The two elderly ladies had gone back to their compartment, the young man in spectacles paid his bill, and I judged from this that we must be nearing Southend, and asked for mine. The waiter bowed politely and informed me that I was the guest of the Great Eastern Company. As I could not argue with such an indefinite thing as a railway company, I had to accept the situation, and therefore I cannot set down how much the excellent meal I ate should have cost me. When the train ran in to the terminus at Southend it certainly did not seem to me that I had been travelling for an hour. XXXV THE ADELAIDE GALLERY There is no story of the success of a London restaurant more interesting than that of the Adelaide Gallery, which is more generally known as Gatti's. The first Gatti to come to this country from the Val Blegno in the Ticino Canton of Switzerland, on the Italian side of the Alps, was the pioneer of penny ices in England, and his shop in Villiers Street by the steps leading down to the steamboat pier below Hungerford Market was for the sale of these ices and _gaufres_, the thin batter cakes pressed in a mould and baked, a delicacy the small children of Continental countries love, but which has never ousted the British penny bun for its pre-eminence in these islands. When Hungerford Market was swept away to give space for the building of Charing Cross Station, its name, however, being perpetuated by the bridge, the first Gatti's was re-established under the arches of the station and became in due course the Charing Cross Music Hall. To the Gatti of Villiers Street and the Arches came from their native village two of his young nephews, Agostino and Stefano--the wags of the later Victorian days called them Angostura and Stephanotis. They determined, as soon as they felt their feet, to launch out on their own account. They leased the derelict Adelaide Gallery, which had its entrance in Adelaide Street, converted it into a café restaurant after the Continental pattern, and opened it on 21st May 1862. So juvenile were these enterprising young Swiss that the younger brother could not legally sign the lease, being under twenty-one. The Adelaide Gallery was then right in the centre of the triangle of buildings bounded by King William Street, Adelaide Street and the Strand: it was parallel to the Lowther Arcade, and the entrance to it was by a narrow corridor from Adelaide Street, a street named, of course, after King William the Fourth's queen.