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Flask Blueprints

Dive into the world of the Flask microframework to

develop an array of web applications

Joël Perras

BIRMINGHAM - MUMBAI
Flask Blueprints

Copyright © 2015 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, without the prior written
permission of the publisher, except in the case of brief quotations embedded in
critical articles or reviews.

Every effort has been made in the preparation of this book to ensure the accuracy
of the information presented. However, the information contained in this book is
sold without warranty, either express or implied. Neither the author, nor Packt
Publishing, and its dealers and distributors will be held liable for any damages
caused or alleged to be caused directly or indirectly by this book.

Packt Publishing has endeavored to provide trademark information about all of the
companies and products mentioned in this book by the appropriate use of capitals.
However, Packt Publishing cannot guarantee the accuracy of this information.

First published: November 2015

Production reference: 1251115

Published by Packt Publishing Ltd.

Livery Place
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Birmingham B3 2PB, UK.

ISBN 978-1-78439-478-3

www.packtpub.com
 Credits

Author Project Coordinator

Joël Perras Sanjeet Rao

Reviewers Proofreader
Shalabh Aggarwal Safis Editing
Christoph Heer
Andreas Porevopoulos Indexer
Monica Ajmera Mehta

Commissioning Editor
Julian Ursell Graphics
Disha Haria

Acquisition Editor
Meeta Rajani Production Coordinator
Nilesh R. Mohite

Content Development Editor

Shweta Pant Cover Work
Nilesh R. Mohite

Technical Editor
Bharat Patil

Copy Editor
Tasneem Fatehi
 About the Author

Joël Perras has been professionally involved in technology and computing

for over 12 years. He got his start in the world of programming by attempting
to teach himself Java at the tender age of 13 and got his first job at a small web
development firm a few years later writing Java Server Pages. The first site he
built is still running.

While studying physics and mathematics at McGill University in Montréal,

he helped set up a Tier II analysis centre for the Worldwide LHC Computing
Grid, which cemented his interest in distributed systems architecture and high
performance computing.

Currently, his days are spent building infrastructure and Python applications with
the incredible people at Fictive Kin, writing open source code, and trying to lift
heavy weights over his head on a regular basis.

I'd like to thank Sara for her infinite patience throughout the
process of writing this lengthy technical manual and my coworkers
at Fictive Kin for dealing with my particularly bad sense of humor
on a daily basis.
 About the Reviewers

Shalabh Aggarwal has several years of experience in developing business systems

and web applications for small-to-medium scale industries. He started his career
working on Python, and although he works on multiple technologies, he remains
a Python developer at heart. He is passionate about open source technologies and
writes highly readable and quality code.

Shalabh is also active in voluntary training for engineering students on

nonconventional and open source topics. When not working with full-time
assignments, he acts as a consultant for start-ups on leveraging different
technologies. He is pursuing his master's degree in business from IIT Delhi.

I would like to thank my family, my mother, and my sister for

putting up with me during my long writing and research sessions. I
would also like to thank my friends and colleagues who encouraged
me and kept the momentum going. I would like to thank Armin
Ronacher for developing this wonderful web framework.

Christoph Heer is a passionate Python developer based in Germany. He likes to

develop web applications and also tools and systems for infrastructure optimization,
management, and monitoring. He is proud to be a part of the great Python
community and wishes to have more time for open source contribution.
Andreas Porevopoulos has loved computers and programming since he was in
high school and over the years he has developed many apps in different languages
and systems, but Python was always his favorite. He has been working as a Full
Stack Python developer for the last 7 years and has completed lots of projects in
Django and Flask. He believes that these two frameworks are among the best for web
app development.

The agile practices that he uses for all his developing/deploying needs are Git,
Ansible, Vagrant, and Docker.
 www.PacktPub.com

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 Table of Contents
Preface v
Chapter 1: Starting on the Right Foot – Using Virtualenv 1
Setuptools and pip 2
Avoiding dependency hell, the Python way 5
Working with virtualenv 6
Creating a new virtual environment 6
Activating and deactivating virtual environments 7
Adding packages to an existing environment 7
Uninstalling packages from an existing environment 8
Simplifying common operations – using the virtualenvwrapper tool 8
Summary 10
Chapter 2: Small to Big – Growing the Flask Application Structure 11
Your first Flask application structure 11
From module to package 13
From package to blueprint 17
Our first blueprint 18
Summary 20
Chapter 3: Snap – the Code Snippet Sharing Application 21
Getting started 22
Flask-SQLAlchemy 22
Configuring Flask-SQLAlchemy 23
SQLAlchemy basics 24
Snap data models 29
Flask-Login and Flask-Bcrypt for authentication 31
Flask-WTF – form validation and rendering 32
Hashing user passwords 37
Configure an application SECRET_KEY 39
Hook up the blueprint 40
Let's run this thing 40
[i]
Table of Contents

The data model for snaps 41

Better defaults with content-sensitive default functions 44
Snap view handlers 44
Summary 50
Chapter 4: Socializer – the Testable Timeline 51
Starting off 51
Application factories 52
The application context 53
Instantiating an app object 55
Unit and functional testing 55
Social features – friends and followers 58
Functional and integration testing 66
Publish/subscribe events with Blinker 70
Signals from Flask and extensions 71
Creating custom signals 72
Graceful handling of exceptions 75
Functional testing 81
Your newsfeed 85
Summary 88
Chapter 5: Shutterbug, the Photo Stream API 91
Starting off 91
The application factory 92
Interlude – Werkzeug 93
Simple APIs with Flask-RESTful 94
Improved password handling with hybrid attributes 98
API authentication 100
Authentication protocols 101
Getting users 104
Creating new users 106
API testing 108
Interlude – Werkzeug middlewares 112
Back to Shutterbug – uploading photos 114
Testing the photo uploads 117
Fetching the user's photos 119
Summary 120
Chapter 6: Hublot – Flask CLI Tools 121
Starting off 122
The manage.py file 126
The built-in default commands 128
The Flask-Script commands across Blueprints 129
Submanagers 130
The required and optional arguments 131

[ ii ]
 Table of Contents

Flask extensions – the basics 134

When should an extension be used? 135
Our extension – GitHubber 135
Summary 140
Chapter 7: Dinnerly – Recipe Sharing 141
First OAuth 141
Why use OAuth? 142
Terminology 143
So what's wrong with OAuth 1.0? 146
Three-legged authorization 146
Setting up the application 147
Declaring our models 149
Handling OAuth in our views 153
Creating recipes 159
Posting recipes to Twitter and Facebook 161
SQLAlchemy events 161
Finding common friends 164
Interlude – database migrations 166
Alembic 167
Summary 171
Index 173

[ iii ]
 Preface
The setting is familiar enough: you're a web developer who has worked with a
few programming languages, frameworks and environments, and decided to learn
enough Python to make a few toy web applications. Maybe you've already used
some Python web frameworks to build an application or two, and want to explore a
few of the alternative options that you keep hearing about.

This is usually how people come to know about Flask.

As a microframework, Flask is built to help you and then get out of your way.
Taking a very different approach from most other general-purpose web frameworks,
Flask consists of a very small core that handles the processing and normalization
of HTTP and the WSGI specification (via Werkzeug) and provides an exceptionally
good templating language (via Jinja2). The beauty of Flask lies in its intrinsic
extensibility: as it was designed from the start to do very little, it was also designed
to be extended very easily. A pleasant consequence of this is that you are not
beholden to a particular database abstraction layer, authentication protocol, or
caching mechanism.

Learning a new framework is not simply about learning the basic functions and
objects that are provided to you: it's often as important to learn how the framework
can be adapted to help you build the specific requirements of your application.

This book will demonstrate how to develop a series of web application projects with
the Python web microframework, and leverage extensions and external Python
libraries/APIs to extend the development of a variety of larger and more complex
web applications.

[v]
Preface

What this book covers

Chapter 1, Starting on the Right Foot – Using Virtualenv, kicks off our dive into Python
web application development with the basics of using and managing virtual
environments to isolate the application dependencies. We will look at the setup tools,
pip, libraries, and utilities that are used to install and distribute reusable packages of
Python code, and virtualenv, a tool to create isolated environments for the Python-
based software requirements of a project. We will also discuss what these tools
are not able to do, and look at the virtualenvwrapper abstraction to augment the
functionality that virtualenv provides.

Chapter 2, Small to Big – Growing the Flask Application Structure, explores the various
baseline layouts and configurations that you might consider for a Flask application.
The pros and cons of each approach are outlined as we progress from the simplest one-
file application structure to the more complex, multipackage Blueprint architecture.

Chapter 3, Snap – the Code Snippet Sharing Application, builds our first simple
Flask application centered around learning the basics of one of the most popular
relational database abstractions, SQLAlchemy, and several of the most popular Flask
extensions: Flask-Login to handle authenticated user login sessions, Flask-Bcrypt
to ensure that account passwords are stored in a secure manner, and Flask-WTF to
create and process form-based input data.

Chapter 4, Socializer – the Testable Timeline, builds a very simple data model for a
social web application where the main focus is on unit and functional testing using
pytest, the Python testing framework and tools. We will also explore the use of
the application factory pattern, which allows us to instantiate separate versions of
our application for the purposes of simplifying testing. Additionally, the use and
creation of often-omitted (and forgotten) signals, provided by the Blinker library, are
described in detail.

Chapter 5, Shutterbug, the Photo Stream API, builds a skeleton of an application

around a JSON-based API, which is a requirement for any modern web application
these days. One of the many API-based Flask extensions, Flask-RESTful, is used to
prototype the API, where we also delve into simple authentication mechanisms for
stateless systems and even write a few tests along the way. A short detour is made
into the world of Werkzeug, the WSGI toolkit that Flask is built upon, to build a
custom WSGI middleware that allows the seamless handling of URI-based version
numbers for our nascent API.

[ vi ]
 Preface

Chapter 6, Hublot – Flask CLI Tools, covers a topic that is often omitted from most web
application framework discussions: command-line tools. The use of Flask-Script is
explained, and several CLI-based tools are created to interact with the data models
of our application. Additionally, we will build our very own custom Flask extension
that wraps an existing Python library to fetch the repository and issue information
from the GitHub API.

Chapter 7, Dinnerly – Recipe Sharing, introduces the somewhat intimidating concept

of the OAuth authorization flow that many large web applications, such as Twitter,
Facebook, and GitHub, implement in order to allow third-party applications to
act on behalf of the account owners without compromising basic account security
credentials. A barebones data model is constructed for a recipe-sharing application
that allows the so-called social sign in and the ability to cross-post the data from our
application to the feeds or streams of the services that a user has connected. Finally,
we will introduce the concept of database migrations using Alembic, which allow
you to synchronize your SQLAlchemy model metadata with the schemas of the
underlying relational database tables in a reliable manner.

What you need for this book

To work through most of the examples in this book, all you need is your favorite text
editor or IDE, access to the Internet (to install the various Flask extensions, not to
mention Flask itself), a relational database (one of SQLite, MySQL, or PostgreSQL),
a browser, and some familiarity with the command line. Care has been taken to
indicate when additional packages or libraries are required to complete the examples
in each chapter.

Who this book is for

This book was created for the new Python developers who wish to dive into the
world of web application development, or for the seasoned Python web application
professional who is interested in learning about Flask and the extension-based
ecosystem behind it. To get the most out of each chapter, you should have a solid
understanding of the Python programming language, a basic knowledge of relational
database systems, and fluency with the command line.

Conventions
In this book, you will find a number of styles of text that distinguish between
different kinds of information. Here are some examples of these styles, and an
explanation of their meaning.

[ vii ]
Preface

Code words in text, database table names, folder names, filenames, file extensions,
pathnames, dummy URLs, user input, and Twitter handles are shown as follows:
"This will create a blank app1 environment and activate it. You should see an (app1)
tag in your shell prompt."

A block of code is set as follows:

[default]
<div>{{ form.password.label }}: {{ form.password }}</div>
{% if form.password.errors %}
<ul class="errors">{% for error in form.password.errors %}<li>{{
error }}</li>{% endfor %}</ul>
{% endif %}

<div><input type="submit" value="Sign up!"></div>

</form>

{% endblock %}

When we wish to draw your attention to a particular part of a code block, the
relevant lines or items are set in bold:
from application.users.views import users
app.register_blueprint(users, url_prefix='/users')

from application.posts.views import posts

app.register_blueprint(posts, url_prefix='/posts')

# …

Any command-line input or output is written as follows:

$ source ~/envs/testing/bin/activate
(testing)$ pip uninstall numpy

New terms and important words are shown in bold. Words that you see on the
screen, in menus or dialog boxes for example, appear in the text like this: "Then it
asserts that the Sign up! button text appears in the returned HTML".

Warnings or important notes appear in a box like this.

Tips and tricks appear like this.

[ viii ]
 Preface

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[ ix ]
Preface

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[x]
 Starting on the Right
Foot – Using Virtualenv
One of the great difficulties in modern software development is that of dependency
management. Generally, a dependency of a software project consists of a library or
component that is required for the project to function correctly. In the case of a Flask
application (and more generally, that of a Python application), most dependencies
are comprised of specially organized and annotated source files. Once created,
these packages of source files may then be included in other projects and so forth.
For some, this chain of dependencies can become an unmanageable mess, where
the slightest alteration to any of the libraries in the chain can cause a cascade of
incompatibilities that would bring further development to a screeching halt. In
the Python world, as you may know already, the fundamental unit of a reusable
set of source files is that of a Python module (a file that contains definitions and
statements). Once you've created a module on your local filesystem and ensured
that it is in your system's PYTHONPATH, including it in a newly created project
is as simple as specifying the import, which is as follows:
import the_custom_module

Where the_custom_module.py is a file that exists somewhere in $PYTHONPATH of

the system executing the program.

The $PYTHONPATH can include paths to the compressed

archives (.zip folders) in addition to the normal file paths.

[1]
Starting on the Right Foot – Using Virtualenv

This is not where the story ends, of course. While modules littering your local
filesystem might be convenient at first, what happens when you want to share some
of the code that you've written for others? Usually, this would entail emailing/
Dropboxing the files in question, however, this is obviously a very cumbersome
and error-prone solution. Thankfully, this is a problem that has been considered
and some progress has been made in alleviating the common issues. The most
significant of these advances is the subject of this chapter, and how the following
techniques for creating reusable, isolated packages of code can be leveraged to ease
the development of a Flask application:

• Python packaging with pip and setuptools

• Encapsulation of virtual environments with virtualenv

The solution presented by the various Python packaging paradigms/libraries is far

from perfect; one sure way to start an argument with a passionate Python developer
is to proclaim that the packaging problem has been solved! We still have a long way to
go for that but headway is being made in incremental steps with improvements to
setuptools and various other libraries used in building, maintaining, and distributing
a reusable Python code.

In this chapter, when we refer to a package, what we will actually be talking about
would be succinctly described as a distribution—a bundle of software to be installed
from a remote source—and not a collection of modules in a folder structure that
utilizes the__init__.py convention in order to delineate the folders containing the
modules that we want to be importable.

Setuptools and pip

When a developer wants to make their code more widely available, one of the first
steps will be to create a setuptools-compatible package.

Most of the distributions of a modern Python version will come with setuptools
already installed. If it is not present on your system of choice, then obtaining it is
relatively simple, with additional instructions available on the official documentation:
wget https://bootstrap.pypa.io/ez_setup.py -O - | python

After setuptools is installed, the basic requirement to create a compatible package is

the creation of a setup.py file at the root of your project. The primary content of this
file should be the invocation of a setup() function with a few mandatory (and many
optional) arguments, as follows:
from setuptools import setup

[2]
 Chapter 1

setup(
name="My Great Project",
version="0.0.1",
author="Jane Doe",
author_email="jane@example.com",
description= "A brief summary of the project.",
license="BSD",
keywords="example tutorial flask",
url="http://example.com/my-great-project",
packages=['foobar','tests'],
long_description="A much longer project description.",
classifiers=[
"Development Status :: 3 - Alpha",
"Topic :: Utilities",
"License :: OSI Approved :: BSD License",
],
)

Downloading the example code

You can download the example code files from your
account at http://www.packtpub.com for all
the Packt Publishing books you have purchased. If
you purchased this book elsewhere, you can visit
http://www.packtpub.com/support and
register to have the files e-mailed directly to you.

Once the package has been created, most developers will choose to upload
their newly minted package to PyPI—the official source of nearly all Python
packages—using the built-in tools that are provided by setuptools itself. While the
use of this particular public PyPI repository is not a requirement (it's even possible
to set up your own personal package index), most Python developers will expect to
find their packages here.

This brings us to one more essential piece of the puzzle—the pip Python package
installer. If you have Python 2.7.9 or greater installed, then pip will already be
present. Some distributions might have it preinstalled for you or it might be present
in a system-level package. For a Debian-like distribution of Linux, it may be installed
via the following command:
apt-get install python-pip

[3]
Starting on the Right Foot – Using Virtualenv

Similarly, other Linux-based distributions will have their own recommended

package managers. If you'd rather obtain the source and install it manually, it is a
simple matter of fetching a file and running it using the Python interpreter:
$ curl -o get-pip.py https://bootstrap.pypa.io/get-pip.py
$ python get-pip.py

Pip is a tool for installing Python packages (and is itself a Python package). While it
is not the only player in the game, pip is by far the most widely used.

The predecessor to pip is easy_install, which has largely

been replaced in the Python community by the former. The
easy_install module suffered some relatively major
problems, such as allowing partially completed installations,
the inability to uninstall a package without requiring the user
to manually delete the related .egg files, and console output
that contained the useful success and error messages that
allowed the developer to determine the best course of action in
case something went wrong.

One can invoke pip in the command line to install, say, a scientific computing
package on the local filesystem:
$ pip install numpy

The preceding command will query the default PyPI index for a package named
numpy and download the latest version to a special place in your system, usually /
usr/local/lib/pythonX.Y/site-packages (X and Y are the major/minor versions
of the Python version that pip points to). This operation may require root privileges
and would thus require sudo or similar actions to allow it to be completed.

One of the many benefits of virtual environments, which we will explore shortly,
is that they generally avoid the privilege escalation requirement that can plague
system-level changes to installed packages.

Once this operation is completed successfully, you now have the ability to import
the numpy package into new modules and use any and all of the functionalities that
it exposes:
import numpy

x = numpy.array([1, 2, 3])
sum = numpy.sum(x)
print sum # prints 6

[4]
 Chapter 1

Once we have this package (or any other, for that matter) installed, there's nothing
stopping us from fetching additional packages in the usual way. Moreover, we can
install multiple packages at the same time by providing their names as additional
arguments to the install command:
$ pip install scipy pandas # etc.

Avoiding dependency hell, the Python way

New developers might be tempted to install every interesting package that they
come across. In doing so, they might realize that this quickly degrades into a
Kafkaesque situation where previously installed packages may cease to function and
newly installed packages may behave unpredictably, if they manage to get installed
successfully at all. The problem with the preceding approach, as some of you may
have guessed, is that of conflicting package dependencies. Say for example, we have
package A installed; it depends on version 1 of package Q and version 1 of package
R. Package B depends on version 2 of package R (where versions 1 and 2 are not API-
compatible). Pip will happily install package B for you, which will upgrade package
R to version 2. This will, at best, make package A completely unusable or, at worst,
make it behave in undocumented and unpredictable ways.

The Python ecosystem has come up with a solution to the basic issues that arise from
what is colloquially referred to as dependency hell. While far from perfect, it allows
developers to sidestep many of the simplest package version dependency conflicts
that can arise in web application development.

The virtualenv tool, of which a similar implementation is now a default module in

Python 3.3 and named venv, is essential to ensure that you minimize your chances
of ending up in dependency hell. The following quote is from the introduction in the
official documentation for virtualenv:

It creates an environment that has its own installation directories, that doesn't
share libraries with other virtualenv environments (and optionally doesn't access
the globally installed libraries either).

[5]
Starting on the Right Foot – Using Virtualenv

More concisely, virtualenv allows you to create isolated environments for each one
of your Python applications (or any Python code).

The virtualenv tool does not, however, help you to

manage the dependencies of the Python C-based extensions.
For example, if you install the lxml package from pip,
it will require that you have the correct libxml2 and
libxslt system libraries and headers (which it will link
against). The virtualenv tool will not help you isolate
these system-level libraries.

Working with virtualenv

First, we need to make sure that we have the virtualenv tool installed in our local
system. This is a simple matter of fetching it from the PyPI repository:
$ pip install virtualenv

For obvious reasons, this package should be installed outside

any virtual environments that may already exist.

Creating a new virtual environment

Creating a new virtual environment is straightforward. The following command will
create a new folder at the specified path that will contain the necessary structure and
scripts, including a full copy of your default Python binary:
$ virtualenv <path/to/env/directory>

If we want to create an environment that lives at ~/envs/testing, we will first

ensure that the parent directory exists and then invoke the following command:
$ mkdir -p ~/envs
$ virtualenv ~/envs/testing

In Python 3.3+, a mostly API-compatible version of the virtualenv tool was added
to the default language packages. The name of the module is venv, however, the
name of the script that allows you to create a virtual environment is pyvenv and can
be invoked in a similar way as the previously discussed virtualenv tool, as follows:
$ mkdir -p ~/envs
$ pyvenv ~/envs/testing

[6]
 Another Random Document on
Scribd Without Any Related Topics
‘Free Labour’ (i. e. dared to prohibit soul-murder on the part of the
rich, and self-slaughter on that of the poor!), or any dictum of our
grave law authorities from Fortescue—to Eldon: for from the
borough of Hell I wish to have no representatives.” Henry Crabb
Robinson’s Diary, ii. 93-95.
[167] James Maitland, 1759-1839, eighth Earl of Lauderdale,
belonged to the party of Charles James Fox, and, like Coleridge,
opposed the first war with France, which began in 1793. In the
ministry of “All the Talents” he held the Great Seal of Scotland.
Coleridge calls him plebeian because he inherited the peerage from
a remote connection. He was the author of several treatises on
finance and political economy.
[168] It was, I have been told by an eyewitness, Coleridge’s habit to
take a pinch of snuff, and whilst he was talking to rub it between his
fingers. He wasted so much snuff in the process that the maid
servant had directions to sweep up these literary remains and
replace them in the canister.
[169] A pet name for the Gillmans’ younger son, Henry.
[170] Coleridge was fond of quoting these lines as applicable to
himself.
[171] Washington Allston.
[172] Charles Robert Leslie, historical painter, 1794-1859, was born
of American parents, but studied art in London under Washington
Allston. A pencil sketch, for which Coleridge sat to him in 1820, is in
my possession. Mr. Hamo Thornycroft, R. A., after a careful
inspection of other portraits and engravings of S. T. Coleridge,
modelled the bust which now (thanks to American generosity) finds
its place in Poets’ Corner, mainly in accordance with this sketch.
[173] Letters, Conversations, and Recollections of S. T. Coleridge,
London, 1836, i. 1-3.
[174] The Prospectus of the Lectures on the History of Philosophy
was printed in Allsop’s Letters, etc., as Letter xliv., November 26,
1818, but the announcement of the time and place has been
omitted. A very rare copy of the original prospectus, which has been
placed in my hands by Mrs. Henry Watson, gives the following
details:—
“This course will be comprised in Fourteen Lectures, to commence
on Monday evening, December 7, 1818, at eight o’clock, at the
Crown and Anchor, Strand; and be continued on the following
Mondays, with the intermission of Christmas week—Double Tickets,
admitting a Lady and Gentleman, Three Guineas. Single Tickets, Two
Guineas. Admission to a Single Lecture, Five Shillings. An Historical
and Chronological Guide to the course will be printed.”
A reporter was hired at the expense of Hookham Frere to take down
the lectures in shorthand. A transcript, which I possess, contains
numerous errors and omissions, but is interesting as affording proof
of the conversational style of Coleridge’s lectures. See, for further
account of Lectures of 1819, Samuel Taylor Coleridge, a Narrative,
by J. Dykes Campbell, pp. 238, 239.
[175] Thomas Phillips, R. A., 1770-1845, painted two portraits of
Coleridge, one of which is in the possession of Mr. John Murray, and
was engraved as the frontispiece of the first volume of the Table
Talk; and the other in that of Mr. William Rennell Coleridge, of
Salston, Ottery St. Mary. The late Lord Chief Justice used to say that
the Salston picture was “the best presentation of the outward man.”
No doubt it recalled his great-uncle as he remembered him. It
certainly bears a close resemblance to the portraits of Coleridge’s
brothers, Edward and George, and of other members of the family.
[176] My impression is that this letter was written to Mrs. Aders, the
beautiful and accomplished daughter of the engraver Raphael Smith,
but the address is wanting and I cannot speak with any certainty.
[177] Compare lines 16-20 of The Two Founts:—
 “As on the driving cloud the shiny bow,
That gracious thing made up of tears and light.”

The poem as a whole was composed in 1826, and, as I am assured

by Mrs. Henry Watson (on the authority of her grandmother, Mrs.
Gillman), addressed to Mrs. Aders; but the fifth and a preceding
stanza, which Coleridge marked for interpolation, in an annotated
copy of Poetical Works, 1828 (kindly lent me by Mrs. Watson), must
have been written before that date, and were, as I gather from an
insertion in a note-book, originally addressed to Mrs. Gillman.
Poetical Works, p. 196. See, too, for unprinted stanza, Ibid. Editor’s
Note, p. 642.
[178] “To Two Sisters.” Poetical Works, p. 179.
[179] The so-called “Manchester Massacre,” nicknamed Peterloo,
took place August 16, 1819. Towards the middle of October
dangerous riots broke out at North Shields. Cries of “Blood for
blood,” “Manchester over again,” were heard in the streets, and “so
daring have the mob been that they actually threatened to burn or
destroy the ships of war.” Annual Register, October 15-23, 1819.
[180] “Fears in Solitude.” Poetical Works, p. 127.
[181] Mrs. Gillman’s sister.
[182] A collection of casts of antique gems, once, no doubt, the
property of S. T. C., is now in the possession of Alexander Gillman,
Esq., of Sussex Square, Brighton.
[183] Edward Dubois, satirist, 1775-1850, was the author of The
Wreath, a Translation of Boccaccio’s Decameron, 1804, and other
works besides those mentioned in the text. Biographical Dictionary.
[184] A late note-book of the Highgate period contains the following
doggerel:—
 To the most veracious Anecdotist and
Small-Talk Man, Thomas Hill, Esq.

Tom Hill who laughs at cares and woes,

As nanci—nili—pili—
What is he like as I suppose?
Why to be sure, a Rose, a Rose.
At least no soul that Tom Hill knows,
Could e’er recall a Li-ly.
S. T. C.

“The first time,” writes Miss Stuart, in a personal remembrance of

Coleridge, headed “A Farewell, 1834,” “I dined in company at my
father’s table, I sat between Coleridge and Mr. Hill (known as ‘Little
Tommy Hill’) of the Adelphi, and Ezekiel then formed the theme of
Coleridge’s eloquence. I well remember his citing the chapter of the
Dead Bones, and his sepulchral voice as he asked, ‘Can these bones
live?’ Then, his observation that nothing in the range of human
thought was more sublime than Ezekiel’s reply, ‘Lord, thou knowest,’
in deepest humility, not presuming to doubt the omnipotence of the
Most High.” Letters from the Lake Poets, p. 322. See, too, Letters
from Hill to Stuart, Ibid. p. 435.
[185] William Elford Leach, 1790-1836, a physician and naturalist,
was at this time Curator of the Natural History Department at the
British Museum.
By Lawrencian, Coleridge means a disciple of the eminent surgeon
William Lawrence, whose “Lectures on the Physiology, Zoölogy, and
Natural History of Man,” which were delivered in 1816, are alluded to
more than once in his “Theory of Life.” “Theory of Life” in
Miscellanies, Æsthetic and Literary, Bohn’s Standard Library, pp. 377,
385.
[186] Included in the Omniana of 1809-1816. Table Talk, etc., Bell &
Sons, 1884, p. 400.
[187] Compare a letter of Coleridge to Allsop, dated October 8,
1822, in which he details “the four griping and grasping sorrows,
each of which seemed to have my very heart in its hands,
compressing or wringing.”
It was the publication of this particular letter, with its thinly-veiled
allusions to Wordsworth, Southey, and to Coleridge’s sons, which not
only excited indignation against Allsop, but moved Southey to write
a letter to Cottle. Letters, Conversation, etc., 1836, ii. 140-146.
[188] Compare “The Wanderer’s Farewell to Two Sisters” (Mrs.
Morgan and Miss Brent), 1807. Miss Brent made her home with her
married sister, Mrs. J. J. Morgan, and during the years 1810-1815,
when Coleridge lived under the Morgans’ roof at Hammersmith, in
London, and in the West of England, he received from these ladies
the most affectionate care and attention, both in sickness and in
health. Poetical Works, pp. 179, 180.
[189] The Reverend Edward Coleridge, 1800-1883, the sixth and
youngest son of Colonel James Coleridge, was for many years a
Master and afterwards a Fellow of Eton. He also held the College
living of Mapledurham near Reading. He corresponded with his
uncle, who was greatly attached to him, on philosophical and
theological questions. It was to him that the “Confessions of an
Enquiring Spirit” were originally addressed in the form of letters.
[190] Colonel Coleridge’s only daughter, Frances Duke, was
afterwards married to the Honourable Mr. Justice Patteson, a Judge
of the Queen’s Bench.
[191]

Like those trim skiffs, unknown of yore

On winding lake, or rivers wide,
That ask no aid of sail or oar,
That fear no spite of wind or tide.
“Youth and Age,” ll. 12-15. Poetical Works, p. 191. A MS. copy of
“Youth and Age” in my possession, of which the probable date is
1822, reads “boats” for “skiffs.”
[192] Sir Alexander Johnston, 1775-1849, a learned orientalist. He
was Advocate General (afterwards Chief Justice) of Ceylon, and had
much to do with the reorganisation of the constitution of the island.
He was one of the founders of the Royal Asiatic Society. Dict. of Nat.
Biog. art. “Johnston, Sir Alexander.”
[193] Gabriele Rossetti, 1783-1854, the father of Dante G. Rossetti,
etc., first visited England as a political exile in 1824. In 1830 he was
appointed Professor of the Italian language at King’s College. He is
best known as a commentator on Dante. He presented Coleridge
with a copy of his work, Dello Spirito Antipapale che Produsse la
Riforma, and some of his verses in MS., which are in my possession.
[194] From the letter of Wordsworth to Lord Lonsdale, of February
5, 1819, it is plain that the translation of three books of the Æneid
had been already completed at that date. Another letter written five
years later, November 3, 1824, implies that the work had been put
aside, and, after a long interval, reattempted. In the mean time a
letter of Coleridge to Mrs. Allsop, of April 8, 1824, tells us that the
three books had been sent to Coleridge and must have remained in
his possession for some time. The MS. of this translation appears to
have been lost, but “one of the books,” Professor Knight tells us, was
printed in the Philological Museum, at Cambridge, in 1832. Life of W.
Wordsworth, ii. 296-303.
[195] Coleridge was at this time (1824) engaged in making a
selection of choice passages from the works of Archbishop Leighton,
which, together with his own comment and corollaries, were
published as Aids to Reflection, in 1825. See Letter CCXXX.
[196] Conversations of Lord Byron, etc., by Captain Medwin.
[197] The frontispiece of the second volume of the Antiquary
represents Dr. Dousterswivel digging for treasure in Misticot’s grave.
The resemblance to Coleridge is, perhaps, not wholly imaginary.
[198] John Taylor Coleridge was editor of the Quarterly Review for
one year, 1825-1826. Southey’s Life and Correspondence, v. 194,
201, 204, 239, etc.; Letters of Robert Southey, iii. 455, 473, 511,
514, etc.
[199] Henry Hart Milman, 1791-1868, afterwards celebrated as
historian and divine (Dean of St. Paul’s, 1849), was, at this time,
distinguished chiefly as a poet. His Fall of Jerusalem was published
in 1820. He was a contributor to the Quarterly Review.
[200] Afterward the wife of Sir George Beaumont, the artist’s son
and successor in the baronetcy.
[201] Almost the same sentence with regard to his address as Royal
Associate occurs in a letter to his nephew, John Taylor Coleridge, of
May 20, 1825. The “Essay on the Prometheus of Æschylus,” which
was printed in Literary Remains, was republished in Coleridge’s
Works, Harper & Brothers, 1853, iv. 344-365. See, also, Brandl’s Life
of Coleridge, p. 361.
[202] The portrait of William Hart Coleridge, Bishop of Barbadoes
and the Leeward Islands, by Thomas Phillips, R. A., is now in the
Hall of Christ Church, Oxford.
[203] A sprig of this myrtle (or was it a sprig of myrtle in a
nosegay?) grew into a plant. At some time after Coleridge’s death it
passed into the hands of the late S. C. Hall, who presented it to the
late Lord Coleridge. It now flourishes, in strong old age, in a
protected nook outside the library at Heath’s Court, Ottery St. Mary.
[204] George Dyer, 1755-1841, best remembered as the author of
The History of the University of Cambridge, and a companion work
on The Privileges of the University of Cambridge, began life as a
Baptist minister, but settled in London as a man of letters in 1792.
As a “brother-Grecian” he was introduced to Coleridge in 1794, in
the early days of pantisocracy, and probably through him became
intimate with Lamb and Southey. He contributed “The Show, an
English Eclogue,” and other poems, to the Annual Anthology of 1799
and 1800. His poetry was a constant source of amused delight to
Lamb and Coleridge. A pencil sketch of Dyer by Matilda Betham is in
the British Museum. Letters of Charles Lamb, i. 125-128 et passim;
Southey’s Life and Correspondence, i. 218 et passim.
[205] George Cattermole, 1800-1868, to whose “peculiar gifts and
powerful genius” Mr. Ruskin has borne testimony, was eminent as an
architectural draughtsman and water-colour painter. With his
marvellous illustrations of “Master Humphrey’s Clock” all the world is
familiar. Dict. of Nat. Biog. art. “George Cattermole.” His brother
Richard was Secretary of the Royal Society of Literature, of which
Coleridge was appointed a Royal Associate in 1825. Copies of this
and of other letters from Coleridge to Cattermole were kindly placed
at my disposal by Mr. James M. Menzies of 24, Carlton Hill, St. John’s
Wood.
[206] Harriet Macklin, Coleridge’s faithful attendant for the last
seven or eight years of his life. On his deathbed he left a solemn
request in writing that his family should make a due
acknowledgment of her services. It was to her that Lamb, when he
visited Highgate after Coleridge’s death, made a present of five
guineas.
[207] Dr. Chalmers represented the visit as having lasted three
hours, and that during that “stricken” period he only got occasional
glimpses of what the prophet “would be at.” His little daughter,
however, was so moved by the “mellifluous flow of discourse” that,
when “the music ceased, her overwrought feelings found relief in
tears.” Samuel Taylor Coleridge, a Narrative, by J. Dykes Campbell,
1894, p. 260, footnote.
[208] A disciple and amanuensis, to whom, it is believed, he dictated
two quarto volumes on “The History of Logic” and “The Elements of
Logic,” which originally belonged to Joseph Henry Green, and are
now in the possession of Mr. C. A. Ward of Chingford Hatch. Samuel
Taylor Coleridge, a Narrative, by J. Dykes Campbell, 1894, pp. 250,
251; Athenæum, July 1, 1893, art. “Coleridge’s Logic.”
[209] Henry Nelson Coleridge, 1798-1843, was the fifth son of
Colonel James Coleridge of Heath’s Court, Ottery St. Mary. His
marriage with the poet’s daughter took place on September 3, 1829.
He was the author of Six Months in the West Indies, 1825, and an
Introduction to the Study of the Greek Poets, 1830. He practised as
a chancery barrister and won distinction in his profession. The later
years of his life were devoted to the reëditing of his uncle’s
published works, and to throwing into a connected shape the literary
as distinguished from the philosophical section of his unpublished
MSS. The Table Talk, the best known of Coleridge’s prose works,
appeared in 1835. Four volumes of Literary Remains, including the
“Lectures on Shakespeare and other Dramatists,” were issued 1836-
1839. The third edition of The Friend, 1837, the Confessions of an
Inquiring Spirit, 1840, and the fifth edition of Aids to Reflection,
1843, followed in succession. The second edition of the Biographia
Literaria, which “he had prepared in part,” was published by his
widow in 1847.
A close study of the original documents which were at my uncle’s
disposal enables me to bear testimony to his editorial skill, to his
insight, his unwearied industry, his faithfulness. Of the charm of his
appearance, and the brilliance of his conversation, I have heard
those who knew him speak with enthusiasm. He died, from an
affection of the spine, in January, 1843.
[210] This lady was for many years governess in the family of Dr.
Crompton of Eaton Hall, near Liverpool. Memoirs and Letters of Sara
Coleridge, London, 1873, i. 8 109-116.
[211] Sir William Rowan Hamilton, 1805-1865, the great
mathematician, was at this time Professor of Astronomy at Dublin.
He was afterwards appointed Astronomer Royal of Ireland. He was,
as is well known, a man of culture and a poet; and it was partly to
ascertain his views on scientific questions, and partly to interest him
in his verses, that Hamilton was anxious to be made known to
Coleridge. He had begun a correspondence with Wordsworth as
early as 1827, and Wordsworth, on the occasion of his tour in
Ireland in 1829, visited Hamilton at the Observatory. Miss Lawrence’s
introduction led to an interview, but a letter which Hamilton wrote to
Coleridge in the spring of 1832 remained unanswered. In a second
letter, dated February 3, 1833, he speaks of a “Lecture on
Astronomy” which he forwards for Coleridge’s acceptance, and also
of “some love-poems to a lady to whom I am shortly to be married.”
The love-poems, eight sonnets, which are smoothly turned and are
charming enough, have survived, but the lecture has disappeared.
The interest of this remarkable letter lies in the double appeal to
Coleridge as a scientific authority and a literary critic. Coleridge’s
reply, if reply there was, would be read with peculiar interest. In a
letter to Mr. Aubrey de Vere, May 28, 1832, he thus records his
impressions of Coleridge: “Coleridge is rather to be considered as a
Faculty than as a Mind; and I did so consider him. I seemed rather
to listen to an oracular voice, to be circumfused in a Divine ὀμφὴ,
than—as in the presence of Wordsworth—to hold commune with an
exalted man.” Life of W. Wordsworth, iii. 157-174, 210, etc.
[212] He is referring to a final effort to give up the use of opium
altogether. It is needless to say that, after a trial of some duration,
the attempt was found to be impracticable. It has been strenuously
denied, as though it had been falsely asserted, that under the
Gillmans’ care Coleridge overcame the habit of taking laudanum in
more or less unusual quantities. Gillman, while he maintains that his
patient in the use of narcotics satisfied the claims of duty, makes no
such statement; and the confessions or outpourings from the later
note-books which are included in the Life point to a different
conclusion. That after his settlement at Highgate, in 1816, the habit
was regulated and brought under control, and that this change for
the better was due to the Gillmans’ care and to his own ever-
renewed efforts to be free, none can gainsay. There was a moral
struggle, and into that “sore agony” it would be presumption to
intrude; but to a moral victory Coleridge laid no claim. And, at the
last, it was “mercy,” not “praise,” for which he pleaded.
[213] The notes on Asgill’s Treatises were printed in the Literary
Remains, Coleridge’s Works, 1853, v. 545-550, and in Notes
Theological and Political, London, 1853, pp. 103-109.
[214] Admirers of Dr. Magee, 1765-1831, who was successively
Bishop of Raphoe, 1819, and Archbishop of Dublin, 1822. He was
the author of Discourses on the Scriptural Doctrines of the
Atonement. He was grandfather of the late Archbishop of York,
better known as Bishop of Peterborough.
[215] I am indebted to Mr. John Henry Steinmetz, a younger brother
of Coleridge’s friend and ardent disciple, for a copy of this letter. It
was addressed, he informs me, to his brother’s friend, the late Mr.
John Peirse Kennard, of Hordle Cliff, Hants, father of the late Sir
John Coleridge Kennard, Bart., M. P. for Salisbury, and of Mr. Adam
Steinmetz Kennard, of Crawley Court Hants, at whose baptism the
poet was present, and to whom he addressed the well-known letter
(Letter CCLX.), “To my Godchild, Adam Steinmetz Kennard.”
[216] See Table Talk, August 14, 1832.
[217] So, too, of Keats. See Table Talk, etc., Bell & Sons. 1884, Talk
for August 14, 1832. Table p. 179.
[218] “The sot would reject the poisoned cup, yet the trembling-
hand with which he raises his daily or hourly draught to his lips has
not left him ignorant that this, too, is altogether a poison.” The
Friend, Essay xiv.; Coleridge’s Works, ii. 100.
[219] The motto of this theme, (January 19, 1794), of which I
possess a transcript in Coleridge’s handwriting, or perhaps the
original copy, is—
 Quid fas
Atque nefas tandem incipiunt sentire peractis
Criminibus.

The theme was selected by Boyer for insertion in his Liber Aureus of
school exercises in prose and verse, now in the possession of James
Boyer, Esq., of the Coopers’ Company. The sentence to which
Coleridge alludes ran thus: “As if we were in some great sea-vortex,
every moment we perceive our ruin more clearly, every moment we
are impelled towards it with greater force.”
The essay was printed for the first time in the Illustrated London
News, April 1, 1893.
[220] This letter, which is addressed in Coleridge’s handwriting, “Mrs.
Aders, favoured by H. Gillman,” and endorsed in pencil, “S. T. C.’s
letter for Miss Denman,” refers to the new edition of his poetical
works which Coleridge had begun to see through the press.
Apparently he had intended that the “Epitaph” should be inscribed
on the outline of a headstone, and that this should illustrate, by way
of vignette, the last page of the volume.
[221] Of the exact date of Sterling’s first visit to Highgate there is no
record. It may, however, be taken for granted that his intimacy with
Coleridge began in 1828, when he was in his twenty-third year, and
continued until the autumn of 1833,—perhaps lasted until
Coleridge’s death. Unlike Maurice, and Maurice’s disciple, Kingsley,
Sterling outlived his early enthusiasm for Coleridge and his
acceptance of his teaching. It may be said, indeed, that, thanks to
the genius of his second master, Carlyle, he suggests both the
reaction against and the rejection of Coleridge. Of that rejection
Carlyle, in his Life of Sterling, made himself the mouth-piece. It is
idle to say of that marvellous but disillusioning presentment that it is
untruthful, or exaggerated, or unkind. It is a sketch from the life,
and who can doubt that it is lifelike? But other eyes saw another
Coleridge who held them entranced. To them he was the seer of the
vision beautiful, the “priest of invisible rites behind the veil of the
senses,” and to their ears his voice was of one who brought good
tidings of reconciliation and assurance. Many, too, who cared for
none of these things, were attracted to the man. Like the wedding-
guest in the Ancient Mariner, they stood still. No other, they felt, was
so wise, so loveable. They, too, were eye-witnesses, and their
portraiture has not been outpainted by Carlyle. Apart from any
expression of opinion, it is worth while to note that Carlyle saw
Coleridge for the last time in the spring of 1825, and that the Life of
Sterling was composed more than a quarter of a century later. His
opinion of the man had, indeed, changed but little, as the notes and
letters of 1824-25 clearly testify, but his criticism of the writer was
far less appreciative than it had been in Coleridge’s lifetime. The
following extracts from a letter of Sterling to Gillman, dated
“Hurstmonceaux, October 9, 1834,” are evidence that his feelings
towards Coleridge were at that time those of a reverent disciple:—
“The Inscription [in Highgate Church] will forever be enough to put
to shame the heartless vanity of a thousand such writers as the
Opium Eater. As a portrait, or even as a hint for one, his papers
seem to me worse than useless.
“If it is possible, I will certainly go to Highgate, and wait on Mrs.
Gillman and yourself. I have travelled the road thither with keen and
buoyant expectation, and returned with high and animating
remembrances oftener than any other in England. Hereafter, too, it
will not have lost its charm. There is not only all this world of
recollection, but the dwelling of those who best knew and best loved
his work.” Life of Sterling, 1871, pp. 46-54; Samuel Taylor Coleridge,
a Narrative, by J. Dykes Campbell, pp. 259-261; British Museum,
add. MS. 34,225, f. 194.
[222] The following unpublished lines were addressed by Coleridge
to this young lady, a neighbour, I presume, and friend of the
Gillmans. They must be among the last he ever wrote:—
 ELISA.
Translation of Claudian.

Dulcia dona mihi tu mittis semper Elisa!

Sweet gifts to me thou sendest always, Elisa!

Et quicquid mittis, Thura putare decet.

And whatever thou sendest, Sabean odours to think it it behoves
me.

The whole adapted from an epigram of Claudius by substituting

Thura for mella, the original distich being in return for a Present of
Honey.

Imitation.
Sweet Gift! and always doth Eliza send
Sweet Gifts and full of fragrance to her Friend.
Enough for Him to know they come from Her,
Whate’er she sends is Frankincense and Myrrh.

Another on the same subject by S. T. C. himself:—

Semper, Eliza! mihi tu suaveolentia donas:

Nam quicquid donas, te redolere puto.

Literal translation: Always, Eliza! to me things of sweet odour thou

presentest. For whatever thou presentest, I fancy redolent of thyself.

Whate’er thou giv’st, it still is sweet to me,

For still I find it redolent of thee!

[223] Philip Van Artevelde.

[224] Sir Henry Taylor.
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