London's Heart. B. L. Farjeon

with intelligent well-formed face and beautiful light hair. Question her, and bribe her with pence, and you may obtain from her the information that she lives in the next street, at the baker's, on the second-floor back; that mother and father live there, of course; that seven brothers and sisters live there, making a family party of ten in all; that they have only one room, in which mother cooks the meals, and in which they all sleep; and that sometimes Uncle Bob pays them a visit, and eats and sleeps with them for a few days. Wondrous is the inner life of Soho. It is the abode of much seediness and much suffering. Many a poor gentleman eats his bread-and-dripping there, and, if he can afford it, cooks his herring there, and thinks sadly of times, gone by, when his life had its days of sunshine. He looks forward yearningly to the time to come; but rich as is the harvest that grows in the fields of Hope, the chance of its ever being gathered is a dismal one indeed. The poor gentleman, ill-fed, ill-dressed, reads faded letters in his garret, kisses pictures there, and dreams hopefully of the future, which contains for him nothing but a grave.

      In one of Soho's quiet streets--belonging to that peculiar family of streets which are invariably round the corner--is a tallow-chandler's shop, ambitiously designated by its proprietor, J. Gribble senior, as an oil and colour warehouse. This designation glares at you from over the blue shopfront in yellow letters--glares at you defiantly, as if it is aware beforehand that doubt of its assertion must necessarily rise in your mind. The window of the shop, in which the stock is displayed, is dusty and dirty, and everything behind it has a faded and second-hand appearance. In a corner of the window is a sheet of note-paper, on which is written--in feeble and uncertain letters--"Down with Cooperation!" There is an exception, however, to the generally dusty aspect of the window. In a centre pane, which is kept clean, is a square of blue cardboard, on which the following announcement is neatly written, in yellow round-hand:

J. GRIBBLE JUNIOR,Table of Contents PROFESSOR OF ANATOMY.Table of Contents Broken Ribs or Bones Carefully Re-set or Neatly Mended; In fact The Whole Frame speedily Recovered on Moderate Terms. J. G. junior informs the neighbouring Gentry that he has had a most Extensive Practice, and that, although he has had THOUSANDS OF PATIENTS under his Treatment, he has never turned out one Incurable. J. G. junior has had Numerous Patients brought to him Partly Deformed or Weakened through Improper Treatment, and has in a very few Hours invariably restored to them their Original Strength. Consultations, Examination, and Operations performed Daily from 8 a.m. till 10 p.m. Patients admitted on application, and without the vexatious delay which is occasioned by references being required. NO CURE, NO PAY. ADVICE TO ALL GRATIS. J. G, junior's Royal Umbrella and Parasol Hospital, Second-floor Front.

      The stock has not a very inviting appearance: comprising, for the most part, candles, mouse-traps, balls of twine, bars of yellow soap--so arranged as to be suggestive of prison-windows--and limbs and wings and dead bodies of flies. These latter seem to be the peculiar attribute of shop and parlour windows in Soho. One might almost be pardoned for the supposition that every discontented fly in London makes it a practice to go to Soho and die.

      The shop has its public entrance for customers, and its private entrance for the residents of the house--so private indeed, so circumscribed and squeezed up, that scarcely one out of fifty passers-by would know that it was there; and that one, seeing it by merest chance, might well be lost in wonder at the perplexing idea of a stout man struggling through the narrow passage into which the mockery of a door must necessarily open. Three bell-handles display themselves on each side of the door to snare and entrap the uninitiated; a goggle-eyed knocker (with a face so hideous that babies have gone into convulsions at the sight of it) also adds to the entanglement of ideas. For, knowing that the house contains many inhabitants who have no connection with each other, and some of whom may indeed be at variance, the uninitiated brings confusion upon himself by ringing the wrong bell or knocking the wrong knock. A woman, who lodged somewhere in the vicinity of the coal-cellar, was often the occasion of much distress to the knockers and ringers. This woman, who always made her appearance fresh from the washing-tub, and who came up-stairs invariably wiping her wet arms upon her apron, was afflicted with the perpetual conviction that a ring or a knock, whether single, or double, or treble, was certainly intended for her; and as her temper was none of the sweetest, unpleasant scenes occurred. Many a box on the ears did youthful knockers and ringers receive from the damp hands of the disappointed woman, and many an angry mother would make her appearance in the passage a few minutes afterwards and exchange shrill civilities with the bad-tempered castigator. Sometimes these angry mothers would go almost into hysterics because the woman below declined to comply with such invitations as, "Come up, and I'll show yer!" or, "Come up, and I'll scratch yer eyes out for yer!" or, "What d'yer mean by slappin' my boy Billy about on the 'ead, which was weak from a babby? What d'yer mean by it, yer minx?--What d'yer mean?" (This last fortissimo.) "Come up, and I'll tear the 'air out of yer 'ead!" After which challenges and defiances the angry mothers, with very white faces, would issue into the street, and form the centres of little knots of female neighbours only too willing to discuss the matter and express their opinions. A facetious person, who had called several times at the house, and who was never able to solve the mystery of the bells, once hit upon what he conceived to be a happy idea. He gave a postman's knock; but the rush of eager feet from all parts of the house, and the glare of angry faces that met his smiling one when the door was opened, were sufficient warnings to him never to try it again; and he never did.

      In the front room of the first floor of this house sits an old man, working in somewhat idle fashion on a few wooden castors or wheels. It is Saturday on a summer evening in June. The window is open; on the sill are two flower-pots. The room, which is a humble one, is very clean and tidy, and there are evidences of comfort, even of refinement about it, humble as it is. Some cheap graceful ornaments are on the mantelshelf: a pair of shells; a shepherd and a shepherdess, condemned by the exigencies of art to live apart from each other, notwithstanding their languishing looks; and, in the centre of the mantelshelf, a vase with two of yesterday's roses in it. These roses, as they are placed in the vase, touch the photograph of a young girl, which hangs in a frame above them. She is pretty and fresh-looking, and there is a smile upon her face which induces gladness in the beholder: as spring flowers and bright skies do. On either side of the portrait, hung on a higher level, is a picture of the same young girl, disguised. On the right-hand side of the mantelshelf she is dressed in a Spanish costume; on her shoulders is a black-lace shawl arranged with the most charming negligence; and as she looks at you from behind a fan, you catch just a glimpse of laughing eyes. On the left-hand side of the mantelshelf she is dressed in the costume of a century ago, in brocaded silk dress, and with black beauty-spots on her cheeks; she wears a white wig, and, in the act of curtseying, looks at you saucily and demurely, coquetting the while with a white handkerchief which she holds in her fingers. The stove is hidden by an ornament of paper flowers, the colours and arrangement of which are more artistic than the majority of those sold in the streets. There is one singular peculiarity about the furniture in the room: everything movable is on wheels. The chairs, the table, a footstool, the very ornaments on the mantelshelf--all on wheels made expressly for them. There is no carpet on the floor; but the chairs make no noise as they are moved, for the wheels (made of box or deal, according to requirement) are covered with leather. Even the flower-pots on the window-sill have wheels, and the old man is at present occupied in making wheels for a work-box, which it is not difficult to guess belongs to the young girl whose portrait hangs above the roses. He works noiselessly and slowly, and with great care. It is evident that he is engaged on a labour of love. He handles the wood as if it were sensitive; he looks at his handiwork fondly, and holds it up to the light and examines it with loving interest. Once he rises and stands before the mantelshelf, and gazes with a tender light in his eyes at the picture of the young girl. Then he returns to his tools, and resumes his work. A slight sound disturbs him, and he pauses in his work to listen. As he listens he raises his hand to his ear, and directs his eyes towards a screen, which makes, as it were, a second apartment of the cosiest corner of the room. Something that the old man loves lies behind this screen, which is so arranged that the pictures on the mantelshelf and the roses and the ornaments of paper flowers