![BRIGHT, Henry Arthur (1830-1884). A Historical Sketch of Warrington Academy (Read 11th November, 1858). [Offprint from the Transactions of the Historic Society of Lancashire and Cheshire, II, 1859].](https://www.christies.com/img/LotImages/2014/CKS/2014_CKS_01584_0334_000(bright_henry_arthur_a_historical_sketch_of_warrington_academy_offprint051447).jpg?w=1)
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BRIGHT, Henry Arthur (1830-1884). A Historical Sketch of Warrington Academy (Read 11th November, 1858). [Offprint from the Transactions of the Historic Society of Lancashire and Cheshire, II, 1859].
8 ° (208 x 130mm). 4 lithographic plates. Contemporary limp hard-grained green morocco. Provenance: Henry Arthur Bright. With 4-page a.l.s. from Lucy Aikin (1781-1864) to [Bright], dated Wimbledon 4 August [1856?], bound in at front. Eleven other a.l.s from various correspondents to Bright, dated April 1859, all sent in appreciation of his ‘Sketch’, bound in at end. These include a 3-page letter from Lucy Aikin, dated Hampstead, 18 April. James Kendrick encloses a photograph of ‘The Bridgewater Aqueduct, near Warrington, the scene of Dr. Aikin’s “Reverie” entitled “The Canal and the Brook” (‘I only identified the locality the other day’). In addition a 12-page copy letter from Lucy to Mrs Gaskell, dated Wimbledon, 24 July 1856, responding to questions submitted by Bright, is loosely inserted. Despite claiming to have been 'but just born when W. academy expired' [in fact she was seven years old], the historian responds imaginatively, as if actually present during its 'golden age'.
AUTHOR’S COPY OF THIS 'NOTEWORTHY PIECE' (ODNB). It reveals that the families who intermarried and formed the present book collection had ancestors who attended the dissenting Academy. Bright writes: ‘We still find united the lineal and the theological successors of the Academy’s students, in the Rigbys, the Martineaus and the Taylors of Norwich, the Heywoods and the Yateses of Liverpool, the Potters of Manchester, the Gaskells of Wakefield, the Brights of Bristol, the Shores of Sheffield, the Hibberts of Hyde and the Wedgewoods of Etruria’ (p. 21). Based on papers ‘rescued from the hands of a Liverpool cheesemonger’, Bright's Sketch owes much of its colour to anecdotes about student life passed on by Lucy, the grand-daughter of Dr. Aikin, in her copy letter. In describing the attractive young women in the Warrington circle (pp. 12-13), he draws on the account of Lizzy and Sally Rigby, and of her own aunt, Anna Letitia Aikin, later Mrs Barbauld. The publication of Rousseau's Heloise meant that 'everybody instantly fell in love with anybody' (a remark Bright slightly misquotes). Lucy’s shorter letter of 4th August reveals another uncontrollable aspect of student behaviour: ‘the anti-English zeal of the students, during the American war, amazed and alarmed the dons. One of them … insisted on the right to illuminate his own windows for an American victory’. After thanking him for copies of his ‘Historic Sketch’, 18 April 1859, Lucy reproves him for satirising Gilbert Wakefield, assuring him that ‘this happier age needs to be far better taught what it owes to that brave, though sometimes headlong band of zealots in reform'.
8 ° (208 x 130mm). 4 lithographic plates. Contemporary limp hard-grained green morocco. Provenance: Henry Arthur Bright. With 4-page a.l.s. from Lucy Aikin (1781-1864) to [Bright], dated Wimbledon 4 August [1856?], bound in at front. Eleven other a.l.s from various correspondents to Bright, dated April 1859, all sent in appreciation of his ‘Sketch’, bound in at end. These include a 3-page letter from Lucy Aikin, dated Hampstead, 18 April. James Kendrick encloses a photograph of ‘The Bridgewater Aqueduct, near Warrington, the scene of Dr. Aikin’s “Reverie” entitled “The Canal and the Brook” (‘I only identified the locality the other day’). In addition a 12-page copy letter from Lucy to Mrs Gaskell, dated Wimbledon, 24 July 1856, responding to questions submitted by Bright, is loosely inserted. Despite claiming to have been 'but just born when W. academy expired' [in fact she was seven years old], the historian responds imaginatively, as if actually present during its 'golden age'.
AUTHOR’S COPY OF THIS 'NOTEWORTHY PIECE' (ODNB). It reveals that the families who intermarried and formed the present book collection had ancestors who attended the dissenting Academy. Bright writes: ‘We still find united the lineal and the theological successors of the Academy’s students, in the Rigbys, the Martineaus and the Taylors of Norwich, the Heywoods and the Yateses of Liverpool, the Potters of Manchester, the Gaskells of Wakefield, the Brights of Bristol, the Shores of Sheffield, the Hibberts of Hyde and the Wedgewoods of Etruria’ (p. 21). Based on papers ‘rescued from the hands of a Liverpool cheesemonger’, Bright's Sketch owes much of its colour to anecdotes about student life passed on by Lucy, the grand-daughter of Dr. Aikin, in her copy letter. In describing the attractive young women in the Warrington circle (pp. 12-13), he draws on the account of Lizzy and Sally Rigby, and of her own aunt, Anna Letitia Aikin, later Mrs Barbauld. The publication of Rousseau's Heloise meant that 'everybody instantly fell in love with anybody' (a remark Bright slightly misquotes). Lucy’s shorter letter of 4th August reveals another uncontrollable aspect of student behaviour: ‘the anti-English zeal of the students, during the American war, amazed and alarmed the dons. One of them … insisted on the right to illuminate his own windows for an American victory’. After thanking him for copies of his ‘Historic Sketch’, 18 April 1859, Lucy reproves him for satirising Gilbert Wakefield, assuring him that ‘this happier age needs to be far better taught what it owes to that brave, though sometimes headlong band of zealots in reform'.
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Eugenio Donadoni