Works
In 1798 Ellis published at the age of twenty-one his History of St. Leonard's, Shoreditch, and Liberty of Norton Folgate. As an antiquarian, his contributions to Archæologia were numerous. In 1813 he edited John Brand's Popular Antiquities, a work going back to Henry Bourne.
His catalogue of the manuscripts of the Society of Antiquaries was published in 1816; in the same year he edited the Additamenta to the Domesday Book, and his general introduction, written in 1813, was published in separate form in 1833. With John Caley and others, edited William Dugdale's Monasticon between 1817 and 1833, and used his position as head of the manuscript department by the publication of Original Letters illustrative of English History, mostly drawn from originals in the museum. Three series of this collection appeared, in 1824, 1827, and 1846 respectively, the first in three volumes, the others each in four. He also drew up, as secretary, guides to the departments of the British Museum.
Ellis completed portions of the British Museum catalogue, from A to F and from P to R inclusive, Baber doing all the rest. He was assisted by Thomas Dampier; but his portion of the catalogue was criticised by his successor Panizzi.
For Rees's Cyclopaedia Ellis contributed articles on Antiquities and other subjects, but the topics are not known.
Read more about this topic: Henry Ellis (librarian)
Famous quotes containing the word works:
“...A shadow now occasionally crossed my simple, sanguine, and life enjoying mind, a notion that I was never really going to accomplish those powerful literary works which would blow a noble trumpet to social generosity and noblesse oblige before the world. What? should I find myself always planning and never achieving ... a richly complicated and yet firmly unified novel?”
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“Now they express
All that’s content to wear a worn-out coat,
All actions done in patient hopelessness,
All that ignores the silences of death,
Thinking no further than the hand can hold,
All that grows old,
Yet works on uselessly with shortened breath.”
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“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
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