Little Memoirs of the Nineteenth Century

In Short

This collection of biographical sketches explores the lives of several figures who occupied the peripheries of the nineteenth-century cultural scene. From the tragic, obsessive historical painter Benjamin Robert Haydon to the indefatigable, self-mythologizing Lady Morgan and the adventurous Prince Pückler-Muskau, the book examines how these individuals navigated their ambitions. By focusing on writers, travelers, and artists, the volume captures the social manners and professional struggles of the age. It remains a valuable, vivid record of how secondary celebrities lived, worked, and occasionally invented themselves for a public audience.

The Story

The narrative begins with the volatile career of Benjamin Robert Haydon, an artist whose life was defined by an unyielding, often destructive dedication to historical painting. Haydon’s journals reveal a man constantly grappling with financial ruin and a grand, unfulfilled sense of national mission. He moves from the excitement of the Napoleonic era—where he records the reactions of literary giants like Wordsworth and Hazlitt to the shifting tides of history—to his later years as an insolvent artist who views his own poverty as a martyrdom for the sake of English art. His story concludes with his own written epitaph, a final attempt to frame his personal failures as a patriotic struggle against an unappreciative society.

The focus then shifts to the spirited Lady Morgan, an Irish writer whose life was as much a performance as her books. She thrived on social lionization, maneuvering through London salons with a sharp wit and a penchant for "imagining" her facts. Whether clashing with drunken tragedians like Kemble or navigating the intricacies of fashionable society, she remains a figure of immense resilience and self-assurance, treating her own life as a series of poetical epochs rather than historical dates.

The narrative then follows the American N.P. Willis, a "dashing" young attaché who uses his social position to travel through Europe, observing the nobility while secretly relying on newspaper correspondence for his income. Willis represents the romanticized traveler of the period, flirting with Italian high society before eventually settling into a domestic, though ultimately fading, literary life at his home, Idlewild.

In contrast to Willis’s relative ease, Lady Hester Stanhope appears as an enigmatic force in the East, where she engages in futile archaeological excavations and assumes the role of a political prophet. Her journey from the grandeur of her former status to a life of isolation and debt serves as a stark counterpoint to the professional climbers of the London salons.

The narrative proceeds to the extravagant Prince Pückler-Muskau, whose life is a restless search for sensation, from building elaborate estates to seeking advantageous marriages. His letters provide a humorous, observational lens on the industrial and social changes of the time, including his wide-eyed fascination with the "monster" of the steam engine.

Finally, the account turns to William and Mary Howitt, a literary couple whose lives embody a more stable, industrious, and humanitarian spirit. From their constrained, Quaker-school upbringing to their prolific output as writers and social reformers, the Howitts represent a grounded, communal approach to life. The narrative follows Mary’s long journey until her peaceful death in Rome, concluding with the reflection that though they may be forgotten, their influence was deeply felt by the generation that loved them.

How It Unfolds

The painter's struggle The life of Haydon is framed by his intense, often obsessive journals, which track his desperate attempts to secure patronage and his unwavering belief in the moral necessity of his historical art. His trajectory is one of diminishing resources, punctuated by moments of genuine intellectual connection with the poets and thinkers of his day.

The lionized socialite Lady Morgan’s story progresses through her clever navigation of the London salon circuit, where she masterfully balances her status as a literary celebrity with the demands of an unpredictable social world. Her refusal to be pinned down by "vulgar" facts reveals a character defined by her own narrative control.

The traveler’s veneer N.P. Willis moves from the glittering courts of Italy to the damp fields of Scotland, where he humorously contrasts his metropolitan sensibilities with the physical rigors of aristocratic sporting life. His narrative arc concludes with a retreat to domesticity, marking the transition from a restless, observational youth to a settled middle age.

The prophet’s isolation Lady Hester Stanhope’s account follows her descent into the search for hidden treasures and prophetic signs, moving from the excitement of exploration to a quiet, debt-ridden seclusion. Her story highlights the dangers of living outside conventional boundaries.

The prince’s restlessness Prince Pückler-Muskau’s life is portrayed through his constant movement and his penchant for theatrical displays of wealth and wit. His narrative underscores the intersection of romanticism and social calculation.

The industrious couple The Howitts’ story serves as a conclusion, tracing their evolution from provincial youth to influential figures in the literary and humanitarian movements of the century. Their lives are characterized by steady, productive work that ultimately leaves a legacy of quiet, lasting affection.

The People

Benjamin Robert Haydon is the most striking figure, defined by his "ardour" and his conviction that he is a victim of a country that fails to honor its artists. He leaves behind not just canvases, but a trail of broken promises and debt. Lady Morgan, by contrast, is a master of her own public image, using her charm and wit to maintain her relevance long after her initial fame as the "Wild Irish Girl." N.P. Willis functions as the outsider-observer, a man who lives on the surface of European life while masking his financial instability with a veneer of elegance. Lady Hester Stanhope represents the most extreme personality, a woman whose descent into eccentricity and self-proclaimed prophecy isolates her from the world that once courted her. Prince Pückler-Muskau stands as the ultimate romantic adventurer, always seeking the next sensation or the next advantageous alliance to bolster his standing. Finally, William and Mary Howitt provide a portrait of stability, working in tandem to support each other’s literary efforts and humanitarian goals, ultimately finding a peace in their later years that the other more restless figures never achieve.

In Own Voice

"What various ills the Painter's life assail, Pride, Envy, Want, the Patron and the Jail."

Haydon quotes this line in his own epitaph, summarizing his long, bitter struggle against the indifference of the British establishment.

"A woman of high rank and good fortune, who has built herself a palais in a remote part of America, has announced her intention of passing the rest of her life with me, so much has she been struck with my situation and conduct."

Lady Hester Stanhope writes this to her doctor, revealing her tendency to weave elaborate, often delusional narratives about her own importance.

"I love my country, but the ornamental is my vocation, and of this she has none."

Willis expresses his disdain for the perceived lack of aesthetic and social polish in his native United States while writing from abroad.

What It's Really About

The central theme is the tension between public reputation and private reality in a rapidly changing century. Each life illustrates a different way of reconciling personal ambition with the expectations of society. The book implicitly asks whether these "minor" figures have been rightfully sidelined by history or if they represent a truer, more human version of the era than the major, over-documented icons. There is a persistent inquiry into the nature of celebrity—how it is constructed, how it is maintained, and how quickly it can vanish. Ultimately, the work serves as a meditation on the fleeting nature of success and the various ways individuals attempt to leave a mark on their world before time erases their efforts.

Why Read It Today

Readers who enjoy the intimate, anecdotal style of nineteenth-century biographies will find much to admire here. The book is not a dry academic history; it feels like a collection of gossip and insights gathered from private letters and journals. For those interested in the social history of the era, the descriptions of salon culture, European travel, and the domestic struggles of writers provide a rich, immersive experience.

However, prospective readers should be aware that the prose reflects its 1902 origins, occasionally employing a formal, sometimes dense style that expects a familiarity with the period's figures. The author’s choices are unapologetically subjective, and while the portraits are warm, they do not shy away from the character flaws of their subjects. If you are drawn to the idea of uncovering the lives of people who were famous in their own time but have since slipped from the general consciousness, you will find this a deeply rewarding read. It is a book for those who prefer the texture of a life—the debts, the eccentric costumes, the failed business ventures—over the polished, monumental accounts that often define historical figures. The feeling of reading it is akin to leafing through a well-preserved collection of forgotten letters, catching glimpses of lives lived with intensity and, quite often, a great deal of human error.