[☞ SECOND EDITION.—GREATLY ENLARGED.]
[Entered at Stationers’ Hall. ☞All Rights Reserved.]
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.
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“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
Rectory Road, Stoke Newington,
London, N.
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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:—
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
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,
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,
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,
Mr. 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,
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.
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In Memoriam. The Rev. T. HUGO, M.A. Rector of West Hackney Church. Departed this life, Sunday, December 31st, 1876. |
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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, “Ye 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
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.
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.
[John Bewick, del. et Sculp.]
THE SAD HISTORIAN.
Published January 1, 1795, by William Bulmer, at the
Shakespeare Printing Office, Cleveland Row.
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.
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.
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.
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.
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.
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.”
The Peacock.
(Pavo cristatus, Linn.——Le Paon, Buff.)
(From Bewick’s Land Birds.)
The Common Sandpiper.
(Bewick’s Water Birds).
The Water Ouzel.
(Bewick’s Water Birds.)
The Snipe.
(Bewick’s Water Birds.)
The Redstart.
(Bewick’s Water Birds.)
FIRST STATE!
“The Little House” and Pig, &c.
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“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. |
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.”
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.
The Water Rail.
(Bewick’s Water Birds.)
The Red-necked Grebe.
(Bewick’s Water Birds.)
The Chillingham Wild Bull.
Used in Richardson’s Table Book, Vol. vi p. 15.
⁂ Attributed to T. Bewick.
T. Bewick.
Gin and Bitters.
The Sportsman’s Cabinet, 1803.
“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.
“Many of the engravings produced for Burns’ Poems, are of a very superior class, and cannot be too highly commended.”—Hugo.
“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.
Jackson’s: A Treatise on Wood Engraving.
See Hugo’s “Bewick Collector.”—The Supplement.
The Repository of Select Literature.
Adorned with beautiful Engravings by Bewick.
Alnwick: Printed by W. Davison, 1808.
Arms of Newcastle.
(Signed Bewick, Sculpt.)
Bull Pursuing a Man.
The Poetical Works of Robert Ferguson, with his Life.
Engravings on Wood by Bewick.
“Sandie and Willie.”
The Poetical Works of Robert Ferguson.
Alnwick: Printed by W. Davison.—1814.
Scottish Ballads and Songs.
Printed and Sold by G. Nicholson,
Poughnill, Near Ludlow.
G. Nicholson, Printer,
Poughnill, near Ludlow.
G. Nicholson, Printer,
Poughnill, near Ludlow.
G. Nicholson, Printer.
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“Not to return, how painful the remembrance Of joys departed,” |
Blair’s Grave.
Alnwick: Printed by Catnach and Davison,—1808.
From Newcastle.
Hugo’s Bewick’s Woodcuts, No. 1333.
View of Strawberry Hill.
With Shield of Arms of the Hon. Horace Walpole.
Mr. Bigge’s cut of the
Figure of Liberty.
Tyne-side Scene,
With Shield of Arms.
A Churchyard Memorial Cut.
The Sportsman’s Calender. 1818.
Hugo’s “Bewick’s Woodcuts,” No. 1309.
The Dog in the Manger.
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.
 Fox and the Grapes. |  The Crow and Pitcher. |
 The Foolish Stag. | |
 Joseph and his Brethren. | |
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| T. Bewick.—Sculpt. | ||
[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.
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.
“O death, where is thy sting? O grave, where is thy victory?”
A HISTORY
OF THE
CRIES OF LONDON.
HISTORY
OF THE
CRIES OF LONDON.
———
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“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.
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“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:—
London Lackpenny.
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:—
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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:—
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“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.
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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.
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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.
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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.”
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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:—
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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:—
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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.
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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.
The London Stone.
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:—
Enter Conscience, with brooms, singing as followeth:—
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.’”
SHAKESPEARE’S LONDON.
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“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.
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.
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.
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.
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!
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“‘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!
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.’
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.