The Project Gutenberg EBook of Picturesque London, by Percy Fitzgerald This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: Picturesque London Author: Percy Fitzgerald Illustrators: W. Hatherell A. W. Henley W. C. Keene Hume Nisbet Herbert Railton G. Seymour W. F. Young Release Date: April 1, 2019 [EBook #59188] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK PICTURESQUE LONDON *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive) Contents. Index. List of Illustrations (In certain versions of this etext [in certain browsers] clicking on the image will bring up a larger version.) (etext transcriber's note) PICTURESQUE LONDON. INSCRIBED WITH MUCH REGARD TO THE RIGHT HON. DAVID PLUNKET, M.P., FIRST COMMISSIONER OF WORKS {i} [Image unavailable.] Picturesque London BY Percy Fitzgerald, M.A., F.S.A. ILLUSTRATED BY W. HATHERELL, A. W. HENLEY, W. C. KEENE, HUME NISBET, HERBERT RAILTON, G. SEYMOUR, W. F. YOUNG, ETC. With a Frontispiece in Photogravure of “T H E H O U S E S O F PA R L I A M E N T.” (From a Drawing by Hume Nisbet.) London: WARD & DOWNEY, 1890. PREFACE. In the following pages I have attempted to describe the numerous artistic treasures and beauties of London. These attractions are so abundant and varied, that I have not been able to do more than select specimens, as it were, of each class; but enough has been given to inspire the reader with an eagerness to set out, and make these discoveries for himself. The aim throughout has been to show that the Metropolis is as well furnished with “the picturesque” as any foreign city, and that there is much that is romantic and interesting, which, without a sympathetic guide, might escape notice. There are various modes of “seeing sights.” One, the most common, is the regular official method “the Guide Book;” when the stranger goes round, and stares, and takes care that he sees each object set down in his Book. No fruit or profit comes from this process, which leaves a feeling of tediousness. How welcome, on the other hand, is some living guide, the friend that knows the subject, that can point out the special merits and beauties with sympathy, describe in a few words why this or that is attractive, or admired. What was before a mere blank mass of details, now becomes vivified, and has {ii} {iii} meaning; something of this kind is, in a small way, attempted here. These “Travels in London” have been the result of many years’ exploration. I have always found a never-failing pastime to observe as I walked, and made expeditions into far off and little known quarters, rarely without discovering something novel and unexpected. I must add, however, that these records do not pretend to be at all in the nature of a “guide,” or to supply historical or archæological information. They simply register impressions. In the same spirit the Illustrations have been selected, so as to convey the artistic feeling with which the various scenes impress us. I am conscious too of shortcomings, especially when I think of the conscientious labours of Peter Cunningham, Thornbury, and Walford, though in another department of the subject; but these, I trust, will be excused in consideration of the goodwill and enthusiasm, in which the work has been carried out. P. F. Athenæum Club, September, 1890. CONTENTS. I.—ST. MARGARET’S CHURCH, WESTMINSTER 1 II.—THE WESTMINSTER TOBACCO-BOX—The Westminster Play 9 III.—ASHBURNHAM HOUSE—THE HOUSES OF PARLIAMENT, &c. 16 IV.—WESTMINSTER ABBEY 26 V.—THE ADELPHI AND THE STRAND 38 VI.—THE ROMAN BATH—COVENT GARDEN 49 VII.—THE NATIONAL GALLERY 57 VIII.—SIR JOHN VANBRUGH AND ST. MARTIN’S LANE 68 IX.—PICCADILLY, BOND STREET, AND ALBERT GATE 78 X.—LINCOLN’S INN FIELDS 92 XI.—THE OLD INNS—CLIFFORD’S, STAPLE’S, BARNARD’S 99 XII.—DICKENS IN LONDON 114 XIII.—WATERLOO BRIDGE, THE LAW COURTS, ST. PAUL’S, ETC. 122 XIV.—OLD SUBURBAN MANSIONS 145 XV.—OLD TOWN MANSIONS 154 XVI.—OLD SQUARES 170 XVII.—THE OLD TAVERNS 176 XVIII.—TAVERNS 183 XIX.—CITY WALKS 195 XX.—THE OLD CITY HALLS 206 XXI.—ALLHALLOWS, ST. OLAVE’S, ELY CHAPEL, ETC. 211 XXII.—OLD ST. BARTHOLOMEW’S, ST. HELEN’S & OTHER CHURCHES 221 XXIII.—WREN’S CHURCHES 232 XXIV.—MODERN CHURCHES 240 XXV.—THE CHARTERHOUSE—THE NEW RIVER 249 XXVI.—CANONBURY TOWER 253 XXVII.—THE QUEEN ANNE STYLE—OLD DOORWAYS 258 XXVIII.—CHELSEA AND FULHAM 266 XXIX.—PUTNEY—FULHAM 272 XXX.—CHISWICK, KEW, RICHMOND, AND THEIR SUBURBS 277 XXXI.—WILLIS’S ROOMS—THE PALACES 293 LIST OF ILLUSTRATIONS. Houses of Parliament Frontispiece. Garden of Ashburnham House facing p. 18 {iv} {v} {vi} {vii} Adelphi Terrace “ 38 Entrance to the Roman Bath “ 49 The Old Roman Bath, Strand “ 50 Covent Garden “ 53 St. Etheldreda’s Church “ 217 ——— The Cloisters, Westminster Abbey 2 Lambeth Palace 8 In Little Dean’s Yard 13 Tablet, Emanuel Hospital 15 The Staircase, Ashburnham House 17 The Blewcoat School, Westminster 19 Emanuel Hospital 21 Westminster Abbey 27 The Nightingale Monument 32 The Water Gate 46 The National Gallery 57 Statue of General Gordon in Trafalgar Square 69 St. Anne’s Church, Soho 72 Across the Hall, Dorchester House 82 The Red Drawing Room, Dorchester House 84 Statue of Sidney Herbert, by Foley 90 Sir John Soane’s Museum 94 Old Gateway, Lincoln’s Inn 97 A Corner of Lincoln’s Inn 98 Old Doorway, 24, Carey Street 100 Gateway, Staple Inn 102 King’s Bench Walk 103 Barnard’s Inn 106 Clifford’s Inn 107 Gray’s Inn 108 The Fountain, Middle Temple 109 Fountain Court, Temple 110 Hall and Library, Gray’s Inn 111 Gray’s Inn Hall 112 Garden Gate, Gray’s Inn 113 Doughty Street 120 The Law Courts 131 St. Paul’s Cathedral 135 Chimney Piece, by Steevens 140 The Duke of Wellington’s Monument, St. Paul’s 141 Cromwell’s House, Highgate 147 Fairfax House, Putney 148 Raleigh House 151 Room in The Sir Paul Pindar Tavern 158 Sir Paul Pindar’s House 159 Room in Sir Paul Pindar’s House 160 Berkeley Square 173 Mansion in Cavendish Square 175 The White Hart 178 The George Inn, Borough 180 The Old Cock Tavern 187 The Magpie and Stump, Portsmouth Street 194 Fresh Wharf and St. Magnus’ Steeple 198 {viii} T College Hill—Whittington’s House 199 View of the Tower from London Bridge 201 St. Giles’, Cripplegate 203 Old Doorways, Laurence Pountney Hill 205 Brewer’s Hall Courtyard 207 Allhallows, Barking 212 St. Olave’s, Hart Street 213 The Savoy Chapel 214 The Savoy 215 The Crypt, St. Etheldreda’s 216 Old Roman Font in Crypt of St. Etheldreda’s 217 Doorway, St. Helen’s 221 St. Helen’s 223 St. Etheldreda’s 225 Gateway to Great St. Helen’s and Almshouses 227 Belfry, St. Helen’s Church 229 Monument of Sir William Pickering 230 Steeple of St. Mary-le-Bow 233 Steeple of St. James 235 St. Stephen’s, Walbrook 236 St. Mary Woolnoth 238 Interior of the Oratory 243 Confessional in the Oratory 244 Our Lady’s Altar in the Oratory 245 The Sanctuary, Farm Street 247 Old Charterhouse 251 Doorway, 70, Grosvenor Street 260 Doorway, Painter Stainers’ Hall 262 Extinguishers, Berkeley Square 263 Old Doorway, Whittington’s House 264 Cheyne Walk 267 Old Putney Bridge 273 Hogarth’s House, Chiswick 278 Maid of Honour Row, Richmond 281 Church Row, Hampstead 289 Grand Staircase, Buckingham Palace 295 Millais’s Studio 297 Alma Tadema’s Former Studio 299 Herkomer’s Studio 301 INTRODUCTION. HE subject of London, old and new, has ever offered a charm and even fascination, attested by the countless works which crowd the shelves of the library. The entries under the word “London” fill nearly a volume of the British Museum catalogue. These old folios and quartos, grey and rusted like the churches and halls they celebrate, have a dilapidated, decayed tone, as though they also wanted “restoring”; and there is a welcome quaintness and sincerity in the style of such antiquaries as Northuck, Strype, Stowe, Pennant, and others, which contrast with the more prosaic tone of the modern handbooks. These old scribes belonged to that amazing and unrequited class, “the county historian”: such were honest, laborious Whitaker and Plot. There is nothing more pathetic than the record of these unselfish enthusiasts, who, after collecting subscriptions and devoting their lives and life-blood to these huge quartos, generally ruined themselves by the venture. Now, long after they have mouldered away, their huge tomes fetch large prices at auction; or some dapper editor of our day re-issues them, with airy notes of his own, taking care to point out the various “blunders” of the poor departed Dryasdust who laboured so faithfully and so modestly. An interesting speculation might be found in considering the different ways persons have looked on the great aggregate of London. For those of fashion it is little more than an enlarged Grosvenor or Belgrave Square: it has few associations, historical or otherwise; while its “curios” may be useful as a sort of raree-show for the crowd. As the excellent Boswell put it, “I have often amused myself with thinking how different a place London is to different people. They whose narrow minds are contracted to the consideration {ix} of some one particular pursuit, view it only through that medium. A politician thinks of it merely as the seat of government in its different departments; a grazier as a vast market for cattle; a mercantile man as a place where a prodigious deal of business is done upon ’Change; a dramatic enthusiast as the grand scene of theatrical entertainments; a man of pleasure as an assemblage of taverns, etc., etc.; but the intellectual man is struck with it as comprehending the whole of human life in all its variety, the contemplation of which is inexhaustible.” Stowe, Maitland, Grose, Pennant, Brayley, Leigh Hunt, with J. T. Smith, the author of “Walks in London,” the invaluable Peter Cunningham, and other “guides and friends,” in their dealings with London town seem to have been fascinated by one particular mode of treatment, viz.: the tracking out of all the personages and the social and historical incidents that are connected with particular spots. So diligently has this sort of investigation been pursued that some sort of connection has been established between every modern spot and corner and some great memory. Old houses, old inns, old streets and chambers, have all been thus registered and illustrated by quotations from books of their time. As Leigh Hunt says, “Nor perhaps is there a single spot in London in which the past is not visibly present to us, either in the shape of some old buildings, or at least in the names of the streets, or in which the absence of more tangible memorials may not be supplied by the antiquary. In some parts of it we may go back through the whole English history, perhaps through the history of man, as when we speak of St. Paul’s Churchyard, a place in which you may get the last new novel, and find remains of the ancient Britons and of the sea. There also, in the Cathedral, lie painters, patriots, humorists, the greatest warriors and some of the best men; and there, in St. Paul’s School, was educated England’s epic poet, who hoped that his native country would never forget her privilege of ‘teaching the nations how to live.’ ” Elia seems to touch a more sympathetic note. He was, indeed, an idolater of the city. “London,” he cried, “whose dirtiest Arab- frequented alley, and her lowest-bowing tradesman I would not exchange for Skiddaw, Helvellyn, James, Walter, and the parson into the bargain. Oh! her lamps of a night, her rich goldsmiths, print shops, toy shops, mercers, hardwaremen, pastrycooks, St. Paul’s Churchyard, the Strand, Exeter Change, Charing Cross, and the man upon a black horse. These are thy gods, O London! All her streets and pavements are pure gold, I warrant you. At least I know an alchemist that turns her mud into that metal—a mind that loves to be at home in crowds.” This is pleasant rapture. In another place he grows almost wanton over what he calls “the furniture of his world,” that is, “streets, streets, streets, markets, theatres, churches, Covent Gardens, shops sparkling with pretty faces of industrious milliners, neat seamstresses, ladies cheapening, gentlemen behind counters lying, authors in the streets with spectacles ... lamps lit at night, pastrycooks’ and silversmiths’ shops, beautiful Quakers of Pentonville, noise of coaches, drowsy cry of mechanic watchmen at night, with bucks reeling home drunk. If you happen to wake at midnight, cries of ‘Fire!’ and ‘Stop thief!’ Inns of Court with their learned air, and halls and butteries, just like Cambridge colleges; old bookstalls ‘Jeremy Taylors,’ ‘Burtons on Melancholy,’ on every stall. These are the pleasures of London ... for these may Keswick and the giant brood go hang.” And his humorous penchant for the city was so strong that he would call aloud, “Give me Old London at fire and plague times,” rather than “healthy country air” and “purposeless exercise.” The mutations in the aspect of London are taking place with an almost alarming rapidity, so that it becomes difficult even to note them. Hardly a week passes without some old street or mansion being menaced, and marked for destruction. Of a morning we see the new and significant “hoarding” set up: in a week or two we pass again, and the “housebreakers,” as they are called, are hard at work with their pickaxes, shovelling down the old Queen Anne bricks in showers of dust. From year’s end to year’s end this goes on. The hungry eyes of the speculator, or of the thriving man of business, are often fixed upon the old Wren churches, which, in his view, so idly cumber space that might be covered with useful warehouses at enormous rents. It is sad to think that eventually it will be found impossible to resist this never-relaxing pressure, and that within a few years the clearing away of these venerable memorials will have set in. The recent clamour about St. Mary’s in the Strand is truly significant, the spoilers knowing well that if they can insert their wedge or pickaxe here, a happy beginning will have been made. These old buildings have few authorized friends or guardians beyond the amiable amateur. “London,” as a writer in The Builder says, “is still, in spite of all pullings down, and removals of the so-called worn-out and out of date buildings, full every here and there of quaint spots, and bits of architecture, and even of poetic remembrances in dreary nooks and corners. Many of the antique streets are yet in existence, as far as the plans of them go; and the irregularity of house pulling down and improvement necessitates differences in the size and height of the houses, which make up the crooked street, and leave the idea of it, as it was, almost intact.” It is fashionable to abuse the old city, to be ashamed of it, when comparing it with foreign towns. Dr. Waagen, who was in London in 1838, took away a not very favourable impression of London architecture. “The outside of the brick houses,” he says, “in London is very plain, and has nothing agreeable in the architecture, unless it be the neat and well-defined joints of the brick-work. On the other hand, many of the great palace-like buildings are furnished with architectural decorations of all kinds, with pillars and pilasters. There are two reasons why most of them have a rather disagreeable effect. They are destitute of continuous simple main lines, which are indispensable in architecture to produce a grand effect, and the decorative members are introduced in a manner entirely arbitrary, without any regard to their original meaning. This absurdity is carried to the greatest excess in the case of columns, ranged here, as wholly unprofitable servants, directly before a wall. This censure applies in an especial manner to most of the works of the deceased architect, Nash. In truth, he had a peculiar knack of depriving masses of considerable dimensions of all meaning, by breaking them into a number of little projecting and receding parts.” He is even more severe on some of the churches; for instance, All Souls, in Langham Place, “a circular building in two stories, with Ionic and Corinthian columns, surmounted by a pointed sugar-loaf.” “If the immense sums expended in architectural abnormities had always been applied in a proper manner, London must have been the handsomest city in the world.” Exceptions, however, to this general blame, he admits, are Somerset House, which has the air of a regal palace, and the “new Post Office,” which has quite “a noble effect.” It is interesting to reflect how the thoroughfares have affected eminent persons. When Leigh Hunt saw a house with flowers in the balcony, or otherwise prettily disposed or arranged with taste, he was seized with an irresistible longing to knock at the door, ask for the proprietor, and formally thank him for the pleasure he had given to a careless passer-by! It might be curious to see this graceful {x} {xi} W appreciation pass from theory to action; and conjure up the face of, say, some retired cheesemonger as he came down to receive the compliment. His natural sense would be—and would be in the case not merely of a retired cheesemonger, but of an average person— an idea of affront. Johnson, as we have been told again and again, enjoyed Fleet Street, though it must be confessed the removal of Temple Bar has somewhat spoiled this association. There was the idea of formal entrance to the City—much as one would pass under the portals of an old castle to gain the courtyard. The not unpicturesque oval where the Law Courts stand has gained, but Fleet Street has lost. Nay, there was a pleasure, when vulgarly reared aloft on an omnibus, in rumbling under that archway. It was like entering an old fortified town. One might be inclined to think that a few reflections, new or old, could be suggested by the streets, where custom has so much staled any variety that existed. Leigh Hunt again declares that there is not a single London street—that endless world of flagging, stone, and brick—from which the pleasant vision of a tree is not to be seen. I believe the fact to be true in the main—certainly was true in his day. What curious survivals still remain to us—such as would make the foreigner stop and look back at long and eagerly, and go unheeded by the careless resident! To give an instance or two: On a Sunday morning the early promenader is likely to meet a little procession passing through the Mall of ten or a dozen boys, gorgeously clad in scarlet coats of antique cut, richly and profusely laced with gold, with black hose and shoes with buckles, college caps with gold tassels. Few even in London have encountered these little gentry, and if they did would wonder exceedingly. They belong to the Court, and are the singing boys of the Royal Choir. Again, to pass by Newgate Street and look in between the railings at the boys of the old foundation of “Christ’s” busily engaged enjoying football—what a quaint costume, the orange stockings, the monastic gown confined with a leather strap—like a “Frere”—and the curious rule which interdicts wearing hat or cap, apparently without injury. And we have still left the “Beefeaters” or Yeomen of the Guard. Indeed, few can conceive how many interesting streets, houses, corners, churches, and general “surprises” are to be found by those who know where to look for them. There are people who have been brought up, “man and boy,” as it is called, in London, and lived there all their life long, and who think it is little more than a repetition of the Strand and Fleet Street, and that the City is all like Lombard Street. What London abounds in is the picturesque and the poetical: there is really an abundance of charming “bits,” of artistic buildings, and of relics as noteworthy as any in a foreign town. Some of them we pass every day, but familiarity obscures their merit. Others, too, we pass every day, but they are hid behind screens and walls, or locked in behind old rusty gates. Often thinking of these ignored treasures, I determined to explore for myself, and see if I could do something in a humble way to introduce to better notice this “Picturesque London,” or the picturesqueness of London. Prompted by this sympathetic impulse, I have for years made regular, diligent “travels in London” as an explorer, and have been astonished at all I saw. It was true, no doubt, that many of these things were described in the official guide-books, but after the appraising, registering fashion of such works. What one has looked for was some one with sympathy to point out the merits and beauties. I pursued my new calling with a growing relish, often directed to inspect curiosities by a friendly counsellor, more often stumbling on them by accident. In time it was amazing what a number of old houses, old doorways, old churches, old corners, I was thus introduced to, what unsuspected treasures were laid open, and above all what a new fund of entertainment was provided for a simple street promenader. I shall now proceed to share my enjoyment with the courteous reader, and we shall make our wanderings in rather a fitful way, chiefly as the explorer made them, almost without system, dealing with these objects as they lie grouped together within compass of a day’s travelling. PICTURESQUE LONDON. CHAPTER I. ST. MARGARET’S CHURCH, WESTMINSTER. E shall commence our pilgrimage at that striking and imposing scene, the old “Broad Sanctuary,” Westminster. Few may have noted the quaint obelisks which at intervals help to form the inclosure! Lately the churchyard was laid down in grass, and the flagging removed; but it may be doubted if this be a real improvement. The air of space seems diminished. A sward of this kind is becoming in a genuine close, as at Salisbury, where the cathedral is in the country; but here the minster is in the heart of the town—in the streets—and the grass seems to have an artificial air. Sixty years ago this inclosure displayed a number of fine old trees, which would have been in admirable keeping, and a picturesque adornment. But when the coronation of George IV. was at hand, the obsequious Dean and Chapter determined to erect scaffolding and ample theatres to view the procession; and the trees were cut down. As Mr. Croker said, they had been so ill-advised or so greedy as to take this step, and the “loss of this ornament to the public was great, while the profit to the Chapter did not perhaps amount to £10.” One solitary altar-tomb, carefully railed round, will be noted in this large inclosure, and we may speculate as to the reasons for this toleration, where all the rest have been swept away. The inscription is almost illegible; but it is the memorial of a certain wealthy Mr. Davies. He was the owner of all the estate where are now Grosvenor Square and the adjoining streets; from him this enormous property passed to the Grosvenor family, and Davies Street was so named in his honour. No doubt it was owing to this august connection that his tomb was allowed to remain. But his heritors might have the inscription re-cut. The group of buildings—the Abbey, Westminster Hall, the Houses of Parliament, the bridge beyond, the Westminster School— might be set off with prodigious effect were there one of real artistic instincts to undertake the task. Nothing, for instance, can be meaner or more ineffective than Palace Square with its statues. It is obvious that this should be treated as a place, with an imposing and attractive object as its centre; instead of which we find it divided in two by a broad walk, and the whole effect is frittered away. There is something grotesque in the statues ranged round dos à dos, huddled together with a commercial view to convenience. A single {xii} {1} {2} {3} [Image unavailable.] From a Drawing by Herbert Railton. statue, it may be said, needs an area to itself to have proper effect; as we may see in the Place Verte at Antwerp, where that of Rubens is sufficient to give point to the whole area. In the shadow of Westminster Abbey stands a homely-looking edifice of Churchwarden’s Gothic. Uninviting as is the exterior of St. Margaret’s, its interior is most interesting and suggestive. Restored not many years ago with excellent taste and reserve, it has been gradually beautified under the direction and encouragement of the rector, Archdeacon Farrar; so that, small and unpretending as it seems, a couple of hours may be profitably spent in viewing it. The interior is of the collegiate pattern, with a flat panelled roof supported by airy and elegant columns with delicate mouldings. The walls have been judiciously allowed to display the outlines of their stones, which furnish good detail and background. No church of its size, perhaps, is so rich in tombs and tablets, all of which are more or less interesting; and they are disposed so as to heighten the general effect. Some are fitted on to the light columns, shield-like, and bent to the mouldings. Most of the memorials are of one formal kind; a bust or medallion in the middle, a pediment above, and below a black marble slab or tablet with the inscription. The marbles are mostly of rich russet tones, or of a plum tint. The idea of making the painted windows illustrate the story of eminent persons connected with the place or parish is a happy one; for it enriches as well as beautifies the church. The legends, moreover, have been supplied by distinguished poets. One great window, which displays its brown and amber glories in honour of Queen Elizabeth and Sir Walter Raleigh, is a present from the Americans; and Mr. Lowell has written these lines for it:— The New World’s sons, from England’s breast we drew Such milk as bids remember whence we came; Proud of the Past from which our Present grew, This window we erect to Raleigh’s name. The window is a handsome one, and is richer and deeper in its tones than its fellows. Long ago a meagre white tablet with a bold inscription was placed here by “The Roxburghe Club,” to commemorate Caxton. Over the tablet a painted window has recently been fitted, the gift of the printers of London—a happy and becoming tribute; while the Laureate, who has given abundant work to printers all over the globe, has supplied these lines:— Thy prayer was “light, more light while time shall last;” Thou sawest a glory growing on the night, But not the shadows which that light will cast Till shadows vanish in the light of light. Some of the side windows are poor and thin in tone, as if done in water-colour; but the rich depth and gorgeousness of the great window—as of old wine seen deep down in the glass—eclipses the rest. There is also a window to the memory of the ill-fated Lord Frederick Cavendish. The inscription is not particularly happy, and his fellow-victim is described as “Mr. T. N. Burke.” Another commemorative window which seems prosaic is that of the Jubilee, the Queen in the centre, in full view of her great ancestor Elizabeth. Here Mr. Browning furnished the verse:— Fifty years’ flight! Where should he rejoice Who hailed their birth, who as they die decays? This—England echoes his attesting voice, Wondrous and well, thanks, Ancient Thou of days! A regular riddle or crux, which strains the wit, as we ponder over the meaning. Merriment and wonder were alike excited by the last line, with its odd punctuation:— “Wondrous and well, thanks, Ancient Thou of days!” There is also the Milton window—the Poet’s wife and daughter are buried here—given by another amiable American, Mr. Childs, with an inscription by Whittier:— The New World honours him whose lofty plea, For England’s freedom, made her own more sure; Whose song, immortal as its theme, shall be Their common freehold while both worlds endure. The last line seeming rather prosaic, the author good-naturedly offered to substitute “heirloom” for “freehold.” But “freehold” stands. {4} Another window celebrates Sir Erskine May, whose severe, thoughtful face is portrayed in various Scriptural attitudes—e.g., as the Faithful Steward, with the legend “Well done, thou good and faithful servant.” Another interesting memorial was set up on December 18th, 1888, thus further enriching the associations of the church. This was in honour of the gallant Admiral Blake, and takes the shape of a three-light window in the north aisle. The upper portions are of an allegorical kind; the lower depicts incidents from Blake’s life, such as the indignity of the ejection of his body from the Abbey in 1661, after the Restoration. Mr. Lewis Morris, another of the poets of our time, has furnished spirited verses, and sings:— Strong sailor, sleeping sound as sleep the just, Rest here: our Abbey keeps no worthier dust. This fashion is interesting, and original too. For, as we pass from window to window, we can review our history, and the striking lines attached to each will linger in the memory. Thus we have five poets contributing to the glories of these windows. The old tablets with which the walls are incrusted have an interest from the originality of the style and the richness of material. Here we find the rather grim likeness of the worthy Palmer, and of Emery Hill, whose almshouses and schools are still to be seen in Westminster. Many Court ladies find rest in the church: such as Lady Dorothy Stafford, “who served Queen Elizabeth forty years, lying in the bed-chamber;” or Lady Blanche Parry, “chief gentlewoman of Queen Elizabeth’s Privy Chamber, and keeper of her Majesty’s jewels, whom she faithfully served from her Highness’s birth;” or Anne Ellis, “who was born in Denmark, and was Bedchamber Woman to Queen Anne.” We come on a record “To the memory of the right virtuous and beautiful gentlewoman, Mistress Margaret Ratcliffe, one of the maids of honour to Queen Elizabeth, and who died at Richmond.” Many of the men, too, have served their King, like Cornelius Vandam, “souldier with King Henry at Turney, Yeoman of the Guard, and Usher to Prince Henry, King Edward, Queen Mary, and Queen Elizabeth;” or Peter Newton, “who served King James and King Charles, and was Usher of the Black Rod.” Some of the inscriptions are quaint and touching, like that which celebrates “the late deceased Virgin Mistress Elizabeth Hereicke”:— Sweet Virgin, that I do not set Thy grave verse up in mournful jet Or dappled marble, let thy shade Not wrathful seeme, or fright the Maid Who hither, at the weeping Howres, Shall come to strew thy Earth with Flowres. No: know, blest Soule, when there’s not one Reminder left of Brasse or Stone Thy living Epitaph shall be, Though lost in them, yet found in me. Deare, in thy bed of Roses then, Till this world shall dissolve, as Men Sleepe, while we hide thee from the light, Drawing thy curtains round—Good night. With much simplicity another lady, Dame Billing, frankly tells us of the happiness she enjoyed with her three husbands, whom she sets down in their order, “garnishing the tablet with their armes.” Another widow records on an old battered “brass” the merits of one Cole, her latest partner, at great length; whereof an extract:— In Parliament, a Burgesse Cole was placed In Westminster the like, for many years; But now, with Saints above, his soul is graced, And lives a Burgess with Heaven’s Royal Peers. There is also seen here Pope’s well-known epitaph on Mrs. Corbett, which won Dr. Johnson’s highest praise, though he takes the objection that her name is not mentioned in the lines themselves. It is well worth quoting:— Here rests a woman, good without pretence, Blest with plain reason, and with sober sense; No conquest she but her own sense desired, No arts essayed, but not to be admired. Of this line the Doctor says with grim humour: “I once heard a lady of great beauty and excellence object that it contained an unnatural and incredible panegyric—of this let the ladies judge.” Passion and pride were to her soul unknown, Convinced that virtue only is our own: So unaffected and so composed a mind, So firm, yet soft, so strong, yet so refin’d; Heaven as its purest gold, by tortures tried, The saint sustained it, but the woman died. Of a quaint sort is the following to a Westminster boy:— {5} {6} Richard Nott, aged 11 years. His Schoolfellow Walter Thomas made his Epitaph. Dear to his parents here doth lye, A youth admired for Piety, His years eleven, yet knew more Of God than many of threescore. Another monument is that of Mrs. Barnett, who died in 1674, leaving £40 yearly for poor widows. A large oatmeal pudding is, or used to be, given at the “Feast,” to commemorate that this “worthy lady” sold oatmeal cakes at the church doors. Skelton, the poet, is interred here: also Thomas Churchyard, Hollar, the famous engraver, and Colonel Blood of regalia memory. There can be read here the entry of Milton’s marriage with Mrs. Catherine Woodcocke, and of Edmund Waller to Ann Bankes. There is also recorded the baptism of Thomas Betterton, the actor, in 1635. Titus Oates, Jeffreys, and Bishop Burnet’s children were baptized here. These are interesting associations. But the glory of the whole is the wonderful window over the Communion-table, with its fine depth of blue, a treat for the eye, and satiating it with colour. This impoverishes, as it were, all the modern performances near it. A great authority on painted glass, Mr. Winston, declares it to be “the most beautiful work in this respect, of harmonious colouring,” he was acquainted with. The subject is the Crucifixion. It is divided into five compartments, three of which are filled by pictures of our Saviour and the two thieves. Below them are the holy women, a crowd of Roman soldiers, etc.; over the good thief a tiny angel is seen, bearing off his soul to Paradise, while a little demon has the impenitent one on his back. On one side is the portrait of a young king at his prayers, arrayed in crown and mantle, with the armed St. George overhead; on the other side a lady, also kneeling, over whom watches St. Catherine. This window had quite a strange course of adventures. According to one account, it was a present to King Henry VII. from the Dutch States- General, and was intended for his beautiful chapel. Another version runs that it was a present from the King and Queen of Spain, Ferdinand and Isabella. It took five years to make, and by that time King Henry VIII. had succeeded. Whether his religious views had altogether changed, or he had other reasons, the window was not set up, and he made it a present to the abbey at Waltham. On the Dissolution it was bought by General Monk, who brought it down to New Hall, where it was well protected during the Civil War. From New Hall it passed to a Mr. John Olmius, who sold the window to Mr. Conyers, of Copt Hall, where it was set up; and there it seemed likely to remain. Unluckily it entered into the minds of the Churchwardens’ Committee of St. Margaret’s, in 1758, to have a thorough restoration of their old church. Dreadful windows, the same that were to be seen about twenty years ago, were put in: a common “household parapet,” as it was called, was added, with the homely porch. But now they bethought themselves of Mr. Conyers’s beautiful window, and bought it for 400 guineas. Thereupon the Chapter, offended by its “Popish” character, commenced a lawsuit to have the window removed; but the action was decided against them. There is a loving cup which celebrates this victory. Thus this rich and glowing feast of colour was retained. Below it there is a curious oaken reredos, elaborately carved into the shape of a large picture—the Supper at Emmaus—the work of a Soho artist some 120 years ago. The pulpit is a rather fantastic thing, coloured like a sugar-plum. There is an antique bench in the porch, used at the distribution of the weekly dole of sixpences and bread to a number of poor widows. Archdeacon Farrar, the Rector, takes jealous care of St. Margaret’s, and has excited public interest in the church by his improvements and reforms. He has opened it regularly for some hours in the day; numbers are seen gazing in astonishment at the unexpected monuments and curios. The churchyard that encompasses it is, however, associated with a degrading history. There is somewhere in the inclosure “a nameless and promiscuous pit,” as Archdeacon Farrar calls it, into which were flung, shortly after the Restoration, the remains of some twenty Republicans who had been interred in the Abbey. The bodies of Cromwell, Ireton, and Bradshaw were hung up at Tyburn, and their heads fixed on pikes on the top of Westminster Hall. But into the pit was cast the body of the Protector’s mother, who was ninety years old at her death, the great Admiral Blake, Dr. Twiss, and others of less note. It is fair, however, to say that the Royal warrant did not order this outrage, and has a specious reasonable air. It ran:— It is his Majestie’s express pleasure and command that you cause the bodies of the severall persons undernamed wᶜʰ have been unwarrantably interred in Henry the 7th and other Chappels and places wᵗʰ in the collegiate Church of Westminster since the year 1641 to be forthwith taken up and buried in some place of the Churchyard adjoining to yᵉ said Church, whereof you may not faile, and for so doing this shall be yʳ warrant. Dated at yᵉ Court of Whitehall, Sept. 9, 1661. {7} {8} I [Image unavailable.] LAMBETH PALACE. CHAPTER II THE WESTMINSTER TOBACCO-BOX—THE WESTMINSTER PLAY. N other ways our “Parish of Westminster” offers much that is still quaint and old-fashioned and picturesque. A stranger seeing the view from the Sanctuary for the first time will be moved to surprise and admiration. The very irregularity, the straggling shape of the ground, is original and pleasing. What a number of striking objects are here congregated! Standing at the bottom of Victoria Street we see to the right the Gothic Westminster Chambers, with the not ungraceful commemorative pillar to the scholars who fell in the Crimea. Beyond is the venerable Abbey, beside which is St. Margaret’s Church and Churchyard. Beyond these is seen Westminster Hall and the elaborate façade and towers of the Houses of Parliament. Between is the square with the statues. To the left the old Sessions House, and in the distance Westminster Bridge, Lambeth Palace, and the River. All this is made animated by the ceaseless procession of vehicles, for here runs the tide of life and business very strongly; and the long train of persons making for the Strand from Pimlico passes by this route. All here is interesting, and the foreigner could spend a day or two examining what is grouped in this spot. Few are aware of the existence of a worthy society, “The Past Overseers of St. Margaret and St. John, Westminster,” who have been in the habit of dining together at one of the taverns in the district for over 150 years. This body, not otherwise remarkable, are custodians of a singular “curio,” which from small beginnings has, like the “deputy shepherd,” been “a swellin’ wisibly” from year to year. This is “the Westminster Tobacco-Box,” which is also an extraordinary, bizarre, historical calendar of London during the long period of its existence. It seems that in the year 1713 one of the “past” overseers, Mr. Henry Monk, was in the habit of bringing to the tavern dinners his own private tobacco-box, which he had bought for 4d. at a horn fair, and which he good-naturedly placed at the service of his friends. In so cordial a spirit was this little attention received, that he presented the company with a tobacco-box for its own use when he should have passed away. As a reciprocal attention the society had a silver rim placed on the box, whereon were recorded the donor’s name and merits. This imparted a value to the box, and it was intrusted to the charge of the overseer for the time being. The next overseer—not to be outdone in liberality—embellished the box with a silver plate, on which his name and achievements were set out. The overseer succeeding followed suit; and thus grew up the rule or custom that every overseer should add a silver plate or decoration suitably inscribed. After a few years the box became overlaid with silver plates. Space failed, and it was now fitted into an inclosing box, upon which the same process was repeated. Figures and pictures came to be engraved on the plates; the notable event of the year, whether battle, royal marriage, procession, or celebration, was duly emblazoned; and still the box, or boxes, kept growing. As a result, the box has become enormous, and has now the aspect of a massive hexagonal silver-covered chest, which resolves itself into some half-dozen boxes, one enclosed in the other, and all glittering with the accumulated silver plates of 150 years. The outer chest or casket is made from an old oaken beam that belonged to the Abbey. The general aspect of the box is rather bewildering, with its pictures, portraits, scrolls, odd costumes, dates, and inscriptions. At the annual dinner there is a ceremonial of handing over the box to the new overseer, who is solemnly enjoined by the senior churchwarden to take all care of the article. He is to have and to hold it on the condition that it be produced at all parochial entertainments he shall be invited to, or have a right to attend, when it must be furnished, with tobacco sufficient to fill three pipes at least, under forfeiture, in case of failure, of six bottles of claret. Moreover, security in the sum of 200 guineas has to be found. The box has passed through some critical situations: once, in 1785, when some thieves carried off from the dinner-table all the portable silver; but, fortunately, the overseer had the precious box (or boxes) in safe custody. In 1793 an unworthy overseer, named Read, having a claim on the parish, actually detained the box till he was satisfied—nay, threatened to destroy the box if he were not {9} {10} satisfied. Thereupon a Chancery suit was actually commenced to recover this Palladium of Westminster; and the case was heard before Lord Chancellor Loughborough, who decreed that the box be restored and the costs paid by the degenerate “past overseer,” Read aforesaid. There was general joy; the solicitor who conducted the suit was made free of the society, that “he may often” (so it runs in the books) “have an opportunity of contemplating the box and its recovery.” In 1825 some odd regulations connected with the box were introduced. The dinner which ushered it in was to be served by five o’clock, on the actual striking of St. Margaret’s clock; the landlord, on failure, to be fined two bottles of wine. He was to produce his bill at half-past eight, under penalty of another bottle. When the Westminster tobacco-boxes are opened out there is a glittering show indeed. Hours might be spent deciphering their scrolls and records. There we may see and read of the King and Queen and of Mr. Wilkes, the gallant Nelson, Pitt and Fox, and Wellington, together with pictures of a “scratchy” kind of the new prison, the trial of Queen Caroline, and other interesting scenes. In 1746 Hogarth engraved a portrait of the Duke of Cumberland inside the lid. What is to become of the box when it bourgeons beyond manageable proportions? By-and-by it will have the dimensions of a plate-chest. Before long, however, it is not unlikely that some too practical past overseer will move “That this society do hereby for the future suspend their practice of adding silver plates to the tobacco-box; and that in lieu thereof ten guineas be subscribed annually to the funds of Westminster Hospital. And that the box or boxes be deposited in the Town Hall.” In Westminster, as in other districts of London, there is a certain local tone—healthy and independent, as though it were a separate town. Chelsea, Islington, Holborn, all these have their Town Halls, some built in rather imposing style. In each there is the Concert room, where shows and entertainments are given to the lieges. At Westminster there is the Choral Society, which has its capital concerts, singing, and orchestra—all to the glory of local Westminsters, who have great repute among their own people. There is something Flemish in this spirit, and no doubt it will develop. A few years ago there was a cluster of mean and squalid streets on the ground where the Aquarium stands—with others of the Seven Dials pattern leading to it. These have been cleared away with extraordinary rapidity, and quite a new quarter has been formed, of which the Town Hall is the centre. Not unpleasing, and effective also, is the large group of buildings in irregular broken order that gather round it. There is Christ Church and churchyard, across which a path has been made from Victoria Street, and which is flanked by the new and grand “Iddesleigh Mansions,” with its stained glass and outside galleries. Then on the other side rise the enormous “St. Ermine’s Mansions,” rival to the “Queen Anne’s.” The visitor should note the extraordinary decorations over the doorways—two boys seated in a dégagé attitude, their legs projecting airily, projections not likely to remain long in situ. We should note, however, the pleasing Vicarage just erected in the churchyard, a compact and snug and picturesque little edifice. The church is rude and bald enough, but a project is on foot for completing the steeple. Then the place will be complete. Yet, strange to say, fringing these pretentious edifices, meant for the opulent, are the most squalid dens and alleys filled with cellars and “shanties,” with such significant names as King’s Head Court, Smith’s Rents, Horse Shoe Alley, and the like, where poverty reeks and flourishes well, as it might be said, and where from half a crown to four shillings is paid weekly for some crazy dilapidated chamber. The performance of the Westminster Play, which takes place about a week before Christmas, furnishes the Londoner with an opportunity for dreaming himself away into old University or Cathedral life. Once within Dean’s Yard a very pleasing delusion steals over him; and so appropriate are the calm associations of the place that he will fancy himself hundreds of miles away in some scholastic retirement, instead of being close to the rattle of streets, of passing omnibuses and cabs and the busy hurly-burly of Westminster. The pleasant old custom of the Westminster Play still flourishes in all its vitality, and should be cherished as one of those survivals which usefully keep green the few romantic associations that are known to the capital. It is evening at Christmas-tide as we come to the Sanctuary—quaint name for the open space in front of the Abbey—the traffic seems at its very busiest. The Aquarium hard by is getting ready for a busy night; its electric arc lights are blazing. Beyond, the fierce light at the top of the Clock Tower gives token of busy work within, for a so-called “autumn session” is going on. Everything betokens din, bustle, and hard work. Passing under the archway we are in “Dean’s Yard,” and what a sudden change! It almost seems a monastic inclosure. The moon is at the full; the noise of the streets is suddenly hushed. Here are the old-fashioned buildings, low and antique, with the entrance to the Cloisters of the Abbey. The chimes from the Clock Tower are giving out eight. Here, too, is the Dean’s House, quaint, low and spreading, with a deceptive air of ruin, mullioned windows, and the Canons’ residences beside it; the Head Master’s house, too, all such as would be found in a Cathedral Close. Here are small peaked windows, the walls bearing a look of rust and ruin, but very sound. Passing through a dilapidated little archway, we reach the square, where on the left is made out Ashburnham House, lost in shadow; but its elegant iron gate is distinct enough; while in front there is the old-fashioned and heavy irregular buildings of the Westminster School, with its old-fashioned porch and steps, and straggling doorways. A crowd of persons are entering—the youths, fine lads, stand about in their caps and gowns. We pass up some cramped stairs and find ourselves in the great dormitory, with alcoves on each side, while overhead are seen the beams of the sloping platform which support the spectators’ seats. For in this vast hall the performance is given. It is a gay and festive scene enough, brilliantly lit up, with a handsomely painted proscenium at the end, while the huge sloping platform is crowded. On the right the ladies of the audience are grouped together in ascetic seclusion, much as ladies are placed in the Palchi during the Holy Week at Rome. Young scholastic aides-de-camp in cap and gown distribute bills and show us to our proper places. The Head Master, the cordial and energetic Dr. Rutherford, enters in state, and with him the personages invited, who sit in rows in the centre. On the right and left are the scholars, and dressed in the best West-end style; a brave company. “Alas!” said Charles Lamb’s brother, “to think that these fine, bright young fellows will one day become stupid Members of Parliament.” {11} {12} {13} [Image unavailable.] From a Drawing by Herbert Railton. The great thick walls on each side display their blackened stones, and are pierced at the top with small, prison-like windows. These old walls seem to speak, for...