III. " " by Edward Nash. Room in St. John’s College, Cambridge.
IV. " " by Richard Carruthers. Racedown, Dorsetshire.
V. " " by William Boxall. Alfoxden, Somersetshire.
VI. " " by Henry William Pickersgill. Goslar.
VII. " " by Margaret Gillies. Dove Cottage.
VIII. " " by Benjamin R. Haydon. The Rock of Names, Thirlmere.
THE PROSE WORKS.
IX. " " by Henry Inman. Gallow Hill, Yorkshire.
X. " " by Margaret Gillies. Coleorton Hall, Leicestershire.
XI. Dorothy Wordsworth, (Artist unknown). Allan Bank, Grasmere.
XII. Mary Wordsworth, by Margaret Gillies. Rydal Mount.
XIII. Dora Wordsworth, by Margaret Gillies. Bolton Abbey.
XIV. W. Wordsworth, by Edward C. Wyon. Blea Tarn.
XV. " " by Thomas Woolner. Peele Castle.
XVI. " " by Frederick Thrupp. Grasmere Church and Churchyard.
" " by Samuel Laurence.
" " by Benjamin R. Haydon.
All the etchings will be prepared by H. Manesse. The portraits, with many others, will be described in detail in a subsequent volume.
In all editorial notes the titles given by Wordsworth to his Poems are invariably printed in italics, not with inverted commas before and after, as Wordsworth himself so often printed them: and when he gave no title to a poem, its first line will be invariably placed within inverted commas. This plan of using Italics, and not Roman letters, applies also to the title of any book referred to by Wordsworth, or by his sister in her Journals. Whether they put the title in italics, or within commas, it is always italicised in this edition.
A subsidiary matter such as this becomes important when one finds that many editors of parts of the Works of Wordsworth, or of Selections from them, have invented titles of their own; and have sent their volumes to press without the slightest indication to their readers that the titles were not Wordsworth’s; mixing up their own notion of what best described the contents of the Poem, or the Letter, with those of the writer. Some have suppressed Wordsworth’s, and put their own title in its place! Others have contented themselves (more modestly) with inventing a title when Wordsworth gave none. I do not object to these titles in themselves. Several, such as those by Archbishop Trench, are suggestive and valuable. What I object to is that any editor—no matter