Highways and Byways in London. Emily Constance Baird Cook

      Sightseers.

      There is, I maintain, no finer walk in the world than that along the Victoria Embankment, from Blackfriars to Westminster. You may walk it every day of the year, and every day see some new, strange and beautiful effect of light, of water, of cloud. In midsummer, when the long row of plane trees offer a welcome shade and relief of greenery, and it is pleasant to watch the slow barges pass and repass; in autumn, when red and saffron sunsets flood all the west with light; in midwinter, when, sometimes, great blocks of ice line the turbid stream. One winter, not long past, when the Thames was all but frozen over, it was a curious and interesting sight to watch the crowd of sea-gulls, driven inshore by the intense cold, making their temporary home on the ice, and fed all day with raw meat and bread by thousands of sympathizing Londoners. Some of the birds had almost become tame when their compulsory visit came to an end.

      The river, in old pre-embankment days, flowed at the foot of the curious ancient stone archway called "York Stairs," that stranded water-gate of old York House, which stands, lonely and neglected, in a corner of the Embankment Gardens. It has, however, survived, and that, in London, is always something. Its long buried, and now excavated, columns show the ancient level of the river, and the height to which the present Embankment has been raised. The Palace of York House, to which it was the river-gate, has gone the way of all palaces; its ruins (as all ruins must ever be in London), are thickly built over. Indeed, Somerset House is almost the only palace left to tell of the ancient river-side glories, glories of which Herrick wrote:

      "I send, I send, here my supremest kiss

       To thee, my silver-footed Tamasis,

       No more shall I re-iterate thy strand

       Whereon so many goodly structures stand."

      Even Somerset House is merely an old palace rebuilt, for the present edifice is not much more than a century old. Buildings in London tend to become utilitarian; and Royalty, besides, has deserted the City for the West End. So the ancient Palace of the Lord Protector Somerset, that Palace that he destroyed so much to build, spent such vast sums on, and yet never lived in, but had his head cut off instead; the Palace that used to be the residence of the wives of the Stuart Kings, as described by Pepys, is now superseded by the vast Inland Revenue Office, with its myriad suites, corridors, chambers. Truly, a change typical of our busy and practical era!

      Somerset House occupies the site of the older palace, a site almost equal in area to Russell Square. But the older palace, as befitted the "Dower House" of the Queens of England had gardens that extended along the river-shore. It was in Old Somerset House that Charles II.'s poor neglected Queen, Catherine of Braganza, used to sit all night playing at "ombre," a game which she had herself imported from Portugal; and it was here, in 1685, that three of her household were charged with decoying Sir Edmondsbury Godfrey into the precincts of the palace, and there strangling him. The wide courtyard of the interior has a bronze allegorical group by Bacon, of George III. mixed up with "Father Thames." Queen Charlotte, apparently rather resenting the ugliness of the representation, said to the sculptor, "Why did you make so frightful a figure?" The artist was ready with his reply. "Art," he said, bowing, "cannot always effect what is ever within the reach of Nature—the union of beauty and majesty." I myself must confess to some sympathy with Queen Charlotte; but the art of her day had ever a tendency to efflorescent excrescence.

      On the river's very brink, a little higher up than Somerset House and its adjacent hotels, Cleopatra's Needle, that "great rose-marble monolith," stands guarded by two bronze sphinxes on a pediment of steps, backed by the Embankment and the trees of its gardens. The monolith is here in strange and novel surroundings. What ruins of empires and dynasties has not this ancient Egyptian obelisk seen! We poor human beings soon live out our little day, and are gone:

      "The Eternal Saki from the Bowl hath poured

       Millions of bubbles like us, and will pour——"

      while this senseless block of stone lives for ever, regardless of the tides of humanity that ebb and flow ceaselessly about its feet. Has it not been a "silent witness" of the pageants of the magnificent Pharaohs of the Eighteenth Dynasty? Its hieroglyphics record its erection by Thotmes III., before the Temple of the Sun in On (Heliopolis), where it remained for the first 1600 years of its existence, and (says Mr. Hare) witnessed the slavery and imprisonment of the patriarch Joseph. The obelisk has had a strange and eventful history. Removed to Alexandria shortly before the Christian era, it was never erected there, but lay for years prone in the sand. Then, in 1820, Mahomet Ali presented it to the British nation; with, however, no immediate result. For, the difficulties of removal being great, no advantage was taken of the offer, till, in 1877, Mr. (afterwards Sir) Erasmus Wilson gave the necessary funds, amounting to £10,000. A special cylinder boat was made for the obelisk, but even with its removal its adventures were not ended, for, in the Bay of Biscay, the vessel encountered a terrific storm, and the crew of the ship that towed it, in peril of their lives, cut it adrift. For days it was lost, till a passing steamer happened to sight the strange-looking object and picked it up, earning salvage on it.

      The granite is said to be slowly disintegrating and the hieroglyphics therefore becoming less deeply scored, by the action of the London smoke and mist—the mist glorified poetically by Mr. Andrew Lang in his "Ballade of Cleopatra's Needle";

      "Ye giant shades of Ra and Tum,

       Ye ghosts of gods Egyptian,

       If murmurs of our planet come

       To exiles in the precincts wan

       Where, fetish or Olympian, To help or harm no more ye list, Look down, if look ye may, and scan This monument in London mist!

      "Behold, the hieroglyphs are dumb,

       That once were read of him that ran

       When seistron, cymbal, trump, and drum,

       Wild music of the Bull began;

       When through the chanting priestly clan

       Walk'd Ramses, and the high sun kiss'd

       This stone, with blessing scored and ban—

       This monument in London mist.

      "The stone endures though gods be numb;

       Though human effort, plot, and plan

       Be sifted, drifted, like the sum

       Of sands in wastes Arabian.

       What king may deem him more than man,

       What priest says Faith can Time resist

       While this endures to mark their span— This monument in London mist?"—

      It has been objected that Cleopatra's needle ought to have been placed somewhere else; for instance, in the centre of the Tilt Yard, opposite the Horse Guards. But it is, as I said, typical of Londoners to find fault with their monuments; and it is difficult to agree with the writer who described it as in its present position "adorning nothing, emphasising nothing, and by nothing emphasised." M. Gabriel Mourey, for instance, who, though a Frenchman, is also a lover of London, brings it very charmingly into his "impression" of the scene from Charing-Cross Bridge:

      "I go every morning to Charing-Cross Bridge, to gaze on the 'magical effects' produced by fog and mist on the Thames. The buildings on the shores have vanished; there, where recently seethed an enormous conglomeration of roofs, chimneys, the perpetual encroachment of interminable façades, all that insentient life of stones,—heaped to lodge human toil, suffering, happiness,—seems to be now only a desert of far-reaching waters. The river has immeasurably widened, has extended its shores to the infinite. Such immensity is terrible ... the atmosphere is heavy; there is a conscious weight around, above, a weight that presses down,