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Today we are diving deep into 
one of the most transformative 

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periods in London's literary 
history, an extraordinary 

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flowering of the printing 
industry in the 1740s, and the 

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remarkable little book that 
helped revolutionize childhood 

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reading forever. 
Picture this London in 1744, a 

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bustling metropolis of 
approximately 675,000 people. 

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In the narrow streets around 
Saint Paul's Cathedral, the air 

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carries the clatter of presses, 
the shouts of apprentices 

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running proofs across 
courtyards, and the smell of ink

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and damp paper. 
At the heart of it all lies 

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Paternoster Row, the densest 
cluster of booksellers, printers

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and publishers in Europe. 
From one of its shop fronts 

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emerged a book so small it could
sit in the palm of your hand, 

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Tommy Thumb's Pretty Song book. 
Yet its influence would carry 

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across centuries of childhood. 
Let me set the broader scene. 

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The 1740s were an energetic 
decade in British letters. 

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Alexander Pope was still a 
dominant voice. 

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Samuel Johnson was beginning to 
shape London literary life, 

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though his great dictionary was 
yet to come. 

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The novel was evolving rapidly. 
Public debate, satire and 

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pamphleteering flourished in 
coffee houses, print shops and 

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private clubs. 
London itself was still living 

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in the long afterlife of the 
Great Fire of London. 

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As 1666. 
The rebuilt city bore the 

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architectural marks of 
Christopher Wren Noma more 

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dramatically than in the great 
Dome of Saint Paul's Cathedral, 

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completed in 1710. 
New building codes meant brick 

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and stone were replacing timber 
framed medieval structures. 

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Streets were slowly widening and
fire breaks, insurance schemes 

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and parish watch systems 
reflected a capital learning to 

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live with risk. 
Politics also pressed in. 

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The Jacobite rising of 1745, 
only a year after Tommy Thumb 

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appeared, sent waves of panic 
through the capital when the 

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Stuart army advanced as far 
South as Derby. 

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Contemporary accounts describe 
Londoners hiding valuables, 

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closing shops and worrying about
bank collapses. 

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As rumours flew, troops mustered
on the northern approach roads 

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just 113 miles from London. 
Even when the immediate threat 

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passed, the mood of uncertainty 
lingered. 

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Now to the street that concerns 
us most, Pata Nosta Row. 

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It ran in the shadow of Saint 
Paul's. 

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It was never grand more Service 
Lane than Blvd. but by the mid 

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18th century it had become the 
nerve centre of the English book

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trade. 
Premises were identified by 

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hanging signs rather than 
numbered addresses, The ship, 

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the Black Swan, the globe and so
on. 

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Behind those signs were counting
houses stacked with queries of 

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paper, compositor rooms thick 
with type, and networks of 

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partnership agreements that 
stretched nationwide. 

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The growth was dramatic. 
Across the long 18th century, 

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the number of printers and 
booksellers active in London 

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expanded several fold. 
Rising literacy, expanding 

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middle class purchasing power, 
and a widening reading public 

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drove demand for everything from
sermons to satire, travel 

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writing to children's 
checkbooks, and Paternoster Rowe

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acting as in a clearing house 
wholesaler and innovation lab 

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all at once. 
A key shift that opened the 

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field was the early 18th century
rethinking of copyright, 

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formalised in legislation, often
referred to as the Statute of 

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Anne. 
As companies. 

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National monopoly powers 
effectively lapsed in 1695 when 

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parliament refused to renew the 
Licensing Act. 

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The Statute of Anne, passed in 
1710, then established for the 

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first time publishing rights 
that could be defined in law, 

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timed, transferred and defended 
in the courts. 

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Under the new regime, authors 
and their publishers could hold 

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exclusive rights for 14 years, 
with the possibility of renewal 

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for another 14 years if the 
author was still alive. 

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That time limit mattered. 
It created incentives to produce

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new material and repackage older
text before the right expired. 

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It also encouraged investment in
niches that the old monopoly 

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system had neglected, including 
literature for the young. 2 

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figures help bring this world to
life. 

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First off, Mary Cooper, Widowed 
in the early 1740s, she carried 

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on and expanded her late husband
Thomas Cooper's business at the 

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Globe. 8 Paternoster Row Active 
through 1760, she became one of 

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the first London publishers to 
target children explicitly. 

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Long before John Newbury became 
the poster child for early 

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children's publishing, Mary 
Cooper was issuing small, 

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affordable books for Little 
Masters and Misses, and Tommy 

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Thumb's Pretty Songbook was 
among them. 

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Cooper was what contemporaries 
called a trade publisher. 

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She would take in a copy from 
authors or other booksellers, 

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arrange printing, and send 
sheets back out through 

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wholesale channels. 
This model made it possible to 

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publish controversial or 
experimental material without 

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tying up too much capital. 
Her list was famously diverse. 

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Children's items, religious 
pamphlets, satirical pieces, 

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00:07:05,280 --> 00:07:08,040
even the occasional risque 
title. 

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She also held copyright to a 
meaningful number of works in 

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her own name, no small 
achievement for a woman in mid 

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18th century London. 
The second name is Thomas 

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Longman. 
In his 20s he invested heavily 

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to acquire an established 
Paternoster Rd. business, 

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identified by the sign of the 
ship and associated neighboring 

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premises. 
From that published grew the 

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Longman Publishing House, which 
would go on to shape English 

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literary culture for 
generations. 

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Long term partnerships, share 
purchases in promising 

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manuscripts, and careful 
cultivation of authors became 

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the hallmarks of the firm. 
Although hand presses still 

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dominated everyday printing, 
specialist techniques were 

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advancing that included copper 
plate engraving process more 

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associated with maps. 
Music, fine illustration and 

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calligraphic copy books offered 
levels of line quality and 

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decorative flourish that 
ordinary letter presses could 

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not. 
It is this technique that gives 

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Tommy Thumbs Pretty Songbook its
distinct look. 

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Instead of setting tiny movable 
type, the printer engraver 

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worked text and images into 
copper plates. 

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Letters could be punched, 
engraved or etched, images cut, 

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with berrins and ornamental 
borders added. 

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Paper was dampened, laid over 
the inked plate and driven 

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through a rolling press under 
high pressure so the fibres 

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picked ink out of the recessed 
lines. 

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The result? 
Crisp impressions, a tactile 

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plate mark and the capacity for 
fine detail at miniature scale. 

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A playful design touch in Tommy 
Thumb alternated openings in red

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and black ink. 
Producing this effect required 

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separate inking passes or 
separate plates, increasing 

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labour and cost. 
But the visual playoff of such 

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small pages was considerable. 
Imagine a child turning a book 

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where colours changed from 
spread to spread. 

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It invites attention and repeats
engagement. 

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Now how small was this book? 
Well, about 3 inches by three 

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and three quarter inches. 
Genuinely pocket size for a 

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child. 
Miniature formats were not 

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unheard of, but pairing that 
size with engraved illustrations

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and alternating colour gave 
Tommy Thumb novelty appeal. 

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Small books were cheaper to 
post, easy to tuck into parcels 

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and tempting an impulse purchase
out on the shop counter. 

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The copper work for Tommy Thumb 
is attributed to George Bickham 

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the Younger, part of a family of
celebrated engravers. 

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His father, George Bickham the 
Elder, produced the Universal 

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Penman, an influential engraved 
masterwork of calligraphic 

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examplers. 
The younger Bickman moved across

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genres, music, satire, trade 
cards, decorative prints and, in

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this case, a children's rhyme 
collection. 

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Contemporary and later 
commenters note that his output 

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ranged from respectable 
commissions to more provocative 

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material. 
The 18th century print market 

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had porous boundaries between 
polite and bawdy. 

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Now what was inside this book? 
Well, the surviving volume, 

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Volume 2 gathers 39 short 
pieces. 

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Many are still sung today. 
You may recognise Baa Baa, Black

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Sheep, London Bridge is Falling 
Down, Hickory, Dickory Dock, 

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Oranges and Lemons, Mary, Mary, 
Quite Contrary and little Tommy 

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Tucker. 
There are also verses that have 

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since fallen out of nursery 
rotation, including one 

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memorably titled Pisser Bed, a 
reminder that 18th century 

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humour could be earthy even when
aimed at the young. 

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The rhymes are brief, rhythmic 
and often paired with small 

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illustrative motifs that invite 
pointing, chanting and 

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repetition. 
This was literature to be 

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performed with children, rather 
than simply read to them. 

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And yes, there is The Lost 
Volume 1. 

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We know that Tommy Thumb's 
songbook, effectively volume one

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in the series, was advertised 
slightly earlier than The Pretty

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songbook. 
Yep, no confirmed copy has 

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survived notices of the time 
billed. 

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It is suitable to be sung to 
them by their nurses till they 

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can sing themselves. 
That line captures the oral 

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culture surrounding early 
childhood caregivers voicing the

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text, gestures and tunes added 
on the fly, literacy developing 

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through sound and play. 
Scholars have attempted to 

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reconstruct the contents of the 
lost first volume by comparing 

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later prints, trade catalogues, 
and references in other 

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children's titles. 
While we cannot be certain of 

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every item, the work of 
reconstruction helps. 

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Map how popular rhyme migrated 
through cheap print formats. 

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The mid 1740s saw a burst of 
interest in little books pitched

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to young readers. 
Tommy Thumbs Pretty Songbook 

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showed that plateful, 
entertaining material could 

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sell. 
Its success sits alongside other

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early children's ventures, 
including those of John Newbury,

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that blended instruction with 
amusement. 

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What had once been a narrowly 
moral religious genre began to 

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broaden. 
Publishers experimented with 

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size, illustration, pricing, and
tone. 

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From these beginnings grew the 
commercial children's book trade

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chat books, spelling aids with 
pictures, moral tales softened 

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by narrative, and eventually the
richly illustrated Victorian 

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gift book. 
Tommy Thumb helped open that 

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00:14:12,080 --> 00:14:16,800
path. 
Most nursery rhymes had long, 

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00:14:16,800 --> 00:14:19,600
tangled lives before they 
reached the press. 

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00:14:19,960 --> 00:14:24,920
Many originated in adult songs, 
St. cries, political satire or 

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00:14:24,920 --> 00:14:28,120
folk verse. 
When printers gathered them for 

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00:14:28,120 --> 00:14:32,080
children, versions were 
shortened, rearranged, all 

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00:14:32,080 --> 00:14:36,880
stripped of topical references. 
Print stabilized certain 

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00:14:36,880 --> 00:14:40,160
wordings, while oral performance
kept them fluid. 

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00:14:41,200 --> 00:14:45,440
The subtitle about nurses 
singing until children could 

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00:14:45,440 --> 00:14:50,800
sing themselves says it all. 
This was a bridge medium between

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memory and print. 
Why did small format books 

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00:14:55,520 --> 00:14:59,160
travel so widely? 
Well, because 18th century 

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00:14:59,160 --> 00:15:02,680
Britain was developing the 
infrastructure to move print 

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00:15:02,760 --> 00:15:05,200
quickly. 
Commercial circulating 

197
00:15:05,200 --> 00:15:09,240
libraries, shops where you paid 
a subscription to borrow books 

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00:15:09,440 --> 00:15:13,120
were spreading. 
New Sprint consumption exploded 

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00:15:13,120 --> 00:15:17,280
as daily and triweekly papers 
reached coffee houses, Taverns 

200
00:15:17,280 --> 00:15:21,320
and private homes. 
Parcels of books were shipped 

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out to provincial towns and 
overseas colonial markets. 

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00:15:25,560 --> 00:15:29,960
In that environment, a low cost 
children's chat book could ride 

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00:15:29,960 --> 00:15:32,840
along with larger wholesale 
bundles. 

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00:15:35,240 --> 00:15:37,840
Mary Cooper was not alone in the
trade. 

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00:15:37,840 --> 00:15:41,520
A surprising number of widows, 
daughters or wives took the 

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00:15:41,520 --> 00:15:45,680
reins of print businesses when 
male relatives died, and many 

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00:15:45,680 --> 00:15:50,760
proved highly capable. 
Mary Lewis, for example, managed

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00:15:50,760 --> 00:15:53,600
substantial printing and 
bookselling operations across 

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00:15:53,600 --> 00:15:56,880
several decades. 
Women negotiated rights, 

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00:15:56,880 --> 00:16:01,080
extended credit, trained 
apprentices and decided what 

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00:16:01,080 --> 00:16:04,760
would go to press. 
Their contribution to the 

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vitality of London's print 
culture is only now being fully 

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00:16:09,240 --> 00:16:13,360
appreciated. 
And London's publishing 

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00:16:13,360 --> 00:16:19,000
innovations did not stay local. 
Sheets, stereotypes and reprint 

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00:16:19,000 --> 00:16:22,920
rights travelled to Dublin, 
Edinburgh, the American colonies

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00:16:22,920 --> 00:16:26,360
and beyond. 
Children's items were reissued 

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00:16:26,360 --> 00:16:29,680
abroad, translated, pirated or 
adapted. 

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00:16:30,880 --> 00:16:35,200
A mid 18th century nursery chat 
book printed off Paternoster Row

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00:16:35,520 --> 00:16:40,040
could turn up years later in a 
Massachusetts shop or be packed 

220
00:16:40,040 --> 00:16:44,920
in a crate to the Caribbean. 
The mechanisms of imperial trade

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00:16:44,920 --> 00:16:48,760
extended the cultural footprint 
of London's printers. 

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00:16:50,840 --> 00:16:54,200
Let us return to Tommy Thumb 
itself. 

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00:16:55,640 --> 00:17:01,600
Only two copies of Volume 2 are 
known, one held in the British 

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00:17:01,600 --> 00:17:06,800
Library in London, the other in 
the COTS and Children's Library 

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00:17:06,800 --> 00:17:09,359
in Princeton University in the 
USA. 

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00:17:10,480 --> 00:17:15,119
Volume 1, as far as current 
knowledge goes, is lost. 

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00:17:16,520 --> 00:17:20,599
To put that in perspective, 
dozens of Gutenberg Bible 

228
00:17:20,599 --> 00:17:24,680
survive. 
Tommy Thumb exists in just two 

229
00:17:24,680 --> 00:17:27,319
fragments of evidence for its 
second volume. 

230
00:17:28,319 --> 00:17:34,760
When a copy surfaced at auction 
in 2001, it realised £45,000, a 

231
00:17:35,080 --> 00:17:41,640
reflection of both rarity and 
research value. 18th century 

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00:17:41,640 --> 00:17:44,600
children's books almost never 
survive in good condition. 

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00:17:45,080 --> 00:17:48,560
They were handled, dropped, 
scribbled on and eventually 

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discarded. 
That any copy of Tommy Thumb 

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endured is remarkable. 
Conservation efforts at major 

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research libraries now stabilise
fragile paper house items in 

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climate controlled stores and 
make high quality facsimilies 

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available so that scholars and 
curious listeners like you can 

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explore them without damaging 
the originals. 

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And if you grew up in the 
English speaking world, chances 

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are you learned at least one 
rhyme. 

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First printed in Tommy Thumb's 
Pretty Song book, the book 

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helped shift expectations. 
Children's reading could be 

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lively, musical, and 
pleasurable. 

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Publishers took note and 
educators followed. 

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From these tiny engraved pages 
flowed an entire tradition of 

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literature that balances 
learning with absolute delight. 

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So next time you're near Saint 
Paul's Cathedral, take a little 

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wander down Paternoster Row and 
take a moment to reflect on its 

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00:18:56,000 --> 00:19:00,880
global reach of the 18th century
parade, the women who drove it, 

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and the enduring sounds of the 
nursery. 

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Thank you for joining me on this
exploration of London's printing

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revolution and the birth of 
modern children's literature. 

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If you enjoyed this episode, 
please share it with someone who

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00:19:17,760 --> 00:19:22,880
loves books, history, or a good 
story about how small things can

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have enormous consequences. 
Subscribe wherever you listen. 

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And if you have a favorite 
London nursery rhyme, please do 

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00:19:31,240 --> 00:19:34,000
let me know by contacting me 
through the website 

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00:19:34,000 --> 00:19:38,600
oflondonguidedwalks.co.uk and 
I'll see what I can do.