The Life of the Rt. Hon. Sir Charles W. Dilke, Vol. 2

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'Chamberlain wrote to me (May 20th, 1886) about the attacks which
were being made on him:

'"I was disgusted at the brutality of some of the attacks. I am only
human, and I cannot stand the persistent malignity of interpretation
of all my actions and motives without lashing out occasionally. You
will see that I met your letter with an apology. I might complain of
its tone, but I don't. This strain and tension is bad for all of us.
I do not know where it will ultimately lead us, but I fear that the
mischief already done is irretrievable.

'"I shall fight this matter out to the bitter end, but I am getting
more and more doubtful whether, when it is out of the way, I shall
continue in politics. I am 'wounded in the house of my friends,' and
I have lost my interest in the business."

'In another letter (May 21st) Chamberlain said: "Your note makes
everything right between us. Let us agree to consider everything
which is said and done for the next few weeks as a dream.

'"I suppose the party must go to smash and the Tories come in. After
a few years those of us who remain will be able to pick up the
pieces. It is a hard saying, but apparently Mr. Gladstone is bent on
crowning his life by the destruction of the most devoted and loyal
instrument by which a great Minister was ever served." [Footnote: In
a letter of January 2nd, 1886, Lord Hartington, writing to Lord
Granville, said: "Did any leader ever treat a party in such a way as
he (Mr. Gladstone) has done?" (_Life of Granville_, vol. ii., p.
478).]

'On June 2nd Chamberlain wrote: "I suppose we shall have a
dissolution immediately and an awful smash." On that day I spoke on
the Irish Registration Bills in the House of Commons--almost the
only utterance which I made in the course of this short Parliament.

'On June 4th Sir Robert Sandeman, who had sought an interview with
me to thank me for what I had done previously about the assigned
districts on the Quetta frontier, came to see me, to tell me the
present position and to discuss with me Sir Frederick Roberts's
plans for defence against the eventuality of a Russian advance.'

The defeat of the Home Rule Bill by a majority of thirty came on June
8th, and the General Election followed. [Footnote: See Morley's _Life of
Gladstone_, vol. iii., p. 337, which gives one o'clock on the morning of
the 8th as the time of decision. Sir Charles's Memoir contains among its
pages an article from _Truth_ of October 14th, 1908, marked by him. The
article, which is called 'The Secret History of the First Home Rule
Bill,' states that Mr. Gladstone's language did not make clear that the
proposal to exclude Irish representatives from the Imperial Parliament
was given up. Mr. Chamberlain, who had made the retention of the Irish
members a condition of giving his vote for the second reading, left the
House, declaring that his decision to vote against the Bill was final.
The _Life of Labouchere_, by Algar Thorold, chap, xii., p. 272 _et
seq_., gives the long correspondence between Mr. Chamberlain and Mr.
Labouchere prior to this event.] Sir Charles voted for the Bill.

'On July 5th I was beaten at Chelsea, and so left Parliament in
which I had sat from November, 1868.

'The turn-over in Chelsea was very small, smaller than anywhere else
in the neighbourhood, and showed that personal considerations had
told in my favour, inasmuch as we gained but a small number of
Irish, it not being an Irish district, and had it not been for
personal considerations should have lost more Liberal Unionists than
we did.

'Some of my warmest private and personal friends were forced to work
and vote against me (on the Irish Question), as, for example, John
Westlake, Q.C., and Dr. Robert Cust, the learned Secretary of the
Royal Asiatic Society, and Sir Henry Gordon--General Charles
Gordon's brother--who soon afterwards died, remaining my strong
friend, as did these others.

'James wrote to Lady Dilke, July 26th:

'"No one but your husband could have polled so many Gladstonian
votes. London is dead against the Prime Minister."'

Mr. Chamberlain wrote of his deep regret and sympathy that the one
Ministerialist seat which he had earnestly hoped would be kept should
have gone. He pointed out that the falling off in this case was less
than in other London polls; but the reactionary period would continue
while Mr. Gladstone was in politics. If he retired, Mr. Chamberlain
thought the party would recover in a year or two.

There is a warm letter from Mr. Joseph Cowen of Newcastle, who wrote:

'Chelsea has been going Tory for some time past, and only you would
have kept it Liberal at the last election.... If you had not been
one of the bravest men that ever lived, you would have been driven
away long ago. I admire your courage and sincerely sympathize with
your misfortunes.... I always believed you would achieve the highest
position in English statesmanship, and I don't despair of your doing
so still.'

For a final word in this chapter of discouragement may be given a letter
from Lord Edmond Fitzmaurice, who wrote from a detached position, having
been prevented by illness from standing both in 1885 and 1886:

'What a delightful leader of a party is the G.O.M.! It is an
interesting subject of speculation, though, thank God, it is one of
speculation only, what might happen to this country if, like the old
Red Indian in Hawthorne's novel, he lived to be 300 years old.... My
own opinions about setting up a Parliament in Dublin are quite
unchanged, but I look on the G.O.M. as the great obstacle to any
satisfactory settlement. I see nothing but pandemonium ahead of us.'

The question was whether the future Assembly in Dublin was to be called
a 'Legislature' or a 'Parliament.'

Sir Charles, as a Gladstonian Liberal politician, was involved in the
misfortune of his party. But in the first weeks of July he hoped that
justice in the court of law might soon relieve his personal misfortunes.
That anticipation was rudely falsified. Within a fortnight after he had
lost the seat which had been won and held by him triumphantly in four
General Elections, the second trial of his case was over, and had
followed the course which has been already described.

CHAPTER XLVII

LADY DILKE--76, SLOANE STREET

Sir Charles Dilke's marriage in 1885 extended rather than modified his
sphere of work. Lady Dilke, the Emilia Strong who was studying drawing
in 1859 at South Kensington, [Footnote: See Chapter 11. (Vol. 1., p.
17).] had submitted herself in these long intervening years to such
scholarly training and discipline as gave her weight and authority on
the subjects which she handled.

The brilliant girl's desire to take all knowledge for her kingdom had
been intensified by her marriage at twenty-one to the scholar more than
twice her age. In the words of Sir Charles's Memoir: 'She widened her
conception of art by the teaching of the philosopher and by the study of
the literatures to which the schooling of Mark Pattison admitted her.
She saw, too, men and things, travelled largely with him, became
mistress of many tongues, and gained above all a breadth of desire for
human knowledge, destined only to grow with the advance of years.'
[Footnote: _The Book of the Spiritual Life_, by the late Lady Dilke,
with a Memoir of the Author by Sir Charles W. Dilke, p. 18.]

At twenty-five years of age she was contributing philosophical articles
to the _Westminster Review_, and for years she wrote the review of
foreign politics for the _Annual Register_. Later she furnished art
criticisms to the _Portfolio_, the _Saturday Review_, and the _Academy_,
of which last she was art editor. It was as an art critic that she had
come to be known, and to this work she brought a remarkable equipment;
for to her technical knowledge and artist's training was added a deep
study of the tendencies of history and of human thought. _Art in the
Modern State_, in which she wrote of the art of the 'Grand Siecle' in
its bearing on modern political and social organizations, has been
quoted as the book most characteristic of the philosophical tendency of
her writing, but this did not appear till 1888. The _Renaissance of Art
in France_, which had been published in 1879, was illustrated by
drawings from her own pencil, and in 1884 had appeared _Claude Lorrain_,
written by herself in the pure and graceful French of which she was
mistress.

She had been a pupil of Mulready, whose portrait still decorates the
mantelpiece of her Pyrford home, and in the early South Kensington days
had come much under the influence of Watts and Ruskin. There were
numbered among her friends many who had achieved distinction in the art,
literature, or politics of Europe. Her letters on art to Eugene Muentz,
preserved in the Manuscript Department of the Bibliotheque Nationale,
commemorate the friendship and assistance given to her by the author of
the _History of the Italian Renaissance_, whose admiration for her work
made him persuade her to undertake her _Claude_. It was Taine who bore
witness to her 'veritable erudition on the fine arts of the
Renaissance,' when in 1871, lecturing in Oxford, he used to visit Mark
Pattison and his young wife at Lincoln College, and described the 'toute
jeune femme, charmante, gracieuse, a visage frais et presque mutin, dans
le plus joli nid de vieille architecture, avec lierre et grands arbres.'
[Footnote: 'The Art Work of Lady Dilke,' _Quarterly Review_, October,
1906.] It was Renan, a friend of later years, whom as yet she did not
know, who 'presented' her _Renaissance_ to the Academie des Inscriptions
et Belles-Lettres.

But there was another side to her activities, as intense. Public service
was to her a duty of citizenship, and her keen sympathy with suffering
had inspired her to such study of economic and industrial questions
that, in her effort for the development of organization among women
workers, she was for years 'the practical director of a considerable
social movement.' Her four volumes on Art in France in the Eighteenth
Century, which occupied her from this time onwards, were not more
absorbing to her than was the growth of the Women's Trade Union League.

She had concentrated her powers on a special period of French art, just
as she concentrated them on a certain phase of industrial development;
but her reverence for and pursuit of all learning persisted, and, in the
words of the Memoir written by Sir Charles, 'she was master enough of
human knowledge in its principal branches to know the relation of almost
every part of it to every other.' [Footnote: _Book of the Spiritual
Life,_ Memoir, p. 70.]

The intense mental training of the years of her first marriage had given
her a grasp of essential facts and a breadth of outlook most unusual in
women, and rare among men. She always correlated her own special work to
that of the larger world. She found in the Women's Protective and
Provident Union a little close corporation, full of sex antagonism and
opposition to legislative protection, but under her sway these
limitations gradually disappeared, and the Women's Trade Union movement
became an integral part of industrial progress. It is difficult to
realize now the breadth of vision which was then required to see that
the industrial interests of the sexes are identical, and that protective
legislation does not hamper, but emancipates. It was this attitude which
brought to her in this field of work the friendship and support of all
that was best in the Labour world of her day henceforth to the end.

'It is delightful to talk to Mrs. Mark Pattison,' said Sir Charles Dilke
years before to Sir Henry James. 'She says such wonderful things.' She
had the rare power of revealing to others by a few words things in their
true values, and those who came within the sphere of her influence try
still to recover the attitude of mind which she inspired, to remember
how she would have looked at the fresh problems which confront them, and
to view them in relation to all work and life.

It was this knowledge and breadth of view which told. A perfect speaker,
with tremendous force of personality, charm of manner, beauty of voice,
and command of emotional oratory, her power was greatest when she
preferred to these methods the force of a reasoned appeal. Conviction
waited on these appeals, and in early days, at a public meeting, a group
of youthful cynics, 'out' for entertainment, dispersed with the comment:
'That was wonderful--you couldn't heckle a woman like that.'

Her serious work never detracted from her social charm, which was
influenced by her love and study of eighteenth century French art. Her
wit, gaiety, and the sensitive fancy which manifested itself in her
stories, [Footnote: _The Shrine of Love, and Other Stories_; and _The
Shrine of Death, and Other Stories_.] made up this charm, which was
reflected in the distinction and finish of her appearance. Some touches
seemed subtly to differentiate her dress from the prevailing fashion,
and to make it the expression of a personality which belonged to a
century more dignified, more leisured, and less superficial, than our
own. [Footnote: _Book of the Spiritual Life,_ p. 120.] Her dress
recalled the canvases of Boucher, Van Loo, and Watteau, which she loved.

She played as she worked, with all her heart, delivering herself
completely to the enjoyment of the moment. 'Vous devez bien vous amuser,
Monsieur, tous les jours chez vous,' said a Frenchwoman to Sir Charles
one night at a dinner in Paris. [Footnote: _Book of the Spiritual Life,_
Memoir, p. 96.] In this power of complete relaxation their natures
coincided. Her gaiety matched Sir Charles's own. This perhaps was the
least of the bonds between them. The same high courage, the same
capacity for tireless work, the same sense of public duty, characterized
both.

Sir Charles's real home was the home of all his life, of his father and
grandfather--No. 76, Sloane Street. Pyrford and Dockett were, like La
Sainte Campagne at Toulon, mainly places for rest and play. This home
was a house of treasures--of many things precious in themselves, and
more that were precious to the owners from memory and association.
Through successive generations one member of the family after another
had added to the collection. Many had been accumulated by the last
owner, who slept always in the room that had been his nursery. He
believed he would die, and desired to die, in the house where he was
born. The desire was accomplished, for he died there, on January 26th,
1911, a few months before the long lease expired.

Partly from its dull rich colouring of deep blues and reds and greens,
its old carpets and tapestries, partly from the pictures that crowded
its walls, the interior had the air rather of a family country-house
than of a London dwelling in a busy street.

Pictures, lining the walls from top to bottom of the staircase,
represented a medley of date and association. Byng's Fleet at Naples on
August 1st, 1718, with Sir Thomas Dilkes second in command, hung next to
a view of the Chateau de la Garde, near Toulon. This picturesque ruin
rose clear in the view from Sir Charles's house at Cap Brun, 'La Sainte
Campagne,' and figures as an illustration in one of Lady Dilke's
stories; 'Reeds and Umbrella Pines' at Carqueiranne, by Pownoll
Williams, kept another memory of Provence. Next to a painting, by Horace
Vernet, of a scene on the Mediterranean coast, little Anne Fisher, born
1588, exhibited herself in hooped and embroidered petticoat, quaint cap
and costly laces, a person of great dignity at six years old. She was to
be Lady Dilke of Maxstoke Castle and a shrewd termagant, mother of two
sons who sided, one with the Commonwealth, the other with the King. The
Royalist Sir Peter Wentworth was a great friend of Milton, with whom he
came in contact on the Committee of State when Milton was Secretary for
the Council of Foreign Tongues. But Cromwell turned him off the Council,
and he was arrested and brought to London for abetting his Warwickshire
tenantry in refusal to pay the Protector's war-taxes. Her Puritan son,
Fisher Dilke, followed, with a sour-faced Puritan divine, and then came
a group of water-colours by Thomas Hood, the author of 'The Song of the
Shirt,' and an intimate friend of the Dilkes.

One of the ancestors, an earlier Peter Wentworth, son of Sir Nicholas
Wentworth (who was Chief Porter of Calais, and knighted by Henry VIII.
at the siege of Boulogne), bore the distinction of having been three
times sent to the Tower. The first was for a memorable speech on behalf
of the liberties of the House of Commons, in 1575. Imprisonment does not
seem to have taught him caution, for he was last imprisoned in 1593,
because he had 'offended Her Majesty,' and a prisoner he remained till
his death in 1596, occupying the period by writing a _Pithie Exhortation
to Her Majesty for Establishing her Successor to the Crowne_.

Engravings of Sir Philip Sidney, Sir Francis Walsingham, Sir Harry Vane,
Fulk Greville, Lord Burleigh, William Warham (the friend of Erasmus,
Archbishop of Canterbury, and Chancellor), Queen Katharine Parr, Robert
Devereux (Earl of Essex), who all came into the Dilke pedigree, hung on
the walls. But the most interesting portrait might have been that of Sir
Charles himself in fancy dress, the Sir Charles of the early eighties
before trouble had lined his face or silvered his hair. This was the
painting of Sir Thomas, afterwards Lord Wentworth, who died in 1551 and
lies in Westminster Abbey. The reversion to type was so striking that
guests would often ask to see again 'the best portrait of Sir Charles.'
[Footnote: This first Baron Wentworth had been knighted for his bravery
in the taking of Braye and Montdidier in the expedition to France of
1523, and in 1529 was summoned to Parliament under the title of Lord
Wentworth of Nettlestead. He attended Henry VIII. in his interview with
the French King at Calais, and under Edward VI. was Lord Chamberlain of
the Household and a member of the Privy Council.]

Among more recent portraits and drawings were a group of trophies,
illustrating Sir Charles's experiences in the Franco-German War. Of
three passes, the first was carried when he was with the Crown Prince
Frederick and the Knights of St. John; the other two showed the change
in his sympathies from Germany to France--one from the Commune, the
other from the national headquarters at Versailles. Here lay a bullet
which struck the wall beside him at Clamart Railway Station, just
missing him; pens taken from the table of the Procureur Imperial at
Wissembourg when the first French town was entered by the Germans; and a
trophy of his birthday in 1871, a bit of the Napoleonic Eagle from the
Guard-room at the Tuileries, smashed by the crowd on that day, September
4th, when the Third Republic was proclaimed.

Then followed old photographs of members of Parliament and Cabinet
Ministers; pictures of Maxstoke Castle, where the elder branch of the
Dilkes had its home; etchings by Rajon; framed numbers of _Le Vengeur_,
printed after the entry of the Versailles army into Paris during the
'semaine sang-lante'; addresses, including some in Greek, presented to
Sir Charles on various occasions. In the double dining-room a famous
portrait of Gambetta--the only portrait taken from life--hung over one
mantelpiece. A favourite citation might have been upon the lips: 'La
France etait a genoux. Je lui ai dit, "Leve-toi".' In 1875 Sir Charles
asked Professor Legros to go to Paris and paint Gambetta, who never sat
to any other artist. This portrait hangs now in the Luxembourg, and will
ultimately be transferred to the Louvre, its destination by Sir
Charles's bequest. The only other portrait of Gambetta is that by
Bonnat, painted after death. It was the property of Dilke's friend M.
Joseph Reinach, and the two had agreed to bequeath these treasured
possessions to the Louvre. But the Legros was the more authentic. M.
Bonnat said to Sir Charles: 'Mine is black and white; I never saw him.
Yours is red as a lobster. Mais il parait qu'il etait rouge comme un
homard.' Sir Charles himself wrote: 'It is Gambetta as he lives and
moves and has his being. What more can I ask for or expect?' He always
predicted that its painter, whose merit had never in his opinion been
adequately recognized, would after death come to his due place.

The rooms had been lined with the grandfather's books, but soon after he
came into possession Sir Charles disposed of them. He had a strong
belief in keeping round him only the necessary tools for his work, and a
large library was an encumbrance to him. But sentiment was strong, and
for some time they remained, till a comment of George Odger's sealed
their fate. Looking round the shelves, he remarked with wonderment on
the number of the books and the wisdom of the friend who had read them
all. Sir Charles, conscious that he had not done so, and that he never
should lead the life of a purely literary man, gave away the more
valuable, and sold the rest of the collection. Lord Carlingford profited
by the Junius papers; Mr. John Murray by the Pope manuscripts; the
British Museum by the Caryll papers; and pictures took the place of
shelves. [Footnote: See Chapter XI. (Vol. I., pp. 161, 162).]

A number of fine old prints after Raphael were there, and also a
photograph of the head of Fortune in Burne-Jones's 'Wheel.' Sir Charles
had commissioned Burne-Jones to paint a head of Fortune, and the
correspondence on the subject was sufficiently complete to suggest that
the commission had been executed, though as a fact it was never carried
out. Sir Charles, who knew something of the difficulty of tracing and
attributing pictures, used to declare laughingly that the correspondence
might go far to mislead some critic of the future into search after a
non-existent original. Anyway, the beautiful head with its closed eyes
hung there always, presiding over the varying fortunes of the last
tenants of the house.

The far dining-room opened with French windows on a paved terrace, which
led by steps to a little garden and to the stables beyond. This terrace
was the scene of the morning fencing, when the clashing of foils and Sir
Charles's shouts of laughter resounded to the neighbouring gardens. Lord
Harcourt recalls the parties in the eighties, as one of the
characteristic features of life at 76, Sloane Street. Lord Desborough,
then Mr. W. Grenfell, a first-rate fencer, came frequently, and he
chronicles the 'deadly riposte' of Sir Julian Pauncefote, a regular
attendant when he was in town. Mr. R. C. Lehmann, best known as oarsman
and boxer, but a fencer as well, came whenever he could. A great St.
Bernard, lying waiting for him in the entrance hall, announced his
master's presence.

Baron d'Estournelles de Constant, of the French Embassy, was one of the
most regular attendants. When M. d'Estournelles left London it was to go
to Tunis; and further reference in one of Sir Charles's letters betrays
the pride with which he learnt that this frequenter of his school had
done it credit by 'pinking his man' in a duel. M. Joseph Reinach came to
fence whenever he was in London; so did Italian masters--for example,
the Marchese Fabrizio Panluoci de' Calboli, 'who wants to set up here.'

The _maitre d'armes_ was senior master at the London Fencing Club, and
many young fencers joined these parties to gain experience. Sir Charles
was one of the first Englishmen to use the epee; he fenced always when
in Paris, as in London, and any famous French fencer who visited this
country received as a matter of course an invitation to the morning
meetings at No. 76. [Footnote: Sir Charles fenced whenever he was
abroad, if he could get an opponent. There is a note of 1881: 'August
29th-September 3rd, fenced with de Clairval at La Bourboule.' As late as
1907 he was fencing at Hyeres with a master who came over from Toulon on
certain days in the week. Also at the end of 1881 he 'started a local
fencing club in my own street, and trained some good fencers there, and
used to get away to fence there whenever I could find time in the
evening hours.' He took part in a competition at this club, and 'won the
prize for rapier fencing, being beaten, of course, for foil fencing.']
Sir Theodore Cook, now editor of the _Field_, an antagonist of a later
date, and captain of the first international fencing team of 1903,
speaks of the considerable reputation of Sir Charles as a fencer,
'taking the same place in a quiet way as that Lord Howard de Walden
takes towards the public now' (1913).

It was the 'unconventional style and the boyish enjoyment of his
pastime'--to use Lord Desborough's words--which were characteristic of
Sir Charles. His mischievous attempts to distract his adversary's
attention, his sudden drops to the ground and bewildering recoveries,
his delight at the success of his feints, and contagious merriment, must
have gained the sympathy of even the most formal fencer. Many stories of
these bouts are told. One is that, having driven an antagonist from the
terrace into the Garden Room, into which he was followed by his
favourite cat, Sir Charles caught up and threw the protesting animal at
his opponent, and dealt his final blow at a foe embarrassed by the
double onslaught. Those, however, who know his respect for the dignity
of cats will always regard the story as apocryphal.