By Theodora Kroeber
Frontis. + xi + 292 pp. with various illus., eightvo.
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The term ‘‘organic,’’ which he used to his advantage in ‘‘Art Is History Made Organic,’’ he may have lifted from Acton’s inaugural. What Butterﬁeld meant by organic has escaped us, but what Acton meant was the unity of history, the notion that life is an integrated whole and that in general history everything interrelates. In the context of Peterhouse, the term would have sounded as if it came from Acton. He also borrowed from Acton’s letter to the contributors the image of a ‘‘rope of sand,’’ which he used in just about everything he wrote for the rest of his life.
In keeping with the Cambridge tradition, he repeated his ﬁrst year subjects for the second year, giving him two straight years of English economic history, general European history in the medieval period, and English constitutional history from 1485. In the examinations—the Historical Tripos, Part I—he ranked again Class I, Division 2, in a year when no one achieved a higher mark. He again won the college prize in history and again received a raise in the value of his scholarship. When Temperley returned for Butterﬁeld’s third year, he adopted a new style with his young protege.
He took with him the two aspirations of his youth—to be a writer and to be a Methodist preacher. He knew close to nothing about Peterhouse and had gone to the college only because he succeeded in winning a Peterhouse entrance scholarship in history. He professed that, because of the strength of his desire to be a writer, he would have selected English as his subject if there had been a scholarship available to him in that ﬁeld. The Peterhouse Butterﬁeld entered boasted of three distinctions among the Aspirations 15 eighteen Cambridge colleges—it was old, small, and notable for the teaching of history.