W. H. Harrison (ca. 1792–1878)
Harrison served as a copyeditor and what we would now call a production editor for
Ruskinʼs
publications throughout much of the writerʼs public life.
Harrisonʼs birth year is given in the
Poetess Archive as
1795,
but
Harrison himself in a
20 November 1873 letter to
John Ruskin
mentions his age as eighty‐one, which would push his birth year back to
ca. 1792 (
John James Ruskin, Letters to W. H. Harrison).
In the year of
Harrisonʼs death, his fragmentary memoir,
“Notes and Reminiscences”, was published in the
Dublin University Magazine, for which
Ruskin wrote a preface, entitled
“My First Editor: An Autobiographical Reminiscence”
(reprinted in
On the Old Road [
1885],
Works, 34:91–104).
Harrison did not rely on writing and editing as his primary income. In his
“Notes and Reminiscences”,
he mentions holding positions in connection with banking houses; and
Ruskin,
in
“My First Editor”,
seats him at a “desk in the Crown Life Office”
(
Ruskin, Works,
34:99), referring apparently to the Crown Life Assurance Company. This firm existed from the early
1830s at
New Bridge Street,
Blackfriars
in the
City of London. (In
1856–58,
the building was handsomely remodeled in Venetian Gothic by
Deane and
Woodward
[
OʼDwyer, Architecture of Deane and Woodward, 311–16].)
As their home residence, the Harrisons lived nearby the Ruskins in the suburb of
Camberwell,
but
Hilton believes that, though
Harrison often dined at
Herne Hill and later
Denmark Hill, “the Ruskins did not call at his small, poor home”
(
John Ruskin: The Later Years, 217).
John James Ruskin typically addressed
Harrison at his Crown Life office to discuss editorial business.
When the Ruskins first became acquainted with
Harrison (presumably when he took over editorship of
Friendshipʼs Offering), he would have been able to regale them
with reports of conversation with such relics of Regency literary society as
William Beckford (ca.
1760–1844)
as well as with influential literary men of the day, such as the editor
William Jerdan (ca.
1782–1869)
and the author and clergyman
George Croly (ca. 1780–1860).
Harrisonʼs piquant recollections of famous writersʼ appearance, haunts, and conversation suggest a man of humor and observation,
and a frequenter of convivial and benevolent institutions such as the Literary Fund Club.
Harrison then was a respectable
City man with minor literary and artistic connections, who for that reason would have appealed to
John James Ruskin,
and who shared
John Jamesʼs ultra‐Tory opinions about the supremacy of the British church and state as a bulwark against Roman Catholicism.
Harrison was also, one suspects, obsequious to the
Ruskinsʼ pretensions and did not object to taking a gentlemanly form of remuneration for his services.
According to his memoir,
Harrison traced his first encounter with a famous
author to hearing
S. T. Coleridge (ca.
1772–1834), in lectures that can
be dated
1812–13, when
Harrison would have been around twenty years old.
“He was giving a series of lectures on the belles lettres in a large room on the first floor of a sixth‐rate tavern at
the end of a blind alley on the right hand side of
Fetter Lane, not far from
Fleet Street. . . . I heard
Coleridge lecture the same winter at the Surrey Institution,
formerly the Leverean [or Leverian] Museum [i.e., the
Blackfriars Rotunda], on the
Surrey side of
Blackfriars Bridge”
(
Harrison, “Notes and Reminiscences” [
May 1878] 537, 538).
Harrison was also personally acquainted with artists, connections that long pre‐existed
his association with the Ruskins. He claimed that his friendship with the genre painter
William Etty
(ca.
1787–1849) reached back to their teens:
“When I first knew
Etty he was a pupil of
Sir Thomas Lawrence” (i.e.,
ca. 1807)
(
Harrison, “Notes and Reminiscences” [
May 1878] 538).
Harrison also knew the architectural painter and printmaker
David Roberts (
1796–1864), with whom he shared contributions to
Jenningsʼs Landscape Annual.
Roberts illustrated the
Jenningsʼs volumes for
1835–38,
based on his sketching excursion to
Spain in
1832–33.
Robertsʼs series of
annuals picturing
Iberia
formed a “monumental transcription of picturesque
Spain” in the growing early‐Victorian “visual archive” representing the Romantic‐era journey to the peninsula,
which shifted perceptions from British “Enlightenment dismissals of
Spain as the antithesis of all rationalist ideas and practices
to an enthusiastic ‘hispanophilia’”. The letterpress for these volumes was written by
Thomas Roscoe (ca.
1791–1871),
who drew on published sources but also on his personal observations made during an
1835 journey, which retraced
Robertsʼs earlier itinerary through the country
(
Saglia, “Imag(in)ing Iberia”, 127, 126, 123, 130).
Harrison provided letterpress for the follow‐up annual for
1839, featuring scenes in
Portugal,
on which he collaborated with the artist
James Holland (ca.
1799–1870).
It is not clear whether
Harrison visited
Iberia for the purpose. In the preface,
he noncommittally cites “materials collected during a recent visit”; and
Ruskin later intimated that his old friend never left
England.
The annualʼs narrative is stiffly patched together from historical sources and a travel record of mundane encounters with fleas, dirt, and stubborn servants
(
Harrison, Tourist in Portugal, vi; and see
“My First Editor”, in
Ruskin, Works, 34:100–101).
Since
Harrison undertook writing about
Portugal only a few years after taking over editorship of
Friendshipʼs Offering,
one can reasonably speculate that he collected useful information from
John James Ruskin,
the father of his precocious contributor,
J.R., and the traveling partner of a firm that imported Portuguese sherry.
Subsequently, Portugal became something of a specialty of Harrisonʼs,
supplying the setting for other tales and poems in the annuals, such as .
The reticence of
Harrisonʼs
“Notes and Reminiscences”,
in which he mentions the Ruskins only in passing, perhaps played a part in
Ruskinʼs crafting
of the much more delicately balanced rhetoric—poised between nostalgic admiration and critical satire—in his introduction to these sketches,
“My First Editor: An Autobiographical Reminiscence”.
Harrison, for his part, appears to have deemed reflection on his friendship and professional relation with the Ruskins
to have been out of bounds for his memoir, with the possible exception of the section on
Oxford.
That portion reads like an unused travel sketch for the annuals, recounted by the narrator of his tales and sketches—genial, ironic, given to rhetorical flourish.
The sketch concludes by opening a window only slightly on the relationship he developed with the
“Graduate of Oxford”: “As in athletics, so in intellectual contests, life is often the price of the prize.
Here is a poem from the pen of an undergraduate, who has since achieved a world‐wide fame.
It was published without the name of the author, and I dare not add it”—and he quotes
Ruskinʼs
“Christ Church, Oxford”
(
Harrison, “Notes and Reminiscences” [
August 1878], 223).
The mixture of anxiety and nostalgia speaks worlds without giving much away.