Quarterly accession lists; beginning with Apr. 1893, the bulletin is limited to "subject lists, special bibliographies, and reprints or facsimiles of original documents, prints and manuscripts in the Library," the accessions being recorded in a separate classified list, Jan.-Apr. 1893, a weekly bulletin Apr. 1893-Apr. 1894, as well as a classified list of later accessions in the last number published of the bulletin itself (Jan. 1896)

Victorian Songhunters is a pioneering history of the rediscovery of vernacular song—street songs that have entered oral tradition and have been passed from generation to generation—in England during the late Georgian and Victorian eras. In the nineteenth century there were four main types of vernacular song: ballads, folk lyrics, occupational songs, and national songs. The discovery, collecting, editing, and publishing of all four varieties are examined in the book, and over seventy-five selected examples are given for illustrative purposes. Key concepts, such as traditional balladry, broadside balladry, folksong, and national song, are analyzed, as well as the complicated relationship between print and oral tradition and the different methodological approaches to ballad and song editing. Organized chronologically, Victorian Songhunters sketches the history of English song collecting from its beginnings in the mid-seventeenth century; focuses on the work of important individual collectors and editors, such as William Chappell, Francis J. Child, and John Broadwood; examines the growth of regional collecting in various counties throughout England; and demonstrates the considerable efforts of two important Victorian institutions, the Percy Society and its successor, the Ballad Society. The appendixes contain discussions on interpreting songs, an assessment of relevant secondary sources, and a bibliography and alphabetical song list. Author E. David Gregory provides a solid foundation for the scholarly study of balladry and folksong, and makes a significant contribution to our understanding of Victorian intellectual and cultural life.

'Who was Marie Corelli?' shrieked the news headlines after she died in 1924, but no-one really knew. Her past was obscured by such a fog of lies and concealment that it was impossible to unravel.In the 1890s her novels were eagerly devoured by millions around the world, her readers ranging from Queen Victoria and Gladstone to the lowest of shop girls. It was known that the famous authoress had dined with the Prince of Wales, entertained Sarah Bernhardt and Ellen Terry, and even managed to split Stratford-upon-Avon into warring factions.In all she wrote thirty-one books, the majority of which were phenomenal bestsellers, in which she dealt intriguingly with the popular themes of the day, spiritualism, science, romance, transcendentalism and religion. At the height of her success Corelli was reputedly one of the most highly paid, and undoubtedly the best selling author in England. Yet the critics generally ignored her or belittled her work.Setting Corelli's story against the context of her time, it tells how she blazed into fame from nothing to become the bestselling novelist of her generation. Born around 1855, Marie, desperate to escape the shame of illegitimacy, had fabricated several different pasts, changed her name from Minnie Mackay to Marie Corelli and knocked fourteen years off her age. In 1886 she published her first novel, A Romance of Two Worlds and rapidly achieved success.In 1899, after a serious illness she moved to Stratford-upon-Avon with her devoted companion, Bertha Vyver. Here she became one of the first conservationists. She bestowed money on many worthy causes, but was constantly at war with the local council for her insistence on the preservation of the town's old houses. When she died in 1924 crowds gathered outside her home. The press - capitalising on her outstanding popularity - invented fantastic stories about her origins. The mystery of Marie Corelli, however, has never been solved. After her death she faded from public memory, but today she is once again being recognised for her extraordinary place in Victorian society and her remarkable ability to captivate the reading public of her era.