arrival of Protestant missionaries in China early in the nineteenth century. Romanization was considered both a tool to help new missionaries learn the variety more easily and a quick route for the unlettered to achieve gospel literacy. Earlier Catholic missionaries, mostly Portuguese, had developed romanization schemes for the pronunciation current in the court and capital city of China but made few efforts to romanize other varieties. Robert Morrison, the first Protestant missionary in China published a "Vocabulary of the Canton Dialect" (1828) with a rather unsystematic romanized pronunciation. Elijah Coleman Bridgman and Samuel Wells Williams in their "Chinese Chrestomathy in the Canton Dialect" (1841) were the progenitors of a long-lived lineage of related romanizations with minor variations embodied in the works of James Dyer Ball, Ernst Johann Eitel, and Immanuel Gottlieb Genähr (1910). Bridgman and Williams based their system on the phonetic alphabet and diacritics proposed by Sir William Jones for South Asian languages. Their romanization system embodied the phonological system in a local dialect rhyme dictionary, the Fenyun cuoyao, which was widely used and easily available at the time and is still available today. Samuel Wells Willams' Tonic Dictionary of the Chinese Language in the Canton Dialect (Yinghua fenyun cuoyao 1856), is an alphabetic rearrangement, translation and annotation of the Fenyun. To adapt the system to the needs of users at a time when there were only local variants and no standard—although the speech of the western suburbs, Xiguan, of Guangzhou was the prestige variety at the time—Williams suggested that users learn and follow their teacher's pronunciation of his chart of Cantonese syllables. It was apparently Bridgman's innovation to mark the tones with an open circle (upper register tones) or an underlined open circle (lower register tones) at the four corners of the romanized word in analogy with the traditional Chinese system of marking the tone of a character with a circle (lower left for "even", upper left for "rising", upper right for "going", and lower right for "entering" tones). John Chalmers, in his "English and Cantonese pocket-dictionary" (1859) simplified the marking of tones using the acute accent to mark "rising" tones and the grave to mark "going" tones and no diacritic for "even" tones and marking upper register tones by italics (or underlining in handwritten work). "Entering" tones could be distinguished by their consonantal ending. Nicholas Belfeld Dennys used Chalmers romanization in his primer. This method of marking