environment, and of the manners and customs of lawyers and their clerks, which afterward found so vivid expression in "Pickwick."

By this time the father's financial worries had ceased, or at least made for the better. He had entered the realms of journalism and became a Parliamentary reporter, which it is to be presumed developed a craving on the part of Charles for a similar occupation; when following in his father's footsteps, he succeeded, after having learned Gurney's system of shorthand, in obtaining an appointment as a reporter in the press gallery of the House of Commons (the plans for the new Parliament buildings were just then taking shape), where he was afterward acknowledged as being one of the most skilful and accomplished shorthand reporters in the galleries of that unconventional, if deliberate, body, which even in those days, though often counting as members a group of leading statesmen, perhaps ranking above those of the present day, was ever a democratic though "faithful" parliamentary body.

In 1834 the old Houses of Parliament were burned, and with the remains of St. Stephen's Hall the new structure grew up according to the plan presented herein, which is taken from a contemporary print.

At the end of the Parliamentary session of 1836 Dickens closed his engagement in the Reporters' Gallery, a circumstance which he recounts thus in Copperfield, which may be presumed to be somewhat of autobiography:

"I had been writing in the newspapers and elsewhere so prosperously that when my new success was achieved I considered myself reasonably entitled to escape from the dreary debates. One joyful night, therefore, I noted down the music of the Parliamentary bagpipes for the last time, and I have never heard it since." ("David Copperfield," Chap. XLVIII.)

Again, in the same work, the novelist gives us some account of the effort which he put into the production of "Pickwick." "I laboured hard"—said he—"at my book, without allowing it to interfere with the punctual discharge of my newspaper duties, and it came out and was very successful. I was not stunned by the praise which sounded in my ears, notwithstanding that I was keenly alive to it. For this reason I retained my modesty in very self-respect; and the more praise I got the more I tried to deserve." ("David Copperfield," Chap. XLVIII.)

From this point onward in the career of Charles Dickens, he was well into the maelstrom of the life of letters with which he was in the future to be so gloriously identified; and from this point forward, also, the context of these pages is to be more allied with the personality (if one may be permitted to so use the word) of the environment which surrounded the life and works of the novelist, than with the details of that life itself.

In reality, it was in 1833, when Dickens had just attained his majority, that he first made the plunge into the literary whirlpool. He himself has related how one evening at twilight he "had stealthily entered a dim court" (Johnson's Court, Fleet Street, not, as is popularly supposed, named for Doctor Johnson, though inhabited by him in 1766, from whence he removed in the same year to Bolt Court, still keeping to his beloved Fleet Street), and through an oaken doorway, with a yawning letter-box, there fell the MS. of a sketch entitled "A Dinner at Poplar Walk," afterward renamed "Mr. Minns and His Cousin," These were the offices of the old Monthly Magazine now defunct. Here the article duly appeared as one of the "Sketches by Boz." In the preface to an edition of "Pickwick," published in 1847, Dickens describes the incident sufficiently graphically for one to realize, to its fullest extent, with what pangs, and hopes, and fears his trembling hand deposited the first of the children of his brain; a foundling upon the doorstep where it is to be feared so many former and later orphans were, if not actually deserted, abandoned to their fate.

These were parlous times in Grub Street; in the days when the art of letters, though undeniably prolific, was not productive of an income which would assure even a practised hand freedom from care and want. Within a half-mile on either side of this blind alley leading off Fleet Street, from Ludgate Hill on the east—redolent of memories of the Fleet, its Prison, and its "Marriages"—to Somerset House on the west, is that unknown land, that terra incognita, whereon so many ships of song are stranded, or what is more, lost to oblivion which is blacker than darkness itself.

In January, 1837, while still turning out "Pickwick" in monthly parts, Dickens was offered the editorship of the already famous Bentley's Magazine, which he accepted, and also undertook to write "Oliver Twist" for the same periodical.

In March, of the same year, the three rooms at Furnival's Inn presumably having become crowded beyond comfort, he removed with his wife to his former lodgings at Chalk, where the couple had spent their honeymoon, and where in the following year their son Charles was born.

What memories are conjured up of the past and, it is to be hoped, of future greatness by those who, in taking their walks abroad, find themselves within the confines of the parish of St. Bride's, with its church built by Wren shortly after the great fire, and its queer pointed steeple, like a series of superimposed tabourets overtopped with a needle-like spire?

Here the brazen chimes ring out to all and sundry of the world of journalism and letters, whose vocations are carried on within its sound, the waking and sleeping hours alike. True! there are no sleeping hours in Fleet Street; night is like unto day, and except for the absence of the omnibuses, and crowds of hurrying throngs of city men and solicitors and barristers, the faces of those you meet at night are in no way unlike the same that are seen during the hours in which the sun is supposed to shine in London, but which—for at least five months of the year—mostly doesn't.

Old St. Bride's, destroyed by the great fire of London in the seventeenth century, sheltered the remains of Sackville, who died in 1608, and the printer, Wynken de Worde, and of Lovelace (1658). To-day in the present structure the visitor may see the tomb of Richardson, the author of "Clarissa Harlow," who lived in Salisbury Square, another near-by centre of literary activity. In the adjacent churchyard formerly stood a house in which Milton for a time resided. In later times it has been mostly called to the minds of lion hunters as being the living of the Reverend E. C. Hawkins, the father of our most successful and famed epigrammatic novelist,—Mr. Anthony Hope Hawkins.

Equally reminiscent, and linked with a literary past in that close binding and indissoluble fashion which is only found in the great world of London, are such place names as Bolt Court, where Johnson spent the last years of his life (1776-1784), Wine Office Court, in which is still situated the ancient hostelry, "The Cheshire Cheese," where all good Americans repair to sit, if possible, in the chair which was once graced (?) by the presence of the garrulous doctor, or to buy alleged pewter tankards, which it is confidently asserted are a modern "Brummagem" product "made to sell." Gough Square at the top of Wine Office Court is where Johnson conceived and completed his famous dictionary. Bouverie Street (is this, by the way, a corruption or a variant of the Dutch word Bouerie which New Yorkers know so well?), across the way, leads toward the river where once the Carmelite friary (White Friars) formerly stood, and to a region which Scott has made famous in "Nigel" as "Alsatia." Fetter Lane, and Great and Little New Streets, leading