In the sketch of the prison life, allusion has been made to the retail traders and merchants; there were also craftsmen—men who knew a trade—tailors, shoemakers, cooks, etc. These carried on a business, their customers being their fellow prisoners. The regulation made for the protection of the revenue and in the interests of our own workers, to the effect that in making slippers and shoes, they might use list, but no leather, must have applied only to articles made for sale outside. The employments by which the prisoners earned money from outside and brought it into the prison have, perhaps, the greatest interest to us. The greater part of this money was either transmitted for safe keeping to France or Holland, banked with the agent, or hoarded until the hoped-for day of release should come. The industry, neatness of fingers, skill and artistic taste of the prisoners, enabled them to produce a great variety of ornamental and useful articles. The materials used in these manufactures were usually very simple, but it has puzzled writers on the subject to account for the possession by the prisoners of the dyes with which they stained the straws used in their brightly coloured and delicately tinted marquetry decorative work. One writer or imaginative person started the theory that the colours were all obtained from the tea served out to the prisoners, and this has been repeated in various literary notices on this subject, in magazines, newspapers, and other documents. The reader may be spared the effort of trying to account for the loss of the art of extracting such colours from such a source, by recognising the fact that no tea was served out to a prisoner, except to those in the hospital, and that it would be far cheaper for the prisoners to buy the dyes in the outside market than to purchase tea—which was at that time a costly article used only by persons with good incomes—from which to extract these mythical dyes. An entry in the diary of Archdeacon Strong, to whose model of the Block House allusion has already been made, suggests that the work was often bespoken, and that the dyes and other more expensive materials may have been paid for beforehand by the purchaser. The entry is: “23rd October 1801—Drove Margaret to ye Barracks. Bought the model of the Block House and provided the Mahogany. £1 11_s._ 6_d._, sergt. 1_s._, man 1_s._, soldier 1_s._ 3_d._” The venerable gentleman’s diary contains other items throwing light on the price received by the prisoners for the fruit of their labours. From one such entry we learn that the Archdeacon, in 1811, paid two guineas for a marquetry picture of the Minster, now the property of his grandson, Colonel Strong.