UP TO US

On the one quality to wish for your children, the freedman who defined it, and why it cannot be given

In 1966 a Brooklyn-born psychologist whose father’s business had failed in the Depression published a questionnaire that sorted people by how much of their fate they thought was theirs; sixty years on, a column citing an economist in Sydney names the internal end of that scale as the one thing to wish for your children. The record agrees that internals do better, and then complicates the gift.

Sometime in the mid-1970s, the administrator of Arden House, a nursing home in Connecticut, spoke to the residents of one floor about what was still theirs. How their rooms were arranged, the administrator said, was up to them. So was how they spent their days, and with whom. So was the film: they could decide which night they would go. Then each of them was offered a small plant and asked to choose one. A plant chosen was a plant to be looked after.

On another floor of the same building, the administrator gave a different talk. The staff, the residents were told, were there to make their lives as pleasant as possible, and would see to things; they would be told which night they were to see the film. Each of them was given a plant. The staff would water it.

It was not much of a difference. Every resident on both floors ended the day with a small green thing in a pot. What separated the floors was mostly a question: which one would you like?

Three weeks later the residents who had been asked were, by their own account and by their nurses’ ratings, more alert, more active and happier than the residents who had been told. More of them came to the film.

The plants are long dead. What was handed round that afternoon along with them is still argued over, in laboratories and in newspaper columns and at kitchen tables where parents wonder what, if they could wish one thing for a child, they ought to wish. This August the Bartleby column in The Economist put the question outright: which single quality should a parent most wish for a child? Its answer, taken from the Sydney economist Deborah Cobb-Clark, was an internal locus of control. The argument it joined is older than the experiment, older than psychology, and older by nineteen centuries than the plants.

I

The Dial

Julian Rotter was born in Brooklyn in 1916, the third son of Jewish immigrants. His father’s business did well until the Depression reached it, and his biographers date to those years his sense of how strongly people are shaped by their circumstances. He read Freud and Adler as a schoolboy. At Brooklyn College he took chemistry, which seemed likelier to pay, and sat in on the seminars Alfred Adler was then giving in New York. Psychology won. After the war he went to Ohio State, and there, through the 1950s, he and his students built what they called social learning theory.

Its central claim was modest and, at the time, a little heretical. What a person does depends not only on what is rewarded but on what she expects to be rewarded, and the expectation is learned, from what her actions have produced before. In a familiar situation she goes by what that situation has taught her. In a new one she falls back on something more general: a standing estimate of how far what happens to her follows from what she does. Rotter’s students tested the idea by setting people the same task, described to some as a matter of skill and to others as a matter of chance, and watching how differently they learned from success and failure under each description.

In 1963 Rotter moved to the University of Connecticut, and in 1966 he published the monograph that made the general estimate famous. It came with an instrument: twenty-nine pairs of statements, six of them fillers, in which the person taking it had to choose, again and again, between two accounts of the world. Does a good job come from ability, or from being in the right place at the right time? Is the world run by a few powerful people, or can the ordinary citizen influence what governments decide? Add up the choices and you had a position on a line that ran from internal, the belief that outcomes follow from one’s own actions, to external, the belief that they follow from luck, fate or other people. Within a few years the words had left the journal. People began describing themselves, and each other, as internals and externals.

The evidence behind the column’s answer is substantial, and it deserves to be stated at full strength before anything is said against it. Among newly unemployed Germans, Cobb-Clark and her colleagues found, those with a more internal locus search harder for work, while the more external settle for less: the lowest wage they will accept is lower. The column adds that households with a stronger sense of their own agency save more of what they have, and that people who mean to start a company are likelier, if they are internals, to start one.

The effect also crosses a generation. The Avon Longitudinal Study of Parents and Children has followed thousands of families around Bristol since the early 1990s, and in its data a mother’s locus of control, measured in the twelfth week of her pregnancy, predicts how she will parent, how much time she will put into her child, and how that child will be doing, in mind and in temper, years later. The economists who found this, led by Warn Lekfuangfu, offer a plain reason: a mother who believes effort pays puts in the effort. The internal mother does not hand her child a belief. She arranges the room.

The case grows stronger still when one looks at which way things have been moving. In 2004 Jean Twenge and two colleagues gathered dissertation studies of locus of control in young Americans, ninety-seven samples of college students who had taken Rotter’s scale and forty-one of children aged nine to fourteen who had taken a version adapted for children, and found that between 1960 and 2002 the scores had drifted towards the external end by about four-fifths of a standard deviation. The average student of 2002 was more external than four in five students of the early 1960s. The drift is not undisputed: a later study of American high-school seniors found no such shift, though the short scale it relied on has itself been questioned. Externality, the authors noted, goes with helplessness, with poor handling of stress, and with depression. A society drifting that way does not obviously need anyone to complicate the cure.

But the drift complicates it on its own. Twenge and her colleagues found their results consistent with a model of alienation: rising cynicism, rising individualism, and the self-serving bias, the habit of crediting oneself with one’s successes and the world with one’s failures. That is externality as excuse, the world blamed for what was one’s own.

There is another external, older and harder. It concedes the world its share, often most of it, and then acts on what is left. The difference between the two is the difference between an excuse and a map.

The man who built the scale had seen the misreading coming. By 1975 there were, by his count, well over six hundred studies using his construct, and he wrote a long paper to say that many of them had misunderstood it. The scale measured a continuum, not two kinds of person, and it was being used to sort people into good guys and bad guys. A generalised expectancy, in his own theory, mattered chiefly where people had nothing more specific to go on, so that reading it as fixed character was contrary to the construct from the start. He suspected, too, that the boom said something about the moment: a feeling of powerlessness seemed to him to be spreading through Western society, and his instrument had become one of the ways of measuring it. In 1990, in a paper he called the case history of a variable, he turned to a different question, using his own construct as a case study in why psychology needed broad theories rather than free-standing measures. He died in Mansfield, Connecticut, in 2014, at ninety-seven. The dial outlived his warning about it.

What it did not measure was where the line falls. For that, the place to begin is with a man for whom almost nothing was up to him.

II

The Line

Epictetus was born around the year 50 in Hierapolis, a spa town in Phrygia, and his name says the first thing about him: Epiktētos means “acquired.” He was a slave. His owner was Epaphroditus, a former slave himself, who served Nero as a secretary. He was lame, though whether from birth, illness or a master’s cruelty the ancient sources disagree. He was allowed to study with the Stoic Musonius Rufus, was at some point freed, and when the emperor Domitian expelled the philosophers from Rome in the 90s he went to Nicopolis, on the western coast of Greece, and opened a school. He wrote nothing. A student, Arrian, took notes, and from them came the Discourses and a short handbook, the Enchiridion, which begins by dividing the world in two. Some things are up to us, and some are not. Up to us are our judgments, our impulses, our desires and aversions: in a word, our own doings. Not up to us are our bodies, our property, our reputations, our offices: whatever is not our own doing.

What is striking about the division is how little falls on the near side of it. Body, property, standing: nearly everything a modern questionnaire might ask about is placed, at the first line, outside. A man who had been owned did not need persuading that most of the world was not his. The Stoic sorting is an admission before it is a claim. And it is not a belief held once but an act repeated. In the Discourses Epictetus teaches his students to stop each impression at the door and question it before it is let in: “Wait for me a little, impression.” That is the line being drawn, one impression at a time. (Four centuries later Boethius, awaiting execution near Pavia, would write another such book of sorting in a cell.)

In 1962, by his own account, a thirty-eight-year-old naval pilot studying international relations at Stanford wandered into the second half of a philosophy course called The Problems of Good and Evil. The professor, Philip Rhinelander, had served in the Second World War. He offered the pilot an hour a week, alone, at his house on the campus, and at the last of those hours he took a book from the shelf and gave it to him, saying he thought he might find it interesting. It was the Enchiridion. The gesture was an old one. In the first book of the Meditations, Marcus Aurelius thanks his teacher Rusticus for introducing him to the discourses of Epictetus, out of Rusticus’s own collection.

James Stockdale went back to sea. For three years, on every carrier he served in, the Epictetus books were on the table beside his bed, and he gave them several hours a week. Looking back, he said he had been putting the stuff away for later without knowing what it was for.

On September 9, 1965, over North Vietnam, his A-4 Skyhawk was hit. It caught fire and its controls went; he ejected, and had perhaps thirty seconds before he came down in the street of a village. What he whispered on the way down has become one of the most quoted sentences of the modern Stoic revival: that he would be there five years at least, and that he was leaving the world of technology for the world of Epictetus. Twenty-eight years later, telling the story to an audience in London, he put the descent in the present tense, as a man about to learn “how negligible is my control over my station in life.” He was a prisoner for seven and a half years.

He had no book. What he had was what three years had put away: the core of the handbook and a store of remembered remarks. He spent four years in solitary confinement, and two in leg irons in a small high-security prison the Americans called Alcatraz, beside the North Vietnamese Ministry of Defence. He was tortured. Every day, marched at gunpoint to interrogation, he whispered to himself: “control fear, control guilt.” His gloss on Epictetus, years afterwards, was that no one can be made the victim of another, only of himself. In 1969 he was caught with a note that gave his interrogators leads, and torture, he knew, could turn leads into names. The night before the interrogation he tried to end his life, and was found and saved. His reason, in his own account, was the men those names belonged to. The line had not made him invulnerable.

As the senior naval officer among the prisoners, he led their resistance, and he did it without ever, he said, tapping a word about Stoicism through the walls. Some of the men, he said, could read it in what he did. Whether any of them took it up he does not say; what he describes is a habit that could be seen.

Among the best-documented cases we have of the internal disposition, then, is a man who began from a near-total admission of external control. A questionnaire handed to him on the parachute might well have scored him external, and not by accident: the dial and the line measure different things. Rotter’s items ask about outcomes in the world, jobs and grades and governments, and the Stoic concedes nearly all of those at the outset. What Stockdale had instead was a line, drawn long before the parachute, that told him where to stand. And the obvious objection, that the line was handed to him, turns out on inspection to be the point. Rhinelander gave him an hour a week and a book at the end of it. He did not give him the line. The line was kept for three years, on a bedside table and in hours of reading, before the canopy tested it; the habit was laid down before it had a use. The order is the order of everything that follows: first the admission; then the finding: the discovery, made only by acting, that an act of one’s own has changed something; then, as it turns out, the telling.

None of this is evidence of the kind the column offers. No one has scored the Stoic distinction on a questionnaire and followed a cohort to see whether it predicts better than Rotter’s dial. Stockdale is a sample of one, and he is the kind of sample that survives to write the book; the men who did not come home cannot be asked what they sorted. What he offers is testimony, and testimony from the far end of human experience, where no ethics committee would let a researcher follow.

That the dial and the line measure different things raises a question the column does not ask. The internals in the studies it draws on search harder for work, save more and start more companies, and they do it while holding a belief about the world much of which the Stoic would call false. Perhaps a slightly inflated sense of one’s own control is simply more useful than an accurate map of it; the evidence cannot rule that out. What can be said is that the two fail differently. A belief that the world is yours is exposed to every refusal the world makes. A line drawn where it actually runs has less to lose.

Stockdale ended the London lecture, given in the Great Hall of King’s College in November 1993, not with Epictetus but with a scrap of paper towel. A fellow prisoner, Dave Hatcher, had left it for him in a drop under a sink, unsigned, and on it was the last stanza of Henley’s “Invictus,” the Victorian poem whose speaker declares himself the master of his fate and the captain of his soul. Stockdale let it close the lecture without comment. It was a comrade’s tribute and the speaker’s own choice of last word, and it is not quite the handbook. Its earlier stanzas concede what chance can do to a man, which a Stoic would recognise; its last claims the whole of his fate for him, which a Stoic would not. The dial and the line are both in it, in one man’s closing words, and he left them there.

III

The Plant

The two floors at Arden House were the work of Ellen Langer and Judith Rodin, and their paper on what happened there has been widely cited ever since. It is a smaller study than its reputation. Each condition was a whole floor, not a set of people assigned at random. Ninety-one residents were enrolled, but the self-reports on which the happiness finding rests come from forty-five of them. And the plant arrived inside a package, a speech and a choice of nights and the general air of being consulted, from which it cannot be separated. The result for which the study is most often remembered, that eighteen months later fewer of the residents who had been asked had died, rested on a statistic that a correction, printed in 1978, reduced to marginal significance. The study has been cited many hundreds of times. The correction has been cited a handful.

What survives is small and specific. People who were asked, and who chose, were brighter three weeks on than people who were told, and given. Being consulted about a plant and a film did something that being cared for did not.

About a decade earlier, in a laboratory at the University of Pennsylvania, two young researchers, Martin Seligman and Steven Maier, had run an experiment whose design, in outline, the Arden House floors repeat. They put dogs in hammocks in three groups. Dogs in the first received electric shocks that they could end by pressing a panel with their noses. Dogs in the second were yoked to the first: they received exactly the same shocks, at the same moments and for the same length of time, but nothing they did could stop them. Dogs in the third received no shocks at all. Later, all of them were put in a box where a low barrier stood between them and safety, and the shocks could be escaped by jumping it. The dogs from the first and third groups learned to jump. Most of the yoked dogs lay down and took it.

Seligman and Maier called what they had seen learned helplessness, and for half a century it was taught as one of the field’s great findings. The animals, the theory went, had learned that nothing they did mattered, and the lesson had spread from the hammock to the box. It became a model of depression, a staple of introductory textbooks, and a phrase in ordinary speech.

In 2016, nearly fifty years on, Maier and Seligman published a review of what the intervening work on the brain had shown, and said, with a candour rare in any science, that they had had it backwards. Passivity in the face of prolonged, uncontrollable pain is not learned. It is the default, produced automatically by a small structure in the brainstem called the dorsal raphe nucleus. What is learned is control. When an animal’s action ends the shock, a region of the medial prefrontal cortex detects that it was the action that ended it, and switches the default off. The dogs with the panel had not been spared helplessness. They had learned the one thing that overrides it. The work behind the reversal is in rats, mapped with methods no one would use on a person, and how far the circuit carries to people is not yet known.

With that caution, the reversal still turns the column’s question round. If helplessness were learned, it might be unlearned by instruction: by being told, as the column’s readers are told, that agency is the thing to have. If what is learned is control, and it is learned by being detected, then telling alone may not install it. Arden House began with a speech, but the speech came with something to choose. Agency, on this account, is a finding a nervous system makes when there is something to press. An internal locus of control may not be something a child can be given. What you can give her is a plant.

The finding does not stay a finding. In Maier’s laboratory, rats that had once been able to end a shock were protected, a week later, against shocks they could not end; the protection depended on the same stretch of prefrontal cortex that does the detecting, and the laboratory calls it “behavioral immunization.” Detection, repeated, leaves something behind. Epictetus, in the chapter where he tells impressions to wait, had an image for it: the passions we give way to leave traces behind them, like weals from a blow, and what is repeated is strengthened. A trace kept becomes a habit, and a habit may be what Rotter’s dial was measuring the strength of: a disposition laid down by acts, not a type of person.

Philosophers of habit since Aristotle have noticed that the account is circular. The act lays down the habit, and the habit produces the act. Habit is at once the source of what we do and its result, as the philosopher Clare Carlisle has argued. As a source it cannot be handed to anyone. As a result it can be arranged for, and there are two ways of arranging it. One is scaffold: someone sets out the conditions in which a first act becomes possible, a panel within reach of a nose, a plant and a choice, and leaves the act itself to the one who makes it. The other is precedent: the act is seen done by someone else, as Stockdale’s men could see it in him. In 1838 Félix Ravaisson stated a law of habit in two halves, that repetition dulls what we undergo and strengthens what we do. Nearly two centuries before the 2016 review, it reads like a description of passivity as the default and control as the thing that is learned.

None of this would have surprised Rotter, whose whole theory was that expectancy is learned from experience. What he did not have was the 2016 finding, which says what the learning is: the detection of control, not the absence of it. Nor did he have the Stoic line, which says what the disposition is aimed at and not merely how strong it is. Those two things are what has been added to his dial since.

There is a limit here, and it should be stated plainly. The choosing floor was offered a choice, and a choice is still made by the one who makes it. Stockdale walked into the philosophy seminar of his own accord. What has been arranged can be refused, and the arrangement may work mainly for people who step onto it. What makes a person step is a question the record does not answer.

IV

The Coin

In January 2013 the economist Steven Levitt launched a website for people who could not make up their minds. Should I quit my job? Should I end it with him? Should I go back to school, or move, or propose? Visitors who were stuck described their dilemma, and the site flipped a virtual coin for them: heads, make the change; tails, leave things as they are. Two months later, and again at six, Levitt asked what they had done and how they felt, and where they agreed to it he asked a friend as well.

The coin worked. On the decisions that mattered, people who got heads were about eleven percentage points more likely to have made the change, and by six months those it had pushed into changing were happier for it; on minor decisions there was no effect on happiness, and at two months none that could be measured with confidence. Levitt hedges the result himself. His volunteers were young, mostly male, highly educated and self-selected. Those who obeyed the coin were likelier to answer his surveys, which may account for between 20 and 30 per cent of the effect. The status quo kept its pull: only half of those told to change had changed by two months, against three-quarters of those told to stay who stayed. The coin moved only decisions made in those first two months, and he calls his estimate an upper bound.

Why should a coin help anyone do anything? Levitt offers one possibility, carefully hedged. We regret most the outcomes we feel we chose. A person stuck at the edge of a decision has claimed, in advance, the whole of its consequences, and the weight of that claim holds her still. Handing the choice to a coin gives some of it back to the world, and some of the regret with it. That is the coin’s answer to the column’s question: to cede something to the world is sometimes the right placement of the line, and not a failure of agency.

An oil painting in candlelight: in a dark room a young man has just flicked a coin into the air. It gleams at the top of its arc above his open hand, between an armchair on the left and a door left ajar on the right, with his coat on a peg beside it.
Heads, make the change; tails, leave things as they are. Image made for this essay.

Max Weber found an older version of the same shape, and his is a thesis rather than a finding. In 1905 he argued that the Calvinists of early modern Europe, who believed their salvation decided before their birth and beyond the reach of anything they might do, became among the most relentless workers the world had seen: not in spite of the doctrine but because of it. A man who could do nothing to earn election, and could not know whether he had it, worked to produce the one sign he might be able to read. Historians have argued with Weber for more than a century. But the shape he described is the coin’s, a total concession followed by action, and the action a test run on oneself to find out what is up to one. The dogs’ panel was wired to the shock; the Calvinist’s labour was wired to nothing but his reading of himself, which may be why it never ended. Hamlet reaches the same place in a sentence, near the end, when he tells Horatio that there’s a divinity that shapes our ends, rough-hew them how we will. Later in the same scene he admits to Horatio a misgiving about the fencing match, declines to heed it, and says that the readiness is all.

The opposite error is commoner and duller. In 2008 Francis Flynn and Vanessa Lake asked people how many strangers they thought they would have to approach before one agreed to a small favour, to fill in a questionnaire or lend a phone for a call. People underestimated how readily they would be helped by as much as half. Strangers are not unusually kind; it is simply awkward to refuse a direct request to someone’s face. The people who misjudged it had ceded to the world something that was theirs, the asking, and never found out. Cate Hall and Sasha Chapin’s book of this year, You Can Just Do Things, builds on that finding.

The two ends of the column’s spectrum, then, are not opposites but errors of placement. The stuck chooser had claimed too much and was frozen by it; the reluctant asker had ceded too much and never tried. Both had drawn the line in the wrong place. Neither error shows up on a dial that asks only how much of the world you think is yours.

V

The Story

Shakespeare put both ends of Rotter’s line on one stage, and gave each to the person least able to bear it. In the second scene of King Lear, Edmund, the bastard son who is about to ruin his brother and betray his father, mocks the habit of blaming the heavens. “This is the excellent foppery of the world,” he says: that when our fortunes sicken, often from our own excess, we make the sun, the moon and the stars guilty of our disasters, as if we were villains by necessity. It is the internal creed, plainly stated, and it is given to the villain. Three acts later his father, blinded, speaks the external one: “As flies to wanton boys are we to the gods; / They kill us for their sport.” The play endorses neither. It shows what each belief does in the hands of the man who holds it, which a play can do and a questionnaire cannot.

The same divergence turns up wherever something arrives that nobody chose. Feng Xu and colleagues, surveying 324 research and development staff in nine manufacturing firms in Shenzhen, reported this year that employees with an internal locus of control tended to see their company’s adoption of artificial intelligence as a challenge, and shared what they learned about it; those with an external locus tended to see it as a hindrance, and hid what they knew. It is a survey of what people reported, not of what they did. But the machines were the same machines, and the line fell in different places.

And the line, it seems, can be moved in the telling. Jonathan Adler, a psychologist at Olin College who also writes plays, asked forty-seven adults beginning psychotherapy to write about their lives before their first session and then after each session that followed, twelve accounts in all. Nearly six hundred stories were coded for two qualities: agency, the sense of oneself as the one acting, and coherence, the sense of a life that hangs together. Coherence barely moved. Agency rose, and the writers’ mental health rose with it, and the change in the stories came first, by a week or two. Adler’s phrase for what he saw was that people told a new story and then “lived their way into it.” It is one study, of forty-seven people in therapy. But it has the same shape again, in a third medium: something found, and then something kept, this time in prose. That is the third step, after the admission and the finding: the telling.

Adler is careful about what the order proves. A story that changes a week or two before well-being does is, he says, about as close as research on identity can come to suggesting a cause, since no one would assign people the stories they live by at random. But he draws from the work a distinction that would have been at home in Nicopolis. We have no unrestricted say over what happens to us, he says; we have much more over the stories we tell about it. And he points to where the telling starts. Children learn to tell their own lives by telling them to someone, and the adults who listen shape what is told: which events belong in the story, and how a story is allowed to end. Adler’s word for what those adults do is scaffolding.

What, then, should a parent wish for a child? Not the quality the column names, because it is not a quality, and not the belief that the world is hers, because it is not, and she will find that out. What is worth wishing for is a habit: of drawing the line where it actually runs, and of acting on her side of it as though the other side did not exist. It has a name much older than Rotter’s, and the name is a chain. Aristotle begins the second book of the Ethics by observing that moral excellence comes about through habit, and that its very name, ēthikē, is a slight variation on ethos, the Greek for habit. In the Poetics he says that character is what reveals prohairesis, choice: the deciding between what to seek and what to avoid. And Epictetus, who taught that every faculty is kept and strengthened by its own acts, “the faculty of walking by walking, that of running by running,” took prohairesis and widened it until it meant the faculty of choosing itself, the one thing in the world that is up to us. Habit makes character; character shows in choice; and a man whose name meant “acquired” took the word for what a character shows on a stage and made it the name for the only thing he owned.

A story is a schedule of the acts a character can take. So is a life, on the right side of the line. Nobody can hand that over. What can be handed over is smaller and older: an hour a week, a book at the end of it, a plant to choose and look after, someone to listen when the story is told, and a question asked once. Which one would you like?

⁂

Sources: Bartleby, “The quality you should most wish for your children,” The Economist, August 27, 2026, from which the savings and entrepreneurship findings are taken. Julian B. Rotter, “Generalized expectancies for internal versus external control of reinforcement,” Psychological Monographs 80 (1966); “Some problems and misconceptions related to the construct of internal versus external control of reinforcement,” Journal of Consulting and Clinical Psychology 43 (1975); “Internal versus external control of reinforcement: a case history of a variable,” American Psychologist 45 (1990); his life from Encyclopedia.com and other biographical accounts. Marco Caliendo, Deborah Cobb-Clark and Arne Uhlendorff, “Locus of control and job search strategies,” Review of Economics and Statistics 97 (2015). Warn N. Lekfuangfu, Nattavudh Powdthavee, Nele Warrinnier and Francesca Cornaglia, “Locus of control and its intergenerational implications for early childhood skill formation,” Economic Journal 128 (2018). Jean M. Twenge, Liqing Zhang and Charles Im, “It’s beyond my control,” Personality and Social Psychology Review 8 (2004). Epictetus, Discourses II.18, in P. E. Matheson’s translation (1916); the opening of the Enchiridion is rendered for this essay. James B. Stockdale, Courage Under Fire: Testing Epictetus’s Doctrines in a Laboratory of Human Behavior (Hoover Institution, 1993), the lecture given at King’s College London on November 15, 1993. Ellen J. Langer and Judith Rodin, “The effects of choice and enhanced personal responsibility for the aged,” Journal of Personality and Social Psychology 34 (1976), and the 1977 follow-up with its 1978 correction; James Coyne’s re-examination of the study. Steven F. Maier and Martin E. P. Seligman, “Learned helplessness at fifty,” Psychological Review 123 (2016); John P. Christianson and colleagues, “Learned stressor resistance requires extracellular signal-regulated kinase in the prefrontal cortex,” Frontiers in Behavioral Neuroscience 8 (2014). Félix Ravaisson, Of Habit (1838); Clare Carlisle, On Habit (2014). Steven D. Levitt, “Heads or tails,” Review of Economic Studies 88 (2021), the published version, from which the figures are taken (working paper). Max Weber, The Protestant Ethic and the Spirit of Capitalism (1905). Francis J. Flynn and Vanessa K. B. Lake, “If you need help, just ask,” Journal of Personality and Social Psychology 95 (2008). Cate Hall and Sasha Chapin, You Can Just Do Things (2026). Feng Xu and colleagues, “Linking organizational AI adoption to employee knowledge behaviours,” Humanities and Social Sciences Communications 13 (2026). Jonathan M. Adler, “Living into the story,” Journal of Personality and Social Psychology 102 (2012); his phrase as quoted by WBUR, January 13, 2012; and his conversation with the Business Group on Health. Aristotle, Nicomachean Ethics II.1, in W. D. Ross’s translation, and Poetics 1450b. Shakespeare, King Lear and Hamlet. W. E. Henley, “Invictus” (1888), paraphrased.

Drafted with Claude Opus 5.5; literary and copy editing by Claude Sonnet 5.5; outside literary reading by Claude Fable 5.1. The header and interior images were generated with Gemini Argon for this essay.

THE WIT OF MOUNT STREET: “CROSSED LETTERS” (Ch. 3)

Click any page to read it larger.

THE INTELLICUREAN.
Vol. I.DECEMBER, 1819.No. III.

THE WIT OF MOUNT STREET;

or,

HER HEART IN NUMBERS.

(Continued from page 28.)


CHAPTER III.

Crossed Letters.

Mr. Rad­cliffe read his own maga–zine on the first of every monthat seven o’clock in the morn­ing, fromthe wrap­per to the last ad­vert­ise­ment,be­fore any­body in Lon­don could tellhim what was in it.

He did not read it in proof. In proofa maga­zine was a mat­ter of sheets ander­rors, and he left it to Hol­lis, the over–seer, who was paid to read for theprinter and read noth­ing else; but onthe first, with the ink scarcely dry andAlbe­marle Street not yet awake, heread it as the town would read it, inhis chair, with his tea going cold at hiselbow, and he had found since he wasa boy in Edin­burgh that it was the onlyway to know what he had pub­lished.

He read the very tem­per­ate art–icle in sup­port of the ma­gis­trates, andfound it as tem­per­ate as he had paidfor. He read Mr. Wray’s second paperon the Cock­ney School, and found itbet­ter than the first, and noted the twoplaces in it where a para­graph stopped

short. Mr. Wray’s para­graphs did notstop short. He knew whose pen­cil hadstopped them. He did not think theworse of the paper for it, and he did notthink it his busi­ness to say so. Then heread the Warden, be­cause it was in thenum­ber, and be­cause Lord Ash­combewould write.

The el­ev­enth num­ber opened at afeast:

Upon the feast of Saint Michael, inthe year of grace four­teen hun­dred andthree, the Warden of the March kept histable in the hall at Lud­low as his of­ficere­quired of him, with his knights abovethe salt and his es­quires below it, andthe host­ages of the Welsh, who were ofgentle blood and must be fed as such, at aboard by them­selves be­neath the screen.

Between the King’s let­ter and thefeast the Warden had let the Battleof Shrews­bury go by, the one battleof the reign that the town knew fromthe play­house, and not a blow of iton the page. Mr. Rad­cliffe, who had

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asked on the first of Sep­tem­ber for alittle more in­cid­ent, noted this as henoted everything that would not sell,and read on. There was a girl at thatboard, of whom he had not heard be–fore, and the num­ber had hardly begunbe­fore it gave her a sen­tence to her­self:

The Lady Gwen­llian un­der­stood, be–tween the grace and the first dish, thatshe would not be called up to the hightable; and she sat out the rest of the feastin the gown that had been made for it,be­cause to send for an­other would havebeen to own that she had hoped.

Mr. Rad­cliffe stopped.

He had not a lit­er­ary memory. Hehad a com­mer­cial one. It kept whatthe town re­peated, and the town hadbeen re­peat­ing Miss Mor­timer’s gownsince August; so be­fore he had well fin–ished the sen­tence he knew that he hadread it be­fore, or its sis­ter, and notin the Albe­marle. He got up and wentto the press be­hind the door, wherehe kept every num­ber of every maga–zine in Lon­don that he had read atseven o’clock on the first of the month.He took out the Lud­gate for August,turned to the fourth num­ber of theMor­timers, and found it near the end:Miss Mor­timer un­der­stood, be­tween thesoup and the fish, that she would not beasked to Lady Harrow­gate’s.

He laid the two maga­zines side byside upon the table, the buff wrap­perand the blue, and read the two sen–

tences twice over, slowly, as he reada bal­ance-sheet. Every fig­ure had beencar­ried across but one.

He did not sup­pose for a mo­mentthat the Author of the Mor­timerswrote the Warden. He knew whowrote the Warden. He was one of twomen in Lon­don who did, and the otherhad writ­ten it. The first num­ber hadbeen laid on this table el­even monthsago by its au­thor, in a hand that Mr.Rad­cliffe had last seen at the foot of adeed of part­ner­ship; and he had keptthe know­ledge ever since as he keptthe deed, in a place where nobody elsewould come upon it. What he had notknown until this minute was that theau­thor of the Warden read the Mor–timers; and read them, it ap­peared,with the at­ten­tion a man gives to athing he means to take. And he re–membered, be­cause it was the kind ofthing he did re­mem­ber, that on the firstof Sep­tem­ber he had read the Lud­gatefrom cover to cover at seven o’clock,and that be­fore noon his prin­cipal pro–pri­etor had picked it up off this tableand car­ried it away under his arm, andthat he had sat af­ter­wards won­der­ingwhat the devil a man of ten thou­sand ayear wanted with a rival’s maga­zine.

He knew now. It was not a thingthat would in­terest the town, whichdid not read the Warden and wouldnot have known the sen­tence if it had.It would in­terest Albe­marle Street a

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great deal, and Pater­noster Row agreat deal more; and it was worth,as far as Mr. Rad­cliffe could see, ex–actly as much as he did not say aboutit. That the Mor­timers had robbedthe Warden first, in Sep­tem­ber, didnot occur to him at all. He had readthe para­graph in his own maga­zine inAugust, and again in Bal­dock’s in Sep–tem­ber, and had not known it for thesame; for he kept only what the townre­peated, and the town had never re–peated the Warden. The one man whoever had was Lord Ash­combe, who hadnot read it. He put the August Lud–gate back in the press. Then he tookthe Oc­to­ber num­ber off the heap ofother people’s maga­zines, which hadbeen brought up from the shop at halfpast six, and laid it by it­self on thecorner of the table nearest the door.

Mr. Lu­cius Wray called for his cop–ies at nine.

He was four-and-twenty, and hand–some in a way that he had not yetbeen made to pay for. He had been sentdown from Christ Church for a reasonthat im­proved with every telling, andhad quar­relled upon the strength of itwith his father, who was a dean; andhe had come up to Lon­don to makehis name by his pen, and wrote ina cof­fee-house in Co­vent Garden, anddined on credit, and had never set footin a count­ing-house in his life. Therewere per­haps three men in Lon­don

who could do with a para­graph whathe could do with one; he knew thenames of all three, and spoke to noneof them.

“I have been cut,” he said, be­fore hehad sat down.

“I saw.”

“You saw. Hol­lis saw. The com­pos–itor saw, I dare say, and laughed; theyal­ways know.” He took up a copy of thenum­ber and turned to his own paper,which he had read four times already.“Two things. The two best things inthe paper, and I do not say so lightly,be­cause there are a good many goodthings in it. The cook, and the lady ofthe Acad­emy. I said that the Authormust keep a cook in Cheap­side, sincehe knows to a shil­ling what the tur­botcost and has not the least no­tion whois asked to eat it. And I said that theAcad­emy ad­mit­ted flower-paint­ing asit had ad­mit­ted Miss Moser, out of po–lite­ness, and had been re­lieved of bothin May. It was the best sen­tence I havewrit­ten this year.”

“It was a cruel one,” said Mr. Rad–cliffe. “She is not five months dead.”

“All the best sen­tences are cruel. Itis how one knows them.” Mr. Wrayturned a page. “But he left me therail­ings. I sup­pose be­cause they weretrue; it is the only thing he ever asksof a sen­tence. And be­cause they werehis: he gave them me at your table inAugust, over the port. One would think

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he had been to Gros­venor Square.”

“He lives there.”

“I know where he lives,” said Mr.Wray. “I have been let in.”

Mr. Kin­ross came in at half pastnine, with­out being an­nounced.

Mr. Wray rose, and bowed, an inchlower than a man bows who means it.“I have been thank­ing Mr. Rad­cliffe foryour cor­rec­tions, sir.”

“They were not cor­rec­tions,” saidMr. Kin­ross. “You had two thingswrong.”

“Which two?”

“Miss Moser was a bet­ter painterthan you are a writer. And the Authorhas never kept a cook.”

Mr. Wray laughed. He had a goodlaugh, and he used it as other men usea sword-cane. “You know the Author,then?”

“No. I know how a man writes whohas.”

“And the rail­ings?”

“The rail­ings were right.”

“I know,” said Mr. Wray. “You saidso at the time.”

Mr. Rad­cliffe, who had been look­ingat the win­dow, said: “The Lud­gate ison the corner of the table, sir, if youwant it.”

Mr. Kin­ross looked at the Lud­gate,lying by it­self on the corner nearestthe door, where nobody had ever puta maga­zine be­fore; and then he lookedat Mr. Rad­cliffe, who met his eye with

the ex­pres­sion of a phys­i­cian who hasjust said that a pa­tient is com­fort­able.There was a short pause. Mr. Wray,who was read­ing him­self, did not lookup.

“Thank you,” said Mr. Kin­ross, andtook it.

It was the first thing, in all the yearsof their part­ner­ship, that Mr. Rad­cliffehad known about his prin­cipal pro­pri–etor which his prin­cipal pro­pri­etor hadnot told him; and when the door hadclosed he put it away, as he put awayeverything, in the place where he keptthe things that would be worth morelater.

Mr. Kin­ross walked to the Temple,where he kept the cham­bers that hehad never needed for the law and hadal­ways needed for this. He had walkedthere every day for a month, and Fen–wick had given up ask­ing whether hewould take the car­riage, and had begunin­stead, he ob­served with­out re­mark,to have his boots brushed twice.

At the desk he read Mr. Wray first.He had read him already, in proof, witha pen­cil; but he wished to know what itwas like to read him as the town wouldread him this morn­ing, with noth­ing inhis hand.

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There is a kind of paint­ing whichstands at the bot­tom of the art, and is notthe worse for stand­ing there: the paint–ing of flowers. It asks for a quick eye, asteady hand, and a per­fect in­dif­fer­enceto what the flowers are for. The Mor–timers of Mount Street is flower-paint–ing in prose. The petals are coun­ted, andthe dew is put in af­ter­wards; the col­oursare true, and the ar­range­ment pleases;and like all flower-paint­ing it is the workof some­body to whom the flowers werebrought, and who has never been in thegarden. The Author has car­ried his fam–ily to Gros­venor Square and set the rail–ings at the kerb; he gives them their din–ner at six. Nobody who had once beenasked to dine in Gros­venor Square woulddo either. One learns where the rail­ingsstand by being let in; and it is the pe–cu­liar dis­tinc­tion of the Cock­ney Schoolthat it de­scribes the draw­ing-room fromthe wrong side of the rail­ings.

It was very good. That was theworst of it.

The rail­ings were his own. He hadwrit­ten them first in the mar­gin of theAugust Lud­gate, with the brev­ity ofa man who had never had to ex­plainhim­self; and a week later, at Mr. Rad–cliffe’s table, when Mr. Wray askedhim over the port what he made ofthe Mor­timers, he had told him, rail–ings and din­ner-hour to­gether, as hetold any­body any­thing that was true,with­out look­ing to see who was listen–ing. He had thought no more of it untilthe proof came to him in the middle of

Sep­tem­ber, and he found his two cor–rec­tions in it, grown to a para­graph.He had struck out Miss Moser, be­causeshe was dead and could not an­swer,and the cook, be­cause it was not true;and he had let the rail­ings stand. Hehad known when he let them stand thatthey would be read on the first of Oc­to–ber by a young man with sis­ters; thatthey would be read on the same morn–ing, very likely in the same hour, as theWarden’s an­swer to him; and he hadlet them stand, be­cause they were true,and be­cause the al­tern­at­ive was to bea man who struck out what was truewhen it was in­con­veni­ent to him, andhe had no in­ten­tion, at two-and-thirty,of be­gin­ning. He found now, read­ingthem with the town, that he did not likehim­self for it, and that he would do itagain. It is the con­di­tion which in othermen is called prin­ciple, and which hisaunt called a great pity.

Then he opened the Lud­gate.

This month’s num­ber was about Mr.Mor­timer. The Author had kept theprom­ise of the last, which he did notal­ways do, and had told the readerwhy Thomas gave no­tice. Mr. Mor–timer, hav­ing learned from some­bodyat his club that in the great housesevery foot­man is called James, hadcalled Thomas James for a month;and Thomas, who had been Thomasin Man­chester for el­even years, hadborne it for a month and gone, with

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his box cor­ded and one sen­tence at thedoor: I was Thomas in Man­chester, sir,and I find I can­not be James for thirtypounds. Mr. Mor­timer could not see it.Mrs. Mor­timer could not see it. Thebut­ler, who could, was not asked. Mr.Kin­ross, who had lately begun to keepan hour on the first of the month for theMor­timers, found that he was read­ingwar­ily, and with reason. At the end ofthe num­ber the Author left Mr. Mor–timer alone in his din­ing-room with thede­canter and the know­ledge, and gavehim this:

Mr. Mor­timer had kept the peace of hishouse in Mount Street for nine months,at a charge, by the house­keeper’s book,of el­even hun­dred pounds; and he learnedin the keep­ing, though the book did nottell him so, that it was a thing more eas–ily broken by the keeper than by the kept,and not to be men­ded, at any chargewhatever, by the man who had broken it.

He did not need to take down theWarden’s an­swer to the King. He hadwrit­ten that sen­tence el­even times.

It was his again, as the foot­man hadbeen his, and again it had been car­riedinto a house where some­body knewwhat things cost, and had the price putinto it: the nine years of the Marchwere nine months of Mount Street, andthe peace of a king­dom had be­come ahouse­keeper’s book with el­even hun–dred pounds at the foot of the page.But the last clause was not his. He had

not thought of it. It had not once oc–curred to him, in the Marches or out ofthem, that a thing broken by its keepermight be past the keeper’s mend­ing;and he sat with the Lud­gate in his handand the Albe­marle open be­side it at Mr.Wray’s rail­ings, and con­sidered thathe had that morn­ing, at his own leaveand in his own maga­zine, broken some–thing that he did not see how he was tomend.

The young man had read theWarden’s an­swer to the King, then.In the first days of Sep­tem­ber, whilethe Warden was an­swer­ing him withthe Lady Gwen­llian, he had been help–ing him­self again, and sent this to thepress by the tenth of the month, be–fore he could have the least no­tion thatthe Warden had answered him at all.Each of them had answered a let­terthe other had not yet re­ceived. Thepost in this cor­res­pond­ence went oncea month, on the first; and this morn–ing it had car­ried both an­swers at once,and had car­ried with them, in the Albe–marle, by the pro­pri­etor’s leave, Lu­ciusWray. Mr. Kin­ross had sent his firstlet­ter, that is to say, in the same postas a horse­whip; and he had packed thehorse­whip him­self.

It oc­curred to him, sit­ting there,that he did not know what his ownfoot­men were called. He had neverasked. Fen­wick would know; and forthe first time in his life Mr. Kin­ross was

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not per­fectly cer­tain that the namesFen­wick knew them by were their own.

He took up his pen­cil. Against thelast clause of Mr. Mor­timer’s sen­tence,which was the only part of it that wasnot his, he wrote one word in the mar–gin, as he had writ­ten one word inAugust; and the word, this time, wastrue.

Clem­ency went up to the Row atnoon, as she did on the first of everymonth, to look at her own num­ber inBal­dock’s win­dow with­out buy­ing it.

It was there, in its blue-grey wrap–per, be­tween a volume of ser­mons anda treat­ise upon the dry rot, with thecon­tents prin­ted down the front of itin the small, plain, Whig type that Mr.Bal­dock bought by the hun­dred­weight:The Mor­timers of Mount Street. No.VI. She looked at it for the properlength of time, which was the length oftime a stranger might give it, and wasturn­ing away when the win­dow of theof­fice above went up with a bang, andMr. Bal­dock put his head out and calledher in. He had never done it be­fore.She went up the stairs with the feel­ing,fa­mil­iar to any­one who has ever beensent for, of hav­ing already been foundout in some­thing.

The Oc­to­ber Albe­marle lay open onhis desk. He did not offer it to her. Heput his hand flat upon it, as she hadonce put hers flat upon his counter, and

said: “Mr. Wray has done you the hon–our.”

“Is it very bad?”

“It is clever,” said Mr. Bal­dock, whowas an hon­est man. “He has read you.I told you they would.” He looked ather over his spec­tacles, which he worefor read­ing other men’s maga­zines andfor noth­ing else. “He will sell threehun­dred Lud­gates for me be­fore Sat–urday. They al­ways do. I thought youhad bet­ter hear it from me than fromthe Row.”

“May I see it?”

“You may take it home. I have an–other.” He did not take his hand offit. “I should read it at home, with thedoor shut. It is not a thing to read in ashop.”

“Then I will read it at home,” saidClem­ency, and did not take it, be­causeshe found that she did not want tocarry it through the streets; and Mr.Bal­dock, who un­der­stood her, put itaway in his drawer with the Man–chester page and the August ac­counts,and changed the sub­ject, which wasthe kind­est thing he did all day.

The sub­ject he changed it to wasnot a com­fort­able one. They were totry Car­lile at Guild­hall this month, hesaid, for print­ing Paine; it was all overthe Row; and the At­tor­ney-Gen­eral,hav­ing begun with Car­lile, was notthought likely to stop there. Mr. Bal–dock had prin­ted the names of the dead

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from St. Peter’s Field in Sep­tem­ber,with their ages and their trades, in asmal­ler type than the rest of the num–ber be­cause there had not been roomfor them in any other. He did not saythat they would come for the Lud­gate.He said that he had read his lease againon Tues­day night, which he had notdone in two years, and that he hadfound it a very in­struct­ive doc­u­ment.

Clem­ency, who had paid thequarter’s rent in Salis­bury Square onWed­nes­day, Michael­mas Day, with thewhole of Sep­tem­ber’s seven guineasand the bet­ter part of August’s, con–sidered this for a mo­ment in the light ofher own lease, which ran from quarter-day to quarter-day and con­tained noin­struc­tion at all.

“Then I had bet­ter write the sev­enthnum­ber quickly,” she said, “while thereis a Lud­gate to print it.”

Mr. Bal­dock laughed, which waswhat she had meant him to do. “Bringit by the tenth. If there is a Lud­gateon the first of No­vem­ber you shall bein it; and if there is not, you shall bepaid for it all the same.” He meantit. She knew, and she thought that heknew, that it was not a thing a mancould prom­ise who had read his leaseon Tues­day night; and they par­ted onit, as people do part on a kind­ness thatneither of them can af­ford.

She went home by Lud­gate Hill.There was a crowd at a print-shop

win­dow halfway down, as there hadbeen all Sep­tem­ber, five deep on thepave­ment, look­ing at the yeo­manry rid–ing down the people at Man­chester inred and black: col­oured by hand, at somuch the dozen, by some­body’s daugh–ter in a back room, with rather morered than was strictly needed. She wentby on the far side of the street, and didnot look, and saw it all the same, andthought, as she turned down into Salis–bury Court, that she knew ex­actly howmuch red was needed, and that it wasnone of it hers to put in.

The Albe­marle came to Salis­burySquare on the first of Oc­to­ber, on theday it was pub­lished, which it hadnever done be­fore.

Mr. Pel­ham had read one art­icle init in Hare Court be­fore his din­ner, andhad laughed at it twice, and had sentit home with Kit at six o’clock, withhis com­pli­ments to Mrs. Lyd­iard andthe young ladies and his opin­ion thatthey would find it cap­ital. Kit broughtit up the two pair of stairs to­getherwith a bar­rel of oysters, which he hadbought out of Michael­mas; his fortypounds had been paid on Wed­nes­day,and was, for the present, en­tire. It wasa Fri­day, and there was fish, be­cause inMrs. Lyd­iard’s house there was al­waysfish on a Fri­day; and the oysters, whichMrs. Lyd­iard said were very ex­tra­vag–ant and ate el­even of, made a feast of

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it.

Kit read aloud. He read well, andknew it, and liked an audi­ence thatcould not get up and go; and hepropped the Albe­marle against thewater-jug and gave them Mr. Wray’ssecond paper on the Cock­ney Schoolfrom the be­gin­ning, with the ex­pres–sion. Nobody at the table knew whatClem­ency wrote for the Lud­gate, bey–ond that it was a little, and was paidfor, and was not the kind of thing thatany­body in Salis­bury Square had everasked to see.

Clem­ency knew what it was fromthe first sen­tence, be­cause Mr. Bal–dock had told her, and from the second,be­cause it named the Mor­timers. Shewent on eat­ing her fish.

“The Mor­timers!” said Lucy. “Oh,but I like the Mor­timers. Miss Harkerlends them to me. I think them ex­cess–ively di­vert­ing.”

“Then you have no taste, and Mr.Wray will tell you so.” Kit found hisplace. “There is a kind of paint­ingwhich stands at the bot­tom of the art⁠—”

He gave them the flower-paint­ing,and the petals coun­ted, and the dewput in af­ter­wards; and Clem­ency, whohad a port­fo­lio under her bed thatnobody in the room had ever lookedinto, found that her hand was steadyand that she could not taste the cod.

Mrs. Lyd­iard, who had been mend–ing a cuff of Kit’s with the air of

a woman who does not listen to themaga­zines, said with­out look­ing up:“Miss Moser painted flowers.”

“Who?”

“Miss Moser. She was of the RoyalAcad­emy.” Mrs. Lyd­iard drew herthread through. “The Queen had herto paint a whole room at Frog­more.Flowers from the floor to the ceil­ing.Nobody thought that the bot­tom ofany­thing.”

“Did you know her, Mama?” saidLucy.

“Every­body knew of her.” Therewas a short pause. “She died in May.”

It was the first time that Clem­encyhad ever heard her mother name apainter. She looked across the table,and Mrs. Lyd­iard said, “Go on, Kit,”in the voice in which she ordered thefish; and Kit went on. But the needlehad stopped in the cuff, and it did notbegin again, Clem­ency no­ticed, for therest of the paper.

Then Kit came to the rail­ings.

He gave it the voice of a ver­dict, andlingered over the end of it: it de­scribesthe draw­ing-room from the wrong sideof the rail­ings.

“That’s a hit,” said Kit, de­lighted.“That’s a palp­able hit.”

“Is it true?” said Clem­ency.

“Of course it’s true. Pel­ham says so.Pel­ham dined in Gros­venor Square inthe year el­even and has talked of noth–ing else since.” He re­filled his glass.

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“The rail­ings go along the area, Clem,to keep you from fall­ing into the kit–chen. Any­body knows that.”

Any­body who had been let in knewit. She sat with her fork in her handand saw, with the sud­den plain­nesswith which one sees the mis­take in asum that has been added up wrong fora month, where she had got her rail–ings. In Bread Street there had beenposts along the kerb, to keep the cartsoff the pave­ment, and she had grownup be­hind them; and when she hadneeded a house in Gros­venor Squareshe had built it out of the only streetshe knew, and set the rail­ings wherethe posts were. She had never been inGros­venor Square. She had never beenin Mount Street. She had writ­ten sixnum­bers about a house in it, and soldthem, and been liked for them by alady in Rus­sell Square, and she hadnever once walked down it, be­causeone can­not walk down Mount Streetwith a par­cel, and she had never hadany reason to be there with­out one.

“Have you any­thing in the Lud­gatethis month, Clem?” said Kit, turn­ingthe page.

“A little.”

“What about?”

“A foot­man.”

Kit laughed so much that he had toput the Albe­marle down. “Lord, Clem,you might write about some­thing,” hesaid; and Lucy laughed too, be­cause

Kit had, and their mother said thatshe did not see that a foot­man wasany laugh­ing mat­ter, she had known agreat many; and the sup­per went on.

Clem­ency sat it out. She sat out theoysters, and Mr. Wray’s per­or­a­tion,and the cheese, and Kit’s opin­ion of theCock­ney School, which was Mr. Pel–ham’s, be­cause to have got up and goneinto the back room would have been toown that any of it was hers.

They went to bed at el­even. Kit leftthe Albe­marle on the table among theoyster shells, as he left everything, andClem­ency waited until the house haddone creak­ing, and then took it, anda candle, through to the back room,where the desk was.

She read Mr. Wray again by her­self,from the be­gin­ning, which was worsethan hear­ing it. It was clever; Mr. Bal–dock was right. He had read her, andread her more care­fully than she hadsup­posed any­body in Albe­marle Streetread any­thing, and he had found theone thing in six num­bers that she couldnot have known, and had known thatshe could not have known it. She wouldgo and look at Mount Street. She didnot yet know how a woman walkeddown Mount Street with­out a par­cel,or what she would say to any­one whoasked her what she was doing there;but she would find out, as she found outmost things, by tak­ing more trouble

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about it than it de­served.

Then she turned the page past Mr.Wray, be­cause the Warden was inthe num­ber, and she read the Wardennow. She sat down to it. It was one ofthe things she did not do.

The el­ev­enth num­ber opened atLud­low at Michael­mas, which theWarden kept with a feast and Salis–bury Square had kept on Wed­nes­daywith the rent; and there was a girl atthe feast: a Welsh girl, a host­age, thefirst woman to whom the Warden hadgiven a sen­tence of her own in el­evennum­bers. Clem­ency did not know thesen­tence at once. She read it as onereads a let­ter in a strange hand, andshe was halfway through the secondclause be­fore the hand turned out to beher own.

The Lady Gwen­llian un­der­stood, be–tween the grace and the first dish, thatshe would not be called up to the hightable; and she sat out the rest of the feastin the gown that had been made for it,be­cause to send for an­other would havebeen to own that she had hoped.

She sat quite still.

It was Miss Mor­timer. It was MissMor­timer to the last stone, ex­ceptwhere it was not: the soup and thefish had gone back four hun­dred yearsand be­come a grace and a dish, LadyHarrow­gate’s had be­come a high table,and the gown had been made for thefeast in­stead of merely put on for it.

And at the end, where she had writ–ten that the girl would not go up andchange be­cause to change would be toadmit that she had known, some­bodyhad taken out the one word on whichthe whole sen­tence turned, and put inan­other; and the word was hoped.

It had been read, then. Not lookedinto, nor sub­scribed to, nor taken topieces over the oysters, but read: thefourth num­ber, in August, throughMrs. Mor­timer’s car­riage and the din–ner at six, to the one sen­tence in it shehad been proud of and had shown tonobody. And who­ever had read it hadknown that it was hers to be proud of,and had taken it, which was the onlyway of say­ing so that was open to him;and had sent it back to her on the firstof Oc­to­ber, as she had sent him hison the first of Sep­tem­ber, so that sheshould know that it had been no­ticed.She had been right in every par­tic­u­larbut the last. A man of that kind didread the Mor­timers. He had read them,it seemed, as she read the Warden.

Over the roofs the gi­ants of St. Dun–stan’s began to strike twelve, and thefirst of Oc­to­ber went out with them.

She had never been able to de­cidewhat the girl in her port­fo­lio wouldlook like at the mo­ment she un­der–stood. There was nobody in the roomto see her face.

(To be con­tin­ued.)

☜CLOSE ×PAGE 43 · 33–43
THE INTELLICUREAN.
Vol. I.DECEMBER, 1819.No. III.

THE WIT OF MOUNT STREET;

or,

HER HEART IN NUMBERS.

(Continued from page 28.)


CHAPTER III.

Crossed Letters.

Mr. Rad­cliffe read his own maga­zine on the first of every month at seven o’clock in the morn­ing, from the wrap­per to the last ad­vert­ise­ment, be­fore any­body in Lon­don could tell him what was in it.

He did not read it in proof. In proof a maga­zine was a mat­ter of sheets and er­rors, and he left it to Hol­lis, the over­seer, who was paid to read for the printer and read noth­ing else; but on the first, with the ink scarcely dry and Albe­marle Street not yet awake, he read it as the town would read it, in his chair, with his tea going cold at his elbow, and he had found since he was a boy in Edin­burgh that it was the only way to know what he had pub­lished.

He read the very tem­per­ate art­icle in sup­port of the ma­gis­trates, and found it as tem­per­ate as he had paid for. He read Mr. Wray’s second paper on the Cock­ney School, and found it bet­ter than the first, and noted the two places in it where a para­graph stopped short. Mr. Wray’s para­graphs did not stop short. He knew whose pen­cil had stopped them. He did not think the worse of the paper for it, and he did not think it his busi­ness to say so. Then he read the Warden, be­cause it was in the num­ber, and be­cause Lord Ash­combe would write.

The el­ev­enth num­ber opened at a feast:

Upon the feast of Saint Michael, in the year of grace four­teen hun­dred and three, the Warden of the March kept his table in the hall at Lud­low as his of­fice re­quired of him, with his knights above the salt and his es­quires below it, and the host­ages of the Welsh, who were of gentle blood and must be fed as such, at a board by them­selves be­neath the screen.

Between the King’s let­ter and the feast the Warden had let the Battle of Shrews­bury go by, the one battle of the reign that the town knew from the play­house, and not a blow of it on the page. Mr. Rad­cliffe, who had

asked on the first of Sep­tem­ber for a little more in­cid­ent, noted this as he noted everything that would not sell, and read on. There was a girl at that board, of whom he had not heard be­fore, and the num­ber had hardly begun be­fore it gave her a sen­tence to her­self:

The Lady Gwen­llian un­der­stood, be­tween the grace and the first dish, that she would not be called up to the high table; and she sat out the rest of the feast in the gown that had been made for it, be­cause to send for an­other would have been to own that she had hoped.

Mr. Rad­cliffe stopped.

He had not a lit­er­ary memory. He had a com­mer­cial one. It kept what the town re­peated, and the town had been re­peat­ing Miss Mor­timer’s gown since August; so be­fore he had well fin­ished the sen­tence he knew that he had read it be­fore, or its sis­ter, and not in the Albe­marle. He got up and went to the press be­hind the door, where he kept every num­ber of every maga­zine in Lon­don that he had read at seven o’clock on the first of the month. He took out the Lud­gate for August, turned to the fourth num­ber of the Mor­timers, and found it near the end: Miss Mor­timer un­der­stood, be­tween the soup and the fish, that she would not be asked to Lady Harrow­gate’s.

He laid the two maga­zines side by side upon the table, the buff wrap­per and the blue, and read the two sen­tences twice over, slowly, as he read a bal­ance-sheet. Every fig­ure had been car­ried across but one.

He did not sup­pose for a mo­ment that the Author of the Mor­timers wrote the Warden. He knew who wrote the Warden. He was one of two men in Lon­don who did, and the other had writ­ten it. The first num­ber had been laid on this table el­even months ago by its au­thor, in a hand that Mr. Rad­cliffe had last seen at the foot of a deed of part­ner­ship; and he had kept the know­ledge ever since as he kept the deed, in a place where nobody else would come upon it. What he had not known until this minute was that the au­thor of the Warden read the Mor­timers; and read them, it ap­peared, with the at­ten­tion a man gives to a thing he means to take. And he re­membered, be­cause it was the kind of thing he did re­mem­ber, that on the first of Sep­tem­ber he had read the Lud­gate from cover to cover at seven o’clock, and that be­fore noon his prin­cipal pro­pri­etor had picked it up off this table and car­ried it away under his arm, and that he had sat af­ter­wards won­der­ing what the devil a man of ten thou­sand a year wanted with a rival’s maga­zine.

He knew now. It was not a thing that would in­terest the town, which did not read the Warden and would not have known the sen­tence if it had. It would in­terest Albe­marle Street a

great deal, and Pater­noster Row a great deal more; and it was worth, as far as Mr. Rad­cliffe could see, ex­actly as much as he did not say about it. That the Mor­timers had robbed the Warden first, in Sep­tem­ber, did not occur to him at all. He had read the para­graph in his own maga­zine in August, and again in Bal­dock’s in Sep­tem­ber, and had not known it for the same; for he kept only what the town re­peated, and the town had never re­peated the Warden. The one man who ever had was Lord Ash­combe, who had not read it. He put the August Lud­gate back in the press. Then he took the Oc­to­ber num­ber off the heap of other people’s maga­zines, which had been brought up from the shop at half past six, and laid it by it­self on the corner of the table nearest the door.

Mr. Lu­cius Wray called for his cop­ies at nine.

He was four-and-twenty, and hand­some in a way that he had not yet been made to pay for. He had been sent down from Christ Church for a reason that im­proved with every telling, and had quar­relled upon the strength of it with his father, who was a dean; and he had come up to Lon­don to make his name by his pen, and wrote in a cof­fee-house in Co­vent Garden, and dined on credit, and had never set foot in a count­ing-house in his life. There were per­haps three men in Lon­don who could do with a para­graph what he could do with one; he knew the names of all three, and spoke to none of them.

“I have been cut,” he said, be­fore he had sat down.

“I saw.”

“You saw. Hol­lis saw. The com­pos­itor saw, I dare say, and laughed; they al­ways know.” He took up a copy of the num­ber and turned to his own paper, which he had read four times already. “Two things. The two best things in the paper, and I do not say so lightly, be­cause there are a good many good things in it. The cook, and the lady of the Acad­emy. I said that the Author must keep a cook in Cheap­side, since he knows to a shil­ling what the tur­bot cost and has not the least no­tion who is asked to eat it. And I said that the Acad­emy ad­mit­ted flower-paint­ing as it had ad­mit­ted Miss Moser, out of po­lite­ness, and had been re­lieved of both in May. It was the best sen­tence I have writ­ten this year.”

“It was a cruel one,” said Mr. Rad­cliffe. “She is not five months dead.”

“All the best sen­tences are cruel. It is how one knows them.” Mr. Wray turned a page. “But he left me the rail­ings. I sup­pose be­cause they were true; it is the only thing he ever asks of a sen­tence. And be­cause they were his: he gave them me at your table in August, over the port. One would think

he had been to Gros­venor Square.”

“He lives there.”

“I know where he lives,” said Mr. Wray. “I have been let in.”

Mr. Kin­ross came in at half past nine, with­out being an­nounced.

Mr. Wray rose, and bowed, an inch lower than a man bows who means it. “I have been thank­ing Mr. Rad­cliffe for your cor­rec­tions, sir.”

“They were not cor­rec­tions,” said Mr. Kin­ross. “You had two things wrong.”

“Which two?”

“Miss Moser was a bet­ter painter than you are a writer. And the Author has never kept a cook.”

Mr. Wray laughed. He had a good laugh, and he used it as other men use a sword-cane. “You know the Author, then?”

“No. I know how a man writes who has.”

“And the rail­ings?”

“The rail­ings were right.”

“I know,” said Mr. Wray. “You said so at the time.”

Mr. Rad­cliffe, who had been look­ing at the win­dow, said: “The Lud­gate is on the corner of the table, sir, if you want it.”

Mr. Kin­ross looked at the Lud­gate, lying by it­self on the corner nearest the door, where nobody had ever put a maga­zine be­fore; and then he looked at Mr. Rad­cliffe, who met his eye with the ex­pres­sion of a phys­i­cian who has just said that a pa­tient is com­fort­able. There was a short pause. Mr. Wray, who was read­ing him­self, did not look up.

“Thank you,” said Mr. Kin­ross, and took it.

It was the first thing, in all the years of their part­ner­ship, that Mr. Rad­cliffe had known about his prin­cipal pro­pri­etor which his prin­cipal pro­pri­etor had not told him; and when the door had closed he put it away, as he put away everything, in the place where he kept the things that would be worth more later.

Mr. Kin­ross walked to the Temple, where he kept the cham­bers that he had never needed for the law and had al­ways needed for this. He had walked there every day for a month, and Fen­wick had given up ask­ing whether he would take the car­riage, and had begun in­stead, he ob­served with­out re­mark, to have his boots brushed twice.

At the desk he read Mr. Wray first. He had read him already, in proof, with a pen­cil; but he wished to know what it was like to read him as the town would read him this morn­ing, with noth­ing in his hand.

There is a kind of paint­ing which stands at the bot­tom of the art, and is not the worse for stand­ing there: the paint­ing of flowers. It asks for a quick eye, a steady hand, and a per­fect in­dif­fer­ence to what the flowers are for. The Mor­timers of Mount Street is flower-paint­ing in prose. The petals are coun­ted, and the dew is put in af­ter­wards; the col­ours are true, and the ar­range­ment pleases; and like all flower-paint­ing it is the work of some­body to whom the flowers were brought, and who has never been in the garden. The Author has car­ried his fam­ily to Gros­venor Square and set the rail­ings at the kerb; he gives them their din­ner at six. Nobody who had once been asked to dine in Gros­venor Square would do either. One learns where the rail­ings stand by being let in; and it is the pe­cu­liar dis­tinc­tion of the Cock­ney School that it de­scribes the draw­ing-room from the wrong side of the rail­ings.

It was very good. That was the worst of it.

The rail­ings were his own. He had writ­ten them first in the mar­gin of the August Lud­gate, with the brev­ity of a man who had never had to ex­plain him­self; and a week later, at Mr. Rad­cliffe’s table, when Mr. Wray asked him over the port what he made of the Mor­timers, he had told him, rail­ings and din­ner-hour to­gether, as he told any­body any­thing that was true, with­out look­ing to see who was listen­ing. He had thought no more of it until the proof came to him in the middle of Sep­tem­ber, and he found his two cor­rec­tions in it, grown to a para­graph. He had struck out Miss Moser, be­cause she was dead and could not an­swer, and the cook, be­cause it was not true; and he had let the rail­ings stand. He had known when he let them stand that they would be read on the first of Oc­to­ber by a young man with sis­ters; that they would be read on the same morn­ing, very likely in the same hour, as the Warden’s an­swer to him; and he had let them stand, be­cause they were true, and be­cause the al­tern­at­ive was to be a man who struck out what was true when it was in­con­veni­ent to him, and he had no in­ten­tion, at two-and-thirty, of be­gin­ning. He found now, read­ing them with the town, that he did not like him­self for it, and that he would do it again. It is the con­di­tion which in other men is called prin­ciple, and which his aunt called a great pity.

Then he opened the Lud­gate.

This month’s num­ber was about Mr. Mor­timer. The Author had kept the prom­ise of the last, which he did not al­ways do, and had told the reader why Thomas gave no­tice. Mr. Mor­timer, hav­ing learned from some­body at his club that in the great houses every foot­man is called James, had called Thomas James for a month; and Thomas, who had been Thomas in Man­chester for el­even years, had borne it for a month and gone, with

his box cor­ded and one sen­tence at the door: I was Thomas in Man­chester, sir, and I find I can­not be James for thirty pounds. Mr. Mor­timer could not see it. Mrs. Mor­timer could not see it. The but­ler, who could, was not asked. Mr. Kin­ross, who had lately begun to keep an hour on the first of the month for the Mor­timers, found that he was read­ing war­ily, and with reason. At the end of the num­ber the Author left Mr. Mor­timer alone in his din­ing-room with the de­canter and the know­ledge, and gave him this:

Mr. Mor­timer had kept the peace of his house in Mount Street for nine months, at a charge, by the house­keeper’s book, of el­even hun­dred pounds; and he learned in the keep­ing, though the book did not tell him so, that it was a thing more eas­ily broken by the keeper than by the kept, and not to be men­ded, at any charge whatever, by the man who had broken it.

He did not need to take down the Warden’s an­swer to the King. He had writ­ten that sen­tence el­even times.

It was his again, as the foot­man had been his, and again it had been car­ried into a house where some­body knew what things cost, and had the price put into it: the nine years of the March were nine months of Mount Street, and the peace of a king­dom had be­come a house­keeper’s book with el­even hun­dred pounds at the foot of the page. But the last clause was not his. He had not thought of it. It had not once oc­curred to him, in the Marches or out of them, that a thing broken by its keeper might be past the keeper’s mend­ing; and he sat with the Lud­gate in his hand and the Albe­marle open be­side it at Mr. Wray’s rail­ings, and con­sidered that he had that morn­ing, at his own leave and in his own maga­zine, broken some­thing that he did not see how he was to mend.

The young man had read the Warden’s an­swer to the King, then. In the first days of Sep­tem­ber, while the Warden was an­swer­ing him with the Lady Gwen­llian, he had been help­ing him­self again, and sent this to the press by the tenth of the month, be­fore he could have the least no­tion that the Warden had answered him at all. Each of them had answered a let­ter the other had not yet re­ceived. The post in this cor­res­pond­ence went once a month, on the first; and this morn­ing it had car­ried both an­swers at once, and had car­ried with them, in the Albe­marle, by the pro­pri­etor’s leave, Lu­cius Wray. Mr. Kin­ross had sent his first let­ter, that is to say, in the same post as a horse­whip; and he had packed the horse­whip him­self.

It oc­curred to him, sit­ting there, that he did not know what his own foot­men were called. He had never asked. Fen­wick would know; and for the first time in his life Mr. Kin­ross was

not per­fectly cer­tain that the names Fen­wick knew them by were their own.

He took up his pen­cil. Against the last clause of Mr. Mor­timer’s sen­tence, which was the only part of it that was not his, he wrote one word in the mar­gin, as he had writ­ten one word in August; and the word, this time, was true.

Clem­ency went up to the Row at noon, as she did on the first of every month, to look at her own num­ber in Bal­dock’s win­dow with­out buy­ing it.

It was there, in its blue-grey wrap­per, be­tween a volume of ser­mons and a treat­ise upon the dry rot, with the con­tents prin­ted down the front of it in the small, plain, Whig type that Mr. Bal­dock bought by the hun­dred­weight: The Mor­timers of Mount Street. No. VI. She looked at it for the proper length of time, which was the length of time a stranger might give it, and was turn­ing away when the win­dow of the of­fice above went up with a bang, and Mr. Bal­dock put his head out and called her in. He had never done it be­fore. She went up the stairs with the feel­ing, fa­mil­iar to any­one who has ever been sent for, of hav­ing already been found out in some­thing.

The Oc­to­ber Albe­marle lay open on his desk. He did not offer it to her. He put his hand flat upon it, as she had once put hers flat upon his counter, and said: “Mr. Wray has done you the hon­our.”

“Is it very bad?”

“It is clever,” said Mr. Bal­dock, who was an hon­est man. “He has read you. I told you they would.” He looked at her over his spec­tacles, which he wore for read­ing other men’s maga­zines and for noth­ing else. “He will sell three hun­dred Lud­gates for me be­fore Sat­urday. They al­ways do. I thought you had bet­ter hear it from me than from the Row.”

“May I see it?”

“You may take it home. I have an­other.” He did not take his hand off it. “I should read it at home, with the door shut. It is not a thing to read in a shop.”

“Then I will read it at home,” said Clem­ency, and did not take it, be­cause she found that she did not want to carry it through the streets; and Mr. Bal­dock, who un­der­stood her, put it away in his drawer with the Man­chester page and the August ac­counts, and changed the sub­ject, which was the kind­est thing he did all day.

The sub­ject he changed it to was not a com­fort­able one. They were to try Car­lile at Guild­hall this month, he said, for print­ing Paine; it was all over the Row; and the At­tor­ney-Gen­eral, hav­ing begun with Car­lile, was not thought likely to stop there. Mr. Bal­dock had prin­ted the names of the dead

from St. Peter’s Field in Sep­tem­ber, with their ages and their trades, in a smal­ler type than the rest of the num­ber be­cause there had not been room for them in any other. He did not say that they would come for the Lud­gate. He said that he had read his lease again on Tues­day night, which he had not done in two years, and that he had found it a very in­struct­ive doc­u­ment.

Clem­ency, who had paid the quarter’s rent in Salis­bury Square on Wed­nes­day, Michael­mas Day, with the whole of Sep­tem­ber’s seven guineas and the bet­ter part of August’s, con­sidered this for a mo­ment in the light of her own lease, which ran from quarter-day to quarter-day and con­tained no in­struc­tion at all.

“Then I had bet­ter write the sev­enth num­ber quickly,” she said, “while there is a Lud­gate to print it.”

Mr. Bal­dock laughed, which was what she had meant him to do. “Bring it by the tenth. If there is a Lud­gate on the first of No­vem­ber you shall be in it; and if there is not, you shall be paid for it all the same.” He meant it. She knew, and she thought that he knew, that it was not a thing a man could prom­ise who had read his lease on Tues­day night; and they par­ted on it, as people do part on a kind­ness that neither of them can af­ford.

She went home by Lud­gate Hill. There was a crowd at a print-shop win­dow halfway down, as there had been all Sep­tem­ber, five deep on the pave­ment, look­ing at the yeo­manry rid­ing down the people at Man­chester in red and black: col­oured by hand, at so much the dozen, by some­body’s daugh­ter in a back room, with rather more red than was strictly needed. She went by on the far side of the street, and did not look, and saw it all the same, and thought, as she turned down into Salis­bury Court, that she knew ex­actly how much red was needed, and that it was none of it hers to put in.

The Albe­marle came to Salis­bury Square on the first of Oc­to­ber, on the day it was pub­lished, which it had never done be­fore.

Mr. Pel­ham had read one art­icle in it in Hare Court be­fore his din­ner, and had laughed at it twice, and had sent it home with Kit at six o’clock, with his com­pli­ments to Mrs. Lyd­iard and the young ladies and his opin­ion that they would find it cap­ital. Kit brought it up the two pair of stairs to­gether with a bar­rel of oysters, which he had bought out of Michael­mas; his forty pounds had been paid on Wed­nes­day, and was, for the present, en­tire. It was a Fri­day, and there was fish, be­cause in Mrs. Lyd­iard’s house there was al­ways fish on a Fri­day; and the oysters, which Mrs. Lyd­iard said were very ex­tra­vag­ant and ate el­even of, made a feast of

it.

Kit read aloud. He read well, and knew it, and liked an audi­ence that could not get up and go; and he propped the Albe­marle against the water-jug and gave them Mr. Wray’s second paper on the Cock­ney School from the be­gin­ning, with the ex­pres­sion. Nobody at the table knew what Clem­ency wrote for the Lud­gate, bey­ond that it was a little, and was paid for, and was not the kind of thing that any­body in Salis­bury Square had ever asked to see.

Clem­ency knew what it was from the first sen­tence, be­cause Mr. Bal­dock had told her, and from the second, be­cause it named the Mor­timers. She went on eat­ing her fish.

“The Mor­timers!” said Lucy. “Oh, but I like the Mor­timers. Miss Harker lends them to me. I think them ex­cess­ively di­vert­ing.”

“Then you have no taste, and Mr. Wray will tell you so.” Kit found his place. “There is a kind of paint­ing which stands at the bot­tom of the art⁠—”

He gave them the flower-paint­ing, and the petals coun­ted, and the dew put in af­ter­wards; and Clem­ency, who had a port­fo­lio under her bed that nobody in the room had ever looked into, found that her hand was steady and that she could not taste the cod.

Mrs. Lyd­iard, who had been mend­ing a cuff of Kit’s with the air of a woman who does not listen to the maga­zines, said with­out look­ing up: “Miss Moser painted flowers.”

“Who?”

“Miss Moser. She was of the Royal Acad­emy.” Mrs. Lyd­iard drew her thread through. “The Queen had her to paint a whole room at Frog­more. Flowers from the floor to the ceil­ing. Nobody thought that the bot­tom of any­thing.”

“Did you know her, Mama?” said Lucy.

“Every­body knew of her.” There was a short pause. “She died in May.”

It was the first time that Clem­ency had ever heard her mother name a painter. She looked across the table, and Mrs. Lyd­iard said, “Go on, Kit,” in the voice in which she ordered the fish; and Kit went on. But the needle had stopped in the cuff, and it did not begin again, Clem­ency no­ticed, for the rest of the paper.

Then Kit came to the rail­ings.

He gave it the voice of a ver­dict, and lingered over the end of it: it de­scribes the draw­ing-room from the wrong side of the rail­ings.

“That’s a hit,” said Kit, de­lighted. “That’s a palp­able hit.”

“Is it true?” said Clem­ency.

“Of course it’s true. Pel­ham says so. Pel­ham dined in Gros­venor Square in the year el­even and has talked of noth­ing else since.” He re­filled his glass.

“The rail­ings go along the area, Clem, to keep you from fall­ing into the kit­chen. Any­body knows that.”

Any­body who had been let in knew it. She sat with her fork in her hand and saw, with the sud­den plain­ness with which one sees the mis­take in a sum that has been added up wrong for a month, where she had got her rail­ings. In Bread Street there had been posts along the kerb, to keep the carts off the pave­ment, and she had grown up be­hind them; and when she had needed a house in Gros­venor Square she had built it out of the only street she knew, and set the rail­ings where the posts were. She had never been in Gros­venor Square. She had never been in Mount Street. She had writ­ten six num­bers about a house in it, and sold them, and been liked for them by a lady in Rus­sell Square, and she had never once walked down it, be­cause one can­not walk down Mount Street with a par­cel, and she had never had any reason to be there with­out one.

“Have you any­thing in the Lud­gate this month, Clem?” said Kit, turn­ing the page.

“A little.”

“What about?”

“A foot­man.”

Kit laughed so much that he had to put the Albe­marle down. “Lord, Clem, you might write about some­thing,” he said; and Lucy laughed too, be­cause Kit had, and their mother said that she did not see that a foot­man was any laugh­ing mat­ter, she had known a great many; and the sup­per went on.

Clem­ency sat it out. She sat out the oysters, and Mr. Wray’s per­or­a­tion, and the cheese, and Kit’s opin­ion of the Cock­ney School, which was Mr. Pel­ham’s, be­cause to have got up and gone into the back room would have been to own that any of it was hers.

They went to bed at el­even. Kit left the Albe­marle on the table among the oyster shells, as he left everything, and Clem­ency waited until the house had done creak­ing, and then took it, and a candle, through to the back room, where the desk was.

She read Mr. Wray again by her­self, from the be­gin­ning, which was worse than hear­ing it. It was clever; Mr. Bal­dock was right. He had read her, and read her more care­fully than she had sup­posed any­body in Albe­marle Street read any­thing, and he had found the one thing in six num­bers that she could not have known, and had known that she could not have known it. She would go and look at Mount Street. She did not yet know how a woman walked down Mount Street with­out a par­cel, or what she would say to any­one who asked her what she was doing there; but she would find out, as she found out most things, by tak­ing more trouble

about it than it de­served.

Then she turned the page past Mr. Wray, be­cause the Warden was in the num­ber, and she read the Warden now. She sat down to it. It was one of the things she did not do.

The el­ev­enth num­ber opened at Lud­low at Michael­mas, which the Warden kept with a feast and Salis­bury Square had kept on Wed­nes­day with the rent; and there was a girl at the feast: a Welsh girl, a host­age, the first woman to whom the Warden had given a sen­tence of her own in el­even num­bers. Clem­ency did not know the sen­tence at once. She read it as one reads a let­ter in a strange hand, and she was halfway through the second clause be­fore the hand turned out to be her own.

The Lady Gwen­llian un­der­stood, be­tween the grace and the first dish, that she would not be called up to the high table; and she sat out the rest of the feast in the gown that had been made for it, be­cause to send for an­other would have been to own that she had hoped.

She sat quite still.

It was Miss Mor­timer. It was Miss Mor­timer to the last stone, ex­cept where it was not: the soup and the fish had gone back four hun­dred years and be­come a grace and a dish, Lady Harrow­gate’s had be­come a high table, and the gown had been made for the feast in­stead of merely put on for it. And at the end, where she had writ­ten that the girl would not go up and change be­cause to change would be to admit that she had known, some­body had taken out the one word on which the whole sen­tence turned, and put in an­other; and the word was hoped.

It had been read, then. Not looked into, nor sub­scribed to, nor taken to pieces over the oysters, but read: the fourth num­ber, in August, through Mrs. Mor­timer’s car­riage and the din­ner at six, to the one sen­tence in it she had been proud of and had shown to nobody. And who­ever had read it had known that it was hers to be proud of, and had taken it, which was the only way of say­ing so that was open to him; and had sent it back to her on the first of Oc­to­ber, as she had sent him his on the first of Sep­tem­ber, so that she should know that it had been no­ticed. She had been right in every par­tic­u­lar but the last. A man of that kind did read the Mor­timers. He had read them, it seemed, as she read the Warden.

Over the roofs the gi­ants of St. Dun­stan’s began to strike twelve, and the first of Oc­to­ber went out with them.

She had never been able to de­cide what the girl in her port­fo­lio would look like at the mo­ment she un­der­stood. There was nobody in the room to see her face.

(To be con­tin­ued.)

Edited by Michael Cummins. Written in full collaboration with Anthropic’s Claude models, and set here as it might have appeared in a London magazine of 1819. Read the announcement, with the plan of London.

HER PRIVATE MOUNTAIN

On Cézanne’s mountain, O’Keeffe’s mesa, and what a painter owns after decades of looking.

Georgia O’Keeffe refused to paint like the European masters, and a new profile takes her at her word. But Paul Cézanne, the painter the men around her revered, painted one mountain some eighty times over nearly thirty years, and she painted hers twenty-nine. She called it her private mountain and said God had told her she could have it if she painted it enough. The question is what she got.

I A Mountain Near Aix

In the last autumn of his life Paul Cézanne walked most mornings from his studio on the hill of Les Lauves, above Aix-en-Provence, to a spot from which he could see Mont Sainte-Victoire, and painted it again. He had been painting it for nearly thirty years. The mountain is a ridge of grey limestone a thousand meters high, and he had painted it framed by pines, crossed by a railway viaduct, from the road to Le Tholonet and from his sister’s house at Bellevue, in watercolor and in oil, some eighty times in all. In the late pictures it is barely a mountain. It is a field of blue and green and ochre patches, each one a decision, and what the picture records is not the ridge but a man looking at it and not trusting what he sees. He died in October 1906, a week after being caught in a storm while painting outdoors.

Within a few years Cézanne was among the most revered painters in the small modern world of New York. Alfred Stieglitz showed his watercolors at 291 in 1911; the Armory Show hung him in 1913; the painters around Stieglitz, John Marin, Arthur Dove, Marsden Hartley, learned his lesson in a particular form. A painting is made of touches. Doubt can be a method. The surface should show the hand’s hesitation. A profile of Georgia O’Keeffe in the summer Smithsonian tells how she refused all that. Its last picture is the Courtauld’s Sainte-Victoire, and the caption says two things about it: that O’Keeffe “did not share her male peers’ reverence” for Cézanne, and that his paintings of the mountain were Impressionist. The second is wrong, and the profile’s text says it too, setting Cézanne beside Monet; Cézanne spent his life getting out of Impressionism. The first is half right: she did refuse the Stieglitz men’s Cézanne, and theirs was a manner, which most of them took for the whole of him.

II The Spoiled Poplars

The story the profile tells is a good one, and it is hers. In the 1907–08 school year at the Art Students League, where William Merritt Chase taught the brush to move quickly, she showed a classmate a painting of two poplars with the sky between their branches, and he took it from her and painted dots of red and blue and green over the trees to show her how the Impressionists did it. She had not heard of them. She thought he had spoiled her picture. The profile says that from then on she did not let other people spoil her paintings, and the sentence is true in a way it does not intend, because the rest of her life was spent fighting off what other people saw in them.

The flowers came first. In the middle 1920s she painted petals at the scale of a window so that New Yorkers in a hurry would have to stop, and they stopped, and they saw what they brought. She found this as irritating as the dots: people hung their own associations on her flower, she wrote, and wrote about it as if she saw what they saw, and she did not. Then, in 1929, she went to New Mexico, and after her second summer there she sent a barrel of bones back to the house she shared with Stieglitz on Lake George, and sat down to paint them. The men she knew, she wrote afterward, talked endlessly about the Great American Novel and the Great American Play, and she was not sure they aspired to the Great American Painting. So she painted a cow’s skull floating against blue, and because that was not quite enough she added a red stripe down each side. She said they would not think it great, but they would notice it.

This is the O’Keeffe of the profile and of the museum shop: the painter who owed nothing, who answered Paris with a skull in the colors of the flag. The evidence for it is real. Her edges are hard where Cézanne’s are broken; her color is flat where his is built from a hundred touches; she painted the thing in front of her until it turned into a shape, where he painted his uncertainty about it. On the surface, which is where a painting lives, she refused him entirely.

III Seven or Eight Versions

But a painter’s method is not her surface, and the method was in place before the desert. In December 1931, speaking of her calla lilies, she told a reporter from the Herald Tribune that she always did seven or eight versions of the same thing before she arrived at the final one. Nearly forty years later, explaining her paintings of clouds seen from airplanes, she told the Times that when she got started with a theme she had to keep going. That is the habit of a painter who works by return, and it is Cézanne’s habit, not Monet’s. Monet’s haystacks are a series about light changing; Cézanne’s mountain is a series about a man changing in front of a thing that does not. O’Keeffe’s bones and doors and flowers are the second kind.

Consider what the men did with the same reverence. Marsden Hartley, who loved Cézanne as hard as any of them, saw a Cézanne show at Bernheim-Jeune in Paris in 1926 and moved to Aix. By December he was living in the Maison Maria, a stone house in the woods by the Château Noir that Cézanne had painted about 1895, so that he lived inside a Cézanne and walked out of it to Cézanne’s mountain. He drew it, and painted it in Cézanne’s constructive strokes and louder colors. The pictures are good and they are borrowed: he took the manner and the motif both, and left the one thing that made Cézanne Cézanne, which was that the mountain had been his own, outside his own window, for nearly thirty years. His graphite drawing of it in the Brooklyn Museum is dated 1926–27. The mountain in it is a thousand meters high and belongs to someone else.

In 1934 O’Keeffe saw the mountain that would hold her habit for the rest of her life. Cerro Pedernal is a flat-topped, basalt-capped mesa southwest of Abiquiú, just over three thousand meters, and from the window of the house she took at Ghost Ranch it sits on the horizon like a table someone set there. She began painting it in 1936. She painted it behind red hills and behind a pink one, framed in the hollow of a pelvis, under a ladder hanging in an evening sky, as a thin blue line at the bottom of a canvas that was otherwise cloud. The museum that holds her estate counts twenty-nine paintings of it, and the profile says simply that she painted the Pedernal over and over.

Most of the men who revered Cézanne took his manner and left his method. Hartley found the repetition later. From 1939 to 1942 he painted Katahdin, in Maine, a mountain the Penobscot named and four nations hold sacred, at least eighteen times, all from sketches made in eight days at a lakeside camp; by then O’Keeffe had been at the Pedernal for three years. He worked from the sketches, not from the mountain. She took the method entire, and left the manner. She refused the touch, the doubt, the hesitation in the stroke, and kept the one idea underneath them, which is that a painter’s subject can be a single thing seen for the rest of a life, and that the seeing is the work. Whether it came to her from Cézanne, in the years after his watercolors hung at 291, when the men around her talked of nothing else, or whether she arrived at it alone, the kinship is closer than the refusal. She did not want to paint like Cézanne. She wanted what he had, which was a mountain of her own.

IV My Private Mountain

She said so. In her late eighties she called the Pedernal her private mountain, and said it belonged to her: “God told me if I painted it enough, I could have it.” It is the best sentence she ever spoke about her work, and it has aged in two directions at once.

Read one way it is a painter’s joke about a painter’s truth, and her biographer Laurie Lisle records that it was made jokingly. Nobody owns a mountain by looking at it, and she knew that; the joke is that she had done it anyway, by a method that takes nothing from the mountain and leaves it where it was. What she owned were twenty-nine paintings, and through them a way of seeing a particular horizon that is now, for a great many people, the only way they see it. That is a real kind of ownership, and it is the only kind a painter can have, and Cézanne had it over Sainte-Victoire.

Read the other way, the sentence is what it says. The mesa has a name in Tewa, Tsí Pín, flaking-stone mountain, and a name in Spanish, flint hill, that means nearly the same, and people quarried its flint for thousands of years, the ancestors of the pueblos among them, before anyone arrived with an easel. In 2021 the New Mexico Tourism Department built an advertisement around her words about the state, “that was mine,” and the Georgia O’Keeffe Museum, which exists to keep her name, posted a statement that it did not support the use of such quotations, because it was now clear that this was the language of possession, colonization and erasure.

Four years later the museum gave three galleries, its largest among them, to the correction: Tewa Nangeh/Tewa Country, which opened last November and closes on Sunday, November 1. In the museum’s own description, she often claimed northern New Mexico as her own, on land that has been home to six Tewa Pueblos since time immemorial. The exhibition went out under an image by the Santa Clara artist Jason Garcia, who brought it to the museum and co-curated it: a clay tablet made up as a comic-book cover, with a cover date of 1977, the year her claim to the mountain went public. On it O’Keeffe stands in her black dress before a sign that once read “Welcome to O’Keeffe Country,” with “Tewa” scrawled over her name and Tsí Pín behind her.

Garcia has answered her on her own terms. He told NPR that her line about God was “pretty funny,” and that the mountain is not hers alone. He opened with nineteen pictures of Tsí Pín, painted from one vantage during a residency at Ghost Ranch, and he set out to pass her twenty-nine. He says he returns to the mountain “not to possess it, but to be in conversation with it,” and also that painting it more often than she did is a way of taking it back. That is her method turned on her claim, in a Tewa hand.

A year ago, in Aeon, the Puebloan poet Alanna Offield published an essay called “My private mountain,” about growing up in the shadow of a painter who was sold to her as the owner of her own homeland. This spring Alicia Inez Guzmán argued in High Country News that O’Keeffe’s paintings have come to stand for the whole of northern New Mexico, so that the region is sold as O’Keeffe Country and the people who were there first are painted out of it.

Offield is right, and the museum is right, and so is the joke. The sentence holds both readings. She did not take the mountain from anyone, and she also said, in the plain American way, that it belonged to her, and the saying is part of what the Smithsonian profile means by a great American painter. Cézanne never said Sainte-Victoire was his, as far as anyone recorded; Hartley, after eight days at Katahdin, wrote that it was “my mountain.” The claim is the American part, and it is also the part that has come back on her.

V The Cloud in the Eye

The eyes began to go in the 1960s. She described it later as a cloud entering her eyeballs, and in a manuscript from the seventies, “My Eyes and Painting,” she wrote of the world beginning to turn grey when her eyes stopped seeing sharply as they had for eighty years. Macular degeneration takes the center of the field and leaves the edges, which is to say it takes exactly the kind of seeing her paintings were made of, the hard edge and the flat plane, and leaves the kind Cézanne’s late pictures look like, the blur at the margin. She painted her last unassisted oils in 1972, among them a black rock against blue sky and a canvas called The Beyond, a dark band under a pale one, a horizon with nothing on it.

She stopped working, she wrote, and then, surprised in time that the grey world could be beautiful in a new way, she began to think about how to start again. She worked in clay in her last years, by touch, with a young potter named Juan Hamilton who had come to the door looking for work and stayed. She had assistants mix her colors. The mountain was still outside the window, and she could no longer see it sharply, and she had, by her own account, already been given it. Ownership by looking has to pass through the years when she could not look, and it passes: the owning was done, and it was in the paintings, and the paintings did not need her eyes any more than Cézanne’s needed his after October 1906.

Seen from inside a dark adobe room through a deep square window: a flat-topped mesa above gold and cream slopes and a thin band of red hills, the middle of its tabletop lost in a soft, round white blur. In the foreground, two pale hands in black sleeves shape a small gold clay pot.
In her last years she worked in clay, by touch. Macular degeneration takes the center of the field and leaves the edges, so the mountain outside her window kept its sides and lost its middle. An illustration made for this essay.

VI Ashes

She died in Santa Fe in March 1986, at ninety-eight, and her ashes were scattered on the Pedernal, which she had climbed herself. Cézanne is buried in the cemetery of Saint-Pierre in Aix, under his mountain too; he climbed it as a boy and at least once more, in his fifties, and otherwise looked. He never claimed it; everyone else gives it to him.

That is the difference, and it is smaller than the profile thinks and larger than it knows. Two painters, a continent apart, took one piece of ground and painted it until the painting and the ground could not be told apart. One of them did it in a manner the other refused, and the other did it in a manner that made her what the profile says she set out to be, a great American painter. But the manner was never the point. The point was the return, morning after morning, to a thing that did not change, so that the changing could be seen. That was his method, and she made it hers, and the only original thing in it was the mountain. The Pedernal is still there. It belongs to the people who named it and to no one, and it has been painted, by her count, enough.

⁂

Sources: Jennie Rothenberg Gritz, “Georgia O’Keeffe Ignored Advice to Mimic Great European Masters. Her Goal Instead Was to Be a Great American Painter,” Smithsonian, Summer 2026, photographs by Jen Judge; the Georgia O’Keeffe Museum’s “In Her Own Words,” for her interviews with the New York Herald Tribune (Ishbel Ross, December 29, 1931) and the New York Times (Grace Glueck, October 18, 1970); Laurie Lisle, Portrait of an Artist (1980), p. 295, as cited by the Museum of Fine Arts, Boston, for Deer’s Skull with Pedernal; Alanna Offield, “My private mountain,” Aeon, October 28, 2025; Alicia Inez Guzmán, “O’Keeffe Country was never O’Keeffe’s to begin with,” High Country News, May 29, 2026; NPR, March 14, 2026; Alex De Vore, “New Mexico True Campaign Refresh Draws Ire,” Santa Fe Reporter, April 17, 2021; Ania Hull, “Indigenous artists reframe the ownership of ancestral lands,” Pasatiempo, Santa Fe New Mexican; the Georgia O’Keeffe Museum, Tewa Nangeh/Tewa Country and its press release of October 8, 2025; New Mexico Magazine; Southwest Contemporary; the National Gallery of Art on Marsden Hartley’s Mount Katahdin, Maine (1942); the Princeton University Art Museum on Hartley’s Blue Landscape (1942); the Brooklyn Museum, Hartley, Mont Sainte-Victoire (1926–27); the Kimbell Art Museum, Cézanne, Maison Maria with a View of Château Noir; the Marsden Hartley Legacy Project chronology (Bates College); the Maine Atlas on Katahdin; Gary A. Smith and Bruce B. Huckell, “The geological and geoarchaeological significance of Cerro Pedernal,” New Mexico Geological Society Guidebook 56 (2005); the Vision and Art Project on her eyesight, for Jeffrey Hogrefe’s account and her manuscript “My Eyes and Painting”; and Britannica on Mont Sainte-Victoire. The header and interior images were generated with Gemini Argon for this essay; they reproduce no painting or photograph. Drafted with Claude Opus 5.5; literary and copy editing by Claude Sonnet 5.5; cold read by Claude Fable 5.1.

THE WIT OF MOUNT STREET: THOMAS GIVES NOTICE (Ch. 2)

Click any page to read it larger.

THE INTELLICUREAN.
Vol. I.NOVEMBER, 1819.No. II.

THE WIT OF MOUNT STREET;

or,

HER HEART IN NUMBERS.

(Continued from page 8.)


CHAPTER II.

Thomas Gives Notice.

The knocker had been taken offthe door of the house inGrosvenor Square in the last week ofJuly, as it was taken off every year, toinform the world that the family wasout of town; and the world, which wasitself out of town, had taken no notice.

The family was at Ardoch. That isto say, Lady Ardoch was at Ardoch,with four guests, two pointers, and aMiss Lauder whom she had invited forher complexion; and the head of thefamily, who should have been there,was in London, in a house where thechandeliers had been bagged in hol-land and the furniture stood about thedrawing-rooms in dust-sheets like acompany of mourners waiting to betold whose funeral it was. It was thefirst of September. Every gentlemanin England who could hold a gun wasstanding in a stubble field.Mr. Kinross was eating his breakfast.

He ate it in the small dining-roomat the back, because the large one had

been shut up, and he ate it alone, be-cause there was nobody else, and hewas served by Fenwick and two foot-men, because that was the establish-ment, and it did not occur to anyone inthe house that one man and a rack oftoast might be served by fewer. Thecoffee was at his hand before he hadlooked for it. The Times was folded atthe side of his plate, and beneath itthe Morning Chronicle, which he tookbecause it was a Whig paper and hewished to know what the Whigs weresaying, and beneath that the Courier,which he took because it was not, andhe wished to know that too. Fenwickhad ironed all three. He had neverasked Fenwick to iron the newspa-pers. He had never asked Fenwick foranything that he could remember, andit struck him, not for the first timethat summer, that he had lived for six-and-thirty days in this house withoutonce giving an order in it.

On the salver was a letter from his

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aunt.

Lady Ardoch wrote a large, decidedhand, crossed and recrossed, and shewrote as she talked, which waswithout stopping. The weather wasfine. The birds were plentiful. MissLauder was a charming girl, and hadasked twice whether Mr. Kinross wasexpected, and Lady Ardoch had beenobliged to say she could not tell, sinceshe had not been told. She could notconceive what kept him in London inSeptember, unless it was his lawyers,and if it was his lawyers she couldonly say that she had never known alawyer who could not be kept waitingby a gentleman with ten thousand ayear. She remained his affectionateaunt. Under the signature, across thefirst page, in the smallest hand shehad: Pray do not tell me it is the book.

He folded the letter and put it un-der the toast-rack, which was wherehe put letters he did not mean to an-swer that day, and Fenwick, whoknew it, removed the toast-rack.

The newspapers were full ofManchester. They had been full ofManchester for a fortnight, since theMonday on which the yeomanry hadridden into a crowd of sixty thousandpeople in St. Peter’s Field with theirsabres drawn, to arrest a man on acart who could perfectly well havebeen arrested at his inn; and theywould be full of it for a long time yet.

The Courier printed the thanks of theGovernment to the magistrates, in acolumn of type that looked, hethought, as pleased with itself as typecould look. The Chronicle printed thenames of the dead, with their agesand their trades, under a headingwhich the Courier would call inflam-matory and which was merely accur-ate. A weaver. A special constable. Awoman. A child of two. He read themall, slowly, because it seemed to himthat someone ought to read them whohad not been there, and then he foldedthe paper and found that he had nottasted his coffee and that Fenwick hadalready replaced it with coffee thatwas hot.

It was not, he knew, any concern ofhis. He had no property in Lancashireand no opinions on the reform ofParliament that he had ever been re-quired to express aloud. But he hadspent the summer, and the nine yearsbefore it, in the company of a manwho kept order for a King who did nottrust him, and who had once, in theeighth number of The Lord Warden,ridden into a market-place at Ludlowwith forty spears to put down a riot ofweavers; and he had written thatscene with great care and a good dealof satisfaction, and had been ratherproud of the weavers. He did not feelproud of them this morning. He satwith the folded Chronicle under his

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hand and saw, with the disagreeableclearness that comes upon a man atbreakfast, that the Warden had beenin Manchester on the sixteenth ofAugust, and that he had sent himthere.

“Will you take the carriage, sir?”said Fenwick.

He had not said that he was goingout. “I will walk,” he said; and thesatisfaction of having, for once, saidsomething that Fenwick could nothave said for him carried him as far asBrook Street before he understoodthat it was a very small satisfactionfor a man of two-and-thirty.

The Albemarle was published from ahouse in Albemarle Street, betweenthe Royal Institution, where the fash-ionable world had gone in SirHumphry Davy’s day to watch thingsset on fire, and Grillion’s, where it hadgone afterwards to dine. Mr. Radcliffehad the ground floor for his shop andthe first floor for his drawing-room, inwhich he gave dinners to authors whomight be of use to him, and a backroom on the ground floor in which hedid his business; and it was to theback room that Mr. Kinross wasshown, without being announced, be-cause he was the only man in Londonto whom Mr. Radcliffe was always athome.

It was the first of the month, and

the back room was full of magazines.The Albemarle lay on every chair, inits buff wrapper, still smelling of thepress; and on the table, in a heap thatMr. Radcliffe pretended not to havelooked at, lay everybody else’s: theMonthly, the European, the NewMonthly, the Gentleman’s, and theblue-grey wrapper of the Ludgate.

“You have seen the tenth number,”said Mr. Radcliffe. He was a large,pale, careful man, who had been abookseller’s apprentice in Edinburghand had never forgotten it, and hesaid it in the tone in which a physiciansays that a patient is comfortable.

“I wrote it.”

“It is much admired,” saidMr. Radcliffe, “by those who admireit.” He moved the Ludgate half aninch, so that it lay square with theedge of the table. “I had a letter fromLord Ashcombe. He wished me to saythat the siege in the ninth number wasthe finest thing of its kind sinceFroissart.”

“Lord Ashcombe has not readFroissart.”

“That is very possible. He has notread the Warden either, I think, buthe is a subscriber, and I value hisopinion.” Mr. Radcliffe sat down,which he did not usually do inMr. Kinross’s presence, and put thetips of his fingers together. “I will beplain with you, sir, since you pay me

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to be. We lose by the Warden aboutwhat I told you in June. I can bear it.You can bear it a good deal more eas-ily than I can. But it is the first ofSeptember, and the town is talkingabout Manchester, and about nothingelse, and I should be glad if the elev-enth number had a little more in it ofwhat the town is talking about.”

“A massacre,” said Mr. Kinross.

“An incident,” said Mr. Radcliffe,with a faint emphasis, as of a mancorrecting the proof of somebodyelse’s newspaper. “We are printing avery temperate article in October, insupport of the magistrates. And youngWray has a second paper for us onthe Cockney School, which I thinkwill make a stir.” He touched theblue-grey wrapper again. “Baldock islucky. He has a page on Manchester inthis number, set in the last week ofAugust, I don’t know how; he musthave held his press for it. And he hasa comedy of the Manchester trade inthe same number, as it happens,which in any other month would havebeen thought vulgar, and in this onewill be thought prophetic. Wraymeans to take it to pieces in October.”

Mr. Kinross looked at the wrapper.He had a high opinion of very fewmen and a low opinion of LuciusWray, whose debts he had paid once,three years ago, for reasons that hehad not explained to anybody and did

not now propose to explain toMr. Radcliffe; and he found that hedid not care, as much as he wouldhave expected, to think of LuciusWray taking the Mortimers to pieces.It was not that he admired them. Hehad not decided what he thought ofthem. But he had decided, on a benchin the Temple garden, that they werecompetent, and he had not found thatanybody else in Albemarle Street wasin the habit of using the word.

“Will the eleventh number,” saidMr. Radcliffe, “have a little more in-cident in it?”

“No,” said Mr. Kinross. He pickedup the Ludgate. “I will take this, ifyou have done with it.”

Mr. Radcliffe, who had read it fromcover to cover at seven o’clock thatmorning, said that he had barelylooked into it, and that Mr. Kinrosswas very welcome; and when the doorhad closed behind his principal propri-etor he sat for some time looking atthe place on the table where theLudgate had been, and wondering, ashe had wondered once or twice beforein the course of a long and profitablelife, what the devil a man of ten thou-sand a year wanted with a rival’smagazine.

He walked to the Temple, because hehad said that he would walk, and be-cause a man who has refused the

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carriage in Grosvenor Square cannotvery well take a hackney in Piccadilly;and he went down the Strand amongthe drays and the ballad-sellers andthe boys crying the latest fromManchester, which was a week old,with the Ludgate under his arm likeany clerk, and in at the Inner Templegate as St. Dunstan’s giants strucktwelve.

Figgis said good morning to him inthe lane. Figgis said good morning tohim every morning, in a mannerwhich conveyed that it was a privilegefor the morning, and that Figgiswould not have said it to everybody.

At his desk he read Mr. Baldock’spage on Manchester first, because hehad been told it was there, and foundit short, angry and plainly written, bysomebody who had been in St. Peter’sField and had not been able to get thesound of it out of his head; it had beenset in a smaller type than the rest ofthe number, as if it had been squeezedin with a shoehorn, and it was betterthan anything in the Courier by thewidth of England. Then he turned tothe fifth number of The Mortimers ofMount Street, and settled himself todecide, once and for all, what hethought of it.

The fifth number was about afootman.

It had seemed, in the fourth, that itwould be about Miss Mortimer and the

house she had not been asked to; butthe Author had set that aside, with abriskness he was coming to recognise,and had opened instead upon a morn-ing in Mount Street on whichThomas, the second footman, hadcome into the breakfast-parlour andgiven notice. Thomas did not say why.Mrs. Mortimer supposed it was thewages, and offered more; MissMortimer supposed it was a youngwoman, and was rebuked; the butlersupposed it was the place, and wasnot asked. Mr. Kinross, who had notexpected to be amused, found that hewas reading with the exact care of aman who is waiting to be disappoin-ted, and that he was not disappointed,and that the number was nearly over.

Then, at the foot of a column, hecame upon a sentence that he knew.

He knew it before he knew why.He knew it as a man knows his ownstep on a stair, by the weight of it, be-fore he has thought whose step it is:the long fall of the clause, the turnupon understood, the semicolons laiddown like stepping-stones across astream. He read it to the end. Then hegot up, and took the ninth number ofthe Albemarle from the shelf behindhim, and opened it at the placebetween the letter and the sermon,and laid the two magazines side byside upon the desk, the buff wrapperand the blue.

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It was his. It was his to the laststone, except where it was not. Untilthat hour had become until Thomasgave notice. The one thing was so eas–ily had had become the one was to behad for thirty pounds a year. Five-and-thirty years had acquired in theManchester trade, and the belief hadbecome the firm belief, which was theonly one of the alterations that hecould have improved upon, and he wasnot sure that he could. The Warden ofthe Marches, alone in a stone roomwith a King’s letter, had become acotton-man from Manchester in a din-ing-room in Mount Street, in want ofa footman; and the sentence, whichhad cost Mr. Kinross a week in thespring and which he had believed,privately, to be the best thing he hadever written, was funny.

He laughed.

He did not do it often, and he did itnow so suddenly and so loud that a pi-geon got up off the window-sill, andsomebody on the stair below stoppedand then went on. He laughed withhis hand flat on the two magazines, asa man laughs at a good stroke madeagainst him at fives; and when he haddone he sat back in his chair andlooked at the ceiling, which neededwhitewashing, and considered whathad happened to him.

Somebody had read the Warden.

Not looked into it, not subscribed to

it, not admired it to Mr. Radcliffe byletter, but read it, the ninth number,through the siege and the sermon,which he knew nobody could read;and had found, between the one andthe other, the only paragraph in itthat he had written for himself; andhad taken it. Nobody steals what hedoes not value. It was the first opinionof his work that he had ever beenoffered by a person who did not knowwho he was, and who had nothing togain by flattering him, and nothing tolose by saying so; and it had beenoffered in the plainest language thatone writer has for another, which istheft.

And then the thief had made it bet-ter. Not finer; he would not grantfiner. But he had written the sentencein the Marches about a man who hadno notion what anything cost, and thethief had moved it to a house wheresomebody knew to a shilling what afootman cost, and had put the priceinto the sentence, and the price waswhat made it true. To be had forthirty pounds a year. Mr. Kinross didnot know what his own footmen werepaid. He had never asked. Fenwickknew.

He looked for a long while at theblue-grey wrapper, and at the wordsThe Mortimers of Mount Street in itslist of contents; and then, withoutquite meaning to, he took up his pencil

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and made a tick beside them, as hehad in August. The Author wasclever; that much the page proved.The rest Mr. Kinross supplied, as aman does who is used to being right.The Author was a young man; anOxford man, very likely, who hadquarrelled with his father and comeup to London to make his name by hispen; who wrote in a coffee-house anddined on credit, and had never set footin a counting-house in his life. And hehad an ear.

He was wrong in every particularbut the last.

The eleventh number of The LordWarden was due in Albemarle Streeton the tenth, and it had not beenbegun.

It had not been begun because thetenth had been so difficult. TheWarden had answered the King atlast, in a letter of four pages whichMr. Kinross had written eleven times,and which had gone to the printer inthe second week of August with thefeeling, familiar to him and neverpleasant, of a thing sent out of thehouse before it was dressed. Sincethen he had sat at this desk on mostafternoons and looked at a sheet offoolscap headed No. XI., and hadwritten on it, at various times, thedate of the Battle of Shrewsbury, thename of a horse, and a word which he

had struck through. The difficulty wasnot that he did not know whathappened next. He knew to the daywhat happened next; it was in the boxfor 1403. The difficulty was that hehad lost, somewhere in the writing ofthe King’s letter, the reason for tellingit.

He took the August Ludgate downfrom the shelf, where it lay marked inpencil, and opened it at the fourthnumber of the Mortimers, and foundthe paragraph beside which he hadwritten competent.

Miss Mortimer understood, betweenthe soup and the fish, that she would notbe asked to Lady Harrowgate’s; and shesat out the rest of the dinner in thegown in which she had been dressed forit, because to go up and change it wouldhave been to admit that she had known.

He read it three times. It was notcompetent. He had known in Augustthat it was not competent, and hadwritten the word because he did notwish to write any other, and becauseit is a thing commonly done by menwho own a share in one magazine tothe authors of another. It was the bestsentence in the number, and it wasabout a girl who had been dressed fora house she was not to enter, and ithad been written, he was now quitesure, by somebody who had sat out adinner in that gown. He put thisdown, after some thought, to the

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young man’s having sisters.

He pulled the foolscap towards himand dipped his pen.

There was a hostage at Ludlow, inthe box for 1403: a Welsh girl, thedaughter of one of Glendower’s cap-tains, kept in the castle against herfather’s good behaviour, of whom thechroniclers said nothing at all exceptthat she was there. He had alwaysmeant to do something with her, andhad never known what. He knew now.He wrote, quickly, in the small fasthand that the laundress said was likea hen walking in ink, and he did notstop to cross anything out.

The Lady Gwenllian understood,between the grace and the first dish,that she would not be called up to thehigh table; and she sat out the rest ofthe feast in the gown that had beenmade for it, because to send for anotherwould have been to own that she hadhoped.

He read it over. It was not funny. Ithad been funny in Mount Street,where it had been something else, andhe was aware, in the part of his mindthat he did not commonly consult, thathe had taken a thing that was not hisand made it graver in the taking; andthat this was precisely, stroke forstroke, what had been done to him;and that whoever had done it wouldknow, on the first of October, that ithad been noticed.

It was a curious way to begin a cor-respondence. It was the only way, hesupposed, in which a man in King’sBench Walk could begin one with ayoung man whose name he did notknow, and who had sisters, withoutbeing introduced. He wrote on untilthe giants of St. Dunstan’s struck sixand the light went off the river, andwhen he got up from the desk the el-eventh number was four pages long,and he knew again the reason fortelling it.

The Albemarle came to SalisburySquare on the third of September, twodays late, because Mr. Pelham hadtaken it into the country.

Clemency had seen her own num-ber on the first. She had gone up tothe Row to look at it, as she did everymonth, without buying it, and hadstood at Baldock’s window and readthe list of contents through the glass,and had found, set in above theMortimers in a smaller type than therest, a page headed Manchester. Shehad known that it would be there;Mr. Baldock had held his press for it,and told her so, and told her that thetown would read the Mortimers thismonth with some attention, since theywere a Manchester family. He hadmeant it kindly. She had gone homeand been unable to eat her dinner. Herfather had bought fustians for twenty

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years from a house in Manchesterwhose name she could still have writ-ten in her sleep; the Hindleys’ son hadcome to Bread Street once, and eatenroast mutton, and talked about looms;and she had spent the summer makingthe Manchester trade ridiculous forseven guineas a number, and had sentit out into a month in which peoplefrom the Manchester trade had beencut down with sabres in a field. It wasnot her fault. She had written it inJuly, and finished it on the fourth ofAugust, twelve days before St. Peter’sField. She told herself so a greatmany times, and it made nodifference.

Kit had said, at supper, thatMr. Pelham said the yeomanry haddone right, and that he rather thoughtthey had; and Lucy had said that shewas sure they had done wrong, andthat she rather thought so too; andtheir mother had said that she did notsee what Manchester had to do withany of them, and had then gone veryquiet, and said that she wonderedwhether the Hindleys were all well.

So it was in no frame of mind forthe Warden that Clemency took upthe tenth number on the morning ofthe third, and she was surprised tofind that she sat down to it.

The Warden had answered theKing.

It was a long answer, and a hard

one to read. It began by setting out,as carefully as a lease, which matterslay within the Warden’s authority andwhich lay outwith it; and she read itall; and somewhere in the third page,in the middle of an account of the for-tifying of Ludlow which went onlonger than anything ought to go on,with the river going down on the ebbbeneath the castle wall, she cameupon this:

My liege, I have kept your peace inthe March these nine years, and havelearned in the keeping that it is a thingmore easily broken by the keeper thanby the kept.

She read it with the room quite stillabout her. It was impossible that itshould have been written aboutManchester. The number had beenmade up in August, before anybody inLondon had heard of St. Peter’s Field;she knew how long a number took toprint better than anyone in that house.But it read, in the first week ofSeptember, as though the man hadbeen standing on the hustings with apencil, and she sat with the magazinein her lap and was angry with him, fora moment, for having been right byaccident, which was a thing she hadnever been.

Then she turned the pages throughto the end, slowly, looking forsomething.

She did not tell herself what she

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was looking for. She was looking for afootman, or a dining-room, or a manfrom Manchester, or the turn of a sen-tence that she might know; for anysign, in short, that the fifth number ofthe Mortimers had been read in theplace where the Warden was written.There was none. There could not havebeen; the tenth number had been prin-ted before the fifth was published, andshe was a fool. She shut themagazine, and found that the cornerof the page with the Warden’s answeron it was turned down, and could notremember doing it.

She put on her bonnet, because theroom had become too small to thinkin, and went out.

It was not yet three, and thegarden would not be open; so shewalked as far as the print-seller’s atthe corner of Bouverie Street, whichwas as far as a woman could walk inFleet Street without appearing to begoing somewhere, and stood at thewindow.

The print-sellers of London soldLondon to itself in two kinds, andMr. Brindle hung them side by side.On the left, in a black frame, was anold engraving of Temple Bar, done be-fore she was born, so old that it stillshowed the iron spikes on the top ofthe gate where the City had once setthe heads of traitors: and under thearch the whole street was crammed

into a space a yard wide, carts andchairmen and a ballad-singer and adog and a beadle and a man with atray of pies, all shouting, as far as anengraving can shout. On the right, ina gilt one, was a view of the InnerTemple garden, drawn from somegentleman’s window above it: the longlawn, the gravel walks, the planetrees, the river wall, a barge with abrown sail, and nobody in it at all buta lady at the wall and a gentleman ona bench, too small to have faces.

The two pictures were of placesperhaps three hundred yards apart.She had looked at them a dozen times,and she saw now, as one sees a thingin a familiar room that has been thereall the while, what was clever aboutthem: that each had been made byleaving out the other. The man whodrew the gate had left out the garden,which was behind it; the man at thewindow had left out the noise, whichwas a street away. A customer couldcarry home the din or the quiet for thesame money, but not both. She did itherself every month, at seven guineas,and called it Mount Street.

And standing there, with her ownface faint in the glass between thegate and the garden, she did what shehad not allowed herself to do upstairs:she took the Warden to pieces.

The Warden lost money, and wasnot stopped. Mr. Baldock said that it

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cost Albemarle Street twenty poundsa month; and a magazine does notcarry twenty pounds a month forsomebody’s nephew. It carries themfor the man who owns it. The author,therefore, owned the Albemarle, orthe better part of it, and was rich.That was one.

On the second page of his answerthe Warden had written that a certainmatter lay outwith his authority. NoEnglishman alive would have writtenoutwith. The author was a Scot. Thatwas two.

On the third page the Warden hadstood on the wall at Ludlow andwatched the river go down on the ebb.The Teme at Ludlow had no ebb; itwas fifty miles and more from thenearest tide, and she knew it, becauseshe had once spent a wet fortnightwith a gazetteer. The man had lookedat a tidal river so long, and so often,that he had given one to a river thathad none. He wrote within sight ofthe Thames. That was three.

And the King’s letter had beenanswered as a deed is drawn, whereasand provided always and saving nev–ertheless, by somebody who had beenbred to the law, or had sat a long timenear it. That was four.

A rich Scot of the Inns of Court,who wrote within sight of the river.She looked up from the glass, alongthe street, to the gate and the roofs of

the Temple beyond it, and very nearlylaughed; for half the Temple answeredto that description, and the other halfwas trying to. And a man of that kind,she thought, turning homeward,would no more read the Mortimersthan he would read the Lady’sCabinet; he did not know they existed;he never would.

She was right in every particularbut the last.

She went home by Salisbury Court,and up the two pair of stairs, and intothe back room; and when she hadtaken off her bonnet she did a thingthat she did perhaps once a month,and never when anybody was by. Shetook out the portfolio.

It had been her father’s, and hadheld patterns of fustian. It held now,between its marbled boards, every pic-ture she had ever begun of theMortimers, and not one of them wasfinished. Mr. Mortimer at the head ofhis table, without a face.Mrs. Mortimer’s carriage at the doorin Mount Street, very handsomelydone, with the railings set at the kerb.Miss Mortimer in the gown she hadbeen dressed in for LadyHarrowgate’s, the gown washed in tothe last flounce, and the face leftwhite, because Clemency had neverbeen able to decide what the girlwould look like at the moment sheunderstood.

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She had read Emma the winter itcame out, in the copy from the circu-lating library on Ludgate Hill, andhad laughed aloud at the portfolioMiss Woodhouse brought out to showMr. Elton: the miniatures and half-lengths and whole-lengths, in penciland crayon and water-colours, ofwhich not one had ever been finished,and the Author’s verdict on them,which was that steadiness had alwaysbeen wanting. It was not steadinessthat was wanting in Salisbury Square.It was colours, which cost money; anddaylight, which she could not paint bywhile she was writing by it; and areason. Emma’s drawing had beencarried to London by an admirer, andframed, and hung over a mantelpiecefor the whole of Highbury to praise. Apicture of Mount Street by somebodywho had never set foot in MountStreet would be seen by nobody at all;she had known it every time shebegan one; and her drawings went

back into a fustian-merchant’s portfo-lio, under the bed.

And yet she kept them, becausethere was a book in her head that wasnot the Mortimers as they were, soldby the sheet and forgotten by themonth, but the Mortimers as theymight one day be: three volumes inboards, with plates, and under eachplate, in small capitals, drawn bythe author. It was the most foolishthing she knew about herself, and shehad told it to nobody.

She sat down at the desk, in whatwas left of the light, and began an-other. It was the garden of the InnerTemple, seen from the river wall: thelong lawn, the plane trees, the gravelof the eastern walk, the bench underthe second plane, and on the bench agentleman, too small to have a face.

She did not finish it.

She would know on the first ofOctober.

(To be continued.)

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THE INTELLICUREAN.
Vol. I.NOVEMBER, 1819.No. II.

THE WIT OF MOUNT STREET;

or,

HER HEART IN NUMBERS.

(Continued from page 8.)


CHAPTER II.

Thomas Gives Notice.

The knocker had been taken off the door of the house in Grosvenor Square in the last week of July, as it was taken off every year, to inform the world that the family was out of town; and the world, which was itself out of town, had taken no notice.

The family was at Ardoch. That is to say, Lady Ardoch was at Ardoch, with four guests, two pointers, and a Miss Lauder whom she had invited for her complexion; and the head of the family, who should have been there, was in London, in a house where the chandeliers had been bagged in holland and the furniture stood about the drawing-rooms in dust-sheets like a company of mourners waiting to be told whose funeral it was. It was the first of September. Every gentleman in England who could hold a gun was standing in a stubble field. Mr. Kinross was eating his breakfast.

He ate it in the small dining-room at the back, because the large one had been shut up, and he ate it alone, because there was nobody else, and he was served by Fenwick and two footmen, because that was the establishment, and it did not occur to anyone in the house that one man and a rack of toast might be served by fewer. The coffee was at his hand before he had looked for it. The Times was folded at the side of his plate, and beneath it the Morning Chronicle, which he took because it was a Whig paper and he wished to know what the Whigs were saying, and beneath that the Courier, which he took because it was not, and he wished to know that too. Fenwick had ironed all three. He had never asked Fenwick to iron the newspapers. He had never asked Fenwick for anything that he could remember, and it struck him, not for the first time that summer, that he had lived for six-and-thirty days in this house without once giving an order in it.

On the salver was a letter from his

aunt.

Lady Ardoch wrote a large, decided hand, crossed and recrossed, and she wrote as she talked, which was without stopping. The weather was fine. The birds were plentiful. Miss Lauder was a charming girl, and had asked twice whether Mr. Kinross was expected, and Lady Ardoch had been obliged to say she could not tell, since she had not been told. She could not conceive what kept him in London in September, unless it was his lawyers, and if it was his lawyers she could only say that she had never known a lawyer who could not be kept waiting by a gentleman with ten thousand a year. She remained his affectionate aunt. Under the signature, across the first page, in the smallest hand she had: Pray do not tell me it is the book.

He folded the letter and put it under the toast-rack, which was where he put letters he did not mean to answer that day, and Fenwick, who knew it, removed the toast-rack.

The newspapers were full of Manchester. They had been full of Manchester for a fortnight, since the Monday on which the yeomanry had ridden into a crowd of sixty thousand people in St. Peter’s Field with their sabres drawn, to arrest a man on a cart who could perfectly well have been arrested at his inn; and they would be full of it for a long time yet. The Courier printed the thanks of the Government to the magistrates, in a column of type that looked, he thought, as pleased with itself as type could look. The Chronicle printed the names of the dead, with their ages and their trades, under a heading which the Courier would call inflammatory and which was merely accurate. A weaver. A special constable. A woman. A child of two. He read them all, slowly, because it seemed to him that someone ought to read them who had not been there, and then he folded the paper and found that he had not tasted his coffee and that Fenwick had already replaced it with coffee that was hot.

It was not, he knew, any concern of his. He had no property in Lancashire and no opinions on the reform of Parliament that he had ever been required to express aloud. But he had spent the summer, and the nine years before it, in the company of a man who kept order for a King who did not trust him, and who had once, in the eighth number of The Lord Warden, ridden into a market-place at Ludlow with forty spears to put down a riot of weavers; and he had written that scene with great care and a good deal of satisfaction, and had been rather proud of the weavers. He did not feel proud of them this morning. He sat with the folded Chronicle under his

hand and saw, with the disagreeable clearness that comes upon a man at breakfast, that the Warden had been in Manchester on the sixteenth of August, and that he had sent him there.

“Will you take the carriage, sir?” said Fenwick.

He had not said that he was going out. “I will walk,” he said; and the satisfaction of having, for once, said something that Fenwick could not have said for him carried him as far as Brook Street before he understood that it was a very small satisfaction for a man of two-and-thirty.

The Albemarle was published from a house in Albemarle Street, between the Royal Institution, where the fashionable world had gone in Sir Humphry Davy’s day to watch things set on fire, and Grillion’s, where it had gone afterwards to dine. Mr. Radcliffe had the ground floor for his shop and the first floor for his drawing-room, in which he gave dinners to authors who might be of use to him, and a back room on the ground floor in which he did his business; and it was to the back room that Mr. Kinross was shown, without being announced, because he was the only man in London to whom Mr. Radcliffe was always at home.

It was the first of the month, and the back room was full of magazines. The Albemarle lay on every chair, in its buff wrapper, still smelling of the press; and on the table, in a heap that Mr. Radcliffe pretended not to have looked at, lay everybody else’s: the Monthly, the European, the New Monthly, the Gentleman’s, and the blue-grey wrapper of the Ludgate.

“You have seen the tenth number,” said Mr. Radcliffe. He was a large, pale, careful man, who had been a bookseller’s apprentice in Edinburgh and had never forgotten it, and he said it in the tone in which a physician says that a patient is comfortable.

“I wrote it.”

“It is much admired,” said Mr. Radcliffe, “by those who admire it.” He moved the Ludgate half an inch, so that it lay square with the edge of the table. “I had a letter from Lord Ashcombe. He wished me to say that the siege in the ninth number was the finest thing of its kind since Froissart.”

“Lord Ashcombe has not read Froissart.”

“That is very possible. He has not read the Warden either, I think, but he is a subscriber, and I value his opinion.” Mr. Radcliffe sat down, which he did not usually do in Mr. Kinross’s presence, and put the tips of his fingers together. “I will be plain with you, sir, since you pay me

to be. We lose by the Warden about what I told you in June. I can bear it. You can bear it a good deal more easily than I can. But it is the first of September, and the town is talking about Manchester, and about nothing else, and I should be glad if the eleventh number had a little more in it of what the town is talking about.”

“A massacre,” said Mr. Kinross.

“An incident,” said Mr. Radcliffe, with a faint emphasis, as of a man correcting the proof of somebody else’s newspaper. “We are printing a very temperate article in October, in support of the magistrates. And young Wray has a second paper for us on the Cockney School, which I think will make a stir.” He touched the blue-grey wrapper again. “Baldock is lucky. He has a page on Manchester in this number, set in the last week of August, I don’t know how; he must have held his press for it. And he has a comedy of the Manchester trade in the same number, as it happens, which in any other month would have been thought vulgar, and in this one will be thought prophetic. Wray means to take it to pieces in October.”

Mr. Kinross looked at the wrapper. He had a high opinion of very few men and a low opinion of Lucius Wray, whose debts he had paid once, three years ago, for reasons that he had not explained to anybody and did not now propose to explain to Mr. Radcliffe; and he found that he did not care, as much as he would have expected, to think of Lucius Wray taking the Mortimers to pieces. It was not that he admired them. He had not decided what he thought of them. But he had decided, on a bench in the Temple garden, that they were competent, and he had not found that anybody else in Albemarle Street was in the habit of using the word.

“Will the eleventh number,” said Mr. Radcliffe, “have a little more incident in it?”

“No,” said Mr. Kinross. He picked up the Ludgate. “I will take this, if you have done with it.”

Mr. Radcliffe, who had read it from cover to cover at seven o’clock that morning, said that he had barely looked into it, and that Mr. Kinross was very welcome; and when the door had closed behind his principal proprietor he sat for some time looking at the place on the table where the Ludgate had been, and wondering, as he had wondered once or twice before in the course of a long and profitable life, what the devil a man of ten thousand a year wanted with a rival’s magazine.

He walked to the Temple, because he had said that he would walk, and because a man who has refused the

carriage in Grosvenor Square cannot very well take a hackney in Piccadilly; and he went down the Strand among the drays and the ballad-sellers and the boys crying the latest from Manchester, which was a week old, with the Ludgate under his arm like any clerk, and in at the Inner Temple gate as St. Dunstan’s giants struck twelve.

Figgis said good morning to him in the lane. Figgis said good morning to him every morning, in a manner which conveyed that it was a privilege for the morning, and that Figgis would not have said it to everybody.

At his desk he read Mr. Baldock’s page on Manchester first, because he had been told it was there, and found it short, angry and plainly written, by somebody who had been in St. Peter’s Field and had not been able to get the sound of it out of his head; it had been set in a smaller type than the rest of the number, as if it had been squeezed in with a shoehorn, and it was better than anything in the Courier by the width of England. Then he turned to the fifth number of The Mortimers of Mount Street, and settled himself to decide, once and for all, what he thought of it.

The fifth number was about a footman.

It had seemed, in the fourth, that it would be about Miss Mortimer and the house she had not been asked to; but the Author had set that aside, with a briskness he was coming to recognise, and had opened instead upon a morning in Mount Street on which Thomas, the second footman, had come into the breakfast-parlour and given notice. Thomas did not say why. Mrs. Mortimer supposed it was the wages, and offered more; Miss Mortimer supposed it was a young woman, and was rebuked; the butler supposed it was the place, and was not asked. Mr. Kinross, who had not expected to be amused, found that he was reading with the exact care of a man who is waiting to be disappointed, and that he was not disappointed, and that the number was nearly over.

Then, at the foot of a column, he came upon a sentence that he knew.

He knew it before he knew why. He knew it as a man knows his own step on a stair, by the weight of it, before he has thought whose step it is: the long fall of the clause, the turn upon understood, the semicolons laid down like stepping-stones across a stream. He read it to the end. Then he got up, and took the ninth number of the Albemarle from the shelf behind him, and opened it at the place between the letter and the sermon, and laid the two magazines side by side upon the desk, the buff wrapper and the blue.

It was his. It was his to the last stone, except where it was not. Until that hour had become until Thomas gave notice. The one thing was so easily had had become the one was to be had for thirty pounds a year. Five-and-thirty years had acquired in the Manchester trade, and the belief had become the firm belief, which was the only one of the alterations that he could have improved upon, and he was not sure that he could. The Warden of the Marches, alone in a stone room with a King’s letter, had become a cotton-man from Manchester in a dining-room in Mount Street, in want of a footman; and the sentence, which had cost Mr. Kinross a week in the spring and which he had believed, privately, to be the best thing he had ever written, was funny.

He laughed.

He did not do it often, and he did it now so suddenly and so loud that a pigeon got up off the window-sill, and somebody on the stair below stopped and then went on. He laughed with his hand flat on the two magazines, as a man laughs at a good stroke made against him at fives; and when he had done he sat back in his chair and looked at the ceiling, which needed whitewashing, and considered what had happened to him.

Somebody had read the Warden.

Not looked into it, not subscribed to it, not admired it to Mr. Radcliffe by letter, but read it, the ninth number, through the siege and the sermon, which he knew nobody could read; and had found, between the one and the other, the only paragraph in it that he had written for himself; and had taken it. Nobody steals what he does not value. It was the first opinion of his work that he had ever been offered by a person who did not know who he was, and who had nothing to gain by flattering him, and nothing to lose by saying so; and it had been offered in the plainest language that one writer has for another, which is theft.

And then the thief had made it better. Not finer; he would not grant finer. But he had written the sentence in the Marches about a man who had no notion what anything cost, and the thief had moved it to a house where somebody knew to a shilling what a footman cost, and had put the price into the sentence, and the price was what made it true. To be had for thirty pounds a year. Mr. Kinross did not know what his own footmen were paid. He had never asked. Fenwick knew.

He looked for a long while at the blue-grey wrapper, and at the words The Mortimers of Mount Street in its list of contents; and then, without quite meaning to, he took up his pencil

and made a tick beside them, as he had in August. The Author was clever; that much the page proved. The rest Mr. Kinross supplied, as a man does who is used to being right. The Author was a young man; an Oxford man, very likely, who had quarrelled with his father and come up to London to make his name by his pen; who wrote in a coffee-house and dined on credit, and had never set foot in a counting-house in his life. And he had an ear.

He was wrong in every particular but the last.

The eleventh number of The Lord Warden was due in Albemarle Street on the tenth, and it had not been begun.

It had not been begun because the tenth had been so difficult. The Warden had answered the King at last, in a letter of four pages which Mr. Kinross had written eleven times, and which had gone to the printer in the second week of August with the feeling, familiar to him and never pleasant, of a thing sent out of the house before it was dressed. Since then he had sat at this desk on most afternoons and looked at a sheet of foolscap headed No. XI., and had written on it, at various times, the date of the Battle of Shrewsbury, the name of a horse, and a word which he had struck through. The difficulty was not that he did not know what happened next. He knew to the day what happened next; it was in the box for 1403. The difficulty was that he had lost, somewhere in the writing of the King’s letter, the reason for telling it.

He took the August Ludgate down from the shelf, where it lay marked in pencil, and opened it at the fourth number of the Mortimers, and found the paragraph beside which he had written competent.

Miss Mortimer understood, between the soup and the fish, that she would not be asked to Lady Harrowgate’s; and she sat out the rest of the dinner in the gown in which she had been dressed for it, because to go up and change it would have been to admit that she had known.

He read it three times. It was not competent. He had known in August that it was not competent, and had written the word because he did not wish to write any other, and because it is a thing commonly done by men who own a share in one magazine to the authors of another. It was the best sentence in the number, and it was about a girl who had been dressed for a house she was not to enter, and it had been written, he was now quite sure, by somebody who had sat out a dinner in that gown. He put this down, after some thought, to the

young man’s having sisters.

He pulled the foolscap towards him and dipped his pen.

There was a hostage at Ludlow, in the box for 1403: a Welsh girl, the daughter of one of Glendower’s captains, kept in the castle against her father’s good behaviour, of whom the chroniclers said nothing at all except that she was there. He had always meant to do something with her, and had never known what. He knew now. He wrote, quickly, in the small fast hand that the laundress said was like a hen walking in ink, and he did not stop to cross anything out.

The Lady Gwenllian understood, between the grace and the first dish, that she would not be called up to the high table; and she sat out the rest of the feast in the gown that had been made for it, because to send for another would have been to own that she had hoped.

He read it over. It was not funny. It had been funny in Mount Street, where it had been something else, and he was aware, in the part of his mind that he did not commonly consult, that he had taken a thing that was not his and made it graver in the taking; and that this was precisely, stroke for stroke, what had been done to him; and that whoever had done it would know, on the first of October, that it had been noticed.

It was a curious way to begin a correspondence. It was the only way, he supposed, in which a man in King’s Bench Walk could begin one with a young man whose name he did not know, and who had sisters, without being introduced. He wrote on until the giants of St. Dunstan’s struck six and the light went off the river, and when he got up from the desk the eleventh number was four pages long, and he knew again the reason for telling it.

The Albemarle came to Salisbury Square on the third of September, two days late, because Mr. Pelham had taken it into the country.

Clemency had seen her own number on the first. She had gone up to the Row to look at it, as she did every month, without buying it, and had stood at Baldock’s window and read the list of contents through the glass, and had found, set in above the Mortimers in a smaller type than the rest, a page headed Manchester. She had known that it would be there; Mr. Baldock had held his press for it, and told her so, and told her that the town would read the Mortimers this month with some attention, since they were a Manchester family. He had meant it kindly. She had gone home and been unable to eat her dinner. Her father had bought fustians for twenty

years from a house in Manchester whose name she could still have written in her sleep; the Hindleys’ son had come to Bread Street once, and eaten roast mutton, and talked about looms; and she had spent the summer making the Manchester trade ridiculous for seven guineas a number, and had sent it out into a month in which people from the Manchester trade had been cut down with sabres in a field. It was not her fault. She had written it in July, and finished it on the fourth of August, twelve days before St. Peter’s Field. She told herself so a great many times, and it made no difference.

Kit had said, at supper, that Mr. Pelham said the yeomanry had done right, and that he rather thought they had; and Lucy had said that she was sure they had done wrong, and that she rather thought so too; and their mother had said that she did not see what Manchester had to do with any of them, and had then gone very quiet, and said that she wondered whether the Hindleys were all well.

So it was in no frame of mind for the Warden that Clemency took up the tenth number on the morning of the third, and she was surprised to find that she sat down to it.

The Warden had answered the King.

It was a long answer, and a hard one to read. It began by setting out, as carefully as a lease, which matters lay within the Warden’s authority and which lay outwith it; and she read it all; and somewhere in the third page, in the middle of an account of the fortifying of Ludlow which went on longer than anything ought to go on, with the river going down on the ebb beneath the castle wall, she came upon this:

My liege, I have kept your peace in the March these nine years, and have learned in the keeping that it is a thing more easily broken by the keeper than by the kept.

She read it with the room quite still about her. It was impossible that it should have been written about Manchester. The number had been made up in August, before anybody in London had heard of St. Peter’s Field; she knew how long a number took to print better than anyone in that house. But it read, in the first week of September, as though the man had been standing on the hustings with a pencil, and she sat with the magazine in her lap and was angry with him, for a moment, for having been right by accident, which was a thing she had never been.

Then she turned the pages through to the end, slowly, looking for something.

She did not tell herself what she

was looking for. She was looking for a footman, or a dining-room, or a man from Manchester, or the turn of a sentence that she might know; for any sign, in short, that the fifth number of the Mortimers had been read in the place where the Warden was written. There was none. There could not have been; the tenth number had been printed before the fifth was published, and she was a fool. She shut the magazine, and found that the corner of the page with the Warden’s answer on it was turned down, and could not remember doing it.

She put on her bonnet, because the room had become too small to think in, and went out.

It was not yet three, and the garden would not be open; so she walked as far as the print-seller’s at the corner of Bouverie Street, which was as far as a woman could walk in Fleet Street without appearing to be going somewhere, and stood at the window.

The print-sellers of London sold London to itself in two kinds, and Mr. Brindle hung them side by side. On the left, in a black frame, was an old engraving of Temple Bar, done before she was born, so old that it still showed the iron spikes on the top of the gate where the City had once set the heads of traitors: and under the arch the whole street was crammed into a space a yard wide, carts and chairmen and a ballad-singer and a dog and a beadle and a man with a tray of pies, all shouting, as far as an engraving can shout. On the right, in a gilt one, was a view of the Inner Temple garden, drawn from some gentleman’s window above it: the long lawn, the gravel walks, the plane trees, the river wall, a barge with a brown sail, and nobody in it at all but a lady at the wall and a gentleman on a bench, too small to have faces.

The two pictures were of places perhaps three hundred yards apart. She had looked at them a dozen times, and she saw now, as one sees a thing in a familiar room that has been there all the while, what was clever about them: that each had been made by leaving out the other. The man who drew the gate had left out the garden, which was behind it; the man at the window had left out the noise, which was a street away. A customer could carry home the din or the quiet for the same money, but not both. She did it herself every month, at seven guineas, and called it Mount Street.

And standing there, with her own face faint in the glass between the gate and the garden, she did what she had not allowed herself to do upstairs: she took the Warden to pieces.

The Warden lost money, and was not stopped. Mr. Baldock said that it

cost Albemarle Street twenty pounds a month; and a magazine does not carry twenty pounds a month for somebody’s nephew. It carries them for the man who owns it. The author, therefore, owned the Albemarle, or the better part of it, and was rich. That was one.

On the second page of his answer the Warden had written that a certain matter lay outwith his authority. No Englishman alive would have written outwith. The author was a Scot. That was two.

On the third page the Warden had stood on the wall at Ludlow and watched the river go down on the ebb. The Teme at Ludlow had no ebb; it was fifty miles and more from the nearest tide, and she knew it, because she had once spent a wet fortnight with a gazetteer. The man had looked at a tidal river so long, and so often, that he had given one to a river that had none. He wrote within sight of the Thames. That was three.

And the King’s letter had been answered as a deed is drawn, whereas and provided always and saving nevertheless, by somebody who had been bred to the law, or had sat a long time near it. That was four.

A rich Scot of the Inns of Court, who wrote within sight of the river. She looked up from the glass, along the street, to the gate and the roofs of the Temple beyond it, and very nearly laughed; for half the Temple answered to that description, and the other half was trying to. And a man of that kind, she thought, turning homeward, would no more read the Mortimers than he would read the Lady’s Cabinet; he did not know they existed; he never would.

She was right in every particular but the last.

She went home by Salisbury Court, and up the two pair of stairs, and into the back room; and when she had taken off her bonnet she did a thing that she did perhaps once a month, and never when anybody was by. She took out the portfolio.

It had been her father’s, and had held patterns of fustian. It held now, between its marbled boards, every picture she had ever begun of the Mortimers, and not one of them was finished. Mr. Mortimer at the head of his table, without a face. Mrs. Mortimer’s carriage at the door in Mount Street, very handsomely done, with the railings set at the kerb. Miss Mortimer in the gown she had been dressed in for Lady Harrowgate’s, the gown washed in to the last flounce, and the face left white, because Clemency had never been able to decide what the girl would look like at the moment she understood.

She had read Emma the winter it came out, in the copy from the circulating library on Ludgate Hill, and had laughed aloud at the portfolio Miss Woodhouse brought out to show Mr. Elton: the miniatures and half-lengths and whole-lengths, in pencil and crayon and water-colours, of which not one had ever been finished, and the Author’s verdict on them, which was that steadiness had always been wanting. It was not steadiness that was wanting in Salisbury Square. It was colours, which cost money; and daylight, which she could not paint by while she was writing by it; and a reason. Emma’s drawing had been carried to London by an admirer, and framed, and hung over a mantelpiece for the whole of Highbury to praise. A picture of Mount Street by somebody who had never set foot in Mount Street would be seen by nobody at all; she had known it every time she began one; and her drawings went back into a fustian-merchant’s portfolio, under the bed.

And yet she kept them, because there was a book in her head that was not the Mortimers as they were, sold by the sheet and forgotten by the month, but the Mortimers as they might one day be: three volumes in boards, with plates, and under each plate, in small capitals, drawn by the author. It was the most foolish thing she knew about herself, and she had told it to nobody.

She sat down at the desk, in what was left of the light, and began another. It was the garden of the Inner Temple, seen from the river wall: the long lawn, the plane trees, the gravel of the eastern walk, the bench under the second plane, and on the bench a gentleman, too small to have a face.

She did not finish it.

She would know on the first of October.

(To be continued.)

Edited by Michael Cummins. Written in full collaboration with Anthropic’s Claude models, and set here as it might have appeared in a London magazine of 1819. Read the announcement, with the plan of London.

THE FOUND STYLE

On a spire raised in secret, a zoning law that drew a skyline, and a style named after it died

Nobody invented art deco. The style that defined the 1920s and 30s issued no manifesto and founded no school, and the name it goes by was already current among dealers when a 28-year-old sale-room correspondent put it on a title page in 1968. Trace its forms to their sources and you leave art behind: the stepped skyscraper was drawn by a light ordinance, the rounded radio by what a resin would consent to be, the lotus by a tomb other people dug up. Modernism was an idea; deco, the verdict runs, was only a look. But where did the look come from?

On October 23, 1929, inside the fire shaft of an unfinished tower on Lexington Avenue, a crew hoisted a steel spire up through the roof and fixed it in place in about ninety minutes. It had arrived in sections and been assembled in secret, inside the building, and the morning after it went up was Black Thursday. Scaffolding hid the crown until the spring. The extra height was given to the press only in November, after the rival tower downtown at 40 Wall Street had topped out, and by then William Van Alen’s Chrysler Building stood 1,046 feet high, the tallest in the world.

The most famous gesture of art deco was made inside a shroud, with no one in the street to see it and no name for it that would last, had anyone looked. The people who made the style called it moderne, when they called it anything. Fifteen months later, at the Society of Beaux-Arts Architects’ ball at the Hotel Astor, under the theme of a Fête Moderne, Van Alen came dressed as his building, with its spire on his head. When the name hasn’t arrived, you can point at the thing, or you can put it on.

Whether a style that nobody authored can be called original, or only recognized, is the question art deco leaves behind.

I

A Style Without a Manifesto

The early twentieth century was the great age of the artistic manifesto: Futurism in 1909, De Stijl in 1918, the Bauhaus in 1919, Surrealism in 1924, each telling you in advance what it was and what it despised. Art deco told you nothing in advance. Its theories came after its forms. The rules of the 1925 exposition, published in 1922, were a door policy rather than a doctrine, admitting only work of new inspiration and real originality and banning imitation of the old styles. Paul Frankl’s skyscraper bookcases were selling years before his book explained them, and Hugh Ferriss published his city of the future seven years after he had drawn its shape. The one theorist who ran ahead was Norman Bel Geddes, whose Horizons popularized streamlining in 1932. Dan Klein, who headed the twentieth-century decorative arts department at Christie’s, put it flatly: “It had no founder, no manifesto, and no philosophy.” It simply happened, he wrote, because the designers of postwar Paris were answering a restructured society, and that is the shrug in which most accounts of the style end.

Its French phase had a lineage it was proud of, the eighteenth-century cabinetmakers, and a debt to the German-speaking world. The luxury of ebony, shagreen and ivory took shape in Paris after the Werkbund showed its rooms at the Salon d’Automne of 1910 and Paul Poiret came home from Vienna in 1911 and opened a workshop. Even the French phase began with something found abroad, and the forms the world now recognizes as deco, the stepped tower and the rounded radio, came later, from further outside still.

The modernists argued relentlessly, and an early printing of the abbreviation is theirs. Le Corbusier had run a series of articles in L’Esprit Nouveau, the magazine he edited with Amédée Ozenfant, under the headline “1925 EXPO. ARTS. DÉCO.”, and in 1925 he collected them as L’Art décoratif d’aujourd’hui. Modern decorative art, ran his refrain, has no decoration, and the things of daily use should be anonymous standard types made by industry. Modernism did not refuse the powder compact. It let the compact in only on its own terms, anonymous, standard and plain, and it had a theory of history and a theory of ethics to explain why. Deco let the compact in as itself, and could only point at a ziggurat and say: look.

The pavilion built to carry the argument, the Pavillon de l’Esprit Nouveau, opened on July 18, almost three months after the exposition itself: a white box of standard furniture with a tree growing through a hole in its roof, meant to deny decorative art and to show architecture running from the smallest object of use to the house, the street and the city. The organizers put up a fence to hide part of it, and it took the Ministry of Fine Arts to have the fence taken down. The loudest argument made at art deco’s birth was made by its enemy, late, and the hosts tried to keep it out of sight.

II

The Ziggurat Was a By-law

Ask anyone to draw art deco and they will draw a stepped tower, its tiers climbing like a temple into the Manhattan sky, and the romantic explanation is ready to hand. The 1920s were mad for lost civilizations. The Carnegie Institution began work at Chichen Itza in 1924, and Aztec motifs ran up the facade of Joseph Younger’s Kennedy-Warren apartments in Washington. Deco’s designers, the story goes, looked at the stepped pyramids of Yucatán and saw the future.

The unromantic explanation is a zoning resolution. In 1916 New York passed the first comprehensive zoning law in the United States, and light was one of its concerns. The Equitable Building on lower Broadway threw a shadow of some seven acres across its neighbors, and the new law required tall buildings to step back from the street as they rose, so that daylight could still reach the pavement. Architects were not sure what that meant for their designs, so in 1922 Harvey Wiley Corbett asked Hugh Ferriss to draw it.

Ferriss made four drawings. They show no building, only the greatest mass of rentable space the law allowed on a city block, carved back in stages until it became a stepped mountain. He worked in black crayon, pulling tone off with a paper stump and erasing the highlights out, so that the mass seems to loom out of its own weather. The drawings taught architects to read the law not as a restriction but as a source of form; Carol Willis would later write a history of the skyscrapers of New York and Chicago on the premise that form follows finance, and Ferriss’s four sheets are where you can watch it happen. The law did not invent the step, and the Mayan enthusiasm was real. What the law did was make the step the price of bulk. Over a quarter of its lot a tower could rise as high as it liked, which is why the Chrysler’s shaft could climb at all, and the step and the shaft together are the difference between a motif and a skyline.

Ferriss held a contradiction. He illustrated his March 1922 article in The New York Times with drawings from the series, and in it, by Cooper Hewitt’s account, he argued that steel and glass had made the unornamented skyscraper the only truthful one. But in the pen-and-ink fantasies he drew in the same years, the setback towers stand amid the scenery of the ancient Near East and Imperial Rome, and setback skyscrapers were often called modern ziggurats, New York a new Babylon. His article argued for the bare tower while his fantasies dressed it, and the city took the mass and left the argument. The architects dressed the mountain too: eagles on the setbacks, sunbursts on the crowns, and a story about Yucatán. The Mayan temple was not the source of the skyline. It was the alibi.

III

What the Resin Wanted

The materials tell the same story. Deco is usually described as a style that used bakelite, chrome and colored glass, as though its designers had chosen them from a palette. It is nearer the truth to say that the materials used the designers.

Bakelite, the first synthetic plastic, created by Leo Baekeland in 1907, is a thermoset. Once it has cured under heat and pressure it cannot be melted or reshaped; it takes its shape once, in the mold, and the mold has opinions. When Wells Coates designed the round Ekco radio in 1932, the circle fitted the round speaker behind it, and by avoiding sharp edges and corners the case played to the properties of the pressed resin; he did not disguise the machine as a cabinet. Coates was a modernist, the architect of the Isokon flats in Hampstead, and the mold did not ask. It produced the deco curve with a modernist standing over it. The form belonged to neither camp, and only one camp had a doctrine against it.

The colorful sets of the decade were another chemistry, Catalin, cast rather than pressed, and finished by hand, and the decade turned out so many different cases for an economic reason. Radio technology had slowed, the Depression had emptied household budgets, and manufacturers sold new sets by restyling the case. Form followed the sales department.

Gottfried Semper argued in the 1860s that style arises from material, technique and purpose. Alois Riegl answered him in 1893, and by 1901 had a name for the answer, the Kunstwollen, an artistic will that uses materials rather than obeying them. Riegl would say the mold chose nothing: someone chose to make the radio round rather than fight the resin with trim, and that choice is a will like any other. He is right, and the argument survives him. Every style is what its materials will do. Gothic is what stone will do in compression, and modernism is what a cantilever will do. The difference lies not in the causes but in the claim. Modernism bent concrete to a theory and put its name to the result; deco let the resin have its way and claimed nothing. The will was there; it was a will to consent. When the slump emptied household budgets, the style changed shape to sell, and it had no theory to resist with.

IV

The Tomb and the Ship

The motifs came from outside as well, and a tomb shows what kind of thing they were. On November 4, 1922, Howard Carter’s men found a step cut into the floor of the Valley of the Kings, and on the afternoon of the 26th Carter breached a sealed doorway, put a candle through the gap and saw, by his own account, wonderful things. Lord Carnarvon sold the exclusive to The Times, and the unpacking of the tomb ran like a serial. Lotus buds, scarabs and winged discs poured into jewelry and cinema lobbies. Egypt was already in fashion, with Grauman’s Egyptian open in Hollywood a few weeks before the candle, and it was one import among many: the Ballets Russes had reached Paris in 1909 with no excavation behind them, and the Maya, Japanese lacquer and the repertoire of empire fed the style as richly. What the tomb shows is that deco’s motifs were neither invented nor, in the ordinary sense, influences. They were dug up, by other people, for other reasons, and reported in the newspaper.

A ship shows how it ended. The French Line took the hull lines for its next flagship from Vladimir Yourkevitch, a naval architect of the Imperial Russian Navy who had come west as an émigré, and the decorators would work inside the volume his lines enclosed. When the slump came, one British rival was cancelled and another, the future Queen Mary, stood unfinished on the slip; the French, heavily subsidized by their government, carried on. The Normandie was laid down at Saint-Nazaire on January 26, 1931, and launched on October 29, 1932, three years to the day after Black Tuesday. She was not the Depression’s child but its survivor.

Inside, the old luxury made its last stand. Lalique’s twelve illuminated glass pillars and ranks of tall lamps lit a first-class dining room ninety-three meters long, and the comparison repeated ever since is that the room was longer than the Hall of Mirrors at Versailles. The vessel that stood for the future was measured against Louis XIV. In New York the alibi had been Mayan; at Saint-Nazaire it was the ancien régime.

She reached New York on August 28, 1939, and was laid up at Pier 88. France declared war six days later, and she never sailed again. The United States seized her in December 1941 and began turning her into a troopship, and on the afternoon of February 9, 1942, she caught fire. Yourkevitch went to the pier and was kept from those in command. Heavy with the water poured in to fight the fire, she rolled onto her side in the Hudson a little before three the next morning. It took eighteen months to right her, and after the war the hull was cut up for scrap. That is how the style went too: in the middle of a conversion to something more useful, and nobody made a speech.

V

The Found Style

The stepped skyline came from a by-law and the curve from a mold; the late manner came out of a slump and the motifs out of the ground. Trace the forms of art deco to their sources and you leave art behind, for law, chemistry, money and a newspaper serial. By the standard modernism set, originality as authorship, the designer imposing a concept on matter, deco has nothing to show. There is an obvious objection, that there were many art decos under one label and “found” is only a flattering word for eclectic. But eclecticism picks. A found style is picked. The circumstances did the choosing, and the designers consented. That may be the original thing about it.

Deco was the first style made by the twentieth century rather than about it. The modernists held a picture of the modern world before the world had properly arrived and built in its image: the machine as moral teacher, the house as a machine for living in, the white wall as hygiene made visible. Deco held no picture. It let the century in through the door, the regulations and the resins and the price of ivory and the discovery that a dead king’s furniture could sell newspapers, and it is a found style in the sense that Duchamp’s urinal is a found object: made elsewhere, for other purposes, and recognized as art only afterwards.

That is why it could go everywhere. Hillier called it “the last of the total styles,” and reckoned its reach from the skyscraper and the liner down to the powder compact and the letter-box. Turn his sentence over and the last total style is the first found one. A theory is also a set of terms. Modernism reached down to the smallest object of use and admitted it only as a type; deco let the powder compact in as itself, because nothing forbade it. Both went everywhere, but modernism’s totality was a conquest and deco’s a permission. It did not lack politics: the 1925 exposition was France’s answer to German design, its exotica came out of empire, and in 2025, the exposition’s centenary, Catherine Slessor charged the style with glossing over turmoil and Edward Denison with letting its glamour conceal the colonial rule under which much of it was built. What it lacked was a prohibition, and a style with no prohibition cannot refuse what it is handed, whether a zoning envelope, a pharaoh or an empire. It was total because it was empty, and it was loved because it was empty. It asked the public to believe nothing. It only asked them to look.

Painting in Art Deco style: a kneeling giant built of black stone and gold piers, stepped like a skyscraper, bearing a great golden sphere that blazes as a sunburst over a city skyline and a reflecting pool, with blank ticker tape drifting past.
The style that could not refuse what it was handed, made for this essay.

Art deco was a style of excavation, and it was excavated in its turn. Modernism got a time of death instead. In 1977 Charles Jencks dated it to 3:32 in the afternoon of July 15, 1972, “or thereabouts,” the moment, he wrote, when the Pruitt-Igoe housing blocks in St. Louis were dynamited; the first blocks had come down that spring, a few months before his date. Even modernism’s death certificate was written afterwards, five years late, by an enemy. Deco never received one. What it received, from admirers, was a name, and the name came with the digging. Since then it can be dug up again whenever a culture tires of ideas and wants something to look at, and last year one online dealer reported that its deco sales had tripled.

The man who did most to dig it up was born in March 1940, seven months into the war that ended it. By the middle of the 1960s Bevis Hillier was the sale-room correspondent of The Times, covering a trade that was already using the name. So, by November 1966, was an article in his own paper, and a year later an essay in Elle. When he wrote his book the style was, by his own account, despised. He did not coin its name. He put it on a title page in 1968, at twenty-eight, and three years later, after his exhibition in Minneapolis, it was the word everyone used. Van Alen had the thing in his hands and no name for it. Hillier had the name and no hand in the thing.

Made without a name, named without a maker.

⁂

The occasion is Dezeen’s Art Deco Centenary series and its A to Z of art deco (April 29, 2025). Bevis Hillier is quoted from his piece for that series (March 10, 2025), and his post at The Times from Contemporary Authors; Dan Klein from his introduction to In the Deco Style, as reprinted by the Art Deco Society of California; Charles Jencks from The Language of Post-Modern Architecture (1977). The spire is from the Skyscraper Museum and the Landmarks Preservation Commission’s designation report; the 1931 ball from the National Archives, Vanity Fair and The Smart Set; the Pavillon de l’Esprit Nouveau from the Fondation Le Corbusier; the 1916 resolution from the Skyscraper Museum and the Museum of the City of New York; Hugh Ferriss’s drawings and article from Cooper Hewitt, and his fantasy drawings from the Skyscraper Museum; the Ekco radio and Catalin from Cooper Hewitt and the V&A; Carter from the Griffith Institute’s excavation journals; the Normandie from RIBA, the Metropolitan Museum, the Musée Lalique, Shipscribe and American Heritage. The history of the name is from Benton, Benton and Wood’s Art Deco 1910–1939 (2003), at second hand. Quotations keep their sources’ spelling.

Drafted with Claude Opus 5.5; literary editing by Claude Sonnet 5.5; outside literary editing by Claude Fable 5.1. Images generated with Gemini Argon for this essay.

OUT OF MY HEAD

Out of My Head · Intellicurean

Jane Eyre’s watercolors, Charlotte Brontë’s copies, and the paper that told the truth

Charlotte Brontë learned to draw by copying engravings. In Jane Eyre she gave her heroine three watercolors painted, as Jane tells Rochester, out of her own head.

After tea on a winter evening at Thornfield, having asked her about Lowood and made her play the piano, Mr. Rochester asks his new governess for her portfolio. He warns her first: “don’t pass your word unless you are certain: I can recognise patchwork.” Jane fetches it from the library. He looks at every sheet, sends most of them to the other table for Mrs. Fairfax and Adèle, keeps three, and begins a cross-examination. When did she find the time? In her last two vacations at Lowood. Then: “Where did you get your copies?”

“Out of my head.”

Rebecca Birrell, an art historian and novelist, writing in LitHub today about the amateur women painters of fiction, gives Jane’s watercolors one sentence: Jane paints them, and tells Rochester that painting them made her happy. That is true, and it passes over the word Rochester has just used.

In 1847 a copy was not only a duplicate. In the schoolroom it was the thing a pupil drew from: the engraved plate in the drawing book, the view in the annual. Rochester wants to know what she copied. That was how girls were taught to draw, and it was how Charlotte Brontë was taught. At least a third of the pictures she left, the Brontë scholar Christine Alexander has found, are copies of engravings. In the summer of 1834 she sent two pencil copies of engraved views of Yorkshire abbeys to an exhibition in Leeds, marked for sale. She was eighteen. So is Jane, on the night of the portfolio. Jane’s answer is the one sentence about her art that her author could not have said of the pictures she sent to Leeds.

Less than five months after the novel came out, its publishers asked her, in Alexander’s account, to illustrate it herself. She turned them down, in a letter to their reader, W. S. Williams: “If then ‘Jane Eyre’ is ever to be illustrated,” she wrote, “it must be by some other hand than that of it’s author.” The novel had already given that hand to its heroine. It gave Jane originals, a summer of painting from morning till night, and a viewer who asks who taught her to paint wind. Then it tied the strings of the portfolio. The next time anyone opened it, Jane was not in the room: Rochester sent for it, she supposes, to show his dinner guests.

I

A Portfolio of Beginnings

Thirty-two years before Jane Eyre, in Highbury, another portfolio is opened, this time in front of a suitor. Emma Woodhouse has decided to take Harriet Smith’s likeness, and when Mr. Elton praises her drawings, she thinks: “You know nothing of drawing. Don’t pretend to be in raptures about mine. Keep your raptures for Harriet’s face.” The raptures, Emma will learn, were for her. Then she “produced the portfolio containing her various attempts at portraits, for not one of them had ever been finished.” Austen lists them, “Miniatures, half-lengths, whole-lengths, pencil, crayon, and water-colours had been all tried in turn,” and gives the verdict in five words: “steadiness had always been wanting.”

Emma settles on “a whole-length in water-colours, like Mr. John Knightley’s,” destined, “if she could please herself, to hold a very honourable station over the mantelpiece,” and she means “to give a little more height, and considerably more elegance.” As the picture goes forward, each man looks for something of his own. Mr. Knightley: “You have made her too tall, Emma.” Emma “knew that she had, but would not own it.” Mr. Elton: “Oh no! certainly not too tall; not in the least too tall.” Mr. Woodhouse’s one objection is the little shawl: “it makes one think she must catch cold.”

The frame must come from London. Mr. Elton carries the picture there to “chuse the frame, and give the directions,” and it comes back “elegantly framed,” to hang “over the mantelpiece of the common sitting-room.”

That is what a lady’s picture was for: made to be seen, praised by a suitor, framed in town, hung where the household sits. It was all front. Jane has one picture that was framed and hung. Before she leaves Lowood, Bessie, the nurse from her Gateshead childhood, comes to see her and asks the two things Rochester will test: can she play the piano, and can she draw? Jane points to a watercolor landscape over the chimney-piece, a present to the superintendent, who had it “framed and glazed.” “It is as fine a picture as any Miss Reed’s drawing-master could paint,” Bessie says. The three in her portfolio are the reverse at every point. Her pictures are finished. They are judged, not flattered. Nobody frames them. And the man who judges them looks at his watch and tells her to take Adèle to bed.

II

The Copies

Around 1829 Patrick Brontë engaged John Bradley of Keighley, a house and sign painter, to teach all four of his children to draw. What Charlotte learned, as the Morgan Library put it when it showed her drawings in 2016, was “to copy from prints rather than sketch from nature.”

She was good at it, and she looked harder than anyone around her. Mary Taylor, who was at school with her at Roe Head, told Elizabeth Gaskell, Charlotte’s first biographer, that “She used to draw much better, and more quickly, than anything we had seen before,” and that “Whenever an opportunity offered of examining a picture or cut of any kind, she went over it piecemeal, with her eyes close to the paper, looking so long that we used to ask her ‘what she saw in it.’”

The two drawings she sent to Leeds were “Bolton Abbey” and “Kirkstall Abbey.” She had copied the first in May 1834 from Edward Finden’s engraving in The Literary Souvenir. A copy of an engraving of a Turner, exhibited for sale.

The next March she copied a print after Fuseli’s Lycidas in watercolor, and this time she didn’t obey it. The figure, “decidedly male in Fuseli’s version,” the Morgan noted, “is more ambiguous in her rendering,” and, having only the black-and-white print, she invented the color.

“At one time,” Gaskell writes, “Charlotte had the notion of making her living as an artist, and wearied her eyes in drawing,” minutely but, in Gaskell’s judgment, without accuracy, “for she drew from fancy rather than from nature.” Gaskell means invention. Of the sisters she says, “they laboured to design imaginations of their own; they lacked the power of execution, not of conception.” By the Christmas of 1836 the plan was over: “She had once hoped that she herself might become an artist, and so earn her livelihood; but her eyes had failed her in the minute and useless labour which she had imposed upon herself with a view to this end.” In one letter Gaskell prints, Charlotte apologizes for its brevity, “for I have been drawing all day, and my eyes are so tired it is quite a labour to write.”

The lessons had been the same for all four children. What they were for was not the same for a girl and a boy. In a girl’s education, drawing was supposed, in Alexander’s summary, “to act as an embellishment and an amusement.” Of the boy, Gaskell writes, “they all thought there could be no doubt about Branwell’s talent for drawing.” His family, she writes, “augured truly” that “he might turn out a great painter,” and “the best way of preparing him to become so appeared to be to send him as a pupil to the Royal Academy.”

So what went to Leeds were copies, and the fancy went into the margins of her manuscripts and into the stories. The novel does the reverse with Jane’s work: her fancy goes into pictures, and the pictures stay in the portfolio.

III

Out of My Head

Back at Thornfield, Rochester’s next question is about the head. “That head I see now on your shoulders?” “Yes, sir.” “Has it other furniture of the same kind within?” “I should think it may have: I should hope—better.”

While he looks, Jane turns to the reader and disowns the pictures before she describes them. “I must premise that they are nothing wonderful … As I saw them with the spiritual eye, before I attempted to embody them, they were striking; but my hand would not second my fancy, and in each case it had wrought out but a pale portrait of the thing I had conceived.” Fancy was Gaskell’s word for Charlotte. Here it is Jane’s, for what her hand could not reach.

“These pictures were in water-colours.” The first shows “clouds low and livid, rolling over a swollen sea,” and a half-submerged mast, on which sits “a cormorant, dark and large, with wings flecked with foam; its beak held a gold bracelet set with gems.” Below, “a drowned corpse glanced through the green water; a fair arm was the only limb clearly visible, whence the bracelet had been washed or torn.” The second is a hilltop under a twilight sky, and rising into it “a woman’s shape to the bust.” “The dim forehead was crowned with a star”: it is “this vision of the Evening Star.” The third shows “the pinnacle of an iceberg piercing a polar winter sky,” and against it “a colossal head,” veiled below the eyes, with “an eye hollow and fixed, blank of meaning but for the glassiness of despair.” Above the temples is “a ring of white flame,” and of that ring she writes: “This pale crescent was ‘the likeness of a kingly crown;’ what it diademed was ‘the shape which shape had none.’”

The inner quotation marks are Brontë’s, because the words are Milton’s. In the second book of Paradise Lost, at the gate of Hell, Satan meets Death: “The other Shape— / If shape it might be called that shape had none … what seemed his head / The likeness of a kingly crown had on.” Jane describes her third picture in Milton’s words for Death.

The wreck and the ice came from nearer home. On the first pages of the novel, the ten-year-old Jane sits in a window-seat behind a red curtain with Bewick’s History of British Birds. The rock “standing up alone in a sea of billow and spray” and “a wreck just sinking” are its vignettes, small wood engravings; the Arctic is its letterpress, which she quotes, “the vast sweep of the Arctic Zone,” and then calls “death-white realms.” Eight years later the wreck and the ice are in her portfolio, remembered, not copied. Rochester asked where she got her copies. Part of the answer is that the head was already furnished.

The critic Barbara Gates reads the three as “presentiments of trials that are to come,” and Peter Bolt, writing in The Victorian Web, traces them to scripture and Greek legend. What the novel itself does with them is simpler: it never shows anyone but Rochester looking at them.

“Were you happy when you painted these pictures?” he asks. “I was absorbed, sir: yes, and I was happy. To paint them, in short, was to enjoy one of the keenest pleasures I have ever known.” He presses: “And you felt self-satisfied with the result of your ardent labours?” “Far from it. I was tormented by the contrast between my idea and my handiwork: in each case I had imagined something which I was quite powerless to realise.” Birrell’s phrase for what matters in Lily Briscoe, the painter in To the Lighthouse, is “the quality of her devotion.” Jane has the devotion. She will not take it as consolation.

Then he gives his verdict, and it is a painter’s. “Not quite: you have secured the shadow of your thought; but no more, probably. You had not enough of the artist’s skill and science to give it full being: yet the drawings are, for a school-girl, peculiar. As to the thoughts, they are elfish. These eyes in the Evening Star you must have seen in a dream. How could you make them look so clear, and yet not at all brilliant? for the planet above quells their rays. And what meaning is that in their solemn depth? And who taught you to paint wind? There is a high gale in that sky, and on this hill-top. Where did you see Latmos? For that is Latmos.” Latmos is the mountain where the moon came down to the sleeping Endymion. Jane never names it. As Bolt notes, he does.

Then: “There! put the drawings away!”

IV

The Backs of Drawings

Jane passes sentence on herself in two pictures: a chalk self-portrait, to be titled “Portrait of a Governess, disconnected, poor, and plain,” and, on ivory, the beauty she supposes Rochester will court, “Blanche, an accomplished lady of rank,” for which she is to “omit neither diamond ring nor gold bracelet.” Peter Bolt links that bracelet to the one in the cormorant’s beak.

At Gateshead she draws “fancy vignettes,” a naiad and “an elf sitting in a hedge-sparrow’s nest,” and then, feature by feature, a face: “I was absorbed and content.” Her cousin Eliza asks whether it is a portrait of someone she knows. “I responded that it was merely a fancy head, and hurried it beneath the other sheets. Of course, I lied: it was, in fact, a very faithful representation of Mr. Rochester.” Fancy, which was the word for what her hand could not reach, is here the word she lies with.

In The Tenant of Wildfell Hall Anne Brontë gives her heroine, Helen, a secret of the same kind, and a man who goes looking for it. In the diary she keeps before her marriage, Helen describes looking up at a party to see Huntingdon “complacently gazing at the back of the picture:—it was his own face that I had sketched there and forgotten to rub out!” He holds the rest to a candle, “I must look at both sides now,” and makes out the faint traces of her other attempts at his face. “I perceive the backs of young ladies’ drawings,” he says, “like the postscripts of their letters, are the most important and interesting part of the concern.”

The next morning he finds her in the library, finishing what she calls “my masterpiece”: a girl kneeling under a bough to watch “an amorous pair of turtle doves.” He “set himself before my picture.” “She’s a sweet creature! but why didn’t you make her black hair?” Helen’s own hair is black. “I should fall in love with her,” he says, “if I hadn’t the artist before me.” Then he takes up her portfolio. “Mr. Huntingdon, those are my unfinished sketches,” she cries, “and I never let any one see them.” “Let me have its bowels then,” he says, and pockets a miniature of himself. When he gives it back: “To show him how I valued it, I tore it in two and threw it into the fire.”

Watercolor: in a sunlit library, a black-haired woman at her easel paints a fair-haired girl kneeling beneath two doves, while a chestnut-haired man in a sporting coat stands beside the canvas, studying it; a gun leans by the open window, her portfolio spills from a side table, and a fire burns in the grate.
Huntingdon, “setting his gun against the wall, threw up the sash and sprang in, and set himself before my picture.” Anne Brontë, The Tenant of Wildfell Hall, chapter 18. Watercolor generated with Gemini Argon.

Two heroines draw the face of the man each will marry. Jane lies about hers. Helen burns hers. In both novels the drawing that tells the truth is on the side that wasn’t meant to be seen.

V

Some Other Hand

When Gilbert Markham, the neighbor who narrates the novel, calls at Wildfell Hall, he is shown into a studio. The tenant is Helen, who has left her husband, Huntingdon, and is living under the name Mrs. Graham. There is “a painter’s easel,” and “rolls of canvas, bottles of oil and varnish.” On the easel is a view of Wildfell Hall itself, lettered “Fernley Manor, Cumberland.” She has given the place a false name, she tells him, because friends “might possibly recognise the style in spite of the false initials” she has put in the corner. Will she keep it? “No; I cannot afford to paint for my own amusement.” Her small son explains: “Mamma sends all her pictures to London.”

She had planned, before she fled, to live by her painting: “The palette and the easel, my darling playmates once, must be my sober toil-fellows now.” Her husband found the materials and fed them to the fire: “palette, paints, bladders, pencils, brushes, varnish: I saw them all consumed.”

In the same letter, dated 11 March 1848, in which she turned down the illustrations, she told Williams: “It is not enough to have the artist’s eye; one must also have the artist’s hand to turn the first gift to practical account … when I examine the contents of my portfolio now, it seems as if during the years it has been lying closed, some fairy had changed what I once thought sterling coin into dry leaves, and I feel much inclined to consign the whole collection of drawings to the fire; I see they have no value.” Rochester had told Jane that she “had not enough of the artist’s skill and science.”

Both sisters, writing in the same house, set a woman’s pictures beside a fire. Anne did it twice: in one chapter the woman burns her own picture, and in another her husband burns her materials. Charlotte did it once, of herself, in a letter, and was only “inclined.”

Charlotte, Emily and Anne had published as Currer, Ellis and Acton Bell. That July, word reached Smith, Elder that Emily and Anne’s publisher, Thomas Newby, had told an American house that the Bell novels, Anne’s new one among them, were all “the production of one author”: that Currer Bell was also Ellis and Acton. Charlotte and Anne took the night train to London “with the view of proving our separate identity.” Charlotte’s publisher, George Smith, had never seen her. She told Mary Taylor what happened at Smith, Elder: “‘Is it Mr. Smith?’ I said, looking up through my spectacles at a tall young man.” She “put his own letter into his hand,” a letter he had written to Currer Bell. “Where did you get this?” he asked. “I gave my real name: Miss Brontë.” On the Monday, “we went to the Exhibition of the Royal Academy and the National Gallery.”

The last man in Jane Eyre to look at one of Jane’s pictures is St. John Rivers, the clergyman who has taken her in. She has painted a miniature of Rosamond Oliver, the local heiress he loves. He praises the workmanship, “A well-executed picture … very soft, clear colouring; very graceful and correct drawing,” but asks, unlike Rochester, nothing about how it was made, and looks in it for Rosamond: “It is like! … the eye is well managed: the colour, light, expression, are perfect. It smiles!” Then he covers it with “the sheet of thin paper on which I was accustomed to rest my hand in painting,” and tears “a narrow slip from the margin.” The next day it comes out of his pocket-book, with its “stains of ultra-marine, and lake, and vermillion,” bearing, “in Indian ink, in my own handwriting, the words ‘JANE EYRE’—the work doubtless of some moment of abstraction.” She has called herself Jane Elliott since the night she reached Moor House. The slip proves she is Jane Eyre: heir to an uncle’s twenty thousand pounds, and St. John’s cousin. Of everything Jane paints, the one piece that leaves the room and changes her life is the scrap she rested her hand on, and what is written on it is her name.

If the truth is on the back of the drawing, who was the front for?

Sources. Quotations from Jane Eyre (1847), The Tenant of Wildfell Hall (1848), Emma (1815) and Paradise Lost (1667) follow the Project Gutenberg texts and keep their sources’ spelling. Elizabeth Gaskell, The Life of Charlotte Brontë (1857), chapters 6–8, including Mary Taylor’s recollection. Christine Alexander, “Charlotte Brontë’s Paintings: Victorian Women and the Visual Arts,” Hancock Lecture, Australian Academy of the Humanities, Proceedings 18 (1993). The Morgan Library & Museum, Charlotte Brontë: An Independent Will (2016). Elena Lago, “Charlotte Brontë: An Evocative View of Bolton Abbey,” The Sisters’ Room (2020), and the Victoria and Albert Museum’s record of E. Finden’s “Bolton Abbey, Wharfdale,” after J. M. W. Turner (1826). Charlotte Brontë to W. S. Williams, 11 March 1848, as transcribed by The Eyre Guide; to Mary Taylor, 4 September 1848, as quoted by annebronte.org. Barbara Gates, “‘Visionary Woe’ and Its Revision: Another Look at Jane Eyre’s Pictures,” ARIEL. Peter Bolt, “Jane Eyre’s Three Paintings: Biblical Warnings & Greek Legends,” The Victorian Web. Rebecca Birrell, “Jane Eyre’s Watercolors, Lily Briscoe’s Paintings, and The Problem With Writing About Art,” LitHub, October 27, 2026.

Drafted with Claude Opus 5.5; research with Claude Fable 5.1 and Claude Sonnet 5.5. Literary editing with Claude Sonnet 5.5. Edited by Michael Cummins. Images generated with Gemini Argon; they reproduce no artwork.

THE WIT OF MOUNT STREET: “A Sheet And A Half” (Ch. 1)

Click any page to read it larger.

THE INTELLICUREAN.
Vol. I.OCTOBER, 1819.No. I.

THE WIT OF MOUNT STREET;

or,

HER HEART IN NUMBERS.

A Literary Intellectual Romance.


CHAPTER I.

A Sheet and a Half.

The Albemarle came to SalisburySquare on the fourth of August,a day late, because Mr. Pelham ofHare Court read it first.

This was the arrangement.Mr. Pelham took the magazine at aguinea a year, as a barrister in a smallway of business takes a Tory monthly,to have it seen on his table; and whenhe had looked through it, which didnot take him long, he gave it to hisclerk to carry away. His clerk, whowas called Kit by everyone butMr. Pelham, carried it two hundredyards, out at the Inner Temple gateand along Fleet Street and downSalisbury Court, and up two pair ofstairs over Dunning the law-stationer’s, and put it on the table inthe front room, where his sisterClemency read it, who could not haveafforded it and would not have boughtit.

She read it standing: a tall youngwoman of six-and-twenty in a grey

gown that had been turned oncealready, with ink on the second fingerof her right hand that no pumice inLondon would shift. She had foundthat if she sat down to The LordWarden she was committed to finish-ing it, and she had not the least inten-tion of finishing it. It was the ninthnumber. The Warden was keeping theMarches for a King who did not trusthim, in a prose that had been built,stone by stone, out of the fifteenthcentury, and the Albemarle had beenrunning it since December to a silencethat could be felt across London.

“Kit says it is universally thoughtvery heavy,” said Mrs. Lydiard fromthe sofa.

“Kit has not read it.”

“Mr. Pelham says so. He saysAlbemarle Street keeps it for reas-ons.” Mrs. Lydiard had The Lady’sCabinet open on her knee. She tookthe Cabinet because she had taken itin Bread Street, and the quarter’s

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subscription was one of the thingsthat had come with them from BreadStreet, like the sofa, and the clock,and the habit of ordering fish on aFriday whether or not there was any-one to eat it. “What reasons, I cannotthink. Lucy, if you put that ribbon onthe bonnet you will look like aMethodist.”

Lucy, who was nineteen and couldhave worn a dishclout, held the ribbonagainst the straw and considered it inthe glass. The glass had also comefrom Bread Street. Very little elsehad.

The rooms were two floors over thestationer’s, and they faced two ways.The back looked west, across theroofs of Whitefriars, to the InnerTemple, which was old, and walled,and had been built to be looked atfrom the inside. The front lookeddown into the square, whereRichardson had printed Pamela overhis shop eighty years ago, and whereWhitefriars sent up, on a still day, thesmell of ink. It was a respectable ad-dress. Everyone who lived in it saidso.

Clemency turned the page. Theninth number of The Lord Wardencontained, in order: an account of asiege, conducted with a thoroughnessthat made her want to lie down; thearrival of a letter under the King’sseal, which the Warden read in a

room that was described down to thelast stone of the hearth; and a sermon.Between the letter and the sermonthere was one paragraph.

She read it. Then she read it again,which she had not meant to do, andstood for a moment with the magazineopen in her hands and the smell of inkcoming up from Whitefriars, and thenshe turned the corner of the pagedown.

She did not turn pages down. Itwas one of the things she did not do,like sitting down to the Warden, andlike crying in the square.

“If it is so very heavy,” said hermother, “I wonder you trouble withit.”

“I don’t trouble with it,” saidClemency, and took it through to theback room, where the desk was.

At the desk she wrote the paragraphout in her own hand, to see whether itwas as good as she thought.

He had been obeyed all his life, andhad taken it, as a man takes theweather, for a quality of the world andnot of himself. It had not occurred tohim until that hour that a man might beobeyed by every creature in his houseand understood by none of them; thatthe one thing was so easily had, and theother not to be had for asking; and thathe had spent five-and-thirty years pur-chasing the cheaper article in the beliefthat it was the dear.

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It was better. Written out, with thesiege and the sermon taken away fromeither side of it, it stood up by itself,and she saw what she had seen on thefirst reading and had not wanted tosee: that whoever wrote the Wardencould write, and that the ninth num-ber was heavy not because he couldnot do otherwise but because he wouldnot. There was nothing in the para-graph that a reader of the Albemarlecould have been expected to want. Ithad been put there for the writer’sown satisfaction, like a good hearth-stone in a room nobody visited.

She sat for some minutes with thepen dry.

The fifth number of The Mortimersof Mount Street lay under her lefthand, eleven pages of it, wanting fourmore and an ending. It was due in theRow on the tenth. She was finishing iton the fourth because Mr. Baldockpaid on delivery, and because thequarter’s rent was twelve pounds, andbecause Kit’s forty pounds was paidat Michaelmas and had been spent, inthe manner of Kit’s forty pounds,some time in July. The Mortimerswere a family in the Manchester tradewho had taken a house in MountStreet, and the fifth number requiredMr. Mortimer to lose his footman. Shehad been three days trying to makethe loss of a footman matter toanyone.

She dipped the pen, and moved theparagraph from the Marches of 1403to a dining-room in Mayfair, and gaveit to Mr. Mortimer.

Mr. Mortimer had been obeyed all hislife, and had taken it, as a man takes theweather, for a quality of the world andnot of himself. It did not occur to himuntil Thomas gave notice that a manmight be obeyed by every creature in hishouse and understood by none of them;that the one was to be had for thirtypounds a year and the other not for ask-ing; and that he had spent five-and-thirty years in the Manchester tradepurchasing the cheaper article in thefirm belief that it was the dear.

She read it over. It was funny. Ithad not been funny in the Marches,where it had been something else, andshe was aware, in the part of her mindthat kept accounts, that she had takena thing that was not hers and hadmade it smaller in the taking. She wasalso aware that it was better whereshe had put it, and that nobody wouldever know, because nobody read theWarden, and that the footmanmattered now.

The number was finished by three,which it never was.

From Salisbury Square to PaternosterRow was ten minutes if one did notstop at the print-shop windows, andClemency, who had the fifth numberin a paper under her arm and seven

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guineas to collect, did not stop.

She went up Fleet Street with thecarts, past St. Bride’s, and over thebottom of Fleet Market, from which, ifone looked north, one could see thelong wall of the Fleet Prison, wherepeople lived who had not paid theirrent. She did not look. She went upLudgate Hill with the dome standingover everything like a thing that hadbeen there before the street and wouldbe there after it. The Row ran off thechurchyard on the north side, narrowand dark and smelling of paper, andhad for two hundred years been theplace where London’s books weremade, and bought, and remaindered,and it was not a street that a ladywalked down. It was a street that ayoung woman walked down with aparcel, and nobody looked at her,which was its chief recommendation.

The Ludgate had its office at num-ber eleven, over Baldock’s shop.Mr. Baldock was in it.

He was a short, warm, quick man,Whig by conviction and by circula-tion, who had started the Ludgate twoyears ago on the principle that theTories could not be allowed to have allthe magazines, and who paid for fic-tion by the sheet and for poetry not atall. He took the number, and weighedit in his hand, which was his way ofreading it, and said, “A sheet and ahalf.”

“A sheet and a half.”

“You are early.”

“I am always early, Mr. Baldock.”

“You are,” he agreed, and countedout the money, which he did not keepher waiting for, as he did not keepanyone waiting for whom he intendedto go on paying. “I’ll tell you a thing.The Mortimers are liked. I had a let-ter Tuesday from a lady in RussellSquare who wished to know whetherthe Author was acquainted with afamily of the name. I said I could notundertake to say.”

“You could not,” said Clemency.

“I could not.” He put the number inhis drawer. “They’re calling itCockney stuff in Albemarle Street,you know. The Mortimers. Tradewriting about trade.”

She had known that it would becalled that, in the way that one knowsthe rent will be due; it was not a sur-prise, and it was not pleasant, and shefound that she had put her hand flaton the counter. “Who is?”

“Oh, the young men. It is the wordthis year. They used it on Hunt, andon Hazlitt, and on that boy Keats whowas a surgeon’s apprentice, and theywill use it on anybody born east ofTemple Bar who has the impudence tohold a pen. I should take it as a com-pliment. It means they have readyou.” He looked at her over thedrawer. “They have not had much to

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read of their own this twelvemonth.Have you seen the Warden?”

“I have seen it.”

“Nine numbers. They say in theRow that Albemarle Street losestwenty pounds a month on it anddaren’t stop. Somebody’s nephew.Somebody’s money. It is universallythought—”

“Very heavy,” said Clemency. “Yes.The ninth number has one paragraphin it.”

Mr. Baldock, who had been in thetrade thirty years and knew the soundof a judgment when he heard one,looked at her for a moment longerthan he need have done. Then he said,“Well. One is one more than theeighth,” and bade her good afternoon,and she went down the stairs into theRow with seven guineas and four shil-lings in her reticule and the wordCockney in her mouth like a bad tooth.

She did not go home. She wentdown Ludgate Hill, and back alongFleet Street past the end of her owncourt, and in at the Inner Templegate, because it was past three andthe Benchers let the public into thegarden after three, and because Figgisthe porter knew her as the clerk’s sis-ter and would not ask what shewanted there. What she wanted therewas the river. She had found thatthere was nowhere else in the Citywhere a woman could stand still for a

quarter of an hour without being sup-posed to be waiting for someone.

The garden lay at the bottom of theTemple, between the lawyers and theThames, and belonged to neither.

It had been laid out by men whowanted somewhere to walk after din-ner, and it had kept the shape of thatwish: a long lawn going down to theriver wall, gravel on either side, theplane trees along the walks, and at thefoot the water-stairs where theTemplars had once kept a barge andwhere there was now a boy whowould take you to Westminster forsixpence. On the far side of the waterLambeth lay flat and green under theafternoon. The tide was going out,and the mud smelt as it always smelt,and the barges went down on it withtheir brown sails slack, and above andbehind all of it, over the roofs of theInner Temple, the two wooden giantsof St. Dunstan’s struck the quarterwith their clubs.

She went down the eastern walk tothe wall and stood at it.

She stood there most days. It wasthe only place in London she knewwhere one could be still and not be inthe way of anything, and she hadcome to use it as other women used achurch. She did not think, particu-larly. She let the river go past. Theword Cockney went past with it, and

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the lady in Russell Square, andMr. Mortimer’s footman, and after alittle while the ninth number of theWarden lying on the table inSalisbury Square with its cornerturned down, which was the thing shehad come to the wall not to thinkabout, and which she thought about,briefly and without comfort, and putaway.

There was a man on the bench un-der the second plane.

She saw him as she turned to goback up the walk, and she saw him theway one sees anything in the Templegarden on a weekday afternoon, whichis to say hardly at all. He was a gen-tleman; one knew that by the coat,which had been made by somebodywho did not advertise. He was read-ing. He had the thing he was readingfolded back on itself in his left hand,so that she could not see what it was,and in his right hand he had a pencil,and as she came level with him hemade a mark in the margin, briefly,without looking up, as a man correctsa proof.

It was the pencil she noticed. Shedid not mark books. It was not a prin-ciple; it was that the books inSalisbury Square had come fromBread Street and would have to besold back into Bread Street one day,and a book with a pencil in it was abook with a shilling off it. The gentle-

man on the bench marked what heread as if he would never in his lifehave to sell anything, and she passedbehind him with the small, exact, un-envious attention one gives to a thingone has decided not to want.

He did not look up. She did not ex-pect him to.

She went up the walk and outthrough the lane, past the sundial thattold the passer-by to be gone abouthis business, and did as it said.

The set of chambers on the secondfloor of number five, King’s BenchWalk, had the name Mr. A. Kinrosspainted on the doorpost in the Inn’sown lettering, and had been let toMr. Kinross for six years, and in sixyears had been entered by nobody butMr. Kinross, the laundress, and theman who came for the coals.

It was not an address. His addresswas Grosvenor Square, where hisaunt received for him on Thursdays,and where a letter would find him, andwhere, for most of the daylight hoursof the week, he was not. He had beenadmitted a student of the InnerTemple at one-and-twenty, as the heirto Ardoch had been admitted beforehim, and had eaten the dinners, andhad not been called, and had kept thechambers, which was all he had everwanted of the law. A gentleman in theInn was a gentleman whom the porter

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did not announce. Nobody knew thatbetter than the porter.

The front room looked down overthe garden to the river. The desk wasat the window, and he sat at it now: atall, dark, unsmiling man of two-and-thirty, with the kind of face that hisaunt’s friends called distinguished andhis aunt called a great pity, since hedid nothing with it.

There were two things in the roomthat a visitor would have noticed, hadthere been a visitor. One was the files.They stood in deal boxes against theinner wall, seven-and-thirty of them,each lettered with a year, from thefirst of Richard to the last of thefourth Henry, and inside each box, onslips in a small, fast, Scotch hand, wasevery day of that year for which any-thing could be found: who was where,what the weather had done, what waspaid for a horse at Shrewsbury andwhat a bishop said at York. It hadtaken nine years. It was not finished.The other thing was a grammar of theEnglish of the fourteen-hundreds, inmanuscript, by the same hand, be-cause nobody had printed one and hehad wanted to be sure.

On the desk, under the window, laythe August number of the Ludgate,folded back on itself and marked inpencil.

The marks were in the fourth num-ber of The Mortimers of Mount Street.

There were three of them. Two werecorrections, made in the margin withthe brevity of a man who had neverhad to explain himself: against a pas-sage in which Mrs. Mortimer’s car-riage drew up at the railings of ahouse in Grosvenor Square, railingsare set in the area, not the kerb; andagainst a dinner, no one in that squaredines at six. The third was not a cor-rection. It stood beside a paragraphnear the end of the number, in whicha girl of the Mortimer family had beenmade to understand, in the course of asingle sentence, that she would not beasked to the house she had beendressed for. It was one word, writtenthat afternoon on a bench in thegarden below, and the word was com–petent.

He had been reading the Mortimerssince May, in the way that a man whoowns a share in a magazine reads themagazine that is beating it, and hehad not yet decided what he thoughtof them, which was not a condition hewas used to. He had taken them downto the garden that afternoon to decide,and had decided nothing but that oneword; and while he sat there someonehad come down the eastern walk andstood a while at the river wall, andpassed behind his bench, and gone.

He had not looked up. He was writ-ing the tenth number of The LordWarden, in which the Warden would

☜CLOSE ×☞PAGE 7 · 1–8

answer the King’s letter, and he hadreached the place in it where the an-swer had to be given, and he had beenthere since noon.

The ninth number lay on the shelfbehind him, as it lay in two thousandhouses that had not read it. He did notknow that in one of them it had beenread twice, or that the corner of apage had been turned down, or thatthe best paragraph he had written inhis life had that afternoon been car-ried up Fleet Street under a young

woman’s arm, set down in a dining-room in Mount Street, put into themouth of a man in the Manchestertrade, and sold, with the rest of thenumber, for seven guineas.

He would know on the first ofSeptember. It was the fourth ofAugust, and the tide was out, andSt. Dunstan’s giants struck the half-hour, and he wrote the first word ofthe Warden’s answer, and struck itthrough.

(To be continued.)

☜CLOSE ×PAGE 8 · 1–8
THE INTELLICUREAN.
Vol. I.OCTOBER, 1819.No. I.

THE WIT OF MOUNT STREET;

or,

HER HEART IN NUMBERS.

A Literary Intellectual Romance.


CHAPTER I.

A Sheet and a Half.

The Albemarle came to Salisbury Square on the fourth of August, a day late, because Mr. Pelham of Hare Court read it first.

This was the arrangement. Mr. Pelham took the magazine at a guinea a year, as a barrister in a small way of business takes a Tory monthly, to have it seen on his table; and when he had looked through it, which did not take him long, he gave it to his clerk to carry away. His clerk, who was called Kit by everyone but Mr. Pelham, carried it two hundred yards, out at the Inner Temple gate and along Fleet Street and down Salisbury Court, and up two pair of stairs over Dunning the law-stationer’s, and put it on the table in the front room, where his sister Clemency read it, who could not have afforded it and would not have bought it.

She read it standing: a tall young woman of six-and-twenty in a grey gown that had been turned once already, with ink on the second finger of her right hand that no pumice in London would shift. She had found that if she sat down to The Lord Warden she was committed to finishing it, and she had not the least intention of finishing it. It was the ninth number. The Warden was keeping the Marches for a King who did not trust him, in a prose that had been built, stone by stone, out of the fifteenth century, and the Albemarle had been running it since December to a silence that could be felt across London.

“Kit says it is universally thought very heavy,” said Mrs. Lydiard from the sofa.

“Kit has not read it.”

“Mr. Pelham says so. He says Albemarle Street keeps it for reasons.” Mrs. Lydiard had The Lady’s Cabinet open on her knee. She took the Cabinet because she had taken it in Bread Street, and the quarter’s

subscription was one of the things that had come with them from Bread Street, like the sofa, and the clock, and the habit of ordering fish on a Friday whether or not there was anyone to eat it. “What reasons, I cannot think. Lucy, if you put that ribbon on the bonnet you will look like a Methodist.”

Lucy, who was nineteen and could have worn a dishclout, held the ribbon against the straw and considered it in the glass. The glass had also come from Bread Street. Very little else had.

The rooms were two floors over the stationer’s, and they faced two ways. The back looked west, across the roofs of Whitefriars, to the Inner Temple, which was old, and walled, and had been built to be looked at from the inside. The front looked down into the square, where Richardson had printed Pamela over his shop eighty years ago, and where Whitefriars sent up, on a still day, the smell of ink. It was a respectable address. Everyone who lived in it said so.

Clemency turned the page. The ninth number of The Lord Warden contained, in order: an account of a siege, conducted with a thoroughness that made her want to lie down; the arrival of a letter under the King’s seal, which the Warden read in a room that was described down to the last stone of the hearth; and a sermon. Between the letter and the sermon there was one paragraph.

She read it. Then she read it again, which she had not meant to do, and stood for a moment with the magazine open in her hands and the smell of ink coming up from Whitefriars, and then she turned the corner of the page down.

She did not turn pages down. It was one of the things she did not do, like sitting down to the Warden, and like crying in the square.

“If it is so very heavy,” said her mother, “I wonder you trouble with it.”

“I don’t trouble with it,” said Clemency, and took it through to the back room, where the desk was.

At the desk she wrote the paragraph out in her own hand, to see whether it was as good as she thought.

He had been obeyed all his life, and had taken it, as a man takes the weather, for a quality of the world and not of himself. It had not occurred to him until that hour that a man might be obeyed by every creature in his house and understood by none of them; that the one thing was so easily had, and the other not to be had for asking; and that he had spent five-and-thirty years purchasing the cheaper article in the belief that it was the dear.

It was better. Written out, with the siege and the sermon taken away from either side of it, it stood up by itself, and she saw what she had seen on the first reading and had not wanted to see: that whoever wrote the Warden could write, and that the ninth number was heavy not because he could not do otherwise but because he would not. There was nothing in the paragraph that a reader of the Albemarle could have been expected to want. It had been put there for the writer’s own satisfaction, like a good hearth-stone in a room nobody visited.

She sat for some minutes with the pen dry.

The fifth number of The Mortimers of Mount Street lay under her left hand, eleven pages of it, wanting four more and an ending. It was due in the Row on the tenth. She was finishing it on the fourth because Mr. Baldock paid on delivery, and because the quarter’s rent was twelve pounds, and because Kit’s forty pounds was paid at Michaelmas and had been spent, in the manner of Kit’s forty pounds, some time in July. The Mortimers were a family in the Manchester trade who had taken a house in Mount Street, and the fifth number required Mr. Mortimer to lose his footman. She had been three days trying to make the loss of a footman matter to anyone.

She dipped the pen, and moved the paragraph from the Marches of 1403 to a dining-room in Mayfair, and gave it to Mr. Mortimer.

Mr. Mortimer had been obeyed all his life, and had taken it, as a man takes the weather, for a quality of the world and not of himself. It did not occur to him until Thomas gave notice that a man might be obeyed by every creature in his house and understood by none of them; that the one was to be had for thirty pounds a year and the other not for asking; and that he had spent five-and-thirty years in the Manchester trade purchasing the cheaper article in the firm belief that it was the dear.

She read it over. It was funny. It had not been funny in the Marches, where it had been something else, and she was aware, in the part of her mind that kept accounts, that she had taken a thing that was not hers and had made it smaller in the taking. She was also aware that it was better where she had put it, and that nobody would ever know, because nobody read the Warden, and that the footman mattered now.

The number was finished by three, which it never was.

From Salisbury Square to Paternoster Row was ten minutes if one did not stop at the print-shop windows, and Clemency, who had the fifth number in a paper under her arm and seven

guineas to collect, did not stop.

She went up Fleet Street with the carts, past St. Bride’s, and over the bottom of Fleet Market, from which, if one looked north, one could see the long wall of the Fleet Prison, where people lived who had not paid their rent. She did not look. She went up Ludgate Hill with the dome standing over everything like a thing that had been there before the street and would be there after it. The Row ran off the churchyard on the north side, narrow and dark and smelling of paper, and had for two hundred years been the place where London’s books were made, and bought, and remaindered, and it was not a street that a lady walked down. It was a street that a young woman walked down with a parcel, and nobody looked at her, which was its chief recommendation.

The Ludgate had its office at number eleven, over Baldock’s shop. Mr. Baldock was in it.

He was a short, warm, quick man, Whig by conviction and by circulation, who had started the Ludgate two years ago on the principle that the Tories could not be allowed to have all the magazines, and who paid for fiction by the sheet and for poetry not at all. He took the number, and weighed it in his hand, which was his way of reading it, and said, “A sheet and a half.”

“A sheet and a half.”

“You are early.”

“I am always early, Mr. Baldock.”

“You are,” he agreed, and counted out the money, which he did not keep her waiting for, as he did not keep anyone waiting for whom he intended to go on paying. “I’ll tell you a thing. The Mortimers are liked. I had a letter Tuesday from a lady in Russell Square who wished to know whether the Author was acquainted with a family of the name. I said I could not undertake to say.”

“You could not,” said Clemency.

“I could not.” He put the number in his drawer. “They’re calling it Cockney stuff in Albemarle Street, you know. The Mortimers. Trade writing about trade.”

She had known that it would be called that, in the way that one knows the rent will be due; it was not a surprise, and it was not pleasant, and she found that she had put her hand flat on the counter. “Who is?”

“Oh, the young men. It is the word this year. They used it on Hunt, and on Hazlitt, and on that boy Keats who was a surgeon’s apprentice, and they will use it on anybody born east of Temple Bar who has the impudence to hold a pen. I should take it as a compliment. It means they have read you.” He looked at her over the drawer. “They have not had much to

read of their own this twelvemonth. Have you seen the Warden?”

“I have seen it.”

“Nine numbers. They say in the Row that Albemarle Street loses twenty pounds a month on it and daren’t stop. Somebody’s nephew. Somebody’s money. It is universally thought—”

“Very heavy,” said Clemency. “Yes. The ninth number has one paragraph in it.”

Mr. Baldock, who had been in the trade thirty years and knew the sound of a judgment when he heard one, looked at her for a moment longer than he need have done. Then he said, “Well. One is one more than the eighth,” and bade her good afternoon, and she went down the stairs into the Row with seven guineas and four shillings in her reticule and the word Cockney in her mouth like a bad tooth.

She did not go home. She went down Ludgate Hill, and back along Fleet Street past the end of her own court, and in at the Inner Temple gate, because it was past three and the Benchers let the public into the garden after three, and because Figgis the porter knew her as the clerk’s sister and would not ask what she wanted there. What she wanted there was the river. She had found that there was nowhere else in the City where a woman could stand still for a quarter of an hour without being supposed to be waiting for someone.

The garden lay at the bottom of the Temple, between the lawyers and the Thames, and belonged to neither.

It had been laid out by men who wanted somewhere to walk after dinner, and it had kept the shape of that wish: a long lawn going down to the river wall, gravel on either side, the plane trees along the walks, and at the foot the water-stairs where the Templars had once kept a barge and where there was now a boy who would take you to Westminster for sixpence. On the far side of the water Lambeth lay flat and green under the afternoon. The tide was going out, and the mud smelt as it always smelt, and the barges went down on it with their brown sails slack, and above and behind all of it, over the roofs of the Inner Temple, the two wooden giants of St. Dunstan’s struck the quarter with their clubs.

She went down the eastern walk to the wall and stood at it.

She stood there most days. It was the only place in London she knew where one could be still and not be in the way of anything, and she had come to use it as other women used a church. She did not think, particularly. She let the river go past. The word Cockney went past with it, and

the lady in Russell Square, and Mr. Mortimer’s footman, and after a little while the ninth number of the Warden lying on the table in Salisbury Square with its corner turned down, which was the thing she had come to the wall not to think about, and which she thought about, briefly and without comfort, and put away.

There was a man on the bench under the second plane.

She saw him as she turned to go back up the walk, and she saw him the way one sees anything in the Temple garden on a weekday afternoon, which is to say hardly at all. He was a gentleman; one knew that by the coat, which had been made by somebody who did not advertise. He was reading. He had the thing he was reading folded back on itself in his left hand, so that she could not see what it was, and in his right hand he had a pencil, and as she came level with him he made a mark in the margin, briefly, without looking up, as a man corrects a proof.

It was the pencil she noticed. She did not mark books. It was not a principle; it was that the books in Salisbury Square had come from Bread Street and would have to be sold back into Bread Street one day, and a book with a pencil in it was a book with a shilling off it. The gentleman on the bench marked what he read as if he would never in his life have to sell anything, and she passed behind him with the small, exact, unenvious attention one gives to a thing one has decided not to want.

He did not look up. She did not expect him to.

She went up the walk and out through the lane, past the sundial that told the passer-by to be gone about his business, and did as it said.

The set of chambers on the second floor of number five, King’s Bench Walk, had the name Mr. A. Kinross painted on the doorpost in the Inn’s own lettering, and had been let to Mr. Kinross for six years, and in six years had been entered by nobody but Mr. Kinross, the laundress, and the man who came for the coals.

It was not an address. His address was Grosvenor Square, where his aunt received for him on Thursdays, and where a letter would find him, and where, for most of the daylight hours of the week, he was not. He had been admitted a student of the Inner Temple at one-and-twenty, as the heir to Ardoch had been admitted before him, and had eaten the dinners, and had not been called, and had kept the chambers, which was all he had ever wanted of the law. A gentleman in the Inn was a gentleman whom the porter

did not announce. Nobody knew that better than the porter.

The front room looked down over the garden to the river. The desk was at the window, and he sat at it now: a tall, dark, unsmiling man of two-and-thirty, with the kind of face that his aunt’s friends called distinguished and his aunt called a great pity, since he did nothing with it.

There were two things in the room that a visitor would have noticed, had there been a visitor. One was the files. They stood in deal boxes against the inner wall, seven-and-thirty of them, each lettered with a year, from the first of Richard to the last of the fourth Henry, and inside each box, on slips in a small, fast, Scotch hand, was every day of that year for which anything could be found: who was where, what the weather had done, what was paid for a horse at Shrewsbury and what a bishop said at York. It had taken nine years. It was not finished. The other thing was a grammar of the English of the fourteen-hundreds, in manuscript, by the same hand, because nobody had printed one and he had wanted to be sure.

On the desk, under the window, lay the August number of the Ludgate, folded back on itself and marked in pencil.

The marks were in the fourth number of The Mortimers of Mount Street. There were three of them. Two were corrections, made in the margin with the brevity of a man who had never had to explain himself: against a passage in which Mrs. Mortimer’s carriage drew up at the railings of a house in Grosvenor Square, railings are set in the area, not the kerb; and against a dinner, no one in that square dines at six. The third was not a correction. It stood beside a paragraph near the end of the number, in which a girl of the Mortimer family had been made to understand, in the course of a single sentence, that she would not be asked to the house she had been dressed for. It was one word, written that afternoon on a bench in the garden below, and the word was competent.

He had been reading the Mortimers since May, in the way that a man who owns a share in a magazine reads the magazine that is beating it, and he had not yet decided what he thought of them, which was not a condition he was used to. He had taken them down to the garden that afternoon to decide, and had decided nothing but that one word; and while he sat there someone had come down the eastern walk and stood a while at the river wall, and passed behind his bench, and gone.

He had not looked up. He was writing the tenth number of The Lord Warden, in which the Warden would

answer the King’s letter, and he had reached the place in it where the answer had to be given, and he had been there since noon.

The ninth number lay on the shelf behind him, as it lay in two thousand houses that had not read it. He did not know that in one of them it had been read twice, or that the corner of a page had been turned down, or that the best paragraph he had written in his life had that afternoon been carried up Fleet Street under a young woman’s arm, set down in a dining-room in Mount Street, put into the mouth of a man in the Manchester trade, and sold, with the rest of the number, for seven guineas.

He would know on the first of September. It was the fourth of August, and the tide was out, and St. Dunstan’s giants struck the half-hour, and he wrote the first word of the Warden’s answer, and struck it through.

(To be continued.)

Edited by Michael Cummins. Written in full collaboration with Anthropic’s Claude models, and set here as it might have appeared in a London magazine of 1819. Read the announcement, with the plan of London.

AND HIS FRIENDS

On five American book clubs, a sixteenth-century motto, and the old question of who counts as a friend

Between 1884 and 1895, collectors in five American cities founded clubs devoted to the book as an object. What has tested them longest is not the book but the company: who is asked in, and who is kept at the door.

The Rowfant Club of Cleveland keeps hundreds of candlesticks. On Wednesdays they are set out to hold places at dinner, and once a year, at the annual meeting on Candlemas, one is lit for every member. The candlestick is a groundhog sitting upright on an open book, holding the candle; Ernest Thompson Seton drew it, and Tiffany cast it in 1903. The club’s library holds about eleven thousand books, and since 2020 every one of them has passed through the hands of Amy Dawson, a cataloguer who works as the club’s library consultant, and who found there, in the first year of the pandemic, the quiet of an old building. Five years on, she still could not be a member. There is no candlestick for her.

The Rowfant is one of five American book clubs founded within eleven years of one another. The oldest is the Grolier Club of New York, founded on a January evening in 1884 when Robert Hoe invited eight friends to his home. Boston’s Club of Odd Volumes followed in 1887, Cleveland in 1892, Philadelphia’s Philobiblon in 1893, and Chicago’s Caxton Club in 1895. Each has its own words for what it is for. What the five have in common is the form: a society whose members are chosen. Three of them, in New York, Chicago and Cleveland, have left a public record of how they did the choosing; Boston and Philadelphia have said far less about theirs.

Jean Grolier, the French treasurer the New York club is named for, stamped his bindings in the sixteenth century Io. Grolierii et amicorum: belonging to Grolier and his friends. The motto is read as generosity, a man who shared his books. It is also a list. A club’s work is largely the list: who is invited, who is proposed, who is balloted, who dines. In Cleveland the list once kept a Black novelist from being invited and, eight years later, let him in. For most of a century, in all five cities, it kept out women. Then the clubs went two ways, and the question underneath, now that the book is common and some of the doors are open, is whether a bibliophile society is still about the book at all.

I

One Copy of Every Book

Sir Thomas Phillipps, born in Manchester in 1792, called himself a vello-maniac. He spent a fortune on some sixty thousand manuscripts and forty thousand printed books, and when it was spent he went into debt, and he wrote to a friend that he was buying printed books because he wished to have one copy of every book in the world. The collection was dispersed after his death, and part of it now lines a room on the fourth floor of a building on East 60th Street in Manhattan, where a quantity of his loose papers, bought in 2003 and installed in a display closet, grew mold and had to be sent away for treatment.

The building is the Grolier Club. On the evening of January 23, 1884, Robert Hoe, whose family firm built printing presses, invited eight fellow bibliophiles to his home in New York to talk about books: less, as Lauren Kane writes in Apollo this month, about what was being published than about how. Among the nine was Theodore Low De Vinne, the printer, who would print most of the club’s early books. The first of them, issued that same year, was a reprint of a decree of the Star Chamber from 1637 concerning printing, a law that had forbidden any man in England to own type or a press without the authorities’ leave, and it was De Vinne who urged the choice. Hoe called the result “a pretty nice specimen of printing.”

They named the club for Jean Grolier, a sixteenth-century treasurer of France whose library was famous. The club’s constitution commits it to “the acquisition, furnishing and maintenance of a suitable club building,” and in 1890 the members built one, on land Hoe provided, at 29 East 32nd Street. In 1917 they moved to the house on 60th Street where part of Phillipps’s collection now sits. A candidate for membership is proposed in writing by a member and supported by letters from three more.

A single Gutenberg Bible touches three of the five clubs. It had belonged to Brayton Ives, one of the nine, a Civil War general and a former president of the New York Stock Exchange, who sold a library at auction in 1891. It later belonged to James W. Ellsworth of Chicago, who, by the Caxton Club journal’s account, paid $14,800 for it at auction and was that club’s first president. In 1924 the Philadelphia dealer A. S. W. Rosenbach, whose name the Philobiblon’s meeting place now carries, sold it to John Scheide, and in 2014 Scheide’s son left it to Princeton.

Phillipps wanted one copy of every book in the world, and said so with three exclamation marks. The club that now keeps a piece of what he gathered chose for its first publication a law about who might own a press. Between those two facts lies a good deal of what a bibliophile society is: not the whole of print, which Phillipps wanted and could not have, but a selection, made by a few, printed well, and kept by a club that has outlasted both Phillipps’s library and Ives’s.

II

Properly Qualified

When fifteen bibliophiles founded the Caxton Club of Chicago in January 1895, on an idea that began among men at McClurg’s bookstore, the club admitted men only, as, Dan Crawford notes in the club’s own history of the episode, most clubs of the 1890s did. Some members wanted women admitted from the start. The club was inviting women to its events as early as 1897, though rarely. A proposal to admit them came up about once a decade, and each decade had its reason against. In the early 1960s it was the Cliff Dwellers, where the club then met, which itself barred women. In the early 1970s three officers took the question up, among them the president, Sam Rosenthal, whose wife, Marie-Louise, was a noted collector and could not join. The opposition, which had major donors and officers in its ranks, asked the Mid-Day Club, also a men’s club, to forbid the change as the Cliff Dwellers had. The Mid-Day declined.

In 1975 the Council voted ten to five in favor. That admitted no one. The Council had approved women only if a poll of the whole membership agreed, and so every member received a ballot with two boxes, to favor or to oppose the election of “properly qualified women.” The opponents called the wording unfair. As Crawford gives their objection: “What husband would dare suggest that his wife was NOT properly qualified?” One member wrote in the margin to ask when the club meant to admit some properly qualified men. A hundred and seventy-six members replied. A hundred and forty-two were in favor, thirty against, and four abstained, and most of the thirty were non-resident members who seldom came to meetings.

An oil painting of the Grolier Club’s house on East 60th Street at dusk in the rain, with a line of men in 1920s evening dress and top hats, several under umbrellas, filing up the steps through the lit front door.
The Grolier Club’s house on East 60th Street, as it was from 1917 to 1976. Painting made for this essay.

Out of worry about what the club might become if women came in numbers, the first intake was limited to five, and on January 12, 1976, it elected them: Karen A. Skubish, Mary Beth Beal, Mary Lynn McCree, Suzette Morton Davidson and Frances Hamill. Beal became the club’s first woman president. The limit did not last, and by 2010 about a quarter of the members were women. The Philobiblon in Philadelphia, by one record, had admitted women two years before Chicago, in 1974. In the same archive file as the ballots is a letter from the Grolier Club asking how the Caxtonians had done it. It is undated. The Grolier admitted its first women in 1976.

The Grolier’s librarian did not live to be one of them. Ruth Shepard Granniss ran its library from 1906 to 1944, could never have joined the club she served, and died in 1954. She was among the founders of the Hroswitha Club, which first met on November 16, 1944, at the Cosmopolitan Club in New York, convened by Sarah Gildersleeve Fife, with Belle da Costa Greene of the Morgan Library also among its founders, and which met for sixty years. In 1926, eighteen years before that first meeting, it was Greene who opened the bidding at the New York auction of the Melk abbey’s Gutenberg Bible; Rosenbach won it for $106,000, then reported as the highest price ever paid for a book. When the Grolier opened its membership in 1976, a number of the Hroswitha’s members were in the first group to join.

The opponents’ objection gave away what the vote was about. If no husband would dare call his own wife unqualified, the standard was never going to be applied, and what the members were deciding was who would be in the room.

III

Baxter’s Procrustes

In 1899 Houghton Mifflin published The Conjure Woman, a collection of stories by Charles W. Chesnutt of Cleveland, and, at the Rowfant Club’s suggestion, a limited edition of it in a hundred and fifty numbered copies. Three years later he was prevented from receiving an invitation to the same club because he was Black. The Library of America says he had applied and that one or two members judged it too soon; Cleveland Magazine’s word is “blackballed.” In June 1904 he published a story called “Baxter’s Procrustes.”

It concerns the Bodleian Club, a society of gentlemen of culture with a handsome clubhouse, a collection of pipes, and publications in which, the narrator confesses, contents matter less than linen paper, uncut edges and wide margins. The club resolves to print a poem by Baxter, perhaps its most scholarly member, in fifty numbered copies on Kelmscott paper bound in dark green morocco, and the committee, with great delicacy, does not read the manuscript. A member reads out a magazine note that a sealed copy of a Grolier Club publication has sold for three hundred dollars, and subscribers are offered their copies sealed. The narrator, appointed to review the poem, will not spoil his own copy by opening it. In the smoking-room the reviewers compare notes on a poem none of them can have read, and the narrator pronounces the letterpress “of course De Vinne’s best.” On the review night a young English visitor cuts the leaves with the paper knife and finds there is not a single line in it. Baxter offers to pay the bills; it is more than hinted that his resignation would be accepted; he never sends it, and goes to Europe. The president of the club draws the moral. Baxter’s book, he says, might be considered the acme of bookmaking. “To the true collector, a book is a work of art, of which the contents are no more important than the words of an opera.” At the next auction a sealed copy brings two hundred and fifty dollars, “the highest price ever brought by a single volume published by the club.”

The Chesnutt Archive describes the story as a mild satire of collectors and the clubs they form. The Bibliographical Society of America reads it as a comic critique of the book clubs of its day and an apt reply to his exclusion. The Library of America says he aimed it at the Rowfant’s members. The story names only the Bodleian and, inside it, the Grolier Club and De Vinne.

In 1910 the Rowfant reversed itself and admitted him; the Library of America calls him its first African American member. He gave nine lectures there over the next fourteen years, the last on valentines; his daughter recalled his Saturday nights at the club, where, as the Library of America quotes her, “he basked in the warm rays of friendship for which his lonely heart had yearned”; he was a member when he died in 1932.

In the story, the president gives his verdict to “a select few of us who sat around the fireplace.” In 1966 the Rowfant reprinted it in a limited edition of a hundred and fifty copies, by the count of the Chesnutt scholar Charles Duncan: the size of the edition of The Conjure Woman it had suggested in 1899.

An oil painting of a library gallery by day: on a worktable, an iron key lies across a ledger beside a green leather book open to blank pages and a second copy sealed in paper and red wax; below the railing, a long dining table is set with unlit brass candlesticks.
A cataloguer’s table in the gallery: a key across the ledger, a sealed copy, a blank one cut open, and below, the table set with its candlesticks. Painting made for this essay.

IV

The Candle

The Rowfant Club was founded on February 29, 1892, and named for Rowfant, the Sussex house of Frederick Locker-Lampson, an English collector and writer of light verse. Its object, in its own words, is “primarily the critical study of books in their various capacities to please the mind of man,” and it meets in a house built in 1838 and moved to its present site on Prospect Avenue in 1895.

In 1955 the club’s historian, Russell H. Anderson, counted its exclusion of women among its firmest traditions. Members, he wrote, would have vehemently denied that it came from jealousy or from any low opinion of women’s learning, and he wondered whether “the dread of napkins and mould salad” at the evening snack had played some part.

Women may come to the Rowfant as guests, attend its Wednesday-evening and Friday-lunch lectures and work in its library, but they may not join. That was the rule when Katherine Churchill reported on the club for Defector in June 2025, the most recent public account; I have found nothing since to say it has changed. With Boston’s Club of Odd Volumes, founded in 1887, the Rowfant was then one of only two rare book clubs in the country that still admitted no women. Neither belonged any longer to the Fellowship of American Bibliophilic Societies, which grew out of a meeting at the Rowfant’s own centennial in 1992. The fellowship’s former president told Churchill that the Rowfant and the fellowship had parted by mutual agreement, and that she hoped the club would one day reconsider.

Amy Dawson began working on that library in 2020, as a consultant to the club. She has handled every one of its roughly eleven thousand items, and she called it, in a way, “untouched ground.” Talking with members over bindings and fine press books, she told Churchill, she had found her tribe. She also told Churchill it struck her as funny that the people by whom she felt most understood were all men, and she wondered whether they saw her the way she saw them.

In 1902, by the Library of America’s account, “one or two members thought the time hadn’t come.” In 2025 a person familiar with the club’s workings told Churchill that the policy was what it was because that was how the club had been formed, and allowed that it kept out people who would make good members. The club did not comment to Churchill.

Dawson told Churchill, “I think I would be a wonderful Rowfant member.” Elsewhere in the article she said that she already had the benefits of a member: members pressed their guest tickets on her, and she could come to lunch when she liked. She is not the first. Ruth Granniss kept the Grolier’s library for thirty-eight years and could never join it. The Rowfant has lost nothing it can measure by keeping Dawson out. What it has lost is the chance to count among its friends one of the people who know its library best.

V

The Thousandth Exhibition

In September, when Kane visited for her Apollo piece, the Grolier Club was marking its thousandth public exhibition. It mounts seven a year. Proposals go to a committee of members and may come from people who are not members at all. The club’s director, Declan Kiely, came two years ago from the New York Public Library, where he had directed special collections and exhibitions, and has since endowed a post for a director of exhibitions and communications. The show on view, proposed by members with the arts collective Dieu Donné, founded in 1976, surveyed fifty years of its work: pulp painted, sheets watermarked, paper blown out with water while it was still forming.

The library upstairs is modeled on Wren’s at Trinity College, Cambridge. On a table there the newest catalogues of auction houses and dealers are set out for members, from Christie’s to a bookseller in New Jersey. The word that kept coming up on Kane’s visit was provenance, and what lit collectors up, she found, was not first editions but the old sale catalogues and logs in which collectors of the past kept track of what they owned. Members vote on which archives coming up for sale the club should buy, and the library is open to researchers and scholars. The most recent number of the club’s Gazette, its seventy-fifth, is built loosely around women collectors and their part in the club.

All of the Grolier’s eight hundred or so members are collectors, though the requirement, as Kane puts it, is broad. The examples Kiely gave her were paperbacks from the 1960s, books printed before 1501, and books with inscriptions. The club whose first publication was a law about who might own a press now counts a shelf of paperbacks as a collection. A paperback is not rare; what makes a shelf of them a collection is the person who chose them. Kane ends on the thought that such “analogue assets” will take on new meaning and value, and that a library full of the past might carry its readers into the future.

In Cleveland the Rowfant Club meets on Candlemas and lights a candle for each member. When a member dies, Cleveland Magazine reported in 2005, his candlestick is capped in a ceremony and set on the mantel beside those of the members who died before him. The two clubs were founded eight years apart, and they have given different answers to the question Grolier’s motto raises. The Grolier has widened what counts as a collection and who may propose a show. The Rowfant has kept its library, its candles and its rule about who may join. The woman who has handled every book in its library is still outside its membership. There is no candlestick for her.

Is a bibliophile society about the book, or was it always about the friends?

⁂

The occasion is Lauren Kane’s “Inside the Grolier Club, a book lover’s paradise in Manhattan,” published online October 26 in the November 2026 issue of Apollo, from which the Grolier Club of today is drawn. The Rowfant Club of 2025, Amy Dawson’s remarks and Russell H. Anderson’s 1955 history are quoted as reported in Katherine Churchill’s “The Exclusive Men’s-Only Rare Books Club, And The Woman Who Has A Key,” Defector, June 3, 2025; the club did not respond to her request for comment. The Caxton Club’s vote is from Dan Crawford’s history in the Caxtonian (August 2010) and the club’s own account of its first women members; James W. Ellsworth’s Bible and presidency are from Edward A. Quattrochi in the Caxtonian (June 2019). The Scheide Gutenberg’s owners are from Princeton University Library; the 1926 sale of the Melk copy is from Yale’s Beinecke Library. Charles W. Chesnutt’s “Baxter’s Procrustes” (1904) is public domain and is quoted from the text. The accounts of 1902 and 1910 are from the Charles W. Chesnutt Digital Archive, the Library of America and the Bibliographical Society of America; Helen Chesnutt is quoted as the Library of America quotes her. The candlesticks and the mantel are from Anne Trubek’s “The Book Boys,” Cleveland Magazine (2005), and from Freeman’s; the Philobiblon’s date is from the Historical Society of Pennsylvania. Quotations keep their sources’ spelling.

Also drawn on: the Grolier Club’s online exhibition entries for Robert Hoe and the Hroswitha Club’s records; the New International Encyclopædia on the Grolier Club; Princeton’s “Brayton Ives, collector”; Rare Book Hub on the Grolier’s founding; the Encyclopedia of Cleveland History on the Rowfant; and the Philobiblon Club’s meetings page.

Drafted with Claude Opus 5.5; literary editing by Claude Sonnet 5.5; outside literary editing by Claude Fable 5.1. The header, the interior and the painting of the Grolier’s house were generated with Gemini Argon for this essay.

“The Wit of Mount Street”: A Literary Intellectual Romance Novel In Serial

The Wit of Mount Street; or, Her Heart in Numbers — A Literary Intellectual Romance

Shortly will be Published, and continued in Numbers,

The Wit of
Mount Street;

or,

Her Heart in Numbers.

A Literary Intellectual Romance of London in the Years 1819–1821; in which two Authors, unknown to each other, are found to be conducting a Correspondence in the public Prints, to the great Entertainment of the Town and the Alarm of their Proprietors.


Chapter the First: A Sheet and a Half.

It will appear in these pages To-morrow, Monday, the 26th of October; and the Public are respectfully informed that no Number will be delayed on account of the Rent.


Edited by Michael Cummins.

Intellicurean · London, Salisbury Square to Grosvenor Square · MDCCCXIX

A note from the proprietor

The Wit of Mount Street is a serial novel, published here one chapter at a time, as novels were in the magazines of the Regency, before Dickens made the practice respectable.

It is a love story between two minds that have never met. In Salisbury Square, off Fleet Street, a young woman writes a comedy of Mayfair by the sheet to keep her family fed. Two hundred yards away, in chambers overlooking the Temple garden, a man with ten thousand a year writes a grave medieval novel that nobody reads. Neither knows who the other is. One of them is about to steal a sentence.

We call it a Literary Intellectual Romance: two people come to know each other’s minds long before they know each other’s faces, and the argument is the courtship. It is a comedy of manners with a grave heart, told in the only form that love could honestly take: not in letters, which no Regency lady could send to a man she had never met, but in print, where the whole of London reads them without knowing what they are.

An engraved plan of London in 1819, from Grosvenor Square and Mayfair in the west, by the Strand and Fleet Street, to St Paul's and Bread Street in the east, with the Temple and its garden on the river between. A dotted line marks the walk from Grosvenor Square to Salisbury Square. Five buildings are numbered: I, a house in Grosvenor Square; II, chambers in King's Bench Walk; III, two pair of stairs over a law-stationer's in Salisbury Square; IV, the Albemarle; V, the Ludgate.
A Plan of the Country lying between Grosvenor Square and Bread Street, 1819. The dotted line is the walk from Grosvenor Square to Salisbury Square, which neither of them has ever taken. Between the two lie the Temple and its garden. References. I. A House in Grosvenor Square. II. Chambers in King’s Bench Walk. III. Two Pair of Stairs over a Law-Stationer’s. IV. The Albemarle. V. The Ludgate. Drawn for The Wit of Mount Street, after Horwood’s Plan of London. Select the plan to see it at full size.
Chapter One appears tomorrow. Monday, the 26th of October New chapters will follow every few days. This page will carry the index.

On the Making of this Novel

The Wit of Mount Street; or, Her Heart in Numbers is written in full collaboration with Anthropic’s Claude models. Claude drafts each chapter and works throughout as the novel’s literary editor and copy editor. Michael Cummins conceived the novel’s design (its two rival serials, its two miles of London, the garden between them) and edits every Number before it appears.

The view of Temple Bar at the head of this page and the plan of London were generated with Google’s Gemini. Claude corrected and lettered the plan after Horwood’s survey of 1792–99.

Edited by Michael Cummins.

NOT YET A BOOK

Serial Fiction and the Version That Never Stays Put

In 1875 a Lisbon review began printing a young novelist’s book while he was abroad, still asking for proofs. The serial ran 160 pages; he rewrote it twice, into 674. From Smollett to Joyce, a serial novel is a draft the world gets to read, and to interfere with.

I

The Draft in Public

In February 1875 a young Portuguese novelist was in Newcastle while his novel went to press in Lisbon.

A page of the Revista Ocidental, Lisbon, 1875, printing O Crime do Padre Amaro by Eça de Queirós
O Crime do Padre Amaro in the Revista Ocidental, Lisbon, 1875: the serial its author called a borrão.

Eça de Queirós had left the manuscript of O Crime do Padre Amaro with his friend Batalha Reis, who was seeing it into the Revista Ocidental. He had read the proofs of the first part. On 8 February he wrote that it was “absolutamente necessário” that he see a second set of proofs. The review printed the first instalment on 15 February without waiting for him, and the chapter numbers came out irregular. Eleven days later he wrote again: “Eu dou-vos um borrão de romance – e vocês em lugar de publicar o romance publicam o borrão!” I give you the rough draft of a novel, and instead of the novel you publish the draft. He demanded that the review declare it had printed the text without his revision. What the editors eventually printed was politer: a note explaining that, being abroad, he had been unable to direct the publication himself or make the important changes he intended. By 15 May the serial was over, and over the next five years he rewrote it twice.

He had once been on the other side of the form. In 1870 he and Ramalho Ortigão had run a novel in the Diário de Notícias as unsigned letters to the editor, presented as a true story. Five years later the form had turned on him. Nor is any of this a Portuguese curiosity: half the top ten of this year’s Guardian list of the best novels of all time began as serials.

A serial novel is not a book arriving in slices. It is a book that does not yet exist, read while it can still be changed. Between the first number and the last, an editor can cut it, a state can burn it, its author can start again, and its readers, by buying or not, can decide whether there will be a next number at all. The book we read afterwards is not the original. It is the survivor.

II

Before the Book

A knight in full armour rides out across the English countryside to right wrongs, a Quixote for the monthly trade. He first appeared in January 1760, in the opening number of The British Magazine, and he rode on month by month for two years in The Life and Adventures of Sir Launcelot Greaves. The book followed in 1762. The magazine’s editor was Tobias Smollett, and so was the novel’s author.

Reference books call it the first original serialised novel in English; the record of earlier serial publishing is murkier than that, and the title matters less than the arrangement. Smollett sat at both ends of the pipe. He wrote the chapters, and he edited the magazine that carried them. In most of the cases that follow, the author and the editor are different people, and what passes between them, a proof, a refusal, a note to the readers, is the history of the form.

The knight carries a second lesson. A serial must promise a next number, so its hero has to be left somewhere he can be found again: on a road, in a quarrel, one step short of an answer. Greaves rides out in January and must ride out again in February. A book can end. A serial, whatever its author intends, can only stop.

III

Between Numbers

Charles Dickens did not set out to write a novel. In the spring of 1836 he was writing text to accompany the sporting plates of an artist named Robert Seymour, to be issued in monthly numbers. On 20 April Seymour shot himself, having finished seven plates. The publishers tried a second artist, Robert Buss, who drew the June number and was dropped. In July they hired Hablot Knight Browne, not yet twenty-one and later known as Phiz, and in the same number Dickens introduced a new character, Sam Weller.

The early numbers had sold poorly; Chapman and Hall printed 1,000 copies of the first. After Weller arrived, circulation leapt, and by the end they were printing 40,000. Nothing in this was planned. A suicide, a dismissal, a hire and a servant with a gift for talk, all inside a few months, turned a failing commission into the book that made Dickens. To write to the number is to let the gap between instalments do some of the writing.

The calendar worked on the author as well. His sister-in-law, Mary Hogarth, died on 7 May 1837. That June there was no number of Pickwick and none of Oliver Twist, the second serial he was writing at the time. It was the only occasion in his life on which Dickens missed a publication date. One death stopped two serials. A book can wait for its author’s grief. A serial has a month, and the month is part of the text.

George Eliot answered the number another way. Middlemarch came out in eight parts between December 1871 and December 1872, at first every two months and then monthly. Where Pickwick found its shape on the road, Middlemarch reached its readers as its author had planned it, and nobody, so far as the record shows, cut, refused or burned a page of it.

Even so, its readers could not see the plan. Henry James, reviewing it for the Galaxy in March 1873, remembered the suspense of the parts: “We can well remember how keenly we wondered, while its earlier chapters unfolded themselves, what turn in the way of form the story would take—that of an organized, moulded, balanced composition, gratifying the reader with a sense of design and construction, or a mere chain of episodes, broken into accidental lengths and unconscious of the influence of a plan.” With the book finished, he settled on “a treasure-house of details, but it is an indifferent whole.”

The two novelists faced one condition. Between one number and the next, nobody knows what the book is: not the reader, and not always the author. Dickens made that ignorance his engine. Eliot kept a plan and still could not spare her readers the question. In each case, for a year or more, the book was a draft the world held in its hands, asking what it would turn out to be.

IV

Who Owns the Draft

If the serial is a draft in public, the question is who may touch it. Four parties had a say. The editor worked with a pencil, the state with a match, the author with a second draft. The reader had a purse.

In Moscow the editor ended the novel himself. Anna Karenina had begun in Mikhail Katkov’s Russian Messenger in January 1875, a month before Eça’s first instalment in Lisbon. Part Seven, which ends with Anna’s death, concluded in April 1877. Part Eight follows Vronsky to the war in Serbia; it is also where Levin, so near despair that he hides a rope from himself, hears a peasant say of an old neighbour, “He lives for his soul,” and finds his faith. Katkov supported the war, and Susanne Fusso, whose book follows his dealings with Turgenev, Dostoevsky and Tolstoy, thinks he probably refused the part over its treatment of the volunteers. He did not print it. In its place the magazine told its readers that with the heroine’s death the novel had really come to an end. The author, it explained, had planned an epilogue of a few pages, in which Vronsky left for Serbia as a volunteer and Levin stayed hostile to the volunteers and the Slavophiles, and he might add those chapters in a special edition. Tolstoy issued the part as a pamphlet, and the whole novel appeared as a book in 1878.

An oil painting of Leo Tolstoy in a grey peasant blouse standing in his study at dusk, holding an open magazine in one hand and a string-tied manuscript in the other, while a train crosses the fields outside the window.
An imagined scene: Tolstoy in the spring of 1877, between the magazine that ended his novel and the part it would not print.

In Paris the editor and the court worked on the same novel at different moments. Before the Revue de Paris began serialising Madame Bovary in the autumn of 1856, Flaubert agreed, on the advice of Maxime Du Camp, one of its founders, to cut about thirty pages. During the run the Revue went further without him. It flagged sixty-nine passages it wanted cut or altered, retouched the text without his permission, and in the number of 1 December suppressed the scene in which Emma gives herself to Léon in a cab. Flaubert restored the passages it had retouched, and before the sixth and last instalment he printed a notice, the condition on which he let the serial finish. Considerations he was not called upon to judge, it said, had forced the Revue to make a cut; he disowned the lines that followed; and the reader was asked to see in them “only fragments, not a whole” (n’y voir que des fragments et non pas un ensemble). Eighteen years later Eça would ask Lisbon for the same declaration, and get a politer one in the editors’ words.

Then came the court. Within two months the Revue’s director, Léon Laurent-Pichat, its printer, Auguste-Alexis Pillet, and Flaubert were tried for outrage to public and religious morality and public decency. On 7 February 1857 all three were acquitted, though the court added that the book deserved “un blâme sévère.” The judgment reads like a map of who owned the serial. In the language of the law the editor was the auteur of the offence, and Flaubert, who had supplied the manuscript, was his accomplice. The state had put on trial the text its author had publicly called fragments, and had named someone else its author.

In New York the pencil reached Ulysses before the match. Forwarding Joyce’s chapters to the Little Review in 1918, Ezra Pound trimmed about twenty lines from “Calypso” himself, without Joyce’s knowledge; he had already advised Margaret Anderson that “it might be well to leave gaps, at the questionable points, well marked.” In 1919 and 1920 the Post Office seized and burned issues that carried the novel. A reader started the prosecution: a New York lawyer complained after an issue carrying part of “Nausicaa” reached his daughter. The last instalment ran in the September–December 1920 number, partway into “Oxen of the Sun.” In February 1921 Anderson and Jane Heap were found guilty, fined fifty dollars each and fingerprinted. The book stayed banned in the United States until 1933.

The author’s turn came after the serial was over. Eça’s borrão had run to about 160 pages. The book of 1876, which he called the “edição definitiva,” ran to 362. The version of 1880, rewritten again at length, ran to 674. The definitive edition lasted four years.

The reader was the weakest of the four, with two powers. The first was the purse: the readers of Pickwick had no say in whether Sam Weller appeared, but in July 1836 they bought the number he appeared in, and went on buying. The second was to hand the number to the censor, as the New York lawyer did in 1920.

Flaubert’s notice, then, was addressed to the one party who could not touch the text: the reader, who could only read what the others had left.

V

Not Yet a Book

In the volume of 1837, Buss’s plates were replaced by Phiz’s, to give the illustrations a uniform look. The book had quietly dropped one of the serial’s artists, and a book does not footnote what it drops.

War and Peace began in the same Russian Messenger, in instalments called 1805, between 1865 and 1867; Tolstoy then rewrote the entire novel for the book of 1869. The magazine that would decline to print the end of Anna Karenina had printed the beginning of War and Peace in a form its author did not keep.

A textual editor would say, fairly, that the book is the work and the serial one of its states. But the serial was the state with an audience: the only stage at which a novel could still change while it was being read.

Of the five serials at the top of the Guardian’s list, only Middlemarch reached its readers as its author had planned. Ulysses was cut, burned and stopped short; Anna Karenina lost its last part in the magazine; War and Peace was rewritten from its beginning; Madame Bovary was cut as it ran and then put on trial.

We call them books because the books are what survived. For a season each was something else: in progress, in public, in the hands of strangers. In February 1875 a novelist in Newcastle asked for one more set of proofs, and Lisbon printed the borrão. A book is where an author can say it is finished. A serial has no such place. It runs until the editor, the censor, the author or the market says enough, and the book we are handed is the draft at the point where it stops.

⁂

The opening rests on Aline Leal Mota’s dissertation, Anticlericalismo em mutação: as três versões de O Crime do Padre Amaro (Universidade do Estado do Rio de Janeiro, 2014), which quotes Eça’s letters to Batalha Reis of 8 and 26 February 1875 and the editors’ note as given by Tavares (1943); the page counts of the three versions are from Nau Literária, and the account of O Mistério da Estrada de Sintra from the Diário de Notícias (2020). The Guardian’s “The 100 best novels of all time” appeared on 12 May 2026; its top ten is given as reported by Gigazine and Telescoper. Smollett’s magazine and editorship are from Orlando and the Victorian Web; the caution about earlier serials is Wiles’s Serial Publication in England Before 1750. The Pickwick history follows the Victorian Web and Cornell’s Pickwick project, the print runs David Perdue’s Charles Dickens Page, and the missed June numbers of 1837 the scholarship cited in the Wikipedia article on Mary Hogarth. Henry James’s review of Middlemarch appeared in the Galaxy in March 1873 and is quoted from the University of Texas reprint. For Madame Bovary: the judgment of 7 February 1857, as reproduced by the Fondation Napoléon; Flaubert’s notice as quoted by Kartable; the sixty-nine passages from the National Coalition Against Censorship. For Ulysses: Pound’s letter to Margaret Anderson of January 1918, from the University of Wisconsin–Milwaukee Libraries; the burnings from the Beinecke Library and the Community of Literary Magazines and Presses; the prosecution from NY 1920. Katkov’s refusal follows Susanne Fusso, “Mikhail Katkov and Lev Tolstoy: Anna Karenina against the Russian Herald” (Uppsala, 2019), shortened from her Editing Turgenev, Dostoevsky, and Tolstoy (Northern Illinois University Press, 2017); the magazine’s note is paraphrased from James Warner’s account in openDemocracy (2011), and Levin’s chapters are quoted in Constance Garnett’s translation. The serial history of War and Peace is from the scholarship cited in the Wikipedia article. Translations from the Portuguese and French are ours. Concept review with Claude Fable 5.1; drafted with Claude Sonnet 5.5; revised with Claude Opus 5.5; literary editing by Claude Sonnet 5.5; outside literary editing by Claude Fable 5.1. The two paintings are imagined scenes generated with Gemini Argon, not historical likenesses: the header shows the young Charles Dickens writing at night while a printer’s boy waits at the door for copy, and the image in Section IV shows Tolstoy in the spring of 1877, holding the magazine that ended his novel and the part it would not print.

Essays & Reviews – For The Intellectually Curious

INTELLICUREAN

Essays & Reviews - For The Intellectually Curious

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