The Monthly Magazine (1796-1843) first appeared under the editorship of John Aikin, and it became a favourite among liberal and radical readers. Aikin and his sister, Anna Letitia Barbauld, had collaborated on Evenings at Home (1792-1796), a series of stories for children, and Barbauld occasionally wrote for the Monthly. In the essay on display, she challenges some of Rousseau’s ideas regarding children and education. At the time, most periodicals published articles anonymously or under a pseudonym. However, the London publishing world was a small community, and the identity of regular contributors was often an open secret. Here, a previous owner has added ‘Mrs. Barbauld’ beneath the article’s title.

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[Anna Barbauld]]]> Periodicals]]>
The Union Jack (1880-1883, 1894-1933) was a weekly magazine for boys. Its founding editor, the novelist W.H.G. Kingston, died only a few months after the first issue appeared. The adventure novelist G.A. Henty succeeded him. Initially, the journal struggled against its more popular competitor, the Boy’s Own Paper, and it folded in 1883. It was revived in 1894 by Alfred Harmsworth (later Viscount Northcliffe). The detective Sexton Blake – modelled on Sherlock Holmes – is credited with the Union Jack’s recovery, to the extent that, in 1933, the journal changed its name to Detective Weekly.]]> [Edited by W. H. G. Kingston]]]> Periodicals]]> In 1848, Charlotte Brontë published her first novel Jane Eyre under the pseudonym Currer Bell. Elizabeth Rigby, writing anonymously, produced a particularly scathing review. Rigby – one of the first women to write for the Quarterly – declared Jane Eyre ‘a decidedly vulgar-minded woman’ and Rochester ‘a strange brute’. If the author was a woman, wrote Rigby, ‘she had long forfeited the society of her own sex’. Unaware of her reviewer’s identity, Brontë responded, “I am afraid he is no gentleman’.

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[Elizabeth Rigby]]]> Periodicals]]>
Edinburgh Review. He had previously described William Wordsworth as a talented but misguided poet. For Jeffrey, Wordsworth’s The Excursion, a 400-page discursive poem set in the countryside, was the last straw: ‘The case of Mr. Wordsworth, we perceive, is now manifestly hopeless; and we give him up as altogether incurable, and beyond the power of criticism’.]]> [Francis Jeffrey]]]> Periodicals]]> Punch, or the London Charivari (1841-1992, revived 1996-2002) was founded by a group that included social reformer Henry Mayhew, engraver Ebenezer Landells, and journalist Mark Lemon. It quickly became known for its lively political and social satire. Early circulation figures were modest at around 6000, but by 1860 they had risen to 40,000 copies each week. Contributors included Richard Doyle, William Makepeace Thackeray, John Tenniel, and George du Maurier. Punch was a great supporter of the 1851 Great Exhibition at Hyde Park and is credited as the originator of the name, ‘The Crystal Palace’.]]> [Henry Mayhew, et al.]]]> Periodicals]]> The Illustrated London News (1842-2003) transformed the reporting of current affairs, politics, and world events. It was the world’s first illustrated weekly newspaper, visibly different from its competitors. The ILN initially featured a large number of wood engravings; photographic reproductions began to appear in the 1890s. The paper sold at sixpence a copy and achieved impressive circulation figures through special editions, including the celebration of the opening of the Crystal Palace in 1851, and the death of the Duke of Wellington in 1852 . The ILN’s reputation was confirmed by its reports and photographs from the Crimean War in 1855, when sales reached more than 200,000 copies a week.

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[Herbert Ingram]]]> Periodicals]]>
Is this letter Jane Austen’s first appearance in print? Some scholars think so. The Loiterer was a weekly periodical launched in early 1789 by James Austen, Jane’s brother. Printed in Oxford, it lasted for about fourteen months; the final issue appeared on 20 March 1790. ‘Sophia Sentiment’ was a character in William Hayley’s comedy The Mausoleum (1785), a work that Jane Austen owned. This three-paragraph letter shows the spark of humour that might well have come from a teenage Jane Austen.

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[James Austen]]]> Periodicals]]>
Spectator was a short-lived daily publication (1711-12; 1714). Edited by Joseph Addison and Richard Steele, it was a successor to Steele’s Tatler (1709-1711). Articles were written by the imaginary ‘Mr. Spectator’, who offered commentary on the London social scene and introduced several members of a ‘Spectator Club’, whose ‘histories’ and ‘commentaries’ also appear in its pages. Mr. Spectator notes in the first issue, ‘I have been often told by my Friends that it is Pity so many useful Discoveries which I have made, should be in the Possession of a Silent Man…I shall publish a Sheet full of Thoughts every Morning, for the Benefit of my Contemporaries’. The number of readers is hard to quantify, since the publication was part of the London coffee house culture, and one issue could be read by hundreds.]]> [Joseph Addison and Richard Steele]]]> Periodicals]]> The Boy’s Own Paper (1879-1967) was published by the Religious Tract Society to counter the effects of penny dreadful magazines with ‘pure, entertaining, and useful reading, such as should find a place on the shelves of every Boy’s Library’. At a penny a week, the journal offered wholesome, patriotic adventure fiction by the likes of R.M. Ballantyne and Jules Verne. By the end of the century, its circulation figures were almost 250,000 and its readership stretched across the British Empire. The publishers sold Boy’s Own Annual bindings at the end of each year – priced at between seven and nine shillings, depending upon the trim – to allow owners to collate weekly issues. The tiger featured here was the sole coloured plate of the year 1887.

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[Religious Tract Society]]]> Periodicals]]>
The Girl’s Own Paper (1880-1965) was, like its counterpart for boys, published by the Religious Tract Society. It is regarded as the most influential publication for girls of the nineteenth century, and cultural critics suggest that it played an important role in shaping ideas of girlhood. Like the Boy’s Own Paper, its weekly editions could be preserved in an ‘annual’ binding, which was sold at the end of each year. The publication’s contents emphasized education and self-improvement, though there were also a number of lively adventure stories. Girl readers were invited to write in with questions and contributions.]]> [Religious Tract Society]]]> Periodicals]]> A Spectator [Jane Porter]]]> Periodicals]]> Vanity Fair was known for its vibrantly coloured lithographs, which were often accompanied by satirical text. This delightful image of Wilkie Collins, author of works including The Moonstone and The Woman in White, is by Adriano Cecioni, and it is accompanied by text celebrating Collins’s contributions to the sensation novel genre.]]> Adriano Cecioni]]> Periodical]]> At the time of this portrait, James Anthony Froude (1818-1894) was celebrated for his popular history of the English Reformation. In later years, he became a travel writer, a controversial biographer of his friend Thomas Carlyle, and a notorious champion of the British Empire.

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Adriano Cecioni]]> Periodical]]>
Novelist and Anglican clergyman Charles Kingsley (1819-1875) is closely associated with the notion of ‘muscular Christianity’ (he preferred the term ‘Christian manliness’), a concept combining virtue and power. His most famous work, The Water-Babies (1863), brought together progressive ideas on evolution and social reform with a troubling prejudice against the Irish and people of African descent.

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Adriano Cecioni]]> Periodical]]>
‘[I]t is Mr. Ruskin's great misfortune’, writes Vanity Fair, ‘to be an incurable poet and artist in a materialistic and money-grubbing generation’. John Ruskin (1819-1900) was the pre-eminent British art critic of the nineteenth century. An early admirer of Turner and the Pre-Raphaelites, his ideas influenced Oscar Wilde, William Morris, and Mahatma Gandhi.

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Adriano Cecioni]]> Periodical]]>
In the Victorian era, as today, simply being the offspring of a famous personage was enough to earn fame. The First Duke of Wellington (1769-1852) is remembered for his part in defeating Napoleon at Waterloo, and for serving twice as Prime Minister. His son and heir, the Second Duke (1807-1884), is remembered for very little at all.

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Adriano Cecioni]]> Periodical]]>
Cornhill Magazine, offering his services as a staff writer for the new periodical and suggesting that he might write five short stories. Trollope offered five short stories, but three days later George Smith, the Cornhill’s publisher, wrote back, offering him £1000 in exchange for a three-volume serialized novel. The first part of Framley Parsonage appeared just after Christmas 1859 (officially, the issue was January 1860). With illustrations by John Everett Millais, Trollope’s story of love, gambling, and theft was both eye-catching and compelling. The new magazine sold 120,000 copies in its first week, although figures later settled down to between 80 and 85,000 each week.]]> Anthony Trollope]]> Periodical]]> The Strand in 1901 with The Hound of the Baskervilles, which purported to be a retrospective narrative recounted by a grief-stricken Watson. Doyle famously resurrected his character in 1903’s ‘The Adventure of the Empty House’.]]> Arthur Conan Doyle]]> Periodical]]> Strand Magazine (1891-1950) was founded by George Newnes, who envisioned it as a journal for the middle-class. It cost sixpence a week. The first editor, H. Greenhough Smith, was keen on publishing stories that featured a recurring hero, often a detective. This approach netted Smith a loyal cohort of readers, and the magazine became known for its crime fiction. Newnes contracted Arthur Conan Doyle to write his Sherlock Holmes tales for the Strand. The great detective had made his debut in A Study in Scarlet, published in Beeton’s Christmas Annual in 1887. Holmes appeared in the Strand’s first issue in 1891, marking the beginning of a long association with the magazine, and with Sidney Paget, the illustrator responsible for Holmes’s now-famous deerstalker hat.]]> Arthur Conan Doyle]]> Periodical]]> The Savoy (January-December 1896), first a quarterly then a monthly, folded altogether at the end of its first year. Its eight issues were edited by the symbolist poet, Arthur Symons. It was published by Leonard Smithers, the book dealer and pornographer, best remembered as one of the few publishers willing to work with Decadent writers (including Wilde) in the aftermath of the Wilde trials. Aubrey Beardsley’s distinctive artwork is present, although there were amendments to the original cover because George Moore, a contributor, complained about a naked cherub urinating on a copy of the Yellow Book. Even heavy-weight contributors like Max Beerbohm, George Bernard Shaw, and W.B. Yeats could not keep the journal afloat in a climate of suspicion and fear.

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Arthur Symons, editor]]> Periodical]]>
All the Year Round (1859-1895) was founded by Dickens in response to a quarrel with his publishers, Bradbury & Evans. The new journal was strikingly similar to its predecessor, Household Words. Each issue began with an instalment of a novel, with Dickens effectively self-publishing both A Tale of Two Cities and Great Expectations, since he was both owner and editor of the publication. Authors of serials were now identified by name. Sales were typically around 100,000 copies per week, and contributors included Edward Bulwer Lytton, Frances Trollope, and Edmund Yates.

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Charles Dickens]]> Periodical]]>
Household Words (1850-1859) was ‘conducted’ and founded by Charles Dickens in collaboration with his publishers, Bradbury & Evans. The publication featured articles dealing with social reform, emigration, and the British Empire, alongside novels in serial form. Works by Wilkie Collins, Elizabeth Gaskell, Charles Reade, and Dickens’s own Hard Times appeared over the years. Sales sat at around 40,000 copies per week (it was priced at tuppence per issue), although readership could triple for special holiday editions, and this figure does not account for the many working readers who would band together to buy a shared copy. All articles were published anonymously, yet the identities of featured novelists tended to be an open secret.

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Charles Dickens]]> Periodical]]>
Bentley’s Miscellany (1837-1868) offered an assortment of serial fiction, short stories, historical writing, reviews (musical, culinary, and literary), and other snippets of information. Charles Dickens served as the journal’s inaugural editor, although he soon severed ties with its owner, Richard Bentley, whose interventionist approach to editing infuriated the up-and-coming novelist. This instalment of Dickens’s Oliver Twist features George Cruikshank’s famous illustration of Oliver asking for more. William Harrison Ainsworth succeeded Dickens as editor in 1839, and his serialized novel, Jack Sheppard, was even more successful than Dickens’s classic tale.

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Charles Dickens]]> Periodical]]>
Otago Punch was a continuation of Dunedin Punch. It was printed by Charles Francis and published at the Office of the Proprietors between 1866-1867. There were some 26 issues. In 1888, another reiteration appeared in Dunedin: New Zealand Punch, which was a distinguished production and the last in the succession.]]> Charles Francis, printer
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This arresting woodcut gracing the cover of the Penny Magazine exemplifies the eye-catching imagery that periodicals have used to capture readers from the 1830s to today. As the accompanying article explains, the artist observed the fearsome encounter at the Surrey Zoological Gardens. This time the rabbit got away.

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Charles Knight]]> Periodical]]>