‘Helps Heavenward’: the story of a boy called David and an Edwardian Edinburgh family

In this post, Lyn Wall and Susan Gardner, curators at the Museum of Childhood, share this poignant and touching story which they pieced together from the discovery of a little book in the archive… 

One of the great benefits and pleasures of working with the Museum of Childhood book collection is sometimes finding a direct link to the person who owned the book originally, and sometimes we have an insight into an event in their lives, or how they lived their lives.

Help Heavenward titlepage Help Heavenward cover

Whilst working with the SELCIE team we came across a small unassuming hardback book with a plain cover called ‘Helps Heavenward  For Young Believers’.  On opening the book there was a pencilled inscription as follows: ‘In Memory of My Dear Brother David Stewart Who Died Feb 25 1904  B.S.’

The name David Stewart is not an uncommon one, but even so, we were able to track down what seems to be the correct Stewart family using the 1901 census return, and then found David’s death certificate.  The certificate states that he died age 12 at the Infirmary in Edinburgh and the cause of death was ‘pseudo-hypertrophic musc. Paralysis’ (today known as Muscular Dystrophy, a disease where muscles waste away over a period of time), which he had suffered from for a period of 5 years and then for the last 2 months of his life he had tuberculous.

The census shows that David had a sister called Elizabeth, who in 1904 when he died would have been aged 21, and that she was a rubber shoe maker.  David was listed as an invalid, and he had two other sisters, Isabella and Margaret.  Presumably ‘B.S.’ at the end of the inscription was Elizabeth known as Beth, Betty or Bess?

The date of the inscription and David’s death falls in the middle of the Edwardian era, which in essence hadn’t changed greatly from the late Victorian era in terms of people’s domestic and work experiences.  Christianity featured large in most people’s lives at this time, and with high infant mortality rates, and short life spans, it was a comforting thought for most people that their loved ones entered an afterlife.  Most people attended church regularly and even if they didn’t they would have been exposed to Christian teachings through their schooling or even work environments.

Scraps were discovered amidst the book – perhaps put there for safekeeping by David’s sister, Elizabeth?

Our records show that this book was donated by Mrs Pringle of Edinburgh in 1981, but there is nothing to confirm if she was connected to the Stewart family.   It wouldn’t be unreasonable to assume there was a family connection, as this is a book which obviously meant a good deal to Elizabeth as she had gone to the effort of writing an inscription in memory of her brother.  But sometimes, books and toys of great emotional significance to individuals, end up disconnected in a charity shop or forgotten in an attic or cupboard.

The book instructs the reader in ways they can be better Christians, and how they can use their faith to strengthen their character and hence send them ‘Heavenwards’ through their beliefs and actions in life.  The chapter called ‘Growing in Grace’ speaks of a child who lived in a cradle for 29 years: ‘He could neither talk, walk, nor recognise anyone, and was as helpless when he reached manhood as the day he was born’.  The reader is then encouraged to ‘grow in grace’ rather than physically grow, by learning to ‘love reading your bible’.  The message is — your faith and character make you a strong person, not your physical strength or health.  Other chapters guide you on how to rid yourself of doubts about your faith, and how to live a good Christian life.   

 The Stewart family may have had to draw strength from their faith.  David was obviously a poorly child for many years, and they would have known it was unlikely he would reach adulthood.  They were not a rich family, living in the Fountainbridge area of Edinburgh, known for its breweries and the site of the North British Rubber Company.   The company was established in 1856 alongside the Union Canal and it employed thousands of workers over five generations in manufacturing a variety of products from rubber Wellington boots, pneumatic tyres and hot-water bottles.  This is probably where Elizabeth worked.  Her father was a lorry driver, who also probably worked for the Rubber Company or one of the breweries.  It was a working class and industrial area that by the early twentieth century had declined into slum tenements and generally poor living conditions for the neighbourhood.

Throughout the pages of this book are apparently randomly placed colourful scraps.  They do not mark the beginnings of chapters, but it is possible they mark passages of significance to Elizabeth.  However, there are also some placed at the back of the book amongst advertisements.  It may just have been a way for Elizabeth to keep her scraps safe and flat, or perhaps her brother David had enjoyed playing with or collecting scraps. 

Scraps had been mass produced since the early nineteenth century, usually embossed and colourful and cheaply bought, they were accessible to most people.  Sometimes they were collected and stuck in books, or used to decorate Valentine or Christmas cards, or even screens.  They were extremely popular throughout the Victorian era and well into the twentieth century.  They are still made and collected today.

                                                                   This post written by Lyn and Susan Gardner

Mona Margaret Noel Paton (1860-1928), ‘a gifted teller of tales’

A visit to the Museum of Childhood’s archive one afternoon uncovered a forgotten Scottish Victorian children’s writer. Here, Sarah introduces the fairytale, folkloric worlds of Mona Paton…

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In 1871, Charles Dodgson, or Lewis Carroll, paid a visit to the island of Arran to see the Edinburgh painter, Joseph Noel Paton, bearing a letter of introduction from George MacDonald. Paton had a reputation as a distinguished artist of religious and mythic subjects but it was as a painter of beautiful and bizarre fairyscapes that he had piqued Carroll’s interest. Though John Tenniel’s images for the Alice books are now much loved, it was Paton whom Carroll had initially wanted as an illustrator for Wonderland’s first publication two years prior.

Mona’s father, the painter Joseph Noel Paton; the family lived at 33 George Square, Edinburgh

One of Paton’s most famous fairy paintings, The Reconciliation of Oberon and Titania (1847)

Despite it being a ‘rainy and misty’ September day, Carroll records that he had a delightful time with Paton, his wife, Maggie, and their large family who were holidaying, as they frequently did, on Scotland’s west coast. This marked the beginning of a long-standing acquaintance with one of Paton’s daughters, Mona Margaret Noel (1860-1928), who was then eleven years old.[i] In a later memoir, Joseph Noel Paton’s granddaughter gives this lovely description of Mona as having:

 more than her share of artistic temperament (the ‘DAT’ as those of the family who suffered from it most, called it). High-spirited, determined (sometimes pigheaded), a gifted teller of tales, a not unaccomplished pianist, a sweet singer, a clever mimic, Mona also had ‘the sight’. She grabbed life with both hands and  thereby suffered much. Her appearance was striking. She adored her father and, with hair waving crisply back from her forehead, appears in a number of his paintings, sometimes as angel, sometimes as devil’.[ii]

Mona, for instance, is known as ‘the curly headed imp’ who appears as a group of wild yet cherubic fairy children (three of her siblings) in one of Paton’s most popular paintings, ‘The Fairy Raid’.[iii]

Eighteen years later Mona would have a volume of fairy tales published by a small Edinburgh printer  —  retellings of Beauty and the Beast and Jack the Giantkiller.  The former is essentially drawn from the literary fairy tale culture of seventeenth- and eighteenth-century France, particularly associated with women writers, though stories of forbidden, ‘monstrous’, or cross-species desire go deep in terms of cultural and historical lineage (the tale of Cupid and Psyche, for example). The latter, on the other hand, springs out of indigenous folkloric and popular tale traditions of the British Isles.

This is a beautiful book —  sharp, funny, tender, and bizarre —  but scarcely well-known,   forgotten amongst a plethora of Victorian fairytale literature. But amidst the depth of a dusty box in the Museum of Childhood’s archive it surfaced one day. With a pale ivory background, text and image in what might best be termed a ‘rusty’ or garnet-coloured ink, and marginal embellishments at the top and foot of each page in neo-Celtic design, Paton’s book was designed to have an ‘antique’ feel even then. Read in an afternoon, it convinced us that Mona Margaret Noel Paton deserves her own place in the history of Scottish children’s literature.

Here, then, is a little taste of how she reimagines such two ‘very old’ fairy tales…. Continue reading

‘Celtic Tales Told to the Children’

Eighteen months on from our first descent into the Museum of Childhood’s basement vault and every box still tells a story. In one we opened lay two beautifully illustrated volumes from the early twentieth century. Several threads bound them together —  pooled from the same body of legends and stories from the great literary cycles of Irish and Scottish tradition, they show how the development of children’s literature pierces at the heart of questions about culture and identity, tradition and ‘belonging’.   And how the seedstore of myth and legend is an ever-present inspiration for creators of children’s stories…

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‘It was Aibric who remembered the story of the children of Lir, because he loved them. He told the story to the people of Ireland, and they were so fond of the story and had such pity for Lir’s children that they made a law that no one was to hurt a wild swan, and when they saw a swan flying they would say: “My blessing with you, white swan, for the sake of Lir’s children!’ –  fromThe Children of Lir’
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celtic-wonder-tales

Celtic Wonder Tales (1910) was the work of Ella Young (1867-1956), an Irish nationalist, Republican sympathiser, and poet. Born into a Presbyterian, unionist family in the north of Ireland, she learnt Irish Gaelic and became a member of the Dublin Theosophical Society (and a correspondent of W.B. Yeats). Absorbed by traditions of Irish mythology and storytelling, in 1910 she produced this volume of stories — each of them quite short but diverse in their range and scope.

They were accompanied by illustrations made by her friend, Maud Gonne (1866-1953), the English-born Irish revolutionary, campaigner, and suffragette — and famously beloved by Yeats. The volume was a labour of love which stemmed from the shared artistic and political interests of these two women. These in turn had grown out of the movement usually known as the Celtic Revival which had gathered energy from the 1880s onwards, building on earlier folk-collecting impulses and political movements to forge a new distinct sense of Irish vernacular culture, language, and identity (the National Literary Society was founded in 1892, for example; the Gaelic League in 1893). Continue reading

Chapbooks for Children: the missing link in the history of Scottish children’s literature?

 

little-jack

‘The Entertaining and Instructive History of Little Jack’. Courtesy of GUL Special Collections

Children’s literature has a long history of being ‘entertaining and instructing’. I’ve taken this week’s blog title from a specific chapbook: The Entertaining and Instructing History of Little Jack.  This copy belongs to Glasgow University Library’s Special Collections, and I am very grateful for their permission to include some images from their Scottish children’s chapbooks here.

 

The story of Aladdin was a favourite amongst Scottish chapbook makers! Courtesy of GUL Special Collections.

I first came across children’s chapbooks myself while working alongside David Hopkin, on chapbooks and broadsides for adults. As part of a teaching project, we digitised two hundred items from the David Murray collection: http://www.gla.ac.uk/0t4/~dumfries/files/layer2/glasgow_broadside_ballads/.  I noticed one or two titles which might appeal to children—a version of ‘Cinderella’, for instance, as ‘Catskin’, and mentions of pieces such as ‘Aladdin, or the Magical Lamp’.

Continue reading

George MacDonald’s Hidden Autograph

Sometimes amazing wonders can be found in the most unexpected places. A few weeks ago the Museum of Childhood book collection revealed to us a treasure hidden within a tiny book in a box filled with other tiny books, within an even larger box initially thought to contain only magazines. It seems it was the proverbial needle in a haystack.

The book in question is ‘a child’s birthday book’, as explained in the note left inside by a Mrs Golding, who donated the tiny treasure to the Museum of Childhood. What makes this book truly remarkable, however, is a signature found inside for the 10th of December – George MacDonald.

George MacDonald Birthday Book

The note inside the Birthday Book

George MacDonald (1824-1905) was a famous Scottish poet and novelist who greatly contributed to the field of fantasy literature, so at first it was difficult to believe his signature could be found in a child’s birthday book. The whole team tried very hard to contain their excitement. However, after the comparison made with some examples of MacDonald’s other autographs, the signature could positively be identified as his.

George MacDonald Birthday Book

The signature of George MacDonald

This is a truly exciting find both for the Museum of Childhood and SELCIE, and it brings hope that all literary treasure that is hidden, even in the tiniest of books, can one day be found. Keep your eyes peeled for more information about this exciting find – we just couldn’t resist sharing it with you now!

This post written by Joanna

Helen Douglas Adam (1909-93), child-poet of the pixie-pool

helen-douglas-adam_straightened

A portrait of Helen from the frontispiece of The Elfin Pedlar (1923)

Meet Helen Douglas Adam  –  the ‘infant poetess’ from Glasgow whose uncanny ballad poetry would find a home in the radical San Francisco artistic scene…

 

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‘A little wee elf in coat of green / Dwelt in a tree so gray, / In the tiniest house that ever was seen, / Lit by the things that might have been, / And the light of yesterday’.[i]

This poem was written by a young girl called Helen Douglas Adam when she was between the ages of ten and twelve. Born in Glasgow, raised in Dundee and, for two years a non-matriculated student at Edinburgh University, she grew up to become a radical literary figure on the San Francisco Renaissance scene. Helen Adam’s life is a little like a fairy tale of a slightly surreal kind; but both she, and her work, have remained rather a well-kept secret.[ii] We discovered a copy of her first published volume, The Elfin Pedlar & Tales told by Pixy Pool (1923), whilst unpacking one Thursday afternoon in the Museum of Childhood’s book-vault.

Continue reading

Welcome to SELCIE!

Welcome to the blog of the Scotland’s Early Literature for Children Initiative! SELCIE is a project that aims to explore the forgotten history of Scotland’s literature for children.

Our current work is in conjunction with Edinburgh’s Museum of Childhood, which has the UK’s largest collection of childhood associated objects. Within these collections are some 11,000 books that members of SELCIE are helping to catalogue.

The City Chambers

Our meeting point outside the City Chambers

Every week, our team head down into the Museum’s stores in the City Chambers to sort through the boxes of books housed there.

The store in the City Chambers

Morgan working in the Museum of Childhood’s store in the City Chambers

The collection is full of hidden treasures and every week we find special items that bring us closer to the children of Scotland’s past. From funny doodles to touching inscriptions, we never fail to find beautiful reminders of the ups and downs of childhood during our visits.

A special find

One of our special finds: a book that has been hand-painted by its owner

Please join us on our journey to make these objects more accessible to the public! On the right, you can sign up to our newsletter, which will let you know when we make our fortnightly post. You can also follow us weekly on Twitter here!  We hope you will enjoy the special items we find as much as we do.

 

This post written by Danielle