diff options
Diffstat (limited to '23558-h')
| -rw-r--r-- | 23558-h/23558-h.htm | 3171 | ||||
| -rw-r--r-- | 23558-h/images/p0b.jpg | bin | 0 -> 88150 bytes | |||
| -rw-r--r-- | 23558-h/images/p0s.jpg | bin | 0 -> 26022 bytes | |||
| -rw-r--r-- | 23558-h/images/p22b.jpg | bin | 0 -> 146015 bytes | |||
| -rw-r--r-- | 23558-h/images/p22s.jpg | bin | 0 -> 36066 bytes | |||
| -rw-r--r-- | 23558-h/images/p53b.jpg | bin | 0 -> 86729 bytes | |||
| -rw-r--r-- | 23558-h/images/p53s.jpg | bin | 0 -> 29476 bytes |
7 files changed, 3171 insertions, 0 deletions
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. 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. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://www.gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://www.gutenberg.org/about/contact + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://www.gutenberg.org/fundraising/donate + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: +http://www.gutenberg.org/fundraising/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +</pre></body> +</html> diff --git a/23558-h/images/p0b.jpg b/23558-h/images/p0b.jpg Binary files differnew file mode 100644 index 0000000..707e52d --- /dev/null +++ b/23558-h/images/p0b.jpg diff --git a/23558-h/images/p0s.jpg b/23558-h/images/p0s.jpg Binary files differnew file mode 100644 index 0000000..6355b01 --- /dev/null +++ b/23558-h/images/p0s.jpg diff --git a/23558-h/images/p22b.jpg b/23558-h/images/p22b.jpg Binary files differnew file mode 100644 index 0000000..a553787 --- /dev/null +++ b/23558-h/images/p22b.jpg diff --git a/23558-h/images/p22s.jpg b/23558-h/images/p22s.jpg Binary files differnew file mode 100644 index 0000000..22c6ec3 --- /dev/null +++ b/23558-h/images/p22s.jpg diff --git a/23558-h/images/p53b.jpg b/23558-h/images/p53b.jpg Binary files differnew file mode 100644 index 0000000..3f7dec3 --- /dev/null +++ b/23558-h/images/p53b.jpg diff --git a/23558-h/images/p53s.jpg b/23558-h/images/p53s.jpg Binary files differnew file mode 100644 index 0000000..450459c --- /dev/null +++ b/23558-h/images/p53s.jpg |
