Sketches by Boz, Illustrative of Every-Day Life and Every-Day PeopleDickens, Charles
General
Sketches by Boz, Illustrative of Every-Day Life and Every-Day People
Dickens, Charles
London (England) -- Social life and customs -- 19th century; London (England) -- Social life and customs -- 19th century -- Fiction
At one time—and at no distant period either—the coffins of the men
about to be executed, were placed in that pew, upon the seat by their
side, during the whole service. It may seem incredible, but it is true.
Let us hope that the increased spirit of civilisation and humanity
which abolished this frightful and degrading custom, may extend itself
to other usages equally barbarous; usages which have not even the plea
of utility in their defence, as every year’s experience has shown them
to be more and more inefficacious.
Leaving the chapel, descending to the passage so frequently alluded to,
and crossing the yard before noticed as being allotted to prisoners of
a more respectable description than the generality of men confined
here, the visitor arrives at a thick iron gate of great size and
strength. Having been admitted through it by the turnkey on duty, he
turns sharp round to the left, and pauses before another gate; and,
having passed this last barrier, he stands in the most terrible part of
this gloomy building—the condemned ward.
The press-yard, well known by name to newspaper readers, from its
frequent mention in accounts of executions, is at the corner of the
building, and next to the ordinary’s house, in Newgate-street: running
from Newgate-street, towards the centre of the prison, parallel with
Newgate-market. It is a long, narrow court, of which a portion of the
wall in Newgate-street forms one end, and the gate the other. At the
upper end, on the left hand—that is, adjoining the wall in
Newgate-street—is a cistern of water, and at the bottom a double
grating (of which the gate itself forms a part) similar to that before
described. Through these grates the prisoners are allowed to see their
friends; a turnkey always remaining in the vacant space between, during
the whole interview. Immediately on the right as you enter, is a
building containing the press-room, day-room, and cells; the yard is on
every side surrounded by lofty walls guarded by _chevaux de frise_; and
the whole is under the constant inspection of vigilant and experienced
turnkeys.
Public-domain text, read in full here on John Shaqi.
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