warehouses can store 220,000 tons of goods, and their cellars 70,000 pipes (8,316,050 gallons) of wine. The Tobacco Dock and Warehouses (the Queen's Warehouse) alone cover an area of 5 acres of ground. At times, particularly when adverse winds drive vessels into the Thames, upwards of 3000 men are employed at these docks in one day. Every morning at 6 o'clock, there may be seen waiting at the principal entrance a large and motley crowd of labourers, to which numerous dusky visages and foreign costumes impart a curious and picturesque air. A good physique and willingness to work are the only credentials required. The capital of the London & St. Katherine's Docks Co. amounts to 13,000,0001. The door in the E. angle of the docks, inscribed 'To the Kiln', leads to a furnace in which adulterated tea and tobacco, spurious gold and silver wares, and other confiscated goods, are burned. The long chimney is jestingly called the Queen's Tobacco Pipe. [Smuggled tobacco was also formerly burned here, but is now sent to the Broadmoor Criminal Lunatic Asylum.]

Nothing will convey to the stranger a better idea of the vast activity and stupendous wealth of London than a visit to these warehouses, filled to overflowing with interminable stores of tea, coffee, sugar, silk, tobacco, and other foreign and colonial products ; to these enormous vaults, with their apparently inexhaustible quantities of wine; and to these extensive quays and landingstages, cumbered with huge stacks of hides, heaps of bales, and long rows of casks of every conceivable description.

Permission to visit the warehouses and vaults may be obtained from the secretary of the London Dock Company, at 109 Leadenhall Street, E.C. Those who wish to taste the wines must procure a tasting-order from a wine-merchant. Ladies are not admitted after 1 p.m. Visitors should be on their guard against the insidious effects of 'tasting', in the heavy, vinous atmosphere of the

vaults.

To the S. of the London Docks, and about 2 M. below London Bridge, lies the quarter of the metropolis called Wapping, from which the Thames Tunnel leads under the river to Rotherhithe on the right bank. The tunnel was begun in 1825, on the plans and under the supervision of Sir Isambard Brunel, and completed in 1843, after several accidents occasioned by the water bursting in upon the works. Seven men lost their lives during its construction. It consists of two parallel arched passages of masonry, 14 ft. broad, 16 ft. high, and 1200 ft. long, and cost 468,0001. The undertaking paid the Thames Tunnel Company so badly, that their receipts scarcely defrayed the cost of repairs. The tunnel was purchased in 1865 by the East London Railway Company for 200,000l., and is now traversed daily by about 40 trains (terminus at Liverpool Street Station, p. 33).

At Rotherhithe, to the E. of the tunnel, are situated the numer

ous large basins of the Surrey and Commercial Docks (Pl. R, 53, etc.), covering together an area of about 350 acres, and chiefly used for timber. On the N. bank of the river, at Limehouse, opposite the Commercial Docks, is the entrance to the Regent's Canal, which runs N. to Victoria Park, then turns to the W., traverses the N. part of London, and unites with the Paddington Canal, which forms part of a continuous water-route as far as Liverpool. The West India Docks (Pl. R, 62, etc.), nearly 300 acres in area, lie between Limehouse and Blackwall, to the N. of the Isle of Dogs, which is formed here by a sudden bend of the river. They can contain at one time as many as 460 West India merchantmen. Several of the chief lines of steamers load and discharge their cargoes in these docks. The three principal basins are called the Import Dock, the Export Dock, and the South Dock. The smaller East India Docks (Pl. R, 70, 71) are at Blackwall, a little lower down. The Millwall Docks, 100 acres in extent (35 water), are in the Isle of Dogs, near the West India Docks. Still lower down than the East India Docks, between Bow Creek, North Woolwich, and Galleon's Reach, lie the magnificent Victoria and Albert Docks, 23/4 M. in length, lighted by electricity and provided with every convenience and accommodation for sailing vessels and steamers of the largest size. The steamers of the Peninsular and Oriental, the Anchor, the National, and other important companies, put in at these docks. The Hydraulic Lift, for supporting vessels when undergoing repair, is worthy of inspection. The Victoria Dock Co. has been amalgamated with the London and St. Katherine's Docks Company, which has constructed a special railway, extending to Galleon's Reach and bringing the docks into direct connection with the Great Eastern Railway. The East and West India Dock Company have constructed large new docks at Tilbury (p. 344).

10. Bethnal Green Museum. National Portrait
Gallery. Victoria Park.

The Bethnal Green Museum (Pl. B, 52), a branch of South Kensington Museum, opened in 1872, occupies a red brick building in Victoria Square, Cambridge Road, Bethnal Green. It was established chiefly for the benefit of the inhabitants of the poorer East End of London. The only permanent contents are collections of specimens of food and of animal and vegetable products, but loan collections of various kinds are also always on view. Admission on Mon., Tues., and Sat., 10 a.m. to 10 p.m., and Thurs. and Frid. 10 to 4, 5, or 6, free; on Wed., 10 a.m. to 4, 5, or 6 p.m., 6d. (catalogues on sale). The Resident Keeper is Mr. Matchwick. The number of visitors in 1887 was 409,929 and in 1888 it was 910,511, the great increase in the latter year being due to the temporary exhibition here of the Queen's Jubilee Presents.

The Museum may be conveniently reached by an Old Ford omnibus

from the Bank; by the Metropolitan Railway to Aldgate, and thence by a Well Street tramway-car (a red car; fare 2d.), which passes the Museum; or by train from Liverpool Street Station to Cambridge Heath (about every 10 min.; through-booking from Metropolitan stations). In returning we may traverse Victoria Park to the (20 Min.) Victoria Park Station of the N. London Railway, whence there are trains every 1/4 hr. to Broad Street, City.

The space in front of the Museum is adorned with a handsome majolica Fountain, by Minton (1862). The interior of the Museum, entirely constructed of iron, consists of a large central hall, surrounded by a double gallery. To the right and left as we enter are busts of Garibaldi and Cromwell.

The extensive and well-arranged Collection of Articles used for Food occupies the N. side of the lower gallery. It comprises specimens of various kinds of edibles, models of others, diagrams, drawings, and so forth. On the S. side is the collection of Animal Products, largely consisting of clothing materials (wool, silk, leather, etc.) at different stages of their manufacture. The area of the central hall is occupied by a Collection of Works of Ornamental Art in gold, silver, bronze, and china, French furniture, etc., lent by Mr. and Mrs. Massey-Mainwaring and others. On screens round the hall is the Dixon Collection of water-colours and oil-paintings, bequeathed to the Museum in 1886. The former include examples of De Wint, Cooper, Birket Foster, David Cox, etc.; the latter are less interesting. Here too are exhibited an alto-relievo of Mrs. Siddons (d. 1831), by Campbell, and a bust of Mrs. Jameson (d. 1860), the writer on art, by Gibson, both belonging to the National Portrait Gallery (see below). The flooring of the central hall consists of a mosaic pavement formed from refuse chippings of marble, executed by female convicts in Woking Prison. The N. and S. basements are occupied by part of the Dixon Collection and by various picture, etc., on loan. In the N. basement is a plain refreshment-room.

The upper gallery, well lighted from the roof, now contains (on loan for a limited period) the **National Portrait Gallery (formerly at S. Kensington; see p. 289), a highly valuable series of original portraits and busts of celebrated natives of Great Britain and Ireland. The director of the gallery is Mr. George Scharf, C. B., who has prepared an excellent catalogue. The pictures are arranged approximately in historical sequence, beginning at the E. end of the S. Gallery. The outsides of the screens facing the central hall, however, are hung in both galleries with modern portraits. In the E. gallery are two recumbent figures, electrotype casts of the originals in Gloucester Cathedral: on the right, Edward II (d. 1327), a good piece of Gothic work; on the left, Robert, Duke of Normandy, surnamed Curthose, eldest son of William the Conqueror. Here also are various statues and busts. In the W. Gallery is a series of electrotypes of English sovereigns. The following is a list of the more important portraits, arranged roughly in chronological order.

BAEDEKER, London. 7th Edit.

9

In May, 1889, Lord Salisbury, Prime Minister of England, announced that an anonymous private donor had offered to build a National Portrait Gallery if Government would grant a suitable site; and a short time after an Act of Parliament authorised the erection of the new building adjoining the National Gallery (see p. 148).

Several paintings belonging to the National Portrait Gallery are at present deposited in the National Gallery (see p. 149).

PORTRAITS OF THE PLANTAGENET PERIOD (1154-1485). The portraits, executed at a later period, are of little artistic value. The best is that of Richard III. (d. 1483), in the act of putting a ring on his finger, probably by a Flemish artist. Facsimile of an ancient diptych representing Richard II. (1366-1400), at the age of fifteen, kneeling before the Virgin and Child (Arundel Society publication). Portrait of Geoffrey Chaucer (1340-1400). Tracings of the portraits of Edward III. and his family on the E. wall of St. Stephen's Chapel, Westminster (date, 1356), now destroyed.

PORTRAITS OF THE TUDOR PERIOD (1485-1603). Henry VII. (d. 1509), a work in the upper German style, painted, according to the Latin inscription, for Hermann Rinck (restored); Cardinal Wolsey, a crude performance, probably after an Italian original; several portraits of Henry VIII., nearly all after Holbein; Queen Mary I, at the age of 28, before her accession; *Thomas Cranmer, Archbishop of Canterbury (1489-1556), by Gerbarus Flicius; *Sir Thomas Gresham (1519-1579), founder of the Royal Exchange, by Sir Anthony More, a pupil of Schooreel; Peter Martyr Vermilius of Florence (1500-1562), preacher of the Reformation at Oxford, by Hans Asper of Zürich; Sir Henry Unton (d. 1596), a curious work with scenes from his life, by an unknown painter; portraits of Raleigh, Burleigh, Camden, and George Buchanan; several portraits of Queen Elizabeth and Mary, Queen of Scots; also the so-called Frazer-Tytler portrait of the latter, now accepted as Mary of Lorraine, her mother.

PORTRAITS OF THE STUART PERIOD (1603-1649). Earl of Southampton (d. 1624), the friend and patron of Shakspeare, by Mierevelt; oil-portrait of Shakspeare (the Chandos portrait), with an engraving from the first folio edition of the plays (1623); Guy Fawkes and other conspirators of the Gunpowder Plot, engraving with good portraits taken from life; Ben Jonson (d. 1637); Children of Charles I., early copy of a well-known picture by Van Dyck; *Endymion Porter, confidant of Charles I. (1587-1649), an excellent work by Dobson; James I., in the royal robes, by Van Somer; Lord Bacon (1561-1626), by Van Somer; James VI. of Scotland at the age of eight, by Zucchero; Elizabeth, Queen of Bohemia (d. 1662), by Mierevelt; Inigo Jones, the architect (1573-1652), by Old Stone, after Van Dyck; W. Dobson (1610-1646), a follower of Van Dyck and the first native English portrait-painter of any eminence, by himself: Michael Drayton, the poet (d. 1631); Sir Kenelm Digby (d. 1665), by Van Dyck.

PORTRAITS OF THE COMMONWEALTH (1649-1660) AND THE REIGN OF CHARLES II. (1660-85). Among the best portraits of this period are those of Harrington (d. 1677), the author, by Honthorst; Thomas Hobbes, the philosopher (d. 1679), by J. M. Wright, and *Queen Elizabeth of Bohemia (d. 1662), at the age of forty-six, by Honthorst. The portraits of Nell Gwynne, Mary Davis, the actress, La Belle Hamilton, and other beauties by Sir Peter Lely, are inferior in art value to the *Portraits of the Duke of Buckingham (d. 1687) and the Countess of Shrewsbury by the same artist. Portraits of Cromwell, Milton (a painting by Van der Plaas and an engraving from the life by Faithorne), Cowley, Suckling, Andrew Marvell, Ireton, Monk, and Samuel Butler are also exhibited here. *PORTRAITS OF THE REIGNS OF JAMES II., WILLIAM III., AND QUEEN ANNE (1685-1714). The best portrait in this section is that of *Sir Christopher Wren, the architect of St. Paul's Cathedral (1637-1723), by Sir Godfrey Kneller, a pupil of Rembrandt. Among the other portraits are the Seven Bishops, Waller, the poet, Locke, the philosopher, the Duke of Marlborough, Duchess of Marlborough, Viscount Torrington (d. 1733), Lord Chancellor Jeffreys, and the first Duke of Bedford (d. 1700), by Kneller. Henry St. John, Viscount Bolingbroke, the statesman (1678-1751), by H. Rigaud; Matt. Prior (1664-1721), the poet, by Richardson; Joseph Addison (16721719), two portraits, by Kneller and Dahl; Sir Isaac Newton (16421727), by Vanderbank; Jonathan Swift (1667-1745), by C. Jervas.

As we approach our own times the portraits become much more numerous, and it must suffice to give here a mere selection of those most interesting from their subject or treatment.

PORTRAITS OF THE EIGHTEENTH CENTURY. Several portraits of Cardinal York (1725-1807), including one of him when a child by *Largillière; Charles Edward Stuart (1720-88), the Pretender, portraits by Largillière and Batoni; Simon Fraser, Lord Lovat (p. 124), by Hogarth; Wm. Hogarth (1697-1764), the painter, by himself; Alexander Pope (1688-1744), in crayons, by Hoare; Pope and Martha Blount, by Jervas; Bishop Berkeley (1684-1753), by Smibert; James Thomson (d. 1748), the poet, by Paton; Händel (d. 1759), by Hudson; Isaac Watts (d. 1748), the hymn-writer, by Kneller; * W. Pulteney, Earl of Bath (1682-1764), by Reynolds, vigorously handled ; General Wolfe (1726-59), by Highmore; Samuel Richardson (d. 1761), by Schaak; Peg Woffington (1720-1760), the actress, painted as she lay in bed paralysed, by A. Pond; Sir Joshua Reynolds (1723-1792), when a young man, by himself; Oliver Goldsmith (1728-1774), by a pupil of Reynolds, a portrait familiar from numerous engravings; David Garrick (d. 1779), by Pine; Edmund Burke (d. 1797), by Reynolds; Sir Wm. Blackstone (1723-80), the lawyer, by Reynolds; William, Duke of Cumberland (d. 1765), by Reynolds; Sir William Chambers (d. 1796), the architect of Somerset House, by Reynolds, somewhat pale in tone; Admiral Viscount Keppel (1727-1782), by Reynolds; Sir William Hamilton (1740-1803),