THE CREATION OF ABBOTSFORD

The first purchase of land was close on a hundred and ten acres, half of which were to be planted, and the remainder kept in pasture and tillage. An ornamental cottage with a pillared porch—a print of which is still preserved—after the style of an English vicarage, was agreed upon, and it was here that Scott passed the first years of his Abbotsford life. He had many correspondents during this period. Daniel Terry, an architect turned actor, was probably his chief adviser as to Abbotsford and its furnishings, no end of letters passing between them. Morritt of Rokeby was much in his confidence, and Joanna Baillie, 'our immortal Joanna,' whose 'Family Legend,' had been produced at Edinburgh the previous year under Scott's auspices. The plans for his house were at first of the simplest. He thus describes them to Miss Baillie: 'My dreams about my cottage go on. My present intention is to have only two spare bedrooms, with dressing-rooms, each of which on a pinch will have a couch-bed; but I cannot relinquish my Border principle of accommodating all the cousins and duniwastles, who will rather sleep on chairs, and on the floor, and in the hayloft, than be absent when folks are gathered together.'

To Morritt we find him writing: 'I have fixed only two points respecting my intended cottage—one is that it shall be in my garden, or rather kailyard; the other, that the little drawing-room shall open into a little conservatory, in which conservatory there shall be a fountain. These are articles of taste which I have long since determined upon; but I hope before a stone of my paradise is begun we shall meet and collogue upon it'; but soon after, as an excuse for beginning 'Rokeby,' his fourth verse romance, he says: 'I want to build my cottage a little better than my limited finances will permit out of my ordinary income.' Later on he tells Lord Byron that 'he is labouring to contradict an old proverb, and make a silk purse out of a sow's ear—namely, to convert a bare haugh and brae into a comfortable farm'; and to Sarah Smith, a London tragic actress, he writes: 'Everybody, after abusing me for buying the ugliest place on Tweedside, begins now to come over to my side. I think it will be pretty six or seven years hence, whoever may come to see and enjoy, for the sweep of the river is a very fine one of almost a mile in length, and the ground is very unequal, and therefore well adapted for showing off trees.' Scott, as was said, took a profound interest in tree-planting. Had he not been able to add by purchase the neighbouring hills to his original lands, it was said that he would have requested permission of the owners to plant the grounds, for the mere pleasure of the occupation, and to beautify the landscape. 'I saunter about,' he said to Lady Abercorn, 'from nine in the morning till five at night with a plaid about my shoulders and an immense bloodhound at my heels, and stick in sprigs which are to become trees when I shall have no eyes to look at them! He had a painter's as well as a poet's eye for scenery: 'You can have no idea of the exquisite delight of a planter,' he said; 'he is like a painter laying on his colours—at every moment he sees his effects coming out. There is no art or occupation comparable to this; it is full of past, present, and future enjoyment. I look back to the time when there was not a tree here, only bare heath; I look round and see thousands of trees growing up, all of which—I may say almost each of which—have received my personal attention. I remember five years ago looking forward, with the most delighted expectation, to this very hour, and as each year has passed the expectation has gone on increasing. I do the same now; I anticipate what this plantation and that one will presently be, if only taken care of, and there is not a spot of which I do not watch the progress. Unlike building, or even painting, or indeed any other kind of pursuit, this has no end, and is never interrupted, but goes on from day to day and from year to year with a perpetually augmenting interest. Farming I hate; what have I to do with fattening and killing beasts, or raising corn only to cut it down, and to wrangle with farmers about prices, and to be constantly at the mercy of the seasons? There can be no such disappointments or annoyances in planting trees.'

Scott left Ashestiel at Whitsunday, 1812—a rather comical 'flitting,' according to his own account of it. 'The neighbours,' he writes to Lady Alvanley, 'have been much delighted with the procession of my furniture, in which old swords, bows, targets, and lances made a very conspicuous show. A family of turkeys was accommodated within the helmet of some preux chevalier of ancient Border fame; and the very cows, for aught I know, were bearing banners and muskets. I assure your ladyship that this caravan, attended by a dozen of ragged, rosy peasant children, carrying fishing-rods and spears, and leading ponies, greyhounds, and spaniels, would, as it crossed the Tweed, have furnished no bad subject for the pencil, and really reminded me of one of the gypsy groups of Callot upon their march.' The year 1812 was one of his busiest. Five days every week until the middle of July he did Court duty at Edinburgh. Saturday evening saw him at Abbotsford. On Monday he superintended the licking into shape of his new domicile, and at night he was coaching it to the city. During the Court recess he pegged away at 'Rokeby' and other work under circumstances that must have been trying enough. 'As for the house and the poem,' he writes to Morritt, 'there are twelve masons hammering at the one and one poor noddle at the other.' He did not then know the luxury of a private 'den' as at Castle Street. A window corner, curtained off in the one habitable room which served for dining-room, drawing-room, and school-room, constituted his earliest Abbotsford study. There, amid the hammer's incessant fall, and the hum of many voices, and constant interruptions, he plodded on, and got through a fair amount. The letters to Terry commence in September, 1812, and show that some little progress had been made: 'We have got up a good garden-wall, complete stables in the haugh, and the old farm-yard enclosed with a wall, with some little picturesque additions in front. The new plantations have thriven amazingly well, the acorns are coming up fast, and Tom Purdie is the happiest and most consequential person in the world.' To Joanna Baillie he sends this characteristic note, in the beginning of 1813: 'No sooner had I corrected the last sheet of 'Rokeby' than I escaped to this Patmos as blithe as bird on tree, and have been ever since most decidedly idle—that is to say with busy idleness. I have been banking, and securing, and dyking against the river, and planting willows, and aspens, and weeping birches. I have now laid the foundations of a famous background of copse, with pendent trees in front; and I have only to beg a few years to see how my colours will come out of the canvas. Alas! who can promise that? But somebody will take my place—and enjoy them, whether I do or no'; and in March he adds: 'What I shall finally make of this villa work I don't know, but in the meantime it is very entertaining'; and again: 'This little place comes on as fast as can be reasonably hoped.' To Lady Louisa Stuart he writes: 'We are realizing the nursery tale of the man and his wife who lived in a vinegar bottle, for our only sitting-room is just 12 feet square, and my Eve alleges that I am too big for our paradise.' In October, 1813, Terry is told that 'these are no times for building,' but in the following spring, pressing the Morritts to visit him, he says: 'I am arranging this cottage a little more conveniently, to put off the plague and expense of building another year, and I assure you I expect to spare you and Mrs. Morritt a chamber in the wall, with a dressing-room and everything handsome about you. You will not stipulate, of course, for many square feet.' In a letter to Terry, dated November 10, 1814—the year of 'Waverley'—further progress is reported: 'I wish you saw Abbotsford, which begins this season to look the whimsical, gay, odd cabin that we had chalked out. I have been obliged to relinquish Stark's (the Edinburgh architect, who died before the building was well begun) plan, which was greatly too expensive. So I have made the old farm-house my corps de logis with some outlying places for kitchen, laundry, and two spare bedrooms, which run along the east wall of the farmcourt, not without some picturesque effect. A perforated cross, the spoils of the old kirk of Galashiels, decorates an advanced door, and looks very well.' Not much was done during the next two years, but in November, 1816, a new set of improvements was under consideration. Abbotsford was rapidly losing its cottage character. The 'romance' period was begun. A notable addition—connecting the farm-house with the line of buildings on the right—was then agreed upon, on which Scott communicates with Terry: 'Bullock[5] will show you the plan, which I think is very ingenious, and Blore has drawn me a very handsome elevation, both to the road and to the river. This addition will give me a handsome boudoir opening into the little drawing-room, and on the other side to a handsome dining-parlour of 27 feet by 18, with three windows to the north and one to the south, the last to be Gothic and filled with stained glass. Besides these commodities there is a small conservatory, and a study for myself, which we design to fit up with ornaments from Melrose Abbey.' In the same letter he says: 'I expect to get some decorations from the old Tolbooth of Edinburgh, particularly the copestones of the doorway, and a niche or two. Better get a niche from the Tolbooth than a niche in it to which such building operations are apt to bring the projectors.'

By July, 1817, the foundation of the existing house, which extends from the hall westwards to the original courtyard, had been laid, and Scott found a new source of constant occupation in watching the proceedings of his masons. In consequence of a blunder or two during his absence, 'I perceive the necessity,' he said, 'of remaining at the helm.' To Joanna Baillie he writes in September: 'I get on with my labours here; my house is about to be roofed in, and a comical concern it is.' There is some correspondence in October between Scott and Terry relative to the tower, a leading feature of the building. Scott mentions that (Sir) David Wilkie, who had just been his guest, 'admires the whole as a composition, and that is high authority.' 'I agree with you that the tower will look rather rich for the rest of the building, yet you may be assured that, with diagonal chimneys and notched gables, it will have a very fine effect, and is in Scotch architecture by no means incompatible.' In the beginning of 1818, he again writes to Terry: 'I am now anxious to complete Abbotsford. I have reason to be proud of the finishing of my castle, for even of the tower, for which I trembled, not a stone has been shaken by the late terrific gale which blew a roof clean off in the neighbourhood.' Lockhart, who saw Abbotsford for the first time in 1818, confesses that the building presented a somewhat 'fantastic appearance,' the new and old by no means harmonizing (see the chapter on Lockhart for a further account of his visit). In the spring of 1820 Scott writes to his wife from London, whither he had gone to receive his baronetcy: 'I have got a delightful plan for the addition at Abbotsford, which, I think, will make it quite complete, and furnish me with a handsome library, and you with a drawing-room and better bedroom. It will cost me a little hard work to meet the expense, but I have been a good while idle.' The plans for these new buildings, including the wall and gateway of the courtyard and the graceful stone screen which divides it from the garden, were made by Blore, although the screen—with its carvings taken from details of stone-work at Melrose Abbey—was originally devised by Sir Walter himself. During the winter of 1821 the new operations were commenced. By the spring of 1822 they were in full swing. 'It is worth while to come,' he writes to Lord Montagu, 'were it but to see what a romance of a house I am making'; and to Terry later on: 'The new castle is now roofing, and looks superb—in fact, a little too good for the estate; but we must work the harder to make the land suitable.' That same summer the place was besieged by visitors from the South, who, after witnessing the King's reception at Edinburgh, hastened out to see Abbotsford. In October, 1822, he writes to his son Walter: 'My new house is quite finished as to masonry, and we are now getting on the roof just in time to face the bad weather.' In November, 1822, and January, 1823, there are long letters to Terry: 'The house is completely roofed. I never saw anything handsomer than the grouping of towers, chimneys, etc., when seen at a proper distance.' With Terry all sorts of subjects were discussed—bells, and a projected gas installation, along with a constant enumeration of curios and relics, on which he is urged to spare no expense. 'About July,' Scott writes at the beginning of 1824, 'Abbotsford will, I think, be finished, when I shall, like the old Duke of Queensberry who built Drumlanrig, fold up the accounts in a sealed parcel, with a label bidding "the deil pike out the een" of any of my successors that shall open it.' By Christmas, it was completed, and with the New Year's festivities a large and gay party celebrated the 'house-warming,' of which Basil Hall's sprightly 'Journal,' incorporated in the 'Life,' supplies a singularly agreeable account. But there is no room to quote. It was a doubly joyous occasion, marking not only the realization of Scott's long-cherished scheme as to his 'castle,' but the engagement of his eldest son, with whom, as he must have felt at the time, were the fortunes of the future Abbotsford. Of the year entered so auspiciously, none dreamt what the end was to be.

65

THE GATEWAY, ABBOTSFORD