Retracing our steps towards London, we come to the George at Walham Green, which turns off to the left. The church stands on the right hand side. Opposite Walham House, near the church, is North End Lodge, the residence of the late Mr. Albert Smith, and where he died on the 23rd May, 1860. As novelist, dramatist, and lecturer, he had achieved considerable reputation; and his unexpected death, at the early age of forty-four, brought to a sudden close the most popular monologue entertainment of this, or of any, time. Mr. Smith was an amusing writer and a most genial companion, and was ever ready to a.s.sist a professional brother in the hour of need. Against the brick wall, close to the gate of North End Lodge, is a slab with the inscription "From Hyde Park Corner, 3 miles 17 yards." We are now in North End, where there are many houses of interest which deserve attention; we will therefore go out of the direct road and return to London by way of North End.

CHAPTER VI.

NORTH END.

NORTH END may be described as a series of residences on each side the lane, more than a mile in length, which runs from the church at Walham Green to the main road from Kensington to Hammersmith. There were but few houses in it when Faulkner published his map in 1813. Market gardens were on both sides the road, and the gardeners cottagers were very old.

[Picture: Panelled Door] The panelled door, here represented, was fitted to one of them, and evidently was fashioned in the seventeenth century.

The celebrated bookseller, Jacob Tonson, lived for some time at North End. At York Cottage, which is on the right hand side of the road, about a quarter of a mile from the church, resided for many years Mr. J. B.

Pyne, the landscape painter. At a short distance beyond, the road from Old Brompton crosses into Fulham Fields. Here, at one corner, is a house (Hermitage Lodge) which was originally constructed as stables to the residence of Foote, the dramatist and comedian, {196} which still stands on the opposite side of the road leading to Brompton, and where he lived for many years, expending large sums upon its improvement. It is now called "The Hermitage," and is completely surrounded by a large garden enclosed by high walls.

[Picture: Hermitage Lodge (1844) and The Hermitage]

Exactly opposite to this house, in the angle of the road, stands an old house in a moderate-sized garden (Cambridge Lodge). Francis Bartolozzi, the celebrated engraver, who arrived in England in 1764, came to reside here in 1777. He was born at Florence in 1730, and died at Lisbon in 1813. His son, Gaetano Bartolozzi, father to the late Madame Vestris, was born in 1757, and died August 25th, 1813. Pa.s.sing up the road, beside market gardens, is the old garden wall of Normand House, with some curious brick gates (now closed in): the house is very old; the date, 1661, is in the centre arch, over the princ.i.p.al gateway, and it is said to have been used as a hospital for persons recovering from the Great Plague in 1665. [Picture: Bartolozzi's House] Sir E. Bulwer Lytton has resided here. In 1813 "it was appropriated for the reception of insane ladies" (Faulkner), and it is now a lunatic asylum for ladies, with the name of "Talfourd" on a bra.s.s plate. A little further on the road, out of which we have turned, is a cottage to the right named Wentworth Cottage. Here Mr. and Mrs. S. C. Hall once resided. The willow in front of the cottage was planted by them from a slip of that over the grave of Napoleon at St. Helena. The land opposite this cottage is now to be let on building lease. This district, now known as "Fulham Fields," was formerly called "No Man's Land," and according to Faulkner, the local historian, contained, in 1813, "about six houses." One of these was "an ancient house, once the residence of the family of Plumbe," which was pulled down about twenty-three years ago, and replaced by a cl.u.s.ter of dwellings for the labourers in the surrounding market gardens, which extend from Walham Green nearly to the Thames in a north-west direction; "the North End Road," as it is called, forming the eastern boundary of "Fulham Fields." To establish the connection of Sylvester's lines, quoted in the late Mr. Crofton Croker's Paper on the "Golden Lion," with this locality, the antiquary who pointed it out observed that-

"Our poet had an uncle named William Plumbe, who resided at North End, Fulham, having married the widow of John Gresham, the second son of Sir John Gresham, who was Lord Mayor of London in 1547, and which lady was the only daughter and heir of Edward Dormer of Fulham. Here it was, while visiting his uncle, that Sylvester formed the attachment which is the subject of his poem (see the folio edition of his works, 1621). Uncle Plumbe had been a widower; and from monuments which exist, or existed, in the parish church of Fulham, appears to have departed this life on the 9th February, 15934, aged sixty. In the previous May, his widow had lost her son Edmund (or Edward) Gresham, at the age of sixteen; and seriously touched by the rapid proofs of mortality within her house, from which the hand of death had within twelve months removed both a husband and a child, made preparations for her own demise by recording her intention to repose beside their remains: and to her husband's memory she raised, in Fulham Church, a monument 'of alabaster, inlaid and ornamented with various-coloured marble,' leaving a s.p.a.ce after her name for the insertion of the date of her death and age, which appear never to have been supplied."

The arms of "Dormer, impaled with Gresham," we are told remain, "those of Plumbe are gone." Sylvester's "Triumph of Faith" is consecrated "to the grateful memory of the first kind fosterer of our tender Muses, by my never sufficiently honoured dear uncle, W. Plumb, Esq." It is not our intention to linger over the recollections connected with the age of Elizabeth in Fulham Fields or at North End, although there can be no doubt that a little research might bring some curious local particulars to light connected with the history of the literature, the drama, and the fine arts of that period,

The gardens here provide the London markets with a large supply of vegetables. A very primitive form of draw-well was common here, consisting of a pole, balanced horizontally on an upright, the bucket being affixed to a rope at one end. [Picture: Draw-well] The pole is pulled downward for the bucket to descend the well, and when filled, is raised by the weight of wood attached to the opposite end of the pole.

This mode of raising water is still in use in the East, and Wilkinson, in his 'Manners and Customs of the Ancient Egyptians,' Series I. vol. ii. p.

4, has engraved representations of this machine, from paintings on the walls of Thebes, of the time of the Pharaohs. [Picture: Cottage in Fulham Fields] In "Fulham Fields" are still standing many old cottages, inhabited by market-gardeners. A sketch, taken in 1844, of one of the best examples then existing, is here given as a specimen.

A little beyond "Wentworth Cottage," the road branches off, the turning to the right going to Hammersmith, and that to the left leading to Fulham. Hammersmith was a part of Fulham until 1834, when it was formed into a separate parish by Act of Parliament.

[Picture: Elm House] Returning to the lane at North End, immediately beyond Bartolozzi's house, is an old wall, apparently of the time of Charles II., enclosing a tall peculiar-looking house, now called Elm House, once the residence of Cheeseman the engraver, of whom little is known, except that he was a pupil of Bartolozzi, and lived in Newman Street about thirty years ago. He is said to have been very fond of music, and having a small independence and less ambition, he was content to engrave but little, and with his violoncello and musical friends, pa.s.sed a very happy life.

A little further on the opposite side of the road stood Walnut-Tree Cottage (pulled down in 1846), once the residence of Edmund Kean, and also of Copley the artist, which took its name from the tree in the fore-court. [Picture: Walnut-Tree Cottage] We then come to the North End Sunday and Day Schools, erected in 1857. The road here curves round by the wall of Kensington Hall, a large mansion on the right, built by Slater, the well-known butcher of Kensington, and it has been called in consequence Slater's Mansion. It is at present a school, kept by Mr. and Mrs. Johnson, but it is to be let or sold.

A little further to the left is Deadman's Lane. Here, in the midst of garden grounds, stands a venerable and isolated fabric, which would appear to have been built in the reign of James I. This lane leads to Hammersmith, but a more agreeable way has been made opposite Edith Villas, called Edith Road. The land is to be let on building lease; and here once stood the house of Cipriani, the painter. [Picture: Cipriani's House] Cipriani was born at Florence, in 1727, and died in London in 1785. He came to England in 1755; and he was one of the members of the Royal Academy at its foundation in 1769, when he was employed to make the design for the diploma given to Academicians and a.s.sociates on their admission, which was engraved by Bartolozzi. The character and works of this artist are thus described by Fuseli: "The fertility of his invention, the graces of his composition, and the seductive elegance of his forms, were only surpa.s.sed by the probity of his character, the simplicity of his manners, and the benevolence of his heart." A few plates were engraved by himself after his own designs.

Another curve of the road brings us to the site of Dr. Crotch's house, where a row of houses, called Grove Cottages, have been built. [Picture: Dr. Crotch's House] Dr. Crotch was, in 1797, at the early age of twenty-two, appointed Professor of Music in the University of Oxford, where he received the degree of Doctor of Music. In 1822 he was appointed Princ.i.p.al of the Royal Academy of Music. He performed for the last time in public in 1834 in Westminster Abbey, during the royal festival, and died 20th December, 1847, while sitting at dinner. Dr.

Crotch has composed numerous pieces for the organ and pianoforte, and published, in 1812, 'Elements of Musical Composition and Thorough Ba.s.s,'

and subsequently specimens of various styles of music of all ages. W.

Wynne Ryland, the engraver, lived in this house before Dr. Crotch inhabited it.

Opposite where Dr. Crotch's house formerly stood, facing a turning which is called on one side Lawn Terrace, on the other Ashton Terrace, is a large brick mansion inhabited by Richardson the novelist before his removal to Parson's Green. It is of the period of William III., the appearance of which may be recognized from the annexed sketch. In the garden was a summer-house, in which the novelist wrote before the family were up, and he afterwards, at the breakfast table, communicated the progress of his story. [Picture: House of Richardson] How little the exterior has been altered in the last fifty years, a comparison of this sketch, made in 1844, with the print prefixed to the 4th volume of Richardson's 'Correspondence,' will show at a glance. Sir Richard Phillips's print was published by him May 26, 1804. Then, as now, this mansion was divided into two houses, and the half nearest to the eye was that occupied by the novelist, the other half was the residence of a Mr.

Vanderplank, a name which frequently occurs in 'Richardson's Correspondence.' Richardson's house has been subsequently inhabited by the late Sir William and Lady Boothby, the latter, better known to the public as that charming actress Mrs. Nisbett. A few extracts from 'Richardson's Correspondence' may here prove interesting.

One of the most romantic incidents in the business-like and hospitable life of Richardson, was his correspondence with, and introduction to Lady Bradshaigh, the wife of a Lancashire Baronet, whom he tried to prevail upon to visit him at North End. After the appearance of the fourth volume of Clarissa Harlowe, a lady, who signed herself Belfour, wrote to Richardson, stating a report that prevailed, that the history of Clarissa was to terminate in a most tragical manner, and requesting that her entreaties may avert so dreadful a catastrophe.

This correspondence with Mrs. Belfour commenced in October, 1748; and she thus concludes her letter to the novelist, her ladyship taking care to mystify her ident.i.ty by giving her address, Post-office, Exeter, although resident at Haigh in Lancashire. "If you disappoint me," she writes, "attend to my curse."

"May the hatred of all the young, beautiful, and virtuous for ever be your portion, and may your eyes never behold anything but age and deformity! May you meet with applause only from envious old maids, surly bachelors, and tyrannical parents; may you be doomed to the company of such! and after death may their ugly souls haunt you!

"Now make Lovelace and Clarissa unhappy if you dare!

"Perhaps you may think all this proceeds from a giddy girl of sixteen; but know I am past my romantic time of life, though young enough to wish two lovers happy in a married state. As I myself am in that cla.s.s, it makes me still more anxious for the lovely pair. I have a common understanding, and middling judgment, for one of my s.e.x, which I tell you for fear you should not find it out."

The correspondence thus commenced goes on, until the vanity of Richardson induces him to describe to his unknown correspondent his private circ.u.mstances: and to a hint given in the January following by Lady Bradshaigh, of her intention to visit London before she is a year older, when she "shall long to see" Mr. Richardson, and "perhaps may contrive _that_, though unknown to him," he replies,-

"But do not, my dear correspondent (still let me call you so) say, that you will see me, _unknown to myself_, when you come to town.

Permit me to hope, that you will not be personally a stranger to me then."

This is followed by an acknowledgment from Madame Belfour, that she is not his "Devonshire lady," having but very little knowledge of the place, though she has a friend there; observing archly, "_Lancashire_, if you please;" adding an invitation, if he is inclined to take a journey of two hundred miles, with the promise of "a most friendly reception from two persons, who have great reason to esteem" him "a very valuable acquaintance."

Richardson responded to this invitation by another-

"But I will readily come into any proposal you shall make, to answer the purpose of your question; and if you will be so cruel as to keep yourself still incognito, will acquiesce. I wish you would accept of our invitation on your coming to town. _But three little miles from Hyde Park Corner_. I keep no vehicle."

(This was before the age of omnibuses.)

-"but one should be at yours, and at your dear man's command, as long as you should both honour us with your presence. You shall be only the sister, the cousin, the niece-the what you please of my incognito, and I will never address you as other than what you choose to pa.s.s for. If you knew, Madam, you would not question that I am in earnest on this occasion; the less question it, as that at my little habitation near Hammersmith, I have common conveniences, though not splendid ones, to make my offer good."

Richardson, in the letter from which this pa.s.sage has been extracted, is again led away by his vanity into a description of his person, and very plainly hints at a meeting in the Park, through which he goes "once or twice a week to" his "little retirement." He describes himself as

"Short, rather plump than emaciated, about five foot five inches; fair wig; lightish cloth coat, all black besides; one hand generally in his bosom, the other a cane in it, which he leans upon under the skirts of his coat usually, that it may imperceptibly serve him as a support, when attacked by sudden tremors or startings and dizziness."

. . . "Of a light-brown complexion; teeth not yet failing him; smoothish faced and ruddy cheeked; at some times looking to be about sixty-five, at other times much younger; a regular even pace, stealing away ground, rather than seeming to get rid of it; a grey eye, too often overclouded by mistiness from the head; by chance lively-very lively it will be if he have hope of seeing a lady whom he loves and honours; his eye always on the ladies"-and so on.

In return to this description, Lady Bradshaigh on the 16th December, 1749, half promises a meeting in an appointed place, for she tells the elderly gentleman with "a grey eye, too often overclouded by mistiness from the head," but "by chance lively," "that she will attend the Park every fine warm day, between the hours of one and two. I do not," adds this perfect specimen of a literary coquette,

"Say this to put you in the least out of your way, or make you stay a moment longer than your business requires; for a walk in the Park is an excuse she uses for her health; and as she designs staying some months in town, if she misses you one day she may have luck another."

And Lady Bradshaigh proceeds to present, as if in ridicule of Richardson's portrait as drawn by himself, her own.

"In surprise or eagerness she is apt to think aloud; and since you have a mind to see _her_, who has seen the King, I give you the advantage of knowing she is middle aged, middle sized, a degree above plump, brown as an oak wainscot, a good deal of country red in her cheeks: altogether a plain woman, but nothing remarkably forbidding."

Any one might think that a meeting would immediately have followed these communications, and that the novel-writer and the novel-reader would have presented themselves to each other's gaze for admiration, at the time and place appointed, and thus the affair which their letters have left upon record might have been satisfactorily wound up in one volume. But this did not accord with the sentimental typographical taste of the times, which required the dilution of an idea into seven or eight volumes to make it palatable. For we are told that a young Cantab, who, when asked if he had read Clarissa, replied, "D---n it, I would not read it through to save my life," was set down as an incurable dunce. And that a lady reading to her maid, whilst she curled her hair, the seventh volume of Clarissa, the poor girl let fall such a shower of tears that they wetted her mistress's head so much, she had to send her out of the room to compose herself. Upon the maid being asked the cause of her grief, she said, "Oh, madam, to see such goodness and innocence in such distress,"

and her lady rewarded her with a crown for the answer.

January the 9th (174950) has arrived-the tantalizing Lady Bradshaigh, the unknown Mrs. Belfour has been in London six weeks, and the novelist begins "not to know what to think" of his fair correspondent's wish to see him. "May be so," he writes,

"But with such a desire to be in town three weeks; on the 16th December to be in sight of my dwelling, and three weeks more to elapse, yet I neither to see or hear of the lady; it cannot be that she has so strong a desire."

Let any one imagine the ridiculousness of the situation of "dear, good, excellent Mr. Richardson" at this time. He had, he confesses,

"Such a desire to see one who had seen the King, that" (he speaking of himself, says) "though prevented by indisposition from going to my little retirement on the Sat.u.r.day, that I had the pleasure of your letter, I went into the Park on Sunday (it being a very fine day) in hopes of seeing such a lady as you describe, contenting myself with dining as I walked, on a sea biscuit which I had put in my pocket, my family at home, all the time, knowing not what was become of me.-A Quixotte!

"Last Sat.u.r.day, being a fine warm day, in my way to North End, I walked backwards and forwards in the Mall, till past your friend's time of being there (she preparing, possibly, for the Court, being Twelfth Night!) and I again was disappointed."

On the 28th January, nineteen days after this was written, Lady Bradshaigh, in a letter full of satirical banter, which, however, it may be questionable if Richardson did not receive as replete with the highest compliments to his genius, says,

"Indeed, Sir, I resolved, if ever I came to town, to find out your haunts, if possible, and I have not 'said anything that is not,' nor am at all naughty in this respect, for I give you my word, endeavours have not been wanting. You never go to public places. I knew not where to look for you (without making myself known) except in the Park, which place I have frequented most warm days. Once I fancied I met you; I gave a sort of a fluttering start, and surprised my company; but presently recollected you would not deceive me by appearing in a grey, instead of a whitish coat; besides the cane was wanting, otherwise I might have supposed you in mourning."

Could anything exceed this touch about "a grey, instead of a whitish coat," except the finishing one of the "mole upon your left cheek?"