For the sale of these goods, and for the purchase of goods from without, there was in each prison square a sort of market, where business was carried on, the sellers putting up stalls. Among other things, they sold provisions and vegetables, doubtless making a profit on what they had paid in the more important market which was held under strict regulations, at the eastern gate of the prison (at one period of the war twice a week only, at another period daily). In this market delegates from the prisoners met the dealers from without for traffic in the produce of the neighbourhood and in such goods as the prisoners required—clothes, feeding utensils, tools, and materials for carrying on their work, etc.; here probably were handed out to the village turner portions of bone carefully prepared for the lathe by the prisoner who made the articles portions of which were turned. Such examples are still extant. Here also opportunities were found for disposing of the illicit articles, which were a source of some profit to the prisoner, but of far larger profit to the middleman outside. The market was, as I have said, held under strict regulations; every article made in the prison had attached to it its price, and the name of the prisoner who made it. But, alas for the fame of the deft individuals, who spent long years in the prison, in the manufacture of these beautiful articles, the name was only attached in temporary fashion, and the names of six only of the artists of the 500 specimens in the Peterborough Museum are preserved: that of Jean de la Porte, the producer of several beautiful pictures in straw marquetry, Peterborough Cathedral being a favourite subject with him and with other accomplished artists in the prison; that of a M. Grieg, whose name appears on a silk holder decorated with figures, birds, and square and compass; Ribout, on a small box; Jacques Gourny, on a similar specimen; Godfrov, on a highly decorated work cabinet; and Corn on a silk holder.