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Dickens probably wrote the following section of 'A Popular Delusion': from 'The proprietor of the handsome donkey' (p. 220) to the conclusion.
Dickens may also have rewritten portions of the following passages: from the opening to 'immemorial as BILLINGSGATE' (p. 217); from 'Nothing can exceed' (p. 218) to 'that 'ere markit?' (p. 219).
In addition, Dickens seems to have added touches to passages primarily by Wills (for example, to the paragraph beginning 'When we arrived,' p. 217).
For a discussion of the Dickens-Wills attributions, see note to 'Valentine's Day at the Post-Office.'

Harry Stone; © Bloomington and Indiana University Press, 1968. DJO gratefully acknowledges permission to reproduce this material.

Based on Mary Pickard Ware's work for sanitation in Yorkshire village.

Based on Mary Pickard Ware's work for sanitation in Yorkshire village.

Vladimir A. Sollogub, The Tarantas, 1850.

John Everett Millais was one of the founder-members of the Pre-Raphaelite Brotherhood with Holman Hunt and D. G. Rossetti. His first major religious painting, titled only by a Biblical text but know as 'Christ in the House of His Parents' (see The Pre-Raphaelites, exhibition catalogue, Tate Gallery/Penguin Books [1984], no. 26), caused immense controversy because of its determined realism when it was shown in the Royal Academy exhibition ('In all the papers...the attack on Millais had been most virulent and audacious,' wrote W. M. Rossetti, quoted by Leonée Ormond in 'Dickens and Painting: Contemporary Art', The Dickensian, Vol. 80 [1984], p. 21; this article contains an excellent analysis of Dickens's reaction to Millais's painting). Dickens was a fervent admirer of Raphael and, as Ormond observes, felt that the Brotherhood's name 'implied a deliberate attack' on the great Renaissance artist.

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