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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/23558-h.zip b/23558-h.zip Binary files differnew file mode 100644 index 0000000..5490c37 --- /dev/null +++ b/23558-h.zip diff --git a/23558-h/23558-h.htm b/23558-h/23558-h.htm new file mode 100644 index 0000000..c4bb21a --- /dev/null +++ b/23558-h/23558-h.htm @@ -0,0 +1,3171 @@ +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" /> +<title>The Samuel Butler Collection</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + P.headingsummary { margin-left: 5%;} + H1, H2 { + text-align: center; + margin-top: 2em; + margin-bottom: 2em; + } + H3, H4, H5 { + text-align: left; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + table { border-collapse: collapse; } + td { vertical-align: top; border: 1px solid black;} + td p { margin: 0.2em; } + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .smcap {font-variant: small-caps;} + + .pagenum {position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: gray;} + + .citation {vertical-align: super; + font-size: .8em; + text-decoration: none;} + .gutbutlercomment { margin-left: 4em; margin-right: 4em;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h2> +<a href="#startoftext">The Samuel Butler Collection, by Henry Festing Jones</a> +</h2> +<pre> +The Project Gutenberg eBook, The Samuel Butler Collection, by Henry +Festing Jones, et al + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Samuel Butler Collection + at Saint John's College Cambridge + + +Author: Henry Festing Jones + + + +Release Date: November 20, 2007 [eBook #23558] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK THE SAMUEL BUTLER COLLECTION*** +</pre> +<p><a name="startoftext"></a></p> +<p>Transcribed by from the 1921 W. Heffer & Sons edition by +David Price, email ccx074@pglaf.org</p> +<p style="text-align: center"> +<a href="images/p0b.jpg"> +<img alt="Samuel Butler About 1866" src="images/p0s.jpg" /> +</a></p> +<h1>THE SAMUEL BUTLER COLLECTION<br /> +AT SAINT JOHN’S COLLEGE CAMBRIDGE</h1> +<p style="text-align: center">A Catalogue and a Commentary</p> +<p style="text-align: center"><span class="smcap">by</span><br /> +HENRY FESTING JONES<br /> +<span class="smcap">and</span><br /> +A. T. BARTHOLOMEW</p> +<p style="text-align: center"><span +class="smcap">cambridge</span><br /> +<span class="smcap">w. heffer</span> & <span +class="smcap">sons ltd.</span><br /> +1921</p> +<blockquote><p><!-- page iv--><a name="pageiv"></a><span +class="pagenum">p. iv</span>It seems to me, the more I think of +it, that the true life of anyone is not the one they live in +themselves, and of which they are themselves conscious, but the +life they live in the hearts of others. Our bodies and +brains are but the tools with which we work to make our true +life, which is not in the tool-box and tools we ignorantly +mistake for ourselves, but in the work we do with them; and this +work, if it be truly done, lives more in others than in +ourselves.</p> +</blockquote> +<p style="text-align: right"><span class="smcap">S. +Butler</span>, 1895.</p> +<p style="text-align: center">[<span class="smcap">This Edition +is limited to</span> 750 <span class="smcap">Copies</span>]</p> +<h2><!-- page v--><a name="pagev"></a><span class="pagenum">p. +v</span>Preface</h2> +<p>The Butler Collection was not all given to St. John’s at +once. I sent up some pictures and some books in 1917; and +at intervals I have sent more, always keeping a list of what has +gone. Now that I have no more to send seems the proper time +for a Catalogue to be issued, and it is made from the lists which +I kept, and which were in part printed in <i>The Eagle</i>, put +in order by A. T. Bartholomew and annotated by myself. I am +responsible for the notes and am the person intended when +“I” and “me” occur. Bartholomew is +responsible for the classification, for verifying, for checking, +and for the bibliographical part.</p> +<p>In time the collection will no doubt increase as new editions +or translations of Butler’s books appear and as further +books are published referring to him. All such I intend to +include in the collection; and I hope that other Butlerians will +see fit to make additions to it.</p> +<p>I think that the notes give all necessary explanations; but I +may perhaps say here that many of the pictures were made before +Butler contemplated writing such a book as <i>Alps and +Sanctuaries</i>. When he was preparing that book he went to +the places therein described and made on the spot many black and +white drawings for reproduction; but he found that this method +would take too long, so he made others of the black and white +drawings from oil and water-colour sketches which he had done +previously, and this is why some of the pictures are dated many +years before the book was published.</p> +<p>Among the books, under <i>Alps and Sanctuaries</i> (p. 18), is +Streatfeild’s copy of that work; and under <i>The Way of +All Flesh</i> (p. 21) is his copy of that book. Both these +copies are said to have been “purchased.” I +bought them from the dealer to whom Streatfeild sold them when +his health broke down and he moved from his rooms. I have +no doubt that he would have given them to me if I had asked for +them, but he was not in a condition to be troubled about +business.</p> +<p><!-- page vi--><a name="pagevi"></a><span class="pagenum">p. +vi</span>St. John’s College has contributed £30 +towards the expenses of printing and publishing this +catalogue. I offer them my most cordial thanks for their +generosity. I am also deeply indebted to them for finding +space in which to house the collection. I shrank from the +responsibility of keeping it myself. I remembered also that +an individual dies; even a family may become extinct; but St. +John’s College, we hope, will enjoy as near an approach to +immortality as can be attained on this transient globe. I +am sure that Butler would be pleased if he could know that during +that period this collection will be preserved and will be +accessible to all who wish to visit it.</p> +<p style="text-align: right">H. F. J.</p> +<p>120, <span class="smcap">Maida Vale</span>, W. 9,<br /> +<i>December</i>, 1920.</p> +<h2><!-- page vii--><a name="pagevii"></a><span +class="pagenum">p. vii</span>Contents</h2> +<p>I. <span class="smcap">Pictures, Sketches and Drawings +by or Relating to Samuel Butler</span> . . . <span +class="indexpageno"><a href="#page1">1</a></span></p> +<p>II. <span class="smcap">Books and Music written by +Butler</span> . . . <span class="indexpageno"><a +href="#page15">15</a></span></p> +<p>III. <span class="smcap">Books, etc., about +Butler</span> . . . <span class="indexpageno"><a +href="#page24">24</a></span></p> +<p>IV. <span class="smcap">Books, etc., Relating to Butler +and his Subjects</span> . . . <span class="indexpageno"><a +href="#page28">28</a></span></p> +<p>V. <span class="smcap">Books, formerly the property of +Samuel Butler</span> . . . <span class="indexpageno"><a +href="#page32">32</a></span></p> +<p>VI. <span class="smcap">Atlases and Maps, formerly the +property of Samuel Butler</span> . . . <span +class="indexpageno"><a href="#page39">39</a></span></p> +<p>VII. <span class="smcap">Music, formerly the property of +Samuel Butler</span> . . . <span class="indexpageno"><a +href="#page41">41</a></span></p> +<p>VIII. <span class="smcap">Miscellaneous Papers, formerly +the property of or relating to Samuel Butler</span> . . . <span +class="indexpageno"><a href="#page44">44</a></span></p> +<p>IX. <span class="smcap">Prints and Photographs, formerly +the property of or relating to Samuel Butler</span> . . . <span +class="indexpageno"><a href="#page47">47</a></span></p> +<p>X. <span class="smcap">Portraits, formerly the property +of or relating to Samuel Butler</span> . . . <span +class="indexpageno"><a href="#page49">49</a></span></p> +<p>XI. <span class="smcap">Effects, formerly the personal +property of Samuel Butler</span> . . . <span +class="indexpageno"><a href="#page51">51</a></span></p> +<h2><!-- page ix--><a name="pageix"></a><span class="pagenum">p. +ix</span>Illustrations</h2> +<p>SAMUEL BUTLER. ABOUT 1866 . . . <i>Frontispiece</i></p> +<p class="gutbutlercomment">From a photograph taken by his +sister, Mrs. Bridges, in the garden at Langar soon after his +return from New Zealand.</p> +<p>FACSIMILE OF POST-CARD FROM S. BUTLER TO H. F. JONES, +FLORENCE, SEPT. 3, 1892 . . . <i>face p.</i> 23</p> +<p class="gutbutlercomment">Butler was staying in Florence on his +way home from his first visit to Sicily. The old Greek +painting referred to is reproduced as the frontispiece to <i>The +Authoress of the Odyssey</i> (1897). Mlle. V. is Mlle. +Vaillant, as to whom see <i>the Memoir</i>. The +“nose” belonged to the editor of a Swiss paper whom I +had met at Fusio.</p> +<p>SAMUEL BUTLER WHEN AN UNDERGRADUATE AT CAMBRIDGE. ABOUT +1858 . . . <i>face p.</i> 52</p> +<p class="gutbutlercomment">This is taken from a photographic +group of Butler and three friends. The friends are omitted, +as I have failed to identify them.</p> +<h2><!-- page 1--><a name="page1"></a><span class="pagenum">p. +1</span>I. PICTURES, SKETCHES AND DRAWINGS<br /> +BY OR RELATING TO SAMUEL BUTLER</h2> +<p>By his will Butler bequeathed his pictures, sketches, and +studies to his executors to be destroyed or otherwise disposed of +as they might think best, the proceeds (if any) to fall into +residue. They were not sold: some were given to Shrewsbury +School; some to the British Museum; one, an unfinished sketch of +the back of the house in which Keats died on the Piazza di +Spagna, Rome, to the Keats and Shelley Memorial there; many were +distributed among his friends, Alfred Cathie taking fifteen and I +taking all that were left over. Alfred lives in Canal Road, +Mile End, and, this being on the route of the German air-raids, +he was anxious to put his pictures in a place of safety. +Accordingly it was arranged between us in 1917 that I should buy +them from him. When he heard that I was giving them to St. +John’s, he desired that I should not buy all, because he +wished to give two of them himself to the College. +Accordingly, I bought only thirteen, and the remaining two, viz. +no. 28, Leatherhead Church, and no. 59, Chiavenna, 1887, were +given to St. John’s College by Alfred.</p> +<p>There are but few sketches or pictures by Butler between 1888 +and 1896. This is because his sketching was interrupted by +his having to take up photography for the preparation of <i>Ex +Voto</i>. Almost before this book was published (1888) he +had plunged into <i>The Life and Letters of Dr. Butler</i>, and +in 1892 he added to his absorbing occupations the problem of the +<i>Odyssey</i>. Thus he had little leisure or energy for +the labour of painting; and this labour was always great. +He could not leave his outline until he had got it right, and +there was a perpetual chase after the changing shadows. And +when he had got the outline it was so constantly disappearing +under the colour that he took to making “a careful outline +on a separate sheet of paper”; this was to be kept, after +he had traced the drawing on to the paper which was to receive +the colour, and to be referred to continually while he +proceeded. When he met <!-- page 2--><a +name="page2"></a><span class="pagenum">p. 2</span>with the camera +lucida, which he bought in Paris, and which is among the objects +given to St. John’s, he thought his difficulties were +solved and wrote to Miss Savage, 9 October, 1882: “I have +got a new toy, a camera lucida, which does all the drawing for +me, and am so pleased with it that I am wanting to use it +continually.” To which in 1901 he added this note: +“What a lot of time I wasted over that camera lucida, to be +sure!” It did all the drawing for him, but it +distorted the perspective so that the outlines of the many +sketches which he produced with its help were a +disappointment.</p> +<p>The camera lucida having failed, his hopes were next fixed +upon photography, which, by rapidly and correctly recording +anything he felt a desire to sketch, was to give him something +from which he could afterwards construct a picture. So he +took an immense number of snap-shots, of which many are at St. +John’s, but he never did anything with them. Nos. 62 +and 63, which were done by Sadler from Butler’s +photographs, show how he would have proceeded if he had not had +too many other things to do.</p> +<p>It was not until 1896, when <i>The Life of Dr. Butler</i> +appeared, that he was able to return seriously to sketching, and +by that time he was over sixty and too old to be burdened with +the paraphernalia necessary for oils; he therefore confined +himself to water-colours.</p> +<p>Some of the pictures in this list were included in the list in +<i>The Eagle</i>, vol. xxxix., no. 175, March 1918, and the +remainder in the succeeding number, June 1918. In making +the present catalogue I have corrected such errors and misprints +as I noticed in <i>The Eagle</i>, and I have re-arranged and +renumbered the items so as to make them run in chronological +order. I have also amplified some of the notes. I +have placed the sketches and drawings in order of date because to +examine them in that order helps the spectator to realise the +progress made by Butler in his artistic studies.</p> +<h3>SAMUEL BUTLER</h3> +<p>1. Black and white outline sketch: Civita Vecchia, +1854.</p> +<p class="gutbutlercomment">Butler went abroad with his family, +his second visit to Italy, for the winter of 1853-4. They +travelled through Switzerland to Rome and Naples, starting in +August 1853, and Butler thus missed the half-year at +school. I am sorry that I have not found any more finished +drawing made by him on this occasion.</p> +<h3><!-- page 3--><a name="page3"></a><span class="pagenum">p. +3</span>DOUGLAS YEOMAN BLAKISTON</h3> +<p>2. Pencil drawing: Samuel Butler, 1854.</p> +<p class="gutbutlercomment">Reproduced in the <i>Memoir</i>, ch. +iii. On the back of this drawing is the beginning of a +water-colour sketch. It was in a book with others mentioned +in the <i>Memoir</i> as having been given to Shrewsbury School +(I. 44). I have no doubt that the sketch on the back is by +Butler, and represents part of the Rectory house at Langar.</p> +<p class="gutbutlercomment">The Rev. D. Y. Blakiston was born in +1832. He studied art at the Royal Academy Schools +especially under W. Dobson, R.A. From about 1850 to 1865 he +painted in London and at St. Leonard’s, and exhibited at +the Royal Academy. About 1865 he entered at Downing +College, took Orders in 1869, and was presented to the living of +East Grinstead in 1871, which he held till his retirement soon +after 1908. He died in 1914. Throughout his life he +made a practise of sketching his friends. I suppose he must +have met and sketched Butler on some occasion when Butler was in +London staying with his cousins the Worsleys. The +artist’s son, the Rev. H. E. D. Blakiston, when President +of Trinity College, Oxford, gave me a cutting from <i>The East +Grinstead Observer</i> containing a full obituary of him. +It is among the papers at St. John’s College, and is +referred to in the Postscript to the Preface to my <i>Memoir</i> +of Butler.</p> +<h3>HENRY FESTING JONES</h3> +<p>3. My first attempt at a drawing in pencil and ink of +Butler’s Homestead, Mesopotamia, New Zealand.</p> +<p class="gutbutlercomment">I did it in 1910 or thereabouts from +a faded photograph taken about 1863 and lent to Butler by J. D. +Enys. <i>Also</i> Emery Walker’s reproduction of my +first attempt which was not used in the <i>Memoir</i>.</p> +<p>4. My second attempt, which was reproduced in the +<i>Memoir</i>.</p> +<h3>SAMUEL BUTLER</h3> +<p>5. Water-colour: A view in Cambridge.</p> +<p class="gutbutlercomment">Probably done when Butler was an +undergraduate, and given to St. John’s some years +ago. I found it in the book wherein I found +Blakiston’s drawing (no. 2).</p> +<p>6. Oil Painting: Family Prayers.</p> +<p class="gutbutlercomment">On the ceiling he wrote “I did +this in 1864, and if I had gone on doing things out of my own +head instead of making studies I should have been all +right.” (<i>Memoir</i>, I. 115.) Reproduced in +the <i>Memoir</i>, ch. xxiv., and referred to, ch. viii.</p> +<p><!-- page 4--><a name="page4"></a><span class="pagenum">p. +4</span>7. Oil Painting: His own head.</p> +<p class="gutbutlercomment">“He painted at home as well as +at Heatherley’s, and by way of a cheap model hung up a +looking-glass near the window of his painting room and made many +studies of his own head. He gave some of them away and +destroyed and painted over others, but after his death we found a +number in his rooms—some of the earlier ones very +curious” (<i>Memoir</i>, ch. viii.). This is one of +the earlier ones. It is inscribed, “S.B., Feb. 18, +1865.” We found also a still more curious one which +was given to Gogin, who was interested in it as being the work of +an untaught student. See also no. 36.</p> +<h3>JOHN LEECH</h3> +<p>8. Five pencil drawings on one card.</p> +<p class="gutbutlercomment">John Leech died in 1864, the year in +which Butler returned from New Zealand. There was a sale of +his drawings by his sisters, and I remember going to see them as +a boy, but I do not remember when; it was, no doubt, soon after +the artist’s death. The house was in Radnor Place, +Bayswater. His sisters afterwards kept a small girls’ +school, and my sister Lilian went there. I have placed +these Leech drawings here in order of date on the assumption that +Butler bought them at the sale. He had another drawing by +Leech, which used to hang in his chambers, and was given to his +cousin, Reginald Worsley.</p> +<h3>SAMUEL BUTLER</h3> +<p>9. Oil Painting: Interior of Butler’s +sitting-room, 15, Clifford’s Inn.</p> +<p class="gutbutlercomment">There is something written in pencil +on the panelling in the left-hand bottom corner. I believe +the words to be “Corner of my room, Augt. 1865, +S.B.” Reproduced in the <i>Memoir</i>, ch. xv.</p> +<p class="gutbutlercomment">Here are shown Butler’s books, +including Bradshaw’s Guide and Whitaker’s Almanack, +of which he speaks somewhere as being indispensable. I +admit that I cannot identify them, but he used to keep them among +the books in these shelves. I do not think he ever +possessed that equally indispensable book the Post Office +Directory. But he had more books than those shown in this +painting. Between his sitting-room and his painting-room +was a short passage in which was a cupboard, and this contained +the rest. I do not remember how many there were, but not +enough to invalidate the statement he made to Robert Bridges +(<i>Memoir</i> II. 320), “I have, I verily believe, the +smallest library of any man in London who is by way of being +literary.”</p> +<p>10. Water-colour: Dieppe, The Castle, 1866.</p> +<p class="gutbutlercomment">Butler was at Dieppe with Pauli in +1866. (<i>Memoir</i>, ch. viii.)</p> +<p><!-- page 5--><a name="page5"></a><span class="pagenum">p. +5</span>11. Small water-colour drawing: Dieppe, 1866.</p> +<p class="gutbutlercomment">This is in the portfolio of +miscellaneous drawings, etc., by Butler, Gogin, and Sadler, no. +81.</p> +<p>12. Oil Painting: Two heads done as a study at +Heatherley’s.</p> +<p class="gutbutlercomment">I showed this to Gaetano Meo, and he +remembered that the man was Calorossi, a model, whose brother +went to Paris and became known as the proprietor of a studio +there. The woman, he said, was Maria, another model. +The background is Dieppe. I suppose that Butler did this +study in the autumn of 1866, using nos. 10 and 11, the +water-colours of Dieppe, or some other sketch made on the spot, +for the background. The idea was to make portraits of two +heads with a landscape background in the manner of Giovanni +Bellini.</p> +<p>13. Drawing of a cast of the Antinous as Hermes.</p> +<p class="gutbutlercomment">Inscribed “Samuel Butler for +probationership, December 28th 1868.” Done, I +suppose, at South Kensington.</p> +<p>14. Drawing of a hand and foot.</p> +<p class="gutbutlercomment">Probably also done at South +Kensington.</p> +<p>15. Black and white drawing of a fir tree.</p> +<p class="gutbutlercomment">This, I suspect, was made while +Butler was under the influence of Ruskin’s <i>Elements of +Drawing</i>—say about 1870. He threw off that +influence later.</p> +<p>16. Four water-colour notes in one frame.</p> +<p class="gutbutlercomment">One is inscribed “S.B.” +and another “Kingston, near Lewes.” I suppose +that they are all on the South Downs, and they are all +early—say 1870.</p> +<h3>JAMES FERGUSON</h3> +<p>17. Crayon drawing: Butler playing Handel, 1870 (?).</p> +<p class="gutbutlercomment">Reproduced in the <i>Memoir</i> (I. +ix.). Ferguson was a fellow art-student with Butler.</p> +<h3>SAMUEL BUTLER</h3> +<p>18. Oil Painting: The Valle di Sambucco, above +Fusio.</p> +<p class="gutbutlercomment">The sambucco or sambuco is the elder +tree. Butler, writing of this valley (<i>Alps and +Sanctuaries</i>, ch. xxvi.; new ed. ch. xxv.), says: “Here, +even in summer, the evening air will be crisp, and the dew will +form as soon as the sun goes off; but the mountains at one end of +it will keep the last rays of the sun. It is then the +valley is at its best, especially if the goats and cattle are +coming together to be milked.”</p> +<p><!-- page 6--><a name="page6"></a><span class="pagenum">p. +6</span>19. Water-colour: The Rocca Borromeo, Angera, Lago +Maggiore. Entrance to the Castle. 1871.</p> +<p class="gutbutlercomment">The birthplace of S. Carlo +Borromeo. It was over this gateway as well as over the +gateway of Fénis (no. 53), that he told me there ought to +be a fresco of Fortune with her Wheel (<i>Memoir</i>, ch. +xx.) The Rocca Borromeo, Angera, and Arona are mentioned in +<i>Alps and Sanctuaries</i>, ch. xxiv. (new edn., ch. xxiii.), +and several times in the <i>Memoir</i>, <i>e.g.</i> ch. ix., +xvi.</p> +<p>20. Water-colour: The Rocca Borromeo. A Room in +the Castle. 1871.</p> +<p class="gutbutlercomment">I am not sure whether or not this is +the room in which S. Carlo Borromeo was born. One view of +that room is in <i>Alps and Sanctuaries</i> ch. xxiv. (new +edition, ch. xxiii). This may be the same room looking +towards the left and showing a piece of window-seat and +shutter.</p> +<p>21. Water-colour: Amsteg. 1871.</p> +<p>22. Water-colour: Fobello. A Christening. +1871.</p> +<p class="gutbutlercomment">This was to have been a picture for +the Academy, but he did not finish it. Here are shown women +with short skirts and leggings. They dress like this so +that they can climb into the ash trees and pull off the leaves +which they throw down upon the grass to be mixed up with the +hay. (<i>Memoir</i>, ch. ix.)</p> +<p>23. Oil Painting: Varallo-Sesia. The Washing +Place. 1871.</p> +<p class="gutbutlercomment">“Butler made three oil sketches +at Varallo all the same size, about 16x20. One is the +washing place outside the town.” (<i>Diary of a +Journey</i>, p. 16). The other two were both done in the +Piazza on the Sacro Monte. One was given to the Municipio +of Varallo-Sesia; the other to the Avvocato Francesco Negri of +Casale-Monferrato.</p> +<p>24. Oil Painting: Monte Bisbino, near Como. +1876.</p> +<p class="gutbutlercomment"><i>Alps and Sanctuaries</i>, ch. +xxi. The white sanctuary on the summit shines like a +diamond in some lights.</p> +<p>25. Oil Painting: From S. Nicolao, Mendrisio. +1876.</p> +<p class="gutbutlercomment"><i>Alps and Sanctuaries</i>, ch. +xxi.</p> +<h3>GEORGE McCULLOCH</h3> +<p>26. Two lots of studies of women, about 1876.</p> +<p class="gutbutlercomment">McCulloch was a friend and fellow +art-student of Butler’s, and is mentioned in the +<i>Memoir</i>, “an admirable draughtsman.”</p> +<h3>SAMUEL BUTLER</h3> +<p>27. Oil sketch: Low wall and grass in front, snowy +mountains behind. It must be a view in the Leventina +Valley.</p> +<p><!-- page 7--><a name="page7"></a><span class="pagenum">p. +7</span>28. Water-colour inscribed “S.B.”: +Leatherhead Church.</p> +<p class="gutbutlercomment">Butler was particularly pleased with +the dormer windows, an unusual feature in a church roof. +This must have been done somewhere about 1877, but there is no +evidence. This is one of the pictures given by Alfred.</p> +<p>29. Oil Painting: Montreal, Canada, from the Mountain, +about 1877.</p> +<p>30. Oil Painting: Calpiogna, Val Leventina. +1877.</p> +<p class="gutbutlercomment">Evening, looking down the valley.</p> +<p>31. Oil Painting: Three sketches on one panel, scenes in +the Val Leventina.</p> +<p class="gutbutlercomment">They are near Faido, but I cannot +further identify them.</p> +<p>32. Oil Painting: Calonico.</p> +<p class="gutbutlercomment"><i>Alps and Sanctuaries</i>, ch. +v.</p> +<p>33. Oil Painting: Tengia.</p> +<p class="gutbutlercomment"><i>Alps and Sanctuaries</i>, ch. +iv.</p> +<p>34. Oil Painting: Prato.</p> +<p class="gutbutlercomment">Other views of Prato appear in +<i>Alps and Sanctuaries</i>, ch. iii.</p> +<p>35. Oil Painting: Lago Tom, Piora, Val Leventina. +1877.</p> +<p class="gutbutlercomment">Ch. vi. in <i>Alps and +Sanctuaries</i> is headed “Piora.” “Piora +in fact is a fine breezy upland valley of singular beauty, and +with a sweet atmosphere of cow about it.” Butler +thought he knew what went on in Piora and, as he proceeds through +the valley, he says: “Here I heard that there were people, +and the people were not so much asleep as the simple peasantry of +these upland valleys are expected to be by nine o’clock in +the evening. For now was the time when they had moved up +from Ronco, Altanca, and other villages in some numbers to cut +the hay, and were living for a fortnight or three weeks in the +chalets upon the Lago di Cadagna. As I have said, there is +a chapel, but I doubt whether it is attended during this season +with the regularity with which the parish churches of Ronco, +Altanca, etc., are attended during the rest of the year. +The young people, I am sure, like these annual visits to the high +places, and will be hardly weaned from them. Happily the +hay will always be there, and will have to be cut by someone, and +the old people will send the young ones.”</p> +<p class="gutbutlercomment">The foregoing passage throws light +upon that other passage in <i>Life and Habit</i>, ch. ii., about +S. Paul, which concludes thus: “But the true grace, with +her groves and high places, and troops of young men and maidens +crowned with flowers, and singing of love and youth and +wine—the true grace he drove out into the +wilderness—high up, <!-- page 8--><a name="page8"></a><span +class="pagenum">p. 8</span>it may be, into Piora, and into +such-like places. Happy they who harboured her in her ill +report.”</p> +<p class="gutbutlercomment">After Ernest has received +Alethea’s money, and while he and Edward Overton are +returning from Christina’s funeral, in ch. lxxxiv. of +<i>The Way of All Flesh</i>, he tells his godfather his plans for +spending the next year or two. He has formed a general +impression that the most vigorous and amiable of known +nations—the modern Italians, the old Greeks and Romans, and +the South Sea Islanders—have not been purists. He +wants to find out what such people do; they are the practical +authorities on the question—What is best for man?</p> +<p class="gutbutlercomment">“Let us,” he says, +“settle the fact first and fight about the moral tendencies +afterwards.”</p> +<p class="gutbutlercomment">“In fact,” said I +laughingly, “you mean to have high old times.”</p> +<p class="gutbutlercomment">“Neither higher nor +lower,” was the answer, “than those people whom I can +find to have been the best in all ages.”</p> +<p class="gutbutlercomment">Accordingly Ernest left England and +visited “almost all parts of the world, but only staying in +those places where he found the inhabitants unusually +good-looking and agreeable.” “At last in the +spring of 1867 he returned, his luggage stained with the +variation of each hotel advertisement ’twixt here and +Japan. He looked very brown and strong, and so +well-favoured that it almost seemed as if he must have caught +some good looks from the people among whom he had been +staying.”</p> +<p class="gutbutlercomment">We are not told what particular +countries Ernest went to; Japan is mentioned, but less because +Ernest went there than because the name of a distant place was +wanted to justify and complete the echo of the description of Sir +Walter Blunt in I. <i>Hen. IV.</i> i. 64:</p> +<blockquote><p>Stained with the variation of each soil<br /> +Betwixt that Holmedon and this seat of ours.</p> +</blockquote> +<p class="gutbutlercomment">Butler confided to me verbally that +Ernest visited, among other places, Piora, and that he stayed +there “when the mowing grass was about.” <a +name="citation8"></a><a href="#footnote8" +class="citation">[8]</a></p> +<p>36. Oil Painting: inscribed, “S. Butler. +Sketch of his own head. April 1878.”</p> +<p class="gutbutlercomment">This is one of the series of +portraits of himself referred to in the note to no. 7. +Another of these later portraits was given after his death to +Christchurch, New Zealand; and another to the Schools, +Shrewsbury. This one was given by Butler to me soon after +it was painted, and it remained in my possession till 1911, when +I gave it to St. John’s College. It is reproduced as +the frontispiece to vol. I. of the <i>Memoir</i>.</p> +<p><!-- page 9--><a name="page9"></a><span class="pagenum">p. +9</span>37. Oil Sketch: Calonico.</p> +<p class="gutbutlercomment"><i>Alps and Sanctuaries</i>, ch. +v. On a panel with no. 38, Rossura, on the other side.</p> +<p>38. Oil Sketch: Rossura. The altar by the porch of +the church. 1878.</p> +<p class="gutbutlercomment">On a panel with no. 37, Calonico, on +the other side.</p> +<p>39. Oil sketch on a panel: Rossura, from inside the +porch looking out.</p> +<p class="gutbutlercomment">“I know few things more +touching in their way than the porch of Rossura +church.” (<i>Alps and Sanctuaries</i>, ch. iv.)</p> +<p class="gutbutlercomment">“The church is built on a +slope, and the porch, whose entrance is on a lower level than +that of the floor of the church, contains a flight of steps +leading up to the church door. The porch is there to +shelter the steps, on and around which the people congregate and +gossip before and after service, especially in bad weather. +They also sometimes overflow picturesquely, and kneel praying on +the steps while service is going on inside.” +(<i>Memoir</i>, I. 284-5.)</p> +<p class="gutbutlercomment">In <i>Alps and Sanctuaries</i>, ch. +iv., is an illustration showing the people kneeling on the steps +while “there came a sound of music through the open +door—the people lifting up their voices and singing, as +near as I can remember, something which on the piano would come +thus:” and then follow a few bars of chords.</p> +<p class="gutbutlercomment">In the list which appeared in <i>The +Eagle</i>, vol. xxxix., no. 175, March 1918, writing of no. 38: +“Rossura: the altar by the porch of the church, +1878,” I said that it had been removed. On +reconsideration, I am not sure that it has been removed; but I +have not been to Rossura for thirty years or more and cannot now +say for certain. I believe, however, that it is still +there, and that when I said it had been removed I was thinking of +the alteration of an opening which there was formerly in the west +wall of the porch, under the portrait of S. Carlo Borromeo, which +hangs between the two windows. This opening is mentioned in +ch. iv. of <i>Alps and Sanctuaries</i>, and Butler says that it +had to be closed because the wind blew through it and made the +church too cold. It is shown with the portrait and the two +windows in another illustration in ch. iv.</p> +<p class="gutbutlercomment">The first illustration in ch. iv. of +<i>Alps and Sanctuaries</i> shows how the chapel with the altar +in it (no. 38) is placed in relation to the porch. This is +the chapel he was thinking of when he wrote:</p> +<blockquote><p>“The church has been a good deal restored +during the last few years, and an interesting old +chapel—with an altar in it—at which Mass was said +during a time of plague, while the people stood some way off in a +meadow, has just been entirely renovated; but, as with <!-- page +10--><a name="page10"></a><span class="pagenum">p. 10</span>some +English churches, the more closely a piece of old work is copied, +the more palpably does the modern spirit show through it, so here +the opposite occurs, for the old-worldliness of the place has not +been impaired by much renovation, though the intention has been +to make everything as modern as possible.”</p> +</blockquote> +<p class="gutbutlercomment">In 1878, the first time I was with +Butler in Italy and in the Canton Ticino, he talked a great deal +about the porch of Rossura; there is a passage in ch. xvi. of the +<i>Memoir</i> about it. For him it was the work of a man +who did it because he sincerely wanted to do it, and who learnt +how to do by doing; it was not the work of one who first attended +lectures by a professor in an academy, learnt the usual tricks in +an art school, and then, not wanting to do, gloried in the +display of his technical skill. That is to say, it was done +in the right spirit. The result of doing things in this way +will sometimes appear incompetent; this never embarrassed Butler, +provided that he could detect the sincerity; for where sincerity +is incompetence may be forgiven; but the incompetence must not be +so great as to obscure the artist’s meaning. At +Rossura the sincerity is obvious, and the building is so perfect +an adaptation of the means to the end that there is no suggestion +of incompetence.</p> +<p class="gutbutlercomment">Rossura porch was thus an +illustration of what he says in <i>Alps and Sanctuaries</i> in +the chapter “Considerations on the Decline of Italian +Art.” It was more than merely a piece of +architecture. When Butler contemplated it he saw also the +chapel with its altar and the people standing in the meadow +during the plague; he saw the same people, after the pestilence +had been stayed, kneeling on the steps in the dimness, the sky +bright through the arch beyond them and the distant mountains +blue and snowy, while the music floated out through the open +church door; he saw through the windows the gleaming slopes about +Cornone and Dalpe, and, hanging on the wall between them, the +picture of austere old S. Carlo with his hands joined in +prayer. All these things could be written about in <i>Alps +and Sanctuaries</i>, but they could not be brought into the +illustrations apart from the text; and anyone who looks at +Butler’s sketches of Rossura may be disappointed. If +he does not bear these things in mind he will not understand what +Butler meant by saying that he knew of few things more touching +in their way than the porch of Rossura church. He will be +like a man listening to programme-music and knowing nothing of +the programme.</p> +<p>40. Pencil sketch inscribed: “Handel when a +boy. Pencil sketch from an old picture sold at Puttick and +Simpson’s and sketched by me while on view. Dec. +15th, 1879. S.B.”</p> +<p class="gutbutlercomment">On the same mount with the +sketch-portrait of Robert Doncaster, no. 56.</p> +<p><!-- page 11--><a name="page11"></a><span class="pagenum">p. +11</span>41. Water-colour: Otford, Kent; from inside the +church looking out through the porch. 1879.</p> +<p>42. Drawing in pencil and ink: Edgeware. 1880.</p> +<p>43. Oil Painting: Rimella, Val Mastallone; up the Valley +from Varallo-Sesia.</p> +<p>44. Oil Painting: Eynsford, Kent.</p> +<p>45. Oil Painting: On the S. Bernardino Pass.</p> +<p>46. Oil Painting: Bellinzona, The Castle.</p> +<p class="gutbutlercomment">In the same frame with no. 47.</p> +<p>47. Oil Painting: Mesocco, The Castle.</p> +<p class="gutbutlercomment"><i>Alps and Sanctuaries</i>, ch. +xix. Butler always had this and no. 46 in the same +frame.</p> +<p>48. Oil Painting: Bellinzona, The Castle.</p> +<p class="gutbutlercomment">He made many sketches of the Castle +at Bellinzona, this and no. 46 are the only two I have found; +none was quite satisfactory because there was no point of view +from which the towers composed well behind a good foreground.</p> +<p>49. Drawing in pencil and ink: The Sacro Monte, Varese, +from the seventh or Flagellation Chapel.</p> +<p class="gutbutlercomment">He intended to paint a picture this +size, and started by making this drawing, which is an enlargement +of the drawing reproduced in <i>Alps and Sanctuaries</i>, ch. +xxiii. (1881), but he did not proceed with the painting.</p> +<p>50. Drawing in pencil and ink: Boulogne-sur-Mer, La +Porte Gayole.</p> +<p class="gutbutlercomment">This was a favourite view which he +often sketched; but I have only found this example.</p> +<h3>SAMUEL BUTLER AND OTHERS</h3> +<p>51. All (except a few which are lost) the original +drawings for <i>Alps and Sanctuaries</i>.</p> +<p class="gutbutlercomment">Placed here in order of date because +the book was published in 1881. Some of the drawings are by +Charles Gogin, who did the frontispiece and the Madonna della +Neve on the title page, and who also introduced the figures into +those of Butler’s drawings which have figures; and a few +are by me. There are among this lot also several sketches, +etc., by various persons which Butler collected as illustrating +his “Considerations on the Decline of Italian +Art.” Some are published in the chapter so headed in +the book, but others were not published.</p> +<h3><!-- page 12--><a name="page12"></a><span class="pagenum">p. +12</span>SAMUEL BUTLER</h3> +<p>52. Oil Painting: Portrait of Henry Festing Jones. +1882.</p> +<p>53. Oil Painting: Castello Fénis, Val +d’Aosta. 1882.</p> +<p class="gutbutlercomment">It was over one of the gateways of +this Castle that Fortune with her Wheel was to appear in a +fresco. See no. 19.</p> +<h3>HENRY FESTING JONES</h3> +<p>54. Oil Painting: View from Butler’s room in +Clifford’s Inn showing the tower of the Law Courts. +1882.</p> +<p class="gutbutlercomment">Drawn with the camera lucida. +Reproduced in the <i>Memoir</i>, ch. xx.</p> +<p>55. Oil Painting: Unfinished sketch-portrait of +Butler. 1882</p> +<p class="gutbutlercomment">Drawn with the camera lucida. +Referred to in the <i>Memoir</i>, I. 135-136, in letters from +which extracts are given below.</p> +<p style="text-align: center"><i>Miss Savage to Butler</i>.</p> +<blockquote><p>31<i>st</i> <i>October</i>, 1883: I went to the +Fisheries Exhibition last week and spent a rather pleasant +day. I was by myself for one thing, and, for another, took +great delight in gazing at a life-size model of a sea-captain +clad in yellow oil-skins and a Sou’wester. It was +executed in that style of art that you so greatly admire in the +Italian Churches, and was so good a likeness of <i>you</i> that I +think you must have sat for it. The serious occupations of +my day were having dinner and tea, and the relaxations, buying +shrimps in the fish-market and then giving them to the sea-gulls +and cormorants. My most exalted pleasure was to look at +your effigy, which I should like to be able to buy, though, as I +have not a private chapel in my castle, I hardly know where I +could put it if I had it. Upon the whole I enjoyed myself, +but I am glad to hear that the Exhibition is to be closed to-day, +so that I cannot by any possibility go there again.</p> +</blockquote> +<p style="text-align: center"><i>Butler to Miss Savage</i>.</p> +<blockquote><p>5<i>th</i> <i>November</i>, 1883: I believe I am +very like a sea-captain. Jones began a likeness of me not +long since, which I will show you next time you come and see me, +which is also very like a portrait of a sea-captain.</p> +</blockquote> +<p>56. Sketch-portrait of Robert Doncaster.</p> +<p class="gutbutlercomment">On the same mount with no. 40. +A tracing is among the miscellaneous papers given to St. +John’s. This sketch of Robert was done, I suspect, +with the camera lucida, and if so its date must be about +1882-3. Robert Doncaster was the husband of Mrs. Corrie; +that is to say Mrs. Corrie, who was Butler’s laundress in +Clifford’s Inn, “lost” her husband. After +a suitable interval it was assumed that he was dead and she +married Robert Doncaster and was known as Mrs. Doncaster. +Robert, who was a half-witted old man, used to hang about the +place, do odd jobs, and make himself fairly useful. He died +in 1886.</p> +<p><!-- page 13--><a name="page13"></a><span class="pagenum">p. +13</span>57. Water-colour: Pinner. 1883.</p> +<h3>SAMUEL BUTLER</h3> +<p>58. Oil Painting: Edward James Jones.</p> +<p class="gutbutlercomment">Inscribed thus: “Portrait of E. +J. Jones, Esq., of the Indian Geological Survey, Aet. Suae 24, +painted by S. Butler, November, 1883.” The date is +not clearly written, but it must be 1883, because my brother +Edward, born 5th September, 1859, was twenty-four in 1883, and in +November 1883 he went to Calcutta, having obtained an appointment +on the Geological Survey. Butler painted the portrait just +before he started.</p> +<p>59. Oil Painting: Chiavenna. 1887.</p> +<p class="gutbutlercomment">It looks in some lights like 1881, +but in other lights 1887, and it must be 1887. Butler did +not go abroad in 1881 and he was at Chiavenna in 1887. This +is one of the pictures given by Alfred.</p> +<h3>THOMAS SADLER</h3> +<p>60. Black and white drawing: Butler and Scotto in +1888.</p> +<p class="gutbutlercomment">Sadler made this for the <i>Pall Mall +Gazette</i> from the photograph which is reproduced in <i>Ex +Voto</i>; the drawing was reproduced in an article, and a cutting +from the <i>Pall Mall</i> with the reproduction is with the +papers given to St. John’s.</p> +<h3>SAMUEL BUTLER</h3> +<p>61. Oil Painting: Wembley, Middlesex. Sketch of +the back of the Green Man public-house, since burnt down.</p> +<p class="gutbutlercomment">Butler intended to finish this, and +send it to the Royal Academy, but he got tired of it and turned +it up.</p> +<h3>THOMAS SADLER</h3> +<p>62. Water-colour drawing of the Vecchietto in the +Deposition Chapel at Varallo-Sesia.</p> +<p>63. Water-colour drawing in black and white of a boy +with a basket at Varallo.</p> +<p class="gutbutlercomment">Sadler made these two drawings about +1890 from photographs taken by Butler in 1888.</p> +<h3>SAMUEL BUTLER</h3> +<p>64. Water-colour: copy of a landscape behind a small +Madonna and Child by Bartolomeo Veneto, signed and dated +1505.</p> +<p class="gutbutlercomment">I forget the precise date, but I +think it was about 1898, when Butler was searching in real +landscape for the original of the castle which appears in the +background of one of the Giovanni Bellini pictures of the Madonna +and Child in the National Gallery, the one <!-- page 14--><a +name="page14"></a><span class="pagenum">p. 14</span>with the bird +on the tree and the man ploughing. It may now be attributed +to some other Venetian painter. He would have been pleased +if he could have found the original of the background of any +picture by one of his favourite painters. This copy was +made to fix in his mind the castle on the hill, which he hoped +afterwards to identify with some real place. But he never +succeeded.</p> +<h3>HENRY FESTING JONES</h3> +<p>65. Water-colour: Jones’s chambers in Staple Inn, +Holborn. 1899.</p> +<p>66. Water-colour: another view in the same room. +1899.</p> +<p class="gutbutlercomment">In these rooms Butler nearly always +spent his evenings from 1893, when I moved into them, until the +end of his life. The frames of these pictures are veneered +with oak from the Hall of Staple Inn, and into each are inserted +two buttons showing the wool-pack, the badge of the Inn, which is +said to be named from the Wool-Staplers.</p> +<p class="gutbutlercomment">When Butler and I were on the +Rigi-Scheidegg with Hans Faesch in 1900 I had these two sketches +with me, and was showing them to the landlord, who spoke +English. He looked at them and considered them carefully +for some moments. Then he said gravely “Ah I see; +much things. That means dustings; and then breakings; and +then hangriness.”</p> +<h3>SAMUEL BUTLER</h3> +<p>67. Water-colour: Meien near Wassen on the S. +Gottardo. 1896.</p> +<p class="gutbutlercomment">We went often to Meien to sketch when +we were staying at Wassen on the S. Gottardo. We took our +lunch with us, and ate it at the fountain in the village. +“The old priest also came to the fountain to wash his +shutters, which had been taken down for the summer, and it was +now time to bring them out again and replace them for the +winter” (<i>Memoir</i>, II. 236). The house on the +left is the priest’s house, and the shutters are already up +at one of his windows.</p> +<p>68. Pen and ink sketch: Trapani and the Islands from +Mount Eryx about 1897.</p> +<p class="gutbutlercomment">This sketch is reproduced in <i>The +Authoress of the Odyssey</i>, ch. ix. He did it to show the +situation of Trapani and the Islands with Marettimo “all +highest up in the sea.” In the Odyssey Ithaca is +“all highest up in the sea,” and Butler supposed that +the authoress in so describing it was thinking of Marettimo.</p> +<p>69. Wash drawing: Trapani and the Islands from Mount +Eryx about 1898.</p> +<p class="gutbutlercomment">He wished to make a more complete +version of no. 68, but this was as far as he could get; there was +not enough time and there were too many interruptions.</p> +<p><!-- page 15--><a name="page15"></a><span class="pagenum">p. +15</span>70. Pencil sketch inscribed, “Calatafimi, +Sund. May 13th, 1900. 2 hours. Eleven a.m. is the +best light.”</p> +<p class="gutbutlercomment">I added “S. +Butler.” He could not continue because there came on +a terrific scirocco which lasted two or three days.</p> +<p>71. Water-colour: Taormina, the Theatre and Etna. +1900.</p> +<p class="gutbutlercomment">This shows the fragments of the +stones that are strewn about in the orchestra which Butler said +were like the fragments of My Duty towards My Neighbour that lay +strewn about in his memory. It would take a lot of work to +put them all back into their places and reconstruct the +original. (<i>Memoir</i>, II. 292.)</p> +<p>72. Water-colour: Siena. 1900.</p> +<p>73. Water-colour: Pisa, inside the top of the Leaning +Tower. 1900.</p> +<p>74. Water-colour: Wassen. 1901.</p> +<p>75. Water-colour: Wassen. 1901.</p> +<p>76. Water-colour: Trapani, S. Liberale and Lo Scoglio di +Mal Consiglio. 1901.</p> +<p class="gutbutlercomment">See <i>The Authoress of the +Odyssey</i>. The Scoglio is the ship of Ulysses which +Neptune turned into a rock as she was on her way home to +Scheria.</p> +<p>77. Rough sketch by Butler of the islands Marettimo, +Levanzo, and Favignana.</p> +<p class="gutbutlercomment">Two views showing how Marettimo is +hidden by Levanzo when you are below and comes out over Levanzo +when you are up Mount Eryx.</p> +<h3>HENRY FESTING JONES</h3> +<p>78. My first attempt in colour to draw the islands from +Mount Eryx.</p> +<p class="gutbutlercomment">I saw I should not have time to +finish it, and, instead, did no. 80.</p> +<p>79. A volume of thirty-four leaves of drawings in pencil +and ink.</p> +<p class="gutbutlercomment">I did all these under Butler’s +auspices, and often he was sitting near doing another sketch of +much the same view. It may be said that they are the work +of his pupil.</p> +<p>80. Drawing in pencil and ink: Trapani and the Islands +from Mount Eryx. 1913.</p> +<p class="gutbutlercomment">Reproduced in the <i>Memoir</i>, ch. +xxxii.</p> +<h3><!-- page 16--><a name="page16"></a><span class="pagenum">p. +16</span>SAMUEL BUTLER AND OTHERS</h3> +<p>81. A portfolio of miscellaneous drawings, prints, +etchings, photographs, etc., by Butler, Gogin, and Sadler.</p> +<p class="gutbutlercomment">This is the portfolio containing the +small water-colour of Dieppe, 1866. I have given that the +prominence of a place (no. 11) because it is interesting to +compare it with the more finished Dieppe, no. 10. Possibly +the portfolio contains others (<i>e.g.</i> Dinant), which it will +be thought proper to take out and have mounted and framed.</p> +<h2><!-- page 17--><a name="page17"></a><span class="pagenum">p. +17</span>II. BOOKS AND MUSIC WRITTEN BY BUTLER:<br /> +AND BOOKS, MAGAZINES, &c., CONTAINING CONTRIBUTIONS BY +HIM</h2> +<p>For fuller particulars as to Butler’s books see the +Bibliography prefixed to Vol. I. of the <i>Memoir</i> by H. F. +Jones (1919).</p> +<h3>THE EAGLE</h3> +<p>1858. Vol. I., no. 1, Lent Term, containing “On +English Composition,” by Cellarius, <i>i.e.</i> Samuel +Butler.</p> +<p>1859. Vol. I., no. 5, Easter Term, containing “Our +Tour,” by Cellarius, <i>i.e.</i> S. Butler. (These +two bound together.)</p> +<p>1861. Vol. II., containing “Our Emigrant” in +two contributions (p. 101 and p. 149), by Samuel Butler; used by +him in writing <i>A First Year in Canterbury Settlement</i>, and +referred to in the Preface to that book.</p> +<p>1894. Vol. XVIII., no. 103 (March). “A +Translation (into Greek from <i>Martin Chuzzlewit</i>) attempted +in consequence of a challenge.”</p> +<p>1902. Vol. XXIV., no. 129 (December). “The +Shield of Achilles.”—“Napoleon at St. +Helena.” <i>Also</i> “Samuel Butler, +B.A.” (Obituary by H. F. Jones.)</p> +<p>1910. Vol. XXXII., no. 153 (December). “Mr. +Festing Jones on Samuel Butler.” (Report by D. S. +Fraser of H. F. Jones’s paper on Samuel Butler, read 16 +Nov.)</p> +<p>1913. Vol. XXXIV., no. 160 (March). “Samuel +Butler and his Note-Books.” By J. F. H[arris].</p> +<p>1913. Vol. XXXIV., no. 161 (June). +“Prospectus of the Great Split +Society.”—“A Skit on Examinations.” +<i>Also</i> “Two Letters of Samuel Butler” (to W. E. +Heitland: with note by W. E. Heitland).</p> +<p>1914. Vol. XXXVI., no. 165 (December). +“Samuel Butler’s Early Years.” (Review of +new edition of <i>A First Year in Canterbury Settlement</i>, by +J. F. Harris.)</p> +<p><!-- page 18--><a name="page18"></a><span class="pagenum">p. +18</span>1916. Vol. XXXVIII., no. 171 (December). +“A ‘Few Earnest Words’ on Samuel +Butler.” (Review of J. F. Harris’s +“Samuel Butler: the man and his work” (1916), by W. +E. Heitland.)</p> +<h3>A FIRST YEAR IN CANTERBURY SETTLEMENT</h3> +<p>1863. Original cloth, purchased.</p> +<p>1914. New edition with other early Essays. +Presentation copy from R. A. Streatfeild, with two letters +inserted.</p> +<h3>THE EVIDENCE FOR THE RESURRECTION</h3> +<p>1865. One complete copy containing pencil marks made by +Butler. Cloth, original wrappers bound in.</p> +<p>1865. Two mutilated copies used by Butler in making the +MS. of <i>The Fair Haven</i>. These were given to St. +John’s some years ago.</p> +<h3>EREWHON</h3> +<p>1872. First edition, purchased.</p> +<p>1872. Second edition, purchased. This contains +pencil notes by Butler.</p> +<p>1879. Ergindwon. (German translation.)</p> +<p>1901. New and revised edition. Proofs, with +corrections by Butler.</p> +<p>1901. New and revised edition—inscribed “H. +Festing Jones, with all best wishes from the author, Oct. 11, +1901. First copy issued.”</p> +<p>1901. Colonial issue.</p> +<p>1908. Reprint of New and revised edition.</p> +<p>1920. American edition. With Introduction by +Francis Hackett.</p> +<p>1920. Erewhon in French. With an Introduction by +the translator, M. Valery Larbaud. <i>Also</i> the +Typescript and Proofs, both with manuscript corrections by the +translator.</p> +<h3>THE FAIR HAVEN</h3> +<p>1873. First edition, purchased. The first edition +contained an errata slip, which this copy has not got. +Longman’s re-issue.</p> +<p><!-- page 19--><a name="page19"></a><span class="pagenum">p. +19</span>1873. Second edition, purchased. Original +cloth. Longman’s re-issue.</p> +<p>1873. Second edition. This copy contains the +errata slip. It is a special copy cut down and bound as an +experiment. Given by Butler to H. F. Jones.</p> +<p>1913. New edition with Introduction by R. A. +Streatfeild. Presentation copy from R. A. Streatfeild.</p> +<p>1902 (Oct.). Letter to H. F. Jones from Alfred Marks (a +brother of Henry Stacy Marks, R.A.), enclosing copy of Remarks on +<i>The Fair Haven</i>, made by some friend of Alfred Marks.</p> +<p>1915 (12 June). A letter from James W. Clark, with +separate copy of the prefatory matter to the Second Edition +enclosed, given to him by Butler. Clark was at Trinity Hall +with me, later Fellow of the College, and afterwards K.C. and +Counsel to the Board of Agriculture and Fisheries.</p> +<h3>THE CANADA TANNING EXTRACT CO., LTD.</h3> +<p>1874-75. Extracts from letters sent by Mr. Foley to the +Foreman of the Works of the Company, and other extracts and +letters. Inscribed “Copy of Laflamme’s Copy +with Notes,” in Butler’s writing. I believe the +marginal notes to have been Butler’s originally, and then +copied by a clerk into this copy of the pamphlet. +<i>Also</i> Another copy, with MS. notes by Butler.</p> +<h3>LIFE AND HABIT</h3> +<p>1878. First edition. Presentation copy from +Butler, inscribed “H. F. Jones. S.B.”</p> +<p>1878. Second edition. Given to H. F. Jones by A. +T. Bartholomew.</p> +<p>1890. A copy of Longman’s issue, with MS. +corrections by Butler. Cf. Streatfeild’s introduction +to new edition (1910).</p> +<p>1910. New edition with Author’s Addenda and +Preface by R. A. Streatfeild, and letter from R. A. Streatfeild +to H. F. Jones, 29 Nov. 1910.</p> +<h3>EVOLUTION OLD AND NEW</h3> +<p>1879. “First copy issued.”</p> +<p><!-- page 20--><a name="page20"></a><span class="pagenum">p. +20</span>1879. “Second copy issued,” with MS. +Note by Butler. Presentation copy.</p> +<p>1882. Second edition with an Appendix and Note, given to +H. F. Jones by Butler, but not inscribed.</p> +<p>1911. New edition (the third) with Author’s +Revisions, Appendix, and Index; also Note by R. A. +Streatfeild.</p> +<h3>UNCONSCIOUS MEMORY</h3> +<p>1880. First edition, given to H. F. Jones by Butler, but +not inscribed.</p> +<p>1880. Butler’s copy, with pressed flowers mounted +on the fly-leaves, and the names of the donors added. Also +a few notes.</p> +<p>1910. New edition, with Introduction by Marcus +Hartog.</p> +<p>1910. A separate copy of Hartog’s +Introduction. Inscribed “H. Festing Jones from his +brother in Ydgrun M.H.”</p> +<p>1920. Third edition.</p> +<h3>ALPS AND SANCTUARIES</h3> +<p>1882. The Manuscript, together with the original +drawings (cf. p. 10).</p> +<p>1882. First edition (Bogue). Presentation copy +from Butler. <i>Also</i> Bogue’s prospectus.</p> +<p>1882. Second edition, purchased.</p> +<p>1882. Second edition, with Index in MS. by Butler.</p> +<p>1890. Streatfeild’s copy with Longman’s +title-page, purchased, and a few spare copies of Longman’s +title-page.</p> +<p>No date. A copy with Fifield’s title-page.</p> +<p>1913. New edition with Author’s Revisions and +Index, and an Introduction by R. A. Streatfeild.</p> +<h3>GAVOTTES, MINUETS, FUGUES<br /> +BY SAMUEL BUTLER AND HENRY FESTING JONES</h3> +<p>1884. The Manuscript.</p> +<p>1884. The published work.</p> +<h3><!-- page 21--><a name="page21"></a><span class="pagenum">p. +21</span>SELECTIONS FROM PREVIOUS WORKS</h3> +<p>1884. Presentation copy with inscription: “First +copy of the book to leave the binder’s, March 12, +1884. S.B.”</p> +<h3>HOLBEIN</h3> +<p>[1886]. Holbein’s “La Danse.” A +Note on a drawing in the Museum at Basel. Printed on a +card. <i>Also</i> Another edition [1889].</p> +<h3>LUCK OR CUNNING?</h3> +<p>1886. Revises, unbound, with corrections by Butler.</p> +<p>1887. “First copy issued. S.B.”</p> +<p>1887. Butler’s copy, with notes, pressed flowers, +and numerous additions to the Index, mostly in Alfred’s +handwriting.</p> +<p>[1908]. Re-issue (Fifield).</p> +<p>1920. Second edition, corrected.</p> +<h3>NARCISSUS: A CANTATA<br /> +BY S. BUTLER AND H. F. JONES</h3> +<p>1888. A copy inscribed by both authors and +composers.</p> +<h3>EX VOTO</h3> +<p>1888. “2nd copy issued, S.B.” With 4 +pp. “Additions and Corrections” loose.</p> +<p>1894. In Italian, translated by Angelo Rizzetti. +Inscribed, in Butler’s writing, “H. F. Jones. +Omaggio dell’ Autore.”</p> +<p>[1909]. Re-issue (Fifield).</p> +<p style="text-align: center">* * * * *</p> +<h3>UNIVERSAL REVIEW ARTICLES</h3> +<p>1888-90. Butler’s set of them, complete with +illustrations and bound together. Table of Contents in +Alfred Cathie’s writing and a few accompanying photographs +loose.</p> +<h3>ESSAYS ON LIFE, ART, AND SCIENCE</h3> +<p>1904. Edited by R. A. Streatfeild. Presentation +copy with letter from R. A. Streatfeild. This contains most +of the “Universal Review” articles reprinted, and two +Lectures.</p> +<p>1904. A copy of the Colonial issue.</p> +<p><!-- page 22--><a name="page22"></a><span class="pagenum">p. +22</span>1908. Re-issue (Fifield).</p> +<h3>THE HUMOUR OF HOMER AND OTHER ESSAYS</h3> +<p>1913. A new edition of the <i>Essays</i>, with additions +and Biographical Sketch of Butler by H. F. Jones.</p> +<p>[1913]. Sketch of the Life of Samuel Butler, being a +volume of MS. and typewritten documents showing how the +Biographical Sketch mentioned in the preceding item grew out of +the obituary notice which originally appeared in <i>The +Eagle</i>, December 1902.</p> +<p style="text-align: center">* * * * *</p> +<h3>ITALIAN PAMPHLETS (bound together)</h3> +<p>1892. Three numbers of “Il Lambruschini,” +containing papers on Butler’s Odyssey theories.</p> +<p>1893. L’Origine Siciliana dell’ +Odissea. (Estratto dalla Rassegna della Letteratura +Siciliana.)</p> +<p>1894. Ancora sull’ Origine Siciliana dell’ +Odissea. (Estratto dalla Rassegna della Letteratura +Siciliana.)</p> +<p style="text-align: center">* * * * *</p> +<h3>ENGLISH PAMPHLETS, ETC. (bound together)</h3> +<p>1892. The Humour of Homer.</p> +<p>1893. On the Trapanese Origin of the Odyssey.</p> +<p>No date. Sample passages from a new translation of the +Odyssey.</p> +<p>1894. A translation into Homeric verse of a passage from +<i>Martin Chuzzlewit</i>: attempted in consequence of a +challenge. From <i>The Eagle</i>.</p> +<p>No date. Prospectus of <i>The Life and Letters of Dr. +Samuel Butler</i>.</p> +<p>1887 (27 June). Words of the Choruses from +“Narcissus,” for performance at Mrs. Thomas +Layton’s.</p> +<p>1890 (15 Dec.). Programme of Shrewsbury School Concert, +at which some of Butler’s music was performed.</p> +<p style="text-align: center">* * * * *</p> +<p>1892. The Humour of Homer. Butler’s own +copy.</p> +<p>1892-4. Butler’s own copies of his Odyssey +pamphlets (see above), with MS. notes. 2 sets.</p> +<p style="text-align: center">* * * * *</p> +<p style="text-align: center"> +<a href="images/p22b.jpg"> +<img alt="Facsimile of post-card from S. Butler to H. F. Jones" +src="images/p22s.jpg" /> +</a></p> +<h3><!-- page 23--><a name="page23"></a><span class="pagenum">p. +23</span>THE LIFE AND LETTERS OF DR. SAMUEL BUTLER<br /> +2 Vols.</h3> +<p>1896. Butler’s own copy.</p> +<p>1896. A copy, inscribed, in Butler’s writing, +“H. F. Jones from S. B. Oct. 2, 1896.”</p> +<h3>THE AUTHORESS OF THE ODYSSEY</h3> +<p>1897. Inscribed, in Butler’s writing, “H. F. +Jones, with the author’s best thanks (first copy +issued). Nov. 1, 1897.”</p> +<p>[1908]. Re-issue (Fifield).</p> +<h3>THE ILIAD RENDERED INTO ENGLISH PROSE</h3> +<p>1898. The Manuscript. This was given to St. +John’s some years ago by Butler’s literary executor, +Mr. R. A. Streatfeild.</p> +<p>1898. Proofs.</p> +<p>1898. First edition. Inscribed, in Butler’s +writing, “H. F. Jones, with the author’s best +love. Oct. 15, 1898.”</p> +<p>1914. New impression (Fifield).</p> +<h3>SHAKESPEARE’S SONNETS RECONSIDERED</h3> +<p>1899. Inscribed, “H. F. Jones, Esq. (the +first copy issued). Oct. 28, 1899. S. B.”</p> +<h3>THE ODYSSEY RENDERED INTO ENGLISH PROSE</h3> +<p>[1900]. Manuscript of Books I-XII. only, on letter +paper. The complete MS. is at Aci Reale.</p> +<p>1900. Proofs.</p> +<p>1900. Inscribed, “H. Festing Jones. Oct. 18, +1900 (first copy issued). S. B.”</p> +<h3>QUO VADIS?</h3> +<p>1901-1902. Copies of four issues of the periodical bound +together. With contributions by and about Butler. +Together with a MS. Italian translation by Capitano Giuseppe +Messina Manzo entitled, “La nuova Quistione Omerica,” +and other matter relating to the Odyssey question.</p> +<h3>EREWHON REVISITED</h3> +<p>1901. Proofs, with corrections by Butler. 2 +copies.</p> +<p>1901. First edition. Inscribed, in Butler’s +writing, “H. Festing Jones. With the author’s +best thanks for much invaluable assistance. Oct. 11, +1901. Second copy issued.”</p> +<p><!-- page 24--><a name="page24"></a><span class="pagenum">p. +24</span>1902. A copy of the edition intended for the +Colonies, not sold in England.</p> +<p>1908. Reprint (Fifield).</p> +<p>1920. The American edition. With Introduction by +Moreby Acklom.</p> +<h3>THE WAY OF ALL FLESH</h3> +<p>1903. First edition, given by R. A. Streatfeild to H. F. +Jones.</p> +<p>1903. Streatfeild’s copy, with his alterations to +make the second edition (1908). Purchased.</p> +<p>1903. A copy of the Colonial edition.</p> +<p>1908. Second edition (Fifield).</p> +<p>1916. A copy of the American edition. Introduction +by Wm. Lyon Phelps. With letter from R. A. Streatfeild to +H. F. Jones.</p> +<h3>SEVEN SONNETS AND A PSALM OF MONTREAL,<br /> +AND OTHER PIECES (bound together)</h3> +<p>1903. Streatfeild’s Raccolta of Necrologies of +Butler.</p> +<p>1904. Diary of a Journey through North Italy to Sicily, +by H. F. Jones.</p> +<p>1904. Autograph letter from Cavaliere Biagio Ingroja of +Calatafimi to H. F. Jones.</p> +<p>1904. Seven Sonnets and A Psalm of Montreal.</p> +<p>1904. Translations into Italian of Butler’s +“Seven Sonnets” (except Nos. I. and V.), by +Ingroja. In manuscript. His translation of Sonnet I. +is printed with the “Seven Sonnets.” He could +not manage Sonnet V. I think the repetitions of +“pull” puzzled him.</p> +<p>1904. Translation of Sonnet I. into Italian by De +Nobili. In manuscript.</p> +<p style="text-align: center">* * * * *</p> +<p>1904. Seven Sonnets. Proof, and corrected copy, +formerly the property of R. A. Streatfeild.</p> +<h3>ULYSSES: AN ORATORIO<br /> +BY SAMUEL BUTLER AND HENRY FESTING JONES</h3> +<p>1904. The work as published. H. F. Jones’s +original copy, with notes.</p> +<h3><!-- page 25--><a name="page25"></a><span class="pagenum">p. +25</span>GOD THE KNOWN AND GOD THE UNKNOWN</h3> +<p>1909. The work as published. Ed. by R. A. +Streatfeild. These articles first appeared in <i>The +Examiner</i> in 1879.</p> +<h3>THE NOTEBOOKS OF SAMUEL BUTLER</h3> +<p>1907-1910. All the numbers of the “New +Quarterly,” a review which appeared during these years and +which contained Extracts from Butler’s MS. Notebooks, +bound into 3 vols.</p> +<p>1907-1910. The Extracts from Butler’s Notes as +they appeared in the “New Quarterly” bound +together.</p> +<p>1910-1912. The first MS. of the published +<i>Notebooks</i>, 2 vols.</p> +<p>1910-1912. The second MS. from which the first edition +of the published <i>Notebooks</i> was printed, 2 vols.</p> +<p>1912. Proofs.</p> +<p>1912. Revises.</p> +<p>1912. First impression, with MS. Notes by H. F. +Jones.</p> +<p>1913. Second impression.</p> +<p>1915. Third and popular impression.</p> +<p>1917. American edition, with Introduction by Francis +Hackett.</p> +<h3>CHARLES DARWIN AND SAMUEL BUTLER</h3> +<p>1911. Charles Darwin and Samuel Butler. A Step +towards Reconciliation. By H. F. Jones.</p> +<h3>SAMUEL BUTLER: A MEMOIR<br /> +BY HENRY FESTING JONES</h3> +<p>1902-1914. First Manuscript. Second +Manuscript. Third Manuscript.</p> +<p>1915-16. Proofs.</p> +<p>1916. Revises.</p> +<p>1917. Advance copy, without illustrations.</p> +<p>1918-1919. Manuscript, proofs, and revises of additional +matter for First Impression.</p> +<p>1920. Manuscript, proofs, and revises of additional +matter for Second Impression.</p> +<p>1920. Second Impression.</p> +<h2><!-- page 26--><a name="page26"></a><span class="pagenum">p. +26</span>III. BOOKS ABOUT BUTLER:<br /> +AND BOOKS, MAGAZINES, &c., CONTAINING CHAPTERS OR ARTICLES +ABOUT BUTLER OR PROMINENT ALLUSIONS TO HIM</h2> +<p><span class="smcap">Accademia Dafnica di Scienze</span>, +Lettere, e delle Arti in AciReale: Atti e Rendiconti. Vol. +ix. Anno 1902.</p> +<p><span class="smcap">Accademia di Scienze</span>, Lettere, ed +Arti de’ Zelanti di AciReale: Rendiconti e Memorie. +1906. Pp. 22, 27, 44, 50 refer to Butler.</p> +<p><span class="smcap">Acklom, Moreby</span>. The +Constructive Quarterly, March 1917, containing “Samuel +Butler the Third,” by Moreby Acklom.</p> +<p><span class="smcap">Barry, Canon William</span>. The +Dublin Review, Oct. 1914, with article “Samuel Butler of +Erewhon.”</p> +<p><span class="smcap">Blum, Jean</span>. Mercure de +France, 16 Juillet 1910, with article on Samuel Butler by Jean +Blum.</p> +<p><span class="smcap">Bodleian Quarterly Record</span>. +Vol. II., nos. 16, 17. 1918.</p> +<p class="gutbutlercomment">Includes a note on Butler’s use +of Frost’s “Lives of Eminent Christians” (see +“Quis desiderio . . . ?” in his <i>Essays</i>); and +on Dr. John Frost.</p> +<p><span class="smcap">Book Monthly</span> for February 1913, +with notice of the <i>Note-Books of Samuel Butler</i>, +reproducing the portrait.</p> +<p><span class="smcap">Booth, Robert B</span>. Five Years +in New Zealand (1859 to 1864). By Robert B. Booth, +M.Inst.C.E. Printed for private circulation. +1912.</p> +<p class="gutbutlercomment">Referred to in my <i>Memoir</i> of +Butler. With three letters from Mr. Booth and three other +documents. Mr. Booth was with Butler on his run at +Mesopotamia, N.Z.</p> +<p><span class="smcap">Bridges, Horace J</span>. Samuel +Butler’s Erewhon and Erewhon Revisited. By Horace J. +Bridges. 1917.</p> +<p><span class="smcap">Burdett, Osbert</span>. Songs of +Exuberance, together with The Trenches. By Osbert +Burdett. Op. I. London, A. C. Fifield, 1915.</p> +<p class="gutbutlercomment">This contains, among Sonnets on +People and Places, (I.) Samuel Butler; (II.) Samuel Butler.</p> +<p><!-- page 27--><a name="page27"></a><span class="pagenum">p. +27</span><span class="smcap">Cambridge Readings in English +Literature</span>. Ed. by George Sampson. Book +III. Cambridge, 1918.</p> +<p class="gutbutlercomment">Pp. 5-15 are occupied with an extract +from <i>Erewhon</i>.</p> +<p><span class="smcap">Cannan, Gilbert</span>. Samuel +Butler: a Critical Study. By Gilbert Cannan. London, +Martin Seeker, 1915.</p> +<p><span class="smcap">Clutton-Brock, A</span>. Essays on +Books. London, 1920.</p> +<p class="gutbutlercomment">Containing reprints of articles on +the <i>Note-Books</i> and the <i>Memoir</i>.</p> +<p><span class="smcap">Constructive Quarterly, The</span>. +See Acklom, M.</p> +<p><span class="smcap">Contemporary Review, The</span>, June +1913, containing review of the <i>Note-Books of S. +Butler</i>.</p> +<p><span class="smcap">Darbishire, A. D</span>. An +Introduction to a Biology. By A. D. Darbishire. +London, Cassell, 1917.</p> +<p class="gutbutlercomment">With autograph letter to H. F. Jones +from the author’s sister, Helen Darbishire.</p> +<p><span class="smcap">Darwin, Sir Francis</span>. Rustic +Sounds. By Sir Francis Darwin. London, John Murray, +1917.</p> +<p class="gutbutlercomment">Reproducing “The Movements of +Plants,” a lecture delivered by him at the Glasgow Meeting +of the British Association, Sept. 16, 1901. This lecture is +referred to in the <i>Memoir</i> of Butler; it quotes a passage +from Butler’s translation of Hering in <i>Unconscious +Memory</i>.</p> +<p><span class="smcap">De La Mare, Walter</span>. The +Edinburgh Review, Jan. 1913, containing a notice of the +<i>Note-Books of Samuel Butler</i> in “Current +Literature.” By Walter De La Mare.</p> +<p><span class="smcap">Dublin Review, The</span>. See +Barry, Canon.</p> +<p><span class="smcap">Duffin, H. C</span>. The +Quintessence of Bernard Shaw. With “Prologue: Of +Samuel Butler.” London, Allen and Unwin, 1920.</p> +<p><span class="smcap">Edinburgh Review, The</span>. See De +La Mare, Walter.</p> +<p><span class="smcap">Firth, J. B</span>. Highways and +Byways in Nottinghamshire. By J. B. Firth. With +Illustrations by Frederick L. Griggs. London, 1916.</p> +<p class="gutbutlercomment">See pp. 93-6 for Langar.</p> +<p><span class="smcap">Hardwick, J. C</span>. The Modern +Churchman, March 1920, containing “A Modern Ishmael,” +by J. C. Hardwick.</p> +<p><!-- page 28--><a name="page28"></a><span class="pagenum">p. +28</span><span class="smcap">Harris, John F</span>. Samuel +Butler, author of “Erewhon: the Man and his +Work.” By John F. Harris. London, Grant +Richards, 1916.</p> +<p class="gutbutlercomment">Inscribed “H. Festing Jones, +with best wishes and very many thanks from John F. Harris, July +5, 1916,” with a few newspaper notices, loose.</p> +<p><span class="smcap">Hartog, Marcus</span>. Problems of +Life and Reproduction. By Marcus Hartog. London, +Murray, 1913.</p> +<p class="gutbutlercomment">With letter from the author to H. F. +Jones.</p> +<p><span class="smcap">Hartog, Marcus</span>. The +Fundamental Principles of Biology. By Marcus Hartog. +Reprinted from “Natural Science,” vol. XI., nos. 68 +and 69, Oct. and Nov. 1897.</p> +<p><span class="smcap">Hartog, Marcus</span>. Samuel Butler +and recent Mnemic Biological Theories. Extract from +“Scientia,” Jan. 1914.</p> +<p><span class="smcap">Hewlett, M</span>. In a Green +Shade. London, 1920.</p> +<p class="gutbutlercomment">Containing an article on the +<i>Memoir</i>.</p> +<p><span class="smcap">Independent Review, The</span>. See +MacCarthy, Desmond.</p> +<p><span class="smcap">Jackson, Holbrook</span>. Samuel +Butler. “T.P.’s Weekly,” July 1915. +“To-Day,” Dec. 1918 and Jan. 1919.</p> +<p><span class="smcap">Jones, Henry Festing</span>. Samuel +Butler as Musical Critic. “The +Chesterian.” N.S. No. 7. London, May 1920.</p> +<p><span class="smcap">Larbaud, V</span>. Samuel +Butler. In “La Nouvelle Revue +Française,” Jan. 1920. <i>Also</i> specimens +of his translation of <i>Erewhon</i>, etc., in other numbers of +the same periodical, and notices of it.</p> +<p><span class="smcap">Larbaud, V</span>. L’Enfance +et la Jeunesse de Samuel Butler. In “Les +Écrits Nouveaux,” April 1920.</p> +<p><span class="smcap">MacCarthy, Desmond</span>. The +Independent Review, Sept. 1904, with article “The Author of +Erewhon,” by Desmond MacCarthy.</p> +<p><span class="smcap">MacCarthy, Desmond</span>. The +Quarterly Review, Jan. 1914, containing “The Author of +Erewhon,” by Desmond MacCarthy.</p> +<p><span class="smcap">MacCarthy, Desmond</span>. +Remnants. By Desmond MacCarthy. London, 1918.</p> +<p class="gutbutlercomment">Being essays and articles reprinted +from various periodicals and including “Samuel Butler: an +Impression.”</p> +<p><span class="smcap">Mais, S. P. B</span>. From +Shakespeare to O. Henry. By S. P. B. Mais. London, G. +Richards, 1917.</p> +<p class="gutbutlercomment">Containing a chapter on Butler.</p> +<p><!-- page 29--><a name="page29"></a><span class="pagenum">p. +29</span><span class="smcap">Mercure de France</span>. See +Blum, Jean.</p> +<p><span class="smcap">Mind</span>. See Rattray, +Robert.</p> +<p><span class="smcap">Monthly Review, The</span>. See +Streatfeild, R. A.</p> +<p><span class="smcap">National Gallery of British +Art</span>. Catalogue of the National Gallery of British +Art, 19th ed., 1911.</p> +<p class="gutbutlercomment">See pp. 37-8 for Butler’s +picture, “Mr. Heatherley’s Holiday.”</p> +<p><span class="smcap">Negri, Francesco</span>. Il +Santuario di Crea in Monferrato. By Francesco Negri +(<i>i.e.</i> Butler’s friend the Avvocato Negri of +Casale-Monferrato). Alessandria, 1902.</p> +<p class="gutbutlercomment">Two of the illustrations are as in +<i>Ex Voto</i>, Butler having lent his photographs to the +Avvocato.</p> +<p><span class="smcap">Nuova Antologia</span>, 16 Luglio 1902, +with necrology of S. Butler under “Tra Libri e +Riviste.”</p> +<p><span class="smcap">Pestalozzi, G</span>. Samuel Butler +der Jüngere, 1835-1902. Inaugural-Dissertation. +Zürich, 1914.</p> +<p><span class="smcap">Quarterly Review, The</span>. See +MacCarthy, Desmond.</p> +<p><span class="smcap">Quilter, Harry</span>. What’s +What. By Harry Quilter. 1902.</p> +<p class="gutbutlercomment">With MS. Note by H. F. Jones. +Pp. 308-311 are about Butler, who possessed a copy of the book, +given him, I suppose, by Quilter; but he passed it on to +Alfred.</p> +<p><span class="smcap">Rattray, Robert F</span>. Extract +from “Mind,” July 1914, containing “The +Philosophy of Samuel Butler.” By Robert F. +Rattray.</p> +<p><span class="smcap">Salter, W. H</span>. Essays on two +Moderns: Euripides and Samuel Butler. By W. H. +Salter. London, Sidgwick and Jackson, 1911.</p> +<p><span class="smcap">Sampson, George</span>. The Bookman, +Aug. 1915, containing illustrated article by George Sampson.</p> +<p><span class="smcap">Sella, Attilio</span>. Un’ +Inglese Fervido Amico dell’ Italia, Samuel Butler. By +Attilio Sella. 1916.</p> +<p class="gutbutlercomment">Given to H. F. Jones by the +author.</p> +<p><span class="smcap">Sinclair, May</span>. A Defence of +Idealism. By May Sinclair. London, Macmillan, +1917.</p> +<p class="gutbutlercomment">Containing “The Pan-Psychism of +Samuel Butler.”</p> +<p><span class="smcap">Streatfeild, R. A</span>. The +Monthly Review, Sept. 1902, with article, “Samuel +Butler.” By R. A. Streatfeild.</p> +<p><!-- page 30--><a name="page30"></a><span class="pagenum">p. +30</span><span class="smcap">Wall, Arnold</span>. A Century +of New Zealand Praise. By Arnold Wall. Christchurch, +1912.</p> +<p class="gutbutlercomment">Sonnet XC. is about Butler.</p> +<p><span class="smcap">Williams, Orlo</span>. The +Essay. By Orlo Williams. London Secker [1915].</p> +<p><span class="smcap">Yeats, John Butler</span>. Essays, +Irish and American. By John Butler Yeats. With an +appreciation by A. E. Dublin, 1918.</p> +<p class="gutbutlercomment">The first essay is +“Recollections of Samuel Butler.”</p> +<p><span class="smcap">Zangwill, Israel</span>. Italian +Fantasies. By Israel Zangwill. London, Heinemann, +1910.</p> +<p class="gutbutlercomment">Contains “Sicily and the +Albergo Samuele Butler.”</p> +<h2><!-- page 31--><a name="page31"></a><span class="pagenum">p. +31</span>IV. BOOKS, ETC., RELATING TO BUTLER AND HIS +SUBJECTS</h2> +<p><span class="smcap">Adams, C. Warren</span>. A Spring in +the Canterbury Settlement. By C. Warren Adams. +London, 1853.</p> +<p><span class="smcap">Barker, Lady</span>. Station Life in +New Zealand. By Lady Barker. London, 1870.</p> +<p class="gutbutlercomment">With MS. note by H. F. Jones, +referred to in the <i>Memoir</i> of Butler. F. Napier +Broome and his wife, then Lady Barker, had a run near +Butler’s in New Zealand.</p> +<p><span class="smcap">Basler Jahrbuch</span>. See Faesch, +Hans Rudolf.</p> +<p><span class="smcap">Bateson, Wm.</span> Biological Fact +and the Structure of Society: The Herbert Spencer Lecture (p. +19). Oxford, 1912.</p> +<p><span class="smcap">Bateson, Wm.</span> Problems of +Genetics (Silliman Lectures). By Wm. Bateson, F.R.S. +New Haven, 1913.</p> +<p><span class="smcap">Butler, James.</span> Copies of +Letters by Ensign James Butler (an uncle of Dr. Butler) sent from +Deal, Funchal, and Calcutta, 1764-1765; with Introduction by H. +F. Jones, all in typewriting and MS.</p> +<p class="gutbutlercomment">James Butler and these letters are +referred to in the <i>Life of Dr. Butler</i>, and also in the +<i>Memoir</i> of Butler. Butler gave to the British Museum +an incomplete copy of the Letters and kept another incomplete +copy which I gave to the British Museum. Each of the +incomplete copies contained matter not in the other. I had +this volume (now at St John’s) made up from the two +incomplete copies.</p> +<p><span class="smcap">Butler, Henry Thomas</span>, and +another. Auction Bridge in a Nutshell. By Butler and +Brevitas—the Butler being Henry Thomas Butler, nephew of +Samuel Butler. [1913].</p> +<p><span class="smcap">Butler, Mary</span>. A Kalendar for +Lads. 1910. Compiled by Butler’s sister, Mary +Butler, and dedicated to her great-nephew, Patrick Henry Cecil +Butler (son of her nephew, Henry Thomas Butler).</p> +<p class="gutbutlercomment">Referred to in the <i>Memoir</i> of +S. Butler. Given to me by Miss Butler.</p> +<p><!-- page 32--><a name="page32"></a><span class="pagenum">p. +32</span><span class="smcap">Butler, Samuel</span>, D.D. A +Sketch of Modern and Ancient Geography for the Use of +Schools. By Samuel Butler, D.D. A new edition revised +by the Rev. Thomas Butler, M.A., F.R.G.S. London, 1872.</p> +<p class="gutbutlercomment">Referred to in Butler’s <i>Life +of Dr. Butler</i> and also in the <i>Memoir</i> of Butler.</p> +<p><span class="smcap">Butler, Rev. Thomas</span>. See +Butler, Samuel, D.D.</p> +<p><span class="smcap">Clarke, Charles</span>. The +Beauclercs, Father and Son. By Charles Clarke. 3 +vols. London, 1867.</p> +<p class="gutbutlercomment">Referred to in Butler’s <i>Life +of Dr. Butler</i>, also in the <i>Memoir</i> of Butler, who saw +the book in the British Museum. I bought this copy +second-hand on an open-air bookstall in Paris.</p> +<p><span class="smcap">Drew, Mary</span>. Catherine +Gladstone. By her Daughter, Mary Drew. London, +1919.</p> +<p class="gutbutlercomment">With letter from the Authoress to H. +F. Jones, 20 Jan. 1920.</p> +<p><span class="smcap">Dudgeon, Robert Ellis</span>. +Colymbia. London, Trübner, 1873.</p> +<p class="gutbutlercomment">No author’s name is given, but +the author was Dr. Robert Ellis Dudgeon, the well-known +homoeopathic doctor and friend of Butler. Referred to in +the <i>Memoir</i> of Butler.</p> +<p><span class="smcap">Faesch, Hans Rudolf</span>. The +Easier Jahrbuch, 1906.</p> +<p class="gutbutlercomment">Containing Letters from the East by +Hans Rudolf Faesch, who is referred to in <i>The Note-Books of +Samuel Butter</i> and also in the <i>Memoir</i>.</p> +<p><span class="smcap">Fighting Man in Fiction, The</span>. +Woodville, N.Z. (1917?)</p> +<p class="gutbutlercomment">A New Zealand pamphlet with letter +from and photo of E. C. Chudleigh, who sent it to me and who knew +Butler in New Zealand.</p> +<p><span class="smcap">Francatelli, C. E</span>. The +Cook’s Guide. By Charles Elmé +Francatelli. London, 1865.</p> +<p class="gutbutlercomment">“I believe you could read +Francatelli right through from beginning to end without being +moved in the smallest degree.” Miss Savage to Butler +(1877). <i>Memoir</i> I. 246.</p> +<p><span class="smcap">Galloni, Pietro</span>. Sacro Monte +di Varallo. Atti di Fondazione. By Pietro +Galloni. Varallo, 1909.</p> +<p class="gutbutlercomment">With two post cards from Galloni to +H. F. Jones.</p> +<p><span class="smcap">Galloni, Pietro</span>. Sacro Monte +di Varallo. Origine e Svolgimento. By Pietro +Galloni. Varallo, 1914.</p> +<p class="gutbutlercomment">With two letters from Galloni and one +from R. A. Streatfeild to H. F. Jones.</p> +<p><!-- page 33--><a name="page33"></a><span class="pagenum">p. +33</span><span class="smcap">Grosvenor, The Hon. Mrs. Richard +Cecil</span>. Physical Exercises for Women and Girls. +By the Hon. Mrs. Richard Cecil Grosvenor. Additional +exercises, loose, accompanying. 1903.</p> +<p class="gutbutlercomment">She was formerly Mrs. Alfred Bovill, +daughter of Charles Clarke, the author of <i>The Beauclercs</i>, +<i>Father and Son</i> (see above). She is mentioned in +Butler’s <i>Life of Dr. Butler</i> and in the <i>Memoir</i> +of Butler.</p> +<p><span class="smcap">Helps, Arthur</span>. See Victoria, +Queen.</p> +<p><span class="smcap">Hering, Ewald</span>. Memory. +Lecture on the Specific Energies of the Nervous System, by +Professor Ewald Hering, University of Leipzig. English +translation. The Open Court Publishing Co., Chicago and +London, 1913.</p> +<p class="gutbutlercomment">Inscribed “H. Festing Jones, +with best wishes from John F. Harris, August 31, +1915.” Cf. Butler’s translation of the +Lecture on Memory in <i>Unconscious Memory</i>.</p> +<p><span class="smcap">Hutton, Frederick Wollaston</span>. +The Lesson of Evolution. By Frederick Wollaston Hutton, +F.R.S. 2nd ed. 1907.</p> +<p><span class="smcap">King, Rev. S. W.</span> The Italian +Valleys of the Pennine Alps. By the Rev. S. W. King. +London, 1858.</p> +<p class="gutbutlercomment">Referred to in <i>Ex Voto</i>. +Near the beginning of this book Mr. King speaks of +Varallo-Sesia.</p> +<p><span class="smcap">Larken, Edmund Paul</span>. The Pall +Mall Magazine, May 1897, with “The Priest’s +Bargain,” a story by E. P. Larken.</p> +<p class="gutbutlercomment">Butler gave Larken the plot for this +story. See <i>The Note-Books of Samuel Butler</i>, pp. +235-6.</p> +<p><span class="smcap">Le Dantec, Felix</span>. Lamarckiens +et Darwiniens. Par Félix Le Dantec. 3<sup>e</sup> +éd. Paris, 1908.</p> +<p><span class="smcap">Lytton, Edward, Lord</span>. The +Coming Race. London, 1886.</p> +<p class="gutbutlercomment">Referred to in the <i>Memoir</i> of +Butler.</p> +<p><span class="smcap">Notes and Queries</span>, 2 April +1892. Containing article, “Took’s Court and its +neighbourhood,” with plans and illustrations, including +Clifford’s Inn, Barnard’s Inn, and Staple Inn.</p> +<p><span class="smcap">Pall Mall Magazine, The</span>. See +Larken, E. P.</p> +<p><span class="smcap">Six</span> “<span class="smcap">Red +Rose</span>” <span class="smcap">Pamphlets</span>. +1913-1916.</p> +<p><span class="smcap">Reinheimer, Hermann</span>. +Symbiogenesis, the Universal Law of Progressive Evolution. +By Hermann Reinheimer. London, 1915.</p> +<p class="gutbutlercomment">See, especially, chap. +vii.—Psychogenesis.</p> +<p><!-- page 34--><a name="page34"></a><span class="pagenum">p. +34</span><span class="smcap">Russell, E. S.</span> Form and +Function. London, 1916.</p> +<p class="gutbutlercomment">Ch. xix—“Samuel Butler +and the Memory Theories of Heredity.”</p> +<p><span class="smcap">Salt, H. S.</span> Animal +Rights. London, 1894.</p> +<p class="gutbutlercomment">With MS. note by H. F. Jones.</p> +<p><span class="smcap">Sladen, Douglas</span>. Selinunte +and the West of Sicily. By Douglas Sladen. London, +1903.</p> +<p><span class="smcap">Smythe, William Henry</span>. Memoir +descriptive of the Resources, Inhabitants, and Hydrography of +Sicily and its Islands. By Captain William Henry Smythe, +R.N., K.S.F. London, Murray, 1824.</p> +<p><span class="smcap">Smythe, William Henry</span>. The +Mediterranean. By Rear-Admiral Wm. Henry Smythe, K.S.F., +D.C.L. London, Parker, 1854.</p> +<p class="gutbutlercomment">These two books by Admiral Smythe +were wanted for <i>The Authoress of the Odyssey</i>. Butler +saw them in the British Museum; I bought these copies.</p> +<p><span class="smcap">Tripp, Ellen S.</span> My Early +Days. By Ellen Shephard Tripp. Timaru, N.Z., Joyce, +1915.</p> +<p class="gutbutlercomment">With letter to H. F. Jones from +Leonard O. H. Tripp, of New Zealand.</p> +<p><span class="smcap">Victoria, H.M. Queen</span>. Leaves +from the Journal of our Life in the Highlands. Edited by +Arthur Helps. London, Smith, Elder and Co., 1868.</p> +<p><span class="smcap">Victoria, H.M. Queen</span>. More +Leaves from the Journal of a Life in the Highlands. London, +Smith, Elder and Co., 1884.</p> +<p class="gutbutlercomment">“Visit to Inveraray . . . and +after lunch we went into the large drawing-room next door to +where we had lunched in 1847, when Lorne was only two years +old. And now I return, alas! without my beloved husband, to +find Lorne my son-in-law!” This passage, which occurs +on page 291, is referred to, with a comment, by Miss Savage in a +letter to Butler, 18th Nov. 1884. (<i>Memoir</i> I. +429.)</p> +<p><span class="smcap">Ward, James</span>. Heredity and +Memory. By James Ward. Cambridge, 1913.</p> +<h2><!-- page 35--><a name="page35"></a><span class="pagenum">p. +35</span>V. BOOKS FORMERLY THE PROPERTY OF SAMUEL +BUTLER</h2> +<p><span class="smcap">Butler</span> wrote to Robert Bridges, 6 +Feb. 1900, “I have, I verily believe, the smallest library +of any man in London who is by way of being +literary.” (<i>Memoir</i>, II., 320.)</p> +<p>Cf. no. 9 in Section I. Pictures, “Interior of +Butler’s sitting-room,” where part of his library is +shown. The rest of his books were in a cupboard between his +sitting-room and his painting-room. They all passed under +the residuary bequest in his will to his nephew, Henry Thomas +Butler, who gave them to me. Some were taken by +Streatfeild, his literary executor, and some few were lost in +transitu; the remainder are here.</p> +<p><span class="smcap">Agar, T. L.</span> Emendationes +Homericae. [189-]</p> +<p class="gutbutlercomment">With notes by Butler.</p> +<p><span class="smcap">Allen, Grant</span>. Charles +Darwin. By Grant Allen. (English Worthies.) +London, 1885.</p> +<p class="gutbutlercomment">Butler was asked to review this, but +declined on the ground that there was too strong a personal +hostility between both Darwin and Grant Allen and himself to make +it possible for him to review the book without a bias against +it. (<i>Memoir</i>, II. 28.)</p> +<p><span class="smcap">Anderson, W. C. F.</span> See +Engelman, R.</p> +<p><span class="smcap">Bettany, G. T.</span> The Life of +Charles Darwin. (Great Writers.) London, 1887.</p> +<p><span class="smcap">Bible, The Holy</span>. Oxford, +1836.</p> +<p class="gutbutlercomment">Inscribed “Samuel Butler, from +his affectionate Godmother and Aunt Anna Worsley, September 13th, +1836.” So that he was not christened till he was more +than nine months old, and he used to say that this delay was a +risky business, because during all those months the devil had the +run of him. He imitated the inscription in this Bible for +the inscription in the christening Bible which Ernest spurns from +him when he is about to undertake the conversion of Miss Maitland +in chapter lx. of <i>The Way of All Flesh</i>. But he +imitated it too closely for he wrote, “It was the Bible +given him at his christening by his affectionate Godmother and +Aunt, Elizabeth Allaby.” Whereas Ernest only had one +godmother, and she was Alethea, the sister of Theobald. +Anna Worsley was a sister of Butler’s mother, and Elizabeth +Allaby was a sister of Ernest’s mother.</p> +<p><!-- page 36--><a name="page36"></a><span class="pagenum">p. +36</span><span class="smcap">Bible</span>. New Testament in +Greek. Oxford, 1851.</p> +<p class="gutbutlercomment">Two copies, with very numerous MS. +notes by Butler. Given to St. John’s College some +years ago.</p> +<p><span class="smcap">Bordiga, Gaudenzio</span>. Notizie +intorno alle opere di Gaudenzio Ferrari. Milano, 1821.</p> +<p class="gutbutlercomment">Used by Butler in writing <i>Ex +Voto</i>.</p> +<p><span class="smcap">Boswell, James</span>. +Croker’s Boswell’s Johnson. New edition. +London, 1860.</p> +<p class="gutbutlercomment">Pencil marks by Butler.</p> +<p><span class="smcap">Bridges, Robert</span>. Poetical +Works of Robert Bridges. 2 vols. London, 1898.</p> +<p class="gutbutlercomment">Butler and Bridges corresponded about +the Sonnets of Shakespeare and the Odyssey and exchanged examples +of their published works. (See the <i>Memoir</i>.)</p> +<p><span class="smcap">Buckley, Theodore Alois</span>. The +Iliad of Homer and the Odyssey of Homer. Translated by +Theodore Alois Buckley. (Bonn’s Classical +Library.) 2 vols. 1872-3.</p> +<p><span class="smcap">Burke, Edmund</span>. Reflections on +the Revolution in France. By Edmund Burke. London, +Daly [18--].</p> +<p><span class="smcap">Candler, C.</span> The Prevention of +Consumption. By C. Candler. London, 1887.</p> +<p class="gutbutlercomment">Inscribed “Samuel Butler, Esq., +with the Author’s compliments.”</p> +<p><span class="smcap">Carlyle, Thomas</span>. Oliver +Cromwell’s Letters and Speeches. By Thomas +Carlyle. 3 vols. London, 1857.</p> +<p><span class="smcap">Colborne-Veel, Mary</span>. The +Fairest of the Angels and Other Verse. By Mary +Colborne-Veel. London, 1894.</p> +<p class="gutbutlercomment">Given to Butler by the Authoress, who +is the daughter of J. Colborne-Veel, formerly editor of <i>The +Press</i>, Christchurch, New Zealand. Miss Colborne-Veel +found Butler’s “Philosophic Dialogue” in <i>The +Press</i> of 20 Dec. 1862. (See the <i>Memoir</i>, I. +100.)</p> +<p><span class="smcap">Creighton, Charles</span>. +Illustrations of Unconscious Memory in Disease. By Charles +Creighton. London, 1886.</p> +<p class="gutbutlercomment">Inscribed “To Samuel Butler +from the author, February, 1888.”</p> +<p><span class="smcap">Cruveilhier, J. C.</span> Atlas of +the Descriptive Anatomy of the Human Body. By J. C. +Cruveilhier. London, 1844.</p> +<p><span class="smcap">Dallas, W. S.</span> See Darwin, +Charles.</p> +<p><!-- page 37--><a name="page37"></a><span class="pagenum">p. +37</span><span class="smcap">Daly, Ch.</span> See +Shakespeare.</p> +<p><span class="smcap">Daniel, P. A.</span> Notes and +Conjectural Emendations of certain Doubtful Passages in +Shakespeare’s Plays. By P. A. Daniel. London, +1870.</p> +<p class="gutbutlercomment">Inscribed “S. Butler from his +friend the Author.”</p> +<p><span class="smcap">Darwin, Charles</span>. The Origin +of Species. By Charles Darwin. First Edition. +London, 1859.</p> +<p class="gutbutlercomment">“From the Author.” +With MS. notes and marks by Samuel Butler.</p> +<p><span class="smcap">Darwin, Charles</span>. The Origin +of Species. By Charles Darwin Sixth Edition (18th +thousand), with additions and corrections to 1872. London, +1876.</p> +<p class="gutbutlercomment">With MS. notes and marks by Samuel +Butler. Butler bought this in order to compare it with the +original edition.</p> +<p><span class="smcap">Darwin, Charles</span>. The +Expression of the Emotions in Man and Animals. By Charles +Darwin. London, 1872.</p> +<p class="gutbutlercomment">Inscribed “From the +Author.” Butler procured for Mr. Darwin the two +illustrations by Mr. A. May, pp. 54-5. (See the +<i>Memoir</i>.)</p> +<p><span class="smcap">Darwin, Charles</span>. The +Variation of Animals and Plants under Domestication. By +Charles Darwin. Second edition. 2 vols. London, +1875.</p> +<p><span class="smcap">Darwin, Charles</span>. Erasmus +Darwin. By Ernst Krause. Translated from the German +by W. S. Dallas, with a preliminary notice by Charles +Darwin. First edition. London, 1879.</p> +<p class="gutbutlercomment">This book is referred to in chapter +iv. of <i>Unconscious Memory</i>; also in my pamphlet, +“Charles Darwin and Samuel Butler: a Step towards +Reconciliation”; also in the <i>Memoir</i>.</p> +<p><span class="smcap">Darwin, Charles</span>. The Life of +Erasmus Darwin. By Charles Darwin. Being an +introduction to an Essay on his Scientific Works by Ernst Krause, +translated from the German by W. S. Dallas. Second +edition. London, 1887.</p> +<p class="gutbutlercomment">Pencil note by Butler, p. 4. +“Second Edition” means second edition of the +preceding book which is called “Erasmus Darwin,” that +is, the title was altered. In the first book precedence is +given to Krause’s Life of Erasmus Darwin, in the second +precedence is given to Charles Darwin’s introduction.</p> +<p><span class="smcap">Davies, John Llewelyn</span>. See +Plato.</p> +<p><span class="smcap">Dictys Cretensis</span>. (Teubner +Classics.) Leipzig.</p> +<p><!-- page 38--><a name="page38"></a><span class="pagenum">p. +38</span><span class="smcap">Dudgeon, Robert Ellis</span>. +The Prolongation of Life. By R. E. Dudgeon, M.D. +Second edition. London, 1900.</p> +<p class="gutbutlercomment">Given by Dr. Dudgeon either to Butler +or to me after Butler’s death, I forget which.</p> +<p><span class="smcap">Duncan, W. Stewart</span>. Conscious +Matter. By W. Stewart Duncan. London, 1881.</p> +<p><span class="smcap">Elements, The</span>, of Social Science; +or, Physical, Sexual, and Natural Religion. By a Graduate +of Medicine. Third edition. London, 1860.</p> +<p class="gutbutlercomment">I have no doubt that Butler was +directed to this book by Dr. Dudgeon.</p> +<p><span class="smcap">Emslie, John Philipps</span>. New +Canterbury Tales. By John Philipps Emslie. London +[1887].</p> +<p><span class="smcap">Engelman</span> and <span +class="smcap">Anderson</span>. Pictorial Atlas to +Homer’s Iliad and Odyssey. London, 1892. +Thirty-six Plates by R. Engelman and W. C. F. Anderson.</p> +<p><span class="smcap">Epicorum Graecorum Fragmenta</span>. +(Teubner Classics.) Leipzig.</p> +<p><span class="smcap">Garnett, Richard</span>. +Poems. By Richard Garnett. London, 1895.</p> +<p class="gutbutlercomment">Inscribed “Samuel Butler, with +R. Garnett’s very kind regards. December, +1893.”</p> +<p><span class="smcap">Garnett, Richard</span>. Edward +Gibbon Wakefield. By R. Garnett, C.B., LL.D. London, +1898.</p> +<p class="gutbutlercomment">Inscribed “From the +Author.”</p> +<p><span class="smcap">Garnett, Richard</span>. The Life of +Thomas Carlyle. By Richard Garnett. London, 1887.</p> +<p class="gutbutlercomment">Inscribed “Samuel Butler from +Richard Garnett.”</p> +<p><span class="smcap">Garnett, Richard</span>. Dante, +Petrarch, Camoens. <span class="smcap">cxxiv</span>. +Sonnets translated by Richard Garnett, LL.D. London, +1896.</p> +<p class="gutbutlercomment">Inscribed “Samuel Butler, from +R. Garnett.”</p> +<p><span class="smcap">Goethe</span>. Wilhelm +Meister’s Apprenticeship. Translated. 2 +vols. Leipzig, 1873.</p> +<p><span class="smcap">Hesiod</span>. (Teubner +Classics.) Leipzig.</p> +<p><span class="smcap">Homer</span>. Iliad and +Odyssey. 2 vols. London, Pickering, 1831.</p> +<p class="gutbutlercomment">With numerous MS. notes by +Butler. Given to St. John’s College some years +ago.</p> +<p><span class="smcap">Homer</span>. Iliad and +Odyssey. 4 vols. [18--]</p> +<p class="gutbutlercomment">Interleaved and profusely adnotated +by Butler.</p> +<p><!-- page 39--><a name="page39"></a><span class="pagenum">p. +39</span><span class="smcap">Homer</span>. Iliad, Odyssey, +and Hymns. (Teubner Classics.) Leipzig.</p> +<p><span class="smcap">Homer</span>. See Buckley, Theodore +Alois.</p> +<p><span class="smcap">Jebb, Sir R. C.</span> Introduction +to Homer. Third edition. London, 1888. +<i>Also</i> a copy with a few MS. notes by Butler.</p> +<p><span class="smcap">Jesus of History, The</span>. +London, 1869.</p> +<p class="gutbutlercomment">Used by Butler in preparing <i>The +Fair Haven</i>.</p> +<p><span class="smcap">Krause, Ernst</span>. See Darwin, +Charles.</p> +<p><span class="smcap">Lamarck</span>. Philosophie +Zoologique. Nouvelle édition par Ch. Martins. +2 vols. Paris, 1873.</p> +<p class="gutbutlercomment">Used by Butler in preparing +<i>Evolution Old and New</i>.</p> +<p><span class="smcap">Laurentius</span>. The Miocene Men +of the Bible. By Laurentius. London, 1889.</p> +<p><span class="smcap">Locke, John</span>. An Essay +concerning Human Understanding. By John Locke. 2 +vols. London, 1824.</p> +<p><span class="smcap">Malone, E.</span> See +Shakespeare.</p> +<p><span class="smcap">Mendelssohn-Bartholdy, Felix</span>. +Letters from Italy and Switzerland. By Felix +Mendelssohn-Bartholdy. Translated by Lady Wallace. +London, 1862.</p> +<p class="gutbutlercomment">See p. 37 about Mendelssohn’s +staying such a long while before things in <i>Alps and +Sanctuaries</i>, ch. ii.</p> +<p><span class="smcap">Milton, John</span>. The Prose Works +of John Milton. Only Vol. III., containing “The +Doctrine and Discipline of Divorce.” (Bohn.) +London, 1872.</p> +<p class="gutbutlercomment">Referred to in <i>The Way of All +Flesh</i>, when Theobald and Christina drive away together after +their marriage. And cf. <i>Life and Habit</i>, ch. ii., +where, after quoting from a journal an extract about Lycurgus, +Butler proceeds: “Yet this truly comic paper does not +probably know that it is comic, any more than the kleptomaniac +knows that he steals, or than John Milton knew that he was a +humorist when he wrote a hymn upon the Circumcision and spent his +honeymoon in composing a treatise on Divorce.”</p> +<p><span class="smcap">Mivart, St. George</span>. On the +Genesis of Species. By St. George Mivart. Second +edition. London, 1871.</p> +<p class="gutbutlercomment">Used by Butler in preparing his books +on evolution.</p> +<p><!-- page 40--><a name="page40"></a><span class="pagenum">p. +40</span><span class="smcap">Paley, William</span>. Natural +Theology or Evidences of the Existence and Attributes of the +Deity. By William Paley, D.D. New edition. +London, 1837.</p> +<p><span class="smcap">Paley, William</span>. A View of the +Evidences of Christianity. By William Paley, D.D. New +edition by T. R. Birks. London [18--].</p> +<p><span class="smcap">Piers Ploughman</span>. The Vision +and Creed of Piers Ploughman. Edited by Thomas +Wright. 2 vols. London, 1887.</p> +<p class="gutbutlercomment">Butler bought this to help him to +make up his mind as to the limits of permissible archaism in +translating the Odyssey and the Iliad.</p> +<p><span class="smcap">Pilkington, Matthew</span>. A +General Dictionary of Painters. By Matthew +Pilkington. 2 vols. London, 1829.</p> +<p><span class="smcap">Plato</span>. The Republic of +Plato. Translated by John Llewelyn Davies and David James +Vaughan. Cambridge, 1852.</p> +<p class="gutbutlercomment">H. F. Jones to Butler from the Hotel +dell’Angelo, Faido, in 1883: “The signora has given +me No. 4, the room into which you came one morning, more than +five years ago, and said, ‘Oh, you’ve been reading +that damned Republic again!’” <i>Memoir</i>, I. +395.</p> +<p><span class="smcap">Rigaud, John Francis</span>. See +Vinci, Leonardo da.</p> +<p><span class="smcap">Rockstro, W. S.</span> The Rules of +Counterpoint. By W. S. Rockstro. London [1882].</p> +<p class="gutbutlercomment">Out of which Butler used to do his +counterpoint exercises.</p> +<p><span class="smcap">Rossetti, William Michael</span>. +See Webster, Augusta.</p> +<p><span class="smcap">Schoelcher, Victor</span>. The Life +of Handel. By Victor Schoelcher. London, 1857.</p> +<p class="gutbutlercomment">Referred to in the <i>Memoir</i> of +Butler.</p> +<p><span class="smcap">Shakespeare, William</span>. The +Poems of William Shakespeare. London, Daly [18--].</p> +<p><span class="smcap">Shakespeare, William</span>. +Shakespeare’s Poems. Malone. 1780.</p> +<p class="gutbutlercomment">This is part of Vol. I. of +Malone’s “Supplement to the Edition of +Shakespeare’s Plays published in 1778 by Samuel Johnson and +George Steevens.” I do not know where Butler got it; +he wanted Malone’s comments on the Sonnets and he may have +bought this second-hand or it may have been given to him. +It was probably in a bad state, for he had it bound; there is an +entry to that effect in his account book, 30th March, 1899.</p> +<p><span class="smcap">Skertchly, Sydney B. J.</span> See +Tylor, Alfred.</p> +<p><!-- page 41--><a name="page41"></a><span class="pagenum">p. +41</span><span class="smcap">Stanley, Arthur +Penrhyn</span>. The Life and Correspondence of Thomas +Arnold, D.D. By Arthur Penrhyn Stanley. Seventh +edition. London, 1852.</p> +<p class="gutbutlercomment">Butler bought this when he was +writing the Life of his Grandfather, because he was told that it +was a model biography of a great schoolmaster.</p> +<p><span class="smcap">Strauss, Friedrich</span>. A New +Life of Jesus. By Friedrich Strauss. Authorised +translation. 2 vols. London, 1865.</p> +<p class="gutbutlercomment">Used by Butler in preparing <i>The +Fair Haven</i>.</p> +<p><span class="smcap">Swift, Jonathan</span>. The Works of +Jonathan Swift. 2 vols. London, 1859.</p> +<p class="gutbutlercomment">With pencil marks by Butler.</p> +<p><span class="smcap">Tylor, Alfred</span>. Colouration in +Plants and Animals. By Alfred Tylor. Edited by Sydney +B. J. Skertchly. London, 1886.</p> +<p class="gutbutlercomment">Alfred Tylor was a friend of Butler, +and is referred to in my <i>Memoir</i>.</p> +<p><span class="smcap">Tylor, Alfred</span>. On the Growth +of Trees and Protoplasmic Continuity. By Alfred +Tylor. London, 1886.</p> +<p class="gutbutlercomment">This was originally a lecture read by +Skertchly to the Linnean Society, Mr. Tylor being too ill to +attend. Butler was present and spoke. Referred to in +the <i>Memoir</i>.</p> +<p><span class="smcap">Vaughan, David James</span>. See +Plato.</p> +<p><span class="smcap">Vinci, Leonardo da</span>. A +Treatise on Painting. By Leonardo da Vinci. +Translated by John Francis Rigaud. London, 1835.</p> +<p><span class="smcap">Webster, Augusta</span>. Mother and +Daughter. By the late Augusta Webster. London, +1895.</p> +<p class="gutbutlercomment">With an Introductory Note by Wm. +Michael Rossetti. Inscribed, “Samuel Butler, with +kind regards from Thomas Webster.” Augusta Webster is +referred to in the <i>Memoir</i>.</p> +<p><span class="smcap">White, William</span>. The Story of +a Great Delusion. By William White. London, 1885.</p> +<p><span class="smcap">Wilberforce, Samuel</span>. Agathos +and other Sunday Stories. By Samuel Wilberforce, M.A., +Archdeacon of Surrey. Nineteenth edition. London, +1857.</p> +<p><span class="smcap">Wright, Thomas</span>. See Piers +Ploughman.</p> +<h2><!-- page 42--><a name="page42"></a><span class="pagenum">p. +42</span>VI. ATLASES AND MAPS<br /> +FORMERLY THE PROPERTY OF SAMUEL BUTLER</h2> +<p>Some of the maps are marked with red lines showing, in the +words of another illustrious Johnian, “fields invested with +purpureal gleams.” These red lines, specially +noticeable in Butler’s ordnance maps of the neighbourhood +within thirty miles round London, denote his country walks, and +are referred to in his Introduction to <i>Alps and +Sanctuaries</i>.</p> +<p><span class="smcap">Butler, Samuel, D.D.</span> An Atlas +of Modern Geography for the use of Young Persons and Junior +Classes in Schools. Selected from Dr. Butler’s +“Modern Atlas,” by the Author’s son, the Rev. +T. Butler, Rector of Langar. London, 1870. +<i>Also</i> an edition inscribed, “Samuel Butler, October +20th, 1850”; and an edition of Dr. Butler’s +“Atlas of Antient Geography.”</p> +<p>Environs of London, North side (eastern half missing).</p> +<p>Environs of London, South side—Sevenoaks, Tonbridge, +Maidstone.</p> +<p class="gutbutlercomment">There is something wrong; one piece +is much dirtier than the other; the two do not belong to one +another. The dirty one is inscribed, almost illegibly, +thus: “S. Butler, 15, Clifford’s Inn, Fleet Street, +London, E.G. Please return to the above address. The +finder, if poor, will be rewarded; if rich, thanked.” +May be he did lose one half, and it was not returned, and he +bought another.</p> +<p>Environs of London (Surrey).</p> +<p>Environs of London (Sussex).</p> +<p>Brighton and Environs (reduced Ordnance).</p> +<p>Chatham (near) to Romney Marsh (in two parts).</p> +<p>France (part of) and Channel Islands.</p> +<p>Boulogne }</p> +<p>Dieppe }</p> +<p>Dieppe } Mounted, and all in one envelope.</p> +<p>Canton Uri }</p> +<p>Tuscany }</p> +<p><!-- page 43--><a name="page43"></a><span class="pagenum">p. +43</span>Canton Ticino.</p> +<p>Provincia di Torino.</p> +<p>The Val Leventina, 1681.</p> +<p>Trapani, Monte S. Giuliano and neighbourhood, in two +sheets.</p> +<p>Trapani (Ordnance).</p> +<p>Ithaca and Corfu (three sheets).</p> +<p>An envelope containing maps and plans relating to +Butler’s Run, Mesopotamia, New Zealand.</p> +<h2><!-- page 44--><a name="page44"></a><span class="pagenum">p. +44</span>VII. MUSIC<br /> +FORMERLY THE PROPERTY OF SAMUEL BUTLER</h2> +<p>These volumes contain many pencil notes, exclamations, and +marks by Butler. xxx means very great admiration; xx +moderate admiration; x slight admiration.</p> +<p><span class="smcap">Handel’s Oratorios</span> in +Novello’s octavo edition:—</p> +<p>Acis and Galatea.</p> +<p>Alceste.</p> +<p>Alexander Balus.</p> +<p>Athaliah.</p> +<p>Belshazzar.</p> +<p>Chandos Te Deum and St. Cecilia’s Day.</p> +<p>Deborah.</p> +<p>Dettingen Te Deum.</p> +<p>Israel in Egypt.</p> +<p>Jephtha.</p> +<p>Joshua.</p> +<p>Miscellaneous.</p> +<p>Occasional Oratorio.</p> +<p>The Passion.</p> +<p>Samson.</p> +<p>Selections.</p> +<p>Semele.</p> +<p>Solomon.</p> +<p>Susanna.</p> +<p>Theodora.</p> +<p>Time and Truth.</p> +<p><!-- page 45--><a name="page45"></a><span class="pagenum">p. +45</span><span class="smcap">Handel’s</span> 16 <span +class="smcap">Suites, Trois Leçons, Chaconne, Sept +Pièces, Six Grandes Fugues</span> (p. 118. Note in +Butler’s writing at no. 6, “This is the ‘Old +Man’ Fugue”; cf. the <i>Memoir</i> of Butler), and +<span class="smcap">Six Petites Fugues</span>.</p> +<p><span class="smcap">Twelve Grand Concertos</span>. By G. +F. Handel. Pencil marks by Butler, <i>e.g.</i> p. 27, +“xxx the whole of this concerto”; and by Butler and +Jones, <i>e.g.</i> p. 88, “cf. Sarabande Suite, xvi. (Set +2, no. 8)” (so far by Jones and the rest is by Butler), +“cf. ‘When Myra Sings,’ Clarke’s +‘Beauties of Purcell,’ pp. 124-5.”</p> +<p>A volume containing <span class="smcap">Concertos</span> by +Handel and Hasse and <span class="smcap">Six Overtures</span> by +Handel. Two papers pasted in; one printed with verses, the +other MS. with “Upbraid me not, capricious +fair.” This was set to music by H. F. Jones, and at +that time we were told, through <i>Notes and Queries</i>, that +the words were by Alexander Brome.</p> +<p>A volume inscribed “15, Clifford’s Inn, Fleet +Street, E.G.” containing <span class="smcap">Arrangements +of Handel</span>, by Wm. Hutchins Callcott; <span +class="smcap">Handel’s Hautboy Concertos</span>, Nos. 2, 4 +and 5; Eight of his <span class="smcap">Suites</span>; his <span +class="smcap">Concertante</span>; his <span class="smcap">Six +Organ Concertos</span>; a <span class="smcap">Fantasia</span>; +his <span class="smcap">Water Music</span>, and <span +class="smcap">Two Minuets</span> by Geminiani.</p> +<p>A volume containing <span class="smcap">Handel’s +Coronation Anthem</span>; <span class="smcap">Acis and +Galatea</span>; an <span class="smcap">Oratorio</span> with no +title or composer’s name, the first song being “Tune +your Harps to Chearful Strain”; the <span +class="smcap">Overture, Songs, Duets</span> and <span +class="smcap">Trio</span> in “Comus” by Dr. Arne; and +<span class="smcap">The Blackbirds</span>, a Cantata by M. +Isaac.</p> +<p>A volume with “Miss E. Parkes” on a label outside; +inscribed, “Samuel Butler, with the love of his Aunt, Ellen +Worsley, January 2nd, 1865”; containing Corelli’s +Sonatas and Concertos, “Thorough-Bass,” by M. P. +King, and a few of Handel’s Overtures. Pencil marks +by Butler.</p> +<p>A volume containing <span +class="smcap">L’Indispensable</span> (a Manual for +performers on the Pianoforte); <span class="smcap">Melodies of +all Nations, English Airs</span>, and various pieces by Handel, +Bach and others.</p> +<p><!-- page 46--><a name="page46"></a><span class="pagenum">p. +46</span>Two Portfolios containing unbound music by Handel and +others, including the <span class="smcap">Six Fugues</span>, of +which no. 6 in C Minor is the “Old Man” Fugue.</p> +<p><span class="smcap">The Handel Album for the +Pianoforte</span>. Arranged by William Hutchins +Callcott.</p> +<p><span class="smcap">Handel’s Concertos and +Roseingrave’s Suites</span>. Walsh’s +edition. Inscribed, “To S. Butler, with kind regards +from Julian Marshall, June 20, 1873.”</p> +<p><span class="smcap">The Fitzwilliam Virginal +Book</span>. Ed. by Fuller Maitland and Barclay +Squire. Butler subscribed for this at the instigation of +Fuller Maitland. He had the parts bound and gave the +volumes to me.</p> +<p><span class="smcap">The Beauties of Purcell</span> (John +Clarke), inscribed “S. Butler.”</p> +<p><span class="smcap">The Well-Tempered Clavichord</span>. +By John Sebastian Bach. (Czerny).</p> +<p>371 <span class="smcap">Vierstimmige Choralgesänge von +Johann Sebastian Bach</span>.</p> +<p><span class="smcap">Lieder Ohne Worte</span>. 6 books, +by Mendelssohn.</p> +<p><span class="smcap">A Musical MS. Scrap-book</span>, +containing Notes of Rockstro’s lessons; also pieces copied +by Butler, including some composed by him for Alfred to +learn.</p> +<h2><!-- page 47--><a name="page47"></a><span class="pagenum">p. +47</span>VIII. MISCELLANEOUS PAPERS<br /> +FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER</h2> +<p>Thomas Harris, of Shrewsbury.</p> +<p class="gutbutlercomment">Butler when a boy was amused by the +advertisement put up over his shop by this man, who was a +baker. He copied or invented the two pictures showing +Harris (1) making bride cakes, (2) making funeral cakes, and +composed the music. Miss Butler showed it to me at +Shrewsbury in June or July, 1902, and I copied it.</p> +<p>MS. copies of “The New Scriptures,” according to +Darwin, Tyndall, Huxley and Spencer.</p> +<p class="gutbutlercomment">The first twenty-four verses of this +appeared in an American paper (the <i>Index</i>, if I remember +right) many years ago. They were given to me by Herbert +Phipson; I showed them to Butler; he copied them and composed +verses 25 to 33.</p> +<p>Testimonials by Eyre Crowe, A.R.A.; G. K. Fortescue; R. +Garnett, LL.D.; A. C. Gow, A.R.A.; T. Heatherley; the Rev. B. H. +Kennedy, D.D.; Henry Stacy Marks, R.A.; and W. T. Marriott, M.P., +submitted by Butler in 1886 when a Candidate for the Slade +Professorship of Fine Art at Cambridge.</p> +<p>Two numbers of the Parish Magazine of St. Augustine’s, +Kilburn, Mar. 1887 and April 1887.</p> +<p class="gutbutlercomment">Between pp. 80 and 81 of the March +number are unsuitable advertisements of Pears’ Soap +involving the Bishop Q of Wangaloo and Lillie Langtry. +Their appearance drew from the Editor, pp. 97 and 112 of the +April number, an expression of regret, distress, and surprise, +and a statement that precautions had been taken against any +occurrence of a similar nature in future. If I remember +right Miss Savage sent these to Butler and they are referred to +in their correspondence, but perhaps not in any of the letters +included in the <i>Memoir</i>.</p> +<p>Review of “Luck or Cunning?” written by George +Bernard Shaw, which appeared in the <i>Pall Mall Gazette</i>, +31st May, 1887.</p> +<p class="gutbutlercomment">This was given to me by Dan Rider, +who told me that Bernard Shaw’s original review, which he +wrote off his own bat, was very much more laudatory and much +longer, but the Editor of the <i>Pall Mall Gazette</i> cut it +down in length and took out some of the praise because he was +afraid of offending the Darwins and their friends.</p> +<p><!-- page 48--><a name="page48"></a><span class="pagenum">p. +48</span>A collection of Butler’s Letters to the +<i>Athenæum</i> and the <i>Academy</i> and other +contributions to the press. See the <i>Memoir</i>.</p> +<p>20 Marzo 1893. Nomination of Butler as Socio +Corrispondente of the Accademia di Scienze, Lettere, ed Arti +de’Zelanti di Aci-Reale.</p> +<p>4 Luglio 1893. Nomination of Butler as Socio +Corrispondente of the Accademia Dafnica di Scienze, Lettere, ed +Arti in Aci-Reale.</p> +<p>An envelope containing papers relating to Dr. Butler and to +Butler’s <i>Life</i> of him, which appeared in 1896.</p> +<p>Statement as to the position of the violinist Mademoiselle +Gabrielle Vaillant, May 1897.</p> +<p class="gutbutlercomment">She occurs in the +<i>Memoir</i>. She broke down, and a few hundred pounds +were raised to help her.</p> +<p>A collection of obituary notices of Butler. 1902.</p> +<p>Two collections of notices of Butler’s books, one made +by Butler, the other by Streatfeild.</p> +<p>Particulars and Conditions of Sale of such of Butler’s +houses near London as were sold after his death, Oct. 1902.</p> +<p>A parcel of newspapers, mostly <i>The Press</i> and <i>The +Weekly Press</i> of New Zealand, referring to Butler and to his +contributions to the New Zealand press. Some of his early +contributions are reprinted. See <i>A First Year in +Canterbury Settlement</i> (1914), Introduction.</p> +<p>A collection of letters and papers relating to the Erewhon +Dinners.</p> +<p>An envelope containing <i>pièces justificatives</i> in +connection with the “Diary of a Journey,” by H. F. +Jones. 1903.</p> +<p><i>The Cambridge Magazine</i> for 1 March 1913, containing +“Samuel Butler and the Simeonites,” by A. T. +Bartholomew. See <i>A First Year in Canterbury +Settlement</i> (1914), pp. 266-272.</p> +<p>Catalogue of the Butler Collection at St. John’s +College, Cambridge. Pts. 1-3. Extracted from <i>The +Eagle</i> for March and June 1918 and for June 1919. (No +more published in this form.)</p> +<p><!-- page 49--><a name="page49"></a><span class="pagenum">p. +49</span>Menu of Dinner given to Henry Festing Jones on the +completion of the <i>Memoir</i> of Butler, the hosts being +Mansfield Duval Forbes and A. T. Bartholomew, 11th Nov. 1916, in +Forbes’s rooms, Clare College, Cambridge. Each course +is illustrated by an appropriate quotation from the +<i>Memoir</i>.</p> +<p>Menu of Dinner given to Henry Festing Jones on the publication +of his <i>Memoir</i> of Butler by A. T. Bartholomew at the +University Arms Hotel, Cambridge, 22 Nov. 1919.</p> +<p>A collection of <i>pièces justificatives</i>, +permissions to print letters in the <i>Memoir</i> of Butler, and +the original MSS. of Reminiscences of Butler therein included by +Miss Aldrich, Rev. Cuthbert Creighton, the Hon. Mrs. Richard +Cecil Grosvenor, H. R. Robertson.</p> +<p>A collection of newspaper cuttings, being reviews and notices +of the <i>Memoir</i>.</p> +<p>A collection of letters received by H. F. Jones on the +publication of the <i>Memoir</i>.</p> +<h2><!-- page 50--><a name="page50"></a><span class="pagenum">p. +50</span>IX. PRINTS AND PHOTOGRAPHS<br /> +FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER</h2> +<p>An engraving of “The Fortune Teller,” by Sir +Joshua Reynolds.</p> +<p>An engraving of “The Woodman,” by +Gainsborough.</p> +<p>A print of a view of “Clifford’s Inn Hall from the +Garden.” 1800.</p> +<p>A paper about Clifford’s Inn, extracted from +“Picturesque Views and an Historical Account of the Inns of +Court,” by Samuel Ireland, published in the year 1800.</p> +<p>An envelope containing prints of the photograph of +Butler’s Fireplace, 15 Clifford’s Inn.</p> +<p>Six boxes of photographic negatives. Portraits and +Italian works of art.</p> +<p>Five volumes of prints of snap-shots by Butler.</p> +<p>Photographs illustrating Butler’s notions about the +Portraits of Gentile and Giovanni Bellini as to which he wrote to +the <i>Athenæum</i>, 20 Feb. 1886. (<i>Memoir</i>, +ch. xxv.)</p> +<p>Photographs to illustrate his notions about the Holbein +drawing, “La Danse,” dealt with in the article in the +<i>Universal Review</i>, “L’Affaire +Holbein-Rippel.” Together with various papers +relating to the same matter. This article was not +reproduced in <i>Essays on Life</i>, <i>Art and Science</i> +(afterwards <i>The Humour of Homer</i>) because of the trouble of +reproducing the illustrations, but it is among the <i>Universal +Review</i> articles bound together and included in this catalogue +(p. 19).</p> +<p>A print of the great statue of S. Carlo Borromeo, near Arona, +called “S. Carlone.”</p> +<p>A collection of photographs of Italian pictures, +unmounted.</p> +<p><!-- page 51--><a name="page51"></a><span class="pagenum">p. +51</span>Three large cards with photographs of the fresco by +Gaudenzio Ferrari which is in S. Maria delle Grazie at +Varallo-Sesia. It is in twenty-one compartments.</p> +<p>Two cards, not so large, with photographs of pictures and +frescoes by Gaudenzio. One of these reproduces frescoes and +pictures in the Crucifixion Chapel at Varallo. In the +left-hand bottom corner is the whole of the fresco in S. Maria +delle Grazie showing how the twenty-one compartments are +placed. The other card contains Gaudenzio’s frescoes +in the Church of S. Cristoforo at Vercelli.</p> +<p>A card with five photographs, two of the frescoes at Busto +Arsizio near Varese—at least, I think that is where they +are. One is “St. John Baptist’s head in a +charger,” the other “The baptism in the +Jordan.” Butler particularly liked the scratchings of +names and dates on the former. The other three photographs +are of pictures. The foregoing six cards (three, two and +one) used to hang framed in Butler’s chambers.</p> +<p>A woman in a black dress from Lima. Used by Butler to +make female heads for sale, but he was not successful.</p> +<p><i>The Weekly Press</i>, N.Z., 21st Mar. 1917. Page 26 +contains views of Butler’s homestead at Mesopotamia.</p> +<p>Two views of Butler’s homestead, Mesopotamia, New +Zealand, extracted from the <i>Press</i>.</p> +<p>A view of the ruins of Hagiar Chem (Haggiar Kim in Malta).</p> +<p>A card with five photographic views. Two are the Garden +at Langar. One is at Langar, Mrs. Barratt. Cf. +snapshot album, 891, p 27. The remaining two are huts or +whares in New Zealand, one being “Whare at Mount Peel +Station, Oct. 14.”</p> +<h2><!-- page 52--><a name="page52"></a><span class="pagenum">p. +52</span>X. PORTRAITS<br /> +FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER</h2> +<p style="text-align: center"> +<a href="images/p53b.jpg"> +<img alt="Samuel Butler when an undergraduate about 1858" +src="images/p53s.jpg" /> +</a></p> +<p>Butler’s Photograph Album.</p> +<p class="gutbutlercomment">I have written the names against +those portraits of whose identity I am certain. The cabinet +photograph of Canon Butler resembles the father in “Family +Prayers”; but Butler cannot have used this photograph, +which was done when Canon Butler was an old man, for a picture +painted in 1864.</p> +<p>Photographs of S. Butler:</p> +<p>(1) Soon after his return from New Zealand.</p> +<p>(2) 1866.</p> +<p>(3) Taken by Mrs. Bridges in the garden at Langar about +1866.</p> +<p>(4) His identification photograph at the Paris +Exhibition, 1867. 2 copies.</p> +<p>(5) At Milan about 1886.</p> +<p>(6) At 15 Clifford’s Inn, by Alfred, about +1888.</p> +<p>(7) At 15 Clifford’s Inn, by Alfred, about +1889.</p> +<p>(8) Taken at The Long House, Leatherhead, by Mr. +Pidgeon, about 1894.</p> +<p>(9) Taken by Russell in 1901. Given by Butler to +Streatfeild.</p> +<p>The Rev. T. Butler, of Wilderhope House, Shrewsbury, +Butler’s father.</p> +<p>Mrs. Butler, Butler’s mother.</p> +<p>Tom Butler, Butler’s brother.</p> +<p>Miss Eliza Mary Anne Savage.</p> +<p>Three photographs of Charles Paine Pauli, two on cards and one +on glass.</p> +<p class="gutbutlercomment">Butler kept the glass one on his +mantelpiece until Pauli’s death in 1897. Then he +removed it. He would have removed it earlier, but Pauli +came to his rooms to lunch three times a week, and would have +noticed its absence. For Pauli see the <i>Memoir</i>.</p> +<p>Hans Rudolf Faesch as a boy.</p> +<p><!-- page 53--><a name="page53"></a><span class="pagenum">p. +53</span>Hans Rudolf Faesch, taken by Butler in 1893.</p> +<p>Cavaliere Biagio Ingroja of Calatafimi.</p> +<p>Professore Alberto Giacalone-Patti of Trapani.</p> +<p>William Smith Rockstro, who used to teach Butler +counterpoint. See the <i>Memoir</i>. Taken by Butler +at 15 Clifford’s Inn, 10 Oct. 1890.</p> +<p>Charles Gogin }</p> +<p>Joseph Benwell Clark } All taken by Butler at 15 +Clifford’s Inn.</p> +<p>Edward James Jones }</p> +<p>An engraving of G. A. Paley and letter from Mr. Barton Hill +(on behalf of Henry Graves and Co.) to H. F. Jones identifying +the portrait.</p> +<p>A card with photographs of twelve of Butler’s College +friends.</p> +<h2><!-- page 54--><a name="page54"></a><span class="pagenum">p. +54</span>XI. EFFECTS<br /> +FORMERLY THE PERSONAL PROPERTY OF SAMUEL BUTLER</h2> +<p>One mahogany table with two flaps.</p> +<p class="gutbutlercomment">Butler used this table for his meals, +for his writing, and for all purposes to which a table can be +put. A corner of it covered with a red cloth is seen in the +picture of the interior of his room. See p. 4, no. 9.</p> +<p>Sandwich case.</p> +<p class="gutbutlercomment">This he took with him on his Sunday +walks and sketching excursions.</p> +<p>Passport.</p> +<p>Pocket magnifying glass.</p> +<p>Address book.</p> +<p>Homeopathic medicine case.</p> +<p class="gutbutlercomment">He always took this with him on his +travels.</p> +<p>Two account books, 1897-1900 and 1900-1902.</p> +<p class="gutbutlercomment">Butler destroyed his early account +books when he made the Skeleton Diary of his life which is in +Vol. III. of his MS. Note-Books. After his death the +remaining account books were destroyed except these two.</p> +<p>Books in which Butler used to keep his accounts by double +entry. The handwriting during the early years is +Butler’s, afterwards it is Alfred’s. Journal, +1895-1902; Cash Book, 1881-1899; Cash Book, 1899-1902; Union Bank +Book, 1881-1902; Ledger.</p> +<p>A set of books containing accounts for his published +works.</p> +<p>Two of the small note-books which after April 1882 Butler +always carried in his pocket and in which he made the notes +afterwards copied into his full-size MS. Note-Books.</p> +<p class="gutbutlercomment">Before 1882 he used some other kind +of pocket note-book. The first one he had of this kind was +sent to him by Miss Savage in a letter of 18th April, 1882, from +which the following is an extract; the words in square brackets +are a note by Butler on Miss Savage’s letter.</p> +<blockquote><p>“I send you a little present; the leaves +tear out, so that when you leave your note-book at the +“Food of Health” [I don’t remember ever <!-- +page 55--><a name="page55"></a><span class="pagenum">p. +55</span>going to the “Food of Health.” I do +not know the place. S. B.] or elsewhere, as you sometimes +have done, you will not lose so much, and then you can put the +torn leaves into one of the little drawers in your cabinet which +is just made for such documents.” (<i>Memoir</i>, I. +373.)</p> +</blockquote> +<p class="gutbutlercomment">The cabinet she refers to was one of +the two Japanese cabinets, the next items, which he had bought at +Neighbour’s grocery and tea-shop in Oxford Street, and +which she had seen in his rooms. He used to keep stamps in +them.</p> +<p>One small Japanese cabinet.</p> +<p>One larger Japanese cabinet.</p> +<p>Two pen trays.</p> +<p>One camera lucida with table (see the <i>Memoir</i>).</p> +<p>One round wood-carving: a female bust.</p> +<p>Two large dishes, German or Swiss, which stood on his +table.</p> +<p>One tin case holding pencils and brushes for water-colour +sketching.</p> +<p>One tin water-bottle for sketching. One sketching +camp-stool. One sketching portfolio. One water-colour +paint-box.</p> +<p>One sloping desk.</p> +<p class="gutbutlercomment">“I shoud explain that I cannot +write unless I have a sloping desk.” See +“Quis desiderio—” (<i>The Humour of +Homer</i>). This is the sloping desk on which he wrote in +Clifford’s Inn.</p> +<p>One pair of chamois horns given him by Dionigi Negri at +Varallo Sesia.</p> +<p>One handle and webbing in which he carried his books to and +from the British Museum.</p> +<p>A photograph showing one wall of Butler’s chambers in +Clifford’s Inn with the fireplace and accompanying sketch +plan.</p> +<p class="gutbutlercomment">Some of the pictures mentioned in +Section I. of this Catalogue can be identified, and also the +following nine items, which are on the mantelpiece or on the +wall. The two dolls (no. 9) were destroyed by Butler about +1898; the other eight objects are included in this collection at +St. John’s.</p> +<p>One pair of pewter candlesticks (1).</p> +<p><!-- page 56--><a name="page56"></a><span class="pagenum">p. +56</span>One bust of Handel (2).</p> +<p>One plate, which he called “Three Acres and a +Cow,” because it seems to be decorated in illustration of +that catch-word (3).</p> +<p>Two crockery holy water holders; only one is shown in the +photograph (4).</p> +<p>Three medallions under glass, representing, in some kind of +plaster, the Madonna di Oropa (5).</p> +<p>Three crockery examples of “the Virgin with Child” +(6).</p> +<p class="gutbutlercomment">One only is shown in the photo. +One of these is from Oropa where the Virgin and Child are both +black, see “A Medieval Girl-School” in <i>The Humour +of Homer</i>. These holy water holders and Madonnas are +some of the cheap religious knick-knacks which are sold at most +Italian Sanctuaries. We often brought back a few and gave +them away to Gogin, Alfred, Clark, and other friends.</p> +<p>Bag for pennies (7).</p> +<p>Miss Savage’s kettle-holder (8).</p> +<p class="gutbutlercomment">In Oct. 1884 (see the <i>Memoir</i>), +about four months before her death, Miss Savage sent Butler a +present of a pair of socks which she had knitted herself, and she +promised to make him some more. Butler gratefully accepted +her gift, but</p> +<blockquote><p>“As for doing me any more, I flatly forbid +it. I believe you don’t like my books, and want to +make me say I won’t give you any more if you make me any +more socks; and then you will make me some more in order not to +get the books. No, I will let you read my stupid books in +manuscript and help me that way. If you like to make me a +kettle-holder, you may, for I only have one just now, and I like +to have two because I always mislay one; but I won’t have +people working their fingers out to knit me stockings.”</p> +</blockquote> +<p class="gutbutlercomment"><i>Miss Savage to Butler</i>, +27<i>th</i> <i>Oct.</i> 1884: “Here is a +kettle-holder. And I can only say that a man who is equal +to the control of two kettle-holders fills me with awe, and I +shall begin to be afraid of you. . . . The kettle-holder is +very clumsy and ugly, but please to remember that I am not a +many-sided genius, and to expect me to excel in kettle-holders +<i>and</i> stockings is unreasonable. I take credit to +myself, however, for affixing a fetter to it, so that you may +chain it up if it is too much disposed to wander. My +expectation is that it is too thick for you to grasp the kettle +with, and the kettle will slip out of your hand and scald you +frightfully. I shall be sorry for you but you would have +it, so upon your own head be it.”</p> +<p class="gutbutlercomment"><i>Butler to Miss Savage</i>, +28<i>th</i> <i>Oct.</i> 1884: “The kettle-holder is +beautiful; it is like a filleted sole, and I am very fond of +filleted sole. It is not at all too thick, and fits my +kettle to perfection.”</p> +<p class="gutbutlercomment"><!-- page 57--><a +name="page57"></a><span class="pagenum">p. 57</span>The subject +is developed antiphonally between Miss Savage and Butler +throughout several letters, and near the close comes this note +made by Butler when “editing his remains” at the end +of his life:</p> +<p class="gutbutlercomment">“I need hardly say that the +kettle-holder hangs by its fetter on the wall beside my fire, and +is not allowed to be used by anyone but myself. S.B. +January 21st, 1902.”</p> +<p>Two small Dutch dolls (9)</p> +<p class="gutbutlercomment">Mr. Charles Archer Cook was at +Trinity Hall with me. He is mentioned in the <i>Memoir</i> +as having edited <i>The Athenæum</i> in October, 1885, +during the absence of MacColl, the editor. Butler and I +sometimes dined with him and met his brother, Mr. (afterwards +Sir) Edward T. Cook and his wife. Mr. and Mrs. E. T. Cook +came to tea with Butler, and Alfred was showing them round the +sitting room, while Butler was in his painting room, where he had +gone to look for something.</p> +<p class="gutbutlercomment">“These are the pictures which +the governor does when he is away,” said Alfred, “and +these are the photographs which he brings back with him and the +plates and images.”</p> +<p class="gutbutlercomment">“And please, Alfred, what are +these two little dolls among the pictures?”</p> +<p class="gutbutlercomment">“Oh, those, ma’am! +Those are ---.”</p> +<p class="gutbutlercomment">“Alfred!” exclaimed the +reproving voice of Butler, who although in the next room, had +overheard.</p> +<p class="gutbutlercomment">“Well, Sir,” replied +Alfred, “that’s what we always call them.”</p> +<p class="gutbutlercomment">Alfred was referring to a recent +divorce case in which the names of two ladies had been brought +prominently before the public, but Butler did not approve of the +names being blurted out in the presence of visitors.</p> +<p>A brass bowl which my brother Edward brought from India.</p> +<p class="gutbutlercomment">It always stood on my table in Staple +Inn, and Butler used it as an ash-tray and played with it and +liked the sound it made when he struck it. He also liked +its shape, and was pleased with it for not being “spoilt by +any silly ornament.” It is mentioned in the +<i>Memoir</i> (II. xliii.) when Miss Butler comes to my rooms +after Butler’s death.</p> +<p>A leather (or sham leather) cigarette case from Palermo (but, +I am afraid, made in Germany).</p> +<p class="gutbutlercomment">It contains a fragment of a Greek +vase picked up on Mount Eryx and given to Butler by Bruno +Flury. He was one of the young men who came about him in +1892 when he broke his foot on the mountain; he afterwards +settled in Pisa, where I saw him in 1901.</p> +<p>Two of the blue and white wine cups mentioned in <i>Alps and +Sanctuaries</i> (ch. xxii.; new ed., ch. xxiii.), “A Day at +the Cantine.”</p> +<p class="gutbutlercomment">“These little cups are common +crockery, but at the bottom there is written Viva Bacco, Viva +l’Italia, Viva la Gioia, Viva Venere or other <!-- page +58--><a name="page58"></a><span class="pagenum">p. 58</span>such +matter; they are to be had in every crockery shop throughout the +Mendrisiotto, and they are very pretty.”</p> +<p class="gutbutlercomment">The Viva is not written in full; it +is represented by a double V, which overlaps, so that it looks +like W, but the letter W is not used by the Italians, so there is +no chance of its being mistaken by them for anything but the +symbol meaning Viva.</p> +<p>A small horn and tortoiseshell snuff-box from Palermo.</p> +<p class="gutbutlercomment">It contains three coins wrapped in +paper and a piece of the pilgrim’s cross at +Varello-Sesia. The cross is mentioned somewhere in +Butler’s books as being of very hard wood, so hard that the +pilgrims have great difficulty in cutting pieces off it. So +had I in cutting off this bit.</p> +<p class="gutbutlercomment">The day after Butler’s death +Alfred came to me with the coins and said:</p> +<p class="gutbutlercomment">“I took these out of his +pockets, Sir; I thought you ought to have them.”</p> +<p>Butler’s watch and chain.</p> +<p class="gutbutlercomment">Butler used to possess his +grandfather’s gold watch and chain. He was robbed of +the watch in Hyde Park one night just before starting on one of +his journeys to Canada; he then bought this silver watch at +Benson’s, and, if I remember right, wore it with the gold +chain. He was robbed of the chain in Fetter Lane, Oct. 1893 +(<i>Memoir</i>, II. 167). He then bought a silver chain, +which, with the silver watch, passed under his will to +Alfred. Alfred wore them until 1919, when the watch was +declared by an expert to be beyond repair. I took it from +him, giving him in exchange the watch of my brother Charlie, who +had recently died.</p> +<p>The matchbox which Alfred gave to Butler.</p> +<p class="gutbutlercomment">When Alfred knew that I was handing +Butler’s watch and chain on to St. John’s College, he +said:</p> +<p class="gutbutlercomment">“And then, Sir, they had better +have this matchbox which I gave him.”</p> +<p class="gutbutlercomment">I looked at it and said, “Well, +but Alfred, how can that be? It is dated 1894, and he gave +your matchbox to the Turk in 1895.”</p> +<p class="gutbutlercomment">“I know he did, Sir; and when +he told me I was very angry and went out into Holborn and bought +this one and had it engraved same as the other.”</p> +<p class="gutbutlercomment">“With the old date?”</p> +<p class="gutbutlercomment">“Yes, Sir, just the same as the +one he gave to the Turk.” See the <i>Note-Books</i>, +p. 286.</p> +<h2><!-- page 59--><a name="page59"></a><span class="pagenum">p. +59</span>WORKS BY SAMUEL BUTLER.</h2> +<p>London: A. C. Fifield, 13, Clifford’s Inn, E.C. 4.</p> +<p><span class="smcap">A First Year in Canterbury +Settlement</span>. New Edition, with other early +essays. 7s. net.</p> +<p><span class="smcap">Erewhon</span>. 14th Impression of +Tenth Edition. 6s. net.</p> +<p><span class="smcap">The Fair Haven</span>. New +Edition. 7s. net.</p> +<p><span class="smcap">Life and Habit</span>. Third +Edition, with Addenda. 7s. net.</p> +<p><span class="smcap">Evolution Old and New</span>. Third +Edition, with Addenda. 7s. net.</p> +<p><span class="smcap">Unconscious Memory</span>. Third +Edition, with Introduction by Marcus Hartog. 8s. 6d. +net.</p> +<p><span class="smcap">Alps and Sanctuaries</span>. New and +enlarged Edition. Illustrated. 7s. 6d. net.</p> +<p><span class="smcap">Luck or Cunning?</span> Second +Edition, corrected. 8s. 6d. net.</p> +<p><span class="smcap">The Authoress of the Odyssey</span>. +Illustrated. Reprinting.</p> +<p><span class="smcap">The Iliad rendered into English +Prose</span>. 7s. net.</p> +<p><span class="smcap">Shakespeare’s Sonnets +Reconsidered</span>. 8s. 6d. net.</p> +<p><span class="smcap">The Odyssey rendered into English +Prose</span>. Illustrated. 8s. 6d. net.</p> +<p><span class="smcap">Erewhon Revisited</span>. 8th +Impression. 5s. net.</p> +<p><span class="smcap">The Way of All Flesh</span>. 12th +Impression of Second Edition. 7s. net.</p> +<p><span class="smcap">The Humour of Homer and Other +Essays</span>. With Portrait and Biographical Sketch of the +Author by H. F. Jones. 7s. net.</p> +<p><span class="smcap">God the Known And God the +Unknown</span>. 2s. 6d. net.</p> +<p><span class="smcap">The Notebooks of Samuel +Butler</span>. With Portrait. Ed. by H. F. +Jones. 5th Impression. 7s. net.</p> +<p><span class="smcap">Ex Voto</span>. Illustrated. +<i>To be reprinted</i>.</p> +<p><span class="smcap">Selections</span>. Arranged by S. +Butler. <i>Out of print</i>.</p> +<p><span class="smcap">The Life and Letters of Dr. Samuel +Butler</span>. 2 vols. Illustrated. <i>Out of +print</i>.</p> +<h2>WORKS BY HENRY FESTING JONES.</h2> +<p>London: A. C. Fifield.</p> +<p><span class="smcap">Diversions in Sicily</span>. 6s. +net.</p> +<p><span class="smcap">Castellinaria and Other Sicilian +Diversions</span>. 6s. net.</p> +<p><span class="smcap">Charles Darwin and Samuel +Butler</span>. A Step towards Reconciliation. 1s. +net.</p> +<p>London: Macmillan & Co.</p> +<p><span class="smcap">Samuel Butler</span>, Author of +“Erewhon.” A Memoir. 2 vols. +Illustrated. 42s. net.</p> +<p style="text-align: center">Printed by<br /> +W. Heffer & Sons Ltd., Cambridge.<br /> +England.</p> +<h2>Footnotes:</h2> +<p><a name="footnote8"></a><a href="#citation8" +class="footnote">[8]</a> Joanna Mills in <i>The Life and +Letters of Dr. Samuel Butler</i>, I. 90.</p> +<p>***END OF THE PROJECT GUTENBERG EBOOK THE SAMUEL BUTLER COLLECTION***</p> +<pre> + + +***** This file should be named 23558-h.htm or 23558-h.zip****** + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/2/3/5/5/23558 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Samuel Butler Collection + at Saint John's College Cambridge + + +Author: Henry Festing Jones + + + +Release Date: November 20, 2007 [eBook #23558] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK THE SAMUEL BUTLER COLLECTION*** + + +Transcribed by from the 1921 W. Heffer & Sons edition by David Price, +email ccx074@pglaf.org + +{Samuel Butler About 1866: p0.jpg} + + + + + +THE SAMUEL BUTLER COLLECTION +AT SAINT JOHN'S COLLEGE CAMBRIDGE + + +A Catalogue and a Commentary + +BY +HENRY FESTING JONES +AND +A. T. BARTHOLOMEW + +CAMBRIDGE +W. HEFFER & SONS LTD. +1921 + + It seems to me, the more I think of it, that the true life of anyone + is not the one they live in themselves, and of which they are + themselves conscious, but the life they live in the hearts of others. + Our bodies and brains are but the tools with which we work to make our + true life, which is not in the tool-box and tools we ignorantly + mistake for ourselves, but in the work we do with them; and this work, + if it be truly done, lives more in others than in ourselves. + +S. BUTLER, 1895. + +[THIS EDITION IS LIMITED TO 750 COPIES] + + + + +Preface + + +The Butler Collection was not all given to St. John's at once. I sent up +some pictures and some books in 1917; and at intervals I have sent more, +always keeping a list of what has gone. Now that I have no more to send +seems the proper time for a Catalogue to be issued, and it is made from +the lists which I kept, and which were in part printed in _The Eagle_, +put in order by A. T. Bartholomew and annotated by myself. I am +responsible for the notes and am the person intended when "I" and "me" +occur. Bartholomew is responsible for the classification, for verifying, +for checking, and for the bibliographical part. + +In time the collection will no doubt increase as new editions or +translations of Butler's books appear and as further books are published +referring to him. All such I intend to include in the collection; and I +hope that other Butlerians will see fit to make additions to it. + +I think that the notes give all necessary explanations; but I may perhaps +say here that many of the pictures were made before Butler contemplated +writing such a book as _Alps and Sanctuaries_. When he was preparing +that book he went to the places therein described and made on the spot +many black and white drawings for reproduction; but he found that this +method would take too long, so he made others of the black and white +drawings from oil and water-colour sketches which he had done previously, +and this is why some of the pictures are dated many years before the book +was published. + +Among the books, under _Alps and Sanctuaries_ (p. 18), is Streatfeild's +copy of that work; and under _The Way of All Flesh_ (p. 21) is his copy +of that book. Both these copies are said to have been "purchased." I +bought them from the dealer to whom Streatfeild sold them when his health +broke down and he moved from his rooms. I have no doubt that he would +have given them to me if I had asked for them, but he was not in a +condition to be troubled about business. + +St. John's College has contributed 30 pounds towards the expenses of +printing and publishing this catalogue. I offer them my most cordial +thanks for their generosity. I am also deeply indebted to them for +finding space in which to house the collection. I shrank from the +responsibility of keeping it myself. I remembered also that an +individual dies; even a family may become extinct; but St. John's +College, we hope, will enjoy as near an approach to immortality as can be +attained on this transient globe. I am sure that Butler would be pleased +if he could know that during that period this collection will be +preserved and will be accessible to all who wish to visit it. + +H. F. J. + +120, MAIDA VALE, W. 9, +_December_, 1920. + + + + +Contents + + +I. PICTURES, SKETCHES AND DRAWINGS BY OR RELATING TO SAMUEL BUTLER . . . +1 + +II. BOOKS AND MUSIC WRITTEN BY BUTLER . . . 15 + +III. BOOKS, ETC., ABOUT BUTLER . . . 24 + +IV. BOOKS, ETC., RELATING TO BUTLER AND HIS SUBJECTS . . . 28 + +V. BOOKS, FORMERLY THE PROPERTY OF SAMUEL BUTLER . . . 32 + +VI. ATLASES AND MAPS, FORMERLY THE PROPERTY OF SAMUEL BUTLER . . . 39 + +VII. MUSIC, FORMERLY THE PROPERTY OF SAMUEL BUTLER . . . 41 + +VIII. MISCELLANEOUS PAPERS, FORMERLY THE PROPERTY OF OR RELATING TO +SAMUEL BUTLER . . . 44 + +IX. PRINTS AND PHOTOGRAPHS, FORMERLY THE PROPERTY OF OR RELATING TO +SAMUEL BUTLER . . . 47 + +X. PORTRAITS, FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER . . . +49 + +XI. EFFECTS, FORMERLY THE PERSONAL PROPERTY OF SAMUEL BUTLER . . . 51 + + + + +Illustrations + + +SAMUEL BUTLER. ABOUT 1866 . . . _Frontispiece_ + +From a photograph taken by his sister, Mrs. Bridges, in the garden at +Langar soon after his return from New Zealand. + +FACSIMILE OF POST-CARD FROM S. BUTLER TO H. F. JONES, FLORENCE, SEPT. 3, +1892 . . . _face p._ 23 + +Butler was staying in Florence on his way home from his first visit to +Sicily. The old Greek painting referred to is reproduced as the +frontispiece to _The Authoress of the Odyssey_ (1897). Mlle. V. is Mlle. +Vaillant, as to whom see _the Memoir_. The "nose" belonged to the editor +of a Swiss paper whom I had met at Fusio. + +SAMUEL BUTLER WHEN AN UNDERGRADUATE AT CAMBRIDGE. ABOUT 1858 . . . _face +p._ 52 + +This is taken from a photographic group of Butler and three friends. The +friends are omitted, as I have failed to identify them. + + + + +I. PICTURES, SKETCHES AND DRAWINGS +BY OR RELATING TO SAMUEL BUTLER + + +By his will Butler bequeathed his pictures, sketches, and studies to his +executors to be destroyed or otherwise disposed of as they might think +best, the proceeds (if any) to fall into residue. They were not sold: +some were given to Shrewsbury School; some to the British Museum; one, an +unfinished sketch of the back of the house in which Keats died on the +Piazza di Spagna, Rome, to the Keats and Shelley Memorial there; many +were distributed among his friends, Alfred Cathie taking fifteen and I +taking all that were left over. Alfred lives in Canal Road, Mile End, +and, this being on the route of the German air-raids, he was anxious to +put his pictures in a place of safety. Accordingly it was arranged +between us in 1917 that I should buy them from him. When he heard that I +was giving them to St. John's, he desired that I should not buy all, +because he wished to give two of them himself to the College. +Accordingly, I bought only thirteen, and the remaining two, viz. no. 28, +Leatherhead Church, and no. 59, Chiavenna, 1887, were given to St. John's +College by Alfred. + +There are but few sketches or pictures by Butler between 1888 and 1896. +This is because his sketching was interrupted by his having to take up +photography for the preparation of _Ex Voto_. Almost before this book +was published (1888) he had plunged into _The Life and Letters of Dr. +Butler_, and in 1892 he added to his absorbing occupations the problem of +the _Odyssey_. Thus he had little leisure or energy for the labour of +painting; and this labour was always great. He could not leave his +outline until he had got it right, and there was a perpetual chase after +the changing shadows. And when he had got the outline it was so +constantly disappearing under the colour that he took to making "a +careful outline on a separate sheet of paper"; this was to be kept, after +he had traced the drawing on to the paper which was to receive the +colour, and to be referred to continually while he proceeded. When he +met with the camera lucida, which he bought in Paris, and which is among +the objects given to St. John's, he thought his difficulties were solved +and wrote to Miss Savage, 9 October, 1882: "I have got a new toy, a +camera lucida, which does all the drawing for me, and am so pleased with +it that I am wanting to use it continually." To which in 1901 he added +this note: "What a lot of time I wasted over that camera lucida, to be +sure!" It did all the drawing for him, but it distorted the perspective +so that the outlines of the many sketches which he produced with its help +were a disappointment. + +The camera lucida having failed, his hopes were next fixed upon +photography, which, by rapidly and correctly recording anything he felt a +desire to sketch, was to give him something from which he could +afterwards construct a picture. So he took an immense number of snap- +shots, of which many are at St. John's, but he never did anything with +them. Nos. 62 and 63, which were done by Sadler from Butler's +photographs, show how he would have proceeded if he had not had too many +other things to do. + +It was not until 1896, when _The Life of Dr. Butler_ appeared, that he +was able to return seriously to sketching, and by that time he was over +sixty and too old to be burdened with the paraphernalia necessary for +oils; he therefore confined himself to water-colours. + +Some of the pictures in this list were included in the list in _The +Eagle_, vol. xxxix., no. 175, March 1918, and the remainder in the +succeeding number, June 1918. In making the present catalogue I have +corrected such errors and misprints as I noticed in _The Eagle_, and I +have re-arranged and renumbered the items so as to make them run in +chronological order. I have also amplified some of the notes. I have +placed the sketches and drawings in order of date because to examine them +in that order helps the spectator to realise the progress made by Butler +in his artistic studies. + + + +SAMUEL BUTLER + + +1. Black and white outline sketch: Civita Vecchia, 1854. + +Butler went abroad with his family, his second visit to Italy, for the +winter of 1853-4. They travelled through Switzerland to Rome and Naples, +starting in August 1853, and Butler thus missed the half-year at school. +I am sorry that I have not found any more finished drawing made by him on +this occasion. + + + +DOUGLAS YEOMAN BLAKISTON + + +2. Pencil drawing: Samuel Butler, 1854. + +Reproduced in the _Memoir_, ch. iii. On the back of this drawing is the +beginning of a water-colour sketch. It was in a book with others +mentioned in the _Memoir_ as having been given to Shrewsbury School (I. +44). I have no doubt that the sketch on the back is by Butler, and +represents part of the Rectory house at Langar. + +The Rev. D. Y. Blakiston was born in 1832. He studied art at the Royal +Academy Schools especially under W. Dobson, R.A. From about 1850 to 1865 +he painted in London and at St. Leonard's, and exhibited at the Royal +Academy. About 1865 he entered at Downing College, took Orders in 1869, +and was presented to the living of East Grinstead in 1871, which he held +till his retirement soon after 1908. He died in 1914. Throughout his +life he made a practise of sketching his friends. I suppose he must have +met and sketched Butler on some occasion when Butler was in London +staying with his cousins the Worsleys. The artist's son, the Rev. H. E. +D. Blakiston, when President of Trinity College, Oxford, gave me a +cutting from _The East Grinstead Observer_ containing a full obituary of +him. It is among the papers at St. John's College, and is referred to in +the Postscript to the Preface to my _Memoir_ of Butler. + + + +HENRY FESTING JONES + + +3. My first attempt at a drawing in pencil and ink of Butler's +Homestead, Mesopotamia, New Zealand. + +I did it in 1910 or thereabouts from a faded photograph taken about 1863 +and lent to Butler by J. D. Enys. _Also_ Emery Walker's reproduction of +my first attempt which was not used in the _Memoir_. + +4. My second attempt, which was reproduced in the _Memoir_. + + + +SAMUEL BUTLER + + +5. Water-colour: A view in Cambridge. + +Probably done when Butler was an undergraduate, and given to St. John's +some years ago. I found it in the book wherein I found Blakiston's +drawing (no. 2). + +6. Oil Painting: Family Prayers. + +On the ceiling he wrote "I did this in 1864, and if I had gone on doing +things out of my own head instead of making studies I should have been +all right." (_Memoir_, I. 115.) Reproduced in the _Memoir_, ch. xxiv., +and referred to, ch. viii. + +7. Oil Painting: His own head. + +"He painted at home as well as at Heatherley's, and by way of a cheap +model hung up a looking-glass near the window of his painting room and +made many studies of his own head. He gave some of them away and +destroyed and painted over others, but after his death we found a number +in his rooms--some of the earlier ones very curious" (_Memoir_, ch. +viii.). This is one of the earlier ones. It is inscribed, "S.B., Feb. +18, 1865." We found also a still more curious one which was given to +Gogin, who was interested in it as being the work of an untaught student. +See also no. 36. + + + +JOHN LEECH + + +8. Five pencil drawings on one card. + +John Leech died in 1864, the year in which Butler returned from New +Zealand. There was a sale of his drawings by his sisters, and I remember +going to see them as a boy, but I do not remember when; it was, no doubt, +soon after the artist's death. The house was in Radnor Place, Bayswater. +His sisters afterwards kept a small girls' school, and my sister Lilian +went there. I have placed these Leech drawings here in order of date on +the assumption that Butler bought them at the sale. He had another +drawing by Leech, which used to hang in his chambers, and was given to +his cousin, Reginald Worsley. + + + +SAMUEL BUTLER + + +9. Oil Painting: Interior of Butler's sitting-room, 15, Clifford's Inn. + +There is something written in pencil on the panelling in the left-hand +bottom corner. I believe the words to be "Corner of my room, Augt. 1865, +S.B." Reproduced in the _Memoir_, ch. xv. + +Here are shown Butler's books, including Bradshaw's Guide and Whitaker's +Almanack, of which he speaks somewhere as being indispensable. I admit +that I cannot identify them, but he used to keep them among the books in +these shelves. I do not think he ever possessed that equally +indispensable book the Post Office Directory. But he had more books than +those shown in this painting. Between his sitting-room and his painting- +room was a short passage in which was a cupboard, and this contained the +rest. I do not remember how many there were, but not enough to +invalidate the statement he made to Robert Bridges (_Memoir_ II. 320), "I +have, I verily believe, the smallest library of any man in London who is +by way of being literary." + +10. Water-colour: Dieppe, The Castle, 1866. + +Butler was at Dieppe with Pauli in 1866. (_Memoir_, ch. viii.) + +11. Small water-colour drawing: Dieppe, 1866. + +This is in the portfolio of miscellaneous drawings, etc., by Butler, +Gogin, and Sadler, no. 81. + +12. Oil Painting: Two heads done as a study at Heatherley's. + +I showed this to Gaetano Meo, and he remembered that the man was +Calorossi, a model, whose brother went to Paris and became known as the +proprietor of a studio there. The woman, he said, was Maria, another +model. The background is Dieppe. I suppose that Butler did this study +in the autumn of 1866, using nos. 10 and 11, the water-colours of Dieppe, +or some other sketch made on the spot, for the background. The idea was +to make portraits of two heads with a landscape background in the manner +of Giovanni Bellini. + +13. Drawing of a cast of the Antinous as Hermes. + +Inscribed "Samuel Butler for probationership, December 28th 1868." Done, +I suppose, at South Kensington. + +14. Drawing of a hand and foot. + +Probably also done at South Kensington. + +15. Black and white drawing of a fir tree. + +This, I suspect, was made while Butler was under the influence of +Ruskin's _Elements of Drawing_--say about 1870. He threw off that +influence later. + +16. Four water-colour notes in one frame. + +One is inscribed "S.B." and another "Kingston, near Lewes." I suppose +that they are all on the South Downs, and they are all early--say 1870. + + + +JAMES FERGUSON + + +17. Crayon drawing: Butler playing Handel, 1870 (?). + +Reproduced in the _Memoir_ (I. ix.). Ferguson was a fellow art-student +with Butler. + + + +SAMUEL BUTLER + + +18. Oil Painting: The Valle di Sambucco, above Fusio. + +The sambucco or sambuco is the elder tree. Butler, writing of this +valley (_Alps and Sanctuaries_, ch. xxvi.; new ed. ch. xxv.), says: +"Here, even in summer, the evening air will be crisp, and the dew will +form as soon as the sun goes off; but the mountains at one end of it will +keep the last rays of the sun. It is then the valley is at its best, +especially if the goats and cattle are coming together to be milked." + +19. Water-colour: The Rocca Borromeo, Angera, Lago Maggiore. Entrance +to the Castle. 1871. + +The birthplace of S. Carlo Borromeo. It was over this gateway as well as +over the gateway of Fenis (no. 53), that he told me there ought to be a +fresco of Fortune with her Wheel (_Memoir_, ch. xx.) The Rocca Borromeo, +Angera, and Arona are mentioned in _Alps and Sanctuaries_, ch. xxiv. (new +edn., ch. xxiii.), and several times in the _Memoir_, _e.g._ ch. ix., +xvi. + +20. Water-colour: The Rocca Borromeo. A Room in the Castle. 1871. + +I am not sure whether or not this is the room in which S. Carlo Borromeo +was born. One view of that room is in _Alps and Sanctuaries_ ch. xxiv. +(new edition, ch. xxiii). This may be the same room looking towards the +left and showing a piece of window-seat and shutter. + +21. Water-colour: Amsteg. 1871. + +22. Water-colour: Fobello. A Christening. 1871. + +This was to have been a picture for the Academy, but he did not finish +it. Here are shown women with short skirts and leggings. They dress +like this so that they can climb into the ash trees and pull off the +leaves which they throw down upon the grass to be mixed up with the hay. +(_Memoir_, ch. ix.) + +23. Oil Painting: Varallo-Sesia. The Washing Place. 1871. + +"Butler made three oil sketches at Varallo all the same size, about +16x20. One is the washing place outside the town." (_Diary of a +Journey_, p. 16). The other two were both done in the Piazza on the +Sacro Monte. One was given to the Municipio of Varallo-Sesia; the other +to the Avvocato Francesco Negri of Casale-Monferrato. + +24. Oil Painting: Monte Bisbino, near Como. 1876. + +_Alps and Sanctuaries_, ch. xxi. The white sanctuary on the summit +shines like a diamond in some lights. + +25. Oil Painting: From S. Nicolao, Mendrisio. 1876. + +_Alps and Sanctuaries_, ch. xxi. + + + +GEORGE McCULLOCH + + +26. Two lots of studies of women, about 1876. + +McCulloch was a friend and fellow art-student of Butler's, and is +mentioned in the _Memoir_, "an admirable draughtsman." + + + +SAMUEL BUTLER + + +27. Oil sketch: Low wall and grass in front, snowy mountains behind. It +must be a view in the Leventina Valley. + +28. Water-colour inscribed "S.B.": Leatherhead Church. + +Butler was particularly pleased with the dormer windows, an unusual +feature in a church roof. This must have been done somewhere about 1877, +but there is no evidence. This is one of the pictures given by Alfred. + +29. Oil Painting: Montreal, Canada, from the Mountain, about 1877. + +30. Oil Painting: Calpiogna, Val Leventina. 1877. + +Evening, looking down the valley. + +31. Oil Painting: Three sketches on one panel, scenes in the Val +Leventina. + +They are near Faido, but I cannot further identify them. + +32. Oil Painting: Calonico. + +_Alps and Sanctuaries_, ch. v. + +33. Oil Painting: Tengia. + +_Alps and Sanctuaries_, ch. iv. + +34. Oil Painting: Prato. + +Other views of Prato appear in _Alps and Sanctuaries_, ch. iii. + +35. Oil Painting: Lago Tom, Piora, Val Leventina. 1877. + +Ch. vi. in _Alps and Sanctuaries_ is headed "Piora." "Piora in fact is a +fine breezy upland valley of singular beauty, and with a sweet atmosphere +of cow about it." Butler thought he knew what went on in Piora and, as +he proceeds through the valley, he says: "Here I heard that there were +people, and the people were not so much asleep as the simple peasantry of +these upland valleys are expected to be by nine o'clock in the evening. +For now was the time when they had moved up from Ronco, Altanca, and +other villages in some numbers to cut the hay, and were living for a +fortnight or three weeks in the chalets upon the Lago di Cadagna. As I +have said, there is a chapel, but I doubt whether it is attended during +this season with the regularity with which the parish churches of Ronco, +Altanca, etc., are attended during the rest of the year. The young +people, I am sure, like these annual visits to the high places, and will +be hardly weaned from them. Happily the hay will always be there, and +will have to be cut by someone, and the old people will send the young +ones." + +The foregoing passage throws light upon that other passage in _Life and +Habit_, ch. ii., about S. Paul, which concludes thus: "But the true +grace, with her groves and high places, and troops of young men and +maidens crowned with flowers, and singing of love and youth and wine--the +true grace he drove out into the wilderness--high up, it may be, into +Piora, and into such-like places. Happy they who harboured her in her +ill report." + +After Ernest has received Alethea's money, and while he and Edward +Overton are returning from Christina's funeral, in ch. lxxxiv. of _The +Way of All Flesh_, he tells his godfather his plans for spending the next +year or two. He has formed a general impression that the most vigorous +and amiable of known nations--the modern Italians, the old Greeks and +Romans, and the South Sea Islanders--have not been purists. He wants to +find out what such people do; they are the practical authorities on the +question--What is best for man? + +"Let us," he says, "settle the fact first and fight about the moral +tendencies afterwards." + +"In fact," said I laughingly, "you mean to have high old times." + +"Neither higher nor lower," was the answer, "than those people whom I can +find to have been the best in all ages." + +Accordingly Ernest left England and visited "almost all parts of the +world, but only staying in those places where he found the inhabitants +unusually good-looking and agreeable." "At last in the spring of 1867 he +returned, his luggage stained with the variation of each hotel +advertisement 'twixt here and Japan. He looked very brown and strong, +and so well-favoured that it almost seemed as if he must have caught some +good looks from the people among whom he had been staying." + +We are not told what particular countries Ernest went to; Japan is +mentioned, but less because Ernest went there than because the name of a +distant place was wanted to justify and complete the echo of the +description of Sir Walter Blunt in I. _Hen. IV._ i. 64: + + Stained with the variation of each soil + Betwixt that Holmedon and this seat of ours. + +Butler confided to me verbally that Ernest visited, among other places, +Piora, and that he stayed there "when the mowing grass was about." {8} + +36. Oil Painting: inscribed, "S. Butler. Sketch of his own head. April +1878." + +This is one of the series of portraits of himself referred to in the note +to no. 7. Another of these later portraits was given after his death to +Christchurch, New Zealand; and another to the Schools, Shrewsbury. This +one was given by Butler to me soon after it was painted, and it remained +in my possession till 1911, when I gave it to St. John's College. It is +reproduced as the frontispiece to vol. I. of the _Memoir_. + +37. Oil Sketch: Calonico. + +_Alps and Sanctuaries_, ch. v. On a panel with no. 38, Rossura, on the +other side. + +38. Oil Sketch: Rossura. The altar by the porch of the church. 1878. + +On a panel with no. 37, Calonico, on the other side. + +39. Oil sketch on a panel: Rossura, from inside the porch looking out. + +"I know few things more touching in their way than the porch of Rossura +church." (_Alps and Sanctuaries_, ch. iv.) + +"The church is built on a slope, and the porch, whose entrance is on a +lower level than that of the floor of the church, contains a flight of +steps leading up to the church door. The porch is there to shelter the +steps, on and around which the people congregate and gossip before and +after service, especially in bad weather. They also sometimes overflow +picturesquely, and kneel praying on the steps while service is going on +inside." (_Memoir_, I. 284-5.) + +In _Alps and Sanctuaries_, ch. iv., is an illustration showing the people +kneeling on the steps while "there came a sound of music through the open +door--the people lifting up their voices and singing, as near as I can +remember, something which on the piano would come thus:" and then follow +a few bars of chords. + +In the list which appeared in _The Eagle_, vol. xxxix., no. 175, March +1918, writing of no. 38: "Rossura: the altar by the porch of the church, +1878," I said that it had been removed. On reconsideration, I am not +sure that it has been removed; but I have not been to Rossura for thirty +years or more and cannot now say for certain. I believe, however, that +it is still there, and that when I said it had been removed I was +thinking of the alteration of an opening which there was formerly in the +west wall of the porch, under the portrait of S. Carlo Borromeo, which +hangs between the two windows. This opening is mentioned in ch. iv. of +_Alps and Sanctuaries_, and Butler says that it had to be closed because +the wind blew through it and made the church too cold. It is shown with +the portrait and the two windows in another illustration in ch. iv. + +The first illustration in ch. iv. of _Alps and Sanctuaries_ shows how the +chapel with the altar in it (no. 38) is placed in relation to the porch. +This is the chapel he was thinking of when he wrote: + + "The church has been a good deal restored during the last few years, + and an interesting old chapel--with an altar in it--at which Mass was + said during a time of plague, while the people stood some way off in a + meadow, has just been entirely renovated; but, as with some English + churches, the more closely a piece of old work is copied, the more + palpably does the modern spirit show through it, so here the opposite + occurs, for the old-worldliness of the place has not been impaired by + much renovation, though the intention has been to make everything as + modern as possible." + +In 1878, the first time I was with Butler in Italy and in the Canton +Ticino, he talked a great deal about the porch of Rossura; there is a +passage in ch. xvi. of the _Memoir_ about it. For him it was the work of +a man who did it because he sincerely wanted to do it, and who learnt how +to do by doing; it was not the work of one who first attended lectures by +a professor in an academy, learnt the usual tricks in an art school, and +then, not wanting to do, gloried in the display of his technical skill. +That is to say, it was done in the right spirit. The result of doing +things in this way will sometimes appear incompetent; this never +embarrassed Butler, provided that he could detect the sincerity; for +where sincerity is incompetence may be forgiven; but the incompetence +must not be so great as to obscure the artist's meaning. At Rossura the +sincerity is obvious, and the building is so perfect an adaptation of the +means to the end that there is no suggestion of incompetence. + +Rossura porch was thus an illustration of what he says in _Alps and +Sanctuaries_ in the chapter "Considerations on the Decline of Italian +Art." It was more than merely a piece of architecture. When Butler +contemplated it he saw also the chapel with its altar and the people +standing in the meadow during the plague; he saw the same people, after +the pestilence had been stayed, kneeling on the steps in the dimness, the +sky bright through the arch beyond them and the distant mountains blue +and snowy, while the music floated out through the open church door; he +saw through the windows the gleaming slopes about Cornone and Dalpe, and, +hanging on the wall between them, the picture of austere old S. Carlo +with his hands joined in prayer. All these things could be written about +in _Alps and Sanctuaries_, but they could not be brought into the +illustrations apart from the text; and anyone who looks at Butler's +sketches of Rossura may be disappointed. If he does not bear these +things in mind he will not understand what Butler meant by saying that he +knew of few things more touching in their way than the porch of Rossura +church. He will be like a man listening to programme-music and knowing +nothing of the programme. + +40. Pencil sketch inscribed: "Handel when a boy. Pencil sketch from an +old picture sold at Puttick and Simpson's and sketched by me while on +view. Dec. 15th, 1879. S.B." + +On the same mount with the sketch-portrait of Robert Doncaster, no. 56. + +41. Water-colour: Otford, Kent; from inside the church looking out +through the porch. 1879. + +42. Drawing in pencil and ink: Edgeware. 1880. + +43. Oil Painting: Rimella, Val Mastallone; up the Valley from Varallo- +Sesia. + +44. Oil Painting: Eynsford, Kent. + +45. Oil Painting: On the S. Bernardino Pass. + +46. Oil Painting: Bellinzona, The Castle. + +In the same frame with no. 47. + +47. Oil Painting: Mesocco, The Castle. + +_Alps and Sanctuaries_, ch. xix. Butler always had this and no. 46 in +the same frame. + +48. Oil Painting: Bellinzona, The Castle. + +He made many sketches of the Castle at Bellinzona, this and no. 46 are +the only two I have found; none was quite satisfactory because there was +no point of view from which the towers composed well behind a good +foreground. + +49. Drawing in pencil and ink: The Sacro Monte, Varese, from the seventh +or Flagellation Chapel. + +He intended to paint a picture this size, and started by making this +drawing, which is an enlargement of the drawing reproduced in _Alps and +Sanctuaries_, ch. xxiii. (1881), but he did not proceed with the +painting. + +50. Drawing in pencil and ink: Boulogne-sur-Mer, La Porte Gayole. + +This was a favourite view which he often sketched; but I have only found +this example. + + + +SAMUEL BUTLER AND OTHERS + + +51. All (except a few which are lost) the original drawings for _Alps +and Sanctuaries_. + +Placed here in order of date because the book was published in 1881. Some +of the drawings are by Charles Gogin, who did the frontispiece and the +Madonna della Neve on the title page, and who also introduced the figures +into those of Butler's drawings which have figures; and a few are by me. +There are among this lot also several sketches, etc., by various persons +which Butler collected as illustrating his "Considerations on the Decline +of Italian Art." Some are published in the chapter so headed in the +book, but others were not published. + + + +SAMUEL BUTLER + + +52. Oil Painting: Portrait of Henry Festing Jones. 1882. + +53. Oil Painting: Castello Fenis, Val d'Aosta. 1882. + +It was over one of the gateways of this Castle that Fortune with her +Wheel was to appear in a fresco. See no. 19. + + + +HENRY FESTING JONES + + +54. Oil Painting: View from Butler's room in Clifford's Inn showing the +tower of the Law Courts. 1882. + +Drawn with the camera lucida. Reproduced in the _Memoir_, ch. xx. + +55. Oil Painting: Unfinished sketch-portrait of Butler. 1882 + +Drawn with the camera lucida. Referred to in the _Memoir_, I. 135-136, +in letters from which extracts are given below. + +_Miss Savage to Butler_. + + 31_st_ _October_, 1883: I went to the Fisheries Exhibition last week + and spent a rather pleasant day. I was by myself for one thing, and, + for another, took great delight in gazing at a life-size model of a + sea-captain clad in yellow oil-skins and a Sou'wester. It was + executed in that style of art that you so greatly admire in the + Italian Churches, and was so good a likeness of _you_ that I think you + must have sat for it. The serious occupations of my day were having + dinner and tea, and the relaxations, buying shrimps in the fish-market + and then giving them to the sea-gulls and cormorants. My most exalted + pleasure was to look at your effigy, which I should like to be able to + buy, though, as I have not a private chapel in my castle, I hardly + know where I could put it if I had it. Upon the whole I enjoyed + myself, but I am glad to hear that the Exhibition is to be closed to- + day, so that I cannot by any possibility go there again. + +_Butler to Miss Savage_. + + 5_th_ _November_, 1883: I believe I am very like a sea-captain. Jones + began a likeness of me not long since, which I will show you next time + you come and see me, which is also very like a portrait of a + sea-captain. + +56. Sketch-portrait of Robert Doncaster. + +On the same mount with no. 40. A tracing is among the miscellaneous +papers given to St. John's. This sketch of Robert was done, I suspect, +with the camera lucida, and if so its date must be about 1882-3. Robert +Doncaster was the husband of Mrs. Corrie; that is to say Mrs. Corrie, who +was Butler's laundress in Clifford's Inn, "lost" her husband. After a +suitable interval it was assumed that he was dead and she married Robert +Doncaster and was known as Mrs. Doncaster. Robert, who was a half-witted +old man, used to hang about the place, do odd jobs, and make himself +fairly useful. He died in 1886. + +57. Water-colour: Pinner. 1883. + + + +SAMUEL BUTLER + + +58. Oil Painting: Edward James Jones. + +Inscribed thus: "Portrait of E. J. Jones, Esq., of the Indian Geological +Survey, Aet. Suae 24, painted by S. Butler, November, 1883." The date is +not clearly written, but it must be 1883, because my brother Edward, born +5th September, 1859, was twenty-four in 1883, and in November 1883 he +went to Calcutta, having obtained an appointment on the Geological +Survey. Butler painted the portrait just before he started. + +59. Oil Painting: Chiavenna. 1887. + +It looks in some lights like 1881, but in other lights 1887, and it must +be 1887. Butler did not go abroad in 1881 and he was at Chiavenna in +1887. This is one of the pictures given by Alfred. + + + +THOMAS SADLER + + +60. Black and white drawing: Butler and Scotto in 1888. + +Sadler made this for the _Pall Mall Gazette_ from the photograph which is +reproduced in _Ex Voto_; the drawing was reproduced in an article, and a +cutting from the _Pall Mall_ with the reproduction is with the papers +given to St. John's. + + + +SAMUEL BUTLER + + +61. Oil Painting: Wembley, Middlesex. Sketch of the back of the Green +Man public-house, since burnt down. + +Butler intended to finish this, and send it to the Royal Academy, but he +got tired of it and turned it up. + + + +THOMAS SADLER + + +62. Water-colour drawing of the Vecchietto in the Deposition Chapel at +Varallo-Sesia. + +63. Water-colour drawing in black and white of a boy with a basket at +Varallo. + +Sadler made these two drawings about 1890 from photographs taken by +Butler in 1888. + + + +SAMUEL BUTLER + + +64. Water-colour: copy of a landscape behind a small Madonna and Child +by Bartolomeo Veneto, signed and dated 1505. + +I forget the precise date, but I think it was about 1898, when Butler was +searching in real landscape for the original of the castle which appears +in the background of one of the Giovanni Bellini pictures of the Madonna +and Child in the National Gallery, the one with the bird on the tree and +the man ploughing. It may now be attributed to some other Venetian +painter. He would have been pleased if he could have found the original +of the background of any picture by one of his favourite painters. This +copy was made to fix in his mind the castle on the hill, which he hoped +afterwards to identify with some real place. But he never succeeded. + + + +HENRY FESTING JONES + + +65. Water-colour: Jones's chambers in Staple Inn, Holborn. 1899. + +66. Water-colour: another view in the same room. 1899. + +In these rooms Butler nearly always spent his evenings from 1893, when I +moved into them, until the end of his life. The frames of these pictures +are veneered with oak from the Hall of Staple Inn, and into each are +inserted two buttons showing the wool-pack, the badge of the Inn, which +is said to be named from the Wool-Staplers. + +When Butler and I were on the Rigi-Scheidegg with Hans Faesch in 1900 I +had these two sketches with me, and was showing them to the landlord, who +spoke English. He looked at them and considered them carefully for some +moments. Then he said gravely "Ah I see; much things. That means +dustings; and then breakings; and then hangriness." + + + +SAMUEL BUTLER + + +67. Water-colour: Meien near Wassen on the S. Gottardo. 1896. + +We went often to Meien to sketch when we were staying at Wassen on the S. +Gottardo. We took our lunch with us, and ate it at the fountain in the +village. "The old priest also came to the fountain to wash his shutters, +which had been taken down for the summer, and it was now time to bring +them out again and replace them for the winter" (_Memoir_, II. 236). The +house on the left is the priest's house, and the shutters are already up +at one of his windows. + +68. Pen and ink sketch: Trapani and the Islands from Mount Eryx about +1897. + +This sketch is reproduced in _The Authoress of the Odyssey_, ch. ix. He +did it to show the situation of Trapani and the Islands with Marettimo +"all highest up in the sea." In the Odyssey Ithaca is "all highest up in +the sea," and Butler supposed that the authoress in so describing it was +thinking of Marettimo. + +69. Wash drawing: Trapani and the Islands from Mount Eryx about 1898. + +He wished to make a more complete version of no. 68, but this was as far +as he could get; there was not enough time and there were too many +interruptions. + +70. Pencil sketch inscribed, "Calatafimi, Sund. May 13th, 1900. 2 +hours. Eleven a.m. is the best light." + +I added "S. Butler." He could not continue because there came on a +terrific scirocco which lasted two or three days. + +71. Water-colour: Taormina, the Theatre and Etna. 1900. + +This shows the fragments of the stones that are strewn about in the +orchestra which Butler said were like the fragments of My Duty towards My +Neighbour that lay strewn about in his memory. It would take a lot of +work to put them all back into their places and reconstruct the original. +(_Memoir_, II. 292.) + +72. Water-colour: Siena. 1900. + +73. Water-colour: Pisa, inside the top of the Leaning Tower. 1900. + +74. Water-colour: Wassen. 1901. + +75. Water-colour: Wassen. 1901. + +76. Water-colour: Trapani, S. Liberale and Lo Scoglio di Mal Consiglio. +1901. + +See _The Authoress of the Odyssey_. The Scoglio is the ship of Ulysses +which Neptune turned into a rock as she was on her way home to Scheria. + +77. Rough sketch by Butler of the islands Marettimo, Levanzo, and +Favignana. + +Two views showing how Marettimo is hidden by Levanzo when you are below +and comes out over Levanzo when you are up Mount Eryx. + + + +HENRY FESTING JONES + + +78. My first attempt in colour to draw the islands from Mount Eryx. + +I saw I should not have time to finish it, and, instead, did no. 80. + +79. A volume of thirty-four leaves of drawings in pencil and ink. + +I did all these under Butler's auspices, and often he was sitting near +doing another sketch of much the same view. It may be said that they are +the work of his pupil. + +80. Drawing in pencil and ink: Trapani and the Islands from Mount Eryx. +1913. + +Reproduced in the _Memoir_, ch. xxxii. + + + +SAMUEL BUTLER AND OTHERS + + +81. A portfolio of miscellaneous drawings, prints, etchings, +photographs, etc., by Butler, Gogin, and Sadler. + +This is the portfolio containing the small water-colour of Dieppe, 1866. +I have given that the prominence of a place (no. 11) because it is +interesting to compare it with the more finished Dieppe, no. 10. Possibly +the portfolio contains others (_e.g._ Dinant), which it will be thought +proper to take out and have mounted and framed. + + + + +II. BOOKS AND MUSIC WRITTEN BY BUTLER: +AND BOOKS, MAGAZINES, &c., CONTAINING CONTRIBUTIONS BY HIM + + +For fuller particulars as to Butler's books see the Bibliography prefixed +to Vol. I. of the _Memoir_ by H. F. Jones (1919). + + + +THE EAGLE + + +1858. Vol. I., no. 1, Lent Term, containing "On English Composition," by +Cellarius, _i.e._ Samuel Butler. + +1859. Vol. I., no. 5, Easter Term, containing "Our Tour," by Cellarius, +_i.e._ S. Butler. (These two bound together.) + +1861. Vol. II., containing "Our Emigrant" in two contributions (p. 101 +and p. 149), by Samuel Butler; used by him in writing _A First Year in +Canterbury Settlement_, and referred to in the Preface to that book. + +1894. Vol. XVIII., no. 103 (March). "A Translation (into Greek from +_Martin Chuzzlewit_) attempted in consequence of a challenge." + +1902. Vol. XXIV., no. 129 (December). "The Shield of +Achilles."--"Napoleon at St. Helena." _Also_ "Samuel Butler, B.A." +(Obituary by H. F. Jones.) + +1910. Vol. XXXII., no. 153 (December). "Mr. Festing Jones on Samuel +Butler." (Report by D. S. Fraser of H. F. Jones's paper on Samuel +Butler, read 16 Nov.) + +1913. Vol. XXXIV., no. 160 (March). "Samuel Butler and his Note-Books." +By J. F. H[arris]. + +1913. Vol. XXXIV., no. 161 (June). "Prospectus of the Great Split +Society."--"A Skit on Examinations." _Also_ "Two Letters of Samuel +Butler" (to W. E. Heitland: with note by W. E. Heitland). + +1914. Vol. XXXVI., no. 165 (December). "Samuel Butler's Early Years." +(Review of new edition of _A First Year in Canterbury Settlement_, by J. +F. Harris.) + +1916. Vol. XXXVIII., no. 171 (December). "A 'Few Earnest Words' on +Samuel Butler." (Review of J. F. Harris's "Samuel Butler: the man and +his work" (1916), by W. E. Heitland.) + + + +A FIRST YEAR IN CANTERBURY SETTLEMENT + + +1863. Original cloth, purchased. + +1914. New edition with other early Essays. Presentation copy from R. A. +Streatfeild, with two letters inserted. + + + +THE EVIDENCE FOR THE RESURRECTION + + +1865. One complete copy containing pencil marks made by Butler. Cloth, +original wrappers bound in. + +1865. Two mutilated copies used by Butler in making the MS. of _The Fair +Haven_. These were given to St. John's some years ago. + + + +EREWHON + + +1872. First edition, purchased. + +1872. Second edition, purchased. This contains pencil notes by Butler. + +1879. Ergindwon. (German translation.) + +1901. New and revised edition. Proofs, with corrections by Butler. + +1901. New and revised edition--inscribed "H. Festing Jones, with all +best wishes from the author, Oct. 11, 1901. First copy issued." + +1901. Colonial issue. + +1908. Reprint of New and revised edition. + +1920. American edition. With Introduction by Francis Hackett. + +1920. Erewhon in French. With an Introduction by the translator, M. +Valery Larbaud. _Also_ the Typescript and Proofs, both with manuscript +corrections by the translator. + + + +THE FAIR HAVEN + + +1873. First edition, purchased. The first edition contained an errata +slip, which this copy has not got. Longman's re-issue. + +1873. Second edition, purchased. Original cloth. Longman's re-issue. + +1873. Second edition. This copy contains the errata slip. It is a +special copy cut down and bound as an experiment. Given by Butler to H. +F. Jones. + +1913. New edition with Introduction by R. A. Streatfeild. Presentation +copy from R. A. Streatfeild. + +1902 (Oct.). Letter to H. F. Jones from Alfred Marks (a brother of Henry +Stacy Marks, R.A.), enclosing copy of Remarks on _The Fair Haven_, made +by some friend of Alfred Marks. + +1915 (12 June). A letter from James W. Clark, with separate copy of the +prefatory matter to the Second Edition enclosed, given to him by Butler. +Clark was at Trinity Hall with me, later Fellow of the College, and +afterwards K.C. and Counsel to the Board of Agriculture and Fisheries. + + + +THE CANADA TANNING EXTRACT CO., LTD. + + +1874-75. Extracts from letters sent by Mr. Foley to the Foreman of the +Works of the Company, and other extracts and letters. Inscribed "Copy of +Laflamme's Copy with Notes," in Butler's writing. I believe the marginal +notes to have been Butler's originally, and then copied by a clerk into +this copy of the pamphlet. _Also_ Another copy, with MS. notes by +Butler. + + + +LIFE AND HABIT + + +1878. First edition. Presentation copy from Butler, inscribed "H. F. +Jones. S.B." + +1878. Second edition. Given to H. F. Jones by A. T. Bartholomew. + +1890. A copy of Longman's issue, with MS. corrections by Butler. Cf. +Streatfeild's introduction to new edition (1910). + +1910. New edition with Author's Addenda and Preface by R. A. +Streatfeild, and letter from R. A. Streatfeild to H. F. Jones, 29 Nov. +1910. + + + +EVOLUTION OLD AND NEW + + +1879. "First copy issued." + +1879. "Second copy issued," with MS. Note by Butler. Presentation copy. + +1882. Second edition with an Appendix and Note, given to H. F. Jones by +Butler, but not inscribed. + +1911. New edition (the third) with Author's Revisions, Appendix, and +Index; also Note by R. A. Streatfeild. + + + +UNCONSCIOUS MEMORY + + +1880. First edition, given to H. F. Jones by Butler, but not inscribed. + +1880. Butler's copy, with pressed flowers mounted on the fly-leaves, and +the names of the donors added. Also a few notes. + +1910. New edition, with Introduction by Marcus Hartog. + +1910. A separate copy of Hartog's Introduction. Inscribed "H. Festing +Jones from his brother in Ydgrun M.H." + +1920. Third edition. + + + +ALPS AND SANCTUARIES + + +1882. The Manuscript, together with the original drawings (cf. p. 10). + +1882. First edition (Bogue). Presentation copy from Butler. _Also_ +Bogue's prospectus. + +1882. Second edition, purchased. + +1882. Second edition, with Index in MS. by Butler. + +1890. Streatfeild's copy with Longman's title-page, purchased, and a few +spare copies of Longman's title-page. + +No date. A copy with Fifield's title-page. + +1913. New edition with Author's Revisions and Index, and an Introduction +by R. A. Streatfeild. + + + +GAVOTTES, MINUETS, FUGUES +BY SAMUEL BUTLER AND HENRY FESTING JONES + + +1884. The Manuscript. + +1884. The published work. + + + +SELECTIONS FROM PREVIOUS WORKS + + +1884. Presentation copy with inscription: "First copy of the book to +leave the binder's, March 12, 1884. S.B." + + + +HOLBEIN + + +[1886]. Holbein's "La Danse." A Note on a drawing in the Museum at +Basel. Printed on a card. _Also_ Another edition [1889]. + + + +LUCK OR CUNNING? + + +1886. Revises, unbound, with corrections by Butler. + +1887. "First copy issued. S.B." + +1887. Butler's copy, with notes, pressed flowers, and numerous additions +to the Index, mostly in Alfred's handwriting. + +[1908]. Re-issue (Fifield). + +1920. Second edition, corrected. + + + +NARCISSUS: A CANTATA +BY S. BUTLER AND H. F. JONES + + +1888. A copy inscribed by both authors and composers. + + + +EX VOTO + + +1888. "2nd copy issued, S.B." With 4 pp. "Additions and Corrections" +loose. + +1894. In Italian, translated by Angelo Rizzetti. Inscribed, in Butler's +writing, "H. F. Jones. Omaggio dell' Autore." + +[1909]. Re-issue (Fifield). + +* * * * * + + + +UNIVERSAL REVIEW ARTICLES + + +1888-90. Butler's set of them, complete with illustrations and bound +together. Table of Contents in Alfred Cathie's writing and a few +accompanying photographs loose. + + + +ESSAYS ON LIFE, ART, AND SCIENCE + + +1904. Edited by R. A. Streatfeild. Presentation copy with letter from +R. A. Streatfeild. This contains most of the "Universal Review" articles +reprinted, and two Lectures. + +1904. A copy of the Colonial issue. + +1908. Re-issue (Fifield). + + + +THE HUMOUR OF HOMER AND OTHER ESSAYS + + +1913. A new edition of the _Essays_, with additions and Biographical +Sketch of Butler by H. F. Jones. + +[1913]. Sketch of the Life of Samuel Butler, being a volume of MS. and +typewritten documents showing how the Biographical Sketch mentioned in +the preceding item grew out of the obituary notice which originally +appeared in _The Eagle_, December 1902. + +* * * * * + + + +ITALIAN PAMPHLETS (bound together) + + +1892. Three numbers of "Il Lambruschini," containing papers on Butler's +Odyssey theories. + +1893. L'Origine Siciliana dell' Odissea. (Estratto dalla Rassegna della +Letteratura Siciliana.) + +1894. Ancora sull' Origine Siciliana dell' Odissea. (Estratto dalla +Rassegna della Letteratura Siciliana.) + +* * * * * + + + +ENGLISH PAMPHLETS, ETC. (bound together) + + +1892. The Humour of Homer. + +1893. On the Trapanese Origin of the Odyssey. + +No date. Sample passages from a new translation of the Odyssey. + +1894. A translation into Homeric verse of a passage from _Martin +Chuzzlewit_: attempted in consequence of a challenge. From _The Eagle_. + +No date. Prospectus of _The Life and Letters of Dr. Samuel Butler_. + +1887 (27 June). Words of the Choruses from "Narcissus," for performance +at Mrs. Thomas Layton's. + +1890 (15 Dec.). Programme of Shrewsbury School Concert, at which some of +Butler's music was performed. + +* * * * * + +1892. The Humour of Homer. Butler's own copy. + +1892-4. Butler's own copies of his Odyssey pamphlets (see above), with +MS. notes. 2 sets. + +* * * * * + +{Facsimile of post-card from S. Butler to H. F. Jones: p22.jpg} + + + +THE LIFE AND LETTERS OF DR. SAMUEL BUTLER +2 Vols. + + +1896. Butler's own copy. + +1896. A copy, inscribed, in Butler's writing, "H. F. Jones from S. B. +Oct. 2, 1896." + + + +THE AUTHORESS OF THE ODYSSEY + + +1897. Inscribed, in Butler's writing, "H. F. Jones, with the author's +best thanks (first copy issued). Nov. 1, 1897." + +[1908]. Re-issue (Fifield). + + + +THE ILIAD RENDERED INTO ENGLISH PROSE + + +1898. The Manuscript. This was given to St. John's some years ago by +Butler's literary executor, Mr. R. A. Streatfeild. + +1898. Proofs. + +1898. First edition. Inscribed, in Butler's writing, "H. F. Jones, with +the author's best love. Oct. 15, 1898." + +1914. New impression (Fifield). + + + +SHAKESPEARE'S SONNETS RECONSIDERED + + +1899. Inscribed, "H. F. Jones, Esq. (the first copy issued). Oct. 28, +1899. S. B." + + + +THE ODYSSEY RENDERED INTO ENGLISH PROSE + + +[1900]. Manuscript of Books I-XII. only, on letter paper. The complete +MS. is at Aci Reale. + +1900. Proofs. + +1900. Inscribed, "H. Festing Jones. Oct. 18, 1900 (first copy issued). +S. B." + + + +QUO VADIS? + + +1901-1902. Copies of four issues of the periodical bound together. With +contributions by and about Butler. Together with a MS. Italian +translation by Capitano Giuseppe Messina Manzo entitled, "La nuova +Quistione Omerica," and other matter relating to the Odyssey question. + + + +EREWHON REVISITED + + +1901. Proofs, with corrections by Butler. 2 copies. + +1901. First edition. Inscribed, in Butler's writing, "H. Festing Jones. +With the author's best thanks for much invaluable assistance. Oct. 11, +1901. Second copy issued." + +1902. A copy of the edition intended for the Colonies, not sold in +England. + +1908. Reprint (Fifield). + +1920. The American edition. With Introduction by Moreby Acklom. + + + +THE WAY OF ALL FLESH + + +1903. First edition, given by R. A. Streatfeild to H. F. Jones. + +1903. Streatfeild's copy, with his alterations to make the second +edition (1908). Purchased. + +1903. A copy of the Colonial edition. + +1908. Second edition (Fifield). + +1916. A copy of the American edition. Introduction by Wm. Lyon Phelps. +With letter from R. A. Streatfeild to H. F. Jones. + + + +SEVEN SONNETS AND A PSALM OF MONTREAL, +AND OTHER PIECES (bound together) + + +1903. Streatfeild's Raccolta of Necrologies of Butler. + +1904. Diary of a Journey through North Italy to Sicily, by H. F. Jones. + +1904. Autograph letter from Cavaliere Biagio Ingroja of Calatafimi to H. +F. Jones. + +1904. Seven Sonnets and A Psalm of Montreal. + +1904. Translations into Italian of Butler's "Seven Sonnets" (except Nos. +I. and V.), by Ingroja. In manuscript. His translation of Sonnet I. is +printed with the "Seven Sonnets." He could not manage Sonnet V. I think +the repetitions of "pull" puzzled him. + +1904. Translation of Sonnet I. into Italian by De Nobili. In +manuscript. + +* * * * * + +1904. Seven Sonnets. Proof, and corrected copy, formerly the property +of R. A. Streatfeild. + + + +ULYSSES: AN ORATORIO +BY SAMUEL BUTLER AND HENRY FESTING JONES + + +1904. The work as published. H. F. Jones's original copy, with notes. + + + +GOD THE KNOWN AND GOD THE UNKNOWN + + +1909. The work as published. Ed. by R. A. Streatfeild. These articles +first appeared in _The Examiner_ in 1879. + + + +THE NOTEBOOKS OF SAMUEL BUTLER + + +1907-1910. All the numbers of the "New Quarterly," a review which +appeared during these years and which contained Extracts from Butler's +MS. Notebooks, bound into 3 vols. + +1907-1910. The Extracts from Butler's Notes as they appeared in the "New +Quarterly" bound together. + +1910-1912. The first MS. of the published _Notebooks_, 2 vols. + +1910-1912. The second MS. from which the first edition of the published +_Notebooks_ was printed, 2 vols. + +1912. Proofs. + +1912. Revises. + +1912. First impression, with MS. Notes by H. F. Jones. + +1913. Second impression. + +1915. Third and popular impression. + +1917. American edition, with Introduction by Francis Hackett. + + + +CHARLES DARWIN AND SAMUEL BUTLER + + +1911. Charles Darwin and Samuel Butler. A Step towards Reconciliation. +By H. F. Jones. + + + +SAMUEL BUTLER: A MEMOIR +BY HENRY FESTING JONES + + +1902-1914. First Manuscript. Second Manuscript. Third Manuscript. + +1915-16. Proofs. + +1916. Revises. + +1917. Advance copy, without illustrations. + +1918-1919. Manuscript, proofs, and revises of additional matter for +First Impression. + +1920. Manuscript, proofs, and revises of additional matter for Second +Impression. + +1920. Second Impression. + + + + +III. BOOKS ABOUT BUTLER: +AND BOOKS, MAGAZINES, &c., CONTAINING CHAPTERS OR ARTICLES ABOUT BUTLER +OR PROMINENT ALLUSIONS TO HIM + + +ACCADEMIA DAFNICA DI SCIENZE, Lettere, e delle Arti in AciReale: Atti e +Rendiconti. Vol. ix. Anno 1902. + +ACCADEMIA DI SCIENZE, Lettere, ed Arti de' Zelanti di AciReale: +Rendiconti e Memorie. 1906. Pp. 22, 27, 44, 50 refer to Butler. + +ACKLOM, MOREBY. The Constructive Quarterly, March 1917, containing +"Samuel Butler the Third," by Moreby Acklom. + +BARRY, CANON WILLIAM. The Dublin Review, Oct. 1914, with article "Samuel +Butler of Erewhon." + +BLUM, JEAN. Mercure de France, 16 Juillet 1910, with article on Samuel +Butler by Jean Blum. + +BODLEIAN QUARTERLY RECORD. Vol. II., nos. 16, 17. 1918. + +Includes a note on Butler's use of Frost's "Lives of Eminent Christians" +(see "Quis desiderio . . . ?" in his _Essays_); and on Dr. John Frost. + +BOOK MONTHLY for February 1913, with notice of the _Note-Books of Samuel +Butler_, reproducing the portrait. + +BOOTH, ROBERT B. Five Years in New Zealand (1859 to 1864). By Robert B. +Booth, M.Inst.C.E. Printed for private circulation. 1912. + +Referred to in my _Memoir_ of Butler. With three letters from Mr. Booth +and three other documents. Mr. Booth was with Butler on his run at +Mesopotamia, N.Z. + +BRIDGES, HORACE J. Samuel Butler's Erewhon and Erewhon Revisited. By +Horace J. Bridges. 1917. + +BURDETT, OSBERT. Songs of Exuberance, together with The Trenches. By +Osbert Burdett. Op. I. London, A. C. Fifield, 1915. + +This contains, among Sonnets on People and Places, (I.) Samuel Butler; +(II.) Samuel Butler. + +CAMBRIDGE READINGS IN ENGLISH LITERATURE. Ed. by George Sampson. Book +III. Cambridge, 1918. + +Pp. 5-15 are occupied with an extract from _Erewhon_. + +CANNAN, GILBERT. Samuel Butler: a Critical Study. By Gilbert Cannan. +London, Martin Seeker, 1915. + +CLUTTON-BROCK, A. Essays on Books. London, 1920. + +Containing reprints of articles on the _Note-Books_ and the _Memoir_. + +CONSTRUCTIVE QUARTERLY, THE. See Acklom, M. + +CONTEMPORARY REVIEW, THE, June 1913, containing review of the _Note-Books +of S. Butler_. + +DARBISHIRE, A. D. An Introduction to a Biology. By A. D. Darbishire. +London, Cassell, 1917. + +With autograph letter to H. F. Jones from the author's sister, Helen +Darbishire. + +DARWIN, SIR FRANCIS. Rustic Sounds. By Sir Francis Darwin. London, +John Murray, 1917. + +Reproducing "The Movements of Plants," a lecture delivered by him at the +Glasgow Meeting of the British Association, Sept. 16, 1901. This lecture +is referred to in the _Memoir_ of Butler; it quotes a passage from +Butler's translation of Hering in _Unconscious Memory_. + +DE LA MARE, WALTER. The Edinburgh Review, Jan. 1913, containing a notice +of the _Note-Books of Samuel Butler_ in "Current Literature." By Walter +De La Mare. + +DUBLIN REVIEW, THE. See Barry, Canon. + +DUFFIN, H. C. The Quintessence of Bernard Shaw. With "Prologue: Of +Samuel Butler." London, Allen and Unwin, 1920. + +EDINBURGH REVIEW, THE. See De La Mare, Walter. + +FIRTH, J. B. Highways and Byways in Nottinghamshire. By J. B. Firth. +With Illustrations by Frederick L. Griggs. London, 1916. + +See pp. 93-6 for Langar. + +HARDWICK, J. C. The Modern Churchman, March 1920, containing "A Modern +Ishmael," by J. C. Hardwick. + +HARRIS, JOHN F. Samuel Butler, author of "Erewhon: the Man and his +Work." By John F. Harris. London, Grant Richards, 1916. + +Inscribed "H. Festing Jones, with best wishes and very many thanks from +John F. Harris, July 5, 1916," with a few newspaper notices, loose. + +HARTOG, MARCUS. Problems of Life and Reproduction. By Marcus Hartog. +London, Murray, 1913. + +With letter from the author to H. F. Jones. + +HARTOG, MARCUS. The Fundamental Principles of Biology. By Marcus +Hartog. Reprinted from "Natural Science," vol. XI., nos. 68 and 69, Oct. +and Nov. 1897. + +HARTOG, MARCUS. Samuel Butler and recent Mnemic Biological Theories. +Extract from "Scientia," Jan. 1914. + +HEWLETT, M. In a Green Shade. London, 1920. + +Containing an article on the _Memoir_. + +INDEPENDENT REVIEW, THE. See MacCarthy, Desmond. + +JACKSON, HOLBROOK. Samuel Butler. "T.P.'s Weekly," July 1915. "To-Day," +Dec. 1918 and Jan. 1919. + +JONES, HENRY FESTING. Samuel Butler as Musical Critic. "The +Chesterian." N.S. No. 7. London, May 1920. + +LARBAUD, V. Samuel Butler. In "La Nouvelle Revue Francaise," Jan. 1920. +_Also_ specimens of his translation of _Erewhon_, etc., in other numbers +of the same periodical, and notices of it. + +LARBAUD, V. L'Enfance et la Jeunesse de Samuel Butler. In "Les Ecrits +Nouveaux," April 1920. + +MACCARTHY, DESMOND. The Independent Review, Sept. 1904, with article +"The Author of Erewhon," by Desmond MacCarthy. + +MACCARTHY, DESMOND. The Quarterly Review, Jan. 1914, containing "The +Author of Erewhon," by Desmond MacCarthy. + +MACCARTHY, DESMOND. Remnants. By Desmond MacCarthy. London, 1918. + +Being essays and articles reprinted from various periodicals and +including "Samuel Butler: an Impression." + +MAIS, S. P. B. From Shakespeare to O. Henry. By S. P. B. Mais. London, +G. Richards, 1917. + +Containing a chapter on Butler. + +MERCURE DE FRANCE. See Blum, Jean. + +MIND. See Rattray, Robert. + +MONTHLY REVIEW, THE. See Streatfeild, R. A. + +NATIONAL GALLERY OF BRITISH ART. Catalogue of the National Gallery of +British Art, 19th ed., 1911. + +See pp. 37-8 for Butler's picture, "Mr. Heatherley's Holiday." + +NEGRI, FRANCESCO. Il Santuario di Crea in Monferrato. By Francesco +Negri (_i.e._ Butler's friend the Avvocato Negri of Casale-Monferrato). +Alessandria, 1902. + +Two of the illustrations are as in _Ex Voto_, Butler having lent his +photographs to the Avvocato. + +NUOVA ANTOLOGIA, 16 Luglio 1902, with necrology of S. Butler under "Tra +Libri e Riviste." + +PESTALOZZI, G. Samuel Butler der Jungere, 1835-1902. +Inaugural-Dissertation. Zurich, 1914. + +QUARTERLY REVIEW, THE. See MacCarthy, Desmond. + +QUILTER, HARRY. What's What. By Harry Quilter. 1902. + +With MS. Note by H. F. Jones. Pp. 308-311 are about Butler, who +possessed a copy of the book, given him, I suppose, by Quilter; but he +passed it on to Alfred. + +RATTRAY, ROBERT F. Extract from "Mind," July 1914, containing "The +Philosophy of Samuel Butler." By Robert F. Rattray. + +SALTER, W. H. Essays on two Moderns: Euripides and Samuel Butler. By W. +H. Salter. London, Sidgwick and Jackson, 1911. + +SAMPSON, GEORGE. The Bookman, Aug. 1915, containing illustrated article +by George Sampson. + +SELLA, ATTILIO. Un' Inglese Fervido Amico dell' Italia, Samuel Butler. +By Attilio Sella. 1916. + +Given to H. F. Jones by the author. + +SINCLAIR, MAY. A Defence of Idealism. By May Sinclair. London, +Macmillan, 1917. + +Containing "The Pan-Psychism of Samuel Butler." + +STREATFEILD, R. A. The Monthly Review, Sept. 1902, with article, "Samuel +Butler." By R. A. Streatfeild. + +WALL, ARNOLD. A Century of New Zealand Praise. By Arnold Wall. +Christchurch, 1912. + +Sonnet XC. is about Butler. + +WILLIAMS, ORLO. The Essay. By Orlo Williams. London Secker [1915]. + +YEATS, JOHN BUTLER. Essays, Irish and American. By John Butler Yeats. +With an appreciation by A. E. Dublin, 1918. + +The first essay is "Recollections of Samuel Butler." + +ZANGWILL, ISRAEL. Italian Fantasies. By Israel Zangwill. London, +Heinemann, 1910. + +Contains "Sicily and the Albergo Samuele Butler." + + + + +IV. BOOKS, ETC., RELATING TO BUTLER AND HIS SUBJECTS + + +ADAMS, C. WARREN. A Spring in the Canterbury Settlement. By C. Warren +Adams. London, 1853. + +BARKER, LADY. Station Life in New Zealand. By Lady Barker. London, +1870. + +With MS. note by H. F. Jones, referred to in the _Memoir_ of Butler. F. +Napier Broome and his wife, then Lady Barker, had a run near Butler's in +New Zealand. + +BASLER JAHRBUCH. See Faesch, Hans Rudolf. + +BATESON, WM. Biological Fact and the Structure of Society: The Herbert +Spencer Lecture (p. 19). Oxford, 1912. + +BATESON, WM. Problems of Genetics (Silliman Lectures). By Wm. Bateson, +F.R.S. New Haven, 1913. + +BUTLER, JAMES. Copies of Letters by Ensign James Butler (an uncle of Dr. +Butler) sent from Deal, Funchal, and Calcutta, 1764-1765; with +Introduction by H. F. Jones, all in typewriting and MS. + +James Butler and these letters are referred to in the _Life of Dr. +Butler_, and also in the _Memoir_ of Butler. Butler gave to the British +Museum an incomplete copy of the Letters and kept another incomplete copy +which I gave to the British Museum. Each of the incomplete copies +contained matter not in the other. I had this volume (now at St John's) +made up from the two incomplete copies. + +BUTLER, HENRY THOMAS, and another. Auction Bridge in a Nutshell. By +Butler and Brevitas--the Butler being Henry Thomas Butler, nephew of +Samuel Butler. [1913]. + +BUTLER, MARY. A Kalendar for Lads. 1910. Compiled by Butler's sister, +Mary Butler, and dedicated to her great-nephew, Patrick Henry Cecil +Butler (son of her nephew, Henry Thomas Butler). + +Referred to in the _Memoir_ of S. Butler. Given to me by Miss Butler. + +BUTLER, SAMUEL, D.D. A Sketch of Modern and Ancient Geography for the +Use of Schools. By Samuel Butler, D.D. A new edition revised by the +Rev. Thomas Butler, M.A., F.R.G.S. London, 1872. + +Referred to in Butler's _Life of Dr. Butler_ and also in the _Memoir_ of +Butler. + +BUTLER, REV. THOMAS. See Butler, Samuel, D.D. + +CLARKE, CHARLES. The Beauclercs, Father and Son. By Charles Clarke. 3 +vols. London, 1867. + +Referred to in Butler's _Life of Dr. Butler_, also in the _Memoir_ of +Butler, who saw the book in the British Museum. I bought this copy +second-hand on an open-air bookstall in Paris. + +DREW, MARY. Catherine Gladstone. By her Daughter, Mary Drew. London, +1919. + +With letter from the Authoress to H. F. Jones, 20 Jan. 1920. + +DUDGEON, ROBERT ELLIS. Colymbia. London, Trubner, 1873. + +No author's name is given, but the author was Dr. Robert Ellis Dudgeon, +the well-known homoeopathic doctor and friend of Butler. Referred to in +the _Memoir_ of Butler. + +FAESCH, HANS RUDOLF. The Easier Jahrbuch, 1906. + +Containing Letters from the East by Hans Rudolf Faesch, who is referred +to in _The Note-Books of Samuel Butter_ and also in the _Memoir_. + +FIGHTING MAN IN FICTION, THE. Woodville, N.Z. (1917?) + +A New Zealand pamphlet with letter from and photo of E. C. Chudleigh, who +sent it to me and who knew Butler in New Zealand. + +FRANCATELLI, C. E. The Cook's Guide. By Charles Elme Francatelli. +London, 1865. + +"I believe you could read Francatelli right through from beginning to end +without being moved in the smallest degree." Miss Savage to Butler +(1877). _Memoir_ I. 246. + +GALLONI, PIETRO. Sacro Monte di Varallo. Atti di Fondazione. By Pietro +Galloni. Varallo, 1909. + +With two post cards from Galloni to H. F. Jones. + +GALLONI, PIETRO. Sacro Monte di Varallo. Origine e Svolgimento. By +Pietro Galloni. Varallo, 1914. + +With two letters from Galloni and one from R. A. Streatfeild to H. F. +Jones. + +GROSVENOR, THE HON. MRS. RICHARD CECIL. Physical Exercises for Women and +Girls. By the Hon. Mrs. Richard Cecil Grosvenor. Additional exercises, +loose, accompanying. 1903. + +She was formerly Mrs. Alfred Bovill, daughter of Charles Clarke, the +author of _The Beauclercs_, _Father and Son_ (see above). She is +mentioned in Butler's _Life of Dr. Butler_ and in the _Memoir_ of Butler. + +HELPS, ARTHUR. See Victoria, Queen. + +HERING, EWALD. Memory. Lecture on the Specific Energies of the Nervous +System, by Professor Ewald Hering, University of Leipzig. English +translation. The Open Court Publishing Co., Chicago and London, 1913. + +Inscribed "H. Festing Jones, with best wishes from John F. Harris, August +31, 1915." Cf. Butler's translation of the Lecture on Memory in +_Unconscious Memory_. + +HUTTON, FREDERICK WOLLASTON. The Lesson of Evolution. By Frederick +Wollaston Hutton, F.R.S. 2nd ed. 1907. + +KING, REV. S. W. The Italian Valleys of the Pennine Alps. By the Rev. +S. W. King. London, 1858. + +Referred to in _Ex Voto_. Near the beginning of this book Mr. King +speaks of Varallo-Sesia. + +LARKEN, EDMUND PAUL. The Pall Mall Magazine, May 1897, with "The +Priest's Bargain," a story by E. P. Larken. + +Butler gave Larken the plot for this story. See _The Note-Books of +Samuel Butler_, pp. 235-6. + +LE DANTEC, FELIX. Lamarckiens et Darwiniens. Par Felix Le Dantec. 3e +ed. Paris, 1908. + +LYTTON, EDWARD, LORD. The Coming Race. London, 1886. + +Referred to in the _Memoir_ of Butler. + +NOTES AND QUERIES, 2 April 1892. Containing article, "Took's Court and +its neighbourhood," with plans and illustrations, including Clifford's +Inn, Barnard's Inn, and Staple Inn. + +PALL MALL MAGAZINE, THE. See Larken, E. P. + +SIX "RED ROSE" PAMPHLETS. 1913-1916. + +REINHEIMER, HERMANN. Symbiogenesis, the Universal Law of Progressive +Evolution. By Hermann Reinheimer. London, 1915. + +See, especially, chap. vii.--Psychogenesis. + +RUSSELL, E. S. Form and Function. London, 1916. + +Ch. xix--"Samuel Butler and the Memory Theories of Heredity." + +SALT, H. S. Animal Rights. London, 1894. + +With MS. note by H. F. Jones. + +SLADEN, DOUGLAS. Selinunte and the West of Sicily. By Douglas Sladen. +London, 1903. + +SMYTHE, WILLIAM HENRY. Memoir descriptive of the Resources, Inhabitants, +and Hydrography of Sicily and its Islands. By Captain William Henry +Smythe, R.N., K.S.F. London, Murray, 1824. + +SMYTHE, WILLIAM HENRY. The Mediterranean. By Rear-Admiral Wm. Henry +Smythe, K.S.F., D.C.L. London, Parker, 1854. + +These two books by Admiral Smythe were wanted for _The Authoress of the +Odyssey_. Butler saw them in the British Museum; I bought these copies. + +TRIPP, ELLEN S. My Early Days. By Ellen Shephard Tripp. Timaru, N.Z., +Joyce, 1915. + +With letter to H. F. Jones from Leonard O. H. Tripp, of New Zealand. + +VICTORIA, H.M. QUEEN. Leaves from the Journal of our Life in the +Highlands. Edited by Arthur Helps. London, Smith, Elder and Co., 1868. + +VICTORIA, H.M. QUEEN. More Leaves from the Journal of a Life in the +Highlands. London, Smith, Elder and Co., 1884. + +"Visit to Inveraray . . . and after lunch we went into the large drawing- +room next door to where we had lunched in 1847, when Lorne was only two +years old. And now I return, alas! without my beloved husband, to find +Lorne my son-in-law!" This passage, which occurs on page 291, is +referred to, with a comment, by Miss Savage in a letter to Butler, 18th +Nov. 1884. (_Memoir_ I. 429.) + +WARD, JAMES. Heredity and Memory. By James Ward. Cambridge, 1913. + + + + +V. BOOKS FORMERLY THE PROPERTY OF SAMUEL BUTLER + + +BUTLER wrote to Robert Bridges, 6 Feb. 1900, "I have, I verily believe, +the smallest library of any man in London who is by way of being +literary." (_Memoir_, II., 320.) + +Cf. no. 9 in Section I. Pictures, "Interior of Butler's sitting-room," +where part of his library is shown. The rest of his books were in a +cupboard between his sitting-room and his painting-room. They all passed +under the residuary bequest in his will to his nephew, Henry Thomas +Butler, who gave them to me. Some were taken by Streatfeild, his +literary executor, and some few were lost in transitu; the remainder are +here. + +AGAR, T. L. Emendationes Homericae. [189-] + +With notes by Butler. + +ALLEN, GRANT. Charles Darwin. By Grant Allen. (English Worthies.) +London, 1885. + +Butler was asked to review this, but declined on the ground that there +was too strong a personal hostility between both Darwin and Grant Allen +and himself to make it possible for him to review the book without a bias +against it. (_Memoir_, II. 28.) + +ANDERSON, W. C. F. See Engelman, R. + +BETTANY, G. T. The Life of Charles Darwin. (Great Writers.) London, +1887. + +BIBLE, THE HOLY. Oxford, 1836. + +Inscribed "Samuel Butler, from his affectionate Godmother and Aunt Anna +Worsley, September 13th, 1836." So that he was not christened till he +was more than nine months old, and he used to say that this delay was a +risky business, because during all those months the devil had the run of +him. He imitated the inscription in this Bible for the inscription in +the christening Bible which Ernest spurns from him when he is about to +undertake the conversion of Miss Maitland in chapter lx. of _The Way of +All Flesh_. But he imitated it too closely for he wrote, "It was the +Bible given him at his christening by his affectionate Godmother and +Aunt, Elizabeth Allaby." Whereas Ernest only had one godmother, and she +was Alethea, the sister of Theobald. Anna Worsley was a sister of +Butler's mother, and Elizabeth Allaby was a sister of Ernest's mother. + +BIBLE. New Testament in Greek. Oxford, 1851. + +Two copies, with very numerous MS. notes by Butler. Given to St. John's +College some years ago. + +BORDIGA, GAUDENZIO. Notizie intorno alle opere di Gaudenzio Ferrari. +Milano, 1821. + +Used by Butler in writing _Ex Voto_. + +BOSWELL, JAMES. Croker's Boswell's Johnson. New edition. London, 1860. + +Pencil marks by Butler. + +BRIDGES, ROBERT. Poetical Works of Robert Bridges. 2 vols. London, +1898. + +Butler and Bridges corresponded about the Sonnets of Shakespeare and the +Odyssey and exchanged examples of their published works. (See the +_Memoir_.) + +BUCKLEY, THEODORE ALOIS. The Iliad of Homer and the Odyssey of Homer. +Translated by Theodore Alois Buckley. (Bonn's Classical Library.) 2 +vols. 1872-3. + +BURKE, EDMUND. Reflections on the Revolution in France. By Edmund +Burke. London, Daly [18--]. + +CANDLER, C. The Prevention of Consumption. By C. Candler. London, +1887. + +Inscribed "Samuel Butler, Esq., with the Author's compliments." + +CARLYLE, THOMAS. Oliver Cromwell's Letters and Speeches. By Thomas +Carlyle. 3 vols. London, 1857. + +COLBORNE-VEEL, MARY. The Fairest of the Angels and Other Verse. By Mary +Colborne-Veel. London, 1894. + +Given to Butler by the Authoress, who is the daughter of J. +Colborne-Veel, formerly editor of _The Press_, Christchurch, New Zealand. +Miss Colborne-Veel found Butler's "Philosophic Dialogue" in _The Press_ +of 20 Dec. 1862. (See the _Memoir_, I. 100.) + +CREIGHTON, CHARLES. Illustrations of Unconscious Memory in Disease. By +Charles Creighton. London, 1886. + +Inscribed "To Samuel Butler from the author, February, 1888." + +CRUVEILHIER, J. C. Atlas of the Descriptive Anatomy of the Human Body. +By J. C. Cruveilhier. London, 1844. + +DALLAS, W. S. See Darwin, Charles. + +DALY, CH. See Shakespeare. + +DANIEL, P. A. Notes and Conjectural Emendations of certain Doubtful +Passages in Shakespeare's Plays. By P. A. Daniel. London, 1870. + +Inscribed "S. Butler from his friend the Author." + +DARWIN, CHARLES. The Origin of Species. By Charles Darwin. First +Edition. London, 1859. + +"From the Author." With MS. notes and marks by Samuel Butler. + +DARWIN, CHARLES. The Origin of Species. By Charles Darwin Sixth Edition +(18th thousand), with additions and corrections to 1872. London, 1876. + +With MS. notes and marks by Samuel Butler. Butler bought this in order +to compare it with the original edition. + +DARWIN, CHARLES. The Expression of the Emotions in Man and Animals. By +Charles Darwin. London, 1872. + +Inscribed "From the Author." Butler procured for Mr. Darwin the two +illustrations by Mr. A. May, pp. 54-5. (See the _Memoir_.) + +DARWIN, CHARLES. The Variation of Animals and Plants under +Domestication. By Charles Darwin. Second edition. 2 vols. London, +1875. + +DARWIN, CHARLES. Erasmus Darwin. By Ernst Krause. Translated from the +German by W. S. Dallas, with a preliminary notice by Charles Darwin. +First edition. London, 1879. + +This book is referred to in chapter iv. of _Unconscious Memory_; also in +my pamphlet, "Charles Darwin and Samuel Butler: a Step towards +Reconciliation"; also in the _Memoir_. + +DARWIN, CHARLES. The Life of Erasmus Darwin. By Charles Darwin. Being +an introduction to an Essay on his Scientific Works by Ernst Krause, +translated from the German by W. S. Dallas. Second edition. London, +1887. + +Pencil note by Butler, p. 4. "Second Edition" means second edition of +the preceding book which is called "Erasmus Darwin," that is, the title +was altered. In the first book precedence is given to Krause's Life of +Erasmus Darwin, in the second precedence is given to Charles Darwin's +introduction. + +DAVIES, JOHN LLEWELYN. See Plato. + +DICTYS CRETENSIS. (Teubner Classics.) Leipzig. + +DUDGEON, ROBERT ELLIS. The Prolongation of Life. By R. E. Dudgeon, M.D. +Second edition. London, 1900. + +Given by Dr. Dudgeon either to Butler or to me after Butler's death, I +forget which. + +DUNCAN, W. STEWART. Conscious Matter. By W. Stewart Duncan. London, +1881. + +ELEMENTS, THE, of Social Science; or, Physical, Sexual, and Natural +Religion. By a Graduate of Medicine. Third edition. London, 1860. + +I have no doubt that Butler was directed to this book by Dr. Dudgeon. + +EMSLIE, JOHN PHILIPPS. New Canterbury Tales. By John Philipps Emslie. +London [1887]. + +ENGELMAN and ANDERSON. Pictorial Atlas to Homer's Iliad and Odyssey. +London, 1892. Thirty-six Plates by R. Engelman and W. C. F. Anderson. + +EPICORUM GRAECORUM FRAGMENTA. (Teubner Classics.) Leipzig. + +GARNETT, RICHARD. Poems. By Richard Garnett. London, 1895. + +Inscribed "Samuel Butler, with R. Garnett's very kind regards. December, +1893." + +GARNETT, RICHARD. Edward Gibbon Wakefield. By R. Garnett, C.B., LL.D. +London, 1898. + +Inscribed "From the Author." + +GARNETT, RICHARD. The Life of Thomas Carlyle. By Richard Garnett. +London, 1887. + +Inscribed "Samuel Butler from Richard Garnett." + +GARNETT, RICHARD. Dante, Petrarch, Camoens. CXXIV. Sonnets translated +by Richard Garnett, LL.D. London, 1896. + +Inscribed "Samuel Butler, from R. Garnett." + +GOETHE. Wilhelm Meister's Apprenticeship. Translated. 2 vols. Leipzig, +1873. + +HESIOD. (Teubner Classics.) Leipzig. + +HOMER. Iliad and Odyssey. 2 vols. London, Pickering, 1831. + +With numerous MS. notes by Butler. Given to St. John's College some +years ago. + +HOMER. Iliad and Odyssey. 4 vols. [18--] + +Interleaved and profusely adnotated by Butler. + +HOMER. Iliad, Odyssey, and Hymns. (Teubner Classics.) Leipzig. + +HOMER. See Buckley, Theodore Alois. + +JEBB, SIR R. C. Introduction to Homer. Third edition. London, 1888. +_Also_ a copy with a few MS. notes by Butler. + +JESUS OF HISTORY, THE. London, 1869. + +Used by Butler in preparing _The Fair Haven_. + +KRAUSE, ERNST. See Darwin, Charles. + +LAMARCK. Philosophie Zoologique. Nouvelle edition par Ch. Martins. 2 +vols. Paris, 1873. + +Used by Butler in preparing _Evolution Old and New_. + +LAURENTIUS. The Miocene Men of the Bible. By Laurentius. London, 1889. + +LOCKE, JOHN. An Essay concerning Human Understanding. By John Locke. 2 +vols. London, 1824. + +MALONE, E. See Shakespeare. + +MENDELSSOHN-BARTHOLDY, FELIX. Letters from Italy and Switzerland. By +Felix Mendelssohn-Bartholdy. Translated by Lady Wallace. London, 1862. + +See p. 37 about Mendelssohn's staying such a long while before things in +_Alps and Sanctuaries_, ch. ii. + +MILTON, JOHN. The Prose Works of John Milton. Only Vol. III., +containing "The Doctrine and Discipline of Divorce." (Bohn.) London, +1872. + +Referred to in _The Way of All Flesh_, when Theobald and Christina drive +away together after their marriage. And cf. _Life and Habit_, ch. ii., +where, after quoting from a journal an extract about Lycurgus, Butler +proceeds: "Yet this truly comic paper does not probably know that it is +comic, any more than the kleptomaniac knows that he steals, or than John +Milton knew that he was a humorist when he wrote a hymn upon the +Circumcision and spent his honeymoon in composing a treatise on Divorce." + +MIVART, ST. GEORGE. On the Genesis of Species. By St. George Mivart. +Second edition. London, 1871. + +Used by Butler in preparing his books on evolution. + +PALEY, WILLIAM. Natural Theology or Evidences of the Existence and +Attributes of the Deity. By William Paley, D.D. New edition. London, +1837. + +PALEY, WILLIAM. A View of the Evidences of Christianity. By William +Paley, D.D. New edition by T. R. Birks. London [18--]. + +PIERS PLOUGHMAN. The Vision and Creed of Piers Ploughman. Edited by +Thomas Wright. 2 vols. London, 1887. + +Butler bought this to help him to make up his mind as to the limits of +permissible archaism in translating the Odyssey and the Iliad. + +PILKINGTON, MATTHEW. A General Dictionary of Painters. By Matthew +Pilkington. 2 vols. London, 1829. + +PLATO. The Republic of Plato. Translated by John Llewelyn Davies and +David James Vaughan. Cambridge, 1852. + +H. F. Jones to Butler from the Hotel dell'Angelo, Faido, in 1883: "The +signora has given me No. 4, the room into which you came one morning, +more than five years ago, and said, 'Oh, you've been reading that damned +Republic again!'" _Memoir_, I. 395. + +RIGAUD, JOHN FRANCIS. See Vinci, Leonardo da. + +ROCKSTRO, W. S. The Rules of Counterpoint. By W. S. Rockstro. London +[1882]. + +Out of which Butler used to do his counterpoint exercises. + +ROSSETTI, WILLIAM MICHAEL. See Webster, Augusta. + +SCHOELCHER, VICTOR. The Life of Handel. By Victor Schoelcher. London, +1857. + +Referred to in the _Memoir_ of Butler. + +SHAKESPEARE, WILLIAM. The Poems of William Shakespeare. London, Daly +[18--]. + +SHAKESPEARE, WILLIAM. Shakespeare's Poems. Malone. 1780. + +This is part of Vol. I. of Malone's "Supplement to the Edition of +Shakespeare's Plays published in 1778 by Samuel Johnson and George +Steevens." I do not know where Butler got it; he wanted Malone's +comments on the Sonnets and he may have bought this second-hand or it may +have been given to him. It was probably in a bad state, for he had it +bound; there is an entry to that effect in his account book, 30th March, +1899. + +SKERTCHLY, SYDNEY B. J. See Tylor, Alfred. + +STANLEY, ARTHUR PENRHYN. The Life and Correspondence of Thomas Arnold, +D.D. By Arthur Penrhyn Stanley. Seventh edition. London, 1852. + +Butler bought this when he was writing the Life of his Grandfather, +because he was told that it was a model biography of a great +schoolmaster. + +STRAUSS, FRIEDRICH. A New Life of Jesus. By Friedrich Strauss. +Authorised translation. 2 vols. London, 1865. + +Used by Butler in preparing _The Fair Haven_. + +SWIFT, JONATHAN. The Works of Jonathan Swift. 2 vols. London, 1859. + +With pencil marks by Butler. + +TYLOR, ALFRED. Colouration in Plants and Animals. By Alfred Tylor. +Edited by Sydney B. J. Skertchly. London, 1886. + +Alfred Tylor was a friend of Butler, and is referred to in my _Memoir_. + +TYLOR, ALFRED. On the Growth of Trees and Protoplasmic Continuity. By +Alfred Tylor. London, 1886. + +This was originally a lecture read by Skertchly to the Linnean Society, +Mr. Tylor being too ill to attend. Butler was present and spoke. +Referred to in the _Memoir_. + +VAUGHAN, DAVID JAMES. See Plato. + +VINCI, LEONARDO DA. A Treatise on Painting. By Leonardo da Vinci. +Translated by John Francis Rigaud. London, 1835. + +WEBSTER, AUGUSTA. Mother and Daughter. By the late Augusta Webster. +London, 1895. + +With an Introductory Note by Wm. Michael Rossetti. Inscribed, "Samuel +Butler, with kind regards from Thomas Webster." Augusta Webster is +referred to in the _Memoir_. + +WHITE, WILLIAM. The Story of a Great Delusion. By William White. +London, 1885. + +WILBERFORCE, SAMUEL. Agathos and other Sunday Stories. By Samuel +Wilberforce, M.A., Archdeacon of Surrey. Nineteenth edition. London, +1857. + +WRIGHT, THOMAS. See Piers Ploughman. + + + + +VI. ATLASES AND MAPS +FORMERLY THE PROPERTY OF SAMUEL BUTLER + + +Some of the maps are marked with red lines showing, in the words of +another illustrious Johnian, "fields invested with purpureal gleams." +These red lines, specially noticeable in Butler's ordnance maps of the +neighbourhood within thirty miles round London, denote his country walks, +and are referred to in his Introduction to _Alps and Sanctuaries_. + +BUTLER, SAMUEL, D.D. An Atlas of Modern Geography for the use of Young +Persons and Junior Classes in Schools. Selected from Dr. Butler's +"Modern Atlas," by the Author's son, the Rev. T. Butler, Rector of +Langar. London, 1870. _Also_ an edition inscribed, "Samuel Butler, +October 20th, 1850"; and an edition of Dr. Butler's "Atlas of Antient +Geography." + +Environs of London, North side (eastern half missing). + +Environs of London, South side--Sevenoaks, Tonbridge, Maidstone. + +There is something wrong; one piece is much dirtier than the other; the +two do not belong to one another. The dirty one is inscribed, almost +illegibly, thus: "S. Butler, 15, Clifford's Inn, Fleet Street, London, +E.G. Please return to the above address. The finder, if poor, will be +rewarded; if rich, thanked." May be he did lose one half, and it was not +returned, and he bought another. + +Environs of London (Surrey). + +Environs of London (Sussex). + +Brighton and Environs (reduced Ordnance). + +Chatham (near) to Romney Marsh (in two parts). + +France (part of) and Channel Islands. + +Boulogne } + +Dieppe } + +Dieppe } Mounted, and all in one envelope. + +Canton Uri } + +Tuscany } + +Canton Ticino. + +Provincia di Torino. + +The Val Leventina, 1681. + +Trapani, Monte S. Giuliano and neighbourhood, in two sheets. + +Trapani (Ordnance). + +Ithaca and Corfu (three sheets). + +An envelope containing maps and plans relating to Butler's Run, +Mesopotamia, New Zealand. + + + + +VII. MUSIC +FORMERLY THE PROPERTY OF SAMUEL BUTLER + + +These volumes contain many pencil notes, exclamations, and marks by +Butler. xxx means very great admiration; xx moderate admiration; x +slight admiration. + +HANDEL'S ORATORIOS in Novello's octavo edition:-- + +Acis and Galatea. + +Alceste. + +Alexander Balus. + +Athaliah. + +Belshazzar. + +Chandos Te Deum and St. Cecilia's Day. + +Deborah. + +Dettingen Te Deum. + +Israel in Egypt. + +Jephtha. + +Joshua. + +Miscellaneous. + +Occasional Oratorio. + +The Passion. + +Samson. + +Selections. + +Semele. + +Solomon. + +Susanna. + +Theodora. + +Time and Truth. + +HANDEL'S 16 SUITES, TROIS LECONS, CHACONNE, SEPT PIECES, SIX GRANDES +FUGUES (p. 118. Note in Butler's writing at no. 6, "This is the 'Old +Man' Fugue"; cf. the _Memoir_ of Butler), and SIX PETITES FUGUES. + +TWELVE GRAND CONCERTOS. By G. F. Handel. Pencil marks by Butler, _e.g._ +p. 27, "xxx the whole of this concerto"; and by Butler and Jones, _e.g._ +p. 88, "cf. Sarabande Suite, xvi. (Set 2, no. 8)" (so far by Jones and +the rest is by Butler), "cf. 'When Myra Sings,' Clarke's 'Beauties of +Purcell,' pp. 124-5." + +A volume containing CONCERTOS by Handel and Hasse and SIX OVERTURES by +Handel. Two papers pasted in; one printed with verses, the other MS. +with "Upbraid me not, capricious fair." This was set to music by H. F. +Jones, and at that time we were told, through _Notes and Queries_, that +the words were by Alexander Brome. + +A volume inscribed "15, Clifford's Inn, Fleet Street, E.G." containing +ARRANGEMENTS OF HANDEL, by Wm. Hutchins Callcott; HANDEL'S HAUTBOY +CONCERTOS, Nos. 2, 4 and 5; Eight of his SUITES; his CONCERTANTE; his SIX +ORGAN CONCERTOS; a FANTASIA; his WATER MUSIC, and TWO MINUETS by +Geminiani. + +A volume containing HANDEL'S CORONATION ANTHEM; ACIS AND GALATEA; an +ORATORIO with no title or composer's name, the first song being "Tune +your Harps to Chearful Strain"; the OVERTURE, SONGS, DUETS and TRIO in +"Comus" by Dr. Arne; and THE BLACKBIRDS, a Cantata by M. Isaac. + +A volume with "Miss E. Parkes" on a label outside; inscribed, "Samuel +Butler, with the love of his Aunt, Ellen Worsley, January 2nd, 1865"; +containing Corelli's Sonatas and Concertos, "Thorough-Bass," by M. P. +King, and a few of Handel's Overtures. Pencil marks by Butler. + +A volume containing L'INDISPENSABLE (a Manual for performers on the +Pianoforte); MELODIES OF ALL NATIONS, ENGLISH AIRS, and various pieces by +Handel, Bach and others. + +Two Portfolios containing unbound music by Handel and others, including +the SIX FUGUES, of which no. 6 in C Minor is the "Old Man" Fugue. + +THE HANDEL ALBUM FOR THE PIANOFORTE. Arranged by William Hutchins +Callcott. + +HANDEL'S CONCERTOS AND ROSEINGRAVE'S SUITES. Walsh's edition. Inscribed, +"To S. Butler, with kind regards from Julian Marshall, June 20, 1873." + +THE FITZWILLIAM VIRGINAL BOOK. Ed. by Fuller Maitland and Barclay +Squire. Butler subscribed for this at the instigation of Fuller +Maitland. He had the parts bound and gave the volumes to me. + +THE BEAUTIES OF PURCELL (John Clarke), inscribed "S. Butler." + +THE WELL-TEMPERED CLAVICHORD. By John Sebastian Bach. (Czerny). + +371 VIERSTIMMIGE CHORALGESANGE VON JOHANN SEBASTIAN BACH. + +LIEDER OHNE WORTE. 6 books, by Mendelssohn. + +A MUSICAL MS. SCRAP-BOOK, containing Notes of Rockstro's lessons; also +pieces copied by Butler, including some composed by him for Alfred to +learn. + + + + +VIII. MISCELLANEOUS PAPERS +FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER + + +Thomas Harris, of Shrewsbury. + +Butler when a boy was amused by the advertisement put up over his shop by +this man, who was a baker. He copied or invented the two pictures +showing Harris (1) making bride cakes, (2) making funeral cakes, and +composed the music. Miss Butler showed it to me at Shrewsbury in June or +July, 1902, and I copied it. + +MS. copies of "The New Scriptures," according to Darwin, Tyndall, Huxley +and Spencer. + +The first twenty-four verses of this appeared in an American paper (the +_Index_, if I remember right) many years ago. They were given to me by +Herbert Phipson; I showed them to Butler; he copied them and composed +verses 25 to 33. + +Testimonials by Eyre Crowe, A.R.A.; G. K. Fortescue; R. Garnett, LL.D.; +A. C. Gow, A.R.A.; T. Heatherley; the Rev. B. H. Kennedy, D.D.; Henry +Stacy Marks, R.A.; and W. T. Marriott, M.P., submitted by Butler in 1886 +when a Candidate for the Slade Professorship of Fine Art at Cambridge. + +Two numbers of the Parish Magazine of St. Augustine's, Kilburn, Mar. 1887 +and April 1887. + +Between pp. 80 and 81 of the March number are unsuitable advertisements +of Pears' Soap involving the Bishop Q of Wangaloo and Lillie Langtry. +Their appearance drew from the Editor, pp. 97 and 112 of the April +number, an expression of regret, distress, and surprise, and a statement +that precautions had been taken against any occurrence of a similar +nature in future. If I remember right Miss Savage sent these to Butler +and they are referred to in their correspondence, but perhaps not in any +of the letters included in the _Memoir_. + +Review of "Luck or Cunning?" written by George Bernard Shaw, which +appeared in the _Pall Mall Gazette_, 31st May, 1887. + +This was given to me by Dan Rider, who told me that Bernard Shaw's +original review, which he wrote off his own bat, was very much more +laudatory and much longer, but the Editor of the _Pall Mall Gazette_ cut +it down in length and took out some of the praise because he was afraid +of offending the Darwins and their friends. + +A collection of Butler's Letters to the _Athenaeum_ and the _Academy_ and +other contributions to the press. See the _Memoir_. + +20 Marzo 1893. Nomination of Butler as Socio Corrispondente of the +Accademia di Scienze, Lettere, ed Arti de'Zelanti di Aci-Reale. + +4 Luglio 1893. Nomination of Butler as Socio Corrispondente of the +Accademia Dafnica di Scienze, Lettere, ed Arti in Aci-Reale. + +An envelope containing papers relating to Dr. Butler and to Butler's +_Life_ of him, which appeared in 1896. + +Statement as to the position of the violinist Mademoiselle Gabrielle +Vaillant, May 1897. + +She occurs in the _Memoir_. She broke down, and a few hundred pounds +were raised to help her. + +A collection of obituary notices of Butler. 1902. + +Two collections of notices of Butler's books, one made by Butler, the +other by Streatfeild. + +Particulars and Conditions of Sale of such of Butler's houses near London +as were sold after his death, Oct. 1902. + +A parcel of newspapers, mostly _The Press_ and _The Weekly Press_ of New +Zealand, referring to Butler and to his contributions to the New Zealand +press. Some of his early contributions are reprinted. See _A First Year +in Canterbury Settlement_ (1914), Introduction. + +A collection of letters and papers relating to the Erewhon Dinners. + +An envelope containing _pieces justificatives_ in connection with the +"Diary of a Journey," by H. F. Jones. 1903. + +_The Cambridge Magazine_ for 1 March 1913, containing "Samuel Butler and +the Simeonites," by A. T. Bartholomew. See _A First Year in Canterbury +Settlement_ (1914), pp. 266-272. + +Catalogue of the Butler Collection at St. John's College, Cambridge. Pts. +1-3. Extracted from _The Eagle_ for March and June 1918 and for June +1919. (No more published in this form.) + +Menu of Dinner given to Henry Festing Jones on the completion of the +_Memoir_ of Butler, the hosts being Mansfield Duval Forbes and A. T. +Bartholomew, 11th Nov. 1916, in Forbes's rooms, Clare College, Cambridge. +Each course is illustrated by an appropriate quotation from the _Memoir_. + +Menu of Dinner given to Henry Festing Jones on the publication of his +_Memoir_ of Butler by A. T. Bartholomew at the University Arms Hotel, +Cambridge, 22 Nov. 1919. + +A collection of _pieces justificatives_, permissions to print letters in +the _Memoir_ of Butler, and the original MSS. of Reminiscences of Butler +therein included by Miss Aldrich, Rev. Cuthbert Creighton, the Hon. Mrs. +Richard Cecil Grosvenor, H. R. Robertson. + +A collection of newspaper cuttings, being reviews and notices of the +_Memoir_. + +A collection of letters received by H. F. Jones on the publication of the +_Memoir_. + + + + +IX. PRINTS AND PHOTOGRAPHS +FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER + + +An engraving of "The Fortune Teller," by Sir Joshua Reynolds. + +An engraving of "The Woodman," by Gainsborough. + +A print of a view of "Clifford's Inn Hall from the Garden." 1800. + +A paper about Clifford's Inn, extracted from "Picturesque Views and an +Historical Account of the Inns of Court," by Samuel Ireland, published in +the year 1800. + +An envelope containing prints of the photograph of Butler's Fireplace, 15 +Clifford's Inn. + +Six boxes of photographic negatives. Portraits and Italian works of art. + +Five volumes of prints of snap-shots by Butler. + +Photographs illustrating Butler's notions about the Portraits of Gentile +and Giovanni Bellini as to which he wrote to the _Athenaeum_, 20 Feb. +1886. (_Memoir_, ch. xxv.) + +Photographs to illustrate his notions about the Holbein drawing, "La +Danse," dealt with in the article in the _Universal Review_, "L'Affaire +Holbein-Rippel." Together with various papers relating to the same +matter. This article was not reproduced in _Essays on Life_, _Art and +Science_ (afterwards _The Humour of Homer_) because of the trouble of +reproducing the illustrations, but it is among the _Universal Review_ +articles bound together and included in this catalogue (p. 19). + +A print of the great statue of S. Carlo Borromeo, near Arona, called "S. +Carlone." + +A collection of photographs of Italian pictures, unmounted. + +Three large cards with photographs of the fresco by Gaudenzio Ferrari +which is in S. Maria delle Grazie at Varallo-Sesia. It is in twenty-one +compartments. + +Two cards, not so large, with photographs of pictures and frescoes by +Gaudenzio. One of these reproduces frescoes and pictures in the +Crucifixion Chapel at Varallo. In the left-hand bottom corner is the +whole of the fresco in S. Maria delle Grazie showing how the twenty-one +compartments are placed. The other card contains Gaudenzio's frescoes in +the Church of S. Cristoforo at Vercelli. + +A card with five photographs, two of the frescoes at Busto Arsizio near +Varese--at least, I think that is where they are. One is "St. John +Baptist's head in a charger," the other "The baptism in the Jordan." +Butler particularly liked the scratchings of names and dates on the +former. The other three photographs are of pictures. The foregoing six +cards (three, two and one) used to hang framed in Butler's chambers. + +A woman in a black dress from Lima. Used by Butler to make female heads +for sale, but he was not successful. + +_The Weekly Press_, N.Z., 21st Mar. 1917. Page 26 contains views of +Butler's homestead at Mesopotamia. + +Two views of Butler's homestead, Mesopotamia, New Zealand, extracted from +the _Press_. + +A view of the ruins of Hagiar Chem (Haggiar Kim in Malta). + +A card with five photographic views. Two are the Garden at Langar. One +is at Langar, Mrs. Barratt. Cf. snapshot album, 891, p 27. The +remaining two are huts or whares in New Zealand, one being "Whare at +Mount Peel Station, Oct. 14." + + + + +X. PORTRAITS +FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER + + +{Samuel Butler when an undergraduate about 1858: p53.jpg} + +Butler's Photograph Album. + +I have written the names against those portraits of whose identity I am +certain. The cabinet photograph of Canon Butler resembles the father in +"Family Prayers"; but Butler cannot have used this photograph, which was +done when Canon Butler was an old man, for a picture painted in 1864. + +Photographs of S. Butler: + +(1) Soon after his return from New Zealand. + +(2) 1866. + +(3) Taken by Mrs. Bridges in the garden at Langar about 1866. + +(4) His identification photograph at the Paris Exhibition, 1867. 2 +copies. + +(5) At Milan about 1886. + +(6) At 15 Clifford's Inn, by Alfred, about 1888. + +(7) At 15 Clifford's Inn, by Alfred, about 1889. + +(8) Taken at The Long House, Leatherhead, by Mr. Pidgeon, about 1894. + +(9) Taken by Russell in 1901. Given by Butler to Streatfeild. + +The Rev. T. Butler, of Wilderhope House, Shrewsbury, Butler's father. + +Mrs. Butler, Butler's mother. + +Tom Butler, Butler's brother. + +Miss Eliza Mary Anne Savage. + +Three photographs of Charles Paine Pauli, two on cards and one on glass. + +Butler kept the glass one on his mantelpiece until Pauli's death in 1897. +Then he removed it. He would have removed it earlier, but Pauli came to +his rooms to lunch three times a week, and would have noticed its +absence. For Pauli see the _Memoir_. + +Hans Rudolf Faesch as a boy. + +Hans Rudolf Faesch, taken by Butler in 1893. + +Cavaliere Biagio Ingroja of Calatafimi. + +Professore Alberto Giacalone-Patti of Trapani. + +William Smith Rockstro, who used to teach Butler counterpoint. See the +_Memoir_. Taken by Butler at 15 Clifford's Inn, 10 Oct. 1890. + +Charles Gogin } + +Joseph Benwell Clark } All taken by Butler at 15 Clifford's Inn. + +Edward James Jones } + +An engraving of G. A. Paley and letter from Mr. Barton Hill (on behalf of +Henry Graves and Co.) to H. F. Jones identifying the portrait. + +A card with photographs of twelve of Butler's College friends. + + + + +XI. EFFECTS +FORMERLY THE PERSONAL PROPERTY OF SAMUEL BUTLER + + +One mahogany table with two flaps. + +Butler used this table for his meals, for his writing, and for all +purposes to which a table can be put. A corner of it covered with a red +cloth is seen in the picture of the interior of his room. See p. 4, no. +9. + +Sandwich case. + +This he took with him on his Sunday walks and sketching excursions. + +Passport. + +Pocket magnifying glass. + +Address book. + +Homeopathic medicine case. + +He always took this with him on his travels. + +Two account books, 1897-1900 and 1900-1902. + +Butler destroyed his early account books when he made the Skeleton Diary +of his life which is in Vol. III. of his MS. Note-Books. After his death +the remaining account books were destroyed except these two. + +Books in which Butler used to keep his accounts by double entry. The +handwriting during the early years is Butler's, afterwards it is +Alfred's. Journal, 1895-1902; Cash Book, 1881-1899; Cash Book, +1899-1902; Union Bank Book, 1881-1902; Ledger. + +A set of books containing accounts for his published works. + +Two of the small note-books which after April 1882 Butler always carried +in his pocket and in which he made the notes afterwards copied into his +full-size MS. Note-Books. + +Before 1882 he used some other kind of pocket note-book. The first one +he had of this kind was sent to him by Miss Savage in a letter of 18th +April, 1882, from which the following is an extract; the words in square +brackets are a note by Butler on Miss Savage's letter. + + "I send you a little present; the leaves tear out, so that when you + leave your note-book at the "Food of Health" [I don't remember ever + going to the "Food of Health." I do not know the place. S. B.] or + elsewhere, as you sometimes have done, you will not lose so much, and + then you can put the torn leaves into one of the little drawers in + your cabinet which is just made for such documents." (_Memoir_, I. + 373.) + +The cabinet she refers to was one of the two Japanese cabinets, the next +items, which he had bought at Neighbour's grocery and tea-shop in Oxford +Street, and which she had seen in his rooms. He used to keep stamps in +them. + +One small Japanese cabinet. + +One larger Japanese cabinet. + +Two pen trays. + +One camera lucida with table (see the _Memoir_). + +One round wood-carving: a female bust. + +Two large dishes, German or Swiss, which stood on his table. + +One tin case holding pencils and brushes for water-colour sketching. + +One tin water-bottle for sketching. One sketching camp-stool. One +sketching portfolio. One water-colour paint-box. + +One sloping desk. + +"I shoud explain that I cannot write unless I have a sloping desk." See +"Quis desiderio--" (_The Humour of Homer_). This is the sloping desk on +which he wrote in Clifford's Inn. + +One pair of chamois horns given him by Dionigi Negri at Varallo Sesia. + +One handle and webbing in which he carried his books to and from the +British Museum. + +A photograph showing one wall of Butler's chambers in Clifford's Inn with +the fireplace and accompanying sketch plan. + +Some of the pictures mentioned in Section I. of this Catalogue can be +identified, and also the following nine items, which are on the +mantelpiece or on the wall. The two dolls (no. 9) were destroyed by +Butler about 1898; the other eight objects are included in this +collection at St. John's. + +One pair of pewter candlesticks (1). + +One bust of Handel (2). + +One plate, which he called "Three Acres and a Cow," because it seems to +be decorated in illustration of that catch-word (3). + +Two crockery holy water holders; only one is shown in the photograph (4). + +Three medallions under glass, representing, in some kind of plaster, the +Madonna di Oropa (5). + +Three crockery examples of "the Virgin with Child" (6). + +One only is shown in the photo. One of these is from Oropa where the +Virgin and Child are both black, see "A Medieval Girl-School" in _The +Humour of Homer_. These holy water holders and Madonnas are some of the +cheap religious knick-knacks which are sold at most Italian Sanctuaries. +We often brought back a few and gave them away to Gogin, Alfred, Clark, +and other friends. + +Bag for pennies (7). + +Miss Savage's kettle-holder (8). + +In Oct. 1884 (see the _Memoir_), about four months before her death, Miss +Savage sent Butler a present of a pair of socks which she had knitted +herself, and she promised to make him some more. Butler gratefully +accepted her gift, but + + "As for doing me any more, I flatly forbid it. I believe you don't + like my books, and want to make me say I won't give you any more if + you make me any more socks; and then you will make me some more in + order not to get the books. No, I will let you read my stupid books + in manuscript and help me that way. If you like to make me a kettle- + holder, you may, for I only have one just now, and I like to have two + because I always mislay one; but I won't have people working their + fingers out to knit me stockings." + +_Miss Savage to Butler_, 27_th_ _Oct._ 1884: "Here is a kettle-holder. +And I can only say that a man who is equal to the control of two kettle- +holders fills me with awe, and I shall begin to be afraid of you. . . . +The kettle-holder is very clumsy and ugly, but please to remember that I +am not a many-sided genius, and to expect me to excel in kettle-holders +_and_ stockings is unreasonable. I take credit to myself, however, for +affixing a fetter to it, so that you may chain it up if it is too much +disposed to wander. My expectation is that it is too thick for you to +grasp the kettle with, and the kettle will slip out of your hand and +scald you frightfully. I shall be sorry for you but you would have it, +so upon your own head be it." + +_Butler to Miss Savage_, 28_th_ _Oct._ 1884: "The kettle-holder is +beautiful; it is like a filleted sole, and I am very fond of filleted +sole. It is not at all too thick, and fits my kettle to perfection." + +The subject is developed antiphonally between Miss Savage and Butler +throughout several letters, and near the close comes this note made by +Butler when "editing his remains" at the end of his life: + +"I need hardly say that the kettle-holder hangs by its fetter on the wall +beside my fire, and is not allowed to be used by anyone but myself. S.B. +January 21st, 1902." + +Two small Dutch dolls (9) + +Mr. Charles Archer Cook was at Trinity Hall with me. He is mentioned in +the _Memoir_ as having edited _The Athenaeum_ in October, 1885, during +the absence of MacColl, the editor. Butler and I sometimes dined with +him and met his brother, Mr. (afterwards Sir) Edward T. Cook and his +wife. Mr. and Mrs. E. T. Cook came to tea with Butler, and Alfred was +showing them round the sitting room, while Butler was in his painting +room, where he had gone to look for something. + +"These are the pictures which the governor does when he is away," said +Alfred, "and these are the photographs which he brings back with him and +the plates and images." + +"And please, Alfred, what are these two little dolls among the pictures?" + +"Oh, those, ma'am! Those are ---." + +"Alfred!" exclaimed the reproving voice of Butler, who although in the +next room, had overheard. + +"Well, Sir," replied Alfred, "that's what we always call them." + +Alfred was referring to a recent divorce case in which the names of two +ladies had been brought prominently before the public, but Butler did not +approve of the names being blurted out in the presence of visitors. + +A brass bowl which my brother Edward brought from India. + +It always stood on my table in Staple Inn, and Butler used it as an ash- +tray and played with it and liked the sound it made when he struck it. He +also liked its shape, and was pleased with it for not being "spoilt by +any silly ornament." It is mentioned in the _Memoir_ (II. xliii.) when +Miss Butler comes to my rooms after Butler's death. + +A leather (or sham leather) cigarette case from Palermo (but, I am +afraid, made in Germany). + +It contains a fragment of a Greek vase picked up on Mount Eryx and given +to Butler by Bruno Flury. He was one of the young men who came about him +in 1892 when he broke his foot on the mountain; he afterwards settled in +Pisa, where I saw him in 1901. + +Two of the blue and white wine cups mentioned in _Alps and Sanctuaries_ +(ch. xxii.; new ed., ch. xxiii.), "A Day at the Cantine." + +"These little cups are common crockery, but at the bottom there is +written Viva Bacco, Viva l'Italia, Viva la Gioia, Viva Venere or other +such matter; they are to be had in every crockery shop throughout the +Mendrisiotto, and they are very pretty." + +The Viva is not written in full; it is represented by a double V, which +overlaps, so that it looks like W, but the letter W is not used by the +Italians, so there is no chance of its being mistaken by them for +anything but the symbol meaning Viva. + +A small horn and tortoiseshell snuff-box from Palermo. + +It contains three coins wrapped in paper and a piece of the pilgrim's +cross at Varello-Sesia. The cross is mentioned somewhere in Butler's +books as being of very hard wood, so hard that the pilgrims have great +difficulty in cutting pieces off it. So had I in cutting off this bit. + +The day after Butler's death Alfred came to me with the coins and said: + +"I took these out of his pockets, Sir; I thought you ought to have them." + +Butler's watch and chain. + +Butler used to possess his grandfather's gold watch and chain. He was +robbed of the watch in Hyde Park one night just before starting on one of +his journeys to Canada; he then bought this silver watch at Benson's, +and, if I remember right, wore it with the gold chain. He was robbed of +the chain in Fetter Lane, Oct. 1893 (_Memoir_, II. 167). He then bought +a silver chain, which, with the silver watch, passed under his will to +Alfred. Alfred wore them until 1919, when the watch was declared by an +expert to be beyond repair. I took it from him, giving him in exchange +the watch of my brother Charlie, who had recently died. + +The matchbox which Alfred gave to Butler. + +When Alfred knew that I was handing Butler's watch and chain on to St. +John's College, he said: + +"And then, Sir, they had better have this matchbox which I gave him." + +I looked at it and said, "Well, but Alfred, how can that be? It is dated +1894, and he gave your matchbox to the Turk in 1895." + +"I know he did, Sir; and when he told me I was very angry and went out +into Holborn and bought this one and had it engraved same as the other." + +"With the old date?" + +"Yes, Sir, just the same as the one he gave to the Turk." See the _Note- +Books_, p. 286. + + + + +WORKS BY SAMUEL BUTLER. + + +London: A. C. Fifield, 13, Clifford's Inn, E.C. 4. + +A FIRST YEAR IN CANTERBURY SETTLEMENT. New Edition, with other early +essays. 7s. net. + +EREWHON. 14th Impression of Tenth Edition. 6s. net. + +THE FAIR HAVEN. New Edition. 7s. net. + +LIFE AND HABIT. Third Edition, with Addenda. 7s. net. + +EVOLUTION OLD AND NEW. Third Edition, with Addenda. 7s. net. + +UNCONSCIOUS MEMORY. Third Edition, with Introduction by Marcus Hartog. +8s. 6d. net. + +ALPS AND SANCTUARIES. New and enlarged Edition. Illustrated. 7s. 6d. +net. + +LUCK OR CUNNING? Second Edition, corrected. 8s. 6d. net. + +THE AUTHORESS OF THE ODYSSEY. Illustrated. Reprinting. + +THE ILIAD RENDERED INTO ENGLISH PROSE. 7s. net. + +SHAKESPEARE'S SONNETS RECONSIDERED. 8s. 6d. net. + +THE ODYSSEY RENDERED INTO ENGLISH PROSE. Illustrated. 8s. 6d. net. + +EREWHON REVISITED. 8th Impression. 5s. net. + +THE WAY OF ALL FLESH. 12th Impression of Second Edition. 7s. net. + +THE HUMOUR OF HOMER AND OTHER ESSAYS. With Portrait and Biographical +Sketch of the Author by H. F. Jones. 7s. net. + +GOD THE KNOWN AND GOD THE UNKNOWN. 2s. 6d. net. + +THE NOTEBOOKS OF SAMUEL BUTLER. With Portrait. Ed. by H. F. Jones. 5th +Impression. 7s. net. + +EX VOTO. Illustrated. _To be reprinted_. + +SELECTIONS. Arranged by S. Butler. _Out of print_. + +THE LIFE AND LETTERS OF DR. SAMUEL BUTLER. 2 vols. Illustrated. _Out +of print_. + + + + +WORKS BY HENRY FESTING JONES. + + +London: A. C. Fifield. + +DIVERSIONS IN SICILY. 6s. net. + +CASTELLINARIA AND OTHER SICILIAN DIVERSIONS. 6s. net. + +CHARLES DARWIN AND SAMUEL BUTLER. A Step towards Reconciliation. 1s. +net. + +London: Macmillan & Co. + +SAMUEL BUTLER, Author of "Erewhon." A Memoir. 2 vols. Illustrated. +42s. net. + +Printed by +W. Heffer & Sons Ltd., Cambridge. +England. + + + + +Footnotes: + + +{8} Joanna Mills in _The Life and Letters of Dr. Samuel Butler_, I. 90. + + + +***END OF THE PROJECT GUTENBERG EBOOK THE SAMUEL BUTLER COLLECTION*** + + +******* This file should be named 23558.txt or 23558.zip ******* + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/2/3/5/5/23558 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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