Dickens' London

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

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

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

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

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

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

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

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

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

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

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

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

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

FOUND DROWNED

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

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

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

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

"'Bless my soul!' said Mr. Pickwick, as they stood upon the pavement while the coats were being put in. 'Bless my soul! who's to drive? I never thought of that.'

"'Oh! you, of course,' said Mr. Tupman.

"'I!' exclaimed Mr. Pickwick.

"'Not the slightest fear, sir,' interposed the hostler.

"'He don't shy, does he?' inquired Mr. Pickwick.

"'Shy, sir? – He wouldn't shy if he was to meet a vaggin-load of monkeys with their tails burnt off.'"

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

"'Dear me,' said Mr. Grewgious, peeping in, 'it's like looking down the throat of Old Time.'

"Old Time heaved a mouldy sigh from tomb and arch and vault; and gloomy shadows began to deepen in corners; and damps began to rise from green patches of stone; and jewels, cast upon the pavement of the nave from stained-glass by the declining sun, began to perish."

Or, to quote the more genial Jingle:

"Old Cathedral, too – earthly smell – pilgrims' feet worn away the old steps – little Saxon doors – confessionals like money takers' boxes at theatres – queer customers those monks – Popes, and Lord Treasurers, and all sorts of old fellows, with great red faces, and broken noses, turning up every day – buff jerkins, too – matchlocks – sarcophagus – fine place – old legends too – strange stories, too; capital."

DISAPPEARING LONDON

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

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

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

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

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

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

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

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

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

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

 
"Round as a globe and liquored every chink,
Goodly and great, sailed behind his link."
 

– Dryden.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 
"And now at length he's brought
Unto fair London City
Where, in Fleet Street,
All those many see 't
That will not believe my ditty."
 

– Butler.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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