It were, however, an invidious, as well as an impossible task, to name all London's historic houses. What street in London is, indeed, not "historic" in a sense? Houses may be pulled down, but even thus their locality knows them still. Is not even Turner the painter's squalid, dirty house in Queen Anne Street, now razed, yet recalled to the passer-by, by the tablet affixed to the houses that have since sprung up on its site? "Unlovely" Wimpole Street is sacred to the shade of Elizabeth Barrett Browning, that "small, pale person, scarcely embodied at all." It was from this house, No. 50, that she wrote her impassioned love-letters, and, after years of chronic invalidism, ran away, secretly and romantically, to marry a brother-poet. The picturesque chambers known as "the Albany,"—a byway out of Piccadilly,—recall Lord Macaulay, Lord Byron, Lord Lytton. Curzon Street suggests the famous parties, in the early nineteenth century, of the sisters Mary and Agnes Berry, the friends of Horace Walpole. In Soho,—a district famous in old days for an artistic, and semi-Bohemian fraternity, whose houses emulated Turner's in dirt,—lived the painters Northcote, Mulready, Fuseli, Stothard,—and Flaxman the sculptor. At 28, Poland Street, lived William Blake, the poet-painter, the half-crazy, but wholly charming, seer and mystic; here he wrote his Songs of Experience and of Innocence, and drew his Visionary Portraits. (The story of Blake and his wife, "reciting passages from Paradise Lost, and enacting Adam and Eve, in character," belongs, however, not to dingy gardenless Poland Street, but to Hercules Buildings, then a modest Lambeth suburb). In Poland Street, in 1811, lived also Shelley in early youth, with his friend and biographer Hogg; the latter being attracted, says Shelley, by the name of the street, "because it reminded him of Thaddeus of Warsaw and freedom":
"A paper (says Hogg) in the window of No. 15 announced lodgings.... 'We must lodge there, should we sleep even on the step of a door.' ... Shelley took some objection to the exterior of the house, but we went in.... There was a back sitting-room on the first floor, somewhat dark but quiet, yet quietness was not the prime attraction. The walls of the room had lately been covered with trellised paper.... This was delightful. He went close to the wall and touched it. 'We must stay here; stay for ever.' Shelley had the bedroom opening out of the sitting room, and this also was overspread with the trellised paper."
But every part of London has its historic interest—is, in a sense, a city peopled by the dead. "Where'er you tread is haunted, holy ground." That spot, in that quiet, narrow street,—Mayfair, Bloomsbury, Soho or Westminster,—where you chance to live, and toil, and suffer, and enjoy,—has known many others in its time,—others before you: men in stocks, and wigs, and laced ruffles, and knee-breeches; women in brocades, ruffs, and farthingales; children in long stiff skirts and prim stomachers: who, in their turn, likewise lived, and toiled, and enjoyed, and suffered.... Is it not this romance of London, this mysterious past life of hers, guessed and unguessed, that makes us welcome, and recognise as real friends, the types of a Thackeray, a Dickens? See, for instance, how a mere allusion to Thackeray puppets serves to immortalise with a touch, the prosaic, if fashionable, Clarges and Bond Streets: Clarges Street, "where Beatrix Bernstein held her card parties, her Wednesday and Sunday evenings, save during the short season when Ranelagh was open on a Sunday, where the desolate old woman sat alone, waiting hopelessly for the scapegrace nephew that her battered old heart had learned to love."
"Here, Baroness Bernstein takes her chocolate behind the drawn curtains; she is the Beatrix Esmond of brighter days and fortunes.... There are the windows of Harry Warrington's lodgings in Bond Street, 'at the court end of the town;' geraniums and lobelias flourish in them to this day, and no doubt they are let to some sprig of fashion; but to me they are Harry's rooms, hired from Mr. Ruff, the milliner's husband; and the 'Archie' or 'Bertie' in possession to-day is a mere interloper, whom Gumbo would have politely shown downstairs."—(Byways of Fiction in London.)
Not less has Dickens done with the lower life of the Great City. And has not Miss Thackeray (Mrs. Ritchie), with a touch of her father's picturesque and vivid genius, glorified that "Old Court Suburb," Old Kensington, in her well-known novel of that name? Here, in Kensington, at No. 2, Palace Green, then considerably more countrified than now, Thackeray died in 1863. Here, too, is the red brick Kensington Palace, built by William and Mary in what Leigh Hunt called "Dutch solidity," famous as Queen Victoria's birth-place, and also more sadly reminiscent of poor Caroline of Brunswick, the ill-fated and cruelly used wife of George IV.
Holland House is one of the most interesting and historically important buildings in Kensington. It stands near Campden Hill, in beautiful and spacious gardens, the same gardens where the youthful George III. used to flirt with the lovely Sarah Lennox; the lady dressed as a shepherdess, playing at haymaking while the King rode by: a youthful and a pleasant idyll, in contrast with the lady's very chequered after life! Holland House, says Mr. Hare, "surpasses all other houses in beauty, rising at the end of the green slope, with its richly-sculptured terrace, and its cedars, and its vases of brilliant flowers." The house was originally built in 1607, though its characteristic wings and arcades were all added later by the first Earl of Holland, the same who was beheaded in the Royalist wars. After his execution Holland House was confiscated by the Parliamentary generals; being, however, restored in 1665 to the disconsolate widow, who comforted herself by indulging privately here in the theatricals so strictly forbidden by the Puritan Government. Early in the eighteenth century Holland House became associated with Addison (of Spectator fame); he lived here for some three years after his ambitious marriage with Charlotte, Countess of Warwick, a marriage which, despite its splendour, report says was not happy for the bridegroom. According to Dr. Johnson, it was more or less "on terms like those on which a Turkish princess is espoused, to whom the Sultan is reported to pronounce, 'Daughter, I give thee this man for thy slave.'" But the chief interest of Holland House lies in its having been for so many years the centre of a great literary and political coterie, and the resort of Whig orators and politicians. In the lifetime of the third Lord Holland, who died in 1840, the house was at the height of its splendour as a world-renowned intellectual centre. Holland House still exists in its integrity, though Macaulay long ago prophesied mournfully that
"The wonderful city may soon displace those turrets and gardens which are associated with so much that is interesting and noble—with the courtly magnificence of Rich, with the loves of Ormond, with the councils of Cromwell, with the death of Addison."
"The gardens of Holland House" (says Mr. Hare) "are unlike anything else in England. Every turn is a picture.... A raised terrace, like some of those which belong to old Genoese palaces, leads from the house high amongst the branches of the trees to the end of the flower garden.... Facing a miniature Dutch garden here is "Rogers' Seat," inscribed:
"Here Rogers sat, and here for ever dwell
With me those pleasures that he sings so well."
Lord Macaulay's last residence was, as I have said, "Holly Lodge." In this secluded villa, high walled-in from the outer world, were the two requisites for an author's ideal of happiness, a library and a garden. The house bears a memorial tablet. Here the great writer died while quietly seated in his library chair, his book open beside him; a peaceful close of a busy life.