Ting, ting, ting, ting-g-g-g!
What's this? The call? I am at the office door in a second. Well it is that I proceed no farther. As I pause in doubt and surprise, the heavy rear doors swing open by themselves as boldly and almost as noiselessly as the iron gate which opened for St. Peter. A clattering of hoofs, a running to and fro for a couple of seconds; four horses trot in, led by the coachman; in the twinkling of an eye the animals are hitched to the ready engines; the firemen dressed, helmeted, and booted are seated on the machines; a momentary pause to learn their destination ere the coachman pulls the ropes suspended over head; the street doors fold back, automatically, the prancing, rearing steeds impatient, foaming, strain at the traces; the passers-by scatter helter-skelter as the horses plunge into the street and then dash round the corner to their stables once again.
"A false alarm?"
"Yes, sir. We thought you'd like to see a turn out, and that is how it's done!"
A false alarm! Was it true? Yes, the men are good-temperedly doffing boots and helmets, and quietly resuming their late avocations. They do not mind. Less than twenty seconds have elapsed, and from a quiet hall the engine-room has been transformed into a bustling fire station. Men, horses, engines all ready and away! No one knew whither he was going. The call was sufficient for all of them. No questions put save one, "Where is it?" Thither the brave fellows would have hurried, ready to do and die, if necessary.
It is almost impossible to describe the effect which this sudden transformation scene produces; the change is so rapid, the effect is so dramatic, so novel to a stranger. We hear of the engines turning out, but to the writer, who was not in the secret, the result was most exciting, and the remembrance will be lasting. The wily artist had placed himself outside, and secured a view, an instantaneous picture of the start; but the writer was in the dark, and taken by surprise. The wonderful rapidity, order, discipline, and exactness of the parts secure a most effective tableau.
After such an experience one naturally desires to see the mainspring of all this machinery, the hub round which the wheel revolves—Captain Eyre M. Shaw, C.B. But the chief officer has slipped out, leaving us permission to interview his empty chair, and the apartments which he daily occupies when on duty in Southwark.
This unpretending room upstairs is plainly but comfortably furnished—though no carpet covers the floor, oilcloth being cooler. Business is writ large on every side. On one wall is a large map of the fire stations of the immense area presided over by Captain Shaw. Here are separately indicated the floating engines, the escapes, ladders, call points, police stations, and private communications.
The chair which "the Captain" has temporarily vacated bristles with speaking tubes. On the walls beside the fire-place are portraits of men who have died on duty; the chimney-piece is decorated with nozzles—hose-nozzles—of various sizes. Upon the table are reports, map of Paris, and many documents, amid which a novel shines, as indicating touch with the outside world. There is a book-case full of carefully arranged pamphlets, and on the opposite wall an illuminated address of thanks from the Fire Brigade Association to Captain Shaw, which concludes with the expression of a hope "That his useful life may long be spared to fill the high position in the service he now adorns."