PART 1:
CHRONOLOGY OF RUSKIN’S WRITINGS,
1826-1842

CHRONOLOGY FOR 1826 (see also nos. 5-10)
	1. “The Needless Alarm,” January, MS I. Printed in PJR (4o), 1:xxii; PJR (8o), 1:viii-ix; and Works, 2:255-56.
	This is “poem IIII” as numbered by Ruskin in a group of six poems (see nos. 5-9 below) appended to the end of the first “Harry and Lucy” book. Title written by Ruskin as “the needless alarm.”
	Dating.—At the end of this poem and before “poem V” (no. 8), Margaret wrote “Jan 1826.” Immediately below this, she drew a rule, followed by “this book begun about Sept or Oct 1826 / finished about Jany 1827.” Since the latter comment clearly refers to the whole of MS I, Collingwood took the former date as applying to “The Needless Alarm” in particular and thus as identifying Ruskin’s earliest dated verse (PJR [4o], 1:xxii; PJR [8o], 1:viii).
	Cook and Wedderburn disagreed, ascribing priority either to “poem I” in this group (“When furious up from mines the water pours,” no. 5) or to “Ragland Castle,” which is the first poem in another group called “poetry discriptive” (sic) in MS III (no. 14). The latter, however, can be reasonably ascribed to a visit to Raglan and other 
sites in Wales during the second half of 1827 (see no. 14); and the former can be given priority only on the basis of overly elaborate reasoning. The argument for “poem I” in the MS I group being the earliest assumes, first, that Margaret’s note “Jan 1826” refers to all of the preceding four poems, not just “The Needless Alarm”; second, that the first poem of this group to be fair-copied, “poem I,” is likely to have been the first poem composed; and, third, that Margaret’s date “Jan 1826” “seems to be the date of the note, and not of any one of the verses in particular. Perhaps, writing at the beginning of a new year, Mrs. Ruskin made the common error of not altering the old year’s date”—i.e., writing “Jan 1826” for “Jan 1827” (Works, 2:255).
	Since Cook and Wedderburn’s reasoning depends on changing the extant evidence of what Margaret wrote, I believe we are obliged to regard at least “The Needless Alarm” as belonging to early 1826. While the poem must have been fair-copied “about Jany 1827” along with the other verse at the end of MS I, Margaret might well have known “The Needless Alarm” to have been composed a year earlier than the others and dated it accordingly. Perhaps the poem had served as Ruskin’s New Year’s gift to his father for the previous year, an occasion Margaret would surely remember. This interpretation is supported by a similar pattern in the second “Harry and Lucy” book (MS III), in which the prose text is followed by a group of poems including the previous year’s New Year’s poem (see no. 4). Moreover, the parents’ annotation of a poem’s date earlier than surrounding poems is not unique, occurring also in MS III (see no. 2), and Cook and Wedderburn, inconsistently, do accept the parent’s authority in that instance. Finally, it seems implausible that Margaret would have written 1826 for 1827 without noticing the error, since her note about the dating of the whole of MS I (which is unquestioned) is placed immediately below.
	Without following Cook and Wedderburn in redating “The Needless Alarm,” one might accept their suggestion that Margaret intends “Jan 1826” to refer to all four poems preceding her note. This possibility has been taken into account when dating of nos. 5-7, but, again, the interpretation supplants a more obvious and convincing explanation. One poem in the group, “On Scotland” (no. 6), along with no. 2, “Glen of Glenfarg,” has long been associated with the family’s visit to Scotland in 1826, and we now know, as the early editors did not, that this journey had to be taken relatively late in that year (see nos. 2, 6)—a fact consistent with the placement of “On Scotland” toward the end of MS I, “finished about Jany 1827.” All the evidence falls into place, if Collingwood’s original interpretation is accepted, namely that “The Needless Alarm” is a year older than its surrounding poems. This conclusion is corroborated by evidence of the poem’s sources.
	Sources.—The conclusions about dating accord well with the poem’s content. “The Needless Alarm,” a little tale about a mouse and a dog, suggests the influence of the more elementary children’s books known to have been in the Ruskin library, such as Dr. Aiken’s and Mrs. Barbauld’s Evenings at Home (see Viljoen, Sharp Collection, 8 [item 5f]). In the editions of Evenings at Home available to me, I found no tale resembling “The Needless Alarm” specifically, although Ruskin’s poem does recall these tales generally. The poem lacks Mrs. Barbauld’s conventional closing morals, but even she could occasionally relax this requirement, such as in “The History and Adventures of a Cat,” which relates a cat’s life from its own point of view and without didacticism.
	Barbauld’s lessons, hymns, and narratives were recommended by Richard Edgeworth, in his “Address to Mothers” (????) prefacing later editions of Early Lessons, as accessible and entertaining reading for younger children. Reading that Edgeworth recommends for older children, Jeremiah Joyce’s Scientific Dialogues, definitely influences a poem (no. 5) placed before “The Needless Alarm” in the group closing MS I. If the Ruskins followed Edgeworth’s advice strictly, therefore, “The Needless Alarm” likely represents an earlier stage of Ruskin’s reading than the scientific interests reflected in no. 5 (see Edgeworth, Frank, 7-9; Joyce himself suggests that his readers learn Evenings at Home before tackling his own lessons [Joyce, Dialogues, 9]).

the needless alarm
Among the rushes lived a mouse
with a pretty little house
made of rushes tall and high
that to the skies were heard to sigh
while one night while she was sleeping
comes a dog that then was peeping
and had found her out in spite
of her good wall for then his sight
was better than our mouses so
she was obliged to yield to foe
when frightened was the dog just then
at the scratching of a hen
so of he ran and little mouse
was left in safety with her house

 	Textual note.—Collingwood’s claim in PJR to print Ruskin’s poem “just as he copied it” into MS I is, for once, largely faithful. In setting “so” on a line by itself (line 10), however, the editor interprets too literally, I believe, what Ruskin intends as indicating a runover from line 9. The original does not show the closing punctuation in the edited version, and Collingwood’s “of[f]” (line 14) is spelled “of” in the original. Works reprints the PJR version identically.

	2. “Glen of Glenfarg,” September (or fall/winter 1827?), MS III. Printed in PJR (4o), 1:xxiv-xxv; PJR (8o), 1:xi-xii; and Works, 2:257.
	Title written by Ruskin as “glen of glenfarg.” The sixth of a group entitled “poetry discriptive” (sic) (see nos. 12-19; this poem placed between nos. 17 and 18).
	Dating.—At the bottom of the page containing this poem, which is continued onto the next page, is written “Sept 1826”—I believe by Margaret, although Cook and Wedderburn identify the hand as John James’s. The date likely refers to this poem in particular, rather than to the entire group (see no. 12).
	In the absence of other evidence, we are obliged, as in the case of no. 1, to accept the parent’s dating of this poem, rather than dating it a year later, along with the group to which it belongs. Collingwood believed that “Glen of Glenfarg” was inspired by the Ruskins’ passing through that region of Scotland on the return from visiting John James’s sister and her family in Perth. Collingwood assumed they would have started in mid-May, as became usual in later years, so the poem dated September must have been composed “during the journey home [from Perth], or on his return [to Herne Hill], in September” (PJR [4o], 1:xxiii; PJR [8o], 1:x). We now know, however, that John James was kept away from Herne Hill by unusually lengthy business travel until well after his May birthday, and the family holiday was consequently delayed (RFL 149, 150 n. 5). 
	The spring journey to Scotland had been deferred owing to the illness of Ruskin’s cousin James, who grew consumptive while living at Herne Hill, and who was taken back to Scotland in April (see no. 6). In May, James died in Perth, and the Ruskins would have been wary of exposing their son to the disease and, perhaps, to the grieving until later in the year. When the family did embark, their itinerary included the Lake District, either heading for the Lakes in the summer and returning in the fall through Perth, or starting for Perth in late summer and returning through the Lakes (TLC 7; the summer travel also probably included a week in June at Hastings [see nos. 3, 6]).
	It is possible that Margaret’s date refers, not to the time of actual composition, but to the poem’s connection with the 1826 journey. Alternatively, the fair copy in MS III could represent a revision of an earlier, September 1826 version, now lost. The poem in MS III does appear remarkably sophisticated, compared to no. 1 supposedly written only nine months earlier. A draft of some earlier date is probably indicated by Ruskin having dropped a rhyme word in fair copy (see Textual notes). In its present form, in any case, the poem can have been fair-copied no later than fall/winter 1827, along with the other poems in its group; and, in the absence of other positive evidence, we can only accept Margaret’s date as the best available.
	Sources.—Noting the reference to “charleses wain,” Viljoen (HGVP, box F.X) remarks that Ruskin could have learned the constellations from Joyce’s Scientific Dialogues or from Day’s Sandford and Merton. For Ruskin’s especial interest in this constellation, see no. 20, n. 1; and no. 21.

glen of glenfarg
Glen of glenfarg thy beauteous rill
streaming through thy mountains high
onward pressing onward still
hardly seeing the blue sky
____________________
Mountain streams press on your way
and run into the stream below
never stop like idle clay
hear the sheep and cattle low
____________________
Stones that in the stream do lie
bear the rushing torrent still
thou shalt never never die
submit unto the almightys will
____________________
Cows that lie upon the grass
rise and graze upon the hills
never be a heavy mass
like a stone thats in the rills
____________________
Sheep that eat upon the hills
rise and play and jump about
drink out of the running rills
and always on the grass be out
____________________
Cottages upon the plain
placed so near the floury mills
cottager look on charles’s wain
right above the grassy hills
____________________
The pole star guides thee on thy way
when in dark nights thou art
therefore look up at the starry day
look at the stars about thee tost

	Textual notes.—In the manuscript version, only the first words of each stanza are capitalized (with small capitals also used for Glen, line 1); lines are flush, without the editors’ indentations; stanzas are separated by horizontal lines; and Ruskin uses no punctuation. Other differences from published texts:
	25, PJR, Works The pole-star guides thee on the way,] The pole star guides thee on thy way MS III
	26, PJR, Works thou art [lost];] thou art MS III, with no trace of the rhyme word ending this line, although in the following, final two lines Ruskin did squeeze the rhyme words into the margin

	3.  THIS IS THE REVISED VERSION
TITLE
[Title page of MS I:]  HARRY AND LUCY / CONCLUDED / BEING THE LAST / PART OF / EARLY LESSONS / [diamond(?)-shaped ornament] / in four volumes / vol I / with copper / [horizontal bar] / plates / [diamond-shaped ornament] / PRINTED and composed by a little boy / and also drawn.

[MS I, 1r:]  I HARRY AND LUCY / concluded / [horizontal bar] / frontispiece / [drawing] / [at bottom, in Ruskin’s later hand:] Red book. No. 3. Sept 8th 1870. [The roman numeral preceding "HARRY AND LUCY" probably refers to the drawing--i.e., a  plate  number--rather than to the volume, since the next plate in the volume is numbered 2.]

(SHOULD THERE BE A WAY TO MARK THIS AS PROSE?)

TEXTS
FACSIMILE
DATE
September or October 1826 through January 1827. MS I, which is nearly entirely taken up by “Harry and Lucy Vol. I,” was dated by Margaret Ruskin as having been “begun about Sept or Oct 1826” and “finished about Jany 1827" (see dating of MS I).

Although the first volume of “Harry and Lucy” incorporates actual events that occurred at Herne Hill in earlier 1826 (see Connections: Family), Margaret’s dating of MS I indicates that Ruskin probably began writing or fair-copying this narrative during the family’s journey to the Lake District and Scotland, which had been delayed until the summer and fall (see Connections: Travel). Perhaps composition and bookmaking first emerged as a project to occupy Ruskin’s dull moments during travel. He may have occupied himself in the same way during the following year’s journey to Scotland, when he probably wrote or fair-copied the second volume of “Harry and Lucy” in MS III.

In the second half of the narrative in MS I, Harry and Lucy visit the seaside at Hastings for a week, apparently recording an actual summer journey. Viljoen points out that Harry identifies the fourth day of this seaside visit as “the longest day” of the year, which she interprets as the summer solstice, June 18-25 (HGVP, “Dating MSS. of Boyhood,” boxes D.V, E.IX). Accordingly, Viljoen proposes that the composition dates of "Harry and Lucy" be extended past Margaret Ruskin’s terminus for MS I, January 1827, to some time after June 1827, in order to account for the seaside holiday (HGVP, box D.V, chap. 3, app. 2). She discounts the possibility that the holiday had already occurred--in the previous year, June 1826--before Ruskin started work on MS I, apparently reasoning that the family could not have holidayed at the seaside in summer 1826, if, as Collingwood said, they had departed for Perth in May (see PJR ??). We now know, however, that the family departed for Scotland in the fall, not the spring, of 1826, and that Ruskin probably composed or fair-copied much of his narrative during that journey. In that light, his recounting events at Hastings from the previous summer makes good sense. (Viljoen was probably persuaded to extend the date of "Harry and Lucy" by, as well, Ruskin's having set the Hastings episodes in the second half of the narrative, and using those episodes to bridge the end of volume one of the narrative with the beginning of volume two of "Harry and Lucy," in MS III, which starts off in Hastings. The seamless joining of the two narratives is likely poetic license, however; and, in any case, Ruskin contradicts himself respecting his characters sojourn in the resort (see Connections: Travel).

CONNECTIONS
RELATED MANUSCRIPTS AND DRAWINGS
Discussion of other "Harry and Lucy" books. Red books.

The frontispiece (facsimile) of MS I shows a horse, house, tree, and bridge. Behind them is an outline that looks like a hill but that the boy labeled "a rainbow." The rainbow emerges from a cloudy sky, through which the sun is breaking. The drawing could refer to the poem that closes MS I, "On the Rainbow: In Blank Verse," or it could suggest Harry’s vision of the Witch of the Alps at the end of the prose narrative. Other plates in the volume bear no close relation with the text, however, and the frontispiece may have been a decorative feature that suggested the texts, rather than the other way around.

A drawing at the end shows mountainous "heights of wisdom" rising over a ravine labeled the "depths of folly," through which runs the  rivulet of vice.  At the bottom of the drawing, Ruskin jotted a note to himself,  To ask charles  why leaves are joined together.  Ruskin is probably planning to ask his cousin Charles Richardson, who frequently visited Herne Hill (see, e.g., RFL 141).

SOURCES AND TRAVEL
TERM: edgeworth; scott; mother-son
Maria Edgeworth’s Harry and Lucy Concluded, which was first published in 1825, and which provides the model for Ruskin’s title page in MS I, cannot have been in the Ruskin household for very long before Ruskin began his own derivative narrative in 1826 (for Ruskin’s surviving copy of the 1825 edition, see Viljoen, Sharp Collection, 7 [item 5c]). His project eventually extended to three volumes (nos. 3, 20, 32). Although the third volume is unfinished, Ruskin is inaccurate in Praeterita in finding that he “accomplished but one and a quarter” volumes (Works, 35:52; see also part 2, MS I, “Description”).

By the time Ruskin began imitating Harry and Lucy Concluded in 1826, he would already have been familiar with some of Edgeworth’s earlier volumes in the series. He may have read Early Lessons (1801) and Rosamond: A Sequel to Early Lessons (1821), and he certainly knew Frank: A Sequel to Early Lessons (1822), a copy of the latter surviving with Ruskin’s signature on the flyleaf, possibly the earliest known example of writing his name (Viljoen, Sharp Collection, 6 [item 2]). For general commentary on Ruskin’s early reading in Edgeworth, see Introduction, “A Preliminary Descriptive and Analytical Overview of the Juvenilia: Earliest Writing and Edgeworthian Education.”

A second important source is Jeremiah Joyce’s Scientific Dialogues. Though an influence in other early works (e.g., nos. 20, 25), the Dialogues are most heavily tapped for this first volume of “Harry and Lucy.” Joyce’s book is written as a series of “conversations” between a girl Emma, a boy Charles, and their father (and, at times, between two boys, Charles and James, and their tutor). The conversations introduce the children systematically to the major fields of scientific knowledge.

Scientific experiments drawn from Edgeworth’s tales and from Joyce’s Dialogues are blended in Ruskin’s imagination with the records of actual family journeys and projects. While the dangerous experiments involving exploding gunpowder and specialized scientific apparatus are obviously fictional—some of the texts copied almost verbatim from Joyce—Ruskin did actually carry out Edgeworthian projects at Herne Hill. Like Harry, Ruskin built a “cave” in May 1826 (RFL, 149; cf. chaps. 4-5, below), and the story of Harry’s mud globe has the sound of reality (chap. 9). These actual projects then became stories in “Harry and Lucy,” the influence of fiction on life thus being channeled back into fiction. As Ruskin says in his poem on the steam engine, based on similar Edgeworthian sources (no. 5), “From the engine might be formed a phrase.” Ruskin was keenly observant of relations between words and the worlds, fictional and natural, in which he engaged.

As explained in the Introduction to this edition, works by the Edgeworths, Joyce, and Anna Letitia Barbauld (see no. 1) presented a unified educational program, and their works were indebted to one another. Joyce attributes his book’s interlocutional method to the Edgeworths’ Practical Education, as the most effective means communicating ideas to children and gauging their intellectual progress. The spirit of this method is captured in Ruskin’s own “Harry and Lucy,” if on an elementary level, by having Lucy’s Mamma exploit a task of winding balls of silk thread in order to quiz her daughter on the multiplication tables.

Another characteristic of these books is reflected in Ruskin having his fictional Mamma caution the children to “do one thing at once.” Learning in Edgeworth’s Early Lessons is measured. The mother says she will answer questions at her leisure, and only if the child minds and remembers the answer. The father checks overly eager inquiry, for “thinking, without tiring ourselves, is very agreeable; but thinking becomes disagreeable, if we tire ourselves,” and Frank is frequently exhorted to save until later what he cannot comprehend immediately (Edgeworth, Frank, 1:120). Even more systematic and graduated procedures are adopted in Joyce’s Scientific Dialogues, starting with simpler concepts in mechanics and astronomy (vol. 1), and progressing through hydrostatics and pneumatics (vol. 2), and finally optics, magnetism, electricity, and galvinism (vol. 3).

If Ruskin has his “Mamma” adopt this methodical approach, he himself is not so easily restrained. In response to Mamma’s declaration, “Well I think we have had thought enough for the present,” Lucy returns “just two or three questions” more (chap. 1). Harry and Lucy are put in the middle of Joyce’s course—“he must begin with pneumatics,” Harry declares—and then, within that topic, the text works generally backwards through Joyce’s series of experiments. Ruskin’s determination to have his own way with the system must have been driven partly by a taste for spectacle. He relishes the fancier hardware in Joyce’s later chapters, and, consequently, he sacrifices preparatory concepts. Although Ruskin does appear to grasp the central purpose of Joyce’s experiments in pneumatics—that they are meant to investigate atmospheric “pressure and springiness,” as Harry puts it (see the notes to no. 3)—the Edgeworths would have preferred that the seven-year-old Ruskin, like Frank, explore the more fundamental concept of experimentation generally, using a homely trial such as testing for effective ways to mend a broken saucer (see Frank, part 2, in Edgeworth, Frank, 1:123-31).

If Ruskin exhibits impatience with Joyce’s system, MS I does reveal a steady development in the writer’s ability to represent complex relationships. In the plates at the beginning of the notebook, which are among the earliest surviving drawings by Ruskin, objects are lined up on a single plain, but later plates attempt more complex spacial relationships. Likewise, verbally, the first portion the narrative lines up events in simple sequences, whereas, toward the end, the representation of journeying inspires a more serpentine and surprising description like this one:

they climbed a high hill and went on sometimes by the sides of rivulets at other times half rubbing against hedges but oftenest so attracted by the bubbling of a pure clear stream that they were like to jump into it they went through dark avenues and between hedges forming a sort of foot-path sometimes a full view of the sea sometimes none at all till unexpectedly they arrived at home. (chap. 8)

The often verbatim experiments from Joyce, which are especially clustered in these later chapters eight and nine, and which appear merely to take up space with tedious copying, may have interested Ruskin with the language required to explain multiple and complex causal relationships, just as Harry poses “riddles” and word games to Lucy (chaps. 4, 7).

Ruskin’s advancing sophistication culminates in the well-known combination of science and poetry in Harry’s “witch of the alps” fantasy, in which Joyce’s Dialogues meets Byron’s Manfred. Joyce himself ornaments his dialogues with verse quotations, albeit from Enlightenment rather than Romantic poems, and some of these quotations undoubtedly inspired Ruskin’s poems that fill out MS I (see esp. no. 5). In Harry’s vision closing “Harry and Lucy,” however, Ruskin goes beyond the verse ornamentation of scientific prose to reveal a keen consciousness of the pleasures of crossing genres, for Harry was “affected . . . when he saw in the clouds something like” an image from a poem.

Harry’s “affection” is psychological, as well as literary. For Ruskin, Harry and Lucy’s adventures at Hastings would have represented a joyful release from a period of grief and loneliness earlier in the year. Business had kept Ruskin’s father from home for an unusually extended period, and a fatal illness had deprived the boy of his cousin’s companionship forever (see no. 6, where it is speculated that, in April of this year, Ruskin may even have experienced his first separation from both parents at the same time, while they accompanied James back to Scotland). This deprivation may have influenced Ruskin’s decision to imitate the Edgeworths’ partnership of Harry and Lucy. Not only would the fictional pairing have compensated for Ruskin’s actual losses, but also the losses could be played out and controlled in fiction, as when Lucy is made to bide the time, first, of a busy father, and, immediately afterward, of a preoccupied brother (chap. 2). Ruskin’s real-life deprivation particularly adds poignancy to certain stories in “Harry and Lucy,” such as the children’s kidnapping their mother to imprison her in Harry’s “cave,” where she must attend to one of Harry’s “schemes,” a procession of birds (chaps. 4-5). Psychological fantasy may also enter into the concluding “witch of the alps” episode with its spectral female form. The passage, with its exchange of negative and positive electrical discharges, might be read as an attempt to control and neutralize some sort of trouble--parental anger, one is tempted to say, although both the Mamma and the Papa of Ruskin’s narrative are generally made to react indulgently to the children’s mischief.

What the author calls his “plates” for this volume of “Harry and Lucy” may have been inspired by engravings in Edgeworth or other volumes of children’s literature, but the precise sources are unknown. In the editions of Joyce’s Dialogues available to me, the plates provide only schematics of apparatus, and such technical drawings exceeded Ruskin’s skill at this time. A year later, in his second volume of “Harry and Lucy,” he would attempt to copy only the simplest of Joyce’s diagrams (see no. 20, n. 1).

Margaret Ruskin's dating of MS I "about Sept or Oct 1826 / finished about Jany 1827" means that the fair-copying of "Harry and Lucy," although not necessarily its composition, was very likely accomplished while the family was traveling during this period in Scotland and the English Lakes. Indeed, some of the poems following "Harry and Lucy" in MS I refer to this autumn journey to Scotland (see "Glen of Glenfarg" and "On Scotland").

The prose narrative includes events at Herne Hill in spring 1826 and a journey to Hastings in the summer. As suggested in dating, the visit to Hastings most likely occurred in the summer of 1826. This interpretation is not affected by Ruskin’s placing the Hastings scenes in the second half of the "Harry and Lucy" narrative. As early as chapter one, in which Harry and Lucy are still at home, Lucy mentions an event “when we were at the seaside"--Ruskin evidently forgetting, or not having decided, that his characters (unlike himself) had yet to be carried there.

Ruskin keeps his characters at Hastings from the end of the narrative through the start of the second volume of “Harry and Lucy,”  in MS III, dovetailing the two volumes’ adventures, although the second volume was not begun until fall or winter 1827--a poetic license for the sake of seamlessly joining the two narratives.
FAMILY
BIBLIOGRAPHY
COMPOSITION
PUBLICATION
Previously unpublished in entirety. Portion of text and a drawing (as interpreted in type and engraving) approximated by Ruskin in Works, 35:52-55. Selections quoted in Collingwood, Life (1893), 24-25; Collingwood, Life (1900), 21; WS, 34. Selected drawings reproduced in RGI, pl. 2; and Walton, Drawings, 6. 

TEXTUAL NOTE

For Ruskin’s title page, frontispiece, and other particulars concerning this volume of “Harry and Lucy,” see part 2, MS I, “Description” and “Content.” For the interpretation and transcription of the especially irregular and idiosyncratic punctuation in no. 3, see Introduction, “The Selection of Texts,” and some notes following the text.
	The portion of “Harry and Lucy” approximated in Praeterita (Works, 35: 52-55) is misleading, above all because the drawing shown as interrupting the text, “harrys new road,” is to be found elsewhere in the manuscript (see notes to the text below for the locations of the “plates”). For the autobiography, Ruskin chose to combine a drawing and a portion of text that happened to interest him, although nothing prevents such a freedom in the original, in which the plates and text appear unrelated. In manuscript, this text about the electrical phenomenon and the Witch of the Alps is accompanied by a plate of “harrys garden.” The autobiography does achieve reasonable accuracy, however, in approximating the variations in size and spacing of Ruskin’s lettering in the manuscript.

COLLATIONS
TEXT

HARRY AND LUCY
concluded
BEING THE LAST
part of
EARLY LESSONS
in four volumes
vol I
with copper
plates
PRINTED and composed by a little boy
and also drawn

chap I
	mamma said Lucy papa has gone out to town earlyer than usual.1 Has he any business more to do.”
	Yes Lucy he has more to do because he has got to go to town and then into the city and then to the docks and you know that that takes up more time than plain going to town.
	Yes mamma. But I wonder what my white rabbit is doing all this while.
	I should think it is wondering what is become of you said her mother.”
	I’ll go and see it said Lucy.
	you cannot in the rain said her mother.
	oh is it raining cried Lucy I am very sorry for I have so many things to do. but however I have plenty of things to do in the house as well said Lucy[!]”
	yes you have answered her mother.
	But may I draw that head which I was drawing last night said Lucy[?]”
	yes but had not you better go on with that landscape which you were doing last week do one thing at once.
	Yes mamma said Lucy but how comes this pencils are lost.”
	That is very odd indeed for I know that from your your [sic] youth you never lost any thing said her mother.
	Yes said Lucy. but they are certainly gone for where could <it> they have gone but in the sideboard and they are not there[?]”
	but I have found them cried her mother
	have you cried Lucy where were they
	in the oddest thing said her mother
	But where said Lucy.
	in my workbox[!]”
	well done you think that this is pretty well done said Lucy[?]”
	Yes.”
	Now I will run out and refresh myself a little now it has done raining said Lucy.”
	Yes my dear said her mother and I will go and see my white rabbit said Lucy.
	Well I think I have been out enough said Lucy[!]”
	Yes my dear said her mother
	Now mamma here is dinner.
	mamma my white rabbit has got young ones said Lucy and they are such pretty ones one black and white and another red and white and another quite white in short of all colours[!]”
	and how many in number said her mother.
	ten said Lucy.
	And eleven in all said her mother
	Yes said Lucy eleven.”
	Well you are getting a fine stock plainly said her mother.
	Yes mamma I am.”
	But we ought to break off this discourse about your rabbits and get that of your silkworms said her mother. How are they getting on.”
	very well said Lucy one of them has spun a great deal of silk.”
	have any of them spun all they are going to spin said her mother
	Yes said Lucy three of them[!]”
	thats a great deal said her mother  let us go and wind it all on winders.”
	Yes said Lucy so we will.”
	how long do you think it will take to wind one ball said her mother.”
	two hours said Lucy.
	three said her mother and how many will three threes make said her mother
	nine said Lucy.
	so nine whole hours must be spent upon these <hours> balls said her mother.
	Yes said Lucy.2
	Well these are very large balls said her mother[!]”
	Yes said Lucy[!]”
	mamma when we were at the seaside we were told that the thread of the silk worms was two or three miles in length.”
	Yes said her mother and is not that a good length[?]”
	Yes said Lucy.”
	Well I think we have had thought enough for the present said her mother.”
	I have just two or three questions to ask you more said Lucy <mother>
	Well said Lucy how thin is the thinnest of the threads which <spin si> silkworms spin.
	I do not my dear know
	Very well said Lucy
	What is your next question my dear
	what is the size of the thickest thread as thin as a spiders

chap II
	Papa by this time had come home and Lucy then marched up to him and said papa would you be so good as to hear me my lessons.”
	I will if I have time my dear but I fear I shall not have time.”
	Very well said Lucy. Not in the mornings. But in the evenings you will. And would you be so good as to hear me my lesson now.
	Yes I will Lucy answered her father.”3
	Lucy said her lesson very well and after that her mother said[: “]I was wondering what made Lucy not come to say her lesson to me and now I find out the cause.”
	Yes said her father.
	Well Lucy you have said your lesson very well and in reward for so doing after church you shall take a very pleasant walk with me said her mother.
	and now Lucy has gone to bed and we shall have time to attend to harry whose history we have hitherto forgot.”
	in the last volumes of harry and Lucy my young readers may recollect that harrys father said he would take him into town to see the apparatus for making ice and harry had been with his father to see this apparratus [sic].”
	the apparatus was a very large airpump and harry looking in saw large pieces of ice in it. He said he could not explain it to Lucy because he did not see that part of the apparatus which made the ice.”
	Lucy said she did not mind losing that only that she wished harry would go on with science.
	harry said he would and the moment that I have time added he so Ill do that Lucy.
	When will you brother
	To morrow.
	Have you not time to day brother.
	No Lucy.
	Well I can easily wait can I not brother.
	Yes Lucy.
	And said her father now I will show you some experiments on sound.
	That will do nicely papa said Lucy
	Then come upstairs to the workshop said her father. Harry and Lucy followed him quickly
	As soon as they came to the workshop <took> their father took a little balloon filled it with gunpowder and hung it up at a pole in the room. Then he set fire to it and the noise was so much that it was near deaf{en}ing4 harry and Lucy  Afterwards he took another and hung it up at such a [plate]5 height that it was hardly perceptible then he set fire to it by setting fire to a rod that communicated with it and the noise could not be heard.”
	Now said her father how much do you think was [the(?)] distance between the height of these two balloons. they answered half a mile  Right said her father. And did you not observe that you did not hear the noise the very moment that I set fire to the balloon but in a few moments afterwards. And you observed that you did not hear the noise so quickly in the higher one as in the <<small>>lower one.
	Yes answered Lucy.  what was the cause of that
	The cause was that sound travels slowly and the distance between the lower balloon and the higher one being great the sound had to travel over that height of the larger pole and that sound was longer in coming down the higher pole than the lower one because of their height
	I understand you perfectly said Lucy.
	Now I will show you one other experiment said her father.
	Then he took a pipe of gunpowder and one of water communicated them together and bid harry apply his ear to the end of the one of water and having set fire to the gunpowder the noise was as loud as a cannon. This then proved that water is a good conductor  Next day harry took Lucy and took her into his garden and then showed her a little canal he had made and a little boat with some blocks fastened together by wedges then he placed a great many shores6 or bits of wood under the blocks and giving two or three blows on the wedges out they flew the blocks sunk and the boat hung on the shores
	Lucy now recollected a promise harry had made her to show her how ships were floated into docks to be repaired.
	Harry told her she was right.
	But how did you manage to make these shores so that they would hold the vessel so firmly and upright.”
	That would take us up too long a time standing here said harry.
	Well then come into the house if you will.
	No said harry. We can walk about the garden and then I can tell you.
	Yes answered Lucy.
	They are just plainly sticks of wood but I managed to set them so as to cross each other so that the ship went in between the shores and so was held up by them.
	Lucy now reminded harry of his promise about science. But he said he must learn his latin lessons first so they parted.”
	Lucy ran about the garden a little while. Then recollecting her brother she ran in to him to ask him if he was ready  he was ready and then Lucy went to the workshop with harry.”

chapter III
	Harry now took a cane and bent it and then letting go it flew with such force that it broke the window.
	Ha ha says harry this is not such a very good thing is it Lucy. No it is not said Lucy. But we will not let our spirits go by this let us run and tell mamma.”
	Yes said Lucy
	They both ran to her. mamma we have broke the window.
	She took out two balls from her worktable. You shall have these in reward  In reward interrupted both harry and Lucy at once in reward for breaking the window what can you mean mother.”
	No not in reward for breaking the window <but> not in reward for breaking the window but in reward for coming and telling me of it.”
	Ho ho so that is the reason mamma.”
	Yes that is it my dears.7
	Harry and Lucy then went out in search of the cane but they could not find it do what they would. At last Lucy suggested it might have stuck in a tree and as they went home they found it up in a large oak tree. The next thing to settle was how to get it down they first they [sic] thought of shaking it but then they could not shake it because it was too firm  Next they thought of climbing but the tree was too rugged for that  Next they thought of felling it but they remembered that the tree was not theirs and they must not fell it so they were in a great perplexity.
	At last they saw a man passing by and they asked him whether it might be felled.
	He said that it was his and they might cut it down.
	He went and got a man who would cut it for them. And they got the cane and went merrily [plate]8 home.
	Harry did not dare to do that again but as soon as they came home he took a tube bent it filled it with water placed it upright in a pond and disturbing the water the water in the pipe flew up in the air and down as if it was a fountain
	Lucy asked harry to leave the pipe in the pond and he did.
	It just now happenned [sic] that Lucys mother wanted her Lucy did not know for what only her mother wanted her

chap 4
	Harry launched his little boat but the water flowed into it. The pumps were sounded but all in vain the vessel sunk it went quite down the canal was too deep to get it up again harry was in a puzzle.
	At last lucy came they entangled a rope in all sorts of knots and bows and let it down into the water it entangled the vessel and brought it up again.
	Harry set to work to stop the leak and in a day did it. Next he put it into the water and it swam.
	Now harry wanted a kite and at last his mother gave him one. One day when he was flying it Lucy came to him and told him that she had lost his boat[,] and that it had had some water in it.
	This let harry know that he had not completely stopped the leak but in half a day he stopped it but they had a good search for it first. Lucy thought that it might have been thrown into a certain closet which she knew and there it was harry poured out the water and was done with it[!]”
	Now harry had a long while, been thinking9 [ . . .(?)]
	[ . . . (?)] this but at last she did. She said[,]
	a mans finger is for a child too large
	right said harry.”
	a lea<<ve>>f is a Leaf but it grows on a root.”
	Lucy found out this too  again she said[,]
	a tree grows on a root and the leaf on a tree.
	Harry said she was right.
	a little book is made of paste.”
	The answer was[,]
	The side of a book is made of paste.”
	Alls right we have done with our riddles.
	What only three.”
	threes enough.
	We will have some more riddles some other time.
	So we will.”
	The first thing Harry and Lucy did when the morning came was to make some grand scheme It was settled thus  Lucy was appointed to go into a bush by which her mother always passed, while harry made a cave. This cave had holes in the top and had a chair in it

chap 5
	Now Lucy waited till her mother passed the bush and then suddenly darting out seized her and carried her away to harrys cave where she sat quietly and read.
	But besides reading her mother had other amusements prepared for her. Harry had taken one of Lucys rabbits a parrot canary finch bullfinch sparrow and robin redbreast and had put them into a little hole in the bottom of the cave and then opening it all of them marched out the rabbit munching parrot talking canary singing bully cheaping robin hopping and went dancing and flying and eating and hopping and jumping all over the green.
	Lucys mother laughed heartily at this and so did Lucy for harry had kept it a secret even from her.
	Now they went in and harry was dressing himself when he was interrupted by Lucy running jumping and cutting capers.
	Why whats the matter my dear.
	Harry do you know we are going to the seaside again.
	Is this true cried [plate]10 harry.
	it is true  we are to set off this afternoon dress yourself as fast as you can be ready.
	Lucy prounounced [sic] the words as fast as she could that was the why that she forgot the part of speech11 and Harry got ready as fast as he could and in a few minutes was seated opposite to his father with Lucy away they went. 
	Presently they saw such a beautiful chain of mountains that they thought they had been made by mens hands.
	After a little while they came to a wood a league every way in size but so beautiful they quite wondered  Next they came to a river and they were to ride along the side of it. It was beautiful the water curling so nice and dashing against rocks and now they got to the inn.12

chap 6
	The inn was close by the bank of the river to harry and Lucys joy but there was more joy for them they were to go to the sea now all in one stage only stopping to change horses after having had a little wine they set out again on their journey first of all they came to a house where they saw a very large white cat even they could not see one spot of black upon it. just like the froth of the sea said Lucy
	Nonsense Mrs hic haee hoc13 said harry.
	Ha ha thats an odd allusion said Lucy
	a T as crooked as an o.
	Ha ha ha ha you will come to nonsense at last harry.
	No said harry youll get to nonsense. [plate]14
	[Lots(?)] nonsense. What a great many words about one thing said Lucy.
	So much the better said harry.
	So much the worse said Lucy
	Look look look father cried harry do you see that.
	No I do not what is it.
	The fact was that harry had seen a waggon strike a spark from the road and that set fire to a tree and harry had seen it blazing.
	Thats a bad job indeed said his father dont you observe it is close to a little cottage and it may set fire to it.
	No papa said harry no because though I see the cottage I also observe it is sheltered by a ditch which is wet and if the flames come to it they will quickly be quenched
	But remember harry that little water will not quench much fire
	But theres a great deal of water in the ditch.
	Oh then I am not so much concerned.
	No papa look the flames are fast quenching and now they are out.
	Yes said his father
	Look look what is that gently moving up and down sometimes a little froth appearing
	give me my telescope harry and I[’]ll tell you.
	Its the sea.
	the sea
	Yes the sea
	a shout of joy followed
	What is that town
	hastings
	Wheres hastings
	by the sea side
	Are we going to hastings.
	Yes.
	By this time they had got to the entrance of hastings and went to a hotel where they had a full view of the sea and harry saw a two master which he showed to Lucy

chap 7
	Next day their father took them out in a pleasure boat which harry and Lucy liked very much harry now got a little dog and he used to take great pleasure in giving him a swim by throw{ing} a stick into the water and making him swim after it. one day as harry was sailing his boat without a string a surge lifting it high aloft threw it upon the beach and immediately fell upon it when it again was afloat as it turned its sides to the sun it looked as if it were made of diamonds. harrys little dog then came prancing in and seeing the boat jumped into the water caught it in his mouth and before harry could prevent him gnawed it to peices [sic]  Harry finding that amusement stopped amused himself for some time with his dog and then went in  Papa and he then went out for a walk and after having climbed a high hill they came on a sort of plain composed of a great many fields only separated by hedges and where they had a full view of the sea and harry got a large nosegay of wildflowers Harry then went home with his father and after dinner went out again upon the beach and coming in took tea and went to bed.
	Next morning they were awakened by their fathers [sic] calling come here harry he ran to his father and they saw a great light about a mile from the shore but they soon saw what it was for a great many beams rafters and bits of wood on fire blew up in the air with a tremendous explosion and in an instant all the fire [plate]15 was out.
	Harrys father now said that it was a ship on fire and on looking through his telescope observed a board floating on to the shore that bore evident marks of being thoroughly burnt and Harry agreed in his opinion  Now Harry went to Lucy to remind her of riddles and he began.
		three parts of a cross
		and a circle complete
		two semicircles
		perpendicular meet
		an angle standing on two feet
		two semicircles and a circle complete
	I know that riddle it’s tobacco said Lucy.
	Yes it is said Harry but how does it make tobacco.
	three parts of a cross make T and a circle complete O two semicircles perpendicular meet B an angle standing on two feet A two semicircles and a circle complete double C and O  Yes said Harry but I will give you another
		two letter s each
		and each a half
		of what the beach
		was involved in
	fire said Lucy
	Yes it is fire and we have done

chap 8
	Harry went out upon the beach with his dog and brought in to Lucy such a store of shells that she wondered how he could pick up so many without his back aching  But Harry told her that he had quite changed since that time and was counting all the shells over when he was interrupted by dinner after dinner Harry learned all his lessons drew a little took tea and went to bed.
	Next morning Harry went out upon the beach for the 4th time and this time he brought spars and pieces of ore to Lucy instead of shells. But here he was stopped by going out for a walk they climbed a high hill and went on sometimes by the sides of rivulets at other times half rubbing against hedges but oftenest so attracted by the bubbling of a pure clear stream that they were like to jump into16 it they went through dark avenues and between hedges forming a sort of foot-path sometimes a full view of the sea sometimes none at all till unexpectedly they arrived at home.
	Harry sat down to draw and had just done part of the trunk of a tree when a carriage drove to the door.
	Who is it said Harry looking out.
	It was only an arrival.
	Harry sat down again and finished his tree but they were soon turned out of their apartment and put into another for they were [plate]17 told that the person who had just come in wanted their apartments.
	After dinner it being the longest day tea came in seemingly at three o-clock  when it was seven harry going to bed at nine had only two hours to play which he spent in drawing and went to bed.
	Next morning after breakfast Harry determined to go on with science and told Lucy he must begin with pneumatics he said that this science treated of the pressure and springiness of the air.
	Remembering that Lucy wanted to see the guinea and feather fall with equal velocities he took a guinea and a feather set them on a brass flap and put the flap under the receiver of his air pump shut it up in a little notch and exhausting the air turned a little wire and the flap slipped down and the guinea and feather fell with equal velocities and no noise.
	Lucy was surprised at this but harry said that it was only because the air was taken away18
	Harry now said he would describe the airgun to Lucy.
	What is an airgun said Lucy
	It is a sort of musket that acts by air instead of gunpowder.
	How does it act by air instead of gunpowder.
	There is a ball of condensed air which is screwed to the barrel of the gun and there is a valve in the ball opening inwards and when the ball is screwed on and the bullet in the trigger is pulled back which forces down a hook upon a pin connected with the valve and liberates a portion of the condensed air this rushing through a hole in the lock into the barrel will impel the bullet to a great distance.19
	What is the eolian harp said Lucy.
	It is a sort of harp that acts by air instead of the hands for the air sweeping along the strings of the harp makes them vibrate and produces the sound.
	What are the principal conductors of common sound said Lucy. [plate]20
	They are flannel water air which last is absolutely necessary to sound.
	Will you prove that to me said Lucy
	Yes I will said Harry.
	Harry then took a bell and put it in the receiver exhausting the air and bidding Lucy look at the clapper of the bell he shook the air pump.
	I see plainly the clapper knocks the side of the bell but I hear no noise said Lucy.
	That is because there is no air inside listen again.
	I hear the bell very plainly now said Lucy.
	That is because I admitted the air said harry
	But why did you shake the air pump could not you shake the reciever [sic] said Lucy
	No I could not for the air was pressing it firmly down to the bottom of the airpump21  But said harry looking at his watch I must leave you now or I shall not have time for my lessons

chap 9
	Harry now determined to have another grand scheme so he took a handfull of earth moistened it with water and stuck it onto the green. He then took another handfull and treated it in the same manner till he had formed a large ball of the shape of an orange he then divided it into divisions and wrote upon some of them africa on others america iceland spitzbergen novazembla22 and all the countries he could remember and when his mamma and papa saw this whenever they were at a loss for the situation of any country they went to harrys globe for satisfaction
	This scheme being finished harry went on with science. Harry said he would show Lucy a very entertaining experiment so he took a strong copper vessel filled it half full of water and took a syringe and screwed it to a pipe with this he forced a considerable quantity of air into the vessel so that the air was very much condensed he then turned a stop-cock while he took off the syringe and no water could escape but putting a jet instead of a syringe and turning the stop-cock the air in the vessel forced the water through the jet to a great height.23
	Harry then took a little square bottle and he cemented to it a screw-valve by which he fixed it on the plate of the airpump and exhausted the air and the pressure of the atmosphere upon the glass broke it into a thousand pieces.
	Lucy asked why he had chosen a square bottle instead of a round one.
	Because one of that shape would have sustained the pressure like an arch.24
	Harry then took a jar of water and put in some pieces of iron zinc and stone &c then he exhausted the air and the elastic spring of air contained in the stone forced the water out of it in a multitude of globules forming a very pleasing spectacle25	After that Harry took a piece of cork and tied a piece of lead to it just enough to make it sink he then removed the air and then the cork brought the lead up to the surface.26
	Then Harry took a piece [plate]27 of cork and a piece of lead and balanced them on a scale-beam and exhausting the air the cork was heavier than the lead.28
	Harry then took a poker and tied a strip of flannel round the middle of it but leaving both the ends untied he tied the two ends round Lucys first finger of each hand and then bid Lucy put these fingers into each of her ears and strike the poker against the fender and the sound returned was astonishing that made by a loud church bell was not to be compared with it.29
	After that Harry took a very shrivelled apple and put it under the receiver and it appeared as fine an apple as it was when first taken from the tree but admitting the air it was as shrivelled as ever.30
	Then harry took a marble and shot it against the wainscot and it returned to his hand he told Lucy that the line it described in coming from the wainscot was called the line of reflection and the line in going to it the line of incidence.31
After that Harry took a new laid egg and made a hole in the small end of it putting it under the reciever [sic] of the airpump in an aleglass and the pressure of the bubble of air found in the broad end of new laid eggs forced all the contents of the egg out into the aleglass.32
	Then Harry took a small glass can filled with water and three little images floating at the top he then tied little weights to them so that they descended to the bottom but on removing the air they ascended to the top dragging the weights after them33
The time had been so pleasantly taken up by these experiments that Harry did not hear his mother call him and he staid away a whole hour later than he should have done for he always went to his lessons at twelve and he staid till one but now he went to them

chap 10
	Harry now went out upon the beach and dug a deep hole in it which to his surprise he found full of different coloured sea shells and what made it the more wonderful was that the further he dug the more shells he found. He thought this would be a fine mine to Lucy if she could get at the shells without dirtying her frock but he was afraid she would not he led her to the place but he found she could not so that he was obliged to pick up as many as he could reach and go home.
	Harry sat down to draw and had just said How very few people come to this inn when another carriage drove to the door. Harry knew very well what it was and went on with his drawing but Lucy soon called him away and bid him observe a great black cloud from the north which seemed rather electrical Harry ran for an electrical apparatus which his father had given him and the cloud electrified his apparatus positively [plate]34 after that another cloud came which electrified his apparatus negatively and then a long train of smaller ones but before this cloud came a great cloud of dust rose from the ground and followed the positive cloud and at length seemed to come in contact with it and when the other cloud came a flash of lightning was seen to dart through the cloud of dust upon which the negative clouds spread very much and dissolved in rain which presently cleared the sky35
	After this phenomenon was over and also the surprise Harry began to wonder36 how electricity could get where there was so much water but he soon observed a rainbow and a rising mist under it which his fancy soon transformed into a female form. He then remembered the witch of the waters at the Alps who was raised from them by takeing [sic] some water in the hand and throwing it into the air pronouncing some unintelligable [sic] words37  And though it was a tale it affected Harry now when he saw in the clouds something like it
end of harry
and Lucy

END