The fact is, as I have already said, that it had evidently been predetermined by the designers of the _Spectator_ that the Club should consist of certain recognised and familiar types; the different writers, in turns, worked on these types, each for his own purpose and according to the bent of his own genius. Steele gave the first sketch of Sir Roger in a few rough but vigorous strokes, which were afterwards greatly refined and altered by Addison. In Steele's hands the knight appears indeed as a country squire, but he has also a town-house in Soho Square, then the most fashionable part of London. He had apparently been originally "a fine gentleman," and only acquired his old-fashioned rusticity of manners in consequence of a disappointment in love. All his oddities date from this adventure, though his heart has outlived the effects of it. "There is," we are told, "such a mirthful cast in his behaviour that he is rather beloved than esteemed." Steele's imagination had evidently been chiefly caught by the humour of Sir Roger's love affair, which is made to reflect the romantic cast of poetry affected after the Restoration, and forms the subject of two papers in the series; in two others--recording respectively the knight's kindness to his servants, and his remarks on the portraits of his ancestors--the writer takes up the idea of Addison; while another gives an account of a dispute between Sir Roger and Sir Andrew Freeport on the merits of the moneyed interest. Addison, on the other hand, had formed a far finer conception of the character of the country gentleman, and one that approaches the portrait of Don Quixote. As a humourist he perceived the incongruous position in modern society of one nourished in the beliefs, principles, and traditions of the old feudal world; and hence, whenever the knight is brought into contact with modern ideas, he invests his observations, as the _Spectator_ says, with "a certain extravagance" which constitutes their charm. Such are the papers describing his behaviour at church, his inclination to believe in witchcraft, and his Tory principles; such, in another vein, are his criticisms in the theatre, his opinions of Spring Gardens, and his delightful reflections on the tombs in Westminster Abbey. But Addison was also fully alive to the beauty and nobility of the feudal idea, which he brings out with great animation in the various papers describing the patriarchal relations existing between Sir Roger and his servants, retainers, and tenants, closing the series with the truly pathetic account of the knight's death. It is to be observed that he drops altogether Steele's idea of Sir Roger having once been a man of fashion, which is indeed discarded by Steele himself when co-operating with his friend on the picture of country life. Addison also quite disregards Steele's original hint about "the humble desires" of his hero; and he only once makes incidental mention of the widow.