A thick fog obscures the whole of London. You grope your way through Liverpool Street station with considerable risk, now colliding with a truck full of luggage, anon canoning against an angry passenger. Not a yard can be seen in advance, more by good luck than good guiding the right train is somehow found, and, half an hour later, it is delightful to find the enemy is left behind, and that there is once more cheerful daylight. The sun at first looks like a sullen ball of fire, but presently, shaking off, as it were, the heavy clouds, he begins to shine out brightly, as, after a drive of something under a mile from the station, the carriage turns into the old-fashioned lodge gates of wrought iron on the left. A long road between two low wire fencings, running nearly straight through the park, which is dotted about with clumps of trees and spinneys, suddenly rounds into a wide space in front of the house, and breaks off into one of those quaint old rights-of-way which are so common in this part of Essex.
Cranbrooke Hall is a substantial red-brick, many-windowed building, dating nearly two centuries back,but it has been greatly added to and improved during recent years. The lofty, spacious entrance-hall, laid down with parquet, branches out into five reception rooms, opening one into another, all facing south, and overlooking some seven-hundred-and-fifty feet of lawn, bordered by a lake formed of clear, running water, the overflow of a spring which is a hundred-and-fifty feet deep, and has never yet been known to run dry. This is, in its turn, bounded by a shrubbery, which leads round to one of the principal features of the Cranbrooke Gardens, the "Lovers' Walk," an ivy colonnade, carpeted with thick, soft moss.
Passing through the ante-room, a door opens on the left, and the picture which presents itself to the eye is a thoroughly domestic one. A huge fire, heaped with acacia logs, blazes brightly in the low deep grate, flanked with brass dogs; tall standard lamps shed a soft light over a merry family group; a silver urn stands on the cosy five o'clock tea table, where a young, fair girl presides. A few guests are present, and two younger daughters of the house are flitting in and out with plates of Scotch scones, cakes, and muffins. The three nursery little ones have come down to say good-night; the youngest, a fair-haired, blue-eyed little maiden of four years, is nestling on her mother's lap. Rising from amidst them, Mrs. Walford comes forward to welcome you. She wears a pretty steel-blue tea-gown, richly embroidered in silks by her own hand; for your hostess loves needlework, and looks on it as a great resource for a weary brain. She has aclear, fair complexion, dark brown hair, and laughing grey-blue eyes; and the bright, sunny smile, which in childhood gained for her the pet name of "the laughing girl," lights up her expressive countenance, and just reveals two rows of white, even teeth. She gives you the impression of being a thoroughly happy, contented, and sweet-tempered woman, and her subsequent conversation assures you that your judgment has been correct.
Mrs. Walford is of Scottish birth. Her father was the second son of Sir James Colquhoun, the tenth Baronet of Luss, to whom Burke wrote on one occasion that he was "theBaronet of Scotland, just as Sir William Watkin Wynn wastheBaronet of Wales." For seven hundred years the Colquhouns of Luss have held the same lands, and, unlike those of many other ancient families, they are still in as flourishing, or, rather, more flourishing condition, than they have ever been. The Sir James Colquhoun who—with four of his keepers and a ghillie boy—was drowned in Loch Lomond, nearly seventeen years ago, was a widower with an only son, the present baronet. Mrs. Walford's mother was the daughter of Mr. Fuller-Maitland of Stanstead, Essex.
Whilst the other visitors are leaving, the opportunity arises of examining the room more minutely. The polished oak floor is covered here and there with Persian carpets; near the door is a lovely Dutch marqueterie bureau, a husband's gift to a busy wife, and at which most of her well-known novels were written. Mrs. Walford says they "furnished their home as a jackdaw does his nest, stick by stick. From many an old farm-house and wayside inn they collected piece after piece, handsome old oak cabinets, chests and chairs, scarcely a single article having passed through the dealers' hands," indeed, you shrewdly suspect that the large carved settle whereon you are seated has been part of some despoiled church or sacred edifice.
On a table yonder stands a miniature set of china under glass, "Jane Eyre's own doll's tea service," by which Mrs. Walford sets great store, as she became possessed of it when visiting the house of Charlotte Brontë. The dainty, antique spinning-wheel known as "Lady Helen's wheel" (it belonged to an ancient dame of the Colquhoun family) is so old that the woodwork has begun to crumble away; but a more modern specimen opposite, covered with a cloud of flax, is often used by your hostess's own nimble fingers. The relic she treasures above all, however, is a gold "mazer," inherited by Mr. Walford through a long line of ancestors. This is a real curiosity, there being but few of these "mazers" now left in England. The little "silver table" holds many a prized bit of old Highland silver, including one which was picked up on the field of Bannockburn. Big bowls of Oriental china are filled withpot-pourri, which gives out a delicious fragrance. This, Mrs. Walford adds to afresh every year from an old recipe. Her children laughingly declare that "whenever they go out to gather flowers for the tables, mother, with a pair of scissors in hand, hassnipped off all the finest roses and quietly slipped them into her pocket."
Mrs. Walford has inherited her literary tastes. Her father's well-known book, "The Moor and the Loch," now in its eighth edition, and full of spirited engravings, is considered as a classic amongst sportsmen; and who has not read and laughed over, in by-gone days, "Holiday House," and other delightful stories, by her grand-aunt, Catherine Sinclair, daughter of Sir John Sinclair of Ulbster, himself one of the most distinguished men of his day? In spite of Catherine Sinclair and her sister being authors (the latter was known as the "good" Lady Colquhoun, and the writer of many religious books for the Scottish poor), so little was literary reputation then thought of by some members of the family that, when Sir Walter Scott appeared at Rossdhu to take notes for "Rob Roy," he was shown roundby the butler, and never forgave the affront. In consequence he never mentioned the Colquhouns in that great romance or in the "Lady of the Lake."
Speaking of Rossdhu, you tell your hostess that you have been taken over those ancestral halls and round the great picture galleries, and had noticed with much surprise that there was no portrait of her to be seen. This omission may however some day be repaired.
Mrs. Walford remarks that it was not until after her marriage that she took seriously to novel writing. Whilst yet in her teens she was wont to steal out into the shrubbery with paper and pencil and write short stories, one of which was called "Macgregor, our Chieftain," but as she burnt these early effusions as fast as they were written, nothing remains of Macgregor's adventures. In 1872 delicacy of health prevented her pursuing the active out-of-door life which she had always enjoyed; so, as the necessity arose for finding vent for her energy, the young author spent a long period of bodily rest in mental activity, its first fruits being "Mr. Smith: A part of his Life." This character was drawn from life; even the name was the same, and he was found dead as described in the book. She sent the MS. anonymously to Mr. John Blackwood, the late distinguished editor ofBlackwood, who—much struck with its promise—at once accepted and published it.
Brought up from her childhood in the stately homes of her own people, now in Scotland, now in England, and reared in the atmosphere of healthy country life, Mrs. Walford has been enabled to write with the frankness and accuracy which make her books so thoroughly characteristic and enjoyable.
A proposof "Mr. Smith," an amusing anecdote is told. The Queen had had the story read to her twice, and, being much interested in it, expressed a wish to see the author. She was presented on her marriage by the Duchess of Roxburghe, who on the occasion happened to take the place of the Mistress of the Robes, absent from indisposition. It is said that as the young novelist made her curtsey before the Royal presence, the Duchess softly breathed into Her Majesty's ear the words, "Mr. Smith."
A series of short stories soon followed this first success and appeared inBlackwood, beginning with"Nan, a Summer Scene," and under this name they have since been collected and published in one volume. "Pauline" next ran through the same magazine as a serial; "Cousins" was written in 1879; "Troublesome Daughters" followed in the ensuing year. "The Baby's Grandmother," which is perhaps the most popular of all, was written in 1885. Then came "A Stiff-necked Generation," "A Mere Child," "A Sage of Sixteen," "The Havoc of a Smile" "The Mischief of Monies." The latter book is more on the lines of "Mr. Smith" than any of Mrs. Walford's recent works of fiction, and proved a great success inLongman's Magazine. Then came "A Pinch of Experience," and later on, she wrote a series of Biographical studies on "Famous Authoresses of Bygone Days," forFar and Near, an American Magazine. This is coming out as a Christmas gift or prize book. A little volume of Christmas Tales illustrated by T. Pym (Mrs. Levett) is shortly to appear, and will be called "For Grown-up Children," being storiesaboutchildrenforgrown-up people. Besides this, she is a constant contributor to theSt. James's Gazette. She also writes a weekly letter for the AmericanCriticon literary subjects; one called an "Epidemic of Smartness" made a special sensation; and she has, in addition, stories in two Christmas numbers,The QueenandAtalanta.
One great aim of this author has ever been to make herself thoroughly acquainted with all the details of her subject. So particular is she to ensure absolute accuracy, that every item of military life is submitted to one or other of her soldier brothers (two ofthese were respectively in the 4th Dragoon Guards and the 42nd Black Watch), and every detail of sport to her father; indeed, so well up was she in the latter, that a reviewer of "Mr. Smith"—when the sex of the author was yet unknown—caustically observed, that the writer was "more up in woodcock shooting than in religion!" the young author not having yet learnt to verify a quotation, even from Holy Writ.
An ardent lover of the old Scottish kirk, Mrs. Walford says that she "would go any distance to hear a good, long sermon from some of its divines." She is an indefatigable walker, and has traversed on foot twenty-three miles, from Arrochar to Inveraray—"from milestone to milestone" she is careful to add, knowing what Scotch and Welsh miles are supposed to be. She is extremely fond of poetry, and has a good collection of her chief favourites, whilst she keeps habitually on her own table copies of Tennyson, Jean Ingelow, and Coventry Patmore's work.
In earlier days your hostess gave much of her time to water-colour drawing, but her children have claimed for the decoration of their schoolroom all her pictures, the majority of which, they proudly remark, were "exhibited and hung on the line in the R.A. of Edinburgh." Mrs. Walford is just saying that she was married at St. John's, Edinburgh, when the door opens and in comes the bridegroom on that occasion. He is a native of another part of Essex, in which county his forefathers have held lands for several centuries, his grandfather having been High Sheriff in the famous "Waterloo year."He is a magistrate for the part in which he now lives, and, amidst the claims of a busy life, he finds time to sit on the bench perhaps oftener than do many of his less occupied colleagues. Looking at the noble, genial face, you secretly wonder if he can ever find it in his heart to pass severe sentences on offenders. He is extremely popular, has made a distinct mark for himself in his own circle, and it is his wife's pride to recognise that he will never be known as "Mrs. Walford's husband."
An hour later you are taken into the dining-room, through the ante-room, in the latter, a table near the great bay windows is filled with all the newest books and magazines; these are regularly changed and brought up to date by Mrs. Walford, and are a constant source of attraction to visitors. On your left at dinner sits your host's elder son, "Desborough," a fine manly young fellow, just of age; he is full of intelligence, and possesses great powers of observation. He is delightfully entertaining throughout the meal, and asking him about the pictures, which literally cover the walls, he explains that they are a complete collection of Boydell's fine old Shakespearian engravings, and, he adds modestly, these, and all the many etchings and pictures in the house, were framed by his father.
It is quite apparent in this happy home that there is perfect love and sympathy between the parents and the children. The children are as proud of their good, distinguished-looking father as they are of their pretty, gifted mother; the elder ones are keenly interested in her books, and look out eagerlyfor the new copies, each confiscating one for his or her own room. Mr. and Mrs. Walford have ever been in touch with each individual member of their family. The children have never been put aside for her work, and they are constantly with their mother. They have all inherited her talent for drawing, and many of them bid fair to be no mean proficients in the art.
On the following morning your hostess announces that she has "given herself a holiday," and she proposes to take you out for a turn. The season is late and, though within but a very few weeks of Christmas, the sun is shining brightly over the grounds and the air is pleasantly warm. What was once said of a famous lawn at Oxford may well be applied to Cranbrooke Hall. A stranger inquired of a solemn old gardener what was done to keep it so fine and smooth? "Well, sir," was the reply, with the utmost gravity and good faith, "first we sows the seed, and then we rolls it and we mows it for three hundred years." Skating will soon be largely indulged in on the glittering lake, and many merry moonlight parties are looked forward to during the coming severe weather, which is predicted by the great holly trees covered with red berries. After a stroll round the pleasant demesne, and a peep into the vineries, in which is the old black Hamburg vine, sister of the famous one at Hampton Court, you return through the billiard-room into the Camellia house, which, a little later on will be a mass of bloom, sometimes as many as two thousand being in flower at a time, in every variety of colour.
The billiard table is decorated at the sides withgroops of hand-painted flowers, exquisitely designed, and the cues are arranged in a round oak niche, which you feel sure once contained the image of a saint in some old cathedral. Just above the seat backs, and extending all round the room, is a perfect picture gallery of friends' photographs, placed closely side by side, and above these there is a wealth of engravings and etchings which would take days to examine.
Mrs. Walford has had three old-fashioned predecessors in the paths of literature in her own neighbourhood, namely, Thomas Day, who, exactly a hundred years ago, wrote "Sandford and Merton," at the little village of Aybridge, within half a dozen miles of Cranbrooke; Anne and Jane Taylor, whose "Original Poems" were, according to Sir Walter Scott, "known to four continents."
Before leaving, you ask to see your hostess's own special portrait gallery of her seven children. First comes "Desborough," then the eldest daughter, in herdébutante'sdrawing-room dress of last season; next, two young girls yet in the schoolroom,
Standing with reluctant feetWhere the brook and river meet,
and then the three "nursery" children, one of whom is taken in her mother's arms. Lastly, you are shown a faded portrait of the famous author herself, taken at the age of fourteen, and called "A Yellow-haired Lassie," and, in the bright, radiant smile, you recognise the appropriateness of her childish cognomen of "The Laughing Girl."
The ancient and historic village of Richmond is too well known to need much description. It is thronged with kingly memories. Entering the old park by Kew Bridge, you drive past the large and beautiful Royal Gardens, extending along the banks of the Thames to Richmond, which were cultivated under the immediate superintendence of King George III. The old manor garden became Crown property in the reign of Edward I., when it was known as Shene, and was converted into a palace by Edward III.; but, being destroyed by fire in 1498, it was rebuilt with great splendour by Henry VII., who changed the name to Richmond, after his title of Earl of Richmond, ere he ascended the throne. Here was Philip I. of Spain right regally entertained. Here was the Princess Elizabeth shut up by her sister Mary, and here occasionally resided Charles I. On the right stands the Observatory, built by Sir William Chambers two centuries ago. When the road turns into the New Park south of Richmond, the coachman points out the massive brick wall encompassing the eight miles of its circumference, and remarks that in the reign of George II. an attempt was made to exclude the public, which was frustrated however byan enterprising inhabitant, who, pluckily going to law, recovered the right of way, and thus secured the everlasting gratitude of later generations.
It is for this picturesque and attractive place Miss Rhoda Broughton has deserted her quiet little home at Oxford, where she had lived for twelve years. On the high ground overlooking the Terrace Gardens, she and her sister, Mrs. Newcome, have established themselves in the quiet and peace they both love, in a comfortable house, standing back from the road, which commands an extensive view of the river, winding serpent-like through a forest of trees. Ushered upstairs into the drawing-room, where the author receives you with much cordiality, the first thing which strikes you is the sweet rich voice in which her welcome is uttered. Standing facing the setting sun, with its golden light reflected on her, you observe that she is above the middle height, and graceful in figure; the hair, rolled back from the low broad strong-looking forehead, is becomingly tinged with grey over the right temple, harmonizing well with the darker shades on the neat, well-shaped head. The mouth and chin indicate firmness and resolution. In repose, the expression might almost be called sad, but as she speaks, the frankness in the grey eyes, set well apart, at once dispels the idea, and the pleasant musical laugh betrays the vein of fun and wit—entirely of an original kind—which runs through her books. She is dressed in some fabric of dark green, with velvet sleeves and bodice; the latter relieved at the upper part with a paler shade of embroidered vest. The windows open on to a broad trellised verandah, which runs the wholelength of the house; and, stepping out to it, Miss Broughton bids you look at the exquisite view. It is a lovely day in latest autumn, the trees, turned to every shade of gold, copper, and brown, are shedding their leaves profusely. The sinking sun is leaving the sky deeply tinged with waves of pink and purple, and the river looks like a silver stream, with here and there a tinge of reflected colour, unbroken by a single boat. The air is pure and still, with a faint suspicion of a coming frost. For a few moments you both stand in rapt silence admiring the beautiful prospect, yet sighing to think that the winter is so near at hand; then your hostess leads the way back into the drawing-room, where tea is served, and as you settle comfortably in a luxurious couch covered with tapestry of the first Empire, and sip the fragrant beverage out of a cup of old Spode, the eye travels round the quiet restful room, and notices the many little knick-knacks that fill it.
On the right stands an antique writing table, with pigeon-hole drawers, and old blue china grouped over the top. The two ancient oak cabinets are covered with pretty "bits"; growing in a cunningly-concealed basket is an immense pyramid of ferns and palms, which are Miss Broughton's particular delight. On the little plush-covered table by the side of a delicately wrought iron Italian stand—whereof the copper bowl is filled with autumnal flowers—lies a business-like work-bag, filled to overflowing, which gives a home-like look to the room and indicates that it is useful as well as ornamental. On asking Miss Broughton for a peep into her sanctuary, she smiles indulgently, and begs you to descend. The white-painted fresh-looking staircase is partially covered with Persian carpet of warm colour, and, throughout, the dado is composed of Indian matting, above which hang many engravings and photographs. The large black-and-white lozenge-shape tiles give the hall an indescribably bright appearance, which here and there the long Indian rugs subdue, yet throw up into relief. You enter the room sacred to the gifted authoress, and look round. Where are the manuscripts, the "copy," the "proofs," which might reasonably have been expected? There is no indication of her work on the old oak knee-hole writing-table beyond a single blank sheet of paper reposing on a large wooden portfolio, exquisitely painted on both sides by her friend Mrs. Andrew Spottiswoode at Dresden. A solitary penholder lies on a china inkstand, flanked by a pair of large green jars from Hyères. She half guesses your look of interrogation, and remarks that she is "resting" awhile, now that her latest book "Alas!" is published, before launching another, entitled "Mrs. Bligh."Elle recule pour mieux sauter, but at the present moment, as she kindly causes it to be understood that no encroachment is being made on her valuable time, you do not hesitate to ask for some details of her literary life.
Rhoda Broughton was born at Segrwyd Hall, Denbighshire. Her father was a clergyman, and held the family living in Cheshire, where her childish days were passed, varied by visits to her grandfather,Sir Henry Broughton, at Broughton Hall, Staffordshire. Her father was a student, and himself grounded her in Shakespeare and the English classics, and imparted also the rudiments of Latin and Greek. She was brought up strictly, and the hours of study were long, but made interesting by her scholarly instructor. Asking Miss Broughton if her father had been an author, she replies, "only of his sermons, and I do not believe any of my relations wrote a line in their lives." It is a surprise to hear that her great gifts, her originality of style, her wonderful descriptions of scenery, her subtle humour, are not hereditary. Keenly interested, you ask her how then the idea of writing occurred to her.
She says she remembers a certain wet Sunday afternoon when she was about twenty-two; she was distinctly bored by a stupid book which she was trying to read, when "the spirit moved her to write." It was on the leaves of an old copy-book lying at hand that she delivered her soul of the ideas which poured in on her brain. Day after day, night after night, she wrote swiftly and in secret, until at the end of six weeks she found a vast heap of manuscript accumulated, to which she gave the title of "Not Wisely, but Too Well." Miss Broughton kept it by her until January, 1865, when she crossed over to Ireland on a visit to her uncle-in-law, Mr. Joseph Sheridan Le Fanu, then editor of theDublin University Magazine; she selected two chapters at random and read them aloud to him. He at once prognosticated the success of the book; accepted it as a serial, and later on, suggested to Mr. Bentleythat he should bring it out in three volume form. Here, however, a check occurred. The reader pronounced so unfavourably of its merits, that Mr. Bentley held off. But the inspiration, once set in motion, could not be stopped, and soon found vent in a new work, "Cometh up as a Flower." This was well received. A couple of columns of favourable criticism in theTimes, and various eulogistic notices in other papers, soon caused it to become such a marked success that Mr. Bentley reconsidered the matter. His deliberation happily ended in the purchase of "Not Wisely, but Too Well" from Tinsley, so that the two books were actually brought out in the same year. The home of Miss Broughton's ancestors, Broughton Hall, built in the reign of one of the old Tudors, is so well depicted in "Cometh up as a Flower," that none who have read the book and seen the place can fail to observe the absolute truthfulness of the description.
A proposof this novel, Miss Broughton tells an amusing anecdote:—"It was claimed by other people," she says; "a lady told an acquaintance of mine that her son had written it, which diverted me much."
The fame of these books went far afield. Some years ago a graceful tribute was paid to the author. Captain Markham, of H.M. shipAlert, begged to be introduced, and told her that in a remote Arctic region they had by common consent christened an icebound mountain, "Mount Rhoda," in grateful acknowledgment of the pleasure which her books had given the officers of the ship on their perilous voyage.
"Temple Bar" secured her next two novels, "Red as a Rose is she" and "Goodbye, Sweetheart." About once in two years Miss Broughton delights the world with a new book. "Nancy," "Twilight Stories," "Joan," "Second Thoughts," "Dr. Cupid," "Belinda," followed at about these intervals, but her latest work, "Alas!" must take a high stand, if only for her faithful delineation of life in Florence, her intimate knowledge of all things artistic, her scenes laid in Algeria, which place she visited last year, and her vivid and graphic descriptions of those lovely countries, which are an education in themselves. And the humorous touches! How much everyone sympathises with the meek, but excellent "Amelia," whom no one thoroughly appreciates until after her death. Uneducated in art, she appeals pitifully in the following words to her lover, who finds out her worth too late.
"And now, where shall we go? that is the next thing—not to any gallery or church, I think, if you don't mind. I say such stupid things about art, and the more I try the stupider they are; let us go somewhere into the country. I can understand the country, I am not afraid of saying stupid things about it."
You tell her later of an observation made to you quite lately by her sister author, Miss Braddon, ever keenly appreciative of the gifts of another, on reading a striking description in "Alas" of the sea after a storm, which runs thus:—"A sea even more wonderful than radiant; no servile copy of the sky and clouds to-day, but with astonishing colours of its own; a faint yet glorious green for a part of itswatery breadth; then what our poverty compels us to call blue; and then a great tablecloth of inky purple, which looks so solid, that the tiny white boats which are crossing it seem to be sailing on dry land." Miss Braddon remarked, "Rhoda Broughton is a genius and a prose poet." Your hostess is charmed with the kindly speech.
No solitary copy can be seen, in the well-filled book-cases, of the author's works. She says that she sells them out and out at once, and then has "done with them"; but, "Come," she adds, "we have talked long enough about my books; let me show you a few of my treasures," and she points out a small sketch by Hamilton Aidé, two busts of Lord Wolseley and Mr. Carlyle, presented to her by Sir Edgar Boehm; presentation copies from Matthew Arnold, Lord Lytton, Henry James, Andrew Lang, etc., etc., and an ornamental plate rack, by which she sets great store, from Adelaide Kemble (Mrs. Sartoris); a very ancient engraving of Titian's "Danaë" hangs over the mantelpiece opposite three lovely photographs of "Garrick between Tragedy and Comedy." The floor of this delightful room is covered with peacock-blue felt and a few rugs of Eastern manufacture; a small aviary of birds stands by the window, which is open, for your hostess is a "great believer in plenty of fresh air and a good fire." Ere taking leave, you ask if the two fine pugs basking on the rugs are especial pets. "Yes," says Miss Broughton, "but," mournfully, "they are a degenerate race; and not the dear dog heroes of my books.Theyare all dead and gone!"
Emerging from the Earl's Court Station, where once stood the old manor house of the De Veres, and glancing at the noble row of buildings across the road, which until quite lately was the site of amaison de santé, it seems impossible to realise that it was at the end of the last century a miniature private zoological garden. Yet here the great anatomist and surgeon, John Hunter, kept a collection of rare and foreign animals; here, too, was the kitchen and the great cauldron in which he performed the gruesome operation of boiling down the giant O'Brien, whose skeleton can be seen in the museum of the College of Surgeons. It is to be hoped that the ghost of the big Irishman was safely laid when the work of destruction was carried on! Turning to the left, you go down Trebovir road, past the great red-stepped house of the well-known and successful "crammer" and army coach, Captain Pinhey, which leads out into Nevern square. Perhaps in nothing more than in the present style of building does the growing artistic spirit of the day assert itself. Although the houses are not erected with the solid masonry of other days, which seemedto defy the hand of time, they rejoice in more picturesque effects, and certainly the handsome, spacious Nevern-square, with its large gardens, its three well-kept tennis courts, and its fine red-brick dwellings, is a striking instance of the fact. It is barely a decade and a half of years since this site was occupied by large nursery gardens, through which a winding country lane lead to St. Mathias' Church yonder; now it is surrounded by stately mansions, broad roads, and pleasant gardens. On the south-side a ruddy gleam of fire-light through the red window-blinds marks the residence of the popular author, John Strange Winter. Passing through the outer and inner entrance doors, with mounted antlers, and Swiss carvings hung between them, you reach the long, narrow hall, where the tesselated black-and-white paving is covered for the most part with heavy Wilton carpets; the rich, deep-red walls are profusely decorated with quaint old prints, whose sombreness is relieved by Nankin and Spode china. A later inspection shows these to include some choice engravings by Morland, a few miniatures, and a group of family silhouettes. ("Had we any more black relations?" Mrs. Stannard, when a child, once asked her mother on being told which members of her family they portrayed.)
Entering the dining-room on the right, your hostess is discovered, deeply engaged in dressing dolls for an approaching juvenile festivity, when each little guest is to receive some gift. Clouds of filmy muslin, embroidery, lace, and silk lie before her, and several of those already attired repose in a row on the sofa. She extends a firm, white hand in cordial greeting, andas there is only one more doll to complete the set, you settle down beside her to watch the process, and notice the deft and nimble fingers, as they swiftly run up a flounce or adjust a tiny trimming. She is dressed in a black and grey tea-gown, which looks like fine tapestry, with grey satin sleeves, panels, and front.
Mrs. Arthur Stannard is a tall, handsome young woman. She has fine, dark brown eyes, which sparkle with intellect and humour, level eyebrows, and dark hair curling over her low forehead, and well-shaped head; she has a pretty but firm little mouth, and clear-cut chin, indicative of strength of will. Her face has settled somewhat into gravity as she pursues her occupation, for she has put into this apparently trivial matter, just as she does in greater things, her very best efforts with that thoroughness which characterises her; but as she suddenly looks up, and catches you intently watching her, she smiles a sweet, bright smile, and laughs a low, rippling laugh, as she seems to guess exactly what are your thoughts. "It is for the children," she says softly, and in those few words she betrays at once the sympathy of her nature, that sympathy with these little ones which has caused the children of her pen to live so vividly in the hearts of her readers.
It is a large, lofty room, pale green in colour, with carved oak dado. A bright, clear fire blazing in the wide, tiled hearth makes the heavy, polished brass fender and "dogs" glisten like gold. On the high, black, carved "chimney shelf," as Mrs. Stannard calls it, stand three valuable old blue jars, and the low, broad overmantel is composed of genuine Dutch tiles,three hundred years in age, framed in wood. Over this is grouped a collection of ancient blue Delft; the walls are hung with a few good proof engravings; at night the room is amply lighted by the huge hanging, crimson-shaded lamp, which casts a soft, becoming glow over every corner; the floor is covered with a thick Axminster carpet of subdued colouring, and with the exception of a handsome old carved oak dower-chest and grandfather clock, with loud and sonorous strike, which both date back into the last century, the rest of the furniture is mahogany; pieces picked up here and there, restored, modernised, and chosen with an eye to effect as well as to comfort.
Mrs. Stannard is the only daughter of the late Rev. Henry Vaughan Palmer, rector of St. Margaret's, York. For some time Mr. Palmer had been an officer in the Royal Artillery before his convictions led him to lay down his sword and enter the church militant; he had come of several generations of soldiers, and to the last day of his life found his greatest pleasure in the society of military men; this perhaps accounts for Mrs. Stannard's almost instinctive knowledge of army men and army ways. Asking her if, when a child, she loved books, and gave promise of her brilliant gift, she says, smiling, "Well, as regards my lessons, most emphatically no! I was a restless, impatient sort of child, who tired of everything before it was half done. I think, like all very enthusiastic people, that I was never as happy as with books, that is to say, novels. I was just eleven when I went to my first school, but I had read Thackeray, Dickens, Charles Reade, and Whyte Melville up to date, besidesmany others, and I was never restricted in my reading; I never remember in my life my father or mother telling me not to read any particular book, and," speaking very impressively, "I am all the better for it. Years afterwards, when my father died—I was twenty-one then—I felt that the few stories I had written and sold up to that time, were but child's play. Then I began to work in real earnest, studying certain authors that I might clearly realise the difference of their method and style." But the thought at once arises, that the touching and simple pathos of her style is entirely original, and born of no earthly model.
And then, as ofttime happens when two women are sitting together in friendly converse, a word is dropped about her married life. Ah! here, though much could be said, in deference to your hostess's wishes the pen must be stayed. All who know Mr. and Mrs. Stannard know how complete and perfect is their union. Mr. Stannard is a civil engineer, and at one time served under the late General Gordon. He is very pardonably proud of his clever wife, and efficiently transacts all her business arrangements, the two—so perfect an one—working, as it were, hand in hand.
Hernom de guerre, "John Strange Winter," was adopted by the advice of the publishers of her first books, because they thought it wiser that works so military as "Cavalry Life" and "Regimental Legends" should be assumed by the world to be written by a man, and that they would stand a better chance of mercy at the hands of the critics than if they went forth as the acknowledged writing of a woman, and fora time it was so assumed; but when "Booties' Baby" made such a success, and people wanted to know who the author was, and where he lived, it soon became known that "he" was a woman, although, as she did not add her name to the title-page, it was a good while before it was generally believed. It may here be remarked that Mrs. Stannard holds very strongly the opinion that there should be "no sex in art," and whilst never desiring to conceal her identity, deprecates the idea of receiving indulgence or blame on the ground of her work being that of a woman, as both unjust and absurd. In private life she carries out her ideas on this point so effectually that few acquaintances would gather from her conversation (unless it were necessary to "talk shop") that she was a literary woman at all, as, except to a fellow worker, she would rather talk on any subject under the sun than literature.
"The author to whom," according to Ruskin, "we owe the most finished and faithful rendering ever yet given of the character of the British soldier" can portray, too, in a wonderful degree the beauty of child-life. Of modern creations there can be none better known to the public, or which have excited more sympathy, than "Mignon" and "Houp-là."
Correct in detail, as those can prove who were in India at the time of the terrible mutiny of 1857, she might have written "A Siege Baby" on the spot had it not been that she was only born on the thirteenth of January in the previous year, and at that time was an infant in arms. Fertile in imagination, acute in observation, sprightly and wholesome in style,there is a freshness and life in her books which charm alike old and young, rich and poor, at home and abroad; and that her popularity is fully maintained is testified by the gratifying fact that a late story, "He went for a Soldier," one of the slightest of her efforts, had a larger sale during the first month after publication than any previous work from her pen in the same period. One practical result of this book must be mentioned. The scene is laid at Doverscourt, a few miles from Mr. and Mrs. Stannard's pretty summer home at Wix. She had been greatly distressed, when visiting that seaside place, by the sight of the overloaded hackney-carriages, with their poor, broken-down horses. Immediately after her indignant comments on this fact in her story, bye-laws were passed bringing these vehicles under effective police supervision.
Besides those already named, amongst some two or three and twenty novels, which are all so well known as not to need description—for are they not to be found in every library and on every railway bookstall in the United Kingdom?—"Beautiful Jim," "Harvest," "Dinna Forget," and a most pathetic story called "My Poor Dick," remain fixed on the memory. This last is perhaps the author's own favourite. "Booties' Baby," as all the play-going world knows, was dramatised and brought out four years ago at the Globe Theatre in London. It has been on tour ever since, and there seems no intention of terminating its long run, dates having been booked far into the year. A late story, entitled "The Other Man's Wife," has been running in a serial in various newspapers,and is now issued in two-volume form. One great element in the author's success and world-wide literary reputation is undoubtedly to be found in her creations of the children of her military heroes, alike among the officers' quarters and those "on the strength." She has the happy knack of depicting them at once simple, natural, and lovable.
"I never begin a novel," says Mrs. Stannard, "until I have got a certain scene in my mind. I cannot write any kind of story without having one dramatic scene clearly before me; when I have got it, I work up to that; then the story arranges itself. But this is only the germ, the first conception of the tale. As I write one thread after another spins itself out, to be taken up afterwards to form a consecutive, concise whole. Sometimes I lose my original story altogether, but never any dramatic situation towards which I am working, and the end is often quite different to what I had intended. When this happens I very seldom try to fight against fate. I think all stories ought more or less to write themselves, and it seems to me that this must make a tale more like real life than if it were all carefully mapped out beforehand, and then simply padded up to some requisite length."
By this time the last doll is finished and added to the row on the sofa. They all look as if they had been turned out of a first-class milliners' establishment. Mrs. Stannard suggests a move to her study, and leads the way up the wide staircase, the handrail of which is protected by a broad and heavy brass guard, put there for the sake of the little children of the house. A broad settee on the wide conservatory landing invitesyou to rest awhile and look at all the odds and ends which your hostess says are so precious to her. Here are two handsome Chippendale chairs picked up in Essex, many photographs of the house at Wix, a dozen pieces of Lancashire Delph porcelain, made specially as a wedding present for Mrs. Stannard's grandmother in 1810, some Staffordshire hunting jugs, and some quaint little figures, "all rubbish," she says, smiling, "but precious to me." There is, however, a Spode dinner service in blue which is emphatically not rubbish, and a set of Oriental dishes, blue and red, which are very effective. The landing is richly carpeted; the windows and the doors of the conservatory are all of stained glass, while above hangs an old Empire lamp of beautiful design filled in with small cathedral glass. The first door on the left leads into the author's study. It is a charming room, small but lofty, with pale blue walls hung with many little pictures, plates, old looking-glasses, and chenille curtains of terra-cotta and pale blue softly blended. A pretty inlaid bookcase stands opposite the window, filled with a few well-selected books. The horseshoe hanging yonder was cast in the Balaclava charge. She has indeed a goodly collection of these, and owns to a weakness to them, declaring that her first great success was achieved on the day that she picked one up at Harrogate. There must be many hundreds of photographs scattered about in this room, and it would be a day's occupation to look through them all; but each has its own interest for her, and most of them are of people well known in the literary, scientific, artistic, and fashionable world. "I never sit here," she says. "Itis my work-room, pure and simple. Sometimes my husband comes up, and then I read to him all my newly-written stuff, but this I do every day."
The next door opens into the drawing-room, where there is a rich harmony in the details of the decoration and furniture, which suggests the presence of good and cultivated taste, combined with a general sense of luxury and comfort. The entire colouring is blended, from old gold to terra-cotta, from Indian red to golden brown. On the left stands a cabinet crowded with choicest bits of china, in the middle of which is placed the bouquet, carefully preserved, presented to the author by Mr. Ruskin on her birthday. A lovely Dutch marqueterie table contains a goodly collection of antique silver, and among the pictures on the walls are a painting by Lawrence Phillips, Batley's etching of Irving and Ellen Terry, also one of Mrs. Stannard, and a series of all the original and clever pen-and-ink sketches in "Bootles' Children," by Bernard Partridge, drawn as illustrations to the story in theLady's Pictorial.
After lingering long over afternoon tea, you express a wish to see the children before they sleep. Mrs. Stannard leads the way first to a room next her own, which is occupied by a fair little maiden, seven years of age, with grey-blue eyes, sunny hair, and a wild-rose complexion, who asks you to "go and see the twins." Accordingly their mother takes you on to a large night-nursery, where the two little ones, boy and girl, are being prepared for bed. They are just turned four, and are called Eliot and Violet Mignon, after two of the characters in Mrs. Stannard's books. They areperfectly friendly, and as you bend to kiss the baby girl last, she looks reproachfully out of her great dark eyes, and sternly commands you to "kiss Gertie, too." (Gertie is the under nurse.) This raises a hearty laugh, under cover of which you hastily retreat.
Above all things, Mrs. Stannard is a thoroughly domestic woman. Popular in society, constantly entertaining with great hospitality, she yet contrives to attend to every detail of her large household, which consequently goes like clockwork. She writes for about two hours every morning, and keeps a neat record book, in which she duly enters the number of pages written each day.
Presently Mr. Stannard comes in, and soon suggests an adjournment to his study downstairs, a snug, business-like room, half filled with despatch-boxes, books, and MSS. On a table stands a large folio-like volume, which is Mrs. Stannard's visiting book, containing many hundreds of names. She looks ruefully at a clip containing some sixty unanswered letters, and candidly confesses that she finds considerable difficulty with her private correspondence and her calls, both of which accumulate faster than she can respond to; though, as she says, her many friends are very indulgent to her on those scores, and are "quite willing to make allowance for a poor woman who has the bulk of her literary work cut out for a year or two in advance, three little children, and a houseful of servants to manage; but, happily," she adds, "good servants. I have been so lucky in that way."
Just now, indeed, she claims especial indulgence inrespect to social observances, for, as though so busy a life were not enough to exhaust her energies, early in 1891 she added a new burden to her indefatigable pen, by starting a penny weekly magazine under the title ofGolden Gates, subsequently altered toWinter's Weeklyin deference to the opinion of those who objected to the somewhat religious sound of the former name. The little paper was the first weekly periodical that was ever exclusively owned, edited, and published by a popular novelist, and its fortunes have been watched with vivid interest by all who know how treacherous and adventuresome are such enterprises. The fresh, frank individuality ofWinter's Weeklyhas, however, made friends for the journal wherever it has gone, and if John Strange Winter can keep it at its present point of unconventional interest, it may consolidate into a valuable property. Already it seems to have suggested the publication of new journals on similar lines, though no other woman novelist has yet had the courage to follow suit.
Later works of this favourite writer are "Mere Luck," "My Geoff," "Lumley, the Painter," also a powerful and pathetic novel, in two volumes, entitled "Only Human." Her last is a story called "A Soldier's Children," which she has given for the benefit of the Victoria Hospital for Children, Chelsea.
But with all this accumulation of business, these domestic cares, and social claims, somehow Mrs. Stannard never seems in a hurry. The kind and hospitable young couple are always ready to do an act of kindness, and to welcome with help andcounsel a new aspirant to fame in the thorny paths of literature. Small wonder that they are so much sought after in society, and so heartily welcomed wherever they go—and one is seldom seen without the other. You go on your way with every hearty good wish that each year may bring them ever-increasing prosperity and success, for in such union there is strength.