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This edition, printed from type at the De Vinne
Press, is limited to twelve hundred and
eighty copies, of which two hundred and
sixty are for sale in England.
Thackeray's Haunts and Homes



Thackeray's
Haunts and Homes
By
Eyre Crowe, A. R. A.
With Illustrations from
Sketches by the Author
New York
Charles Scribner's Sons
1897
Copyright, 1897,
By Charles Scribner's Sons
Illustrations
Thackeray and Peg of Limavaddy ....Frontispiece
PAGE
Entrance Hall of House at No. 13 Great Coram
Street
.
.
.
.
.
.
.
.
.
.
.
.
.
X
Taprell's Chambers, No. 1 Hare Court, Temple .
3
w
Interior of Taprell's Chambers, No. 1 Hare Court,
Temple ............
7
Private Atelier of Baron Gros, Paris, 1834 . .
13
17
Rue Neuve St. Augustin, Paris, A. D. 1836 ...
396112
vii
viii
Illustrations
PAGE
Thackeray's House at No. 18 Albion Street, Hyde
Park ... . . . . . . . . . .
21
Thackeray's Residence at No. 13 Great Coram
Street, Brunswick Square, from 1837 to 1840.
25
A Typical Margate Lodging and Boarding House
29
Château de Brequerecque at Boulogne-sur-Mer,
in 1854 ... · · · · · · · · ·
35
Hôtel des Bains, Boulogne-sur-Mer. Entrance in
rue Victor Hugo ..........
Eccles’s Hotel, Glengariff .........
Thackeray's Home at No. 13 Young Street, Ken-
sington, from 1846 to 1853 .....
Facsimile of Letter .
.
.
.
.
.
.
.
. .
59
House at No. 36 Onslow Square, Brompton
..
63
Waterloo Tavern, as described by Thackeray in the
“Cornhill Magazine” of July, 1861. ...
68
Illustrations
PAGE
Waterloo Tavern as it is To-day ......
69
Thackeray's Last House at No. 2 Palace Green,
Kensington .
.
.
.
.
.
.
. .
. . .
73
Stranger's Room, Reform Club, London, showing
portrait of Thackeray by Samuel Laurence, and
busts of Sir William Molesworth and Charles
Buller .............
79


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Thackeray's Haunts and Homes
THACKERAY struck the true keynote,
T as regards the surroundings of the illus-
trious among us, when he said, in one of his
“Roundabout Papers” of the year 1860:
“We all want to know details regarding men
who have achieved famous feats, whether of
war, or wit, or eloquence, or knowledge.”
Wit, eloquence, and knowledge may fairly
be said to be comprised in the compass of
his literary powers. While, therefore, it is
still possible to do so, I have undertaken to
garner a sheaf of sketches giving the out-
ward look of his habitations, before the in-
evitable house-wrecker sweeps away these lit-
erary vestiges. As he has pointed out, a few
Thackeray's Haunts and Homes
rough strokes of the pencil will be more
helpful in this respect than the most elabor-
ate descriptive sentences can be. While
following in approximate chronological se-
quence the connecting-links, omitting the
Charterhouse School, which has been ably
illustrated before, I give, without further
comment, the sketches, worked out in situ.
Thackeray's first tentative effort at the
mastery of a liberal profession was that of
becoming a pupil of a special pleader, then
the recognized method of mastering the in-
tricacies of legal practice, since gone out of
date. He chose a successful master of the
craft, Taprell, and enrolled himself as pupil.
His chambers were on the ground floor of
No. 1 Hare Court.
Through the courtesy of Mr. Shackle-
ton Hallett and Mr. William T. Raymond,
the present tenants of Taprell's chambers at

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Taprell's Chambers, No. 1 Hare Court, Temple, where Thackeray
studied law in 1832.
Thackeray's Haunts and Homes
No. 1 Hare Court, I was allowed to make the
sketch here given. It enables one to realize
the scene of the grateful pupil's endeavors
to master the intricacies of law, as he sat in
that same room upward of sixty years ago;
staying till nigh six o'clock in the afternoons
with his master. The panel-oak wainscot,
into which numerous book-shelves are in-
serted, holding convenient folios for refer-
ence in search of precedents, is still here,
helping the thick brick walls, which with-
stood the Great Fire of London, further to
deaden all sounds but that of the postman's
knock on the oaken door. It is whispered
that in former days, “after office hours in
the evening," much merriment, including
dancing, took place in this capacious apart-
ment. The guitar, which may be noticed
ensconced in a top-shelf recess, reminds one
of the old Queen Anne days, as recorded in
Dick Steele’s “Spectator,” when the music-
Thackeray's Haunts and Homes
m
ally inclined barrister used to wake the
Temple echoes with the sonorous hautboy,
ending by piteous appeals to the Benchers to
stop the noise. Briefs, bound with official red
tape, strew the tables, at which you notice
the most comfortable arm-chairs, inviting
careful perusal. This is in accordance with
modern ideas of comfort and with the dig-
nity of the legal aspirant; but in Thackeray's
letters he seems to dwell with semi-splenetic
humor on the fact that backs to seats were
not encouraged in his days. In a letter to
his mother he sketched himself as sitting on
a high stool; he adds, “the high stools do
not blossom and bring forth buds ” — in Tap-
rell's chambers. He had his own residential
chambers, I believe, in Hare Court, but he
probably shared them with another, as did
Pendennis with Warrington; so his name
doesn't appear in the Taprell list of residents
in 1831–32. The glimpse through the win-
win-

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Interior of Taprell's Chambers, No. 1 Hare Court, Temple.
Thackeray's Haunts and Homes
dows shows the chambers of Pump Court,
which in summer-time are screened from
sight by the green leafage.
He soon left Hare Court altogether, and
bid good-by to wig and gown for student
days in Paris. His biographers say he lived
in the Latin Quarter.
The actual atelier in which Thackeray
worked in Paris is at present only to be
guessed at. In his admirable paper on the
“ French School of Painting," first published
and afterward incorporated in
his “ French Sketch Book," he says: “ There
are a dozen excellent schools in which a lad
may enter here, and under the eye of a prac-
tised master learn the apprenticeship of his
art at an expense of about ten pounds a year."
The tradition is that he joined the ranks of
Gros’ atelier, the nursery of many famous
painters. When David was banished from
France, as his favorite pupil Gros continued
III
Thackeray's Haunts and Homes
Y
his work and maintained his master's tradi-
tions. He came every morning at nine
o'clock, and remained for two hours giving
loud viva voce hints, so that what was a les-
son to one became the property of the
remainder, thus multiplying daily, for the
benefit of all, his individually applied re-
marks.
One rule, however, was insisted upon at
the outset. This was to copy in chalk a
study from the antique, the work of Gros
himself as a student in Rome, — the copy to
be worked out in one sitting. This was the
representation of - Ajax lifting the Body of
Patroclus."
One can fancy the grim sense of irony
suffusing the features of the great Titmarsh,
who, in many passages, has derided this
academical practice as time wasted, when in-
vited to fulfil this uncongenial task. Be this
as it may, he wrote to his kind mother: “I
10
Thackeray's Haunts and Homes
vas
go to the atelier steadily every day," and a
cheery note to say he felt he was improving
in his practice.
He describes, in the above-mentioned es-
say, “the score of companions he met with,
all merry and poor, working in a cloud of
smoke, amid a din of puns and a choice
French slang and a roar of choruses, of which
no one can form an idea who has not been
present at such an assembly."
How vivid this is ! — and it is true to this
day. The modest pay remains at the same
low figure; but the master visits the school
at rarer intervals; the modern notion being
that the pupil is best left more to his own re-
sources, aided, it may be, by kindly advice
from his co-workers when nonplussed in his
endeavors. Gros' atelier, it may be added,
was situated, at that date, in the inner court
of the Institute, the entrance to it being next
to that of the Mazarin Library, familiar to
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Thackeray's Haunts and Homes
most art-lovers as containing the famous
small sketch-books of Leonardo da Vinci, as
well as the almost anatomical sculptural fig-
ure of Voltaire by Pigalle, which so scan-
dalized Voltaire's admirers as a questionable
tribute of affection to their yet living phil-
osopher and friend.
The class hours were from eight o'clock in
the morning till one in the afternoon. After
a brief interval for lunch, throwing off the
atelier blouse, the students, then as now,
crossed the Bridge of Arts, and wound up the
day with practice in copying the old mas-
ters in the Louvre Gallery. Here it was, in
the waning hours of the summer noon, that I
recollect seeing Thackeray making very deft
and pretty water-sketches, alike from the
Dutch and French masters.
In the “ Edinburgh Review” for January,
1848, appeared a review of “Vanity Fair.”
The article was written by Mr. Hayward, and
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Private Atelier of Baron Gros, Paris, 1834.
Drawn from a print.
Thackeray's Haunts and Homes
states that “he remembered ten or twelve
years ago finding Thackeray day after day
engaged in copying pictures in the Louvre,
in order to qualify himself for his profession.”
The time mentioned should have been put
earlier by two or three years, as he was writ-
ing for the “Constitutional” up to July,
1837, having married, and given up the
brush practice, with a view to a profession, a
year before that time.
Thackeray's common-sense was manifested
here by the fact that his copies were not the
usual lengthy ponderings over one canvas,
with the comparatively tedious superposi-
tion of coats of oil paint one on top of the
other, but rapid seizure in water-colors, and
in small compass, of the salient features of
the old masters before the eye became dulled
by labored effort. He shifted his easel often,
and really took in a great store of art know-
ledge of effects, of schemes, of composition,
15
Thackeray's Haunts and Homes
1
and an insight into technique, giving him
wonderful advantage when he enlisted his
keen perceptive powers in art criticism.
The peaked wide-awake hat, the long, di-
sheveled hair, and the attire of painters at
this time gave him capital bits of character
to study from, and were pictorial digressions
he largely indulged in.
It was in August, 1836, that Thackeray
was married to Miss Shawe, at the British
Embassy, by Bishop Luscombe, who was
chaplain there. He took apartments for
himself and his wife in the Rue Neuve St.
Augustin there. He was then correspon-
dent of the “Constitutional,” and a reference
to its columns at this date shows Titmarsh as
a most violent anti-Louis-Philippist. I give
a sketch of the exterior of the street, though
unable to point with exactness to which
of the two structures was the real abode,
whether the one on the extreme left, to
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Thackeray's Haunts and Homes
which I incline, or that next to it. , My
apology must be the great length of time
since then — half a century ago. Still vivid,
however, is the impression of the charming
grace and modesty of the hostess, who was
lithe in figure, with hair of the tinge Titian
was so fond of depicting, bordering on red-
ness. This pleasant time of newly married
folks, which is so touchingly found hinted at
with delicate hand in the “Bouillabaisse”
ballad, has not been chronicled in the short
lives of the author hitherto published. The
day's work over, they would stroll off by the
arched entrance, and through that lively
thronged Passage Choiseul, at the far end of
which they would emerge on the street of
the Little Fields. At No. 16 was the now
immortalized restaurateur. I find in the old
Paris guide-book of that date : “ Terré
Jeune, Restaurateur; house noted for Span-
ish dishes, and for good wines, and more.
S
19
Thackeray's Haunts and Homes
1
nor
especially for the Marseilles dish, · Bouil-
labaisse.'" Those curious as to its exact
ingredients will find them enumerated in
Larousse's dictionary — some of them so
scarce as to require a journey to Marseilles
itself.
Some months passed, when I recollect fre-
quently having the privilege of meeting the
gentle and modest wife of Thackeray. She
could sketch, too, but the brimming humor
of Thackeray's pencil caused us, in boyish
selfishness, to look preferably over his shoul-
ders whenever he took a fancy to evolve
pictorial drolleries on paper. The “ Constitu-
tional” having ceased to exist as a newspaper,
and Paris correspondence lapsing in conse-
quence, Thackeray and his wife left for
England. They settled again at No. 18 Al-
bion Street, Hyde Park, for a brief while.
Here, it may be mentioned, was born Mrs.
Richmond Ritchie, their eldest daughter.
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Thackeray's House at No. 18 Albion Street, Hyde Park.
Thackeray's Haunts and Homes
The unpretending house has therefore a
double interest as their home, first, and sec-
ondly, as the nursery of two generations of
romance writers.
Forsaking Tyburnia and leasing a new resi-
dence at No. 13 Great Coram Street, Bruns-
wick Square, Thackeray found himself an-
chored in London for about four years. My
visit there in the early part of 1839 was one
of the delights of this boyish time. He had
ample store of portfolios full of sketches
made in Paris, and would, to my great
amusement, lend me whichever I chose to
carry off and copy. I had come to stay with
Andrew Doyle, of the “ Morning Chronicle,"
afterward its editor, who kindly asked me
over to see London life. With Doyle I
used to spend some pleasant moments at the
prandial hour here; Mrs. Thackeray, having
our welfare at heart, was quite delightful at
her own fireside. Thackeray talked of possi-
23
Thackeray's Haunts and Homes
ble contributions of his own to the “ Chron-
icle," at that time a power in the land, under
Black's editorship. But the sentences which
caught my juvenile ear were Thackeray's
noble acknowledgment of the great powers
of “ Boz," whose nom de plume covered the
walls of London at that time. Without acer-
bity, but as plain matter-of-fact, Thackeray
added plaintively, “he sells thousands of cop-
ies to my small hundreds.” If the remem-
brance of the house is connected with the
sprightly, cheerful time I now speak of, the
present aspect of it causes a melancholy re-
vulsion of feeling. In former days John, the
red-breeched butler, used to usher you to
warm welcome and good cheer; he was the
old retainer of whom so much has been said,
who found a niche in a vignette of Penden-
nis, where he is seen hugging a basket of
Madeira with a grin suggestive of mirth to
come. He opened the parlor door, which

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Thackeray's Residence at No. 13 Great Coram Street, Břunswick
Square, from 1837 to 1840.
Thackeray's Haunts and Homes
1
worn
reg
has a gentle elliptical turn just to avoid the
angle of the room. (See vignette facing
page 1.) There it is to this day. The house
now is parceled out into lodgings, the door
has a weather-worn aspect, the area is full of
waifs blown in by the gusts and not removed,
even the railing requires adventitious suste-
nance of wire ties. As I sit on the stairs
sketching the hall I ask the friendly inter-
locutor looking over me the cause of the
general aspect of decrepitude of this tene-
ment and that of its companions. He an-
swers that a murder next door, about twenty
years ago, has acted as a spell on the place,
which has not survived the ban. This brings
back to one the wonderful description Thack-
eray has given in “ Fraser” of the night spent
in this very house in July, 1840, as he tossed on
his pillow, thinking all night of the wretch
Courvoisier, the Swiss valet, whose. exit is
described in “Going to See a Man Hanged.”
27
Thackeray's Haunts and Homes
Of course the lodging-houses of Margate,
whither Thackeray went in the later summer
months of 1840 in search of fresh air, are de-
lightful when peopled with the vivacious
characters which have been assembled in the
wonderful “Shabby Genteel Story," written
there at this time. Hence, therefore, the
characteristic appearance of one out of num-
berless specimens of the same type and con-
struction may suffice. But how vapid they
look! In the absence of Fitch, the h-drop-
ping painter we get so fond of in spite of
this blank in his vocabulary, or the widow
Carrickfergus, Thackeray's lodgings are un-
traceable; they may be demolished — as is
also the little arbor, three miles out, where
he ensconced himself to write his review of
Fielding's works, which appeared in “The
Times.”
For reasons which need not here be told,
as they are well known, the family home
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28

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was now broken up, and Thackeray spent
the coming winter months of 1840 in Paris.
He used to stroll into the Louvre, where I
often saw him in this year, although he had
dropped the pencil and brush for mere copy-
ing purposes. At the close of it came the
exciting time causing much preliminary spec-
ulation, when the remains of Napoleon I
were brought back to Paris. Of course every
one has read the stirring account Thackeray
gave of this “Second Funeral of Napoleon.”
The small sale of that effusion, which was
coupled with the “Chronicle of the Drum,”
was always to me a matter of surprise; as
great as my wonderment, on seeing an orig-
inal copy of its first edition, to discover it
only measured 4 by 612 inches. On this fa-
mous 19th of December I did not accompany
him to the interior of the Invalides church,
but I stood on one of the numerous sloping
platforms, to which you were admitted by
31
Thackeray's Haunts and Homes
privileged tickets. They commanded a full
view of the line of procession from the Quai
to the church itself. Two salient facts domi-
nate his graphic description of the pageant
— first, the intensity of the cold inside the
noble fane; and the mastery of hunger over
the usual proprieties in a church. The cold
I can vouch for, as I felt it when pinned
motionless for such a length of time in the
open air. My companion had the laudable
foresight to carry a mysterious handbag with
him from the Hôtel Mirabeau (the “ Mira-
bew” of James Delapluche), which was a
source of speculation as to its contents all
that morning. But at the appointed time
he told me to squat down on the floor, upon
which he spread and carved a chicken; that,
and a gulp of sherry from a flask, made us
objects which no doubt would have been
coupled with the groups of hungry soldiery,
emptying their pouches of provender, as
32
Thackeray's Haunts and Homes
le-
chronicled in Thackeray's letters to Miss
Smith on the same occasion.
Thus fortified, in spite of deprecatory
glances from less fortunate wights near us,
we presently saw a general stir in the crowd,
and heard cries of “ Vive la vieille garde”;
Polish lancers, Roustam, Napoleon’s Mame-
luke orderly, who had survived for the occa-
sion, naval and military dignitaries, kept fil-
ing between the rows of National Guards,
till at last the beflagged monument of gold
and velvet, the catafalque, topped by the
Napoleonic sarcophagus, came in sight, and
as soon had passed out of view, as it was
brought into the church, there to join the
remains of the other great French warrior,
Marshal Turenne.
At four the whole pageant was over, and
the dispersing crowds gave way to mingled
admiration and jeering comments at the life-
sized plaster-casts of imperial heroes lining
Thackeray's Haunts and Homes
the road of march, some sculptors having
nearly come up to the occasion, others the
reverse. Of the whole series, as far as mem-
ory serves, only one figure, the dominant
one of that day, the bronze effigy of Napo-
leon I, by Baron Bosio, has been preserved
to us. It stood at the end of the Invalides
esplanade, and a short time afterward was
hoisted up to the top of the column on the
Boulogne cliffs.
The veteran whose achievements dwell
uppermost in the memory of English so-
journers at Boulogne is Colonel Newcome.
Thackeray, while evolving this noble figure
in his mind, dwelt in an old château called
Brequerecque, which lies on the outskirts of
the town, pleasantly nestled in trees and
shrubberies, and surrounded by a wall high
enough to screen it from the gaze of the pro-
fane public without. The resources of the
furnishing part of it seem to have been
- 34

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somewhat scanty, as Thackeray complained,
when paying a visit to Dickens, living the
same year at the Villa du Camp de Droite
- close to Napoleon's Column — that the
landlord, a baron, had only allowed one milk-
jug as sufficient crockery for the whole estab-
lishment.
Like Pendennis, Thackeray used to make
the Hôtel des Bains his headquarters. He
liked to peer out from any one of its fifty
windows looking toward the bustling Quai,
watching the groups of fishing-folk, wist-
fully looking at the smoking steamer's fun-
nels, and, packing up his traps, would go off
to his equally liked quarters at the Folke-
stone Pavilion. The latter had the great
advantage of being so near his home; he
could go and return, interview his publisher,
revise his proofs, and then seek the restful
nook over placid seas once more.
In 1842 Thackeray went to Ireland. His
37
Thackeray's Haunts and Homes
book is still an admirable guide to the Em-
erald Isle, affording at once a helping de-
scriptive comment by a shrewd observer on
places seen, and a means of testing the great
improvements which have taken place dur-
ing the lapse of half a century.
We take the train to Belfast, and without
stopping go on to Newtown-Limavaddy, and
the first anxious search is to find the home
of “Peg," the humble bait-house immortal-
ized by Thackeray. Here is the cheery in-
terior, with the simmering pot of murphies
and the indwellers, as the wonderful verses
described — drawn by him who pens these
lines, who must record his delight at the
discovery of this country tap-room quite un-
changed (see Frontispiece).
Thackeray, in the “ Sketch-Book," revels
in the beauties of Glengariff. Here is the
etching of the cheery Eccles's Hotel. The
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Thackeray's Haunts and Homes
views from the windows are a delight, as you
look out on the island-dotted bay.
Thackeray's footsteps bring us to his next
book of travels, in the East. Whilst writing
its finishing chapters, on his way homeward,
at Rome, Thackeray wrote his ballad “ The
Three Sailors of Bristol City,” to be found
in Mr. Samuel Bevan's discursive - Sand and
Canvas.” That author sent Thackeray a
rough copy of these verses, asking permis-
sion to publish them in his book. With his
astonishing bonhomie and anxiety to humor
a friend's wish, Titmarsh consented, repairing
the vocabulary where faulty, and making a
present of what is the gem of that work.
This was not done without a feeling of com-
punction, as may be gathered from an excla-
mation of his, blurted out to me to this
effect: “He might just as well have let me
publish the verses myself, when I should
Thackeray's Haunts and Homes
T
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have pocketed the fiver, to which I felt en-
titled.” The generosity was genuine; the
lament whispered in mock gravity.
Not liking to perform the slow task of
transferring his intended illustrations of East-
ern life, which were to be woven with the
text, on to the wood-blocks for the cuts, he
confided the task to me. I used to go early
in the morning, and to work away under his
directions in his Jermyn Street lodgings. I
had nearly finished the whole set, when a
sudden happy thought struck the author: he
would have his own portrait drawn to be
placed upon the book cover. He pulled out
from a drawer a bright new costume he had
purchased at Cairo, and soon appeared in full
Oriental garb. With the red fez cap and
blue tassel on his head, a crimson silk caftan
round his body, and sleeves pendent, baggy
breeks and red papouche slippers, he en-
sconced himself on a low divan, grasping a
new
42

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i
Thackeray's Haunts and Homes
long cherry stick, and, crossing his legs, sat
immovable till I had finished my outline.
Father Prout happening to call, Thack-
eray, still thus attired, pulled out a portion
of his MS., and read out to us “ The White
Squall.” The last lines, expressed with tear-
ful accents, elicited a subdued but sincere,
“ That 'll do,” from Mahony.
Soon divesting himself of his grand Cairo
costume, Thackeray asked us to go with him
and have a look at his new chambers, which
he had just taken at No. 88 St. James's
Street. We did so, and we found these
more spacious, airy, and brighter than those
he was leaving. Mr. Rideing, in his pleas-
ant, gossipy pages called “ Thackeray's Lon-
don," has adopted the statement, first made
in “ Thackerayana,” that the house has been
pulled down since. This is premature; the
house, on the contrary, stands secure enough.
The post-office is on the ground floor; men
45
Thackeray's Haunts and Homes
of letters are all over the place, not to men-
tion the immediate vicinity haunted by
ghosts of these; next door used to be the
St. James's Coffee House, where Swift wrote
his “Stella” correspondence; Gibbon died a
few doors off; Theodore Hook used to issue
from his house in Cleveland Row to go into
Clubland; and so the air seems a genial one
for wits.
Very quiet and restful were these cham-
bers. Besides original authorship, Thack-
eray undertook the sub-editorial business of
the “Examiner,” consisting mainly in scis-
soring clippings from the daily papers, which
then strewed the floor. Here Thackeray
wrote his amusing note to Macvey Napier,
editor of the “Edinburgh Review,” protest-
ing against his too liberal use of the shears
when cutting out well-pondered jokes of
Titmarshian humor.
Thackeray next removed to No. 13 Young
46

Thackeray's Home at No. 13 Young Street, Kensington, from 1846 to 1853.
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Street, Kensington (rechristened now No.
16). His family came over from Paris to
keep house for him. His Boston friend, Mr.
James T. Fields, has given an amusing ac-
count of his first visit to it, when Thackeray
playfully told him to go down on his knees,
as - Vanity Fair” was written there. My
first glimpse of the structure was before this
time, on his taking possession, and when that
famous book was still in embryo. On turn-
ing to the left, coming from a walk along
the Park, out of High Street, into Young
Street, and suddenly catching sight of the
two bulging half-towers which flank the cen-
tral doorway, he thought the house had the
air of a feudal castle, and exclaimed, “I 'll
have a flagstaff put over the coping of the
wall, and I 'll hoist a standard up when I'm
at home!”
It is needless to describe in detail the in-
terior arrangements of this household. The
49
Thackeray's Haunts and Homes
study has been made the subject of pictorial
treatment by Ward, R. A. Some little time
back the kindly tenants of the house, Mr.
O'Neil, the well-known painter, and his wife,
allowed me to renew my old impressions of
the place. The first floor bedroom, where
Thackeray lay dictating “ Esmond” all day,
while whiffing his cigar, had been enlarged
with the window for a studio; otherwise it
was scarcely altered.
I might recall the strange imbroglio caused
by an irate gentleman who, fancying a rela-
tive had been maligned in some satirical de-
scription, sent to Thackeray to come over
and settle the business; else he threatened to
castigate him publicly. In pursuit of re-
venge he wrote that he had taken a room
opposite, and that he would await Thacke-
ray's arrival on a certain day and hour. The
appointment to meet him was made. On
that day Thackeray thought fit to take the
50
Thackeray's Haunts and Homes
precautionary measure of inviting a brawny-
armed artist, Alexander Christie, Head Master
of the Edinburgh School of Design, an ever-
welcome boon companion, as well as myself,
to assist at the meeting so far as to be on
the watch for fisticuffs, should matters come to
that pass. Presently Thackeray rose up from
the dinner-table, armed himself with a small
rattan stick, and walked across the street.
Christie rapidly divested himself of his coat,
tucked up his sleeves,— revealing, I was glad
to note, a good biceps,—and looking anxi-
ously out of the front bay-window, squared
his elbows and clenched his fists in true
pugilistic trim, ready for the signal to rush
across. I did the same. After awhile, to
our relief, we noticed our host emerging
froin the doorway unscathed, cool, and erect.
What had happened? we inquired. He re-
plied that he at first found the gentleman in
a state of suppressed fury, thinking some
51
Thackeray's Haunts and Homes
relative of his had been slandered, and he
wanted reparation. Thackeray seems to
have proved easily the groundlessness of the
charge to his opponent's satisfaction. So the
matter ended, without indiscreet divulging of
any names. In Anthony Trollope’s “Life”
of our friend, he fastens the incident upon
the quaint Hibernian mixing up of Cather-
ine Hayes, the famous singer, with the char-
acter of the murderess of the same name
whom Thackeray wrote about. But that
story, as told by the supposititious Ikey Sol-
omons, Esq., Jr., appeared more than half a
dozen years before this time; the solution
must be traced to the license often taken by
the romance writer, rather than to possible
history.
Besides works of comparatively slow
growth he produced the weekly lucubrations
for “ Punch's” pages, which charm as a rule
by their natural ease, suggestive of sponta-
52
Thackeray's Haunts and Homes
neous rapid conception. That this was not
always the case was once made clear, when
at the appointed time for collecting manu-
script, the printer's boy was announced and
was told to wait in the hall. Thackeray,
pacing the room in which the brain-cudgel-
ing was taking place, exclaimed; “ Well,
I must be funny in five minutes.” With
pluck he sat down at his desk and shortly
after the printer's devil was off with the
needed copy.
“The Snobs of England, by One of Them-
selves,” papers which appeared in the same
favorite periodical, were not thrown off with
any such perfunctory despatch, and week
after week they were clutched at with avid-
ity from February, 1846, to the same month
in 1847. When they were completed and
were on the point of issue as a separate vol-
ume, Thackeray, ever on the alert for an ap-
propriate dedicatory preface, thought of his
53
Thackeray's Haunts and Homes
.
old friend, W. G. Lettsom, whom he had
known as Embassy Attaché at Weimar, Mu-
nich, and other places. It was, however,
owing to earlier association as undergraduate
at Cambridge that he was deemed fit recip-
ient for a dedicatory notice, as Lettsom, with
Thackeray, was one of the writers in the
short-lived university paper called “The
Snob.” We can imagine the sparkling sen-
tences which would have surged up as a
record of that old time. But strange to say
the honor was declined, and this spurning of
immortality became a personal loss to most
people. There is no dedication to the “ Book
of Snobs” in consequence.
I was in Paris when the first numbers of
“ Vanity Fair” came out, and like the
equally immortal “Pickwick Papers,” the
preliminary chapters were not accepted with
the enthusiasm accorded to the future devel-
opments. Toward the closing months, on
- 54
Thackeray's Haunts and Homes
ess
my return to England, and in rambles in the
evening from Young Street, accompanied by
Thackeray, and others, the talk was gener-
ally not alone about the prodigious success
already achieved, but as to the probable dé-
nouement of the story. It was Thackeray's
humor to baffle enterprising inquisitiveness
by evolving different lines and modes of
winding up the career of Becky, Dobbin,
and the others, having doubtless already well
settled mentally how they were finally to be
allotted their dues. One exceptional instance
I remember in which a suggestion was ac-
cepted as valuable. It occurred in June,
1848, one day when Thackeray came at
lunch-time to my father's Hampstead house.
Torrens McCullagh, happening to be one of
the party, said across the table to Thackeray,
“Well, I see you are going to shut up your
puppets in their box!” His immediate re-
ply was, “Yes; and, with your permission,
55
Thackeray's Haunts and Homes
I 'll work up that simile.” How skilfully
that chance phrase was worked up in the
prefatorial “Before the Curtain,” all his
readers well know.
About this time—it may be two or three
months previous— De Noé, the illustrator of
French manners and customs, came over to
England, and was hospitably entertained at
Young Street. Though I did n't meet him
here at this time, he was an old chum at the
Delaroche atelier. Like Thackeray, though
assiduous for a while at the class for drawing,
he only assimilated enough skill for carrying
out his fertile grotesque delineations chiefly
in the pages of “ Punch's” precursor, the
French “Charivari.” His parody of the an-
nual salons was always delightfully comic,
and the recipients of his good-humored chaff
were the first to join in the laugh.
Quite the opposite in character was M.
Louis Marvy, who was welcomed to Thack-
56
Thackeray's Haunts and Homes
d
eray's home at Kensington during his short
sojourn, as related in the “ Landscape Pain-
ters of England," the materials for which he
got together here. These were a score of
mezzotint etchings executed in the manner
known in France as vernis mou, in which he
was an adept. Thackeray had obtained the
permission of noble owners of galleries to
single out specimens of English masters
from their collections, and when done of-
fered the prints to a publisher. The latter
only consented conditionally on Thackeray
himself furnishing the text for them. A se-
vere illness at this critical time laid Thack-
eray prostrate, and the “Pendennis” monthly
issues were stopped for four months by a
bilious fever. When he rallied, however,
with wonderful powers of recuperation, we
were delighted to note that his former vigor-
ous appetite had returned. He even went
so far as to declare that the dish of roast-pig
Thackeray's Haunts and Homes
en
with its crackle coating, of which he with
relish partook at my father's table, had given
the finishing touch to his convalescence.
His first benevolent thought on recovery
was to fulfil his contract with the printer, so
as to endeavor to help the replenishing of
Marvy's coffers. With this object he wrote
to me, on November 7, 1849, the following
letter:
Kensington, Wednesday.
MY DEAR EYRE
Come to me as soon as pawsable, and let us work off
that set of texts for Bogue. I think I could dictate
some and you could supply more, and we could be soon
done with the dem bugbear.
Ever yours W. M. T.
Come in the earliest morning you can to breakfast;
bring the plates with you and let us go to work.
I went next morning as requested. Thack-
eray began with the first plate, that of Tur-
ner (also the most important one), preparing
58
Kensington Wednesday
elly deas Eure
Come to me as soon as pawsable, and let us
work off that set a text for boque. I think I could
duelali dorue and you could suffely shows and more
could be soon done with the dem buqueat.
Ever yours tous
Come in the earlies mortung you can to
breakfast, bring the plates with your ka letus
go to work ,
Thackeray's Haunts and Homes
paragraphs full of discriminating phraseol-
ogy, with a dash of banter at the later phases
of the painter's career, which seems to me
even now the perfection of a brief summing
up of noble qualities, and equal to the sub-
ject in hand. As the others followed, it af-
forded me an opportunity of assisting at the
welding operation, by which fragmentary
sentences of my own became fluent prose,
and mere matter of fact was enlivened as if
by a magic pen.
When I recently finished my drawing of
the Kensington house, I strolled down the
well-known street in search of rest in the
greenery of Kensington Gardens—a grateful
relief to the eyes after dwelling upon the
sullen colors of old brick-work. Vast piles
have arisen in the neighborhood, forming a
medley of stores, houses, and hotels which
61
Thackeray's Haunts and Homes
cater to the wants of the ever-increasing pop-
ulation of the once courtly suburb.
Following this period, No. 36 Onslow
Square, for ten years or more, was the next
of the author's homes; and there, on the
second floor, was the study in which so
many well-known tales, essays, romances,
lectures, etc., were written. They are all enu-
merated in Mr. Shepherd's useful Bibliog-
raphy of the author. The house, with its
portico, its balcony, iron framed, even the
smaller top windows near the coping, recalls
structurally those found in older London
squares, which doubtless served as models
for these later imitations. A recently pub-
lished volume, Dr. Shirley's pleasant “Table
Talk," tells us of an interview in this “den"
with the writer, at that time looking worn
and ill. The den, so called, was a most
cheerful one; its windows commanded a view
of the old avenue of elm-trees. The walls
62

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Thackeray's Haunts and Homes
were decked with woodland water-color
scenes by his favorite, Mr. Bennett, and quite
in a central place was the beautiful mezzo-
tint print of Sir Joshua's “ Little Girl in the
Snow,” a playful terrier and robin redbreast
as her companions. As a change he would
at times prefer the ground-floor room, and
dictate while lounging on an ottoman— too
often battling with pain in later days. The lit-
tle bronze statuette of George IV. on the man-
telpiece had the look of an ironical genius
loci, when the work of hammering out the
lectures of the Four Georges was on the anvil.
Connected with these a little digression
may be here permissible. He gave these
lectures at Cupar, Fife, among other locali-
ties. Happening to stroll along one of the
principal thoroughfares of that town—Cross
Gate —he was tickled at seeing an emblem-
atic picture over the doorway of the “ Battle
of Waterloo” Inn.
65
Thackeray's Haunts and Homes
V
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“What,” he exclaims, in his “Small Beer
Chronicle,” in the “Cornhill Magazine” of
July, 1861, “what do you think the sign is ?
The Battle of Waterloo’ is one broad
Scotchman laying about him with a broad-
sword.” Happening to be in Cupar I
sketched it, as here shown. Local tradition
has it that a veteran Highlander, of the name
of Kennedy, Sergeant in the Seventy-ninth
Regiment, who survived the slaughter of that
day, sat for the portrait here reproduced. He
was for many years the Governor of Cupar
jail. I was inortified, on seeing the sign at a
later date, to find that panel painting altered,
as shown in another outline.
In the year 1861 the firm of Jackson &
Graham built for Thackeray the beautiful
brick house at No. 2 Palace Green, Ken-
sington, which alone of all his homes has
the privileged Society of Arts oval com-
memorative tablet inserted in its wall, an-
66

The original sign over Waterloo Tavern.

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Waterloo Tavern as it is To-day.
Drawn from photograph.
Thackeray's Haunts and Homes
nouncing that he here lived and died. An
old house stood on its ground when he pur-
chased the site; but after mature considera-
tion he wisely gave up the notion of patching
that up with additions, and instead razed the
old walls and built up the new. I recollect
with what mingled feelings I trod upon its
mortar- and brick-bestrewed floors for the
first time; it seemed so much too vast for
comfort; and how this impression was re-
versed, when on its completion he invited
friends to a housewarming. These warm
admirers had to be divided into two sec-
tions, as the rooms, though as yet barely fur-
nished, couldn't hold all the invited guests
in one lot. This housewarming took place
on February 24 and 25, 1862, when our
host's play of the “Wolves and the Lamb ”
was admirably acted by amateurs, those I
recollect being the daughters of Sir Henry
Cole, Mrs. Caulfield, Follett-Synge, Quinten
71
Thackeray's Haunts and Homes
AT
Twiss, and Thackeray himself; he, in dumb
show, dressed as a pastor blessing the as-
sembled actors at the close of the perform-
ance, which was much applauded. My
modest contribution was a painting of Mrs.
Milliken as she leans upon her harp, an
adaptation from an outline illustration in
“Lovel the Widower," the novel founded
upon this two-act play afterward.
In this house Thackeray was actually
placed astride the two parishes of Westmin-
ster and Kensington; the boundary line of
both running discreetly into the lawn at the
back, where a stone denoting the division
has been placed.
Thackeray was always a great lover of
bric-à-brac shops, the glitter of old silver en-
ticing him to look in at the windows; and
ample scope was given in this house for
gathering together valuables to fill his rooms.
Not satisfied always with the places as-
72

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Thackeray's Last House at No. 2 Palace Green, Kensington.
Thackeray's Haunts and Homes
signed to his antiquated pottery, it was one
of his fitful hobbies to search for fresh nooks
to store them in-a glittering vase orna-
mented with cauliflowers being given special
attention. Two Sèvres sauce-boats also were
favorites, and were purchased at the sale of his
effects, on April 1, 1864, for the South Kensing-
ton Museum. A large gilt Italian mirror was
purchased at the same time for the museum.
As I look at this handsome dwelling I not
only think of the author's noble presence, so
soon snatched away after a too brief realiza-
tion of its comforts. It also keeps alive the
fond memory of a sister, Amy, whom he so
nobly befriended, who was married from this
home to Thackeray's kinsman, Colonel Ed-
ward Thackeray, V. C. She succumbed to
the trying Indian climate.
U
Besides his own immediate homes, Thack-
eray, as all know who follow his descriptive
75
Thackeray's Haunts and Homes
1
peregrinations, sought relaxation in what
might be called his second homes, the clubs
---of which the Garrick and the Reform
Club and the Athenæum were the three prin-
cipal favorites. The immortal Foker has
been singled out as a well-known figure at
the first-named one, and others doubtless
recognized their photographic likenesses in
6 Club Snobs”; but the banter was always
playful, and added to the popularity of the
realistic limner whenever he merely gossiped
or dined or joined the evening smoking-
groups.
An instance of his kindness of thought,
among many, occurs to my mind. Professor
Fawcett, not yet M. P., but evidently con-
templating a proximate election for some
lucky borough, took the initiative step for a
Liberal candidate, and joined the Reform
Club. He was sitting solitary at lunch-time,
and, in his blindness, only hearing an indis-
76
Thackeray's Haunts and Homes
tinct hum of voices around him. Thackeray,
seeing this, beckoned to Bernal Osborne,
asking him to come and cheer him up. “I
don't know him," was the reply; but soon
the three notable and quaintly contrasted
personalities were to be seen forming an in-
teresting group. On another occasion Thack-
eray had invited a young friend to dine with
him at the Reform, a day or two before
departing for India. His guest appeared
emerging out of a cab, without a hat, which
he considered an encumbrance, and stated he
had gone about London all day without head-
gear. This amused our host, who grinned
and muttered at the end of our repast, “Hat-
less," as if this would work up as a future
character in a novel.
I recall several curious slips of the pen
which repeated editions of Thackeray's works
have failed to correct. These only prove that
he, too, was mortal. An instance may be
77
Thackeray's Haunts and Homes
cited from the “Irish Sketch-Book.” In the
middle of Stephen's Green stands the eques-
trian statue thus described in Thackeray's
pages: “In the whole of Stephen's Green I
think there were not more than two nur-
sery-maids to keep company with the statue
of George I., who rides on horseback in the
middle of the garden, the horse having its
foot up to trot, as if he wanted to go out
of town too.” Of course Thackeray's remon-
strance is here directed at the exclusive shut-
ting up of the gardens. But everybody can
now enter, and this enables you to read the
inscription on the statue, Giorgio Secundo.
Why not alter the number in Thackeray's
book now that we can do so?
On Tuesday, December 21, 1863, Thack-
eray attended as a mourner at the last rites
of a relative, Lady Rodd. He came after-
ward and sat down, possibly to write words
78
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Thackeray's Haunts and Homes
of condolence, at a favorite seat at the writ-
ing-table of the Lower Room of the Reform
Club. His extreme pallor struck me as un-
usual with him, as in spite of pain his face
seldom appeared bloodless. Thus seen, with
his silvery locks, against the somber array of
Parliamentary volumes behind him on the
shelves, his noble, massive countenance took
on the air of a classical antique bust. For
nearly twenty-three years (he having been
elected a member in March, 1840) he had
often sat down here grasping the pen which
was so soon to drop from his hands. Three
days after, on the day before Christmas, came
the announcement of his death, terrible in its
suddenness to those, like myself, who had
only his countless benefactions to dwell upon.
A post of honor was afterward assigned, in
what is called the “Stranger's Room” of the
Reform Club, to an admirable likeness of him
done by his friend Samuel Laurence, from
81
Thackeray's Haunts and Homes
studies made when he was making his famous
crayon life-size drawings. This portrait was
appropriately placed between busts of two of
his distinguished Parliamentary friends, Sir
William Molesworth and Charles Buller.
Immediately beneath was long to be seen
the accessory, so usual in old days, of a
sarcophagus-cellaret—in its empty condition
suggestive of bygone festivity and hospital-
ities of his own, of which this room was
often the actual scene.

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