Soles!_"
+
+  EDWIN. Crushed Enceladus in torment groans--
+      _Little Demon._             "_Stones! Hearthstones!_"
+
+  EDWIN. While laves the sea, on the glittering strand--
+      _Third Demon with Organ._   "_O, 'tis hard to give the hand!_"
+
+  EDWIN. While, as the cygnet nobly walks the water--
+      _Fourth Demon with Organ._  "_The Ratcatcher's Daughter!_"
+
+  EDWIN. And the Acropolis reveals to man--
+      _Fifth Demon with Organ._   "_Poor Mary Anne!_"
+
+  EDWIN. So long the presence, yes, the MENS DIVINA--
+      _Sixth Demon with Organ._   "_Villikins and his Dinah!_"
+
+  EDWIN. Shall breathe whereso'er the eye shoots--
+      _Six Dirty Germans with_--  "_The overture to Freischutz!_"
+
+  Here--EDWIN GOES MAD.
+
+
+AND OUR WORK COMES TO A TIMELY
+
+END.
+
+[Illustration]
+
+
+
+
+INDEX.
+
+
+  Addison, on London Cries, 118
+
+  Adelphi Theatre, The, 70
+
+  Aldersgate--Aldgate, 17
+
+  Ale and Wine, 6
+
+  Alexander Gell, 6
+
+  Annibale Carracci, 1
+
+  Alsatia--Its Notoriety, 26
+
+  Archers,--The City, 20
+
+  Attic-Poet, The, 146
+
+
+  Babies--Male and Female, 76
+
+  Bags of Mystery!, 127
+
+  Band-Cuffe-Ruffe, 71
+
+  Bankside, 22, 23, 24
+
+  Bards of Seven Dials, 161
+
+  Barrow-woman, The, 112
+
+  Bartholomew Bird, A, 76
+
+       "      Fair--_see_ Ben Jonson.
+
+  Bay Cottage, Edmonton, 137
+
+  Baynard's Castle, 25
+
+  Beau-Trap, What, 154
+
+  Beaumont and Fletcher, 34
+
+  Bellman of London &c., 49, 50, 51, 52, 53
+
+  Bellman's Merry Out Cryes, 52
+
+      "     Song, A, 50
+
+      "     Treasury, The, 52
+
+      "     Verses, 51, 53, 55
+
+  Ben Jonson's:--
+    Bartholomew Fair, 34, 75, 78
+    Costard-Mongers, 28, 34
+    Fish-Wives, 28
+    London, 16
+    Orange Woman, 28, 109
+    Silent Woman, 26, 29
+
+  Bennett--The News-cryer, 151
+
+  Billingsgate--Bummarees at, &c., 237
+
+  Bishopsgate, 17
+
+  Blacking Man, 60
+
+  Blacking--Day and Martin's, 156
+
+     "    --Patent Cake, 156
+
+  Bookseller's Row, W.C., 203
+
+  Boar's Head Tavern, 8
+
+  Bridgewater Library, The, 73
+
+  Bristle--A Brush-Man, 80
+
+  British Museum--London Cries in, 56
+
+  Brompton's Chronicle, 232
+
+  Broom--Buy-a-Broom Girls, 223
+
+  Broom-men, The, 29, 32
+
+  Bucklersbury--Simple time, 21, 127
+
+  Budget--A Tinker, 81
+
+  Burbadge, R. and J. (Actors), 90
+
+  Buskers, 9
+
+  Butcher's Row, Strand, W.C., 253
+
+  Byron, H. J.--A Word-twister, 71
+
+  Bow Bells, The sound of, 45
+
+  Britton, Small Coalman, 124
+
+  Birdman, The, 250
+
+  Black Jack--What?, 134
+
+
+  Cannon Street, 7, 8
+
+  Canonbury Tower, 135
+
+  Canwyke Street, 7
+
+  Card Matches--Vendors of, 120
+
+  Cardinal Cap Alley, 23
+
+  Catch that Catch Can, 99, 101
+
+  Catnach--"_Old Jemmy_," 161, 180, 186, 194, 195
+
+  Charing, The Village of, 6
+
+  Charles 1st, 6, 15, 35
+
+  Charles Dickens, 9, 146
+
+  Charles Knight's London, 153
+
+  Charles Lamb, 131, 4, 6, 8
+
+  Charles Mathews, 223
+
+  Chaucer, Geoffry, 1
+
+  Cheapside Cross, The, 19
+
+  Chelsea--Bun Houses at, 207
+
+  Churchwarden--Pipes, 134
+
+  Chiropodist, The, of to day, 127
+
+  City Walls, 18
+
+  Clause--A popular Vagabond, 83
+
+  Clerkenwell--A Village, 124, 139
+
+  Clint--The Liberty of, 23
+
+  Coals, a public nuisance, 15
+
+  Coalmen--Small, 73, 124
+
+  Cocks--_i.e._ Catchpennies, 173
+
+  Colebrooke Row, Islington, 132
+
+  Coleridge and the Old clo-man, 60
+
+  Collier, Mr. John Payne, 89
+
+  Colly-Molly--Puff-Pastry-man, 121
+
+  Copy of Verses, 164, 173
+
+  Corder, Wm. Murderer, 169
+
+  Costermongers, 29, 32, 34
+
+  Countryman in Lunnun, The, 7
+
+  Cow--With the iron tail, 143
+
+  Cries of Bologna, 1
+
+  Cries of London ever popular, 1
+
+  Cries of London--a Collection of, 31, 56, 63, 79, 102, 115
+
+  Cries of Rome, _i.e._--London, 64
+
+  Curtain Road, 90
+
+
+CRIES OF LONDON--Ancient and Modern. Alphabetically Arranged.
+
+  Almanack--Buy an, 60, 341
+
+  Aloes, that blossom rarely, 140
+
+  Anchovies--Buy my, &c., 265
+
+  Apples--Baked, 127
+
+  Apricots--Buy fine, 116
+
+  Aqua Vitae, 60, 127
+
+  Artichokes, 35, 60, 73, 113
+
+  Asparagus--Any ripe, 35, 115
+
+  Apple Tarts, Nice hot to-day, 275
+
+
+  Bacon--A Suck of, 239
+
+  Baked Potatoes, 259
+
+  Ballads--Buy a fine, new, &c., 76
+
+  Balm, 115
+
+  Balsams, Buy fine, 340
+
+  Banbury Cakes, O!, 269
+
+  Bandstrings--Buy, 73, 82, 88
+
+  Barley-Broth--Here's, 114
+
+  Bay--Buy any, &c., 60
+
+  Beans--White, Windsor &c., 35, 115, 184
+
+  Beads and Laces, 88
+
+  Basket, Buy a, 345
+
+  Bear's-foot--Buy my, 115
+
+  Beef--Ribs, fat and fine, 58
+
+  Bellows--Old, to mend, &c., 60
+
+  Birds and Hens--Buy any, 62
+
+  Black your Shoes, Sir?, 155
+
+  Blacking, Buy, 94
+
+  Blue--Buy my, 114
+
+  Blue Starch, 61
+
+  Bodkin--Here's a gilt, 82
+
+  Bone-Lace--Buy, 62, 82
+
+  Book--Buy a new, &c., 63
+
+  Boots--Have you any old?, 13, 14
+
+  Bow or Bough-pot (_flower-pot_), 61
+
+  Box--Buy my growing, 340
+
+  Box--Bonnet or cap, 297
+
+  Brass Pot, or an Iron Pot, 126
+
+  Bread and Meat, for poor prisoners, &c., 61, 64, 72, 126
+
+  Brick-Dust, 119
+
+  Briar--Buy sweet, 127-128
+
+  Broccoli--Here's fine, 115
+
+  Broken-Glasses, 119
+
+  Broom--Buy a, 80, 289
+
+  Brooms for old shoes, 36
+
+  Broom--New green, &c., 13, 58, 80
+
+  Brush--Buy long, new, &c., 61, 62, 73
+
+  Buns--See Hot-Cross-Buns
+
+  Butter--Sixpence a-pound, 116
+
+  Buskins--Have you any?, 14
+
+  Buttons--Buy any?, 61
+
+  Buttons--Hankercher, 73
+
+
+  Cabbage--White-heart, &c., 62, 113
+
+  Calf's Feet--Here's fine, 116
+
+  Candle-stick--Buy a, 61
+
+  Canes--For young and old, 260, 346
+
+  Cap Box--Bonnet Box, 297
+
+  Capers--Buy my, &c., 265
+
+  Carrots--Buy, 62, 115, 277
+
+  Case for a Hat--Buy a, 62
+
+  Cat's and Dog's Meat, 368
+
+  Cauliflowers--Here's, 115
+
+  Celery--Buy my nice, 116
+
+  Chairs to mend, 73, 114, 126, 371
+
+  Cheese and Cream--Any fresh, 62, 117, 139
+
+  Cherries--In the rise, _i.e._ stick, 6, 108
+
+    "       Ripe, 6, 60
+
+    "       Round and Sound, 113, 183
+
+    "       Kentish
+
+  Chesnuts--Roasted &c., 62, 241
+
+  Chickens--Buy alive, 295
+
+  Chimney Sweep, 29, 60, 252
+
+  Cinquefoil, 115
+
+  Clean your Boots, Sir?, 153
+
+  Clo! Clo!--Old Clothes, 37, 354
+
+  Clothes Pegs--Buy my, 184
+
+  Cloth--Scotch or Russian, 126
+
+  Clothes Lines--Props, 184, 278
+
+  Close-stool--Buy a cover for, 66, 93
+
+  Clove Water--Buy any?, 63
+
+  Coal--Maids any small?, 60
+
+  Cock or a Gelding (_Capon_), 73
+
+  Cockles-Ho!, 60, 79, 267
+
+  Cod--New, fine-water'd, 61, 116
+
+  Codlings--Hot, 62, 73, 113, 183
+
+  Codlings--Crumpling, 183
+
+  Coife--Buy a fine, 82
+
+  Coleworts--Here's green, 115
+
+  Cony-Skins--(_Rabbit_), 60, 84
+
+  Corn-Poppies--Here's, 116
+
+  Corns--Any to cut, pick, &c., 62, 75, 113
+
+  Cooper--Any work for a?, 60, 73, 113, 121
+
+  Crabs--Come buy my, &c., 116, 343
+
+  Cranberries--Buy my, &c., 259
+
+  Cream and Cheese, 139
+
+  Cucumbers, Ripe &c., 35, 63, 116, 256
+
+  Curds, 81
+
+  Currants--Here's, 81
+
+  Cut Flowers, 255
+
+
+  Dabs--Come buy my, 116, 128
+
+  Damsons--Buy ripe, 61
+
+  Dandelion--Here's ye, 115
+
+  Dog's Meat, 368
+
+  Door-Mat--Buy a, 279, 376
+
+  Doublets--Any old?, 60
+
+  Dragon's-tongue--Here's ye, 115
+
+  Dumplings Diddle, diddle, 115
+
+  Dust O!, 248
+
+  Duck--Buy a, 116
+
+
+  Earthen-Ware--To-day?, 296
+
+  Eels--Buy a dish of, 41, 116, 298
+
+  Eel Pies--Hot, hot!, 62
+
+  Eggs--New laid, 10 a groat, 116
+
+  Elder-buds--For the blood, 114
+
+  Ells or Yards--Buy, 61
+
+  Ends of gold, 60
+
+
+  Featherfew and Rue, 115
+
+  Felt Hats, 5
+
+  Fenders--I paint, 231
+
+  Figs--Buy any?, 61, 116
+
+  Filberts--Ripe, Brown, &c., 116, 183
+
+  Fleas--Buy a tormentor for, 66, 75
+
+  Flounders, 30, 61, 116, 268
+
+  Flowers--Buy my, 356
+
+  Fowl--A choice, 116
+
+  Footstool--Buy a, 61
+
+  French Beans--Buy, 116
+
+  French Garters, 71
+
+
+  Garlick--Buy any?, 62
+
+  Garters for the knee, 61, 82, 88
+
+  Gazette, London--Here, 126, 339
+
+  Geraniums--Scarlet, &c., 240
+
+  Gilliflowers, &c., 115
+
+  Gingerbread--Hot, 75, 114, 349
+
+  Glass to mend, 61
+
+  Glasses--Broken, 120
+
+  Golden Pippins--Who'll buy, 290
+
+  Gold-end--Have you any?, 60
+
+  Goose--Buy a, 116
+
+  Gooseberries--Buy my fine, 261
+
+  Green Coleworts--Here's, 115
+
+  Greens, 2d. a bunch, 355
+
+  Green Peas--All hot-hot!, 239, 296
+
+  Gudgeons--Fine, &c., 115
+
+  Gaudes--Dainty for Sunday, 88
+
+  Ground-Ivy--Buy my, 115
+
+
+  Haddocks--Buy my fine, 61, 116
+
+  Hair--Maids any to sell?, 113
+
+  Hair Brooms, or a Brush, 289
+
+  Hair-line--Buy a?, 62
+
+  Hang out your Lights here, 46-47
+
+  Handkerchief-buttons--Buy, 73
+
+  Hare Skins--I buy, 83
+
+  Hastings--Young and Green, 115
+
+  Hat, or Cap Box?, 297, 356
+
+  Hat--Buy a case for, 62
+
+  Hats--Fine felt, 5
+
+  Hats or Caps--To dress, 62
+
+  Hats or Caps--Buy or sell, 38
+
+  Hassock for your Pew, 66, 72
+
+  Hautboys--Ripe, 115
+
+  Hearth-stones--Want any?, 158, 362
+
+  Heart's-ease--Buy any?, 115
+
+  Herbs--Here's fine of every sort, 115
+
+  Herrings--Fine new, &c., 60, 113
+
+  Hobby-Horses, 73, 76, 106
+
+  Holly--Christmas ho!, 234
+
+  Hone, or Whetstone, 73
+
+  Hornbook--Buy a, 85
+
+  Horns--Shall I mend your?, 114
+
+  Hot-Cross Buns, 185, 202, 263
+
+  Hot Mutton--Pies, 61, 282
+
+  Hot Pudding--Pies, 62
+
+  Hot Sheep's feet, 7
+
+  Hot Peacods, 6, 127
+
+  Houseleek--Here's ye, 115
+
+  Holloway Cheesecakes, 117
+
+  Hood--Buy a?, 9
+
+  Horehound--Buy any, 115
+
+
+  Images--Come buy my, 287, 357
+
+  Ink--Fine writing-ink, 59, 104, 126
+
+  Ink and Pens, 59
+
+  Iron--Old iron I buy, &c., 40, 60
+
+  Iron Fork or shovel, 105
+
+  Italian Falling Bands, 71
+
+  Ivy--Ground-ivy, 115
+
+
+  Jessamine--Pale, &c., 240
+
+  Jew's Trumps (_i.e. Harps._), 76
+
+  John Apples--Who'll buy, 81
+
+  John the Cooper--Any work for?, 60, 126
+
+
+  Kettles to mend, 64, 303
+
+  Kentish Cherries, 288
+
+  Kitchen-stuff--What have you maids?, 60, 113
+
+  Knives to grind, 277, 373
+
+
+  Laces--Long and Strong, 83, 126
+
+  Lambs--Young to sell, 185, 293
+
+  Lanthorn & Candle, 46, 66, 72
+
+  Lavender--Blooming, 115, 270, 372
+
+  Lawn, Silk, Velvets, 6
+
+  Lights for your cat, 116
+
+  Lilies of the Valley, 294
+
+  Leeks--Here's fine, 116
+
+  Lemons--Fine, 60
+
+  Lettuce--Fine goss, 57, 60, 66
+
+  Lobsters--Buy, 116, 343
+
+
+  Mackerel--Fine, fresh, 7, 29, 60, 73, 271
+
+  Maids--Buy my fresh, 116
+
+  Marjoram--Ho!, 115
+
+  Marking Stone, 57, 61, 64, 72
+
+  Marroguin--Good, 60
+
+  Marrow-bones, Maids, 73
+
+  Marygolds--Here's ye, 115
+
+  Mat--Buy a, 60, 66, 73
+
+  Matches--Buy my, 231
+
+  Milk--Maids below &c., 60, 139, 183, 344
+
+  Mint--Any green, or a bunch, 115, 274
+
+  Mops--Maids buy a, 219, 284
+
+  Mousetrap--Buy a, 65, 75
+
+  Muffins--Buy new, 284
+
+  Muffins, Crumpets
+
+  Mugwort--Buy my, 115
+
+  Mulberries--Here's, 116, 266
+
+  Mullets--Buy my, 116
+
+  Mussels--Lilly-white, 31, 60, 73
+
+  Mutton Dumplings--Hot, 282
+
+  Mutton Pies--Who'll buy?, 61
+
+  Myrtle--Dark green, 340
+
+
+  Nectarines--Fine, 116, 348
+
+  Needles--who buys my, 85
+
+  Nettle-tops--Here's ye, 115
+
+  New River Water--Here 129, 139
+
+  Nosegays--Fine, 115
+
+  Nun's Thread, 71
+
+  Nuts--Fine, new, &c., 113
+
+
+  Oat-Cakes--Fine, 62
+
+  Old Clo! Clo!, 37, 353, 369
+
+  Old Cloaks, Suits or Coats, 38
+
+  Old Doublets, 60
+
+  Old Iron--Take money for, 40
+
+  Old Man--A penny a root, 231
+
+  Old Satin-taffety, or Velvet, 37
+
+  Onions--White St. Thomas', &c., 35, 66, 115
+
+  Oranges--China, golden, ripe, &c., 60, 183, 303
+
+  Oranges and Lemons--Fine, 60
+
+  Oysters--New Wall-Fleet &c., 30, 113, 285, 353
+
+
+  Pail--Buy a new, 231
+
+  Paris-thread, 6
+
+  Parsley--Heres ye, 115
+
+  Parsnips, Buy--Here's fine, 116
+
+  Peaches--Buy my fine, 116, 348
+
+  Pearmains--Buy my, 81
+
+  Pears--Baking, Stewed &c., 85, 61-62, 113, 262
+
+  Peas and Beans--Come buy, 184
+
+  Pea-Soup--All hot!, 239
+
+  Peacods, Hot-hot!, 6, 127
+
+  Penknives to grind, 231
+
+  Pens and Ink, 59-60
+
+  Pennyroyal--Here's ye, 115
+
+  Pepper, Saffron and Spice, 6
+
+  Peppermint--Nice, 237
+
+  Perch--Buy my, 116
+
+  Periwinkles--Quick _i.e. live_, 62, 73, 374
+
+  Pies Hot, 62, 113
+
+  Pigeons--Come buy my, 116
+
+  Pike--Fine live, 116
+
+  Pins of the maker, 63
+
+  Pins and Needles--Who buys?, 85
+
+  Pins for Coney-Skins, 115
+
+  Pippins--Buy my? &c., 60, 290
+
+  Pippin-Pies, 60
+
+  Plaice--Buy dish of, &c., 31, 61, 116
+
+  Plovers--Come buy my, 116
+
+  Plum-Pudding, 4d. a pound, 114
+
+  Plum--Buy my ripe, 116, 299
+
+  Points--Buy any?, 61
+
+  Pomegranites--Fine, 62
+
+  Pompeons (Qy. Pumpkin), 62
+
+  Potatoes--Fine new, 62, 116, 286
+
+  Potatoes--All hot, 359
+
+  Pot--Buy a white, 61
+
+  Pots and Pans, 231
+
+  Pots, Pans, Kettles to mend, 264, 301
+
+  Powder and Wash-ball, 121
+
+  Pretty Pins--Pretty women?, 126
+
+  Primroses--Buy, 228, 246
+
+  Props or Lines, 184
+
+  Prunes--Buy, 2d. a-pound, 61, 115
+
+  Purse--Buy a, 300
+
+
+  Quick (_i.e. live_) Perriwinkles, 62, 73
+
+
+  Rabbits--Who'll buy, 116, 273
+
+  Rabbit-skins--Any to sell, buy, 60, 84
+
+  Radish--Buy my white, &c., 35, 62, 66, 115
+
+  Raisons--Buy any?, 61
+
+  Rareee Show--Take a peep, 280
+
+  Ribs of beef--Fine, 5
+
+  Rice-milk--Here's hot, 114, 127, 347
+
+  Rice--New, 2d. a pound, 116
+
+  Rings--Powch-posies, 13, 88
+
+  Rope-Mats--Buy one, 278
+
+  Roses--Buy my fine, 340
+
+  Rosemary--Buy my, 60, 115, 257
+
+  Rosemary and Briar, 127, 257
+
+  Rue--Buy a bunch, &c., 115, 274
+
+  Rushes--Green, 7-8, 62
+
+
+  Saffron, Spice and Pepper, 6
+
+  Sage--Buy a bunch &c., 115, 274
+
+  Salad--Ready picked, 115
+
+  Salmon--Fine, Newcastle, &c., 30, 258
+
+  Saloop--Hot and good, 116, 127
+
+  Samphire--Rock, 60, 72
+
+  Sand--Silver sand, 113
+
+  Sashes--Ribbons or lace, 179
+
+  Satin--Old, 37
+
+  Sausages, 56, 61
+
+  Save-all--Buy a, 80
+
+  Savoys--Here's fine, 115
+
+  Scissors ground, 1d. per pair, 277
+
+  Screens, from the fire, 73
+
+  Scurvy-grass--Any?, 62, 115
+
+  Shads--Come buy my, 60, 116
+
+  Shirt Buttons--Buy, 272
+
+  Sheep's Trotters--Hot, 7, 127
+
+  Shoes-Buy--I buy, 14, 61
+
+  Shovel and Iron Fork, 105
+
+  Shrimps--Fine, New, 61, 116, 374
+
+  Silk Velvets lawn, 6
+
+  Singing Bird--Buy a fine, 107, 115
+
+  Silver Sand--Buy, 113
+
+  Small Coals, 73, 116, 124
+
+  Smelts--Buy my &c., 31, 62, 116
+
+  Socks--Holland socks, 126
+
+  Soles--Fine, &c., 62
+
+  Songs--A choice of, 83
+
+  Songs--Three yards a penny, 187
+
+  Southernwood, that's very good, 115
+
+  Spice, pepper and saffron, 6
+
+  Spice graters, 58
+
+  Sprats--Buy my, 61, 116
+
+  Spinach--Here's, 116
+
+  Starch--Blue, 61
+
+  Stocks--Buy fine, 340
+
+  Straw--Will you buy any?, 79
+
+  Strawberries--Ripe, &c., 6, 62, 108, 115, 185, 276
+
+  Steel or Tinder-box, 73
+
+  Stopple--For your close-stool, 66
+
+  Stomach water, 63
+
+  Sweep, 184
+
+  Sweet Briar--Buy my, 257, 277
+
+
+  Table-mat--Buy a, 251
+
+  Tape--Buy any?, 61
+
+  Tarts--All hot, 113
+
+  Teal--Come buy my, 116
+
+  Tench--Buy my, 116
+
+  Teeth--Any to draw?, 81
+
+  Thornback--New, 62
+
+  Tinder-Box--Buy a, 79
+
+  Tinker--Have you any work for a?, 60, 73, 264
+
+  Toasting Forks, 58, 61, 99
+
+  Toasting-Iron, 61
+
+  Toys, For girls and boys, 185
+
+  Trap for fleas, 66
+
+  Trinkets--Want any?, 291
+
+  Tripes--Fine, 116
+
+  Troop--Every one, 106
+
+  Trotters--Here's, 116
+
+  Turnips--Buy bunch, 60, 115, 277
+
+  Turbot--All alive, 237
+
+  Thyme, Rue, &c., 115
+
+
+  Velvets, Silk, Lawn, 6
+
+  Venice Glasses--Come buy, 59
+
+  Vinegar--Lilly-white, 126
+
+  Violets--Buy my, 128
+
+  Violins--Buy, 76
+
+
+  Wafers--Buy any?, 126
+
+  Walking-sticks--Buy my, 139, 260
+
+  Walnuts, New, crack and try, &c., 62, 115, 241, 242, 243
+
+  Warders--Hot (Pears), 127
+
+  Wash-Ball--Want any, 58, 62, 291
+
+  Watch--Buy of me, 291
+
+  Water--Buy spring here?, 129, 139
+
+  Water-cresses--Buy fresh, &c., 115, 127
+
+  Wax--Buy any?, 126, 281, 353
+
+  Wheat--Buy any?, 62, 73
+
+  Whetstone--Buy a, 73
+
+  Whistle, for your boy, 82
+
+  White Scallions (_Shalots_), 62
+
+  Whiting--Any new, fresh, &c., 30, 62, 66
+
+  Whiting Maps, 61
+
+  Widgeon--Come buy my, 116
+
+  Wigs--A fine tie or bob?, 126
+
+  Wild Duck--Buy a, 116
+
+  Windsor Beans, 115
+
+  Wine--One penny a pint, 10
+
+  Winter-Savoy--Here you have, 115
+
+  Wood--Any to cleave?, 15, 62, 124
+
+  Wood-sorrel--Here's ye, 115
+
+  Worcestershire Salt, 61, 62
+
+  Wormwood--Here's fine, 115
+
+
+  Yards and Ells, 61
+
+  Yorkshire Cakes, 254
+
+  Yorkshire Muffins, 116
+
+  Yarmouth Bloaters, 237
+
+
+  Cry--_Much cry, but little wool_, 120
+
+  Crying Things in London, 73
+
+  Curds--A cheesewoman, 81
+
+  Cutler's Poetry upon a knife, 52
+
+
+  Deacon's Music Hall, 131
+
+  Decker, Thomas, _alias_ Dekker, 50
+
+  Deuteromelia, or Roundelays, 70
+
+  Dick Tarlton--Jester, 136
+
+  Dick, The Shoe Black, 155
+
+  Dimsdale--Mayor Garrett, 199
+
+  Ditty--A ballad-man, 80
+
+  Dogberry--The Watchman, 49
+
+  Drunken Barnaby at Holloway, 117
+
+  Duke of Devonshire's drawings, 63
+
+  Dumpling Woman--The, 253
+
+  Dunstan--Sir Jeffery, 196
+
+     "     Mayor of Garrett, 197
+
+     "     Death of, 198
+
+  Dustman--The, 249
+
+  Dying Speeches, 160, 172
+
+       "    Albert Smith's, 173
+
+       "    Ann William's, 163
+
+       "    Wm. Corder's, 170
+
+       "    Couvoisier's, 112
+
+       "    Greenacre's, 171
+
+       "    Thurtell's, 167
+
+
+  Earl of Ellesmere, 73
+
+  Eastern Cheap-Market, 8
+
+  Eastwood ho!--A Comedy, 62
+
+  Ebsworth--Rev. J. W, 83
+
+  Edmonton, 137, 138
+
+  Ely Place--The orchards in, 108
+
+  Elizabeth--Queen, 35, 64
+
+  ELIZA COOK, MISS, POEMS:--
+    Christmas Holly, 244
+    Hot-Cross Buns, 210
+    Old Cries, 244
+    Young Lambs to Sell, 221
+
+  Enfield--Charles Lamb at, 136
+
+
+  Falstaff and Henry V, 8
+
+  Faux-Hall, 23
+
+  Field Lane and Fagan, 6
+
+  Fiddler--The blind, 283
+
+  Finsbury, its groves, 139
+
+  Flower Girls--Saucy, 128
+
+  Flower Pot Man--The, 240
+
+  Flying Stationer--The, 159
+
+  Fish-Fags, 236
+
+  Fish-Wives, 29, 32
+
+  Fisherwomen, 234
+
+  Fortunes of Nigel, 40
+
+  Fortey Mr. _late_ Catnach, 194
+
+
+  Garratt--Mayor of, 197, 200
+
+  George Cruikshank, 222
+
+  George Daniel--Mr., 133
+
+  George Dyer, 133
+
+  Gingerbread Lottery, 350
+
+  Goldsmith--Oliver, 135
+
+  Gravesend and Milton, 10
+
+  Grey Friars, 18
+
+  Greenacre, 172
+
+  Greene Robt,--_Never too Late_, 64
+
+  Grim--The Black Collier, 96
+
+  Grimaldi--Old Joe, 132
+
+  Gum--A tooth drawer, 81
+
+  Guy Fawkes--Guy, 226
+
+
+  Halliwell Street, 90
+
+  Heath--A broom-man, 80
+
+  Hearth Stone Merchant, 158
+
+  Herb-wives, unruly people, 35
+
+  Herb-wife--The, 274
+
+  Herrick, Robert--Pretty Jane
+
+          "        Hesperides, 50
+
+  Heywood, T.--Rape of Lucrece
+
+  Hobbyhorse-seller--A, 75, 106
+
+  Hogarth's Print of "_Evening_", 131
+
+     "      "_Enraged Musician_", 32
+
+     "      Idle 'Prentice, 149
+
+     "      Pieman, 214
+
+  Holborn, 12, 35
+
+     "     Green Pastures in, 139
+
+  Holloway Cheese-cakes, 117
+
+  Holywell Street, 203
+
+  Hone's Every-Day Book, 132, 155
+
+  Hornmen, 150
+
+  Hot Codlings--A Catch, 101
+
+  Hucksters, 35
+
+  Hugh Myddleton, 131
+
+  Hyde Park, 20
+
+
+  Inigo Jones' collection of drawings, 63
+
+  Iron-Tailed Cow--The, 143
+
+  Islington, 131
+
+      "    Clerks from, 155
+
+      "    Garland, 131, 135
+
+
+  Jack Drum's Entertainment, 117
+
+  "Jerry" the spec builder, 139
+
+  Jigs on the Stage, 80
+
+  Jin Vin. in Prentices-riots, 41
+
+  John Bunyan--A Tinker, 100
+
+  John Howard, 126
+
+  John Stow's Survey of London, 2
+
+  John Taylor--The Water-Poet, 90
+
+  Johnson, Dr. on London-cries, 36
+
+
+  Kate Smith--Milkmaid, 241
+
+  Kelly--Frances, M., 137
+
+  Kempe--A Comedian, 90
+
+  Kent--Lambarde's, 10
+
+
+  Lackpenny--_see_ London
+
+  Lambeth, 23
+
+  Lauron's Cries--see Mauron
+
+  Law, Thomas--The Bellman, 53
+
+  Lawyer's and Suitors, 11
+
+  La Zoon--Partrait Painter, 103
+
+  Lettuce Woman--The, 57
+
+  Life in London, 8
+
+  Light of other Days--The, 63
+
+  Liston, W., "London Crier", 220
+
+  London, Barrow Women, 112, 222
+
+     "    Bridge, 25, 26
+
+     "    Chanticleers, a Comedy, 79
+
+     "    Labour, 7
+
+     "    Lackpenny, 2, 3, 10
+
+     "    Lawyers, 11
+
+     "    Milk Carriers, 139 to 147
+
+     "    'Prentice riots, 42, 45
+
+     "    Stall Keepers, 11
+
+     "    Stone--The, 7, 11
+
+     "    The Three Ladies of, 12
+
+     "    Wall--The, 17
+
+     "    Without lamps, 51
+
+  Ludgate--Poor Prisioners in, 17, 18
+
+  Lupton's London (1632), 234
+
+  Luttrell's Collection of Broadsides, 52
+
+  Lydgate--A Monk, 1, 2, 7, 9
+
+     "     his numerous works, 2
+
+     "     his London Lackpenny, 2, 3, 10
+
+     "     Cornhill in his time, 9
+
+     "     Mackerel in his day, 29
+
+
+  Madame Vestris--Her legs, 223
+
+  Maria Marten, & Corder, 168
+
+  Marylebone, 20
+
+  Mauron's-_alias_-Lauron--"Cryes,", 31, 103
+
+  Mayhew's, H., London Labour, 7, 152, 165
+
+  Mayors of Garratt, 127, 200
+
+  Merry Bellman's--Out-Cryes, 52
+
+  Merry Drollery--The, 83
+
+  Milliner's Girls, 70
+
+
+  Nassau Press--The, 195
+
+  Ned Ward--His Time, 124
+
+  Nell Gwynne, 57, 109 to 112
+
+  New Exchange--Strand, 70
+
+  New River--First View of, 130
+
+      "      And Charles Lamb, 130
+
+  News-criers, 150
+
+  Newgate, 18
+
+  Nightingale--A ballad-singer, 75
+
+  Novello--Mr. Vincent, 136
+
+  Northumberland House, 25
+
+
+  Milk--London supply of, 142
+
+  Milkmaids, 141
+
+  Milkman--The Poetical, 147
+
+  Milk and water, 139
+
+  Milk from the Cow, 244
+
+  Miller's Golden Thumb, 92
+
+  Milton's Il Penseroso, 50
+
+  Misson's Travels, 140
+
+  Moorfields, 18
+
+  Moorgate, 17
+
+  Morely,--A Musical Composer, 70
+
+  Morose--A Character, 28, 33
+
+  Mother Red Cap--Holloway, 117
+
+  Much cry, but little wool, 120
+
+  Muffin Man--The, 202
+
+  Muffin and Crumpet Company, 201
+
+  Murder of Mr. Weare, 165
+
+
+  Okes--A printer (1632), 234
+
+  Old clo'--A Jew's monopoly, 39
+
+       "    And Coleridge, 60
+
+  Old Parr's Head--The, 131
+
+  Old Stage waggon--The, 21
+
+  Oliver Twist, 6
+
+  Orange-women, 29, 32, 57
+
+  Oranges imported by Sir. W. Raleigh, 109
+
+  Orlando Gibbons--Musician, 72
+
+  Oyster-wives--unruly people, 35
+
+  O Yes--a mad merry ditty, 52
+
+
+  Pammelia--a musical work, 78
+
+  Paris Gardens, 90
+
+  Pastyme of Pleasure--The, 2
+
+  Paul Mr.--And Catnach, 195
+
+  Paul's Wharf, 25
+
+  Pedlar's French, 64
+
+  Pepy's--His collection, &c., 102
+
+  Pewter Pots, 8, 197
+
+  Pewterer's 'prentice, 28
+
+  Phillips--A comedian, 90
+
+  Pieman--London The, 211 to 219
+
+  Pie Shops--The Penny, 127
+
+  Pie-Poudre--A court of, 76
+
+  Pimlico--A country hamlet, 21
+
+  Pinner-up--Of songs, 193
+
+  Pitts--Ballad-monger, 161
+
+  Place Maubert, 236
+
+  Plate-glass windows, 6
+
+  Playford's Select Ayres, 87
+
+  Pope Thos.--Famous Clown, 90
+
+  Pope's Head--in Cornhill, 10
+
+  Porson--on Barrow-woman, 112
+
+  Potatoes--In reign of James I., 72
+
+  Powder-Watt, 121
+
+  Puddle Dock, 25
+
+  'Prentice Riots, 44
+
+  Prick Song--What!, 52
+
+
+  Queen Anne's--London, 47
+
+
+  Rabbit Man--The, 273
+
+  Raddish and Lettuce-woman, 57
+
+  Ragg--The Bellman's copy of verses, 52
+
+  Ragged School, 157
+
+  Rat-catcher--The, 59
+
+  Red Barn--Murder at, 168
+
+  River Fleet, 17
+
+  Robatos--a kind of Ruff, 71
+
+  Roger Warde--Printer (1584), 12
+
+  Rome mort--Romville, 64
+
+  Roxburghe Ballads--The, 71, 80, 89, 113
+
+  Rushes--Green, the strewing of &c., 7, 8
+
+  Ryle--Mrs. Anne, 194
+
+
+  Saint Fear--Years of, 52
+
+  St. Dunstan's Church, 41, 71
+
+  St. James' Park, 21
+
+  St. Pauls' Cathedral, 43
+
+  Salt, sold in the streets, 62
+
+  Sausage-Woman The, 58
+
+  Second Edition--Sellers, 152
+
+  Seven Dials, 164
+
+  Shakespeare's London, 16 to 27
+
+  Shancke, John--Comic actor, 89
+
+  Shoe-Black--The, 155
+
+  Shoe-Blacks--Last of the, 153
+
+  Shoeblack Society, 157
+
+  Shopkeepers--Loud bawling, 6
+
+  Shoreditch-church--Fields, 33, 90
+
+  Singer--A Comedian, 90
+
+  Sir Hugh Myddleton's Head, 131
+
+  Songs--3 yards a penny, 187
+
+  Sow--Gelder's Horn, 32, 119
+
+  Spectacles, first sold, 5
+
+  Spectator, The--on London cries, 118
+
+  Spring water--Here?, 129
+
+  Stall-keepers--The, 11
+
+  Statutes of the Streets, 48
+
+  Stow's Survey of London, 2, 50
+
+  Strawberries in Holborn, 108
+
+  Strawberry-Woman--The, 276
+
+
+  Tarlton, Comedian, 20
+
+  Tempest's, P. Cries of London, 102
+
+  Theatres--Bankside, 23
+
+      "     The Cockpit, 79
+
+      "     Covent Garden, 23
+
+      "     The Curtain, 89, 90, 95
+
+      "     Drury Lane, 23
+
+      "     The Globe, 22, 89, 90, 95
+
+      "     The Hope, 75
+
+      "     Red Bull, 64, 89, 95
+
+      "     Sadler's Wells, 130, 132
+
+      "     The Theatre, 64, 90
+
+      "     The Swan, 89, 90, 95
+
+  Thurtell--John, Murderer, 165
+
+      "     Hook's verses on, 166
+
+  Three Ladies of London, 12, 15
+
+  Tiddy-Doll--Vendor of Gingerbread, 148, 264
+
+  Tinker--The Jolly, 302
+
+  Troop--Every One, 106
+
+  Tripe-wives--unruly people, 35
+
+  Trotter Yard--The, 7
+
+  Turner's Dish of Stuff, 89, 91
+
+
+  Veal, with a _hammy_ knife!, 239
+
+
+  Watchman--The London, 46
+
+  Water Carrier--The, 129
+
+  Water-Poet--_see_ John Taylor
+
+  Walter Raleigh and oranges, 109
+
+  Weare Mr.--The Murder of, 165
+
+  What do you lack?, 7, 41
+
+  Windsor Drollery--The, 87, 101
+
+  Wood--Any to cleave?, 15
+
+  Wotton, Towns End--Tune of, 89
+
+  Wynter, Dr. on our milk supply 142
+
+
+  Yea by cock, 8
+
+  Ye Bridge-foot, 234
+
+  Year of Saint's Fear, 52
+
+
+
+
+FOOTNOTES:
+
+[1] "The England of Shakespeare," by E. Goadby--Cassell, Petter, Galpin &
+Co., London, E.C.
+
+[2] For the use of the woodcut blocks representing the "Smith Arms," and
+the Globe Theatre, we are indebted to our friend Mr. John W. Jarvis,
+author of "Musee-Phusee-Glyptic: A Scrap Book of Jottings from
+Stratford-on-Avon, and Elsewhere," London, 1875, who introduces them into
+the pages of his work thus:--
+
+    "Not long since, after a pleasing and interesting walk, one fine
+    morning on Bankside, and standing near the still existing Cardinal Cap
+    Alley, with the aid of an artist friend, we drew up a fancy picture of
+    what Bankside was in Shakespeare's day.--Here a small creek with craft
+    and busy life around; a small bridge, with road leading to the Globe,
+    the famous theatre afterwards to be so widely known. The sunshiny time
+    of our literature and life, making a red-letter period in happy old
+    England's history. We were interrupted by a kindly-faced,
+    round-shouldered man of the bargee type, who asked us 'if it was
+    Shakespeare, him as writ plays, we was a torkin' on; if so be it were,
+    he could show us the wery 'ouse he used, least ways, all as is left on
+    it.' After a twisting tramp through Cardinal Cap Alley, we were
+    brought out opposite the public-house known by the name of the 'Smith
+    Arms,' which had just then only escaped entire demolition from fire by
+    a very near chance--(the damage done has since necessitated the
+    rebuilding; so the sketch stands as a bit of rescued old London.)
+
+    "Our informant assured us that--'Shakespeare as had a playus nigh
+    there, used to use that wery 'ouse; him as writ the Merchant of
+    Venice, Money, and the Forest of Bondy.' Our kind friend was
+    interrupted by a companion, who said, 'Not Bondy: him didn't write
+    that.' 'I won't give up Money, because the Merchant of Venice is all
+    about Money. You better say he didn't write Richard the Third and
+    Richard the Fourth.'
+
+    "We gladly retired before our historic doubts were confirmed by this
+    traditional scholar, about this double Gloucester. His companion, as
+    we thought rather aptly, but churlishly remarked, 'cheese it,' for
+    they were both getting grumpy, and after this duplicate, we were
+    fearful a fifth or a sixth might appear. But the house itself, one
+    among the oldest in Southwark, we considered worthy a sketch, and, as
+    our guide told us, ought to be '_perpetrated_.' He said he could pull
+    a bit, but draw he couldn't; but he did--that is, four-pence for
+    beer."
+
+[3] PRICK-SONG, music pricked or noted down, full of flourish and
+variety.--_Halliwell._
+
+[4] NOISE.--A set, or company of musicians. "_These terrible noyses, with
+threadbare cloaks_,"--_Decker's Bellman, of London_, 1608.
+
+[5] _Pie-Poudre._ A court formerly held at a fair for the rough-and-ready
+treatment of pedlars and hawkers, to compel them and those with whom they
+dealt to fulfil their contracts. This court arose from the necessity of
+doing justice expeditiously, among persons resorting from distant places
+to a fair or market. It is said to be called the court of _pie-poudre,
+curia, pedis pulverizate_, from the dusty feet of the suitors, or, as Sir
+Edward Coke says, because justice is there done as speedily as dust can
+fall from the feet.
+
+[6] _The Tune of Wotton Towns End_, is the same as "Peg a' Ramsey,"
+mentioned by Shakespeare in Twelfth Night, and is at least as old as 1589.
+It is also in "Robin Good-Fellow: His Mad Pranks, And Merry Jests, Full of
+Honest Mirth, &c., 1628."
+
+[7] The Curtain Road, now notorious for cheap and shoddy furniture, still
+marks the site of the Curtain Theatre; at the same date there was another
+playhouse in the parish of St. Leonard, Shoreditch, distinguished as "The
+Theatre," where the Chamberlain's Company had settled. John Stow, in his
+Survey of London, 1598, speaking of the priory of St. John Baptist, says:
+"And neere thereunto are builded two publique houses for acting of shews
+of comedies, tragedies, and histories, for recreation. Whereof is one
+called the "Courtein," the other "The Theatre;" both standing on the South
+West side toward the field." In both these James Burbadge may have been
+interested; his long residence in the parish may fairly lead to the
+conclusion, that he was a sharer in at least one of them. Richard Tarlton,
+the famous actor of clown's parts, was a near neighbour of James Burbadge,
+and a shareholder and performer at the Curtain. Thomas Pope, a performer
+of rustic clowns, by his will dated July, 1603, left--"All my part, right,
+title, and interest which I have in the playhouse, called the Curtein,
+situated and being in Halliwell, in the parish of St. Leonard's in
+Shoreditch, in the County of Middlesex." At what date one or the other of
+these early Suburban playhouses ceased to be occupied, we have little or
+no satisfactory evidence.
+
+[8] Stoke's Rapid Plan of Teaching Music.
+
+[9] The Old Parr's Head, in Upper Street, Islington.
+
+[10] BLACK JACK. A huge leather drinking vessel. A Frenchman speaking of
+it says, "The English drink out of their boots."--_Heywood._
+
+[11] BEAU-TRAP:--A loose stone in the pavement under which the water
+lodges in rainy weather, which when trodden on squirts it up to the great
+damage of light-coloured clothes and clean stockings. First invented by
+Sedan-chairmen, whose practice it was to loosen a flat-stone so that in
+wet weather those that choose to save their money by walking, might, by
+treading on the "trap" dirt their shoes and stockings.
+
+[12] Pitts, a modern publisher of love garlands, merriments, penny
+ballads, &c.
+
+  "Who, ere he went to heaven,
+  Domiciled in Dials Seven!"
+                              George Daniel's, "_Democritus in London_."
+
+[13] Lockhart's "Life of Sir Walter Scott."
+
+[14] The whole market has been rebuilt during these last few years, &
+Darkhouse-lane abolished.--C. H.
+
+[15] In the glee, "Merrily rang the Bells of St. Michael's Tower," we are
+told that Richard Penlake had a shrew for a wife, and though she had a
+tongue that was longer, yet--
+
+  "Richard Penlake a crabstick would take
+  And show her that he was the stronger."
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted characters are indicated by {superscript}.
+
+Period errors, comma errors, and mismatched quotation marks have been
+corrected without note.
+
+Items in the index are out of order and some do not include missing page
+numbers. These are presented as in the original text.
+
+The original text contains hyphen and spelling variants and spelling
+errors that have been retained.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of A History of the Cries of London, by
+Charles Hindley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE CRIES OF LONDON ***
+
+***** This file should be named 37114.txt or 37114.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/7/1/1/37114/
+
+Produced by 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
+
+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 MERCHANTIBILITY 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.
diff --git a/37114.zip b/37114.zip
new file mode 100644
index 0000000..5420e53
--- /dev/null
+++ b/37114.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..5594dfc
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #37114 (https://www.gutenberg.org/ebooks/37114)