Horace Walpole and His World: Select Passages from His Letters. Horace Walpole
is just now skimming under my window by a most poetical moonlight. I have about land enough to keep such a farm as Noah’s, when he set up in the Ark with a pair of each kind; but my cottage is rather cleaner than I believe his was after they had been cooped up together forty days. The Chenevixes had tricked it out for themselves: up two pair of stairs is what they call Mr. Chenevix’s library, furnished with three maps, one shelf, a bust of Sir Isaac Newton, and a lame telescope without any glasses. Lord John Sackville predeceased me here, and instituted certain games called cricketalia, which have been celebrated this very evening in honour of him in a neighbouring meadow.”
Having completed his purchase, Walpole proceeded to make improvements. His antiquarian studies had inspired him with a fondness for Gothic architecture. But his zeal was not according to much knowledge, nor guided by a very pure taste. Gradually the little cottage became merged in a strange nondescript edifice, half castle, half cloister, with all kinds of grotesque decorations. “The Castle,” so Walpole called it, “was,” he tells us, “not entirely built from the ground, but formed at different times, by alterations of, and additions to, the old small house. The Library and Refectory, or Great Parlour, was entirely new-built in 1753; the Gallery, Round Tower, Great Cloister, and Cabinet, in 1760 and 1761; the Great North Bed-chamber in 1770; and the Beauclerk Tower with the Hexagon Closet in 1776.” In a small cloister, outside the house, stood the blue and white china bowl, commemorated by Gray, in which Walpole’s cat was drowned. On the staircase was the famous armour of Francis I. In the Gallery, among many other treasures, were placed the Roman eagle and the bust of Vespasian, so often mentioned in their owner’s correspondence. The buildings were no more substantial in structure than they were correct in style. Much cheap ridicule has been poured upon “the Castle,” as “a most trumpery piece of ginger-bread Gothic,” with “pie-crust battlements,” and “pinnacles of lath and plaster.” Many of its faults and absurdities must in justice be referred to the novelty of the attempt to apply a disused style to the requirements of a modern domestic residence. Walpole himself was by no means blind to the flimsiness and incongruities of his creation. He was rather indignant, indeed, when a French visitor censured it as “non digne de la solidité Anglaise;” but in his own description of it he calls it “a paper fabric,” and speaks of the house and its decorations as “a mixture which may be denominated, in some words of Pope:
‘A Gothic Vatican of Greece and Rome.’ ”
With the help of Mr. Essex, who assisted him in designing the later portions, he gradually learned the depth of the architectural ignorance in which he and the “Committee,” who were his first advisers, had been involved at the commencement of his work. In short, Strawberry Hill, child’s baby-house as it was, proved the first step in the renascence of Gothic art.
As chamber after chamber was added to the Castle, it became Walpole’s next care to fill them with fresh antiques in furniture, pictures, bronzes, armour, painted glass, and other like articles. “In his villa,” says Lord Macaulay, “every apartment is a museum, every piece of furniture is a curiosity; there is something strange in the form of the shovel; there is a long story belonging to the bell-rope. We wander among a profusion of rarities, of trifling intrinsic value, but so quaint in fashion, or connected with such remarkable names and events, that they may well detain our attention for a moment. A moment is enough. Some new relic, some new unique, some new carved work, some new enamel, is forthcoming in an instant. One cabinet of trinkets is no sooner closed than another is opened.”
Of Walpole’s writings other than his letters, we do not propose to offer any detailed account or criticism. His earliest work, “Ædes Walpolianæ,” was published as early as 1747; it was merely a description of his father’s pictures at Houghton Hall, the family seat in Norfolk. Among his next efforts were some papers contributed in 1753 and following years to a periodical work of the day, called The World.[7] Most persons have read the “Castle of Otranto,” so warmly applauded by the author of “Ivanhoe.” Most students of art, we suppose, are acquainted with Walpole’s “Anecdotes of Painting,” and his “Catalogue of Engravers.” His “Catalogue of Noble and Royal Authors,” though abounding in agreeable anecdotes, is probably now consulted by few; and his “Historic Doubts on the Life and Reign of Richard III.,” acute and ingenious as it was, cannot detain anyone who is aware of the recent researches on the same subject. His “Reminiscences of the Courts of George I. and George II.,” and his “Memoirs” and “Journals” relating to the reigns of George II. and George III., are, and must ever remain, among the most valuable historical documents of the eighteenth century. The Reminiscences were written for the amusement of the Misses Berry, and have been extolled with justice as being, both in manner and matter, the very perfection of anecdote writing. The rest of Walpole’s works, including his tragedy of “The Mysterious Mother”—the merits of which, whatever they may be, are cancelled by the atrocity of the fable—are as nearly as possible forgotten.
Not content with writing and collecting books, Horace in 1757 established a printing press in the grounds of Strawberry Hill. The first printer employed by him was William Robinson; the last, Thomas Kirgate, whose name will often be found in the following extracts. The first work printed at this press was Gray’s “Odes,” with Bentley’s Illustrations. Its other productions include Walpole’s own Royal and Noble Authors, Anecdotes of Painting, Engravers, and Tragedy; his “Description of Strawberry Hill,” and “Fugitive Pieces;” besides several works by other authors, such as Bentley’s “Lucan,” Lord Herbert’s Life, a translation of Hentzner’s “Travels,” and Lord Whitworth’s “Account of Russia;” as well as small collections of verses by sundry friends. These “Strawberry Hill” editions are now scarce, and command high prices.
The rest of our author’s career may be summed up in a few words. His eldest brother had died early, and had been succeeded by an only son, whose profligacy and occasional fits of insanity caused much trouble. In December, 1791, when seventy-four years of age, Horace became, by the death of this nephew, Earl of Orford, which made little addition to his income, the family estate being heavily incumbered. The inheritance was far from welcome. In a letter to a friend, he says he does not understand the management of such an estate, and is too old to learn. “A source of lawsuits among my near relations, endless conversations with lawyers, and packets of letters to read every day and answer—all this weight of new business is too much for the rag of life that yet hangs about me.”[8] He never took his seat in the House of Lords. He lived for upwards of five years longer, in the full possession of all his faculties, though suffering great bodily infirmity from the effects of gout, to which he was long a martyr. He died at his house, No. 11, Berkeley Square, on the 2nd of March, 1797, in his eightieth year, and was buried at the family seat of Houghton. With him the male line of Sir Robert Walpole and the title of Orford became extinct. The estate of Houghton descended to the fourth Earl of Cholmondeley, grandson of Horace Walpole’s younger sister Mary, who married the third earl of that ilk. Strawberry Hill was at its founder’s absolute disposal, and he left it, as already mentioned, to Mrs. Damer, Conway’s daughter, but for life only, with limitations over in strict settlement.
“It is somewhat curious,” says his biographer, “as a proof of the inconsistency of the human mind, that, having built his Castle with so little view to durability, Walpole entailed the perishable possession with a degree of strictness which would have been more fitting for a baronial estate. And that, too, after having written a fable entitled ‘The Entail,’ in consequence of some one having asked him whether he did not intend to entail Strawberry Hill, and in ridicule of such a proceeding.”
Inconsistency, caprice, eccentricity, affectation, are faults which have been freely charged against the character of Horace Walpole. His strong prejudices and antipathies, his pride of rank, his propensity to satire, even his sensitive temperament, made him many enemies, who not only exaggerated his failings, but succeeded, in some instances at least, in transmitting their personal resentments to men of the present century.
As a politician, especially, Walpole has received rather hard measure from the partisan critics on both sides. A generation back, Whig Reviewers and Tory Reviewers vied with each other in defaming his memory. Macaulay and Croker, who seldom agreed in anything, were of one accord in this. To Croker, of course, Horace was just a place-holder who furnished