The Project Gutenberg eBook of Banbury Chap Books and Nursery Toy Book Literature

This ebook is for the use of anyone anywhere in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Banbury Chap Books and Nursery Toy Book Literature

Author: Edwin Pearson

Release date: August 28, 2006 [eBook #19132]
Most recently updated: December 14, 2006

Language: English

Credits: Produced by Louise Hope, Malcolm Farmer and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK BANBURY CHAP BOOKS AND NURSERY TOY BOOK LITERATURE ***

This e-text reproduces the design and layout of the printed book as exactly as possible. Each illustrations is individually linked to a larger version.

A few typographical errors, mostly involving punctuation, have been corrected. They are marked in the text with mouse-hover popups. Misspellings were generally left uncorrected; they are marked in the same way. The name “Branston” was randomly spelled with or without a final e.

frontispiece picture 1

The "White Lion," Banbury, early John Bewick.

frontispiece picture 2
frontispiece picture 3

Early cuts used to illustrate “Tommy Two Shoes.” York and Hull editions.

frontispiece picture 4

Early cut from “A New Year’s Gift.”

frontispiece picture 5

“Jack and the Giants,” early York edition.

Banbury Chap Books

AND

Nursery Toy Book Literature

[OF THE XVIII. AND EARLY XIX. CENTURIES]

with

IMPRESSIONS FROM SEVERAL HUNDRED

ORIGINAL WOOD-CUT BLOCKS,

By T. & J. BEWICK, BLAKE, CRUIKSHANK, CRAIG, LEE,
AUSTIN, AND OTHERS.

Illustrating Favourite Nursery Classics, with their Antiquarian, Historical,
Literary and Artistic Associations:

FAITHFULLY GLEANED FROM THE ORIGINAL WORKS IN THE
BODLEIAN LIBRARY, OXFORD, THE BRITISH AND
SOUTH KENSINGTON MUSEUMS, &c.

With very much that is Interesting and Valuable appertaining to the early
Typography and Topography of Children’s Books relating
to Great Britain and America.

including

Jack the Giant Killer, Cock Robin, Tom Thumb,
Whittington, Goody Two Shoes, Philip Quarll, Tommy
Trip, York and Banbury Cries, Children in the Wood,
Dame Trot, Horn Books, Battledores, Primers, etc.

By EDWIN PEARSON.

LONDON:

Arthur Reader, 1, Orange Street, Bloomsbury, W.C. 1890.

Only 50 copies Large Paper,
500   „   Small.

INTRODUCTION.

B: Banburyanbury Cakes,” and “Banbury Cross,” with its favourite juvenile associations, with the Lady with bells on her toes, having music wherever she goes, are indissolubly connected with the early years not only of ourselves but many prior generations. In fact, the Ancient Cross has been rebuilt since the days, when in Drunken Barnaby’s Journal, we are made familiar with the puritan “who hanged his cat on a Monday for killing of a mouse on a Sunday.” The quaint old town and its people are rapidly modernizing; but they cling to the old traditions. Both in pictorial and legendary lore we have some Banburies of another kind altogether, viz., Banbury Blocks, or in plain English, Engraved Woodcut Blocks, associated with the Local Chap Books, Toy Books, and other Histories, for which this quaint old Oxfordshire town is celebrated. The faithful description of the Blocks illustrating this volume has led to numerous descriptive digressions, apparently irrelevant to the subject; it was found however that in tracing out the former history and use of some of the “Bewick” and other cuts contained in this volume, that the Literary, Artistic, Historical, Topographical, Typographical, and Antiquarian Reminiscences connected with the early Printing and Engraving of Banbury involved that of many other important towns and counties of Great Britain, and also America. A provincial publisher about the beginning of the present century would reflect more or less the modus operandi of each of his contemporaries in abridging or reproducing verbatim the immortal little chap books issued from the press of John Newbury’s “Toy Book Manufactory,” at the Bible and Sun (a sign lately restored), 65, Saint Paul’s Church Yard, near the Bar.

This again leads to the subject as to who wrote these clever little tomes. In my “Angler’s Garland,” printed at the Dryden Press, 1870 and 1871, I fully announced my intention of issuing a reprint of the first edition of “Goody Two Shoes,” but the intended volume was published by the firm at the corner, “Griffith, Farren, Okenden, and Welsh,” now in the direct line of business descent from worthy and industrious John Newbery: Carman, Harris, Grant and Griffith. Mr. Charles Welsh of the present firm has taken a warm interest in the Antiquarian and Historical Associations of the Newbery firm. The premises have been lately rebuilt, the Sign and Emblems adopted by Newbery restored, and C. Welsh has reprinted “Goody Two Shoes” in facsimile, since which there has been added to it a Standard edition of Goldsmith’s Works, edited by Mr. Gibbs. I had the pleasure of making many researches respecting the old London publisher (Goldsmith’s friend), John Newbery, respecting his Lilliputian Classics, and I have been enabled to introduce several of the Quarto early editions to the firm, and have had great pleasure in writing and placing on record numerous facts and data, since utilized in the very interesting “Life of John Newbery, a last century bookseller.” The connection of Oliver Goldsmith’s name is indissolubly associated with the juvenile classics industriously issued by Newbery. Dr. Johnson himself edited and prefaced several children’s books which I have seen in the Jupp and Hugo Collections. The weary hours of adversity, through which “Goldie” passed at Green Arbour Court, top of Break Neck Steps and Turn Again Lane—I remember them all well, and the Fleet prison walls too, when I was a boy—and in refuge at Canonbury Tower, near the village of Islington, these are the places where Goldsmith wrote for children. Sir Joshua Reynolds tells how, when he called on the poet at Green Arbour Court, he found the couplet:—

“By sports like these are all their cares beguiled,
The sports of children satisfy the child.”

see “The Traveller.” He was surrounded by children in this unsavoury neighbourhood, where he had his humble domicile: a woodcut in Lumburd’s Mirror depicts it very correctly. Bishop Percy, author of the “Reliques,” called on him, and during the interview the oft repeated incident occurred of a little child of an adjacent neighbour, “Would Mr. Goldsmith oblige her mother with a chamber pot full of coals!” Truly these were hours of ill-at-ease. The largest collection of the various relics of woodcuts used in the chap book literature, “printed for the Company of Flying Stationers, also Walking Stationers,”—for such is a portion of the imprint to be found on several of the early Chap Books printed at Banbury—is to be seen in the Library of the British Museum; but the richest collection of these celebrated little rarities of Toy Books is in the venerable Bodleian Library. Among the very interesting block relics of the past are the pretty cuts to Mrs. Trimmer’s “Fabulous Histories, or The Robins:” these were designed by Thomas Bewick, and engraved by John Thompson, his pupil, who enriched Whittingham’s celebrated Chiswick Press with his fine and tasteful work. A numerous series of little fable cuts by the same artist are to be found in this volume. One of the quaintest sets engraved at an early period by John Bewick (the Hogarth of Newcastle), are to “The Hermit, or Adventures of Edward Dorrington,” or “Philip Quarll,” as it was most popularly known by that title a century ago. The earliest edition I have seen of Philip Quarll is as follows: “The Hermit, or the unparalleled sufferings and surprising adventures of Mr. Philip Quarll, an Englishman who was lately discovered by Mr. Dorrington, a Bristol merchant, upon an uninhabited island in the South Sea, where he lived above fifty years without any human assistance, still continues to reside, and will not come away,” etc. Westminster: Printed by J. Cluer and A. Campbell, for T. Warner in Paternoster Row, and B. Creape at The Bible in Jermyn Street, St. James’s, 1727. 8vo, xii pp., map and explanation, 2 pp., and 1 to 26 appendix, with full page copper plate engravings. He was born in St. Giles’, left his master a locksmith, went to sea, married a famous w——e, listed for a soldier, married three wives, condemned at the Old Bailey, pardoned by King Charles II., turned merchant, and was shipwrecked on a desolate island on the coast of Mexico, etc. Other editions in the British Museum are 1750; 1759 (third); 1780 (twelfth); 1786 (first American edition, from the 6th English edition, Boston, U.S.A.); 1787 (in French); 1795 (seventeenth); 1807; and also in a “Storehouse of Stories,” edited by Miss C. M. Yonge, 2 vols, 8vo (Macmillan, 1870-2), Philip Quarll (also Perambulations of a Mouse, Little Jack, Goody Two Shoes, Blossoms of Morality, Puzzle for a curious Girl), and others are given. The text is useful to refer to, as the originals are rare: the woodcuts of several of them are in this volume. “Philip Quarll,” Miss Yonge says, “comes to us with the reputation of being by Daniel Defoe; but we have never found anything to warrant the supposition. It must have been written during the period preceding the first French Revolution.” There is also in the Museum an edition printed in Dutch in 1805.

In 1869, Mr. Wm. Tegg reprinted the Surprising Adventures of Philip Quarll, entirely re-edited and modernized, with only a frontispiece and vignette on title as illustrations. The quaint old cuts on next page probably illustrated an early Newcastle, then York, and finally Banbury, edition of this oft published work.

The Blocks designed and engraved by John Bewick, for “The Hermit; or Philip Quarll,” (circa 1785.)

page iv picture 1
page iv picture 2

page iv picture 3
page iv picture 4

page iv picture 5
page iv picture 6

Tegg’s edition of 356 pages, 12mo, is to be seen in the Reading Room of the British Museum, and gives the full text and history of these. This curious book would well bear representing with the original Bewick cuts, after the manner of the present Newbery firm, who have revived Butterfly’s Ball, Grasshopper’s Feast, Goody Two Shoes, Looking Glass for the Mind, and contemplate others in the immediate future. Tegg in his reprint of the Book on Philip Quarll, states that he was born in St. Giles’ Parish, London, 1647, voyaged to Brazil, Mexico, and other parts of America, was left on an island, nourished by a goat, and other surprising adventures. Edward Dorrington communicates an account (see p. 1 to 94 inclusive) of how the hermit Philip Quarll was discovered, with his (E. D.’s) return to Bristol from Mexico, Jan. 3, 1724-5; but is about returning to Peru and Mexico again (p. 94). This is of both American and Bewick interest. Besides these representatives of this Chap Book, we are enabled to give in this collection impressions from the blocks of other editions fortunately rescued from oblivion and destruction.

page v picture 1
page v picture 2

page vi picture 1

page vi picture 2

page 1 picture 1

BANBURY CHAP BOOKS.

“Old Story Books! Old Story Books! we owe ye much old friends,
Bright coloured threads in memory’s wrap, of which Death holds the ends,
Who can forget ye? Who can spurn the ministers of joy
That waited on the lisping girl and petticoated boy?
Talk of your vellum, gold emboss’d morocco, roan, and calf,
The blue and yellow wraps of old were prettier by half.”

—Eliza Cook’s Poems.

I: Inn 1708 John White, a Citizen of York, established himself as a printer in Newcastle-on-Tyne, bringing with him a stock of quaint old cuts, formerly his father’s, at York, where he was Sole Printer to King William, for the five Northern Counties of England. He entered into partnership with Thomas Saint, who on the death of John White, at their Printing Office in Pilgrim Street, succeeded in 1796 to his extensive business as Printer, Bookseller, and Publisher. In this stock of woodcuts were some of the veritable pieces of wood engraved, or cut for Caxton, Wynken de Worde, Pynson, and others down to Tommy Gent—the curious genius, historian, author, poet, woodcuter and engraver, binder and printer, of York. We give some early examples out of this stock. Thomas Saint, about 1770, had the honour of introducing to the public, the brothers Thomas and John Bewick’s first efforts in wood-engravings, early and crude as they undoubtedly were. They are to be found in Hutton “On Mensuration,” and also in various children’s and juvenile works, such as Æsop’s and Gay’s Fables. We give some of the earliest known of their work in this very interesting collection of woodcuts.

Some years ago a collection was formed of Newbury and Marshall’s Children’s Gift Toy Books, and early educational works, which were placed in the South Kensington Museum, in several glass cases. These attracted other collections of rare little volumes, adorned with similar cuts, many of which are from the identical blocks here impressed, notably the “Cries of York,” “Goody Two Shoes,” etc. They are still on view, near the George Cruikshank collection, and during the twenty years they have been exhibited, such literature has steadily gone up to fancy prices.

Charles Knight in his Shadows of the Old Booksellers, says of Newbury, (pp. 233), “This old bookseller is a very old friend of mine. He wound himself round my heart some seventy years ago, when I became possessed of an immortal volume, entitled the history of ‘Little Goody Shoes.’ I felt myself personally honoured in the dedication.” He then refers to Dr. Primrose, Thomas Trip, etc., and adds further on, “my father had a drawer full of them [Newbury’s little books] very smartly bound in gilt paper.” Priceless now would this collection be, mixed up with horn-books—a single copy of which is one of the rarest relics of the olden time.

Chalmer’s in his preface to “Idler,” regards Mr. Newbury as the reputed author of many little chap books for masters and misses.

Mr. John Nichols brings forward other candidates for the honour of projecting and writing the “Lilliputian histories, of Goody Two Shoes, etc.;” and refers to Griffith Jones and Giles Jones, in conjunction with Mr. John Newbury, as those to whom the public are indebted for the origin of those numerous and popular little books for the amusement and instruction of children, which have ever since been received with universal approbation.

The following are two of the identical cuts engraved by John Bewick, and used in the Newbury editions of Goody Two Shoes, London, 1769 to 1771.

page 2 picture 1
page 2 picture 2

It will be seen on contrasting these cuts with the other two, on the following page, from early York editions, how wonderfully even in his early years Bewick improved the illustrated juvenile literature of his day. No wonder when Goldsmith the poet had an interview with Bewick, that delighted with his cuts, he confessed to writing Goody Two Shoes, Tommy Trip, etc. Bewick’s daughter supplied this information.

page 3 picture 1
page 3 picture 2

Early cuts to Goody Two Shoes.

page 3 picture 3

Bewick’s frontispiece to Goody Two Shoes.

Here are two early examples of Thomas Bewick. They were used in a York edition of “A Pretty Book of Pictures for little Masters and Misses, or History of Beasts and Birds by Tommy Trip,” etc.

page 4 picture 1
page 4 picture 2

Miss Polly Riding in a Coach, from Tommy Trip.

The Student, from Tommy Trip.

There was an American edition of Goody Two Shoes, and is very interesting indeed, having a woodcut frontispiece engraved by Thomas Bewick, and was printed at Worcester, Mass., U.S.A., by Isaiah Thomas, and sold wholesale and retail at his book-store, 1787. A copy of this little book sold in London for £1 16s.

We also give two other specimens from the J. Newbery editions of Tommy Trip and Goody Two Shoes, both engraved by John Bewick.

page 4 picture 3
page 4 picture 4

The Student, from Tommy Trip.

Margery, from Goody Two Shoes.

The packmen of the past [see frontispiece of a pack-horse in First Edition only of Bewick’s Quadrupeds, 1790] carried in their packs the ephemeral literature of the day, Calendars, Almanacks, and Chep-Books. The Leicestershire pronunciation to this day at markets is “Buy Chep” for Cheap, hence the Chep-side, or Cheape-or Cheapside; otherwise derivation of Chap Men, or Running, Flying, and other mercurial stationers, peripatetic booksellers, pedlers, packmen, and again chepmen, these visited the villages and small towns from the large printers of the supply towns, as London, Banbury, Newcastle, Edinburgh, Glasgow, etc. The “History of John Cheap, the Chapman,” “Parley the Porter,” “Stephen of Salisbury Plain,” and other favourite tracts, with John Bewick’s and Lee’s square woodcuts were written by the quaker lady, Hannah More, about 1777, and were first published in broadsheet folio. Some were done by Hazzard, of Bath, others by Marshall, of Bow Lane, Aldermary Church Yard. A most curious collection of chap books did they print, reviving the quaint old “Blind Beggar of Bethnal Green,” “Guy, Earl of Warwick,” “Seven Champions,” “Mother Shipton’s Life and Prophecies,” “Wise Men of Gothan,” “Adam Bell,” “Robin Hood’s Garland,” “Jane Shore,” “Joaks upon Joaks,” “Strapho, or Roger the Clown,” “Whetstone for dull Wits,” “St. George and the Dragon,” “Jack Horner:” and hundreds of ballads, garlands, carols, broadsheets, songs, etc., were in the collection.

The “Great A and bouncing B Toy Book Factory,” was somewhere near Little Britain, the proprietor being John Marshall, who published the famous “Life of a Fly.”

page 5 picture 1

Block by Thomas Bewick.

The “Memoirs of a Peg Top,” “Perambulations of a Mouse,” 2 volumes with cuts by John Bewick, and a number of other works, some by Mrs. Trimmer, under various pseudonyms, were published in Bow Lane, also many quaint broadsheets, the cuts of which are in this volume.

Hazzard, printer of Bath, who published many works for Dr. J. Trusler, with woodcuts by John Bewick, Lee, and others, also published the cheap repository tracts.

All the following little wood blocks were used in several toy books, sometimes with Bewick’s name on the titles, and done from 1787 to 1814, in Dutch flowery and gingerbread gilt paper binding, just like Newbery series.

Early John Bewick Cuts.

page 6 picture 1
page 6 picture 2

Tommy Two Shoes.

Robin Hood and Little John, pub. Wilson and Spence, York.

page 6 picture 3
page 6 picture 4

York Story Books, by Wilson and Spence, circa 1797.

page 6 picture 5
page 6 picture 6

Used in the Fables.

Used in the Fables.

page 7 picture 1
page 7 picture 2

page 7 picture 3

Cut by Lee, on the covers of Rusher’s Penny “Banbury’s.”

Two Blocks from Valentine’s Gift. 1797.

page 7 picture 4
page 7 picture 5

Used by Wilson and Spence, York.

Patty Primrose.

page 8 picture 1
page 8 picture 2

From Primrose Prettyface and her Scholars.

page 8 picture 3
page 8 picture 4

Two Ballad Cuts, by Green, of Knaresborough.

page 8 picture 5
page 8 picture 6

Mrs. Winlove’s Rise of Learning.

The Concert of Birds, from Tommy Tag.

page 9 picture 1

Frontispiece to Tommy Playlove and Joseph Lovebook.

page 9 picture 2

Whitfield’s Tabernacle, Moorfields, or Spa Fields Chapel. (?)

In Blade’s Life of Caxton, the reader will find interesting examples of the earliest woodcut blocks illustrating the quaint and rare tomes issued by the Almonry, Westminster, also at Oxford. The Robin Hood Garland blocks (circa 1680 or earlier), is one of the earliest provincial blocks with a distinct history. We can trace them in varied collections used by early London and Provincial printers, and in the London Bridge printed Chap Book Literature.

Sutton, printer of Nottingham, issued a curious quarto volume of old woodcuts. He was descended from the celebrated T. Sutton, who founded the Charterhouse. Some twenty-five years ago I went over the very quaint collection with the proprietor, and suggested a volume being issued, but the idea had already been matured by him.

Robert White, the poet and local historian of Newcastle upon Tyne—by whose favour I reprinted Tommy Trip in 1867—has one of the choicest, most comprehensive, and rarest libraries of local stories, garlands, ballads, and chap books, and North country folk-lore children’s books, almanacks, primers, “A. B. C.,” horn books, battledores, etc., that were ever gathered together. I am glad to place on record, that by his will, his collection will remain intact. The special opportunities afforded him at the time for collecting them have entirely passed away.

I believe he was descended from John White, printer for the five northern counties of England to King William. This is referred to by Mr. Dodd in his preface to a quarto volume of woodcut impressions. William Dodd fully appreciated the local interest, by producing a limited impression of the quaint blocks in his possession.

The Rev. Mr. Hugo had a very large and important collection of blocks and books, and at his death I arranged and catalogued them for Messrs. Sotheby, according to the wish of his widow. The Rev. gentleman had wished his collection to be purchased by the trustees of the British Museum, but some little hitch occurred and this was not accomplished. In his collection the Robin Hood block, perforated with worm holes, realized quite a fancy price.

Among the relics of ancient woodcutting, are some so early and crude in their execution—quaint as the period they illustrate—as to really entitle them to the literal name and meaning of woodcuts, rather than wood-engravings, which they really became in the hands of the two Bewicks and their numerous school of pupils. Other provincial publishers were not so favoured as those at Newcastle-on-Tyne, as to have a Bewick trying his prentice hand on similar series, as used by J. Bell and others.

The Cock Robin blocks in this collection are certainly the earliest series I have seen among the thousands I have examined. The York Cries, Tom Hickethrift, Jack the Giant Killer, and many kindred cuts, are evidently from the collection of John White, the early printer, and are as quaint, as funny and droll in crudity of execution, as any of Thomas Gent’s, the unique York engraver and bookseller.

The rarity and interest of a collection like the present, with their varied associations, may be fairly estimated when we consider that the country printers in those days were not particular in making the same woodcut do duty in most incongrous and inapplicable positions and subjects.

We have met with a block in a child’s book, then the identical woodcut on a ballad, catchpenny, or last dying speech and confession, setting at defiance any suitability of illustration, or adaptability to the text matter. Of course now, some of these examples are exceedingly ludicrous, and do not fail to excite merriment, and often add to the intrinsic value of the article, as may be judged by numerous examples that have occurred in our literary auction marts during the last half century.

Besides it must be taken fair notice of that a genuine wood-engraving, or woodcut block may soon become a curiosity of the past, owing to the improved methods of illustrating children’s books. Many of Bewick’s blocks are veritable paintings on boxwood, and are as much classical works of art as work by Josiah Wedgwood, and his able coadjutor, J. Flaxman are in Fine Art. These early crude, quaint, droll little pioneer wood blocks will ever remain of great and even historical interest as showing the progress and influence on the illustrated literature of the civilized world.

Many of our readers have heard of Banbury Cross and Banbury cakes, and other famous juvenile associations, as the lady with bells on her toes, but it was also connected with the production of books for juvenile readers. A great portion of the blocks in this volume are Banbury blocks used for illustrating the toy books, children’s histories, etc., for which this quaint old Oxfordshire town was famous. Many of them are connected with the early printing and engraving carried on in this and other towns of England. A quantity of the blocks were used in the books printed by John White of York, who established himself, as before mentioned, as a printer in Newcastle-on-Tyne, bringing with him a stock of quaint old blocks formerly his father’s [at York], where he was sole printer to King William, for the five northern counties of England.

Boswell has recorded several conversations of Oliver Goldsmith with Dr. Johnson, in which the warm-hearted poet expressed a wish, “to make fishes, animals, birds, etc., talk, or appear so to do, for the amusement and instruction of children.” In the National Collection is “The Valentine’s Gift, or a Plan to enable children of all sizes and denomination to behave with honour, integrity, and humanity, very necessary to a trading nation: to which is added some account of Old Zigzag, and of the Horn with which he used to understand the language of birds, beasts, fishes and insects,” etc., “Printed for Francis Power, (grandson to the late Mr. J. Newbery) and Co., No. 65, St. Paul’s Churchyard, 1790, price sixpence, bound in gilt dutch paper binding, 105 and iii pages”.

Numerous books were sold by Francis Power, No. 65, near the Bar, in St. Paul’s Churchyard, London; his list comprises “Giles Gingerbread,” “Tom Thumb’s Folio,” “The London Cries, taken from the Life,” “The Lilliputian Auction,” by Charley Chatter, “Nurse Truelove’s Christmas Box,” “New Year’s Gift,” “The History of Little Goody Two Shoes,” new edition, “Adventures of a Bee,” “The Little Lottery Book,” “A Pretty Plaything for Children,” “The Lilliputian Magazine,” “The Picture Exhibition,” “Lilliputian Masquerade,” “Juvenile Trials for Robbing Orchards and Telling Fibs,” “Pretty Poems by Tommy Tagg, for children three feet high,” “A Pretty Book of Pictures, or Tommy Tripp’s History,” “The Drawing School by Master Angelo,” “Poetical Flower Garden,” “Tommy Trapwit’s Be Merry and Wise,” “Lecture upon Toys,” 2 vols; “Pretty Poems for children six feet high,” “The Museum,” “Polite Academy,” “Poetical Flower Basket,” “Mother Goose’s Fairy Tales,” “A Spelling Dictionary, Rhetoric; Logic; Arithmetic; History; Chronology; Geography;” “Vicar of Wakefield.” Most of the latter except “Vicar” formed a circle of the sciences licensed by approval of the King, each dedicated to a youthful nobleman, by “John Newbery.” The size was “snuffbox,” or waistcoat pocket (capacious in 1790, see “School for Scandal,” etc., Costume, etc.) Documentary evidence and receipts in Goldsmith’s handwriting, acknowledging various sums for writing the “Rhetorick,” and others of the above exist. Goldsmith also did numerous Abridgements of the Old and New Testaments, Robinson Crusoe, Pamela, Clarissa Harlow, Sir Chas. Grandison, all in this juvenile series for J. Newbery.

page 12 picture 1

The Spider, from Bunyan’s Divine Emblems.

This was a most popular juvenile brochure, at end of eighteenth century. The early editions of J. Bunyan’s Works, 2 vols, folio, had the Divine Emblems at end of vol 2, with quaint old woodcuts. These were industriously copied in reduced sizes, and published from 1d. to 6d., by various London and Provincial “toy book” manufacturers. The above is a solitary representative of the illustrations of one of these rare editions of “Bunyan.”

page 12 picture 2
page 12 picture 3

From Evans’s Cock Robin.

Frontispiece to Farthing Cinderella.

page 13 picture 1

Tobacco Paper Cut and Tavern Sign.

page 13 picture 2

Very Early Ballad, D——l cut, etc.

John Evans, 42, Long Lane, West Smithfield, circa 1791, brought out some singular little farthing children’s books, printed on coarse sugar paper, also ballads, single-sheet songs, and “patters.” One, “The tragical death of an Apple Pye, cut in pieces and eat, by twenty-five gentlemen, with whom all little people ought to be very well acquainted.”

J. Drewey, Irongate, Derby, brought out some entertaining fables, in which the following woodcuts were used again.

Blocks used in Red Riding Hood.

page 14 picture 1
page 14 picture 2

page 14 picture 3
page 14 picture 4

page 14 picture 5
page 14 picture 6

Blocks used in “Jack and the Giants” and “Tom, Tom, the Piper’s son,” etc. From John White’s stock, at York.

page 15 picture 1
page 15 picture 2
page 15 picture 3

page 15 picture 4
page 15 picture 5
page 15 picture 6

page 15 picture 7
page 15 picture 8
page 15 picture 9

page 15 picture 10
page 15 picture 11
page 15 picture 12

page 15 picture 13
page 15 picture 14
page 15 picture 15

Cuts used for “Tom, Tom, the Piper’s Son,” etc.

page 16 picture 1
page 16 picture 2
page 16 picture 3

page 16 picture 4
page 16 picture 5
page 16 picture 6

Cuts to “Whittington and his Cat.”

page 16 picture 7
page 16 picture 8

page 16 picture 9
page 16 picture 10

John Evans issued “Cock Robin, a pretty gilded toy for either girl or boy,” in which the early cut on page 12 was used. This rare edition has the following comical variation from the orthodox version:

“Little Robin Redbreast sat upon a pole,
Wiggle-waggle went its tail, and p—p went its hole.”

Very Early Cock Robin Set, from John White’s York Stock.

page 17 picture 1
page 17 picture 2
page 17 picture 3

page 17 picture 4
page 17 picture 5
page 17 picture 6

page 17 picture 7
page 17 picture 8
page 17 picture 9

page 17 picture 10

That quaint divine Dean Swift of St. Patricks, Dublin, edited some curious poetry for “A Royal Primer,” sqr. 32mo, published in the Seven Dials, of Dublin (“Rainbow Court”).

“Ech, ech, my dear’y, and
Ach, ach, my love.
“There was a little man who had a little gun, and
“There was a little maid who was very much afraid
To get wed, wed, wed,” etc.

This is long and curious, and was greatly altered and abreviated in early 19th Century Editions.

“The Royal Primer,” from John White’s York and Newcastle Stock.

page 18 picture 1
page 18 picture 2
page 18 picture 3

page 18 picture 4
page 18 picture 5
page 18 picture 6

page 18 picture 7
page 18 picture 8
page 18 picture 9

page 18 picture 10
page 18 picture 11
page 18 picture 12

From Dean Swift’s Royal Primer, Dublin, circa 1770.

page 19 picture 1
page 19 picture 3
page 19 picture 6

page 19 picture 4

page 19 picture 2
page 19 picture 7

page 19 picture 5

From Evans’s edition of Cinderella.

page 19 picture 8
page 19 picture 9

page 19 picture 10
page 19 picture 11

Very Early “Cock Robin” Series, “Postboy” by Bewick for a Newcastle Newspaper, “Wife Joan,” etc., from J. White’s Stock.

page 20 picture 1
page 20 picture 2
page 20 picture 3

page 20 picture 4
page 20 picture 5
page 20 picture 6

page 20 picture 7
page 20 picture 8
page 20 picture 9

page 20 picture 10
page 20 picture 11
page 20 picture 12

page 20 picture 13
page 20 picture 14
page 20 picture 15

Early “Mother Hubbard:” J. Evans, Long Lane, circa 1770.

page 21 picture 1
page 21 picture 2
page 21 picture 3

page 21 picture 4
page 21 picture 5
page 21 picture 6

page 21 picture 7
page 21 picture 8
page 21 picture 9

page 21 picture 10

Early “Goody Two Shoes,” “Jack and Jill,” “Cock Robin,” The Fables, early Bewick School.

page 22 picture 1
page 22 picture 2
page 22 picture 3

page 22 picture 4
page 22 picture 5
page 22 picture 6

page 22 picture 7
page 22 picture 8

page 22 picture 9
page 22 picture 10
page 22 picture 11

page 22 picture 12
page 22 picture 13
page 22 picture 14

All Evans’s style of woodcut, Catnach, etc., all used at Rushers Banbury Press.

page 23 picture 1
page 23 picture 2
page 23 picture 3

page 23 picture 4
page 23 picture 5

Babes in the Wood.

page 23 picture 6
page 23 picture 7

Blue Beard.

page 23 picture 8
page 23 picture 9

page 23 picture 11

page 23 picture 10

Providing ourselves with a variety of pens and ink, we select two of the best and proceed to describe the Banbury Printer’s old stock of cuts.

Banbury, Oxfordshire, was one of the chief provincial towns noted for its Children’s Books, Chap Books, Battledoes, Reading Easies, etc., also for locally printed works, notably for two, viz., Dr. Johnson’s Rasselas, and White and Beesley’s work on Bees, thin 12mo volumes, boards, printed in a curious phonetic character, called “Rusher’s Types.” Rusher, printer of this town, had some ingenuity and originality of his own, and was not such a plagiarist and imitator as some of his contemporaries. Many of the tales he cleverly adapted to the locality, which have become very valuable. His edition of the Rasselas realized £5 5s. This book was written by Johnson in a week to defray his mother’s funeral expenses.

We give several extracts from some of Rusher’s Penny Books which will show how well he adapted them to his town.

page 24 picture 1

[Early John Bewick,] Rusher’s Lilliputian Library, Banbury, circa. 1810.

page 24 picture 2

At Rusher’s fam’d Warehouse,

Books, Pictures and Toys

Are selling to please all

The good girls and boys.

For youth of all ages

There’s plenty in store,

Amusement, instruction,

For rich and the poor.

page 24 picture 3
page 24 picture 4

From the New House that Jack Built.

See Jack in his study,

Is writting a book,

As pretty as this is

In which you may look;

The price is one penny,

For girls or for boys,

There’s more too at Rusher’s,

And Pictures and Toys.

Poetic Trifles.

Sing see-saw, Jack thatching the ridge,

Which is the way to Banbury-bridge?

One foot up and t’other foot down,

And that’s the way to Banbury town.

As I was going to Banbury
Upon a summer’s day,
My dame had butter, eggs and fruit,
And I had corn and hay,
Joe drove the ox and Tom the swine,
Dick took the foal and mare:
I sold them all—then home to dine
From famous Banbury Fair.

Here’s something new
Dear child for you,
I will please you in a trice
A halfp’ny chuse,
Now don’t refuse,
A penny is the price.

Tho’ basely born
Pray do not scorn
A Tale no worse than many
For I’m afraid
More say in trade,
A halfp’ny’s made a penny.

Good things to engross,
Near Banbury cross
Where Tommy shall go on the nag,
He makes no mistake,
Buy a Banbury Cake,
Books, Pictures, and Banbury Shag.

Little Robin Redbreast
Sat upon a tree
He sang merrily
As merrily could be.

He nodded with his head
And his tail waggled he
As little Robin Redbreast
Sat upon a tree.

Now each lad and each lass
Both sister and brother
May have books for each class
For Father or Mother.

And when with much pleasure
You’ve read them all o’er,
Then hasten to Rusher’s,
He’s printing some more.

Where each daughter and son
And each nephew and niece,
Each good child may have one,
For a penny a piece.

Black your shoes, your Honour?

Here’s Finiky Hawkes,
As busy as any,
Will well black your shoes,
And charge but a penny.

The following little “Banbury Cake” Book is so excessively rare, we give the text verbatim.

THE HISTORY

OF A

BANBURY CAKE.

AN ENTERTAINING BOOK FOR CHILDREN.

BANBURY:

Printed and Sold by J. G. Rusher,

BRIDGE STREET.

PRICE ONE PENNY.

PREFACE.

It will be thought very odd, I doubt not, by each little boy and girl into whose hands this book shall fall, that a Banbury Cake should be able to write (as it were) its own life; but as they advance in years, they will find that many strange things happen every day—I shall therefore without more words to the bargain proceed with my story.

HISTORY OF A BANBURY CAKE.

I was born or made (whichever you please, my little reader) at Banbury in the county of Oxford, as you can plainly conceive by my title, where great numbers of Cakes are brought into being daily; and from whence they travel by coach, chaise, waggon, cart horse and foot into all parts of this Kingdom: nay and beyond the seas, as I heard my maker declare that he had, more then once sent some of them into France.

Soon after I was made, and while I was yet warm from the oven, I was sold by my maker’s fair daughter to a person on horseback for twopence.

With this person I took my first journey to Oxford; he rode a very fine Black Horse. As soon as he came home, he gave me to his son a lovely little boy, about seven years of age, and one as I found to my comfort not only lovely in person but in temper also. His name was Tommy, and he was praised and loved by all that knew him, and had often presents of cakes, toys and little books, and other things that are proper for children of his age; the books he kept with great care as things of value and worthy of his notice, but other trinkets he seemed to despise.

Tommy and his cousin were taken to see Mr. Polito’s collection of wild beasts and birds, which were then exhibiting at Oxford, among which were a large lion, an eagle, and many other natural curiosities, which sight was very entertaining, as Tommy and his cousin had never seen such before. They afterwards walked into the Colleges, round Christ Church College Meadow, and indeed saw all the curiosities about Oxford.

(The Banbury Cake).

We give a Bibliographical List, as perfect as is possible to date, of the “Halfpenny Series” of little History and Story Books issued at Rusher’s Banbury Press, some even with the same titles as the “Penny Series,” yet totally different in arrangement and woodcuts, used, as comparison in the Bodleian Library will readily show: Mother Hubbard and her Dog; Nursery Rymmes from the Royal Collections; Poetic Trifles for young Gentlemen and Ladies; The Cries of Banbury, London, and Celebrated Stories; Children in the Wood, Historical Ballad (Norfolk?); Children in the Wood, Restored by Honestus; Hermit of the Forest (Cumberland); Jack the Giant Killer, a Hero, celebrated by Ancient Historians (Cornwall); Robinson Crusoe; Nursery Poems from the Ancient and Modern Poets; Jack and Gill and Old Dame Gill; Read who will, They’ll laugh their fill; Dick Whittington and his Cat; The History of Tom Thumb (Middlesex); Death and Burial of Cock Robin; Renowned History of Dame Trot and her Cat; London Jingles and Country Tales for Young People; Tom, Tom, the Piper’ Son; Cinderella and her Glass Slipper; Jack Spratt and his Wife Joan, etc. etc.

page 27 picture 1
page 27 picture 2

Bewick School, used in Rusher’s Banbury Toy Books.

page 28 picture 1
page 28 picture 2

Used by Rusher in his Banbury Horn Books, Battledores, Galloping Guide to A, B, C, Primers, Reading Made Easy, Spelling Books, etc.

page 28 picture 3

page 29 picture 1

From Evans’s, Long Lane, West Smithfield, used afterwards at Banbury.

page 29 picture 2
page 29 picture 3

Rusher’s Banbury Battledore and Reading Made Easy blocks, show the next improvement on the old Horn Books. Then Rusher published a Galloping Guide to the A B C., for which see next page.

Whole pages:

page 30 (A-H)
page 31 (J-W)
page 32 top (XYZ)

A

B

C

page 30 picture 1

a

b

c

D

A was an Acorn, that grew on the oak;

B is a Boy, who delights in his book.

C is a Canister, holds mamma’s teas;

D is a Drum, you may sound if you please.

d

E

page 30 picture 2

e

F

E is an Eagle, that soars very high;

F is a Fox, that is crafty and sly.

f

G

page 30 picture 3

g

H

G is a Griffin, of him pray take heed;

H is a Hare, that can run with great speed.

h

I J

K

page 31 picture 1

i j

k

L

M

J is a Judge, that the law oft obeys;

K is a Key, that no secret betrays.

L is a Lamb, often freaks o’er the lea;

M is a Mermaid, that sings in the sea.

l

m

N

O

page 31 picture 2

n

o

P

Q

N is a Nightingale, dwells in the wood;

O is an Ox, whose beef roasted is good.

P is a Peach, that did grow very high;

Q is a Quince, makes a savoury pie.

p

q

R

S

page 31 picture 3

r

s

T

R is a Raven, rapacity charms;

S shining Sun, is the Banbury Arms.

t

U

V

page 31 picture 4

u

v

W

T is a Trumpet, your merit to raise;

V is a Vulture, on other birds preys.

W a Wren, that was perch’d on a spray;

w

X

Y

page 32 picture 1

x

y

Z

X was King Xerxes, well known in his day.

Y is a Yew Tree, both slender and tall;

Z Zacaariah, the last of them all.

z

page 32 picture 2
page 32 picture 3

Reading made Easie, copy of Bewick.

You are Old Father William, by Green.

The

History

of

page 33 picture 1

Jack

the

Giant-killer.

The above woodcut of a Fugitive Soldier (designed by Craig, and engraved by Lee) was used on the back of the cover of this little book, as issued by J. G. Rusher at Banbury.

page 33 picture 2
page 33 picture 3
page 33 picture 4

Jack’s Artfulness.

Jack shows the Giant a trick.

The Giant and his Prisoners.

page 33 picture 5
page 33 picture 6
page 33 picture 7

Jack slices off the Giant’s nose.

Jack kills Blunderbore.

Jack strangles the Giants.

DEATH AND BURIAL OF COCK ROBIN.

page 34 picture 1

page 34 picture 2

Who killed Cock Robin?

I, said the sparrow,

With my bow and arrow,

I killed Cock Robin!

page 34 picture 3
page 34 picture 4
page 34 picture 5

This is the pie

That saw him die.

Who caught his blood?

I said the fish,

With my little dish,

I caught his blood!

Who made his shroud?

I, said the Eagle,

With my thread and needle!

page 34 picture 6
page 34 picture 7
page 34 picture 8

This is the Owl so brave

That dug Cock Robin’s grave.

Who’ll be the parson?

I, said the Rook.

page 35 picture 1

page 35 picture 2

Who’ll be the clerk?

I, said the lark.

Who’ll carry him to his grave?

I, said the kite.

page 35 picture 3

page 35 picture 4

Who’ll be the chief mourner?

I, said the swan.

Who’ll bear his Pall?

We, said the wrens.

page 35 picture 5

page 35 picture 6

Who’ll toll the bell?

I, said the Bull.

Who’ll lead the way?

I, said the martin.

page 35 picture 7

The birds of the air fell a sighing and sobbing,
When they heard the bell toll for poor Cock Robin.

History

of

THE
page 36 picture 1

Tom

Thumb

page 36 picture 2
page 36 picture 3
page 36 picture 4

The cow took Tom Thumb

With a mouthful of grass.

His butterfly mounted,

And rode o’er the stream.

He climbed up the edge,

And fell in the bowl.

page 36 picture 5
page 36 picture 6

Tom soused in the firmity,

And had a great fall.

The breath of the spider

In the midst of the strife

Was too much for Sir Thomas,

And cost him his life.

Alas! Sir Thomas

Children

in

page 37 picture 1

the

Wood.

page 37 picture 2
page 37 picture 3

With clay-cold lips the babes they kissed.

He bargained with two ruffians strong.

page 37 picture 4
page 37 picture 5

Away the little babes were sent.

To fight they go right suddenly.

page 37 picture 6
page 37 picture 7

Then hand in hand they took their way.

Till death did end their grief.

Mother Hubbard and her Dog.

Designed by George Cruikshank (early work), and engraved by Branston.

page 38 picture 1
page 38 picture 2

page 38 picture 3
page 38 picture 4

page 38 picture 5
page 38 picture 6

page 38 picture 7
page 38 picture 8

Dame Trot and her Cat.

Early Cruikshank School.

page 39 picture 1
page 39 picture 2

Dame Trot.

Dame Trot’s Cat.

page 39 picture 3
page 39 picture 4
page 39 picture 5

Dame teaches the Cat.

Dame takes her to market.

Riding.

page 39 picture 6
page 39 picture 7
page 39 picture 8

The Cat smells a Rat.

Dressing.

The Cat fights Dog Ball.

The

History of

page 40 picture 1

Robinson

Crusoe.

“Robinson Crusoe, he

Was determined to go to sea”

page 40 picture 2
page 40 picture 3

The Raft.

At Home.

page 40 picture 4
page 40 picture 5

The Tame Goat.

The Footprints.

page 40 picture 6
page 40 picture 7

Shooting Savages.

Traversing the Island.

Designed by Cruikshank, engraved by Dranston.

The Life of Jack Sprat and his Wife Joan.

Cruikshank School.

page 41 picture 1
page 41 picture 2
page 41 picture 3

Jack and his Wife.

Jack Sprat goes courting.

Joan goes for a walk.

page 41 picture 4
page 41 picture 5
page 41 picture 6

Jack’s Marriage.

Jack wheeling his Wife.

Joan sits in her chair.

page 41 picture 7
page 41 picture 8
page 41 picture 9

Jack takes his gun.

But the birds don’t care.

Jack buys a cow.

page 41 picture 10
page 41 picture 11
page 41 picture 12

Jack buys a mare.

Jack rests.

And grows fat.

Cinderella and her Glass Slipper.

Published by Rusher, circa 1814. Designed by Cruikshank, and engraved by Branstone. A copy is in the Bodleian Library.

page 42 picture 1
page 42 picture 2

Cinderella.

Cinderella dressing for the Ball.

page 42 picture 3
page 42 picture 4

Cinderella going to the Ball in a fine coach.

Cinderella dancing with the King’s Son.

page 42 picture 5
page 42 picture 6
page 42 picture 7

Cinderella drops one of her glass slippers.

Cinderella marries the Prince.

Jack and Jill.

page 43 picture 1
page 43 picture 2
page 43 picture 3

Jack and Jill

Went up the hill.

Then up Jack got,

And home did trot.

Then Jill came in,

And she did grin.

page 43 picture 4
page 43 picture 5
page 43 picture 6

They rode dog Ball,

And Jill did fall.

Says Jill, I’ll tell

You how Jack fell.

I’ll try, says Jack,

Upon his back.

page 43 picture 7
page 43 picture 8
page 43 picture 9

Now Jill did laugh,

And Jack did cry.

They first rode high,

And then rode low.

The very next thing

They made a swing.

page 43 picture 10
page 43 picture 11
page 43 picture 12

Camel came by.

Says Jack, I’ll try.

The pig he squalled,

While Jack he bawled.

Hearing the rout,

The dame came out.

Read it who will,

page 43 picture 13

They’ll laugh they fill.

Dick Whittington and his Cat.

Designed by Cruikshank, and engraved by Branstone; published by Rusher about 1814. An original copy is in the Bodleian Library.

page 44 picture 1
page 44 picture 2

Dick goes on his travels.

And meets with a kind Merchant.

page 44 picture 3
page 44 picture 4

A penny for your cat, Dame!

Bow Bells ringing “Turn again Whittington!”

page 44 picture 5
page 44 picture 6

Pussy clears the King’s table,

And makes Whittington’s fortune.

The Cries of York.

page 45 picture 1

“The Cries of York, for the amusement of Young Children, decorated with cuts printed by T. Kendrew, Collier Gate, York.” These York Cries have not been mentioned by any writer on juvenile literature and the same may be said of the Banbury Cries. T. Kendrew of York, brought out many interesting penny and other children’s books. He published “Giles Gingerbread, a little boy who lived upon learning, by Tom Trip,” this was an abbreviation of Newberry’s Edition of the “Silver Penny.” The series was illustrated with the early and prentice work of the Bewick School. One of the rarest is “The Cries of York,” the cuts of which afterwards travelled to Banbury and appeared in “Banbury Cries.” The series we are enabled to give complete.

Cuts belonging to York Cries.

page 45 picture 2
page 45 picture 3
page 45 picture 4

page 46 picture 1 | page 46 picture 2 | page 46 picture 3
page 46 picture 4 | page 46 picture 5 | page 46 picture 6
page 46 picture 7 | page 46 picture 8 | page 46 picture 9

page 47 picture 1 | page 47 picture 2 | page 47 picture 3
page 47 picture 4 | page 47 picture 5 | page 47 picture 6
page 47 picture 7 | page 47 picture 8 | page 47 picture 9

page 48 picture 1
page 48 picture 2
page 48 picture 3

Appended are the words to many of the foregoing Cries.

The Italian Basket Seller.

Ventured across the main behold,
“Buy Baskets,” solemn Face,
He sells for Lust of Naughty Gold,
Which is a Common Case.

Mend old Pans and Kettles, O!
(Peaseholme Green Postern)
Hark! who is this, the Tinker Bold,
To mend or spoil you Kettle,
Whose wife, I’m certain is a Scold,
Made up of base metal.

Buy my Clocks and Weather Glasses!
Buy Shirt Hand Buttons!
(Walmgate Bar)

“If I’d as much money as I could tell;
I never would cry young lambs to sell.”
(Thursday Market)

“Buy my Anchovies.
Buy my nice Anchovies.”

Sweep Your Chimney Clean, O!

With drawling tone, Brush under arm,
And Bag slung o’er his shoulder,
Behold the Sweep, the Streets alarm,
With Stentor’s voice and louder.

Come Buy My Nice Muffins.

Hot Muffins and Crumpets too,
For Breakfast and for Tea;
I’ve only a very few left,
In Basket as you may see.

Buy Banbury Cakes! By fortune’s frown,
You see this needy man,
Along the street and up and down
Is selling all he can.

Cockles Alive, Alive, O!

Behold Poor James at York again,
His Cockles all alive, O!
Alive, Alive, he cries amain,
Come buy that he may thrive, O!

“Buy my fine Larks.”
(Catching Larks)

“Sixpence a Score Oysters.”
(Ouse Bridge)

“Come Buy my Roasting Spits.”

“Rabbits! Rabbits!”

“Buy my fine Writing Ink.”

“The City Bellman.”
(Hay Weigh)

“Buy my Cranberries, fine Cranberries.”

“Sweet China Oranges.”
(Pavement)

“Buy my Capers.
Buy my nice Capers, Capers.”

“Buy my nice Banbury Cakes.”

“Buy my Windmills, a halfpenny-a-piece.”
(Monk Bar)

“Fine Kidney Potatoes.”

“Threepence a Mart Ripe Gooseberries.”

“Come buy a true Calendar.”
(Castle Gates)

“Razors, Knives, and Scissors to grind.”

“Acomb Sand.”

“Race Lists.”

The Cries of York is distinctly different from The Cries of London issued by Kendrew though the same set of Cuts are utilized.

London Street Cries have always had a fascination peculiarly their own. Madame Vestris used to bring down the house with “Cherry Ripe,” and where are happier efforts of the favourite home Artists than “London Cries” by A. Morland, Wheatley, Stodhard, and others, which are so eagerly sought after by connoiseurs? The pretty plaintive Cries too, would we had the ‘music’ to them, so familiar in the streets in those charming old English days.

page 49 picture 1

“Nothing like leather.”

A most interesting and quaint old relic is the one from which annexed impression is given, from Dyche’s Spelling Book: an exceedingly clean, choice and crisp copy of this book, in the original sheep covers,—a veritable “old shopkeeper,” which for nearly a century had escaped its intended destiny in Rusher’s varied stores, at length found a resting place in Sir Thomas Bodley’s venerable receptacle for bibliographical treasures in the Bodelian, Oxford. The present example—a portion of which was broken away many years ago,—is probably the sole surviving one of the quaint series of cuts, doubtless admired by our great-grand-parents over 100 years ago.

The following are curious examples of Fable Cuts, which were used in Dilworth, Cocker, Fisher, and others.

Early Fable Cuts, used at Banbury in Spelling Books.

page 50 picture 1
page 50 picture 2

page 50 picture 3
page 50 picture 4

page 51 picture 1 | page 51 picture 2
page 51 picture 3 | page 51 picture 4

page 51 picture 5

History of Joseph, designed by Isaac Cruikshank.

page 52 picture 1
page 52 picture 2

page 52 picture 3
page 52 picture 4

page 52 picture 5
page 52 picture 6

page 52 picture 7

Clever little vignettes, by Thomas and John Bewick and Pupils, used first at Nicholson’s, Ludlow, circa 1787, and afterwards, circa 1814, used in Rusher’s Banbury Books.

page 53 picture 1
page 53 picture 2
page 53 picture 3

page 53 picture 4
page 53 picture 5
page 53 picture 6

page 53 picture 7 | page 53 picture 8
page 53 picture 9 | page 53 picture 10

Woodcuts of the Bewick and Cruikshank Schools, from Ludlow and Ploughwill, afterwards used at Banbury.

page 54 picture 1
page 54 picture 2
page 54 picture 3

page 54 picture 4
page 54 picture 5

page 54 picture 6 | page 54 picture 7 | page 54 picture 8
page 54 picture 9 | page 54 picture 10 | page 54 picture 11
page 54 picture 12 | page 54 picture 13 | page 54 picture 14

Used in various Rusher’s Penny Banbury Children’s Books.

page 55 picture 1
page 55 picture 2

page 55 picture 3
page 55 picture 4
page 55 picture 5

page 55 picture 6
page 55 picture 7

page 55 picture 8
page 55 picture 9
page 55 picture 10

By Bewick’s Pupils, used in Children’s Books at Banbury by Rusher.

page 56 picture 1
page 56 picture 2

page 56 picture 3
page 56 picture 4
page 56 picture 5

page 56 picture 6 | page 56 picture 7 | page 56 picture 8 | page 56 picture 9 | page 56 picture 10
page 56 picture 11 | page 56 picture 12 | page 56 picture 13

By Bewick and Pupils, from Ludlow, all used at Banbury.

page 57 picture 1
page 57 picture 2

page 57 picture 3 | page 57 picture 4 | page 57 picture 5
page 57 picture 6 | page 57 picture 7 | page 57 picture 8

page 57 picture 9
page 57 picture 10

page 58 picture 1
page 58 picture 2

Close copy of Bewick, by a pupil.

Bewick playing the Northumbrian Pipes, a very early J. Bewick.

Drunken Barnaby.

To Banbury came I,

Prophane one,

Where I saw a Puritan

Hanging of his cat on Monday

For killing of a mouse on Sunday.

page 58 picture 4

page 58 picture 3

Jack and the Giants, from the early York edition.

page 58 picture 5
page 58 picture 6

Raree, or Peep Show, R. Cruikshank’s design, engraved by Sears.

Chapman, or Running Stationer, designed by Cruikshank and engraved by Branston.
(Used in York Cries).

page 59 picture 1

Banbury Old Church.

page 59 picture 2
page 60 picture 1

A Gentleman wrote to one of the newspapers some time ago, detailing a curious incident that happened to himself, showing how these very interesting prints and blocks are being scattered and destroyed. He says “In the old days when Catnach was King of the ballad world, boys used to steal the woodblocks of Mr. Bewick the wood-cutter, and sell them to the great song singer. Yesterday, for a halfpenny, I picked up in a bye street in London one of the prints of a very beautiful block of this kind heading a song called ‘The Wealthy Farmer’s Son.’ I wonder whether anybody has ever thought it worth while to collect these pictures.” This interesting pursuit of collecting and illustrating with extra cuts, pages of child book literature of the 17th, 18th, and early 19th century, would indeed be a charming recreation. On this subject there appeared a long article in the Graphic, where the writer says, under the initials ‘C. H.,’ “There are few more agreeable occupations for anyone who has sufficient leisure at his disposal, than that of embellishing a favourite book with illustrations appropriate to the subject, and thereby endowing it with additional interest and value. To those who cultivate this fascinating pursuit with taste and intelligence, there are two indispensible conditions of success. The task of collecting the materials is a labour of love, and every fresh discovery in some out-of-the-way corner, of a long-sought desideratum, a delight which the patience and industrious enthusiast alone can appreciate.” Then follows much genial advice on tasteful and judicious collecting, and how to illustrate. In the present case the interest and value could only be realized or conceived on the completion of a choice collection of extra cuts, and cuttings of articles, portraits, views, autograph letters, etc., carefully mounted on cartridge paper, paged to correspond with the text, and then handed to a judicious binder—this is a very important item—who would carefully encase it, and make it form a select and an exceptionibly valuable addition to the library.

page 60 picture 2
page 60 picture 3

Tradesmen’ Shops in Banbury, used on their bill-heads.

page 61 picture 1
page 61 picture 2
page 61 picture 3

Used in various tradesmen’s Billheads, etc., printed at Rusher’s Press, Banbury.

That this interesting idea may not be considered unworthy of adoption—which by the way the few large paper copies of this book are admirably adopted—we give a short list of those who have collected and treasured with care these little brochures. In the South Kensington Museum on exhibition, is a collection of Horn Books and Battledores, exhibited by Kenneth, R. H. Mackenzie, Esq., F.S.A., who read a paper on this subject before the Society of Antiquaries. There is another collection which includes many curious Horn Books or Battledores, from circa 1750, 1784, 1800 to 1810, including photo and facsimiles of one of the Middleton Horn Books now in the Bateman Museum. There is also a curious poem on the Horn Book by a Gent. suffering from the gout, printed at Dublin by T. Cowan, 1728, small 4to, only a few leaves. Another very neat Horn Book with the Horn in front, hence its name, is also on view. The scarcity of these quaint early educational books may be understood from the fact that Mr. Hone, author of the Every Day Book, etc., sought for an original Horn Book for years without success. Mr. Coleridge had one or two cases on exhibition, with numerous examples of Newbury and Marshall’s little books, but we believe these are withdrawn. There is also a selection of early educational books; but the largest collection formed is still on exhibition. In conclusion, it may be said that the present volume contains many precious relics of the Bewick, Newbury, Goldsmith, Newcastle York, Banbury, Coventry, and Catnach presses, and a representative collection of the stock of workable woodcuts of a provincial printer in the latter part of the 18th century, and to those who would like to inspect the rentable copies of those valuable and interesting little books, and some of the original Horn Books, etc., let them see the Coleridge, Kenneth Mackenzie, and Pearson collections in the South Kensington Museum.

page 61 picture 4
page 61 picture 5

page 62 picture 1
page 62 picture 2

Rustic Cottages near Banbury.

Since writing the above, there appeared in the catalogue of books belonging to William Bell Scott, Esq., recently sold at Messrs. Sotheby, a small 4to Album containing a collection of wood engravings by Bewick, Clennell, and others, which with some newspaper cuttings made quite a dainty extra illustrated volume.

If so eminent an artist could find pleasure and recreation in this pursuit, others may certainly rely upon finding it equally attractive, but he would have found his task much easier if he had had a large paper copy of this work interleaved. This is recommended to any person desiring to take up this charming recreation.

page 62 picture 3
page 62 picture 4

Illustrations of Children’s Books, used by Rusher at Banbury.

page 63 picture 1
page 63 picture 2
page 63 picture 3

page 63 picture 4
page 63 picture 5
page 63 picture 6

page 63 picture 7
page 63 picture 8
page 63 picture 9

page 63 picture 10 | page 63 picture 11
page 63 picture 12 | page 63 picture 13 | page 63 picture 14 | page 63 picture 15

All used by Rusher in his Children’s Books, Banbury.

page 64 picture 1
page 64 picture 2
page 64 picture 3

page 64 picture 4
page 64 picture 5

page 64 picture 6
page 64 picture 7
page 64 picture 8

page 64 picture 9
page 64 picture 10
page 64 picture 11

All used in Rusher’s Banbury Books.

page 65 picture 1
page 65 picture 2

page 65 picture 3
page 65 picture 4
page 65 picture 5

page 65 picture 6 | page 65 picture 7 | page 65 picture 8
page 65 picture 9 | page 65 picture 10

Used by Rusher.

page 66 picture 1
page 66 picture 2
page 66 picture 3

page 66 picture 4
page 66 picture 5
page 66 picture 6

page 66 picture 7
page 66 picture 8
page 66 picture 9

page 66 picture 10
page 66 picture 11
page 66 picture 12

All used in Rusher’s Books.

page 67 picture 1
page 67 picture 2
page 67 picture 3

page 67 picture 4
page 67 picture 5

page 67 picture 6
page 67 picture 7
page 67 picture 8
page 67 picture 9

page 67 picture 10

page 67 picture 11
page 67 picture 12
page 67 picture 13

Bewick School, all used in Rusher’s Banbury Toy Books.

page 68 picture 1
page 68 picture 2

page 68 picture 3 | page 68 picture 4 | page 68 picture 5
page 68 picture 6 | page 68 picture 7 | page 68 picture 8
page 68 picture 9 | page 68 picture 10 | page 68 picture 11

Used on Local Tracts and afterwards, issued at Rusher’s Press, Bridge St., Banbury.

page 69 picture 1
page 69 picture 2
page 69 picture 3

page 69 picture 4
page 69 picture 5
page 69 picture 6

page 69 picture 7
page 69 picture 8

page 69 picture 9
page 69 picture 10
page 69 picture 11

Used by Rusher.

page 70 picture 1
page 70 picture 2
page 70 picture 3

page 70 picture 4
page 70 picture 5
page 70 picture 6

page 70 picture 7
page 70 picture 8
page 70 picture 9

page 70 picture 10 | page 70 picture 11
page 70 picture 12 | page 70 picture 13

All used in the Banbury Juvenile Series.

page 71 picture 1
page 71 picture 2
page 71 picture 3

page 71 picture 4
  page 71 picture 5  
page 71 picture 6

page 71 picture 7
page 71 picture 8
page 71 picture 9

page 71 picture 10
page 71 picture 11

Engraved by Bewick School, used in the Children’s Books.

page 72 picture 1
page 72 picture 2
page 72 picture 3

page 72 picture 4
page 72 picture 5
page 72 picture 6

page 72 picture 7
page 72 picture 8
page 72 picture 9

page 72 picture 10
page 72 picture 11
page 72 picture 12

All used in Rusher’s Banbury Toy Books.

page 73 picture 1
page 73 picture 2

page 73 picture 3
page 73 picture 4
page 73 picture 5

page 73 picture 6
page 73 picture 7

page 73 picture 8
page 73 picture 9
page 73 picture 10

page 73 picture 11
page 73 picture 12

On Early Tract Society Publications.

page 74 picture 1
page 74 picture 2
page 74 picture 3

page 74 picture 4
page 74 picture 5

page 74 picture 6
page 74 picture 7
page 74 picture 8

page 74 picture 9
page 74 picture 10

Used for illustrating early Tracts.

page 75 picture 1
page 75 picture 2

page 75 picture 3
page 75 picture 5
page 75 picture 6

page 75 picture 4
page 75 picture 7

page 75 picture 8
page 75 picture 9

All used in Educational Tracts, Banbury.

page 76 picture 1
page 76 picture 2

page 76 picture 3
page 76 picture 4
page 76 picture 5

page 76 picture 6
page 76 picture 7

page 76 picture 8
page 76 picture 9

Used in Early Tracts, Banbury.

page 77 picture 1
page 77 picture 2

page 77 picture 3
page 77 picture 4

page 77 picture 5
page 77 picture 6

page 77 picture 7
page 77 picture 8

page 78 picture 1

BANBURY FAIR.

About 1820, many curious Tracts were issued by various Societies with the illustrations which follow. Some of these Tracts relating to Social and Religious questions of that day had been edited by Hannah More and her sister—at “Barley Wood,” near Bath—also by Rowland Hill, the eccentric divine of old Surrey Chapel, and others; these are now quite ephemeral literary productions, notably some on the “Sunday Question.” Several of the following cuts were used contemporary with Timothy Spagg’s (Charles Dickens’s) Sunday Under Three Heads. One of these, an 8vo pamphlet, has on the title, a large woodcut by Thomas Bewick, commencing;—Here we have Bewick, I declare, etc. Many of the original cuts to the Bristol series of Tracts issued from 1805 to 1820 are in this volume.

page 78 picture 2
page 78 picture 3

Cuts used in Educational Tracts written by Hannah More and Mrs. Trimmer, circa 1810. Engraved by Anderson, Thompson, Williams, and others.

page 79 picture 1
page 79 picture 2

page 79 picture 3

page 79 picture 4
page 79 picture 5

Used on Local Tracts and Juvenile Literature, by Rusher.

page 80 picture 1
page 80 picture 2

page 80 picture 3

page 80 picture 4
page 80 picture 5
page 80 picture 6

page 80 picture 7
page 80 picture 8

Used on Tracts by Hannah More and Rev. Rowland Hill, circa 1814, and afterwards in Rusher’s Books.

page 81 picture 1

page 81 picture 2
page 81 picture 3

page 81 picture 4
page 81 picture 5

Vignettes by Sears, engraved after Williams and others, and used on cheap Repository Tracts, etc., and books issued from Rusher’s press.

page 82 picture 1
page 82 picture 2

page 82 picture 3
page 82 picture 4

page 82 picture 5
page 82 picture 6

These cuts were used in a series of Tracts published by Chilcott of Bristol. Afterwards by Rusher at Banbury.

page 83 picture 1
page 83 picture 2

page 83 picture 3
page 83 picture 4

page 83 picture 5
page 83 picture 6

Cuts by Sears after Williams, used on Cheap Repository Tracts, and on Local Banbury Ephemeral Literature.

page 84 picture 1
page 84 picture 2

page 84 picture 3
page 84 picture 4

page 84 picture 5
page 84 picture 6

Used on Rusher’s Educational and other Local Pamphlets.

page 85 picture 1
page 85 picture 2

page 85 picture 3

page 85 picture 4
page 85 picture 5

“Distaff.”

Engraved by Lee—used by Rusher.

page 86 picture 1

page 86 picture 2
page 86 picture 3

page 86 picture 4
page 86 picture 5

THE LILLIPUTIAN MAGAZINE.

page 87 picture 1
page 87 picture 2

From Catnach.

Norwood Gipsy.

page 87 picture 3
page 87 picture 4

Catnach Spelling Book Cuts.

page 87 picture 5
page 87 picture 6

page 88 picture 1
page 88 picture 3
page 88 picture 4

page 88 picture 2
page 88 picture 5

Engravings used by Evans in his Ballad Singers.

page 88 picture 6
page 88 picture 7

Early Newbery block by J. Bell.

Very early ‘Cock Robin’ cut.

page 88 picture 8
page 88 picture 9

A Tradesman’s Shop at Banbury.

The Marriage Ceremony.

“Billy Buttons” ride to Brentford, and other Catnach ‘Catches,’ used by Rusher.

page 89 picture 1
page 89 picture 2

page 89 picture 3
page 89 picture 4

page 89 picture 5
page 89 picture 6

Used by Rusher at Banbury.

page 90 picture 1

Bible Cut.

page 90 picture 2

Frontispiece to Banbury Local Biography.

Used by Rusher.

page 91 picture 1
page 91 picture 2

page 91 picture 3

page 91 picture 4 | page 91 picture 5 | page 91 picture 6
page 91 picture 7 | page 91 picture 8

page 92 picture 1
page 92 picture 2

Mr. Doubleface, a man not to be trusted.

page 92 picture 3

Used on Banbury ‘Catch-pennies.’

page 92 picture 4
page 92 picture 5

page 93 picture 1

Battle of the Nile.

page 93 picture 2

Battle of Trafalgar.

page 94 picture 1
page 94 picture 2

page 94 picture 3

Lamenting the Great Fire, engraved by Austin.

Christian and Hopeful escaping from Doubting Castle.

page 94 picture 4
page 94 picture 5
page 94 picture 6

page 95 picture 1
page 95 picture 2

Vignette by Green, of Knaresborough.

Knaresborough Tragedy, engraved by Lee.

page 95 picture 3

Cuts used by Rusher at Banbury.

page 96 picture 1
page 96 picture 2

page 96 picture 4

page 96 picture 3

Newspaper and Heraldic cuts, 18th Century.

page 97 picture 1

page 97 picture 2
page 97 picture 3
page 97 picture 4

page 97 picture 5

EARLY TAVERN SIGNS AT BANBURY.

page 98 picture 1
page 98 picture 2

The Boar’s Head.

The White Hart.

page 98 picture 3
page 98 picture 4

The Sportsman’s Arms.

The Bull’s Head.

page 98 picture 5
page 98 picture 6

Vignettes to ‘Vicar of Wakefield,’ by Craig and Sears.

“Children’s Games,” and other Toy Books published by Darton and Harvey, Gracechurch Street, and afterwards by Rusher, Banbury.

page 99 picture 1
page 99 picture 2

page 99 picture 3
page 99 picture 4

page 99 picture 5
page 99 picture 6

page 99 picture 7
page 99 picture 8

Published by Darton and Harvey, afterwards by Rusher.

page 100 picture 1
page 100 picture 2

page 100 picture 3
page 100 picture 4

page 100 picture 5
page 100 picture 6

page 100 picture 7
page 100 picture 8

page 101 picture 1 | page 101 picture 2
page 101 picture 3 | page 101 picture 4
page 101 picture 5 | page 101 picture 6
page 101 picture 7 | page 101 picture 8

page 102 picture 1 | page 102 picture 2
page 102 picture 3 | page 102 picture 4
page 102 picture 5 | page 102 picture 6
page 102 picture 7 | page 102 picture 8
page 102 picture 9 | page 102 picture 10

page 103 picture 1
page 103 picture 2

page 103 picture 3

page 103 picture 4

Cyclops, from ‘Thorton’s Virgil,’ circa 1810.

In the Preface it is stated, Wm. Blake designed, and Branstone engraved the above.

Bewick Tailpieces.

page 104 picture 1
page 104 picture 2

page 104 picture 3

Banbury Horse “to travel” cuts, used by Rusher.

page 104 picture 4
page 104 picture 5

Children’s Book Cuts, used by Rusher.

Cuts used on Mrs. Trimmer’s Educational Works; engraved by Thomson and Branston.

page 105 picture 1
page 105 picture 2

page 105 picture 3
page 105 picture 4

page 105 picture 5
page 105 picture 6

page 105 picture 7

page 106 picture 1
page 106 picture 2

page 106 picture 3
page 106 picture 4

Choice Vignette wood-engravings to Goldsmith’s ‘Vicar,’ ‘Poems,’ etc., published by Nicholson in his “Literary Miscellany,” at Ludlow and Ploughmill, circa 1798.

page 106 picture 5

Engraved by Craig, Bewick’s Pupil.

page 107 picture 1

The Newcastle Collier on his “homeway way.”

page 107 picture 2
page 107 picture 3

Portrait of a Shrew.

Engraving by Thomson.

DROLLERIES OF THE STEAM ENGINE.

When Steam was first introduced it naturally called forth much ‘text’ and illustration. The above we believe to be designed by ‘Cromek.’ Miss Bewick spoke highly of him; he was one of the ‘Boys’ or pupils in Bewick’s School. He executed some choice vignettes for ‘Burns’s Poems,’ much in Luke Clennell’s style, Bewick’s favourite pupil.

page 108 picture 1 | page 108 picture 2 | page 108 picture 3
page 108 picture 4 | page 108 picture 5 | page 108 picture 6
page 108 picture 7 | page 108 picture 8 | page 108 picture 9

page 109 picture 1
page 109 picture 2
page 109 picture 3

page 109 picture 4 | page 109 picture 5
page 109 picture 6 | page 109 picture 7

VIGNETTES AND TAILPIECES TO GAY’S FABLES.

Engraved by John Thomson, Branstone, and Williams; used at Chiswick Press.

page 110 picture 1
page 110 picture 2
page 110 picture 3

page 110 picture 4
page 110 picture 5
page 110 picture 6

page 110 picture 7
page 110 picture 8
page 110 picture 9

page 110 picture 10
page 110 picture 11
page 110 picture 12

page 111 picture 1 | page 111 picture 2 | page 111 picture 3
page 111 picture 4 | page 111 picture 5 | page 111 picture 6
page 111 picture 7 | page 111 picture 8 | page 111 picture 9
page 111 picture 10 | page 111 picture 11 | page 111 picture 12

page 112 picture 1 | page 112 picture 2 | page 112 picture 3
page 112 picture 4 | page 112 picture 5 | page 112 picture 6
page 112 picture 7 | page 112 picture 8 | page 112 picture 9
page 112 picture 10 | page 112 picture 11 | page 112 picture 12

page 113 picture 1 | page 113 picture 2 | page 113 picture 3
page 113 picture 4 | page 113 picture 5 | page 113 picture 6
page 113 picture 7 | page 113 picture 8 | page 113 picture 9
page 113 picture 10 | page 113 picture 11 | page 113 picture 12

page 114 picture 1 | page 114 picture 2 | page 114 picture 3
page 114 picture 4 | page 114 picture 5 | page 114 picture 6
page 114 picture 7 | page 114 picture 8 | page 114 picture 9
page 114 picture 10 | page 114 picture 11 | page 114 picture 12

page 115 picture 1 | page 115 picture 2
page 115 picture 3 | page 115 picture 4
page 115 picture 5 | page 115 picture 6

page 116 picture 1
page 116 picture 2

page 116 picture 3

This woodcut did duty for “Arabian Nights,” “Bluebeard,” etc.; probably designed by Cruikshank, engraved by Branstone.

FINIS.

*** END OF THE PROJECT GUTENBERG EBOOK BANBURY CHAP BOOKS AND NURSERY TOY BOOK LITERATURE ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. 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™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most other parts of the world 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. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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 1.F.3. 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 MERCHANTABILITY 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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 are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.org.

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 business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread 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 www.gutenberg.org/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: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, 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.