"The nasty beggar!" said Mr. Bouncer, in reference to the last paragraph. "Well, Giglamps! Filthy Lucre does'nt tell fibs when he says that Tug came of a good breed: but he was so doosed pugnacious, that he was always having set-to's with Huz and Buz, in the coal-shop just outside the door here; and so, as I'd nowhere else to stow them, I was obliged to give Tug away. Dr. What's-his-name says, 'Let dogs delight to bark and bite, for 'tis their nature to.' But then, you see, it's only a delight when they bite somebody else's dog; and if Dr. What's-his-name had had a kennel of his own, he would'nt have took it so coolly; and, whether it was their nature so to do or not, he would'nt have let the little beggars, that he fork'd out thirteen bob a-year for to the government, amuse themselves by biting each other, or tearing out each other's eyes; he'd have turn'd them over, don't you see, to his neighbours' dogs, and have let them do the biting department on them. And, altogether, Giglamps, I'd advise you to let Filthy Lucre's Vermin alone, and have nothing to do with the breed."
So Mr. Verdant Green took his friend's advice, and then took himself off to learn boxing at the hands, and gloves, of the Putney Pet; for our hero, at the suggestion of Mr. Charles Larkyns, had thought it advisable to receive a few lessons in the fistic art, in order that he might be the better able to defend himself, should he be engaged in a second Town and Gown. He found the Pet in attendance upon Mr. Foote; and, by their mutual aid, speedily mastered the elements of the Art of Self-defence.
Mr. Foote's rooms at St. John's were in the further corner to the right-hand side of the Quad, and had windows looking into the gardens. When Charles had held his Court at St. John's, and when the loyal College had melted down its plate to coin into money for the King's necessities, the Royal visitor had occupied these very rooms. But it was not on this account alone that they were the show rooms of the College, and that tutors sent their compliments to Mr. Foote, with the request that he would allow a party of friends to see his rooms. It was chiefly on account of the lavish manner in which Mr. Foote had furnished his rooms, with what he theatrically called "properties," that made them so sought out: and country lionisers of Oxford, who took their impressions of an Oxford student's room from those of Mr. Foote, must have entertained very highly coloured ideas of the internal aspect of the sober-looking old Colleges.
The sitting-room was large and lofty, and was panelled with oak throughout. At the further end was an elaborately carved book-case of walnut wood, filled with books gorgeously bound in every tint of morocco and vellum, with their backs richly tooled in gold. It was currently reported in the College that "Footelights" had given an order for a certain number of feet of books,—not being at all proud as to their contents,—and had laid down the sum of a thousand pounds (or thereabouts) for their binding. This might have been scandal; but the fact of his father being a Colossus of (the iron) Roads, and indulging his son and heir in every expense, gave some colour to the rumour.
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 piano-forte, 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;[13] witless men were cramming for Collections;[14] 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, viâ London—this being, as is well known, the most direct route from Oxford to Warwickshire.
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.