"But bring your glim this way. All the assemblage, accompanied by Jonathan, set off in this direction, when it turned out that the supposed housebreaker was a harmless beggar, who had been found asleep under a hedge. She attended to that, and then dismissed it as unimportant. In his muscular pudgy hand was a photograph, frayed at the corners, soiled from the contact of many hands: the portrait of a youth of eighteen. Here the ribs of a thousand pounds beating against the Needles— those dangerous rocks, credulity here floated, to and fro, silks, stuffs, camlets, and velvet, without giving place to each other, according to their dignity; here rolled so many pipes of canary, whose bungholes lying open, were so damaged that the merchant may go hoop for his money," A less picturesque, but more truthful, and, therefore, more melancholy description of the same scene, is furnished by the shrewd and satirical Ned Ward, who informs us, in the "Delectable History of Whittington's College," that "When the prisoners are disposed to recreate themselves with walking, they go up into a spacious room, called the Stone Hall; where, when you see them taking a turn together, it would puzzle one to know which is the gentleman, which the mechanic, and which the beggar, for they are all suited in the same garb of squalid poverty, making a spectacle of more pity than executions; only to be out at the elbows is in fashion here, and a great indecorum not to be threadbare. The only part of his otherwise-interesting countenance, to which one could decidedly object, was the mouth; a feature that, more than any other, is conceived to betray the animal propensities of the possessor.
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