A Walk from London to Fulham
by Thomas Crofton Croker
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A WALK From London to Fulham




[Picture: Illustration]



Note by T. F. Dillon Croker. v Dedication to Thomas Wright, Esq., M.A., F.S.A. vii Memoir of the late Thomas Crofton Croker, F.S.A., M.R.I.A., ix Etc. Text of 'A Walk from London to Fulham.' 22 Index of Places. 250 Index of Names of Persons. 253 Footnotes.


A series of papers which originally appeared in 'Fraser' are now, for the first time, published in a collected form with the consent of the proprietors of that Magazine. It should, however, be stated, that this is not a mere reprint, but that other matter has been inserted, and several illustrations, which did not appear originally, are now added, by which the work is very materially increased: the whole having undergone a necessary revision.

Since the late Mr. Crofton Croker contributed to 'Fraser' the 'Walk from London to Fulham,' there have been many important changes on the road: time has continued to efface interesting associations; more old houses have been pulled down, new ones built up, and great alterations and improvements have taken place not contemplated a few years ago. It would be impossible, for example, that any one who has not visited the locality during the last few years could recognize the narrow lanes of yesterday in the fine roads now diverging beyond the South Kensington Museum, which building has so recently been erected at the commencement of Old Brompton; but modern improvements are seemingly endless, and have of late become frequent. It is in the belief that the following pages will be an interesting and acceptable record of many places no longer in existence, that they are submitted to the public in their present shape by




As a mark of sincere regard to an old and esteemed friend of my late Father, I offer these pages to you.

Yours most faithfully,


19 Pelham Place, Brompton, 1860.


The late eminent genealogist, Sir W. Betham of Dublin, Ulster King-at-Arms, well known as the author of numerous works on the Antiquities of Ireland, and Mr. Richard Sainthill, an equally zealous antiquary still living in Cork, were two of the most intimate friends and correspondents of the late Mr. Crofton Croker.

The first-named gentleman drew up an elaborate table tracing the Croker pedigree as far back as the battle of Agincourt. The Croker crest—"Deus alit eos"—was granted to Sir John Croker, who accompanied Edward IV. on his expedition to France in 1475, as cup and standard-bearer; but without going back to the original generation, or tracing the Limerick or any other branch of the family, it will be sufficient to say here that the Crokers, if they did not "come over with William the Conqueror" came originally from Devonshire, and settled in Ireland in the reign of Elizabeth. Thomas Crofton Croker was the only son of Thomas Croker, who, after twenty-five years of arduous and faithful military service in North America, Holland, and Ireland, and after having purchased every step in the army, was gazetted brevet-major on the 11th May, 1802, in the same regiment which he had at first joined (the 38th, or 1st Staffordshire Foot), and in which he had uninterruptedly served. Indeed, he was so much attached to his regiment, that, in his case at least, the Staffordshire knot became perfectly symbolic. The closer the knot was drawn the firmer the tie became. He commenced, continued, and ended an honourable life of activity in the service of his country from mere boyhood, until ill-health and a broken constitution forced him to sell his commission. Thomas Croker was the eldest son of Richard Croker, of Mount Long in the county of Tipperary, who died on the 1st January, 1771; and his mother was Anne, the daughter of James Long of Dublin, by the Honourable Mary Butler, daughter of Theobald the seventh Earl of Cahir. Thomas Croker was born on the 29th March, 1761. In 1796 he married Maria, eldest daughter and co-heir of Croker Dillon of Baltidaniel in the county of Cork, and on the 15th January, 1798, Thomas Crofton Croker was born at the house of his maternal grandmother in Buckingham Square, Cork, receiving his first Christian name after his father, and his second after his godfather, the Honourable Sir E. Crofton, Bart.

While very young, during the years 1812 and 1815, Crofton Croker made several excursions in the south of Ireland, studying the character and traditions of the country, on which occasions he was frequently accompanied by Mr. Joseph Humphreys, a Quaker, afterwards master of the Deaf and Dumb Institution at Claremont near Dublin. In 1813 he was placed with the mercantile firm of Messrs. Lecky and Mark, and in 1817 he appeared as an exhibitor in the second exhibition of the Cork Society, for he had already displayed considerable talent as an artist. In 1818 he contributed to an ephemeral production called 'The Literary and Political Examiner:' on the 22nd March of that year his father died, and he left Ireland, not to revisit it until he made a short excursion there in 1821 with Alfred Nicholson and Miss Nicholson (who afterwards became Mrs. Croker), children of the late Mr. Francis Nicholson, one of the founders of the English water-colour school, and who died in 1844 at the patriarchal age of ninety-one years.

Crofton Croker's first visit to England was paid to Thomas Moore in Wiltshire; and soon after his establishing in London he received from the late Right Hon. John Wilson Croker an appointment at the Admiralty, of which office his namesake (but no relation) was secretary, and from which he (Crofton) retired in 1850 as senior clerk of the first class, having served upwards of thirty years, thirteen of which were passed in the highest class. This retirement, although he stood first for promotion to the office of chief clerk, was compulsory upon a reduction of office, and was not a matter of private convenience. In 1830 Crofton Croker married Miss Marianne Nicholson, and the result of their union was an only child, Thomas Francis Dillon Croker, born 26th August, 1831, the writer of the present memoir.

The literary labours of Crofton Croker were attended with more gratifying results than his long and unwearied official services. The 'Researches in the South of Ireland' (1824), an arrangement of notes made during several excursions between the years 1812 and 1822, was his first important work. It was published by John Murray, the father of the present publisher of the 'Quarterly Review,' and contained illustrations by Mr. Alfred and Miss Nicholson: with the 'Fairy Legends,' however, the name of Crofton Croker became more especially associated, the first edition of which appeared anonymously in 1825, and produced a complimentary letter from Sir Walter Scott, which has been published in all subsequent editions. The success of the first edition of the legends was such as immediately to justify a second, which appeared the next year, illustrated with etchings after sketches by Maclise, and which was followed by a second series (Parts 2 and 3) in 1827. The third part, although it appeared under the same title, namely 'Fairy Legends and Traditions of the South of Ireland,' may be considered as forming almost a separate work, inasmuch as it comprised the fairy superstitions of Wales and other countries, in addition to those current in Ireland. A translation of the legends by the Brothers Grimm appeared in Germany in 1825, and another in Paris in 1828 ('Les Contes Irlandais, precedes d'une introduction par M. P. A. Dufau'), but it was not until 1834 that Murray published them in a condensed form in his 'Family Library,' the copyright of which edition, as revised by the author, was purchased of Murray by the late Mr. Tegg, and is now published by his son. In October, 1826, Croker was introduced to Sir Walter Scott at Lockhart's in Pall Mall. Sir Walter recorded the interview thus:—"At breakfast Crofton Croker, author of the Irish fairy tales—little as a dwarf, keen-eyed as a hawk, and of easy, prepossessing manners, something like Tom Moore. Here were also Terry, Allan Cunningham, Newton, and others." At this meeting, Sir Walter Scott suggested the adventures of Daniel O'Rourke as the subject for the Adelphi pantomime, and, at the request of Messrs. Terry and Yates, Croker wrote a pantomime founded upon the legend, which was produced at the Adelphi the same year. It succeeded, and underwent two editions: the second was published in 1828, uniform with the legends, and entitled 'Daniel O'Rourke; or, Rhymes of a Pantomime, founded on that Story.' Croker wrote to his sister (Mrs. Eyre Coote, alive at the present time) the following account of the breakfast party at Lockhart's, which, though already published in 'The Gentleman's Magazine' (November, 1854), is sufficiently interesting to be repeated. He first mentions "the writing and preparing for the Adelphi Theatre a Christmas pantomime from the renowned adventures of Daniel O'Rourke, two or three meetings with Sir Walter Scott, some anxious experiments in lithography under the directions of Mr. Coindet, one of the partners of Englemann's house of Paris, who has lately opened an establishment here, which will be of the utmost importance to the advancement of the art in this country, and of which I hope soon to send you specimens." Then he adds: "To tell half the kindness and attention which I received from Sir Walter Scott would be impossible. The breakfast party at Lockhart's consisted of Allan Cunningham, Terry (the actor), Newton (the artist), a Dr. Yates of Brighton, Captain, Mr., and Mrs. Lockhart, Miss Scott, Mr. Hogg, and your humble servant. We had all assembled when Sir Walter entered the room. Maclise's sketch does not give his expression, although there is certainly a strong likeness—a likeness in it which cannot be mistaken; but I have a very rough profile sketch in pen and ink by Newton, which is admirable, and which some time or other I will copy and send you. When I was introduced to the 'Great Unknown' I really had not the power of speaking; it was a strange feeling of embarrassment, which I do not remember having felt before in so strong a manner; and of course to his 'I am glad to see you, Mr. Croker, you and I are not unknown to each other,' I could say nothing. He contrived to say something neat to every one in the kindest manner—a well-turned compliment, without, however, the slightest appearance of flattery—something at which every one felt gratified. After speaking for a few moments to Mr. Terry and Allan Cunningham, he returned to where I stood fixed and 'mute as the monument on Fish Street Hill;' but I soon recovered the use of my tongue from the easy manner in which he addressed me, and no longer seemed to feel myself in the presence of some mighty and mysterious personage. He spoke slowly, with a Scotch accent, and in rather a low tone of voice, so much so, indeed, that I found it difficult to catch every word. He mentioned my 'Fairy Legends,' and hoped he should soon have the very great enjoyment of reading the second volume. 'You are our—I speak of the Celtic nations' (said Sir Walter)—'great authority now on fairy superstition, and have made Fairy Land your kingdom; most sincerely do I hope it may prove a golden inheritance to you. To me,' (continued Sir Walter) 'it is the land of promise of much future entertainment. I have been reading the German translation of your tales and the Grimms' very elaborate introduction.' Mr. Terry mentioned having received from me Daniel O'Rourke in the shape of a Christmas pantomime. 'It is an admirable subject,' said Sir Walter, 'and if Mr. Croker has only dramatized it with half the skill of tricking up old wives' tales which he has shown himself to possess, it must be, and I prophesy, although I have not seen it, it will be as great a golden egg in your nest, Terry, as Mother Goose was to one of the greater theatres some years ago.' He then repeated by heart part of the conversation between Dan and the Eagle, with great zest. I must confess it was most sweet from such a man. But really I blush, or ought to blush, at writing all this flattery." Here the origin of Maclise's illustrations to the legends is thus given by the editor of the 'Gentleman's Magazine.' "The artist, who had not then quitted his native city of Cork, was a frequent visitor to Mr. Sainthill (the author of 'Olla Podrida'), at the time that the first edition of the work appeared. Mr. Sainthill read the tales aloud from time to time in the evening, and Maclise would frequently, on the next morning, produce a drawing of what he had heard. These were not seen by Mr. Croker until his next visit to Cork: but when he did see them he was so much pleased with them that he prevailed upon Mr. Sainthill to allow them to be copied for his forthcoming edition: and this was done by Maclise, and the drawings were engraved by W. H. Brooke, and Maclise's name was not attached to them, but merely mentioned by Mr. Croker in his preface."

Scott made favourable mention of the 'Fairy Legends' in the collected edition of the 'Waverley Novels' published in 1830. In a note on Fairy Superstitions to Chapter XI. of 'Rob Roy,' speaking of the elfin traditions peculiar to the wild scenery where Avon Dhu or the River Forth has its birth, he observes: "The opinions entertained about these beings are much the same with those of the Irish, so exquisitely well narrated by Mr. Crofton Croker." Again, in his 'Letters on Demonology and Witchcraft,' Scott says: "We know from the lively and entertaining legends published by Mr. Crofton Croker, which, though in most cases, told with the wit of the editor and the humour of his country, contain points of curious antiquarian information" as to what the opinions of the Irish are. And again, speaking of the Banshee: "The subject has been so lately and beautifully investigated and illustrated by Mr. Crofton Croker and others, that I may dispense with being very particular regarding it." This was indeed gratifying from such an authority. The late Thomas Haynes Bayley dedicated to Crofton Croker a volume entitled 'Songs from Fairy Land.'

Having dwelt at considerable length upon the legends, the required limits of this notice will not permit more than a reference to the literary works of Mr. Croker which succeeded them; and as there is but occasion for their enumeration, they shall be here given in the order of their appearance, merely premising that the tales of 'Barney Mahoney' and 'My Village versus Our Village,' were not by Mr. Croker, although they bore his name: they were, in reality, written by Mrs. Croker. The list stands thus:—

1828-9. 'The Christmas-Box, an Annual Present for Children, a collection of Tales edited by Mr. Croker, and published by Harrison Ainsworth' (Sir Walter Scott, Lockhart, Ainsworth, Maria Edgeworth, and Miss Mitford were among the contributors).

1829. 'Legends of the Lakes; or, Sayings and Doings at Killarney, collected chiefly from the Manuscripts of R. Adolphus Lynch, Esq., H. P. King's German Legion, with illustrations by Maclise (Ebers).' A second edition, compressed into one volume as a guide to the Lakes, appeared in 1831. (Fisher.)

From this time Croker became contributor to the 'Gentleman's' and 'Fraser's' Magazines. In 1832 he was a steward at the famous literary dinner given to Hogg the Ettrick Shepherd.

1835. 'Landscape Illustrations to Moore's Irish Melodies, with Comments for the Curious.' (Only one number appeared.) (Power.)

1837. 'A Memoir of Joseph Holt, General of the Irish Rebels in 1798. From Holt's Autobiographical MS. in the possession of Sir W. Betham.' (Colburn.)

'The Journal of a Tour through Ireland in 1644, translated from the French of M. de la Boullaye le Gouz, assisted by J. Roche, Father Prout, and Thomas Wright.' (Boone.) Dedicated to the elder Disraeli, "in remembrance of much attention and kindness received from him many years ago;" which dedication was cordially responded to by that author.

1839. 'The Popular Songs of Ireland.' (Colburn.)

1843. A Description of Rosamond's Bower, Fulham {18} (the residence of Mr. Croker for eight years), with an inventory of the pictures, furniture, curiosities, etc., etc. (Privately printed.)

It was here that Moore, Rogers, Maria Edgeworth, Lucy Aikin, "Father Prout" (Mahony), Barham (Ingoldsby), Sydney Smith, Jerdan, Theodore Hook, Lover, Planche, Lords Braybrooke, Strangford, and Northampton, Sir G. Back, John Barrow, Sir Emerson Tennent, Wyon, Mr. and Mrs. S. C. Hall, T. Wright, and many others were the guests of Mr. Croker. One room in the house was fitted up as a Museum, where such visitors delighted to assemble.

During subsequent years Mr. Croker produced several minor works on antiquarian and popular subjects, some of them printed for private circulation among his friends, and others as contributions to the different societies of which he was a member. He died at his residence, 3, Gloucester Road, Old Brompton, on the 8th of August, 1854, aged 57, and was buried in the private grave of his father-in-law, Mr. Francis Nicholson, in the Brompton Cemetery, a sketch of which, by Mr. Fairholt, appears in these pages. It should not be forgotten that Mr. Crofton Croker was a contributor to the 'Amulet,' 'Literary Souvenir,' and 'Friendship's Offering,' as well as (more extensively) to the 'Literary Gazette,' when that journal possessed considerable influence under the editorship of W. Jerdan. Mr. Croker also edited for the Camden and Percy Societies (in the formation of which he took an active part) many works of antiquarian interest. He was connected, also, with the British Archaeological Association as one of the secretaries (1844-9) under the presidency of Lord Albert Conyngham (the late Lord Londesborough). That recently-deceased nobleman was one of Mr. Croker's most attached friends, and opposite his Lordship's pew in Grimston church, Yorkshire, a neat marble tablet was erected bearing the following inscription: "In memory of Thomas Crofton Croker, Esq., the amiable and accomplished author of the 'Fairy Legends of Ireland,' and other works, Literary and Antiquarian. This tablet is erected by his friend Lord Londesborough, 1855."

To enumerate all the societies and institutions of which Crofton Croker was a member, honorary or otherwise, would in these pages be superfluous; but one society shall be here especially mentioned as originating with Mr. Croker and a few members of the Society of Antiquaries. In 1828 a club was established, composed of a select few F.S.A.'s, in consequence of an excursion during the summer to the site, which, in the time of the Romans, had been occupied by the city of Noviomagus. In a field at Keston, near Bromley Common in Kent, Mr. Croker had learned that the remains of a Roman building were apparent above the grass, and it was to ascertain this fact that the excursion was undertaken. An excavation was made, and a few fragments of Roman pottery and a stone coffin were discovered. From this circumstance the club was called the Noviomagian Society. Mr. Croker was elected its president, and although most of the original members had died off, he continued in that office until within a very few months of his death. There are amongst them at the present time many highly-valued friends of their late president, who succeed in keeping up their meetings in the true Noviomagian spirit. Long may they be spared to assemble together, occasionally introducing fresh life to the little society, that its pleasant gatherings may not be allowed to die out! A portrait of Mr. Croker was painted a few years before his death by Mr. Stephen Pearce (the artist of the 'Arctic Council'). It is a characteristic and an admirable likeness. The next best is that in Maclise's well-known picture of 'All Hallow Eve' (exhibited in the Royal Academy in 1833), on which Lover, in describing the engraving, has remarked: "And who is that standing behind them?—he seems 'far more genteel' than the rest of the company. Why, 'tis Crofton Croker, or, as he is familiarly called amongst his friends, 'The honourable member for fairy-land.' There you are, Crofty, my boy! with your note-book in your hand; and maybe you won't pick up a trifle in such good company." It may be added, that Mr. Croker was for many years one of the registrars of the Royal Literary Fund. And now, in drawing this slight sketch of Mr. Croker's life to a close, the writer hopes that it may not be an uninteresting addition to the present volume.

T. F. D. C.



[Picture: Anyone] Obliged by circumstances to lead the life of a pendulum, vibrating between a certain spot distant four miles from London, and a certain spot just out of the smoke of the metropolis,—going into town daily in the morning and returning in the evening,—may be supposed, after the novelty has worn off, from the different ways by which he can shape his course, to find little interest in his monotonous movement. Indeed, I have heard many who live a short distance from town complain of this swinging backwards and forwards, or, rather, going forwards and backwards over the same ground every day, as dull and wearisome; but I cannot sympathise with them. On the contrary, I find that the more constantly any particular line of road is adhered to, the more intimate an acquaintance with it is formed, and the more interesting it becomes.

In some measure, this may be accounted for by studious habits; a tolerable memory, apt to indulge in recollections of the past, and to cherish rather than despise, when not impertinent, local gossip, which re-peoples the district with its former inhabitants,—

"Sweet Memory! wafted by thy gentle gale Oft up the tide of time I turn my sail, To view the fairy haunts of long-lost hours Blest with far greener shades—far fresher flowers."

"We have all by heart," observes the author of the Curiosities of Literature, "the true and delightful reflection of Johnson on local associations, where the scene we tread suggests to us the men or the deeds which have left their celebrity to the spot. 'We are in the presence of their fame, and feel its influence.'" How often have I fancied, if the walls by which thousands now daily pass without a glance of recognition or regard, if those walls could speak, and name some of their former inmates, how great would be the regret of many at having overlooked houses which they would perhaps have made a pilgrimage of miles to behold, as associated with the memory of persons whose names history, literature, or art has embalmed for posterity, or as the scene of circumstances treasured up in recollection!

If the feelings could be recalled, and faithfully recorded, which the dull brick walls that I cannot help regarding with interest must have witnessed, what a romantic chapter in the history of the human mind would be preserved for study and reflection!—

"Ay, beautiful the dreaming brought By valleys and green fields; But deeper feeling, higher thought, Is what the City yields."

The difficulty, however, is incredible of procuring accurate information as to any thing which has not been chronicled at the moment. None but those who have had occasion to search after a date, or examine into a particular fact, can properly estimate their value, or the many inquiries that have to be made to ascertain what at first view would appear to be without embarrassment,—so deceptive is the memory, and so easy a thing is it to forget, especially numbers and localities, the aspect and even names of which change with a wonderful degree of rapidity in the progress of London out of town. Thus many places become daily more and more confused, and at last completely lose their identity, to the regret of the contemplative mind, which loves to associate objects with the recollection of those who "have left their celebrity to the spot."

These considerations have induced the writer to arrange his notes, and illustrate them by such sketches as will aid the recognition of the points mentioned, the appearance of which must be familiar to all who have journeyed between London and Fulham,—a district containing, beside the ancient village of that name, and remarkable as adjacent to the country seat of the Bishop of London, two smaller villages, called Walham Green and Parson's Green. The former of which stands on the main London road, the latter on the King's Road,—which roads form nearly parallel lines between Fulham and the metropolis. For all information respecting the neighbourhood of Knightsbridge the reader may be referred to a recently published work "The Memorials of the Hamlet of Knightsbridge, with notices of its immediate neighbourhood," by the late Henry George Davis, edited by Charles Davis (Russell Smith).

From Knightsbridge, formerly a suburb, and now part of London, the main roads to Fulham and Hammersmith branch off at the north end of Sloane Street (about a quarter of a mile west of Hyde Park Corner), thus:—

[Picture: Map]

And at the south termination of Sloane Street, which is 3,299 feet in length, the King's Road commences from Sloane Square.

THE MAIN FULHAM ROAD passes for about a mile through a district called by the general name of Brompton, which is a hamlet in the parish of Kensington. The house, No. 14 Queen's Buildings, Knightsbridge, on the left-hand or south side of the road, [Picture: Hooper's Court] at the corner of Hooper's Court, occupied, when sketched in 1844, as two shops, by John Hutchins, dyer, and Moses Bayliss, tailor, and now (1860) by Hutchins alone, was, from 1792 to 1797 inclusive, the residence of Mr. J. C. Nattes, an artist, who deserves notice as one of the sixteen by whose association, in 1805, the first exhibition of water-colour paintings was formed.

From 1792 to 1797 this house was described as No. 14 Queen's Buildings, Knightsbridge; but in the latter year the address was changed to No. 14 Knightsbridge Green. {25a} In 1800 it was known as No. 14 Knightsbridge, and in 1803 as No. 14 Queen's Row, Knightsbridge. {25b} In 1810 as Gloucester Buildings, Brompton. {25c} In 1811 as Queen's Buildings. {25d} In 1828 as Gloucester Row. {25e} In 1831 as Gloucester Buildings; {25f} and it has now reverted to its original name of Queen's Buildings, Knightsbridge, in opposition to Queen's Buildings, Brompton, the division being Hooper's Court, if, indeed, the original name was not Queen's Row, Knightsbridge, as this in 1772 was the address of William Wynne Ryland (the engraver who was hanged for forgery in 1783). When houses began to be built on the same side of the way, beyond Queen's Row, the term "Buildings" appears to have been assumed as a distinction from the row west of Hooper's Court; which row would naturally have been considered as a continuation, although, in 1786, the Royal Academy Catalogue records Mr. J. G. Huck, an exhibitor, as residing at No. 11 Gloster Row, Knightsbridge.

These six alterations of name within half a century, to say nothing of the previous changes, illustrate the extreme difficulty which attends precise local identification in London, and are merely offered at the very starting point as evidence at least of the desire to be accurate.

About the year 1800, the late residence of Mr. Nattes became the lodgings of Arthur Murphy, too well known as a literary character of the last century to require here more than the mere mention of his name, even to those who are accustomed to associate every thing with its pecuniary value; as Murphy's portrait, painted by Sir Joshua Reynolds for Mr. Thrale, sold at Christie's in the sale of Mr. Watson Taylor's pictures (June, 1823), for 94 pounds 10s. Murphy had prepared his translation of Tacitus {26} for the press, at his house on Hammersmith Terrace (the last at the west end); but declining health and circumstances induced his removal into lodgings near London, at "14 Knightsbridge." From these apartments "he soon removed to others in Brompton Row, where he did not remain long, not liking the mistress of the house, but returned to his former residence (No. 14), where he resided till the time of his death." In 1803, the late Lord Sidmouth (then Mr. Addington), conferred a pension of 200 pounds a-year on Murphy, "to mark the sense" his majesty entertained "of literary merit, particularly when accompanied with sound principles and unquestionable character;" which gracious mark of royal favour Murphy acknowledged on the 2nd of March, from "14 Queen's Row, Knightsbridge." Here he wrote his life of Garrick, {27a} a work which, notwithstanding Mr. Foot's ingenious defence of it, shews that Garrick's life remains to be written, and that Murphy's intellectual powers were, at the time when he composed it, in a state of decay.

Murphy, according to his biographer, "possessed the first and second floors of a very pleasant, neat house, where there was a long gravel walk in the garden; {27b} and though his library had been much diminished, yet, in the remaining part, he took care to reserve the Elzevir editions of the classics. Mrs. Mangeon (the mistress of the house) was a neat and intelligent woman, and Mr. Murphy secured her friendship by giving her son a presentation to Christ's Hospital. Anne Dunn, his own servant-maid, was an excellent servant, honest, faithful, and attentive; so that, what with the services he had rendered to the mistress of the house, and what with the intrinsic fidelity of his female domestic, he could put the whole family into a state of requisition, and command an elegant table, as well as ready attention, upon any particular occasion. Such was the situation of a man of genius, and an author, in the decline of a long life, and in a country at the highest pitch of grandeur and wealth. But it must be remembered, that the comforts he possessed were not derived from the profits of literature."

During the last year of Arthur Murphy's life he possessed a certain income of 500 pounds, and added to this was 150 pounds for the copyright of his Tacitus, which, however, was less than half the sum he had been frequently offered for it. The translation of Sallust, which Murphy left unfinished, was completed by Thomas Moore, and published in 1807.

Murphy appears to have perfectly reconciled his mind to the stroke of death. He made his will thirteen days previous to it, and dictated and signed plain and accurate orders respecting his funeral. He directed his library of books and all his pictures to be sold by auction, and the money arising therefrom, together with what money he might have at his bankers or in his strong box, he bequeathed to his executor, Mr. Jesse Foot, of Dean Street, Soho. To Mrs. Mangeon (his landlady) he gave "all his prints in the room one pair of stairs and whatever articles of furniture" he had in her house, "the bookcase excepted." And to his servant, Anne Dunn, "twenty guineas, with all his linen and wearing apparel." After the completion of this will, Murphy observed, "I have been preparing for my journey to another region, and now do not care how soon I take my departure." And on the day of his death (18th June, 1805) he frequently repeated the lines of Pope:—

"Taught, half by reason, half by mere decay, To welcome death and calmly pass away."

All that we can further glean respecting the interior of Murphy's apartment is, that in it "there was a portrait of Dunning (Lord Ashburton), a very striking likeness, painted in crayons by Ozias Humphrey."

Humphrey, who was portrait-painter in crayons to George III., and in 1790 was elected member of the Royal Academy, resided, in 1792 and 1793, at No. 19 Queen's Buildings, Knightsbridge; but whether this was the fifth house beyond Nattes', or the No. 19 Queen's Buildings, now called Brompton Road (Mitchell's, a linen-draper's shop), I am unable, after many inquiries, to determine. It will be remembered that Dr. Walcott (Peter Pindar) introduced Opie to the patronage of Humphrey, and there are many allusions to "honest Ozias," as he was called in the contemporary literature.

"But Humphrey, by whom shall your labours be told, How your colours enliven the young and the old?"

is the comment of Owen Cambridge; and Hayley says,

"Thy graces, Humphrey, and thy colours clear, From miniatures' small circle disappear; May their distinguished merit still prevail, And shine with lustre on the larger scale."

A portrait of Ozias Humphrey, painted by Romney in 1772, is preserved at Knowle, a memorial of the visit of those artists to the Duke of Dorset. It has been twice engraved, and the private plate from it, executed by Caroline Watson in 1784, is a work of very high merit. In 1799 Humphrey resided at No. 13 High Row, Knightsbridge, nearly opposite to the house in which Murphy lodged, and there, with the exception of the last few months, he passed the remainder of his life.

At No. 21 Queen's Buildings (the second house beyond that occupied by Ozias Humphrey), Mr. Thomas Trotter, an ingenious engraver and draughtsman, resided in 1801. He engraved several portraits, of which the most esteemed are a head of the Rev. Stephen Whiston and a head of Lord Morpeth. Nearly the last work of his burin was a portrait of Shakspeare, patronized by George Steevens. Trotter died on the 14th February, 1803, having been prevented from following his profession in consequence of a blow on one of his eyes, accidentally received by the fall of a flower-pot from a window. He, however, obtained employment in making drawings of churches and monuments for the late Sir Richard Hoare, and other gentlemen interested in topographical illustration.

Queen's Buildings, Brompton, are divided, rather than terminated, at No. 28 (Green's, an earthenware-shop) by New Street, leading into Hans Place—"snug Hans Place," which possesses one house, at least, that all literary pilgrims would desire to turn out of their direct road to visit. Miss Landon, alluding to "the fascinations of Hans Place," playfully observes, "vivid must be the imagination that could discover them—

'Never hermit in his cell, Where repose and silence dwell, Human shape and human word Never seen and never heard,'

had a life of duller calm than the indwellers of our square." Hans Place may also be approached from Sloane Street, and No. 22 Hans Place, is the south-east corner. [Picture: No. 22 Hans Place] Among its inmates have been Lady Caroline Lamb, {31} Miss Mitford, Lady Bulwer, Miss Landon, Mrs. S. C. Hall, and Miss Roberts. How much of the "romance and reality" of life is in a moment conjured up in the mind by the mention of the names here grouped in local association!

The editor of the memoirs of L. E. L. records two or three circumstances which give a general interest to Hans Place. Here it was that Miss Landon was born on the 14th August, 1802, in the house now No. 25; and "it is remarkable that the greater portion of L. E. L.'s existence was passed on the spot where she was born. From Hans Place and its neighbourhood she was seldom absent, and then not for any great length of time; until within a year or two of her death, she had there found her home, not indeed in the house of her birth, but close by. Taken occasionally during the earlier years of childhood into the country, it was to Hans Place she returned. Here some of her school time was passed. When her parents removed she yet clung to the old spot, and, as her own mistress, chose the same scene for her residence. When one series of inmates quitted it, she still resided there with their successors, returning continually after every wandering, 'like a blackbird to his nest.'"

The partiality of Miss Landon for London was extraordinary. In a letter, written in 1834, and addressed to a reverend gentleman, she ominously says, "When I have the good luck or ill luck (I rather lean to the latter opinion) of being married, I shall certainly insist on the wedding excursion not extending much beyond Hyde Park Corner."

When in her sixth year (1808), Miss Landon was sent to school at No. 22 Hans Place. This school was then kept by Miss Bowden, who in 1801 had published 'A Poetical Introduction to the Study of Botany,' {32a} and in 1810 a poem entitled 'The Pleasures of Friendship.' {32b} Miss Bowden became the Countess St. Quentin, and died some years ago in the neighbourhood of Paris. In this house, where she had been educated, Miss Landon afterwards resided for many years as a boarder with the Misses Lance, who conducted a ladies' school. "It seems," observes the biographer of L. E. L., "to have been appropriated to such purposes from the time it was built, nor was L. E. L. the first who drank at the 'well of English' within its walls. Miss Mitford, we believe, was educated there, and Lady Caroline Lamb was an inmate for a time."

It is the remark of Miss Landon herself, that "a history of the how and where works of imagination have been produced would often be more extraordinary than the works themselves." "Her own case," observes a female friend, "is, in some degree, an illustration of perfect independence of mind over all external circumstances. Perhaps to the L. E. L., of whom so many nonsensical things have been said, as that she should write with a crystal pen, dipped in dew, upon silver paper, and use for pounce the dust of a butterfly's wing, a dilettante of literature would assign for the scene of her authorship a fairy-like boudoir, with rose-coloured and silver hangings, fitted with all the luxuries of a fastidious taste. How did the reality agree with this fancy sketch? [Picture: Attic, No. 22 Hans Place] Miss Landon's drawing-room, {33} indeed, was prettily furnished, but it was her invariable habit to write in her bed-room. I see it now, that homely-looking, almost uncomfortable room, fronting the street, and barely furnished with a simple white bed, at the foot of which was a small, old, oblong-shaped, sort of dressing-table, quite covered with a common worn writing-desk, heaped with papers, while some strewed the ground, the table being too small for aught besides the desk; a little high-backed cane chair, which gave you any idea rather than that of comfort. A few books scattered about completed the author's paraphernalia."

In this attic did the muse of L. E. L. dream of and describe music, moonlight, and roses, and "apostrophise loves, memories, hopes, and fears," with how much ultimate appetite for invention or sympathy may be judged from her declaration that, "there is one conclusion at which I have arrived, that a horse in a mill has an easier life than an author. I am fairly fagged out of my life."

Miss Roberts, who had resided in the same house with Miss Landon, prefixed a brief memoir to a collection of poems by that lamented lady, which appeared shortly after her death, her own mournful lines—

"Alas! hope is not prophecywe dream, But rarely does the glad fulfilment come; We leave our land, and we return no more."

And within less than twenty months from the selection of these lines they became applicable to her who had quoted them.

Emma Roberts accompanied her sister, Mrs. M'Naughten, to India, where she resided for some time. On her sister's death Miss Roberts returned to England, and employed her pen assiduously and advantageously in illustrating the condition of our eastern dominions. She returned to India, and died at Poonah, on the 17th September, 1840. Though considerably the elder, she was one of the early friends of Miss Landon, having for several years previous to her first visit to India boarded with the Misses Lance in Hans Place.

"These were happy days, and little boded the premature and melancholy fate which awaited them in foreign climes. We believe," says the editor of the 'Literary Gazette,' "that it was the example of the literary pursuits of Miss Landon which stimulated Miss Roberts to try her powers as an author, and we remember having the gratification to assist her in launching her first essay—an historical production, {35} which reflected high credit on her talents, and at once established her in a fair position in the ranks of literature. Since then she has been one of the most prolific of our female writers, and given to the public a number of works of interest and value. The expedition to India, on which she unfortunately perished, was undertaken with comprehensive views towards the further illustration of the East, and portions of her descriptions have appeared as she journeyed to her destination in periodicals devoted to Asiatic pursuits."

The influence of Miss Landon's literary popularity upon the mind of Miss Roberts very probably caused that lady to desire similar celebrity. Indeed, so imitative are the impulses of the human mind, that it may fairly be questioned if Miss Landon would ever have attuned her lyre had she mot been in the presence of Miss Mitford's and Miss Rowden's "fame, and felt its influence." Miss Mitford has chronicled so minutely all the sayings and doings of her school-days in Hans Place (H. P., as she mysteriously writes it), that she admits us at once behind the scenes. She describes herself as sent there (we will not supply the date, but presume it to be somewhere about 1800) "a petted child of ten years old, born and bred in the country, and as shy as a hare." The schoolmistress, a Mrs. S—-, "seldom came near us. Her post was to sit all day, nicely dressed, in a nicely-furnished drawing-room, busy with some piece of delicate needlework, receiving mammas, aunts, and godmammas, answering questions, and administering as much praise as she conscientiously could—perhaps a little more. In the school-room she ruled, like other rulers, by ministers and delegates, of whom the French teacher was the principal." This French teacher, the daughter of an emigre of distinction, left, upon the short peace of Amiens, to join her parents in an attempt to recover their property, in which they succeeded. Her successor is admirably sketched by Miss Mitford; and the mutual antipathy which existed between the French and English teacher, in whom we at once recognise Miss Rowden:—

"Never were two better haters. Their relative situations had probably something to do with it, and yet it was wonderful that two such excellent persons should so thoroughly detest each other. Miss R.'s aversion was of the cold, phlegmatic, contemptuous, provoking sort; she kept aloof, and said nothing. Madame's was acute, fiery, and loquacious; she not only hated Miss R., but hated for her sake knowledge, and literature, and wit, and, above all, poetry, which she denounced as something fatal and contagious, like the plague."

Miss Mitford's literary and dramatic tastes seem to have been acquired from Miss Rowden, whom she describes as "one of the most charming women that she had ever known:"—

"The pretty word graziosa, by which Napoleon loved to describe Josephine, seemed made for her. She was full of a delicate grace of mind and person. Her little elegant figure and her fair mild face, lighted up so brilliantly by her large hazel eyes, corresponded exactly with the soft, gentle manners which were so often awakened into a delightful playfulness, or an enthusiasm more charming still, by the impulse of her quick and ardent spirit. To be sure she had a slight touch of distraction about her (distraction French, not distraction English), an interesting absence of mind. She united in her own person all the sins of forgetfulness of all the young ladies; mislaid her handkerchief, her shawl, her gloves, her work, her music, her drawing, her scissors, her keys; would ask for a book when she held it in her hand, and set a whole class hunting for her thimble, whilst the said thimble was quietly perched upon her finger. Oh! with what a pitying scorn our exact and recollective Frenchwoman used to look down on such an incorrigible scatterbrain! But she was a poetess, as Madame said, and what could you expect better!"

Such was Miss Landon's schoolmistress; and under this lady's especial instruction did Miss Mitford pass the years 1802, 3, and 4; together they read "chiefly poetry;" and "besides the readings," says Miss Mitford, "Miss R. compensated in another way for my unwilling application. She took me often to the theatre; whether as an extra branch of education, or because she was herself in the height of a dramatic fever, it would be invidious to inquire. The effect may be easily foreseen; my enthusiasm soon equalled her own; we began to read Shakspeare, and read nothing else."

In 1810 Miss Mitford first appeared as an authoress, by publishing a volume of poems, which, in the course of the following year, passed into a second edition.

At No. 21 Hans Place, the talented artistes, Mr. and Mrs. Alfred Wigan, resided some time.

Returning from Hans Place to the Fulham Road through NEW STREET, No. 7 may he pointed out as the house formerly occupied by Chalon, "animal painter to the royal family;" and No. 6 as the residence of the Right Hon. David R. Pigot, the late Solicitor-General for Ireland, while (in 1824-25) studying in the chambers of the late Lord Chief-Justice Tindal, for the profession of which his pupil rapidly became an eminent member.

BROMPTON was formerly an airy outlet to which the citizen, with his spouse, were wont to resort for an afternoon of rustic enjoyment. It had also the reputation of being a locality favourable to intrigue. Steele, shrewdly writing on the 27th July, 1713, says:—

"Dear Wife,—If you please to call at Button's, we will go together to Brompton.

"Yours ever, "RICHARD STEELE." {38a}

Now is Brompton all built or being built over, which makes the precise locality of crescents and rows puzzling to old gentlemen. Its heath is gone, and its grove represented by a few dead trunks and some unhealthy-looking trees which stand by the road-side, their branches lopped and their growth restrained by order of the district surveyor; and Brompton National School, nearly opposite to New Street, a building in the Tudor style, was, in 1841, wedged in there "for the education of 400 children, after the design of Mr. George Godwin, jun.;" so at least the newspapers of the day informed the public.

BROMPTON ROW on the north, or right-hand side of the main Fulham Road, now consists of fifty-five respectable-looking houses, uniform, or nearly so, in appearance; and, according to the statements in the 'Gentleman's Magazine' {38b} and Mr. Faulkner's 'History of Kensington' {38c} here died Arthur Murphy. But although this was not the case, in Brompton Row have lived and died authors, and actors, and artists, whose performances deserve full as much consideration from posterity.

No. 14 BROMPTON ROW was the abode for more than ten years (1820 to 1831) of John Vendramini, a distinguished engraver. [Picture: No. 14 Brompton Row] He was born at Roncade, near Bassano, in Italy, and died 8th February, 1839, aged seventy. Vendramini was a pupil of Bartolozzi, under whom he worked for many years, and of the effect he produced upon British art much remains to be said. In 1805 Vendramini visited Russia, and on his return to England engraved 'The Vision of St. Catherine,' after Paul Veronese; the 'St. Sebastian,' after Spagnoletti; 'Leda,' after Leonardo da Vinci; and the 'Raising of Lazarus,' from the Sebastian del Piombo in the National Gallery.

No. 14 Brompton Row, in 1842, was the residence of the late Mr. George Herbert Rodwell, a favourite musical and dramatic composer, who died January 22nd, 1852.

At No. 23 Brompton Row resided Mr. Walter Hamilton, who, in 1819, published, in two volumes 4to, 'A Geographical, Statistical, and Historical Description of Hindostan and the Adjacent Country;' according to Lowndes' 'Bibliographer's Manual,' "an inestimable compilation, containing a more full, detailed, and faithful picture of the whole of India than any former work on the subject." [Picture: Embellishment] Mr. Hamilton subsequently lived for a short period at No. 8 Rawstorne Street, which street divides No. 27 (a confectioner's shop), and No. 28 (the Crown and Sceptre) Brompton Row, opposite to the Red Lion (a public-house of which the peculiar and characteristic style of embellishment could scarcely have escaped notice at the time when the annexed sketch was made, 1844, but which decoration was removed in 1849.) Soon after his return to his house in Brompton Row, Mr. Hamilton died there in July or August, 1828.

Rawstorne Street leads to Montpellier Square (built about 1837). In this square, No. 11, resides Mr. F. W. Fairholt, the distinguished artist and antiquary, to whose pencil and for much valuable information the editor of these pages is greatly indebted; and No. 38 may be mentioned as the residence of Mr. Walter Lacy the favourite actor.

Mrs. Liston, the widow of the comedian, resided at No. 35 Brompton Row, and No. 45 was the residence of the ingenious Count Rumford, the early patron of Sir Humphry Davy. The Count occupied it between the years 1799 and 1802, when he finally left England for France, where he married the widow of the famous chemist, Lavoisier, and died in 1814. Count Rumford's name was Benjamin Thompson, or Thomson. He was a native of the small town of Rumford (now Concord, in New England), and obtained the rank of major in the Local Militia. In the war with America he rendered important services to the officers commanding the British army, and coming to England was employed by Lord George Germaine, and rewarded with the rank of a provincial lieutenant-colonel, which entitled him to half-pay. [Picture: No. 45 Brompton Row] In 1784 he was knighted, and officiated for a short time as one of the under-secretaries of state. He afterwards entered the service of the King of Bavaria, in which he introduced various useful reforms in the civil and military departments, and for which he was promoted to the rank of lieutenant-general, and created a count. At Munich, Count Rumford began those experiments for the improvements of fire-places and the plans for the better feeding and regulation of the poor, which have rendered his name familiar to every one,

"As his own household hearth."

No. 45 was distinguished some years ago by peculiar projecting windows, now removed, outside of the ordinary windows—an experimental contrivance by Count Rumford, it is said, for raising the temperature of his rooms.

The same house, in 1810, was inhabited by the Rev. William Beloe, the translator of Herodotus, and the author of various works between the years 1783 and 1812. In his last publication, 'The Anecdotes of Literature,' Mr. Beloe says, "He who has written and published not less than forty volumes, which is my case, may well congratulate himself, first, that Providence has graciously spared him for so long a period; secondly, that sufficient health and opportunity have been afforded; and, lastly, that he has passed through a career so extended and so perilous without being seriously implicated in personal or literary hostilities." It is strange that a man who could feel thus should immediately have entered upon the composition of a work which appeared as a posthumous publication in 1817, under the title of 'The Sexagenarian; or, the Recollections of a Literary Life;' and which contains the following note:—

"Dr. Parr branded Beloe as an ingrate and a slanderer. He says, 'The worthy and enlightened Archdeacon Nares disdained to have any concern in this infamous work.' The Rev. Mr. Rennell, of Kensington, could know but little of Beloe; but, having read his slanderous book, Mr. R., who is a sound scholar, an orthodox clergyman, and a most animated writer, would have done well not to have written a sort of postscript. From motives of regard and respect for Beloe's amiable widow, Dr. Parr abstained from refuting B.'s wicked falsehoods; but Dr. Butler, of Shrewsbury, repelled them very ably in the 'Monthly Review.'"

At No. 46 Brompton Row, Mr. John Reeve, an exceedingly popular low comedian, died, on the 24th of January, 1838, at the early age of forty. Social habits led to habits of intemperance, and poor John was the Bottle Imp of every theatre he ever played in. "The last time I saw him," says Mr. Bunn, in his 'Journal of the Stage,' "he was posting at a rapid rate to a city dinner, and, on his drawing up to chat, I said, 'Well, Reeve, how do you find yourself to-day?' and he returned for answer, 'The lord-mayor finds me to-day!'"

BROMPTON GROVE commences on the south, or left-hand side of the main Fulham Road, immediately beyond the Red Lion (before mentioned as opposite to 28 Brompton Row), and continues to the Bunch of Grapes public-house, which was pulled down in August, and rebuilt in September, 1844, opposite to No. 54 Brompton Row, and in the wall of which public-house was placed a stone, with "YEOMAN'S ROW, 1767," engraved upon it—the name of a street leading to the "Grange," and, in 1794, the address of Michael Novosielski, the architect of the Italian Opera House. In that year he exhibited, in the Royal Academy, three architectural designs, viz:—

"558. Elevation of the Opera House, Haymarket;

"661. Section of the New Concert Room at the Haymarket; and

"663. Ceiling of the New Concert Room at the Opera House."

But of Novosielski and the Grange more hereafter.

Brompton Grove now consists of two rows of houses, standing a little way back from the main road, between which rows there was a green space (1811), now occupied by shops, which range close to the footway, and have a street, called Grove Place, in the centre.

Upper Brompton Grove, or that division of the Grove nearest London, consists of seven houses, of which No. 4 was the abode of Major Shadwell Clerke, who has reflected literary lustre upon the 'United Service,' by the able and judicious manner in which he conducted for so many years the periodical journal distinguished by that name. Major Clerke died 19th April, 1849.

Lower Brompton Grove consisted of three houses only in 1844, numbered 8, 9, and 10; the 11 of former days being of superior size, and once known as "Grove House." The 12, which stood a considerable way behind it, as the "Hermitage," and the 13, as the "House next to the Bunch of Grapes," all of which, except No. 8, claim a passing remark.

In No. 9, where he had long resided, died, on the 12th of August, 1842, Mr. John Sidney Hawkins, at the age of eighty-five. He was the eldest son of Sir John Hawkins, the well-known author of the 'History of Music,' and one of the biographers of Dr. Johnson. Mr. Hawkins was brother of Letitia Matilda Hawkins, the popular authoress, and a lady of whom the elder Disraeli once remarked, that she was "the redeeming genius of her family." Mr. Hawkins, however, was an antiquary of considerable learning, research, and industry; but his temper was sour and jealous, and, throughout his whole and long literary career, from 1782 to 1814, he appears to have been embroiled in trifling disputes and immaterial vindications of his father or himself.

No. 10 Brompton Grove, now occupied by the "Sisters of Compassion," was the residence of James Petit Andrews, Esq., younger brother of Sir Joseph Andrews, Bart., and one of the magistrates of Queen Square Police Office; a gentleman remarkable for his humane feelings as well as for his literary taste. His exertions, following up those of Jonas Hanway, were the occasion of procuring an Act of Parliament in favour of chimney-sweep apprentices. Mr. Andrews was the author of a volume of ancient and modern anecdotes in 1789, to which a supplemental volume appeared the following year. He also published a 'History of Great Britain, connected with the Chronology of Europe;' {45a} and a continuation of Henry's 'History of Great Britain:' {45b} soon after the appearance of which he died, on the 6th of August, 1797.

Grove House (called in 1809 and 1810, as already mentioned, No. 11 Brompton Grove), was, for many years, the residence of Sir John Macpherson, Bart.; and here he died, at an advanced age, on the 12th of January, 1821.

[Picture: Grove House]

In 1781 he was appointed Member of the Supreme Council of Bengal, and when proceeding to the East Indies, in the 'Valentine,' Indiaman, distinguished himself in an action with the French fleet in Praya Bay. Sir John, who was a very large man, to encourage the sailors to stand to their guns, promised and paid them from his own pocket five guineas a man, which, coupled with his bravery during the action, so pleased the seamen, that one of them swore "his soul must be as big as his body," and the jokes occasioned by this burst of feeling terminated only with Sir John Macpherson's life. "Fine soles!—soles, a match for Macpherson's!" was a Brompton fishmonger's greeting to Sir John, etc. In the neighbourhood of Brompton he was known by the sobriquet of "the Gentle Giant," from his usually riding a very small pony, flourishing in the most determined manner a huge oak stick over the little animal's head, but, of course, never touching it with his club.

Upon the after-dinner conversation at Grove House of Mr. Hugh Boyd rests chiefly that gentleman's claim to be considered as one of the many authors of 'Junius.' His host, having temporarily retired from table, Boyd's words were, "that Sir John Macpherson little knew he was entertaining in his mansion a political writer, whose sentiments were once the occasion of a chivalrous appeal from Sir John to arms,"—immediately adding, "I am the author of 'Junius.'" The will of Sir John Macpherson is a remarkable document, and contains the following tribute to the character of George IV.:—

"I conclude this, my last will and testament, in expressing my early and unalterable admiration of his Royal Highness the Prince of Wales, the truly glorious reigning prince of the British empire; and I request my executors to wait upon his royal highness immediately after my decease, and to state to him, as I do now, that I have bequeathed to his royal highness my celebrated antique statue of Minerva, which he often admired, with any one of my antique rings that would please his royal highness. I likewise request you to assure his royal highness that I will leave him certain papers, which prove to a demonstration that the glorious system which he has realised for his country and the world, in his difficult reign of eight years, was the early system of his heart and his ambition."

The large room on the east side of Grove House, shown in the annexed sketch, was used as the drawing-room, and measured thirty-two feet by eighteen. It was built by Sir John Macpherson for the purpose of entertaining the Prince Regent.

[Picture: Grove House from the East (1844)]

Grove House was afterwards occupied by Mr. Wilberforce, who, in his diary of the 2nd of July, 1823, notes, "Took possession of our new house at Brompton."

Mr. Wilberforce remained there about a year, and his successor in the tenancy was Mr. Jerdan, the agreeable and well-known editor of the 'Literary Gazette' (1817-50). This house, pulled down in 1846, stood upon the ground which now forms the road entrance to Ovington Square.

A narrow lane, which ran down by the west side of Grove House, led to the Hermitage, a retreat of the much admired Madame Catalani during her sojourn this country, and subsequently converted into an asylum for insane persons. This building was pulled down in 1844, and Grove Place has been erected on its site.

[Picture: The Hermitage (1844)]

In the house (No. 13 Brompton Grove) which stood a little way back from the road, between Grove House and the Grapes public-house, and which was taken down in December, 1844, and in the previous June, when sketched, occupied by a stone-mason, Mr. Banim lodged from May, 1822, to October, 1824. [Picture: No. 13 Brompton Grove (1844)] While residing here, he was engaged in contributing to and editing a short-lived weekly paper, entitled the 'Literary Register,' the first number of which appeared on the 6th of July, 1822, and which publication terminated with the forty-fourth, on the 3rd of May, 1823, when Banim devoted his attention to preparing the 'Tales of the O'Hara Family' for the press. It is a remarkable local coincidence, that Gerald Griffin, who

"To his own mind had lived a mystery,"

the contemporary rival of Banim, as an Irish novelist and dramatist, should have immediately succeeded him in the tenancy of "13 Brompton Grove," as this house was sometimes called.

"About this period (1825) he [Griffin] took quiet, retired lodgings, at a house at Brompton, now a stonemason's, close by Hermitage Lane, which separated it from the then residence of the editor of the 'Literary Gazette,' and a literary intercourse rather than a personal intimacy, though of a most agreeable nature, grew up between them." {48}

On the 10th of November, 1824, Griffin, writing to his brother, commences a letter full of literary gossip with,—

"Since my last I have visited Mr. J—- several times. The last time, he wished me to dine with him, which I happened not to be able to do; and was very sorry for it, for his acquaintance is to me a matter of great importance, not only from the engine he wields—and a formidable one it is, being the most widely-circulated journal in Europe—but, also, because he is acquainted with all the principal literary characters of the day, and a very pleasant kind of man."

To the honest support of the 'Literary Gazette' at this critical period in Griffin's life may be ascribed the struggle which he made for fame and fortune through the blind path of literary distinction. He came a raw Irish lad to the metropolis, with indistinct visions of celebrity floating through his poetical mind; or, as he candidly confesses himself,—

"A young gentleman, totally unknown, even to a single family in London, with a few pounds in one pocket and a brace of tragedies in the other, supposing that the one will set him up before the others are exhausted," which, he admits, "is not a very novel, but a very laughable, delusion."

Banim's kindness—his sympathy, indeed, for Griffin, deserves notice.

"I cannot tell you here," writes the latter, "the many, many instances in which Banim has shown his friendship since I wrote last; let it suffice to say, that he is the sincerest, heartiest, most disinterested being that breathes. His fireside is the only one where I enjoy anything like social life or home. I go out (to Brompton Grove) occasionally in an evening, and talk or read for some hours, or have a bed, and leave next day."

Again, in a letter dated 31st of March, 1824, Griffin says:—

"What would I have done if I had not found Banim? I should have instantly despaired on ****'s treatment of me. I should never be tired of talking about and thinking of Banim. Mark me! he is a man, the only one I have met since I left Ireland, almost. We walked over Hyde Park together on St. Patrick's Day, and renewed our home recollections by gathering shamrocks, and placing them in our hats, even under the eye of John Bull."

MICHAEL'S PLACE, on the same side of the way with the Bunch of Grapes, is railed off from the main Fulham Road, although a public footpath admits the passenger as far as No. 14. It consists of forty-four houses, and was a building speculation of Michael Novosielski, already mentioned, whose Christian name it retains, having been commenced by him in 1786. But the shells of his houses for many years remained unfinished, and in 1811, the two last houses (Nos. 43 and 44) of Michael's Place were not built. Novosielski died at Ramsgate, in 1795; and his widow, for some years after his death, occupied No. 13.

[Picture: No. 8 Michael's Place] No. 8 Michael's Place, to be recognized by its bay-windows, was, for several years, the residence of the Rev. Dr. Croly, now rector of St. Stephen's, Walbrook, distinguished in the pulpit by his eloquence, admired as a writer in almost every walk of English literature, and respected and beloved by those who know him. Croly's fame must live and die with our language, which he has grasped with an unrivalled command.

BROMPTON SQUARE is opposite to the commencement of Michael's Place, to which it will be necessary to return, after a visit to the square.

At No. 6 has lived Mr. John Baldwin Buckstone, the actor-author, or author-actor, so well known and esteemed by the public. And at No. 14 has resided Mr. Edward Fitzwilliam, the musical composer, who died on the 19th of January, 1857, at the early age of 33.

No. 21 was, between the years 1829 and 1833, the residence of Spagnoletti, the leader of the Opera band. He was succeeded in the tenancy by Mrs. Chatterly, a lively and accomplished actress, who continued to occupy the same house after her marriage with Mr. Francis Place.

[Picture: Nos. 22, 23, 24, Brompton Square] At No. 22 (which now belongs to the well-known and much respected actor Mr. James Vining, and is at present tenanted by Mr. Shirley Brooks) George Colman the younger died on the 26th of October, 1836, at the age of 74, having removed to this house from No. 5 Melina Place, Kent Road. "He ceased to exist on the 17th of October, 1836," says his medical attendant, in a letter published in the memoirs of the Colman family. But this is an error, as on the 19th of October he appears to have written to Mr. Bunn. The last earthly struggle of George Colman has been thus described:—

"It has never fallen to my lot to witness in the hour of death so much serenity of mind, such perfect philosophy, or resignation more complete. Up to within an hour of his decease he was perfectly sensible of his danger, and bore excruciating pain with the utmost fortitude.

"At one period of his life a more popular man was not in existence," observes Mr. Bunn; "for the festive board of the prince or the peer was incomplete without Mr. Colman. He has left behind him a perpetuity of fame in his dramatic works; and much is it to be lamented that no chronicle has been preserved of his various and most extraordinary jeux-d'esprit. He has, moreover, left behind quite enough of renown, could he lay claim to none other, to be found in the following tribute from the pen of Lord Byron:—'I have met George Colman occasionally, and thought him extremely pleasant and convivial. Sheridan's humour, or rather wit, was always saturnine, and sometimes savage; he never laughed (at least that I saw and I have watched him), but Colman did. If I had to choose, and could not have both at a time, I should say, let me begin the evening with Sheridan, and finish it with Colman. Sheridan for dinner, Colman for supper. Sheridan for claret or port, but Colman for everything, from the madeira and champagne at dinner, the claret with a layer of port between the glasses, up to the punch of the night, and down to the grog or gin-and-water of daybreak. Sheridan was a grenadier company of life-guards, but Colman a whole regiment—of light infantry, to be sure, but still a regiment.'"

The sale of Colman's effects took place on the 29th of November, 1837; among the pictures sold was the well-known portrait of George Colman the elder, by Sir Joshua Reynolds, which has been engraved; another by Gainsborough, also engraved; a third in crayons, by Rosalba; and a fourth by Zoffani, which formerly belonged to Garrick, a highly-finished miniature of Shakspeare, by Ozias Humphrey, executed in 1784 (a copy of which, made for the Duchess of Chandos, sold at her sale for 40 pounds); some watercolour drawings, by Emery, Mrs. Terry, and others; some engravings; more than 1,000 volumes of French and English books; and a collection of miscellanies, including the MSS. of the elder Colman's most admired productions, and several by George Colman the younger,—amounting in all to twenty-six pieces. John Reeve bought largely of the books; but before two months had elapsed Reeve himself was no more.

No. 23 Brompton Square is occupied by Mr. William Farren, who was for a long period the unrivalled representative of old men upon the stage, {53} and who took his farewell at the Haymarket Theatre in 1855; and No. 24, between the years 1840 and 1843, was the residence of Mr. Payne Collier, who has given to the public several editions of Shakspeare, and who has been long distinguished by his profound knowledge of dramatic literature and history, and his extensive acquaintance with the early poetry of England.

Mr. Collier's house, in Brompton Square, stood between that which Mr. William Farren occupies, and one (No. 25) of which Mr. Farren was proprietor, and has now been sold. At No. 28 resides Mr. William Frogatt Robson, Solicitor and Comptroller of Droits of Admiralty. Mr. William Farren has resided at No. 30, next door to Mr. Henry Luttrell (No. 31), "the great London wit," as Sir Walter Scott terms him, well known in the circles of literature as the author of many epigrams, and of a volume of graceful poetry, entitled 'Advice to Julia,' and who died on 19th December, 1851, aged 86.

In addition to these literary and dramatic associations of Brompton Square, Liston resided for some time at No. 40, Mr. Yates and Mr. John Reeve at 57 and 58; and that pair of comic theatrical gems, Mr. and Mrs. Keeley, have been inhabitants of No. 19.

[Picture: First grave] BROMPTON NEW CHURCH, a little beyond the Square, is dedicated to the Holy Trinity. The architect was Mr. Donaldson, and the first stone was laid in October, 1826. On the 6th of June, 1829, the Bishop of London consecrated this church and its burial-ground, which had been a flower-garden. When the first grave was made in the month following, many of the flowers still appeared among the grass; and, after viewing it, Miss Landon wrote the following verses. The "first grave" is in the extreme south-west of the corner churchyard, close to the narrow pathway that skirts the wall, leaving only space for a grave between. The inscription on the stone which originally marked the "first grave," was,—


"A single grave! the only one In this unbroken ground, Where yet the garden leaf and flower Are lingering around. A single grave!—my heart has felt How utterly alone In crowded halls, where breathed for me Not one familiar tone.

"The shade where forest-trees shut out All but the distant sky,— I've felt the loneliness of night, When the dark winds pass'd by. My pulse has quicken'd with its awe, My lip has gasp'd for breath; But what were they to such as this— The solitude of death?

"A single grave!—we half forget How sunder human ties, When round the silent place of rest A gather'd kindred lies. We stand beneath the haunted yew, And watch each quiet tomb, And in the ancient churchyard feel Solemnity, not gloom!

"The place is purified with hope— The hope, that is, of prayer; And human love, and heavenward thought, And pious faith, are there! The wild flowers spring amid the grass, And many a stone appears Carved by affection's memory, Wet with affection's tears.

"The golden chord which binds us all Is loosed, not rent in twain; And love, and hope, and fear, unite To bring the past again. But this grave is so desolate, With no remembering stone, No fellow-graves for sympathy,— 'Tis utterly alone!

"I do not know who sleeps beneath, His history or name, Whether, if lonely in his life, He is in death the same,— Whether he died unloved, unmourn'd, The last leaf on the bough, Or if some desolated hearth Is weeping for him now?

"Perhaps this is too fanciful, Though single be his sod, Yet not the less it has around The presence of his God! It may be weakness of the heart, But yet its kindliest, best; Better if in our selfish world It could be less repress'd.

"Those gentler charities which draw Man closer with his kind, Those sweet humilities which make The music which they find: How many a bitter word 't would hush, How many a pang 't would save, If life more precious held those ties Which sanctify the grave."

Now (1860) the grave-stone has received two additional inscriptions, and the character of the upright stone has been altered.

[Picture: Reeve's Grave] Corpe was a ladies' shoemaker, and his son carried on that business at No. 126 Mount Street, Berkeley Square, after the father's death. While sketching the grave, the sexton came up, and observed, "No one has ever noticed that grave, sir, before, so much as to draw it out for a pattern, as I suppose you are doing."

John Reeve's grave ("alas, poor Yorick!") is in the first avenue at the back of the church, to the left hand, and immediately at the edge of the path that runs parallel with the north side of the building. The stone, which is similar to others in the same vicinity, is inscribed:—



In the central path, leading from the Church Tower, is the grave of Harriet Elizabeth Farren, who died 16th of June, 1857, aged 68. She made her first appearance in London in 1813, as Desdemona.

[Picture: Bell and Horns sign] Close to Brompton New Church, at a public-house called the Bell and Horns, {58} the road branches off again; that branch which goes straight forward leading to Old Brompton, Earl's Court, Kensington, and North End, Fulham. The turn to the left, or bend to the south, being the main Fulham Road. Here, till within the last few years, was standing the stump of an old tree, shown in the accompanying sketch. [Picture: Stump] A cluster of trees at the commencement of the Old Brompton Road have also been removed, and the road has been considerably widened. On the right-hand side, adjoining Brompton New Church, is the Oratory of St. Philip Neri, a Roman Catholic Establishment of considerable extent, which stands on the ground once occupied by Mr. Pollard's school. It was opened on 22nd March, 1851, and was originally located in King William Street, Strand. It is bounded on the east by the avenue of lime trees leading up to Holy Trinity Church, on the north by its cemetery, on the west by the South Kensington Museum, and on the south by the road, which has been widened by the commissioners to eighty feet. The superior in London is the Rev. F. W. Faber, and at Birmingham, the Rev. J. H. Newman, D.D. The building, which does not show its size to advantage from the road, is erected in the shape of the letter T. Some idea of the scale on which the building is executed may be gathered from the following dimensions. The oratory 72 feet long, 30 wide, 29 high. The library 72 feet long, 30 wide, 23 high. The refectory 50 feet long, 30 wide, 28 high. The corridors of the house 164 feet long, 9 wide, 14 high. The architect is Mr. Scoles. Next to the oratory is the South Kensington Museum, which was built upon the Kensington Gore estate, [Picture: Oratory and Museum] purchased by the Royal Commissioners with the surplus funds derived from the Exhibition of 1851. It was opened on the 24th June, 1857, and is a result of the School of Design, founded at Somerset House in 1838. It is the head-quarters of the Government Department of Science and Art, previously deposited in Marlborough House, which is under the management of Mr. Henry Cole. The collections are temporarily placed in a range of boiler-roofed buildings, hence the term "Brompton boilers" has been applied to them. There are specimens here of ornamental art, an architectural, trade, and economical museum; a court of modern sculpture, and the gallery of British Art, founded on the munificent gift of Mr. John Sheepshanks. Mr. Sheepshanks having bestowed on the nation a collection of 234 oil paintings, mostly by modern British artists, and some drawings, etc., the whole formed by himself, including some of the most popular works of Wilkie, Mulready, Sir Edwin Landseer, Leslie, and other eminent artists of the English school. To these have been since added, in several large rooms, the Turner Collection, and the pictures from the Vernon Gallery; also the collection bequeathed to the nation by the late Mr. Jacob Bell, and the pictures by British artists removed from the National Gallery; all which are well lighted from the roof. The objects of ornamental art consist of medieval furniture and decoration, painted glass, plaster casts, electrotype copies, photographs, engravings, and drawings, etc., the whole designed with the view of aiding general education, and of diffusing among all classes those principles of science and art which are calculated to advance the individual interests of the country, and to elevate the character of the people: facilities are afforded for taking copies of objects upon application at the Art Library. The Educational collections formed by the Government, which are in the central portion of the building, comprise specimens of scientific instruments, objects of natural history, models, casts, and a library; refreshment and waiting rooms are provided; and there are lectures delivered in a building devoted to that purpose. The admission, which is from ten till four, five or six, according to the season, is free on Monday, Tuesday, and Saturday, also on Monday and Tuesday evening, from seven till ten, when the galleries are lighted; on Wednesday, Thursday, and Friday, being students' days, the admission is 6d.

In form the building is rectangular, the centre or nave is 42 feet wide, and is open from the floor to the roof. Along the aisles galleries run, access to which is obtained by two large central staircases at the ends of the building, which is for the most part lighted from the roofs. There is ample ventilation, and by means of hot water pipes, the building is heated when required. The exhibition space in floor and galleries is nearly one acre and a half, exclusive of the wall space in the galleries and aisles. The arrangement, it may be seen from this description, is much the same as that adopted in the Great Exhibition of 1851. There are separate catalogues for each department to be had, which give the visitor all necessary information. The building was constructed from designs and drawings prepared by Messrs. Charles D. Young and Co. of Great George Street, Westminster. Opposite the Museum is Thurloe Place. No. 1 may be mentioned as the residence of Mr. Henry Holl, well known some years ago as the light comedian of the Haymarket Theatre. That gentleman has now retired from the profession, but in addition to some dramatic productions written many years since, he is the author of two or three successful pieces recently produced. It is not the intention of the writer to follow the course of the Old Brompton Road, but he will at once return to the main road after alluding to the newly-formed magnificent approaches from this point to Kensington, by Exhibition Road and Prince Albert's Road, on the site of Brompton Park, now broken up. {62} A winter garden is in course of formation here, and the Horticultural Society intend to appropriate part of the ground for their annual fetes. The total amount expended on the purchase and laying out of the Kensington Gore Estate from 1851 to 1856 inclusive, was 277,309 pounds.



To return to the continuation of MICHAEL'S PLACE. It is divided between Nos. 11 and 12 by MICHAEL'S GROVE, which led to Brompton Grange, for some years the seat of the favourite veteran vocalist, Braham, who made his appearance as a public singer at the age of ten years, and so far back as 1787. The Grange was taken down in October 1843, and, in the course of twelve months, its spacious grounds were covered by a decided crescent and other buildings. Brompton Grange, which was constructed by Novosielski for his own residence, was, previous to Mr. Braham's tenancy, occupied by a gentleman of large fortune and weak nerves, which were most painfully affected by the tone of a bell. After considerable research, this spot was selected for his London residence, in the belief that there he would be secure from annoyance. But the folly of human anticipation was speedily illustrated by the building of Brompton Church on the north side of his abode, and of Chelsea New Church on the west; so that, whatever way the wind blew,

"The sound of the church-going bell"

was certain of being wafted to the Grange, which was got rid of in consequence.

From Michael's Grove, BROMPTON CRESCENT is nearly a straight row of twenty-five houses, and forms an angle to the line of the main Fulham Road, uniting with Michael's Place at "Crescent House," where the carriage communication was formerly interrupted by a bar, in place of which a post supporting two lamps is now substituted.

No. 9 was for some time in the occupation of Dr. Oswald Wood, the translator (1835) of Von Hammer's 'History of the Assassins,' and who died at the early age of thirty-eight, on the 5th of November, 1842, in the West Indies, where he held the appointment of Provost-Marshal of Antigua.

At No. 13 Brompton Crescent resided Charles Incledon, the rival of his neighbour Braham, whose singing he was wont to designate as "Italianised humbug;" declaring that no one but himself, Charles Incledon, knew how to sing a British ballad: and it must be admitted, that "The Storm" and "Black-eyed Susan," as sung by Incledon, produced a deep impression on the public mind. He was a native of Cornwall, and the son of a medical gentleman. As a chorister, under the tuition of Jackson, in Exeter Cathedral, Incledon acquired his knowledge of music; for when he was fifteen he entered the Royal Navy, in which he served in the West Indies from 1779 to 1783, when he abandoned the naval profession, and joined a theatrical company at Southampton. After a popular professional career of upwards of forty years as a public singer, Incledon died at Worcester, on the 11th of February, 1826.

Of Incledon many amusing anecdotes are told, chiefly caused by his inordinate vanity, and his mental singleness of purpose. He thought of no one but himself; he saw nothing beyond the one and immediate object at which he grasped; and yet these faults were caused rather by natural weakness of intellect than by an unkind or selfish disposition. In fact, Incledon lived and died a petted servant of the public; which administered intoxicating draughts of applause to his self-esteem.

Mr. G. Rodwell, already mentioned as having been an inhabitant of No. 14 Brompton Row, resided at No. 15 Brompton Crescent, in 1830.

No. 20 Brompton Crescent was, between the years 1822 and 1844, occupied by Mr. Planche, well known as, perhaps, the most prolific and skilful dramatic writer of the day, and as a gentleman of high literary and antiquarian attainments. His connexion with the last musical efforts of the German composer Weber, in his opera of 'Oberon,' which was produced at Covent Garden on the 12th of May, 1826, {65} cannot be forgotten; and to Planche's knowledge of costume and taste for pictorial effects the English stage is deeply indebted. In the drawing-room of this house have some of our most agreeable acting dramas been composed, and nothing could have been, in its style and appointments, more typical of Planche's dialogue than was the apartment—smart and neat, fit for all occasions, and suited in a moment to the present purpose, whatever that might be. It was polished and elegant; but there was nothing superfluous, beyond a bit of exquisite china on the mantel-piece, or a picture, excellent in its way, on the wall; something which pleased the eye, and which the mind received and relished like a nicely-pointed joke. A well-painted portrait of Planche himself, by Briggs, the Royal Academician, which has been engraved, hung opposite to the fireplace; and, as if to carry out the similitude between Planche's writings and the place where they were written, folding-doors revealed a back drawing-room, which, like his memory, was richly stored with the works of heralds and antiquaries, and of our elder dramatists and poets, so judiciously arranged, that in a moment he was certain of producing the precise passage or the effect which he desired. At the same time so completely was this little battery of knowledge masked under quaint bindings and tasteful covers, that no one suspected what a mine of learning lay beneath; nor, like his own mental resources, was a volume displayed without cause, or unclasped without its effect.

Speaking earnestly to Planche respecting the pains and pleasures of authorship, L. E. L. once said, "I would give this moment all the fame of what I have written, or ever shall write, for one roar of applause from a crowded house, such as you must have heard a thousand times."

Mr. Planche afterwards removed to a new and detached house, built on the site of Brompton Grange. He has now quitted the neighbourhood.

Mr. C. J. Richardson, an architect, whose publications illustrative of Tudor architecture and domestic English antiquities have materially tended to diffuse a feeling of respect for the works of our ancestors, and to forward the growing desire to preserve and restore edifices which time and circumstances have spared to the country, has resided at No. 22 Brompton Crescent. At No. 28 in this crescent, Mrs. Liston died in 1854.

The continuation of MICHAEL'S PLACE, which we left on our right to visit Michael's Grove and Brompton Crescent, is the corner house, now Dr. Cahill's and Mr. Hewett's. At No. 12, Lewis Schiavonetti, a distinguished engraver, died on the 7th of June, 1810, at the age of fifty-five. He was a native of Bassano, in the Venetian territory, and the eldest son of a stationer, whose large family and moderate circumstances made him gladly accept the offer of Julius Golini, a painter of some repute, to receive his son, at the age of thirteen, for instruction in the arts. [Picture: No. 12 Michael's Place] In three years after, Golini expired in the arms of his youthful pupil. Upon the death of his master he determined to seek the patronage of Count Remaudini, who had given employment to Bartolozzi and Volpato, and began to study the mechanical process of engraving, under a poor man named Lorio, who, unable to support himself by his profession, officiated as sacristan to a church, and could offer him no better accommodation for study than the sacristy. The circumstances of Schiavonetti not permitting him to seek for higher instruction, he remained with this master about twelve months, when, finding that he had learned all that poor Lorio was able to teach, and feeling an aversion to work occasionally among dead bodies, he determined to alter his situation. A copy of a 'Holy Family,' from Bartolozzi, after Carlo Maratta, gained Schiavonetti immediate employment from Count Remaudini, and attracted the notice of Suntach, an engraver and printseller in opposition to Remaudini.

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