and the watch in his pocket illustrative of “Grace within his Heart”), they probably turned eagerly to the next Meditation Upon the Boy and his Paper of Plumbs. Weather-cocks, Hobby-horses, Horses, and Drums, all served Bunyan in his effort “to point a moral” while adorning his tales.

In a later edition of these grotesque and quaint conceptions, some alterations were made and a primer was included. It then appeared as “A Book for Boys and Girls; or Temporal Things Spiritualized;” and by the time the ninth edition was reached, in seventeen hundred and twenty-four, the book was hardly recognizable as “Divine Emblems; or Temporal Things Spiritualized.”

At present there is no evidence that these rhymes were printed in the colonies until long after this ninth edition was issued. It is possible that the success attending a book printed in Boston shortly after the original “Country Rhimes” was written, made the colonial printers feel that their profit would be greater by devoting spare type and paper to the now famous “New England Primer.” Moreover, it seems peculiarly in keeping with the cast of the New England mind of the eighteenth century that although Bunyan had attempted to combine play-things with religious teaching for the English children, for the little colonials the first combination was the elementary teaching and religious exercises found in the great “Puritan Primer.” Each child was practically, if not verbally, told that

The Primer, however, was not a product wholly of New England. In sixteen hundred and eighty-five there had been printed in Boston by Green, “The Protestant Tutor for Children,” a primer, a mutilated copy of which is now owned by the American Antiquarian Society. “This,” again to quote Mr. Ford, “was probably an abridged edition of a book bearing the same title, printed in London, with the expressed design of bringing up children in an aversion to Popery.” In Protestant New England the author’s purpose naturally called forth profound approbation, and in “Green’s edition of the Tutor lay the germ of the great picture alphabet of our fore-fathers.”14-* The author, Benjamin Harris, had immigrated to Boston for personal reasons, and coming in contact with the residents, saw the latent possibilities in “The Protestant Tutor.” “To make it more salable,” writes Mr. Ford in “The New England Primer,” “the school-book character was increased, while to give it an even better chance of success by an appeal to local pride it was rechristened and came forth under the now famous title of ‘The New England Primer.’”14-†

A careful examination of the titles contained in the first volume of Evans’s “American Bibliography” shows how exactly this infant’s primer represented the spirit of the times. This chronological list of American imprints of the first one hundred years of the colonial press is largely a record in type of the religious activity of the country, and is impressive as a witness to the obedience of the press to the law of supply and demand. With the Puritan appetite for a grim religion served in sermons upon every subject, ornamented and seasoned with supposedly apt Scriptural quotations, a demand was created for printed discourses to be read and inwardly digested at home. This demand the printers supplied. Amid such literary conditions the primer came as light food for infants’ minds, and as such was accepted by parents to impress religious ideas when teaching the alphabet.

It is not by any means certain that the first edition of this great primer of our ancestors contained illustrations, as engravers were few in America before the eighteenth century. Yet it seems altogether probable that they were introduced early in the next century, as by seventeen hundred and seventeen Benjamin Harris, Jr., had printed in Boston “The Holy Bible in Verse,” containing cuts identical with those in “The New England Primer” of a somewhat later date, and these pictures could well have served as illustrations for both these books for children’s use, profit, and pleasure. At all events, the thorough approval by parents and clergy of this small school-book soon brought to many a household the novelty of a real picture-book.

Hitherto little children had been perforce content with the few illustrations the adult books offered. Now the printing of this tiny volume, with its curious black pictures accompanying the text of religious instruction, catechism, and alphabets, marked the milestone on the long lane that eventually led to the well-drawn pictures in the modern books for children.

It is difficult at so late a day to estimate correctly the pleasure this famous picture alphabet brought to the various colonial households. What the original illustrations were like can only be inferred from those in “The Holy Bible in Verse,” and in the later editions of the primer itself. In the Bible Adam (or is it Eve?) stands pointing to a tree around which a serpent is coiled. By seventeen hundred and thirty-seven the engraver was sufficiently skilled to represent two figures, who stand as colossal statues on either side of the tree whose fruit had such disastrous effects. However, at a time when art criticism had no terrors for the engraver, it could well have been a delight to many a family of little ones to gaze upon