摘要: 2004, actually, and the Lord Mayor standing in shadow of St. Paul's, throngs Londoners front him behind looming that leaden-headed old obstruction, Temple Bar. The speaks, people applaud, large wooden doors open, uniting crowds on either side gateway, who mingle with each other, aldermen, reporters, all celebrating return Christopher Wren's Portland stone arch to City London. It is capstone City's major commercial development project, revamped Paternoster Square. Bar no longer bars anything; it serves simply as an aesthetic attraction for nearby office workers a pleasing passageway through which shoppers can visit Marks & Spencer Simply Food, Vidal Sassoon, Boots, or Starbucks. There fog anywhere. To scholars Victorian Britain, instantly recognizable; images abounded nineteenth century, and, Lynda Nead has shown, was not merely symbol London but "the pivot around moved" (203). With its central carriage gate flanking pedestrian posterns, statues early Stuarts, stood boundary between Westminster quasi-independent London: monarchs customarily waited at gates be met by before entering City. By