The panels were covered with the choicest engravings (all proofs-before-letters), and with water-colour drawings by Cattermole, Cox, Fripp, Hunt, and Frederick Tayler - their wide, white margins being sunk in light gilt frames. Above these gleamed groups of armour, standing out effectively (and theatrically), against the dark oak panels, and full of "reflected lights," that would have gladdened the heart of Maclise. There were couches of velvet, and lounging chairs of every variety and shape. There was a Broadwood's grand pianoforte, on which Mr. Foote, although uninstructed, could play skilfully. There were round tables and square tables, and writing tables; and there were side tables with statuettes, and Swiss carvings, and old china, and gold apostle-spoons, and lava ware, and Etruscan vases, and a swarm of Spiers's elegant knick-knackeries. There were reading-stands of all sorts; Briarean-armed brazen ones that fastened on to the chair you sat in, - sloping ones to rest on the table before you, elaborately carved in open work, and an upright one of severe Gothic, like a lectern, where you were to stand and read without contracting your chest. Then there were all kinds of stands to hold books: sliding ones, expanding ones, portable ones, heavy fixture ones, plain mahogany ones, and oak ones made glorious by Margetts with the arms of Oxford and St. John's, carved and emblazoned on the ends.
Mr. Foote's rooms were altogether a very gorgeous instance of a Collegian's apartment; and Mr. Foote himself was a very striking example of the theatrical undergraduate. Possessing great powers of mimicry and facial expression, he was able to imitate any peculiarities which were to be observed either in Dons or Undergraduates, in Presidents or Scouts. He could sit down at his piano, and give you - after the manner of Theodore Hook, or John Parry - a burlesque opera; singing high up in his head for the prima donna, and going down to his boots for the basso profondo of the great Lablache. He could also draw corks, saw wood, do a bee in a handkerchief,
and make monkeys, cats, dogs, a farm-yard, or a full band, with equal facility. He would also give you Mr. Keeley, in "Betsy Baker;" Mr. Paul Bedford, as "I believe you my bo-o-oy"; Mr. Buckstone, as Cousin Joe, and "Box and Cox;" or Mr. Wright, as Paul Pry, or Mr. Felix Fluffy. Besides the comedians, Mr. Footelights would also give you the leading tragedians, and would favour you (through his nose) with the popular burlesque imitation of Mr. Charles Kean, as Hablet. He would fling himself down on the carpet, and grovel there as Hamlet does in the play-scene, and would exclaim, with frantic vehemence, "He poisods hib i' the garded, for his estate. His dabe's Godzago: the story is extadt, ad writted id very choice Italiad. You shall see adod, how the burderer gets the love of Godzago's wife." Moreover, as his room possessed the singularity of a trap-door leading down into a wine-cellar, Mr. "Footelights" was thus enabled to leap down into the aperture, and carry on the personation of Hamlet in Ophelia's grave. As the theatrical trait in his character was productive of much amusement, and as he was also considered to be one of those hilarious fragments of masonry, popularly known as "jolly bricks," Mr. Foote's society was greatly cultivated; and Mr. Verdant Green struck up a warm friendship with him.
But the Michaelmas term was drawing to its close. Buttery and kitchen books were adding up their sums total; bursars were preparing for battels; [34] witless men were cramming for Collections; [35] scouts and bedmakers were looking for tips; and tradesmen were hopelessly expecting their little accounts. And, in a few days, Mr. Verdant Green might have been seen at the railway station, in company with Mr. Charles Larkyns and Mr. Bouncer, setting out for the Manor Green, via London - this being, as is well known, the most direct route from Oxford to Warwickshire.
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[34] Battels are the accounts of the expenses of each student. It is stated in Todd's Johnson that this singular word is derived from the Saxon verb, meaning "to count or reckon." But it is stated in the Gentleman's Magazine for 1792, that the word may probably be derived from the Low-German word bettahlen, "to pay," whence may come our English word, tale or score.
[35] College Terminal Examinations.
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Mr. Bouncer, who when travelling was never easy in his mind unless Huz and Buz were with him in the same carriage, had placed these two interesting specimens of the canine species in a small light box, partially ventilated by means of holes drilled through the top. But Huz and Buz, not much admiring this contracted mode of conveyance, and probably suffering from incipient asphyxia, in spite of the admonitory kicks against their box, gave way to dismal howls, at the very moment when the guard came to look at the tickets.
"Can't allow dogs in here, sir! they must go in the locker," said the guard.
"Dogs?" cried Mr. Bouncer, in apparent astonishment: "they're rabbits!"
"Rabbits!" ejaculated the guard, in his turn. "Oh, come, sir! what makes rabbits bark?"