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diff --git a/old/62738-0.txt b/old/62738-0.txt deleted file mode 100644 index 1266fab..0000000 --- a/old/62738-0.txt +++ /dev/null @@ -1,935 +0,0 @@ -The Project Gutenberg EBook of London as seen by Charles Dana Gibson, by -Charles Dana Gibson - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: London as seen by Charles Dana Gibson - -Author: Charles Dana Gibson - -Release Date: July 23, 2020 [EBook #62738] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK LONDON *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - - - - - - - LONDON - - AS SEEN BY - - CHARLES DANA GIBSON - - NEW YORK - - CHARLES SCRIBNER’S SONS - - MDCCCXCVII - - Copyright, 1897, by Charles Scribner’s Sons - - Thanks are due to _Life_ and the _London Graphic_ for their kind - permission to reproduce some of the drawings in this book. - - TROW DIRECTORY - - PRINTING AND BOOKBINDING COMPANY - - NEW YORK - - - - -LONDON STREETS - - -[Illustration: The Rat Man] - -AFTER a short journey through country divided by hedges into a green and -gold checker-board; thatched roofs disappear, and chimney-pots take -their place and flourish until you come to the Thames, where black -barges in mid-stream wait for the muddy tide to turn, between banks of -masts and smokestacks; then the Gothic buildings of Parliament, and “Big -Ben,” and Charing Cross Station; and in another moment you are in -London, riding through the never-ending restlessness of its streets in a -cab that you can afford, with your hat-box safe by your side and your -trunk up by the driver, and London with its history on all sides of you, -its wooden streets and polished side-walks and bright shop windows, and -at every corner small sweeps and big policemen, providing clean and safe -crossing, while push-carts dodge in and out between steaming bus-horses -and hansom cabs. This is always my first impression of London. - -[Illustration: _Outside Morley’s_] - -As all Americans arrive in London with sea-legs after a week of ship’s -cooking, it is doubly necessary to have been there before in order to -know where to go at once for an on-shore dinner and good rooms. But -before you arrive at either of these you once more become a part of the -city and again feel perfectly at home, as you look from your cab window -at theatrical lithographs to find out what is going on for that night; -and no transformation scene on the stage is more complete than your own, -from standing in the companion-way waiting for the ship’s run to be -posted, to a few hours later sitting in a London theatre watching the -stage rock from side to side. - -I believe an American enjoys London more during his second visit. He is -sure to be older for one thing, and with very little left of the -prejudice he once had. He is not so apt to wear a sensitive patriotic -chip on his shoulder, and for this reason he will give London a better -opportunity to know him. If it is your second visit you have the -pleasure of recognizing familiar types and places. Your hotel porter may -remember you, and there may be one or two of the old waiters still left -in the dining-room. Nelson’s Column and the National Gallery are former -friends; also the recruiting sergeants, among them Sergeant Charley, the -best known of all. He has stood at the corner of the National Gallery -for many years, and has probably talked more country boys into Her -Majesty’s service, consoled more weeping mothers, and cheered more -disappointed maidens than any other man in the British army. There is no -better place in which Sergeant Charley can operate than Trafalgar -Square--or from which the stranger can begin London. - -[Illustration: _Between Times, Leicester Square_] - -[Illustration: _On Bond Street_] - -The bewildering scene always reminds me of the art student I once saw -painting it from the steps of the gallery; and I thought then that if -the actors on the great stage in front of her could have seen the -hopeless condition of her canvas and her pale, worried face they might -have stood still for awhile. But the panorama has never stopped, and the -only quiet figures in Trafalgar Square are its bronze statues. There you -will see country boys looking, with admiring envy, at the smart uniforms -of the soldiers, and with terror at the dingy army of sandwich-men -shuffling through the gutter carrying advertisements of hot and cold -luncheons, Turkish baths, manicure parlors, and places of amusement, -serving, at the same time, as awful examples of what will happen to all -those who do not take the sergeant’s advice and become soldiers. Even -some of the street beggars are familiar. “The old rat-man” and his pets -find Brighton too dull in the winter, and come up to London for the -season, to mix once more in its streets, where all kinds of horses are -driven by as great a variety of men, from the pedler to the -powdered-wigged coachman. Cable-cars and trolleys would be sadly out of -place in London, and horseless carriages would be a calamity. There -should be no need to go faster than a horse can trot, and the best way -of all is to walk. - -[Illustration: _Sergeant Charley_] - -You can stand on a bridge while scows drift slowly under you, and St. -Paul’s sinks into the smoke and darkness, like the dissolving views at a -lecture on travel. It is quite proper that the underground railway -should be used mostly for advertising purposes; but the most gaudy -posters fail to brighten up those dingy tunnels, and no amount of speed -can compensate for the time you are away from the world over your head. -London is not a place to go under. - -There is no reason to be lonely. No one ever knows London, and before -you have been there long you are showing Londoners about their own city -with the pride of a part owner in its history; for, to an American, the -old part of the city is his--as much so as the portraits of his -ancestors. The pictures may not be on his walls, but he stands as good a -chance of being like their originals as the man who owns the house in -which they hang. - -[Illustration: _Hyde Park Corner_] - - - - -LONDON AUDIENCES - - -NOWHERE is caste more noticeable than in a London audience. A little -board fence divides the ground-floor of a theatre into orchestra stalls -and a pit. It would cost you ten shillings less and your social position -to sit on the wrong side of this fence. It does not follow that sitting -on the right side of it assures your position. But it does give you an -uninterrupted view of the stage. No hats are worn, and that alone makes -it worth extra charge. There is, in most of the theatres, room for your -knees, and in some, additional room for the man who goes out between the -acts, and people who arrive after the curtain is up. A London audience -is brilliant. Everyone is in evening dress, and the audience is often -more entertaining than the play. This is especially true on a first -night. At such times the pit is watched most anxiously by the -management, as the success of the piece generally depends on their -verdict. It has often occurred to me, when I have seen them on a stormy -night forming a line on the pavement outside the pit entrance, taking it -all seriously enough to stand there for hours before the doors were -opened, that by letting them inside the management might improve their -spirits, and they in their turn might be more gentle. - -[Illustration: Outside the Pit Entrance] - -And it has also occurred to me that the management might further improve -the spirits of their audience by doing away with women ushers, and by -selling the programme at the same time they sell the seat; for it is -hardly fair to the first act of a play to make it overcome the -fretfulness caused by annoying attendants before it can hope to amuse. -But the second act is sure to have a fair start, and if the play is good -from there on, it will have no reason to complain of the audience. - -An Englishman’s memory begins with a pantomime. A Drury Lane audience -easily explains this, as a large portion of it is composed of children. -This is just as it should be. The only mistake is that each year the -clown and pantaloon have less to do. Last winter they only appeared in -front of the drop curtain, and had difficulty in entertaining the -audience until the next scene had been set. It is strange that this -should happen among people who are naturally so true to old friends. In -the place of harlequin’s tricks they have the aërial ballets and -electrical effects, and altogether a performance that can be done just -as well at the Empire or the Alhambra. This is dangerous, for it might -in time change the character of a pantomime audience. - -[Illustration: _A First Night_] - -[Illustration: _Small Wigs and Big Fees_] - -[Illustration: _In the Lord Chief Justice’s Court_] - -A fancy dress-ball in London is slow. The general orders are, “keep -moving along.” The man who manages the search-light, from one of the top -boxes, probably enjoys the ball the most. He certainly does more to help -it. The centre of interest is wherever he will have it. He can make a -dull costume bright, and a supper-party in one of the boxes proud; and -he can almost remove the gloom caused by the officials in black. - -The greatest variety of expressions are to be seen in the audiences that -come together at the law courts. There is the never-changing face of the -judge, and the ever-changing face of the witness rocking from side to -side in his box, and there are the black-robed barristers with small -wigs and big fees, and pale law students crowding in at the doors and -filling the passage-ways; and in front of the long table that is covered -with papers and high hats sit those most interested in what is going -on--care-worn parents and women thickly veiled. - -[Illustration: _In the “Whispering Gallery”_--A Small Loan] - -The most interesting place of amusement for men is the National Sporting -Club. Every Monday night during the winter the sports of London meet -there in the same building that Colonel Newcome and his son once left -because they objected to Captain Costigan’s song. The Colonel would be -more amused there now, well-trained and scientific boxers from all the -world meet in a roped-in square, surrounded by an orderly crowd of -stock-brokers, bankers, and miscellaneous sporting characters, who wait -for the best man to win. Then they adjourn to a front room, and around -the bar and little tables they talk about by-gone fights and the men and -horses whose pictures cover the wall. Some find their way to the Strand, -where, in a supper-room called Marble Halls, every variety of sport in -all stages of luck, and actors from the neighboring theatres, discuss -the fight of the evening round by round. - -[Illustration: _At the National Sporting Club_] - -A Music Hall audience is the most demonstrative and amusing. It will -applaud the longest, hiss the loudest, and sometimes join in the chorus. -From the moment the numbers are posted announcing the next turn, it is -easy to tell what the performer’s reception will be. On both sides of -the orchestra are bars, and when a London barmaid stops work to listen -and laugh you may be sure that the turn is a good one. Last winter they -paid Dan Leno this compliment. The air is filled with tobacco-smoke, and -the calcium-light, on its way from the gallery to the stage, looks like -a sunbeam in a dusty hayloft. - -[Illustration: _At the Pavilion_] - - - - -LONDON PARKS - - -[Illustration: _A Sidewalk Artist_] - -THE first and most natural question asked of any city is “Show us your -people.” In answer to this, London may safely begin by pointing to its -parks, and especially so on any Sunday during the season, for on that -day you can best see how caste has assorted and parcelled the city off -into so many exhibits, as carefully arranged as the specimens in the -British Museum. - -The walks in Hyde Park have their special social value, as much so as -the walks in life; and in the park or in life, whichever path an -Englishman uses, it is safe to suppose that his ancestors walked there -before him. The parks of London are handy. From a Piccadilly club window -can be seen sheep enough to fill a barn-yard, and a stone’s throw from -the Horse Guards is St. James’s Park with its duck island, where all -kinds of rare birds flock together; and their relatives in far-away -countries are no better fed than these happy exiles in the heart of the -great city, and the peacocks that ornament the banks of the Serpentine -are as happy as the boys who sail the toy-boats on that toy river. - -[Illustration: _Sunday Morning near Stanhope Gate_] - -Sunday is Hyde Park’s day “At Home,” and in the shape of a blue sky she -sends her invitation to all London, and her popularity is easily shown -by the number and variety of her friends. By long odds the best-looking -exhibit is to be seen during church-parade. It extends from Hyde Park -Corner to Stanhope Gate, and consists of the well-to-do, most of whom -probably first came to the park with their nurses and a little later -with their tutors, and they now come grown up and with white hair to pay -their respects to the good doctor of their childhood. They form what is -distinctly a Sunday gathering, and one as serious as a wedding. Seldom a -loud voice is heard. There is a feeling of rest throughout the whole -scene, and it is impossible to be there without entering into the spirit -of it. In the solemn throng that pass and repass I have seen a noisy -steamer acquaintance thoroughly subdued and looking like an undertaker -in a long coat and high hat. Everyone else seemed to have been there -from childhood. The old gentleman in the Row undoubtedly first appeared -there on Shetland ponies under the watchful eye of the groom. It is not -a thing to tire of, and Sunday after Sunday these well-dressed people -attend church-parade as seriously as they attend church. A little -farther into the park are the shopkeepers and domestics listening to the -band. Here you are likely to meet the real estate agent and tailor with -whom you have already had dealings. They are a distinct class, and very -different from the first exhibit. They keep their frock-coats carefully -buttoned, and are apparently not so much at their ease. - - -[Illustration: _HAMLET_] - -[Illustration: _A Constitutional in the Park_] - -[Illustration: _In the Row_] - -[Illustration: _A Park Orator_] - -Separated from these people by another social gulf, and toward Marble -Arch, are the unemployed listening to the park actors and park orators. -If you are tall enough to look over the heads of an English crowd you -will see in some of these groups strolling players at work. In the -centre of one group a short, red-faced park orator declares that a Prime -Minister has robbed him. - -The farther away from these shady paths the sadder London is. Among them -foreigners feel at home. Little home-sick law students from India may -mope in Piccadilly, but in Hyde Park they look happy. Once there the -British soldier is no longer war-like; he becomes helpless and happy, -surrounded by nature and under the influence of some pink-cheeked -domestic. - -In the early part of the day the parks are occupied by very young -people; the visitors become older with the day. The nurses and their -charges leave, and evening finds an old lady leaning on her husband’s -arm, walking slowly along their favorite path, while their carriage -follows at a little distance. And as night comes on they roll back into -the great city among the never-ceasing tread of feet, past the side-walk -artist sitting by his pictures on the pavement, looking anxiously at the -passers-by--and the park’s day is done--a curtain of darkness falls on -the great stage; the peacocks go to roost in its trees; the ducks are -undisturbed by wet dogs, and the Serpentine’s small fish are no longer -in danger of bent pins; and the park, London’s kind friend and good -physician, is resting. - -[Illustration: _Church Parade_] - -[Illustration: _After Hours_] - - - - -A DRAWING-ROOM - - -ON March 11, 1896, the first Drawing-room of that year was held at -Buckingham Palace. Through the courtesy of the Lord Chamberlain I was -given the entree to the palace on that day. As a Drawing-room is -strictly a feminine affair, it matters very little what a man may think -about it, for the line points of social advantages and the costly -costumes he seldom understands. Apart from the foreign ambassadors, -members of the Cabinet and attendants, men are not wanted and are seldom -seen. Women go in hundreds, and sit for hours in carriages, extending in -long rows down the Mall, while a crowd of curious idlers stare in at the -carriage windows, making audible personal remarks. At two o’clock the -palace gates are open, and the waiting continues in the different rooms -above stairs. - -[Illustration: _Waiting_] - -[Illustration: _A Barrier_] - -[Illustration: _After Presentation_] - -These rooms are divided by barriers, guarded by gentlemen of the -household, which prevents over-crowding. It is an extraordinary sight to -see room after room filled with nervous young girls and their more -composed mothers sitting in the unbecoming light of an afternoon sun, -with white plumes in their hair and the family jewels on their necks. -With the exception of a now and then whispered conversation, everything -is quiet until the barriers leading into the next room are opened; then -a rush follows and small pieces of lace, spangles, flowers, and ostrich -feathers are left on the floor. Mothers and daughters are separated. -After the confusion of finding each other, all is quiet for another -thirty minutes, when a rush for a better place in the next room begins. -A retired Colonel, the guardian of a barrier, noticing my interest and -my evening dress, asked me if I did not think it looked like an ostrich -farm. He pointed out his wife to me, and said a French hairdresser had -been at his house all that morning. The Colonel’s pretty wife looked it. -From there I crossed the ambassadors’ room and the picture-gallery, -where the people who have the entree wait, and entered the throne-room. -At that time there were three men in it; two of them, gentlemen of the -household, were standing on either side of the door. One of them told me -that the young officer with a bearskin hat on his arm, standing by a -long window overlooking the central court, was there to signal to the -band outside when the royal family entered, in order that they might -know when to play “God Save the Queen.” He also motioned with his head -toward a small door in one corner of the big red room, and said through -it the royal party would enter. I asked the same gentleman why -Drawing-rooms were not held in the evening. He said he did not know. At -this time the Prime-Minister, in a dark uniform with a blue ribbon -across his breast, entered the room, followed by Court dignitaries, -gentlemen ushers, and the Lord Chamberlain with his staff of office. -Then the little door opened, and while the band played “God Save the -Queen,” the Princess of Wales and the royal party filed in. Then there -was a low bow on both sides; the Lord Chamberlain took his position by -the Princess of Wales, and read from the cards handed him by the ushers -the names of those who were being presented. - -[Illustration] - -After the ambassadors and their wives came those having the entree; -after them those without. The white procession had started, and the -Drawing-room that had been rehearsed and looked forward to for years, as -far as each individual’s part in it was concerned, was soon over. At the -end of two hours there was another low bow, and the royal family filed -back through the little door. The bustle and waiting was transferred to -the grand hall below, where little olive-skinned Indian ladies of high -birth, and famous English beauties whose photographs could be bought on -Piccadilly, stood side by side until their carriages stopped the way. -Mothers and daughters passed between rows of Yeomen of the Guard to the -door, daylight, and the photographers; finally home, where tea is -arranged, and friends are gathered to hear about it. - -I had a second opportunity to see a Drawing-room, and I am of the -impression that they must be very much alike. - -[Illustration: _A Gentleman at Arms_] - -[Illustration: _A Drawing-room Tea_] - - - - -LONDON SALONS - - -[Illustration: _An Early Departure_] - -THE “season” begins about the time Parliament opens, and Parliament’s -opening and closing depends more or less on fox-hunting and -grouse-shooting. As the “season” approaches, town-houses are opened and -“green” servants are broken in; secretaries busy themselves with lists -and stationery, and the winter campaign begins immediately upon the -family’s return to town. As a London house is seldom needed for more -than the formal entertainments of a season, it is in most cases hired; -consequently, it is seldom attractive. Acquaintances are entertained in -the city, and friends are taken into the country to spend the week’s end -on the family estate, surrounded by the household gods and the most -attractive side of all England. There the future members of the House of -Lords, and the belles of some future Drawing-room, ride donkeys, and the -older people ride wheels and sit under English oaks and make little -water-color sketches, and it is easily seen why only social duties take -them to London. - -[Illustration: _Distinguished Guests_] - -By eight o’clock in the evening almost every other house that you see -will have a little red carpet stretching from its door to the curb, and -in some cases a temporary awning over it. The streets seem to be given -over entirely to carriages and hansoms carrying people to dinner. When -the last guest has arrived the carpet is taken in until later on, when -it again rolls back down the steps and across the pavement, between two -lines of footmen, while the butler whistles for hansoms, and half of -fashionable London goes to its own house, its club, or its lodgings. A -Member of Parliament, during a short recess, will leave the House and -drive miles to a dinner. He may arrive thirty minutes late, or leave -before the dinner is half over. A Quartermaster-General will leave the -War Office an hour earlier, because he has promised to go bicycling with -some young people, and an Editor will leave his paper and accompany his -wife to a tea. - -[Illustration: _After Dinner_] - -[Illustration] - -[Illustration: _At Dinner_] - -This interest in all things gives English people time for everything. - -A London reception is bright and amusing. In the early part of the -evening statesmen, diplomats, and older people are in the majority; at -eleven o’clock those who have been to the play arrive, and a little -later the actors themselves. From the staircase people can best be seen. -It is always crowded by those who are on their way to pay respects to -the hostess in the hall above, and by those who have already done so and -are on their way down to the supper-room. Above and below a dense crowd -elbow and talk around and through you. You are slowly twisted past your -hostess and through the parlors, and then finally back to the staircase, -down which you can go as slowly as you please. No one is in a hurry--so -out into the early morning, between rows of uniformed coachmen standing -like sentries sleeping on their post. - -[Illustration: _Your Hostess_] - - - - -LONDON PEOPLE - - -ONCE upon a time, judging by John Leech’s pictures of English women (who -could do almost everything in those days but manage their hoop-skirts), -they were all short and became instantly stout when they arrived at -forty. If Leech was right, English women must have changed very much -since then. It may be that they grew tall to more closely resemble Du -Maurier’s goddesses. In many cases they have succeeded, as may be seen -at Lord’s or at any fashionable race-course. There may not be a variety -of good looks, but one type is very beautiful. So strong is the family -likeness, they might all be handsome sisters. There was something very -sweet and lovable about that plump little woman of Mr. Leech’s. I only -met her in reality after she had grown into a sweet old lady, and I -should have regretted not having seen her before had I not seen her tall -granddaughters. - -[Illustration: _Patiently Listening_] - -The fact that Phil May is a prophet in his own country should alone -clear Englishmen of the suspicion that they are slow to see fun. On an -Englishman’s love of fair play and good sport no suspicion has ever -rested. It is the most attractive thing about him, and it is only -natural that the greatest assortment of good-natured people are to be -found at the Derby. I had already met them in May’s drawings, and I was -prepared to find the good-nature contagious. Last year a party on a -coach opposite the Royal box and a policeman, who looked after that -particular part of the course, drank champagne out of the same bottle. -When the Prince of Wales came down to lead Persimmon off the track, -short men stood on boxes and balanced themselves by holding on to -whoever stood next to them. Gypsy fortune-tellers and painted-faced -minstrels climbed on the backs of coaches. Everyone shouted together and -probably wished that the Prince had been a little taller, so that they -might all have seen him. - -[Illustration: _At the Savoy_] - -[Illustration: _Phil May_] - -[Illustration: _George du Maurier_] - -English-speaking people have been introduced to each other by a long -line of clever draughtsmen. They have laughed together about the same -people in the truest and sweetest-natured way in all the world. Above -all others, one hand awakened the interest resulting in people knowing -themselves and others better. The beautiful was safe in that gentle -hand. Although the heart that guided it no longer beats, the human -interest and kindly feeling that it awakened will live forever, and all -the world has placed among the foremost men of his day the -affectionately remembered name of George Du Maurier. - -These drawings were made among the most hospitable people I ever met. -When I have failed, it has not been owing to a lack of interest, but -more likely on account of a consciousness that my results would fall -short of my desires. The disappointments following the completion of a -drawing made from a beautiful woman are many. In these portraits I have -the most to regret. - -[Illustration: _The Queen_] - -[Illustration] - - - - - - - - - - - - - - -End of the Project Gutenberg EBook of London as seen by Charles Dana Gibson, by -Charles Dana Gibson - -*** END OF THIS PROJECT GUTENBERG EBOOK LONDON *** - -***** This file should be named 62738-0.txt or 62738-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/7/3/62738/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: London as seen by Charles Dana Gibson - -Author: Charles Dana Gibson - -Release Date: July 23, 2020 [EBook #62738] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK LONDON *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<div class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" width="550" alt="[Image unavailable.]" /></a> -</div> - -<h1><big>L O N D O N</big><br /><br /> -<small> -AS SEEN BY</small><br /><br /> - -CHARLES DANA GIBSON</h1> - -<p class="c">NEW YORK<br /> -CHARLES SCRIBNER’S SONS<br /> -MDCCCXCVII<br /><br /><br /> -<small>Copyright, 1897, by<br /> -Charles Scribner’s Sons<br /><br /> -Thanks are due to <i>Life</i> and the <i>London Graphic</i> for<br /> -their kind -permission to reproduce some of the<br /> -drawings in this book.<br /><br /><br /> -TROW DIRECTORY<br /> -PRINTING AND BOOKBINDING COMPANY<br /> -NEW YORK</small></p> - -<p> </p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" -style="border:3px double gray;padding:1em;text-align:center;"> -<tr><td class="smcap"><a href="#LONDON_STREETS">London Streets</a><br /> -<a href="#LONDON_AUDIENCES">London Audiences</a><br /> -<a href="#LONDON_PARKS">London Parks</a><br /> -<a href="#A_DRAWING-ROOM">A Drawing-Room</a><br /> -<a href="#LONDON_SALONS">London Salons</a><br /> -<a href="#LONDON_PEOPLE">London People</a></td></tr> -</table> - -<h2><a name="LONDON_STREETS" id="LONDON_STREETS"></a></h2> - -<div class="figcenter1" style="width: 545px;"> -<a href="images/ill_001.jpg"> -<img src="images/ill_001.jpg" width="545" height="425" alt="LONDON STREETS" /></a> -</div> - -<div class="figleft"> -<a href="images/ill_002.jpg"> -<img src="images/ill_002.jpg" height="331" alt="[Image unavailable.]" /></a> -<div class="caption"><p>The Rat Man</p></div> -</div> - -<p class="nind"><span class="letra">A</span>FTER a short journey through country divided by hedges into a green and -gold checker-board; thatched roofs disappear, and chimney-pots take -their place and flourish until you come to the Thames, where black -barges in mid-stream wait for the muddy tide to turn, between banks of -masts and smokestacks; then the Gothic buildings of Parliament, and “Big -Ben,” and Charing Cross Station; and in another moment you are in -London, riding through the never-ending restlessness of its streets in a -cab that you can afford, with your hat-box safe by your side and your -trunk up by the driver, and London with its history on all sides of you, -its wooden streets and polished side-walks and bright shop windows, and -at every corner small sweeps and big policemen, providing clean and safe -crossing, while push-carts dodge in and out between steaming bus-horses -and hansom cabs. This is always my first impression of London.</p> - -<div class="figcenter" style="width: 577px;"> -<a href="images/ill_003.jpg"> -<img src="images/ill_003.jpg" width="577" height="396" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Outside Morley’s</i></p></div> -</div> - -<p>As all Americans arrive in London with sea-legs after a week of ship’s -cooking, it is doubly necessary to have been there before in order to -know where to go at once for an on-shore dinner and good rooms. But -before you arrive at either of these you once more become a part of the -city and again feel perfectly at home, as you look from your cab window -at theatrical lithographs to find out what is going on for that night; -and no transformation scene on the stage is more complete than your own, -from standing in the companion-way waiting for the ship’s run to be -posted, to a few hours later sitting in a London theatre watching the -stage rock from side to side.</p> - -<p>I believe an American enjoys London more during his second visit. He is -sure to be older for one thing, and with very little left of the -prejudice he once had. He is not so apt to wear a sensitive patriotic -chip on his shoulder, and for this reason he will give London a better -opportunity to know him. If it is your second visit you have the -pleasure of recognizing familiar types and places. Your hotel porter may -remember you, and there may be one or two of the old waiters still left -in the dining-room. Nelson’s Column and the National Gallery are former -friends; also the recruiting sergeants, among them Sergeant Charley, the -best known of all. He has stood at the corner of the National Gallery -for many years, and has probably talked more country boys into Her -Majesty’s service, consoled more weeping mothers, and cheered more -disappointed maidens than any other man in the British army. There is no -better place in which Sergeant Charley can operate than Trafalgar -Square—or from which the stranger can begin London.</p> - -<div class="figleft" style="width: 397px;"> -<a href="images/ill_004.jpg"> -<img src="images/ill_004.jpg" width="397" height="423" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Between Times, Leicester Square</i></p></div> -</div> - -<div class="figcenter" style="width: 584px;"> -<a href="images/ill_005.jpg"> -<img src="images/ill_005.jpg" width="584" height="427" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>On Bond Street</i></p></div> -</div> - -<div class="figleft" style="width: 139px;"> -<a href="images/ill_006.jpg"> -<img src="images/ill_006.jpg" width="139" height="329" alt="[Image unavailable.]" /></a> -</div> - -<p>The bewildering scene always reminds me of the art student I once saw -painting it from the steps of the gallery; and I thought then that if -the actors on the great stage in front of her could have seen the -hopeless condition of her canvas and her pale, worried face they might -have stood still for awhile. But the panorama has never stopped, and the -only quiet figures in Trafalgar Square are its bronze statues. There you -will see country boys looking, with admiring envy, at the smart uniforms -of the soldiers, and with terror at the dingy army of sandwich-men -shuffling through the gutter carrying advertisements of hot and cold -luncheons, Turkish baths, manicure parlors, and places of amusement, -serving, at the same time, as awful examples of what will happen to all -those who do not take the sergeant’s advice and become soldiers. Even -some of the street beggars are familiar. “The old rat-man” and his pets -find Brighton too dull in the winter, and come up to London for the -season, to mix once more in its streets, where all kinds of horses are -driven by as great a variety of men, from the pedler to the -powdered-wigged coachman. Cable-cars and trolleys would be sadly out of -place in London, and horseless carriages would be a calamity. There -should be no need to go faster than a horse can trot, and the best way -of all is to walk.</p> - -<div class="figcenter" style="width: 502px;"> -<a href="images/ill_007.jpg"> -<img src="images/ill_007.jpg" width="502" height="434" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Sergeant Charley</i></p></div> -</div> - -<div class="figleft" style="width: 193px;"> -<a href="images/ill_008.jpg"> -<img src="images/ill_008.jpg" width="193" height="422" alt="[Image unavailable.]" /></a> -</div> - -<p>You can stand on a bridge while scows drift slowly under you, and St. -Paul’s sinks into the smoke and darkness, like the dissolving views at a -lecture on travel. It is quite proper that the underground railway -should be used mostly for advertising purposes; but the most gaudy -posters fail to brighten up those dingy tunnels, and no amount of speed -can compensate for the time you are away from the world over your head. -London is not a place to go under.</p> - -<p>There is no reason to be lonely. No one ever knows London, and before -you have been there long you are showing Londoners about their own city -with the pride of a part owner in its history; for, to an American, the -old part of the city is his—as much so as the portraits of his -ancestors. The pictures may not be on his walls, but he stands as good a -chance of being like their originals as the man who owns the house in -which they hang.</p> - -<div class="figcenter" style="width: 321px;"> -<a href="images/ill_009.jpg"> -<img src="images/ill_009.jpg" width="321" height="417" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Hyde Park Corner</i></p></div> -</div> - -<h2><a name="LONDON_AUDIENCES" id="LONDON_AUDIENCES"></a></h2> - -<div class="figcenter1" style="width: 499px;"> -<a href="images/ill_010.jpg"> -<img src="images/ill_010.jpg" width="499" height="185" alt="LONDON AUDIENCES" /></a> -</div> - -<p class="nind"><span class="letra">N</span>OWHERE is caste more noticeable than in a London audience. A little -board fence divides the ground-floor of a theatre into orchestra stalls -and a pit. It would cost you ten shillings less and your social position -to sit on the wrong side of this fence. It does not follow that sitting -on the right side of it assures your position. But it does give you an -uninterrupted view of the stage. No hats are worn, and that alone makes -it worth extra charge. There is, in most of the theatres, room for your -knees, and in some, additional room for the man who goes out between the -acts, and people who arrive after the curtain is up. A London audience -is brilliant. Everyone is in evening dress, and the audience is often -more entertaining than the play. This is especially true on a first -night. At such times the pit is watched most anxiously by the -management, as the success of the piece generally depends on their -verdict. It has often occurred to me, when I have seen them on a stormy -night forming a line on the pavement outside the pit entrance, taking it -all seriously enough to stand there for hours before the doors were -opened, that by letting them inside the management might improve their -spirits, and they in their turn might be more gentle.</p> - -<div class="figcenter" style="width: 495px;"> -<a href="images/ill_011.jpg"> -<img src="images/ill_011.jpg" width="495" height="370" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Outside the Pit Entrance</p></div> -</div> - -<p>And it has also occurred to me that the management might further improve -the spirits of their audience by doing away with women ushers, and by -selling the programme at the same time they sell the seat; for it is -hardly fair to the first act of a play to make it overcome the -fretfulness caused by annoying attendants before it can hope to amuse. -But the second act is sure to have a fair start, and if the play is good -from there on, it will have no reason to complain of the audience.</p> - -<p>An Englishman’s memory begins with a pantomime. A Drury Lane audience -easily explains this, as a large portion of it is composed of children. -This is just as it should be. The only mistake is that each year the -clown and pantaloon have less to do. Last winter they only appeared in -front of the drop curtain, and had difficulty in entertaining the -audience until the next scene had been set. It is strange that this -should happen among people who are naturally so true to old friends. In -the place of harlequin’s tricks they have the aërial ballets and -electrical effects, and altogether a performance that can be done just -as well at the Empire or the Alhambra. This is dangerous, for it might -in time change the character of a pantomime audience.</p> - -<div class="figcenter" style="width: 595px;"> -<a href="images/ill_012.jpg"> -<img src="images/ill_012.jpg" width="595" height="429" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>A First Night</i></p></div> -</div> - -<div class="figcenter" style="width: 209px;"> -<a href="images/ill_013.jpg"> -<img src="images/ill_013.jpg" width="209" height="251" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Small Wigs and Big Fees</i></p></div> -</div> - -<div class="figcenter" style="width: 510px;"> -<a href="images/ill_014.jpg"> -<img src="images/ill_014.jpg" width="510" height="332" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>In the Lord Chief Justice’s Court</i></p></div> -</div> - -<div class="figleft" style="width: 355px;"> -<a href="images/ill_015.jpg"> -<img src="images/ill_015.jpg" width="355" height="431" alt="[Image unavailable.]" /></a> -</div> - -<p>A fancy dress-ball in London is slow. The general orders are, “keep -moving along.” The man who manages the search-light, from one of the top -boxes, probably enjoys the ball the most. He certainly does more to help -it. The centre of interest is wherever he will have it. He can make a -dull costume bright, and a supper-party in one of the boxes proud; and -he can almost remove the gloom caused by the officials in black.</p> - -<p>The greatest variety of expressions are to be seen in the audiences that -come together at the law courts. There is the never-changing face of the -judge, and the ever-changing face of the witness rocking from side to -side in his box, and there are the black-robed barristers with small -wigs and big fees, and pale law students crowding in at the doors and -filling the passage-ways; and in front of the long table that is covered -with papers and high hats sit those most interested in what is going -on—care-worn parents and women thickly veiled.</p> - -<div class="figcenter" style="width: 526px;"> -<a href="images/ill_016.jpg"> -<img src="images/ill_016.jpg" width="526" height="429" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>In the “Whispering Gallery”</i>—A Small Loan</p></div> -</div> - -<p>The most interesting place of amusement for men is the National Sporting -Club. Every Monday night during the winter the sports of London meet -there in the same building that Colonel Newcome and his son once left -because they objected to Captain Costigan’s song. The Colonel would be -more amused there now, well-trained and scientific boxers from all the -world meet in a roped-in square, surrounded by an orderly crowd of -stock-brokers, bankers, and miscellaneous sporting characters, who wait -for the best man to win. Then they adjourn to a front room, and around -the bar and little tables they talk about by-gone fights and the men and -horses whose pictures cover the wall. Some find their way to the Strand, -where, in a supper-room called Marble Halls, every variety of sport in -all stages of luck, and actors from the neighboring theatres, discuss -the fight of the evening round by round.</p> - -<div class="figcenter" style="width: 411px;"> -<a href="images/ill_017.jpg"> -<img src="images/ill_017.jpg" width="411" height="626" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>At the National Sporting Club</i></p></div> -</div> - -<p>A Music Hall audience is the most demonstrative and amusing. It will -applaud the longest, hiss the loudest, and sometimes join in the chorus. -From the moment the numbers are posted announcing the next turn, it is -easy to tell what the performer’s reception will be. On both sides of -the orchestra are bars, and when a London barmaid stops work to listen -and laugh you may be sure that the turn is a good one. Last winter they -paid Dan Leno this compliment. The air is filled with tobacco-smoke, and -the calcium-light, on its way from the gallery to the stage, looks like -a sunbeam in a dusty hayloft.</p> - -<div class="figcenter" style="width: 592px;"> -<a href="images/ill_018.jpg"> -<img src="images/ill_018.jpg" width="592" height="400" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>At the Pavilion</i></p></div> -</div> - -<h2><a name="LONDON_PARKS" id="LONDON_PARKS"></a></h2> - -<div class="figcenter2"><a href="images/ill_019.jpg"> -<img src="images/ill_019.jpg" width="519" -height="340" alt="LONDON PARKS" /></a><br /> -</div> - -<div class="captionr"><p> -<i>A Sidewalk Artist</i></p></div> - -<p class="nind"><span class="letra">T</span>HE first and most natural question asked of any city is “Show us your -people.” In answer to this, London may safely begin by pointing to its -parks, and especially so on any Sunday during the season, for on that -day you can best see how caste has assorted and parcelled the city off -into so many exhibits, as carefully arranged as the specimens in the -British Museum.</p> - -<p>The walks in Hyde Park have their special social value, as much so as -the walks in life; and in the park or in life, whichever path an -Englishman uses, it is safe to suppose that his ancestors walked there -before him. The parks of London are handy. From a Piccadilly club window -can be seen sheep enough to fill a barn-yard, and a stone’s throw from -the Horse Guards is St. James’s Park with its duck island, where all -kinds of rare birds flock together; and their relatives in far-away -countries are no better fed than these happy exiles in the heart of the -great city, and the peacocks that ornament the banks of the Serpentine -are as happy as the boys who sail the toy-boats on that toy river.</p> - -<div class="figcenter" style="width: 673px;"> -<a href="images/ill_020.jpg"> -<img src="images/ill_020.jpg" width="673" height="462" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Sunday Morning near Stanhope Gate</i></p></div> -</div> - -<p>Sunday is Hyde Park’s day “At Home,” and in the shape of a blue sky she -sends her invitation to all London, and her popularity is easily shown -by the number and variety of her friends. By long odds the best-looking -exhibit is to be seen during church-parade. It extends from Hyde Park -Corner to Stanhope Gate, and consists of the well-to-do, most of whom -probably first came to the park with their nurses and a little later -with their tutors, and they now come grown up and with white hair to pay -their respects to the good doctor of their childhood. They form what is -distinctly a Sunday gathering, and one as serious as a wedding. Seldom a -loud voice is heard. There is a feeling of rest throughout the whole -scene, and it is impossible to be there without entering into the spirit -of it. In the solemn throng that pass and repass I have seen a noisy -steamer acquaintance thoroughly subdued and looking like an undertaker -in a long coat and high hat. Everyone else seemed to have been there -from childhood. The old gentleman in the Row undoubtedly first appeared -there on Shetland ponies under the watchful eye of the groom. It is not -a thing to tire of, and Sunday after Sunday these well-dressed people -attend church-parade as seriously as they attend church. A little -farther into the park are the shopkeepers and domestics listening to the -band. Here you are likely to meet the real estate agent and tailor with -whom you have already had dealings. They are a distinct class, and very -different from the first exhibit. They keep their frock-coats carefully -buttoned, and are apparently not so much at their ease.</p> - -<div class="figleft" style="width: 109px;"> -<a href="images/ill_021.jpg"> -<img src="images/ill_021.jpg" width="109" height="373" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>HAMLET</i></p></div> -</div> - -<div class="figcenter" style="width: 576px;"> -<a href="images/ill_022.jpg"> -<img src="images/ill_022.jpg" width="576" height="413" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>A Constitutional in the Park</i></p></div> -</div> - -<div class="figcenter" style="width: 402px;"> -<a href="images/ill_023.jpg"> -<img src="images/ill_023.jpg" width="402" height="427" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>In the Row</i></p></div> -</div> - -<div class="figcenter" style="width: 149px;"> -<a href="images/ill_024.jpg"> -<img src="images/ill_024.jpg" width="149" height="421" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>A Park Orator</i></p></div> -</div> - -<p>Separated from these people by another social gulf, and toward Marble -Arch, are the unemployed listening to the park actors and park orators. -If you are tall enough to look over the heads of an English crowd you -will see in some of these groups strolling players at work. In the -centre of one group a short, red-faced park orator declares that a Prime -Minister has robbed him.</p> - -<p>The farther away from these shady paths the sadder London is. Among them -foreigners feel at home. Little home-sick law students from India may -mope in Piccadilly, but in Hyde Park they look happy. Once there the -British soldier is no longer war-like; he becomes helpless and happy, -surrounded by nature and under the influence of some pink-cheeked -domestic.</p> - -<p>In the early part of the day the parks are occupied by very young -people; the visitors become older with the day. The nurses and their -charges leave, and evening finds an old lady leaning on her husband’s -arm, walking slowly along their favorite path, while their carriage -follows at a little distance. And as night comes on they roll back into -the great city among the never-ceasing tread of feet, past the side-walk -artist sitting by his pictures on the pavement, looking anxiously at the -passers-by—and the park’s day is done—a curtain of darkness falls on -the great stage; the peacocks go to roost in its trees; the ducks are -undisturbed by wet dogs, and the Serpentine’s small fish are no longer -in danger of bent pins; and the park, London’s kind friend and good -physician, is resting.</p> - -<div class="figcenter" style="width: 671px;"> -<a href="images/ill_025.jpg"> -<img src="images/ill_025.jpg" width="671" height="439" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Church Parade</i></p></div> -</div> - -<div class="figcenter" style="width: 206px;"> -<a href="images/ill_026.jpg"> -<img src="images/ill_026.jpg" width="206" height="142" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>After Hours</i></p></div> -</div> - -<h2><a name="A_DRAWING-ROOM" id="A_DRAWING-ROOM"></a></h2> - -<div class="figcenter1" style="width: 600px;"> -<a href="images/ill_027.jpg"> -<img src="images/ill_027.jpg" width="600" height="409" alt="A DRAWING-ROOM" /></a> -</div> - -<p class="nind"><span class="letra">O</span>N March 11, 1896, the first Drawing-room of that year was held at -Buckingham Palace. Through the courtesy of the Lord Chamberlain I was -given the entree to the palace on that day. As a Drawing-room is -strictly a feminine affair, it matters very little what a man may think -about it, for the line points of social advantages and the costly -costumes he seldom understands. Apart from the foreign ambassadors, -members of the Cabinet and attendants, men are not wanted and are seldom -seen. Women go in hundreds, and sit for hours in carriages, extending in -long rows down the Mall, while a crowd of curious idlers stare in at the -carriage windows, making audible personal remarks. At two o’clock the -palace gates are open, and the waiting continues in the different rooms -above stairs.</p> - -<div class="figcenter" style="width: 596px;"> -<a href="images/ill_028.jpg"> -<img src="images/ill_028.jpg" width="596" height="421" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Waiting</i></p></div> -</div> - -<div class="figcenter" style="width: 256px;"> -<a href="images/ill_029.jpg"> -<img src="images/ill_029.jpg" width="256" height="418" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>A Barrier</i></p></div> -</div> - -<div class="figcenter" style="width: 573px;"> -<a href="images/ill_030.jpg"> -<img src="images/ill_030.jpg" width="573" height="415" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>After Presentation</i></p></div> -</div> - -<p class="nind">These rooms are divided by barriers, guarded by gentlemen of the -household, which prevents over-crowding. It is an extraordinary sight to -see room after room filled with nervous young girls and their more -composed mothers sitting in the unbecoming light of an afternoon sun, -with white plumes in their hair and the family jewels on their necks. -With the exception of a now and then whispered conversation, everything -is quiet until the barriers leading into the next room are opened; then -a rush follows and small pieces of lace, spangles, flowers, and ostrich -feathers are left on the floor. Mothers and daughters are separated. -After the confusion of finding each other, all is quiet for another -thirty minutes, when a rush for a better place in the next room begins. -A retired Colonel, the guardian of a barrier, noticing my interest and -my evening dress, asked me if I did not think it looked like an ostrich -farm. He pointed out his wife to me, and said a French hairdresser had -been at his house all that morning. The Colonel’s pretty wife looked it. -From there I crossed the ambassadors’ room and the picture-gallery, -where the people who have the entree wait, and entered the throne-room. -At that time there were three men in it; two of them, gentlemen of the -household, were standing on either side of the door. One of them told me -that the young officer with a bearskin hat on his arm, standing by a -long window overlooking the central court, was there to signal to the -band outside when the royal family entered, in order that they might -know when to play “God Save the Queen.” He also motioned with his head -toward a small door in one corner of the big red room, and said through -it the royal party would enter. I asked the same gentleman why -Drawing-rooms were not held in the evening. He said he did not know. At -this time the Prime-Minister, in a dark uniform with a blue ribbon -across his breast, entered the room, followed by Court dignitaries, -gentlemen ushers, and the Lord Chamberlain with his staff of office. -Then the little door opened, and while the band played “God Save the -Queen,” the Princess of Wales and the royal party filed in. Then there -was a low bow on both sides; the Lord Chamberlain took his position by -the Princess of Wales, and read from the cards handed him by the ushers -the names of those who were being presented.</p> - -<div class="figcenter" style="width: 666px;"> -<a href="images/ill_031.jpg"> -<img src="images/ill_031.jpg" width="666" height="434" alt="[Image unavailable.]" /></a> -</div> - -<p>After the ambassadors and their wives came those having the entree; -after them those without. The white procession had started, and the -Drawing-room that had been rehearsed and looked forward to for years, as -far as each individual’s part in it was concerned, was soon over. At the -end of two hours there was another low bow, and the royal family filed -back through the little door. The bustle and waiting was transferred to -the grand hall below, where little olive-skinned Indian ladies of high -birth, and famous English beauties whose photographs could be bought on -Piccadilly, stood side by side until their carriages stopped the way. -Mothers and daughters passed between rows of Yeomen of the Guard to the -door, daylight, and the photographers; finally home, where tea is -arranged, and friends are gathered to hear about it.</p> - -<p>I had a second opportunity to see a Drawing-room, and I am of the -impression that they must be very much alike.</p> - -<div class="figright" style="width: 107px;"> -<a href="images/ill_032.jpg"> -<img src="images/ill_032.jpg" width="107" height="421" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>A Gentleman at Arms</i></p></div> -</div> - -<div class="figcenter" style="width: 592px;"> -<a href="images/ill_033.jpg"> -<img src="images/ill_033.jpg" width="592" height="433" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>A Drawing-room Tea</i></p></div> -</div> - -<h2><a name="LONDON_SALONS" id="LONDON_SALONS"></a></h2> - -<div class="figcenter2" style="width: 498px;"> -<a href="images/ill_034.jpg"> -<img src="images/ill_034.jpg" width="498" height="344" alt="LONDON SALONS" /></a> -</div> -<div class="captionl"><p><i>An Early Departure</i></p></div> - -<p class="nind"><span class="letra">T</span>HE “season” begins about the time Parliament opens, and Parliament’s -opening and closing depends more or less on fox-hunting and -grouse-shooting. As the “season” approaches, town-houses are opened and -“green” servants are broken in; secretaries busy themselves with lists -and stationery, and the winter campaign begins immediately upon the -family’s return to town. As a London house is seldom needed for more -than the formal entertainments of a season, it is in most cases hired; -consequently, it is seldom attractive. Acquaintances are entertained in -the city, and friends are taken into the country to spend the week’s end -on the family estate, surrounded by the household gods and the most -attractive side of all England. There the future members of the House of -Lords, and the belles of some future Drawing-room, ride donkeys, and the -older people ride wheels and sit under English oaks and make little -water-color sketches, and it is easily seen why only social duties take -them to London.</p> - -<div class="figcenter" style="width: 634px;"> -<a href="images/ill_035.jpg"> -<img src="images/ill_035.jpg" width="634" height="379" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Distinguished Guests</i></p></div> -</div> - -<p>By eight o’clock in the evening almost every other house that you see -will have a little red carpet stretching from its door to the curb, and -in some cases a temporary awning over it. The streets seem to be given -over entirely to carriages and hansoms carrying people to dinner. When -the last guest has arrived the carpet is taken in until later on, when -it again rolls back down the steps and across the pavement, between two -lines of footmen, while the butler whistles for hansoms, and half of -fashionable London goes to its own house, its club, or its lodgings. A -Member of Parliament, during a short recess, will leave the House and -drive miles to a dinner. He may arrive thirty minutes late, or leave -before the dinner is half over. A Quartermaster-General will leave the -War Office an hour earlier, because he has promised to go bicycling with -some young people, and an Editor will leave his paper and accompany his -wife to a tea.</p> - -<div class="figcenter" style="width: 568px;"> -<a href="images/ill_036.jpg"> -<img src="images/ill_036.jpg" width="568" height="421" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>After Dinner</i></p></div> -</div> - -<div class="figcenter" style="width: 334px;"> -<a href="images/ill_037.jpg"> -<img src="images/ill_037.jpg" width="334" height="186" alt="[Image unavailable.]" /></a> -</div> - -<div class="figcenter" style="width: 468px;"> -<a href="images/ill_038.jpg"> -<img src="images/ill_038.jpg" width="468" height="421" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>At Dinner</i></p></div> -</div> - -<p>This interest in all things gives English people time for everything.</p> - -<p>A London reception is bright and amusing. In the early part of the -evening statesmen, diplomats, and older people are in the majority; at -eleven o’clock those who have been to the play arrive, and a little -later the actors themselves. From the staircase people can best be seen. -It is always crowded by those who are on their way to pay respects to -the hostess in the hall above, and by those who have already done so and -are on their way down to the supper-room. Above and below a dense crowd -elbow and talk around and through you. You are slowly twisted past your -hostess and through the parlors, and then finally back to the staircase, -down which you can go as slowly as you please. No one is in a hurry—so -out into the early morning, between rows of uniformed coachmen standing -like sentries sleeping on their post.</p> - -<div class="figcenter" style="width: 661px;"> -<a href="images/ill_039.jpg"> -<img src="images/ill_039.jpg" width="661" height="420" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Your Hostess</i></p></div> -</div> - -<h2><a name="LONDON_PEOPLE" id="LONDON_PEOPLE"></a>LONDON PEOPLE</h2> - -<div class="figcenter1" style="width: 561px;"> -<a href="images/ill_040.jpg"> -<img src="images/ill_040.jpg" width="561" height="241" alt="LONDON PEOPLE" /></a> -</div> - -<p class="nind"><span class="letra">O</span>NCE upon a time, judging by John Leech’s pictures of English women (who -could do almost everything in those days but manage their hoop-skirts), -they were all short and became instantly stout when they arrived at -forty. If Leech was right, English women must have changed very much -since then. It may be that they grew tall to more closely resemble Du -Maurier’s goddesses. In many cases they have succeeded, as may be seen -at Lord’s or at any fashionable race-course. There may not be a variety -of good looks, but one type is very beautiful. So strong is the family -likeness, they might all be handsome sisters. There was something very -sweet and lovable about that plump little woman of Mr. Leech’s. I only -met her in reality after she had grown into a sweet old lady, and I -should have regretted not having seen her before had I not seen her tall -granddaughters.</p> - -<div class="figcenter" style="width: 604px;"> -<a href="images/ill_041.jpg"> -<img src="images/ill_041.jpg" width="604" height="446" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Patiently Listening</i></p></div> -</div> - -<div class="figleft"> -<a href="images/ill_042.jpg"> -<img src="images/ill_042.jpg" width="354" height="380" alt="[Image unavailable.]" /></a> -</div> - -<p>The fact that Phil May is a prophet in his own country should alone -clear Englishmen of the suspicion that they are slow to see fun. On an -Englishman’s love of fair play and good sport no suspicion has ever -rested. It is the most attractive thing about him, and it is only -natural that the greatest assortment of good-natured people are to be -found at the Derby. I had already met them in May’s drawings, and I was -prepared to find the good-nature contagious. Last year a party on a -coach opposite the Royal box and a policeman, who looked after that -particular part of the course, drank champagne out of the same bottle. -When the Prince of Wales came down to lead Persimmon off the track, -short men stood on boxes and balanced themselves by holding on to -whoever stood next to them. Gypsy fortune-tellers and painted-faced -minstrels climbed on the backs of coaches. Everyone shouted together and -probably wished that the Prince had been a little taller, so that they -might all have seen him.</p> - -<div class="figcenter" style="width: 603px;"> -<a href="images/ill_043.jpg"> -<img src="images/ill_043.jpg" width="603" height="451" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>At the Savoy</i></p></div> -</div> - -<div class="figcenter" style="width: 315px;"> -<a href="images/ill_044.jpg"> -<img src="images/ill_044.jpg" width="315" height="424" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>Phil May</i></p></div> -</div> - -<div class="figcenter" style="width: 349px;"> -<a href="images/ill_045.jpg"> -<img src="images/ill_045.jpg" width="349" height="437" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>George du Maurier</i></p></div> -</div> - -<div class="figleft" style="width: 187px;"> -<a href="images/ill_046.jpg"> -<img src="images/ill_046.jpg" width="187" height="263" alt="[Image unavailable.]" /></a> -</div> - -<p>English-speaking people have been introduced to each other by a long -line of clever draughtsmen. They have laughed together about the same -people in the truest and sweetest-natured way in all the world. Above -all others, one hand awakened the interest resulting in people knowing -themselves and others better. The beautiful was safe in that gentle -hand. Although the heart that guided it no longer beats, the human -interest and kindly feeling that it awakened will live forever, and all -the world has placed among the foremost men of his day the -affectionately remembered name of George Du Maurier.</p> - -<p>These drawings were made among the most hospitable people I ever met. -When I have failed, it has not been owing to a lack of interest, but -more likely on account of a consciousness that my results would fall -short of my desires. The disappointments following the completion of a -drawing made from a beautiful woman are many. In these portraits I have -the most to regret.</p> - -<div class="figcenter" style="width: 626px;"> -<a href="images/ill_047.jpg"> -<img src="images/ill_047.jpg" width="626" height="387" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>The Queen</i></p></div> -</div> - -<div class="figcenter" style="width: 327px;"> -<a href="images/ill_048.jpg"> -<img src="images/ill_048.jpg" width="327" height="421" alt="[Image unavailable.]" /></a> -</div> - -<div class="figcenter" style="width: 550px;"> -<img src="images/back.jpg" width="550" height="368" alt="[Image unavailable.]" /> -</div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of London as seen by Charles Dana Gibson, by -Charles Dana Gibson - -*** END OF THIS PROJECT GUTENBERG EBOOK LONDON *** - -***** This file should be named 62738-h.htm or 62738-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/7/3/62738/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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