"The Thames marks the sharp division between what Lord Beaconsfield called 'the two nations.' On one side we have our nearest English approach to architectural magnificence; on the other there is a long perspective of squalid buildings—smoke-begrimed, half-ruinous, and yet not altogether unlovely."—Magazine of Art, January, 1884. "Befel, that in that season, on a day Near to the fishy and noisy purlieus of the "Monument," London Bridge crosses the river into Southwark. London Bridge is the terminus for big ships; from its parapet is seen, as far as the misty Tower Bridge, a vast city of masts, sails, and wharves. Big steamers often make this their starting-point for excursions, and sails of Venetian colour charm the eye. In cold winters the sea-gulls, flying hither in myriads from the icy North Seas, come to the Londoner's call, sure of food and welcome, filling grey sky and silvery river with an ever-changing constellation of white wings; "a blaze of comet splendour." Wild birds, like children, know their friends. Close to the foot of London Bridge, on the Southwark side, is the fine cruciform church of St. Saviour's, lately restored on the lines of the ancient edifice. This church, which had formerly been much mutilated by careless and tasteless "restorers," was in long past times the Norman Priory of St. Mary Overy, and its old nave, of which the fragments may yet be seen, was built in 1106 by Gifford, Bishop of Winchester. A century later, another Bishop built the choir and Lady Chapel, and altered the character of the nave from Norman to Early English. Then, at the Dissolution, St. Mary Overy was made into a parish church by Henry VIII., and since 1540, it has been known as "St. Saviour's." The early Saxon dedication to "St. Mary Overy" commemorates the romantic story of the rich old ferryman's lovely daughter, of pre-Conquest times, who, losing her lover by a fall from his horse, retired into a cloister for life, devoting her paternal wealth to the founding of a priory. The story is charming, but somewhat misty; it suggests, however, the advantages accruing to ferrymen when there were no bridges on the Thames! An ancient, nameless, ghoul-like figure, in St. Saviour's Church, is still pointed out as the old ferryman, father of the foundress; but this is probably traditional. Skeleton-like figures, not representing any one in particular, were not infrequently placed about in mediÆval churches; in order, perhaps, to bring the congregation to a sufficiently sober frame of mind, as well as to recall to them their latter end. The tombs in the church are mainly in the transepts, and are nearly all of them interesting. The finely-restored "Lady Chapel," behind the altar, contains the tomb of Lancelot Andrewes, Bishop of Winchester, with a long Latin inscription of 1626; a recumbent painted effigy, on a black-and-white marble tomb. This Lady Chapel has tragic associations; it was used in the time of "Bloody Mary" as the Consistorial Court of Gardiner, Bishop of Winchester; and here those sturdy martyrs, Bishop Hooper and John Rogers, Vicar of St. Sepulchre's, were condemned to be burnt (the popular feeling for Rogers being such as necessitated his removal by night secretly to Newgate). The most famous grave in St. Saviour's is that of John Gower, the fourteenth-century poet, and friend of Chaucer. Here, near the east end of the north wall of the nave, the effigy of the poet, painted, like that of Lancelot Andrewes, a figure of striking beauty, lies on a sarcophagus under a rich gabled canopy. Stow thus describes the monument: Gower was a rich man for a poet, and gave large sums in his time for the rebuilding of the church; hence was written the following epigram: "This church was rebuilt by John Gower, the rhymer, Gower's three chief works, on which his head rests, are his Vox Clamantis, Speculum Meditantis, and Confessio Amantis. Many other curious tombs and epitaphs are in this church. One, especially, of the latter, a tablet to a little girl of ten, Susanna Barford,—a child the "Non such of the world for piety and vertue in soe tender yeares,"—tells how: "Such grace the King of Kings bestow'd upon her And in the north transept, there is a curious monument to Dr. Lionel Lockyer, the pill inventor—a large bewigged, reclining figure of Charles II.'s time—suffering, apparently, despite his infallible nostrums, from terrible internal spasms. Perhaps, however, these may bear some mystic reference to the long accompanying epitaph about "undying Pills," showing that already in the seventeenth century advertisement could be strong even in death! Close to Lockyer's tomb are heaped up a number of strange wooden painted gargoyles or "bosses," preserved and brought here from the fallen-in fifteenth-century roof of the nave, some of them bearing most weird devices. One, conceived apparently in the Dantesque spirit, represents a giant, or devil, "champing" a half-eaten sinner,—the lower half of whom, dressed in gaudy colours, projects from the large "Edmund Shakespear, player," and brother of the poet,—Fletcher,—and Massinger,—are buried here; three stones in the choir bear their names; the exact place of their graves is not known. The church is now well-kept and carefully tended; it is open daily to the visitor, who may walk about it without let or hindrance. Like so many other London churches, it has in its time suffered less from the depredations of the plunderer than from those of the more dangerous "restorer." As usual, a long period of neglect and decay was followed by iconoclastic cleaning and setting in order. Generally, for a considerable time after the Dissolution, the convent churches and others were left to the tender mercies of the parishioners, who, naturally, could not always afford to keep them in proper condition; then abuses crept in, thefts took place; and the disused churches, as St. Paul's itself, were often degraded to stables, or used as storage for litter. Then, after long years, the authorities, perhaps, came to the rescue, and, turning out the encroaching and invading devils, let in other devils far more wicked, in the shape of so-called "restorers." Wonder, indeed, is it that so much is left to us! The "restorers" usually began by whitewashing all the columns of dark Purbeck marble, blackening the effigies into one uniform tint, and covering the discoloured carvings of the walls with stucco, for the better reception of which they even (as may be seen at St. Saviour's) whittled away bits of fine stone sculpture. To wander down the "Borough" High Street—that noisy and essentially modern district,—in search of Chaucer's famous Cricket in the Street. The lost Ball. If this lady be not a cynic, she at any rate embodies a great deal of the philosophy of life! "In the Borough there still remain some half-dozen old inns which have preserved their external features unchanged. Great rambling queer old places, with galleries and passages and staircases wide enough and antiquated enough to furnish materials for a hundred ghost stories." At the old "White Hart," now destroyed, Dickens first introduced to the world the immortal Sam Weller, as he appeared cleaning the spinster aunt's boots after that sentimental lady's elopement with the deceiving Mr. Jingle. These old inns, in the heyday of their prime, were made still more famous by the open-air theatrical representations that took place in their balconied courtyards. Toil and trouble, the eternal struggle-for-life, may be the portion of "the Surrey Side" to-day, but in Shakespeare's time it was principally noted for its amusements and its junketings. Now, the chief buildings of Southwark and Walworth are gaols and asylums, and its best-known localities are the omnibus terminuses, dignified mysteriously by names of public-houses,—such as the "Elephant," &c. Even the dramatic tastes of the people "over the water" are now supposed to be primitive; and "transpontine" is the adjective applied to melodrama that is too crude for the superior taste of northern London. Yet here, in Shakespeare's day, were all the most fashionable theatres—theatres, too, frequented by all the literary and dramatic lights of the day. Here stood that small martello-tower-like theatre, the "Globe," the "round wooden 'O'" alluded to in Henry V., where Shakespeare and his companions played; here also were the "Rose," the "Hope," and the "Swan." And below St. Saviour's, and its neighbouring Bishops' Palace and park, were the localities known as "Bankside" and "Paris Garden," the former famous for its bull and bear-baiting ("a rude and nasty pleasure," says Pepys), the latter for its theatre, and also for its somewhat Winchester House, the ancient palace of the Bishops of Winchester, stood in Tudor days between St. Saviour's and the river; "a very fair house, with a large wharf and a landing-place." Here Bishop Gardiner lived in great state, and here, to please his patron the Duke of Norfolk, he arranged "little banquets at which it was contrived that Henry VIII. should meet the Duke's niece, Katherine Howard, then a 'lovely girl in her teens.'" Poor thing! in a short year or two her head was destined to fall, by the headsman's axe, within the precincts of the gloomy Tower, on the river's opposite bank! The extent of the old palace is uncertain; its remains are now nearly all destroyed, except an old window and arch, built up into the surrounding warehouses. The name, however, of the "Clink," the prison used by the Bishops for the punishment of heretics, still exists in the modern Clink Street. In the same way, A County Court. "A bed and bedding" (he writes) "were sent over for me" (from the Marshalsea), "and made up on the floor. The little window had a pleasant prospect of a timber-yard; and when I took possession of my new abode, I thought it was a Paradise." "The Crown Revenues," Dickens further adds (in describing If Southwark contained many doubtful characters in Shakespeare's time, it contains, as Mr. Charles Booth's book shows us, some "black spots" of crime still! The old Marshalsea and the King's Bench Prisons must always have been a centre of drifting and shiftless population. All parts of the "Borough" do not enjoy a thoroughly good reputation; bad sanitation, overcrowding, all the worst sins of the much-abused "East End," may here too be seen. "Is any one," asks a recent writer, "ever young in the Borough? Is not carking care their birthright?" In crowded Southwark and Walworth, round the "Elephant,"—the mysterious "Elephant," to which all roads lead,—"aflare, seething, roaring with multitudinous life," are miserable human rabbit-warrens, where they even live ten in a room. "Pore, sir," cries Mrs. Pullen (one of the submerged), "pore! why, the Mint, sir, the Mint, sir, is known for it; you've 'erd on it your ways, ain't you?" Mrs. Pullen held up her hands and laughed, as if she was really proud of "the Mint and its poverty." But, though the Borough children—poor little wastrels—are still wild,—Education, it seems, is slowly taming them. Those who are interested in the children of the poor,—and who is not?—should read Mr. Charles Morley's sympathetic "Studies in Board Schools," a considerable portion of which refers to Walworth and the Borough. The redeeming of the infant population of London is surely a noble work, and nowhere are the parental methods of the Board Schools so well set forth as in that delightful volume, real with the reality of life, and, like life itself, something between laughter and tears. Life has few mysteries for the Borough child, whose garments are strange and weird, whose voice "soon loses any infantine sweetness it may possess. Some of the ragged mites of girls of the Borough will even rap out an oath which would shock "The Farm House" (he says), "is a strange mansion to find in the heart of the Marshalsea—just over the way is the site of the famous prison. The graveyard of St. George the Martyr is now a public garden, grim enough, to be sure, with its black tombstones and soot-laden balsam poplars. On one of the walls is placed a board on which is printed the legend: 'This stands on the site of the Marshalsea Prison described (or words to this effect) in Charles Dickens's well-known novel, Little Dorrit.' The Farm House was once the town dwelling of the Earls of Winchester. It has an ancient time-worn front, a court, mysterious chambers, old oak panels upon which you can just make out some of the old Winchester ladies and gentlemen; a curious old staircase; and I daresay a ghost or two if one went into the matter. But for a long time past it has been a common lodging-house. Beds in a haunted chamber may be had at fourpence a night. Many a strange history could those white-washed walls tell if they could speak, I dare say—of the good old days in Henry the Eighth's time, and even of more recent years. Many a man who began life with the hopefullest prospects has been glad to hide his head in the old Farm House, down Marshalsea way, Borough." "Misery," continues this writer, "is strangely prolific; every hovel, every court, every alley teems with children," "little mothers" carrying heavy babies, like Miss Dorothy Tennant's tender picture, A Load of Care ... that heavy, heavy baby, weighing down that tiny, tiny nurse.... Nota Bene: There always is a baby. By the time a little wool appears on the head of number one, number two appears, and so on—well, nearly ad infinitum. There is no doubt whatever that babies are the bugbears of the Borough ratepayers." The Board Schools in these districts teach, it appears, not "Housewifery" (says Mr. Morley) "is the birthright of the children of the poor.... Every mite of a girl down in the East or South ... is a housewife by the time she is six.... Often enough when times are hard and funds very low—when father is out o' work, and mother's bad in bed—does the poor little mother set forth with scrubbing-brush in hand, and clean the door-steps of the prosperous for twopence or threepence, according to the size and number of the steps. She probably lights the fire of a morning; it is her delight to go shopping to the remarkable establishment where most of the necessities of life are to be obtained by the farthing's-worth; and with the mysteries of marketing she is very well acquainted indeed. You should just see her in Bermondsey, the Walworth Road, the Dials, the New Cut, or Whitechapel on a Sunday morning, when these localities are alive with poor people buying their dinners. Road and footpath are blocked with stalls and barrows, and flesh, fish, fowl and vegetables are all jumbled together in confusion that is apparently inextricable. But little mother knows her way about, and whether it is red meat or white meat, beef, mutton or rabbit, trust her for getting a bargain, for keeping a sharp eye on weight and measure. A farden is a farden in districts where a penny is a substantial coin of the realm." The "Surrey Side" is noted for its hospitals, as well as its prisons and its slums; and of these "Guy's Hospital," on the left of the Borough High Street,—an eighteenth-century foundation, due to the wealth of a Lombard Street bookseller named Thomas Guy,—is one of the most important. This Guy was in his way a miser, and his savings were vastly increased by dealings in South Sea stock,—showing that some good, at any rate, was wrought by the terrible "Bubble" that ruined so many thousands. Yet the hospital narrowly escaped losing the rich man's bequest. He was on the point of marrying his pretty maid, Sally, when, his bride offending him by officious interference, he broke off the marriage, and endowed the present hospital with his great wealth. A blackened brass statue of the founder stands in the courtyard of the edifice. If Chaucer, with his ever memorable Canterbury Pilgrims, did much to immortalise the Southwark of mediÆval times, "I found the outer front courtyard metamorphosed into a butter shop; and I then almost gave up every brick of the jail for lost. Wandering, however, down a certain adjacent 'Angel Court, leading to Bermondsey,' I came to Marshalsea Place, the houses in which I recognized, not only as the great block of the former prison, but as preserving the rooms that arose to my mind's eye when I became Little Dorrit's biographer.... Whoever goes into Marshalsea Place, turning out of Angel Court, leading to Bermondsey, will find his feet on the very paving-stones of the extinct Marshalsea jail; will see its narrow yard to the right and to the left, very little altered if at all, except that the walls were lowered when the place got free; will look upon the rooms in which the debtors lived; will stand among the crowding ghosts of many miserable years." Dickens's boyish recollections of the ancient debtors prison have, as was perhaps natural, sometimes more than a tinge of bitterness; here he passed to and fro during wretched childish years, between the daily drudgery of covering blacking pots at "Murdstone and Grinby's," down by Hungerford Stairs. More wretched, indeed, far, than any modern Borough waif, was this neglected and sensitive child of genius. The intense torture of his degradation (as he thought it) was never wholly forgotten. In this connection he tells (in Forster's Life) a pathetic "I was too proud" (he says) "to let him know about the prison; and after making several efforts to get rid of him, to all of which Bob Fagin in his goodness was deaf, shook hands with him on the steps of a house near Southwark-bridge on the Surrey side, making believe that I lived there. As a finishing piece of reality in case of his looking back, I knocked at the door, I recollect, and asked, when the woman opened it, if that was Mr. Robert Fagin's house." While the boy suffered thus acutely, his father lived on in a Micawberish way at the Marshalsea, being merely of the amiable, shiftless, idle genus that drags its family down. For the rest, they did well enough at the Marshalsea: "The family," the son wrote, "lived more comfortably in prison than they had done for a long time out of it. They were waited on still by the maid-of-all-work from Bayham Street, the orphan girl from Chatham workhouse, from whose sharp little worldly, yet also kindly, ways I took my first impressions of the "Marchioness" in The Old Curiosity Shop." Yet Destiny works in strange and devious ways, and all the while, if he had only known it, the Fates were conspiring for Charles Dickens's good. It was the father's misfortunes that really taught the boy all he needed to learn. Here, amid the unsavoury purlieus of the prison, he unconsciously studied all the types and localities of which he was to make such wonderful use in after-life. The Marshalsea and its ways; Lant Street and Bob Sawyer; "Tip," "of the prison prisonous, and of the streets streety"; Sam Weller at the "White Hart;" Nancy at London Bridge Steps; Sikes and Folly Ditch; with a hundred others,—were, more or less, to be the outcome of that time. The glamour of a romantic past, the spirit of Chaucer and of Shakespeare, may still attach to Southwark; the playhouses and gaieties of Elizabeth's time may yet leave some faint record |