Dickens' London

At the time when "Oliver Twist" had scarce begun, Dickens was already surrounded by a large circle of literary and artistic friends and acquaintances. His head might well have been turned by his financial success, many another might have been so affected. His income at this time (1837-38) was supposed to have increased from £400 to £2,000 per annum, surely an independent position, were it an assured one for any litterateur of even the first rank, of Dickens' day or of any other.

In November of 1837 "Pickwick" was finished, and the event celebrated by a dinner "at the Prince of Wales" in Leicester Place, off Leicester Square. To this function Dickens had invited Talfourd, Forster, Macready, Harrison Ainsworth, Jerdan, Edward Chapman, and William Hall.

Dickens' letter to Macready was in part as follows:

"It is to celebrate (that is too great a word, but I can think of no better) the conclusion of my 'Pickwick' labours; and so I intend, before you take that roll upon the grass you spoke of, to beg your acceptance of one of the first complete copies of the work. I shall be much delighted if you would join us."

Of "Nicholas Nickleby," written in 1838-39, Sydney Smith, one of its many detractors, finally succumbed and admitted: "'Nickleby' is very good – I held out against Dickens as long as I could, but he has conquered me."

Shortly after the "Pickwick" dinner, and after the death of his wife's sister Mary, who lived with them, Dickens, his wife, and "Phiz," – Hablôt K. Browne, – the illustrator of "Pickwick," journeyed together abroad for a brief time. On his return, Dickens first made acquaintance with the seaside village of Broadstairs, where his memory still lives, preserved by an ungainly structure yclept "Bleak House."

It may be permissible here to make further mention of Broadstairs. The town itself formed the subject of a paper which he wrote for Household Words in 1851, while as to the structure known as "Bleak House," it formed, as beforesaid, his residence for a short time in 1843.

Writing to an American friend, Professor Felton, at that time, he said:

"In a bay-window in a 'one pair' sits, from nine o'clock to one, a gentleman with rather long hair and no neckcloth, who writes and grins as if he thought he were very funny indeed. His name is Boz… He is brown as a berry, and they do say is a small fortune to the innkeeper who sells beer and cold punch…"

Altogether a unique and impressive pen-portrait, and being from the hand of one who knew his sitter, should be considered a truthful one.

In 1843 Maclise made that remarkable and winsome pencil sketch of Dickens, his wife, and her sister Georgina, one of those fleeting impressions which, for depicting character and sentiment, is worth square yards of conventional portraiture, and which is reproduced here out of sheer admiration for its beauty and power as a record intime. It has been rather coarsely referred to in the past as Maclise's sketch of "Dickens and his pair of petticoats," but we let that pass by virtue of its own sweeping condemnation, – of its being anything more than a charming and intimate record of a fleeting period in the novelist's life, too soon to go – never to return.

Dickens' connection with the Daily News was but of brief duration; true, his partisans have tried to prove that it was under his leadership that it was launched upon its career. This is true in a measure, – he was its first editor, – but his tenure of office only lasted "three short weeks."

He was succeeded in the editorial chair by his biographer, Forster.

The first number came out on January 21, 1846, – a copy in the recent "Dickens Fellowship Exhibition" (London. 1903) bore the following inscription in Mrs. Dickens' autograph: "Brought home by Charles at two o'clock in the morning. – Catherine Dickens. January 21." Thus it is that each issue of a great newspaper is born, or made, though the use of the midnight oil which was burned on this occasion was no novelty to Charles Dickens himself. The issue in question contained the first of a series of "Travelling Sketches – Written on the Road," which were afterward published in book form as "Pictures from Italy."

A unique circumstance of contemporary interest to Americans occurred during Dickens' second visit to America (1868) in "The Great International Walking Match." A London bookseller at the present time (1903) has in his possession the original agreement between George Dolby (British subject), alias "The Man of Ross," and James Ripley Osgood, alias "The Boston Bantam," wherein Charles Dickens, described as "The Gad's Hill Gasper," is made umpire.

One of the most famous and interesting portraits of Dickens was that made in pencil by Sir John Millais, A. R. A., in 1870. This was the last presentment of the novelist, in fact, a posthumous portrait, and its reproduction was for a long time not permitted. The original hangs in the parlour of "The Leather Bottle," at Cobham, given to the present proprietor by the Rev. A. H. Berger, M. A., Vicar of Cobham. Among other famous portraits of Dickens were those by Ary Scheffer, 1856; a miniature on ivory by Mrs. Barrow, 1830; a pencil study by "Phiz," 1837; a chalk drawing by Samuel Lawrence, 1838; "The Captain Boabdil" portrait by Leslie, 1846; an oil portrait by W. P. Frith, R. A., 1859; a pastel portrait by J. G. Gersterhauer, 1861; and a chalk drawing by E. G. Lewis, 1869. This list forms a chronology of the more important items of Dickens portraiture from the earliest to that taken after his death, subsequent to which was made a plaster cast, from which Thomas Woolner, R. A., modelled the bust portrait.

The "Boz Club," founded in 1899 by Mr. Percy Fitzgerald, one of Dickens' "bright young men" in association with him in the conduct of Household Words was originally composed of members of the Athenæum Club, of whom the following knew Dickens personally, Lord James of Hereford, Mr. Marcus Stone, R. A., and Mr. Luke Fildes, R. A., who, with others, foregathered for the purpose of dining together and keeping green the memory of the novelist.

Its membership has since been extended to embrace the following gentlemen, who also had the pleasure and gratification of acquaintanceship with Dickens: the Marquis of Dufferin and Ava (since died), Lord Brompton, Hamilton Aide, Alfred Austin, Sir Squire Bancroft, Arthur à Beckett, Francesco Berger, Henry Fielding Dickens, K. C., Edward Dicy, C. B., W. P. Frith, R. A., William Farrow, Otto Goldschmidt, John Hollingshead, the Very Reverend Dean Hole, Sir Henry Irving, Frederick A. Inderwick, K. C., Sir Herbert Jerningham, K. C., M. G., Charles Kent, Fred'k G. Kitton, Moy Thomas, Right Honourable Sir Arthur Otway, Bart., Joseph C. Parkinson, George Storey, A. R. A., J. Ashby Sterry, and Right Honourable Sir H. Drummond Wolfe.

Perhaps the most whole-souled endorsement of the esteem with which Dickens was held among his friends and contemporaries was contributed to the special Dickens' memorial number of Household Words by Francesco Berger, who composed the incidental music which accompanied Wilkie Collins' play, "The Frozen Deep," in which Dickens himself appeared in 1857:

"I saw a great deal of Charles Dickens personally for many years. He was always most genial and most hearty, a man whose friendship was of the warmest possible character, and who put his whole soul into every pursuit. He was most generous, and his household was conducted on a very liberal scale.

"I consider that, if not the first, he was among the first, who went out of the highways into the byways to discover virtue and merit of every kind among the lower classes, and found romance in the lowest ranks of life.

"I regard Dickens as the greatest social reformer in England I have ever known outside politics. His works have tended to revolutionize for the better our law courts, our prisons, our hospitals, our schools, our workhouses, our government offices, etc.

"He was a fearless exposer of cant in every direction, – religious, social, and political."

Such was the broad-gauge estimate of one who knew Dickens well. It may unquestionably be accepted as his greatest eulogy.

None of Dickens' contemporaries are more remembered and revered than the illustrators of his stories. Admitting all that can possibly be said of the types which we have come to recognize as being "Dickenesque," he would be rash who would affirm that none of their success was due to their pictorial delineation.

Dickens himself has said that he would have preferred that his stories were not illustrated, but, on the other hand, he had more than usual concern with regard thereto when the characters were taking form under the pencils of Seymour, Cruikshank, or "Phiz," or even the later Barnard, than whom, since Dickens' death, has there ever been a more sympathetic illustrator?

The greatest of these was undoubtedly George Cruikshank, whose drawings for "Oliver Twist," the last that he did for Dickens' writings, were perhaps more in keeping with the spirit of Dickens' text than was the work of any of the others, not excepting the immortal character of Pickwick, which conception is accredited to Seymour, who unfortunately died before he had completed the quartette of drawings for the second number of the serial.

In this same connection it is recalled that the idea of recounting the adventures of a "club of Cockney sportsmen" was conceived by the senior partner of the firm of Chapman and Hall, and that Dickens was only thought of at first as being the possible author, in connection, among others, with Leigh Hunt and Theodore Hook.

On the death of Seymour, one R. W. Buss, a draughtsman on wood, was commissioned to continue the "Pickwick" illustrations, and he actually made two etchings, which, in the later issues, were suppressed. "Crowquill," Leech, and Thackeray all hoped to fill the vacancy, but the fortunate applicant was Hablôt K. Browne, known in connection with his work for the Dickens stories as "Phiz." This nom de plume was supposed to have been adopted in order to harmonize with "Boz."

"Phiz" in time became known as the artist-in-chief, and he it was who made the majority of illustrations for the tales, either as etchings or wood-blocks. His familiar signature identifies his work to all who are acquainted with Dickens. George Cattermole supplied the illustrations to "The Old Curiosity Shop" and "Barnaby Rudge." Of these Dickens has said "that it was the very first time that any of the designs for which he had written had touched him." Marcus Stone, R. A., provided the pictures for "Our Mutual Friend."

John Leech, of Punch fame, in one of his illustrations to "The Battle of Life," one of the shorter pieces, made the mistake of introducing a wrong character into one of the drawings, and a still more pronounced error was in the Captain Cuttle plates, where the iron hook appears first on the left and then on the right arm of the subject.

Leech illustrated the "Christmas Carol" complete, including the coloured plates, and shared in contributing to the other Yule-tide stories.

Of the leading artists who contributed the illustrations to Dickens' writings during his lifetime, it is notable that three were "Royal Academicians," – Stanfield, Maclise, and Landseer, – one an "Associate of the Royal Academy," and, besides those already mentioned, there were in addition Richard (Dicky) Doyle, John Leech, and (now Sir) John Tenniel, Luke Fildes, and Sir Edwin Landseer, who did one drawing only, that for "Boxer," the carrier-dog, in "The Cricket on the Hearth." Onwyn, Crowquill, Sibson, Kenney Meadows, and F. W. Pailthorpe complete the list of those artists best known as contemporary with Dickens.

In creating the characters of his novels, as is well known, Dickens often drew upon his friends and acquaintances as models, and seldom did these effigies give offence. On one occasion the reverse was the case, as in "Bleak House," which was issued in 1857. Boythorne, who was drawn from his friend Landor, and Skimpole, from Leigh Hunt, were presumably so pertinent caricatures of the originals that they were subsequently modified in consequence.

Another incident of more than unusual importance, though not strictly dealing with any of Dickens' contemporaries, is a significant incident relating to the living worth of his work. It is related that when Bismarck and Jules Favre met under the walls of Paris, the former waiting to open fire upon the city, the latter was seen to be busily engrossed, quite oblivious of the situation, devouring "Little Dorrit." The story may be taken for what it appears to be worth; it is doubtful if it could be authenticated, but it serves to indicate the wide-spread and absorbing interest of the novels, and serves again to indicate that the power of the novel in general is one that will relax the faculties and provide the stimulus which an active brain often fails to find otherwise.

Dickens had dedicated to Carlyle "Hard Times," which appeared as early as 1854, and paid a still further tribute to the Scotch genius when, in 1859, he had begun "A Tale of Two Cities."

In it he hoped to add something to the popular and picturesque means of understanding the terrible time of the French Revolution; "though no one," he said, "could hope to add anything to the philosophy of Carlyle's wonderful book." To-day it is one of the most popular and most read of all his works.

Dickens died on the 9th of June, 1870, leaving "Edwin Drood" unfinished. What he had written of it appeared in the usual green paper parts and afterward in volume form. In October, 1871, a continuation entitled "John Jasper's Secret" began to appear, and occupied eight monthly parts, produced uniformly with "Drood;" and recently a gentleman in Holland sent the publishers – Messrs. Chapman and Hall – a completion written by himself. There were other attempts of this nature, but Dickens' book must always remain as he left it.

That a reference to the "Poets' Corner" in Westminster Abbey might properly be included in a section of this book devoted to the contemporaries of Charles Dickens, no one perhaps will deny.

It seems fitting, at least, that it should be mentioned here rather than elsewhere, in that the work does not pretend to be a categorical guide to even the more important sights of London, but merely that it makes mention of those sights and scenes, places and peoples, more or less intimately associated with the great novelist.

Charles Dickens was buried in Westminster Abbey on the 14th June, 1870, since which time various other graves have been made, Browning and Tennyson notably, and monuments and memorials put into place of Longfellow and Ruskin.

The Poets' Corner occupies about half of the south transept of Westminster Abbey. This famous place for the busts and monuments of eminent men includes those of Chaucer, Spencer, Shakespeare, Drayton, Ben Jonson, Milton, Butler, Davenant, Cowley, Dryden, Prior, Rowe, Gay, Addison, Thomson, Goldsmith, Gray, Mason, Sheridan, Southey, Campbell, etc. Lord Macaulay and Lord Palmerston were buried here in 1860 and 1865. Thackeray is not buried here, but at Kensal Green, though his bust is placed next to the statue of Joseph Addison. Dickens' grave is situated at the foot of the coffin of Handel, and at the head of the coffin of R. B. Sheridan. More recently, Doctor Livingstone, the celebrated African traveller, was buried here. Near to England's great humourist, toward his feet, lie Doctor Johnson and Garrick, while near them lies Thomas Campbell. Shakespeare's monument is not far from the foot of the grave. Goldsmith's is on the left.

THE LOCALE OF THE NOVELS

If one may make legitimate use of the term, "the topography of Dickens," – which an English writer coined many years since, – it may well be indiscriminately applied to Dickens' own life and that of the characters of his stories as well.

The subject has ever been a favourite one which has cropped up from time to time in the "bitty" literature of the last quarter of a century.

To treat it exhaustively would be impossible; the changes and progress of the times will not permit of this. Nothing would be final, and new shadows would constantly be thrown upon the screen.

Dickens' observation, as is well known, was most keen, but he mostly saw only those things which, in some degree, actually existed, – towns, villages, streets, localities, and public and private houses. Not an unusual method of procedure for many an author of repute, but few have had the finesse to lay on local colour to the extent used by Dickens, without tending toward mere description. This no one has ever had the temerity to lay to Dickens' door.

Mention can be made herein of but a few of the localities, many of which had existed to very near the present day.

To enumerate or to even attempt to trace them all would be practically impossible, but enough has been authenticated to indicate a more substantial reality than is found in the work of any other modern English author.

If one is so minded, he can start out from the very hotel, – "The Golden Cross" at Charing Cross, – from which Pickwick and Jingle started on their coach ride to Rochester, and where Copperfield and Steerforth also stayed. The "dark arches of the Adelphi," the Temple, and Fountain Court, remain much as of yore.

Fleet Street was well known to Dickens, and has changed but little, and Lincoln's Inn Fields, Bloomsbury, and many other localities have in reality changed not at all in their relation to their environment. In matters of detail they have, of course, in many instances undergone a certain remoulding, which is no greater perhaps than the usual liberties taken by the average author.

Dickens, in the main, changed the surroundings of his scenes – which he may have given another name – but little.

"Copperfield" is redolent of his own early associations and experiences in London. The neighbourhood of Charing Cross will be first called to mind. Hungerford Market and Hungerford Bridge (as the present Charing Cross Railway Bridge is often called by the old resident), and the "Adelphi," with its gruesome arches beneath, all give more than a suggestion of the sights and scenes which met Dickens' own eye when his personality was closely associated therewith.

Hence, regardless of whether it is biography or pure fiction, there are to-day substantial reminders throughout London, not only of his life but of the very scenes associated with the characters of his novels. More particularly in the early novels, "Pickwick," "Nickleby," and "Copperfield," are their topographical features to be most readily recognized, because, in the first place, they are, presumably, the more familiar; and secondly, because they are more vividly recalled.

It is a fact, however, that in Dickens' sketches and tales, and in many of his minor works, as, for instance, in the pages of "Master Humphrey's Clock," there are passages especially concerning persons and places in London, which to-day have, as then, a stern reality, referring to such familiar spots as the site of the Marshalsea Prison, or "The Old White Horse," or Peggotty's Yarmouth home.

Reality or imagination, – it's all the same, – Dickens drew in his pictures, after a veritable fashion, this too, in spite of the precedent of a former generation of authors, who had for ages, one may say centuries, tilled the field over and over. But it was not until Dickens "arrived" that the reading world in general, and wherever found, acquired that nodding acquaintance with London which has since so redounded to this author's reputation. No such acquaintance was previously to be had with the contemporary London life of the middle and lower classes, if one may be pardoned for expressing it thus confidently.

The marvel is that some ardent spirit has not before now compiled an out-and-out Dickens guide-book. One writer, at least, is recalled who is competent to do it, and he, be it said, is an American, Doctor Benjamin S. Martin, who many years ago contributed to an American monthly publication a series of illuminating articles on what might with propriety be called the local colour of Dickens. These were the forerunners and foster-parents of most of the "scrappy" articles of a similar purport which appear intermittently in the English and American periodical press.

The references and descriptions of certain of the localities connected with the novels which follow are given without attempt at classification or chronological arrangement. No other plan appears possible, where only a selection can be given. As before said, the limitations of the bulk of this book preclude a more extensive résumé.

The following references will be found to be fully classified in the index which accompanies the book, and will perhaps prove suggestive, at least, of further research on the part of the individual reader.

Further west, beyond Westminster and the Parliament Houses, is Millbank, where is Church Street, running from the river to St. John's Church, Westminster, that atrociously ill-mannered church of Queen Anne's day, built it is said on the lines of a footstool overturned in one of that lady's fits of petulant wrath. Down Church Street ran Martha, followed by Copperfield and Peggotty, bent on suicide.

Not the slum it was when described by Dickens, it is to-day a sufficiently "mean street" to be suggestive.

Here too, was Jenny Wren's house, on the left going toward the church in Smith Square.

Vauxhall Bridge, also reminiscent of Dickens, is near by, though the structure which formerly graced the site has given way to a temporary ungainly thing, which is neither beautiful to look upon nor suitable to its purpose.

In the neighbourhood of Charing Cross, on Craven Street, at No. 8, is still the door-knocker which so looked, to Scrooge, like a human face.

In Chandos Street, till within the last eight or ten years, were two old-time shops, to which Warren's Blacking Factory removed before the boy Dickens left their employ.

In Chandos Street, too, were the "pudding-shop" and "à la mode beef-shop," of which Dickens made such emphatic mention to his biographer, Forster.

At the corner of Parliament Street and Whitehall, in Westminster, was, until the beginning of the twentieth century, the "Old Red Lion" public house, which calls to mind the episode of "the very best stunning ale" in "Copperfield," but which is reputedly attributed as actually happening to Dickens himself.

Chancery Lane is largely identified with the story of "Bleak House." The garden of Lincoln's Inn was fondly referred to by little Miss Flite as "her garden." Law offices, stationers' shops, and eating-houses abound in the purlieus of Chancery Lane, which, though having undergone considerable change in the last quarter-century, has still, in addition to the majesty which is supposed to surround the law, something of those "disowned relations of the law and hangers-on" of which Dickens wrote.

In this immediate neighbourhood – in Lincoln's Inn Fields – was Mr. Tulkinghorn's house, of which an illustration is here given, and which is still standing (1903). This house, which is readily found, – it is still No. 58, – is now given over to lawyers' offices, though formerly it was the residence of Dickens' biographer, Forster, where Dickens gave what was practically the first of his semi-public readings, on the occasion when he came from Italy especially to read the "Christmas story," "The Chimes," to a few favoured friends.

Hard by, just off the southwestern corner of the square, is the apocryphal "Old Curiosity Shop," a notable literary shrine, as is mentioned elsewhere, but not the original of the novel which bears the same name, as Dickens himself has said.

The "Clare Market," an unsavoury locality which had somewhat to do with "Pickwick," was near by, but has practically disappeared from view in a virtuous clearing-up process which has recently been undertaken.

In Portugal Street, leading into Lincoln's Inn Fields, was Mr. Solomon's headquarters; while further east, toward the city, we find the "George and Vulture," mentioned in "Pickwick," existing to-day as "a very good old-fashioned and comfortable house." Its present nomenclature is "Thomas' Chop-House," and he who would partake of the "real thing" in good old English fare, served on pewter plates, with the brightest of steel knives and forks, could hardly fare better than in this ancient house in St. Michael's Alley.

By one of those popular and ofttimes sentimental conclusions, "poor Jo's crossing" has been located as being on Holborn, near where Chancery Lane comes into that thoroughfare.

This may like enough be so, but as all crossings are much alike, and all sweepers of that impoverished class which we recognize in the description of "Jo" (now luckily disappearing), it would seem a somewhat doubtful accomplishment in attempting to place such a spot definitely.

Mrs. Jellyby lived in Thavie's Inn, – "Only 'round the corner" from Chancery Lane, said Guppy, – one of the seven inns allied with the four great Inns of Court, all of which had a particular sentiment for Dickens, both in his writings and his life. In fact, he began with "Pickwick" to introduce these "curious little nooks" and "queer old places." Indeed, he lived in Furnival's Inn when first married, and there wrote the most of the "Boz" sketches as well as "Pickwick."

Clifford's Inn, too, now on the eve of departure, is also a reminder of "Pickwick." One, "a tenant of a 'top set,' was a bad character – shut himself in his bedroom closet and took a dose of arsenic," as is told in "Pickwick," Chapter XXI.

To "Mr. Perker's chambers," in Gray's Inn, – which still endures as one of the four great Inns of Court, – went Mr. Pickwick one afternoon, to find no one at home but the laundress. In Holborn Court, in Gray's Inn, lived also Traddles and his bride.

Pip was quartered in Barnard's Inn, called by him a "dingy collection of shabby buildings."

The Temple has ever been prolific in suggestion to the novelist, and Dickens, like most others who have written of London life, has made liberal use of it in "Barnaby Rudge," in "The Tale of Two Cities," and in many other of his novels.

Staple Inn, at "Holborn Bars," is perhaps the most quaint and unmodern of any considerable structure in all London. Mr. Grewgious and Mr. Tartar lived here; also Landless, who occupied "some attic rooms in a corner," and here Mr. Snagsby was wont to ramble in this old-world retreat.

The "little hall," with "a little lantern in its roof," and its weathercock, is still there, and the stroller down that most businesslike thoroughfare, known in its various continuations as "High Holborn," "Holborn Bars," and "Holborn Viaduct," will find it difficult to resist the allurements of the crazy old timbered frontage of Staple Inn, with its wooden gateway and tiny shops, looking for all the world like a picture from out of an old book.

In Bishop's Court, leading from Chancery Lane, was Crook's rag and bottle shop, where its owner met so ghastly a death. A court to the back of this shop, known as "Chichester Rents," harboured a public house called by Dickens "Sol's Arms." To-day it exists as the "Old Ship," if supposedly authoritative opinion has not erred.

Took's Court is to-day unchanged. Dickens was pleased to call it "Cook's Court." By some it has been called dirty and dingy; it is hardly that, but it may well have been a more sordid looking place in days gone by. At any rate, it was a suitable enough environment for Snagsby, identified to-day as the stationer's shop next the Imperial Chambers.

As vivid a reminiscence as any is that of the old debtors' prison of Marshalsea. The institution was a court of law and a prison as well, and was first established in 1376 for the determination of causes and differences among the king's menials; and was under the control of the knight marshal, hence its name. Later this court had particular cognizance of murders and other offences committed within the king's court; and here also were committed persons guilty of piracies.

In 1381 the Kentish rebels "broke down the houses of the Marshalsea and the King's Bench in Southwark," and in 1593 "a dangerous insurrection arose in Southwark, owing to the attempt of one of the knight marshal's men to serve a warrant upon a feltmaker's apprentice."

At this time the inhabitants of Southwark complained that "the Knight Marshal's men were very unneighbourly and disdainful among them," with every indication that a prolonged insurrection would endure. However, the matter was brought to the attention of the lord chamberlain, and such edict went forth as assured the inhabitants of the borough freedom from further annoyance. The old gaol building was purchased in 1811 by the government, and at that time refitted as a prison for debtors.

"The entrance gate fronts the High Street near St. George's Church, and a small area leads to the keeper's house. Behind it is a brick building, the ground floor of which contains fourteen rooms in a double row, and three upper stories, each with the same number. They are about ten and a half feet square by eight and a half feet high, and are with boarded floors, a glazed window, and fireplace in each, for male debtors. Nearly adjoining to this is a detached building called the 'Tap,' which has on the ground floor a wine and beer room. The upper story has three rooms for female debtors, similar to those for men. At the extremity of this prison is a small courtyard and building for admiralty prisoners, and a chapel."

The above description, taken from Allen's "History and Antiquities of Southwark," must synchronize with the appearance of the Marshalsea at the time of which Dickens wrote concerning it in "Little Dorrit," based, of course, upon his personal knowledge of the buildings and their functions when the elder Dickens was imprisoned therein in 1822, and the family were living in mean quarters in near-by Lant Street, whither they had removed from Gower Street, North, in order to be near the prison.