Page:The Strand Magazine (Volume 1).djvu/455



ERE y'are now, on'y sixpence for yer likeness, the 'ole thing, 'strue's life. Come inside now, won'tcher? No waitin'. Noo instanteraneous process."

Thus, with the sweet seductiveness of an East-end tout, was a photographer endeavouring to inveigle 'Arry and 'Arriet into his studio, which was situated―well, "down East som'ere," as the inhabitants themselves would describe the locality. It was somewhere near the Docks; somewhere, you may be sure, close bordering upon that broad highway that runs 'twixt Aldgate and the Dock-gates, for within those boundaries the tide of human life flows most strongly, and the photographer hoped, by stationing himself there, to catch a few of the passers-by, thrown in his way like flotsam and jetsam. He was not disappointed in this expectation. While daylight lasted there was generally a customer waiting in his little back parlour, enticed thither by the blandishments of the tout outside.

The establishment was not prepossessing to an eye cultivated in the appearance of the artistic façades of photographers in the West. The frontage consisted of a little shop, with diminutive windows, which it was the evident desire of the proprietor to make the most of by engaging in other commercial pursuits.

There seemed to be an incongruity in the art of the photographer being associated with the sale of coals, firewood, potatoes, sweets, and gingerbeer, but the Eastenders apparently did not trouble themselves to consider this in the least. There was, indeed, a homely flavour about this miscellaneous assortment of useful and edible articles, which commended itself to their mind. What was more natural than that 'Arry, having indulged in the luxury of a photograph, should pursue his day's dissipation by treating his 'Arriet to a bottle of the exhilarating "pop," to say nothing of a bag of sweets to eat on their holiday journey.

The coals, firewood, and potato department, so far from being regarded as in any way derogatory to the photographer's profession, was rather calculated to impress the natives, who were accustom ed to look upon a heap of coals—to say nothing of the firewood and potatoes—as a material sign of prosperity.

So far as the photographer was concerned it was a matter of necessity as well as choice that he came to be thus associated, for it transpired that he had married the buxom woman, whom we now see behind the counter, at a time when he was trying hard to make ends meet in the winter season, when photography is at a discount. She, on the