Seeing Europe with Famous Authors, Volume 1 Great Britain and Ireland, part 1 — Story, Setting & Ideas

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In Category - Places Peoples
Halsey, Francis W. (Francis Whiting), 1851-1919 [Editor] Project Gutenberg 2004 Not confirmed
Ireland -- Description and travel; Great Britain -- Description and travel Readers of public-domain and historical texts
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Words 56,730
Reading time 247 min
Text sections 5

The source record for Seeing Europe with Famous Authors, Volume 1 Great Britain and Ireland, part 1 — Story, Setting & Ideas measures this digital text at 56,730 words, 4 hr 7 min estimated reading time, and 5 detected text sections.

The text analysis averages about 25.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Ireland -- Description and travel,” connecting these edition facts with the source record’s subject description.

This editorial note examines how the opening, middle, and later excerpts of Halsey's anthology guide a first reading, focusing on the editor's stated purpose, the shift from general travel advice to specific cathedral descriptions, and the contrasting authorial voices of Hawthorne and an unnamed writer.
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ere were the chambers of Kenge and Carboy, and the dirty and disorderly offices of Sergeant Snubbin, counsel for the defendant in the suit of Bardell against Pickwick. Here the Lord Chancellor sat, in the heart of the fog, to hear the case of Jarndyce and Jarndyce.

At the back of the Inn, in the shabby-genteel square called Lincoln's Inn Fields, Mr. Tulkinghorn was murdered in his rusty apartment. The story of "Bleak House" revolves about Lincoln's Inn. The whole neighborhood has an air of mystery and a scent like a stationer's shop. Always I found Mr. Guppy there, with a necktie much too smart for the rest of his clothes, and a bundle of documents tied with red tape. Jobling and young Smallweed sometimes stopt to talk with him. The doors of the crowded court-rooms opened now and then, and gentlemen in gowns and horsehair wigs came out to speak with clients who waited under the arches....

The climax of "Bleak House" is the pursuit of Lady Dedlock, and the finding of the fugitive, cold and dead, with one arm around a rail of the dark little graveyard where they buried the law-copyist, "Nemo," and where poor Jo, the crossing-sweeper, came at night and swept the stones as his last tribute to the friend who "was very good" to him. There are three striking descriptions of this place in the novel. "A hemmed-in churchyard, pestiferous and obscene--a beastly scrap of ground which a Turk would reject as a savage abomination, and a Kafir would shudder at. With houses looking on, on every side, save where a reeking little tunnel of a court gives access to the iron gate--with every villainy of life in action close on death, and every poisonous element of death in action close on life; here they lower our dear brother down a foot or two; here sow him in corruption to be raised in corruption; an avenging ghost at many a sick-bedside; a shameful testimony to future ages how civilization and barbarism walked this boastful island together."

The exact situation of the graveyard is not defined in the novel; but it was evidently near Lincoln's Inn, and Mr. Winter told us, in one of his delightful London letters, that it was also near Drury Lane. So strangely hidden away is it among close and dirty houses that it was only after three long searches through all the courts thereabouts that I found the "reeking little tunnel," and twice I passed the entrance without observing it. Opening out of Drury Lane, at the back and side of the theater, is a network of narrow, flagged passages built up with tall houses. There are rag and waste-paper shops in this retreat, two or three dreadful little greengrocers' stalls, a pawnbroker's, a surprizing number of cobblers, and in the core of the place, where the alley widens into the semblance of a dwarfed court, a nest of dealers in theatrical finery, dancing-shoes, pasteboard rounds of beef and cutlets, stage armor, and second-hand play-books. Between Marquis Court on the one hand, Russell Court on the other, and a miserable alley called Cross Court which connects them, is what appears at first sight to be a solid block of tenements. The graveyard is in the very heart of this populous block. The door of one of the houses stood open, and through a barred staircase window at the back of the entry I caught a glimpse of a patch of grass--a sight so strange in this part of London that I went around to the other side of the block to examine further.

There I found the "reeking little tunnel." It is merely a stone-paved passage about four feet wide through the ground floor of a tenement. House doors open into it. A lamp hangs over the entrance. A rusty iron gate closes it at the farther end. Here is the "pestiferous and obscene churchyard," completely hemmed in by the habitations of the living. Few of the graves are marked, and most of the tombstones remaining are set up on end against the walls of the houses. Perhaps a church stood there once, but there is none now. The burials are no longer permitted in this hideous spot, the people of the block, when they shut their doors at night, shut the dead in with them. The dishonoring of the old graves goes on briskly. Inside the gate lay various rubbish--a woman's boot, a broken coal scuttle, the foot of a tin candlestick, fragments of paper, sticks, bones, straw--unmentionable abominations; and over the dismal scene a reeking, smoke-laden fog spread darkness and moisture.

THE TEMPLE CHURCH [Footnote: From "Walks in London."]

BY AUGUSTUS J.C. HARE

Francis W. Halsey's introduction to Seeing Europe with Famous Authors, Volume 1 immediately establishes a dual purpose: to refresh the memories of those who have visited Europe and to inspire those who have not. He argues that a traveler must bring historical knowledge to Europe, warning that without it, the trip becomes little more than a sea voyage and a few rides on railroads. This practical, almost utilitarian framing sets the tone for a collection meant to educate as much as to delight.

The Editor's Blueprint for Travel

Halsey's general introduction functions as a manifesto for the entire series. He insists that an American tourist will immediately sense a different social system upon boarding a ship—French ships feel like France, English ships exude order and efficiency. This observation is not merely atmospheric; it is a lesson in cultural observation. The editor wants readers to notice how things are all in their proper place and how the system operates noiselessly. By grounding his advice in concrete details (the dinner gong reminiscent of a chateau, the hunting-horn calls on English ships), Halsey models the attentive gaze he expects from his audience. This opening section thus primes readers to approach the subsequent excerpts not as passive descriptions but as evidence of a place's character.

From General Principles to Specific Places

The transition from Halsey's introduction to the first excerpt about Lichfield Cathedral marks a shift from abstract advice to concrete example. The unnamed author describes the cathedral's west front with precise architectural language: three low doorways in the screen, a triangular motif, and two transeptal Norman towers. The description moves from exterior grandeur to interior solemnity, noting that the effect of immensity comes not from the nave's length but from the unencumbered vaulting in the roof. This excerpt exemplifies Halsey's method: it provides historical and architectural knowledge that a traveler could carry to the site. The author's emotional response—we had lost our hearts to the beauty of the cathedral—is balanced by analytical observation, showing how personal appreciation can coexist with informed looking.

Hawthorne's Contrasting Voice

Nathaniel Hawthorne's account of Lichfield Cathedral offers a striking counterpoint. Where the previous author emphasized structure and proportion, Hawthorne foregrounds subjective impression: the cathedral seemed airy rather than massive, a kaleidoscopic mystery that changed with each viewpoint. He admits his own inexperience—it was one of the first cathedrals he had seen—and frames his admiration as that of an uninstructed vision. This humility contrasts with the confident architectural analysis of the earlier excerpt. Hawthorne's language is more metaphorical: the cathedral impresses as a newly created structure of the passing moment, and he expresses a joyful faith in the indestructible existence of all this cloudlike vicissitude. Together, the two excerpts demonstrate that the same building can yield both technical description and poetic reverie, a lesson in the variety of travel writing.

What the Excerpts Reveal About the Collection's Design

The juxtaposition of these two cathedral descriptions reveals Halsey's editorial strategy: he selects authors who approach the same subject from different angles, allowing readers to compare perspectives. The first excerpt is analytical, the second impressionistic; one focuses on the building's parts, the other on its emotional effect. This pairing suggests that the volume aims not to provide a single authoritative account but to offer multiple lenses through which to see Europe. The excerpts also hint at the range of authors included—from travel writers to literary figures like Hawthorne—and the variety of styles, from precise architectural prose to lyrical reflection. For a first-time reader, this diversity is both a resource and a challenge: it requires active comparison and judgment, exactly the kind of engaged reading Halsey advocates in his introduction.

These excerpts, drawn from the opening and middle of the volume, illustrate how Halsey's anthology works as a guided tour in print. The editor's introduction sets expectations for attentive observation, while the cathedral descriptions model two distinct ways of seeing: one analytical, one emotional. Readers are encouraged to hold these approaches in tension, using each to enrich the other. This volume rewards those who read not for plot or argument but for the craft of seeing—and for the pleasure of comparing how different writers render the same stone and light.

That rainy afternoon, the anthology’s wandering voices drifted from London fog to cathedral stones, and I found myself lingering on Hawthorne’s quiet unease. Later, almost by accident, that same restlessness surfaced in In Troubadour-Land: A Ramble in Provence and Languedoc — Themes and Context, where the southern light felt oddly familiar, as if footsteps had simply continued.

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