Gaslight Signs

Gaslights were often used to advertise places or products in the late Victorian metropolis (see example) ... but this is the first I've heard of them working as street signs. If you know more about this, I'd be fascinated to hear about it ...

The following report was presented by the surveyor to the Commissioners :— I beg to report that, in pursuance of your instructions, I have permitted Messrs. Powell, of the Whitefriars Glass Works to fix tablets bearing the names of streets in certain of the public lamps within the city of London.
    These tablets are formed of glass roughed upon one side, having the letters which compose the names of the streets impressed upon the with other side. The letters are filled up with black metallic colour, burnt in the general surface of the tablets, and the names of the streets are easily discernible at night when the lamps are lighted.
    The public lamps in which the tablets have been placed are situated at the S.W. end of Cornhill, the S.W. end of King-street and the N.E. end of Queen-street, Cheapside; the corners of Ludgate-hill, Fleet-street and Farringdon-street, and at the southern end of the Old Jewry.
    They appear to answer their purpose exceedingly well, and are, I think, likely to be very serviceable in directing strangers after day-light.
    There is a scarcely a street or public thoroughfare within the city of London which is not already provided with street tablets, and the public lamps, owing to the narrowness of the footpaths, are frequently so near to them, that they can be read after daylight, but there are many localities in which these tablets can be placed with advantage to the public lamps.
    It is not, I think, probable that tablets so placed will in this metropolis supersede entirely the ordinary street tablets, as the size of the letter, owing to the dimensions of the lamps, is very limited, but as their price is so very small, it becomes well worthy of consideration whether they might not be used extensively as adjuncts to the present tablets.
    ... The members expressed the opinion that the plan adopted by the surveyor would be very serviceable in directing the foreigners and other strangers with whom the metropolis will soon abound.

Times, March 19 1851

Mystery Location No.5

Ok, actually, this isn't a location question ... I'll give you that ... it's somewhere on the Victoria embankment. But what's odd about this picture, and why? [you may want to zoom]

 

UPDATE

Well done to Amateur Casual for guessing the answer ... these three designs were previewed by the public in 1870 ... here's a press cutting:

LAMPS ON THE THAMES EMBANKMENT

Those who have lately visited the Thames Embankment may have observed some lamps which have been placed between Hungerford and Waterloo Bridges. Three designs are submitted for inspection and approval, in order that the details and the decorations may, in their appropriateness and excellence, do justice to the grander features of the undertaking. The first, by Vulliamy, is of classic character in the stem, with two dolphins supporting or ornamenting the base. The second, prepared by the Board of Works, is in a purely classic style. The third, by Mr. Timothy Butler, represents two boys climbing a column, and the upper boy receiving a lighted torch from the boy beneath. Two overflowing cornucopias form the base of this composition. The idea is suggestive of the transmission of scientific truth and its results in the blessing of abundance for mankind. The designs have considerable merit. Neither seems unfitted for its position of dignity, yet each might bear reconsideration and improvement before any great number are executed. In Vulliamy's, objections might be taken to the position of the dolphins, which look as if they had slid from the glass dome above. In the Board of Works' design the lion legs, issuing from the columnar stem, strikes us as being far from happy. Something distinctly masonic or architectural might be preferred. In Mr. Butler's design, the stem is certainly disproportionately large for the mere support of the boys and glass globe, and a bolder curve might be given to each cornucopia. Allowing for these defects, the design is admirable. It is full of the sense of energy and enterprise, and, moreover, it has the rare merit of being equally effective when beheld from the river or from the embankment.

The Standard, March 21, 1870

Despite the Standard's approval, it was, of course, the 'cornucopia and boys' design which was never introduced, presumably turned down by the Metropolitan Board of Works. Vulliamy's work graces the central London portion, whilst the 'lion foot' version can be found, I think, in Chelsea.

UPDATE 2

No, I was wrong ... they kept one example of the cornucopia design, to mark the Chelsea Embankment ... or, so it seems, looking via flikr 

http://www.flickr.com/photos/costi-londra/4095237390/sizes/z/in/set-72157622656678491/