DOCSLIB.ORG

Nights in London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nights in London Nights In London By Thomas Burke NIGHTS IN LONDON NOCTURNAL For the few who have an eye for the beauty of townscapes, London by night is the loveliest thing in the world. Only in the London night may the connoisseur find so many vistas of sudden beauty, because London was never made: she has "growed." Paris affords no townscapes: everything there is too perfectly arranged; its artificiality is at once apparent. In London alone he finds those fantastic groupings, those monstrous masses of light and shade and substance. Take London from whatever point you will and she will satisfy. For the rustic the fields of corn, the craggy mountain, the blossomy lane, or the rush of water through the greenwood. But for your good Cockney the shoals of gloom, the dusky tracery of chimney-stack and gaswork, the torn waste of tiles, and the subtle tones of dawn and dark in lurking court and alley. Was there ever a lovelier piece of colour than Cannon Street Station at night? Entering by train, you see it as a huge vault of lilac shadow, pierced by innumerable pallid arclights. The roof flings itself against the sky, a mountain of glass and interlacing girders, and about it play a hundred indefinite and ever-changing tones. Each platform seems a lane through a dim forest, where the trees are of iron and steel and the leaves are sullen windows. Or where shall you find a sweeter pastoral than that field of lights that thrills the midnight sojourner in lower Piccadilly? Or where a more rapturous river-piece than that to be glimpsed from Hungerford footbridge as the Embankment lights and stones surge east and west towards Blackfriars and Chelsea? Or where a panorama like those that sweep before you from Highgate Archway or the Islington Angel? But your good Cockney finds his joy not merely in the opulent masses of gloom and glare. For him London holds infinite delicacies. There is a short street in Walworth Road—East Street—which is as perfect as any nightscape ever conceived by any artist. At day or dark it is incomparably subtle. By day it is a lane of crazy meat and vegetable stalls and tumbling houses, whose colours chime softly with their background. By night it is a dainty riot of flame and tousled stone, the gentle dusk of the near distance deepening imperceptibly to purple, and finally to haunting chaos. And—it is a beautiful thought—there are thousands and thousands of streets in London where similar ecstasy awaits the evening wanderer. There is Edgware Road, with its clamorous by-streets, alluring at all times, but strangely so at twilight. To dash down the great road on a motor-'bus is to take a joy-ride through a fairyland of common things newly revealed, and to look back from Dollis Hill is to look back, not on Kilburn or Paddington or Marylebone, but on the Field of the Cloth of Gold. Moreover, London wears always new beauties for the faithful—new aspects, sudden revelations. What was beautiful yesterday is gone, and a new splendour is presented. Building operations are begun here, house- breaking is in progress there, the gaunt scaffolding making its own beauty against the night sky. Always, throughout the seasons, her townscapes are there to cheer, to entrance, to satisfy. At dawn or noon or dusk she stands superb; but perhaps most superb when the day is done, and her lights, the amazing whites and yellows and golds, blossom on every hand in their tangled garden and her lovers cluster thicker and thicker to worship at her shrine and spend a night in town. Nights in town! If you are a good Cockney that phrase will sting your blood and set your heart racing back to—well, to those nights in town, gay or sad, glorious or desperate, but ever sweet to linger upon. There is no night in all the world so rich in delicate delights as the London night. You cannot have a bad night in London unless you are a bad Cockney—or a tourist; for the difference between the London night and the continental night is just the difference between making a cult of pleasure and a passion of it. The Paris night, the Berlin night, the Viennese night—how dreary and clangy and obvious! But the London night is spontaneous, always expressive of your mood. Your gaieties, your little escapades are never ready-made here. You must go out for them and stumble upon them, wondrously, in dark places, being sure that whatever you may want London will give you. She asks nothing; she gives everything. You need bring nothing but love. Only to very few of us is she the stony-hearted stepmother. We, who are all her lovers, active or passive, know that she loves each one of us. The passive lover loves her as he loves his mother, not knowing his love, not knowing if she be beautiful, not caring, but knowing that she is there, has always been there, to listen, to help, to solace. But the others who love her consciously, love her as mistress or wife. For them she is more perfect than perfection, adorable in every mood, season, or attire. They love her in velvet, they love her in silk; she is marvellous in broadcloth, shoddy, or corduroy. But, like a woman, her deepest beauty she holds for the soft hours when the brute day is ended and all mankind sighs for rest and warmth. Then she is her very self. Beauty she has by day, but it is the cold, incomplete beauty of a woman before she has given herself. With the lyric evening she surrenders all the wealth and wonder of her person to her lover: beauty in full flower. As a born Londoner, I cannot remember a time when London was not part of me and I part of London. Things that happen to London happen to me. Changes in London are changes in me, and changes in my affairs and circumstances have again and again changed the entire face of London. Whatever the mood or the occasion, London is behind it. I can never say that I am happy or downcast. London and I are happy, London and I are having a good time, or are lost in the deeps. Always she has fallen to my mood, caught the temper of the hour; always is waiting, the fond mother or the gracious mistress, with stretched hand, to succour and sympathize in sorrow, to rejoice in good fortune. And always it is London by lamplight which I vision when I think of her, for it was the London of lamplight that first called to me, as a child. She hardly exists for me in any other mood or dress. It was London by night that awoke me to a sense of that terrible spirit which we call Beauty, to be possessed by which is as unsettling and as sweetly frightful as to be possessed by Love. London, of course, is always calling us, if we have ears to hear, sometimes in a soft, caressing voice, as difficult to hear as the fairies' song, sometimes in a deep, impelling chant. Open your window when you will in the gloating evening, whether you live in town, in the near suburbs, or in the far suburbs—open your window and listen. You will hear London singing to you; and if you are one of her chosen you will have no sleep that night until you have answered her. There is nothing for it but to slip out and be abroad in the grey, furtive streets, or in the streets loud with lamps and loafers, and jostle the gay men and girls, or mingle with the chaste silences. It is the Call not only of London, but of Beauty, of Life. Beauty calls in many voices; but to me and to six million others she calls in the voice of Cockaigne, and it shall go hard with any man who hears the Call and does not answer. To every man, young or old, comes, once in his life, this Call of Beauty. At that moment he awakens to a realization of better things than himself and his foolish little life. To that vague abstraction which we call the average man it comes mostly with first love or religion, sometimes with last love. But come it does to each one of us, and it behoves us all to hearken. So many of us hear, and let it pass. The gleam pauses in our path for an instant, but we turn our backs and plod the road of materialism, and we fade and grow old and die without ever having lived. Only in the pursuit of beauty is youth retained; and beauty is no respecter of person, place, or time. Everywhere it manifests itself. In the young man of the leisured classes this sense only awakens late in life. He is educated to consider only himself, to regard himself as, in the Broadway phrase, a serious proposition; and some time must pass before he discovers, with a pained surprise, that there are other people in the world, and that his little life matters not at all in the eternal scheme. Then, one day, something happens. He falls in love, perhaps; and under the shock of the blow he discovers that he wants something—something he has not known before, something he cannot name: God, Beauty, Prayer, call it what you will. He discovers a thousand subtle essences of life which his clumsy taste had hitherto passed.
Load more

Recommended publications
  • On the Disability Aesthetics of Music,” Journal of the American Musicological Society 69, No
    Published as “On the Disability Aesthetics of Music,” Journal of the American Musicological Society 69, no. 2 (2016): 525–63. © 2016 by the ReGents of the University of California. Copying and permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. CopyriGht Law) for internal or personal use, or the internal or personal use of specific clients, is Granted by the ReGents of the University of California for libraries and other users, provided they are reGistered with and pay the specified fee via RiGhtslink® or directly with the CopyriGht Clearance Center. Colloquy On the Disability Aesthetics of Music BLAKE HOWE and STEPHANIE JENSEN-MOULTON, Convenors in memoriam Tobin Siebers Contents Introduction 525 BLAKE HOWE and STEPHANIE JENSEN-MOULTON Modernist Music and the Representation of Disability 530 JOSEPH N. STRAUS Sounding Traumatized Bodies 536 JENNIFER IVERSON Singing beyond Hearing 542 JESSICA A. HOLMES Music, Autism, and Disability Aesthetics 548 MICHAEL B. BAKAN No Musicking about Us without Us! 553 ANDREW DELL’ANTONIO and ELIZABETH J. GRACE Works Cited 559 Introduction BLAKE HOWE and STEPHANIE JENSEN-MOULTON Questions Drawing on diverse interdisciplinary perspectives (encompassing literature, history, sociology, visual art, and, more recently, music), the field of disability studies offers a sociopolitical analysis of disability, focusing on its social Early versions of the essays in this colloquy were presented at the session “Recasting Music: Mind, Body, Ability” sponsored by the Music and DisabilityStudyandInterestGroupsatthe annual meetings of the American Musicological Society and Society for Music Theory in Milwaukee, WI, November 2014. Tobin Siebers joined us a respondent, generously sharing his provocative and compelling insights.
    [Show full text]
  • Pracy Family History from Tudor Times to the 1920S
    Pracy family history: the origins, growth and scattering of a Wiltshire and East London family from Tudor times to the 1920s, 5th edition (illustrated) by David Pracy (b. 1946) List of illustrations and captions ..................................................................................... 2 Note: what’s new ............................................................................................................ 5 Part 1: Wiltshire ............................................................................................................. 6 1. Presseys, Precys and Pracys ................................................................................... 7 2. Bishopstone ............................................................................................................ 8 3. The early Precys ................................................................................................... 11 4. The two Samuels .................................................................................................. 15 5. The decline of the Precys in Bishopstone ............................................................ 20 Part 2: The move to London ......................................................................................... 23 6. Edward Prascey (1707-1780) and his sister Elizabeth’s descendants .................. 23 7. Three London apprentices and their families........................................................ 34 8. Edmund the baker (1705-1763) and his family ..................................................
    [Show full text]
  • London Walks
    LONDON WALK S® Winter 2013 /14 November 1 – April 30 “London Walks londo [email protected] To go on a London Walk was the first Meet your London Walks guide £ 020 7624 3978 and is the best on the pavement just outside the designated 9 walks.com of the walking Tube u Stop at the time stated. The guides hold tour firms.” up copies of this leaflet. There’s no need to book. Just turn up and go. FODOR’S GREAT BRITAIN But large groups should book a private walk – it’s even cheaper! Jack El “London Walks is Destripador the best, hands down.” A London Walk costs £9 FROMME R’S LONDON or £7 for Super Adults (65+), full-time students Todas las semanas, “The best is London Walks.” and people with the London Walks Season Ticket . el viernes a las 18.45 LET’S GO EUROPE Children under 15 accompanied by their parent(s) go free. a Tower Hill Metro u “The best walks are Adultos £10/ Estudiantes conducted by London Walks.” A London Walk takes about two hours. y Jubilados £9. TORONTO GLOBE & MAIL They always take place, rain or shine. They end at or La ruta dura por 1 hora y 45 minutos. “If you want to know London near a Tube u Stop. better, if you want to learn Su guía les encontrará some things about the world’s en la entrada del metro DAY TRIPS FROM LONDON most cosmopolitan city that most people who spend their To Oxford, The Cotswolds, Stonehenge, Bath, Cambridge, Únicamente lives there never learn… I can Winchester, Windsor, etc.
    [Show full text]
  • View Annual Report
    AT THE HEART OF THE COMMUNITY FOR THE 52 WEEKS ENDED 31 MARCH 2014 Our strategy is clear: we are focused on developing and growing an estate of premium pubs, primarily in London and the south east, with a clear emphasis on managed operations. We will continue to invest to maintain our premium position. We are looking to acquire further managed houses, either packages or individual sites, to increase the size of both our Young’s and Geronimo operations. Contents Strategic report Financial statements Chairman’s statement 3 Independent auditor’s report 21 Chief executive’s review 5 Group income statement 22 How we performed 6 Statements of comprehensive income 23 Principal risks and uncertainties 8 Balance sheets 24 Business and financial review 10 Statements of cash flow 25 Group statement of changes in equity 26 Directors’ report Parent company statement of changes in equity 27 Our board 16 Notes to the financial statements 28 Committees 18 Five year review 56 Other disclosures 19 Preparation and disclaimer 20 Shareholder information Notice of meeting 57 Explanatory notes to the notice of meeting 61 Young’s pubs and hotels 62 Senior personnel, committees and advisers 64 Shareholder information 64 Financial highlights 2 014 2013 % £000 £000 CHANGE REVENUE 210,768 193,677 +8.8 ADJUSTED OPERATING PROFIT(1) 33,255 28,935 +14.9 OPERATING PROFIT 32,644 27,126 +20.3 ADJUSTED PROFIT BEFORE TAX(1)(2) 27,171 23,224 +17.0 PROFIT BEFORE TAX(2) 26,560 21,415 +24.0 ADJUSTED BASIC EARNINGS PER SHARE(1)(2) 42.74p 36.34p +17.6 BASIC EARNINGS PER SHARE(2) 45.68p 33.78p +35.2 DIVIDEND PER SHARE 15.52p 14.63p +6.1 (interim and recommended final) NET ASSETS PER SHARE(3) £7.86 £6.94 +13.3 All of the results above are from continuing operations.
    [Show full text]
  • Music Hall, C
    NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available NOTE TO USERS The cassette is not included in this original manuscript. It is available for consultation at the author's graduate school library. From the Provinces: The Representation of Regional Identity in the British Music Hall, c. 1880-1914 by Nicole Amanda Gocker A Thesis submitted to the Department in conformity with the requirements for the degree of Master of Arts Queen's University Kingston, Ontario, Canada June, 1998 O Nicole Amanda Crocker National Libtary Bibliothbque nationale 1+1 of,,, du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON K1A ON4 OFtawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lîbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or selI reproduire, prêter, distn'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othhse de celle-ci ne doivent être imprimes reproduced without the author's ou autrement reproduits sans son oennission.
    [Show full text]
  • Chapter 2: Marylebone High Street
    DRAFT CHAPTER 2 Marylebone High Street With its haphazard straggle of buildings, the parish church on one side and manor house on the other, the road through Marylebone recorded by Henry Pratt in 1708 was to some extent an archetypal village street (Ills 2.01a–b). But in several respects this was an unusual little village. The church, dating from the early 1400s, was remarkably small; the manor house, in contrast, was not only large but of some architectural grandeur, and it was occupied not by a landowner but by a boarding school – a French school at that; there was a small French church too. There was no village green, but there were bowling greens, one belonging to the King’s Arms, the others to the Rose Tavern and subsequently developed into the celebrated Marylebone Gardens (Chapter 3). In short, the village in the early eighteenth century was well-established as a satellite of London, catering alike to an increasingly prosperous and influential Huguenot community, and more widely to the pleasure-seeking Londoner on summer excursions to nearby countryside. Both characteristics became more marked over the next few decades, disappearing in the latter part of the century with the emergence of the High Street into a full-blown shopping, business and administrative centre serving the new town still rising around it. Pratt’s map, though it does not show every building, is the first detailed and coherent picture of the village centre from which Marylebone High Street developed, augmenting the well-wooded, rural impression given by Gasselin’s 1700 view from Marylebone Fields, dominated by the Manor House and just a few other substantial buildings (see Ill.
    [Show full text]
  • Cinemas and Picture Houses
    PLACES OF ENTERTAINMENT IN EDINBURGH Part 7 The Cinema in Edinburgh and Developments in the Industry Edinburgh Picture Houses in Alphabetical Order Some of the Mummers who played at the Edinburgh Empire Edinburgh Pantomimes Traverse Theatre Club Compiled from Edinburgh Theatres, Cinemas and Circuses 1820-1963 by George Baird 2 TABLE OF CONTENTS Foreword 5 THE CINEMA IN EDINBURGH AND DEVELOPMENTS IN THE INDUSTRY 7 Beginnings in Edinburgh; Some firsts, latests etc; Cinerama comes to Scotland but not to Edinburgh; The Sooth Side and its many Picture Houses; Cinemas open for business in December 1913 and January 1914; Extracts from the 1915 Kinematograph Year Book: The First Coloured Film, 1896; £70 per week Rental Charge in London; Seating Capacity in Bombay; Montreal: City of Cinemaniacs; Filming the Wells-Bell Boxing Match; Perlatino Projection Screen; Local Film Censors; Sunday Openings for Concerts; Safety First – Traffic Films,1914; Length of a Screen Kiss. Cinematograph Pictures in Schools,1910 proposal turned down, 1938; War Time Concerts, 1939-1945; 1954 Kinematograph Year Book, Admissions and Gross/Net Takings, 1936-1953; 300 more cinemas to close, 1963; Public Support for Serious Cinema Called in Question, Allen Wright; Music Not Vital at Pop Concerts held in Cinemas - Case brought by Cinematograph Exhibitors’ Association to reduce the amount paid to the Performing Rights Society; First film performance in Palace of Holyroodhouse; Gracie Fields’ Ave Maria ‘blue-pencilled’ by the BBC; Serials in the Silent Days; The House, Look
    [Show full text]
  • Jingle Bells Winter Wonderland Tour 2013 Shoreditch to Liverpool Street
    Jingle Bells Winter Wonderland Tour 2013 Shoreditch to Liverpool Street After last year’s successful Christmas expedition to Soho (which was held in February) Hickford Tours has been literally swamped with requests (two) to devise a similar event this year. So here it is and breaking with tradition it will be held before Christmas on Friday 13th December. The first pub will be in Shoreditch, the last hostelry will be in Liverpool Street. In between we’ll take in the vibrant Brick Lane area and another 6-7 pubs. It’s sure to be fun and you might even remember some of it. We’ll have drinks, drinks, a smattering of A – Z list celebrities (probably) and drinks. If you’re not planning to bring your own supply of nuts, food, as ever, will be taken on the hoof. ___________________________________________________________________________ So where are we going….? Shoreditch is our first stop! Now, many years ago if you went down to Shoreditch the locals would look like this: or even this But time moves on and due to the advent of things like fashion, hi-tech beards, flat caps and thick-rimmed glasses people in this part of East London all appear to now look like this: 1 | Page Now don’t even try to dress like this one of these individuals when we make our way down to the E1 & E2 environs. We already know that when travelling together in a group we look like institutionalised Public Sector workers. You are of course more than welcome to try and grow a beard (especially the ladies) but in the long run you’ll only be fooling yourself and embarrassing your families.
    [Show full text]
  • Camden History Review and Camden History Society Newsletter
    Welcome to the Index for the Camden History Review and Camden History Society Newsletter compiled and maintained by David Hayes This index covers the annual Camden History Review, volumes 1 to 44 and the bimonthly Camden History Society Newsletter, issues 1 to 302. It covers the span of these serial publications from May 1970 to end of 2020. What is included? This index is intended to help those researching aspects of Camden’s local history. Excluded, therefore, are subjects that lack any direct association with the Camden area. Included in the index are: Streets, localities, buildings, organisations and institutions located within, or adjacent to, the London Borough of Camden or the former Metropolitan Boroughs of Hampstead, Holborn and St Pancras; People having a direct connection with Camden, whether through residence or work; as visitors, performers at local venues, landlords, or architects of local buildings; or as grave occupants; Generic topics (e.g. theatres) treated within a Camden context. Newsletter notices and reviews of talks, walks, outings, exhibitions and books are indexed only where they include local historical detail of potential use to researchers. Items relating wholly to the Society’s domestic business are not indexed. All references to a subject, however brief, are included on this index. Articles devoted wholly or substantially to a subject are indicated by the symbol How does it work? Key N indicates the Newsletter issue number; e.g. N65, * illustration included 144 means Newsletters 65 † map or plan and 144. C* cover illustration BC back cover Bold numerals, indicating IFC inside front cover Camden History Review n footnote volume number, are PH public house followed by page number(s) in normal type: e.g.
    [Show full text]
  • The Rise, Fall and Rise of the Anglo-American Comic Eccentric Dancer Wilkie, I
    Funny walking : the rise, fall and rise of the Anglo-American comic eccentric dancer Wilkie, I http://dx.doi.org/10.1080/2040610X.2017.1343971 Title Funny walking : the rise, fall and rise of the Anglo-American comic eccentric dancer Authors Wilkie, I Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/42954/ Published Date 2017 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Funny Walking: The Rise, Fall and Rise of the Anglo-American Comic Eccentric Dancer Abstract This article considers the (seemingly) lost art of comic eccentric dance. As a form of popular entertainment, comic eccentric dancing is generally assumed to be an early to mid-twenti- eth century phenomenon that emerged in the UK from the late Victorian Music Hall period and remained unchanged throughout the Variety period, only to disappear in the era of new mass media’s lack of appetite for ‘turns’ and speciality acts. However, is comic eccentric dance really a lost performance form? Can incarnations of the form really be considered as obsolete and archaic as such routines as, say, mesmerism, blackface or budgerigar acts? This article will attempt to reposition comic eccentric dance as a metamorphic form that still, surprisingly, exists, and is to be found with reasonable ubiquity, in renewed incarna- tions within twenty first century media.
    [Show full text]
  • The Romance of London
    1 If I UA-^fefJutwc^? *1 * ytyeyfl Jf'UW^ iMKW»**tflff*ewi r CONTENTS. SUPERNATURAL STORIES. PAGB GHOST STORY EXPLAINED, .... I ["EPNEY LEGEND OF THE FISH AND THE. RING, 4 'REAM TESTIMONY, ..... 6 IARYLEBONE FANATICS : SHARP AND BRYAN, BROTHERS AND SOUTHCOTE, ..... 7 iALLUCINATION IN ST PAUL'S, .... H THE GHOST IN THE TOWER, ..... 18 TGHTS AND SHOWS, AND PUBLIC AMUSEMENTS. THE PUISNE'S WALKE ABOUT LONDON, 27 THE WALLS OF ROMAN LONDON, 30 THE DANES IN LONDON, 32 CITY REGULATIONS IN THE PLANTAGENET TIMES, 36 ST PAUL'S DAY IN LONDON, 37 CHRISTMAS FESTIVITIES IN WESTMINSTER HALL, 39 LONDON COCKPITS, .... 43 STORY OF THE BOOK OF ST ALBAN'S, 45 RACES IN HYDE PARK. 47 VI Contents. PAGK OLD PALL MALL SIGHTS, 49 ROMANCE OF SCHOMBERG HOUSE, . 5° DR GRAHAM AND HIS QUACKERIES, . 54 ORIGIN OF HACKNEY-COACHES, Co THE PARISH CLERKS OF CLERKENWELL, 62 SEDAN-CHAIRS IN LONDON, 62 A LONDON NEWSPAPER OF 1 667, 65 AMBASSADORS' SQUABBLE, . 67 DRYDEN CUDGELLED, 69 FUNERAL OF DRYDEN, 7i GAMING-HOUSES KEPT BY LADIES, . 73 ROYAL GAMING AT CHRISTMAS, 75 PUNCH AND JUDY, 77 FANTOCCINI, 81 MRS SALMON'S WAX-WORK, . 33 THE RAGGED REGIMENT IN WESTMINSTER ABBEY, 86 THE PIG-FACED LADY, 89 COUNT BORUWLASKI AND GEORGE IV., 92 THE IRISH GIANTS, . 95 A NORFOLK GIANT, . 99 CELEBRATED DWARFS, 100 PLAYING ON THE SALT-BOX, . 103 A SHARK STORY, 104 TOPHAM, THE STRONG MAN OF ISLINGTON, 105 THE POPE'S PROCESSION, AND BURNING OF THE TOPE, 107 THE GIANTS AT GUILDHALL, "5 120 LORD MAYOR'S DAY, .... PRESENTATION OF SHERIFFS, i-4 LORD MAYOR'S FOOL, 125 KING GEORGE III.
    [Show full text]
  • As Guest, Some Pages Are Restricted
    P U B S A CO L L E CT ON O F HOT L I E , T AV E RN SI G N S I N G REAT BR ITAI N AND R L N D T O H CH ARE D D D I E A , W I A E A FE W FO REI G N CA FE SI G N S CLASSI FIED B Y A I N G . T O M L OTT W OOD B LL N TY N O LTD SP 55 C . IS E , A A E - W T RE E T S U A RE LONDON E C . 1 NE S Q , , 4 1 9 2 2 Toe Comp iler aisle: to expref; it; rea m Mit r m t E . P Ha r t o n g t to . i for oer eo n rtexy in allowing Aim to we n o t only t ae t itle out oer large r collection of n a n et . He also det ire; to I t ate nit indeoted neu t o Me s a ar w r Me yr t nd d o k of r f . Larwood and Hot tenfor n meé o aln aole i rmat i and ur ner fl u k t oe nfo on , f t to n many friend: woo nave told dint of o a er i e I ignf o t n odd nd o t n zo t . FORE W ORD A A D 1 0 ( fte r a write r of .
    [Show full text]