Richard Cobden, when in New York, was caught and long detained in a mesh of drays and carriages in Broadway, and he remarked that the absence of passionate profanity among the carmen and drivers, and the good-natured patience they manifested, were in striking contrast with the blasphemous violence exhibited in London under like circumstances; and he attributed it to the greater self-respect bred in this class of men here by the prospect and purpose of a higher vocation.  It is curious to observe how professional are the impressions and observations of Broadway pedestrians.  Walk there with a portrait-painter, and he will infer character or discover subjects of art in every salient physiognomy.  The disparities of fortune and the signs of depravity will impress the moralist.  The pictorial effects, the adventurous possibilities, the enterprise, care, or pastime of the scene, elicit comments in accordance with the idiosyncrasies or aptitudes of the observer.  What gradations of greeting, from the curt recognition to the hilarious salute!  What variety of attraction and repulsion, according as your acquaintance is a bore or a beauty, a benefactor or a bankrupt!  The natural language of “affairs,” however, is the predominant expression.  From the days of Rip Van Dam to those of John Pintard, it is as a commercial city that New York has drawn both her rural and foreign population.  And her chief thoroughfare retains the distinctive aspect thereof, as the extension of the city has eliminated therefrom all other social elements,—­fashion being transferred to the Fifth Avenue, indigence to the Five Points, and equipages to the Central Park.  Police reports abound with the ruses and roughnesses of metropolitan life, as developed in the most frequented streets, where rogues seek safety in crowds.  A rheumatic friend of ours dropped a guinea in the Strand, and, being unable to stoop, placed his foot upon the coin, and waited and watched for the right man to ask to pick it up for him.  He was astonished at the difficulty of the choice.  One passer was too elegant, another too abstracted, one looked dishonest, and another haughty.  At last he saw approaching a serious, kindly-looking, middle-aged loiterer, with a rusty black suit and white cravat,—­apparently a poor curate taking his “constitutional.”  Our friend explained his dilemma, and was assured, in the most courteous terms, that the stranger would accommodate him with pleasure.  Very deliberately the latter picked up the guinea, wiped it carefully on his coat-sleeve, and transferred it to his vest-pocket,—­walking off with a cheerful nod.  Indignant at the trick, the invalid called out “Stop, thief!” The rascal was chased and caught, and, when taken to the police office, proved to be Bristol Bill,—­one of the most notorious and evasive burglars in London.  Many like instances of false pretences are traditional in Broadway,—­where there are sometimes visible scenic personages, like a quack doctor whose costume and bearing were borrowed from Don Pasquale, and Dr. Knickerbocker in the elegant and obselete breeches, buckles, and cocked hat of the olden time.