A DEDICATION

TO SOME NEW FRIENDS.

Sometimes new friends meet one along the mid-way of life, and come forward with sweet unknown faces and with looks that seem strangely familiar to greet us.

To some of these new friends I must dedicate my story. It was begun ten years ago, and is older than my god-daughter Margie herself, who is the oldest among them. She is playing with her sister and her little cousins in the sunny Eton nurseries. Harry has a crown on. Annie is a queen who flies on errands. Ada and Lilly are Court ladies.

My neighbour Dolly and the little Dorotheas, however, have a first right to a presentation copy. It is true that the little ones cannot read, but they need not regret it; for Margie will take them on her knee and show them the pictures, and Georgie and Stella and Molly shall stand round too, and dark-eyed little Margaret can tell them her own sweet little stories, while Francis chimes in from the floor. Eleanor cannot talk, but she can sing; and so can our Laura at home and her song is her own; a sweet home song; the song of all children to those who love them. It tells of the past, and one day brings it back without a pang; it tells of a future, not remorselessly strange and chill and unknown, but bound to us by a thousand hopes and loving thoughts—a kingdom-come for us all, not of strangers, but of little children. And meanwhile Laura, measures the present with her soft little fingers as she beats time upon her mother's hand to her own vague music.

8 Southwell Gardens: March 20, 1873

CONTENTS.

A DEDICATION CHAPTER I. Bricks and Ivy CHAPTER II. Dutch Tiles CHAPTER III. To Old Street by the Lanes CHAPTER IV. An Afternoon at Penfold's CHAPTER V. Steel Pens and Goose Quills CHAPTER VI. Downstairs in the Dark CHAPTER VII. Cloud-capped Towers and Gorgeous Palaces CHAPTER VIII. Immortelles CHAPTER IX. The Bow-windowed House CHAPTER X. A Snow Garden CHAPTER XI. Raban meets the Shabby Angel CHAPTER XII. Dorothea by Firelight CHAPTER XIII. Little Brother and Little Sister CHAPTER XIV. Rag Dolls CHAPTER XV. George's Tunes CHAPTER XVI. A Walking Party CHAPTER XVII. 'Inner Life' CHAPTER XVIII. An Autumn Morning CHAPTER XIX. Kensington Palace Chapel CHAPTER XX. Rhoda to Dolly CHAPTER XXI. Cinders CHAPTER XXII. Mrs. Palmer CHAPTER XXIII. The Terrace at All Saints' College CHAPTER XXIV. Roses have Thorns, and Silver Fountains Mud CHAPTER XXV. Good-night CHAPTER XXVI. Good-morning CHAPTER XXVII. Love Lane from Kensington to Fulham CHAPTER XXVIII. Unborn To-morrow and Dead Yesterday CHAPTER XXIX. Under the Great Dome CHAPTER XXX. Wave or Flame CHAPTER XXXI. A Boat upon the Water

CHAPTER XXXII. Trust me CHAPTER XXXIII. Circumstance CHAPTER XXXIV. White Roses CHAPTER XXXV. 'Only George' CHAPTER XXXVI. The Slow Sad Hours CHAPTER XXXVII. In an Empty Room CHAPTER XXXVIII. The Pollard-trees CHAPTER XXXIX. Thus far the Miles are Measured from thy Friend CHAPTER XL. Under the Clock-tower CHAPTER XLI. I bring you Three Letters—I pray you read One CHAPTER XLII. Rachel CHAPTER XLIII. Crags and Fresh Air CHAPTER XLIV. White with Gazing CHAPTER XLV. What Aunt Sarah left for Dolly CHAPTER XLVI. The Sorrowful Message CHAPTER XLVII. From Heart of very Heart CHAPTER XLVIII. An Explanation CHAPTER XLIX. Sheep-shearing CHAPTER L. Tempered Winds CHAPTER LI. 'Sing Hoarse, with Tears between' CHAPTER LII. An Andante of Haydn's CHAPTER LIII. That thou art blamed shall not be thy Defect CHAPTER LIV. Holy St. Francis, what a Change is here! CHAPTER LV. See you not something beside Masonry? CHAPTER LVI. The Play is played, the Curtain drops THE WORKS OF MISS THACKERAY

CHAPTER I.

BRICKS AND IVY.

A quarter of a century ago the shabby tide of progress had not spread to the quiet old suburb where Lady Sarah Francis's house was standing, with its many windows dazzling as the sun travelled across the old-fashioned house-tops to set into a distant sea of tenements and echoing life. The roar did not reach the old house. The children could listen to the cawing of the rooks, to the echo of the hours, as they struck on from one day to another, vibrating from the old square tower of the church. At night the strokes seemed to ring more slowly than in the day. Little Dolly Vanborough, Lady Sarah's niece, thought each special hour had its voice. The church clock is silent now, but the rooks caw on undisturbed from one spring to another in the Old Kensington suburb. There are tranquil corners still, and sunny silent nooks, and ivy wreaths growing in the western sun; and jessamines and vine-trees, planted by a former generation, spreading along the old garden-walls. But every year the shabby stream of progress rises and engulfs one relic or another,

carrying off many and many a landmark and memory. Last year only, the old church was standing, in its iron cage, at the junction of the thoroughfares. It was the Church of England itself to Dolly and George Vanborough in those early church-going days of theirs. There was the old painting of the lion and the unicorn hanging from the gallery; the light streaming through the brown saints over the communion-table. In after-life the children may have seen other saints more glorious in crimson and in purple, nobler piles and arches, but none of them have ever seemed so near to heaven as the old Queen Anne building; and the wooden pew with its high stools, through which elbows of straw were protruding, where they used to kneel on either side of their aunt, watching with awe-stricken faces the tears as they came falling from the widow's sad eyes.

Lady Sarah could scarcely have told you the meaning of those tears as they fell—old love and life partings, sorrows and past mercies, all came returning to her with the familiar words of the prayers. The tears fell bright and awe-stricken as she thought of the present—of distances immeasurable—of life and its inconceivable mystery; and then her heart would warm with hope perhaps of what might be to come, of the overwhelming possibilities—how many of them to her lay in the warm clasp of the child's hand that came pushing into hers!—For her, as for the children, heaven's state was in the old wooden pew. Then the sing-song of the hymn would flood the old church with its homely cadence.

sang the little charity children; poor little Israelites, with blue stockings, and funny woollen knobs to their fustian caps, rejoicing, though their pastures were not green as yet, nor was their land overflowing with milk and honey. How ever, they sang praises for others, as all people do at times, thanks be to the merciful dispensation that allows us to weep, to work, to be comforted, and to rejoice with one another's hearts, consciously or unconsciously, as long as life exists.

Every lane, and corner, and archway had a childish story for Dolly and her brother—for Dolly most especially, because girls cling more to the inanimate aspects of life than boys do. For Dolly the hawthorn bleeds as it is laid low and is transformed year after year into iron railings and areas, for particulars of which you are requested to apply to the railway company, and to Mr. Taylor, the house-agent. In those days the lanes spread to Fulham, white with blossom in spring, or golden with the yellow London sunsets that blazed beyond the cabbage-fields. In those days there were gardens, and trees, and great walls along the high-road that came from London, passing through the old white turnpike. There were high brown walls along Kensington Gardens, reaching to the Palace Gate; elms spread their shade, and birds chirrupped, and children played behind them.

Dolly Vanborough and her brother had had many a game there, and knew every corner and haunt of this sylvan world of children and ducks and nursemaids. They had knocked their noses against the old sun-dial many and many a time. Sometimes now, as she comes walking along the straight avenues, Dolly thinks she can hear the echo of their own childish voices whooping and calling to one another as they used to do. How often they had played with their big cousin, Robert Henley, and the little Morgans, round about the stately orange-house, and made believe to be statues in the niches!

'I am Apollo,' cries George Vanborough, throwing himself into an attitude.

'Apollo?' cries Robert, exploding with schoolboy wit: 'an Apollo-guy, you mean.'

Dolly does not understand why the Morgan boys laugh and George blushes up furiously. When they are tired of jumping about in the sun, the statues straggle homewards, accompanied by Dolly's French governess, who has been reading a novel on a bench close by. They pass along the front of the old palace that stands blinking its sleepy windows across elmy vistas, or into tranquil courts where sentries go pacing. Robert has his grandmother living in the Palace, and he strides off across the court to her apartments. The children think she is a witch, and always on the watch for them, though they do not tell Robert so. The Morgans turn up Old Street, and George and Dolly escort them so far on their way home. It is a shabby street, with shops at one end and old-fashioned houses, stone-stepped, bow-windowed at the other. Dear Old Street! where an echo still lingers of the quaint and stately music of the past, of which the voice comes to us like a song of Mozart, sounding above the dreamy flutterings of a Wagner of the present! Little Zoe Morgan would linger

to peep at the parrot that lived next door in the area, with the little page-boy, who always winked at them as they went by; little Cassie would glance wistfully at a certain shop-front where various medals and crosses were exposed for sale. There were even in those days convents and Catholics established at Kensington, and this little repository had been opened for their use.

When they have seen the little Morgans safe into their old brown house—very often it is John Morgan who comes to the door to admit them—(John is the eldest son, the curate, the tutor, the mainstay of the straggling establishment)—Dolly and her brother trudge home through the Square, followed by Mademoiselle, still lost in her novel. The lilacs are flowering behind the rusty rails, the children know every flagstone and window; they turn up a passage of narrow doorways and wide-eaved roofs, and so get out into the high-road again. They look up with friendly recognition at the little boy and girl in their quaint Dutch garb standing on their pedestals above the crowd as it passes the Vestry-hall; then they turn down a sunshiny spring lane, where ivy is growing, and bricks are twinkling in the western sunshine; and they ring at a gateway where an iron bell is swung. The house is called Church House, and all its windows look upon gardens, along which the sunshine comes flowing. The light used to fill Dolly's slanting wooden

school-room at the top of the house. When the bells were ringing, and the sun-flood came in and made shadows on the wall, it used to seem to her like a chapel full of music.

George wanted to make an altar one day, and to light Lady Sarah's toilet candles, and to burn the sandal-wood matches; but Dolly, who was a little Puritan, blew the matches out and carried the candles back to their places.

'I shall go over to the Morgans,' said George, 'since you are so disagreeable.'

Whether Dolly was agreeable or not, this was what George was pretty sure to do.

CHAPTER II.

DUTCH TILES.

There are many disconnected pictures in Dorothea Vanborough's gallery, drifting and following each other like the images of a dissolving-view. There are voices and faces changing, people whom she hardly knows to be the same appearing and disappearing. Looking back now-a-days through a score or two of years, Dorothea can see many lights crossing and reflecting one another, many strange places and persons in juxtaposition. She can hear, as we all can, a great clamour of words and of laughter, cries of pain and of sorrow and anger, through all of which sound the sacred voices that will utter to her through life—and beyond life she humbly prays.

Dorothea's pictures are but mist and fancy work, not made of paint and canvas as is that one which hangs over the fire-place in the wainscot dining-room at Church House in Kensington, where my heroine passed so much of her life. It is supposed by some to be a Van der Helst. It represents a golden brown grandmother, with a coiffe and a ruffle and a grand chain round her neck, and a ring on her forefinger, and a double-winged house in the background. This placid-faced Dutchwoman, existing two centuries ago, has some looks still living in the face of the Dorothea Vanborough of these days. Her descendants have changed their name and their dress, cast away their ruffles, forgotten the story of their early origin; but there is still a something that tells of it: in Dolly's slow quaint grace and crumpled bronze hair, in her brother George's black brows, in their aunt Lady Sarah Francis's round brown eyes and big ears, to say nothing of her store of blue Dutch china. Tall blue pots, with dragon handles, are ranged in rows upon the

chimney-board under the picture. On either side of the flame below are blue tiles, that Lady Sarah's husband brought over from the Hague the year before he died. Abraham, Jonah, Noah, Balaam tumbling off his blue ass; the whole sacred history is there, lighted up by the flaring flame of the logs.

When first George and Dolly came to live in the old house, then it was the pictures came to life. The ass began to call out Balaam! Balaam! The animals to walk two by two (all blue) into the ark. Jonah's whale swallowed and disgorged him night after night, as George and Dolly sat at their aunt's knee listening to her stories in the dusk of the 'children's hour;' and the vivid life that childhood strikes even into inanimate things, awakened the widow's dull heart and the silent house in the old by-lane in Kensington.

The lady over the fire-place had married in King Charles's reign; she was Dorothea Vanborough and the first Countess of Churchtown. Other countesses followed in due course, of whom one or two were engraved in the passage overhead; the last was a miniature in Lady Sarah's own room, her mother and my heroine's grandmother; a beautiful and wilful person, who had grievously offended by taking a second husband soon after her lord's demise in 1806. This second husband was himself a member of the Vanborough family a certain Colonel Stanham Vanborough, a descendant of the lady over the chimney-piece. He was afterwards killed in the Peninsula. Lady Sarah bitterly resented her mother's marriage, and once said she would never forgive it. It was herself that she never forgave for her own unforgiveness. She was a generous-hearted woman, fantastic, impressionable, reserved. When her mother died soon after Colonel Vanborough, it was to her own home that Lady Sarah brought her little step-brother, now left friendless, and justly ignored by the peerage,

where the elder sister's own life was concisely detailed as 'dau. John Vanborough, last Earl of Churchtown, b. 1790, m. 1807, to Darby Francis, Esq., of Church House, Kensington.'

Young Stanham Vanborough found but a cold welcome from Mr. Francis, but much faithful care and affection, lavished, not without remorse, by the sister who had been so long estranged. The boy grew up in time, and went out into the world, and became a soldier as his father had been. He was a simple, straightforward youth, very fond of his sister, and loth to leave her, but very glad to be his own master at last. He married in India, the daughter of a Yorkshire baronet, a pretty young lady, who had come out to keep her brother's house. Her name was Philippa Henley, and her fortune consisted chiefly in golden hair and two pearly rows of teeth. The marriage was not so happy as it might have been; trouble came, children died, the poor parents, in fear and trembling, sent their one little boy home to Lady Sarah to save his life. And then, some three years later, their little daughter Dolly was making her way, a young traveller by land and by sea coming from the distant Indian station, where she had been born, to the shelter of the old house in the old

by-lane in Kensington. The children found the door open wide and the lonely woman on her threshold looking out for them. Mr. Francis was dead, and it was an empty house by this time, out of which a whole home had passed away. Lady Sarah's troubles were over, leaving little behind; the silence of mid-life had succeeded to the loving turmoils and jealousies and anxieties of earlier days, only some memories remained of which the very tears and words seem wanting now and then, although other people may have thought that if words failed the widow, the silent deeds were there that should belong to all past affection.

One of the first things Dolly remembers is a landing-place one bitter east-winded morning, with the white blast blowing dry and fierce from the land, and swirling out to sea through the leafless forest of shipping; the squalid houses fast closed and double-locked upon their sleeping inmates: the sudden storms of dust and wind; the distant clanking of some awakening pail, and the bewildered ayah, in her rings and bangles, squatting on the ground and veiling her face in white muslin.

By the side of the ayah stands my heroine, a little puppy-like girl, staring as Indian children stare, at the strange dismal shores upon which they are cast; staring at the lady in the grey cloak, who had come on board with her papa's face, and caught her in her arms, and who is her Aunt Sarah; at the big boy of seven in the red mittens, whose photograph her papa had shown her in the verandah, and who is her brother George; at the luggage as it comes bumping and stumbling off the big ship; at the passengers departing. The stout little gentleman, who used to take her to see the chickens, pats Dolly on the head, and says he shall come and see her; the friendly sailor who carried her on shore shakes hands, and then the clouds close in, and the sounds and the faces disappear....

Presently, into Dolly's gallery come pleasanter visions of the old house at Kensington, to which Lady Sarah took her straight away, with its brick wall, and ivy creepers, and many-paned windows, and the stone balls at either side of the door—on one of which a little dark-eyed girl is sitting, expecting them.

'Who is dat?' says little three-year-old Dolly, running up, and pulling the child's pinafore, to make sure that she is real.

Children believe in many things, in fairies, and sudden disappearances; they would not think it very strange if they were to see people turn to fountains and dragons in the course of conversation.

'That is a nice little girl like you,' said Lady Sarah, kindly.

'A nice little girl lite me?' said Dolly.

'Go away,' says the little strange girl, hiding her face in her hands.

'Have you come to play wiss me? My name is Dolliciavanble,' continues Dolly, who is not shy, and quite used to the world, having travelled so far.

'Is that your name? What a funny name,' says the little girl, looking up. 'My name is Rhoda, but they call me Dody at our house. I'se four years old.'

Dolly was three years old, but she could not speak quite plain; she took the little girl's hand and stood by the ayah, watching the people passing and repassing, the carriage being unpacked, Lady Sarah directing and giving people money, George stumping about in everybody's way, and then, somehow, everything and everybody seems going up and down stairs, and in confusion; she is very tired and sleepy, and forgets all the rest.