THE LIFE OF WALTER PATER WALTER PATER. From a Photograph by Elliott (s^ Fry, Loudon. THE LIFE OF WALTER PATER BY THOMAS WRIGHT AUTHOR OF "THE LIFE OF EDWARD FITZGERALD,' "THE LIFE OF SIR RICHARD BURTON," ETC. WITH SEVENTY-EIGHT PLATES TWO VOLUMES VOL. II LONDON EVERETT & CO. 42, Essex Street, Strand 1907 First Impression, February, ^9^7' Second Impression, March, igoj. CONTENTS OF VOLUME II CHAPTER XXX ist January 1875 — December 1876 GREEK STUDIES 111. Dionysus, Demeter, Hippolytus .... 1 112. Greek Sculpture ..-.-. 5 CHAPTER XXXI January 1877 THE NEW REPUBLIC 113. The New Republic ------ 10 CHAPTER XXXII January 1877 — April 1880 BROTHER a'BECKET 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Mr. Richard C. Jackson ----- 19 Pater and Mr. Jackson at Canon Liddon's - - - 21 Mr. William Sharp. D. G. Rossetti - . . 23 On the Continent. Love for Sights and Emotions - - 24 St. Austin's, Walworth ... - - 31 Pater and Father Nugee ----- 37 Pater can breathe in Walworth - - - - 41 Camberwell the Golden. " The Archangel " - - 42 Pater as a Lecturer ------ 47 CHAPTER XXXIII May 1880 — February 1884 THE WRITING OF "MARIUS" Samson is sent Down . . . . _ gi Marius and Ruskin at Dane House, Camberwell - - 55 Mr. Sharp visits Pater at Oxford, 5th November 1882 - 59 The Writing of " Marius " ----- 69 Ascesis ------- 62 "The Risen Life" and "His Presence" - - - 66 viii. LIFE OF WALTER PATER CHAPTER XXXIV 139 140 141 142 143 WALTER BLACKBURN HARTE 129. Dinner for Two ....-- 69 130. Mr. Jackson and W. B. Harte at Oxford - - - 74 131. Conversation between Canon Liddon and Mr. Richard C. Jackson ------- 75 132. "Jackson's Kalendar" ----- 76 CHAPTER XXXV February — December 18S5 MARIOS THE EPICUREAN 133. " Marius," February, 1885 ----- 80 134. Pater and others on Marius, 22nd February 1885 - - 86 135. Death of Pattison. A chat about Blake - - - 88 CHAPTER XXXVI January 1886— May 1888 IMAGINARY PORTRAITS: MR. GEORGE MOORE 136. 12, Earl's Terrace, 1886 ----- 90 137. Imaginary Portraits ------ 91 138. Audacious Moore, 1886 ----- 95 CHAPTER XXXVII April 1887— December 1888 GASTON DE LATODR Death of William Pater, 24th April 1887 - - - 98 The New Brasenose ------ 99 Veargett W. Maughan [died 29th May 1888] - - 99 Gaston de Latour ------ lOl A Chat with Lady Dilke ----- 105 CHAPTER XXXVIII STYLE 144. Pater's Article on Style: Flaubert . . - i07 145. Pater's own Style ------ 1O8 146. Pater and "The Renaissance of Wonder" - - - 111 147. Bible Quotations ------ 114 148. J. A. Symonds and Pater ----- 115 149 Pater on Books ------ 115 150. His Later Views on Religion - . - - 117 151. Anecdotes [Sanctuary, Judas, Fork and Sausage, Tigers and Turnips] - - - - - - 118 CONTENTS ix. CHAPTER XXXIX January 1S89 — 4th August 1889 OSCAR WILDE 152. Oscar Wilde, 1889 ------ 120 153. Wilde and Pater — Anecdotes .... 125 154. Sappho ; Hyacinthus ; The Camberwell Homer - - 128 155. At St Aloysius's. Chalices - - . . . 129 156. The Lady and the Glove . . . . . 130 CHAPTER XL 4th August 1889 PATER AT FIFTY 157. Pater's Portraits, Appearance and Character - - 132 158. The Professor and His Hat - - - - - 137 159. Old Oxford Associations - - . . . 133 160. Concentration ---... 141 161. Dr. Lee -----.- 143 CHAPTER XLI 5th August 1889 — December i88g "appreciations" 162. Pater on Browning, 23rd March 1889 ... 143 163. "Appreciations," 1889 - - . . . 150 164. Charles Lamb -.--.. 151 165. A Retrospect -.-.--. 152 CPL\PT£R XLH January 1890 — January 1892 LIONEL JOHNSON 166. Lionel Johnson, 1890 . . . . . 154 167. Pater on " Dorian Gray " - . . . . 155 168. Death of Canon Chamberlain, 20th January 1892 - - 161 CHAPTER XLHI February 1892 — December 1892 PLATO AND DANTE 169. Pater and Plato, February 1892 .... 163 170. Emerald Uthwart, June 1892 .... 16(5 171. Pater on Dante 1892 ..... 166 172 173 174 175 LIFE OF WALTER PATER CHAPTER XLIV PATER AT BOWYER PARK Pater at Bowyer Park . . - _ - 173 Tiny and Drum ..---- 175 Pater and the Bishops ----- 176 Anecdote of Georg-e Eliot . - - - - 179 176. A Talk about Cowper, Burton and Blake - - - 180 177. Snow's- ^ ■-■''-' ]l^ 178. Athens in London .----- 10/ 179. Rome in London ..-.-- 187 CHAPTER XLV 1893 THE GREATEST WRITER IN THE WORLD 180. The Greatest Writer in the World, loth June 1893 - 189 181. The Shelley Memorial, 14th June 1893 - - - 190 182. The Bust of Aristophanes, 20th June 1893 - - - 194 183. Bible, Prayer Book and Breviary . - - - 198 184. S. Barnabas ------- 203 CHAPTER XLVI 185. J. C. R. Spider 204 186. Lionel Johnson again, 1894 ----- 204 187. Pascal, the Sick Soul. Written May 1892 - - - 208 188. Pater and Professor Lewis Campbell, 6th May 1894 - 211 189. The Rev. M, B. Moorhouse, 26th May 1894 - - 212 190. Death, 30th July 1894 .... - 215 CHAPTER XLVII pater's FRIENDS igi. Lionel Johnson ; W. B. Harte - - - - 221 192. " You Lawyers ' ..-.-. 222 193. Rev. H. Dombrain, Mr. McQueen and other Friends - 225 194. Mr, Gosse and Dr. Shadwell . - - - . 226 195. The latter Marius ... ... 229 196. The Last Days of Oscar Wilde .... 231 ArPENDlCES. 1. The Rev. M. B. Moorhouse's Version of S. Gertrude of Himmelstadt ...... 235 2. Genealogical Table of the Paters .... 243 3. Inscriptions on the Stones at Weston Underwood - - 244 4. Entries in the Registers at OIney .... 250 5. Extracts from the Registers of Thornton, Bucks - - 253 6. Bibliography of Walter Pater ----- 254 7. Bibliography of Mr. Richard C. Jackson - - - 267 8. Bibliography of Canon Capes ----- 267 9 Illustrations from Works belonging to Mr, Richard C. Jackson --.-... 267 10. Additional Notes concerning Pater and his Friends - - 271 LIST OF PLATES IN VOLUME II. Page f. Walter Pater ... - - Frontis-piece 2. Mr. W. H. Mallock . - - - . 8 3. Mr. William Sharp - - - - 14 4. St. Austin's - - - - - - 25 5. Interior of the Chapel, St. Austin's - - - 2g 6. The Rev. Father Nugee - - - - - 35 7. Residence of Father Nugee - - - - 30 8. The Lecture Room, St. Austin's - - - - 43 Q. One of the Public Notices of the Services at St. Austin's Mission Chapel - - - - 49 10. Brother A. Becket - - - - - - 53 11. Mr. Frank Walker - - - - - 57 T2. Rev. Edward Salisbury - - - - - 57 13. The Avenue, Ruskin Park, Camberwell - - 63 14. Samson and the Philistine - - - - 67 1^. Walter Blackburn Harte - - - - -71 ID. Veargett W. Maughan - - - - - 71 17. Marius the Epicurean - - - - - 78 18. Pictures from Pater's Room . . - . i3g ig. Pater's Vases and Inkstands - - . - 145 20. Mr. Lionel Johnson - - - - - i57 2\. Tiny ------- 168 22. Mr. Richard C. Jackson ----- 172 23. North-East Corner of The White King's Drawing- Room, Bowyer Park, Camberwell - - - ^77 24. A Corner in the Gold Room at Bowyer Park, Camberwell - - - - - - I77 25. North-West Corner of The White King's Drawing- Room, Bowyer Park, Camberwell - - - 181 26. South-West Corner of The White King's Drawing- Room, Bowyer Park, Camberwell - - - 181 27. The Salon Di Dante, Bowyer Park, Camberwell - 185 28. Apollo and Hyacinthus ----- igi 29. Pater's Bust of Homer ----- igs 30. S. Barnabas, Oxford ----- igg 31. Rev. Albert Watson ----- 205 32. Rev. Montagu Noel ----- 205 33. Rev, (now Dr.) F. W. Bussell - - - - 2og 34. Walter Pater ------ 213 35. 64, St. Giles's, Oxford ----- 2ig 36. Walter Pater's Grave . . - . - 223 37. Memorial to Walter Pater in Brasenose College Chapel 227 38. Mr. Richard Charles Jackson - - - - 233 3g. Plate from the Black Letter Chaucer of i5g8 - - 237 40. Plate from the Chaucer of 1598 - - - - 241 41. Plate from the Chaucer of 1598 - - - - 245 42. The Dante of 1529 . - . - - 248 43. A page from Gvillim's "Display of Heraldrie" - - 251 44. Illustration from Sebastian Brandt's Edition of Virgil 255 45. Illustration from Sebastian Brandt's Edition of Virgil 258 46. Illustration from Sebastian Brandt's Edition of Virgil 261 47. Wood-cut from Edition of Homer - . - 265 48. Illustration from the Edition of Homer - - 269 49. Illustration from the Edition of Homer - - 273 so. Illustration from the Edition of Homer - - 276 THE LIFE OF WALTER PATER CHAPTER XXX I JANUARY 1875 TO DECEMBER 1 876 GREEK STUDIES BIBLIOGRAPHY : 28. Review of Symonds' "Renaissance in Italy." Academy, 31 July 1875- 29. Demeter and Persephone. Lecture 1875. Fortnightly Review, January and February 1876. 30. Romanticism. Macmillan^s Magazine, November 1876. It appeared as "Postscript" in "Appreciations" 1889. 31. A Study of Dionysus. Fortnightly Review, December 1876. During the next few years Pater occupied himself almost exclusively with the well-known series of Greek Studies which, though contributed to the Fortnip[htly and Macmillan's Magazine as ■'■■'••'•• 10 jo/Tj-j^ Dionysus, early as 1875 and 1876, did not appear in Demeter, book form till after his death. These Hippoiytus. articles fall into two groups, of which the first, consisting as it does of several delightful imaginary portraits, is far and away the more fascina- ting. He had already given us portraits, more or less fanciful, of Leonardo, Botticelli, and others, and he now brings us face to face with his notion of Dionysus,'^' Demeter'-' and Hippoiytus — haunting figures, built out of the Bacchae and the Hippoiytus of Euripides, The Acharnians of Aristophanes, Ovid's Epistle of Phccdra to Hippoiytus, the Twenty-sixth Idyll '^* of 'i> Bacchus. *2' Ceres. <3) The Bacchanals. 2 LIFE OF WALTER PATER Theocritus and scattered passages in other Greek and Latin classics. In A Study of Dionysus it is observed that writers make a mistake in speaking of "the religion" of the Greeks; they should say "the religions," seeing that each race and district had a religion of its own. The people whose lives were spent in the wine country, it is pointed out, were worshippers of the youthful, triumphing Dionysus and his tipsy train; whereas the farmers of the fat cornlands, instead of wasting valuable time and good prayers on a mere vine fertiliser, sang lustily holy hymns to divine Demeter of the bursting barns; while to the great god Zeus '^' neither of them gave a moment's thought. In short, there was "a little Olympus outside the greater." In order to account for the fact that the vine produces the sleekest and most luscious grapes in the parched lands watered by heavy dews, the legend makes Dionysus to result from the union of Semele, a beautiful mortal, and the all-powerful Zeus, whose lightnings slay the mother at the moment she is giving birth to the infant, thus become the offspring of fire and dew. The passion of Dionysus for Ariadne gives Pater one of the opportunities which he never allowed to escape him — of enquiring how the subject was treated by the Renaissance painters, including Titian with his Bacchus and bridled panthers; and finally he shows us the god descending, at the close of the year, to the dim underworld; but in a few months he bursts the winter's chains And all things feel renewal of their j^outh.'^) Such are the salient events connected with the old Greek deity which, by help of "stray hints in art and poetry and religious custom," Pater sets before us; but, in giving them, w'e make no attempt to convey to the reader the peculiar and elusive character of these Greek studies. In order to understand that, he must turn to '^' Jupiter. <2) John Payne : The Last of Hercules. GREEK STUDIES 3 the original. As a maker of imaginary portraits, how- ever, Pater was not to reach the top of his skill until he wrote the work of which Imaginary Portraits is the title. The next essay — "The Bacchanals" — a pendant to the preceding, is a kind of paraphrase of Euripides' play, with which Pater takes very much the liberty that FitzGerald did with the poems of Omar Khayyam and Jami. Those scenes in old Thessaly are brought before us with extraordinary vividness. We see the Mima- Ionian furies dancing wildly under the forest boughs — their draperies touched by the wind, their heads thrown suddenly back; our ears are dinned with ithyphallics, the crash of cymbals and the rattle of tambourines, and we see the fatuous Pentheus sallying grotesquely to his frightful doom, and then (sickening sight !) his torn and bleeding limbs lying scattered through the tangled wood. From the savagery of The Bacchae one is led to the sufferings of Demeter,'" who, according to Pater's graceful fancy, is "the weary woman, indeed, our Lady of Sorrows, the mater dolorosa of the ancient world." She is pictured as flying, with veil plucked from her hair and blue hood cast from her shoulders, over land and sea in search for her lost daughter Persephone,*^' who had been carried off by Aidoneus.*^' In her anger against Zeus, who neglects to help her, she straightway forsakes the assembly of the gods and takes up her abode among mortals. Disguised as an old woman, she introduces herself to the daughters of Celeus, King of Eleusis, who, however, does not know her — the gods being hard for men to recognise — and becomes a member of their household. Then, in her anger at being deprived of her daughter, she visits the earth with famine; nor is she willing to withdraw it or return to Olympus until Zeus listens to her demand. Finally it is arranged that Persephone shall spend two-thirds of <» Ceres. ^2) Proserpine. «3) Pluto. 4 LIFE OF WALTER PATER the year with her mother, and one-third in the kingdom of the dead. When Persephone is below ground, it is winter and the corn-seed hes supine in the mould; when she reappears, the seed sprouts and the earth yields her increase ; while, as the story of Demeter and her daughter embodied itself in the Greek imagination, there grew up what are known as the Eleusinian Mysteries — which seem to have symbolised the leading events in the story of the two goddesses. Pater, who suggests that they were "an artistic spectacle," finds a parallel in "the mediseval ceremonies of Palm Sunday." "There would," he says, "be nocturns, libations, quaint purifications, processions . . The libations at once a watering of the vines and a drink offering to the dead — still needing men's services, wait- ing for purification, perhaps, or thirsting, like Dante's Adam of Brescia,*^' in their close homes. It was the Pagan All Souls Day." '-' The next study is that of the Greek Joseph (Hippo- lytus),'^' tempted by the Greek "Potiphar's wife" (Phaedra). Virginity, chastity, and celibacy had been, as we have already observed, from his schooldays a favourite theme with Pater. As a youth he had glori- fied the married virgin Elizabeth of Hungary, and in his prime he raises a trophy to the continent Hippolytus. Son of King Theseus and the Amazonian Antiope, and reared in a sequestered village, Hippo- lytus had from his childhood been a votary of the great '^' Inferno, Canto 30. He had counterfeited the coin of Florence. His punishment in the Inferno was Thirst. "One drop of water now, alas ! I crave." '-' 2nd November. On that day Roman Catholics seek by Prayer and Almsgiving to alleviate the sufferings of souls in Purgatory. Pater often associated objects and events which would to other persons appear to have no connection with one another. He probably derived the habit from Renan, to whom Ezekiel was a kind of Victor Hugo, and so on. '3> Founded on the Hiffolytus of Euripides, and the "Phaedra to Hippolytus" of Ovid. Mr. A. C. Swinburne, it will be remembered, has a poem on the same subject, entitled PhcBcLra. Def. Ed. I. 27. GREEK STUDIES 5 and chaste Artemis.'^' He made for her a little altar, of which he was the little priest — being, indeed, a sort of boy Pater *^' — and even as a young man he could never be induced to put up a prayer to Aphrodite "' or to cense her altars. Then Phaedra, Theseus's lawful wife, falls madly in love with him, and as he flees from her presence, he is followed by the resentment, not only of Phaedra, but of the slighted Aphrodite, who, to carry out her revenge, has recourse to Neptune. As Hippolytus is charioteering near the sea, a great breaker, or, as some say, a sea-bull,'*' so startles the horses that he is thrown to the earth and killed; and the moral of it is, if moral there be (though Pater notices it not), that he who flouts nature, as did Hippolytus in refusing to look on the daughters of men (before he met Phaedra), courts and must expect punishment. But perhaps it was as well, for if he had Loved girls and song and the soft cadecced beat Of golden-sandall'd feet, '5) he might have offended Artemis, and so come to trouble in some other way. The latter half of the work, which consists of three chapters on Greek Sculpture, while possibly more informing than the previous half, is far less fascinating. The chapters we have 112. Greek been considering are, as we said, really Sculpture. Imaginative Portraits, inspired by ort and scrap, of Dionysus, Demeter and Hippolytus; and belong to the same category as Pater's presenta- tions of Van Storck, Denys, Duke Carl and Emerald Uthwart. Those who would thoroughly enjoy Pater must surrender themselves unconditionally to him, ») Diana. «> See Chapter III. '" Venus. <** A sea bull flung His obscene body in the courser's path. — Browning, Artemis Prologizes. *^' John Payne : The Building of the Dream. C 6 LIFE OF WALTER PATER and believe, for the moment, everything that his ideahzing imagination chooses to submit to them. His portraits are such as no other man could draw. He sees analogies that nobody else would have sus- pected. He has made Demeter as real to us as the Virgin Mary, and Hippolytus, formerly but a black charioteer on a red vase, an historical person, with some sort of an aim in life; and everything is very subtle, very dainty, very picturesque, very Pateresque, and very precious. But when Pater lays himself out to enlarge upon mere metal and marble the charm straightway evaporates. He does what other men have done as well, if not better. Sound learning characterises these essays, the style is still his own, and he labours to make us see these statues of his, not in a cold grey museum, but under a glowing Attic sky, with the metal reins of the horses and other vanished accessories gleaming once more in the sunlight; moreover, he does succeed in giving a certain warmth and sensuousness to them, but these essays, nevertheless, are, as a whole, not much more successful than his Notes on the French Churches of Amiens and Vezelay. His chapter "The Beginnings of Greek Sculpture" might felicitously have been called "The Reign of Hephaestus," '^* for it tells of an age of metal-work whose chief glory was the wondrous and bewildering shield of Achilles.'^* After pointing out that the origin of Greek art had drifted from Assyria, by way of Phoenicia and Cyprus, Pater, in order to illustrate his statement that the real background of Greek sculpture was " a world of exquisite craftsmanship," describes the magnificent Ivory Coffer of Cypselus.'^' The next chapter, "The Marbles of ^gina," might fitly have been styled "The Reign of Apollo." <" Vulcan. <2) Iliad XVIII. '^' It is described by Pausanias and Herodotus, whose descriptions were the foundation of my little volume, The Ivory Coffer, published in IQ03. MR. W. H. MALLOCK, Photo by Elliott and Fry, GREEK STUDIES 9 Previously, observes Pater, the human form had been represented almost as a caricature, but in the figures from the gables of the temple of Athene, "the perfect artistic flower of its time and place," we see noble human forms with their passions revealed in their faces; and he points out, further, that the monument reveals to us "the temper which made the victories of Marathon and Salamis possible," the gods and demi- gods being represented as fighting, personally, and "not as mere shadows," on the side of the Greeks. Lastly, Pater comes to "The Age of Athletic Prize- men," in which warriors give place to Olympian victors — a countless concourse of popular illustrations to the Pindaric odes. Every page of the book bears evidence of exhaustive labour — indeed, w^e have over-elabora- tion, with the result that some of the sentences have to be read and re-read carefully before the meaning can be grasped. It is, indeed, not as a builder of sentences but as a selector and manipulator of words that Pater excels. The words and phrases are quietly and aesthetically beautiful, and the language is marvellously fitted to the thought; but, while the jewels are all of price, the design of which they form a part is sometimes unhandsome, and often bewildering. CHAPTER XXXI 1877 THE NEW REPUBLIC BIBLIOGRAPHY : 37. The Bacchanals. Written 1878. Maariillan's Magazine, 1889. 38. The Beginnings of Greek Sculpture. Fortnightly Review, February — March 1880. 39. The Marbles of ^Egina. Fortnightly Review, April 1880. Commenting on this period of Pater's life and upon Jowett's hostility to Pater, Mr. A. C. Benson, after observing that Jowett may have "identi- 113. "The fi^^ Pater with the advanced aesthetic New school," '^' continues, "Or possibly he was Republic," alarmed at the mental and moral attitude 1877 with which Pater was publicly credited, owing in considerable measure to the appearance of The New Republic." Now, the trouble with Jowett took place in 1874, years before there was any such thing as an aesthetic school, for in 1874 Oscar Wilde, the founder of that school, was a boy of seventeen at Magdalen College, Oxford, without any distinct ideas about anything, and without a frac- tion of influence. And if Oscar Wilde had nothing to do with Jowett's attitude towards Pater, it is also rather difficult to see how Mr, Mallock's book could have had any influence over Jowett — seeing that this book was published in 1877 — that is three years after the Pater- jowett trouble. As to Mr. Benson's surmise in respect to Jowett's '^> Benson's Pater, p. 55. THE NEW REPUBLIC ii alarm, we can say positively that Jowett was alarmed "at the mental and moral attitude with which Pater was publicly credited," and just as positively, from docu- mentary and other evidence, that if The New Republic could not possibly have had anything to do with Jowett's attitude towards Pater, so it had nothing to do with the creation of the suspicion with which Pater, owing to his own lack of circumspection, was regarded. What Pater did not say in his books, he said bluntly with his lips, and all cultured Oxford, excepting such as were blind as bats and deaf as posts, and, later, all cultured London, were conversant with it; and all thoughtful men felt that there was danger in some of his teaching. A little further on, Mr. Benson says, "One feels that Jowett, with his talent for frank remonstrance, had better have employed direct rather than indirect methods." But, no, that wont do. Mr. Benson is hopelessly at sea. That Jowett, who was one of the noblest, grandest and most generous men that Oxford has produced, acted at this juncture precisely as a Christian and a fine English gentleman ought to act, we, with all the facts before us, can unhesitatingly affirm ; and he further showed his Christianity and gentlemanhood by coming forward, when Pater had become, to use Lady Dilke's expression, "a better man," and holding out the cordial hand of friendship. The New Republic is simply capital fun, of a kind that no sensible man would mind. The worst charge that it brings against Mr. Rose is that he was curious about a class of books, concerning which, according to Sir Richard Burton, most scholars are, and rightly, curious, namely, the kind that is always kept under lock and key; and as Pater himself smiled and thought no more about it, we may do the same. To say a parting word about Mr. Benson : although in the fierce light of facts all his arguments shrivel up to nothing, we must pay him one compliment. It certainly 12 LIFE OF WALTER PATER required no little courage on his part to deal with the subject at all — a subject that every other writer on Pater has studiously avoided. And we appreciate courage in what must truthfully be called a very cowardly age. The New Republic consists of a series of amusing dialogues on culture, faith, and philosophy, purporting to have been uttered by certain men and women of mark in the country house of a Mr. Lawrence.'^* For example, we are introduced to the great Broad Church divine, Dr. Jenkinson [Jowett], still full of vigour though his hair is silver — the sparkle of whose eyes joins strangely with the most benevolent of smiles ; the black-whiskered Mr. Storks [Huxley] ; the supercilious Mr. Luke, "great critic and apostle of culture" [Matthew Arnold], who talks rather loudly and rather slowly; Mr. Rose, "the pre-Raphaelite" [Pater] who always speaks in an undertone, with a soft lulling voice, and whose two topics are self-indulgence and art; and several others, including two ladies, Mrs. Sinclair [Violet Fane],'^* and Grace [Mrs. Mark Pattison.] Of all the company we are naturally most interested in Mr. Rose, whom Mr. Mallock had met, though, we believe, he derived most of his material from a young man who had been one of Pater's pupils. In a letter to the writer,'^' Mr. Mallock says : "The fanciful sketch of Pater introduced into The New Republic was meant to represent an attitude of mind rather than a man;" but whatever Mr. Mallock's intentions, the portrait is a faithful one. After some desultory talk at table, Mr. Herbert [Ruskin] declared, rather fiercely, that the human race was wandering in an accursed wilderness, which not only shows no hill-top whence the promised land may be seen, but which, to most of the wanderers, seems a ''•' Writing in The Cam (14 Feb. igo6), Mr. Oscar Browning says : "The proof-sheets [of The New Refublic] were corrected by Mr. J. A. Symonds, when I was his guest at Clifton in 1877." <2' Lady Currie. She died in Oct. 1905. '^' iQ Feb. 1904. MR. WILLIAM SHARP. From a fhcto lent by Mr. Sharp to the Author. THE NEW REPUBLIC 15 promised land itself — this wilderness teeming with factory chimneys and other abominations. "To me," followed Mr. Rose, raising his eyebrows wearily, and sending his words floating down the table in a languid monotone, "Mr. Herbert's whole metaphor seems misleading. I rather look upon life as a chamber, which we decorate as we would decorate the chamber of the woman that we love, tinting the walls of it with symphonies of subdued colour, and with flowers, and with strange scents . . . We know that so many of the old aims were false, and so cease to be distracted by them. We have learned the weari- ness of creeds; and know that for us the grave has no secrets. We have learned that the aim of life is life; and what does successful life consist in? Simply," continued Mr. Rose, answering his own question and speaking very slowly, and with a soft solemnity, "in the consciousness of exquisite living — in the making our own each highest thrill of joy that the moment offers us — be it some touch of colour on the sea or on the mountains, the early dew in the crimson shadows of a rose, the shining of a woman's limbs in clear water, or " Here, unfortunately, a sound of "Sh!" broke softly from several mouths. When the conversation turned to religion, Mr. Rose said that he had lost interest in "the warrings of endless doubts." He took "a profounder and more exquisite pleasure in the colour of a crocus, the pulsa- tions of a chord of music, or a picture of Botticelli's." On the Sunday there is a sermon by Dr. Jenkinson — which the guests subject to criticism. "All discussion of such matters seems to me but a diseased activity," said Mr. Rose, raising languidly a white deprecating hand; but when the conversation turned to History he broke in with enthusiasm : "Why, but for history," said he, "what should we be now but a flock of listless barbarians ? Would not all i6 LIFE OF WALTER PATER life's choicer and subtler pleasures be lost to us, if Athens did not still live to redeem us from the bondage of the Middle Age, and if the Italian Renaissance — that strange child of Aphrodite and Tannhauser — did not still live to stimulate us out of the torpor of the present age?" Scarcely less enthusiastic about poetry, he compares the "man of culture to an ^olian harp which the winds at will play through." Later falls from him a diatribe against the ugliness of the London streets, and the hell of distracting noises made by the carts, the cabs and the carriages. Nothing soothes him but the shops of certain upholsterers and dealers in works of art. He knew and could praise men who never admit a newspaper into their houses — that is of later date than the times of Addison — men who, with a steady and set purpose, follow art for the sake of art . . . life for the sake of life. Then he pictures a new London, beautiful as Athens, with houses, theatres, gardens, such as the men of the Italian Renaissance would joy to look upon, and with a sort of Piraeus for the accommodation of the horrors of trade and business — a London with Attic architecture and Syrian odours. As regards religion, he volunteers the theory that it never lights our lives so beautifully as when it is leaving them ; and he then pictures two women, one an untamed creature with laughter on her lips, but who does not reach the highest degree of happiness; the other a languid beauty, who is sad but sees that sadness is lovely, and so sadness turns to joy. "There is a sadness," he observes, "a langour even in the grave tendrils of her heavy hair, and in each changing curve of her bosom." "What a very odd man Mr. Rose is," whispers one of the guests — a Lady Ambrose. "He always seems to talk of everybody as if they had no clothes on." Pater's fondness for rare books, especially those of an erotic nature, is amusingly hit off. Among the THE NEW REPUBLIC i; books of the host's uncle, who preferred a mistress to a wife, was a work of a kind generally kept under lock and key. "And now," exclaimed Lady Ambrose, "I want to have a look at that book of your uncle's. I have often heard it spoken about. Come, Mr. Lawrence, you need not hold it back. I'm sure there's nothing in it that would do me any harm." "Well, no," said Lawrence; "in this volume I don't think there is." "What," interposed Mr. Rose, "is there another volume? I should much like to see that." After Lawrence had read some portions of the first volume, Mr. Rose said: "As I suppose we shall ere long be all going to dress for dinner, I will go, Mr. Lawrence, if you will let me, and examine that other volume you spoke of, of your uncle's miscellanies." The Parthian shot is even more amusing: — "I was looking before dinner," said Mr. Rose, who, with Lawrence, was bringing up the rear, "at the books in your uncle's pavilion in the garden, and I saw there, in a closed case, a copy of the Cultes Secrets des Dames Romaines." "Well," said Lawrence, a little stiffly. "It has been locked up for years." "I conceived as much," said Mr. Rose gently. "As you do not seem to set much store by the work, I will give you thirty pounds for it." '^' It has been supposed by some that Pater suffered "violent distress" from this parody of his style and manner, but we are able to declare positively that, instead of suffering distress, he took it as a compliment, thoroughly enjoyed it and laughed heartily at the passages that went nearest to the truth. Pater was ^^^ We have quoted from Mr. Mallock's book only in so far as it concerns Mr. Rose, but it abounds in good sayings, e.g., "The highest labour will never produce money, but generally requires it." "The power to find or make an object [upon which to labour] is, I think, a great part of genius." D i8 LIFE OF WALTER PATER troubled, indeed, not because people might recognise the portrait, but because he feared they might not recognise it. "I am pleased," he said to one friend,'^' "to be called Mr. Rose — the rose being the queen of flowers; and the joke is a good one, but in years to come the humour will have evaporated, for nobody will know who Mr. Rose is." Pater, indeed, had no idea at that time that he would become really famous — that he would be remembered even by the next generation. We would also point out that he was a man who did not care one straw what anybody said of him — being in this respect not in the least sensitive. Mr. Greenslet and others are afraid that Mr. Mallock's mockery "has led people to form a misconception of Pater;" but Mr. McQueen writes : '"' "It was not a misconception at all, but the truth as to one side of Pater's nature." In connection with the fun which Mr. Mallock manages to express from Pater's voice, Mr. McQueen says: "In the fifties and early sixties Pater's voice had been pleasing, quiet, steady, and manly, but when as an aesthete he affected 'flute-like modulations,' he fairly laid himself open to Mr. Mallock's sarcasm." '^' The author had this from the friend's lips. <2) To the present writer. CHAPTER XXXII. JANUARY 1S77 TO APRIL 1880 MR. RICHARD C. JACKSON <^' BIBLIOGRAPHY : 32. The School of Giorgione. Fortnightly Review, Oct. 1887. 33. The Renaissance. Second Edition. 34. The Child in the House. Macniillan's Magazine, Aug. 1878. 35. Charles Lamb. Fortnightly Review, Oct. 1878. 36. Love's Labour Lost. Written 1878. Macmillan's Magazine, 1885. 2,7. The Bacchanals of Euripides. Written 1878. 38. The Beginnings of Greek Sculpture. Fortnightly Review, 1S80, Feb. and Mar. 39. The Marbles of ^gina. Fortnightly Review, 1880, Apr. One day in the Spring of 1877 in Canon Liddon's rooms at Christ Church, '^^ Pater was introduced to a handsome and studious young scholar named Richard C. Tackson, who proved to ^^^- '^'^• Richard be a personal friend not only of Canon ^ jackson Liddon, but also of Carlyle, Dr. Pusey, I877. and Dean Church. The conversation pre- sently glided to Dante, and the intimate knowledge of the subject which Mr. Jackson displayed at once excited Pater's interest; while later he learnt with delight that Mr. Jackson was the grandson of the Captain Francis Jackson of Charles Lamb's charming essay .*^' Now F.S.A. and Fellow of the Society of Antiquaries of Scotland, Sec. For other notes respecting Mr. Jackson, see subsequent chapters and the Appendix. <2> Although Liddon had in 1870 become a Canon of St. Paul's, London, he continued to hold his rooms at Christ Church, and spent a portion of every year there. See Life of Liddon, f. 256. <2' Lamb and Jackson were at Christ's Hospital together, hence Lamb calls him "My dear old friend." Later in life Captain Jackson resided at the Red House, Mare Street, Hackney. He was not poor, as Lamb humorously represented him, nor had he any daughters — though he had two sisters. He named his son, Charles, after Lamb, and the present Mr. Jackson has Charles for one of his names. See T.P.'s Weekly and the South London Observer for 1905. In one place Lamb speaks of Captain Jackson as belonging to a family which held "ducal honours." 20 LIFE OF WALTER PATER "And what did Pater look like?" enquired a friend of Mr. Jackson. Mr. Jackson considered a moment, and then said : "Outwardly, he was just like the woodcuts in a certain very scarce work of Charles Lamb's, 'Satan in Search of a Wife, by an Eye-Witness.' " ''' "And did not that repel you ?" "Oh, no!" replied Mr. Jackson. "It is only with the intellect and the character that I am concerned, and I already felt myself strongly drawn to the man." As for Pater, all he could at first know was that he had come upon a mind with as many hues as an Indian carpet, and a host of unusual interests inextricably mingled : a man who was at once an authority on Dante and Greek art, a Platonist, a Monk, a Re- Unionist — and more other things else than he could for the moment recall. Born in 185 1, Mr. Jackson is of noble lineage, being descended from the ancient Earls of Norfolk. '^^ At the age of twelve he could recite the whole of the Book of Psalms and much of Dante's "Inferno," having had, as a tutor in Dante Dr. Henry Clarke Barlow, founder of the Dante Lectures in University College, London. Another of Mr. Jackson's tutors was Dr. John Mason Neale,^^' the hymnologist, who then resided at Sackville College, East Grinstead; '^' See Mr. Moore's description of Pater's appearance in Chapter 36 of this book, p. 137. Pater was none the worse for being extremely plain. '2' He is a lineal descendant of John de Norfolk, who was a younger brother and heir apparent of Roger Earl of Norfolk, who surrpetitiously surrendered his lands, honour, and office into the hands of King Edward the First because John de Norfolk "manfully stood up for the rights of the Church and the liberties of the people." '3) Richard C. Jackson was a boarder at Dr. Neale's. J. M. Neale [1818 — 1866]. Among his translations are "Jerusalem the Golden" and "For thee, O dear, dear country." MR. RICHARD C. JACKSON 21 and, lastly, he is signalised as having been the only literary pupil that Thomas Carlyle ever had.'^' As a young man his studies had taken him entirely out of the common ruts. "What are you reading?" enquired Canon Liddon the first time he spoke to him. "A very old author," replied Mr. Jackson. "Nobody thinks about him now." "You are thinking about him," rejoined Liddon, and the friendship that sprang up was severed only by Liddon's death. Surprised as Pater was at Mr. Jackson's tenacious memory, he was still more surprised at his new friend's argumentative skill, and at the fact that Mr. Jackson, though but twenty-six, was an authority on poetry, sculpture, painting, and music. "I am dumfounded!" exclaimed Pater excitedly. "I will write a book about you." He did. That book was Marius the Epicurean — and Mr. Jackson was Marius. For months, indeed, it was as though Pater could never separate himself from Mr. Jackson, and he plied him with thousands of questions. Mr. Jackson and Pater often met in Canon Liddon's rooms at Christ Church, and the happy hours they spent there and in the surrounding n^ Pater grounds, which were beautiful with ilexes, and led them to speak of the college and its ^^- Jackson •r ^u r • u-i '" Canon towers as if they were of ivory, while Dddon's the great entrance under the Tom Tower Rooms. became "The Golden Gate." One day Pater, after producing a number of little squares of white paper upon which he had been making notes, said to Mr. Jackson, "See, I told you I would write a book about you, and now I have sucked your veins dry, I will begin." '^> R. C. Jackson was introduced to Carlyle in 1865, by Dr. John Mason Neale, in the vestry of St. Mary's, Crown Street, Soho. Carlyle often attended this church. 22 LIFE OF WALTER PATER "There must be no personalities," interrupted Mr. Jackson. "Certainly not," followed Pater, "but since I have taken the bloom off the peach, the fragrance from the rose, and the breath from the lily — even as the hyacinth sprang from the blood of Hyacinthus, so shall all that I have gleaned from thee swell thy fame to kiss posterity therewith." It was a curiously stilted speech, but one eminently characteristic of Pater, who then added, "I am glad to write about you, for, owing to you, my life has been enriched — its minstrelsy swelled." The remark led Mr. Jackson to compose on the spot some warm-hearted but rather effusive stanzas, the last of which ran as follows : — You greet me as your Marias ! me Who swelled for you life's minstrelsy In ivor towers. I say to thee, Within my garden I enclose Your spirit with a damask rose Of ivor towers. Of course, Mr. Jackson set no value whatever on these lines, nor did he ever imagine that they would find their way into print, but, now that Marius the Epicurean is a classic, they have a certain historical interest. Some time afterwards Pater said to Mr. Jackson : "My dear Marius, I want you to write me a song for my birthday;" so Mr. Jackson wrote and sent him some lines, entitled "Thou standest on the threshold," one stanza of which runs: — Your darling soul I say is enflamed with love for me ; Your very eyes do move I cry with sympathy : Your darling feet and hands are blessings ruled by love, As forth was sent from out the Ark a turtle dove ! For twenty years or so these two metrical effusions have been hidden away among old letters, etc., and Mr. Jackson discovered them and read them again, with curiously mingled sensations, only a few days ago. MR. RICHARD C. JACKSON 23 Among the houses at which Pater was a welcome guest was that meeting-place of novelists, poets, and other notabilities — the residence of Mr. George T. Robinson ; and here he met ,..='.,, T- 1-. I ■ / r . 116. William Miss A. Mary b. Robinson (afterwards sharp Madame Darmesteter, and now Madame D. G. Rossettl. Duclaux) ; Miss F. Mabel Robinson, who subsequently obtained distinction as a novelist; Mr. Philip Bourke Marston, the blind poet; and Mr. William Sharp, who subsequently wrote both under his own name and that of "Fiona Macleod." To the eyes of William Sharp, Pater appeared a Dutch-looking man "of medium height, heavily built, with a peculiar though slight stoop," a pale face and deep-set eyes of an unusual grey.'^' On the day that he and Pater first met. Pater, for some reason or other, was on excellent terms with himself, and when the Robinsons' cat, a long-haired creature, jumped on to his knee (as did every cat at every opportunity), he began, as he stroked it, to talk brightly and wittily to' Sharp, in whom he was interested, first, because Sharp, though but a young man, had been a traveller, and, secondly, because he was acquainted with D. G. Rossetti. Speaking of Rossetti, Pater declared that of the six men then living who were certain to be famous — Tennyson, Browning, Ruskin, Matthew Arnold, Swinburne, and Rossetti — Rossetti was "the most significant as well as the most fascinating." Of the others he said : "Ruskin has had by far the most influence over the sentiment of people"; Arnold "has exercised the most potent influence on intellectual manners"; Tennyson "has imposed a new and exigent conception of poetic art"; Browning is "the greatest stimulus to hopeful endeavour." "To most people," he continued, "Browning is an inexhaustible spring of hope, and hope is to most people more vitally near and dear than poetry." '1' Atlantic Monthly, Dec. 1894. Article by William Sharp. 24 LIFE OF WALTER PATER Pater listened with unfeigned delight to the descrip- tions of the strange sights witnessed by Mr. Sharp in the Pacific and the Atlantic, for, like most men of feeble frame, he took a keen interest in adventure and deeds of daring. He subsequently passed a few moments in the company of Rossetti, who expressed his admiration for the Renaissance.''^^ But Rossetti, who was nearing his end (he died gth April, 1882), was not drawn to Pater as a man ; and it is remembered, too, that William Bell Scott '^' rarely referred to him except contemptuously. Comparing the characters of Pater and Rossetti, Mr. Richard C. Jackson, who was also intimate with Rossetti, observes : "In one respect the two men were as opposite as the poles. Pater was amusingly parsi- monious, and when with a friend often forgot to pay his own 'bus fare; Rossetti, on the other hand, though in no better circumstances than Pater, was generous to a fault. It was really not safe to express admiration for anything that Rossetti possessed, for he would be sure to say, ' Since you like it, you shall have it. Indeed, you shall have it' ; and you had to be very firm with him to make him keep his own property." One year of Pater's life was now very much like another. Term-time was spent either in Oxford or with Mr. Tackson at Camberwell : 117. On the . . •' , ^ . ,, Continent, vacation-time on the Continent, generally Passion with his sisters, and often in the La for Siglits Beauce countr}^, *^' of whose natural Emotions scenery and half mediaeval towns he never wearied. Sometimes he was to be met at Munich, either in the halls of the Glyptothek with its magnificent collection of ancient <^> Rossetti, in conversation with Mr. John Payne, spoke enthusiastically of Pater's masterpiece. <2> Painter of the series of historical pictures at Wallington Hall. Scott and Rossetti were friends. (3) North of the Loiie in France. CO MR. RICHARD C. JACKSON 27 sculpture, or the Pinakothek with Watteau's "Fete Champetre" and "Conversation Galante;" or in the city cemetery where " the dead have to He in state before burial behind glass windows," "^' among flowers and incense and "holy candles." At another time he might be met in the Somme Valley and at Valenciennes, imagining his "Apollo in Picardy" and his study of Watteau, most of the inspiration for which, however, he obtained at the Dulwich Gallery,'^' which he often visited in the company of Mr. Jackson. Now he is in Brittany (dear to him as the home of Renan), whence he brings some curious ironwork for his doors at Brase- nose ; now sauntering on the bank of some Low Country canal, which he gazes at with the eyes of Sebastian van Storck ; now in some antique town of the Palatinate — the original of Rosenmold with its "storks on the chimneys and green copper roofs baking in the long, dry German summer." Still, as we said before, the dearest district of all to him was the La Beauce country — the land of Ronsard and Du Bellay — the land which we now associate with Gaston de Latour and waxen, flaxen Denys. Here he visited Gothic churches, old chateaux "with strangely twisted staircases," and rambled in search of wild flowers in cornfield and vineyard. His chief attractions in London were S. Alban's, Holborn, the National Gallery, and the Greek and Roman saloons in the British Museum. At the National Gallery he spent many hours studying his old favourites — the "Warrior Saint Liberale," with its "delicately gleaming silver-grey armour;" ^^* Botti- celli's wistful Madonnas, and his Heretic Picture with the great circles of the Redeemed; Leonardo's "Lady of the Rocks;" Titian's "Bacchus and Ariadne;" and Raphael's "Ansidei Madonna" "seated in a cool pearl- grey quiet place where colour counts for double."^** Greek Studies, p, 258. '2> See Appendix X. <^' Renaissance, p. 147. <■*> Miscellaneous Studies, p. 46. This picture was purchased for the nation in 1885. See also Appendix X. E 28 LIFE OF WALTER PATER The study of Pater, indeed, should create a new and burning interest in the treasures of the National Collec- tion in those who have never really appreciated its joys; while it should cause old pilgrims to bend thither once more their eager footsteps. To adapt the refrain of "The Vigil of Venus"— Let those love now, who never loved before, And those who always loved, now love the more. Scarcely less magnetic to Pater were the Greek and Roman treasures in the British Museum. To his love for novelty in sight and sound we referred, when speak- ing of the days when he went with the multitude to hear Bellew and Spurgeon, and he was still just as eager for fresh emotions. In The New Repu'blic Mr. Rose is made, when describing the Thames, to express the wish that for the sake of the emotion he could see some "unfortunate" precipitate herself from a bridge — but that is mere hyperbole, for Pater would have been troubled to see even a fly suffering. Still his passion for new sensations was not less marked at forty-two than it had been at twenty-two, and any show could draw him. When the Emperor Napoleon III., after the war of 1870, came over to England and secluded himself at Chislehurst, Pater was deeply chagrined. "They ought to exhibit him," he said to his brother William. "There's a crack in 'Big Ben ;''^' why don't they put him under the bell, and charge a shilling a peep?" Sights and sounds ecclesiastical afforded him unalloyed pleasure, and he revelled especially in the gorgeous scenes at S. Alban's, Holborn, which was just then at the height of its reputation for ornate services,'^* and the principal Roman Catholic chapels. He delighted in high altars banked with flowers — the arum, the narcissus, the jonquil — innumerable candles '^* The Bell at Westminster, of course. '*> In 1882 the Rev. Alexander Heriot Mackonochie, in com- pliance with the wish of Archbishop Tait, resigned the living. in ■J) < In J < u n: H ;^ MR. RICHARD C. JACKSON 31 forming a pyramid of points of fire, priests in trans- plendent copes stiff with gold, incense rising in swelling clouds, bell ringing, genuflections. But what it was all for did not trouble him. In T/ie New Republic Mr. Rose is represented as attending Ritual- istic churches "when in the weary mood for it." "In some places," he is made to say, "the whole thing is really managed with surprising skill. The dim religious twilight, fragrant wdth the smoke of incense . . . the tapers, the high altar, and the strange intonation of the priests, all produce a curious old- world effect." We now come to an event which was to have a singular influence on Pater's life, namely, the founding of St. Austin's Priory, in Walworth, by the Rev. George Nugee, a very wealthy High Church dergyman. Mr. Nugee Austin's, who, curiously enough, like several other Father of Pater's friends,*^' was of Huguenot Nugee, descent, had, after many laborious years in London, been appointed to the family living of Wymering-with-Widley in Hampshire, and he used his wealth in restoring his churches, extending his schools, founding a brotherhood, and in doing much beside "for the general good of the parish." Finding his work there completed, he resolved to devote the rest of his life to labour in the most degraded part of London known to him, namely Lock's Fields, Walworth ; and with that end in view he looked for a suitable successor (whom he found in the Rev. H. B. Smith), and resigned his living. Regarding the idea as a direct call from God, and having made with the Vicar of St. John's, Walworth (the Rev. G. T. Gotham), a friendly arrangement by which a portion of the parish was assigned to him as a legal district,'^* <^' McQueen, Dombrain, and others. <2* The church attached to the district of St. Austin's was in Salisbury Crescent, where the ritual was also very ornate. 32 LIFE OF WALTER PATER he hired several large houses in the New Kent Road, and transformed them into a "Monkery," near which he erected a beautiful chapel with a black and white marble pavement which had come from All Soul's, Oxford, fittings of carved oak of antique designs, and an altar of marble richly gilt. The chapel was dedi- cated to St. Austin, whose figure appeared over the entrance gate. Mr. Nugee then established popular week-day services, and a working men's club; and every effort was made both at St. Austin's and in the homes of the people "to awaken a religious spirit." The provost, as Father Nugee was termed, presently found himself surrounded by a number of helpers, including Mr. Richard C. Jackson (or the Rev. Brother a Becket, to use his monastic name), and the Rev. E. Salisbury. Most of the brethren connected with St. Austin's were men of ample private means — indeed, to use Mr. Jackson's term, "it was a 'Monkery' of rich men" — and all wore, both in chapel and in the street, the black gown of the order. "It was a hotbed of so-called Romanism," observed Mr. Jackson to the writer, "and glorious days they were. Life was then worth living — filled as it was with beautiful thoughts — surrounded as we then were with those in whose souls was found no guile." For the services at vSt. Austin's Mr. Jackson wrote many hymns, one of which, "Nearer to me," *^* is of special interest to us in the light of Pater's remarks in Marius with reference to the earnestness of the Christians : "Some there present apprehend that prayer prevails, that the very object of this pathetic crying Himself draws near;" and we may at once say that Pater drew all his inspiration for the latter portion of Marius from the St. Austin's services, "which were dight with gold and gem and sacred song." '^' It appears on p. ii of Mr. Jackson's volume of Poems The Golden City. MR. RICHARD C. JACKSON 33 NEARER TO ME Nearer to me Come, gentle Saviour come, That I may see Thy more than Sacred Form ! Closer to be Drawn still by Thee. Nearer to me Come, kindest Friend, and best; Still yearningly Pants my sin-burden'd heart With Thee to be In unity. Nearer to me Come Thou in toil and pain, Bearer of free Grace to the captive soul, That I, in Thee, At peace may be. Nearer to me Deep drawn by cords of love, Deign'dst Thou to be Perfect through suffering. So may pain be Healing to me. Nearer to me Come, with Thy healing balm; Only in Thee True joyaunce here is found; All else I see Phantoms to be. Nearer to Thee As I draw, Hope renew'd Smileth on me ; Not now in mockery Steadfast doth she Promise to be. Nearer to Thee Through all life's changeful scenes, Still may I be ! High though the billows roll ; Port sure I see. Saviour, in Thee. Nearer to Thee So may death clasp me. Lord ; Waiting to see Thy ever Blessed face When spoil'd shall be Death's ministry. Of the other hymns by Mr. Jackson which were sung at the St. Austin's services, perhaps the one best remembered is that commencing — "The songs of sweetest notes now raise." *^> *i> The Risen Life, p. 46. London : Masters and Co., 1881. 34 LIFE OF WALTER PATER Both Cardinal Newman and Walter Pater, who, as we have several times said, was a great lover of hymns, had for these lines a particular affection, and considered them among the most touching in the language.'^* They certainly bring the services at St. Austin's very near to us. Besides labouring among the poor, the St. Austin brethren prepared young men for Holy Orders — Mr. Jackson taking Church History, Mr. Salisbury Greek and Latin and the construction of sermons, and Father Nug'ee Pastoral Theology. Among the worshippers was Mr. Henry Dawkes, formerly of Ravenstone, near Olney, who had a remarkable collection of works of art which Pater sometimes inspected. "If," said Mr. Jackson to Mr. Dawkes, "you will find the paint, I will cover the walls of the Mission Chapel of St. Austin's with illuminations." Mr. Dawkes consenting, Mr. Jackson, who had a remarkable gift for this kind of work, at once commenced his undertaking, with the result that within a few weeks St. Austin's presented perhaps the most beautiful interior in London.'^* Mr. Jackson also helped in various ways very many other advanced churches, most of which he and Pater visited together — frequently attending a different church every Sunday — the principal being St. Alban's, Holborn ; Christ Church, Clapham ; St. Peter's, London Docks; St. Paul's, Walworth ;^^* St. James's, Hatcham ; St. Michael and All Angels, Beckenham ; St. Peter's, Streatham ; St. Augustine's, Queen's Gate; and St. Barnabas, Pimlico. Occasionally, however. Pater attended less ornate services, thus on 31st December, 1876, he heard Dr. Liddon preach at St. Paul's Cathedral from Psalm xc, verse i,'*' and curiously ^^^ See also Appendix X. <2) Commenting on Mr. Jackson's work, Mr. Dawkes, himself a connoisseur in art, told the writer that he had never seen any- thing so beautiful in his life. '^* The Vicar was the Rev. John Cowing, who had six curates, each possessed of something like £3,000 a 3'ear. His services eclipsed even those at St. Alban's. '*> "Lord, thou hast been our dwelling-place in all generations." THE REV. FATHER NUGEE. PROVOST OF ST. AUSTIN'S. MR. RICHARD C. JACKSON 37 enough chanced to sit next to one of his old pupils — the Rev. Anthony Bathe, a friend of Mr. Jackson's. One of Pater's Oxford friends, who did not quite like all these disappearances from the University, happen- ing a little later to enter Pater's room at Brasenose found him reading a volume '^^ in crimson cloth with a great "I.H.S." on it. "For what new light am I forsaken?" he asked, as Pater rose to greet him. Then taking up the book, which had been placed on the table, and noticing Mr. Jackson's name on it, he said, "This is the attraction. Who is he?" But Pater, with that curious dislike of mingling his friendships to which we referred in our preface, made some reply that amounted to nothing and changed the conversation. The services at St. Austin's were of a most ornate description. The Sacrament was reserved, incense was used, and there were proces- sions with banners, the proceedings, indeed, being scarcely distinguishable ng^ Pater from those in Roman churches at the and Father present day. Its chapel — the talk of Nugee. London — became one of those exclusive places that everyone wished to see, and every Sunday crowds were turned away from the doors. At these services, Pater, by this time a personal friend of Father Nugee, as well as of Mr. Jackson, was fre- quently present, being attracted, as he said, solely by the gorgeousness of the scene. His eulogiums, how- ever, gave pain, instead of pleasure, to Father Nugee, whose one desire was to bring not only Pater but all others who attended "really," to use his own words, "into the Christian fold," and who could not bear to have his chapel regarded merely as a show. "I am afraid," observed Father Nugee to Pater, "you quite misunderstand us. These ceremonies are but an outward expression of what is in our hearts. '^' A copy of the 4th edition of His Presence. 38 LIFE OF WALTER PATER We don't want mere sight-seers — or, rather, we want them only because we are in hopes that they may be led to become sincere Christians." A little while after, Pater, on being spoken to more pointedly, observed, "I can assure you, Mr. Nugee, I am interested in the Christian religion only from the fact of my being Page- in-Waiting upon your Professor of Church History. The Church of England is nothing to me apart from its ornate services. Indeed, I am just as much drawn to Nonconformity, for whose great men — Baxter, Wesley, and Spurgeon — I feel a true admiration." If, however, Pater appreciated ornate ritual he liked bed better, and we suppose no healthy man ever spent more hours between the sheets. When he was a guest at Grosvenor Park it w-as no uncommon event for Mr. Jackson to find him not down early enough for morning service. Mr. Jackson would then go to church, and when he returned at dinner-time it would be to learn, more often than not, that Pater was still in bed. It is comforting, however, to be assured that he was never known to get up too late for evening service — which certainly tells in his favour. Though he openly expressed his indifference to religion apart from its ceremonials, he was frequently, as occasional observations proved, not altogether at ease in his mind. "I wish," he once said to Mr. Jackson, "that I had as much backbone as you. Those wonderful, snowy Thomas a Kempis heights upon which you and Father Nugee are perched are eternal in their aesthetic charm — but they are inaccessible to weaker mortals like me." "Don't trouble about your backbone," replied Mr. Jackson, "cast yourself unreservedly upon God, and you will soon lose your infirmities." "But," commented Mr. Jackson sorrowfully, in speaking of the matter to the writer, "my words had no effect on him." Perhaps, however, they went deeper o 2 MR. RICHARD C. JACKSON 41 than he supposed, for, one day, Pater remarked in his dreamy manner: "A man's horizon is certainly enlarged by religion." Pater's appearances at Walworth and Camberwell were always unexpected ; or rather, they never caused astonishment, for it was known that he might present himself at any time. Mr. 120. Pater Jackson's monastic name was, as we have '^^" breathe already noticed, the Rev. Brother k waiworth. Becket, on account of which Pater often called him "The Archbishop." One morning a tremendous hammering was heard at St. Austin's gate, and when the porter opened it, there stood Pater, who, in high tones, cried, "I want the Archbishop. Where is the Archbishop?" For some reason or other, the porter was sulky. "You can't see him," he replied. But Pater was determined, consequently a noisy altercation ensued, which was fortunately overheard by Mr. Jackson, who, after rushing downstairs, and rebuking the porter, drew his friend into the house — exclaiming, "Here I am then, crozier lost, mitre pawned, but your Archbishop still. Now what is it you want?" "Oh, I'm bound to come here to breathe, some- times," replied Pater — "to breathe this freer air. Oxford pains me, slays me ! It is impossible there to escape the ruts of convention. Everything follows the most ridiculous precedents, and the stupidest of rules. The whole place is cobwebbed over. Oh, it's so delightful to be in Walworth — to be a man for an afternoon, after being an automaton for a month. Oh, I can breathe in Walworth !" The same Thames rolls by Oxford as by Bermondsey and Walworth ; and there are persons who contend that it does not increase in limpidity as it proceeds; but Pater, looking at it from Folly Bridge, saw nothing but mud, looking at it from London Bridge nothing but stars. At St. Austin's he was truly happy. It 42 LIFE OF WALTER PATER was in a measure his own. The gorse gilding the South London commons, through which he and Mr. Jackson used to wander talking of Greek art, was dearer to him even than the yellow cornlands of La Beauce. In other places his brain slumbered like a bear in winter; in those golden plains ideas came upon him with the rush of a whirlwind. From this time St. Austin's and Mr. Jackson's home, Grosvenor Park, Camberwell, which also had its chapel,'^* became second homes to Pater, 121, and he spent far more of his time in the Camberwell company of Mr. Jackson than in that of ^^^.^The^"' ^"^ °^^^^ friend. Of Mr. Jackson, and Archangel." ^^^ scarce and valuable books he never wearied, and they passed many hours together examining and talking over these and other treasures, which included an Aldis Homer of 1524 bound in purple Morocco, a great number of Charles Lamb's books, &c., Carlyle's Wallet — stamped with T.C., given him by Goethe — the Duke of Brunswick's loving-cup — a marvel of workmanship in gold and ivory — to say nothing of chalices, intaglios, cameos, medals, coins, and other works of art. Camberwell in those days had quite a rural aspect — the very names of the thoroughfares — Denmark Hill, Camberwell Grove, Grove Lane — suggesting greenery; and in Ruskin's Prceterita and the letters of William Black, who lived at this time in the white stuccoed "Airlie House" in Camberwell Grove — it appears as a kind of Eden. Black, who had settled in Camberwell just after the success of his story A Daughter of Heth, and who wrote here Madcap Violet, which glows with local colour, and Macleod of Dare, always held that there was no sunset like that to be seen in Grove Park, nor any moonlight like that which bronzed the towering Grove chestnuts. At the end of 1878 Black, who by '^' Memories of both this chapel and St. Austin's were drawn upon bj' Pater when he was writing the latter portion of Marius. in < O UJ '-D MR. RICHARD C. JACKSON 45 that time had become a personal friend of both Mr. Jackson and Pater, removed to Brighton, though he was still often to be found at Airlie House, which, we believe, was taken by one of his relatives. If Pater's visits to Grosvenor Park became at last more frequent than quite pleased Mr. Jackson, lovers of books and of engraved gems and other works of art will be inclined to view leniently his obtrusiveness. He felt that he could never have too much of "Camberwell the Golden." Camberwell and Walworth, indeed, had become his Fortunate Islands — his earthly Paradises. But for them Marius the Epicurean, Greek Studies, and Appreciations, all of which were inspired by Mr. Jackson and Mr. Jackson's books and pictures, could not possibly have been written. With Oxford men, on the other hand, Pater was never, to use Dr. Johnson's expression, "quite easy." Even those to whom he was amicably disposed found, says Mr. Humphry Ward, "intimacy with him very difficult." "You never," continues Mr. Ward, "felt that he was quite at one with you in habits, feelings, preferences. His inner world was not that of anyone else at Oxford." '^* At Camberwell, on the other hand, it was quite different. There he wore his heart upon his sleeve. No stiffness intervened between Pater and Richard C. Jackson — nor between Pater and another group of friends to whom we shall in a few pages introduce the reader. They never found "intimacy with him difficult." Among the worshippers at St. Austin's was a big burly fellow named William Andrew, who, having fallen ill, had to be taken to St. Thomas's Hospital, where Mr. Jackson, wearing always the black cassock of the Augustine canons, paid him many visits; and when Andrew came out of the hospital Mr. Jackson continued to see and assist him — often leaving gifts, too, for Andrew's aged mother. One Saturday night, Walter Pater, by A. C. Benson, p. 26. 46 LIFE OF WALTER PATER between eleven and twelve, as Pater and Mr. Jackson were sitting together in the house in Grosvenor Park there came a mysterious knocking at the door, and the housekeeper went somewhat timidly to answer it. Presently she entered the room in which the friends were sitting with the information that there was a tremendous fellow — a complete stranger — standing on the step with something wrapped in a black cloth, who — and she confided to them that she did not like either his appearance or his manner — declared that he would see nobody but Mr. Jackson. Noticing his friend hesitate. Pater said, "Go at once. It might be an archangel sent to you direct from Heaven." On approaching, rather apprehensively, the open door Mr. Jackson felt a bird-cage thrust into his hands, and at the same moment he recognised the voice of William Andrew, who said he had brought a linnet — adding, "because, sir, you have been so kind to me and my poor mother." Mr. Jackson — and only those who have been the objects of gratitude can understand the sensations to which it gives rise — had all the trouble in the world to keep back the tears that would keep coming to his eyes, as he returned to the room holding the cage; while William Andrew followed with his acre of face beaming with smiles, and the cloth that had covered the cage in one of his big hands. Pater, who had overheard part of the conversation, and guessed the rest, was, like Mr. Jackson, half in tears, and pre- sently he said in a husky voice, "I told you it might be an archangel sent direct from Heaven; and so it is." A few days after, Mr. Jackson took William Andrew (who from the day of the linnet incident was known as "The Archangel") and another St. Austin's wor- shipper to Chislehurst for a little outing, and to show them the glorious old church of which the Rev. Father Murray, a friend of Mr. Jackson's, was then Rector. There they met Pater, and all four returned home MR. RICHARD C. JACKSON 47 together. As they were getting on to a 'bus at Lee some man, pointing to Mr. Jackson's gown, expressed his abhorrence of "those d Romanists;" but a moment later he lay flat on his back on the road, felled by the gigantic fist of William Andrew. Pater and Mr. Jackson, who scarcely expected to see the man rise again, were in dismay ; and Andrew wondered whether he had not hit too hard. However, the man got up, and then, oddly enough, took the hem of Mr. Jackson's cassock in his hands, kissed it, and begged pardon. After some gracious remarks, Mr. Jackson ascended the 'bus, and when he and Pater were seated. Pater said, "If you will go about in this thing" — pointing to the cassock — "you must expect such occurrences. Far better do as I do, and give only the grain of incense.*^' Still, with our friend the Archangel beside you, you will be fairly safe." William Andrew died about two years later, but the linnet's song, streaming from its cage at Grosvenor Park, often reminded Mr. Jackson and Pater of the little bird's gigantic and grateful donor. Occasionally Pa,ter appeared as a public lecturer, but his subjects, owing to their abstruseness, attracted but sparse audiences. At the Birmingham and Midland Institute he once lectured on ^22. Pater "Demeter and Persephone;" and at as a South Place Chapel, Finsbury, and Toyn- Lecturer, bee Hall,'-' he discoursed on "Human- ism." His South Place hearers, who had been philandering all day with Argentine A's and Turkish Unifieds, listened heroically, though with eyes propped open, to the peroration, uttered in Pater's usual and just audible voice; slept soundly during the lecture itself, which was delivered quite as softly and lullingly ; <^' The title page of Mr. Jackson's volume, Love Poems, is ornamented with a smoking altar, on which is the inscription, "The one grain shall be given." '*' I have not the date, but it must have been some Saturday, probably in 1880. On the following day he and Mr. Jackson lunched with Dean Church. 48 LIFE OF WALTER PATER and recovered consciousness just in time to give the lecturer a hearty vote of thanks for the intellectual treat he had afforded them. Pater, after replying suitably, quitted the building on excellent terms with himself, though what it was that put him into that frame of mind is not clear. With Toynbee Hall, on the other hand, he was disgusted. There, though he talked just as softly and soothingly, the audience, instead of going quietly off to sleep, insisted on making an uproar. "How did you get on?" enquired Mr. Jackson, after the lecture. "How could you expect me to get on," replied Pater, "with such a pack of benighted fools?" "You don't seem to mind where you lecture," observed someone to Pater after the South Place Chapel evening. "A Nonconformist's cheque," replied Pater, "is as acceptable as a Churchman's." The event of this period at Oxford was the restora- tion of Queen's College Chapel, for which some splendid designs were submitted by Mr. John P. Siddon, and published in the Journal of the British Architects (1879-80). To Pater's regret they were passed over in favour of other designs which were less elaborate and less beautiful. t " Is it nothing to you, ail ye that pass by. Behold and see if there be any sorrow like unto My sorrow ."— Lamentatiotis i. 12 O can it l)e nothing to y^ Sinners. Is it not everything to you ! " For l)ehold He fonieth. and every eye shall see Him. They also that pierced Him." O come then look unto Jesus the Crucified this Holy Week, and be .saved from the wrath to come. SERVICES S. AUSTIN'S MISSION CHAPEL, SALISBURY CRESCENT HOX.V IVEEK, Commeiiniig Monday, March '26M. PRAYERS and SERMON every Night at 8 o clock. SUBJECTS. Monday, . Christ Betrayed Tuesday, . Christ s Last Supper Wednesday, Christ s Agony in the Garden. Thursaay, . . Christ s Trial and Imprisonment. Good Friday, Christ's Death. Devotions on the Way of the Cross, - ■ - 8 a.m. Procession from the Chapel and Open-Air Addresses by the Rev. Fr. NUGESS, 10 Addresses on the Seven Sayings from the \ from 12 Cross by the Brethren of S. Austin s Priory,, to 3 p.m. Evening Prayer and Sermon by the Rev. Fr. NUGE£, 7 p.m. PHIKTIL. HT TaiiM*- BMfTTM.l. i Co 51. BUPBRT StHFET H »Tll«H»(tT — VV ONE OF THE PUBLIC NOTICES OF THE SERVICES AT ST. AUSTIN'S MISSION CHAPEL. CHAPTER XXXIII. MAY 1880 TO FEBRUARY 1884 THE WRITING OF MARIUS BIBLIOGRAPHY : 40. Dante Gabriel Rossetti. Written 1883. Two events disturbed the even tenour of Pater's life in the year 1881, namely, the loss of his scout, Harry Charlwood, who had been removed to a lunatic asylum, where he died; and the ^^^; Samson is S6n't disappearance from the great Quadrangle Down at Brasenose of the Samson and Philistine group. Charlwood was succeeded by Frank Walker, a spruce, obliging man, who retained the post until Pater's death, and still waits upon Pater's successor in the same suite of rooms. He tells us that he is the fourth generation of common-room servants, his father, grandfather, and great-grandfather having had the same duties. But this is probably only his modesty, for no doubt there was a Walker in office when the Rev. Robert Burton, Brasenose's dear son, of Anatomy of Melancholy fame, used, as a little clerical diversion, to saunter down to the Folly Bridge to hear the barge- men swear; nay, even in the dim beginnings of the college when the aularis was not allowed "to exercise his wit at the expense of his friends," though it was considered an act of Christian piety to break the head of a man who did not happen to belong to one's own college. As regards the statuary group, which, as we before said,'^' represented Samson braining a Philistine with the ass's jawbone, the figures, owing to their nudity (i> Chapter XXVI. 52 LIFE OF WALTER PATER had long been a target for the wit of the flippanter undergraduates; and, consequently, a source of annoy- ance to the governing body. A mild specimen of this wit is displayed in our photograph of it, taken just after some wag had painted on the pedestal — In Memory of SAMSON Late of B.N.C.(i> On joyous occasions, Brasenose was thought not to have done its duty unless Samson was made to take part in the festivities. Thus, in the Oxford Under- graduate's Journal of 4th February, 1874, ^"^'^ read : "On Saturday last. Miss Lorina Liddell, the Dean's eldest daughter was married. By way of celebrating the happy event some bibulous youths adorned the statute of B.N.C. quad with a covering not its own." Indeed, on waking up in a morning one never knew what colour Samson would be; and at last the thing became so great a nuisance that the authorities ordered it to be taken down, and it was sold for old lead.'^' Pater, however, who admired not only strong men, but effigies of strong men, and who held the group to be a genuine work of Giovanni of Bologna — or John of Bologna, as he generally called him — regarded the removal as an unexcusable act of vandalism, and no mode of rousing him was more successful, observes Mr. Gosse, than to say artlessly, "Was there not a group by John of Bologna in the college?" How^ever sunken in reverie, dreamily detached, he would sit up in a moment, and observe with great acidity, "It was totally devoid of merit, no doubt ;"'^' nor were the undergraduates less piqued when they discovered that their old friend and buffoon had been "sent down." '^> Brasenose College. <2) This was in 1S81. Critical Kit-Kats, p. 269. (3) BROTHER A BECKET. (MR. RICHARD C. JACKSON.) THE WRITING OF MARIUS 55 Among Mr. Jackson's greatest pleasures were the conversations he had with Ruskin, which generally took place in the beautiful avenue of Dane House, then occupied by Mr. 124. Druce,*^' a personal friend of both Ruskin "Marius" and Mr. Jackson — the avenue in which ^"^ Ruskin Mendelssohn — inspired by the notes of the House" many nightingales that congregated there — Camberwell. composed his beautiful Song of SpringS-'' Here, to use Mr. Jackson's ornamental language, "in that delightful avenue whose outspreading branches, kissing and embracing each other, appeared to em- broider the heavens with a canopy of lace far more beautiful than Spanish rosepoint" — they spoke of, and had fiery discussions about Dante, Shakespeare, and Plato, "with some minor philosophers but little known in those days." Ruskin, who walked with shoulders bent, having grown warm in praise of the glories of the Greek drama, declared that no other nation had produced anything to equal it. "It is not so," observed Mr. Jackson, with heat, "I defy you to produce one single Greek dramatist whose tragedies in any one single instance can stand side by side with those of our English Chatterton." '^* "Ah !" said Ruskin, with a smile, "you are a young- enthusiast, and your admiration for the beautiful Tragedy of JEUa has carried you away. I must con- fess, however, that I have never considered very deeply the works of the marvellous boy poet." On another occasion, when they were together and the talk ran on Charles Lamb, Mr. Jackson mentioned his relationship to Lamb's friend, Captain Jackson.'*' Thereupon Ruskin threw up his arms, flung them round Mr. Jackson, and cried, with his penetrating '1' I believe that Mr. Druce's son now resides in Ruskin's house. '2) This song was known for many 3'ears by the name of "Camberwell Green." Mendelssohn resided with a rich gentle- man, one E. Benecke, of 174, Denmark Hill. '^' See also Love Poems bv Richard C. Jackson, p. 46. <4) See Chapter XXXI. G 56 LIFE OF WALTER PATER voice'" — for he loved to impress and startle — "Lamb was the only writer in the world who had a human soul within his breast that cared for me and you — a breast filled with the understanding that told us what a great legacy Shakespeare had bequeathed to man- kind, embracing and infusing into this suffering humanity of ours that particular something which tells us that we are not our brother's keepers, but the enter- tainers of the angels of God." Then, looking up to the high arches of the avenue, he said : "Here we are (giving to his r's their peculiar roll) in Winchester Cathedral,'^' with the spirit of Charles Lamb to fill our souls with gladness;" and when Pater and Mr. Jackson walked together in the avenue, Mr. Jackson delighted Pater with the recital of these reminiscences. It is pleasing to remember that the avenue is now pre- served for the public — for it forms a part of the new Ruskin Park, and still more pleasing to recall the fact that among those whose efforts resulted in its forma- tion none was more active or more enthusiastic than Mr. Jackson,'^* who was one of the Committee formed to raise a fund for its purchase.'^' Indeed, it may be said that but for his persistent energy the opportunity would have been allowed to slip by. In some articles which Mr. Jackson has recently sent to the press he urges that the avenue should be adorned with a series of "delightful white tabernacles" in which could be placed busts in bronze of the eminent men associated with Camberwell — namely Byron, Garrick, Carlyle, Sir Theodore Martin, Browning, Pater, Jowett, Shelley, Keats, Charles Lamb, Mendelssohn, Sir Arthur <^' Ruskin's voice had "a peculiar timbre," says one who knew him, "at once penetrating and attractive." <2' The nave of which has been likened to a forest of stately trees. <3) See "Ruskin Park," an article in The South London Observer, ii Feb. 1905. "Ruskin Park made Glorious." Id. 25 Feb. IQ05. <■*' The bulk of the purchase money was found by the boroughs of Camberwell, Lambeth and Southwark, and the London County Council. c^ THE WRITING OF MARIUS 59 Sullivan, Dr. Stainer, Edward Alleyn, Ben Jonson, and Shakespeare. In November, 1882, Pater had the pleasure of a visit from Mr. WiUiam Sharp; and after showing some of his treasures, including manuscripts in the handwriting of Rossetti, Swinburne, 125. and Matthew Arnold, he fell to talking of Mr. Sharp the days when he used himself to poetise, visits Pater, "I learnt much," he said, "through the j^ggg writing of verse, and still more through metrical translation."*^' A sunbeam having pierced the room, he dilated on the golden thread that runs "through all writing that is distinctive and beautiful," and then read aloud the passage in "The School of Giorgione" about the alchemy of gold light.'^' The friends took some strolls together, but Pater "walked heavily, and, particularly when tired, with a halting step that suggested partial lameness." "He w^as singularly observant," remarks Mr. Sharp, "of certain natural objects, aspects, and conditions, more especially of the movement of light in grass and among leaves, and of fragrance; he was wilfully blind to all passers-by." On another occasion after thanking Mr. Sharp for various compliments paid him. Pater said, "I have worked hard for many years at those prose essays, and it is a real encouragement to hear such good things said of them by the strongest and most original of young English poets." Pater spent the summer of 1882 in Cornwall, and on his return he said to Mr. Jackson, "I have made some progress with my Marius, the setting of which is to be ancient Rome in the time of 126. The AT A 1- o- -1 J Writing of Marcus Aurelius. Smiilar studies — sug- » Marius" gested by the changes of a soul — have occupied the minds of scholars in all ages; but mine (i» Atlantic Monthly. <2) /Renaissance, pp. 136, 153. 6o LIFE OF WALTER PATER will, I think, have a savour — a bouquet of its own. It now only remains for me to go to Rome, as I shall, at the end of the year, in order to vivify the sentiments to which you have given expression and to obtain local colour." <^> "I am glad to hear it," followed jMr. Jackson, "for Rome, though so frequently talked about by English- men, is little enough understood by them." To Rome, therefore. Pater went, and having sur- rendered himself to the influences of "mouldering plinths," "vague entablatures," and "shattered cornices," he returned to England, and proceeded hot- foot with his project. For a number of years, let it be observed. Pater had devoted himself sedulously to the study of the various systems of Greek Philosophy; and as, in his Plato and Platonism,^'^'' presently to be considered more par- ticularly, he insists upon the advantages of the "historic way" of considering them — the way he himself followed — it is evident that some intimacy with these systems is necessary to the understanding of the state of Pater's mind at this time; and the following very brief remarks may be of assistance to those who have not been able to give serious attention to the study. The three principal Pre-Platonian philosophers — and the influence of each is traceable in Plato — were Heraclitus, Parmenides, and Pythagoras. To Heraclitus, with his doctrine of the Perpetual Flux, and to his lineal descendants the Cyrenaics, the Epicureans and the Teutonic Hegel and Schelling, Pater had for years been drawn, and among the events that had lately gratified him was the publication by his friend, Mr. Ingram Bywater, of the Fragments of Heraclitus'^' — a volume consisting of 138 short passages. "Everything," *i' His first visit to Italy had been made in 1865. Mr. Jackson had also travelled in Italy. <2) See Chapter XLIII, § 168. <3' Heracliti Ephesii Reliquiae recensuit. 1877. THE WRITING OF MARIUS 6i cried Heraclitus, "is vanishing. None has ever passed twice over the same stream. Nay, the passenger himself is without identity." This doctrine which went hand in hand with Polytheism, and led men to feel the importance of seizing the present moment — this doctrine of "the Many," as some have termed it, was embraced with enthusiasm by the Athenians, whose boundless impatience and passion for novelty was noticed, it will be remembered, by St. Paul. Parmenides opposed to this teaching the doctrine of Lethargy — of "the One" as opposed to the Many. There is, he declared. Absolute Being. The eternal and infinite Deity and the world are one. All this change that Heraclitus chatters about is only apparent. "There is an insoluble, immovable granite beneath and amid the wasting torrent of mere phenomena;" and as the Hymn of Cleanthes shows, Parmenides and his followers had ideas of the Deity not very dissimilar from our own. The third philosopher, Pythagoras, taught the doctrine of the Pre-existence of Souls and that everything moves according to a numerical scheme — the "Philosophy of Re-action" '^^ in short. Lastly came Plato — who drew, as we observed, from all three of his predecessors, though he sympathised most with Parmenides — "divine Plato" with his Theory of Ideas}^^ There is a world above this, he insists, where everything is perfect — a Beata Urbs. Everything that our minds conceive is good, true, or beautiful according as it approaches the perfect form in the world above. But how can humanity get any notion of the perfect originals? Simply, says Plato, borrowing an idea from Pythagoras, by looking back- ward. The soul before coming into our body — that is, the soul in a pre-existent state — had glimpses of those originals. It has forgotten much of what it saw, but not all. Now the best men — in other words, those who Pater. '2* Or the Theory of Perfect Forms or Archetypes. 62 LIFE OF WALTER PATER remember most — are in love with perfect forms/^* and other men can be brought to love these forms by education. Our aim should, therefore, be to make an ideal state where everything likely to quicken that love should be fostered, and everything likely to deaden it excluded. Such a state Plato has sketched for us in his Repiiblic. "Make it your business," he says, "not to grasp at pleasure, but to seek perfection." In the doctrine of the Pre-existence of Souls, as taught by Plato, and played with by Vaughan and AVordsworth, Pater was a staunch believer. "We are all born out of due season," he once said to Mr. Jackson, as they walked together in the garden at Grosvenor Park, "our real home being Paradise, and when sad thoughts come to us it is because we recall the things in our former home, and these thoughts make us weep — or rather would make us weep, but for those" — and he pointed to a cluster of pansies. "Pansies," he continued, "are the eyes of the angels, given to man- kind so that they should not weep." Of another favourite flower — the common white pink — he said, "Its fragrance is the breath of Euterpe." *^* Up to this time the sympathies of Pater had been entirely with the Heraclitans, Cyrenaics, Epicureans, or whatever the people who ranged them- 127. Ascesis. selves with Heraclitus were called; and his doctrine had been, "Imitate the men of the Renaissance and enjoy yourself." He now, however, saw fit to modify his teaching. In Dr. Dowden's words he was "departing from the doctrine of the perpetual flux — with ideals of conduct corre- sponding to that doctrine — or was at least subordinating this to a larger, really a more liberal, view of things ; k < ^ ^ In short, ascesis — "monastic ascesis" — discipline, restraint — are con- stantly his cries, and it is only by bearing this in mind that Marius the Epicurean and Pater's subsequent life can be thoroughly understood. But though he con- stantly preached "restraint" he never practised it — the virtue was always foreign to him. It is, indeed, amusing to recollect — and it was certainly the case — that these chapters on the duty of discipline, and the importance of practising ascesis were written by a man in fairly good health, who mortified himself by lying in New Liberal Review, July 1Q02. *2) An idea which he took from the St. Austin monks. '^* Greek Studies. <■*) Marius, Vol. I., pp. 25, 169. '^' Plato and Platonism, pp. 58 and 169. '"' Misc. Studies, p. 182. "Emerald Uthwart" appeared in 1892. 66 LIFE OF WALTER PATER bed half the day — who, indeed, actually wrote some of them between the sheets at near upon noon. While Pater was writing Marius Mr. Jackson busied himself in the preparation for the press of two volumes of religious poems, all of a High Church character, namely, The Risen Life and 128. The -.-.._,' , . , , .,1 1-1 Risen Life ^^^ Fresence, which he illustrated with and His many beautiful miniatures, reproduced in Presence. colours from rare and valuable Italian missals, and they attained a wide popu- larity. Both Canon Liddon and Pater, who pro- nounced Mr. Jackson a true successor of John Mason Neale, read the volumes with pleasure; but Canon Liddon's appreciation of them was tempered with the regret that the price of His Presence — two shillings — was too high for the poor. "If you can make up your mind to issue it at a shilling," he said to Mr. Jackson, "I will give you ;^i5o for that purpose." The result was that at a shilling it was issued, and three editions (25,000 copies) were called for at that price. SAMSON AND THE PHILISTINE. formi:rlv l\ the gri:at quadrangle at brasexose. CHAPTER XXXIV 18S4 WALTER BLACKBURN HARTE For some time Mr. Jackson had taken an interest in, and had been very kind to, a gifted young man named Walter Blackburn Harte,'^* who was ambitious of becoming an author. 129. Dinner Like most beginners Harte had a difficulty for Two. in securing recognition, and his first manuscript was returned, as generally happens, "With the Editor's thanks." In a letter of condolence and encouragement, written to him on this occasion by "Marius the Epicurean," Harte is told that the sketches are too thin, and he is, very wisely, bidden to "swell them out with noble thoughts and to give them life." One of the lad's greatest pleasures was, in his own words, to cross with Mr. Jackson "the grim mysterious bridges of London, and hunt for the elixir of dreams on old bookstalls;" and long after, w^hen he had settled in America, and Fame was beginning to be kind to him, he seemed to hear, amid the roar of the street, Mr. Jackson's authoritative voice, and the ques- tion directed to the bookseller: "Have you anything of Charles Lamb's or William Blake's, mister?" In his gratitude to Mr. Jackson, Harte sent him gifts of books and choice flowers; and when he bought a book for his own shelves he, as often as not, wrote in it "Walter B. Harte, from his best friend himself." Being allowed the run of Mr. Jackson's library, whether its owner happened to be present or not, Harte would, not "And of Harte?" continued Mr. Jackson. "He is full of original fire," replied Pater. "And what a sweet way he has of looking at men and things." Pater and Mr. Jackson then walked home to Airlie House with Black, after which they returned to Grosvenor Park, where they spent the very little that remained of the night. Pater and Black often met afterwards, and Black presented several of his novels to Pater, who read them with interest, and said that they regulated his mode of thought. At St. Austin's "Little Walter," as Mr. Jackson called Harte, to distinguish him from Pater, or the '^> Rev. xxi,, I. 74 LIFE OF WALTER PATER 'Great Walter," worshipped regularly, and he was often to be seen arrayed in scarlet cassock and cotta of rich point lace, and carrying high the handsome silver- gilt cross at the head of the gorgeous processions there. If Pater was charmed with Harte, on the other hand, Harte was proud to know Pater, whom he described as "pre-eminently a st3^1ist, with a delight- 130. Mr. ful indifference about what is going on i^^^®°"^"^ in the world to-day." Consequently it W. B. Harte . , . . ^ ,?.-', at Oxford. ^^'^^ with unusual interest and curiosity that in company with Mr. Jackson he made a pilgrimage to Oxford. But Pater and his surround- ings proved a disappointment. Pater, who was all kindness, did not on that occasion scintillate ; and Harte, who seems to have expected to find the rooms at Brasenose a kind of literary Aladdin's palace similar to that at Camberwell, stared with astonishment when he learned that the few shelves which he saw, furnished chiefly with presentation copies and cheap reprints, supported the whole of Pater's library."^' After a lunch at the Clarendon, the friends rambled round Oxford, and then Mr. Jackson and Harte returned to town. A few years later, Harte sailed for America to seek his fortune. Fame came to him as the result of an article on the Canadian House of Commons, contributed to an American magazine — a brilliant piece of word-painting in which every personage mentioned "stood out clear and distinct in a few burning words." From Canada he passed first to New York and afterwards to Boston, where he wrote many delightful essays, the best of which subsequently appeared in book form with the title of Meditations in Motley, '''^^ and where his brilliant and trenchant epigrams '^' Pater's library was dispersed after his death. A number of the volumes were, we believe, purchased by Mr. H. H. Blackwell, the Oxford bookseller. Pater's copy of the Septua- gint is now in the possession of the Rev. Carthew Fisher, M.A., of ig, Foxley Road, Camberwell. '2) It was reviewed in the English Academy. WALTER BLACKBURN HARTE 75 passed from mouth to mouth. "The very first duty of a writer," he used to say, "is to be originaL Most writers are the slaves of custom. The fear of the critics has spoilt many a good book. The best writers are those who, ignorant or disregardant of the statutes of literature, simply listen reverentially to the whisperings of God in the fields and in the market- place, and afterwards publish an echo of what has thrilled heart and soul." Along with copies of his articles in the Arena and other periodicals, Harte used to send Pater American ties "in order to make him cut a jaunty figure." "Ah," he once wrote, thinking of the old days spent in the study at Grosvenor Park, "what a head full of dreams I had then. Would that I could become a boy again!" At this time, to employ the language of Mr. Jackson, "there was proceeding a bitter conflict between the world and the Church, the sufferings of the clergy being augmented by the ]^^' . . o-^ f ° V. 1 1- Conversation provisions of the detestable Public between Worship Regulation Act of 1874"; Canon Uddon and on many occasions Canon Liddon ^"*^ '^''• urged Mr. Jackson to fling himself into j. j^ggg the brunt of the fight. One morning in July, 1885, he thus addressed him : "I think you are the laziest of persons, to rest your oars as you do when you are aware of the sufferings of the clergy,^^* and aware also that you are perfectly able to correct the misunderstandings that exist in men's minds concerning ritual. It is a fact best known to yourself that you are a pupil of England's one liturgical scholar, the late Venerable Dr. John Mason Neale, and I cannot but think that it is dishonouring a memory so When it was called JacksorHs Sarum Church of England Kalendar. MARIUS THE EPICUREAN. (MR. RICHARD C. JACKSON, F.S.A.) From ail Oil Paijitiiif^. WALTER BLACKBURN HARTE 79 liturgical directions and papers by Canon Liddon, the Rev. A. H. Mackonochie, the Rev. Orby Shipley, the Rev. E. Salisbury, the Rev. Dr. Littledale, Mr. Jackson, and others. CHAPTER XXXV FEBRUARY 1 885 MARIUS THE EPICUREAN BIBLIOGRAPHY : 41, Marius the Epicurean. Feb. 1885. 42, A Prince of Court Painters. Macmillan^s Magazine, Oct. 1S85. Pater's book Marius the Epicurean was now finished. He who goes to it as to a story will be grievously dis- appointed. Plot there is none. It is the 133 Marius history of the progress less of a man than the of a mind — the mind to a considerable Epicurean, extent of his friend, Richard C. Jackson. As we have already noticed, Pater promised that there should be no personalities; and as a conse- quence few of the incidents in Marius's career occurred to Mr. Jackson. For them Pater drew upon his own life.'^' But even then all has not been said, for Pater, in sketching Marius, mingled his own mind with that of his friend; and Flavian is also a compound of him- self and another. But, as we have already observed, all Pater's characters are composite. Marius, who, like Pater, had at an early age lost his father, is brought up in the religion of Numa, and as the head of his house takes a leading part in its religious ceremonies. "Only one thing distracted him — a certain pity at the bottom of his heart, and almost on his lips, for the sacrificial victims."*^' In this he resembled the child Walter Pater, who had "an almost diseased sensibility to the spectacle of suffering;" indeed, the opening chapters of Marius and the autobiographical "Child in the House" are almost parallel studies. All the notes required for the descriptive portions of Marius, including the accounts of Marcus Aurelius, "> He admittpd as much to Mr. William Sharp. <^) "The Child in the House." Misc. Stud., p. 155. MARIUS THE EPICUREAN 8i Lucian and Apuleius, were taken from books in Mr. Jackson's library at Grosvenor Park; for Pater, as we have seen, had no scarce and curious books of his own, while Mr. Jackson possessed, and still possesses, one of the most valuable private libraries in England. "It is true," Pater once said to Mr. Jackson, "that I could obtain the various editions of the classics and the lives of the men who lived in the time of Marius, with their precepts, at the Bodleian, but I infinitely prefer to have what I require associated independently with you — a single human being in whose company I rejoice to be. No doubt the books at the Bodleian were at one time or another in the keeping of just such a person as yourself, still the past of him has departed from sight and ken." After saying these words. Pater took down from Mr. Jackson's shelves a copy of the excessively rare 1525 edition of Homer, with wood-cuts. "What a joy to me it is," he said, "to be able to find such a treasure as this in the hands of a friend. To my mind it is an embodiment of the soul of JMarius and his love for the beautiful. Here you see, four hundred years nearer to the time of Marius than we are, an effort (another Marius as it were) to make clear to the minds of the unlettered, the incidents upon which the blessed poet dwelt so fondly. I feel that the men who made this book were more permeated with the influence of Greek literature than we are — that their principles corre- spond more nearly than ours with the principles that governed thought in the days of Aurelius. This book carries me into the very heart of ancient Rome." The fact that Pater introduces into this book both his antipathy to snakes and the painful incident in con- nection with the death of his mother, has already been mentioned. In the Temple of ^^sculapius Marius is urged to promote diligently "the capacity of the eye, inasmuch as the eye would be for him the determining influence of life." During his schooldays at Pisa he has, like Pater, an appetite for fame and longs to be a I 82 LIFE OF WALTER PATER poet; and he forms a close friendship with a school- fellow older than himself named Flavian, in whom old King's School Boys can see a resemblance to Joseph Haydock, who, as we have already mentioned, seems also to have been drawn upon for the character of James Stokes in Emerald Uthwajt. Flavian and Marius read together on one of their holiday afternoons, "the pleasant and delectable jests" '^' of Apuleius's Golden Ass — a most beautiful and scarce edition of which Pater often bent over lovingly in Mr. Jackson's library — and then we are presented with Pater's version of the affecting story of Cupid and Psyche — a version, how- ever, which, lacking as it does the warmth of the original, can scarcely be termed a success; and we hope it is not heresy to say that we prefer dear old William Adlington, despite his grotesque "pot of immortality." *^' Though we can imagine Pater finding as much fault with Adlington as Cowper did with Chapman's delectable translation of Homer, it must also be noticed that Pater omitted the humour in which Adlington revelled — as, for example, that passage in which the gods and goddesses are represented as hurrying up to Jupiter's council when they understand that absence means a heavy fine. The effect of the episode of Cupid and Psyche on Marius was to combine many lines of meditation already familiar to him "into the ideal of a perfect imaginative love, centred upon a type of beauty entirely flawless and clean — an ideal which never wholly faded from his thoughts." Upon Flavian it had the effect of giving him the ambition to be a great writer — a "precious" writer in the sense of one who weighs every phrase and word — and henceforth Flavian is Pater himself. Words were to be his war apparatus. Flavian could see that '^' William Adlington's expression. (2) "And then he tooke a pot of immortality and said : 'Hold, Psyches, and drinke to the end thou maist be immortal!.' " AV^illiam Adlington 1566. "Holding out to her his ambrosial cup, 'Take it,' he said, 'and live for ever.'" Pater 188";. MARIUS THE EPICUREAN 83 his first business was to be forcibly impressed, the next to make "visible to others that which was vividly apparent, delightful, of lively interest to himself to the exclusion of all that was but middling, tame, or only half true even to him." "To know," he said, "when one's self is interested is the first condition of interest- ing other people." A Euphuist — a fastidious selector of words and builder of phrases, Flavian, by-and-by, writes the beautiful "Pervigilium Veneris," '^' but he had scarcely finished it before he fell ill of the plague, of which, after a short illness, he died. Marius, who had also written verse, now, like Pater himself, put aside the ambitions of a poet for those of a prose-writer.*^' He studies Heraclitus, and then "joins company" with the distinguished expander of the Heraclitan philosophy, Aristlppus of Cyrene, whose idea that things are but shadows, and that all is vanity, became to him "the stimulus towards every kind of activity, and prompted a perpetual, inextinguishable thirst after experience." "Supposing," he said, "our days are, indeed, but a shadow, even so, we may well adorn and beautify, in scrupulous self-respect, our souls, and whatever our souls touch upon." He was resolved that it should be said of him, as was said by Horace of the Cyrenaic master : "Every complexion of life, every station and circumstance sat gracefully upon him." '^* He was determined, too, to add nothing — not so much as a transient sigh — to the great total of men's unhappiness, and it will be remembered that Pater was the kindest of critics. In none of his writings will there be found an ill-natured word against anyone. His ideal was "not pleasure but fulness of life ;" he required vivid sensations, and culture as the only means of obtaining them.. Although Marius's work changed from poetry to prose he retained, like Pater, *i' This famous poem, of unknown authorship, is often princed with the works of Catullus. <2> Marius, Vol. I., p. 126. ^^' Horace: Epistles, Book, i., 17; Marius, i., 139. 84 LIFE OF WALTER PATER the "poetic temper." "I should like," Pater once said to Mr. Jackson, "my Imaginary Portraits to be called, if only they could be, Prose Idylls." At Rome, Marius is thrown into the company of the stoical and noble-minded Emperor Marcus Aurelius,'^^ and finds gods whom no man can number. The old Olympians had formidable rivals in a host of new deities introduced from other lands. "High and low addressed themselves to all deities alike without scruple ; confusing them together when they prayed," offering them "flowers, incense and ceremonial lights." It didn't seem to matter very much what you worshipped as long as you gave it flowers and candles, and incense ; and one grain, at least. Pater used to say, should be laid on every altar. '^' Presently Marius heard Pronto the philosopher give an harangue on Humanism and the Platonic idea that we are all fellow-citizens of one city — a supreme city on High "Urbs Beata" '^^ — from which the true aristocracy of earth (that is the men of intellect) have created customs and observances which have become a valued tradition. He tried in vain, however, to discover the whereabouts of those "elect souls" — "that comely order" — to which, for his own peace, "he ought to adjust himself," and from the idea of an Urbs Beata he obtained only moderate consolation ; nor was he much assisted by an exposition of Platonism delivered, at a banquet, by the celebrated Apuleius. He next, by favour of a friend, becomes acquainted with a society of Christians, whose sincerity and the beauty of whose religion make an indelible impression on him, and what follows is an exact description of the services of St. Austin's, which its founder. Father Nugee, had modelled as closely as possible on those of the early 22 Feb. 1885. 88 LIFE OF WALTER PATER long labours the book has cost me," and he several times after remarked how cheering the praise of The Athenceiwi had been to him. In the meantime there had been changes in Pater's circle at Oxford, the greatest of them being the gap made by the death *^' of the Rector of 135 Death Lincoln, whose fondness for books char- of Pattison. acterised him to the end. "Ah !" he said, A Chat during his last illness, "I am to leave about Blake. ^^ j^^^j.^ ^ ^ ^ ^j^^^ ^^^^ ^^^^ ^^^^ to me than my friends." Then he asked first for one, then another, till he was literally covered almost to the shoulders as he lay, while the floor was strewed with them. And so very appropriately he died amid the aroma of his "rotten apples."'^* A few months later died '^' the Principal of Brase- nose, the Rev. Dr. Cradock, who was succeeded by the Rev. Albert Watson. In the summer of 1885 Pater received another visit from Mr. William Sharp, and the friends wandered together in Christ Church meadows, and along by the Cherwell, while the sun sank in gold and amber, and the air was heavy with the perfume of the meadow- sweet. "Certain flowers," said Pater, "affect my imagination so keenly that I cannot smell them with pleasure. The white jonquil, the gardenia, and the syringa actually give me pain. I am partial to the meadow-sweet, but on an evening like this there is too much of it. It is the fault of nature in England that she runs too much to excess." "You remember Blake?"''*' observed Mr. Sharp — "The road of excess leads to the palace of Wisdom." (i» 30 July 1884. (2) See Chapter XXVIII., § 106. (3) 26 Feb. 1886. '■*' For reference to the Memorial to Blake erected by Mr. Richard C. Jackson, see Chapter XLIII. MARIUS THE EPICUREAN 89 "Yes," replied Pater, "it is a notable saying, and, like most kindred sayings, is probably half true. Talking of Blake, I never repeat to myself without a strange and almost terrifying sensation of isolation and long weariness that couplet of his — Ah, sunflower, weary of time, Who countest the steps of the sun." "Which," enquired Mr. Sharp, "are your favourite intimate passages?" "Foremost," replied Pater, "I must put a maxim from Plato, 'Honour the soul; for each man's soul changes according to the nature of his deeds, for better or worse.' Then Balzac is full of good things, as for example, 'Le travail est la loi de I'art comme celle de la vie.' " Of Pater's antipathy to snakes we have already made mention. Once at Oxford, when a small party, includ- ing Pater and Mr. and Mrs. Sharp, '^' were walking in the fields, Pater suddenly started, grew pale, and abruptly hurried forward "with averted head." It appears he had seen a dead adder. On another occa- sion Mrs. Sharp was wearing "a flexible silver serpent made of over a thousand little scales, the work of a Florentine mechanic," and when, at Pater's request, she unloosed it to show him, it writhed about her arm as though alive. Pater drew back horrified, nor would he touch or even again look at it. He was, indeed, so uneasy, "so evidently perturbed" that, in pity for him, instead of replacing it she put it out of sight. <^> Pater thought very highly of Mrs. Sharp. CHAPTER XXXVI. JANUARY 1886 — MAY 1888 IMAGINARY PORTRAITS : MR. GEORGE MOORE BIBLIOGRAPHY : 43. Review of Feuillet's "La Morte." 1886. 44. Sir Thomas Browne. 1886. 45. English Literature. Guardian, \y Feb. 1886. 46. Review of Amiel. Guardian, 17 Mar. 1886. 47. Sebastian van Storck. Macmillan's Magazine, Mar. 1886. 48. Denys I'Auxerrois. Macmillan^s Magazine, Oct. 1886. 4Q. Duke Carl of Rosenmold. Macmillan^s Magazine, May 1887. 50. Imaginary Portraits. 1887. 51. Review of Symons's "Introduction to Browning." Guardian, g Nov. 1887. 52. Review of Lemaitre's "Serenus and other Tales." Mac- millan's Magazine, Nov. 1887. 53. Review of "Robert Elsmere." March 1888. Up to the period of which we are now speaking Mr. Jackson had every year spent almost as much time at Oxford as Pater had in Camberwell ; but 136. Earl's several of his friends having removed 1886 from Oxford he now scarcely ever visited that city. Pater, to use his own expres- sion, was "full of grief." "If, however," he added jocularly, "my dear walking Bodleian" (a name he frequently applied to Mr. Jackson), "you won't come to me, I suppose I must come to you." "You intend to settle in London, then?" observed Mr. Jackson. "Yes," replied Pater. "There are in Oxford some very objectionable persons from whom I would gladly separate myself, and I mean to move at once." To Mr. Jackson this announcement was not alto- gether pleasing, owing to the fact that Pater intruded rather too much upon his time. In the words of Sir IMAGINARY PORTRAITS 91 Richard Burton, "an Englishman loves above all things to be left sometimes alone;" and the luxury of solitude was one which, when Pater was within five miles, Mr. Jackson had some difficulty in obtaining. Thus it happened that at the very time several other men were turning over heaven and earth in order to get on familiar terms with Pater, Mr. Jackson, on account of pressure of business, was trying by every conceivable means — short of giving offence — to keep Pater at a distance. A little later Pater took a house — No. 12, Earl's Terrace, Kensington, which faced a large open space — the grounds of Holland House — though he always regarded the arrangement as merely a temporary one, and the extreme barrenness of the house, for there was in it neither ornament not attempt at ornament, struck all visitors. Between March, 1885, and the spring of 1887, he was engaged upon several articles dealing with English literature, and also upon the series of delicate sketches which he subsequently -^27 issued in book form as Imaginary Portraits imaginary — a title which may have been suggested Portraits, by his old friend McQueen's Imaginary Countries, though it is more probable that it was derived from the title of a favourite book of his, Landor's Imaginary Conversations. As we have several times insisted. Pater's chief title to fame consists in his gift for making Portraits, either entirely or in part imaginary. The portraits in the Renaissance owed as much to Pater's brain as to History, those in Greek Studies had for foundation nothing more substantial than the figments of old poets; he was now to make portraits of Ideas in which the influence of Blake, with whom he was then super- saturated, is easily recognisable. The first of these sketches belongs to the category of the Renaissance Portraits — for it is partly historical, dealing, as it does. 92 LIFE OF WALTER PATER with Antoine Watteau '" and his friendship for Jean Baptiste Pater, the painter, with whom Waher Pater claimed kin. The other three are entirely fictitious. The dainty and beautiful sketch of Watteau — "A Prince of Court Painters" — which owed its inception to a visit to the Dulwich Gallery, made in the company of Mr. Jackson, purports to consist of extracts from a French journal, written between 1701 and 1721, the supposed writer being the elder sister of Jean Baptiste Pater, the most distinguished of Watteau's pupils. Watteau is first introduced to us as a youth of seven- teen. We see him mounting step by step to fame, painting his "L'emharquement pour Vile de Cythere" and his other masterpieces, treating his pupil cavalierly, and, on his deathbed, imploring that pupil's forgiveness. Pater has wrought into the leading facts of Watteau's career a wistful tenderness, and has clothed them with ethereal beauty, forming a picture as delicate and as dreamy almost as Watteau's own beautiful work. The next sketch, "Sebastian van Storck," seems to have been suggested by Mrs. Humphry Ward's trans- lation of Amiel's Journal, which Pater reviewed in The Guardian of March 17th. Sebastian van Storck is the story of a man who sterilizes his life by "trance-like contemplations of the Infinite," and his career and that of Amiel, who did so little when he could have done so much, have parallels that must strike the most unobser- vant. The sketch opens with some charming pictures of Dutch life, and then we see Sebastian mewing him- self up in a desolate retreat and letting all the pleasures of the world slip by. A plump and pretty Dutch girl, who tries on him her various arts, finds him as cold as an iceberg. Instead of attending to Miss Westrheene's tempting lips, he hunches his back and fills a manu- script book with records of abstract thoughts not dissimilar from Spinosa's. Like Montaigne, and like '1' Antoine Watteau, whose paintings are among the glories ■of the Wallace Gallerj-, was born at Valenciennes in 1684. IMAGINARY PORTRAITS 93 Pater himself, he luxuriates in his thoughts, to whatever goal inclined; but he closes his life by an act of self- sacrifice, and thus makes some amends for its misexpenditure. "Denys I'Auxerrois" deals with a subject upon which Pater, following Heine, was continually, as we have already noticed, allowing the lightnings of his genius to play, namely, the return to sunshine of the old neglected gods of Olympus. He had already touched upon it in his articles on Pico and Leonardo in The Renaissance, and he was by-and-by to make a companion sketch to "Denys," namely, "Apollo in Picardy." ]\Ir. Gosse's remark that "Denys I'Auxerrois" displays the peculiarities of Pater's style with more concentrated splendour than any other of his writings will be subscribed to, we think, by most of Pater's admirers. "Of the four portraits," says Mr. Arthur Symons,'" "the most wonderful seems to me the poem, for it is really a poem, named 'Denys I'Auxerrois.' " Who, indeed, having once read it, can ever forget that strange, waxen, flaxen, flowery impassioned creature — who is none other than Dionysus the god of the vine and the reed in disguise ! Pater made a special visit to Auxerre for the purposes of local colour, with the result that portions of the sketch are autobiographical. There had been a series of wonderful vintages, and Denys is first introduced to us in the Cathedral on Easter Day, where, by a curious custom, the canons and others are playing solemnly at ball. Like Dionysus, Denys was born in a storm, and his mother died by a lightning stroke. To tell how he built an organ, and to outline his career there is no need, for lovers of Pater have it all by heart. We, too, like Pater, seem actually to have seen the hot, tarantulated, hunted figure of Denys in the streets of that quaint topsy-turvy '1' Studies in Prose and Verse, p. 68. 94 LIFE OF WALTER PATER mediceval town, and to have been present at the sickening Bacchanaha that followed. "Apollo in Picardy," the companion sketch, which did not appear till seven years later, was inspired by an engraving, in Mr. Jackson's possession, of Apollo and Hyacinthus, from a painting by Domenichino.*^' In place of Dionysus we are presented with a re-incarnated Apollo. He appears as a "hireling at will," in an old Monastery in Picardy, but his presence is not serf-like, and men mark his "rich, warm, white limbs," his haughty expression, his "golden hair tied in a mystic knot fallen down across the inspired brow." He has come thus for any number of years past, though seemingly never grown older, singing his way meagrely from farm to farm to the sound of a harp. He has "a just discernible tonsure, but probably no right to it," and they call him Brother Apollyon. In the end, history more definitely repeats itself, for Apollyon, like his archetype Apollo, kills, accidentally, at a game of quoits, a handsome youth named Hyacinthus; and then disappears, leaving the Prior of the Monastery under the suspicion of murder. As in "Denys I'Auxerrois," Pater's work is very delicate and very clean, every word having been chosen for artistic effect. "Duke Carl of Rosenmold" may fitly engage our attention after "Apollo in Picardy," for Carl is himself a sort of Apollo — "a half rococo Apollo," as Professor Dowden happily styles him. In his way he is as mad as Sebastian van Storck, and has like him Paterian habits. So great a passion has Carl for emotions that he contrives to assist at his own funeral. He follows himself to the grave with suitable decorum; and, in his disguise, he discusses his own merits with a beggar- maid — Gretchen — whom, solely for the sake of other emotions, he finally marries. The event that fired his life, an event that proved the beginning of his discovery of himself, was the reading, in Conrad Celles' Art of (i> See Chapter XLV., § i8i. IMAGINARY PORTRAITS 95 Versification, of a Sapphic ode entitled "To Apollo, praying that he would come to us from Italy, bringing his lyre with him." The subsequent history of Duke Carl we need not epitomise; it will be sufficient to point out that in this prince Pater tried "to embody the aspirations of the precursors of the age of genius which centred in Goethe." The effect of these wonderful pieces of work has been to put almost every one who has approached them into an ecstasy; and certainly there is nothing at all like them in literature. They are idylls written on mother of pearl. Mr. Arthur Symons, in his seductive Studies in Prose and Verse.'^^ calls the style of Imaginary Portraits "the ripest, the most varied and flawless, their art the most assured and masterly of Pater's books." And elsewhere he refers to the work as showing Pater's "imaginative and artistic faculties at their point of most perfect fusion." Oscar Wilde, who, in his brilliant essay "On Criticism," '^^ also pays a tribute to the Imaginary Portraits, considered the last of the four — "Duke Carl" — to be "in some respects the finest and most suggestive." "Which is the best of your books?" someone once enquired of Pater. "Imaginary Portraits," he answered, "for it is the most natural." Among those who at this time fell under the spell of Pater was Mr. George ]\Ioore, the novelist, who, however, was then known only as the writer of Flotvers of Passion, Pagan 138. Poems, and a few other works. Mr. "Jt^^^^lZ^!^ TIT 1 11 1 T-. T- 1, Moope."(3) Moore, who called on Pater at 12, harl s isse. Terrace, described him '^' as "a very ugly man, an uncouth figure like a figure moulded out of lead.'^' He had a large, bald, over-arching skull, and «i> P. 67. '2) Nineteenth Century, Sept. i8qo, p. 448. <3) See article by Mr. Moore m the Pall Mall Magazine, August 1Q04. '^' Pall Mall Mae:azine, Aug. 1904. '5> See Chapter XXXII., § 113. 96 LIFE OF WALTER PATER small eyes that shifted quickly." Regarding Pater as a sort of domesticated Verlaine — a vicarage Verlaine — Mr. Moore had no doubt that the "evasive eyes and the almost surreptitious manner" should be attributed to "an abnormal shyness, to an abnormal fear of himself and of his listener." In Pater's conversation Mr. Moore was disappointed. "Now and again," he says, "the conversation flickered up, a little light appeared in the vicar's mind, and one remembered what Pater said, not because he said anything remarkable, but because it was Pater who said it. . . . Intimacy was no part of his genius '^' . . . I was always more anxious to talk literature than to read or write it, and Pater did not talk about literature, nor did he even talk about himself. I began to doubt whether he wished to see me, and kept away, but he wrote to me very soon;" and later, as Mr. Moore was interested in the delicate and delightful little sketch "The Child in the House," Pater presented him with the proofs. When Mr. Moore sent Pater a realistic story in the hope that he would review it, he received, by way of reply, only a reproof. "Descriptions of violent incidents and abnormal states of mind," said Pater, "do not serve the purpose of art. The object of art is to help us to forget the crude and the violent, to lead us towards certain normal aspects of nature." To another friend. Pater said: "The perfection of culture is not rebellion, but peace." The presentation of a cop}^ of Confessions of a Young Man drew from Pater an acknowledgment, in which he calls his correspondent "my dear Audacious Moore." After expressing thanks for the book, he records the pleasure given him by Mr. Moore's*^' "delightful criticisms," "Aristophanic joy, or at least enjoyment, f^* Here Mr. Moore is quite in error. No man could possibly have been more intimate with another than Pater was with Mr. McQueen, Mr. Dombrain and Mr. R. C. Jackson (see our earlier chapters), but he was "intimate" with only a verj' few men. f2) The Pall Mall Magazine, Aug. 1904. IMAGINARY PORTRAITS 97 in life," and his "unfailing liveliness." "Of course," he adds, "there are many things in the book I don't agree with. But then, in the case of so satiric a book, I suppose one is hardly expected to agree or disagree. What I cannot doubt of is the literary faculty dis- played;" and other kindly remarks followed. "But," says Mr. Moore, "instead of bringing us together, this letter estranged us, for it made me hope for a more intimate friendship than Pater had yet given to me; and when I went to London I met the same formal man, as kind and polite as ever, but seemingly a little more distant. Was he more distant, or did I think him more distant because I had expected to find him nearer ? We are friends with those with whom we have subjects of conversation, and I had few subjects of conversation with Pater. Pater did not talk about art or about literature, or sport or women ; as we only exchanged formal remarks, I began to weary of him, and then I began to think that he avoided me when we met in the streets. Then I heard from Arthur Symons that he did not like to be spoken to out walking; he v/ent out cO meditate on what he had written that morning, and to consider what he was going to write that evening or next morning." "Subsequently," says Mr. Moore, "I used to meet Pater at dinner in the dullest houses in London — houses where I seldom went, dreading the boredom of an evening. But I used to hear that Pater was always dining at these houses." What it was in them that attracted Pater, Mr. Moore could never discover. CHAPTER XXXVII JUNE 1888— AUGUST 1 888 GASTON DE LATOUR BIBLIOGRAPHY : 54. Gaston de Latour. Macmilla-n Magazine, June — Oct. 1888. 55. The Renaissance. Third Edition, 1888. 56. Review of Doran's "Annals of the English Stage." [Their Majesties' Servants.] Guardian 27 June 1888. 57. Review of "Life and Letters of Flaubert." Fall Mali Gazette, 25 Aug. 1888. Of Pater's handsome, soldierly, Lord Dundreary-like brother William, who had followed his father's pro- fession, we have at different times obtained 139. Death of glimpses. Notwithstanding his success at William his examinations, William's dreams had Pater, g^jjj focused themselves on sword and issv"^' ' bayonet; and seizing an early opportunity he joined the East Kent Militia, with a view to drifting into the regular army. Being dis- appointed in his hopes, he again resigned himself to medicine; and having taken up Lunacy he accepted a post as medical officer at the Hants County Asylum at Farnham, whence he removed to the Stafford County Asylum, where he became head medical super- intendent. After he had held the latter post seven years his health began to decline, and he was obliged to give in his resignation. Despite all that loving attention could do for him, it soon became evident that his days were numbered, and on Sunday, 24th April, 1887 — to borrow the phraseology of his brother Walter — "he quitted a useful and happy life." ^^' But these calm words convey little idea of the Undergraduates of this college have to quit their rooms in their last year in favour of freshmen. Maughan, on being obliged to go, took rooms with one of the professors. <^' Maughan, who was studying for Holy Orders, used to read the lessons at S. Michael's, Shoreditch, and at All Saints, Clapton. <^' Among Maughan's customs was one that must have reminded Pater of his own early days, that of embellishing his books with illuminations. The present writer had the pleasure some time ago of offering for Mr. Jackson's acceptance an ancient little black letter copy of the Hours of the Virgin, illustrated with plates done by hand. "I am pleased to have it," said Mr. Jackson, "for it reminds me of a similar volume which my young friend Maughan, who had embellished it with his own hand, presented to me just before his death." Mr. Jackson himself — who is still half a monk — has all the skill of the inmates of the old scriptoria. See Chapter XXXII, '^' A brass tablet to his memory may be seen in St. John's Chapel. GASTON DE LATOUR loi Shortly after the death of Maughan, Pater commenced a new story — if anything that he ever wrote can be called a story — which was to be a parallel study to Marius, namely, Gaston de Latour, a work which, as Pater several 142. Gaston times observed, though no other writer ^® Latour, , , ,' ^, . . . . June— Oct., has recorded the fact, drew its inspiration i889. from Maughan, just as Marius had drawn its inspiration from Mr. Jackson. Pater allowed five instalments to appear in Macmillan's Magazine in the months June to October, 1889, and then, dissatisfied with the framework of his narrative, abandoned the scheme altogether. Many men, owing to death, have left stories unfinished- Dickens and Thackeray, for example ; but we do not recall any other instance of a story being voluntarily abandoned by its author after a large portion had appeared in print. After Pater's death these five chapters, together with an article on Bruno '^' (intended to form Chapter vii.), and a few scattered passages were issued in volume form with a brief preface by Dr. Shadwell. *^' This fragmentary story is certainly one of the most beautiful of Pater's works. As already observed, it has parallels with Marius, but the young La Beaucean is an altogether brighter, warmer, more human, character than the young Roman ; and in place of the marble whiteness and coldness of Marius's surroundings we have the colour and glow of the fantastic days of the Pleiad — sunny France, instead of austere Rome— the sparkling Pantheist instead of the passionless Stoic. Here and there we can detect the influence of the Chroniques of his favourite Merimee, and here and there, too, reminis- cences of the King's School days — some of which have already been pointed out.'^' Gaston himself is at times '1' Which appeared as an independent article in the Fortnightly Review, Aug. 1889. <2) 1897. <3) See Chapter VIII. 102 LIFE OF WALTER PATER a kind of double of Montaigne, Pater's deity of the moment, and one of the prominent personages of the story. It was from the chronicles of JMontaigne's family, indeed, that Pater derived the name of his work — the Chevalier Francois de Latour, being the husband of Montaigne's daughter Leonor; but we also recall the fact that Virginia, the heroine of Pater's favourite story, Paul and Virginia,^^^ was a "de la Tour." Pater made no attempt at a plot, and it may be said at once that Gaston and his wife Colombe are, and would have continued to be, simply Abelard and Heloise,''' altered to taste. The opening scene is laid by the "white walls" — and Pater loved whiteness as never did another — of the chateau of Deux Manoirs, near the old town of Chartres in La Beauce — that district of France ever dear to Pater as the homeland of Ronsard and Du Bellay, and other paragons of the French Renaissance. Pater's indebtedness to Mon- taigne begins when he introduces us into the room in v.hich Gabrielle de Latour died of joy,*^* and we are thenceforward reminded again and again of that writer. Dedicated to the service of the church, Gaston presently becomes a member of the household of the Bishop of Chartres, and Pater breaks out into a psean in praise of the wonderful Cathedral there of Notre Dame. Like Marius, Gaston is in some respects Pater himself. At first he is all for church and asceticism. Then he feels the glamour of classicism. He is pulled two ways. A notable event in his life was a visit with his three friends, "The Triumvirate" (the Triumvirate of our early chapters will be recalled),'^' to the Poet Ronsard, By Saint Pierre. '2' About this time Pater gave a copy of Abelard artd Heloise to Mr. Jackson. '^' Gaston, p. 25; Montaigne (Dent's), I., 12, "The Romane Ladie that died for joy." In the Canterbury Journal for April iSsg (and Pater, as a youth, may have read it) is an account of two persons who had died of joy ; one a woman, the other an officer, the cause in each case being the same — the winning of a lotterv prize. (4) 'See Chapters VIII. to XVIII. GASTON DE LATOUR 103 then lay Superior of the Priory of Croix- val, Vendome — and the chapter describing it is one of the finest pieces of writing even in Pater. All is very delicate and yet real. Ronsard truly lives ; and we, like the Triumvirate, are perturbed by their day-mare — the appearance of their doubles. Delightful, indeed, are the nine months which we are made to spend with the "sceptic- saint" '^' Montaigne*"* in his round tower by the Dordogne; and we are glad to sit at the feet of Bruno and hear a sermon on pantheism ; though we shudder as in fancy we hear the roar of the flames that consumed him at the stake. For, as Swinburne says: "the fates required a sacrifice to hate and hell" *^* ere fame should set his name in Heaven with that of his noble friend the English Sidney. Gaston, unlike Marius, is attracted by pretty looks, with the result of an unhappy marriage, but the pitiful story of his wife Colombe comes in the portion of the work that is left nebulous. Like Ronsard, like Duke Carl, Gaston keeps discovering himself. His main study and amusement is himself, and like Montaigne his motto is "men not books." Just as Harms is less a story than a series of haunting essays, so Gaston is more properly a disquisition on Ronsard, Montaigne, and Bruno, their doings and tenets — the career of the hero being a mere thread upon which to hang these union pearls. Pater told Dr. Shadwell that the interest of the story would have centred round the spiritual development of a refined and cultivated mind [Maughan] capable of keen enjoyment in the pleasures of the senses and of the '1' Emerson. '2) The last of the Montaignes, who was a well-known artist about 1850, was a personal friend of Mr. Jackson, who introduced Pater to him. His widow-, Mrs. Montaigne, now resides at 3, Horbury Crescent, Kensington. '3) See Mr. Swinburne's fine lines, " The Monument of Giordano Bruno," Def. Ed.. Vol. VI., p. 243. Also "For the Feast of Giordano Bruno, Philosopher and Martyr," Def. Ed., Vol. III., p. 48. 104 LIFE OF WALTER PATER intellect, but destined to find its complete satisfaction in that which transcends both, namely, love for humanity, self-sacrifice ; and like Maughan, Gaston was to be cut oflf in the lustihood of youth — but there are no old men in Pater's books. There is the same motive in some of Pater's previous stories. IMarius dies for Cornelius, Sebastian for a child. But this characteristic of the sketches does not greatly impress the reader, and, truth to say, love for humanity was not a conspicuous feature in Pater's character. Although Gaston marries, his wife counts for little. She is a mere feather. But the frou-frou of a woman's dress is rarely heard in Pater's stories. Marius, Sebastian, and Emerald Uthwart do not even fall in love. Neither Denys nor Brother Apollyon gives so much as a thought to the other sex, which is rather remarkable, seeing that their heathen prototypes are understood to have been not altogether proof against its beguilements. As we noticed when considering Marius, Pater's declared object in writing that book was to show the necessity of religion,'^' and a similar motive seems to have been present in the conception of the scheme which was to have been carried out in Gaston. "Marius," as a friend of Pater's observed in The Athenceum,'--^ "had illustrated the contact of the best results of Greek philosophy with the new doctrines of Christianity." In other words, it was the outcome of Pater's personal intercourse with Mr. Jackson, the clergy of St. Austin's Priory, and the other ritualistic clergy of the day. "Gaston," continues the writer, "was to show how the later Revival of Letters, in the form and with the issues which the movement assumed in a thinker like Montaigne, might be subdued and overcome by the spirit of the same faith." '^' Thus showing the influence of the clergy of St. Austin's Priory. <2' 17 Oct. 1896. GASTON DE LATOUR 105 We ourselves believe that Gaston would have gone considerably further on the road to Christianity than Marius went. Since the appearance of the earlier work a great change had come over 143 ^ chat Pater, whereas in 1885 he was only at the with porch of the church, in 1888 he knelt close ^^^^ ^"'<®- to the altar. A glimpse at the new Pater is afforded by a letter written about this time by one of Pater's old friends, Lady Dilke, formerly Mrs. Mark Pattison. Lady Dilke, who had previously restricted herself to essays, subsequently wrote fiction as well, and in her private copy of her first book of stories she preserved the letters of two men for whose genius she had special admiration, namely, Mr. Watts-Dunton and Pater. "Pater," says Lady Dilke,'^' "came and sat with me till dinner-time. We had been talking before that on the exclusive cultivation of the memory in modern teaching as tending to destroy the power of thought, by sacrificing the attitude of meditation to that of perpetual apprehension. When the others left we went on talking of the same matter, but on different lines. Thence we came to how it might be possible, under present conditions of belief, to bring people up not as beasts, but as men, by the endeavour to train feeling and impart sentiments, as well as information. He looks for an accession of strength to the Roman Catholic Church, and thinks that if it would abandon its folly in political and social intrigue, and take up the attitude of a purely spiritual power, it would be, if not the best thing that could happen, at any rate better than the selfish vulgarity of the finite aims and ends which stand in place of an ideal in most lives now. He has changed a great deal, as I should think for the better, and is a stronger man" — the result, we may again repeat, of the St. Austin's influence. Memoir by Sir Charles Dilke, accompanying The Book of the S-piritual Life by Lady Dilke. L io6 LIFE OF WALTER PATER Pater numbered among his correspondents at this time Cardinal Newman and Canon Liddon ; among his friends Professor Saintsbury '^' and J\Ir. Falconer Madan. Appreciations, p. 24. Style. PATER'S STYLE 109 English style without striking features. When he succumbed to the spell of Kingsley he became an unpleasant imitator of that writer. Thus he began one of his lost stories with : "I am going to tell you a beautiful brave story of the old Greeks." His mature style, as it appears in his books, he evolved with extreme care from 1862 onwards. Although he took enormous pains with his compositions, aiming, indeed, at writing English as if it were a learned language, no one recog- nised better than he that style ought not to be regarded independently of matter. '^^ Like Flavian '^* he was saved "from the natural defects which his euphuism produced by the consciousness that he had a matter to present, very real, to himself." The three radical merits of prose thought are, we are informed in this essay, order, precision, and directness. Pater is orderly. He took infinite pains to be so, and also equal pains to be precise, though the poet in him and his natural love for haze, shadow and mist often led to a different result. Nor is he always direct. An observer of order, precision and directness ought also to be clear; but clarity is frequently absent from Pater's writing. Some of the best scholars in England have pointed to passages in him that convey to them no meaning whatever. By dint of careful study and comparison of one work with another, we think we understand most that Pater says; but the labour has been considerable, and we are not sure that everyone else would take quite as much trouble. Of some of his sentences we failed to grasp the meaning until we had cut them into twos and threes and inserted brackets. He often splits his infinitives, he invariably writes "antiquarian""' instead of "antiquary,' and he makes '1' See Essay on English Literature. The Guardian, 17 Feb. 1886. <2) In Marius. '^> Antiquarian is, of course, the adjective ; antiquary the noun. no LIFE OF WALTER PATER other minor calls on the charity of the more fastidious reader. Pater, as we have already observed, could always see the droll side of things. A dry, somewhat caustic humour, not infrequently added piquancy to his con- versation ; but when he touched his pen, Puck, Punch and party took their leave of him with a hasty "au revoir." In all his works the only humorous remark that at this moment w-e recall, is one bracketed in a tremendous quotation from Plato. "What long sentences Plato writes!" interjects Pater, and we can imagine him saying it wath his tongue in his cheek — for nobody, we suppose, ever built up longer sentences than Pater. Some run to i6o words, and occupy a whole page of print. The fact that they are grammatically correct, and w^ould bear analysis scarcely compensates for the headache they give. A second fault of Pater's is his habit of inserting, quite unneces- sarily, French, German, and Latin words in place of English ones ; a third — a failing common with w^ord- fanciers — his habit of using words that pleased him whether or not they were the most suitable. It cannot be said, for example, that he was always happy in his use of "disparate,"'^' "flawless," "savoursome," and "sweet." Oscar Wilde — an ardent worshipper of Pater — complained that his idol shared the viciousness of his times in appealing not so much to the ear as to the eye.'^' "Even the w^ork of Mr. Pater," he says, "who is, on the whole, the most perfect master of English prose now active amongst us, is often far more like a piece of mosaic than a passage of music, and seems, here and there, to lack the true rhythmical life of words. (1) Pater took this word from Jeremy Taylor's works. <2) "The eye," says Goethe, "was above all others the organ by which I seized the world ;" and Pater everywhere echoes Goethe, and urges men to satisfy "the lust of the eye." PATER'S STYLE iii and the fire, freedom and richness of effect that such rhythmical Hfe produces."'^' In his masterpieces, however, in the Renaissance and Imaginary Portraits, the various faults that we and others have indicated are reduced to a minimum. When, indeed, his mind is more on his matter than on his style he most excels. At his best he is superb. In these works, in Marius, and in the isolated sketches "Emerald Uthwart," "Denys I'Auxerrois," and "The Child in the House," one could point to sentence after after sentence, paragraph after paragraph, of surprising beauty. These works teem with haunting thoughts, expressed in the most delicate and most becoming language; and in reading them we seem to be reclining on "ivory couches, elevated couches of ivory;" while some of the passages prompt the echo of Pater's own remark respecting Shakespere's Richard II.: "What a garden of words !" It is customary to speak of Pater's style as "chastened." Often, nay very often, there could not possibly be a better word to describe it ; but not infrequently it displays a barbaric gorgeousness, or, say, a richness comparable to the fan tracery in Brase- nose Chapel. To the great revived movement of the soul of man after its long period of acceptance in things, including literature and art, Mr. Watts- Dunton has given the name of "The -^^q pater- Renascence of Wonder" — a phrase which and "The indicates that "there are two leading Renascence (2) impulses that govern man : the impulse ° onder. of acceptance, that is, the impulse to take unchallenged and for granted all the phenomena of the outer world as they are — and the impulse to confront these phenomena with eyes of inquiry and wonder." (1) Nineteenth Century, July 1890, p. 131. '-' Mr. Watts-Dunton, and many others, spell the word this way. Pater always wrote "Renaissance." 112 LIFE OF WALTER PATER In what relation, we may ask, does Pater stand to the newly-awakened spirit of Romance? Is his work allied to the artificialities of Pope, Dryden, and Gray (for Pater is essentially a poet), or is he steeped in the fountain which is Coleridge? Well, it seems to us, that Pater belongs to both schools. As a rule he worked in the spirit of Pope; but he wondered — nobody wondered more. Before lovely works of art he stood spell-bound. The beauties of Nature set his soul in a glow. And yet he worked in the most mechanical w^ay that a man could work, with his squares of paper and his ceaseless turning of the leaves of his dictionary. A man, too, who wore out more sheets than shoes would seem not to have very much in common with the new school. As a rule, his method of work was like that of Pope, only worse. "If," said one of Pater's most intimate friends to the writer, "Pater found a word anywhere that pleased him, in that word would go — somewhere or other, whether it meant anything or not." Though we would not lay too much stress on this remark, yet it should have the effect of putting students of Pater a little on their guard. Oddly enough, w^hile he was sinning under this head, he was immersed in Montaigne, who writes, "Some there are so foolish that will go a quarter of a mile out of the way to hunt after a quaint new word." ^^* And, again, "It is a natural, simple and unaffected speech that I love, so written as it is spoken, and such upon the paper as it is in the mouth, a pithie, sinnowie, full, strong, compendious and materiall speech, not so delicate and affected as vehement and piercing." It is true that in revision Pater would strike out some of these excrescences ; but, on the other hand, he would not infrequently insert new ones; and the student of Pater will find that the articles which Pater contributed to periodicals are, as a rule, more virile — more free from pedantry — than the same articles when they '!> Montaigne. Florio's Tr. Dent's Ed., Vol. I., p. 256. PATER'S STYLE 113 appeared in book form — a fact to which the public has never before had its attention drawn. As might be expected, it is not when Pater is painfully euphuistic that he is at his best. It is when he lets himself go a little that he really pleases, as when, for example, he writes on Denys, Monna Lisa, or Marius. Still we can never get quite away from the atmosphere of the study. Truth to say, Pater the man and Pater the author were altogether different personages. Pater the man was all curiosity and wonder — a creature of a thousand impromptu sayings, a fellow of infinite mirth ; but Pater the author did his work as the fashionable Claytons used to preach — in lavender kid gloves. And that is why his personal friends are unanimous in declaring that his conversation was more interesting than his books. '^* He is the poet of the hot, moist conservatory rather than of the dew-wet park and the hoof-dented field. And so, if we are to judge him by Mr. Watts-Dunton's standard, we must call him a wonderer in shackles of his own riveting. Yet in a sense his hindrances seem to suit him. He is a robin redbreast in a cage/^* and yet he does not put all Heaven in a rage. Sometimes, however, as for example, when he was intent upon Imaginary Portraits, he pushes his body very nearly through the bars. Pater's Dutch blood may account for a style that suggests mazes, precise gardens, and topiary work — all very charming, though we are not accustomed to associate them with the wonder-wTiters. Again, the wonder-writers, and especially Coleridge and Wordsworth, were fired with love for their fellow- men, but Pater did not care greatly for humanity. He was not devoid of kindly feelings, but he liked a life of feathered ease. It would be difficult to imagine Coleridge, Wordsworth, and Keats writing in bed at mid-day. *!' Professor Campbell and several others have made this remark to me. «) Blake. M 114 LIFE OF WALTER PATER Most persons would suppose that Pater, who took such enormous pains with his writing, would, in a general way, be accuracy itself; and we believe 147. Bible that he can generally be depended upon. Quotations. But there is one most curious exception, and that is when he quotes, or rather mis- quotes the Bible. Thus, in "Art Notes in North Italy," St. Paul is made to bring his prisoners "bound to Damascus." But St. Paul brought no prisoners "bound to Damascus," nor are we ever told that he did; but twice in the Acts, once in the course of the narrative, and once in St. Paul's own account of his conversion (Acts xxii.), it is stated that he went to Damascus in order to bring the Christians who were there "bound to Jerusalem." If this inaccuracy stood alone, we should not have troubled to mention it ; but the curious fact is that almost invariably when quoting or referring to Scripture Pater makes glaring mistakes. Take, for example, his attribution, in his essay on Pascal,'^' of the phrase "the Lord's doing, marvellous in our eyes" to Psalm cxix., the words being, of course, from Psalm cxviii. "This," observes Air. JMcQueen, "was a very odd mistake, almost inconceivable in one who, when nineteen or twenty, must have known the Psalms almost by heart; and it is the more startling because Psalm cxix. has a peculiar character of its own, quite unlike Psalm cxviii., and the language of Psalm cxix. could hardly occur in it." And Mr. McQueen continues: "Was this inaccuracy in Biblical quotation designed, in a writer usually so careful?" We cannot say; but the list is by no means complete. The most glaring inaccuracy of all occurs in "The Child in the House,"'"' where the phrase, "the lust of the eye," is represented as occurring in Ecclesiastes. It is not the Preacher who says this, but John the Apostle, whose Pater did not often use slang, but now and again, as Mr. Gosse's Critical Kit-Kats bears witness, he allowed himself the indulgence. PATER'S STYLE 117 cannot say. The praise, however, which Pater be- grudged to Dickens and Thackeray he bestowed freely on Paul and Virginia,^^^ which he knew almost by heart ; but his mainstay was the Dictionary of National Biography, the volumes of which he read religiously from cover to cover, one by one, as they came out. A review by Pater of Mrs. Humphry Ward's Robert Elsmere, which appeared in 1888, reminds us that one of the characters in that work, namely, Edward Langham, derived much of his ^ ^. being from Pater, notwithstanding the fact Later Views that Langham was "possessed of excep- on Religion, tional personal beauty." According to I888. general opinion Langham is a compound of Pater and Mr. R. L. Nettleship,*^' but features from other men seem also to be introduced. All the characters, indeed, are composite, and Pater pro- fessed to recognise the originals of each.*^' In his review of the book he says, "The men . . . seem . . . from time to time to reveal their joinings. They are composite of many different men we seem to have known, and fancy we could detach again from the ensemble and from each other." When dealing with Robert Elsmere's objections to religion Pater declares that they may all be met "by considerations of the same genus, and not less equal weight, relatively to a world so obscure, in its origin and issues, as that in which we live." He entirely objects to the place of worship which just before his death Elsmere started and in which he preached "an admirable sermon on the purely human aspect of the life of Christ ... It is the infinite nature of Christ which has led to such diversities of genius in preaching, as St. Francis, and Taylor, and Wesley." (1' Written by Saint-Pierre in 1788. '2' Brother of Mr. Henry Nettleship, Professor of Latin at Oxford, Mr. John Trivett Nettleship the animal painter and Mr. Edward Nettleship the oculist. '^' Elsmere, for example, is a kind of J. R. Green; Gray a distorted T. Hill Green. ii8 LIFE OF WALTER PATER In this article, indeed, we find a more definite statement on the subject of religion than Pater anywhere else gives, unless it be in his article on Amiel. Perhaps the present is the best place for the sub- mission of a cluster of anecdotes respecting Pater; and the Sanctuary story, though well-known, ^^^- may, as it is eminently characteristic of him, Anccdo'tss. come first. He was once, it is said, put on to examine for a scholarship, and he undertook the English essays. When the time came for deciding on the election Pater arrived with the tidings that he had lost the paper containing the list of marks. To the suggestion that it would be advisable to look again for it, he replied that it would be of no use, and he added that the essays did not much impress him. Something, however, had to be done, so in order to stimulate his memory the names w-ere read out in alphabetical order, and he was requested to recall impressions that he had formed. Pater shook his head mournfully as each w^as pronounced, murmuring dreamily, "I do not remember," "It suggests nothing," and so on. Finally they came to the name of "Sanctuary." "Ah!" said Pater, his face brightening up, "I remember him — it was such a beautiful name." '^' Among Pater's amusements was the inventing of "little farcical dialogues,"'"' in which he introduced his contemporaries; and he also imagined a group of relations — Uncle Capsicum, Aunt Eugenia, Aunt Guava, and others, whose names he took from the various plants mentioned in his favourite Paul and Virginia. As a rule he took very little notice of the under- graduates, either in the quad or the lecture-room. One of them, Mr. G. C. Monck,*^' writes to me: "He was I had the story from the Rev. Anthony Bathe, who, how- ever, cannot vouch for its truthfulness. Mr. Edmund Gosse tells it rather differently in Critical Kit-Kats, p. 269. <2) See Critical Kit-Kats, p. 268. <3) Now Rector of Closworth, Sherborne. PATER'S STYLE 119 always in a dream, and from his habit of slouching past under the wall and never looking anyone fairly in the face, the undergraduates called him 'J'^^^^^i*' " *^' Another comment was that "he slunk under a wall as though he had committed a theft, which he certainly never did, unless lifting an expressive word from Hooker or Taylor be so described." Amusingly enough, while the undergraduates were making fun of Pater, it often happened — had they but known it — that he was ridiculing them. His comments on some of them, remarked an Oxford correspondent to the writer, were irresistibly funny. He likened one to a sausage, to whose sleek, unctuous body (smelling so savoury, too, and making one's mouth water), somebody, w^ho had already touched it with a fork, was about to apply a knife; and others he compared to various animals and mimicked their actions; but, as wit of this kind invariably evaporates when committed to paper, we shall not attempt to reproduce it. Suffice it to say that it was amusing enough at the time and convulsed his hearers. He viewed the follies and frolics of the undergraduates with leniency. When somebody asked him whether their horseplay did not disturb him, he replied, "Oh, no, I rather enjoy it. They are like playful young tigers that have been fed." '^' Once in the common-room at Brasenose, when the subject of University reform was discussed. Pater interposed with, "I do not know what your object is. At present the undergraduate is a child of nature ; he grows up like a wild rose in a country lane; you want to turn him into a turnip, rob him of all grace, and plant him out in row^s." <^' Several other correspondents have corroborated these statements of Mr. Monck's. (2) Critical Kit-Kats. CHAPTER XXXIX JANUARY 1S89 TO 4 AUGUST 1 889 OSCAR WILDE BIBLIOGRAPHY : SQ. Review of The Complete Poetical Works of Wordsworth. Atlienceuni, 26 Jan. 1889. 60. Review of Three Editions of Wordsworth. Guardian^ 17 Feb. 1889. 61. Review of Symons' "Days and Nights." Pall Mall Gazette, 23 Mar. 1889. 62. Review of "Is it Thyself?" Pall Mall Gazette, 15 Apr. 1889. 63. Review of Fabre's "Toussaint Galabrii." Nineteenth Century, Apr. 1889. 64. Review of Fabre's "Norine." Guardian, 12 June 1889. 65. Hippolytus Veiled. Macjnillan's Magazine, Aug. 1889. 66. Giordano Bruno. Fortnightly Review, Aug. 1889. 67. Review of Correspondence de Gustave Flaubert, Athenceum, 3 Aug. 1889. There now entered into Pater's life that brilhant but frightfully unbalanced man of genius, Oscar Wilde, who, at the age of thirty-five, could look 152 Oscar back on a dazzling past and lived in Wilde, anticipation of an altogether more dazzling 1889. future. His sky at this time knew no cloud. The curled and dowered darling of society, he walked through life, only, as it were, amid perfumes and on rich carpets of deep pile. He had become a cult. His exploitation of the lily and the sun- flower, his elaborate coiffure, his "peacockly suits," his affectation, and his phrases had made him the talk of the time ; and though he was ridiculed, and deservedly, as few men have been, discerning minds could see that this gaudily-coloured blossom had possibilities of acceptable fruit. As yet, however, his brilliant and suggestive essays and his witty and mirth-provoking plays were unwritten. Still, with his incessant talk about culture he had done his part towards leading his countrymen to a love for the beautiful. He already OSCAR WILDE 121 stood, to use his own words, "in symbolic relations to the art and culture of his age." '^' Born in 1854, ^^^^ son of a surgeon of Dublin, Oscar Wilde had, at the age of seventeen, entered Trinity College, Dublin, whence, in 1874, he proceeded to Magdalen College, Oxford, where his career was an unbroken success. In these days he had two enthu- siasms — Keats and Pater, the perusal of whose Renaissance proved the turning-point in his life. At Dublin he had written verse, and he again returned to the muse — making the winding w'alks of Magdalene and their kingfishers, speeding like blue arrows, his principal themes. He loved everything that was bizarre and exotic — strange colours, strange scents, strange animals, strange birds. Who but he would have written — " And on his horned head there stood The crimson phcEnicopteryx ?" He had no sooner left college than, fired with enthusiasm for Pater's teaching, he commenced the propaganda with which his name is associated. Hence- forth he was the aesthete of aesthetes. His first volume of poems appeared in 1881, and we presently find him lecturing on Art — first in America, and afterwards in England. Some men admired him ; more ridiculed, but all talked about him ; and that was precisely what he wanted, for he was above all things a keen man of business. His Impressions of America, although not free from his usual conceits, is in the main thoroughly sensible. But it was his affectation, and not his wisdom that captured the public imagination. Both in America and here the newspapers vied with one another in satirising him. They called him "Narcissus," and represented him carrying affectedly a stalk of lilies. Punch had him in a vase, with his head surrounded with petals, singing, "Oh, I feel just as happy as a bright sunflower;" and there came to the birth countless '^' De Proftindis, p. 21. 122 LIFE OF WALTER PATER tracts against him — the most popular being Soul Agonies in ye Life of Oscar Wilde, with illustrations by C. Kendrick. He had green *^' eyes, slanted like a Japanese, a clean-shaven face, large lips, with the dividing lines as sharp as a baby's. Long masses of dark brown hair, parted in the middle, fell in odd curves over his broad shoulders. His prototype was the man in Martial, who arranged his tresses in order — Smelling for ever of balm, and smelling of cinnamon spice. Half a day was not too long to spend over his toilet. His previous coiffure, however, quite dissatisfied him when, one day, he came across a bust of Nero. Of the minor events of this monarch's reign our histories are full. They all tell us about the murder of his wife and his mother, his persecution of the Christians, and the burning of Rome, but the salient fact about him, namely, that he did his hair faultlessly, is, with that lack of the sense of proportion common to historians, nowhere mentioned. It was left to Oscar Wilde to discover this fact, and to copy the method. It was not uncommon to see Oscar Wilde in a suit of velvet, in colour "something between brown and green," faced with lapels of red-quilted silk, and he was often dis- covered seated on a sofa with an immense wolf-rug thrown over it, and "half-encircling his graceful form." Out of doors he carried a walking-stick "cut from the olive groves of the Academia." He bought half- guinea button-holes for himself, and half-crown flowers for his cabman. He hated magenta, and is credited with having written — Put yellow lilies in your hair, But wear not the magenta zone, For that would make you out of tone ; I could not love you if you were. He collected and studied jewels — the olive-green chrysoberyl, that turns red by lamplight, the cymophane with its wire-like line of silver, the deep green peridot, '1' Lord Alfred Douglas. OSCAR WILDE 123 the wine-yellow topaz, the carbuncle of fiery scarlet.'^* He spent days and nights holding them to the light of sun or lamp, settling them and re-settling them in their cases. He loved to utter their names, and in his writings he lingers affectionately on such expressions as male-sapphires and balass rubies. On his finger he wore a "scarab^us ring throwing off green lights." His days were spent sometimes industriously, but often in sheer idleness. In both his poetry and his prose writings the influence of Pater is very marked, and direct allusions are not uncommon. Thus in "Theoretikos" he says — in dreams of art And loftiest culture I would stand apart Neither for God, nor for his enemies ; ^2) and in the "Humanitad" the question is asked — To burn with one clear flame, to stand erect In natural honour, not to bow the knee In profitless prostrations, whose effect Is by itself condemned — what alchemy Can teach me this ? "Why don't you write prose?" Pater one day said to Wilde. "It's so much more difficult to write than poetry." *^^ "So I will," replied Wilde, and the result was the series of charming articles in the Nineteenth Ceyitury — in which— and their style has been compared to polished agate — the influence of Pater is everywhere noticeable. Thus, in his article "On Criticism," '^* after declaring that in the best paintings, poems, and biographies we are presented not with facts, but with the images of painter, poet, and biographer, he enquires, "Who cares whether Mr. Pater has put into the portrait of Monna Lisa something that Leonardo never dreamed of? The *'^' See Sherard's Life of Oscar Wilde. <2) For with Botticelli she, too, though she holds in her hands the "Desire of all Nations," is one of those who are neither for Jehovah nor for his enemies. — The Renaissayice. '3> This small but interesting fact has not previously been published. It was told to the writer by Mr. John Payne, who had it from Wilde's own lips. '4) Nineteenth Century, July 1890, p. 144. 124 LIFE OF WALTER PATER painter may have been merely the slave of an archaic smile, as some have fancied; but whenever I pass into the cool galleries of the Palace of the Louvre and stand before that strange figure, 'set in its marble chair in that cirque of fantastic rocks, as in some faint light under sea,' I murmur to myself, 'She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave . . . and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.' '" And I say to my friend, 'The presence that thus so strangely rose beside the waters is expressive of what in the ways of a thousand years man had come to desire' ; '^' and he answers me : 'Hers is the head upon which all the ends of the world are come,' '^' and 'the eyelids are a little weary.' '*' And so the picture becomes more wonderful for us than it really is . . . The criticism which I have quoted is criticism of the highest kind. It treats the work of art simply as a starting-point for a new creation." Elsewhere in this work we have quoted other criticisms on, or references to. Pater from the pen of Wilde. Always witty, Wilde was at his best when talking of clothes — when abusing the top-hat or some ugly bonnet. He said that he once saw — which, of course, he never did see — in a French journal under a drawing of a bonnet the words : "With this style the mouth is worn slightly open." He could be equally amusing when on the subject of ancient dress, as when he described a lady in a farthingale as occupying all to herself as much room as would suffice for a moderate political meeting. He was one of the first to advocate This statue, which is of bronze, is preserved in the Museum at Naples. o 130 LIFE OF WALTER PATER "It was right of you to remind me, but I often come and spend a little time in these places." Among the objects of extreme interest in Mr. Jackson's house in London were a number of exquisitely wrought and valuable antique chalices, and Pater used to contemplate them w-ith keen interest, not, however, unmingled with sadness. "They are glorious memorials of revealed religion," he once said, and then continued in a melancholy voice, "but what I cannot understand about the whole thing is the fact of my being unworthy, as it seems to me, of the manifestations they carry to most men — the ignorant and unlettered included; and I deplore the fact." The talk turning to Canon Liddon, Pater observed : "No one can remain in his presence many minutes without feeling that he is standing close to one not of this world." "His conversation," followed Mr. Jackson, "is certainly not like that of men who reside in the hells of their own creation." Pater was by no means the recluse that some persons have described him. Indeed, he was well met with everybody, and could be found in all circles — though, naturally, his most intimate friends, such as Mr. Jackson, Canon Liddon, the late Professor York- Powell, and Dr. Shadwell saw most of him. Occasionally, too, he was present at merry-makings and other gatherings at which the grave don is expected to unbend. Once he was among the 156 The guests at a "gaudy," as he called it, held Lady and in a Ladies' College. It was a brilliant the Glove, affair, almost every Oxfordian of note being present. In the midst of the proceedings the lady head of the house purposely dropped her white kid glove right in front of Pater, who, however, instead of gallantly picking it up, walked on and trod on it. OSCAR WILDE 131 "Didn't you see that?" whispered a friend who stood near. "Didn't you see how I rewarded the action?" followed Pater. "If I had not remembered how, in spite of the honours heaped upon him by Queen Elizabeth, Sir Walter Raleigh was in the end led out to execution, perhaps I, too, might have made a fool of myself. Believe me, my dear sir, it was an insinuation of the devil that caused this woman to drop her glove." Pater regarded woman much as did Dean Swift, who wrote : "A very little wit is valued in a woman, as we are pleased with few words spoken plain by a parrot;" and many of his paradoxes were pointed against the sex. "You don't approve of marriage," a friend once observed to Pater. "No," he replied, "nor would anybody else if he gave the matter proper consideration. Men and women are always pulling different ways. Women won't pull our way. They are so perverse." CHAPTER XL 4 AUGUST 18S9 PATER AT FIFTY Pater was now fifty, and had some five more years to live. In early portraits of him, taken just after the cultivation of the historical moustache, 157. Pater's he has a rather helpless look, nor was he o paits, even then at all a strong man. In the Habits, ° Appearance, portrait taken late in his life by Messrs. and Elliott and Fry, he appears, though little Character, Q^gj. fifty as bald as a coot, while 1889 the moustache has grown heavy and truly Bismarckian. The chin is shaven. He wears a spotted necktie. In these portraits he does not seem so very plain, but the evidence of all who knew him is the other way about ; moreover, he himself was well aw^are of his short- comings in this respect, and regretted them. He loved pictures; but there was one picture which always gave him pain — the one which he could see any day in the looking-glass. Previous to 1869, says ]\Ir. Gosse, Pater's dress "was that of the Oxford don;" but sub- sequently it grew gayer, and he wore silk ties, one of which was of "brilliant apple-green," and another of peacock-blue, and gold pins of aesthetic design. Never, as we said, robust. Pater, as life advanced, daily grew weaker ; and at the age of fifty — a time when many men are in their prime — he was so much of an invalid that up to ten or eleven in the morning, he possessed, to use the expression of one of his admirers, little more life in him than the wounded negro in the tale of the King of the Black Isles. '^' After breakfast '^' Arabian Nights. PATER AT FIFTY 133 in bed he revived, and then he often lay the rest of the morning, propped up by pillows, studying the Dictionary — and it was almost always the Dictionary. He loved it as the woodpecker does the bark of the beech. In his own words he pondered it "with his peculiar sense of the world ever in view, and so he begat a vocabulary faithful to the colouring of his own spirit, and in the strictest sense original." His intense interest in words for their own sake, and his love for choice phrases and everything relating to Euphuism is manifest in almost all his writings. He used to talk about delightful words, especially if they were not in common use, as an epicure does of lickerish morsels; nor did he refrain in his books, as the article on Du Bellay,*^' in the Renaissance and portions of Marius '^' and Appreciations '^' sufficiently witness. Sometimes he would get up extra early, that is to say, a little before eleven, and between that hour and one would deliver lectures in his sitting-room to an audience of eight or ten. On his table at such times were always the five quaint white vases covered with blue dragons and other figures which appear in our illustration. Some w'ere filled with ink and others with flowers, which, whenever possible, included the "tiny bells of the lily of the valley and its gaufred leaves." These vases were quite a fetish with him, and no lecture would have been considered complete without them. If friends were to dine with him, his anxiety lest everything should not be in perfect order amounted to a fever, and he wrote the menu cards in his own neat hand. He liked to have his table set with taste, and to see an orange-coloured silk strip down the middle over the white cloth, and plenty of flowers. He w^as in agonies if the tablecloth became a little rucked, while the tumblers, though rubbed till they gleamed again, never '1' Renaissance, p. 162. <2) Marius, p. q2. (3) "Love's Labour Lost," p. 166. 134 LIFE OF WALTER PATER quite reached his ideal. Some of his acquaintances called him the "shivery-shaky man," and talked of him as if he were a blanc mange or a jelly. The accounts of his sufferings in London, as furnished by one of his relatives, read like a chapter in Foxe's Book of Martyrs. The trains of the underground railway belched smoke and blacks at him, the omnibuses roared in his ears, ugly buildings obtruded their hideousnesses before his eyes. Everybody hustled him, shook him, trod on his toes, puffed cigar smoke into his face. It also generally rained; and he would return after these experiences, cold, wet, dejected, and utterly miserable. Pater's evasive glance was noticed by all his friends. He never looked a man straight in the face. Some writers have said that he had a military look. God help the British Army, and Britain, too, if its military men have Pater's physique and presence. Professor Bywater once observed to the writer that Pater was a much abler man between twenty-five and thirty-five than later. "At twenty-five he let himself go, and often said marvellously clever things, but in later years much of his charm had evaporated." To his delight in hymns, and especially those of the ancient Church, we have several times referred, and his particular favourites were those translated by Dr. Mason Neale. He once remarked to Mr. Jackson of the original of "Blessed city, heavenly Salem, "<^' "That hymn, which one must associate with Plato's Urbs Beata,*^^ as well as with the verse in Revelation, is the consummate performance of the mind of a master in the realisation of the blessedness which is dispensed to mankind." Owing to his feeble health Pater always looked at least ten years older than his age ; but it was difficult to persuade him to call in a doctor, and he had little faith in medicines. No passage in his favourite Montaigne See Chapter XXXIII. PATER AT FIFTY 135 pleased him more than the Seigneur's answer to those who urged him to take physic : "Tarry till such time as 1 have recovered my health and strength again, that then I may the better be enabled to endure the violence and hazard of their potions," and he was equally tickled by the remark of Sydney Smith who, when told that doctors must live, said that he did not think it at all necessary that they should. During his later years Pater took very little exercise, and when he did venture out, he always walked on the shady side of the street, which, as Oscar Wilde told him, was quite the right thing to do, seeing that "the sun is jealous of Art," and that "thought always flourishes best in the cold." If he wandered beyond the towm, it was generally alone and across Shotover Hill. When w-riting, he sat at table in a stooping, cramped position ; and before beginning to work would surround himself with a number of squares of white paper, some containing notes meant to be incorporated in the book that was being elaborated, and others blank. One square, which was blue, would contain the "Formula" — or central thought — a word that was frequently in his mouth — and he called the blue squares "stars." Before writing on any subject it was his invariable plan to ask himself, "What is that man's or that object's real self? What is the peculiar sensation, the peculiar quality of pleasure which his work has the property of exciting in us which we cannot get elsewhere?'^' In short, what is its Formula?" Merimee, he observes, delighted in the "rude, crude, naked force in men. . . himself carrying ever, as a mask, the conventional attire of the modern world — carrying it with an infinite con- temptuous grace." *^' That is Merimee's formula. (1) "Every great writer has a certain virtue, active principle. It is our business to find this out." Preface to the Renaissance. See also Renaissance, p. 51. (2) Misc. Studies., p. 4. 136 LIFE OF WALTER PATER Raphael's formula seemed to him the transformation of meek scholarship into genius. Botticelli he summed up in one word "neutrality." His interest is with "the middle world, in which men take no side in great conflicts." Leonardo stood for "clairvoyance." It is the same when Pater writes on architecture ; thus, in his essays on Notre Dame of Amiens and the Madeleine of Vezelay, he points out that the former is pre-eminently the church of the city, the latter of a monastery, and calls these characteristics their formula?. After working upon small squares, Pater used to set them aside for larger squares, which, in turn, gave place to full-sized sheets. The paper was always ruled, and he left the alternate lines blank so as to admit of corrections. It has been said that Pater composed his best sentences, without any relation to the context, and then inserted them where they would be most effective. Mr. Gosse repudiates the idea as if it were disgraceful. Still other writers have done the same, as, for example, Pope and Hobbes, both of whom used to make memoranda of fine thoughts and afterwards look out places for them. Another remark of Mr. Gosse's must also be noticed. "I have known writers of every degree," he says, "but never one to whom the act of composition was such a travail and an agony as it was to Pater." As time went on, however, Pater wrote more easily, and more rapidly; and though he loved to polish and polish again, the labour of composition, far from being in any way painful to him, became a pleasure. One singular habit of Pater's was to have whole essays set up — generally at the Clarendon Press — merely for the convenience of being able to correct them in print — a habit which he learnt from Balzac. The essay entitled "The School of Giorgione," for example, was treated in this way, the type being broken up after only six copies had been struck off.'^* When Mr. Church in the south of Oxford. '^' Church in the west of Oxford. <*> A walk on the east of Oxford. 138 LIFE OF WALTER PATER In the historical associations of Oxford and its neigh- bourhood, Pater naturally took interest, and — remote as he was from a warrior — particularly in 159. His those of the soldiering sort. When his interest gy^g fgjj q^ Magdalen tower he seemed to Associations ^^^ Charles the First standing on the top of Oxford, watching the troops of Essex as they streamed from Abingdon over Sandford Ferry on that May morning of 1644. To an event that happened in the Royalist army a year later he refers in Emerald Uthwart/^^ namely, the tragic end of "Young Colonel Windebank." Windebank, who had strengthened himself with a garrison of "near two hundred men" in a mansion at Bletchington, had at first bidden Cromwell defiance, but after a brief resistance — confused, it is said, by the tears of his young wife — he made terms with the enemy, who allowed him to retire to Oxford. This was on 25th April, 1645. A few days later, having been court-martialled by the Royalists and condemned to die, he set his back, says Pater, to the wall of Merton College and received his death volley with a soldier's stoicism.'-' Of one of Pater's journeys to Cumnor, with its memories of Amy Robsart, we have already spoken ; and his interest in that lady's story was revived when Dean Burgon placed an inscription in reference to her in the church of St. Mary the Virgin. The adjacent Berkshire country was dear to him for Matthew Arnold's sake, and Forest Hill for Milton's.'^' " Mr. Jackson remembers going with Pater over No. 19, York Street, Petty France, Westminster, where Milton resided in 165 1, and the intense interest Pater took in Alilton and his haunts. The house in Petty France disappeared about 1877. c^ PATER AT FIFTY 141 As of old, Pater kept a cat. To the cats in his works, — "the white angora" of The Child of the House, the "favourite animal" of Marius, and some others, we have already referred ; and pussy is responsible for several bewitching phrases scattered here and there, as, for example, that in Gaston de Latour, where "the serene summer night glides in, aromatic, velvet-footed." He used to say, "The cat is the most intelligent of animals, simply because it is always the close companion of man" — a theory which he touches upon in his Greek Studies}'^'' In ignorant Harbledown, as we have seen, people anathematised his cats in colloquial English, but at Oxford his neighbours merely expressed their irrita- tion in Latin and Greek, which is not sinful. He was amused when Mr. Jackson once referred to the cat as "the only animal not mentioned in the Bible." "Pater's conversation," said Sir F. A. Channing '^' to the writer, "was very crisp and clear-cut, pointing to great intensity of thought and feeling; but he seemed to lead an unreal life." "The happiest hours I have," remarked Pater, "are from one to three, after I have got rid of everything." "He was the most lovable of men," observes Mr. Arthur Symons, "to those who rightly apprehended him, the most fascinating; the most generous and helpful of private friends."'^' He forgave his enemies straightway, without, like Heine, waiting till they were hanged. One of the great lessons that Pater teaches us is the value of concentration. He was never tired of impress- ing it upon his pupils, and that he practised what he preached, his books bear concentra- abundant witness. "Once," writes the tion and Rev. Anthony Bathe, to me, "when I ^^'^' had been speaking to him of some '^^P'^^ssi book he rebuked me, and said, 'Life is not long (i> Page 16. <2) Now M.P. for E. Northants. See Chapter XXII. , § 78. '^> Studies in Prose and Verse, p. 63. 142 LIFE OF WALTER PATER enough to read such things,' and then he inveighed against the folly of promiscuous reading and of squandering one's attention on unprofitable subjects." Before opening a book he used to say to himself, "Is this book likely to assist me in my great aim in life?" If the answer was "No," he would put the book aside, no matter how tempted he might be to read it. In short, he practised self-repression systematically. Pater stands quite apart in English Literature — alone, clear-cut, columnar. He has, perhaps, a few- resemblances to Landor, and a few to FitzGerald. Both Pater and FitzGerald worked as a lapidary works — polishing and polishing until the arrival at perfection — FitzGerald in verse, Pater in prose. The Renaissance of Pater corresponds in a sense with the Rubaiyat of FitzGerald. Both writers had infinite patience. Nothing short of the finest of the fine could satisfy Pater, the aesthete of aesthetes, the refiner of refined gold ; while Fitz- Gerald polished his quatrains until, in the opinion of some critics, he spoilt them. Each loved beautiful words for their own sake; but FitzGerald certainly had more skill in concealing his art. If we turn from their works to the men them- selves, there are also some resemblances, though there are differences enough. Neither could boast of personal beauty, though each idolised the glories of the human form. But while FitzGerald admired tall, handsome, muscular sailors and sons of ihe soil. Pater found his ideals only among students. Pater was as careful in his dress as FitzGerald was slovenly. FitzGerald's personality is associated with inconvenient lodgings, boats, yachts, and Bedfordshire pools and poplars; Pater's with incense, rose windows "like a flower in flame," and music surging through gorgeous churches and vast cathedrals. PATER AT FIFTY 143 Among the books perused by Pater in Mr. Jackson's study were the works of the Rev. Dr. Frederick Lee, the ritualistic and Jacobite rector of All Saints, Lambeth, and on learning lei. Dr. Lee. that Mr. Jackson and Dr. Lee were friends he begged an introduction. "I have been reading his works," said Pater, "and with one of them I was very much struck, namely. The Prayers for the Departed; I should be delighted to make his acquaint- ance." So the friends set out one morning for Lambeth. Dr. Lee, a man of polished manners, and picturesque though solid appearance, gave them a welcome and invited them to lunch; and the conversa- tion ran on the O.C.R., or Order of Corporate Reunion '^' — that is to say, the reunion of the principal churches of Christendom, and Pater complimented Dr. Lee on his various writings. According to the Reunion Magazine, the Rulers of the Order of Corporate Reunion were Thomas, Rector of the Order and "Pro Provincial of Canterbury"; Joseph, Provincial of York; and Lawrence, Provincial of Caerleon ; and their first Pastoral may be read in the Reunion Magazine by those who have the curiosity to turn to it. Who Thomas, Joseph, and Lawrence were, we do not know, but they were said to have been secretly consecrated by Roman, Greek, and Armenian bishops; and Dr. Lee, who was certainly the most active of the Reunionists, had during his lifetime the credit of being one of the three O.C.R. Rulers; while the office of Registrar-General was filled by Mr. Jackson. The members of the O.C.R. did not approve of the Reformation. Indeed, if you used the word they asked you whether you meant the Deformation. They were sincerely troubled because of the discovery, '^' It called itself "A society or organisation of English Churchmen within the English Church, which aims at e\'tir]iating, destroying, and annihilating the deadly plague of Erastianism, which has for three and a half centuries well nigh smothered her spiritual life." 144 LIFE OF WALTER PATER or supposed discovery, that Anne Boleyn was the daughter as well as the wife of Henry VI 11/^' to whom the Church of England owes its present construction; and also because x\rchbishop Tait was baptised not by a Church of England clergyman, but by a Presbyterian — "the validity of Presbyterian baptisms being at the best doubtful" — and there were not wanting corres- pondents who gravely suggested that the Archbishop should be baptised over again. They could not sufficiently praise "the glorious St. Thomas of Canterbury," and all were agreed that to St. Thomas's prayers we Englishmen owe pretty nearly every liberty we at the present day enjoy. '^' They also held that Dr. Lee was the greatest benefactor the Church of England had had since Archbishop Laud, and if anybody differed from them he was sure to be called a very ugly name — "a Prot" — which is short for "Protestant." They bemoaned the neglect in the Church of England of the "celestial medicine," Extreme Unction, calling it the "Lost Pleiad"; and they said that the O.C.R. would "restore to Catholic souls everything that they lost at the Reformation." It has bev^ the custom to ridicule the Reunionists, but they certainly did good by exposing the laxity of certain of the clergy. In one church, for example, as late as 1879, the clergyman, instead of filling the font, placed in it a vegetable basin or a soap dish,'^' with the detachable part removed ; and Dr. Lee contended, with much show of reason, and not without humour, that it cannot be agreeable for people to reflect that they may have been baptised out of a soap dish, whether the detachable portion was removed or not. But more than that some clergymen, according to Dr. Lee, did not use water at all, but went through the empty form ; '^* and he showed that the drinking parson See Reunioyi Magazine for 1879, PP- i7 — 30- '2' See Reunion Magazine, p. 442. <3) See Reunion Magazine for 1879, P- 4Q7' <*' Reunion Magazine, pp. 494, 498. CO Q < CO '^ Q < 00 W CO < > PATER AT FIFTY 147 "who overturned the chalice as he was administering it," and the sporting parson, whose thoughts were with the hounds while his fingers broke the bread, were by- no means extinct in the Church. Dr. Lee held, furthermore, that if the clergy were lax, the laity were not much better. "Names which carry a lascivious sound ought not," he said, "to be given to children, especially to those of the female sex;" and he considered that if such names were given the clergyman should alter them, whether the parents were willing or not. He also had a prejudice against a long string of Christian names, and it was said of him that he christened all the boys Frederick after himself, and all the girls Mary after the Virgin. "Name this child," he would say in his authoritative voice. "Archibald Campbell Cholmondeley Constantine Ferdinand," perhaps the mother would whisper. "Frederick," she would hear to her amazement, "I baptise thee in the name of the Father, of the Son, and of the Holy Ghost, take this child." In the vestry, of course, there would be friction. "This child," Dr. Lee would say, "will have to get his living in the world, and what do you want to handi- cap him with Archibald Campbell Cholmondeley, and all the rest of them for? Anyhow, it's done now and can't be altered." Pater, who laughed heartily when Mr. Jackson told him these various tales about Dr. Lee, observed that humour covers a multitude of sins, and he and Dr. Lee became excellent friends. CHAPTER XLI 5 AUGUST i88q— JANXARY 1S92 APPRECIATIONS BIBLIOGRAPHY : 68. Af-preciations. i88g. 69. Review of A Centurj' of Revolution, by W. S. Lillj'. Nmeteenth Century, Dec. 1889. 70. Art Notes in Italy. New Review, Nov. 1S90. 71. Prosper Merimee Lecture, Nov. 1890. Fortnightly Review, Dec. 1890. 72. Afpreciations. Second Edition. 1890. 73. Review of the Contes of M. Augustin Filon. Guardian, 1890. 74. Review of Mr. Gosse's Poems. Guardian, 29 Oct. 1890. 75- Review of Oscar Wilde's ''Picture of Dorian Gray." Bookman, Nov. 1891. The event of 1889 ^t Brasenose was the resignation of the Principalship of the College by the Rev. Albert Watson, and the succession of Mr. Charles 162. Pateron duller Heberden.*^' "A marvel of erudi- Browning, tion," a good classical scholar/^' and March, 1889. ^ man of humour, Mr. Watson was at once as shy as Pater and as diffident as R. L. Nettleship. "With him," says a friend, "it was invariably T think,' never T am sure.' " The college was all in all to him, and both during his life- time and after death he proved himself one of the most munificent of its benefactors.'^' Apart from this event there was little change at Brasenose. Pater was steadily increasing in fame. '^* Mr. Heberden had been a Fellow of the College from 1872. <2> He published an edition of the Select Letters of Cicero. <^' He died in 1904. See "An address given in Brasenose College Chapel on Sunday Evening, 27 Nov. 1904," by Mr. C. B. Heberden. APPRECL\TIONS 149 His works were read and appreciated by all men with any pretensions to taste and culture, he was regarded as a prophet in Israel, and there were "little stratagems to get specimens of his fair manuscript." He now employed himself in preparing for publica- tion in book form his essays on subjects taken chiefly from English Literature to which he had decided to give the title of Appreciations, but he also found time to write a Review of Mr. Arthur Symons' striking volume of poems, Nights and Days,^^^ a review which is chiefly remarkable for its sly hit at Browning.'^' To Pater's struggles with Browning in the old Queen's College days we have already referred, and it is pathetic to notice that even by 1889 much of that poet was still an enigma to him. "The complex, perhaps too matter- ful soul of our century," says Pater, "has found in Mr. Browning, and some other excellent modern English poets, the capacity for dealing manfully with it, excepting only that it has been too much for their perfect lucidity of mind, or at least of style, so that they take a good deal of time to read. In an age of excellent poets, people sometimes speculate wherein any new and original force in poetry may be thought to reveal itself; and some may have thought that just as for a poet after Dryden, nothing was left but correctness, and thereupon the genius of Pope became correct, with a correctness which made him profoundly original; so the cachet of a new-born poetry for ourselves may lie precisely in that gift of lucidity, given a genuine grapple with difficult matter." Mr. Symons is then declared to be lucid. "In this new poet the rich poetic vintage of our time has run clear at last." Few young writers, we suppose, have received a more flattering, a more delicate eulogium, and the remembrance of it must be gratifying to Mr. Symons even now, although he has long occupied a prominent place in the ranks of living (1) "A Poet with something to say." <2) Browning died December 1889. 150 LIFE OF WALTER PATER men of letters. Upon him, indeed, if upon any man, the mantle of Pater himself has fallen. With Pater as an inspiration, Mr. Symons has forged for himself a style that is at once distinct — in the sense of being always recognisable — and fulgid, and that proclaims him above all things a steadfast lover of his exquisite art.'^> Although from Pater's previous works there is lo Appreciations a palpable fall — Pater being far less at home in England than in Greece, Rome, 163. "Appre- ^j^^ Lg^ Beauce — nevertheless, the book 1889 has its purple passages. Two of the articles — those on Coleridge'^' written in 1866, and Style '^' written in 1888, we have already considered. The rest deal with Wordsworth, Lamb, Sir Thomas Browne, various plays of Shakespeare and D. G. Rossetti ; and there is also a Review of Feuillet's La Morte, which is strangely out of place in such a volume. Naturally, the remarks Pater has to make on the "formula" '*' of each of his heroes interests us most. The formula of Wordsworth, he says, is his habit of assuming that every natural object has more or less of a moral or spiritual life— that "an emanation, a particular spirit" belongs not only to the moving leaves and water, but to the distant hills — to almost everything. Then, too, "he had pondered deeply those reminiscences and forebodings which seem to make our lives stretch before and behind us." Like Vaughan he traces the soul backwards and forwards, and he is almost with Plato in the idea of the pre- existence of souls. The reader may like to refer to the article "Walter Pater," in Mr. Symons's charming Studies in Prose attd Verse (Dent and Co.'. <2) Chapter XXVI. '3) Chapter XXXVI. «) See Chapter XXXVIII. APPRECIATIOiNS 151 The essay on Lamb was the outcome of the study of Lamb's Hbrary, which, as we have already noticed, was in the possession of Mr. Richard C. Jackson, and of conversations with Mr. 154. charles Jackson; though when writing it Pater Lamb, also remembered with pleasure Lamb's connection with the scenes of his own boyhood at Enfield. It was Pater's first intention to commence his essay by giving an account of the friendship between Mr. Jackson's grandfather and Charles Lamb, and a description of the library; but objections having been raised the idea was abandoned. He cross-examined Mr. Jackson, however, in reference to Lamb's life and habits, and much of the essay was written in the Charles Lamb room in Mr. Jackson's house — with Lamb's chair, bookcase, bureau, clock, and other treasures within touch. "All these things," exclaimed Pater one day, as he laid down his pen and looked round him, "all these things swell one's breast and fire one's soul." Pater eulogises Lamb as a realiser of the principle of Art for Art's sake and as an enjoyer of life in its subtleties, pays him a tribute as the discoverer of the old English drama, and points out that the way of his criticism is to feel strongly the charm of some old writer, and then "to interpret that charm, to convey It to others — he seeming to himself but to hand on to others . . . that of which for them he is really the creator." His real motive in writing is the desire of self portraiture — and that is Lamb's formula. If the article on Lamb carries us back to Pater's boy- hood at Enfield — finishing as it does, with a tribute to the charms of that seductive spot — the article on Sir Thomas Browne with its gossip about his old favourite, "the judicious Hooker," reminds us again of the days of the King's School at Canterbury, and the boy who could repeat verbatim the fifth book of the Ecclesiastical Polity. After pointing out that Browne's life, though it contained nothing very remarkable, seemed to Browne 152 LIFE OF WALTER PATER himself brim-full of wonders, Pater bids us not to try to read his books through. "Open them at random," he says, "and read a few paragraphs anywhere." Half-an-hour, for example, would be well wasted over the chapters in the Discourse of Vulgar Errors, entitled the Ring Finger, Deer, Alermaids and Unicorns. The best justification of Browne's literary reputation he holds to be "that wonderful book" Urn Burial, together with the elfin, and very singular "Letter to a Friend upon the occasion of the death of his intimate Friend." The next subject, "Love's Labour Lost," Pater seems to have chosen simply because it is a play about words — Euphuism. He holds Biron to be Shakespeare himself, and appreciates, as we should expect, the delightful side of the euphuistic "foppery" — the fancy so many writers have "for an exquisite and curious skill in the use of words." Two essays, one on "Measure for Measure" and the other on "Shake- speare's English Kings," are followed by the unhappy article, alluded to earlier in this work, on Dante Gabriel Rossetti. We said that the review of Feuillet's La Morte is here strangely out of place; but it has a peculiar interest of its own, for among the passages singled 165. A out by Pater for quotation is that in which Retrospect. Bernard relates how he fell into unbelief — a passage in which Pater saw mirrored his own tortured soul in those early days at the King's School and Queen's College. "The day," says Bernard, "on which I perceived my faith come to nought, the day on which I lost hope in God, I shed the bitterest tears of my life. Do you suppose that in those hours one does not feel the frightful discomfort of an existence with no moral basis, without principles, with no outlook beyond this world?" ^^' For us, indeed, notwithstanding the fact that it falls below some of his other books, Appreciations has many (1) Affreciations, p. 228. APPRECIATIONS 153 a charm. Consisting largely of essays that had long been laid aside it naturally lacks freshness ; but we may regard it as an excellent pot-pourri, with the odour of roses of long ago. Not everyone, however, cared either for the medley or the style. "I tried Pater's Appreciations to-day," wrote John Addington Symonds pathetically, "and found myself wandering about the 'precious' sentences just as though I had lost myself in a sugar-cane plantation." The same year that Appreciations appeared, and also the following year, Pater contributed a series of Reviews to The Guardian, the principal of which were on Wordsworth, Mr. Gosse's Poems, Ferdinand Fabre and the Tales of M. Augustin Filon ; and these and previous contributions to the same paper have since Pater's death been published in book form. CHAPTER XLII LIONEL JOHNSON To the admiration for Pater displayed by some of the undergraduates of Oxford, we have already referred ; none, however, was more enthusiastic in 166 The ^^^^ praise than the young Wykehamist, Gentle Lionel Johnson, who had come up to Wykehamist. Oxford in 1886 at the age of nineteen. Johnson, who first met Pater in Mr. Arthur Galton's room in the following year, was a thin, pale, delicate youth, quick and mouse-like in move- ment, low voiced and reticent of speech. He reminded of nothing so much as an old-fashioned child, and his general appearance, combined with the frequent twitching of his facial muscles, suggested the weakling. Year after year his cheek grew paler, and he shrank more and more from intercourse with the world. At midnight he would still be sitting with Dr. Primrose, Uncle Toby, Sir Roger, and other glorious ghosts of English Literature, and with that French poet "of vast, austere and melancholy genius M. Leconte de Lisle, "'^* for "Dark sleep loved him not," and he loved not her nightly death to die And in her haunted chapels lie. By religion a Catholic, he was passionately attached to the old faith and never liked even to give a book away without invoking upon the receiver the benedic- tion of the "Blessed Virgin," or some other holy calendared person — "Sancte Thomas Aquinas," he wrote in a copy of Mr. Le Gallienne's Religion of u <^> Fifty-three poems of this great, but neglected, genius appear (isometrically rendered) in the recently-published First Section (the Romantic Period) of Mr. John Payne's great anthology. Flowers of France. LIONEL JOHNSON 155 Literary Man, "per orationes tiias in ecclesiam Christi trahe scriptorum amicum meiim," but his was essentially a gentle spirit, and the heartiest thrust he ever made at Protestantism was a complaint of its "decent dulness." His two salient enthusiasms were Thomas Hardy, the depictor of his beloved Wessex, and Walter Pater. Wessex, indeed, was no less dear to Johnson than it was and is to Mr. Hardy himself, and he could think of it only as a land of "great valleys of green fields, where the air is full of gold dust, and the grass gleams with warm light." Some have suggested that his admiration for Pater was not so much "the real thing as the result of a brooding ideality." There is no need, however, to decide. In some lines entitled, "Oxford," written "in one of his strange fits of fervour," when he was leaving the University, and dedicated to Mr. Arthur Galton, he dwells affectionately on the delights of the "sweet city" whose very soil was dear because Raleigh, Johnson, Addison, Shelley, and Landor had trodden it, but which was dearest of all because of Pater— And there, O memory, more sweet than all, Lives he, whose eyes keep yet our passing light. <^^ And in another, apostrophising the beauties of Oxford, he says — Calm Oxford autumns and preluding springs ! To me your memory brings Delight upon delight, but chiefest one; The thought of Oxford's son, Who gave me of his welcome and his praise, When white were still my days. And so he passed from Oxford to London, fragile of frame, but sturdy of spirit. Although ambition stirred him he could but look upon life, to use his own words, as "a forlorn hope — but promising at least the noblest of defeats." He continued, however, to keep in touch with Pater, whom he frequently met at Mr. Richard C. Jackson's, and other houses. That which most astonished him as their acquaintance ripened was '1' Ireland and other Poems 1897. This poem is dated i8go. 156 LIFE OF WALTER PATER Pater's amazing gift for assimilating other men's know- ledge. "He is at once my envy and my despair," Johnson said in reference to Pater; "he is a literar}^ vampire, sucking the life and poetry out of the heart of every man he meets." Among Pater's other friends at this period were Mr. Douglas Ainslie and Mr. Charles Kennedy, a kinsman of his old Canterbury friend, J. Rainier McQueen, though what Mr. Kennedy, who piqued himself simply upon being a fashionable man about town, and Walter Pater had in common is not clear. One day Mrs. Emma McQueen, Kennedy's aunt, and J. R. McQueen's cousin, met Pater in Kennedy's rooms in London, and after referring to the old days at King's School and Queen's College, enquired, "Have you any message for McQueen ?" Pater hesitated, and then said, "Yes, give him my love." The message was given, and that was the last communication that passed between Pater and McQueen. In July, 1890, there appeared in Lippincott's Monthly Magazine, Oscar Wilde's well-known story, The Picture of Dorian Gray, and its author, 167. Pater desiring to see it issued in book form in and England, subsequently offered it to 'TsQl''^^' ^'^^^srs. Ward, Lock and Co. Although it is now very generally regretted that this book, despite its epigrammatic wit, was ever written, perhaps one ought to point out in fairness to Wilde, that, according to his own assertion, ^^' his one object in writing it was to produce a novelty — something that would sell. When the manuscript was ready for publication, Wilde submitted it to Pater, who, though he seems to have taken no particular interest in it, suggested some '^> We have seen the letter in which he offered the book to Messrs. Ward and Lock. MR. LIONEL JOHNSON. LIONEL JOHNSON 159 alterations in the phraseology, which were carried out; and in due time it went to press. Perhaps, on no other book that was ever written have the reviewers heaped so much scorn as they did on Dorian Gray. They admitted that, as the book had a moral, it could scarcely be called demoralising; but to the atmosphere of it they objected in terms which could not possibly be stronger. The one reviewer who showed himself sympathetic was Walter Pater, whose estimate in The Bookman — and an unexceptionable and healthy estimate, too, doing justice, as it does, to the author's previous work — will always be regarded as one of the curiosities of criticism. What it all amounts to, however, is this : "The book is — well it has a moral." "There is always something of an excellent talker," says Pater, "about the writing of Mr. Oscar Wilde; and in his hands, as happens so rarely with those who practise it, the form of dialogue is justified by its being really alive. His genial, laughter-loving sense of life and its enjoyable intercourse, goes far to obviate any crudity there may be in the paradox, with which, as with the bright and shining truth which often under- lies it, Mr. Wilde, startling his 'countrymen,' carries on, more, perhaps, than any other writer, the brilliant critical work of Matthew Arnold. The Decay of Lying, for instance, is all but unique in its half- humorous, yet wholly convinced, presentment of certain valuable truths of criticism. . . . Clever always, this book, however, seems intended to set forth any- thing but a homely philosophy of life for the middle- class — a kind of dainty Epicurean theory, rather — yet fails, to some degree, in this; and one can see why. A true Epicureanism aims at a complete though harmonious development of man's entire organism. To lose the moral sense therefore, for instance, the sense of sin and righteousness, as Mr. Wilde's hero — his heroes are bent on doing as speedily, as completely as they can — is to lose, or lower, organisation, to become B i6o LIFE OF WALTER PATER less complex, to pass from a higher to a lower degree of development . . . Dorian himself, though certainly a quite unsuccessful experiment in Epicureanism, in life as in fine art, is (till his inward spoiling takes visible effect suddenly, and in a moment, at the end of the story) a beautiful creation. But his story is also a vivid, though carefully con- sidered, exposure of the corruption of a soul, with a very plain moral, pushed home, to the effect that vice and crime make people coarse and ugly." The book abounds, as we intimated, in jewels of wit and epigram, all of w^hich would distinctly gain by being removed from their displeasing ouches. Super- saturated with Pater as Wilde was, it is not surprising to find many passages very much in Pater's spirit — passages which, though perfectly original, seem to have been inspired by the friendship between the two men. Especially noticeable, for example, are the following, which were precisely Pater's sentiments : — "You know how I love secrecy. It is the only thing that can make modern life wonderful or mysterious to us. The commonest thing is delightful if one only hides it." And again, "Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion." There are suggestions of Pater in, "One could never pay too high a price for any sensation"; in "I have known everything, but I am always ready for a new emotion"; in the reference to the young man "w^ho used to say that yellow satin could console one for all the miseries of life;" in the declaration: "Old brocades, green bronzes, lacquer work, carved ivories, exquisite surroundings, luxury, pomp — there is much to be got from all these;" and in the remark: "To become the spectator of one's life is to escape the suffering of life."'^> '^) We do not suggest plagiarism. The two men being very much together naturally coloured each other. LIONEL JOHNSON i6i Here, again, is a passage relating to the Roman ritual that might have come direct from Pater's mouth — "The daily sacrifice more awful really than all the sacrifices of the antique world, stirred him as much by its superb rejection of the evidence of the senses as by the primitive simplicity of its elements and the eternal pathos of the human tragedy that it sought to symbolise." Some of the wit resembles that which subsequently scintillated in his plays, as, for example, when he says of pianists, "Even those that are born in England become foreigners after a time," and some of the sayings could be paralleled by similar pronouncements in his essays as, for example, "The great events of the world take place in the brain." *^' A little later Wilde delighted the Town with his brilliant and witty quaternion of plays. Lady Winder- mere's Fan,^^^ A Woman of No Iviportance,^^^ An Ideal Hnsband,''^'' and The Importance of Being Earnest ;^^^ which brought in from ^3,000 to ;^4,ooo a year, while Pater, even at his best, could never make as many shillings with his literary work. However, with his Brasenose income, his friend Jackson's books, his bed, and his grey Persian cat — christened by Oscar Wilde — "Evening Cloud," Pater found life, as Carlyle would have said, "not altogether unendurable." Pater and Mr. Jackson lost about this time several of their common friends, those whom they mourned most being Canon Liddon, who died 9th September, 1890, and Canon Chamberlain, of Canon In memory of Liddon, Mr. Jackson pre- Liddon and sented to the Church of St. Thomas, Canon Cham- Regent Street, a superb chalice which, we believe, is still used there. Canon Chamberlain <^> A saying stolen from Schopenhauer. '21 Produced 20 Feb. 1892. '^' Produced 19 Apr. 1893. <4) Produced 3 Jan. 1895. '5' Produced 14 Feb. 1895. <6> Vicar of St. Thomas the Martyr, Oxford. i62 LIFE OF WALTER PATER to whose influence in Pater's life we have several times referred, and who had been editor of The Oxford University Herald, a paper to which, we are informed, Walter Pater occasionally contributed unsigned articles,*^' was in his eighty-second year, and had just celebrated the jubilee of his vicariate. He was buried in S. Thomas's churchyard, the spot being marked by an upright cross, standing on a rock. '^' The obituary notice of Mr. Chamberlain in the issue of 30 Jan. 1892 is by Mr. Jackson. CHAPTER XLIII FEBRUARY 1892— DECEMBER 1892 PLATO AND DANTE BIBLIOGRAPHY : 76. The Genius of Plato. Contemporary Review, Feb. 1892. "77. A Chapter on Plato. MacmillarCs Magazine, May 1892. 78. Lacedaemon. Contemporary Review, Jan. 1892. 79. Emerald Uthwart. New Review, June — July 1892. 80. Raphael. Lecture at Oxford, Aug. 1892. Fortnightly Review, Oct. 1892. 81. Introduction to Dr. Shadwell's Translation of Dante's Purgatorio, i to 27. How Pater had departed theoretically from the doctrine of the Perpetual Flux (or rather had sub- ordinated it first to the views of Par- menides, and subsequently to the alter- leg. Pater nately breezy and dreamy philosophy of on Plato. Plato), we have already shown ; '^* and his studies in these subjects ultimately bore fruit in a series of articles on "Plato and Platonism," contributed to the Contemporary RevieivJ^^ Of the ground covered by Pater in the earlier portion of this work — that is to say, the teaching of the Pre- Platonic Heraclitus, Parmenides, and Pythagoras — we gave in Chapter xxxiii."' some account. After dealing affectionately with these pioneers, Pater approaches Plato with his theory of a perfect world above — a Beata Urbs. And it may here be remarked that in devoted Platonists Oxford was at this time particularly rich — 'D Chapter XXXII. <2' They were published in book form in 1893. '3' § 125. i64 LIFE OF WALTER PATER perhaps the most enthusiastic being Professor Jowett and Mr. R. L. Nettleship, who, a few months later, perished of cold and fatigue while ascending Mont Blanc/^' That the Phcedo is "a veritable record" of the last discourses of Socrates Pater does not doubt, for he says, "In the details of what then happened, the somewhat prosaic account there given of the way in which the work of death was done, we find what there would have been no literary satisfaction in inventing." The Chapter entitled "Plato and the Sophists" deals with Socrates' battles with those philosophers who avowedly applied to ethics the physics and metaphysics of Heraclitus; while in that on "The Genius of Plato," an attempt is made to give a clear idea of Plato's personality. Plato is put before us as the lover, the humorist, the teacher, the writer — dying pen in hand. He is "the lover," says Pater, "who is become a lover of the invisible, but still a lover, and therefore, literally a seer, carrying an elaborate cultivation of the bodily senses, of eye and ear . . . into the world of intellectual abstractions . . . filling this world with delightful colour and form, as if now at last the mind were veritably dealing with living people there." And that is Plato's formula. Passing over "The Doctrine of Plato" — a treatise on the Theory of Ideas — we come to the sympathetic and enthusiastic chapter on Lacedaemon — a p^ean in honour of the Spartans. In passages, Pater entirely lets himself go. ''"'Ascesis, ascesis, ascesis," he seems to say, "Oh! if men only understood the importance — the beauty of discipline!" That, indeed, was the constant cry of the latter Pater. Hence his intense interest in these iron men of Lacedaemon with their hard and incessant labours. If asked, says Pater, "why this strenuous task-work, day (1) 23 Aug. 1892. PLATO AND DANTE 165 after day ; why this . . . laborious, endless educa- tion, an intelligent Spartan might have replied, *To the end that I myself may be a perfect work of art, issuing thus into the eyes of all Greece.' " St. Paul, however, who does not seem to have read Pater's Renaissance, who, moreover, certainly shows himself woefully ignorant of the doctrine of "Art for Art's sake," considered that these Greeks took a great deal of trouble for very little. "Now they do it to obtain a corruptible crown," he says — a mere wreath of parsley. The Lacedsemon chapter is an undoubted success, simply because in writing it Pater was doing what he could do better than anyone else. He was drawing imaginary portraits — endeavouring to make the Spartans actually live before us, though he modestly labels it as "only a day-dream about an obscure ancient people, it was always so difficult really to know, who had hidden their actual life with so much success." The last two chapters are on Plato's ^^sthetics and The Republic. Among those who congratulated Pater on the book was, it is delightful to notice, his quondam tutor and enemy Professor Jowett,'^' who, in the pleasure it had given him, was content to let bygones be bygones. Mr. Israel Zangwall gave Pater a shock by telling him that the book contained a pun. When Pater asked anxiously for its precise locality, with a view to its removal, Mr. Zangwill, who said he could not remember, added wickedly, "I do not see why you should remove one of the best things in the book." Something still more dreadful, however, occurs in another of Pater's books, namely, the printer's error on page 43 of the fourth edition of Imaginary Portraits, where we read "Jean Baptiste returned unexpected!)'. I heard his nasty footsteps on the stairs." Of course, it should be "hasty," though perhaps the incorrigible Mr. Zangwill would not have had that meddled with either. ") Jowett died i Oct. 1893. i66 LIFE OF WALTER PATER Of the delicate and charming little autobiographical sketch, Emerald Uthwart, we have in this work several ^,jQ times spoken. We pointed out that "Emerald Emerald is not so much Pater as Pater's Uthwart," ideal, and that while portions relating to 1892. jj^g school at Canterbury have the faith- fulness of a photograph the soldiering incidents are pure fiction. Though airy and light as a dandelion globe, or as Du Bellay's "Winnower's Song," the story of Emerald Uthwart is both stirring and pathetic; one entirely loses one's self while reading it; nor is the pleasure derived from it lessened by the fact that here and there Montaigne is drawn upon, as, for instance, where we hear of the rule, sanitary, almost medical, never to rouse the children.*^' In December, 1890, Pater had been elected a member of the Oxford Dante Society, and during the years 1 891 and 1892 he gave assistance to his ' ^ ®r friend Dr. Shadwell, who was translating on Dante. . ^ .. , , ^ ^ into English the first twenty-seven cantos of Dante's "Purgatorio." The volume, beautifully bound in white cloth, with light red ornament, appeared in 1892; and whether or not the reader agrees with Pater's estimate of Dr. Shadwell as a translator, he will read with deep interest the Introduction — in which Pater, quite unconsciously, lays bare the secrets of his inmost soul. In this little excursus, indeed — this unconsidered trifle — we get nearer to the later Pater than in any other of his writings. After a tribute to Dante's genius — "No one anywhere near him in time had united powers and acquirements so varied" — he takes upon himself to explain how it was that Dante found so little favour among our scholars in the eighteenth century. It was because that period delighted in what Lady Hesketh oddly enough called "generals." One should, by no means, it held, give a f "Emerald Uthwart," Miscellaneous Studies, p. 174. Montaigne's Essays (Dent's Ed.), i., p. 262. TINV. PLATO AND DANTE 169 circumstantial account of anything. The minuteness of Dante's handiwork, indeed, his care for elaboration of detail repelled our forefathers as much as it attracts us. Of the three parts of The Divine Comedy, "The Purgatorio" — "that large park illumined with a polar light and interspersed with groves'^* — should, thinks Pater, be the favourite with the modern student. If the recollection of Pater's atheistical days did not explain why he loved the "Purgatorio" best, and why he clung to the idea of a Purgatory, the following passage, in which he expresses also his belief in the efficacy of prayers for the dead, would alone be sufficient to enlighten us. "An age of faith," he says, "our age certainly is not. The reader of this translation may be interested in doing that for himself, in connection with the belief in a constant, helpful, beneficent inter-action between the souls of the living and the dead, in the immense grace still obtainable for the departed by prayer here;" and those who in polemical mood enquire how Pater came to know that prayers for the dead are effectual — may be told that his belief in them resulted from the perusal of the book already alluded to, written by the Rev. Dr. Lee.*^* An avowed Christian of the High Church type, with leanings tow^ards Roman Catholicism, he now attended regularly the church of St. Barnabas at Oxford, which was remarkable then, as at the present time, for its extreme ritual — but he might also very often be seen in the Roman Catholic Church of St. Aloysius. When he looked back on his past life — on the period of militant atheism *^' — the period when he and the com- panions he had chosen had treated all things religious with derision — when, we repeat, he looked back on this period he found relief in the idea of a Purgatory where the penitent would have additional opportunities for To be exact a cross between a Pomeranian and a King Charles. 176 LIFE OF WALTER PATER very last only superficial. His instincts were all military, and when, arrayed in a blue cocked-hat and clasping a small gun, he mounted guard (as in our picture), all beholders pronounced him irresistible/^* Drum, in short, was a representative of the vita con- templativa, Tiny of the vita attiva. Those were the days of the "Lambeth Judgment,"'^* in which the Archbishop of Canterbury, Dr. Benson, called the making of the sign of the cross 174 Pater '^" innovation which must be discon- and the tinued;" and Mr. Jackson in his "Sarum Bishops. Church of England Kalendar" and other publications not only sided with the clergy of S. Alban's, Holborn, and other churches who openly repudiated the ecclesiastical authority, but also strenuously advocated the use of vestments, unleavened bread, the mixed chalice, incense, lights, "the Position," and the singing of the Agnus Dei and the Benedictns. Pater also heartily approved of the action "of the so-called rebellious clergy." "These bishops," he said, "are a law unto them- selves. I heartily sympathise with all the men who have had the courage to go to a so-called prison in defence of their heart's convictions; and the most ridiculous outcome of it all is the bishops' putting on their heads the mitre and not knowing how to take it off. They receive the mitre with all the pomp and ceremonial of the Roman Church; but instead of removing it with like pomp and ceremonial,'^' they take it off as if it were a tall hat." On another occasion he said : "If the bishops send a man to jail for wearing a '1' Tiny, who out-lived Pater some eighteen months, died in i8g6, aged 17 years. Drum died in IQ04, aged 15. <2) Mr. Jackson's Processional Hymn, "The Sign of the Cross," written in direct opposition to this judgment, appeared in his Kalendar for 1891. <3) In the Roman Church there is as much ceremony in removing the mitre from the head of a bishop as there is in placing it on his head. In the English Church, while there is much ceremony in crowning a bishop, no ceremony at all attends the removal of the mitre. § s ° 'i y. > o o PATER AT BOVVYER PARK 179 chasuble, they ought themselves to be put under lock and key for wearing a mitre — but it is ignorance, and 'there is no darkness in the world except ignorance.' "'^* — an adaptation from Shakespeare which he was very fond of using. One day as Pater was seated in George Eliot's chair, he and Mr. Jackson fell to talking of its former owner; and Pater had abundance to say in praise of George Eliot, whose principal fault, he ' thought, was that she made her characters George too much alike. He said that he pre- Eliot, ferred to all the rest of her works her only historical novel, Romola. "I can tell you," said Mr. Jackson to him, "the true story of George Eliot and George Henry Lewes — a story that gives the lie to all scandal. It is this. "One day,*^' at a dinner party, George Eliot being among the guests, somebody happened to observe that George Henry Lewes was seriously ill, and without a soul in the house to wait upon him. George Eliot pricked up her ears, and then saying, hurriedly, 'Please excuse me, I must go,' she left the table. She made her way straight to Lewes's house and knocked at the door. After she had waited a considerable time the sick man put his head out of the bedroom window and enquired who was there. " 'It is I, Miss Evans,' cried George Eliot. 'I have come to nurse you. Let me in, and I won't leave the house till you are better.' " "That," said Mr. Jackson, with some warmth, "is the true origin of the intimacy between George Eliot and George Henry Lewes, and the beginning of a purely platonic affection which has falsely received another name. They never occupied together the same bed-room." ti) "There is no darkness but ignorance." — Twelfth Night, IV., 2. <2) We presume in 1854. Lewes died in 1878. George Eliot married Mr. John Cross in May 18S0. She died in Dec. 1880. iSo LIFE OF WALTER PATER Pater listened thoughtfully, and he was evidently drawing a mental parallel between his own solitary life and that of Lewes, for after a minute or two's silence he said softly, while patting George Eliot's chair, "This will answer my amours" — meaning, of course, that as the woman who could do so noble a deed was not there, and as, therefore, he could not love her, he would love her chair. On once being asked which is the most remarkable passage in George Eliot, Pater replied : "The words put into Piero di Cosimo's mouth in Romola — 'The only passionate life is in form and colour.' " '^* Mr. Jackson having spoken enthusiastically of S. Thomas a Becket, and having defended him from all traducers, Pater observed softly: "I greatly dislike Canterbury. It puts me too much in mind of fagging and impositions. Had Becket belonged to any other town I could, perhaps, have gone with you. Still I had happy days there with my friends McQueen and Dombrain," and he quoted some of McQueen's sayings. The talk having glided to William Blake, a topic upon which the two friends held but one opinion, Mr. Jackson brought out his Blake treasures : 176. A Talk an engraving of the Canterbury Pilgrims, about Blake's original oil-colour sketch for Dante^Burton Chaucer, several copies of Blake's works and Blake, in proof State, including the plates to the Book of Job, Young's Night Thoughts, and Blair's Grave — all in uncut states, and a copy of the famous "Marriage of Heaven and Hell," coloured in water-colours by Blake's own hand. Pater, after gazing first at one and then at another in absolute silence, at last burst out with : "And these are what Blue-stockings call defective drawings. Defective drawings, indeed ! They are triumphs of art." U) Romold, Chapter VIII. PATER AT BOWYER PARK 183 Blake is often mentioned in Pater's works, and even when his name does not occur his influence is recognis- able. Thus, Blake's expression, "the spiritual form," which was a favourite one with Pater,'^* is used several times in Greek Studies, where Dionysus is regarded as the "spiritual form" of the vine. Pan "of Arcadia." '-* In his eagerness to honour Blake, Pater was unjust to Cowper, against whom, as we have seen, he had contracted a curious antipathy, the result, possibly, of hearing too much about him in childhood. Pater's friends, who had pleasant memories of Weston Under- wood and Cowper's favourite haunts, had praised that neighbourhood to wearisomeness; and Pater held that nothing good could come out of Weston, just as he was of opinion that nothing good could come out of Canterbury. "Cowper," said Pater, "stole all his ideas from Blake" — an amazing enough statement, when we remember that nearly all Cowper's best work was written before 1785, and that Cowper had never even heard of Blake until he met Hayley in 1792. "If," said Pater, "Cowper could have been so blest by the Great Creator as to have been permitted to experience such visions as Blake saw ; if He had seen fit to make Cowper the instrument for revealing to the latter eighteenth century what He had revealed by the poets of the Middle Age, then Cowper would have been the most happy man born out of due time." After a reference to Cowper's "lame verse," by which he meant Cowper's refusal to sacrifice sense to sound, Pater continued : "What I shall never be able to understand is how it was that in Cowper's stupid age of penny Dutch dolls in poetry even scholars (if there were any) should sing the praise of Cowper and entirely ignore the magnificence of the glorious tragedies of Chatterton — tragedies with a living soul and a veritable back-bonp The Pall Mall Magazine, Aug. 1904. o •rH ;z; o ffi o "o z; o u^ < ui S 5 o l/l >H o ^ t; Ph U < o ^-i tr* E s u^ Q 2; H o a; <: 3 o ^. "o J > H-) < ■r o "* p^ i', M < — C 2^ '> < rt S s O c « W ;2 K =Q "THE GREATEST WRITER" 193 though he was still scarcely past middle life, began to cause his friends anxiety, and the solicitude of one of them for him was even pathetic. "He hands Mr. Pater about," people remarked, "as if he were a lady." Though Pater, as we said, had his ardent worshippers, his existence was scarcely noticed by the rest of Oxford ; that is to say, he was not regarded as anybody in particular; and a single anecdote will be sufficient to substantiate our assertion. The year 1892 was the centenary of the birth of Shelley. The poet's praises were in all the newspapers, and the event was celebrated with particular enthusiasm at Horsham, where Mr. Edmund Gosse delivered an address, Mr. Sims Reeves and Miss Ada Tomlinson'^' sang some of Shelley's lyrics, and Miss Alma Murray recited the last scene in the Cenci. Shortly afterwards. Lady Shelley signified her inten- tion of presenting to University College, Oxford, the well-known statue of the dead Shelley, the work of Mr. Onslow Ford. For the reception of it a domed structure was erected close to the college from designs furnished by Pater's friend, Mr. Basil Champneys, and Wednesday afternoon, 14th June, 1893, was fixed upon for the unveiling of the statue. To borrow an expression from the newspapers of the time, all "the men of distinction" in Oxford were invited to be present. Among those who came from a distance was Mr. Gosse, who naturally looked round for Pater. Not seeing him, he called, after the ceremony was over, at Pater's rooms at Brasenose. "Why did you not come?" enquired Mr. Gosse. "I was not asked," replied Pater, softly. It was the same quiet shrinking personality who had been swept into corners in those old tumultuous days at the King's School. Oxford, indeed, had simply left out the one man of <^> Mr. Reeves sang "I arise from dreams of thee," and Miss Tomlinson "The fountains mingle with the river" (Love's Philosophy). 194 LIFE OF WALTER PATER commanding genius among them. It was not a case of forgetfulness. He was not considered important enough. The owlet, the sparrow, the wren, the bat, and even the gnat had been invited, but the bird of paradise was passed over. "Oh Riddle !" to quote from some unpublished lines by Pater, "Oh disharmony in things!'"^' One is glad, however, not to be obliged to associate Pater with the Shelley memorial, which is certainly one of the saddest and most melancholy sights in Oxford, and one which we should not advise anybody to go to see. You feel in that chamber as if you were in a morgue, only worse. The poet is represented just as his poor naked body was taken from the water, and we cannot help thinking that, although the statue is a work of genius, it would have been far better buried. Of Pater's delight in the Greek and Latin classics we have again and again spoken, and no one is likely to forget his remark: "The classic comes to 182. The us out of the cool and quiet of other times, Bust of as the measure of what a long experience '^on?^"'.'^"^^' has shown will never displease us." 20th June, , t-. i 1893. During his later days Pater had a number of fine Greek authors in the original text; but I\Ir. Jackson's collection was far larger than Pater's, and probably larger than that of any other Oxford scholar, while his library was just as rich in Italian and other works bearing on the Greek and Roman classics. One day at Bowyer Park — it was the 20th June, 1893 — Pater took from Mr. Jackson's shelves a magnificent folio volume bound in its original green vellum and entitled, "Veterum Illustrium Philosophorum Poetarum Rhetorum et Oratorum Imagines," etc., etc., published at Rome in 1685. For more than an hour he turned the pages over slowly and in silence — the world of the day absolutely lost to him. By and by he came to the engraving of the bust of Aristophanes, <^' Greek Minstrel's Song. WATER'S BUST OF HOMER. -NOW I.X THE CAMBERWELL CEXTRAL LIBRARY. BV PERMISSION OF THE COMMITTEE. From a fhoto by Albert Flint, OS, Church Street, Camberwell. 'THE GREATEST WRITER" 19: which is preserved in the Uffizi at Florence — the only inscribed representation of x-^ristophanes in existence — whose lettering runs, oddly enough : H ci^iAinniAOT ABHNAIOI "Aristophanes [son] of Philippides the Athenian" — whereas Aristophanes was the son, not of Philippides, but of Philippas. After gazing for a few minutes at the picture, Pater exclaimed suddenly, "How I should like to go down to posterity like that!" And in a sense his desire was gratified, for the lettering on his memorial in Brasenose Chapel is partly in uncial Greek. Then he said, "How I should like to bring out a work consisting of biographies of these Greek and Latin poets — with reproductions of the 'icons' " — that was the word he used — "with the icons in this volume for illustrations. We could do it together." "The idea is an excellent one," followed Mr. Jackson, "and I shall be pleased to assist you in any way." Beyond making a few notes, however, nothing more was done, for Pater had determined, before com- mencing anything else in earnest, to finish a series of sketches, chiefly on subjects relating to Greek thought and mythology, which were to form a second series of Imaginary Portraits. The only sketch finished, however, was that suggested by Domenichino's picture, namely, "Apollo in Picardy,"*^^ which appeared in Harper's Magazine in the November of that year (1893). In Memoriam, W.H.P., a copy of which Dr. Bussell kindly presented to the writer. W) See In Memoriam, W.H.P., p, 3. y "THE GREATEST WRITER" 201 times regretting that the ardour of singing which the undergraduates showed in the Psalms, seemed to abate when they "came to the Magnificat, to him above others, the Song of Songs."'^' To an undergraduate he confessed that he now "read Httle else but the Bible, the Prayer Book, and the Breviary;" and it is remembered that the Marquis of Bute's translation of the Roman Breviary was the book which during his last years he most frequently borrowed from Mr. Jackson's shelves. "His interests," says Dr. Bussell,*^' "centred more and more on the liturgy and fabrics of the Catholic church ; on the truth of the creed from a High Church standard ; on the education of the young in the faith of their fathers . . . He was never happier than when discussing with child- like simplicity and submission some of the cardinal mysteries of the Faith ; and I well recall how he would reprove any symptom of a Rationalizing spirit." His hope was still to take orders,'^* and to pass the remainder of his days in some small country parish; lie pictured to himself a quiet vicarage, an ivy-clad church, and a few simple country folk to whom he could tell the good news which he had once believed, which he had so long disbelieved, and in which he now found all his comfort — namely, that God so loved the world that "He gave his only begotten Son, that who- soever believeth in Him should not perish, but have everlasting life." '■*' He studied the Bible again very carefully, and especially what he called the "sapiential, half-Platonic books" — Proverbs and Ecclesiastes — one of his favourite chapters being the Eighth of Proverbs, Martin's mother was the lovely Court beauty Judith of the Swan Neck — the "Erinna" of Pope's poems, the Aunt Judith of Cowper's Letters. CHAPTER XLVI JANUARY i8g4 TO 30 JULY 1 894 LAST ILLNESS AND DEATH BIBLIOGRAPHY : 85. The Age of Athletic Prizemen. Contemporary Review, Feb. 1894. 86. Some Great Churches in France. Nineteenth Century, March and June 1S94. Among the undergraduates of Brasenose in the nineties was a clever young draughtsman named John Hearn, who used to amuse him- ^^^^ ."!; ^' ^' self by making caricatures of the dons, Spider. , -^ f . . ^ , . ., and among the victims oi his pencil was Walter Pater, who is represented hat on head and umbrella in hand, just as he might be seen any day on the shady side of High Street. The drawing, which is signed with Mr. Hearn's usual pencil-name "J- C* f^- Spider," was done one morning from life in the College Dining Hall. Mr. Hearn, who was an admirable mimic and actor, and was for some time President of the "O.U.D.S." [Oxford Union Dramatical Society], left college about June, 1896, took to the stage, and was for a time, we believe, with the late Sir Henry Irving. Pater rarely sent presentation copies of his books to his friends, but he made an exception in the case of Lionel Johnson, to whom he gave a copy ,„„ ,. , of every- one. On receiving the Plato and 186. Lionel -^ ° Johnson Platonisni, inscribed "With Mr. Walter again, 1894. Pater's compliments," Johnson seized a pen, and with heart all aglow, wrote on the fly-leaf : "Lionel Johnson from Walter Pater, Feb. h-I O y X ^ o y. ^ iri i-i < CQ 'O < < ;< H < '^ CQ O Crt ^ fc- O LAST ILLNESS AND DEATH 207 i8th, 1893. Sancti omnes orate pro scriptore amico meo et benef adore." Prompted by admiration for his friend, Johnson then wrote an article, which he entitled "The Work of Mr. Pater," and which, after he had submitted it to Pater, who praised both its style and the scholarship it dis- played, he sent to the Fortnightly Review^ where it appeared, though not till after Pater's death. Johnson writes with the enthusiasm of a disciple for a master, and with the endeavour to keep in mind the great lesson which Pater taught him, and which Pater teaches us all, namely, the advantage of ascesis. He does not let his enthusiasm run away with him ; yet one can see that he has much ado to control himself. "Charm," he says, "is well- nigh everywhere in Mr. Pater's work, a golden grace upon the delicate sentences; and a charm that is strangely strong." He points out that in Pater we have an artist of the severest kind, and asserts that "there is not one page in Mr. Pater's writings on which the most trivial carelessness can be detected," *^' and he imagines Pater himself using the words which he had put into the mouth of Raphael : "I am utterly purposed that I will not offend." He dwells on Pater's love for constructing imaginary portraits; his hunger for truth; his interest in the young man — Watteau, Duke Carl, Emerald Uthwart, all being "enchantingly young"; his solitariness as a man of letters, his swiftness to perceive analogies, his passion for beauty and clean- ness, his constant straining after perfection, his desire (the same that inspired Flaubert), not to make pretty writing, but to clothe thoughts in precisely the words that they seem to require. Early in the year the honorary degree of LL.D. was conferred on Pater by the University of Glasgow; and though he spoke of the honour disparagingly, because, as he said, it would have come better from his own It is printed in full in the Life of Jowett. (2) See Chapter XXIII. 212 LIFE OF WALTER PATER and eulogistic ; and a considerable portion of it is taken up with the recital of the sterling qualities of the man of whom he could never think without a twinge. The justice of Jowett's conduct towards him he could not see at the time, nor would he acknowledge afterwards; but he never, such was the sweetness of his temper, bore malice against any man — whether for real or fancied wrongs. The boy who had injured him so terribly at the King's School, Dombrain who had renounced him, Jowett who had "robbed" him of three hundred pounds — his feelings towards each were, after a short time, entirely free from acrimony. "Pater's conversation," says Mr. Campbell, "always seemed to me more interesting than his books. Such easy flow of perfect expression, often paradoxical, but always suggestive. His personal excellence, his kind- ness and devotion to home duties were well-known to all his friends." We have already mentioned that although the friendship between Pater and the Rev. M. B. Moor- house in their undergraduate days was 189. The strained, nevertheless it did not snap; Rev. M. B. and Mr. IMoorhouse, who, from 1880 to Tga^r^"^^ 1888, occupied the pulpit of St. Mary 26th March, Bredin, Canterbury, and from 1888, that 1894. of St. Luke's, Bath, never visited Oxford without calling on Pater. About this time it fell to Mr. Moorhouse's turn to preach the University sermon at Oxford, and taking advantage of the opportunity, he called, as usual, on Pater at Brasenose. They had a pleasant chat about old names and times and their studies and recreations — not forgetting the dramatic moustache incident, their bold action in changing their table at Queen's, Pater's pathetic struggles with Browning, Mr. Capes's "Tiger Springs," the poems they wrote together, the argu- ments they had, and the desperate water journey to Godstow. Having heard from a common friend that fVIARlVS John Richard Green died 1883. '2) Greek Studies, p. 170. 2i6 LIFE OF WALTER PATER August 2nd, at Holywell Cemetery, Oxford, the ofiiciating clergymen being the Rev. L. J. M. Bebb, Vice-Principal of Brasenose, and the Rev. F. W. Bussell, and there were also present a number of Pater's old friends and the heads of several of the colleges. Of the numerous wreaths none was more beautiful than that sent by Marius the Epicurean. All was very simple — almost as simple as that funeral referred to by Montaigne, where there was "one servant, one lantern," '^' and precisely what Pater would himself have wished. At Canterbury Cathedral the same day a sermon was preached by the Warden of Keble, who referred appropriately to the event, and the honour in which Pater was held by his old school. A marble cross, inscribed with the words : In te Domine Speravi WALTER PATER Died July 30, i8g4 marks the spot where Pater lies; and on the west wall of Brasenose College Chapel has been placed a beautifully veined marble tablet with a bust of Pater, surrounded with busts of Dante, Michaelangelo, Leonardo, and Plato, and the following mottoes in uncial Greek : — 02 $IA0204>IA2 MEN OY2H2 TH2 MEri2TH2 M0Y2IKH2 [Philosophy being the grandest of music] 02A E2TIN AAH0H 02A 2EMNA 02A ATNA [Whatsoever things are true, whatsoever things are holy, whatsoever things are pure.] The world's indebtedness to Pater, both as a stylist and as an incenser to thought, can scarcely be over- estimated. "His real merit," says Mr. John Payne, "was above everything suggestiveness." "In litera- ture," says Professor Saintsbury, "I know no one who From 84, Waltham Street, Boston. WALTER PATER'S GRAVE. Photo bv //ills a>id SaiDidcrs, Oxford. PATER'S FRIENDS 225 In Gaston de Latour, it is said of the leading character in reference to his old schoolfellows, "Looking back long afterwards across the dark ^^^ period that had intervened, Gaston could mp. McQueen trace their ways through the world. Not and other many of them had survived to his '^'"'ends. own middle-life." So it certainly was with Pater's schoolfellows. Many died young. Frederick Brisbane Butler, Joseph Haydock, the proud tiger-like boy who "was so pleasant to stroke," and other King's School comrades had long been dead.'"^* Of those who survive may be mentioned W. K. W. Chafy (now the Rev. Dr. Chafy), Henry B. Biron (now Vicar of Lympre near Hythe), and George Collard (now Sir George Collard and Mayor of Canterbury). As regards the members of the Triumvirate, Henry Dombrain and J. R. McQueen continued to be friends for many years. Dombrain took his degree in 1863, became curate of Chippenham early in 1864, Rector of Framilode, Gloucester, in 1866, Vicar of Stroud in 1873. He was a diligent, if rather narrow-minded, clergyman, with a furious antipathy to Radicals and Noncon- formists. About 1883 he resigned his vicarage and retired to Clifton, near Bristol, where Mr. McQueen visited him, and he died in the autumn of 1896, leaving a widow but no family. Mr. J. R. McQueen, who at the time of Pater's death, was travelling in Denmark, still resides among his Chailey trees and flowers, his owls and his stone peacocks, though he now and again takes a turn in his "Imaginary Countries," just to see whether the capital of Dodie-land is safe — and to repair now a bastion and now a bridge. And when he is in this mood he recalls the happy days that he, Dombrain and Pater used to spend together in the Precincts at Canter- bury, in the echoing Blean Woods, and at hospitable Blaxlands, with its "syllabubs under the cow." ^1' Haydock died many years ago at Bath. W 226 LIFE OF WALTER PATER Of the friends of Pater's early manhood, one, as we have seen, Richard Robinson, passed away in the seventies. The Rev. M. B. Moorhouse now Hves in retirement at Bath. In 1898 he published his volume, Stories in Verse, the first poem in which is "The Rescue," a metrical version of Pater's "St. Gertrude of Himmelstadt." To come to the friends of Pater's middle and later life, Mr. Edmund Gosse, who has given his impressions of Pater in his volume of essays Critical \' ^ Kit-Kats,'-^^ and elsewhere, has long ago Mp. Gosse. ' & & found his precise niche in life. For literary purposes he has travelled in Scandinavia and Belgium, and his journeys have borne fruit in numerous suggestive essays on Ibsen, Verhaeren and other hyperborean writers. As a writer of poetry he has fallen under the spell of Theodore de Banville, whom he, in one of his volumes, addresses as — Prince-jeweller, whose facet rhymes combine All hues that grow, all rays that shift and shine; and his monographs on Gray, Congreve and Jeremy Taylor; his History of Eighteenth Century Literature ; and the series entitled A Century of French Literature, and other works issued under his editorship are well knowm. In 1903 he was appointed to the Librarianship of the House of Lords. Mr. Thomas Humphry Ward still pursues his successful career, and, besides con- tributing to The Times, has written and edited many books, chiefly on Art, upon which, it is almost needless to say, he is a recognised authority; while Mrs. Humphry Ward has added year after year to her pemarkable series of novels — the latest being Fenivick's Career, founded on the life-story of that glorious man of genius George Romney. Mr. Arthur Symons has, since Pater's death, published several works, the most seductive, perhaps, being his Studies in Prose and Verse, which contains '^^ Published in iqoo. h-1 w < u w w h-1 w O :^ w PC w M -y o H < o o PATER'S FRIENDS 229 an article on Pater; while his articles in the Outlook and other periodicals are read with eagerness by all literary epicures. Mr. George Moore has yearly added to his reputation as a novelist and art critic, and his name is, we need scarcely say, a household word. Dr. Shadwell, who is now Provost of Oriel, has earned the gratitude of lovers of Pater by publishing the various works of his friend that remained in manu- script, and by collecting and issuing in book-form some of the articles that had previously appeared only in periodicals. We trust that he will still further increase their indebtedness to him, by making a volume of the remaining scattered essays and reviews of Pater — including the introduction to his own edition of Dante — an essay which, as we have already pointed out, has a peculiar autobiographical value. Of the eight persons '^' whose names occur in the entry recording Pater's admission as Actual Fellow of Brasenose, Dr. Cradock, the Rev. Frederick Menzies, the Rev. Albert Watson,*^' and the Rev. William Yates are dead. The Rev. Edward Tindal Turner still resides at Oxford, Dr. Hornby is Provost of Eton, the Rev. (now Canon) T. H. R. Shand is Rector of Clayton, Sussex, and Mr. John Davies Davenport is still at the Chancery Bar. Marius the Epicurean — Mr. Richard C. Jackson — still resides at Camberwell, and in a house that can only be described as a literary and artistic Aladdin's Palace. We suppose so many 195. The works of art, valuable books and objects Marius that have belonged to men of genius could scarcely be found anywhere else in the same amount of space, and we are sure that if he were to commence (1) See Chapter XXVI. <2) See "Address given in Brasenose College on Sunday Evening, 27 Nov. 1Q04, in Memory of the Rev. Albert Watson," by Mr. C. B. Heberden, the present Principal. There is also an account of Mr. Watson in The Oxford Magazine, 30 Nov. 1904. 230 LIFE OF WALTER PATER to tell the story of each — and every one has its particular and interesting story — the result would be a string of tales as long as The Arabian Nights, and as ensorcelling. In continuing his warfare in behalf of Christianity of the High Church type, Mr. Jackson used as one of his weapons "Jackson's Church of England Parish Kalendar," which was issued in 1897, as many as 350,000 dozen being sold. The kalendar part, which is illustrated with quaint little figures of bishops, confessors, and virgins, is accompanied by notes and compendious advice, chiefly in reference to religion. Most are excellent, and the following is deliciously Jacksonian : "Only such newspapers should be permitted to fall into the hands of young people, the editors of which are above suspicion. In other words, only such papers as The Church Times and The Guardian should be found lying about the house." There are many sweet thoughts about Prayer and Conversation, but we are attracted most by those on Reflection which commence: "The garden attached to your house . . . affords a beautiful emblem of a Christian's continual progress in the path of virtue. Plants always mount upwards"; and those on "The Actions of the Day," where we are told that "we do not come into the world to perform extraordinary things, but ordinary things extraordinarily well." There are "wholesome directions" respecting ecclesiastical colours and vestments. The year 1901 was associated in many minds with the millenary of the death of Alfred the Great, and no one entered more heartily into the celebrations than Mr. Jackson, who designed for the occasion a medal and a memorial in green bronze, and wrote a book on Alfred. The medal, since known as "The Jacksonian Commemoration Medal" — represents the King within a wreath of the Laurus Nobilis, the "Poet's Bay" — "an exact copy of the portraiture of King Alfred PATER'S FRIENDS 231 which his moneyer placed upon the King's coins, by 'authority' ; '^' and the memorial consists of a medallion of King Alfred set in a frame representing oak leaves and acorns upon a slab of red alabaster, with the inscription : "Alfred the Great, born 849, died goi. I desire to live worthily all my days, that after death I might leave to my successors a memory of good work done. The Millenary of Alfred, 1901. Presented in memory of Queen Victoria by Richard C. Jackson." This memorial was placed in the Sir Henry Tate Public Library at Brixton, and unveiled by Dr. Richard Garnett, 17th September, 1901 ; and as many as ten replicas of it have been placed in various towns of the empire. The book was entitled Alfred the Great of Blessed Memory, and its dedicatory page contains the names of several personages who appear prominently in our pages, including those of Veargett W. Maughan and Walter Blackburn Harte. Mr. Jackson has also erected several memorials to William Blake. Mr. William Sharp died at Castello di Maniace, in Sicily, in December, 1905, at the early age of forty-nine; and a few days later an interesting literary secret was disclosed — namely, his identity with "Fiona Macleod." The Rev. Dr. Lee, who retired from the Anglican ministry in 1899, and was received into the Roman Catholic Church in 1901, died in January, 1902. William Black died on loth December, 1898, and is buried at Rottingdean. The remainder of Oscar Wilde's life may be briefly summarised. To his fall and its terrible sequel, we need do no more than allude. On his release from prison in May, 1897, he j^gg j^g crossed to France, and, under the name Last days of of Sebastian Melmoth, took up his Oscar Wilde. residence at the village of Berneval, near Dieppe, where he wrote the remarkable Ballad of '^> The drawing for the block was made by the black-and- white artist, Ernest Cousins. 232 LIFE OF WALTER PATER Reading Gaol, which appeared in 1898. His last days, owing to his own waywardness and extravagance, were spent in comparative poverty; remorse often haunted his couch — and in 1900, when his end seemed near, he joined the Roman Cathohc Church. As he lay at the point of death, in a lodging-house bedroom in Paris, one of the doctors in attendance whispered to his colleague some rather dubious remark about fees, of which, to judge by appearances, there seemed little likelihood. Oscar Wilde, whom the doctors thought past hearing, turning towards them, gasped with much effort, "Gentlemen, I am afraid I am dying beyond my means." It was his last jest.'^' The end came on 30th November, 1900, his age being forty-six, and he was buried at Bagneux about four miles from Paris. The spot is now marked by a stone inscribed with a cross, the dates of his birth and death and the words : "Verbis meis addere nihil audebant et super illos stillabat eloquiuvi meum. Job xxix., 22."'^^ De Profundis, the exquisitely-written and deeply- moving narrative in which he exposes to view the very bed-rock of his soul, and which was written by him in jail, was published by his literary executor in 1905. To enumerate the many books dedicated to Pater would take up too much space, but we may mention two — namely Euphorion, by Vernon Lee (Miss Violet Paget) ; and The White Book of the Muses, a volume of poems by G. F. Reynolds Anderson, who felicitously likens Pater's soul to an oriel lighted by the colours of sunset. <^> There are several versions of this story. We have given the one which is generally received. <2) After my words they spake not again ; and my speech dropped upon them [like the gentle rain]. ^ a< o ITi O UJ P u < X ' t u: '/I k: w O uj ^ < 3 ''I ^^O J3 K -K 03 to j= o\ ^2 s 1—1 < e fl «> Wo C ki c ( M I H 244 LIFE OF WALTER PATER APPENDIX III INSCRIPTIONS ON THE STONES IN WESTON UNDERWOOD CHURCHYARD Mary Pater died 181Q Martha Church (her sister) 1836 or 1826 Mrs. Timson 1831 Martha Pater 1847 nn Pater i860 enry Pater 1830 or 183Q Joseph Foster Pater 1894 (I) Pray for the Soul of MARY Widow of THOMPSON PATER. Formerly of Newport Pagnell, Who departed this life July 26, 1819. Aged 78 years. MARTHA CHURCH, Sister of the above, Who died June nth, 1836. Aged 81 years. Also MRS. TIMSON, Daughter of the above. May they rest in peace. (2) Pray for the Souls of MISS MARTHA PATER, Who died Feb. i, 1847, Aged 71- MISS ANN PATER, Who died September 23, i860. Aged 81. Also HENRY, Son of MR. JOHN JAMES PATER, Of the Bank of England, Who died August 4, 1830. Aged 5 years. May they rest in peace. Tlic ICnightes tale. Fol.i. ^plom, ajfolDe Copies; _ tcilcnijs; i<^ '€l)«c toag; a Bufec tl)ati)ts^t'C^cfcu,S atil) goncrnour 3nDitil9i3tuncfuc!jca conqucrouc %\iM greater teas non bnDcr tl)c (on i=uU manp a rirt) tountric ^ati Ijc toon l©^at U)iti)tji0tBin)otnc, anDl)i$cl)iu3lric 19c couqucrcD all tl)c rctgnc of ir cmmp 'C'jatiBlirloin tDiis iclcpcD Citl^ca 3ini)Ax)cDDct)tlicciuccttc3lpolita (tountnc 3SnB b;iougl)t Ijcr Ijomc tottt) ^tm into ^tjS mit\) mrticUgloiicanDrolcmnitiCj ainD cfec l^ct rong QQa emcif. 2lin& tljusiuitt) birtouc anOmcIoDp ?lct-3; tlit0U)o?tt)p Imbcto 3tt^cnstU)c 3lnD all \)ieRlat)icoftl)cinallfpaHc l!Dl)an Ojc i:r;o fotoncD toitb a Bcefilp c^rtc, tDljat It mas rutlj fo j 1 fee ant) Ijerc ^Ije ratt!,lo?t! to ttitjom foztnncljstl) pcue ' ?Iltcto?p,anl3 n$t\ ccnqucroz toltuc .Oougijt grcurtt) bs pout gloip anD ^onoiit 23ut IBC bcf dt c poj! of mercp anC totour, 2nl5 i}auc mcrcp offbuc boo ant! Dtlcrcfrcj ^ome Djopc of pttc tl):ougl) tljp genttlncffe aipon bs tt) jcttljctJttipmm let t^oufalU ^oj tcrtejs lojlijt^ nps none of l)js all PLATE FROM THE CHAUCER OF 1598. ^SEirrr: COMEDIA Dim DANTHE ALIGFilERTj*^ poeta oto(no:c6 1 'cfpo (itionc 01' 4Cb:fftopbo .PETRAPCHA impicKatc con Ibmmali^*' ofligeti'areuifla 7 emt data: t o< nuouiflime poMlcadotmta, M D XXIX tm mmm THE DAXTE OF i52g. APPENDIX 249 (3) Jesu Mercy ANN NASH PATER, at rest Sept. 5, 1898. Aged 87 years. (4) Jesu Mercy WILLIAM FOSTER PATER, Formerly of the Bank of England, died at Husborne Crawley, Bedfordshire, June 24, 1874. Aged 69 years. (S) Jesu Mercy FREDERICK LOUDON PATER, at rest May 29, 1901. Aged 62 years, (6) Of your Charity Pray for the soul of JOSEPH FOSTER PATER, C.C, of Hanslope House, Bucks., late of Weston Underwood. Born Nov. 18, 1829. Died Oct. 5, 1894. Jesus Mercy, Mary help. R. I. P. Well done, thou good and faithful servant, enter into the joy of thy Lord. '1' This is the cousin referred to several times in this book. e.g., Chapter III. 250 LIFE OF WALTER PATER (7) Hie Jacet REV. GULIELMUS GREGSON, Romano-Catholicse Ecclesiae sacerdos et per 30 annos hujus Pagi Catholicorum Pastor obiit 18° Octobris anno salutis 1800° ^tatis suae 68' vir fuit ore serenus aoemente sanctus moribus Pauperum Medicus et Amicus. APPENDIX IV ENTRIES IN THE ROMAN CATHOLIC REGISTERS AT OLNEY 1765. Baptism. Ann 1765 die 14 Martii Eliz. Enti Gage Pater filia — Pater et Mariae Uxoris, Sponsores Franciscus Green et Eliz. Colling- ridge. Net signed, but probably by D. John Bened. Daniel or Simpson. 1766. Baptism. Ann 1766 die 28 Octobris Joannes Thompson Pater, filius Thompson Pater et Mariae Uxoris, Susceptores Thomas Colling- ridge et Hester Green. Probably by D. John Bened. Daniel or Simpson. 1768. Baptism. Ann 1868 Die vigessima quinta Martii Maria Pater filia Thomson Pater et Mariae Uxoris, sponsores Joannes Morley et Joana Harrison. Probably by Fr. Daniel or Simpson. 1772. Baptism. Ann 1772 die Junii 9 Johannes Jacobus Pater filius legitimus Tompson Pater de Newport Pagnel in agro Bucks, et Mariae Pater uxoris ejus, sponsores Jacobus Cavenagh et M. Church. Signed, G. Gregson, Jas. Cavenagh. 1776. Baptism. Ann Dom 1776 die Octobris 14 Baptizata Martha Pater filia legit Tompson et Maria Pater, sponsores Gulielmus Hollings- worth et Martha Church. Signed, Wm. Gregson. 1778. Confirmed. Confirmed at Weston — Elizabeth E. Pater, Ann Pater. -tu. A FaVcui OB aCancoiL ^UllMI the fame thai wi caUfj/cea. The'ptopcrfy •I the Falcon, ^Vtjplay of Heraldry. Sea. ML He bcareih.Or, on a CawoM, 7\zure, a taieon i^o- /«»f, wiih Jejjtiand Beth of thefirft, by thenatneof Thtirjlon, This Fvvole hath her T<»//<;«/ or Poxwrc/ in- wardly crooked like a hool^^ and is called in tatine '^"'ff, (^aith CaUfine') Now ijHod f. Thjs is the bearing of the Right Honourable, tbomai^ Lord Sav/leofpomfret^ ViCcount Savile in Ireland, and created la/My Earl of SH/ftx. Of fhis Family is alfo that hopeful! Csnieman, Sir George Sivile Baronefj c^i-. H« A PAGE FROM GVILLIM'S DISPLAY OF HERALDRIE. APPENDIX 253 1797. Baptism. Ann Domi 17Q7 die Janii 1 Baptizatus Henricus, Thomson Church Pater filius legit Johannis et Pater, sponsores De Connei et Maria Pater. Signed, Wm. G[regson]. 1800. Baptism. Ann Domi 1880 Die Janii 19 Baptisatus Josephus Pater filius Johannis et M. Pater, sponsores Thos. Hopkins et Maria Pater. Signed, Wm. Gregson. 1804. Ann Pater stood sponsor to Thomas Harris 29 Jan. 1804. 1835. Baptism. Die — Maii 1831 natus et die 20 Junii 1835 baptizatus fuit Johannes Jocobus Pater (subcon) filius Johannis Jacobi Pater et Sarae Pater conjugium. A me. Signed, Seth Eccles Miss° Ap. 1836. Baptism. Die i4to August 1834 natus et die i4to Maii 1836 baptizatus est Henricus Pater (subcon) filius Johannis Jacobi et Sarae Pater conjugium. A me Signed, S. Eccles Miss Api.'s. 1837. Convert. 1S37 Susan Church. APPENDIX V EXTRACTS FROM THE REGISTER OF THORNTON, NEAR STONY STRATFORD, IN THE COUNTY OF BUCKINGHAM 161S William the sonne of Robert Pater and his wife was baptised ye eleaventh day of October. 1646 Ann Pater ye daughter of Rob : Pater was buried July 15th anno praed. 1646 Burialls Ann Pater the daughter of Rob : Pater was buried July 15th 1652 Emme the wife of Robert Pater was buried the three and twentieth day of August. 254 LIFE OF WALTER PATER i6s4 Anne the daughter of Robert Pater and Elizabeth his wife was baptized i8th of February. 1656 Mary the daughter of Robert Pater and Elizabeth his wife Bapt, 16 January. i6s8 Jane ye daughter of Robert Pater and Elizabeth his wife Bapt. 18 July. 1659 Robert Pater was buried 29th November. Anno Domini 1684 Elizabeth Pater, widow, was buryed on ye nth July 1686, after having lyen about seven weeks without any evacuation down- wards and most of ye time not upwards neither. APPENDIX VI BIBLIOGRAPHY OF WALTER PATER 1. S. Elizabeth of Hungary (poem) ... ... 1856 Spring 2. The Chant of the Celestial Sailors (poem)... 1856 Spring 3. Poets Old and New (Poem) 1856 Aug. 4. Cassandra (poem) ... ... ... ... 1857 June 2g 5. Watchman, what of the Night? (poem) ... 1858 Summer 6. Chant of the Celestial Sailors when they first put to Sea (lost poem) ... ... 1858 Autumn 7. S. Gertrude of Himmelstadt (lost prose story). All we have is a metrical version by the Rev. M. B. Moorhouse 1858 Xmas. 8. To N.R.N. [JohN RainieR McQueeN] (lost poem) ... ... ... ... ... ... 1859 March 3 g. Inscription for ye Poets Booke (doubtful) 1859 March 10. Song of the Mermaid (lost poem) 1859 11. Justification, an essay in prose (lost) ... 1859 12. My Cousin (only one verse preserved) ... 1859 13. The Acorn, written in an album at Heidel- berg (poem) 1859 Oct. 14. The Fan of Fire : a Study from Words- worth (poem) 1859 Nov. 15. Sonnet on Oxford Life i860 Mar. 27 16. Greek Minstrel's Song from Iphigenia ... i860 17. Diaphaneite ... ... ... ... ... 1864 18. Coltridge (Westminster Review) 1866 Jan. ILLUSTRATION FROM SEBASTIAN BRANDT'S EDITION OF VIRGIL. PUBLISHED IN 1502. ILLUSTRATION FROM SEBASTIAN BRANDT'S EDITION OF VIRGIL. PUBLISHED IX I5C2. APPENDIX 259 IQ. Winckelmann (Westminster Review) ... 1867 Jan. 20. Esthetic Poetry, written 1868 21. Notes on Leonardo da Vinci (Fortnightly Review) 1869 Nov. 22. Sandro Botticelli (Fortnightly Review) ... 1870 Aug. 23. Pico della Mirandola (Fortnightly Review) 1871 Oct. 24. Poetry of Michaelangelo (Fortnightly Review) 1871 Nov. 25. Studies in the History of the Renaissance. It contained : — (19) Winckelmann (21) Leonardo da Vinci (22) Sandro Botticelli (23) Pico della Mirandola (24) Poetry of Michaelangelo and in addition — Aucassin and Nicolette Luca della Robbia Joachim du Bellay Conclusion. 26. Wordsworth (Fortnightly Review) ... 1874 April 27. Measure for Measure (Fortnightly Review) 1874 Nov. 28. Review of Renaissance in Italy, the Age of the Despots. By John Addington Symonds (Smith Elder 1875) (Academy) i885july3i 2Q. Demeter and Persephone. Lectures delivered 1875 (Fortnightly Review) 1876 Jan. and Feb. 30. Romanticism (Macfnillan's Magazine) ... 1876 Nov. 31. A Study of Dionysus (Fortnightly Review) 1876 Dec. 32. The School of Giorgione (Fortnightly Review) 1877 Oct. 33. The Renaissance : Studies in Art and Poetry (second edition) ... 1877 Aucassin and Nicolette is called "Two Early French Stories," The Conclusion is omitted. 34. The Child of the House (Macmillan's Magazine) 1878 Aug. Reprinted by Mr. H. Daniel 1894, and in Miscellaneous Studies 1895. 35. Charles Lamb (Fortnightly Review) ... 1878 Oct. Reprinted in Appreciations 1889. 36. Love's Labour Lost, written 1S78 (Mac- millan's Magazine) ... ... ... ... Dec. 1885 Reprinted in Appreciations 1889. 37. The Bacchanals of Euripides, written 1878 (Macmillan's Magasine) ... 1889 May Reprinted in Tyrrell's Edition of the Bacchae 1892, and in Greek Studies 1895. 26o LIFE OF WALTER PATER 38. The Beginnings of Greek Sculpture (Fortnightly Review) 1880 Feb. and Mar. Reprinted in Greek Studies 1895. 3Q. The Marbles of JEginz (Fortnightly Review) ... 1880 April Reprinted in Greek Studies 1895. 40. Dante Gabriel Rossetti written ... ... 1883 Appeared in Appreciations 1889. 41. Marius the Epicurean, 2 vols. ... ... 1885 42. A Prince of Court Painters (Macmillan's Magazine) ... ... ... ... ... 1885 Oct. Reprinted in Imaginary Portraits 1887. 43. Feuillet's La Morte written 1886 Published in second edition of Appre- ciations 1889. 44. Sir Thomas Browne written 1886 Published in Appreciations 1889. 45. Four Books for Students of English Literature (The Guardian) 1886 Feb. 17 46. Amiel's Journal luiime (The Guardian) 1886 Mar. 17 47. Sebastian van Storck (Macmillan's Magazine) ... ... ... ... ... 1886 March Reprinted in Imaginary Portraits 1887. 48. Denys I'Auxerrois (Macviillan's Magazine) 1886 Oct. Reprinted in Imaginary Portraits 1887. 49. Duke Carl of Rosenmold (Macmillan's Magazine) 1887 May Reprinted in Imaginary Portraits 1887. 50. Imaginary Portraits ... ... ... ... 1887 It Contained : — (42) A Prince of Court Painters (47) Sebastian van Storck (48) Denys I'Auverrois (49) Duke Carl of Rosenmold 51. Review of Symons' Introduction to the Study of Browning (The Guardian) ... 1887 Nov. 9 52. Review of Lemaitre's Serenus (Macmillan's Magazine) 1S87 Nov. 53. Review of Robert Elsmere (The Guardian) 28 Mar. 1888 54. Gaston de Latour (Macviillan's Magazine) June — Oct. 188J 55. The Renaissance, Third Ed. ... ... 1888 (32) "The School of Giorgione" is added to the work, and the "Conclusion" is restored. 56. Review of Doran's Annals of the English Stage. Reprinted as "Their Majesties' Servants." 57. Review of Life and Letters of Flaubert (Fall Mall Gazette) 25 Aug. 1888 ILLUSTRATION FROM SEBASTIAX BRAXDT'S EDITION OF MRCilL. PUBLISHED IX 1502. APPENDIX 263 58. Style (Fortnightly Review) Dec. 1888 Sg. Review of The Complete Poetical Works of Wordsworth, Ed. bv J. Morley (Athenceum) ... 26Jan. 1SS9 60. Reviews of three editions of Wordsworth (The Guardian) 27 Feb. 1889 61. Review of Svmons' Davs and Nig;hts, "A Poet with something to say" (Pall Mall Gazette) ." 23 Mar. 1889 62. Review of "Is it Thyself?" by Mark Andre RafFalovich (Pall Mall Gazette) ... ... 15 April 18S9 63. Review of Fabre's Toussaint Galabrii (Nineteenth Century) ... ... ... April 18S9 64. Review of Fabre's "Norine" (Guardian) 12 June 1889 65. Hippolytus Veiled (Macmillan's Magazine) Aug. 1889 66. Giordano Bruno (Fortnightly Review) ... Aug. 1889 67. Review of '"'Correspondence de Gustave Flaubert" (Athenceum) ... 3 Aug. 1889 68. Appreciations, with an Essay on Style ... 1889 It Contained : — (18) Coleridge. {19) Winckelmann. (20) ^Esthetic Poetry. (26) Wordsworth. (27) Measure for Measure. (30) Romanticism (Postscript). (35) Charles Lamb. (36) Love's Labour Lost. (40) Dante Gabriel Rossetti. (44) Sir Thomas Browne. (58) Style. 69. Review of a Century of Revolution, by W. S. Lilly (Nineteenth Century) Dec. 1889 70. Art Notes in North Italy (New Review)... Nov. 1890 71. Prosper Merimee Lecture, 1890 Nov. (Fortnightly Review) ... ... Dec. 1890 72. Appreciations, Second Ed. ... 1890 "^Esthetic Poetry" is omitted ; Feuillet's La Morte (43) takes its place. T^. Review of the Contes of M. Augustin Filon (Tlie Guardian) ... ... ... ... 1890 74. Mr. Gosse's Poems (The Guardian) 1890 Oct. 29 75. Review of Dorian Gray (Bookman) ... Nov. 1891 76. The Genius of Plato (Contem-porary Review) 1S92 Feb. yy. A Chapter on Plato (Macynillan's Magazine) 1892 May 78. Lacedaemon (Contem-porary Review) ... 1892 June 79. Emerald Uthwart (Neif Review) 1892 June 80. Raphael, Lecture, Aug. 1892 (Fortnightly Review) Oct. 1892 264 LIFE OF WALTER PATER 8i. Introduction to The Purgatory of Dante (Purgatorio, i — 27); translated by C. L. Shadwell. 82. Mr. George Moore as an Art Critic {Daily Chronicle) 10 June 1893 83. Apollo in Picardy (Harfer's Magazine) ... 1893 Nov, 84. Plato and Platonism ... 1893 It contained : — (76) The Genius of Plato. (77) A Chapter on Plato. (78) Lacedaemon, and other articles. 85. The Age of Athletic Prizemen (Contem- porary Review) ... ... ... 1894 86. Some Great Churches in France — Notre Dame d'Amiens, Vezelay (Nineteenth Century) 1894 Mar. and June POSTHUMOUS WORKS 87. Pascal. Written 1894 Appeared in (Contemporary Review) Dec. 88. Greek Studies. It contained : — (29) Demeter and Proserpine. (31) A study of Dionysus. {^-j) The Bacchanals of Euripides. (38) The Beginnings of Greek Sculpture. (39) The Marbles of yEgina. (65) Hippolytus Veiled. (85) The Age of Athletic Prizemen. 89. Gaston de Latour. 90. Miscellaneous Studies 1900 (17) Diaphaneite. (34) The Child in the House. {70) Art Notes in North Italy. (71) Prosper Merimee. {79) Emerald Uthvvart. (80) Raphael. {83) Apollo in Picardy. (86) Notre Dame d'Amiens; Vezelay. (87) Pascal. gi. Essays from the Guardian ... ... ... 1901 (45) English Literature. (46) Amiel. (51) Browning. (53) Robert Elsmere. (56) Their Majesties' Servants. (59) Wordsworth. (64) Ferdinand Fabre. (73) The Contes of M. Filon. {74) Mr. Gosse's Poems. WOOD-CUT FROM THE EDITION OF HOMER. I'lBLlSHKD AT VKXICK 1 525. APPENDIX 267 APPENDIX VII BIIUJOGRAPHY OF MR. RICHARD C. JACKSON 1. The Very Rev. Provost Nugee ... 187Q 2. The Golden City — Keble College Poems ...Oxford 1883 3. The Risen Life London 1883, 1886, 1889, i8q4 4. His Presence ... London 1884, 1887, 3rd Ed. no date 5. Jackson's Kalendar 1886 to 1893 6. Divine Poems London 1892 (pub. anon.) 7. In the Wake of Spring London 1898 8. King Alfred Medal of igoi. Westminster Review, Y>qc. iqoi 9. Alfred the Great London igoi 10. Love Poems ... ... ... ... ... London 1902 11. Articles in The Oxford University Herald, South London Observer, Camberwell and Pechham Times, and other papers. APPENDIX VIII BIBLIOGRAPHY OF REV. CANON CAPES (PATER'S TUTOR) 1. Early Roman Empire 2. Age of the Antonines 3. University Life in Ancient Athens 4. Stoicism 5. Livy xxi., xxii., with Notes 6. Polybius — Achaean League, with Notes 7. Sallust, with Notes ... ... ... '... 8. English Church in 14th and 15th Centuries 9. Rural Life in Hampstead (History of Bramshott) 1876 1877 1877 1880 1 8 So 1888 1888 1000 1903 APPENDIX IX ILLUSTRATIONS FROM THE WORKS BELONGING TO MR. RICHARD C. JACKSON I. The Chancer of 1598. Three plates. The Title page is as follows : — The Workes of our Antient and learned English Poet, Geoffrey Chaucer, newly printed. In this Impression you shall find these additions : — 1. His Portraiture and Progenie shewed. 2. His Life collected. 3. Arguments to every Booke gathered. 4. Old and obscure words explained. 5. Authors by him cited, declared. 6. Difficulties opened. 7. Two Bookes of his, never before Printed. London : Printed by Adam Islip, at the charges of Bonham Norton. Anno 1598. This work (one of the treasures of Mr. Jackson's library), is in Black Letter. 268 LIFE OF WALTER PATER One day, when Pater and Mr. Jackson were visiting an acquaintance, Pater chanced to take vip a rather rare little book called Chaucer Modernised. He remarked that he had never seen it before, and frankly admitted that he was entirely ignorant of the literature connected with Chaucer; that, more- over, of Chaucer himself and his work he knew very little. "Of course," he added, "I have heard of the Canterbury T ales, but I did not know that they were considered of sufficient importance to be modernised." "And you educated at Canterbury !" cried Mr. Jackson. "Why every man, calling himself an Englishman, should be well versed in the Canterbury Tales / Still, being a Tutor of Oxford,'^' it seems natural that you should know nothing about the masterpieces of English Literature. But come tc my library and I will show you a work which cannot fail to open your eyes." Pater duly presented himself early one morning, and Mr. Jackson placed before him the magnificent Black Letter Chaucer above described. Opening the book. Pater gave an exclamation of wonder and delight, and all that day he sat poring over its pages, scarcely saying a word. Towards evening he observed : "How is it that I never heard of this till to-day? Our English Education is rotten to the core. We are deluged with Greek and Latin, and of our own glorious literature our schools teach us next to nothing — indeed we seem to be ashamed of it. Books like this or facsimiles of them ought to be in all schools and colleges — preserved, for con- venience of inspection, in glass-cases — but the really pious student should be allowed to handle and study them." Then, pointing to the portrait of Chaucer, he said : "This portrait, dight with heraldry, has as much within it as a vast number of the so-called commentaries of the Bible." 2. The Dante of 152Q. This 152Q edition of the Divine Comedy has, in addition to five large wood-cuts (one of which is a whole page portrait upon the back of its title-page), a wood-cut to every canto. The volume consists of 295 folios, and the commentary is by the famous Christophoro Landino. It was printed in Venice by Jacob del Burgofranco. Pater studied this volume carefully during his latter 3'ears, and he would have written a work on Dante had his life been spared. 3. Guillim's Disflay of Heraldry. Fourth Edition. Printed in London by T. R. for Richard Bleme, in 1660. This edition — which is the only complete one — is of great importance. It is a folio, and Pater took a particular interest in Mr. Jackson's copy, because every coat had been properly coloured by hand at the time of publication. He said of it : "This book, and other books on Heraldry, ought to be exhibited at all Public Schools, so that young gentlemen might become interested in the 'Science of Gentlemen.' " '^' The ignorance of English Literature among the Professors and Tutors of Oxford in those days was appalling, and even to-day only a few of them make any pretensions to a knowledge of the subject. ILLUSTRATION FROM THE EDITION OF HOMER. PUBLISHED AT VENICE 1 525. APPENDIX 271 4. Sebastian BrandVs Edition of Vigil 1502. With 447 folios and 212 designs, many of which are the size of the page. Clean and perfect copies of this book, which has a thousand and one attractions for the scholar, are very rare. The commentary is by Christophoro Landino. Johannis Gruninger, Argent 1502. For further particulars see Dibden's Greek and Latin Classics, Vol. II., p. 542. This work gave Pater a longing to make a new translation of Virgil. He said : "Could night be turned into dav I would do it." 5. The Homer of 1525. Four plates. This magnificent edition of Homer was published at Venice in 1525. See Uibden's Greek and Latin Classics for its history. When Pater first saw Mr. Jackson's copy he stood as if thunderstruck; and exclaimed : "You are the 'Liar of Truth,' for no scholar — not one in ten thousand writers has ever heard of, much less seen, what you now present to my gaze — a Homer of this period with over a hundred wood-cuts." APPENDIX X ADDITIONAL NOTES COXCERNIXG PATER AND HIS FRIENDS Chafter ZZZ//.— The Lamb Quartette at Christ's Hospital consisted of : — Lamb ... ... admitted 17 July 1782 Coleridge ... ... ... ... admitted 17 July 1782 Jackson (Francis) presented 12 May 17QO Hunt (Leigh) presented 23 Nov. 1791 Pater was introduced to Mr. Richard C. Jackson by Canon Lightfoot, afterwards Bishop of Durham. ELEGIAC STANZAS. Written in "Maritis the Eficurean." By Richard C. J.ackson. (Referred to in Chapter xxxii.). First fruits of labour latest found With grace enough to charm the hours W^hich come and go, one's praise to sound In ivor towers ! Thou comest where rich flow'rs abound Where ilex-trees all gem the ground. By golden gate of ivor towers. Unwritten thoughts are fragrant flowers, Vv^hen such within the heart are found. While books beguile the passing hours In ivor towers. By love's sweet powers. 272 LIFE OF WALTER PATER You greet me as your Marius ! Me Who swell'd for thee life's minstrelsy, In ivor towers. I say to thee, Within my ;;arden I enclose Your spirit with a damask rose, Of ivor towers. Christ Church, Oxford (Canon Liddon's Rooms) iS^A November, 18S5. JOY STANDETH ON THE THRESHOLD A REVERIE OF WALTER PATER. (Referred to in Chapter xxxii.). Joy standeth on the threshold of each new delight, As in that spirit true men take of roses white : Of roses fill'd all through with joyaunces divine, As in that beauty rare / worship at its shrine. Your darling soul I say is enfiam'd with love for me : Your very eyes do move, / cry, with sympathy : Your darling feet and hands are blessings rul'd by love, As forth was sent from out the Ark a turtle dove ! Oh, how I watch'd the travail of your pensive soul. Oh, sweetness unto sweetness grew to make me whole ! With lilies white thou shinest as fair Luna's brow ; The while thy latent thought, my joyance doth endow. d,th August. Circ. 1887-Q. Of Mr. Jackson's friendship with various distinguished men of letters, and of his religious views, which were "in advance of those of Hurrell Froude," w-e have already spoken. Some of his most pungent and sarcastic sallies against the Bishops of the Church of England appeared in the Church Echo, of which he and Dr. Lee, of Lambeth, were proprietors. At the time they were written the Rev. A. Tooth and other Ritualistic clergymen were in prison. It is more pleasant, however, to recall Mr. Jackson as a philanthropist. Often during the inclement months of the year "Count d'Orsay's double," as he has been called, might be seen at night, in shabby attire, seeking out the poor and suffering in such quarters as the Thames Embankment, and providing them with shelter and breakfast. ILLUSTRATION FROM THE EDITION OF HOMER. rilJLlSHED AT VENICE 1525. ILLUSTRATION FROM THE EDITION OF HOMER. PUBLISHED AT VENICE 1 525. APPENDIX 277 Even now, when his health permits, he often goes on these errands of mercy. When Pater, in the company of Mr. Jackson, first entered the Dulwich College Art Gallery, "he declaimed in his thinnest of silvery voices, ^Gloria iti cxcelsis Deo, et in terra -pax hominibus hon(s voluntatis . . . Deus Pater onwifotens.' " Once, when Pater was standing before some of the Italian pictures in the National Gallery, he said to Mr. Jackson : "I marvel that there should ever have been any divorce from the one true Church of Christ, since God had placed within the reach of ordinary minds such extraordinary manifestations of Biblical truth, displaying at once the economy of the Divine Mind for the edification of mankind." In St. Alban's, Holborn, he said to Mr. Jackson : "How good God is to us when we kneel to pray here. He shows to us his hands and feet and wounded side. I only wonder why He will not take us." Chafter XXXVI. Commenting on Mr. George Moore's remarks, Mr. Jackson writes : "Walter Pater detested the chatter of Blue-stockings and the common-place conversation of dinner- parties. What Mr. Moore stigmatises as 'the dullest houses in London' were, in, fact, the households of pious Churchmen and scholars." "Call mv books," said Pater to Mr. Jackson, "'the Chalice of Humanity,' or 'the Mother of Sorrows' Children,' and I shall be content." There are excellent articles on Pater in The Oxford Magazine for 7th Nov. iqo6, and John Bull 8th Sept. IQ06. The former is by Edward Manson who first saw Pater in the autumn of 1860. After describing Pater's room "with a dwarf orange-tree, with real oranges on it," on the table, Mr. Manson observes : "In person Pater was slight and gracefully made, though a little round shouldered . . . and he walked 'delicately' . . . He had one of those faces that laughter does not become. Laughter gave him a saturnine, Mephistophelean look. Report said that he had sat to Solomon the painter for the portrait of Judas Iscariot." Speaking of the Re-public of Plato, Pater "once said he thought it had been taken too seriously as a system of philosophy when it was fnobably only a jeu d'esprit." He much admired De Quincev, and remarked in reference to "the stony-hearted step- mother," and the tendered-hearted Ann, "Yes, one wonders sometimes whether he didn't dream the whole thing." Speaking of Pater as a lecturer, Mr. Manson remarks, "He treated all systems [of philosophy] with grave respect, simply putting their leading tenets before you. . . . Part of the piquancy of the situation lay, in fact, in the mystery of Pater's own views." He used to say, "The most fatal thing in life is to form habits. Habit dulls our sensibility to the rich and varied drama which is going on all around us." Chapter XXXVIII. "Your long sentences," said Mr. Jackson to Pater, "are a terrible infliction on the reader." "Oh," replied Pater, "all men take a long breath at times." Chapter XLVI. Pater calls St. Ignatius Loyola, "the purest of saints." INDEX "Acorn, The," i. iSi. Adlin^ton (William), ii. 82. Ainsworth (Harrison), i. 104. Alford (Dean), i. 113. AmieVs J otirnal. ii. q2. Andrew (William), "The Arch- angel," ii. 45. Anecdotes — Flowers of Sealing- Wax, i. 21. He did not want a Black Eye, i. 52. The Viper on the Door Handle, i. 52. How Much for that Damaged Tart? i. s6. Mr. Teal, i. 59. Punch Ordered into Norfolk, i. 69. The Boy and the Rope, i. Pater's Rival, i. 93. A Dreadful Kick, i. no. Sage and Onions, i. 113. The Blaxlands Incident, i. 143- No Missions ever did any Good, i. 155. He Poked the Tutor, i. 156. Perhaps they won't sec it, i. 159. Sconcing, i. 162. Plato's Rubbish, i. 1S7. Rather a Hot Day, i. 1S8. Story of a Moustache, i. 192. Starveling Ceremonies, i. 202. Not the Son of his Father, i. 225. Pattison and the Burglar, i. 253- You've lost me £^^0, i. 259. Dinner for Two, ii. 69. Sanctuary, ii. 118. Young Tigers, ii. iig. You're a Fool, ii. 126. We Overheard You, ii. 126. Pater and the Glove, ii. 130. The Professor and his Hat, ii. 137. What is the matter with X ? ii. 137. "Apollo in Picardy," ii. 94, 1Q7. A-pfreciations, ii. 133, 149, 150. "Archangel, The," ii. 45. Aristophanes, Bust of, ii. 194, 197. Arnold (Matthew), i, 150, 151; his "Scholar Gipsy," 173; his "Airs," 173, note; Mr. Luke (in The New Re-public) ii. 12. Pater on, 23; a Manuscript of his, 59 ; Wilde^ on, 159- r>^ •i."(^4fitay~.'itt^'fO Art for Art's Sake, i. 229. * ' ' Ascesis, ii. 62, 164. Athenceum, The, quoted, ii. 104. Athens in London, ii. 187. Austin's (Saint), ii. 31, 37. "Bacchanals, The," ii. 3. Balzac, Pater on, ii. 89. Barber (H. W.), i. 187. Barlow (Dr. H. Clarke), ii. 20. Barnahy Rudge, i. 124. Bathe (Rev. Anthony), ii. -^-j, 118, 141. Bcatson (Anby), i. 44. Becket (Brother a), ii. 32, 41. Bellew (Rev. J. C. M.), i. 1O5. Bell Harry Tower, i. 70. Belvedere Apollo, The, ii. 129. Benson (Archbishop), ii. 176. Benson (Mr. A. C), Preface, i. 256. ii. 10. Berwick (T. J.), i. 184. Bewsher (Rev. C. W.), i. 107. Bible Quotations, ii. 114. Bibliography (Pater's), ii. 254. Birchall (Rev. Oswald), i. 239. Biron (Henry B.), i. 80. ii. 225. Birrell (Mr. Augvistine), quoted, i. 15. Black (William), ii. 42. Dines with Pater, Harte, Garnett, and Jackson, 69. Blake (William), ii. 69; "The Road of Excess," 88; "Ah, Sunflower," 89, quoted 113; his plates to Job, Night Thoughts and Blair's Grave, 180; Pater on 183. Blaxlands, i. 105 ; unpleasant incident at, 143. INDEX 279 Blean Woods, i. 104. Blessed City, Heavenly Salem, ii. 134. Bonnet, Wilde and the, ii. 124. Bookman, The, ii. 159. Boswell's Life of Johnson, i. 197. Bowyer Park, ii. 173. Brasenose College, i. 211. Breaking with Christianity, i. 167. Brimstone and Treacle, i. 164. Brookhouse, Chailey, i. 125. Browning (Mr. Oscar), i. 232. Browning (Robert), i. 172; his Artemis Prologises quoted ii. 5. Pater on, 23. Bruno, ii. loi. Buchanan (Rev. John), i. g. Burgon (Dean), ii. 138. Burn with a Gem-like Flame, i. 245. Burton (Robert), ii. 51, 184. Burton (Sir Richard), i. 47. ii. Qi. Bussell (Rev. Dr.), i. 91. ii. 198, 202, 222. Butler (Frederick Brisbane), i. 139, 187. ii. 225. Bywater (Mr. Ingram), i. 161. Camberwell the Golden, ii. 41. 45. Campbell (Rev. Professor Lewis), i. 196. ii. 113, 211. Capsicum (Uncle), ii. 118. Cardinal Newman, ii. 34. Carlyle (Thomas), ii. 21. Cecilia (Saint), ii. 86. Chadwick (J. W.), i. 155. Chafy (W. K. W.), i. 47, Sg, 97, 142, 204. ii. 225. Chailey, i. 125. Chase Side, i. 20. Chamberlain (Rev. Thomas), i. 201 ; dies, ii. 161. Champneys (Mr. Basil), ii. 193. Channing (Sir F. A.), i. 190. ii. 141. "Chant of the Celestial Sailors, The," i. loi. "Chant of the Celestial Sailors, when they first put out to Sea," i. 137. Chatterton, ii. 55, Pater on, 183. "Child in the House, The," i. 23. ii. 80. Church (Dean), ii. 19. Church (Mary), i. 6. Coleridge (Samuel T.), i. 225. Collard (Sir George), i. 43. ii. 225. Collingridge (Mr. W. H.), i. II, note. Cologne, Pater at, i, 183. Cornwall, Pater in, ii. 59. Cowper Museum at Olney, i. 11. Cowper, the Poet, i. 5, 10, 11 ; Pater on, ii. 183. Canterbury, i. 34. Capes (Rev. W. W.), Canon, i. 154, 160; Bibliography, ii. 267. "Cassandra," i. 118. Cats (Pater's), i. 22. ii. 141. Cradock (Dr.), i. 212, 221, 222; dies, ii. 88. Creighton (Rev. Mandell), after- wards Bishop of London, i. ^ - ?59- . ,, Critical Kit-Kats, i. 167. Croft (Archdeacon), i. 60. Crystal Man, The, i. 211. Cumnor, Pater at, i. 171. Dane House, ii. 55. Dante, ii. 19, 169, 170, 184. Dante Society, The, ii. 166. Darmesteter (Madame), ii. 217. Darwin's Origin of Species, i. 203. Davenport (Mr. J. D.), i. 211. David Cop-per field, i. 39. Dawkes (Mr. Henry), ii. 34. DehretVs Peerage, Wilde on, ii. 127. Decay of Lying, The, ii. 159. "Denys I'Auxerrois," ii. 93. Demeter, ii. i, 3. "Diaphaneite," i. 211. Dickens, i. 39, 123. Little Dorrit, 124; Pater on, ii. 116. Dilke (Lady). See Pattison (Mrs.) Dilke (Sir Charles), i. 254. Dinner for Two, ii. 69. Dionysus, ii. i. Dodgson (Rev. C. L.), "Lewis Carroll," i. 240. Dodie-land, i. 86. Dombrain (Henry), i. 78, 120; renounces Mr. Woodall, 181. ii. 225. 28o LIFE OF WALTER PATER Domenichino, his Apollo and Hyacinthus, ii. q4, iq/. Dorian Gray, ii. 156. "Drum" (the cat), ii. 175. "Duke Carl of Rosenmold," ii. 94. Durham (G. H.), i. igo. Duval (Philip), i. 123, 187. Earl's Terrace (No. 12), ii. qi. Eliot (George), ii. 173, i7q; Ro)nola, 180. Ellicott (Rev. G. A.), afterwards Bishop of Gloucester and Bristol, i. 139. Emberton (near 01ne\), i. 11. "Emerald Uthvvart," i. 16, iq, 87, 94. ii. 166. Emerson quoted, i. 15. Enfield, i. 19. Enfield Palace, i. 23. Escott (Mr. T. H. S.), i. 154. Eugenia (Aunt), ii. 118. Euterpe, The breath of, ii. 62. "Fan of Fire, Xhe," i. 182. Feuillet's La Morte, ii. 152. Fisher (Mr.), of the King's School, i. 44. Fish Hall, i. 25. Flaubert, ii. 107. Gabriel (Miss V.), i. 132. Gallon (Mr. Arthur), ii. 155. Garnett, Dr., ii. y2,. Gaskell (Mrs.). Her Life of Charlotte Bronte, i, 190. Gastoii de Latour, i. 87 ; ii. loi to 106. Gaudy, The, ii. 130. Gautier (Theophile), i. 229, 230. Genealogical Table of the Paters, ii. 241. Gosse (Mr. Edmund), i. 167. 252. ii. 52; on "Denys I'Auxerrois," 93 ; on Pater's dress, 132, and the Shelley Memorial, 193; his career, 226. Graham, i. 21. Greek Studies, ii. i to 9, gi. Green (J. R.), i. 159. Green (T. H.), i. 150. Gregson (Dr. William), i. 9. Grenfell (E .F.), i. 184. Grosvenor Park (Camberwell), ii. 42. Guava (Aunt), ii. 118. • Hadlow, i. 25. Hardy (Thomas), ii. 155. Harrison (Archdeacon), i. 60. Harte (Walter Blackburn), ii. 69 ; at Oxford with Pater, 74 ; in America, 74 ; sends Pater ties, 75 ; dies, 222. Haydock (Joseph), i. 96. Hearn (Mr. John), "J. C. R. Spider," ii. 204. Heberden (Mr. C. Buller), ii. 148. Heidelberg, Pater at, i. 161, .178.. Heine, i. 149. ii. 93. Henry VIII., i. 40. Hippolytus, ii. i, 4. His Presence, ii. 66. Homer, The Camberwell bust of, ii. 128. Homer, The 1525 edition, with wood - cuts, ii. 81, and appendix. Hooker (Richard), i. 107. Hoole (J. W.), i. 174. Hornby (Rev. Dr.), i. 221. Hospital of St. Nicholas, i. -106. Howell's Familiar Letters, li. 184. Howley (Archbishop), i. 105. Hughes (Miss), i. 201. Humanism, i. 243. Imaginary Portraits, ii. 91 to 97- Ingoldshy Legends, i. 36. Italy, Pater in, i. 225. Ivory Coffer, The, ii. 6. Jackson (Captain), ii. iq. Jackson (Mr. Richard C), Original of Marius the Epicurian, ii. 19; his Kalendar, 76; at Grosvenor Park, 81 ; at Bowyer Park, 173; sends a wreath for Pater's grave, 216; Biblio- graphy, 267; some his books, 267 ; Count d'Orsay's double, 272; with Pater at Dulwich, 277; in St. Alban's, Holborn, 277. John Bull quoted, ii. 277. INDEX 281 Johnson (Lionel), ii. 154, 204, 221. Jones (Mr.), the organist, i. 44. Jones (Pater's Rival), i. Q3. Jovvett (Dr.), i. 150, 195; his Salutary Whip, 255. ii. 10; Dr. Jenkinson of The New Refublic, 12, and Pater's Plato a/id / latOHism, 165 ; Life of, 21 1. "Judas," ii. iig. Kalendar (Jackson's), ii. 76. Kearney (Rev. J. B.), i. 117, iSo; his threat, 188; writes to the Bishop of London, 207. Keble, i. yj, 150. Kenilworth (Scott's), i. 171. Kennedy (Mr. Charles), ii. 156. Kingsley (Charles), i. qq, 167. King's School, Canterbury, i. 33. Lace Tells, i. 10. Lacemaking, i. q. Lamb (Charles), i. iq; Ruskin on, ii. 55, 56; Lamb's Library, 151, 174 . Lambeth judgment. The, ii. 176. Lecky's Ma-p of Life, quoted, i. 189. Le Gallienne (Mr. Richard), ii. 154- Lenore, Burger's Ballad, i. 123. Lee (Rev. Dr.), ii. 143 to 147, 169 -, dies, 231. Lewes (George Henry), ii. 179. Liddon (Canon), i. 150. ii. 19; Conversation with Mr. Jack- son, 75; Pater on, 130; dies, 161. Little Dorrit, i. 124. Love Poems (Mr. Jackson's), ii. 47. Lyall (Dean), i. 60; dies, 112. Macaulay's Works, i. 191. Madan (Mr. Falconer), ii. 106, 203. Madan (Judith), ii. 203. Madan (Martin), ii. 203. Mallock (Mr. W. H.), ~ ii. 10 to 18. Manson (Mr. Edward), quoted, ii. 277. Maolciaran, i. 170. Map of Life (Leckv's), i. i8g. Maritis the Efictirean, i. 135, ii. 51, 59, 80 to 89. Marriage, Pater on, ii. 131. Martinet (Monsieur), i. 44. Martin (Sir Theodore), ii. 175. Maughan (William Veargett), ii. 99. McQueen (General), i. 84. McQueen (J. Rainer), i. 1, 84, 167, 169; loathes the whole affair, 176; his threat, 188; hates Oxford, 195 ; takes his degree, 206 ; on Mr. Mallock, ii. 18; at Chailev, 229. McQueen (Robert), 'i. 84, 169, 193- Maurice (Rev. J. F. D.), i. 167. Merimee, ii. loi, 135. Mermaid, Song of a, i. 164. Monck (Mr. G. C), ii. 118. Monna Lisa, i. 249. Moore (Dr. Edward), i. 154. Moore (Mr. George), ii. go; "Audacious Moore," 95; Pater's Review of his Modern Painting, ii. 189. Moore (Rev. Robert), i. 60. Moorhouse (Rev. M. B.). i. 161, and card-playing, 175, and Pater's Moustache, 193; visits Pater, ii. 212; Appen- dix, L Morley (Mr. John), i. 243. Moustache, Storv of a, i. 192. Mozley (Mrs. H."), i. 131. Munich, Pater at, ii. 24. Napoleon IIL, Pater's remark on, ii. 28. Narcissus, Statue of, ii. 129. Neale (Dr. John Mason), ii. 21. Nearer to Me, ii. 2>3- Nettleship (Edward), ii. 117. Nettleship (Henry), ii. 117. Nettleship (John Trivett), i. 231 ; ii. 1 17. Nettleship (R. L.), ii. 117; dies, 164. Newman (Cardinal), ii. 34. New Republic, The, ii. 10. Noel (Rev. Montague H.), ii. 203. Nonconformists, Pater on, ii. 129. Norman (Sir Henry), ii. 189. Norman Staircase, The, i, 36, 5'- Xorthcote (A. B.), i. 184. 282 LIFE OF WALTER PATER Norton (Mrs.), i. 39, 56. Norton ("the man with the leg"), i. 36. Norwood Greek Cemetery, 11. 187. Nugee (Father), ii. 31, 2,7- O.C.R. (Order of Corporate Re-union), ii. 143. Olney, i. 5, 6, q, 10, 11; The Cowper Museum, 1 1 ; the Spinnies at, 153 ; Mr. Dawkes of, ii. 34; Entries in the Catholic Registers, 250. O'Shaughnessy (Arthur), i. 231. Owls at Chailey, i. 129. Oxford, i. 145. Pachisi, i. 131. Palmerston (Lord), i. 112. Pansies, Pater on, ii. 62. Pater (Admiral), i. 2. Pater (Ann, of Liverpool), i. 34, i6s. ^ , Pater (Ann, of \\ eston Under- wood), i. Q. Pater (Elizabeth), "Aunt Bessie," i. 12, 15, 21 ; dies, 209. Pater (Foster), i. 165, 205, 209. Pater (Hester), Walter's Grand- mother, i. 12; dies, 25. Pater (Jean Baptiste), the artist, i. 2. Pater (John James, of Southsea), i. 9- Pater, Maria (Pater's Mother), i. 12, 76 ; dies, ^j. Pater (Martha), i. 9. Pater (Mira), Mrs. Goodwin, i. 16, 103. Pater (Richard Glode), Walter's Father, i. 12. Pater (Thompson, the First), i. 2. Pater (Thompson, the Second), i. 6, 15. Pater (Walter), Birth, _ i. 12; at Enfield, 19; at Fish flail, 25 ; at Harbledown, 33 ; at the King's School, 2>2>\ at Chailey, 125; at Queen's College, 145 ; Burns his poems, 199; at Brasenose College, 211 ; as "Mr. Rose," ii. 12, 15; in Walworth and Camberwell, 41, 45; death, 215; Bibliography, 254 ; at the Dulwich Gallerv, 277; in St. Alban's, Holborn, 277; Mr. Edward Manson on, 277; on De Quincey, 277 ; his long sentences, 277. Pater (W^illiam), Walter's uncle, i. 12. Pater (William Thompson), Walter's brother, i. 12, 138, 165 ; dies, ii. 98. Pater Poke, The, i. 13. "Patience," ii. 127. Pattison (Mark), i. 253; dies, ii. 88. Pattison (Mrs. Mark), Lady Dilke, ii. 12, 105. Pascal, ii. 208 Paul ayid Virginia, ii. 102, 117. Payne (John), on "The Poets of The Neo-Romantic School," i. 230 ; his Rime of Re- demption, 231 ; his Flowers of France quoted, 249, 250, ii. 188; his "Last of Hercules" quoted, ii. 2 ; his "Building of the Dream" quoted, 5. Pink Hawthorn, i. 89. Plato and Platonism, ii. 60, 163. "Plato's Rubbish," i. 187. Pope (W. H.), i. 187. Price (Bonamy), i. 259. Professor and his Hat, The, ii. 137. Purgatorio, Pater on The, ii. 169. Pusey (Dr.), ii. 19. Pj'e (a King's School boy), i. 69. Queen's College, Oxford, i. 145. Rase (Monsieur), i. 44, 48. Reichel (Oswald J.), i. 184. Renaissance, The, i. 243 to 254. Renan quoted, ii. 217. Renison (Mr.), i. 154. Risen Life, The, ii. 66. Ritualism (Pater's), i. 141. Robert Elsmere, i. 208. "Robertson of Brighton," i. 212. Robinson (Richard), i. 240. Rome in London, ii. 187. Rome, Pater in, ii. 60. Rossetti (Dr. G.), ii. 23; Mr. R. C. Jackson on, 24. Rost (Dr. Reinhold), i. 44, 47- Rothenstein (William), ii. 202. INDEX 28- Ruskin (John), "Mr. Herbert," of The New Refuhlic, ii. 12; Pater on, 23 ; Conversation with Mr. R. C. Jackson, 55. Russell (Dr.), the Terrible, i. 36, 83. Saint Alban's, Holborn, ii. 27, 28. Saint Aloysius's, ii. 129, i6g. Saint Austin's Priory, ii. 31, Saint Barnabas (Oxford), ii. i6q. "Saint Elizabeth of Hungary," i. gS. "Saint Gertrude of Himmel- stadt, i. 163. Saint Ignatius Loyola, Pater on, ii. 277. Saintsbury (Professor), ii. 216. Saint's Day, A., i. 64. Samson and the Philistine (Statuary Group), ii. 51. Sanctuary Anecdote, ii. 118. Sankey (Rev. Philip Menzies), i. 44, III, 177. Sappho, ii. 116; edited by Wharton, 128. Satan in Search of a Wife, ii. 20. Sayce (Professor), i. 241. "Seven Against Christ," i. 195. Shadwell (Dr. C. Lawrence), i. 225, 243. ii. 103; his edition of the Purgatorio, 166, 22g. Sharp (Mr. William), i. 134, note. ii. 23 ; visits Pater, ii. 59 ; on Mariiis the Eficurean, 87 ; dies, 231. Sharp (Mrs. William), ii. 8g. Shelley Memorial, The, ii. igo. Siddon (Mr. John P.), ii. 48. Skene (Felicia), i. 201. Snakes, i. 52, ii. 8g. Snow Fights, i. 51. Snow's Restaurant, ii. 184. Solomon (Simeon), i. 231. Spider (J. C. R.), Mr. John Hearn, ii. 204. Spires, Pater at, i. 178. Spurgeon (Rev. C. H.), i. 164. Stanley (Rev. A. P.), afterwards Dean, i. 60, 134, 150; his lectures, 156. Stendhal, his Chartreuse of Parma and Red and Black, ii. 116. Stone (Canon), i. 60. Style, Pater on, ii. 107. Symonds (John Addington), i. i4g, ig4. ii. 115; on Apfrcciations, 153. Symons (Mr. Arthur), on "Denys I'Auxerrois," ii. g3 ; on Imaginary Portraits, 95 ; on Pater, 141, 150; his Nights and Days, i4g; his Studies in Prose and Verse, 226. Swinburne (Mr. A. C), i. i4g, ig7, 208, 230 ; his Phadra, ii. 4, note ; Pater on, 23 ; quoted, 103. Tears at Oxford, i. 145. Tennyson quoted, i. 13S. ii. 23. Thackeray, i. 191. ii. 116. Thom (Mad), i. 104. Throckmorton Family, i. 5. "Thvrsis" (Arnold's)," i. 153. Teai (Mr.), i. sg. "Tiger Springs," i. 155. Tiny (the dog), ii. 175. Tip and Nep, i. 55. Toe-y, i. 44. Tonbridge, i. 25, 2g. Toynbee Hall, Pater lectures at, ii. 47. Triurnvirate, The, i. 87 ; dissolved, igg. Urbs Beata, ii. 6i, 84. Uthwatt Family, i. 16. Verlaine, ii. gs. Viper George, i. 52. Wallace (Rev. George), i. 39, 92, 112, 119, 141; preferred to Burghclere, 177. Walworth, ii. 41. Ward (Mr. Humphry), i. 260; on Brasenose Ales, i. 261. ii. 45. Ward (Mrs. Humphry), i. 102, 260, ii. 92 ; her Robert Elsmere, 117. Warriors' Chapel, i. g5. "Watchman, What of the Night?" i. 137. Watson (Rev. Albert), ii. 88. Watteau, ii. 92. Watts-Dunton, Mr. Theodore. ii. 105, and "The Renascence of Wonder," in. Weir of Hermiston, i. 84, tiote. 284 LIFE OF WALTER PATER Weston Underwood, near Olney, i. 5, 6, g, 10, II, 16; inscrip- tions of the Pater stones, ii. 244, 249. Wilde (Oscar), ii. 10; on Marhis the Eficurean, 87; on Pater's style, no; outline of his career, 120; on art, 135 ; dies, 231. Willis (H. M.), i. 184. Winckelmann, i. 232. Windebank (Colonel), ii. 138. Woodall (Rev. E. H.), i. go, 177 ; goes over to Rome, 180, I go. Wood (Robert Henry), i. 174, ig2. Wordsworth (Bishop), i. 23g. Wordsworth (the Poet), i. 102. Worms, Pater at, i. 178. Wharton (Dr. H. T.), his "Sappho," ii. 128. White Pink, Pater on the, ii. 62. Yonge (Miss Charlotte), i. 131. Zangwill (Mr. Israel), i. 231. ii. 165. THE LIBRARY UNIVERSITY OF CALIFORNIA Santa Barbara THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW. Ff , -Vi»k|g^QT .si c ■') Series 9482