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 FOURTH EDITION

J ire v ah
namzl S
nrobsO
Vattoth | Gaddikeri
ii
 FOURTH EDITION

Miral D. Jhaveri, MD, MBA

Associate Professor
Division Head, Neuroradiology & Medical Informatics
Co Vice-Chair, Department of Diagnostic Radiology & Nuclear Medicine
Rush University Medical Center
Chicago, Illinois

Karen L. Salzman, MD
Professor of Radiology and Imaging Sciences
Neuroradiology Section Chief and Fellowship Director
Leslie W. Davis Endowed Chair in Neuroradiology
University of Utah School of Medicine
Salt Lake City, Utah

Anne G. Osborn, MD, FACR

University Distinguished Professor and Professor of Radiology and Imaging Sciences
William H. and Patricia W. Child Presidential Endowed Chair in Radiology
University of Utah School of Medicine
Salt Lake City, Utah

Surjith Vattoth, MD, FRCR Santhosh Gaddikeri, MD

Associate Professor of Radiology Assistant Professor
University of Arkansas for Medical Sciences Department of Diagnostic Radiology and
Little Rock, Arkansas Nuclear Medicine
Rush University Medical Center
Chicago, Illinois

iii
 Elsevier
1600 John F. Kennedy Blvd.
Ste 1800
Philadelphia, PA 19103-2899

DIAGNOSTIC IMAGING: BRAIN, FOURTH EDITION ISBN: 978-0-323-75620-4

Inkling: 978-0-323-75622-8
Copyright © 2021 by Elsevier. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical,
including photocopying, recording, or any information storage and retrieval system, without permission in writing from
the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our
arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be
found at our website: www.elsevier.com/permissions.

This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as
may be noted herein).

Notices

Practitioners and researchers must always rely on their own experience and knowledge in
evaluating and using any information, methods, compounds or experiments described herein.
Because of rapid advances in the medical sciences, in particular, independent verification of
diagnoses and drug dosages should be made. To the fullest extent of the law, no responsibility is
assumed by Elsevier, authors, editors or contributors for any injury and/or damage to persons or
property as a matter of products liability, negligence or otherwise, or from any use or operation of
any methods, products, instructions, or ideas contained in the material herein.

Previous edition copyrighted 2016.

Library of Congress Control Number: 2020944108

Printed in Canada by Friesens, Altona, Manitoba, Canada

Last digit is the print number: 9 8 7 6 5 4 3 2 1

iv
noitaci deD

To my family & mentors.

MDJ

v
vi
srohtu A gnitubirtnoC
Matthew Alexander, MD Kalen Riley, MD, MBA
Assistant Professor Neuroradiology Fellow
Department of Radiology and Imaging Sciences University of Utah
Adjunct Assistant Professor of Neurosurgery Salt Lake City, Utah
University of Utah
Salt Lake City, Utah Blair A. Winegar, MD
Associate Professor
Hediyeh Baradaran, MD Department of Radiology and Imaging Sciences
Assistant Professor University of Utah School of Medicine
Department of Radiology and Imaging Sciences Salt Lake City, Utah
Salt Lake City, Utah

Kelly A. Dahlstrom, DO
Neuroradiology Fellow
University of Utah Health
Salt Lake City, Utah

Additional Contributing Authors

Jeffrey S. Anderson, MD, PhD Luke L. Linscott, MD

A. James Barkovich, MD A. Carlson Merrow, Jr., MD, FAAP
Susan I. Blaser, MD, FRCPC Kevin R. Moore, MD
Bryson Borg, MD Usha D. Nagaraj, MD
P. Ellen Grant, MD Edward P. Quigley, III, MD, PhD
Gary L. Hedlund, DO Charles Raybaud, MD, FRCPC
Chang Yueh Ho, MD Jeffrey S. Ross, MD
Blaise V. Jones, MD Gilbert Vézina, MD

vii
 ecafe rP
Welcome to the 4th edition of our popular Diagnostic Imaging: Brain! The 3rd edition was
published in late 2015, and my goodness, has a lot changed since then! One thing that
has remained constant is our dedication to bringing you the latest and greatest “stuff” in
neuroimaging. We’ve added a bunch of new diagnoses and eliminated others that have
become outdated or superseded by new concepts that have supplanted old ones. We’ve
updated references, made some new signature graphics, expanded the digital image
galleries, and put in new illustrations of familiar entities.

Our 4th edition of Diagnostic Imaging: Brain author group, now headed by our longtime
colleague, Dr. Miral Jhaveri, welcomes several new faces to the project and features
expanded participation by others. Surjith Vattoth, Luke Linscott, Usha Nagaraj, Santhosh
Gaddikeri, Hediyeh Baradaran, Matthew Alexander, and Kelly Dahlstrom are welcome
additions to our team.

So, what’s new in the last 5 years that we feature in this edition? We’ve added new vascular
disorders, such as critical illness-associated microbleeds, [recently recognized as a cause
of altered mental status in patients with acute respiratory distress syndrome (ARDS) who
are on ECMO or ventilator assistance], inflammatory cerebral amyloid angiopathy, and
cerebral proliferative angiopathy (a mimic of diffuse arteriovenous malformation). We’ve
also included new toxic-metabolic entities, such as gadolinium deposition in the brain and
new infectious diseases (e.g., Zika virus) in this edition.

When the 3rd edition went to press in late 2015, the World Health Organization (WHO)
had not yet published its revised, updated, “4-plus” Classification of Tumors of the Central
Nervous System (May 2016). The advent of molecular diagnostics has drastically changed
our understanding of brain tumors and markedly altered the way they are classified
(the most striking is the classification of diffuse astrocytomas by IDH mutation status
and the restructuring of medulloblastomas into 4 genetically based subtypes). As we
write this preface, and our 4th edition goes to press, the WHO neuropathologists are
readying yet another update (5e) to the official WHO Classification of CNS Neoplasms that
will be published in May 2021. They have published interim updates in journals, such as
Brain Pathology and Acta Neuropathologica. Where appropriate, we have included these
updates in our existing diagnoses and added new ones. You will find new tumor entities,
such as diffuse midline glioma, H3K27M-mutant, diffuse leptomeningeal glioneuronal
tumor, RELA fusion-positive ependymoma, multinodular and vacuolating neuronal
tumor (MVNT), and polymorphous low-grade neuroepitheal tumor of the young (PLNTY)

viii
included for the 1st time. You will search in vain for diagnoses that are now considered
outdated (for example, the term “PNET” is no longer used and has been superceded by
“other embryonal tumors” characterized by specific mutations, such as embryonal tumors
with multilayered rosettes, C19MC-altered).

We’ve also included some interesting new tumors and tumor mimics, such as calcifying
pseudoneoplasm of the neuraxis (CAPNON), IgG4-related disease, and inflammatory
myofibroblastic tumor.

There’s so much more that’s changed since the 3rd edition. Hopefully, we’ve given you
just a little taste of the diagnostic dilemmas and delights that await you in this newest
edition of Diagnostic Imaging: Brain. We hope you enjoy reading it as much as we liked
writing it!

Anne G. Osborn, MD, FACR

University Distinguished Professor and Professor of Radiology and Imaging Sciences
William H. and Patricia W. Child Presidential Endowed Chair in Radiology
University of Utah School of Medicine
Salt Lake City, Utah

Miral D. Jhaveri, MD, MBA

Associate Professor
Division Head, Neuroradiology & Medical Informatics
Co Vice-Chair, Department of Diagnostic Radiology & Nuclear Medicine
Rush University Medical Center
Chicago, Illinois

Karen L. Salzman, MD
Professor of Radiology and Imaging Sciences
Neuroradiology Section Chief and Fellowship Director
Leslie W. Davis Endowed Chair in Neuroradiology
University of Utah School of Medicine
Salt Lake City, Utah

ix
x
stnemgde l wonkcA
LEAD EDITOR
Nina I. Bennett, BA

LEAD ILLUSTRATOR
Lane R. Bennion, MS

TEXT EDITORS
Arthur G. Gelsinger, MA
Rebecca L. Bluth, BA
Terry W. Ferrell, MS
Megg Morin, BA
Kathryn Watkins, BA

IMAGE EDITORS
Jeffrey J. Marmorstone, BS
Lisa A. M. Steadman, BS

ILLUSTRATIONS
Richard Coombs, MS
Laura C. Wissler, MA

ART DIRECTION AND DESIGN

Tom M. Olson, BA

PRODUCTION EDITORS
Emily C. Fassett, BA
John Pecorelli, BS

xi
xii
 snoitceS

PART I: Pathology-Based Diagnoses

SECTION 1: Congenital Malformations
SECTION 2: Trauma
SECTION 3: Subarachnoid Hemorrhage and Aneurysms
SECTION 4: Stroke
SECTION 5: Vascular Malformations
SECTION 6: Neoplasms
SECTION 7: Primary Nonneoplastic Cysts
SECTION 8: Infectious, Inflammatory, and Demyelinating Disease
SECTION 9: Inherited Metabolic/Degenerative Disorders
SECTION 10: Acquired Toxic/Metabolic/Degenerative Disorders

PART II: Anatomy-Based Diagnoses

SECTION 1: Ventricles and Cisterns
SECTION 2: Sella and Pituitary
SECTION 3: Skull, Scalp, and Meninges

xiii
 TABLE OF CONTENTS

Part I: Pathology-Based Diagnoses 56 Congenital Muscular Dystrophy

Usha D. Nagaraj, MD and Surjith Vattoth, MD, FRCR
60 Heterotopic Gray Matter
SECTION 1: CONGENITAL Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
MALFORMATIONS 62 Polymicrogyria
4 Congenital Malformations Overview Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR 66 Focal Cortical Dysplasia
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
CHIARI MALFORMATIONS 68 Lissencephaly
Usha D. Nagaraj, MD and Surjith Vattoth, MD, FRCR
8 Chiari 1 Malformation
70 Schizencephaly
Usha D. Nagaraj, MD and Surjith Vattoth, MD, FRCR
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
12 Chiari 2 Malformation
74 Hemimegalencephaly
Usha D. Nagaraj, MD and Surjith Vattoth, MD, FRCR
Usha D. Nagaraj, MD, Luke L. Linscott, MD, and Surjith
16 Chiari 3 Malformation
Vattoth, MD, FRCR
Kevin R. Moore, MD, Jeffrey S. Ross, MD, and Surjith
Vattoth, MD, FRCR FAMILIAL TUMOR/NEUROCUTANEOUS
HINDBRAIN MALFORMATIONS SYNDROMES
76 Neurofibromatosis Type 1, Brain
18 Dandy-Walker Continuum
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
Usha D. Nagaraj, MD and Surjith Vattoth, MD, FRCR
80 Neurofibromatosis Type 2, Brain
22 Rhombencephalosynapsis
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
Luke L. Linscott, MD, Blaise V. Jones, MD, and Surjith
84 von Hippel-Lindau Syndrome
Vattoth, MD, FRCR
Luke L. Linscott, MD, Anne G. Osborn, MD, FACR, and
26 Unclassified Cerebellar Dysplasias
Surjith Vattoth, MD, FRCR
Usha D. Nagaraj, MD, Blaise V. Jones, MD, and Surjith
88 Tuberous Sclerosis Complex
Vattoth, MD, FRCR
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
28 Molar Tooth Malformations (Joubert)
92 Sturge-Weber Syndrome
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
32 Cerebellar Hypoplasia
96 Meningioangiomatosis
Usha D. Nagaraj, MD and Surjith Vattoth, MD, FRCR
Kevin R. Moore, MD and Surjith Vattoth, MD, FRCR
DISORDERS OF 98 Basal Cell Nevus Syndrome
DIVERTICULATION/CLEAVAGE Luke L. Linscott, MD, Gilbert Vézina, MD, and Surjith
Vattoth, MD, FRCR
36 Holoprosencephaly 102 Hereditary Hemorrhagic Telangiectasia
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR Luke L. Linscott, MD, Anne G. Osborn, MD, FACR, and
40 Syntelencephaly (Middle Interhemispheric Variant) Surjith Vattoth, MD, FRCR
Luke L. Linscott, MD, Charles Raybaud, MD, FRCPC, and 106 Encephalocraniocutaneous Lipomatosis
Surjith Vattoth, MD, FRCR Luke L. Linscott, MD, Gilbert Vézina, MD, and Surjith
44 Septo-Optic Dysplasia Vattoth, MD, FRCR
Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR 110 Neurocutaneous Melanosis
48 Commissural Abnormalities Luke L. Linscott, MD and Surjith Vattoth, MD, FRCR
Luke L. Linscott, MD, Charles Raybaud, MD, FRCPC, and 114 Aicardi Syndrome
Surjith Vattoth, MD, FRCR Surjith Vattoth, MD, FRCR and P. Ellen Grant, MD
116 Li-Fraumeni Syndrome
MALFORMATIONS OF CORTICAL Surjith Vattoth, MD, FRCR
DEVELOPMENT 118 Schwannomatosis
52 Congenital Microcephaly Surjith Vattoth, MD, FRCR
Kevin R. Moore, MD and Surjith Vattoth, MD, FRCR 120 Turcot Syndrome
Anne G. Osborn, MD, FACR

xiv
Exploring the Variety of Random
Documents with Different Content
Thackeray could take his place among the masters. The whole gallery of his
creations places him at the head of the

THE WRITING TABLE AND CHAIR USED BY THACKERAY AT YOUNG STREET,

ONSLOW SQUARE, AND PALACE GREEN
Reproduced by kind permission of Mrs. Richmond Ritchie

English novelists of the nineteenth century.

A paper dealing with Thackeray’s characters may not ignore the question
of the “originals.” Great interest has always been taken in Thackeray’s
originals. Much has been written about them which is worth reading; much
also has been written that is misleading. The novelist was personal
sometimes, but it was seldom that he modelled a character on a man or
woman of his acquaintance. He told his daughters that he never wilfully
copied anyone; and there is no reason to disbelieve his statement. The
Marquis of Steyne was a sublimation of half a dozen characters, and so
were Captain Shandon and Costigan; and Becky, Dobbin, Jos Sedley, and
Colonel Newcome were wholly original—from the celebrity point of view
at least. Many of the people in “Esmond” are portraits of historical
personages—the Duke of Hamilton, Lord Mohun, and
From a pencil drawing by Richard Doyle in
the British Museum
W. M. THACKERAY
 Painted by Sir John Gilbert, R.A., and presented to
the Garrick Club
A POSTHUMOUS PORTRAIT OF THACKERAY
Collection of Augustin Rischgitz

Beatrix, for instance—but in the tales of modern life there are few
characters that can be traced to any particular source. “You know you are
only a piece of Amelia. My mother is another half; my poor little wife—
y’est pour beaucoup,” the author wrote to Mrs. Brookfield. Edmund Yates
always insisted that Wagg in “Pendennis” stood for Theodore Hook; that
Lord Lonsdale was the original of Major Pendennis’s noble friend Lord
Colchicum; and that Bunn was the model for Dolphin, the theatrical
manager. It has been said that Mr. J. M. Evans, the publisher, was portrayed
in “The Kickleburys on the Rhine”; that Mr. Flam in “Mrs. Perkins’s Ball”
was a portrait of Abraham Hayward; that the Rev. W. H. Brookfield stood
for the curate, Frank Whitestock; that Leigh Hunt was the original of
Gandish in “The Newcomes”; and that the third Marquis of Hertford was
the prototype of Lord Steyne. Mrs. Ritchie once saw the young lady who
was supposed to have suggested Becky Sharp to her father; and Carlyle and
his wife knew—and disliked—the original Blanche Amory.
From a photograph by Ernest Edwards
W. M. THACKERAY
 A PAGE OF THACKERAY’S MANUSCRIPT
Showing an original sketch in the margin
(Reproduced from “Denis Duval,” by kind permission of Mrs.
Richmond Ritchie)

Thackeray was not topographical in the sense that Dickens was. Often
the briefest mention of a street satisfied him. Yet somehow the places of the
principal scenes of his novels linger in the memory. As a young man he
studied at Weimar, and later, while serving his apprenticeship both to art
and letters, he resided from time to time at Paris. Had he never visited
Germany, perhaps Amelia and Jos and Dobbin would not have gone Am
Rhein, and the chapter about Becky and the Pumpernickel students would
never have been written. Many of his characters went to Paris, which had
for him a strong personal interest. It was there he wooed and won his wife.
It was at Paris that he wrote the autobiographical verse in the ballad which
tells of the Bouillabaisse served at Terré’s Tavern in the Rue Neuve des
Petits Champs:
 Ah me! how quick the days are flitting!
I mind me of a time that’s gone,
When here I’d sit, as now I’m sitting,
In this same place—but not alone.
A fair young form was nestled near me,
A dear dear face looked fondly up,
And sweetly spoke and smiled to cheer me,
—There’s no one now to share my cup.

“I have been to the Hotel de la Terrasse,

where Becky used to live, and shall pass by
Captain Osborne’s lodgings,” he wrote from
Paris to Mrs. Brookfield. “I believe perfectly
in all these people, and feel quite an interest in
the inn in which they lived.” It was at
Brussels, in the Church of St. Gudule, the
church in which he was christened, that
Esmond met the inveterate intriguer, Father
Holt, masquerading in a green uniform as a
captain in the Bavarian Elector’s service; and
in the convent cemetery knelt before the cross
From a photo by H. N. King, which marked the grave of Sœur Mary
Avenue Road, W. Madeleine, the unhappy Lady Castlewood,
THE HOUSE AT NO. 2, PALACE who was his mother. In that same city many
GREEN, KENSINGTON, IN
WHICH THACKERAY DIED
years later the author of “Vanity Fair,” not
claiming to rank among the military novelists,
took his place with the non-combatants while
the armies marched to the field of Waterloo, and portrayed many folk with
anxious hearts awaiting news that must bring them happiness or misery.
“No more firing was heard at Brussels—the pursuit rolled miles away. The
darkness came down on the field and city; and Amelia was praying for
George, who was lying on his face, dead, with a bullet through his heart.”
Thackeray was pre-eminently the novelist of the upper classes, and as a
natural result the majority of his characters lived in the West End of
London, chiefly in the area enclosed by Park Lane, Oxford Street, Bond
Street, and Piccadilly, known as Mayfair. But no part of the metropolis
escaped him. The Sedleys lived in Russell Square before they removed to
St. Adelaide’s Villas, Anna Maria Road, West,
“where the houses look like baby-houses;
where the people looking out of the first floor
windows must infallibly, as you think, sit with
their feet in the parlours; where the shrubs in
the little gardens in front bloom with a
perennial display of little children’s pinafores,
little red socks, caps, etc. (polyandria
polygyria); whence you hear the sound of
jingling spirits and women singing; whither of
evenings you see city clerks plodding
wearily....” Dr. Firmin practised in Old Parr
Street; and Colonel Newcome and James THACKERAY’S GRAVE IN
Binnie, on their return from India, rented a KENSAL GREEN CEMETERY
house in Fitzroy Square. Bungay and Bacon
carried on their business in Paternoster Row, and lived over their shops. It
was to the sponging house in Cursitor Street that Rawdon
Crawley was taken after the ball at Gaunt House. Among others,
Pendennis and Warrington lived in the Temple; while Colonel Newcome
and his son, Dr. Firmin and Philip, Pendennis, young Rawdon—to name a
few—were educated at the Charterhouse. “The Newcomes” immortalised
that public school, and earned for the author the well-deserved title of
“Carthusianus Carthusianorum.” The clubs and Bohemian resorts of the day
were introduced into the various stories: the visit of Colonel Newcome to
the “Cave of Harmony” is not easily forgotten. In Mayfair was situated
Gaunt House, and in Curzon Street, near by, Becky and Rawdon practised
the art of living on nothing a year. It was in the Curzon Street house that
Becky is made to admire her husband, when he gives Lord Steyne the
chastisement that ruins her for life. “When I wrote that sentence,”
Thackeray remarked subsequently, “I slapped my fist on the table and said,
‘That is a stroke of genius.’ ”
Lewis Melville.
From the statuette by Sir Edgar
Boehm, R.A.
W. M. THACKERAY
 BIOGRAPHICAL NOTE
William Makepeace Thackeray, the only child of Richmond and Anne
William Thackeray, was born at Calcutta on July 18th, 1811. He was descended
Makepeace
Thackeray
from Yorkshire yeomen who for several generations had been settled at
see frontispiece Hampsthwaite, in the West Riding. In 1766 his grandfather, likewise
named William Makepeace Thackeray, sailed for India at the age of
seventeen, to enter the service of the East India Company. Under Cartier,
Richmond
Thackeray, the predecessor of Warren Hastings as Governor of Bengal, his promotion
Father of the was very rapid. In 1776 he married Amelia Richmond, and the same year
Novelist returned to England. His fourth son, Richmond Thackeray, father of the
see page 3
novelist, went to India in 1798 also in the service of the Company. In
1807 he became Secretary to the Board of Revenue at Calcutta, and
Thackeray at the undoubtedly possessed brilliant gifts for administration and public work.
age of three,
with his father
He married on October 13th, 1810, the reigning beauty of Calcutta, Anne,
and mother daughter of John Harman Becher. The painting by Chinnery, executed in
see page 5 1814, gives a glimpse of the Thackerays at the time when their son had
reached the age of three years. He is drawn perched on a large pile of
books, with his arms round his mother’s neck, his father stiffly seated in a chair close by.
Richmond Thackeray was at this time Collector of the district called
The the Twenty-four Pergunnahs. Two years later he died, and in 1817 his son
Charterhouse in
the time of
was sent to England to be educated, and was placed in the charge of his
Thackeray aunt Mrs. Ritchie, who first sent him to a school in Hampshire, and then
see page 2 to the establishment of Dr. Turner at Chiswick. About 1818 Mrs.
Richmond Thackeray married a second time, and in 1821 returned to
Thackeray, from England with her husband, Major Carmichael Smyth, and settled at
the replica of a Addiscombe. The following year Thackeray was sent to the Charterhouse,
plaster cast by J. where he remained until 1828. This famous school figured largely in his
Devile
see page 4
writings as “Greyfriars.” It was here that Colonel Newcome and Clive,
Pendennis, George Osborne, Philip Firmin, and Rawdon Crawley were
educated. Charterhouse was the scene of Thackeray’s fight with Venables, in which he
sustained the unfortunate accident to his nose that caused a permanent disfigurement in his
otherwise handsome countenance. Evidence of this is noticeable in the plaster cast
executed by J. Devile, which represents Thackeray at the age of eleven.
In 1825 Thackeray’s mother removed to Larkbeare, a house situated a
Larkbeare, the mile and a half from Ottery St. Mary, where her son used to spend his
home of
Thackeray’s
holidays. On leaving school he remained at Larkbeare until he took up his
mother residence at Trinity College, Cambridge, in February 1829. The scenery
see page 2 surrounding his mother’s home is described in “Pendennis,” Ottery St.
Mary, Exeter, and Sidmouth figuring respectively as Clavering St. Mary, Chatteris, and
Baymouth.
While at Cambridge Thackeray contributed to a small paper called The Snob, a literary
and scientific journal not conducted by members of the University. In it appeared
“Timbuctoo,” a mock poem on the subject chosen for the Chancellor’s medal, won that
year by Alfred Tennyson. In 1829 Thackeray spent the long vacation in Paris, and left
college after the following Easter term.
Having inherited a fortune from his father, it was arranged that he should finish his
education by travelling abroad for a couple of years. Accordingly he spent several months
at Dresden, Rome, Paris, and Weimar, and finally resolved to study for the Bar on his
return to England. In 1831 he entered the Middle Temple, and by November of that year
was settled in chambers in Hare Court. On coming of age, however, he abandoned all
pretence of following the profession he had chosen, and made his way to Paris, whence he
wrote letters for The National Standard, and collected material for miscellaneous articles.
Having speedily lost the greater part of his fortune, he turned his thoughts seriously to
painting as a means of livelihood, and at this period frequented various studios, probably
working in the atelier of Gros. Later he copied pictures assiduously at the Louvre, but
though he delighted in the art he failed to acquire any great technical skill as a
draughtsman.
In January 1835 Thackeray appeared as one of the Fraserians in a
Thackeray sketch drawn by Maclise and published in Fraser’s Magazine. This
among the
Fraserians
celebrated cartoon depicts the Fraser writers at one of the frequent
see page 6 banquets held at 212, Regent Street. It was in this company that
Thackeray first gained distinction as an author.
In 1836 he was appointed Paris correspondent of The Constitutional,
Rue Neuve St. and in August of the same year he married Miss Shawe. The wedding
Augustin, Paris
took place at the British Embassy, Bishop Luscombe, at that time
see page 7
chaplain, officiating at the ceremony. The newly married couple lived in
apartments in the Rue Neuve St. Augustin, a street quite close by the Rue Neuve des Petits
Champs, where is situated the restaurant made famous in the “Ballad of Bouillabaisse.”
The Constitutional came to an end in 1837, and Thackeray returned to
No. 18, Albion London and took up his abode for a time at 18, Albion Street, Hyde Park,
Street, Hyde
Park
where his mother was then living, and where he had stayed in 1834 when
see page 10 first contributing to Fraser’s Magazine. Anne Isabella Thackeray, his
eldest daughter, was born at this house. A removal was made not long
afterwards to No. 13, Great Coram Street, Brunswick Square, where the
No. 13, Great
Coram Street, Thackerays lived for some years. During this period “The Paris Sketch-
Brunswick Book” was written, being published in 1840 by Macrone. Owing to the
Square misfortune of his wife’s illness the author’s household became unsettled,
see page 11
and about 1843 the home at Great Coram Street was given up.
Thackeray had published in 1841 a collection of “Comic Tales and Sketches, edited and
illustrated by Mr. Michael Angelo Titmarsh,” with a preface dated “Paris, April 1st, 1841,”
 from which the following is an extract:
“Comic Tales
and Sketches” When there came to be a question of republishing the tales in these
see page 13 volumes, the three authors, Major Gahagan, Mr. Fitzroy Yellowplush, and
myself, had a violent dispute upon the matter of editing; and at one time
we talked of editing each other all round. The toss of a halfpenny, however, decided the
question in my favour.... On the title-page the reader is presented with three accurate
portraits of the authors of these volumes. They are supposed to be marching hand-in-hand,
and are just on the very brink of Immortality.
During the same year “The History of Samuel Titmarsh and the Great
Drawing from Hoggarty Diamond” commenced to run its course in Fraser’s Magazine.
“Punch”:
“Authors’
Punch had been started on July 17th, and Thackeray’s first contributions
Miseries” appeared the following June. In the course of his ten years’ connection
see page 12 with this periodical he contributed something like 500 sketches
irrespective of letterpress. One of these, reproduced on page 12, is taken
from a series entitled “Authors’ Miseries,” and represents Jerrold and the artist himself in a
railway carriage listening to the other occupants discussing the members of the Punch
staff:—
Old Gentleman, Miss Wiggets, Two Authors.
Old Gentleman: “I am so sorry to see you occupied, my dear Miss Wiggets, with that
trivial paper, Punch. A railway is not a place, in my opinion, for jokes. I never joke—
never.”
Miss W.: “So I should think, sir.”
Old Gentleman: “And besides, are you aware who are the conductors of that paper, and
that they are Chartists, Deists, Atheists, Anarchists, to a man? I have it from the best
authority, that they meet together once a week in a tavern in St. Giles’s, where they concoct
their infamous print. The chief part of their income is derived from threatening letters,
which they send to the nobility and gentry. The principal writer is a returned convict. Two
have been tried at the Old Bailey; and as for their artist—as for their artist....”
Guard: “Swin-dun! Station!”
[Exeunt two Authors.
In the latter half of 1842 Thackeray made a tour in Ireland, and recorded his
experiences in “The Irish Sketch-Book,” which made its appearance the following year.
Thackeray, who for some time had been a member of the Garrick
The Strangers’ Club, was elected to the Reform in 1840, being proposed by Mr. Martin
Room, Reform
Club
Thackeray and seconded by Mr. Henry Webbe. Sir Wemyss Reid gives an
see page 17 interesting description of the author at this Club. “Again and again I have
heard descriptions of how he used to stand in the smoking-room, his back
to the fire, his legs rather wide apart, his hands thrust into the trouser-pockets, and his head
stiffly thrown backward, while he joined in the talk of the men occupying the semi-circle
of chairs in front of him.... To some of us, at least, the Club is endeared by the thought that
he was once one of ourselves; that he sat in these chairs, dined at these tables, chatted in
these rooms, and, with his wise, far-seeing eyes surveyed the world from these same
windows.” In the strangers’ room at the Reform Club hangs a portrait of Thackeray by
Samuel Laurence. On one side of it there stands a bust of Sir William Molesworth, on the
other of Charles Buller. The latter seconded Thackeray when he was proposed by the Rev.
W. Harness as a member of the Athenæum on February 12th, 1846. Thackeray was elected
to this Club in 1851 under the rule which provides for the introduction of “persons of
distinguished eminence in science, literature, or public services.”
In 1846 Thackeray took a house at 13 (now 16), Young Street,
No. 13, Young Kensington, where he established a home for his daughters. “Vanity Fair,”
Street,
Kensington
“Pendennis,” and “Esmond” were written there. “Vanity Fair” made its
see page 18 appearance in yellow covers, being brought out in monthly parts by
Messrs. Bradbury & Evans. The first number was issued in January 1847,
the last in July 1848.
When passing his house in Young Street with Mr. J. T. Fields, the American publisher,
Thackeray exclaimed, “Go down on your knees, you rogue, for here ‘Vanity Fair’ was
penned, and I will go down with you, for I have a high opinion of that little production
myself.”
The first number of “Pendennis” appeared in November 1848, but the
Mr. Michael author’s severe illness at the end of 1849 interrupted its publication,
Angelo Titmarsh
as he appeared
which was not concluded until 1850. “Pendennis” was followed by
at Willis’s “Esmond” in 1852. Whilst residing in Young Street Thackeray delivered
Rooms his famous lectures on the English humorists at Willis’s Rooms. On page
see page 21 21 an admirable caricature by John Leech is reproduced from The Month
representing Mr. Michael Angelo Titmarsh as he appeared in these rooms
in his celebrated character of Mr. Thackeray:
Mr. Thackeray, of Vanity Fair, announced a simple course of lectures on a purely
literary subject; and for the reason that Mr. Thackeray, living entirely by his pen, was still
recognised as a fine gentleman by all—and they were many—who knew him in private, so
accordingly his room was filled by an audience as brilliant and fashionable, as intelligent
and judicious—in fact, after the lecturer, the agreeable sight of the excellent set of people
who gathered about him with such thoughtful attention was really an attraction.
On October 30th, 1852, Thackeray set sail for the United States,
Château de where he remained until the spring of 1853. He lectured in various towns
Brequerecque,
Boulogne-sur-
—New York, Philadelphia, Baltimore, Charleston, and Richmond
Mer amongst others. Upon his return to Europe he made a very short stay in
see page 20 London, and then proceeded to Switzerland, where the story of “The
Newcomes” was, according to his own statement, “revealed to him
No. 36, Onslow somehow.” Much of the novel was written abroad while its author was
Square, travelling in Germany, Switzerland, Italy, or staying at the Château de
Brompton Brequerecque at Boulogne, where he is said to have evolved the noble
see page 19
figure of Colonel Newcome. The Château de Brequerecque lies
pleasantly nestled in trees and shrubberies on the outskirts of the town,
and is surrounded by a high wall screening it from public gaze. “The Newcomes” was
completed at No. 36, Onslow Square, where Thackeray moved from Young Street in 1857.
“The result of my father’s furnishings,” wrote Mrs. Richmond Ritchie of this residence,
“was a pleasant, bowery sort of home, with green curtains and carpets, looking out upon
the elm trees of Onslow Square. We lived for seven years at No. 36, and it was there he
wrote the ‘Lectures on the George’s, and the end of ‘The Newcomes,’ and ‘The
Virginians,’ part of ‘Philip,’ and many of the ‘Roundabout Papers.’ His study was over the
drawing-room, and looked out upon the elm trees.”
Thackeray stood for Parliament in the Oxford City division in July of 1857, but was
defeated by a small majority. In 1860 he undertook the editorship of the Cornhill
Magazine, of which Messrs. Smith & Elder had commenced publication in the January of
that year. Though continuing to contribute to this magazine until the last, he retired from
the editorship in April 1862, doubtless finding the work too exacting for his now failing
health.
In the year 1861 the firm of Jackson & Graham built for Thackeray
No. 2, Palace the beautiful house at No. 2, Palace Green, Kensington, which alone of all
Green,
Kensington,
his homes has the Society of Arts oval commemorative tablet inserted in
where its wall. An old house stood on the site at the time of purchase, but after
Thackeray died careful consideration Thackeray wisely gave up the idea of repairing and
see page 32 adding to it, and erected in its place a fine mansion of red brick with stone
facings in the style of Queen Anne. At this period, besides working for
The M.S. of the Cornhill, Thackeray was writing “Denis Duval,” his last book, which
“Denis Duval.” remained unfinished. After several severe attacks of illness, the novelist
see page 31
died at his residence in Palace Green on December 23rd, 1863, and was
interred at Kensal Green Cemetery on the 30th of the month. The Middle
Thackeray’s Temple, of which he was a member, requested that they might be allowed
Grave at Kensal
Green Cemetery
to bury him in the Temple, near the grave of Goldsmith. The offer was,
see page 33 however, declined. A bust of Thackeray by his friend, Baron Marochetti,
was placed in Westminster Abbey.
 NOTES ON THE PORTRAITS OF THACKERAY
Thackeray was striking in appearance, being over six feet in height and broad in
proportion. He was erect in his gait and stalwart in bearing. His countenance was very
expressive and capable of much dignity, and his peculiarly sweet smile, combined with a
great gentleness of voice and manner, particularly endeared him to children. “Grand and
stern and silent,” wrote Jerrold of him in later years, “a mighty form crowned with a
massive, snow-haired head.”
Among the portraits of Thackeray in early manhood is the painting by
W. M. Frank Stone, executed in 1836 about the time of his marriage with Miss
Thackeray, from
a painting by
Shawe. This picture has never been engraved.
Frank Stone In 1832 and 1833 Maclise made two beautiful drawings of Thackeray
see page 9 from life, depicting him as a fashionably dressed young man, seated in a
néglige attitude, displaying a massive eyeglass. These are now in the
W. M. Garrick Club. Some years later the same artist made another delicately
Thackeray from pencilled sketch, which Thackeray himself very skilfully copied.
a drawing by
Daniel Maclise Of the various portraits by Samuel Laurence, the one of greatest
about 1840 interest is perhaps the chalk drawing executed in 1853 and here
see page 1 reproduced as a frontispiece.
Charlotte Brontë, when she first saw this portrait, exclaimed, “And
W. M. there came up a lion out of Judah.” Later she wrote: “My father stood for
Thackeray, from
the painting by
a quarter of an hour this morning examining the great man’s picture. The
Samuel conclusion of his survey was that he thought it a puzzling head; if he had
Laurence in the known nothing previously of the original’s character, he could not have
National
Portrait Gallery
read it in his features. I wonder at this. To me the broad brow seems to
see page 24 express intellect. Certain lines about the nose and cheek betray the satirist
and cynic; the mouth indicates a child-like simplicity, perhaps even a
degree of irresoluteness, inconsistency—weakness, in short, but a weakness not
unamiable.”
A replica of the painting by the same artist in the National Portrait Gallery was
presented by Thackeray to Sir Frederick Pollock, and remained for many years in the
possession of the Dowager Lady Pollock.
In the National Portrait Gallery is also a bust modelled in terra-cotta
W. M. by Sir Edgar Boehm from the original plaster mould by Joseph Durham,
Thackeray, from
a copy of the
A.R.A., which was presented to the Garrick Club. And the same sculptor
bust by Joseph executed in 1860 a statuette for which Thackeray when in Paris gave only
Durham, A.R.A. two short sittings of half an hour’s duration. “The eminent sculptor,”
see page 14 writes Mr. F. G. Kitton in the Magazine of Art, “even in that space of time
succeeded in all but completing one of the most successful portraits of his
 subject ever attempted.” “The work of Sir John Millais possesses
W. M. exceptional interest,” continues the same writer, “and especially may this
Thackeray, from
the statuette by
be said of a full-length delineation by that master-hand of his famous
Sir Edgar literary contemporary. Although but a slight memory-sketch, it is very
Boehm, R.A. characteristic of the man, and the portraiture so very life-like and true that
see page 34 Sir Edgar Boehm derived from it considerable assistance when
completing his excellent statuette of the novelist.”
W. M. The posthumous portrait of Thackeray painted by Sir John Gilbert,
Thackeray, from
a sketch by Sir
R.A., was amongst those presented to the Garrick Club. It represents the
John E. Millais, novelist with long white hair and spectacles seated at a small table on
P.R.A. which tea-things are displayed. In the background appears Stanfield’s
see page 23 picture of a Dutch vessel, which may still be seen in one of the Club
apartments.
Thackeray, from The pencil drawing taken from the life by Richard Doyle, which is
a painting by Sir
John Gilbert, now in the British Museum, is an interesting and very characteristic
R.A. sketch of the novelist.
see page 29
He was a cynic; you might read it writ
Thackeray, from In that broad brow, crowned with its silver hair;
a drawing by In those blue eyes, with childlike candour lit,
Richard Doyle
In the sweet smile his lips were wont to wear.
see page 28

A cynic? Yes—if ’tis the cynic’s part

To track the serpent’s trail, with saddened eye,
To mark how good and ill divide the heart,
How lives in chequered shade and sunshine lie.
—Commemorative verses from Punch.

The portrait of Thackeray by Sir John E. Millais, P.R.A., which appears on page 23, is in
the possession of Mrs. Richmond Ritchie, and is reproduced by her kind permission.
*** END OF THE PROJECT GUTENBERG EBOOK THACKERAY ***

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