# Three Years in Europe/Letter X.

LETTER X.
The Whittington Club—Louis Blanc—Street Amusements—Tower of London—Westminster Abbey—National Gallery—Dante—Sir Joshua Reynolds.
London, October 10.
 FOR some days past, Sol has not shown his face, clouds have obscured the sky, and the rain has fallen in torrents, which has contributed much to the general gloom. However, I have spent the time in as agreeable a manner as I well could. Yesterday I fulfilled an engagement to dine with a gentleman at the Whittington Club. One who is unacquainted with the Club system as carried on in London, can scarcely imagine the conveniences they present. Every member appears to be at home, and all seem to own a share in the Club. There is a free-and-easy way with those who frequent Clubs, and a licence given there that is unknown in the drawing-room of the private mansion. I met the gentleman at the Club, at the appointed hour, and after his writing my name in the visitors' book, we proceeded to the dining-room, where we partook of a good dinner.
 We had been in the room but a short time, when a small man, dressed in black, with his coat buttoned up to the chin, entered the saloon, and took a seat at the table hard by. My friend in a low whisper informed me that this person was one of the French refugees. He was apparently not more than thirty years of age, and exceedingly good looking—his person being slight, his feet and hands very small and well shaped, especially his hands, which were covered with kid gloves, so tightly drawn on, that the points of the finger nails were visible through them. His face was mild and almost womanly in its beauty, his eyes soft and full, his brow open and ample, his features well defined, and approaching to the ideal Greek in contour; the lines about his mouth were exquisitely sweet, and yet resolute in expression; his hair was short—his having no mustaches gave him nothing of the look of a Frenchman; and I was not a little surprised when informed that the person before me was Louis Blanc. I could scarcely be persuaded to believe that one so small, so child-like in stature, had taken a prominent part in the Revolution of 1848. He held in his hand a copy of La Presse, and as soon as he was seated, opened it and began to devour its contents. The gentleman with whom I was dining was not acquainted with him, but at the close of our dinner he procured me an introduction through another gentleman.
 As we were returning to our lodgings, we saw in Exeter Street, Strand, one of those exhibitions that can be seen in almost any of the streets in the suburbs of the Metropolis, but which is something of a novelty to those from the other side of the Atlantic. This was an exhibition of "Punch and Judy." Everything was in full operation when we reached the spot. A puppet appeared eight or ten inches from the waist upwards, with an enormous face, huge nose, mouth widely grinning, projecting chin, cheeks covered with grog blossoms, a large protuberance on his back, another on his chest; yet with these deformities he appeared uncommonly happy. This was Mr. Punch. He held in his right hand a tremendous bludgeon, with which he amused himself by rapping on the head every one who came within his reach. This exhibition seems very absurd, yet not less than one hundred were present—children, boys, old men, and even gentlemen and ladies, were standing by, and occasionally greeting the performer with the smile of approbation. Mr. Punch, however, was not to have it all his own way, for another and better sort of Punch-like exhibition appeared a few yards off, that took away Mr. Punch's audience, to the great dissatisfaction of that gentleman. This was an exhibition called the Fantoccini, and far superior to any of the street performances which I have yet seen. The curtain rose and displayed a beautiful theatre in miniature, and most gorgeously painted. The organ which accompanied it struck up a hornpipe, and a sailor, dressed in his blue jacket, made his appearance and commenced keeping time with the utmost correctness. This figure was not so long as Mr. Punch, but much better looking. At the close of the hornpipe the little sailor made a bow, and tripped off, apparently conscious of having deserved the undivided applause of the bystanders. The curtain dropped; but in two or three minutes it was again up, and a rope was discovered, extended on two cross pieces, for dancing upon. The tune was changed to an air, in which the time was marked, a graceful figure appeared, jumped upon the rope with its balance pole, and displayed all the manoeuvres of an expert performer on the tight rope. Many who would turn away in disgust from Mr. Punch, will stand for hours and look at the performances of the Fantoccini. If people, like the Vicar of Wakefield, will sometimes "allow themselves to be happy," they can hardly fail to have a hearty laugh at the drolleries of the Fantoccini. There may be degrees of absurdity in the manner of wasting our time, but there is an evident affectation in decrying these humble and innocent exhibitions, by those who will sit till two or three in the morning to witness a pantomime at a theatre-royal.
An autumn sun shone brightly through a remarkably transparent atmosphere this morning, which was a most striking contrast to the weather we have had during the past three days; and I again set out to see some of the lions of the city, commencing with the Tower of London. Every American, on returning home from a visit to the old world, speaks with pride of the places he saw while in Europe; and of the many resorts of interest he has read of, few have made a more lasting impression upon his memory than the Tower of London. The stories of the imprisoning of kings, and queens, the murdering of princes, the torturing of men and women, without regard to birth, education, or station, and of the burning and rebuilding of the old pile, have all sunk deep into his heart. A walk of twenty minutes, after being set down at the Bank by an omnibus, brought me to the gate of the Tower. A party of friends who were to meet me there had not arrived, so I had an opportunity of inspecting the grounds and taking a good view of the external appearance of the old and celebrated building. The Tower is surrounded by a high wall, and around this a deep ditch partly filled with stagnated water. The wall incloses twelve acres of ground on which stand the several towers, occupying, with their walks and avenues, the whole space. The most ancient part of the building is called the "White Tower," so as to distinguish it from the parts more recently built. Its walls are seventeen feet in thickness, and ninety-two in height, exclusive of the turrets, of which there are four. My company arrived, and we entered the tower through four massive gates, the innermost one being pointed out as the "Water, or Traitors' Gate"—so called from the fact that it opened to the river, and through it the criminals were usually brought to the prison within. But this passage is now closed up. We visited the various apartments in the old building. The room in the Bloody Tower, where the infant princes were put to death by the command of their uncle, Richard III.; also, the recess behind the gate where the bones of the young princes were concealed, were shown to us. The warden of the prison who showed us through, seemed to have little or no veneration for Henry VIII.; for he often cracked a joke, or told a story at the expense of the murderer of Anne Boleyn. The old man wiped the tear from his eye, as he pointed out the grave of Lady Jane Grey. This was doubtless one of the best as well as most innocent of those who lost their lives in the Tower; young, virtuous, and handsome, she became a victim to the ambition of her own and her husband's relations. I tried to count the names on the wall in "Beauchamp's Tower," but they were too numerous. Anne Boleyn was imprisoned here. The room in the "Brick Tower," where Lady Jane Grey was imprisoned, was pointed out as a place of interest. We were next shown into the "White Tower." We passed through a long room filled with many things having a warlike appearance; and among them a number of equestrian figures, as large as life, and clothed in armour and trappings of the various reigns from Edward I. to James II., or from 1272 to 1685. Elizabeth, or the "Maiden Queen," as the warden called her, was the most imposing of the group; she was on a cream coloured charger. We left the Maiden Queen to examine the cloak upon which General Wolf died, at the storming of Quebec. In this room Sir Walter Raleigh was imprisoned, and here was written his "History of the World." In his own hand, upon the wall, is written, "Be thou faithful unto death, and I will give thee a crown of life." His Bible is still shown, with these memorable lines written in it by himself a short time before his death:—
 "Even such is Time that takes on trust,  Our youth, our joy, our all we have,  And pays us but with age and dust;  Who in the dark and silent grave,  When we have wandered all our ways,  Shuts up the story of our days."
Spears, battle-axes, pikes, helmets, targets, bows and arrows, and many instruments of torture, whose names I did not learn, grace the walls of this room. The block on which the Earl of Essex and Anne Boleyn were beheaded, was shown among other objects of interest. A view of the "Queen's Jewels" closed our visit to the Tower. The Gold Staff of St. Edward, and the Baptismal Font used at the Royal christenings, made of solid silver, and more than four feet high, were among the jewels here exhibited. The Sword of Justice was there, as if to watch the rest of the valuables. However, this was not the sword that Peter used. Our acquaintance with De Foe, Sir Walter Raleigh, Chaucer, and James Montgomery, through their writings, and the knowledge that they had been incarcerated within the walls of the bastile that we were just leaving, caused us to look back again and again upon its dark grey turrets.
 I closed the day with a look at the interior of St. Paul's Cathedral. A service was just over, and we met a crowd coming out as we entered the great building. "Service is over, and two pence for all that wants to stay," was the first sound that caught our ears. In the Burlesque of "Esmeralda," a man is met in the belfry of the Notre Dame at Paris, and being asked for money by one of the vergers says:—
 "I paid three pence at the door,  And since I came in a great deal more:  Upon my honour you have emptied my purse,  St. Paul's Cathedral could not do worse."
I felt inclined to join in this sentiment before I left the church. A fine statue of "Surly Sam" Johnson was one of the first things that caught our eyes on looking around. A statue of Sir Edward Packenham, who fell at the Battle of New Orleans, was on the opposite side of the great hall. As we had walked over the ground where this General fell, we viewed his statue with more than ordinary interest. We were taken from one scene of interest to another, until we found ourselves in the "Whispering Gallery." From the dome we had a splendid view of the Metropolis of the world. A scaffold was erected up here to enable an artist to take sketches from which a panorama of London was painted. The artist was three years at work. The painting is now exhibited at the Colosseum; but the brain of the artist was turned, and he died insane! Indeed, one can scarcely conceive how it could be otherwise. You in America have no idea of the immensity of this building. Pile together half-a-dozen of the largest churches in New York or Boston, and you will have but a faint representation of St. Paul's Cathedral.
I have just returned from a stroll of two hours through Westminster Abbey. We entered the building at a door near Poets' Corner, and, naturally enough, looked around for the monuments of the men whose imaginative powers have contributed so much to instruct and amuse mankind. I was not a little disappointed in the few I saw. In almost any church-yard you may see monuments and tombs far superior to anything in the Poets' Corner. A few only have monuments. Shakspere, who wrote of man to man, and for man to the end of time, is honoured with one. Addison's monument is also there; but the greater number have nothing more erected to their memories than busts or medallions. Poets' Corner is not splendid in appearance, yet I observed visiters lingering about it, as if they were tied to the spot by love and veneration for some departed friend. All seemed to regard it as classic ground. No sound louder than a whisper was heard during the whole time, except the verger treading over the marble floor with a light step. There is great pleasure in sauntering about the tombs of those with whom we are familiar through their writings; and we tear ourselves from their ashes, as we would from those of a bosom friend. The genius of these men spreads itself over the whole panorama of Nature, giving us one vast and varied picture, the colour of which will endure to the end of time. None can portray like the poet the passions of the human soul. The statue of Addison, clad in his dressing-gown, is not far from that of Shakspere. He looks as if he had just left the study, after finishing some chosen paper for the Spectator. This memento of a great man, was the work of the British public. Such a mark of national respect was but justice to one who has contributed more to purify and raise the standard of English literature, than any man of his day. We next visited the other end of the same transept, near the northern door. Here lie Mansfield, Chatham, Fox, the second William Pitt, Grattan, Wilberforce, and a few other statesmen. But, above all, is the stately monument to the Earl of Chatham. In no other place so small, do so many great men lie together. To these men, whose graves strangers from all parts of the world wish to view, the British public are in a great measure indebted for England's fame. The high pre-eminence which England has so long enjoyed and maintained in the scale of empire, has constantly been the boast and pride of the English people. The warm panegyrics that have been lavished on her constitution and laws—the songs chaunted to celebrate her glory—the lustre of her arms, as the glowing theme of her warriors—the thunder of her artillery in proclaiming her moral prowess, her flag being unfurled to every breeze and ocean, rolling to her shores the tribute of a thousand realms—show England to be the greatest nation in the world, and speak volumes for the great departed, as well as for those of the living present. One requires no company, no amusements, no books in such a place as this. Time and death have placed within those walls sufficient to occupy the mind, if one should stay here a week.
 On my return, I spent an hour very pleasantly in the National Academy, in the same building as the National Gallery. Many of the paintings here are of a fine order. Oliver Cromwell looking upon the headless corpse of King Charles I., appeared to draw the greatest number of spectators. A scene from "As You Like it," was one of the best executed pieces we saw. This was "Rosalind, Celia, and Orlando." The artist did himself and the subject great credit. Kemble, in Hamlet, with that ever memorable skull in his hand, was one of the pieces which we viewed with no little interest. It is strange that Hamlet is always represented as a thin, lean man, when the Hamlet of Shakspere was a fat, John Bull-kind of a man. But the best piece in the Gallery was "Dante meditating the episode of Francesca da Rimini and Paolo Malatesta, S'Inferno, Canto V." Our first interest for the great Italian poet was created by reading Lord Byron's poem, "The Lament of Dante." From that hour we felt like examining everything connected with the great Italian poet. The history of poets, as well as painters, is written in their works. The best written life of Goldsmith is to be found in his poem of "The Traveller," and his novel of "The Vicar of Wakefield." Boswell could not have written a better life of himself than he has done in giving the Biography of Dr. Johnson. It seems clear that no one can be a great poet without having been sometime during life a lover, and having lost the object of his affection in some mysterious way. Burns had his Highland Mary, Byron his Mary, and Dante was not without his Beatrice. Whether there ever lived such a person as Beatrice seems to be a question upon which neither of his biographers have thrown much light. However, a Beatrice existed in the poet's mind, if not on earth. His attachment to Beatrice Portinari, and the linking of her name with the immortality of his great poem, left an indelible impression upon his future character. The marriage of the object of his affections to another, and her subsequent death, and the poet's exile from his beloved Florence, together with his death amongst strangers—all give an interest to the poet's writings, which could not be heightened by romance itself. When exiled and in poverty, Dante found a friend in the father of Francesca. And here, under the roof of his protector, he wrote his great poem. The time the painter has chosen is evening. Day and night meet in mid-air: one star is alone visible. Sailing in vacancy are the shadows of the lovers. The countenance of Francesca is expressive of hopeless agony. The delineations are sublime, the conception is of the highest order, and the execution admirable. Dante is seated in a marble vestibule, in a meditating attitude, the face partly concealed by the right hand upon which it is resting. On the whole, it is an excellently painted piece, and causes one to go back with a fresh relish to the Italian's celebrated poem. In coming out, we stopped a short while in the upper room of the Gallery, and spent a few minutes over a painting representing Mrs. Siddons in one of Shakspere's characters. This is by Sir Joshua Reynolds, and is only one of the many pieces that we have seen of this great artist. His genius was vast, and powerful in its grasp. His fancy fertile, and his inventive faculty inexhaustible in its resources. He displayed the very highest powers of genius by the thorough originality of his conceptions, and by the entirely new path that he struck out in art. Well may Englishmen be proud of his name. And as time shall step between his day and those that follow after him, the more will his works be appreciated. We have since visited his grave, and stood over his monument in St. Paul's.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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