JOHN 
 
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 Contents. 
 
 John Byrom, the Manchester Stenographer - - J; E. Bailey, F.S.A. 
 
 The Lancashire Dialect as a Vehicle for Poetry - George Milner. 
 
 On the Word “Thisne” in Mid. Night’s Dream 
 The Works of Ford Madox Brown - - - - 
 
 The House Fly - -. 
 
 Physiological Origin of Metrical Poetry - - 
 
 Book Rarities of the Manchester Free Library 
 
 cSSnS^portr^t): I I - ] - F H-‘N°3d | Geo.MUn^ 
 
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 , J. H. Haworth. 
 
 F. J. Shields. 
 William Hindshaw. 
 Arthur O’Neill. 
 Wm. E. A. Axon. 
 John Mortimer. 
 
 Very much above the average of such productions 
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 PAPERS. Vol. II. Session 1875-6. 
 
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 Contents. 
 
 Clubs of Old Manchester.- J. W. Hunter. 
 
 Circulation of Newspapers and Periodicals in 
 
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 Heywood, jun. 
 
 The late Chetham Librarian (Thos. Jones, F.S. A.) Wm. E. A. Axon, 
 
 The Former Costume of the Gypsies - H. T. Crofton. 
 
 A Holiday in the South : The New Forest - - John Mortimer. 
 
 The Sonnet..George Milner. 
 
 On the Cypher of Pepys’ Diary - - -' - - - J. E. Bailey, r.b.A. 
 
 A Nook of North Lancashire.Edward Kirk. 
 
 Mr. Emerson on some English Poets - - - ■ J. H. Nodal. 
 
 Ancient Lancashire Battlefields - - - - - * Charles Hardwick. 
 
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 periodicals in Manchester, and on Pepys' system of shorthand .—Westminster Rc Vle7o 
 April, 1877. 
 
 
 •V>.! -'LJ, . I* •wA'L 
 
JOHN RUSKIN 
 
 BIBLIOGRAPHICAL BIOGRAPHY 
 
 Bv WILLIAM E. A. AXON, M.R.S.L. 
 
 [Reprinted from Vol. V. of the Papers of the Manchester 
 i Literary Club.] 
 
 
JOHN RUSKIN: 
 
 A BIBLIOGRAPHICAL BIOGRAPHY. 
 
 BY WILLIAM E. A. AXON, M.R.S.L. 
 
 'T'HE literary life of John Ruskin may be said to have 
 extended over half a century. The early dawn of his 
 intellectual powers may be recognized from some childish verses 
 written one month before he had arrived at his ninth year. It 
 was “ written on a frosty day, in'Glen Farg, just north of Loch 
 Leven,” on New Year’s Day, 1828 (Queen of the Air , p. 128):— 
 
 Papa, how pretty those icicles are, 
 
 That are seen so near, that are seen so far; 
 
 Those dropping waters that come from the rocks 
 And many a hole, like the haunt of a fox. 
 
 That silvery stream that runs babbling along, 
 
 Making a murmuring, dancing song. 
 
 Those trees that stand waving upon the rock’s side, 
 
 And men that, like spectres, among them glide. 
 
 And waterfalls that are heard from far, 
 
 And come in sight when very near. 
 
 And the water-wheel that turns slowly round, 
 
 Grinding the corn that—requires to be ground. 
 
 And mountains at a distance seen, 
 
 And rivers winding through the plain. 
 
 And quarries with their craggy stones, 
 
 And the wind among them moans. 
 
 The child is father of the man, though the evidences of the 
 parentage are occasionally somewhat difficult to discover. This 
 
4 
 
 JOHN RUSKIN. 
 
 boyish rhyme contains, however, no uncertain prophecy. Mr. 
 Ruskin himself sees in it “ all that I ever could be, or all that 
 I cannot be.” Verse-writing was not to be the work of Ruskin’s 
 life; but he did not abandon the muses until about 1850, when 
 his poems were collected for private circulation. Some of them 
 had appeared in Friendship's Offering and other annuals. From 
 this very rare volume two pieces may be quoted :— 
 
 SONG. (^Etat 14.) 
 
 I weary for the torrent leaping 
 From off the scar’s rough crest; 
 
 My muse is on the mountain sleeping, 
 
 My harp is sunk to rest. 
 
 I weary for the fountain foaming, 
 
 For shady holm and hill; 
 
 My mind is on the mountain roaming, 
 
 My spirit’s voice is still. 
 
 / 
 
 I weary for the woodland brook, 
 
 That wanders through the vale; 
 
 I weary for the heights that look 
 Adown upon the dale. 
 
 The crags are lone on Coniston 
 And Loweswater’s dell; 
 
 And dreary on the mighty one, 
 
 The cloud enwreathed Scawfell. 
 
 Oh ! what although the crags be stern, 
 
 Their mighty peaks that sever, 
 
 Fresh flies the breeze on mountain fern, 
 
 And free on mountain heather. 
 
 1 long to tread the mountain head, 
 
 Above the valley swelling ; 
 
 I long to feel the breezes sped 
 From grey and gaunt Helvellyn. 
 
 I love the eddying circling sweep, 
 
 The mantling and the foam 
 
 Of murmuring waters dark and deep 
 Amid the valleys lone. 
 
 It is a terror, yet ’tis sweet, 
 
 Upon some broken brow 
 
 To look upon the distant sweep 
 Of ocean spread below. 
 
JOHN RUSKIN. 
 
 s 
 
 There is a thrill of strange delight 
 That passes quivering o’er me, 
 
 When blue hills rise upon the sight 
 Like summer clouds before me. 
 
 THE WRECK. 
 
 (^Etat 19.) 
 
 Its masts of might, its sails so free, 
 
 Had borne the scatheless keel 
 
 Through many a day of darkened sea, 
 
 And many a storm of steel; 
 
 When all the winds were calm, it met 
 (With home-returning prore) 
 
 With the lull 
 Of the waves 
 On a low lee shore. 
 
 The crest of the conqueror 
 On many a brow was bright; 
 
 The dew of many an exile’s eye 
 Had dimmed the dancing sight; 
 
 And for love and for victory, 
 
 One welcome was in store, 
 
 In the lull 
 Of the waves 
 On a low lee shore. 
 
 The voices of the night are mute 
 Beneath the moon’s eclipse ; 
 
 The silence of the fitful flute 
 Is on the dying lips. 
 
 The silence of my lonely heart 
 Is kept for evermore 
 In the lull 
 Of the waves 
 On a low lee shore. 
 
 In 1839, Mr. Ruskin gained the Newdigate prize for the 
 English poem at the University of Oxford. It was entitled 
 Salsette and Elephanta . The quality of his verses are evident. 
 There is, amidst many evidences of juvenility, a command over 
 the music of language, and a rare power of describing the 
 varying impressions of scenery. The boy, reared amidst the 
 glories of hill and lake, and beneath unsullied skies, became a 
 lover of nature. The imagination is as necessary in science as 
 in poetry. It would perhaps not be far wrong to say that every 
 
JOHN RUSKIN. 
 
 
 6 
 
 great man of science is, if not a singer spoiled, at least a poet 
 in potentiality. Mr. Ruskin’s earliest printed pieces were short 
 articles in Loudon’s Magazine of Natural History , and were 
 written when he was sixteen. It will be best to ppstpone 
 the indication of Mr. Ruskin’s other writings bearing on the 
 study of nature, until we have seen how his attention was for 
 many years diverted from them to other fields. 
 
 To this period belongs his delightful Legend of Stiria, a fairy 
 tale, called The King of the Golden River , published in 1851, 
 with Mr. Richard Doyle’s illustrations. This was not written for 
 publication, but for the entertainment of a child-friend in 1841. 
 
 Mr. Ruskin had in a rare measure those powers of observation 
 and of analysis which make a delight of the observation of 
 landscape. The “book of nature” was no commonplace phrase 
 to him, but had a real and an intense meaning. The glory of 
 cloud and sky, of hill and lake, had a special message for him. 
 This delight in the beauty of landscape made him an early 
 admirer of Turner, whose pictures of sea and sky seemed a new 
 heavenly apocalypse. Mr. Ruskin, himself, tells us that the gift of 
 taking pleasure in landscape “ I assuredly possess in a greater 
 degree than most men, it having been the ruling passion of my 
 life, and the reason for the choice of its field of labour.” The 
 genius of Turner, the greatest interpreter the world has ever seen 
 of the subtle and mystic meaning of the beauty of earth and sky, 
 was unrecognized, and the artist himself was assailed in a manner 
 which displayed at once the virulence and the ignorance of the 
 critics. One of these articles, more foolish and more furious 
 than usual, drew forth the indignation of Ruskin, who knew it to 
 be “demonstrable that Turner was right and true, and that his 
 critics were wrong, false, and base.” The projected letter of 
 defence to the journal grew into a pamphlet, and the pamphlet 
 in its revised and enlarged form was the first volume of Modern 
 Painters. The title originally selected was Turner and the 
 Ancients , but the limitations thus implied were soon overpassed. 
 * ‘The title was changed and notes on other living painters added 
 in the first volume, in deference to the advice of friends; probably 
 wise, for unless the change had been made the book might never 
 have been read at all.” 
 
 Modern Painters was fiercely and somewhat clumsily assailed in 
 
JOHN RUSKIN. 7 
 
 Blackwood for October, 1843. One passage, the critic says, 
 “ might have been very excusable in a young curate’s sermon 
 during his first year of probation, and might have won for him 
 more nosegays and favours than golden opinions” (p. 486). The 
 critic resorts to the dictionary for the meaning of the word 
 “ chrysoprase ” (Rev. xxi. 20). This laid him open to Mr. 
 Ruskin’s retort:— 
 
 We are not insulted with opinions on music from persons ignorant of its 
 notes ; nor with treatises on philology by persons unacquainted with the 
 alphabet; but here is page after page of criticism, which one may read from 
 end to end, looking for something which the writer knows, and finding 
 nothing. Not his own language, for he has to look in his dictionary, by his 
 own confession, for a word occurring in one of the most important chapters of 
 his Bible; not the commonest traditions of the schools, for he does not know 
 why Poussin was called “learned ; ” not the most simple canons of art, for he 
 prefers Lee to Gainsborough; not the most ordinary facts of nature, for we 
 find him puzzled by the epithet “silver,” as applied to the orange-blossom, 
 evidently never having seen anything silvery about an orange in his life, 
 except a spoon,* 
 
 The critics were not all blind. One of them writing in the 
 Gentleman's Magazine for November, 1843, whilst evidently 
 startled by the novelty of the doctrines advanced, ends thus :— 
 
 ' Such is the purpose of this work ; and the boldness of its design is well 
 supported by the diligence and knowledge, and skilfulness displayed in the 
 execution. The author has laid a solid foundation in the broad and philoso¬ 
 phical principles he applies to the art; while, in the very minute, exact, and 
 delicate criticisms he delivers, he shows a practical and artist-like acquaintance 
 with the details of the subject. If his theory is wrong, if his reasonings are 
 incorrect, and his conclusions not warranted, it must arise from other causes 
 than from unacquaintance with his subject, from indolence in the collections 
 of materials, or unskilfulness in using them; for, undoubtedly, he has deeply 
 investigated the laws and principles of the art he discusses—he has dwelt on 
 it with a lover’s fondness, and studied it with a critic’s attention. He is also 
 an eloquent and impressive writer; he has a command of expression adapted 
 to the varying sentiments he wishes to convey, and can describe the captivating 
 beauties of painting in the brilliant colour of poetic diction. 
 
 The first volume of Modern Painters appeared in 1843; the 
 Second in 1846; the Third and Fourth in 1856; and the Fifth 
 and last in i860. A new and final edition of the work was 
 issued in 1873. 
 
 * Modern Painters (Preface to Second Edition). 
 
 
 
8 
 
 JOHN RUSKIN. 
 
 In Modern Painters it is necessary to discriminate between the 
 accidental form which the work assumed and the permanent 
 truths it enforces and explains. The book was “not written 
 either for fame or for money, or for conscience’ sake, but of 
 necessity,” because injustice was being done and falsehood 
 usurping’ the place of truth. The cardinal principle of Mr. 
 Ruskin’s art criticism may be stated in his own words used in 
 describing Modern Painters: “ It declares the perfectness and 
 eternal beauty of the Work of God, and tests all work of man. 
 by concurrence with or subjection to that.” Apart from its 
 value as a statement of the principles of art and of art criticism, 
 Modern Painters shows extraordinary insight into nature, and 
 power to reproduce the impressions caused by the ceaseless 
 changes of the glory at once evanescent and eternal of shore, 
 and sea, and sky. 
 
 He who walks humbly with Nature will seldom be in danger of losing 
 sight of Art. He will commonly find in all that is truly great of man’s works 
 something of their original, for which he will regard them with gratitude, and 
 sometimes follow them with respect. While he who takes Art as his authority 
 may entirely lose sight of all that it interprets, and sink at once into the sin 
 of an idolator and the degradation of a slave.* 
 
 Mr. Ruskin has decided not to republish Modern Painters as a 
 whole; but a selection, called Readings, “ chosen at her pleasure, 
 by the author’s friend, the younger lady of the Thwaite, Coniston,” 
 was issued in 1875 and 1876, under the title of Frondes Agrestes 
 (i.e., the Foliage of the Fields). 
 
 The Seven Lamps of Architecture (1849) arose out of memo¬ 
 randa prepared in the composition of one of the sections of the 
 then unpublished third volume of Modern Painters. It was an 
 attempt to raise a noble art from degradation. This is manifest 
 even in the definition : “Architecture is the art which so disposes 
 and adorns the edifices raised by man for whatsoever uses, that 
 the sight of them contributes to his mental health, power, and 
 pleasure.” The “lamps” are the Spirits of Sacrifice, Truth, 
 Power, Beauty, Life, Memory, and Obedience. 
 
 Mr. Ruskin now turned aside for a moment to controversial 
 divinity. The Notes on the Construction of Sheepfolds was issued 
 in 1851, and it came to a second edition in the same year. 
 
 * Pref. to Second Edition Modern Painters . 
 
JOHN RUSKIN. 
 
 9 
 
 Mr. Hill Burton says that he had been informed “ that this 
 book had a considerable run among the Muirland farmers, 
 whose reception of it was not flattering.” The third edition, 
 which the author calls the second, was issued in 1875, and 
 contains in the preface this characteristic confession: “It 
 amazes me to find on re-reading it, that, so late as 1851, I 
 had only got the length of perceiving the schisms between sects 
 of Protestants to be criminal and ridiculous, while I still sup¬ 
 posed the schisms between Protestants and Catholics to be 
 virtuous and sublime.” 
 
 In 1851 appeared a tract on Pre-Raphaelitism , which was re¬ 
 printed in 1862. It records his delight at the appearance of a 
 group of men prepared to accept the advice, given at the close of 
 the first volume of Modern Painters , t^ the young artists of Eng¬ 
 land, that they should “go to nature in all singleness of heart, 
 and walk with her laboriously and trustingly, having no other 
 thought but how best to penetrate her meaning; rejecting 
 nothing, selecting nothing, and scorning nothing.” They had 
 been rewarded by scurrilous abuse, and Mr. Ruskin therefore 
 came forward in their defence “ to point out the kind of merit 
 which, however deficient in some respects, those works possess 
 beyond the possibility of dispute.” 
 
 The first volume of The Stones of Venice appeared in 1851; 
 the second and third in 1853. As in the Seven La?nps , the 
 ethical aspect occupies largely the mind of the author. It is not 
 only a treatise on the archaeology and history of Venice, but a 
 sermon on the causes of her downfall and decay. To illustrate 
 this work there was issued a sumptuous atlas folio of Exainples 
 of the Architecture of Venice . 
 
 Giotto and his Works in Padua is an explanatory notice of the 
 wood engravings from paintings of that master issued by the 
 Arundel Society in 1854. It does not profess to be a biography 
 of the artist, though it contains an outline of the artist’s life, and, 
 in particular, a subtle and suggestive criticism on the well-known 
 anecdote of his drawing of the O. For the Arundel Society 
 Ruskin has also written a notice of the Cavalli monument, and of 
 Tintoretto’s paintings of Christ before Pilate and of Christ bearing 
 the Cross. 
 
 In 1853 Mr. Ruskin gave a series of Lectures on Architecture 
 
JOHN RUSKIN. 
 
 IO 
 
 and Painting , which were printed in the following year. They , 
 are intended to give a popular exposition of the principles of 
 art and their application. 
 
 The pamphlet on The Opening of the Crystal Palace, considered 
 in some of its relations to the prospects of art, was occasioned 
 by the re-erection of Paxton’s palace at Sydenham and some of 
 the extravagant utterances occasioned by it. 
 
 Well, it may be replied, we need our bridges, and have pleasure in our 
 palacesbut we do not want Miltons, nor Michael Angelos. Truly, it seems 
 so; for,’in the year in which the first Crystal Palace was built, there died 
 among us a man whose name, in after ages, will stand with those of the great 
 of all time. Dying, he bequeathed to the nation the whole mass of his most 
 cherished works ; and for these three years, while we have been building this 
 colossal receptacle for casts and copies of the art of other nations, these works 
 of our own greatest painter have been left to decay in a dark room near 
 Cavendish Square, under the custody of an aged servant. This is quite 
 natural. But it is also memorable. > 
 
 There is another interesting fact connected with the history of the Crystal 
 Palace as it bears on that of the art of Europe, namely, that in the year 1851, 
 when all that glittering roof was built, in order to exhibit the petty arts of oui 
 fashionable luxury—the carved bedsteads of Vienna, and glued toys of 
 Switzerland, and gay jewelry of France—in that very year, I say, the greatest 
 pictures of the Venetian masters were rotting at Venice in the rain, for want 
 of roof to cover them, with holes made by cannon shot through their canvas. 
 There is another fact, however, more curious than either of these, which will 
 hereafter be connected with the history of the palace now in building ; namely, 
 that at the very period when Europe is congratulated on the invention of a 
 new style of architecture, because fourteen acres of ground have been covered 
 with glass, the greatest examples in existence of true and noble Christian 
 architecture were being resolutely destroyed ; and destroyed by the effects of 
 the very interest which was slowly beginning to be excited by them. 
 
 Another passage in this now rare tract foreshadows also the 
 striving of his soul under the burden of the social misery. 
 
 If, suddenly, in the midst of the enjoyments of the palate and lightnesses of 
 heart of a London dinner-party, the walls of the chamber were parted, and 
 through their gap, the nearest human beings who were famishing, and in 
 misery, were borne into the midst of the company—feasting and fancy-free 
 if, pale with sickness, horrible in destitution, broken by despair, body by body, 
 they were laid upon the soft carpet, one beside the chair of every guest, would 
 only the crumbs of the dainties be cast to them—would only a passing glance, 
 a passing thought be vouchsafed to them? Yet the actual facts, the real 
 relations of each Dives and Lazarus, are not altered by the intervention of the 
 house wall between the table and the sick bed—by the few feet of ground 
 (how few !) which are indeed all that separate the merriment from the misery. 
 
JOHN RUSKIN. 
 
 II 
 
 The pamphlet ended with an earnest plea for the prevention 
 of the desecration and destruction then in progress under the 
 name of restoration, and which has since done such irretrievable 
 mischief. 
 
 From 1855 to 1859 Mr. Ruskin issued Notes on some of the 
 Principal Pictures Exhibited at the Royal Academy each year. 
 The series was then discontinued, but resumed for the year 1875 
 only. The Notes o?i the Turner Galle?y at Marlborough House 
 appeared in 1856, and show in a brief and compendious form 
 the views of the greatest of English critics on the greatest of 
 landscape painters. Next year there was a privately-printed 
 Catalogue of Sketches, and two editions of a Catalogue of the 
 Turner Exhibition of 1857-8. 
 
 Turner’s Drawings of the Harbours of England were engraved 
 by Thomas Lupton, and published in 1856, with an illustrative 
 text, by Mr. Ruskin. This book will always have a deep interest 
 alike for the admirers of Turner and of Ruskin. The intro¬ 
 duction contains a noble prose-poem in praise of the sea. In 
 Frondes Agrestes he notes that he was rather proud of the short 
 sentence in this book, describing a great breaker against rock : 
 “ One moment, a flint cave,—the next, a marble pillar,—the 
 next, a fading cloud” (page 73). 
 
 The Elements of Drawing, first published in 1857, came to a 
 second edition in the same year. It is interesting as containing 
 his views on the method of art teaching, which should not begin 
 before the age of twelve or fourteen. 
 
 “I do not think it advisable,” he says, “to engage a child in any but the 
 most voluntary practice of art. If it has talent for drawing, it will be 
 continually scrawling on what paper it can get; and should be allowed to 
 scrawl at its own free will, due praise being given for every appearance of care, 
 or truth, in its efforts. It should be allowed to amuse itself with cheap 
 colours almost as soon as it has sense enough to wish for them. If it merely 
 daubs the paper with shapeless stains, the colour-box may be taken 
 away till it knows better; but as soon as it begins painting red coats on 
 soldiers, striped flags to ships, &c., it should have colours at command ; and 
 without restraining its choice of subject in that imaginative and historical art, 
 of a military tendency, which children delight in (generally quite as valuable, 
 by the way, as any historical art delighted in by their elders), it should be 
 gently led by the parents to try to draw, in such childish fashion as may be, 
 the things it can see and likes—birds, or butterflies, or flowers, or fruits. In 
 later years, the indulgence of using the colour should only be granted as a 
 
12 
 
 JOHN RUSKIN. 
 
 reward, after it has shown care and progress in its drawings with pencil. A 
 limited number of good and amusing prints should always be within a boy’s 
 reach ; in these days of cheap illustration he can hardly possess a volume of 
 nursery tales without good woodcuts in it, and should be encouraged to copy 
 what he likes best of this kind ; but should be firmly restricted to a few prints 
 and to a few books.” 
 
 Mr. Ruskin’s latest views on the method of art teaching are 
 given in The Laws of Fesole . In 1859 appeared The Elements of 
 Perspective. The Two Paths are lectures on art, and its applica¬ 
 tion to decoration and manufacture, delivered in 1858-9, and 
 printed in 1859. A new edition appeared in 1878. The subjects of 
 these discourses are the deteriorative power of conventional art 
 over nations, the unity of art, modern manufactures and design, 
 the influence of the imagination in architecture, and the work of 
 iron, in nature, art, and policy. The lectures on the Political 
 Economy of Art , originally delivered in Manchester in 1857, and 
 printed in the same year, mark a fresh development of Mr. 
 Ruskin’s teachings. In his opinion a large number of our so- 
 called merchants are as ignorant of the nature of money as they 
 are reckless, unjust, and unfortunate in its employment. Mr. 
 Ruskin’s views as to the adaptability of Gothic to all the re¬ 
 quirements of modern life are set forth in his two letters to 
 Dr. Acland, printed in 1859, in the volume descriptive of the 
 Oxford Museum. 
 
 Unto this Last is a volume containing four essays on the first 
 principles of political economy, which originally appeared in the 
 Cornhill Magazine . The first edition appeared in 1862, the 
 second in 1877. It is a protest against the “idea that an advan¬ 
 tageous code of social action may be determined irrespectively 
 of the influence of social affection.” The outcry against them 
 was so great that the editor of the Cornhill , “ with great discom¬ 
 fort to himself,” had to limit their number to four.* For the 
 first time, as he believes, he gives, in plain English, a logical 
 definition of wealth. Subsequent essays-in Eraser's Magazine , in 
 1862-3, were stopped by the intervention of the orthodox pub¬ 
 lisher of that periodical. This more systematic treatment of the 
 economical problem finally appeared in 1872 under the title of 
 Munera Pulveris . It contains essays on storekeeping, coinkeep¬ 
 ing, commerce, government, and mastership. 
 
 * Mune 7 'a Pulveris , p. xxii. 
 
JOHN RUSKIN. 
 
 13 
 
 The two greatest living prose writers are undoubtedly Carlyle 
 and Ruskin. They are great by reason of their command of 
 style ; they are great by their influence upon the lives and 
 thoughts of the generation amongst whom their lot has been 
 cast. We are too close to see in accurate vision either of these 
 men. We lack the perspective of time. Giants in literature 
 themselves, they have each uttered admonitory counsels on the 
 uses of books, the dangers and delights of the study of literature, 
 and their bearing on the life that now is. In Sesame and Lilies , 
 which were originally delivered as lectures at Manchester in 
 1864, we have Mr. Ruskin’s views “ about books; and about the 
 way we read them, and could or should read them; ” as also 
 on the education of women. On books there are many pregnant 
 sentences, as this one which goes to the root of the matter:— 
 
 You might read all the books in the British Museum (if you could live long 
 enough), and remain an utterly “ illiterate” uneducated person ; but that if you 
 . read ten pages of a good book, letter by letter—that is to say with real 
 accuracy—you are for evermore in some measure an educated person. 
 
 As an example of real reading, he gives that passage from 
 Milton’s Lycidas about “ the pilot of the Galilean lake,” 
 and explains it word by word. He indignantly remarks : “If a 
 man spends lavishly on his library you call him mad—a biblio¬ 
 maniac. But you never call anyone a horse-maniac, though men 
 ruin themselves every day by their horses, and you do not hear of 
 people ruining themselves by their books.” It is to be regretted 
 that neither Ruskin nor Carlyle have given lists of the works 
 which they recommend for students. In this respect Emerson 
 has been more systematic, for he has given a long and remark¬ 
 able list of the great books of all ages.* We may perhaps 
 consider Mr. Ruskin’s Bibliotheca Pastorum (1876) as an indica¬ 
 tion of books that he would advise to be read. The two volumes 
 of that series, so far issued, consist of an English translation 
 of The Economist of Xenophon , and of Rock Honeycomb , being 
 selections from Sir Philip Sidney’s Psalter. Each is fitted with 
 an introduction and explanatory notes. Returning to the con¬ 
 tents of Sesame and Lilies , in addition to the lecture on King’s 
 
 * There is indeed a list at the end of the Elements of Drawing,, among 
 things to be studied, but it appears to be special and not general in its aim. 
 
14 
 
 JOHN RUSKIN. 
 
 Treasuries (/.<?., books, &c.), there is a second, entitled Queen’s 
 Gardens, which treats of the education of girls. There were 
 several editions between 1864 and 1871. In the last there is 
 added also a Dublin lecture on the Mystery of Life and its Arts. 
 
 Ethics of the Dust appeared in 1866, and again in 1877. The 
 subject-matter appears from the sub-title, “ ten lectures to little 
 housewives on the elements of crystallization.” The Crown of 
 Wild Olive contains three lectures on Work, Traffic, and War. It 
 was published in 1866, and in 1867 had reached a third edition. 
 He complains:— 
 
 But it has not been without displeased surprise that I have found myself 
 totally unable, as yet, by any repetition, or illustration, to force this plain 
 thought into my readers’ heads, that the wealth of nations, as of men, 
 consists in substance, not in ciphers; and that the real good of all work, 
 and of all commerce, depends on the final worth of the thing you make, or 
 get by it.” 
 
 The title of the book is explained in the preface (p. xxxii. of 
 third edition), as being taken from the heathen belief that to 
 those engaged in the contest of life Jupiter gave a crown:— 
 
 No proud one! no jewelled circlet flaming through heaven above the height 
 of the unmerited throne ; only some few leaves of wild olive, cool to the tired 
 brow, through a few years of peace. It should have been of gold, they 
 thought; but Jupiter was poor; this was the best the god could give them. 
 Seeking a greater than this, they had not known it a mockery. Not in war, 
 not in wealth, not in tyranny, was there any happiness to be found for them— 
 only in kindly peace, fruitful and free. The wreath was to be of wild olive, 
 mark you : the tree that grows carelessly, tufting the rocks with no vivid 
 bloom, no verdure of branch ; only with soft snow of blossom, and scarcely 
 fulfilled fruit, mixed with grey leaf and thornset stem ; no fastening of diadem 
 for you but with such sharp embroidery ! But this, such as it is, you may win 
 while yet you live; type of grey honour and sweet rest. 
 
 A revised edition issued in 1873 contains also a lecture on the 
 future of England, delivered in 1869, and an appendix on the 
 political economy of Prussia. 
 
 In the spring of 1867, when the working classes were calling 
 out loudly for a reform in Parliament, Mr. Ruskin entered into a 
 lengthy correspondence with Mr. Thomas Dixon, a working cork- 
 cutter of Sunderland, on many of the questions that were then 
 and now of special moment to the industrial population. These 
 letters were published in the Manchester Exa??iiner and Times , 
 
JOHN RUSKIN. 
 
 15 
 
 and were read with keen and vivid interest. They have since 
 been thrice reprinted. Time and Tide , by Weare and Tyne , con¬ 
 sists of these twenty-five letters to a working-man of Sunderland 
 on the laws of work. The burden of the work is that parlia¬ 
 mentary influence is useless unless they who possess it have made 
 up their minds as to what they desire from it, and that having 
 made up their minds they can do what they want for themselves 
 without Parliament, and no one can do it for them. This volume 
 deals with “ honesty of work and honesty of exchange.” Tors 
 Clavigera may, in a certain measure, be regarded as the con¬ 
 tinuation of this series. 
 
 The Queen of the Air , first issued in 1869, is Mr. Ruskin’s 
 contribution to the new and fascinating field of comparative 
 mythology. It is a study of the Greek myths of cloud and 
 storm, both in their natural origin and in their deeper significance. 
 The Queen of the Air is Athena or Minerva, “ having supreme 
 power both over its blessings of calm and wrath of storm ; and, 
 spiritually, she is the queen of the breath of man, first of the 
 bodily breathing, which is life to his blood, and strength to his 
 arm in battle ; and then of the mental breathing, or inspiration, 
 which is his moral health and habitual wisdom; wisdom of con¬ 
 duct and of the heart, as opposed to the wisdom of imagination 
 and the brain; moral, as distinct from intellectual; inspired, as 
 distinct from illuminated.” There was a second edition of this 
 work issued in 1874. 
 
 With 1871 Mr. Ruskin began the issue of Tots Clavigera . 
 This consists of letters addressed to the workmen and labourers 
 of Great Britain, and is in the main a continuation of the expo¬ 
 sition commenced in the letters to Mr. Thomas Dixon, of his 
 views on the organization of labour. They are, however, very 
 discursive, and contain delightful bits of autobiography, art- 
 criticism, science, history, and almost everything. Running 
 through them is a fierce indignation against those social in¬ 
 equalities, which are evidenced by the death of one man from 
 starvation and of another from gluttony. The consideration of 
 these have led Mr. Ruskin to advocate a form of ordered socialism, 
 which is to be exemplified in St. George’s Guild. These socialist 
 leanings Mr. Ruskin shares with Plato, with Thomas More, and 
 probably with the church of the early Christians. Eighty-seven 
 
i6 
 
 JOHN RUSKIN. 
 
 numbers of Fors have appeared, the last of which, called No. 3 
 ■of a new series, is dated 1st March, 1878. 
 
 Fors, he explains, “is the best part of three good English 
 words, Force, Fortitude, and Fortune.” The root of the adjective 
 Claviger being either, as he likes to put it, clava, a club; clams, 
 a key; or, claims, a nail or a rudder; and gero meaning to carry, 
 “ Clavigera may mean, therefore, either club-bearer, key-bearer,' 
 or nail-bearer. Each of these three possible meanings of 
 Clavigera corresponds to one of the tljree meanings of Fors. 
 Fors, the club-bearer, means the strength of Hercules, or of 
 Deed. Fors, the key-bearer, means the strength of Ulysses, or 
 of Patience. Fors, the nail-bearer, means the strength of 
 Lycurgus, or of Law.” (Fors, No. ii., pp. 2 - 3; and cf. iii. 5, 
 and xv. 15.) 
 
 As Slade Professor Mr. Ruskin delivered seven Lectures on Art 
 before the University of Oxford in Hilary Term, 1870, and they 
 were printed in the same year at the Clarendon Press. After 
 the inaugural discourse the subjects are the relation of art to 
 religion, the relation of art to morals, the relation of art to 
 use, and the more technical subjects of line, light, and colour. 
 To accompany this there was printed a catalogue of examples 
 for study in the university galleries. Mr. Ruskin, again as Slade 
 ro essor, in 1S70, gave lectures on the elements of sculpture 
 before the University of Oxford, and two years later printed six 
 o them under the title of Aratra Pentelici—i.e., the Ploughs of 
 entehcus, a mountain in Attica where marble abounded. This 
 contains a great deal also relating to the artistic aspect of numis¬ 
 matics. One of the plates is that never-to-be-forgotten com¬ 
 parison of the Apollo of Syracuse and a self-made man of the 
 present day glorifying his own maker. The seventh lecture 
 on sculpture was issued in 1872 in a separate form, and sets 
 forth the relation between Michael Angelo and Tintoretto. It was 
 printed thus that it might be used at once in reference to the 
 rawings exhibited in the galleries, and with a warning word that its 
 business is to point out “what is to be blamed in Michael Angelo 
 and that it assumes the facts of his power to be generally known.” 
 
 I he Eagle's Nest is a collection of ten lectures on the relation of 
 natural science to art, which were given before the University of 
 Oxford m Lent Term in 1872, and printed in the same year. 
 

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 JOHN RUSKIN. I 7 
 
 Ariadne Florentina is the title given to six lectures on wood and 
 metal engraving, given before the University of Oxford in 
 Michaelmas Term of 1872. These deal with the relation of 
 engraving to other arts in Florence, to the technics of wood and 
 metal engraving, to design in the German schools of engraving as 
 represented by Diirer and Holbein, and in the Florentine schools 
 by Sandro Botticelli. There is an appendix on the present state 
 of engraving in England. The volume entitled Val d'Arno con¬ 
 tains ten lectures on the Tuscan art directly antecedent to the 
 Florentine year of victories, given before the University of Oxford 
 in Michaelmas Term, 1873, and printed in the following year. 
 The main subject is the art-work of Niccolo and Giovanni 
 Pisano. All the above-named volumes are illustrated by plates, &c., 
 many of them from Ruskin’s originals. 
 
 Mr. Ruskin’s love of nature is shown under another phase in 
 the lectures on Greek and English birds given before the Uni¬ 
 versity of Oxford, and printed in 1873 under the title of Love's 
 Meinie . This is the old French meiny , a household or retinue of 
 servants. Only two parts have so far appeared. The first deals 
 with the robin, and the second with the swallow. The title 
 appears to have been suggested by the description in the 
 Romance of the Rose of the God of Love, whose robe has on it 
 figures of birds, whilst around him fly living birds :— 
 
 But nightingales, a full great rout 
 That flien over his head about, 
 
 The leaves felden as they flien 
 And he was all with birds wrien, 
 
 With popinjay, with nightingale, 
 
 With chelaundre, and with wodevvale, 
 
 With finch, with lark, and with archangel. 
 
 He seemed as he were an angell. 
 
 That down were comen from Heaven clear. 
 
 Proserpina began in 1875 ; tlie P art was issued in 1878. 
 It is still incomplete. It is, as the title-page tells us, a series of 
 “ studies of wayside flowers, while the air was yet pure among 
 the Alps, and in the Scotland and England which my father 
 knew.” The title is chosen with reference to the lines in The 
 Whiter*s Tale , Act iv., Sc. iii., 11 . 116-118. In the introduction 
 he gives advice which few of us will wish to see followed : 
 
“If any scientific man thinks his labours are worth the 
 world’s attention, let him, also [like Linnaeus], write what he 
 has to say in Latin, finishedly and exquisitely, if it take him 
 a month to do a page. But if—which, unless he be one of the 
 chosen of millions, is assuredly the fact—his lucubrations are only 
 of local and temporary consequence, let him write, as clearly as 
 he can, in his native language.” 
 
 One purpose of the book is to interpret for the young the 
 Latin or Greek names, altering some of the names because they 
 are “ founded on some unclean or debasing association,” so that 
 “ children who learn botany on the system adopted in this book 
 will know the useful and beautiful names of the plants hitherto 
 given, in all languages; the useless and ugly ones they will not 
 know.” Whilst insisting on the learning of the Latin, Mr. Ruskin 
 would also preserve the English names, some of which mirror 
 poetic fancies as beautiful as the flowers. This work is illustrated 
 by some fine specimens of Mr. Ruskin’s own artistic powers. 
 
 Of Deucalion the first part appeared in 1875, the fifth in 1878. 
 It is still incomplete. The object of the book is to present to 
 the public “ collected studies of the lapse of waves, and life of 
 stones.” In the time of Deucalion, according to the classic 
 story, the deluge came on the earth. Mr. Ruskin’s familiarity 
 with the sciences of geology and mineralogy is well known. In 
 the introduction to the present work he says :— 
 
 But I think it due to my readers, that they may receive what real good 
 there may be in these studies with franker confidence, to tell them that the 
 first sun-portrait ever taken of the Matterhorn (and as far as I know of any 
 Swiss mountain whatever) was taken by me in the year 1849; that the out¬ 
 lines (drawn by measurement of angle), given in Modern Painters , of the 
 Cervin, and aiguilles of Chamouni, are at this day demonstrable by photo¬ 
 graphy as the trustworthiest then in existence; that I was the first to point 
 out, in my lecture given in the Royal Institution, the real relation of the 
 vertical cleavages to the stratification in the limestone ranges belonging to the 
 chalk formation in Savoy; and that my analysis of the structure of agates 
 (i Geological Magazine) remains, even to the present day, the only one which has 
 the slightest claim to accuracy of distinction or completeness of arrangement. 
 
 The work contains lectures on the Alps and the Jura, the sym¬ 
 bolic use of the colours of precious stones in heraldry, and on 
 Yewdale and its streamlets, in addition to some controversial 
 matter respecting glacial theories. 
 
JOHN RUSKIN. 
 
 l 9 
 
 The Mornings in Florence came out in 1875, and are intended 
 as a further performance of the “real duty” involved in his 
 Oxford professorship, by giving “ simple studies of Christian art 
 for English travellers.” The book is in the form of letters “written 
 as I would write to any of my friends who asked me what they 
 ought preferably to study in limited time.” The first part deals 
 with Giotto’s work at Santa Croce; the second describes his 
 painting of the meeting of Joachim and Anna at the Golden Gate 
 in the church of Sta Maria Novella; the third part, “ Before the 
 Soldan,” deals with Giotto’s pictures of the life of St. Francis of 
 Assisi, and especially of that where that noble Italian stands 
 before “ the best of Paynim chivalry to declare the message 
 of the gospel.” The fifth part, “ The Vaulted Book,” describes 
 the “ Spanish Chapel” of Sta Maria Novella, which is continued 
 in the next part under the title of the “ Strait Gate.” The sixth 
 partis “ The Shepherd’s Towner,” and explains the meanings of 
 the bas reliefs in which Giotto has given us his views of the 
 mysteries of life and of religion. The Mornings in Florence have 
 been left so far incomplete, the last belonging to the year 1876. 
 
 Venice is the subject of some of his smaller works. St Mark's 
 Rest (1877) is described as the History of Venice written for the 
 help of the few travellers who still care for her monuments. It was 
 intended to extend to twelve parts and two supplements. Two 
 parts only have been issued, and one supplement devoted to a 
 description of the pictures by Carpaccio in the chapel of San 
 Giorgio de’ Schiavoni. Mr. Ruskin issued in the same year a 
 guide to the principal pictures in the Academy of the Fine Arts 
 at Venice, intended in a similar manner for the use of English 
 travellers. 
 
 His views on the teaching of art are further explained and 
 exemplified in The Laws of Fesole (1877-8), of which two 
 parts have appeared. The title is derived from the hermit 
 home of Angelico, and the book is “a familiar treatise on 
 the elementary principles and practice of drawing and painting 
 as determined by the Tuscan masters.” Mr. Ruskin regards 
 the very name of Schools of Design as involving “the pro- 
 foundest of Art fallacies. Drawing may be taught by tutors 
 but Design only by Heaven; and to every scholar who thinks to 
 sell his inspiration Heaven refuses its help.” The first chapter 
 
20 
 
 JOHN RUSKIN. 
 
 is headed by that pregnant sentence, “ All great art is praise. 5 " 
 Some of the aphorisms contain instruction put in a humorous 
 form :— 
 
 “ Please paint me my white cat,” said little Imelda. “ Child,” answered 
 the Bolognese Professor, “in the grand school all cats are grey.” 
 
 Be economical in everything, but especially in candles. When it is time 
 to light them, go to bed. But the worst waste of them is drawing by them. 
 
 “I can do what I like with my colours, now,” said the proud young 
 scholar. “ So could I at your age,” answered the master ; “but now, I can 
 only do what other people like.” 
 
 The title is thus explained : — 
 
 Under the term “Laws of Fesole,” therefore, may be most strictly and 
 accurately arranged every principle of art, practised at its purest source, from 
 the twelfth to the fifteenth century inclusive. And the purpose of this book 
 is to teach our English students of art the elements of these Christian laws, 
 as distinguished from the Infidel laws of the spuriously classic school, under 
 which, of late, our students have been exclusively trained. Nevertheless, in 
 this book the art of Giotto and Angelico is not taught because it is Christian, 
 but because it is absolutely true and good; neither is the Infidel art of 
 Palladio and Giulio Romano forbidden because it is Pagan ; but because it is 
 false and bad ; and has entirely destroyed not only our English schools of art, 
 but all others in which it has ever been taught, or trusted in. 
 
 Fesole, an eminence hard by Florence, is introduced by Milton 
 in his great epic, with the accent on the last syllable, as one of 
 the places whence Galileo studied the heavens (Book i., 1. 289). 
 
 This book is called The Laws of Fesole because the entire system of 
 possible Christian Art is founded on the principles established by Giotto in 
 Florence, he receiving them from the Attic Greeks through Cimabue, the last 
 of their disciples, and engrafting them on the existing art of the Etruscans, 
 the race from which both his master and he were descended.—(Preface, 
 pp. xii., xiii.) 
 
 He therefore ranges under the term every principle of art, prac¬ 
 tised at its purest source, from the twelfth to the fifteenth century 
 inclusive. Plate iii. of the Ariadne Florentina , page 114, is a 
 reproduction of Bacci'o Bandini’s Astrologia, under which is 
 engraved Milton’s line, above referred to:— 
 
 At ev’ning, from the top of FesolS. 
 
 In March, 1878, there was an exhibition of the Turner draw¬ 
 ings belonging to Mr. Ruskin at the Fine Art Society’s galleries. 
 For this Mr. Ruskin issued a thin volume of explanatory notes. 
 
 
 
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 JOHN RUSKIN. 21 
 
 The epilogue, left incomplete through the writer’s illness, contains 
 much interesting matter respecting his early acquisition of Turner’s 
 drawings. A very sumptuous edition of these notes, with illus¬ 
 trations in photogravure, has also appeared. How sadly falls the 
 sound of the words with which Mr. Ruskin closes his preface :— 
 
 Morning breaks as I write, along those Coniston Fells, and the level mists, 
 motionless and grey beneath the rose of the moorlands, veil the lower woods, 
 and the sleeping village, and the long lawns by the lake-shore. Oh, that 
 some one had but told me, in my youth, when all my heart seemed to be set 
 on these colours and clouds, that appear for a little while then vanish away, 
 how little my love of them would serve me, when the silence of lawn and 
 wood, in the dews of morning, should be completed ; and all my thoughts be 
 of those whom, by neither, I was to meet more ! 
 
 This lengthy list by no means represents the full extent of Mr. 
 Ruskin’s literary activity. What have been named are his prin¬ 
 cipal works, but in addition he has contributed to the Archi¬ 
 tectural Magazine , Quarterly Review , the Contemporary , the 
 Nineteenth Century , and other reviews, to the Transactions 
 of the Royal Institute of British Architects, of the Geological 
 and of the Meteorological Societies. In Fors (No. lxxv., Dec., 
 1875) he states that he had seven books in the press at once— 
 “ and any one of them enough to take up the remainder of my 
 life.” We have his own testimony that he has also collections for 
 other works. In the preface to Deucalion (1875) he says:— 
 
 Of these materials, I have now enough by me for a more interesting (in my 
 own opinion) history of fifteenth-century Florentine art, in six octavo volumes; 
 an analysis of the Attic art of the fifth century B.C., in three volumes; an 
 exhaustive history of northern thirteenth-century art, in ten volumes; a life 
 of Turner, with analysis of modern landscape art, in four volumes; a life of 
 Walter Scott, with analysis of epic art, in seven volumes; a life of Xenophon, 
 with analysis of the general principles of Education, in ten volumes ; a com¬ 
 mentary on Hesiod, with final analysis of the principles of Political Economy, 
 in nine volumes ; and a general description of the geology and botany of the 
 Alps, in twenty-four volumes. 
 
 What, then, is the teaching of Ruskin,—taught with so much 
 passion and fervour, with such wealth of illustration, with such 
 power and melody of language. It is that Art should be true to 
 Nature, and that Man should be true to God. When Art loses 
 its faith in Nature, it ceases to possess utility. When Man ceases 
 to work Righteousness, there follow disorders and social perils of 
 
 4 
 
22 
 
 JOHN RUSKIN. 
 
 every kind. Ruskin beholds in our modern society an aristocracy 
 which has abdicated its functions, a middle class largely given up to 
 greed, a working class struggling in the dark, but dimly conscious 
 of injustice. He sees the fair fields replaced by “jerry-built” 
 houses, the lechery, the drunkenness, the brutality that disgrace 
 our towns and degrade men and women below the level of the 
 beasts, and put them on a par with the fiends of the pit. He 
 says we want Reverence, Obedience, and Organization, to grapple 
 with these evils. He not only denounces the wrong, but has a 
 method for its redress. Even if it prove impracticable, we still 
 owe him a debt of gratitude. He has taught us, perhaps more 
 than any man, the glory of the visible universe. He has taught 
 us also that it is an ill return for God's gift of delight in beauty 
 and order to leave our brethren festering in misery and despair. 
 
 Note. -The preparation of this paper has been helped by the well stored 
 library and scholarly courtesy of Mr. J. E. Bailey, F.S.A. Free use has also 
 
 been made of the almost complete series of Mr. Ruskin’s works in the 
 Manchester Free Library. 
 

 LIST OF PUBLICATIONS. 
 
 PAPERS. Vol. III. Session 1876-7. 
 
 Pp. vi and 308. Price, doth, Seven Shillings and Six- 
 
 pence ..1877. 
 
 A Moorland Student - - . J''' 1 s - 
 
 Rohert Browning’s Ghilde Roland ' W A O’Conor R A 
 
 The Three Quests : The Sangrail, Childe Roland, ' ' ' ° ° ’ KA ' 
 
 and Childe Harold. T _i ,, .. 
 
 English Almanacs and their Authors .... Abel Hmyood^iim 0h ° ' 
 
 Shelley and Ihe Skylark.SENSES ’jX. K*e, 
 
 Morgan Brierley, J. H. 
 Nodal, Wm. E. A. Axon, 
 
 Coleridge in Manchester.. H^Nodai^ 1 * ^ others - 
 
 Samuel Butler, Tragedian.. J^n Evans 
 
 The Rev. John Whitaker, the Historian of Man* J 
 
 Chester. t k Bailev f q a 
 
 The Folk of a North Lancashire Nook- - - - Edward Kirk 
 With abstracts of papers by the Rev. R. Henry Gibson, B A., John Evans, 
 William Goldthorpe, Walter Tomlinson, and Charles Madeley; and an 
 Appendix containing Notabilia of the Chetham Library, a List of Lanca- 
 shire and Cheshire Publications in 1876, and an Index to the first Three 
 Volumes of the Club Papers. 
 
 Ihe third volume of the Papers of the Manchester Literary Club is fully as interesting 
 as the preceding volumes ; the number of subjects, copiously or briefly treated shows in 
 wfat various fi ni dS ° f llterat ', ire ' ar chaeoWy, and art, the members of the club are gathering 
 frnm ik nlc lhere are g i° 0< ? exa “P Ies ?T nervo V s style in the book, nor is humour discarded 
 from its pages. . . . Just now intending tourists ate hunting their shelves or persecuting 
 he booksellers for nice reading “by the sad sea waves,” or, on a rainy day, fn S 
 lodgings; and, to. our thinking,- one of the likeliest books to take would be thisvoLSo 
 the Manchester Literary Club Papers .—Manchester Critic , August 24, 1877. 
 
 PAPERS. Vol. IV. Session 1877-8. 
 
 With Illustrations from original drawings, by R. G. 
 Somerset, William Meredith, Christopher Blacklock, 
 Walter Tomlinson, and Elias Bancroft; portrait of 
 Butterworth, the mathematician ; and two views of 
 Clayton Old Hall. Price, cloth, Seven Shillings and 
 
 Sixpence. ------ 1878. 
 
 Contents : 
 
 Lancashire Mathematicians -.Morgan Brierley. 
 
 Tennyson’s Palace of Art.Rev. W. A. O’Conor, B.A. 
 
 Six Half-Centuries of Epitaphs.R. M. Newton. 
 
 Baptismal Names in Lancashire and Yorkshire - Rev. C. W. Bardsley, M.A. 
 Canon Parkinson: a biographical sketch - - - John Evans. 
 
 Ceist.Henry Franks. 
 
 The Provincial Mind.George J. Plolyoake. 
 
 Hamlet.Rev. W. A. O’Conor, B.A. 
 
 Armscott and George Fox.Walter Tomlinson. 
 
 John Owens.Joseph C. Lockhart. 
 
 A Trip to Lewis.Arthur O’Neill. 
 
 Christmas in Wales.John Mortimer. 
 
 Dryden as Lyrist.George Milner. 
 
 And other papers by J. H. Nodal, William Lawson, Charles Rowley, jun., 
 Rev. R. H. Gibson, B.A., Charles Hardwick, Abel Heywood, jun., 
 Leonard D. Ardill, Edward Kirk, M. J. Lyons, Edward Williams, 
 William Hindshaw, Alfred Owen Legge, and R. J. Udall. 
 
MBfc 
 
 LIST OF PUBLICATIONS. 
 
 GLOSSARY of the LANCASHIRE DIALECT. By 
 ]. H. Nodal and George Milner. With Etymological 
 "Notes and Illustrative Passages from Anglo-Saxon and 
 Middle English Authors and from writers in the Dialect. 
 Part I. containing words from A to E. Price Three 
 Shillings and Sixpence ; Large Paper, Seven Shillings 
 and € Sixpence - 
 
 A very important and valuable work. . . . A most important contribution to philo¬ 
 
 logical literature.— Scotsman, March 31, 187b. 
 
 Not merely a collection of words, but illustrations of them placed in chronological order, 
 ranging from Old English down to the present day. The work"thits becomes not merely a 
 scientific history of the English language, but throws the greatest light upon many passages 
 of our older authors.— Westminster Review, April, .1876. 
 
 It is carefully executed, and may take its place beside the well-known glossaries of 
 Atkinson, Forby, Miss Baker, Barnes' and the rest. . . . The most valuable part lies 
 
 in the illustrations from books written in the dialect and from colloquial usage.— Academy, jj 
 July 1, 1876. ' 
 
 BIBLIOGRAPHY of LANCASHIRE and CHESHIRE. 
 The publications of the two Counties during 1876. 
 Pp. vii and 38. Price One Shilling.1877. 
 
 This important record. Nothing so suggestive and so really useful to the general book- 
 trade as this Bibliography of Lancashire and Cheshire has hitherto been published in the 
 provinces.— Bookseller , September, 1877. 
 
 LANCASHIRE AUTHORS. A List, with Brief Biogra¬ 
 phical and Bibliographical Notes. Edited by Charles 
 William Sutton. Pp. viiUand 164. Price Ten Shil¬ 
 lings, cloth - - - - \ ------- - 1876. 
 
 The rigid accuracy which has been attempted will be very serviceable. We congratulate 
 Mr. Sutton on the successful issue of his enterprise .—Manchester Guardian, Jan. 15, 1877. 
 
 This excellent manual. It will save the librarian and the student an incalculable 
 amount of research among out-of-the-way and little known authorities and documents, to say 
 nothing of the fresh information, chiefly about living writers, which is here published for the 
 first time. We congratulate Mr. Sutton and his colleagues of the Manchester Literary Club 
 upon the successful and thoroughly-satisfactory accomplishment of an arduous undertaking. 
 Manchester City Nenvs. 
 
 $ui)Iisf)rrg to tfje # 5 aitcf)fster Htterarg <*TIut>: 
 
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 and Catherine Street, Strand, London.