Chapter 10

The disposition of his vast wealth was marked by great eccentricity. His will, when published, caused much adverse criticism, and uncomplimentary epithets were freely used. Suffice it to say here, that his property was most unequally, if not unfairly, divided amongst his family, and that he did not leave a farthing to the Charities of the town of his birth--the town which had done so much for him, and for which he had always professed so much attachment.

JOSEPH GILLOTT.

About a hundred and fifty years ago, a gentleman, whose name I have not been able to ascertain, owned the premises in Icknield Street West, now known as Monument House, and in his garden, near the house, he built the tall octagonal tower, now known as the Monument, respecting the origin of which so many various legendary stories are current. It was, no doubt, erected to enable its owner, who was an astronomer, to obtain from its upper chamber a more extensive field of view for his instruments, and thus to enable him to make observations of the heavenly bodies when they were very low down in the horizon. I am informed, however, by an old inhabitant of Edgbaston, that his father told him, when a little boy, that it, was built by a gentleman named Parrott, who formerly lived in the top house in Bull Street, at the corner of Steelhouse Lane. This gentleman had removed to the house now called Monument House, and built the "Monument" in his garden to enable him--when from age he became too much enfeebled to enjoy it himself--to watch from its upper storeys the sport of coursing, which was extensively practised in the pleasant fields and meadows which then surrounded the house. Be that as it may, it is certain that the tower was, a century ago, known by the name of "Parrott's Folly."[A]

[Footnote A: In a Directory for the year 1800, Monument House is named as the residence of Mr. Parrott Noel.]

From the top storey of this lofty building there was a very extensive range of vision, but when first built there was little to be seen but green fields and open country. Of the few buildings visible, Ladywood House, still standing, occupied the foreground, and was surrounded by a pleasant park. Apparently just beyond was the fine old mansion known as New Hall, which stood where now Great Charles Street intersects Newhall Street, the present roadway being the very site which the house then occupied. St. Philip's Church was being built, and the scaffold of its unfinished tower and dome looked like a huge net of wickerwork. A little to the left, Aston Hall, in the clear atmosphere, seemed only about a mile away. Beyond, on a gentle eminence, Coleshill was distinctly visible, and in the far distance the tower of St. Mary's Church at Coventry reared to the dim and hazy sky its exquisitely tapered and most graceful spire.

I stood within this upper room, a few years ago, on a pleasant evening in the summer-time. From its windows there is still a very extensive view, but how changed! On all sides but one there is nothing to be seen, under the dingy cloud of smoke, but a weary, bewildering mass of dismal brick and mortar; and even on the north-west, where there are still a few green fields and pleasant gardens in the neighbourhood of the two reservoirs, the eye, reaching beyond there, comes upon the dark and forbidding regions to the west of Dudley. As on that glorious evening I turned my telescope to this point, I was startled by a very curious sight. I had placed the instrument in such a manner that its "field" was completely filled by the ruby-coloured disc of the setting sun. As I looked, I saw the singular apparition of a moving "whimsey" at the top of Brierley Hill, dark and black against the shining surface. It was an extraordinary illusion, for it looked exactly as if the rising and falling beam of the engine were attached to the surface of the sun itself.

On the same side, I saw, almost at the foot of the tower on which I stood, a little enclosed garden. It contained at one end a long, low, pavilion-like building, and, here and there, some pleasant alcoves and garden seats. I heard the sound of merry voices, and, I saw two or three sets of gentlemen playing the game known by the unpoetical name of "quoits." Upon inquiry I was told that this was the private ground of the Edgbaston Quoit Club, a select body, consisting mainly of well-to-do inhabitants of that pleasant suburb. By the courtesy of one of the members, I was a few days afterwards conducted over these premises. It was not a club day, so we were alone. The low pavilion, was, I found, the dining-room of the club--for on club days the members met to dine, as a preliminary to the play. It was plainly and very comfortably furnished, and every arrangement seemed to have been made that could conduce to the convenience of the members. At one end was a long row of hat-pegs, and upon these, at various angles, hung a singular assortment of garden hats and caps, of every imaginable shape and colour. They were the _neglige_ head-coverings of the members, and though altogether dissimilar in most respects, they were alike in one--they were all of very large size.

Phrenologists tell us that the size of a man's head is indicative of his mental power, and these hats certainly bore out the theory, for their owners were mostly self-made men, and were, without exception, men of mark. I will not mention the name of any of those now living, but two of the largest hats there belonged respectively to Walter Lyndon and Joseph Gillott.

Mr. Gillott, we are told, in a newspaper published soon after his death, was "born of poor but honest parents." I should like very much to inquire here, how it is that novel writers, magazine contributors, and newspaper reporters always write "poor _but_ honest." Is there really anything antithetic or antagonistic in poverty and honesty? To my mind the phrase always seems offensive, and it will be well if it is discontinued in the future. It is one of those little bits of clap-trap so common among reporters, who use phrases of this kind continually, without a thought as to their appropriateness.

However, Joseph Gillott was born in Sheffield about three months before the present century commenced. His parents _were_ poor, but they managed to give him a good plain education, and they taught him self-reliance. They taught him, too, to train and cultivate the fine faculty of observation with which he was naturally endowed. In very early life, we are told, he, by forging and grinding the blades of pen-knives, contributed greatly to the income of the parental household. It is said that even at a very early age, his quick perception and his acute nervous organisation enabled him to produce much finer work than others of far greater experience in the same trade, whose obtuseness had kept them in a state of comparative drudgery all their lives.

When he became of age, and was "out of his time," the cutlery trade in Sheffield was very much depressed, and he came to Birmingham, hoping to obtain employment in a trade which, owing to a caprice of fashion, was just then in an inflated condition. This was the business of making steel buckles, and other articles of polished steel for personal adornment. In this he was very successful, and soon after his arrival in the town, he took a small house in Bread Street, a little way down on the right from Newhall Street, and here he started business for himself. He had no capital, but he had great skill. Mr. S.A. Goddard, who used to buy from him, tells me that he made very excellent goods, and "came for his money every week." He was a very excellent workman, and possessing as he did the native perception of fitness which we call "taste," he soon obtained abundance of orders, and became prosperous.

At this time the steel pen trade, which has since grown to such enormous dimensions, was only in a tentative condition. Josiah Mason, in conjunction with Perry, of _The Morning Chronicle_ newspaper, was experimenting, and two brothers, named respectively John and William Mitchell, were actually making, by a tedious method, a fairly good article. They were assisted in their work by a sister. By some fortunate accident, Gillott and Miss Mitchell met, and after a brief courtship they entered into an engagement to marry. She spoke to her intended husband of the nature of her occupation, and Gillott at once conceived the idea that the _press_, the useful implement then used principally in the button trade, might, if proper tools could be made to suit, produce pens in large numbers very rapidly. With his own hands, in a garret of his house, he secretly worked until he had succeeded in making pens of a far better quality than had yet been seen. His process was one in which, unassisted, he could produce as many pens as twenty pairs of hands, working under the old system, could turn out. There was an enormous demand for his goods, and as he wanted help, and secrecy seemed needful, the young people married, and Mr. Gillott used to tell how, on the very morning of his marriage, he, before going to the church, made with his own hands a gross of pens, and sold them at 1s. each, realising thereby a sum of L7 4s.

Continuing to live in the little house in Bread Street, the young couple worked in the garret, no one else assisting. As an illustration of the primitive condition of the steel pen trade then, it may be mentioned that at this period the pens were "blued" and varnished in a common frying-pan, over a kitchen fire. Orders flowed in so rapidly, and the goods were produced in such quantities, that the young couple made money faster than they knew what to do with it. They were afraid to invest it, as they did not wish it to ooze out that the business was so profitable. It has been stated that Mr. Gillott had several banking accounts open at this time, being afraid that, if he paid all his profits into one bank, it might excite cupidity, and so engender competition. It is also said that he actually buried money in the cellar of his house, lest his marvellously rapid accumulation of wealth should become known.

At length the demand for his pens became so great that it was impossible to resist the urgent necessity for larger premises and increased labour. Mr. Gillott, accordingly, removed to Church Street, and subsequently took other premises, up the yard by Mr. Mappin's shop in Newhall Street. About the same time, he removed his family to the house at the corner of Great Charles Street, where the Institution of Mechanical Engineers had its offices until its recent removal to London. After a few years, he commenced to build the premises in Graham Street, where the business has, ever since, been carried on. At the time the building was erected, there were few "factories," properly so called, in the town, and most of the work of the place was conducted in the low, narrow ranges of latticed-windowed buildings known as "shopping." Mr. Gillott's was, I think, the first Birmingham building in the modern factory style. It was admirably planned, and expensively built. Even, now, when hundreds of factories have arisen, its solid and substantial appearance externally, and the arrangements inside, for order, and for the organisation of labour, are not surpassed by any of its rivals.

As soon as Mr. Gillott's appliances were of sufficient extent to supply very large quantities, he commenced to advertise extensively, a practice which he continued during the remainder of his life, and which his son and successor still follows up in a modified form. I perfectly remember, more than forty years ago, his advertisements in tine magazines, and on the cover of the "Penny Cyclopaedia." Like everything that Mr. Gillott did, they bore the impress of original thought. After giving his name and address, and a few other particulars as to his wares, the advertisements went on to say something like this:

"The number of pens produced in this factory in the year ending December 31st, 1836, was

250,000 grosses, or 3,000,000 dozens, or 36,000,000 pens."

The advertisements invariably had the fac-simile of Mr. Gillott's signature, as now; a signature better known, perhaps, than any other in the world, and one with which almost every human being who can write is perfectly familiar. Of course it will be understood that the quantities given above are altogether imaginary. It is impossible to remember the exact figures after so many years, but they are inserted to show the form the advertisements then took.

Faster than the improved facilities at his command enabled him to produce, came the demand for his pens. To meet this, he brought from time to time into use many mechanical appliances, the product of his fertile and ingenious brain, until at length every one of the old processes was superseded, and labour-saving machinery substituted. The price of the pens fell from a shilling each to less than that sum per gross, and the steel pen came into universal use. The enormous number of yens produced in Mr. Gillott's works can scarcely be set down in figures, but may be estimated roughly, from the statement made at the time of his death that the average weight of the weekly make of finished pens exceeded five tons. I have tried, by experiment, to arrive at an approximate estimate of the _number_ of pens this weight represents. I have taken a "scratch" dozen of pens, of all sorts and sizes, and ascertaining their weight, have calculated therefrom, and I find that the result is something like sixty thousand grosses, or the enormous number of nearly nine millions of separate pens, sent out from this manufactory every week.

In the course of the forty or fifty years during which Mr. Gillott was in business, many other manufactories of steel pens were established, at some of which, probably, greater _numbers_ of pens were produced than at his own, but the _amount of business_ transacted was in no case, probably, so great. Mr. Gillott did not compete in the direction others took--lowness of price. Like his brother-in-law, Mr. William Mitchell, he preferred to continue to improve the quality. It is somewhat remarkable that, after long years of active and severe competition, these two houses--the oldest in the trade, I believe--have still the highest reputation for excellence.

It has often occurred to me that the invention of steel pens came most opportunely. Had they not been invented, Rowland Hill's penny postage scheme would probably have failed. There would not have been, in the whole world, geese enough to supply quills to make the required number of pens. Had Byron lived a little later on, his celebrated couplet would not have apostrophised the "gray goose quill," but would probably have run something like this:

"My Gillott pen! thou noblest work of skill, Slave of my thought, obedient to my will."

My purpose, however, in this sketch is not to write a history of the trade by which Mr. Gillott raised himself to fame and fortune, but rather to describe the man himself, as he moved quietly and unobtrusively among his fellow men. One of his chief characteristics, it has always struck me, was his intense love of _excellence_ in everything with which he had to do. It was a frequent jocular remark of his that "the best of everything was good enough for him." In this--perhaps unknowingly--he followed Lord Bacon's advice, "Jest in earnest," for he, certainly, earnestly carried out in life the desire to do, and to possess, the "best" that could be attained. Of this peculiarity, some very pleasant stories can be told.

Soon after he had purchased the beautiful estate at Stanmore, near Harrow-on-the-Hill, which he loved so much, and where, in company with his old friend, Pettitt, the artist, he spent so much time in his latter years, he resolved to adorn the grounds with the rarest and most beautiful shrubs and trees obtainable. The trustees of the Jephson Gardens, at Leamington, about the same time, advertised for sale some surplus plants of rare kinds, and Mr. Gillott paid the gardens a visit. He had selected a number of costly specimens, when his eye fell on a tree of surpassing beauty. He inquired its price, and was told that it was not for sale. He was not a man to be easily baffled, and he still tried to make a bargain. He was at length told that an offer of L50 had already been made for the tree, and refused. His reply was characteristic: "Well, I've made up my mind to have that tree, and I'll give L100 for it. This offer, with the amount of those I have selected, will make my morning's purchases come to three or four hundred pounds. If I don't have this tree, I won't have any." He had it, and it still adorns the magnificent lawn at Stanmore.

Few people know that he had a fancy for collecting precious stones, simply as rarities. Poor George Lawson (whose tall, erect, and soldier-like figure was well known in the streets of Birmingham and at picture sales, and whose thoroughly good-natured, genial, hearty manner, and singular wealth of humour, made him the favourite "of all circles, and the idol of his own") told me a capital story illustrative of this. One of Mr. Lawson's daughters complained to him of tooth-ache, and he advised her to have it extracted. The young lady, who had inherited a large share of her father's rare humour, went immediately to the dentist and had the objectionable tooth removed. There had been a calf's head on the dinner-table that day, and the young lady, on her return, obtained from the cook one of the large molars from the jaw of the calf, which, having been carefully wrapped in paper, was presented to her father as her own. He saw through the trick in an instant, and affecting great astonishment at its enormous size, he put it in his waistcoat pocket, as a curiosity, forming in his own mind a little plot for the following day, when he had an engagement to dine out. The dinner party was at Walter Lyndon's house at Moseley, and here he met Gillott. Lawson, at table, was seated next to a gentleman from London, who wore on his forefinger a ring containing a very magnificent diamond; so large, indeed, as to excite Lawson's attention so much that at length he spoke, "You must really excuse me, but I cannot help admiring the splendid diamond in your ring." "Yes, it's a pretty good one," said the gentleman, handing it to Lawson for inspection. It was passed round the table until it reached Gillott, who carefully inspected it and said, "It's a very good one; but I think I have one that'll 'lick' it." Putting his hand into the breast pocket of his coat, he brought out two or three shabby-looking screwed-up bits of paper. Selecting one of these, he opened it, and produced therefrom an unmounted diamond, far surpassing in size and purity the one in the ring. Precious stones generally became at once the topic of conversation, and it was wondered whether an emerald of equal size would be of equal or, as one contended, even greater value. One gentleman present said that an emerald so large had never yet been seen. Gillott's eye twinkled with a merry humour, as, from another bit of paper, he produced an emerald larger than the diamond, and a minute afterwards trumped both these with a splendid ruby. It was now Lawson's turn. Assuming a serious look, he said that Mr. Gillott's specimens were certainly very remarkable, but he could "beat them hollow." Then, with an air of great mystery and care, he produced from his pocket the carefully-enveloped tooth, which he exhibited to his astonished friends as the identical tooth taken from his daughter's jaw the day before.

It is well known that Mr. Gillott had accumulated a very large and fine collection of violins and other stringed musical instruments. These, when sold by auction after his death, fetched, under the hammer, upwards of L4,000. About twenty years ago an old friend of mine in Leicestershire, who had met with some heavy losses, desired to sell a fine Stradivarius violin, which had been in his family more than a century, and he sent it to me that I might offer it to Mr. Gillott. I called upon him to ask permission to bring it to him for inspection. I can recall now the frank, honest, homely Yorkshire tone with which he said, "Nay, lad! I shan't buy any more fiddles; I've got a boat-load already." He wouldn't look at it, and I sent it back to its owner, who is long since dead.

World-wide as was his reputation as a manufacturer, he was almost equally renowned as one of the most munificent and discriminating patrons of Art. Possessing, naturally, a most refined taste, and having very acute perceptive powers, he instinctively recognised the _true_ in the work of young artists; and when he saw tokens of more than common ability, he fostered the budding talent in a very generous spirit. So much was thought of his judgment, that the fact of his having bought a picture by an unknown man was quite sufficient to give the artist a position. I heard a story from a Liverpool artist the other day, very characteristic of Mr. Gillott's firm and determined, yet kind and generous, nature. It is well known that he very early recognised the genius of the gifted Mueller, and became his warm supporter. One result of his patronage was that others sought the artist, and by offers of large prices and extensive commissions, induced him to let them have some of his pictures, which Gillott was to have bought. Mueller appears to have become inflated by his great success, and he, in this or some other way, managed to annoy his early friend and patron in a very serious manner. His punishment was swift, severe, and sure. Gillott immediately packed off every Mueller picture he possessed to an auction room in London, with directions that they should be extensively advertised as his property, and sold without the slightest reserve. This step so frightened the Art-world that "Muellers" became a drug in the market, and poor Mueller found himself neglected by his quondam friends. He soon came in penitence to Gillott, who again took him by the hand, and befriended him until his untimely death in 1845, at the age of 33. At the sale of Mr. Gillott's pictures after his decease, Mueller's celebrated picture, "The Chess Players," fetched the enormous sum of L3,950.

The story of Mr. Gillott's introduction to the great landscape painter, Turner, has been variously told, but the basis of all the stories is pretty much the same. It seems that Gillott, long before Ruskin had dubbed Turner "the modern Claude," had detected the rare excellence of his works, and longed to possess some. He went to the dingy house in Queen Anne Street, and Turner himself opened the door. In reply to Gillott's questions, he said he had "nothing to sell that _he_ could afford to buy." Gillott, by great perseverance, obtained admission, and tried at first to bargain for a single picture. Turner looked disdainfully at his visitor, and refused to quote a price. Still Gillott persevered, and at length startled the artist by asking, "What'll you take for the lot in this room?" Turner, half-jokingly, named a very large sum--many thousands--thinking to frighten him off, but Gillott opened his pocket book, and, to Turner's utter amazement, paid down the money in crisp Bank of England notes. From this moment the two men, so utterly unlike in their general character, but so strangely kindred in their love of Art, became on intimate terms of friendship, which lasted until Turner's death in 1851. Mr. Gillott's collection of Turner's works was the largest and finest in private hands in England, and, when they were sold, realised more than five times the money he had paid for them.