Another Tale of Peter Rabbit: celebrating the 150th birthday of Beatrix Potter with some lesser known stories of a remarkable artist and writer

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On 28th July 2016 we celebrate 150 years since the birth of the gifted children’s illustrator and writer, Helen Beatrix Potter in 1866. She was known to the world as Beatrix, and ‘B’ to her family, to distinguish her from her mother, with whom she shared the same first name.  From a young age Beatrix exhibited the exceptional observational skills and artistic talents that were to later find expression in the series of delightful hand-sized children’s books which are treasured by adults and children alike.

A young woman of many and diverse talents

Beatrix was an extraordinary individual, attaining stature in a wide range of endeavours, including as sheep breeder, naturalist and conservationist. From her mid-teens to age 30 she kept hidden diaries written in code, and her journal of 3 March 1883 records her resolve to: ‘do something’ with her life beyond the confined expectations of the English upper classes.[i]  With a rare talent for recall, Beatrix challenged herself as a teenager to remember long extracts from the Bible, and to recite entire Shakespearian plays, memorising six of the latter in her 28th year.[ii] She was also an acute observer of the natural world, with a special interest in fungi and lichen, and her paper ‘On the germination of the spores of the agaricineae’ was read by proxy to the Linnean Society of London in 1897.[iii]

PeterRabbit22Beatrix’s artistic talents were evident from a young age, and her ability to portray animals was refined during many holidays spent in the countryside. She and her younger brother often brought back animals to London that they had made pets of, some of which did not survive their transplantation to the city: ‘those who died or were found already dead were usually sketched and occasionally skinned, boiled down, and reconstructed in skeletal form’.[iv]

The reverse was also true, and a selection from the menagerie of small animals which shared their upstairs nursery, travelled with the young Potters in specially crafted baskets.  As well as rabbits, these included mice, snails, rats, birds, lizards named Judy and Toby, a dormouse Xarifa (who was reputedly stroked by the artist John Millais, a family friend), bats, terrapins, frogs and a snake.[v]

1901_First_Edition_of_Peter_Rabbit

The Tale of Peter Rabbit

Whilst Beatrix’s favourite of her own books was The Tailor of Gloucester, she is best remembered for creating the mischievously endearing character, Peter Rabbit, though there were several twists and turns before publication of his ‘tale’ was realised.  After at least six rejections, including one from the eventual publishers, Frederick Warne & Co, Beatrix progressed arrangements to have the book privately printed.  Peter_Rabbit_first_edition_1902a (1)This edition was first issued on 16th December 1901 in a run of 250 copies distributed mostly to family and friends.  A second printing followed shortly after in February 1902, such was the demand, priced at one shilling and two pence.

About this time, Beatrix’s friend Canon Rawnsley re-approached Frederick Warne, suggesting that the story be published in 42 paragraphs of his own verse, accompanied by Beatrix’s illustrations:

‘There were four little bunnies

-no bunnies were sweeter

Mopsy and Cotton-tail,

Flopsy and Peter…’[vi]

Frederick Warne & Co editions and ‘pirated’ American imitations

Fortunately Warne rejected this offer, and at last offered to publish Beatrix’s original manuscript in modified form, including omission of the original picture of Mrs McGregor holding a pie containing Peter’s father because the company did not like her face.  Although a woman in her mid-30s, Beatrix expressed concern at the prospect of her father, a trained barrister, accompanying her to witness the signing of the publishing agreement: ‘if my father happens to insist on going with me to see the agreement, would you please not mind him very much, if he is very fidgety about things…’[vii]

Other adjustments debated included whether Peter should face one way or the other on the cover, the finer points of the rendering of Mr McGregor‘s nose and ears (Beatrix lamented that she had ‘never learnt to draw figures’), and whether the white on the wheelbarrow should be ‘wiped off’.[viii] On 8 May 1902, not long before the Warne edition went to print she reflected

‘I wish that the drawings had been better; I dare say they may look better when reduced; but I am becoming so tired of them, I begin to think that they are positively bad’. [ix]

Perhaps the saddest revelation was that her pet, the original ‘Peter Piper’ rabbit and model, had died on 26th January 1901 (four days after Queen Victoria), at the age of nine, just before the drawings for the Warne edition commenced.  Beatrix wrote ‘now when they are finished I have got another rabbit, and the drawings look wrong’.[x]  Peter was actually her second rabbit, the first being Mr Benjamin Bouncer who enjoyed eating peppermints.

None of these changes affected the success of the Warne print runs: the first 8000 copies were sold before publication, and another 20,000 sold before the end of 1902.  Two years later 86,000 copies were in circulation.  Minor adjustments were made with each new edition, some driven by technical demands such as wear to the printing blocks, necessitating re-cutting of the picture plates.

But cLibrary catalogue entry: http://cat.lib.unimelb.edu.au/record=b5194377halleLibrary catalogue entry: http://cat.lib.unimelb.edu.au/record=b5194377nges confronted the book post-publication, including the failure of Warne to have claimed copyright protection in the United States for the first American edition.  This oversight spawned a succession of ‘pirated’ imitations, variously retaining, modifying or completely rewriting Beatrix’s words and copying, far less successfully, her illustrations.  These versions included The Tale of Peter Rabbit (Henry Altemus & Co, 1904) and Louise A. Field’s Peter Rabbit and his Pa (Saalfield Publishing, 1908).

What happened to Peter and his sisters?

The fate of Peter beyond the Beatrix Potter books remains unrecorded in her letters or papers, though he seems to have evaded the pie dish, making minor returns in the tales of Mrs Tiggy-Winkle, the Flopsy Bunnies,  Ginger and Pickles, and Mr Tod, and on the last page of Pigling Bland.  Of his sisters, Mopsy does not reappear in later books, but Flopsy married Benjamin Bunny, producing several children, and Cottontail was courted by a black rabbit who left carrots outside her burrow, and raised a family of four or five children on a hill.

Given that The Tale of Peter Rabbit had its genesis whilst Beatrix holidayed in Perthshire in 1893, it is perhaps fitting to end with the first sentences from the Scottish translation, The Tale O Peter Kinnen, first published in 2004:

‘Aince upon a time there wis fower wee Kinnen, an their nems wis – Flopsy, Mopsy, Cotton-bun an Peter. They bid wi their Mither in a san-baunk, aneath the ruit o a muckle fir-tree…’[xi]

I am grateful to my colleague, Susan Millard, Special Collections Librarian, for her assistance with this post.

Susan Thomas, Rare Books Curator

 

Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b5846639 Library catalogue entry: http://cat.lib.unimelb.edu.au/record=b5846639

Endnotes

[i]  MacDonald, Ruth. Beatrix Potter. Boston : Twayne Publishers, c1986, p. 7

[ii] MacDonald, pp. 8-9

[iii] MacDonald, p. 13

[iv] MacDonald, p. 2

[v]  Taylor, Judy.  Beatrix Potter: artist, storyteller and countrywoman. Harmondsworth: Frederick Warne, 1986, p.47

[vi] Linder, Leslie. A history of the writings of Beatrix Potter, including unpublished work. London : Frederick Warne, c1971, pp. 93-94

[vii] Taylor, Judy.  That naughty rabbit: Beatrix Potter and Peter Rabbit.  Harmondsworth: Frederick Warne, 1987, p.21.

[viii] Linder, Leslie, p. 106

[ix] Hallinan, Camilla. The ultimate Peter Rabbit: a visual guide to the world of Beatrix Potter. London : Dorling Kindersley, 2002, p. 31

[x] Grinstein, Alexander. The remarkable Beatrix Potter.  Madison, Connecticut: International Universities Press, c1995, p. 52

[xi] McGeachie, Lynne.  Beatrix Potter’s Scotland: her Perthshire inspiration. Edinburgh : Louath Press, 2010, p. 132

Bibliography

Grinstein, Alexander. The remarkable Beatrix Potter.  Madison, Connecticut: International Universities Press, c1995.

Hallinan, Camilla. The ultimate Peter Rabbit: a visual guide to the world of Beatrix Potter. London : Dorling Kindersley, 2002.

The history of The tale of Peter Rabbit. London : Frederick Warne & Co, c1976.

Linder, Leslie. A history of the writings of Beatrix Potter, including unpublished work. London : Frederick Warne, c1971.

MacDonald, Ruth. Beatrix Potter. Boston : Twayne Publishers, c1986.

McGeachie, Lynne.  Beatrix Potter’s Scotland: her Perthshire inspiration. Edinburgh : Louath Press, 2010.

McGeachie, Lynne. The Tale O Peter Kinnen. Edinburgh Luath Press, 2004

Taylor, Judy.  Beatrix Potter: artist, storyteller and countrywoman. Harmondsworth: Frederick Warne, 1986.

Taylor, Judy.  That naughty rabbit: Beatrix Potter and Peter Rabbit.  Harmondsworth: Frederick Warne, 1987.

 

Discovering the musette: a 17th century treatise on a little known musical instrument

The Rare Music Collection includes a number of early instrumental methods and treatise, volumes which offer instruction on how to play a musical instrument and how to interpret musical notation, and/or information about the instrument’s history and technical development. Notable early treatises in the Collection for Spanish guitar and flute respectively are Gaspar Sanz’s Instruccion de musica sobre la guitarra Española… (Zargosa, 1674) and Jacques Hotteterre, Méthode pour apprendre a jouer en très peu de tems de la flûte traversière … (Lyon, 1765, 1781 issue).

Hotteterre frontispiece (17xx)
Frontispiece engraving in Hotteterre flute method

A third2016035-Hill-Music-40454 early treatise is the Traite de la musette … (Lyon, 1672), the full title of which translates as “Treatise of the musette with a new method for learning to teach yourself to play this instrument easily and quickly”. The musette is no longer well-known, but this beautiful leather-bound volume, with its own marbled slipcase, invites the curious to explore.

Neither the bucolic frontispiece nor the full title page, with its vignette of three putti with bunches of grapes, has the elusive musette at front and centre. The frontispiece was engraved by Nicolas Auroux after drawings by eminent French painter Thomas Blanchet (1614-89) as were, mostly likely, the putti. [1]
2016035-Hill-Music-40454

The frontispiece shows a shepherd/musician seated near a ruined aqueduct playing an hautboy (oboe). Seven other wind instruments are somewhat improbably propped up or scattered around him. [2] At some distance we see another shepherd playing another oboe to his herd of goats. In order to locate the musette in the engraving we must look at the left foreground where it sits on a low, flat rock. The musette of the treatise’s title, then, is a type of small bagpipe. You can see its cylindrical drone (to the left), the bag in the middle with separate bellows tucked underneath and a chanter (or chalumeau) attached. A chalumeau simple (with windcap) is propped up above the drone. [3]

2016035-Hill-Music-40454

The author of this treatise was Pierre Borjon de Scellery (1633-91), a lawyer, parliamentarian and amateur musician. While he promises to leave his readers able to teach themselves to play, de Scellery instead spends much of his short volume expounding on the instrument’s history and antecedents. At the back of the volume there are, however, some dances and popular tunes to play on the musette, notated with both conventional five-line stave notation and in tablature, where numbers indicate which holes should be covered by the fingers; the instrument has a “closed” fingering system.

Gueidan bagpipe playing image
Public domain image https://fr.wikipedia.org/wiki/Gaspard_de_Gueidan

Evidence of how the musette de cour was held and played, and by whom, is found in a portrait by Hyacinthe Rigaud of nobleman and lawyer, Gaspard de Gueidan (1738; held Musée Granet, Aix-en-Provence). The instrument, here richly decorated, was held with the bellows tucked under the forearm and pumped to inflate the bag and sound both the drone and the melody played on the chanter; we know that the instrument’s sound was neither harsh nor overly loud. The musette then was played by noble amateurs as well as the musicians at the royal court; it was also, unquestionably, an instrument compatible with courtly elegance.

Jennifer Hill, Curator, Music

[1] Lucie Galactéros-de Boissier, Thomas Blanchet (1614-1689), Paris: Arthéna, 1991, 476-478.

[2] To identify all the instruments see, for example, http://www.rimab.ch/content/bilddokumente/GE/borjon-de-scellery-pierre-1633-1691-traite-de-la-musette-frontispiz-1672

[3] James B. Copp, “Before Borjon: The French Court Musette to 1672”, Galpin Society Journal, 58 (May 2015), 3-5.

Fletcher Jones: How the 1956 Melbourne Olympics skirt changed everything!

It is 2016 and once again Olympic fever has taken hold across the country. Australia is a sporting nation which has always taken a keen interest in its athletes, their victories and of course what they are wearing! In recognition of the sixtieth anniversary of the Melbourne Games in 1956, many of Victoria’s collecting institutions are running public programs to celebrate the occasion, and in a moment of timely serendipity the ladies skirt made by Fletcher Jones worn at the opening of the games has recently been uncovered at the University of Melbourne Archives. Little has changed since the 1956 Olympics and if anything our fascination with fashion and sport has grown during that time.

The media coverage of the 1956 Melbourne Games and its athletes was extensive and many artifacts and objects eventually found their way into the archive, a testimony to their popularity and significance. This is the story of the FJ skirt.

The public, have long been fascinated with the Olympic uniform and its media unveiling has become an integral part of the excitement leading up to the opening ceremony. Top Australian fashion designers are especially selected by the Australian Olympic Federation (AOF) to produce the green and gold attire for our sporting greats. In 1956 the AOF was well aware of the fanfare and intense public attention associated with the outfitting of our national sporting heroes. So in the lead up to the Melbourne Games, AOF Secretary Sir Edgar Tanner approached well-respected, Victorian garment manufacturer Fletcher Jones with a proposal to produce both the men’s and women’s Olympic uniform. Fletcher Jones accepted the commission and publically acknowledged what a great honour it is for a ‘country factory’[1] to be selected.

Jones circulated an advice to his staff, excitedly announcing the news about the Olympic uniform commission;

‘Yes. It is official!’

‘We have GOT the Games Contract.’

‘Hooray, all 400 Aussie athletes will march in the grand Olympic parades wearing immaculate cream coverdines.’

‘Plus 8 greys have also been chosen to “steal the show” for Australia.’[2]

However this jubilation at being offered the job is not all as it seems. Accepting the trouser commission was fine, but moving into ladies skirts and slacks was uncharted territory for the company. Jones initially demurred on the offer and reasoned that he had ‘enough on his plate’[3] and worried about how to produce a flattering feminine pleat. He also had concerns about how the move into ladies wear would affect his brand and the company slogan ‘no man is hard to fit!’[4] Not deterred by Jones’ reservations Tanner persisted and in a move that would ensure the company’s place in Australia’s fashion history, Fletcher Jones finally conceded to public demand and entered the skirt market. Thus Tanner’s proposal provided the ideal opportunity for the company to expand its product range beyond the traditional trousers.

Sixty years later a vintage pleated pale grey skirt was unearthed from deep within the repository at the University of Melbourne Archives (UMA) by Archivists working on the Fletcher Jones collection transferred to UMA in 2012. With care the skirt was unpacked revealing a pink label zigzag stitched to the inside pocket which showed the unmistakable five interlocking coloured rings of the Olympic brand. A memo called ‘Tale of a Skirt’[5] pinned to the item confirmed that it was indeed the ‘first skirt made for the 1956 Olympic team’. Over the course of many decades the original purpose of this mustard yellow office circular has been transformed into a chronicle about skirt’s journey. Told in Jones’s upbeat, colloquial style it documents changing fashions and how the skirt travelled around the countryside, before it finally arrived at UMA.

In a letter dated 16 October 1956, Fletcher Jones asked Barbara Cunningham, a Melbourne based gymnast[6] with the Australian Olympic team, to model the first skirt produced by the FJ factory in Warrnambool. Jones writes; ‘This is the first skirt that has been completed and we are anxious to inspect this one on you, before completing the other orders we have on hand’[7]. Very little correspondence survives in archives about what became of Barbara Cunningham after 1956, but we do know that she kept the company’s first skirt for many years. When she returned it to the company, it was in a faded state with its hem line shortened and ragged. The inside of the skirt is in good condition having retained its original colour and the styling features that the company is known for. The pleating, shape and adjustable waist highlight the quality of this garment. Carefully stitched on to the inside of the skirt are the distinctive/descriptive FJ labels, which provide insight into the unique materials and methods used to make the skirt. The ‘Fabrilastic Comfort Waist’ and ‘Coverdine styled by Fletcher Jones’ were essential to the finished product worn by Olympians such as Betty Cuthbert and Lorraine Crapp at the opening ceremony, which was televised for the first time into Australian homes at the Melbourne Games. In characteristic style, an inscription on the label carrying the Olympic insignia implores the athlete to ‘care for this skirt always’.

In a memo to staff dated 17 December 1956, Jones reports on his encounter with Olympic Gold medalist Dawn Fraser on a flight to Adelaide. He describes how Fraser and ‘the girls were all most impressed with the high quality finish of the skirts, and the way they draped beautifully.’[8]

After the 1956 games the skirt went on to become a well-regarded staple in the Fletcher Jones product range. Today Fletcher Jones skirts can still be found in vintage shopping outlets and are still popular. Even now the mere mention of Fletcher Jones evokes a flood of memories and reminiscing about quality fitted garments, designed to last.

References

[1] Fletcher Jones. (1956a) ‘Yes, It is Official!, Do You Know, 2012.0031.00456, Fletcher Jones Family and Business Records, University of Melbourne Archives.

[2] Jones (1956a)

[3] Fletcher Jones. (1977) Not by myself, The Wentworth Press, NSW, p. 141.

[4] Jones (1977) p. 141.

[5] Fletcher Jones. (c. 1956b) ‘Tale of a Skirt’, 2012.0031.01141, Fletcher Jones Family and Business records, University of Melbourne Archives.

[6] SR/Olympic Sport. ‘Barbara Cunningham’, http://www.sports-reference.com/olympics/athletes/cu/barbara-cunningham-1.html, accessed on 1 July 2016.

[7] Jones (1977) p. 144.

[8] Fletcher Jones. ‘Further Olympic Congratulations!, Do You Know, 17 December 1956, 2012.0031.00456, Fletcher Jones Family and Business Records, University of Melbourne Archives.

Artists’ books holding us in their palm

IMG_1490             IMG_1484

 

As part of Rare Book Week and the Artists Book Makers series, Gracia Haby and Louise Jennison gave a session at the Lenton Parr Library at the South bank campus, showing their beautiful artists books and talking about their collaboration and processes. Special Collections holds a collection of their books, part of the wider Book Arts Collection, which are available to view in the Reading Room in the Baillieu library. They are all catalogued on the Library catalogue. Here are some photos of the event.

http://www.rarebookweek.com/

http://gracialouise.com/

IMG_1494            IMG_1502            IMG_1498

Shakespeare in Steel: exploring links between Edward Dowden’s ‘Shakespeare Scenes & Characters’ and the ‘Gallerie Shakespeare’ portfolio of engravings. Part I.

On the 15th July 2016, the University of Melbourne’s highly anticipated After Shakespeare exhibition was officially opened, in the Noel Shaw Gallery of the Baillieu Library. Marking the 400th anniversary of the year of the Bard’s death, the exhibition plays host to a number of artefacts and ephemera that highlight Shakespeare’s lasting legacy throughout the centuries, with particular focus on his reception in Australia.

Shakespeare Scenes & Characters cover2016029-Thomas-SpecColl-40436

 

Amongst the intriguing stories contained in the cases is a puzzling connection between an 1876 English book of Shakespearian commentaries and engravings, and a separately issued portfolio of 22 engravings with a French title. Helen Kesarios, a student volunteer in the Cultural Collections Projects Program, has been investigating possible connections between the two works, drawing on original correspondence located at the British Library.

The first instalment in this three-part story begins at Case 6…

Part I – The English book: Shakespeare Scenes & Characters selected and arranged by Edward Dowden

Case 6 of the After Shakespeare exhibition houses several extraordinary artefacts from the 19th century, one of which is Edward Dowden’s Shakespeare Scenes & Characters (London: Macmillan, 1876) from the Baillieu Library’s Rare Books Collection.

Edward Dowden portraitEdward Dowden (1873-1913) was an Irish literary scholar and poet, Professor of Oratory and English Literature, Dublin University, and recognised for his contributions to the study of Shakespeare, Shelley and Browning, among other notable English writers. Despite his nationality, ‘Dowden disclaimed any desire to be thought of as an Irish writer, stating “I confess that I am not ambitious of intensifying my intellectual or spiritual brogue”’. [i]

In addition to his …Scenes & Characters, Dowden’s other principal works on Shakespeare include Shakspere: a Critical Study of his Mind and Art (1875) [Dowden used both spellings, Shakspere and Shakespeare][ii] together with a Shakspere Primer (1877) and an Introduction to Shakespeare (1893).  Dowden’s literary contributions, particularly his Shakespearean studies, were the topic of praise. An example of this can be found in correspondence from the poet and critic Aubrey de Vere (1814-1902) to Dowden, in which he writes with respect to Mind and Art:

‘I did not like to write and thank you for the great pleasure I have had in reading your book on Shakespeare, until I had time to go over nearly all of it a second time; and I shall certainly before long give it a third perusal. I do not exaggerate in saying that it seems to me the best book I have ever read on Shakespeare’ (March 17th, 1875).[iii]

Shakespeare Scenes & Characters is a large and ornate text, comprising Shakespearean criticism ‘from the best English, American, French and German critics’,[iv] carefully selected and arranged by Dowden himself, and complemented by a series of 36 steel engraved prints by distinguished Munich artists and engravers.  Dowden hoped that readers would appreciate the criticism as more than mere ‘padding’ for the illustrations,[v] as outlined in a letter to his publisher Macmillan:

‘I thought the general mass of readers might also find it pleasant and useful to have this choice body of English and foreign criticism – and that it would really add value to the valuable illustrations’ (July 24th, 1875).

Dowden prefaceAnd in the Preface to his book:

‘In selecting the extracts the editor has been guided by the desire, first to illustrate the engraving, with special reference to the principal persons of the play there represented; secondly, to offer some general views of importance suggested by the play; and thirdly, to give examples of the different schools of Shakespearean criticism’.[vi]

2016029-Thomas-SpecColl-40436Each print within the book depicts an engraved scene from one of Shakespeare’s plays. W. Schmidt’s and August Friedrich Spiess’s Act 5/Scene 2 depiction of Cleopatra in Antony and Cleopatra and Johann Lindner’s and Max Adamo’s Act 5/Scene 1 print of Lady Macbeth in Macbeth, are just two of the many scenes provided. Referring to his finished product, Dowden writes, somewhat lamentably, to his brother John Dowden:

My Sh. Picture-book is out. It is a handsome book, with some things I don’t like, but for which I am not responsible, and my part of it – the selection of the text – is, I think, well enough done. King undertakes to advertise my book well in the autumn. I have got about £30 from him, and am to get about as much more in July. About 160 copies of 2nd edition have sold, which I think is as many as could be expected in the time, with no advertising. I hope it will go off faster in autumn, and prove a small annuity to me for a year or two’ (9th June, 1876).[vii]

The Spectator was certainly a lot more enthusiastic about Dowden’s work:

‘This handsome volume has a character of sterling worth which books meant to lie on drawing-room tables do not commonly possess. The illustrations will be new to most readers…There are thirty-six illustrations, engraved on steel. Of these, Herr Adamo, whose name many will recognise as belonging to the Munich school, has contributed a third part, and Herr Pecht a fourth. The other names are Hofmann, Makart, Schwoerer, and Spiess…The “explanatory text” is as important a feature as the illustrations which it subserves. Professor Dowden’s study of Shakespeare and his commentaries and critics has been a very wide one…Not one of the more conspicuous names is absent from his table of contents. Altogether he has made up an excellent volume’.[viii]

2016029-Thomas-SpecColl-40436Helen Kesarios

Research Assistant, After Shakespeare exhibition

Cultural Collections Project Program, University of Melbourne

Helen Kesarios will continue the story of the engravings contained within the Dowden volume in her blog instalment next week.

Watch this space for Part II – The German engravings: Shakespeare Scenes & Characters selected and arranged by Edward Dowden!

[i] E.J. Gwynn & rev. Arthur Sherbo, ‘Edward Dowden (1843-1913)’, Oxford Dictionary of National Biography [website], 2004; online edn, Sept 2013, para. 6, <http://www.oxforddnb.com/view/article/32882>, accessed 9 May 2016.

[ii] Gwynn & Sherbo, para. 2.

[iii] Dowden, Letters of Edward Dowden and his Correspondents, p. 73.

[iv] Edward Dowden, letter to Macmillan & Co., 24 July 1875.

[v] Edward Dowden, ‘Preface’, in Edward Dowden ed., Shakespeare Scenes and Characters, Macmillan & Co., London, 1876, p. viii.

[vi] ibid.

[vii] Dowden, Letters of Edward Dowden and his Correspondents, p. 98.

[viii] ‘Shakespeare Scenes and Characters’, The Spectator, Current Literature, 12 August 1876, p. 1018, < http://archive.spectator.co.uk/article/12th-august-1876/22/shakespeare-scenes-and-characters-a-series-of-illu>, accessed 9 May 2016.

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