Though frequented by Chelsea people, the grounds of the Hospital are but little known to the rest of London. Yet the east side is bordered by an avenue of pollarded Dutch elms worth going to see--an avenue dusky at mid-day, and, after dark, wanting only a ghost to make it perfect. Immediately beyond is all that remains of Ranelagh Gardens--the rival of Vauxhall in the middle of last century, when the Rotunda was the most fashionable lounge in London--now a miniature park, with trees, greensward, and flower-beds, and a large space set apart for the old pensioners, where they cultivate small plots of garden, and will sell you a nosegay of humble but odorous blooms for a few pence. It is pleasant, in the decaying light of a summer evening, to see the veterans tending their plants, watering or weeding, making up bunches of red and blue and yellow blossoms, and recollecting in their age that Adam was a gardener, not a soldier. Several of these men have faced the storm of battle, and left behind them arms or legs. Now they wait upon the gentle ways of Nature, before the setting of the sun. With the Hospital grounds on one side, and Battersea Park on the other (the latter winning increased favour every year by its fine effects of wood and water), we come to the Chelsea Suspension Bridge, near neighbour of Battersea Bridge, which in 1890 superseded the older structure shown in our illustration on page 259, and now a thing of the past. The railway bridge from Victoria, a little beyond, is a pleasing specimen of its order. Railway viaducts are often abominations. That they _can_ be otherwise is shown by some few instances. The railway bridge at Knaresborough, in Yorkshire, is really beautiful. But then it is of stone, not of iron. Iron bridges--excepting those slung on chains--can scarcely escape the reproach of ugliness. Vulcan himself must have forged the original, and infused into it something of his own deformity. But we have passed out of the stone into the iron age; the engineers have us in hand; and we must submit to a good deal of unloveliness for the sake of utility and cheapness. Stone bridges are works of architecture and art; wooden bridges have a certain rustic prettiness in the country; but the iron bridge of the railway harmonises with nothing. It so happens that just as we reach the Victoria Bridge we enter one of the most uninteresting parts of the river. With Pimlico on the one side, and the outskirts of New Battersea on the other, the eye and the mind are equally baulked of any agreeable subjects of contemplation. As regards associations, Pimlico is perhaps the most barren district in all London; and the part facing the Thames is a mere succession of commonplaces. We even hail Millbank Prison as a relief--though it would be difficult to imagine anything more dreary than that stern, gaunt structure, with a thousand heart-aches behind its walls.