No. 551: Keeley Street, WC2
Keeley Street, London, WC2. Photo © Roger Dean 2011
Curiosities of London Life, or Phases, Physiological and Social of the Great Metropolis – Charles Manby Smith, 1853:
The handcart-organists are a race of…enterprising character, and of…lofty and varied pretensions….Their equipage consists of an organ of very complicated construction, containing, besides a deal of very marvellous machinery within its entrails, a collection of bells, drums, triangles, gongs, and cymbals, in addition to the usual quantity of pipes and metal-reeds that go to make up the travelling organ. The music they play is of a species which it is not very easy to describe, as it is not once in a hundred times that a stranger can detect the melody through the clash and clangor of the gross amount of brass, steel, and bell-metal put in vibration by the machinery. This, however, is of very little consequence, as it is not the music in particular which forms the principal attraction: if it serve to call a crowd together, that is sufficient for their purpose; and it is for this reason, we imagine, that the effect of the whole is contrived to resemble, as it very closely does, the hum and jangle of Greenwich Fair when heard of an Easter Monday from the summit of the Observatory Hill. No, the main attraction is essentially dramatic. In front of the great chest of heterogeneous sounds there is a stage about five or six feet in width, four in height, and perhaps eighteen inches or two feet in depth. Upon this are a variety of figures, about fourteen inches long, gorgeously arrayed in crimson, purple, emerald-green, blue, and orange draperies, and loaded with gold and tinsel, and sparkling stones and spangles, all doubled in splendour by the reflection of a mirror in the background. The figures, set in motion by the same machinery which grinds the incomprehensible overture, perform a drama equally incomprehensible. At the left-hand corner is Daniel in the lion’s den, the lion opening his mouth in six-eight time, and an angel with outspread wings, but securely transfixed through the loins by a revolving brass pivot, shutting it again to the same lively movement. To the right of Daniel is the Grand Turk, seated in his divan, and brandishing a dagger over a prostrate slave, who only ventures to rise when the dagger is withdrawn. Next to him is Nebuchadnezzar on all fours, eating painted grass, with a huge gold crown on his head, which he bobs for a bite every other bar. In the right-hand corner is a sort of cavern, the abode of some supernatural and mysterious being of the fiend or vampire school, who gives an occasional fitful start, and turns an ominous-looking green-glass eye out upon the spectators. All these are in the background. In the front of the stage stands Napoleon, wearing a long sword and a cocked hat, and the conventional grey smalls-his hand of course stuck in his breast. At his right are Tippoo Saib and his sons, and at his left, Queen Victoria and Prince Albert. After a score or so of bars, the measure of the music suddenly alters-Daniel’s guardian angel flies off – the prophet and the lion lie down to sleep together – the Grand Turk sinks into the arms of the death-doomed slave -Nebuchadnezzar falls prostrate on the ground, and the fiend in the gloomy cavern whips suddenly round and glares with his green eye, as if watching for a spring upon the front row of actors, who have now taken up their cue and commenced their performance. Napoleon, Tippoo Saib, and Queen Victoria dance a three-handed reel, to the admiration of Prince Albert and a group of lords and ladies in waiting, who nod their heads approvingly-when br’r’r! crack! at a tremendous crash of gongs and grumbling of bass-notes, the fiend in the corner rushes forth from his lair with a portentous howl. Away, neck or nothing, flies Napoleon, and Tippoo scampers after him, followed by the terrified attendants; but lo! at the precise nick of time, Queen Victoria draws a long sword from beneath her stays, while up jumps the devouring beast from the den of the prophet, and like a true British lion – as he doubtless was all the while- flies at the throat of the fiend, straight as an arrow to its mark.