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diff --git a/38345-h/38345-h.htm b/38345-h/38345-h.htm new file mode 100644 index 0000000..2013d53 --- /dev/null +++ b/38345-h/38345-h.htm @@ -0,0 +1,7432 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<!-- $Id: header.txt 236 2009-12-07 18:57:00Z vlsimpson $ --> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Book Collecting, by J. H. Slater. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +table { + margin-left: auto; + margin-right: auto; + vertical-align: top; + width: 70%; +} + +.tdr {text-align: right; vertical-align: top; padding-right: .25em; padding-top: .25em; white-space: nowrap;} /* aligning cell content to the right */ +.tdc {text-align: center; vertical-align: top; padding-top: .25em;} /* aligning cell content to the center */ +.tdl {text-align: left; vertical-align: top; padding-left: .25em; padding-top: .25em; white-space: nowrap;} /* aligning cell content to the left */ +.bbr {border-bottom: 1px black solid;} /* bottom only border */ +.brbr {border-right: 1px black solid; border-bottom: 1px black solid;} /* bottom and right border only */ +.blbr {border-left: 1px black solid; border-bottom: 1px black solid;} /* bottom and left border only */ +.tbr {border-top: 1px black solid;} /* top only border */ +.rbr {border-right: 1px black solid;} /* right only border */ +.lbr {border-left: 1px black solid;} /* left only border */ +.trbr {border-right: 1px black solid; border-top: 1px black solid;} /* top and right border only */ +.tlbr {border-left: 1px black solid; border-top: 1px black solid;} /* top and left border only */ + +.shrink { + width: 45%; +} + +.dates { + width: 25%; +} + +.dates1 { + width: 30%; +} + +.lata { + width: 85%; +} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +.blockquot { + margin-left: 5%; + margin-right: 10%; +} + +.dropcap +{ + float: left; + padding-right: 3px; + font-size: 250%; + line-height: 83%; +} + +.center {text-align: center;} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold;} + +/* Images */ +.figcenter { + margin: auto; + text-align: center; +} + +.figleft { + float: left; + clear: left; + margin-left: 0; + margin-bottom: 0em; + margin-top: 0; + margin-right: 0.5em; + padding: 0; + text-align: center; +} + +.figright { + float: right; + clear: right; + margin-left: 0em; + margin-bottom: + 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; +} + +/* Footnotes */ +.footnotes { + background: #F5F8EC; + text-align: center; +} + +.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; +} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Book Collecting, by John Herbert Slater + +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: Book Collecting + A Guide for Amateurs + +Author: John Herbert Slater + +Release Date: December 19, 2011 [EBook #38345] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK BOOK COLLECTING *** + + + + +Produced by Chris Curnow, Margo Romberg and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive) + + + + + + +</pre> + + + + +<p><br /><br /></p> + +<div class="figcenter" style="width: 288px;"> +<img src="images/0_cover.png" width="288" height="450" alt="" title="" /><br /><br /> +</div> + +<hr style="width: 65%;" /> + +<h1><br />BOOK COLLECTING</h1> + +<p class="center">A GUIDE FOR AMATEURS</p> + +<h5>BY</h5> + +<h2>J. H. SLATER</h2> + +<p class="center">Editor of <i>Book Prices Current</i>; formerly Editor of <i>Book Lore</i>; Author of<br /> +<i>The Library Manual</i>; <i>Engravings and their Value</i>; <i>The Law<br /> +relating to Copyright and Trade Marks</i>, etc., etc.<br /></p> + +<div class="figcenter" style="width: 314px;"><br /><br /> +<img src="images/004.png" width="157" height="213" alt="" title="" /><br /> +</div> + +<p class="center"><br /><br />LONDON</p> + +<p class="center">SWAN SONNENSCHEIN & CO.</p> + +<p class="center">PATERNOSTER SQUARE</p> + +<p class="center">1892<br /><br /> +</p> + +<hr style="width: 65%;" /> + +<div class="figcenter" style="width: 314px;"><br /><br /> +<img src="images/005.png" width="314" height="425" alt="AN OLD PRINTING PRESS." title="" /><br /><br /> +<span class="caption">AN OLD PRINTING PRESS.<br /> +From the <i>Quintilian of Vascosan</i>, folio, <i>Paris</i>, 1538.</span> +</div> + + + +<h6><br /><br />THE ABERDEEN UNIVERSITY PRESS.</h6> + +<hr style="width: 65%;" /> + +<h3>CONTENTS.</h3> + + +<table summary="Contents" border="0" cellpadding="2" cellspacing="0"> + +<tr><td></td><td align="right">PAGE.</td></tr> +<tr><td>CHAPTER I.</td><td align="right"><a href="#CHAPTER_I">1</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER II.</td><td align="right"><a href="#CHAPTER_II">12</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER III.</td><td align="right"><a href="#CHAPTER_III">20</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER IV.</td><td align="right"><a href="#CHAPTER_IV">25</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER V.</td><td align="right"><a href="#CHAPTER_V">34</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER VI.</td><td align="right"><a href="#CHAPTER_VI">44</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER VII.</td><td align="right"><a href="#CHAPTER_VII">51</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER VIII.</td><td align="right"><a href="#CHAPTER_VIII">62</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER IX.</td><td align="right"><a href="#CHAPTER_IX">74</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER X.</td><td align="right"><a href="#CHAPTER_X">100</a></td></tr> +<tr><td></td></tr> +<tr><td>CHAPTER XI.</td><td align="right"><a href="#CHAPTER_XI">112</a></td></tr> +<tr><td></td></tr> +<tr><td>PRINCIPAL SECOND-HAND BOOKSELLERS + IN THE UNITED KINGDOM WHO PUBLISH + CATALOGUES.</td><td align="right"><a href="#PRINCIPAL">121</a></td></tr> + +</table> + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> + +<h2><br /><br /><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2> + +<h3><br />AN ANCIENT MANUSCRIPT—THE LIBRARY OF THE MEMNONIUM—THE +ALEXANDRIAN LIBRARY—GREECE AND ROME—MONASTIC +MANUSCRIPTS—THE DISCOVERY OF PRINTING—THE +BOOK HUNTERS OF THE PAST—THE BOOK HUNTERS +OF TO-DAY—BIBLIOGRAPHICAL AIDS.<br /><br /></h3> + + +<p><span class="dropcap">T</span>HE Bibliophile, as he is somewhat pedantically termed, +probably dates his existence from the time when books began +to be multiplied in sufficient quantities to render the acquisition +of duplicate copies by the public a matter of possibility, +but his opportunities of amassing a large number of volumes +can hardly be said to have arisen until many years after the +invention of printing.</p> + +<p>The most ancient manuscript extant has been identified +with the reign of Amenophis, who ruled in Egypt no less +than 1600 years before the Christian era, and this manuscript, +old as it is, shows such superior execution that there +can be little, if any, doubt that caligraphy in its oldest—that +is, its hieroglyphic—form must be referred for its origin to +a period still more remote. Diodorus Siculus relates that +Rameses II. founded a library in one of the chambers of the +Memnonium at Thebes, and deposited therein the 42 sacred +books of Thoth, which had they been in existence now would +be nearly 5000 years old. In those days, however, education +was looked upon as the peculiar property of the priesthood; the +library had sealed doors; even the very books themselves must +have been wholly unintelligible to all but the favoured few +whose duty it was to preserve them with religious care. All +the early Egyptian manuscripts extant have served in their day +an ecclesiastical rather than a secular object, and all of them +abound with mythological stories more or less recondite. To +<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span> +use the art of writing for any less sacred purpose would have +been held disrespectful to the educated class and resented +accordingly. Ptolemy Sotor, who reigned over Egypt about +the year 280 <span class="smcap">B.C.</span>, appears to have been the first to break +through the artificial barrier which the priestcraft of age upon +age had succeeded in building up; and his magnificent twin +library at Alexandria, known as the Bruchium and Serapeum, +which was partly stocked with the confiscated books of +travellers who touched at the port, became in course of time +the most famous in the world, and would most probably have +been so at this day had it not been destroyed by Theodosius +and his army, as a sacrifice at the shrine of ignorance and +superstition. With the destruction of the library at Alexandria, +containing, as it did, books which can never be replaced, the +literary importance of the Egyptians came to an end; thenceforward +all that remained was the consciousness of having +instructed others better able to preserve their independence +than they were themselves. Yet after all it is somewhat +extraordinary that Egypt should have been not merely the +first to encourage a love of literature, but also the last; for +simultaneously with the destruction of the Bruchium and +Serapeum were ushered in the first centuries of the dark ages, +when the ability to read and write was looked upon as unworthy +the status of a free man, unless indeed he were a priest, and +when fire and sword were brought into requisition for the +purpose of annihilating everything that suggested mental +culture.</p> + +<p>In the eras which intervened between the reign of Rameses +the Constructor and that of Theodosius the Destroyer, Pisistratus +had founded his public library at Athens, and collected +the poems of Homer which had previously been scattered +in detached portions throughout Greece; and Plato, the +prince of ancient book hunters, had given no less than 100 +attic minæ—nearly £300 of our money—for three small +treatises of Philolaus the Pythagorean. Aristotle too, unless +he has been sadly maligned, thought 300 minæ a fair exchange +for a little pile of books which had formerly belonged to +Speusippus, thereby setting an example to that French king of +after ages who pawned his gold and silver plate to obtain +means wherewith to purchase a coveted copy of Lacertius, as +Gabriel Naudé calls the great Epicurean biographer. In Rome +also Lucullus had furnished his house with books and thrown +<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> +open his doors to all who wished to consult them. Atticus the +famous publisher had turned out a thousand copies of the +second book of Martial's <i>Epigrams</i>, with its 540 lines of verse, +bound and endorsed in the space of a single hour, and the +booksellers carried on a flourishing trade in their shops in the +Argeletum and the Vicus Sandalarius, exhibiting catalogues on +the side posts of their doors exactly as the second-hand +dealers in London and elsewhere do now. Of all this vast +enterprise of Greece and Rome not a trace remains: only the +sepulchral writings of mother Egypt and the clay tablets of +Assyria.</p> + +<p>History tells us how the luxurious rich of Athens and Rome +regarded their books as so many pieces of furniture, and engaged +learned slaves to read aloud at their banquets; and if +the example of Plato were followed to any extent, doubtless large +sums of money were spent on rare originals which had passed +through the hands of a succession of dilettanti, and acquired +thereby a reputation for genuineness, which they could not +have gained in any other manner. Seneca indeed ridicules the +vulgar emulation which prompted some of his contemporaries +to collect volumes of which, he says, they knew nothing except +the outsides, many of them possibly barely that. It has been +ever so: in England to-day there are many who would have +felt the lash of Nero's tutor across their shoulders.</p> + +<p>When the public no longer took pleasure in mental culture, +and the whole world was overrun with hordes of barbarians +intent upon destruction, learning of every kind was banished to +the monasteries, and the monks became the only book lovers, +making it their business to transcribe, generation after generation, +the volumes which had been saved from the general +conflagration. It is entirely through their efforts that the old +classics have been preserved to our day; we have to thank +them, and them alone, for the preservation of the Bible itself. +Even in the monasteries, however, the same spirit of emulation +which had prompted Greek to compete with Greek, and Roman +with Roman, became apparent in course of time. Ordinary +transcripts, though never numerous, began to be looked upon +as hardly pretentious enough, and the larger houses established +<i>scriptoria</i>, where trained monks sat the livelong day, painfully +tracing letter after letter on the purest vellum, while Bibliolatrists +added illuminated borders and miniatures in a style +that would task the skill of our best artists of to-day. This +<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> +competition led to the exchange of manuscripts, or to their +loan for a brief period, so that by degrees monastic libraries +assumed large proportions, numbering many hundreds of +neatly bound volumes, which, on being opened, looked as +though printed, so accurately and carefully had the copying +been done. This explains how Fust, the inventor, or one of +the inventors, of printing, was enabled to deceive the people of +Paris, for he flooded the market there with printed copies of +the Bible which he sold for 50 crowns each, instead of for 400 +or 500 crowns, which would have been a fair price had they +been in manuscript. The book buyers of Paris <i>thought they +were in manuscript</i>, until the recurrence of one or two defective +types cast from the same matrix caused an inquiry. Fust was +arrested, not for the fraud but for witchcraft, and to save his life +he explained his process. Thus did the old order give place to +the new.</p> + +<p>In a very few years after the discovery of Fust's secret the +whole of the western portion of Europe was dotted with printing +presses. Before 1499 there were 236 in operation; and six +years after Gutenberg had completed his Bible of 42 lines there +were no less than 50 German cities and towns in which presses +had been established. Considering that this only brings us +down to about the year 1462, it is evident with what rapidity +the art of printing was seized upon through the length and +breadth of the country of its probable origin.</p> + +<p>In 1475 our own famous printer Caxton was being instructed +in the office of Colard Mansion at Bruges, and in 1477, if not +earlier,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> he settled as a printer at Westminster, thus laying the +foundation of our English industry and establishing a native +press which has continued to grow year by year until it has +assumed its present enormous proportions. Authorities, however, +point out that improvement in the art of printing did not +come by age or experience, for, curiously enough, the science—for +such it really is—was almost perfect from its origin, and, +so far as this country is concerned, has distinctly deteriorated +since the death of Caxton and his pupils Wynkyn de Worde, +Faques, and Pynson. The typefounders of that early period +<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> +were as expert as many at the present day and immeasurably +superior to most. The greatest care appears to have been +exercised in the casting, and competition did not engender +the slovenly haste which is only too apparent in many of +our modern publications. It is probable that, simultaneously +with the introduction of printing into England, a certain +limited few, most likely ecclesiastics and powerful nobles, +would commence to collect works from the press of Caxton, +and subsequently from the foreign presses. In 1545 the +Earl of Warwick's library consisted of 40 printed books, in +1691 that of the Rev. Richard Baxter of 1448. It is not until +a comparatively modern period that any single man has been +able to mass together thousands of volumes during the course +of a single lifetime, for it is only recently that printing has been +used on every trivial occasion, and in the manufacture of books +which would originally have been deemed unworthy of the +application of the art.</p> + +<p>At the present day books constitute one of the necessities +of life and private libraries one of its luxuries. The collector +has such ample scope for the exercise of his favourite pursuit +that it has long since become a question not so much of +accumulating a large number of miscellaneous volumes, as of +exercising a rigid discrimination and confining one's attention +to works of a certain class, to the almost entire exclusion of all +others. Thus, some book hunters collect first, or, at any rate, +early, editions of popular modern authors, such, for example, as +Dickens, Thackeray, and Lever; others collect old editions of +the Scriptures, a few, the expensive early printed volumes which +are every year becoming absorbed into the public libraries, and +consequently growing more scarce. A small number attempt +to form an extensive all-round library, but they rarely, if ever, +succeed, partly because life is too short for the purpose, and +money too limited in quantity. Occasionally a large collection +comes to the auctioneer's hammer, but in nearly every instance +it will be found that it represents the labours of several generations +of owners, each of whom has contributed the principal +publications of his day or taken advantage of any proffered +bargain which he may have happened to come across during +the course of his lifetime.</p> + +<p>The book lover however is not content with mere acquisition, +he feels it his duty to know something of the inner +life, so to speak, of each volume on his shelf—something, +<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> +that is to say, beyond the outside lettering. He wishes to +know the chief incidents in the history of the person who wrote +it, under what circumstances it was written and why, how many +editions have been published, whether the particular copy is +perfect, how much it is worth from a pecuniary point of view, +and occasionally the nature of the contents. The word +"occasionally" may be considered by some as used in an +objectionable sense, implying in fact that book lovers are not +always in the habit of reading what they possess. Let the +collector of Bibles say whether he is in the habit of reading the +various editions which he has been at such pains to collect, and +it will then be time enough to inquire into the practices of +other collectors who, like himself, though in different departments, +may not consider themselves justified in spending the +amount of time necessary for careful and satisfactory study. +In truth, if all books were read, it is only reasonable to suppose +that all libraries would be small; and, as we know the +contrary to be the fact, we must acknowledge the truth of the +main proposition to a very large extent. The happiness of the +book lover, as we know him when in the plenitude of his glory, +consists by no means in reading, but in the contemplation of +his possessions from afar; an inane treatise on theology +becomes the object of his daily prayers when bound in +morocco and stamped with the Golden Fleece of Longepierre.</p> + +<p>In this short dissertation we have but little to do with the +contents of any book. This knowledge can be acquired as +circumstances and opportunity offer; we deal rather with extraneous +details which are necessary to be known by everyone +who aspires to form a collection of books for himself and would +know something of the history of each.</p> + +<p>Every bibliographer, and also every collector of any +eminence, has within reach certain books of reference which +experience has shown to be absolutely necessary. Chief among +these is Lowndes' <i>Bibliographer's Manual</i> of which two editions +have been issued. The first was published in 1834; the second +in seven parts from 1857-61, with an appendix volume in 1864, +having been re-issued from the stereotype plates without a date +in 1871. The latter may frequently be picked up at auction +sales for about 25s., but there is this peculiarity about the +work, that it really would not seem to be very material which +edition is purchased. The book is imperfect and full of +errors: it cannot be relied on, and the second edition, which +<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> +was edited by the late Mr. H. G. Bohn, the eminent bookseller, +is as untrustworthy as the first edition. The original plan, which +has never been departed from, was to give the names of English +authors in alphabetical order, placing under each the title of the +works he wrote, with the date of each edition, number of volumes, +in many cases the collation, and finally the sums realised at +auction. Nothing fluctuates so greatly as auction values, and it +is not surprising, therefore, to find that not a single entry in +Lowndes under this head can be accepted at the present day. +Some of the variations between past and present prices are +ludicrous in the extreme, and there is no doubt that anyone +who attempted to obtain his knowledge of the value of books +from Lowndes' <i>Manual</i> would find himself in possession of a +mass of old-time information which would be rather a hindrance +to him than otherwise. The <i>Manual</i> is useful because it gives a +full and tolerably complete list of English authors, and collates +many of their works with considerable care; it is, moreover, the +authority quoted by cataloguers, and, being a copyright publication, +practically bars the way to any rival work on the same +subject. For these and other reasons it is indispensable.</p> + +<p>To ascertain the value of a book is an exceedingly difficult +operation; in fact, there are many who assert that it is impossible +to do so. Booksellers' prices, as disclosed in their catalogues, +are not much to go by, for it is notorious that a West End +dealer will often charge more than one who is established +further East. Again, some London booksellers charge more or +less than provincial ones, according to circumstance and the +character of their customers. Until recently there were only two +ways of becoming an adept in this department, the first and +best by practical experience, a method which is not, of course, +available to any but dealers and their assistants; and the +second, by indexing retail catalogues and striking an average. +A third method, that of taking the average of auction sales, +was not available until recently, for it is too troublesome, for any +save those whose business it is, to attend sales by auction all +day long for nine months out of the twelve, in order to obtain +the necessary materials.</p> + +<p>In 1886, I conceived the idea of fully reporting all sales of +any importance taking place either in London or the provinces, +and in December of that year the necessary arrangements were +completed, with the modification that for the present, at any rate, +no notice was to be taken of any book which did not realise at +<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> +least 20s. by auction. This publication, the success of which +amply demonstrates the necessity for its existence, is named +<i>Book Prices Current</i>, and already five volumes are published, +and a sixth will be ready at the beginning of next year (1893). +As a book of this kind would be useless without a full index, +the greatest possible care has been taken to make it as complete +and as accurate as possible. From <i>Book Prices Current</i> +a very good idea of the average value of almost any book may +be obtained. Careful note of the way in which the particular +volume is bound must, of course, be taken, for this, as might be +expected, makes a great difference in the price.</p> + +<p>The French are supposed to be much better bibliographers +than our own countrymen, and if the character of the authoritative +works published in either country is a criterion of national +merit there cannot be much, if any, doubt that this is so. +Lowndes' <i>Bibliographer's Manual</i> takes no notice of books +published abroad, and, as they are in the majority, it becomes +necessary to seek an additional guide. This is afforded by +Brunet's <i>Manuel du Libraire et de l'Amateur de Livres</i>, published +at Paris in 6 vols. from 1860-65, and usually found, with +the Appendix on <i>Géographie</i>, 1870, and 2 vol. <i>Supplément</i>, +1878-80. In its place it is a much better book than Lowndes', +but it is very expensive, frequently bringing as much as £10 +and £12 by auction. Here again, however, the values are quite +unreliable, and, as in the case of Lowndes', there is no index of +subjects whatever. From the three works mentioned very much +may undoubtedly be learned about almost any book provided +the author's name be known; but as it frequently happened +that many authors chose, for reasons satisfactory to themselves, +to conceal their names altogether, or in the much commoner +instance of the name being forgotten by or unknown to the +searcher, an index of subjects becomes a necessity. This is +partly supplied by Watt's <i>Bibliotheca Britannica</i> in 4 vols. 4to, +1824, two volumes being devoted to authors and two to +subjects, there being also cross references from one to the +other. This inestimable work occupied the author the greater +portion of his life, and is a monument of industry and research. +The auction value amounts to £3 within a fraction, this being +one of the few books which has a fixed market price all over +the kingdom. Good copies in handsome bindings frequently +occur, and are worth £4 to £5. The <i>English Catalogue</i>, +initiated by the late Mr. Sampson Low, is a periodical which +<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> +makes its appearance annually, and, unlike all the other works +I have mentioned, is confined entirely to current literature. +The title of every work published during the year is given, with +the month in which it was issued, the price, and publisher's +name, the whole being arranged in one line under the name of +the author. At intervals, which do not appear to be strictly +defined, collective editions of these annual catalogues, arranged +in one alphabet, are published, as well as of the indexes of the +<i>titles</i> which are appended to each annual issue.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> + +<p>It is obvious that a work of this kind must be of the greatest +utility, and as the <i>English Catalogue</i> is merely a continuation +of the <i>London Catalogue</i> and the <i>British Catalogue</i>, the former +of which commenced so far back as the year 1811, it will be +seen that a comprehensive view can be taken of the whole +range of English literature from that date to the present. The +<i>Catalogue</i> has not, however, always been so carefully prepared +as it is now, and consequently in the earlier days many publications +were omitted. When this is the case Lowndes and +Watt will be found of material assistance, the latter especially. +A complete set of these catalogues, unfortunately, is very +difficult to obtain, and as the earlier ones are not indispensable, +it may be perhaps advisable to forego them and to +commence in 1814. The volumes to be acquired therefore +would be <i>London Catalogue</i>, 1816-51; <i>English Catalogue</i>, +1835-63, 1863-71, 1872-80, 1881-89; with the accompanying +subject indexes to the <i>London Catalogue</i>, 1814-46; and to the +<i>English Catalogue</i>, 1835-55, 1856-75, 1874 (<i>sic</i>)-80. It will be +noticed that the dates sometimes overlap each over, but this +is an advantage rather than a drawback. Among the other +books frequently consulted by both dealers and amateurs are +Mr. Swan Sonnenschein's <i>The Best Books</i>; the <i>Reference Catalogue +of Current Literature</i>, and Halkett & Laing's <i>Dictionary +of Anonymous and Pseudonymous Literature of Great Britain</i>, +in 4 vols. These are mentioned together because they are +essentially subject indexes and the best of their kind.</p> + +<p>Sonnenschein's <i>The Best Books</i>, already in a second and +vastly improved edition, is a comparatively recent publication, +in which, under subjects arranged systematically, are placed +<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> +the best current books, whether ancient or modern, on each +subject, with the prices, sizes, publisher's name and dates of +the first and last editions of each. There are about 50,000 +works included, and they together give a very good idea of all +the material in the various departments of research which the +specialist is likely to have occasion to read or refer to. Old +books are included where they are of actual present-day value +to the student. The selection is not, of course, entirely made +by the author, as it is impossible for him to have read a +hundredth part of the books recommended; most probably the +list has been compiled from the works of specialists, the various +encyclopædias, and so forth; but however this may be, it is a +very useful one in the hands of a person capable of discrimination +(towards which the numerous critical and bibliographical +notes and the system of asterisks are a great help), especially if +he live near one or other of the large libraries now springing up +in different parts of the country.</p> + +<p>The <i>Reference Catalogue of Current Literature</i>, a cumbrous +and unwieldy tome, the last issue of which was out of print +within a couple of months of its publication, consists of a large +number of publishers' catalogues arranged in alphabetical order. +Each work mentioned is indexed, and this has been accomplished +so fully and accurately that almost any book to be +bought new in the market makes its appearance here.</p> + +<p>Halkett & Laing's <i>Dictionary</i> is, as the title implies, a +record of the anonymous and pseudonymous literature of +Great Britain. If an author wrote under an assumed name or +anonymously, his real name will be found here, together with a +short account of his publications. This work can hardly be +said to be indispensable, but it is, notwithstanding, exceedingly +useful, and well worth the three and a half guineas which will +have to be expended upon it.</p> + +<p>Among other works which at one time were thought more +of than they are now is Quaritch's <i>Catalogue of Books</i>, in one +thick volume, 1880, and a supplement which is back-dated +1875-7. The chief value of this lay not only in the prices, +which were, as in every other bookseller's catalogue, appended +to the items, but in the extraordinary number of the entries, +which cover the whole range of British and foreign literature. +Even now the work is useful, but there is no doubt that it is +gradually decreasing in importance, owing to the high-class +works of reference which have lately made their appearance. +<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> +As to values, <i>Book Prices Current</i> gives them much more +satisfactorily than any bookseller can pretend or afford to do, +while most of the bibliographical notes and references are to be +found in one or other of the works I have mentioned.</p> + +<p>The collector who, as yet, is not sufficiently advanced to +fully realise the difficulties he will have to surmount before he +can bring together a judicious assortment of books, will at any +rate begin to see that the knowledge requisite to enable him to +do so is of no mean order. The preliminaries will take him a +long time to master, and he will find that the expense is a factor +by no means to be despised. Even the books mentioned are +not all that he may have to procure, for if, after consideration, +he should decide to devote his attention exclusively to one +branch of Bibliography, there are other books of reference to be +purchased, and a special course of study must be entered upon +and carefully followed, if he would hope to be successful. +Thus, should he decide to make Dickens or Thackeray his one +author, as so many people are doing now, he will need a guide +to direct his course. Memory is so treacherous that he can +take nothing on trust, and time so short that he cannot afford +to journey two sides of the triangle when he might have taken +the third. These special works for special departments are set +out and enlarged upon in the following chapter, but before +referring to them it may not be superfluous to remind the reader +that a book of reference only possesses a relative value. It +is quite possible to have a whole library within reach and yet to +be ignorant of the proper method of using it. Some of our +best writers had no library worthy the name, but the few books +they had they knew—knew, that is to say, how to extract the information +they required, which book to consult, how it was +arranged, and what might be expected of it. Though a book +collector is not necessarily a book reader, he will have to be +absolute master of his works of reference, or he will find every +volume on his shelf a useless incumbrance. Where to possess +all the absolute facts is of importance, the newest works are, +generally speaking, most likely to be the best; but this is very +far from being applicable to a library in all its departments. +Yet even in the case of works of a general nature a careful and +economic selection may be made, so as to cover, in a small +compass, much valuable ground.<br /><br /></p> + +<div class="footnotes center"><br />FOOTNOTES: + +<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> <i>The Dictes and Sayinges of the Philosophers</i>, Caxton's first book +which bears a date, was finished in November, 1477; and it is upon the +strength of this that the Caxton Quarcentenary Festival was held in 1877. +There can be little doubt, however, that he printed many books of which +no copies remain, some of which were probably earlier than <i>The Dictes</i>.</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> In the annual volume for 1891 a new scheme has been started, the +authors and titles entries appearing in <i>one</i> alphabet in "dictionary +form".<br /><br /></p></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> + +<h2><br /><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2> + +<h3><br />THE FIRST ENGLISH AUCTION SALE—FASHION IN BOOK +COLLECTING—SPECIAL BOOKS OF REFERENCE RELATING TO +PARTICULAR BRANCHES OF BIBLIOGRAPHY.<br /><br /></h3> + + +<p><span class="dropcap">T</span>HE first sale of books by auction which is recorded as having +taken place in England was held in Warwick Lane exactly +213 years ago, and Dr. Lazarus Seaman, whose library was +dispersed on the occasion in question, appears to have confined +his attention strictly to Latin Bibles of the 16th century, the +cumbrous works of the Puritan divines, and the great editions +of the Fathers—huge folios thought so little of that, allowing +for the change in the value of money, they can now for the +most part be bought from the booksellers for less than they +could then at auction. The reason which prompted this old +collector to limit his purchases to works of a single class was +in all probability much the same as that which prevails under +similar circumstances at the present time, namely, a natural +desire for finality, the outcome of an experience which shows +plainly enough that in order to form a complete collection of +anything its scope must be reduced to the smallest possible +compass. As a matter of fact Dr. Seaman appears to have +embarked on a somewhat extensive undertaking, for in the +period mentioned by far the greater majority of works issued +from the press were of a religious nature. Still the incident +is valuable from an antiquarian point of view, as it forms a +good precedent for a large body of modern collectors who, +like Seaman, follow the prevailing fashion of the day. This +fashion on being analysed will be found to vary at different +periods and to be of longer or shorter duration according to a +variety of circumstances which appear to be entirely without +the range of argumentative discussion.</p> + +<p>In the year 1699, for example, a book was published, +<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> +entitled <i>Entretiens sur les Contes de Fées</i>, in which one of the +characters is described as saying, "For some time past you +know to what an extent the editions of the Elzevirs have been +in demand. The fancy for them has penetrated far and wide +to such an extent, indeed, that I know a man who starves +himself for the sake of accumulating as many of these books +as he can lay his hands on." In the chapter devoted to the +Elzevir press, these important publications are treated as fully +as space permits, so that at present it will be sufficient to say +that for nearly 200 years many generations of collectors have +made painstaking attempts to form a complete library of these +little books, which, after all, excel only in the quality of the +paper and the beauty of the type. For real scholarly merit +the editions of Gryphius or Estienne are much to be preferred, +but this makes no difference. The Elzevirs were fashionable, +much more so than they are now, and accordingly they were +valued. It is, moreover, quite possible that they may again +rise in popular favour, in which event those far-seeing individuals +who are even now imitating the example of the collector mentioned +in the <i>Entretiens</i> will reap a rich harvest in case they +choose to avail themselves of it. The great guide-book on the +productions of this famous press is that by Alphonse Willems, +entitled <i>Les Elzevier, Histoire et Annales Typographiques</i>, published +at Brussels in 1880, with the <i>Etudes sur la Bibliographie +Elzevirienne</i> of Dr. G. Berghman, a kind of supplement to it, +published at Stockholm in 1885.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p> + +<p>Each publication is given in the order in which it was +issued, and what will be found especially useful is an appendix +containing a list of the spurious Elzevirs issued from the +Dutch presses and of the forgeries which have from time to +time been foisted on the confiding amateur. With the assistance +of this work, the Elzevir collector cannot go very far +wrong, though he will undoubtedly have much to learn from +his own practical experience. He will become more or less +perfect in his lesson in time, and may take comfort in the reflection +<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> +that nothing so quickly ensures perfection as a limited +series of bad mistakes. As examples of the Elzevir press are of +"right" and "wrong" editions, with and without red lines, and +are, moreover, usually measured in millimetres with the assistance +of a rule which the enthusiastic collector invariably carries +about with him wherever he goes, it is evident that there is much +to learn and a great deal to be carried in the memory before +the amateur can trust himself to become his own mentor.</p> + +<p>Difficult as the subject of the Elzevir press is, that of the +Aldine press is more so. It was established much earlier—<i>viz.</i>, +about 1489—and examples are more numerous and altogether +more confusing. As a general rule they are also more expensive, +and none but rich collectors can afford to compete +for examples of the best class. Still, good specimens +may occasionally be got for reasonable sums; and as a guide +to the subject as a whole Renouard's <i>Annales de l'Imprimerie +des Alde</i> (1st ed., 2 vols., Paris, 1803; 2nd, 3 vols., <i>ib.</i>, 1825; +3rd, 1 vol., <i>ib.</i>, 1834) occupies a unique position. This +work is arranged on a similar plan to the <i>Elzevier</i> and is +quite as indispensable to the specialist. An ordinary copy +of the 2nd ed. will cost about 30s., but the more recent +edition can sometimes be got for considerably less.</p> + +<p>Those fortunate persons who succeed in forming a good +library of early printed books usually consult Dibdin's <i>Bibliotheca +Spenceriana</i>, which professes to be nothing more than a +descriptive catalogue of books of the 15th century in the +incomparable collection of Earl Spencer. It is, however, full +of notes by one of the best of English bibliographers. The +British Museum <i>Catalogue of Early Printed Books in English</i>, +3 vols., 1884, which is carried down to 1640, and Maitland's +<i>Early Printed Books in Lambeth Library</i>, 1843, carried down +to 1600, are also frequently consulted. These works are of +course supplementary to Lowndes' <i>Bibliographer's Manual</i> and +Watt's <i>Bibliotheca Britannica</i>, which, as previously explained, +are on the shelves of every collector worthy the name, be he a +specialist or not. The department of early printed books may, +however, be left without further comment, as not one person +out of many thousands is able for obvious reasons to devote +his serious attention to it. Public libraries and similar institutions, +which may be said to have a continuing existence, +frequently contain a good show of works of this class, and, in +the opinion of many, are the only suitable repositories for them.</p> + +<p>Privately printed books are those which are issued either +<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> +from a private press or for the benefit of private friends. +They are never published in the ordinary acceptation of that +term, and cannot be bought at first hand. A good collection +of these is of course difficult, though by no means impossible, +to acquire; and for the benefit of those who may wish to +devote themselves to this department—uninteresting as it +undoubtedly is—Martin's <i>Privately Printed Books</i> (1834, 2nd +ed., 1854), in 1 vol. 8vo, is readily available. Many of these +so-called "books" consist merely of single sheets of letterpress; +others, on the contrary, are more pretentious. In the former +case they are more correctly termed "broadsides"; and R. +Lemon's <i>Catalogue of the Collection of Broadsides, in the possession +of the Society of Antiquaries</i> (8vo, 1866), though by no +means a perfect book, is certainly the best that can be procured +for our purpose.</p> + +<p>Early printed American books, or those which in any way +relate to the American Continent, provided only they were +published during the 16th or 17th centuries, have lately become +exceedingly scarce. In June, 1888, nine small quarto tracts, +bound in one volume, brought, £66 by auction, a record +entirely surpassed by the preceding lot, which, consisting of +twelve similar tracts only, brought no less a sum than £555. +These prices are of course highly exceptional; but so great is +the desire to obtain books of this class that the amounts in +question, exorbitant though they may appear to be, were perhaps +not excessive.</p> + +<p>The amateur may in this instance follow the rule with +every confidence. Should he at any time see a work relating +to America, no matter where printed so long as it is dated +before the year 1700, he should on no account pass it by +without very careful consideration; and the same remark +applies, though to a less extent, to all books printed in +Scotland before that date. In both cases it is probable that +the specimen offered for sale will have a most unprepossessing +exterior, and in some instances the price asked may be small. +This frequently happens, since the more uneducated class of +dealers commence by valuing a book from its appearance, and +while a coloured plate or two would at once put them on the +<i>qui vive</i> there is generally nothing about books of this kind +which <i>looks</i> valuable. It is no disparagement to the trade as a +whole to say that some booksellers, particularly those who carry +<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> +on business in small provincial towns, are absolutely ignorant +of anything more than the first principles of their trade, and +it is out of these that bargains are made. Henry Stevens' +<i>Catalogue of the American Books in the Library of the British +Museum</i> (1886, 8vo) is from the pen of a late famous bookseller +who made many "bargains" in his time and whose +profound knowledge of the insides as well as of the outsides +of his very valuable collection was in every way worthy of his +success.</p> + +<p>Shakespearian collectors cannot do better than consult the +article "Shakespeare" in Lowndes' <i>Bibliographer's Manual</i>, +where every known edition, translation, and commentary +professes to be catalogued and also in many cases collated +and described. Some of Halliwell-Phillipps' works, though +not absolutely indispensable, are nevertheless exceedingly +useful.</p> + +<p>Bible collectors do not as a rule notice editions later than +what is styled the "Vinegar" Bible, published in 1717. They +commence with Coverdale's issue of 1535, and proceed onward +in regular order, for the most part arranging their collection +not according to date but under the various "versions". This +subject is very extensive and exceedingly difficult to handle, +so much so that, without a competent guide, it will be found +impossible to make satisfactory progress. This is provided in +Cotton's <i>Editions of the Bible and Parts thereof in English</i> +(1821, 2nd ed., 1852), and J. R. Dore's <i>Old Bibles</i> (1876, 2nd +ed., 1888). Mr. Dore is probably the best living authority upon +English Bibles and Testaments, and his book is in itself amply +sufficient for the amateur. It is published by Eyre & Spottiswoode +at 5s.</p> + +<p>For works on botany consult Pritzel's <i>Thesaurus Literaturæ +Botanicæ</i> (Leipsic, 1847-51, 2nd ed., 1872-7, 4to); and for +books exclusively relating to tobacco, some of which are very +rare and valuable, W. Bragge's <i>Bibliotheca Nicotiana</i> (priv. prin., +r. 8vo, 1880).</p> + +<p>Angling and the whole of the literature devoted to it is +dealt with in Westwood's new <i>Bibliotheca Piscatoria</i> (1883), +and swimming in R. Thomas' <i>Bibliographical List of Works +on Swimming</i> (1868, 8vo).</p> + +<p>The Greek and Latin Classics were at one time great +favourites with all classes of collectors, but of late they have +fallen considerably from their high estate. Many of the early +<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> +editions, being printed by famous houses, as the <i>editio princeps</i> +of Virgil's works was, which sold for £590 at the Hopetoun +House dispersion, a few months ago, are still eagerly sought +after, but not <i>quâ</i> classics—merely as specimens of ancient +typography. Ordinary editions of Horace, Virgil, Sallust, +Plato, Livy, and the rest can be bought now for a fourth or +fifth part of the sum they would have cost thirty or forty years +ago, and, from all appearances, they are likely to decline still +further in the market. The great work on this subject is +Dibdin's <i>Rare and Valuable Editions of the Greek and Latin +Classics</i> (2 vols., 1827), which can sometimes be bought by +auction for as little as £1.</p> + +<p>Art books are so numerous, and so readily subdivided into +an infinite number of classes, that they are rarely, if ever, +collected as a whole. Amateurs invariably use the <i>Universal +Catalogue of Books on Art</i>, which was compiled by order of the +Lords of the Committee of the Council on Education, and +published between the years 1870-7 (in 3 vols. sm. 4to). It is +a work that would be exceedingly difficult to improve upon, +though as time goes on it will of course be necessary to add +to it.</p> + +<p>Works on Shorthand are catalogued by J. W. Gibson +(Pitman & Sons, 1887), on Magic and Witchcraft in Scribner's +<i>Bibliotheca Diabolica</i> (New York, 1874), while books on music +and all about them are noted in C. Engel's <i>Literature of National +Music</i> (1879, 8vo).</p> + +<p>We now come to the point when a short description of the +more modern methods of book collecting becomes a matter of +necessity. For some years it has been the fashion to collect +not so much works of a certain class as of particular authors, +chiefly those which are embellished with plates. By common +consent first editions are, with a few exceptions, alone worthy +of note; and it is also an axiom that where a book was +originally published in parts, those parts must on no account +be bound up in volume form. If the collector should be so +ill advised as to bind the parts, notwithstanding the decrees of +fashion to the contrary, he may save his position no little by +binding in the title-pages and also the lists of advertisements, +but if he neglects to do this, then his case is hopeless. This is +an example of the ridiculous rules which have been laid down +by a generation of autocratic book lovers, not one of whom +could in all probability give a satisfactory reason for his <i>dicta</i>. +<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> +It is, however, the rule, and will have to be followed, since +great pecuniary loss is certain to follow the slightest infraction +of it. Although the amateur does not buy his books to sell +again, still I apprehend it is a satisfaction to know that, in case +he should ever be compelled, though against his will, to sell +them, he will be able to do so without losing by his bargain. +Original editions of Dickens' works find a ready market, at +ever-increasing prices; but in addition to his better-known +books, the very titles of which have now become household +words, there are others which are not so generally known, such, +for example, as the <i>Curious Dance</i>, the <i>Village Coquettes</i> +and many small pieces which are scattered about the pages of +the magazines, and are usually classed under the heading +<i>Dickensiana</i>. The same remarks, but even perhaps to a +still greater extent, apply to Thackeray and his works, for that +great author worked for many years before his genius became +recognised. The bibliographer who has smoothed the way +for the Dickens and Thackeray collector is Mr. C. P. Johnson, +in his <i>Hints to Collectors of Original Editions of the Works of +Charles Dickens</i> (1885), and his <i>Hints to Collectors of Original +Editions of the Works of W. M. Thackeray</i> (1885).</p> + +<p>The same author's <i>Early Writings of William Makepeace +Thackeray</i> (1888) contains a list of all the pieces which can +now be identified, and of the places where they are to be found, +so as to put it readily in the power of the biographer, the collector, +and the student to refer to them if he will. The <i>Snob</i>, +<i>Gownsman</i>, <i>National Omnibus</i>, <i>National Standard</i>, <i>The Constitutional</i>, +and <i>Fraser's Magazine</i> all contain essays, articles, or +tales from his able pen, which, but for Mr. Johnson's patient +efforts, might have been lost in course of time, when the evidence +to identify them would have been wanting.</p> + +<p>Bibliographies of the works of Carlyle, Swinburne, Ruskin, +and Tennyson, as well as those of Dickens and Thackeray, +have been compiled by R. H. Shepherd, and of the works of +Hazlitt, Leigh Hunt, and Lamb by Alexander Ireland.</p> + +<p>That famous artist George Cruikshank illustrated a large +number of books, all of which are eagerly sought after by +certain bodies of collectors. As in the case of other illustrated +books, the value mainly depends upon the earliness of impression +of the plates, and the condition; and consequently original +editions are more highly esteemed than those which followed. +Some capacity for judging engravings is required of the amateur +<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> +who makes this branch of the subject a speciality, but in other +respects he will find almost everything he is likely to require in +G. W. Reid's <i>Descriptive Catalogue of the Works of George +Cruikshank</i> (London, 1871, 8vo).</p> + +<p>Bewick collectors have an infallible guide in the Rev. T. +Hugo's <i>Bewick Collector, a Descriptive Catalogue of the +Works of T. and J. Bewick</i> (published, with the supplement, in +2 vols., 1866-8, 8vo). It is related of this author that he once +found a battered and ragged specimen of a child's book got up +on strong-laid paper by the famous engraver. Only one or two +copies are known to exist, as Bewick found the enterprise too +expensive to pay, and accordingly discontinued it. The owner +of this treasure was an old woman, who had derived her infant +ideas of lions and tigers from its well-thumbed leaves, and who +refused to part with an old friend, though sorely and even +desperately pressed to do so.</p> + +<p>How often is the enthusiastic book hunter thwarted when +his hopes are on the point of being realised; how often must +he succumb to what he may consider to be nothing better +than prejudice or obstinacy? This is a question which every +amateur learns in time to answer for himself.<br /><br /></p> + +<div class="footnotes"><h3><br />FOOTNOTES:</h3> + +<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> To those who do not read French or do not possess <i>Les Elzevier</i>, +Mr. Goldsmid's <i>The Elzevir Presses</i>, published as part of his <i>Bibliotheca +Curiosa</i>, may be of some assistance. It is a species of compendium of +the work of M. Willems, and was issued in 1889. It is somewhat faulty +and incomplete; but not without its value to beginners in the study of +the Elzevir press.</p><br /></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span></p> +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a><br />CHAPTER III.</h2> + +<h3><br />PAPER-MAKING—DIFFERENT SIZES OF PAPER—DIFFERENT SIZES +OF BOOKS—MEASUREMENTS WATER-MARKS—BOOKS TO +CONSULT.<br /><br /></h3> + + +<p><span class="dropcap">T</span>HE mould used by paper-makers is a kind of sieve of an +oblong shape, bottomed with the very finest wire strands, all of +which run horizontally from end to end. From top to bottom, +and about an inch apart, are placed "chain wires," and on the +right-hand side of the mould the wire water-mark, which, +together with the wire-marks, appears semi-transparent. The +reason of this is that both water-mark and wires are slightly +raised, and of course the pulp is thinner there than anywhere +else. Any ordinary sheet of paper held up to the light will +show this, and serve to extra illustrate the following diagram.<br /><br /></p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/025.png" width="500" height="247" alt="Paper-maker's Mould: Jug Water-mark." title="" /> +<span class="caption">Paper-maker's Mould: Jug Water-mark.</span> +</div> + +<p><br /><br />Here CDEF is the mould which the workman drops into +a vat of pulp, the fine strands run from G to H all the way +down the mould, AA, &c., are the chain wires, and B is the +<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> +water-mark, in this case a jug. The water in the pulp of +course runs through the sieve, leaving a layer of soft matter, +which after a while hardens into a sheet of paper. The water-mark +was at one time the trade mark of the maker, but subsequently +became merely a symbol denoting the size of the +sheet of paper before it was folded. The smallest sheet was +water-marked with a jug, as above, and termed "pot"; the +next had a cap and bells, hence our term "foolscap"; the +next a horn, hence "post". Others had a "crown," and so +on. At the present day all water-marks have once more +become trade symbols, and cannot be depended upon to +afford any evidence of size; but at one time—<i>i.e.</i>, before the +year 1750—this was not so, and, therefore, these water-marks, +irrespective of their antiquarian value, serve a useful purpose—namely, +to point out in cases of doubt whether any given book +is an octavo, quarto, or folio, or a variation of any of these +sizes.</p> + +<p>To refer once more to the diagram. Take a sheet of paper +supposed to have come from the mould and double it in half +at the line AX. The water-mark will in that event appear in +the centre of the half sheet, and the folded paper is of folio +size. Now fold the paper the contrary way, and the water-mark +will appear at the bottom, but cut in half; the paper thus +folded is quarto (4to). Now fold it the contrary way again, +and a section of the water-mark will appear at the top; the +paper thus folded is octavo (8vo). We can go on folding, +and in every subsequent case the watermark will appear at the +edges, while, as the paper gets smaller and smaller, the sizes +are styled 12mo, 16mo, 32mo, and so forth.</p> + +<p>In the example given, a book made of the sheet of +paper in question would be a pot folio, pot 4to, pot 8vo, +and so on; but as larger-sized papers were used, another +book might be a post 8vo, or a crown 4to, &c., according to +circumstances.</p> + +<p>As stated, this is one way of finding out the size of an old +book; but there is another way—by means of the "signatures," +which consist of small letters or figures at the foot of the page +of nearly every book. The leaves (not pages) must be counted +between signature and signature, and then if there are two +leaves the book is a folio, if four a 4to, if eight an 8vo, if +twelve a 12mo, if sixteen a 16mo, and if thirty-two a 32mo. +Take, as an example, this very book you hold in your hand, +<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> +and it will be found that there are eight leaves between +signature and signature; hence it is an 8vo, though a small +one, owing, of course, to the small size of the paper from which +it has been made, <i>viz.</i>, crown. Had it been a little smaller (still +preserving its oblong shape) it would have been a foolscap 8vo, +if somewhat larger a demy 8vo, if larger still a royal 8vo, and +largest of all imperial 8vo. The quartos and folios are governed +by identical rules, and hence in the trade the sizes of books are +very numerous.</p> + +<p>Simple as this method of computation may appear, a great +deal of controversy has taken place on the subject—so much +so, indeed, that there are people to be found who stoutly +maintain, and adduce proof to show, that what looks like a 4to +is in reality an 8vo, or <i>vice versâ</i>. It would be out of place to +enter into a discussion of this nature, and, therefore, I should +advise the young collector to count the leaves between signature +and signature, and to abide by the result, regardless of all the +learned arguments of specialists. If there are no signatures, +and the book is an old one, then study the position of the +water-mark.</p> + +<p>As examples, it will be sufficient to note that the <i>Illustrated +London News</i> is folio, <i>Punch</i> is 4to, and the <i>Cornhill</i> and +nearly all the monthly magazines are large 8vos. There is a +large number of varieties of each size, but on the whole books +which approximate to the sizes of magazines are of the sizes +named. Occasionally in judging by the eye in this manner a +mistake may be made; but of one thing there is no doubt, that +a vast amount of argument would have to be expended upon +the subject before the judgment could be proved to be +wrong.</p> + +<p>Paper-makers at one period made their sheets in frames of +a given size, so that it was a comparatively easy matter to +distinguish the size of a book at a glance. Now-a-days, however, +there appears to be but little uniformity in this respect, +and the difficulty is consequently considerably increased. The +following measurements will, however, be found approximately +correct, and they may be utilised in a practical manner by +taking a sheet of brown paper of the required size and folding +it as previously mentioned, thus forming crown 8vos, crown +4tos, elephant folios, &c., at will. The practice is good, and it +will not need to be often repeated. +</p> + +<div><br /> +<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> +<table summary="Paper" id="shrink"> + +<tr><td align="center">a sheet of</td><td>foolscap</td><td align="center">measures about</td><td align="left">17 in. x 13 in.</td></tr> +<tr><td align="center">"</td><td align="left">post</td><td align="center">"</td><td align="left">19 in. x 15 in.</td></tr> +<tr><td align="center">"</td><td align="left">crown</td><td align="center">"</td><td align="left">20 in. x 15 in.</td></tr> +<tr><td align="center">"</td><td align="left">demy</td><td align="center">"</td><td align="left">22 in. x 17 in.</td></tr> +<tr><td align="center">"</td><td align="left">royal</td><td align="center">"</td><td align="left">24 in. x 19 in.</td></tr> +<tr><td align="center">"</td><td align="left">imperial</td><td align="center">"</td><td align="left">30 in. x 22 in.</td></tr> +<tr><td align="center">"</td><td align="left">elephant</td><td align="center">"</td><td align="left">28 in. x 23 in.</td></tr> +<tr><td align="center">"</td><td align="left">atlas</td><td align="center">"</td><td align="left">34 in. x 26 in.</td></tr> +</table> +<br /></div> + +<p>The only paper used, as a general rule, for making up +into 8vo books is foolscap, post, crown, demy, royal, and +imperial; 4to books are made up of all the sizes; though +elephant and atlas are chiefly devoted to folios.</p> + +<p>I now take leave of this branch of the subject, and return to +water-marks, which, as previously stated, were formerly used, as +they are now, for trade marks, and as trade marks only.</p> + +<p>Before the year 1320, paper was very rarely used to write +upon, but still there are a few examples of it having been so +employed extant, the chief of which is an account-book +preserved at the Hague, commencing with the year 1301. +The water-mark on the paper of this book is a globe surmounted +by a cross, while on paper of a little later date the rude +representation of a jug frequently appears. The globe and the +jug are consequently the most ancient water-marks yet discovered, +and these became the principal marks on paper, +then exclusively manufactured in Holland and Belgium. The +"can and reaping hook" appeared a little later, so did the +"two cans," the "open hand," and the "half <i>fleur-de-lis</i>," +all executed, as might be expected, in the rudest possible +manner.</p> + +<p>The Holbein family at Ravensburg—a town famous to this +day for the manufacture of paper—used a "bull's head". +Fust and Schœffer (<i>circa</i> 1460) used a "clapper" or rattle, +which has a somewhat curious history. At Ravensburg there +was an hospital for lepers, and whenever any of the inmates had +occasion to leave the building he was strictly enjoined to +flourish a rattle with which he was provided, so that healthy +folk could get out of his way. Paper made at the town is +often found marked with the rattle, that having grown, by +reason of its frequent use, into an institution of the place.</p> + +<p>The next marks in point of date are in all probability the +"unicorn," "anchor," and the "P" and "Y," the initials of<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> +Philip of Burgundy and his wife Isabella, who were married in +1430.</p> + +<p>The famous English printer Caxton (<i>c.</i> <span class="smcap">A.D.</span> 1424-91)<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> used +the "bull's head" paper from Ravensburg, the "P" and "Y," +the "open hand," and the "unicorn"; sometimes even the +"bunch of grapes," which came from Italy.</p> + +<p>The first folio of Shakespeare's works (1623) has paper +marked with a "fool's cap" among other devices. The "post +horn," another favourite device, which has given the name +to a particular size of paper—namely, "post"—was first used +about the year 1670, when the General Post Office was established, +and it became the fashion for the postman to blow a +horn.</p> + +<p>In modern times paper-marks have become so numerous +that it would be next to impossible to classify them; nor would +it be of much advantage to the book collector even if it could +be done. With old marks it is different, for <i>fac-simile</i> reprints +of scarce and ancient volumes are frequently detected by +looking at the water-mark on the paper. Of course, this also +may be imitated, but there is often considerable difficulty +in attaining the requisite degree of perfection; and, under any +circumstance, some little knowledge of the early history and +appearance of water-marks will be found useful as well as +interesting. The best books to consult on the subject are +Herring's <i>Paper and Papermaking</i> and Sotheby's <i>Principia +Typographica</i>, 1858, the latter of which is a masterpiece of +learning and constructive skill.<br /><br /></p> + +<div class="footnotes"><h3><br />FOOTNOTES:</h3> + +<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> It is very improbable that Caxton was born in 1412, as nearly all his +biographers state, but about ten or twelve years later. Evidence of this +is contained in the records preserved at Mercers' Hall, Cheapside, London, +where his name is inscribed as having been apprenticed in the year 1438, +the age at which apprenticeship was entered upon being most commonly +between twelve and fourteen years.</p><br /></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a><br />CHAPTER IV.</h2> + +<h3><br />THE COLOPHON—TITLE-PAGE—THE FIRST BOOK WITH A DATE—COLLATING—ROMAN +NOTATION—LATINISED NAMES OF +PLACES, WITH THEIR MODERN EQUIVALENTS.<br /><br /></h3> + + +<p><span class="dropcap">I</span>T must be borne in mind that the title-page of a book, though +constituting a very old method of showing at a glance the +nature of the contents, together with the place of publication +and frequently also the date, is by no means the earliest means +of attaining that object. The title-page, such as we see it, was +first adopted in England in 1490, the year before Caxton's death, +having been introduced on the Continent in 1470;<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> but previously—and, +indeed, for some years after that date—the +<i>Colophon</i> was in general use.</p> + +<p>The term "Colophon" has its origin in the Greek proverb, +"to put the colophon to the matter," that is, the "finishing +stroke," and contains the place or year (or both), date of +publication, printer's name, and other particulars considered +necessary at the time for the identification of the volume. +It frequently commences somewhat after the following form: +<i>Explicit liber qui dicitur</i>, &c.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> The colophon, moreover, is +always found on the last page, and sometimes takes the form of +an inverted pyramid. In the early days, when the printer was +not unfrequently author or translator as well, the completion +of a work upon which he had probably been engaged for many +months—or, perhaps, in some instances, years—was rightly regarded +as matter for much self-congratulation, as well as for +thanks to the Divine Power, by whose permission alone he had +<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> +been enabled to persevere. Hence the <i>Psalterium</i> of Fust +and Schœffer, a folio of 175 lines to the page, and remarkable +as being the first book in which large capital letters, printed in +colours, were employed, has for its colophon a very characteristic +inscription, which may be translated as follows:—</p> + +<p>"This book of Psalms, decorated with antique initials and +sufficiently emphasised with rubricated letters, has been thus +made by the masterly invention of printing and also type-making, +without the writing of a pen, and is consummated to +the service of God through the industry of Johann Fust, citizen +of Mentz, and Peter Schœffer, of Gernsheim, in the year of our +Lord MCCCCLVII., on the eve of the Assumption".</p> + +<p>This Psalter is also the first known book which bears any +date at all, and for that and other reasons is one of the most +highly prized of volumes.</p> + +<p>From what has been said, the reader will no doubt clearly +understand that it does not follow that, because an old book is +minus a title-page, it is necessarily imperfect. He should turn +to the last leaf for the colophon; but should that be wanting +also, it is probable that the book is deficient, though even this +is not a conclusive test. In cases of doubt the volume must be +<i>collated</i>, that is, critically compared with some other specimen: +each leaf must be examined carefully, and notes made of any +differences that may appear during the course of the examination. +There is a business-like way and the reverse of tabulating +these notes, so much so that an adept can see at a glance +whether it has been performed by a competent man. The +following is the collation of a copy of the first edition of the +famous Genevan version of the Bible printed by Rowland Hall +in 1560, 4to: "Four prel. leaves. Text, Genesis to ii. Maccabees, +474 ll. folioed, N. T. 122 leaves, 'A Briefe Table' HH h +iii to LLl iii., 13 ll. followed by 1 p. 'The order of the yeres +from Paul's conversion,' &c., rev. blank."</p> + +<p>At first sight this may appear somewhat technical, but when +a few of these collations are compared with actual copies of the +works to which they refer, there will be no difficulty in understanding +all the rest. The above, for instance, would read, +when set out at full length, as follows: "There are four preliminary +leaves, and then follows the Bible text proper, which, +from Genesis to the 2nd of Maccabees, is on 474 numbered +leaves. The New Testament, which follows, has 122 leaves; +<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> +then comes 'A Briefe Table,' extending from signature HH h +iii to LL l iii, and comprising 13 leaves, followed by one page, +'The order of the yeres from Paul's conversion,' &c. The +reverse side of this page is blank." The words "page" and +"leaf" have distinct meanings, the latter, of course, containing +two of the former, unless, indeed, one side happens to be blank, +as in the above example. If both sides are blank, the description +would be simply "i 1 blank".</p> + +<p>From 1457—the date of Fust and Schœffer's Psalter, +already described as being the first printed book disclosing on +its face the year of publication—until comparatively recent +times, it was customary to use Roman numerals on the +colophon or title-page, as the case might be. This system +of notation is so well understood, or can be so speedily +mastered from almost any arithmetical treatise, that it is hardly +worth while to enlarge upon it here. On some old books, +however, there is a dual form of the "D" representing 500, +which is sometimes the cause of considerable perplexity; e.g., +MIƆXL standing for the year 1540. In this example the I +is equivalent to D; in fact, it would appear as if the former +numeral were merely a mutilation of the latter. Again, the +form CIƆ is equivalent to M or 1000. A few instances will +make the distinction apparent:—</p> + +<table summary="Dates" class="dates"> +<tr><td class="tdright"> M IƆ XXIV<br />or M D XXIV</td> +<td class="tdleft" style="white-space: nowrap;"><div class="figcenter" style="width: 20px;"> +<img src="images/newbrace2.png" width="10" height="40" alt="}" title="" /> +</div></td> +<td >= 1524;</td></tr> +</table> + +<table summary="Dates1" class="dates1"> +<tr><td class="tdright"> CIƆ IƆ CLXXXV<br />or M D CLXXXV</td> +<td class="tdleft" style="white-space: nowrap;"><div class="figcenter" style="width: 20px;"> +<img src="images/newbrace2.png" width="10" height="40" alt="}" title="" /> +</div></td> +<td>= 1661;</td></tr> +</table> + +<table summary="Dates2" class="dates1"> +<tr><td class="tdright"> CIƆ IƆ CLXXXV<br />or M D CLXXXVIII</td> +<td class="tdleft" style="white-space: nowrap;"><div class="figcenter" style="width: 20px;"> +<img src="images/newbrace2.png" width="10" height="40" alt="}" title="" /> +</div></td> +<td>= 1685;</td></tr> +</table> + +<p>The only part of a title-page which gives any real difficulty +to a person who has a fair knowledge of the Latin language, in +which most of these old books were printed, is the name of +the place of publication, which, being in a Latinised form, +frequently bears but a slight resemblance to the modern +appellation. Dr. Cotton, many years ago now, collected a +large number of these Latin forms, partly from his own +reading and partly from the works of various bibliographers +who had chanced occasionally to mention them in their works, +and at the present day his collection stands unapproachable in +point of the number of entries, as well as in general accuracy. +The use of this compilation will be apparent to those who have +occasion to consult it even for the first time, while to advanced +<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> +collectors, who are not satisfied with mere possession, it will be +found indispensable. The title-page of a book now before me +runs as follows: "<i>Kanuti Episcopi Vibergensis Quedam breves +expositõs s legum et jurium cõcordantie et allegatiões circa leges +iucie</i>"; at the foot is "Ripis, M. Brand, MIƆIIII". The +question immediately arises: Where is Ripis, the place where +the book was evidently printed by Brand? The best gazetteer +may be consulted in vain, for the title is obsolete now; it is, in +fact, the Roman name for Riben, a small place in Denmark. +In like manner, Firenze frequently stands for Florence, Brixia +for Breschia, Aug. Trinob. (Augusta Trinobantum) for London, +Mutina for Modena, and so on. This being the case, some +kind of tabulation becomes absolutely necessary, and the best +that occurs to my mind is to place the Latin titles of all the +chief centres of printing in alphabetical order, and append to +each the English equivalent. The date is that of the first book +known to have been printed at the particular town against +which it is set. As the list is not complete, and could not be +made so without the sacrifice of a great deal of space, the +reader is referred to Dr. Cotton's <i>Typographical Antiquities</i> +for any further information he may require. The omissions +will be found, however, to consist, for the most part, of unimportant +places, from many of which only some half-dozen books +or less are known to have been issued, so that the following list +will be found sufficient in the vast majority of cases:—<br /><br /></p> + +<div> +<table border="0" cellpadding="4" cellspacing="0" class="lata" summary="Locations"> +<tr><td align="left">1486.</td><td align="left">Abbatis Villa</td><td align="left">Abbeville.</td></tr> +<tr><td align="left">1621.</td><td align="left">Abredonia</td><td align="left">Aberdeen.</td></tr> +<tr><td align="left">1493.</td><td align="left">Alba</td><td align="left">Acqui (in Italy).</td></tr> +<tr><td align="left">1480.</td><td align="left">Albani Villa</td><td align="left">St. Albans.</td></tr> +<tr><td align="left">1501.</td><td align="left">Albia</td><td align="left">Albia (in Savoy).</td></tr> +<tr><td align="left">1480.</td><td align="left">Aldenarda</td><td align="left">Oudenarde.</td></tr> +<tr><td align="left">1473.</td><td align="left">Alostum</td><td align="left">Alost (in Flanders).</td></tr> +<tr><td align="left">1467.</td><td align="left">Alta Villa</td><td align="left">Eltville, or Elfeld (near Mayence).</td></tr> +<tr><td align="left">1523.</td><td align="left">Amstelœdamum</td><td align="left">Amsterdam.</td></tr> +<tr><td align="left">1476.</td><td align="left">Andegavum</td><td align="left">Angers.</td></tr> +<tr><td align="left"> </td><td align="left">Aneda</td><td align="left">Edinburgh.</td></tr> +<tr><td align="left">1491.</td><td align="left">Angolismum</td><td align="left">Angoulême.</td></tr> +<tr><td align="left">1482.</td><td align="left">Antverpia</td><td align="left">Antwerp.</td></tr> +<tr><td align="left">1482.</td><td align="left">Aquila</td><td align="left">Aquila (near Naples).</td></tr> +<tr><td align="left">1456(?).</td><td align="left">Argentina, or Argentoratum</td><td align="left">Strassburg.</td></tr> +<tr><td align="left">1477.</td><td align="left">Asculum</td><td align="left">Ascoli (in Ancona).</td></tr> +<tr><td align="left">1474.<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></td><td align="left">Athenæ Rauracæ</td><td align="left">Basle.</td></tr> +<tr><td align="left">1517.</td><td align="left">Atrebatum</td><td align="left">Arras.</td></tr> +<tr><td align="left">1469.</td><td align="left">Augusta Vindelicorum</td><td align="left">Augsburg.</td></tr> +<tr><td align="left">1480.</td><td align="left">Augusta Trinobantum</td><td align="left">London.</td></tr> +<tr><td align="left">1481.</td><td align="left">Auracum</td><td align="left">Urach (in Wurtemberg).</td></tr> +<tr><td align="left">1490.</td><td align="left">Aurelia</td><td align="left">Orleans.</td></tr> +<tr><td align="left">1490.</td><td align="left">Aureliacum</td><td align="left">Orleans.</td></tr> +<tr><td align="left">1497.</td><td align="left">Avenio</td><td align="left">Avignon.</td></tr> +<tr><td align="left">1462.</td><td align="left">Bamberga</td><td align="left">Bamberg.</td></tr> +<tr><td align="left">1478.</td><td align="left">Barchine</td><td align="left">Barcelona.</td></tr> +<tr><td align="left">1497.</td><td align="left">Barcum</td><td align="left">Barco (in Italy).</td></tr> +<tr><td align="left">1474.</td><td align="left">Basilea</td><td align="left">Basle.</td></tr> +<tr><td align="left">1470.</td><td align="left">{Berona, or<br /> +Beronis Villa }</td><td align="left">Beron Minster (in Switzerland).</td></tr> +<tr><td align="left">1487.</td><td align="left">Bisuntia</td><td align="left">Besançon.</td></tr> +<tr><td align="left">1471.</td><td align="left">Bononia</td><td align="left">Bologna.</td></tr> +<tr><td align="left">1485.</td><td align="left">Bravum Burgi</td><td align="left">Burgos.</td></tr> +<tr><td align="left">1472.</td><td align="left">Brixia</td><td align="left">Breschia.</td></tr> +<tr><td align="left">1475.</td><td align="left">Brugæ</td><td align="left">Bruges.</td></tr> +<tr><td align="left">1486.</td><td align="left">Brunna</td><td align="left">Brunn.</td></tr> +<tr><td align="left">1476.</td><td align="left">Bruxellæ</td><td align="left">Brussels.</td></tr> +<tr><td align="left">1473.</td><td align="left">Buda</td><td align="left">Buda.</td></tr> +<tr><td align="left">1485.</td><td align="left">Burgi</td><td align="left">Burgos.</td></tr> +<tr><td align="left">1484.</td><td align="left">Buscum Ducis</td><td align="left">Bois-le-duc.</td></tr> +<tr><td align="left">1478.</td><td align="left">Cabelia</td><td align="left">Chablies (in France).</td></tr> +<tr><td align="left">1480.</td><td align="left">Cadomum</td><td align="left">Caen.</td></tr> +<tr><td align="left">1475.</td><td align="left">Cæsar Augusta, or Caragoça</td><td align="left">Saragossa.</td></tr> +<tr><td align="left">1484.</td><td align="left">Camberiacum</td><td align="left">Chambery.</td></tr> +<tr><td align="left">1521.</td><td align="left">Cantabrigia</td><td align="left">Cambridge.</td></tr> +<tr><td align="left">1497.</td><td align="left">Carmagnola</td><td align="left">Carmagnola.</td></tr> +<tr><td align="left">1622.</td><td align="left">Carnutum</td><td align="left">Chartres.</td></tr> +<tr><td align="left">1494.</td><td align="left">Carpentoratum</td><td align="left">Carpentras.</td></tr> +<tr><td align="left">1486.</td><td align="left">Casale Major</td><td align="left">Casal-Maggiore.</td></tr> +<tr><td align="left">1475.</td><td align="left">Cassela</td><td align="left">Caselle (in Piedmont).</td></tr> +<tr><td align="left">1484.</td><td align="left">Chamberium</td><td align="left">Chambery.</td></tr> +<tr><td align="left">1482.</td><td align="left">Coburgum</td><td align="left">Coburg.</td></tr> +<tr><td align="left">1466.</td><td align="left">Colonia</td><td align="left">Cologne.</td></tr> +<tr><td align="left">1466.</td><td align="left">Colonia Agrippina</td><td align="left">Cologne.</td></tr> +<tr><td align="left">1466.</td><td align="left">Colonia Claudia</td><td align="left">Cologne.</td></tr> +<tr><td align="left">1460.</td><td align="left">Colonia Munatiana</td><td align="left">Basle.</td></tr> +<tr><td align="left">1466.</td><td align="left">Colonia Ubiorum</td><td align="left">Cologne.</td></tr> +<tr><td align="left">1474.<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></td><td align="left">Comum</td><td align="left">Como.</td></tr> +<tr><td align="left">1516.</td><td align="left">Conimbrica</td><td align="left">Coimbra.</td></tr> +<tr><td align="left">1505.</td><td align="left">Constantia</td><td align="left">Constance.</td></tr> +<tr><td align="left">1487.</td><td align="left">Cordova</td><td align="left">Cordova.</td></tr> +<tr><td align="left">1469.</td><td align="left">Coria</td><td align="left">Soria (in Old Castile).</td></tr> +<tr><td align="left">1500(about).</td><td align="left">Cracovia</td><td align="left">Cracow (Poland).</td></tr> +<tr><td align="left">1472.</td><td align="left">Cremona</td><td align="left">Cremona.</td></tr> +<tr><td align="left">1480.</td><td align="left">Culemburgum</td><td align="left">Culembourg (in Holland).</td></tr> +<tr><td align="left">1478.</td><td align="left">Cusentia</td><td align="left">Cosenza.</td></tr> +<tr><td align="left">1475.</td><td align="left">Daventria</td><td align="left">Deventer (in Holland).</td></tr> +<tr><td align="left">1477.</td><td align="left">Delphi</td><td align="left">Delft.</td></tr> +<tr><td align="left">1491.</td><td align="left">Divio</td><td align="left">Dijon.</td></tr> +<tr><td align="left">1490.</td><td align="left">Dola</td><td align="left">Dol (in France).</td></tr> +<tr><td align="left">1564.</td><td align="left">Duacum</td><td align="left">Douay.</td></tr> +<tr><td align="left"> </td><td align="left">Eblana</td><td align="left">Dublin.</td></tr> +<tr><td align="left">1509.</td><td align="left">Eboracum</td><td align="left">York.</td></tr> +<tr><td align="left"> </td><td align="left">Edemburgum</td><td align="left">Edinburgh.</td></tr> +<tr><td align="left">1440(?).</td><td align="left">Elvetrorum Argentina</td><td align="left">Strassburg.</td></tr> +<tr><td align="left">1491.</td><td align="left">Engolismum</td><td align="left">Angoulême.</td></tr> +<tr><td align="left">1482.</td><td align="left">Erfordia</td><td align="left">Erfurt.</td></tr> +<tr><td align="left">1472.</td><td align="left">Essium</td><td align="left">Jesi (in Italy).</td></tr> +<tr><td align="left">1473.</td><td align="left">Esslinga</td><td align="left">Esslingen (in Wurtemberg).</td></tr> +<tr><td align="left">1531.</td><td align="left">Ettelinga</td><td align="left">Etlingen.</td></tr> +<tr><td align="left">1471.</td><td align="left">Ferrara</td><td align="left">Ferrara.</td></tr> +<tr><td align="left">1471.</td><td align="left">Firenze</td><td align="left">Florence.</td></tr> +<tr><td align="left">1472.</td><td align="left">Fivizanum</td><td align="left">Fivzziano (in Tuscany).</td></tr> +<tr><td align="left">1471.</td><td align="left">Florentia</td><td align="left">Florence.</td></tr> +<tr><td align="left">1495.</td><td align="left">Forum Livii</td><td align="left">Forli (in Italy).</td></tr> +<tr><td align="left">1504.</td><td align="left">Francofurtum ad Mœnum</td><td align="left">Frankfort on the Maine.</td></tr> +<tr><td align="left">1504.</td><td align="left">Francofortum ad Oderam</td><td align="left">Frankfort on the Oder.</td></tr> +<tr><td align="left">1495.</td><td align="left">Frisinga</td><td align="left">Freysingen.</td></tr> +<tr><td align="left">1470.</td><td align="left">Fulgineum</td><td align="left">Foligno (in Italy).</td></tr> +<tr><td align="left">1487.</td><td align="left">Gaietta</td><td align="left">Gaeta.</td></tr> +<tr><td align="left">1490.</td><td align="left">Ganabum</td><td align="left">Orleans.</td></tr> +<tr><td align="left">1483.</td><td align="left">Gandavvm, or Gand</td><td align="left">Ghent.</td></tr> +<tr><td align="left">1478.</td><td align="left">Geneva</td><td align="left">Geneva.</td></tr> +<tr><td align="left">1474.</td><td align="left">Genua</td><td align="left">Genoa.</td></tr> +<tr><td align="left">1483.</td><td align="left">Gerunda</td><td align="left">Gerona (in Spain).</td></tr> +<tr><td align="left">1477.</td><td align="left">Gouda</td><td align="left">Gouda.</td></tr> +<tr><td align="left">1490.</td><td align="left">Gratianopolis</td><td align="left">Grenoble.</td></tr> +<tr><td align="left">1493.</td><td align="left">Hafnia</td><td align="left">Copenhagen.</td></tr> +<tr><td align="left"> </td><td align="left">Haga Comitum</td><td align="left">The Hague.</td></tr> +<tr><td align="left">1491.<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></td><td align="left">Hamburgum</td><td align="left">Hamburg.</td></tr> +<tr><td align="left">1491.</td><td align="left">Hamnionia</td><td align="left">Hamburg.</td></tr> +<tr><td align="left">1483.</td><td align="left">Harlemum (probably earlier date)</td><td align="left">Haarlem.</td></tr> +<tr><td align="left">1504.</td><td align="left">Helenopolis</td><td align="left">Frankfort on the Maine.</td></tr> +<tr><td align="left">1479.</td><td align="left">Herbipolis</td><td align="left">Wurtzburg.</td></tr> +<tr><td align="left">1476.</td><td align="left">Hispalis, or Colonia Julia Romana</td><td align="left">Seville.</td></tr> +<tr><td align="left">1483.</td><td align="left">Holmia</td><td align="left">Stockholm.</td></tr> +<tr><td align="left">1487.</td><td align="left">Ingolstadium</td><td align="left">Ingolstadt.</td></tr> +<tr><td align="left">1473.</td><td align="left">Lauginga</td><td align="left">Laugingen (in Bavaria).</td></tr> +<tr><td align="left">1483.</td><td align="left">Leida</td><td align="left">Leyden.</td></tr> +<tr><td align="left">1495.</td><td align="left">Lemovicense Castrum</td><td align="left">Limoges.</td></tr> +<tr><td align="left">1566.</td><td align="left">Leodium</td><td align="left">Liège.</td></tr> +<tr><td align="left">1503.</td><td align="left">Leucorea</td><td align="left">Wittemburg.</td></tr> +<tr><td align="left">1480.</td><td align="left">Lipsia</td><td align="left">Leipsic.</td></tr> +<tr><td align="left">1485.</td><td align="left">Lixboa</td><td align="left">Lisbon.</td></tr> +<tr><td align="left">1474(?).</td><td align="left">Londinum</td><td align="left">London.</td></tr> +<tr><td align="left">1474.</td><td align="left">Lovanium</td><td align="left">Louvain.</td></tr> +<tr><td align="left">1475.</td><td align="left">Lubeca</td><td align="left">Lubec.</td></tr> +<tr><td align="left">1477.</td><td align="left">Luca</td><td align="left">Lucca.</td></tr> +<tr><td align="left">1473.</td><td align="left">Lugdunum</td><td align="left">Lyons.</td></tr> +<tr><td align="left">1483.</td><td align="left">Lugdunum Batavorum</td><td align="left">Leyden.</td></tr> +<tr><td align="left">1499.</td><td align="left">Madritum</td><td align="left">Madrid.</td></tr> +<tr><td align="left">1483.</td><td align="left">Magdeburgum</td><td align="left">Magdeburg.</td></tr> +<tr><td align="left">1442(?).</td><td align="left">Maguntia</td><td align="left">Mayence.</td></tr> +<tr><td align="left">1732.</td><td align="left">Mancunium</td><td align="left">Manchester.</td></tr> +<tr><td align="left">1472.</td><td align="left">Mantua</td><td align="left">Mantua.</td></tr> +<tr><td align="left">1527.</td><td align="left">Marpurgum</td><td align="left">Marburg.</td></tr> +<tr><td align="left">1473.</td><td align="left">Marsipolis</td><td align="left">Mersburg.</td></tr> +<tr><td align="left">1493.</td><td align="left">Matisco</td><td align="left">Maçon.</td></tr> +<tr><td align="left">1470.</td><td align="left">Mediolanum</td><td align="left">Milan.</td></tr> +<tr><td align="left">1473.</td><td align="left">Messana</td><td align="left">Messina.</td></tr> +<tr><td align="left">1500.</td><td align="left">Monachium</td><td align="left">Munich.</td></tr> +<tr><td align="left">1470.</td><td align="left">Monasterium</td><td align="left">Munster (in Switzerland).</td></tr> +<tr><td align="left">1472.</td><td align="left">Mons Regalis</td><td align="left">Mondovi (in Piedmont).</td></tr> +<tr><td align="left">1475.</td><td align="left">Mutina</td><td align="left">Modena.</td></tr> +<tr><td align="left">1510.</td><td align="left">Nanceium</td><td align="left">Nancy.</td></tr> +<tr><td align="left">1471.</td><td align="left">Neapolis</td><td align="left">Naples.</td></tr> +<tr><td align="left">1493.</td><td align="left">Nannetes</td><td align="left">Nantes.</td></tr> +<tr><td align="left">1525.</td><td align="left">Nerolinga</td><td align="left">Nordlingen (in Suabia).</td></tr> +<tr><td align="left">1480.</td><td align="left">Nonantula</td><td align="left">Nonantola (in Modena).</td></tr> +<tr><td align="left">1469.</td><td align="left">Norimberga</td><td align="left">Nuremberg.</td></tr> +<tr><td align="left">1479.</td><td align="left">Novi</td><td align="left">Novi (near Genoa).</td></tr> +<tr><td align="left">1479.<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></td><td align="left">Noviomagium</td><td align="left">Nimeguen.</td></tr> +<tr><td align="left">1533.</td><td align="left">Neocomum</td><td align="left">Neuchatel.</td></tr> +<tr><td align="left">1494.</td><td align="left">Oppenhemium</td><td align="left">Oppenheim.</td></tr> +<tr><td align="left">1468.</td><td align="left">Oxonia</td><td align="left">Oxford (the date is disputed).</td></tr> +<tr><td align="left">1477.</td><td align="left">Panormum</td><td align="left">Palermo.</td></tr> +<tr><td align="left">1471.</td><td align="left">Papia</td><td align="left">Pavia.</td></tr> +<tr><td align="left">1470.</td><td align="left">Parisii</td><td align="left">Paris.</td></tr> +<tr><td align="left">1472.</td><td align="left">Parma</td><td align="left">Parma.</td></tr> +<tr><td align="left">1481.</td><td align="left">Patavia</td><td align="left">Passau (in Bavaria).</td></tr> +<tr><td align="left">1472.</td><td align="left">Patavium</td><td align="left">Padua.</td></tr> +<tr><td align="left">1475.</td><td align="left">Perusia</td><td align="left">Perugia.</td></tr> +<tr><td align="left">1479.</td><td align="left">Pictavium</td><td align="left">Poitiers.</td></tr> +<tr><td align="left">1483.</td><td align="left">Pisa</td><td align="left">Pisa.</td></tr> +<tr><td align="left">1472.</td><td align="left">Plebisacium</td><td align="left">Piobe de Sacco (in Italy).</td></tr> +<tr><td align="left">1478.</td><td align="left">Praga</td><td align="left">Prague.</td></tr> +<tr><td align="left">1495.</td><td align="left">Ratiastum Lemovicum</td><td align="left">Limoges.</td></tr> +<tr><td align="left">1485.</td><td align="left">Ratisbona</td><td align="left">Ratisbon.</td></tr> +<tr><td align="left">1480.</td><td align="left">Regium</td><td align="left">Reggio.</td></tr> +<tr><td align="left">1482.</td><td align="left">Reutlinga</td><td align="left">Reutlingen.</td></tr> +<tr><td align="left">1484.</td><td align="left">Rhedones</td><td align="left">Rennes.</td></tr> +<tr><td align="left">1503.</td><td align="left">Ripa or Ripis</td><td align="left">Ripen (in Denmark).</td></tr> +<tr><td align="left">1467.</td><td align="left">Roma</td><td align="left">Rome.</td></tr> +<tr><td align="left">1487.</td><td align="left">Rothomagum</td><td align="left">Rouen.</td></tr> +<tr><td align="left">1479.</td><td align="left">Saena</td><td align="left">Siena.</td></tr> +<tr><td align="left">1480.</td><td align="left">Salmantice</td><td align="left">Salamanca.</td></tr> +<tr><td align="left">1470.</td><td align="left">Savillianum</td><td align="left">Savigliano (in Piedmont).</td></tr> +<tr><td align="left">1474.</td><td align="left">Savona</td><td align="left">Savona.</td></tr> +<tr><td align="left">1483.</td><td align="left">Schedamum</td><td align="left">Schiedam.</td></tr> +<tr><td align="left">1479.</td><td align="left">Senæ</td><td align="left">Siena.</td></tr> +<tr><td align="left">1484.</td><td align="left">Soncino</td><td align="left">Soncino (Italy).</td></tr> +<tr><td align="left">1514.</td><td align="left">Southwark</td><td align="left">Southwark.</td></tr> +<tr><td align="left">1471.</td><td align="left">Spira</td><td align="left">Spires (in Pavaria).</td></tr> +<tr><td align="left">1465.</td><td align="left">Sublacense Monasterium. An independent monastery<br /> +about two miles distant from Subiaco, in the<br /> +Campagna di Roma.</td></tr> +<tr><td align="left">1484.</td><td align="left">Sylva Ducis</td><td align="left">Bois-le-duc.</td></tr> +<tr><td align="left">1471.</td><td align="left">Tarvisium</td><td align="left">Treviso (in Italy).</td></tr> +<tr><td align="left">1474.</td><td align="left">Taurinum</td><td align="left">Turin.</td></tr> +<tr><td align="left">1468.</td><td align="left">Theatrum Sheldonianum (the date is disputed)</td><td align="left">Oxford.</td></tr> +<tr><td align="left">1521.</td><td align="left">Tigurum</td><td align="left">Zurich.</td></tr> +<tr><td align="left">1479.</td><td align="left">Tholosa</td><td align="left">Toulouse.</td></tr> +<tr><td align="left">1480.</td><td align="left">Toletum</td><td align="left">Toledo.</td></tr> +<tr><td align="left">1473.</td><td align="left">Trajectum ad Rhenum</td><td align="left">Utrecht.</td></tr> +<tr><td align="left">1504.<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></td><td align="left">Trajectum ad Viadrum</td><td align="left">Frankfort on the Oder.</td></tr> +<tr><td align="left">1471.</td><td align="left">Trajectum Inferius</td><td align="left">Utrecht.</td></tr> +<tr><td align="left">1470.</td><td align="left">Trebia</td><td align="left">Trevi (in Italy).</td></tr> +<tr><td align="left">1483.</td><td align="left">Trecæ</td><td align="left">Troyes.</td></tr> +<tr><td align="left">1440 (?).</td><td align="left">Tribboccorum</td><td align="left">Strassburg.</td></tr> +<tr><td align="left">1483.</td><td align="left">Tricasses</td><td align="left">Troyes.</td></tr> +<tr><td align="left">1476.</td><td align="left">Tridentum Trent (in the Tyrol).</td></tr> +<tr><td align="left">1498.</td><td align="left">Tubinga</td><td align="left">Tübingen.</td></tr> +<tr><td align="left">1521.</td><td align="left">Turigum</td><td align="left">Zurich.</td></tr> +<tr><td align="left">1496.</td><td align="left">Turones</td><td align="left">Tours.</td></tr> +<tr><td align="left">1479.</td><td align="left">Tusculanum</td><td align="left">Toscolano (in Italy).</td></tr> +<tr><td align="left">1471(?).</td><td align="left">Ulma</td><td align="left">Ulm.</td></tr> +<tr><td align="left">1471.</td><td align="left">Ultrajectum</td><td align="left">Utrecht.</td></tr> +<tr><td align="left">1485.</td><td align="left">Ulyssipo</td><td align="left">Lisbon.</td></tr> +<tr><td align="left">1481.</td><td align="left">Urbinum</td><td align="left">Urbino.</td></tr> +<tr><td align="left">1474.</td><td align="left">Valentia</td><td align="left">Valentia.</td></tr> +<tr><td align="left">1474.</td><td align="left">Vallis S. Mariæ +<div class="figleft" style="width: 10px;"> +<img src="images/newbrace1.png" width="10" height="39" alt=" " title="" /></div> +Marienthal (an Augustine monastery<br /> +near Mentz, now suppressed).</td></tr> +<tr><td align="left">1469.</td><td align="left">Venetiæ</td><td align="left">Venice.</td></tr> +<tr><td align="left">1485.</td><td align="left">Vercellæ</td><td align="left">Vercelli.</td></tr> +<tr><td align="left">1470.</td><td align="left">Verona</td><td align="left">Verona.</td></tr> +<tr><td align="left">1487.</td><td align="left">Vesontio</td><td align="left">Besançon.</td></tr> +<tr><td align="left">1473.</td><td align="left">Vicentia</td><td align="left">Vicenza.</td></tr> +<tr><td align="left">1517.</td><td align="left">Vilna</td><td align="left">Wilna (in Russia).</td></tr> +<tr><td align="left">1482.</td><td align="left">Vindobona</td><td align="left">Vienna.</td></tr> +<tr><td align="left">1503.</td><td align="left">Vitemberga</td><td align="left">Wittemburg.</td></tr> +<tr><td align="left">1488.</td><td align="left">Viterbium</td><td align="left">Viterbo.</td></tr> +<tr><td align="left"> </td><td align="left">Vratislavia</td><td align="left">Breslau.</td></tr> +<tr><td align="left">1474.</td><td align="left">Westmonasterium</td><td align="left">Westminster.</td></tr> +<tr><td align="left">1475.</td><td align="left">Wirceburgum</td><td align="left">Wurtzburg.</td></tr> +</table></div> +<p><br /><br /></p> + +<div class="footnotes"><h3><br />FOOTNOTES:</h3> + +<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> <i>Vide</i> Pollard's <i>Last Words on the History of the Title-page</i> (Lond., +1891).</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> Some recent French publishers, such as Quantin and Rouveyre, +have imitated the practice in their editions for bibliophiles.</p></div><br /> +</div> + + +<hr style="width: 65%;" /> + +<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p> +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a><br />CHAPTER V.</h2> + +<h3><br />THE REASONS WHICH MAKE A BOOK VALUABLE—SCARCITY— +SUPPRESSED WORKS—SOME BOOKS WHICH HAVE BEEN +BURNED BY THE HANGMAN—WORKS PRIVATELY SUPPRESSED—WORKS +OF LIMITED ISSUE—TRANSACTIONS OF +LEARNED SOCIETIES—DEFECTS—"UNCUT" WORKS—IMPERFECT +COPIES—"MADE-UP" COPIES—FAC-SIMILE LEAVES—LAYING +DOWN—BOOKS PUBLISHED IN PARTS—LARGE-PAPER +COPIES.<br /><br /></h3> + + +<p><span class="dropcap">T</span>HE reasons which contribute to make up the pecuniary value +of a book depend on a variety of circumstances by no means +easy of explanation. It is a great mistake to suppose that +because a given work is scarce, in the sense of not often being +met with, it is necessarily valuable. It may certainly be so, +but, on the other hand, plenty of books which are acquired +with difficulty are hardly worth the paper they are printed +upon, perhaps because there is no demand for them, or +possibly because they are imperfect or mutilated.</p> + +<p>One of the first lessons I learned when applying myself to +the study of old books was never, on any account or under any +circumstances, to have anything to do with imperfect copies, +and I have not so far had any occasion to regret my decision. +It is perfectly true that no perfect copies are known of some +works, such, for example, as the first or 1562-3 English edition +of Fox's <i>Book of Martyrs</i>; but books of this class will +either never be met with during a lifetime, or will form, if met +with, an obvious exception to the rule. Fragments of genuine +Caxtons, again, sometimes sell by auction for two or three +pounds a single leaf, and even a very imperfect copy of any +of his productions would be considered a good exchange for a +large cheque; but these are exceptions and nothing more— +exceptions, moreover, of such rare practical occurrence as to be +<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> +hardly worth noting. In the vast majority of instances, when +a book is mutilated it is ruined; even the loss of a single plate +out of many will often detract fifty per cent. or more from the +normal value, while if the book is "cut down" the position is +worse. This lesson as a rule is only learned by experience, +and many young collectors resolutely shut their eyes to the +most apparent of truisms, until such time as the consequences +are brought fairly home to them. It is exceedingly dangerous +to purchase imperfect or mutilated books, or to traffic in them at +all. This position will be enlarged upon during the progress +of the present chapter.</p> + +<p>To return to the reasons which contribute to the value of +a book, it may be mentioned that "suppression" is one of the +chief. This is a natural reason; others are merely artificial, +which may be in full force to-day but non-existent to-morrow, +depending as they do upon mere caprice and the vagaries of +fashion: with these I have, in this volume at any rate, nothing +to do.</p> + +<p>De Foe, in his <i>Essay on Projects</i>, observes: "I have heard +a bookseller in King James's time say that if he would have a +book sell, he would have it burned by the hands of the common +hangman," by which he presupposed the existence of some +little secret horde which should escape the general destruction, +and which would consequently rise to ten times its value +directly the persecution was diverted into other channels. +This is so, for where an edition has been suppressed, and most +of the copies destroyed, the remainder acquire an importance +which the whole issue would never have enjoyed had it been +left severely alone. The Inquisition has been the direct cause +of elevating hundreds of books to a position far above their +merit, and the same may be said of Henry VIII., who sent +Catholic as well as Protestant books wholesale to the flames; +of Mary, who condemned the latter; of Edward VI., who +acquiesced in the destruction of the former; and of Elizabeth +and the two succeeding sovereigns, who delighted in a holocaust +of political pamphlets and libels.</p> + +<p>The Inquisition, with that brutal bigotry which characterised +most of its proceedings, almost entirely destroyed Grafton's +Paris Bible of 1538, with the result that the printing presses, +types, and workmen were brought to London, and the few +copies saved were completed here, to be sold on rare occasions +<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> +at the present day for as much as £160 apiece. There is +nothing in the Bible more than in any other; it is not particularly +well printed, but it has a history, just as the Scotch +Bassandyne Bible has, though in that case the persecution was +directed against persons who <i>declined</i> to have the book in their +houses, ready to be shown to the tax collector whenever he +chose to call. One Dr. James Drake, who in the year 1703 +had the temerity to publish in London his <i>Historia Anglo-Scotica</i>, +which contained, as was alleged, many false and +injurious reflections upon the sovereignty and independence +of the Scottish nation, had the pleasure of hearing that his +work had been publicly burned at the Mercat Cross of +Edinburgh, a pleasure which was doubtless considerably +enhanced when another venture—the <i>Memorial</i>—shared the +same fate in London, two years later. Drake had the honour +of hearing himself censured from the throne, of being imprisoned, +and of having his books burned, distinctions which +some people sigh for in vain at the present day. As a consequence, +the <i>Historia</i> and the <i>Memorial</i> are both desirable +books, and Drake's name has been rescued from oblivion.</p> + +<p>William Attwood's <i>Superiority and Direct Dominion of the +Imperial Crown of England over the Crown and Kingdom of +Scotland</i> (London, 4to, 1705) is another book of good pedigree +which would never have been worth the couple of guineas a +modern bookseller will ask for it, had it not been burned by +jealous Scotchmen immediately on its appearance.</p> + +<p>The massacre of St. Bartholomew produced a large crop of +treatises, and any contemporary book on the Huguenot side +is worth preservation, for a general search was made throughout +France, and every work showing the slightest favour to the +Protestants was seized and destroyed. Among them was +Claude's <i>Défense de la Réformation</i> (1683), which was burned +not only abroad, but in England as well, so great an ascendency +had the French Ambassador acquired over our Court.</p> + +<p>Bishop Burnet's <i>Pastoral letter to the Clergy of his Diocese</i> +(1689) was condemned and burned for ascribing the title of +William III. to the Crown, to the right of conquest. The +<i>Emilie</i> and the <i>Contrat Social</i> of Jean Jacques Rousseau +shared the same fate, as did also <i>Les Histoires</i> of d'Aubigné +and Augustus de Thou.</p> + +<p>Baxter's <i>Holy Commonwealth</i> went the way of all obnoxious +books, in 1688; the <i>Boocke of Sportes upon the Lord's Day</i>, in +1643; the Duke of Monmouth's proclamation declaring James +<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> +to be an usurper, in 1685; Claude's <i>Les Plaintes des Protestans</i>, +in 1686.</p> + +<p>Harris' <i>Enquiry into the Causes of the Miscarriage of the +Scots Colony at Darien</i> (Glasgow, 1700); Bastwicke's <i>Elenchus +Religionis Papisticæ</i> (1634); Blount's <i>King William and Queen +Mary, Conquerors</i>, &c. (1692); the second volume of Wood's +<i>Athenæ Oxoniensis</i> (1793); De Foe's <i>Shortest Way with the +Dissenters</i> (1702); Pocklington's <i>Sunday no Sabbath and +Altare Christianum</i> (1640); Sacheverel's <i>Two Sermons</i> (1710); +and Coward's <i>Second Thoughts concerning the Human Soul</i> +(1702), were all burned by the hangman, and copies destroyed +wherever found.</p> + +<p>Perhaps the most extraordinary instance of a work being +destroyed for positively nothing at all is furnished by Cowell's +<i>Law Dictionary</i>, which was sent to the flames by order of King +James the First himself. This dictionary, and indeed every +one of the books mentioned as having been subjected to the +purification of fire, are now rare historical landmarks, and +consequently both extrinsically and intrinsically valuable. +Hence the reason of the high prices frequently demanded +for them and for other works of this class.</p> + +<p>The remaining copies of editions which were suppressed by +their authors, or which have escaped accidental destruction, are +frequently of considerable value. In the former class, Rochester's +<i>Poems</i> and Mrs. Seymour's <i>Account of the Origin of the +Pickwick Papers</i> are prominent examples; in the latter, the +third folio edition of Shakespeare's Plays (1664), almost the +entire impression of which was destroyed in the Great Fire of +London. Dugdale's <i>Origines Juridiciales</i> (London, folio, 1666) +was also almost entirely destroyed at the same time. Books +coming under one or other of these classes are to be met with, +and the note-book should always be at hand, so that a memorandum +can be jotted down before the reference is lost. This +course is adopted by the most experienced bibliographers, as +well as by the amateur who wishes to become proficient in a +study which is pleasant and profitable when conscientiously +undertaken, but difficult and worse than useless to those who +will not take the trouble to learn the rudiments of their science.</p> + +<p>Works of limited issue are sometimes, but not always, +nor indeed often, of especial value. It has been the practice +for some years among publishers to issue works on what +<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> +is nothing more nor less than the old subscription plan; +but, unlike the hungry poets of old, who trudged the +streets taking the price of copies in advance, the publishers +keep faith with their subscribers. The edition is limited +to a given number of copies, after which the type is +distributed, and the plates—if the work is illustrated—broken +up. Many speculators in books have endeavoured +from time to time to "corner" editions so limited in +quantity, buying at the published price, and subsequently +selling again at an increased amount. In this way considerable +sums have been <i>lost</i>, for works published on this plan have a +decided tendency to fall in the market, and when this is the +case they seldom if ever recover their former position. +Hogarth's works, published in 1822, by Baldwin and Cradock, +is a very good example of this tendency. The work was +originally issued at £50, and the impressions, taken from +Hogarth's original plates, restored, however, by Heath, are +consequently of full size. There is a secret pocket at the end +containing three suppressed and highly indecent plates, which +considerably add to the value. I myself have many a time seen +this large and sumptuous book knocked down in the auction +room at sums varying from £3 to £5, and once bought a good +copy by private contract for £4 10s. Ottley's <i>Italian School of +Design</i> is another example. This work when on large paper, +with proof impressions of the 84 tinted fac-similes of original +drawings by Cimabue, Giotto, Guercino, and other famous +painters, is worth about £3 by auction. The published price +in 1823 was no less than £25 4s. The issue of each of these +works was limited, but neither have succeeded in retaining +its position in popular favour, and in all probability will decline +still further in the market as time goes on.</p> + +<p>The lesson to be learned here is that such phrases as +"only 100 copies printed," or "issue strictly limited to 50 +copies," frequently to be observed in publishers' and auctioneers' +catalogues, should be taken <i>cum grano salis</i>. The description +may be accurate, but it does not follow that the limitation +necessarily increases the value of the book. On the contrary, +it may be well imagined that the publisher hesitated to launch +the book entirely on its own merits, seeking rather the extraneous +inducement of a "limited number". The earlier +editions of Ruskin's works are an exception to the rule, for +that author's reputation is deservedly great, and he is, moreover, +<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> +master of his own books, which from choice he has, until +the last year or two, preferred to render difficult of access.</p> + +<p>Volumes of transactions and proceedings of learned societies +usually have a market value, which fluctuates much less than +is usually the case. These being supplied to members only, +and rarely published for purposes of sale, may be said to be +both privately printed and limited in issue at the same time. +As a rule they increase proportionately in value as the series +becomes more complete, and a point once reached, they +generally maintain it. Hence works of this character are safe +investments—perhaps the safest of any.</p> + +<p>The result of every investigation into the causes which +regulate the value of books has shown conclusively that +no publication is of great worth merely <i>because</i> it is scarce. +The scarcity is a secondary and not a primary cause. Highly +appreciated English publications of the sixteenth and two following +centuries may be counted by thousands; but the number +of inferior treatises, which have long ago sunk into eternal +oblivion, which never were of any value, and never will be, are +as the sand on the sea-shore.</p> + +<p>However scarce and valuable a book may be, it must be +remembered that the element of perfection has yet to be taken +into account. It does not by any means follow that, because +a copy of one of Shakespeare's 4tos is worth £300, another +copy of the same 4to edition will be of equal value. It may +be worth more or less, and here it is that the critical eye of the +<i>connoisseur</i> and dealer tells. Defects, such as a tear in the +cover or any of the leaves, stains, worm-holes, and the like, +detract from the value; if these are entirely absent, the value +may, on the contrary, be raised above the average. The fact +of a rare book being "uncut," and in the original sound binding, +clean, and free from blemishes, considerably add to its +value.</p> + +<p>The first part of a book to get worn out is the binding, for +some one or more of its previous owners are almost certain to +have ill-treated it either by bending the covers until they crack, or +by leaving the work exposed to the rain and damp. When the +volume is coverless, and usually not before, it will have been re-bound, +and the binder will, in ninety-nine cases out of every hundred, +have trimmed the edges, that is to say, planed them smooth +with a machine he has for the purpose. Sometimes he will +have cut as much as half-an-inch from the top, and nearly +<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> +as much from the other edges; on other occasions, he may +have been more merciful; but the result is the same, the book +is damaged beyond hope of redemption, and the only question +is as to the extent of the injury. The term "uncut," so often +seen in catalogues, is, therefore, a technical term, meaning that +the edges are left in the same condition as they were when the +book was originally issued. It does not mean that the leaves +are "not cut open," as so many people appear to think, but +simply that the binder, with a fine sense of what is due to a +volume of importance, has for once kept his shears in his +pocket. The value of a book which has been cut is reduced +to an extent proportionate to the quantum of injury inflicted: +from 50 to 75 per cent. is the usual reduction, but many works +are altogether destroyed. If a scarce book is sent to be re-bound, +the binder should have the clearest instructions, in +writing, that he is not to trim the edges. Should he do so, +notwithstanding the direction, a by no means impossible contingency, +he will do it at his own risk, and can be made to suffer +the consequences.</p> + +<p>Imperfect volumes are always a source of great inconvenience +to the collector. First-class bookselling firms will not allow +an imperfect book to leave their hands without notice to the +purchaser, and, as a consequence, they charge a higher price +than would be the case if the latter exercised his own judgment. +There are mutual advantages to be gained in dealing +with first-class people, for, if a mistake is made on one side or +the other, there is usually no difficulty in rectifying it afterwards. +Fine old crusted book-worms of the John Hill +Burton type prefer, however, to exercise their own discretion in +these matters, looking upon that as no inconsiderable part of +the pleasure to be derived from the pursuit of their favourite +occupation. They do not care to pay for being taught, at least +not directly, and make it part of their business to find out +for themselves whether a copy offered for sale is perfect or +the reverse. As each page is usually numbered, there is no +difficulty in ascertaining whether any are missing; not so with +the plates, for, unless there is an index to these, the loss of one +or two may hardly be noticed until the book comes to be collated +with another copy known to be complete. This is a risk +which the book buyer has to run, though, as a matter of practice, +he protects himself when the purchase is an expensive one, +and the dealer a man of credit.</p> + +<p><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> +In buying books at a cheap rate, or, in other words, when +making a bargain either at a shop or an ordinary street-stall, +the purchaser will have to observe the maxim, "Caveat emptor," +and it will probably not be until he arrives home with his treasure +under his arm that he will have the satisfaction of ascertaining +that his bargain is a real one, or the mortification of +adding another imperfect book to the long row already on his +shelf.</p> + +<p>Imperfect books are frequently what is called "made up," +that is, completed from other copies, themselves imperfect in +other respects. One complete book is worth more than two +incomplete ones, and many desirable specimens, in the public +libraries and elsewhere, are made up so well that it is frequently +impossible to detect the hand of the renovator.</p> + +<p>So long as all the leaves of a made-up book are of the same +measurement, there would not seem to be much objection to +this practice, but there certainly is when the paper of the interpolated +leaves is different from the rest, or smaller in size, +which it will be if cut down by the binder. Great care must +be taken to see that neither of these defects is present, especially +when, from the value of a book offered for sale, it may have +been worth anyone's while to perfect it.</p> + +<p>Another point to be observed in the purchase of very expensive +and valuable works is, that none of the leaves have +been fac-similed. These fac-similes are done by hand, and +frequently so well that they cannot be detected without the aid +of a strong glass. The late Henry Stevens tells a good story +of a customer of his—Mr. Lenox, of New York, the founder +of the Lenox Library, and a most indefatigable collector up +to the last hour of his life. "Mr. Lenox was," says Stevens, +"principled against raffles, wagers, lotteries, and games of +chance generally, but I once led him into a sort of bet in this +way, by which I won from him £4. I had acquired a fair +copy of that gem of rare books, the quarto edition of <i>Hariot's +Briefe and True Report of the New Found Land of Virginea</i> +(London, Feb., 1588), wanting four leaves in the body of the +book. These I had very skilfully traced by Harris, transferred +to stone, printed off on old paper of a perfect match, the book +and these leaves sized and coloured alike, and bound in +morocco by Bedford. The volume was then sent to Mr. +Lenox to be examined by him <i>de visu</i>, the price to be £25; +but, if he could detect the four fac-simile leaves, and would +<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> +point them out to me without error, the price was to be reduced +to £21. By the first post, after the book was received, +he remitted me the 20 guineas, with a list of the fac-similes, +but on my informing him that two of <i>his</i> fac-similes were +originals, he immediately remitted the four pounds, and acknowledged +his defeat."</p> + +<p>This Harris, whose name is prominently mentioned, was +probably the greatest adept at this species of imitation who +ever lived, and many important but defective works, now in the +British Museum, left his hands, to all appearance, in first-rate +order and condition.</p> + +<p>"Laying down" is a technical term used to express the +process of re-backing a torn plate or engraving. Many of the +Shakespeare folios have the portrait and verses by Ben Jonson +laid down or "re-laid," as the catalogues generally describe it. +This, of course, can be detected at a glance, and it may be +stated positively that a laid-down plate, frontispiece, or title is +looked upon as a serious blemish, inferior only to the entire +absence of one or more of the three.</p> + +<p>Worm-holes, stains, fox-marks, and other flaws also detract +from value; but as many of these may be removed by a judicious +application of proper remedies, a special chapter will be +reserved for their consideration. The market value of a book is +thus composed of many elements, the chief of which is "condition"—above +all things, a broad margin, and next, to that, +leaves of spotless white.</p> + +<p>I have already stated that where editions of the works of +famous modern authors containing plates were originally issued +in parts, such parts should, on no account, be bound up in +volume form. The result of such a course cannot be better +illustrated than by taking the well-known <i>Pickwick Papers</i> +as our example, and studying the following prices, all realised +at auction quite recently:—</p> + +<p><i>Posthumous Papers of the Pickwick Club</i>, original ed., +with illustrations by Seymour & Browne, and the Buss plates, +<i>complete in numbers</i>, 1837, 8vo, £8 10s.; £12 14s.; £8 10s.; +£6 5s.; £11 5s.</p> + +<p><i>Posthumous Papers of the Pickwick Club</i>, original ed. +(<i>bound</i>), with illustrations by Seymour & Browne, and the Buss +plates, 1837, 8vo, £1 (half calf), £1 1s. (half calf), £3 (calf +extra), £2 12s. (half morocco extra), £2 5s. (half calf extra), +£1 7s. (half morocco extra), £3 10s. (calf, gilt, an unusually +<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> +clean copy, recently sold at the Mackenzie sale). The evidence +furnished by these quotations is conclusive, and illustrates +the principle better than anything else can do, that, in the +present state of the English book market, it is the height of +folly to bind up original parts of this nature. If, however, +it must be done, the depreciation in value may be reduced to a +minimum by binding in the best style, and taking care that not +only all the covers, but even the pages of advertisements, are +bound up also. On no account must the edges be cut, or in +any way tampered with, or the value will sink from pounds to +shillings on the instant.</p> + +<p>I shall conclude this chapter by calling attention to the expression +"large paper," so often noticed. It has been the +practice for many years, on publishing certain classes of books, +to print off a limited number of copies on "large paper," or +paper of a larger size than that used for the ordinary copies. +Thus, the second edition of Bewick's <i>Birds</i>, in 2 vols., 1804, +is found in no less than three sizes, ordinary copies in demy +8vo, large paper copies in royal 8vo, and largest paper in imperial +8vo. The text is in each instance precisely the same, +but the books themselves are larger in size as we ascend the +scale. The well-known <i>Badminton Library</i> of sports and +pastimes is printed in two sizes, and as large paper copies are +invariably limited in number, their value is always greater than +that of their more humble brethren. Whether they maintain +their original published value is another question which can +only be solved by reference to particular cases as and when +they arise.<br /><br /></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></p> +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a><br />CHAPTER VI.</h2> + +<h3><br />THE RENOVATION OF BOOKS—DAMP—GREASE MARKS—SURFACE +STAINS—BOOK WORMS AND OTHER PESTS.<br /><br /></h3> + + +<p><span class="dropcap">T</span>HE great enemy of books is unquestionably damp, which +corrodes the paper, covering it with reddish brown spots, or, in +extreme cases, patches. These unsightly marks, if once they +have taken a firm hold, cannot be removed, and the most that +can be hoped for is some preventive against an aggravation +of the evil. Damp, unlike mere surface stains, attacks the +tissue of the paper, rotting it completely through, and not +infrequently destroying it altogether. It is like a vital disease +which insinuates itself into the very seat of life, and, with +more or less despatch, consumes its victim.</p> + +<p>Unslaked lime, as is well known, has a strong affinity for +moisture of every kind, and when there is plenty of this +substance about, damp is irresistibly attracted to it. Small +saucers full of lime should therefore be placed in close +proximity to valuable books, on the shelves if necessary, but +never in immediate contact with the books themselves, or the +remedy will be as bad as the disease to be guarded against. +The action of lime upon moisture has been very well known +for centuries, yet no one seems to have thought of applying it +to this useful purpose, and books have been doomed to slow +but sure destruction for the want of a precaution as simple as +it is obvious. Only the other day a correspondent, writing to +an American bibliographical journal, pointed out what he called +a new remedy against damp, which turned out to be based +upon nothing else than the well-known relationship which +exists between lime and water. If damp has only just commenced +its attack, the part affected should first be touched +with a wash of spirits of wine, and when dry with a very weak +solution of oxalic acid. If the "fox spots," as they are called, +<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> +do not then disappear, the injury is permanent and no remedy +exists, as far as we at present know.</p> + +<p>A really valuable book which stands in need of a thorough +cleaning should be placed in the hands of some competent +person, as considerable experience is necessary before even a +reasonable degree of success can be assured. If the marks to be +obliterated are numerous, the book had better be taken to +pieces by removing the cover and separating the leaves, first +cutting the binder's threads and taking especial care not to <i>tear</i> +anything. Each leaf must then be examined, both on the flat +and when held up to the light, for it is essential that the +particular description of dirt should be identified as closely as +possible.</p> + +<p>If grease is apparent, it should first of all be removed, as +its presence will interfere with some of the subsequent processes. +With this object, the leaf must be laid perfectly flat on a sheet +of glass and the grease marks damped out with a pad of cotton +wool moistened with benzine. Rubbing is never resorted to; +the spots must be merely patted over and over again until +they disappear, which they will do after a time. Sometimes +the text itself will vanish as well, but whether it will do so or +not depends upon the character of the paper and the quality +of the printer's ink. If there is any danger, benzine should +not be used, as the whole sheet may be cleared of grease marks +almost equally well by covering it with a layer of chalk, placing +a piece of blotting paper on the top of it, and pressing with a +hot iron. Each leaf will, if necessary, have to be treated in the +same way, and it may occasionally be found necessary to work +on both sides of the paper.</p> + +<p>When this process is complete, the next step is to give each +leaf a good general cleaning, and this may be done effectually +by placing it in a leaden trough and pouring upon it a shallow +surface of water. Two or three days of exposure to the rays +of the sun will bleach the paper perfectly white, and all kinds +of stains except fixed dyes will come out. The leaf is then +dried (not in the sun or it will turn yellow), and is ready for +the next process. It may happen that the sun is not available +for this, or, indeed, any other purpose, and when such is the +case, the surface dirt may be bleached off with a solution of +chloride of lime in the proportion of one part to forty of water. +The paper must be soaked in cold water before this mixture is +<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> +poured on it, and both sides must be operated upon. This +solution being essentially weak—if it were otherwise it would +eat into the material—it is possible that it may be found +unequal to the task of removing some of the more obstinate +stains, which must therefore be touched with nitro-hydrochloric +acid. Finally, the leaf must be well washed in a stream of +running water, and allowed to dry naturally.</p> + +<p>Another method of removing surface stains sometimes used +by restorers is to cover the paper with a thin layer of fine +powdered salt. Lemon juice is then squeezed on the surface +in sufficient quantities to dissolve the mineral, and the subject +finally washed in boiling water. The chief objection to this +process is the use of hot water, which, as may well be imagined, +is apt to pulp the paper, or in some cases even to efface the +printed text.</p> + +<p>Stains which cannot be removed by these processes are of +several kinds. Lead pencil marks, for instance, will become +fixed if the paper is damped, and they should therefore be +helped out first of all with fine bread crumbs. Indian ink +stains give way before a camel's hair brush and a cup of hot +water, and all kinds of grease marks yield to benzine, turpentine, +or ammonia.</p> + +<p>Lead stains can be got rid of by an application of peroxide +of hydrogen, or even hydrochloric acid; but the greatest care +will have to be exercised in handling the latter, or it will +corrode the paper in a very short time, causing it to crack and +break to pieces. If mixed with its own weight of water, and to +three parts of this compound one part of red oxide of lead is +added, its power for evil will be very materially diminished; +but even under these circumstances it is dangerous to use.</p> + +<p>Each of these remedies has to be very carefully undertaken, +as the fatty matters in the printer's ink are exceedingly liable +to resolve, in which case the book will be spoiled. With care +and attention I doubt not that almost any book can be very +materially improved, if not made quite as good as new, by a +combination of the processes described; and the best plan is +to practise on some dirty and worthless specimen until the +requisite degree of proficiency is attained.</p> + +<p>A "Literary Note" in the magazine entitled <i>Book Lore</i> for +July, 1887, observes as follows: "The renovation of books +is, of course, a work of art in itself, and so clever are experts in +the manipulation thereof, that many a dirty and decrepit +<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> +volume has left their hands looking quite fresh and new. One +of the most difficult processes has hitherto been to take dirt +off the leaves without injuring the print. With this object +bread crumbs were at one time used; but modern science has +discovered three ways of effecting the same object in a much +more satisfactory manner. Oxalic acid, citric acid, and tartaric +acid, when in solution, will eliminate every trace of dirt +without in any way acting on the printer's ink. Writing ink +is not, however, proof against the attack of any one of the +three, and this, too, being considered for the most part as +'dirt,' comes out with the rest. If the leaf is afterwards +bleached with chloride of lime, the regenerating process is +complete. The remedy for oil stains, it may be observed, is +sulphuric ether. If the stains are extensive, it is best to roll +up each leaf and insert it into a wide-mouthed bottle half full +of ether, shaking it gently up and down for a minute or so. +On its removal the oil marks will be found to have disappeared, +and, as ether rapidly evaporates, a little cold water is all that is +afterwards required. Mineral naphtha and benzoline each +possess the property of dissolving oils fixed and volatile, +tallow, lard, wax, and other substances of this class."</p> + +<p>Worm-holes, another source of disquietude to the collector, +are caused by grubs, which are popularly supposed to be the +larvæ of beetles. They bore a circular hole through all the +leaves, utterly destroying the appearance of any volume upon +which they have fixed their attention.</p> + +<p>The book worm has a pedigree in comparison with +which the family tree of a Howard or a Talbot is a wretched +weed. Lucian, in days remote, chides the voracious worm, +and other ancient authors have called attention to its ravages. +Another pest, called the "acarus," feeds on the paste and glue +in the binding; in fact, these two parasites between them will +very quickly digest the contents of an ordinary-sized book +unless steps are taken for their destruction. The late Sir +Thomas Phillipps, in a communication to the British Association +in 1837, observes: "My library being much infested with +insects, I have for some time turned my attention to the modes +of destroying them, in the course of which I observed that the +larva of certain kinds of beetles does not seek the paper for +food, nor the leather, but the paste. To prevent their attacks, +therefore, in future bound books the paste used should be +mixed up with a solution of corrosive sublimate, or, indeed, +<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> +with any other poisonous ingredient. But to catch the perfect +insects themselves, I adopt the following plan: <i>Anobium striatum</i> +commonly deposits its ova in beech wood, and is more +partial, apparently, to that than any other wood. I have beech +planks cut, and smear them over, in summer, with pure fresh +paste (<i>i.e.</i>, not containing anything poisonous). I then place +them in different parts of the library where they are not likely +to be disturbed; the beetles flying about the room in summer +time readily discover these pieces of wood, and soon deposit +their eggs in them. In winter (chiefly) the larva is produced, +and about January, February, and March I discover what +pieces of wood contain any larvæ by the sawdust lying under +the planks, or where it is thrown up in hillocks on the top of +them. All the wood which is attacked is then burnt for +firewood: by this simple method I have nearly extirpated +<i>Anobia</i> from my library."</p> + +<p>To surprise and capture a book worm was at one time +looked upon as an impossible task; but lately a few successes +have been chronicled, but only a few. In order to ward off +their insidious attacks, many devices more or less satisfactory +have been proposed, but none appear to be absolutely preventative. +Dr. Hermann, a noted bibliophile of Strassburg, +after careful experiments, has come to the conclusion that a +combination of safeguards such as he suggests will have the +desired effect of putting to flight not only the worm itself but +all other enemies of the library, always excepting biblioklepts +and borrowers, against whom there is no defence. The combination +suggested by Dr. Hermann certainly seems sufficiently +powerful to resist almost any attack, in the same degree that a +huge man-of-war may be considered invulnerable when exposed +to the assaults of some cockle-shell of a boat. The only +objection is the immense amount of trouble and labour +involved in preparation, as will readily be perceived after a +perusal of the preventives, ten in number.</p> + +<p>1. Abolish the use of any wood in the binding processes. +2. Recommend the bookbinder to use glue mixed with alum +in place of paste. 3. Brush all worm-eaten wood in the +repositories of books with oil or lac varnish. 4. Preserve books +bound in calf by brushing over with thin lac varnish. 5. No +book to lie flat. 6. Papers, letters, documents, &c., may be +preserved in drawers without any danger provided the wafers +are cut out and that no paste, &c., is between them. 7. The +<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span> +bookbinder is not to use any woollen cloth, and to wax the +thread. 8. Air and dust the books often. 9. Use laths +separated one from the other one inch in place of shelves. +10. Brush over the insides of bookcases and the laths with lac +varnish.</p> + +<p>Dr. Hermann cannot at any rate be charged with any such +sentimental regard for "vermin" as that which influenced Mr. +Day, a well-known book hunter of the earlier part of the +present century. One day, upon removing some books at the +chambers of Sir William Jones, a large spider dropped upon the +floor, upon which Sir William, with some warmth, said, "Kill +that spider, Day! Kill that spider!" "No," said Mr. Day, +with that coolness for which he was so conspicuous, "I will +not kill that spider, Jones; I do not know that I have a right +to do so. Suppose, when you are going in your carriage to +Westminster Hall, a superior being, who perhaps may have as +much power over you as you have over this insect, should say +to his companion, 'Kill that lawyer! Kill that lawyer!' +How should you like that? I am sure to most people a +lawyer is a more noxious insect than a spider."</p> + +<p>The simplest protection yet discovered against book worms +is a liberal use of common snuff, which should be sprinkled all +over the shelves, the process being repeated every three or four +months. This is almost infallible, and probably quite as +effectual as Dr. Hermann's ten preventives rolled into one. +There is no magic in the art of preserving books—the great +art is to be able to get them, and to know what to buy and +how much to give for them. This acquired, the rest will come +easily enough. The contents of a whole treatise on the custody +and preservation of books might be very accurately and succinctly +summed up in a few lines. Keep out damp, let the shelves be +lined if possible with good leather, and last, but by no means +least, look at the insides of your books as well as at the +outsides.</p> + +<p>Collectors of books are continually being asked to lend +volumes which happen to take the passing fancy of a friend or +even chance acquaintance, and it is frequently a matter of +some delicacy to refuse. Not one person in a hundred knows +how to treat a book properly, and the borrower is therefore +usually regarded as but one degree removed from an enemy. +Curiously enough, the famous bibliophile, Grolier, stamped his +books with a motto of invitation, "<i>Jo Grolierii et Amicorum</i>". +<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> +So did Charles de Savigny, who went to even greater lengths +still with his legend, "<i>Non mihi sed aliis</i>". The private history +of neither of these enthusiasts states how they fared, or how +many choice tomes were returned dog-eared and stained, even +if they were returned at all. For my part I possess no books +that I should fear to lend, as my whole library consists of +"working copies," useful, probably, but not valuable. The +amateur who is the proud owner of a single book out of the +common should hide it from the borrower even as from a +book worm. He may well lay the couplet which graced the +library doors of Pixérécourt to his heart:—</p> + +<blockquote><p> +"<i>Tel est le triste sort de tout livre prêté<br /> +Souvent il est perdu, toujours il est gâté</i>".<br /> +<br /><br /></p></blockquote> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span></p> +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a><br />CHAPTER VII.</h2> + +<h3><br />THE ALDINE PRESS.<br /><br /></h3> + + +<p><span class="dropcap">T</span>HE revival of classical literature in Europe is generally assigned +to the middle of the fifteenth century, and is, perhaps, coeval +with the invention of printing, when for the first time it became +possible to multiply books not only rapidly but without the +multitude of mistakes which invariably occurred in ordinary +manuscripts. We have seen that in the palmy days of Rome +some of the large publishing houses were quite capable of +turning out extensive editions at a few hours' notice. No +modern type-setter could possibly keep pace with one of the +trained slaves of Atticus, and when some hundreds of the latter +were assembled in a room transcribing the MS. of some favourite +author through the medium of a professional reader, many +copies would be completed in an incredibly short space of time. +If, however, the reader made a mistake, it would be faithfully +and universally reproduced, while in addition each transcriber +might fairly be credited with a number of errors of his own. +To this extent the printing press was a great improvement. If +it did its work more slowly, less workmen were required; and +though each movement of the machine would perpetuate the +same errors, these might be reduced to a minimum by the +very simple expedient of carefully reading and correcting the +"proofs".</p> + +<p>The year 1450 ushered in, as is supposed, the great art +which was destined to revolutionise the world; and although +the pen was employed for many years after that, it gradually +gave place to its more convenient if less nimble rival, taking at +last a position more congenial to it. "The pen for the brain, +<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> +the press for reproduction," became henceforth a motto which +had for its basis a new division of labour as convenient as it +was efficacious.</p> + +<p>In the same year,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> at Sermonetta, a little Italian town, +Aldus Manutius, the great printer and editor, first saw the +light. The earlier portion of his life was devoted entirely +to scholastic duties and in preparing himself, by hard and +assiduous study of the Greek and Latin classics, for the +more important work of revising and printing the text. It +was not until 1490 that the preliminaries were complete, and +he found himself, with a little money and an immense stock +of knowledge, a comparative stranger at Venice, where +already 160 printers and publishers had been engaged for +some time in glutting the market with almost worthless +books. The old Greek manuscripts especially were a source +of inconceivable trouble and continual annoyance. They +were written for the most part in bastard characters, and +crowded with mistakes and omissions, the result of some +hundreds of years of repeated transcriptions. They were, +moreover, almost as difficult to procure as they were corrupt in +text. Nor was this the only difficulty that faced the intrepid +pioneer editor. Greek was a language but rarely used, having +given place to Latin in all but the most cultivated circles; the +demand for books in that character was accordingly limited, +while even at that early period competition was ruinous. To +say nothing of the army of printers at Venice, there was a large +number at Rome who more than supplied the Italian and +foreign markets, turning out books in such profusion that the +important and oldest printing house, that of Sweinheym & +Pannartz, was compelled to petition the Pope to save themselves +from bankruptcy. In their petition they state that they +had printed no less than 12,475 separate volumes, a statement +most likely exaggerated, but none the less cogent evidence of +the fierce struggle which was being carried on when Aldus +determined to swell the ranks of the already crowded profession.</p> + +<p>He was disgusted with the slipshod efforts of the ignorant +proprietors of these numerous printing shops, who were so +eager to forestall one another that they could not pay any +<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> +attention to the quality of their work, even assuming they +had the aptitude for doing so. He took his stand upon +his accomplishments alone, apparently not doubting for +an instant that conscientious work, coupled with a +superior education, would in the long run repay him for +the years of anxious toil which he well knew would be his +lot.</p> + +<p>The Greek types of Rome, Milan, and Florence, hitherto +in use, and all cut to a single pattern, were abominable, and +Aldus commenced by casting types of his own. A fount of +Roman and Italian letters consisted of only 24 capital and an +equal number of small letters—the J and U were the same as I +and V—but a complete collection of Greek types with all the +varied accents and double characters, with which the language +abounds, amounted to no less than 600. Many of these he +was compelled at the outstart to forego, and he set to work +upon his first book, the <i>Grammatica Græca</i> of Lascaris, with barely +a tithe of that number. It was well that Aldus should commence +with this work, for it was the first which had been +printed in Greek, some eighteen years previously by Paravisinus, +of Milan, whose small and crabbed type presents a remarkable +contrast to that of Manutius. Closely following upon this +venture comes the <i>Editio Princeps</i> of Aristotle, which, in its 5 vols. +folio, is unquestionably the most splendid and lasting monument +of the Aldine press. It was issued, one volume at a time, +between the years 1495-8, and was sold by the editor and +publisher for a sum equivalent to about £5 of our money. +Next comes the <i>Editio Princeps</i> of Aristophanes, also in folio, +and dated 1498, which, like all the other productions of this +press at that early date, was printed from large open types +with broad margins. The expense of production and consequent +cost of these sumptuous volumes were great, too great in +fact to command a speedy sale, and Aldus at last began to +realise that it was infinitely preferable to print and sell a large +number of works at a cheap price than a smaller number at a +high one. Accordingly he had a more minute fount of type +cast, and in April, 1501, published his famous <i>Virgil</i>, a small +book of 228 unpaged leaves, measuring not quite 8 inches +by 4. The text, so it is said, was modelled after the neat +handwriting of Petrarch, and became known throughout +Italy as the Aldino type, though in France it was called +<i>Italic</i>, the name it goes by to this day throughout Europe. +<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> +This book was sold for about 2s. of our money, and was +the first serious attempt ever made to produce cheap printed +classics.</p> + +<p>No sooner was the success of this venture assured than an +unknown printer of Lyons took advantage of the opportunity +to issue a wretched reprint, alike in every detail except the +quality of the workmanship. Aldus' painstaking textual corrections +were slavishly copied: even his title-page was stolen, and +the whole immoral production foisted on the public as a +genuine example from Venice, and at a little more than half +the cost. Horace and Juvenal, Martial and Ovid, shared the +same fate as fast as they issued from the legitimate press; +the Lyonnese printer was as persevering as he had proved himself +unscrupulous, and kept good time with the movements of +Aldus. But the fame of the latter was proof against servile +imitations, his types alone being so extravagantly praised by his +admirers that there were some who seriously contended that +their beauty was owing to the silver of which they were made. +There is, indeed, no mistaking them, and the collector has +only to place an original side by side with one of the reprints +from Lyons, to fix the superiority distinctly and irrevocably +in his mind. Aldus during his life printed altogether 126 +editions known to bibliographers, 78 of which are in quarto +or folio, and many in two or more volumes. Some of these +consist of choice copies printed on white linen paper, notably +the <i>Opera</i> of Ovid and Plutarch, and many more passed +through several editions during his lifetime and after his +death, which, to the great loss of the world of letters, +took place on the 6th February, 1515, when he was 65 years +of age.</p> + +<p>The distinguishing mark of the Aldine press is the well-known +dolphin and anchor which first makes its appearance on +the edition of the <i>Terze Rime</i> of Dante of 1502, and with few +exceptions on all the books afterwards issued from the press. +The story is that Aldus was engaged in printing Columna's +<i>Hypnerotomachia Poliphili</i>, which appeared in 1499 (a good +copy sold in February last for £80), and which contained +numerous illustrations, most probably by Andrea Mantegna. +One of these represents a dolphin twining about an anchor, a +mark so pleasing to Aldus that he subsequently adopted it, +using it over his office door as well as on the title-pages of all +his books.</p> + +<div class="figcenter" style="width: 358px;"><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> +<br /> +<img src="images/060a.png" width="358" height="400" alt="The first Aldine Anchor, 1502-1515." title="" /> +<br /><br /><span class="caption">The first Aldine Anchor, 1502-1515.</span><br /><br /> +</div> + +<div class="figcenter" style="width: 300px;"><br /> +<img src="images/060b.png" width="400" height="245" alt="Mark of A. Torresano, and that of his Sons." title="" /> +<br /><br /><span class="caption">Mark of A. Torresano, and that of his Sons.</span> +<br /><br /></div> + +<p>At the death of Aldus Manutius his son Paolo, or Paulus, +being only three years of age, went to reside with his maternal +uncle Andrea Torresano, himself a famous printer of Asola, who +subsequently, with his sons, carried on the Aldine press at Venice +for the benefit of the parties interested. From that date until +1524 most, if not all, of the books printed at the press bear the +imprint: "In ædibus Aldi et Andreæ Asulani soceri," and though, +as usual, bearing the anchor, a fresh block had been cut which +slightly alters its appearance.</p> + +<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span><br /><br /></p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/061.png" width="300" height="307" alt="The second Aldine Anchor, 1519-1524. Last appearing in this +form on the "Homer" of 1524, the first anchor being again +used from 1524 to 1540." title="" /> +<br /><br /><span class="caption">The second Aldine Anchor, 1519-1524. Last appearing in this +form on the "Homer" of 1524, the first anchor being again +used from 1524 to 1540.</span> +<br /><br /></div> + +<p>From the year 1524 to 1529, when Torresano died, an exact +copy of the <i>first</i> anchor was again employed and continued to +be so used until 1540, when Paulus Manutius, the son of +Aldus, took exclusive possession of his father's business. It +will be noted that during the three years following the death of +Torresano (1530-31-32) no books were issued from the press; +and when it recommenced operations in 1533, it was for the +benefit of Paulus Manutius and the representatives of Torresano +"In ædibus hæredum Aldi Manutii et Andreæ Asulani +soceri". In 1540, as before stated, Paulus Manutius took +entire control of the business, and a third variation of the +anchor was introduced, the inscription on the title-pages being +"apud Aldi Filios".</p> + + + +<div class="figcenter" style="width: 386px;"> +<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span><br /><br /> +<img src="images/062.png" width="337" height="400" alt="The third Aldine Anchor, 1540-1546, called the Ancora grassa." title="" /> +<br /><br /><span class="caption">The third Aldine Anchor, 1540-1546, called the Ancora grassa.</span><br /><br /> +</div> + +<div class="figcenter" style="width: 500px;"><br /><br /> +<img src="images/062b.png" width="500" height="330" alt="The fourth Aldine Anchor, 1546-1554." title="" /> +<br /><br /><span class="caption">The fourth Aldine Anchor, 1546-1554.</span><br /><br /> +</div> + +<p>From 1546 to 1554 yet another variation of the anchor +was adopted, sometimes without the surrounding device. In +1555 a slight modification of the <i>third</i> anchor, surrounded +<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> +sometimes with scroll work, came into fashion again, and so +continued until the death of Paulus Manutius on the 6th of +April, 1574.<br /><br /></p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/063.png" width="500" height="333" alt="Modification of the third Anchor, 1555-1574." title="" /> +<br /><br /><span class="caption">Modification of the third Anchor, 1555-1574.</span><br /><br /> +</div> + +<p>With the death of Paulus, the glory of the Aldine press +departed. He, like his father, had patiently striven to infuse +neatness and accuracy into his work, and is said to have been +in every respect his equal.</p> + +<p>Aldus, the son of Paulus, who is known among bibliographers +as "the younger," had not perhaps the same opportunities as +were afforded to his predecessors. The art of printing had +advanced universally, and there was not so much room for +improvement as there had been formerly. He printed in a +good, but by no means exceptional, style, from 1574 until the +time of his death in 1597, when the Aldine press ceased to exist. +During a period of 103 years some 823 books had been issued, +many of which are among the prizes of book collecting.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>Aldus Junior, like his father and grandfather, used the +<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> +anchor, but between the years 1575-81 it is so hidden in the +foliage of a magnificent coat-of-arms which had been granted to +the family by the Emperor Maximilian, that it is likely to be +overlooked by any who have not made the Aldine press their +special study.<br /><br /></p> + +<div class="figcenter" style="width: 407px;"> +<img src="images/064.png" width="407" height="500" alt="The Aldine Anchor, enclosed in a coat-of-arms, as used by Aldus +Junior, 1575-1581. On some occasions, and always after +the latter date, he used the anchor alone, sometimes +without the word ALDVS." title="" /> +<br /><br /><span class="caption">The Aldine Anchor, enclosed in a coat-of-arms, as used by Aldus +Junior, 1575-1581. On some occasions, and always after +the latter date, he used the anchor alone, sometimes +without the word ALDVS.</span><br /><br /> +</div> + +<p>The collector will need to be cautioned against accepting every +work bearing the anchor as a genuine example from the Aldine +press. Some are mere forgeries, but so badly executed as to +deceive nobody who has seen half-a-dozen of any of the +originals. Some printers assumed the mark by licence, as did +Torresano, who used Anchor No. 3, with the words "Ex Aldina +Bibliotheca," and occasionally Anchor No. 1, but, these exceptions +apart, it may usually be taken for granted that a book if +well printed and bearing the mark in question is authentic. If +<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> +any doubt exists it is easy to turn to the pages of Renouard, +where every genuine example is catalogued and described. +Some fifty years ago, Aldine collectors were more numerous +than they are now, and as a consequence prices were higher. +This particular branch of bibliography demands the sacrifice of +much time, and cannot be even approached without a fair +knowledge of Latin, Greek, and French. As a consequence, +the new school of collectors, whose knowledge of those languages +is not always as well grounded as it might be, have long since +severed their allegiance from old traditions and now confine +their attention to sober English, where, it must be admitted, +there is plenty of scope for good work.</p> + +<p>Even yet, however, the earlier productions of the Aldine +press maintain their former position: perhaps they have even +surpassed it, for as specimens of ancient typography they stand +unrivalled. Reference is made chiefly to works dated before +1500, and to such exceptional specimens as the <i>Virgil</i> of 1501, +some of which are still worth more than their weight in gold. +The majority of works from this famous press have, however, +fallen enormously in value of late years, as witness the fine copy +of Augurellus, 1505, 8vo, beautifully bound in blue morocco, +which quite recently was sold by auction for less than a +sovereign: some few years ago it would have brought three +times the amount, and been considered cheap even then.</p> + +<p>By way of illustration, I cannot do better than give a few +examples of modern prices, comparing them with the approximate +amounts which would have been obtained some +twenty-five or thirty years ago.</p> + +<blockquote><p><i>Homeri Opera</i>, 2 vols. 8vo, red morocco extra, gilt edges, +<i>Venetiis</i>, Aldus, 1524, £3 15s. Would have sold for £9 +or £10.</p> + +<p><i>Silius Italicus de Bello Punico</i>, old Venetian binding, gold +tooling, lettered in gold, gilt edges, <i>Venetiis</i>, Aldus, 1523, +£1 18s. Would have sold for about £5.</p> + +<p><i>Virgilius, cura Aldi Pii Manulii</i>, red morocco, gilt edges, +by Roger Payne, <i>Venetiis</i>, Aldus, 1514, £4 5s. Sold in +1825 at from £10 to £12 in equally good binding.</p> + +<p><i>Psalterium Græce</i>, a fine copy, in blue morocco, with gilt +edges, <i>Venetiis</i>, Aldus, no date, but about 1498, £12. +Notwithstanding the fact that this is one of the few +fifteenth century books from the Aldine press, its value +has declined about 25 per cent.</p> + +<p><i>Quintiliani Institutiones</i>, fine copy in russia, gilt edges, +<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> +<i>Venetiis</i>, Aldus, 1521, on title 1522, 14s. Former price +about £4.</p> + +<p><i>Aristophanis Comœdiæ</i>, first edition, fine copy in russia, +gilt edges, <i>Venetiis</i>, Aldus, 1498, a rare book, £4. +Former price about £15.</p> + +<p><i>Thucydidis Historia</i>, first edition, and one of the few copies +printed on fine paper, old russia, gilt, <i>Venetiis</i>, Aldus, +1502, a very scarce book in this condition, £2 14s. +Former price from £12 to £15.</p></blockquote> + +<p>The above examples are taken from a single catalogue, and, +if occasion demanded, the list could be indefinitely increased. +They will, however, be sufficient to show that if the good old +days when Eliot's <i>Indian Bible</i> of 1661, now worth considerably +more than £500, could have been got for thirty shillings +or less, are not likely to return, there is yet plenty of opportunity +for picking up rare books at a moderate price, and for +much less than would at one time have had to be paid for +them.</p> + +<p>Who knows that the fashion will not change again some +day, and that the most coveted of all volumes will not be +choice examples from the Aldine press?<br /><br /></p> + + + +<div class="footnotes"><h3><br />FOOTNOTES:</h3> + +<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> M. Firmin-Didot inclines to the year 1449 for the date of Aldus' +birth—<i>vide</i> his <i>Alde Manuce et l'Hellenisme à Venise</i>, p. 1, Paris, 1875.</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> In addition to this number there are about sixty "Doubtful +Editions". The number of recognised Forgeries is about forty-five.<br /><br /></p></div><br /> +</div> + + +<hr style="width: 65%;" /> + +<div class="figcenter" style="width: 500px;"> +<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> +<br /><img src="images/067.png" width="500" height="126" alt="The Elzevir Buffalo's Head, from the "Cæsar" of Leyden, 1635." title="" /> +<span class="caption">The Elzevir Buffalo's Head, from the "Cæsar" of Leyden, 1635.</span> +<br /><br /></div> +<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a><br />CHAPTER VIII.</h2> + +<h3><br />THE ELZEVIR PRESS.<br /><br /></h3> + + +<p><span class="dropcap">I</span>F Aldine collectors were at one time numerous and enthusiastic, +amateurs who affected the Elzevir press, and were +never tired of extolling the excellence of the little books which +issued therefrom, were more so. Long before the death of the +last member of the great printing family, a whole mass of rules, +some of them arbitrary, others founded on subtle distinctions, +were already regarded as binding on the community of bibliomaniacs +which looked upon <i>L'Aimable Mère de Jésus</i> as their +pole-star, and <i>Le Pastissier François</i> as something to be seen +only on rare occasions, and to be touched, if touched at all, +with bated breath.</p> + +<p>There is something harsh, comparatively speaking, about +Aldus and his works. He was the taciturn, frugal-living man +of letters, who for five years, as he himself confesses, never +spent a single peaceful hour save when he was asleep. His +very doors were barred with the inscription—</p> + +<blockquote><p>"Whoever you are, Aldus entreats you to be brief. When you have +spoken, leave him."</p></blockquote> + +<p>Compared with this grim old editor-printer of a bygone age, +the Elzevirs one and all were literary children, playing with +their master's text—children who never grew old, and whose +many liberties were not only endured, but excused out of +consideration for their engaging ways. They were pirates, too, +without exception, but they turned you out well. If they +mutilated your text, they at any rate supplied you with the +best of paper, ornaments and type; from their hands you +emerged a well-dressed gentleman, a little ignorant perhaps, +but decidedly aristocratic.<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> + +<p>A short sketch of the history of the Elzevir family will be +found useful for reference:—</p> + +<p>The founder of the family, Louis, was born at Louvain in +1540, and, curiously enough, as in the case of Aldus Manutius, +did not establish himself at the scene of his future labours +until he was forty years old. In 1580 he started as a bookbinder +and bookseller at the University city of Leyden, and at +first confined his attention entirely to retailing such works as +fell into his hands. Three years later, however, he set up a +press and printed his first book, the <i>Drusii Ebraicarum quæstionum +ac responsionum</i>, 8vo, 1583, which, though desirable, is +not to be compared, either in intrinsic merit or in value, with +some of the latter productions of the press; in fact, what are +known as the "good dates" do not commence until the latter +portion of the year 1625. Louis died in 1617, and is remarkable +only as the founder of a famous family of printers; not +one of his 123 different books can be considered important +from a collector's point of view; and although a specialist +would no doubt endeavour to make his collection as complete +as possible, and with that object might be disposed to pay +more for these early examples than anyone else might think it +worth his while to pay, even he, if well advised, would draw the +line at anything like lavish expenditure. Louis left five sons, +whom, with a view to further development, it is necessary to +bear in mind—Matthieu, Louis, Gilles (Giles), Joost (Justus), +and Bonaventure. The last-named son—Bonaventure—commenced +business on his own account as a printer in 1608, and +on the death of his father in 1617 he took the management +of the Elzevir press. In 1626 he took into partnership +Abraham, a son of Matthieu, and the newly-constituted firm, +which continued to exist until 1652, are entitled to most of +the credit which attaches to the name of Elzevir.</p> + +<p>Though the Greek and Hebrew works issued by this +firm are inferior to those of Aldus and the Estiennes, +their small editions of the Latin and French Classics in +12mo, 16mo, and 24mo cannot be surpassed for elegance +of design, neatness, clearness, and regularity of type, as +well as for the beauty of the paper which they used. +Mention may be made especially of the <i>Novum Testamentum +Græcum</i>, 1624 and 1633; the <i>Psalterium Davidis</i>, +1635 and 1653; the <i>Virgil</i> of 1636; and the <i>Comediæ</i> of +Terence, 1635; though the works which gave the press its chief<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> +celebrity were the collection of French authors on History and +Politics, in 24mo, known as <i>Petites Republiques</i>, and the series +of Latin, French, and Italian Classics, in small 12mo.</p> + +<p>It seems to be an almost universal belief that all the works +issued from the Elzevir press are small in bulk, and various +terms, more or less foolish, have been invented by careless or +incompetent persons to give expression to this idea. One of +them, and perhaps the most hideous of them all, is "dumpy +twelves". In the first place, works issued from the Elzevir press +in 12mo are perfectly symmetrical in shape, and not at all dumpy; +and, secondly, many books are in 4to, some even in folio, as, +for example, the <i>Académie de l'Espée</i>, printed by Bonaventure +and Abraham in 1628. The amateur must avoid being misled +by the poetical effusions which from time to time make their +appearance, and which for the most part are written by persons +who know nothing whatever of the subject. To obtain a +rhyme for "Elzevir" is difficult, but it has been done at much +sacrifice of common-sense.</p> + +<p>Jean, the son of Abraham above mentioned, was introduced +into the firm in 1647, five years before it came to an end +through the death of the two partners in 1652. On this latter +event taking place, he entered into partnership with Daniel, +the son of Bonaventure, but the firm was not very successful, +and was dissolved by mutual consent in 1655. Jean continued +to trade on his own account until 1661, when he died, and Daniel +joined Louis, the third of that name, and son of the second +Louis, who had been printing at Amsterdam since 1638.</p> + +<p>From 1655 to 1666 Daniel and Louis printed a series of +Latin Classics in various sizes. Louis died in 1670, and Daniel +ten years later.</p> + +<p>We now come to the closing years of the press, though +reference must be made <i>en passant</i> to Isaac, another son of +Matthieu, who established a press at Leyden in 1616, and continued +to print there until 1625. None of his editions, however, +attained any fame.</p> + +<p>The last representatives of the Elzevir family were Peter, +the grandson of Joost, who, during the years 1667-75, printed +seven or eight volumes of little consequence, which were published +at Utrecht, and Abraham, the grandson of the first +Abraham, who, from 1681 to 1712, was University printer at +Leyden. As the family pedigree is considerably involved, or, +like most other pedigrees, appears to be so at first sight, I give<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> +a chart for the convenience of the reader, with the dates during +which each member of the family flourished, omitting, however, +the names of many other members of the family, who do +not enter into the scope of the inquiry, and who were, in +fact, not printers at all.<br /></p> + +<table border="0" cellpadding="0" cellspacing="0" width="100%" summary="Family Tree" style="font-size: 80%;"> + + <tr> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 10%;"> </td> + </tr> + + <tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td colspan="2" class="tdc"><i>Louis</i>,<br />Printer at Leyden,<br />1583-1617.</td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td class="bbr"> </td> + <td> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="tbr"> </td> + <td class="trbr"> </td> + <td class="tbr"> </td> + <td class="trbr"> </td> + <td class="tbr"> </td> + <td class="trbr"> </td> + <td class="tbr"> </td> + <td class="trbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td colspan="2" class="tdc"><i>Matthieu</i>,<br />Printer at Leyden,<br />1616-22.</td> + <td colspan="2" class="tdc"><i>Louis</i>,<br />a Bookseller<br />at La Haye. + <a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></td> + <td colspan="2" class="tdc">Gilles,<br />a Bookseller<br />at La Haye.</td> + <td colspan="2" class="tdc">Josse,<br />a Bookeller<br />at Utrecht.</td> + <td colspan="2" class="tdc"><i>Bonaventure</i>,<br />Printer at Leyden,<br />1617-52.</td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td rowspan="5" class="rbr"> </td> + <td rowspan="5" class="lbr"> </td> + <td colspan="2" rowspan="5" class="tdc"><i>Louis</i>,<br />Printer at Amsterdam,<br />1638-64.</td> + <td rowspan="5"> </td> + <td rowspan="5"> </td> + <td colspan="2" class="tdc">Peter.</td> + <td colspan="2" rowspan="5" class="tdc"><i>Daniel</i>,<br />Printer at Leyden,<br />1652-55;<br />at Amsterdam,<br />1655-80.</td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + </tr> + + <tr> + <td class="brbr"> </td> + <td class="blbr"> </td> + <td class="bbr"> </td> + <td> </td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td class="trbr"> </td> + <td class="tlbr"> </td> + <td class="trbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td colspan="2" class="tdc"><i>Abraham</i>,<br />Printer at Leyden,<br />1626-52.</td> + <td colspan="2" class="tdc"><i>Isaac</i><br />Printer at Leyden,<br />1617-25.</td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + </tr> + + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td colspan="2" class="tdc"><i>Jean</i>,<br />Printer at Leyden,<br />1652-61.</td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td colspan="2" class="tdc"><i>Peter</i>,<br />Publisher at Utrecht,<br />1667-75.</td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td class="rbr"> </td> + <td class="lbr"> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + </tr> + + <tr> + <td colspan="2" class="tdc"><i>Abraham</i>,<br />Printer at Leyden,<br />1681-1712.</td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + </tr> + +</table> + + + + +<p><br />The number of works issued from the press of the Elzevirs, +whether at Leyden, Amsterdam, or Utrecht, numbers, according +to Willems, 1608 different publications, of which 1213 bear +the name or mark of the firm which issued them. Of these +latter, 968 are in Latin, 126 in French, and the remainder in +Greek, Flemish, German, Italian, and Hebrew. There is also +a single volume, printed in English, which seems to have +escaped the notice of bibliographers. It is entitled "<i>Confession</i><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> +<i>of Faith, and the Larger and Shorter Catechisme, &c.</i>, Amsterdam, +printed by Luice Elsever, for Andrew Wilson, and are to be sold +at his shop in Edinburgh, 1649". It is usually stated in works +of reference that none of the Elzevir publications were printed +in English, but the above, if it is genuine, affords an exception.</p> + +<p>As every amateur is aware, the Elzevirs frequently—but +not always—marked their title-pages with devices, of which +the most frequent were the Sphere, the Hermit, Minerva, and +the Eagle on a cippus (low column) holding in its claws a sheaf +of seven arrows. As each firm adopted or relinquished the +family marks to suit its convenience at the time, it becomes +necessary to tabulate them for the purpose of avoiding confusion. +The number in brackets gives the total number of books, not +including catalogues, produced by the firm to which it is +annexed.</p> + +<p class="center"><br /><br /> +<span class="smcap">The Leyden Press.</span><br /> +</p> + +<p><i>Louis Elzevir.</i> 1583-1617 (102 books).<br /> +<span style="margin-left: 2em;">Marks.—A hand, with the device—"Æqvabilitate".</span><br /> +<span style="margin-left: 6em;">An angel with a book.</span><br /> +<span style="margin-left: 6em;">The Eagle (with seven darts representing the</span><br /> +<span style="margin-left: 7em;">seven provinces of the Netherlands) on a</span><br /> +<span style="margin-left: 7em;">cippus, with the inscription—"Concordia res</span><br /> +<span style="margin-left: 7em;">parvæ crescunt" (most frequent).</span><br /> +<span style="margin-left: 6em;">A book of music, opened.</span><br /> +<br /> +<i>Matthieu and Bonaventure Elzevir.</i> 1617-1622 (71 books).<br /> +<span style="margin-left: 2em;">Marks.—The Eagle on a cippus.</span><br /> +<span style="margin-left: 6em;">The book of music, opened.</span><br /> +<span style="margin-left: 6em;">The Hermit, first appearing on the <i>Acta Synodi</i></span><br /> +<span style="margin-left: 7em;"><i>Nationalis</i>, 1620 (Isaac Elzevir), motto—"Non</span><br /> +<span style="margin-left: 7em;">solus".</span><br /><br /> +</p> + + + +<div class="figcenter" style="width: 400px;"> +<img src="images/071.png" width="400" height="322" alt="Illustration" title="" /> +</div> +<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> +<p><br /><br />Of the three marks mentioned above the first and last were +more usually employed.</p> + +<p> +<i>Isaac Elzevir.</i> 1617-1625.<br /> +<span style="margin-left: 2em;">Marks.—Two hands holding a cornucopia (rare).</span><br /> +<span style="margin-left: 6em;">The Eagle on the cippus.</span><br /> +<span style="margin-left: 6em;">The Hermit.</span><br /> +<br /> +<i>Bonaventure and Abraham Elzevir.</i> 1622-1652 (514 books).<br /> +<span style="margin-left: 2em;">Marks.—The Hermit (most frequent).</span><br /> +<span style="margin-left: 6em;">The Eagle on a cippus.</span><br /> +<span style="margin-left: 6em;">The Sphere, first appearing on the <i>Sphæra</i></span><br /> +<span style="margin-left: 7em;"><i>Johannis de Sacro-Bosco</i>, 1626.</span><br /> +<span style="margin-left: 6em;">The Arms of the University.</span><br /> +<span style="margin-left: 6em;">A palm tree with the device "Assvrgo pressa".<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></span><br /> +<span style="margin-left: 6em;">Minerva, with her attributes (the olive tree and</span><br /> +<span style="margin-left: 7em;">the owl) and the motto "Ne extra oleas".</span><br /> +</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/072a.png" width="400" height="402" alt="" title="" /> +</div> + + + +<table class="lata" summary="Arms"> +<tr><td><i>Jean and Daniel Elzevir</i>. 1652-1655 (55 books).<br /> +Marks.—The Sphere (frequent).<br /> +The Hermit (frequent).<br /> +The Arms of the University.<br /></td> +<td><div class="figcenter" style="width: 268px;"> +<img src="images/072b.png" width="268" height="350" alt="" title="" /> +</div></td></tr> +</table> + + +<p><br /><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> +<p> +<i>Jean Elzevir.</i> 1655-1661 (113 books).<br /> +<span style="margin-left: 1em;">Marks.—The Hermit.</span><br /> +<span style="margin-left: 5em;">The Sphere.</span><br /> +<br /> +<i>The Widow and Heirs of Jean Elzevir.</i> 1661-1681 (48 books).<br /> +<span style="margin-left: 1em;">Marks.—The Hermit.</span><br /> +<span style="margin-left: 5em;">Two Angels holding an open book; motto—"Immortalité".</span><br /> +</p> + +<p>Of the books printed by this firm, some bear the imprint: +"A Leide, chez Pierre Didier," and also "Ex Officina Danielis +et Abrahami à Gaasbeeck".</p> + +<p> +<i>Abraham Elzevir.</i> 1681-1712 (24 books).<br /> +<span style="margin-left: 1em;">Marks.—The Hermit (most frequent).</span><br /> +<span style="margin-left: 5em;">The Arms of the University; motto—"Hæc</span><br /> +<span style="margin-left: 6em;">libertatis ergo".</span><br /> +</p> + +<p>[The total number of books printed by the Leyden firm from +1583 to 1712 (129 years) is thus 938.]</p> + + +<p class="center"><br /><br /> +<span class="smcap">The Hague Press.</span><br /> +</p> + +<p> +<i>Louis Elzevir II.</i> 1590-1621 (9 books).<br /> +<br /> +<i>Jacob.</i> 1621-1636 (3 books).<br /> +<span style="margin-left: 1em;">[A total of 12 books in 31 years.]</span><br /> +</p> + +<p class="center"><br /><br /><span class="smcap">The Amsterdam Press.</span><br /> +</p> +<p><i>Louis Elzevir III.</i> 1638-1655 (231 books).<br /> +<span style="margin-left: 1em;">Marks.—The Sphere.</span><br /> +<span style="margin-left: 5em;">Minerva (most frequent).</span><br /> +<br /> +<i>Louis and Daniel Elzevir.</i> 1655-1664 (150 books).<br /> +<span style="margin-left: 1em;">Marks.—The Sphere.</span><br /> +<span style="margin-left: 5em;">Minerva (most frequent).</span><br /> +<br /> +<i>Daniel Elzevir.</i> 1664-1680 (260 books).<br /> +<span style="margin-left: 1em;">Marks.—The Sphere.</span><br /> +<i>The Widow of Daniel Elzevir.</i> 1680-1681 (7 books).<br /> +<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> +<span style="margin-left: 5em;">Minerva.</span><br /> +<span style="margin-left: 1em;">Marks.—Minerva.</span><br /> +<span style="margin-left: 5em;">The Sphere; motto—"Indefessus Agendo".</span><br /> +<span style="margin-left: 5em;">The Eagle; motto—"Movendo".</span><br /> +</p> + +<p>[A total of 658 books in 43 years.]</p> + +<p>After seven books had been published by the representative +of Daniel Elzevir, the business was wound up. The ornamental +punches, &c., by Christopher Van Dyck, were sold, and most +probably melted down.</p> + +<p class="center"><br /><span class="smcap">The Utrecht Press</span> (so called, though it was merely a<br /> +<span style="margin-left: 3em;">publishing centre).</span><br /> +</p> + +<p><i>Peter Elzevir.</i> 1667-1675 (10 books).<br /> +<span style="margin-left: 1em;">Marks.—The Sphere.</span><br /> +<span style="margin-left: 5em;">The Hermit.</span><br /> +<span style="margin-left: 5em;">Minerva sitting under an olive tree; motto—"Pallas</span><br /> +<span style="margin-left: 6em;">Trajectina semper Augusta".</span><br /> +</p> + +<p>[The total number of books produced by the whole family +during 129 years amounts to 1618 works.]</p> + +<p>The above are the chief, but by no means the only, marks +used by the various members of the family. The few which +have not been noticed occur only at rare intervals, and are of +but little importance. One device, representing a bees' nest, +with a fox and the motto "Quaerendo," though frequently +ascribed to the Elzevirs, is in reality none of theirs, being the +mark of Abraham Wolfgang, a Dutch printer of considerable +repute.</p> + +<p>The Elzevirs, as before stated, were pirates, who thought +nothing of reproducing the full title-page, with the original +publisher's name, and, when this is the case, it is often a +matter of very great difficulty to distinguish between the +original and the reprint. Again, when these printers did not +wish to put their name to any particular work, for fear of +embroiling themselves with the Government, they either +marked it with the Sphere or else adopted a pseudonym. +Thus Jean and Daniel frequently marked their title-pages "A +Leyde, chez Jean Sambix," the Amsterdam printers occasionally +adopted "Jacques le Jeune," while "Nic Schouter" was a +favourite fictitious name. These pseudonyms are, however, +much less numerous than was at one time supposed. The +<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> +first reproduction of the <i>Provincial Letters</i>, by Louis and +Daniel Elzevir, of Amsterdam, bears on the title-page, +"A Cologne, chés Pierre de la Vallée, 1657"; that of +1659, by Jean Elzevir, of Leyden, has "A Cologne, chez +Nicolas Schoute". A <i>Recueil de Diverses Pièces servant à +l'Histoire de Henry III.</i>, &c., bears "A Cologne, chez Pierre +du Marteau"; <i>Les Imaginaires</i>, of the Sieur de Damvilliers, +in its two parts purports to be issued "A Liége, chez +Adolphe Beyers". <i>Il Divortio Celeste</i>, with other works of +Pallavicini, dates from Villafranca, while other undoubted +productions of the Elzevir press were ostensibly published +"A Mons, chez Gaspard Migeot; Londini, typis Du +Guardianis; Stampati in Cosmopoli," and so on, through +a list which, difficult enough to remember, is yet not very +extensive.</p> + +<p>It will be readily seen that the knowledge requisite for a +collector to possess, if indeed he wishes to become a master of +his subject, is of no mean order, for not only must he have the +family pedigree at his fingers' ends, and be capable of detecting +a pseudonymous or pirated work, but he must also be in a +position to appreciate the "right dates," and to detect an improper +head or tail piece when he sees it. Some books which +pass as Elzevirs are in reality spurious, even though marked +with the "Sphere" or other device; others, though coming +from the press, are inferior editions, "not of the right date," +as the specialist puts it.</p> + +<p>One of the most beautiful little books ever issued from the +Elzevir or any other press is the <i>Cæsar</i> of 1635, which, on +referring to the table, we shall see must have been printed by +Bonaventure and Abraham at Leyden.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> It is in 12mo, and +there are no less than three editions, the first and second being +so much alike that no one could detect the difference without +the most careful of careful inspections. The "right" <i>Cæsar</i> is +the first, and may be recognised from the Buffalo's Head on a +scroll at the head of the dedication. Pages 149, 335, and 475 +are misprinted 153, 345, and 375 respectively in the first +edition, and there are 35 lines to the page. The second +edition, which has not, pecuniarily speaking, a tenth part of +the value, has 37 lines to the page, and the misprints are corrected. +Another fine work, the <i>Comediæ</i> of Terence, Leyden, +<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> +1635, 12mo, passed through five editions, all of which are very +much alike. The first and "right" edition has, however, on +page 51, the word <i>laches</i> printed in red, while page 101 is improperly +numbered 69. In the second edition <i>laches</i> is in +black, in the fifth it changes to red again, so that the greatest +caution has to be exercised lest the first and fifth editions +should be confounded. The former is worth much more than +the latter, as the unfortunate purchaser will find to his cost +when he comes to sell again.</p> + +<p>As previously stated, the "good dates" begin from 1625, +the year when Bonaventure and Abraham went into partnership +at Leyden, and any books dated from that year to +1655, when Jean and Daniel dissolved partnership, are +most likely to be of value, provided only the right +edition is forthcoming. Daniel was, however, by far the best +printer in the family, though some make an exception in favour +of Bonaventure and Abraham; and as he continued in business +at Amsterdam, either by himself or in conjunction with Louis +from 1655 to 1680, those dates must also be considered +"good". From the Amsterdam press, in 1655, issued that +prize of Elzevir collectors, the <i>Pastissier François</i>, and the +splendid <i>Virgil</i> of 1676 in <i>grand</i> as well as <i>petit format</i>, or as +we should say in English, on large and small paper. The +halcyon days of the press at Leyden date from 1625 to 1655; +those of the press at Amsterdam from 1655 to 1680.</p> + +<p>It is, of course, impossible for anyone, be he dealer or +amateur, to carry in his head all these details and distinguishing +marks, and reference in cases of doubt will have to be made to +Willem's <i>Les Elzevier</i>, a work which has superseded all others +on the subject. With this book at hand it is difficult to go +wrong, as the minutest points of difference are chronicled with +great fidelity.</p> + +<p>We will now take it for granted that the amateur is in full +possession of, or can obtain, all the information necessary to +enable him to distinguish between a right and a wrong date. +He has still, however, to bear in mind that even a right-dated +volume may be in such a wretched condition as to be hardly +worth purchasing. If he will take a walk down Holywell +Street he may frequently meet with genuine Elzevirs which the +dealers will be only too glad to dispose of for a shilling or two +each. The reason of this is that, not only are the works +offered for sale <i>not</i> "of the good date" (<i>i.e.</i>, inferior editions),<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> +but they are also, in the vast majority of instances, battered, +dirty, and, worse than all, "cropped," sometimes even to the +very headlines. For a dirty book there is some hope, since it +may be possible to clean it, but for a cropped specimen there +is none: like Lucifer, it has fallen from its high estate "never +to rise again".</p> + +<p>As the measurement of these small books is always made in +millimetres, 25·4 of which go to the inch, the enthusiastic collector +carries with him an ivory rule on which the French +measures are marked. The <i>Ovid</i> of 1629, 3 vols. 16mo, runs +to 127 millimetres; the <i>Cæsar</i> of 1635 to 130 millimetres—anything +below 125 millimetres is hardly worth looking at; +the <i>Virgil</i> of 1676, if uncut, reaches as high as 148 millimetres, +or, if in <i>grand format</i>, even to 184 millimetres. A book of +high measurement, or entirely uncut, may be worth £100 or +more, according to its quality; but if cropped below the fashionable +height it would not bring as many shillings. A copy of +<i>Le Pastissier François</i>, 128 millimetres high, was not long ago +offered at 1500 francs, or £60; an entirely uncut copy brought +10,000 francs, or £400; and yet between the two there could +not have been a greater difference in height than three, or at +the most four, millimetres. The truth is that Elzevirs are +measured with the same accuracy observable in the weighing +of precious stones, and the 25th part of an inch makes a wonderful +difference.</p> + +<p>That book collectors sometimes go to extreme lengths cannot +be doubted by anyone who has spent much time in their +company; but the English bibliophiles are not to be compared +in this respect with their French brethren. The latter are <i>the</i> +collectors of Elzevirs, and will frequently spend enormous sums +on specimens which from their appearance and real practical +utility are worth hardly anything at all. What can be more +incorrect than the Leyden <i>Virgil</i> of 1636? It is literally +crammed with the most shameful errors, so much so that +Heyne says it is destitute of the slightest trace of any good +quality. Yet the famous Charles Nodier spent nearly all his +life searching for a genuine copy of the first edition, which, +when obtained, filled a place purposely left vacant for it. Up +to that time he had declined to "profane" his shelves with any +<i>Virgil</i> at all.</p> + +<p>Thus much for the Elzevir press, which, like the Aldine, is +not regarded with the same favour by collectors as it formerly +was. Nevertheless there are many, particularly in France, who +<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> +yet make a speciality of these little books with "good dates," +and it is, therefore, necessary to know something of them. Of +one thing the collector may be quite confident: he has here +plenty of material for the study of a lifetime, and, what is +greatly to the point, ample opportunity of accumulating a representative +series of examples of the press. Good Elzevirs, +though rare, are not hopelessly so; while bad ones are as +plentiful as blackberries. In this respect, at any rate, the +Elzevir collector has a great advantage over many of his +fellows, whose hunting-grounds are circumscribed, and who +frequently would give anything to obtain even a mutilated copy +from the press of their favourite printer.<br /><br /></p> + +<div class="footnotes"><h3><br />FOOTNOTES:</h3> + +<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> Louis Elzevir II. (1590-1621) produced nine books, one, however, +the <i>Navigatio ac Itinerarium</i> of Linschoten, 1599, bearing the name of +Gilles Elzevir (probably inserted whilst he was temporarily managing the +business of his brother, who in 1599 was called to Leyden to help his +father, Louis I.).</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> This was the mark of Erpenius, whose stock was purchased by the +Elzevirs.</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> +The imprint is merely <i>Lvgdvni Batavorum, ex officina Elzeviriana</i>.<br /><br /></p></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p> +<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a><br />CHAPTER IX.</h2> + +<h3><br />THE EARLY ENGLISH PRESSES.<br /><br /></h3> + + +<p><span class="dropcap">I</span>N the short time that intervened between the invention of +printing by means of movable type and the end of the fifteenth +century some 20,000 different works are known to have +been issued from the European press. Many copies of these +are doubtless hidden away in old lumber rooms, or in the +recesses of imperfectly catalogued libraries of obscure and +decaying towns. Some have altogether perished, leaving no +trace of their ephemeral existence; others are known by +name, but have themselves vanished as effectually as if they +had never existed. What, for instance, has become of the +fifteen books of Ovid's <i>Metamorphoses</i> which Caxton, in his +preface to the <i>Golden Legende</i>, says that he printed? Hitherto +no copy has been unearthed, nor any fragment of a copy. +Where is the <i>Lyfe of Robert Erle of Oxenford</i> mentioned in the +preface to the <i>Four Sons of Aymon</i>? What was the great +printer doing between the years 1486-8, during which time, so +far as can be discovered, he printed nothing? These and +many similar questions are important, as raising a very strong +probability that the bibliography of Caxton is very far from +being complete. The same remarks apply more or less to +nearly every other fifteenth century printer. There is a field +here which has never been fully explored, and which, in all +probability, never will be until some Augustus shall arise, and by +a wave of his hand throw open the dwellings, the libraries, and +even the outhouses of the world to his troop of eager agents. +In the meantime, a single discovery of a hitherto unknown book +of the fifteenth century acquires an importance proportionate +to the exceptional nature of the occurrence; and though the +book hunter never despairs, he knows only too well that such +<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> +rarities fall only to fortunate mortals like the French bibliophile +Resbecq, whose extraordinary luck was proverbial, or to those +whose ignorance is so dense that they seem provided, as +compensation, with more than a fair share of attractive power. +It seems a pity that the unappreciative should often obtain +chances which are denied to those who could utilise them to +advantage, but it is often the case. The merest tyro sometimes +experiences a success which the experienced bibliophile sighs +for in vain.</p> + +<p>Glowing as this picture appears, the collector must not run +away with the idea that all early printed books are valuable. +Some, even of the fifteenth century, are not worth an Englishman's +ransom by a long way. The question of value depends +mainly on the name of, and the degree of reputation acquired +by, the printer. Thus, books printed by Fust and Schœffer, +Gutenberg and Fust, Sweynham and Pannartz, and many others +of the oldest continental printers, are scarce and valuable in +the extreme; so are any books from the presses of the early +English printers. On the other hand, the Estienne, Giunta, +and Plantin presses are comparatively neglected. Here, again, +it is a question of reputation, only, in this case, the inquiry is +directed not to the book itself, but to the printer, a reversal of +the usual rule, and one that is productive of an extraordinary +result, namely, that trivial books are often the most valuable, +simply because they have not been worth keeping. Let no +one, then, look, in the first instance, to the character of an +early printed book, but let him rather study that of the craftsman, +keeping in mind the current of popular favour and the +direction in which it flows. If he does this, he will find that, +so far as this country is concerned, there is a scope amply +sufficient to satisfy the most earnest aspirations. The long +line of printers from Caxton, in 1477, to Day, in 1546, and, in +a lesser degree, those of the subsequent fifty years, discloses +names which are graven on the heart of the collector, who +often accounts himself fortunate if he can procure a single +specimen from the early English press. As the chance of his +doing so, though remote, is by no means impossible, seeing +that copies are frequently offered for sale while many others +must be hidden away, it is necessary that he should have +some ideas of his own. To let slip a chance which +fortune throws in his way, and which may never occur +again, would be productive of never-ending regret, especially +<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> +as, with a little care and attention, there is no reason why such +a disaster should occur.</p> + +<p>The subject of the early English press could not, of +course, be entered upon fully without occupying considerable +space, and I must content myself with such a <i>résumé</i> as can +conveniently be compressed within the compass of a few +pages.</p> + +<p>It is worthy of note that many of these old English +printers were, like Aldus Manutius, editors as well. In the +early days labour was not divided as it is now, and it is well +known that Caxton, for example, not merely translated many of +his publications, but cast his own type and bound the sheets +when ready for publication. Each of these processes was +perfected in his own office, and so well that to this day his +handiwork is seldom surpassed. Improved apparatus cannot +always hold its own against manual dexterity—an observation +which becomes more than ever accentuated when we apply it to +the art of Typography, perfect in its results almost from infancy.<br /><br /></p> + + +<p class="center"> +WILLIAM CAXTON, 1474(?).<br /> +</p> + +<div class="figcenter" style="width: 244px;"> +<img src="images/081.png" width="244" height="300" alt="" title="" /> +</div> + +<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> + +<p>Caxton, as, indeed, many of the other printers whose +names are subsequently mentioned, used several devices, of +which, I think, it will be sufficient to give the chief. This +pioneer English printer learned his art during the years 1474-5 +in the office of Colard Mansion at Bruges. Sometime about +the year 1477 he established himself as a printer at Westminster, +where he died in 1491. There are certain distinguishing +features by which any of Caxton's works may be +known, even if the colophon is lost or the book a mere +fragment. His type is <i>always</i> Gothic or old English; he +never used catchwords nor commas; and although works from +the press of Lettou and Machlinia of London (1480) are +exactly like Caxton's in these respects, the measurement of any +given space occupied by 20 or 22 lines, according to the +description of type used, varies considerably. Since 1819, +some twenty hitherto unknown works by Caxton have been +identified by the measurement test, for a full explanation of +which the collector is referred to Blades' <i>Life of Caxton</i>.</p> + +<p>Among the works printed by this great master may be +mentioned the following, which have brought the prices affixed +at auction, within the last few years:—</p> + +<blockquote><p><i>The Game and Playe of Chesse</i>, small folio, 31st March, +1474, the first book of Caxton with a date, and a +perfect copy, but wanting the two blank leaves (10⅛ in. +× 7⅛; in.), old calf, £645.</p> + +<p><i>Dictes and Sayinges of the Philosophers</i> (11½ in. × 8 in.), 1477, +folio, morocco extra, perfect, £650.</p> + +<p><i>Higden's Discripcion of Britayne</i>, evidently made up from +two imperfect copies (11½ in. × 8 in.), morocco extra, +1480, folio, £195.</p> + +<p><i>Chronicles of Englonde</i>, 1480, folio, wanted part of the index +and otherwise greatly imperfect, £67; another copy +(9½ in × 7 in.), perfect, £470.</p> + +<p><i>Higden's Polychronicon</i>, 1482, 4to, a very imperfect copy, +containing only 205 leaves, £31.</p> + +<p><i>Ryal Book, or Book for a King</i>, perfect, but several leaves +mended (11⅛; in. × 8⅛; in.), no date (1487?), folio, +£365.</p> + +<p><i>The Prouffitable Boke for Mannes Soule, called The Chastysing +of Goddes Children</i>, no date, folio, quite complete; and +another called <i>The Tretyse of the Love of Jhesu Christ by</i><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> +<i>Wynkyn de Worde</i>, 1493, folio, both in one volume, +£305.</p> + +<p><i>Bœcius de Consolacione Philosophie</i>, in Latin and English, a +complete copy, several leaves stained (10¾ in. × 7½ in.), +old calf, no date, folio, £156.</p></blockquote> + +<p>Contemporary with Caxton were the printers Lettou and +Machlinia, previously mentioned, who carried on business in +the city of London, where they established a press in 1480. +Machlinia had previously worked under Caxton. Their +productions are scarce, but not so much so as those of +Caxton. An inferior copy of their <i>Vieux Abrigement des +Statutes</i>, no date, but about 1481, folio, sold by auction in +August, 1887, for £8 10s., and occasionally other and better +specimens may be picked up for two or three times that +amount.<br /><br /></p> + + +<p class="center"> +WYNKYN DE WORDE, 1491.<br /> +</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/083.png" width="600" height="496" alt="" title="" /> +</div> + +<p><br /> +In all probability this famous printer was one of Caxton's +<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> +assistants or workmen, when the latter was living at Bruges, +but without doubt he was employed in his office at Westminster +until 1491, when he commenced business on his own +account, having in his possession a considerable quantity of +Caxton's type. Wynkyn de Worde, who was one of the +founders of the Stationers' Company, died in 1534, after having +printed no less than 410 books known to bibliographers, the +earliest of which bearing a date is the <i>Liber Festivalis</i>, 4to, +1493. The whole of these works, especially when in good +condition, are excessively scarce, and invariably bring high prices. +A wormed copy of the <i>Descrypcion of Englonde, Wales, and +Scotlonde</i> brought £10 at the Gibson Craig sale in July, 1887, +and the <i>Vitas Patrum</i>, 1495, folio, £71, at the Crawford sale in +the same month. Voragine's <i>Golden Legend</i>, printed by de Worde +in 1527, brought £81 a short time ago; his <i>Higden's Polychronicon</i>, +1495, folio, wanting title, £16 5s.; the <i>Nova Legenda +Anglie</i>, 1516, folio (wormed), £28; and Dame Juliana Berner's +<i>Fysyhing with an Angle</i>, 1496, folio (frontispiece inlaid), £120.</p> + + +<p class="center"><br /><br /> +RICHARD PYNSON, 1493.<br /> +</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/084.png" width="500" height="296" alt="" title="" /> +</div> + +<p><br />This early English printer was by birth a Norman, but +became naturalised in England by letters patent and was appointed +king's printer. He was the first to introduce the +Roman letter into this country, though this honour is by some +<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> +attributed to Wynkyn de Worde. The Italian penmen of the +fifteenth century furnished the model for the round character +which has been successively adopted in most of the typographical +foundries since the days of Pynson, and which +is known as the Roman character; and these penmen are +supposed to have imitated the writing of the Carlovingian +MSS. Thus the small alphabet used by our printers is a copy +of that adopted in the churches of France in the time of +Charlemagne.</p> + +<p>Among Pynson's works may be mentioned the following. +The prices affixed have, as before, been realised at auction within +the last few years.</p> + +<blockquote><p>Sebastian Brant's <i>Shyp of Folys of the Worlde</i>, translated +by Barclay, black letter, woodcuts, morocco extra, +imperfect, 1509, folio, £23.</p> + +<p><i>Jeronimi de Sancto Marcho Opusculum</i>, &c., woodcut +signs of the Zodiac and Pynson's device on title, a fine +copy in morocco extra, bound by Bedford (1509), 4to, +£85.</p> + +<p><i>Intrationum Liber</i>, woodcut of royal arms, perfect, old +russia, 1510, folio, £36 15s.</p></blockquote> + + +<p class="center"><br /><br /> +JULIAN NOTARY, 1498.<br /> +</p> + +<div class="figcenter" style="width: 304px;"> +<img src="images/085.png" width="304" height="400" alt="Illustration" title="" /> + +</div> + +<p><br /><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p> + +<p>The periods of the birth and death of this ancient +typographical artist are entirely unknown. One of his books, +the <i>Missale Secundum vsvm Sarvm</i>, dates from Westminster, +the 20th December, 1498, and one or two others are dated +1520, so that it is safe to say that he flourished between those +dates. One of the most extraordinary books issued at this +early time is the <i>Shepherd's Calendar</i>, printed by Julian +Notary. It is full of quaint woodcuts, illustrative of religious +myths, which, considering the times, are excellently executed. +An edition of this calendar was also printed and +published by Richard Pynson. The total number of books +known to have been printed by Julian Notary is 23.</p> + + +<p class="center"><br /><br /> +WILLIAM FAQUES, 1499.<br /> +</p> + +<div class="figcenter" style="width: 231px;"> +<img src="images/086.png" width="231" height="400" alt="" title="" /> +</div> + +<p><br />This printer is known in connection with a few books, +about half-a-dozen in number, which, as usual, are excessively +scarce and very valuable. The dates of his birth and death +are uncertain. The first of his books, however, is dated +1499, and the last 1508.<br /> +</p> + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> +RICHARD FAWKES, 1509.<br /> + +</p> + +<div class="figcenter" style="width: 289px;"> +<img src="images/087.png" width="289" height="400" alt="" title="" /> +</div> + +<p><br />Although the date of the first book printed by Richard +Fawkes is given as 1509, it is more than likely that the date +on the title-page (<i>Salus Corporis, Salus Anime</i>, folio, 1509) is +a misprint. The next in point of date is a book of <i>Hours</i>, +1521, and it is hardly likely that twelve years should +have elapsed without his printing anything. Still, time has +spared such a few of this printer's publications that it is quite +possible the date may be correct. Specimens from Fawkes' +press are excessively rare, none having been offered for sale, so +far as I am aware, for many years.<br /> +</p> + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> +PETER TREVERIS, 1514.<br /> +</p> + +<div class="figcenter" style="width: 290px;"> +<img src="images/088.png" width="290" height="400" alt="" title="" /> +</div> + +<p><br />Our information about this printer is very meagre, so much +so that little seems to be known of him beyond the fact that +he was the first printer in the borough of Southwark. He +printed for John Reynes, a bookseller in St. Paul's Churchyard +in 1527; also for Laurence Andrewe, who carried on +business in Fleet Street about the same date. Anthony à Wood, +in his <i>History and Antiquities of Oxford</i>, says that Treveris printed +some of Whitinton's pieces there in 1527, but no evidence +of the fact appears to be forthcoming. The first book known +to have issued from his press is the <i>Disticha Moralia</i>, 4to, +1514, though some bibliographers deny that Treveris was the +printer. The whole number of his productions, inclusive of +the grammatical treatises of Whitinton, which, on the authority +of Wood and for purposes of convenience, are ascribed to him, +does not amount to 30. They are, as usual, very scarce.</p> + +<blockquote><p><i>The Grete herball whiche gyueth parfyt Knowledge</i>, &c., +black letter, woodcuts, badly cut down, 1529, folio, £5.<br /></p></blockquote> + + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> +ROBERT COPLAND, 1515.<br /> +</p> +<div class="figcenter" style="width: 301px;"> +<img src="images/089.png" width="301" height="400" alt="" title="" /> +</div> + +<p><br />This printer was one of the assistants of Wynkyn de +Worde, and a legatee under his will. He was also a stationer +and bookseller, dwelling at the Rose Garland in Fleet Street, +where he carried on business from about 1515 to the year +1547 or beginning of 1548. His productions are not only few +in number, but very rarely ever met with. He seems to have +been fond of small and fugitive pieces, of which, doubtless, +a large number have perished owing to the popularity which +formerly attended publications of this kind. The number of +his works catalogued by Ames amounts to 12. This printer +must not be confounded with William Copland (<i>post</i>), whose +productions are, comparatively speaking, common.<br /></p> + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> +JOHN RASTELL, 1520.<br /> +</p> + +<div class="figcenter" style="width: 283px;"> +<img src="images/090.png" width="283" height="400" alt="" title="" /> +</div> + +<p><br />According to Bale, this printer was a citizen of London, +and married the sister of Sir Thomas More. The date of his +birth is not known, but he died in 1536, leaving two sons, one +of whom, William, succeeded to his business. Ames mentions +31 works printed by John Rastell and 15 by William, and +among the former is the famous <i>Pastyme of People, or +Cronycles of Englond</i>, of which only three perfect copies are +known to exist. A fac-simile reprint was issued in 1811 by Dr. +Dibdin. An original copy of this work, which contains 18 +woodcut full-length portraits of the kings, was, though imperfect, +sold at the Wimpole sale, in June, 1888, for as much +as £79. A copy of the reprint is worth about 30s.<br /></p> + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> +JOHN SKOT, 1521.<br /> +</p> + +<div class="figcenter" style="width: 357px;"> +<img src="images/091.png" width="357" height="400" alt="" title="" /> +</div> + +<p><br />Books printed by this workman, which are only 13 in +number, are seldom seen. Much—and probably it is no +exaggeration to say, most—of the work of the English +printers of the fifteenth and sixteenth centuries has been +destroyed, and it is probable that between the years 1521 +and 1537, when John Skot, or Scott, as he sometimes spelled +his name, is known to have been working, a large number +of publications was issued from his press, of which not a +trace remains. There is a good copy of the diminutive +tract known as <i>The Rosary</i>, printed by Skot in 1537, in +the library of Earl Spencer at Althorpe.<br /></p> + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> +ROBERT REDMAN, 1523.<br /> +</p> + +<div class="figcenter" style="width: 330px;"> +<img src="images/092.png" width="330" height="400" alt="" title="" /> +</div> + +<p><br />Robert Redman set up a printing press at the house +quitted by Pynson, just outside Temple Bar, and called the +George. He seems also to have adopted a colourable imitation +of his device, and altogether to have taken great advantage +of his opportunities to undermine the business of his rival. +In the 1525 edition of <i>Lyttleton's Tenures</i>, printed by Pynson, +the latter takes Redman roundly to task, and in an edition of +<i>Magna Charter</i>, dated 1527, a similar strain of abuse is +maintained. The first book known to have been printed by +Redman bears date 1523. He died somewhere about the +year 1540.</p> + +<p>Fitzherbert's <i>Diuersite de Courtes</i>, black letter, 24 ff., 1528, +16mo, £2 10s.<br /></p> + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> +ROBERT WYER, 1527.<br /> +</p> + +<div class="figcenter" style="width: 290px;"> +<img src="images/093.png" width="290" height="400" alt="" title="" /> +</div> + +<p><br />This prolific printer was in business, "in the felde besyde +Charynge Crosse," from 1527 to about 1542, but as the +greater number of his books were published without dates, it +is possible that he may have lived beyond the year given. +The number of his books catalogued amounts to 68, and they +consist chiefly of treatises on Astrology, Medicine, and, more +rarely, Poetry.<br /> +</p> + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> +THOMAS BERTHELET, 1530.<br /> +</p> + +<div class="figcenter" style="width: 284px;"> +<img src="images/094.png" width="284" height="400" alt="" title="" /> +</div> + +<p><br />Towards the middle of the sixteenth century the popular +demand for biblical legends and treatises on scholastic divinity +began to decline, and a taste for classical literature to take its +place. The productions of Berthelet, which give evidence of +the improvement in this respect to no slight degree, are intrinsically +valuable, as well as unusually numerous. Berthelet died +about Christmas, 1555, as appears by an entry in the Stationers' +Hall books for 26th of January, 1555-6. The number of his +works, as catalogued, amounts to 190.</p> + +<blockquote><p><i>The Praise of Folie</i>, by Erasmus, translated by Chaloner, +black letter, wormed, and title mended, 1549, 4to, +£2 8s.</p> + +<p>Gower's <i>De Confessione Amantis</i>, black letter, Berthelet's +first edition, wormed, oak boards, covered in stamped +leather, 1532, folio, £8.</p> + +<p><i>Institution of a Christen Man</i>, black letter, woodcut border +to title by Holbein, morocco extra, 1537, 4to, £22 10s.</p> + +<p><i>Necessary Doctrine and Erudition for any Christen man</i>, +<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> +black letter, morocco extra, 1543, 4to, £12.</p> + +<p><i>Psalms or Prayers</i>, black letter, wanting title and signature +Lv, calf, no date (1548), 8vo, £10 5s.</p> + +<p><i>Henrici VIII. Pia et Catholica Christiani Hominis Institutio</i>, +morocco extra, by Pratt, fine copy, 1544, 4to, +£5 5s.<br /></p></blockquote> + + +<p class="center"><br /><br /> +JOHN BYDDELL, 1533.<br /> +</p> + +<div class="figcenter" style="width: 288px;"> +<img src="images/095.png" width="288" height="400" alt="" title="" /> +</div> + +<p><br />John Byddell first carried on business at the sign of "Our +Lady of Pity," and seems to have borrowed his device from +one of the earlier pages of Corio's <i>History of Milan</i>, 1505. +Subsequently he removed to the "Sun," in Fleet Street, +formerly occupied by Wynkyn de Worde. This printer died +somewhere about 1544, having published 29 volumes, according +to Ames, most of which are of a serious character.</p> + +<blockquote><p><i>Prymer in Englishe, with Calendar and Almanake</i> (1535-54), +black letter, title in fac-simile, russia extra, 16th +June, 1535, 4to, £97.</p> + +<p><i>Bible in English</i> (by R. Tavener), black letter, several +<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> +leaves mended, morocco extra, by Bedford, folio, 1539, +£57.<br /></p></blockquote> + + +<p class="center"><br /><br /> +RICHARD GRAFTON, 1537.<br /> +</p> + +<div class="figcenter" style="width: 287px;"> +<img src="images/096.png" width="287" height="400" alt="" title="" /> +</div> + +<p><br />Richard Grafton, the king's printer, was at one time a +citizen and grocer of London, and seems to have been brought +up as a merchant. He commenced business as a printer with +Edward Whitchurche in or about the year 1537, and from that +date to 1541 they continually printed in partnership. The +dissolution was probably due to the persecution to which they +were subjected on account of the Act of the Six Articles. +Whitchurche, whose device is given below, is said to have +married the widow of Archbishop Cranmer, and is known to +have been living in 1560. Grafton, who was continually in +difficulties, and on one occasion narrowly escaped with his life, +is supposed to have died about the year 1572.</p> + +<blockquote><p><i>Boke of Common Praier</i>, black letter, blue morocco extra, +<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> +by Rivière, August, 1552, folio, £60.</p> + +<p><i>Primer in Englishe</i> (black letter) <i>and Latyn</i> (roman type), +brown morocco extra, by Bedford, 1545, 4to, £28.</p> + +<p><i>Orarium seu Libellus Precationum</i>, woodcuts, blue morocco, +16mo, 1546, £20 10s.</p> + +<p>Marbeck's <i>Concordance of the Bible</i>, black letter, title +inlaid, russia, small folio, 1550, £1 6s.</p> + +<p>Halle's <i>Chronicle</i>, black letter, russia extra, by Bedford, +folio, 1550, £9.</p> + +<p>Harding's <i>Chronicle</i>, black letter, morocco extra, by Bedford, +1543, 4to, £11 5s.</p> + +<p><i>The Order of the Communion</i>, black letter, wanted title, +morocco, 8th March, 1548, sm. 4to (the only copy +known), £55.<br /></p></blockquote> + + +<p class="center"><br /><br /> +EDWARD WHITCHURCHE, 1537.<br /> +</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/097.png" width="400" height="258" alt="" title="" /> +</div> + +<blockquote><p><br /><i>Byble in Englyshe</i> (Cranmer's), black letter, cut down at the +top, morocco extra, by Bedford, folio, 1541, £50.</p> + +<p><i>Booke of Common Prayer</i>, black letter, first edition of +Edward VI.'s Prayer Book, with the rare order for the +price, a fine copy in blue morocco extra, folio, 1549, £155.</p> + +<p><i>Boke of Common Prayer</i>, second edition of Edward VI.'s +Prayer Book, a fine copy in blue morocco, folio, 1552, +£100.</p> + +<p><i>Book of Prayers used in the Queen's</i> (Catherine Parr's) +<i>House</i>, black letter, a fragment of an unknown edition, +32mo, 1550, £2.</p></blockquote> + +<p>Grafton and Whitchurche, in conjunction, printed the first +<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> +issue of the <i>Great</i> or <i>Cromwell's Bible</i>, a folio book dated +1539, a fair copy of which was sold at the Crawford sale for +£111; also the <i>New Testament, both in Latin and English, +after the vulgare texte</i> (Coverdale's version), 1538-39, 8vo, +partly printed at Paris by Regnault and completed in London. +Nearly the entire impression was seized and burnt by order +of the Inquisition, and the few copies that remain are extraordinarily +rare and valuable.<br /></p> + + +<p class="center"><br /><br /> +JOHN WAYLANDE, 1537.<br /> +</p> + +<p><br />A printer who, according to the best authorities, lived at +the sign of the "Blue Garland in Fleet Street," and, in the year +1541, at the sign of the "Sun, against the Conduit". He was +in business in 1558.</p> + +<blockquote><p><i>The Primer in English and Latin, after Salisburye Use</i>, +some leaves in fac-simile, bound by Rivière in morocco, +22nd August, 1558, 12mo, £20.</p> + +<p><i>Tragedies of all such Princes as fell from their estates +throughe the Mutabilitie of Fortune, translated into +Englysh by John Lidgate</i>, black letter, some leaves +mended, no date, folio, £4 10s.</p> + +<p><i>Prymer in Latin and Englishe...and Almanacke</i> (1555-71), +black letter, brown morocco extra, by Rivière, +1555, sm. 4to, £27.</p> + +<p><i>Prymer in Englishe</i> (black letter) <i>and Latine</i> (roman type), +<i>after Salisbury Use, with Calendar, &c.</i>, woodcuts, +calf, 1557, 16mo (only six copies are known), £13.</p> + +<p><i>Prymer in Englyshe, with Calendar</i>, black letter, title in +fac-simile, brown morocco extra, <i>Ihon Mayler for Ihon +Waylande</i>, 1539, sm. 4to (only four copies are known), +£91.<br /></p></blockquote> + + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> +WILLIAM MYDDYLTON, 1541.<br /> +</p> + +<div class="figcenter" style="width: 277px;"> +<img src="images/099.png" width="277" height="400" alt="" title="" /> +</div> + +<p><br />William Myddylton, or Middleton, succeeded to the business +of Robert Redman, which he carried on at the sign of the +"George, next to St. Dunstan's Church, in Fleet Street". +This printer turned out some 30 different publications, known +to bibliographers. There is no doubt, however, that many +more must be lost, or remain undiscovered. Myddylton +probably died somewhere about the year 1550. Another +printer, by name Henry Middleton, flourished about the year +1579. His works are scarce, but not nearly so valuable as +those of William.</p> + +<blockquote><p>Froissart's <i>Cronycles of Englande, &c.</i>, translated by +Bourchier, 2 vols., black letter, 1525, folio, russia extra, +(printed by Myddylton and Pinson), £9 12s.<br /></p></blockquote> + + + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> +REYNOLD WOLFE, 1542.<br /> +</p> + +<div class="figcenter" style="width: 262px;"> +<img src="images/100.png" width="262" height="400" alt="" title="" /> +</div> + +<p><br />The king's printer, was in all probability a foreigner by +extraction, if not by birth. He commenced printing in 1542, +but a great portion of his time was spent in collecting materials +for an <i>Universal Cosmography of all Nations</i>, which, though +undigested at his death in 1573, laid the foundation for +Holinshed's <i>Chronicles</i>. His works are described as being 59 +in number, and, as is always the case where any specimens +from the presses of early English printers are concerned, are +scarce and valuable. After the death of Reynold, his widow, +Joan, printed three books, which bear her name. The last of +these is dated in 1580, about which time, doubtless, the press +ceased to exist.</p> + +<p>Care must be taken that this printer is not confounded +with others of the same name, who, for the most part, carried +on business in France and Holland.<br /> +</p> + + +<p class="center"><br /><br /> +<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> +JOHN DAY, 1546.<br /></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/101.png" width="400" height="246" alt="" title="" /> +</div> + +<p><br />Next to Caxton and Wynkyn de Worde, this printer certainly +ranks the highest in the opinion of bibliographers. +Herbert says that Day first began printing a little above Holborn +Conduit, and about 1549 removed to Aldersgate. He kept also +at the same time several shops in different parts of the town, +where his books were sold. Day was the first printer who +used Saxon characters, and brought those of the Greek and +Italic to perfection. He died in 1584 after having followed +the business of a printer for nearly forty years.</p> + +<p>The name of John Day will sometimes be found in conjunction +with that of William Seres, but rarely, if ever, after +1550. This William Seres was a printer, who, on dissolving +partnership with Day in 1550, carried on business by himself +for some twenty or twenty-five years in London.</p> + +<blockquote><p><i>A Short Catechism</i>, black letter, morocco extra, 1553, 16mo, +£12.</p> + +<p><i>Booke of Christian Prayers Collected out of the Ancient +Writers</i>, black letter, blue morocco extra, by Pratt, 1578, +4to, £26 10s.</p> + +<p><span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> +<i>Certaine Select Prayers Gathered out of S. Augustine's +Meditations</i>, 2 vols., 1575, sm. 8vo, £5 15s.</p> + +<p><i>Psalmes in Metre with Music</i>, black letter, 1571, sm. 4to, +£140. This work was sold with another by Jugge and +Cawood, and was bound in an exceptionally fine Elizabethan +style.</p> + +<p><i>Preces Privatæ in Studiosorum</i>, first ed., 1564, 16mo, also +another edition of 1573, 16mo, in two volumes (both +printed by William Seres), £3.<br /></p></blockquote> + + +<p class="center"><br /><br /> +WILLIAM COPLAND, 1548.<br /> +</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/102.png" width="400" height="329" alt="" title="" /> +</div> + +<p><br />Probably a son of Robert Copland, though the relationship +is very doubtful. It has been supposed that William was a +younger brother of Robert, and worked in the office of the +latter up to the time of his death, in the same manner as +Robert worked in the office of Wynkyn de Worde. It is evident +that both William and Robert used the same battered +types, which they set up with an equal amount of carelessness. +Notwithstanding the workmanship, however, these books +are valuable, and always command high prices. The first +<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> +book of William Copland's printing found with a date is the +<i>Understandinge of the Lorde's Supper</i>, 1548, 8vo; and between +that year and 1568, the time of his death, he is credited with +over 60 different publications.</p> + +<blockquote><p><i>Story of the most noble and worthy Kynge Arthur</i>, black +letter, woodcuts, the title and several leaves in fac-simile, +morocco extra, 1557, sm. folio, £10; another +copy, quite perfect, £30.</p> + +<p><i>The right plesaunt and goodly Historie of the foure sonnes of +Aimon</i>, black letter, woodcuts, the title and several +leaves in fac-simile, no date or name, but printed by W. +Copland in 1554, small folio, £14.</p> + +<p><i>Hystorie of the two Valyaunte Brethren, Valentyne and +Orson</i>, black letter, woodcuts, a defective copy, several +leaves having been repaired, no date, small 4to, £21.</p></blockquote> + +<p>Among the other old English printers, whose names frequently +appear on the title-pages of books, may be mentioned:—</p> + +<blockquote><p><span class="smcap">Walter Lynne</span>, 1548-50, whose <i>Cattechismus</i>, in small +8vo, 1548, brought £59 in June, 1889.</p> + +<p><span class="smcap">Richard Jugge</span>, 1548-77, <i>The Holie Bible</i>, Bishops' Version, +black letter, 1568, folio, £70.</p> + +<p><span class="smcap">Thomas Marshe</span>, 1549-87, <i>Certaine Tragicall Discourses</i>, +black letter, 1567, 4to, £15; also <i>Heywoode's Woorkes</i>, +1576-77, 4to, £9 9s.</p> + +<p><span class="smcap">John Cawood</span>, 1550-72, who printed the first collected +edition of <i>Sir Thomas More's Works</i>, 1557, now worth +from £15 to £20, the <i>Stultifera Navis</i> of Brant, black +letter, woodcuts, folio, 1570, £12, and many others.</p> + +<p><span class="smcap">Richard Tottel</span>, 1553-94.</p> + +<p><span class="smcap">Hugh Singleton</span>, 1553-88, <i>The Supplication of Doctour +Barnes</i>, &c., black letter, morocco extra, by Rivière, no +date, 8vo, £10.</p> + +<p><span class="smcap">John Kyngston</span>, 1553-84, the printer of the best folio +edition of <i>Fabian's Chronicle</i>, 1559.</p> + +<p><span class="smcap">Rowland Hall</span>, 1559-63.</p> + +<p><span class="smcap">John Allde</span>, 1561-96.</p> + +<p><span class="smcap">Robert Redborne</span> (cir. 1576), whose only known work is +entitled <i>The history of the moost noble and valyaunt knyght, +Arthur, of lytell brytayne</i>, folio, no date, but about 1576. +Of this work only two perfect copies are known. One +sold at the Crawford sale in June, 1889, for £27 10s.</p> + +<p><span class="smcap">Thomas Est</span> (<i>cir.</i> 1592), +<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> +<i>Whole Booke of Psalmes</i>, 1592, 8vo, +£15 10s. Wilbye's <i>Second Set of Madrigales</i>, half +morocco, 1609, 4to, £6. Yonge's Musica Transalpina, +1588, 4to, £7. Yonge's <i>Musica Transalpina</i>, the +seconde booke, half morocco, 1597, 4to, £11.</p></blockquote> + +<p>With the advent of the seventeenth century presses became +very numerous all over England. Christopher and Robert +Barker at London, and John Field at Cambridge, are perhaps +the best known printers of that era, but the importance and +value of their works depend upon circumstances, and cease +to exist as a matter of course. It is indeed from this point +that the study of English bibliography becomes more difficult +and confusing, and here precisely that the young collector is +apt to go astray.</p> + +<p>The most famous English printer of modern times was +undoubtedly John Baskerville; in fact, he seems to have been +the only one possessed of exceptional merit. Everyone has +heard of Baskerville: he rises the one solitary genius out of the +multitude of labourers in the same field, and towers so high +above the rest as to eclipse them entirely. Baskerville started +as a printer in Birmingham in 1756, having spent hundreds of +pounds in the experimental casting of type, which he ultimately +brought to the highest state of perfection. Every book printed +by him is a masterpiece: his paper is clear and elegant and of a +very fine quality, while the uniformity of colour throughout +testifies to the care taken in printing every sheet. At one time +works from the Birmingham press, presided over by Baskerville, +were much sought after, but of late years the fashion has +changed and prices have consequently much diminished. The +splendid edition of Addison's works, 4 vols., 4to, with portraits +and plates, 1761, a beautiful copy bound by Derome in red +morocco, brought £10 a short time ago, a depreciation of at +least a third in the value, while in some other instances the fall +is much more marked. Baskerville appears at one time to have +studied the workmanship of the Elzevirs, and on one or two of +his books, notably the <i>Elegantiæ Latini Sermonis</i> of Meursius, +1757, he has dated the title-page as from <i>Lugd. Bat. Typis +Elzevirianis</i>. This little volume is a fit tribute to a family +of famous printers of the seventeenth century, from a no +less excellent workman of the eighteenth, and I feel certain +that some day collectors will again vie with each other in +collecting choice examples from his press.<br /><br /></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p> +<h2><a name="CHAPTER_X" id="CHAPTER_X"></a><br />CHAPTER X.</h2> + +<h3><br />ON BINDINGS OLD AND NEW.<br /><br /></h3> + +<p><span class="dropcap">B</span>OOKS cannot live long without being bound, and the more +expensive and artistic the appearance of the binding, the greater +the chance of preservation for the whole. A book is sometimes +handled gently, not because of any merits of its own, but +simply on account of its cover, which thus becomes its protector +in a double sense. Like those old earthen boxes, which on +being broken are found to contain the clay tablets of Assyria, +many of which run as far back as 1500 years before the +Christian era, bindings were doubtless originally intended to +act the part of preservatives; beauty of design and even +neatness would be after-considerations, and entirely subservient +to the sole object, that of protection. By degrees the book +lover made demands upon art, and, in obedience to an universal +law, the supply answered to his call. Cicero, we are told, was +a connoisseur of bindings, and himself employed famous workmen +to glorify his rolls of papyrus and vellum, or to bind up his +diptychs in the manner of our modern books, but more expensively, +if the tastes of the old Roman are not belied, than the +majority of book lovers can afford to do in these latter days.</p> + +<p>In the palmy days of Rome, art in all its varied forms was +probably as advanced as it is now, and we cannot doubt that +Virgil and Homer, the representative poets of Rome and +Greece, were to be found in a score of palaces, dressed as +befitted their high reputation, in the most noble and expensive +of coverings. Two thousand years have, however, made a +clean sweep of Roman artist and Roman bookman alike, and +we have nothing to guide us beyond the casual remarks of one +or two diarists and historians of the day, whose chronicles +have happened, almost by chance, to come down to us. +The names of none of the ancient binders survive, and not a +<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span> +trace of their workmanship remains; we know only that there +were such beings, who occasionally threw into their work great +taste and skill, and that bibliophiles vied with each other in +gaining possession of their choicest examples.</p> + +<p>When, therefore, the question is asked, Who was the first +binder known to fame? we cannot look to Greece or to Rome +for an answer, nor yet to Italy. Curiously enough it is to +Ireland that we must turn, for there the monk Dagæus practised +the art so long ago as 520 <span class="smcap">A.D.</span> One example only of his handiwork +has survived to our own day, and is now to be found in the +library of the British Museum along with the <i>Textus Sanctus +Cuthberti</i> bound by the first English workman, one Bilfred, a +monk of Durham, who flourished nearly 1200 years ago. This +<i>Textus</i>, so the old legend says, was once swallowed up by the +sea, which, respectful of the merits of the saint, gracefully retired +fully three miles of its own accord, and so restored the +cherished volume to its owners. As the monks were the sole +multipliers of books, so also they were, until the invention of +printing in 1450, the only binders. Manuscripts of the ninth +century are extant, heavily encased in ivory-carved covers or +confined between gold and silver plates studded with precious +stones. More often than not these expensive coverings were +destined to be their ruin, for, to say nothing of private peculation, +the sumptuous bindings were ripped off at the time of +the Reformation for the sake of the metal or stones, and the +manuscripts thrown in thousands upon the tender mercies of +the vandals into whose hands they fell.</p> + +<p>In the fourteenth century Petrarch was knocked down by +one of his own tomes, and was within an ace of breaking his +leg, but this was at a period when monastic bindings +ordinarily consisted of wood, covered with leather and protected +by metallic bosses, corner plates, and massive clasps of iron. +Bulk and weight were then the great desiderata, though every +now and then the richest materials were still employed in +binding, as when a king's library was added to, or some rich +monastery gave orders for a sacred volume to be covered with +the enamels of Limoges, ivory, gold or silver, and encrusted +with jewels.</p> + +<p>From the end of the fifth to the middle of the fifteenth +century, books were excessively rare and costly, and comparatively +few bindings illustrative of the art during the dark ages +have been preserved. The few that have survived are wonderful +<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> +specimens of art, and in every way worthy of the illuminated +manuscripts they enclose.</p> + +<p>The period of the Renaissance, which is usually assigned to +the Pontificate of Leo X., was witness of another change. The +ponderous tomes, whose weight was alone a protection, +gradually gave way to smaller-sized volumes, and these were +often bound in velvet or silk, beautifully embroidered by lady +amateurs, perhaps also by professed binders. At other times +the monastic covering of wood and leather is observable, and +often the leather gave way to seal and shark skin without any +tooling or other ornamentation.</p> + +<p>These different styles of binding continued in vogue side by +side until the introduction of typography, when the Venetians +introduced morocco from the East and found out the virtues of +calf. Books now became bound in oak boards covered with +these leathers or in thick parchment or pig skin, old manuscripts +often being cut up and of course destroyed for the +purpose: boards, clasps, and bosses became obsolete, while +silken embroidery maintained a precarious existence, dependent +solely on the spasmodic efforts of accomplished amateurs whose +tastes and inclinations were swayed by fashion. Finally, +parchment disappeared and leather bindings held universal +sway, and have so maintained it to our own time, though the +English cloth-bound book is now employed whenever expense +is an object.</p> + +<p>Such is a short history of the development of the art of +bookbinding, as necessary to be understood and remembered +as any other branch of our subject.</p> + +<p>Some of the better-known and more valuable descriptions +of ornamental bindings, whether Italian, French, or English, +derive their entire importance by reason of their having come +from the libraries of noted collectors, who bound their books +after a model pattern. Many of these specimens are of the +greatest rarity and often of great value. As works of art, too, +they are frequently far superior to anything that can be, +or at any rate is, produced at the present day. A really +well bound book by Le Gascon, or one of the Eves, for +example, is a beautiful object. The covers, of the choicest +calf or morocco, are tooled in patterns, <i>i.e.</i>, hand engraved, +in gold; the edges are of gilt, <i>gauffré</i>, that is to say, designs are +impressed on them also; the whole is a splendid specimen of +bibliopegistic skill. Such artists as these disdained blind +tooling, where the patterns are worked out and left without +<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> +their meed of gold. Half-bound volumes with their back and +corners of leather and their sides of vulgar paper or boards +they were either ignorant of or despised.</p> + +<p>All this excellence of course cost money, which then, as +now, was in the hands of the few, and it must not for a moment +be supposed that examples of high-class binding were at all +common even during the era in which they were produced. +They are scarcer now, for time and fire have claimed their share +of spoil, but it was only the great collectors of almost unlimited +means, popes, kings, and cardinals, and their favourites, who +could afford at any time to furnish a library where beautiful +bindings predominated.</p> + +<p>These collections have for the most part been dispersed +over the world, and an amateur of the true old-fashioned type +will not allow himself to be looked upon as fortunate, if his +shelves do not contain one or two examples at least from the +magnificent libraries of brother amateurs long since passed +away.</p> + +<p>The Italians were the first to awake to the enormity of +binding their books in pig skin, or encasing them between +clumsy wooden boards; and readily profiting by the teachings +of the great master painters, who made Italy their +peculiar home, they began to use calf and morocco, elaborately +tooled to geometrical patterns. Leo X. (1513-21) had a +good library, and one book at least is extant, bound by an +Italian artist in red morocco, with the Papal arms on the sides. +Some years previously to this, Aldus Manutius had bound his +own books at Venice, and he took as much care of their dress +as he did of the text. Some of these bindings appear to be +imitations of the designs sculptured on the walls of mosques, +and it was from the East therefore that the great Venetian +school obtained its first instruction in the art. The book +lover rejoices exceedingly when he meets with any of these +ancient Italian bindings, but if he can only possess a Maioli, +his cup of happiness literally overflows.</p> + +<p>This Maioli—who or what he was are alike unknown—this +Maioli had an extensive library, and all his books were +sumptuously bound in the choicest leathers and tooled in gold +on the backs and sides. On an embossed shield was the title +of the work, and underneath, that inscription afterwards +imitated by Grolier, "Tho Maioli et Amicorum". Let not the +collector be deceived however:—there were two Maiolis: +<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> +Thomasso, above mentioned, whose choice bindings are sought +after all the world over, and Michel, whose artistic tastes were +less fully developed, and who perhaps knew better than to +invite his friends to borrow from his store.</p> + +<p>Cardinal Bonelli (1541-98) and Canevari, the physician to +Pope Urban VIII. (1559-1625), were both enamoured of costly +bindings, the latter especially, for on the sides of his books +appears a gorgeous object representing Apollo in gold, driving +his chariot in blue or red over a silver sea.</p> + +<p>Lorenzo de Medici, Prince of Florence, scholar and patron +of art and literature, called the Magnificent, who died in 1492, +stamped his books with the Medici arms, together with a laurel +branch and the motto <i>Semper</i>. Others of the Medici family +had splendid libraries, and their books were often covered with +silver and gold beautifully inlaid, after the designs of painters of +the highest eminence.</p> + +<p>Amongst other Italian collectors whose fondness for calf +and morocco carried them perhaps just a little too near the +border line of extravagance, were Pietro Accolti, Cardinal of +Ancona (1445-1532), Antonio Alemanni, the poet (1500), and +Pasqual Cicogna, Doge of Venice, who died in 1595. +Specimens from the libraries of any of these, and others besides, +are sometimes worth far more than their weight in gold.</p> + +<p>The Italian bookbinders were the instructors of the French, +who subsequently rivalled and finally eclipsed their masters. +At first the French merely imitated, but towards the close of +the reign of Francis I. (<i>cir.</i> 1540), they struck out fresh lines of +their own.</p> + +<p>Jean Grolier is the representative collector of the early +French school, but he was, at the same time, the most famous +judge of bindings that the world has yet seen. He was born +at Lyons in 1479, and died in 1565, having spent nearly the +whole of his life in the collection of books. His opinion of +French binders appears to have been the reverse of complimentary, +for he went to Italy to find a workman after his +own heart, and one who could be relied upon to satisfy his +fastidious taste. Many people think that Grolier was by trade +a bookbinder, but this is a mistake—he was merely an enthusiastic +amateur who allowed his passion for bindings to become +his master. Some of his designs he prepared himself; others +are undoubted imitations of those adopted by Maioli, whom he +<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> +so greatly admired, that even his motto is reproduced, with of +course the necessary variation, "Io Grolierii et Amicorum". +This appears on the sides of most of his books, and there is +consequently no difficulty in identifying them. Others bear an +emblem, and in a scroll, "Æque difficulter," and others again +the words of the Psalmist arranged so as to form a triangle, +"Portio mea Domine sit in terra viventium". +<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> Most of Grolier's +books were printed by Aldus at Venice, and they are generally +found lettered on the back, a practice which was not in vogue +before his day. But however bound, and whatever device, +maxim, or motto he employed, the name of Grolier invariably +causes great excitement among amateurs. The value of any of +his books is proverbial, and their scarcity equally so. A +rare book may occasionally be snapped up for a hundredth +part of its worth, not so a magnificent specimen of binding, +which courts further inquiries on the part of the vendor, and, +as we all know, "further inquiries" are usually fatal to the +would-be snapper-up of unconsidered valuables.</p> + +<p>Louis de Sainte-Maure was a contemporary of Grolier, and +like him an enthusiastic book hunter. His bindings are said +to be even rarer still. They too are tooled with geometrical +figures, and on the side, in the centre, is the inscription, +"Invia virtuti nulla est via".</p> + +<p>Diana of Poitiers, the mistress of Henri II. of France (<i>cir.</i> +1540), was another famous collector, who spent vast sums on +binding her books. The designs were made in all probability +by Le Petit Bernard, one of the most famous engravers of his +day, and her books, like those of Grolier, were gold tooled on +both back and sides. Diana's device consisted of a bow and a +crescent, sometimes with a sheaf of arrows. Those books +which the infatuated Henri sent to his mistress bear the H. +surmounted by a crown and flanked by the <i>fleur-de-lys</i>. Henri +was himself a collector of no mean order, and his volumes, like +those belonging to the fair Diana, have their countless worshippers. +The king, whatever the laxity of his morals, was a +stickler for etiquette, and drew a wide distinction between a +mistress and a wife. Some of his books are stamped with the +interwoven initials H. and D., and ornamented with the usual +emblems of the chase, but no crown is observable. That +makes its appearance over a solitary H., banished, so to speak, +<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span> +to the remoter regions of the cover. Sometimes the initials +are changed to H. C., interwoven and surmounted by the +crown, and then we know that Henri chose to honour his wife +Catherine de Medicis with notice.</p> + +<p>Diana's library at the Château d'Anet was dispersed by +auction in 1723: it contained volumes of the most varied +descriptions, lives of the saints and lewd songs jostling one +another with impudent familiarity.</p> + +<p>Catherine de Medicis herself had the taste of Diana for +beautiful bindings, and kept a staff of workmen, who vied with +each other in the production of beautiful specimens of ornamentation. +She had the mania of the true book collector, for +on the death of the Maréchal de Strozzi, she laid violent hands +on his choice and valuable library, promising to pay for it +sometime, but ultimately dying herself without doing so.</p> + +<p>The books of Francis I. (1515-47), if bound for his use +while Dauphin of France, are marked with a dolphin, in addition +to the ordinary kingly stamps of the Royal Arms, a salamander, +and the letter F. The motto in each case is the +same: "Nutrio et extinguo". Specimens of binding having +the dolphin are extraordinarily rare.</p> + +<p>Henri III. (1574-89) did much to reduce the extravagant +cost of bookbinding, for, in 1583, he made a decree that ordinary +citizens should not decorate any single book with more +than four diamonds, or the nobility with more than five; he +himself and a few other scapegraces of the Royal House were +under no restriction. The same King instituted the order +of the "Penitents" as some little compensation for a life of +shameless vice and crime, and celebrated the occurrence by the +invention of a new binding, the originality of which is undoubted. +On black morocco, and sometimes with the Arms of France, +appear a death's head, cross-bones, tears, and other emblems of +woe, including a joke in the form of a motto, "Spes mea Deus". +Henri, when Duke of Anjou, loved Mary of Clèves, and subsequently +consoled himself for her untimely death by binding +a quantity of books in his library. Skulls, tears, and <i>fleurs-de-lys</i> +are thrown about in profusion; the motto, "Memento +mori," looks out at you from among floreated ornaments; Jesus +and Marie are placed on a level. When ordered to attend the +Court after the death of his beloved Mary, he made his appearance +in a black robe, embroidered all over with the usual +funereal emblems.</p> + +<p>The gloomy bindings of Henri III. brought on a reaction, +<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> +giving rise to a style of decoration known as <i>à la fanfare</i>. No +sooner was the King gathered to his fathers than his sister, +Margaret of Valois, exchanged the death's heads for a fanciful +decoration, consisting of a profusion of foliage, sprinkled +with daisies. Bindings of this period are very choice, but not +so elaborate as the development of the <i>fanfare</i> eventually made +them. The foliage became much more delicate, and the +clusters of leaves and flowers at last resembled lace work, +under the magic touch of the great binder Le Gascon.</p> + +<p>We now leave Royal personages, and descend to +a lower level, meeting at the very threshold the historian +Thuanus, better known as De Thou (1553-1617). This celebrated +amateur and patron of bookbinding was an intimate +friend of Grolier, and president of the Paris Parliament in the +reign of Henri IV. All his books, of which he possessed a +large number, were bound in morocco or gilded calf skin in +a style which varied with the different periods of his life. His +bachelor's library was embellished with his arms in silver, between +two branches of laurel, with his name below. After his +marriage in 1587, his wife's escutcheon is stamped alongside +his own with the initials J. A. M. below, and also on the backs +of his volumes. During his life as a widower, a wreath of +twining-stems tipped with red berries, and his own and dead +wife's initials interlaced, take the place of other ornaments. +After his second marriage in 1603, his new wife's escutcheon +appears in conjunction with his own, but the initials are +changed to J. A. G.</p> + +<p>This splendid library remained intact for more than 200 +years, and it was not until 1677 that it was sold almost as it +stood to the Marquis de Ménars. At his death in 1718, it was +purchased by Cardinal de Rohan, but in 1789, his heirs, +impoverished by legal proceedings, were compelled to +disperse the collection. The binders principally employed +by De Thou were the Eves (Nicholas, Clovis, +and Robert), whose splendid workmanship is a model for +such of our modern binders as follow the higher branches of +the art.</p> + +<p>Le Gascon, the binder to the Duke of Orleans, who +seems to have flourished between the years 1620 and 1640, was +another workman of the first rank. The Duke was a great +collector, whose shelves were covered with green velvet, garnished +<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> +with gold lace and fringe, and whose bindings by Le +Gascon were similarly ornamented.</p> + +<p>Among the large number of French bibliophiles who now +appeared on the scene, and competed with each other in the +beauty of their bindings, one or two must necessarily be mentioned, +since the modern collector envies or admires their +taste.</p> + +<p>Chancellor Séguier, at the end of the seventeenth century, +employed Ruette to make the bindings <i>au mouton d'or</i>, which +graced his shelves; and a little later still, the Baron de Longepierre +utilised the well-known ornament of the Golden Fleece, +which, when found on any book, no matter how intrinsically +worthless, greatly enhances its price. These are the prizes of +book collecting, seldom met with, and always strongly competed +for.</p> + +<p>The Colberts stamped the sides of their books with their +crest, in which the climbing adder is always conspicuous. +There were no less than seven members of this family who +loved books, and all embellished them with the adder in a +shield surmounted by a crown.</p> + +<p>Nicholas (1680) and Charles Louis Fouquet (1684-1761) +each adopted the coat of arms with a squirrel—looking for all +the world like a lion—and the motto, "Quo non ascendam". +Cardinal Mazarin, who died at Vincennes on the 9th of March, +1661, had many devices, the most common of which is +the coat of arms, consisting of an axe bound up in a +bundle of fasces, and surmounted by a cardinal's hat. These +and many other figures which generations of bibliophiles have +caused to be tooled on their books, point conclusively to +what library any given specimen formerly belonged, though, as +might be expected, it is sometimes a matter of great difficulty, +or even impossibility, to identify particular volumes. Some +amateurs discarded their own crests, and adopted others, for +reasons which are not apparent, while women, as, for example, +the Duchesse du Maine, who decorated her books at Sceaux +with a golden bee-hive, appear to have possessed the most +intricate armorial bearings, or to have been guided by mere +caprice, in their choice of emblems. Many books bearing +crests or coats of arms cannot, therefore, be identified, and for +this reason, amongst others, the few books which have been +written on this branch of the art of binding are necessarily +incomplete. One of the best—which, moreover, contains some +<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span> +hundreds of woodcuts illustrative of various devices—is Guigard's +<i>Armorial du Bibliophile</i>, 2 vols., 8vo, Paris, 1870-3, but this is +strictly confined to French devices. Even Hobson's choice, +however, is often better than none.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p> + +<p>Although the sixteenth century was <i>par excellence</i> the era of +ornamental bindings, it cannot be said that England made +much progress in the art. Up to the reign of Elizabeth we +seem to have persisted in the use of clumsy oak boards or stiff +parchment covers, and when a really choice and expensive +binding was required, it took the form of embroidered silks +and velvets. Queen Elizabeth herself was very expert in this +method of ornamentation, which continued to exist, in all probability, +simply because it was fashionable.</p> + +<p>The first English bookbinder of any repute was John Reynes, +a printer, who lived in the reigns of Henry VII. and VIII. +Specimens of his work are very rare, though, when compared +with the French bindings of the same date, they appear miserably +inferior. The truth is that England was—and, indeed, is—much +behind some other countries in everything relating to +bibliography, and binding in particular.</p> + +<p>Robert Dudley, the great Earl of Leicester, was the first +English book collector who was possessed of any degree of +taste. His cognisance of the "bear and the ragged staff" +appears on the sides of a (generally) quite plain binding, +although sometimes a rough attempt at ornamentation is +found. Archbishop Parker, and Burghley the Lord Treasurer, +had good libraries of well-bound books, and one specimen +from Bothwell's collection is known to exist. This, the +<i>Larismetique et Géometrie</i> of La Roche, <i>Lyon</i>, 1538, was +in the possession of the late Mr. Gibson-Craig, and is +mentioned by him in his <i>Fac-similes of Old Book-Binding</i>. It +is in the original calf gilt, with gilt <i>gaufré</i> edges, and on the sides +are the arms of James Hepburn, Earl of Bothwell. Although +Bothwell is known to have possessed literary tastes, books from +his library are excessively rare. This fine book belonged +originally to the family of Forbes of Tolquhon, and a signature +and date 1588 written on the title-page show that it had been +acquired by them a few years after the outlawry and death of +the original proprietor. At the Gibson-Craig sale this fine +<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span> +specimen was knocked down for £81.</p> + +<p>James I. was a bibliophile, as well as a reputed <i>savant</i>, and +paid much attention to the binding of his books, some of +which, now to be seen in the British Museum, are ornamented +with thistles and <i>fleurs-de-lys</i>. Lord Clarendon, who died in +1674, had a very fine collection of books, many of which were +bound by Notts, the most experienced English workman of +that day, and who was, it appears, also patronised by Pepys, +the diarist.</p> + +<p>It was not, however, until the eighteenth century that we made +in this country any real advance in bookbinding. Robert Harley, +the first Earl of Oxford (1661-1724), had established a library, +and this had not only been added to by his son, but bound in +a most expensive manner, by two workmen named Elliott and +Chapman, who seem to have attained a certain amount of +proficiency, and whose efforts gave rise to a new style of ornamentation +known as the "Harleian". Though much inferior +to the Continental designs, this had a beauty of its own, and +was a vast improvement upon anything hitherto attempted by +English binders.</p> + +<p>Thomas Hollis, the <i>littérateur</i> and antiquary, who died in +1774, bound his extensive collection in calf, adding, in each +instance, a device suitable to the contents of the work. Thus, +as the owl is the symbol of wisdom, his scientific books bear +the figure of an owl stamped on the covers. Military works +have the short Roman stabbing sword, and so on.</p> + +<p>If we except, perhaps, the French emigrants who made their +home in this country at the end of the eighteenth century, there +really was no binder of any note until the advent of Roger +Payne (1739-1797). This workman, though dissolute, had, +nevertheless, a reputation in his line second to none. In +person, he is stated to have been dirty and untidy, but certainly +neither of these defects appear in his bindings, which, though +not, as a rule, heavily gilt, are tooled to neat classical or geometrical +designs after the Venetian style. Where Payne made +his mark was, perhaps, in the <i>appropriateness</i> of his bindings. +His judgment, in this respect, appears to have been sound and +popular.</p> + +<p>After Payne followed Walther, Charles Hering, and Charles +Lewis, all of whom, the last particularly, did very good work. +In more recent times still we have Hayday, Rivière, Francis +<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> +Bedford, Ramage, and last, but by no means least, Zaehnsdorf, +whose son yet carries on business in London.</p> + +<p>The ordinary cloth bindings, such as we see every day in +the booksellers' shops, are purely English, and have been in +use since 1823, when they were invented by Lawson, and +adopted by Pickering, the publisher. In Continental countries +they use paper covers, and even the most expensive works are +issued originally in this form. There they bind their books +after publication if they are found to be worth binding. In +this country cloth is now largely used, and is certainly a great +improvement on the old clumsy covers of a bygone age, or on +the paper wrappers of this.</p> + +<p>Bookbinding in the higher styles is now done fairly well in +England, though, in the opinion of many, the workmanship is +not equal to that of the French artists of three hundred years +ago.<br /></p> + +<div class="footnotes"><h3><br />FOOTNOTES:</h3> + +<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> See Guigard, <i>Armorial du Bibliophile</i>, vol. i. p. 248.</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> Mr. Quaritch, the bookseller, has in preparation a <i>Dictionary of +English Book Collectors</i>, somewhat after the scheme of M. Guigard's +book.<br /><br /></p></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p> +<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a><br />CHAPTER XI.</h2> + +<h3><br />BOOKS TO BUY.<br /><br /></h3> + + +<p><span class="dropcap">O</span>NE of the most difficult branches of bibliography is that +which treats of the books to choose and those to avoid, with +reference mainly to their pecuniary value. Few collectors, +who are not specialists, care very much for the utility of their +libraries; in many cases, indeed, it is not a question of utility +at all, but of extent, though I apprehend that no one would +wish to crowd his shelves with rubbish merely for the sake of +filling them. As an immense proportion of the books which +have been published during the sixteenth, seventeenth, +eighteenth, and nineteenth centuries clearly come under that +category, the collector has much to avoid, and stands in need +of considerable experience to enable him to make a selection.</p> + +<p>Naudé, the apologist for "great men suspected of magic," +whose patron, by the way, was Cardinal Mazarin, had a +method of purchasing which, if not unique, was at any rate +uncommon. His favourite plan was to buy up entire libraries, +and sort them at his leisure; or when these were not available +in the bulk, he would, as Rossi relates, enter a shop with a yard +measure in his hand, and buy his books by the ell. Wherever +he went, paper and print became scarce: "the stalls he +encountered were like the towns through which Attila had +swept with ruin in his train". Richard Heber, the bibliotaph, +too, had collections of miscellaneous books at Paris, Antwerp, +Brussels, and other continental towns, to say nothing of London, +where the aristocracy among his treasures were deposited. +The books were sold by auction after his death; the sale +occupied 202 days, and flooded the market with rubbish—a +worthy termination to a life of sweeping and gigantic purchases, +made in the hope of acquiring single grains of wheat among +his tons of worthless chaff.</p> + +<p>But Naudé had the wealth of Mazarin at his back, and free +<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span> +licence to purchase as and where he would at the Cardinal's +expense, while Heber was rich beyond the dreams of avarice; +the modern book hunter, whose means we will suppose are +limited, must discard the yard measure and the scales, and rely +on his judgment, taking care to get the utmost value for his +money. He will have to make up his mind to buy or not to +buy on the spur of the moment, for while he is consulting his +books of reference at home, a golden opportunity may be +missed. This is his capital difficulty, and one which it will +take years of experience to surmount, for there is no <i>vade +mecum</i> capable of being carried in the waistcoat pocket, which +will enable him to spot a rarity at a glance; nothing, in +fact, which can compensate for a lack of practical knowledge. +I have often thought that a register of scarce but mean-looking +English books, of such a convenient size as to be carried in the +palm of the hand, might be of assistance to those who haunt +the stalls, and delve among the rubbish usually to be found +there; some day, perhaps, it may be worth while to try the +experiment, <i>sed Gloria, quantalibet quid erit; si gloria tantum +est</i>? What will be the value of ever so much glory, if it be +glory and nothing else?</p> + +<p>In turning over the contents of an old book-stall, the major +portion of the heap will be found to consist of volumes of +sermons, and other theological treatises, recipe books, odd +historical volumes, and poetical effusions, besides periodical +literature of the <i>Spectator</i> and <i>Tatler</i> brand. Books of this +class are, as a rule, merely rubbish; but still there are a few +exceptions. Sermons of John Knox and Dr. Sacheverell, or +any of Mather's tracts, are invariably worth purchasing; as also +are first editions of sermons by Cardinals Manning or Newman. +Early editions of Mrs. Glasse's cookery book, or any recipe books +of the seventeenth century, may safely be speculated in; so may +early editions of poetical works, if written by authors whose reputation +subsequently became established. Third, fourth, or later +editions are seldom of much value, no matter who the author +may be, and no matter of what character or description, provided +they come under one or other of the heads enumerated +above. In purchasing books of the class generally found on +second-hand stalls, there are two preliminary questions to be +asked: first, was the author of sufficient reputation to make his +name well known? and secondly, is the particular copy of his +<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span> +works offered for sale an early edition? If an affirmative +answer can be given to each of these inquiries, it will be +advisable to tender the small sum likely to be asked, and to +run the risk.</p> + +<p>Another point to be observed is that where a printer's +device appears on the title-page, or indeed on any other part of +an <i>old</i> book, it is more likely than not to have a value, and it +ought never to be passed over without a careful scrutiny.</p> + +<p>Should the collector be fortunate enough to pick up a rare +French book, his best policy will be to have it suitably bound +in France by a first-rate binder. Though already valuable, its +importance will be still further increased by this manœuvre; for +when the inevitable day of parting shall arrive, the French bibliophiles +will be more inclined to welcome native talent than any +English imitation of it.</p> + +<p>Volumes containing separate tracts should always be +examined, as it sometimes happens that rare pieces are found +bound up with a mass of worthless matter. I once heard of +original editions of two of Molière's plays being found in this +way; and as these stand pretty much in the same position, so +far as rarity and consequent value is concerned, to the early +Shakespearean quartos, the importance of the "find" to the +lucky discoverer can hardly be exaggerated. This is only +another example of the rule which can never be too often +repeated, since it can never be sufficiently understood. If the +author is "big enough," and the edition is early enough, buy. +The probability is you may not realise the full importance of +what you have got until you have had time to consult some +book of reference; it may indeed turn out that a wretched and +dirty reprint has done duty for the original, or it may so be +that the book is worthless on its merits. This is one of the +risks of book collecting, and, it may be added, one of its +charms. Hundreds of thousands of dead and forgotten books +must be annually disposed of, for nominal sums, in London +alone, and there is no telling how often these and others may +have been turned over and flung aside by passers-by before they +eventually find a market. Among all this profusion of rubbish, +a certain percentage of valuable pieces must necessarily exist, +and these, from the very circumstances under which they are +offered for sale, will be unknown, and more or less unbound +and uncut. Every year some of these princes in disguise are +rescued from the wind and rain, and henceforth considered a +<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span> +fair exchange for gold instead of copper; but alas! we cannot +both eat our cake and have it too. "Finds," as they are +called, are not so numerous as they once were, nor hucksters so +ignorant as in the merry days of Dibdin and Burton, to say +nothing of such foreign Nimrods as Colbert, Grolier, and the +great Pixérécourt.</p> + +<p>The same rules which guide the haunter of the stalls are +suitable to those who purchase from the regular booksellers. +There is so much to be learned, so many artificial rules and +distinctions to be observed in everything relating to books, +that mistakes are of frequent occurrence. Ignorant assistants +have before now unwittingly thrown shabby little books, like +Burns' Poems (Kilmarnock, 1786), into the sixpenny-box at +the shop door; others have been too lazy to sort the +"parcels" as they have come in from the auctioneers, and +have bundled the whole contents into the same repository. +There are a hundred and one accidents in favour of the +book hunter, but he needs experience in order to take +advantage of them, and this cannot be got without the +expenditure of much time and money and the suffering of +many disappointments, which, indeed, seem to increase as he +grows older, rather than to diminish. This is doubtless because +the sphere of his operations becomes wider until it exceeds that +of his experience; the seventh age of the Bibliophile is even +as his first.</p> + +<p>Apart from the books which are fashionable for the time +being and invariably command fancy prices, there are others +which may be styled "standards," that is to say, are sold over +and over again, both by auction and private contract, for sums +which vary only according to condition. These for the most +part are in several volumes, 8vo, frequently also in 4to or +folio. Their very appearance precludes any prospect of a +bargain; indeed the purchaser, unless well versed in book-lore, +stands a very good chance of paying for mere bulk. +When the library at Sion College took fire, the attendants at +the risk of their lives rescued a pile of books from the flames, +and it is said that the librarian wept when he found that the +porters had taken it for granted that the value of a book was +in exact proportion to its size. To this day the impression +that big books contain wisdom is all but universal. This has +always been so, as witness the temporary reputation of Nicholas +de Lyra, who wrote and printed 1800 folios of Commentary on +<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> +the Bible, and of Aldrovandus, whose thirteen large folio volumes +on General Zoology (1599-1668) have greatly perplexed the +scientific world ever since they were published. Let not the +collector be led away by massive tomes, nor imagine that +standard works of acknowledged reputation can often be got for +less than they are worth.</p> + +<p>Of late years there has been a violent competition for books +and even tracts published in or in any way relating to the +American Continent provided only that they were published +during the sixteenth, seventeenth, and sometimes also the +eighteenth centuries. Thus Cotton's <i>Abstract of the Laws of +New England</i>, 1641; <i>The Description of Jamaica</i>, 1657; Brereton's +<i>Relation of the Discoverie of the North Part of Virginia</i>, +1602, and many other obscure little 4to tracts—not books—would +be cheap at twenty guineas each, while others are +worth even more. American collectors are largely responsible +for this. In the same way treatises of any kind which have +a Scotch local interest, and are dated about the same period, +are always worth two or three guineas at the least, and in many +cases far more than those amounts.</p> + +<p>The earliest book printed in Scotland is <i>The Knightly +Tale of Golagrus and Gawane and other ancient poems</i> (Edinburgh, +1508), 4to, which was reprinted in fac-simile under the +superintendence of Dr. Laing in 1827. As might be expected, +the original is so scarce as to be unprocurable, and even the +reprint is of considerable value. Early Scotch-printed books +by such workmen as Walter Chepman, Androu Myllar, Andro +Hart, Alexander Arbuthnot, Thomas Davidson, Anthony +Marlar, James Watson, Andrew Anderson and his widow the +would-be monopolist, Robert Freebairn, and several others, some +of whom carried on business into the eighteenth century, +should never be overlooked or discarded. These are just the +kind of books which are occasionally discovered on stalls in +obscure streets, and which may be expected to be bought for a +few pence. They are scarce, of course, or it would not be +worth while to mention them; but they look insignificant, and +many, for anything I know, may this very day be making their +weary pilgrimage on costermongers' barrows in the New Cut, +despised and rejected of men.</p> + +<p>Specimens of typography from the presses of Caxton, +Wynkyn de Worde, and other early English printers, some +of which have already been mentioned, are essentially curiosities, +and it is almost useless to hope for even the semblance of +<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> +a bargain so far as they are concerned. Still, occasional finds +are from time to time reported from out-of-the-way villages +whose inhabitants have not yet wakened from their mediæval +slumbers, and great is the rejoicing of the explorer, and many +the paragraphs with which the discovery is heralded in the +newspapers. The collector who is fortunate enough to come +across a work of this class—he can hardly expect a repetition +of such extraordinary luck—will have crowned his labours, be +they great or small, and can henceforth pride himself on his +success. If he never handles a book again, he will have +earned his laurels.</p> + +<p>Inferior County Histories in one volume, generally 8vo, are +always worth buying if they can be got for a few pence, as is +often the case, for there are very few of them which are not +worth as many shillings at the least. Topographical works are +now being inquired for to a much greater extent than was the +case several years ago, and the booksellers can dispose of almost +any quantity. Such examples as are likely to be casually met +with are, however, very small game; yet they represent the +average amount of success likely to be achieved at one time in +these days of widespread knowledge. The demand for book +rarities is very great, and every hole and corner, likely and +unlikely, is periodically ransacked by booksellers' "jackals," to +say nothing of the army of amateurs ever on the look-out for +bargains. Accident is, however, productive of occasional +successes, and every man has, or may have, if he thinks +proper to put it to the test, an equal chance.</p> + +<p>In addition to the ready-made bargains, which do more +than anything else to delight the heart of the book lover and +encourage him to further exertions, there is such a thing as +playing upon popular likes and dislikes, or, in other words, +speculating on the vagaries of fashion. At present the rage is +for original editions of modern authors, principally those with +plates, coloured or uncoloured. Some day the fashion will +change, and books hitherto neglected will suddenly take their +place and increase many times in value. Such books should +be bought while they are cheap, and they doubtless would be +if there was such a thing as a literary barometer capable of +forecasting the state of the market; but there is not, and it is +impossible to foretell the direction in which the mass of +book lovers will turn when once they are tired of picture-books.</p> + +<p>Every bookseller is of necessity a speculator, for it is his +<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> +business to buy at a low price and to sell at a higher. The +amateur, however, should, if he would preserve his title, +abstain from traffic of this kind and be satisfied to pay for the +privilege of forming a library without regard to the ultimate +profit or loss. His pleasure should consist in acquisition and +the opportunity afforded of fondling his store while there is +time, for he may be absolutely certain that the whole assortment—bookcases, +shelves, and all—will find their way to the +auctioneer directly he has done with them. This mournful +prospect has been the indirect means of founding a new +school, that of the semi-amateurs, which, while claiming for +itself all the attributes of the book lover, has, nevertheless, an +eye to the main chance, and is prepared at a moment's notice +to transfer an entire collection <i>inter vivos</i> if the required sum +be forthcoming. As an ardent Waltonian would regard a +brother of the angle who went a-fishing with the object of +selling his catch, so the old-fashioned bibliophile views this +degenerate school—that is to say, with unfeigned disgust. It +makes no difference, nay, if anything it is an aggravation, that +the culprit is "well up" in his subject and knows a book +when he sees one. "Fancy!" says a member of the old +academy, "here is an educated man who for years has occupied +his leisure hours in studies the most delightful, and among +friends the most courteous and refined. He knows them, can +put his hand upon any in the dark, and yet——;" but here +the power of words fails to describe the heartless greed which +alone could send a row of life's companions to the block. +Nevertheless this is being done every day, and, however +vexed the respectable book lover may be, the fact remains that +the new school is just now showing remarkable activity and is +running the booksellers very close indeed. The advisability +of purchasing depends upon the answer to a single question, +"Will this book go up?" Never mind the author, or a +syllable of what he wrote, but take especial care to see that the +work is perfect, clean, and uncut, and then ask yourself this +solitary question. This is the first and last commandment of +the semi-amateur, whose method of procedure it may be +interesting to analyse.</p> + +<p>Let us suppose that a London publisher advertises a new +edition of some famous work, tastefully got up and luxuriously +bound and illustrated. The issue of course is limited, as the +<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span> +price is high, and discriminating purchasers must be tempted. +The old-fashioned amateur is not to be charmed because he +persuades himself that there is plenty of time, and what matter +if a few years later he has to pay a slightly enhanced price? +The book will be worth it, for it will be scarce, and, moreover, +have attained a respectable degree of antiquity, and so he +passes it by. Not so the new school, which we will assume +has answered its solitary question in the affirmative. The +edition is snapped up in a moment, and single members will +buy as many duplicates as they can afford to invest in—buy to +sell again ultimately, and in the meantime to gloat over, like +so many jackdaws eying a secreted heap of stolen goods. This +is commonly called "cornering" an edition; and when several +persons possessing the same opinions and the same tastes join +their forces, it will readily be perceived that if a book will not +go up of its own accord it may readily be forced up by judicious +retention and self-denial. This, of course, is nothing more +nor less than Stock-Exchange speculation, and it is satisfactory +to find that sometimes the greedy purchaser makes a mistake +and is saddled with a small stock of waste-paper.</p> + +<p>As previously stated in the fifth chapter, a book which has +perhaps been cornered as often as any other, and never +successfully, is Ottley's <i>Italian School of Design</i>, on large +paper, with proof impressions. The published price was £25 +4s., the present value is about £3 by auction. Here is a dreadful +falling off, and the adherents of the new school have never +yet been able to understand the reason, or to cease persuading +themselves that the day must surely come when the book will +go up. If anything, however, it is going down, and in the +opinion of many experts it can never again take a respectable +position in the market.</p> + +<p>Another book which has also been speculated in, and +with even more disastrous results still, is <i>Hogarth's Works</i>, +from the original plates, restored by Heath, and published +by Baldwin and Cradock, in 1822, at £50. This is a large +and sumptuous work, with a secret pocket at the end, in +which are, or should be, found the three suppressed plates. +The present auction value is not much more than £4, and, +judging from appearances, it is very unlikely to get any higher. +How many people have burned their fingers over these two +tempting works it would be very difficult even to guess; suffice +it to say, that the amateur speculator often has half-a-dozen of +<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span> +each on his shelves, and in nine cases out of ten he finds them +an encumbrance and a loss. As John Hill Burton truly says, +"No good comes of gentlemen amateurs buying and selling". +This is, of course, as it should be; but rejoicing at the fate of +the enemy is likely to be turned into gall when it is discovered +that defeat is bolstered up with the inevitable axiom "Better +luck next time".</p> + +<p>It cannot be denied that, from a practical everyday stand-point, +the collector who buys to sell has everything in his +favour. Why should he not employ his knowledge to advantage? +why be compelled to stock his library at a loss which +will fall chiefly on his immediate descendants? why suffer the +pain and mortification of ever remembering that after all his +books are only lent to him on hire, and that as others have +parted with the identical volumes before, so he must also part +with them in his turn? The pleasure of possession is mixed +with an alloy which is disquieting to the man who loves his +books too well. Still, after all, there is one pleasure which the +votaries of the new school can never hope to enjoy, and that is +the communion with old friends. Their books are strangers, +and even though they should learn them by heart, they would +be strangers still. The remembrance of happy hours spent with +a lost volume is to them as nothing compared with the ringing +metal which replaces it; or to put the case as pleasantly +as possible, we will say that the speculator regards a book as +possessing an interest quite apart from its literary or domestic +value. How such an one would hunger after the treasures +secured by an eager collector at a fishmonger's shop in Hungerford +Market some fifty years ago—"Autograph signatures of +Godolphin, Sunderland, Ashley, Lauderdale, Ministers of +James II., accounts of the Exchequer Office signed by Henry +VII. and Henry VIII., wardrobe accounts of Queen Anne, +secret service accounts marked with the 'E. G.' of Nell +Gwynne, a treatise on the Eucharist in the boyish hand of +Edward VI., and a disquisition on the Order of the Garter, in +the scholarly writing of Elizabeth," all of which, as Mr. Rogers +Rees narrates, had been included in waste-paper cleared out of +Somerset House at £7 a ton.<br /><br /></p> + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span></p> +<h2><br /><a name="PRINCIPAL" id="PRINCIPAL">PRINCIPAL SECOND-HAND BOOKSELLERS IN THE +UNITED KINGDOM WHO PUBLISH CATALOGUES.</a></h2> + +<p><br />⁂ <i>The Date Appended is that of the Firm's Establishment.</i></p> + +<p>Free use has been made of Mr. Clegg's <i>Directory of Second-hand Booksellers</i> in the preparation +of this list; but reference has also been made to each firm personally.</p> + +<p><b>GENERAL.</b></p> + +<p> +<i>Aberdeen</i>—Bisset, Jas. G., 1879.<br /> +<span style="margin-left: 1em;">Middleton, Geo.</span><br /> +<span style="margin-left: 1em;">Murray, James, 1825.</span><br /> +<span style="margin-left: 1em;">Nicoll, Thomas P.</span><br /> +<span style="margin-left: 1em;">Walker & Co.</span><br /> +<span style="margin-left: 1em;">Wilson, J.</span><br /> +<span style="margin-left: 1em;">Wyllie & Son, D., <i>c.</i> 1830.</span><br /> +<br /> +<i>Accrington</i>—Wardleworth, Jno., 1864.<br /> +<br /> +<i>Barton-on-Humber</i>—Ball, Henry William, 1856.<br /> +<br /> +<i>Bath</i>—Cleaver, H.<br /> +<span style="margin-left: 1em;">Gregory, George, 1879.</span><br /> +<span style="margin-left: 1em;">Meehan, B. & J. F., 1867.</span><br /> +<span style="margin-left: 1em;">Pickering, G. & F., 1852.</span><br /> +<br /> +<i>Belfast</i>—Burns, Alex., <i>jun.</i><br /> +<span style="margin-left: 1em;">Dargan.</span><br /> +<span style="margin-left: 1em;">Shone, J., & Co., 1885.</span><br /> +<br /> +<i>Birmingham</i>—Baker, Edw., 1884.<br /> +<span style="margin-left: 1em;">Brough, Wm., & Sons, 1845.</span><br /> +<span style="margin-left: 1em;">Downing, William, 1830.</span><br /> +<span style="margin-left: 1em;">Hitchman, John, 1855.</span><br /> +<span style="margin-left: 1em;">Lowe, Charles.</span><br /> +<span style="margin-left: 1em;">Midland Educ. Trading Co., Limited.</span><br /> +<span style="margin-left: 1em;">Thistlewood, Alf.</span><br /> +<span style="margin-left: 1em;">Wilson, James.</span><br /> +<br /> +<i>Bournemouth</i>—Commin, H. G.<br /> +<span style="margin-left: 1em;">Gilbert, H. M.</span><br /> +<br /> +<i>Bradford</i>—Hart, James.<br /> +<span style="margin-left: 1em;">Matthews & Brooke, 1840.</span><br /> +<span style="margin-left: 1em;">Miles, Thomas, 1879.</span><br /> +<br /> +<i>Brechin</i>—Black & Johnston, 1817.<br /> +<br /> +<i>Brighton</i>—Smith, W. J.<br /> +<span style="margin-left: 1em;">Thorpe, James.</span><br /> +<br /> +<i>Bristol</i>—George, James.<br /> +<span style="margin-left: 1em;">George's, William, Sons, 1847.</span><br /> +<span style="margin-left: 1em;">Jefferies, Charles S.</span><br /> +<span style="margin-left: 1em;">Matthews, J., & Son.</span><br /> +<span style="margin-left: 1em;">Nield, Ashton.</span><br /> +<span style="margin-left: 2em;">" Walter.</span><br /> +<br /> +<i>Burnley</i>—Coulston, William.<br /> +<span style="margin-left: 1em;">Lupton Brothers.</span><br /> +<br /> +<i>Burton-on-Trent</i>—Waller, Thos.<br /> +<br /> +<i>Bury, Lancs.</i>—Vickerman, Chas.<br /> +<br /> +<i>Cambridge</i>—Deighton, Bell & Co.<br /> +<span style="margin-left: 1em;">Hall, J., & Son, 1798.</span><br /> +<span style="margin-left: 1em;">Johnson, Elijah.</span><br /> +<span style="margin-left: 1em;">Macmillan & Bowes.</span><br /> +<span style="margin-left: 1em;">Tomlin, W.</span><br /> +<span style="margin-left: 1em;">Tomson, Octavus.</span><br /> +<br /> +<i>Canterbury</i>—Goulden, W. E.<br /> +<br /> +<i>Carlisle</i>—Grant, George S.<br /> +<br /> +<i>Carnarvon</i>—Jones, John D.<br /> +<br /> +<i>Carrickfergus</i>—Weatherup, Jas.<br /> +<br /> +<i>Cheltenham</i>—Pink, John Wm.<br /> +<span style="margin-left: 1em;">Rawlings, H. E., 1880.</span><br /> +<br /> +<i>Chester</i>—Edwards, J. W. P., 1870.<br /> +<br /> +<i>Cirencester</i>—Baily & Son.<br /> +<br /> +<i>Colchester</i>—Forster, Thos., 1883.<br /> +<span style="margin-left: 1em;">Harwood, William H. (private dealer).</span><br /> +<br /> +<i>Cork</i>—Massey, Nassau, 1840.<br /> +<br /> +<i>Derby</i>—Clayton, Mrs.<br /> +<span style="margin-left: 1em;">Murray, Frank, 1884.</span><br /> +<br /> +<i>Devizes</i>—Colwell, John.<br /> +<br /> +<i>Devonport</i>—Clarke, Josiah, & Sons.<br /> +<br /> +<i>Dover</i>—Johnson, Wm., 1843.<br /> +<br /> +<i>Dublin</i>—Carson Brothers.<br /> +<span style="margin-left: 1em;">Combridge.</span><br /> +<span style="margin-left: 1em;">Rooney, M. W., 1842.</span><br /> +<span style="margin-left: 1em;">Traynor, Patrick, 1849.</span><br /> +<br /> +<i>Dumfries</i>—Anderson, John, & Son.<br /> +<br /> +<i>Dundee</i>—M'Gregor, Mrs.<br /> +<span style="margin-left: 1em;">Maxwell, Alexander.</span><br /> +<span style="margin-left: 1em;">Petrie, George, 1875.</span><br /> +<br /> +<i>Edinburgh</i>—Baxendine, A.<br /> +<span style="margin-left: 1em;">Brown, W.</span><br /> +<span style="margin-left: 1em;">Bryce, William, 1885.</span><br /> +<span style="margin-left: 1em;">Cameron, Richard, 1868.</span><br /> +<span style="margin-left: 1em;">Clay, Wm. F.</span><br /> +<span style="margin-left: 1em;">Dunn, James, 1888.</span><br /> +<span style="margin-left: 1em;">Elliot, Andrew, 1854.</span><br /> +<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> +<span style="margin-left: 1em;">Grant, John.</span><br /> +<span style="margin-left: 1em;">Hossack, T. M., 1875.</span><br /> +<span style="margin-left: 1em;">Hunter, R. W. (su'r. to Gemmell).</span><br /> +<span style="margin-left: 1em;">Johnston, George P., 1880.</span><br /> +<span style="margin-left: 1em;">Johnstone, Thomas.</span><br /> +<span style="margin-left: 1em;">Mackay, James.</span><br /> +<span style="margin-left: 1em;">Mackenzie, John, 1861.</span><br /> +<span style="margin-left: 1em;">Macleod, Norman.</span><br /> +<span style="margin-left: 1em;">Macniven & Wallace.</span><br /> +<span style="margin-left: 1em;">Macphail, Alexander.</span><br /> +<span style="margin-left: 1em;">Melville, Thomas.</span><br /> +<span style="margin-left: 1em;">Stevenson, Thos. George, 1824.</span><br /> +<span style="margin-left: 1em;">Stillie, James, 1826.</span><br /> +<span style="margin-left: 1em;">Thin, James, 1847.</span><br /> +<br /> +<i>Elgin</i>—Watson, J. and J. A., 1775.<br /> +<br /> +<i>Ennis</i> (<i>Ireland</i>)—Hayes, James.<br /> +<br /> +<i>Exeter</i>—Commin, James G.<br /> +<span style="margin-left: 1em;">Drayton, S., & Sons, 1838.</span><br /> +<br /> +<i>Fritchley</i> (<i>Derbysh.</i>)—Wake, Hy. Thomas, 1863.<br /> +<br /> +<i>Glasgow</i>—Forrester, J. P.<br /> +<span style="margin-left: 1em;">Forrester, Robert, 1850.</span><br /> +<span style="margin-left: 1em;">Hannah, J.</span><br /> +<span style="margin-left: 1em;">Hopkins, Hugh.</span><br /> +<span style="margin-left: 1em;">Kerr & Richardson, 1827.</span><br /> +<span style="margin-left: 1em;">MacLehose & Sons, 1838.</span><br /> +<span style="margin-left: 1em;">Muir.</span><br /> +<span style="margin-left: 1em;">Sime, W. S., 1837.</span><br /> +<br /> +<i>Halifax</i>—Teal, J., 1880.<br /> +<br /> +<i>Hastings</i>—Watts.<br /> +<br /> +<i>Hull</i>—Annandale, R. C.<br /> +<span style="margin-left: 1em;">Cook, Robert.</span><br /> +<span style="margin-left: 1em;">Tutin, J. R., 1882.</span><br /> +<br /> +<i>Inverness</i>—Melven Brothers, 1864.<br /> +<span style="margin-left: 1em;">Noble, J., 1859.</span><br /> +<span style="margin-left: 1em;">Snowie, William M., 1887.</span><br /> +<br /> +<i>Ipswich</i>—Read & Barrett, 1827.<br /> +<br /> +<i>Lancaster</i>—Duxbury, John, 1879.<br /> +<span style="margin-left: 1em;">West, G. S., 1877.</span><br /> +<br /> +<i>Leamington</i>—Collier, John.<br /> +<span style="margin-left: 1em;">Kennard, Tho., 1875.</span><br /> +<br /> +<i>Leeds</i>—Ashworth, J. H. and A., 1830.<br /> +<span style="margin-left: 1em;">Dodgson, Joseph.</span><br /> +<span style="margin-left: 1em;">Jackson, R.</span><br /> +<span style="margin-left: 1em;">Lees, F. R., & Co., 1880.</span><br /> +<span style="margin-left: 1em;">Miles, James.</span><br /> +<span style="margin-left: 1em;">Milligan, Thomas, 1859.</span><br /> +<span style="margin-left: 1em;">Symington, John S., 1881.</span><br /> +<br /> +<i>Leicester</i>—Holyoak, W. H., 1880.<br /> +<span style="margin-left: 1em;">Murray, Frank.</span><br /> +<span style="margin-left: 1em;">Spencer, Jno. and Thos., 1853.</span><br /> +<br /> +<i>Lichfield</i>—Asher, Henry, 1877.<br /> +<br /> +<i>Liverpool</i>—Gibbons, F. and E.<br /> +<span style="margin-left: 1em;">Hales & Co., 1869.</span><br /> +<span style="margin-left: 1em;">Howell, Edward.</span><br /> +<span style="margin-left: 1em;">Parry & Co.</span><br /> +<span style="margin-left: 1em;">Potter, William.</span><br /> +<span style="margin-left: 1em;">Young, Henry, & Sons, 1849.</span><br /> +<br /> +<i>London</i>—Alexander, S., 42 Kingsland Rd., E.<br /> +<span style="margin-left: 1em;">Bailey Brothers, 36A Newington Butts, S.E., 1875.</span><br /> +<span style="margin-left: 1em;">Bain, Jas., 1 Haymarket, S.W.</span><br /> +<span style="margin-left: 1em;">Bensberg Bros., 344 Holloway Rd., N.</span><br /> +<span style="margin-left: 1em;">Bickers & Son, 1 Leicester Sq., W.C.</span><br /> +<span style="margin-left: 1em;">Brown, C. and E., 13 Bishop's Rd., Paddington, W., 1876.</span><br /> +<span style="margin-left: 1em;">Buchanan, J., 49 Great Queen St., W.C.</span><br /> +<span style="margin-left: 1em;">Bull & Auvache, 35 Hart St., W.C.</span><br /> +<span style="margin-left: 1em;">Bumpus, Edw., Holborn Bars, W.C.</span><br /> +<span style="margin-left: 1em;">Bumpus, John, 350 Oxford St., W., 1840.</span><br /> +<span style="margin-left: 1em;">Cooper, Alf., 234 and 236 King St., Hammersmith, W., & 8 Newland Terrace, High St., Kensington, W.</span><br /> +<span style="margin-left: 1em;">Cornish, Jas., & Sons, 297 High Holborn, W.C., <i>c.</i> 1840.</span><br /> +<span style="margin-left: 1em;">Edwards, Francis, 83 High St., Marylebone, 1860.</span><br /> +<span style="margin-left: 1em;">Edwards, Thomas, & Co., Northumberland Avenue, W.C.</span><br /> +<span style="margin-left: 1em;">Evans, M., & Co., 61 Charing Cross Rd., W.C.</span><br /> +<span style="margin-left: 1em;">Galwey, John, 17 Garrick St., W.C., 1890.</span><br /> +<span style="margin-left: 1em;">Garrett, J. E., & Co., 48 Southampton Row, W.C.</span><br /> +<span style="margin-left: 1em;">Gladwell, T., 101-3 Goswell Rd., E.C., 1860.</span><br /> +<span style="margin-left: 1em;">Glaisher, George, Southampton Row, W.C., 1841.</span><br /> +<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span> +<span style="margin-left: 1em;">Grose, Wm., 17 Panton Street, Haymarket, W., 1875.</span><br /> +<span style="margin-left: 1em;">Gunn, James, 49 Bedford St., W.C., 1870.</span><br /> +<span style="margin-left: 1em;">Hartley, H. H., 81 Park St., Camden Town, N.W., 1888. [<i>Specialité</i>: 18th cent. Literature.]</span><br /> +<span style="margin-left: 1em;">Hayes, T., 50 Broke Rd., Dalston, N.E.</span><br /> +<span style="margin-left: 1em;">Herbert, C., 319 Goswell Rd., E.C.</span><br /> +<span style="margin-left: 1em;">Higham, Chas., 27A Farringdon St., E.C., 1862.</span><br /> +<span style="margin-left: 1em;">Hill, H. R., & Son, 1 Booksellers' Row, W.C., 1849.</span><br /> +<span style="margin-left: 1em;">Hindley, C., 41 Booksellers' Row, W.C.</span><br /> +<span style="margin-left: 1em;">Jackson, Alb., G. Portland St., W.</span><br /> +<span style="margin-left: 1em;">Jarvis, J. W., & Son, 28 King William St., Strand.</span><br /> +<span style="margin-left: 1em;">Jones, F. R., 82 Ilbert Street, Queen's Park, W.</span><br /> +<span style="margin-left: 1em;">Lazarus, S. H., 3 and 51 Booksellers' Row, W.C.</span><br /> +<span style="margin-left: 1em;">McCaskie, R., 110 Iverson Rd., N.W.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, 159 Church St., Paddington Gr., W., 1860.</span><br /> +<span style="margin-left: 1em;">Maurice, A., & Co., St. Martin's House, Gresham St., E.C.</span><br /> +<span style="margin-left: 1em;">May, 225 Edgware Rd., W., 1878.</span><br /> +<span style="margin-left: 1em;">May, George H., 9 Royal Arcade, Old Bond St., W., 1882.</span><br /> +<span style="margin-left: 1em;">Menken, E., 3 Bury St., Oxford St., W.C.</span><br /> +<span style="margin-left: 1em;">Mills, T. B., 2 Palace Street, Buckingham Gate, S.W., 1880.</span><br /> +<span style="margin-left: 1em;">Myers, A. I., & Co., 49 Booksellers' Row, W.C., 1889.</span><br /> +<span style="margin-left: 1em;">Nicholls, Wardour St., W.</span><br /> +<span style="margin-left: 1em;">Nutt, David, 270-1 Strand, W.C., 1830.</span><br /> +<span style="margin-left: 1em;">Parker, R. J., 204 High Holborn, W.C.</span><br /> +<span style="margin-left: 1em;">Parsons, E., & Sons, 45 Brompton Rd., S.W., 1858.</span><br /> +<span style="margin-left: 1em;">Quaritch, B., 15 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Reader, A., 1 Orange St., Red Lion Square, W.C.</span><br /> +<span style="margin-left: 1em;">Reeves & Turner, 196 Strand, W.C., 1848.</span><br /> +<span style="margin-left: 1em;">Ridler, W., 45 Booksellers' Row, W.C.</span><br /> +<span style="margin-left: 1em;">Roche, J., 38 New Oxford St., W.C., 1850. [<i>Specialité</i>: Standard Library Editions.]</span><br /> +<span style="margin-left: 1em;">Rogers, H. A., 83 Hanley Rd., Strand Green, N.</span><br /> +<span style="margin-left: 1em;">Sabin, F. T., 118 Shaftesbury Avenue, W.</span><br /> +<span style="margin-left: 1em;">Salisbury, Jesse, 11 New Court, Farringdon Street, E.C.</span><br /> +<span style="margin-left: 1em;">Salkeld, John, 315 Clapham Rd., S.W.</span><br /> +<span style="margin-left: 1em;">Sandell & Smith, 136 City Rd., E.C., 1830.</span><br /> +<span style="margin-left: 1em;">Selwyn, Henry, 74 Brompton Rd., S.W., <i>c.</i> 1876.</span><br /> +<span style="margin-left: 1em;">Sotheran, Henry, & Co., 36 Piccadilly and 136 Strand.</span><br /> +<span style="margin-left: 1em;">Simmons, New Oxford St., W.C.</span><br /> +<span style="margin-left: 1em;">Streletzki, L., 19 Newcastle St., Whitechapel, E.</span><br /> +<span style="margin-left: 1em;">Westell, J., 114 New Oxford St., W.C., 1841.</span><br /> +<span style="margin-left: 1em;">Wright, W., 34 Cranbourn St.</span><br /> +<br /> +<i>Manchester</i>—Battle, F.<br /> +<span style="margin-left: 1em;">Cornish, J. E., 1854.</span><br /> +<span style="margin-left: 1em;">Maddocks, J. J. [<i>Specialités</i>: Shakespeare, Wordsworth, Coleridge.]</span><br /> +<span style="margin-left: 1em;">Sotheran, Henry, & Co., 1816.</span><br /> +<span style="margin-left: 1em;">Sutton, Albert, 1848.</span><br /> +<span style="margin-left: 2em;">" R. H.</span><br /> +<span style="margin-left: 1em;">Wilson, James, 1866.</span><br /> +<span style="margin-left: 1em;">Wilson, Thomas, 1840.</span><br /> +<br /> +<i>Merthyr Tydvil</i>—Wilkins, W.<br /> +<br /> +<i>Montrose</i>—Davidson, David P.<br /> +<span style="margin-left: 1em;">Nairn, John, & Son.</span><br /> +<br /> +<i>Nairn</i>—Melven Brothers.<br /> +<br /> +<i>Newcastle-on-Tyne</i>—Bond, Wm. B., 1881.<br /> +<span style="margin-left: 1em;">Browne & Browne, 1884.</span><br /> +<span style="margin-left: 1em;">Thorne, Thomas.</span><br /> +<br /> +<i>Northampton</i>—Billingham, Wm., 1850.<br /> +<span style="margin-left: 1em;">Mutton, Fred., 1876.</span><br /> +<span style="margin-left: 1em;">Taylor & Son.</span><br /> +<br /> +<i>Norwich</i>—Hunt, Wm., 1860. +<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span><br /> +<span style="margin-left: 1em;">Jarrold & Sons.</span><br /> +<br /> +<i>Nottingham</i>—Bryan, George.<br /> +<span style="margin-left: 1em;">Murray, Frank, 1881.</span><br /> +<br /> +<i>Oban</i>—Boyd, Thos. [<i>Specialité</i>: Gaelic.]<br /> +<br /> +<i>Omagh</i>—Carson, Nathaniel, 1870.<br /> +<br /> +<i>Oxford</i>—Blackwell, B. H., 1879.<br /> +<span style="margin-left: 1em;">Gee, W. H.</span><br /> +<span style="margin-left: 1em;">Parker & Co., Jas., <i>c.</i> 1800.</span><br /> +<span style="margin-left: 1em;">Shrimpton, T., & Son, <i>c.</i> 1790.</span><br /> +<span style="margin-left: 1em;">Slatter & Rose.</span><br /> +<span style="margin-left: 1em;">Thornton, Joseph, & Son, 1835.</span><br /> +<br /> +<i>Paisley</i>—Ballantyne, Jno., & Son, 1877.<br /> +<br /> +<i>Penzance</i>—Kinsman, John.<br /> +<br /> +<i>Plymouth</i>—Attwood, G. H.<br /> +<br /> +<i>Portsmouth</i>—Griffin & Co. [naval only].<br /> +<span style="margin-left: 1em;">Long, W. H., 1876.</span><br /> +<span style="margin-left: 1em;">Trayte, George.</span><br /> +<br /> +<i>Preston</i>—Halewood, William.<br /> +<span style="margin-left: 1em;">Robinson, Henry, 1860.</span><br /> +<br /> +<i>Reading</i>—The Lovejoy Library, 1832 (Miss Langley).<br /> +<span style="margin-left: 1em;">Poynder, E.</span><br /> +<span style="margin-left: 1em;">Smith, William, 1874.</span><br /> +<span style="margin-left: 1em;">Thorp, Thomas, 1860.</span><br /> +<br /> +<i>Retford</i>—Smith, Jno. Martin, 1870.<br /> +<br /> +<i>Richmond, Surrey</i>—Hiscoke & Son, 1851.<br /> +<span style="margin-left: 1em;">Palmer, George M.</span><br /> +<br /> +<i>Rochdale</i>—Clegg, James, 1857.<br /> +<br /> +<i>Rugby</i>—Lawrence, Alf., 1834.<br /> +<span style="margin-left: 1em;">Over, George E., 1882.</span><br /> +<br /> +<i>St. Neots</i>—Tomson, David Rich., 1860.<br /> +<br /> +<i>Salisbury</i>—Broadbere, Benj.<br /> +<span style="margin-left: 1em;">Brown & Co.</span><br /> +<span style="margin-left: 1em;">Simmonds, N., & Co., 1881.</span><br /> +<br /> +<i>Scarborough</i>—Hargreaves & Inger.<br /> +<span style="margin-left: 1em;">Yule, John.</span><br /> +<br /> +<i>Sheffield</i>—Warde, Thomas.<br /> +<br /> +<i>Shrewsbury</i>—Bennett, John.<br /> +<br /> +<i>Southampton</i>—Gilbert, H. M.<br /> +<span style="margin-left: 1em;">James, T., & Co., 1849.</span><br /> +<br /> +<i>Southport</i>—Ashworth, Jno., 1885.<br /> +<br /> +<i>Stirling</i>—Cook, William B.<br /> +<br /> +<i>Stockton-on-Tees</i>—Brown, John.<br /> +<br /> +<i>Stratford-on-Avon</i>—Miss Trimming.<br /> +<br /> +<i>Stroud, Gloucs.</i>—Collins, William, 1881.<br /> +<br /> +<i>Swansea</i>—Price, Thomas, 1874.<br /> +<br /> +<i>Taunton</i>—Barnicott & Pearce.<br /> +<span style="margin-left: 1em;">Butland, Reuben.</span><br /> +<br /> +<i>Teddington</i>—Miss Millard.<br /> +<br /> +<i>Tiverton</i>—Masland, Wm., <i>c.</i> 1840.<br /> +<br /> +<i>Torquay</i>—Iredale, Andrew, 1872.<br /> +<span style="margin-left: 1em;">King, Charles.</span><br /> +<br /> +<i>Truro</i>—Clyma, William J.<br /> +<span style="margin-left: 1em;">Pollard, Joseph.</span><br /> +<br /> +<i>Walsall</i>—Robinson, George.<br /> +<br /> +<i>Walthamstow</i>—Mayhew, F.<br /> +<br /> +<i>Weymouth</i>—Wheeler, Harry.<br /> +<br /> +<i>Wigan</i>—Starr, James, 1886.<br /> +<br /> +<i>Winchester</i>—Warren & Son, 1835.<br /> +<br /> +<i>Worcester</i>—Humphreys, E. G., 1805.<br /> +<br /> +<i>Worksop</i>—White, Robert, 1847.<br /> +<br /> +<i>York</i>—Sampson, John B.<br /><br /> +</p> + + +<p><br /><b>The majority of the Undermentioned +Booksellers are also General Booksellers, +but their Specialities are as indicated.</b></p> + + +<p><br />BOOKS ON AMERICA AND +THE COLONIES.</p> + +<p> +<i>Bath</i>—Meehan, B. & J. F., 1867.<br /> +<br /> +<i>Brighton</i>—Smith, W. J.<br /> +<br /> +<i>Bristol</i>—George's, Wm., Sons, 1847.<br /> +<br /> +<i>Exeter</i>—Commin, James G.<br /> +<br /> +<i>Leeds</i>—Ashworth, J. H. and A., 1830.<br /> +<span style="margin-left: 1em;">Milligan, Thomas, 1859.</span><br /> +<br /> +<i>London</i>—Brentano's, 430 Strand, W.C.<br /> +<span style="margin-left: 1em;">Edwards, Francis, 83 High St., Marylebone, 1860.</span><br /> +<span style="margin-left: 1em;">Gray, Henry, 47 Leicester Sq., W.C.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, 159 Church St., Paddington Gr., W., 1860.</span><br /> +<span style="margin-left: 1em;">Petherick, E. A., & Co., 33 Paternoster Row, E.C. [Colonial books].</span><br /> +<span style="margin-left: 1em;">Pickering & Chatto, 66 Haymarket, S.W., 1820.</span><br /> +<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span> +<span style="margin-left: 1em;">Quaritch, Bernard, 15 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Stevens, B. F., 4 Trafalgar Sq., W.C.</span><br /> +<span style="margin-left: 1em;">Stevens, Henry, & Son, 39 Great Russell Street, W.C.</span><br /> +<br /> +<i>Walthamstow</i>—Mayhew, F.<br /> +<br /> +<br /> +<b>AUCTIONEERS (BOOK).</b><br /> +<br /> +<i>Leeds</i>—Symington, John S., 1881.<br /> +<br /> +<i>London</i>—Christie, Manson, & Woods, 8 King St., S.W.<br /> +<span style="margin-left: 1em;">Hodgson, H. H., & Co., 115 Chancery Lane, W.C.</span><br /> +<span style="margin-left: 1em;">Puttick & Simpson, 47 Leicester Square, W.C.</span><br /> +<span style="margin-left: 1em;">Sotheby, Wilkinson, & Hodge, 13 Wellington St., Strand, W.C.</span><br /> +<br /> +<br /> +<b>AUTOGRAPHS</b>.<br /> +<br /> +<i>Barton-on-Humber</i>—Ball, H. W.<br /> +<br /> +<i>Birmingham</i>—Conway, Noel, & Co.<br /> +<br /> +<i>Colchester</i>—Golding, Chas., 1873.<br /> +<br /> +<i>Edinburgh</i>—Brown, A.<br /> +<span style="margin-left: 1em;">Brown, William, 1877.</span><br /> +<br /> +<i>London</i>—Barker, Fred., 41 Gunterstone Rd., W., 1882.<br /> +<span style="margin-left: 1em;">Davey, Sam. J., 47 Gt. Russell St., W.C.</span><br /> +<span style="margin-left: 1em;">Fawcett, H., 14 King Street, Covent Garden, W.C.</span><br /> +<span style="margin-left: 1em;">Pearson, J., & Co., 5 Pall Mall Place, S.W.</span><br /> +<span style="margin-left: 1em;">Robson & Kerslake, 23 Coventry St., W., 1870.</span><br /> +<br /> +<i>Teddington</i>—Miss Millard.<br /> +<br /> +<br /> +<b>CLASSICS AND COLLEGE BOOKS.</b><br /> +<br /> +<i>Aberdeen</i>—Bisset, Jas. G., 1879.<br /> +<br /> +<i>Bath</i>—Gregory, George, 1879.<br /> +<br /> +<i>Cambridge</i>—<i>See</i> General.<br /> +<br /> +<i>Durham</i>—Slack, John.<br /> +<br /> +<i>Edinburgh</i>—Bryce, William, 1885.<br /> +<span style="margin-left: 1em;">Hossack, T. M., 1875.</span><br /> +<span style="margin-left: 1em;">Mackenzie, John, 1861.</span><br /> +<span style="margin-left: 1em;">Thin, James, 1847.</span><br /> +<br /> +<i>Glasgow</i>—Sime, W. S., 1837.<br /> +<br /> +<i>Leeds</i>—Symington, Jno. S., 1881.<br /> +<br /> +<i>Liverpool</i>—Howell, Edward.<br /> +<span style="margin-left: 1em;">Parry & Co.</span><br /> +<br /> +<i>Oxford</i>—<i>See</i> General.<br /> +<br /> +<br /> +<b>FINE ARTS AND ARCHITECTURE.</b><br /> +<br /> +<i>Belfast</i>—Dargan.<br /> +<span style="margin-left: 1em;">Shone, J., & Co.</span><br /> +<br /> +<i>Birmingham</i>—Crees, Wm. Henry, 1884 [water-col. drawings].<br /> +<span style="margin-left: 1em;">Downing, William.</span><br /> +<br /> +<i>Bristol</i>—George, James.<br /> +<br /> +<i>Glasgow</i>—Forrester, Robert.<br /> +<span style="margin-left: 1em;">M'Clure, Robert, 1880.</span><br /> +<span style="margin-left: 1em;">Muir.</span><br /> +<br /> +<i>Ilkley</i>—Watson, Wm.<br /> +<br /> +<i>London</i>—Bain, Jas., 1 Haymarket, S.W.<br /> +<span style="margin-left: 1em;">Batsford, B. T., 52 High Holborn, W.C., 1843 [specially architecture, engineering, &c.].</span><br /> +<span style="margin-left: 1em;">Bickers & Son, 1 Leicester Sq.</span><br /> +<span style="margin-left: 1em;">Bumpus, Edw., Holborn Bars, W.C.</span><br /> +<span style="margin-left: 1em;">Bumpus, John, 350 Oxford St., W., 1840.</span><br /> +<span style="margin-left: 1em;">Jackson, A., 224 Great Portland St., W.</span><br /> +<span style="margin-left: 1em;">Parsons, E., & Sons, 45 Brompton Rd., S.W., 1858.</span><br /> +<span style="margin-left: 1em;">Quaritch, B., 15 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Rimell, J., & Son, 91 Oxford St., W.</span><br /> +<span style="margin-left: 1em;">Selwyn, H., 74 Brompton Rd., S.W.</span><br /> +<span style="margin-left: 1em;">Sotheran, H., & Co., 36 Piccadilly and 136 Strand.</span><br /> +<span style="margin-left: 1em;">Ward, William, 28 Southampton St., Strand.</span><br /> +<br /> +<i>Rugby</i>—A. J. Lawrence.<br /> +<br /> +<br /> +<b>FINE BINDINGS.</b><br /> +<br /> +<i>Liverpool</i>—Howell, Edward.<br /> +<br /> +<i>London</i>—Bickers & Son, 1 Leicester Sq., W.C.<br /> +<span style="margin-left: 1em;">Bumpus, Jno., 350 Oxford St., W., 1840.</span><br /> +<span style="margin-left: 1em;">Ellis & Elvey, 29 New Bond St., W.</span><br /> +<span style="margin-left: 1em;">Pickering & Chatto, 66 Haymarket, S.W., 1820.</span><br /> +<span style="margin-left: 1em;">Quaritch, Bernard, 15 Piccadilly, W.</span><br /> +<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> +<span style="margin-left: 1em;">Robson & Kerslake, 23 Coventry St., W., 1870.</span><br /> +<span style="margin-left: 1em;">Sotheran, H., & Co., 36 Piccadilly, and 136 Strand.</span><br /> +<span style="margin-left: 1em;">Tregaskis, J. & M. L., 232 High Holborn, W.C.</span><br /> +<span style="margin-left: 1em;">Zaehnsdorf, Shaftesbury Av., 1840.</span><br /> +<br /> +<br /> +<b>FIRST EDITIONS OF MODERN BOOKS.</b><br /> +<br /> +⁂ <i>See also</i> <span class="smcap">Rare Books.</span><br /> +<br /> +<i>Bath</i>—Meehan, B. & J. F., 1867.<br /> +<br /> +<i>Birmingham</i>—Baker, Edward.<br /> +<span style="margin-left: 1em;">Hitchman, J., 1855.</span><br /> +<br /> +<i>Bournemouth</i>—Commin, H. G.<br /> +<br /> +<i>Burnley</i>—Lupton Brothers.<br /> +<br /> +<i>Derby</i>—Murray, Frank, 1884.<br /> +<br /> +<i>Edinburgh</i>—Brown, Wm., 1877.<br /> +<span style="margin-left: 1em;">Stillie, James, 1826.</span><br /> +<br /> +<i>Exeter</i>—Commin, J. G.<br /> +<br /> +<i>Leeds</i>—Milligan, Thos.<br /> +<br /> +<i>Leicester</i>—Murray, Frank, 1884.<br /> +<br /> +<i>Liverpool</i>—Parry & Co.<br /> +<span style="margin-left: 1em;">Young, Hy., & Sons, 1849.</span><br /> +<br /> +<i>London</i>—Bain, Jas., 1 Haymarket, S.W.<br /> +<span style="margin-left: 1em;">Bickers & Son, 1 Leicester Sq.</span><br /> +<span style="margin-left: 1em;">Bumpus, Edw., Holborn Bars.</span><br /> +<span style="margin-left: 1em;">Bumpus, Jno., 350 Oxford St., W., 1840.</span><br /> +<span style="margin-left: 1em;">Dobell, B., Charing Cross Rd.</span><br /> +<span style="margin-left: 1em;">Hubbard, J. R., 10 Allen Terr., High Street, Kensington.</span><br /> +<span style="margin-left: 1em;">Hutt, F. H., 10 Clement's Inn Pass., Strand.</span><br /> +<span style="margin-left: 1em;">Hutt, Wm., 3 Hyde St., Oxford Street, W.C.</span><br /> +<span style="margin-left: 1em;">Lachlan, F. C, 60 Canonbury Road, N., 1876.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, 159 Church St., Paddington Gr., W., 1860.</span><br /> +<span style="margin-left: 1em;">Mathews (Elkin) & Lane (John), Vigo St., W.</span><br /> +<span style="margin-left: 1em;">Maurice, A., & Co., Gresham St.</span><br /> +<span style="margin-left: 1em;">May, B., 225 Edgware Rd., W., 1878.</span><br /> +<span style="margin-left: 1em;">Menken, E., 3 Bury St., Oxford Street, W.C.</span><br /> +<span style="margin-left: 1em;">Parsons, E., & Sons, 45 Brompton Road, S.W., 1858.</span><br /> +<span style="margin-left: 1em;">Pickering & Chatto, 66 Haymarket, S.W., 1820.</span><br /> +<span style="margin-left: 1em;">Robson & Kerslake, 23 Coventry St., W., 1870.</span><br /> +<span style="margin-left: 1em;">Sabin, F. T., 118 Shaftesbury Avenue, W.</span><br /> +<span style="margin-left: 1em;">Spencer, W. T., 27 New Oxford Street, W.C., 1884.</span><br /> +<span style="margin-left: 1em;">Tregaskis, J. & M. L., 232 High Holborn, W.C.</span><br /> +<br /> +<i>Nottingham</i>—Murray, Frank, 1884.<br /> +<br /> +<i>Salisbury</i>—Simmonds, N., & Co., 1881.<br /> +<br /> +<br /> +<b>FOREIGN.</b><br /> +<br /> +<i>Birmingham</i>—Hector, E., 1886.<br /> +<br /> +<i>Cambridge</i>—Deighton, Bell & Co.<br /> +<br /> +<i>Edinburgh</i>—Williams & Norgate.<br /> +<span style="margin-left: 1em;">Young, George Adam, & Co.</span><br /> +<br /> +<i>Liverpool</i>—Hales & Co., 1869.<br /> +<span style="margin-left: 1em;">[Specialité: Spanish Books.]</span><br /> +<br /> +<i>London</i>—Asher & Co., 1864.<br /> +<span style="margin-left: 1em;">Dulau & Co., Soho Sq., W.</span><br /> +<span style="margin-left: 1em;">Grevel, H., & Co., 33 King St., Covent Garden, W.C.</span><br /> +<span style="margin-left: 1em;">Kolckmann, J. W., 2 Langham Place, W.</span><br /> +<span style="margin-left: 1em;">Luzac & Co., 46 Great Russell Street, W.C., 1890.</span><br /> +<span style="margin-left: 1em;">Menken, E., 3 Bury St., Oxford St., W.C.</span><br /> +<span style="margin-left: 1em;">Nutt, David, 270-1 Strand, W.C., 1830.</span><br /> +<span style="margin-left: 1em;">Paul (Kegan), Trench, Trübner & Co., Ld., Charing Cross Road, W.C.</span><br /> +<span style="margin-left: 1em;">Siegle, A., 30 Lime St., E.C.</span><br /> +<span style="margin-left: 1em;">Thimm & Co. (Franz), 24 Brook St., W., 1841.</span><br /> +<span style="margin-left: 1em;">Williams & Norgate, 14 Henrietta Street, W.C.</span><br /> +<br /> +<br /> +<b>FREETHOUGHT.</b><br /> +<br /> +<i>Leicester</i>—Holyoak, W. H., 1880.<br /> +<br /> +<i>London</i>—Forder, G., Stonecutter St., E.C.<br /> +<span style="margin-left: 1em;">Watts & Co., 17 Johnson's Ct., Fleet St., 1860.</span><br /> +<br /> +<i>Walthamstow</i>—Mayhew, F.<br /> +<br /> +<b><br />GENEALOGY AND HERALDRY.</b> +<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span><br /> +<br /> +<i>Birmingham</i>—Hitchman, J., 1855.<br /> +<br /> +<i>Bristol</i>—George's, Wm., Sons, 1847.<br /> +<br /> +<i>London</i>—Mitchell & Hughes, 140 Wardour Street, W., 1797.<br /> +<span style="margin-left: 1em;">Parsons, E., & Sons, 45 Brompton Rd., S.W., 1858.</span><br /> +<br /> +<br /> +<b>LAW.</b><br /> +<br /> +<i>Edinburgh</i>—Green, Wm., & Sons, 1874.<br /> +<br /> +<i>London</i>—Amer, R., Lincoln's Inn Gate, W.C., Carey St., 1848.<br /> +<span style="margin-left: 1em;">The Kelly Book Co., Ld., Lincoln's Inn Gate, W.C.</span><br /> +<span style="margin-left: 1em;">King, P. S., & Son, 5 King St., Westminster [Parliamentary papers and books].</span><br /> +<span style="margin-left: 1em;">Reeves & Turner, 100 Chancery Lane, W.C.</span><br /> +<span style="margin-left: 1em;">Stevens & Sons, Ld., 119-20 Chancery Lane, 1810.</span><br /> +<span style="margin-left: 1em;">Sweet & Maxwell, Ld., 3 Chancery Lane.</span><br /> +<span style="margin-left: 1em;">Wildy & Sons, Lincoln's Inn Archway, W.C., 1830.</span><br /> +<br /> +<br /> +<b>MUSIC.</b><br /> +<br /> +<i>Birmingham</i>—Thistlewood, A.<br /> +<br /> +<i>London</i>—Gladwell, Thos., 101-3 Goswell Rd., E.C.<br /> +<span style="margin-left: 1em;">Reeves, Wm., 185 Fleet St., E.C.</span><br /> +<span style="margin-left: 1em;">Salisbury, J., 11 New Court, Farringdon St., E.C., 1884.</span><br /> +<br /> +<br /> +<b>NATURAL HISTORY.</b><br /> +<br /> +<i>Bath</i>—Marsden, Herbt. W., 1875.<br /> +<br /> +<i>Colchester</i>—Harwood, Wm. H. (private dealer).<br /> +<br /> +<i>Exeter</i>—Commin, James G.<br /> +<br /> +<i>London</i>—Bain, Jas., 1 Haymarket.<br /> +<span style="margin-left: 1em;">Bickers & Son, 1 Leicester Sq., W.C.</span><br /> +<span style="margin-left: 1em;">Irvine, J., 28 Upper Manor St., Chelsea, 1863.</span><br /> +<span style="margin-left: 1em;">Maurice, A., & Co., Gresham St.</span><br /> +<span style="margin-left: 1em;">Porter, R. H., 18 Princes St., Cavendish Sq., W., 1875.</span><br /> +<span style="margin-left: 1em;">Quaritch, Bernard, 15 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Sotheran, H., & Co., 36 Piccadilly, and 136 Strand.</span><br /> +<span style="margin-left: 1em;">Wesley, W., & Son, 28 Essex St., Strand, W.C.</span><br /> +<span style="margin-left: 1em;">Wheldon, J., 58 Great Queen Street, W.C., 1838.</span><br /> +<br /> +<br /> +<b>NUMISMATICS.</b><br /> +<br /> +<i>Colchester</i>—Forster, Thos., 1883.<br /> +<span style="margin-left: 1em;">Golding, Chas., 1873.</span><br /> +<br /> +<i>Inverness</i>—Snowie, Wm. M., 1887.<br /> +<br /> +<i>London</i>—Quaritch, Bernard, 15 Piccadilly, W.<br /> +<br /> +<br /> +<b>ODD VOLS. AND BACK NOS.</b><br /> +<br /> +<i>London</i>—Baxter, Sam., 20 Paternoster Row, E.C.<br /> +<span style="margin-left: 1em;">Dent, W., 34 Southampton Rd., Kentish Town, N.W.</span><br /> +<span style="margin-left: 1em;">George, E., 231 Whitechapel Road, E.</span><br /> +<span style="margin-left: 1em;">Platnauer, Fetter Lane, E.C.</span><br /> +<br /> +<br /> +<b>ORIENTAL LITERATURE.</b><br /> +<br /> +<i>London</i>—Allen, W. H., & Co., Ld., Waterloo Place, S.W.<br /> +<span style="margin-left: 1em;">Quaritch, Bernard, 15 Piccadilly, W.</span><br /> +<br /> +<i>See also</i> Luzac, Nutt, Williams & Norgate, <i>under</i> <span class="smcap">Foreign</span>.<br /> +<br /> +<br /> +<b>QUAKERS.</b><br /> +<br /> +<i>Fritchley, Derby</i>—Wake, H. T., 1863.<br /> +<br /> +<i>London</i>—Hicks, E., <i>jun.</i>, 14 Bishopsgate St., E.C.<br /> +<span style="margin-left: 1em;">Smith, Joseph, 6 Oxford St., Whitechapel, 1848.</span><br /> +<br /> +<br /> +<b>RARE BOOKS. EARLY-PRINTED BOOKS.</b><br /> +<br /> +<i>Bath</i>—Gregory, Geo., 1879.<br /> +<span style="margin-left: 1em;">Meehan, B. & J. F., 1867.</span><br /> +<br /> +<i>Belfast</i>—Dargan.<br /> +<br /> +<i>Brighton</i>—Bohn, Jno.<br /> +<span style="margin-left: 1em;">Smith, W. J.</span><br /> +<span style="margin-left: 1em;">Toon, Thomas.</span><br /> +<br /> +<i>Edinburgh</i>—Brown, Wm., 1877.<br /> +<span style="margin-left: 1em;">Johnston, Geo. P., 1880.</span><br /> +<span style="margin-left: 1em;">Stillie, James, 1826.</span><br /> +<br /> +<i>Glasgow</i>—Kerr & Richardson, 1827.<br /> +<br /> +<i>Liverpool</i>—Young, H., & Sons, 1849.<br /> +<br /> +<i>London</i>—Bain, Jas., 1 Haymarket, S.W. +<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span><br /> +<span style="margin-left: 1em;">Ellis & Elvey, 29 New Bond Street, W.</span><br /> +<span style="margin-left: 1em;">Harvey, Frcs., 4 St. James's St., S.W.</span><br /> +<span style="margin-left: 1em;">Leighton, J. & J., 40 Brewer St., Golden Sq., W.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, Paddington Green, W.</span><br /> +<span style="margin-left: 1em;">Nattali, H. C., 23 Bedford St., Strand, W.C., 1825.</span><br /> +<span style="margin-left: 1em;">Nutt, David, 270-1 Strand, W.C., 1830.</span><br /> +<span style="margin-left: 1em;">Pearson, J., & Co., 5 Pall Mall Place, S.W.</span><br /> +<span style="margin-left: 1em;">Pickering & Chatto, 66 Haymarket, S.W., 1820.</span><br /> +<span style="margin-left: 1em;">Quaritch, Bernard, 15 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Robson & Kerslake, 23 Coventry Street, W., 1870.</span><br /> +<span style="margin-left: 1em;">Sabin, F. T., 118 Shaftesbury Avenue, W.</span><br /> +<span style="margin-left: 1em;">Sotheran, H., & Co., 36 Piccadilly, and 136 Strand.</span><br /> +<span style="margin-left: 1em;">Tregaskis, J. and M. L., 232 High Holborn, W.C.</span><br /> +<br /> +<br /> +<b>"REMAINDERS."</b><br /> +<br /> +<i>Edinburgh</i>—Grant, John.<br /> +<br /> +<i>Exeter</i>—Commin, J. G.<br /> +<br /> +<i>London</i>—Avery, E., 63 Greek St., Soho, 1879.<br /> +<span style="margin-left: 1em;">Gibbings, W. W., 18 Bury St., W.C. (Trade only.)</span><br /> +<span style="margin-left: 1em;">Glaisher, Wm., 265 High Holborn, W.C., 1853.</span><br /> +<span style="margin-left: 1em;">Herbert, C., 319 Goswell Rd., E.C.</span><br /> +<span style="margin-left: 1em;">Miles, T., & Co., 95 Upper St., Islington, N.</span><br /> +<span style="margin-left: 1em;">Reeves & Turner, 196 Strand, W.C.</span><br /> +<span style="margin-left: 1em;">Smith, W. H., & Son, 186 Strand, W.C.</span><br /> +<br /> +⁂ <i>Most General Booksellers also deal in</i> "<i>Remainders</i>" <i>now.</i><br /> +<br /> +<br /> +<b>ROMAN CATHOLIC.</b><br /> +<br /> +<i>London</i>—Baker, Thos., 1 Soho Sq., W., 1849.<br /> +<span style="margin-left: 1em;">Burns & Oates, Ld., Orchard St., W.</span><br /> +<span style="margin-left: 1em;">Washbourne, R., 18 Paternoster Row, E.C., 1866.</span><br /> +<br /> +<i>See also</i> <span class="smcap">Theology</span>.<br /> +<br /> +<br /> +<b>SCIENCE AND MEDICINE.</b><br /> +<br /> +<i>Aberdeen</i>—Bisset, Jas. G., 1879.<br /> +<br /> +<i>Birmingham</i>—Hector, E., 1886.<br /> +<br /> +<i>Cambridge</i>—<i>See</i> General.<br /> +<br /> +<i>Edinburgh</i>—Bryce, Wm., 1885.<br /> +<span style="margin-left: 1em;">Clay, W. F. [<i>Specialité</i>: Chemistry and Allied Sciences.]</span><br /> +<span style="margin-left: 1em;">Livingstone, E. and S., 1863.</span><br /> +<span style="margin-left: 1em;">Pentland, Young J.</span><br /> +<span style="margin-left: 1em;">Thin, James, 1847.</span><br /> +<br /> +<i>Glasgow</i>—Sime, W. S., 1837.<br /> +<span style="margin-left: 1em;">Stenhouse, Alex., 1860.</span><br /> +<br /> +<i>Liverpool</i>—Howell, Edward.<br /> +<br /> +<i>London</i>—Kimpton, Rich., 126 Wardour St., W.<br /> +<span style="margin-left: 1em;">Lewis, H. K., 136 Gower St., W.C., 1844.</span><br /> +<span style="margin-left: 1em;">Pentland, Young J., 38 West Smithfield, E.C.</span><br /> +<span style="margin-left: 1em;">Poole, Jos., & Co., 39 Booksellers' Row, W.C., 1854.</span><br /> +<br /> +<i>Oxford</i>—<i>See</i> General.<br /> +<br /> +<br /> +<b>SHORTHAND.</b><br /> +<br /> +<i>Edinburgh</i>—Mackay.<br /> +<br /> +<i>London</i>—McCaskie, R., 110 Iverson Rd., N.W.<br /> +<br /> +<br /> +<b>SPORTS AND RURAL BOOKS.</b><br /> +<br /> +<i>Bradford</i>—Miles, Thomas, 1879.<br /> +<br /> +<i>Exeter</i>—Commin, James G.<br /> +<br /> +<i>Kelso</i>—Rutherford, J. and J. H., 1802.<br /> +<br /> +<i>London</i>—Robson & Kerslake, 23 Coventry St., W., 1870.<br /> +<span style="margin-left: 1em;">Pickering & Chatto, 66 Haymarket, S.W., 1820.</span><br /> +<span style="margin-left: 1em;">Spencer, W. J., 27 New Oxford St., W.C., 1884.</span><br /> +<span style="margin-left: 1em;">Toovey, Jas., 177 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Wheldon, J., 58 Great Queen Street, W.C., 1838.</span><br /> +<br /> +<i>York</i>—Sampson, John B.<br /> +<br /> +<br /> +<b>SURPLUS LIBRARY BOOKS.</b> +<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span><br /> +<br /> +<i>Edinburgh</i>—Douglas & Foulis.<br /> +<span style="margin-left: 1em;">Grant & Son.</span><br /> +<span style="margin-left: 1em;">Macniven & Wallace, 1878.</span><br /> +<br /> +<i>Glasgow</i>—Bryce, David, & Son.<br /> +<span style="margin-left: 1em;">MacLehose & Sons, 1838.</span><br /> +<br /> +<i>London</i>—Cawthorn & Hutt, 24 Cockspur St., S.W., 1740.<br /> +<span style="margin-left: 1em;">Day, John, & Son, 96 Mount St., W., 1771.</span><br /> +<span style="margin-left: 1em;">Mudie's Select Library, Ld., 30-4 New Oxford St., W.C., 1842.</span><br /> +<span style="margin-left: 1em;">Smith, W. H., & Son, 186 Strand.</span><br /> +<br /> +<i>Manchester</i>—Mudie's Select Lib. Co., Ld.<br /> +<br /> +<br /> +<b>TEMPERANCE.</b><br /> +<br /> +<i>Leeds</i>—Lees, F. R., & Co., 1880.<br /> +<br /> +<br /> +<b>THEATRE.</b><br /> +<br /> +<i>London</i>—Kornman, F., 168 High Holborn, W.C., 1882.<br /> +<span style="margin-left: 1em;">Suckling & Galloway, 13 Garrick St., W.C., 1889.</span><br /> +<br /> +<br /> +<b>THEOLOGY.</b><br /> +<br /> +<i>Aberdeen</i>—Milne, A. and R., 1852.<br /> +<span style="margin-left: 1em;">Murray, Jas.</span><br /> +<br /> +<i>Barton-on-Humber</i>—Ball, H. W.<br /> +<br /> +<i>Bath</i>—Gregory, Geo., 1879.<br /> +<br /> +<i>Birmingham</i>—Crees, W. H., 1884.<br /> +<br /> +<i>Bournemouth</i>—Commin, H. G.<br /> +<br /> +<i>Bristol</i>—Fawn, Jas., & Son.<br /> +<span style="margin-left: 1em;">George's, Wm., Sons, 1847.</span><br /> +<br /> +<i>Burton-on-Trent</i>—Waller, Thos.<br /> +<br /> +<i>Cambridge</i>—Johnson, Elijah.<br /> +<br /> +<i>Devonport</i>—Clarke, Josiah, & Sons.<br /> +<br /> +<i>Durham</i>—Slack, Jno.<br /> +<br /> +<i>Edinburgh</i>—Dunn, Jas., 1888.<br /> +<span style="margin-left: 1em;">Elliot, Andrew, 1854.</span><br /> +<span style="margin-left: 1em;">Hunter, R. W. (successor to Gemmell, 1873).</span><br /> +<span style="margin-left: 1em;">Mackenzie, John, 1861.</span><br /> +<span style="margin-left: 1em;">Macniven & Wallace.</span><br /> +<span style="margin-left: 1em;">Thin, Jas., 1847.</span><br /> +<span style="margin-left: 1em;">Young, Geo. Adam, & Co.</span><br /> +<br /> +<i>Ely</i>—Creak, W. B.<br /> +<br /> +<i>Exeter</i>—Drayton, S., & Sons.<br /> +<br /> +<i>Hull</i>—Annandale, R. C.<br /> +<br /> +<i>Liverpool</i>—Parry & Co.<br /> +<br /> +<i>London</i>—Baker, Thos., 1 Soho Sq., W., 1849.<br /> +<span style="margin-left: 1em;">Barton, Jno., 11 St. George's Rd., S.E.</span><br /> +<span style="margin-left: 1em;">Bull & Auvache, 35 Hart St., W.C.</span><br /> +<span style="margin-left: 1em;">Cooper, Alfred—<i>See</i> General.</span><br /> +<span style="margin-left: 1em;">Dickinson, R. D., 89 Farringdon St., E.C., 1876.</span><br /> +<span style="margin-left: 1em;">Harding, Geo., 6 Hyde St., Oxford St., W.C.</span><br /> +<span style="margin-left: 1em;">Harper, Wm., 58 Tabernacle St., E.C., 1842.</span><br /> +<span style="margin-left: 1em;">Higham, C., 27A Farringdon St., E.C., 1862. [<i>Specialité</i>: Hymnology.]</span><br /> +<span style="margin-left: 1em;">Sandell & Smith, 136 City Rd., E.C., 1830.</span><br /> +<span style="margin-left: 1em;">Skeffington & Son, 163 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Westell, J., 114 New Oxford St., W.C., 1841.</span><br /> +<br /> +<i>Nairn</i>—Melven Brothers.<br /> +<br /> +<i>Northampton</i>—Billingham, Wm., 1850.<br /> +<br /> +<i>Oxford</i>—Parker & Co., Jas., <i>c.</i> 1800.<br /> +<br /> +<i>Worcester</i>—Humphreys, E. G., 1805.<br /> +<br /> +<br /> +<b>THEOSOPHY & OCCULTISM.</b><br /> +<br /> +<i>Edinburgh</i>—Thomson Brothers, 1875.<br /> +<br /> +<i>Glasgow</i>—Thomson & Co., 1870.<br /> +<br /> +<i>London</i>—Burns, J., Southampton Row, W.C.<br /> +<span style="margin-left: 1em;">Dobell, B., Charing Cross Rd., W.C.</span><br /> +<span style="margin-left: 1em;">Foulsham, W., 4 Pilgrim St., E.C.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, 159 Church St., Paddington Green, W., 1860.</span><br /> +<span style="margin-left: 1em;">Menken, E., 3 Bury St., Oxford St., W.C.</span><br /> +<br /> +<br /> +<b>TOPOGRAPHY & ANTIQUITIES.</b><br /> +<br /> +<i>Aberdeen</i>—Wyllie, D., & Son, <i>c.</i> 1830.<br /> +<span style="margin-left: 1em;">Murray, Jas.</span><br /> +<br /> +<i>Barton-on-Humber</i>—Ball, Hy. W.<br /> +<br /> +<i>Bath</i>—Gregory, Geo., 1845.<br /> +<span style="margin-left: 1em;">Meehan, B. & J. F., 1867.</span><br /> +<br /> +<i>Belfast</i>—Shone, J., & Co. +<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span><br /> +<br /> +<i>Birmingham</i>—Downing, William.<br /> +<span style="margin-left: 1em;">Hitchman, John, 1855.</span><br /> +<br /> +<i>Bournemouth</i>—Commin, H. G.<br /> +<br /> +<i>Bradford</i>—Miles, Thos., 1879.<br /> +<br /> +<i>Brechin</i>—Black & Johnston, 1817.<br /> +<br /> +<i>Brighton</i>—Smith, W. J.<br /> +<br /> +<i>Bristol</i>—Fawn, Jas., & Son.<br /> +<span style="margin-left: 1em;">George's, Wm., Sons, 1847.</span><br /> +<br /> +<i>Cambridge</i>—Macmillan & Bowes.<br /> +<br /> +<i>Canterbury</i>—Goulden, W. E.<br /> +<br /> +<i>Colchester</i>—Forster, Thos., 1883.<br /> +<span style="margin-left: 1em;">Golding, Chas., 1873.</span><br /> +<br /> +<i>Cork</i>—Massey, Nassau, 1840.<br /> +<br /> +<i>Devonport</i>—Clarke, Josiah, & Sons.<br /> +<br /> +<i>Dublin</i>—Carson Brothers.<br /> +<span style="margin-left: 1em;">Traynor, Patrick, 1849.</span><br /> +<span style="margin-left: 1em;">Weldrick, J. F.</span><br /> +<br /> +<i>Dundee</i>—Maxwell, Alex.<br /> +<span style="margin-left: 1em;">Petrie, Geo., 1875.</span><br /> +<br /> +<i>Durham</i>—Slack, Jno.<br /> +<br /> +<i>Edinburgh</i>—Brown, Wm., 1877.<br /> +<span style="margin-left: 1em;">Cameron, Rich., 1868.</span><br /> +<span style="margin-left: 1em;">Clay, W. F.</span><br /> +<span style="margin-left: 1em;">Stillie, James, 1826.</span><br /> +<br /> +<i>Exeter</i>—Commin, J. G.<br /> +<span style="margin-left: 1em;">Drayton, S., & Sons.</span><br /> +<br /> +<i>Glasgow</i>—McClure, Rob., 1880.<br /> +<br /> +<i>Gravesend</i>—Ridgway, Alf., 1885.<br /> +<br /> +<i>Guildford</i>—Farnfield, S., & Co.<br /> +<br /> +<i>Hull</i>—Annandale, R. C.<br /> +<br /> +<i>Inverness</i>—Noble, J., 1859 [also Gaelic books].<br /> +<br /> +<i>Ipswich</i>—Read & Barrett, 1827.<br /> +<br /> +<i>Kelso</i>—Rutherford, J. & J. H., 1802.<br /> +<br /> +<i>Leamington</i>—Kennard, Tos., 1875.<br /> +<br /> +<i>Leeds</i>—Ashworth, J. H. & A., 1830.<br /> +<span style="margin-left: 1em;">Milligan, Thomas, 1859.</span><br /> +<span style="margin-left: 1em;">Symington, John S., 1881.</span><br /> +<br /> +<i>Leicester</i>—Murray, Frank, 1884.<br /> +<span style="margin-left: 1em;">Spencer, Jno. and Thos., 1853.</span><br /> +<br /> +<i>Liverpool</i>—Howell, Edward.<br /> +<span style="margin-left: 1em;">Young, Henry, & Sons, 1849.</span><br /> +<br /> +<i>London</i>—Bain, Jas., 1 Haymarket, S.W.<br /> +<span style="margin-left: 1em;">Bickers & Son, 1 Leicester Sq.</span><br /> +<span style="margin-left: 1em;">Daniell, W. V., 53 Mortimer St., W.</span><br /> +<span style="margin-left: 1em;">Ellington, Robert, 15 Fitzroy St., W.</span><br /> +<span style="margin-left: 1em;">Gray, Henry, 47 Leicester Sq., W.C.</span><br /> +<span style="margin-left: 1em;">Harding, George, 6 Hyde St., Oxford St., W.C.</span><br /> +<span style="margin-left: 1em;">Leighton, J. and J., 40 Brewer St., Golden Sq., W.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, 159 Church St., Paddington Gr., W., 1860.</span><br /> +<span style="margin-left: 1em;">Millard, Miss, Teddington, W.</span><br /> +<span style="margin-left: 1em;">Nield, Jon, 14 Great Russell St., W.C.</span><br /> +<span style="margin-left: 1em;">Palmer, C. S., 100 Southampton Row, W.C., 1819.</span><br /> +<span style="margin-left: 1em;">Parsons, E., & Sons, 45 Brompton Rd., S.W., 1858.</span><br /> +<span style="margin-left: 1em;">Quaritch, Bernard, 15 Piccadilly, W.</span><br /> +<span style="margin-left: 1em;">Ridler, W., 45 Booksellers' Row, W.C.</span><br /> +<span style="margin-left: 1em;">Rimell, J., & Son, 91 Oxford St., W.C.</span><br /> +<span style="margin-left: 1em;">Sotheran, H., & Co., 36 Piccadilly and 136 Strand.</span><br /> +<span style="margin-left: 1em;">Toovey, Jas., 177 Piccadilly, W.</span><br /> +<br /> +<i>Nairn</i>—Melven Brothers.<br /> +<br /> +<i>Northampton</i>—Taylor & Son.<br /> +<br /> +<i>Norwich</i>—Hunt, Wm., 1860.<br /> +<span style="margin-left: 1em;">Jarrold & Sons.</span><br /> +<br /> +<i>Oxford</i>—Parker & Co., Jas., <i>c.</i> 1800.<br /> +<span style="margin-left: 1em;">Shrimpton, T., & Son, <i>c.</i> 1790.</span><br /> +<br /> +<i>Penzance</i>—Kinsman, John.<br /> +<br /> +<i>Rochdale</i>—Clegg, James, 1857.<br /> +<br /> +<i>Salisbury</i>—Brown & Co.<br /> +<br /> +<i>Stirling</i>—Cook, William B.<br /> +<br /> +<i>Torquay</i>—Iredale, Andrew.<br /> +<span style="margin-left: 1em;">King, Charles.</span><br /> +<br /> +<i>Worksop</i>—White, Robert, 1847.<br /> +<br /> +<i>York</i>—Sampson, John B.<br /> +<br /> +<br /> +TRAVEL.<br /> +<br /> +<i>Bath</i>—Meehan, B. & J. F., 1867.<br /> +<br /> +<i>Bristol</i>—George's, Wm., Sons, 1847.<br /> +<br /> +<i>London</i>—Bain, Jas., 1 Haymarket, S.W.<br /> +<span style="margin-left: 1em;">Bickers & Son, 1 Leicester Sq., W.C.</span><br /> +<span style="margin-left: 1em;">Maggs, Uriah, 159 Church St., Paddington Gr., W., 1860.</span><br /> +<br /><br /></p> + +<hr style="width: 65%;" /> + + +<h2><br /> +SPINK & SON,</h2> +<h5>THE OLDEST ESTABLISHED</h5> +<h3>DEALERS IN COINS AND MEDALS,</h3> +<h3>2, GRACECHURCH STREET, CORNHILL, LONDON, E.C.</h3> + + +<p class="center"><b>List of a few Specialities on View and for Sale.</b></p> +<p class="center"><br /><b>GOLD.</b></p> + +<table border="0" cellpadding="0" cellspacing="0" width="100%" summary="Spink & Son" > + +<tr> + <td style="width: 20%;"> </td> + <td style="width: 20%;"> </td> + <td style="width: 40%;"> </td> + <td style="width: 20%;"> </td> +</tr> + +<tr> + <td class="tdl"><b>NOBLES.</b></td> + <td class="tdc">Edward III.</td> + <td class="tdc">Edward IV.</td> + <td class="tdc">from</td> + <td class="tdr">£1 10 0</td> +</tr> + +<tr> + <td class="tdl"> Half do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 1 0 0</td> +</tr> + +<tr> + <td class="tdl"> Quarter do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 0 10 0</td> +</tr> + +<tr> + <td class="tdl"><b>ANGELS.</b></td> + <td class="tdc">Edwd. IV.</td> + <td class="tdc">Henry VII. Henry VIII.</td> + <td class="tdc">"</td> + <td class="tdr"> 1 5 0</td> +</tr> + +<tr> + <td class="tdl"><b>SOVEREIGNS.</b> </td> + <td class="tdc">Elizabeth.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 2 10 0</td> +</tr> + +<tr> + <td class="tdl"> Half do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 1 10 0</td> +</tr> + +<tr> + <td class="tdl"> Quarter do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 1 0 0</td> +</tr> + +<tr> + <td class="tdl"><b>SOVEREIGNS.</b></td> + <td class="tdc">James I.</td> + <td class="tdc">Charles I.</td> + <td class="tdc">"</td> + <td class="tdr"> 1 8 0</td> +</tr> + +<tr> + <td class="tdl"> Half do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 1 0 0</td> +</tr> + +<tr> + <td class="tdl"> Quarter do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 0 10 0</td> +</tr> + +<tr> + <td class="tdl"><b>SOVEREIGNS.</b></td> + <td class="tdc">Commonwealth</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 2 10 0</td> +</tr> + +<tr> + <td class="tdl"> Half do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 3 10 0</td> +</tr> + +<tr> + <td class="tdl"> Quarter do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 2 5 0</td> +</tr> + +<tr> + <td class="tdl"><b>FIVE GUINEA PIECES.</b></td> + <td class="tdl">various reigns</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 6 10 0</td> +</tr> + +<tr> + <td class="tdl"> Two Guinea do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 2 10 0</td> +</tr> + +<tr> + <td class="tdl"> Guineas</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 1 2 6</td> +</tr> + +<tr> + <td class="tdl"> Half do.</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr"> 0 11 6</td> +</tr> + +<tr> + <td class="tdl"> Quarter do.</td> + <td class="tdc">Geo. I.</td> + <td class="tdc">Geo. III.</td> + <td class="tdc">"</td> + <td class="tdr">0 8 6</td> +</tr> + +<tr> + <td class="tdl"> Seven Shilling Pieces</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdr">0 8 0</td> +</tr> + +<tr> + <td class="tdl"> Greek Staters and divisions,</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdl">Prices on application</td> + <td> </td> +</tr> + +<tr> + <td class="tdl"> Roman Aurei</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> +</tr> + +<tr> + <td class="tdl"> Jubilee Coins at close prices</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> + <td class="tdc">"</td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + +<tr> + <td colspan="5" class="tdc"><b>SILVER. Early Pennies.</b></td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + +<tr> + <td class="tdl">Ethelred II.</td> + <td class="tdc">various Mints</td> + <td> </td> + <td class="tdc">from</td> + <td class="tdr">0 2 6</td> +</tr> + +<tr> + <td class="tdl">Canute</td> + <td class="tdc">"</td> + <td> </td> + <td class="tdc">"</td> + <td class="tdr">0 2 6</td> +</tr> + +<tr> + <td class="tdl">William I.</td> + <td class="tdc">"</td> + <td> </td> + <td class="tdc">"</td> + <td class="tdr">0 4 6</td> +</tr> + +<tr> + <td class="tdl">Henry II. & III.</td> + <td colspan="2" class="tdc">" (<i>long or short cross</i>)</td> + <td class="tdc">"</td> + <td class="tdr">0 1 0</td> +</tr> +<tr> + <td class="tdl">Edward I. & II.</td> + <td class="tdc">"</td> + <td> </td> + <td class="tdc">"</td> + <td class="tdr"> 0 1 0</td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + +<tr> + <td colspan="5" class="tdc"><b>GROATS.</b></td> +</tr> + +<tr> + <td class="tdl">Edward III.</td> + <td class="tdc"> </td> + <td class="tdc"> </td> + <td class="tdc">"</td> + <td class="tdr"> 0 1 6</td> +</tr> + +<tr> + <td class="tdl">Edward IV.</td> + <td class="tdc"> </td> + <td class="tdc"> </td> + <td class="tdc">"</td> + <td class="tdr"> 0 2 0</td> +</tr> + +<tr> + <td class="tdl">Henry V., VI., VII., VIII.</td> + <td class="tdc"> </td> + <td class="tdc"> </td> + <td class="tdc">"</td> + <td class="tdr"> 0 1 6</td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + +<tr> + <td> </td> + <td> </td> + <td> </td> + <td> </td> + <td> </td> +</tr> + + +<tr> + <td> </td> + <td class="tdr">Crowns.</td> + <td class="tdr">Half-Crowns.</td> + <td class="tdr">Shillings.</td> + <td class="tdr">Sixpences.</td> +</tr> + +<tr> + <td class="tdl">Charles I.</td> + <td class="tdr">from 20/-</td> + <td class="tdr">from 3/6</td> + <td class="tdr">from 1/6</td> + <td class="tdr">from 9d.</td> +</tr> + +<tr> + <td>Charles II.</td> + <td class="tdr">" 5/9</td> + <td class="tdr">" 3/6</td> + <td class="tdr">" 1/6</td> + <td class="tdr">" 8/6</td> +</tr> + +<tr> + <td>James II.</td> + <td class="tdr">" 7/6</td> + <td class="tdr">" 6/6</td> + <td class="tdr">" 8/6</td> + <td class="tdr">" 8/6</td> +</tr> + +<tr> + <td>William & Mary</td> + <td class="tdr">20/-</td> + <td class="tdr">" 3/6</td> + <td class="tdr">" 5/-</td> + <td class="tdr">" 7/6</td> +</tr> +</table> + +<p class="right">[P.T.O.<br /><br /></p> + +<hr style="width: 35%;" /> + + +<h1><br />E. SUMNER'S</h1> +<h2>Naturalists' Stores,</h2> +<h3>135 OXFORD ST., LONDON, W.<br /><br /></h3> + +<table width="100%" summary="Sumner"> +<tr> + <td style="font-size:150%;"><b>The<br /> +Kensington<br /> +Insectarium.<br /></b></td> + +<td><div class="figcenter" style="width: 167px;"> +<img src="images/137.png" width="167" height="250" alt="PATENTED." title="" /> +<span class="caption">PATENTED.</span> +</div></td> + + <td style="font-size:150%;"><b>The<br /> +Kensington<br /> +Reptilarium.<br /></b> +</td> + +</tr> + +</table> + + +<p><br /><br /><span class="dropcap">T</span>HIS most ingenious invention is designed for the rearing of all living +objects of Natural History, and is of the greatest assistance in the +scientific study (under the most favourable conditions) of the wonderful +economy and transformation of nature, and so constructed as to enable the +specimen to develop to the fullest perfection.</p> + +<p><b>No. 1</b>, as illustrated, is a Ventilated Lid or Cover, with deep rim (which +fits inside of glass case, No. 2), deep enough to prevent larvæ from spinning +on the glass, thus allowing the cover, with cocoons and pupæ attached, to +be removed for inspection, or stored away in large cages until they emerge.</p> + +<p><b>No. 2</b>, Glass Case, which permits the full power of light to freely enter +on all parts of the specimens from every point of view.</p> + +<p><b>No. 3</b>, The Base (which the Case No. 2 fits into) is made to contain earth +for the growing of plants, or for the use of those insects who bury during pupa +state. The bottom of the base is perforated to allow the air to pass through +the case, thus preventing over-heating, steaming, or mildew of the specimens, +earth, or plants, which is very difficult to prevent in other forms of cases.</p> + +<p><b>No. 4</b>, Is a small movable Pot to contain water in which the stems of food +plants may be placed that cannot be grown in the case, such as the cuttings +of trees, etc., which last for a considerable time in this case.</p> + +<p>The Pot has a perforated india-rubber cover to prevent the larvæ from +entering the water.</p> + + +<table border="0" cellpadding="0" cellspacing="0" width="95%" summary="Merchandise"> +<tr> + <td style="width: 15%;"> </td> + <td style="width: 15%;"> </td> + <td style="width: 15%;"> </td> + <td style="width: 10%;"> </td> + <td style="width: 15%;"> </td> + <td style="width: 15%;"> </td> + <td style="width: 15%;"> </td> +</tr> + +<tr> + <td>Height.</td> + <td>Diameter.</td> + <td>Price. </td> + <td class="lbr"></td> + <td>Height.</td> + <td>Diameter.</td> + <td>Price.</td> +</tr> + +<tr> + <td>6 in.</td> + <td>2¾ in.</td> + <td>2/- </td> + <td class="lbr"> </td> + <td> 9 in.</td> + <td>4¼ in.</td> + <td>3/6</td> +</tr> + +<tr> + <td>7 in.</td> + <td>3¼ in.</td> + <td>2/6 </td> + <td class="lbr"> </td> + <td>10 in.</td> + <td>4¾ in.</td> + <td>5/6</td> +</tr> + +<tr> + <td>8 in.</td> + <td>3¾ in.</td> + <td>3/- </td> + <td class="lbr"> </td> + <td>11 in.</td> + <td>5¼ in.</td> + <td>7/6</td> +</tr> + +<tr> + <td colspan="7"> </td> +</tr> + +<tr> + <td colspan="7" class="tdc"> +Note.—<i>The various parts are supplied separately.</i></td> +</tr> + +</table> + +<h3>E. SUMNER, 135 Oxford Street, London, W.</h3> + + +<hr style="width: 35%;" /> + + +<h2>E. SUMNER'S</h2> + +<h3>Naturalists' Stores.</h3> + +<p class="center"><b>The Largest and Cheapest Establishment in the World for every +description of Natural History Apparatus, etc.</b></p> + +<table id="lata" border="1" cellpadding="8" cellspacing="0" summary="Apparatus"> + +<tr> + <td class="tdl"><b>Ornithological<br />Department</b></td> + <td>British and Foreign Birds, Eggs, and Nests; Aviaries, Cages, and + Parrot Stands for the Drawing Room, Conservatory, or Garden;<br /> + Wirework of every description.</td> +</tr> + +<tr> + <td class="tdl"><b>Entomological<br />Department</b></td> + <td class="tdl">Insect Cabinets, Cases, Setting Boards, Cork, Killing Bottles, +Spinning Wheels, Silkworms,<br />Butterflies and Moths.<br /> +<b>KENSINGTON INSECTARIUM, 2/6, 3/6, 4/6.</b></td> +</tr> + +<tr> + <td class="tdl"><b>Piscatorial<br />Department</b></td> + <td>Gold Fish, Carp, Roach, Tench, Dace, Golden Orfe, Minnows, Snails, +Beetles and Water Plants;Aquariums, Globes, Fountains, Rocks, + Cork Models, Swiss Chalets,<br />Running Windmills, Nets and Syphons.<br /> +<b>Sumner's Fish Food, 2d. pkt. Ants' Eggs, 6d. pt.</b></td> +</tr> + +<tr> + <td class="tdl"><b>Reptilian<br />Department</b></td> + <td>Snakes, Slowworms, Lizards, Chameleons, Land and Water Tortoises, etc., +<br />in great variety from all parts of the globe.<br /> +<b>KENSINGTON REPTILARIUM, 2/-, 2/6, 3/6, 5/6.</b></td> +</tr> + +<tr> + <td class="tdl"><b>Amphibian<br />Department</b>.</td> + <td class="tdl">Green Tree Frogs, Fire Frogs, Common and Edible Frogs, +Toads, Salamanders, Newts, etc.,<br /> +Mexican Axoloti of every description.</td> +</tr> + +</table> + +<p class="center">Experienced Workmen in all branches kept on the +premises for special orders, etc.</p> +<hr style="width: 15%;" /> +<p class="center">BOOKS AND EVERY REQUISITE FOR ALL BRANCHES OF +NATURAL HISTORY.</p> + + + +<hr style="width: 65%;" /> +<h2><b>WATKINS & DONCASTER</b></h2> + +<h3>Naturalists,</h3> + +<h3>36, STRAND, W.C.</h3> + +<h3>LONDON.</h3> + +<p class="center">(<i>Five doors from Charing Cross.</i>)<br /><br /></p> + + +<p>Every description of Apparatus and Cabinets of the best make +for Entomology and general Natural History, &c.</p> + +<p>Wire or Cane Ring Net and Stick, 1s. 8d., 2s., and 2s. 3d. +Umbrella Net (self-acting), 7s. 6d. Pocket Folding Net (wire or +cane), 3s. 9d. and 4s. 6d. Corked Pocket Boxes, 6d., 9d., 1s. and +1s. 6d. Zinc Relaxing Boxes, 9d., 1s., 1s. 6d. and 2s. Chip Boxes, +nested, 4 doz., 8d. Entomological Pins, mixed, 1s. per oz. +Pocket Lantern, 2s. 6d. to 5s., Napthaline, 1½d. per oz. Sugaring +Tin (with brush), 1s. 6d. and 2s. Best Killing Bottles, 1s. 6d. +Store Boxes, 2s. 6d., 4s., 5s., and 6s. Setting Boards, from 5d.; +complete Set, 10s. 6d. Setting Houses., 9s. 6d., 11s. 6d., and 14s. +Larva Boxes, 9d., 1s., 1s. 6d. Breeding Cages, 2s. 6d., 4s., and +5s.</p> + +<p>Finest Stock of British and Foreign Butterflies, Beetles, +Birds' Eggs, &c., in the Kingdom.</p> + +<p>Throughout the winter and early spring, a large stock of live +pupae of British and Foreign Butterflies and Moths, including +the gigantic Atlas and other Exotic Moths.</p> + +<p>Collections of Natural-History objects, carefully named and +arranged.</p> + +<p>New and Second-hand Works on Entomology.</p> + +<p>Label Lists of every description. The complete Label List +of British Lepidoptera (Latin and English names), 1s. 6d., post +free.</p> + +<p>One each of all the British Butterflies in a Case, 25s.</p> + +<p>A magnificent assortment of Preserved Caterpillars always in +Stock.</p> + +<p>Birds and Animals stuffed and mounted in the best style by +skilled workmen on the premises.</p> + +<p class="center"><i>A full Catalogue sent post free on application.</i></p> + + + +<hr style="width: 65%;" /> + +<h2><br />JAMES GARDNER,</h2> + +<h4>Manufacturer of all kinds of Entomological +Apparatus,</h4> + +<h3>29, OXFORD STREET,</h3> + +<h4><b>Dealer in Insects, Birds' Eggs, Skins. +&c.</b></h4> + + +<p>Plain Ring Net, cane or wire, 2s. Umbrella Net, 5s. 6d., +6s. 6d., 7s. 6d., and 10s. 6d. Folding Nets, cane or iron, 4s. 6d. +Pocket Box, wood, 6d. and 1s. Ditto, metal, 1s. 6d. and 2s. +Store Box, 1s. 9d., 2s. 6d., 4s., 5s., and 6s. Larva Box, 1s. +Larva Cage, 2s. 6d., 3s., 3s. 6d., and 5s. Sugaring Tin, 1s., +1s. 6d., 2s., and 2s. 6d. Entomological Pins, from 1s. per +ounce, assorted or mixed. Willow Chip Box, four sizes, +Nested, the packet of four dozen, 9d. Setting Boards, 6d. to +2s.; a Complete Set, 10s.</p> + +<h4>All Articles Guaranteed.</h4> + +<h3><i>EXCHANGED IF NOT APPROVED OF.</i></h3> + +<h4>Price Lists on Application.</h4> + +<h3>29, OXFORD STREET.</h3> + +<hr style="width: 65%;" /> + +<h3>TRANSCRIBER'S NOTES</h3> + +<p>The book does not have a table of contents; one has been added by the transcriber.</p> + +<p>The following obvious typos have been corrected:<br /> +p. 36 "Défense de la Reformation" has been changed to "Défense de la Réformation"<br /> +p. 105 After "in a double sense" a period has been added.<br /> +p. 105 "specime nof" has been amended to "specimen of".<br /> +p. 106 "Momento" has been amended to "Memento".<br /> +p. 124 "Specialites" has been amended to "Specialities".</p> + +<p>Other possible typos (for example "caligraphy" on p. 6, "horde" on p. 35 and +"neither have succeeded" on p. 43) have been left unchanged as they may reflect +the spelling choice of the author.</p> + +<p>Variations in hyphenation have been retained as in the original.</p> + +<p>The three advertisement pages at the start of the book have been moved to +the end, to follow other advertisements.<br /><br /></p> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Book Collecting, by John Herbert Slater + +*** END OF THIS PROJECT GUTENBERG EBOOK BOOK COLLECTING *** + +***** This file should be named 38345-h.htm or 38345-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/8/3/4/38345/ + +Produced by Chris Curnow, Margo Romberg and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive) + + +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. 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