the Streets of London (1819), Julia is granted the privilege of shopping with her mother only if she will "behave wisely in the streets" and "not give [her] mind to self-pleasing". She cannot keep this promise and she eagerly peeks in at every store window and begs her mother to buy her everything she sees. Her mother, therefore, allows her to select one item from every shop. Julia, ecstatic, chooses blue satin boots, a penknife, and a new hat with flowers, and other items until the pair reach the undertaker's shop. There her mood droops considerably and she realizes the moral of the lesson, recited by her mother, as she picks out a coffin: "but she that liveth in pleasure is dead while she liveth" (1 Timothy 5:6). Anti-Catholicism in the 1830s Sherwood's anti-Catholicism appears most obviously in her works from the 1820s and 1830s. During the 1820s in Britain, Catholics were agitating for greater civil rights and it was at this time that Sherwood wrote her most sustained attacks against them. When the Roman Catholic Relief Act 1829 was passed, Sherwood and many like her were frightened of the influence Catholics might gain in the government and wrote Victoria (1833), The Nun (1833), and The Monk of Cimies (1834) to illustrate some of the supposed dangers of Catholicism. The Monk narrates, in the first person, Edmund Etherington's decision to renounce the Church of England and join the Catholic church. While a monk, he ridicules his fellow brothers, plans a murder and debauches a young woman. Some evangelicals disagreed with her views on Catholic Emancipation and were uncomfortable with these books; one evangelical reviewer called The Monk of Cimies "unfair and unconvincing". Colonialism While in India, Sherwood wrote a series of texts based on colonial life. Her most popular, The History of Little Henry and his Bearer (1814), tells of a young British boy who, on his deathbed, converts Boosy, the Indian man who has taken care of him throughout his childhood. The book was enormously successful; it reached 37 editions by 1850 and was translated into French, German, Spanish, Hindustani, Chinese, and Sinhalese. Sherwood's tale blends the realistic with the sentimental and introduces her readers to Hindustani words and descriptions of what she felt was authentic Indian life. As Cutt explains, "With this work, the obituary tract (which invariably stressed conversion and a Christian death) had assumed the colouring