Edward, Author of'The London Spy\] Ward's writings in Ned Ward of GrubstreetApollo's maggot in his cups: or, The whim- (1946). The title-page with the imprint assical creation ofa little satyrical poet. A lyrick given above was probably intended for cancella-ode, etc. London: printed and sold by the book- tion; another issue is recorded which is identicalsellers of London and Westminster, 1729. 8°: except that the title-page has T. Warner's nameA-G* H*. included in the imprint. The copy listed here

includes this second title-page bound at theAn attack on Pope's Dunciad. Ward's author- "̂*̂ ^"'̂ apparently conjugate with H4.ship is revealed in the postscript, and H. W. Foxon W 47, 48. Cup.403.bb. 12.Troyer includes the title in his bibliography of Guerinot, pp. 177-9.

Department of Printed Books

German popular literature as seen in some recent antiquarian acquisitions

By D. L. Paisey

Systematic acquisition of foreign literature for the British Museum library began in1834 with regular Government funding, and, particularly under Panizzi, the attention paidto current material was extended also to supplementing the existing holdings of olderbooks on as wide a scale as possible. His declared aim to make this the best library forforeign literature outside the countries concerned was to an extent achieved as an intel-lectual manifestation of British imperial dominance at its Victorian zenith. Under hisdirection, antiquarian purchasing, limited only by what came on to the market, wasvigorously pursued, and so-called 'popular' literature was acquired as readily as theproducts of high culture, a necessary development in view of the fact that the foundationcollections had represented overwhelmingly establishment interests. For literature,though mostly only for the literate, has from the beginnings of printing catered forvarious audiences, not merely for the ruling class and its clerical and scholarly servants.The other classes, as they joined and scaled the ladder of literacy, have had books directedat them, in accordance with what society at any time has seen as their needs, more par-ticularly when they became a substantial market, and they also produced their ownauthors.

Thanks largely to Panizzi, therefore, the earlier foreign collections in the BritishLibrary have an extraordinary depth. Generations of scholars have had reason to be grate-ful to him, and his modern successors recall that the quality of the historical scholarshipin all disciplines which can be carried on here is conditioned to an important degree bythe range and representative nature of the collections.

91

We are still able to make important additions to our holdings, though modern marketconditions and the richness of what we already have combine to reduce the scale of theoperation. In recent years we have acquired early editions of works by some of the 'bignames' of the German-speaking world (Luther, Melanchthon, Opitz, Zesen, Gessner,Schiller, Fichte, Kleist, and Keller, for example), but these represent only a small part ofour range of accessions of German antiquarian material, as indeed they represented only asmall corner of the written culture of their time. I choose instead to describe twelve itemseither directly from, or reflecting and influencing the opposite end of the social scale,listed chronologically to illustrate the proposition that literature should be seen, not inisolation, but as part of social dynamics. In so doing, I intend both to draw attention tothe depth of our collections, which provide a rich context for all these works, and to pay apersonal tribute to our greatest librarian in the year of his centenary.

ALTHAMER, Andreas. Catechismus. Das istVnderricht zum Christlichen Glauben.Nurmberg: getruckt durch Kumgund Hergotin,1530. 8^A-C8.

This was the first German catechism to be socalled, though there were earlier ones not calledCatechismus, and earlier works with that name(or Catechesis) which were not catechisms. Inrequiring individual reading of the Bible, theReformation had a profound effect on populareducation, and reading, writing, and the cate-chism were the staples of general schooling forcenturies. The present text was composed asa result of an ecclesiastical inspection carriedout under Margrave Georg of Brandenburg-Ansbach, as an officially approved versionintended for use by less learned pastors unableto write their own. Althamer (born c. 1500)was an active literary supporter of Luther, andat this time a preacher in Ansbach. His co-inspector Hans Rurer collaborated with himon the text, and in their joint preface theyenjoin, in the most lively language, thatchildren be educated, in the interests ofreligious and social conformity: 'He who learnsnothing can do nothing; a goose swimming offacross the sea comes back a goose.'

The work was first printed in 1528 byFriedrich Peypus of Nuremberg, and all earlyeditions are of the greatest rarity, because theywere presumably read to pieces. This edition.

©as lit \noerricbt

Ounu£t\ichc

CoUccteit ot»«c gc

I

the first in the British Library's collection,seems to be otherwise unrecorded: it wasunknown to Ferdinand Cohrs, who in Dieevangelischen Katechismusversuche vor LuthersEnchiridion (Berlin, 1901, Bd. 3, pp. 12-13)lists five editions of 1528 and 1529, and one of

1543-The Hergot press in Nuremberg was an

unusually striking witness to the dangers for

92

booksellers and printers of too close an identifi-cation with non- or anti-establishment ideas.Hans Hergot, Kunigunde's first husband, wasa bookseller, who also printed from 1524 to1527. He was a supporter of the Reformation(though Luther objected to Hergot's unauthor-ized reprints of some of his vernacularpamphlets, whose tone was, incidentally,deliberately cast in a popular mode for pro-paganda purposes), as well as of more radicaldevelopments of the time. His distribution ofVon der newen wandlung eynes Chrtstlichenlebens, a Utopian communist pamphlet whichhe may or may not have had a hand in writinghimself, dangerously soon after the conclusionof the Peasants' War, was considered so revo-lutionary an act that he was publicly executedin May 1527 in the Leipzig market-place.German printing history is not full of suchsevere penalties, particularly in peacetime, butit is full, for legal reasons, of printers' widowscarrying on their dead husbands' businesses(early examples of female economic emancipa-tion), and often entering into dynastic re-marriages with other printers. Kunigundetherefore carried on printing until 1538 (underher own name, though she married the printerGeorg Wachter soon after her first husband'sdeath), also producing vernacular works ofLuther and many small popular items such assongs. Our new catechism, meant for thewidest possible audience, fits logically into sucha programme.

MARGARET, Saint, Virgin and Martyr. SenctMargrate Passie. [Cologne:'\ gedruckt durchAnthonium Keyser, [c. 1550?]. 4": A B+.

A popular version, in verse, of the legend ofSt. Margaret. The poem probably dates backat least to the early fourteenth century, to thelower Rhine region (see Oskar Schade, Geist-liche Gedichte des XIV. und XV. Jahrhundertsvom Niderrhein, Hannover, 1854, pp. 71-99),and its origins are apparent in the archaisms

and Low German elements in the language.There were a number of earlier printed versions(see Die Katharinen-Passie, ed. HermannDegering and Max Joseph Husung, Berlin,1928, pp. 42 ff.), but the British Library hadhitherto only modern editions.

Margaret was the patron saint of women inchildbirth, and the text ends with two rhymedprayers to be addressed to her. The work isthus aimed at a broad audience of Catholicwomen. The old-fashioned text is here matchedby a strikingly old-fashioned woodcut, which isin fact a close, if coarsened, copy of blocks usedby earlier Cologne printers, first the incunableprinter Johann Koelhoff the younger, passingto Ulrich Zell in 1503 (see Albert Schramm,Die Bilderschmuck der Friihdrucke, Leipzig,1920, etc., Bd. 8, nos. 835 and 81) and then toHeinrich von Neuss, who printed from 1505to 1522. Tbe bottom right quarter of the blockwas interchangeable to allow the representa-tion of different female saints by the substitu-tion of attributes (a wheel for St. Catherine, forexample).

93

Anyone familiar with German books printedfor a popular audience cannot fail to havenoticed an archaizing tendency in the pre-sentation of the whole genre, most obviouslyin the style of the woodcuts with which somany popular works are illustrated. Whetherthe conservatism of taste implied is a truereflection of class culture in its audience, orhow far it was imposed by the producers of thisliterature, is a question which demands

investigation.C

ZwEY sch6n newe Lieder . . . Das erste: Oangst vnd not, o kummernuss gross . . . Dasander: Schons Annelein, mein Annelein.[Augsburg?: Johann Ulrich Schdnig?\ 1617.8^ A*.

Two popular songs, the first lamenting a deadlover, the second an unfaithful one. Thispublication is apparently otherwise un-recorded, but is quite typical of the sacred andsecular song-texts, particularly numerous in

the sixteenth and seventeenth centuries, whichmust have been sold in quantities at fairs andmarkets and by itinerant hawkers. The newnessof the songs proclaimed in so many cases on thetitle-pages cannot always be taken for granted,but real or apparent novelty has always been aspur to sales. A minority contain music (thisone does not), but most have small woodcutson the title-page, woodcut illustrations beingmuch cheaper than the engravings which in theseventeenth century were being increasinglyused to illustrate books for a higher-classmarket. Though the attractive and simple cutshere are probably new enough, the typographyand layout are by this date more traditional thancontemporary, and seem unchanged fromprinted songs of fifty years before. Thisexample came from the library of KarlWolfskehl (1869-1948), poet and collector ofearly texts, and the ascription to the Augsburgpress of Johann Ulrich Schonig is his: certainlyAugsburg was one of the main centres ofpopular song-text production. The BritishLibrary has a notably fine collection of suchworks, including a high proportion of rarities,and it is to he hoped that it will attract specialistattention.

9 3

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fi(D non inon fatnmtr an/IaiDtr b(c

H EIN S, Valentinus. Abyssus. Mercatorio-arithmetico-problematica . . . Eine gantzNeue . . . Informations-Art in der Kauff-mannischen Rechnung. Hamburg: gedrukktbey Hinrich von Wiering; in verlegung desAuctoris, 1698. 8°: pp. 614.

A commercial arithmetic for schools, dedicatedto the city council of Hamburg. Valentin Heins(1637-1704), the son of a Hamburg linen-weaver, had left school at 14 and started earninga living through his skill in this subject, thoughhe subsequently went to university and becamea schoolteacher, first of Latin, then of calli-graphy, arithmetic, and what was called'Italian book-keeping'. From 1661 to 1672 he

94

ABTSSUS.ERCATORIO - A R I T H M E T I C O -

PROBLEMATICS,per Novam

INFORMA^JDI METHODUMCX Rei^ula Alligationis dctc(5la. O&er:

INFORMATIONS Srt

(unitiMnn kcrtn pitit l ooo iPt(r(o,';aufqcatbrn rorrftrn fan; bi ttnaai) (lUcjfit/tifDSumnuninii BCKL"mitnrt'an<tftrr untanbcrrr(iiiJftTnmdtbni€'Uitimrn'rnMi(f)riR«r(r(>3aclt (n(|}r{)frt; rfaud)trol in cmrn' »cmul

(luir ODD 4 nrgukn/) auf bunbcn f<11l̂ n̂̂ Mitlinnci oon Dcrjjnbmtn ^liifqabni nidx anfommrn mup.

mm411 £:cbunbbicn|l

VALENTINO HEINS,

inunb iwp bf[n|Tli>ci lu ftnbm.

also worked part-time as accountant for aHamburg company trading to West Africa.Apart from some little-known writing-books,he published five textbooks of commercialarithmetic, at least one of which had extra-ordinary success (see Hans Schroder, Lexikonder hamburgischen Schriftsteller, Bd. 3, Ham-burg, 1854-7, pp. 153 f.)-This is the first of hisworks to enter our collections, perhaps partlybecause schoolbooks, like catechisms, wereread to pieces and so do not survive in largenumbers. The printer, Heinrich von Wiering,was previously unknown as such, though he isrecorded as a 'Formschneider' (i.e. a maker ofwoodcuts).

Hamburg, which owes its development tointernational trade, is an appropriate place inwhich to observe how the growing power of thebourgeoisie was forcing educational reform inthe direction of more practical instruction, andHeins's dedication in this book makes plain his

awareness of the importance of new methods inan old subject. He was a member ofa Hamburgsociety founded in 1690 with the title 'Kunst-Rechnungs- lieb- und iibende Societaet', inwhich the development of mathematics was aprime aim, and which, like the grander GermanAcademia Caesarea Naturae Curiosorum,founded in 1672 on the model of our RoyalSociety, also exemplified the seventeenth-century shift towards more systematic exploita-tion of science and technology for practicalends. The members of this little societyadopted names reminiscent of those in themainly aristocratic literary and linguistic societyfounded in 1617, the 'Fruchtbringende Gesell-schaft': Heins was called 'der Hoifende', butthe similar forms merely underline the utterdifference of function, for which the develop-ment of commerce was responsible.

1509/3364-95

HoCHST-erfreuliches Friedens-Lied, wegendes zwischen . . . Carl dem Sechsten, und denTurcken glucklich-getroffenen Friedens. s.L,1718. 8°: four unsigned leaves.

A popular song in forty-six stanzas (first Hne:'Jauchtzet, stimmet Freuden-Lieder'), writtento an existing well-known tune ('Doris gieng inihren Garten') to celebrate the Peace ofPassarowitz, concluded between the HolyRoman Emperor and the Turks after a cam-paign brilliantly led on the Austrian side byPrince Eugene of Savoy. In make-up, the workis still in the tradition of the songs of the pre-vious two centuries and would have been sold inthe same way as the 1617 songs described above.The post-rider in the small woodcut on thetitle-page was a long-established symbol for'news'. The work's format predicates a popularaudience, and 'the common man' for whom itwas intended is appropriately celebrated in therough-hewn text: 'Desswegen aus Belgrad vielHob'n / Nach Passarowitz sich erhob'n, / DenFrieds-Cermon zu wohn'n bey. / Die Bott-schaffter und gross' Herren / Gab'n Ochsen

und Wein zu verzehrn / Dem g'meinen Mannzur Freud darbey.'

It is instructive to contrast this work withanother verse celebration of the same event, oneof the great rarities of German literature, ofwhich the British Library has the only copyknown to me (a nineteenth-century acquisi-tion), the passionate young Silesian poetJobann Christian Gunther's Aufden zwischenJhrer R6m. Kays. Majest. und der Pfortegeschlossenen Frieden, 1718 (pressmarkii50i.k.14.(4.)), which is a folio panegyric onPrince Eugene in the most elevated literarystyle (it begins: 'Eugen ist fort; Jhr Musen,nach!'), but which unfortunately failed in itsobject of winning Eugene's approval. Our newpopular Friedens-Lied may be as rare, since Ihave so far failed to find a record of it.

1568/5506.

EuLENSPiEGEL,TylI.LustigeHistorien,oderMerckwurdiges Leben, Thaten und Reisendes weltbekandten Tyll-Eulenspiegels.[Dresden: Gottlob Ghristian Hilscher], 1736.8°: pp. 368; plate.

Till Eutenspiegel, the irrepressible joker, wasone of the most popular of German folk-taleheroes, and there were numerous editions ofhis exploits from his appearance at the begin-ning of the sixteenth century. Popular litera-ture such as this embodied values different fromthose of the establishment, and was repeatedlysubject to criticism and attack from the latter'smoral guardians. This edition is remarkablebecause it is an attempt to make a popularnovel suitable for the salon, that is to sayacceptable for a middle-class audience. Therecan be no doubt that it is not aimed at the com-mon man, because the text is burdened withsemi-learned, would-be witty notes, lardedwith Latin tags, which seek to impart morallessons. The preface, by the anonymousadapter and author of the notes, makes it clearthat even the work's method of distribution(presumably through the established book-

©tAnben burd) unb bur*&f t i

trade) is different from that of all previouseditions, which had been sold hy bookbindersand colporteurs. It will also be noted that thefrontispiece is engraved, and not woodcut intraditional Volkshuch style.

This edition seems to me a product of themiddle-class intellectuals' uncertainty in deal-ing with the common man and his culture atthe beginning of the Enlightenment: the risingbourgeoisie felt it necessary to draw a linebetween itself and those beneath. Efforts beganto be made to extend the education of the lowerclasses, without any thought of providing socialadvancement for them, but not until much laterin the century did it become considered safe inacademic circles to admire aspects of theirculture for their own sake. CQ\ C

1568/906.EiN NEUES Muller-Buchlein, fijr die lieben

Lehr-Jungen des sch6nen und IustigenMuller-Handwercks. 5./., 1771. 8'̂ : pp. 31;illus.

A book for the self-education of millers'apprentices, containing a possibly obligatoryminimum of moralizing, but overwhelminglypractical in intent, and acknowledging the valueto society of the miller's trade. Such literaturewas probably a development of the ubiquitouscalendars and almanachs meant especially forpeasants, which usually contained advice onseasonal cultivation, care of farm animals, andthe like. This example is full of technical termsand advice gained from experience (forexample, on various difficulties arising betweenmillers and their peasant customers), whichcould suggest a miller as author. The pill ofinstruction is sugared by variety in the text,with the inclusion of anecdotes and passages indialogue and verse, while the book's physicalmake-up is the now familiar one of cheapmarket-literature for a popular audience. Thelittle woodcuts (storks on the title-page, a horse,cow and ass on the last page) probably camefrom the printer's general stock and would

97

ill Mci'mi 3iit)t. 177'.

often have been used unspecifically: the moretechnical descriptions of machinery in the textcry out for illustration, but commissioningwoodcut diagrams would no doubt have forcedup the price of the little work. Our copy isexceptionally well preserved, being simplysewn, with a strip of decorated paper pastedalong the spine, and must look much as it didon the original hawker's tray: I do not imaginemany copies have survived. From internalevidence, it could come from Switzerland orsouth Germany.

S I E G F R I E D . Eine wundersch6ne Historie vondem geh6rnten Siegfried . . . Aus demFranz6sischen ins Deutsche ubersetzt, undvon neuen wieder aufgelegt. s.L, [c. 1775?].8°: pp. 8o;illus.

A popular story of adventure and fantasy,deriving from the Germanic legend of Sieg-fried by way of the sixteenth-century popularnarrative poem on the subject. The earliest

surviving edition of this prose version datesfrom 1726, and it is thought unlikely to bemuch older. The claim that it is translated fromthe French is false, and was presumably a salesgimmick. There were many editions in theeighteenth and early nineteenth centuries, thewhole complex showing the remarkablestaying-power of folk-tale over severalcenturies.

I am grateful to John Flood of King's CollegeLondon for the information that this newacquisition is an apparently unique copy of anotherwise unknown edition, which he pro-visionally dates to the second half of theeighteenth century, and believes almost cer-tainly to have come from the same press as anedition in tbe University Library at Halle(shelfmark Dd 2037P), which it predates. Thetext is characteristically illustrated with nume-rous heterogeneous and crude woodcuts, somerepeated, and some whose appositeness to aspecific passage is only approximate. Thehistorically uneducated audience could pre-sumably accept the incongruity of a Siegfried

lEiiu

von Urn

fdjr tenf»flr5i« unb tnit Cufl

now (on the title-page) in a variety of Renais-sance Roman stage armour, now (in the textcuts) in full medieval armour or in contempo-rary frock-coat and three-cornered hat. Thenumher '5 ' at the hottom right-hand corner ofthe title-page denotes the book's position in aprinter's or publisher's series of such products,and these serial numbers are a feature of muchpopular fiction from the seventeenth to thenineteenth centuries. A bibliography of theseseries is badly needed, but, most regrettably,scholarship has so far concentrated on thegenre in the fifteenth and sixteenth centuries.The British Library has important collectionswhich should be taken into account in any such

undertaking.C.143.CC.20(1).

HuELFREiCH, Erdmann, pseud, [i.e. BaronJoseph Michael von Ehrenfels]. ErdmannHiilfreichs Unterricht fur Bauersleute uber

ubrt ^ir

3ttd)t ttnti

irl( aiit) iibtt

bie (Srfcniirnifi tiiifc ^ciluitg tcrb I

i t n I 8 o I.Xiea. 9(j4bilh»lfr am

. im btuif<tcn

99

die Zucht und Wartung . . . der Pferde, des A Saxon decree forbidding the sale at fairs andHornviehs, der Schafe und Schweine. Sechste. . . Auflage. Wien: Aloys Doll, 1801. 8":pp. 198.

A handbook for farmers on the care of theiranimals. Again efforts have been made to clothepractical instruction in elements the audiencewould find familiar: the author's comfortingpseudonym (literally 'Earthman Helpful') andinvented portrait as an old and thereforeexperienced peasant; the Volksbuch-stylewoodcut on the title-page showing a farmer

markets of popular songs and other writingswhich had not been approved by the officialcensor and did not bear the name and place ofthe printer: many such works consideredharmful to 'common people' had been reportedin circulation, and unless published in accord-ance with the present decree, were to be con-fiscated. Annexed is a list of eighty-twofolk-songs published in Leipzig by CarlAugust Solbrig's widow, which had actuallybeen confiscated in the previous year.

There can be no clearer example of thereading aloud to probably illiterate colleagues,which is how the precepts of this book and establishment s fear of popular literature whichOthers like it would gain currency amongst the " neither provided nor approved.others like it would gain currency amongst the f^ , 1 1 .• J 1̂ , -̂ r ,u Some of the sonffs hsted (unfortunately withrural population; and the presentation of the , • ^ , , 1 ,"•

extreme brevity) may have had a directltext in partly narrative, partly dialogue form.This time, however, the author is definitely notwhat he seems. Baron Joseph Michael vonEhrenfels (1767-1843) was a landowner inLower Austria, especially remembered for hisnationally important practical and theoreticalcontributions to sheep-rearing, and author inhis own name of books on other aspects offarming such as bee-keeping and veterinarymedicine, as well as of a series of pseudonymousbooks for farmers and their wives which soughtto raise the general level of agriculture. Therewas a considerable literature in the lateeighteenth and early nineteenth centuriesdirected from above at the lower classes, offer-ing advice and education in practical and moralmatters. How far it was in the interest of theenlightened classes to be so philanthropic is amaterial question, if a vast and complex one.

This book, here in its sixth edition (the firstwas published in 1790), obviously had a greatsuccess. Our copy is bound with another workby 'Erdmann Hlilfreich' on the care of crops(Vienna, 1807).

1509/3102(1).

SAXONY, the Electorate. [Laws.—lW.] Begin.Von Gottes Gnaden, Friedrich August, Her-zogzuSachsen. [17 May IHOT,.] Dresden, 1803.folio: four unsigned leaves, the last blank.

extreme brevity) may have had a directlysubversive or satirical political content, but themajority must have caused offence on moralgrounds. It would be a particularly rewardingtask to identify the texts concerned (someappear from their opening words to be wellknown: 'Ach, du lieber Augustin', 'Ein Jageraus Kurpfalz') and investigate precisely whythey fell foul of the censor, but the task wouldalso be immensely difficult, because the biblio-graphical groundwork has not yet been done.The Leipzig firm of Solbrig seems to havespecialized in popular literature, and is knownto have printed folk-tales including Eulen-spiegel and Der hbrnerne Siegfried, but so muchof the genre appeared without imprint to avoidlicensing procedures that it would be difficultto sort out the responsibility of specific firmsfor surviving examples. While there wereundoubtedly printers who made their entireliving from the popular market, it should not bethought that high-class publishers alwaysturned up their noses at it if there were profit tobe made: thus Hartknoch in Riga, publisher ofKant and Herder, also brought out editions offolk-tales. C. i30.i. 15(6).

M A U S , Isaak. Poetische Briefe. Mainz: ge-druckt bei Florian Kupferberg; auf Kosten desVerfassers, 1819. 8°: pp. xxvi, 357.

100

These are letters in verse, written to friends ofthe author who styles himself 'Bauersmann zuBadenheim', and subsequently collected andpublished by subscription. Occasional verse ofthis sort had hitherto been largely the provinceof academic amateurs, and while Maus (1748-1833) was not a poor peasant (the term 'Bauers-mann' is vague) but rather a small farmer, whohad inherited his Rhineland farm and spent hislife cultivating it, he was without formal literaryeducation, and learned from wide reading, oftenfollowing the advice of friends; he confesses tospending small sums on books 'out of ambi-tion'. He developed a true facihty, and it is notsurprising that his elegant and interestingverses won him a modest reputation. Hisquietism relishes country life: though an earlysupporter of the French Revolution, its latermanifestations put paid to his republicanism,and he suffered from the French occupation ofthe Rhineland and its reconquest by Germantroops, 'We sow and reap, thresh and bake inthe midst of armies', he wrote in 1796, His firstpoems were published in 1786, and he alsowrote on agriculture and an apologia forGermans forced to take an oath of allegiance toFrance. He felt that poetry raised man socially,thus that partaking in the culture of a 'higher'class was emancipatory for the individual,though he never left his farming milieu. It isnot as surprising as it might seem, therefore,that the eighteen-page hst recording the names,addresses, and occupations of those subscrib-ing to this volume should range from the Kingof Bavaria to numerous peasants in smallvillages.

1509/3417-

BERLIN.—Arbeiter-Kongress. Beschlusse desArbeiter-Kongresses zu Berlin. Vom23. August bis 3. September 1848. Berlin:J. C.Fuchs, 1848. 8°: pp. 26.

Here we enter the modern world, whereemancipation is sought for the whole workingclass through the organization of labour. 1848,the year of bourgeois revolutions, also saw thefirst national meeting of German workers'representatives, and this rare document recordsits outcome. It begins with a manifestoaddressed to the Constituent Assembly meet-ing at Frankfurt (which significantly containedno working-class representative) deploring theabsence in that body's constitutional proposalsof any attention to the social question, andrequesting recognition of the place in societyof the worker whose only property is hislabour. Of the detailed resolutions whichfollow, those making demands on the state areprogressive but unrevolutionary (see VeitValentin, Geschichte der deutschen Revolutionvon 1848-4^, Berlin, 1930, 31, Bd. 2,pp. 237 f.), and the main weight is given to anational organization of labour and its self-help activities, including financial ones: theworkers are to 'free themselves from the fettersof capital' with the help of 'capital' (i.e. funds)of their own. There are also demands forspecific educational reforms, notably in respectof technical education and above all forsecularized state education: we have indeedcome a long way from the catechism of 1530.And even more than that of the Saxon decree of1803, the typography here is entirely business-hke.

IOI