Fifth Avenue

venue i

s-The "Big Four" of Archibald Clavering Gunter-The Home of Dr. Sloper-O. Henry and Arthur Train-Bunner and Washington Square-"Predestined"-The D

of the vast, dead city in certain of the various periods in which it had been teeming and throbbing with human life. Had the wish become the task, formal history would have played its part. Informal history would have proved more fruitful, and

nion could he have had in his scheme of investigation than Mr. Thomas Jones, recently come up from the West Country? For a vision of Corinthian London could he have done better than take up Conan Doyle's "Rodney Stone

he Holborn Viaduct. In the pages of Thackeray and George Meredith he would have studied the West-End of Victorian days. Certain seamy aspects of London life of the last years of the nineteenth century would have been revealed in the novels of G

fty or one hundred years hence the dreamer or the student wishing to feel how the inhabitants of Manhattan lived three or four scor

r from South, the club awakening to the fact that its quarters on Broadway or in one of the side streets near Irving Place was too far downtown, or in size inadequate to its growing membership-those were the agencies that wrought the Avenue's material development. But it was the American travelling in Europe in the days when we first found Henry James's heroine on the shores of Lake Geneva and later in Rome, when transatlantic voyagers were not so commonplace as they became later, whose pangs of homesickness in his

e two Edgars, Fawcett and Saltus, and the days when every visiting Englishman, no matter what he might have done in real life, in fiction had to stay, while in New York, at the Brevoort House. All sorts of inconsequential novels flit through the mind in recalling that bygone period. There was a gentleman whose atrociously written, but marvellously constructed "thrillers" were to be found in every deck chair at the noon hour on transatlantic steamers of thirty years ago. That was the late Archibald Clavering Gunter. The present generation knows him and his works not at all; but how a past generation used to read and reread "Mr. Barnes of New York," and "Mr. Potter of Texas," and "Miss Nobody of Nowhere," and "That Frenchman," which should have been called "M. De Vernay of Paris.

then thought to embody the last results of architectural science. It actually dates to 1831. Among the merchants who built in that year were Thomas Suffern, Saul Allen, John Johnston, George Griswold, James Boorman, and William C. Rhinelander. It was their type of house that was accepted for the neighbourhood as the first streets began to open to the right and left of Fifth Avenue. That northern stretch of the Square, first invaded in fiction by Henry James, has ever been a favourite background of the story-spinners, who never tire of contrasting its tone of well-bred aristocracy with the squalor, half-Bohemian and half-proletarian, that faces it from across the Park. In fiction one does not necessarily have to be of an old New York family in order to inhabit one of those north-side dwellings. Robert Walmsley, of O. Henry's "The Defeat of the City," lived there, and the boyhood to which he looked back was one spent on an up-state farm; while another erstwhile tenant in the exclusive row was the devious Artemas Quibble, of Mr. Arthur Train's narrative, who began life humbly somewhere in grey New England, and ended it, so far as the reader was informed, in Sing Sing Prison. Then there was the home of Mrs. Martin,

SITY CLUB, TO THE MIND OF ARNOLD BENNETT ('YOUR UNITED STATES

xt street is reached we have passed the home of the Huntingdons of Edgar Fawcett's "A Hopeless Case," and at the southwest corner of the Avenue and Eighth Street, facing the Brevoort, is No. 68 Clinton Place, which was not only the setting, but also the raison d'être of Thomas A. Janvier's "A Temporary Deadlock." Almost diagonally across the street is an old brick house, with Ionic pillars of marble and a fanlight at the arched entrance-one

n Bibber, returning from Jersey City where he had witnessed the "go" between "Dutchy" Mack and a coloured person professionally known as the Black Diamond, found his burglar. There is no mistaking the house, which "faced the avenue," nor the stone wall that ran back to the brown stable which opened on the side street, nor the door in the wall, that, opening cautiously, showed Van Bibber the head of his quarry. "The house was ti

ly a few doors distant from the Ninth Street house there is an apartment hotel known as the Berkeley, and it was to a Berkeley apartment that Van Bibber, as related in "Her First Appearance," took the child that he had practically kidnapped to restore her to her father and to be rewarded for his intrusion by being sensibly called a we

r many years was accepted as symbolizing the foibles of Madison Square, and she was in a measure in Fawcett's mind when he wrote, in "A Gentleman of Leisure," that vigorous description contrasting socially the stretch of the Avenue below Fourteenth Street with the later development a dozen

or the following supper was necessarily at the old Delmonico's. They were good trenchermen and trencherwomen, those heroes and heroines of yesterday! Many oyster-beds were depleted, and bins of rare vintage emptied to satisfy the healthy appetites of the inked pages. Somehow the mouth waters with the memory. When Delmonico's moved on to Twenty-sixth Street, and from its terraced tables its patrons could look up at graceful Diana, there were many famous dinners of fiction, such as the one, for example, consumed by the otherwise faultless Walters, for a bri

entrance on the Twenty-third Street side, was dreary enough; but turn to the pages of the romance of the sixties and seventies and eighties, and on the heavily upholstered sofas enamoured couples sat in furtive meeting, and words of endearment were whispered, and all the stock intrigue of fiction w

syville on-the-Hudson," his "City of Chameleon Changes." For the Avenue as the expression of the city's wealth and magnificence and aristocracy the late O. Henry had little love. The glitter and pomp and pageantry were not for "the likes of him." He preferred the more plebeian trails, the department-store infested thoroughfare to the west, with the clattering "El" road overhea

tocracy of the public parks and even of the vagabonds who use them for their private apartments," wrote Sidney Porter in "The Shocks of Doom." Vallance of the story felt rather than knew this, but when he stepped down out of his world into chaos his feet brought him directly to Madison Square. Probably Sherard Plumer, the down-and-out artist, was another to recognize its quality even before he fell in with Carson Chalmers, as outlined in "A Madison Square Arabian Night"; and also Marcus Clayton of Roanoke County, Virginia, and Eva Bedford, of Bedford County of the same State; and the disreputable Soapy, of "The Cop and the Anthem," when he sought a park bench on which to ponder over just what violation of the law would insure his deportation to Blackwell's

s, and in Leonard Street in fact. The crowd is thickest at the Twenty-first Street corner, where, in the novels of other days, the mature burghers used to watch the passing ladies from the windows of the Union Club. But there is little inclination to tarry long there. The environment of the Square is a pleasanter environment. When Delmonico's was at the Twenty-sixth Street corner, the hero of on

y Van Bibber-who took "A Walk up the Avenue" started on his journey from the Square. Van Bibber! Of course it was Van Bibber. It must have been Van Bibber. For when he reached Thirty-second Street a half-dozen men nodded to him in that casual manner in which men nod to a

low farther the trail. Here is the stately street as portrayed in Mr. Chambers's "The Danger Mark," or "The Firing Line," or "The Younger Set," or in any one of a dozen swiftly moving serials of the hour, whether the author be Mr.