many mirrors which delighted the master.
Opening out of these rooms is a conservatory, paid for out of "the golden shower from America" and completed but a few days before Dickens' death, holding yet the ferns he tended. The dining-room was the scene of much of that emphatic hospitality which it pleased the novelist to dispense, his exuberant spirits making him the leader in all the jollity and conviviality of the board. Here he compounded for bibulous guests his famous "cider-cup of Gad's Hill," and at the same table he was stricken with death; on a couch beneath yonder window, the one nearest the hall, he died on the anniversary of the railway accident which so frightfully imperiled his life. From this window we look out upon a lawn decked with shrubbery and see across undulating cornfields his beloved Cobham. From the parqueted hall, stairs lead to the modest chambers—that of Dickens being above the drawing-room. He lined the stairway with prints of Hogarth's works, and declared he never came down the stairs without pausing to wonder at the sagacity and skill which had produced these masterful pictures of human life.
The house is invested with roses, and parterres of the red geraniums which the master loved are ranged upon every side. It was some fresh manifestation of his passion for these flowers that elicited from his daughter the averment, "Papa, I think when you are an angel your wings will be made of looking-glasses and your crown of scarlet geraniums." Beneath a rose-tree not far from the window where Dickens died, a bed blooming with blue lobelia holds the tiny grave of "Dick" and the tender memorial of the novelist to that "Best of Birds." The row of gleaming limes which shadow the porch was planted by Dickens's own hands. The pedestal of the sundial upon the lawn is a massive balustrade of the old stone bridge at nearby Rochester, which little David Copperfield crossed "footsore and weary" on his way to his aunt, and from which Pickwick contemplated the castle-ruin, the cathedral, the peaceful Medway. At the left of the mansion are the carriage-house and the school-room of Dickens' sons. In another portion of the grounds are his tennis-court and the bowling-green which he prepared, where he became a skilful and tireless player. The broad meadow beyond the lawn was a later purchase, and the many limes which beautify it were rooted by Dickens. Here numerous cricket-matches were played, and he would watch the players or keep the score "The whole day long."
It was in this meadow that he rehearsed his readings, and his talking, laughing, weeping, and gesticulating here "all to himself" excited among his neighbors suspicion of his insanity. From the front lawn a tunnel constructed by Dickens passes beneath the highway to "The Wilderness," a thickly-wooded shrubbery, where magnificent cedars up-rear their venerable forms and many somber firs, survivors of the forest which erst covered the countryside, cluster upon the hill top. Here Dickens's favorite dog, the "Linda" of his letters, lies buried. Amid the leafy seclusion of this retreat, and upon the very spot where Falstaff was routed by Hal and Poins ("the eleven men in buckram"), Dickens erected the chalet sent to him in pieces by Fechter, the upper room of which—up among the quivering boughs, where "birds and butterflies fly in and out, and green branches shoot in at the windows"—Dickens lined with mirrors and used as his study in summer. Of the work produced at Gad's Hill—"A Tale of Two Cities," "The Uncommercial Traveler," "Our Mutual Friend," "The Mystery of Edwin Drood," and many tales and sketches of "All the Year Round"—much was written in this leaf-environed nook; here the master wrought through the golden hours of his last day of conscious life, here he wrote his last paragraph and at the close of that June day let fall his pen, never to take it up again. From the place of the chalet we behold the view which delighted the heart of Dickens—his desk was so placed that his eyes would rest upon this view whenever he raised them from his work—the fields of waving corn, the green expanse of meadows, the sail-dotted river.
1 From "A Literary Pilgrimage." By arrangement with, and by permission of, the publishers, J. B. Lippincott Co. Copyright, 1895.
RYDAL MOUNT1
By William Howitt
As you advance a mile or more on the road from Ambleside toward Grasmere, a lane overhung with trees turns up to the right, and there, at some few hundred yards from the highway, stands the modest cottage of the poet, elevated on Rydal Mount, so as to look out over the surrounding sea of foliage, and to take in a glorious view. Before it, at some distance across the valley, stretches a high screen of bold and picturesque mountains; behind, it is overtowered by a precipitous hill, called Nab-scar; but to the left, you look down over the broad waters of Windermere, and to the right over the still and more embosomed flood of Grasmere.
Whichever way the poet pleases to advance from his house, it must be into scenery of that beauty of mountain, stream, wood, and lake, which has made Cumberland so famous over all England. He may steal away up backward from his gate and ascend into the solitary hills, or diverging into the grounds of Lady Mary Fleming, his near neighbor, may traverse the deep shades of the woodland, wander along the banks of the rocky rivulet, and finally stand before the well known waterfall there. If he descend into the highway, objects of beauty still present themselves. Cottages and quiet houses here and there glance from their little spots of Paradise, through the richest boughs of trees; Windermere, with its wide expanse of waters, its fairy islands, its noble hills, allures his steps in one direction; while the sweet little lake of Rydal, with its heronry and its fine background of rocks, invites him in another.
In this direction the vale of Grasmere, the scene of his early married life, opens before him, and Dunmail-raise and Langdale-pikes lift their naked corky summits, as hailing him to the pleasures of old companionship. Into no quarter of this region of lakes, and mountains, and vales of primitive life, can he penetrate without coming upon ground celebrated by his muse. He is truly "sole king of rocky Cumberland."
The immediate grounds in which his house stands are worthy of the country and the man. It is, as its name implies, a mount. Before the house opens a considerable platform, and around and beneath lie various terraces and descend various walks, winding on amid a profusion of trees and luxuriant evergreens. Beyond the house, you ascend various terraces, planted with trees now completely overshadowing them; and these terraces conduct you to a level above the house-top, and extend your view of the enchanting scenery on all sides.
Above you tower the rocks and precipitous slopes of Nab-scar; and below you, embosomed in its trees, lies the richly ornate villa of Mr. William Ball, a friend, whose family and the poet's are on such social terms, that a little gate between their premises opens both to each family alike. This cottage and grounds were formerly the property of Charles Lloyd, also a friend, and one of the Bristol and Stowey coterie. Both he and Lovell have been long dead; Lovell, indeed, was drowned, on a voyage to Ireland, in the very heyday of the dreams of Pantisocracy, in which he was an eager participant.
The poet's house, itself, is a proper poet's abode. It is at once modest, plain, yet tasteful and elegant. An ordinary dining-room, a breakfast-room in the center, and a library beyond, form the chief apartments. There are a few pictures and busts, especially those of Scott and himself, a good engraving of Burns, and the like, with a good collection of books, few of them very modern.
1 From "Homes and Haunts of the Most Eminent British Poets."
TWICKENHAM1
By William Howitt
It seems that Pope did not purchase the freehold of the house and grounds at Twickenham, but only a long lease. He took his father and mother along with him. His father died there the year after, but his mother continued to live till 1733, when she died at the great age of ninety-three. For twenty
