Part 3

Thackeray, who for some time had been a member of the Garrick Club, was elected to the Reform in 1840, being proposed by Mr. Martin Thackeray and seconded by Mr. Henry Webbe. Sir Wemyss Reid gives an interesting description of the author at this Club. “Again and again I have heard descriptions of how he used to stand in the smoking-room, his back to the fire, his legs rather wide apart, his hands thrust into the trouser-pockets, and his head stiffly thrown backward, while he joined in the talk of the men occupying the semi-circle of chairs in front of him.... To some of us, at least, the Club is endeared by the thought that he was once one of ourselves; that he sat in these chairs, dined at these tables, chatted in these rooms, and, with his wise, far-seeing eyes surveyed the world from these same windows.” In the strangers’ room at the Reform Club hangs a portrait of Thackeray by Samuel Laurence. On one side of it there stands a bust of Sir William Molesworth, on the other of Charles Buller. The latter seconded Thackeray when he was proposed by the Rev. W. Harness as a member of the Athenæum on February 12th, 1846. Thackeray was elected to this Club in 1851 under the rule which provides for the introduction of “persons of distinguished eminence in science, literature, or public services.”

[Sidenote: =No. 13, Young Street, Kensington=

_see page 18_]

In 1846 Thackeray took a house at 13 (now 16), Young Street, Kensington, where he established a home for his daughters. “Vanity Fair,” “Pendennis,” and “Esmond” were written there. “Vanity Fair” made its appearance in yellow covers, being brought out in monthly parts by Messrs. Bradbury & Evans. The first number was issued in January 1847, the last in July 1848.

When passing his house in Young Street with Mr. J. T. Fields, the American publisher, Thackeray exclaimed, “Go down on your knees, you rogue, for here ‘Vanity Fair’ was penned, and I will go down with you, for I have a high opinion of that little production myself.”

[Sidenote: =Mr. Michael Angelo Titmarsh as he appeared at Willis’s Rooms=

_see page 21_]

The first number of “Pendennis” appeared in November 1848, but the author’s severe illness at the end of 1849 interrupted its publication, which was not concluded until 1850. “Pendennis” was followed by “Esmond” in 1852. Whilst residing in Young Street Thackeray delivered his famous lectures on the English humorists at Willis’s Rooms. On page 21 an admirable caricature by John Leech is reproduced from _The Month_ representing Mr. Michael Angelo Titmarsh as he appeared in these rooms in his celebrated character of Mr. Thackeray:

Mr. Thackeray, of Vanity Fair, announced a simple course of lectures on a purely literary subject; and for the reason that Mr. Thackeray, living entirely by his pen, was still recognised as a fine gentleman by all--and they were many--who knew him in private, so accordingly his room was filled by an audience as brilliant and fashionable, as intelligent and judicious--in fact, after the lecturer, the agreeable sight of the excellent set of people who gathered about him with such thoughtful attention was really an attraction.

[Sidenote: =Château de Brequerecque, Boulogne-sur-Mer=

_see page 20_]

[Sidenote: =No. 36, Onslow Square, Brompton=

_see page 19_]

On October 30th, 1852, Thackeray set sail for the United States, where he remained until the spring of 1853. He lectured in various towns--New York, Philadelphia, Baltimore, Charleston, and Richmond amongst others. Upon his return to Europe he made a very short stay in London, and then proceeded to Switzerland, where the story of “The Newcomes” was, according to his own statement, “revealed to him somehow.” Much of the novel was written abroad while its author was travelling in Germany, Switzerland, Italy, or staying at the Château de Brequerecque at Boulogne, where he is said to have evolved the noble figure of Colonel Newcome. The Château de Brequerecque lies pleasantly nestled in trees and shrubberies on the outskirts of the town, and is surrounded by a high wall screening it from public gaze. “The Newcomes” was completed at No. 36, Onslow Square, where Thackeray moved from Young Street in 1857. “The result of my father’s furnishings,” wrote Mrs. Richmond Ritchie of this residence, “was a pleasant, bowery sort of home, with green curtains and carpets, looking out upon the elm trees of Onslow Square. We lived for seven years at No. 36, and it was there he wrote the ‘Lectures on the George’s, and the end of ‘The Newcomes,’ and ‘The Virginians,’ part of ‘Philip,’ and many of the ‘Roundabout Papers.’ His study was over the drawing-room, and looked out upon the elm trees.”

Thackeray stood for Parliament in the Oxford City division in July of 1857, but was defeated by a small majority. In 1860 he undertook the editorship of the _Cornhill Magazine_, of which Messrs. Smith & Elder had commenced publication in the January of that year. Though continuing to contribute to this magazine until the last, he retired from the editorship in April 1862, doubtless finding the work too exacting for his now failing health.

[Sidenote: =No. 2, Palace Green, Kensington, where Thackeray died=

_see page 32_]

[Sidenote: =The M.S. of “Denis Duval.”=

_see page 31_]

[Sidenote: =Thackeray’s Grave at Kensal Green Cemetery=

_see page 33_]

In the year 1861 the firm of Jackson & Graham built for Thackeray the beautiful house at No. 2, Palace Green, Kensington, which alone of all his homes has the Society of Arts oval commemorative tablet inserted in its wall. An old house stood on the site at the time of purchase, but after careful consideration Thackeray wisely gave up the idea of repairing and adding to it, and erected in its place a fine mansion of red brick with stone facings in the style of Queen Anne. At this period, besides working for the _Cornhill_, Thackeray was writing “Denis Duval,” his last book, which remained unfinished. After several severe attacks of illness, the novelist died at his residence in Palace Green on December 23rd, 1863, and was interred at Kensal Green Cemetery on the 30th of the month. The Middle Temple, of which he was a member, requested that they might be allowed to bury him in the Temple, near the grave of Goldsmith. The offer was, however, declined. A bust of Thackeray by his friend, Baron Marochetti, was placed in Westminster Abbey.

NOTES ON THE PORTRAITS OF THACKERAY

Thackeray was striking in appearance, being over six feet in height and broad in proportion. He was erect in his gait and stalwart in bearing. His countenance was very expressive and capable of much dignity, and his peculiarly sweet smile, combined with a great gentleness of voice and manner, particularly endeared him to children. “Grand and stern and silent,” wrote Jerrold of him in later years, “a mighty form crowned with a massive, snow-haired head.”

[Sidenote: =W. M. Thackeray, from a painting by Frank Stone=

_see page 9_]

Among the portraits of Thackeray in early manhood is the painting by Frank Stone, executed in 1836 about the time of his marriage with Miss Shawe. This picture has never been engraved.

[Sidenote: =W. M. Thackeray from a drawing by Daniel Maclise about 1840=

_see page 1_]

In 1832 and 1833 Maclise made two beautiful drawings of Thackeray from life, depicting him as a fashionably dressed young man, seated in a _néglige_ attitude, displaying a massive eyeglass. These are now in the Garrick Club. Some years later the same artist made another delicately pencilled sketch, which Thackeray himself very skilfully copied.

Of the various portraits by Samuel Laurence, the one of greatest interest is perhaps the chalk drawing executed in 1853 and here reproduced as a frontispiece.

[Sidenote: =W. M. Thackeray, from the painting by Samuel Laurence in the National Portrait Gallery=

_see page 24_]

Charlotte Brontë, when she first saw this portrait, exclaimed, “And there came up a lion out of Judah.” Later she wrote: “My father stood for a quarter of an hour this morning examining the great man’s picture. The conclusion of his survey was that he thought it a puzzling head; if he had known nothing previously of the original’s character, he could not have read it in his features. I wonder at this. To me the broad brow seems to express intellect. Certain lines about the nose and cheek betray the satirist and cynic; the mouth indicates a child-like simplicity, perhaps even a degree of irresoluteness, inconsistency--weakness, in short, but a weakness not unamiable.”

A replica of the painting by the same artist in the National Portrait Gallery was presented by Thackeray to Sir Frederick Pollock, and remained for many years in the possession of the Dowager Lady Pollock.

[Sidenote: =W. M. Thackeray, from a copy of the bust by Joseph Durham, A.R.A.=

_see page 14_]

[Sidenote: =W. M. Thackeray, from the statuette by Sir Edgar Boehm, R.A.=

_see page 34_]

[Sidenote: =W. M. Thackeray, from a sketch by Sir John E. Millais, P.R.A.=

_see page 23_]

In the National Portrait Gallery is also a bust modelled in terra-cotta by Sir Edgar Boehm from the original plaster mould by Joseph Durham, A.R.A., which was presented to the Garrick Club. And the same sculptor executed in 1860 a statuette for which Thackeray when in Paris gave only two short sittings of half an hour’s duration. “The eminent sculptor,” writes Mr. F. G. Kitton in the _Magazine of Art_, “even in that space of time succeeded in all but completing one of the most successful portraits of his subject ever attempted.” “The work of Sir John Millais possesses exceptional interest,” continues the same writer, “and especially may this be said of a full-length delineation by that master-hand of his famous literary contemporary. Although but a slight memory-sketch, it is very characteristic of the man, and the portraiture so very life-like and true that Sir Edgar Boehm derived from it considerable assistance when completing his excellent statuette of the novelist.”

[Sidenote: =Thackeray, from a painting by Sir John Gilbert, R.A.=

_see page 29_]

The posthumous portrait of Thackeray painted by Sir John Gilbert, R.A., was amongst those presented to the Garrick Club. It represents the novelist with long white hair and spectacles seated at a small table on which tea-things are displayed. In the background appears Stanfield’s picture of a Dutch vessel, which may still be seen in one of the Club apartments.

[Sidenote: =Thackeray, from a drawing by Richard Doyle=

_see page 28_]

The pencil drawing taken from the life by Richard Doyle, which is now in the British Museum, is an interesting and very characteristic sketch of the novelist.

He was a cynic; you might read it writ In that broad brow, crowned with its silver hair; In those blue eyes, with childlike candour lit, In the sweet smile his lips were wont to wear.

A cynic? Yes--if ’tis the cynic’s part To track the serpent’s trail, with saddened eye, To mark how good and ill divide the heart, How lives in chequered shade and sunshine lie. --_Commemorative verses from_ Punch.

* * * * *

The portrait of Thackeray by Sir John E. Millais, P.R.A., which appears on page 23, is in the possession of Mrs. Richmond Ritchie, and is reproduced by her kind permission.

End of Project Gutenberg's Thackeray, by G. K. Chesterton and Lewis Melville