From 1841 to 1901 the information from the schedules was then copied into enumeration books. The forms completed by each household, known as schedules, were collected a few days later by the enumerator. The heads of household were instructed to give details of everyone who slept in that dwelling on census night, which was always a Sunday. In every census year an enumerator delivered a form to each household in the country for them to complete. How the census was taken and on what dates For more information on the 1939 Register, please read the guide on the 1939 Register.ģ. The 1939 Register is similar to but not the same as the census. Read section 12 for information on the census returns for Scotland and Ireland. They will remain closed to the public for 100 years after the date they were conducted. vessels in English and Welsh ports and inland waterways from 1861 onwardsĪll later censuses remain in the custody of the Office for National Statistics.This guide explains how to access the historical censuses from 1841 to 1921 and provides information on using the census returns of: The National Archives references for censuses Why can't I find my ancestor in the census? Addresses, houses and other buildings in the census Where to access and how to search the censuses What is the census and why was it compiled? Some copies are available in the Morgan Shop. The Folio Society has issued a printed facsimile of this volume in an edition of 750 copies. Pagden’s decorative work inside this volume and Cobden- Sanderson’s on the cover attest to the privileged position of this book in the circle of William Morris and the history of typographic design. It was one of nineteen Cobden-Sanderson bindings displayed in the first Arts and Crafts exhibition in 1888. In this copy that binding was replaced by a magnificent gilt-tooled morocco binding by Morris’s disciple Thomas James Cobden-Sanderson, a founder of the Arts and Crafts Movement. Morris designed an elegant gilt-stamped green cloth binding for the original edition. Instead of the typographical ornaments they had rejected, it contains watercolor flowers and foliage supplied by Ellis’s niece Beatrice Pagden. It belonged to Ellis, who had it embellished with floral decorations and a special binding as a memento of his rewarding relationship with the author. This copy is a precursor of the Kelmscott edition. A year after he died, his executors fulfilled his intentions for Love Is Enough by printing it in his Kelmscott types with illustrations by Burne-Jones. This innovative venture, the Kelmscott Press, gave him the means to print texts of his own choosing with his specially designed proprietary types, initials, borders, ornaments, and illustrations. (Purchased in 1902, many of those books became the kernel of Pierpont Morgan’s personal library.)Įventually Morris founded a private press to implement his book-arts ideals. This was not the first or last of Morris’s attempts to emulate the letterforms and layout of the illuminated manuscripts and the illustrated incunables in his collection. Ellis published the first edition without illustrations except for a vignette of three musicians in the large-paper copies (see p. After viewing the proofs, they decided against that approach because the type did not match the weight of the woodcuts. They printed trial pages with woodcut ornamental borders and floriated initials. Morris looked to Love Is Enough as an opportunity for typographical experiments with his friends the publisher Frederick Startridge Ellis and the artist Edward Burne-Jones. Now its literary value is less significant than the evidence it provides for his antiquarian pursuits and bookmaking ambitions. It was not a popular success even though Morris was already famous for his medievalizing poetry. William Morris wrote the poetic romance Love Is Enough in the form of a masque or a medieval morality play.
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