Dickens' London

THE HIGHWAY OF LETTERS

In Dickens' time, as in our own, and even at as early a period as that of Drayton, Fleet Street, as it has latterly been known, has been the abode of letters and of literary labours.

The diarists, journalists, political and religious writers of every party and creed have adopted it as their own particular province. Grub Street no longer exists, so that the simile of Doctor Johnson does not still hold true.

The former Grub Street – "inhabited by writers of small histories, dictionaries, and temporary poems" (vide Doctor Johnson's Dictionary) – has become Milton Street through the mindful regard of some former sponsor, by reason of the nearness of its location to the former Bunhill residence of the great epic poet. But modern Fleet Street exists to-day as the street of journalists and journalism, from the humble penny-a-liner and his product to the more sedate and verbose political paragrapher whose reputation extends throughout the world.

Nowhere else is there a long mile of such an atmosphere, redolent of printers' ink and the bustle attendant upon the production and distribution of the printed word. And nowhere else is the power of the press more potent.

Its historian has described it as "a line of street, with shops and houses on either side, between Temple Bar and Ludgate Hill, one of the largest thoroughfares in London, and one of the most famous."

Its name was derived from the ancient streamlet called the Fleet, more commonly "Fleet Ditch," near whose confluence with the Thames, at Ludgate Hill, was the notorious Fleet Prison, with its equally notorious "marriages."

This reeking abode of mismanagement was pulled down in 1844, when the "Marshalsea," "The Fleet," and the "Queen's Bench" (all three reminiscent of Dickens, likewise Newgate, not far away) were consolidated in a new structure erected elsewhere.

The unsavoury reputation of the old prison of the Fleet, its "chaplains," and its "marriages," are too well-known to readers of contemporary literature to be more than mentioned here.

The memory of the famous persons who were at one time or another confined in this "noisome place with a pestilential atmosphere" are recalled by such names as Bishop Hooper, the martyr; Nash, the poet and satirist; Doctor Donne, Killigrew, the Countess of Dorset, Viscount Falkland, William Prynne, Richard Savage, and – of the greatest possible interest to Americans – William Penn, who lived "within the rules" in 1707.

The two churches lying contiguous to this thoroughfare, St. Dunstan's-in-the-West and St. Bride's, are mentioned elsewhere; also the outlying courts and alleys, such as Falcon, Mitre, and Salisbury Courts, Crane Court, Fetter Lane, Chancery Lane, Whitefriars, Bolt Court, Bell Yard, and Shoe Lane, the Middle and Inner Temples, and Sergeant's Inn.

The great fire of London of 1666 stopped at St. Dunstan's-in-the-West and at the easterly confines of the Temple opposite.

Michael Drayton, the poet, lived at "a baye-windowed house next the east end of St. Dunstan's Church," and Cowley was born "near unto the corner of Chancery Lane."

The "Horn Tavern," near which was Mrs. Salmon's celebrated waxwork exhibition (for which species of entertainment the street had been famous since Elizabeth's time), is now Anderton's Hotel, still a famous house for "pressmen," the name by which the London newspaper writer is known.

A mere mention of the sanctity of letters which surrounded the Fleet Street of a former day, is presumably the excuse for connecting it with the later development of literary affairs, which may be said so far as its modern repute is concerned, to have reached its greatest and most popular height in Dickens' own time.

The chroniclers, the diarists, and the satirists had come and gone. Richardson – the father of the English novel lay buried in St. Bride's, and the innovation of the great dailies had passed the stage of novelty. The Gentleman's Magazine and the Reviews had been established three-quarters of a century before. The Times had just begun to be printed by steam. Each newspaper bore an imprinted government stamp of a penny per copy, – a great source of revenue in that the public paid it, not the newspaper proprietor. (The Times then sold for five pence per copy.) The Illustrated London News, the pioneer of illustrated newspapers, had just come into existence, and Punch under Blanchard Jerrold had just arrived at maturity, so to speak. Such, in a brief way, were the beginnings of the journalism of our day; and Dickens' connection therewith, as Parliamentary reporter of The True Sun and The Morning Chronicle, were the beginnings of his days of assured and adequate income, albeit that it came to him at a comparatively early period of his life. The London journalist of Dickens' day was different in degree only from the present. The True Sun, for which Dickens essayed his first reportorial work, and later The Morning Chronicle, were both influential journals, and circulated between them perhaps forty thousand copies, each bearing a penny stamp impressed on the margin, as was the law.

The newspapers of London, as well as of most great cities, had a localized habitation, yclept Newspaper Row or Printing-House Square, and other similar appellations. In London the majority of them were, and are, printed east of Temple Bar, in, or south of, Fleet Street, between Waterloo and Blackfriars Bridges. To borrow Johnson's phrase, this is the mart "whose staple is news."

The Times– "The Thunderer" of old – was housed in a collection of buildings which surrounded Printing-House Square, just east of Blackfriars Bridge. In 1840 The Times had, or was understood to have, three editors, fifteen reporters, with a more or less uncertain and fluctuating number of correspondents, news collectors, and occasional contributors. These by courtesy were commonly referred to as the intellectual workers. For the rest, compositors, pressmen, mechanics, clerks, et al., were of a class distinct in themselves. The perfecting press had just come into practical use, and though the process must appear laboriously slow to-day when only 2,500 perfected copies of a four-page paper were turned out in an hour, The Times was in its day at the head of the list as to organization, equipment, and influence.

The other morning and evening papers, The Post, The Advertiser, The Globe, The Standard, The Morning Chronicle, and The Sun, all had similar establishments though on a smaller scale.

But two exclusively literary papers were issued in 1840 —The Literary Gazette and The Athenæum, the latter being to-day the almost universal mentor and guide for the old-school lover of literature throughout the world. The Spectator was the most vigorous of the weekly political and social papers, now sadly degenerated, and Bell's Life in London, which had printed some of Dickens' earlier work, was the only nominal "sporting paper." Church papers, trade papers, society papers, and generally informative journals were born, issued for a time, then died in those days as in the present.

Punch was, and is, the most thoroughly representative British humourous journal, and since its birth in the forties has been domiciled in Bouverie Street, just off the main thoroughfare of Fleet Street.

The literary production in this vast workshop in point of bulk alone is almost beyond comprehension. In 1869, a year before Dickens' death, there were published in London alone three hundred and seventy-two magazines and serials, seventy-two quarterlies, and two hundred and ninety-eight newspapers etc.

As for the golden days of the "Highway of Letters," they were mostly in the glorious past, but, in a way, they have continued to this day. A brief review of some of the more important names and events connected with this famous street will, perhaps, not be out of place here.

Among the early printers and booksellers were Wynken de Worde, "at ye signe of ye Sonne;" Richard Pynson, the title-pages or colophons of whose works bore the inscription, "emprynted by me Richard Pynson at the temple barre of London (1493);" Rastell, "at the sign of the Star;" Richard Tottel, "within Temple-bar, at the signe of the Hande and Starre," which in Dickens' day had become the shop of a low bookseller by the name of Butterworth, who it was said still held the original leases. Others who printed and published in the vicinity were W. Copeland, "at the signe of the Rose Garland;" Bernard Lintot, "at the Cross Keys;" Edmund Curll, "at the Dial and Bible," and Lawton Gulliver, "at Homer's Head," against St. Dunstan's Church; and Jacob Robinson, on the west side of the gateway "leading down the Inner Temple Lane," an establishment which Dickens must have known as Groom's, the confectioner's. Here Pope and Warburton first met, and cultivated an acquaintanceship which afterward developed into as devoted a friendship as ever existed between man and man. The fruit of this was the publication (in 1739) of a pamphlet which bore the title, "A Vindication of Mr. Pope's 'Essay on Man,' by the Author of 'The Divine Legation of Moses,' printed for J. Robinson."

At Collins' shop, "at the Black Boy in Fleet Street," was published the first "Peerage," while other names equally famous were the publishers, T. White, H. Lowndes, and John Murray.

Another trade which was firmly established here was the bankers, "Child's," at Temple Bar, being the oldest existing banking-house in London to-day. Here Richard Blanchard and Francis Child, "at the Marygold in Fleet Street," – who were goldsmiths with "running cashes," – were first established in the reign of Charles II. "In the hands of Mr. Blanchard, goldsmith, next door to Temple Bar," Dryden deposited his £50 received for the discovery of the "bullies" by whom Lord Rochester had been barbarously assaulted in Covent Garden.

Another distinctive feature of Fleet Street was the taverns and coffee-houses. "The Devil," "The King's Head," at the corner of Chancery Lane, "The Bolt-in-Tun," "The Horn Tavern," "The Mitre," "The Cock," and "The Rainbow," with "Dick's," "Nando's," and "Peele's," at the corner of Fetter Lane – its descendant still existing, – completes the list of the most famous of these houses of entertainment.

To go back to a still earlier time, to connect therewith perhaps the most famous name of English literature, bar Shakespeare, it is recorded that Chaucer "once beat a Franciscan friar in Fleet Street," and was fined two shillings for the privilege by the Honourable Society of the Inner Temple. As the chroniclers have it: "So Speght heard from Master Barkly, who had seen the entry in the records of the Inner Temple."

A rather gruesome anecdote is recounted by Hughson in his "Walks through London" (1817), concerning Flower-de-Luce Court (Fleur-de-Lis Court), just off Fetter Lane in Fleet Street. This concerned the notorious Mrs. Brownrigg, who was executed in 1767 for the murder of Mary Clifford, her apprentice. "The grating from which the cries of the poor child issued" being still existent at the time when Hughson wrote and presumably for some time after. Canning, in imitation of Southey, recounts it thus in verse:

 
"… Dost thou ask her crime?
She whipp'd two female 'prentices to death,
And hid them in the coal-hole. For this act
Did Brownrigg swing. Harsh laws! But time shall come,
When France shall reign and laws be all repeal'd."
 

Which gladsome (?) day has fortunately not yet come.

No résumé of the attractions of Fleet Street can well be made without some mention of Whitefriars, that region comprehended between the boundaries of the Temple on one side, and where once was the Fleet Ditch on the other. Its present day association with letters mostly has to do with journalism, Carmelite Street, Whitefriars Street, and other lanes and alleys of the immediate neighbourhood being given over to the production of the great daily and weekly output of printed sheets. This ancient precinct formerly contained the old church of the White Friars, a community known in full as Fratres Beatæ Mariæ de Mont Carmeli.

Founded by Sir Richard Grey in 1241, the church was surrendered at the Reformation, and the Hall was made into the first Whitefriars Theatre, and the precinct newly named Alsatia, celebrated in modern literature by Scott in the "Fortunes of Nigel." "The George Tavern," mentioned in Shadwell's play, "The Squire of Alsatia," became later the printing shop of one Bowyer, and still more recently the printing establishment of Messrs. Bradbury and Evans, the publishers and proprietors of Punch, which building was still more recently removed for the present commodious structure occupied by this firm. In Dickens' time it was in part at least the old "George Tavern." It is singular perhaps that Dickens' connection with the famous "Round Table" of Punch was not more intimate than it was. It is not known that a single article of his was ever printed in its pages, though it is to be presumed he contributed several, and one at least is definitely acknowledged.

Ram Alley and Pye Corner were here in Alsatia, the former a passage between the Temple and Sergeant's Inn, which existed until recently.

Mitre Court is perhaps the most famous and revered of all the purlieus of Fleet Street. "The Mitre Tavern," or rather a reminiscence of it, much frequented by the London journalist of to-day and of Dickens' time, still occupies the site of a former structure which has long since disappeared, where Johnson used to drink his port, and where he made his famous remark to Ogilvie with regard to the noble prospects of Scotland: "I believe, sir, you have a great many … but, sir, let me tell you the noblest prospect which a Scotchman ever sees is the highroad that leads him to England."

Of all the old array of taverns of Fleet Street, "The Cock" most recently retained a semblance, at least, of its former characteristics, which recalls one of Tennyson's early poems, "A Monologue of Will Waterproof," which has truly immortalized this house of refreshment:

 
"Thou plump head-waiter at the Cock
To which I most resort,
How goes the time? Is't nine o'clock?
Then fetch a pint of port."
 

Salisbury Court, or Salisbury Square as it has now become, is another of those literary suburbs of Fleet Street – if one may so call it – where modern literature was fostered and has prospered. It occupies the courtyard of Salisbury or Dorset House. Betterton, Cave, and Sandford, the actors, lived here; Shadwell, Lady Davenant, the widow of the laureate; Dryden and Richardson also. Indeed Richardson wrote "Pamela" here, and Goldsmith was his "press corrector."

DICKENS' CONTEMPORARIES

When Scott was at the height of his popularity and reputation, cultivated and imaginative prose was but another expression of the older poesy. But within twenty-five years of Scott's concluding fictions, Dickens and Thackeray, and still later, George Eliot and Kingsley, had come into the mart with an entirely new brand of wares, a development unknown to Scott, and of a tendency which was to popularize literature far more than the most sanguine hopes of even Scott's own ambition.

There was more warmth, geniality, and general good feeling expressed in the printed page, and the people – that vast public which must ever make or mar literary reputations, if they are to be financially successful ones, which, after all, is the standard by which most reputations are valued – were ready and willing to support what was popularly supposed to stand for the spread of culture.

Biographers and critics have been wont to attribute this wide love for literature to the influence of Scott. Admirable enough this influence was, to be sure, and the fact is that since his time books have been more pleasingly frank, candid, and generous. But it was not until Dickens appeared, with his almost immediate and phenomenal success, that the real rage for the novel took form.

The first magazine, The Gentleman's, and the first review, The Edinburgh, were contemporary with Scott's productions, and grew up quite independently, of course, but their development was supposed, rightly or wrongly, to be coincident with the influences which were set in motion by the publication of Scott's novels. Certainly they were sent broadcast, and their influence was widespread, likewise Scott's devotees, but his books were "hard reading" for the masses nevertheless, and his most ardent champion could hardly claim for him a tithe of the popularity which came so suddenly to Charles Dickens.

"Pickwick Papers" (1837) appeared only six years later than Scott's last works, and but eight years before Thackeray's "Vanity Fair." It was, however, a thing apart from either, with the defects and merits of its author's own peculiar and energetic style.

Jealousies and bickerings there doubtless were, in those days, as ever, among literary folk, but though there may have been many who were envious, few were impolite or unjust enough not to recognize the new expression which had come among them. One can well infer this by recalling the fact that Thackeray himself, at a Royal Academy banquet, had said that he was fearful of what "Pickwick's" reputation might have been had he succeeded in getting the commission, afterward given to Seymour, to illustrate the articles.

There appears to have been, at one time, some misunderstanding between Dickens and his publishers as to who really was responsible for the birth of "Pickwick," one claim having been made that Dickens was only commissioned to write up Seymour's drawings. This Dickens disclaimed emphatically in the preface written to a later edition, citing the fact that Seymour only contributed the few drawings to the first serial part, unfortunately dying before any others were even put in hand.

There is apparently some discrepancy between the varying accounts of this incident, but Dickens probably had the right of it, though the idea of some sort of a "Nimrod Club," which afterward took Dickens' form in the "Pickwickians," was thought of between his publishers and Seymour. In fact, among others, besides Dickens, who were considered as being able to do the text, were Theodore Hook, Leigh Hunt, and Tom Hood.

As originally planned, it was undoubtedly a piece of what is contemptuously known as hack work. What it afterward became, under Dickens' masterful power, all the parties concerned, and the world in general, know full well.

The statement that Dickens is "out of date," "not read now," or is "too verbose," is by the mark when his work is compared with that of his contemporaries. In a comparative manner he is probably very much read, and very well read, too, for that matter. Far more so, doubtless, than most of his contemporaries; certainly before George Eliot, Wilkie Collins, Bulwer, or even Carlyle or Thackeray.

The very best evidence of this, if it is needed, is to recall to what great extent familiarity with the works of Dickens has crept into the daily life of "the people," who more than ever form the great majority of readers.

True, times and tastes have changed from even a quarter of a century ago. Fashions come and go with literature, novels in particular, as with all else, and the works of Dickens, as a steady fare, would probably pall on the most enthusiastic of his admirers. On the other hand, he would be a dull person indeed who could see no humour in "Pickwick," whatever his age, creed, or condition.

Admirers of the great novelist have been well looked after in respect to editions of his works. New ones follow each other nowadays in an extraordinarily rapid succession, and no series of classics makes its appearance without at least three or four of Dickens' works finding places in its list.

In England alone there have been twenty-four complete copyright editions, from "the cheap edition," first put upon the market in 1847, to the dainty and charming India paper edition printed at the Oxford University Press in 1901.

"In the Athenæum Club," says Mr. Percy Fitzgerald, "where many a pleasant tradition is preserved, we may see at a window a table facing the United Service Club at which Dickens was fond of having his lunch… In the hall by the coats (after their Garrick quarrel), Dickens and Thackeray met, shortly before the latter's death. A moment's hesitation, and Thackeray put out his hand … and they were reconciled."

It has been said, and justly, that Thackeray – Dickens' contemporary, not rival – had little of the topographical instinct which led to no small degree of Dickens' fame. It has, too, been further claimed that Thackeray was in debt to Dickens for having borrowed such expressions as "the opposite side of Goswell Street was over the way." And such suggestions as the "Two jackals of Lord Steyne and Mess. Wegg and Wenham, reminiscent of Pike and Pluck, and Sedley's native servant, who was supposed to have descended from Bagstock's menial." Much more of the same sort might be recounted, all of which, if it is true, is perhaps no sin, but rather a compliment.

The relics and remains of Dickens exist to a remarkable degree of numbers. As is well known, the omnific American collector is yearly, nay daily, acquiring many of those treasures of literature and art which the old world has treasured for generations; to the gratification of himself and the pride of his country, though, be it said, to the disconcern of the Briton.

The American, according to his English cousin, it seems, has a pronounced taste for acquiring the rarest of Dickens' books, and the choicest of Dickens' holographs, and his most personal relics.

The committee of the "Dickens Fellowship," a newly founded institution to perpetuate the novelist's name and fame, recently sought to bring together in an exhibition held in Memorial Hall, London, as many of those souvenirs as possible; and a very attractive and interesting show it proved to be.

The catalogue of this exhibition, however, had tacked on to it this significant note: "The Committee's quest for literary memorabilia of the immortal 'Boz' indicates the distressing fact that many of the rarest items are lost to us for ever."

All of which goes again to show that the great interest of Americans in the subject is, in a way, the excuse for being of this monograph on London during the life and times of Dickens.

Various exhibitions of Dickens' manuscripts have been publicly held in London from time to time, at The Exhibition of the Works of the English Humourists in 1889, at the Victorian Exhibition of 1897, and the British Museum has generally on show, in the "King's Library," a manuscript or two of the novels; there are many more always to be seen in the "Dyce and Forster Collection" at South Kensington. Never, before the exhibition held in 1902 by the "Dickens Fellowship," has there been one absolutely restricted to Dickens.

It is, of course, impossible to enumerate the various items, and it would not be meet that the attempt should be made here. It will be enough to say that among the many interesting numbers was the first portion of an unpublished travesty on "Othello," written in 1833, before the first published "Boz" sketch, and a hitherto unknown (to experts) page of "Pickwick," this one fragment being valued, says the catalogue, at £150 sterling. First editions, portraits, oil paintings, miniatures, and what not, and autographs were here in great numbers, presentation copies of Dickens' books, given to his friends, and autographs and portraits of his contemporaries, as well as the original sketches of illustrations to the various works by Seymour, "Phiz," Cruikshank, Stone, Leech, Barnard, and Pailthorpe, not forgetting a reference to the excellent work of our own Darley, and latterly Charles Dana Gibson.

Among the most interesting items of contemporary interest in this exhibition, which may be classed as unique, were presentation copies of the novels made to friends and acquaintances by Dickens himself.

Among them were "David Copperfield," a presentation copy to the Hon. Mrs. Percy Fitzgerald; "Oliver Twist," with the following inscription on the title-page, "From George Cruikshank to H. W. Brunton, March 19, 1872;" "A Child's History of England," with an autograph letter to Marcus Stone, R. A.; "A Tale of Two Cities," presented to Mrs. Macready, with autograph; "The Chimes" (Christmas Book, 1845), containing a unique impression of Leech's illustration thereto.

Other interesting and valuable ana were the Visitors' Book of "Watts' Charity," at Rochester, containing the signatures of "C. D." and Mark Lemon; the quill pen belonging to Charles Dickens, and used by him just previous to his death; a paper-knife formerly belonging to "C. D.," and the writing-desk used by "C. D." on his last American tour; silver wassail-bowl and stand presented to "C. D." by members of the Philosophical Institution of Edinburgh in 1858; walking-stick formerly belonging to "C. D.;" a screen belonging to Moses Pickwick, of Bath – the veritable Moses Pickwick of Chap. XXXV. of "Pickwick Papers;" the oak balustrade from the old "White Hart" (pulled down in 1889); pewter tankards from various of the Pickwickian Inns; the entrance door of Newgate Prison, of which mention is made in "Barnaby Rudge," Chap. LXIV.; warrant officer's staff, formerly in use in the Marshalsea Prison; original sign of "The Little Wooden Midshipman" ("Dombey and Son"), formerly over the doorway of Messrs. Norie and Wilson, the nautical publishers in the Minories. This varied collection, of which the above is only a mere selection, together with such minor personalia as had been preserved by friends and members of the family, formed a highly interesting collection of Dickens' reliques, and one whose like will hardly be got together again.

Innumerable portraits, photographs, lithographs, and drawings of the novelist were included, as well as of his friends and contemporaries.

Letters and documents referring to Dickens' relations with Shirley Brooks, Richard Bentley, Hablôt K. Browne, Frederic Chapman, J. P. Harley, Mark Lemon, Samuel Rogers, Newby, John Forster, David Maclise, and many others, mostly unpublished, were shown, and should form a valuable fund of material for a biographer, should he be inclined to add to Dickens' literature of the day, and could he but have access to and the privilege of reprinting them.

A word on the beginnings of what is commonly called serial literature is pertinent to the subject. The first publication with which Dickens' identity was solely connected was the issue of "Pickwick" in monthly parts in 1836-37.

A literary critic, writing in 1849, had this to say on the matter in general, with a further reference to the appearance of "David Copperfield," whose author was the chief and founder of the serial novel:

"The small library which issues from the press on the first of every month is a new and increasing fashion in literature, which carves out works into slices and serves them up in fresh portions twelve times in the year. Prose and poetry, original and selected, translations and republications, of every class and character, are included. The mere enumeration of titles would require a vast space, and any attempt to analyze the contents, or to estimate the influence which the class exerts upon the literary taste of the day would expand into a volume of itself. As an event of importance must be mentioned the appearance of the first number of a new story, 'David Copperfield,' by Charles Dickens. His rival humourist, Mr. Thackeray, has finished one and begun another of his domestic histories within the twelve-month, his new story, 'Pendennis,' having journeyed seven-twentieths of the way to completion. Mr. Lever rides double with 'Roland Cashel' and 'Con Cregan,' making their punctual appearance upon the appointed days. Of another order is Mr. Jerrold's 'Man Made of Money.' Incidents are of little consequence to this author, except by way of pegs to hang reflections and conclusions upon.

"Passing over the long list of magazines and reviews as belonging to another class of publication, there is a numerous series of reprints, new editions, etc., issued in monthly parts, and generally in a cheap and compendious form. Shakespeare and Byron among the poets, Bulwer, Dickens, and James among the novelists, appear pretty regularly, – the poets being enriched with notes and illustrations. Other writers and miscellaneous novels find republication in the 'Parlour Library of Fiction,' with so rigid an application of economy that for two shillings we may purchase a guinea and a half's worth of the most popular romances at the original price of publication. Besides the works of imagination, and above them in value, stand Knight's series of 'Monthly Volumes,' Murray's 'Home and Colonial Library,' and the 'Scientific' and 'Literary Libraries' of Mr. Bohn. The contents of these collections are very diversified; many volumes are altogether original, and others are new translations of foreign works, or modernized versions of antiquarian authors. A large mass of the most valuable works contained in our literature may be found in Mr. Bohn's 'Library.' The class of publications introduced in them all partakes but little of the serial character. It is only the form of their appearance which gives them a place among the periodicals."

In the light of more recent events and tendencies, this appears to have been the first serious attempt to popularize and broaden the sale of literature to any considerable extent, and it may be justly inferred that the cheap "Libraries," "Series," and "Reprints" of the present day are but an outgrowth therefrom.

As for Dickens' own share in this development, it is only necessary to recall the demand which has for many years existed for the original issues of such of the novels as appeared in parts. The earliest issues were: "The Pickwick Papers," in 20 parts, 1836-37, which contained the two suppressed Buss plates; "Nicholas Nickleby," in 20 parts, 1838-39; "Master Humphrey's Clock," in 88 weekly numbers, 1840-41; "Master Humphrey's Clock," in 20 monthly parts, 1840-41; "Martin Chuzzlewit," in 20 parts, 1843-44; "Oliver Twist," in 10 octavo parts, 1846.