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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 19:54:50 -0700 |
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diff --git a/30959-h/30959-h.htm b/30959-h/30959-h.htm new file mode 100644 index 0000000..1d59436 --- /dev/null +++ b/30959-h/30959-h.htm @@ -0,0 +1,1134 @@ +<!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>George Eliot Centenary, November 1919, by Coventry Libraries Committee</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + P.gutsumm { margin-left: 5%;} + P.gutcom { margin-left: 10%; } + P.poetry {margin-left: 3%; } + 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; } +table {margin-left:auto; margin-right:auto;} + 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: small; + text-align: right; + font-weight: normal; + color: gray; + } + img { border: none; } + img.dc { float: left; width: 50px; height: 50px; } + div.gapspace { height: 0.8em; } + div.gapline { height: 0.8em; width: 30%; } + div.gapdoubleline { height: 0.3em; width: 50%; + margin-left: 25%; border-top: 1px solid; + border-bottom: 1px solid;} + div.gapshortline { height: 0.3em; width: 20%; margin-left:40%; + border-top: 1px solid; } + .citation {vertical-align: super; + font-size: .8em; + text-decoration: none;} + img.floatleft { float: left; + margin-right: 1em; + margin-top: 0.5em; margin-bottom: 0.5em; } + img.floatright { float: right; + margin-left: 1em; margin-top: 0.5em; + margin-bottom: 0.5em; } + img.clearcenter {display: block; + margin-left: auto; + margin-right: auto; margin-top: 0.5em; + margin-bottom: 0.5em} + --> + /* XML end ]]>*/ + </style> +</head> +<body> +<pre> + +The Project Gutenberg eBook, George Eliot Centenary, November 1919, by +Coventry Libraries Committee + + +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: George Eliot Centenary, November 1919 + + +Author: Coventry Libraries Committee + + + +Release Date: January 13, 2010 [eBook #30959] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK GEORGE ELIOT CENTENARY, NOVEMBER +1919*** +</pre> +<p>Transcribed from the 1919 Coventry Libraries Committee +catalogue by David Price, email ccx074@pglaf.org. Many +thanks to Nuneaton Library, UK, for allowing the use of their +copy to make this transcription.</p> +<h1>George Eliot Centenary,<br /> +<span class="smcap">November</span>, 1919.</h1> +<div class="gapshortline"> </div> +<p>Catalogue of . .</p> +<p style="text-align: center">RELICS, MANUSCRIPTS,<br /> +PRINTS, PAINTINGS,<br /> +PHOTOGRAPHS & BOOKS</p> +<p style="text-align: center"><span class="smcap">relating +to</span></p> +<p style="text-align: center">GEORGE ELIOT,</p> +<p style="text-align: center"><span class="smcap">exhibited +in</span></p> +<p style="text-align: center">St. Mary’s Hall. +Coventry.</p> +<div class="gapshortline"> </div> +<p style="text-align: center"><span class="smcap">coventry +libraries committee</span>.</p> +<h2><!-- page 2--><a name="page2"></a><span class="pagenum">p. +2</span>PREFATORY NOTE.</h2> +<p>The Exhibition has special reference to George Eliot’s +residence in Coventry, and to the Coventry circle of which she +was the most distinguished member.</p> +<p>Visitors are requested not to touch the exhibits. +Copying or sketching or photographing any exhibit is +prohibited.</p> +<h2><!-- page 3--><a name="page3"></a><span class="pagenum">p. +3</span>RELICS, PORTRAITS, MANUSCRIPTS,<br /> +<span class="smcap">exhibited in</span><br /> +MUNIMENT ROOM.</h2> +<h3>Family Portraits and Records.</h3> +<h4>CASE 1.</h4> +<p>1. Portrait of Robert Evans.</p> +<p style="text-align: right"><i>Lent by Canon Evans</i>, +<i>Bedworth</i>.</p> +<p class="gutcom">Father of G. E., and prototype of <i>Adam +Bede</i>.</p> +<p>2. Diaries of Robert Evans (“Adam +Bede”).</p> +<p style="text-align: right"><i>Lent by Mr. Walter P. Evans</i>, +<i>Leamington</i>.</p> +<h4>CASE 2.</h4> +<p>3. Portrait of Isaac P. Evans.</p> +<p style="text-align: right"><i>Lent by Canon Evans</i>, +<i>Bedworth</i>.</p> +<p class="gutcom">G. E’s brother; original of “Tom +Tulliver.”</p> +<p>3a. Another portrait of Isaac P. Evans.</p> +<p style="text-align: right">Lent by Mr. W. P. Evans, +Leamington.</p> +<h4>CASE 3.</h4> +<p>4. Portrait of George Eliot, with portrait of her +father, Robert Evans.</p> +<p style="text-align: right"><i>Lent by National Portrait +Gallery</i>.</p> +<p class="gutcom">Drawn in 1842 by Mrs. Charles Bray.</p> +<h4>CASE. 4.</h4> +<p>5. Portrait of George Eliot, 1850, fr. painting by M. +D’Albert.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert Draper</i>, +<i>Kenilworth</i>.</p> +<p>6. George Eliot’s portrait (after Sir F. +Burton).</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert Draper</i>, +<i>Kenilworth</i>.</p> +<p class="gutcom">G. E.’s. gift to Mrs. Bray</p> +<p>6a. Pencil drawing from shadow thrown by cast of G. +Eliot, by Miss Sara S. Hennell. Presented by Mr. Warwick +Draper.</p> +<h4>WALL BOOK CASE 1.</h4> +<p>6b. Oil painting of Miss Everard, G. Eliot’s +aunt.</p> +<p style="text-align: right">Lent by Canon Evans.</p> +<p class="gutcom">Caricutured as Aunt Glegg (<i>Mill on the +Floss</i>).</p> +<h3><!-- page 4--><a name="page4"></a><span class="pagenum">p. +4</span>Holographs.</h3> +<h4>CASE 5.</h4> +<p>10. Holograph letters of George Eliot.</p> +<p style="text-align: right"><i>Lent by Mr. A. E. +Fridlander</i>.</p> +<p class="gutcom">See typewritten copies exhibited.</p> +<p>11. Holograph letter to Mrs. Bray.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert Draper</i>, +<i>Kenilworth</i>.</p> +<p class="gutcom">Written Sept., 1876, after she returned from +abroad; describing some part of the journey.</p> +<h4>CASE 6.</h4> +<p>12. Holograph letters.</p> +<p style="text-align: right"><i>Lent by Mr. Frederic +Harrison</i>, <i>Bath</i>.</p> +<p class="gutcom">Two of the letters are on Positivist affairs; +three refer to the legal advice given to G. E. by Mr. Harrison in +constructing the plot of <i>Felix Holt</i> (<i>George +Eliot’s Life</i>, by Cross, v. 3: 258); the last letter was +written during her mourning for G. H. Lewes.</p> +<h4>CASE 7.</h4> +<p>15. Favourite airs copied by G. Eliot.</p> +<p style="text-align: right"><i>Lent by Miss Evans</i>, +<i>Leamington</i>.</p> +<p class="gutcom">Holographic throughout.</p> +<p>16. Receipt given by G. E. in connection with her +father’s will.</p> +<p style="text-align: right">Lent by Mr. W. P. Evans, +Leamington.</p> +<h3>Association Items and Books.</h3> +<p>18. Statuette of Christ, after Thorwaldsen.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert +Draper</i>.</p> +<p class="gutcom">At one time belonged to G. E., and is +associated with her translation of Strauss, Life of Jesus.</p> +<p>19. Ring worn by George Eliot in memory of her +mother.</p> +<p style="text-align: right"><i>Lent by Miss Evans</i>, +<i>Leamington</i>.</p> +<p class="gutcom">Inscribed inside, “In memory of +Christiana Evans.”</p> +<p>20. Portrait of Mr. Edward Simms, G. Eliot’s music +master.</p> +<p style="text-align: right">Lent by Coventry Libraries.</p> +<p>25. Defoe’s “History Of the +Devil.”</p> +<p style="text-align: right"><i>Lent by Canon Evans</i>, +<i>Bedworth</i>.</p> +<p class="gutcom">G. E’s. own copy; it is referred to in +<i>Mill on the Floss</i>, ch. 3.</p> +<p>25a. A Kempis, De Imitatione Christi.</p> +<p style="text-align: right">Presented by Mr. Warwick Draper.</p> +<p class="gutcom">G. Eliot’s own copy, acquired at +Coventry, 1849, given to Miss Sara S. Hennell, 1851, and at Mrs. +Bray’s death came into the possession of Mr. Warwick +Draper. See <i>Mill on the Floss</i>, bk. 4, ch. 3.</p> +<h4>CASE 8.</h4> +<p>26. Bacon’s “Essays,” 1828.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">Autograph on flyleaf “Mary Ann +Evans.”</p> +<p><!-- page 5--><a name="page5"></a><span class="pagenum">p. +5</span>27. Newspaper cuttings collected by George +Eliot.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i></p> +<p class="gutcom">With her own contributions to the +“Coventry Herald” at the end. The book bears +the signature, in pencil, of J. Hennell.</p> +<p>28. “Silas Marner,” <i>First edition</i>, +1861.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">Inscribed: “Caroline Bray from Mr. Lewes +June 22 ’61,” in G. Eliot’s handwriting.</p> +<p>29. “The Legend of Jubal and other poems,” +<i>First edition</i>, 1874.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">Inscribed: “Caroline Bray May 1874, with +the author’s compliments.”</p> +<p>30. “Impressions of Theophrastus Such,” +<i>First edition</i>, 1879.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">Inscribed: “Caroline Bray, from the +author, Eastbourne, May 29, 1879.”</p> +<p>31. “Essays and leaves from a note-book,” +<i>First edition</i>, 1884.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">Inscribed. “Mrs. Charles Bray from +C. L. Lewes, Feb., 1884.” C. L. L. was the son of G. +H. Lewes.</p> +<h4>CASE 9.</h4> +<p>32. Pen used in Italy by G. Eliot, and covered there +with silk and beads.</p> +<p style="text-align: right">Lent by Mr. T. H. Allen, +Coventry.</p> +<p>33. Musical Box, reputed to be Uncle Pullet’s.</p> +<p style="text-align: right">Lent by Mrs. W. W. Orton.</p> +<p class="gutcom">(<i>Mill on the Floss</i>), see +newscutting.</p> +<p>34. Water colour sketch of attic at Griff—Maggie +Tulliver’s favourite retreat.</p> +<p style="text-align: right">Lent by Mr. W. P. Evans, +Leamington.</p> +<h4>WALL BOOKCASE 2.</h4> +<h5>Silhouettes of Characters in “Janet’s +Repentance.”</h5> +<p style="text-align: right"><i>Lent by Miss Robinson</i>, +<i>Chilvers Coton</i>.</p> +<p>36. Mrs. J. W. Buchanan (“Janet +Dempster.”)</p> +<p>37. James Buchanan (“Lawyer Dempster.”)</p> +<p>38. Mrs. George Buchanan.</p> +<p>39. Mrs. Robinson (“Mrs. Pettifer.”)</p> +<p>40. T. Bull (“Mr. Fred Phipps.”)</p> +<p>41. John Craddock (“Mr. Landor.”)</p> +<p>42. John Towle (“Mr. Lowme.”)</p> +<h4>WALL BOOKCASE 1.</h4> +<p>50. Portrait of Mrs. Robinson.</p> +<p style="text-align: right"><i>Lent by Miss Robinson</i>, +<i>Chilvers Coton</i>.</p> +<p class="gutcom">Mrs. R. was the original of Mrs. Pettifer +(<i>Janet’s Repentance</i>).</p> +<h3><!-- page 6--><a name="page6"></a><span class="pagenum">p. +6</span>Hennell and Bray Families.</h3> +<h4>CASE 9.</h4> +<p>57. Silhouette miniatures of Mr. and Mrs. James Hennell +of Hackney.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert +Draper</i>.</p> +<p class="gutcom">Father and mother of Mrs. Bray and Miss Sara +Hennell.</p> +<p>58. Miniatures of Mr. and Mrs. Samuel Hennell.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert +Draper</i>.</p> +<h4>CASE 10.</h4> +<p>58a. Water colour sketch of Mrs. Hennell.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p>59. Portrait of Eliza Hennell.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert +Draper</i>.</p> +<p class="gutcom">Author of “Tale of the Alps,” also +exhibited.</p> +<p>60. Home of Mr. and Mrs. Sam Hennell, Coventry.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert +Draper</i>.</p> +<p class="gutcom">Uncle and Aunt of Mrs. Charles Bray.</p> +<p>61. Wilson, Capt., “History of Prince Lee +Boo,” 1812.</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">Inscribed: “Eliza Hennell, March 7th, +1815.”</p> +<p>62. Hennell, Eliza. “Tale of the +Alps,” a romance [original MS.]</p> +<p style="text-align: right"><i>Lent by Coventry +Libraries</i>.</p> +<p class="gutcom">This little work was composed by E. H., written +in her own handwriting, and bound by her when she was fourteen +years of age. Inscribed: “Eliza Hennell, April 10th, +1819</p> +<h4>CASE 11.</h4> +<p>62a. Three water colour sketches of the Hennells’ +Hackney home, by Miss Sara Hennell.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p>62b. Water colour sketch of Hackney chapel, attended by +the Hennells, by Miss Sara Hennell.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p>63. Portrait of Charles Bray, at 50.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert Draper</i>, +<i>Kenilworth</i>.</p> +<h4>WALL BOOKCASE 1.</h4> +<p>64. Mrs. Charles Bray, oil painting by Miss E. +Martin.</p> +<p style="text-align: right"><i>Lent by Mr. A. E. +Fridlander</i>.</p> +<h4>CASE 12.</h4> +<p>65. Miniature of Mrs. Charles Bray.</p> +<p style="text-align: right"><i>Lent by Miss Scampton</i>, +<i>Coventry</i>.</p> +<p class="gutcom">Painted by Mrs. Bray’s sister, Sara S. +Hennell, c. 1836. Mrs. Bray was G. E’s Coventry +friend.</p> +<p>65a. Water colour portrait of Mrs. Bray, by Miss Sara S. +Hennell.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p><!-- page 7--><a name="page7"></a><span class="pagenum">p. +7</span>66. Water colour portrait of Charles Bray.</p> +<p style="text-align: right"><i>Lent by Mrs. Herbert +Draper</i>.</p> +<p>66a. Miniature portrait of Mrs. Charles Bray, by +herself, c. 1853.</p> +<p style="text-align: right">Lent by Mr. A. E. Fridlander.</p> +<h4>CASE 13.</h4> +<p>66b. Water colour portrait of Miss Sara S. Hennell, by +herself.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p>67. Portrait of Mrs. Bray and Miss Sara Hennell, +1897.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p>68. Water colour portrait of Miss Sara Hennell.</p> +<p style="text-align: right"><i>Lent by Mrs. H. Draper</i>.</p> +<h4>CASE 14.</h4> +<p>68a. C. C. Hennell’s “Inquiry.”</p> +<p style="text-align: right">Lent by Mr. A. E. Fridlander.</p> +<p class="gutcom">Inscribed, “Sara Sophia Hennell, 1st +January, 1846.”</p> +<p>68b. Three water colour sketches of +“Rosehill,” the Coventry home of the Brays.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<h4>CASE 15.</h4> +<p>69. Portrait of Miss Brabant, afterwards Mrs. C. C. +Hennell.</p> +<p style="text-align: right"><i>Lent by Mrs. H. Draper</i>.</p> +<p>70. Portrait of Miss Julia Smith.</p> +<p style="text-align: right"><i>Lent by Mrs. H. Draper</i>.</p> +<p class="gutcom">A valued friend of G. E., and sister of Mme. +Bodichon.</p> +<p>71. Three water colour sketches by Miss Sara. S. +Hennell.</p> +<p style="text-align: right">Lent by Miss Mary Scampton.</p> +<p class="gutcom">Made during a Scottish tour with G. Eliot and +Mr. and Mrs. Bray.</p> +<h4>CASE 16.</h4> +<p>72. Romola, 3 vols., extra illustrated.</p> +<p style="text-align: right">Lent by Coventry Libraries.</p> +<h3>PICTURES ON WALL.</h3> +<p>73. Water colour of Griff Hollows, “The Red +Deeps,” 1876, by Miss Patty Townsend.</p> +<p style="text-align: right">Lent by Nuneaton Art Gallery.</p> +<p>74. Water colour sketch—Lawyer Dempster’s +house, by Thomas Wakeman.</p> +<p style="text-align: right">Lent by Nuneaton Art Gallery.</p> +<p>75. Water colour drawing—Chilvers Coton church, by +Thomas Wakeman.</p> +<p style="text-align: right">Lent by Nuneaton Art Gallery.</p> +<p>76. Water colour drawing—South Farm, Arbury, by +Thomas Wakeman.</p> +<p style="text-align: right">Lent by Nuneaton Art Gallery.</p> +<p>76. Series of photographs of G. Eliot country.</p> +<p style="text-align: right">Lent by Miss Robinson, Chilvers +Coton.</p> +<h2><!-- page 8--><a name="page8"></a><span class="pagenum">p. +8</span>PHOTOGRAPHIC SURVEY<br /> +<span class="smcap">of</span><br /> +GEORGE ELIOT’S WARWICKSHIRE<br /> +<span class="smcap">by members of the</span><br /> +COVENTRY PHOTOGRAPHIC SOCIETY.</h2> +<h3>Arbury, South Farm.</h3> +<p style="text-align: right"><i>Photographed by</i></p> +<p>Arbury Farm is on the Arbury Estate. Robert Evans, the +novelist’s father, lived there from 1806 to 1820 as land +agent to the estate. George Eliot was born here on November +22nd, 1819, but was taken to live at Griff House four +months’ later. The farm has been much altered.</p> +<p>1. Arbury Farm, view from garden</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p>2. Arbury Farm, view from garden</p> +<p style="text-align: right">Mr. <span class="smcap">G. H. +Osborne</span>.</p> +<h3>Griff House.</h3> +<p>George Eliot’s home from 1820 to 1841. The house +has not been greatly altered. “It was a delightful +place to grow up in, and over and above the charms of the house, +farm, garden and fields, there was the high road just in front of +the gate, where she and her brother stood and watched the +mail-coach pass twice a day.” At the back of the +house is “a large, old-fashioned farm-house garden, where +flowers, vegetables, fruits and trees grow in friendly +confusion—just the kind of garden in which Hetty Sorrel +gathered red currants.”—<i>Deakin</i>, <i>Early Life +of G. E.</i>, p. 5, 9. The dairy is known as “Mrs. +Poyser’s,” but it was erected after G. Eliot left +Griff. The “Round Pond,” into which Maggie +Tulliver pushed Lucy and where Maggie and Tom used to fish, is in +a field adjoining. Griff Hollows is the “Red +Deeps” of the <i>Mill on the Floss</i>.</p> +<p>3. Griff House</p> +<p style="text-align: right">Mr. <span class="smcap">G. H. +Osborne</span></p> +<p class="gutcom">The window of the attic to which Maggie fled +when in trouble (<i>Mill on the Floss</i>) is shown on the gable +end, where the flagstaff is fixed.</p> +<p>4–5. Griff House</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span> (4)<br /> +Mr. <span class="smcap">S. T. Shipway</span> (5)</p> +<p>6–7. Griff House</p> +<p style="text-align: right">Miss <span class="smcap">M. +Imison</span> (6)<br /> +Mr. <span class="smcap">A. W. Hoare</span> (7)</p> +<p>8. Griff House, dairy</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<p>9. Griff House, dairy, interior</p> +<p style="text-align: right">Mr. <span class="smcap">L. P. +Wilson</span></p> +<p class="gutcom">The Dairy is known as “Mrs. +Poyser’s,” but it was erected after G. Eliot left +Griff.</p> +<p><!-- page 9--><a name="page9"></a><span class="pagenum">p. +9</span>10. Griff House, garden seat</p> +<p style="text-align: right">Mr. <span class="smcap">A. H. +Howell</span></p> +<blockquote><p>The little summer house at the end of the Yew-tree +walk; in just such a place Dorothea found her husband after his +death.</p> +<p style="text-align: right">—(<i>Middlemarch</i>).</p> +</blockquote> +<p>11. Griff House, round pond</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p class="gutcom">The pool into which Maggie Tulliver pushed +Lucy, and where Maggie and Tom used to fish, is in a field +adjoining the house.</p> +<p>12. Griff Hollows</p> +<p style="text-align: right">Mr. <span class="smcap">L. P. +Wilson</span></p> +<p>13. Griff Hollows</p> +<p style="text-align: right">Miss <span class="smcap">M. +Imison</span></p> +<p class="gutcom">The “Red Deeps” of <i>The Mill on +the Floss</i>, the meeting place of Maggie Tulliver and Philip +Wakem.</p> +<h3>George Eliot’s Schooldays.</h3> +<p>14. Griff, the Dame School</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<p class="gutcom">George Eliot’s first school, which she +attended with her brother until she was five years old. Her +second school (Miss Lathom’s Boarding School at +Attleborough) has not been identified.</p> +<p>15–16. Nuneaton, The Elms</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p class="gutcom">George Eliot’s third school, near +Nuneaton Church. She attended it with her sister Chrissy +until 1832, when she went to Coventry.</p> +<p>17. Coventry, house of Rev. Francis Franklin, Cow +Lane</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p class="gutcom">In 1832 was transferred from The Elms, +Nuneaton, to a school in Coventry, kept by the two Miss +Franklins, daughters of The Rev. Francis Franklin, Minister of +Cow Lane Chapel. Mr. Franklin was the prototype of Rufus +Lyon (<i>Felix Holt</i>).</p> +<p>18. Coventry, back of minister’s house, Cow +Lane</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>19. Coventry, memorial tablet to Rev. Francis Franklin, +Cow Lane Chapel</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>20. Bust of George Whitfield, at one time in Mr. +Franklin’s house</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<blockquote><p>“A black bust with a coloured face, which +for some reason or other was covered with green +gauze.” “That,” said Mr. Lyon, “is +the eminent George Whitfield . . . Providence ordained that the +good man should squint; and my daughter has not yet learned to +bear with this infirmity.”—<i>Felix Holt</i>, ch. +v.</p> +</blockquote> +<p>21. Coventry, Nantglyn, Warwick Row</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p class="gutcom">The Misses Franklin’s school was at this +address. George Eliot left this school in 1835.</p> +<h3><!-- page 10--><a name="page10"></a><span class="pagenum">p. +10</span>George Eliot’s Coventry Home and Circle.</h3> +<p>In March, 1841, Robert Evans and his daughter came to live in +the Foleshill Road, until her father died in 1849. The +house is known as Bird Grove, and has been much altered.</p> +<p>22. Coventry, Bird Grove</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>22a. Coventry, gates of Bird Grove</p> +<p style="text-align: right">Mr. <span class="smcap">J. +Bradbury</span></p> +<p>23. Coventry, Bird Grove, window of George Eliot’s +study over entrance</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<p>24–25. Coventry, Bird Grove, study and bedroom</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span> (24)<br /> +Mr. <span class="smcap">S. T. Shipway</span> (25)</p> +<p>26. Coventry, Bird Grove, room used by G. Eliot as +drawing room</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>27. Coventry, Bird Grove, study</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>28. Coventry, Bird Grove, interior</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>29. Coventry, “Rosehill”</p> +<p style="text-align: right">Mr. <span class="smcap">L. P. +Wilson</span></p> +<p class="gutcom">George Eliot first visited +“Rosehill,” the home of the Brays, on November 2nd, +1841. There is an interesting account of this visit in +Bray’s <i>Autobiography</i>, p. 76. The Brays and the +Hennells exerted an important influence on her life.</p> +<p>30. Coventry, Ivy Cottage,</p> +<p style="text-align: right">Mr. <span class="smcap">L. P. +Wilson</span></p> +<p class="gutcom">The home of the Hennell family; adjoins +“Rosehill.”</p> +<h3>Scenes of Clerical Life.</h3> +<p>Nuneaton is the Milby of <i>Janet’s +Repentance</i>. There is an amusing description of a Sunday +morning service at the church at the beginning of the story.</p> +<p>31–32. Nuneaton church, exterior and interior</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p>33–34. Nuneaton church and vicarage</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p>35. Nuneaton, Lawyer Dempster’s house</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p class="gutcom">No. 35 Church Street, the Orchard Street of +<i>Janet’s Repentance</i>. The original of Dempster +was a Mr. Buchanan.</p> +<p>36–37. Nuneaton, Dempster’s house, other +views</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p>38. Nuneaton, garden of Dempster’s house</p> +<p style="text-align: right">Mr. <span class="smcap">A. H. +Howell</span></p> +<p>39. Nuneaton, grotto in Dempster’s garden</p> +<p style="text-align: right">Mr. <span class="smcap">A. H. +Howell</span></p> +<p><!-- page 11--><a name="page11"></a><span class="pagenum">p. +11</span>40. Chilvers Coton church</p> +<p style="text-align: right">Miss <span class="smcap">C. +Norton</span></p> +<p class="gutcom">The “Shepperton” church of <i>Amos +Barton</i>. George Eliot was baptised here. The tenor +bell was hung in her memory (1909). “The little +flight of steps with their wooden rail running up the outer wall +and leading to the children’s gallery,” is still in +existence.</p> +<p>41. Chilvers Coton church</p> +<p style="text-align: right">Mr. <span class="smcap">A. H. +Howell</span></p> +<p>42. Chilvers Coton church, interior</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>43. Chilvers Coton church, children’s +gallery</p> +<p style="text-align: right">Mr. <span class="smcap">G. H. +Osborne</span></p> +<p>44. Chilvers Coton vicarage, garden</p> +<p style="text-align: right">Mr. <span class="smcap">A. H. +Howell</span></p> +<p class="gutcom">The open window belongs to the room in which +“Milly Barton” died.</p> +<p>45. Chilvers Coton vicarage and church</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p>46. Chilvers Coton churchyard, Emma Gwyther’s +grave</p> +<p style="text-align: right">Mr. <span class="smcap">S. T. +Shipway</span></p> +<p class="gutcom">Mrs. Gwyther was the original of “Milly +Barton” of <i>The Sad fortunes of Amos Barton</i>, one of +the most touching stories in English literature. The +inscription is transcribed in full in Olcott’s <i>George +Eliot</i>, <i>scenes and people in her novels</i>.</p> +<p>47. Chilvers Coton churchyard, Emma Gwyther’s +grave</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<p>48–48a. Chilvers Coton churchyard, tomb of Robert +(“Adam Bede”) and Christiana Evans.</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span> (48)<br /> +Mr. <span class="smcap">A. Hunt</span> (48a)</p> +<p>49. Chilvers Coton churchyard, tomb of Sarah and Isaac +Pearson Evans (“Tom Tulliver” and his wife)</p> +<p style="text-align: right">Mr. <span class="smcap">A. H. +Howell</span></p> +<p>50. Chilvers Coton church, extract from parish +register</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +Stokes</span></p> +<p class="gutcom">Recording the marriage of Edward Clark and G. +Eliot’s sister Chrissy, “Celia” of +<i>Middlemarch</i>. The signatures include those of the +Rev. John Gwyther (“Amos Barton”), Robert Evans +(“Adam Bede”), Mary Ann Evans (the novelist), and +Isaac P. Evans (“Tom Tulliver”—see No. 49).</p> +<p>51. Arbury Hall</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +McLauchlan</span><br /> +and Mr. <span class="smcap">W. H. Stokes</span></p> +<p class="gutcom">A copy of an older photograph; the view is not +the same to-day. This is the “Cheverel Manor” +of <i>Mr. Gilfil’s Love Story</i>. Arbury is the home +of the Newdegate family. Robert Evans, father of George +Eliot, was land agent for the Newdegate estate. This +“castellated house of grey-tinted stone is described +beautifully in the <i>Love Story</i>, ch. 2. See also three +books by Lady Newdigate-Newdegate: <i>The Cheverels of Cheverel +Manor</i>; <i>Gossip from a Muniment Room</i>; and <i>Cavalier +and Puritan</i>.</p> +<p><!-- page 12--><a name="page12"></a><span class="pagenum">p. +12</span>52. Arbury Park, George Eliot Memorial</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +Stokes</span></p> +<p class="gutcom">Erected by Mr. F. A. Newdigate-Newdegate, +M.P. Of rough grey stone, recording the dates and places of +her birth and death, and the words “Lest we +forget.”</p> +<p>52a. Arbury Park, Caterina’s Walk</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +McLauchlan</span><br /> +and Mr. <span class="smcap">W. H. Stokes</span></p> +<p class="gutcom">Ch. 7. of <i>Mr. Gilfil’s Love +Story</i>.</p> +<p>52b. Arbury Park, The Rookery</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +McLauchlan</span><br /> +and Mr. <span class="smcap">W. H. Stokes</span></p> +<p class="gutcom">“The thick shades of the distant +Rookery” where Caterina found the body of Captain +Wybrow.</p> +<p>53. Astley church</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +McLauchlan</span><br /> +and Mr. <span class="smcap">W. H. Stokes</span></p> +<p class="gutcom">Astley is the “Knebley” church of +<i>Mr. Gilfil’s Love Story</i>—“a wonderful +little church, with a checkered pavement which had once rung to +the iron tread of military monks.” (ch. 1).</p> +<p>53a. Astley castle</p> +<p style="text-align: right">Mr. <span class="smcap">O. W. +Barry</span><br /> +and Mr. <span class="smcap">W. H. Howell</span></p> +<p class="gutcom">“Knebley” castle.</p> +<p>53b. Astley castle and gateway</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +McLauchlan</span><br /> +and Mr. <span class="smcap">W. H. Stokes</span></p> +<p>53c. Astley castle, the moat</p> +<p style="text-align: right">Mr. <span class="smcap">W. H. +McLauchlan</span><br /> +and Mr. <span class="smcap">W. H. Stokes</span></p> +<h3>“Adam Bede.”</h3> +<p>53d. Corley Hall farm, gates</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<blockquote><p>“Evidently that gate is never opened; . . . +and if it were opened, it is so rusty, that the force necessary +to turn it on its hinges would be likely to pull down the square +stone-built pillars, to the detriment of the two stone lionesses +which grin with a doubtful carnivorous affability above a coat of +arms, surmounting each of the pillars.”—<i>Adam +Bede</i>, ch. 6.</p> +</blockquote> +<p>53e. Corley Hall farm, row of walnut trees</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<blockquote><p>“That grand double row of walnut trees on +the right-hand of the enclosure.”—<i>Adam Bede</i>, +ch. 6.</p> +</blockquote> +<h3>“Silas Marner.”</h3> +<p>54–55. Bulkington, single hand-loom at</p> +<p style="text-align: right">Mr. <span class="smcap">A. W. +Hoare</span></p> +<p class="gutcom">Bulkington is possibly the village George Eliot +had in mind in describing Raveloe (<i>Silas Marner</i>). +The photographs show a hand-loom used in Silas Marner’s +day.</p> +<p>***END OF THE PROJECT GUTENBERG EBOOK GEORGE ELIOT CENTENARY, NOVEMBER</p> +<pre> +1919*** + + +***** This file should be named 30959-h.htm or 30959-h.zip****** + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/0/9/5/30959 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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