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MOVING BEYOND ASSESSMENT
MOVING BEYOND
ASSESSMENT
A PR ACTICAL GUIDE FOR BEGINNING
HELPING PRO FESSIONAL S

Melissa D. Grady
and
Eileen A. Dombo

1
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America.
© Oxford University Press 2016
First Edition published in 2016
All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above.
You must not circulate this work in any other form
and you must impose this same condition on any acquirer.
Library of Congress Cataloging-​i n-​P ublication Data
Grady, Melissa D.
Moving beyond assessment : a practical guide for beginning helping professionals /​Melissa D. Grady
and Eileen A. Dombo.
pages cm
Includes bibliographical references and index.
ISBN 978–​0 –​19–​936701–​6 (alk. paper)
1. Social service—​Practice. 2. Social service. 3. Counselor and client. I. Dombo, Eileen A. II. Title.
HV10.5.G695 2016
361—​dc23
2015030193
9 8 7 6 5 4 3 2 1
Printed by Sheridan, USA
We dedicate this book to our students and our clients, past, present,
and future. We have learned and continue to learn a great deal from
them, and are honored to be part of their learning and growing
experiences. Thank you to our families, without whose unwavering
support over the years our work would not be possible. And finally,
to our colleagues who continue to inspire us with their dedication to
improving our world around us.
CONTENTS

1. Introduction 1

2. What to know before you start 4

3. Cultural and identity issues in practice 21

4. Your role and relationship with your clients 29

PART I BEGINNINGS

5. The first session 41

6. Assessment 50

7. Asking the difficult questions: What to ask and how to respond 63

8. Assessing the safety of the client 73

9. Assessing safety of others in relation to the client 84

PART II PLANNING AND IMPLEMENTING
INTERVENTIONS

10. Evidence-​based practice and how to use research in treatment planning 95

11. Role of theory in social work practice 107

12. The middle phase of treatment 123

13. Planning for change and setting goals 135

PART III ENDING WITH CLIENTS

14. Endings 147

15. Evaluation of practice 158

PART IV ONGOING ISSUES FOR CONSIDERATION

16. Supervision 171

17. Technology and social media 183

18. Beginning knowledge of the brain and its functions 191

19. Final thoughts 201

References 205
Index 217

viii • Contents
MOVING BEYOND ASSESSMENT
 CHAPTER 1

INTRODUCTION

A client walks into the room. He looks sad, disheveled, and hopeless.
He has come to you for help—​to “fix the problem.” He states he wants you to help him
“make his life better and to feel better.” Your job, or so you feel, is to alleviate his struggles
and instill in him hope and a sense of empowerment, right? Or so you ask yourself.
Most new practitioners feel an overwhelming sense of pressure to know what to do
in every practice situation. Whether it is meeting with an individual client in an agency
setting, engaging with a family for a home visit, or working in the community, new prac-
titioners often feel that they ought to know exactly what to do, even at the beginning of
their training. People choose to enter professions like social work, psychology, counseling,
nursing, medicine, and other helping professions because they want to help people and, in
turn, make the world better and more just. Yet, the feeling of being at a loss regarding how
exactly to accomplish those goals comes quickly, often right at the beginning of graduate
school. Good intentions only go so far. In addition to having good intentions and a pas-
sion for and commitment to the work, practitioners need to have skills and knowledge and
be able to use them appropriately and discriminately depending on the situation at hand.
We want to emphasize from the start of this book that you will develop the capacities
described through a lifelong learning process. We know you have heard that before, and
that does not help you now as you are starting out and need some tools to succeed today.
Yet, we feel compelled to mention it here because often beginning practitioners feel frus-
trated by the pace of this learning process and want to gain knowledge more quickly. Part
of what makes working with people so engaging is their complexities. When these com-
plexities are then paired with individual, family, group, or community circumstances, it
can feel overwhelming to believe that you will ever have adequate skills and knowledge to
help create a change in someone’s life or community. However, with each iteration of your
training, you will continue to gain more knowledge. By pairing your knowledge with an
increased understanding of how to mobilize and utilize this ever-​g rowing set of skills, you
will feel more confident in your professional capacities.
This book was designed to be part of the beginning phase of this lifelong learning pro-
cess. It is written to assist new helping practitioners feel less anxious and more prepared to
approach and work with the clients and communities they desire to help. It is not designed
to be a comprehensive guide to your training as a practitioner but rather to help you take
the initial steps in your own journey.
As practitioners and professors, we have received numerous requests from students
and novice practitioners to find a book that is clear and easy to understand and helps them
feel more prepared for the initial stages of working with clients. As such, we have written
each chapter to be a reference guide that is easily readable and accessible. Combined, we
have over 30 years of practice experience plus over 15 years of teaching social work gradu-
ate students about practice, theory, and research. In writing this book, we used knowledge
from our own practice experiences in conjunction with years of working with graduate
students to address here what beginning practitioners need at the initial stages of working
with clients. The book is meant to be user friendly and to address many of the issues of
concern for beginning practitioners, as well as address other practice-​related issues that
they have yet to ponder. This book is primarily intended to help practitioners who will be
working in direct practice settings rather than in communities or macro practice. While
some of the concepts and principles may apply, this book is aimed at helping those begin-
ning practitioners who will be working with individuals, families, or groups. In addition,
although we include a chapter on the diagnosis of mental health disorders, this book is
meant to extend beyond mental health or clinical practice. We hope that the book will be
applicable to multiple practice settings.
We believe that before individuals can even start to think about working with clients
in a direct practice way, the first step is to think about developing their professional style
and way of working. Therefore, Chapter 2 addresses the working alliance as well as the
professional self and issues related to taking care of the self in doing this work. Chapter 3
focuses on exploring and understanding the role of cultural and identity issues in practice.
Chapter 4 addresses the context in which practice occurs and understanding how the set-
ting guides your role. Following Chapter 4, the book is divided into three sections. The
first section focuses on assessment and the beginning stages of working with clients. The
chapters in this section address the first session, assessment, the importance of asking
difficult questions, and safety assessment for both the client and others involved with the
client, including the worker.
The second section focuses on issues related to preparing for and implementing inter-
ventions with clients. It is designed to help you prepare thoughtfully for your work with
clients, including the use of the evidence-​based practice process, the role of theory in
treatment planning, preparation of a treatment plan, preparation for termination, and how
to create an ongoing assessment process of your work with clients. In other words, how
will you know whether what you are doing with your client is working? This section also
includes chapters on how to work with clients in the “middle phase” of an intervention.
It is not designed to be a toolkit on how to work with every client, and it will not provide
examples of practice models. These issues are beyond the scope of this book. This section
is meant to provide some guiding principles and to address some basic issues related to
intervention.
Finally, in the third section we address the changing landscape of practice. The chap-
ters in this section address finding a supervisor and getting the most out of your supervi-
sion; provide considerations related to the use of technology and social media; and provide
a beginning understanding of some of the biological, medical, and neurobiological issues

2 • Moving Beyond Assessment

related to practice. These chapters provide some guidelines on these complex issues that
will certainly evolve over time as the world changes—​and you change as a professional.
We conclude the book with some parting advice and tools that will be useful as you
begin your journey as a helping professional. We include well-​established resources in
these areas with the hope that they will remain helpful to you throughout your career.
However, we encourage readers to remain aware of new and evolving resources in their
particular areas of practice.
In the end, we hope that this book provides you with a bit more confidence and knowl-
edge as you enter the first stages of your training and career. Working with clients pro-
vides an exciting journey but can be a bit daunting at the same time. Our intention is
to help keep the excitement about the work alive, simultaneously helping to reduce the
anxiety so that you can be present and available to your clients as you join them on their
own journey, which has the potential to enhance your own as well. After all, this journey
is what keeps us engaged in this work.

Introduction • 3
 CHAPTER 2

WHAT TO KNOW BEFORE

YOU START

It is the first day of your internship or the first day of your new job in social
work or a related helping profession. You are getting ready to begin a new stage of your
career. You may have a number of questions about what you should wear or how you
should introduce yourself. You may also have a number of concerns about what others
will think of you or how you will answer tough or personal questions from your clients.
In addition, there may be other issues that you may not have even thought of that are
important to consider, such as how this work will have an impact on you or change you
in some way. This chapter is designed to help you think through some important pre-
liminary issues so that you are as prepared as possible when you start this new phase of
your career.

THE DEVELOPMENT AND CARE

OF THE PROFESSIONAL SELF
For most of us, when we are with certain individuals or groups we act in a particular way;
we share more or less compared to when we are with others, we let down our guard or put
it up, and we even dress in a particular way based on who we are with at the time. In each
situation, we have a way that we act or present a different “self,” which is often dependent
on a variety of factors.
A professional social work setting is no different, as there are different ways that we
should and do act in such contexts. Social workers need to present a professional self in
their work with clients and in their interactions with colleagues. While this statement
may seem obvious, in our experience as professors and supervisors, the concept of a
professional self is not always adequately explored by social work students. As such, we
believe it is essential that future social workers think through what it means to have a
professional self and what this self would “look like” for them. We believe there are several
essential components to a professional self, namely: dress and physical appearance, how
to work with interdisciplinary teams and other professionals, communication factors, and
consideration of how the National Association of Social Workers’ (NASW, 2008) Code of
Ethics informs how social workers should behave as professionals.

DRESS AND PHYSICAL PRESENTATION

Whether someone has completed training or is still in the midst of it, social workers must
present themselves professionally. We do not in any way mean to imply that social workers
or trainees should run out and buy an extensive or expensive wardrobe. It also does not
mean that your personal style needs to be altered significantly. We simply mean that the
way you dress should reflect the respect you have for your role and for those with whom
you work. Table 2.1 provides some general guidelines to consider as you are thinking
through how to present yourself in a professional setting.
Remember that everything you have on your body is a form of self-​disclosure and may
be a topic of interest to your clients. Items such as jewelry (e.g., a cross or star-​of-​David
necklace, a wedding/​commitment ring), a tattoo, and piercings might all be topics that
are of interest to your clients. We are in no way suggesting that you do not wear them
or show them; we are simply encouraging you to be prepared to hear questions about
such items. We suggest that you speak to your supervisor before you start about what is

TABLE 2.1: Dress Guidelines

Guideline Explanation
Clean clothes—​not clothes that May communicate to the client that you cannot take care
are stained or have marked holes of your own clothes, so how will you take care of them?
For women: skirts that are at least This is especially if you will be sitting down on the
to the knees floor, such as with young children.
For women: ensure that the tops Many social workers will be bending over paperwork or
you wear do not show inside doing other related activities, and you should wear a
your shirts when you bend over camisole or closer-​fi tting clothing if this applies.
Be cognizant of the setting with Professional does not have to mean fancy or
regard to the expense of the expensive. Be conscious of what message it sends
clothing or other accessories to clients in your setting to appear in expensive
clothing or jewelry.
Wear clothes that consider safety In some settings, safety may be a factor. Consider
shoes that allow for easy running or clothes that are
not too loose and could be grabbed.
Avoid clothing with messages Clothes that communicate your affiliation with a
on them particular group other than the agency should be
avoided, as it is a form of self-​disclosure and could
send unintended messages to the client(s).
Avoid clothing inappropriately Tight-​fi tting clothes can be distracting and too
tight revealing.
Wear clothing that is consistent Use your colleagues as your guide in terms of
with those of the other workers appropriate clothing. Observe others and try to
follow their lead as much as possible.

What to Know Before You Start • 5

appropriate attire for your setting and to plan how to respond to clients when they do ask
questions about your personal appearance. It is best to be clear about the expectations and
norms before you start and to feel prepared for such questions or comments from clients
ahead of time. When deciding what to wear, whether it is clothing, jewelry, or other items,
reflect on the balance between the importance of the item to you and the potential of its
distraction of others from the work at hand. This process can help you discern which items
are essential to your authentic presentation of self and which you may want to choose to
bring out in a different setting.

WORKING WITH INTERDISCIPLINARY TEAMS

The majority of practice settings will require social workers to work with profession-
als from other disciplines. These professionals could be individuals with similar train-
ing as you (i.e., a psychologist or other mental health worker) or completely different
training from you (i.e., a vocational trainer or teacher). Regardless of the composition
of the team, there are two key points we want to make about social workers’ roles on
these teams.
The first point is that social workers should be active members of the team. Our mes-
sage here is that if you do not speak up, then neither the profession nor the needs of your
clients are represented. It may seem intimidating to speak up in a group with others who
appear to be or who actually are more experienced or educated than you. However, the
fact that they have more experience does not mean that they should be the only members
to have an opinion or a perspective. It is possible that the social worker knows something
that the other team members do not. It may be that the client has shared something
with the social worker that he or she has not shared with the rest of the team (i.e., the
client does not like taking his medicine because it makes him feel nauseous). In addition,
some teams may be focused on the struggles or deficits of the client and not as focused
on the strengths or capacities of the client. Because social work training emphasizes the
strengths perspective, social workers can bring this important perspective to the team.
For these reasons, we encourage you to be a vocal presence on the teams in which they
are involved.
The second point we want to make is that, as team members, social workers should
present themselves as professional and competent. Again, just as with dress, this state-
ment might appear obvious. However, we have some specific points we feel are important
to consider. The first is that while we believe social workers should be a presence on the
team, they should provide relevant feedback as opposed to speaking only to have some-
thing to say. Therefore, be thoughtful about what information you want to share before
you share it. If possible, take some time to plan what you want to say so that your thoughts
are organized and clear.
Next, with whatever ideas you have that you want to present, provide a rationale for
those ideas. It is important that these opinions be based on research, theory, client feedback,
or some other credible source. There have been studies that have reported that social work-
ers are perceived by their colleagues as not having a strong basis for their opinions and have
even been referred to as “airy-​fairy” in their approach to working with clients (McCracken &

6 • Moving Beyond Assessment

Marsh, 2008, p. 134). Therefore, it is important that social workers explain the rationale for
their professional opinions and that these points are based on credible sources.

COMMUNICATION
One of the ways of expressing and presenting the professional self is through oral and
written communication. With written communication, social workers may use multiple
methods to communicate with colleagues, other professionals, clients, and family mem-
bers, such as paper or electronic means. We spend more time in Chapter 17 discussing
social media and other issues related to technology, but we want to discuss a few issues
here concerning communication in general and to offer some general guidelines to follow
with regard to how to communicate in a professional manner.

WRITTEN COMMUNICATION
What is essential to remember about written communication is that once you write it, it is
available for everyone to see. Check with a supervisor about rules concerning communi-
cation. Otherwise, remember the following:

• Anything posted online can be sent to anyone or anywhere else.

• Write everything as if you know that the client will be reading it.
• If writing is not a strength of yours, make sure you have someone review/​edit your
work. You are representing the social work profession, and the work should be
professional. Anything you write can be part of a permanent record that could be
around for years.
• In any form of written communication, use a professional style of writing, such
as opening with “Dear Ms. Jones” or “Dear Dr. Jones.” Remember the tone of
e-​mails should be as if you were writing a formal letter and not just an e-​mail to
an acquaintance.
• Think about the clients and whether they are more likely to respond to one form of
communication compared to another.

ORAL COMMUNICATION
• Be sure that with oral communication you ask others to repeat back to you what
they have heard because often your meaning can be misunderstood.
• It is often prudent to follow up on oral communication with a written note in the
file or email to document that the communication took place and the message that
was conveyed.
• Speak clearly and avoid fillers such as “um” and “like” as they detract from the
message and the professionalism of the communication.
• Use formal communication unless instructed to address the person informally.
• Be aware of your nonverbal communication, which may contradict your message.

What to Know Before You Start • 7

 HOW THE NASW CODE OF ETHICS INFORMS
THE PROFESSIONAL SELF
Finally, social workers on teams and in professional settings need to be always cognizant
that they are representing a profession that has a core mission and values. Therefore, the
comments and opinions expressed by the workers on teams and in meetings should be
consistent with the profession’s values and ethics. In addition, the actions of the worker
should be in keeping with the principles that guide the profession, such as maintaining
boundaries and the roles to which they are assigned. We have unfortunately been on
teams where some of our social work colleagues, in their desire to help their clients,
have made suggestions that cross boundaries (e.g., by the workers offering to provide
a service outside of his or her role). We have also witnessed our colleagues describe a
conversation to other professionals in which they have disclosed confidential informa-
tion from the client—​indicating that they do not uphold confidentiality agreements.
Therefore, we strongly recommend that the readers be familiar with the NASW (2008)
Code of Ethics to better understand the behaviors associated with our professional
standards. We encourage you to review them as soon as possible if you have not already
done so. They can be easily accessed online (https://​w ww.socialworkers.org/​pubs/​
code/​default.asp).

USE OF SELF
Throughout your professional career, you will most likely hear the term use of self. The
definition is somewhat elusive, in that it is used differently to describe various aspects of
how you use yourself in your work with clients. These aspects can refer to personality or
behaviors, such as sense of humor, body language, and others (Dewane, 2006; Edwards &
Bess, 1998). In these instances, the phrase is used to capture what many people think of
the art of the work you do with clients (Cameron, 2014; Graybeal, 2014). Just like a cook,
musician, or painter, for example, the personal style influences how you execute whatever
task you are doing with your clients. In this way, you will be developing your own style or
fine-​t uning the “instrument” you will be using in the relationship with the client: your-
self. (See Chapter 4 for more information on the relationship.) If you think about different
medical care doctors you have had, there may be some who had a great “bedside manner”
compared to others who did not. Those who you liked may have shared a bit about them-
selves, leaned in when they talked to you, asked you questions that appeared to go beyond
your “presenting problem,” or had other characteristics that you noticed. Two different
providers can be providing the same “intervention,” but their styles may be quite differ-
ent; these examples represent one interpretation of the use of self.
Another way of defining use of self is derived from the theoretical orientation that is
used by the social worker. Different models of intervention in micro, mezzo, and macro
social work as well as different modalities of treatment (i.e., individual, group, or family
interventions) describe the role or stance of a social worker in those contexts. We discuss
more about how different theories inform our work with clients in Chapter 11. For now,

8 • Moving Beyond Assessment

it is important to know that, depending on which theory you are using to help inform
your work with a client, theory may guide you to be slightly different with the client than
if you were using a different theory. For example, let us compare two different individual
models. One might have you focus more on your reactions to the client and what those
reactions tell you about the client and then purposefully and with careful intent articulate
to the client those reactions to help facilitate change. Another model might have you be
more of a coach to the client, with your focus on teaching skills. Using this model, your
reactions to the client are irrelevant to the skill-​building focus and would not be shared
at any time with the client. Each of those stances asks something different of the worker.
These differences are driven primarily by the underlying assumptions of the model and
what is assumed will facilitate change.
For us, the phrase use of self is a combination of both of these definitions. Social work-
ers need to attend to, notice, and use their personalities to engage with clients. As social
workers evolve professionally, their own styles and comfort levels with what they bring to
the relationship with clients grow and change (Schneider & Grady, 2015). Good supervi-
sion can be a useful tool in helping newer social workers reflect on how their own styles
have an impact on all clients as well as with certain subgroups. This topic is covered in
more detail in Chapter 16. In addition, social workers need to be aware of the assumptions
of the model they are using and how those assumptions lead to a particular stance or style
of working with clients. Both of these definitions or descriptions of the use of self are
essential for workers to attend to in their work.

SELF-​AWARENESS
A key factor in the ability to purposefully use ourselves with clients is our own level of
self-​awareness. One of the most critical aspects needed for a competent social worker is
being self-​aware. If we are unaware of how we come across to others, such as how our
sense of humor can be “off-​putting,” our discomfort with eye contact, or the tone of our
voice, then we will not be cognizant of how those personality styles or traits are affect-
ing our clients. We also need to know our own triggers for when we might be upset or
offended or when we might be more likely to cross a boundary with a client. We need to
be aware of which clients we are more likely to avoid versus those we eagerly seek out.
We need to think about what we gain by doing this kind of work with clients and what
toll it might be taking on us. Without self-​awareness, we can make professional judg-
ment errors that can have lasting consequences, both for ourselves and for our clients
(Safran, 2011).
There are many ways to gain self-​awareness. Some social workers have advocated for
all students studying for the master’s in social work to participate in therapy (Mackey &
Mackey, 1993) as a way to have future workers gain some insight regarding who they are
and what their vulnerabilities are as well as their strengths. However, requiring social
work students to attend therapy has garnered criticisms, including the associated costs
and that some students may identify a preference for a path to self-​awareness (Mackey &
Mackey, 1993). Other methods to increase self-​awareness besides therapy include journ-
aling, spiritual guidance or counseling, use of supervision, or personal relationships. We

What to Know Before You Start • 9

are not advocating for any one particular pathway. What we are advocating is for every
reader to find an ongoing useful method that enhances their own self-​awareness so that
the clients are receiving care from social workers who use themselves in a professional,
cognizant, and intentional way.

SELF-​DISCLOSURE
Also tied to use of self is the use of self-​d isclosure with clients (Burkard, Knox, Groen,
Perez, & Hess, 2006; Dewane, 2006; Edwards & Bess, 1998; Katz, 2003; Schneider &
Grady, 2015). Self-​d isclosure can take many forms. The most commonly thought of form
is the worker sharing some type of information about him-​or herself with the client
(Burkard et al., 2006; Dewane, 2006; Edwards & Bess, 1998; Katz, 2003; Schneider &
Grady, 2015). However, as we discussed previously in this chapter, self-​disclosure can also
take the form of the jewelry or tattoos that a worker shows. In this section, we focus on the
first type of self-​d isclosure. This focus is not to dismiss the importance of being thought-
ful about what you wear on your body or other forms of self-​disclosure, such as the car you
drive or the bag you carry. We encourage all readers to be cognizant of what messages are
being sent to clients and colleagues by how we present ourselves. In our work with stu-
dents and recent graduates, we have found the most challenging aspects of self-​disclosure
tend to be centered on information that they are being asked to or choose to share about
themselves. Therefore, we have chosen to focus on this aspect of self-​disclosure.
What appears to be most challenging in our experience is that in most every other
relationship (professional or personal) a way to connect with another person is to relate
something about ourselves to the other. For example, when meeting someone who is from
a different part of the country, it is common to reflect on your own experiences, or lack
thereof, and enter into a dialogue about these experiences in relation to the others’. Or,
if someone is frustrated with a colleague, it is socially acceptable to share a similar story
to demonstrate to the other that you can relate because of a similar experience. While
both of these scenarios may be focused on relatively mild topics, there are three important
points we want to make regarding why these seemingly innocuous approaches may not be
appropriate in a professional social work context.
First, by talking about yourself, you are taking the focus off the client. The social
worker is not and should not be the focus of the work; the client is the focus of the work—​
always. We are there to connect, engage, and empathize. We are not there to be friends or
to have a conversation that implies mutuality. While you want to do as much as you can to
eliminate the power differential that will inevitably exist between you and your client, this
relationship is not mutual as only one person’s needs in the room should be addressed, and
those are not the worker’s.
The second point is that by disclosing some information about yourself, it can poten-
tially set up an expectation by the client that you will share more. If you answer one ques-
tion and then refuse to answer another, the client may wonder: What has changed? What
is it about the current question that you are uncomfortable sharing? This line of thinking
again shifts the focus away from the client and to you, shifting the direction of inquiry to
the worker rather than to the client.

10 • Moving Beyond Assessment

 Finally, it is important to consider that once that information is shared, you cannot
take it back. There is a confidentiality agreement often made between you and the client,
but this agreement is one directional. You, as the worker, cannot disclose information about
your client, but there is no rule that the client cannot share what you have said to others.
We have had colleagues, for example, who discovered that information the worker had
chosen to share with the client ended up on a blog that the client had written. Other col-
leagues and clients saw the blog and now that information about the worker was on the
Internet, able to be found with a simple Google search.
We are not trying to state that social workers should never disclose any information.
Social workers often do share information. In some settings, there is more of an expec-
tation that information will be shared (such as your religious faith if you are part of a
faith-​based center). It is also more common in some cultures to share information about
yourself, especially if two individuals are from the same culture. However, any informa-
tion that is shared should be done purposefully, thoughtfully, and always in the service of
the client. It is important to be thoughtful about what impact a piece of information has on
the clients themselves, as well as the work itself. Without knowing why the client wants to
know the information or how your sharing the information will further the work, disclos-
ing information could be potentially damaging. A phrase that you will hear throughout
this book to help you think through your choices is: Why are you doing this particular
thing with this particular client at this particular time? If you cannot clearly identify the
reason, then it is likely a good idea to pause and reflect some more in supervision. When
it doubt, don’t!
I (M.D.G.) was in a peer supervision group several years ago when a colleague was
describing an encounter she recently had with a new client. (I have received permis-
sion to share this story in the book, but her name and the name of the client are with-
held for confidentiality reasons.) The client came to see her about receiving therapy
as she was struggling with issues concerning infertility and was looking for some help
to manage her grief and other feelings. She was interviewing several different ther-
apists in the area (which is common and we both encourage it), and the client was
asking each therapist about whether they had children. My colleague was the only one
who chose not to answer the question. She explored with the potential client what she
hoped to gain from having that information, how it would affect her knowing that a
therapist did or did not have children, how she felt it would enhance the work together,
among other questions. The client was shocked that she did not respond, experienced
it as odd and withholding, and left angry. Much to my colleague’s surprise, this client
returned to her and asked to start treatment with her. What the client realized was
that, based on what she had learned about the other therapists’ parental status, she was
spending much of her energy and thoughts on what she imagined was going on in the
lives of those other therapists. With my colleague, however, because she did not know
the parental status, the work felt more about her and not about her fantasies about the
therapist.
We think this example is a powerful one in helping to understand how a piece of infor-
mation once shared can have a profound impact on the client. Therefore, self-​disclosure
should only be done after thoughtful consideration. Again, our rule is “when in doubt,
don’t.”

What to Know Before You Start • 11

 There are ample ways to buy time so that you can think more about a question,
possibly consult with a supervisor, and then return to the client with a thoughtful
response. Some useful phrases are the following:

• Tell me what would be helpful to you if you knew this information?

• I hear that this piece of information is something that you want to know. Before
answering your question, I would like to think more about it and get back to you
the next time I see you.
• Can you tell me a bit more about how knowing this information would help you?

It can be common for clients to ask you about your own personal experiences related
to something they have gone through themselves, such as substance abuse or sexual
abuse. Often, in those situations they want to know if you will “get it.” Will you under-
stand their experience? However, what is always important to remember is that even if
you have had “on paper” the same type of background or history, this apparent similar-
ity in no way can be assumed to be the same experience. This statement can also be said
for people who come from the same family who have lived through the same event. If
you think about your own family and a critical event that occurred in your family, your
experience of that event and your reactions to and memories of it will most likely be
different from your other family members’. Therefore, we encourage you not to disclose
whether you have or have not had a similar background because your story is in many
ways irrelevant for understanding what that event or life story meant to your clients or
what significance it plays in their current life. In some cases, when clients know that the
practitioner had a similar experience, the clients may begin to have feelings of pressure
or even a sense of failure as they compare their lives to yours. Of course, these com-
parisons are based on their own assumptions and perceptions, which may or may not
be accurate. Regardless of their accuracy, the focus again shifts away from them to the
social worker.
Your experience can inform your questions and possibly help you to be more empathic,
but it is always important to keep in mind that your job is to understand the clients’ expe-
rience so that you help them in the best way possible. How you use your own history to
inform your work is a critical piece of the concept of use of self and one that will evolve
over time as you develop as a social worker (Schneider & Grady, 2015).

ROLE OF THE WORKER

One final aspect of the use of self is the role you have with your client. Social workers
have many different roles with clients, including advocates, brokers of services, clinicians,
investigators, supervisors, hospice or medical discharge planners, intake/​triage workers,
community organizers, and many more. We expand on the role of the worker in Chapter 4.
However, here we want to emphasize that with each of these roles comes a different set
of expectations as well as ways that we use ourselves. For example, if you are only going
to be working with a client one time as a triage/​intake worker, your goal is to focus on
getting the information that will most help you identify the needs of the client so you can

12 • Moving Beyond Assessment

determine the most appropriate type of service for that client. In contrast, if you are work-
ing in a clinical role with the client, you may be more focused on building a relationship
rather than being as purposeful in fact gathering on the first service.
In both of these scenarios, it is essential that social workers conduct themselves in a
professional manner and use their personality in ways that help make the clients feel at
ease and comfortable. However, the pacing of the time with the client, the types of ques-
tions that are asked and even details like whether you are in front of a computer or holding
a clipboard are all aspects of how the worker presents and uses him-​or herself.
Given the variety of roles that social workers can play, it is essential that workers who
are new to an agency or to a position within the agency ask supervisors and other col-
leagues about their styles in engaging with clients. How do they engage with clients given
their roles? Can they give some examples of times an interaction with a client was tricky?
What happened? How did they handle it? Depending on the role those individuals have
with clients, they will respond differently. Therefore, it is important that workers new
to that setting have a clear understanding of the expectations, scope, and limitations of
their roles.

THE IMPACT OF THE WORK ON

THE SOCIAL WORKER
Milton Erickson used to say to his patients, “My voice will go with you.” His voice did.
What he did not say was that our clients’ voices can also go with us. Their stories become
part of us—​part of our daily lives and our nightly dreams. Not all stories are negative—​
indeed, a good many are inspiring. The point is that they change us.
​M ahoney, 2003, p. 195

The work that you will do as a social worker will have an impact on you in profound ways.
We hope and have every expectation that the work will have mainly positive impacts as
you grow and develop as a professional. However, both of us have worked a significant
amount in settings and with clients where trauma or other profoundly painful events
have affected clients. We have experienced changes in our own lives as a result of this
work and believe it is essential for social workers to use their self-​awareness to notice
such changes and address them should they begin to negatively impact their ability
to stay resilient and engaged in the work. For example, I (M.D.G.) have worked with
adolescents who have sexually abused other children. At one time, I was facilitating a
treatment group for female adolescents who were adjudicated for molesting children.
In this group, four of the five girls had been babysitting at the time of their offense. As a
result of this experience (and my other work with this population), I have always been
particularly wary of babysitters with my own children. For example, I have always felt
more comfortable with them going to a group care setting where there are multiple
eyes rather than having a babysitter, which for me feels too scary. However, many of my
friends have always preferred the nanny option as they feel their children are cared for in
their homes and obtain more one-​on-​one attention. Of course, rationally I know that the

What to Know Before You Start • 13

vast majority of caregivers are safe and will not molest children. I know this statistically
and factually. However, my experiences in the field have changed my perspective, and
I behave differently as a result.

COMPASSION FATIGUE
It is important for social workers and other professionals to pay attention to the different
reactions that they might experience in the field. There is a large body of literature that
describes the various ways that practitioners may react when working in challenging set-
tings. We provide more information in the Resource Guide as we do not do justice here to
the literature and resources on this topic. This chapter focuses on the concept of compas-
sion fatigue (CF), which is a phrase used to capture the toll that the work can take on the
worker (Figley, 1999). CF can be seen as the strain experienced by the therapist to remain
empathic and connected to clients who are relating their traumatic stories.
There are many ways that a social worker can begin to experience CF. For some prac-
titioners, hearing the stories of their clients can shift their perspective, as I (M.D.G.)
described previously in this chapter regarding my own practice experiences. This shifting
is referred to as vicarious trauma (VT) and refers to a shift that can occur when practi-
tioners have repeated exposure to “clients’ traumatic experiences [that can] cause a shift
in the way that trauma counselors perceive themselves, others and the world” (Trippany,
Kress, & Wilcoxon, 2004, p. 31). In other words, as you begin to hear the stories of your
clients, your views of the world change (McCann & Perlmann, 1990). Maybe you feel less
safe or maybe you feel guilty with your increased awareness of privilege or maybe you
become more cynical about the level of humanity in the world.
Another path toward CF is when a practitioner has experienced secondary traumatic
stress (STS). For those who experience STS, their symptoms or reactions closely resem-
ble those who have experienced the trauma firsthand. These symptoms or reactions are
similar to those who have shown signs of post-​traumatic stress syndrome, which might
include jumpiness, hyperawareness or hypervigilance of their surroundings, flashbacks,
difficulties sleeping, or intrusive memories or dreams (Figley, 1999). The changes as a
result of VT are primarily focused on the cognitions of the worker, whereas STS reactions
mimic trauma reactions and the biological and psychological symptoms of having been
exposed to trauma via their clients.

BURNOUT
Compassion fatigue can then be the result of the worker’s experience with either VT or
STS, leading to a high level of fatigue and struggles to remain present with clients. Many
individuals are familiar with the term burnout. It is often used to describe someone who
appears not to care anymore about their job, does not seem engaged, and is cynical or
apathetic at best regarding what happens as a result of their work. This view of burnout
is similar in those who are in helping professions and is seen to be “a result of the general
psychological stress of working with difficult clients versus having a traumatic reaction

14 • Moving Beyond Assessment

Random documents with unrelated
content Scribd suggests to you:
Martha Blount (Vol. vii., p. 38.).—An engraving of this lady, from "an
original picture, in the collection of Michael Blount, Esq., at Maple-
Darham," is prefixed to the tenth volume of Pope's Works by Bowles,
1806.
W. A.

In reply to Mr. A. F. Westmacott (Vol. vii., p. 38.), I have, in my

collection of engraved portraits, one of the subject of his inquiry,
"Martha Blount." It is in stipple, by Picart, after a picture by Gardner.
I have no idea the portrait is rare, and think your correspondent may
easily procure it among the printsellers in London.
J. Burton.

Quotations wanted (Vol. vii., p. 40.).—Bacon, in his Essay "Of

Studies," has this sentence:

"And if he read little, he had need have much cunning, to seem

to know that he doth not."

which is perhaps the reference Miss Edgeworth intended.

"A world without a sun," is from Campbell's Pleasures of Hope, Part

II. line 24.:

"And say, without our hopes, without our fears,

Without the home that plighted love endears,
Without the smile from partial beauty won,
Oh! what were man?—a world without a sun."

I beg to add a parallel from Burns:

"What is life, when wanting love?

Night without a morning:
Love's the cloudless summer sun,
Nature gay adorning."

See the song beginning:

"Thine am I, my faithful fair."
Arthur H. Bather.
East Sheen, Surrey.

Pepys's Morena (Vol. vi., pp. 342. 373.).—In the note on this word in
the last edition of the Diary, it is stated that it may be read either
"Morma" or "Morena." There is little doubt but the latter is the
correct reading. "Morena" is good Portuguese for a brunette, and
may have been used by Pepys as a term of endearment for Miss
Dickens, like the "Colleen dhas dhun" of the Irish, which has much
the same meaning. The marriage of the king to Catherine of
Braganza in the previous year would have caused her language to be
more studied at this time, especially by persons about the court.
Morma has no meaning whatever.
J. S. Warden.

Goldsmiths' Year-marks (Vol. vi., p. 604.; Vol. vii., p. 90.).—I observe

that, a few weeks ago, in the "N. & Q.," one of your correspondents
made inquiries respecting the publication of my paper on plate-
marks, which was read at the Bristol meeting of the Archæological
Institute.

In reply, I beg to inform him that he will find, in the last two
Numbers of the Journal of the Institute, the first and second parts of
the paper, and that the concluding portion of it, and I hope also the
table of annual letters, will appear in the forthcoming Number.
Should it not be possible to get the table in a fit state for printing in
that Number, it will appear in the next; and the whole subject of the
assay marks of British plate will then be complete.
Octavius Morgan.
The Friars.

Turner's View of Lambeth Palace (Vol. vii., pp. 15. 89.).—In reply to
your correspondent L. E. X., respecting Mr. Turner's picture of
Lambeth Palace (which is in water-colours), I beg leave to say that it
is in the possession of a lady residing in Bristol, to whose father it
was given by the artist after its exhibition at Somerset House, and it
has never been in any other hands. The same lady has also a small
portrait of Mr. Turner, done by himself when visiting her family about
the year 1791 or 1792: further particulars respecting these pictures
(if desired) may be known by a line addressed to Miss N——, 8. St.
James' Square, Bristol.
Anon.

J. H. A., after referring to the exhibition at the Royal Academy in

1791, by Mr. Turner, of "King John's Palace, Eltham" (No. 494.), and
"Sweakley, near Uxbridge" (No. 560.), adds:

"In the horizon of art (strange to say, and yet to be explained!)

this luminary glows no more till 1808, when he had 'on the line'
(?) several views of Fonthill, as well as 'The Tenth Plague of
Egypt.'"

A reference to the catalogues of the Royal Academy exhibitions will

prove that Mr. Turner's name appears as an exhibitor there every
year between 1790 and 1850, excepting the years 1821, 1824, and
1848. Several views of Fonthill Abbey, and "The Fifth (not the Tenth)
Plague of Egypt," were exhibited in 1800, and "The Tenth Plague of
Egypt" in 1802.
G. B.

"For God will be your King to-day" (Vol. vii., p. 67.).—In reply to your
querist H. A. S. with respect to the above line, I believe that it
belongs not to Somersetshire, but to Ireland; not to Monmouth's
rebellion, but to the civil wars of 1690.

It is the closing couplet of a stanza in the popular ballad on the

"Battle of the Boyne."

A very perfect copy of this ballad will be found in Wilde's Beauties of

the Boyne, p. 271., beginning with—
"July the first, of a morning clear,
One thousand six hundred and ninety,
King William did his men prepare—
Of thousands he had thirty,—
To fight King James and all his host,
Encamp'd near the Boyne water," &c.

The passage from which the lines in question are taken is as follows:

"When that King William he observed,

The brave Duke Schomberg falling,
He rein'd his horse with a heavy heart,
On the Enniskilleners calling.

"'What will you do for me, brave boys?

See yonder men retreating;
Our enemies encouraged are,
And English drums are beating.'

"He says, 'My boys feel no dismay,

At the losing of one commander,
For God shall be our King this day,
And I'll be general under.'"
W. W. E. T.
66. Warwick Square, Belgravia.

The lines here referred to occur in the old ballad of Boyne Water,
some fragments of which are given in Duffy's Ballad Poetry of
Ireland, 5th edition, p. 248. They are supposed to have been spoken
by William III. on the death of the Duke Schomberg.

"Both horse and foot they marched on, intending them to batter,
But the brave Duke Schomberg he was shot, as he crossed over the
water.
When that King William he observed the brave Duke Schomberg
falling,
 He rein'd his horse, with a heavy heart, on the Enniskilleners calling:
'What will you do for me, brave boys? See yonder men retreating;
Our enemies encouraged are, and English drums are beating.'
He says, 'My boys, feel no dismay at the losing of one commander,
For God shall be our King this day, and I'll be general under.'"

The lines quoted by your correspondent also occur in the more

modern song of The Battle of the Boyne, which may be found at p.
144 of Mr. Duffy's work.
Thompson Cooper.
Cambridge.

[We are indebted to many other correspondents for similar Replies to this Query.]

Jennings Family (Vol. vii., p. 95.).—I am much obliged to Percuriosus

for his reply to my Query. The William Jennings, who was Sheriff of
Cornwall in 1678, an admiral, and knighted by King James II. (see
Le Neve's Knights, Harleian MS. 5801.), was most probably
descended from the Yorkshire family of that name, his escutcheon
being the same. The Francis who married Elizabeth, daughter of
Henry Spoure of Trebartha, was descended from the Shropshire
family, whose arms were—Ermine, a lion rampant, gules quartered
with those of Jay, as recorded in the Visitation by Henry, the son of
Francis. This Francis died about 1610-11. His will (the executor being
Henry Spoure) was proved at Doctors' Commons in 1611. But what I
particularly wanted to ascertain was, whether Rowland, who is the
first that occurs in the Cornish Visitation, was the first who settled in
Cornwall. I have inquired at the Heralds' College, but can gain no
further information than that to be found in the Visitations of Salop
and Cornwall in the British Museum. Percuriosus would gratify my
curiosity, if he would kindly inform me where the Spoure MSS. are to
be seen. They are not to be found in the British Museum. I have
always thought that they were in the hands of some member of the
Rodd family, whose ancestor (a Life Guardsman) was about to be
married to the heiress of all the Spoures, but she, dying before the
marriage, left him all her estates, Trebartha among the rest which is
in the possession of the family to this day.
S. Jennings-G.

P. S.—I inclose my card, in order that Percuriosus (who evidently

knows something of the family) may communicate personally or by
letter. I think that I might possibly be able to give him some
information in return for his kindness.

The Furze or Gorse in Scandinavia (Vol. vi., pp. 127. 377.).—Henfrey,

in his Vegetation of Europe, states that the furze (Ulex Europæus)
occurs, but not abundantly, in the south-western parts of the
Scandinavian peninsula. It is well known that in Central Germany it
is a greenhouse plant.
Seleucus.

Mistletoe (Vol. ii., p. 418.; Vol. iii., pp. 192. 226. 396. 462.).—There is
in the parish of Staveley, Derbyshire, a solitary mansion called the
Hagg, erected by Sir Peter Frescheville, in what was at that time a
park of considerable extent, for a hunting lodge, when age and
infirmity prevented him from otherwise enjoying the pleasures of the
chase. In one of Colepeper's MSS. at the British Museum, there is
the following curious notice of this house:

"This is the Parke House which Sir Peter Frescheville, in his will,
16th March, 1632, calls my new Lodge in Staveley Parke. Heare
my Lord Frescheville did live, and heare growes the famous
mistleto tree, the only oake in England that bears mistleto,
which florished at my deare Wife's birth, who was born heare."

I presume it is the same which is referred to in the following letter

addressed by the Countess of Danby to Mrs. Colepeper; it is without
date, but was written between 1663 and 1682:

"Dear Cosen.—Pray if you have any of the miselto of yor father's

oke, oblidge me so far as to send sum of it to
 Yor most affectionat servant, Bridget Danby."

The oak tree still exists, and in 1803 it contained mistletoe, but there
is none to be seen now. About a quarter of a mile from this locality I
observed the mistletoe in a large crab-tree, and I recently found it in
a venerable yew of many centuries' growth near Sheffield.
W. S. (Sheffield.)

Inscription on a Dagger (Vol. vii., p. 40.).—These lines form a Dutch

proverb, and, if thus written, rhyme:

"Die een peninck wint ende behovt

Die macht verteren als hi wort owt.
Had ick dat bedocht in min ionge dagen
Dorst ick het in min ovtheit niel beklagen."

Which being interpreted inform us that, He who gains a penny, and

saves it, may live on it when he becomes old. Had I minded this in
my youthful days, I should not have to complain in my old age.
J. S.
Norwich.

Steevens (Vol. ii., p. 476.; Vol. iii., p. 230.; Vol. vi., pp. 412. 531.).—
Steevens's will contains no mention of any portrait of himself, nor
any other except his picture of "Mr. Garrick and Mrs. Cibber, in the
characters of Jaffier and Belvidera, painted by Zottanij," which he
bequeaths to George Keate, Esq. He gives to Miss Charlotte Collins
of Graffham, near Midhurst, daughter of the late Christopher and
Margaret Collins of Midhurst, 500l. To his cousin Mary Collinson (late
Mary Steevens), wife of William Collinson of Narrow Street, Ratcliffe
Cross, Middlesex, 300l. for a ring (so in my copy). The residue of his
property he gives to his dearest cousin Elizabeth Steevens of Poplar,
spinster, and appoints her sole executrix of his will. A copy of the will
can be met with in the ninth volume of the Monthly Mirror for 1800.
W. S. (Sheffield.)
"Life is like a Game of Tables," &c. (Vol. vii., p. 40.).—The sentiment
is very possibly "from Jeremy Taylor," but it is not his own. It occurs
in Terence's Adelphi and Plato's Commonwealth.
A. A. D.
 Miscellaneous.
NOTES ON BOOKS, ETC.
The issue by the Shakspeare Society of an edition of the Notes and
Emendations to the Text of Shakspeare's Plays from early MS.
Corrections in a Copy of the Folio 1632, in the Possession of J. Payne
Collier, Esq., affords an opportunity, of which we gladly avail
ourselves, to recall attention to a volume which is unquestionably
the most important contribution to Shakspearian literature which has
issued from the press for many years. Although we have no
evidence of the authority upon which these Notes and Emendations
were made, an examination of them must, we think, convince even
the most sceptical, that they were made upon authority, and are not
the result of clever criticism and happy conjecture. The readers of
"N. & Q." know well what discussions have been raised upon such
phrases as "Prenzie Angelo," "Whose mother was her painting,"
"Ribaudred nag," "Most busy, least when I do it," &c. The writer of
the Notes and Emendations, now first published, has given in these,
and hundreds of other difficult and disputed passages, corrections
which are consistent with Shakspeare's character as the poet of
common sense. He converts the "prenzie Angelo" into the "priestly,"
and the "prenzie guards" into "priestly garb." So that the passage
now reads—

"Claud. The priestly Angelo.

Isab. O, 'tis the cunning livery of hell,

The damned'st body to invest and cover
In priestly garb."
In the passages to which we have referred above, "whose mother
was her painting," is changed into "who smothers her with painting;"
"ribraudred nag" into "ribald hag;" and the passage from The
Tempest is made plain—

"Most busy blest when I do it."

We think these examples are sufficient to make all lovers of

Shakspeare anxious not only to examine the present volume, but to
see the promised new edition of his works, in which Mr. Collier
proposes to give the text as corrected by this great, although
unknown authority.

The meeting for the establishment of the Photographic Society, held

on Thursday week at the Society of Arts, was most numerously
attended. The Society was formed, Sir Charles Eastlake elected
president for the first year, Mr. Fenton honorary secretary, and Mr.
Roslyn treasurer. The subscription was fixed at one guinea, with an
admission fee of the same amount.

At a recent meeting of the Surtees Society, it was announced that

the works in progress for this year are the Pontifical of Egbert,
Archbishop of York (to be edited by the Rev. W. Greenwell), and a
volume of Wills and Inventories from the Registry at Richmond, by
Mr. Raine, Jun. The books for 1854 are to be the Northumbro-Saxon
translation of The Gospel of St. Matthew, to be edited by the Rev.
Joseph Stevenson, and the Inventories and Account Rolls of the
Monasteries of Monkwearmouth and Jarrow until the Dissolution,
which will appear under the editorship of the Rev. James Raine.

The Corporation of London Library is being thrown open to all

literary men; the tickets of admission being accompanied by letters
expressive of a wish that the holders should make frequent use of
them. This is an act of becoming liberality, worthy of imitation in
other quarters.
Books Received.—History of England from the Peace of Utrecht to the
Peace of Versailles, 1713-1783, by Lord Mahon, vol. i. This is the first
volume of a new and revised edition of this history of a most
important period in our national annals, by the noble President of
the Society of Antiquaries.—The Ethnology of the British Islands, by
R. G. Latham, M.D. The value of all Dr. Latham's researches,
whether into the history of our language, or of the races by which
these islands have been successively inhabited, is so fully
recognised, that we may content ourselves by merely calling
attention to the publication of this able little volume.—On the
Lessons in Proverbs: Five Lectures, &c., by the Rev. R. C. Trench.
Those who know the value of Mr. Trench's admirable lectures On the
Study of Words, will find in this companion volume, in which he
attempts to sound the depths and measure the real significance of
National Proverbs, a book which will give them a pleasant hour's
reading, and subjects for many pleasant hours' meditation.

BOOKS AND ODD VOLUMES

WANTED TO PURCHASE.

Free Thoughts on the Brute Creation, by the Rev. John Hildrop. Lond.
1751.

De la Croix's Connubia Florum. Bathoniæ, 1791. 8vo.

Reid's Historical Botany. Windsor, 1826. 3 vols. 12mo.

Anthologia Borealis et Australis.

Florilegium Sanct. Aspirat.

Laderchii Annales Ecclesiastici, 3 tom. fol. Romæ, 1728-1737.

Townsend's Parisian Costumes. 3 Vols. 4to. 1831-1839.

The Book of Adam.

The Testaments of the Twelve Patriarchs, the Sons of Jacob.

Massinger's Plays, by Gifford. Vol. IV. 8vo. Second Edition. 1813.

Spectator. Vols. V. and VII. 12mo. London, 1753.

Costerus (François) Cinquante Meditations de toute l'Histoire de la

Passion de Nostre Seigneur. 8vo. Anvers, Christ. Plantin.; or any of the
works of Costerus in any language.

The World without a Sun.

Guardian. 12mo.

What the Chartists are. A Letter to English Working Men, by a Fellow-

Labourer. 12mo. London, 1848.

Letter of Church Rates, by Ralph Barnes. 8vo. London, 1837.

Colman's Translation of Horace De Arte Poetica. 4to. 1783.

Casaubon's Treatise on Greek and Roman Satire.

Boscawen's Treatise on Satire. London, 1797.

Johnson's Lives (Walker's Classics). Vol. I.

Titmarsh's Paris Sketch-book. Post 8vo. Vol. I. Macrone, 1840.

Fielding's Works. Vol. XI. (being second of "Amelia.") 12mo. 1808.

Holcroft's Lavater. Vol. I. 8vo. 1789.

Otway. Vols. I. and II. 8vo. 1768.

Edmondson's Heraldry. Vol. II. Folio, 1780.

Sermons and Tracts, by W. Adams, D.D.

The Gentleman's Magazine for January 1851.

Ben Jonson's Works. (London, 1716. 6 Vols.) Vol. II. wanted.

Rapin's History of England, 8vo. Vols. I., III. and V. of the Continuation
by Tindal. 1744.
* *
* Correspondents sending Lists of Books Wanted are requested to
send their names.
* *
* Letters, stating particulars and lowest price, carriage free, to be
sent to Mr. Bell, Publisher of "NOTES AND QUERIES," 186. Fleet
Street.

Notices to Correspondents.
Dick the Treble will find the Gloucestershire Ballad George Ridler's
Oven in our 4th Volume, p. 311.

Hogmanay. Our Correspondent J. Bd., who inquires the etymology of

this word, is referred to Jamieson's Scottish Dictionary and Brand's
Popular Antiquities (ed. Bohn. 1849), vol. i. p. 460., for the very
numerous and contradictory derivations which the learned have
given of it.

W. W. (Stilton.) The stone of which our Correspondent has forwarded

an impression appears to be one of those gems called Abraxas, used
by the Gnostic and Basilidian heretics. On it is a double serpent, and
the seven vowels of the Greek alphabet, Α Ε Η Ι Ο Υ Ω, which
constantly appear on their engraved stones, and to which they
referred certain mystical ideas. These were worn as amulets:
sometimes used as love charms; and our Correspondent will find
some curious facts about them in an old Greek papyrus just
published by Mr. Godwin, in the Proceedings or Transactions of the
Cambridge Antiquarian Society.

C. E. F. is informed that Mr. Eaton's proportion of ten grains of salt to

the pint is quite correct; and he will find it produce a most agreeable
tint.

G. S. "The Cataract of Lodore" will be found in Longman's one-

volume edition (1850) of Southey's Poetical Works, p. 164.

Rubi. We have several communications for this Correspondent. How

may they be forwarded?

Rosa, who asks about Men of Kent and Kentish Men, is referred to
our 5th Vol., p. 322.

I. N. (Leicester.) There must be something wrong in the preparation

of your chemicals. Consult the directions given in our Nos. 151, 152.
We have seen some glass negatives of landscapes taken by Dr.
Diamond during the past week, which have all the intensity which can
be desired. The time of exposure in these cases has varied from
fifteen to sixty seconds, the lens used being a single meniscus.

Amber Varnish. Our Correspondent Littlelens will find the directions for
making this in No. 153. p. 320. It will be reprinted in the
Photographic Notes announced in our advertising columns.

Dr. Diamond's Papers on Photography. It is as well to remind writers on

Photography that, Dr. Diamond being about to republish his
Photographic Notes, the reprinting of them by any other parties
would be uncourteous—not to say piratical.

Sir W. Newton's Calotype Process in our next. His first communication

was in type before the amended copy reached us.

Errata.—P. 90. col. 1. for "immiscuerunt" read "immiscuerint." P. 86.

col. 1. for "honour" read "humour"." P. 84. col. 1. lines 46. and 48.,
for "Trajecteasem" read "Trajectensem."

We again repeat that we cannot undertake to recommend any

particular houses for the purchase of photographic instruments,
chemicals, &c. We can only refer our Correspondents on such
subjects to our advertising columns.

Our Sixth Volume, strongly bound in cloth, with very copious Index, is
now ready, price 10s. 6d. Arrangements are making for the
publication of complete sets of "Notes and Queries," price Three
Guineas for the Six Volumes.

"Notes and Queries" is published at noon on Friday, so that the

Country Booksellers may receive copies in that night's parcel, and
deliver them to their Subscribers on the Saturday.

Just published, fcp. 8vo., 6s.,

DEMOCRITUS IN LONDON; with the Mad Pranks and Comical

Conceits of Motley and Robin Goodfellow: to which are added Notes
Festivous, &c. By GEORGE DANIEL, Author of "Merrie England in the
Olden Time," "The Modern Dunciad," &c.

"An exquisite metrical conceit, sparkling with wit and humour, in the
true spirit of Aristophanes, in which Democritus guides his brilliant
and merry muse through every fantastic measure, evincing grace in
the most grotesque attitudes. As a relief to his cutting sarcasm and
fun, the laughing philosopher has introduced some fine descriptive
scenes, and passages of deep pathos, eloquence, and beauty. Not
the least remarkable feature in this very remarkable book are the
recondite and curious notes, at once so critical and philosophical, so
varied and so amusing, so full of interesting anecdote and racy
reminiscences.—See Athenæum, Critic, &c.

WILLIAM PICKERING, 177. Piccadilly.

HANDEL'S MESSIAH, newly arranged by JOHN BISHOP, of
Cheltenham, from his large folio edition, including Mozart's
Accompaniments. This edition contains the Appendix, and is printed
on extra fine stout paper, imperial 8vo., pp. 257. Price (whole bound
in cloth) 6s. 6d.

"Mr. John Bishop, coming after other arrangers, has profited by their
omissions."

HAMILTON'S MODERN INSTRUCTIONS FOR THE PIANOFORTE.

Edited by CZERNY. 34th edition, 48 large folio pages, 4s.

"It is sufficient to say that the present edition is the 34th edition, to
stamp it with the genuine mark of excellence. It really deserves all
the popularity it enjoys."—Sunday Times.

London: ROBERT COCKS & CO., New Burlington Street; and of all
Musicsellers.

Also, their MUSICAL ALMANACK for 1853, Gratis and Postage Free.

RALPH'S SERMON PAPER.—This approved Paper is particularly

deserving the notice of the Clergy, as, from its particular form (each
page measuring 5¾ by 9 inches), it will contain more matter than
the size in ordinary use; and, from the width being narrower, is
much more easy to read: adapted for expeditious writing with either
the quill or metallic pen; price 5s. per ream. Sample on application.

ENVELOPE PAPER.—To identify the contents with the address and

postmark, important in all business communications; it admits of
three clear pages (each measuring 5½ by 8 inches), for
correspondence, it saves time and is more economical. Price 9s. 6d.
per ream.

F. W. RALPH, Manufacturing Stationer, 36. Throgmorton Street,

Bank.
KERR & STRANG, Perfumers and Wig-Makers, 124. Leadenhall
Street, London, respectfully inform the Nobility and Public that they
have invented and brought to the greatest perfection the following
leading articles, besides numerous others:—Their Ventilating Natural
Curl; Ladies and Gentlemen's PERUKES, either Crops or Full Dress,
with Partings and Crowns so natural as to defy detection, and with
or without their improved Metallic Springs; Ventilating Fronts,
Bandeaux, Borders, Nattes, Bands à la Reine, &c.; also their
instantaneous Liquid Hair Dye, the only dye that really answers for
all colours, and never fades nor acquires that unnatural red or purple
tint common to all other dyes; it is permanent, free of any smell,
and perfectly harmless. Any lady or gentleman, sceptical of its
effects in dyeing any shade of colour, can have it applied, free of any
charge, at KERR & STRANG'S, 124. Leadenhall Street.

Sold in Cases at 7s. 6d., 15s., and 20s. Samples, 3s. 6d., sent to all
parts on receipt of Post-office Order or Stamps.

NOTICE.

SUBSCRIBERS TO EVELYN'S DIARY AND

CORRESPONDENCE
Are respectfully informed that the THIRD and FOURTH VOLUMES of
the New and Enlarged Edition, printed uniformly with Pepys's
celebrated "Diary," are now ready for delivery; and they are
requested to order the completion of their sets without delay, to
prevent disappointment, as the Volumes will only be sold separately
for a limited period.

Published for HENRY COLBURN by his Successors, HURST &

BLACKETT, 13. Great Marlborough Street. Orders received by all
Booksellers.
 Foolscap 8vo., 10s. 6d.

THE CALENDAR OF THE ANGLICAN CHURCH: illustrated with Brief

Accounts of the Saints who have Churches dedicated in their Names,
or whose Images are most frequently met with in England; also the
Early Christian and Mediæval Symbols, and an Index of Emblems.

"It is perhaps hardly necessary to observe, that this work is of an

Archæological, and not a Theological character. The Editor has not
considered it his business to examine into the truth or falsehood of
the legends of which he narrates the substance; he gives them
merely as legends, and, in general, so much of them only as is
necessary to explain why particular emblems were used with a
particular Saint, or why Churches in a given locality are named after
this or that Saint."—Preface.

"The latter part of the book, on the early Christian and mediæval
symbols, and on ecclesiastical emblems, is of great historical and
architectural value. A copious Index of emblems is added, as well as
a general Index to the volume with its numerous illustrations. The
work is an important contribution to English Archæology, especially
in the department of ecclesiastical iconography."—Literary Gazette.

JOHN HENRY PARKER, Oxford; and 377. Strand, London.

To Members of Learned Societies, Authors, &c.

ASHBEE & DANGERFIELD LITHOGRAPHERS, DRAUGHTSMEN, AND

PRINTERS, 18. Broad Court, Long Acre.

A. & D. respectfully beg to announce that they devote particular

attention to the execution of ANCIENT AND MODERN FAC-SIMILES,
comprising Autograph Letters, Deeds, Charters. Title-pages,
Engravings, Woodcuts, &c., which they produce from any description
of copies with the utmost accuracy, and without the slightest injury
to the originals.

Among the many purposes to which the art of Lithography is most

successfully applied, may be specified.—ARCHÆOLOGICAL
DRAWINGS, Architecture, Landscapes, Marine Views, Portraits from
Life or Copies. Illuminated MSS., Monumental Brasses, Decorations,
Stained Glass Windows, Maps, Plans, Diagrams, and every variety of
illustrations requisite for Scientific and Artistic Publications.

PHOTOGRAPHIC DRAWINGS lithographed with the greatest care and

exactness.

LITHOGRAPHIC OFFICES, 18. Broad Court, Long Acre, London.

PHOTOGRAPHY.—The AMMONIO-IODIDE OF SILVER in Collodion

(price 9d. per oz.), prepared by DELATOUCHE & CO., Photographic
and Operative Chemists, 147. Oxford Street, has now stood the test
of upwards of Twelve months' constant use; and for taking Portraits
or Views on Glass, cannot be surpassed in the beautiful results it
produces. MESSRS. DELATOUCHE & CO. supply Apparatus with the
most recent Improvements, PURE CHEMICALS, PREPARED
SENSITIVE PAPERS, and every Article connected with Photography
on Paper or Glass. Paintings, Engravings, and Works of Art copied in
their Glass Room, at Moderate Charges. Instructions given in the Art.

See HENNAH'S new work on the Collodion Process, price 1s., by post
1s. 6d.

TO PHOTOGRAPHERS.—Pure Chemicals, with every requisite for the

practice of Photography, according to the instructions of Hunt, Le
Gray, Brébisson, &c. &c., may be obtained of WILLIAM BOLTON,
Manufacturer of pure chemicals for Photographic and other
purposes.
 Lists of Prices to be had on application.

146. Holborn Bars.

ROSS'S PHOTOGRAPHIC PORTRAIT AND LANDSCAPE LENSES.—

These lenses give correct definition at the centre and margin of the
picture, and have their visual and chemical acting foci coincident.

Great Exhibition Jurors' Reports, p. 274.

"Mr. Ross prepares lenses for Portraiture having the greatest

intensity yet produced, by procuring the coincidence of the
chemical actinic and visual rays. The spherical aberration is also
very carefully corrected, both in the central and oblique pencils."

"Mr. Ross has exhibited the best Camera in the Exhibition. It is

furnished with a double achromatic object-lens, about three
inches aperture. There is no stop, the field is flat, and the image
very perfect up to the edge."

Catalogue sent upon Application.

A. ROSS, 2. Featherstone Buildings, High Holborn.

PHOTOGRAPHY.—Collodion (Iodized with the Ammonio-Iodide of

Silver).—J. B. HOCKIN & CO., Chemists, 289. Strand, were the first in
England who published the application of this agent (see Athenæum,
Aug. 14th). Their Collodion (price 9d. per oz.) retains its
extraordinary sensitiveness, tenacity, and colour unimpaired for
months; it may be exported to any climate, and the Iodizing
Compound mixed as required. J. B. HOCKIN & CO. manufacture
PURE CHEMICALS and all APPARATUS with the latest Improvements
adapted for all the Photographic and Daguerreotype processes.
Cameras for Developing in the open Country. GLASS BATHS adapted
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