initial commit of ebook 22716HEAD main

author: Roger Frank <rfrank@pglaf.org> 2025-10-15 01:53:43 -0700
committer: Roger Frank <rfrank@pglaf.org> 2025-10-15 01:53:43 -0700
commit: 20fadc4c86c99dbcd7f7763f5052020784f171ed (patch)
tree: 1e3072d53a7113f2cadff9cf9fce2c71d89e3a75 /22716-h
335 files changed, 12001 insertions, 0 deletions
diff --git a/22716-h/22716-h.htm b/22716-h/22716-h.htm
new file mode 100644
index 0000000..95c9057
--- /dev/null
+++ b/22716-h/22716-h.htm
@@ -0,0 +1,12001 @@
+<?xml version="1.0" encoding="ISO-8859-1"?>
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <title>
+      The Project Gutenberg eBook of The Book-Hunter at Home, by P. B. M. Allan.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+
+    hr                   {text-align: center; width: 50%;}
+    html>body hr         {margin-right: 25%; margin-left: 25%; width: 50%;}
+    hr.full              {width: 100%;}
+    html>body hr.full    {margin-right: 0%; margin-left: 0%; width: 100%;}
+    hr.short             {text-align: center; width: 20%;}
+    html>body hr.short   {margin-right: 40%; margin-left: 40%; width: 20%;}
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+	 }
+
+   /* kludge to get around brain dead IE not understanding CSS */
+    div.centered {text-align: center;}
+    div.centered table {margin-left: auto; margin-right: auto; text-align: left;}
+    img {border: none;}
+    .ctr {text-align: center;}
+    .linenum  {position: absolute; top: auto; left: 4%;} /* poetry number */
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+    .sidenote {width: 8%; padding-bottom: .5em; padding-top: .5em;
+               padding-left: .5em; padding-right: .5em; margin-left: 1em;
+               float: right; clear: right; margin-top: .5em;
+               text-align: center; font-size: smaller; border: dashed 1px;}
+    .ul {text-decoration: underline;}
+
+    .bb       {border-bottom: solid 2px;}
+    .bl       {border-left: solid 2px;}
+    .bt       {border-top: solid 2px;}
+    .br       {border-right: solid 2px;}
+    .bbox     {border: solid 2px;}
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+
+    .caption  {font-weight: bold;}
+
+    .figcenter   {margin: auto; text-align: center; margin-bottom: .5em; margin-top: .5em;}
+
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: .25em; margin-top:
+                 .25em; margin-right: .25em; padding: 0; text-align: center;}
+
+    .figright    {margin-left: 1em; margin-bottom: .5em;
+                 margin-top: .5em; margin-right: 0; padding: 0; text-align: right;}
+
+    .footnotes        {border: dashed 1px;}
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {vertical-align: super; font-size: .8em; text-decoration: none;}
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span        {display: block; margin: 0; padding-left: 3em; text-indent: -3em;}
+    .poem span.ihalf     {display: block; margin-left: .5em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i2     {display: block; margin-left: 2em;}
+    .poem span.i2half  {display: block; margin-left: 2.5em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i4     {display: block; margin-left: 4em;}
+    .poem span.i6     {display: block; margin-left: 6em;}
+    .poem span.i8     {display: block; margin-left: 8em;}
+    ins.grk {border-bottom-style: dashed; border-bottom-width: thin; text-decoration: none;}
+    ins.err {border-bottom-style: dotted; border-bottom-width: thin; text-decoration: none;}
+    .tnote      {border: dashed 1px; margin-left: 10%; margin-right: 10%;padding-bottom: .5em; padding-top: .5em;
+                  padding-left: .5em; padding-right: .5em;}
+    .poem span.i12     {display: block; margin-left: 12em; padding-left: 3em; text-indent: -3em;}
+    ul.plain {list-style: none;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Book-Hunter at Home, by P. B. M. Allan
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Book-Hunter at Home
+
+Author: P. B. M. Allan
+
+Release Date: September 22, 2007 [EBook #22716]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE BOOK-HUNTER AT HOME ***
+
+
+
+
+Produced by Suzanne Lybarger, Brian Janes and the booksmiths
+at http://www.eBookForge.net
+
+
+
+
+
+
+</pre>
+
+
+<p><span class='pagenum'><a name="Page_i" id="Page_i"></a>[<a href="./images/i.png">i</a>]</span></p>
+<h1>THE BOOK-HUNTER AT HOME</h1>
+<p><span class='pagenum'><a name="Page_ii" id="Page_ii"></a>[<a href="./images/ii.png">ii</a>]</span></p>
+<p>&nbsp;</p>
+<h5><i>Of this edition 500 copies have been printed,<br />
+and 50 upon fine paper.</i></h5>
+<p>&nbsp;</p>
+
+<p class="figcenter"><a href="./images/ill-01.jpg"><img src="./images/ill-01_th.jpg" alt="THE BOOK-HUNTER AT HOME" title="THE BOOK-HUNTER AT HOME" /></a></p>
+<p class="figcenter">THE BOOK-HUNTER AT HOME</p>
+<p class="figcenter">(JAN SIX, BY REMBRANDT)]</p>
+<p>&nbsp;</p>
+<hr />
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_iii" id="Page_iii"></a>[<a href="./images/iii.png">iii</a>]</span></p>
+<h2>
+THE
+BOOK-HUNTER
+AT HOME</h2>
+
+<h3>BY</h3>
+<h2>P. B. M. ALLAN</h2>
+
+<h4>THE SECOND EDITION,
+REVISED</h4>
+
+<p class="figcenter"><a href="./images/ill-02.jpg"><img src="./images/ill-02_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+
+<h5>LONDON<br />
+PHILIP ALLAN &amp; CO.<br />
+QUALITY COURT, CHANCERY LANE</h5>
+<hr class="short" />
+<p><span class='pagenum'><a name="Page_iv" id="Page_iv"></a>[<a href="./images/iv.png">iv</a>]</span></p>
+
+<h5><i>First Edition</i>&mdash;1920</h5>
+
+<h5><i>Second Edition</i>&mdash;1922</h5>
+
+<h4>PRINTED BY WHITEHEAD BROTHERS, WOLVERHAMPTON.</h4>
+
+<p><span class='pagenum'><a name="Page_v" id="Page_v"></a>[<a href="./images/v.png">v</a>]</span></p>
+
+<hr class="full" />
+<h2>THE EPISTLE DEDICATORY</h2>
+
+<h4><span class="smcap">To the Honourable and Vertuous Lady Mistress E. K. A.</span></h4>
+
+<div class="blockquot">
+<p><span class="smcap">Madam</span>,</p>
+
+<p>It would be churlish indeed were I to send this
+book into the world without some acknowledgment of the
+share which you have had in its making. Indeed, I feel that
+you are chiefly responsible for it: without your encouragement,
+your active help, your patience with me at all times
+(at which I marvel constantly), it would never have arrived
+at completion. Truly it is your name, not mine, that should
+appear upon the title-page; for although mine may have been
+the hand that penned the words, certain it is that yours was
+the mind that guided my pen throughout. It is to your
+sympathy, your judgment, your excellent taste, that I am
+indebted for every good thing that I have penned; and
+where I have put down aught that is trite or insipid, it is<span class='pagenum'><a name="Page_vi" id="Page_vi"></a>[<a href="./images/vi.png">vi</a>]</span>
+due to my own natural obstinacy in refusing, or carelessness
+in neglecting, to defer the matter to your better judgment.
+Thus it is only right that whatever praise may be bestowed
+upon this book should be accorded to you; my shoulders alone
+must bear the censure of the discerning reader.</p>
+
+<p class="figright">I am, Madam, your very dutiful,&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;<br />
+and loving husband,&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;</p>
+
+<p class="figright"><span class="smcap">The Author.</span>&ensp;&ensp;</p></div>
+
+
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii"></a>[<a href="./images/vii.png">vii</a>]</span></p>
+
+<hr class="full" />
+<h2>PREFACE</h2>
+
+
+<div class="blockquot"><p>In placing this second edition before his fellow book-lovers,
+the author would like to take the opportunity of thanking the
+numerous correspondents who have written to him from all
+parts of the world. In truth book-collecting establishes a
+bond between its devotees that is effected by no other pursuit.</p>
+
+<p>The first edition was put forth only after much hesitation,
+and with a good deal of fear and trembling: that a second
+edition would ever be required was unthinkable. But since
+the book has so obviously been the means of bringing
+pleasure to so many, the author feels that it is his duty to
+bring this second edition 'up to date,' to make it as perfect as
+his poor skill allows. Accordingly the volume has been revised
+throughout, a number of additions have been made, both to
+the text and in the matter of footnotes, and the prices of books
+have been amended according to present conditions. Three
+illustrations have been added.</p>
+
+<p>&ensp;&ensp;<span class="smcap">Quality Court</span>,<br />
+&ensp;&ensp;&ensp;&ensp;July, 1921.</p></div>
+
+<p><span class='pagenum'><a name="Page_viii" id="Page_viii"></a>[<a href="./images/viii.png">viii</a>]</span></p>
+
+
+<hr class="full" />
+<h2>CONTENTS</h2>
+
+<div class='centered'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Table of Contents">
+<tr><td align='right'><span class="smcap">chap</span></td><td align='left'>&nbsp;</td><td align='right'><span class="smcap">page</span></td></tr>
+<tr><td align='right'><a href="#CHAPTER_I">I.</a></td><td align='left'>ADVENTURES AMONG BOOKS</td><td align='right'><a href="#Page_1">1</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_II">II.</a></td><td align='left'>THE LIBRARY</td><td align='right'><a href="#Page_31">31</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_III">III.</a></td><td align='left'>BOOKS WHICH FORM THE LIBRARY</td><td align='right'><a href="#Page_58">58</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_IV">IV.</a></td><td align='left'>CHIVALRY AND ROMANCE</td><td align='right'><a href="#Page_84">84</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_V">V.</a></td><td align='left'>THE CARE OF BOOKS</td><td align='right'><a href="#Page_106">106</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_VI">VI.</a></td><td align='left'>THE CARE OF BOOKS (<i>Continued</i>)</td><td align='right'><a href="#Page_126">126</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_VII">VII.</a></td><td align='left'>BOOKS OF THE COLLECTOR</td><td align='right'><a href="#Page_160">160</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_VIII">VIII.</a></td><td align='left'>A PLEA FOR SPECIALISM</td><td align='right'><a href="#Page_194">194</a></td></tr>
+<tr><td align='right'><a href="#CHAPTER_IX">IX.</a></td><td align='left'>A PLEA FOR SPECIALISM (<i>Continued</i>)</td><td align='right'><a href="#Page_230">230</a></td></tr>
+<tr><td align='right'>&nbsp;</td><td align='left'><a href="#INDEX">INDEX</a></td><td align='right'><a href="#Page_267">267</a></td></tr>
+</table></div>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix"></a>[<a href="./images/ix.png">ix</a>]</span></p>
+<hr class="full" />
+<h2>ILLUSTRATIONS</h2>
+
+<div class='centered'>
+<table border="0" cellpadding="4" cellspacing="0" summary="List of Illustrations">
+<tr><td align='left'>THE BOOK-HUNTER AT HOME</td><td align='center'>&nbsp;</td><td align='right'><a href="#Page_ii"><i>frontispiece</i></a></td></tr>
+<tr><td align='left'>THE PERON</td><td align='center'>page</td><td align='right'><a href="#Page_96">96</a></td></tr>
+<tr><td align='left'>THE HALL OF THE KNIGHTS</td><td align='center'>"</td><td align='right'><a href="#Page_104">104</a></td></tr>
+<tr><td align='left'>THE HOME-MADE LIBRARY</td><td align='center'>"</td><td align='right'><a href="#Page_128">128</a></td></tr>
+</table></div>
+<p>&nbsp;</p>
+<hr class="full" />
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1"></a>[<a href="./images/1.png">1</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-03.jpg"><img src="./images/ill-03_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+
+
+
+
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2>
+
+<h4>ADVENTURES AMONG BOOKS</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Thou shalt make castels thanne in Spayne.'</span>
+<span class="i12"><span class="smcap">Chaucer.</span></span>
+</div></div>
+<p>&nbsp;</p>
+<div class="clearfix"><div class="figleft"><a href="./images/ill-04.jpg"><img src="./images/ill-04_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">t</span> is a sad truth that bargains are met with
+more frequently in our youth than in our
+age. The sophist may argue that age begets
+philosophy, and that philosophy contemns
+all worldly things; yet certain it is that the
+book-hunter, one of the most philosophical
+of beings, remains on the look-out for bargains to the very
+end of his career. Nevertheless, it is a fact that in youth alone
+do we make those great bargains which lay the foundations
+of our careers as book-hunters.</p>
+
+<p>It is this sad truth which fosters in most of us the belief
+that we live in a decadent age, and that the days of our youth
+were infinitely more seemly than those which we now endure.
+But it is we who have changed: the bargains are still there,
+and may still be had at the cost of youthful energy and
+enthusiasm.</p>
+
+<p>'Ah, but you can't get the bargains nowadays that you
+could when I was a young man,' says the elderly bookseller,
+with a knowing shake of his head. Can't you! Then mankind
+must have changed strangely since the period of this
+sage's youth. Bargains, and rich ones too, in everything that
+is bought and sold, are made every day and will continue to<span class='pagenum'><a name="Page_2" id="Page_2"></a>[<a href="./images/2.png">2</a>]</span>
+be made so long as human nature endures, bargains in books
+no less among them.</p></div>
+
+<p>The rich finds of which the aged bookseller dreams are
+bargains only in the light of present-day prices. As a matter
+of fact, the great majority of them were not really bargains
+at all. He may bitterly lament having parted with a copy of
+the first edition of the 'Compleat Angler,' in the 'sixties for
+twenty guineas, but he overlooks the fact that that was then
+its market value. Had he asked a thousand pounds for it,
+his sanity would certainly have been open to question. 'Why,
+when I was a boy,' he says, 'you could buy first editions of
+Shelley, Keats, or Scott for pence.' Precisely: which was
+their current value; by no stretch of the imagination can they
+be considered bargains. His business is, and has always been,
+to buy and sell; not to hoard books on the chance that they
+will become valuable 'some day.' Neither can it be urged
+that 'people' (by which he means collectors) 'did not know
+so much about books fifty years ago.' Collectors know, and
+have ever known, all that they need for the acquisition of their
+particular <i>desiderata</i>. If they were ignorant of the prices
+which volumes common in their day would realise at some
+future period, why, so were the dealers and every one else
+concerned! Judging by analogy, we have every reason to
+believe that many volumes which we come across almost daily
+on the bookstalls, marked, perhaps, a few pence, will be fought
+for one day across the auction-room table.</p>
+
+<p>The chief reason why the elderly bookseller no longer comes
+across these advantageous purchases is that he has passed
+the age (though he does not know it) at which bargains are
+to be had. But bargains are not encountered, they are made.
+It is the youthful vigour and enthusiasm of the young collector,
+prompting him into the byways and alleys of book-land, that
+bring bargains to his shelves.</p>
+
+<p>So, if you are young and enthusiastic, and not to be deterred
+by a series of wild-goose chases, happy indeed will be your
+lot. For over the post-prandial pipe you will be able to hand<span class='pagenum'><a name="Page_3" id="Page_3"></a>[<a href="./images/3.png">3</a>]</span>
+such and such a treasure to your admiring fellow-spirit, saying:
+'This I picked up for <i>n</i>-pence in Camden Town; this one
+cost me <i>x</i>-shillings at Poynder's in Reading: Iredale of
+Torquay let me have this for a florin; I found this on the
+floor in a corner of Commin's shop at Bournemouth; this was
+on David's stall at Cambridge, and I nearly lost it to the fat
+don of King's'; and so on and so on.</p>
+
+<p>Bargains, forsooth! Our book-hunter was once outbid at
+Sotheby's for a scarce volume which he found, a week later,
+on a barrow in Clerkenwell for fourpence! The same year he
+picked up for ten shillings, in London, an early sixteenth-century
+folio, rubricated and with illuminated initials. It was
+as fresh as when it issued from the press, and in the original
+oak and pig-skin binding. He failed to trace the work in any
+of the bibliographies, nor could the British Museum help him
+to locate another copy. David's stall at Cambridge once
+yielded to him a scarce Defoe tract for sixpence. But this
+being, as Master Pepys said, 'an idle rogueish book,' he sold
+it to a bookseller for two pounds, 'that it might not stand in
+the list of books, nor among them, to disgrace them, if it
+should be found.' A copy has recently fetched twenty
+guineas.</p>
+
+<p>Doubtless every bibliophile is perpetually on the look-out
+for treasures, and it is essential that he learn, early in his
+career, to make up his mind at once concerning an out-of-the-way
+book. He who hesitates is lost, and this is doubly true
+of the book-collector. More than once in his early days of
+collecting has our book-hunter hesitated and finally left a
+book, only to dash back&mdash;perhaps a few hours later, perhaps
+next day&mdash;and find it gone.</p>
+
+<p>Once upon a time a spotlessly clean little square octavo
+volume of Terence, printed in italics, caught his eye upon a
+bookstall. One shilling was its ransom, but it was not the
+price that deterred him so much as the fact that every available
+nook and corner of his sanctum was already filled to overflowing
+with books. 'A nice clean copy of an early-printed<span class='pagenum'><a name="Page_4" id="Page_4"></a>[<a href="./images/4.png">4</a>]</span>
+book,' he mused. But early-printed books were not in his
+line&mdash;then; had they been in those early days of book-hunting,
+his library would have been slow indeed of growth.
+So he passed on and left it.</p>
+
+<p>All that evening the memory of the little square volume
+would keep recurring most absurdly. He didn't want it, it
+was not in his line, he would never read it, and so on and so on.
+But over his pipe that evening the colophon '. . . . <i>studio &amp;
+impensis Philippi de Giunta florentini . . ., 1505</i>,' came
+back to his memory; he must have been mad not to have
+bought it at that price, and such a fine copy too. And so to
+bed, sorely harassed in his bibliophilic mind.</p>
+
+<p>Next morning he awoke sane and conscious of his folly.
+An early visit to the bookstall followed, but the little volume
+had gone; and it was not comforting to learn that it had been
+sold shortly after our bookman saw it, to a man who 'knew a
+lot about that kind of books.' Let us hope that the purchaser
+treasures the little square volume, printed in italics, as much
+as our friend would.</p>
+
+<p>What poignant memories they are, these memories of rare
+books which we have found and failed to secure! Two
+prominent instances of our bookman's folly stand out with
+bitter clearness, ever fresh in his memory as a reminder of
+the criminal stupidity of procrastination. One was an
+exceedingly scarce work by Lawrence Humphrey, entitled
+'Optimates sive De Nobilitate eiusque Antiqua Origine,'
+printed in small octavo at Basle in 1560, which he once saw
+in a catalogue for five shillings. He sent for it three days
+after the receipt of the catalogue, and of course it had gone.
+The other was an unknown, or at least undescribed, edition
+of Osorio's 'De Gloria et Nobilitate,' printed at Barcelona
+in the early part of the sixteenth century. He lost this in the
+same manner, at two shillings! Perhaps, however, you too
+have been guilty of these lapses, reader? <i>Semel insanivimus
+omnes.</i> Experience is better than advice, and for his part our
+book-hunter will not be caught napping again. The following<span class='pagenum'><a name="Page_5" id="Page_5"></a>[<a href="./images/5.png">5</a>]</span>
+incident will show you, moreover, that it is not always safe to
+order books from a catalogue even by return of post.</p>
+
+<p>For many years he had searched in vain for that rarest of
+all English heraldry books (though not properly English, for
+it is in the Latin tongue), the 'De Studio Militari, Libri
+Quatuor' of Master Nicholas Upton. It was edited by Sir
+Edward Bysshe, and printed in folio at London in 1654. The
+numerous booksellers in London and the country from whom
+he sought it had never seen it; indeed, most of them were
+unaware of its existence, though it is well known to all heralds.</p>
+
+<p>At length, coming home late one night, our book-hunter
+found on his table a catalogue from a bookseller who seems
+to garner more out-of-the-way books than any of his fellows.
+His catalogues are issued very frequently, for he has a large
+and quick sale, pricing most of his wares at less than five
+shillings. Moreover, the fact that the books described therein
+are thrown together without any attempt at classification, even
+alphabetical, serves but to add a zest to the repast. But our
+book-hunter was tired, and his evil star was in the ascendant,
+for he went to bed leaving the catalogue unopened.</p>
+
+<p>Reading it over a late breakfast next morning, upon the last
+page he came across the following entry:&mdash;</p>
+
+<div class="blockquot"><p>Uptoni (Nich.) De Studio Militari. Johan de Bado Aureo,
+Tractatus de Armis. Henrici Spelmanni Aspilogia. Folio,
+calf. <i>Scarce.</i> 8s. 6d.</p></div>
+
+<p>Scarce, indeed! In less than five minutes he was driving
+hot-haste to the shop.</p>
+
+<p>Of course it was sold: sold by <i>telegram dispatched the
+night before</i>. He was allowed to see it, even to handle it,
+and he frankly confesses that murderous thoughts rose within
+him as he held it in his hands. . . . The bookseller was an old
+man . . . the shop was very dark . . . just a push, and
+perhaps one firm application <i>super caput</i> of a large-paper copy
+of Camden's 'Britannia' which lay handy upon the table.
+. . . But I am glad to say that our bookman's better nature
+prevailed, and sorrowfully he returned the volume to the<span class='pagenum'><a name="Page_6" id="Page_6"></a>[<a href="./images/6.png">6</a>]</span>
+dealer's hands. Did he know the customer, and if so would
+he try to buy it back? Certainly he would. A week later
+came a letter saying that the customer was also a collector
+of these things, but that he was willing to part with it 'at a
+price.' Unfortunately his price was not our book-hunter's,
+and he failed to secure the treasure&mdash;then.</p>
+
+<p>Now comes the more pleasant sequel. About a year later,
+coming home in the small hours from a dance, our bookman
+found a catalogue from this same bookseller on his table.
+Although tired out, his previous bitter experience had taught
+him a lesson; so pulling up a chair before the remains of the
+fire he proceeded to skim through the catalogue. He had
+reached the last page, and was already beginning to nod,
+when suddenly his weariness vanished in a flash: he was wide
+awake and on his feet in an instant, for his eyes had met the
+same entry that had thrilled him a year ago. This time it
+was described as 'very scarce,' and the price was considerably
+enhanced; but he had his coat on and was in the street almost
+immediately.</p>
+
+<p>The nearest telegraph office likely to be open at such an
+hour was a mile away, and it was a miserable night, snowing
+and blowing; but no weather would have deterred him. So
+the telegram was safely dispatched, and he returned to bed,
+pinning a notice on the bedroom door to the effect that he
+was to be called, without fail, at seven o'clock.</p>
+
+<p>That night he was obsessed by Uptons of all shapes and
+sizes. Some he beheld with agony, cut down by the ruthless
+binder to duodecimo size; others there were no larger than
+Pickering's Diamond Classics; some (on his chest) were of a
+size which I can only describe as 'Atlas,' or, perhaps more
+appropriately, 'Elephant Folio,' large-paper copies with
+hideous margins.</p>
+
+<p>Next morning our bookman was at the shop betimes. Yes!
+his wire had arrived; Upton was his at last! Should the
+dealer send it for him by carrier? Carrier, forsooth! As well
+entrust the Koh-i-noor to a messenger boy. Of course it was<span class='pagenum'><a name="Page_7" id="Page_7"></a>[<a href="./images/7.png">7</a>]</span>
+the same copy that our friend had missed previously, the
+owner having sold his books <i>en bloc</i> in the meantime.</p>
+
+<p>Why Upton is so scarce it is hard to say; perhaps very few
+copies were printed, or perhaps a fire at the printer's destroyed
+most of them. Certain it is that the premises of James Allestry
+and Roger Norton, who published the book, were both burnt
+in the great fire twelve years after its publication. Besides
+the two copies in the British Museum, there are examples
+of it in several of the ancient libraries throughout the
+kingdom; but it is very rarely indeed to be met with in the
+London salerooms.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> Dallaway mentions two copies as being,
+in 1793, in the library of Lord Carlisle at Naworth; and
+probably there are examples in some of the libraries of our
+older nobility. There would seem to be copies, also, in
+France; for several writers upon chivalry, such as La Roque
+and Sainte Marie, make mention of it. The writer bought a
+portion of it, some forty-eight pages, a few years ago for four
+shillings. But take heart, brother bibliophile; it is quite
+possible that you may unearth a copy some day&mdash;if indeed
+the book be in your line&mdash;long buried in the dust of some old
+country bookshop.</p>
+
+<p>Upton died in 1457, and his work was so popular that
+numerous copies of the manuscript were made. The treatise
+on coat-armour, or 'cootarmuris,' as it is quaintly spelt, which
+comprises the third part of the 'Book of Saint Albans' (first
+printed in 1486), is, for the greater part, a literal translation
+of the second half of the fourth book of the 'De Studio
+Militari' as printed by Bysshe. Ames, in his 'Typographical
+Antiquities,' asserts that Upton's work was reprinted from<span class='pagenum'><a name="Page_8" id="Page_8"></a>[<a href="./images/8.png">8</a>]</span>
+the St. Albans book in folio, 1496, 'with the King's Arms and
+Caxton's mark printed in red ink.' But he gives no authority
+for his assertion, and it seems doubtful whether such a volume
+ever existed. At all events there does not appear to be any
+trace of such a book beyond this mention, and Herbert, editing
+Ames, omitted the whole passage. Hain,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> probably copying
+Ames, calls this supposititious work 'De Re Heraldica,' and
+states that it was printed at Westminster in 1496 'Anglice.'
+So much for worthy Master Nicholas, Canon of Salisbury and
+prot&eacute;g&eacute; of the 'good duke Humfrey.'</p>
+
+<p>There is a curious phenomenon of not infrequent occurrence
+among book-collectors, and that is the enforced acquisition of
+certain volumes solely by means of the passive persuasion of
+their presence. In other words, it is possible to bully the
+bibliophile into purchasing a book merely by obtruding it
+continually before his gaze, till at length its very presence
+becomes a source of annoyance to him. To escape from this
+incubus he purchases the volume.</p>
+
+<p>In nine cases out of ten, books so acquired never attain the
+same status as their fellow-volumes. They are invariably
+assigned either to the lowest or topmost shelves of the library,
+and are, in fact, pariahs. Their owner did not really want
+them, and he can never quite forgive their presence on his
+shelves. Generally their stay in any one home is not a long
+one, for they are weeded out at the first opportunity, and find
+no permanent rest until they come finally to that ultimate
+goal of books, the paper mills<ins class="err" title="Transcriber's Note: original reads '..'">.</ins> I confess that in my early
+days of collecting this phenomenon was of not infrequent
+occurrence, being associated, probably, with the indecision of
+youth. And in this connection a bookseller once told me an
+interesting story.</p>
+
+<p>A certain young man of the working class, on his way to
+work every day, used to pass a bookstall situated in a narrow
+alley. Every day he glanced at the books, and as custom
+was scanty he would notice what books were sold and with<span class='pagenum'><a name="Page_9" id="Page_9"></a>[<a href="./images/9.png">9</a>]</span>
+what works the bookseller filled the empty places on the
+shelves. In this way all of the books which the young man
+had first noticed gradually disappeared, with one exception.
+This was a volume bound in calf, containing some rather
+curious poems, and no one seemed to want it. At length,
+after some weeks, the young man could stand it no longer.
+He approached the bookseller, and for sixpence the volume
+became his.</p>
+
+<p>The verses seemed to him rather poor, though one entitled
+'Hans Carvel' amused him rather. The title-page bore the
+date 1707, and he wondered who was the 'E. Curll at the
+Peacock without Temple-Bar,' for whom the work was printed.
+Some time afterwards he read in the newspaper that a certain
+book had been sold for a large sum because of a misprint in it.
+This set him wondering . . . 'at the Peacock <i>without</i>
+Temple-Bar . . .' Temple-Bar without a peacock he could
+imagine: surely this was a misprint! Perhaps the book was
+valuable, and others had not 'spotted' the error!</p>
+
+<p>And now he bethought him of an acquaintance who kept
+a bookshop in the West End of the town, a man who knew
+a lot about old books. He would take it to him and ask his
+advice. So, one Saturday afternoon he carried his 'treasure'
+to the shop in question. Inside, an elderly man was examining
+a calf-bound volume.</p>
+
+<p>'. . . the first authentic edition, seventeen hundred and
+nine,' he was saying.</p>
+
+<p>The young man glanced at the volume under discussion,
+and as a page was turned he caught sight of the heading
+'Hans Carvel.' Good gracious; this volume was the same
+as his! Just then the elderly man looked up, and the young
+fellow handed his volume to the bookseller, saying: 'Here's
+another one, same as that, but mine's got something wrong
+on the front page.'</p>
+
+<p>The bookseller opened the newcomer's volume, looked at
+the title-page, and handed it without a word to his customer,
+who took it with a look of surprise.</p>
+
+<p><span class='pagenum'><a name="Page_10" id="Page_10"></a>[<a href="./images/10.png">10</a>]</span>
+'Something wrong?' said he, 'why, bless me, what's this&mdash;1707&mdash;that
+rascal Curll's edition&mdash;where did you get
+this?'</p>
+
+<p>The young man told him, adding that he gave sixpence
+for it.</p>
+
+<p>'Sixpence, did you?' said the connoisseur; 'well, I'll give
+you six guineas for it': which he did, there and then.</p>
+
+<p>It was a copy of the rare 'pirated' collection of his poems,
+published without Matt Prior's knowledge, some two years
+before the first authentic edition appeared. Some years later,
+when the elderly collector died, this volume came to the
+saleroom with the rest of his books. It realised forty pounds!
+So much for the ugly duckling.</p>
+
+<p>What an absorbing topic is that of 'lost books'! There
+is a fascination about the subject that every bibliophile must
+have experienced. 'Hope springs eternal in the human
+breast,' and it is impossible to read of books long lost without
+making a mental note of their titles in the hope that some
+day we may come across them. Perhaps it is these memories,
+pigeon-holed in our mind, that add a zest to anticipation
+whenever we go book-hunting on our travels. But alas! the
+reward for the bibliophile's hope in this direction is rare as
+the blossoming of the aloe.</p>
+
+<p>It is curious to think of the thousands of books that have
+completely disappeared. Nowadays the Act which assures
+the preservation in our greater libraries of every book published
+in this country will doubtless prevent the disappearance
+of a good many English books of lesser importance, such as
+school books and other works that are quickly superseded.
+But before the passing of this Act there was nothing to
+prevent an unpopular or useless work from becoming extinct,
+and vast numbers must have disappeared in this country alone.
+There are many books, however, important books even, and
+books which we know to have been immensely popular in
+their day, of which so much as a glimpse has been denied us.
+The 1606 octavo of 'The Passionate Pilgrim,' the first issue<span class='pagenum'><a name="Page_11" id="Page_11"></a>[<a href="./images/11.png">11</a>]</span>
+of John Barclay's satirical romance 'Euphormionis Lusinini
+Satyricon,' published at London in 1603, the 'Famous
+Historie of the Vertuous and Godly Woman Judith,' London,
+1565 (of which a title-page has been preserved), what would
+not every book-collector give for copies of these?</p>
+
+<p>Then there are such early-printed works as Caxton's
+translation of the Metamorphoses of Ovid, probably published
+by him about 1480, 'The Life of St. Margaret' (known by
+three leaves preserved in the Bodleian), the 'goste of guido'
+or Ghost of Guy, and the Epitaph of the King of Scotland,
+all printed by Pynson, as well as that mysterious volume
+ycleped 'The Nigramansir,' said to be by John Skelton the
+poet-laureate who lived under five kings and died in 1529.
+Many of Skelton's works, perhaps even the majority of his
+writings, are known to us by title and hearsay alone; but who
+shall say that his 'Speculum Principis,' or 'the Commedy
+Achademios callyd by name,' which he himself mentions, are
+lost beyond all hope of recovery? 'The Nigramansir' was
+actually seen by Thomas Warton, the poet-laureate, in the
+'fifties of the eighteenth century, and is described by him in
+some detail. His account is so interesting that it deserves
+quoting.</p>
+
+<p>'I cannot quit Skelton,' he writes, 'without restoring to
+the public notice a play, or <span class="smcap">morality</span>, written by him, not
+recited in any catalogue of his works, or annals of English
+typography; and, I believe, at present totally unknown to the
+antiquarians in this sort of literature. It is, <i>The</i> <span class="smcap">nigramansir</span>,
+<i>a morall</i> <span class="smcap">enterlude</span> <i>and a pithie written by Maister</i>
+<span class="smcap">skelton</span> <i>laureate and plaid before the king and other
+estatys at Woodstock on Palme Sunday.</i> It was printed by
+Wynkin de Worde in a thin quarto, in the year 1504.'</p>
+
+<p>Against this Warton makes the following note: 'My
+lamented friend Mr. William Collins . . . . shewed me this
+piece at Chichester, not many months before his death (Collins
+died in 1759), and he pointed it out as a very rare and valuable
+curiosity. He intended to write the History of the Restoration<span class='pagenum'><a name="Page_12" id="Page_12"></a>[<a href="./images/12.png">12</a>]</span>
+of Learning under Leo the Tenth, and with a view to that
+design had collected many scarce books. Some few of these
+fell into my hands at his death. The rest, among which, I
+suppose, was this Interlude, were dispersed.'</p>
+
+<p>Warton then goes on to describe the book in detail, and
+this circumstance, together with the fact that he quotes one
+of the stage directions ('<i>enter Balsebub with a Berde</i>') seems
+to point to the fact that he actually had the volume in his
+hands. It concerned the trial of Simony and Avarice, with
+the Devil as Judge. 'The characters are a Necromancer or
+Conjurer, the Devil, a Notary Public, Simonie, and Philargyria
+or Avarice. . . . There is no sort of propriety in calling this
+play the Necromancer: for the only business and use of this
+character is to open the subject in a long prologue.'<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>
+Unfortunately there is no other mention of this interesting
+work, and of recent years its very existence has been doubted.</p>
+
+<p>'It was at Chichester,' wrote Hazlitt, 'that the poet Collins
+brought together a certain number of early books, some of
+the first rarity; his name is found, too, in the sale catalogues
+of the last century as a buyer of such; and the strange and
+regrettable fact is that two or three items which Thomas
+Warton actually saw in his hands, and of which there are no
+known duplicates, have not so far been recovered.' Mr.
+Gordon Duff, in his 'English Provincial Printers,' mentions
+seventeen books described by Herbert at the end of the
+eighteenth century, of which no copies are now known to
+exist. Another rare volume is known to have existed about
+the same time. A copy, the only one known, of 'The
+Fabulous Tales of Esope the Phrygian' by Robert Henryson,
+published at London in 1577, was formerly in the library of
+Syon College; for it is included in Reading's catalogue of
+that college library, compiled in 1724. But its whereabouts
+is now unknown. Fortunately in this case a later edition
+has survived.</p>
+
+<p><span class='pagenum'><a name="Page_13" id="Page_13"></a>[<a href="./images/13.png">13</a>]</span>
+Another mysterious volume is the treatise concerning
+Elizabeth Barton, the Maid of Kent, who was burnt at Tyburn
+in 1534. Cranmer, describing her story to a friend, writes:
+'and a boke (was) written of all the hole storie thereof, and
+putt into prynte, which euer syns that tyme hath byn
+comonly sold and goone abrod amongs all people.' From
+the confession of John Skot, the printer of this work, at the
+trial, it seems that seven hundred copies were printed; but no
+copy is now known to exist.</p>
+
+<p>Other works there are as yet unseen by bibliographer, such
+as Markham's 'Thyrsis and Daphne,' a poem printed in 1593,
+and the 1609 and 1612 quartos of Ben Jonson's 'Epic&oelig;ne or
+the Silent Woman.' This last was seen by William Gifford a
+century ago, but neither is now known to exist. Or is a copy
+extant of Horace's 'Art of Poetry' english'd by Jonson and
+published so late as 1640. Alas! the list of works by 'rare
+Ben Jonson' now lost to us, it is feared, for ever, is quite a
+lengthy one. Who has seen the original issue of 'Gude and
+Godlie Ballatis,' printed at Edinburgh in 1546? Of this book
+it has been said that, after the Bible, it did more for the
+spread of Reformation doctrines in Scotland than any other
+volume; so presumably a fairly large edition was printed.</p>
+
+<p>That the editions of some of these early-printed books, now
+with us no more, were of considerable size may be judged from
+contemporary evidence of their widespread popularity.
+Speaking of the 'Morte d'Arthur,' Mr. E. G. Duff remarks:
+'Of the popularity of the book we have striking evidence.
+Of Caxton's edition two copies are known, of which one is
+imperfect.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> The second edition, printed by Wynkin de Worde<span class='pagenum'><a name="Page_14" id="Page_14"></a>[<a href="./images/14.png">14</a>]</span>
+in 1498, is known from one copy only, which is imperfect;
+while the third edition, also printed by de Worde is, again,
+only known from one imperfect copy. It may well be,
+considering these facts, that there were other intervening
+editions which have entirely disappeared.'</p>
+
+<p>Of the thirteen early editions of Shakespeare's 'Venus and
+Adonis' only twenty-two copies have so far been traced. Yet
+if each of these editions comprised only 250 copies, the tale
+of survivors is not large out of a total of 3,250. 'Printers and
+publishers . . . strained their resources to satisfy the demands
+of eager purchasers,' remarks Sir Sidney Lee; so presumably
+the estimate of 250 per edition is a conservative one.</p>
+
+<p>Where are these volumes now? It is difficult to believe
+they have been utterly destroyed, leaf by leaf, so that no
+vestige of them any longer exists. Surely they will turn up
+at an auction sale some day, for they may well be safely
+ensconced, at this very moment, on the shelves of some
+neglected country library. Mr. Duff himself records the
+discovery recently of a copy of Caxton's 'Speculum,'
+'amongst some rubbish in the offices of a solicitor at
+Birkenhead.'</p>
+
+<p>What a vast number of books there is, also, of which only
+one copy is known to exist. Of the early editions of
+Shakespeare's plays alone, more than a dozen are known by
+solitary examples. Of such books Hazlitt remarks that he
+'has met in the course of a lengthened career with treasures
+which would make a small library, and has beheld no
+duplicates.' Probably many of these <i>incognita</i> and <i>rarissima</i>
+perished in the great fire of London; others again met their
+fate solely through their own popularity, being 'thumbed'
+to pieces. In 1494 Pynson thought well enough to reprint
+Caxton's 'Book of Good Manners'; but of this once popular
+book one copy only&mdash;that which was formerly in the Amherst
+Library&mdash;now survives.</p>
+
+<p>Then there is that ancient romance of European popularity
+'The four Sons of Aymon.' One of the great cycle of<span class='pagenum'><a name="Page_15" id="Page_15"></a>[<a href="./images/15.png">15</a>]</span>
+Charlemagne romances, such was its popularity that by the
+end of the thirteenth century it had penetrated even to Iceland.
+Many and various were the editions that issued from the early
+presses. Caxton printed it about 1489, but of this thick
+quarto impression one imperfect copy only has survived. A
+second edition, as we learn from the colophon of the third
+edition, was 'imprinted at London by Wynken de Worde, the
+viii daye of Maye, and the year of our lorde M.CCCCC. iiii';
+but a solitary leaf, discovered in the binding of an ancient
+book, is the sole representative of an edition that ran
+probably into several hundreds.</p>
+
+<p>In the case of some at least of these early books there is
+another reason for their disappearance and scarcity. Stephen
+Vaughan, the indefatigable agent of Mr. Secretary Cromwell,
+writing to his master from Antwerp, mentions that he is
+'muche desirous t'atteyne the knowlage of the Frenche
+tonge,' but that he is unable to obtain a copy of the only
+primer which he knows to exist. This volume, called
+'L'Esclarcissement de la Langue Francoyse,' was 'compose
+par Maistre Jehan Palsgraue, Angloys, natyf de Londres et
+gradue de Paris,' and was printed by Pynson, though it was
+finished and published by Hawkins in 1530.</p>
+
+<p>Palsgrave, the author, seems to have been determined that
+his book should not fall into the hands of other teachers of
+French (he was 'scolemaster' to the Princess Mary, sister of
+Henry <span class="smcap">viii.</span>, in 1513, at a stipend of &pound;6 13s. 4d.); and
+although Vaughan writes that he 'made not a letle labour
+to Mr. Palsgrave to have one of his books,' yet 'in no wise
+he wolde graunt for no price.' So Vaughan entreats Thomas
+Cromwell to obtain a copy for him, 'not doubtyng but though
+he unkyndly denyd me one, he will not denye youe one.'</p>
+
+<p>Apparently Palsgrave had entered into some kind of
+arrangement with the printer, for Vaughan writes that he
+'hathe willed Pynson to sell none of them to any other person
+than to suche as he shall comaunde to have them, lest his
+proffit by teching the Frenche tonge myght be mynished by<span class='pagenum'><a name="Page_16" id="Page_16"></a>[<a href="./images/16.png">16</a>]</span>
+the sale of the same to suche persons as, besids hym, wern
+disposed to studye the sayd tongue.'</p>
+
+<p>From this premise it is easy to understand why 'L'Esclarcissement'
+is such a rare book. Very few copies indeed are
+known to exist. Yet one cannot help wondering what became
+of the copies that had not been disposed of at the author's
+death. Possibly a very small number was printed, and perhaps
+'Johan Haukyns,' faithful to his pact, destroyed those on
+hand. That the book was in high esteem may be gathered
+from the fact that, in spite of his rebuff, Vaughan says: 'If I
+had one, I wolde no less exteme it then a Jewell.' The letter
+ends with a delightful burst of ingenuousness. 'Syr, I
+remember Mr. Palsgrave gave youe one of his books, which
+if it please you to geve me I wer muche bounde to youe.'
+Whether he obtained a copy in the end history does not
+relate; but if our book-hunter is ever so fortunate as to come
+across one, like Vaughan he will certainly 'no less exteme it
+then a Jewell.'</p>
+
+<p>Very many, indeed the vast majority, of the popular
+jest-books which appeared in such numbers during Queen
+Elizabeth's reign are now lost to us. Some are known by
+later quotation of their titles, others by later editions, such
+as 'The Life of Long Meg of Westminster,' 'A Lytle and
+Bryefe Treatyse called the Defence of Women,'<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> etc. But
+these were small volumes of few pages, and were doubtless
+considered as little worthy of preservation as is the modern
+'penny dreadful.' 'But, when we consider how very many
+of these early books have come down to our time only in
+single copies or even fragments out of an edition of some
+hundreds, it is only natural to suppose that a great number
+must have utterly disappeared.'<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>
+
+<p>It is not for want of enterprise that so many of these books
+have not so far been recovered. The smaller and more
+remote towns, even villages, of these islands and the<span class='pagenum'><a name="Page_17" id="Page_17"></a>[<a href="./images/17.png">17</a>]</span>
+Continent have been, and are being, ransacked by dealers
+as well as collectors. The number of works hitherto
+undescribed that has been brought to light during the last
+sixty years must be considerable; and one still hears every
+now and then of some rich trover that has been unearthed.
+In 1887 a small octavo manuscript volume, in a worn brown
+binding, was offered at the end of a sale at Sotheby's. It had
+stood, for how long no man knows, on the shelf of a small
+parish library in Suffolk; and it was offered for sale
+'presumably as being unreadable to country folk, and capable
+of being turned into hard cash wherewith a few works of
+fiction might be purchased.' Acquired by the Bodleian
+Library for &pound;6, it proved, by perhaps one of the most romantic
+chains of evidence ever attached to a book,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> to be the favourite
+devotional volume and constant companion of Saint Margaret,
+Queen of Scotland, who died in 1093. It was not until 1905
+that the original quarto edition (1594) of Shakespeare's 'Titus
+Andronicus' was known to exist, when a copy was discovered
+and sold for &pound;2000.</p>
+
+<p>Books travel far afield. At the dissolution of the
+monasteries the rich libraries that many of them possessed
+were scattered far and wide. One of these religious houses
+was famed for its rich store of books; and that the report was
+not exaggerated we know from its ancient library catalogue,
+still extant. In this case some of the books were taken by
+the inmates with them into exile in Flanders; and when the
+small community migrated thence to Portugal, the precious
+tomes were carried reverently with them. A fire at their
+convent in 1651 destroyed a large number of the volumes,
+and when some of the nuns returned to England in 1809 they
+brought the remaining books with them. Some were sold,
+but three cases of these ancient books were sent back to the
+nuns who stayed behind in Portugal, and of these cases two
+were lost in transit.</p>
+
+<p><span class='pagenum'><a name="Page_18" id="Page_18"></a>[<a href="./images/18.png">18</a>]</span>
+London, however, has always been the centre of book
+production in this country, and it is there that any existing
+copies of these forgotten books are most likely to re-appear.
+Was not a priceless manuscript, a Household Book of the
+Black Prince, discovered only a few years ago in the office of
+a city lawyer? Once, in the course of his rambles by the
+bookstalls of the Farringdon Road,<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> our book-hunter caught
+a glimpse of an old box almost covered by books and prints
+on one of the stalls. Being unearthed, it proved to be a
+veritable gem of a trunk, about two feet by one, and nine
+inches deep. It had a convex lid, and was covered with
+shaggy horsehide, bound with heavily studded leather. The
+proprietor stated that he had found it in a cellar, full of old
+books, most of which had already been sold (his listener
+promptly pictured Caxtons among them); and he was amused
+to think that any one could be so foolish as to offer him two
+shillings for such a dirty old box. However, it was carried
+home in triumph, regardless of the great interest shown by
+fellow-travellers in the train. A year or two ago the same
+vender produced a similar trunk, rather larger, which was full
+of ancient deeds relating to property in Clerkenwell. These
+he sold for a shilling or two shillings apiece, according to size
+and seals. The box was larger than our bookman wanted,
+but apparently it soon found a purchaser.</p>
+
+<p>Surely such instances must be common in this great city,
+and many a trunk must yet linger in cellars and attics in the
+old parts of the town. Not many years ago our book-hunter
+chanced to visit an ancient house at the end of a small court
+off Fleet Street. Inside, it seemed to be entirely lined with
+oak planking, and it was occupied, or at least that part into
+which he penetrated was, by a printer in a small way of
+business. The staircase was magnificent, of massive coal-black
+oak; and when our book-hunter remarked upon it, the<span class='pagenum'><a name="Page_19" id="Page_19"></a>[<a href="./images/19.png">19</a>]</span>
+printer informed him he had discovered that the house had
+once been the town residence of a famous bishop of Tudor
+times.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> How the occupant discovered this fact our bookman
+does not remember; possibly the house is well known to
+antiquaries, and the occupier may have read about it or have
+been told by the previous tenant. But it is also within the
+bounds of possibility that he unearthed some deed or papers
+relating to the premises. It is strange, too, that one of the
+few letters of this bishop which have been preserved refers to
+books. 'Ye promised unto me, long agone,' he writes to
+Secretary Cromwell, 'the Triumphes of Petrarche in the
+Ytalion tonge. I hartely pray you at this tyme by this
+beyrer, . . . to sende me the said Boke with some other at
+your deuotion; and especially, if it please you, the boke
+called Cortigiano in Ytalion.'<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></p>
+
+<p>There must be many such houses still extant in London,
+and who knows what there may be in their long-disused
+attics? Hidden away in the darkness beneath their tiles,
+between joists and under the eaves, it is possible that books
+till now unknown to us, by sight at least, may still exist.
+Or who has explored the lumber accumulated in many a
+disused cellar within a quarter of a mile of the Mansion House?
+The very existence of the trunks which we have mentioned
+proves that such things do still linger in the nooks and
+crannies of this great city.</p>
+
+<p>And I would not confine my surmise in this direction to
+London alone. Two ancient libraries there are, one in the
+North Countrie, the other in the West, that to my certain<span class='pagenum'><a name="Page_20" id="Page_20"></a>[<a href="./images/20.png">20</a>]</span>
+knowledge have never been explored by modern bibliographer.
+The latter is spurned and neglected, the books are deep in
+dust and even mildew; the former is also neglected, but at
+least the house is inhabited. The owner, an old, old woman,
+will never permit of any volume being disturbed. It is said
+that her father collected the books many years ago, and that
+she still guards them jealously for him.</p>
+
+<p>Perhaps one day a copy of the 'Nigramansir' will emerge
+from its long sleep in some such house as these. Indeed, it
+is not so much a matter of surprise that such books should
+have disappeared, as that they should have remained hidden
+for so long. In 1909 an ancient volume was accidentally
+discovered in an old manor-house in the North of England,
+where it had lain undisturbed for generations. It proved to
+consist of no less than five of Caxton's publications bound up
+together. Moreover, it was in the original binding, and was
+bound, probably, by one of Caxton's workmen, whose initials
+it bore. On being put up for sale at Sotheby's, it changed
+hands at &pound;2,600.</p>
+
+<p>The account which Gairdner gives in the Introduction to
+his last edition of the Paston letters, of the loss and rediscovery
+of those historic documents, is also a striking example of the
+manner in which books may lie hidden for years. For nearly
+a century the originals of Sir John Fenn's compilation were
+utterly lost. 'Even Mr. Serjeant Frere who edited the fifth
+volume . . . declared that he had not been able to find the
+originals of that volume any more than those of the others.
+Strange to say, however, the originals of that volume were in
+his house all the time. . . .' Gairdner then applied to the
+owner of Roydon Hall for the remainder of the manuscripts,
+but received answer 'that he did not see how such MSS.
+should have found their way to Roydon.' Yet there they were
+discovered (with many others) eight years later! Even then
+the whereabouts of the letters forming Fenn's first and second
+volumes, which he had presented in 1787 to King George <span class="smcap">iii.</span>,
+was still unknown. 'The late Prince Consort . . . caused a<span class='pagenum'><a name="Page_21" id="Page_21"></a>[<a href="./images/21.png">21</a>]</span>
+careful search to be made for them, but it proved quite
+ineffectual.' No wonder, for in 1889 they came to light in a
+Suffolk manor-house!</p>
+
+<p>It is difficult to portray in words the sensations of the
+book-collector when engaged in searching some ancient
+building or library&mdash;especially if he be upon a 'hot scent.'
+The thrills that he experiences as he handles some rich volume
+that has lain hid for years, the delicious excitement that
+pervades him while exploring some huge charter chest or
+ancient oaken press, these are feelings not to be described in
+words. 'It was discovered in the library at such and such a
+place,' we read, and we barely stop to picture the scene of its
+finding or to imagine the sensations of its finder. The very
+finding at Syon by 'Master Richard Sutton, Esq.,' of the
+manuscript containing the 'revelacions' of St. Katherin of
+Siena, from which de Worde printed his edition, conjures
+up a whole romance in itself; yet in his eulogy of the work
+Wynkyn dismisses the matter briefly, merely stating that it
+was found 'in a corner by itself.' 'We were shipwrecked,'
+says the mariner, relating his adventures; and in those three
+words what a world of incident and sensations is comprised!</p>
+
+<p>Our book-hunter confesses frankly to having had much good
+luck in book collecting. Some years ago he made up his
+mind to start collecting Elzeviers, more with the intention of
+gathering a representative collection of books printed by that
+great family of printers than with any idea of specialising in
+them. Probably he was urged thereto by reading that wholly
+delightful book 'The Library' by Andrew Lang, wherein the
+author discourses so pleasantly on these rare pygmies of the
+book world. 'The Pastissier Fran&ccedil;ois,' we read, 'has lately
+fetched &pound;600 at a sale'; and the 'C&aelig;sar' of 1635 seemed
+nearly as rare, provided it were a copy of that impression
+wherein the 149th page is misprinted '153.' A little later our
+bookman was dipping, for the <i>n</i>-th time, into that bibliophile's
+bible 'The Book Hunter,' by John Hill Burton, whose opinion
+of the C&aelig;sar seemed even higher, for he devotes nearly half<span class='pagenum'><a name="Page_22" id="Page_22"></a>[<a href="./images/22.png">22</a>]</span>
+a page to the little volume which Brunet describes as 'une des
+plus jolies et plus rares de la collection des Elsevier.'</p>
+
+<p>That decided our friend. He would collect Elzeviers.
+Moreover, he would continue to collect them until he had
+acquired both the 'Pastissier Fran&ccedil;ois' and the 1635 'C&aelig;sar.'
+Such was the confidence of youth! So he sallied forth straight
+away, determined to ransack the nooks and corners of certain
+shops of his acquaintance.</p>
+
+<p>He didn't find the 'Pastissier Fran&ccedil;ois' that afternoon,
+but he found the 1635 'C&aelig;sar' in Charing Cross Road for
+<i>two shillings</i>. Moreover, it had the requisite misprint and
+certain other distinctions which proclaim it to be of the rare
+impression, and it is no less than 126 millimetres in height!
+He has not yet come across the Pastissier, but doubtless he
+will find a copy one day, provided his luck holds good.</p>
+
+<p>The little 'Pastissier' is a far more interesting volume
+than the 'C&aelig;sar.' The latter is a dainty book, beautifully
+printed upon fine paper, with folding maps and plans of
+castramentation. The 'Pastissier,' on the other hand, is a
+disappointing little book in appearance, for it is but
+indifferently printed upon poor paper. It cannot even claim
+the merit of originality, being merely a pirated reprint of a
+volume that appeared in Paris some two years previously.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>
+But it is very, very rare, and it has been celebrated by many
+distinguished pens.</p>
+
+<p>'"Monsieur," said I, "pray forgive me if my question
+seems impertinent, but are you extremely fond of eggs?"'</p>
+
+<p>Such were the words with which Alexandre Dumas first
+addressed Charles Nodier, the famous dramatist and bibliophile,
+whom he found sitting next to him at the Th&eacute;&acirc;tre
+Porte-Saint-Martin. Dumas' curiosity as to the little volume
+that was engrossing his neighbour's attention more than the<span class='pagenum'><a name="Page_23" id="Page_23"></a>[<a href="./images/23.png">23</a>]</span>
+play was at length allayed, and it was a view of the title-page
+that prompted his unusual question. Looking over his
+neighbour's shoulder, he read, opposite the engraved frontispiece,
+as follows:&mdash;</p>
+
+<p class="figcenter"><a href="./images/ill-05.jpg"><img src="./images/ill-05_th.jpg" alt="LE PASTISSIER FRAN&Ccedil;OIS" title="LE PASTISSIER FRAN&Ccedil;OIS" /></a></p>
+<p class="figcenter">LE PASTISSIER FRAN&Ccedil;OIS</p>
+
+<p class="figcenter">O&ugrave; e&#383;t en&#383;eign&eacute; la maniere de<br />
+faire toute &#383;orte de Pa&#383;ti&#383;&#383;erie,<br />
+tres-utile &agrave; toute &#383;orte<br />
+de per&#383;onnes.</p>
+
+<p class="figcenter"><i>ENSEMBLE</i></p>
+
+<p class="figcenter"><i>Le moyen d'apre&#383;ter toutes &#383;ortes d'oeufs</i><br />
+<i>pour les jours maigres &amp; autres,</i><br />
+<i>en plus de &#383;oixante fa&ccedil;ons.</i></p>
+
+<p class="figcenter"><i>A AMSTERDAM</i></p>
+
+<p class="figcenter">Chez Louys &amp; Daniel Elzevier</p>
+<p class="figcenter"><i>A M DC LV.</i></p>
+
+<p>But Nodier was far from being the gourmet that Dumas
+supposed him to be. He was merely a bookhunter devouring
+a rare 'find'; and the little book, he explained to Dumas,<span class='pagenum'><a name="Page_24" id="Page_24"></a>[<a href="./images/24.png">24</a>]</span>
+was one of those tiny volumes published in the seventeenth
+century by the house of the Elzeviers at Leyden and
+Amsterdam; and of all the many productions of that press,
+this was the most sought for by collectors.</p>
+
+<p>Elzeviers, however, are no longer fashionable, in this country
+at least. The C&aelig;sar might possibly bring five pounds if it
+came to the notice of an Elzevier specialist, but I doubt it.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a>
+Only the Pastissier has retained its exalted price, probably
+on account of its notoriety. A copy, in modern calf binding,
+sold recently (1917) at Sotheby's for so much as &pound;130; but
+Lord Vernon's copy, choicely bound by Cap&eacute;, realised only
+&pound;70 at the Sudbury sale in June 1918. However, it was a
+poor copy and much cut down.</p>
+
+<p>Railway-trains, among other things, have killed Elzeviers.
+Nothing could be more convenient for saddle-bag or
+knapsack, or the restricted luggage which one could stow in
+the boot of a coach. But who makes a practice nowadays of
+putting books into his suit-case or gladstone-bag?<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> Besides,
+before the advent of railways, there was not the same facility
+for distributing books, and one might travel many leagues
+and visit many villages without coming to a place where there
+would be a bookshop. In travelling nowadays one is
+continually in the presence of cheap books.</p>
+
+<p>The fate of the little Pastissier was probably that of many
+popular books. There must have been thousands of copies
+of it printed. Dumas, in that delightful chapter of 'Mes
+M&eacute;moires' which we have just quoted, makes Nodier say,
+'Techener declares that there were five thousand five hundred
+copies issued, and I maintain that there were more than ten
+thousand printed'; and he goes on to declare that 'there are
+probably only ten examples of it left in Europe.' Willems,
+however, in his bibliography of the Elzeviers published in
+1880, enumerates some thirty copies, and states that the<span class='pagenum'><a name="Page_25" id="Page_25"></a>[<a href="./images/25.png">25</a>]</span>
+highest price yet paid for the Pastissier was 10,000 francs.
+But that was for a quite exceptional copy. From 4,500 francs
+to 5,500 francs seems to have been the average value of the
+book in Willems' time, and, enthusiast as he is, he hesitates
+not to describe it as a 'bouquin insignifiant et m&eacute;diocrement
+imprim&eacute;.'</p>
+
+<p>Its scarcity at the present day is, perhaps, not surprising;
+for, from the very nature of its contents, its habitat must
+always have been the kitchen rather than the library. How
+long would such a tiny volume, with its 130 thin paper leaves,
+bear the rough and greasy handling of chefs and 'pastissiers'?
+Book-shelves are rare in kitchens, and the little book must
+have been continually moved from pillar to post. Besides,
+it is unlikely that copies for kitchen use would be strongly
+bound in morocco. The very printing and paper of the book
+sufficiently indicate the use to which its producers at least
+expected it to be put. So the little 'French pastrycook'
+gradually disappeared. Those for whose benefit it had been
+written would soon learn its secrets by heart and confide them
+verbally to their apprentices; and it would not be long ere the
+tattered and greasy booklet found its way into the dustbin.</p>
+
+<p>Of all the <i>rarae aves</i> sought by book-collectors this little
+volume is perhaps the most widely known. That copies may
+still exist in this country is shown to be possible by the fact
+(recorded by Willems) that one was sold at an auction in
+Belfast. Another was found at Brighton, and occasionally
+one appears in the London salerooms, as we have shown. It
+requires little imagination to picture merchants and travellers,
+whose paths led through the Low Countries at that time,
+slipping copies into their pockets or holsters for use in the
+household across the water. Many a courtly exile during the
+Protectorate, glancing through the bookshops of Amsterdam,
+must have chanced upon the little volume as a gift for wife
+or daughter.</p>
+
+<p>Numbers, also, must have found their way to France. Some
+years ago our book-hunter happened to stay at an ancient<span class='pagenum'><a name="Page_26" id="Page_26"></a>[<a href="./images/26.png">26</a>]</span>
+hostel in Rouen. From the outside the building was everything
+that could possibly be desired by bibliophile or
+antiquary. It was situated in one of those quaint narrow
+back streets that lead towards the Place Henri Quatre; and
+the courtyard was so small as scarcely to allow a baker's cart
+to turn round in it. Like many of the houses in this ancient
+town, its crookedness was such that it seemed impossible for
+it to remain standing much longer. Misgivings arose within
+him as he ascended the staircase, which seemed to sway as
+he avoided the broken treads. But the sight of the bedroom
+he was to occupy, furnished with such furniture and such a
+bed, all spotlessly clean and polished, sent him into the seventh
+heaven of delight. Here he could read and write undisturbed
+for as long as he chose to stay. Surely pleasant surprises
+must be in store for one in every way in such surroundings
+as these!</p>
+
+<p>It was not long before he got one.</p>
+
+<p>'Will Monsieur require anything to be cooked for him
+to-night?' inquired the trim hostess.</p>
+
+<p>It was rather late and our bookman was disinclined to seek
+a restaurant. Besides, he was anxious to explore his lodging
+before it got too dark. An omelette would be delicious,
+provided she could make one properly.</p>
+
+<p>'Eggs, perhaps, and tea, with bread and butter'&mdash;could she
+turn the eggs into an omelette?</p>
+
+<p>'Why certainly,' with a merry laugh, 'of course&mdash;<i>I can
+prepare eggs in more than sixty ways.</i>'</p>
+
+<p>To say that our book-hunter started would be to put it
+mildly. A certain title-page instantly rose before his eyes.
+There was only one way in which anybody could possibly
+learn to cook eggs in sixty different ways, and that was by
+studying the 'Pastissier Fran&ccedil;ois.' Without the slightest
+doubt the hostess possessed a copy, and he was at last to look
+upon the tiny volume that he had sought for so long. But as
+she seemed so proud of her achievement, could she be induced
+to part with the precious tome? These and many other<span class='pagenum'><a name="Page_27" id="Page_27"></a>[<a href="./images/27.png">27</a>]</span>
+kindred thoughts passed rapidly through his mind as he
+repeated slowly 'en plus de soixante fa&ccedil;ons?'</p>
+
+<p>She laughed again. Ah yes, but she couldn't repeat them
+<i>d'abord</i>, she would have to <i>refer to her book</i>.</p>
+
+<p>He had difficulty in controlling his voice sufficiently to
+inquire what her book was.</p>
+
+<p>Oh, it was just a little book which her mother had given
+her, a little book of <i>la cuisine</i>. Could he see it? Why
+certainly, but it could not possibly interest monsieur, it was
+only a common little book, and dirty.</p>
+
+<p>Ah, as usual it would be soiled, perhaps badly, for it was
+evidently still in constant use; but so long as it were complete
+one might possibly be able to clean it. What delightful
+thoughts and anticipations passed through his mind as the
+hostess slowly descended the rickety stairs to fetch her
+treasure! At last he had found it, and just in the very sort
+of house and town where he had always expected to come
+across it. Well, well, if you make up your mind to have a
+thing and search eagerly enough for it, you are bound to
+obtain it in the long run.</p>
+
+<p>Then another thought entered his mind: how much should
+he offer her for it? Probably she would not part with it
+unless he named a sum which she could not resist; yet if the
+sum were at all large she might suspect the book's value and
+refuse. Ten francs, twenty-five, a hundred? While he was
+deliberating this important point she was ascending the stairs.
+Should he turn his back to her, shut his eyes, and tell her to
+place the volume on the middle of the table, then suddenly
+turn about and gloat upon the little treasure?</p>
+
+<p>Before he could make up his mind she came in and he got
+his second surprise that day. It was not as pleasant as the
+first, for in her hands she held a thick octavo volume bound
+in shiny black leather. Heavens! . . . a large-paper copy?
+. . . No, no, impossible. . . .</p>
+
+<p>'Le voici, m'sieu.'</p>
+
+<p>Our poor book-hunter's feelings almost overcame him, and<span class='pagenum'><a name="Page_28" id="Page_28"></a>[<a href="./images/28.png">28</a>]</span>
+he opened the dirty manuscript volume mechanically, feebly
+muttering 'tr&egrave;s int&eacute;ressant.' She watched him closely, and
+from that moment considered him slightly mad. However,
+the book certainly did contain sixty-two recipes for cooking
+eggs as well as receipts for making fancy pastry and cakes.
+Whether it was copied out of the 'Pastissier' I know not;
+but certain it is that the hostess had no knowledge of, nor
+had ever seen, that volume.</p>
+
+<p>There must be many book-treasures lying hid in all these
+ancient towns of Northern France, towns also that lie far
+off the restless tourist's track, small country towns in which
+the majority of the houses are slipshod timbered relics of a
+bygone age. No striking or unusual feature can they offer
+to the curious, and so for the most part they are dismissed
+in brief by the guide book. Yet there is many an aged
+building in Brittany where old books do still lie hid, as our
+bookman knows from the library of a friend who lives in
+Finisterre. St. Brieuc, Guingamp, Morlaix, Quimper, even
+Brest, all these must harbour long-forgotten books.</p>
+
+<p>But there are other towns which no power on earth shall
+force our book-hunter to disclose. One there is far off the
+beaten track, where the houses, painted with bright colours,
+lean all askew, supporting each other and sometimes almost
+toppling across the narrow winding streets. So that, entering
+it, one seems to have stepped suddenly into some such fairy
+town as exists in the pages of Grimm or Hans Andersen;
+and, half ashamed, one peers curiously at the dwellers in this
+goblin town, as though expecting to find that they have
+pointed ears and narrow elfin feet. They never seem to move
+about, and, sitting at almost every doorstep, watch one intently
+from weird nooks and crannies. Hurry and bustle are here
+unknown, and though they will reply to you in the best of
+French, yet to each other the townsfolk speak a strange and
+uncouth tongue.</p>
+
+<p>Once, rambling in the narrow alleys about the ancient
+church, our book-hunter ventured through a gothic doorway<span class='pagenum'><a name="Page_29" id="Page_29"></a>[<a href="./images/29.png">29</a>]</span>
+along a broad passage that was guarded by a huge and
+ancient iron grille and presently he found himself in a small
+courtyard paved with moss-grown cobbles. About it was a
+timbered gallery, roofed, once doubtless level, now gently and
+gracefully undulating so that it seemed about to fall from off
+the wall to which it was attached. But the walls had also
+subsided with the gallery, so that the whole still showed a
+symmetry that was pleasing to the eye. Above the gallery
+and across the front of the building had been painted the
+legend <span class="smcap">hotel du lion d'or</span>, and a dim weatherbeaten shield
+above the doorway still bore the trace of a rampant lion. It
+seemed a large building, judging by the number of its
+windows, far larger than its present-day custom could possibly
+warrant.</p>
+
+<p>The place was curiously still, for the noise of carts and
+footsteps could never penetrate into that silent court, and it
+must have been many years since chaise or horseman clattered
+across its now mossy <i>pav&eacute;</i>. The stillness was almost uncanny,
+forbidding, and our book-hunter hesitated to cross the courtyard
+lest the sound of his footsteps should disturb the slumber
+of the ancient building. Presently a rat squealed somewhere
+along the gallery, and a voice called out sharply within. The
+spell was broken, and entering the house he called for a
+'petit verre' preparatory to finding out something of the
+inn's history.</p>
+
+<p>Yes, it was very old, and madame had been born in it;
+but now that she was left alone with Jeanne it was very
+lonely, and there was little custom. Did they have many
+travellers there? Oh no, not for a long time, the house was
+not easy to find, and as the old customers died none came
+to fill their places. But sometimes Messieurs So and So came
+in of an evening and took a 'petit verre,' and then the
+neighbours were very friendly, so it was not so bad.</p>
+
+<p>So the hostess prattled on, only too pleased to impart the
+news of her little world to a newcomer from the greater one,
+while all the time fantastic visions rose before him. He<span class='pagenum'><a name="Page_30" id="Page_30"></a>[<a href="./images/30.png">30</a>]</span>
+pictured old hide-bound trunks that had been left behind by
+travellers who had never returned, trunks which, opened,
+would prove to contain priceless black-letter books: boxes,
+stored in attics and cellars and in concealed presses, which
+would contain ancient apparel with copies of the 'Pastissier'
+in the pockets: small travelling bags, tendered by needy
+scholars in lieu of payment, which he would find stuffed with
+rare Elzeviers: rusty iron-bound chests enclosing missals,
+books of hours and antiphonals: in short to such heights did
+his imagination soar that he resolved to sojourn there till he
+had explored the old house from attic to cellar.</p>
+
+<p>Then a rat squealed again, near at hand. Oh yes, they
+were everywhere, ever since Monsieur Gautier rented the
+left wing of the house to store grain in; and they were <i>so</i>
+tame and <i>so</i> large that Madame was obliged to keep miou-miou
+in her bedroom every night.</p>
+
+<p>That decided our book-hunter. Enthusiasm can be carried
+too far. Even the possibilities of a rich trover would not
+compensate for having rats running about one's bed at night.
+Moreover the vermin would surely have gnawed, if not
+devoured, any copies of the 'Pastissier' that might have been
+lying about, even if these were innocent of bacon-grease
+stains. And so consoling himself, he took another 'petit
+verre' and departed, casting more than one regretful glance
+backwards at the old Lion d'Or.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Apparently there is only one copy of Upton's work in the United States
+at present&mdash;that which was formerly in the Huth Library. It was purchased
+at Sotheby's in July, 1920, by a well-known New York dealer, Mr. G. D.
+Smith, for ten guineas, the writer of these lines being the underbidder. Mr.
+Smith had sent "an unlimited commission" to secure it. An announcement
+in <i>The Bookman's Journal</i> (1920) asking for information respecting other
+copies elicited but one response.
+</p><p>
+Since writing the above, the author has secured the splendid presentation
+copy given by Upton's editor (Bysshe) to the great Parliamentary leader, Sir
+Humphrey Mackworth, of Neath, in Glamorganshire. It had remained at
+Glen Uske until the dispersal of the Mackworth Library in 1920.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> No. 16096. See page <a href="#Page_164">164</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Possibly the title was <i>Nigromanser</i>, from <i>niger</i>, black, and <i>manser</i>, a
+bastard.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> The perfect copy was purchased by Mr. Pierpont Morgan at the sale of
+the Hoe Library, in 1911, for &pound;8,560. It formed originally one of the
+twenty-two Caxtons which were dispersed in 1698 with the library of Dr.
+Francis Bernard, Physician to King James the Second, when it realised two
+and tenpence! It became the property of the great Robert Harley, Earl of
+Oxford, and was acquired later by the Countess of Jersey for two and a
+half guineas. Passing thus into the Osterley Park collection, it was purchased,
+when that library was sold in 1885, by Bernard Quaritch for &pound;1,950,
+becoming the property, the same year, of Mrs. Abby E. Pope, of Brooklyn,
+U.S.A.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> By Edward More of Hambledon, Bucks.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Mr. E. G. Duff.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> For this romantic story see <i>Books in Manuscript</i>, by Mr. Falconer Madan,
+8vo, 1893, p. 107 <i>et seq.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Book-collectors always speak of <i>The</i> Farringdon Road; why, I know not,
+but the definite article certainly gives it an old-world tang.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Alas for romance! Truth compels me to add that as the Great Fire
+swept across this very court, the existing house must date at earliest from
+King Charles' reign. But the site and tradition as to its former owner may
+well be true.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> <i>The Courtier</i>, by Baldassare Castiglione, was first printed at Venice in
+1528, folio. This letter was written by the fearless churchman, then of
+Wolsey's household, on the great Cardinal's 'last lingering journey north.'
+There is, perhaps, a certain significance in his wish to study a volume which
+treats of the art of living in courts, and of becoming useful and agreeable to
+princes, for he was shortly to transfer his services to a royal master.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> At the sale of Baron Seilli&egrave;re's books in 1887, a copy of this prototype
+of the Elzevier volume, printed at Paris 'chez Jean Gaillard,' 1653, brought
+only &pound;6, 10s. It was described as 'a beautiful copy, red morocco, super
+extra, gilt edges, by Petit.' It is exceedingly rare, but&mdash;it is not an Elzevier.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> A recent (1920) catalogue offers a copy for thirty-five shillings.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> I confess that I do, but then I am hopelessly out of date, or I shouldn't
+be fond of Elzeviers.</p></div>
+</div>
+<p>&nbsp;</p>
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_31" id="Page_31"></a>[<a href="./images/31.png">31</a>]</span></p>
+
+
+<p class="figcenter"><a href="./images/ill-06.jpg"><img src="./images/ill-06_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2>
+
+<h4>THE LIBRARY</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Unto their lodgings then his guestes he riddes:<br /></span>
+<span class="i0">Where when all drownd in deadly sleepe he findes,<br /></span>
+<span class="i0">He to his studie goes.'&mdash;</span>
+<span class="i12"><span class="smcap">Spenser.</span></span>
+</div></div>
+<p>&nbsp;</p>
+
+<div class="clearfix"><div class="figleft"><a href="./images/ill-07.jpg"><img src="./images/ill-07_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">hat</span> magic there is for the book-lover in that
+word 'library'! Does it not instantly
+conjure up a vision of happy solitude, a
+peaceful seclusion where we may lie hidden
+from our fellow-creatures, an absence of idle
+chatter to distract our thoughts, and countless
+books about us on either hand? No man with any
+pretensions to learning can possibly fail to be impressed when
+he enters an ancient library, older perhaps by generations
+than the art of printing itself.</p></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'With awe, around these silent walks I tread,<br /></span>
+<span class="ihalf">These are the lasting mansions of the dead:<br /></span>
+<span class="ihalf">"The dead!" methinks a thousand tongues reply,<br /></span>
+<span class="ihalf">"These are the tombs of such as cannot die!"<br /></span>
+<span class="ihalf">Crowned with eternal fame, they sit sublime,<br /></span>
+<span class="ihalf">And laugh at all the little strife of time.'<br /></span>
+</div></div>
+
+<p>They are delicious retreats, abodes of seasoned thought and
+peaceful meditation, these ancient homes of books. 'I no
+sooner come into the library,' wrote Heinz, that great literary
+counsellor of the Elzeviers, 'than I bolt the door, excluding
+Lust, Ambition, Avarice, and all such vices, whose nurse is
+Idleness, the mother of Ignorance and Melancholy. In the<span class='pagenum'><a name="Page_32" id="Page_32"></a>[<a href="./images/32.png">32</a>]</span>
+very lap of Eternity, among so many divine souls, I take my
+seat with so lofty a spirit and sweet content, that I pity all
+great men and rich to whom this happiness is unknown.'</p>
+
+<p>Happy indeed are those days when the book-lover has been
+accorded the freedom of some ancient library. A delicious
+feeling of tranquillity pervades him as he selects some nook
+and settles himself to read. Presently the mood takes him
+to explore, and he wanders about from case to case, now
+taking down some plump folio and glancing at the title-page
+and type, now counting the engravings of another and
+collating it in his mind, now comparing the condition of a
+third with the copy which he has at home, now searching
+through the text of some small duodecimo to see whether it
+contains the usual blanks or colophon. But presently he will
+chance upon some tome whose appeal is irresistible. So he
+retires with it to his nook, and is soon absorbed once more
+with that tranquillity which is better than great riches.</p>
+
+<p>Dearly, however, though we may treasure the benefits and
+conveniences which these libraries of ancient foundation
+afford, for most of us there is another library that is nearer
+to our hearts; that cosy chamber with which we are
+accustomed to associate warmth, comfort, soft chairs and footrests,
+a wide writing-table that we may pile high with books,
+with scribbling-paper, foolscap and marking-slips in plenty.
+In short, a room so far removed from earthly cares and noise,
+that the dim occasional sounds of the outside world serve but
+to accentuate our absolute possession of ease. Here we may
+labour undisturbed though surrounded by a thousand friends.
+Or, if the mood take us, we may abandon ourselves to idle
+meditation</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Where glowing embers through the room<br /></span>
+<span class="ihalf">Teach light to counterfeit a gloom,'<br /></span>
+</div></div>
+
+<p>and, lying back at our ease, may gaze contentedly upon the
+faithful companions of our crowded solitude, gathering
+inspiration from their silent sympathy.</p>
+
+<p>Each to his taste. Whether we be student, book-hunter,<span class='pagenum'><a name="Page_33" id="Page_33"></a>[<a href="./images/33.png">33</a>]</span>
+librarian, or precentor,<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> no earthly abode can be compared
+with that garden of our choice wherein we labour so
+contentedly. It may be a small room in our own house, it
+may be an ancient university or college library, but it is all
+one: it is a library, that haven of refuge from our worldly
+cares, where troubles are forgotten and sorrows lightened by
+the gently persuasive experience of the wise men that have
+gone before us.</p>
+
+<p>But, mark you, it must be literally removed from cares and
+noise, for it is impossible to study at all deeply while exposed
+to interruption. How terribly most of us have suffered from
+this form of mental torture, for it is little else! What trains
+of lucid thought, what word-pictures have been destroyed by
+thoughtless breakings of the chain of sequence! 'I have
+never known persons who exposed themselves for years to
+constant interruption who did not muddle away their intellects
+by it at last,' wrote Miss Florence Nightingale. Hamerton,
+quoting her, is equally emphatic upon this point.</p>
+
+<p>'If,' he writes, 'you are reading in the daytime in a house
+where there are women and children, or where people can
+fasten upon you for pottering details of business, you may be
+sure that you will <i>not</i> be able to get to the end of the passage
+without in some way or other being rudely awakened from
+your dream, and suddenly brought back into the common
+world. The loss intellectually is greater than any one who
+had not suffered from it could imagine. People think that an
+interruption is merely the unhooking of an electric chain, and
+that the current will flow, when the chain is hooked on again,
+just as it did before. To the intellectual and imaginative
+student an interruption is not that; it is the destruction of a
+picture.'</p>
+
+<p>Who has not suffered from the idle chatter, or even worse&mdash;the
+lowered voice, that often assails the ear when working in
+our larger public libraries? Some innocent-looking individual<span class='pagenum'><a name="Page_34" id="Page_34"></a>[<a href="./images/34.png">34</a>]</span>
+will be reading quietly some paces away, so quietly and
+decorously in fact that one's heart goes out to him as a
+sympathetic fellow-bookman. Then enters some one whom
+he knows. In a flash he becomes a fiend incarnate. A word
+or two of greeting spoken in an ordinary voice one would
+pardon; but a long conversation is carried on in a monotonous
+forced undertone, terrible in its intensity. It is impossible to
+read so long as the conversation lasts, and murder surges in
+one's heart. O for the power to drop ten atlas folios in a
+pile upon their heads! People do not realise the carrying
+power of a strained and lowered voice. Generally the volume
+of sound is the same as when speaking aloud, for the tone is
+merely lowered and the same amount of breath is used. But
+often more force is required to vibrate the slackened vocal
+chords, and the maddening sound reaches to every corner
+of the building.</p>
+
+<p>In the Reading Room of the British Museum one is
+constantly aware of this buzzing going on all over the room.
+Would that the rule enforced at one of our older monasteries
+were applied: 'In the Chafynghowys al brethren schal speke
+latyn or els keep silence.' This would indeed ensure quietness
+nowadays. The rule for nuns, however (who, presumably,
+were not so well acquainted with Latin) would be better still.
+They were not to speak at all.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p>So, if it be possible, see to it that your library, study,
+sanctum, or whatever you may call that one room in the
+house which is sacred to the daughters of Mnemosyne, is
+really your own: that it be a close closet to which you (and
+you alone) may retire at all seasons, certain in the knowledge
+that by closing the door you may shut out effectually all
+earthly cares and interruptions. Whether you are engaged
+in research merely for the gratification of your desire to
+possess knowledge, or whether literary production be your
+aim, unless you may study undisturbed your labours will<span class='pagenum'><a name="Page_35" id="Page_35"></a>[<a href="./images/35.png">35</a>]</span>
+never bear their full fruit. Interrupted, your knowledge will
+be scanty, diverse, and generally inapplicable, your literary
+output sketchy, incoherent, and disconnected.</p>
+
+<p>Perhaps it is this incubus of interruption that drives so many
+men to working late at night. Doubtless those whose habit
+it is to work at that season produce just as good work in those
+hours as at any other time; possibly better, for habit may
+have accustomed them to put forth their finest intellectual
+efforts at that time of day. But the mind that has been
+brought up to rise at seven and go to bed at ten, is
+undoubtedly at its best before noon. Night working is not a
+natural tendency, it is an acquired habit; and though the
+expression 'burning the midnight oil' is taken to be
+synonymous with the acquisition of learning, yet in the long
+run it is but a poor economy of time, for the wisdom so
+acquired is often obtained at the cost of health and eyesight.</p>
+
+<p>And what is freedom from interruption but another name
+for solitude? It may be temporary, it may be prolonged,
+it may be permanent, but for the intellectual man it is
+absolutely essential. No one would be so foolish as to deny
+that literary work of the highest rank can be, and has been
+frequently, accomplished amid the bustle and noise of cities;
+witness the works of those literary giants who have passed
+their lives as town-dwellers. Doubtless they obtained the
+necessary solitude by spiritual detachment. But on the other
+hand, for intense and prolonged meditation, for the communing
+with one's innermost soul on the immense principles
+of life and nature, for the production of such deep soul-searching
+work as we see in the compositions of &agrave; Kempis,
+Dante, Milton, and Wordsworth, absolute solitude for some
+seasons is essential. There must be complete freedom from
+the daily distractions caused by one's fellow-beings.</p>
+
+<p>'Believe me, upon my own experience,' wrote St. Bernard,
+'you will find more in the woods than in books; the forests
+and rocks will teach you what you cannot learn of the greatest
+masters.' It is not necessary, however, for us to take up our<span class='pagenum'><a name="Page_36" id="Page_36"></a>[<a href="./images/36.png">36</a>]</span>
+abode in a cave that we may meditate undisturbed. Let us
+rather follow Wordsworth's example when he pours forth
+gratitude</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'For my own peaceful lot and happy choice;<br /></span>
+<span class="ihalf">A choice that from the passions of the world<br /></span>
+<span class="ihalf">Withdrew, and fixed me in a still retreat;<br /></span>
+<span class="ihalf">Sheltered, but not to social duties lost,<br /></span>
+<span class="ihalf">Secluded, but not buried; and with song<br /></span>
+<span class="ihalf">Cheering my days, and with industrious thought;<br /></span>
+<span class="ihalf">With the ever-welcome company of books;<br /></span>
+<span class="ihalf">With virtuous friendship's soul-sustaining aid,<br /></span>
+<span class="ihalf">And with the blessings of domestic love.'<br /></span>
+</div></div>
+
+<p>It is sufficient if we can withdraw at will into the solitudes.
+The younger Pliny, moralising to his friend Minutius (I should
+like to think him the progenitor of Aldo Manuccio), describes
+the delights of seclusion at his villa on the shore of the
+Adriatic. 'At such a season,' says he, in a retrospect of the
+day's work, 'one is apt to reflect <i>how much of my life has
+been lost in trifles</i>! At least it is a reflection that frequently
+comes across me at Laurentum, after I have been employing
+myself in my studies, or even in the necessary care of the
+animal machine; for the body must be repaired and supported
+if we would preserve the mind in all its vigour. In that
+peaceful retreat I neither hear nor speak anything of which
+I have occasion to repent. I suffer none to repeat to me the
+whispers of malice; nor do I censure any man, unless myself,
+when I am dissatisfied with my compositions. There I live
+undisturbed by rumour, and free from the anxious solicitudes
+of hope or fear, conversing only with myself and my books.
+True and genuine life! Pleasing and honourable repose!
+More, perhaps, to be desired than the noblest employments!
+Thou solemn lea and solitary shore, best and most retired
+scene for contemplation, with how many noble thoughts have
+you inspired me! Snatch then, my friend, as I have, the first
+occasion of leaving the noisy town with all its very empty
+pursuits, and devote your days to study, or even resign them
+to ease. For, as my ingenious friend Attilius pleasantly said,
+'It is better to do nothing than to be doing nothings!''</p>
+
+<p>The great Cardinal Ximenes, in the zenith of his power,<span class='pagenum'><a name="Page_37" id="Page_37"></a>[<a href="./images/37.png">37</a>]</span>
+built with his own hands a hut in a thick unfrequented wood,
+where he could retire occasionally from the busy world. Here
+he used to pass a few days, every now and then, in meditation
+and study. These he was wont to describe as the happiest
+days of his life, and declared that he would willingly exchange
+all his dignities for his hut in the chestnut wood. Thomas
+Aquinas, coming to visit the learned Bonaventura, asked him
+to point out the books which he used in his studies. The
+monk led him into his cell and showed him a few common
+volumes upon his table. Thomas explained that the books
+he wished to see were those from which the learned master
+drew so many wonders. Thereupon Bonaventura showed
+him a small oratory. 'There,' he said, 'are my books; that
+is the principal book from which I draw all that I teach and
+write.'</p>
+
+<p>To the thoughtless and those of shallow intellect solitude
+is inseparable from loneliness. There is, for them, something
+terrible in the thought of being debarred, even temporarily,
+from the society of their fellow-beings. 'Retirement,' says
+Disraeli, 'to the frivolous is a vast desert; to the man of
+genius it is the enchanted garden of Armida.' And for 'man
+of genius' I would substitute 'man of literary pursuits.'</p>
+
+<p>There is a pleasant story told of a monk who lived in the
+monastery of St. Honorat, which is situated on one of the
+Lerine Islands, off the coast of Provence. Possessed of a
+mind which, in the larger world, would indubitably have
+become an influence in the artistic progress of mankind, he
+found the sole outlet for its expression in the painting of those
+exquisite miniatures which are at once the delight and the
+despair of a more modern age. But it was not in the scriptorium
+nor was it in the bestiaries or the examples of his predecessors
+that he acquired his art. Every year, in the spring and
+autumn, he would go alone to one of the delicious islands of
+Hy&egrave;res, where there was a small hermitage. Here he would
+spend the weeks, not altogether in prayer and fasting, but
+in making friends with the birds and small animals that<span class='pagenum'><a name="Page_38" id="Page_38"></a>[<a href="./images/38.png">38</a>]</span>
+resorted there; studying their gestures, plumage, and colours,
+that he might reproduce them faithfully on the vellum of his
+missals and devotional books. Surely he learnt more on this
+deserted island than was possible at that time in the richest
+library in France.</p>
+
+<p>There is another kind of solitude, however, which can afford
+consolation to the soul as deep and as lasting as that afforded
+by the woods, the hills, the moors, the islands, those</p>
+
+<div class="poem"><div class="stanza">
+<span class="i12">'Waste<br /></span>
+<span class="i0">And solitary places; where we taste<br /></span>
+<span class="i0">The pleasure of believing what we see<br /></span>
+<span class="i0">Is boundless, as we wish our souls to be'&mdash;<br /></span>
+</div></div>
+
+<p>and that is, the solitude engendered by a deep communion
+with books. For, if our paths lie amid the toil and turmoil
+of the world, and if it be impossible for us to seek seclusion
+amid the wastes, where else than in a library can we obtain
+that mental solitude so necessary for the nourishing of our
+literary spirit?</p>
+
+<p>Roger Ascham, sick at heart with long parting from his
+beloved books, writes to Sir William Cecil from Brussels in
+1553, to beg that 'libertie to lern, and leysor to wryte,' which
+his beloved Cambridge alone could afford him. 'I do wel
+perceyve,' he says, 'their is no soch quietnesse in England,
+nor pleasur in strange contres, as even in S. Jons Colledg, to
+kepe company with the Bible, Plato, Aristotle, Demosthenes,
+and Tullie.' And he goes on to say, 'Thus I, first by myn
+own natur, . . . lastly caulled by quietnesse, thought it good
+to couche myself in Cambridge ageyn.'</p>
+
+<p>Yet although we may seek solitude among our books, how
+far removed are we from being really alone! 'A man is
+never less alone than when he is alone,' said the noble
+Scipio<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a>; and this is especially true of the book-lover. What
+bibliophile does not prefer the companionship of his books
+to that of all other friends? What friends so steadfast, so<span class='pagenum'><a name="Page_39" id="Page_39"></a>[<a href="./images/39.png">39</a>]</span>
+reliable in their friendship, so helpful in our difficulties, so
+apt upon all occasions, as the books which form our library?
+They are never elated at our mistakes, they are never
+'superior' when we display ignorance. Human friendships
+are limited; but to the number of our most intimate
+acquaintances in cloth, vellum, and morocco, there is no end.</p>
+
+<p>It is this universal sympathy afforded by our books that
+makes our sanctum such a delicious retreat. Here we need
+never be bored, for we can put aside the tedious or insipid
+at will, and turn to whatever subject or companion our fancy
+indicates. We are not bound to talk with persons or on
+themes that have no interest for us. There is no clashing of
+ideas, and complete harmony reigns amid our comfort.</p>
+
+<p>To the man of literary tastes there are few things more
+depressing than the conversations of 'small-talk' which an
+exacting society occasionally demands. Who has not suffered
+from their enervating effects? We are not all possessed of
+that mental abstraction which La Fontaine succeeded in
+carrying with him throughout life, forming a buffer from which
+all idle talk rebounded. He was once asked to dinner by a
+'fermier-g&eacute;n&eacute;ral' to amuse the guests. Thoroughly bored,
+La Fontaine ate much and said little, and rising very early
+from the table said that he had to go to the Academy. 'Oh,'
+said his host, 'but you are much too early for it.' 'Oh well,'
+replied Jean, '<i>I shall go the longest way to it.</i>' Poor Jean
+was really very absent-minded. He had a son whom he
+confided at the age of fourteen to a friend to educate. Not
+having seen the youth for a long time, he met him one day
+at the house of a savant without knowing him. Afterwards
+he happened to mention that he thought him a youth of wit
+and taste. Some one told him that the lad was his own son.
+'Is he indeed,' said Jean, 'well I'm very glad to hear it.'</p>
+
+<p>There is no end to the delightful hobbies that we may
+cultivate in a library. Here we may go fishing or whaling,
+fighting battles or exploring new countries, tracing pedigrees
+or going on crusade, cutting our way through virgin forests or<span class='pagenum'><a name="Page_40" id="Page_40"></a>[<a href="./images/40.png">40</a>]</span>
+filling herbaceous borders in our mind, or we may even
+descend into the pyramid of Cheops.</p>
+
+<p>Our book-hunter has a friend whose hobby takes the form
+of tracing the parentage and posterity of men who lived long
+years ago. They are mostly unknown to fame, and their
+names are only to be found in ancient peerages and suchlike
+books. Whether they were good or bad, religious or wicked,
+useful to their country or indifferent, handsome or ugly, is
+immaterial to him. In some cases they founded families that
+have endured, in others they perished with all their kindred
+within a century of the Norman Conquest. But to our genealogist
+they are very living people. He is intimately acquainted
+with the most of them, no less than with their wives
+and children, their fathers and grandfathers, their uncles and
+their aunts. As to the personal characteristics of Reginald
+Fitz-Ranulf lord of Bosham Castle in Com. Ebor, or his deeds
+or memorable actions (if, indeed, he ever perpetrated any) this
+student is unable to enlighten us. But that his wife was called
+Gunnora and that she was a daughter and co-heir of Richard
+de Tourville, he is quite positive. Apparently they had two
+sons, Fulk and Waleran, but our friend is strongly of opinion
+that Hamon FitzReginald (who had a moiety of the manor of
+Worthleys and was co-parcener with Payn FitzGeoffrey lord
+of Buncombe) was really a son of Reginald by a former wife.</p>
+
+<p>The memory of this eager student is little short of
+marvellous. He can remember not only names and marriages,
+but at least several of the families which owned any manor
+that you like to mention. He would certainly have put to the
+blush Pierre d'Hozier, the great French genealogist whose
+memory was so wonderful that it was said he must surely
+have been present at all the marriages and baptisms in
+Christendom!</p>
+
+<p>The library of this genealogist is a most interesting room.
+Many of the books necessary for his researches are of folio
+size and must be ready to hand; so they are ranged round
+the apartment at the level of one's waist. On entering the<span class='pagenum'><a name="Page_41" id="Page_41"></a>[<a href="./images/41.png">41</a>]</span>
+room one is struck by this belt of massive volumes, the more
+so when their owner takes them up casually and turns to page
+after page without ever troubling to refer to the index.</p>
+
+<p>An evening spent with him is quite exciting. He asks the
+book-hunter's assistance over a knotty point. Several huge
+sheets of paper are laid upon the table, and each step in the
+pedigree is debated graphically. Volume after volume is
+referred to. At the slightest hitch out come Patent Rolls,
+Close Rolls, Fine Rolls, Pipe Rolls, and records of almost
+every description. Presently the room has the appearance of
+having been struck by a tornado. Volumes are lying about
+everywhere, and in every conceivable position. The floor is
+covered with them, all the chairs are in use, three Patent Rolls
+are lying open and face downwards on the mantelpiece, there
+are several on the hearthrug. In fact it is now impossible to
+move. Yet our host, accustomed to these things, in his search
+for a volume jumps from spot to spot with the agility of an
+antelope. The book-shelves are half-emptied, some of the
+remaining volumes have fallen down. My coffee cup lies on
+a pile composed of <i>Rotuli Hundredorum</i>, a <i>Placita Abbreviatio</i>,
+and a <i>Testa de Nevil</i>. But it is good fun, if exhausting,
+and a sovereign cure for insomnia. Our book-hunter usually
+leaves him about one o'clock in the morning, and the
+genealogist is genuinely sorry when he goes.</p>
+
+<p>But to tell the truth our bookman is not a bit the wiser
+as to Reginald FitzRanulf!</p>
+
+<p>One day friend Brown (for so he is called) came to see the
+book-hunter in great distress. He had but lately become a
+parent, and was still slightly excited about it.</p>
+
+<p>''Pon my word,' said he, 'I don't know what to do. You
+know how proud I am of my family, and how I hoped all along
+that it would be a boy so that I could give it the name that
+generations of my ancestors possessed. And now Mary says
+she won't hear of it.'</p>
+
+<p>The bookman sympathised with him, but asked what was
+the proposed name.</p>
+
+<p><span class='pagenum'><a name="Page_42" id="Page_42"></a>[<a href="./images/42.png">42</a>]</span>
+'Turchetil,' said he; 'they were all called that for
+generations. But of course the name wasn't Brown then,
+Le Brun was the family name in the twelfth century.'</p>
+
+<p>'A fine lofty name,' replied his friend, 'but wouldn't
+Turchetil Brown sound rather funny nowadays?'</p>
+
+<p>'I don't see why,' said he stiffly; 'they're both good old
+names.'</p>
+
+<p>The bookman assented, though inwardly he could not but
+agree with Mrs. Brown. Turchetil Le Brun was one thing,
+and Turchetil Brown quite another. Perhaps, however, a
+compromise might be reached.</p>
+
+<p>'Is there no other ancient name in your family that would
+do?' he suggested.</p>
+
+<p>'Yes,' said the genealogist, 'there are two others, but not
+so good as Turchetil. They are Baldric and Bigod . . .'</p>
+
+<p>Truly the study of genealogy has its disadvantages. There
+must have been great bitterness in the Brown household
+before its mistress obtained her own way, and even more in
+the heart of our poor friend as he stood at the font and heard
+his firstborn son irrevocably named&mdash;George.</p>
+
+<p>Another friend and brother collector with whom our book-hunter
+sometimes passes an evening is a medical man of no
+small talent. But attached as he is to his profession,
+arch&aelig;ology is for ever striving with medicine for the first
+place in his affections, and his knowledge of herbals and the
+literature of alchemy is immense. His collection of works
+dealing with these subjects is well known to the booksellers,
+and the book-hunter sometimes receives a line from him
+asking him to pay a visit for the purpose of examining some
+recently acquired treasure.</p>
+
+<p>Of late his hobby has taken a curious turn. A chance
+conversation induced him to inquire into the death of Queen
+Anne. He professed to discover, in the accounts of her
+demise, certain symptoms which indicated a different disease
+from that usually assigned to her. So now he must needs
+hold an inquest upon the death of each one of our sovereigns,<span class='pagenum'><a name="Page_43" id="Page_43"></a>[<a href="./images/43.png">43</a>]</span>
+from the time of King William the Conqueror. He is
+exceedingly enthusiastic about it, and is preparing a paper
+to read before the local antiquarian society. In this he hopes
+to prove conclusively the impossibility of lampreys having
+had any share in the death of Henry the First, which was
+clearly due to appendicitis.</p>
+
+<p>Sometimes when the book-hunter visited his medical friend
+he would find another collector there already, deep in bookish
+or scientific talk. Like the doctor, the biologist was a
+specialist in books no less than in science, and his hobby
+comprised a field till recent times untilled. Keen though he
+was in his pursuit, it was the sea that claimed his every day
+of leisure. An active mind, eager in the elucidation of the
+more abstruse problems of physiology, yet his alert bearing,
+his quickness of movement and springy step, spoke more of
+the quarterdeck than the laboratory. Denied the sea as a
+profession, his heart was for ever in ships; and when at
+length preferment took him inland to one of the ancient seats
+of learning, the ordered training of his mind turned his hobby
+towards the history and evolution of all craft that sail upon
+the waters.</p>
+
+<p>He is a great authority upon all matters pertaining to the
+rigging of medi&aelig;val ships. The history of their hulls he
+leaves to the attention of the important societies of nautical
+research. But on the evolution of the sky-topsail or fore-top-gallant-backstays
+his word carries much weight. He will
+travel a hundred miles in a week-end to see an illumination
+or carving of a ship, and his vacations he spends touring
+France and Flanders in search of stained glass windows that
+may throw some light upon his hobby. His collection of
+seals incised with ancient ships is a fine one, and the
+proceedings of more than one society are the richer for his
+researches.</p>
+
+<p>Not long ago I came across another example of the manifold
+uses to which a private library can be put. A friend had
+given me a letter of introduction to a collector with whom he<span class='pagenum'><a name="Page_44" id="Page_44"></a>[<a href="./images/44.png">44</a>]</span>
+desired me to become acquainted. I was given to understand
+that the fellow-spirit was an exceedingly well-read man, and
+something of a wanderer.</p>
+
+<p>'He's a great traveller,' said my friend with a laugh,
+'there's hardly a country in the world that he has not visited.'</p>
+
+<p>'What an interesting man he must be,' I replied, 'but why
+do you laugh?'</p>
+
+<p>'Oh, you'll see all right presently,' said he; 'but go and
+spend an evening with him; you will certainly be entertained&mdash;provided
+you are sympathetic and content to let him do all
+the talking.'</p>
+
+<p>So a few days later I called at the house of the traveller.
+He welcomed me in his study, a fine large room yet possessed
+of that cosiness imparted by the presence of many books.
+The walls were entirely covered with bookcases to a height
+of about eight feet; and these contained, he told me, about
+three thousand volumes. At the end of this long room was
+a wide bay window, and here was placed a comfortable easy
+chair with twin oak tables, very strong and low, at either arm.
+Close at hand were a revolving bookcase and a stand
+containing five or six japanned cylinders about three feet
+long, and some six inches across, such as are used to contain
+nautical charts.</p>
+
+<p>'You are fond of travel, are you not?' I remarked, as soon
+as I was settled. 'Jones told me that there are few countries
+with which you are unacquainted.'</p>
+
+<p>'That is so,' he replied; 'travel has always been my
+passion from my youth up, and of all the volumes which you
+see around you, there are scarcely a hundred that do not treat
+of some foreign country or voyage.'</p>
+
+<p>'How interesting,' I replied; 'it is a wise old dictum that
+there is nothing like travel to broaden one's mind. Unless
+we acquaint ourselves with the opinions held by men of other
+nations, men whose everyday life differs so widely from our
+own, who see things consequently from a different standpoint,
+how can we expect to regard any subject from all its various<span class='pagenum'><a name="Page_45" id="Page_45"></a>[<a href="./images/45.png">45</a>]</span>
+aspects, which is essential if we are to pronounce an opinion
+which&mdash;&mdash;'</p>
+
+<p>'Quite so,' he interrupted, eyeing me suspiciously, and
+obviously fearing from my verbiage that he was about to be
+beset by a bore. (To tell the truth, I was rather glad of his
+interruption, for the sentence was beginning to get out of
+hand.) 'As you say, there's nothing like travel to broaden
+the mind. Why,' he went on hurriedly, 'before I was
+eighteen I had been up Aconcagua with Conway.'</p>
+
+<p>'Really?' I said, trying to associate the two with a country
+and a date. (Of course I knew where Aconcagua was&mdash;it
+was one of the most familiar names in my geography, only for
+the moment memory was a little refractory. Obviously it was
+a mountain, because he spoke of having been 'up' it. The
+name had a Spanish ending&mdash;of course! now I knew.) 'A
+wonderful country, Mexico,' I went on.</p>
+
+<p>'Mexico?' said he; 'yes, I know Mexico too. Been right
+through it, from Chihuahua to Tehuentepec and Campeachy.'
+(This was unfortunate, but apparently he didn't notice the
+mistake, for he went on at once.) 'But as I was saying, I'd
+been up Aconcagua before I left school.'</p>
+
+<p>'Good gracious,' I replied, amazed at his intrepidity, 'that
+must have been an experience!'</p>
+
+<p>'Rather,' said he: 'Haven't you read Conway's book?
+Published in '02, I think.' He strode across the room and
+brought back a volume. 'Yes, 1902: capital book; well
+worth reading. But Mexico,' he continued, without giving me
+time to display the knowledge that I suddenly recollected as
+I turned the pages of the book, 'Ah! there's a country for
+you! How I enjoyed my first visit! Ever been there?'</p>
+
+<p>'Alas! no,' I replied; 'but one of my fondest dreams has
+been to visit the ancient cities of the new world.' (I thought
+that was rather nicely put.)</p>
+
+<p>'Charnay,' he said; 'you know Charnay, then? It was he
+who took me there first. Early 'eighties, I think.' He pulled
+out another volume and turned to the title-page. 'Here we<span class='pagenum'><a name="Page_46" id="Page_46"></a>[<a href="./images/46.png">46</a>]</span>
+are, "The Ancient Cities of the New World," '87. My copy
+is only the translation, published two years after the original
+appeared.'</p>
+
+<p>This puzzled me rather. If he had been eighteen in 1902,
+he must have been a mere babe in 1885.</p>
+
+<p>'Rather young, were you not, when you were there?' I
+ventured.</p>
+
+<p>'Young? Why?' he replied.</p>
+
+<p>'Oh, only because you said that you were eighteen when
+you ascended Aconcagua in 1902, so I thought that you must
+have been rather young when you were in Mexico in 1885.'</p>
+
+<p>He stood still and stared at me, a puzzled look on his face.</p>
+
+<p>'Good gracious,' he said, 'didn't Jones tell you? Didn't
+he explain to you about me and my travels?'</p>
+
+<p>'Oh yes,' I hastened to reassure him, fearful that I had
+given offence; 'he told me that you were a widely-travelled
+man; and, if you will permit me to say so, I think he
+understated&mdash;&mdash;'</p>
+
+<p>'Yes, yes,' he went on, 'but didn't he tell you <i>how</i> I
+travelled? Didn't he tell you that I had never been out of
+Europe? This is my world,' he continued, waving his arm
+round the bookcases; 'here are my Americas, my Africa, my
+Asia, my Europe, and my Australia. There (pointing to a
+case by the window) is my West Indies, here (indicating
+another one) is my Polynesia, there my Arctic and Antarctic.
+Here (patting the back of the big easy chair) is my steamboat,
+my mule, and my camel. No weather can delay me, no storm
+prevent my setting out. Though it snow a blizzard, still can
+I cross the very summits of the Andes: be there a year-old
+drought, still may I journey from Sydney to Port Darwin
+overland.'</p>
+
+<p>I could only marvel at the man. No world-wide traveller
+could have been prouder or have found greater satisfaction in
+the contemplation of his travels. And a further conversation
+assured me that, assisted by a good memory, he knew more,
+far more, of the countries about which he had read so many<span class='pagenum'><a name="Page_47" id="Page_47"></a>[<a href="./images/47.png">47</a>]</span>
+books than did ninety-nine out of a hundred of the tourists
+who had actually visited those lands.</p>
+
+<p>'Don't think,' he said, 'that I merely pass my time reading
+promiscuously all manner of books of travel. I do nothing
+of the sort. At the beginning of each year I map out the
+countries I intend to visit during that year. So much time is
+allotted to each, according to the size of the country and that
+of its travel literature. Then I compile a list of the books
+that I intend to read, and the order in which they should be
+read. I have a fine collection of maps, and those tin cylinders
+over there contain charts, by means of which I am enabled to
+follow more accurately and minutely the different journeys and
+voyages that I make.</p>
+
+<p>'Let me give you an example.' Here he took a thin octavo
+book from one of the cases. 'This is Commodore John
+Byron's narrative of the loss of H.M.S. <i>Wager</i>, one of Anson's
+squadron, on the coast of Chili, in 1740. It was published in
+1768, and is, in my opinion, one of the most thrilling tales of
+shipwreck and suffering that has ever been written. I dare
+say you remember Campbell's beautiful lines in "The
+Pleasures of Hope"; they are pencilled on the fly-leaf of
+my copy:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'"And such thy strength-inspiring aid that bore<br /></span>
+<span class="ihalf">The hardy Byron to his native shore&mdash;<br /></span>
+<span class="ihalf">In horrid climes, where Chiloe's tempests sweep<br /></span>
+<span class="ihalf">Tumultuous murmurs o'er the troubled deep,<br /></span>
+<span class="ihalf">'Twas his to mourn misfortune's rudest shock,<br /></span>
+<span class="ihalf">Scourg'd by the winds, and cradled on the rock,<br /></span>
+<span class="ihalf">To wake each joyless morn and search again<br /></span>
+<span class="ihalf">The famish'd haunts of solitary men."<br /></span>
+</div></div>
+
+<p>'There is no map in the volume, much less a chart, to show
+where the ship struck, though we are told that the land was
+"on the larboard beam, bearing <span class="smcap">n.w.</span>," and that they landed
+"in the latitude of between 47 and 48&deg; South." But without
+charts and maps how can one possibly follow the journey of
+the four poor sufferers along the coast on that terrible march
+from Mount Misery (as they named the inhospitable
+promontory where they landed) to civilisation on the island
+of Chiloe? With my maps I can follow their every footstep,<span class='pagenum'><a name="Page_48" id="Page_48"></a>[<a href="./images/48.png">48</a>]</span>
+with my chart I may visit each inlet that their frail canoe
+entered. Nor need I refer to these aids whenever I may turn
+to the volume again, for here (he unfolded a beautifully drawn
+map bound at the end of the volume) I have copied a chart
+which shows with a red line the whole of their terrible journey.
+I have done this with several of the older works on travel
+which I possess, books that were published without maps.'</p>
+
+<p>To me at least it was a new aspect of book-collecting,
+and an interesting one. But I confess to having been
+impressed more by its originality and the patient perseverance
+of its devotee than by the knowledge which it had
+enabled him to accumulate. His was a vast knowledge,
+yet limited; for it was confined almost entirely to the topography
+and early exploration of the countries which he
+studied, together with such sociology as he would glean midst
+travellers' accounts of adventures and sport. Development,
+resources, industry, had little place in it. He was thoroughly
+conversant with the early history of Australia, could recite the
+names of all the early pioneers, and could plot Burke's
+expedition or Phillip's voyage to Botany Bay. But of
+Melbourne or Sydney to-day, their size, commerce, exports,
+the principal industries or railways, of these he knew nothing.
+On the other hand, with those countries which have come less
+quickly under the hand of civilisation, such as New Guinea or
+West Africa, he was well acquainted. He had followed the
+history of this last down to fairly modern times, knew the story
+of every settlement from Bathurst to the Bight and to
+Benguela, with their principal exports; and could talk
+interestedly with any dweller on 'the Coast.'</p>
+
+<p>He is still comparatively a young man. If ever he sets out
+to see the world for himself, his pleasures will far exceed those
+of the ordinary tourist. Wherever he may go, he will need no
+guide-book to instruct him, in history at least. And he will
+visit out-of-the-way spots unnoticed by these authorities, but
+dear to him by reason of their mention in the pages of his
+fireside Mentors, their association with some thrilling though<span class='pagenum'><a name="Page_49" id="Page_49"></a>[<a href="./images/49.png">49</a>]</span>
+unimportant event of which he has read. Harbours, villages,
+buildings, will be familiar to him through some old print or
+coloured engraving; and he will eagerly compare the actual
+appearance with the mental picture he has borne for so long.
+Disappointment sometimes there will be, but a delightful
+anticipation always.</p>
+
+<p>I hope, however, that I shall never be his travelling
+companion!</p>
+
+<p>And here I cannot forbear to mention one other book-collecting
+acquaintance. A bosom friend of the genealogist,
+he was at one time a fellow-worker, and they would sit
+closeted for hours debating the parentage of Henry ap John.
+But he lacked that determination which prevented his friend
+from being constantly side-tracked, and the minuti&aelig; of history
+had a fatal attraction for him. As to whether Hugo de
+Beauchamp of <i>Com. Wigorn.</i> (which was their pleasant way
+of saying that he lived in Worcestershire) held his manor by
+serjeanty of the <i>condimentum</i> was of small moment to him
+compared with the price which King Edward paid him for a
+couple of goshawks or a greyhound; and he wondered of
+what sort was the tun of wine which he had from that
+sovereign as a Christmas present. And so his book-buying
+became more and more confined, for it was restricted now to
+those curious and uncommon works which treat of the byways
+of history; such as the Accounts of the Wardrobe and
+Hanaper, the reports of the lords marchers of the realm,
+books on feudal customs and offices, and the like.</p>
+
+<p>During the great war our friend busied himself with His
+Majesty's ordnance. Hitherto he had always associated the
+term with cast-iron cannon, and had vague recollections of
+the number of 'ordnance' carried by the Great Harry or
+fired from the Tower of London during Sir Thomas Wyatt's
+insurrection. But even when these dreams were dispelled,
+his thoughts still harped on medi&aelig;val equipment and harness
+while checking cases of boots or mess-tins; and he wondered
+how such things were managed before the days of railways.<span class='pagenum'><a name="Page_50" id="Page_50"></a>[<a href="./images/50.png">50</a>]</span>
+Released at length from this employ, his interest increased
+with leisure to pursue his investigations.</p>
+
+<p>His passion now is the method in which the ancient
+campaigns of this country were conducted. He is quite an
+authority upon medi&aelig;val transport, by sea as well as by land,
+and he can tell you at once the quantities of bowstrings and
+quarrels 'indented for' during the Cr&eacute;cy and Poictiers
+campaigns. Not long ago, poring over an ancient roll of
+parchment in the Record Office, he came across a list of the
+ships requisitioned for the Agincourt expedition, with their
+names, ports, and tonnage, inscribed on the back of one of the
+membranes. Great was his delight, and it will be some time
+before his friends will be allowed to forget this important
+discovery.</p>
+
+<p>How valuable are these researches of our book-collecting
+friends! Do they not add a zest to those delightful evenings
+when, with curtains drawn and blazing fire, our favourite pipe
+aglow, a tall glass at our elbow, we hunt our treasures o'er
+again in comfort, roaming the bookstalls of our fancy? It is
+well, however, that our humours in book-lore are not all alike,
+else how tedious would some of these conferences become.
+Elation and jealousy would be hard to banish at times when
+we held some coveted volume in our hands. But with
+divergence of tastes such feelings cannot exist, and we
+eagerly share our friends' enthusiasm in their treasures and
+their delight in some newly-found gem.</p>
+
+<p>It is a very serious business, this book-collecting. Whether
+we are contented now to let our library be slow of growth,
+or whether we are still imbued with the ardour of our early
+youth, we are none the less under the spell of books. Our
+paths may lie outside the pale of book-land for years, but the
+chance handling of a valuable or scarce volume will instantly
+awaken all our bibliophilic desires. Book-collecting is not
+like other pursuits. In after years we may realise that many
+of our hobbies are but vanities, but the love of good books is
+something far beyond all these ephemeral pursuits.</p>
+
+<p><span class='pagenum'><a name="Page_51" id="Page_51"></a>[<a href="./images/51.png">51</a>]</span>
+Doubtless few of us realised at the outset of our careers as
+book collectors how completely we should be mastered by this
+love of books. Who did not think that it comprised but
+occasional visits to the book-shops and bookstalls, perhaps
+even to an auction-room, and the reading of nondescript
+catalogues? But it is like all other hobbies: ridden at first
+with too little restraint, it soon gets the upper hand, and
+off it goes, bit between teeth, carrying its rider ever farther
+and farther afield. And no man of spirit would think of
+seeking to curb his hobby's gallop. We have mounted of
+our own free will, determined to pursue the chase, and never
+shall it be said that we were too timid to face the difficulties
+of the country ahead. The greater the difficulties the greater
+the sport, and in our enthusiasm we are determined to overcome
+all obstacles. So that, though our hobby may at length
+become our master, so enthralled are we in the pursuit that
+there is little danger of it assuming the semblance of a
+nightmare.</p>
+
+<p>The farther we go, the wider the fields which open to our
+view, and there is interest for us in all of them. We roam at
+our pleasure over vast fields of literature, digressing here and
+there just as our fancy takes us. There is no danger, moreover,
+in being side-tracked, for such divagations in the realms
+of bibliography as we may make will serve but to increase
+our knowledge of books in the right direction. The only risk
+that we shall incur is that of becoming specialists, which is
+precisely what we should most desire.</p>
+
+<p>And how delightful are these digressions in the world of
+books! There is no other occupation in which one may
+wander so innocuously. In most of the learned professions
+digressions are fatal to success. Anthony Despeisses was a
+lawyer who used frequently to digress. Beginning one day
+in Court to talk of Ethiopia, an attorney who sat behind him
+remarked 'Heavens! He is got into Ethiopia, he will never
+come back.' Despeisses, we are told, was so abashed with
+the ridicule that he chose rather to leave off pleading than to<span class='pagenum'><a name="Page_52" id="Page_52"></a>[<a href="./images/52.png">52</a>]</span>
+correct himself of this unfortunate habit, and quitted the Bar
+for ever. Doubtless he found solace among his books, for
+here at least he could digress to his heart's content.</p>
+
+<p>Although, from a worldly point of view, side-tracks are fatal
+to success, yet they are as necessary a part of our literary
+education as is the application to study itself. Without
+digressing as we applied ourselves to books, narrow indeed
+would be the views that we acquired. Of what value is a vast
+acquaintance with the material details of a war, if we are
+ignorant as to the causes which brought it about, or the
+reasons why the nations were warring? 'Ah yes,' perhaps
+you may exclaim, 'but politics and history are all one, for
+the former creates the latter.' Precisely: so that in order
+to obtain a knowledge of the one, we must deviate to the
+other. Sharon Turner in his 'History of England during the
+Middle Ages' passes abruptly from the death of King Henry
+the Second to the military spirit of Mohammedanism, from
+the Troubadours to the early dissipations of King John, and
+devotes two of his five volumes to the Literature of England
+with copious examples of early poetry. It is all history, yet
+how indispensable are the side-tracks.</p>
+
+<p>It is a subtle art, however, this knowledge of how and when
+to digress, and not easy to be learnt. Gerard de St. Amand
+died of grief in his middle age because Louis <span class="smcap">xiv.</span> could not
+bear his reading of a poem on the Moon, in which he praised
+the King for his skill in swimming. On the other hand
+Madame de Sta&euml;l obtained almost all the material for her
+literary work by a consummate skill in directing the
+digressions of conversation. Upon whatever subject her pen
+was engaged, that was the theme to which she led all talk.</p>
+
+<p>Sir Thomas Browne's famous letter 'To a friend upon
+occasion of the death of his intimate friend' is a masterpiece
+of the art of digressing. Surely it is one of the quaintest
+letters of condolence ever written, if indeed it were ever
+intended to be such, for it has that stamp of careful
+literary composition which is usually so apparent in all<span class='pagenum'><a name="Page_53" id="Page_53"></a>[<a href="./images/53.png">53</a>]</span>
+letters written with a view to publication. The friend in
+question died of a consumption, and Sir Thomas recapitulates
+his disease, symptoms and death; contrasting each feature
+with the celebrated examples of history; moralising and
+discussing the opinions of the ancients upon these points as
+he goes along; and showing by his own experience that a
+man 'after a cough of almost fifty years, in whom all the
+lobes adhered unto the Pleura,' might yet die of stone in the
+bladder. Doubtless the friend to whom the letter was indited
+was highly edified by the aged doctor's learning, yet one
+cannot conceive that he would be greatly consoled by being
+informed, when discussing the patient's cough, that 'in
+cetaceous Fishes, who have large and strong lungs, the same
+is not observed; nor yet in oviparous Quadrupeds.'
+Digressing in this manner is a risky business, and if the grief
+were still fresh, it is more than likely that the bereaved one
+would exclaim 'A fig for your fishes, Sir.' But Sir Thomas
+was a wise and worldly man, and would know from experience
+precisely when to administer his soothing draught.</p>
+
+<p>The attractions of digressing are far more insidious than
+would appear at first sight. It is so easy, one finds such
+delightful things, it is all in the daily task of gathering
+knowledge, it may be useful to us some day, and so on. But,
+unwisely employed, it is a more terrible thief of time even
+than Young's 'procrastination.' Worse still, it is a <i>waster</i>;
+for the scrappy knowledge so often acquired by this means
+becomes invariably the 'little learning' which is so dangerous&mdash;and
+useless&mdash;a thing. So that unless we are strongly
+imbued with the spirit of scholarly research, determined that
+we will not deviate one iota from the particular side-track
+which we are exploring, we are in grave danger of becoming
+lost in the maze of paths. Digressions in conversation and
+books can be of immense value, but he must be a man of
+iron will who can utilise to permanent advantage his resources
+in this direction. Constant and purposeless digressions, in
+reading no less than in talk, are just as injurious as interrup<span class='pagenum'><a name="Page_54" id="Page_54"></a>[<a href="./images/54.png">54</a>]</span>tions.
+The mind is switched from one subject to another,
+and an entire sequence of reasoning which we may have been
+building up by the study of some days is destroyed in a few
+moments by the opening up of an unexplored tract of
+thought.</p>
+
+<p>For many years there was a learned man at work in one of
+our ancient abbey libraries, cataloguing the manuscripts
+and monastic charters of the ancient foundation. Their number
+runs into many thousands, and at the outset the Keeper<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a>
+realised that if this task of providing an index and pr&eacute;cis of the
+entire collection (which would be of incalculable value to the
+historical students who came after him) were to be accomplished
+in his lifetime, it would be necessary to adhere rigidly
+to his plan. Any deviation, however slight, would mean the
+loss of valuable time. To the historian and antiquary such
+a determination must have cost more than we can imagine;
+for every now and again he came across some charter of great
+historical interest. 'Ah,' he would sigh, reading it through,
+'and now I suppose you must go back again into the
+obscurity in which you have lain for eight hundred years.'
+He quietly made his pr&eacute;cis, indexed the document, and
+replaced it in the oaken press. There, thanks to his labours,
+it will be turned to at some future date to add laurels to the
+'researches' of another man.</p>
+
+<p>Perhaps the most innocuous way in which we may digress
+is by compiling one of those delectable literary hotch-potches
+known as 'commonplace books.' Here, with careful selection,
+we may garner those delightful thoughts, those gay conceits or<span class='pagenum'><a name="Page_55" id="Page_55"></a>[<a href="./images/55.png">55</a>]</span>
+pithy stories, that strike our fancy as we read. And though
+perhaps it may be urged that such collections resemble a
+casket of loose jewels plucked from their settings, yet they
+are jewels none the less. We may store all our collections
+within one cover, or we may preserve separately our extracts
+from the poets, our biographies, our meditations, or our
+anecdotes.</p>
+
+<p>The first 'commonplacer' of whom I have seen mention
+was one Photius, a colonel in the Life Guards at
+Constantinople during the ninth century, or&mdash;as he was then
+called&mdash;Protospatharius. Later he became ambassador to
+the court of Baghdad, and amused himself by compiling a
+volume which he called <i>Myriobiblon</i>, a collection of extracts
+of the authors which he had read. He was a man, we are
+told, of extraordinary vigour of mind, and of encyclop&aelig;dical
+knowledge, and he was so devoted to reading that he passed
+whole nights without sleep. Accordingly we are not surprised
+to find that the Myriobiblon, with its Latin translation, forms
+a folio volume of some 1500 pages. When on an embassy to
+Assyria, he carried his library&mdash;some 300 rolls&mdash;with him,
+presumably on camels. Thus, we suppose, he could bestride
+his dramatic camel, his poetic camel, or his theological camel
+as the mood took him. The Myriobiblon was compiled merely
+as a handbook for his brother Tarasius, that the latter might
+enjoy a brief synopsis of what the ambassador read on his
+travels. Several authors are now known only by the extracts
+in this book; and among them may be mentioned a writer
+named Conon, who is said to have written fifty novels, which
+Photius condensed to his liking. All this, of course, was
+merely <i>pour passer le temps</i>; the really important works of
+this bookworm being a lexicon and a number of books on
+theology. Needless to say in due course he became Patriarch
+of Constantinople.</p>
+
+<p>Who nowadays keeps a commonplace book? Doubtless a
+good many readers of to-day have neither time nor inclination
+to indulge this pleasing fashion, at one time so popular; but<span class='pagenum'><a name="Page_56" id="Page_56"></a>[<a href="./images/56.png">56</a>]</span>
+to anyone whose delight is the reading of good books as
+opposed to modern novels, there can be no more interesting
+amusement.</p>
+
+<p>It can be a risky thing, however, this commonplacing, and
+he would be a bold man who dared to assign unto any one
+writer a popular phrase for no other reason than that this one
+has first expressed it in writing. There is no new thing under
+the sun, and by continued expression a familiar maxim
+becomes at last a proverb. Ask at a dinner-table who first
+wrote 'God tempers the wind to the shorn lamb.' The
+knowing ones will puzzle their brains in silence; some lady
+with religious tendencies will claim it for the Holy Writ,
+inclining towards Isaiah; but the quiet bookish man at the
+end of the table will smile in a superior way, and offer to wager
+that he can name the author. You may safely accept his bet,
+for it is a hundred pounds to a penny that he will proclaim
+Laurence Sterne to have written it&mdash;he may even quote the
+context. Granted that Sterne did write it, but Sterne was a
+widely-read man and a plagiarist of no mean ability. So you
+may ask the bookish man how he doth account for this saying
+occurring in that quaint collection of 'Outlandish Proverbs'
+entitled 'Jacula Prudentum,' by Master George Herbert,
+compiled <i>from ancient sources</i> full a hundred years before the
+birth of the 'Sentimental Journey.'<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p>Sometimes in ancient literature one comes across an
+expression which is in the vocabulary of everybody to-day,
+and one realises how very ancient some of these popular
+aphorisms must be. 'It is not alle golde that glareth,' wrote
+Chaucer, and the same theme was sung in Proven&ccedil;al by
+Amanieu des Escas near a hundred years before. But, like
+'A bird in the hand,' it is so applicable to the failings to<span class='pagenum'><a name="Page_57" id="Page_57"></a>[<a href="./images/57.png">57</a>]</span>
+which mankind is prone, that its origin must surely have been
+far beyond even the classics of the old world, back in the dim
+ages of man's history. Common also to all nations must some
+at least of these primitive sayings be, for there is a prim&aelig;val
+simplicity about them that knows nothing of race or
+civilisation. 'A soft answer turns away wrath,' 'Pride goes
+before a fall,' 'Spare the rod and spoil the child,' are not all
+these and many others, collected by King Solomon from the
+wisdom of the East, as applicable to our everyday life in this
+age as they have ever been in the whole history of mankind?<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>
+Enough of moralising, however; or else, convinced of the
+futility of attempting to assign originality to any man, you
+will come to agree with the young lady of fifteen who, priding
+herself on the possession of a literary <i>flair</i>, once remarked
+to the writer: 'In fact there is little doubt that Junius never
+wrote the letters attributed to him at all!'</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Usually the precentor was also archivist and librarian.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> In one monastery, however, they were allowed to speak 'passing soft.'
+We know that 'passing soft!'</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> 'Nunquam minus solus quam cum solus.' Alfonso d'Este (born 1476)
+had it carved on the mantelpiece of his study at Belvedere.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Dr. E. J. L. Scott of Westminster Abbey, sometime Egerton Librarian of
+the British Museum. He calendared no less than 57,000 documents at the
+Abbey, but alas! a long life was insufficient to enable him to complete his
+task. The whole working portion of his latter years was spent in the muniment
+room, and it was there that he was seized with the illness which ended
+his life the same day (1918). The work which he accomplished (now being
+ably continued, on the lines which he laid down, by his successor, the present
+Custodian of the Abbey) has been utilized by scholars from universities all
+over the world. However busily employed, he was always ready instantly to
+lay aside his work in order to assist a student over some difficult point,
+whether of history or pal&aelig;ography.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Edition of 1651, 12mo, page 52. 'To a close shorne sheep, God gives
+wind by measure.' First printed in <i>Witts Recreations</i>, 1640. Sterne might
+have reflected that it is not usually the custom to shear <i>lambs</i>.
+</p><p>
+Since the above was written, a correspondent has brought to the writer's
+notice a sixteenth century French version:&mdash;<i>Au br&eacute;bis tondue, dieu donne le
+vent par mesure.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> It is curious to note how some of these famous sayings have been wrongly
+assigned. A recently published <i>Dictionary of Quotations</i>, assigns Scipio's
+famous dictum, 'A man is never less alone than when he is alone,' to Swift&mdash;a
+slight error of some nineteen centuries. W. C. Hazlitt in his <i>Book-Collector</i>
+makes an even more delightful howler, tracing the well-known verse in
+Ecclesiastes (xii. 12): 'Of making many books there is no end . . .' etc.,
+'back at least to the reign of Elizabeth' (<i>sic</i>), assigning it to a preacher at
+Paul's Cross in 1594.</p></div></div>
+
+<p>&nbsp;</p>
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_58" id="Page_58"></a>[<a href="./images/58.png">58</a>]</span></p>
+
+<p class="figcenter"><a href="./images/ill-08.jpg"><img src="./images/ill-08_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2>
+
+<h4>BOOKS WHICH FORM THE LIBRARY.</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'He that walketh with wise men shall be wise.'&mdash;<br /></span>
+<span class="i12"><span class="smcap">Proverbs xiii. 20.</span></span>
+</div></div>
+
+<p>&nbsp;</p>
+
+<div class="clearfix"><div class="figleft">
+<a href="./images/ill-09.jpg"><img src="./images/ill-09_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">t</span> is one of the tragedies of the book-collector's
+life that he is made aware continually of the
+deficiencies of his collection. Every bookseller's
+catalogue that he takes up reveals
+these lacun&aelig;; and even after many years
+of diligent book-hunting, when he can look
+upon his library with no small pride and has come to regard
+it as being more or less complete (for his own purposes, that
+is), some intimate friend to whom he is displaying his treasures
+will ask to see some well-known book, and he will be obliged
+to confess that he does not possess a copy. The reason
+probably is either that he has collected books upon no
+definite system, or that he has lost sight of the many works
+which his library should contain, through having confined
+himself too rigidly to specialism.</p></div>
+
+<p>Both practices are bad, though the former is infinitely the
+worse. To collect books indiscriminately tends to develop
+the dread bibliomania. To specialise in a particular class of
+books should be the object of every collector; but to adhere
+so rigidly to that one class of literature as to exclude from
+our library the great books of the world, is to deprive ourselves<span class='pagenum'><a name="Page_59" id="Page_59"></a>[<a href="./images/59.png">59</a>]</span>
+of all the advantages which a library can offer. 'There are
+some books, as Homer, Virgil, Horace, Milton, Shakespeare,
+and Scott, which every man should read who has the opportunity;
+should read, mark, learn and inwardly digest. To
+neglect the opportunity of becoming familiar with them, is
+deliberately to sacrifice the position in the social scale which
+an ordinary education enables its possessor to reach.'<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> What
+a number of famous names one can add, without which no
+library worthy the name can be complete! We are not all
+such sages as that great man Philip Melanchthon, whose
+library is said to have consisted of four authors only, namely,
+Plato, Pliny, Plutarch, and Ptolemy the geographer. But
+then, these are whole libraries in themselves.</p>
+
+<p>Who, beside ourselves, shall decide what we shall read?
+'A man's reading, to be of any value,' wrote Professor Blackie,
+'must depend upon his power of association; and that again
+depends upon his tendencies, his capacities, his surroundings,
+and his opportunities.' But there are some authors whom the
+world has decided are great, whom we cannot possibly afford
+to neglect in the course of our literary education. There can
+be no doubt as to our decision here; and although it has been
+said truly that 'a lifetime will hardly suffice to know, as they
+ought to be known, these great masterpieces of man's
+genius,'<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> yet these great classics should form the nucleus of
+our library, and to them we may add the other famous and
+approved books of the world as opportunities occur.</p>
+
+<p>It is not without diffidence that I venture to approach
+this important question as to what we should read. Perhaps
+there is nothing more irritating to the real book-lover than
+to be told, usually by some well-meaning person, that he or
+she should read this or that. In nine cases out of ten the
+book or author recommended is one that we can safely afford
+to neglect. It is one of the commonest of human failings to
+imagine that a book which pleases us must necessarily please<span class='pagenum'><a name="Page_60" id="Page_60"></a>[<a href="./images/60.png">60</a>]</span>
+all others too, and we recommend it blindly to the first friend
+we come across, regardless of age, disposition, intellectual
+capacity, opportunity, surroundings, or even sex. It never
+even occurs to us to consider these matters, these vital qualities
+upon which the whole question of like or dislike depends.</p>
+
+<p>'To every thing there is a season, and a time to every
+purpose under heaven'; and again, 'A wise man's heart
+discerneth both time and judgment,' wrote the Preacher of
+Judah. Yet mindful though we be of these ancient words of
+wisdom, how rarely do we apply them to our everyday
+reading! If we be in the mood for reading we pick up any
+book at random; if it please us at the moment, we continue
+to read it. If it be distasteful to us, we put it aside
+immediately. Possibly we recollect, next time that our eyes
+light upon a volume so discarded, that it was once displeasing,
+and we never take it up again. So, it may be urged, our mind
+exercises the power of selection for us: we can only absorb at
+any given time the class of literary food for which our mind
+then happens to be hungry.</p>
+
+<p>But the truth is far otherwise. If we take up and read a
+book at random, in nine cases out of ten we continue to read
+it simply because it entails no mental effort. We do not have
+to think of what we are reading; our eyes gallop over
+sentence after sentence, and so long as the language is
+colloquial and the facts are bald, all is well, and we can go
+on and on. It is not only the body that, unchecked, is
+inclined to be slothful. Unless we have as complete a control
+over our minds as we have over our limbs, it is quite impossible
+that our reading shall benefit us to its full extent.</p>
+
+<p>There is another point of view also. 'Every book that we
+take up without a purpose is an opportunity lost of taking
+up a book with a purpose.'<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> And this does not mean that
+we should always be reading 'improving' books, that we
+must never read for recreation alone; for, I repeat, 'there<span class='pagenum'><a name="Page_61" id="Page_61"></a>[<a href="./images/61.png">61</a>]</span>
+is a time to every purpose under heaven.' But it does insist
+most emphatically that there should be a rhyme and a reason
+for reading any book at any time. There is a time for work
+and a time for play in reading no less than in the daily cycle
+of our lives. As to what shall constitute recreative reading,
+that is a matter which every man must decide for himself. I
+will venture to prophesy, however, that, by judicious selection
+and thoughtful reading, there will come a time when he will
+consider the reading of the great books to constitute the finest
+mental recreation in the world.</p>
+
+<p>To return, however, to the great writers, those giants of
+whom we have said that it behoves us all to know something
+at least. Must we read them all? Let us leave 'must' out
+of the question; for our lifetime, however long it may be, will
+be scarcely sufficient to know and appreciate to the full these
+great masters of human thought. Yet at least it can be our
+aim ever to feed our minds only upon food of the finest
+quality and of a permanent nutritive value. But alas! How
+terribly limited are our capacities both as regards time and
+opportunity! How narrow the bounds which confine our
+reading abilities! Though a list of the great writers contain
+all the constituents of an Epicurean feast, yet to most of us
+it resembles the menu of a Gargantuan banquet.</p>
+
+<p>As to the classics of the old world, surely, it may be urged,
+in such an essentially practical age we can afford to neglect
+books so hopelessly out of date? Yet there can be no greater
+mistake than to imagine that the wisdom of the old world
+can ever be out of date, for it is the wisdom that has created
+the civilisation of the newer world. Countless generations of
+men may pass away and be utterly forgotten, but the principles
+of morality inherent in man's nature will endure for ever.
+And it is these great principles of all that is good and noble
+in our nature that is brought out and developed insensibly by
+the study of the classics in our youth. Moreover they are
+books that have been accepted by all the nations of Europe
+as containing the bases of human thought. Something at<span class='pagenum'><a name="Page_62" id="Page_62"></a>[<a href="./images/62.png">62</a>]</span>
+least we should all know of these great writers common to all
+civilised nations.</p>
+
+<p>To most of us, however, there is an insurmountable barrier
+surrounding them, the matter of language. The knowledge
+of Greek and Latin that we acquired at school has become
+painfully rusty. Is it worth while slogging away laboriously
+with grammar and dictionary at the expense of valuable time
+which might otherwise be devoted to the more modern classics
+in our own tongue? Candidly, it is not. If we have retained
+sufficient of our Greek and Latin to read it at sight with but
+an occasional reference to the dictionary well and good; but
+otherwise it is a painful waste of time. Hamerton recommends
+that we read the ancients with the help of literal
+translations beside the original, in which way, he says, we
+'may attain a closer acquaintance with ancient literature
+than would be possible by translation alone.' But to many,
+an English version must be the only door by which they may
+enter Attica and Rome.</p>
+
+<p>After all, it is for each one of us to decide how widely our
+time and opportunities shall permit us to wander on the
+slopes of Mount Parnassus. 'The best time-savers are the
+love of soundness in all we learn to do, and a cheerful
+acceptance of inevitable limitations.'<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> Yet it is better to have
+wandered on the lowermost slopes of the mountain than never
+to have entered ancient Greece at all.</p>
+
+<p>Who nowadays, outside the universities, reads these ancient
+classics? Where will you find a business man of thirty years
+of age whose delight in his leisure time is the reading of
+Horace or Homer? Here and there, perhaps, you may come
+across a man of classical education who still retains the love
+of ancient Greece and Rome, instilled into him in his youth,
+sufficiently to influence the course of his reading; but he is a
+rarity indeed. Among the many thousands of young men
+employed in business in the great cities, most of whom have<span class='pagenum'><a name="Page_63" id="Page_63"></a>[<a href="./images/63.png">63</a>]</span>
+learnt something at least of the classics in their youth, scarcely
+will you find one who will confess to having time for such
+literature. Yet all these thousands read many books each
+year, and can always find time to devour the latest popular
+novel.</p>
+
+<p>It is chiefly a question of recreation <i>versus</i> education. Tired
+and jaded with the day's business, the young man of to-day
+has little inclination to devote his leisure time to study. Light
+frothy literature removes his thoughts from worldly cares, and
+by a complete change of subject stimulates a mind that has
+been enervated by concentration for hours on one particular
+theme. No effort is required, and, more important still,
+<i>it does not make one think</i>.</p>
+
+<p>For daily reading in the train or over meals, with this
+purpose always in view, so far so good. But what of the many
+hours of leisure in every man's life, when no mental recreation
+is needed? What does the average man read then? It must
+be confessed that in nine cases out of ten his literature remains
+precisely the same. Doubtless the reason is simply because,
+having always been accustomed to reading the same kind
+of books, he knows no other sort. Mention Shakespeare,
+Milton, Shelley, and he stares at you aghast. 'Good gracious,'
+he exclaims, 'I'm not going to read stuff like that; I should
+get the hump for a week; give me something cheerful.' And
+he picks up 'The Bauble,' by Mrs. Risquet Trashe.</p>
+
+<p>And he is quite right. To anyone whose literature has
+consisted for years of nothing but novels of the circulating
+library type, a sudden application to the great writers would
+indeed be depressing. Is it necessary, however, or indeed
+wise, that any man's mental pabulum should consist entirely
+of novels? Nothing is further from my mind than to decry
+the taste for novel-reading; for, wisely employed, novels can
+become one of the joys of life. One can but agree with
+Miss Austen when she inveighs, in 'Northanger Abbey,'
+against those who belittle the productions of the novelist.
+But would she have been so emphatic had she lived to witness<span class='pagenum'><a name="Page_64" id="Page_64"></a>[<a href="./images/64.png">64</a>]</span>
+the printing-presses spouting forth that frothy flood which
+effervesces round the more serious writings of to-day? Would
+that every novel we take up had the delightful 'genius, wit,
+and taste' of Jane Austen to recommend it. How few and
+far between are the really good novels that we read!</p>
+
+<p>There can be no finer recreation for a tired mind than a
+good novel. There is, however, one habit of reading which
+has become almost a social evil; and that is the habit of
+reading newspapers which many indulge in, morning, noon,
+and night. It is difficult to imagine anything more calculated
+to destroy consecutive and considered thought than the
+enormous variety of inconsequential topics that assails one
+every time one opens a newspaper. The mind becomes
+completely fuddled with the heterogeneous patchwork of
+entirely useless information. The only method I have
+discovered by which one can acquire the important news and
+yet retain the serenity of one's mind is that of having such
+news only as she knows will be of use read out by one's wife
+at breakfast. And this does not mean that the mental
+discomforts of the newspaper are relegated to one's better-half,
+for women are usually interested in the smaller details
+of everyday life.</p>
+
+<p>No wonder that a large number of 'city men' live out their
+lives without ever opening a book that is worth reading
+meditatively; for newspaper-reading in course of time must
+completely undermine one's mental stability. After a few
+years, a book that is not composed of headlines, short chapters,
+small paragraphs and ejaculatory sentences, is unreadable
+without mental effort. So that long before he is middle-aged
+the city man has acquired the habit of 'glancing at' a news-sheet
+or magazine whenever he has nothing to do for a few
+minutes: a kind of reading that is about as advantageous to
+the mind as that which we indulge in when fingering the
+antique periodicals in the dentist's waiting-room. In later
+years he may or he may not overcome the repugnance he has
+acquired to anything deep or 'solid' (by which he generally<span class='pagenum'><a name="Page_65" id="Page_65"></a>[<a href="./images/65.png">65</a>]</span>
+means 'unparagraphed'): but I venture to think that,
+having once taken the plunge, there must be moments when
+he marvels at his foolishness in not having entered, years
+before, the City of the golden streets.</p>
+
+<p>Perhaps it is unwise to use the word 'education' in
+speaking of the benefits to be derived from reading the great
+books, for to many people the term is synonymous with
+'school,' where one is obliged frequently to do things against
+one's will. Good books, that is the books that 'live,' are
+no mere education, they are steps up the path of civilisation
+itself. They are just as necessary for the advancement of
+knowledge as are the letters and numerals which we learnt
+at school. The greatest books of the world do <i>not</i> teach us;
+<i>they help us to teach ourselves</i>, a very different matter. 'They
+are masters who instruct us without rod or ferule,' wrote an
+early book-lover<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a>; 'if you approach them they are not asleep;
+if you inquire of them they do not withdraw themselves; they
+never chide when you make mistakes; they never laugh
+if you are ignorant.' And the books which would be available
+to him would be chiefly the works of the Early Fathers,
+professedly books of moral instruction. But the books of our
+library 'are so many faithful and serviceable friends, gently
+teaching us everything through their persuasive and wise
+experience.'<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p>
+
+<p>And that is precisely the point. Good books do not instruct
+us so much as they persuade us; so that we come to be of the
+same mind as the great man who had deliberated and debated
+the matter so thoroughly for us. Perchance we disagree and
+take a different standpoint. Then can one almost see the
+spirit of the sage chuckling with delight at having found
+someone with whom to cross swords. '<i>I have made him
+think, I have made him think</i>,' he repeats gleefully; and,
+sure of his point, he delights in having held our attention so
+intently as to cause us to debate the issue with ourselves.</p>
+
+<p><span class='pagenum'><a name="Page_66" id="Page_66"></a>[<a href="./images/66.png">66</a>]</span>
+It were foolish, however, to suppose that <i>all</i> the great books
+of the world are at once suitable to every reader. Time, above
+all other considerations, decides what we shall read; and the
+book which makes its greatest impression upon one man at
+thirty will fail to appeal to his neighbour till he be fifty or
+more. 'A man loves the meat in his youth that he cannot
+endure in his age,' says Benedick, and the converse is equally
+true. What a mistaken notion it is that puts into the hands
+of boys such classics as 'The Pilgrim's Progress' and 'Don
+Quixote'; for they are books which a knowledge of the
+world and of human nature alone can enable us to appreciate
+to the full. Their very foundations are built upon the rock
+of experience, every page exhibits the thoughts and deeds of
+men. No wonder that nine boys out of ten grow up with a
+dislike of Bunyan and all his works, and a contempt for the
+adventures of the immortal Don. Generally, however, all
+recollection of Quixote, except that he had a rotten old horse
+and charged some windmills, has (mercifully) disappeared
+long before the reader has attained his eighteenth year.</p>
+
+<p>In later life, perhaps, we take up these books again, and are
+surprised to find that they have completely changed. There
+is hardly an incident in them that we remember, and we
+marvel how such and such a glorious passage could possibly
+have escaped us before. Our book-hunter's experience must
+have been that of many others. Long after his school-days
+were ended he took up, for the first time, 'The Adventures of
+Tom Sawyer.' How wistfully he thought of the enjoyment
+that would have been his when at school, had but some kind
+chance put into his hands this and similar books in which
+boys, and real human boys, played the principal parts, not
+strange outlandish men, the like of whom he had never met.</p>
+
+<p>This unwise reading, this plunging, as it were, <i>in medias res</i>,
+is, I am inclined to think, the reason why to so many men the
+library of great authors is for ever locked. After a lengthy
+course of 'light' reading, they take up, all at once, some such
+work as 'Bacon's Essays' or the 'Paradise Lost,' determined<span class='pagenum'><a name="Page_67" id="Page_67"></a>[<a href="./images/67.png">67</a>]</span>
+'to give the classics a chance.' They wade conscientiously
+through a good many pages, and then retire beaten, simply
+because they have failed to recognise that in reading, as in
+every other business, profession, craft, or pursuit, <span class="smcap">practice
+makes perfect</span>. Who is there, outside Olympus, that can
+master any of these at sight? It is only by a continuous and
+continual course of reading that one comes at length to
+appreciate these great masters. 'The proper appreciation of
+the great books of the world is the reward of lifelong study.
+You must work up to them, and unconsciously you will
+become trained to find great qualities in what the world has
+decided is great.'<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p>
+
+<p>'That's all very well,' says the newspaper-reader, taking
+the word 'study' in its first dictionary sense; 'but I, for one,
+haven't got time&mdash;or inclination&mdash;for this lifelong application.'
+And yet, I reply, you have both time and inclination to apply
+yourself assiduously to newspapers, magazines, and suchlike
+reading. If you read at all, why not read good healthy stuff,
+which will be of permanent use to you in your journey through
+the world? Why devour garbage when rich meats are
+constantly about you? 'To stuff our minds with what is
+simply trivial, simply curious, or that which at best has but a
+low nutritive power, this is to close our minds to what is solid
+and enlarging and spiritually sustaining.<ins class="err" title="Transcriber's Note: added missing quotation mark">'</ins><a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> Look at it which
+way you will, the man who purposely neglects the great books
+deliberately closes the channels of knowledge flowing to his
+brain, sentences himself to intellectual exile, bolts and bars
+in his own face the only door which can lead him into the
+society of the wisest and greatest men this world has known.</p>
+
+<p>And what are the great books of the world? They are
+those which, from their native excellences, have been approved
+by generations of wise men as beneficial <i>for mankind</i>&mdash;not
+for their generation alone. Times change and manners with
+them, but countless centuries are powerless to effect the<span class='pagenum'><a name="Page_68" id="Page_68"></a>[<a href="./images/68.png">68</a>]</span>
+slightest change in man's essence. Do not the characters
+in the oldest book in the world still live in our everyday life,
+and are not they possessed of the very thoughts and reasonings
+that are our portion to-day? Tastes may change vastly in
+even a short period, but it is only fashion, the constant craving
+for something new:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Manners with fortunes, humours turn with climes,<br /></span>
+<span class="ihalf">Tenets with books, and principles with times.'<br /></span>
+</div></div>
+
+<p>But the books which by common consent have been assigned
+places in the library of the immortals can never be out of
+fashion: for they contain the essences of human nature.</p>
+
+<p>How then shall we start to make acquaintance with these
+classics? With what books shall we begin, with what
+continue? These are questions which it is impossible to
+answer without a knowledge of those qualities so necessary
+in recommending books. But at least it is possible to indicate
+the general line to be followed. It would be foolish, for
+example, for the man whose reading hitherto has consisted
+entirely of the modern novels of a circulating library, to turn
+at once to the Paradise Lost, Bacon's Essays, or the poems
+of Wordsworth. He would probably acquire a distaste for
+good literature which might never be overcome.</p>
+
+<p>It is like everything else that counts: we set the greatest
+store by those things that we have come by through difficulties.
+The longer the journey and the more beautiful the scenes we
+pass through, the greater our pleasure and subsequent recollection
+of it. Let us begin our systematic reading by turning
+at first to those books which we shall appreciate immediately.
+Have novels been our reading hitherto? Then let us turn at
+once to some of the greater novelists, both living and dead.
+Here the field is wide, and we may quickly find writers to our
+taste. Thus we shall gradually work up to some name or
+names in the list of the immortals. In the same way we shall
+approach, step by step, the essayists, the moralists, the
+dramatists and (lastly) the poets.</p>
+
+<p>It cannot be emphasised too strongly that Time above all<span class='pagenum'><a name="Page_69" id="Page_69"></a>[<a href="./images/69.png">69</a>]</span>
+other considerations decides what we shall read. Moreover,
+there are passages in many of the greatest writers that appeal
+to a man before he has really arrived at the time of their
+understanding. So that, reading some such passage (<i>e.g.</i>
+Addison's description of the Widows' Club in the
+'Spectator') as this, and finding the remainder not to his
+taste, he concludes that he has discovered the kernel and that
+the rest can be cast aside. Practice alone makes perfect:
+<i>macte nova virtute, puer, sic itur ad astra</i>.</p>
+
+<p>With regard to editions, it were needless to specify them;
+the great books of the world are reprinted and re-edited every
+few years. But our editions should be <i>good</i> ones. 'A good
+edition should be a complete edition, ungarbled and
+unabridged.'<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> Perchance you may prefer to have them, if
+it be possible, in the original editions? If so, you will be
+wise in your generation, but your purse will need to be a long
+one indeed.</p>
+
+<p>Remember that the first edition is not necessarily the best<ins class="err" title="Transcriber's Note: original reads ','">.</ins>
+It may be, but in the great majority of cases it is not. In
+addition to the inevitable clerical mistakes and printer's errors
+which are almost always corrected in the second and
+subsequent editions, the author or editor frequently
+interpolates matter which the publication <i>de ipso</i> has brought
+to his notice by reviews or correspondence. This is notably
+the case in large and important works. 'Scott's Last
+Expedition,' published in two large octavo volumes in 1914,
+rapidly passed through five editions the same year, corrections
+being incorporated in each successive edition (thereby
+distinguishing them from mere 'impressions'); so that the
+fifth edition remains the best, being the most correct. On
+the other hand, in the second edition an author sometimes
+omits passages or makes drastic emendations from prudential
+reasons. Then it is that the first edition is to be sought for
+in preference to all others, for this alone contains the author's<span class='pagenum'><a name="Page_70" id="Page_70"></a>[<a href="./images/70.png">70</a>]</span>
+true opinions on certain subjects. Such instances the book-lover
+gradually learns in his journey through the world of
+books.</p>
+
+<p>But I repeat that, apart from this question of first or later
+issue, our editions should be good ones. Good editions are
+not merely luxuries. The better the type and paper, the
+greater our ease in reading, and&mdash;most important of all&mdash;the
+consequent safeguarding of our eyesight.</p>
+
+<p>It is not only type and paper, however, that constitute a
+good edition. In addition to these requisites it must contain
+the recognised text complete, it must be in a seemly and
+convenient shape, neither extravagant nor blatant, and it
+must not contain a long list of errata. Of the many qualities
+that go to make up a good edition, after paper and print,
+these are perhaps the most important. But there is another
+immediate consideration: <i>shall it have notes?</i> And this
+raises such a momentous point that I almost hesitate to
+approach it. The answer must be qualified. Provided always
+that the edition has been superintended (I use the word
+advisedly) by a <i>recognised</i> scholar, and that the notes are
+few, short, and concise, it is well. But who has not suffered
+under the tedious and tiresome verbosity of editors? The
+writer possesses an edition of Pope in which page after page
+contains two lines of the poet and thirty-four lines of editor.
+Reed's Shakespeare (1813) frequently contains a solitary line
+of text with forty of notes. Fortunately, however, such things
+are now numbered with the past.</p>
+
+<p>As to our editions of the Greek and Latin Classics, whether
+we can read them in the original tongue or whether we must
+have recourse to translations, we have already debated. But
+without wishing to discourage the book-lover in any possible
+way from making (or renewing, as the case may be)
+acquaintance with these great writers, it must be borne in
+mind that few indeed are the translations from any language
+that are wholly in the spirit of the original. In recommending
+the following translations of some of the greater world-classics,<span class='pagenum'><a name="Page_71" id="Page_71"></a>[<a href="./images/71.png">71</a>]</span>
+literary and animate qualities have been had in view no less
+than scholarly translation.</p>
+
+<p>Aeschylus and Sophocles have been admirably rendered in
+English verse by Mr. E. D. A. Morshead. Of the first, 'The
+House of Atreus' (being the 'Agamemnon,' 'Libation-Bearers,'
+and 'Furies') was first published by him in 1881,
+an octavo volume which was reprinted in 1890 and 1901.
+'The Suppliant Maidens,' 'The Persians,' 'The Seven
+against Thebes,' and 'Prometheus Bound' were collected
+in one octavo volume in 1908. His version of Sophocles'
+'Oedipus the King' was published in 1885, while the 'Ajax'
+and 'Electra' were printed in prose, 1895.</p>
+
+<p>The Plays of Aristophanes are, perhaps, best known to
+English readers by Hookham Frere's excellent translations.
+His first volume, containing the 'Acharnians,' the 'Knights,'
+and the 'Birds,' was originally printed at Malta in 1839, in
+which year a similar quarto volume containing the 'Frogs'
+was also issued. But there are several later editions of both
+these volumes, and almost any bookseller can provide one. In
+addition to these plays, the 'Clouds' and the 'Wasps' were
+included in Thomas Mitchell's version first published in two
+octavo volumes dated 1820 and 1822. But we may have a
+complete set of the eleven plays which have come down to us,
+in Mr. B. B. Rogers' scholarly translation in verse. This
+beautiful edition in eleven small quarto volumes was published
+by Messrs. George Bell and Sons between 1902 and 1916,
+and has the Greek and English on opposite pages. For the
+plays of Euripides we must turn to the metrical versions of
+Professor Gilbert Murray, published by Mr. George Allen
+between 1905 and 1915. Perhaps it is not too much to say
+that this great scholar-poet has done more than any other to
+bring the Greeks of old before those to whom a classical
+education has been denied.</p>
+
+<p>Needless to say, the translation into English of the
+immortal Homeric cycle has tempted many pens. Among
+the best known versions are those of Pope, Chapman, and<span class='pagenum'><a name="Page_72" id="Page_72"></a>[<a href="./images/72.png">72</a>]</span>
+Cowper. But this matter has been so thoroughly debated
+by Mr. Frederic Harrison in his delightful volume 'The
+Choice of Books,' that I will refrain from poaching upon his
+preserve, and will content myself by remarking that the
+recommendations of this excellent judge are the 'Iliad' of
+Lord Derby and the 'Odyssey' of Philip Worsley. This
+last is a beautiful translation in the Spenserian stanza, of
+which a second edition appeared in 1868, in two octavo
+volumes. But if you are not already acquainted with Mr.
+Harrison's work you will do well to obtain it, and to read,
+mark, learn, and inwardly digest all that he has to say therein
+upon 'The Poets of the Old World.'</p>
+
+<p>With regard to the Latin classics, if we are unacquainted
+with the language there is greater difficulty; for it is next to
+impossible to render in English the light and vivacious lilt
+of the Italian poets. Our translations may be fine, scholarly,
+dignified and the rest of it, but they bear little semblance to
+the originals. Dryden's version of the 'Aeneid' may be
+read, not as a translation but as an epic in the English of a
+great poet; and to those who are masters of sufficient Latin
+to explore the ancients by the help of commentaries,
+Conington's translation will be of assistance. Horace is
+utterly untranslatable, and prose translations afford little clue
+to the music of his songs.</p>
+
+<p>Perhaps it goes without saying that in reading these ancient
+classics we shall necessarily lose much of their sentiment and
+allusion unless our memory has retained that atmosphere of
+classic times which we obtained by constant intercourse with
+these ancients during our years at school. We may refresh
+our memory, however, and at the same time glean the most
+modern thought upon those times, by having recourse to
+certain useful volumes, companions to our study of these
+classic writers.</p>
+
+<p>J. A. St. John's 'Manners and Customs of Ancient Greece,'
+three octavo volumes which appeared in 1842, is a perfect
+encyclop&aelig;dia in itself. Of Mr. Leonard Whibley's 'Com<span class='pagenum'><a name="Page_73" id="Page_73"></a>[<a href="./images/73.png">73</a>]</span>panion
+to Greek Studies' a third edition, with more than
+200 illustrations and maps, was published by the Cambridge
+University Press in 1916. The fellow volume is by Sir
+J. E. Sandys, and is entitled 'A Companion to Latin Studies.'
+The second edition, very fully illustrated, appeared in 1913&mdash;a
+large octavo also published at a guinea by the same press.
+Professor Mahaffy's 'Social Life in Greece from Homer to
+Menander' has gone through a number of editions. For the
+theatre of the Greeks we must turn to 'The Attic Theatre'
+by A. E. Haigh. The third edition, edited by Mr. A. W.
+Pickard-Cambridge, was issued by the Clarendon Press, 1907.
+It is the standard work upon this subject; and therein one
+can find all about everything pertaining to the Greek theatre
+and the actual presentation of the play. A useful little guide
+to the study of ancient Greece and Italy is Dr. J. B. Mayer's
+'Guide to the Choice of Classical Books,' a small octavo of
+which a third edition appeared in 1885. In 1896 a 'new
+supplement' was published, and this contains fifty pages of
+'Helps to the Study of Ancient Authors'&mdash;the best books
+which had appeared up to 1896 on the Art, Coins, Law,
+History, Philosophy, Religion, Science, Domestic Life,
+Amusements, and almost every aspect of life in ancient Rome
+and Athens. Copies of this invaluable reference book are
+probably in most of the public libraries throughout the
+kingdom.</p>
+
+<p>With regard to some of the other great world-classics,
+Boccaccio has been attempted by many translators, none of
+whom can be said to have succeeded, and I forbear to
+recommend any English version. He is straightforward and
+not difficult to read in the original, and it is well worth
+learning sufficient Italian to enable one to explore his rich
+charm for oneself.</p>
+
+<p>As to Calderon, eight of his plays have been rendered in
+English by that prince of translators Edward Fitzgerald,
+though his version is not, nor did he pretend it to be, a close
+translation. Yet it is more in the spirit of the dramatist than<span class='pagenum'><a name="Page_74" id="Page_74"></a>[<a href="./images/74.png">74</a>]</span>
+one would deem possible in an English version of a Spanish
+author. Six of these plays were first published by Fitzgerald
+in 1853, and this volume was reprinted in the series known
+as 'The King's Classics' in 1903. The complete set of eight
+may be obtained in one small octavo volume, in the beautiful
+'Eversley' series published by Macmillan. But you may
+read seventeen of Calderon's plays, in the French of Damas
+Hinard, in the 'Chef d'&oelig;uvre du Th&eacute;&acirc;tre Espagnol,' 1841-3,
+which also includes the works of Lope de Vega: in all five
+small octavo volumes&mdash;if you are so lucky as to find them.</p>
+
+<p>With regard to Don Quixote, as a boy our book-hunter
+made more than one attempt to explore 'the ingenious
+gentleman' but always gave it up after proceeding less than
+half-way through the first volume. It was all so dry and
+outlandish, and the version he possessed was written in such
+stilted language. There were no notes to his edition, and
+whole passages and allusions were beyond his comprehension.
+Looking back now I more than suspect that they were beyond
+the comprehension of the translator as well. 'Rocinante,'
+spelt 'Rosinante,' he thought was rather a pretty name for
+the Don's charger; but he saw no humour in it until he
+discovered, many years later, that <i>rocin</i> means a 'cart-horse'
+and <i>ante</i>, 'previously.' Nor could he see anything amusing
+in the landlord's boast that he too had been a knight-errant
+in his time, roaming the Isles of Riaran in quest of adventures&mdash;until
+he learnt that this was a city slum, the resort of
+thieves and cut-throats. The whole work abounds with local
+and topical allusions, and it is essential that our edition be
+well supplied with notes. There is one which fulfils this
+condition and in addition provides a most scholarly text, more
+closely approaching the original than any other which has
+appeared hitherto. This is the masterly translation of John
+Ormsby, which appeared in four octavo volumes in 1885. It
+contains a valuable history of the work, together with a life
+of Cervantes, and the appendices to the last volume contain
+a bibliography of the immortal book.</p>
+
+<p><span class='pagenum'><a name="Page_75" id="Page_75"></a>[<a href="./images/75.png">75</a>]</span>
+Dante must be read in the original tongue. There is a
+lofty and spiritual grandeur in the language of the three great
+epics which one can never hope to realise in reading translations,
+be they never so good. Nevertheless those versions
+which are most in favour among students are of considerable
+value as commentaries, and are of great assistance in reading
+the original. One cannot do better at the outset of one's
+acquaintance with the great poet than to procure Dr. J. A.
+Carlyle's excellent version of the 'Inferno.' A third edition
+was published in 1882. It has explanatory notes and a prose
+translation, in measured, dignified language, above the text
+of the original; forming in all respects a handy and convenient
+volume. Dr. A. J. Butler's versions of the 'Purgatory' and
+'Paradise' were issued, in octavo, in 1880 and 1885
+respectively. Aids to the study of Dante are legion. The
+fourth edition of Professor J. Addington Symond's
+'Introduction to the Study of Dante' appeared in 1899;
+whilst Lord Vernon's 'Readings in Dante,' six octavo
+volumes, is said to have occupied that great scholar for more
+than twenty-five years of his life.</p>
+
+<p>Goethe is known to English readers chiefly by the immortal
+<i>Faust</i>; and this work alone has engaged the attention of
+numerous scholars. A volume containing seven of Goethe's
+plays in English was published in Bohn's Standard Library
+in 1879. It included Sir Walter Scott's version of 'Goetz
+von Berlichingen,' the remainder being translated by Miss
+Swanwick and E. A. Bowring. Miss Swanwick's 'Faust' is
+well known and has often been reprinted; a beautiful edition
+illustrated by Mr. Gilbert James appeared in 1906. There is
+a version, however, which stands far above the rest, a version
+which the writer for his part has always considered to rank
+with the greatest translations. This is the 'Faust' of
+Bayard Taylor, which indeed may be read as a poem in itself.
+But then Taylor had advantages possessed by few translators.
+An American by birth, his mother was a German, and he
+spent a part of his life in Germany. From his birth he was<span class='pagenum'><a name="Page_76" id="Page_76"></a>[<a href="./images/76.png">76</a>]</span>
+bilinguous; and added to this linguistic advantage were his
+profound scholarship and poetic gift. There are numerous
+editions of his work, but only one&mdash;so far as I am aware, in
+this country at least&mdash;worthy of its great merit, namely, that
+which appeared in two octavo volumes in 1871. It is an
+edition somewhat hard to obtain.</p>
+
+<p>For Schiller's dramatic works we must have recourse to
+Coleridge, who has given us versions of both parts of the
+'Wallenstein' and 'William Tell.' The Poems and Ballads
+were rendered in English by Sir E. Bulwer Lytton (Lord
+Lytton): two volumes, 1844. Heine's short four-line verses
+do not lend themselves to translating and though many have
+attempted it, the results are almost always a jingle, often
+approaching doggerel. The prose works have recently been
+translated by Mr. C. G. Leland, and the 'Atta Troll' by
+Miss Armour, both forming part of a twelve volume edition
+published between 1892 and 1905.</p>
+
+<p>The mention of Rabelais conjures up one of those
+extremely rare instances where a translation constitutes as
+great a classic as the original work. Whether it was the
+difficulty of translation, or the despair of eclipsing so notable
+a success as had been achieved by their predecessor, that
+deterred other scholars from making the attempt, we know
+not; but certain it is that the version put forth by Sir Thomas
+Urquhart in 1653 has remained, and seems likely to remain,
+the standard representation of the fantastic 'Doctor in
+Physick' in this language. Urquhart, that polished and
+gifted Scottish d'Artagnan, translated the first three books
+only; the last two were added by Motteux, a French refugee,
+in 1694. Urquhart's work, 'precise, elegant, and very
+faithful,' comes as near perfection as any translation can hope
+to be. Motteux's rendering was revised by Ozell; but
+unfortunately it falls far short of the version of Sir Thomas,
+who, with a longer life, might perhaps have undertaken these
+last two books as well.</p>
+
+<p>Of these five books of Master Francis Rabelais thus<span class='pagenum'><a name="Page_77" id="Page_77"></a>[<a href="./images/77.png">77</a>]</span>
+english'd, there have been, of course, numerous editions.
+Our book-hunter prefers that which appeared in three quarto
+volumes in 1904, with photogravure illustrations by M. Louis
+Chalon. Both from a scholarly and a bibliographical standpoint
+it is all that can be desired, and one can have a copy
+for less than a pound.</p>
+
+<p>Why is it that we all have some acquaintance at least with
+the Arabian Nights? What have these purely Eastern tales
+to do with us? Both questions may be answered at once.
+It is because they contain the very essence of oriental thought,
+manners, customs, habits, speech, and deeds: because we can
+learn from them more of the everyday life of the orient, both
+of to-day and of a thousand years ago, than an entire library
+of travels can teach us. Surely it is more than mere curiosity
+that urges us to know something at least of the manner in
+which so many millions of our fellow-beings live.</p>
+
+<p>Who has not read at least some of these glorious tales?
+Who has not heard of Sinbad or the Roc, of Scheherazade or
+of Haroun al Raschid? Truly they are</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'The tales that charm away the wakeful night<br /></span>
+<span class="ihalf">In Araby, romances';<br /></span>
+</div></div>
+
+<p>Wordsworth himself came early under their spell. He tells
+how as a young child</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'A precious treasure had I long possessed,<br /></span>
+<span class="ihalf">A little yellow, canvas-covered book,<br /></span>
+<span class="ihalf">A slender abstract of the Arabian tales;<br /></span>
+<span class="ihalf">And, from companions in a new abode,<br /></span>
+<span class="ihalf">When first I learnt that this dear prize of mine<br /></span>
+<span class="ihalf">Was but a block hewn from a mighty quarry&mdash;<br /></span>
+<span class="ihalf">That there were four large volumes, laden all<br /></span>
+<span class="ihalf">With kindred matter, 'twas to me, in truth,<br /></span>
+<span class="ihalf">A promise scarcely earthly.'<br /></span>
+</div></div>
+
+<p>And so he makes a covenant 'with one not richer than
+myself' that each should save up until their joint savings
+were sufficient to purchase the complete work. But alas!</p>
+
+<div class="poem"><div class="stanza">
+<span class="i15">'Through several months,<br /></span>
+<span class="ihalf">In spite of all temptation, we preserved<br /></span>
+<span class="ihalf">Religiously that vow; but firmness failed,<br /></span>
+<span class="ihalf">Nor were we ever masters of our wish.'<br /></span>
+</div></div>
+
+<p>There must be few books in the world from which we may
+learn so much while being so rapturously entertained.<span class='pagenum'><a name="Page_78" id="Page_78"></a>[<a href="./images/78.png">78</a>]</span>
+Burton's edition is perhaps the best known to English
+readers, though Lane's version is much to be preferred. Of
+the latter there are many editions.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p>
+
+<p>How much has been written on the Art of Reading, and
+what scanty knowledge of that art have the most industrious
+of readers! Outside the Universities, reading is apt nowadays
+to be looked upon as a light form of recreation, generally to
+be indulged in on a rainy day. 'There's nothing to do but
+sit indoors and read,' one frequently hears remarked in
+country houses when the weather is too inclement to permit
+of motoring. Novel-reading has indeed become a part of our
+fashionable life.</p>
+
+<p>How often, too, does one come across readers of both sexes
+who possess, seemingly, a wide knowledge of books, even of
+the great books of the world. Yet in nine cases out of ten
+such knowledge is of the most superficial kind, acquired by
+'dipping into' such and such an author to ascertain whether
+he be to his or her taste. Frankly, the great author is almost
+invariably <i>not</i> to the modern reader's taste; but the scanty
+knowledge acquired by perusing the first chapter, the
+headings of the remaining chapters, and the last chapter,
+enables the reader (save the mark!) to discourse at large on
+this particular writer among his own <i>coterie</i>. Perchance one
+of his friends has similarly insulted the great author, and they
+are enabled to discuss the book for nearly a minute by the<span class='pagenum'><a name="Page_79" id="Page_79"></a>[<a href="./images/79.png">79</a>]</span>
+clock, each thinking the other a devilish well-read fellow.
+Truly it has been said that 'just as profligacy is easy within
+the strict limits of the law, a boundless knowledge of books
+may be found with a narrow education.'<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p>
+
+<p>More rarely one comes across a man who, being the
+fortunate possessor of a truly wonderful memory, is enabled
+to retain the bulk of the information which he has acquired
+by wide reading. There is a story told of a certain don at
+one of our older universities who, being possessed of an
+insatiable thirst for knowledge coupled with an excellent
+memory and an inexhaustible capacity for work, passed as a
+well-read if not a very learned man. There seemed to be
+few topics upon which he could not discourse on equal terms
+even with those who had made that subject their own.</p>
+
+<p>Now it happened that there were two young Fellows at the
+same college who, wearied of his constant superiority in
+conversation, determined to take Brown (for such was his
+name) 'down a peg or two.' So each night at dinner in hall
+they skilfully turned the conversation to unusual topics,
+hoping to light upon some chink in the redoubtable Brown's
+intellectual armour. Once they tried him on the rarer British
+hemipterous homoptera, but soon discovered that he was a
+very fair entomologist. Next evening the conversation veered
+to ancient Scandinavian burial rites, but here again he could
+give them points. The Byzantine coinage of Cyprus was, of
+course, well known to him while he had himself worked on
+the oolitic foraminifera of the blue marl at Biarritz. His
+experiments on the red colouring matter of <i>drosera rotundifolia</i>
+had formed the subject of a monograph, and he was
+particularly interested in the hagiological folk-lore of Lower
+Brittany.</p>
+
+<p>It seemed almost hopeless. Try as they would they could
+find no subject with which he was unacquainted. Every night
+some fresh outlandish topic was introduced. Brown looked<span class='pagenum'><a name="Page_80" id="Page_80"></a>[<a href="./images/80.png">80</a>]</span>
+very bored, and proceeded to tell them all there was to be
+said upon the subject. But one night a casual remark put
+them on the right track. Someone happened to ask Brown
+a question about Indian music. He answered shortly, and
+remarked that it was a subject upon which a good deal of
+work was yet to be done. The conspirators looked across the
+table at each other, left the common-room early, and retired
+to Jones's rooms.</p>
+
+<p>'Did you notice?' said Jones.</p>
+
+<p>'Yes,' said Smith; 'he evidently doesn't know much about
+oriental music.'</p>
+
+<p>'But he will by to-morrow,' replied the astute Jones. 'As
+soon as ever he gets to his rooms to-night, he'll read up
+everything he possibly can on Indian music, and he'll continue
+in the Library to-morrow. By dinner-time he'll be stuffed
+full of tom-toms and shawms and dulcimers, or whatever they
+play in India.'</p>
+
+<p>'We must ride him off,' said Smith. 'How about Chinese
+music? He won't know anything about that.'</p>
+
+<p>This seemed such a promising topic that they got out the
+encyclop&aelig;dia and found to their joy that there was quite a
+lengthy and learned disquisition on the subject. So they read
+it again and again, even learning the more abstruse sentences
+by heart. Next day they were observed to chuckle whenever
+they caught each other's eye, and at lunch they were unusually
+cheerful and more than ordinarily attentive to the unsuspecting
+Brown.</p>
+
+<p>That night at dinner they could hardly restrain their
+impatience, and Smith introduced the topic, rather clumsily,
+as soon as the fish appeared. Brown stared at them and said
+nothing. Jones, plucking up courage, presently asked him a
+question about the dominant fifth of the scale used by the
+natives of Quang-Tung. He answered evasively. They
+could hardly conceal their delight, and their voices rose so
+that presently the whole table was looking at them. At some
+of their recondite utterances Brown fairly winced, and it soon<span class='pagenum'><a name="Page_81" id="Page_81"></a>[<a href="./images/81.png">81</a>]</span>
+became evident to all what was afoot. Upstairs in the
+common-room they pursued their unhappy victim. The
+senior tutor and the dean, secretly enjoying the fun, stood
+near. At last, flushed with victory, Jones proceeded to
+<ins class="err" title="Transcriber's Note: original reads 'adminster'">administer</ins> the <i>coup de gr&acirc;ce</i>.</p>
+
+<p>'You really ought to read something about Chinese music,
+Brown, it's a most interesting topic, and I'm sure you'd like
+to be able to talk about it. There are quite a number of good
+books on the subject. For a start you couldn't do better
+than study the article in the "Encyclop&aelig;dia Academica."
+It's clear and concise, evidently written by a man who knows
+what he's talking about.'</p>
+
+<p>'I <i>have</i> read it,' said Brown patiently; 'in fact I&mdash;er&mdash;<i>wrote</i>
+it, <i>but I'm afraid it's quite out of date now</i>.'</p>
+
+<hr style='width: 45%;' />
+
+<p>We are not all the lucky possessors of such a capacity for
+acquiring knowledge. Wide reading may be good from an
+educational point of view, but unless we are able to assimilate
+what we read better a thousand times to restrict our reading.
+Gibbon's advice is bad, for it indicates merely the system he
+employed in compiling his monumental work. 'We ought
+not,' he remarks, 'to attend to the order of our books so
+much as (to the order) of our thoughts.' So, in the midst of
+Homer he would skip to Longinus; a passage in Longinus
+would send him to Pliny, and so on. General reading upon
+this plan, with no idea of collection in view, would in time
+reduce most of us to idiocy.</p>
+
+<p>Let our reading be, above all things, well ordered and
+systematic. Let us imitate Ancillon rather than Gibbon.
+Ancillon never read a book throughout without reading in
+his progress many others of an exegetic nature; so that 'his
+library table was always covered with a number of books for
+the most part open.'<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> An excellent habit, provided that we
+can resist the temptation to be side-tracked. The list of
+books by this industrious student, however, shows by their<span class='pagenum'><a name="Page_82" id="Page_82"></a>[<a href="./images/82.png">82</a>]</span>
+curious variety that he at least was not sufficiently strong-minded
+to resist wandering, during the compilation of his
+historical works, in the byways of literature.</p>
+
+<p>If we read the good solid books at all, let us at least read
+them with the aim of acquiring the maximum amount of
+information they afford. To read sketchily and diversely is
+not only a most painful waste of time, but it abuses our brains.
+Suppose now that our bookman has decided to 'read up'
+the French Revolution, a subject to which we all turn at some
+period of our lives. He has been led thereto, perhaps, by
+having lighted upon a translation of someone's memoirs, the
+recollections of some insignificant valet-de-chambre or
+dissolute cur&eacute; (for such memoirs abound), more interesting by
+reason of its piquancy than its historical accuracy. He reads
+of persons and events that he recollects vaguely to have heard
+of before, and so he goes on and on.</p>
+
+<p>At the end, he has an ambiguous and temporary knowledge
+of names and events. He has become acquainted with certain
+facts that he may possibly remember; such as that the name
+of the French King was Louis and that his Queen was Marie
+Antoinette, that they tried to escape and got as far as
+Varennes (<i>wherever that may be</i>), but were brought back and
+executed; that there were various politicians named Mirabeau,
+Danton, Robespierre, Desmoulins, and a curious party called
+the Girondins, et cetera. As to the causes which led up to
+the Revolution, the condition of the country and people, the
+ministry of Turgot, the characters of the King and Queen,
+Necker's policy, the Abb&eacute; Si&eacute;y&egrave;s, the Tennis Court, the
+composition of the Assembly, and the host of essential facts,
+his knowledge is precisely <i>nil</i>. The terms Right Centre,
+Extreme Left, the Jacobins, the White Terror, Assignats,
+H&eacute;bertists and Dantonists, the Montagnards, the Old
+Cordelier, are so much 'Hebrew-Greek' to him. At the end
+of six months he will not be at all sure whether it was
+Louis <span class="smcap">xiv.</span>, <span class="smcap">xv.</span>, or <span class="smcap">xvi.</span> who was beheaded.</p>
+
+<p>Surely his reading of these dubious memoirs has been a<span class='pagenum'><a name="Page_83" id="Page_83"></a>[<a href="./images/83.png">83</a>]</span>
+most mistaken course and a lamentable waste of time? He
+has gained nothing that has benefited him intellectually, and
+he has loaded his mind with an indigestible hotch-potch of
+unclassified information. How then should he have approached
+the subject? Obviously he should have begun at the
+threshold, or rather at the outer gate. To plunge straight
+away into Louis Blanc's twelve volumes or Lamartine's
+'History of the Girondins' would be as great a mistake as
+the reading of the unprofitable memoirs. A good beginning
+is half done. So, having prepared the way by a short study
+of the economic condition of France immediately prior to the
+Revolution, that he may readily understand the causes of that
+event, let our reader begin with some elementary school
+text-book which will give him a short and concise view of
+the Revolution as a whole. Having laid the foundations he
+will confine himself at the outset to works in his own tongue;
+choosing his literature for each succeeding phase of the
+Revolution in turn. But until he has obtained a thorough
+groundwork and has acquired sufficient knowledge to enable
+him to explore the more famous works in French, it were
+profitless to devour the scraps afforded by dubious memoir
+writers.</p>
+
+<p>If we read three books consecutively on any one subject,
+we know not merely three times as much as if we had read
+one only, but thirty times. And our knowledge of the subject
+will not be vague, inaccurate and fleeting, but it will be
+concise, accurate and permanent. To acquire a correct and
+lasting knowledge of any subject, whether it be an event or
+an epoch of history, a science or an art or craft, it is essential
+that we read consecutively and comparatively as many books
+upon that subject as our opportunities and time allow. It
+should also be borne in mind that if we are content to read
+one volume only, it is quite possible that we may chance upon
+an author who is inaccurate or biased, or whose work does
+not represent the latest stage of our knowledge upon that
+subject.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> J. H. Burton.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Mr. Frederic Harrison.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Mr. Frederic Harrison.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> P. G. Hamerton.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Richard of Bury (lived 1281-1345).</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> M. Octave Uzanne.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Mr. A. L. Humphreys.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Mr. Frederic Harrison.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Mr. A. L. Humphreys.</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> There is no doubt that Burton was largely indebted to Payne for his
+'translation'; indeed he is said merely to have paraphrased and rearranged
+the version which Payne had just previously prepared for the Villon Society,
+adding explanatory notes of a character which renders it essential that his
+edition be kept under lock and key. It was issued to subscribers by Burton
+himself in London (though ostensibly 'by the Kamashastra Society at
+Benares'), being printed, and probably bound, by Brill at Leyden. The
+Kamashastra Society was a myth. The ten volumes (1885-6) were sold to the
+subscribers at ten guineas the set, and the entire edition (1000) was subscribed
+for before publication. (<i>Ex inform</i>: E. H.-A., one of the original
+subscribers and a friend of Burton.) Six volumes of <i>Supplemental Nights</i>
+were issued by Burton between 1886 and 1888. A set of the sixteen volumes
+now costs about forty pounds. It was reprinted (by H. S. Nichols) in
+1894, in twelve volumes, only slightly expurgated, the present price being
+about twelve pounds. A supplementary volume of illustrations was issued
+with this last edition.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Mr. Frederic Harrison.</p></div>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Isaac Disraeli.</p></div>
+</div>
+<p>&nbsp;</p>
+
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_84" id="Page_84"></a>[<a href="./images/84.png">84</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-10.jpg"><img src="./images/ill-10_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2>
+
+<h4>CHIVALRY AND ROMANCE</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Mekely, lordynges gentyll and fre,<br /></span>
+<span class="ihalf">Lysten awhile and herken to me.'<br /></span>
+<span class="i12"><span class="smcap">Hue de Rotelande.</span></span>
+</div></div>
+
+<p>&nbsp;</p>
+
+<div class="clearfix"><div class="figleft"><a href="./images/ill-11.jpg"><img src="./images/ill-11_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">nce</span> upon a time, long long before the
+Venerable Bede had completed that famous
+last chapter in his cell at Jarrow, there lived
+in the ancient capital of Sampsiceramus, a
+holy man named Heliodorus. Now in his
+youth Heliodorus (as is not uncommon with
+the young) had turned his thoughts to worldly things; and
+being of a romantic nature, wearied by the eternal sameness
+of the books available to him, had conceived the extraordinary
+notion of writing an untrue book, a book that should never
+instruct or point a moral or show you where you are wrong,
+but should be all joyousness and enchantment. Possessed
+with this great idea, timidly yet sure of himself, he set to work.</p></div>
+
+<p>The very first thing he did was sufficiently startling for
+those days. Instead of selecting some great man for his
+central figure and putting his dialogue into the mouths of
+learned men, fathers of the church, philosophers, orators, or
+famous poets, he chose deliberately a young and handsome
+man of no particular learning, and&mdash;a woman! It was<span class='pagenum'><a name="Page_85" id="Page_85"></a>[<a href="./images/85.png">85</a>]</span>
+unheard of! A book, a voluminous roll closely written,
+containing nothing but the adventures of a pair of lovers!
+Monstrous! Yet it was done at last, and the roll, finding
+favour in the eyes of a bosom friend, was quickly passed from
+hand to hand. All were entranced by it. Here was a book
+that had characters one could understand, for whom one could
+even feel affection. The loves of dashing young Theagenes
+and his dear Chariclea found an echo in many a youthful
+breast.</p>
+
+<p>Meanwhile Heliodorus disappears from view, and for many
+years we hear nothing of him until suddenly he reappears as
+a bishop in Thessaly! Now comes the sequel to his audacious
+design, but for which it is doubtful if we should ever have
+heard of him. A synod was convened, and Heliodorus was
+condemned <i>because in his youth he had written a novel</i>. He
+was given his choice between bishopric and book, to retain
+the one he must destroy the other by word as well as by deed.</p>
+
+<p>At first sight the choice appears not difficult to make, for
+although so laical and original a work had proved to be
+popular, yet such popularity was hardly of a nature to appeal
+to so devout a Christian as one who had already attained
+episcopal rank. But to Heliodorus his work (which may well
+have been the employment of some years) stood for all that
+he held most dear. It was his conception of the ideal in
+worldly&mdash;as opposed to spiritual&mdash;life. Less austere, perhaps,
+than many of the fathers of the early Church whose works
+had seemed so tedious to him in his youth, his devoutness
+was tempered largely with a charity and forgiveness that
+were not unworthy of his creed. It was impossible to deny
+those principles of chivalric virtue and chastity which his novel
+preached, so he chose to stand by his book rather than by his
+benefice, and quitted Thessaly.</p>
+
+<p>So runs the pleasing tale of Nicephorus. But alas! the
+relentless voice of modern research will have it that the real
+author was not the bishop at all, but a Sophist who lived in
+the third century of our era. Be it as it may, I for my part<span class='pagenum'><a name="Page_86" id="Page_86"></a>[<a href="./images/86.png">86</a>]</span>
+shall go on believing the old romantic tale until a better one
+is invented for the Sophist.</p>
+
+<p>The work itself is called 'Ten Books of Aethiopian
+History,' for the first and last scenes are laid in Egypt, but
+it is better known by the name of its hero and heroine. Its
+popularity was immense, and it was soon translated into
+'almost all languages.' Later P&egrave;re Amyot published a
+version in French for Francis <span class="smcap">i.</span>, who was so delighted with
+the result that he made the translator abb&eacute; of Belozane.
+Racine tells us it was this ancient romance that first fired his
+imagination with the desire to write. His tutor discovered
+him absorbed in its contents, and snatching it from his hand
+angrily consigned it to the fire. Racine bought another copy,
+which suffered a like fate. But so strong a hold upon him
+had the story, that he purchased a third, and devoured it in
+secret, offering it to his master with a smile when he had
+thoroughly mastered its contents.</p>
+
+<p>It seems that this ancient Greek romance was lost for
+many centuries. At the sack of Buda in 1526, however, a
+manuscript of it was discovered in the royal library, where it
+had once formed part of the vast library amassed by Matthias
+Corvinus, the great King of Hungary. Matthias is said to
+have 'spoken almost all the European languages,' so doubtless
+he had passed many a pleasant hour with the tale. This
+manuscript (others have since been discovered) was printed
+at Basel 'in officina Ioan Hervagii' in 1534, a small quarto
+printed with Greek types.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p>
+
+<p>That the early romances of chivalry possess a charm for
+the book-collector it is impossible to deny. They are 'a
+series of books,' writes Mr. John Ormsby, 'which, complete,
+would be a glory to any library in the world; which, in first
+editions, would now probably fetch a sum almost large enough<span class='pagenum'><a name="Page_87" id="Page_87"></a>[<a href="./images/87.png">87</a>]</span>
+to endow a college; and which . . . . is perhaps . . . . as
+worthless a set of books as could be made up out of the refuse
+novels of a circulating library.' Times without number they
+have been derided and decried, even in the days when they
+were popular. The curate of La Mancha was not the only
+one who disapproved of them. 'In our fathers tyme,' wrote
+old Roger Ascham, judging the flock by a few black sheep,
+'nothing was red, but bookes of fayned cheualrie, wherein a
+man by redinge, shuld be led to none other ende, but onely
+to manslaughter and baudrye.' Possevino, a learned Jesuit
+and famous preacher of the sixteenth century, used to complain
+that for the last five hundred years the princes of Europe had
+read nothing but romances. Ren&eacute; d'Anjou listened to his
+chaplain inveighing against Launcelot, Amadis, and the
+romances of which he was particularly fond; but, says
+Villeneuve, while respecting the preacher for his boldness,
+the king continued to read them, and even composed new
+volumes in imitation of them.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p>
+
+<p>Full of monstrous fictions some of these ancient stories
+undoubtedly are. It were foolish to expect that all of them
+should attain the high level of those great legends which
+centre about the Holy Grail. Good things have ever been
+imitated indifferently; and it was only the later series of
+tales which had to do chiefly with enchantments and fairies
+and 'giaunts, hard to be beleeved.' But alas! all alike have
+come under the ban of those who decry reading for
+recreation's sake. Good and bad have been damn'd
+indifferently. One cannot help wondering however that so
+much has been written against them, and that so many have<span class='pagenum'><a name="Page_88" id="Page_88"></a>[<a href="./images/88.png">88</a>]</span>
+been at pains to point out their unreasonableness. One would
+have thought that the very fact of them <i>all</i> abounding with
+incidents that are not only impossible but preposterous,
+would have given these critics pause, and have urged them to
+ask themselves why and wherefore such things were repeated.</p>
+
+<p>To anyone possessed of imagination the answer, of course,
+is obvious. The better tales all had the exaltation of the
+chivalric spirit in view, and sought to achieve this end by
+allegory as well as by parable. He must be a dullard indeed
+who fails to understand their symbolism. Malory, describing
+the entry of Tristram into the field, wishes to impress upon
+us the fact that he was indeed a 'preux chevalier, sans peur
+et sans reproche,' the model of a Christian knight; so he
+mounts him on a white horse and arrays him in white harness,
+and he rides out at a postern, 'and soo he came in to the feld
+as it had ben a bryght angel.' Doubtless those to whom
+understanding has been denied would argue hotly as to
+whether there is any authority for a knight painting his
+armour white. What sane man, reading 'The Faerie Queene,'
+could think that it purported to depict actual scenes or
+incidents? Yet time and again the 'sheer impossibility' of
+these stories has been urged in condemnation of them. Truly
+it is not every man who should turn to these ancient books
+which</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'In sage and solemn tunes have sung<br /></span>
+<span class="ihalf">Of Turneys and of Trophies hung,<br /></span>
+<span class="ihalf">Of Forests, and inchantments drear,<br /></span>
+<span class="ihalf"><i>Where more is meant than meets the ear</i>.'<br /></span>
+</div></div>
+
+<p>Gavaudan, a troubadour of the twelfth century, meets the
+undiscerning critic more than half-way. Let none judge, he
+writes, till he be capable of separating the grain from the
+chaff; 'for the fool makes haste to condemn, and the ignorant
+only pretends to know all things, and muses on the wonders
+that are too mighty for his comprehension.'</p>
+
+<p>'Romances,' says Sharon Turner, 'are so many little
+Utopias, in which the writer tries to paint or to inculcate
+something which he considers to be more useful, more happy<span class='pagenum'><a name="Page_89" id="Page_89"></a>[<a href="./images/89.png">89</a>]</span>
+or more delightful, more excellent or more interesting, than
+the world he lives in, than the characters he surveys, or the
+events or evils which he experiences.' Yet Dunlop, who
+examined the romances of chivalry at some length in his
+'History of Fiction,' seems never to have suspected that
+these tales were written with any other intention than to
+amuse or that the events which they related were looked upon
+by their readers as other than facts. For Arthur he has
+scant respect, 'nor,' says he, 'as we advance, do we find him
+possessed of a single quality, except strength and courage,
+to excite respect or interest.' Surely the remark of one who
+must have been dead to all sense of imagination and romance&mdash;although
+purporting to be an authority upon them! The
+teaching of the whole Arthurian cycle of romances was 'that
+noble men may see and lerne the noble actes of chyualrye,
+the Ientyl and vertuous dedes that somme Knyghtes vsed in
+tho dayes, by whyche they came to honour; and how they
+that were vycious were punysshed and ofte put to shame and
+rebuke.' The quest of the Holy Grail, motive of the most
+exquisite series of mystic tales that has ever been written,
+was, we are expressly informed, 'the hygh way of our Lord
+Jhesu Cryst, and the way of a true good lyver, not that of
+synners and of mysbelievers.' Godfrey de Bouillon, the hero
+of another cycle, was 'moult preudhomme et sage et moult
+aymant Dieu et gens d'esglise,' as we read in 'Le Triomphe
+des Neuf Preux' (folio, Abbeville 1487). Preposterous tales?
+Perhaps; yet, as regards their moral side, not suffering greatly
+by comparison with our modern fiction.</p>
+
+<p>Those whose reading is confined to the literature of to-day
+can have no idea of the influence which these romances had
+upon the lives of our forefathers. It was not merely a system
+of morality which they taught, it was a civilisation of a very
+high order. When we are inclined to mock at these
+'preposterous tales' we should never forget that to them we
+owe a debt so immense that we are lost in the contemplation
+of it. It cannot be gainsaid that it was as much by the study<span class='pagenum'><a name="Page_90" id="Page_90"></a>[<a href="./images/90.png">90</a>]</span>
+and teaching of these romances as it was by the spirit which
+gave them birth, that our ancestors came to mould their lives
+in such a sort as to influence the civilisation of the whole of
+the western world.</p>
+
+<p>That the romances were the outcome of chivalry cannot
+be urged, though doubtless in a later age they helped to keep
+the spirit of knighthood alive. Edward the Black Prince, the
+very model of medi&aelig;val chivalry, avowedly studied the ancient
+romances for patterns. When Pedro the Cruel had prevailed
+upon the prince to defend his cause, the princess bitterly
+bewailed her husband's decision. 'I see well,' said the prince,
+to whom her expressions were related, 'that she wishes me
+to be always at her side and never to leave her chamber. But
+a prince must be ready to win renown and to expose himself
+to all kinds of danger, as in days of old did Roland, Oliver,
+Ogier, the four sons of Aimon, Charlemagne, the great Leon
+de Bourges, Juan de Tournant, Lancelot, Tristan, Alexander,
+Arthur and Godfrey whose courage, bravery, and fearlessness,
+both warlike and heroic, all the romances extoll. And by
+Saint George, I will restore Spain to the rightful heir.'</p>
+
+<p>Occleve, a little later, has no doubt as to the beneficial
+effects of perusing the romances. Indeed he goes so far as
+to exhort his friend, Sir John Oldcastle, to leave off studying
+Holy Writ, and to read 'Lancelot de lake, Vegece, or the
+Siege of Troie or Thebes.' 'What do ye now,' says Caxton
+in 'The Order of Chivalry,' 'but go to the baynes and playe
+atte dyse? . . . Leve this, leve it, and rede the noble volumes
+of Saynt Graal, of Lancelot, of Galaad, of Trystram, of
+Perseforest, of Percyval, of Gawayn, and many mo. Ther
+shalle ye see manhode, curtosye, and gentylnesse.'</p>
+
+<p>What other system in this world could have bestowed that
+absolute serenity of mind which those who practised chivalry
+retained amid the tumults of their life? The Saracens,
+abashed by the tranquil spirit of their royal prisoner, Louis <span class="smcap">ix.</span>,
+mistook his humility for pride. In vain did they threaten
+him with torture: the king only replied 'Je suis prisonnier<span class='pagenum'><a name="Page_91" id="Page_91"></a>[<a href="./images/91.png">91</a>]</span>
+du Sultan, il peut faire de moi &agrave; son vouloir.' And when at
+last the Sultan's murderer rushed into his prison, his hands
+dripping with blood, and crying, 'What will you give me for
+having destroyed him who would have put you to death?' the
+king was more struck with horror at the crime than with fear
+for his own safety, and remained motionless, disdaining to
+answer. Thereupon the Saracen, maddened by a tranquillity
+which he rightly attributed to the immense power of Christian
+chivalry, presented the point of his blood-stained sword to the
+king's breast, crying, 'Fais moi chevalier, ou je te tue.'
+'Fais toi Chrestien,' replied the intrepid king, 'et je te
+ferai chevalier.'</p>
+
+<p>We are accustomed nowadays to look upon chivalry merely
+as a knightly institution which had to do solely with tournaments,
+banquets, knight-errantry, and the rescuing of encastled
+maidens. The modern acceptance of the term omits all those
+gentle qualities of mind which go to make the true chivalric
+disposition. We associate chivalry with 'fair play' combined
+with 'manliness'; and humility has no part in it. Indeed
+it never enters into our mind that it was a system of
+'humanyte, curtosye, and gentylnesse.' More, it was a
+religion deeply ingrained in the hearts of men, a religion
+which spread through all grades of society, and one which
+consisted in the beatifying of the noblest qualities of human
+nature; and it has left an indelible mark upon our national
+character. Chivalry is not dead to-day as thoughtless people
+so often exclaim; it will never die so long as our national
+characteristics endure, though to-day it passes under a
+different name. 'Sport' we call it now, and we pride ourselves
+in being 'sporting' even in the hour of death&mdash;witness
+the countless instances brought about by the late great war.</p>
+
+<p>Bertrand du Guesclin, one of the greatest and most fearless
+exponents of the chivalric spirit, and the Black Prince's most
+redoubtable enemy, fell at last into the hands of the English.
+One day at Bordeaux the Prince summoned him from his
+prison, and asked him how he fared. 'Par may foy,<span class='pagenum'><a name="Page_92" id="Page_92"></a>[<a href="./images/92.png">92</a>]</span>
+monseigneur,' replied Bertrand, 'il m'ennuye de n'entendre
+que le chant des Souris de Bourdeaux; je voudrois bien ouyr
+les Rossignols de nostre pais'; but he added that he loved
+honour better than aught else and never had anything brought
+him more glory than his prison, seeing that, as all the other
+prisoners had been ransomed, he was kept there only through
+fear of his prowess. The Prince of Wales, touched in his
+honour (or rather pride) at du Guesclin's words, agreed to
+liberate Bertrand upon payment of seventy thousand florins
+of gold.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> 'But what was more extraordinary in this
+adventure,' says a French chronicler, 'was that the Princess
+of Wales gave him thirty thousand, and Sir John Chandos,
+who had taken him prisoner, took upon himself to pay what
+was wanting to make the sum complete.' 'Sporting,' was
+it not? Truly we are a marvellous race, and it is not to be
+wondered that other nations, from whom this spirit has long
+passed away, despair of ever being able to understand us.</p>
+
+<p>England has always been the home of chivalry. La
+Colombi&egrave;re in his 'Vray Th&eacute;atre d'Honneur et de Chevalerie
+ou le Miroir Heroique de la Noblesse' remarks that the
+greatest number of the old romances have been more
+particularly employed in celebrating the valour of the knights
+of this kingdom than that of any other; because, in fact,
+they have always loved such exercises in an especial manner.
+'The city of London,' writes Francisco de Moraes in the
+'Palmerin de Inglaterra,' 'contained in those days all, or the
+greater part, of the chivalry of the world.' In Perceforest
+a damozel says to his companion 'Sire chevalier, I will gladly
+parley with you because you come from Great Britain; it is
+a country which I love well, for there habitually (coustumierement)
+is the finest chivalry in the world; c'est le pays au<span class='pagenum'><a name="Page_93" id="Page_93"></a>[<a href="./images/93.png">93</a>]</span>
+monde, si comme je croy, le plus remply des bas et joyeulx
+passetemps pour toutes gentilles pucelles et jeunes bacheliers
+qui pretendent a honneur de chevalerie.'<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></p>
+
+<p>The entire cycle of legends which has the Holy Grail for
+its centre is concerned with Britain and Britain alone.
+Caerleon and Winchester, Tintagel and Glastonbury, these
+are the chief stages in this great romance of perfect knighthood;
+and whether related by a scribe of Hainault in the
+thirteenth century or sung by a Welsh bard before the Norman
+Conquest or praised at the court at Paris by the favourite
+troubadour of Philip Augustus, it is all one as regards the
+setting and the chief characters. 'Whether for goodly men
+or for chivalrous deeds, for courtesy or for honour,' wrote the
+Norman chronicler Wace in the middle of the twelfth century,
+'in Arthur's day England bore the flower from all the lands
+near by, yea from every other land whereof we know. The
+poorest peasant in his smock was a more courteous and valiant
+gentleman than was a belted knight beyond the sea.'</p>
+
+<p>There is a pleasing story which relates how Robert Bruce,
+marching with his army in the mountains of Ireland, heard a
+woman crying during one of the halts. He inquired immediately
+what was the matter, and was told that it was a
+camp-follower, a poor laundress, who was taken in child-bed;
+and as it was impossible to take her with them, she bemoaned
+her fate in being left behind to die. The king replied that
+he is no man who will not pity a woman then. He ordered<span class='pagenum'><a name="Page_94" id="Page_94"></a>[<a href="./images/94.png">94</a>]</span>
+that a tent should be pitched for her immediately, and that
+she should be attended at once by the other women; and
+there he tarried his host until she had been delivered and
+could be carried along with them. 'This,' says the Chronicler,
+'was a full great courtesy.' Chivalry? In the very highest
+sense of the word.</p>
+
+<p>We must be careful lest, losing sight of the many attributes
+of chivalry, we incline towards the erroneous view that it was
+confined entirely to the upper classes. That the manuscript
+volumes of the romantic tales which were so eagerly purchased
+and treasured by the educated classes could never possibly
+come into the hands of the rude illiterate peasants is a
+fallacious argument. Scanty indeed would be our folk-lore
+had it all been transmitted graphically. Chaucer bears
+evidence of the widespread popularity of these heroic tales
+in his day:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Alexaundres storie is so commune<br /></span>
+<span class="ihalf">That every wight that hath discrecioune<br /></span>
+<span class="ihalf">Hath herde somewhat or al of his fortune.'<br /></span>
+</div></div>
+
+<p>The incidents of these immortal tales were as well known to
+the humblest as to the highest in the land. We have abundant
+evidence of their popularity when recounted in front of the
+fire in hostel or homestead. Even so late as Milton's day it
+was the custom to recount knightly adventures and fairy tales
+about the evening fireside. When</p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">the live-long daylight fail<br /></span>
+<span class="i0">Then to the Spicy Nut-brown Ale,<br /></span>
+<span class="i0">With stories told of many a feat,<br /></span>
+<span class="i0">How <i>Faery Mab</i> the junkets eat,<br /></span>
+<span class="i0">&middot;       &middot;       &middot;       &middot;       &middot;       &middot;<br /></span>
+<span class="i0">Where throngs of Knights and Barons bold,<br /></span>
+<span class="i0">In weeds of Peace high triumphs hold,<br /></span>
+<span class="i0">With store of Ladies, whose bright eyes<br /></span>
+<span class="i0">Rain influence, and judge the prise,<br /></span>
+</div></div>
+
+<p>until at length</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Thus done the Tales, to bed they creep,<br /></span>
+<span class="i0">By whispering Winds soon lull'd asleep.<br /></span>
+</div></div>
+
+<p>How great a part of the pleasures of this world have they
+missed whose pulses are never stirred by the Spirit of
+Romance! Content and Peace of Mind may be had by all<span class='pagenum'><a name="Page_95" id="Page_95"></a>[<a href="./images/95.png">95</a>]</span>
+who will offer up sacrifices to obtain them; but Imagination
+is not to be had at any price unless it be a part of our birthright.
+Content may yield a tranquillity of mind that refreshes
+the soul, but it is Imagination alone that can produce that
+spiritual exaltation which takes our minds from worldly things,
+carries us backwards or forwards through countless ages of
+the past or &aelig;ons of futurity, and enables us to ride in the
+chariot of Ph&oelig;bus. It is a vast library in itself.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'He had small need of books; for many a tale<br /></span>
+<span class="ihalf">Traditionary round the mountains hung,<br /></span>
+<span class="ihalf">And many a legend, peopling the dark woods,<br /></span>
+<span class="ihalf">Nourished Imagination in her growth.'<br /></span>
+</div></div>
+
+<p>It was the fortune of our book-hunter once to spend an
+afternoon in June upon the downs near Winchester. To
+southward of the old town there is a deep grassy hollow,
+crescent-shaped, its southern slope fringed with wood; and
+here in the shade he lay reading the 'Morte d'Arthur' of old
+Malory. Coming at length to the Noble Tale of the
+Sangreal, he read how King Arthur, having come 'unto
+Camelot by the houre of undorn on Whytsonday,' and feasting
+with the fellowship of the Round Table, was told of the marvel
+wrought unto Balin's sword by Merlin.</p>
+
+<p>You will remember that Balin fought unbeknown with his
+brother Balan, that each wounded the other unto death, and
+that they were buried by Merlin in the same tomb. Then
+Merlin 'lete make by his subtylyte that Balyn's swerd was
+put in a marbel stone standyng up ryght as grete as a mylle
+stone, and the stone hoved alweyes above the water, and
+dyd many yeres, and so by adventure it swam doun the streme
+to the Cyte of Camelot that is in Englysshe Wynchestre.'</p>
+
+<p>To the west the downs slope steeply into the river valley,
+and set in the rich green meadows like a skein of silver
+threads the book-hunter could discern the Itchen with its
+attendant rivulets. So he gazed across to the stream and
+pondered over this marvellous stone which 'hoved' always
+above the water, a sword set in it so that the pommel alone
+could be seen, 'and in the pomel therof were precyous stones<span class='pagenum'><a name="Page_96" id="Page_96"></a>[<a href="./images/96.png">96</a>]</span>
+wrought with subtyle letters of gold.' It was the symbol
+which was to prove the youthful Galahad the <i>haut prince</i> who
+should achieve the Sangreal.</p>
+
+<p>That same evening, wandering along the river's bank below
+the city, his head full of the wondrous tale, an adventure
+befell him. It was dusk, and he had crossed the stream
+at a ford, when suddenly he saw the stone. It was lying upon
+its side, not a dozen paces from the water. There was no
+doubt whatever about it. It was roughly five feet long, about
+half as wide and thick, and of a curious reddish-brown&mdash;the
+colour of dried blood.</p>
+
+<p>'Sir,' said the squire who brought the news to the King
+and his Knights, 'there is here bynethe at the Ryver a grete
+stone which I saw flete above the water, and therin I sawe
+styckyng a swerd. The Kynge sayde, I wille see that
+marveill. Soo all the Knyghtes went with hym. And whanne
+they came unto the ryver they fonde there a stone fletyng,
+<i>as hit were of reed marbel</i>, and therin stack a fair ryche
+swerd.'</p>
+
+<p>I confess that not a little awe was mingled with delight
+as our book-hunter gazed upon the stone, walked round it,
+touched it! Then suddenly away in the old city a bell tolled,
+and he recollected that it was Whitsun Eve! That walk home
+in the twilight was something not easily to be forgotten, and
+neither supper nor a pipe could bring him back to earth and
+the twentieth century again. Next morning he was up early,
+anxious to see if any trace were left of the spot where this
+marvel had occurred, for it was scarcely possible that the
+whole adventure was other than a dream. But the spot was
+soon found, and sure enough there was the stone or peron,<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a>
+and he could examine it in the sunshine at his leisure. How
+it got there or whence it came it were impossible to guess;
+the chalk for miles around contains nothing but flints, and
+the peron was smooth and polished 'as a mill-stone.'</p>
+
+<p class="figcenter"><a href="./images/ill-12.jpg"><img src="./images/ill-12_th.jpg" alt="THE PERON" title="THE PERON" /></a></p>
+<p class="figcenter">THE PERON</p>
+
+<p><span class='pagenum'><a name="Page_97" id="Page_97"></a>[<a href="./images/97.png">97</a>]</span>
+That Winchester is not Camelot antiquaries have told us
+often enough. The city of the Knights may have been in
+the West Country or in Wales for aught our bookman cares;
+but until they can produce a likelier site and a better peron
+he will continue to take Sir Thomas's word for it.</p>
+
+<p>One other point. I have said that the stone lay some few
+paces from the water. You will notice when you pay a pilgrimage
+to the stone (it lies at the ford, hard by a church) that the
+ground about it is almost level with the water, so that when
+the river is in flood the stone must be almost submerged: in
+other words, it would then <i>hove above the water</i>. It is easy
+to see from the bank on the other side that the river has
+changed its course by a few yards, leaving the stone now
+high and dry. If you dispute this, why then I can only say
+that the stone, as 'by adventure it swam down the stream,'
+must have been cast there by the river when in flood. That
+there is a cleft in the stone whence Galahad withdrew the
+sword I can neither affirm nor deny; it <i>may</i> have closed up,
+for with perons of this nature all things are possible, or the
+stone itself <i>may</i> have got turned over.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> At all events I for
+one shall not be so rash as to cast suspicion upon so historic a
+relic.</p>
+
+<p>For those materialists who doubt that such an event ever
+took place, I will propound a theory. That the first twelve
+books of the 'Morte d'Arthur' were translated from the
+French by Sir Thomas Malory seems probable. Caxton says
+as much in his Preface, and the Epilogue to Book <span class="smcap">xii.</span> reads,
+'Here endeth the second book of Syr Tristram that was
+drawen oute of Frensshe in to Englysshe. But here is no
+rehersal of the thyrd book. And here foloweth the noble
+tale of the Sancgreal that called is the hooly vessel.' It has
+been shown<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> that the stories of the Holy Grail are probably
+of Welsh origin, and&mdash;Sir Thomas is said to have been a<span class='pagenum'><a name="Page_98" id="Page_98"></a>[<a href="./images/98.png">98</a>]</span>
+Welshman. Is it possible that he was ever at Winchester,
+that he wandered on Whitsun Eve (as did our book-hunter)
+along the Itchen, that he came to and roused over the stone
+(smooth and polished as a mill-stone), so different from any
+to be seen hereabout, and that as he wandered back to
+Camelot he wove the delicious romance about it? At all
+events, if he were ever there, it is at least possible that the
+spot was in his mind when adapting the Welsh legends for his
+book. Mark how well the events which I relate accord with
+the topography of the spot. The stone was 'beneath at the
+river,' the damozel who comes to view the marvel 'came
+rydynge doune the ryver . . . . on a whyte palfroy toward
+them,' and there is mention of the river meads. It is hard to
+believe that Sir Thomas would definitely assert that Camelot
+'is in English Winchester,' and make it the chief scene of his
+romance, had he never visited the town.</p>
+
+<p>The book was finished, Caxton tells us, 'the ix yere of the
+reygne of king edward the fourth,' 1469; but was not
+'chapytred and emprynted and fynysshed in th'abbey
+Westmestre' until 'the last day of July the yere of our lord
+<span class="smcap">m.cccc.lxxxv.</span>,' 1485. Three weeks later a fateful battle
+was fought&mdash;that of Bosworth, which placed the crown upon
+Harry Tudor's head. The facts that the new king was a
+great benefactor to Winchester, that he held the castle to have
+been built by King Arthur, and that he brought hither his
+queen to be delivered of his first-born (whom he named
+Arthur), point to something more than a chance connection
+between the city and the book.</p>
+
+<p>Henry Tudor was also a Welshman, and possibly Malory
+was of the king's acquaintance, if not actually of his retinue.
+Bale asserts that Malory was occupied with affairs of state.
+But conclusions are dangerous things. The preface to the
+'Morte d'Arthur' ascribes the ordering of the book to
+Edward the Fourth. '. . . I made a book unto th'excellent
+prynce and kyng of noble memorye kyng Edward the fourth.
+The sayd noble Ientylmen instantly requyred me t'emprynte<span class='pagenum'><a name="Page_99" id="Page_99"></a>[<a href="./images/99.png">99</a>]</span>
+thystorye of the sayd noble kyng and conquerour king Arthur
+and of his knyghtes, <i>wyth thystorye of the saynt greal</i>, and
+of the deth and endynge of the sayd Arthur; Affermyng that
+. . . there ben in frensshe dyvers and many noble volumes
+of his actes and also of his knyghtes.'<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> Which looks rather
+as if Edward the Fourth (who had no reason to love the
+Welsh&mdash;you will remember that he had beheaded Owen
+Tudor, Richmond's grandfather) had heard of or read
+Malory's work, and was anxious to possess it in print, though
+unwilling to credit it to a follower of the Lancastrian party.
+It is a pleasant field for surmise, and, however wrongly,
+it is good to picture old Sir Thomas strolling along those
+pleasant meads beside the river, weaving his immortal cycle
+of tales.</p>
+
+<p>There is a connection somewhere between Malory and
+Caxton too. In 1469 Malory finished his book, and in March
+of that year Caxton began to translate le Fevre's 'Recueil
+des Histoires de Troyes.' Where and when did Malory meet
+Caxton, who lived for some years about that time at Bruges,
+discovering that they possessed the same literary tastes? Did
+Malory hand the manuscript of his work to Caxton, in the
+service of the Duchess of Burgundy, sister of Edward the
+Fourth, and did the great printer (or the Duchess) show it
+to that king? We shall never know, and only Imagination can
+fill the gap.</p>
+
+<p>But to continue. It was Whitsunday, and as the last notes
+of the voluntary echoed away among those 'antick pillars
+massy proof' of the great church, our book-hunter's thoughts
+turned once more to King Arthur and his knights. For was
+it not upon this very day that the vision of the Holy Grail
+was vouchsafed to them as they sat at meat within the castle
+hall?</p>
+
+<p><span class='pagenum'><a name="Page_100" id="Page_100"></a>[<a href="./images/100.png">100</a>]</span>
+'And thenne the kynge and al estates wente home unto
+Camelot, and soo wente to evensonge to the grete mynster.
+And soo after upon that to souper. . . . Thenne anone they
+herd crakynge and cryenge of thonder, that hem thought the
+place shold alle to dryve. . . . Not for thenne there was no
+knyght myghte speke one word a grete whyle. . . . Thenne
+ther entred in to the halle the holy graile coverd with whyte
+samyte, but ther was none myghte see hit,<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> nor who bare
+hit. . . . And whan the holy grayle had be borne thurgh the
+halle thenne the holy vessel departed sodenly, that they
+wyste not where hit becam: thenne had they alle brethe to
+speke.'</p>
+
+<p>So the man of books climbed the hill and presently stood
+within the beautiful hall with its glorious black marble pillars,
+sole remnant of the ancient stronghold. The round table
+(barbarously painted) now hangs upon the western wall, but
+it needed little imagination to picture it set down in the midst,
+covered with a fair silken cloth ('the Kynge yede unto the
+syege Peryllous and lyfte vp the clothe, and fonde there the
+name of Galahad'), and on it set rich flagons and dishes,
+strangely wrought and worked with precious stones, and all
+about the table the famous knights in costumes strange to
+our eyes. . . . Launcelot upon the king's left,<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> now glancing
+with fatherly pride upon the youthful Galahad (occupying the
+Siege Perilous), now smiling up at Queen Guenevere seated
+in the gallery with her maidens . . . . the walls hung with
+coarse dull-red cloth and bundles of sweet-smelling herbs
+hanging here and there, the floor strewn with fresh green
+rushes, gathered early that morning in the meadows below
+. . . . by the king's side a snow-white brachet, a golden collar
+about its neck . . . . and so on and so on. Imagination
+forsooth! He must be dull indeed who, reading the book
+and standing in the hall, cannot picture the scene for himself.</p>
+
+<p><span class='pagenum'><a name="Page_101" id="Page_101"></a>[<a href="./images/101.png">101</a>]</span>
+It is useless to declaim that the great hall of the castle was
+not completed until the time of Henry the Third, that it did
+not exist at all before the Norman Conquest, that the castle
+occupied by King Arthur is more likely to have been on the
+site of the more ancient one which stood near the river (now
+known as Wolvesey), and that the great round table (eighteen
+feet in diameter, of stout old English oak, cunningly bolted
+together) was made during the former king's reign and was
+never used by Arthur at all. What are such crude exactitudes
+to us? As well object to the heavy plate-armour worn by the
+knights&mdash;everybody knows this to be an anachronism of nigh
+a thousand years. Romantic phantasy and scientific data are
+as far apart as the poles, and none but a fool would try to
+reconcile them. King Arthur feasted in the castle hall, says
+Malory, and so far as our book-hunter is concerned he shall
+feast there as often and as long as he likes.</p>
+
+<p>There is a romance, too, about the name of this older castle.
+<i>Wolvesey</i> its scanty ruins are called to-day, and the antiquarians
+tell us that this was originally WULF'S EY, or
+'the wolf's isle.' Was it once the scene of a battue by the
+young bloods of the tribe to drive out some wolves that had
+established themselves there, a fierce fight with axes and
+spears at close quarters whilst the rest of the tribe lined the
+opposite banks and prevented any escape? Or was it the
+scene of some homeric combat <i>seul <ins class="err" title="Transcriber's Note: original reads '&aacute;'">&agrave;</ins> seul</i>? Perhaps some
+day a wolf's skull will be dug up there, with a stone axe
+sticking in it. But the history of it has gone for ever, had
+gone, probably, long centuries before King Kynegils found
+it a strong site for his castle.</p>
+
+<p>It was at Wolvesey that King Alfred himself is said to have
+penned some part of the Saxon Chronicle now treasured in
+the library of Corpus Christi College, Cambridge. He was
+a true book-lover, this great English king, and it is to the
+school of illuminators which arose later in the 'new minster'
+by St. Swithun's that we are indebted for some of the most
+beautiful examples of medi&aelig;val art that have come down to<span class='pagenum'><a name="Page_102" id="Page_102"></a>[<a href="./images/102.png">102</a>]</span>
+us. The Golden Book of Edgar, Bede's 'Ecclesiastical
+History'&mdash;in the Cathedral library&mdash;and the exquisitely
+illuminated 'benedictional' of St. &AElig;thelwold possessed by
+the Duke of Devonshire, all these were produced before the
+end of the tenth century by the artists who laboured so
+patiently in the Scriptorium beside those peaceful meadows.
+For two centuries the Winchester school of illuminators was
+renowned throughout the western world.</p>
+
+<p>It is a pleasant spot, this ancient city of Camelot, and I
+like to read that among the aldermen who assembled at the
+Tun Moot in bygone days were a pinder, a mole-catcher, and
+an ale-conner. A stout fellow, this last, for without his
+permission not a single barrel of beer could be broached.
+The business transacted at the Moot, we are told, was little
+more than to receive taxes, provide for the defence of the
+city, and settle disputes. After which the aldermen (with the
+permission of the ale-conner, it is to be presumed) proceeded
+to consume the ale allowed to them by custom immemorial
+at the rate of two gallons a man at each sitting. <i>O tempora,
+O mores!</i></p>
+
+<p>At one time, however, that kill-joy Edgar came near to
+causing an insurrection, for he ordained that all drinking-horns
+should have pegs set in them at regular intervals and that
+no man might drink below his peg. Thus were practically
+abolished those friendly drinking-bouts between Danes and
+English that did so much to rid the town of its northern
+intruders. <i>Floreat Wintonia</i>, and may it stand for ever to
+book-lovers and lovers of romance as the ideal of all that is
+knightly and kingly and romantic&mdash;and hospitable.</p>
+
+<p>It is to be feared, however, that the Spirit of Romance is
+now moribund&mdash;if, indeed, it has not already passed away;
+and with it we are losing one of the most ennobling qualities
+in our nature. We pride ourselves nowadays in living in a
+'matter-of-fact' age, by which we mean a practical,
+unromantic age. But is it a matter for so much pride after
+all? Granted that the benefits which have accrued to man<span class='pagenum'><a name="Page_103" id="Page_103"></a>[<a href="./images/103.png">103</a>]</span>kind
+during the past century and a half are worth all the
+Romance in the world; but is the relegation of Romance to
+the domain of History a <i>sine qua non</i> so far as progress is
+concerned? In our haste to get on we have tried to drive
+Romance and Progress in tandem, with steady-going Progress
+in the shafts; but having found that together they need
+skilful handling, we have unharnessed the leader and hitched
+him on behind, to be dragged along anyhow in our wake.</p>
+
+<p>There must be many who regard the loss of romantic ideals
+as a matter for more than passing regret. Reverence, too,
+not only for our elders and betters but even for the great
+works of our predecessors, is going the way of its cousin,
+Romance. Recently, rambling over the Hampshire downs,
+our bookman toiled up the grassy bosom of this rolling land
+to a still loftier height whence on a clear day the Isle of Wight,
+nigh thirty miles away, can be distinguished. As he neared
+the top a mound came into view, one of those unmistakable
+monuments raised o'er the graves of the great chieftains of
+our ancient race. It was a most impressive spot, the highest
+point for many miles round, and the book-hunter wondered
+who he was that lay there in solemn majesty keeping watch
+through the long centuries over the land that once was his.
+On approaching closer the wayfarer was horrified to see that
+on the top of the mound, in the centre, there was a deep hole.
+Its import was obvious. The mortal remains of one who
+had lain for centuries in a grandeur befitting his lordly rank
+had been torn from their sepulchre, probably by some
+irreverent commoner, and were now doubtless exhibited to
+the vulgar gaze, in a glass case.</p>
+
+<p>Doubtless the ghoul (for he that rifles tombs is none other)
+who perpetrated this enormity described himself as an
+arch&aelig;ologist. Possibly he was of gentle birth and had
+received a University education. If so, so much the greater
+his crime, for he could not plead ignorance. Surely no
+seriously minded person can urge that the knowledge thus
+gained as to ancient methods of burial, age of the remains,<span class='pagenum'><a name="Page_104" id="Page_104"></a>[<a href="./images/104.png">104</a>]</span>
+and so on, warranted such sacrilege.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> We can only hope that
+the chieftain was granted five minutes with the arch&aelig;ologist
+when that individual at length entered the land of shadows.
+Doubtless the arch&aelig;ologist had no qualms whatever, and
+slept soundly in the belief that by his 'researches' he had
+wrought great things for mankind; but when he encountered
+the chieftain it is unlikely that they would see eye to eye.
+'Happy are they who deal so with men in this world that
+they are not afraid to meet them in the next,' and happier
+still are they who deal so reverently with the earthly memorials
+of the dead, that there may be many to speak in their favour
+when they approach the Great Tribunal.</p>
+
+<p class="figcenter"><a href="./images/ill-13.jpg"><img src="./images/ill-13_th.jpg" alt="THE HALL OF THE KNIGHTS" title="THE HALL OF THE KNIGHTS" /></a></p>
+<p class="figcenter">THE HALL OF THE KNIGHTS</p>
+
+<p>This particular form of irreverence, however, has been a
+byword throughout all the ages; civilisation and education
+have done little to check it, possibly because the romantic
+spirit which forbids such crimes is born, not made. King
+Arthur's bones were dug up in the twelfth century. 'Mummie
+is become Merchandise, Mizraim cures wounds, and Pharoah
+is sold for balsoms,' wrote Sir Thomas Browne five hundred
+years later. In 1788 the massive stone coffin which held the
+remains of our illustrious King Alfred was discovered facing
+the High Altar at Hyde Abbey, Winchester, whither they
+had been translated in 1110. The coffin was broken in pieces,
+the bones found in it were scattered, and the lead enveloping
+the remains was sold by the workmen. A stone from the
+wrecked tomb, bearing the name &AElig;LFRED, was carried off
+to Cumberland as a curio. Hyde Abbey was razed to make
+way for a county Bridewell. 'At almost every stroke of the
+mattock,' relates an eye-witness, 'some antient sepulchre or
+other was violated.' Examples of such desecrations can be
+multiplied without number. The Great Alaric was wise
+indeed when he had the course of a river changed so that his<span class='pagenum'><a name="Page_105" id="Page_105"></a>[<a href="./images/105.png">105</a>]</span>
+bones, when lying at the bottom of it, might never be
+disturbed.</p>
+
+<p>Our ancient laws dealt sternly with this matter. 'If any
+man shall dig up a body that has already been buried,' ruled
+Henry the First, 'he shall be <span class="smcap">wargus</span>,' that is, banished
+from his district as a rogue. 'Malice provoketh not to dig up
+tombes and graves,' wrote an unknown Elizabethan scholar,
+commenting on this; 'and though it should, yet religion doth
+now restraine it, by reason it is counted sacriledge to violate
+anythinge in churches or churchyards. Covetousness made
+some to dig up the dead, because ornaments, jewels, or money,
+were in times past buried with many; but now that custome
+seasing, no man for desire of gaine is invited to commit this
+offence, and it now being generally reputed a most vile acte,
+no man will presume to transgresse these lawes, and every
+man is a law to himself therein.' But in this 'enlightened'
+age, when we are held to be above the need of such legislation,
+there is nothing to prevent the arch&aelig;ologist from practising
+his hobby where and when he please&mdash;so long as he avoids
+the churchyards. 'Tush,' he cries, 'here lies an ancient
+heathen who was not even buried in consecrated ground. We
+may find some curious relics buried with him. Up with his
+bones.'</p>
+
+<p>'Freedom for all men' may be a glorious motto, yet when
+we view these crimes (and the carved initials which deface
+so many of our most sacred monuments) we cannot but muse
+that there are many who should never be free&mdash;at least from
+the restraint of discipline. 'None can love freedom heartily,
+but good men: the rest love not freedom, but licence.'<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> There are 242 pages in this editio princeps, after which should come a
+leaf with (<i>a</i>) blank (<i>b</i>) device of John Hervey or Hervagius. It was english'd
+by Thomas Underdowne, and published in small octavo by Frauncis Coldocke,
+at the sign of the greene Dragon in Paules churchyeard, in 1587.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> "Il estoit bon musicien, tres-bon Po&euml;te Fran&ccedil;ois et Italien, se delectant
+singulierement a lire les belles et naifues rithmes de nos Po&euml;tes Prouen&ccedil;aux
+. . . . . . . tellement qu'il a compose en son temps plusieurs beaux et
+gracieux Romans comme <i>La conqueste de la douce mercy, et Le mortifiement
+de vaine plaisance</i> . . . . . Mais sur toutes choses aimoit il d'un amour
+passionnez la peinture . . . . . qu'il estoit en bruit et reputation entre les
+plus excellents Peintres et Enlumineurs de son temps." (Nostradamus). He
+had a fine library which contained all the most celebrated compositions of
+the Proven&ccedil;al poets and troubadours.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> It was quite a dramatic scene. Bertrand taunted the Prince until the
+latter named a sum; and to his surprise De Guesclin at once cried "Done!"
+and all at the table sprang to their feet. "Oh Sir," they cried to the Prince,
+"what have you done!" "I hold you to your word," cried Du Guesclin&mdash;and
+so it was. See Hay du Chastelet, Claude Menard, and other biographers,
+also the Inventaire des Chartres, tome VI. (See also footnote on
+page <a href="#Footnote_79_79">216</a>.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> This great romance does not appear ever to have been translated into
+English, which is somewhat strange, for its hero, Perceforest, was King of
+England, and we are told at the outset that the volume had an English origin.
+Philippe Comte de Hainault having accompanied Marguerite daughter of
+Philippe III. (<i>le hardi</i>) to England in order to be present at her nuptials
+with Edward I. (1299), the Count made an excursion to the north of England.
+Chancing to harbour at a monastery 'on the banks of the Humber,' he was
+shown an ancient manuscript which had been discovered in a vault under the
+ancient (? Saxon) part of the building. One of the monks had translated it
+into Latin. Philippe borrowed it and took it back with him to Hainault,
+where it was reduced into French. It is every whit as good as the Morte
+d'Arthur, and still awaits its Malory. The 1531 Paris edition consists of
+six folio volumes, the page in double columns of black letter type, with
+53 lines to the column. The whole book contains rather more than six
+hundred thousand words. Here is a chance for some enthusiast! At the
+least he would learn patience, carefulness&mdash;and a deal of medi&aelig;val French.</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> O. Fr. <i>pierron</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> That there is a distinct crack on its upper side, you may see from the photograph
+here reproduced.</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Sir J. Rhys, 'Studies in the Arthurian Legend,' Oxford, 1891, pp. 300-327.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> In the list of books at the Louvre belonging to Charles <span class="smcap">v.</span> of France,
+drawn up by Gilles Malet, his librarian, in 1373, there is a volume 'Du roy
+Artus, de la Table Ronde, et de la Mort dudit roy, tres bien escript et
+enlumine.' It would be interesting to compare this manuscript (if it is still
+in existence) with Malory's work, and to see whether the incident of the
+<i>peron</i> is described therein.</p></div>
+
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> <i>i.e.</i> the golden vessel, because of the samite (silken) covering.</p></div>
+
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> As the table is painted at present, 'S. Galahallt' is upon the King's immediate
+left.</p></div>
+
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Of one of these enterprising antiquaries (a clergyman) it is proudly
+related that in the course of <i>three years</i> "he opened no less than a hundred
+and six tumuli and graves, and obtained from them a large proportion of that
+valuable collection of antiquities now in possession of Mr. Meyer, of Liverpool."
+See <i>A Corner of Kent</i>, by J. R. Planch&eacute;, 1864, page 115.</p></div>
+
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Milton.</p></div>
+</div>
+<p>&nbsp;</p>
+
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_106" id="Page_106"></a>[<a href="./images/106.png">106</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-14.jpg"><img src="./images/ill-14_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h2>
+
+<h4>THE CARE OF BOOKS</h4>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Wher so ever y be come over all<br /></span>
+<span class="ihalf">I belonge to the Chapell of gunvylle hall;<br /></span>
+<span class="ihalf">He shal be cursed by the grate sentens<br /></span>
+<span class="ihalf">That felonsly faryth and berith me thens.<br /></span>
+<span class="ihalf">And whether he bere me in pooke or sekke<br /></span>
+<span class="ihalf">For me he shall be hanged by the nekke,<br /></span>
+<span class="ihalf">(I am so well beknown of dyverse men)<br /></span>
+<span class="ihalf">But I be restored theder agen.'<br /></span>
+<span class="i12">(<i>Written in a breviary in the Library</i><br /></span>
+<span class="i12">&ensp;&ensp;<i>of Gonville and Caius College.</i>)</span>
+</div></div>
+
+<p>&nbsp;</p>
+<div class="clearfix"><div class="figleft"> <a href="./images/ill-15.jpg"><img src="./images/ill-15_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">herein</span> lies the charm of an old book?
+In its contents? Not altogether, for then
+would the reprint be just as acceptable;
+perhaps more so, for it would be possibly
+more legible, probably cleaner, certainly in
+a more convenient shape. In its scarcity,
+then? Partly, perhaps; yet not necessarily, for there are
+many 'old' books that are always eagerly bought up by
+collectors, though quite frequent in occurrence. Then wherein
+lies the old book's charm? It is chiefly in its appearance.</p></div>
+
+<p>It is the spiritual appearance rather than the material
+aspect of a book, however, that draws the book-lover to it.
+To the true bibliophile there is an intangible <i>something</i> about
+an old book which it is impossible to describe. That this
+feeling is closely akin to the impressive influence of antiquity
+there can be no doubt; for you may prove it by taking your
+book-lover successively to a modern free library and to a<span class='pagenum'><a name="Page_107" id="Page_107"></a>[<a href="./images/107.png">107</a>]</span>
+collection of ancient books, and noting carefully his expression
+in each. Though he be surrounded by thousands of volumes
+issued from the press during the last half-century, rich and
+luxurious works even, yet the probability is that he will be
+merely bored. But watch him as he stands before the thick
+oak shelves eagerly scrutinising the dim lettering on ancient
+calf and vellum back! See how his eye flashes as he takes
+down an ancient quarto, gently and reverently lest the headband
+be grown weak with age, and, carefully blowing the
+dust from its top edge, turns eagerly to title-page and
+colophon!</p>
+
+<p>And this feeling is not influenced by the surroundings
+which one is accustomed to associate with old books. Whether
+they be in a cathedral or college library, in a bookshop or the
+most modern of cases, it is all one to your true collector. It
+is the books and the books only about which he cares. No
+sooner does he feel the ancient tome within his hands than
+his soul is borne rapidly away upon the wings of fancy, far
+far back into the dim ages, high above all worldly considerations;
+caring, understanding, feeling, in tune with the magic
+so wondrously locked up in this ancient volume, to which his
+love of books alone has provided the key.</p>
+
+<p>It is no wonder that he is impressed, for the soul of the
+true book-collector is ever in communion with the <i>manes</i> of
+those who gave birth to his books. He is brother to author,
+paper-maker, compositor, publisher, and binder, understanding
+all their hopes, doubts, and fears, in sympathy with all the
+thoughts that gave his volumes their shape, size, and
+appearance. Have you not often realised, brother collector,
+the <i>spirit</i> that is hidden in every old book, the concentrated
+thoughts that have been materialised in giving it birth?
+Surely thoughts never die. 'Our thoughts are heard in
+heaven' wrote a neglected poet, and are not books
+'sepulchres of thought'?</p>
+
+<p>Happier is the book-collector than he who acquires ancient
+pieces of furniture, old vases, or pewter mugs. For, unlike<span class='pagenum'><a name="Page_108" id="Page_108"></a>[<a href="./images/108.png">108</a>]</span>
+the old book, these things can be reproduced in facsimile so
+that you may not tell the difference between old and new,
+and the reproduction may be stronger and more serviceable
+than the original. Moreover he is not troubled with qualms
+as to their genuineness, undergoing agonies of apprehension
+while each treasure&mdash;or otherwise&mdash;is submitted to the
+scrutiny of friends and experts.</p>
+
+<p>There is a lasting charm about a book of our choice which
+the antique-collector can never hope to experience. His
+treasure may be grotesque or it may be beautiful, in either
+case it may please the eye every time that he behold it,
+through many years. But beyond pleasure to the eye and
+perhaps a smug complacency in its possession, there is nothing
+else. He knows it inside-out, as it were, within a few minutes
+of its acquisition. Very different, however, is the case with
+a book. After the attraction exercised by its ancient
+appearance, the exterior aspect is in reality but a secondary
+consideration, and when we have expressed ourselves as to
+whether it be a fine or a poor copy, we turn at once to its
+contents. The very wording of the title-page gives us an
+inkling of the writer's character, places us upon his plane, and
+tunes our thoughts in harmony with his.</p>
+
+<p>What book-lover does not sympathise with that great man
+Lenglet du Fresnoy? Perhaps few men have come so
+completely under the spell of books; for he devoted a long
+life entirely to consuming the fruits of the master minds that
+had gone before him. In spite of the gossip concerning him,
+not always to his credit, that has come down to us, it is
+undeniable that by sheer love and knowledge of books he
+piled up a monument that will ever keep his name in memory
+among bibliophiles for he is numbered with such giants as
+Hain, Brunet, and Lowndes. The 'Methode pour &eacute;tudier
+l'Histoire' alone is sufficient to show his extraordinary knowledge
+of books; indeed, they were the very inspirers of his
+being and though his paths led him to high places, 'a passion
+for study for ever crushed the worm of ambition.' Having<span class='pagenum'><a name="Page_109" id="Page_109"></a>[<a href="./images/109.png">109</a>]</span>
+spent the greater part of his eighty-two years among old
+books, it was a modern one which caused his end; for,
+slumbering over its dulness, he fell into the fire and was
+burned to death!</p>
+
+<p>It is said of him that he refused all the conveniences offered
+by a rich sister, that he might not endure the restraint of a
+settled dinner-hour; preferring to browse undisturbed among
+his beloved tomes. His immense knowledge of ancient books
+is shown by the vast number of diverse works which he wrote
+and edited; but so forcible and controversial were his writings
+that he was sent to the Bastille some ten or twelve times.
+It is even related of him that he got to know the prison so
+well, that when Tapin (one of the guards who usually
+conducted him thither) entered his chamber, he did not wait
+to hear his commission but began himself by saying 'Ah!
+Bonjour, Monsieur Tapin,' then turning to the woman who
+waited on him, 'Allons vite, mon petit paquet, du linge et
+du tabac,' and went along gaily with M. Tapin to the Bastille.
+Verily the true bibliophile is not as other men, and a modern
+world looks upon him askance. Yet his portion is a happiness
+that riches cannot purchase, for his soul has found lasting
+comfort and contentment in a knowledge of the innermost
+recesses of human thought. There is no aspect or phase of
+the human mind with which he is unacquainted; and it is a
+knowledge that books alone can impart.</p>
+
+<p>Yet our true book-lover is not of those whose very religion
+is the preservation of the pristine appearance of their books,
+who deem it sacrilege to destroy one jot of the contemporary
+leather in which their treasures are clothed: liking rather to
+glue, varnish, and patch, preferring even a grotesque effect
+rather than sacrifice an inch of decayed calf. Their point of
+view is wholly admirable: that the only form in which we are
+justified in possessing a book is that in which it was originally
+issued to the world: that the men who bestowed great thought
+in giving it birth, to wit, author and publisher, know better
+what is meet and seemly for it than can any man of a different<span class='pagenum'><a name="Page_110" id="Page_110"></a>[<a href="./images/110.png">110</a>]</span>
+age: that one man's choice is another man's abhorrence: and
+so on, and so on. Granted these things are so; but surely
+he who possesses the volume may have some say in its
+appearance, since it exists upon his shelf solely for his own
+delight and for no other man's?</p>
+
+<p>'It is mine,' says Praktikos, 'may I not clothe it in the
+colours of the rainbow if it please me?'</p>
+
+<p>'Then you are a vandal,' replies Phulax, 'for you will
+ruin your book, and it will not be worth ten shillings when
+it returns from the binder.'</p>
+
+<p>And there's the rub: rebind your book and&mdash;in nine cases
+out of ten&mdash;<i>you will lower its market value</i>. Therefore, if
+the book-collector have any eye to the purely commercial value
+of his library, he will do well to become an 'original-boards-uncut'
+man at once. Handsome his library will never be,
+for here there will be a whole set of paper-bound volumes
+lacking backs, here a folio strangely patched and mended,
+there a book in rather dirty vellum somewhat cockled by
+damp, and so on. But he will have the satisfaction of knowing
+that his volumes retain, in their appearance at least, something
+of the spirit of the time in which they first saw light. Perhaps
+they will create for him the more easily that stimulating yet
+peaceful atmosphere imparted by a collection of old books.</p>
+
+<p>Is there not, then, any alternative to preserving one's
+volumes in a disreputable condition? Assuredly there is&mdash;there
+are two alternatives. Either the collector will be so
+wise (and, incidentally, so wealthy) as never to purchase a
+dilapidated book, or else he must exercise great common
+sense and much good taste, putting fancy entirely to one side.</p>
+
+<p>You possess a copy of Cotton's translation of the Commentaries
+of Messire Blaize de Montluc, folio 1674. It is a
+good, clean, tall copy, but clothed in tattered contemporary
+brown calf. Half of the back is missing, two of the corners
+are badly broken, and a piece of the leather upon the under
+cover is torn off. Perchance you elect to send it to your
+binder, with strict instructions that it is to be repaired with<span class='pagenum'><a name="Page_111" id="Page_111"></a>[<a href="./images/111.png">111</a>]</span>
+plain calf. In due course the volume is returned to you, and
+it now presents a fearful and marvellous appearance. It is the
+proud possessor of a new back, nearly but not quite matching
+the sides in colour, and upon this the remaining upper
+half of the original back has been pasted. The corners bulge
+strangely, and you can discern new leather underneath the
+old and wherever the old was deficient. The sides shine with
+polishing, and a patch&mdash;again not quite matching the original,
+for it is next to impossible to do this&mdash;has been inserted on
+the under cover. The whole volume shines unnaturally, and
+has rather a piebald appearance. In short, it reminds one of
+Bardolph's face&mdash;'all bubukles and whelks and knobs.'</p>
+
+<p>But perchance you possess another copy in precisely the
+same condition inside and out, and this you have decided must
+be rebound. It goes to your binder, always with your very
+definite instructions, and in due course returns, modestly
+attired in morocco of, let us say, a dark sage-green hue. On
+each side there is a plain double panel, 'blind' tooled; the
+back is simply lettered</p>
+
+<h5>BLAIZE<br />
+   DE<br />
+MONTLUC</h5>
+
+<p>and there are 'blind' lines at the sides of each band; but,
+beyond the lettering, there is no gilding whatever on the
+back. The edges have not been trimmed, much less cut,
+but have been left precisely as they were originally.</p>
+
+<p>Suppose now for an instant that you do <i>not</i> possess either
+copy, but that both are offered to you by a bookseller at
+precisely the same price. What will be your feelings as you
+handle the repaired copy? It is more than probable that you
+will sigh '<i>Poor thing</i>' as you open it gently for fear of
+cracking the old piece pasted on to the back. But, '<i>What a
+nice clean copy</i>' you will say as you take up the other; and
+it is improbable that you will hesitate long in making choice.</p>
+
+<p>The repairing of moderately old bindings is an excellent
+thing so long as it is not carried to extremes. Obviously<span class='pagenum'><a name="Page_112" id="Page_112"></a>[<a href="./images/112.png">112</a>]</span>
+there are many cases where it would be sheer foolishness to
+rebind the volume, slight repairs <i>at the hands of an
+experienced binder</i> being all that is necessary to enable the
+book to be described as a <i>fine, tall, clean copy, in the original
+binding, neatly repaired</i>. And this is where one's carefully
+considered judgment and good taste must be exercised.</p>
+
+<p>But advice is easier to give than to follow. If our purse
+be a slender one, it is next to impossible to confine our
+purchases to perfect copies in choice condition. And so it is
+unavoidable that a certain number of our volumes should be
+in a more or less dilapidated state. A book that we have long
+sought for crops up; it is a perfect copy, more or less clean
+inside, but in a sad state of decay as regards the binding. On
+this account it is offered to us at one-half the price which a
+sound copy would fetch, perhaps even less. Of course we buy
+it, and many others like it; so that at length we are faced
+with the choice between a formidable binder's bill and the
+alternative of harbouring a collection of wrecks.</p>
+
+<p>This temptation to acquire imperfect books and poor copies
+is a most insidious one, and few collectors can withstand it
+altogether. Andrew Lang, than whom there was never a
+more genuine book-lover, seems to have been as susceptible
+as most of us. 'I believe no man,' he writes in 'Books and
+Bookmen,' 'has a library so rich in imperfect works as the
+author of these pages.' Yet although the purchasing of a
+volume in a state of decay (externally, that is) is sometimes
+unavoidable, it should be every collector's endeavour, however
+modest his means, to avoid buying dilapidated books. If a
+book be at all frequent in occurrence it is far better to bide
+our time until a better copy turns up, even though we may
+have to pay a few shillings more for it, than to rest content
+with the possession of a sorry example in which we can take
+no pride, and one that will never be worth a penny more than
+we gave for it until it has passed through the binder's hands.
+Remember also that although the choicest binder in Europe
+may lavish his art upon our volume, yet a taller and cleaner<span class='pagenum'><a name="Page_113" id="Page_113"></a>[<a href="./images/113.png">113</a>]</span>
+copy <i>in the original, or contemporary, binding</i>, and in perfect
+condition, will ever command a better price in the sale-room.
+Our choice in binding&mdash;however appropriate to the book&mdash;may
+not be the choice of him who next possesses the volume.</p>
+
+<p>As an example of this discretion which one must exercise in
+rebinding one's volumes, here is an incident that occurred in
+a London sale-room a few years ago. A copy of Jane
+Austen's 'Mansfield Park' in three volumes, 1814, was put
+up for auction and realised &pound;20. It was bound in boards and
+was entirely uncut. Nevertheless it was not in the original
+binding, but it had been rebound in precisely the same style
+as that in which it was originally published. The paper labels
+had been reprinted in facsimile, and the edges had not been
+tampered with in any respect, not even 'trimmed.' The best
+price that had been realised previously for an uncut copy in
+the original boards was &pound;18 10s.</p>
+
+<p>The owner was indeed wise in his generation. Had he
+sent the volumes to his binder to be bound in full morocco
+'extra,' at a cost of, perhaps, twenty shillings apiece, the work
+would have realised, probably, seven or eight pounds. But
+by good judgment (and, in the writer's opinion at least, good
+taste) his expenditure would not exceed fifteen shillings for
+the three, his profit being four times as great. Not long ago
+two copies of the first edition of Keats' 'Endymion' appeared
+at an auction-sale in London. Both were 'uncut,' but one
+was in the original form in which it issued from the press, the
+other was bound in morocco. The former realised &pound;41, the
+latter &pound;17, 5s. <i>Dictum sapienti sat est.</i></p>
+
+<p>Old books, by which I intend sixteenth and early
+seventeenth century volumes, are always best left alone as
+regards the binding. If they be at all dilapidated, it is as
+well to have a case<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> made for them which can be lettered on<span class='pagenum'><a name="Page_114" id="Page_114"></a>[<a href="./images/114.png">114</a>]</span>
+the back, and they can then stand upon the shelf among one's
+other books. Nothing is more unseemly and incongruous
+than an ancient volume in a modern cover, and, try as the
+most skilful binder may, it is impossible to imitate an ancient
+binding so closely as to deceive the eye even momentarily.
+Do not seek to make them presentable by patching and
+repairing, unless they be too far gone for their value to be
+of any consideration.</p>
+
+<p>In the case of early-printed books and works of great rarity,
+never, upon any account, tamper with your copy or seek to
+improve it in any way. Not only, as I have said, is it quite
+impossible to impart a contemporary appearance to a
+fifteenth-century book however famous and skilful the binder,
+but age leaves its mark upon the constitutions of books as
+surely as it does upon mankind. No volume of that age will
+stand the handling of a casual reader, still less the pulling,
+patting, and pressing that re-sewing and re-covering
+necessitate, however gently such processes be carried out.</p>
+
+<p>There is a terrible story (I hope it is untrue) told of a
+certain peer who decided to send to the auction-room the six
+or seven Caxtons which had descended to him with a noble
+library from his ancestors. As, however, the volumes were
+bound in fifteenth-century sheepskin (probably in Caxton's
+house) he thought that their appearance would be rendered
+rather more attractive if they were rebound first of all. So he
+sent them forthwith to the local binder; and on their return,
+now gorgeously clothed in 'calf gilt extra' (&agrave; la school prize),
+he despatched them to the London sale-room. The result may
+be imagined. His foolishness must have robbed him of a
+sum running well into four figures!</p>
+
+<p>There is another point also to be considered, and that is the
+<i>pedigree</i> of a volume. The solitary impression of a binder's
+tool upon a fragment of binding may identify a volume and
+its previous owners. Some years ago the writer purchased
+an ancient folio without title-page and colophon, bound in
+tattered fragments of ancient calf covering stout oak boards.<span class='pagenum'><a name="Page_115" id="Page_115"></a>[<a href="./images/115.png">115</a>]</span>
+There was, apparently, nothing to indicate when, where, or
+by whom the volume was printed or bound, or whence it came.
+But from a certain peculiarity in the type (which he noticed
+when studying the early printers of N&uuml;rnberg) he now knows
+the name of the printer and the town in which he plied his
+trade; while from a certain woodcut which that printer used
+also in two other <i>dated</i> works only, <i>both printed the same
+year</i>, he discovered when the volume in all probability was
+printed.</p>
+
+<p>A scrutiny of the remains of the binding revealed the blind
+impressions of four different stamps. As these occur frequently
+in conjunction upon the bindings executed by the monks at a
+certain monastery in Germany in the sixteenth century, there
+is little difficulty in assigning a <i>provenance</i> to the volume.
+Furthermore the initial H in a heart-shaped impression
+identifies the binder as a monk whose initials H.G. (on two
+heart-shaped tools) are of frequent occurrence on contemporary
+volumes at that time in the possession of the monastery.</p>
+
+<p>Needless to say, it has <i>not</i> been rebound. The tattered
+pieces of skin have been carefully pasted down, and a case&mdash;lettered
+on the back&mdash;now contains the book upon his shelf.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p>
+
+<p>In the case, however, of more recent books bound in tattered
+or perished calf, books of which one may obtain duplicates at
+any time, except they be works of extreme value there is no
+reason why they should not be re-bound. Even here, however,<span class='pagenum'><a name="Page_116" id="Page_116"></a>[<a href="./images/116.png">116</a>]</span>
+the collector must tread warily; for should he send his copy
+of Tim Bobbin's Lancashire dialogue of <i>Tummus and Meary</i>
+to the binders with brief instruction that it is to be bound in
+full morocco, it may be returned to him in all the splendour
+of a sixteenth-century Florentine binding.</p>
+
+<p>With regard to books published in cardboard covers with
+paper backs and paper labels, what is to be done with these
+when the backs are dirty or torn off, the labels of some
+volumes missing? Must they be re-bound in leather or cloth?
+Not necessarily, and I for my part maintain that the
+delightful ease which one experiences in handling them when
+reading the early editions of Byron, Scott, or Irving, and
+those writers who flourished in the first few decades of the
+nineteenth century when books were commonly issued in this
+form, is sufficient excuse for retaining them in their original
+shape. Such volumes may easily be made presentable at the
+cost of a little time and trouble, as I shall presently show.</p>
+
+<p>An appearance of antiquity is never a <i>desideratum</i> to the
+honest book-collector. I say 'honest' advisedly, for there
+have been&mdash;and doubtless are&mdash;persons so misguided as to
+stoop to the fabrication of certain small and excessively
+valuable books. To such, an appearance of age is no doubt
+indispensable in their wares. But these are torments which
+afflict the wealthy only; and for this I at least am sincerely
+thankful.</p>
+
+<p>There is no doubt, however, that in the collection of many
+things antiquity in appearance is desirable: witness the
+modern fabrication of 'antique' furniture and pottery. Our
+book-hunter was once acquainted with a certain country
+gentleman, a learned man and most excellent companion,
+whose passion for rare things once got the better of his
+judgment. It was not books that he collected, but butterflies;
+and he was inordinately proud of a rather seedy-looking
+'Large Copper' which his cabinet contained. For the benefit
+of his admiring entomological friends he would recite how his
+grandfather had caught it with his hat when on a holiday in<span class='pagenum'><a name="Page_117" id="Page_117"></a>[<a href="./images/117.png">117</a>]</span>
+the Fens. It grew to be quite an exciting tale. One day,
+however, in the course of a country ramble they fell to
+discussing the romancer, or man who resorts to fiction that
+his adventures may be the more interesting. And as (for the
+sake of argument) the man of books affected to praise him,
+remarking that any soulless fool can tell the bald truth whereas
+it requires an artistic temperament to adorn a tale with
+realistic embellishment (!), his friend turned to him eagerly.
+Being encouraged, he confessed that his Large Copper was
+not all that it appeared to be. In short, the bookman
+discovered that he had secured it himself while on a summer
+tour in Switzerland, and with the aid of a camel's-hair brush
+had succeeded in reducing it to a venerable state.</p>
+
+<p>'Of course,' the entomologist hastened to explain, 'no one
+could possibly tell that it was not my grandfather's. He had
+a very fine collection, and probably there was more than one
+Large Copper in it, though there was only the one in the
+cabinet that came to me. I shall never forget my feelings
+when it happened. I had taken it out of the drawer to show
+to a friend, when we both saw, outside the window, what we
+thought was an <i>Antiopa</i>. We rushed out, and when we came
+back we found that the cat. . . . Dear me; I was quite
+overcome. . . . But that summer I caught the one you have
+seen in Switzerland; and as my dear friend was no more and
+nobody else knew of the catastrophe, I thought there would
+be no harm in merely restoring a specimen to my grandfather's
+collection.'</p>
+
+<p>But the bookman pointed out to him that when he died
+and his collection was sold his family would benefit by some
+pounds through his indiscretion; for it was now known to all
+his friends as a genuine English specimen. This troubled the
+entomologist greatly, for it was a point of view that had never
+occurred to him, and, like the rich young man, 'he went away
+grieved.'</p>
+
+<p>So it is sometimes in book-collecting: there is a temptation
+to 'restore' an incomplete book. Should the collector find<span class='pagenum'><a name="Page_118" id="Page_118"></a>[<a href="./images/118.png">118</a>]</span>
+that his copy of a certain work lacks a portrait, what is more
+natural than to go to the print-shop and purchase a portrait
+of the same individual for insertion in his copy? And in this
+there may be little harm, provided that the book is of no
+value <i>and that he makes a note in ink inside the front cover
+as to what he has done</i>. But occasionally some unscrupulous
+book-fiend&mdash;he is, of course, no true book-collector&mdash;substitutes
+for a damaged page a page from another copy,
+or perhaps of a later edition; sometimes he supplies his
+volume with a spurious title-page or other leaf; and, worst of
+all, substitutes in his copy of the second edition, whereof the
+title-page is damaged, the title-page of a first edition, of which
+he possesses an incomplete copy.</p>
+
+<p>And here let me utter a word of warning. Apparently it is
+the practice of certain cheap second-hand booksellers to
+abstract the engraved plates from folio books, occasionally
+also removing the 'List of Plates' that the theft may remain
+undiscovered, and to sell the works thus mutilated as sound
+and perfect copies. Needless to say to the print collector
+such plates are invariably worth a shilling or two apiece, if
+portraits considerably more. I know to my cost one London
+bookseller who habitually removes the engraved portraits
+with which certain seventeenth-century folios, especially
+historical ones, are wont to be embellished. How many rare
+volumes this ghoul has ruined it is impossible to say,
+probably some hundreds. Our book-hunter confesses to
+having been caught by him three times, discovering the reason
+for the cheapness of his bargains (!) some time later. A friend
+has also suffered from his attentions. I need hardly add that
+his shop is now avoided, by two book-hunters at least, as
+something unclean.</p>
+
+<p>Occasionally, also, one comes across scarce volumes bereft
+of title-pages, these having been torn out by some vampire to
+adorn his scrapbook. Surely no fate can be too bad for the
+man who dismembers books. His proper place is certainly
+in the Inferno, where, in company with Bertrand de Born,<span class='pagenum'><a name="Page_119" id="Page_119"></a>[<a href="./images/119.png">119</a>]</span>
+he will be condemned for ever to carry his own head, after
+it has been separated from his body, in the shape of a lantern.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p>
+
+<p>As soon as ever you reach home with your purchases from
+a ramble along the bookstalls, and whenever you receive books
+that you have ordered through a bookseller's catalogue, collate
+your acquisitions carefully. Whenever it is possible refer to
+a bibliography to see that your copy is all that it should be.
+Nothing is more annoying than to discover, perhaps years
+afterwards, that your copy of a rare book, which you fondly
+imagined to be a fine one in every respect, lacks a page or so,
+or a leaf of index or errata, or a plate. It is a good plan to
+make a point of keeping books upon your table until they
+have been properly collated and catalogued, when&mdash;and not
+before&mdash;they may be placed upon the shelves.</p>
+
+<p>Frequently you will discover that a second book, or even
+a third, has been bound up with your volume, and you would
+have overlooked these but for collating. It was a common
+practice at one time (as, indeed, it is with some collectors
+nowadays) to bind up thin books with thicker ones to save
+the expense of binding. Probably this is the reason why
+certain sixteenth and seventeenth century works which consist
+of but fifty or sixty leaves are so hard to find, being bound
+at the end of larger works and thus commonly escaping the
+cataloguer's eye.</p>
+
+<p>It is necessary for the collector to exercise the greatest
+caution in acquiring a valuable old book from any but a
+reputable bookseller. The fabrication of a page or so&mdash;especially
+a title-page&mdash;is a comparatively small matter to the
+nefarious dealer who hopes by this means to obtain for his
+copy the price which a perfect one would command. 'Perfect'
+copies of rare fifteenth-century works are made up from two
+or more imperfect ones, title-pages and leaves are reproduced
+in facsimile, blank leaves and engravings are inserted: for all
+these the collector must be continually upon his guard. Other
+books there are which have certain passages frequently<span class='pagenum'><a name="Page_120" id="Page_120"></a>[<a href="./images/120.png">120</a>]</span>
+mutilated, or a genealogical tree or a table generally missing.</p>
+
+<p>Hazlitt gives two examples of this species of knavery.
+One, in which a reproduction of the scarce portrait of Milton
+usually attached to the first edition of his 'Poems,' 1645, had
+been actually split and laid down on old paper to make it
+resemble the original print: the other, a case in which a copy
+of Lovelace's 'Lucasta,' 1649, lacked a plate representing
+Lucy Sacheverell (which makes a good deal of the value of
+the book), and a copy of the modern reproduction of this plate
+to be found in Singer's 'Select Poets' had been soaked off
+and 'lined' to give it the appearance of a genuine impression
+mounted, and then bound in.</p>
+
+<p>And these mutilations are not the only things of which the
+collector must beware. Early in the history of books, the
+reputation that hall-marked the publications of certain famous
+presses became a source of envy to less fortunate printers.
+Type and imprints were soon counterfeited, and the fine
+editions of the Classics printed at Venice by the great Aldine
+press were reproduced at Lyons and elsewhere. In this
+matter of forgery and pirated reprints, you will find Gustave
+Brunet's 'Imprimeurs Imaginaires et Libraires Suppos&eacute;s' of
+value. It is a catalogue of books printed with fictitious
+indication of place or with wrong dates, an octavo volume
+published in 1866.</p>
+
+<p>These things, however, cannot be learnt at once, and it is
+only by the continual study of catalogues and bibliographies
+that one comes to know them. Needless to say, however,
+all reputable booksellers will take back a work which is
+discovered to be imperfect, provided that the volume be
+returned without delay.</p>
+
+<p>Books, like those who gave them birth, are of all conditions;
+but from the collector's point of view they may be divided
+conveniently into five classes. To the First Class belong
+those volumes which are described by booksellers and
+auctioneers as 'fine copies.' Ever since their publication they
+have been in the possession of wealthy men, often peers, and<span class='pagenum'><a name="Page_121" id="Page_121"></a>[<a href="./images/121.png">121</a>]</span>
+(sometimes like their owners!) have passed their lives for the
+most part undisturbed amid luxurious surroundings. They
+are invariably richly bound, often in historic bindings, and are
+clean and fresh inside. Frequently they are sumptuous works
+and presentation copies, and they always command high
+prices. In a word, they are aristocrats among books. They
+are not necessarily rare volumes, though frequently they are
+large-paper copies, and for the true collector they do not
+offer so much attraction as the Second Class, in which we
+place those books that are more eagerly sought after. These
+are generally rare books, such as incunabula and the higher
+class English literature of the seventeenth century, and are
+to be found in the libraries of wealthy collectors who are
+also learned men. They are always well bound and in good
+condition, though sometimes they have their headlines shaved,
+occasionally they are slightly imperfect, or have been cleaned
+and repaired. But they are always desirable books, and evoke
+spirited bidding whenever they appear in the auction-room.</p>
+
+<p>Class Three comprises the great army of what may be
+termed 'middle-class books.' They are bound usually in half-bindings,
+when they are not in the publisher's cloth, and are
+good, clean, <i>sound</i>, copies of such works as county histories,
+antiquarian books, sets of the learned societies' publications
+and of 'standard authors.' They are such stable and solid
+books as you will usually find in the libraries of the well-to-do
+middle classes. In short they are gilt-edged securities, and
+command a steady price in the market.</p>
+
+<p>To Class Four may be assigned the volumes contained in
+the average second-hand bookseller's shop in this country.
+They are the <ins class="grk" title="Greek: hoi polloi">&#8003;&#953; &#960;&#959;&#955;&#955;&#959;&#8055;</ins> among books, and for the most part
+they include the more frequent and more modern English
+works. Usually they are quite desirable copies, though
+frequently they lack a portrait or other plate, sometimes they
+have a torn or mounted title-page, or other imperfection.
+They are generally in cloth or calf bindings which are almost
+invariably somewhat decrepit, being either rubbed or perished,<span class='pagenum'><a name="Page_122" id="Page_122"></a>[<a href="./images/122.png">122</a>]</span>
+or cracked at the joints. They are dusty and rather unkempt,
+and fox-marks are common, for such volumes have passed
+through many hands and have not always been accorded the
+care that is due to good books. But it is here that one comes
+across books 'in the original boards uncut,' and, if expense
+be no object to you, you may often raise such purchases to a
+higher class.</p>
+
+<p>Books in Class Five are the outcasts of the book-world,
+being those decrepit volumes which stack the bookstalls and
+barrows in the larger towns. They are the weedings of auction
+sales and shops, books that are not worth cataloguing by the
+dealer. Like human beings they have drifted through life
+with all its vicissitudes, knowing many masters and earning
+the gratitude of none. And so at length, deprived even of a
+home, they find their way into the streets, where they are
+soon reduced to wreckage.</p>
+
+<p>At first sight it would seem that they owe their situation
+to their quality, both intrinsic and extrinsic&mdash;that they are
+valueless either as literature or as specimens of book-production,
+or that they are imperfect or odd volumes. In
+many cases this may be true, but in general it is not so. The
+wrecks of handsomely produced books of high-class literature
+are common on the bookstalls and barrows, as all collectors
+of modest means are aware. They owe their situation <i>chiefly
+to inconsiderate handling</i> and to the carelessness of their
+successive owners.</p>
+
+<p>As to the practice of inserting illustrations in books that
+are published without them, 'Grangerising,' as it is called,
+it is perhaps best left alone. At first sight there appears to
+be small harm in providing, let us say, a volume of travels or
+the description of a town with an appropriate engraved
+frontispiece, or adorning your biography of So-and-so with
+a portrait. But the temptation to overstep the bounds of
+seemliness is so great that it is seldom the collector stops at a
+mere frontispiece. In most cases the Grangerite soon loses
+his self-control, and develops an acute mania for embellishing<span class='pagenum'><a name="Page_123" id="Page_123"></a>[<a href="./images/123.png">123</a>]</span>
+his volume with all and every print upon which he can lay his
+hands, apposite in the slightest degree to the subject of the
+book. Every year the sale-rooms witness these monstrosities.
+Biographies issued in a single volume are 'extended'
+('rended asunder' would be a better term) to fifteen or
+twenty volumes by the insertion of hundreds of engravings
+depicting every place mentioned in the text and every man
+or woman that the subject of the biography ever met. I have
+seen an octavo volume multiplied into twenty-five folio ones
+in this fashion, the leaves being inlaid to suit the size of the
+huge portraits and views stuffed into the disjointed sections
+of the wretched book. Nor is it only engravings that are
+used. Play-bills, lottery-tickets, tradesmen's advertisements,
+autograph letters, maps, charts, broadsides, street ballads,
+bills even, all are grist for the Grangerite's mill.</p>
+
+<p>It is a singularly futile hobby, and it is certainly a pernicious
+form of bibliomania, for it is responsible for the destruction
+of many good books. Whether its devotee imagines that any
+one is ever going to wade through his twenty monstrosities,
+turning, perhaps, six illustrations between page and page of
+text, we have not discovered. His completed labours form a
+compilation about as valuable as a scrap-book. If it were
+possible to gather into one volume, or rather portfolio, every
+portrait, let us say, of a certain celebrity <i>that has ever been
+published</i>, one would possess a valuable storehouse for
+reference purposes; and such a volume, from its <i>completeness</i>,
+would be invaluable in the British Museum. But these limits
+are too narrow for the true Grangerite. He desires a wider
+field of action. So he embarks upon a task which he can
+never hope to complete. Though he labour all his life there
+will always be <i>some</i> one or more engravings that he has failed
+to secure; and so far from being 'invaluable,' his collection
+becomes merely of passing interest. As a book it is, of course,
+grotesque.</p>
+
+<p>The fate of most of these collections is probably the same.
+So long as the binding remains in good condition they are<span class='pagenum'><a name="Page_124" id="Page_124"></a>[<a href="./images/124.png">124</a>]</span>
+ensured a niche on some neglected shelf; but once the marks
+of age or wear and tear manifest themselves their fate is
+sealed. They come speedily into the hands of those booksellers
+who deal also in prints, and beneath such ruthless
+hands the labour of years is undone in a few minutes. At
+least it is pleasant to think that the poor pages, separated for
+so many years, come together again if only for a few hours
+before they reach the paper-mill!</p>
+
+<p>Whether the sober-minded collector whose pride is the
+well-being of his books is justified in adding a frontispiece
+and, say, half-a-dozen good engravings to a book that he
+appreciates, is a moot question. Doubtless the correct view
+is that books should not be meddled with by amateur book-producers,
+that both publisher and author know best what is
+most fitting for the volume they produce, that any book which
+has been tampered with internally in any way becomes a
+monster and is to be avoided. But this brings up again the
+old question, 'May we not do what we like with our own
+volumes?'</p>
+
+<p>Personally I am of opinion that the judicious and extremely
+moderate adornment of certain books is justified by the result.
+There is no doubt that the insertion in an <i>un</i>illustrated
+volume of travel of, let us say, six engraved plates depicting
+scenes mentioned in the text, adds a charm to the volume and
+enhances both its appearance and the pleasure of its perusal.
+Similarly the addition of an <i>authentic</i> portrait to a biography
+certainly lends an added interest, whilst the addition of a map
+is often of the greatest assistance to the reader. But that
+books should be mutilated, torn apart, and stuffed with
+play-bills, lottery-tickets, and the like, no sane book-lover
+will admit.</p>
+
+<p>There are some books that seem to ask for illustration.
+Who has handled the three folio volumes which comprise the
+first edition of Clarendon's 'History of the Rebellion' without
+feeling that by rights they should contain fine mezzotint
+portraits of the chief actors in that great drama? But they<span class='pagenum'><a name="Page_125" id="Page_125"></a>[<a href="./images/125.png">125</a>]</span>
+must be mezzotints, mark you&mdash;mere line engravings would
+be out of place among those bank-note paper leaves with their
+handsome great-primer type. This question of seemliness,
+too, must be considered carefully ere we add a single plate
+to any volume. Not every engraving, however beautiful in
+design and impression, is at once suitable to every book that
+treats of the subject it depicts. That the illustrations be
+contemporary with the text goes without saying. No one
+would be so foolish as to insert modern 'half-tone'
+illustrations in a seventeenth-century book.</p>
+
+<p>That heading 'Extra-illustrated,' so dear to certain booksellers,
+must send a shudder through many of the discerning
+readers of their catalogues. Books that are extra-illustrated
+should be avoided by the collector on principle. There is
+something foolishly egotistical in seeking (by those who
+have no knowledge of book-production) to 'improve' the
+work of other men whose business is the making of books.
+There can be no necessity for it; the author is quite sure to
+have added the illustrations that are requisite for the volume.
+It is only books that were published without illustrations that
+we are justified in attempting to embellish. Illustrations in a
+book are invariably a question of the author's and publisher's
+tastes; the cost of their production is not usually an
+all-important item: it is the setting up of the type, the paper,
+and the binding that count&mdash;not the illustrations.</p>
+
+<p>It was the fashion in the early decades of the last century
+to issue volumes of engravings suitable for illustrating the
+works of contemporary writers, such as Byron and Scott: and
+these illustrations can be used when you have your editions
+rebound. There is no particular merit about the greater part
+of them, but they depict incidents described in the text, so at
+least they are apposite. Each to his taste; our book-hunter for
+his part needs no second-rate illustrations to help him visualise
+the glories of Childe Harold or Don Juan; and he has long
+since confined his Grangerising to the sparing addition of
+finely engraved portraits to biographical volumes.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> With regard to these cases, the collector will use his own judgment as to
+whether they be of the 'slip-in' variety, by which means the binding is
+rubbed every time that he withdraws and inserts his volume; whether such
+cases be lined with velvet, and roomy enough to obviate this friction; or
+whether they shall open with a flap at the side.</p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> If you are interested in the pedigrees of your volumes (by which we mean
+the identification of their previous owners) you will find M. Guigard's 'Nouvel
+Armorial du Bibliophile,' octavo, Paris, 1890, useful where armorial bindings
+are concerned. It is an interesting volume, and appeared first of all in four
+parts (large octavo, Paris), between 1870 and 1872. There are cuts of every
+coat of arms identified, but these are almost entirely French. Mr. Cyril
+Davenport's 'English Heraldic Book-stamps' was published in large octavo,
+in 1909. For early book-plates you must consult the numerous works upon
+this subject that have appeared in recent years. An excellent series of
+articles entitled "Books on Book-plates," by F.C.P., appeared in 'The
+Bookman's Journal and Print Collector' between February and July, 1920
+(Nos. 15-18, 20-23, 25, 34, and 40). There is also 'A Bibliography of Book-Plates,'
+by Messrs. Fincham and Brown, in which the plates are arranged
+chronologically. The Ex-Libris Society issues a journal, and there are
+numerous other volumes upon this subject, which you will find mentioned in
+Mr. Courtney's 'Register of National Bibliography.'</p></div>
+
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Canto xviii.</p></div>
+</div>
+<p>&nbsp;</p>
+
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_126" id="Page_126"></a>[<a href="./images/126.png">126</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-16.jpg"><img src="./images/ill-16_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h2>
+
+<h4>THE CARE OF BOOKS&mdash;(<i>Continued</i>)</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'In the name of Christ all men I pray,<br /></span>
+<span class="ihalf">No wight this book doth carry away,<br /></span>
+<span class="ihalf">By force or theft or any deceit.<br /></span>
+<span class="ihalf">Why not? Because no treasure so sweet<br /></span>
+<span class="ihalf">As my books, which the grace of Christ display.'<br /></span>
+<span class="i12">(<i>Written in Latin hexameters at the end of</i><br /></span>
+<span class="i12">&ensp;&ensp;&ensp;&ensp;&ensp;&ensp;<i>the Leechbook of Bald.</i>)</span>
+</div></div>
+<p>&nbsp;</p>
+<div class="clearfix"><div class="figleft"> <a href="./images/ill-17.jpg"><img src="./images/ill-17_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">here</span> can be no subject of such prime
+importance to the collector as the housing
+of his books. In most cases the books
+themselves have small say in the matter,
+for a certain room in the house is allotted
+to them without any consideration as to its
+suitability for storing books, and there they must abide,
+making such shift as their possessor shall determine. This
+must always be the case where their owner is in lodgings or
+in any temporary abode, where it is not considered worth
+while going to the expense of putting up permanent shelves
+for his books. But, after careless handling, there is nothing
+that ruins books more quickly than an indifference to their
+well-being; and unless our volumes are constantly placed in
+their proper position, that is upon their <i>feet</i>, they will age
+speedily and visibly both inside and out.</p></div>
+
+<p>'The surest way to preserve your books in health is to treat
+them as you would your own children,' wrote that great<span class='pagenum'><a name="Page_127" id="Page_127"></a>[<a href="./images/127.png">127</a>]</span>
+bibliophile, William Blades; and the care which should ever
+be bestowed upon ancient volumes cannot be too strongly
+emphasised. And it is not only 'ancient' volumes that
+require attention. Cloth bindings are hardly so durable as
+leather, and without proper care a library of modern books
+can be reduced to wreckage in a year. It is just as easy to
+provide proper accommodation for one's books, wherever one
+may be living, as it is to provide comforts for oneself. Treat
+your books well and they will last you all your life, giving
+pleasure every time that you may take them in your hands.
+Remember also that although one may judge the propensities
+of a collector from the titles of his volumes and his character
+from their contents, yet there is nothing which indicates his
+habits so surely as the external appearance of his books.
+Whenever our book-hunter enters the library of a fellow-bookman
+he can gauge at once the depths of his feelings
+towards books, let alone the extent of his bibliographical
+knowledge.</p>
+
+<p>Surely no man is such a giant among his fellows that he
+may allow the life-works of the greatest geniuses of this
+world to be spurned underfoot? 'Take thou a book into
+thine hands,' wrote Thomas &agrave; Kempis, 'as Simeon the Just
+took the Child Jesus into his arms to carry him and kiss him.'</p>
+
+<p>What true book-lover could find it in his heart wantonly
+to injure a good book? '. . . as good almost kill a Man as
+kill a good Book,' wrote Milton in that oft-quoted passage in
+his Areopagitica; 'who kills a Man kills a reasonable creature,
+God's Image; but hee who destroyes a good Booke kills
+Reason itselfe, kills the Image of God, as it were in the eye.
+Many a man lives a burden to the Earth; but a good Booke
+is the pretious life-blood of a master spirit, imbalm'd and
+treasur'd up on purpose to a Life beyond Life.'</p>
+
+<p>It is not only the critic who destroys books, for neglect
+may approach dangerously near to wanton destruction. At
+the least, he who regards not the welfare of his books is an
+accessory before the fact of their destruction. 'Books,' says<span class='pagenum'><a name="Page_128" id="Page_128"></a>[<a href="./images/128.png">128</a>]</span>
+that veteran bibliophile M. Octave Uzanne, 'are so many
+faithful and serviceable friends, gently teaching us everything
+through their persuasive and wise experience.' Surely if
+good books are so much to us, such a great part of our lives,
+it behoves us to respect them not a little. Have they not
+taught us, guided us, advised us, soothed us, and amused us
+from our youth up? And is it meet that we should repay their
+constant friendship with indignity?</p>
+
+<p>'Thou, whosoever thou art that studiest in this book,'
+wrote an unknown book-lover many centuries ago upon the
+margin of a favourite volume, 'take heed to turn the leaves
+lightly and smoothly, that thou mayest avoid tearing them
+on account of their thinness; and seek to imitate the example
+of Jesus Christ who, when He had gently opened the book of
+Isaiah and read it with attention, at length closed it reverently
+and returned it to the minister.'</p>
+
+<p>On this subject of shelving our book-hunter can speak from
+experience, for he has provided proper accommodation for a
+thousand to three thousand volumes in three temporary
+abodes.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> It takes a little time, a fair amount of trouble, and
+an outlay of three or four pounds; but when once accomplished
+such shelving is a thing of no small pride to oneself,
+and the object of a good deal of admiration by one's friends.
+Briefly, the plan he has always adopted is to erect shelves of
+pine or deal stained brown, nine inches wide and five-eighths
+or three-quarters of an inch thick, along the entire walls of his
+sanctum. It is firmly made and will last a lifetime, yet it can
+readily be taken to pieces in a few minutes.</p>
+
+<p class="figcenter"><a href="./images/ill-18.jpg"><img src="./images/ill-18_th.jpg" alt="THE HOME-MADE LIBRARY" title="THE HOME-MADE LIBRARY" /></a></p>
+<p class="figcenter">THE HOME-MADE LIBRARY</p>
+
+<p>In erecting such shelving the first thing to do is to estimate
+how many feet of it you will require. On an average one
+foot will contain ten octavo or quarto volumes or six folio
+ones. There should be ten inches between the shelves for<span class='pagenum'><a name="Page_129" id="Page_129"></a>[<a href="./images/129.png">129</a>]</span>
+octavos, twelve inches for quartos, and fourteen inches for
+folios: while at the bottom you may have a shelf sixteen
+inches in height for such large folios as you may acquire or
+already possess. Should the huge folios (almost folissimos)
+published by the Record Commission in the early years of
+the nineteenth century fall within the category of your
+collecting activities, you will require one shelf at least no less
+than nineteen inches in height. If only for the sake of your
+peace of mind I would strongly advise you not to begin
+collecting early Spanish antiphonaries, such as you may see
+in the Escurial; for these are frequently six feet high and
+four feet wide, and are really out of place in the small domestic
+library. I forget for the moment their precise dimensions in
+millimetres.</p>
+
+<p>It is a mistake to have the top shelves too high. Not to
+speak of the inconvenience of having to stretch upon tip-toe
+or mount a chair in order to obtain a volume, your books will
+be subjected to a higher temperature the nearer they are to
+the ceiling. Blades, in his 'Enemies of Books,' is emphatic
+upon this point. 'Heat alone,' he says, 'without any noxious
+fumes is, if continuous, very injurious to books; and, without
+gas, bindings may be utterly destroyed by desiccation, the
+leather losing all its natural oils by long exposure to much
+heat. It is, therefore, a great pity to place books high up in
+a room where heat of any kind is used, for it must rise to
+the top, and if sufficient to be of comfort to the readers below
+is certain to be hot enough above to injure the bindings.'</p>
+
+<p>Gas is one of the greatest enemies of books, the sulphur
+in the gas fumes attacking the leather bindings readily, so
+that in time they are reduced to tinder. So if gas be the
+illuminant in your study, see to it that no volume of yours be
+above the level of the burner. In any case, if space will
+permit, the highest shelf should not be more than six feet
+from the ground. For similar reasons of temperature, the
+bottom shelves should be six inches above the floor.</p>
+
+<p>As to the actual length of the shelves, if constructed of<span class='pagenum'><a name="Page_130" id="Page_130"></a>[<a href="./images/130.png">130</a>]</span>
+wood five-eighths of an inch thick <i>when planed</i>, they should
+not exceed two feet two inches in length between supports.
+If made longer they will gradually bend in the middle under
+the weight of the books and soon look unsightly. But if
+made of three-quarter-inch wood, they may well be three
+feet long.</p>
+
+<p>Now as to the actual construction of the cases. We will
+suppose that the entire case, that is shelves and uprights,
+is to be made of planks five-eighths of an inch thick when
+planed. The first thing to do is to estimate how many feet of
+timber you will require. Measure your wall space. In
+calculating the length of shelving remember that each <i>upright</i>
+is five-eighths of an inch thick; and in estimating the height
+of the uprights, don't forget to add the thicknesses of the
+shelves to the spaces between them. Perhaps the following
+example will be useful.</p>
+
+<p>To find height of upright:&mdash;</p>
+
+<div class='centered'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Dimensions of bookshelves">
+<tr><td align='left'>Top shelf space</td><td align='right'>9&frac12;in.</td></tr>
+<tr><td align='left'>2nd shelf space</td><td align='right'>10 in.</td></tr>
+<tr><td align='left'>3rd shelf space</td><td align='right'>10 in.</td></tr>
+<tr><td align='left'>4th shelf space</td><td align='right'>10 in.</td></tr>
+<tr><td align='left'>5th shelf space</td><td align='right'>12 in.</td></tr>
+<tr><td align='left'>6th shelf space</td><td align='right'>14 in.</td></tr>
+<tr><td align='left'>Height of lowest shelf from floor</td><td align='right'>6 in.</td></tr>
+<tr><td align='left'>Thickness of 6 shelves, each &#8541;in.</td><td align='right'>3&frac34;in.</td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&mdash;&mdash;&mdash;</td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>Height of upright&mdash;6ft., 3&frac14;in.</td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&mdash;&mdash;&mdash;</td></tr>
+</table></div>
+<p>The top shelf will be 5ft. 5in. from the ground.</p>
+
+<p>The uprights must be two inches wider than the shelves
+in order that the latter may not rest against the wall. There
+must always be a space between shelves and wall to allow a
+free circulation of air about the books. Therefore, let your
+uprights be eleven inches and your shelves nine inches in<span class='pagenum'><a name="Page_131" id="Page_131"></a>[<a href="./images/131.png">131</a>]</span>
+width. In estimating the amount of timber required, don't
+forget the top.</p>
+
+<p>The manner in which the shelves are supported by the
+uprights is as follows. Strips of wood five-eighths of an inch
+square and nine inches long are screwed across the uprights,
+and on these the shelves rest. So when you order the wood
+from your carpenter or timber merchant see that he sends
+you also a sufficiency of these strips, two for each shelf.</p>
+
+<p>The fixing of these strips will entail a certain amount of
+carpentry, and in addition to bradawl, screwdriver, and footrule
+you will need a hard pencil and a carpenter's square, as
+well as some stout iron screws one inch long. Two screws
+are sufficient for each strip. If you are anything of a
+carpenter you will countersink the holes for the heads of the
+screws; this will also prevent a possible splitting of the strip.</p>
+
+<p>When your carpentering is completed, the whole case must
+be stained to your taste. For this purpose our book-hunter
+has found nothing so good as the solution known as
+'Solignum,' which may be purchased at any ironmonger's.
+In addition to being a wood-preservative, it has the advantage
+of being obnoxious to insects. It dries a pleasing brown, not
+unlike old oak. The only objection to its use that he has
+discovered is that it smells strongly, though not unpleasantly,
+for about a fortnight. One coat is quite sufficient, and after
+a few days you may rub the shelves with an old duster to
+remove any of the solution that has not yet been absorbed.</p>
+
+<p>The case should now be put together, the tops (which are
+in one piece, the entire width of the case) and lowest shelves
+being screwed to the uprights. The other shelves are merely
+rested on the strips. You will find that if your floor be level,
+and you have sawn the bottoms of the uprights squarely,
+there will be no necessity to affix the case to the wall: the
+weight of the books alone will keep it in position. If the
+floor proves uneven, small wedges underneath the uprights
+will be sufficient.</p>
+
+<p>You will find it an advantage to cover the shelves and their<span class='pagenum'><a name="Page_132" id="Page_132"></a>[<a href="./images/132.png">132</a>]</span>
+sides with green baize. This protects the bindings of the
+books considerably, and it is easily stuck on with glue. It
+has also the advantage of <i>holding</i> the dust which collects,
+and with the aid of a small 'vacuum-cleaner' such as most
+households possess nowadays, the cases may be cleaned
+thoroughly without removing a single shelf.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> Felt would be
+better, but it is, of course, much more expensive. Sir John
+Cheke, tutor to Edward the Sixth, that learned man who, says
+Milton, 'taught Cambridge and King Edward Greek,' used
+buckram. 'Among other lacks,' he writes from Cambridge
+in 1549 to a friend in London, 'I lack painted bucram to lai
+betweyne bokes and bordes in mi studi, which I now have
+trimd. I have need of XXX yardes. Chuse you the color.'
+But the buckram of his day was probably a very different
+material from the cloth which we are accustomed to associate
+with the binding of books. At all events I certainly should
+not recommend its use when you trim your studi.</p>
+
+<p>On no account must you paint or varnish your shelves,
+unless, of course, you intend to cover them with baize or
+felt. However good the paint, however hard the varnish,
+heavy leather-bound books will adhere to them in course of
+time. So that when you come to remove a volume which you
+have treasured in its ancient calf, you will find that the leather
+at the bottom edges of the boards remains behind with the
+shelf. Therefore, unless you intend to line them, let your
+shelves be stained or sparingly polished only.</p>
+
+<p>Care must be taken not to place any volume near wet or
+even damp 'Solignum.' Make sure that it is thoroughly dry
+or covered with baize before you place a single volume on the
+shelves. Should you wish your work to look particularly neat,
+you may putty over the heads of the screws before you begin
+staining operations. An additional 'finish' is given by
+numbering the cases with Roman numerals in gold upon<span class='pagenum'><a name="Page_133" id="Page_133"></a>[<a href="./images/133.png">133</a>]</span>
+small stained blocks (about 2 inches by 1&frac14; inches) affixed to
+the top of each case. The shelves may also be lettered with
+letters of the alphabet cut out of gold paper.</p>
+
+<p>But perhaps you may prefer to designate the cases of your
+library by the names of ancient Rome, as was the practice
+followed notably in these days in the library of Sir Robert
+Cotton. It is a pleasant conceit, and there is certainly something
+more dignified about 'Vespasian, VII, 7,' or 'Cleopatra,
+IV<ins class="err" title="Transcriber's Note: original reads '.'">,</ins> 26' than there is about a mere 'B, VI, 8,' or 'XIV, C, 16.'
+Asinius Pollio, that great warrior, historian, and book-lover of
+the Augustan age, is said to have been the first to adorn his
+library with portraits and busts of celebrated men as well as
+with statues of Minerva and the Muses, an example that was
+soon followed by others. Pollio was the first to found a public
+library at Rome, which he endowed with the money obtained
+in his Illyrian campaign, says Pliny: but in how many public
+libraries at the present day will you find a memorial of this
+great patron of Virgil and Horace?</p>
+
+<p>The effect of placing statuettes of marble or plaster, about
+sixteen inches high, on the top of one's book-cases is
+singularly pleasing; and there is an appropriateness about it
+to the eye that it is impossible to describe. One may have
+beautiful reproductions of all the most famous classical statues
+and busts for a few shillings. What can be more appropriate
+than for Calliope to preside over your case containing Homer
+and Virgil, Dante and Milton; or that Euterpe should be
+enthroned above Theocritus and Horace, Shelley and
+Swinburne? You may carry your fancy on these lines as far
+as you like, and you may include any figure that pleases you,
+from the well-known 'Discobolus' (over your case of sporting
+books!) to the exquisite statue which many still persist in
+calling the 'Venus de Milo.'<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a></p>
+
+<p><span class='pagenum'><a name="Page_134" id="Page_134"></a>[<a href="./images/134.png">134</a>]</span>
+A friend of our book-hunter has adopted a somewhat similar
+plan. Above each case in his library he has placed an oaken
+shield on which are emblazoned the arms of one of the ancient
+historic families of England, such as Warren, Clare, Mortimer,
+or Doyly. The effect is striking, and the bold colouring of
+fesses and chevrons lightens the sombre tone of the mahogany
+cases. The shields are chosen for their distinctive features,
+and, once learnt, it would be impossible in seeking 'Warr. C,
+21' to mistake the scarlet chevrons of Clare for the blue and
+white chess-board coat of Warren.</p>
+
+<p>On the matter of cases with glass doors we need not touch
+here; it has been thoroughly debated by such masters as
+Blades and Lang. For the storing of valuable books and
+bindings such cases are excellent, provided always that there
+is a free circulation of air about the volumes, or that the doors
+are opened every day. But for one who is at work continually
+in his library, and is referring constantly to his books, the
+repeated opening and closing of glass doors would be something
+more than irritating. Charles <span class="smcap">v</span>. of France had grilles
+of brass wire put in the windows of his library in the Louvre,
+to preserve the books from the attacks of 'birds and other
+beasts.' The document recording the payment for this work
+makes the sinister remark that the books were in the tower
+'devers la Fauconnerie.' Precisely what the clerk of the
+works thought we shall never know; possibly he pictured a
+goshawk pouncing upon the 'veluyau ynde' in which some
+chubby duodecimo was clothed. In the end, however, the
+'oyseaux et autres bestes' had to make room for the books;
+and the Tour de la Fauconnerie, known thenceforth as the
+Tour de la Librairie, was panelled throughout with 'bois
+d'Irlande,' carved and inlaid (as it seems) with cypress wood.
+However, this was so long ago as 1368.</p>
+
+<p>We must now turn to another important matter&mdash;perhaps
+the most important subject to the collector after the housing
+of his volumes&mdash;namely, the binding of his books. It is a
+subject that is naturally of the greatest moment to the<span class='pagenum'><a name="Page_135" id="Page_135"></a>[<a href="./images/135.png">135</a>]</span>
+bibliophile, for it is as essentially a part of his volumes as are
+their leaves and print. It is constantly before him, and will
+continue to occupy his thoughts to the end of his book-collecting
+career. So often, however, has it been treated, so
+many are the books upon it by skilled craftsmen, that it were
+needless (and, indeed, presumptuous for the writer) to enter
+into any details here concerning its methods. I would
+strongly urge every young collector, however, to make himself
+thoroughly acquainted with the craft so far as can be done
+without actually becoming apprentice to a bookbinder. Bookbinding
+is taught nowadays at most of the County Council
+Schools of Technics throughout the kingdom; and there are
+opportunities in this direction for the young bibliophile to-day
+which his elder brethren regard with envy.</p>
+
+<p>Even where such practical instruction is unobtainable it is
+possible to acquire a quite considerable knowledge of the craft
+by a diligent study of practical text-books and the scrutinous
+handling of volumes bound in all ages. As he reads each
+page, each section of his manual, the collector should examine
+repeatedly the volumes lying by his side. Our book-hunter
+began his study of bookbinding with a small and excellent
+text-book by Mr. Joseph Zaehnsdorf, a member of the well-known
+firm of binders (sm. 8vo, 3rd ed. 1897); but it has
+perhaps been superseded by the more recent work of Mr.
+Douglas Cockerell, namely, 'Bookbinding and the Care of
+Books,' a perfectly invaluable little book to the collector
+(sm. 8vo, 4th ed. 1915, published by Mr. John Hogg,
+Paternoster Row). A diligent application to this book and
+constant reference to bound volumes during his perusal will
+teach the collector sufficient about the binding of books for
+his purpose. He will be able to distinguish between a cased
+and a bound book, a well-bound and a badly-bound volume,
+good and bad sewing, tooling, etc.; and he will learn the
+advantages of the solid back.</p>
+
+<p>Now he may turn to the valuable work by Mr. H. P. Horne
+entitled 'The Binding of Books' (8vo, 1894) from which he<span class='pagenum'><a name="Page_136" id="Page_136"></a>[<a href="./images/136.png">136</a>]</span>
+will learn a great deal that is of interest concerning the
+history of binding. An excellent pamphlet on bookbinders
+and the history of their craft, by Mr. W. H. J. Weale, was
+issued in 1898 by the authorities of the Victoria and Albert
+Museum at South Kensington. It was published at one
+shilling, and consists of 130 pages with illustrations of binders'
+stamps and tools, and has an excellent index. At the time of
+writing it is still in print. But you will find valuable lists of
+works on the history and practice of bookbinding in Mr.
+Cyril Davenport's delightful volume 'The Book: its History
+and Development' (8vo, 1907, Messrs. Constable and Co.).
+And there are two small volumes on the qualities of the
+modern book-binding leathers which the collector will do well
+to read, mark, learn and inwardly digest at the outset of his
+bibliopegic studies. They are 'Leather for Libraries' (8vo,
+London 1905), by a committee of the Library Association,
+and the Report of the Committee of the Society of Arts on
+Leather for Bookbinding, also octavo, London 1905.</p>
+
+<p>Now as to the practical application of his knowledge of
+bookbinding. He will have realised at the outset of his
+career that unless a book be strongly bound in leather at the
+first, much use will quickly reduce it to the condition of a
+wreck. The British Museum authorities, recognising this,
+wisely rebind in leather certain volumes published in cloth
+covers which are to be placed on the shelves of the Reading
+Room. Where much use is accorded to the volumes doubtless
+the ideal way, if one were possessed of sufficient means, would
+be to purchase new books in quires only, and to have them
+bound in vellum, pigskin or morocco straight away. With
+regard to second-hand books (by which I mean old-time
+literature) these would be rebound, similarly, before they were
+assigned places on the shelves.</p>
+
+<p>Fortunately, however, in the private library our volumes
+are immune from that careless handling usually accorded to
+books by those who love not learning for learning's sake, but
+look upon it as a necessary part of their worldly education.<span class='pagenum'><a name="Page_137" id="Page_137"></a>[<a href="./images/137.png">137</a>]</span>
+Usually there is no need to rebind these ancient tomes whose
+'joints' are so delicately described by the bookseller as
+'tender': their very infirmity will ensure that they be
+accorded careful handling. But there comes a time when
+the old fellow succumbs to his arthrodial trouble, and there
+is nothing for it but to send him to the binder that he may
+acquire a second youth. Then it is that the collector's
+learning in the art of binding will prove of the greatest use.
+He will take the patient in his hands, examine him minutely,
+and write a long prescription which he will slip into the
+volume opposite the title-page, before proceeding to wrap him
+up for the journey. It will run something like this:</p>
+
+<h4><span class="smcap">M. Pasquier's</span> 'Recherches de la France'<br />
+Fo: Paris 1633.</h4>
+
+<ul class="plain"><li>To be bound in full Niger, dark brown (as I usually have it).</li>
+<li>Solid back, big round bands.</li>
+<li>All edges untouched.</li>
+<li>Old marbled endpapers, cloth joints.</li>
+<li>Blind panel and lozenge tooling on sides (like the pattern you have of my big Menestrier).</li>
+<li>On the back a broad gold line either side of each band.</li>
+<li>Panels plain.</li>
+<li>To be lettered (thick fount)</li></ul>
+
+<h4>RECHERCHES<br />
+DE LA FRANCE</h4>
+
+<ul class="plain"><li>and in the middle panel</li></ul>
+
+<h4>PASQUIER.</h4>
+
+<ul class="plain"><li>The engraved portrait facing the title-page to be washed and sized.</li>
+<li>Tears on pp. 721, 723 to be mended.</li></ul>
+
+<p>Pigskin, vellum, and morocco (by which I intend goatskin):
+there are no alternatives if durability be our aim; calf,
+of course, we have learnt long ago to eschew. No leather,
+except Russia, perishes more quickly or more easily. Rather
+have a book bound in cloth than in calf any day. Buckram is<span class='pagenum'><a name="Page_138" id="Page_138"></a>[<a href="./images/138.png">138</a>]</span>
+good and stands fairly rough handling; it is useful for binding
+catalogues and cheap books. See that your binder gives you
+good thick boards when he clothes your books in buckram.</p>
+
+<p>Years ago, when books were most commonly bound in calf,
+a custom arose of stamping the lettering on thin pieces of
+leather of a different colour from the binding, and these were
+stuck on to the back of the book. There is no doubt that
+these leather labels have <i>sometimes</i> a pleasing effect, and for
+a time the custom was very popular. But it is a bad habit.
+Besides the meretricious effect generally produced, the paste
+which holds the label to the back of the book perishes in
+time, and the label drops off. A visit to any large second-hand
+bookshop will afford an admirable illustration of the result
+of this habit. Here one may see sets of Shakespeare's works
+and other classics which present a most woebegone appearance
+owing to several of the volumes having shed their labels.
+The only excuse for this custom that I have ever heard urged,
+is that one always knows when to rebind volumes so adorned:
+it is when the labels begin to fall.</p>
+
+<p>As to the merits and demerits of the different coloured
+moroccos, you will find these fully dealt with in the bookbinding
+manuals. White and black we are warned against
+especially. The bookbinding authorities tell us that vellum,
+if exposed to a strong light, perishes and chips off like
+egg-shell; and we are warned to place vellum bound volumes
+with their backs to the wall, lettering the fore-edge with pen
+and ink, as was often done of old. But if kept away from the
+windows this precaution seems to be unnecessary. The
+beautiful brown vellum used for binding and repairing old
+books by Messrs. John Ramage and Son is very attractive
+and is, perhaps, as durable a binding as it is possible to have.
+Possibly other bookbinders use it, though I do not remember
+to have seen it used by any other firm. So far as I am aware
+this firm is the only one in London capable of executing work
+of the very highest class at a price within the means of the
+modest collector.</p>
+
+<p><span class='pagenum'><a name="Page_139" id="Page_139"></a>[<a href="./images/139.png">139</a>]</span>
+It has been said that there are only four bookbinders in
+London who may be trusted not to mutilate a book, and that
+there are only two who have any sense of design and harmony
+of colour. But this is not to be wondered at when we consider
+that the majority of the bookbinders' customers know nothing
+whatever of bookbinding good or bad, requiring only that
+their volumes shall present a gorgeous appearance to the eye.
+Consequently the ordinary binder is rarely called upon to pay
+those minute attentions to detail demanded by a hypercritical
+collector. Bibliophiles are born, not made, and it were foolish
+to expect that every bookbinder has the love of books at
+heart. In nine cases out of ten it is our own fault if the
+binder goes wrong, for it means that our instructions have
+been either too meagre or lacking in a knowledge of technical
+detail.</p>
+
+<p>When sending a book to the binder, definite instructions
+should always be enclosed. The details should be set forth
+clearly on a slip accompanying the volume. It should be
+stated:</p>
+
+<div class="blockquot"><p>(i) Whether the book is to be bound in pigskin, vellum, or
+morocco (Levant, Niger, smooth or rough grained).</p>
+
+<p>(ii) The colour.</p></div>
+
+<p>And here let me say that it is always better to choose the
+leather (the actual skin) oneself. The binder will make up
+two little books, lettered with the collector's name on the
+cover, containing moroccos of different hues; one he will give
+to the collector, the other he will retain. As every sample in
+these books is numbered, when ordering it is merely necessary
+to give the number (written <i>very distinctly</i>!). It is perhaps
+superfluous to add that, at the outset, the collector will have
+obtained a guarantee from his binder that only acid-free skins
+shall be used in binding his books. And he will also be
+careful to avoid selecting the very bright tints, such skins not
+being so durable as those of more sombre hue.</p>
+
+<p><span class='pagenum'><a name="Page_140" id="Page_140"></a>[<a href="./images/140.png">140</a>]</span></p>
+<div class="blockquot"><p>(iii) Whether quarter, half, or whole binding.</p>
+
+<p>(iv) If quarter or half binding, whether the sides are to be
+covered with cloth (buckram or linen, and colour) or paper
+(marbled or plain, and colour).</p>
+
+<p>(v) Treatment of the edges: whether top edge gilt (t.e.g.), all
+edges gilt, gilt on red, gilt on the rough, marbled, sprinkled,
+yellow, red, or blue edges (the last two very effective on folio
+books bound in pigskin), edges trimmed or untrimmed, uncoloured,
+etc.</p>
+
+<p>(vi) Round or square back.</p>
+
+<p>(vii) Solid or hollow back.</p>
+
+<p>(viii) Round or square raised bands, big or small, or 'no bands'
+(<i>i.e.</i> not showing).</p>
+
+<p>(ix) End-papers (white, plain coloured or marbled).</p>
+
+<p>(x) Whether, in the case of a large book, it is to have cloth
+joints (inside the covers).</p>
+
+<p>(xi) Design in gold or blind tooling on sides and back.</p>
+
+<p>(xii) Lettering on back. This should be given in capital letters
+precisely as it is desired to appear. If any lettering is required in
+a panel other than the title-panel (second from top), it should be
+stated which one; the number of the volume or the author's name
+is put sometimes in the third panel from the top and sometimes
+in the fourth.</p>
+
+<p>(xiii) Leaves to be mended, cleaned, or pressed; and any
+directions regarding illustrations, maps, etc.</p></div>
+
+<p>A goodly list? Yes, but a necessary one unless one is
+content to leave these things to the binder's discretion. He
+<i>may</i> be one of the two who are said to possess 'a sense of
+design and harmony of colour'; but unless the collector has
+enclosed instructions as to all these points, if on its return
+the appearance of the book displease him he has only himself
+to blame.</p>
+
+<p>The care which the book-lover bestows upon his volumes
+should not end, however, when they return from the binder.
+Unless attended to from time to time a leather binding&mdash;however
+good the leather&mdash;will perish, probably, within a
+lifetime. Vellum, apparently, is everlasting, provided it be<span class='pagenum'><a name="Page_141" id="Page_141"></a>[<a href="./images/141.png">141</a>]</span>
+kept away from the light and not exposed to great changes
+of weather or temperature. But pigskin, goatskin, and of
+course calf, in time lose by evaporation certain fats which are
+inherent in the leather. Some collectors use furniture-polish
+or brown boot-polish to brighten up dingy old bindings, and
+this certainly has a pleasing (and often surprising) effect. But
+it is a bad practice, for the polish hardens the leather, which
+soon cracks worse than before. 'It would add immensely to
+the life of old leather bindings,' writes Mr. Cockerell, 'if
+librarians would have them treated, say once a year, with
+some preservative.' And he goes on to recommend that the
+bindings be rubbed over with a solution of paraffin wax
+dissolved in castor oil. Our book-hunter has used a preparation
+of glycerine for some years with success, but the paraffin
+wax promises to evaporate less rapidly. Old calf bindings
+should be treated at least once every year.</p>
+
+<p>What shall we do with our volumes in 'original boards,
+uncut' when their paper backs become tattered, their labels
+illegible? Is there no other treatment for them than a visit
+to the binder's? That depends entirely upon one's energy,
+one's capacity for taking pains, one's neatness of finger, and
+the time at one's disposal. As I have said, the pleasure in
+handling volumes so attired is sufficient excuse for a desire
+to retain them in their original condition as long as possible.
+There is a facility in opening, a lightness in holding, and a
+simple charm in their appearance that is unknown to their
+more richly clad brethren. Our book-hunter for his part has
+long since given up sending such volumes to the binder's.
+Let the adept exercise his craft upon tomes in worn-out
+leather bindings; with the repairing of books in their original
+boards our amateur himself will deal.</p>
+
+<p>It is not a difficult matter, and it can be done by the
+bibliophile at home. The first requisites are some sheets of
+strong, tough paper, brown and coloured. These can be
+procured for a few pence from any paper-merchant or place
+where they sell wrapping-paper. A pot of 'Stickphast'<span class='pagenum'><a name="Page_142" id="Page_142"></a>[<a href="./images/142.png">142</a>]</span>
+paste, a pencil, a ruler, a pocket-knife, and a pair of scissors
+are the accessories. Sometimes it is necessary only to re-back
+the volume. This is a simple matter. First of all the tattered
+paper on the back is scraped off, then a strip of brown or
+coloured paper is cut the required width and an inch and a half
+longer than the height of the volume. Cover the strip with
+paste, then take the volume in your left hand and paste
+the back and half an inch on to the sides, having first of all
+placed a sheet of clean paper, slightly larger than the book,
+inside the cover at each end (<i>i.e.</i> under the boards). This is
+to prevent soiling.</p>
+
+<p>Now press the back of the book on to the strip, lying on the
+table ready pasted, so that it adheres; and with your right
+hand press the sides of the strip over on to the sides of the
+book. Experience will quickly teach you that if you use
+too much paste you will make a mess; whilst if you use too
+little the strip will not stick. If the paper is very thick it is
+necessary to rub the paste well into it.</p>
+
+<p>Next put the back of the book upon the table (which we
+trust you have covered with a newspaper) and allow the boards
+to fall flat, holding the leaves upright. Now comes the tricky
+part of the business: you have got to fold the projecting ends
+of the new back <i>over</i> the top and bottom of the boards and
+<i>under</i> the body of the book. If this is not quite lucid, get
+a volume in boards and hold it as we have directed, you will
+soon see what is meant. It is a ticklish operation and the
+paper is easily torn if too thin <i>or too damp</i>. It also requires
+some patience, for probably you will find that the strip has
+come away from the sides during your manipulations. Press
+it down again and do the other end. Pressing and pulling
+gently and kneading are the secrets of success. A small
+rubber squeegee such as photographers use is useful here.
+With it you can press out the superfluous paste under the
+sides of the strip; but it must be used cautiously and not too
+hard.</p>
+
+<p>Now close the volume, not forgetting to insert sheets of<span class='pagenum'><a name="Page_143" id="Page_143"></a>[<a href="./images/143.png">143</a>]</span>
+clean paper between boards and leaves at either end, take it
+up again in your left hand, and pat and finger it carefully
+till you are satisfied that all is well. Then remove a volume
+of similar thickness from a rather tightly packed shelf, and
+insert your patient in its place <i>as far as the strip</i>. Leave it
+here to dry for at least twenty-four hours.</p>
+
+<p>If the original paper label is legible and intact, it can be
+easily soaked off the tattered back, though you may have to
+operate first of all with the pocket-knife to remove it entire
+from the book. Press it between blotting-paper and allow it
+to dry naturally. When the new back is dry (not before) the
+label may be pasted on to it. If, however, the label is missing
+or too tattered to be of service, there is nothing for it but to
+write another one with your best penmanship, copying the
+original, if you have it, in facsimile. Such labels should be
+written with Indian (<i>waterproof</i>) ink upon rather thin paper
+of a different colour from the back. Light buff is the most
+useful colour, though pale blue and light green can be used
+sometimes with advantage.</p>
+
+<p>Should you wish to make your work look extra neat, and
+to disguise the fact that the volume has been rebacked, it is
+possible sometimes to raise the end-papers at the inner corners
+of the boards, so that the projecting ends of the backing-strip
+may be tucked under. So much for rebacking.</p>
+
+<p>Sometimes, however, the boards are too dirty or broken to
+be retained, or some of the boards in a set of volumes are
+missing. Then there is nothing for it but to provide new
+boards or patch up and re-cover the old ones. Here again the
+labour is not very great. New boards may be cut from a
+cardboard box of suitable size and thickness. Those used by
+dressmakers are not very suitable, the card being generally
+too soft. If your volume lacks one or both boards, paste the
+back with stickphast, and then press on to it a strip of very
+thin linen (a strip torn from an old cambric handkerchief
+serves admirably) about two inches wider than the back and
+an inch shorter than the height of the book. The linen will<span class='pagenum'><a name="Page_144" id="Page_144"></a>[<a href="./images/144.png">144</a>]</span>
+project an inch on either side of the back. Now put the
+volume aside to dry.</p>
+
+<p>When the back is dry, having provided suitable boards,
+paste the linen sides on the underside of each board, <i>i.e.</i> so
+that when the book is shut, the linen is between leaves and
+board. The best way to do this is to take a volume of
+similar thickness, cover it with newspaper, and place it flat
+upon the table with its fore-edge to the back of the 'patient.'
+Then lay the board on the supporting volume, and so paste
+the linen to it. Do one side after the other, stand the book
+'ajar,' and allow to dry. Now you may proceed just as in
+re-backing, covering the boards first of all by pasting over
+them a rather thin but <i>opaque</i> paper. You will find the
+squeegee useful here. These side-papers are measured and
+cut one inch larger than the volume at head, foot, and fore-edge.
+The projecting edges are folded over the boards and
+rubbed down with the squeegee. The corners need some
+attention and pressing.</p>
+
+<p>When you have re-backed your book and all is dry, you will
+have to provide it with end-papers. Any opaque white paper
+will do, provided it is not too stiff. That used for lining chests
+of drawers will answer the purpose, though a paper of slightly
+better quality is preferable. Measure it carefully about
+one-eighth of an inch less at head and foot than the height of
+the book. You need not trouble about the width: so long
+as the free edge projects beyond the fore-edge when you close
+the book it can be cut level afterwards. Do not use too much
+paste, and crease the paper carefully along, and slightly into,
+the 'joint' with an ivory paperknife. Do not close the book
+until it is dry.</p>
+
+<p>Whenever you may have occasion to add new end-papers,
+remember to preserve all indications of the pedigree of your
+book, by which I mean traces of previous ownership. If
+there be a bookplate, soak it off, and when dry paste it inside
+the end cover. If there be autographs of interest on the
+boards, soak the paper off, cut out the writing and paste it<span class='pagenum'><a name="Page_145" id="Page_145"></a>[<a href="./images/145.png">145</a>]</span>
+back again when you have finished the book.</p>
+
+<p>When you have provided your volume with new boards,
+however, you may prefer to clothe it in a 'whole binding';
+that is, to use a single piece of paper to cover both back and
+sides. This is slightly more difficult and some little patience
+is needed; but when successfully accomplished the effect
+repays one amply. Lay your book on a sheet of coloured
+paper, so that the boards are flat whilst you are holding the
+leaves perpendicularly; then pencil and rule lines all round,
+leaving a margin of about three-quarters of an inch. Cut out
+this piece, paste it, paste the back and boards, and lay the
+book down again on the paper just as you did to begin with.
+The book is held in this position with either hand whilst the
+edges are turned up over the boards. It takes a little practice,
+and one requires some experience in the shrinkage of the
+paper used. Old boards that have their corners broken can
+be easily repaired by the use of plenty of paste rubbed well
+into the breaks, and by using fairly strong covering paper.</p>
+
+<p>There is another matter of which mention must be made
+here, for it is a necessary adjunct to the binding of books, and
+that is cleaning, or washing, as it is generally called. Often
+one comes across leaves in a volume that are stained or spotted
+in such a manner as to spoil the appearance of the book which
+otherwise is perfect. Such blemishes can usually be removed
+when the volume is rebound. Either it is not such a difficult
+matter as many who have written of these things would have
+us believe, or else our book-hunter has been singularly
+fortunate. For he confesses to having achieved considerable
+success in this direction. Like all other matters involving
+care and thoroughness, it takes a good deal of time, and no
+small amount of trouble; but apart from these considerations
+there is no reason why any bibliophile endowed with patience
+and a capacity for taking pains, should not attend to the
+washing of his more 'grubby' volumes himself.</p>
+
+<p>It is not the writer's intention here to go into the various
+processes employed, for that has been done already by<span class='pagenum'><a name="Page_146" id="Page_146"></a>[<a href="./images/146.png">146</a>]</span>
+experienced bookbinders; but perhaps the methods which he
+has employed successfully may be of interest and, possibly, of
+some use to beginners.</p>
+
+<p>Perhaps it is hardly necessary to say that your first
+experiments should be made upon books of no value whatever,
+preferably volumes that have been picked out of the penny
+tub for this purpose. You will also have procured (if indeed
+you do not already possess) a copy of Mr. Douglas Cockerell's
+invaluable little book which I have already mentioned, and
+have studied it as has been suggested above. Mr. Zaehnsdorf's
+work also contains a chapter on this subject.</p>
+
+<p>The paraphernalia required are not numerous or expensive,
+for they consist merely of three or four wide-mouthed glass-stoppered
+bottles in which to store your chemicals, and a few
+photographer's developing dishes (the <i>deep</i> ones, of white
+porcelain) of a suitable size for octavo, quarto, or folio leaves.</p>
+
+<p>Obviously the first thing to do is to remove from the book
+the leaf or leaves that require cleaning. Unless, like Gerard
+de Leew, the Antwerp printer, you are 'a man of grete
+wysedom in all maner of kunnyng,' you will not attempt to
+clean the leaves of a book <i>in situ</i>. In fact he would be a
+very brave (or foolish) man who, without great experience,
+tried to remove any sort of stain from a page without removing
+the leaf first of all. Our own experience is that it is better
+to pull the whole book to pieces&mdash;or rather <i>take</i> it to pieces,
+for the word 'pull' in this connection makes one shudder.
+Carefully cut the threads that hold the quires to the bands,
+and little by little remove each quire. If the book is in an
+old leather binding, with a solid back, your task will be no
+easy one, for it is necessary to scrape away the glue from the
+back after it has been damped. A cloth dipped in very hot
+water and wrung out <i>tightly</i> is sometimes of use here, but
+you must use the greatest caution.</p>
+
+<p>Having removed the leaf, or rather sheet of four pages
+(we will suppose that the volume has been 'cut') that requires
+cleaning, you have now to diagnose its complaint and prescribe<span class='pagenum'><a name="Page_147" id="Page_147"></a>[<a href="./images/147.png">147</a>]</span>
+the correct remedy, which you will have learnt from the text-books
+we have mentioned. But if the leaf is not merely
+stained in part, but altogether brown and discoloured, the
+following treatment probably will prove efficacious. Put half
+an ounce of permanganate of potash in a jug that holds about
+a pint and a half, and fill it up with hot water. Stir with a
+piece of wood until the permanganate is dissolved. Then lay
+your sheet in a developing dish and pour the hot solution in
+gently, taking care that there are no bubbles and that the
+leaf is completely covered. At the end of five minutes (or ten
+if the paper is thick and heavily sized) pour back the liquid
+into the jug, and, holding the dish over a sink, let cold water
+run across it in a gentle stream until <i>all</i> the permanganate is
+washed away.</p>
+
+<p>The leaf will now be stained a deep brown. Stand the
+dish on end (the leaf of course sticks to the bottom of the
+dish) to drain while you prepare the bleaching part of the
+operation. Now take a similar jug, put half an ounce of
+oxalic acid into it, and again fill up with hot water. Pour
+this (hot but not boiling) over the leaf as before. When the
+leaf is as white as the dish itself, which will take from five
+minutes to a quarter of an hour, pour off the solution and
+wash the surplus fluid away. Then let the leaf wash in gently
+running water for one hour. Our book-hunter always uses
+the bath for this purpose, but a tin foot-bath under a tap does
+excellently. The best way to dry the leaf is to press it gently
+between two sheets of unused blotting-paper, then remove the
+upper sheet and allow the leaf to dry naturally. Remember,
+however, that after any washing or bleaching, leaves must
+always be 'sized' to give back to the paper that substance
+which the washing has taken out. You will find full instructions
+for doing this in the text-books I have mentioned.
+It is quite a simple matter.</p>
+
+<p>Mr. Cockerell recommends that the permanganate bath
+be only 'warmed slightly,' and that the leaf be left in it for
+'about an hour.' Our book-hunter has found (fortunately not<span class='pagenum'><a name="Page_148" id="Page_148"></a>[<a href="./images/148.png">148</a>]</span>
+to his cost, for the volumes which he used for experimental
+purposes were valueless) that this sometimes rots the paper,
+and on one occasion the leaves at the end of an hour came
+to pieces when the solution was poured off. If used hot and
+quickly it does not seem to injure the paper, but the water
+must never be so hot that you cannot bear your finger in it,
+and you must take care never to use a <i>stronger</i> solution. A
+strong solution of permanganate will reduce paper to pulp in
+a few minutes. For similar reasons our bookman prefers
+oxalic to sulphurous acid, but this too must never be used
+stronger than I have indicated. I hasten to add, however,
+in deference to such an excellent authority, that our
+book-hunter does not <i>recommend</i>, but merely states the
+methods with which he personally has been successful.</p>
+
+<p>The most difficult stains to remove that the writer has yet
+come across are those made by a child's paint-box. Some
+colours are easily removed, but seventeenth-century gamboge
+is a perfect beast. The only successful way to deal with
+these 'stains' is by studying the chemistry of the 'colours,'
+and the re-actions of the chemicals of which they are made.
+With a little experimenting there is no reason why any of
+these pigments should not be removed successfully, and at
+some future period of leisure our book-hunter hopes to record
+his own experiences in this matter.</p>
+
+<p>Here a word of warning. Do not handle permanganate of
+potash in the room where your bleached leaves are drying.
+If you do probably you will be annoyed to find small purple
+specks on the leaves where the fine permanganate dust has
+settled. It is unpleasant stuff to use, and stains everything
+with which it comes into contact. Undoubtedly it is at its
+best in a closely stoppered bottle. Rubber gloves would be
+useful, if they did not make one 'all thumbs.' Remember
+that oxalic acid will remove the stains from your hands just
+as well as from paper&mdash;also that it bleaches carpets. (Item,
+don't conduct your operations in the dining-room.) The best
+thing with which to handle the leaves when wet is a broad<span class='pagenum'><a name="Page_149" id="Page_149"></a>[<a href="./images/149.png">149</a>]</span>
+flat bone paper-knife with smooth edges. On various
+occasions when our bookman has not had time to complete
+the bleaching process, he has dried the leaves in their brown
+state and put them aside for a week before bleaching. So far
+he has not found this to have any ill effect on the paper,
+though possibly if kept for a longer period&mdash;especially if they
+got damp&mdash;the permanganate might rot them.</p>
+
+<p>A very hot and strong solution of alum I have used with
+success for leaves that are more dirty than stained, and do
+not really require bleaching. Ether is excellent for stains of
+a greasy nature, though some may prefer the stains to the
+vapour which it gives off. With hydrochloric acid, so strongly
+recommended by some, I have never had any success. If
+used strong it destroys the paper, and if used weak the leaf
+has to be left in it for so long as to reduce the paper almost
+to a pulp. Remember that as a general rule, the shorter the
+process of washing the better. Long immersion tends to rot
+the fibres of the paper. With regard to staining the leaf so
+as to match the rest of the book, our book-hunter generally
+uses a solution of cigarettes (Virginians are quite the best).
+Possibly this is a very bad practice, but at least it is effective,
+the stain diffuses easily, and it can be regulated to any shade.
+Coffee is recommended by some.</p>
+
+<p>Thumb-marks and the stains of dirty fingers are best
+removed by rubbing them lightly (and very carefully) with
+one of those disc-shaped erasers used by typists. These
+erasers remove the surface of the paper, so they must be used
+with extreme caution.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p>
+
+<p>There is yet another byway of book-collecting which we
+must study before we may graduate in book-lore. To the<span class='pagenum'><a name="Page_150" id="Page_150"></a>[<a href="./images/150.png">150</a>]</span>
+uninitiated the word 'bibliography' conveys little more than
+a mere writing about books. But it is a vast study, and, if
+we are to become proficient in it, one that will occupy us for
+many years.</p>
+
+<p>For the specialist there is no more delightful pursuit than
+the compilation of a bibliography upon the subject of his
+choice. Not only will it give him a sound bibliographical
+knowledge of the books which he desires and hopes ultimately
+to possess, but it will enable him to collate immediately every
+volume that he acquires. It will also open up a new field of
+interest for the young collector, for he will be constrained to
+study books from their material aspect; and with a knowledge
+of the 'natural history' of the book will come a regard for
+the well-being of his volumes. So also will he be brought
+into touch with modern methods of bibliography, and he will
+certainly find an additional interest in his books.</p>
+
+<p>The main objects of bibliography are, briefly, to determine</p>
+
+<p>(i) Whether a book is genuine.</p>
+
+<p>(ii) Whether it is complete and perfect.</p>
+
+<p>(iii) Whether it is in its original condition, <i>i.e.</i> as it issued
+from the press.</p>
+
+<p>(iv) Whether it has been made up by the insertion of leaves
+or quires from another copy or edition.</p>
+
+<p>(v) To provide a standard collation (<i>i.e.</i> an accurate
+description of the book in its original state) with which other
+copies may be compared. For the purpose of the specialist
+we may add</p>
+
+<p>(vi) To provide a bibliographical catalogue of those books
+in which he is especially interested.</p>
+
+<p>All this may sound very simple, but it must be borne in
+mind that where no standard collation is available, the only
+method of providing one is by a diligent, thorough, and
+precise study of the leaves, quires, watermarks and 'make up'
+of a number of copies. As these things frequently vary
+considerably in different copies of the same book, the task of
+standardising a collation is by no means an easy one. The<span class='pagenum'><a name="Page_151" id="Page_151"></a>[<a href="./images/151.png">151</a>]</span>
+difficulties that beset one in the case of early-printed books
+are immense; but with the inconstancies of incunabula we
+are not concerned here.</p>
+
+<p>It is easily begun, this making of a bibliography, and it is a
+delightful hobby, though necessarily it takes up a good deal
+of time. The plan which our book-hunter adopted is as
+follows, and it has been so successful and valuable to him that
+he has no hesitation in recommending it. First of all he
+procured a card-index box capable of holding about a thousand
+cards. Upon these he entered the books as he came across
+them in catalogues of all sorts, under the authors' names.
+Thus:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">DIAGO (FRANCISCO)<br /></span>
+<span class="i0">Historia de los Antiquos Condes de Barcelona<br /></span>
+<span class="i0">Fo: Barcelona, 1603.<br /></span>
+</div></div>
+
+<p>After each he generally pencils the price and bookseller,
+or other authority for the book's existence; but this is for
+his own guidance only, and is by the way. A fresh card is
+used for every book. This forms a rough index of every work
+upon his subject with which he is acquainted.</p>
+
+<p>Now for the bibliography proper. For this our bookman
+uses single sheets of paper, eight inches by five, ruled with
+feint lines. These are contained in a 'spring-back' portfolio,
+thus forming a handy volume in which pages can be
+inserted anywhere at will. At the top of the page he writes
+the author's name, just as for the index, and beneath this
+(leaving a line blank) he copies the title-page of the book
+<i>in extenso</i>, using red ink for red print, capitals where capitals
+occur, and underlining those words which are in italics. The
+end of each line is indicated by a vertical stroke. Then follows
+a complete collation of the book. The following illustration,
+however, will convey a better idea than can be given in words.
+It will be noticed that after the size (which is given in the
+English notation) the measurement <i>of the title-page</i> in<span class='pagenum'><a name="Page_152" id="Page_152"></a>[<a href="./images/152.png">152</a>]</span>
+millimetres is added within parentheses. If more than one
+copy has been examined this measurement is of the largest.
+The reason why the form-notation is given as well as the
+actual size, is because it is easier to carry the form-notation in
+one's head.</p>
+
+<div class="blockquot"><p class="ul">BASNAGE (JACQUES)</p>
+
+<p>DISSERTATION | HISTORIQUE | SUR LES
+DUELS | ET LES ORDRES | DE | CHEVALERIE. |
+PAR MONSIEUR B... | (printer's device) | A AMSTER
+DAM, | chez PIERRE BRUNEL, sur le Dam | a la Bible
+d'or. | M.DCC.XX.</p>
+
+<p>12<sup>o</sup> (155 &times; 95), Amsterdam, 1720. pp: xvi, 163, x.</p>
+
+<p>Title. 'Avertissement' (10pp.). Contents (4pp.). Pp:
+1-163 Text. Then ten pages (unnumbered) containing the
+'Table des Mati&egrave;res,' which begins on page 163 (b). At the
+end is a blank leaf, completing quire L. Reg: Prelim:
+*&mdash;&mdash;* 8; Text and Index A&mdash;&mdash;L8, in eights. [A].</p>
+
+<p>The author, Jacques Basnage de Franquenet, was born at Rouen
+in 1653, studied at Saumur, Geneva, and Sedan, and became a
+Protestant minister in his native town. On the Revocation of the
+Edict of Nantes he retired to Rotterdam, where he devoted his
+life to literary researches. He died at the Hague in 1723. For
+his great reputation as a skilful diplomatist, see Voltaire's 'Age
+of Louis <span class="smcap">xiv.</span>'</p>
+
+<p>Another edition of this work was published in octavo at Basle
+in 1740.</p></div>
+
+<p>Whenever our book-hunter has an afternoon to spare,
+pocketing a handful of cards from the index he sets off for
+the British Museum (or wherever he may happen to be
+working at the time, where access may be had to the volumes
+he requires) and settles himself to collate and copy title-pages.
+But it must be borne in mind that the collation of any volume<span class='pagenum'><a name="Page_153" id="Page_153"></a>[<a href="./images/153.png">153</a>]</span>
+cannot be considered as 'standard' until at least three copies
+of the book have been examined, all of which are identical.
+The majority of the common books printed after the year
+1600 vary not at all in their make up; and having once
+collated such a volume, the comparison with it of other copies
+takes but a very few minutes. Sixteenth-century books,
+however, especially those printed in the first half of the
+century, vary sufficiently in their collations to demand a much
+more careful scrutiny. If the volume under examination is
+a book of which different copies vary considerably, you must
+naturally be exceedingly cautious in declaring that your
+collation represents the form in which the book was issued
+from the press. It is quite possible that you will find
+differences in each of six copies.</p>
+
+<p>At the end of each collation our book-hunter puts a letter
+or letters in brackets to denote the habitations of the copies
+he has examined, the tallest copy (of which the title-page's
+measurements are given) being distinguished by an asterisk;
+thus: A, B*, N. 'A' represents our book-hunter's own copy,
+'B' that in the Bodleian Library, 'N' that in the Biblioth&egrave;que
+Nationale; and so on. Mention, of course, from which
+copy the collation has been taken is made in the text; or,
+if you prefer it, you may denote this, so that it may be seen
+at a glance, by entering the necessary distinguishing letter
+in <i>red</i> ink.</p>
+
+<p>As I have said, it is a fascinating pursuit, but unless the
+subject in which you specialise is a narrow one, you may be
+overwhelmed by the magnitude of the task. Take heed that
+you do not undertake more than you have time or opportunity
+to complete; or else, embarking upon a labour of Hercules
+you may liken yourself to Sisyphus. Mazzuchelli began 'Gli
+Scrittori d'Italia,' but succeeded in finishing only the first
+two letters of the alphabet. The temptation to leave behind
+us some great work by which our name will become in time
+a household word, is doubtless a great one; but gigantic
+though our <i>magnum opus</i> may be in our own estimation, it<span class='pagenum'><a name="Page_154" id="Page_154"></a>[<a href="./images/154.png">154</a>]</span>
+does not follow that others will set a like value upon it, or,
+indeed, upon the labours of its author. Jean de la Haye, the
+preacher in ordinary to Anne of Austria, published his <i>Biblia
+maxima</i> in nineteen folio volumes; but, says the bibliographer,
+'no part of it is esteemed except the <i>Prolegomena</i>, and even
+they are too diffuse.' Louis Barbier gained the confidence of
+the Duke of Orleans by his great tact (which probably
+amounted to servility) and skill in repeating the tales of
+Rabelais. Mazarin appointed him Bishop of Langres for
+having betrayed his master. When he died in 1670, he left
+a hundred crowns to whoever would write an epitaph worthy
+of him. So Bernard de la Monnoye wrote the following:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Ci git un tr&egrave;s grand personnage,<br /></span>
+<span class="ihalf">Qui fut d'un illustre lignage,<br /></span>
+<span class="ihalf">Qui posseda mille vertus,<br /></span>
+<span class="ihalf">Qui ne trompa jamais, qui fut toujours fort sage,<br /></span>
+<span class="ihalf">Je n'en dirai pas d'avantage,<br /></span>
+<span class="ihalf">C'est trop mentir pour cent &eacute;cus.'<br /></span>
+</div></div>
+
+<p>But whether Bernard got the legacy history does not relate.</p>
+
+<p>It is astonishing, however, what can be accomplished in
+this direction by diligence. Le Clerc, not content with having
+produced a 'Biblioth&egrave;que Universelle et Historique,' laboured
+till he had given to the world a 'Biblioth&egrave;que Choisie' and
+a 'Biblioth&egrave;que Ancienne et Moderne,' in all eighty-two
+duodecimo volumes! Beausobre and L'Enfant compiled a
+'Biblioth&egrave;que Germanique,' comprising the period 1720-40;
+and published it in fifty volumes. Baillet's 'Catalogue des
+Mati&egrave;res' occupies thirty-five folio volumes. But of course
+all these were mere lists and criticisms of books, not detailed
+bibliographies of carefully collated works.</p>
+
+<p>It is a great gift, this gift of 'finding time.' 'When I see
+how much Varro wrote,' says St. Augustine in his 'De
+Civitate Dei,' 'I marvel much that ever he had any leisure
+to read; and when I perceive how many things he read, I
+marvel more that ever he had any leisure to write.' The<span class='pagenum'><a name="Page_155" id="Page_155"></a>[<a href="./images/155.png">155</a>]</span>
+creation of opportunity is no lesser gift. 'A wise man,' says
+Bacon, 'will make more opportunities than he finds.'
+Tomaso de Andrada, a Portuguese Jesuit, wrote his <i>magnum
+opus</i> in a dungeon, in chains, without clothes, with little food,
+writing only in the middle of the day by the help of a faint
+light which he received through an air-hole.</p>
+
+<p>The compilation of bibliographies began early in the history
+of books, and doubtless grew out of the catalogues which the
+early printers put forth. Conrad von Gesner compiled a
+'Bibliotheca Universalis' which was printed at Zurich in four
+volumes between 1545 and 1555. Fran&ccedil;ois Grud&eacute; published
+a 'Biblioth&egrave;que Fran&ccedil;oise' in 1584. It is a catalogue of
+French authors and is not confined to any particular subject,
+but at least it is a step in the direction of classification. From
+that date the number of these invaluable works has steadily
+increased, and about the middle of the seventeenth century
+L'Abb&eacute; put forth the first (?) of those useful book-collector's
+aids, a 'Bibliotheca Bibliothecarum.' This interesting little
+volume is really a list of books (under their authors' names)
+which also contain lists of authors. As L'Abb&eacute; says in the
+preface to his volume, so pleasantly dedicated 'Lectoribus
+Philobiblis,' he designs his book to be a 'Bibliothecam
+Bibliothecarum, Catalogum Catalogorum, Nomenclatorem
+Nomenclatorum, Indicem Indicum, et quid non?' The only
+edition which I have seen was printed at Paris in 1664, but
+the licence is dated 1651. Another edition was printed at
+Rouen in 1672, a third at Leipzig in 1682, and a fourth some
+years later, all in duodecimo or small octavo.</p>
+
+<p>Grud&eacute;'s book is a choice one. It is entitled 'Le Premier
+Volume de La Biblioth&egrave;que du Sieur de la Croix-du-Maine:
+Qui est un catalogue g&eacute;n&eacute;ral de toutes sortes d'Autheurs, qui
+ont escrit en Fran&ccedil;ois depuis cinq cents ans et plus jusques
+&agrave; ce iourd'huy,' and was published at Paris 'Chez Abel
+L'Angelier' in 1584. It is one of those folio volumes printed
+in large pica on thick paper that delight the heart of the
+bibliophile and are a joy to handle. At the back of the<span class='pagenum'><a name="Page_156" id="Page_156"></a>[<a href="./images/156.png">156</a>]</span>
+title-page is an oval portrait of Henry of Navarre, dated 1581.
+He was not a handsome man, if one may judge by this portrait,
+in fact it would be difficult to draw a more repellent face; yet
+the book was dedicated to the king in a long 'Epistre au Roy'
+which ends with the author's quaint anagram 'Race du mans,
+si fidel a son Roy' (Fran&ccedil;ois de la Croix du Maine). But
+perhaps the portrait was omitted in the royal copy. The
+work was to have been completed in three volumes, of which
+the first two were to contain works published in the vernacular,
+and the third those printed in Latin. But alas! the author
+left only this first volume, which contains some three thousand
+authors, with short biographies of them. One hesitates to
+connect this premature end of the book (or, indeed, the
+author's assassination six years later) with the unlucky
+portrait! Altogether a very delightful volume.</p>
+
+<p>Nowadays a bibliography that is not at once complete,
+detailed, and meticulously accurate is of no value. In this
+critical age when the methods of modern science are applied
+to books, it behoves the bibliographer to be careful, thorough,
+and precise. Unless he can bring these three attributes to
+bear upon his work, far better that he should never undertake
+it; for the result will be not only valueless but misleading, and
+he will certainly fail to obtain 'that lasting fame and
+perpetuity of praise which God and good men have consented
+shall be the reward of those whose published labours advance
+the good of mankind.'</p>
+
+<p>There is one small appendage of the private library which
+must be mentioned before we close the chapter. A list of the
+prices which he has paid for his books forms a record that is
+indispensable to the book-collector. It is impossible to carry
+all one's 'bargains' in one's head, and if pencilled inside the
+book itself it is exposed to that publicity which one naturally
+shuns. Such a record is of something more than curious
+interest, for a knowledge of the rise or fall in the price of
+those books in which he is interested is essential to the
+collector. Whenever he comes across, in a bookseller's<span class='pagenum'><a name="Page_157" id="Page_157"></a>[<a href="./images/157.png">157</a>]</span>
+catalogue, a book that he already possesses, he will like to
+know how the present price compares with that which he gave
+for his copy.</p>
+
+<p>A convenient shape for this useful book is an ordinary
+folio account book (our book-hunter's measures 15 inches &times; 9&frac12;
+inches), and it should be ruled for 'cash,' with an inner margin.
+Between the inner margin and (outer) cash column he rules
+two lines, dividing the middle of the page into three columns,
+of which the left-hand one is the widest. The illustration over-page
+will show you precisely what is meant. At the top of
+each page is placed a letter of the alphabet, and, immediately
+beneath or alongside this, the date of a year. In the inner
+margin each line is numbered down the page. In the next
+column is written the author and short title of the book&mdash;sufficient
+to identify it&mdash;then the place where it was bought,
+then the date when purchased, and in the cash column the
+price which was paid for it.</p>
+
+<p>In our book-hunter's ledger the first few pages are headed</p>
+
+<h4><ins class="grk" title="Greek: Theta">&#920;</ins></h4>
+
+<h4>(<i>Books presented to me</i>)</h4>
+
+<p>and the next heading is</p>
+
+<h4><ins class="grk" title="Greek: Phi">&#934;</ins></h4>
+
+<h4>(<i>Books published by instalments, extending over several years</i>)</h4>
+
+<p>Then comes</p>
+
+<h4>A</h4>
+
+<h4>1900</h4>
+
+<p>and so on, each year having a letter assigned to it.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p>
+
+<p>Now for the practical use of this ledger. Inside the front
+cover of every one of his volumes our book-hunter affixes a
+book-plate; and in the left-hand bottom corner of this he<span class='pagenum'><a name="Page_158" id="Page_158"></a>[<a href="./images/158.png">158</a>]</span>
+writes the year-letter and number of the book's entry in his
+ledger: <i>e.g.</i> A 24, L 7, etc. Thus supposing that one wishes
+to find out when and where one acquired a certain book and
+how much was paid for it, one has only to raise the front cover
+of the volume in question, and find its index mark. Suppose
+it to be 'E 28.' Turning to our ledger we find that E
+represents the year 1904, and No. 28 is the volume in question.
+Similarly A 24 signifies No. 24 of 1900, L 7 is No. 7 of 1911,
+and so on. If your library be a large one, and a search for
+the volume would entail trouble, you may conveniently pencil
+this index mark against the book's entry in your catalogue,
+but in such a way that it cannot be mistaken for the shelf-mark.</p>
+
+<p>It is as well to write the entries in the ledger upon the recto
+of the leaves only, so that the verso (being numbered like the
+<i>opposite</i> recto) may be used for recording the bindings,
+published prices, previous owners, etc., of the volumes opposite.
+When all the letters of the alphabet have been used up, they
+may be repeated doubled, as AA 4, DD 32, etc.</p>
+
+<p><span class='pagenum'><a name="Page_159" id="Page_159"></a>[<a href="./images/159.png">159</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-19.jpg"><img src="./images/ill-19_th.jpg" alt="Ledger" title="Ledger" /></a></p>
+
+<p class="figcenter">C 1902 C</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> It may be that you are contemplating the erection of shelves for your
+books? If so, perhaps the writer's experience may save you some little time
+and trouble. But if your treasures are already housed in a manner fitting,
+then he will claim your indulgence and ask that you be so good as to skip the
+next few pages.</p></div>
+
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> But as the shelves are not fixed to the uprights, it is a simple matter to
+remove each shelf in turn from the room, and brush out the dust with a stiff
+clothes-brush.</p></div>
+
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> It does not represent the Roman Venus, and there is no place named
+'Milo.' Were the statue anywhere else than in the Louvre, probably it
+would be known generally (as it is to scholars) by its proper name&mdash;the
+Aphrodite of Melos.</p></div>
+
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> The writer possesses a copy of the first edition of "Mr. Sponge's Sporting
+Tour," which is a perfect museum. At some period of its existence it was
+relegated to the harness-room; and its leaves bear the insignia of almost every
+known preparation used in dressing boots, harness, saddles, buckles, dogs,
+horses' hoofs, and human hair. Not for all the wealth of the Indies would
+he remove a single stain. Most of them have been identified by his friends
+(it is feared with more regard for humour than accuracy) in marginal notes.
+Sherlock Holmes would certainly have considered it worthy of a monograph.</p></div>
+
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> I will not venture to suggest that you follow the example of a book-collecting
+acquaintance who has an extra heading for 'Books that I have
+<i>acquired</i>!'</p></div></div>
+
+<p>&nbsp;</p>
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_160" id="Page_160"></a>[<a href="./images/160.png">160</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-20.jpg"><img src="./images/ill-20_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h2>
+
+<h4>BOOKS OF THE COLLECTOR</h4>
+
+<div class="blockquot"><p>'To give subtilty to the simple, to the young man knowledge and
+discretion.'&mdash;<span class="smcap">Proverbs</span>, i. 4.</p></div>
+<p>&nbsp;</p>
+
+<div class="clearfix"><div class="figleft"><a href="./images/ill-21.jpg"><img src="./images/ill-21_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">ust</span> as anyone who sets out to collect prints
+or antiques must provide himself at the
+outset with certain books necessary for
+obtaining a knowledge of the subject, so
+the book-collector must gather to himself
+those works which, if studied carefully, will
+enable him to become thoroughly conversant with the objects
+of his favourite pursuit. To the real collector there is no
+more delightful reading than the literature which deals with
+the subject he has made his own; and the more ample and
+specialised it be, the greater will be his delight.</p></div>
+
+<p>What bibliophile has not read, and read again, such delightful
+works as Burton's 'Book Hunter,' Blades' 'Enemies
+of Books' and 'Life and Typography of William Caxton,'
+'The Library' and 'Books and Bookmen' by Andrew Lang,
+Harrison's 'Choice of Books' and 'Among my Books,'
+Clark's 'Care of Books,' Edwards' 'Libraries and Founders
+of Libraries,' and many others of equal charm? Indeed,
+these volumes may well be among the first that he who
+embarks upon the peaceful sea of book-collecting gathers to<span class='pagenum'><a name="Page_161" id="Page_161"></a>[<a href="./images/161.png">161</a>]</span>
+himself. Nor is there any less fascination in the more
+specialised works, such as Mr. Gordon Duff's 'Early Printed
+Books,'<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> 'English Provincial Printers,' and 'The Printers of
+Westminster and London to 1535,' Bradshaw's 'Collected
+Papers,' Mr. A. W. Pollard's 'Early Illustrated Books,'
+Wheatley's 'Prices of Books,' Professor Ferguson's 'Aspects
+of Bibliography,' and the publications of the Bibliographical
+Society. All these and many others are necessary if we are
+to acquire a thorough knowledge of old books. They are, or
+should be, in every large public library; and we may read
+them through and through at our leisure, learning more from
+each perusal.</p>
+
+<p>There are certain works, however, which the book-collector
+should himself possess, for he will have continual recourse to
+them throughout his book-collecting career. Doubtless some
+of them will make an inroad upon his purse, but it will be
+money well spent, and the knowledge which he will gain from
+them will save him many a shilling. Their acquisition must
+be looked upon in the same light as the shelves and fittings of
+the library.</p>
+
+<div class="sidenote">General Bibliographies.</div>
+
+<p>First of all we will take those bibliographies which deal
+with books published in the English language, and there are
+certain of these volumes that are indispensable
+to the book-collector. Among them are
+Lowndes' 'Bibliographer's Manual,' in six octavo volumes,
+last published in 1869<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> (alas! sadly deficient, but still of
+considerable use), which one can have for about a pound,
+and Hazlitt's valuable 'Bibliographical Collections and Notes<span class='pagenum'><a name="Page_162" id="Page_162"></a>[<a href="./images/162.png">162</a>]</span>
+on Early English Literature,' complete in eight octavo
+volumes, published between 1867 and 1903. The Bibliographical
+Society's publications, from 1893 onwards, are of
+the greatest value, comprising lists of English printers, early
+editions of rare books, lists of early English plays, tales, and
+prose romances, with numerous bibliographies. For recourse
+to these, probably it will be necessary to visit the nearest
+important public library, though one may purchase individual
+numbers from time to time at the second-hand booksellers'.</p>
+
+<p>Arber's 'Term Catalogues,' published in three quarto
+volumes between 1903 and 1906, gives a complete list of
+works entered at Stationers' Hall from 1668 to 1709. It
+followed the same author's 'Transcripts of the Registers of
+the Worshipful Company of Stationers of London, 1554-1640,'
+which was privately printed in five volumes between 1875 and
+1894. A second 'Transcript' of these registers, from 1640
+to 1708, was issued similarly in 1913-14, in three more volumes.</p>
+
+<p>Sir Egerton Brydges' 'British Bibliographer' (in which he
+was assisted by Joseph Haslewood) was published in four
+octavo volumes, 1810-14, and is an entertaining work, though
+not one which it is necessary that the collector should acquire.
+The second edition of his 'Censura Literaria' appeared in
+ten volumes in 1815, and the 'Restituta; or Titles, Extracts,
+and Characters of Old Books in English Literature revived,'
+was published in four volumes, 1814-16. All these afford
+interesting reading; but they are for the armchair and fireside
+rather than the desk: and the information that they contain
+must not always be regarded as infallible. Payne Collier's
+'Account of the Rarest Books in the English Language,'
+which appeared in two volumes in 1865, is rather more dull
+than its title suggests. Karslake's 'Notes from Sotheby's'
+is useful, being a compilation of 2032 notes from catalogues
+of book-sales between 1885 and 1909.</p>
+
+<p>Quaritch's 'General Catalogue of Books' is useful for
+reference. It comprises short descriptions of more than
+38,000 works, and was published in 1887 in six volumes. An<span class='pagenum'><a name="Page_163" id="Page_163"></a>[<a href="./images/163.png">163</a>]</span>
+additional volume containing an index to the whole was issued
+in 1892. The catalogue of the Huth Library, five large
+octavo volumes published in 1880, is also valuable. Then
+there is, of course, the British Museum catalogue, which was
+printed in 1884 under the title 'A Catalogue of Books in the
+Library of the British Museum, printed in England, Scotland,
+and Ireland, and of Books in English printed abroad, to the
+year 1640': three octavo volumes.</p>
+
+<p>For an actual list of the published works of all British
+authors of note, one must consult the 'Dictionary of National
+Biography': while the more detailed bibliographies to each
+volume of the 'Cambridge History of English Literature'
+are of great assistance, though they vary considerably, and
+do not pretend to be complete. Allibone's 'Critical
+Dictionary of English Literature and British and American
+Authors,' in three volumes, was published by Lippincott
+(Philadelphia) between 1859 and 1871. There is a supplement
+to it by J. F. Kirk, which appeared in two volumes in
+1891. It is a work of considerable value to the bibliographer.</p>
+
+<p>With regard to the books printed abroad (as well as in
+England), it is essential that the collector procure a copy
+of Brunet's 'Manuel de Libraire et de l'Amateur de Livres,'
+a most valuable work dealing with the literature of all
+countries. The last (fifth) edition of this great work was
+published in six octavo volumes at Paris, 1860-65. In 1870
+a companion volume by Pierre Deschamps was issued, entitled
+'Dictionnaire de G&eacute;ographie Ancienne et Moderne &agrave; l'Usage
+du Libraire,' a dictionary of the Latin and Greek names of
+places with their modern equivalents and some account of the
+first presses at those places. There is a modern-ancient index.
+A supplement to the 'Manuel' was published by MM.
+P. Deschamps and Gustave Brunet in two volumes, 1878 and
+1880. The complete work, in all nine large octavo volumes,
+1860-1880, cost formerly about &pound;18; however, a reprint of the
+fifth edition&mdash;an exact facsimile in type and size&mdash;was issued
+by Brockhaus of Leipzig (at ten pounds the set) in 1920.<span class='pagenum'><a name="Page_164" id="Page_164"></a>[<a href="./images/164.png">164</a>]</span>
+Graesse's 'Tr&eacute;sor de Livres Rares et Pr&eacute;cieux' is also
+valuable. It comprises books in all tongues and contains a
+mass of bibliographical information. Published in six quarto
+volumes (vol. 6 is in two parts) between 1859 and 1867, a
+supplement was issued in 1869: in all seven volumes.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p>
+
+<p>Of all the older general bibliographies, however, there are
+few that can compare with old David Clement's 'Biblioth&egrave;que
+Curieuse Historique et Critique, ou Catalogue Raisonn&eacute; de
+Livres Dificiles &agrave; Trouver.' Not, I hasten to add, for its
+accuracy or even the amount of information it contains. But
+there is a charm about these nine old quarto volumes with
+their handsome type and title-pages in red and black that
+appeals irresistibly to the collector. He was a true bibliophile,
+this worthy Lutheran pastor, and his gradations of
+rarity are delightfully expressive and concise. 'Rare,'
+'tr&egrave;s-rare,' 'fort-rare,' he describes his treasures, and
+occasionally 'peu-commun'; but he does not hesitate to
+condemn as 'rare et mauvaise' an edition that disturbs his
+bibliographical soul. Alas! his work was only carried as far
+as the letter H (Hesiod).</p>
+
+<div class="sidenote">Early-Printed Books.</div>
+
+<p>For early-printed books the collector will require Ludwig
+Hain's 'Repertorium Bibliographicum . . . usque ad annum
+1500,' which was published at Stuttgart in four
+octavo volumes, 1826-38, and is still the standard
+work upon this subject. For those who collect fifteenth-century
+books this work is essential, for all catalogues and
+descriptions of books of that period refer to it. Generally
+the mere number of the work in Hain's monumental list is
+referred to, such as 'H 3234,' which means that the volume
+offered for sale is as described by Hain, number 3234 in the
+'Repertorium.' In 1891 Dr. Konrad Burger added an Index
+of Printers to this great work, while between 1898 and 1902
+Dr. W. Copinger published a supplement, adding some 7,000
+new entries to Hain's 16,299. Dr. Burger added a further<span class='pagenum'><a name="Page_165" id="Page_165"></a>[<a href="./images/165.png">165</a>]</span>
+supplement in 1908, and between 1905 and 1910 Dr. Dietrich
+Reichling published appendices, additions and emendations
+to all of these, adding an index thereto in 1911. For early
+German books, Panzer's 'Annalen der altern Deutschen
+Litteratur' to 1526, which appeared at N&uuml;rnberg in two
+volumes between 1788 and 1805, has not yet been entirely
+superseded; though considerable additions have been made
+by Mozler, Weller, and Petzholdt.</p>
+
+<p>Mr. C. E. Sayle's 'List of Early English Printed Books
+in the University Library at Cambridge, 1475 to 1640,' in
+four octavo volumes, was published by that university between
+1900 and 1907; while for books printed at Oxford from the
+establishment of the first press there in 1478 to 1640, you
+must consult Mr. Falconer Madan's 'The Early Oxford
+Press,' published in 1895.</p>
+
+<p>Blades' 'Life and Typography of William Caxton' I
+have already mentioned; and although many of us may never
+behold a Caxton save through a sheet of glass, yet every
+book-collector should be acquainted with the work of this
+great father of the English press. Blades' work first appeared
+in two quarto volumes, published respectively in 1861 and
+1863, and is much to be preferred to 'The Biography and
+Typography of William Caxton' which is practically a reprint
+in a cheaper form issued in one octavo volume in 1877. A
+second edition of this last appeared in 1882. In the Preface
+to the 1877 reprint, Blades states that 'only one additional
+fact of any importance has been added, viz. that Caxton was
+married . . .' and that 'the bibliography has been curtailed.'</p>
+
+<p>Proctor's 'Index to the Early Printed Books in the British
+Museum from the Invention of Printing to the Year MD.,'
+begun in 1898, was cut short by his untimely death. The
+Museum authorities have now in course of publication an
+important work entitled 'A Catalogue of Books printed in
+the Fifteenth Century now in the British Museum,' which is
+being compiled by Mr. A. W. Pollard and his assistants; it
+will be completed in six folio (really atlas quarto) volumes.<span class='pagenum'><a name="Page_166" id="Page_166"></a>[<a href="./images/166.png">166</a>]</span>
+Of these the first part, dealing with block-books and the
+productions of German presses, appeared in 1908; Part <span class="smcap">ii.</span>,
+also German-printed books, in 1912; Part <span class="smcap">iii.</span>, Germany,
+Switzerland, Austria and Hungary, in 1913: while Part <span class="smcap">iv.</span>,
+the productions of Italy, appeared in 1916. Parts <span class="smcap">v.</span> and <span class="smcap">vi.</span>
+will contain the works of England, France, and other countries,
+Part <span class="smcap">vi.</span> also containing a general index to the entire work.
+The Introduction to Part <span class="smcap">i.</span> gives a valuable r&eacute;sum&eacute; of the
+study of scientific bibliography from Panzer in 1793. Mr.
+Gordon Duff's great work on the English incunabula,
+'Fifteenth Century Books,' was issued by the Bibliographical
+Society in 1917. It contains fifty-three facsimiles, and records
+the existence of 439 books or fragments issued in English,
+or by the printers in this country, before the end of the year
+1500.</p>
+
+<p>In France much valuable work has been done on the early
+presses of that country. M. Anatole Claudin has put forth
+some extremely useful books on the early printers of Poitiers,
+Limoges, Rheims, and of many other towns; whilst for the
+Exposition Universelle of 1900 he prepared a monumental
+work upon the early printers of Paris. This sumptuous book,
+entitled 'Histoire de l'Imprimerie en France au XV<sup>e</sup> et au
+XVI<sup>e</sup> Si&egrave;cle,' was printed in two large quarto (atlas quarto)
+volumes, copiously adorned with illuminated and other illustrations.
+The chapter on Antoine Verard is delightful.</p>
+
+<p>There is a large number of books, too, on the incunabula
+of various European towns and districts, such as Augsburg,
+Bavaria, Belgium, Bohemia, Ferrara, Mainz, Lyons, Mantua,
+N&uuml;rnberg, Rome, Rouen, Toulouse, to mention only a few.
+For the incunabula printed with Greek characters Legrand's
+'Bibliographie hell&eacute;nique,' which appeared in two octavo
+volumes in 1885, is useful.</p>
+
+<p>For a description of the early 'block-books,' the prototype
+of printing, the collector must have recourse to Sotheby's
+beautiful work entitled 'Principia Typographica,' published
+in three large quarto volumes in 1858. It contains no less<span class='pagenum'><a name="Page_167" id="Page_167"></a>[<a href="./images/167.png">167</a>]</span>
+than a hundred and twenty full-page facsimiles, some in colour,
+of block-books, early types, paper-marks, etc., and is one of
+the most important works on the history of printing that has
+ever been produced.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> He will do well also to acquire Bigmore
+and Wyman's 'Bibliography of Printing,' a valuable work
+which appeared in three quarto volumes, 1880-86; and there
+is an immense amount of information concerning individual
+printers and stationers with their productions in 'The
+Library' (in progress), the three large volumes of 'Bibliographica'
+published in twelve parts between 1895 and 1897,
+and the transactions of the Bibliographical Society.</p>
+
+<div class="sidenote">Engravings.</div>
+
+<p>If early wood-engravings interest you, there are several
+works to which you may turn for guidance. Lippman's
+'Wood Engraving in Italy in the Fifteenth
+Century,' of which an English edition was
+published in 1888, and Kristeller's 'Early Florentine
+Woodcuts' which appeared in 1897, treat of illustrated
+Italian books. Venetian books of the fifteenth and sixteenth
+centuries are dealt with by Prince d'Essling in his 'Bibliographie
+des Livres &agrave; Figures V&eacute;nitiens 1469-1525,' of which
+a new edition appeared in 1906. The works of Dutch and
+Belgian artists are dealt with by Sir W. M. Conway in 'The
+Woodcutters of the Netherlands in the Fifteenth Century.'
+This was published in 1884. M. Claudin's 'Histoire de
+l'Imprimerie en France' contains many illustrations of early
+Parisian woodcuts and illuminations, while Muther's 'Die
+Deutsche B&uuml;cherillustration der Gothik und Fr&uuml;hrenaissance,'
+published in 1884, is also useful. For English engravers you
+will find Sir Sidney Colvin's 'Early Engraving and Engravers
+in England' (1905) useful, as well as Lewine's 'Bibliography<span class='pagenum'><a name="Page_168" id="Page_168"></a>[<a href="./images/168.png">168</a>]</span>
+of Eighteenth Century Art and Illustrated Books,' which
+appeared in 1898. A very delightful work on the eighteenth-century
+French engravers is M. H. Cohen's 'Guide de
+l'Amateur de Livres &agrave; Gravures du XVIII<sup>e</sup> Si&egrave;cle,' of which
+the fifth edition was published in 1886. Bewick's work has
+been dealt with by Mr. Austin Dobson in his 'Thomas Bewick
+and his Pupils,' octavo, 1884; and 'A Descriptive and Critical
+Catalogue of Works Illustrated by Thomas and John Bewick'
+was published by E. J. Selwyn in 1851. Mr. A. W. Pollard's
+'Early Illustrated Books,' of which a new edition appeared
+in 1917, is of value from the historical point of view.</p>
+
+<div class="sidenote">Place-Names and Dates.</div>
+
+<p>Cotton's 'Typographical Gazetteer,' of which the second
+(and better) edition was printed at Oxford in 1831, is valuable
+for the identification of ancient Latin place-names.
+A second series was published in 1866.
+J. Hilton's 'Chronograms' (1882) and 'Chronograms
+Continued' (1885) are often of great assistance with regard
+to dates. In 1895 this indefatigable collector published a
+third volume, quarto, containing more than four thousand
+additional examples. For mere lists of works upon definite
+subjects one may consult Sargant and Whishaw's 'Guide-Book
+to Books' (1891) and 'The Best Books,' by W. S.
+Sonnenschein.</p>
+
+<div class="sidenote">Pseudonyms.</div>
+
+<p>For the identification of authors who wrote under a
+pseudonym you will find 'A Handbook of Fictitious Names,'
+by 'Olphar Hamst' (which was the pseudonym
+of Ralph Thomas) useful. It was published in
+1868. But this has been partly superseded by Cushing's
+'Initials and Pseudonyms,' large octavo, London, 1886; and
+the valuable work of Emil Weller, entitled 'Lexicon
+Pseudonymorum,' of which the second edition was published
+at Regensburg the same year, in octavo. This contains
+thousands of pseudonyms of all nations and all ages. Cushing
+also published 'A Dictionary of Revealed Authorship,' in two
+volumes, 1890. Then there is the valuable 'Dictionary of the
+Anonymous and Pseudonymous Literature of Great Britain,'<span class='pagenum'><a name="Page_169" id="Page_169"></a>[<a href="./images/169.png">169</a>]</span>
+by Halkett and Laing, which appeared in four octavo volumes
+between 1882 and 1888. Mr. F. Marchmont's 'Concise
+Handbook of Literature issued Anonymously under
+Pseudonyms or Initials,' appeared in 1896.</p>
+
+<p>Antoine Barbier's 'Dictionnaire des Ouvrages Anonymes
+et Pseudonymes' was published first in four octavo volumes
+at Paris so long ago as 1806-8. A second edition was put
+forth in 1822-27. But between 1869 and 1879 a third edition,
+revised and enlarged, was incorporated with 'Les Supercheries
+Litt&eacute;raires D&eacute;voil&eacute;es' of Joseph Marie Qu&eacute;rard (the
+second edition), the whole being edited by MM. Gustave
+Brunet and Olivier Barbier, and issued in seven large octavo
+volumes. The first three volumes (1869-70) appeared under
+the title of Qu&eacute;rard's work, the last four (1872-9) under that
+of Barbier. Qu&eacute;rard's work, which first appeared in four
+octavo volumes, 1847-52, is, as its title indicates, a dictionary
+of those books in French which have been published under
+fictitious names, are spurious, or have been wrongly ascribed.
+It is valuable for the identification of many fictitious memoirs
+and like books. Barbier's work deals with French anonymous
+and pseudonymous books. De Manne's 'Nouveau Dictionnaire
+des Ouvrages Anonymes et Pseudonymes,' octavo, Lyon,
+1862, deals chiefly with contemporary French works. For
+pseudonymous books in Italian one must consult the work of
+Vincenzo Lancetti, which appeared at Milan, in octavo, 1836,
+as well as the 'Dizionario di Opere Anonime e Pseudonime
+di Scrittori Italiani,' by G. M. (Gaetano de' Conti Melzi),
+also published at Milan in three octavo volumes, 1848-59.
+A supplement, by G. Passano, was issued at Ancona in 1887.</p>
+
+<p>Dibdin's rather sumptuously produced works are perhaps
+of more interest than bibliographical value, though his edition
+(vols. 1-4, 1810-19) of the 'Typographical Antiquities,' begun
+by Ames (1749), and augmented by Herbert (3 vols., 1785-90),
+is useful, in spite of the fact that it was never completed. For
+illustrations of the early printers' devices you must still have
+recourse to the 'Bibliographical Decameron,' three large<span class='pagenum'><a name="Page_170" id="Page_170"></a>[<a href="./images/170.png">170</a>]</span>
+octavo volumes, published in 1817. For the devices of French
+printers there is a more recent work entitled 'Marques
+Typographiques des Libraires et Imprimeurs de France,
+1470-1600,' by M. Silvestre, which was printed in two octavo
+volumes at Paris, 1853-1867. It contains illustrations of more
+than 1300 devices. Every year witnesses the production of
+these indispensable aids to book-collecting, and the modern
+trend of such works is towards a constricted specialism. By
+this means it is possible to realise a minuteness and accuracy
+unobtainable in wider fields. The 'Bibliografia Aragonesa
+del Siglo XVI' of Se&ntilde;or Sanchez, a sumptuous work with
+illustrations of title-pages, colophons, etc., which was
+published in two folio volumes in 1913-14, is a striking
+example of this.</p>
+
+<p>There are bibliographies of almost every class of books,
+and a great number dealing with the works of individual
+authors and printers of renown; but these are in the domain
+of the specialist. There are certain works, however, which
+will be of assistance to the collector in compiling a list of
+authorities upon his special subject. Dr. Julius Petzholdt's
+'Bibliotheca Bibliographica' was published at Leipzig so
+long ago as 1866; Sabin's 'Bibliography of Bibliographies'
+appeared at New York in 1877; while Vall&eacute;e's 'Bibliographie
+des Bibliographies' (though neither very accurate nor
+complete) was published at Paris, in large octavo, in 1883.
+A supplement to this last was issued in 1887. For the large
+number of bibliographical works which have issued from the
+press since that date you must consult Mr. W. P. Courtney's
+invaluable 'Register of National Bibliography,' in three
+volumes, 1905 to 1912; which, indeed, for modern purposes
+has superseded the above-mentioned works. In passing we
+would remark that the 'national' of its title-page is in the
+wider sense of the term.</p>
+
+<p>And here a word of warning. Always make a point of
+entering the <i>errata</i> with a pencil in the margins of every
+reference-book that you acquire. Do this before you assign<span class='pagenum'><a name="Page_171" id="Page_171"></a>[<a href="./images/171.png">171</a>]</span>
+a place to the volume on the shelf; otherwise you may quote
+or condemn a passage or date which has been rendered
+wrongly owing to a clerical or printer's error, and has been
+put right in the <i>errata</i>.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> Need we say that this practice
+should not necessarily be confined to works of reference?
+One may even find some amusement here. Was it not Scarron
+who wrote a poem, 'A Guillemette, chienne de ma s&oelig;ur,'
+but quarrelling with his sister just as the volume was about
+to appear, put in the <i>errata</i>, 'For <i>chienne de ma s&oelig;ur</i> read
+<i>ma chienne de s&oelig;ur</i>'!</p>
+
+<p>All these works will assuredly impart to the book-collector
+much knowledge of ancient books and their attributes, but he
+will still be at sea with regard to that most necessary part of
+their collection, namely, their commercial value. There is
+only one way in which this knowledge may be obtained, and
+that is by the study of catalogues. To arrive at a proper
+estimate of a book's value from the purely financial point of
+view, a close study of booksellers' catalogues and auction-sale
+prices through many years is necessary. The divergence in
+price of identical works is somewhat disturbing at first to the
+novice, and it is only after some considerable experience and
+the actual handling of books that one is enabled to arrive at
+a proper estimate of their worth. 'Continual use gives men
+a judgment of things comparatively, and they come to fix on
+what is most proper and easy, which no man, upon cursory
+view, would determine.'<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p>
+
+<p>Before the writer are two catalogues, one from a country
+bookseller, the other from a well-known London house. Each
+contains a copy of the 'Thesaurus Cornucopi&aelig; et Horti<span class='pagenum'><a name="Page_172" id="Page_172"></a>[<a href="./images/172.png">172</a>]</span>
+Adonidis,' printed by Aldus Manutius in 1496. The former
+offers it for 25s., the latter for &pound;25. Why this extraordinary
+difference in price?</p>
+
+<p>The reasons are ample. The London copy has this
+description:</p>
+
+<div class="blockquot"><p>'Fol.; 16th cent. English binding of brown calf,
+gilt borders and centre-pieces, g.e. (by <span class="smcap">Thomas
+Berthelet</span>, the Royal binder), in fine condition:
+beautiful copy, perfectly clean and large, 320 &times;
+215 m.m., enclosed in case.'</p></div>
+
+<p>The country bookseller's copy, on the other hand, is
+described as follows:</p>
+
+<div class="blockquot"><p>'Folio, russia (joints broken), has the 270 ll. of
+text complete, but wants the 10 ll. unnumbered, of
+preliminary matter.'</p></div>
+
+<p>In other words, one copy is a very choice specimen of the
+book, tall, clean, and perfect; while the other is an undesirable
+copy of ordinary size, imperfect, and in poor condition.</p>
+
+<p>There is another point also. The London dealer specialises
+in such books, in fact deals only in ancient and scarce works,
+and has a definite <i>client&egrave;le</i> of rich and well-known collectors.
+He can 'place' certain rare books at once, for he knows the
+<i>desiderata</i> of each of his customers and the deficiencies of
+their collections. The countryman, on the other hand, deals
+in all manner of books, ancient and modern, has few rich
+purchasers among his customers, and knows nothing whatever
+of their book-buying propensities. Any volume that he offers
+for sale may remain on his hands for an indefinite time.</p>
+
+<p>Then there are such volumes as 'association books,' by
+which is meant books possessing an additional interest by
+reason of their former association with some notability, such
+association being evident by autographs, corrections, annotations,
+additions, or binding. Such volumes often exceed
+enormously the price of ordinary copies. The first Edinburgh<span class='pagenum'><a name="Page_173" id="Page_173"></a>[<a href="./images/173.png">173</a>]</span>
+edition (1787) of Burns' Poems is worth usually about &pound;5;
+but a copy realised &pound;75 at auction a few years ago. The
+reason for this extraordinary price was that in this volume
+all those lines in which asterisks occur were filled in with
+the full names in the handwriting of the poet. Moreover it
+contained an additional stanza on 'Tam Samson' in Burns'
+autograph. For such a jewel one cannot consider the figure
+excessive, and it will doubtless run well into three figures if
+it ever appear in the sale-room again. Similarly, each year
+witnesses the sale of certain of these 'association' volumes;
+and unless you are aware of the reasons causing these high
+prices to rule, such records will be worse than useless to you.
+A superficial study of all auction-sale prices is apt to be
+intensely misleading. Unless you are actually on the spot
+or have handled the volume in question, the price that it
+realises will tell you little as to the stable value of the work.
+A torn page, a shaved headline, the underlining of a line or
+two with ink, a 'mounted' frontispiece, a missing plate, or
+even a worn impression of it, all these things affect the price
+of a volume.</p>
+
+<p>Then there are considerations outside the book itself.
+A scarce volume included in a sale of unimportant books is
+unlikely to realise so high a price as it might have done had
+it appeared in a Huth or Ashburnham sale; for important
+books attract important bidders. The prices paid for poor
+copies at the Frere sale in 1896 were enormous; the reason
+being, probably, that this library had long been known to
+contain <i>desiderata</i> for which public and private collections
+alike had hitherto thirsted in vain; the sale was something
+of a <i>battue</i>, and the room was thronged with buyers from all
+parts of the kingdom.</p>
+
+<p>It is a ticklish question, this matter of the price which the
+collector pays, and should pay, for his books, and one that
+may not be resolved early in his career. In addition to
+exercising your memory when perusing the catalogues which
+reach you, you will do well to obtain and study 'Prices of<span class='pagenum'><a name="Page_174" id="Page_174"></a>[<a href="./images/174.png">174</a>]</span>
+Books: an Enquiry into the Changes in the Price of Books
+which have occurred in England at Different Periods,' an
+interesting volume by that great connoisseur, Henry B.
+Wheatley. It was published in octavo in 1898.</p>
+
+<p>Most of the catalogues that one receives from the booksellers
+are of little use when read, and no useful purpose is
+served by preserving them. But there are certain dealers
+who specialise in a definite class of books, and their catalogues
+are always of value, for they contain only works upon a
+definite subject or of a definite class. Such catalogues form
+most useful reference works, and even bibliographies of that
+particular subject. By all means preserve them; you may
+have them plainly bound in buckram (when you have collected
+a sufficient number of them) at the cost of a shilling or two,
+or you may keep them in a small portfolio on your shelf.</p>
+
+<p>Sotheby's auction-sale catalogues are also valuable. They
+are nicely produced, and have fine margins for making notes.
+It is well worth obtaining these regularly, which one may
+do by paying a small subscription. Most of them contain a
+miscellaneous assortment of books, and are not worth keeping,
+but on the other hand most of the famous libraries that are
+dispersed in this country pass through the Bond Street house,
+and the catalogues of these are of the greatest value.</p>
+
+<hr style='width: 45%;' />
+
+<p>The history of booksellers' catalogues is an interesting one,
+and as yet we have no authoritative work upon this intermediary
+between publisher and reader. The earliest catalogue
+so far known was printed at Mainz by Peter Schoeffer in 1469.
+It was a catalogue of books for sale by himself or his agent,
+and consisted of a single sheet, probably intended to be used
+as a poster. It is in abbreviated Latin, and comprises the
+titles of twenty-one books, being headed&mdash;</p>
+
+<div class="blockquot"><p>'Volentes sibi comparare infrascriptos libros
+magna cum diligentia correctos, ac in huiusmodi
+littera moguntie impressos, bene continuatos, veniant
+ad locum habitationis infrascriptum.'</p></div>
+
+<p><span class='pagenum'><a name="Page_175" id="Page_175"></a>[<a href="./images/175.png">175</a>]</span>
+and at the foot is printed in large type&mdash;</p>
+
+<div class="blockquot"><p>'HEC EST LITTERA PSALTERII'</p></div>
+
+<p>&mdash;a specimen of the type with which the Psalter mentioned in
+the list was printed. Beneath this would be written the name
+of the place where the books could be obtained, this being
+the case with the only copy of this advertisement that has
+come down to us, Schoeffer's traveller having written at the
+foot, 'Venditor librorum repertibilis est in hospicio dicto zum
+willden mann'&mdash;'the bookseller is to be found at the sign of
+the Wild Man.'</p>
+
+<p>Caxton adopted the same expedient with regard to his
+<i>Sarum Ordinale</i>. This advertisement, which is in English,
+is as follows:</p>
+
+<div class="blockquot"><p>'If it plese ony man spirituel or temporal to bye
+ony pyes of two and thre comemoracions of salisburi
+use enpryntid after the forme of this present lettre
+whiche ben wel and truly correct, late hym come to
+Westmonester in to the almonesrye at the reed pale
+and he shal haue them good chepe.'</p></div>
+
+<p>At the foot of this was printed 'Supplico stet cedula'&mdash;Please
+don't tear down the bill. The 'pyes' of this advertisement
+(the English form of the Latin <i>Pica</i>) were the guides
+by which one might learn the proper combinations of collects
+and prayers for Saints' days, at certain epochs, according to
+the Salisbury Ritual. The 'reed pale,' or red pale, was the
+heraldic sign which Caxton adopted for his printing-house.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></p>
+
+<p>Other printers soon followed Schoeffer's example; notably
+Johan Mentelin of Strasbourg. But these were mere lists of
+books, sometimes eulogies of an individual work, printed for
+the most part by one particular press and issued by the actual<span class='pagenum'><a name="Page_176" id="Page_176"></a>[<a href="./images/176.png">176</a>]</span>
+printer. In 1480 Anton Koberger of N&uuml;rnberg issued a
+catalogue of the books which he had for sale, twenty-two in
+all, though not all of them were printed by himself. Koberger
+was perhaps the most important printer and publisher of the
+fifteenth century. He is said to have employed twenty-four
+presses at N&uuml;rnberg, besides having books printed for him
+in other towns.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> He it was who introduced the printing-press
+into N&uuml;rnberg in 1470. His enterprise, however, was not
+limited to the mere printing of books. He is said to have
+had sixteen shops where his books were sold, and agents in
+every city in Christendom! Truly he was the father of
+booksellers.</p>
+
+<p>Another German printer, Erhart Ratdolt, printed at Venice,
+before 1488, a handsome sheet in red and black in which he
+enumerates some forty-six books arranged under six headings,
+which he had for sale. They comprised the productions of
+several presses, the list being headed 'Libri venales Venetiis
+impressi.' Some thirty or more of these catalogues of German
+printers,<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> produced before the end of the fifteenth century,
+are known.</p>
+
+<p>In 1485 Antoine Verard, one of the most important figures
+in the annals of French printing, began business at Paris by
+putting forth an edition of the Decameron. From this date
+he continued as a publisher, and has been called 'the most
+important Paris publisher of the fifteenth century.' So far
+as I am aware no catalogue of the books which he had for
+sale has yet been discovered; though from the fact that our
+King Henry <span class="smcap">vii.</span> purchased a number of his volumes it would
+seem that his agents or travellers were in possession of lists.</p>
+
+<p>Beckmann, in his 'History of Inventions and Discoveries,'
+says: 'It appears that the printers themselves first gave up
+the bookselling part of the business, and retained only that of
+printing; at least this is said to have been the case with that<span class='pagenum'><a name="Page_177" id="Page_177"></a>[<a href="./images/177.png">177</a>]</span>
+well-known bookseller John Rainman, who was born at
+Oehringen and resided at Augsburg'; and goes on to say
+that he was at first a printer and letter-founder, and supplied
+Aldus with his types. But this offset of the main business of
+book-production began still earlier: witness the catalogues of
+Koberger and Ratdolt already quoted. Many other printers
+also there were, before 1490, who were acting as agents or
+'booksellers' to other firms. This was the case, too, with
+many of the Parisian houses.</p>
+
+<p>'Printing therefore gave rise<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> to a new and important
+branch of trade, that of bookselling, which was established in
+Germany chiefly at Frankfort-on-the-Main, where, at the time
+of the fairs particularly, there were several large booksellers'
+shops in that street which still retains the name of "book
+street."'<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> This ancient custom of having bookstalls in the
+streets (particularly about the church or cathedral) upon fair-days
+still survives in more than one old-world town upon the
+Continent. Indeed it is this very custom that gave rise to
+the term 'stationer.' The early booksellers were wont to
+erect their stalls or 'stations' against the very walls of the
+cathedrals, whence they were known as 'stacyoneres.'</p>
+
+<p>Beckmann mentions two other of these early booksellers
+at Augsburg&mdash;Joseph Burglin and George Diemar. 'Sometimes,'
+he continues, 'they were rich people of all conditions,
+particularly eminent merchants, who caused books which they
+sold to be printed at their own expense.' George Willer, a
+bookseller who kept a large shop at Augsburg, was the first,
+says, Beckmann, who hit upon the plan of causing a catalogue
+of all the new books to be printed, in which the size and
+printers' names were marked. His catalogues from 1564 to<span class='pagenum'><a name="Page_178" id="Page_178"></a>[<a href="./images/178.png">178</a>]</span>
+1592 were printed by Nicholas Bass&eacute; at Frankfort. Beckmann
+relates that a collection of these sixteenth-century German
+book-catalogues was in the library of Professor Baldinger of
+G&ouml;ttingen; possibly it still reposes in the fine library of that
+university.</p>
+
+<p>'In all these catalogues, which are in quarto and not paged,'
+continues Beckmann, 'the following order is observed. The
+Latin books occupy the first place . . . and after these, books
+of jurisprudence, medicine, philosophy, poetry and music. The
+second place is assigned to German works, which are arranged
+in the same manner.'</p>
+
+<p>Bass&eacute;'s collection is entitled 'Collectio in unum corpus
+omnium librorum Hebraeorum, Graecorum, Latinorum necnon
+Germanice, Italice, Gallice, et Hispanice scriptorum, qui in
+nundinis Francofurtensibus ab anno 1564 usque ad nundinas
+Autumnales anni 1592 . . . . desumpta ex omnibus Catalogis
+Willerianis singularum nundinarum, &amp; in tres Tomos distincta
+. . . . Plerique in aedibus Georgij Willeri ciuis &amp; Bibliopole
+Augustani, venales habentur.' It was printed in quarto at
+Frankfort 'ex officina Typographica Nicolai Bassaei,
+MDXCII.' Part 2 (which has a separate pagination and
+title) is in German, and contains German books only. Part 3,
+also a distinct work, has a title-page in both Latin and French,
+and contains books in Italian, Spanish, and French. This
+title reads: 'Recueil en un corps des livres Italiens, Espagnols,
+et Fran&ccedil;ois, qui ont este exposez en vente en la boutique
+des Imprimeurs frequentans les foires de Francfort depuis
+l'an 1568 jusques &agrave; la foire de Septembre 1592. Extraict des
+Catalogues des dictes foires, et reduict en method conuenable,
+et tres utile.' An exceedingly interesting work, this last part.</p>
+
+<p>A priced catalogue of the books printed by Christian Wechel
+is extant. It was printed at Paris in 1543, a duodecimo of
+twelve leaves, containing about three hundred books. These
+are classed under the headings Grammatica, Dialectica,
+Rhetorica, Historica, Poetica, Moralia, Physica, et Mathematica,
+Theologia, Legalis, and Medica. Under each of<span class='pagenum'><a name="Page_179" id="Page_179"></a>[<a href="./images/179.png">179</a>]</span>
+these headings the books are divided into 'Graece' and
+'Latine,' but 'Grammatica' and 'Theologia' have each the
+additional subheading 'Hebraice.' The prices are interesting.
+They vary from twopence (the <i>Ars versificatoria</i> of Ulric von
+Hutten and a Nicholas Beroald) to 80s.&mdash;a <i>Hippiatria</i> in
+French. There are six at 3d., ten at 4d., forty-five at 6d.,
+none at 5d. or 7d., twenty-two at 8d., four at 9d., seventeen
+at 10d., and thirty-seven at 1s. There are ten at 1s. 3d.,
+twenty-three at 1s. 6d., and twelve at 1s. 8d.; whilst from 2s.
+to 6s. the prices rise by 6d. But only one volume is priced
+at 4s. 6d., and two each at 5s. 6d. and 6s. There are from two
+to four volumes at 7s., 8s., 12s., 15s., 16s., and 18s.; whilst
+six are priced at 10s., and five at 20s.</p>
+
+<p>The more expensive works are chiefly illustrated 'standard'
+authors, such as Modestus ('De Vocabulis Rei Militaris,'
+18s.), Vegetius (<i>gallice, cum picturis</i>, 16s., or in Latin
+<i>permultis picturis</i>, 20s.), and several medical works such as
+Galen (two at 20s.) and Jo. Tagaultius (20s.). A Vegetius
+'in minore forma' but also 'picturis' is priced at 4s. At the
+end is, in Latin: 'And these are the books, printed with our
+types, which we offer you. Moreover there are others of all
+kinds for sale in our shop (Taberna), both in Italian and
+German and French.' Then comes the announcement of a
+forthcoming edition of Eustathius' Commentary on the first
+book of Homer's Iliad.</p>
+
+<p>There is extant a list, printed in 1472, of books published
+at Subiaco and Rome by Sweynheim and Pannartz, the
+German printers who first established the printing-press in
+Italy. This list is contained in a letter written by the printers
+to Pope Sixtus <span class="smcap">iv.</span>, asking for assistance. It mentions
+twenty-eight works, and comprises 11,475 volumes,<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> which
+looks as if the book-buyers of Rome had combined to procure
+a reduction in the price of books; and there were no book<span class='pagenum'><a name="Page_180" id="Page_180"></a>[<a href="./images/180.png">180</a>]</span>sellers
+at that time to whom the publishers could dispose of
+their volumes as 'remainders.' No wonder that they described
+themselves as struggling '<i>sub tanto cartharum fasce</i>'&mdash;beneath
+so great a load of paper. It must have been circumstances
+such as these that induced the early publishers to put
+forth a 'bad seller' from time to time adorned with a fresh
+title-page. Notices of such cases abound, and they are not
+entirely confined to the <i>first</i> publishers. 'But,' invariably
+remarks the astute and relentless bibliographer, 'it is all the
+same edition.'</p>
+
+<p>In 1602 there appeared a compilation from all the catalogues
+published at the different fairs in Germany from 1500 to 1602,
+by Johann Cless, and it was published in quarto at Frankfort.
+Unfortunately the original form of the catalogues from which
+this compilation was made was neglected, so that the work
+presents merely a list of books catalogued under their
+subjects; and only occasionally is the name of the printer
+given. The first volume consists of those published in Latin,
+the second volume those which appeared in the German
+tongue. The books are entered under the Christian name of
+the author, which does not facilitate reference; but date,
+place, and size are given. Another writer, George Draud,
+produced in 1611 a 'Bibliotheca Librorum Germanicorum
+Classica'; but this also is merely a catalogue of all kinds of
+books printed in German up to 1610. This was republished
+in two quarto volumes at Frankfort in 1625. Beckmann
+remarks, however, that many books are mentioned by Draud
+which never were printed, and many titles, names, and dates
+are given incorrectly. Grud&eacute;'s work, published in 1584, has
+already been mentioned.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a></p>
+
+<p>In the same way other countries were putting forth
+catalogues throughout the sixteenth century. Occasionally
+one comes across them bound with various works, and sometimes,
+more commonly, beneath the calf or vellum covers of
+the books of that period.</p>
+
+<p><span class='pagenum'><a name="Page_181" id="Page_181"></a>[<a href="./images/181.png">181</a>]</span>
+In this country for many decades after the introduction of
+printing, the output of the English presses was not sufficiently
+large to keep pace with the demand for books; so that there
+grew up a considerable trade in the importation of books from
+abroad. In London Fran&ccedil;ois Regnault received a continuous
+supply of foreign-printed works from his Paris shop, while
+others such as the Birckmanns, who had shops in Cologne,
+Antwerp, and other large towns, kept up the number.</p>
+
+<p>Doubtless these, and many others like them, issued
+catalogues of the books they had for sale. In 1595 Andrew
+Maunsell published his Catalogue of English Printed Books
+in two parts, and in April 1617 John Bill, a leading London
+bookseller, issued the first number of his 'Catalogus
+Universalis,' a translation of the half-yearly Frankfort
+<i>Mess-Katalog</i>, and continued this enterprise twice a year for
+eleven years at least. From October 1622 he added a
+supplement of books printed in English. A book-catalogue
+of William Jaggard of 1618 is also known. The title of this
+catalogue states that&mdash;like Bill's&mdash;it is 'to be continued for
+every half-year,' but so far no further issue has come to light.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a>
+You will find a list of the catalogues published by English
+booksellers since 1595 in Mr. A. Growoll's 'Three Centuries
+of English Book-Trade Bibliography,' which was issued in
+octavo at New York in 1903.</p>
+
+<p>In 1628 Henry Fetherstone, another London stationer,
+published a catalogue of books which he had recently
+purchased in Italy. Among these was the famous library of
+Giacomo Barocci, a gentleman of Venice, consisting of two
+hundred and forty-two manuscript volumes, now in the
+Bodleian Library. Writing to the Archbishop of Armagh
+in 1629, Sir Henry Bourchier says, 'I doubt not but your
+Grace hath heard of the Greek Library brought from Venice
+by Mr. Fetherston, which the Earl of Pembroke hath bought<span class='pagenum'><a name="Page_182" id="Page_182"></a>[<a href="./images/182.png">182</a>]</span>
+for the University Library of Oxford; it cost him &pound;700;
+there are of them two hundred and fifty volumes. Dr. Lindsell,
+now Dean of Litchfield, tells me that it is a great Treasure,
+far exceeding the catalogue.' As this collection formed but
+a part of the books which Fetherstone brought from Venice
+to this country, one cannot but marvel at such an intrepid
+stroke of business. Presumably the volumes were transported
+by ship.</p>
+
+<p>The history of booksellers has been attempted more than
+once,<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> so I will content myself with remarking that in addition
+to being 'rich people of all conditions,' some at least of these
+early booksellers were&mdash;like the early printers&mdash;men of great
+learning. William Goeree, the bookseller of Amsterdam, was
+a student by nature, but it was his fortune to be brought up
+by a step-father to whom letters were unknown. His great
+desire, a university education, was denied him, and he was
+forced to choose some business. So he elected to embark
+upon a career where he would at least enjoy the conversation
+of the learned, and would be free to pursue his studies
+undisturbed by the strictures of his step-sire. As a bookseller
+he prospered, and profiting by the atmosphere of
+learning in which his paths lay, he found time between the
+hours of business to produce several valuable works upon
+such diverse subjects as Architecture, Sculpture, Painting,
+Engraving, Botany, Physic, and Antiquities!</p>
+
+<p>Fabert, the bookseller of Metz and author of 'Notes sur la
+Coutume de Lorraine,' which he published in folio in 1657,
+was esteemed so highly both for his learning and abilities,
+that his son Abraham Fabert was thought not unworthy of<span class='pagenum'><a name="Page_183" id="Page_183"></a>[<a href="./images/183.png">183</a>]</span>
+being educated with the Duc d'Epernon. Abraham rose to
+be Marshal of France: but in spite of his great talents and
+still greater attainments, the bookseller's son ever retained
+that natural modesty inherent only in great minds. Offered
+the Order of the Holy Ghost by Louis <span class="smcap">xiv.</span> he refused it on
+the ground that it should be worn only by the ancient nobility.
+Whereupon the King wrote to him 'No person to whom I
+may give this Order will ever receive more honour from it
+than you have gained by your noble refusal, proceeding from
+so generous a principle.' One can only meditate <i>O si sic
+omnes</i>!</p>
+
+<p>There are two reference-books that will be of use to you
+if you are interested in this subject. Both were published
+by the Bibliographical Society. The first, by Mr. Gordon
+Duff, is entitled 'A Century of the English Book Trade,' and
+is a list of early English stationers. It appeared in 1905.
+The other, compiled by nine members of the Society under
+the editorship of Mr. R. B. McKerrow, was published in 1910,
+and is called 'A Dictionary of Printers and Booksellers in
+England, Scotland, and Ireland, and of Foreign Printers of
+English Books, 1557-1640.'</p>
+
+<hr style='width: 45%;' />
+
+<p>To the collector all catalogues are interesting, and although
+one may not readily come across publishers' catalogues of the
+sixteenth century, yet seventeenth-century ones are not so
+rare, and those of the eighteenth century comparatively
+common. What interesting reading these old catalogues
+provide! Often it is worth while purchasing the flotsam of
+the seventeenth and early eighteenth centuries from the penny
+tub merely for the sake of the catalogues which one frequently
+comes across bound at the end of such volumes. The
+desecration of a book is anathema to the bibliophile; but
+provided always that when you have paid your penny the
+volume proves to be but common trash and of no value
+whatever, you need not hesitate to remove the desired leaves
+and consign the wreckage to the waste-paper basket.</p>
+
+<p><span class='pagenum'><a name="Page_184" id="Page_184"></a>[<a href="./images/184.png">184</a>]</span>
+Perhaps nothing shows so clearly the change in manners
+and sentiments of each age as do these ancient catalogues.
+Doubtless many of the works therein described are to be
+found among the pages of any modern bookseller's list. But
+there they are scattered among works of all times, and strike
+the imagination as being merely the curiosities of a bygone
+age. Here, gathered together in one list, they are exhibited
+in company with their fellows, and there is little diversity of
+sentiment to distract one's attention. Though they treat of
+the most diverse subjects under the sun, yet there is a strange
+similitude about them which is characteristic of their age.
+And this impression is not due to the language in which their
+titles are couched; they are just the sort of books which we
+should expect our forefathers of that period to read. Whatever
+their subjects, whatever their titles, they are clearly all
+birds of a feather.</p>
+
+<p>Take the following, all of which occur in 'A Catalogue of
+some Books Printed for Henry Brome, since the Dreadful
+Fire of London.'</p>
+
+<ul class="plain"><li>The History of the Life of the Duke Espernon, the great Favourite of France. . . .</li>
+<li>Scarronides or Virgil Travesty . . by Charles Cotton, Esq.</li>
+<li>Elvira, a Comedy, or The worst not alwaies true, by the Earl of Bristol.</li>
+<li>Mr. Simpson's Division Viol, in folio, price 8s.</li>
+<li>A Treatise wherein is demonstrated, that the Church and State of England are in equal danger with the Trade, in quarto, by Roger Cook, Esq.</li>
+<li>Erasmus Colloquies, in English.</li>
+<li>The Fair One of Tuis, a new Piece of Gallantry.</li>
+<li>Elton's Art Military, in folio.</li>
+<li>Sir Kenelm Digby's two excellent Books of Receipts; one of Physick and Chirurgery; the other of Cookery and Drinks, with other Curiosities.</li>
+<li>The Exact Constable, price 8d., useful for all Gentlemen.</li>
+<li><span class='pagenum'><a name="Page_185" id="Page_185"></a>[<a href="./images/185.png">185</a>]</span>Toleration Discussed, by Mr. L'Estrange.</li>
+<li>The Lord Coke's Institutes, in four parts.</li>
+<li>Dr. Heylin on the Creed, in folio, price 15s.</li>
+</ul>
+
+<p>Who could hesitate to assign a period to these? Is not
+'The Civil War and Restoration' writ big about them all?
+Plainer, indeed, would it be were we to analyse each separate
+item; for the tastes of the age and trend of men's thoughts
+as depicted in the pages of Master Pepys are amply reflected
+here.</p>
+
+<p>Beware, however, lest you come across a catalogue of some
+such rogue as Edmund Curll, that shameless rascal who gloried
+in the obscene productions of his minions, hesitating not to
+assign them to the greatest writers of the day. Though fined
+and pilloried for his scandalous publications, he regarded such
+'accidents' merely as a medium of advertisement, and had
+no hesitation in calling attention to the fact that he had
+suffered corporal punishment on account of a book that he
+wished to sell.</p>
+
+<p>In the course of his crooked career he fell foul of Pope by
+publishing a book entitled 'Court Poems,' which he ascribed
+to 'the laudable translator of Homer.' Pope promptly retorted
+by putting forth an essay with the delightful title 'A Full and
+True Account of a Horrid and Barbarous Revenge by Poison
+on the Body of Mr. Edmund Curll, Bookseller; with a faithful
+copy of his Last Will and Testament.' Neither words nor
+deeds, however, could repress a man so destitute of moral
+worth; and, later, he came once more under the poet's lash in
+the 'Dunciad,' where we read&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Obscene with filth the miscreant lies bewray'd.'<br /></span>
+</div></div>
+
+<p>Yet even the devil must have his due, and Curll certainly
+was concerned in the production of a number of works of
+general and abiding interest. Here is a curious example of
+his wares, from one of his catalogues dated 1726. It is a
+version of Sallengre's 'L'Elogie de l'Ivresse,' a humorous
+(and scarce) little volume first published in 1714.</p>
+
+<div class="blockquot"><p><span class='pagenum'><a name="Page_186" id="Page_186"></a>[<a href="./images/186.png">186</a>]</span>Ebrietatis Encomium&mdash;or, The Praise of Drunkenness.
+Wherein is authentically and most evidently
+proved the Necessity of frequently getting drunk;
+and that the practice of getting drunk is most
+Ancient, Primitive, and Catholic. Confirm'd by the
+example of Heathens, Turks, Infidels, Primitive
+Christians, Saints, Popes, Bishops, Doctors,
+Philosophers, Poets, Free-Masons, and other Men
+of Learning in All Ages. By a Person of Honour,
+price 2s. 6d.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a></p></div>
+
+<p>How it intrigues one to know who were the Saints, Popes,
+and Bishops thus addicted to tippling! Truly a <i>chronique
+scandaleuse</i>, and one which would surely have appealed to
+Louis Maimbourg, that ingenious Jesuit historian, had it but
+appeared in his day. We are told that he never took up his
+pen till he had heated his imagination by wine, nor ever
+attempted to describe a battle till he had drunk two bottles&mdash;lest,
+as he said jestingly, the horrors of the combat should
+enfeeble his style! Perhaps this trait in his character also
+explains how it was that 'he signalised himself by strange
+descriptions and burlesque sallies of humour in the pulpit,'
+and that his works exhibit 'great fire and rapidity in their
+style.'<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> At all events he lived to be seventy-six, which is
+some consolation to those who seek to impart originality to
+their work by this means.</p>
+
+<p>Here is another volume that I should like to possess, from
+the same catalogue.</p>
+
+<div class="blockquot"><p>The Court Gamester: Or, Full and Easy Instructions
+for playing the Games now in vogue, after the
+best Method, as they are Played at Court, and in the
+Assemblies, viz. Ombre, Picquet, and the Royal
+Game of Chess. Wherein the Frauds in Play are
+detected, and the Laws of each Game annex'd, to<span class='pagenum'><a name="Page_187" id="Page_187"></a>[<a href="./images/187.png">187</a>]</span>
+prevent Disputes. <i>Written for the Use of the young
+Princesses.</i><a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> By Richard Seymour, Esq. price 2s.</p></div>
+
+<p>Evidently Richard Seymour, Esq., had some experience of the
+young princesses' play. One wonders whether the disputes
+were frequent and heated, and whether Richard was the
+detector or detected with regard to the 'Frauds in Play'!</p>
+
+<p>Enough, however, of examples: you will find abundance in
+these old catalogues to keep you interested and amused for
+many an hour. Moreover, your natural inquisitiveness will
+enable you to discover a great deal about books and authors
+which you would otherwise never, perhaps, come across. For
+certain titles will excite your interest and curiosity, so that
+you will 'look up' the volume in your bibliography. Then
+you will turn to your biographical dictionary and find out all
+that you can about the author. So it is that your knowledge
+of books and their writers will grow. It is a pleasant pastime,
+this fireside book-hunting, and of the greatest value to the
+collector. Let me add, as a note, that you will find the
+'Cambridge History of English Literature' valuable for
+acquiring a <i>contemporary</i> knowledge of books.</p>
+
+<p>With regard to book-auctions (which seem to have been
+introduced into Europe by the Elzeviers) and sale-catalogues,
+you will find all the information that you may require upon
+this subject in so far as Great Britain is concerned, in Mr.
+John Lawler's excellent little volume 'Book Auctions in
+England in the Seventeenth Century,' of which a new edition
+was published in 1906. The fashion of selling books to the
+highest bidder is, in this country, of comparatively recent
+date; for the first auction of books held in London was
+presided over in 1676 by one William Cooper, an enterprising
+bookseller, who disposed in this manner of the library
+belonging to the Rev. Dr. Lazarus Seaman. With regard to
+the book-auctions held by the Elzeviers, you must consult
+that great authority, M. Alphonse Willems.</p>
+
+<p><span class='pagenum'><a name="Page_188" id="Page_188"></a>[<a href="./images/188.png">188</a>]</span>
+Before leaving this subject of catalogues I cannot forbear
+quoting from one to whom I am already indebted:</p>
+
+<p>'In perusing these old catalogues one cannot help being
+astonished at the sudden and great increase of books; and
+when one reflects that a great, perhaps the greater, part of
+them no longer exists, this perishableness of human labours
+will excite the same sensations as those which arise in the
+mind when one reads in a church-yard the names and titles
+of persons long since mouldered into dust. In the sixteenth
+century there were few libraries, and these, which did not
+contain many books, were in monasteries, and consisted
+principally of theological, philosophical, and historical works,
+with a few, however, on jurisprudence and medicine: while
+those which treated of agriculture, manufactures, and trade,
+were thought unworthy of the notice of the learned and of
+being preserved in large collections. The number of these
+works was, nevertheless, far from being inconsiderable; and
+at any rate many of them would have been of great use, as
+they would have served to illustrate the instructive history
+of the arts. Catalogues, which might have given occasion to
+inquiries after books that may be still somewhere preserved,
+have suffered the fate of tomb-stones, which, being wasted
+and crumbled to pieces by the destroying hand of time, become
+no longer legible. A complete series of them, perhaps, is now
+nowhere to be found.'<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p>
+
+<hr style='width: 45%;' />
+
+<p>There is yet another side of book-collecting with which it is
+essential that the bibliophile become acquainted, and that is
+a knowledge of the scarce and valuable editions of the more
+modern classic writers. By 'modern' I intend those authors
+who flourished during the nineteenth and latter part of the
+eighteenth centuries, and include such writers as Arnold, the
+Bront&euml;s, the Brownings, Burns, Byron, Carlyle, Coleridge,
+Dickens, Keats, Lamb, Shelley, Stevenson, Swinburne,
+Tennyson, Thackeray, and other famous contemporaries.<span class='pagenum'><a name="Page_189" id="Page_189"></a>[<a href="./images/189.png">189</a>]</span>
+You may meet with their works continually, and many a prize
+may slip through your hands unless you are acquainted with
+the collector's <i>desiderata</i> regarding each of these authors.
+Many of them, perhaps the majority, published their earliest
+works anonymously or under a <i>nom de plume</i>, and when once
+you have become aware of the titles of such books or their
+writers' pseudonyms, you are not likely to forget them.</p>
+
+<p>A few years ago (1911) Messrs. Hodgson the auctioneers
+discovered a thin folio consisting of an illustrated title-page
+and eight lithographed plates depicting scenes in the life of a
+ballet-girl, among a portfolio of engravings which had been
+sent to them for disposal. There was no letterpress, but the
+title ran 'Flore et Zephyr, Ballet Mythologique par
+Theophile Wagstaffe,' and it was published in London and
+Paris, 1836. The owner thought it unworthy of notice in a
+lengthy catalogue of his books, but in spite of its Gallic title
+its author was none other than Thackeray, and it was one of
+his first publications. On being offered for sale, it was
+knocked down at &pound;226.</p>
+
+<p>'Poems by Two Brothers,' a small octavo published at
+London in 1827, will bring you twenty pounds if you are so
+fortunate as to come across it. The brothers were Alfred and
+Charles Tennyson. Then there is a slim octavo of some 150
+pages which appeared at Newark in 1807, entitled 'Poems
+on Various Occasions.' It is by Lord Byron, and is worth
+fifty pounds at least; if in the original boards, more than
+double that amount. 'King Glumpus: an Interlude in one
+Act,' a pamphlet consisting of some twenty pages, was
+probably by John Barrow; but it was illustrated by
+Thackeray, and is usually to be found under the heading
+'Thackerayana.' It was printed in 1837, on blue writing
+paper, and issued privately in buff wrappers. Recently it has
+fetched &pound;153, but you may have a hundred for it any day.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a></p>
+
+<p>Shelley's 'Adonais: An Elegy on the Death of John<span class='pagenum'><a name="Page_190" id="Page_190"></a>[<a href="./images/190.png">190</a>]</span>
+Keats' was first published at Pisa in 1821, a large quarto in
+blue wrappers. It has recently fetched 2,050 dollars in
+America, and you may have even more for a perfect copy, in
+the original state, of his 'Queen Mab,' printed by the author
+at 23, Chapel Street, Grosvenor Square, in 1813. Both are
+exceedingly scarce. Another rare book of Shelley's is
+'Original Poetry,' by Victor and Cazire<ins class="err" title="Transcriber's Note: extraneous quotation mark deleted">,</ins> which was put forth
+at Worthing in 1810. The poet wrote it in his youth, and
+although it was known that such a volume had been printed
+and that it had been suppressed by its author immediately
+before publication, it was considered a lost work until its
+rediscovery in 1897.</p>
+
+<p>Byron's 'English Bards and Scotch Reviewers' one can
+purchase in the second, third, or fourth editions (all in octavo)
+in the original boards, for as many pence; though the first
+edition, in duodecimo, undated, is scarce. It was published
+in 1809, and has but fifty-four pages of verse. The fourth
+edition appeared in 1811, though some copies are dated 1810,
+and has one thousand and fifty-two lines of verse in eighty-five
+pages. But the next year another edition was put forth
+containing eighteen additional lines. For this (fifth) edition
+the title-page of the fourth edition was used. It was not
+merely rigidly suppressed by the author, but immediately
+prior to publication it was destroyed by him, and, so far as
+I am aware, only one copy has, till now, been recovered.<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a></p>
+
+<p>For Burns' 'Poems, chiefly in the Scottish Dialect,'
+published at Kilmarnock in 1786, you may have two hundred
+pounds at least; if in the original boards, and perfect, considerably
+more. A copy has changed hands at a thousand. Of
+Shelley's 'Alastor: or the Spirit of Solitude, and other<span class='pagenum'><a name="Page_191" id="Page_191"></a>[<a href="./images/191.png">191</a>]</span>
+Poems,' octavo 1816, Keats' 'Endymion,' 1818, Fitzgerald's
+'Omar Khayy&aacute;m,' published by Quaritch in 1859, and a
+large number of others, you will learn from time to time.
+Mr. J. H. Slater's 'Early Editions . . . of Modern Authors,'
+which appeared in 1894, will be of value to you, though like
+all works which deal with current prices it now needs revision.
+From the bibliographical standpoint it is excellent, but the
+safest guides to mere market values are the quarterly records
+of auction-sale prices entitled 'Book-Auction Records,' and
+the bi-monthly publication known as 'Book-Prices Current'
+issued by Mr. Elliot Stock. In addition there are bibliographies
+of almost all the greatest Victorian writers.</p>
+
+<p>There is no doubt that the early editions of the English
+classics will get more and more valuable as time goes on. In
+the case of many it may be years before any decided rise
+in their sale-room price takes place; but as the number of
+book-collectors increases with the population, while the
+number of copies of these <i>desiderata</i> tends to become less
+owing to the absorption of certain of them in the public
+libraries, so it is only natural that increased competition
+should result in a corresponding increase in their value.</p>
+
+<p>The early editions of Massinger, Beaumont and Fletcher,
+and of the later Elizabethan and Stuart dramatists, which
+command but a few pounds to-day, will run, in all probability,
+well into three figures during the next half-century. A good
+copy of the first issue of Milton's 'Comus,' printed in 1637,
+could be had for &pound;36 in 1864. In 1898 one with the title-page
+mended brought &pound;150. Ten years later &pound;317 was not thought
+excessive for it, whilst in 1916 a fine and perfect copy made
+&pound;800. $14,250 was the ransom of a copy at New York
+in 1919.</p>
+
+<p>Other books there are which have had similar meteoric
+rises in value. The first edition of Walton and Cotton's
+'Compleat Angler' was published in 1653 at one and
+sixpence. At the beginning of the nineteenth century the
+average price for a fine copy seems to have been between<span class='pagenum'><a name="Page_192" id="Page_192"></a>[<a href="./images/192.png">192</a>]</span>
+three and four pounds. In 1850 so much as fifteen pounds
+was paid for a copy in a similar state. Thirty years later it
+had risen to eighty-five pounds, and during the few years
+following, the demand for it seems to have increased its value
+considerably, for in 1887 a copy realised no less than &pound;200.
+But eight years later even this sum was easily doubled. Then
+came the Van Antwerp sale at Sotheby's. A perfect copy,
+in the original sheepskin binding, was offered; the hammer
+fell at the enormous figure of &pound;1,290. This sum has not yet
+(1921) been eclipsed; but that it was not a fancy price<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> is
+shown by the fact that in 1909 a copy <i>not</i> in the original
+binding realised no less than &pound;1,085.</p>
+
+<p>In the collection of these early impressions of the great
+writers, however, you must exercise considerable caution and
+judgment. The examples which I have quoted will show you
+that it is not always immediately, nor even within a lifetime
+from their death, that the works of our greatest authors become
+valuable. 'Fame is a revenue payable only to our ghosts,'
+wrote Sir George Mackenzie, and for literary fame Time is
+indeed the ordeal by fire. We may look upon the auction-room
+as a Court of Claims to Literary Fame, but it is public
+opinion, backing the authorities who sit round the table, that
+determines each claimant's case. It is the book that makes
+the price, not the price that makes the book. Doubtless those
+who, relying upon their own judgment alone, gave fifty pounds
+for Tennyson's 'Helen's Tower' (1861) some twenty years
+ago, thought they were safe in their investment. Yet twelve
+years later it could be had for thirty shillings. Fitzgerald's
+'Polonius,' 1852, was once thought cheap at five guineas.
+To-day you may buy it for little more than a sovereign.</p>
+
+<p>It is a risky business, this collecting of the early editions
+of authors dead but a generation ago; and he would be a
+bold man who ventured to assert that the present prices of<span class='pagenum'><a name="Page_193" id="Page_193"></a>[<a href="./images/193.png">193</a>]</span>
+the first editions of the Victorian authors may be considered
+as stable. Bargains are bargains, and the temptation to buy
+is often great. But what constitutes a bargain from the
+collector's point of view? You cannot define it without
+reference to price, worth, or value; and if these be unstable
+it cannot constitute a bargain. 'An advantageous purchase'
+say the dictionaries; but if the price drop subsequently is it
+advantageous to <i>you</i>? You may think to play the wise man
+by collecting early editions of your own or your father's
+contemporaries, but it is odds on that you will burn your
+fingers. Yet the works of those great writers, those immortals</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'On Fame's eternall beadroll worthie to be fyled'<br /></span>
+</div></div>
+
+<p>are stable in our affections as is the sun in the firmament.
+Whatever fortune may overtake the works of those ephemerals
+whom by mere fashion we applaud to-day and neglect
+to-morrow, the works of those great writers who have been
+accorded a niche in the hall of Fame will ever command our
+purses no less than our respect.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Of this book, published in octavo in 1893, it is impossible to speak too
+highly. Both as a text-book for the student and a reference book for the
+collector it is invaluable. The other two volumes by Mr. Duff are also of the
+greatest assistance. 'The Printers, Stationers, and Bookbinders of Westminster
+and London from 1476 to 1535' was published in 1906, and 'The
+English Provincial Printers, Stationers, and Bookbinders to 1557' in 1912&mdash;both
+by the Cambridge University Press. They are still (1921) in print, and
+cost six and five shillings respectively.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> A stereotyped reprint of the revised edition published between 1857 and
+1864. Each of the first five volumes is in two parts, often bound separately.
+Vol. 6 is an appendix.</p></div>
+
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Brockhaus of Leipzig has also (1921) published a facsimile reprint of this
+work&mdash;price &pound;12.</p></div>
+
+<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> The term <i>Incunabula</i> is now applied to all books printed before the
+year 1500. It is a vast study in itself, this bibliography of fifteenth-century
+books; and thanks to the labours of a small group of men who have devoted
+their lives to the subject, it is now upon a definite scientific basis. Carefully
+prepared monographs are issued from time to time, dealing with the different
+founts used by the early printers; but as this subject is unlikely to engage
+the attentions of those for whom this work is written (who, like the writer,
+are of modest means), I forbear to enter upon it in detail.</p></div>
+
+<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> It is a tedious game, but a very necessary one, and is a service due to an
+author. In entering a long list of errata in a folio book which has many
+lines to the page (Cotton's 'Monluc' has 62 lines, and the 1707 edition of
+Sandford's 'Genealogical History of the Kings and Queens of England' has
+nearly 150 errata!) the following method saves a lot of time. Take a strip of
+paper about an inch wide, place it on a page, and make a dash on the strip
+at every fifth line of text, numbering the dashes 5, 10, 15, 20, etc. This
+measurer saves one counting the lines every time.</p></div>
+
+<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Dr. John North.</p></div>
+
+<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> For Schoeffer's list, see Mr. E. G. Duff's 'Early Printed Books,' 1893,
+p. 31, where there is also an illustration of it. For Caxton's advertisement,
+see an excellent article upon these early catalogues, by Mr. A. W. Pollard,
+in 'The Bibliophile' for March 1908 (vol. 1. No. i, p. 22).</p></div>
+
+<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> Mr. E. G. Duff, <i>op. cit.</i>, p. 513.</p></div>
+
+<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> A collection of thirty-two facsimiles of these fifteenth-century book advertisements
+was published by Herr Konrad Burger in 1908.</p></div>
+
+<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> This is not strictly accurate, for there were agents or booksellers (call
+them what you will) who bought and sold manuscripts at Rome in very early
+times. A document dated 1349 (quoted by Laborde, 'Les Ducs de Bourgogne,'
+tom. 1, p. 459) mentions one Thomas de Maubeuge, 'bookseller at
+Paris,' who sold a volume to the Duke of Normandy for fourteen florins of
+gold.</p></div>
+
+<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> Beckmann, <i>op. cit.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Mr. E. G. Duff, <i>op. cit.</i> Beckmann has 12,475, quoting Fabricius'
+'Bibliotheca Latina,' ed. 1772, vol. iii. p. 898, where the document is printed
+in full.</p></div>
+
+<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> See p. <a href="#Page_155">155</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> For more upon this subject, with regard to this country, see The Camb.
+Hist. Eng. Lit. vol. iv. chap, xviii., 'The English Book-trade,' by Mr. H. G.
+Aldis.</p></div>
+
+<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Curwen's 'History of Booksellers,' 8vo, 1873, deals chiefly with the later
+English houses; while Mr. E. Marston's 'Sketches of Booksellers of Other
+Days,' 12mo, 1901, is concerned only with eight London booksellers, from
+Tonson to Lackington. Mr. F. A. Mumby's 'The Romance of Bookselling,'
+8vo, 1910, contains a bibliography of the subject, but says little about the
+early continental book-marts. Mr. W. Roberts' 'Earlier History of English
+Bookselling,' 8vo, 1892, deals with London alone, and does not help us.
+There is a short article on the Frankfort Fairs, by Mr. G. Smith, in 'The
+Library,' 1900, pp. 167-179.</p></div>
+
+<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> This was one of the five publications on account of which Curll was set
+in the pillory in 1725.</p></div>
+
+<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> L'Advocat: Dict. Histor.</p></div>
+
+<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> The italics are <span class="smcap">not</span> mine.</p></div>
+
+<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> Beckmann, <i>op. cit.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> Like many of these <i>rarissima</i> it has been reprinted in facsimile&mdash;crown
+8vo, 100 copies only, 1898.</p></div>
+
+<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> The various editions and impressions of this book have given rise to confused
+accounts respecting them. The British Museum Catalogue gives five
+distinct impressions of the third edition and five of the fourth edition. Of
+the fourth edition, some large-paper copies were issued; they are scarce and
+worth thirty shillings or more. The first edition is undated, but the paper
+is water-marked '1805'. A copy of this last, in the original boards uncut,
+realised 205 dollars in New York in March, 1920. It usually fetches about
+&pound;5 in England.</p></div>
+
+<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> The three copies which were sold between Dec. 1919 and June 1920,
+however, fetched 2,200 dollars, &pound;410, and &pound;600. The last was in the original
+sheepskin.</p></div></div>
+
+<p>&nbsp;</p>
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_194" id="Page_194"></a>[<a href="./images/194.png">194</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-22.jpg"><img src="./images/ill-22_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h2>
+
+<h4>A PLEA FOR SPECIALISM</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'The road lies plain before me; 'tis a theme<br /></span>
+<span class="ihalf">Single and of determined bounds.'&mdash;<br /></span>
+<span class="i12"><span class="smcap">Wordsworth.</span></span>
+</div></div>
+<p>&nbsp;</p>
+<div class="clearfix"><div class="figleft"><a href="./images/ill-23.jpg"><img src="./images/ill-23_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">ost</span> book-collectors embark upon their
+life-long hobby without any clearly defined
+scheme of collecting, buying just those books
+which take their fancy, and in many cases
+not realising that they have caught the dread
+contagion of bibliomania until they suddenly
+find that more shelf-room is required for their books, and
+that the expenditure upon their hobby is growing out of all
+proportion to their means. It is then generally too late to
+stop, and although they may avoid the book-stalls for some
+days, nay even weeks, the passion of collecting is only
+dormant, and will break out with renewed vigour either upon
+a sudden (though perhaps only temporary) condition of
+affluence, or upon the receipt of that most insidious of all
+temptations, a bookseller's catalogue&mdash;especially if it be a
+'clearance' one.</p></div>
+
+<p>This passion for collecting books resolves itself at length
+into two categories. Either the patient grows rapidly worse
+and plunges headlong into the vortex of auctions, catalogues,
+and bibliographies, amassing during the process a vast nonde<span class='pagenum'><a name="Page_195" id="Page_195"></a>[<a href="./images/195.png">195</a>]</span>script
+collection of books; or else he improves slowly but
+surely, growing daily shrewder in his purchases. So that at
+length, having completely recovered his composure, he finds
+himself the possessor of a collection of books valuable alike
+from commercial and utilitarian standpoints.</p>
+
+<p>The former of these collectors is generally said to suffer
+from acute bibliomania. His knowledge of books is vast but
+of a general kind, and for practical purposes it cannot compare
+with that acquired by his fellow-collector who had seen the
+folly of a headlong course. His complaint is well known;
+indeed it was recognised in the first century of our era, when
+Seneca condemned the rage for mere book-collecting, and
+rallied those who were more pleased with the outsides than
+the insides of their volumes. Lucian, too, in the next century,
+employed his prolific pen in exposing this then common folly.</p>
+
+<p>Even the wise collector, however, runs some risk of being
+engulfed by his hobby and swept away by the flood of books.
+There is but one remedy, or rather alleviation, for book-collecting
+is quite incurable and follows a man to his grave
+(unless, of course, he be cast upon a desert island), and that
+is <i>specialism</i>.</p>
+
+<p>Every collector should become a specialist. It will give
+him a definite ambition, something to look for among other
+books, something to complete; and there is a thousand times
+more satisfaction in possessing a select collection of works
+of a definite class or upon a definite subject, than in the
+accumulation of a vast heterogeneous mass of books. He will
+get to know the greater part of the works upon his own
+subject, become an authority upon it in time, and perhaps
+will even attempt a bibliography if it be an out-of-the-way
+subject. He will know precisely what he wants, what to
+search for, and what price to pay. In short, he will be lifted
+out of the fog of miscellaneous books into the clear atmosphere
+of a definite and known class of works.</p>
+
+<p>It is such an easy step, and such an immensely important
+one, this determination to confine one's collecting activities<span class='pagenum'><a name="Page_196" id="Page_196"></a>[<a href="./images/196.png">196</a>]</span>
+to a certain class of books. 'What a blessing it is,' said a
+book-loving friend not long ago, 'not to have to worry about
+all sorts of books. I have never ceased congratulating myself
+that I took the resolution to confine myself entirely to Herbals.
+Before, I had a vast but untrustworthy knowledge of titles and
+editions which a bad memory did not assist. Now, thank
+goodness, I have forgotten all that, but I flatter myself that
+I really do know something about Herbals.'</p>
+
+<p>And what a profitless occupation is the aimless collecting
+of heterogeneous books. If bibliographical knowledge be our
+aim, their very diversity tends to confuse us. If recreation
+be our object, better far to join a circulating library than
+garner volumes which, once read, are never to be opened
+again. Learning and study cannot be intended, for the
+formation of a library of nondescript books collected upon
+no system or plan can, at best, endow us with but a smattering
+of knowledge.</p>
+
+<p>There was once a certain bishop who used continually
+to collect useless luxuries. The Emperor Charlemagne,
+perceiving this, ordered a merchant who traded in rare and
+costly objects to paint a common mouse with different colours
+and to offer it to the bishop, as being a rare and curious animal
+which he had just brought from Palestine. The bishop is
+transported with delight at the sight of it, and immediately
+offers the merchant three silver pounds for such a treasure.
+But the merchant, acting on his instructions, bargains with
+the bishop, saying that he would rather throw it into the sea
+than sell it for so little. Finally the bishop offers twenty
+pounds for it. The merchant, wrapping up the 'ridiculus
+mus' in precious silk, is going away when the collector,
+unable to bear the thought of losing so great a curio, calls
+him back and says that he will give him a bushel of silver
+for it. This the merchant accepts: the money is paid; and
+the merchant returns to the Emperor to give him an account
+of the transaction.</p>
+
+<p>Then Charlemagne convokes the bishops and priests of all<span class='pagenum'><a name="Page_197" id="Page_197"></a>[<a href="./images/197.png">197</a>]</span>
+the province, and placing before them the money which the
+mouse has fetched, reads them a homely lesson on the foolishness
+of collecting profitless trifles. Sternly he enjoins them
+in future to use their money in administering to the wants of
+the poor rather than to throw it away on such unprofitable
+baubles as a painted mouse. The guilty bishop, now become
+the laughing-stock of the province, is permitted to depart
+without punishment.</p>
+
+<p>Doubtless the great majority of book-collectors are not
+specialists. They may set greater store by a certain class
+of works which appeals to them from some whimsical reason,
+but until they have grown middle-aged in their pursuit most
+of them are but <i>dilettanti</i>.</p>
+
+<p>'Yes,' I can hear you exclaim, 'but if your collecting
+propensities are to be curbed and countless books passed
+by, books which your very instinct urges you to acquire,
+surely you will lose most of the charm of collecting? How
+dull to be obliged to purchase only those works to which you
+have vowed to confine yourself.'</p>
+
+<p>Dull! No. I can assure you from my own experience that
+this restraint will but serve to redouble your eagerness, to
+sharpen an appetite in danger of becoming blunted by a
+plethora of <i>desiderata</i> and a shrinkage of your purse. So
+that whereas before, a short stroll about the book-shops would
+discover to you abundance, or at least plenty, of books that
+you would like casually to possess, now that you have become
+a specialist you must go further afield. Often you will return
+empty-handed from your rambles, and your sanctum (to the
+delight of the housemaid) will not be invaded quite so often
+by stacks of 'dirty old books.' Order will come out of chaos;
+many works bought upon impulse because they appealed to
+you at the moment will be weeded out and discarded.
+Moreover the shillings which this process yields will enable
+you to send that priceless gem, the <i>chef d'&oelig;uvre</i> of your
+collection, to the binder's, that its extrinsic appearance may
+be fashioned in keeping with its intrinsic worth.</p>
+
+<p><span class='pagenum'><a name="Page_198" id="Page_198"></a>[<a href="./images/198.png">198</a>]</span>
+More important still, you will become a known man. The
+booksellers will remember you, and one day when you reach
+home from a long and barren ramble, you will find a postcard
+awaiting you, announcing the discovery of some book for
+which you have long sought.</p>
+
+<div class="blockquot"><p>'<span class="smcap">Sir</span>,&mdash;I have found a copy of the Vitruvius fo.
+Venice, 1535, that you asked me for some time ago.
+You can have it for 10s. (vellum, clean copy). Shall
+I send it?&mdash;Yours respectfully, <span class="smcap">John Brown</span>.'</p></div>
+
+<p>Your ramble may have been on a cold winter's afternoon, it
+may have been raining and muddy underfoot, but will not this
+cheer you up and warm you better than any cup of tea? And
+what will be your sensations as you undo the parcel, take out
+the treasure (which you once saw in Johnson's catalogue for
+&pound;3), turn eagerly to its title-page, and collate it as gently as
+though you were handling some priceless work of art? Don't
+tell me! The specialist gets a thousand times more pleasure
+out of his hobby than ever did casual buyer. Besides, what
+rapture will be his whenever he chance upon some book for
+which he has long been searching, or upon some work on his
+very subject and yet unknown to him; for book-collecting
+is full of surprises.</p>
+
+<p>Some of the booksellers will ask you for a list of your wants.
+You may safely supply them with one, and it is not necessary
+to state the maximum price which you are prepared to pay for
+each. Should you do so, probably it will be taken to indicate
+that you are prepared to pay the price named, and the book
+when found will be offered to you at that price (or a few
+shillings less to give the idea of a bargain) when you might
+have had it at a considerably lower figure. Remember also
+that the very fact of a book being sought for enhances its
+price. Suppose that a country bookseller sees an advertisement
+in the trade journal asking for a copy of a certain
+obscure sixteenth-century work, and that he recollects he has
+a copy somewhere in stock. He finds it among his shelves<span class='pagenum'><a name="Page_199" id="Page_199"></a>[<a href="./images/199.png">199</a>]</span>
+marked, possibly, five shillings. When he answers the
+advertisement it is more than likely that he will ask a pound
+or even two for it. At the same time, however, you must
+consider whether or not the book is worth as much to you.
+It may be a little known and, to the world at large, a valueless
+book, and you may have to wait some years before you are
+able to secure a copy; whereas by advertising for it you may
+procure a copy almost immediately. Do you prefer to take
+the chance of having to wait years for a book which you
+urgently want, or to pay a longish price and possess it at
+once?</p>
+
+<p>There is another point to be considered. Should you ever
+part with your collection <i>en bloc</i>, or should your executors
+dispose of it, this volume will be an item of the collection of
+works in which you specialise. As such it will be much more
+likely to realise the larger than the smaller price, especially
+as the disposal of a collection of books upon a definite subject
+attracts to the rostrum other collectors of a like class of works.</p>
+
+<p>Surely every book-collector is in his heart of hearts a
+specialist. Have you ever taken into your hands some choice
+gem of your collection without wishing that there were others
+in your library of the same genus? Is there not some one
+volume among your books that demands your first consideration
+when new shelving is put up, when your books are
+re-arranged; the volume to which you would fly first of all
+if a fire broke out in your sanctum? Brother bookman, I can
+almost hear you turn in your chair at the awful prospect of
+having to make choice between your beloved tomes! Indeed
+I am with you whole-heartedly, for there are two books,
+two priceless gems, rescued (the one from Austria, the
+other France) after years of patient search, two books
+which ever strive for the ascendancy in my bibliophilic
+affections. Far from me be it to make distinction between
+them. Granted, however, that you have made up your
+mind as to the identity of <i>the</i> treasure, do you not
+wish to possess other equally choice works of the same<span class='pagenum'><a name="Page_200" id="Page_200"></a>[<a href="./images/200.png">200</a>]</span>
+class, on the same subject? Suppose some distant relative
+of yours with great propriety should die, bequeathing you all
+unexpectedly far more worldly goods than you had ever hoped
+to possess; supposing also that you were 'without encumbrances'
+or ties of any description, and that your sole aim
+and ambition in this world was the collecting unto yourself
+of the choicest fruits of master minds: what would be your
+first act, in so far as your hobby is concerned?</p>
+
+<p>I know what our book-hunter would do under such
+conditions. He would take the next train to Paris, proceed
+to a certain shop not a great distance from the Rue St. Honor&eacute;,
+mount the step-ladder and hand down to the delighted Henri
+just precisely what he fancied <i>in his own particular line</i>.
+This process he would continue elsewhere until he had formed
+a goodly nucleus round which to amass still scarcer volumes
+as they came to hand. And I venture to think that you would
+do the same, though not necessarily in Paris.</p>
+
+<p>What is it that makes a man a specialist? Is it a particular
+knowledge of a certain subject? Do all book-collecting
+doctors garner only herbals and early medical works? Does
+the poet-collector specialise in poetry, the freemason in
+masonic books, the angler in works dealing only with his
+pastime?</p>
+
+<p>Not always, perhaps; but doubtless this is the case with the
+great majority of collectors. Sometimes a chance purchase
+may shape the entire course of a man's collecting, sometimes
+he is led to the subject to which he devotes his collecting
+energies by devious byways. Our book-hunter has a friend
+who began to collect old French books on Chivalry through a
+touch of influenza. When convalescent his doctor ordered
+him a sea-voyage. An hour after the advice was given he met
+a shipping friend, who offered him a cabin in a ship just about
+to start on a trading voyage in the Mediterranean. At Crete
+the ship was detained for some repairs, so he took the
+opportunity to visit Rhodes in a coasting vessel. He was
+much struck with the famous Street of the Knights and ancient<span class='pagenum'><a name="Page_201" id="Page_201"></a>[<a href="./images/201.png">201</a>]</span>
+buildings of the great military Order that once owned the
+island, and regretted that he knew so little about it. Nor
+did his scanty knowledge of these things enable him to
+appreciate to the full the buildings of the Order at Malta.</p>
+
+<p>On his return to this country he spent some time at the
+British Museum, delving into these knightly records of the
+past, but was unable even then to discover all that he wished
+to know. So for a time he took up his abode in Paris, working
+daily at the Archives, the Arsenal Library, and Biblioth&egrave;que
+Nationale. Then came the Library of the Vatican. To-day
+his collection of ancient works on La Chevalerie, in most of
+the languages of Europe, is a thing to be proud of, and his
+sub-collection on the Hospitallers and their commanderies is
+especially rich. Probably there are few works upon this
+subject with which he is unacquainted, and the bibliography
+upon which he is at work bids fair to become the standard
+volume.</p>
+
+<p>What an immense part Chance plays in all our lives. Some
+of the most momentous events in the world's history have
+turned upon the most trivial happenings. Had not a wild
+boar run in a certain direction, probably there would have
+been no Norman Conquest of England! Robert of Normandy,
+out hunting with his friends, roused a boar which, running a
+certain course, necessitated the duke's return through the
+village street where he saw and fell in love with the burgess's
+daughter who became the mother of William the Conqueror.
+Had the boar run north instead of south, probably Robert
+would never have seen Arlette, and William would never have
+been born. Olaf of Norway, the great sea-king whose name
+was feared from Brittany to the Orkneys, was converted to
+Christianity by a chance landing at the Scilly Isles, where
+haply he visited the cell of a holy man that dwelt there.</p>
+
+<p>Let us now draw up a list of those subjects which generally
+engage the attention of specialists. The list is a lengthy one
+and offers an infinite variety. Each heading will comprise
+various sub-headings, and of these I shall speak more in detail.</p>
+
+<ul class="plain"><li><span class='pagenum'><a name="Page_202" id="Page_202"></a>[<a href="./images/202.png">202</a>]</span>1. Arctic, Antarctic, Whaling.</li>
+<li>2. Africa.</li>
+<li>3. Americana.</li>
+<li>4. Architecture, Building Construction.</li>
+<li>5. Australasia.</li>
+<li>6. Bibles.</li>
+<li>7. Bibliography, Bookbinding, Printing.</li>
+<li>8. Biography, Memoirs, Diaries.</li>
+<li>9. Celebrated Authors and Books.</li>
+<li>10. Celebrated Presses.</li>
+<li>11. Chapbooks, Ballads, Broadsides.</li>
+<li>12. Civil War and Commonwealth.</li>
+<li>13. Classics.</li>
+<li>14. Cookery Books.</li>
+<li>15. Costume.</li>
+<li>16. Crime and Prisons.</li>
+<li>17. Dictionaries, Etymology.</li>
+<li>18. Drama, the Stage.</li>
+<li>19. Early-printed books.</li>
+<li>20. Early Romances.</li>
+<li>21. Economics.</li>
+<li>22. Facetiae, Curiosa, Books on Gallantry.</li>
+<li>23. Fine Arts, including Technique, Theory, Criticism, History of the Arts, Furniture, Tapestries, Decorations, Gems, Ceramics, Plate.</li>
+<li>24. First Editions of Esteemed Authors.</li>
+<li>25. Folk-lore, Fables, Mysteries.</li>
+<li>26. Freemasonry, Rosicrucianism, and Secret Societies.</li>
+<li>27. French Revolution.</li>
+<li>28. Gardening.</li>
+<li>29. Heraldry, Chivalry, Crusades, Genealogy, Peerages, Ceremonies, and books on Seals and Brasses.</li>
+<li>30. History and Chronicles.</li>
+<li>31. Husbandry, Agriculture.</li>
+<li>32. Illustrated Books, Books of Engravings.</li>
+<li>33. Legal.</li>
+<li>34. Liturgies, Mass and Prayer Books.</li>
+<li>35. Locally-printed books.</li>
+<li>36. Mathematical and Early Scientific.</li>
+<li>37. Medical (Early), including Herbals and Early Botanical.</li>
+<li>38. Military, including Archery, Arms, Armour, Fencing, and Duelling.</li>
+<li>39. Music.</li>
+<li>40. Napoleon.</li>
+<li>41. Natural History.</li>
+<li>42. Nautical and Naval.</li>
+<li>43. Numismatics, Medals.</li>
+<li>44. Occult, Astrology, Astronomy, Alchemy, Witchcraft, Magic.</li>
+<li>45. Pamphlets and Tracts.</li>
+<li>46. Philosophy.</li>
+<li>47. Poetry.</li>
+<li>48. Privately-printed books.</li>
+<li>49. School books.</li>
+<li>50. Sport, Games, Pastimes.</li>
+<li>51. Theology, Lives and Works of the Early Fathers, History of the Church, Inquisition, works on the Religious Sects.</li>
+<li><span class='pagenum'><a name="Page_203" id="Page_203"></a>[<a href="./images/203.png">203</a>]</span>52. Tobacco.</li>
+<li>53. Topography, including Atlases, Geography, and County Histories.</li>
+<li>54. Trades.</li>
+<li>55. Travels and Exploration.</li>
+<li>56. Voyages, Shipwrecks.</li>
+</ul>
+
+<p>From this list are purposely omitted books printed upon
+vellum, Books of Hours of the Virgin Mary, and illuminated
+books; for these are rarities within reach of the wealthy only.
+Nor is 'bindings' included, for the man who collects these
+is no book-lover in the truest sense of the word, and his
+hobby does not fall properly within the category of book-collecting,
+being classed rather under the heading Art and
+Vertu, Bric-&agrave;-Brac, or what you will. Naturally all book-collectors
+(save perhaps the 'original-boards-uncut' man) are
+sensible to the charm of a choicely bound copy, provided
+always that the binding be appropriate and that it is impossible
+to obtain the book in its original covers; but it is for something
+more than the mere outsides of his treasures that the real
+book-lover cares.</p>
+
+<p>Needless to say, there are other subjects which have their
+devotees. Some collectors specialise in large-paper copies,
+some prefer certain editions which contain matter suppressed
+later. Others collect early children's books, gipsy literature,
+Egyptology, books on inventions, ballooning, etc. But most of
+these are more in the nature of sub-headings to the subjects
+in our list, and offer a more restricted field of collecting.
+Indeed I am in some doubt as to whether the large-paper
+collector should be included here, for his penchant is as far
+removed from true book-collecting as is that of the specialist
+in bindings. His hobby can have nothing to do with
+literature, since it is only the external characteristics of a book
+which appeal to him. He may be 'wise in his generation,'
+but his pursuit approaches closely to bibliomania. This
+objection may perhaps also be urged against one other subject
+in our list, namely, privately-printed books. But here there<span class='pagenum'><a name="Page_204" id="Page_204"></a>[<a href="./images/204.png">204</a>]</span>
+is an ulterior interest beyond the mere singularity of their
+production; for there are very many books of great merit,
+chiefly memoirs and family histories, which their authors have
+designed, from personal and contemporary reasons, to come
+only into the hands of their own families and acquaintances.</p>
+
+<p>So here is your list, reader, take your choice. But perchance
+you are already numbered among the elect, one of those <i>magi</i>
+among bibliophiles who are at once the despair of the booksellers
+and the wise men of their generation? Is it not to the
+specialists that we owe the bulk of our knowledge of old
+books&mdash;for who else is it that produce the bibliographies,
+numerous but not nearly numerous enough, that delight the
+heart of the collector? All praise to them, and, brother
+bibliophile, if you are not yet of their number in heart at
+least, read through the foregoing list once more and put a
+mark with your pencil against the heading which is most to
+your taste. If you do not see your chosen subject at once,
+a scrutiny will probably discover it for you included in another
+and wider subject.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> For example, Astronomy and Astrology,
+inseparably bound up in the ancient works, are included in
+the heading 'Occult.' Herbals, which deal with the medicinal
+qualities of plants, you will find under 'Medical.'</p>
+
+<p>Is your purse a long one? Would you not like to garner
+folios and quartos with weird and heavy types that speak of
+a craft yet in its infancy; books that perchance have seen
+or even been handled by the actual combatants of Barnet or
+of Bosworth Field; books with monstrous crude yet wholly
+delightful woodcuts that bring before us the actual appearance
+of our forebears under the King-maker, Richard Crouchback,
+and Harry Richmond? Or would you like to gather to
+yourself as many examples as you may, in the finest possible
+condition, of the exquisite art of Aldo Manuccio the elder?
+But perhaps the following, from a recent catalogue, represents
+a class (20) more to your palate.</p>
+
+<div class="blockquot"><p><span class='pagenum'><a name="Page_205" id="Page_205"></a>[<a href="./images/205.png">205</a>]</span>L'Histoire du tres fameux et tres redoute Palmerin
+d'Olive . . . . traduite de Castillan en Francoys
+reueue et derechef mise en son entier, selon nostre
+vulgaire moderne et usite, par Jean Maugin, dit
+l'Angeuin. <i>With</i> 45 <i>large spirited woodcuts (some
+being nearly full-page) representing duels, battles,
+etc., and</i> 132 <i>large ornamental initial letters</i>. Folio,
+Paris, 1553.</p></div>
+
+<p>Is your purse a light one? Then fifteenth-century books
+are denied you, as are all other esteemed works of the Middle
+Ages such as romances and classics. But there is hardly
+another heading in our list, save perhaps the first editions of
+the great authors, which you may not make your own. Almost
+every subject has its bibliography, and many fresh volumes
+are added yearly to the ever-increasing list of 'books about
+books.' You will find what bibliographies have appeared
+upon your particular subject, up to 1912, by referring to
+Mr. W. P. Courtney's 'Register of National Bibliography,'
+which should be (if indeed it is not) in every public library
+throughout the kingdom.</p>
+
+<p>Some day an enterprising public body will purchase a
+building with fifty-five rooms (or thereabouts), each of which
+will contain a small and carefully selected collection of books
+on each one of these subjects. Each room will have its own
+catalogue and its own librarian, who will be an expert in the
+subject over which he presides. The rooms, of course, will
+vary in size according to the magnitude of the subject and
+the number of sub-headings which it comprises. Readers will
+have access to the shelves in almost every case, books of great
+value alone being kept under lock and key.</p>
+
+<p>How invaluable such a library would be, and what a vast
+amount of time would all readers be saved! We should know
+instantly to whom to turn for expert advice upon any subject&mdash;for
+the sub-librarians would naturally be acquainted with
+more than the mere outsides of the volumes in their charge.<span class='pagenum'><a name="Page_206" id="Page_206"></a>[<a href="./images/206.png">206</a>]</span>
+We should be able to handle the latest works upon our subject
+immediately; and we should have, ready to our hand, a history
+of its literature from the earliest times to the present day.</p>
+
+<p>As to whether the acquisition of knowledge by this method
+would not turn us all into journalists, however, is another
+matter.</p>
+
+<p>With the first heading in our list shall be included several
+others, namely (2) Africa; (5) Australasia; (55) Travels and
+Explorations (which heading includes every land under the
+sun not specially mentioned in our list), and (56) Voyages and
+Shipwrecks; in short, all those subjects which concern
+'foreign parts.' They are subjects which are most likely
+to engage the attentions of collectors who have been seafaring
+in their time, though, as has been shown in <a href="#CHAPTER_II">Chapter II.</a>, it is
+not every traveller who has been far afield.</p>
+
+<p>Books on Arctic and Antarctic exploration, as well as
+whaling voyages, comprise much reading that is as interesting
+to the landsman as to the sailor. Most of its literature is
+within easy reach of the collector of modest means, though the
+earlier volumes are naturally increasing gradually in price.
+One of the hardest to obtain is William Scoresby's 'Account
+of the Arctic Regions,' which was published in two octavo
+volumes at Edinburgh in 1820. You will be lucky if you
+find a clean sound copy of it with the plates unspotted. It is
+now getting very scarce, as is Weddell's 'Voyage towards the
+South Pole in 1822-24' (octavo, London, 1825).</p>
+
+<p>Each of these headings can be subdivided according to your
+requirements. Africa you may divide conveniently into West,
+South, East, and Central; North Africa being best classified
+under the various countries which it contains, namely, Algiers,
+Morocco, Tripoli, and Tunis. Egypt, of course, has a vast
+literature of its own. Similarly books on Australasia may be
+divided into those which deal with Polynesia, New Guinea,
+Australia (again divided into its states), Tasmania, and New
+Zealand; though, properly speaking, the first of these should
+be classified under the heading 'Voyages.'</p>
+
+<p><span class='pagenum'><a name="Page_207" id="Page_207"></a>[<a href="./images/207.png">207</a>]</span>
+There is little doubt that those collectors who have devoted
+their energies during the past twenty-five years to the
+collecting of books on Africa, especially the South, will prove
+at no very distant date to have been wise in their purchases.
+Just as early Americana are so eagerly bought by our
+neighbours across the Atlantic at immense prices, far and
+away out of all proportion to their intrinsic worth as literature
+or history, so will the day come when those of our kin whose
+fathers sought a home in the 'great dark continent' will go
+to any length to procure works which deal with the early
+history of that newer world; and this will be the case, perhaps
+even sooner, with our Australasian friends.</p>
+
+<p>The early books on Australia are most interesting. Besides
+Governor Phillip's 'Voyage to Botany Bay' (1789) and his
+Letters therefrom (1791) there are such compilations as
+John Callander's version of the Comte de Tournay's 'Terra
+Australis Cognita,' or Voyages to the Southern Hemisphere
+during the Sixteenth, Seventeenth, and Eighteenth Centuries,
+three octavo volumes published at Edinburgh between 1766
+and 1768. Then there is Admiral Hunter's 'Historical
+Journal of the Transactions at Port Jackson and Norfolk
+Island' (1793).<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> Hunter sailed with the first fleet in 1787
+under Arthur Phillip, the first governor of Botany Bay, as
+second in command of H.M.S. <i>Sirius</i>, and afterwards became
+governor-general of New South Wales in succession to
+Phillip. His journal gives a very valuable account of the early
+days of the Colony. Barrington's, Mitchell's, and Sturt's
+handsome volumes, all with fine plates, are still to be had for
+shillings. They seem a very good investment.</p>
+
+<p>Books on the South Seas have a peculiar interest, for the
+subject at once conjures up the name of the immortal Captain
+Cook; and the accounts of his remarkable voyages between
+1768 and 1779 are perhaps the most eagerly sought for of all
+books on Polynesia. The first voyage of discovery in which<span class='pagenum'><a name="Page_208" id="Page_208"></a>[<a href="./images/208.png">208</a>]</span>
+the great explorer took part was in the years 1768 to 1771.
+His ship, the <i>Endeavour</i>, was accompanied in the first part
+of the voyage by the <i>Dolphin</i> and <i>Swallow</i>; and an account
+of the <i>Endeavour's</i> voyage was published surreptitiously in
+1771 by, it is said, certain of the petty officers of Cook's
+vessel.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> But the compilation of an authentic account of the
+voyage, from the rough notes and diaries, was entrusted to
+Dr. Hawkesworth, and was published in 1773 in three quarto
+volumes. From this task Hawkesworth gleaned &pound;6000, and
+although we are told that the book 'was read with an avidity
+proportioned to the novelty of the adventures which it
+recorded,' yet the compiler so far offended against the canons
+of good taste as to cause considerable offence. Cook gained
+such credit for his intrepidity that he was promptly promoted
+from lieutenant to commander.</p>
+
+<p>A second expedition was soon planned, and in 1772 the
+<i>Resolution</i> and the <i>Adventure</i> set sail, the former returning
+to England in 1775. The results of this voyage were drawn
+up by Captain Cook himself, and published in 1777 in two
+quarto volumes. In 1776 he sailed once more in the
+<i>Resolution</i>, but was destined never to return, for on St.
+Valentine's Day, 1779, he met his death at the hands of the
+natives of Hawaii. The expedition returned the next year,
+and the official account of it was published in 1784, in three
+quarto volumes, of which the first two were from the pen of
+Cook, the third volume being written by James King. The
+following year a second edition appeared, also in three quarto
+volumes. All these works have maps, charts, and folding
+plates, which are sometimes bound up separately into folio
+volumes. A few of these somewhat crude plates were engraved
+by Bartolozzi. Admiral James Burney's 'Chronological
+History of Voyages and Discoveries in the South Sea,' was
+published in five quarto volumes between 1803 and 1817.<span class='pagenum'><a name="Page_209" id="Page_209"></a>[<a href="./images/209.png">209</a>]</span>
+The author was one of Cook's officers, and the diary of the
+last voyage which he sailed in company with the great
+navigator is still (1921) in manuscript. His account of the
+death of Captain Cook, however, was published in the
+'Cornhill Magazine' so lately as November 1914.</p>
+
+<p>During the first half of the nineteenth century many
+handsome works upon these subjects issued from the press.
+For the most part they are sumptuous books, many of them
+having coloured plates and sometimes folding ones. They
+were published chiefly for subscribers at prices ranging from
+two guineas to fifteen; and during the last few years they
+have risen considerably in price. Until the decline of the
+coloured engraving in the 'fifties of last century they were
+legion in number, both quartos and octavos, and many are
+still to be had for a few shillings. But a study of booksellers'
+catalogues alone will give you an idea of their prices and
+values. Needless to say, works upon voyages, travels, and
+explorations issued in the seventeenth and eighteenth
+centuries are becoming increasingly scarce and valuable.</p>
+
+<p>Here a word of warning. Before you purchase any of these
+illustrated volumes, make sure (by referring to a bibliography
+or standard collation if possible) that it is intact. Frequently
+a plate or a map is missing, and sometimes an unscrupulous
+seller will go so far as to remove the 'list of plates' in order
+that the blemish may remain undetected. With such defects,
+books of travel are generally of little worth.</p>
+
+<p>Some of the byways included in these headings of Travel
+and Foreign Countries are of considerable interest for the
+bibliographer no less than for the traveller. Who has confined
+his attentions to the early Saracenic literature of North
+Africa? There is a number of works dealing with it, chiefly
+sixteenth-century Spanish books, and all are of considerable
+value. Luis del Marmol's 'Descripcion general del Affrica'
+is in three folio volumes, of which the first two were printed
+at Granada in 1573, the third volume being dated at Malaga,
+1599. But though Marmol affixed his own name to it, the<span class='pagenum'><a name="Page_210" id="Page_210"></a>[<a href="./images/210.png">210</a>]</span>
+work is little more than a translation of the 'Description of
+Africa,' by Leo Africanus, a fellow-countryman of Marmol,
+who composed his work in Arabic. Marmol was certainly
+well qualified for his task, for he was taken prisoner by the
+Moors in 1546, and was eight years in captivity in Africa.
+Curio's 'Sarracenicae Historiae' was first published in folio
+at Basel in 1567; but it was English'd by T. Newton in
+1575, quarto, black letter, London&mdash;if you are so lucky as to
+come across it. It is called 'A Notable Historie of the
+Saracens.' Dan's 'Histoire de la Barbarie,' folio, Paris,
+1649, appears in the sale-room from time to time.</p>
+
+<div class="sidenote">Americana.</div>
+
+<p>3. Americana&mdash;what a vast subject in itself! Its very
+definition signifies the inclusion of everything upon any
+subject whatsoever that has ever been written
+upon the Americas! But in the bibliographer's
+reading this term is generally taken to imply those early works
+relating to the discovery and settlement of the United States
+and Canada, though not necessarily in the English language.
+For the purposes of our list, however, we will confine its
+meaning solely to the United States; classifying books upon
+Canada, Alaska, and Mexico under the heading Travels and
+Exploration. Under the latter heading also, of course, will
+come the various countries of Central and South America.</p>
+
+<p>Many have been the collections upon the early history of
+New England, and you will do well to obtain the catalogues
+of the Huth, Church, Auchinleck, Winsor, Livingston,
+Grenville, and Hoe collections. The famous collection of
+Americana from the library at Britwell Court was to have been
+sold by auction at Sotheby's in August 1916; but it was
+purchased <i>en bloc</i> to go to New York, where it was dispersed
+by public auction the following January. The sale catalogue
+(Sotheby's) is an extremely good one, and contains a large
+number of works previously undescribed. The well-known
+library of Americana amassed by Dr. White Kennet, bishop
+of Peterborough during the latter part of the seventeenth
+century, and entrusted by him in 1712 to the keeping of the<span class='pagenum'><a name="Page_211" id="Page_211"></a>[<a href="./images/211.png">211</a>]</span>
+Society for the Propagation of the Gospel 'for their perpetual
+use,' was sold by order of that Society at Sotheby's in August
+1917 and realised very high prices, though most of the items
+were in poor condition. The gem of the collection, 'New
+England Canaan,' 1632, and most of the other important
+volumes (seventy-nine in all) had been presented previously
+by the Society to the British Museum. The highest price
+realised was &pound;650, which was paid for 'A True Relation of
+the late Battell fought in New England between the English
+and the Salvages,' 1637, a small quarto of sixteen leaves, said
+to be by the Rev. Philip Vincent.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p>
+
+<p>There are two valuable bibliographies upon this subject,
+both necessarily large and important works. They are Sabin's
+'Dictionary of Books relating to America,' in nineteen octavo
+volumes published at New York from 1868 to 1891, which,
+however, comprises only the headings from A to Simms: and
+Evans' 'American Bibliography,' privately printed in eight
+quarto volumes at Chicago, 1903 to 1914. Harrisse's
+'Bibliotheca Americana Vetustissima' (New York, 1866)
+with its supplement (Paris, 1872) is a bibliography of the
+rarest books concerning America that appeared between 1492
+and 1551. Mr. W. H. Miner's 'The American Indians, North
+of Mexico,' published by the Cambridge University Press in
+1917, contains a bibliography of works on the aboriginals.</p>
+
+<div class="sidenote">Architecture.</div>
+
+<p>4. Works upon Architecture are, <i>de natura</i>, for the greater
+part 'art books,' and comprise not only such large works as
+Furttenbach's massive tomes and the works of
+Britton and Billing, but the many beautifully
+illustrated books published by Ackermann at the beginning
+of last century. Most of them, English and foreign, are books
+of considerable value, for the plates were often produced by
+the great masters of engraving, and they readily command
+high prices whenever they appear in the market. But there<span class='pagenum'><a name="Page_212" id="Page_212"></a>[<a href="./images/212.png">212</a>]</span>
+is a large and increasing number of smaller works which deal
+with buildings and designs, as well as those books concerning
+buildings of an historical interest. There does not seem to be
+any monumental bibliography of architectural books, but you
+will find useful lists in Mr. W. P. Courtney's volumes.</p>
+
+<p>The older books upon this subject are necessarily scarce:
+such as Alberti's 'Libri de Re &AElig;dificatoria Decem,' which
+appeared first at Florence in 1485. This work, however, was
+reprinted at Paris in 1512, and you may have a copy of it for
+a couple of pounds, though the first French translation
+'L'Architecture et Art de bien bastir, trad. par deffunct Jan
+Martin,' folio, Paris, 1553, with fine large woodcuts, will cost
+you four times as much. It is a fine book, and contains a
+portrait of the author as well as a three-page epitaph by
+Ronsard on the deffunct Jan Martin.</p>
+
+<div class="sidenote">Bibles.</div>
+
+<p>6. The collection of Bibles is perhaps one of the commonest
+subjects to engage the attention of specialists. There is a
+numerous bibliography, ranging from Anthony
+Johnson's little tract 'An Historical Account of
+the English Translations of the Bible,' printed in 1730, down
+to the Rev. J. L. Mombert's 'English Versions of the Bible,'
+of which a new edition appeared in 1907. You will find the
+volumes of Anderson, Cotton, Eadie, Loftie, Dore, Darlow
+and Moule, Stoughton, and Scrivener of assistance to you
+here, as well as Westcott's 'General View of the History of
+the English Bible,' of which a third and revised edition was
+published in 1905. It contains a useful list of English editions
+of the Holy Writ. The Huth Collection, that portion of it
+which was sold in 1911-12, was especially rich in Bibles, as
+was the Amherst Library, dispersed in 1908-09. This last
+contained editions from 1455 (the so-called 'Mazarin' Bible)
+to King Charles the First's own copy of the 1638 Cambridge
+edition. The sale catalogues of these will be of value
+to you.</p>
+
+<p>7. Bibliography is perhaps the subject nearest to the heart
+of every bibliophile. But since the collection of 'books about<span class='pagenum'><a name="Page_213" id="Page_213"></a>[<a href="./images/213.png">213</a>]</span>
+books' must of necessity be the stepping-stone by which
+the book-lover attains his knowledge of the extrinsic attributes
+of his hobby, I have dealt with this subject at some
+length in the chapter wherein are treated the 'books of the
+collector.'</p>
+
+<div class="sidenote">Biography.</div>
+
+<p>8. Biography, Memoirs, Diaries: what a flood of names and
+memories occur to one under this heading! Not only the
+immortal Boswell and Pepys, but Fanny Burney,
+Alexandre Dumas, Mary Wortley-Montague,
+Lord Herbert of Cherbury, <i>et permulti alii</i>. Also, this
+heading will comprise that great series of mysterious and
+'racy' books ycleped 'Court Memoirs,' and the somewhat
+less exciting but&mdash;to our book-hunter's mind at least&mdash;more
+interesting works which border on the domain of history,
+such as the Memoirs of Blaise de Montluc and Saint-Simon:
+works which bring home to us the everyday life of those
+far-off days more clearly than anything that has ever been
+written about them since.</p>
+
+<p>How meagre is the stock of valuable historical memoirs
+with which we may furnish our libraries to-day! There is
+abundance to be had&mdash;after long searching, but the great
+Memoirs which we may have to hand, such as Froissart and
+Monstrelet, Waurin and La Marche, must number scarce a
+couple of dozen. Perhaps some day a philanthropic publisher
+will give us good editions (unabridged) of Sir James Melvil,
+Sir Philip Warwick, Edmund Ludlow, Bulstrode Whitlock,
+Sir Thomas Herbert, Robert Cary, Denzil Lord Holles, and
+many other valuable contemporary evidences now scarcely
+to be had, and when found usually in ancient tattered calf.
+Why is it, too, that the great mass of French chroniclers who
+bear witness to English doings in the wars of Normandy,
+Brittany, Burgundy, Anjou and Touraine remain still
+untranslated and almost unprocurable?</p>
+
+<p>There are so many delightful Memoirs to which one would
+like to have access at will. Jean de Boucicault, Marshal of
+France, stands out as one of the most interesting figures in<span class='pagenum'><a name="Page_214" id="Page_214"></a>[<a href="./images/214.png">214</a>]</span>
+medi&aelig;val France and, indeed, Europe. Nicknamed 'le
+meingre,' he was Vicomte de Turenne, and bore arms at the
+age of ten. His father<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> also was a Marshal of France. Few
+men have lived such a stirring life as this paragon of knightly
+prowess. At Rosebeque in 1382 (where Philip van Artevelde
+and 20,000 Flemings were slain), being then a page of honour
+to Charles <span class="smcap">vi.</span>, he fought at the King's side and acquitted
+himself so well that he received knighthood at the King's
+hands. Thenceforward he was fighting continually in
+Flanders, Normandy, Brittany, Languedoc&mdash;in short wherever
+there was fighting to be done. In 1396, marching with the
+flower of the French chivalry through Bulgaria against the
+Turks, he was one of the three thousand knights taken
+prisoner at the disastrous battle of Nicopoli; but was among
+the twenty-five whose lives were spared by the savage victor.
+Four years later he was defending Constantinople for the
+Emperor against his late captor, and here again he
+distinguished himself greatly by his bravery.</p>
+
+<p>Not long after this he was appointed Governor of Genoa.
+In command of the Genoese fleet he undertook to chastise the
+Cypriots for an outrage on some Genoese gentlemen. But
+calling at Rhodes on the way, the Grand Master of the
+Hospitallers persuaded him to try the effect of mediation first
+of all, and proceeded to Cyprus himself for that purpose.
+Whereupon the Marshal, 'to beguile the time, and give
+employment to the fiery spirits on board his squadron'
+(says a later chronicler) 'ran down at a venture to the Syrian
+city of Scanderoon, which place he carried by assault and
+plundered.' Encouraged by this success, on the Grand
+Master's return he persuaded that great personage to
+accompany him on a further expedition, and together they
+harried the whole coast of Syria, the Hospitaller confining
+his attention to the Infidels whilst the Marshal razed the<span class='pagenum'><a name="Page_215" id="Page_215"></a>[<a href="./images/215.png">215</a>]</span>
+factories which the Venetians (enemies to the Genoese) had
+established at Baruth and other places. Thus passing a very
+pleasant summer.</p>
+
+<p>In Italy he took an active part in the turmoil betwixt
+Guelphs and Ghibellines, and seized Milan for the former
+(1409). At Agincourt in 1415 he commanded the vanguard
+of the French army, and was taken prisoner. Being sent to
+England, he remained there until his death six years later.
+This great soldier was a man of many accomplishments, an
+ardent musician as well as a poet; and his leisure was passed
+chiefly in composing ballads, rondeaux, and virelays. Yet his
+'Livre des Faicts' remains unenglish'd.</p>
+
+<p>Another truly great man of a later period was that great
+warrior of saintly life and death, Henri, Duc de Montmorency.
+After a long and noble career of arms in the service of his
+king no less than of his countrymen, he fell a victim to the
+jealousy of Cardinal de Richelieu. 'Dieu vouloit que sa
+mort fust aussi admirable que sa vie,' writes his biographer;
+'que ses dernieres actions couronnassent toutes les autres;
+et que ses vertus Chrestiennes jettassent encor plus d'eclat
+que n'avoient fait les Heroiques.' Brought to the scaffold
+he refused to avail himself of the indulgence of having his
+hands at liberty. 'So great a sinner as I,' he said, 'cannot
+die with too much ignominy.' Of his own accord he took
+off his splendid dress. 'How can I,' said he, 'being so
+great a sinner go to my death in such attire when my
+guiltless Saviour died naked upon the Cross.' Yet save
+we are contented to turn to a poorly printed seventeenth-century
+edition of his Life, there is no place (to my knowledge
+at least) where we can read of this truly great man,
+and, of course, no version other than that in the French
+tongue.</p>
+
+<p>Then there is that great and vivacious chronicle of the house
+of Burgundy during the fifteenth century, the Memoirs of
+Messire Olivier, Sieur de la Marche. No historian would
+write of the Flemish wars, from the Peace of Arras in 1435<span class='pagenum'><a name="Page_216" id="Page_216"></a>[<a href="./images/216.png">216</a>]</span>
+to the taking of Ghent by the Archduke Maximilian in 1491,
+without constant reference to this invaluable work, for
+la Marche was often an eye-witness of the events which he
+records. Yet so far it has not been rendered in English, and
+I know of no complete edition in modern French. It is the
+same with the memorials of Bouchet, Chartier, de Coussy,
+Crillon, Olivier de Clisson, and many other great soldiers,
+all of whom have much to say of the wars 'contre les Anglois.'
+The famous history of Bertrand du Guesclin<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> contained in
+'Le Triomphe des Neuf Preux' does not seem to have been
+reprinted after its second appearance in Spanish at Barcelona
+in 1586, and there is no English version.</p>
+
+<p>Why is it that biography has such a peculiar fascination
+for most men? Is it but curiosity to know how others have
+passed their lives, mere idle inquisitiveness? Or is it that we
+may store up in our minds what these great ones said and
+did upon occasions that may occur to us some day? This is,
+perhaps the more likely; for women dislike biographies, and
+women, we are told, care not a fig for examples, but act upon
+their native intuition. Be the reason what it may, the fact
+remains that for one man who looks to the future there are
+fifty who look to the past. Moreover the sages of all times
+encourage us to seek examples in the lives of other men, and
+examples are certainly of more value than idle speculations.
+'With what discourses should we feed our souls?' asked one
+of that pleasant philosopher Maximus of Tyre. 'With those
+that lead the mind <ins class="grk" title="Greek: epi ton prosthen chronon">&#7952;&#960;&#8054; &#964;&#8056;&#957; &#960;&#961;&#8057;&#963;&#952;&#949;&#957; &#967;&#961;&#8057;&#957;&#959;&#957;</ins>&mdash;towards former<span class='pagenum'><a name="Page_217" id="Page_217"></a>[<a href="./images/217.png">217</a>]</span>
+times,' replied the sage&mdash;those that exhibit the deeds of
+past ages.</p>
+
+<p>Possibly it would be better to include biographical
+dictionaries under this heading than under 'Dictionaries.'
+Oettinger's 'Bibliographie Biographique Universelle,' published
+first in quarto at Leipzig, 1850, describes some 26,000
+biographies, under their subjects' names. A second edition
+appeared in two octavo volumes at Brussels four years later.
+There is a useful catalogue of 174 biographical dictionaries
+in all languages at the end of the third volume of John
+Gorton's 'General Biographical Dictionary,' the 1833 edition.</p>
+
+<div class="sidenote">Famous Authors and Books.</div>
+
+<p>9. Celebrated Authors and Books. How interesting it
+would be to know which individual work, after the Bible,
+has passed through the greatest number of
+editions. 'The Pilgrim's Progress,' 'Robinson
+Crusoe,' 'The Decameron,' 'The Compleat
+Angler,' 'Paradise Lost,' all these must have been reprinted
+an immense number of times; while others such as 'Gil Blas'
+and 'Don Quixote' would not be so very far behind. Then
+there are the ancients, such as Homer, Horace, Virgil, with the
+great host of classics of the old world. Perhaps, however, the
+palm would be awarded to the 'Imitatio Christi' of the saintly
+Thomas &agrave; Kempis. The editions of it, from the presses of
+almost every country in the old and the new worlds, run well
+into four figures. An English collector, Edmund Waterton,
+succeeded in amassing no less than thirteen hundred, and at
+his death the British Museum acquired all those of his treasures
+which were not already upon its shelves.</p>
+
+<p>There is another name to couple with this, though (I hasten
+to add) from a purely bibliographical standpoint&mdash;that of the
+great Dominican Giacomo di Voraggio, or Jacobus de
+Voragine. Except to the student of Early Fathers, the
+hagiologist, and the bibliophile, his very name has almost
+sunk into oblivion; but to these savants he stands forth as
+the compiler of that marvellous collection of the Lives of the
+Saints, known as The Golden Legend. The first Latin<span class='pagenum'><a name="Page_218" id="Page_218"></a>[<a href="./images/218.png">218</a>]</span>
+edition of his great work was printed in folio at Cologne in
+1470, and six years later it appeared in French at Lyons and
+in Italian at Venice. Caxton translated and published an
+English version, and from that time to the middle of the
+sixteenth century it is said to have undergone more
+impressions than any other contemporary work.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></p>
+
+<p>It is not only editions of individual works, however, that
+this heading comprises. Upon reading a book which pleases
+us greatly it is but natural to seek other works by the same
+author; and with the book-collector this tendency often
+becomes the basis of a definite plan of campaign. Who has
+yet formed a complete collection of the works and editions
+of Defoe, of Alexandre Dumas, or even of that indefatigable
+Jesuit antiquary Claude Fran&ccedil;ois Menestrier? There are
+bibliographies of all three, but I do not know of any library
+that possesses a complete collection of either. Every year
+sees the addition of bibliographies upon this subject, and we
+have now excellent accounts of the publications of Bunyan,
+Cervantes, Defoe, Milton, Sir Walter Raleigh, Sir Isaac
+Newton, Isaac Walton, and many other famous men.</p>
+
+<p>Under this heading also is included the collection of books
+dealing with a particular author or book, such, for example,
+as the many published works upon the authorship of the
+'Imitatio Christi,' the 'Eikon Basilike,' or the Letters of
+Junius, and&mdash;commonest sub-heading of all&mdash;'Shakespeareana.'
+The British Museum authorities have issued a bibliography
+(large quarto, 1897), of books in that library relating
+to Shakespeare, which you may have for a few shillings. If
+this be your hobby, however, perhaps the first book which
+you will acquire, at the very outset of your career, will be
+Sir Sidney Lee's monumental 'Life of William Shakespeare,'<span class='pagenum'><a name="Page_219" id="Page_219"></a>[<a href="./images/219.png">219</a>]</span>
+which has become a classic in itself. Of this, the first edition
+appeared in 1898, but a new edition (the seventh) rewritten
+and greatly enlarged, was published in 1915. It is, at the
+time of writing, the fullest and best, so is much to be preferred.
+It contains a full account of the earliest and subsequent
+editions and editors of the immortal writer. Mr. A. W.
+Pollard published in 1909 a bibliographical account of
+'Shakespeare Folios and Quartos,' and you will find a lengthy
+list of books upon this subject in Appendix I of Sir Sidney
+Lee's work (1915). Mr. William Jaggard's 'Shakespeare
+Bibliography' purports to be 'a dictionary of every known
+issue of the writings of our national poet and of recorded
+opinion thereon in the English language.' It was published
+at Stratford-on-Avon in 1911, a thick octavo volume of more
+than 700 pages. The fifth volume of the 'Cambridge History
+of English Literature' contains some 47 pages of Shakespeareana
+in the bibliographies to Chapters VIII. to XII.</p>
+
+<div class="sidenote">Famous Presses.</div>
+
+<p>10. Celebrated Presses. Of all the famous printers this
+world has seen, there are two in particular whose productions
+have engaged the attentions of collectors continually,
+namely, the Manuccios ('Aldines') and
+the Elzeviers. The reason for this is not far to seek. Unlike
+the productions of Caxton or de Worde (whose works, mostly
+in the vernacular, have usually engaged the attentions of
+English collectors only), the volumes issued by these two
+great foreign houses stand out for their conspicuous merit
+both as specimens of book-production and as examples of
+scholarly editing. Should you decide, however, to confine
+your attention to some other of the great printers, then a
+delightful hobby will be yours; for the field is narrow, and
+your collecting must take the form of a personal inspection
+of each volume purchased. It will be book-hunting with a
+vengeance; the booksellers' catalogues (which rarely give the
+printers) will be of little use to you except as regards certain
+specimens with which you are acquainted, and each volume
+that you acquire will have been unearthed by your own hands.<span class='pagenum'><a name="Page_220" id="Page_220"></a>[<a href="./images/220.png">220</a>]</span>
+It is a subject which has been chosen so frequently by
+specialists that there are bibliographies of almost all the
+well-known printers, most of them, it were needless to add,
+in French. For a list of them, you must consult the work
+of Bigmore and Wyman, as well as that of Mr. W. P. Courtney.</p>
+
+<p>There is a chance here, also, for the public librarian. How
+many of the public libraries in this country possess a collection
+of books illustrating the history and progress of printing in
+their particular towns? Most provincial public libraries now
+possess collections of books relating to the history and
+topography of their localities; and it should not be difficult
+to form similar collections of locally-printed books. It would
+be an interesting hobby for the private collector too, and such
+a collection would be of the greatest interest and value from
+the bibliographical standpoint. Similarly it would not be
+difficult to form a small collection of books printed by, say,
+the French or German or Italian printers before 1500, or the
+Paris or Venetian printers up to 1600. There is a considerable
+field for the collector here.</p>
+
+<div class="sidenote">Ballads and Broadsides.</div>
+
+<p>11. Chapbooks, Broadsides, and Ballads: a curious byway
+of book-collecting this, for the knowledge to be gleaned from
+these <i>curiosa</i> is not probably of great value.
+Nor can a great deal be said in favour of their
+utility. Perhaps, however, the first two would be classed more
+properly with No. 22&mdash;Facetiae and Curiosa, leaving Ballads
+only under this heading. The Earl of Crawford and Balcarres'
+'Bibliotheca Lindesiana: a Catalogue of a Collection of
+English Ballads of the Seventeenth and Eighteenth Centuries,
+printed for the most part in Black Letter' was printed
+privately in small quarto in 1890. It is undoubtedly the
+finest collection of this kind in the world. Ritson's 'Ancient
+Songs and Ballads' was revised by Hazlitt in 1877. Then
+there are such volumes as Payne Collier's 'Illustrations of
+English Popular Literature,' published in 1863-66, Huth's
+'Ancient Ballads and Broadsides published in England in
+the Sixteenth Century' (1867), and others which will be<span class='pagenum'><a name="Page_221" id="Page_221"></a>[<a href="./images/221.png">221</a>]</span>
+mentioned when discussing Facetiae (22) and Pamphlets and
+Tracts (45). Lemon's 'Catalogue of a Collection of Printed
+Broadsides in the Possession of the Society of Antiquaries
+of London' (1866) and Lilly's 'Black Letter Ballads and
+Broadsides,' (1867) will also be of use to you here, as will the
+publications of the Percy, Ballad, and Philobiblon Societies.
+In 1856 J. Russell Smith, the antiquarian publisher of Soho
+Square, issued a 'Catalogue of a Unique Collection of Four
+Hundred Ancient English Broadside Ballads, Printed Entirely
+in the Black Letter' which he had for sale&mdash;a small octavo
+volume with notes and facsimiles. It is a valuable little book
+and somewhat hard to obtain. For other reference-books
+upon this subject, you must turn to the headings 'Ballads'
+and 'Broadsides' in Mr. W. P. Courtney's valuable 'Register
+of National Bibliography.'</p>
+
+<p>This heading also includes the collection of proclamations
+and single sheet posters of all kinds. There is a fine collection
+of Royal Proclamations in the Library of the Society of
+Antiquaries, probably the most perfect in existence. 'Bookes'
+of Proclamations were issued by R. Grafton in 1550 (8vo),
+R. Barker in 1609 (folio), Norton and Bill in 1618 (folio)&mdash;all
+in black letter&mdash;and by several other the king's printers during
+the seventeenth century. For the purposes of the historian
+they are simply invaluable. The (26th) Earl of Crawford and
+Balcarres has printed a bibliography of proclamations, vols.
+v. and vi. of his 'Bibliotheca Lindesiana.'</p>
+
+<div class="sidenote">Civil War and Commonwealth.</div>
+
+<p>12. Civil War and Commonwealth is properly speaking a
+sub-heading of No. 30&mdash;History; but it is a favourite subject
+with book-collectors, and the volumes issued
+during this period are <i>sui generis</i> and mostly of
+considerable interest. With the abolition of the
+Star Chamber in 1641 the drastic repression of the printers
+disappeared, and, freed from all control, the presses now
+poured forth political tracts and volumes of every description.
+Needless to say a great number of the books thus issued were
+anonymous publications. But two years later an Order for<span class='pagenum'><a name="Page_222" id="Page_222"></a>[<a href="./images/222.png">222</a>]</span>
+the Regulating of Printing came into force, and Cromwell's
+censorship was reinforced by a further Act in 1649. Nevertheless
+a large mass of political matter continued, throughout
+the interregnum, to make its appearance on the stalls and in
+the shops. What would not Cromwell have given to suppress
+'Killing no Murder'! Edwards' 'Catalogue of the Great
+Rebellion Tracts in the British Museum' was included in his
+'Memoirs of Libraries,' which appeared in 1859. George
+Thomason's famous collection of Royalist tracts will be dealt
+with under the heading 'Pamphlets.'</p>
+
+<div class="sidenote">Classics.</div>
+
+<p>13. Of all the subjects in our list perhaps none comprises
+volumes of greater beauty and printed with greater distinction
+than this&mdash;the Classics of the Old World. It is
+a rare field for the scholar to-day, for the time
+when no library could be considered complete without editions
+of most of the old masters of Greece and Italy is long past;
+and there is nothing like the competition nowadays to secure
+the well-known editions which formerly adorned the shelves
+of our grandfathers. Not long ago our book-hunter witnessed
+the sale of a sixteenth-century folio Isocrates, bound in ancient
+green morocco, for seven and sixpence; and similar volumes
+are described continually in the modern booksellers'
+catalogues. There is more scope here for the collection of
+masterpieces of typography than in any other heading in our
+list. Aldines, Estiennes, Elzeviers, Plantins, Baskervilles,
+Barbous&mdash;all are within the reach of the most modest purse.
+You need not trouble to study Dibdin's 'Introduction to the
+Knowledge of Rare and Valuable Editions of the Greek and
+Latin Classics': if you are sufficiently fond of immortal books
+and beautiful printing to make this subject your hobby, your
+own eyes and hands will guide you in the choice of editions&mdash;from
+the bibliographical standpoint.</p>
+
+<div class="sidenote">Cookery Books.</div>
+
+<p>14. The Collection of Cookery Books offers a wider field
+for the book-collector's activities than would appear at first
+sight. Besides the considerable number of works of a purely
+culinary nature, there are many sources whence we can learn<span class='pagenum'><a name="Page_223" id="Page_223"></a>[<a href="./images/223.png">223</a>]</span>
+much concerning the dietary and table customs of our
+ancestors. Caxton's (or rather de Worde's) 'Book of
+Curtesye' is a primer of good manners for a small
+boy at table and elsewhere, and it may well find
+a place, in modern shape, on the shelf beside other volumes
+on household economy. 'Don't dip your meat in the salt-cellar,'
+the wise man tells Master Jackie, 'lest folk apoynte
+you of unconnyngnesse.' He must be careful, also, not to
+expectorate across the table,</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'ne at the borde ye shall no naylis pare<br /></span>
+<span class="ihalf">ne pyke your teth with knyf.'<br /></span>
+</div></div>
+
+<p>Injunctions that are, perhaps, unnecessary nowadays; but all
+must agree with the great printer that</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'it is a tedyous thynge<br /></span>
+<span class="i0">For to here a chylde multeplye talkyng.'<br /></span>
+</div></div>
+
+<p>Are books on table-manners published nowadays? The
+latest I remember to have seen is Trusler's 'The Honours of
+the Table, or Rules for Behaviour during Meals, with the
+Whole Art of Carving,' which appeared in 1788. It has
+woodcuts by Bewick, and is a curious and scarce little volume.</p>
+
+<p>Even such unlikely volumes as Dugdale's 'Origines
+Juridiciales' (folio, London 1680), the Egerton and Rutland
+Papers, and other volumes of household accounts issued by the
+learned societies contain menus and long lists of foodstuffs
+and drinks consumed at various feasts. W. C. Hazlitt's
+account of some 'Old Cookery Books and Ancient Cuisine'
+appeared in 12mo in 1886. It has a list of some of the older
+works. There is also a bibliography of books upon this
+subject in Dr. A. W. Oxford's 'Notes from a Collector's
+Catalogue' which appeared in 1909. His 'English Cookery
+Books to the Year 1850' was published in 1913. You will
+find a useful paper upon old English cookery in the 'Quarterly
+Review' for January 1894. M. Georges Vicaire's 'Bibliographie
+Gastronomique,' a handsome octavo volume with
+facsimiles, appeared at Paris in 1890.</p>
+
+<p>Then there are such books on dieting as Cornaro's<span class='pagenum'><a name="Page_224" id="Page_224"></a>[<a href="./images/224.png">224</a>]</span>
+'Discorsi della Vita Sobria' and Lessius on the Right Course
+of Preserving Health, both english'd in 1634 and printed at
+Cambridge in a tiny volume entitled 'Hygiasticon'; also
+Tryon's 'Way to Health,' Sir Thomas Elyot's 'Castel of
+Helth,' and other works of this nature. 'The Forme of Cury,'
+compiled about 1390 by the master cook of Richard <span class="smcap">ii.</span>, was
+published by Samuel Pegge in 1780; and the 'Libre Cure
+Cocorum,' about 1440, was issued by the Philological Society
+in 1862. The 'Boke of Cookery' printed by Pynson in 1500,
+and Buttes' 'Dyets Dry Dinner,' 1599, you will probably have
+to go without unless your purse be a deep one; indeed so far
+as I am aware no duplicate is known of the first-mentioned!</p>
+
+<div class="sidenote">Costume.</div>
+
+<p>15. Books on Costume, like works on Architecture and the
+Fine Arts, are <i>de natura</i> 'art books.' During the first few
+decades of the nineteenth century there were
+published a number of folio volumes containing
+fine coloured plates, depicting the costumes of various foreign
+countries. Numerous books of travels issued during the same
+period also were embellished with similar plates; whilst of
+late years monographs have appeared on the history of various
+articles of attire, such as shoes, gloves, hats, etc. It is not a
+large field for the specialist, and at present I am unaware
+of any modern bibliography upon this subject. There are
+lists of costume books in Fairholt's 'Costume in England'
+(1896 edition), 'The Heritage of Dress' by Mr. W. M. Webb
+(1907), and a paper on them by Mr. F. W. B. Haworth in the
+Quarterly Record of the Manchester Public Library for 1903
+(vol. vii. pp. 69-72).</p>
+
+<p>Some of the older works on costume are extremely
+interesting for their curious engravings. For the most part
+they are valuable works. 'Le Recueil de la diversite des
+Habits, qui sont de present en usage, tant es pays d'Europe,
+Asie, Afrique et Isles Sauvages, le tout fait apres le naturel'
+was put forth by Richard Breton, a Paris printer, in 1564,
+octavo. It contains 121 full-page wood-engravings of
+costume; it is a little difficult, however, to see why the<span class='pagenum'><a name="Page_225" id="Page_225"></a>[<a href="./images/225.png">225</a>]</span>
+'sauvages' should be included in a book of costume. But
+perhaps they are covered by the phrase 'apres le naturel.'
+Beneath each engraving is a rhyming and punning quatrain.
+Here is the one beneath the portrait of a young lady of demure
+appearance, entitled 'L'Espous&eacute;e de France':</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'L'espous&eacute;e est coiff&eacute;e, aussi vestue<br /></span>
+<span class="ihalf">Comme voyez, quant elle prent mary,<br /></span>
+<span class="ihalf">A demonstrer sa beaut&eacute; s'esuertue,<br /></span>
+<span class="ihalf">En ce iour la, n'ayant le cueur marry.'<br /></span>
+</div></div>
+
+<p>There are other interesting sixteenth-century works by
+Abraham de Bruyn, Nicolas de Nicolay, Cesare Vecellio,
+Pietro Bertelli, Ferdinand Bertelli, and others, all with copper
+and wood engravings.</p>
+
+<div class="sidenote">Crime.</div>
+
+<p>16. Books dealing with Crimes and Prisons are classed
+generally under the heading <i>Curiosa</i> (22); but accounts of
+murders, rogueries, piracies, etc., are so common
+and so frequently engage the attentions of
+specialists that I have thought fit to place this subject
+in a class by itself. Needless to say the majority of
+works on this subject are in the shape of pamphlets or tracts,
+though some (such as the 'Trial of Queen Caroline') run to
+more than one thick volume. You must not expect to come
+across many of Samuel Rowlands' tracts on roguery, (1600-1620),
+for they are worth literally their weight in gold, and
+more. Many of them, however, have been reprinted by the
+Hunterian Club (1872-86). Nor will you find readily 'The
+Blacke Dogge of Newgate' by Luke Hutton, which appeared
+first about 1600, though 'The Life and Death of Gamaliel
+Ratsey, a Famous Thief of England,' was reprinted by Payne
+Collier. Mr. F. W. Chandler's two volumes on 'The
+Literature of Roguery,' published in 1907, will be of great
+assistance to you here; whilst Payne Collier's 'Illustrations
+of Early English Popular Literature' contains several murder
+pamphlets. The Newgate Calendar is well known and may
+be had, in varying states of completeness, of the booksellers
+from time to time, together with the many accounts of famous
+murders and trials.</p>
+
+<div class="sidenote">Dictionaries.</div>
+
+<p><span class='pagenum'><a name="Page_226" id="Page_226"></a>[<a href="./images/226.png">226</a>]</span>17. Dictionaries and Etymologies are subjects which
+generally engross the attentions of 'curious antiquaries.'
+Some of the older dictionaries are of great
+interest. A few years ago our book-hunter
+purchased in London for half a crown a copy of Cooper's
+'Thesaurus Linguae Romanae et Britanniae,' a thick folio
+printed at London by Henry Bynneman in 1584. It is bound
+in the original sheepskin, a portion of a vellum psalter having
+been used to strengthen the joints. The worthy bishop's text
+is delightful (Cooper died bishop of Winchester in 1594), the
+interpretations being in black letter, and it is full of quaint
+conceits. At the end is a biographical dictionary which
+certainly contains some startling statements. Baret's
+'Alvearie or Triple Dictionarie,' 1573, and Rider's
+'Bibliotheca Scholastica,' 1589, you may still come across,
+but do not set your heart upon acquiring a copy of Huloet's
+'Abcedarium Anglico-Latinum' put forth at London in 1552.
+Perhaps the finest collection of dictionaries amassed by any
+one collector in this country was that of the reverend Dr.
+Skeat of Cambridge; but alas! at his death it was partly
+dispersed.</p>
+
+<div class="sidenote">Drama.</div>
+
+<p>18. Shakespeareana has already been dealt with under
+heading No. 9, and the bibliography of the Drama is a
+voluminous one. You will find the following
+works of value to you at the outset, if this be
+the subject of your choice. Hazlitt's 'Manual for the
+Collector and Amateur of Old English Plays' was issued in
+1892, whilst Mr. F. E. Schelling's 'Elizabethan Drama, 1558-1642,'
+appeared in two volumes, New York, in 1908. The
+second volume contains a useful bibliography. Mr. W. W.
+Greg's 'List of English Plays written before 1643 and printed
+before 1770' was published by the Bibliographical Society
+in 1900. There is a supplementary volume which deals with
+Masques, Pageants, and some additional plays; it appeared
+in 1902. The bibliography to Chapter IV. in the tenth
+volume of the 'Cambridge History of English Literature'<span class='pagenum'><a name="Page_227" id="Page_227"></a>[<a href="./images/227.png">227</a>]</span>
+contains useful lists of works on the drama. The office-book
+of Sir Henry Herbert, Master of the Revels, 1623 to 1673,
+was edited by Professor Quincy Adams and published by
+the Yale University Press ('Cornell Studies in English,'
+vol. iii.) in 1917. It is the chief source of information about
+English plays and playwrights from 1623 until the Civil War,
+and the documents of the period 1660-73 are important to
+students of the Restoration Drama.</p>
+
+<div class="sidenote">Early-Printed Books.</div>
+
+<p>19. By the term 'early-printed books' the bookseller
+generally means fifteenth-century works, or <i>incunabula</i> as
+they are now called. You must needs be a rich
+man if this be your hobby, for every volume issued
+prior to the year 1500&mdash;however worthless as literature or
+useless from a bibliographical standpoint&mdash;is now worth at
+least a couple of pounds, provided it is complete and in good
+condition. You <i>may</i> pick up an example or two of early
+printing for a few shillings on your rambles, but every day
+the chance of a bargain in this direction is smaller. There
+is not a bookseller throughout the kingdom who is not aware
+of the minimum value of <i>any</i> volume printed in the fifteenth
+century, and a private purchase and treasure trove are the
+only sources available to the 'incunabulist' to-day. As
+regards works of reference on this subject, such books have
+already been dealt with in the chapter on the Books of the
+Collector.</p>
+
+<div class="sidenote">Early Romances.</div>
+
+<p>20. Early Romances, too, will tax your exchequer somewhat
+heavily, for these glorious folio and quarto examples of early
+woodcut engraving are eagerly snapped up
+whenever they appear in the market. One of the
+finest collections of these fascinating volumes in recent times
+was that amassed by Baron Achille Seilli&egrave;re. A portion of it
+was sold at Sotheby's in February 1887. Most of these
+treasures were exquisitely bound by the great French masters
+of book-binding, and the sale of 1147 lots realised &pound;14,944,
+an average of about &pound;13 a volume. Yet it is safe to assert
+that the same collection to-day would fetch more than double<span class='pagenum'><a name="Page_228" id="Page_228"></a>[<a href="./images/228.png">228</a>]</span>
+that amount.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> The first folio edition (<i>Lyon</i>, 1477) of Honor&eacute;
+Bonnor's 'L'Arbre des Batailles' realised only &pound;30. At the
+Fairfax Murray sale in 1918 the quarto Lyons edition (1510)
+made &pound;130. The Lisbon edition of 'Le Triomphe des Neuf
+Preux' (1530) brought &pound;83. The same copy at the Fairfax
+Murray sale realised &pound;135. A second portion of this fine
+collection afterwards came under the hammer in Paris, and
+realised similar prices.</p>
+
+<p>There is a numerous bibliography. Mr. A. Esdaile's 'List
+of English Tales and Prose Romances' was published by the
+Bibliographical Society in 1912, as was Mr. F. W. Bourdillon's
+'Early Editions of the Roman de la Rose.' The second
+edition of W. J. Thom's 'Early English Prose Romances'
+appeared in three small octavo volumes in 1858, whilst
+Quaritch's 'Catalogue of Medi&aelig;val Literature, especially the
+Romances of Chivalry' was issued&mdash;large octavo&mdash;in 1890.
+Mr. H. L. D. Ward's 'Catalogue of Medi&aelig;val Romances in
+the British Museum,' in three volumes, was completed in 1910.
+For foreign Romances Lenglet du Fresnoy's 'Biblioth&egrave;que
+des Romans,' is useful. The Comte de Tressan's 'Corps
+d'Extraits des Romans de Chevalerie,' published in twelve
+volumes in 1787, has exquisite plates by Marillier. It is an
+interesting compendium of all the most famous romances of
+chivalry. The Early English Text Society has published a
+large number of old English romances both in verse and prose.</p>
+
+<div class="sidenote">Facetiae, Curiosa.</div>
+
+<p>22. Facetiae, Curiosa&mdash;a somewhat broad subject which
+would include Chapbooks, Broadsides, Jest Books, as well as
+those works which treat of 'Gallantry' and subjects
+generally not alluded to in polite society! The literature upon<span class='pagenum'><a name="Page_229" id="Page_229"></a>[<a href="./images/229.png">229</a>]</span>
+all these topics is so large that it is impossible to attempt a
+r&eacute;sum&eacute; of it here, but you will find a very useful bibliography
+in the fourth volume of the 'Cambridge History
+of English Literature,' pages 514 to 536.
+Carew Hazlitt's 'Fugitive Tracts' (1875) and 'Studies in
+Jocular Literature' (1890) are both useful; and Mr. G. F.
+Black has recently (1909) printed a bibliography of <i>Gipsies</i>.
+Witchcraft, sometimes classed under this heading, shall be
+dealt with when we consider the Occult.</p>
+
+<div class="sidenote">Fine Arts.</div>
+
+<p>23. Works upon the Fine Arts are, like books on
+Architecture, chiefly illustrated. Doubtless such books are
+collected generally by students and craftsmen,
+but under this heading must be included books
+on gems, ancient statuary, and ceramics, cameos, rings, and
+the like. There is a large number of works which treat of
+these from the sixteenth century onwards, and many are to
+be had for a few shillings.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> Or turn to the index.</p></div>
+
+<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> Quarto. It was abridged in octavo the same year.</p></div>
+
+<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> Similarly, a quarto volume containing an account of the second voyage,
+'Drawn up from Authentic Papers,' appeared anonymously in 1776; an
+octavo 'Journal' having appeared, also anonymously, the previous year.</p></div>
+
+<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> It was a cropped copy. The one in the Wilton Park library, sold at
+Sotheby's in March, 1920, lacked two blank leaves and was unbound; but
+it was a fine large copy and fetched &pound;660.</p></div>
+
+<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> He was a contemporary of Geoffroi de La Tour Landry, who relates a
+pleasing story of his amours in Chapter xxiii. of the book which he wrote
+for the delectation of his three daughters.</p></div>
+
+<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> Du Guesclin gave striking proofs of courage in his childhood, and at 16
+won a prize at a tournament (where he was unknown and against his father's
+will). He spent most of his life fighting the English, gained several victories
+over them, and recovered Poitou, Limousin, and many towns in Normandy
+and Brittany. Charles V. created him Constable of France in 1370, and he
+died in 1380 in harness, at the ripe age of 66, while besieging a town in
+Languedoc. He was buried in the Abbey of St. Denis, at the feet of the
+royal master whom he had served so well. It is said that he could neither
+read nor write (which is probably incorrect), but his life and deeds were
+recorded shortly after his death (as in the case of Bayard) by a 'loyal serviteur'&mdash;folio,
+Gothic letter, printed by Guillaume Le Roy at Lyons about 1480.
+Of this there does not appear to be any English version. (See also footnote
+on page <a href="#Footnote_34_34">92</a>.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> Melchior Cano, a later Provincial of his Order, is reported to have said
+concerning this book, 'The author of this Legend had surely a mouth of iron,
+a heart of lead, and but little wisdom or soundness of judgment'; for it
+abounds with the most puerile and ridiculous fables and absurdities. But
+of course 'Voragine' wrote in accordance with the fashion and beliefs of his
+time.</p></div>
+
+<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> The portion of the Sudbury Hall Library sold at Sotheby's in June 1918
+realised &pound;20,201, 10s. There were 526 lots, an average of more than &pound;38 a
+volume. The prices realised at the sale of that part of the Britwell Court
+Library dispersed at Sotheby's in December 1919, however, far exceeded any
+hitherto obtained. 108 lots brought &pound;110,356&mdash;an average of nearly &pound;1,022
+a volume. But in this case every book was <i>rarissimus</i>. A small volume
+containing the only known copy of the fourth edition of Shakespeare's 'Venus
+and Adonis' (1599), the first edition of 'The Passionate Pilgrim' (1599&mdash;one
+other copy known), and 'Epigrammes and Elegies' by Davies and Marlow
+(<i>circa</i> 1598), realised &pound;15,100&mdash;and departed forthwith to the United States.</p></div>
+</div>
+
+<p>&nbsp;</p>
+<hr class="full" />
+<p><span class='pagenum'><a name="Page_230" id="Page_230"></a>[<a href="./images/230.png">230</a>]</span></p>
+<p class="figcenter"><a href="./images/ill-24.jpg"><img src="./images/ill-24_th.jpg" alt="Decoration" title="Decoration" /></a></p>
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h2>
+
+<h4>A PLEA FOR SPECIALISM&mdash;(<i>Continued</i>)</h4>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Like ships before whose keels, full long embayed<br /></span>
+<span class="ihalf">In polar ice, propitious winds have made<br /></span>
+<span class="ihalf">Unlooked-for outlet to an open sea.'<br /></span>
+<span class="i12"><span class="smcap">Wordsworth.</span></span>
+</div></div>
+
+<p>&nbsp;</p>
+
+<div class="sidenote">First Editions.</div>
+<div class="clearfix"><div class="figleft"><a href="./images/ill-25.jpg"><img src="./images/ill-25_th.jpg" alt="Decoration" title="Decoration" /></a></div>
+<p><span class="smcap">o</span> most of us it matters but little what becomes
+of our books when we are dead. We garner
+them for our own use and benefit absolutely,
+and when we are gone they may well be
+distributed among other book-lovers for
+aught we care. No doubt a considerable
+zest is added to collecting in the case of those lucky ones
+who, being established in the land, purpose to 'lay down'
+a library for their posterity. In such cases almost
+invariably there must be a thought of future
+value. It is but natural. Whether he lay down wine or
+books no man is so foolish as to lay down trash. Such
+schemes, however, do not always result in that success which
+their owner intended. Like wine, the value of books may
+'go off.'</p></div>
+
+<p>There are two classes of books, however, that he who is
+wealthy enough to lay down a library may acquire with<span class='pagenum'><a name="Page_231" id="Page_231"></a>[<a href="./images/231.png">231</a>]</span>
+perfect assurance. They are, in fact, gilt-edged securities.
+One is the original editions of <i>famous</i> Elizabethan and early
+Stuart authors, the other, the more estimable <i>incunabula</i>.
+Just as the population of the world increases yearly, so every
+year there are more and more book-collectors, and, consequently,
+more competition to acquire rarities. Every day, too,
+the chances of further copies coming to light are more remote.
+Books are not everlasting, and there will come a time when
+the only fifteenth-century volumes in existence will be those
+treasured in velvet-lined boxes and glass cases.</p>
+
+<p>There can be little doubt that in fifty years' time a collection
+of Beaumont and Fletcher's or Massinger's plays in the
+original quartos will be worth not merely double its present
+value, but quadruple and more. Then there are the famous
+prose authors of the early Stuart period, such as Bacon,
+Barclay, Robert Burton, Daniel, Donne, Drayton, Shelton,
+and even the prolific Gervase Markham, to mention only a
+few. All these are good investments, as regards their first
+editions, <i>for your children's children</i>.</p>
+
+<p>As regards the first editions of more modern authors we
+are on much more delicate ground. First editions of really
+great men, such as Milton, Pope, or Dryden, probably will
+always command a high price not only on account of their
+scarcity but because they are sought for by all students who
+make a study of those authors. But when we come to those
+more modern writers concerning whose merits tastes differ,
+then the collector's activity becomes a gamble. The first
+editions of Thomas Hardy or Rudyard Kipling <i>may</i> be worth
+more than their weight in gold in a hundred years, but it is
+also quite possible that succeeding generations will find in
+them more of the sentiments of the day than of those innate
+characteristics of the human mind which make a book really
+great, and will pass them by. This matter, however, has been
+dealt with in the chapter on the Books of the Collector, and
+with regard to bibliographies of the writings of the chief
+nineteenth-century authors, you will find mention of these in<span class='pagenum'><a name="Page_232" id="Page_232"></a>[<a href="./images/232.png">232</a>]</span>
+the appendices to the later volumes of the 'Cambridge
+History of English Literature.'</p>
+
+<div class="sidenote">Folk-Lore, Mysteries.</div>
+
+<p>25. Folk-lore, Fables, Fairy-Tales, Accounts of Mysteries
+and Miracle-Plays, Mummers, Minstrels and Troubadours,
+Pageants, Masques and Moralities: an interesting medley.
+Books of fables, whether by &AElig;sop, Bidpai, La Fontaine, Gay,
+or Kriloff, would form an interesting collection by
+themselves, and it would be amusing to trace the
+pedigree of some of the tales. Our national jokes are said
+to be very ancient in origin; possibly some day the Curate's
+Egg will be traced to a budding priest of Amen-Ra, lunching
+with the Hierophant. Then there are books of proverbs&mdash;more
+than one would think&mdash;and the folk-lore of all countries
+that provides fairy-tales more entertaining than ever came
+out of the head of Perrault or Andersen. Altogether a
+heading which contains some fascinating literature.</p>
+
+<p>It is doubtful whether such books as the 'Arabian Nights,'
+Le Grand's collections of ancient Norman tales, and Balzac's
+'Contes Dr&ocirc;latiques' should be included here; perhaps
+<i>de natura</i> they should be classed rather with 'Facetiae and
+Curiosa.' The literature upon this subject is a large one,
+and there is an excellent list of writings upon Minstrels,
+Mysteries, Miracle Plays, and Moralities in the fifth volume
+of the 'Cambridge History of English Literature,' pages 385
+to 394; as well as in Mr. Courtney's invaluable work.</p>
+
+<div class="sidenote">Freemasonry, etc.</div>
+
+<p>26. Freemasonry is another of those subjects (like Architecture,
+Law, and Early Science) which usually engage the
+attentions of those whose businesses lead, or have
+at one time led, them to those things. Some of
+the booksellers specialise in such works, and the older books
+on Freemasonry cannot be said to be of frequent occurrence
+in the ordinary booksellers' catalogues. The finest extant
+library of Masonic books in the English tongue is said to be
+at the Freemasons' Hall, in London, but it is accessible only
+to Freemasons. A catalogue of it was privately printed by
+H. W. Hemsworth in 1869, and more recently by W. J.<span class='pagenum'><a name="Page_233" id="Page_233"></a>[<a href="./images/233.png">233</a>]</span>
+Hughan in 1888; a supplement to this last appeared in 1895.
+The Masonic books at No. 33 Golden Square were also
+catalogued by Hemsworth (1870), and more recently by Mr.
+Edward Armitage&mdash;quarto, 1900.</p>
+
+<div class="sidenote">French Revolution.</div>
+
+<p>27. The mention of books on the French Revolution at
+once conjures up the name of that indefatigable collector and
+cabinet minister, John Wilson Croker. During
+his period of office at the Admiralty he amassed
+there more than ten thousand Revolutionary books, tracts, and
+writings; and when the accession of the Whigs drove him
+from his home there, he sold his entire library to the British
+Museum. But neither change of government nor loss of
+income could cure the fever of collecting and six years later
+he had amassed another collection as large as the first. This
+also was purchased by the Museum authorities. Before he
+died he had garnered a third collection as large as the two
+previous ones put together, and this also found a home in
+Bloomsbury. A 'List of the Contents' of these three collections
+was published by the Museum authorities in 1899.
+Croker's magnificent collection of letters and writings on the
+same period was sold for only &pound;50 at his death; it went
+<i>en bloc</i> to the library of Sir Thomas Phillips at Middle Hill.</p>
+
+<div class="sidenote">Gardens.</div>
+
+<p>28. What book-lover does not love a garden? 'God first
+planted a garden: and indeed it is the purest of human
+pleasures. It is the greatest refreshment to the
+spirits of man,' wrote Bacon. Whether it be the
+tranquil beauty of an old-world pleasaunce or the peaceful
+occupation of gardening that appeals to the temperament of
+the bibliophile, certain it is that the book-lover is invariably
+a lover of the garden also. To him the very mention of
+stone moss-grown walks, a sundial, roses, and green lawn
+conjures up a vision of delight. To talk of those who wrote
+of gardens would be to mention the literature of all time; for
+gardens are as old as the human race. Indeed, 'Gardens
+were before gardeners, and but some hours after the Earth,'
+says Sir Thomas Browne in that most delightful of discourses,<span class='pagenum'><a name="Page_234" id="Page_234"></a>[<a href="./images/234.png">234</a>]</span>
+'The Garden of Cyrus.' A History of Gardening in England
+has been compiled by the Hon. Miss Alicia Amherst; a
+second edition was published in 1896, and an enlarged edition
+in 1910. Hazlitt's 'Gleanings in Old Garden Literature'
+(which contains a bibliography) appeared in 1887. The
+famous library of old gardening literature, said to be the
+most complete and extensive of its kind, amassed by
+M. Krelage, a bulb merchant of Haarlem, has recently been
+incorporated in the State Agricultural Library of Wageningen,
+Holland.<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a></p>
+
+<div class="sidenote">Heraldry, &amp;c.</div>
+
+<p>29. Heraldry is the next subject which claims our attention;
+and under this head we will include all those works which
+treat of La Chevalerie and Noblesse, the Orders
+of Knighthood, the Templars and Hospitallers,
+the Crusades, Peerages, Genealogical Works, Family
+Histories, books on Parliament and Ceremonies, Pomps,
+Festivals, Pageants, Processions, works on Brasses and Seals,
+as well as those which treat of the science of Blazon proper.
+Here, at all events, is a variety of sub-headings.</p>
+
+<p>The first English bibliography of works upon this subject
+which our book-hunter has come across so far is a thin quarto
+volume entitled 'Catalogus plerumque omnium Authorum qui
+de Re Heraldica scripserunt,' by Thomas Gore, and it
+appeared first in 1668. A second edition was published in
+1674: both are now very scarce. This work contains a list
+of writers, both English and foreign, upon Chivalry, Nobility,
+and such kindred subjects. But a quarto volume, which
+appeared in 1650, entitled 'The Art of Making Devises,'
+translated by T. B[lount] from the French of H. Estienne,
+contains, in the preliminary matter, a list of writers on
+Nobility. Dallaway's 'Inquiries into the Origin and Progress
+of the Science of Heraldry in England,' large quarto,
+Gloucester, 1793, contains a list of English heraldic writers,<span class='pagenum'><a name="Page_235" id="Page_235"></a>[<a href="./images/235.png">235</a>]</span>
+with their works; and Sir Egerton Brydges published a more
+copious list in the third volume of his 'Censura Literaria.'
+Moule's 'Bibliotheca Heraldica Magnae Britanniae' appeared
+in 1822, a large octavo. He gives descriptions of 817 English
+works on Heraldry, Genealogy, Regal Descents and
+Successions, Coronations, Royal Progresses and Visits, the
+Laws and Privileges of Honour, Titles of Honour, Precedency,
+Peerage Cases, Orders of Knighthood, Baptismal, Nuptial,
+and Funeral Ceremonies, and Chivalry generally. At the end
+is a short list of 211 foreign writers upon these subjects&mdash;out
+of many thousands. There is an interleaved copy, containing
+many additions, in the British Museum.</p>
+
+<p>More recently Mr. G. Gatfield has put forth a valuable work,
+entitled 'A Guide to Printed Books and Manuscripts relating
+to English and Foreign Heraldry and Genealogy,' an octavo
+volume of which a limited edition was printed in 1892.
+Guigard's 'Biblioth&egrave;que H&eacute;raldique de la France' appeared
+at Paris in 1861. It has a useful bibliography of French
+books upon all the subjects chosen by Moule. The Henry
+Bradshaw Society also has published rare Coronation tracts
+and Coronation service books.</p>
+
+<p>Few classes in our list contain more sumptuous volumes
+than those comprised under this heading. In our own tongue
+we have Anstis' and Ashmole's handsome folios on the Garter,
+the latter with its beautiful folding plates; Jaggard's edition
+(1623) of Favyn's 'Theatre d'Honneur et de Chevalerie' by
+an unknown translator, Sandford's 'Genealogical History of
+the Kings and Queens of England' (Stebbing's edition, 1707,
+please), Milles' 'Catalogue of Honor or Treasury of the
+Nobility peculiar and proper to the Isle of Great Britaine,' not
+forgetting Gwillim (the sixth edition, 1724) and, of course,
+Master Nicholas Upton. All these are handsome folios with
+copperplate engravings.</p>
+
+<p>The French books on Noblesse are equally sumptuous.
+'Le Vray Theatre d'Honneur et de Chevalerie ou le Miroir
+Heroique de la Noblesse,' by Marc de Vulson, Sieur de la<span class='pagenum'><a name="Page_236" id="Page_236"></a>[<a href="./images/236.png">236</a>]</span>
+Colombi&egrave;re, appeared at Paris in two folio volumes in 1648.
+It is a magnificent book, and a classic in this department of
+literature. The same author's 'La Science Heroique' was
+published first, also in folio at Paris, in 1644; but in 1669 a
+second edition, considerably augmented, was put forth. Of
+the author I find nothing further memorable than that, having
+surprised his wife with a gallant, he slew them both, and then
+took a post-chaise to Paris to solicit the King's pardon, which
+he immediately obtained. There are many other equally fine
+works in French, but it were tedious to catalogue them here.
+Two handsome volumes on jousting and tournaments have
+recently been put forth. 'The History of the Tournament
+in England and France,' by Mr. F. H. Cripps-Day, was issued
+by Quaritch in 1919, whilst 'The Tournament: its Periods
+and Phases,' by Mr. R. C. Clephan, was published the same
+year.</p>
+
+<p>Books on seals are much less numerous, though none the
+less ornate; for engravings are practically essential here.
+They are, generally, scarce; for the circle of readers to which
+such volumes appeal can never have been a wide one; so it is
+improbable that large impressions of any of them were printed.
+The 'Sigilla Comitum Flandriae' of Oliver Vredius, a small
+folio, with nearly three hundred engravings of medi&aelig;val seals,
+was printed first at Bruges in 1639. It is a beautiful volume,
+the seals being drawn to scale and exquisitely engraved by
+four Bruges engravers&mdash;Samuel Lommelin, Adrian his son,
+Francis Schelhaver, and Francis his son. Unfortunately the
+plates became worn after printing off a few copies (especially
+those on pages 138, 213, 246), and the early impressions are
+much to be preferred. A good test is to turn to the engraved
+genealogical tree on the recto of leaf Cc6. In the later-printed
+copies the foot of this engraving is most indistinct. A French
+translation appeared at Bruges in 1643.</p>
+
+<p>Two of the scarcest English books upon seals were
+compiled by clergymen. The first, a thin quarto of 31 pages,
+is entitled 'A Dissertation upon the Antiquity and Use of<span class='pagenum'><a name="Page_237" id="Page_237"></a>[<a href="./images/237.png">237</a>]</span>
+Seals in England. Collected by * * * * 1736,' and
+was printed for William Mount and Thomas Page on Tower
+Hill in 1740. Its author was the Rev. John Lewis, a former
+curate at Margate, who died in 1746. There is an engraved
+frontispiece of seals, and several copperplates in the text. It is
+very, very scarce, and it was some years before our book-hunter
+succeeded in obtaining a copy. The other authority was the
+Rev. George Henry Dashwood, of Stowe Bardolph. From
+his private press he produced, in 1847, a quarto volume
+consisting of fourteen engraved plates (by W. Taylor) of seals,
+with descriptions opposite. It is entitled 'Engravings from
+Ancient Seals attached to Deeds and Charters in the Muniment
+Room of Sir Thomas Hare, Baronet, of Stowe Bardolph,'
+and is common enough. Copies on large paper are not
+infrequent. But in 1862 a 'second series' appeared. This
+consists of eight plates and descriptions, and at the end are two
+leaves of notes to both series. Our book-hunter has not yet
+come across a duplicate (even in the British Museum or at the
+Antiquaries) of this second volume, which he was so fortunate
+as to find a week after receiving the first.</p>
+
+<p>A publication containing a fine collection of armorial seals
+was produced at Brussels between 1897 and 1903. It was
+published in fifteen parts, large octavo, and is entitled 'Sceaux
+Armoiries des Pays-bas et des Pays avoisinants.' Lechaud&eacute;-d'Anisy's
+'Recueil des Sceaux Normands,' an oblong quarto
+which appeared at Caen in 1834, is another of these handsome
+books; but we have already lingered too long over this
+fascinating heading.</p>
+
+<div class="sidenote">History.</div>
+
+<p>30. History is a somewhat wide subject, for it comprises
+descriptions of any epoch or sequence of events in the
+existence of anything! We can read histories of
+the Glacial Age or of Charles II, of the Quakers
+or Tasmania, of the life of a cabbage or the Crimean War.
+Even a dissertation on the development of the inkpot would
+be deemed history nowadays. For the present, however, we
+will confine ourselves to that branch of it which treats of the<span class='pagenum'><a name="Page_238" id="Page_238"></a>[<a href="./images/238.png">238</a>]</span>
+human element, nations and communities, and events in their
+development. We must include travels, politics, diaries,
+memoirs, and biographies, for all of these are indispensable
+adjuncts. The voyages of Columbus, the Greville Papers, the
+Memoirs of Fezensac, and the Paston Letters are no less
+history than Freeman's 'Norman Conquest,' Froude's
+'Armada,' or Napier's 'Peninsular War.' It is a student's
+subject, and as rational a branch of book-collecting as there
+be. The collecting of early editions of the chroniclers,
+English or foreign, is an interesting by-way. The series of
+British Chronicles issued under the direction of the Master of
+the Rolls is a fairly complete one, and the works of many
+other early historians have been published from time to time
+by the learned societies. A lengthy list of bibliographies is
+given in Mr. Courtney's work, and there are useful bibliographies
+at the end of each volume of the 'Cambridge Modern
+History.'</p>
+
+<p>Under this heading we will include 'Events'; such as the
+Armada, the Great Fire of London, the Gordon Riots, the
+'45, but not, I think, the French Revolution or the Napoleonic
+Era, the literatures of which are of such magnitude as to
+demand separate headings. There are collections of books
+on all these subjects and many similar ones which fall naturally
+under the heading 'History.'</p>
+
+<div class="sidenote">Husbandry.</div>
+
+<p>31. The word 'husbandry' has an old-world flavour now:
+the classical 'agriculture' is preferred. It is a change,
+however, that we bookworms and curious
+antiquaries in nowise relish. The old English
+or Scandinavian term which came to us from our forefathers
+is more seemly to our mind than the modern Latin importation.
+Nowadays any word is better than one drawn from our
+old English tongue. We may not speak of anything so
+indelicate as a belly, but we can mention an abdomen in the
+politest society. Provided we denote them by their Latin or
+Greek names, we may even mention any parts of our viscera
+(I may not say bowels) without raising a blush. Mention them<span class='pagenum'><a name="Page_239" id="Page_239"></a>[<a href="./images/239.png">239</a>]</span>
+in English, and we are at once boors and churls. But the
+husbandman's occupation has changed with the language.
+Originally he was merely a hus-bondi, or house-inhabitor,
+though probably he had more to do with agriculture than the
+farmer who ousted him. The 'fermor' farmed or rented
+certain land from his overlord, making what he could out of
+the tenants on it. And in time even the word 'farmer' will
+pass out of use. Just as the charwoman to-day insists upon
+a fictitious gentility, so in years to come the farmer will denote
+himself an agriculturist, possibly with the epithet 'scientific.'
+We no longer talk of villeins and carles; both have become
+sadly perverted in their meaning, although the dictionary still
+allows the latter to mean 'a strong man.' But, it hastens to
+add, vindictively, 'generally an old or a rude-mannered one.'
+So is our language changing.</p>
+
+<p>They are quaint volumes, the older treatises on husbandry,
+and for the most part they contain an extraordinary medley of
+information. There is a charm about their titles and language
+that few other classes of books possess. Poultry, we know,
+can be obstinate wildfowl, but who nowadays would write
+of their 'husbandlye ordring and governmente'? Such was
+the title of Mascall's work put forth in 1581. Pynson printed
+an interesting book on estate management in 1523 for,
+probably, John Fitzherbert: 'Here begynneth a ryght
+frutefull mater; and hath to name the boke of surveying and
+improuvements.' It is full of curious conceits, even concerning
+the good housewife who, says Gervase Markham in
+his 'Country Contentments,' 'must bee cleanly both in body
+and garments, she must have a quicke eye, a curious nose, a
+perfect taste, and ready eare.' But these volumes are not
+easy to find, even though the book-hunter's nose be as curious
+as a housewife's, and, when perfect, are of considerable value.
+Tusser's curious rhyming 'Hundred good pointes of
+husbandrie,' enlarged later to 'Five Hundred Pointes,' is
+perhaps the commonest of these earlier works. Between 1557
+and 1599 it went through eight editions, though the first is<span class='pagenum'><a name="Page_240" id="Page_240"></a>[<a href="./images/240.png">240</a>]</span>
+known only by the unique copy in the British Museum. A
+useful list of writers upon agricultural subjects from 1200 to
+1800 appeared in 1908. It is by Mr. D. McDonald.</p>
+
+<div class="sidenote">Illustrated Books.</div>
+
+<p>32. Illustrated Books and Books of Engravings might
+perhaps have been included as a sub-heading to 'the Fine
+Arts'; but they form a distinct class and so
+frequently engage the attention of specialists,
+that our book-hunter has thought fit to put them in a class
+by themselves. Some will have only those volumes illustrated
+by one of the Cruikshank brothers, others prefer Blake's or
+Bewick's designs, and so on. Some again cleave to the
+volumes illustrated by Paul Avril or Adolf Lalauze, Kate
+Greenaway or Randolph Caldecott. With regard to the early
+book-illustrators, several text-books that will be useful to
+those who specialise in this subject have been mentioned in
+the chapter dealing with the Books of the Collector. An
+excellent conspectus of book illustration, from the earliest
+times to the present day, is contained in the fifth chapter of
+'The Book: its History and Development,' by Mr. Cyril
+Davenport (octavo, 1907). At the end is a useful list of
+English and foreign works on book-illustration and its various
+methods. 'A Descriptive Bibliography of Books in English
+relating to Engraving and the Collection of Prints' by Mr.
+Howard C. Levis, was put forth in 1912.</p>
+
+<div class="sidenote">Legal.</div>
+
+<p>33. Law need not detain us. Its literature has not merely
+kept pace with, but has far outstripped, the growth of English
+Law; and it extends back at least to the
+'Tractatus de Legibus' of Ranulf de Glanville,
+the great Justiciar under Henry <span class="smcap">ii.</span> The collector of ancient
+law books will probably be a member of one of the four great
+London seats of law, or at least have access to their famous
+libraries; there are printed catalogues of all of them. The
+Advocates' Library at Edinburgh, too, possesses a magnificent
+collection of ancient law books. A catalogue of it was
+published by David Irving in 1831, and more recently in seven
+quarto volumes, 1867 to 1879. If you collect old French<span class='pagenum'><a name="Page_241" id="Page_241"></a>[<a href="./images/241.png">241</a>]</span>
+'coutumiers,' Cooper's 'Catalogue of Books on the Laws
+and Jurisprudence of France' may be useful to you. It was
+printed in octavo, 1849.</p>
+
+<div class="sidenote">Liturgies.</div>
+
+<p>34. The collection of Liturgies is a subject that usually
+goes hand in hand with the collection of Bibles and theological
+works. But it is for all that a distinct subject,
+and may well engage the undivided attention of
+the collector. 'A New History of the Book of Common
+Prayer,' by Messrs. Proctor and Frere, is perhaps at present
+the standard work upon the history of our English prayer
+book. The latest edition is dated 1914, and it is published
+by the house of Macmillan. The Rev. W. H. J. Weale's
+'Bibliographia Liturgica, Catalogus Missalium, Ritus Latini
+ab anno 1475 impressorum' appeared in 1886. The Henry
+Bradshaw Society was founded in 1890 for the publication of
+rare liturgical tracts; whilst Maskell's 'Ancient Liturgy of
+the Church of England' (third edition, octavo, 1882) contains
+a collection of the service books in use in England before the
+Reformation.</p>
+
+<div class="sidenote">Locally-printed Books.</div>
+
+<p>35. Locally-printed books is a heading of considerable
+interest from the bibliographical point of view. The term is
+a wide one, for the volumes it includes range from
+those printed in a particular country to those
+produced in an individual town. Has anyone yet attempted
+to form a collection of books printed in Barbadoes or Java,
+in Donegal or Dover? Probably; but I am unaware of any
+attempts at bibliographies. With the growth of the public
+library in every town of importance throughout the kingdom,
+there are increasing opportunities for valuable work in this
+direction; and every year should see the issue of bibliographies
+by those institutions, works which would contain
+not merely a list of books printed in each particular town,
+but a history of printing in that place.</p>
+
+<p>Mr. Falconer Madan's 'Oxford Books' may well serve as
+a model for such works. It was published in two octavo
+volumes at Oxford in 1895 and 1912 respectively, the first<span class='pagenum'><a name="Page_242" id="Page_242"></a>[<a href="./images/242.png">242</a>]</span>
+volume being concerned with the productions of the early
+presses of that town. There are useful lists of books which
+issued from the early presses of Scotland by Mr. H. G. Aldis,
+and Ireland by Mr. E. R. McC. Dix. 'The Annals of Scottish
+Printing,' a large quarto by R. Dickson and J. P. Edmond,
+was printed at Cambridge in 1890. A model for the county
+bibliography is the 'Bibliotheca Cornubiensis' of Messrs.
+G. C. Boase and W. P. Courtney, produced in three octavo
+volumes, between 1874 and 1882; and there are accounts of
+the early presses in several English counties, as well as at
+Cambridge, York, Birmingham and other important towns.
+But a considerable amount of work has still to be done in this
+direction. A valuable little book appeared in 1912 issued
+by the Cambridge University Press. It is entitled 'The
+English Provincial Printers, Stationers, and Bookbinders, to
+1557,' and is by Mr. E. Gordon Duff. There are accounts
+of the early presses at Oxford, St. Albans, Hereford, Exeter,
+York, Cambridge, Tavistock, Abingdon, Ipswich, Worcester
+and Canterbury; and it is a volume that should find a place
+on the shelf of every bibliophile.</p>
+
+<p>There is an interesting byway in connection with this
+heading: the collection of English books printed abroad.
+Is there anywhere a collection of books in the English tongue
+printed at Paris? One constantly comes across such volumes,
+especially those issued during the first half of the nineteenth
+century. After that time, Bernhard Tauchnitz of Leipzig
+appears to have gathered into his hands the trade of English
+books printed abroad. Recently our book-hunter came across
+a curious example of these peregrine volumes. It is a narrow
+octavo of some three hundred pages, entitled 'An Introduction
+to the Field Sports of France,' and was printed by Auguste
+Lemaire at St. Omer (Pas de Calais) in 1846. At the end is
+the following note: 'The reader will make due allowance for
+any misprints he may discover, when apprised that the printer
+knows nothing of the english language, and they chiefly occur
+in the commencement of the work.' Evidently M. Lemaire<span class='pagenum'><a name="Page_243" id="Page_243"></a>[<a href="./images/243.png">243</a>]</span>
+warmed to his task as he went on. But the 'Dame of our
+Ladie of Comfort of the Order of S. Bennett in Cambray'
+who translated St. Francis de Sales' 'Delicious Entertainment
+of the Soule' was even more modest. Her version was
+printed at Douai by Gheerart Pinson in 1632, and apparently
+neither printer nor translator was very proud of the work, for
+in the 'Apology for Errors' we are told that 'the printer was
+a Wallon who understood nothing at all English, and the
+translatresse a woman that had not much skille in the French.'
+Still, imperfect though typography and translation be, between
+them they produced a book that is eagerly sought by collectors
+to-day.</p>
+
+<p>This is a topic, however, that is full of pitfalls. Hundreds
+of European-printed books now bear Asiatic imprints;
+thousands of seventeenth and eighteenth century works
+printed at Paris bear the imprint of The Hague or some
+other Dutch town. Our English publishers have not been
+innocent of this charge either. Many a volume printed in
+Holland and Germany bears the London imprint. The
+original edition of Burton's translation of the 'Arabian
+Nights,' issued by him in London, claims to have been
+produced at Benares.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a></p>
+
+<div class="sidenote">Mathematical and Early Scientific.</div>
+
+<p>36. 'The seconde parte of the catalogue of English printed
+bookes' for sale by Andrew Maunsell in 1595, concerned, we
+are told, 'the sciences mathematicall, as arithmetick,
+geometrie, astronomie, astrologie, musick,
+the arte of warre, and navigation.' But it is not
+my intention to include musick and the arte of
+warre here, this heading comprising those works which deal
+with mathematics and physics only, with their dependent
+subjects, such as (in addition to those mentioned by Master
+Maunsell) geodesy, mensuration of all kinds, meteorology,
+seismography, and books on chance and probabilities.</p>
+
+<p>Sir Henry Billingsley's edition of Euclid's 'Elements'
+(1570) is naturally a rare book, as is John Blagrave's<span class='pagenum'><a name="Page_244" id="Page_244"></a>[<a href="./images/244.png">244</a>]</span>
+'Mathematical Jewel,' a folio issued in 1585. It is one of the
+earliest English books upon mathematics. Blagrave<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> was the
+author of a number of works on Geometry, Navigation,
+Dialling, etc.</p>
+
+<p>For a history of mathematics you must turn to the four
+quarto volumes of that ingenious Frenchman, M. Jean Etienne
+Montucla. This work, the 'Histoire de Mathematiques,' first
+appeared in two volumes in 1758; but the author devoted the
+later years of his life to enlarging it and the new edition was
+published at Paris in 1799. It was reprinted in 1810. This
+mathematician is said to have written a treatise on squaring
+the circle, but our book-hunter has not yet come across a copy.
+'A History of Ancient Astronomy' appeared at Paris (quarto)
+in 1775: it was by that great man who presided over the
+memorable assembly at the Tennis Court on the 20th June
+1789, Jean Sylvain Bailly. Four years later he produced a
+history of Modern Astronomy from the foundation of the
+Alexandrian School to 1730 (three vols. quarto, Paris,
+1779-82): and in 1787 came the History of Indian and
+Oriental Astronomy from the same pen. All these contain
+interesting details of the origin and progress of astronomical
+science, with the lives, writings, and discoveries of astronomers.
+With regard to our own great mathematician, Sir Isaac
+Newton, a bibliography of his works has been published by
+Mr. G. J. Gray; the second edition appeared at Cambridge
+in 1907.</p>
+
+<p>Mr. D. E. Smith's 'Rara Arithmetica,' a catalogue of
+arithmetical works which appeared prior to the year 1601,
+was printed, in a limited edition, at Boston (United States)
+in 1908. It is a sumptuously produced work in two large
+octavo volumes, copiously illustrated. Professor de Morgan's<span class='pagenum'><a name="Page_245" id="Page_245"></a>[<a href="./images/245.png">245</a>]</span>
+'Arithmetical Books from the Invention of Printing to the
+Present Time' contains brief notices of a large number of
+works 'drawn up from actual inspection.' It was published&mdash;a
+thin octavo of 124 pages&mdash;in 1847, and the books are
+arranged chronologically; but there is an index of authors.</p>
+
+<div class="sidenote">Medical.</div>
+
+<p>37. The collection of early medical books is a hobby that
+must appeal chiefly to the chirurgeon. Its sub-headings are
+not numerous, and each comprises volumes of
+considerable bibliographical interest. There are
+curious books on 'poysons' as well as upon the commoner
+branches of surgery, and there are glorious editions of all the
+ancient &AElig;sculapians, such as Hippocrates, Dioscorides, Galen,
+and Avicenna. Herbals are doubtless collected by many who
+are not possessed of medical knowledge, and a number of
+them treat more of simples and housewifery than leechcraft,
+which is probably one reason of their attraction for the non-medical
+collector. But as these volumes in general are so
+inextricably bound up with the science of healing, I have
+thought fit to include them here. There is no denying that
+the fascination of these curious volumes, often (as in Fuch's
+magnificent tome) containing woodcuts that are a sheer delight
+to the bibliographer no less than to the botanist, is a strong
+one.</p>
+
+<p>It is a moot point whether works on Early Chemistry or
+Alchemy should be included here or under the heading
+'Occult,' seeing that they usually centre about the Elixir of
+Life and the Philosopher's Stone. Perhaps they would be
+classed more accurately with Early Scientific. But for the
+purposes of our list I have reserved that heading for those
+books which treat of mathematics and physics only. With the
+early works upon astrology we need not concern ourselves
+here: they have more to do with divination and horoscopes
+than the craft of healing, so their appeal is chiefly to the
+student of the occult. It is impossible, however, to classify
+under one heading all those early works which treat of the
+beginnings of scientific knowledge. The star-gazer, the<span class='pagenum'><a name="Page_246" id="Page_246"></a>[<a href="./images/246.png">246</a>]</span>
+herbalist, the necromancer, and the leech, must be content
+to share among themselves a class of books which deals
+generally with the search into the Great Unknown.</p>
+
+<p>A useful catalogue of books on Alchemy was printed in two
+large quarto volumes at Glasgow in 1906. It is by Professor
+John Ferguson, and is entitled 'Bibliotheca Chemica,' being
+a list of the hermetic books in the library of Mr. James Young.
+The three volumes entitled 'Leechdoms, Wortcunning, and
+Starcraft of Early England' by the Rev. Oswald Cockayne,
+published in the 'Rolls' series, 1864-66, contain a valuable
+contribution to the early medical science of this country.
+Dr. J. F. Payne's 'English Medicine in the Anglo-Saxon
+Times' (the Fitz-Patrick Lectures for 1903) is for the most
+part a dissertation on that work.</p>
+
+<p>Some of the prescriptions of these early leeches are rather
+quaint. 'If a man's head burst . . . let him take roots of this
+same wort, and bind them on his neck. Then cometh to him
+good benefit.' The following is an excellent remedy for
+toothache: 'Sing this for toothache after the sun hath gone
+down&mdash;"Caio Laio quaque voaque ofer saeloficia sleah manna
+wyrm." Then name the man and his father, then say:
+"Lilimenne, it acheth beyond everything; when it lieth low
+it cooleth; when on earth it burneth hottest; finit. Amen."'
+If after this the tooth still continues to ache beyond everything,
+it is evident that there is a wyrm in it. For stomach-ache,
+you must press the left thumb upon the stomach and
+say 'Adam bedam alam betar alam botum.' This is
+infallible.</p>
+
+<p>Collections of medical authors began at an early date. Van
+der Linden's 'De Scriptis Medicis, libri duo' appeared first
+at Amsterdam in 1637, octavo&mdash;a valuable list of authors and
+the editions of their works. But it was reprinted with
+additions several times during the author's lifetime (he died
+in 1664); and in 1686 appeared at N&uuml;rnberg as a thick quarto
+entitled 'Lindenius Renovatus.' Dr. E. T. Withington's
+'Medical History from the Earliest Times,' octavo, 1894, is<span class='pagenum'><a name="Page_247" id="Page_247"></a>[<a href="./images/247.png">247</a>]</span>
+useful for reference; whilst Dr. Norman Moore has recently
+produced (Oxford, 1908) a 'History of the Study of Medicine
+in the British Isles.' Dr. E. J. Waring's 'Bibliotheca
+Therapeutica' was published in two octavo volumes by the
+New Sydenham Society in 1878-79. It is a list of the books
+which have been written on each individual drug, classes of
+medicines, and general therapeutics. There is an index of
+authors. The first volume of Albrecht von Haller's 'Bibliotheca
+Anatomica' was published at London 'in vico vulgo
+dicto The Strand' in 1774; the second volume at Zurich in
+1777. Both are in quarto, and are biographical as well as
+bibliographical. The same author published a 'Bibliotheca
+Chirurgica' and a 'Bibliotheca Medicinae Practicae' at Berne
+and Basel between 1774 and 1788. His 'Bibliotheca
+Botanica,' two quarto volumes, appeared at Zurich in 1771-72.
+For other writers upon Botany you must consult Curtius
+Sprengel's 'Historia Rei Herbariae,' two octavo volumes
+which appeared at Amsterdam in 1807 and 1808. 'A Guide
+to the Literature of Botany' by B. D. Jackson was issued by
+the Index Society in 1881. Jean Jacques Manget, a Geneva
+physician who died in 1742 at the age of ninety-one, was
+another voluminous compiler of bibliographies upon medical
+subjects.</p>
+
+<div class="sidenote">Military.</div>
+
+<p>38. Under the heading 'Military' are included not only
+historical accounts of military operations but those works which
+treat of the military art and the progress of its
+development. Obviously it is a subject that is as
+old as mankind, and dissertations on drill with the stone battle-axe
+must find a place here. Many of the books on Arms and
+Armour (such as Sir Samuel Meyrick's beautiful folio volumes)
+are fine works, and some of the earlier publications on
+Castramentation and Siege operations are interesting. We
+must not forget to mention the beautiful little Elzevier
+'C&aelig;sar' of 1536. It is a wide heading, for such books as
+the Commentaries of Blaise de Montluc and the Memoirs of
+Olivier de la Marche must be included, as they deal in large<span class='pagenum'><a name="Page_248" id="Page_248"></a>[<a href="./images/248.png">248</a>]</span>
+part with military operations. Books on Archery, Fencing,
+and Duelling are also comprised by this heading.</p>
+
+<p>If this be your subject, our book-hunter trusts that you have
+been more successful than he has in your quest for the 'Traict&eacute;
+de l'Esp&eacute;e Fran&ccedil;oise, par Maistre Jean Savaron' (small octavo,
+Paris, 1610). He narrowly missed a copy in Paris some years
+ago, and so far this scarce little volume of fifty-six pages has
+eluded him as successfully as the 'Pastissier Fran&ccedil;ois.'
+Probably, on account of its slimness, it is usually bound up
+with more substantial works, and thus escapes the eyes of
+book-hunters and cataloguers. Savaron also wrote a
+'Traict&eacute; contre les Duels,' which is equally scarce. Works
+on duelling are legion, and range from Carafa's rather large
+folio entitled 'De Monomachia seu de Duello,' Rome, 1647,
+down to the little 'Dissertation Historique sur les Duels et
+les Ordres de Chevalerie: Par Monsieur B * * * *,' which
+is by Master Jacques Basnage&mdash;a duodecimo produced first
+at Amsterdam in 1720. An Italian bibliography of this
+subject by J. Gelli and G. E. Levi appeared in 1903. For the
+most part they are uncommon works and not easy to find. It is
+a subject that borders closely on the Chivalry of our list, for
+of course that subject was (like Heraldry) entirely military in
+origin. A 'Bibliography of English Military Books up to
+1642, and of Contemporary Foreign Works' was compiled
+by Captain M. J. D. Cockle and published in quarto in 1900.
+Mr. Carl Thimm's 'Art of Fence: a Complete Bibliography'
+appeared in 1891; an enlarged edition was put forth in 1896.</p>
+
+<div class="sidenote">Music.</div>
+
+<p>39. Books on Music may be divided conveniently into the
+numerous sub-headings which treat of particular instruments,
+songs, printed music generally, and accounts of
+the early musicians and their works. Treatises
+upon the violin are fairly numerous;<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> but I do not remember
+having come across many works on the Jew's harp or ocarina.<span class='pagenum'><a name="Page_249" id="Page_249"></a>[<a href="./images/249.png">249</a>]</span>
+There are interesting old books on the virginals, harpsichord,
+and spinet. Before the end of the fifteenth century a number
+of Missalia, Gradualia, Psalteria, and Libri Cantionum ('quas
+vulgo Mutetas appellant') had appeared from the press. The
+'Theoricum Opus Musice Disciplina' of Franchino Gafori, or
+Gaffurius (which, by the way, is merely an abridgment of
+Boethius), is said to be the earliest printed treatise on music.
+It was printed first at Naples in 1480. Antiphonals and
+Troparies must also be included here.</p>
+
+<p>A new edition of Grove's 'Dictionary of Music and
+Musicians,' by Mr. J. A. Fuller-Maitland, appeared in 1904.
+Dr. Charles Burney's 'General History of Music' occupied
+that great English musician between 1776 and 1789&mdash;four
+quarto volumes. 'The Literature of Music,' an octavo by
+Mr. J. E. Matthew, was put forth in the series known as the
+Booklovers' Library in 1896; whilst the 'Oxford History of
+Music,' edited by Dr. W. H. Hadow, appeared in six volumes
+between 1901 and 1905. M. Henry de Curzon's valuable
+work, 'Guide de l'Amateur d'Ouvrages sur la Musique,' was
+printed at Paris in 1901. For a bibliography of operas you
+must turn to the 'Dictionnaire des Op&eacute;ras,' of MM. Clement
+and Larousse. Rimbault's 'Bibliotheca Madrigaliana,' which
+is a bibliographical account of the musical and poetical works
+published in England during the sixteenth and seventeenth
+centuries, appeared in 1847; and you will find a list of early
+songs, madrigals, and 'ayres' in the fourth volume of the
+'Cambridge History of English Literature,' pages 463-6.
+Hazlitt's 'Catalogue of Early English Music in the Harleian
+Library,' was published in 1862. There are useful articles
+on early music printing, by Mr. R. Steele, in the Bibliographical
+Society's Journal for 1903, and by Mr. Barclay
+Squire in the third volume of 'Bibliographica.'</p>
+
+<div class="sidenote">Napoleon.</div>
+
+<p>40. The collector of books dealing with Napoleon <span class="smcap">i.</span> has a
+somewhat narrow field to range in. There is a large number
+of English tracts and pamphlets that deal with the great man
+and his proposed invasion of England, as well as biographies,<span class='pagenum'><a name="Page_250" id="Page_250"></a>[<a href="./images/250.png">250</a>]</span>
+memoirs, and diaries concerning him. A collection of
+such works was formed in the later years of the nineteenth
+century by an insatiable Grangerite named
+Broadley, and in due time his library came
+under the hammer at Hodgson's. It was a remarkable
+collection: anything that concerned 'Boney,' however
+remotely, was grist to this collector's mill. A catalogue of
+his library was compiled and published by Mr. W. V. Daniel
+in 1905. M. Gustave Davois' 'Bibliographie Napol&eacute;onienne
+Fran&ccedil;aise' to 1908 was printed in three octavo volumes at
+Paris, 1909-11. Of M. Kircheisen's 'Bibliographie du Temps
+de Napol&eacute;on,' two quarto volumes, published at Geneva in
+1908 and 1912, have appeared up to the time of writing.</p>
+
+<div class="sidenote">Natural History.</div>
+
+<p>41. The early books on Natural History would probably be
+regarded by the modern zoologist as bibliographical curiosities
+rather than intelligent text-books; and truly the
+accounts of even the larger mammals given by
+these early observers of nature are extraordinary. Most of
+us will remember reading Caesar's description of the elks
+in the Hercynian forest, which slept leaning up against the
+trees because they had no joints in their legs. The
+inhabitants, cunning fellows, sought out the favoured trees
+and sawed them nearly through; so that when the unfortunate
+elks settled themselves to sleep, the booby-traps came into
+operation. Having no joints in their legs, the poor beasts
+were unable to rise, and so became an easy prey to the savage
+Teuton. Herodotus, too, was somewhat credulous in the
+matter of animals; Sir John Mandeville was not always to
+be trusted; and even Bernard von Breydenbach, who made a
+journey to the Holy Land about 1485, beheld strange beasts,
+like Spenser's giaunts, 'hard to be beleeved.' But perhaps
+the palm among these medi&aelig;val monsters is held by the eale,
+or, as it became later, the yale or jall; that strange beast
+which has survived&mdash;in effigy at least&mdash;unto our own times.</p>
+
+<p>It appears that Pliny was the first to discover this singular
+animal, and his description of it is recorded in many of those<span class='pagenum'><a name="Page_251" id="Page_251"></a>[<a href="./images/251.png">251</a>]</span>
+quaint medi&aelig;val natural history volumes known as 'Bestiaries.'
+The Reverend Edward Topsell, in his 'Historie of
+Foure-footed Beasts' (folio, 1607) thus describes it:</p>
+
+<p>'There is bred in Ethiopia a certain strange beast about the
+bignesse of a sea-horse, being of colour blacke or brownish:
+it hath the cheeks of a Boare, the tayle of an Elephant, and
+hornes above a cubit long, which are moveable upon his head
+at his owne pleasure like eares; now standing one way, and
+anone moving another way, as he needeth in fighting with
+other Beastes, for they stand not stiffe but bend flexibly, and
+when he fighteth he always stretcheth out the one, and holdeth
+in the other, for purpose as it may seeme, that if one of them
+may be blunted or broken, then hee may defend himselfe with
+the other. It may well be compared to a sea-horse, for above
+all other places it loveth best the waters.'</p>
+
+<p>Unfortunately no specimen has been seen by travellers
+for some years now, so probably it is quite extinct. Certainly
+you will not find a jall in the Zoo, or even at South
+Kensington, though you may see a very excellent statue of
+him on King Henry <span class="smcap">viii.</span>'s bridge at Hampton Court.</p>
+
+<p>There are numerous bibliographies of works upon all classes
+of animals, fish, flesh, and fowl&mdash;even the good red herring.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a>
+For these you must turn to Mr. W. P. Courtney's invaluable
+work. The 'Bibliographia Zoologiae et Geologiae, a General
+Catalogue of all Books on Zoology and Geology,' was compiled
+by L. Agassiz and H. E. Strickland for the Ray Society&mdash;four
+octavo volumes, published between 1848 and 1854.
+A 'Bibliotheca Entomologica,' by H. A. Hagen, appeared at
+Leipzig, two octavo volumes, in 1862-63.</p>
+
+<div class="sidenote">Nautical and Naval.</div>
+
+<p>42. The next subject, Nautical and Naval, will comprise
+chiefly borrowings from other headings; for it will necessarily
+include books of voyages and discoveries, works on navigation,
+meteorology, and oceanography, as well as geographical
+books, and such purely nautical volumes as dictionaries of the<span class='pagenum'><a name="Page_252" id="Page_252"></a>[<a href="./images/252.png">252</a>]</span>
+marine, the history of ships and shipping, and accounts of the
+navy and mercantile fleet. There is a number of early works
+on the astrolabe and globes, but you must not expect easily to
+come across 'The Rutter of the Sea,' printed by
+Robert Copland and Richard Bankes in 1528.
+It is the first English printed book on Navigation, being a
+translation of 'Le Grand Routier' of Pierre Garcie.</p>
+
+<p>The Society for Nautical Research was founded in 1910,
+and it issues a monthly journal known as 'The Mariner's
+Mirror,' wherein are treated those subjects which pertain to
+the history of ships, sails, and rigging; in fact, everything
+that has to do with the evolution of the ship. The original
+'Mariner's Mirrour' was a translation (by Anthony Ashley
+in 1588) of Wagenaar's 'Speculum Nauticum,' first published
+in 1583. Needless to say, it is a scarce work, as are all these
+Elizabethan volumes upon seafaring. In volume <span class="smcap">iv.</span> of the
+'Cambridge History of English Literature' you will find
+two chapters on the literature of the sea from the pens of those
+great authorities Commander C. N. Robinson and Mr. John
+Leyland. If this be your subject, they will amply repay
+perusal. There is an excellent list of early works, pages
+453 to 462.</p>
+
+<div class="sidenote">Numismatics.</div>
+
+<p>43. Numismatics is one of those subjects which generally
+engage the attentions of students rather than book-collectors,
+for the volumes upon coins and medals are
+necessarily text-books for the collector of these
+things. Such works are, of course, for the most part illustrated;
+and some of the older ones are of considerable interest
+on account of their engravings.</p>
+
+<p>It is not only to the collector and 'curious antiquary,'
+however, that some of these works are valuable, for in them
+occasionally the historian is able to unearth matter scarcely
+obtainable elsewhere. Menestrier's 'Histoire du Roy Louis
+le Grand par les Medailles, Emblemes, Deuises, Jettons,
+Inscriptions, Armoiries, et autres Monumens Publics' (folio,
+Paris, 1693) is one of many such works. It not only contains<span class='pagenum'><a name="Page_253" id="Page_253"></a>[<a href="./images/253.png">253</a>]</span>
+engravings of every medal struck to commemorate the birth,
+life, marriage, actions, victories, processions, and entertainments
+of the Roi-Soleil (among them one commemorating
+the Siege of Londonderry in 1689), but it has a very fine
+folding plate of the Place des Victoires as it was in 1686.
+This engraving not only shows the famous monument erected
+to the glory of Louis <span class="smcap">xiv.</span>, and destroyed at the Revolution,
+but gives the details of the panels and a very full description
+of it. Thus we may have to hand all the inscriptions,
+mottoes, and dates which were graven upon that historic
+monument.</p>
+
+<div class="sidenote">Occult.</div>
+
+<p>44. Civilisation mates but ill with Romance, and for the
+passing of Superstition (the child of Imagination and
+Romance) none can shed a tear. Yet at least
+it served to raise our daily lives out of the rut
+of commonplace. Our pulses are no longer stirred at the
+mere mention of the word <span class="smcap">magic</span>, and even <span class="smcap">black magic</span> is
+coldly discussed where not so very long ago none would have
+dared to speak it save with 'bated breath.' Yet we are all
+mystics by birth, and scarce one of us there is who as a child
+has not experienced the fear of darkness. We cannot explain
+it, and though the child may soon be taught to laugh at his
+fear, yet none the less was he endowed with this unaccountable
+dread of the <span class="smcap">unknown</span>.</p>
+
+<p>Among real book-collectors probably this particular branch
+of specialism attracts but few; for the greater part of those
+who collect such works are students of the occult (whether
+serious or idle) and have no true love for their books qu&acirc;
+books. Seemingly it is an absorbing hobby, for those who
+devote their attention to necromancy soon become known
+among their friends.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Philosophy is odious and obscure;<br /></span>
+<span class="ihalf">Both Law and Physic are for petty wits;<br /></span>
+<span class="ihalf">Divinity is basest of the three,<br /></span>
+<span class="ihalf">Unpleasant, harsh, contemptible, and vile;<br /></span>
+<span class="ihalf">'Tis magic, magic, that hath ravish'd me.'<br /></span>
+</div></div>
+
+<p><span class='pagenum'><a name="Page_254" id="Page_254"></a>[<a href="./images/254.png">254</a>]</span>Thus Doctor Faustus, the Gamaliel of those whose study are
+the arcana of nature and the world of shadows. Yet whether
+we be mystics or materialists what would not each one of us
+(not necessarily bibliophiles) give to possess the volume which
+Faustus had at the hands of Mephistophilis?</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0"><i>Meph.</i>&ensp;&ensp;&ensp;'Hold, take this book, peruse it thoroughly:<br /></span>
+<span class="i4">The iterating of these lines brings gold;<br /></span>
+<span class="i4">The framing of this circle on the ground<br /></span>
+<span class="i4">Brings whirlwinds, tempests, thunder, and lightning;<br /></span>
+<span class="i4">Pronounce this thrice devoutly to thyself,<br /></span>
+<span class="i4">And men in armour shall appear to thee,<br /></span>
+<span class="i4">Ready to execute what thou desir'st.'<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Faust.</i>&ensp;&ensp;&ensp;'Thanks, Mephistophilis; yet fain would I have a book<br /></span>
+<span class="i4">wherein I might behold all spells and incantations, that I<br /></span>
+<span class="i4">might raise up spirits when I please.'<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Meph.</i>&ensp;&ensp;&ensp;'Here they are in this book.'&ensp;&ensp;&ensp;[<i>Turns to them.</i>]<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Faust.</i>&ensp;&ensp;&ensp;'Now would I have a book where I might see all characters<br /></span>
+<span class="i4">and planets of the heavens, that I might know their<br /></span>
+<span class="i4">motions and dispositions.'<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Meph.</i>&ensp;&ensp;&ensp;'Here they are too.'&ensp;&ensp;&ensp;[<i>Turns to them.</i>]<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Faust.</i>&ensp;&ensp;&ensp;'Nay, let me have one book more&mdash;and then I have done&mdash;wherein<br /></span>
+<span class="i4">I might see all plants, herbs, and trees, that<br /></span>
+<span class="i4">grow upon the earth.'<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Meph.</i>&ensp;&ensp;&ensp;'Here they be.'<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Faust.</i>&ensp;&ensp;&ensp;'Oh, thou art deceived.'<br /></span></div>
+
+<div class="stanza">
+<span class="i0"><i>Meph.</i>&ensp;&ensp;&ensp;'Tut, I warrant thee.'&ensp;&ensp;&ensp;[<i>Turns to them.</i>]<br /></span></div>
+</div>
+
+<p>Truly a marvellous volume. The astronomical and herbal
+portions of it we can understand, and herein doubtless the
+'Encyclop&aelig;dia Britannica' could give it points, though
+possibly in a less handy shape. But even Wecker's 'De
+Secretis' fails lamentably when it comes to producing whirlwinds
+or men in armour. As it is to be presumed, however,
+that the doctor returned the volume at length to the owner
+in person, it is unlikely that the book-collector will ever behold
+it&mdash;at least in this world.</p>
+
+<p>It is a wide subject, this heading 'Occult,' and includes
+works on Alchemy, Apparitions, Astrology, Cheiromancy,
+Demonology, Devil Lore, Evil Spirit Possession, the Evil Eye,
+Hermetic Philosophy, Magic white and black, Phrenology,
+Physiognomy, Prophecy, Sorcery and Divination, Popular<span class='pagenum'><a name="Page_255" id="Page_255"></a>[<a href="./images/255.png">255</a>]</span>
+Superstitions, Vampires, and Witchcraft. We can even
+include Conjuring! Early-printed books on all these subjects
+are legion, and the numerous works on Lycanthropy or Werewolves,
+must also find a place under this heading. Claude
+Prieur's curious work is rare though not particularly valuable;
+it is a duodecimo printed at Louvain in 1596, and is entitled
+'Dialogue de la Lycantropie ou transformation d'hommes en
+loups, vulgairement dit Loups-garous . . . .' Books on
+Monsters must also be included here. Dr. Ernest Martin's
+'Histoire des Monstres,' octavo, Paris, 1879, contains a bibliography
+of this curious subject. The Rev. Timothy Harley's
+'Moon Lore'&mdash;another out-of-the-way heading&mdash;also contains
+twenty-five pages of bibliography. It was printed in 1885.</p>
+
+<p>Savonarola's 'Compendium Revelationum,' the work which
+probably hastened him to the stake, you will come across
+most easily in the anonymous 'Mirabilis Liber,' which
+appeared at Paris first in 1522. This curious work also
+contains the prophecies of Methodius (Bemechobus), the
+Sibyls, Augustinus, Birgitta, Lichtenberger, Joachim, Antonio,
+Catherine of Siena, Severus, J. de Vatiguerro, G. Baug&eacute;, and
+J. de la Rochetaill&eacute;e. Indagine, the author of a curious book
+on cheiromancy, physiognomy, and astrology, was really
+Johann of Hagen, a German Carthusian who died in 1475.</p>
+
+<p>There is a list of some books on Witchcraft, Demonology,
+and Astrology in the seventh volume of the 'Cambridge
+History of English Literature,' pages 503 to 511; though
+curiously it omits one of the most interesting and best-known
+works on demon-lore&mdash;the 'De Natura Daemonum' of
+Jean Laurent Anania, a small octavo produced by Aldus at
+Venice in 1589. It is an interesting little work which treats
+of the origin of demons and their influence on men. The first
+volume of Mr. F. Leigh Gardner's valuable 'Catalogue
+Raisonn&eacute; of Works on the Occult Sciences' appeared in
+1903. It contains books on the Rosicrucians. The second
+volume, dealing with astrological works, was issued in 1911;
+and the third, books on Freemasonry, in 1912&mdash;three slim<span class='pagenum'><a name="Page_256" id="Page_256"></a>[<a href="./images/256.png">256</a>]</span>
+octavo volumes. Professor John Ferguson's 'Witchcraft
+Literature of Scotland' appeared at Edinburgh in 1897. A
+scarce anonymous work was put forth at London in 1815,
+with the title 'The Lives of Alchemistical Philosophers; with
+a critical catalogue of books in occult chemistry, and a
+selection of the most celebrated treatises on the theory and
+practice of the Hermetic Art.' It contains (pp. 95-112) a list
+of 751 alchemical books. J. J. Manget's 'Bibliotheca Chemica
+Curiosa, seu rerum ad Alchemiam pertinentium Thesaurus,'
+was printed in two folio volumes at Geneva in 1702.</p>
+
+<div class="sidenote">Pamphlets and Tracts.</div>
+
+<p>45. The collecting of Pamphlets and Tracts is an interesting
+byway of book-collecting. They are of almost every description
+under the sun. Some collectors will have
+those that deal with Parliamentary proceedings,
+some specialise in the Marprelate and No Popery tracts, some
+in the Satires of the Restoration journalists, whilst others will
+gather Pasquinades, Mazarinades, and Political pamphlets,
+as well as those that deal with some particular social or
+historical event. It is a subject that, perhaps, comprises more
+grotesque titles than any heading in our list. Knox's famous
+'First Blast of the Trumpet against the Monstrous Regiment
+of Women' must certainly have been rather startling to
+Queen Bess, and Attersoll's 'God's Trumpet sounding the
+Alarme' (quarto, 1632) is vigorous; but the personal invective
+displayed by some of the Elizabethan and early Stuart
+pamphleteers is hard to beat. 'An Olde Foxe Tarred and
+Feathered,' 'A New Gag for an Old Goose,' 'A Whip for an
+Ape,' and 'An Almond for a Parrat,' are all curious, but surely
+the palm is carried by the following effort of John Lyly
+(against Martin Marprelate), put forth in 1589:</p>
+
+<div class="blockquot"><p>'Pappe with an Hatchet. Alias A figge for my
+Godsonne. Or Cracke me this nut. Or A Countrie
+cuffe, that is, a sound boxe of the eare, for the
+idiot Martin to hold his peace, seeing the patch
+will take no warning. Written by one that dares
+call a dog, a dog, and made to prevent Martin's<span class='pagenum'><a name="Page_257" id="Page_257"></a>[<a href="./images/257.png">257</a>]</span>
+dog daies. Imprinted by John Anoke, and John
+Astile, for the Baylive of Withernam, cum privilegio
+perennitatis, and are to bee sold at the signe
+of the crab tree cudgell in thwackcoate lane.'</p></div>
+
+<p>In 1523 Richard Bankes printed a curious little tract with
+the following title: 'Here begynneth a lytell newe treatyse
+or mater intytuled and called The IX. Drunkardes, which
+treatythe of dyuerse and goodly storyes ryght plesaunte and
+frutefull for all parsones to pastyme with.' I hasten to add
+that the 'parsones' of Mr. Bankes' day were not necessarily
+in holy orders. It was printed in octavo, black letter, and the
+only copy that seems to be known is in the Douce collection
+at the Bodleian.</p>
+
+<p>Professor Edward Arber's 'Introductory Sketch to the
+Martin Marprelate Controversy,' which appeared in 1895,
+contains a list of the more important tracts connected with
+that subject; and you will find Mr. W. Pierce's 'Historical
+Introduction to the Marprelate Tracts' (1908) useful. There
+are valuable lists of, and information upon, pamphlets of most
+descriptions and of all periods in the volumes of the
+'Cambridge History of English Literature.' Mr. A. F.
+Pollard's 'Tudor Tracts, 1532-1588' appeared in 1903.</p>
+
+<p>One of the most remarkable collections of pamphlets ever
+formed was that amassed during the Commonwealth by an
+enterprising London bookseller named George Thomason.
+He succeeded in gathering together<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> more than 22,000
+pamphlets and tracts relating to the times; and being an
+ardent Royalist, was at great pains to prevent the collection
+from becoming known to the authorities. When the Royalist
+cause was scotch'd by the execution of King Charles, the
+collection was transferred to Oxford, and lodged in the
+Bodleian Library for safety; and although Thomason died
+in 1666, his collection remained at Oxford until nearly a
+century later, when it was purchased by King George <span class="smcap">iii.</span> for<span class='pagenum'><a name="Page_258" id="Page_258"></a>[<a href="./images/258.png">258</a>]</span>
+&pound;300, and presented by him to the British Museum.</p>
+
+<p>It is, of course, quite priceless now, and contains a large
+number of tracts not otherwise known. A catalogue of the
+collection was printed by the Museum authorities in 1908,
+two demy octavo volumes with the title: 'A Catalogue of the
+Pamphlets, Books, Newspapers, and Manuscripts relating to
+the Civil War, the Commonwealth, and Restoration, collected
+by G. Thomason, 1640-1661.'</p>
+
+<div class="sidenote">Philosophy.</div>
+
+<p>46. 'A farmer should be a philosopher,' said Mr. Jorrocks;
+and although most book-collectors who specialise in philosophical
+works would disclaim any connection
+between the two subjects, yet it is not easy to
+say where philosophy either begins or ends. The dictionaries
+are very cautious, contenting themselves with the assertion
+that any 'application of pure thought' or rational explanation
+of 'things' comes under this heading. Perhaps Mr. Jorrocks
+was more correct than most of his hearers imagined, for
+farming in this country certainly requires a deal of pure
+thought&mdash;if it is to be made to pay. For our purpose, however,
+we will narrow this heading down to those books which
+deal with the moral aspects of mental influences, and those
+which centre about the science of metaphysics.</p>
+
+<div class="sidenote">Poetry.</div>
+
+<p>47. Poetry is another heading over which we need not
+linger. He who specialises in this class of literature may be
+either a student of English poesy or a lover of
+prosody. If the former, the following volumes
+will be of assistance to him.</p>
+
+<p>Thomas Warton's 'History of English Poetry' first
+appeared in three quarto volumes issued between 1774 and
+1781; but a new edition, edited by W. C. Hazlitt in four
+octavo volumes, was published in 1871. Professor W. J.
+Courthope's work of the same title was issued in six volumes
+between 1895 and 1910; whilst Professor G. Saintsbury's
+'History of English Prosody from the Twelfth Century to
+the Present Day,' begun in 1906, was completed in 1910, three
+octavo volumes.</p>
+
+<div class="sidenote">Privately-printed.</div>
+
+<p><span class='pagenum'><a name="Page_259" id="Page_259"></a>[<a href="./images/259.png">259</a>]</span>48. Privately-printed Books. A curious byway of collecting,
+this; for although it comprises books upon every
+subject under the sun, yet it will not help the
+collector to acquire knowledge upon any single
+subject. For some there is doubtless a certain attraction
+about books that have been put forth surreptitiously, as it
+were; yet to the ordinary book-collector such volumes seem
+to partake rather of the nature of pariahs. They are among
+books, but not of them, lacking the credentials of their
+companions. They are of three species only: (1) Personal
+Books; of interest only to a family and its relations; (2) Books
+refused by the publishing houses as being unlikely to appeal
+to the general public; (3) Improper books, which, if issued
+publicly, would most likely incur an action by the Public
+Prosecutor. Some years ago Bertram Dobell, a London
+bookseller, collected upwards of a thousand volumes issued in
+this manner, and published a catalogue of his collection, with
+interesting notes. This collection was finally sold <i>en bloc</i> to
+the Library of Congress at Washington, U.S.A., in 1913.
+J. Martin's 'Bibliographical Catalogue of Privately Printed
+Books' was published first in 1834, two volumes; but a second
+edition appeared twenty years later.</p>
+
+<div class="sidenote">School Books.</div>
+
+<p>49. The collecting of old School Books is a branch of our
+hobby that seldom engages the bibliophile's attention.
+Doubtless the recollection of many painful hours
+spent in their company is responsible for their
+neglect. Yet there is a charm about the early-printed Mentors
+of our youth which it is impossible to deny, and there is a
+growing demand for them&mdash;as the booksellers will tell you.
+The number that has disappeared from the ken of bibliographer
+must be large, for it is difficult to imagine a more
+unpopular type of book&mdash;at least with those who are obliged
+to use them; and if your taste has altered to such an extent
+that you now desire them above all things, you may reasonably
+hope to unearth many a curio.</p>
+
+<p>Our earliest printers were concerned with such works. In<span class='pagenum'><a name="Page_260" id="Page_260"></a>[<a href="./images/260.png">260</a>]</span>
+1483 John Anwykyll's Latin Grammar was printed at Oxford,
+and we must not forget Caxton's 'Stans Puer ad Mensam,' put
+forth in 1478. Pynson issued a 'Promptorium Puerorum sive
+Medulla Grammatic&aelig;' in 1499, and De Worde printed others.
+Most of the productions of the famous St. Albans press were
+school books, to the annoyance of the boys at the Grammar
+School there. Hoole's 'New Discovery of the Old Art of
+Teaching School' is understood to have been a most
+unpopular discovery among his scholars. It was first printed
+at London in 1660, and was reprinted in facsimile at the
+University Press, Liverpool, in 1913. At the end of this
+reprint is a useful bibliography of ancient school books, from
+the fifteenth to the eighteenth century.</p>
+
+<p>Hoole's pupils must have been somewhat out of the
+ordinary. 'N.B.,' he remarks in 'The Usher's Duty,' 'Those
+children that are more industriously willing to thrive, may
+advantage themselves very much by perusal of <i>Gerards
+Meditations</i>, <i>Thomas de Kempis</i>, <i>St. Augustins Soliloquies</i>, or
+his <i>Meditations</i>, or the like pious and profitable Books, which
+they may buy both in English and Latine, and continually
+bear about in their pockets, to read on at spare times.' Upon
+enquiry at one of our larger public schools, however, I find
+that the number of children&mdash;even those who are more
+industriously willing to thrive&mdash;who advantage themselves by
+continually bearing these pious books in their pockets is
+not large.</p>
+
+<div class="sidenote">Sport.</div>
+
+<p>50. The next heading in our list, Sports, Games, and
+Pastimes, naturally comprises a large number of sub-headings.
+The term 'sport' may be confined<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> conveniently
+to those subjects which have to do with animals,
+such as Angling, Coaching, Cock-fighting, Coursing,<span class='pagenum'><a name="Page_261" id="Page_261"></a>[<a href="./images/261.png">261</a>]</span>
+Falconry, Hunting, Horses, Racing, Steeplechasing, and
+Shooting. Other subjects, chiefly of an outdoor nature, may
+be classed as Pastimes, such as Archery, Boxing, Fencing,
+Mountaineering, Skating, and Yachting. Then there are the
+diversions of short duration governed by rules, which we
+call games, such as Cricket, Curling, Bowls, Football, Cards,
+Chess, etc. There are bibliographies of almost all these,
+which you will find in Mr. Courtney's work. If you are fond
+of hunting you will enjoy Mr. Baillie-Grohman's edition of
+the famous 'Livre de Chasse' of Gaston Ph&oelig;bus, Comte de
+Foix. It was translated into English by Edward, Duke of
+York, between 1406 and 1413, under the title 'The Master
+of Game'; and to this reprint of 1909 is added a list of old
+hunting books, and a valuable glossary of ancient hunting
+terms and phrases. 'La Chasse de Loup,' a small quarto
+printed at Paris in 1576, is a scarce work. It consists of but
+22 folios, and has 14 large woodcuts, and it is by Jean de
+Clamorgan, Seigneur de Saane. But you will find this treatise
+in <i>La Maison Rustique</i>.</p>
+
+<p>Books on cock-fighting are not very numerous, nor of
+frequent occurrence. A number of such works are mentioned
+by Mr. Harrison Weir in that part of 'Our Poultry' which
+deals with game-fowl. 'The Royal Pastime of Cockfighting,'
+by R. H. (<i>i.e.</i> Robert Howlet), a duodecimo printed at London
+in 1709, is now very scarce and valuable; but a facsimile
+reprint (100 copies) was issued in 1899. 'The Cocker,' by
+'W. Sketchly, gent.,' is of fairly frequent appearance, though
+a copy will cost you four or five pounds. But it has been
+reprinted at least twice. A small volume entitled 'Cocking
+and its Votaries' by S. A. T[aylor] was put forth in 1880,
+but our book-hunter has not yet been so fortunate as to come
+across a copy.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> It was, I believe, privately printed. Old
+Roger Ascham was a keen devotee of this sport, and wrote a
+volume entitled 'The Book of the Cockpit'; but no copy<span class='pagenum'><a name="Page_262" id="Page_262"></a>[<a href="./images/262.png">262</a>]</span>
+of this work is known (at least to bibliographers) to exist at
+the present day. 'But of all kinds of pastimes fit for a
+Gentleman,' he writes in 'The Scholemaster,' 'I will, God
+willing, in a fitter place more at large declare fully, in my
+<i>Book of the Cockpit</i>; which I do write to satisfy some.' From
+which it seems that he was actually engaged upon the book.
+Apparently there is no record of its publication, though an
+old devotee of the sport once told Mr. Harrison Weir that he
+had seen a copy. 'The Commendation of Cockes and Cock-fighting;
+Wherein is shewed, that Cocke-fighting was before
+the comming of Christ,' by George Wilson, the sporting Vicar
+of Wretton, was printed in black letter by Henry Tomes
+'over against Graies Inne Gate, in Holbourne,' in 1607. I
+wish you luck, brother collector, but I cannot be sanguine
+that you will ever come across a copy though it was many
+times reprinted. The tenth edition is dated 1655.</p>
+
+<p>Under this heading also are included books on Dogs, Cats
+and Bees (!) though the inclusion of the latter reminds one
+of the story of the imported tortoise, which the customs officials
+(after much debate) decided was an insect, and therefore not
+liable to quarantine! Then there are books of sporting
+memoirs, sporting dictionaries, sport in particular countries,
+as well as works which treat of Maypoles and Mumming,
+Festivals, and old English pastimes.</p>
+
+<p>Books upon Dancing, Cards, Chess, and other games all
+have their devotees. 'A Bibliography of Works in English
+on Playing Cards and Gaming,' by Mr. Frederic Jessel,
+appeared in 1905, octavo. The library of M. Preti of Paris,
+a well-known chess-player who devoted his attention to the
+history of the game, was sold at Sotheby's early in 1909. It
+included 362 lots, comprising some 1600 volumes; but the
+entire collection realised only &pound;355. The sale catalogue is a
+useful one&mdash;if you are so fortunate as to come across it. But
+there is a numerous bibliography and you will find a list of
+such volumes in Mr. W. P. Courtney's 'Register of National
+Bibliography.'</p>
+
+<div class="sidenote">Theology.</div>
+
+<p><span class='pagenum'><a name="Page_263" id="Page_263"></a>[<a href="./images/263.png">263</a>]</span>51. Theology and the Lives of the Fathers of the Early
+Christian Church is a field of such magnitude that we may
+divide it conveniently into periods or countries
+or controversies. Books on the Council of Trent
+engage the attentions of some, others are attracted by the
+history of the Waldenses or the Byzantine Churches. Some
+again specialise in the writings of certain great characters,
+such as Bonaventura, Augustine, or Erasmus. A 'Bibliotheca
+Erasmiana, ou Repertoire des &OElig;uvres d'Erasme' appeared
+at Ghent in 1893 and was followed four years later by a new
+edition. Similarly there are now accounts of the writings of
+almost all the great Churchmen, such as Cranmer, Latimer,
+Tindale, Laud, Ken, etc. The only bibliography of Knox
+with which I am acquainted is that appended to the six
+volumes of Laing's edition of his works, published at Edinburgh
+1846-64.</p>
+
+<div class="sidenote">Tobacco.</div>
+
+<p>52. Tobacco is a cheery subject for the book-collector,
+and somehow the very word conjures up a vision of warmth
+and comfort.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'My pipe is lit, my grog is mix'd,<br /></span>
+<span class="ihalf">My curtains drawn and all is snug;<br /></span>
+<span class="ihalf">Old Puss is in her elbow-chair,<br /></span>
+<span class="ihalf">And Tray is sitting on the rug.'<br /></span>
+</div></div>
+
+<p>What book-collector, I do not mean book-speculator, does
+not smoke a pipe? I refuse to believe that any book-lover
+could possibly sit in an easy chair before the fire
+and pore over Browne's 'Hydriotaphia,' Sidney's
+'Arcadia,' More's 'Utopia,' or Cotton's 'Montluc' (all in
+folio, please) without a pipe in his mouth. Why, it is unthinkable.
+Yet the books which treat of tobacco are not all couched
+in that tranquil tone which is induced by the soothing weed.
+'The whole output of literature on tobacco,' writes Professor
+Routh, 'is eminently characteristic of the age in its elaborate
+titles, far-fetched conceits, and bitter invective. The spirit of
+criticism is so strong that even the partisans of the weed
+satirise the habits of the smoker.' King James's 'Counter
+Blaste to Tobacco,' first issued in 1604, Braithwaite's 'The<span class='pagenum'><a name="Page_264" id="Page_264"></a>[<a href="./images/264.png">264</a>]</span>
+Smoaking Age,' 1617, and Barclay's 'Nepenthes, or, the
+Vertues of Tobacco,' 1614, have all been reprinted of late
+years. Bragge's 'Bibliotheca Nicotiana' was printed at
+Birmingham in 1880.</p>
+
+<div class="sidenote">Topography.</div>
+
+<p>53. Topography and County Histories need not detain us.
+Anderson's 'Book of British Topography' is a list of County
+Histories, etc., that had appeared up to 1881;
+and Mr. A. L. Humphrey's 'Handbook to
+County Bibliography' amplifies and carries the record down
+to 1917. With this heading we can include the collection of
+Atlases and Maps. Sir H. G. Fordham's 'Studies in Carto-Bibliography,
+British and French, and in the Bibliography of
+Itineraries and Road Books' contains a useful bibliography
+of this subject. It was published by the Clarendon Press
+in 1914.</p>
+
+<div class="sidenote">Trades.</div>
+
+<p>54. Books on Trades should form an interesting series for
+the collector. Works on 'Dialling' and Clock-making are
+frequent enough, but I do not remember to have
+come across very many books which treat of the
+locksmith's art or coach-making, though such volumes appear
+from time to time in the catalogues. There must be treatises
+on almost every trade under the sun; our book-hunter
+possesses a small volume which deals with the making of
+sealing-wax and wafers. Old treatises on brewing must be
+plentiful, as doubtless are volumes on all the larger and more
+important industries; but are there manuals for the loriner,
+the patten-maker, the umbrella-manufacturer? Doubtless
+there are, though they must be few in number, and scarce too,
+since those for whom they were intended probably would not
+be the best preservers of books. Only about a century ago
+a small manual was put forth for the use of those whose
+business was the heraldic decoration of carriage-panels. It
+was very popular in the trade, but is now scarcely to be had,
+and when found is invariably filthy and dilapidated. Like the
+little 'Pastissier Fran&ccedil;ois,' such practical treatises soon go
+the way of all superseded books.</p>
+
+<div class="sidenote">Travels and Voyages.</div>
+
+<p><span class='pagenum'><a name="Page_265" id="Page_265"></a>[<a href="./images/265.png">265</a>]</span>55 and 56. Travel books and Voyages have already been
+discussed under the heading 'Foreign Parts'&mdash;the first
+subject with which I have dealt in detail. Most
+globe-trotters nowadays are members of the
+Royal Geographical Society, and the Library Catalogue of
+that institution is a valuable one for reference. It was printed
+in 1895, under the care of Mr. H. R. Mill.</p>
+
+<hr style='width: 45%;' />
+
+<p>And so I bid you farewell, brother book-hunter. There is
+no subject with which I have dealt but could have had a
+volume to itself: my aim throughout has been to strike the
+happy medium between a tedious list of titles and editions
+and a description too brief to be of interest. Thank you for
+your patience and sympathy (of the latter indeed I was
+assured at the outset, for we book-hunters are a class that
+knows no other feeling when reading about our beloved
+books), and allow me to express the sincere wish that good
+fortune may attend you on your expeditions. May your
+'finds' be frequent, cheap, clean, tall, perfect, and broad of
+margin, and may you never suffer from borrowers, bookworms,
+acid-tanned leathers, clumsy letterers and insecure
+shelf-fastenings. May good scribbling paper, sharp pencils,
+uncrossed nibs, clean ink and blotting-paper be ever at your
+hand, and may your days be passed in wholesome leisure, in
+the divine fellowship of books. <i>Vale.</i></p>
+
+<h3><span class="smcap">The End.</span></h3>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> Msr. F. C. Wieder, the librarian, writing to the 'Times Literary Supplement'
+of 6th February 1919 (p. 70), states that 'the catalogue is in preparation,
+and arrangements will be made that the books of this library can be
+sent on loan to foreign students through the intermediary of public libraries.'</p></div>
+
+<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> See note on p. <a href="#Footnote_29_29">78</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> The moated manor-house (Southcote, near Reading) which he built provides
+an excellent example of the way in which learned men (especially
+mathematicians!) go astray when they insist upon being their own architects.
+A more unhandy house it is difficult to conceive; and in winter-time the
+dinner must invariably have been cold by the time it reached the dining-room.
+The writer of these lines prospected it from attics to cellars some years ago,
+but as usual "drew blank."</p></div>
+
+<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> Mr. E. Heron-Allen's 'De Fidiculis Bibliographia' was issued in parts,
+and forms two small quarto volumes, 1890 and 1894; but only about sixty
+complete sets are known to exist.</p></div>
+
+<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> Dodd's 'Essay towards a Natural History of the Herring,' 1752, contains
+a chapter of bibliography.</p></div>
+
+<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> You will find the whole tale&mdash;a most interesting one&mdash;in 'Bibliographica,'
+vol. iii., p. 291, from the pen of Mr. Falconer Madan.</p></div>
+
+<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> Lord Lovat's definition of 'Sport' was as follows: 'Sport is the fair,
+difficult, exciting, perhaps dangerous pursuit of a wild animal that has the
+odds in its favour, whose courage, speed, strength and cunning are more or
+less a match for our own, and whose death, being of service, is justifiable.'
+But this seems to apply more to hunting than anything else; it certainly
+precludes coaching, cock-fighting, racing, and steeplechasing.</p></div>
+
+<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> The copy in the Pittar sale at Sotheby's in November 1918 was extra-illustrated
+and finely bound. It fetched &pound;9, 15s.</p></div>
+</div>
+<p><span class='pagenum'><a name="Page_266" id="Page_266"></a>[<a href="./images/266.png">266</a>]</span></p>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_267" id="Page_267"></a>[<a href="./images/267.png">267</a>]</span></p>
+<hr class="full" />
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+
+<ul><li><i>Achademios</i>, Skelton's, <a href="#Page_11">11</a>.</li>
+<li>Aeschylus, translations of, <a href="#Page_71">71</a>.</li>
+<li>Aesop, the <i>Fabulous Tales of</i>, <a href="#Page_12">12</a>.</li>
+<li><i>Aethiopica</i>, the, <a href="#Page_86">86</a>.</li>
+<li><span class="smcap">Africa</span>, books on, <a href="#Page_206">206</a>, <a href="#Page_209">209</a>.</li>
+<li>Agincourt Expedition, the, <a href="#Page_50">50</a>.</li>
+<li><span class="smcap">Agriculture</span>, books on, <a href="#Page_238">238</a>.</li>
+<li>A Kempis, Thomas, <a href="#Page_217">217</a>.</li>
+<li>Alaric's grave, <a href="#Page_104">104</a>.</li>
+<li><span class="smcap">Alchemy</span>, books on, <a href="#Page_245">245</a>, <a href="#Page_256">256</a>.</li>
+<li>Alfred, king, <a href="#Page_101">101</a>.<ul class="plain">
+<li>&mdash;&mdash; his tomb, <a href="#Page_104">104</a>.</li></ul></li>
+<li>Allibone's <i>Critical Dictionary</i>, <a href="#Page_163">163</a>.</li>
+<li><span class="smcap">Americana</span>, <a href="#Page_210">210</a>.</li>
+<li>Ames' <i>Typographical Antiquities</i>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_169">169</a>.</li>
+<li>Amyot, <ins class="err" title="Transcriber's Note: original reads 'p&egrave;re'">P&egrave;re</ins>, <a href="#Page_86">86</a>.</li>
+<li>Ancillon, Charles, <a href="#Page_81">81</a>.</li>
+<li>Andrada, Tomaso de, <a href="#Page_155">155</a>.</li>
+<li>Anjou, Ren&eacute; duc d', <a href="#Page_87">87</a>.</li>
+<li>Antiphonaries, Spanish, <a href="#Page_129">129</a>.</li>
+<li>Aquinas, Thomas, <a href="#Page_37">37</a>.</li>
+<li><i>Arabian Nights</i>, the, <a href="#Page_77">77</a>.</li>
+<li>Arber's <i>Term Catalogues</i>, <a href="#Page_162">162</a>.</li>
+<li><span class="smcap">Architecture</span>, books on, <a href="#Page_211">211</a>.</li>
+<li><span class="smcap">Arctic</span> and <span class="smcap">Antarctic</span>, books on, <a href="#Page_206">206</a>.</li>
+<li>Aristophanes, translations of, <a href="#Page_71">71</a>.</li>
+<li>Armorial bindings, <a href="#Footnote_45_45">115 n</a>.</li>
+<li>Arthur, King, his character, <a href="#Page_89">89</a>.</li>
+<li>Ascham, Roger, on books of Chivalry, <a href="#Page_87">87</a>.<ul class="plain">
+<li>&mdash;&mdash; on Cambridge, <a href="#Page_38">38</a>.</li>
+<li>&mdash;&mdash; his <i>Book of the Cockpit</i>, <a href="#Page_262">262</a>.</li></ul></li>
+<li>Association books, <a href="#Page_172">172</a>.</li>
+<li><span class="smcap">Astrology</span>, books on, <a href="#Page_253">253</a>-<a href="#Page_256">256</a>.</li>
+<li><span class="smcap">Astronomy</span>, books on, <a href="#Page_244">244</a>.</li>
+<li>Attic Theatre, the, <a href="#Page_73">73</a>.</li>
+<li>Auctions, the history of book-, <a href="#Page_187">187</a>.</li>
+<li><i>Auction Records, Book-</i>, <a href="#Page_191">191</a>.</li>
+<li>Augustine, St., on Varro, <a href="#Page_154">154</a>.</li>
+<li>Austen, Jane, her <i>Mansfield Park</i>, <a href="#Page_113">113</a>.<ul class="plain">
+<li>&mdash;&mdash; on novels, <a href="#Page_63">63</a>.</li></ul></li>
+<li><span class="smcap">Australia</span>, books on, <a href="#Page_207">207</a>.</li>
+<li><i>Aymon, the Four Sons of</i>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>.</li>
+</ul>
+
+
+<ul><li>Balin and Balan, <a href="#Page_95">95</a>.</li>
+<li><span class="smcap">Ballads</span>, <a href="#Page_220">220</a>.</li>
+<li><i>Ballatis, Gude and Godlie</i>, <a href="#Page_13">13</a>.</li>
+<li>Bankes's <i>IX. Drunkardes</i>, <a href="#Page_257">257</a>.</li>
+<li><span class="smcap">Barbary</span>, books on, <a href="#Page_209">209</a>-<a href="#Page_210">210</a>.</li>
+<li>Barbier's <i>Ouvrages Anonymes</i>, <a href="#Page_169">169</a>.</li>
+<li>Barbier, Louis, <a href="#Page_154">154</a>.</li>
+<li>Barclay's <i>Euphormionis</i>, <a href="#Page_11">11</a>.</li>
+<li>Barocci, Giacomo, his library, <a href="#Page_181">181</a>.</li>
+<li>Barrow, a desecrated, <a href="#Page_103">103</a>.</li>
+<li>Barton, Elizabeth, her book, <a href="#Page_13">13</a>.</li>
+<li>Bass&eacute;, Nicholas of Frankfort, <a href="#Page_178">178</a>.</li>
+<li>Beckmann, Johann, on catalogues, <a href="#Page_176">176</a>-<a href="#Page_178">178</a>, <a href="#Page_180">180</a>, <a href="#Page_188">188</a>.</li>
+<li>Belvedere, motto at, <a href="#Footnote_16_16">38 n</a>.</li>
+<li>Bernard, Dr. Francis, <a href="#Footnote_4_4">13 n</a>.</li>
+<li><span class="smcap">Bewick</span>, books on, <a href="#Page_168">168</a>.</li>
+<li><span class="smcap">Bibles</span>, <a href="#Page_212">212</a>.</li>
+<li><i>Bibliographica</i>, <a href="#Page_167">167</a>.</li>
+<li>Bibliographies of Bibliographies, <a href="#Page_170">170</a>.<ul class="plain">
+<li>&mdash;&mdash; some early, <a href="#Page_154">154</a>-<a href="#Page_156">156</a>.</li></ul></li>
+<li><span class="smcap">Bibliography</span>, <a href="#Page_150">150</a>-<a href="#Page_156">156</a>, <a href="#Page_160">160</a>-<a href="#Page_170">170</a>.<ul class="plain">
+<li>&mdash;&mdash; compiling a, <a href="#Page_151">151</a>-<a href="#Page_153">153</a>, <a href="#Page_156">156</a>.</li>
+<li>&mdash;&mdash; examples of great industry in, <a href="#Page_154">154</a>.</li>
+<li>&mdash;&mdash; the objects of, <a href="#Page_150">150</a>.</li></ul></li>
+<li><i>Bibliography</i>, Mr. Courtney's <i>Register of National</i>, <a href="#Page_170">170</a>, <a href="#Page_205">205</a>.<ul class="plain">
+<li>&mdash;&mdash; Growoll's <i>English Book Trade</i>, <a href="#Page_181">181</a>.</li></ul></li>
+<li><span class='pagenum'><a name="Page_268" id="Page_268"></a>[<a href="./images/268.png">268</a>]</span>Bigmore and Wyman's <i>Bibliography of Printing</i>, <a href="#Page_167">167</a>.</li>
+<li>Bill, John, <a href="#Page_181">181</a>.</li>
+<li><span class="smcap">Binding</span>, <i>see</i> <span class="smcap">Bookbinding</span>.</li>
+<li><span class="smcap">Biographies</span>, <a href="#Page_213">213</a>.<ul class="plain">
+<li>&mdash;&mdash; Dictionaries of, <a href="#Page_217">217</a>.</li></ul></li>
+<li>Bishop, a Tudor, his town house, <a href="#Page_19">19</a>.</li>
+<li>Black Prince, the, <a href="#Page_90">90</a>, <a href="#Page_92">92</a>.<ul class="plain">
+<li>&mdash;&mdash; his household book, <a href="#Page_18">18</a>.</li></ul></li>
+<li>Blackie, Professor, quoted, <a href="#Page_59">59</a>.</li>
+<li>Blades' <i>Life of Caxton</i>, <a href="#Page_165">165</a>.</li>
+<li>Blagrave's Manor-house, <a href="#Footnote_84_84">244 n</a>.</li>
+<li><span class="smcap">Block-Books</span>, Sotheby on, <a href="#Page_166">166</a>.</li>
+<li>Boccaccio, on translating, <a href="#Page_73">73</a>.</li>
+<li>Bonaventura, <a href="#Page_37">37</a>.</li>
+<li><i>Book-Auction Records</i>, <a href="#Page_191">191</a>.</li>
+<li><i>Book of Curtesye</i>, the <a href="#Page_223">223</a>.</li>
+<li><i>Book of Good Manners</i>, the, <a href="#Page_14">14</a>.</li>
+<li><i>Bookhunter</i>, Burton's, <a href="#Page_21">21</a>.</li>
+<li><i>Book-Prices Current</i>, <a href="#Page_191">191</a>.</li>
+<li><span class="smcap">Books Printed Abroad, English</span>, <a href="#Page_242">242</a>.</li>
+<li>Books, the care of, <a href="#Page_126">126</a>.<ul class="plain">
+<li>&mdash;&mdash; the charm of old, <a href="#Page_106">106</a>-<a href="#Page_108">108</a>.</li>
+<li>&mdash;&mdash; cleaning, <a href="#Page_145">145</a>-<a href="#Page_149">149</a>.</li>
+<li>&mdash;&mdash; English printed abroad, <a href="#Page_242">242</a>.</li>
+<li>&mdash;&mdash; the five classes of, <a href="#Page_120">120</a>-<a href="#Page_122">122</a>.</li>
+<li>&mdash;&mdash; imperfect, <a href="#Page_112">112</a>, <a href="#Page_116">116</a>-<a href="#Page_120">120</a>.</li>
+<li>&mdash;&mdash; lost, <a href="#Page_10">10</a>-<a href="#Page_21">21</a>.</li>
+<li>&mdash;&mdash; repairing, <i>see</i> <span class="smcap">Bookbinding</span>.</li>
+<li>&mdash;&mdash; travel far afield, <a href="#Page_17">17</a>.</li></ul></li>
+<li>Bookbinders, London, <a href="#Page_139">139</a>.</li>
+<li><span class="smcap">Bookbinding</span>, <a href="#Page_135">135</a>-<a href="#Page_140">140</a>.<ul class="plain">
+<li>&mdash;&mdash; books on, <a href="#Page_135">135</a>, <a href="#Page_136">136</a>.</li>
+<li>&mdash;&mdash; leathers, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>.</li>
+<li>&mdash;&mdash; prescription for, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>-<a href="#Page_140">140</a>.</li></ul></li>
+<li><span class="smcap">Bookbindings</span>, Armorial, <a href="#Footnote_45_45">115 n</a>.<ul class="plain">
+<li>&mdash;&mdash; collecting, <a href="#Page_203">203</a>.</li>
+<li>&mdash;&mdash; old, their value, <a href="#Page_113">113</a>-<a href="#Page_115">115</a>.</li>
+<li>&mdash;&mdash; paper, <a href="#Page_116">116</a>, <a href="#Page_141">141</a>-<a href="#Page_145">145</a>.</li>
+<li>&mdash;&mdash; polishing old, <a href="#Page_141">141</a>.</li>
+<li>&mdash;&mdash; preservative for, <a href="#Page_141">141</a>.</li>
+<li>&mdash;&mdash; repairing, <a href="#Page_109">109</a>-<a href="#Page_115">115</a>, <a href="#Page_141">141</a>-<a href="#Page_145">145</a>.</li></ul></li>
+<li><span class="smcap">Bookcases</span>, <a href="#Page_128">128</a>-<a href="#Page_134">134</a>.</li>
+<li><span class="smcap">Book-collectors</span>, the Doctor, <a href="#Page_42">42</a>.<ul class="plain">
+<li>&mdash;&mdash; the Genealogist, <a href="#Page_40">40</a>-<a href="#Page_42">42</a>.</li>
+<li>&mdash;&mdash; the Sailor, <a href="#Page_43">43</a>.</li>
+<li>&mdash;&mdash; the Soldier, <a href="#Page_49">49</a>.</li>
+<li>&mdash;&mdash; the Traveller, <a href="#Page_44">44</a>-<a href="#Page_48">48</a>.</li></ul></li>
+<li><span class="smcap">Bookplates</span>, works on, <a href="#Footnote_45_45">115 n</a>.</li>
+<li><span class="smcap">Booksellers</span>, books upon, <a href="#Footnote_66_66">182 n</a>.<ul class="plain">
+<li>&mdash;&mdash; Mr. McKerrow's <i>Dictionary of</i>, <a href="#Page_183">183</a>.</li></ul></li>
+<li><span class="smcap">Bookshelves</span>, making, <a href="#Page_128">128</a>-<a href="#Page_134">134</a>.<ul class="plain">
+<li>&mdash;&mdash; staining, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>.</li></ul></li>
+<li><span class="smcap">Botany</span>, early, <a href="#Page_245">245</a>-<a href="#Page_247">247</a>.</li>
+<li>Boucicault, Marshal Jean, <a href="#Page_213">213</a>-<a href="#Page_214">214</a>.</li>
+<li>Bouillon, Godfrey de, <a href="#Page_89">89</a>.</li>
+<li>Bourchier, Sir Henry, <a href="#Page_181">181</a>.</li>
+<li>Box, an old, <a href="#Page_18">18</a>.</li>
+<li>British Museum Catalogue, <a href="#Page_163">163</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; talking in the Reading Room of the, <a href="#Page_34">34</a>.</li></ul></li>
+<li>Brittany, old books in, <a href="#Page_28">28</a>.<ul class="plain">
+<li>&mdash;&mdash; old hostel in, <a href="#Page_29">29</a>.</li></ul></li>
+<li>Britwell Court Library, <a href="#Page_210">210</a>.</li>
+<li><span class="smcap">Broadsides</span>, <a href="#Page_220">220</a>, <a href="#Page_228">228</a>.</li>
+<li>Browne, Sir Thomas, <a href="#Page_52">52</a>.<ul class="plain">
+<li>&mdash;&mdash; quoted, <a href="#Page_104">104</a>, <a href="#Page_233">233</a>.</li></ul></li>
+<li>Bruce, King Robert, <a href="#Page_93">93</a>.</li>
+<li>Brunet, J. C., <a href="#Page_22">22</a>.<ul class="plain">
+<li>&mdash;&mdash; his <i>Manuel de Libraire</i>, <a href="#Page_163">163</a>.</li></ul></li>
+<li>Brydges' <i>British Bibliographer</i>, <a href="#Page_162">162</a>.</li>
+<li>Buckram for shelves, <a href="#Page_132">132</a>.</li>
+<li>Bunyan's <i>Pilgrim's Progress</i>, <a href="#Page_66">66</a>.</li>
+<li>Burney, Admiral James, <a href="#Page_208">208</a>.</li>
+<li>Burns' <i>Poems</i>, value of, <a href="#Page_190">190</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; a unique copy of, <a href="#Page_173">173</a>.</li></ul></li>
+<li>Burton, John Hill, quoted, <a href="#Page_59">59</a>.<ul class="plain">
+<li>&mdash;&mdash; his <i>Bookhunter</i>, <a href="#Page_21">21</a>.</li></ul></li>
+<li>Burton's <i>Arabian Nights</i>, <a href="#Footnote_29_29">78 n</a>.</li>
+<li>Bury, Richard of, quoted, <a href="#Page_65">65</a>.</li>
+<li>Byron's <i>English Bards</i>, <a href="#Page_190">190</a>.<ul class="plain">
+<li>&mdash;&mdash; <i>Poems</i>, <a href="#Page_189">189</a>.</li></ul></li>
+<li>Byron, J., <i>Wreck of the Wager</i>, <a href="#Page_47">47</a>.</li>
+</ul>
+
+
+<ul><li>C&aelig;sar, the Elzevier, <a href="#Page_21">21</a>-<a href="#Page_22">22</a>, <a href="#Page_24">24</a>.</li>
+<li>Calderon, translations of, <a href="#Page_73">73</a>.</li>
+<li><span class='pagenum'><a name="Page_269" id="Page_269"></a>[<a href="./images/269.png">269</a>]</span>Cambridge and Roger Ascham, <a href="#Page_38">38</a>.<ul class="plain">
+<li>&mdash;&mdash; books, Mr. Sayle on, <a href="#Page_165">165</a>.</li></ul></li>
+<li>Camelot, <a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>.</li>
+<li>Campbell, Thomas, quoted, <a href="#Page_47">47</a>.</li>
+<li><span class="smcap">Card Games</span>, books on, <a href="#Page_262">262</a>.</li>
+<li>Castiglione, Baldassare, <a href="#Page_19">19</a>.</li>
+<li>Cataloguer, an Abbey, <a href="#Page_54">54</a>.</li>
+<li><span class="smcap">Catalogues</span>, bound at the end of books, <a href="#Page_183">183</a>-<a href="#Page_187">187</a>.<ul class="plain">
+<li>&mdash;&mdash; early booksellers', <a href="#Page_174">174</a>-<a href="#Page_181">181</a>.</li>
+<li>&mdash;&mdash; a Restoration one, <a href="#Page_184">184</a>.</li>
+<li>&mdash;&mdash; of Nicholas Bass&eacute;, <a href="#Page_178">178</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;John Bill, <a href="#Page_181">181</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;Johan Cless, <a href="#Page_180">180</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;George Draud, <a href="#Page_180">180</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;William Jaggard, <a href="#Page_181">181</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;Andrew Maunsell, <a href="#Page_181">181</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;Sweynheim and Pannartz, <a href="#Page_179">179</a>.</li>
+<li>&mdash;&mdash;&ensp;&ensp;Christian Wechel, <a href="#Page_178">178</a>.</li></ul></li>
+<li>Caxton, his advertisement, <a href="#Page_175">175</a>.<ul class="plain">
+<li>&mdash;&mdash; binding by, <a href="#Page_20">20</a>.</li>
+<li>&mdash;&mdash; book by, <a href="#Page_20">20</a>.</li>
+<li>&mdash;&mdash; his <i>Book of Good Manners</i>, <a href="#Page_14">14</a>, <a href="#Page_223">223</a>.</li>
+<li>&mdash;&mdash; on Chivalry, quoted, <a href="#Page_90">90</a>.</li>
+<li>&mdash;&mdash; his <i>Four Sons of Aymon</i>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>.</li>
+<li>&mdash;&mdash; <i>The Life of</i>, by Blades, <a href="#Page_165">165</a>.</li>
+<li>&mdash;&mdash; a lost book by, <a href="#Page_11">11</a>.</li>
+<li>&mdash;&mdash; and Malory, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>.</li>
+<li>&mdash;&mdash; his <i>Metamorphoses of Ovid</i>, <a href="#Page_11">11</a>.</li>
+<li>&mdash;&mdash; on rebinding a, <a href="#Page_114">114</a>.</li>
+<li>&mdash;&mdash; his <i>Recueil des Histoires</i>, <a href="#Page_99">99</a>.</li>
+<li>&mdash;&mdash; his <i>Speculum</i>, <a href="#Page_14">14</a>.</li></ul></li>
+<li>Cervantes' <i>Don Quixote</i>, <a href="#Page_66">66</a>, <a href="#Page_74">74</a>.</li>
+<li>'Chafynghowys,' the, <a href="#Page_34">34</a>.</li>
+<li>Chance, <a href="#Page_201">201</a>.</li>
+<li><span class="smcap">Chapbooks</span>, <a href="#Page_220">220</a>, <a href="#Page_228">228</a>.</li>
+<li>Charlemagne, a story of, <a href="#Page_196">196</a>.</li>
+<li><i>Chasse de Loup, La</i>, <a href="#Page_261">261</a>.</li>
+<li>Chaucer, quotations from, <a href="#Page_1">1</a>, <a href="#Page_56">56</a>, <a href="#Page_94">94</a>.</li>
+<li>Cheke, Sir John, <a href="#Page_132">132</a>.</li>
+<li><span class="smcap">Chess</span>, books on, <a href="#Page_262">262</a>.</li>
+<li><span class="smcap">Chivalry</span>, books on, <a href="#Page_234">234</a>.<ul class="plain">
+<li>&mdash;&mdash; a collector of books on, <a href="#Page_200">200</a>.</li>
+<li>&mdash;&mdash; England the home of, <a href="#Page_92">92</a>.</li>
+<li>&mdash;&mdash; romances of, <a href="#Page_86">86</a>-<a href="#Page_90">90</a>, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>.</li>
+<li>&mdash;&mdash; and 'Sport,' <a href="#Page_91">91</a>.</li></ul></li>
+<li><i>Chronograms</i>, Hilton's, <a href="#Page_168">168</a>.</li>
+<li><span class="smcap">Civil War</span>, books on the, <a href="#Page_221">221</a>.</li>
+<li><span class="smcap">Classics</span>, the, <a href="#Page_61">61</a>, <a href="#Page_70">70</a>-<a href="#Page_73">73</a>.<ul class="plain">
+<li>&mdash;&mdash; collecting the, <a href="#Page_222">222</a>.</li></ul></li>
+<li>Claudin, M. Anatole, works by, <a href="#Page_166">166</a>.</li>
+<li>Cleaning books, <a href="#Page_145">145</a>-<a href="#Page_149">149</a>.</li>
+<li>Clement's <i>Biblioth&egrave;que Curieuse</i>, <a href="#Page_164">164</a>.</li>
+<li>Clerkenwell, books bought in, <a href="#Page_3">3</a>, <a href="#Page_18">18</a>.</li>
+<li>Cless, Johan of Frankfort, <a href="#Page_180">180</a>.</li>
+<li><span class="smcap">Cockfighting</span>, books on, <a href="#Page_261">261</a>.</li>
+<li><span class="smcap">Collating</span>, <a href="#Page_119">119</a>, <a href="#Page_152">152</a>-<a href="#Page_153">153</a>.</li>
+<li>Collectors, <i>see</i> <span class="smcap">Book-collectors</span>.</li>
+<li>Collins, William, of Chichester, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>.</li>
+<li>Colombi&egrave;re, La, books by, <a href="#Page_235">235</a>-<a href="#Page_236">236</a>.</li>
+<li><span class="smcap">Commonplace Books</span>, <a href="#Page_54">54</a>-<a href="#Page_57">57</a>.</li>
+<li><span class="smcap">Commonwealth</span>, books on the, <a href="#Page_221">221</a>.</li>
+<li><i>Companions to Greek</i> and <i>Latin Studies</i>, <a href="#Page_73">73</a>.</li>
+<li>Conon, lost books by, <a href="#Page_55">55</a>.</li>
+<li>Cook, Captain, <a href="#Page_207">207</a>-<a href="#Page_208">208</a>.</li>
+<li><span class="smcap">Cookery Books</span>, <a href="#Page_222">222</a>.</li>
+<li>Cooper's <i>Thesaurus</i>, <a href="#Page_226">226</a>.</li>
+<li><span class="smcap">Coronation Books</span>, <a href="#Page_235">235</a>.</li>
+<li><i>Cortigiano, Il</i>, <a href="#Footnote_10_10">19 n</a>.</li>
+<li>Corvinus, Matthias, <a href="#Page_86">86</a>.</li>
+<li><span class="smcap">Costume</span>, books on, <a href="#Page_224">224</a>.</li>
+<li>Cotton, Sir Robert, his library, <a href="#Page_133">133</a>.</li>
+<li>Cotton's <i>Typographical Gazetteer</i>, <a href="#Page_168">168</a>.</li>
+<li>Courtney's <i>Register of National Bibliography</i>, <a href="#Page_170">170</a>, <a href="#Page_205">205</a>.</li>
+<li>Crabbe, quotation from, <a href="#Page_31">31</a>.</li>
+<li>Cranmer on the Maid of Kent, <a href="#Page_13">13</a>.</li>
+<li>Crawford, the Earl of, his <i>Bibliotheca Lindesiana</i>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>.</li>
+<li><span class="smcap">Crimes</span>, books on, <a href="#Page_225">225</a>.</li>
+<li>Croix du Maine, F. de la, <a href="#Page_155">155</a>.</li>
+<li>Croker's French Revolution collections, <a href="#Page_233">233</a>.</li>
+<li><span class='pagenum'><a name="Page_270" id="Page_270"></a>[<a href="./images/270.png">270</a>]</span>Cromwell, Thomas, <a href="#Page_15">15</a>, <a href="#Page_19">19</a>.</li>
+<li><span class="smcap">Curiosa</span>, <a href="#Page_228">228</a>.</li>
+<li>Curll, Edmund, <a href="#Page_185">185</a>-<a href="#Page_186">186</a>.<ul class="plain">
+<li>&mdash;&mdash; his edition of Prior, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>.</li></ul></li>
+<li><i>Curtesye</i>, the <i>Book of</i>, <a href="#Page_223">223</a>.</li>
+</ul>
+
+
+<ul><li>Dante, translations of, <a href="#Page_75">75</a>.</li>
+<li>David's book-stall, <a href="#Page_3">3</a>.</li>
+<li><i>Defence of Women</i>, the, <a href="#Page_16">16</a>.</li>
+<li><i>De Gloria et Nobilitate</i>, <a href="#Page_4">4</a>.</li>
+<li><span class="smcap">Demonology</span>, books on, <a href="#Page_255">255</a>.</li>
+<li><i>De Re Heraldica</i>, <a href="#Page_8">8</a>.</li>
+<li>Despeisses, Anthony, <a href="#Page_51">51</a>.</li>
+<li><i>De Studio Militari</i>, <a href="#Page_5">5</a>-<a href="#Page_8">8</a>.</li>
+<li>Dibdin's works, <a href="#Page_169">169</a>.</li>
+<li><span class="smcap">Dictionaries</span>, <a href="#Page_226">226</a>.</li>
+<li>Digressions, <a href="#Page_51">51</a>-<a href="#Page_54">54</a>.</li>
+<li>Disraeli, Isaac, quoted, <a href="#Page_37">37</a>.</li>
+<li>Don, story of a, <a href="#Page_79">79</a>.</li>
+<li><i>Don Quixote</i>, <a href="#Page_66">66</a>, <a href="#Page_74">74</a>.</li>
+<li><span class="smcap">Drama</span>, books on the, <a href="#Page_226">226</a>.</li>
+<li>Draud, George of Frankfort, <a href="#Page_180">180</a>.</li>
+<li><span class="smcap">Dress</span>, books on, <a href="#Page_224">224</a>.</li>
+<li>Drinking-horns, <a href="#Page_102">102</a>.</li>
+<li>Dryden's <i>Aeneid</i>, <a href="#Page_72">72</a>.</li>
+<li><span class="smcap">Duelling</span>, books on, <a href="#Page_248">248</a>.</li>
+<li>Duff, Mr. E. G., books by, <a href="#Page_161">161</a>, <a href="#Page_166">166</a>, <a href="#Page_183">183</a>, <a href="#Page_242">242</a>.<ul class="plain">
+<li>&mdash;&mdash; quoted, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_16">16</a>.</li></ul></li>
+<li>Du Fresnoy, Lenglet, <a href="#Page_108">108</a>.</li>
+<li>Du Guesclin, Bertrand, <a href="#Page_92">92</a>, <a href="#Footnote_79_79">216 n</a>.</li>
+<li>Dumas, Alexandre, <a href="#Page_22">22</a>-<a href="#Page_24">24</a>.</li>
+</ul>
+
+
+<ul><li>Eale, the, <a href="#Page_250">250</a>-<a href="#Page_251">251</a>.</li>
+<li><span class="smcap">Early-Printed Books</span>, <a href="#Page_227">227</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; &mdash;&mdash; authorities on, <a href="#Page_164">164</a>-<a href="#Page_166">166</a>.</li></ul></li>
+<li><span class="smcap">Early Romances</span>, <a href="#Page_227">227</a>.</li>
+<li><i>Ebrietatis Encomium</i>, <a href="#Page_186">186</a>.</li>
+<li>Editions good and bad, <a href="#Page_69">69</a>-<a href="#Page_70">70</a>.</li>
+<li>Elks, the Hercynian, <a href="#Page_250">250</a>.</li>
+<li><i>Elzeviers</i>, <a href="#Page_21">21</a> <i>seq.</i>, <a href="#Page_187">187</a>.</li>
+<li><span class="smcap">Engravers</span> and <span class="smcap">Engraving</span>, authorities on, <a href="#Page_167">167</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; books on, <a href="#Page_240">240</a>.</li></ul></li>
+<li><span class="smcap">Entomology</span>, books on, <a href="#Page_251">251</a>.</li>
+<li><i>Epic&oelig;ne or the Silent Woman</i>, <a href="#Page_13">13</a>.</li>
+<li><i>Epitaph of the King of Scotland</i>, the, <a href="#Page_11">11</a>.</li>
+<li>Errata, on, <a href="#Page_170">170</a>-<a href="#Page_171">171</a>.</li>
+<li>Este, Alfonso d', <a href="#Footnote_16_16">38 n</a>.</li>
+<li><span class="smcap">Etymologies</span>, <a href="#Page_226">226</a>.</li>
+<li><i>Euphormionis Lusinini Sat.</i>, <a href="#Page_11">11</a>.</li>
+<li>Euripides, translations of, <a href="#Page_71">71</a>.</li>
+<li><span class="smcap">Extra-illustrating</span>, <a href="#Page_125">125</a>.</li>
+</ul>
+
+
+<ul><li>Fabert, Abraham, <a href="#Page_182">182</a>.</li>
+<li><i>Fabulous Tales of Esope</i>, <a href="#Page_12">12</a>.</li>
+<li><span class="smcap">Faceti&aelig;</span>, <a href="#Page_228">228</a>.</li>
+<li>Farringdon Road, <i>the</i>, <a href="#Page_18">18</a>.</li>
+<li><i>Faust</i>, translations of, <a href="#Page_75">75</a>.</li>
+<li>Faustus his book, <a href="#Page_254">254</a>.</li>
+<li>Fenn, Sir John, <a href="#Page_20">20</a>.</li>
+<li>Fetherstone, Henry, <a href="#Page_181">181</a>.</li>
+<li>Fitzgerald's <i>Polonius</i>, <a href="#Page_192">192</a>.<ul class="plain">
+<li>&mdash;&mdash; translations, <a href="#Page_73">73</a>.</li></ul></li>
+<li><i>Flore et Zephyr</i>, <a href="#Page_189">189</a>.</li>
+<li>Forgeries, book, <a href="#Page_118">118</a>-<a href="#Page_120">120</a>.</li>
+<li><i>Four Sons of Aymon</i>, the <a href="#Page_14">14</a>, <a href="#Page_15">15</a>.</li>
+<li><span class="smcap">Freemasonry</span>, books on, <a href="#Page_232">232</a>, <a href="#Page_255">255</a>.</li>
+<li><span class="smcap">French Revolution</span>, the, <a href="#Page_82">82</a>, <a href="#Page_233">233</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; Croker's Collections on the, <a href="#Page_233">233</a>.</li></ul></li>
+</ul>
+
+
+<ul><li>Gairdner, James, quoted, <a href="#Page_20">20</a>.</li>
+<li><span class="smcap">Gardens</span>, books on, <a href="#Page_233">233</a>.</li>
+<li>Gavaudan, quoted, <a href="#Page_88">88</a>.</li>
+<li>Genealogist, the, <a href="#Page_40">40</a>-<a href="#Page_42">42</a>.</li>
+<li><span class="smcap">Genealogy</span>, books on, <a href="#Page_234">234</a>.</li>
+<li><i>Geology</i>, books on, <a href="#Page_251">251</a>.</li>
+<li>Gibbon, Edward, <a href="#Page_81">81</a>.</li>
+<li><span class="smcap">Gipsies</span>, book on, <a href="#Page_229">229</a>.</li>
+<li>Giunta Terence, a, <a href="#Page_3">3</a>-<a href="#Page_4">4</a>.</li>
+<li>Goeree, William, <a href="#Page_182">182</a>.</li>
+<li>Goethe, translations of, <a href="#Page_75">75</a>.</li>
+<li><i>Golden Legend</i>, the, <a href="#Page_217">217</a>.</li>
+<li><i>Goste of Guido</i>, the, <a href="#Page_11">11</a>.</li>
+<li>Graesse's <i>Tr&eacute;sor de Livres Rares</i>, <a href="#Page_164">164</a>.</li>
+<li><span class='pagenum'><a name="Page_271" id="Page_271"></a>[<a href="./images/271.png">271</a>]</span>Grail, the Holy, <a href="#Page_89">89</a>, <a href="#Page_93">93</a>, <a href="#Page_97">97</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; appears to the Knights, <a href="#Page_99">99</a>, <a href="#Page_100">100</a>.</li></ul></li>
+<li><span class="smcap">Grangerising</span>, <a href="#Page_122">122</a>-<a href="#Page_125">125</a>.</li>
+<li>Graves, the desecration of, <a href="#Page_103">103</a>-<a href="#Page_105">105</a>.</li>
+<li>Greek, aids to reading, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>.<ul class="plain">
+<li>&mdash;&mdash; Incunabula, <a href="#Page_166">166</a>.</li>
+<li>&mdash;&mdash; theatre, <a href="#Page_73">73</a>.</li></ul></li>
+<li>Growoll's <i>Book-Trade Bibliography</i>, <a href="#Page_181">181</a>.</li>
+<li>Grud&eacute;, Fran&ccedil;ois, <a href="#Page_155">155</a>.</li>
+</ul>
+
+
+<ul><li>Hain's <i>Repertorium</i>, <a href="#Page_164">164</a>.</li>
+<li>Hamerton, P. G., on Interruptions, <a href="#Page_33">33</a>.<ul class="plain">
+<li>&mdash;&mdash; on reading the classics, <a href="#Page_62">62</a>.</li></ul></li>
+<li>Harrison, Mr. Frederic, on reading, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>, <a href="#Page_67">67</a>, <a href="#Page_79">79</a>.<ul class="plain">
+<li>&mdash;&mdash; on the classics, <a href="#Page_72">72</a>.</li>
+<li>&mdash;&mdash; <i>The Choice of Books</i>, <a href="#Page_72">72</a>.</li></ul></li>
+<li>Hazlitt, W. C., on lost books, <a href="#Page_12">12</a>, <a href="#Page_14">14</a>.<ul class="plain">
+<li>&mdash;&mdash; his <i>Bibliographical Collections</i>, <a href="#Page_161">161</a>-<a href="#Page_162">162</a>.</li></ul></li>
+<li>Health, books on preserving, <a href="#Page_224">224</a>.</li>
+<li>Heine, translations of, <a href="#Page_76">76</a>.</li>
+<li>Heinz, quoted, <a href="#Page_31">31</a>.</li>
+<li>Heliodorus, <a href="#Page_84">84</a>.</li>
+<li>Henry <span class="smcap">vii.</span> and Winchester, <a href="#Page_98">98</a>.</li>
+<li><span class="smcap">Heraldry</span>, books on, <a href="#Page_234">234</a>.</li>
+<li><span class="smcap">Herbals</span>, <a href="#Page_245">245</a>-<a href="#Page_247">247</a>.</li>
+<li>Herbert, George, his <i>Jacula Prudentum</i>, <a href="#Page_56">56</a>.</li>
+<li>Herbert, Sir Henry, <i>Office Book of</i>, <a href="#Page_227">227</a>.</li>
+<li>Herbert, William, lost books described by, <a href="#Page_12">12</a>.</li>
+<li>Hilton's <i>Chronograms</i>, <a href="#Page_168">168</a>.</li>
+<li>Hinard, Damas, <a href="#Page_74">74</a>.</li>
+<li><i>Historie of Judith</i>, the, <a href="#Page_11">11</a>.</li>
+<li><span class="smcap">History</span>, books on, <a href="#Page_237">237</a>.</li>
+<li>Hoccleve, <a href="#Page_90">90</a>.</li>
+<li>Homer, translations of, <a href="#Page_71">71</a>-<a href="#Page_72">72</a>.</li>
+<li>Hoole's <i>New Discovery</i>, <a href="#Page_260">260</a>; his pupils, <i>ib.</i></li>
+<li>Horace, on translating, <a href="#Page_72">72</a>.</li>
+<li>Hospitallers, <a href="#Page_200">200</a>, <a href="#Page_214">214</a>.</li>
+<li>Hotel du Lion d'Or, <a href="#Page_29">29</a>.</li>
+<li>Housewife, the perfect, <a href="#Page_239">239</a>.</li>
+<li>Hozier, Pierre d', <a href="#Page_40">40</a>.</li>
+<li>Humphrey, Lawrence, <a href="#Page_4">4</a>.</li>
+<li>Humphreys, Mr. A. L., quoted, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>.</li>
+<li><span class="smcap">Husbandry</span>, books on, <a href="#Page_238">238</a>.</li>
+<li>Hyde Abbey, <a href="#Page_104">104</a>.</li>
+<li>Hy&egrave;res, the monk illuminator at, <a href="#Page_37">37</a>.</li>
+<li><i>Hygiasticon</i>, <a href="#Page_224">224</a>.</li>
+</ul>
+
+
+<ul><li>Illuminator of St. Honorat, the, <a href="#Page_37">37</a>.</li>
+<li>Illuminators, the Winchester, <a href="#Page_101">101</a>-<a href="#Page_102">102</a>.</li>
+<li><span class="smcap">Illustrated Books</span>, <a href="#Page_240">240</a>.</li>
+<li><i>Imitatio Christi</i>, <a href="#Page_217">217</a>.</li>
+<li>Incunabula, definition of, <a href="#Footnote_55_55">167 n</a>.<ul class="plain">
+<li>&mdash;&mdash; <i>see</i> <span class="smcap">Early-Printed Books</span>.</li></ul></li>
+<li>Interruptions, <a href="#Page_33">33</a>-<a href="#Page_35">35</a>.</li>
+</ul>
+
+
+<ul><li><i>Jacula Prudentum</i>, <a href="#Page_56">56</a>.</li>
+<li>Jaggard, William, <a href="#Page_181">181</a>.</li>
+<li>Jall, the, <a href="#Page_250">250</a>-<a href="#Page_251">251</a>.</li>
+<li><span class="smcap">Jest Books</span>, <a href="#Page_228">228</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; some early, <a href="#Page_16">16</a>.</li></ul></li>
+<li>Jonson, Ben, lost works of, <a href="#Page_13">13</a>.</li>
+<li><i>Judith, the Famous Historie of</i>, <a href="#Page_11">11</a>.</li>
+</ul>
+
+
+<ul><li>Karslake's <i>Notes from Sotheby's</i>, <a href="#Page_162">162</a>.</li>
+<li>Keats' <i>Endymion</i>, <a href="#Page_113">113</a>.</li>
+<li>Keeper of the Abbey muniments, <a href="#Footnote_17_17">54 n</a>.</li>
+<li>Kempis, Thomas &agrave;, <a href="#Page_217">217</a>.</li>
+<li>Kennet, Bishop White, <a href="#Page_210">210</a>.</li>
+<li><i>King Glumpus</i>, <a href="#Page_189">189</a>.</li>
+<li>Koberger, Anton, <a href="#Page_176">176</a>.</li>
+</ul>
+
+
+<ul><li>L'Abb&eacute;'s <i>Bibliotheca</i>, <a href="#Page_155">155</a>.</li>
+<li>La Colombi&egrave;re, books by, <a href="#Page_235">235</a>-<a href="#Page_236">236</a>.</li>
+<li>La Fontaine, Jean de, <a href="#Page_39">39</a>.</li>
+<li>La Marche, Olivier de, <a href="#Page_215">215</a>.</li>
+<li>La Monnoye, Bernard de, <a href="#Page_154">154</a>.</li>
+<li>Lang, Andrew, on Elzeviers, <a href="#Page_21">21</a>.<ul class="plain">
+<li>&mdash;&mdash; his imperfect books, <a href="#Page_112">112</a>.</li></ul></li>
+<li>Large Copper, story of a, <a href="#Page_116">116</a>-<a href="#Page_117">117</a>.</li>
+<li><span class='pagenum'><a name="Page_272" id="Page_272"></a>[<a href="./images/272.png">272</a>]</span>Large Paper copies, <a href="#Page_203">203</a>.</li>
+<li><span class="smcap">Law</span>, books on, <a href="#Page_240">240</a>.</li>
+<li>Lawler's <i>Book-Auctions</i>, <a href="#Page_187">187</a>.</li>
+<li><i>Lesclarcissement de la Langue Francoyse</i>, <a href="#Page_15">15</a>.</li>
+<li><i>Library, the</i>, by A. Lang, <a href="#Page_21">21</a>.</li>
+<li>Library, 'laying down a,' <a href="#Page_230">230</a>.</li>
+<li>Libraries, two old country, <a href="#Page_19">19</a>-<a href="#Page_20">20</a>.</li>
+<li>Lion d'Or, the, <a href="#Page_29">29</a>.</li>
+<li><span class="smcap">Liturgies</span>, books on, <a href="#Page_241">241</a>.</li>
+<li><span class="smcap">Locally-Printed Books</span>, <a href="#Page_241">241</a>.</li>
+<li>London, books hidden in, <a href="#Page_18">18</a>.</li>
+<li>Londonderry, medal of the siege of, <a href="#Page_253">253</a>.</li>
+<li><i>Long Meg of Westminster</i>, <a href="#Page_16">16</a>.</li>
+<li>Lost books, <a href="#Page_10">10</a>-<a href="#Page_21">21</a>.</li>
+<li>Louis <span class="smcap">ix</span> (St.) and the Saracens, <a href="#Page_90">90</a>.</li>
+<li>Louis <span class="smcap">xiv.</span>, his monument, <a href="#Page_253">253</a>.</li>
+<li>Louvre library, the, <a href="#Page_134">134</a>.</li>
+<li>Lovelace's <i>Lucasta</i>, <a href="#Page_120">120</a>.</li>
+<li>Lowndes' <i>Bibliographer's Manual</i>, <a href="#Page_161">161</a>.</li>
+<li><span class="smcap">Lycanthropy</span>, books on, <a href="#Page_255">255</a>.</li>
+</ul>
+
+
+<ul><li>Mackenzie, Sir G., quoted, <a href="#Page_192">192</a>.</li>
+<li><span class="smcap">Magic</span>, books on, <a href="#Page_253">253</a>-<a href="#Page_256">256</a>.</li>
+<li>Maid of Kent, the, <a href="#Page_13">13</a>.</li>
+<li>Maimbourg, Louis, <a href="#Page_186">186</a>.</li>
+<li>Malory, Sir Thomas, <a href="#Page_95">95</a>-<a href="#Page_99">99</a>.<ul class="plain">
+<li>&mdash;&mdash; his <i>Morte d'Arthur</i>, <a href="#Page_13">13</a>, <a href="#Page_88">88</a>, <a href="#Page_95">95</a>-<a href="#Page_101">101</a>.</li>
+<li>&mdash;&mdash; and Caxton, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>.</li></ul></li>
+<li>Malta, the Knights of, <a href="#Page_200">200</a>-<a href="#Page_201">201</a>, <a href="#Page_214">214</a>.</li>
+<li><span class="smcap">Manners</span>, books on, <a href="#Page_223">223</a>.</li>
+<li><i>Manners, the Book of Good</i>, <a href="#Page_14">14</a>.</li>
+<li><i>Mansfield Park</i>, <a href="#Page_113">113</a>.</li>
+<li>Margaret of Scotland, <a href="#Page_17">17</a>.</li>
+<li>Markham's housewife, <a href="#Page_239">239</a>.<ul class="plain">
+<li>&mdash;&mdash; <i>Thyrsis and Daphne</i>, <a href="#Page_13">13</a>.</li></ul></li>
+<li>Mariner's Mirror, the, <a href="#Page_252">252</a>.</li>
+<li>Marmol, Luis del, <a href="#Page_209">209</a>-<a href="#Page_210">210</a>.</li>
+<li>Marprelate Tracts, <a href="#Page_256">256</a>.</li>
+<li><span class="smcap">Mathematics</span>, books on, <a href="#Page_243">243</a>.</li>
+<li><span class="smcap">Masques</span>, books on, <a href="#Page_226">226</a>, <a href="#Page_232">232</a>.</li>
+<li>Maunsell, Andrew, <a href="#Page_181">181</a>.</li>
+<li><span class="smcap">Medical Books</span>, <a href="#Page_245">245</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; a collector of, <a href="#Page_42">42</a>.</li></ul></li>
+<li><i>Meg of Westminster</i>, <a href="#Page_16">16</a>.</li>
+<li>Melanchthon, Philip, <a href="#Page_59">59</a>.</li>
+<li><span class="smcap">Memoirs</span>, <a href="#Page_213">213</a>.</li>
+<li>Menestrier's <i>Louis le Grand</i>, <a href="#Page_252">252</a>.</li>
+<li><span class="smcap">Military Books</span>, <a href="#Page_247">247</a>.</li>
+<li>Milton, quotations from, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_105">105</a>, <a href="#Page_127">127</a>, <a href="#Page_193">193</a>.<ul class="plain">
+<li>&mdash;&mdash; his <i>Comus</i>, <a href="#Page_191">191</a>.</li></ul></li>
+<li><span class="smcap">Minstrels</span>, books on, <a href="#Page_232">232</a>.</li>
+<li><span class="smcap">Miracle Plays</span>, books on, <a href="#Page_232">232</a>.</li>
+<li><span class="smcap">Modern Authors</span>, valuable works of, <a href="#Page_188">188</a>-<a href="#Page_193">193</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; bibliographies of, <a href="#Page_231">231</a>-<a href="#Page_232">232</a>.</li></ul></li>
+<li>Monastic rules, <a href="#Page_34">34</a>.</li>
+<li><span class="smcap">Monsters</span>, books on, <a href="#Page_255">255</a>.</li>
+<li>Montluc, Blaise de, <a href="#Page_110">110</a>-<a href="#Page_111">111</a>.</li>
+<li>Montmorency, Henri, duc de, <a href="#Page_215">215</a>.</li>
+<li><span class="smcap">Moon Lore</span>, <a href="#Page_255">255</a>.</li>
+<li><span class="smcap">Moralities</span>, books on, <a href="#Page_232">232</a>.</li>
+<li>More's <i>Defence of Women</i>, <a href="#Page_16">16</a>.</li>
+<li>Morte d'Arthur, <i>see</i> Malory.</li>
+<li>Mouse, the painted, <a href="#Page_196">196</a>.</li>
+<li><span class="smcap">Music</span>, books on, <a href="#Page_248">248</a>.</li>
+<li><i>Myriobiblon</i>, <a href="#Page_55">55</a>.</li>
+<li><span class="smcap">Mysteries</span>, books on, <a href="#Page_232">232</a>.</li>
+</ul>
+
+
+<ul><li><span class="smcap">Napoleon</span>, books on, <a href="#Page_249">249</a>-<a href="#Page_250">250</a>.</li>
+<li><span class="smcap">Natural History</span>, books on, <a href="#Page_250">250</a>.</li>
+<li><span class="smcap">Nautical Books</span>, <a href="#Page_251">251</a>.</li>
+<li><i>Neuf Preux, le Triomphe des</i>, <a href="#Page_89">89</a>, <a href="#Page_216">216</a>, <a href="#Page_228">228</a>.</li>
+<li><i>New England Canaan</i>, <a href="#Page_211">211</a>.</li>
+<li>Newspapers, on reading, <a href="#Page_64">64</a>.</li>
+<li>Newton, Sir I., bibliography of, <a href="#Page_244">244</a>.</li>
+<li>Nightingale, Miss, on interruptions, <a href="#Page_33">33</a>.</li>
+<li>Night working, <a href="#Page_35">35</a>.</li>
+<li><i>Nigramansir</i>, the, <a href="#Page_11">11</a>.</li>
+<li>Normandy, Robert of, <a href="#Page_201">201</a>.</li>
+<li>Notes, editors', <a href="#Page_70">70</a>.</li>
+<li>Novels, on reading, <a href="#Page_63">63</a>.<ul class="plain">
+<li>&mdash;&mdash; the first, <a href="#Page_84">84</a>-<a href="#Page_85">85</a>.</li></ul></li>
+<li><span class="smcap">Numismatics</span>, books on, <a href="#Page_252">252</a>.</li>
+</ul>
+
+
+<ul><li><span class='pagenum'><a name="Page_273" id="Page_273"></a>[<a href="./images/273.png">273</a>]</span>Occleve, <a href="#Page_90">90</a>.</li>
+<li><span class="smcap">Occult</span>, books on the, <a href="#Page_253">253</a>.</li>
+<li>Olaf, King, <a href="#Page_201">201</a>.</li>
+<li><i>Optimates</i>, by L. Humphrey, <a href="#Page_4">4</a>.</li>
+<li>Ordnance, medi&aelig;val, <a href="#Page_49">49</a>.</li>
+<li><i>Original Poetry by Victor and Cazire</i>, <a href="#Page_190">190</a>.</li>
+<li>Ormsby, John, on romances, <a href="#Page_86">86</a>.</li>
+<li>Osorio's <i>De Gloria</i>, <a href="#Page_4">4</a>.</li>
+<li>Ovid's <i>Metamorphoses</i>, by Caxton, <a href="#Page_11">11</a>.</li>
+<li><i>Oxford Books</i>, by Mr. F. Madan, <a href="#Page_165">165</a>.</li>
+</ul>
+
+
+<ul><li><span class="smcap">Pageants</span>, books on, <a href="#Page_226">226</a>.</li>
+<li>Painted Mouse, a, <a href="#Page_196">196</a>.</li>
+<li><i>Palmerin d'Olive</i>, <a href="#Page_205">205</a>.</li>
+<li>Palsgrave, John, <a href="#Page_15">15</a>.</li>
+<li><span class="smcap">Pamphlets</span> and <span class="smcap">Tracts</span>, <a href="#Page_256">256</a>.</li>
+<li>Panzer's <i>Annalen</i>, <a href="#Page_165">165</a>.</li>
+<li><i>Pappe with an Hatchet</i>, <a href="#Page_256">256</a>.</li>
+<li><i>Passionate Pilgrim, the</i>, <a href="#Page_10">10</a>.</li>
+<li><i>Pastissier Fran&ccedil;ois, le</i>, <a href="#Page_21">21</a>-<a href="#Page_28">28</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; prices of, <a href="#Page_21">21</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>.</li></ul></li>
+<li>Paston Letters, the, <a href="#Page_20">20</a>.</li>
+<li>Pedigree hunting, <a href="#Page_40">40</a>.</li>
+<li>'Pegs,' <a href="#Page_102">102</a>.</li>
+<li><i>Perceforest</i>, quotation from, <a href="#Page_92">92</a>.<ul class="plain">
+<li>&mdash;&mdash; description of, <a href="#Footnote_35_35">93 n</a>.</li></ul></li>
+<li>'Peregrine' volumes, <a href="#Page_242">242</a>.</li>
+<li>Peron, the, <a href="#Page_95">95</a>-<a href="#Page_97">97</a>.</li>
+<li><span class="smcap">Philosophy</span>, books on, <a href="#Page_258">258</a>.</li>
+<li>Photius, <a href="#Page_55">55</a>.</li>
+<li><i>Pilgrim's Progress, the</i>, <a href="#Page_66">66</a>.</li>
+<li>Pinson, Gheerart, <a href="#Page_243">243</a>.</li>
+<li>Place des Victoires, monument in the, <a href="#Page_253">253</a>.</li>
+<li><span class="smcap">Plays</span>, books on old, <a href="#Page_226">226</a>.</li>
+<li>Pliny on Seclusion, <a href="#Page_36">36</a>.</li>
+<li><span class="smcap">Poetry</span>, <a href="#Page_258">258</a>.</li>
+<li><i>Poems by Two Brothers</i>, <a href="#Page_189">189</a>.<ul class="plain">
+<li>&mdash;&mdash; <i>on Various Occasions</i>, <a href="#Page_189">189</a>.</li></ul></li>
+<li>Pollard, Mr. A. W.'s <i>Fifteenth-Century Books</i>, <a href="#Page_165">165</a>-<a href="#Page_166">166</a>.</li>
+<li>Pollio, Asinius, <a href="#Page_133">133</a>.</li>
+<li>Pope on Curll, <a href="#Page_185">185</a>.<ul class="plain">
+<li>&mdash;&mdash; quotation from, <a href="#Page_68">68</a>.</li></ul></li>
+<li>Portugal, a convent in, <a href="#Page_17">17</a>.</li>
+<li><span class="smcap">Prayer Books</span>, works on, <a href="#Page_241">241</a>.</li>
+<li>Precentor, the, <a href="#Footnote_14_14">33 n</a>.</li>
+<li>Prescriptions, some early, <a href="#Page_246">246</a>.</li>
+<li><span class="smcap">Presses, celebrated</span>, <a href="#Page_219">219</a>.</li>
+<li><span class="smcap">Prices of Books</span>, <a href="#Page_189">189</a>-<a href="#Page_192">192</a>, <a href="#Page_227">227</a>-<a href="#Page_228">228</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; some early, <a href="#Page_179">179</a>.</li>
+<li>&mdash;&mdash; &mdash;&mdash; on determining, <a href="#Page_171">171</a>-<a href="#Page_173">173</a>.</li></ul></li>
+<li><i>Prices of Books</i>, Wheatley's, <a href="#Page_173">173</a>-<a href="#Page_174">174</a>.</li>
+<li><span class="smcap">Printers' marks</span>, books on, <a href="#Page_169">169</a>-<a href="#Page_170">170</a>.</li>
+<li>Printers, Mr. McKerrow's <i>Dictionary of</i>, <a href="#Page_183">183</a>.</li>
+<li>Prior, his pirated <i>Poems</i>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>.</li>
+<li><span class="smcap">Prisons</span>, books on, <a href="#Page_225">225</a>.</li>
+<li><span class="smcap">Privately-printed Books</span>, <a href="#Page_203">203</a>-<a href="#Page_204">204</a>, <a href="#Page_259">259</a>.</li>
+<li><span class="smcap">Proclamations</span>, <a href="#Page_221">221</a>.</li>
+<li>Proctor's <i>Early Printed Books</i>, <a href="#Page_165">165</a>.</li>
+<li>Prophecies, a book of, <a href="#Page_255">255</a>.</li>
+<li>Provence, a monk of, <a href="#Page_37">37</a>.</li>
+<li><span class="smcap">Pseudonyms</span>, books on, <a href="#Page_168">168</a>.</li>
+<li>Pynson, Richard, <a href="#Page_11">11</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>.</li>
+</ul>
+
+
+<ul><li>Quaritch's <i>General Catalogue</i>, <a href="#Page_162">162</a>.</li>
+<li>Qu&eacute;rard's <i>Supercheries</i> <ins class="err" title="Transcriber's Note: original reads 'Litteraires'"><i>Litt&eacute;raires</i></ins>, <a href="#Page_169">169</a>.</li>
+<li>Quotations, doubtful origin of, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>.<ul class="plain">
+<li>&mdash;&mdash; wrongly assigned, <a href="#Footnote_19_19">57 n</a>.</li></ul></li>
+</ul>
+
+
+<ul><li>Rabelais, translations of, <a href="#Page_76">76</a>.</li>
+<li>Racine and Heliodorus, <a href="#Page_86">86</a>.</li>
+<li>Rainman, John, <a href="#Page_177">177</a>.</li>
+<li>Ratdolt, Erhart, <a href="#Page_176">176</a>.</li>
+<li><span class="smcap">Reading</span>, the art of, <a href="#Page_59">59</a>-<a href="#Page_70">70</a>, <a href="#Page_78">78</a>, <a href="#Page_81">81</a>-<a href="#Page_83">83</a>.<ul class="plain">
+<li>&mdash;&mdash; wide, <a href="#Page_79">79</a>-<a href="#Page_81">81</a>.</li></ul></li>
+<li><span class="smcap">Rebellion Tracts</span>, <a href="#Page_221">221</a>, <a href="#Page_222">222</a>.</li>
+<li><span class="smcap">Rebinding</span>, <a href="#Page_109">109</a>-<a href="#Page_116">116</a>.</li>
+<li>Recommending books, <a href="#Page_59">59</a>.</li>
+<li>Regnault, Fran&ccedil;ois, <a href="#Page_181">181</a>.</li>
+<li>Ren&eacute; d'Anjou, <a href="#Page_87">87</a>.</li>
+<li><span class="smcap">Revolution, the French</span>, <a href="#Page_82">82</a>, <a href="#Page_233">233</a>.</li>
+<li>Rigging, an authority upon, <a href="#Page_43">43</a>.</li>
+<li><span class='pagenum'><a name="Page_274" id="Page_274"></a>[<a href="./images/274.png">274</a>]</span><span class="smcap">Roguery</span>, books on, <a href="#Page_225">225</a>.</li>
+<li><span class="smcap">Romances of Chivalry</span>, <a href="#Page_86">86</a>-<a href="#Page_90">90</a>, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>.</li>
+<li>Romance, the spirit of, <a href="#Page_94">94</a>-<a href="#Page_95">95</a>, <a href="#Page_102">102</a>.</li>
+<li><span class="smcap">Rosicrucians</span>, books on the, <a href="#Page_255">255</a>.</li>
+<li>Rouen, an old inn at, <a href="#Page_26">26</a>.</li>
+<li>Round Table at Winchester, the, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>.</li>
+<li>Rowlands' Tracts, <a href="#Page_225">225</a>.</li>
+<li>Roydon Hall, <a href="#Page_20">20</a>.</li>
+</ul>
+
+
+<ul><li>St. Amand, Gerard de, <a href="#Page_52">52</a>.</li>
+<li>St. Augustine on Varro, <a href="#Page_154">154</a>.</li>
+<li>St. Bernard on Solitude, <a href="#Page_35">35</a>.</li>
+<li>St. Honorat, the monk of, <a href="#Page_37">37</a>.</li>
+<li>St. Katherin of Siena, <a href="#Page_21">21</a>.</li>
+<li>St. Louis and the Saracens, <a href="#Page_90">90</a>.</li>
+<li>St. Margaret's <i>Devotional</i>, <a href="#Page_17">17</a>.<ul class="plain">
+<li>&mdash;&mdash; &mdash;&mdash; <i>Life</i>, by Pynson, <a href="#Page_11">11</a>.</li></ul></li>
+<li>Sallengre's <i>L'Elogie de l'Ivresse</i>, <a href="#Page_186">186</a>.</li>
+<li>Sanchez's <i>Bibliografia Aragonesa</i>, <a href="#Page_170">170</a>.</li>
+<li><span class="smcap">Saracenic</span> literature, <a href="#Page_209">209</a>.</li>
+<li>Savaron, Jean, <a href="#Page_248">248</a>.</li>
+<li>Savonarola's Compendium, <a href="#Page_255">255</a>.</li>
+<li><i>Sawyer, Tom, The Adventures of</i>, <a href="#Page_66">66</a>.</li>
+<li>Sayle's <i>Books at Cambridge</i>, <a href="#Page_165">165</a>.</li>
+<li>Schiller, translations of, <a href="#Page_76">76</a>.</li>
+<li>Schoeffer's catalogue, <a href="#Page_174">174</a>.</li>
+<li><span class="smcap">School Books, Old</span>, <a href="#Page_259">259</a>.</li>
+<li>Scipio Africanus, quoted, <a href="#Page_38">38</a>, <a href="#Footnote_19_19">57 n</a>.</li>
+<li>Scott, Dr. E. J. L., <a href="#Footnote_17_17">54 n</a>.</li>
+<li><i>Scott's Last Expedition</i>, <a href="#Page_69">69</a>.</li>
+<li><span class="smcap">Sea</span>, books on the, <a href="#Page_251">251</a>-<a href="#Page_252">252</a>.</li>
+<li><span class="smcap">Seals</span>, books on, <a href="#Page_236">236</a>.</li>
+<li>Seilli&egrave;re, Baron A., the library of, <a href="#Footnote_11_11">22 n</a>, <a href="#Page_227">227</a>.</li>
+<li>Seymour, Richard, Esq., <a href="#Page_187">187</a>.</li>
+<li><span class="smcap">Shakespeareana</span>, <a href="#Page_218">218</a>, <a href="#Page_219">219</a>.</li>
+<li>Shakespeare's <i>Passionate Pilgrim</i>, <a href="#Page_10">10</a>, <a href="#Footnote_81_81">228 n</a>.<ul class="plain">
+<li>&mdash;&mdash; Plays, <a href="#Page_14">14</a>, <a href="#Page_17">17</a>.</li>
+<li>&mdash;&mdash; <i>Titus Andronicus</i>, <a href="#Page_17">17</a>.</li></ul></li>
+<li>Sharon Turner on digressions, <a href="#Page_52">52</a>.<ul class="plain">
+<li>&mdash;&mdash; on Romances, <a href="#Page_88">88</a>.</li></ul></li>
+<li>Shelley, quotation from, <a href="#Page_38">38</a>.<ul class="plain">
+<li>&mdash;&mdash; <i>Adonais</i> and <i>Queen Mab</i>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a>.</li>
+<li>&mdash;&mdash; <i>Original Poetry</i>, <a href="#Page_190">190</a>.</li></ul></li>
+<li><span class="smcap">Shelves</span>, <a href="#Page_128">128</a>-<a href="#Page_134">134</a>.</li>
+<li>Ships, an authority upon old, <a href="#Page_43">43</a>.</li>
+<li>'Shorn lamb' proverb, <a href="#Page_56">56</a>.</li>
+<li>Skelton, John, lost books by, <a href="#Page_11">11</a>.</li>
+<li>Slater's <i>Early Editions</i>, <a href="#Page_191">191</a>.</li>
+<li>Solitude, <a href="#Page_35">35</a>-<a href="#Page_39">39</a>.</li>
+<li>Sophocles, translations of, <a href="#Page_71">71</a>.</li>
+<li>Sotheby on block-books, <a href="#Page_166">166</a>.</li>
+<li><span class="smcap">South Seas</span>, books on the, <a href="#Page_207">207</a>.</li>
+<li>Southcote Manor-house, <a href="#Footnote_84_84">244 n</a>.</li>
+<li>Spanish folios, <a href="#Page_129">129</a>.</li>
+<li><span class="smcap">Specialism</span>, the advantages of, <a href="#Page_194">194</a> <i>seq.</i></li>
+<li>Specialists, subjects of, <a href="#Page_202">202</a>-<a href="#Page_203">203</a>.</li>
+<li><i>Speculum</i>, Caxton's, <a href="#Page_14">14</a>.</li>
+<li><i>Speculum Principis</i>, Skelton's, <a href="#Page_11">11</a>.</li>
+<li>Spenser, quoted, <a href="#Page_31">31</a>.</li>
+<li><span class="smcap">Sport</span>, books on, <a href="#Page_260">260</a>.<ul class="plain">
+<li>&mdash;&mdash; definition of, <a href="#Footnote_88_88">260 n</a>.</li></ul></li>
+<li>Sta&euml;l, Madame de, <a href="#Page_52">52</a>.</li>
+<li>Staining bookshelves, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>.<ul class="plain">
+<li>&mdash;&mdash; leaves of books, <a href="#Page_149">149</a>.</li></ul></li>
+<li><span class="smcap">Stains</span>, removing, <a href="#Page_146">146</a>-<a href="#Page_149">149</a>.</li>
+<li>'Stationers,' <a href="#Page_177">177</a>.</li>
+<li>Sterne, Laurence, <a href="#Page_56">56</a>.</li>
+<li>Sweynheim and Pannartz, <a href="#Page_179">179</a>.</li>
+<li>Syon College library, <a href="#Page_12">12</a>, <a href="#Page_21">21</a>.</li>
+</ul>
+
+
+<ul><li>Taylor, Bayard, <a href="#Page_75">75</a>.</li>
+<li>Tennyson, A. and C., <a href="#Page_189">189</a>.<ul class="plain">
+<li>&mdash;&mdash; <i>Helen's Tower</i>, <a href="#Page_192">192</a>.</li></ul></li>
+<li>Terence, a Giunta, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>.</li>
+<li>Thackeray's <i>Flore et Zephyr</i>, <a href="#Page_189">189</a>.<ul class="plain">
+<li>&mdash;&mdash; King Glumpus, <a href="#Page_189">189</a>.</li></ul></li>
+<li>Theagenes and Chariclea, <a href="#Page_85">85</a>.</li>
+<li><span class="smcap">Theology</span>, <a href="#Page_263">263</a>.</li>
+<li><i>Thesaurus Cornucopi&aelig;</i>, <a href="#Page_171">171</a>-<a href="#Page_172">172</a>.</li>
+<li>Thomas Aquinas, <a href="#Page_37">37</a>.</li>
+<li>Thomas &agrave; Kempis, <a href="#Page_217">217</a>.</li>
+<li><span class='pagenum'><a name="Page_275" id="Page_275"></a>[<a href="./images/275.png">275</a>]</span>Thomason, George, <a href="#Page_257">257</a>.</li>
+<li><i>Thyrsis and Daphne</i>, <a href="#Page_13">13</a>.</li>
+<li>Titles, some curious, <a href="#Page_256">256</a>-<a href="#Page_257">257</a>.</li>
+<li><i>Titus Andronicus</i>, <a href="#Page_17">17</a>.</li>
+<li><span class="smcap">Tobacco</span>, books on, <a href="#Page_263">263</a>.</li>
+<li>Tombs, the desecration of, <a href="#Page_103">103</a>-<a href="#Page_105">105</a>.</li>
+<li><span class="smcap">Topography</span>, books on, <a href="#Page_264">264</a>.</li>
+<li><span class="smcap">Tracts</span>, <a href="#Page_256">256</a>.</li>
+<li><span class="smcap">Trades</span>, books on, <a href="#Page_264">264</a>.</li>
+<li>Traveller, the library, <a href="#Page_44">44</a>-<a href="#Page_48">48</a>.</li>
+<li><span class="smcap">Trials</span>, books on, <a href="#Page_225">225</a>.</li>
+<li><i>Triomphe des Neuf Preux, le</i>, <a href="#Page_89">89</a>, <a href="#Page_216">216</a>, <a href="#Page_228">228</a>.</li>
+<li>Tristram on a white horse, <a href="#Page_88">88</a>.</li>
+<li>Trunk, an old, <a href="#Page_18">18</a>.</li>
+<li>Trusler's <i>Honours of the Table</i>, <a href="#Page_223">223</a>.</li>
+<li>Turner, Sharon, on Digressions, <a href="#Page_52">52</a>.<ul class="plain">
+<li>&mdash;&mdash; on Romances, <a href="#Page_88">88</a>.</li></ul></li>
+</ul>
+
+
+<ul><li>University Don, a widely read, <a href="#Page_79">79</a>-<a href="#Page_81">81</a>.</li>
+<li>Upton, Nicholas, <a href="#Page_5">5</a>-<a href="#Page_8">8</a>.</li>
+<li>Urquhart, Sir Thomas, <a href="#Page_76">76</a>.</li>
+</ul>
+
+
+<ul><li>Varro, St. Augustine on, <a href="#Page_154">154</a>.</li>
+<li>Vaughan, Stephen, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>.</li>
+<li>Vellum, brown, <a href="#Page_138">138</a>.<ul class="plain">
+<li>&mdash;&mdash; perishable, <a href="#Page_138">138</a>.</li></ul></li>
+<li><i>Venus and Adonis</i>, <a href="#Page_14">14</a>, <a href="#Footnote_81_81">228 n</a>.</li>
+<li>'Venus de Milo,' <a href="#Footnote_49_49">133 n</a>.</li>
+<li>Verard, Antoine, <a href="#Page_166">166</a>, <a href="#Page_176">176</a>.</li>
+<li>'Victor and Cazire,' <a href="#Page_190">190</a>.</li>
+<li>Vincent's <i>True Relation</i>, <a href="#Page_211">211</a>.</li>
+<li>Virgil, translations of, <a href="#Page_72">72</a>.</li>
+<li>Voragine, Jacobus de, <a href="#Page_217">217</a>.</li>
+</ul>
+
+
+<ul><li>Wace, quoted, <a href="#Page_93">93</a>.</li>
+<li><i>Wager</i>, H.M.S., the loss of, <a href="#Page_47">47</a>.</li>
+<li>'Wagstaffe, Theophile,' <a href="#Page_189">189</a>.</li>
+<li>Walloon printer, a, <a href="#Page_243">243</a>.</li>
+<li>Walton's <i>Compleat Angler</i>, <a href="#Page_191">191</a>, <a href="#Page_192">192</a>.</li>
+<li>'Wargus,' <a href="#Page_105">105</a>.</li>
+<li>Warton, Thomas, <a href="#Page_11">11</a>.</li>
+<li><span class="smcap">Washing and cleaning</span>, <a href="#Page_146">146</a>-<a href="#Page_149">149</a>.</li>
+<li>Wechel, Christian, <a href="#Page_178">178</a>-<a href="#Page_179">179</a>.</li>
+<li><span class="smcap">Werewolves</span>, books on, <a href="#Page_255">255</a>.</li>
+<li>Westminster Abbey muniments, <a href="#Footnote_17_17">54 n</a>.</li>
+<li>Wheatley's <i>Prices of Books</i>, <a href="#Page_173">173</a>-<a href="#Page_174">174</a>.</li>
+<li>Willems, Alphonse, <a href="#Page_24">24</a>, <a href="#Page_187">187</a>.</li>
+<li>Willer, George, <a href="#Page_177">177</a>, <a href="#Page_178">178</a>.</li>
+<li>William the Conqueror, <a href="#Page_201">201</a>.</li>
+<li>Winchester, <a href="#Page_95">95</a>-<a href="#Page_102">102</a>.<ul class="plain">
+<li>&mdash;&mdash; ancient customs of, <a href="#Page_102">102</a>.</li>
+<li>&mdash;&mdash; Castle hall at, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>.</li></ul></li>
+<li><span class="smcap">Witchcraft</span>, books on, <a href="#Page_255">255</a>.</li>
+<li>Wolvesey Castle, <a href="#Page_101">101</a>.</li>
+<li>Worde, Wynkyn de, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_21">21</a>.</li>
+<li>Wordsworth, quoted, <a href="#Page_36">36</a>, <a href="#Page_77">77</a>, <a href="#Page_95">95</a>.</li></ul>
+
+<ul><li>Ximenes, Cardinal, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>.</li></ul>
+
+<ul><li>Yale, the, <a href="#Page_250">250</a>-<a href="#Page_251">251</a>.</li></ul>
+
+<ul><li><span class="smcap">Zoology</span>, books on, <a href="#Page_250">250</a>.</li></ul>
+<p>&nbsp;</p>
+<hr class="full" />
+<div class='tnote'><h3>Transcriber's Notes</h3>
+<p>Corrections which have been made are indicated by dotted lines under
+the corrected text.
+Scroll the mouse over the word and the original text will <ins class="err"
+title="Transcriber's Note: original reads 'apprear'">appear</ins>.</p>
+
+<p>Greek text transliterations are indicated by dashed lines under the Greek text.
+Scroll the mouse over the word and the transliterated Greek text will appear. e.g. <ins class="grk" title="Greek: hoi polloi">&#8003;&#953; &#960;&#959;&#955;&#955;&#959;&#8055;</ins>.</p>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Book-Hunter at Home, by P. B. M. Allan
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE BOOK-HUNTER AT HOME ***
+
+***** This file should be named 22716-h.htm or 22716-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/2/7/1/22716/
+
+Produced by Suzanne Lybarger, Brian Janes and the booksmiths
+at http://www.eBookForge.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/22716-h/images/1.png b/22716-h/images/1.png
new file mode 100644
index 0000000..5e6b987
--- /dev/null
+++ b/22716-h/images/1.png
diff --git a/22716-h/images/10.png b/22716-h/images/10.png
new file mode 100644
index 0000000..21cfed7
--- /dev/null
+++ b/22716-h/images/10.png
diff --git a/22716-h/images/100.png b/22716-h/images/100.png
new file mode 100644
index 0000000..aa19a2d
--- /dev/null
+++ b/22716-h/images/100.png
diff --git a/22716-h/images/101.png b/22716-h/images/101.png
new file mode 100644
index 0000000..10f9123
--- /dev/null
+++ b/22716-h/images/101.png
diff --git a/22716-h/images/102.png b/22716-h/images/102.png
new file mode 100644
index 0000000..9439d3c
--- /dev/null
+++ b/22716-h/images/102.png
diff --git a/22716-h/images/103.png b/22716-h/images/103.png
new file mode 100644
index 0000000..aec9004
--- /dev/null
+++ b/22716-h/images/103.png
diff --git a/22716-h/images/104.png b/22716-h/images/104.png
new file mode 100644
index 0000000..dce6437
--- /dev/null
+++ b/22716-h/images/104.png
diff --git a/22716-h/images/105.png b/22716-h/images/105.png
new file mode 100644
index 0000000..c82a50e
--- /dev/null
+++ b/22716-h/images/105.png
diff --git a/22716-h/images/106.png b/22716-h/images/106.png
new file mode 100644
index 0000000..1ba4dac
--- /dev/null
+++ b/22716-h/images/106.png
diff --git a/22716-h/images/107.png b/22716-h/images/107.png
new file mode 100644
index 0000000..243a37a
--- /dev/null
+++ b/22716-h/images/107.png
diff --git a/22716-h/images/108.png b/22716-h/images/108.png
new file mode 100644
index 0000000..a50b433
--- /dev/null
+++ b/22716-h/images/108.png
diff --git a/22716-h/images/109.png b/22716-h/images/109.png
new file mode 100644
index 0000000..1e047af
--- /dev/null
+++ b/22716-h/images/109.png
diff --git a/22716-h/images/11.png b/22716-h/images/11.png
new file mode 100644
index 0000000..1b8163d
--- /dev/null
+++ b/22716-h/images/11.png
diff --git a/22716-h/images/110.png b/22716-h/images/110.png
new file mode 100644
index 0000000..58f4c29
--- /dev/null
+++ b/22716-h/images/110.png
diff --git a/22716-h/images/111.png b/22716-h/images/111.png
new file mode 100644
index 0000000..2a027eb
--- /dev/null
+++ b/22716-h/images/111.png
diff --git a/22716-h/images/112.png b/22716-h/images/112.png
new file mode 100644
index 0000000..f9dab72
--- /dev/null
+++ b/22716-h/images/112.png
diff --git a/22716-h/images/113.png b/22716-h/images/113.png
new file mode 100644
index 0000000..3291b44
--- /dev/null
+++ b/22716-h/images/113.png
diff --git a/22716-h/images/114.png b/22716-h/images/114.png
new file mode 100644
index 0000000..e35de40
--- /dev/null
+++ b/22716-h/images/114.png
diff --git a/22716-h/images/115.png b/22716-h/images/115.png
new file mode 100644
index 0000000..339ff72
--- /dev/null
+++ b/22716-h/images/115.png
diff --git a/22716-h/images/116.png b/22716-h/images/116.png
new file mode 100644
index 0000000..3958f36
--- /dev/null
+++ b/22716-h/images/116.png
diff --git a/22716-h/images/117.png b/22716-h/images/117.png
new file mode 100644
index 0000000..ed606d5
--- /dev/null
+++ b/22716-h/images/117.png
diff --git a/22716-h/images/118.png b/22716-h/images/118.png
new file mode 100644
index 0000000..74fb1bf
--- /dev/null
+++ b/22716-h/images/118.png
diff --git a/22716-h/images/119.png b/22716-h/images/119.png
new file mode 100644
index 0000000..116b254
--- /dev/null
+++ b/22716-h/images/119.png
diff --git a/22716-h/images/12.png b/22716-h/images/12.png
new file mode 100644
index 0000000..a9c577d
--- /dev/null
+++ b/22716-h/images/12.png
diff --git a/22716-h/images/120.png b/22716-h/images/120.png
new file mode 100644
index 0000000..f36ffcd
--- /dev/null
+++ b/22716-h/images/120.png
diff --git a/22716-h/images/121.png b/22716-h/images/121.png
new file mode 100644
index 0000000..dc85757
--- /dev/null
+++ b/22716-h/images/121.png
diff --git a/22716-h/images/122.png b/22716-h/images/122.png
new file mode 100644
index 0000000..c385c77
--- /dev/null
+++ b/22716-h/images/122.png
diff --git a/22716-h/images/123.png b/22716-h/images/123.png
new file mode 100644
index 0000000..0c65067
--- /dev/null
+++ b/22716-h/images/123.png
diff --git a/22716-h/images/124.png b/22716-h/images/124.png
new file mode 100644
index 0000000..baa9131
--- /dev/null
+++ b/22716-h/images/124.png
diff --git a/22716-h/images/125.png b/22716-h/images/125.png
new file mode 100644
index 0000000..5d1be34
--- /dev/null
+++ b/22716-h/images/125.png
diff --git a/22716-h/images/126.png b/22716-h/images/126.png
new file mode 100644
index 0000000..9ebbab4
--- /dev/null
+++ b/22716-h/images/126.png
diff --git a/22716-h/images/127.png b/22716-h/images/127.png
new file mode 100644
index 0000000..2217ba4
--- /dev/null
+++ b/22716-h/images/127.png
diff --git a/22716-h/images/128.png b/22716-h/images/128.png
new file mode 100644
index 0000000..afea097
--- /dev/null
+++ b/22716-h/images/128.png
diff --git a/22716-h/images/129.png b/22716-h/images/129.png
new file mode 100644
index 0000000..4ffaff6
--- /dev/null
+++ b/22716-h/images/129.png
diff --git a/22716-h/images/13.png b/22716-h/images/13.png
new file mode 100644
index 0000000..eb36305
--- /dev/null
+++ b/22716-h/images/13.png
diff --git a/22716-h/images/130.png b/22716-h/images/130.png
new file mode 100644
index 0000000..ef755a3
--- /dev/null
+++ b/22716-h/images/130.png
diff --git a/22716-h/images/131.png b/22716-h/images/131.png
new file mode 100644
index 0000000..38a4bdf
--- /dev/null
+++ b/22716-h/images/131.png
diff --git a/22716-h/images/132.png b/22716-h/images/132.png
new file mode 100644
index 0000000..c37a43e
--- /dev/null
+++ b/22716-h/images/132.png
diff --git a/22716-h/images/133.png b/22716-h/images/133.png
new file mode 100644
index 0000000..a2e090e
--- /dev/null
+++ b/22716-h/images/133.png
diff --git a/22716-h/images/134.png b/22716-h/images/134.png
new file mode 100644
index 0000000..52d24d9
--- /dev/null
+++ b/22716-h/images/134.png
diff --git a/22716-h/images/135.png b/22716-h/images/135.png
new file mode 100644
index 0000000..b5b54a0
--- /dev/null
+++ b/22716-h/images/135.png
diff --git a/22716-h/images/136.png b/22716-h/images/136.png
new file mode 100644
index 0000000..6532a59
--- /dev/null
+++ b/22716-h/images/136.png
diff --git a/22716-h/images/137.png b/22716-h/images/137.png
new file mode 100644
index 0000000..ec7eafc
--- /dev/null
+++ b/22716-h/images/137.png
diff --git a/22716-h/images/138.png b/22716-h/images/138.png
new file mode 100644
index 0000000..40832c1
--- /dev/null
+++ b/22716-h/images/138.png
diff --git a/22716-h/images/139.png b/22716-h/images/139.png
new file mode 100644
index 0000000..9b86714
--- /dev/null
+++ b/22716-h/images/139.png
diff --git a/22716-h/images/14.png b/22716-h/images/14.png
new file mode 100644
index 0000000..29300a8
--- /dev/null
+++ b/22716-h/images/14.png
diff --git a/22716-h/images/140.png b/22716-h/images/140.png
new file mode 100644
index 0000000..a181eb5
--- /dev/null
+++ b/22716-h/images/140.png
diff --git a/22716-h/images/141.png b/22716-h/images/141.png
new file mode 100644
index 0000000..df465a4
--- /dev/null
+++ b/22716-h/images/141.png
diff --git a/22716-h/images/142.png b/22716-h/images/142.png
new file mode 100644
index 0000000..b1e301e
--- /dev/null
+++ b/22716-h/images/142.png
diff --git a/22716-h/images/143.png b/22716-h/images/143.png
new file mode 100644
index 0000000..9593153
--- /dev/null
+++ b/22716-h/images/143.png
diff --git a/22716-h/images/144.png b/22716-h/images/144.png
new file mode 100644
index 0000000..6806f05
--- /dev/null
+++ b/22716-h/images/144.png
diff --git a/22716-h/images/145.png b/22716-h/images/145.png
new file mode 100644
index 0000000..c1ae258
--- /dev/null
+++ b/22716-h/images/145.png
diff --git a/22716-h/images/146.png b/22716-h/images/146.png
new file mode 100644
index 0000000..74e7038
--- /dev/null
+++ b/22716-h/images/146.png
diff --git a/22716-h/images/147.png b/22716-h/images/147.png
new file mode 100644
index 0000000..6aa79f7
--- /dev/null
+++ b/22716-h/images/147.png
diff --git a/22716-h/images/148.png b/22716-h/images/148.png
new file mode 100644
index 0000000..ffbd11e
--- /dev/null
+++ b/22716-h/images/148.png
diff --git a/22716-h/images/149.png b/22716-h/images/149.png
new file mode 100644
index 0000000..42d5be6
--- /dev/null
+++ b/22716-h/images/149.png
diff --git a/22716-h/images/15.png b/22716-h/images/15.png
new file mode 100644
index 0000000..2f7bf56
--- /dev/null
+++ b/22716-h/images/15.png
diff --git a/22716-h/images/150.png b/22716-h/images/150.png
new file mode 100644
index 0000000..89909f2
--- /dev/null
+++ b/22716-h/images/150.png
diff --git a/22716-h/images/151.png b/22716-h/images/151.png
new file mode 100644
index 0000000..112283c
--- /dev/null
+++ b/22716-h/images/151.png
diff --git a/22716-h/images/152.png b/22716-h/images/152.png
new file mode 100644
index 0000000..7fefb87
--- /dev/null
+++ b/22716-h/images/152.png
diff --git a/22716-h/images/153.png b/22716-h/images/153.png
new file mode 100644
index 0000000..91f4a4f
--- /dev/null
+++ b/22716-h/images/153.png
diff --git a/22716-h/images/154.png b/22716-h/images/154.png
new file mode 100644
index 0000000..a72cbaf
--- /dev/null
+++ b/22716-h/images/154.png
diff --git a/22716-h/images/155.png b/22716-h/images/155.png
new file mode 100644
index 0000000..1f8d75b
--- /dev/null
+++ b/22716-h/images/155.png
diff --git a/22716-h/images/156.png b/22716-h/images/156.png
new file mode 100644
index 0000000..98a2af6
--- /dev/null
+++ b/22716-h/images/156.png
diff --git a/22716-h/images/157.png b/22716-h/images/157.png
new file mode 100644
index 0000000..eff42e1
--- /dev/null
+++ b/22716-h/images/157.png
diff --git a/22716-h/images/158.png b/22716-h/images/158.png
new file mode 100644
index 0000000..feb34d6
--- /dev/null
+++ b/22716-h/images/158.png
diff --git a/22716-h/images/159.png b/22716-h/images/159.png
new file mode 100644
index 0000000..b332588
--- /dev/null
+++ b/22716-h/images/159.png
diff --git a/22716-h/images/16.png b/22716-h/images/16.png
new file mode 100644
index 0000000..1a4ee1a
--- /dev/null
+++ b/22716-h/images/16.png
diff --git a/22716-h/images/160.png b/22716-h/images/160.png
new file mode 100644
index 0000000..559cd86
--- /dev/null
+++ b/22716-h/images/160.png
diff --git a/22716-h/images/161.png b/22716-h/images/161.png
new file mode 100644
index 0000000..de1962c
--- /dev/null
+++ b/22716-h/images/161.png
diff --git a/22716-h/images/162.png b/22716-h/images/162.png
new file mode 100644
index 0000000..5aad9e9
--- /dev/null
+++ b/22716-h/images/162.png
diff --git a/22716-h/images/163.png b/22716-h/images/163.png
new file mode 100644
index 0000000..a767d0a
--- /dev/null
+++ b/22716-h/images/163.png
diff --git a/22716-h/images/164.png b/22716-h/images/164.png
new file mode 100644
index 0000000..2d2bf27
--- /dev/null
+++ b/22716-h/images/164.png
diff --git a/22716-h/images/165.png b/22716-h/images/165.png
new file mode 100644
index 0000000..7460a73
--- /dev/null
+++ b/22716-h/images/165.png
diff --git a/22716-h/images/166.png b/22716-h/images/166.png
new file mode 100644
index 0000000..cba0bdd
--- /dev/null
+++ b/22716-h/images/166.png
diff --git a/22716-h/images/167.png b/22716-h/images/167.png
new file mode 100644
index 0000000..1d17dc1
--- /dev/null
+++ b/22716-h/images/167.png
diff --git a/22716-h/images/168.png b/22716-h/images/168.png
new file mode 100644
index 0000000..9dab390
--- /dev/null
+++ b/22716-h/images/168.png
diff --git a/22716-h/images/169.png b/22716-h/images/169.png
new file mode 100644
index 0000000..be2682c
--- /dev/null
+++ b/22716-h/images/169.png
diff --git a/22716-h/images/17.png b/22716-h/images/17.png
new file mode 100644
index 0000000..c3f5648
--- /dev/null
+++ b/22716-h/images/17.png
diff --git a/22716-h/images/170.png b/22716-h/images/170.png
new file mode 100644
index 0000000..fa5346e
--- /dev/null
+++ b/22716-h/images/170.png
diff --git a/22716-h/images/171.png b/22716-h/images/171.png
new file mode 100644
index 0000000..5977c8a
--- /dev/null
+++ b/22716-h/images/171.png
diff --git a/22716-h/images/172.png b/22716-h/images/172.png
new file mode 100644
index 0000000..936eb8b
--- /dev/null
+++ b/22716-h/images/172.png
diff --git a/22716-h/images/173.png b/22716-h/images/173.png
new file mode 100644
index 0000000..d859758
--- /dev/null
+++ b/22716-h/images/173.png
diff --git a/22716-h/images/174.png b/22716-h/images/174.png
new file mode 100644
index 0000000..36681c7
--- /dev/null
+++ b/22716-h/images/174.png
diff --git a/22716-h/images/175.png b/22716-h/images/175.png
new file mode 100644
index 0000000..aef5570
--- /dev/null
+++ b/22716-h/images/175.png
diff --git a/22716-h/images/176.png b/22716-h/images/176.png
new file mode 100644
index 0000000..0977116
--- /dev/null
+++ b/22716-h/images/176.png
diff --git a/22716-h/images/177.png b/22716-h/images/177.png
new file mode 100644
index 0000000..ba5cae1
--- /dev/null
+++ b/22716-h/images/177.png
diff --git a/22716-h/images/178.png b/22716-h/images/178.png
new file mode 100644
index 0000000..9674b72
--- /dev/null
+++ b/22716-h/images/178.png
diff --git a/22716-h/images/179.png b/22716-h/images/179.png
new file mode 100644
index 0000000..05aaf06
--- /dev/null
+++ b/22716-h/images/179.png
diff --git a/22716-h/images/18.png b/22716-h/images/18.png
new file mode 100644
index 0000000..2002090
--- /dev/null
+++ b/22716-h/images/18.png
diff --git a/22716-h/images/180.png b/22716-h/images/180.png
new file mode 100644
index 0000000..2c93738
--- /dev/null
+++ b/22716-h/images/180.png
diff --git a/22716-h/images/181.png b/22716-h/images/181.png
new file mode 100644
index 0000000..5db4889
--- /dev/null
+++ b/22716-h/images/181.png
diff --git a/22716-h/images/182.png b/22716-h/images/182.png
new file mode 100644
index 0000000..e1fb38f
--- /dev/null
+++ b/22716-h/images/182.png
diff --git a/22716-h/images/183.png b/22716-h/images/183.png
new file mode 100644
index 0000000..850f482
--- /dev/null
+++ b/22716-h/images/183.png
diff --git a/22716-h/images/184.png b/22716-h/images/184.png
new file mode 100644
index 0000000..1e84df7
--- /dev/null
+++ b/22716-h/images/184.png
diff --git a/22716-h/images/185.png b/22716-h/images/185.png
new file mode 100644
index 0000000..cdd8203
--- /dev/null
+++ b/22716-h/images/185.png
diff --git a/22716-h/images/186.png b/22716-h/images/186.png
new file mode 100644
index 0000000..868094f
--- /dev/null
+++ b/22716-h/images/186.png
diff --git a/22716-h/images/187.png b/22716-h/images/187.png
new file mode 100644
index 0000000..718e3a9
--- /dev/null
+++ b/22716-h/images/187.png
diff --git a/22716-h/images/188.png b/22716-h/images/188.png
new file mode 100644
index 0000000..9a466e5
--- /dev/null
+++ b/22716-h/images/188.png
diff --git a/22716-h/images/189.png b/22716-h/images/189.png
new file mode 100644
index 0000000..e2909b8
--- /dev/null
+++ b/22716-h/images/189.png
diff --git a/22716-h/images/19.png b/22716-h/images/19.png
new file mode 100644
index 0000000..7f31a94
--- /dev/null
+++ b/22716-h/images/19.png
diff --git a/22716-h/images/190.png b/22716-h/images/190.png
new file mode 100644
index 0000000..872d0ba
--- /dev/null
+++ b/22716-h/images/190.png
diff --git a/22716-h/images/191.png b/22716-h/images/191.png
new file mode 100644
index 0000000..65b3ce5
--- /dev/null
+++ b/22716-h/images/191.png
diff --git a/22716-h/images/192.png b/22716-h/images/192.png
new file mode 100644
index 0000000..ce29828
--- /dev/null
+++ b/22716-h/images/192.png
diff --git a/22716-h/images/193.png b/22716-h/images/193.png
new file mode 100644
index 0000000..36ec388
--- /dev/null
+++ b/22716-h/images/193.png
diff --git a/22716-h/images/194.png b/22716-h/images/194.png
new file mode 100644
index 0000000..cc5cd5e
--- /dev/null
+++ b/22716-h/images/194.png
diff --git a/22716-h/images/195.png b/22716-h/images/195.png
new file mode 100644
index 0000000..0d0a837
--- /dev/null
+++ b/22716-h/images/195.png
diff --git a/22716-h/images/196.png b/22716-h/images/196.png
new file mode 100644
index 0000000..b8a72ab
--- /dev/null
+++ b/22716-h/images/196.png
diff --git a/22716-h/images/197.png b/22716-h/images/197.png
new file mode 100644
index 0000000..c4fd993
--- /dev/null
+++ b/22716-h/images/197.png
diff --git a/22716-h/images/198.png b/22716-h/images/198.png
new file mode 100644
index 0000000..f851bb2
--- /dev/null
+++ b/22716-h/images/198.png
diff --git a/22716-h/images/199.png b/22716-h/images/199.png
new file mode 100644
index 0000000..578a608
--- /dev/null
+++ b/22716-h/images/199.png
diff --git a/22716-h/images/2.png b/22716-h/images/2.png
new file mode 100644
index 0000000..f779a40
--- /dev/null
+++ b/22716-h/images/2.png
diff --git a/22716-h/images/20.png b/22716-h/images/20.png
new file mode 100644
index 0000000..8333df6
--- /dev/null
+++ b/22716-h/images/20.png
diff --git a/22716-h/images/200.png b/22716-h/images/200.png
new file mode 100644
index 0000000..ddea399
--- /dev/null
+++ b/22716-h/images/200.png
diff --git a/22716-h/images/201.png b/22716-h/images/201.png
new file mode 100644
index 0000000..6cd169a
--- /dev/null
+++ b/22716-h/images/201.png
diff --git a/22716-h/images/202.png b/22716-h/images/202.png
new file mode 100644
index 0000000..afc10e7
--- /dev/null
+++ b/22716-h/images/202.png
diff --git a/22716-h/images/203.png b/22716-h/images/203.png
new file mode 100644
index 0000000..b4c2dd8
--- /dev/null
+++ b/22716-h/images/203.png
diff --git a/22716-h/images/204.png b/22716-h/images/204.png
new file mode 100644
index 0000000..58af623
--- /dev/null
+++ b/22716-h/images/204.png
diff --git a/22716-h/images/205.png b/22716-h/images/205.png
new file mode 100644
index 0000000..8851b59
--- /dev/null
+++ b/22716-h/images/205.png
diff --git a/22716-h/images/206.png b/22716-h/images/206.png
new file mode 100644
index 0000000..754c51d
--- /dev/null
+++ b/22716-h/images/206.png
diff --git a/22716-h/images/207.png b/22716-h/images/207.png
new file mode 100644
index 0000000..f19a123
--- /dev/null
+++ b/22716-h/images/207.png
diff --git a/22716-h/images/208.png b/22716-h/images/208.png
new file mode 100644
index 0000000..b2b3691
--- /dev/null
+++ b/22716-h/images/208.png
diff --git a/22716-h/images/209.png b/22716-h/images/209.png
new file mode 100644
index 0000000..d8fe9fa
--- /dev/null
+++ b/22716-h/images/209.png
diff --git a/22716-h/images/21.png b/22716-h/images/21.png
new file mode 100644
index 0000000..1884c27
--- /dev/null
+++ b/22716-h/images/21.png
diff --git a/22716-h/images/210.png b/22716-h/images/210.png
new file mode 100644
index 0000000..d031860
--- /dev/null
+++ b/22716-h/images/210.png
diff --git a/22716-h/images/211.png b/22716-h/images/211.png
new file mode 100644
index 0000000..ff5bd3b
--- /dev/null
+++ b/22716-h/images/211.png
diff --git a/22716-h/images/212.png b/22716-h/images/212.png
new file mode 100644
index 0000000..7e83eb4
--- /dev/null
+++ b/22716-h/images/212.png
diff --git a/22716-h/images/213.png b/22716-h/images/213.png
new file mode 100644
index 0000000..bbb4318
--- /dev/null
+++ b/22716-h/images/213.png
diff --git a/22716-h/images/214.png b/22716-h/images/214.png
new file mode 100644
index 0000000..42e86e2
--- /dev/null
+++ b/22716-h/images/214.png
diff --git a/22716-h/images/215.png b/22716-h/images/215.png
new file mode 100644
index 0000000..249f7f4
--- /dev/null
+++ b/22716-h/images/215.png
diff --git a/22716-h/images/216.png b/22716-h/images/216.png
new file mode 100644
index 0000000..7bb7bc4
--- /dev/null
+++ b/22716-h/images/216.png
diff --git a/22716-h/images/217.png b/22716-h/images/217.png
new file mode 100644
index 0000000..f586074
--- /dev/null
+++ b/22716-h/images/217.png
diff --git a/22716-h/images/218.png b/22716-h/images/218.png
new file mode 100644
index 0000000..2812c42
--- /dev/null
+++ b/22716-h/images/218.png
diff --git a/22716-h/images/219.png b/22716-h/images/219.png
new file mode 100644
index 0000000..9299795
--- /dev/null
+++ b/22716-h/images/219.png
diff --git a/22716-h/images/22.png b/22716-h/images/22.png
new file mode 100644
index 0000000..ac56d2c
--- /dev/null
+++ b/22716-h/images/22.png
diff --git a/22716-h/images/220.png b/22716-h/images/220.png
new file mode 100644
index 0000000..8ab214b
--- /dev/null
+++ b/22716-h/images/220.png
diff --git a/22716-h/images/221.png b/22716-h/images/221.png
new file mode 100644
index 0000000..d71e45f
--- /dev/null
+++ b/22716-h/images/221.png
diff --git a/22716-h/images/222.png b/22716-h/images/222.png
new file mode 100644
index 0000000..6c96eb9
--- /dev/null
+++ b/22716-h/images/222.png
diff --git a/22716-h/images/223.png b/22716-h/images/223.png
new file mode 100644
index 0000000..1b1599e
--- /dev/null
+++ b/22716-h/images/223.png
diff --git a/22716-h/images/224.png b/22716-h/images/224.png
new file mode 100644
index 0000000..fb7b5e3
--- /dev/null
+++ b/22716-h/images/224.png
diff --git a/22716-h/images/225.png b/22716-h/images/225.png
new file mode 100644
index 0000000..2b76127
--- /dev/null
+++ b/22716-h/images/225.png
diff --git a/22716-h/images/226.png b/22716-h/images/226.png
new file mode 100644
index 0000000..5659234
--- /dev/null
+++ b/22716-h/images/226.png
diff --git a/22716-h/images/227.png b/22716-h/images/227.png
new file mode 100644
index 0000000..25fb4dc
--- /dev/null
+++ b/22716-h/images/227.png
diff --git a/22716-h/images/228.png b/22716-h/images/228.png
new file mode 100644
index 0000000..7a4cb65
--- /dev/null
+++ b/22716-h/images/228.png
diff --git a/22716-h/images/229.png b/22716-h/images/229.png
new file mode 100644
index 0000000..858ac28
--- /dev/null
+++ b/22716-h/images/229.png
diff --git a/22716-h/images/23.png b/22716-h/images/23.png
new file mode 100644
index 0000000..7c8eb3b
--- /dev/null
+++ b/22716-h/images/23.png
diff --git a/22716-h/images/230.png b/22716-h/images/230.png
new file mode 100644
index 0000000..b042891
--- /dev/null
+++ b/22716-h/images/230.png
diff --git a/22716-h/images/231.png b/22716-h/images/231.png
new file mode 100644
index 0000000..3ac9932
--- /dev/null
+++ b/22716-h/images/231.png
diff --git a/22716-h/images/232.png b/22716-h/images/232.png
new file mode 100644
index 0000000..eb2977b
--- /dev/null
+++ b/22716-h/images/232.png
diff --git a/22716-h/images/233.png b/22716-h/images/233.png
new file mode 100644
index 0000000..6063a10
--- /dev/null
+++ b/22716-h/images/233.png
diff --git a/22716-h/images/234.png b/22716-h/images/234.png
new file mode 100644
index 0000000..b8fb5ca
--- /dev/null
+++ b/22716-h/images/234.png
diff --git a/22716-h/images/235.png b/22716-h/images/235.png
new file mode 100644
index 0000000..e7a70d2
--- /dev/null
+++ b/22716-h/images/235.png
diff --git a/22716-h/images/236.png b/22716-h/images/236.png
new file mode 100644
index 0000000..670cb9d
--- /dev/null
+++ b/22716-h/images/236.png
diff --git a/22716-h/images/237.png b/22716-h/images/237.png
new file mode 100644
index 0000000..3fe1b67
--- /dev/null
+++ b/22716-h/images/237.png
diff --git a/22716-h/images/238.png b/22716-h/images/238.png
new file mode 100644
index 0000000..55ca7df
--- /dev/null
+++ b/22716-h/images/238.png
diff --git a/22716-h/images/239.png b/22716-h/images/239.png
new file mode 100644
index 0000000..46d228f
--- /dev/null
+++ b/22716-h/images/239.png
diff --git a/22716-h/images/24.png b/22716-h/images/24.png
new file mode 100644
index 0000000..37c0408
--- /dev/null
+++ b/22716-h/images/24.png
diff --git a/22716-h/images/240.png b/22716-h/images/240.png
new file mode 100644
index 0000000..476b878
--- /dev/null
+++ b/22716-h/images/240.png
diff --git a/22716-h/images/241.png b/22716-h/images/241.png
new file mode 100644
index 0000000..3edcbef
--- /dev/null
+++ b/22716-h/images/241.png
diff --git a/22716-h/images/242.png b/22716-h/images/242.png
new file mode 100644
index 0000000..4265aff
--- /dev/null
+++ b/22716-h/images/242.png
diff --git a/22716-h/images/243.png b/22716-h/images/243.png
new file mode 100644
index 0000000..3e58206
--- /dev/null
+++ b/22716-h/images/243.png
diff --git a/22716-h/images/244.png b/22716-h/images/244.png
new file mode 100644
index 0000000..425deb9
--- /dev/null
+++ b/22716-h/images/244.png
diff --git a/22716-h/images/245.png b/22716-h/images/245.png
new file mode 100644
index 0000000..7e68ae0
--- /dev/null
+++ b/22716-h/images/245.png
diff --git a/22716-h/images/246.png b/22716-h/images/246.png
new file mode 100644
index 0000000..b0c97f3
--- /dev/null
+++ b/22716-h/images/246.png
diff --git a/22716-h/images/247.png b/22716-h/images/247.png
new file mode 100644
index 0000000..e93fad6
--- /dev/null
+++ b/22716-h/images/247.png
diff --git a/22716-h/images/248.png b/22716-h/images/248.png
new file mode 100644
index 0000000..8da3ca9
--- /dev/null
+++ b/22716-h/images/248.png
diff --git a/22716-h/images/249.png b/22716-h/images/249.png
new file mode 100644
index 0000000..b8715ad
--- /dev/null
+++ b/22716-h/images/249.png
diff --git a/22716-h/images/25.png b/22716-h/images/25.png
new file mode 100644
index 0000000..379a791
--- /dev/null
+++ b/22716-h/images/25.png
diff --git a/22716-h/images/250.png b/22716-h/images/250.png
new file mode 100644
index 0000000..2e68823
--- /dev/null
+++ b/22716-h/images/250.png
diff --git a/22716-h/images/251.png b/22716-h/images/251.png
new file mode 100644
index 0000000..421f8b1
--- /dev/null
+++ b/22716-h/images/251.png
diff --git a/22716-h/images/252.png b/22716-h/images/252.png
new file mode 100644
index 0000000..fd8904f
--- /dev/null
+++ b/22716-h/images/252.png
diff --git a/22716-h/images/253.png b/22716-h/images/253.png
new file mode 100644
index 0000000..a84431a
--- /dev/null
+++ b/22716-h/images/253.png
diff --git a/22716-h/images/254.png b/22716-h/images/254.png
new file mode 100644
index 0000000..0b2f9a9
--- /dev/null
+++ b/22716-h/images/254.png
diff --git a/22716-h/images/255.png b/22716-h/images/255.png
new file mode 100644
index 0000000..b94151d
--- /dev/null
+++ b/22716-h/images/255.png
diff --git a/22716-h/images/256.png b/22716-h/images/256.png
new file mode 100644
index 0000000..5d0a437
--- /dev/null
+++ b/22716-h/images/256.png
diff --git a/22716-h/images/257.png b/22716-h/images/257.png
new file mode 100644
index 0000000..9959783
--- /dev/null
+++ b/22716-h/images/257.png
diff --git a/22716-h/images/258.png b/22716-h/images/258.png
new file mode 100644
index 0000000..d2bcf1d
--- /dev/null
+++ b/22716-h/images/258.png
diff --git a/22716-h/images/259.png b/22716-h/images/259.png
new file mode 100644
index 0000000..ff570b0
--- /dev/null
+++ b/22716-h/images/259.png
diff --git a/22716-h/images/26.png b/22716-h/images/26.png
new file mode 100644
index 0000000..73ae476
--- /dev/null
+++ b/22716-h/images/26.png
diff --git a/22716-h/images/260.png b/22716-h/images/260.png
new file mode 100644
index 0000000..cbd6cb3
--- /dev/null
+++ b/22716-h/images/260.png
diff --git a/22716-h/images/261.png b/22716-h/images/261.png
new file mode 100644
index 0000000..8b3e0fe
--- /dev/null
+++ b/22716-h/images/261.png
diff --git a/22716-h/images/262.png b/22716-h/images/262.png
new file mode 100644
index 0000000..c6f9198
--- /dev/null
+++ b/22716-h/images/262.png
diff --git a/22716-h/images/263.png b/22716-h/images/263.png
new file mode 100644
index 0000000..b93d26a
--- /dev/null
+++ b/22716-h/images/263.png
diff --git a/22716-h/images/264.png b/22716-h/images/264.png
new file mode 100644
index 0000000..46f2e61
--- /dev/null
+++ b/22716-h/images/264.png
diff --git a/22716-h/images/265.png b/22716-h/images/265.png
new file mode 100644
index 0000000..ff32f4f
--- /dev/null
+++ b/22716-h/images/265.png
diff --git a/22716-h/images/266.png b/22716-h/images/266.png
new file mode 100644
index 0000000..0e68a97
--- /dev/null
+++ b/22716-h/images/266.png
diff --git a/22716-h/images/267.png b/22716-h/images/267.png
new file mode 100644
index 0000000..f460b8e
--- /dev/null
+++ b/22716-h/images/267.png
diff --git a/22716-h/images/268.png b/22716-h/images/268.png
new file mode 100644
index 0000000..3dfa58a
--- /dev/null
+++ b/22716-h/images/268.png
diff --git a/22716-h/images/269.png b/22716-h/images/269.png
new file mode 100644
index 0000000..0100d8e
--- /dev/null
+++ b/22716-h/images/269.png
diff --git a/22716-h/images/27.png b/22716-h/images/27.png
new file mode 100644
index 0000000..6931a69
--- /dev/null
+++ b/22716-h/images/27.png
diff --git a/22716-h/images/270.png b/22716-h/images/270.png
new file mode 100644
index 0000000..8fb1b13
--- /dev/null
+++ b/22716-h/images/270.png
diff --git a/22716-h/images/271.png b/22716-h/images/271.png
new file mode 100644
index 0000000..e5355c4
--- /dev/null
+++ b/22716-h/images/271.png
diff --git a/22716-h/images/272.png b/22716-h/images/272.png
new file mode 100644
index 0000000..b74b1af
--- /dev/null
+++ b/22716-h/images/272.png
diff --git a/22716-h/images/273.png b/22716-h/images/273.png
new file mode 100644
index 0000000..10c2210
--- /dev/null
+++ b/22716-h/images/273.png
diff --git a/22716-h/images/274.png b/22716-h/images/274.png
new file mode 100644
index 0000000..0c71513
--- /dev/null
+++ b/22716-h/images/274.png
diff --git a/22716-h/images/275.png b/22716-h/images/275.png
new file mode 100644
index 0000000..b48a218
--- /dev/null
+++ b/22716-h/images/275.png
diff --git a/22716-h/images/28.png b/22716-h/images/28.png
new file mode 100644
index 0000000..029504b
--- /dev/null
+++ b/22716-h/images/28.png
diff --git a/22716-h/images/29.png b/22716-h/images/29.png
new file mode 100644
index 0000000..51bdab4
--- /dev/null
+++ b/22716-h/images/29.png
diff --git a/22716-h/images/3.png b/22716-h/images/3.png
new file mode 100644
index 0000000..2979c1f
--- /dev/null
+++ b/22716-h/images/3.png
diff --git a/22716-h/images/30.png b/22716-h/images/30.png
new file mode 100644
index 0000000..4beed29
--- /dev/null
+++ b/22716-h/images/30.png
diff --git a/22716-h/images/31.png b/22716-h/images/31.png
new file mode 100644
index 0000000..192b01a
--- /dev/null
+++ b/22716-h/images/31.png
diff --git a/22716-h/images/32.png b/22716-h/images/32.png
new file mode 100644
index 0000000..6dc2b42
--- /dev/null
+++ b/22716-h/images/32.png
diff --git a/22716-h/images/33.png b/22716-h/images/33.png
new file mode 100644
index 0000000..5518c76
--- /dev/null
+++ b/22716-h/images/33.png
diff --git a/22716-h/images/34.png b/22716-h/images/34.png
new file mode 100644
index 0000000..8911c3f
--- /dev/null
+++ b/22716-h/images/34.png
diff --git a/22716-h/images/35.png b/22716-h/images/35.png
new file mode 100644
index 0000000..3452239
--- /dev/null
+++ b/22716-h/images/35.png
diff --git a/22716-h/images/36.png b/22716-h/images/36.png
new file mode 100644
index 0000000..ce52dc4
--- /dev/null
+++ b/22716-h/images/36.png
diff --git a/22716-h/images/37.png b/22716-h/images/37.png
new file mode 100644
index 0000000..2dfdac4
--- /dev/null
+++ b/22716-h/images/37.png
diff --git a/22716-h/images/38.png b/22716-h/images/38.png
new file mode 100644
index 0000000..f3956f3
--- /dev/null
+++ b/22716-h/images/38.png
diff --git a/22716-h/images/39.png b/22716-h/images/39.png
new file mode 100644
index 0000000..ed4bdd2
--- /dev/null
+++ b/22716-h/images/39.png
diff --git a/22716-h/images/4.png b/22716-h/images/4.png
new file mode 100644
index 0000000..8462e09
--- /dev/null
+++ b/22716-h/images/4.png
diff --git a/22716-h/images/40.png b/22716-h/images/40.png
new file mode 100644
index 0000000..baaf766
--- /dev/null
+++ b/22716-h/images/40.png
diff --git a/22716-h/images/41.png b/22716-h/images/41.png
new file mode 100644
index 0000000..0dec7c2
--- /dev/null
+++ b/22716-h/images/41.png
diff --git a/22716-h/images/42.png b/22716-h/images/42.png
new file mode 100644
index 0000000..36c4f73
--- /dev/null
+++ b/22716-h/images/42.png
diff --git a/22716-h/images/43.png b/22716-h/images/43.png
new file mode 100644
index 0000000..d367190
--- /dev/null
+++ b/22716-h/images/43.png
diff --git a/22716-h/images/44.png b/22716-h/images/44.png
new file mode 100644
index 0000000..8e679ed
--- /dev/null
+++ b/22716-h/images/44.png
diff --git a/22716-h/images/45.png b/22716-h/images/45.png
new file mode 100644
index 0000000..c8377b3
--- /dev/null
+++ b/22716-h/images/45.png
diff --git a/22716-h/images/46.png b/22716-h/images/46.png
new file mode 100644
index 0000000..4da96bc
--- /dev/null
+++ b/22716-h/images/46.png
diff --git a/22716-h/images/47.png b/22716-h/images/47.png
new file mode 100644
index 0000000..701a910
--- /dev/null
+++ b/22716-h/images/47.png
diff --git a/22716-h/images/48.png b/22716-h/images/48.png
new file mode 100644
index 0000000..a2e5da5
--- /dev/null
+++ b/22716-h/images/48.png
diff --git a/22716-h/images/49.png b/22716-h/images/49.png
new file mode 100644
index 0000000..5e077b2
--- /dev/null
+++ b/22716-h/images/49.png
diff --git a/22716-h/images/5.png b/22716-h/images/5.png
new file mode 100644
index 0000000..f5534b5
--- /dev/null
+++ b/22716-h/images/5.png
diff --git a/22716-h/images/50.png b/22716-h/images/50.png
new file mode 100644
index 0000000..9528e2d
--- /dev/null
+++ b/22716-h/images/50.png
diff --git a/22716-h/images/51.png b/22716-h/images/51.png
new file mode 100644
index 0000000..0a90192
--- /dev/null
+++ b/22716-h/images/51.png
diff --git a/22716-h/images/52.png b/22716-h/images/52.png
new file mode 100644
index 0000000..58d0c60
--- /dev/null
+++ b/22716-h/images/52.png
diff --git a/22716-h/images/53.png b/22716-h/images/53.png
new file mode 100644
index 0000000..e49f955
--- /dev/null
+++ b/22716-h/images/53.png
diff --git a/22716-h/images/54.png b/22716-h/images/54.png
new file mode 100644
index 0000000..ff9a95d
--- /dev/null
+++ b/22716-h/images/54.png
diff --git a/22716-h/images/55.png b/22716-h/images/55.png
new file mode 100644
index 0000000..dce4340
--- /dev/null
+++ b/22716-h/images/55.png
diff --git a/22716-h/images/56.png b/22716-h/images/56.png
new file mode 100644
index 0000000..5ad43dd
--- /dev/null
+++ b/22716-h/images/56.png
diff --git a/22716-h/images/57.png b/22716-h/images/57.png
new file mode 100644
index 0000000..9f130e2
--- /dev/null
+++ b/22716-h/images/57.png
diff --git a/22716-h/images/58.png b/22716-h/images/58.png
new file mode 100644
index 0000000..2d3f2b9
--- /dev/null
+++ b/22716-h/images/58.png
diff --git a/22716-h/images/59.png b/22716-h/images/59.png
new file mode 100644
index 0000000..965da6a
--- /dev/null
+++ b/22716-h/images/59.png
diff --git a/22716-h/images/6.png b/22716-h/images/6.png
new file mode 100644
index 0000000..192846c
--- /dev/null
+++ b/22716-h/images/6.png
diff --git a/22716-h/images/60.png b/22716-h/images/60.png
new file mode 100644
index 0000000..79e6336
--- /dev/null
+++ b/22716-h/images/60.png
diff --git a/22716-h/images/61.png b/22716-h/images/61.png
new file mode 100644
index 0000000..d858bf9
--- /dev/null
+++ b/22716-h/images/61.png
diff --git a/22716-h/images/62.png b/22716-h/images/62.png
new file mode 100644
index 0000000..f80d985
--- /dev/null
+++ b/22716-h/images/62.png
diff --git a/22716-h/images/63.png b/22716-h/images/63.png
new file mode 100644
index 0000000..2b14677
--- /dev/null
+++ b/22716-h/images/63.png
diff --git a/22716-h/images/64.png b/22716-h/images/64.png
new file mode 100644
index 0000000..c7ad70f
--- /dev/null
+++ b/22716-h/images/64.png
diff --git a/22716-h/images/65.png b/22716-h/images/65.png
new file mode 100644
index 0000000..6072dec
--- /dev/null
+++ b/22716-h/images/65.png
diff --git a/22716-h/images/66.png b/22716-h/images/66.png
new file mode 100644
index 0000000..6fe9c57
--- /dev/null
+++ b/22716-h/images/66.png
diff --git a/22716-h/images/67.png b/22716-h/images/67.png
new file mode 100644
index 0000000..1b59f6a
--- /dev/null
+++ b/22716-h/images/67.png
diff --git a/22716-h/images/68.png b/22716-h/images/68.png
new file mode 100644
index 0000000..8262e3d
--- /dev/null
+++ b/22716-h/images/68.png
diff --git a/22716-h/images/69.png b/22716-h/images/69.png
new file mode 100644
index 0000000..d416419
--- /dev/null
+++ b/22716-h/images/69.png
diff --git a/22716-h/images/7.png b/22716-h/images/7.png
new file mode 100644
index 0000000..cc12f67
--- /dev/null
+++ b/22716-h/images/7.png
diff --git a/22716-h/images/70.png b/22716-h/images/70.png
new file mode 100644
index 0000000..b9a0fb8
--- /dev/null
+++ b/22716-h/images/70.png
diff --git a/22716-h/images/71.png b/22716-h/images/71.png
new file mode 100644
index 0000000..2c6ecb2
--- /dev/null
+++ b/22716-h/images/71.png
diff --git a/22716-h/images/72.png b/22716-h/images/72.png
new file mode 100644
index 0000000..b0ce477
--- /dev/null
+++ b/22716-h/images/72.png
diff --git a/22716-h/images/73.png b/22716-h/images/73.png
new file mode 100644
index 0000000..8ace75e
--- /dev/null
+++ b/22716-h/images/73.png
diff --git a/22716-h/images/74.png b/22716-h/images/74.png
new file mode 100644
index 0000000..d7f75a5
--- /dev/null
+++ b/22716-h/images/74.png
diff --git a/22716-h/images/75.png b/22716-h/images/75.png
new file mode 100644
index 0000000..84d2e4c
--- /dev/null
+++ b/22716-h/images/75.png
diff --git a/22716-h/images/76.png b/22716-h/images/76.png
new file mode 100644
index 0000000..22ff13c
--- /dev/null
+++ b/22716-h/images/76.png
diff --git a/22716-h/images/77.png b/22716-h/images/77.png
new file mode 100644
index 0000000..d629d59
--- /dev/null
+++ b/22716-h/images/77.png
diff --git a/22716-h/images/78.png b/22716-h/images/78.png
new file mode 100644
index 0000000..e455349
--- /dev/null
+++ b/22716-h/images/78.png
diff --git a/22716-h/images/79.png b/22716-h/images/79.png
new file mode 100644
index 0000000..ae1e376
--- /dev/null
+++ b/22716-h/images/79.png
diff --git a/22716-h/images/8.png b/22716-h/images/8.png
new file mode 100644
index 0000000..33683f3
--- /dev/null
+++ b/22716-h/images/8.png
diff --git a/22716-h/images/80.png b/22716-h/images/80.png
new file mode 100644
index 0000000..1533831
--- /dev/null
+++ b/22716-h/images/80.png
diff --git a/22716-h/images/81.png b/22716-h/images/81.png
new file mode 100644
index 0000000..6394af2
--- /dev/null
+++ b/22716-h/images/81.png
diff --git a/22716-h/images/82.png b/22716-h/images/82.png
new file mode 100644
index 0000000..e00ef60
--- /dev/null
+++ b/22716-h/images/82.png
diff --git a/22716-h/images/83.png b/22716-h/images/83.png
new file mode 100644
index 0000000..f4f158c
--- /dev/null
+++ b/22716-h/images/83.png
diff --git a/22716-h/images/84.png b/22716-h/images/84.png
new file mode 100644
index 0000000..f3c527a
--- /dev/null
+++ b/22716-h/images/84.png
diff --git a/22716-h/images/85.png b/22716-h/images/85.png
new file mode 100644
index 0000000..ed1dd31
--- /dev/null
+++ b/22716-h/images/85.png
diff --git a/22716-h/images/86.png b/22716-h/images/86.png
new file mode 100644
index 0000000..b0b2608
--- /dev/null
+++ b/22716-h/images/86.png
diff --git a/22716-h/images/87.png b/22716-h/images/87.png
new file mode 100644
index 0000000..72cd0a7
--- /dev/null
+++ b/22716-h/images/87.png
diff --git a/22716-h/images/88.png b/22716-h/images/88.png
new file mode 100644
index 0000000..4ebfb5b
--- /dev/null
+++ b/22716-h/images/88.png
diff --git a/22716-h/images/89.png b/22716-h/images/89.png
new file mode 100644
index 0000000..b1e8a50
--- /dev/null
+++ b/22716-h/images/89.png
diff --git a/22716-h/images/9.png b/22716-h/images/9.png
new file mode 100644
index 0000000..b34c2c7
--- /dev/null
+++ b/22716-h/images/9.png
diff --git a/22716-h/images/90.png b/22716-h/images/90.png
new file mode 100644
index 0000000..a446fcb
--- /dev/null
+++ b/22716-h/images/90.png
diff --git a/22716-h/images/91.png b/22716-h/images/91.png
new file mode 100644
index 0000000..8c2ce71
--- /dev/null
+++ b/22716-h/images/91.png
diff --git a/22716-h/images/92.png b/22716-h/images/92.png
new file mode 100644
index 0000000..47a7684
--- /dev/null
+++ b/22716-h/images/92.png
diff --git a/22716-h/images/93.png b/22716-h/images/93.png
new file mode 100644
index 0000000..f25bf53
--- /dev/null
+++ b/22716-h/images/93.png
diff --git a/22716-h/images/94.png b/22716-h/images/94.png
new file mode 100644
index 0000000..a079301
--- /dev/null
+++ b/22716-h/images/94.png
diff --git a/22716-h/images/95.png b/22716-h/images/95.png
new file mode 100644
index 0000000..9f1b1ca
--- /dev/null
+++ b/22716-h/images/95.png
diff --git a/22716-h/images/96.png b/22716-h/images/96.png
new file mode 100644
index 0000000..e46a73f
--- /dev/null
+++ b/22716-h/images/96.png
diff --git a/22716-h/images/97.png b/22716-h/images/97.png
new file mode 100644
index 0000000..d9ffc00
--- /dev/null
+++ b/22716-h/images/97.png
diff --git a/22716-h/images/98.png b/22716-h/images/98.png
new file mode 100644
index 0000000..de5a345
--- /dev/null
+++ b/22716-h/images/98.png
diff --git a/22716-h/images/99.png b/22716-h/images/99.png
new file mode 100644
index 0000000..cfa81ea
--- /dev/null
+++ b/22716-h/images/99.png
diff --git a/22716-h/images/i.png b/22716-h/images/i.png
new file mode 100644
index 0000000..f557d56
--- /dev/null
+++ b/22716-h/images/i.png
diff --git a/22716-h/images/ii.png b/22716-h/images/ii.png
new file mode 100644
index 0000000..0a52136
--- /dev/null
+++ b/22716-h/images/ii.png
diff --git a/22716-h/images/iii.png b/22716-h/images/iii.png
new file mode 100644
index 0000000..67c85c5
--- /dev/null
+++ b/22716-h/images/iii.png
diff --git a/22716-h/images/ill-01.jpg b/22716-h/images/ill-01.jpg
new file mode 100644
index 0000000..d8eb129
--- /dev/null
+++ b/22716-h/images/ill-01.jpg
diff --git a/22716-h/images/ill-01_th.jpg b/22716-h/images/ill-01_th.jpg
new file mode 100644
index 0000000..8d3ceb4
--- /dev/null
+++ b/22716-h/images/ill-01_th.jpg
diff --git a/22716-h/images/ill-02.jpg b/22716-h/images/ill-02.jpg
new file mode 100644
index 0000000..5dabaf9
--- /dev/null
+++ b/22716-h/images/ill-02.jpg
diff --git a/22716-h/images/ill-02_th.jpg b/22716-h/images/ill-02_th.jpg
new file mode 100644
index 0000000..9e3dc55
--- /dev/null
+++ b/22716-h/images/ill-02_th.jpg
diff --git a/22716-h/images/ill-03.jpg b/22716-h/images/ill-03.jpg
new file mode 100644
index 0000000..54d8471
--- /dev/null
+++ b/22716-h/images/ill-03.jpg
diff --git a/22716-h/images/ill-03_th.jpg b/22716-h/images/ill-03_th.jpg
new file mode 100644
index 0000000..94a42b3
--- /dev/null
+++ b/22716-h/images/ill-03_th.jpg
diff --git a/22716-h/images/ill-04.jpg b/22716-h/images/ill-04.jpg
new file mode 100644
index 0000000..463974f
--- /dev/null
+++ b/22716-h/images/ill-04.jpg
diff --git a/22716-h/images/ill-04_th.jpg b/22716-h/images/ill-04_th.jpg
new file mode 100644
index 0000000..e8546b3
--- /dev/null
+++ b/22716-h/images/ill-04_th.jpg
diff --git a/22716-h/images/ill-05.jpg b/22716-h/images/ill-05.jpg
new file mode 100644
index 0000000..3a0b8d3
--- /dev/null
+++ b/22716-h/images/ill-05.jpg
diff --git a/22716-h/images/ill-05_th.jpg b/22716-h/images/ill-05_th.jpg
new file mode 100644
index 0000000..b039cbc
--- /dev/null
+++ b/22716-h/images/ill-05_th.jpg
diff --git a/22716-h/images/ill-06.jpg b/22716-h/images/ill-06.jpg
new file mode 100644
index 0000000..f3cbf6f
--- /dev/null
+++ b/22716-h/images/ill-06.jpg
diff --git a/22716-h/images/ill-06_th.jpg b/22716-h/images/ill-06_th.jpg
new file mode 100644
index 0000000..b9f0538
--- /dev/null
+++ b/22716-h/images/ill-06_th.jpg
diff --git a/22716-h/images/ill-07.jpg b/22716-h/images/ill-07.jpg
new file mode 100644
index 0000000..f81931f
--- /dev/null
+++ b/22716-h/images/ill-07.jpg
diff --git a/22716-h/images/ill-07_th.jpg b/22716-h/images/ill-07_th.jpg
new file mode 100644
index 0000000..715eb4b
--- /dev/null
+++ b/22716-h/images/ill-07_th.jpg
diff --git a/22716-h/images/ill-08.jpg b/22716-h/images/ill-08.jpg
new file mode 100644
index 0000000..4c9e896
--- /dev/null
+++ b/22716-h/images/ill-08.jpg
diff --git a/22716-h/images/ill-08_th.jpg b/22716-h/images/ill-08_th.jpg
new file mode 100644
index 0000000..74ff6fd
--- /dev/null
+++ b/22716-h/images/ill-08_th.jpg
diff --git a/22716-h/images/ill-09.jpg b/22716-h/images/ill-09.jpg
new file mode 100644
index 0000000..7e4b908
--- /dev/null
+++ b/22716-h/images/ill-09.jpg
diff --git a/22716-h/images/ill-09_th.jpg b/22716-h/images/ill-09_th.jpg
new file mode 100644
index 0000000..f35320a
--- /dev/null
+++ b/22716-h/images/ill-09_th.jpg
diff --git a/22716-h/images/ill-10.jpg b/22716-h/images/ill-10.jpg
new file mode 100644
index 0000000..287e1e3
--- /dev/null
+++ b/22716-h/images/ill-10.jpg
diff --git a/22716-h/images/ill-10_th.jpg b/22716-h/images/ill-10_th.jpg
new file mode 100644
index 0000000..423fb85
--- /dev/null
+++ b/22716-h/images/ill-10_th.jpg
diff --git a/22716-h/images/ill-11.jpg b/22716-h/images/ill-11.jpg
new file mode 100644
index 0000000..39b4eb7
--- /dev/null
+++ b/22716-h/images/ill-11.jpg
diff --git a/22716-h/images/ill-11_th.jpg b/22716-h/images/ill-11_th.jpg
new file mode 100644
index 0000000..4e13df6
--- /dev/null
+++ b/22716-h/images/ill-11_th.jpg
diff --git a/22716-h/images/ill-12.jpg b/22716-h/images/ill-12.jpg
new file mode 100644
index 0000000..f72898e
--- /dev/null
+++ b/22716-h/images/ill-12.jpg
diff --git a/22716-h/images/ill-12_th.jpg b/22716-h/images/ill-12_th.jpg
new file mode 100644
index 0000000..96157ec
--- /dev/null
+++ b/22716-h/images/ill-12_th.jpg
diff --git a/22716-h/images/ill-13.jpg b/22716-h/images/ill-13.jpg
new file mode 100644
index 0000000..f579a44
--- /dev/null
+++ b/22716-h/images/ill-13.jpg
diff --git a/22716-h/images/ill-13_th.jpg b/22716-h/images/ill-13_th.jpg
new file mode 100644
index 0000000..952cfcc
--- /dev/null
+++ b/22716-h/images/ill-13_th.jpg
diff --git a/22716-h/images/ill-14.jpg b/22716-h/images/ill-14.jpg
new file mode 100644
index 0000000..01fc19f
--- /dev/null
+++ b/22716-h/images/ill-14.jpg
diff --git a/22716-h/images/ill-14_th.jpg b/22716-h/images/ill-14_th.jpg
new file mode 100644
index 0000000..4236ae4
--- /dev/null
+++ b/22716-h/images/ill-14_th.jpg
diff --git a/22716-h/images/ill-15.jpg b/22716-h/images/ill-15.jpg
new file mode 100644
index 0000000..69633d4
--- /dev/null
+++ b/22716-h/images/ill-15.jpg
diff --git a/22716-h/images/ill-15_th.jpg b/22716-h/images/ill-15_th.jpg
new file mode 100644
index 0000000..2cf3d62
--- /dev/null
+++ b/22716-h/images/ill-15_th.jpg
diff --git a/22716-h/images/ill-16.jpg b/22716-h/images/ill-16.jpg
new file mode 100644
index 0000000..ad0ac90
--- /dev/null
+++ b/22716-h/images/ill-16.jpg
diff --git a/22716-h/images/ill-16_th.jpg b/22716-h/images/ill-16_th.jpg
new file mode 100644
index 0000000..ccad7e9
--- /dev/null
+++ b/22716-h/images/ill-16_th.jpg
diff --git a/22716-h/images/ill-17.jpg b/22716-h/images/ill-17.jpg
new file mode 100644
index 0000000..990544f
--- /dev/null
+++ b/22716-h/images/ill-17.jpg
diff --git a/22716-h/images/ill-17_th.jpg b/22716-h/images/ill-17_th.jpg
new file mode 100644
index 0000000..9677fbe
--- /dev/null
+++ b/22716-h/images/ill-17_th.jpg
diff --git a/22716-h/images/ill-18.jpg b/22716-h/images/ill-18.jpg
new file mode 100644
index 0000000..f348da9
--- /dev/null
+++ b/22716-h/images/ill-18.jpg
diff --git a/22716-h/images/ill-18_th.jpg b/22716-h/images/ill-18_th.jpg
new file mode 100644
index 0000000..5fa6ccf
--- /dev/null
+++ b/22716-h/images/ill-18_th.jpg
diff --git a/22716-h/images/ill-19.jpg b/22716-h/images/ill-19.jpg
new file mode 100644
index 0000000..1e45afe
--- /dev/null
+++ b/22716-h/images/ill-19.jpg
diff --git a/22716-h/images/ill-19_th.jpg b/22716-h/images/ill-19_th.jpg
new file mode 100644
index 0000000..4509e41
--- /dev/null
+++ b/22716-h/images/ill-19_th.jpg
diff --git a/22716-h/images/ill-20.jpg b/22716-h/images/ill-20.jpg
new file mode 100644
index 0000000..67405cb
--- /dev/null
+++ b/22716-h/images/ill-20.jpg
diff --git a/22716-h/images/ill-20_th.jpg b/22716-h/images/ill-20_th.jpg
new file mode 100644
index 0000000..702e097
--- /dev/null
+++ b/22716-h/images/ill-20_th.jpg
diff --git a/22716-h/images/ill-21.jpg b/22716-h/images/ill-21.jpg
new file mode 100644
index 0000000..e4636db
--- /dev/null
+++ b/22716-h/images/ill-21.jpg
diff --git a/22716-h/images/ill-21_th.jpg b/22716-h/images/ill-21_th.jpg
new file mode 100644
index 0000000..0056cd5
--- /dev/null
+++ b/22716-h/images/ill-21_th.jpg
diff --git a/22716-h/images/ill-22.jpg b/22716-h/images/ill-22.jpg
new file mode 100644
index 0000000..b3d70c0
--- /dev/null
+++ b/22716-h/images/ill-22.jpg
diff --git a/22716-h/images/ill-22_th.jpg b/22716-h/images/ill-22_th.jpg
new file mode 100644
index 0000000..0bf225a
--- /dev/null
+++ b/22716-h/images/ill-22_th.jpg
diff --git a/22716-h/images/ill-23.jpg b/22716-h/images/ill-23.jpg
new file mode 100644
index 0000000..62871d0
--- /dev/null
+++ b/22716-h/images/ill-23.jpg
diff --git a/22716-h/images/ill-23_th.jpg b/22716-h/images/ill-23_th.jpg
new file mode 100644
index 0000000..96d218e
--- /dev/null
+++ b/22716-h/images/ill-23_th.jpg
diff --git a/22716-h/images/ill-24.jpg b/22716-h/images/ill-24.jpg
new file mode 100644
index 0000000..b017f3e
--- /dev/null
+++ b/22716-h/images/ill-24.jpg
diff --git a/22716-h/images/ill-24_th.jpg b/22716-h/images/ill-24_th.jpg
new file mode 100644
index 0000000..8f36a3a
--- /dev/null
+++ b/22716-h/images/ill-24_th.jpg
diff --git a/22716-h/images/ill-25.jpg b/22716-h/images/ill-25.jpg
new file mode 100644
index 0000000..0cec105
--- /dev/null
+++ b/22716-h/images/ill-25.jpg
diff --git a/22716-h/images/ill-25_th.jpg b/22716-h/images/ill-25_th.jpg
new file mode 100644
index 0000000..1c2c72b
--- /dev/null
+++ b/22716-h/images/ill-25_th.jpg
diff --git a/22716-h/images/iv.png b/22716-h/images/iv.png
new file mode 100644
index 0000000..a2e7905
--- /dev/null
+++ b/22716-h/images/iv.png
diff --git a/22716-h/images/ix.png b/22716-h/images/ix.png
new file mode 100644
index 0000000..5a13090
--- /dev/null
+++ b/22716-h/images/ix.png
diff --git a/22716-h/images/v.png b/22716-h/images/v.png
new file mode 100644
index 0000000..2dad431
--- /dev/null
+++ b/22716-h/images/v.png
diff --git a/22716-h/images/vi.png b/22716-h/images/vi.png
new file mode 100644
index 0000000..f6d8fb9
--- /dev/null
+++ b/22716-h/images/vi.png
diff --git a/22716-h/images/vii.png b/22716-h/images/vii.png
new file mode 100644
index 0000000..328d231
--- /dev/null
+++ b/22716-h/images/vii.png
diff --git a/22716-h/images/viii.png b/22716-h/images/viii.png
new file mode 100644
index 0000000..2b26edf
--- /dev/null
+++ b/22716-h/images/viii.png
author	Roger Frank <rfrank@pglaf.org>	2025-10-15 01:53:43 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 01:53:43 -0700
commit	20fadc4c86c99dbcd7f7763f5052020784f171ed (patch)
tree	1e3072d53a7113f2cadff9cf9fce2c71d89e3a75 /22716-h