Ink Seller, c1759 by Paul Sandby © Museum of London From Friday the new Street Cries exhibition about London’s eighteenth century poor opens here at the Museum of London. The Cries refers to the different occupations of the beggarly street-sellers depicted, and the shouts they would have used to advertise their wares. Cries were issued by various artists throughout the century with varying degrees of success, and are meant to represent different types of people who dwelt upon the margins of Georgian London. As the urban population increased throughout the period, so did the fear of poverty and vagrancy and the nature […]
Welcome to the Museum of London blog - insightful and interesting digital content from our team.
Browse the blog, join in the conversation, and if you want to know more about the museum visit the main site.
The story of London Tweed
So this is how the story goes. In 1826 a London merchant decides to buy some cloth from a weaver in Hawick, a town in the Scottish borders famous for its cloth production. Very happy with his order, he decides to get some more but – crucially – misreads the weaver’s dashed handwriting. Instead of ‘twill’ this Londoner reads ‘tweed’, and assumes this new cloth must take after the River Tweed which runs fast and clear through the textile areas of lower Scotland. ‘Tweed’ and not ’twill’ has been the term used ever since.
From saintly to saucy: the medieval badge that wasn’t as innocent as it seemed
Cataloguing the Museum’s collection of medieval pilgrim badges for Collections Online has been a great opportunity for me to look really closely at our objects and sometimes to find out that items are not at all what they appear to be. A great example recently has been a tiny little badge in the shape of a comb.
A few weeks ago I found myself surrounded by fascists. I was on my way to the West End when at Tower Hill station a large group of French-speaking men with assorted girlfriends and wives (I presume) entered my tube carriage.