Hands

Single.

Single, except for the three final pages and possibly the Table of Contents.

Possibly several hands, but one primary, another at the beginning - possibly sequential.

Single, plus one poem in another, perhaps the compiler's son.

Single (very large) hand, except for maybe the pasted-in item on p. 43.

Single neat hand.

Single, which becomes looser towards the end of c142.

Single with domestic accounts in a different hand.

Single.

Single.

Single primary hand, but quite variable (in some cases, the hand if simply irregular, but in other cases it's obviously a different hand, even sometimes in the middle of the same item–but one main hand overall, from start to end).

At least three; sequential compilation by Mrs. Ogle (pp. 1-45); recipient of Mrs. Ogle's gift (pp. 48-72); later hand (pp. 74-76).

Single.

Single.

Two. First hand (anonymous) compiled up to p. 52; second hand (Mary Hilhouse) pp. 53–235.

Two; one (careful, decorative) for the first section, followed by a distinctive change on p. 125 to the second hand, which is much more informal.

Single.

Single.

Single.

Seemingly multiple hands, but difficult to say; could just be a matter of size and style of script, with poetry getting a larger, more formal hand than the prose meditations.

Single.

Poem written into the back cover seemingly in another hand or an older version of the same hand.

Single.

Single.

Single; extremely neat and precise.

Single.

Single.

Single, careful and neat.

Single, fairly decorative.

Single.

Single.

Single, except for presentation poem glued (not bound) into the book. 

Single. 

Single. 

Could be single but most likely double.

Catalogue note implies a second, later hand; they are very close, although page references to the Miscellanies and the left margin note on the first page do seem to be added later (maybe not much later – still looks like an early-century hand) – this hand is about ½ the size of the first, and contributes many tiny items as fillers especially in the final section of the book. 

Single.

Single. 

Single.

Single.

Single.

Single.

Multiple.

First hand in first section (17 leaves, 34 pages) is quite loose and informal. 

Second is smaller and neater. 

Both hands seem to indicate Charles Earle as author of items compiler. 

Single.

Single in this first section. The manuscript as a whole (including the prose letter inserts) consists of many hands.

Single.

Single.

Single hand, miniscule writing. 

Single (Simpson's) pp. 1–100, 105–105v.

pp. 102–104 in J. Eyre's hand; p. 104v in Sarah Leaper's hand.

Single, with the exception of one poem in vol. 2.

Single.

Single [this entry concerns only the items in Rawling's hand ie. the first part of the book]. 

Single.

At least two hands.

Single. 

Single.

Single.

Single up to p. 331 where there is a note: "Those which follow have been added at various times." 

Two, but one primary hand which copies all but two of the poems.

Single.

Single, excluding the final poem.

Single.

Single.

Single dominant hand, with a few other hands appearing near the end.

Single.

Single.

Single copperplate hand, with some additions in two other hands (one which is identified as J.H. Waite, possibly the compiler's son) at the end of the volume. 

Single.

Single.

Single.

Another hand may have numbered the stanzas of some of the later poems with Roman numerals. 

Single.

Several other hands interspersed in blank pages, indicating other owners. 

Single.

Single.

Single.

Single.

Single, calligraphic.

Single.

Single.

Three total, two primary. 

Hand 1 covers pages 1 to 99, then Hand 2 takes over from page 99 to 169. There are two small additions by a third hand on pp. 169–170.

Single. 

Single, though recto pages tend to use a larger size of script than verso pages.

Single.

Single.

Single, same as inside cover signature ("E.F. Amherst 1798").

Single.

Single.

Single.

Single hand, though in one instance it appears much smaller.

Single.

Single.

Single.

Single decorative hand.

One item written in another hand, an endorsement of Polly's taste in creating her book.

Two: single hand pp. 1–175, then second hand takes over; final index in a third hand.

Single, except the final item (85), dated 1817, is in a different hand.

Single.

On the final poetry pages (dated 1780) the hand has become very shaky.

Single, with the exception of the poem that precedes the title page and Table of Contents (seemingly a later addition in a different hand, but addressing the same time period).

Single, though it varies greatly.

Single, though later items loosely written in larger (possibly quicker) hand.

Single.

Possibly Mary Tickell, since final epitaph is signed M. T.

Single decorative hand, possibly that of a copyist. 

One or two. Cataloguer suggests more than one hand, however the hand at the end might just be significantly more informal. If there are two hands, Frances' hand is the second hand that takes over towards the end.

Single.

Single, with Sarah Wilmot's signature appearing in the first and second notebook, and footnotes in a later hand, possibly that of James Seton. 

Single; neat but small. 

Several neat hands:

The first hand is continuous from pp. 3-32; then there's a new hand; index shows the same shift at p. 33, with the second hand continuing for the rest of the index, through to the top of p. 93.

pp. 1–93, spaces were often left from the ends of poems to the bottoms of pages; these spaces are filled in a third hand.

After p. 93, a fourth hand and mixture of new hands come into the mix, but Strafford is still in the picture.

Single; elaborate and neat.

Single in Ann Bromfield section (first 51 pages).

19th century coin collection table insertion and chart of important birthdays in different hands.

Two consecutive hands. Switch of hands in the Table of Contents and the writing of titles seems to occur at the second item on p. 66, but in the hand copying the actual poems, the switch occurs on p. 70 [this suggests that (decorative) titles would be written in later in some miscellaneous verse manuscripts].

Single. The volume contains many entries made at least partially in short-hand. 

Single, fair and neat.

Single.

Single.

[This entry is only concerned with the first hand, but, the manuscript as a whole is a series of four hands, seemingly quite close chronologically.]

Single.

Single, though quite variable in appearance. 

Single, with contributions in other hands.

There is a primary hand throughout the book – these items generally have “Finis” written at the end of them; it is a young, somewhat variable hand, but still distinguishable; there are also multiple contributors of individual or several items.

Single, except for small slip of paper "A Riddle," in more informal hand.

Primarily single, in the style of early eighteenth-century.

pp. 163-70 at the end of the first poetry section contains poems by at least two other hands – perhaps a reason for the beginning anew at the other end, even though principal hand remains the same.

Single, except for annotations to pressed flowers.

Single.

Vol. 1: Single except for first poem

Vol. 2: Single

Vol. 3: Single except for first poem

Vol. 4: Single except for penultimate poem

Mostly in the hand of Jane Griffies Roscoe, otherwise likely William Roscoe

Single throughout; larger and looser with the Dunciad and title page.

Single, consistent and neat nineteenth-century hand (with the exception of one comic epitaph at the end of the written text, which appears to be in the same hand as the later inscription on the front free endpaper).

Single.

The final item (not in the index) is in a different hand.

Single; possibly two hands given variations in size, but given the strong sense of one guiding creator, likely just variations of the same hand.

Single, neat sloping hand.

Single; a very regular, tiny, fine hand.

Single, despite misleading title. 

Single, but appearance varies a bit (though formation of letters remains the same)

Single, except the three medicinal entries near the end of the book. 

Single loose hand.

Single decorative hand.

Single, with a couple exceptions.

Single.

Single very fine, decorative hand, especially on front and final pages. 

Single.

Single, though possibly a change on mid-page 233 of vol. 1, then vol. 2 same hand again. 

Single.

Single; one or two other contributions.

Single (neat and consistent), except for the final item on the death of VanDyke. This item appears in the index though so it appears to have been contemporary. 

Single, though some very occasional entries that could be in another hand. 

Single primary (Gilchrist), another organizational hand (responsible for the prose extracts and the writing exercises), as well as additional hands. 

Single (fine and uniform); another occasional similarly tiny hand that is more upright.

Single. 

Single; the first 116 leaves are in Kilderbee's hand, and the few remaining entries are in several other hands (this database entry concerns the Kilderbee section only).

Single up to p. 200; then several hands, including the primary hand.

Single primary hand, then a secondary hand, then the primary hand returns in later sections.

Single.

Single.

Single.

Single, quite scrawling and messy. Another hand wrote out an extempore poem about the previous evening's conversation and a long poem on inoculation (possibly entries added later to the bottom of not completely filled pages). 

Single hand throughout; large and loose. Some items pasted in are in different hands.

Single hand; seeming shift to various hands for final 21 leaves. 

Single (Heneage Finch's hand), with several corrections in Anne Finch's hand.

Probably single.

Single

Single.

Single.

Varying hands, though seems to have one primary. The primary hand copied the beginning section and perhaps the final item; same hand as that of the "Anne Milles" signature.

Hands at end variable, shift orientation to writing across page lengthwise.

Single.

Single.

Single.

Single.

Single.

Single, though one paragraph at the top of p. 4 is in another hand.

Single.

Single, with very occasional insertions by another hand, likely added later to fill blanks.

Two or three intermingled hands, but all the title pages are seemingly in the hand I'm assuming is B. Cumberlege because it's also responsible for most of his original poems. This hand (also responsible for the Table of Contents) is clearly the organising force/ primary compiler. 

Two primary hands, with a Table of Contents in another hand, and a possible other hand in the ambigragh section. The two primary hands are alternating, not consecutive—Rolfe's hand attributes the author of one of the second hand's poems, and annotates another. 

Single. One poem in another hand annotated by Austen in vol 2 pp. 79–83; a single annotation in another hand (in ink) p. 142. Red-pencil annotator/ editor is likely the compiler.

Single.

Single.

Single.

Single.

Single.

See similarities to Elizabeth Munbee's hand in Clark MS 1982.002. Possibly transcribed by Elizabeth for her little sister. 

Single.

Single.

Single.

Single.

Single, throughrout the majority of book the book. A second hand takes over in the middle of a very, very long poem (51 pages, pp. 166-216) in rhyming couplets –  The Vale of Teviot, by Mr. Leyden – this is the second last item, followed by The Indian Man’s Creed in the same (second) hand.

Single.

Pencil notes on flyleaf appear to be in a different hand.

Primarily single, though a few others at intervals.

Single, varying over time and with varying degrees of formality, with a different hand at ff. 33v and 37.

Two hands; Adam Matthews database entry implies one main hand, whereas BCMSV database implies a mix of hands; to me the second hand (if it is a new hand), beginning f. 71 with the Carter poem, seems to match that of the signature on the first leaf of the book. The second hand is a somewhat variable hand.

Single. ff. 81–103 the hand is much more formal, but the letter shapes are consistent with the rest of the manuscript, so seemingly the same hand.

Single, with some additions to fill in blank sections.

Two consecutive; six hands total, but this database entry concerns only the first two. First hand is very calligraphic. The second hand adopts the formatting of the first.

Single.

Single.

Two primary hands; first hand pp. 1–77, second hand pp. 82–142. This book was cleanly and clearly passed from one compiler to another.

A third hand begins a poem that is continued by the first hand pp. 31–33.

Unlike the cataloguer, we do not agree that there are other hands after p. 82. The “T”s and “F”s from p. 82 onwards are distinctive and consistent, though the hand is looser on some pages than others.

Single, as far as this database entry is concerned.

As a whole though, at least three, the first being the primary. Primary hand pp. 1–150. Second hand pp. 151–185. pp. 218–220 seemingly the first hand, pp. 221–229 is the second hand, and pp. 230–[274] is either a messier version of the second hand and a third hand, or a third and fourth hand. The hands that aren’t the primary hand are all similarly messy, and not consecutive or alternating in any clear, distinguishable way. p. 251 is seemingly a single entry in another hand, which makes it at least the third hand to appear in the manuscript, regardless of how many other hands contribute to that final section.

Single, except for pp. 95–105, and p. 242, which are in a second hand (possibly that of Eliza Lee, the later owner).

Single.

Single, neat. 

Two hands, Coles’ hand is the primary, though they are compiling simultaneously given the dates, and the contributions they make to each other’s items. The second hand copied a lot more prose items compared to Coles’ hand, though they both copied some verse and some prose. 

Single.

Single, with two poems added later in another hand ff. 53–59.

Single; at the end of the manuscript the writing is looser, but it seems to be the same hand (writer is possibly elderly).

Single.

Single, with one poem in another hand pp. 7–21.

Three; the cataloguer only notes two hands but three hands are obvious. Hand 1 from ff.1–57v; Hand 2 (also 18^th-century) ff. 58–64v and 110r–111v; Hand 3 ff. 65r–77v (blanks ff. 67r-68r), 107–109v. – presumably filling in blank pages at a later date with miscellaneous items.

Two consecutive hands. The second hand's section is much longer and more coherent.

Single.

Single.

Single.

Single, except for occasional items by two different hands.

Single

Single, excluding the manuscript inserts and last four pages of volume 2. 

Single.

Single.

Single

Single. Very decorative writing style with many looped letters. 

Single.

Single.

Single, with the exception of one page (19).

Single.

Single, some items by other hands likely inserted later.

Single.

One primary hand (Elizabeth Church's) with additions in up to eight other hands. Only two of the eight other hands make significant contributions.