However this may be, such was the ill report of the place that few passed along the Old Bailey without bestowing a glance of fearful curiosity at its dingy walls, and wondering what was going on inside them; while fewer still, of those who paused at the door, read, without some internal trepidation, the formidable name—inscribed in large letters on its bright brass-plate—of JONATHAN WILD. It was during Martin’s Violin Concerto that she was extraordinary. She had been forced to buy herself that pair of boots and a walking-skirt, and the pearl necklace at the pawnbrokers’ had yielded very disappointingly. But the besetting evil of the place, and that which drew down the severest censures of the writers above-mentioned, was that this spot,—which of all others should have been most free from such intrusion—was made a public exhibition.
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