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- The Bridge of Hope
“The Bridge of Hope,” a Well-known East End Night Refuge. - Costers and Cockneys
“I ’ear as you don’t walk hout with ’Arry Smith any more.” “No, ’e wanted me to meet ’im incandescently, and I wouldn’t do such a thing, so I chucked ’im.” - Sign of the 'Running Horse'
Why the crowd resorted thus to tipple the horrible compound does not appear: one would rather drink the usual glucose and dilute sulphuric acid of modern times. The pictorial sign of the old house still proudly declares— “When Skelton wore the laurel crown My ale put all the alewives down.” To do that, you would think, it must needs have been both good and cheap. Certainly, if the portrait-sign of Elynor be anything like her, customers did not resort to the “Running Horse” to bask in her smiles, for she is represented as a very plain, not to say ugly, old lady with a predatory nose plentifully studded with warts. - Esher Old Church
The reflections conjured up by an inspection of Esher old church are sad indeed, and the details of it not a little horrible to a sensitive person. There is an early nineteenth-century bone-house or above-ground vault attached to the little building, in which have been stored coffins innumerable. The coffins are gone, but many of the bony relics of poor humanity may be seen in the dusty semi-obscurity of an open archway, lying strewn among rakes and shovels. To these, when the present writer was inspecting the place, entered a fox-terrier, emerging presently with the thigh-bone of some rude forefather of the hamlet in his mouth. “Drop it!” said the churchwarden, fetching the dog a blow with his walking-stick. The dog “dropped it” accordingly, and went off, and the churchwarden kicked the bone away. I made some comment, I know not what, and the churchwarden volunteered the information that the village urchins had been used to play with these poor relics. “They’re nearly all gone now,” said he. “They used to break the windows with ’em.” - Milton’s Cottage, Chalfont St. Giles
Chalfont St. Giles lies down in the valley of the Misbourne, across the high road which runs left and right, and past the Pheasant Inn. It is a place made famous by Milton’s residence here, when he fled London and the Great Plague. The cottage—the “pretty cot,” as he aptly calls it, taken for him by Thomas Ellwood, the Quaker—is still standing, and is the last house on the left-hand side of the long village street. The poet could only have known it to be a “pretty cot” by repute, for he was blind. - Electrical Power House
Electrical Power House (the largest in the Old World), Lot’s Road, Chelsea, to supply the Metropolitan District and other Railways with Current - Norman Crossbowmen
- Bell’s ‘Comet,’ off Dumbarton on the Clyde, 1812
Nothing more was heard of the steamboat in Britain until 1812, when Henry Bell surprised the natives of Strathclyde by the following advertisement in the Greenock Advertiser: STEAM PASSAGE BOAT, “THE COMET,” Between Glasgow, Greenock and Helensburgh, for Passengers Only. The subscriber having, at much expense, fitted up a handsome vessel, to ply upon the River Clyde, between Glasgow and Greenock, to sail by the power of wind, air and steam, he intends that the vessel shall leave the Broomielaw on Tuesdays, Thursdays and Saturdays, about mid-day, or at such hour thereafter as may answer from the state of the tide; and to leave Greenock on Mondays, Wednesdays and Fridays, in the morning, to suit the tide. The elegance, comfort, safety and speed of this vessel requires only to be proved to meet the approbation of the public; and the proprietor is determined to do everything in his power to merit public encouragement. The terms are, for the present, fixed at 4s. for the best cabin, and 3s. for the second; but beyond these rates nothing is to be allowed to servants, or any other person employed about the vessel. The subscriber continues his establishment at Helensburgh Baths, the same as for years past, and a vessel will be in readiness to convey passengers to the Comet from Greenock to Helensburgh. Henry Bell. Helensburgh Baths, 5th August, 1812. - Mrs Hemans
- Horses in a heap, Leader down, Wheelers falling over him
I have twice had three out of the four horses in a heap, from a leader coming down and the two wheelers falling over him; but in such a case as this there is very little danger if the coachman has the presence of mind not to leave his box till there is sufficient strength at the horses' heads to prevent them jumping up and starting off frightened. - Mr. Higginson’s Transfusion Instrument
Mr. Higginson’s Transfusion Instrument Although some of the early experiments on blood transfusion had been done in England, and although its revival [14]in the nineteenth century was initiated in England, yet it is to be noticed that most of the references to it up to 1874 are to be found in the works of Continental writers. Nevertheless, an important modification was introduced into the technique of the operation in 1857 by Higginson, who applied the principle of a rubber syringe with ball-valves for transferring the blood from the receptacle into which it was drawn, to the vein of the recipient. This apparatus is illustrated here, as it is of some interest in the history of medicine. A is a metallic cup, of 6-oz. capacity, to receive the supply of blood. B an outer casing, which will hold 5 oz. of hot water, introduced through an aperture at C. D is a passage leading into an elastic barrel, composed of vulcanized india-rubber, E, of which the capacity is 1 oz. F′ the exit for the blood into the injection-pipe G. At D and F there are ball-valves, capable of closing the upper openings when thrown up against them, but leaving the lower openings always free. The blood, or other fluid, poured into the cup A, has free power to run unobstructed through D, E, F; a small plug H is therefore provided to close the lower aperture F when necessary. The tube G is of vulcanized india-rubber, and terminates in a metal tube O for insertion into the vein. - Kimpton-Brown Tube
Whole Blood Transfusion with Kimpton’s Tube. The principle of this method depends upon the use of paraffin wax as a coating for the vessel into which the blood is drawn, so that clotting is prevented or greatly delayed. The form of the vessel has been modified by different workers, but the essentials are the same in each. One form of the apparatus, known as the Kimpton-Brown tube, is illustrated in the accompanying diagram. It consists of a graduated glass cylinder, of about 700 cc. capacity, the lower end of which is drawn out into a cannula point at an acute angle with the body of the cylinder; the point is of a size convenient for introducing into a vein and its bore large enough to allow of a free flow of blood through it. Near the upper end is a side tube to which a rubber tube can be attached, and an opening at the top is closed by a rubber bung. An ordinary rubber double-bulb bellows is the only other apparatus that is needed. - Drawing Blood for Transfusion
When the donor’s arm has been congested by gripping it above the elbow, or better by the application of a tourniquet drawn to the requisite degree of tightness, a suitable vein, usually the median basilic, is chosen. The area of puncture is washed with ether and a very small quantity, 2 to 3 minims, of 2 per cent. novocain is introduced over the vein with a hypodermic syringe. If a larger quantity is used, the vein may become obscured, but this small amount may be dispersed by a few moments’ pressure with the finger, and is usually enough to anæsthetize the very small area of skin that is to be operated upon. A tiny cut in the skin is then made with the point of a scalpel, and the needle is pushed through into the vein. - Blundell’s Impellor
A more general interest in the subject was revived in England by the work of James Blundell, lecturer on physiology and midwifery at St. Thomas’s and Guy’s Hospitals. He published in 1818 his earliest paper on experimental transfusion with a special form of syringe invented by himself. His first apparatus consisted of a funnel-shaped receptacle for the blood, connected by a two-way tap with a syringe from which the blood was injected through a tube and cannula into the recipient. His experiments were[11] performed upon dogs, and he began by drawing blood from the femoral artery and re-injecting it into the same animal through the femoral vein. He then conducted a long series of investigations into the properties of blood, the effects of its withdrawal, and the resuscitation of an exsanguinated animal. Soon he had opportunities of transfusing patients with human blood, and the results are recorded in his paper of 1824. His apparatus had by then been elaborated, and an engraving of his Impellor, as he termed it, is reproduced here. It consisted as before of a funnel-shaped receptacle for the blood, but the syringe was now incorporated in one side of the funnel, and contained a complicated system of spring valves, which caused the blood to travel along the delivery tube when the piston was pushed down. The Impellor was fixed to the back of a chair in order to give it stability. - Cardiff Castle, Glamorgan
THE castle of Cardiff, though not unknown to border fame, has been the theatre of no great historical event, nor does it present any very striking peculiarities of position, scenery, or structure. Its claim to more than local interest rests upon the character and fortunes of the great barons whose inheritance and occasional residence it was from the 11th to the 15th century, from the reign of Rufus to that of Henry VI. Probably a Roman castrum, and certainly a hold of the local British princes, it was won, in 1090, by the sword of Robert Fitzhamon, lord of the Honour of Gloucester, and by him constituted the “caput” of his newly acquired seignory of Morgan and Glamorgan. - Caerphilly Castle, Ground plan
Caerphilly Castle, Ground plan A Inner Ward. B Middle Ward. C Kitchen Tower and Water Gate. D Outer Ward. E Great Gatehouse and Pier. F North Postern. G South Postern. H Sluice. I Outer Water Gate. - Caerphilly Castle
For the purpose of the description of the castle itself, the whole may be considered as composed of five parts, each of which will be further subdivided. These parts are:— I.—The Grand Front. II.—The Horn-work. III.—The Redoubt. IV.—The Middle Ward. V.—The Inner Ward. - Caernarvon Castle, Bird’s-eye View
Caernarvon was begun in 1283, immediately upon the execution of David, the last Welsh prince. The first work was that of quarrying the cross ditch, and collecting materials and workmen, the latter being drafted from the English counties. Caernarvon, Conway, Criccaeth, and Harlech, were in progress together, and nothing short of the hope of consolidating his kingdom could have induced so economical a sovereign as Edward to incur expenses which, in one year, for Caernarvon alone, amounted to above £3,000. The king was here for the first time in 1284, in which year, April 25th, Edward of Caernarvon was born, probably in the town. A bird’s-eye view of the castle from the north-west. In the front and centre is the King’s Gatehouse, and next, on the spectator’s right, is the Well Tower, and beyond it, the Eagle Tower. On the extreme left is the interior of the Queen’s Gatehouse, placed between the Granary Tower on the left and the Black Tower. Opposite to the King’s Gate is the Exchequer Tower, and between it and the Eagle is the Prince’s Tower. In the lower or right-hand court are seen the foundations of the hall; next on the left of the King’s Gate is the Dungeon Tower. - Caernarvon Castle, Battlements
The illustration shows the allure or rampart-walk of the Eagle Tower. The rear wall, if it ever existed, has been removed. The cut shows the merlon, with its contained loop, the plain flat-sided embrasure, and the figures placed upon the ridge of the coping, one of which gives name to the tower. The small, shoulder-headed doorway opening from the tower upon the rampart is also seen. - Berkeley Castle, Plan
Upon the line of the Severn, in the rear of all these, there were but eight of any importance, Bristol, Berkeley, Gloucester, Hanley, Worcester, Hartlebury, Bridgenorth and Shrewsbury, and of these Berkeley was in many respects the most remarkable, and has endured the longest. A Keep. B Inner Ward. C Outer Ward. D Outer Gate. E Inner Gate. F Fore Building. G Ed. II. Dungeon. H Ed. II. Tower. I Domestic Apartments. J Chapel. K Room above Cellar. L Hall. M Buttery. N Kitchen. O Offices. P Well. Q Oratory and Well. - Berkeley Castle, Keep
Berkeley Castle, Keep Entering the outer gate, the visitor finds himself upon a triangular platform, of which the outer gate-house is the apex, and the inner gate-house and part of the keep the base; on the left a modern wall, which replaces the curtain, crests the scarp of the ditch, and forms the north side of the platform 66 yards long. On the right a low parapet, 54 yards long, forms the south side, and caps a revetment wall of about 10 feet in height, at the foot of which the ancient scarp has been laid out in good taste in a terrace garden. This triangular platform is scarcely an outer ward: it is rather a barbican covering the main entrance and the keep. Its area is 7,750 square yards. There is no trace of a second ditch in advance of this side of the keep and the inner gate, but it is very probable that there was one, though, if so, it must have been filled up when the courts were added to the keep, as otherwise it would have completely occupied them. - Beaumaris Castle, Ground Plan
BEAUMARIS Castle is built upon a marshy flat, close to the sea-shore, and but little above the level of the sea, from which its ditch was supplied. It is an example of a purely concentric fortress, in which the engineer was left free to design his works without being governed, as in most other cases, by the irregularities of the ground. - Beaumaris Castle, Entrance
Its inner ward is a quadrangle about 50 yards square, contained within four curtain-walls about 16 feet thick and 40 to 50 feet high. At the angles are four drum-towers, three-quarters engaged, of the height of the curtains. On the east and west sides are intermediate towers, half-round, with prolonged sides, of which that to the east, as at Kidwelly, contains the chapel. In the centre of the north and south sides are the gatehouses, of large size and something higher than the other towers. In each a quadrangular part projects into the court, capped at the two angles by round turrets containing staircases. Outside, half-round towers with prolonged sides flank the entrance. - Beaumaris Castle, Bird's Eye View
The great hall, 70 feet by 23 feet 6 inches, occupies most of the first floor of the northern gatehouse, and is lighted from the court by five windows, of two lights each, with a transom, as at Stokesley and Ludlow, contemporary halls. The fireplace was on the opposite side. The roof was of timber, but with one stone rib, as at Charing. The southern gatehouse probably also contained a large chamber, now destroyed. The state-rooms and lodgings were in the gatehouses. The portals were of unusual length, and each was guarded by three grates. - Crossbow and Arrows used for Sport
Another name for the crossbow was 'arbalist,' and its arrows were called quarils, or bolts. These were made of various sorts of wood; about a dozen trees were used for the purpose, but ash-wood was thought to be the best. Generally the arrows had a tip of iron, shaped like a pyramid, pointed, though for shooting at birds the top was sometimes blunt, so that a bird might be struck down without being badly wounded. One old writer says that a great difference between the long-bow and the crossbow was, that success did not depend upon who pulled the lock—a child might do this as well as a man—but with the long-bow strength was everything. In fact, during the Tudor times, the kings specially encouraged the archers to practise shooting with the long-bow, and people were even forbidden to keep crossbows. The crossbow, however, when it had reached perfection, carried much further than the ordinary long-bow. - The Duchess of Kent, with Princess Victoria at the age of two
The Duchess of Kent, with Princess Victoria at the age of two - The Queens first council - Kensington Palace June 20 1837
Queen Victorias first council - Kensington Palace June 20 1837 The year 1837, except for the death of the old King and the accession of the young Queen, was a tolerably insignificant year. It was on June 20 that the King died. He was buried on the evening of July 9 at St. George’s Chapel, Windsor; on the 10th the Queen dissolved Parliament; on the 13th she went to Buckingham Palace; and on November 9 she visited the City, where they gave her a magnificent banquet, served in Guildhall at half past five, the Lord Mayor and City magnates humbly taking their modest meal at a lower table. - Leigh Hunt
Leigh Hunt - Sir Robert Peel
Sir Robert Peel - Young Gentleman Louis XIII period - 1625 - 1640
Young Gentleman Louis XIII period - 1625 - 1640 - Women's Costume during the Directory - 1795 - 1800
Women's Costume during the Directory - 1795 - 1800 - Tie-back skirt
Tie-back skirt Late '7o's and Early '8o's The bustle remained an important feature after the panier effect had been discarded. The skirts were made severely plain and were pulled back by strings, so as to fit with extreme snugness in the front. At the back, however, they were drawn out over a bustle of such extent that the fashion plates of the late '70's now have the appearance of caricatures. - The more practical gown of the Empire Period
The more practical gown of the Empire Period - The Incroyable of the Revolution Period - 1795
The Incroyable of the Revolution Period - 1795 "Incroyable" (incredible) was the sobriquet given to the fops or dandies of the later Revolutionary period. Here is the description of one of these remarkably dressed personages as given by the French writer, Honore de Balzac: The costume of his unknown presented an exact picture of the fashion which at that time called forth the caricatures of the Incroyables. Imagine a person muffled in a coat so short in front that there showed beneath five or six inches of the waistcoat and with skirts so long behind that they resembled a codfish tail, a term then commonly employed to designate them. An immense cravat formed round his neck such innumerable folds that the little head emerging from a labyrinth of muslin almost justified Captain Merle's kitchen simile. [Merle had described the Incroyable as looking "like a duck with its head protruding from a game pie."] The stranger wore tight breeches and boots a la Suwarrow; a huge white and blue cameo was stuck, as a pin, in his shirt. Two watch chains hung in parallel festoons at his waist, and his hair, hanging in corkscrew curls on each side of the face, almost hid his forehead. Finally, as a last touch of decoration, the collars of his shirt and his coat rose so high that his head presented the appearance of a bouquet in its paper wrappings. If there be added to these insignificant details, which formed a mass of disparities with no ensemble, the absurd contrast of his yellow breeches, his red waistcoat, his cinnamon brown coat, a faithful portrait will be given of the height of fashion at which dandies aimed at the beginning of the Consulate Preposterous as the costume was, it seemed to have been invented as a sort of touchstone of elegance to show that nothing can be too absurd for fashion to hallow it. - The Grecian Bend
The Grecian Bend , a feature of the late 70's - The Extreme of the Crinoline - 1862
NO radical change in womens' costumes occurrred until the early fifties when what are known as the "Second Empire" styles were introduced. A remarkable feature of the fashions set by Eugenie, the consort of Napoleon III, was the enormous crinoline, of which we have more than once in recent years been threatened with a revival. The monstrous dimensions of women's skirts during the period from 1853 to the early seventies afforded an excellent theme for the pencil of the comic artist, and those who care to search the volumes of "Punch" and other illustrated publications of English and French origin, as well as those produced at the time in this country, will find both exact reproductions and caricatures of this style of costume. - The 1840 style
The 1840 style - The 1830 Effect
The 1830 Effect - Street costume Late Louis XVI period - 1790
Street costume Late Louis XVI period - 1790 - Reversion to the classic (Grecian) type
Reversion to the classic (Grecian) type - Mousquetaire or Cavalier Costume 1620 - 1640
Mousquetaire or Cavalier Costume 1620- 1640 - Morning costume of Dandy of the early Revolutionary period - 1791
Morning costume of Dandy of the early Revolutionary period - 1791 - Middle class costume during French Revolution - showing Charlotte Corday cap
Middle class costume during French Revolution - showing Charlotte Corday cap - Marie Antoinette style - Late Louis XVI period - 1790
Marie Antoinette style - Late Louis XVI period - 1790 - Men's street costume Late Revolution and early Empire
Men's street costume Late Revolution and early Empire - Louis XV
Dress in the time of Louis XV - Louis XIV Period - about 1700
Louis XIV Period - about 1700 - Louis XIV Period - about 1670
Louis XIV Period - about 1670 - Louis XIII - about 1640
Louis XIII - about 1640 - Later Louis XIV Period 1700 - 1715
Later Louis XIV Period 1700 - 1715 - Late Empire - Ball dress and street costume
Late Empire - Ball dress and street costume - Henry IV or early Stuart Period
Henry IV or early Stuart Period - Henry IV or early Stuart - 1600 - 1615
Henry IV or early Stuart - 1600 - 1615 - Gentleman of the early Louis XV Period
Gentleman of the early Louis XV Period - French Restoration period - 1823
French Restoration period - 1823 - Evening dress of Directoire and early first Empire 1798 - 1804
Evening dress of Directoire and early first Empire 1798 - 1804 - Elizabethan or Marie Stuart Period - 1558 - 1600
Elizabethan or Marie Stuart Period - 1558 - 1600 - Elizabethan or Henry III Period - showing Medicis Collar
Elizabethan or Henry III Period - showing Medicis Collar - Elizabethan or Henry III - 1570
Elizabethan or Henry III - 1570 - Early days of the crinoline - 1855
Early days of the crinoline - 1855