Famous Houses and Literary Shrines of London

One time and another Whistler occupied four different houses in Cheyne Walk, and No. 101 was the first of these. He had been living in lodgings, or with his brother-in-law, since he came over from America, but in 1863 he took the Cheyne Walk house, and his mother went to live there with him. It is a three-storey house, and the back room on the first floor was his studio; the river lies before it, just across the road, and he could see from his front windows old Battersea Bridge, Battersea Church on the other side of the Thames, and at night the twinkling lights of boats and barges at anchor and the flare and many-coloured glitter of Cremorne Gardens in the distance. At the end of Cheyne Walk lived the boatbuilder Greaves. “He had worked in Chelsea for years,” write Mr. and Mrs. Pennell, in their Life of Whistler. “He had rowed Turner about on the river, and his two sons were to row Whistler. One of the sons, Mr. Walter Greaves, has told us that Mrs. Booth, a big, hard, coarse Scotchwoman, was always with Turner when he came for a boat. Turner would ask Greaves what kind of a day it was going to be, and if Greaves answered ‘Fine,’ he would get Greaves to row them across to Battersea Church, or to the fields, now Battersea Park. If Greaves was doubtful, Turner would say, ‘Well, Mrs. Booth, we won’t go far’; and afterwards for the sons – boys at the time – Turner in their memory was overshadowed by her.” Whistler and the Greaves boys were up and down the river at all hours of the day and night and in all weathers, painting and sketching, they under his tuition, or gathering impressions and studying effects of light and shadow. He was frequently in at the Rossettis’ house, and they and their friends were as frequently visiting him.

In 1867 Whistler moved to what is now 96 Cheyne Walk, and had a housewarming on the 5th of February at which the two Rossettis were present. Describing the decoration of the walls here, Mr. and Mrs. Pennell say its beauty was its simplicity. “Rossetti’s house was a museum, an antiquity shop, in comparison. The simplicity seemed the more bewildering because it was the growth, not of weeks but of years. The drawing-room was not painted till the day of Whistler’s first dinner-party. In the morning he sent for the brothers Greaves to help him. ‘It will never be dry in time,’ they feared. ‘What matter?’ said Whistler; ‘it will be beautiful!’… and by evening the walls were flushed with flesh-colour, pale yellow and white spread over doors and woodwork, and we have heard that gowns and coats too were touched with flesh-colour and yellow before the evening was at an end. One Sunday morning Whistler, after he had taken his mother to Chelsea Church, as he always did, again sent for his pupils and painted a great ship with spreading sails in each of the two panels at the end of the hall; the ships are said to be still on the wall, covered up. His mother was not so pleased when, on her return, she saw the blue and white harmony, for she would have had him put away his brushes on Sunday as once she put away his toys.”

Solitude was irksome to him, and he welcomed the motley crowd of artists and students who came in at all hours to chat with him whilst he worked. The Pennells tell a capital story of a man named Barthe, of whom Whistler had bought tapestries, and who, not being able to get his account settled, called one evening for the money. He was told that Whistler was not in; but there was a cab waiting at the door, and he could hear his debtor’s voice, so he pushed past the maid and, as he afterwards related, “Upstairs I find him, before a little picture, painting, and behind him ze bruzzers Greaves holding candles. And Vistlaire he say, ‘You ze very man I vant: hold a candle!’ And I hold a candle. And Vistlaire he paint, and he paint, and zen he take ze picture, and he go downstairs, and he get in ze cab, and he drive off, and we hold ze candle, and I see him no more. Mon Dieu, il est terrible, ce Vistlaire!”

His studio here was a back room on the second floor, and up to that studio, on many days of 1873, Carlyle climbed to give sittings for the portrait which ranks now with the greatest of Whistler’s works. The portrait of his mother had already been painted in that same small room, and hung on the wall there whilst Carlyle was coming to life on the canvas. Carlyle was not a patient sitter. Directly he sat down he urged Whistler to “fire away,” and was evidently anxious to get through with his part of the business as quickly as possible. “One day,” says Whistler, “he told me of others who had painted his portrait. There was Mr. Watts, a mon of note. And I went to his studio, and there was much meestification, and screens were drawn, and I was not allowed to see anything. And then, at last, the screens were put aside and there I was. And I looked. And Mr. Watts, a great mon, he said to me, ‘How do you like it?’ And then I turned to Mr. Watts, and I said, ‘Mon, I would have ye know I am in the hobit of wurin’ clean lunen!’” There is a note in Allingham’s Diary, dated July 29, 1873: “Carlyle tells me he is ‘sitting’ to Whistler. If C. makes signs of changing his position W. screams out in an agonised tone, ‘For God’s sake, don’t move!’ C. afterwards said that all W.’s anxiety seemed to be to get the coat painted to ideal perfection; the face went for little. He had begun by asking two or three sittings, but managed to get a great many. At last C. flatly rebelled. He used to define W. as the most absurd creature on the face of the earth.”

Whilst he was at 96 Cheyne Walk, Whistler brought his famous libel action against Ruskin, won it, but was awarded only a farthing damages, and had to pay his own costs. During the progress of the suit he was having the White House built for him in Tite Street, Chelsea, but the payment of his law costs so crippled him that he had to sell it before it was ready for occupation, and to sell off also the furniture and effects of his Cheyne Walk home.

None of these things seem, however, to have affected Whistler with worse than a temporary irritation. He wrote jestingly over his door: “Except the Lord build the house, they labour in vain that build it. E. W. Godwin, F.S.A., built this one;” turned his back upon the scenes of his recent disasters, and went to Venice. After rather more than a year of absence, he returned to London in the winter of 1880, stayed with his brother in Wimpole Street, put up at divers lodgings, had an exhibition in Bond Street, and in May 1881 took a studio at 13 Tite Street, Chelsea, and began to be the most talked-of man of the day. “He filled the papers with letters,” write Mr. and Mrs. Pennell. “London echoed with his laugh. His white lock stood up defiantly above his curls; his cane lengthened; a series of collars sprang from his long overcoat; his hat had a curlier brim, a lower tilt over his eyes; he invented amazing costumes… He was known to pay calls with the long bamboo stick in his hand and pink bows on his shoes. He allowed no break in the gossip. The carriages brought crowds, but not sitters. Few would sit to him before the trial; after it there were fewer. In the seventies it needed courage to be painted by Whistler; now it was to risk notoriety and ridicule.” When Mr. Pennell first saw him at 13 Tite Street, in July 1884, “he was all in white, his waistcoat had long sleeves, and every minute it seemed as if he must begin to juggle with glasses. For, to be honest, my first impression was of a bar-keeper strayed from a Philadelphia saloon into a Chelsea studio. Never had I seen such thick, black, curling hair. But in the midst was the white lock, and keen, brilliant eyes flashed at me from under the thick, bushy eyebrows.”

From Tite Street, Whistler presently removed to 454 Fulham Road; thence to The Vale, Chelsea, a pleasant quarter which was a year or two ago wiped off the face of the earth; and in 1890 he was back again in Cheyne Walk, at No. 21. “I remember a striking remark of Whistler’s at a garden-party in his Chelsea house,” says M. Gerard Harry, who was one of Whistler’s guests at No. 21. “As he caught me observing some incompletely furnished rooms and questioning within myself whether he had occupied the house more than a fortnight or so: ‘You see,’ he said, with his short laugh, ‘I do not care for definitely settling down anywhere. Where there is no more space for improvement, or dreaming about improvement, where mystery is in perfect shape, it is finis– the end – death. There is no hope nor outlook left.’ I do not vouch for the words, but that was certainly the sense of a remark which struck me as offering a key to much of Whistler’s philosophy, and to one aspect of his original art.”

By 1892, in spite of himself and his fantastic and silly posings and posturings, the world had learned to take his art seriously instead of taking him so, and when he went away that year to live in Paris his greatness as a painter had become pretty generally recognised. In 1894 he came back to London with his wife, who was dying of cancer, and after her death in 1896 he lived with friends or in lodgings, and had no settled home, until in 1902 he once again took a house in Cheyne Walk, this time No. 74, a house which stands below the street level; its front windows overlook the Thames, and it had a large studio at the back. Here Mrs. and Miss Birnie Philip went to share house with him, for his health was breaking, and he was in need of companionship and attention. But there were good intervals, when he was able to work with all his old eagerness and energy. “We knew on seeing him when he was not so well,” say Mr. and Mrs. Pennell, “for his costume of invalid remained original. He clung to a fur-lined overcoat worn into shabbiness. In his younger years he had objected to a dressing-gown as an unmanly concession; apparently he had not outgrown the objection, and on his bad days this shabby, worn-out overcoat was its substitute. Nor did the studio seem the most comfortable place for a man so ill as he was. It was bare, with little furniture, as his studios always were, and he had not used it enough to give it the air of a workshop. The whole house showed that illness was reigning there.” Trays and odds and ends of the sickroom lay about the hall; papers, books, and miscellaneous litter made the drawing-room and dining-room look disorderly. “When we saw Whistler in his big, shabby overcoat shuffling about the huge studio, he struck us as so old, so feeble and fragile, that we could imagine no sadder or more tragic figure. It was the more tragic because he had always been such a dandy, a word he would have been the first to use in reference to himself… No one would have suspected the dandy in this forlorn little old man, wrapped in a worn overcoat, hardly able to walk.”

He lingered thus for about a year; then the end came suddenly. On the 14th July 1903, Mrs. Pennell found him dressed and in his studio. “He seemed better, though his face was sunken, and in his eyes was that terrible vagueness. Now he talked, and a touch of gallantry was in his greeting, ‘I wish I felt as well as you look.’ He asked about Henley, the news of whose death had come a day or two before… There was a return of vigour in his voice when Miss Birnie Philip brought him a cup of chicken broth, and he cried, ‘Take the damned thing away,’ and his old charm was in the apology that followed, but, he said, if he ate every half-hour or so, as the doctor wanted, how could he be expected to have an appetite for dinner? He dozed a little, but woke up quickly with a show of interest in everything.” But on the evening of the 17th, he suddenly collapsed, and was dead before the doctor could be fetched to him.

Turner’s last days in this same Cheyne Walk were almost as sad, almost as piteous as Whistler’s, but there is a haze of mystery about them, as there is about some of his paintings, and he had no butterfly past of dandyism to contrast painfully with the squalor of his ending. Born over the barber’s shop kept by his father in Maiden Lane, Strand, he mounted to the seats of the immortals without acquiring by the way any taste for personal adornment, or for the elegancies or little prettinesses so beloved by little artists in his home surroundings. His soul was like a star, and could not make its heaven among the dainty chairs and tables and nice wall and mantelpiece ornaments of the drawing-room. On Stothard’s advice (Stothard being one of the customers at the shaving shop) Turner’s father made him an artist; he studied under Sir Joshua Reynolds, and later, Blake was one of his pupils. Growing in reputation, he lived by turns in Harley Street, at Hammersmith, at Twickenham, and is described in middle age as bluff and rough-mannered, and looking “the very moral of a master carpenter, with lobster-red face, twinkling staring grey eyes, white tie, blue coat with brass buttons, crab-shell turned-up boots, large fluffy hat, and enormous umbrella.” From about 1815 onwards, he had a house that is no longer standing at 47 Queen Anne Street, Harley Street, and here, in 1843, when Turner was sixty-eight, a Mr. Hammersley called on him and has described (I quote from Mr. Lewis Hind’s Turner’s Golden Visions) how he “heard the shambling, slippered footstep coming down the stairs, the cold, cheerless room, the gallery, even less tidy and more forlorn, all confusion, mouldiness, and wretched litter; most of the pictures covered with uncleanly sheets, and the man! his loose dress, his ragged hair, his indifferent quiet – all, indeed, that went to make his physique and some of his mind; but above all I saw, felt (and feel still) his penetrating grey eye.”

Somewhere between 1847 and 1848 Turner strangely disappeared from his customary haunts; his Queen Anne Street house was closed, the door kept locked, and his old housekeeper, Hannah Danby, could only assure anybody who came that he was not there, and that she simply did not know where he had gone. For the next four years or so, until he was dying, no one succeeded in discovering his hiding-place. Now and then, in the meantime, he would appear in a friend’s studio, or would be met with at one of the Galleries, but he offered no explanation of his curious behaviour, and allowed no one to obtain any clue to his whereabouts. He went in 1850 to a dinner given by David Roberts, and was in good spirits, and bubbling over with laborious jokes. “Turner afterwards, in Roberts’s absence, took the chair, and, at Stanfield’s request, proposed Roberts’s health, which he did, speaking hurriedly, but soon ran short of words and breath, and dropped down on his chair with a hearty laugh, starting up again and finishing with a ‘Hip, hip, hurrah!’… Turner was the last who left, and Roberts accompanied him along the street to hail a cab. When the cab drove up, he assisted Turner to his seat, shut the door, and asked where he should tell cabby to take him; but Turner was not to be caught, and, with a knowing wink, replied, ‘Tell him to drive to Oxford Street, and then I’ll direct him where to go.’”

The fact is he was living at Cremorne Cottage, 119 Cheyne Walk. He was living there anonymously; a Mrs. Booth, whom he had known many years before when he stayed at her Margate boarding-house, was keeping house for him, and he was known in the neighbourhood as Admiral Booth, a rumour having got about that he was a retired naval officer fallen on evil days. This was the time of which the father of the Greaves boys had spoken to Whistler – the days when Mrs. Booth used to come with Turner to the waterside and he would row them over to Battersea. Though all his greatest work was finished, Turner painted several pictures here; he frequently rose at daybreak, and, wrapped in a blanket or a dressing-gown, stood out on the roof, leaning over the railing to watch the sunrise and the play of light on the river opposite. He used the room on the second floor as his studio, and in that room, on the 19th December 1851, he died. Some months before his death, he was seen at the Royal Academy’s private view; then, tardily responding to a letter of friendly reproach that David Roberts had addressed to him at Queen Anne Street, he came to Roberts’s studio in Fitzroy Square. He was “broken and ailing,” and had been touched by Roberts’s appeal, but as for disclosing his residence – “You must not ask me,” he said; “but whenever I come to town I will always come to see you.” When Roberts tried to cheer him, he laid his hand on his heart and murmured, “No, no! There is something here that is all wrong.”

His illness increasing on him, he wrote to Margate for Dr. Price, an old acquaintance of his and Mrs. Booth’s, and Price, coming up, examined him and told him there was no hope of his recovery. “Go downstairs,” he urged the doctor, “take a glass of sherry, and then look at me again.” But a second examination only confirmed Dr. Price in his opinion.

It must have been at this juncture that Turner’s hiding-place was discovered. His Queen Anne Street housekeeper, Hannah Danby, found a letter left in the pocket of one of his old coats, and this gave the Chelsea address. She went with another woman and made inquiries round about Cheyne Walk till it was clear enough to her that the Mr. Booth to whom that letter was directed was none other than Turner, and acting on her information Mr. Harpur, Turner’s executor, journeyed at once to Chelsea, and arrived at 119 Cheyne Walk to find Turner sinking fast. Towards sunset, on that wintry day of his dying, he asked Mrs. Booth to wheel him to the window, and so gazing out on the wonder of the darkening sky he passed quietly away with his head on her shoulder.

A certain John Pye, a Chelsea engraver, afterwards interviewed the owner of No. 119, and learned from him that Turner and Mrs. Booth had, some four or five years before, called and taken the house of him, paying their rent in advance because they objected to giving any names or references. Pye also saw Mrs. Booth, and says she was a woman of fifty, illiterate, but “good-looking and kindly-mannered.” Turner had used to call her “old ’un,” she said, and she called him “dear”; and she explained that she had first got acquainted with him when, more than twenty years ago, “he became her lodger near the Custom House at Margate.” So small was the shabby little house in Cheyne Walk that the undertakers were unable to carry the coffin up the narrow staircase, and had to carry the body down to it. Nowadays, the house has been enlarged; it and the house next door have been thrown into one, otherwise it has undergone little change since Turner knew it.

Whilst Turner was thus passing out of life in Cheyne Walk, Carlyle was dwelling near by at No. 24 (then No. 5) Cheyne Row, and had been resident there for seventeen years. On first coming to London in 1830, he and his wife lodged at 33 Ampton Street, Gray’s Inn Road. They spent, he says, “an interesting, cheery, and, in spite of poor arrangements, really pleasant winter” there; they had a “clean and decent pair of rooms,” and their landlord’s family consisted of “quiet, decent people.” He wrote his essay on Dr. Johnson whilst he was here, and was making a fruitless search for a publisher who would accept Sartor Resartus, which he had recently completed. Jeffrey called there several times to pass an afternoon with him, and John Stuart Mill was one other of the many visitors who found their way to the drab, unlovely, rather shabby street to chat with the dour, middle-aged Scotch philosopher, who was only just beginning to be heard of.

He fixed on the Cheyne Row house in 1834, and, except for occasional holidays, never left it until his death forty-seven years afterwards. As soon as he was settled here Carlyle wrote to Sir William Hamilton, giving him his new address: “Our upholsterers, with all their rubbish and clippings, are at length swept handsomely out of doors. I have got my little book-press set up, my table fixed firm in its place, and sit here awaiting what Time and I, in our questionable wrestle, shall make out between us.” In another letter of about the same date he writes of it: “The street is flag-paved, sunk-storied, iron-railed, all old-fashioned and tightly done up, looks out on a rank of sturdy old pollarded (that is, beheaded) lime trees standing there like giants in tawtie wigs (for the new boughs are still young); beyond this a high brick wall; backwards a garden, the size of our back one at Comely Bank, with trees, &c., in bad culture; beyond this green hayfields and tree avenues, once a bishop’s pleasure grounds, an unpicturesque but rather cheerful outlook. The house itself is eminent, antique, wainscoted to the very ceiling, and has been all new painted and repaired; broadish stair, with massive balustrade (in the old style), corniced and as thick as one’s thigh; floors thick as rock, wood of them here and there worm-eaten, yet capable of cleanliness, and still with thrice the strength of a modern floor. Chelsea is a singular heterogeneous kind of spot, very dirty and confused in some places, quite beautiful in others, abounding in antiquities and the traces of great men – Sir Thomas More, Steele, Smollett, &c. Our Row, which for the last three doors or so is a street and none of the noblest, runs out upon a Parade (perhaps they call it) running along the shore of the river, a broad highway with huge shady trees, boats lying moored, and a smell of shipping and tar.”

A note in Allingham’s Diary (1860) offers you a very clear little picture of Carlyle’s garden here, as he saw it: “In Carlyle’s garden, some twenty yards by six; ivy at the end. Three or four lilac bushes; an ash stands on your left; a little copper beech on your right gives just an umbrella to sit under when the sun is hot; a vine or two on one wall, neighboured by a jasmine – one pear tree.”

In this Cheyne Row house Carlyle wrote all his books, except Sartor and some of the miscellaneous essays; here he entertained, not always very willingly or very graciously, most of the great men of his day; quarrelled with his neighbours furiously over the crowing of their cocks; was pestered by uninvited, admiring callers from all over the world; and had his room on the top floor furnished with double-windows that were supposed to render it sound-proof, but did not. Charles Boner, visiting 24 Cheyne Row in 1862, disturbed Carlyle as he sat in his dressing-gown and slippers correcting the proofs of his Frederick the Great, whilst Mrs. Carlyle remained in attendance, seated on a sofa by the fire.

In 1866 Mrs. Carlyle died suddenly of heart failure, and left him burdened with remorse that he had not been kinder to her and made her life happier; and after two years of lonely living without her, he writes: “I am very idle here, very solitary, which I find to be oftenest less miserable to me than the common society that offers. Except Froude almost alone, whom I see once a week, there is hardly anybody whose talk, always polite, clear, sharp, and sincere, does me any considerable good… I am too weak, too languid, too sad of heart, too unfit for any work, in fact, to care sufficiently for any object left me in the world to think of grappling round it and coercing it by work. A most sorry dog-kennel it oftenest all seems to me, and wise words, if one ever had them, to be only thrown away on it. Basta-basta, I for most part say of it, and look with longings towards the still country where at last we and our loved ones shall be together again.”

You will get no better or more intimate glimpses into Carlyle’s home life than Allingham gives in his Diary. Sometimes they are merely casual and scrappy notes, at others fairly full records of his walks and talks with him, such as this: “1873, April 28.– At Carlyle’s house about three. He spent about fifteen minutes in trying to clear the stem of a long clay pipe with a brass wire, and in the end did not succeed. The pipe was new, but somehow obstructed. At last he sent for another one and smoked, and we got out at last. (I never saw him smoke in public.) He said Emerson had called on him on Sunday, and he meant to visit E. to-day at his lodging in Down Street. We walked to Hyde Park by Queen’s Gate, and westward along the broad walk, next to the ride, with the Serpentine a field distant on the left hand. This was a favourite route of his. I was well content to have the expectation of seeing Emerson again, and, moreover, Emerson and Carlyle together. We spoke of Masson’s Life of Milton, a volume of which was on C.’s table. He said Masson’s praise of Milton was exaggerated. ‘Milton had a gift in poetry – of a particular kind. Paradise Lost is absurd; I never could take to it all – though now and again clouds of splendour rolled in upon the scene.’… At Hyde Park Corner, C. stopped and looked at the clock. ‘You are going to Down Street, sir?’ ‘No, it’s too late.’ ‘The place is close at hand.’ ‘No, no, it’s half-past five.’ So he headed for Knightsbridge, and soon after I helped him into a Chelsea omnibus, banning internally the clay pipe (value a halfpenny farthing) through which this chance (perhaps the last, for Emerson is going away soon) was lost.”