Dickens' London

It seems fitting, at least, that it should be mentioned here rather than elsewhere, in that the work does not pretend to be a categorical guide to even the more important sights of London, but merely that it makes mention of those sights and scenes, places and peoples, more or less intimately associated with the great novelist.

Charles Dickens was buried in Westminster Abbey on the 14th June, 1870, since which time various other graves have been made, Browning and Tennyson notably, and monuments and memorials put into place of Longfellow and Ruskin.

The Poets' Corner occupies about half of the south transept of Westminster Abbey. This famous place for the busts and monuments of eminent men includes those of Chaucer, Spencer, Shakespeare, Drayton, Ben Jonson, Milton, Butler, Davenant, Cowley, Dryden, Prior, Rowe, Gay, Addison, Thomson, Goldsmith, Gray, Mason, Sheridan, Southey, Campbell, etc. Lord Macaulay and Lord Palmerston were buried here in 1860 and 1865. Thackeray is not buried here, but at Kensal Green, though his bust is placed next to the statue of Joseph Addison. Dickens' grave is situated at the foot of the coffin of Handel, and at the head of the coffin of R. B. Sheridan. More recently, Doctor Livingstone, the celebrated African traveller, was buried here. Near to England's great humourist, toward his feet, lie Doctor Johnson and Garrick, while near them lies Thomas Campbell. Shakespeare's monument is not far from the foot of the grave. Goldsmith's is on the left.

THE LOCALE OF THE NOVELS

Dickens' observation, as is well known, was most keen, but he mostly saw only those things which, in some degree, actually existed,—towns, villages, streets, localities, and public and private houses. Not an unusual method of procedure for many an author of repute, but few have had the finesse to lay on local colour to the extent used by Dickens, without tending toward mere description. This no one has ever had the temerity to lay to Dickens' door.

Mention can be made herein of but a few of the localities, many of which had existed to very near the present day.

To enumerate or to even attempt to trace them all would be practically impossible, but enough has been authenticated to indicate a more substantial reality than is found in the work of any other modern English author.

If one is so minded, he can start out from the very hotel,—"The Golden Cross" at Charing Cross,—from which Pickwick and Jingle started on their coach ride to Rochester, and where Copperfield and Steerforth also stayed. The "dark arches of the Adelphi," the Temple, and Fountain Court, remain much as of yore.

Fleet Street was well known to Dickens, and has changed but little, and Lincoln's Inn Fields, Bloomsbury, and many other localities have in reality changed not at all in their relation to their environment. In matters of detail they have, of course, in many instances undergone a certain remoulding, which is no greater perhaps than the usual liberties taken by the average author.

Dickens, in the main, changed the surroundings of his scenes—which he may have given another name—but little.

"Copperfield" is redolent of his own early associations and experiences in London. The neighbourhood of Charing Cross will be first called to mind. Hungerford Market and Hungerford Bridge (as the present Charing Cross Railway Bridge is often called by the old resident), and the "Adelphi," with its gruesome arches beneath, all give more than a suggestion of the sights and scenes which met Dickens' own eye when his personality was closely associated therewith.

Hence, regardless of whether it is biography or pure fiction, there are to-day substantial reminders throughout London, not only of his life but of the very scenes associated with the characters of his novels. More particularly in the early novels, "Pickwick," "Nickleby," and "Copperfield," are their topographical features to be most readily recognized, because, in the first place, they are, presumably, the more familiar; and secondly, because they are more vividly recalled.

It is a fact, however, that in Dickens' sketches and tales, and in many of his minor works, as, for instance, in the pages of "Master Humphrey's Clock," there are passages especially concerning persons and places in London, which to-day have, as then, a stern reality, referring to such familiar spots as the site of the Marshalsea Prison, or "The Old White Horse," or Peggotty's Yarmouth home.

Reality or imagination,—it's all the same,—Dickens drew in his pictures, after a veritable fashion, this too, in spite of the precedent of a former generation of authors, who had for ages, one may say centuries, tilled the field over and over. But it was not until Dickens "arrived" that the reading world in general, and wherever found, acquired that nodding acquaintance with London which has since so redounded to this author's reputation. No such acquaintance was previously to be had with the contemporary London life of the middle and lower classes, if one may be pardoned for expressing it thus confidently.

The marvel is that some ardent spirit has not before now compiled an out-and-out Dickens guide-book. One writer, at least, is recalled who is competent to do it, and he, be it said, is an American, Doctor Benjamin S. Martin, who many years ago contributed to an American monthly publication a series of illuminating articles on what might with propriety be called the local colour of Dickens. These were the forerunners and foster-parents of most of the "scrappy" articles of a similar purport which appear intermittently in the English and American periodical press.

The references and descriptions of certain of the localities connected with the novels which follow are given without attempt at classification or chronological arrangement. No other plan appears possible, where only a selection can be given. As before said, the limitations of the bulk of this book preclude a more extensive résumé.

The following references will be found to be fully classified in the index which accompanies the book, and will perhaps prove suggestive, at least, of further research on the part of the individual reader.

Further west, beyond Westminster and the Parliament Houses, is Millbank, where is Church Street, running from the river to St. John's Church, Westminster, that atrociously ill-mannered church of Queen Anne's day, built it is said on the lines of a footstool overturned in one of that lady's fits of petulant wrath. Down Church Street ran Martha, followed by Copperfield and Peggotty, bent on suicide.

Not the slum it was when described by Dickens, it is to-day a sufficiently "mean street" to be suggestive.

Here too, was Jenny Wren's house, on the left going toward the church in Smith Square.

Vauxhall Bridge, also reminiscent of Dickens, is near by, though the structure which formerly graced the site has given way to a temporary ungainly thing, which is neither beautiful to look upon nor suitable to its purpose.

In the neighbourhood of Charing Cross, on Craven Street, at No. 8, is still the door-knocker which so looked, to Scrooge, like a human face.

In Chandos Street, till within the last eight or ten years, were two old-time shops, to which Warren's Blacking Factory removed before the boy Dickens left their employ.

In Chandos Street, too, were the "pudding-shop" and "à la mode beef-shop," of which Dickens made such emphatic mention to his biographer, Forster.

At the corner of Parliament Street and Whitehall, in Westminster, was, until the beginning of the twentieth century, the "Old Red Lion" public house, which calls to mind the episode of "the very best stunning ale" in "Copperfield," but which is reputedly attributed as actually happening to Dickens himself.

Chancery Lane is largely identified with the story of "Bleak House." The garden of Lincoln's Inn was fondly referred to by little Miss Flite as "her garden." Law offices, stationers' shops, and eating-houses abound in the purlieus of Chancery Lane, which, though having undergone considerable change in the last quarter-century, has still, in addition to the majesty which is supposed to surround the law, something of those "disowned relations of the law and hangers-on" of which Dickens wrote.

RESIDENCE OF JOHN FORSTER, LINCOLN'S INN FIELDS.

In this immediate neighbourhood—in Lincoln's Inn Fields—was Mr. Tulkinghorn's house, of which an illustration is here given, and which is still standing (1903). This house, which is readily found,—it is still No. 58,—is now given over to lawyers' offices, though formerly it was the residence of Dickens' biographer, Forster, where Dickens gave what was practically the first of his semi-public readings, on the occasion when he came from Italy especially to read the "Christmas story," "The Chimes," to a few favoured friends.

Hard by, just off the southwestern corner of the square, is the apocryphal "Old Curiosity Shop," a notable literary shrine, as is mentioned elsewhere, but not the original of the novel which bears the same name, as Dickens himself has said.

The "Clare Market," an unsavoury locality which had somewhat to do with "Pickwick," was near by, but has practically disappeared from view in a virtuous clearing-up process which has recently been undertaken.

In Portugal Street, leading into Lincoln's Inn Fields, was Mr. Solomon's headquarters; while further east, toward the city, we find the "George and Vulture," mentioned in "Pickwick," existing to-day as "a very good old-fashioned and comfortable house." Its present nomenclature is "Thomas' Chop-House," and he who would partake of the "real thing" in good old English fare, served on pewter plates, with the brightest of steel knives and forks, could hardly fare better than in this ancient house in St. Michael's Alley.

By one of those popular and ofttimes sentimental conclusions, "poor Jo's crossing" has been located as being on Holborn, near where Chancery Lane comes into that thoroughfare.

This may like enough be so, but as all crossings are much alike, and all sweepers of that impoverished class which we recognize in the description of "Jo" (now luckily disappearing), it would seem a somewhat doubtful accomplishment in attempting to place such a spot definitely.

Mrs. Jellyby lived in Thavie's Inn,—"Only 'round the corner" from Chancery Lane, said Guppy,—one of the seven inns allied with the four great Inns of Court, all of which had a particular sentiment for Dickens, both in his writings and his life. In fact, he began with "Pickwick" to introduce these "curious little nooks" and "queer old places." Indeed, he lived in Furnival's Inn when first married, and there wrote the most of the "Boz" sketches as well as "Pickwick."

Clifford's Inn, too, now on the eve of departure, is also a reminder of "Pickwick." One, "a tenant of a 'top set,' was a bad character—shut himself in his bedroom closet and took a dose of arsenic," as is told in "Pickwick," Chapter XXI.

To "Mr. Perker's chambers," in Gray's Inn,—which still endures as one of the four great Inns of Court,—went Mr. Pickwick one afternoon, to find no one at home but the laundress. In Holborn Court, in Gray's Inn, lived also Traddles and his bride.

Pip was quartered in Barnard's Inn, called by him a "dingy collection of shabby buildings."

The Temple has ever been prolific in suggestion to the novelist, and Dickens, like most others who have written of London life, has made liberal use of it in "Barnaby Rudge," in "The Tale of Two Cities," and in many other of his novels.

Staple Inn, at "Holborn Bars," is perhaps the most quaint and unmodern of any considerable structure in all London. Mr. Grewgious and Mr. Tartar lived here; also Landless, who occupied "some attic rooms in a corner," and here Mr. Snagsby was wont to ramble in this old-world retreat.

The "little hall," with "a little lantern in its roof," and its weathercock, is still there, and the stroller down that most businesslike thoroughfare, known in its various continuations as "High Holborn," "Holborn Bars," and "Holborn Viaduct," will find it difficult to resist the allurements of the crazy old timbered frontage of Staple Inn, with its wooden gateway and tiny shops, looking for all the world like a picture from out of an old book.

In Bishop's Court, leading from Chancery Lane, was Crook's rag and bottle shop, where its owner met so ghastly a death. A court to the back of this shop, known as "Chichester Rents," harboured a public house called by Dickens "Sol's Arms." To-day it exists as the "Old Ship," if supposedly authoritative opinion has not erred.

Took's Court is to-day unchanged. Dickens was pleased to call it "Cook's Court." By some it has been called dirty and dingy; it is hardly that, but it may well have been a more sordid looking place in days gone by. At any rate, it was a suitable enough environment for Snagsby, identified to-day as the stationer's shop next the Imperial Chambers.

As vivid a reminiscence as any is that of the old debtors' prison of Marshalsea. The institution was a court of law and a prison as well, and was first established in 1376 for the determination of causes and differences among the king's menials; and was under the control of the knight marshal, hence its name. Later this court had particular cognizance of murders and other offences committed within the king's court; and here also were committed persons guilty of piracies.

In 1381 the Kentish rebels "broke down the houses of the Marshalsea and the King's Bench in Southwark," and in 1593 "a dangerous insurrection arose in Southwark, owing to the attempt of one of the knight marshal's men to serve a warrant upon a feltmaker's apprentice."

At this time the inhabitants of Southwark complained that "the Knight Marshal's men were very unneighbourly and disdainful among them," with every indication that a prolonged insurrection would endure. However, the matter was brought to the attention of the lord chamberlain, and such edict went forth as assured the inhabitants of the borough freedom from further annoyance. The old gaol building was purchased in 1811 by the government, and at that time refitted as a prison for debtors.

"The entrance gate fronts the High Street near St. George's Church, and a small area leads to the keeper's house. Behind it is a brick building, the ground floor of which contains fourteen rooms in a double row, and three upper stories, each with the same number. They are about ten and a half feet square by eight and a half feet high, and are with boarded floors, a glazed window, and fireplace in each, for male debtors. Nearly adjoining to this is a detached building called the 'Tap,' which has on the ground floor a wine and beer room. The upper story has three rooms for female debtors, similar to those for men. At the extremity of this prison is a small courtyard and building for admiralty prisoners, and a chapel."

The above description, taken from Allen's "History and Antiquities of Southwark," must synchronize with the appearance of the Marshalsea at the time of which Dickens wrote concerning it in "Little Dorrit," based, of course, upon his personal knowledge of the buildings and their functions when the elder Dickens was imprisoned therein in 1822, and the family were living in mean quarters in near-by Lant Street, whither they had removed from Gower Street, North, in order to be near the prison.

Until quite recently it is possible that certain portions of the old Marshalsea were still standing, though as a prison it was abolished in 1841, but, with the opening of one of those municipal pleasure grounds,—one cannot call them gardens, being merely a flagged courtyard,—the last vestiges are supposed to have disappeared from general view. Indeed, it appears that Dickens himself was not aware of any visible portions of the old building still remaining. This assertion is based on the following lines taken from the preface of "Little Dorrit:"

"I found the outer front courtyard metamorphosed into a butter-shop; and then I almost gave up every brick for lost.... I then came to Marshalsea Place; ... and whoever goes here will find his feet on the very paving-stones of the extinct Marshalsea Gaol,—will see its narrow yard to the right and to the left but very little altered, if at all, except that the walls were lowered when the place got free."

When the elder Dickens was carried to prison, like Mr. Dorrit, he was lodged in the top story but one, in the chamber afterward occupied by the Dorrits, when Charles, it was said, went often (before the family removed across the river) to visit him, crossing presumably the old picturesque London Bridge. In "David Copperfield," it is evidently the same edifice which is disguised as the "King's Bench Prison."

In the immediate neighbourhood of the Marshalsea was St. George's Vestry, where, on the cushions, with the church register for a pillow, slept Little Dorrit on the night on which she was shut out of the prison.

Opposite, on High Street, stood until recently the little pie-shop, where Flora read out her lecture to Little Dorrit. Near by, also, was Mr. Cripple's dancing academy. (Deliciously Dickenesque—that name.) Guy's—reminiscent of Bob Sawyer—is but a stone's throw away, as also Lant Street, where he had his lodgings. Said Sawyer, as he handed his card to Mr. Pickwick: "There's my lodgings; it's near Guy's, and handy for me, you know,—a little distance after you've passed St. George's Church; turns out of High Street on right-hand side the way." Supposedly the same humble rooms—which looked out upon a pleasant prospect of a timber-yard—in which lived the Dickens family during the elder Dickens' imprisonment.

In Horsemonger Lane, which runs out of the High Street, was the tobacco-shop of Mrs. Chivery. In the High Street, too, was the old "White Hart" of Sam Weller and even Jack Cade. "The George," "The Spur," "The Queen's Head," and "The King's Head"—all reminiscent of Dickens—were also here in the immediate neighbourhood.

Crossing the river northward, one may retrace their steps toward St. Paul's, near which, a quarter of a century back, might have been seen the arcaded entrance to Doctors' Commons, an institution described by Sam Weller, and which, among other functions, formerly kept guard of all the wills probated in London. The building has since disappeared, and the erstwhile valuable documents removed to Somerset House.

Beyond the "Bank" is Leadenhall Street, where in St. Mary Axe, Dickens had located Pubsey and Co. The firm was domiciled in an "old, yellow, overhanging, plaster-fronted house," and, if it ever existed out of Dickens' imagination, has given way to a more modern and substantial structure.

Fenchurch Street and Mincing Lane are not far away. In the latter was "Chicksey, Veneering, and Stobbles" Counting-House, and still further on Trinity House and Tower Hill to remind one of the locale of certain scenes in "Our Mutual Friend."

In the Minories, leading from Tower Hill, was until recently the "Little Wooden Midshipman" of "Dombey and Son," standing over the door at Messrs. Norie and Wilson's, the nautical publishers. From Tower Hill, whither would one go but through the Ratcliffe Highway, now St. George's Street, whereby is suggested the nocturnal wanderings of "The Uncommercial Traveller." Wapping, Shadwell, and Stepney, with its famous waterside church, are all redolent of the odours of the sea and reminiscence of Dickens' characters.

Somewhere between here and Limehouse Hole was Brig Place, not discoverable to-day, where lived the genial one-armed "Cuttle."

Limehouse, with its "Reach" and "foul and furtive boats," is closely connected with the personality of Dickens himself, having been the residence of his godfather, one Huffam, a rigger employed in a waterside shipyard. What wonder then that the fascination of riverside London fell early upon the writer of novels?

At the gate of Limehouse Church, Rokesmith lay in wait, on murder intent, and all Limehouse is odorous with memories of riverside crime and such nefarious deeds as were instigated by Hexham and Riderhood, an incident suggested, it is said by Dickens' biographer Forster, by the novelist having seen, in one of his walks in the neighbourhood, a placard on the hoardings announcing that a body of a person had been

FOUND DROWNED.

A neighbouring public house, "The Two Brewers," is supposed to be the original of that referred to by Dickens as "The Six Jolly Fellowship Porters," "a dropsical old house," as he called it, like so many old-world houses, all but falling down, if judged by appearances, but actually not in the least danger of it.

One topic crops up in the notes and queries columns of the literary papers every once and again, viz., the location of the "filthy graveyard" of "Bleak House." It has been variously placed in the churchyard of St. Dunstan's-in-the-West, St. Bartholomew-the-Less, and again in Drury Lane Court, now disappeared. Most likely it was the latter, if any of these neighbourhoods, though it is all hearsay now, though formerly one of the "stock sights" of the "Lady Guide Association," who undertook to gratify any reasonable whim of the inquisitive American.

A recent foregathering of members of the "Boz Club" at Rochester, which celebrated the thirty-first anniversary of the novelist's death on June 9, 1870, occurred in the homely "Bull Inn." This little band of devoted "Dickensians" contained among them Mr. Henry Dickens, K. C., the son of the novelist; Mr. Percy Fitzgerald, who had the honour of being intimately associated with Dickens on Household Words; Mr. Luke Fildes, R. A., among whose many famous paintings is that pathetic story-telling canvas, "The Empty Chair," being a reproduction of that portion of Dickens' study at Gad's Hill, wherein stood the writer's desk and chair.

On such a day as that on which the immortal Pickwick "bent over the balustrades of Rochester Bridge contemplating nature and waiting for breakfast," the club (in June, 1903) had journeyed to Rochester to do homage to the fame of their master. The mediæval, cramped High Street, "full of gables, with old beams and timbers carved into strange faces," seems to bask and grow sleepier than ever in the glaring sunlight. It is all practically just as Dickens saw it for the last time three days before his death, as he stood against the wooden palings near the Restoration House contemplating the old Manor House—just the same even to "the queer old clock that projects over the pavement out of a grave red-brick building, as if Time carried on business there, and hung out his sign." Those of the visitors so "dispoged" had lunch in the coffee-room of the "Bull," unchanged since the days of the original Pickwickians, but it is only in fancy and framed presentments that one now sees the "G. C. M. P. C." and his disciples, Messrs. Tupman, Snodgrass, Winkle, and Jingle. So closely, however, do we follow in the footsteps of Mr. Pickwick (wrote a member of the party) that we look through the selfsame coffee-room blinds at the passengers in the High Street, in which entertaining occupation we were disturbed, as was Mr. Pickwick, by the coming of the waiter (perhaps one should say a waiter, not the waiter) to announce that the carriages are ready—"an announcement which the vehicles themselves confirm by forthwith appearing before the coffee-room blinds aforesaid."

The ruined castle and the cathedral are visited, the castle looking more than ever "as if the rooks and daws had picked its eyes out." Before the cathedral, as Mr. Grewgious did before us, we stand for a contemplative five minutes at the great west door of the gray and venerable pile.

Or, to quote the more genial Jingle:

DISAPPEARING LONDON

Place names are always of interesting origin, in fact, all proper names have a fascination for the historian and litterateur alike. Dickens himself was fond enough of the unusual, and doubtless he made good use of those bygones of a former age, which seemed best to suit his purpose. On the other hand, where would one find in reality such names as Quilp, Cheeryble, Twist, Swiveller, Heep, Tulkinghorn, or Snodgrass? Where indeed! except in the Boston (U. S. A.) Directory? Here will be found Snodgrass and Twist and even a Heep, though he spells it Heap. It would be still further interesting to know the derivation of the names of these individuals; but inasmuch as it would probably throw no additional light on Dickens' own personality, it is passed by without further comment. It is not that these names are any more unusual than many that really do exist, and possibly they all may have had a real entity outside of the author's brain; still it does represent a deal of thought that each and every character throughout all of Dickens' works should seem so singularly appropriate and in keeping with their names.

With place names Dickens took another line. Occasionally he played upon a word, though often he did not disguise it greatly; nor did he intend to. In many more instances, he presented no counterfeit whatever. For picturesqueness and appropriateness, in conjunction with the lives of the individuals of which his novels abound, one could hardly improve on many actual places of which he wrote.

London street names, in general, may be divided into two classes: those named for distinguished, or, for that matter, notorious persons, as Duke Street, Wellington Street, George Street, Berkeley, Grosvenor, or Bridgewater Squares; or secondly, those named for topographical or architectural features, both classes of which, in the earlier times or immediately following the "Great Fire," underwent no inconsiderable evolution.

In a later day this will perhaps not prove equally true; remodelling and rearranging of streets and squares not only changes the topography, but—aside from the main arteries—names as well are often changed or suppressed altogether. Since Dickens' time many spots, which must have been dearly known and beloved of him, have disappeared, and the process is going on apace, until, with the advent of another century, it will doubtless be difficult to recognize any of the localities of a hundred or more years before.

Some remarkable corruptions have been recorded from time to time, such as Candlewick Street into Cannon Street, Cannon Row to Channel Row, and Snore Hill to Snow Hill, all of which are easily enough followed. Strype's Court (after the historian's family) to Tripe Court, or Duck Lane into Duke Street, are not so easy.

Tavern signs, too, are supposed to have undergone similar perversions, not always with euphonious success, as witness the following: "The Bachnals" into "Bag of Nails," "The God Encompasseth Us" into "Goat and Compasses;" both of the former existed in Victorian days, as does the latter at the present time. Many of these old tavern signs are to be seen to-day in the museum at the Guild Hall.

The actual changes of street names are equally curious, when one attempts to follow the connection, which, for a fact, mostly cannot be done. Thus they stand in their modified form, either as an improvement or debasement. Hog Lane, St. Giles, is now Crown Street; Grub Street is now gloriously named Milton Street, and Shoreditch Lane becomes Worship Street.

The matter of street lighting is ever one which appeals to the visitor to a strange city. Curious customs there be, even to-day, in the city of London, which have come down from the age which knew not the gas-jet or the electric globe.

In Dickens' time, it is confident to say that the "linkman" was not the rara avis that he is to-day, though evidences are still to be noted in residential Mayfair and Belgravia, and even elsewhere, of the appurtenances of his trade, referring to the torch-extinguishers which were attached outside the doorways of the more pretentious houses.

As an established trade, link-carrying has been extinct for nearly a century, but the many extinguishers still to be seen indicate that the custom died but slowly from the days when the sturdy Briton,—

The first street lighted with gas was Pall Mall, in 1807, and oil was solely used in many streets and squares as late as 1860.

The old London watchman—the progenitor of the modern policeman—used to cry out, "Light! Light! hang out your light." Later came enclosed glass lamps or globes, replacing the candles of a former day. These endured variously, as is noted, until very near the time when electric refulgence was beginning to make itself known. On the whole, until recently, London could not have been an exceedingly well-lighted metropolis, and even now there is many a dark court and alley, which would form in itself a fitting haunt for many a lower-class ruffian of the type Dickens was wont to depict.

The mortality among the old inns of Holborn has been very high of late, and still they vanish. "The Black Bull," known well to Dickens, is the last to come under sentence. Its sign, a veritable bull of Bashan, sculptured in black and gold, has been familiar to all who go down to the City in omnibuses. Until recently the old courtyard of the inn might still have been seen, though the galleried buildings which surrounded it were modern. Before Holborn Viaduct was built, the "Black Bull" stood just at the top of Holborn Hill, that difficult ascent which good citizens found too long, and bad ones too short. "Sirrah, you'll be hanged; I shall live to see you go up Holborn Hill," says Sir Sampson Legend to his thriftless son in Congreve's "Love for Love."

But the "Black Bull" has nearer associations for us. It was here that Mrs. Gamp and Betsy Prig nursed Mr. Lewsome through his fever at the expense of John Westlock. When Mrs. Gamp relieved Betsy in the sick-room, the following dialogue occurred: "'Anything to tell afore you goes, my dear?' asked Mrs. Gamp, setting her bundle down inside the door, and looking affectionately at her partner. 'The pickled salmon,' Mrs. Prig replied, 'is quite delicious. I can partick'ler recommend it. Don't have nothink to say to the cold meat, for it tastes of the stable. The drinks is all good.'" To-day the cold meat is represented by the noble animal on the façade of the inn, and it will probably adorn the Guildhall collection of old shop and tavern signs, where the hideous "Bull and Mouth" and "Goose and Gridiron" still look down on the curious.

Of the matter-of-fact realities of London, which, though still existent, have changed since Dickens' day, London Bridge is undergoing widening and rebuilding, which will somewhat change its general aspect, though its environment remains much the same.

Furnival's Inn, where Dickens lived, has disappeared, and Clifford's Inn has just been sold (1903) in the public auction mart, to be removed, with some hideous and unquiet modern office building doubtless destined to take its place.

New transportation schemes, almost without number, are announced. Electric trams, "tubes," and underground subways are being projected in every direction. These perhaps do not change the surface aspect of things very much, but they are working a marvellous change in the life of the times. The old underground "District" and "Metropolitan" Railways are being "electrified" by the magnanimity (sic) of American capital, and St. Paul's Cathedral has been supplied with a costly electric-light plant at the expense of an American multi-millionaire.

The American invasion of typewriters, roll-top desks, and book printing and binding machinery, are marking an era of change and progress in the production of the printed word, and Continental-made motors and automobiles are driving the humble cart-horse from the city streets in no small way.

It now only remains for the development of the project which is to supplant the ungainly though convenient omnibus with an up-to-date service of motor stages, when, in truth, London will have taken on very much of a new aspect.

One of the most recent disappearances is old Holywell Street, of unsavoury reputation, the whilom Booksellers' Row of Dickens' day, a "narrow, dirty lane" which ran parallel with the Strand from St. Clement's-Danes to St. Mary-le-Strand, and was occupied chiefly by vendors of books of doubtful morality. Wych Street, too, in company with Holywell Street, has gone the same way, in favour of the new thoroughfare which is to connect Holborn and the Strand, an enterprise which also has made way with the Clare Market between Lincoln's Inn Fields and the Strand, a locality well known to, and made use of by, Dickens in "The Old Curiosity Shop."

The identical building referred to therein may be in doubt; probably it is, in that Dickens himself repudiated or at least passed a qualifying observation upon the "waste paper store," which popular tradition has ever connected therewith. But one critic—be he expert or not—has connected it somewhat closely with the literary life of the day, as being formerly occupied by one Tessyman, a bookbinder, who was well acquainted with Dickens, Thackeray, and Cruikshank. The literary pilgrim will give up this most sentimental Dickens relique with something of the serious pang that one feels when his favourite idol is shattered, when the little overhanging corner building is finally demolished, as it soon will be, if "improvement" goes on at the pace of the last few years hereabouts.

THE (REPUTED) "OLD CURIOSITY SHOP."

A drawing of this revered building has been included in the present volume, as suggestive of its recorded literary associations.

There is no question but what it is the relique of the first rank usually associated with Dickens' London, as witness the fact that there appears always to be some numbers of persons gazing fondly at its crazy old walls.

The present proprietor appears to have met the demand which undoubtedly exists, and purveys souvenirs, prints, drawings, etc., to the Dickens admirers who throng his shop "in season" and out, and from all parts of the globe, with the balance, as usual, in favour of the Americans.

Rumour has it, and it has been said before, that some "collector" (from America, of course) has purchased this humble shrine, and intends to erect it again across the seas, but no verification of this is possible at this writing.

Whether it had any real being in Dickens' story, the enthusiast, in view of the facts, must decide for him or herself.

A half-century ago Temple Bar might have been described as a gateway of stone separating the Strand from Fleet Street—the City from the shire.

This particular structure was erected from designs by Sir Christopher Wren in 1670, and from that day until long after Dickens' death, through it have passed countless throngs of all classes of society, and it has always figured in such ceremony of state as the comparatively infrequent visits of the sovereign to the City. The invariable custom was to close the gate whenever the sovereign had entered the City, "and at no other time."

The ceremony was simple, but formal: a herald sounds a trumpet—another herald knocks—a parley—the gates are thrown open and the lord mayor, pro tempo., hands over the sword of the City to the sovereign. It was thus in Elizabeth's time, and it had changed but little throughout Victoria's reign.

The present structure is Temple Bar only in name, being a mere guide-post standing in the middle of the roadway; not very imposing, but it serves its purpose. The former structure was removed in the eighties, and now graces the private park of an estate at Walthamstow.

For long before it was taken down, its interior space was leased to "Childs," the bankers, as a repository or storage-place for their old ledgers. Thus does the pomp of state make way for the sordidness of trade, and even the wealthy corporation of the City of London was not above turning a penny or two as additional revenue.

The following details of Furnival's Inn, which since Dickens' time has disappeared, are pertinent at this time.

"Firnivalles Inn, now an Inn of Chancery, but some time belonging to Sir William Furnival, Knight," is the introduction to the description given by Stow in his "Annals." The greater part of the old inn was taken down in the time of Charles I., and the buildings remaining in Dickens' day, principally occupied as lawyers' offices, were of comparatively modern construction. Since, these too, have disappeared, and there is little to call it to mind but the location the inn once occupied.

The Gothic hall, with its timber roof,—part of the original structure (tempo Richard II.),—was standing as late as 1818, when the entire inn was rebuilt by one Peto, who it is to be inferred built the row in which were the lodgings occupied by Dickens.

In the west end of London changes have been none the less rapid than in the east. The cutting through of Northumberland Avenue, from Trafalgar Square to the river, laid low the gardens and mansion of Northumberland House. Of this stately mansion it is said that it looked more like a nobleman's mansion than any other in London. It was built, in about 1600, by the Earl of Northampton, and came into the hands of the Percies in 1642. Stafford House is perhaps the most finely situated mansion in the metropolis, occupying the corner of St. James' and the Green Parks, and presenting four complete fronts, each having its own architectural character. The interior, too, is said to be the first of its kind in London. The mansion was built by the Duke of York, with money lent by the Marquis of Stafford, afterward Duke of Sutherland; but the Stafford family became owners of it, and have spent at least a quarter of a million sterling on the house and its decorations. Apsley House, at the corner of Piccadilly and Hyde Park, is the residence of the Dukes of Wellington, and is closely associated with the memory of the duke. The shell of the house, of brick, is old; but stone frontages, enlargements, and decorations were afterward made. The principal room facing Hyde Park, with seven windows, is that in which the Great Duke held the celebrated Waterloo Banquet, on the 18th of June in every year, from 1816 to 1852.

In the seventeenth century the Strand was a species of country road, connecting the city with Westminster; and on its southern side stood a number of noblemen's residences, with gardens toward the river. The pleasant days are long since past when mansions and personages, political events and holiday festivities, marked the spots now denoted by Essex, Norfolk, Howard, Arundel, Surrey, Cecil, Salisbury, Buckingham, Villiers, Craven, and Northumberland Streets—a very galaxy of aristocratic names.

Again it is reiterated: the names are, for the most part, actually those now given to great hotels which occupy the former sites of these noble mansions.

The residences of the nobility and gentry were chiefly in the western part of the metropolis. In this quarter there have been large additions of handsome streets, squares, and terraces within the last fifty years. First, the district around Belgrave Square, usually called Belgravia. Northeast from this, near Hyde Park, is the older, but still fashionable quarter, comprehending Park Lane and Mayfair. Still farther north is the modern district, sometimes called Tyburnia, being built on the ground adjacent to what once was "Tyburn," the place of public executions. This district, including Hyde Park Square and Westbourne Terrace, early became a favourite place of residence for city merchants. Lying north and northeast from Tyburnia are an extensive series of suburban rows of buildings and detached villas, which are ordinarily spoken of under the collective name, St. John's Wood, Regent's Park forming a kind of rural centre to the group.

New thoroughfares and the need thereof make a wholly new set of conditions, and such landmarks as have survived the stress of time and weather are thoroughly suggestive and reminiscent of the past, and are often the only guide-posts left by which one may construct the surroundings of a former day.

Of this the stranger is probably more observant than the Londoner born and bred. The gloomy, crowded streets—for they are gloomy, decidedly, most of the time during five months of the year—do not suggest to the native emotions as vivid as to the stranger, who, with a fund of reading for his guide, wanders through hallowed ground which is often neglected or ignored by the Londoner himself.

As for the general architectural effect of London as a type of a great city, it is heightened or lowered accordingly as one approves or disapproves of the artistic qualities of soot and smoke.

Fogs are the natural accompaniment of smoke, in the lower Thames valley, at least, and the "London particular"—the pea-soup variety—is a thing to be shuddered at when it draws its pall over the city. At such times, the Londoner, or such proportion of the species as can do so, hurries abroad, if only to the Surrey Hills, scarce a dozen miles away, but possessed of an atmosphere as different as day is from night.

Our own Nathaniel Hawthorne it was who wrote, "There cannot be anything else in its way so good in the world as this effect" (of fog and smoke) "on St. Paul's in the very heart and densest tumult of London. It is much better than staring white; the edifice would not be nearly so grand without this drapery of black." Since we are told that the cost of the building was defrayed by a tax on all coals brought into the port of London, it gets its blackness by right. This grime is at all events a well-established fact, which has to be accepted.

Mr. G. A. Sala, a friend and contemporary of Dickens, also wrote in favour of the smoky chimneys. He says about St. Paul's: "It is really the better for all the incense which all the chimneys since the time of Wren have offered at its shrine, and are still flinging up every day from their foul and grimy censers." As a flower of speech, this is good, but as criticism it is equivalent to saying the less seen of it the better. M. Taine, the French critic, evidently thought otherwise; he wrote of Somerset House:

"A frightful thing is the huge palace in the Strand which is called Somerset House. Massive and heavy piece of architecture, of which the hollows are inked, the porticoes blackened with soot, where in the cavity of the empty court is a sham fountain without water, pools of water on the pavement, long rows of closed windows. What can they possibly do in these catacombs? It seems as if the livid and sooty fog had even befouled the verdure of the parks. But what most offends the eyes are the colonnades, peristyles, Grecian ornaments, mouldings, and wreaths of the houses, all bathed in soot. Poor antique architecture—what is it doing in such a climate?"

To decide what style of architecture prevails in the medley of different periods constituting London is indeed difficult. One authority concludes that the "dark house in the long, unlovely street," of which Tennyson tells, and Mme. de Staël vituperates, covers the greater number of acres. The fact is, each of the districts constituting London as it now is, i. e., Belgravia, Tyburnia, Bayswater, Kensington, Chelsea, etc., has the impress and character of the time of its greatest popularity and fashion and of the class by which it was principally inhabited. It has always been the city's fate to have its past overgrown and stifled by the enthralling energy and life of the present. It is as a hive that has never been emptied of its successive swarms. This is more or less the fate of all towns that live.

The first map of London was published in 1563 by Ralph Ugga; it shows the same main arteries as exist to-day—the Strand, "Chepe," and Fleet. In a later map of 1610, London and Westminster appear as small neighbouring towns with fields around them; Totten Court, a country village; Kensington and Marylebone secluded hamlets; Clerkenwell and St. Gyllis quite isolated from the main city while Chelsey was quite in the wilds.

Even the great devastating fires did not destroy the line of the public highways. After that of 1666 Sir Christopher Wren wished to remodel the town and make it regular, symmetrical, and convenient; but, although he was the prevailing spirit in the rebuilding of London city, and no important building during forty years was erected without his judgment, his plan for regulating and straightening the streets did not take effect. Much of the picturesque quality of the city is owing to its irregularity and the remains of its past. Wren rebuilt no less than sixty churches, all showing great variety of design. St. Paul's, the third Christian church since early Saxon times on the same site, was his masterpiece.

Of his immediate predecessor, Inigo Jones, the Banqueting House in Whitehall, now used as a museum, remains a fragment of the splendid palace designed by him for James I. The classical revival began with Gibbs, when he built St. Martin's-in-the-Fields, whose Greek portico is the best and most perfect Greek example in London, if we except the caryatides of St. Pancras. The brothers Adam also flourished at this time, and introduced grace of line and much artistic skill in domestic establishments which they built in "The Adelphi" and elsewhere. Chambers with Somerset House, and Sir John Soane with the Bank of England, continued the classical traditions, but its full force came with Nash, "the apostle of plaster," who planned the Quadrant and Regent Street, from Carlton House to Regent's Park, and the terraces in that locality, in the tawdry pseudo-classic stuccoed style, applied indiscriminately to churches, shops, and what not. Not till the middle of the nineteenth century did the Gothic revival flourish. Pugin, Britton, and Sir John Barry then became prominent. The last named built the Houses of Parliament.

The demand for originality in street architecture is to be seen in the tall, important blocks of residential flats and new hotels now rising up in every quarter. Not beautiful and in many cases not even intelligible, they are unmistakable signs of the times, showing the process of transformation which is going on rapidly, sweeping away much that is beautiful to meet the requirements of modern life.

London is perhaps never to be doomed to the curse of the sky-scraper, as it is known in America; the results of such an innovation would be too dire to contemplate, but like every other large city, it is under the spell of twentieth century ideas of progress, and the results, a score or more years hence, will, beyond doubt, so change the general aspect and conditions of life that the spirit of the Victorian era in architecture and art will have been dissipated in air, or so leavened that it will be a glorified London that will be known and loved, even better than the rather depressing atmosphere which has surrounded London and all in it during the thirty-five rapid years which have passed since Dickens' death.

Such, in brief, is a survey of the more noticeable architectural and topographical features of London, which are indicating in no mean fashion the effect of Mr. Whistler's dictum: "Other times, other lines."

Of no place perhaps more true than of London, yet, on the other hand, in no other place, perhaps, does the tendency make way so slowly.

THE COUNTY OF KENT

One should not think of curtailing a pilgrimage to what may, for the want of a more expressive title, be termed "Dickens' Kent," without journeying from London to Gravesend, Cobham, Strood, Rochester, Chatham, Maidstone, Canterbury, and Broadstairs. Here one is immediately put into direct contact, from the early works of "Pickwick," "Copperfield," and "Chuzzlewit," to the last unfinished tale of "Edwin Drood."

No end of absorbing interest is to be found in the footsteps of Pickwick and Jingle, and Copperfield and his friend Steerforth.

To-day one journeys, by a not very progressive or up-to-date railway, by much the same route as did Mr. Pickwick and his friends, and reaches the Medway at Strood and Rochester through a grime and gloom which hardly existed in Dickens' time to the same compromising extent that it does to-day. Bricks, mortar, belching chimneys, and roaring furnaces line the route far into the land of hops.

Twenty miles have passed before those quiet scenes of Kentish life, which imagination has led one to expect, are in the least apparent. The route via the river towns of Woolwich, Erith, Gravesend, and Dartford, or via Lee, Eltham, and Bexley, is much the same, and it is only as the train crosses the Medway at Strood—the insignificant and uninteresting suburb of Rochester—that any environment of a different species from that seen in London itself is to be recognized. The ancient city of Rochester, with its overgrown and significantly busy dockyard appendage of Chatham, is indicative of an altogether different raison d'être from what one has hitherto connected the scenes of Dickens' stories.

Kent as a whole, even the Kent of Dickens, would require much time to cover, as was taken by the "Canterbury" or even the "Pickwickian" pilgrims, but a mere following, more or less rapidly, of the Dover Road, debouching therefrom to Broadstairs, will give a vast and appreciative insight into the personal life of Dickens as well as the novels whose scenes are here laid.

The first shrine of moment en route would be the house at Chalk, where Dickens spent his honeymoon, and lived subsequently at the birth of his son, Charles Dickens, the younger. Gad's Hill follows closely, thence Rochester and Chatham. The pond on which the "Pickwickians" disported themselves on a certain occasion, when it was frozen, is still pointed out at Rochester, and "The Leather Bottle" at Cobham, where Mr. Pickwick and Mr. Winkle made inquiries for "a gentleman by the name of Tupman," is a very apparent reality; and with this one is well into the midst of the Kent country, made famous by Charles Dickens.

Aside from Dickens' later connection with Rochester, or, rather, Gad's Hill Place, there is his early, and erstwhile happy, life at Chatham to be reckoned with. Here, his father being in employment at the dockyard, the boy first went to school, having been religiously and devotedly put through the early stages of the educative process by his mother.

His generally poor health and weakly disposition kept him from joining in the rough games of his schoolmates, and in consequence he found relaxation in the association of books. Indeed, it was at this time that the first seeds of literary ambition took root, with the result that a certain weedy thing, called "A Tragedy," grew up under the title of "Misnar, the Sultan of India," which at least gave the young author fame among his immediate juvenile circle.

At the age of nine, his father left Chatham, and Dickens was removed with the rest of the family to London, where his early pitiful struggles began, which are recorded elsewhere.

There is a peculiar fascination about both the locality and the old residence of Charles Dickens—Gad's Hill Place—which few can resist. Its lofty situation on a ridge between the Thames and the Medway gives Gad's Hill several commanding views, including the busy windings of the latter, where the Dutch fleet anchored in Elizabeth's reign.

The surroundings seem from all times to have been a kind of Mecca to tramps and petty showmen. That Dickens had an irresistible love for this spot would be clear from the following extract from his works:

"I have my eye on a piece of Kentish road, bordered on either side by a wood, and having, on one hand, between the road dust and the trees, a skirting patch of grass. Wild flowers grow in abundance on this spot, and it lies high and airy, with a distant river stealing steadily away to the ocean...."

Gad's Hill Place is a comfortable, old-fashioned, creeper-clad house, built about a century since, and is on the spot mentioned in Shakespeare's "Henry IV." as the scene of the robbery of the travellers. The following extract from a mediæval record book is interesting:

"1586, September 29^th daye, was a thiefe yt was slayne, buried." Again "1590, Marche the 17^th daie, was a thiefe yt was at Gadshill wounded to deathe, called Robert Writs, buried."

The "Falstaff" Inn is nearly opposite Gad's Hill Place, and dates probably from Queen Anne's time. It formerly had an old-fashioned swinging sign, on one side of which was painted Falstaff and the Merry Wives of Windsor. In its long sanded room there was a copy of Shakespeare's monument in Westminster Abbey. Fifty years ago about ninety coaches passed this inn daily.

In the garden at Gad's Hill Place Dickens had erected a Swiss chalet presented to him by Fechter, the actor. Here he did his writing "up among the branches of the trees, where the birds and butterflies fly in and out."

The occupiers of Gad's Hill Place since the novelist's death have been Charles Dickens, the younger, Major Budden, and latterly the Honourable F. W. Latham, who graciously opens certain of the apartments to visitors.

In the immediate neighbourhood of Rochester is Cobham, with its famous Pickwickian inn, "The Leather Bottle," where Mr. Tupman sought retirement from the world after the elopement of Miss Wardle with Alfred Jingle.

Dickens himself was very fond of frequenting the inn in company with his friends.

The visitor will have no need to be told that the ancient hostelry opposite the village church is the "Leather Bottle" in question, so beloved of Mr. Pickwick, since the likeness of that gentleman, painted vividly and in the familiar picturesque attitude, on the sign-board, loudly proclaims the fact. It should be one of the fixed formulæ of the true Dickensian faith that all admirers of his immortal hero should turn in at the "Leather Bottle" at Cobham, and do homage to Pickwick in the well-known parlour, with its magnificent collection of Dickens relics, too numerous to enumerate here, but of great and varied interest, the present proprietor being himself an ardent Dickens enthusiast.

Here is a shrine, at once worthy, and possessed of many votive offerings from all quarters.

Dickens' personality, as evinced by many of his former belongings, which have found a place here, pervades the bar parlour. So, too, has the very spirit and sentiment of regard for the novelist made the "Leather Bottle's" genial host a marked man. He will tell you many anecdotes of Dickens and his visits here in this very parlour, when he was living at Higham.

The "mild and bitter," or the "arf and arf," is to-day no less pungent and aromatic than when Dickens and his friends regaled themselves amid the same surroundings.

It should be a part of the personal experience of every Dickens enthusiast to journey to the "unspoilt" village of Cobham and spend a half-day beneath the welcoming roof of the celebrated "Leather Bottle."

The great love of Dickens for Rochester, the sensitive clinging to the scenes of that happy, but all too short childhood at Chatham, forms an instance of the magnetic power of early associations.

"I have often heard him say," said Forster, "that in leaving the neighbourhood of Rochester he was leaving everything that had given his early life its picturesqueness or sunshine."

What the Lake District is to Wordsworthians, Melrose to lovers of Scott, and Ayr to Burns, Rochester and its neighbourhood is to Dickens enthusiasts throughout the English-speaking world.

The very subtlety of the spell in the former cases holds aloof many an average mortal who grasps at once the home thrusts, the lightly veiled satire, the poor human foibles, fads, and weaknesses in the characters of Dickens. The ordinary soul, in whom the "meanest flower that grows" produces no tears, may possibly be conscious of a lump in his throat as he reads of the death of Jo or Little Nell. The deaths of Fagin and Bill Sikes are, after all, a more native topic to the masses than the final exit of Marmion.

Not only so, but the very atmosphere of the human abodes, to say nothing of minute and readily identified descriptions of English scenery, permeates the stories of Dickens.

Gad's Hill at Higham can, to be sure, hardly be reckoned as a London suburb, but on the other hand it was, in a way, merely a suburban residence near enough thereto to be easily accessible.

Even in his childhood days Dickens had set his heart upon the possession of this house, which was even then known as Gad's Hill Place. His father, who at that time had not fallen upon his unfortunate state, had encouraged him to think that it might be possible, "when he should have grown to a man," did he but work hard.

At any rate Dickens was able to purchase the estate in 1856, and from that date, until his death in 1870, it was occupied by him and his family. Writing to Forster at this time, Dickens stated that he had just "paid the purchase-money for Gad's Hill Place" (£1,790). How Dickens' possession of the house actually came about is told in his own words, in a letter written to his friend, M. De Cerjet, as follows:

"I happened to be walking past (the house) a year or so ago, with my sub-editor of Household Words (Mr. W. H. Wills), when I said to him: 'You see that house? It has always a curious interest for me, because when I was a small boy down in these parts, I thought it the most beautiful house (I suppose because of its famous old cedar-trees) ever seen. And my poor father used to bring me to look at it, and used to say that if ever I grew up to be a clever man perhaps I might own that house, or such another house. In remembrance of which, I have always, in passing, looked to see if it was to be sold or let, and it has never been to me like any other house, and it has never changed at all.' We came back to town and my friend went out to dinner. Next morning he came to me in great excitement, and said, 'It is written that you are to have that house at Gad's Hill. The lady I had allotted to take down to dinner yesterday began to speak of that neighbourhood. "You know it?" I said; "I have been there to-day." "Oh, yes," she said, "I know it very well; I was a child there in the house they call Gad's Hill Place. My father was the rector, and lived there many years. He has just died, has left it to me, and I want to sell it." So,' says the sub-editor, 'you must buy it, now or never!' I did, and hope to pass next summer there."

It is difficult to regard the numerous passages descriptive of places in Dickens' books without reverence and admiration. The very atmosphere appears, by his pen, to have been immortalized.

Even the incoherences of Jingle have cast a new cloak of fame over Rochester's Norman Cathedral and Castle!

"'Ah! fine place, glorious pile—frowning walls—tottering arches—dark nooks—crumbling staircases. Old Cathedral too—earthy smell—pilgrims' feet wore away the old steps—little Saxon doors—confessionals like money-takers' boxes at theatres—queer customers those monks—Popes and Lord Treasurers and all sorts of fellows, with great red faces and broken noses, turning up every day—buff jerkins too—matchlocks—sarcophagus— fine place—old legends too—strange stories: capital,' and the stranger continued to soliloquize until they reached the Bull Inn, in the High Street, where the coach stopped."