The Samuel Butler Collection at Saint John's College, Cambridge A Catalogue and a Commentary (2024)

The Project Gutenberg eBook of The Samuel Butler Collection at Saint John's College, Cambridge

This ebook is for the use of anyone anywhere in the United States andmost other parts of the world at no cost and with almost no restrictionswhatsoever. You may copy it, give it away or re-use it under the termsof the Project Gutenberg License included with this ebook or onlineat 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 locatedbefore using this eBook.

Title: The Samuel Butler Collection at Saint John's College, Cambridge

Author: Henry Festing Jones

A. T. Bartholomew

Release date: November 20, 2007 [eBook #23558]

Language: English

Credits: Transcribed by from the 1921 W. Heffer & Sons edition by David Price

*** START OF THE PROJECT GUTENBERG EBOOK THE SAMUEL BUTLER COLLECTION AT SAINT JOHN'S COLLEGE, CAMBRIDGE ***

Transcribed by from the 1921 W. Heffer & Sons edition byDavid Price, email ccx074@pglaf.org

A Catalogue and a Commentary

by
HENRY FESTING JONES
and
A. T. BARTHOLOMEW

cambridge
w. heffer & sons ltd.
1921

p. ivIt seems to me, the more I think ofit, that the true life of anyone is not the one they live inthemselves, and of which they are themselves conscious, but thelife they live in the hearts of others. Our bodies andbrains are but the tools with which we work to make our truelife, which is not in the tool-box and tools we ignorantlymistake for ourselves, but in the work we do with them; and thiswork, if it be truly done, lives more in others than inourselves.

S.Butler, 1895.

[This Editionis limited to 750 Copies]

p.vPreface

The Butler Collection was not all given to St. John’s atonce. I sent up some pictures and some books in 1917; andat intervals I have sent more, always keeping a list of what hasgone. Now that I have no more to send seems the proper timefor a Catalogue to be issued, and it is made from the lists whichI kept, and which were in part printed in The Eagle, putin order by A. T. Bartholomew and annotated by myself. I amresponsible for the notes and am the person intended when“I” and “me” occur. Bartholomew isresponsible for the classification, for verifying, for checking,and for the bibliographical part.

In time the collection will no doubt increase as new editionsor translations of Butler’s books appear and as furtherbooks are published referring to him. All such I intend toinclude in the collection; and I hope that other Butlerians willsee fit to make additions to it.

I think that the notes give all necessary explanations; but Imay perhaps say here that many of the pictures were made beforeButler contemplated writing such a book as Alps andSanctuaries. When he was preparing that book he went tothe places therein described and made on the spot many black andwhite drawings for reproduction; but he found that this methodwould take too long, so he made others of the black and whitedrawings from oil and water-colour sketches which he had donepreviously, and this is why some of the pictures are dated manyyears before the book was published.

Among the books, under Alps and Sanctuaries (p. 18), isStreatfeild’s copy of that work; and under The Way ofAll Flesh (p. 21) is his copy of that book. Both thesecopies are said to have been “purchased.” Ibought them from the dealer to whom Streatfeild sold them whenhis health broke down and he moved from his rooms. I haveno doubt that he would have given them to me if I had asked forthem, but he was not in a condition to be troubled aboutbusiness.

p.viSt. John’s College has contributed £30towards the expenses of printing and publishing thiscatalogue. I offer them my most cordial thanks for theirgenerosity. I am also deeply indebted to them for findingspace in which to house the collection. I shrank from theresponsibility of keeping it myself. I remembered also thatan individual dies; even a family may become extinct; but St.John’s College, we hope, will enjoy as near an approach toimmortality as can be attained on this transient globe. Iam sure that Butler would be pleased if he could know that duringthat period this collection will be preserved and will beaccessible to all who wish to visit it.

H. F. J.

120, Maida Vale, W. 9,
December, 1920.

p. viiContents

I. Pictures, Sketches and Drawingsby or Relating to Samuel Butler . . . 1

II. Books and Music written byButler . . . 15

III. Books, etc., aboutButler . . . 24

IV. Books, etc., Relating to Butlerand his Subjects . . . 28

V. Books, formerly the property ofSamuel Butler . . . 32

VI. Atlases and Maps, formerly theproperty of Samuel Butler . . . 39

VII. Music, formerly the property ofSamuel Butler . . . 41

VIII. Miscellaneous Papers, formerlythe property of or relating to Samuel Butler . . . 44

IX. Prints and Photographs, formerlythe property of or relating to Samuel Butler . . . 47

X. Portraits, formerly the propertyof or relating to Samuel Butler . . . 49

XI. Effects, formerly the personalproperty of Samuel Butler . . . 51

p.ixIllustrations

SAMUEL BUTLER. ABOUT 1866 . . . Frontispiece

From a photograph taken by hissister, Mrs. Bridges, in the garden at Langar soon after hisreturn from New Zealand.

FACSIMILE OF POST-CARD FROM S. BUTLER TO H. F. JONES,FLORENCE, SEPT. 3, 1892 . . . face p. 23

Butler was staying in Florence on hisway home from his first visit to Sicily. The old Greekpainting referred to is reproduced as the frontispiece to TheAuthoress of the Odyssey (1897). Mlle. V. is Mlle.Vaillant, as to whom see the Memoir. The“nose” belonged to the editor of a Swiss paper whom Ihad met at Fusio.

SAMUEL BUTLER WHEN AN UNDERGRADUATE AT CAMBRIDGE. ABOUT1858 . . . face p. 52

This is taken from a photographicgroup of Butler and three friends. The friends are omitted,as I have failed to identify them.

p.1I. PICTURES, SKETCHES AND DRAWINGS
BY OR RELATING TO SAMUEL BUTLER

By his will Butler bequeathed his pictures, sketches, andstudies to his executors to be destroyed or otherwise disposed ofas they might think best, the proceeds (if any) to fall intoresidue. They were not sold: some were given to ShrewsburySchool; some to the British Museum; one, an unfinished sketch ofthe back of the house in which Keats died on the Piazza diSpagna, Rome, to the Keats and Shelley Memorial there; many weredistributed among his friends, Alfred Cathie taking fifteen and Itaking all that were left over. Alfred lives in Canal Road,Mile End, and, this being on the route of the German air-raids,he was anxious to put his pictures in a place of safety.Accordingly it was arranged between us in 1917 that I should buythem from him. When he heard that I was giving them to St.John’s, he desired that I should not buy all, because hewished to give two of them himself to the College.Accordingly, I bought only thirteen, and the remaining two, viz.no. 28, Leatherhead Church, and no. 59, Chiavenna, 1887, weregiven to St. John’s College by Alfred.

There are but few sketches or pictures by Butler between 1888and 1896. This is because his sketching was interrupted byhis having to take up photography for the preparation of ExVoto. Almost before this book was published (1888) hehad plunged into The Life and Letters of Dr. Butler, andin 1892 he added to his absorbing occupations the problem of theOdyssey. Thus he had little leisure or energy forthe labour of painting; and this labour was always great.He could not leave his outline until he had got it right, andthere was a perpetual chase after the changing shadows. Andwhen he had got the outline it was so constantly disappearingunder the colour that he took to making “a careful outlineon a separate sheet of paper”; this was to be kept, afterhe had traced the drawing on to the paper which was to receivethe colour, and to be referred to continually while heproceeded. When he met p. 2with the cameralucida, which he bought in Paris, and which is among the objectsgiven to St. John’s, he thought his difficulties weresolved and wrote to Miss Savage, 9 October, 1882: “I havegot a new toy, a camera lucida, which does all the drawing forme, and am so pleased with it that I am wanting to use itcontinually.” To which in 1901 he added this note:“What a lot of time I wasted over that camera lucida, to besure!” It did all the drawing for him, but itdistorted the perspective so that the outlines of the manysketches which he produced with its help were adisappointment.

The camera lucida having failed, his hopes were next fixedupon photography, which, by rapidly and correctly recordinganything he felt a desire to sketch, was to give him somethingfrom which he could afterwards construct a picture. So hetook an immense number of snap-shots, of which many are at St.John’s, but he never did anything with them. Nos. 62and 63, which were done by Sadler from Butler’sphotographs, show how he would have proceeded if he had not hadtoo many other things to do.

It was not until 1896, when The Life of Dr. Butlerappeared, that he was able to return seriously to sketching, andby that time he was over sixty and too old to be burdened withthe paraphernalia necessary for oils; he therefore confinedhimself to water-colours.

Some of the pictures in this list were included in the list inThe Eagle, vol. xxxix., no. 175, March 1918, and theremainder in the succeeding number, June 1918. In makingthe present catalogue I have corrected such errors and misprintsas I noticed in The Eagle, and I have re-arranged andrenumbered the items so as to make them run in chronologicalorder. I have also amplified some of the notes. Ihave placed the sketches and drawings in order of date because toexamine them in that order helps the spectator to realise theprogress made by Butler in his artistic studies.

SAMUEL BUTLER

1. Black and white outline sketch: Civita Vecchia,1854.

Butler went abroad with his family,his second visit to Italy, for the winter of 1853-4. Theytravelled through Switzerland to Rome and Naples, starting inAugust 1853, and Butler thus missed the half-year atschool. I am sorry that I have not found any more finisheddrawing made by him on this occasion.

p.3DOUGLAS YEOMAN BLAKISTON

2. Pencil drawing: Samuel Butler, 1854.

Reproduced in the Memoir, ch.iii. On the back of this drawing is the beginning of awater-colour sketch. It was in a book with others mentionedin the Memoir as having been given to Shrewsbury School(I. 44). I have no doubt that the sketch on the back is byButler, and represents part of the Rectory house at Langar.

The Rev. D. Y. Blakiston was born in1832. He studied art at the Royal Academy Schoolsespecially under W. Dobson, R.A. From about 1850 to 1865 hepainted in London and at St. Leonard’s, and exhibited atthe Royal Academy. About 1865 he entered at DowningCollege, took Orders in 1869, and was presented to the living ofEast Grinstead in 1871, which he held till his retirement soonafter 1908. He died in 1914. Throughout his life hemade a practise of sketching his friends. I suppose he musthave met and sketched Butler on some occasion when Butler was inLondon staying with his cousins the Worsleys. Theartist’s son, the Rev. H. E. D. Blakiston, when Presidentof Trinity College, Oxford, gave me a cutting from The EastGrinstead Observer containing a full obituary of him.It is among the papers at St. John’s College, and isreferred to in the Postscript to the Preface to my Memoirof Butler.

HENRY FESTING JONES

3. My first attempt at a drawing in pencil and ink ofButler’s Homestead, Mesopotamia, New Zealand.

I did it in 1910 or thereabouts froma faded photograph taken about 1863 and lent to Butler by J. D.Enys. Also Emery Walker’s reproduction of myfirst attempt which was not used in the Memoir.

4. My second attempt, which was reproduced in theMemoir.

SAMUEL BUTLER

5. Water-colour: A view in Cambridge.

Probably done when Butler was anundergraduate, and given to St. John’s some yearsago. I found it in the book wherein I foundBlakiston’s drawing (no. 2).

6. Oil Painting: Family Prayers.

On the ceiling he wrote “I didthis in 1864, and if I had gone on doing things out of my ownhead instead of making studies I should have been allright.” (Memoir, I. 115.) Reproduced inthe Memoir, ch. xxiv., and referred to, ch. viii.

p.47. Oil Painting: His own head.

“He painted at home as well asat Heatherley’s, and by way of a cheap model hung up alooking-glass near the window of his painting room and made manystudies of his own head. He gave some of them away anddestroyed and painted over others, but after his death we found anumber in his rooms—some of the earlier ones verycurious” (Memoir, ch. viii.). This is one ofthe earlier ones. It is inscribed, “S.B., Feb. 18,1865.” We found also a still more curious one whichwas given to Gogin, who was interested in it as being the work ofan untaught student. See also no. 36.

JOHN LEECH

8. Five pencil drawings on one card.

John Leech died in 1864, the year inwhich Butler returned from New Zealand. There was a sale ofhis drawings by his sisters, and I remember going to see them asa boy, but I do not remember when; it was, no doubt, soon afterthe artist’s death. The house was in Radnor Place,Bayswater. His sisters afterwards kept a small girls’school, and my sister Lilian went there. I have placedthese Leech drawings here in order of date on the assumption thatButler bought them at the sale. He had another drawing byLeech, which used to hang in his chambers, and was given to hiscousin, Reginald Worsley.

SAMUEL BUTLER

9. Oil Painting: Interior of Butler’ssitting-room, 15, Clifford’s Inn.

There is something written in pencilon the panelling in the left-hand bottom corner. I believethe words to be “Corner of my room, Augt. 1865,S.B.” Reproduced in the Memoir, ch. xv.

Here are shown Butler’s books,including Bradshaw’s Guide and Whitaker’s Almanack,of which he speaks somewhere as being indispensable. Iadmit that I cannot identify them, but he used to keep them amongthe books in these shelves. I do not think he everpossessed that equally indispensable book the Post OfficeDirectory. But he had more books than those shown in thispainting. Between his sitting-room and his painting-roomwas a short passage in which was a cupboard, and this containedthe rest. I do not remember how many there were, but notenough to invalidate the statement he made to Robert Bridges(Memoir II. 320), “I have, I verily believe, thesmallest library of any man in London who is by way of beingliterary.”

10. Water-colour: Dieppe, The Castle, 1866.

Butler was at Dieppe with Pauli in1866. (Memoir, ch. viii.)

p.511. Small water-colour drawing: Dieppe, 1866.

This is in the portfolio ofmiscellaneous drawings, etc., by Butler, Gogin, and Sadler, no.81.

12. Oil Painting: Two heads done as a study atHeatherley’s.

I showed this to Gaetano Meo, and heremembered that the man was Calorossi, a model, whose brotherwent to Paris and became known as the proprietor of a studiothere. The woman, he said, was Maria, another model.The background is Dieppe. I suppose that Butler did thisstudy in the autumn of 1866, using nos. 10 and 11, thewater-colours of Dieppe, or some other sketch made on the spot,for the background. The idea was to make portraits of twoheads with a landscape background in the manner of GiovanniBellini.

13. Drawing of a cast of the Antinous as Hermes.

Inscribed “Samuel Butler forprobationership, December 28th 1868.” Done, Isuppose, at South Kensington.

14. Drawing of a hand and foot.

Probably also done at SouthKensington.

15. Black and white drawing of a fir tree.

This, I suspect, was made whileButler was under the influence of Ruskin’s Elements ofDrawing—say about 1870. He threw off thatinfluence later.

16. Four water-colour notes in one frame.

One is inscribed “S.B.”and another “Kingston, near Lewes.” I supposethat they are all on the South Downs, and they are allearly—say 1870.

JAMES FERGUSON

17. Crayon drawing: Butler playing Handel, 1870 (?).

Reproduced in the Memoir (I.ix.). Ferguson was a fellow art-student with Butler.

SAMUEL BUTLER

18. Oil Painting: The Valle di Sambucco, aboveFusio.

The sambucco or sambuco is the eldertree. Butler, writing of this valley (Alps andSanctuaries, ch. xxvi.; new ed. ch. xxv.), says: “Here,even in summer, the evening air will be crisp, and the dew willform as soon as the sun goes off; but the mountains at one end ofit will keep the last rays of the sun. It is then thevalley is at its best, especially if the goats and cattle arecoming together to be milked.”

p.619. Water-colour: The Rocca Borromeo, Angera, LagoMaggiore. Entrance to the Castle. 1871.

The birthplace of S. CarloBorromeo. It was over this gateway as well as over thegateway of Fénis (no. 53), that he told me there ought tobe a fresco of Fortune with her Wheel (Memoir, ch.xx.) The Rocca Borromeo, Angera, and Arona are mentioned inAlps and Sanctuaries, ch. xxiv. (new edn., ch. xxiii.),and several times in the Memoir, e.g. ch. ix.,xvi.

20. Water-colour: The Rocca Borromeo. A Room inthe Castle. 1871.

I am not sure whether or not this isthe room in which S. Carlo Borromeo was born. One view ofthat room is in Alps and Sanctuaries ch. xxiv. (newedition, ch. xxiii). This may be the same room lookingtowards the left and showing a piece of window-seat andshutter.

21. Water-colour: Amsteg. 1871.

22. Water-colour: Fobello. A Christening.1871.

This was to have been a picture forthe Academy, but he did not finish it. Here are shown womenwith short skirts and leggings. They dress like this sothat they can climb into the ash trees and pull off the leaveswhich they throw down upon the grass to be mixed up with thehay. (Memoir, ch. ix.)

23. Oil Painting: Varallo-Sesia. The WashingPlace. 1871.

“Butler made three oil sketchesat Varallo all the same size, about 16x20. One is thewashing place outside the town.” (Diary of aJourney, p. 16). The other two were both done in thePiazza on the Sacro Monte. One was given to the Municipioof Varallo-Sesia; the other to the Avvocato Francesco Negri ofCasale-Monferrato.

24. Oil Painting: Monte Bisbino, near Como.1876.

Alps and Sanctuaries, ch.xxi. The white sanctuary on the summit shines like adiamond in some lights.

25. Oil Painting: From S. Nicolao, Mendrisio.1876.

Alps and Sanctuaries, ch.xxi.

GEORGE McCULLOCH

26. Two lots of studies of women, about 1876.

McCulloch was a friend and fellowart-student of Butler’s, and is mentioned in theMemoir, “an admirable draughtsman.”

SAMUEL BUTLER

27. Oil sketch: Low wall and grass in front, snowymountains behind. It must be a view in the LeventinaValley.

p.728. Water-colour inscribed “S.B.”:Leatherhead Church.

Butler was particularly pleased withthe dormer windows, an unusual feature in a church roof.This must have been done somewhere about 1877, but there is noevidence. This is one of the pictures given by Alfred.

29. Oil Painting: Montreal, Canada, from the Mountain,about 1877.

30. Oil Painting: Calpiogna, Val Leventina.1877.

Evening, looking down the valley.

31. Oil Painting: Three sketches on one panel, scenes inthe Val Leventina.

They are near Faido, but I cannotfurther identify them.

32. Oil Painting: Calonico.

Alps and Sanctuaries, ch.v.

33. Oil Painting: Tengia.

Alps and Sanctuaries, ch.iv.

34. Oil Painting: Prato.

Other views of Prato appear inAlps and Sanctuaries, ch. iii.

35. Oil Painting: Lago Tom, Piora, Val Leventina.1877.

Ch. vi. in Alps andSanctuaries is headed “Piora.” “Piorain fact is a fine breezy upland valley of singular beauty, andwith a sweet atmosphere of cow about it.” Butlerthought he knew what went on in Piora and, as he proceeds throughthe valley, he says: “Here I heard that there were people,and the people were not so much asleep as the simple peasantry ofthese upland valleys are expected to be by nine o’clock inthe evening. For now was the time when they had moved upfrom Ronco, Altanca, and other villages in some numbers to cutthe hay, and were living for a fortnight or three weeks in thechalets upon the Lago di Cadagna. As I have said, there isa chapel, but I doubt whether it is attended during this seasonwith the regularity with which the parish churches of Ronco,Altanca, etc., are attended during the rest of the year.The young people, I am sure, like these annual visits to the highplaces, and will be hardly weaned from them. Happily thehay will always be there, and will have to be cut by someone, andthe old people will send the young ones.”

The foregoing passage throws lightupon that other passage in Life and Habit, ch. ii., aboutS. Paul, which concludes thus: “But the true grace, withher groves and high places, and troops of young men and maidenscrowned with flowers, and singing of love and youth andwine—the true grace he drove out into thewilderness—high up, p. 8it may be, into Piora, and intosuch-like places. Happy they who harboured her in her illreport.”

After Ernest has receivedAlethea’s money, and while he and Edward Overton arereturning from Christina’s funeral, in ch. lxxxiv. ofThe Way of All Flesh, he tells his godfather his plans forspending the next year or two. He has formed a generalimpression that the most vigorous and amiable of knownnations—the modern Italians, the old Greeks and Romans, andthe South Sea Islanders—have not been purists. Hewants to find out what such people do; they are the practicalauthorities on the question—What is best for man?

“Let us,” he says,“settle the fact first and fight about the moral tendenciesafterwards.”

“In fact,” said Ilaughingly, “you mean to have high old times.”

“Neither higher norlower,” was the answer, “than those people whom I canfind to have been the best in all ages.”

Accordingly Ernest left England andvisited “almost all parts of the world, but only staying inthose places where he found the inhabitants unusuallygood-looking and agreeable.” “At last in thespring of 1867 he returned, his luggage stained with thevariation of each hotel advertisem*nt ’twixt here andJapan. He looked very brown and strong, and sowell-favoured that it almost seemed as if he must have caughtsome good looks from the people among whom he had beenstaying.”

We are not told what particularcountries Ernest went to; Japan is mentioned, but less becauseErnest went there than because the name of a distant place waswanted to justify and complete the echo of the description of SirWalter Blunt in I. Hen. IV. i. 64:

Stained with the variation of each soil
Betwixt that Holmedon and this seat of ours.

Butler confided to me verbally thatErnest visited, among other places, Piora, and that he stayedthere “when the mowing grass was about.” [8]

36. Oil Painting: inscribed, “S. Butler.Sketch of his own head. April 1878.”

This is one of the series ofportraits of himself referred to in the note to no. 7.Another of these later portraits was given after his death toChristchurch, New Zealand; and another to the Schools,Shrewsbury. This one was given by Butler to me soon afterit was painted, and it remained in my possession till 1911, whenI gave it to St. John’s College. It is reproduced asthe frontispiece to vol. I. of the Memoir.

p.937. Oil Sketch: Calonico.

Alps and Sanctuaries, ch.v. On a panel with no. 38, Rossura, on the other side.

38. Oil Sketch: Rossura. The altar by the porch ofthe church. 1878.

On a panel with no. 37, Calonico, onthe other side.

39. Oil sketch on a panel: Rossura, from inside theporch looking out.

“I know few things moretouching in their way than the porch of Rossurachurch.” (Alps and Sanctuaries, ch. iv.)

“The church is built on aslope, and the porch, whose entrance is on a lower level thanthat of the floor of the church, contains a flight of stepsleading up to the church door. The porch is there toshelter the steps, on and around which the people congregate andgossip before and after service, especially in bad weather.They also sometimes overflow picturesquely, and kneel praying onthe steps while service is going on inside.”(Memoir, I. 284-5.)

In Alps and Sanctuaries, ch.iv., is an illustration showing the people kneeling on the stepswhile “there came a sound of music through the opendoor—the people lifting up their voices and singing, asnear as I can remember, something which on the piano would comethus:” and then follow a few bars of chords.

In the list which appeared in TheEagle, vol. xxxix., no. 175, March 1918, writing of no. 38:“Rossura: the altar by the porch of the church,1878,” I said that it had been removed. Onreconsideration, I am not sure that it has been removed; but Ihave not been to Rossura for thirty years or more and cannot nowsay for certain. I believe, however, that it is stillthere, and that when I said it had been removed I was thinking ofthe alteration of an opening which there was formerly in the westwall of the porch, under the portrait of S. Carlo Borromeo, whichhangs between the two windows. This opening is mentioned inch. iv. of Alps and Sanctuaries, and Butler says that ithad to be closed because the wind blew through it and made thechurch too cold. It is shown with the portrait and the twowindows in another illustration in ch. iv.

The first illustration in ch. iv. ofAlps and Sanctuaries shows how the chapel with the altarin it (no. 38) is placed in relation to the porch. This isthe chapel he was thinking of when he wrote:

“The church has been a good deal restoredduring the last few years, and an interesting oldchapel—with an altar in it—at which Mass was saidduring a time of plague, while the people stood some way off in ameadow, has just been entirely renovated; but, as with p. 10someEnglish churches, the more closely a piece of old work is copied,the more palpably does the modern spirit show through it, so herethe opposite occurs, for the old-worldliness of the place has notbeen impaired by much renovation, though the intention has beento make everything as modern as possible.”

In 1878, the first time I was withButler in Italy and in the Canton Ticino, he talked a great dealabout the porch of Rossura; there is a passage in ch. xvi. of theMemoir about it. For him it was the work of a manwho did it because he sincerely wanted to do it, and who learnthow to do by doing; it was not the work of one who first attendedlectures by a professor in an academy, learnt the usual tricks inan art school, and then, not wanting to do, gloried in thedisplay of his technical skill. That is to say, it was donein the right spirit. The result of doing things in this waywill sometimes appear incompetent; this never embarrassed Butler,provided that he could detect the sincerity; for where sincerityis incompetence may be forgiven; but the incompetence must not beso great as to obscure the artist’s meaning. AtRossura the sincerity is obvious, and the building is so perfectan adaptation of the means to the end that there is no suggestionof incompetence.

Rossura porch was thus anillustration of what he says in Alps and Sanctuaries inthe chapter “Considerations on the Decline of ItalianArt.” It was more than merely a piece ofarchitecture. When Butler contemplated it he saw also thechapel with its altar and the people standing in the meadowduring the plague; he saw the same people, after the pestilencehad been stayed, kneeling on the steps in the dimness, the skybright through the arch beyond them and the distant mountainsblue and snowy, while the music floated out through the openchurch door; he saw through the windows the gleaming slopes aboutCornone and Dalpe, and, hanging on the wall between them, thepicture of austere old S. Carlo with his hands joined inprayer. All these things could be written about in Alpsand Sanctuaries, but they could not be brought into theillustrations apart from the text; and anyone who looks atButler’s sketches of Rossura may be disappointed. Ifhe does not bear these things in mind he will not understand whatButler meant by saying that he knew of few things more touchingin their way than the porch of Rossura church. He will belike a man listening to programme-music and knowing nothing ofthe programme.

40. Pencil sketch inscribed: “Handel when aboy. Pencil sketch from an old picture sold at Puttick andSimpson’s and sketched by me while on view. Dec.15th, 1879. S.B.”

On the same mount with thesketch-portrait of Robert Doncaster, no. 56.

p.1141. Water-colour: Otford, Kent; from inside thechurch looking out through the porch. 1879.

42. Drawing in pencil and ink: Edgeware. 1880.

43. Oil Painting: Rimella, Val Mastallone; up the Valleyfrom Varallo-Sesia.

44. Oil Painting: Eynsford, Kent.

45. Oil Painting: On the S. Bernardino Pass.

46. Oil Painting: Bellinzona, The Castle.

In the same frame with no. 47.

47. Oil Painting: Mesocco, The Castle.

Alps and Sanctuaries, ch.xix. Butler always had this and no. 46 in the sameframe.

48. Oil Painting: Bellinzona, The Castle.

He made many sketches of the Castleat Bellinzona, this and no. 46 are the only two I have found;none was quite satisfactory because there was no point of viewfrom which the towers composed well behind a good foreground.

49. Drawing in pencil and ink: The Sacro Monte, Varese,from the seventh or Flagellation Chapel.

He intended to paint a picture thissize, and started by making this drawing, which is an enlargementof the drawing reproduced in Alps and Sanctuaries, ch.xxiii. (1881), but he did not proceed with the painting.

50. Drawing in pencil and ink: Boulogne-sur-Mer, LaPorte Gayole.

This was a favourite view which heoften sketched; but I have only found this example.

SAMUEL BUTLER AND OTHERS

51. All (except a few which are lost) the originaldrawings for Alps and Sanctuaries.

Placed here in order of date becausethe book was published in 1881. Some of the drawings are byCharles Gogin, who did the frontispiece and the Madonna dellaNeve on the title page, and who also introduced the figures intothose of Butler’s drawings which have figures; and a feware by me. There are among this lot also several sketches,etc., by various persons which Butler collected as illustratinghis “Considerations on the Decline of ItalianArt.” Some are published in the chapter so headed inthe book, but others were not published.

p.12SAMUEL BUTLER

52. Oil Painting: Portrait of Henry Festing Jones.1882.

53. Oil Painting: Castello Fénis, Vald’Aosta. 1882.

It was over one of the gateways ofthis Castle that Fortune with her Wheel was to appear in afresco. See no. 19.

HENRY FESTING JONES

54. Oil Painting: View from Butler’s room inClifford’s Inn showing the tower of the Law Courts.1882.

Drawn with the camera lucida.Reproduced in the Memoir, ch. xx.

55. Oil Painting: Unfinished sketch-portrait ofButler. 1882

Drawn with the camera lucida.Referred to in the Memoir, I. 135-136, in letters fromwhich extracts are given below.

Miss Savage to Butler.

31st October, 1883: I went to theFisheries Exhibition last week and spent a rather pleasantday. I was by myself for one thing, and, for another, tookgreat delight in gazing at a life-size model of a sea-captainclad in yellow oil-skins and a Sou’wester. It wasexecuted in that style of art that you so greatly admire in theItalian Churches, and was so good a likeness of you that Ithink you must have sat for it. The serious occupations ofmy day were having dinner and tea, and the relaxations, buyingshrimps in the fish-market and then giving them to the sea-gullsand cormorants. My most exalted pleasure was to look atyour effigy, which I should like to be able to buy, though, as Ihave not a private chapel in my castle, I hardly know where Icould put it if I had it. Upon the whole I enjoyed myself,but I am glad to hear that the Exhibition is to be closed to-day,so that I cannot by any possibility go there again.

Butler to Miss Savage.

5th November, 1883: I believe I amvery like a sea-captain. Jones began a likeness of me notlong since, which I will show you next time you come and see me,which is also very like a portrait of a sea-captain.

56. Sketch-portrait of Robert Doncaster.

On the same mount with no. 40.A tracing is among the miscellaneous papers given to St.John’s. This sketch of Robert was done, I suspect,with the camera lucida, and if so its date must be about1882-3. Robert Doncaster was the husband of Mrs. Corrie;that is to say Mrs. Corrie, who was Butler’s laundress inClifford’s Inn, “lost” her husband. Aftera suitable interval it was assumed that he was dead and shemarried Robert Doncaster and was known as Mrs. Doncaster.Robert, who was a half-witted old man, used to hang about theplace, do odd jobs, and make himself fairly useful. He diedin 1886.

p.1357. Water-colour: Pinner. 1883.

SAMUEL BUTLER

58. Oil Painting: Edward James Jones.

Inscribed thus: “Portrait of E.J. Jones, Esq., of the Indian Geological Survey, Aet. Suae 24,painted by S. Butler, November, 1883.” The date isnot clearly written, but it must be 1883, because my brotherEdward, born 5th September, 1859, was twenty-four in 1883, and inNovember 1883 he went to Calcutta, having obtained an appointmenton the Geological Survey. Butler painted the portrait justbefore he started.

59. Oil Painting: Chiavenna. 1887.

It looks in some lights like 1881,but in other lights 1887, and it must be 1887. Butler didnot go abroad in 1881 and he was at Chiavenna in 1887. Thisis one of the pictures given by Alfred.

THOMAS SADLER

60. Black and white drawing: Butler and Scotto in1888.

Sadler made this for the Pall MallGazette from the photograph which is reproduced in ExVoto; the drawing was reproduced in an article, and a cuttingfrom the Pall Mall with the reproduction is with thepapers given to St. John’s.

SAMUEL BUTLER

61. Oil Painting: Wembley, Middlesex. Sketch ofthe back of the Green Man public-house, since burnt down.

Butler intended to finish this, andsend it to the Royal Academy, but he got tired of it and turnedit up.

THOMAS SADLER

62. Water-colour drawing of the Vecchietto in theDeposition Chapel at Varallo-Sesia.

63. Water-colour drawing in black and white of a boywith a basket at Varallo.

Sadler made these two drawings about1890 from photographs taken by Butler in 1888.

SAMUEL BUTLER

64. Water-colour: copy of a landscape behind a smallMadonna and Child by Bartolomeo Veneto, signed and dated1505.

I forget the precise date, but Ithink it was about 1898, when Butler was searching in reallandscape for the original of the castle which appears in thebackground of one of the Giovanni Bellini pictures of the Madonnaand Child in the National Gallery, the one p. 14with the birdon the tree and the man ploughing. It may now be attributedto some other Venetian painter. He would have been pleasedif he could have found the original of the background of anypicture by one of his favourite painters. This copy wasmade to fix in his mind the castle on the hill, which he hopedafterwards to identify with some real place. But he neversucceeded.

HENRY FESTING JONES

65. Water-colour: Jones’s chambers in Staple Inn,Holborn. 1899.

66. Water-colour: another view in the same room.1899.

In these rooms Butler nearly alwaysspent his evenings from 1893, when I moved into them, until theend of his life. The frames of these pictures are veneeredwith oak from the Hall of Staple Inn, and into each are insertedtwo buttons showing the wool-pack, the badge of the Inn, which issaid to be named from the Wool-Staplers.

When Butler and I were on theRigi-Scheidegg with Hans Faesch in 1900 I had these two sketcheswith me, and was showing them to the landlord, who spokeEnglish. He looked at them and considered them carefullyfor some moments. Then he said gravely “Ah I see;much things. That means dustings; and then breakings; andthen hangriness.”

SAMUEL BUTLER

67. Water-colour: Meien near Wassen on the S.Gottardo. 1896.

We went often to Meien to sketch whenwe were staying at Wassen on the S. Gottardo. We took ourlunch with us, and ate it at the fountain in the village.“The old priest also came to the fountain to wash hisshutters, which had been taken down for the summer, and it wasnow time to bring them out again and replace them for thewinter” (Memoir, II. 236). The house on theleft is the priest’s house, and the shutters are already upat one of his windows.

68. Pen and ink sketch: Trapani and the Islands fromMount Eryx about 1897.

This sketch is reproduced in TheAuthoress of the Odyssey, ch. ix. He did it to show thesituation of Trapani and the Islands with Marettimo “allhighest up in the sea.” In the Odyssey Ithaca is“all highest up in the sea,” and Butler supposed thatthe authoress in so describing it was thinking of Marettimo.

69. Wash drawing: Trapani and the Islands from MountEryx about 1898.

He wished to make a more completeversion of no. 68, but this was as far as he could get; there wasnot enough time and there were too many interruptions.

p.1570. Pencil sketch inscribed, “Calatafimi,Sund. May 13th, 1900. 2 hours. Eleven a.m. is thebest light.”

I added “S.Butler.” He could not continue because there came ona terrific scirocco which lasted two or three days.

71. Water-colour: Taormina, the Theatre and Etna.1900.

This shows the fragments of thestones that are strewn about in the orchestra which Butler saidwere like the fragments of My Duty towards My Neighbour that laystrewn about in his memory. It would take a lot of work toput them all back into their places and reconstruct theoriginal. (Memoir, II. 292.)

72. Water-colour: Siena. 1900.

73. Water-colour: Pisa, inside the top of the LeaningTower. 1900.

74. Water-colour: Wassen. 1901.

75. Water-colour: Wassen. 1901.

76. Water-colour: Trapani, S. Liberale and Lo Scoglio diMal Consiglio. 1901.

See The Authoress of theOdyssey. The Scoglio is the ship of Ulysses whichNeptune turned into a rock as she was on her way home toScheria.

77. Rough sketch by Butler of the islands Marettimo,Levanzo, and Favignana.

Two views showing how Marettimo ishidden by Levanzo when you are below and comes out over Levanzowhen you are up Mount Eryx.

HENRY FESTING JONES

78. My first attempt in colour to draw the islands fromMount Eryx.

I saw I should not have time tofinish it, and, instead, did no. 80.

79. A volume of thirty-four leaves of drawings in penciland ink.

I did all these under Butler’sauspices, and often he was sitting near doing another sketch ofmuch the same view. It may be said that they are the workof his pupil.

80. Drawing in pencil and ink: Trapani and the Islandsfrom Mount Eryx. 1913.

Reproduced in the Memoir, ch.xxxii.

p.16SAMUEL BUTLER AND OTHERS

81. A portfolio of miscellaneous drawings, prints,etchings, photographs, etc., by Butler, Gogin, and Sadler.

This is the portfolio containing thesmall water-colour of Dieppe, 1866. I have given that theprominence of a place (no. 11) because it is interesting tocompare it with the more finished Dieppe, no. 10. Possiblythe portfolio contains others (e.g. Dinant), which it willbe thought proper to take out and have mounted and framed.

p.17II. BOOKS AND MUSIC WRITTEN BY BUTLER:
AND BOOKS, MAGAZINES, &c., CONTAINING CONTRIBUTIONS BYHIM

For fuller particulars as to Butler’s books see theBibliography prefixed to Vol. I. of the Memoir by H. F.Jones (1919).

THE EAGLE

1858. Vol. I., no. 1, Lent Term, containing “OnEnglish Composition,” by Cellarius, i.e. SamuelButler.

1859. Vol. I., no. 5, Easter Term, containing “OurTour,” by Cellarius, i.e. S. Butler. (Thesetwo bound together.)

1861. Vol. II., containing “Our Emigrant” intwo contributions (p. 101 and p. 149), by Samuel Butler; used byhim in writing A First Year in Canterbury Settlement, andreferred to in the Preface to that book.

1894. Vol. XVIII., no. 103 (March). “ATranslation (into Greek from Martin Chuzzlewit) attemptedin consequence of a challenge.”

1902. Vol. XXIV., no. 129 (December). “TheShield of Achilles.”—“Napoleon at St.Helena.” Also “Samuel Butler,B.A.” (Obituary by H. F. Jones.)

1910. Vol. XXXII., no. 153 (December). “Mr.Festing Jones on Samuel Butler.” (Report by D. S.Fraser of H. F. Jones’s paper on Samuel Butler, read 16Nov.)

1913. Vol. XXXIV., no. 160 (March). “SamuelButler and his Note-Books.” By J. F. H[arris].

1913. Vol. XXXIV., no. 161 (June).“Prospectus of the Great SplitSociety.”—“A Skit on Examinations.”Also “Two Letters of Samuel Butler” (to W. E.Heitland: with note by W. E. Heitland).

A FIRST YEAR IN CANTERBURY SETTLEMENT

1863. Original cloth, purchased.

1914. New edition with other early Essays.Presentation copy from R. A. Streatfeild, with two lettersinserted.

THE EVIDENCE FOR THE RESURRECTION

1865. One complete copy containing pencil marks made byButler. Cloth, original wrappers bound in.

1865. Two mutilated copies used by Butler in making theMS. of The Fair Haven. These were given to St.John’s some years ago.

EREWHON

1872. First edition, purchased.

1872. Second edition, purchased. This containspencil notes by Butler.

1879. Ergindwon. (German translation.)

1901. New and revised edition. Proofs, withcorrections by Butler.

1901. New and revised edition—inscribed “H.Festing Jones, with all best wishes from the author, Oct. 11,1901. First copy issued.”

1901. Colonial issue.

1908. Reprint of New and revised edition.

1920. American edition. With Introduction byFrancis Hackett.

1920. Erewhon in French. With an Introduction bythe translator, M. Valery Larbaud. Also theTypescript and Proofs, both with manuscript corrections by thetranslator.

THE FAIR HAVEN

1873. First edition, purchased. The first editioncontained an errata slip, which this copy has not got.Longman’s re-issue.

p.191873. Second edition, purchased. Originalcloth. Longman’s re-issue.

1873. Second edition. This copy contains theerrata slip. It is a special copy cut down and bound as anexperiment. Given by Butler to H. F. Jones.

1913. New edition with Introduction by R. A.Streatfeild. Presentation copy from R. A. Streatfeild.

1902 (Oct.). Letter to H. F. Jones from Alfred Marks (abrother of Henry Stacy Marks, R.A.), enclosing copy of Remarks onThe Fair Haven, made by some friend of Alfred Marks.

1915 (12 June). A letter from James W. Clark, withseparate copy of the prefatory matter to the Second Editionenclosed, given to him by Butler. Clark was at Trinity Hallwith me, later Fellow of the College, and afterwards K.C. andCounsel to the Board of Agriculture and Fisheries.

THE CANADA TANNING EXTRACT CO., LTD.

1874-75. Extracts from letters sent by Mr. Foley to theForeman of the Works of the Company, and other extracts andletters. Inscribed “Copy of Laflamme’s Copywith Notes,” in Butler’s writing. I believe themarginal notes to have been Butler’s originally, and thencopied by a clerk into this copy of the pamphlet.Also Another copy, with MS. notes by Butler.

LIFE AND HABIT

1878. First edition. Presentation copy fromButler, inscribed “H. F. Jones. S.B.”

1878. Second edition. Given to H. F. Jones by A.T. Bartholomew.

1890. A copy of Longman’s issue, with MS.corrections by Butler. Cf. Streatfeild’s introductionto new edition (1910).

1910. New edition with Author’s Addenda andPreface by R. A. Streatfeild, and letter from R. A. Streatfeildto H. F. Jones, 29 Nov. 1910.

EVOLUTION OLD AND NEW

1879. “First copy issued.”

p.201879. “Second copy issued,” with MS.Note by Butler. Presentation copy.

1882. Second edition with an Appendix and Note, given toH. F. Jones by Butler, but not inscribed.

1911. New edition (the third) with Author’sRevisions, Appendix, and Index; also Note by R. A.Streatfeild.

UNCONSCIOUS MEMORY

1880. First edition, given to H. F. Jones by Butler, butnot inscribed.

1880. Butler’s copy, with pressed flowers mountedon the fly-leaves, and the names of the donors added. Alsoa few notes.

1910. New edition, with Introduction by MarcusHartog.

1910. A separate copy of Hartog’sIntroduction. Inscribed “H. Festing Jones from hisbrother in Ydgrun M.H.”

1920. Third edition.

ALPS AND SANCTUARIES

1882. The Manuscript, together with the originaldrawings (cf. p. 10).

1882. First edition (Bogue). Presentation copyfrom Butler. Also Bogue’s prospectus.

1882. Second edition, purchased.

1882. Second edition, with Index in MS. by Butler.

1890. Streatfeild’s copy with Longman’stitle-page, purchased, and a few spare copies of Longman’stitle-page.

No date. A copy with Fifield’s title-page.

1913. New edition with Author’s Revisions andIndex, and an Introduction by R. A. Streatfeild.

GAVOTTES, MINUETS, FUGUES
BY SAMUEL BUTLER AND HENRY FESTING JONES

1884. The Manuscript.

1884. The published work.

p.21SELECTIONS FROM PREVIOUS WORKS

1884. Presentation copy with inscription: “Firstcopy of the book to leave the binder’s, March 12,1884. S.B.”

HOLBEIN

[1886]. Holbein’s “La Danse.” ANote on a drawing in the Museum at Basel. Printed on acard. Also Another edition [1889].

LUCK OR CUNNING?

1886. Revises, unbound, with corrections by Butler.

1887. “First copy issued. S.B.”

1887. Butler’s copy, with notes, pressed flowers,and numerous additions to the Index, mostly in Alfred’shandwriting.

[1908]. Re-issue (Fifield).

1920. Second edition, corrected.

NARCISSUS: A CANTATA
BY S. BUTLER AND H. F. JONES

1888. A copy inscribed by both authors andcomposers.

EX VOTO

1888. “2nd copy issued, S.B.” With 4pp. “Additions and Corrections” loose.

1894. In Italian, translated by Angelo Rizzetti.Inscribed, in Butler’s writing, “H. F. Jones.Omaggio dell’ Autore.”

[1909]. Re-issue (Fifield).

* * * * *

UNIVERSAL REVIEW ARTICLES

1888-90. Butler’s set of them, complete withillustrations and bound together. Table of Contents inAlfred Cathie’s writing and a few accompanying photographsloose.

ESSAYS ON LIFE, ART, AND SCIENCE

1904. Edited by R. A. Streatfeild. Presentationcopy with letter from R. A. Streatfeild. This contains mostof the “Universal Review” articles reprinted, and twoLectures.

1904. A copy of the Colonial issue.

p.221908. Re-issue (Fifield).

THE HUMOUR OF HOMER AND OTHER ESSAYS

1913. A new edition of the Essays, with additionsand Biographical Sketch of Butler by H. F. Jones.

[1913]. Sketch of the Life of Samuel Butler, being avolume of MS. and typewritten documents showing how theBiographical Sketch mentioned in the preceding item grew out ofthe obituary notice which originally appeared in TheEagle, December 1902.

* * * * *

ITALIAN PAMPHLETS (bound together)

1892. Three numbers of “Il Lambruschini,”containing papers on Butler’s Odyssey theories.

1893. L’Origine Siciliana dell’Odissea. (Estratto dalla Rassegna della LetteraturaSiciliana.)

1894. Ancora sull’ Origine Siciliana dell’Odissea. (Estratto dalla Rassegna della LetteraturaSiciliana.)

* * * * *

ENGLISH PAMPHLETS, ETC. (bound together)

1892. The Humour of Homer.

1893. On the Trapanese Origin of the Odyssey.

No date. Sample passages from a new translation of theOdyssey.

1894. A translation into Homeric verse of a passage fromMartin Chuzzlewit: attempted in consequence of achallenge. From The Eagle.

No date. Prospectus of The Life and Letters of Dr.Samuel Butler.

1887 (27 June). Words of the Choruses from“Narcissus,” for performance at Mrs. ThomasLayton’s.

1890 (15 Dec.). Programme of Shrewsbury School Concert,at which some of Butler’s music was performed.

* * * * *

1892. The Humour of Homer. Butler’s owncopy.

1892-4. Butler’s own copies of his Odysseypamphlets (see above), with MS. notes. 2 sets.

* * * * *

p.23THE LIFE AND LETTERS OF DR. SAMUEL BUTLER
2 Vols.

1896. Butler’s own copy.

1896. A copy, inscribed, in Butler’s writing,“H. F. Jones from S. B. Oct. 2, 1896.”

THE AUTHORESS OF THE ODYSSEY

1897. Inscribed, in Butler’s writing, “H. F.Jones, with the author’s best thanks (first copyissued). Nov. 1, 1897.”

[1908]. Re-issue (Fifield).

THE ILIAD RENDERED INTO ENGLISH PROSE

1898. The Manuscript. This was given to St.John’s some years ago by Butler’s literary executor,Mr. R. A. Streatfeild.

1898. Proofs.

1898. First edition. Inscribed, in Butler’swriting, “H. F. Jones, with the author’s bestlove. Oct. 15, 1898.”

1914. New impression (Fifield).

SHAKESPEARE’S SONNETS RECONSIDERED

1899. Inscribed, “H. F. Jones, Esq. (thefirst copy issued). Oct. 28, 1899. S. B.”

THE ODYSSEY RENDERED INTO ENGLISH PROSE

[1900]. Manuscript of Books I-XII. only, on letterpaper. The complete MS. is at Aci Reale.

1900. Proofs.

1900. Inscribed, “H. Festing Jones. Oct. 18,1900 (first copy issued). S. B.”

QUO VADIS?

1901-1902. Copies of four issues of the periodical boundtogether. With contributions by and about Butler.Together with a MS. Italian translation by Capitano GiuseppeMessina Manzo entitled, “La nuova Quistione Omerica,”and other matter relating to the Odyssey question.

EREWHON REVISITED

1901. Proofs, with corrections by Butler. 2copies.

1901. First edition. Inscribed, in Butler’swriting, “H. Festing Jones. With the author’sbest thanks for much invaluable assistance. Oct. 11,1901. Second copy issued.”

p.241902. A copy of the edition intended for theColonies, not sold in England.

1908. Reprint (Fifield).

1920. The American edition. With Introduction byMoreby Acklom.

THE WAY OF ALL FLESH

1903. First edition, given by R. A. Streatfeild to H. F.Jones.

1903. Streatfeild’s copy, with his alterations tomake the second edition (1908). Purchased.

1903. A copy of the Colonial edition.

1908. Second edition (Fifield).

1916. A copy of the American edition. Introductionby Wm. Lyon Phelps. With letter from R. A. Streatfeild toH. F. Jones.

SEVEN SONNETS AND A PSALM OF MONTREAL,
AND OTHER PIECES (bound together)

1903. Streatfeild’s Raccolta of Necrologies ofButler.

1904. Diary of a Journey through North Italy to Sicily,by H. F. Jones.

1904. Autograph letter from Cavaliere Biagio Ingroja ofCalatafimi to H. F. Jones.

1904. Seven Sonnets and A Psalm of Montreal.

1904. Translations into Italian of Butler’s“Seven Sonnets” (except Nos. I. and V.), byIngroja. In manuscript. His translation of Sonnet I.is printed with the “Seven Sonnets.” He couldnot manage Sonnet V. I think the repetitions of“pull” puzzled him.

1904. Translation of Sonnet I. into Italian by DeNobili. In manuscript.

* * * * *

1904. Seven Sonnets. Proof, and corrected copy,formerly the property of R. A. Streatfeild.

ULYSSES: AN ORATORIO
BY SAMUEL BUTLER AND HENRY FESTING JONES

1904. The work as published. H. F. Jones’soriginal copy, with notes.

p.25GOD THE KNOWN AND GOD THE UNKNOWN

1909. The work as published. Ed. by R. A.Streatfeild. These articles first appeared in TheExaminer in 1879.

THE NOTEBOOKS OF SAMUEL BUTLER

1907-1910. All the numbers of the “NewQuarterly,” a review which appeared during these years andwhich contained Extracts from Butler’s MS. Notebooks,bound into 3 vols.

1907-1910. The Extracts from Butler’s Notes asthey appeared in the “New Quarterly” boundtogether.

1910-1912. The first MS. of the publishedNotebooks, 2 vols.

1910-1912. The second MS. from which the first editionof the published Notebooks was printed, 2 vols.

1912. Proofs.

1912. Revises.

1912. First impression, with MS. Notes by H. F.Jones.

1913. Second impression.

1915. Third and popular impression.

1917. American edition, with Introduction by FrancisHackett.

CHARLES DARWIN AND SAMUEL BUTLER

1911. Charles Darwin and Samuel Butler. A Steptowards Reconciliation. By H. F. Jones.

SAMUEL BUTLER: A MEMOIR
BY HENRY FESTING JONES

1902-1914. First Manuscript. SecondManuscript. Third Manuscript.

1915-16. Proofs.

1916. Revises.

1917. Advance copy, without illustrations.

1918-1919. Manuscript, proofs, and revises of additionalmatter for First Impression.

1920. Manuscript, proofs, and revises of additionalmatter for Second Impression.

1920. Second Impression.

p.26III. BOOKS ABOUT BUTLER:
AND BOOKS, MAGAZINES, &c., CONTAINING CHAPTERS OR ARTICLESABOUT BUTLER OR PROMINENT ALLUSIONS TO HIM

Accademia Dafnica di Scienze,Lettere, e delle Arti in AciReale: Atti e Rendiconti. Vol.ix. Anno 1902.

Accademia di Scienze, Lettere, edArti de’ Zelanti di AciReale: Rendiconti e Memorie.1906. Pp. 22, 27, 44, 50 refer to Butler.

Acklom, Moreby. TheConstructive Quarterly, March 1917, containing “SamuelButler the Third,” by Moreby Acklom.

Barry, Canon William. TheDublin Review, Oct. 1914, with article “Samuel Butler ofErewhon.”

Blum, Jean. Mercure deFrance, 16 Juillet 1910, with article on Samuel Butler by JeanBlum.

Bodleian Quarterly Record.Vol. II., nos. 16, 17. 1918.

Includes a note on Butler’s useof Frost’s “Lives of Eminent Christians” (see“Quis desiderio . . . ?” in his Essays); andon Dr. John Frost.

Book Monthly for February 1913,with notice of the Note-Books of Samuel Butler,reproducing the portrait.

Booth, Robert B. Five Yearsin New Zealand (1859 to 1864). By Robert B. Booth,M.Inst.C.E. Printed for private circulation.1912.

Referred to in my Memoir ofButler. With three letters from Mr. Booth and three otherdocuments. Mr. Booth was with Butler on his run atMesopotamia, N.Z.

Bridges, Horace J. SamuelButler’s Erewhon and Erewhon Revisited. By Horace J.Bridges. 1917.

Burdett, Osbert. Songs ofExuberance, together with The Trenches. By OsbertBurdett. Op. I. London, A. C. Fifield, 1915.

This contains, among Sonnets onPeople and Places, (I.) Samuel Butler; (II.) Samuel Butler.

p.27Cambridge Readings in EnglishLiterature. Ed. by George Sampson. BookIII. Cambridge, 1918.

Pp. 5-15 are occupied with an extractfrom Erewhon.

Cannan, Gilbert. SamuelButler: a Critical Study. By Gilbert Cannan. London,Martin Seeker, 1915.

Clutton-Brock, A. Essays onBooks. London, 1920.

Containing reprints of articles onthe Note-Books and the Memoir.

Constructive Quarterly, The.See Acklom, M.

Contemporary Review, The, June1913, containing review of the Note-Books of S.Butler.

Darbishire, A. D. AnIntroduction to a Biology. By A. D. Darbishire.London, Cassell, 1917.

With autograph letter to H. F. Jonesfrom the author’s sister, Helen Darbishire.

Darwin, Sir Francis. RusticSounds. By Sir Francis Darwin. London, John Murray,1917.

Reproducing “The Movements ofPlants,” a lecture delivered by him at the Glasgow Meetingof the British Association, Sept. 16, 1901. This lecture isreferred to in the Memoir of Butler; it quotes a passagefrom Butler’s translation of Hering in UnconsciousMemory.

De La Mare, Walter. TheEdinburgh Review, Jan. 1913, containing a notice of theNote-Books of Samuel Butler in “CurrentLiterature.” By Walter De La Mare.

Dublin Review, The. SeeBarry, Canon.

Duffin, H. C. TheQuintessence of Bernard Shaw. With “Prologue: OfSamuel Butler.” London, Allen and Unwin, 1920.

Edinburgh Review, The. See DeLa Mare, Walter.

Firth, J. B. Highways andByways in Nottinghamshire. By J. B. Firth. WithIllustrations by Frederick L. Griggs. London, 1916.

See pp. 93-6 for Langar.

Hardwick, J. C. The ModernChurchman, March 1920, containing “A Modern Ishmael,”by J. C. Hardwick.

p.28Harris, John F. SamuelButler, author of “Erewhon: the Man and hisWork.” By John F. Harris. London, GrantRichards, 1916.

Inscribed “H. Festing Jones,with best wishes and very many thanks from John F. Harris, July5, 1916,” with a few newspaper notices, loose.

Hartog, Marcus. Problems ofLife and Reproduction. By Marcus Hartog. London,Murray, 1913.

With letter from the author to H. F.Jones.

Hartog, Marcus. TheFundamental Principles of Biology. By Marcus Hartog.Reprinted from “Natural Science,” vol. XI., nos. 68and 69, Oct. and Nov. 1897.

Hartog, Marcus. Samuel Butlerand recent Mnemic Biological Theories. Extract from“Scientia,” Jan. 1914.

Hewlett, M. In a GreenShade. London, 1920.

Containing an article on theMemoir.

Independent Review, The. SeeMacCarthy, Desmond.

Jackson, Holbrook. SamuelButler. “T.P.’s Weekly,” July 1915.“To-Day,” Dec. 1918 and Jan. 1919.

Jones, Henry Festing. SamuelButler as Musical Critic. “TheChesterian.” N.S. No. 7. London, May 1920.

Larbaud, V. SamuelButler. In “La Nouvelle RevueFrançaise,” Jan. 1920. Also specimensof his translation of Erewhon, etc., in other numbers ofthe same periodical, and notices of it.

Larbaud, V. L’Enfanceet la Jeunesse de Samuel Butler. In “LesÉcrits Nouveaux,” April 1920.

MacCarthy, Desmond. TheIndependent Review, Sept. 1904, with article “The Author ofErewhon,” by Desmond MacCarthy.

MacCarthy, Desmond. TheQuarterly Review, Jan. 1914, containing “The Author ofErewhon,” by Desmond MacCarthy.

MacCarthy, Desmond.Remnants. By Desmond MacCarthy. London, 1918.

Being essays and articles reprintedfrom various periodicals and including “Samuel Butler: anImpression.”

Mais, S. P. B. FromShakespeare to O. Henry. By S. P. B. Mais. London, G.Richards, 1917.

Containing a chapter on Butler.

p.29Mercure de France. SeeBlum, Jean.

Mind. See Rattray,Robert.

Monthly Review, The. SeeStreatfeild, R. A.

National Gallery of BritishArt. Catalogue of the National Gallery of BritishArt, 19th ed., 1911.

See pp. 37-8 for Butler’spicture, “Mr. Heatherley’s Holiday.”

Negri, Francesco. IlSantuario di Crea in Monferrato. By Francesco Negri(i.e. Butler’s friend the Avvocato Negri ofCasale-Monferrato). Alessandria, 1902.

Two of the illustrations are as inEx Voto, Butler having lent his photographs to theAvvocato.

Nuova Antologia, 16 Luglio 1902,with necrology of S. Butler under “Tra Libri eRiviste.”

Pestalozzi, G. Samuel Butlerder Jüngere, 1835-1902. Inaugural-Dissertation.Zürich, 1914.

Quarterly Review, The. SeeMacCarthy, Desmond.

Quilter, Harry. What’sWhat. By Harry Quilter. 1902.

With MS. Note by H. F. Jones.Pp. 308-311 are about Butler, who possessed a copy of the book,given him, I suppose, by Quilter; but he passed it on toAlfred.

Rattray, Robert F. Extractfrom “Mind,” July 1914, containing “ThePhilosophy of Samuel Butler.” By Robert F.Rattray.

Salter, W. H. Essays on twoModerns: Euripides and Samuel Butler. By W. H.Salter. London, Sidgwick and Jackson, 1911.

Sampson, George. The Bookman,Aug. 1915, containing illustrated article by George Sampson.

Sella, Attilio. Un’Inglese Fervido Amico dell’ Italia, Samuel Butler. ByAttilio Sella. 1916.

Given to H. F. Jones by theauthor.

Sinclair, May. A Defence ofIdealism. By May Sinclair. London, Macmillan,1917.

Containing “The Pan-Psychism ofSamuel Butler.”

Streatfeild, R. A. TheMonthly Review, Sept. 1902, with article, “SamuelButler.” By R. A. Streatfeild.

p.30Wall, Arnold. A Centuryof New Zealand Praise. By Arnold Wall. Christchurch,1912.

Sonnet XC. is about Butler.

Williams, Orlo. TheEssay. By Orlo Williams. London Secker [1915].

Yeats, John Butler. Essays,Irish and American. By John Butler Yeats. With anappreciation by A. E. Dublin, 1918.

The first essay is“Recollections of Samuel Butler.”

Zangwill, Israel. ItalianFantasies. By Israel Zangwill. London, Heinemann,1910.

Contains “Sicily and theAlbergo Samuele Butler.”

p.31IV. BOOKS, ETC., RELATING TO BUTLER AND HISSUBJECTS

Adams, C. Warren. A Spring inthe Canterbury Settlement. By C. Warren Adams.London, 1853.

Barker, Lady. Station Life inNew Zealand. By Lady Barker. London, 1870.

With MS. note by H. F. Jones,referred to in the Memoir of Butler. F. NapierBroome and his wife, then Lady Barker, had a run nearButler’s in New Zealand.

Basler Jahrbuch. See Faesch,Hans Rudolf.

Bateson, Wm. Biological Factand the Structure of Society: The Herbert Spencer Lecture (p.19). Oxford, 1912.

Bateson, Wm. Problems ofGenetics (Silliman Lectures). By Wm. Bateson, F.R.S.New Haven, 1913.

Butler, James. Copies ofLetters by Ensign James Butler (an uncle of Dr. Butler) sent fromDeal, Funchal, and Calcutta, 1764-1765; with Introduction by H.F. Jones, all in typewriting and MS.

James Butler and these letters arereferred to in the Life of Dr. Butler, and also in theMemoir of Butler. Butler gave to the British Museuman incomplete copy of the Letters and kept another incompletecopy which I gave to the British Museum. Each of theincomplete copies contained matter not in the other. I hadthis volume (now at St John’s) made up from the twoincomplete copies.

Butler, Henry Thomas, andanother. Auction Bridge in a Nutshell. By Butler andBrevitas—the Butler being Henry Thomas Butler, nephew ofSamuel Butler. [1913].

Butler, Mary. A Kalendar forLads. 1910. Compiled by Butler’s sister, MaryButler, and dedicated to her great-nephew, Patrick Henry CecilButler (son of her nephew, Henry Thomas Butler).

Referred to in the Memoir ofS. Butler. Given to me by Miss Butler.

p.32Butler, Samuel, D.D. ASketch of Modern and Ancient Geography for the Use ofSchools. By Samuel Butler, D.D. A new edition revisedby the Rev. Thomas Butler, M.A., F.R.G.S. London, 1872.

Referred to in Butler’s Lifeof Dr. Butler and also in the Memoir of Butler.

Butler, Rev. Thomas. SeeButler, Samuel, D.D.

Clarke, Charles. TheBeauclercs, Father and Son. By Charles Clarke. 3vols. London, 1867.

Referred to in Butler’s Lifeof Dr. Butler, also in the Memoir of Butler, who sawthe book in the British Museum. I bought this copysecond-hand on an open-air bookstall in Paris.

Drew, Mary. CatherineGladstone. By her Daughter, Mary Drew. London,1919.

p.35V. BOOKS FORMERLY THE PROPERTY OF SAMUELBUTLER

Butler wrote to Robert Bridges, 6Feb. 1900, “I have, I verily believe, the smallest libraryof any man in London who is by way of beingliterary.” (Memoir, II., 320.)

Cf. no. 9 in Section I. Pictures, “Interior ofButler’s sitting-room,” where part of his library isshown. The rest of his books were in a cupboard between hissitting-room and his painting-room. They all passed underthe residuary bequest in his will to his nephew, Henry ThomasButler, who gave them to me. Some were taken byStreatfeild, his literary executor, and some few were lost intransitu; the remainder are here.

Agar, T. L. EmendationesHomericae. [189-]

With notes by Butler.

Allen, Grant. CharlesDarwin. By Grant Allen. (English Worthies.)London, 1885.

Butler was asked to review this, butdeclined on the ground that there was too strong a personalhostility between both Darwin and Grant Allen and himself to makeit possible for him to review the book without a bias againstit. (Memoir, II. 28.)

Anderson, W. C. F. SeeEngelman, R.

Bettany, G. T. The Life ofCharles Darwin. (Great Writers.) London, 1887.

Bible, The Holy. Oxford,1836.

Inscribed “Samuel Butler, fromhis affectionate Godmother and Aunt Anna Worsley, September 13th,1836.” So that he was not christened till he was morethan nine months old, and he used to say that this delay was arisky business, because during all those months the devil had therun of him. He imitated the inscription in this Bible forthe inscription in the christening Bible which Ernest spurns fromhim when he is about to undertake the conversion of Miss Maitlandin chapter lx. of The Way of All Flesh. But heimitated it too closely for he wrote, “It was the Biblegiven him at his christening by his affectionate Godmother andAunt, Elizabeth Allaby.” Whereas Ernest only had onegodmother, and she was Alethea, the sister of Theobald.Anna Worsley was a sister of Butler’s mother, and ElizabethAllaby was a sister of Ernest’s mother.

p.36Bible. New Testament inGreek. Oxford, 1851.

Two copies, with very numerous MS.notes by Butler. Given to St. John’s College someyears ago.

Bordiga, Gaudenzio. Notizieintorno alle opere di Gaudenzio Ferrari. Milano, 1821.

Used by Butler in writing ExVoto.

Boswell, James.Croker’s Boswell’s Johnson. New edition.London, 1860.

Pencil marks by Butler.

Bridges, Robert. PoeticalWorks of Robert Bridges. 2 vols. London, 1898.

Butler and Bridges corresponded aboutthe Sonnets of Shakespeare and the Odyssey and exchanged examplesof their published works. (See the Memoir.)

Buckley, Theodore Alois. TheIliad of Homer and the Odyssey of Homer. Translated byTheodore Alois Buckley. (Bonn’s ClassicalLibrary.) 2 vols. 1872-3.

Burke, Edmund. Reflections onthe Revolution in France. By Edmund Burke. London,Daly [18--].

Candler, C. The Prevention ofConsumption. By C. Candler. London, 1887.

Inscribed “Samuel Butler, Esq.,with the Author’s compliments.”

Carlyle, Thomas. OliverCromwell’s Letters and Speeches. By ThomasCarlyle. 3 vols. London, 1857.

Colborne-Veel, Mary. TheFairest of the Angels and Other Verse. By MaryColborne-Veel. London, 1894.

Given to Butler by the Authoress, whois the daughter of J. Colborne-Veel, formerly editor of ThePress, Christchurch, New Zealand. Miss Colborne-Veelfound Butler’s “Philosophic Dialogue” in ThePress of 20 Dec. 1862. (See the Memoir, I.100.)

Creighton, Charles.Illustrations of Unconscious Memory in Disease. By CharlesCreighton. London, 1886.

Inscribed “To Samuel Butlerfrom the author, February, 1888.”

Cruveilhier, J. C. Atlas ofthe Descriptive Anatomy of the Human Body. By J. C.Cruveilhier. London, 1844.

Dallas, W. S. See Darwin,Charles.

p.37Daly, Ch. SeeShakespeare.

Daniel, P. A. Notes andConjectural Emendations of certain Doubtful Passages inShakespeare’s Plays. By P. A. Daniel. London,1870.

Inscribed “S. Butler from hisfriend the Author.”

Darwin, Charles. The Originof Species. By Charles Darwin. First Edition.London, 1859.

“From the Author.”With MS. notes and marks by Samuel Butler.

Darwin, Charles. The Originof Species. By Charles Darwin Sixth Edition (18ththousand), with additions and corrections to 1872. London,1876.

With MS. notes and marks by SamuelButler. Butler bought this in order to compare it with theoriginal edition.

Darwin, Charles. TheExpression of the Emotions in Man and Animals. By CharlesDarwin. London, 1872.

Inscribed “From theAuthor.” Butler procured for Mr. Darwin the twoillustrations by Mr. A. May, pp. 54-5. (See theMemoir.)

Darwin, Charles. TheVariation of Animals and Plants under Domestication. ByCharles Darwin. Second edition. 2 vols. London,1875.

Darwin, Charles. ErasmusDarwin. By Ernst Krause. Translated from the Germanby W. S. Dallas, with a preliminary notice by CharlesDarwin. First edition. London, 1879.

This book is referred to in chapteriv. of Unconscious Memory; also in my pamphlet,“Charles Darwin and Samuel Butler: a Step towardsReconciliation”; also in the Memoir.

Darwin, Charles. The Life ofErasmus Darwin. By Charles Darwin. Being anintroduction to an Essay on his Scientific Works by Ernst Krause,translated from the German by W. S. Dallas. Secondedition. London, 1887.

Pencil note by Butler, p. 4.“Second Edition” means second edition of thepreceding book which is called “Erasmus Darwin,” thatis, the title was altered. In the first book precedence isgiven to Krause’s Life of Erasmus Darwin, in the secondprecedence is given to Charles Darwin’s introduction.

Davies, John Llewelyn. SeePlato.

Dictys Cretensis. (TeubnerClassics.) Leipzig.

p.38Dudgeon, Robert Ellis.The Prolongation of Life. By R. E. Dudgeon, M.D.Second edition. London, 1900.

Given by Dr. Dudgeon either to Butleror to me after Butler’s death, I forget which.

Duncan, W. Stewart. ConsciousMatter. By W. Stewart Duncan. London, 1881.

Elements, The, of Social Science;or, Physical, Sexual, and Natural Religion. By a Graduateof Medicine. Third edition. London, 1860.

I have no doubt that Butler wasdirected to this book by Dr. Dudgeon.

Emslie, John Philipps. NewCanterbury Tales. By John Philipps Emslie. London[1887].

Engelman and Anderson. Pictorial Atlas toHomer’s Iliad and Odyssey. London, 1892.Thirty-six Plates by R. Engelman and W. C. F. Anderson.

Epicorum Graecorum Fragmenta.(Teubner Classics.) Leipzig.

Garnett, Richard.Poems. By Richard Garnett. London, 1895.

Inscribed “Samuel Butler, withR. Garnett’s very kind regards. December,1893.”

Garnett, Richard. EdwardGibbon Wakefield. By R. Garnett, C.B., LL.D. London,1898.

Inscribed “From theAuthor.”

Garnett, Richard. The Life ofThomas Carlyle. By Richard Garnett. London, 1887.

Inscribed “Samuel Butler fromRichard Garnett.”

Garnett, Richard. Dante,Petrarch, Camoens. cxxiv.Sonnets translated by Richard Garnett, LL.D. London,1896.

Inscribed “Samuel Butler, fromR. Garnett.”

Goethe. WilhelmMeister’s Apprenticeship. Translated. 2vols. Leipzig, 1873.

Hesiod. (TeubnerClassics.) Leipzig.

Homer. Iliad andOdyssey. 2 vols. London, Pickering, 1831.

With numerous MS. notes byButler. Given to St. John’s College some yearsago.

Homer. Iliad andOdyssey. 4 vols. [18--]

Interleaved and profusely adnotatedby Butler.

p.39Homer. Iliad, Odyssey,and Hymns. (Teubner Classics.) Leipzig.

Homer. See Buckley, TheodoreAlois.

Jebb, Sir R. C. Introductionto Homer. Third edition. London, 1888.Also a copy with a few MS. notes by Butler.

Jesus of History, The.London, 1869.

Used by Butler in preparing TheFair Haven.

Krause, Ernst. See Darwin,Charles.

Lamarck. PhilosophieZoologique. Nouvelle édition par Ch. Martins.2 vols. Paris, 1873.

Used by Butler in preparingEvolution Old and New.

Laurentius. The Miocene Menof the Bible. By Laurentius. London, 1889.

Locke, John. An Essayconcerning Human Understanding. By John Locke. 2vols. London, 1824.

Malone, E. SeeShakespeare.

Mendelssohn-Bartholdy, Felix.Letters from Italy and Switzerland. By FelixMendelssohn-Bartholdy. Translated by Lady Wallace.London, 1862.

See p. 37 about Mendelssohn’sstaying such a long while before things in Alps andSanctuaries, ch. ii.

Milton, John. The Prose Worksof John Milton. Only Vol. III., containing “TheDoctrine and Discipline of Divorce.” (Bohn.)London, 1872.

Referred to in The Way of AllFlesh, when Theobald and Christina drive away together aftertheir marriage. And cf. Life and Habit, ch. ii.,where, after quoting from a journal an extract about Lycurgus,Butler proceeds: “Yet this truly comic paper does notprobably know that it is comic, any more than the kleptomaniacknows that he steals, or than John Milton knew that he was ahumorist when he wrote a hymn upon the Circumcision and spent hishoneymoon in composing a treatise on Divorce.”

Mivart, St. George. On theGenesis of Species. By St. George Mivart. Secondedition. London, 1871.

Used by Butler in preparing his bookson evolution.

p.40Paley, William. NaturalTheology or Evidences of the Existence and Attributes of theDeity. By William Paley, D.D. New edition.London, 1837.

Paley, William. A View of theEvidences of Christianity. By William Paley, D.D. Newedition by T. R. Birks. London [18--].

Piers Ploughman. The Visionand Creed of Piers Ploughman. Edited by ThomasWright. 2 vols. London, 1887.

Butler bought this to help him tomake up his mind as to the limits of permissible archaism intranslating the Odyssey and the Iliad.

Pilkington, Matthew. AGeneral Dictionary of Painters. By MatthewPilkington. 2 vols. London, 1829.

Plato. The Republic ofPlato. Translated by John Llewelyn Davies and David JamesVaughan. Cambridge, 1852.

H. F. Jones to Butler from the Hoteldell’Angelo, Faido, in 1883: “The signora has givenme No. 4, the room into which you came one morning, more thanfive years ago, and said, ‘Oh, you’ve been readingthat damned Republic again!’” Memoir, I.395.

Rigaud, John Francis. SeeVinci, Leonardo da.

Rockstro, W. S. The Rules ofCounterpoint. By W. S. Rockstro. London [1882].

Out of which Butler used to do hiscounterpoint exercises.

Rossetti, William Michael.See Webster, Augusta.

Schoelcher, Victor. The Lifeof Handel. By Victor Schoelcher. London, 1857.

Referred to in the Memoir ofButler.

Shakespeare, William. ThePoems of William Shakespeare. London, Daly [18--].

Shakespeare, William.Shakespeare’s Poems. Malone. 1780.

This is part of Vol. I. ofMalone’s “Supplement to the Edition ofShakespeare’s Plays published in 1778 by Samuel Johnson andGeorge Steevens.” I do not know where Butler got it;he wanted Malone’s comments on the Sonnets and he may havebought this second-hand or it may have been given to him.It was probably in a bad state, for he had it bound; there is anentry to that effect in his account book, 30th March, 1899.

Skertchly, Sydney B. J. SeeTylor, Alfred.

p.41Stanley, ArthurPenrhyn. The Life and Correspondence of ThomasArnold, D.D. By Arthur Penrhyn Stanley. Seventhedition. London, 1852.

Butler bought this when he waswriting the Life of his Grandfather, because he was told that itwas a model biography of a great schoolmaster.

Strauss, Friedrich. A NewLife of Jesus. By Friedrich Strauss. Authorisedtranslation. 2 vols. London, 1865.

Used by Butler in preparing TheFair Haven.

Swift, Jonathan. The Works ofJonathan Swift. 2 vols. London, 1859.

With pencil marks by Butler.

Tylor, Alfred. Colouration inPlants and Animals. By Alfred Tylor. Edited by SydneyB. J. Skertchly. London, 1886.

Alfred Tylor was a friend of Butler,and is referred to in my Memoir.

Tylor, Alfred. On the Growthof Trees and Protoplasmic Continuity. By AlfredTylor. London, 1886.

This was originally a lecture read bySkertchly to the Linnean Society, Mr. Tylor being too ill toattend. Butler was present and spoke. Referred to inthe Memoir.

Vaughan, David James. SeePlato.

Vinci, Leonardo da. ATreatise on Painting. By Leonardo da Vinci.Translated by John Francis Rigaud. London, 1835.

Webster, Augusta. Mother andDaughter. By the late Augusta Webster. London,1895.

With an Introductory Note by Wm.Michael Rossetti. Inscribed, “Samuel Butler, withkind regards from Thomas Webster.” Augusta Webster isreferred to in the Memoir.

White, William. The Story ofa Great Delusion. By William White. London, 1885.

Wilberforce, Samuel. Agathosand other Sunday Stories. By Samuel Wilberforce, M.A.,Archdeacon of Surrey. Nineteenth edition. London,1857.

Wright, Thomas. See PiersPloughman.

p.42VI. ATLASES AND MAPS
FORMERLY THE PROPERTY OF SAMUEL BUTLER

Some of the maps are marked with red lines showing, in thewords of another illustrious Johnian, “fields invested withpurpureal gleams.” These red lines, speciallynoticeable in Butler’s ordnance maps of the neighbourhoodwithin thirty miles round London, denote his country walks, andare referred to in his Introduction to Alps andSanctuaries.

Butler, Samuel, D.D. An Atlasof Modern Geography for the use of Young Persons and JuniorClasses in Schools. Selected from Dr. Butler’s“Modern Atlas,” by the Author’s son, the Rev.T. Butler, Rector of Langar. London, 1870.Also an edition inscribed, “Samuel Butler, October20th, 1850”; and an edition of Dr. Butler’s“Atlas of Antient Geography.”

Environs of London, North side (eastern half missing).

Environs of London, South side—Sevenoaks, Tonbridge,Maidstone.

There is something wrong; one pieceis much dirtier than the other; the two do not belong to oneanother. The dirty one is inscribed, almost illegibly,thus: “S. Butler, 15, Clifford’s Inn, Fleet Street,London, E.G. Please return to the above address. Thefinder, if poor, will be rewarded; if rich, thanked.”May be he did lose one half, and it was not returned, and hebought another.

Environs of London (Surrey).

Environs of London (Sussex).

Brighton and Environs (reduced Ordnance).

Chatham (near) to Romney Marsh (in two parts).

France (part of) and Channel Islands.

Boulogne }

Dieppe }

Dieppe } Mounted, and all in one envelope.

Canton Uri }

Tuscany }

p.43Canton Ticino.

Provincia di Torino.

The Val Leventina, 1681.

Trapani, Monte S. Giuliano and neighbourhood, in twosheets.

Trapani (Ordnance).

Ithaca and Corfu (three sheets).

An envelope containing maps and plans relating toButler’s Run, Mesopotamia, New Zealand.

p.44VII. MUSIC
FORMERLY THE PROPERTY OF SAMUEL BUTLER

These volumes contain many pencil notes, exclamations, andmarks by Butler. xxx means very great admiration; xxmoderate admiration; x slight admiration.

Handel’s Oratorios inNovello’s octavo edition:—

Acis and Galatea.

Alceste.

Alexander Balus.

Athaliah.

Belshazzar.

Chandos Te Deum and St. Cecilia’s Day.

Deborah.

Dettingen Te Deum.

Israel in Egypt.

Jephtha.

Joshua.

Miscellaneous.

Occasional Oratorio.

The Passion.

Samson.

Selections.

Semele.

Solomon.

Susanna.

Theodora.

Time and Truth.

p.45Handel’s 16 Suites, Trois Leçons, Chaconne, SeptPièces, Six Grandes Fugues (p. 118. Note inButler’s writing at no. 6, “This is the ‘OldMan’ Fugue”; cf. the Memoir of Butler), andSix Petites Fugues.

Twelve Grand Concertos. By G.F. Handel. Pencil marks by Butler, e.g. p. 27,“xxx the whole of this concerto”; and by Butler andJones, e.g. p. 88, “cf. Sarabande Suite, xvi. (Set2, no. 8)” (so far by Jones and the rest is by Butler),“cf. ‘When Myra Sings,’ Clarke’s‘Beauties of Purcell,’ pp. 124-5.”

A volume containing Concertos byHandel and Hasse and Six Overtures byHandel. Two papers pasted in; one printed with verses, theother MS. with “Upbraid me not, capriciousfair.” This was set to music by H. F. Jones, and atthat time we were told, through Notes and Queries, thatthe words were by Alexander Brome.

A volume inscribed “15, Clifford’s Inn, FleetStreet, E.G.” containing Arrangementsof Handel, by Wm. Hutchins Callcott; Handel’s Hautboy Concertos, Nos. 2, 4and 5; Eight of his Suites; his Concertante; his SixOrgan Concertos; a Fantasia;his Water Music, and Two Minuets by Geminiani.

A volume containing Handel’sCoronation Anthem; Acis andGalatea; an Oratorio with notitle or composer’s name, the first song being “Tuneyour Harps to Chearful Strain”; the Overture, Songs, Duets and Trio in “Comus” by Dr. Arne; andThe Blackbirds, a Cantata by M.Isaac.

A volume with “Miss E. Parkes” on a label outside;inscribed, “Samuel Butler, with the love of his Aunt, EllenWorsley, January 2nd, 1865”; containing Corelli’sSonatas and Concertos, “Thorough-Bass,” by M. P.King, and a few of Handel’s Overtures. Pencil marksby Butler.

A volume containing L’Indispensable (a Manual forperformers on the Pianoforte); Melodies ofall Nations, English Airs, and various pieces by Handel,Bach and others.

p.46Two Portfolios containing unbound music by Handel andothers, including the Six Fugues, ofwhich no. 6 in C Minor is the “Old Man” Fugue.

The Handel Album for thePianoforte. Arranged by William HutchinsCallcott.

Handel’s Concertos andRoseingrave’s Suites. Walsh’sedition. Inscribed, “To S. Butler, with kind regardsfrom Julian Marshall, June 20, 1873.”

The Fitzwilliam VirginalBook. Ed. by Fuller Maitland and BarclaySquire. Butler subscribed for this at the instigation ofFuller Maitland. He had the parts bound and gave thevolumes to me.

The Beauties of Purcell (JohnClarke), inscribed “S. Butler.”

The Well-Tempered Clavichord.By John Sebastian Bach. (Czerny).

371 Vierstimmige Choralgesänge vonJohann Sebastian Bach.

Lieder Ohne Worte. 6 books,by Mendelssohn.

A Musical MS. Scrap-book,containing Notes of Rockstro’s lessons; also pieces copiedby Butler, including some composed by him for Alfred tolearn.

p.47VIII. MISCELLANEOUS PAPERS
FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

Thomas Harris, of Shrewsbury.

Butler when a boy was amused by theadvertisem*nt put up over his shop by this man, who was abaker. He copied or invented the two pictures showingHarris (1) making bride cakes, (2) making funeral cakes, andcomposed the music. Miss Butler showed it to me atShrewsbury in June or July, 1902, and I copied it.

MS. copies of “The New Scriptures,” according toDarwin, Tyndall, Huxley and Spencer.

The first twenty-four verses of thisappeared in an American paper (the Index, if I rememberright) many years ago. They were given to me by HerbertPhipson; I showed them to Butler; he copied them and composedverses 25 to 33.

Testimonials by Eyre Crowe, A.R.A.; G. K. Fortescue; R.Garnett, LL.D.; A. C. Gow, A.R.A.; T. Heatherley; the Rev. B. H.Kennedy, D.D.; Henry Stacy Marks, R.A.; and W. T. Marriott, M.P.,submitted by Butler in 1886 when a Candidate for the SladeProfessorship of Fine Art at Cambridge.

Two numbers of the Parish Magazine of St. Augustine’s,Kilburn, Mar. 1887 and April 1887.

Between pp. 80 and 81 of the Marchnumber are unsuitable advertisem*nts of Pears’ Soapinvolving the Bishop Q of Wangaloo and Lillie Langtry.Their appearance drew from the Editor, pp. 97 and 112 of theApril number, an expression of regret, distress, and surprise,and a statement that precautions had been taken against anyoccurrence of a similar nature in future. If I rememberright Miss Savage sent these to Butler and they are referred toin their correspondence, but perhaps not in any of the lettersincluded in the Memoir.

Review of “Luck or Cunning?” written by GeorgeBernard Shaw, which appeared in the Pall Mall Gazette,31st May, 1887.

This was given to me by Dan Rider,who told me that Bernard Shaw’s original review, which hewrote off his own bat, was very much more laudatory and muchlonger, but the Editor of the Pall Mall Gazette cut itdown in length and took out some of the praise because he wasafraid of offending the Darwins and their friends.

p.48A collection of Butler’s Letters to theAthenæum and the Academy and othercontributions to the press. See the Memoir.

20 Marzo 1893. Nomination of Butler as SocioCorrispondente of the Accademia di Scienze, Lettere, ed Artide’Zelanti di Aci-Reale.

4 Luglio 1893. Nomination of Butler as SocioCorrispondente of the Accademia Dafnica di Scienze, Lettere, edArti in Aci-Reale.

An envelope containing papers relating to Dr. Butler and toButler’s Life of him, which appeared in 1896.

Statement as to the position of the violinist MademoiselleGabrielle Vaillant, May 1897.

She occurs in theMemoir. She broke down, and a few hundred poundswere raised to help her.

A collection of obituary notices of Butler. 1902.

Two collections of notices of Butler’s books, one madeby Butler, the other by Streatfeild.

Particulars and Conditions of Sale of such of Butler’shouses near London as were sold after his death, Oct. 1902.

A parcel of newspapers, mostly The Press and TheWeekly Press of New Zealand, referring to Butler and to hiscontributions to the New Zealand press. Some of his earlycontributions are reprinted. See A First Year inCanterbury Settlement (1914), Introduction.

A collection of letters and papers relating to the ErewhonDinners.

An envelope containing pièces justificatives inconnection with the “Diary of a Journey,” by H. F.Jones. 1903.

The Cambridge Magazine for 1 March 1913, containing“Samuel Butler and the Simeonites,” by A. T.Bartholomew. See A First Year in CanterburySettlement (1914), pp. 266-272.

Catalogue of the Butler Collection at St. John’sCollege, Cambridge. Pts. 1-3. Extracted from TheEagle for March and June 1918 and for June 1919. (Nomore published in this form.)

p.49Menu of Dinner given to Henry Festing Jones on thecompletion of the Memoir of Butler, the hosts beingMansfield Duval Forbes and A. T. Bartholomew, 11th Nov. 1916, inForbes’s rooms, Clare College, Cambridge. Each courseis illustrated by an appropriate quotation from theMemoir.

Menu of Dinner given to Henry Festing Jones on the publicationof his Memoir of Butler by A. T. Bartholomew at theUniversity Arms Hotel, Cambridge, 22 Nov. 1919.

A collection of pièces justificatives,permissions to print letters in the Memoir of Butler, andthe original MSS. of Reminiscences of Butler therein included byMiss Aldrich, Rev. Cuthbert Creighton, the Hon. Mrs. RichardCecil Grosvenor, H. R. Robertson.

A collection of newspaper cuttings, being reviews and noticesof the Memoir.

A collection of letters received by H. F. Jones on thepublication of the Memoir.

p.50IX. PRINTS AND PHOTOGRAPHS
FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

An engraving of “The Fortune Teller,” by SirJoshua Reynolds.

An engraving of “The Woodman,” byGainsborough.

A print of a view of “Clifford’s Inn Hall from theGarden.” 1800.

A paper about Clifford’s Inn, extracted from“Picturesque Views and an Historical Account of the Inns ofCourt,” by Samuel Ireland, published in the year 1800.

An envelope containing prints of the photograph ofButler’s Fireplace, 15 Clifford’s Inn.

Six boxes of photographic negatives. Portraits andItalian works of art.

Five volumes of prints of snap-shots by Butler.

Photographs illustrating Butler’s notions about thePortraits of Gentile and Giovanni Bellini as to which he wrote tothe Athenæum, 20 Feb. 1886. (Memoir,ch. xxv.)

Photographs to illustrate his notions about the Holbeindrawing, “La Danse,” dealt with in the article in theUniversal Review, “L’AffaireHolbein-Rippel.” Together with various papersrelating to the same matter. This article was notreproduced in Essays on Life, Art and Science(afterwards The Humour of Homer) because of the trouble ofreproducing the illustrations, but it is among the UniversalReview articles bound together and included in this catalogue(p. 19).

A print of the great statue of S. Carlo Borromeo, near Arona,called “S. Carlone.”

A collection of photographs of Italian pictures,unmounted.

p.51Three large cards with photographs of the fresco byGaudenzio Ferrari which is in S. Maria delle Grazie atVarallo-Sesia. It is in twenty-one compartments.

Two cards, not so large, with photographs of pictures andfrescoes by Gaudenzio. One of these reproduces frescoes andpictures in the Crucifixion Chapel at Varallo. In theleft-hand bottom corner is the whole of the fresco in S. Mariadelle Grazie showing how the twenty-one compartments areplaced. The other card contains Gaudenzio’s frescoesin the Church of S. Cristoforo at Vercelli.

A card with five photographs, two of the frescoes at BustoArsizio near Varese—at least, I think that is where theyare. One is “St. John Baptist’s head in acharger,” the other “The baptism in theJordan.” Butler particularly liked the scratchings ofnames and dates on the former. The other three photographsare of pictures. The foregoing six cards (three, two andone) used to hang framed in Butler’s chambers.

A woman in a black dress from Lima. Used by Butler tomake female heads for sale, but he was not successful.

The Weekly Press, N.Z., 21st Mar. 1917. Page 26contains views of Butler’s homestead at Mesopotamia.

Two views of Butler’s homestead, Mesopotamia, NewZealand, extracted from the Press.

A view of the ruins of Hagiar Chem (Haggiar Kim in Malta).

A card with five photographic views. Two are the Gardenat Langar. One is at Langar, Mrs. Barratt. Cf.snapshot album, 891, p 27. The remaining two are huts orwhares in New Zealand, one being “Whare at Mount PeelStation, Oct. 14.”

p.52X. PORTRAITS
FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

Butler’s Photograph Album.

I have written the names againstthose portraits of whose identity I am certain. The cabinetphotograph of Canon Butler resembles the father in “FamilyPrayers”; but Butler cannot have used this photograph,which was done when Canon Butler was an old man, for a picturepainted in 1864.

Photographs of S. Butler:

(1) Soon after his return from New Zealand.

(2) 1866.

(3) Taken by Mrs. Bridges in the garden at Langar about1866.

(4) His identification photograph at the ParisExhibition, 1867. 2 copies.

(5) At Milan about 1886.

(6) At 15 Clifford’s Inn, by Alfred, about1888.

(7) At 15 Clifford’s Inn, by Alfred, about1889.

(8) Taken at The Long House, Leatherhead, by Mr.Pidgeon, about 1894.

(9) Taken by Russell in 1901. Given by Butler toStreatfeild.

The Rev. T. Butler, of Wilderhope House, Shrewsbury,Butler’s father.

Mrs. Butler, Butler’s mother.

Tom Butler, Butler’s brother.

Miss Eliza Mary Anne Savage.

Three photographs of Charles Paine Pauli, two on cards and oneon glass.

Butler kept the glass one on hismantelpiece until Pauli’s death in 1897. Then heremoved it. He would have removed it earlier, but Paulicame to his rooms to lunch three times a week, and would havenoticed its absence. For Pauli see the Memoir.

Hans Rudolf Faesch as a boy.

p.53Hans Rudolf Faesch, taken by Butler in 1893.

Cavaliere Biagio Ingroja of Calatafimi.

Professore Alberto Giacalone-Patti of Trapani.

William Smith Rockstro, who used to teach Butlercounterpoint. See the Memoir. Taken by Butlerat 15 Clifford’s Inn, 10 Oct. 1890.

Charles Gogin }

Joseph Benwell Clark } All taken by Butler at 15Clifford’s Inn.

Edward James Jones }

An engraving of G. A. Paley and letter from Mr. Barton Hill(on behalf of Henry Graves and Co.) to H. F. Jones identifyingthe portrait.

A card with photographs of twelve of Butler’s Collegefriends.

p.54XI. EFFECTS
FORMERLY THE PERSONAL PROPERTY OF SAMUEL BUTLER

One mahogany table with two flaps.

Butler used this table for his meals,for his writing, and for all purposes to which a table can beput. A corner of it covered with a red cloth is seen in thepicture of the interior of his room. See p. 4, no. 9.

Sandwich case.

This he took with him on his Sundaywalks and sketching excursions.

Passport.

Pocket magnifying glass.

Address book.

Homeopathic medicine case.

He always took this with him on histravels.

Two account books, 1897-1900 and 1900-1902.

Butler destroyed his early accountbooks when he made the Skeleton Diary of his life which is inVol. III. of his MS. Note-Books. After his death theremaining account books were destroyed except these two.

Books in which Butler used to keep his accounts by doubleentry. The handwriting during the early years isButler’s, afterwards it is Alfred’s. Journal,1895-1902; Cash Book, 1881-1899; Cash Book, 1899-1902; Union BankBook, 1881-1902; Ledger.

A set of books containing accounts for his publishedworks.

Two of the small note-books which after April 1882 Butleralways carried in his pocket and in which he made the notesafterwards copied into his full-size MS. Note-Books.

Before 1882 he used some other kindof pocket note-book. The first one he had of this kind wassent to him by Miss Savage in a letter of 18th April, 1882, fromwhich the following is an extract; the words in square bracketsare a note by Butler on Miss Savage’s letter.

“I send you a little present; the leavestear out, so that when you leave your note-book at the“Food of Health” [I don’t remember ever p.55going to the “Food of Health.” I donot know the place. S. B.] or elsewhere, as you sometimeshave done, you will not lose so much, and then you can put thetorn leaves into one of the little drawers in your cabinet whichis just made for such documents.” (Memoir, I.373.)

The cabinet she refers to was one ofthe two Japanese cabinets, the next items, which he had bought atNeighbour’s grocery and tea-shop in Oxford Street, andwhich she had seen in his rooms. He used to keep stamps inthem.

One small Japanese cabinet.

One larger Japanese cabinet.

Two pen trays.

One camera lucida with table (see the Memoir).

One round wood-carving: a female bust.

Two large dishes, German or Swiss, which stood on histable.

One tin case holding pencils and brushes for water-coloursketching.

One tin water-bottle for sketching. One sketchingcamp-stool. One sketching portfolio. One water-colourpaint-box.

One sloping desk.

“I shoud explain that I cannotwrite unless I have a sloping desk.” See“Quis desiderio—” (The Humour ofHomer). This is the sloping desk on which he wrote inClifford’s Inn.

One pair of chamois horns given him by Dionigi Negri atVarallo Sesia.

One handle and webbing in which he carried his books to andfrom the British Museum.

A photograph showing one wall of Butler’s chambers inClifford’s Inn with the fireplace and accompanying sketchplan.

Some of the pictures mentioned inSection I. of this Catalogue can be identified, and also thefollowing nine items, which are on the mantelpiece or on thewall. The two dolls (no. 9) were destroyed by Butler about1898; the other eight objects are included in this collection atSt. John’s.

One pair of pewter candlesticks (1).

p.56One bust of Handel (2).

One plate, which he called “Three Acres and aCow,” because it seems to be decorated in illustration ofthat catch-word (3).

Two crockery holy water holders; only one is shown in thephotograph (4).

Three medallions under glass, representing, in some kind ofplaster, the Madonna di Oropa (5).

Three crockery examples of “the Virgin with Child”(6).

One only is shown in the photo.One of these is from Oropa where the Virgin and Child are bothblack, see “A Medieval Girl-School” in The Humourof Homer. These holy water holders and Madonnas aresome of the cheap religious knick-knacks which are sold at mostItalian Sanctuaries. We often brought back a few and gavethem away to Gogin, Alfred, Clark, and other friends.

Bag for pennies (7).

Miss Savage’s kettle-holder (8).

In Oct. 1884 (see the Memoir),about four months before her death, Miss Savage sent Butler apresent of a pair of socks which she had knitted herself, and shepromised to make him some more. Butler gratefully acceptedher gift, but

“As for doing me any more, I flatly forbidit. I believe you don’t like my books, and want tomake me say I won’t give you any more if you make me anymore socks; and then you will make me some more in order not toget the books. No, I will let you read my stupid books inmanuscript and help me that way. If you like to make me akettle-holder, you may, for I only have one just now, and I liketo have two because I always mislay one; but I won’t havepeople working their fingers out to knit me stockings.”

Miss Savage to Butler,27th Oct. 1884: “Here is akettle-holder. And I can only say that a man who is equalto the control of two kettle-holders fills me with awe, and Ishall begin to be afraid of you. . . . The kettle-holder isvery clumsy and ugly, but please to remember that I am not amany-sided genius, and to expect me to excel in kettle-holdersand stockings is unreasonable. I take credit tomyself, however, for affixing a fetter to it, so that you maychain it up if it is too much disposed to wander. Myexpectation is that it is too thick for you to grasp the kettlewith, and the kettle will slip out of your hand and scald youfrightfully. I shall be sorry for you but you would haveit, so upon your own head be it.”

Butler to Miss Savage,28th Oct. 1884: “The kettle-holder isbeautiful; it is like a filleted sole, and I am very fond offilleted sole. It is not at all too thick, and fits mykettle to perfection.”

p. 57The subjectis developed antiphonally between Miss Savage and Butlerthroughout several letters, and near the close comes this notemade by Butler when “editing his remains” at the endof his life:

“I need hardly say that thekettle-holder hangs by its fetter on the wall beside my fire, andis not allowed to be used by anyone but myself. S.B.January 21st, 1902.”

Two small Dutch dolls (9)

Mr. Charles Archer Cook was atTrinity Hall with me. He is mentioned in the Memoiras having edited The Athenæum in October, 1885,during the absence of MacColl, the editor. Butler and Isometimes dined with him and met his brother, Mr. (afterwardsSir) Edward T. Cook and his wife. Mr. and Mrs. E. T. Cookcame to tea with Butler, and Alfred was showing them round thesitting room, while Butler was in his painting room, where he hadgone to look for something.

“These are the pictures whichthe governor does when he is away,” said Alfred, “andthese are the photographs which he brings back with him and theplates and images.”

“And please, Alfred, what arethese two little dolls among the pictures?”

“Oh, those, ma’am!Those are ---.”

“Alfred!” exclaimed thereproving voice of Butler, who although in the next room, hadoverheard.

“Well, Sir,” repliedAlfred, “that’s what we always call them.”

Alfred was referring to a recentdivorce case in which the names of two ladies had been broughtprominently before the public, but Butler did not approve of thenames being blurted out in the presence of visitors.

A brass bowl which my brother Edward brought from India.

It always stood on my table in StapleInn, and Butler used it as an ash-tray and played with it andliked the sound it made when he struck it. He also likedits shape, and was pleased with it for not being “spoilt byany silly ornament.” It is mentioned in theMemoir (II. xliii.) when Miss Butler comes to my roomsafter Butler’s death.

A leather (or sham leather) cigarette case from Palermo (but,I am afraid, made in Germany).

It contains a fragment of a Greekvase picked up on Mount Eryx and given to Butler by BrunoFlury. He was one of the young men who came about him in1892 when he broke his foot on the mountain; he afterwardssettled in Pisa, where I saw him in 1901.

Two of the blue and white wine cups mentioned in Alps andSanctuaries (ch. xxii.; new ed., ch. xxiii.), “A Day atthe Cantine.”

“These little cups are commoncrockery, but at the bottom there is written Viva Bacco, Vival’Italia, Viva la Gioia, Viva Venere or other p. 58suchmatter; they are to be had in every crockery shop throughout theMendrisiotto, and they are very pretty.”

The Viva is not written in full; itis represented by a double V, which overlaps, so that it lookslike W, but the letter W is not used by the Italians, so there isno chance of its being mistaken by them for anything but thesymbol meaning Viva.

A small horn and tortoiseshell snuff-box from Palermo.

It contains three coins wrapped inpaper and a piece of the pilgrim’s cross atVarello-Sesia. The cross is mentioned somewhere inButler’s books as being of very hard wood, so hard that thepilgrims have great difficulty in cutting pieces off it. Sohad I in cutting off this bit.

The day after Butler’s deathAlfred came to me with the coins and said:

“I took these out of hispockets, Sir; I thought you ought to have them.”

Butler’s watch and chain.

Butler used to possess hisgrandfather’s gold watch and chain. He was robbed ofthe watch in Hyde Park one night just before starting on one ofhis journeys to Canada; he then bought this silver watch atBenson’s, and, if I remember right, wore it with the goldchain. He was robbed of the chain in Fetter Lane, Oct. 1893(Memoir, II. 167). He then bought a silver chain,which, with the silver watch, passed under his will toAlfred. Alfred wore them until 1919, when the watch wasdeclared by an expert to be beyond repair. I took it fromhim, giving him in exchange the watch of my brother Charlie, whohad recently died.

The matchbox which Alfred gave to Butler.

When Alfred knew that I was handingButler’s watch and chain on to St. John’s College, hesaid:

“And then, Sir, they had betterhave this matchbox which I gave him.”

I looked at it and said, “Well,but Alfred, how can that be? It is dated 1894, and he gaveyour matchbox to the Turk in 1895.”

“I know he did, Sir; and whenhe told me I was very angry and went out into Holborn and boughtthis one and had it engraved same as the other.”

“With the old date?”

“Yes, Sir, just the same as theone he gave to the Turk.” See the Note-Books,p. 286.

p.59WORKS BY SAMUEL BUTLER.

London: A. C. Fifield, 13, Clifford’s Inn, E.C. 4.

A First Year in CanterburySettlement. New Edition, with other earlyessays. 7s. net.

Erewhon. 14th Impression ofTenth Edition. 6s. net.

The Fair Haven. NewEdition. 7s. net.

Life and Habit. ThirdEdition, with Addenda. 7s. net.

Evolution Old and New. ThirdEdition, with Addenda. 7s. net.

Unconscious Memory. ThirdEdition, with Introduction by Marcus Hartog. 8s. 6d.net.

Alps and Sanctuaries. New andenlarged Edition. Illustrated. 7s. 6d. net.

Luck or Cunning? SecondEdition, corrected. 8s. 6d. net.

The Authoress of the Odyssey.Illustrated. Reprinting.

The Iliad rendered into EnglishProse. 7s. net.

Shakespeare’s SonnetsReconsidered. 8s. 6d. net.

The Odyssey rendered into EnglishProse. Illustrated. 8s. 6d. net.

Erewhon Revisited. 8thImpression. 5s. net.

The Way of All Flesh. 12thImpression of Second Edition. 7s. net.

The Humour of Homer and OtherEssays. With Portrait and Biographical Sketch of theAuthor by H. F. Jones. 7s. net.

God the Known And God theUnknown. 2s. 6d. net.

The Notebooks of SamuelButler. With Portrait. Ed. by H. F.Jones. 5th Impression. 7s. net.

Ex Voto. Illustrated.To be reprinted.

Selections. Arranged by S.Butler. Out of print.

The Life and Letters of Dr. SamuelButler. 2 vols. Illustrated. Out ofprint.

WORKS BY HENRY FESTING JONES.

London: A. C. Fifield.

Diversions in Sicily. 6s.net.

Castellinaria and Other SicilianDiversions. 6s. net.

Charles Darwin and SamuelButler. A Step towards Reconciliation. 1s.net.

London: Macmillan & Co.

Samuel Butler, Author of“Erewhon.” A Memoir. 2 vols.Illustrated. 42s. net.

Printed by
W. Heffer & Sons Ltd., Cambridge.
England.

Footnotes:

[8] Joanna Mills in The Life andLetters of Dr. Samuel Butler, I. 90.

*** END OF THE PROJECT GUTENBERG EBOOK THE SAMUEL BUTLER COLLECTION AT SAINT JOHN'S COLLEGE, CAMBRIDGE ***

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

Creating the works from print editions not protected by U.S. copyrightlaw means that no one owns a United States copyright in these works,so the Foundation (and you!) can copy and distribute it in the UnitedStates without permission and without paying copyrightroyalties. Special rules, set forth in the General Terms of Use partof this license, apply to copying and distributing ProjectGutenberg™ 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 followingthe terms of the trademark license, including paying royalties for useof the Project Gutenberg trademark. If you do not charge anything forcopies of this eBook, complying with the trademark license is veryeasy. You may use this eBook for nearly any purpose such as creationof derivative works, reports, performances and research. ProjectGutenberg eBooks may be modified and printed and given away—you maydo practically ANYTHING in the United States with eBooks not protectedby U.S. copyright law. Redistribution is subject to the trademarklicense, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the freedistribution of electronic works, by using or distributing this work(or any other work associated in any way with the phrase “ProjectGutenberg”), you agree to comply with all the terms of the FullProject Gutenberg™ License available with this file or online atwww.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 toand accept all the terms of this license and intellectual property(trademark/copyright) agreement. If you do not agree to abide by allthe terms of this agreement, you must cease using and return ordestroy all copies of Project Gutenberg™ electronic works in yourpossession. If you paid a fee for obtaining a copy of or access to aProject Gutenberg™ electronic work and you do not agree to be boundby the terms of this agreement, you may obtain a refund from the personor 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 beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement. There are a fewthings that you can do with most Project Gutenberg™ electronic workseven without complying with the full terms of this agreement. Seeparagraph 1.C below. There are a lot of things you can do with ProjectGutenberg™ electronic works if you follow the terms of thisagreement and help preserve free future access to Project Gutenberg™electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“theFoundation” or PGLAF), owns a compilation copyright in the collectionof Project Gutenberg™ electronic works. Nearly all the individualworks in the collection are in the public domain in the UnitedStates. If an individual work is unprotected by copyright law in theUnited States and you are located in the United States, we do notclaim a right to prevent you from copying, distributing, performing,displaying or creating derivative works based on the work as long asall references to Project Gutenberg are removed. Of course, we hopethat you will support the Project Gutenberg™ mission of promotingfree access to electronic works by freely sharing Project Gutenberg™works in compliance with the terms of this agreement for keeping theProject Gutenberg™ name associated with the work. You can easilycomply with the terms of this agreement by keeping this work in thesame format with its attached full Project Gutenberg™ License whenyou share it without charge with others.

1.D. The copyright laws of the place where you are located also governwhat you can do with this work. Copyright laws in most countries arein a constant state of change. If you are outside the United States,check the laws of your country in addition to the terms of thisagreement before downloading, copying, displaying, performing,distributing or creating derivative works based on this work or anyother Project Gutenberg™ work. The Foundation makes norepresentations concerning the copyright status of any work in anycountry 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 otherimmediate access to, the full Project Gutenberg™ License must appearprominently whenever any copy of a Project Gutenberg™ work (any workon which the phrase “Project Gutenberg” appears, or with which thephrase “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 isderived from texts not protected by U.S. copyright law (does notcontain a notice indicating that it is posted with permission of thecopyright holder), the work can be copied and distributed to anyone inthe United States without paying any fees or charges. If you areredistributing or providing access to a work with the phrase “ProjectGutenberg” associated with or appearing on the work, you must complyeither with the requirements of paragraphs 1.E.1 through 1.E.7 orobtain 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 postedwith the permission of the copyright holder, your use and distributionmust comply with both paragraphs 1.E.1 through 1.E.7 and anyadditional terms imposed by the copyright holder. Additional termswill be linked to the Project Gutenberg™ License for all worksposted with the permission of the copyright holder found at thebeginning 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 thiswork or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary or proprietary form, includingany word processing or hypertext form. However, if you provide accessto or distribute copies of a Project Gutenberg™ work in a formatother than “Plain Vanilla ASCII” or other format used in the officialversion posted on the official Project Gutenberg™ website(www.gutenberg.org), you must, at no additional cost, fee or expenseto the user, provide a copy, a means of exporting a copy, or a meansof obtaining a copy upon request, of the work in its original “PlainVanilla ASCII” or other form. Any alternate format must include thefull 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™ worksunless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providingaccess to or distributing Project Gutenberg™ electronic worksprovided 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 ProjectGutenberg™ electronic work or group of works on different terms thanare set forth in this agreement, you must obtain permission in writingfrom the Project Gutenberg Literary Archive Foundation, the manager ofthe Project Gutenberg™ trademark. Contact the Foundation as setforth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerableeffort to identify, do copyright research on, transcribe and proofreadworks not protected by U.S. copyright law in creating the ProjectGutenberg™ collection. Despite these efforts, Project Gutenberg™electronic works, and the medium on which they may be stored, maycontain “Defects,” such as, but not limited to, incomplete, inaccurateor corrupt data, transcription errors, a copyright or otherintellectual property infringement, a defective or damaged disk orother medium, a computer virus, or computer codes that damage orcannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Rightof Replacement or Refund” described in paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg™ trademark, and any other party distributing a ProjectGutenberg™ electronic work under this agreement, disclaim allliability to you for damages, costs and expenses, including legalfees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSEPROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in this electronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from. If youreceived the work on a physical medium, you must return the mediumwith your written explanation. The person or entity that provided youwith the defective work may elect to provide a replacement copy inlieu of a refund. If you received the work electronically, the personor entity providing it to you may choose to give you a secondopportunity to receive the work electronically in lieu of a refund. Ifthe second copy is also defective, you may demand a refund in writingwithout further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NOOTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOTLIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain impliedwarranties or the exclusion or limitation of certain types ofdamages. If any disclaimer or limitation set forth in this agreementviolates the law of the state applicable to this agreement, theagreement shall be interpreted to make the maximum disclaimer orlimitation permitted by the applicable state law. The invalidity orunenforceability of any provision of this agreement shall not void theremaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, any agent or employee of the Foundation, anyoneproviding copies of Project Gutenberg™ electronic works inaccordance with this agreement, and any volunteers associated with theproduction, 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 ofthe following which you do or cause to occur: (a) distribution of thisor any Project Gutenberg™ work, (b) alteration, modification, oradditions or deletions to any Project Gutenberg™ work, and (c) anyDefect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution ofelectronic works in formats readable by the widest variety ofcomputers including obsolete, old, middle-aged and new computers. Itexists because of the efforts of hundreds of volunteers and donationsfrom people in all walks of life.

Volunteers and financial support to provide volunteers with theassistance they need are critical to reaching Project Gutenberg™’sgoals and ensuring that the Project Gutenberg™ collection willremain freely available for generations to come. In 2001, the ProjectGutenberg Literary Archive Foundation was created to provide a secureand permanent future for Project Gutenberg™ and futuregenerations. To learn more about the Project Gutenberg LiteraryArchive Foundation and how your efforts and donations can help, seeSections 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-profit501(c)(3) educational corporation organized under the laws of thestate of Mississippi and granted tax exempt status by the InternalRevenue Service. The Foundation’s EIN or federal tax identificationnumber is 64-6221541. Contributions to the Project Gutenberg LiteraryArchive Foundation are tax deductible to the full extent permitted byU.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 upto date contact information can be found at the Foundation’s websiteand official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project GutenbergLiterary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespreadpublic support and donations to carry out its mission ofincreasing the number of public domain and licensed works that can befreely distributed in machine-readable form accessible by the widestarray of equipment including outdated equipment. Many small donations($1 to $5,000) are particularly important to maintaining tax exemptstatus with the IRS.

The Foundation is committed to complying with the laws regulatingcharities and charitable donations in all 50 states of the UnitedStates. Compliance requirements are not uniform and it takes aconsiderable effort, much paperwork and many fees to meet and keep upwith these requirements. We do not solicit donations in locationswhere we have not received written confirmation of compliance. To SENDDONATIONS or determine the status of compliance for any particular statevisit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where wehave not met the solicitation requirements, we know of no prohibitionagainst accepting unsolicited donations from donors in such states whoapproach us with offers to donate.

International donations are gratefully accepted, but we cannot makeany statements concerning tax treatment of donations received fromoutside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donationmethods and addresses. Donations are accepted in a number of otherways including checks, online payments and credit card donations. Todonate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the ProjectGutenberg™ concept of a library of electronic works that could befreely shared with anyone. For forty years, he produced anddistributed Project Gutenberg™ eBooks with only a loose network ofvolunteer support.

Project Gutenberg™ eBooks are often created from several printededitions, all of which are confirmed as not protected by copyright inthe U.S. unless a copyright notice is included. Thus, we do notnecessarily keep eBooks in compliance with any particular paperedition.

Most people start at our website which has the main PG searchfacility: www.gutenberg.org.

This website includes information about Project Gutenberg™,including how to make donations to the Project Gutenberg LiteraryArchive Foundation, how to help produce our new eBooks, and how tosubscribe to our email newsletter to hear about new eBooks.

The Samuel Butler Collection at Saint John's College, Cambridge&#10;A Catalogue and a Commentary (2024)

The Project Gutenberg eBook of The Samuel Butler Collection at Saint John's College, Cambridge

p.vPreface

p. viiContents

p.ixIllustrations

p.1I. PICTURES, SKETCHES AND DRAWINGSBY OR RELATING TO SAMUEL BUTLER

SAMUEL BUTLER

p.3DOUGLAS YEOMAN BLAKISTON

HENRY FESTING JONES

SAMUEL BUTLER

JOHN LEECH

SAMUEL BUTLER

JAMES FERGUSON

SAMUEL BUTLER

GEORGE McCULLOCH

SAMUEL BUTLER

SAMUEL BUTLER AND OTHERS

p.12SAMUEL BUTLER

HENRY FESTING JONES

SAMUEL BUTLER

THOMAS SADLER

SAMUEL BUTLER

THOMAS SADLER

SAMUEL BUTLER

HENRY FESTING JONES

SAMUEL BUTLER

HENRY FESTING JONES

p.16SAMUEL BUTLER AND OTHERS

p.17II. BOOKS AND MUSIC WRITTEN BY BUTLER:AND BOOKS, MAGAZINES, &c., CONTAINING CONTRIBUTIONS BYHIM

THE EAGLE

A FIRST YEAR IN CANTERBURY SETTLEMENT

THE EVIDENCE FOR THE RESURRECTION

EREWHON

THE FAIR HAVEN

THE CANADA TANNING EXTRACT CO., LTD.

LIFE AND HABIT

EVOLUTION OLD AND NEW

UNCONSCIOUS MEMORY

ALPS AND SANCTUARIES

GAVOTTES, MINUETS, FUGUESBY SAMUEL BUTLER AND HENRY FESTING JONES

p.21SELECTIONS FROM PREVIOUS WORKS

HOLBEIN

LUCK OR CUNNING?

NARCISSUS: A CANTATABY S. BUTLER AND H. F. JONES

EX VOTO

UNIVERSAL REVIEW ARTICLES

ESSAYS ON LIFE, ART, AND SCIENCE

THE HUMOUR OF HOMER AND OTHER ESSAYS

ITALIAN PAMPHLETS (bound together)

ENGLISH PAMPHLETS, ETC. (bound together)

p.23THE LIFE AND LETTERS OF DR. SAMUEL BUTLER2 Vols.

THE AUTHORESS OF THE ODYSSEY

THE ILIAD RENDERED INTO ENGLISH PROSE

SHAKESPEARE’S SONNETS RECONSIDERED

THE ODYSSEY RENDERED INTO ENGLISH PROSE

QUO VADIS?

EREWHON REVISITED

THE WAY OF ALL FLESH

SEVEN SONNETS AND A PSALM OF MONTREAL,AND OTHER PIECES (bound together)

ULYSSES: AN ORATORIOBY SAMUEL BUTLER AND HENRY FESTING JONES

p.25GOD THE KNOWN AND GOD THE UNKNOWN

THE NOTEBOOKS OF SAMUEL BUTLER

CHARLES DARWIN AND SAMUEL BUTLER

SAMUEL BUTLER: A MEMOIRBY HENRY FESTING JONES

p.26III. BOOKS ABOUT BUTLER:AND BOOKS, MAGAZINES, &c., CONTAINING CHAPTERS OR ARTICLESABOUT BUTLER OR PROMINENT ALLUSIONS TO HIM

p.31IV. BOOKS, ETC., RELATING TO BUTLER AND HISSUBJECTS

p.35V. BOOKS FORMERLY THE PROPERTY OF SAMUELBUTLER

p.42VI. ATLASES AND MAPSFORMERLY THE PROPERTY OF SAMUEL BUTLER

p.44VII. MUSICFORMERLY THE PROPERTY OF SAMUEL BUTLER

p.47VIII. MISCELLANEOUS PAPERSFORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

p.50IX. PRINTS AND PHOTOGRAPHSFORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

p.52X. PORTRAITSFORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

p.54XI. EFFECTSFORMERLY THE PERSONAL PROPERTY OF SAMUEL BUTLER

p.59WORKS BY SAMUEL BUTLER.

WORKS BY HENRY FESTING JONES.

Footnotes:

The Samuel Butler Collection at Saint John's College, Cambridge
A Catalogue and a Commentary (2024)

p.1I. PICTURES, SKETCHES AND DRAWINGS
BY OR RELATING TO SAMUEL BUTLER

p.17II. BOOKS AND MUSIC WRITTEN BY BUTLER:
AND BOOKS, MAGAZINES, &c., CONTAINING CONTRIBUTIONS BYHIM

GAVOTTES, MINUETS, FUGUES
BY SAMUEL BUTLER AND HENRY FESTING JONES

NARCISSUS: A CANTATA
BY S. BUTLER AND H. F. JONES

p.23THE LIFE AND LETTERS OF DR. SAMUEL BUTLER
2 Vols.

SEVEN SONNETS AND A PSALM OF MONTREAL,
AND OTHER PIECES (bound together)

ULYSSES: AN ORATORIO
BY SAMUEL BUTLER AND HENRY FESTING JONES

SAMUEL BUTLER: A MEMOIR
BY HENRY FESTING JONES

p.26III. BOOKS ABOUT BUTLER:
AND BOOKS, MAGAZINES, &c., CONTAINING CHAPTERS OR ARTICLESABOUT BUTLER OR PROMINENT ALLUSIONS TO HIM

p.42VI. ATLASES AND MAPS
FORMERLY THE PROPERTY OF SAMUEL BUTLER

p.44VII. MUSIC
FORMERLY THE PROPERTY OF SAMUEL BUTLER

p.47VIII. MISCELLANEOUS PAPERS
FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

p.50IX. PRINTS AND PHOTOGRAPHS
FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

p.52X. PORTRAITS
FORMERLY THE PROPERTY OF OR RELATING TO SAMUEL BUTLER

p.54XI. EFFECTS
FORMERLY THE PERSONAL PROPERTY OF SAMUEL BUTLER