At a distance, the reapers were carrying away their last harvest load; and numerous groups of gleaners picking up the grain which they had spared, were marching homewards in all the glee of apparent happiness. Immediately on our left, the cattle were grazing in a rich pasture meadow; while, before us, the white pheasant darted across the walk, and the stock-dove was heard to wail in the grove. We passed a row of orange trees, glittering with golden fruit; and, turning sharply to our right, discovered, on a gentle eminence, and skirted with a profusion of shrubs and delicately shaped trees, the wished-for ALCOVE.

We quickly descried Almansa busied in twining her favourite honey-suckles round the portico; while within Belinda was sitting soberly at work, as if waiting our arrival. The ladies saluted us as we approached; and Lorenzo, who till now had been unperceived, came quietly from the interior, with his favourite edition of Thomson[424] in his hand.

[Footnote 424: This must be a favourite edition with every man of taste. It was printed by BENSLEY, and published by DU ROVERAY, in the year 1802. The designs were by Hamilton, and the engravings principally by Fittler. The copy which Lorenzo had in his hand was upon large paper; and nothing could exceed the lustre of the type and plates. The editions of Pope, Gray, and Milton, by DU ROVERAY, as well as those of The Spectator, Guardian, Tatler, by Messrs. SHARPE and HAILES, are among the most elegant, as well as accurate, publications of our old popular writers.]

The Alcove at a distance, had the appearance of a rustic temple.[425] The form, though a little capricious, was picturesque; and it stood so completely embosomed in rich and variegated foliage, and commanded so fine a swell of landscape, that the visitor must be cold indeed who could approach it with the compass of Palladio in one hand, and the square of Inigo Jones in the other. We entered and looked around us.

[Footnote 425: Lorenzo was not unmindful that it had been observed by Lipsius (Syntag. de Bibliothecis) and, after him, by Thomasinus (de Donar. et Tabell-votiv. c. 3. p. 37.) that the ancients generally built their libraries near to, or adjoining their Temples; "ut veram seram sedem sacratorum ingenii faetuum loca sacra esse ostenderent:" BIBLIOTHECAS (inquit) procul abesse (sc. a TEMPLIS) noluerunt veteres, ut ex praeclaris ingeniorum monumentis dependens mortalium, gloria, in Deorum tutela esset. This I gather from Spizolius's Infelix Literatus: p. 462.]

Those who have relished the mild beauties of Wynants' pictures would be pleased with the view from the Alcove of Lorenzo. The country before was varied, undulating, and the greater part, highly cultivated. Some broad-spreading oaks here and there threw their protecting arms round the humble saplings; and some aspiring elms frequently reared their lofty heads, as land-marks across the county. The copses skirted the higher grounds, and a fine park-wood covered the middle part of the landscape in one broad umbrageous tone of colouring. It was not the close rusticity of Hobbima—or the expansive, and sometimes complicated, scenery of Berghem—or the heat-oppressive and magnificent views of Both—that we contemplated; but, as has been before observed, the mild and gentle scenery of Wynants; and if a cascade or dimpling brook had been near us, I could have called to my aid the transparent pencil of Rysdael, in order to impress upon the reader a proper notion of the scenery. But it is high time to make mention of the conversation which ensued among the tenants of this Alcove.

LOREN. I am heartily glad we are met under such propitious circumstances. What a glorious day!

ALMAN. Have you recovered, Sir, the immense fatigue you must have sustained from the exertions of yesterday? My brother has no mercy upon a thoroughly-versed book guest!

LYSAND. I am indeed quite hearty: yet, if any thing heavy and indigested hung about me, would not the contemplation of such a landscape, and such a day, restore every thing to its wonted ardour?! You cannot conceive how such a scene affects me: even to shedding tears of pleasure—from the reflections to which it gives rise.

BELIN. How strangely and how cruelly has the character of a bibliographer been aspersed! Last night you convinced me of the ardour of your enthusiasm, and of the eloquence of your expression, in regard to your favourite subject of discussion!—but, this morning, I find that you can talk in an equally impassioned manner respecting garden and woodland scenery?

LYSAND. Yes, Madam: and if I possessed such a domain as does your brother, I think I could even improve it a little—especially the interior of the Alcove! I don't know that I could attach to the house a more appropriate library than he has done; even if I adopted the octagonal form of the Hafod Library;[426] which, considered with reference to its local situation, is, I think, almost unequalled:—but it strikes me that the interior of this Alcove might be somewhat improved.

[Footnote 426: Hafod, in Cardiganshire, South Wales, is the residence of THOMAS JOHNES, Esq., M.P., and Lord Lieutenant of the county. Mr. Malkin, in his Scenery, Antiquities, and Biography, of South Wales, 1804, 4to., and Dr. Smith, in his Tour to Hafod, 1810, folio, have made us pretty well acquainted with the local scenery of Hafod:—yet can any pen or pencil do this

—Paradise, open'd in the wild,

perfect justice! I have seen Mr. Stothard's numerous little sketches of the pleasure-grounds and surrounding country, which are at once faithful and picturesque. But what were this "Paridise" of rocks, waterfalls, streams, woods, copses, dells, grottos, and mountains, without the hospitable spirit of the owner—which seems to preside in, and to animate, every summer-house and alcove. The book-loving world is well acquainted with the Chronicles of Froissart, Joinville, De Brocquiere, and Monstrelet, which have issued from the HAFOD PRESS; and have long deplored the loss, from fire, which their author, Mr. Johnes, experienced in the demolition of the greater part of his house and library. The former has been rebuilt, and the latter replenished: yet no Phoenix spirit can revivify the ashes of those volumes which contained the romances notified by the renowned Don Quixote! But I am rambling too wildly among the Hafod rocks—I hasten, therefore to return and take the reader with me into the interior of Mr. Johnes's largest library, which is terminated by a Conservatory of upwards of 150 feet. As the ancient little books for children [hight Lac Puerorum!] used to express it—"Look, here it is."

]

LOREN. What defects do you discover here, Lysander?

LYSAND. They are rather omissions to be supplied than errors to be corrected. You have warmed the interior by a Grecian-shaped stove, and you do right; but I think a few small busts in yonder recesses would not be out of character. Milton, Shakespeare, and Locke, would produce a sort of inspiration which might accord with that degree of feeling excited by the contemplation of these external objects.

LOREN. You are right. 'Ere you revisit this spot, those inspiring gentlemen shall surround me.

BELIN. And pray add to them the busts of Thomson and Cowper: for these latter, in my opinion, are our best poets in the description of rural life. You remember what Cowper says—

God made the country, and Man made the town?

ALMAN. This may be very well—but we forget the purpose for which we are convened.

LIS. True: so I entreat you, Master Lysander, to open—not the debate—but the discussion.

LYSAND. You wish to know what are the SYMPTOMS OF THE BIBLIOMANIA?—what are the badges or livery marks, in a library, of the owner of the collection being a bibliomaniac?

ALMAN. Even so. My question, yesterday evening, was—if I remember well—whether a mere collector of books was necessarily a bibliomaniac?

LYSAND. Yes: and to which—if I also recollect rightly—I replied that the symptoms of the disease, and the character of a bibliomaniac, were discoverable in the very books themselves!

LIS. How is this?

ALMAN & BELIN. Do pray let us hear.

PHIL. At the outset, I entreat you, Lysander, not to overcharge the colouring of your picture. Respect the character of your auditors; and, above all things, have mercy upon the phlogistic imagination of Lisardo!

LYSAND. I will endeavour to discharge the important office of a bibliomaniacal Mentor, or, perhaps, Aesculapius, to the utmost of my power: and at all events, with the best possible intentions.

Before we touch upon the Symptoms, it may be as well to say a few words respecting the General Character of the BOOK DISEASE. The ingenious Peignot[427] defines the bibliomania to be "a passion for possessing books; not so much to be instructed by them, as to gratify the eye by looking on them." This subject has amused the pens of foreigners; although we have had nothing in our own language, written expressly upon it, 'till the ingenious and elegantly-composed poem of Dr. Ferriar appeared; after which, as you well know, our friend put forth his whimsical brochure.[428]

[Footnote 427: "LA BIRLIOMANIE [Transcriber's Note: BIBLIOMANIE] est la fureur de posseder des livres, non pas tant pour s'instruire, que pour les avoir et pour en repaitre sa vue. Le bibliomane ne connait ordinairement les livres que par leur titre, leur frontispice, et leur date; il s'attache aux bonnes editiones et les poursuit a quelque titre que ce soit; la relieure le seduit aussi, soit par son anciennete, soit par sa beaute," &c. Dictionnaire de Bibliologie. vol. i. p. 51. This is sufficiently severe: see also the extracts from the Memoires de l'Institut: p. 25, ante. The more ancient foreign writers have not scrupled to call the BIBLIOMANIA by every caustic and merciless terms: thus speaks the hard-hearted Geyler: "Tertia nola est, multos libros coacervare propter animi voluptatem curiosam. Fastidientis stomachi est multa degustare, ait Seneca. Isti per multos libros vagant legentes assidue: nimirum similles fatuis illis, qui in urbe cicumeunt domos singulas, et earum picturas dissutis malis contuentur: sicque curiositate trahuntur, &c. Contenti in hac animi voluptate, quam pascunt per volumina varia devagando et liguriendo. Itaque gaudent hic de larga librorum copia, operosa utique sed delectabilis sarcina, et animi jucunda distractio: imo est haec ingens librorum copia ingens simul et laboris copia, et quietis inopia—huc illucque circum agendum ingenium: his atque illis pregravanda memoria."—Navicula sive Saeculum Fatuorum, 1511, 4to. sign B. iiij rev. Thus speaks Sebastian Brandt upon the subject, through the medium of our old translation:

Styll am I besy bokes assemblynge For to have plenty it is a pleasaunte thynge In my conceyt, and to have them ay in honde; But what they mene do I nat understonde.

Shyp of Folys: see p. 206, ante.

There is a short, but smart and interesting, article on this head in Mr. D'Israeli's Curiosities of Literature: vol. i. 10. "Bruyere has touched on this mania with humour; of such a collector (one who is fond of superb bindings only), says he, as soon as I enter his house, I am ready to faint on the stair-case from a strong smell of Russia and Morocco leather. In vain he shews me fine editions, gold leaves, Etruscan bindings, &c.—naming them one after another, as if he were shewing a gallery of pictures!" Lucian has composed a biting invective against an ignorant possessor of a vast library. "One who opens his eyes with an hideous stare at an old book; and after turning over the pages, chiefly admires the date of its publication." But all this, it may be said, is only general declamation, and means nothing!]

[Footnote 428: The first work, I believe, written expressly upon the subject above discussed was a French publication, entitled La Bibliomanie. Of the earliest edition I am uninformed; but one was published at the Hague in 1762, 8vo. Dr. Ferriar's poem upon the subject, being an epistle to Richard Heber, Esq.—and which is rightly called by Lysander 'ingenious and elegant'—was published in 1809, 4to.: pp. 14: but not before an equally ingenious, and greatly more interesting, performance, by the same able pen, had appeared in the Trans. of the Manchester Literary Society, vol. iv., p. 45-87—entitled Comments upon Sterne; which may be fairly classed among the species of bibliomaniacal composition; inasmuch as it shews the author to be well read in old books; and, of these, in Burton's Anatomy of Melancholy in particular. Look for half a minute at p. 286, ante. In the same year of Dr. Ferriar's publication of the Bibliomania, appeared the Voyage autour de ma bibliotheque Roman Bibliographique: by Ant. Caillot; in three small duodecimo volumes. There is little ingenuity and less knowledge in these meagre volumes. My own superficial work, entitled, Bibliomania, or Book-Madness: containing some account of the History, Symptoms and Cure of this fatal Disease; in an epistle addressed to Richard Heber, Esq., quickly followed Dr. Ferriar's publication. It contained 82 pages, with a tolerably copious sprinkling of notes: but it had many errors and omissions, which it has been my endeavour to correct and supply in the present new edition, or rather newly-constructed work. Vide preface. Early in the ensuing year (namely, in 1810) appeared Bibliosophia, or Book-Wisdom: containing some account of the Pride, Pleasure, and Privileges of that glorious Vocation, Book-Collecting. By an Aspirant. Also, The Twelve Labours of an Editor, separately pitted against those of Hercules, 12mo. This is a good-humoured and tersely written composition: being a sort of Commentary upon my own performance. In the ensuing pages will be found some amusing poetical extracts from it. And thus take we leave of PUBLICATIONS UPON THE BIBLIOMANIA!]

Whether Peignot's definition be just or not, I will not stop to determine: but when I have described to you the various symptoms, you will be better able to judge of its propriety.

LIS. Describe them seriatim, as we were observing yesterday.

LYSAND. I will; but let me put them in battle array, and select them according to their appearances. There is, first, a passion for Large Paper Copies; secondly, for Uncut Copies; thirdly, for Illustrated Copies; fourthly, for Unique Copies; fifthly, for Copies printed upon Vellum; sixthly, for First Editions; seventhly, for True Editions; and eighthly, for Books printed in the Black-Letter.

BELIN. I have put these symptoms down in my pocket-book; and shall proceed to catechise you according to your own method. First, therefore, what is meant by LARGE PAPER COPIES?

LYSAND. A certain set, or limited number of the work, is printed upon paper of a larger dimension, and superior quality, than the ordinary copies. The press-work and ink are, always, proportionably better in these copies: and the price of them is enhanced according to their beauty and rarity.

This Symptom of the Bibliomania is, at the present day, both general and violent. Indeed, there is a set of collectors, the shelves of whose libraries are always made proportionably stout, and placed at a due distance from each other, in order that they may not break down beneath the weight of such ponderous volumes.

BELIN. Can these things be?

PHIL. Yes; but you should draw a distinction, and not confound the GROLLIERS, De Thous, and Colberts of modern times, with "a set of collectors," as you call them, who are equally without taste and knowledge.

LIS. We have heard of De Thou and Colbert, but who is GROLLIER?[429]

[Footnote 429: The reader may be better pleased with the ensuing soberly-written account of this great man than with Philemon's rapturous eulogy. JOHN GROLLIER was born at Lyons, in 1479; and very early displayed a propensity towards those elegant and solid pursuits which afterwards secured to him the admiration and esteem of his contemporaries. His address was easy, his manners were frank, yet polished; his demeanour was engaging, and his liberality knew no bounds. As he advanced in years, he advanced in reputation; enjoying a princely fortune, the result, in some measure, of a faithful and honourable discharge of the important diplomatic situations which he filled. He was Grand Treasurer to Francis I., and was sent by that monarch as ambassador to Pope Clement VII. During his abode at Rome, he did not fail to gratify his favourite passion of BOOK-COLLECTING; and employed the Alduses to print for him an edition of Terence in 8vo., 1521: of which a copy upon vellum, was in the Imperial library at Vienna; See L'Imp. des Alde; vol. I., 159. He also caused to be published, by the same printers, an edition of his friend Budaeus's work, De Asse et partibus ejus, 1522, 4to.; which, as well as the Terence, is dedicated to himself, and of which the presentation copy, upon vellum, is now in the Library of Count M'Carthy, at Toulouse: it having been formerly in the Soubise collection: vide p. 96, ante—and no. 8010 of the Bibl. Soubise. It was during Grollier's stay at Rome, that the anecdote, related by Egnatio, took place. 'I dined (says the latter) along with Aldus, his son, Manutius, and other learned men, at Grollier's table. After dinner, and just as the dessert had been placed on the table, our host presented each of his guests with a pair of gloves filled with ducats.' But no man had a higher opinion of Grollier, or had reason to express himself in more grateful terms of him, than De Thou. This illustrious author speaks of him as "a man of equal elegance of manners, and spotlessness of character. His books seemed to be the counterpart of himself, for neatness and splendour; not being inferior to the glory attributed to the library of Asinius Pollio, the first who made a collection of books at Rome. It is surprising, notwithstanding the number of presents which he made to his friends, and the accidents which followed on the dispersion of his library, how many of his volumes yet adorn the most distinguished libraries of Paris, whose chief boast consists in having an Exemplar Grollerianum!" The fact was Grollier returned to Paris with an immense fortune. During his travels he had secured, from Basil, Venice, and Rome, the most precious copies of books which could be purchased: and which he took care to have bound in a singular manner, indicative at once of his generosity and taste. The title of the book was marked in gilt letters upon one side, and the words—of which the annexed wood-cut is a fac-simile—upon the other; surrounded with similar ornaments to the extremities of the sides, whether in folio or duodecimo.



This extraordinary man, whom France may consider the first Bibliomaniac of the sixteenth century, died at Paris in the year 1565, and in the 86th of his age. Let us close this account of him with an extract from Marville's Melanges d'Histoire et de Literature; "La Bibliotheque de M. Grollier s'est conservee dans l'Hotel de Vic jusqu'a ces annees dernieres qu'elle a ete vendue a l'encan. Elle meritoit bien, etant une des premieres et des plus accomplies qu'aucun particulier se soit avise de faire a Paris, de trouver, comme celle de M. de Thou, un acheteur qui en conservat le lustre. La plupart des curieux de Paris ont profite de ses debris. J'en ai eu a ma part quelques volumes a qui rien ne manque: ni pour la bonte des editions de ce tems la, ni pour la beaute du papier et la proprete de la relieure. Il semble, a les voir, que les Muses qui ont contribue a la composition du dedans, se soient aussi appliquees a les approprier au dehors, tant il paroit d'art et d'esprit dans leurs ornemens. Ils sont tous dorez avec une delicatesse inconnue aux doreurs d'aujourd'hui. Les compartemens sont pients de diverses couleurs, parfaitemente bien dessinez, et tous de differentes figures, &c.:" vol. I., p. 187, edit. 1725. Then follows a description, of which the reader has just had ocular demonstration. After such an account, what bibliomaniac can enjoy perfect tranquillity of mind unless he possess a Grollier copy of some work or other? My own, from which the preceding fac-simile was taken, is a folio edition (1531) of Rhenanus, de rebus Germanicis; in the finest preservation.]

PHIL. Lysander will best observe upon him.

LYSAND. Nay; his character cannot be in better hands.

PHIL. Grollier was both the friend and the treasurer of Francis the First; the bosom companion of De Thou, and a patron of the Aldine family. He had learning, industry, and inflexible integrity. His notions of Virtu were vast, but not wild. There was a magnificence about every thing which he did or projected; and his liberality was without bounds. He was the unrivalled Mecaenas of book-lovers and scholars; and a more insatiable bibliomaniacal appetite was never, perhaps, possessed by any of his class of character.

LIS. I thank you for this Grollieriana. Proceed, Lysander with your large paper copies.

ALMAN. But first tell us—why are these copies so much coveted? Do they contain more than the ordinary ones?

LYSAND. Not in the least. Sometimes, however, an extra embellishment is thrown into the volume—but this, again, belongs to the fourth class of symptoms, called Unique Copies—and I must keep strictly to order; otherwise I shall make sad confusion.

BELIN. Keep to your large paper, exclusively.[430]

[Footnote 430: Let us first hear Dr. Ferriar's smooth numbers upon this tremendous symptom of the Bibliomania:

But devious oft, from ev'ry classic Muse, The keen collector meaner paths will choose: And first the MARGIN'S BREADTH his soul employs, Pure, snowy, broad, the type of nobler joys. In vain might Homer roll the tide of song, Or Horace smile, or Tully charm the throng; If crost by Pallas' ire, the trenchant blade Or too oblique, or near, the edge invade, The Bibliomane exclaims, with haggard eye, 'NO MARGIN!'—turns in haste, and scorns to buy.

The Bibliomania; v. 34-43.

Next come the rivals strains of 'An Aspirant.'

FIRST MAXIM.

Who slaves the monkish folio through, With lore or science in his view, Him ... visions black, or devils blue, Shall haunt at his expiring taper;— Yet, 'tis a weakness of the wise, To chuse the volume by the size, And riot in the pond'rous prize— Dear Copies—printed on LARGE PAPER!

Bibliosophia; p. IV.

After these saucy attacks, can I venture upon discoursing, in a sober note-like strain—upon those large and magnificent volumes concerning which Lysander, above, pours forth such a torrent of eloquence? Yes—gentle reader—I will even venture!—and will lay a silver penny to boot (See Peacham's 'Worth of a Penny'—) that neither Dr. Ferriar nor the 'Aspirant' could withhold their ejaculations of rapture upon seeing any one of the following volumes walk majestically into their libraries. Mark well, therefore, a few scarce

WORKS PRINTED UPON LARGE PAPER.

Lord Bacon's Essays; 1798, 8vo. There were only six copies of this edition struck off upon royal folio paper: one copy is in the Cracherode collection, in the British Museum; and another is in the library of Earl Spencer. Mr. Leigh, the book-auctioneer, a long time ago observed that, if ever one of these copies were to be sold at an auction, it would probably bring -00l.—! I will not insert the first figure; but two noughts followed it.——Twenty Plays of Shakspeare from the old quarto editions; 1766, 8vo., 6 vols. Only twelve copies printed upon large paper. See Bibl. Steevens: no. 1312; and p. 581, ante.——Dodsley's Collection of Old Plays; 1780, 8vo., 12 vols. Only six copies struck off upon large paper. Bibl. Woodhouse, no. 698.——The Grenville Homer; 1800, 4to., 4 vols. Fifty copies of this magnificent work are said to have been printed upon large paper; which have embellishments of plates. Mr. Dent possesses the copy which was Professor Porson's, and which was bought at the sale of the Professor's library, in boards, for 87l., see p. 459, ante. Seven years ago I saw a sumptuous copy in morocco, knocked down for 99l. 15s.——Mathaei Paris, Monachi Albanenses, &c.; Historia Major; a Wats; Lond. 1640; folio. This is a rare and magnificent work upon large paper; and is usually bound in two volumes.——Historiae Anglicanae Scriptores X; a Twysden; 1652, folio. Of equal rarity and magnificence are copies of this inestimable production.——Rerum Anglicarum Scriptores Veteres, a Gale; 1684, 91; folio, 3 volumes. There were but few copies of this, now generally coveted, work printed upon large paper. The difference between the small and the large, for amplitude of margin and lustre of ink, is inconceivable.——Historiae Anglicanae Scriptores Varii, a Sparke; Lond. 1723, folio. The preface to this work shews that there are copies of it, like those of Dr. Clarke's edition of Caesar's Commentaries, upon paper of three different sizes. The 'charta maxima' is worthy of a conspicuous place upon the collector's shelf; though in any shape the book has a creditable aspect.——Recueil des Historiens des Gaules, &c., par Boucquet; 1738, 1786; folio, 13 vols. It is hardly possible for the eye to gaze upon a more intrinsically valuable work, or a finer set of volumes, than are these, as now exhibited in Mr. Evans's shop, and bound in fine old red morocco by the best binders of France. They were once in my possession; but the 'res angusta domi' compelled me to part with them, and to seek for a copy not so tall by head and shoulders. Since the year 1786, two additional volumes have been published.

We will now discourse somewhat of English books.

Scott's Discoverie of Whitcraft; 1584, 4to. Of this work, which has recently become popular from Mr. Douce's frequent mention of it (Illustrations of Shakspeare, &c., 1806, 2 vols., 8vo.), my friend, Mr. Utterson, possesses a very beautiful copy upon large paper. It is rarely one meets with books printed in this country, before the year 1600, struck off in such a manner. This copy, which is secured from 'winter and rough weather' by a stout coat of skilfully-tool'd morocco, is probably unique.——Weever's Funeral Monuments; 1631, folio. Mr. Samuel Lysons informs me that he has a copy of this work upon large paper. I never saw, or heard of, another similar one.——Sanford's Genealogical History; 1707, folio. At the sale of Baron Smyth's books, in 1809, Messrs. J. and A. Arch purchased a copy of this work upon large paper for 46l. A monstrous price! A similar copy is in the library of Mr. Grenville, which was obtained from Mr. Evans of Pall-Mall. The curious should purchase the anterior edition (of 1677) for the sake of better impressions of the plates; which, however, in any condition, are neither tasteful nor well engraved. What is called 'a good Hollar' would weigh down the whole set of them!——Strype's Ecclesiastical Memorials; 1721, Folio, 3 vols.——Annals of the Reformation; 1725, Folio, 4 vols. Happy the collector who can regale himself by viewing large paper copies of these inestimable works! In any shape or condition, they are now rare. The latter is the scarcer of the two; and upon large paper brings, what the French bibliographers call, 'un prix enorme.' There is one of this kind in the beautiful library of Mr. Thomas Grenville.——Hearne's Works—'till Mr. Bagster issued his first reprints of Robert of Gloucester and Peter Langtoft, upon paper of three different sizes—(of which the largest, in quarto, has hardly been equalled in modern printing)—used to bring extravagant sums at book-auctions. At a late sale in Pall-Mall, were [Transcriber's Note: where] the books in general were sold at extraordinary prices, the large paper Hearnes absolutely 'hung fire'—as the sportsman's phrase is.——Hudibras, with Dr. Grey's Annotations, and Hogarth's cuts; 1744, 2 vols. There were but twelve copies of this first and best edition of Dr. Grey's labours upon Hudibras (which Warburton strangely abuses—) printed upon large paper: and a noble book it is in this form!——Milner's History of Winchester; 1798, 4to., 2 vols. Of this edition there were, I believe, either twelve or twenty-four copies printed upon large paper; which brings serious sums in the present general rage for books of this description.——Kennet's (Bp.) Parochial Antiquities; Oxford, 1695, 4to. The only known copy of this work upon large paper is in the fine library of Sir Richard Colt Hoare, Bart. This copy was probably in the collection of 'that well-known collector, Joseph Browne, Esq., of Shepton Mallet, Somersetshire:' as a similar one 'in Russia, gilt leaves,' was sold in Pt. II. of his collection, no. 279, for 7l. 17s. 6d. and purchased in the name of Thornton.——The Chronicles of Froissart and Monstrelet: translated by Thomas Johnes, Esq. Hafod, 1803, 1810, quarto, 9 vols.: including a volume of plates to Monstrelet. Of these beautiful and intrinsically valuable works, there were only 25 copies struck off upon folio; which bring tremendous prices.——History of the Town of Cheltenham, and its Environs; 1802, 8vo. There were a few copies of this superficial work printed upon large paper in royal octavo, and a unique copy upon paper of a quarto size; which latter is in the possession of my friend Mr. Thomas Pruen, of the same place. A part of this volume was written by myself; according to instructions which I received to make it 'light and pleasant.' An author, like a barrister, is bound in most cases to follow his instructions! As I have thus awkwardly introduced myself, I may be permitted to observe, at the foot of this note, that all the LARGE PAPER copies of my own humble lucubrations have been attended with an unexpectedly successful sale. Of the Introduction to the Classics, edit. 1804, 8vo., there were fifty copies, with extra plates, struck off in royal octavo, and published at 2l. 2s.: these now sell for 5l. 5s.: the portrait of Bishop Fell making them snapped at, with a perch-like spirit, by all true Grangerites. Of the Typographical Antiquities of our own country there were 66 printed in a superb style, upon imperial paper, in 4to.; these were published at 6l. 6s. a copy. The following anecdote shews how they are 'looking up'—as the book-market phrase is. My friend —— parted with his copy; but finding that his slumbers were broken, and his dreams frightful, in consequence, he sought to regain possession of it; and cheerfully gave 10l. 10s.! for what, but a few months before, he had possessed for little more than one half the sum! The same friend subscribes for a large paper of the present work, of which there are only eighteen copies printed: and of which my hard-hearted printer and myself seize each upon a copy. Will the same friend display equal fickleness in regard to THIS volume? If he does, he must smart acutely for it: nor will 15l. 15s. redeem it! It is justly observed, in the first edition of this work, that, 'analogous to large paper, are TALL copies: that is, copies of the work published on the ordinary size paper, and barely cut down by the binder,' p. 45. To dwarfise a volume is a 'grievous fault' on the part of any binder; but more particularly is it an unpardonable one on the part of him who has had a long intercourse with professed bibliomaniacs! To a person who knows anything of typographical arrangement, the distinction between tall and large paper copies is sufficiently obvious. For this reason, I am quite decided that the supposed large paper copy of Scapula's Lexicon, possessed by Mr. ——, of Caversham, near Reading, is only a tall copy of the work, as usually printed: nor is this copy more stately than another which I have seen. The owner of the volume will suppress all feelings which he may entertain against my heretical opinions (as I fear he will call them), when he considers that he may dispose of his Scapula for a sum three times beyond what he gave for it. Let him put it by the side of his neighbour Dr. Valpy's numerous large paper copies of the old folio classics, and he will in a moment be convinced of the accuracy of the foregoing remark. FINE PAPER copies of a work should be here noticed; as they are sought after with avidity. The most beautiful work of this kind which I ever saw, was Rapin's History of England, in nine folio volumes, bound in red morocco, and illustrated with Houbraken's Heads; which Sir M.M. Sykes recently purchased of Mr. Evans, the bookseller,—for a comparatively moderate sum. A similar copy (exclusively of the illustrations) of Rapin's History of England, which was once in the library of the Royal Institution, was burnt in the fire that destroyed Covent-Garden Theatre; it having been sent to Mr. Mackinlay, the book-binder, who lived near the Theatre.]

LYSAND. I have little to add to what has been already said of this symptom. That a volume, so published, has a more pleasing aspect, cannot be denied. It is the oak, in its full growth, compared with the same tree in its sapling state: or, if you please, it is the same picture a little more brilliant in its colouring, and put into a handsomer frame. My friend MARCUS is a very dragon in this department of book-collecting: nothing being too formidable for his attack. Let the volume assume what shape it may, and let the price be ever so unconscionable—he hesitates not to become a purchaser. In consequence, exclusively of all the Dugdales and Montfaucons, upon large paper, and in the finest bindings, he possesses the Grand Folio Classics, the Benedictine Editions of the Fathers, the County Histories, and all works, of a recent date, upon History and the Belles Lettres. In short, nothing can be more magnificent than the interior of his library; as nothing but giants, arrayed in the most splendid attire, are seen to keep guard from one extremity of the room to the other.

LIS. Who is this Marcus? I'll rival him in due time!—But proceed.

BELIN. Thus much, I presume, for the first symptom of the Bibliomania. Now pray, Sir, inform us what is meant by that strange term, UNCUT COPIES?

LYSAND. Of all the symptoms of the Bibliomania, this is probably the most extraordinary.[431] It may be defined a passion to possess books of which the edges have never been sheared by the binder's tools. And here I find myself walking upon doubtful ground:—your friend [turning towards me] Atticus's uncut Hearnes rise up in "rough majesty" before me, and almost "push me from my stool." Indeed, when I look around in your book-lined tub, I cannot but acknowledge that this symptom of the disorder has reached your own threshold; but when it is known that a few of your bibliographical books are left with the edges uncut merely to please your friends (as one must sometimes study their tastes as well as one's own), I trust that no very serious conclusions will be drawn about the fatality of your own case.

[Footnote 431: As before, let us borrow the strains of 'An Aspirant:'

SECOND MAXIM.

Who, with fantastic pruning-hook, Dresses the borders of his book, Merely to ornament its look— Amongst philosophers a fop is: What if, perchance, he thence discover Facilities in turning over? The Virtuoso is a Lover Of coyer charms in "UNCUT COPIES."

Bibliosophia; p. v.

I have very little to add in illustration of Lysander's well-pointed sarcasms relating to this second symptom of BOOK-MADNESS. I think I once heard of an uncut Cranmer's Bible; but have actually seen a similar conditioned copy of Purchas's Pilgrimes and Pilgrimage, which is now in the beautiful library of the Honourable T. Grenville.]

As to uncut copies, although their inconvenience [an uncut Lexicon to wit!] and deformity must be acknowledged, and although a rational man can wish for nothing better than a book once well bound, yet we find that the extraordinary passion for collecting them not only obtains with full force, but is attended with very serious consequences to those "que n'out point des pistoles" (to borrow the idea of Clement; vol. vi. p. 36). I dare say an uncut first Shakspeare, as well as an uncut vellum Aldus[432] would produce a little annuity!

[Footnote 432: I doubt of the existence of an uncut first Shakspeare; although we have recently had evidence of an uncut first Homer; for thus speaks Peignot: "A superb copy of this Editio Princeps was sold at the sale of M. de Cotte's books, in 1804, for 3601 livres: but it must be remarked that this copy was in the most exquisite preservation, as if it had just come from the press. Moreover, it is probably the only one the margins of which have never been either 'shaven or shorn.'" Curiosites Bibliographiques, p. lxv. vi.; see also p. 79, ante. Dr. Harwood, at page 338, of his View of the Editions of the Classics, speaks of an uncut vellum Aldus, of 1504, 8vo. "Mr. Quin shewed me a fine copy of it printed in vellum with the leaves uncut, which he bought of Mr. Egerton at a very moderate price. It is, perhaps (adds he), the only uncut vellum Aldus in the world." From the joyous strain of this extract, the Doctor may be fairly suspected of having strongly exhibited this second symptom of the Bibliomania!]

BELIN. 'Tis very strange'—as Hamlet says at the walking of his father's ghost! But now for your ILLUSTRATED COPIES!

LYSAND. You have touched a vibrating string indeed!—but I will suppress my own feelings, and spare those of my friend. A passion for books illustrated, or adorned with numerous Prints[433] representing characters, or circumstances, mentioned in the work, is a very general and violent symptom of the Bibliomania. The origin, or first appearance, of this symptom, has been traced by some to the publication of the Rev. —— GRANGER'S "Biographical History of England;" but whoever will be at the pains of reading the preface of that work will see that Granger shelters himself under the authorities of EVELYN, ASHMOLE, and others; and that he alone is not to be considered as responsible for all the mischief which this passion for collecting prints has occasioned. Granger, however, was the first who introduced it in the form of a history; and surely "in an evil hour" was that history published; although its amiable author must be acquitted of "malice prepense."

[Footnote 433: This third symptom has not escaped the discerning eye of the Manchester physician; for thus sings Dr. Ferriar:

He pastes, from injur'd volumes snipt away, His English Heads in chronicled array, Torn from their destin'd page (unworthy meed Of Knightly counsel, and heroic deed), Not Faithorne's stroke, nor Field's own types can save The gallant Veres, and one-eyed Ogle brave. Indignant readers seek the image fled, And curse the busy fool who wants a head. Proudly he shews, with many a smile elate, The scrambling subjects of the private plate While Time their actions and their names bereaves, They grin for ever in the guarded leaves.

The Bibliomania; v. 119-130.

These are happy thoughts, happily expressed. In illustration of v. 123, the author observes,—"three fine heads, for the sake of which, the beautiful and interesting commentaries of Sir Francis Vere have been mutilated by collectors of English portraits." Dr. Ferriar might have added that, when a Grangerian bibliomaniac commences his ILLUSTRATING CAREER, he does not fail to make a desperate onset upon Speed, Boissard, and the Heroologia. Even the lovely prints of Houbraken (in Dr. Birch's account of Illustrious Persons of Great Britain) escape not the ravages of his passion for illustration. The plates which adorn these books are considered among the foundation materials of a Grangerian building. But it is time, according to my plan, to introduce other sarcastic strains of poetry.

THIRD MAXIM.

Who, swearing not a line to miss, Doats on the leaf his fingers kiss, Thanking the words for all his bliss,— Shall rue, at last, his passion frustrate: We love the page that draws its flavour From Draftsman, Etcher, and Engraver And hint the booby (by his favour) His gloomy copy to "ILLUSTRATE."

Bibliosophia; p. v.

At this stage of our inquiries, let me submit a new remedy as an acquisition to the Materia Medica, of which many first-rate physicians may not be aware—by proposing a

Recipe for Illustration.

Take any passage from any author—to wit: the following (which I have done, quite at random) from SPEED: 'Henry le Spenser, the warlike Bishop of Norwich, being drawn on by Pope Vrban to preach the Crusade, and to be General against Clement (whom sundry Cardinals and great Prelates had also elected Pope) having a fifteenth granted to him, for that purpose, by parliament,' &c. Historie of Great Britaine, p. 721, edit. 1632. Now, let the reader observe, here are only four lines; but which, to be PROPERLY ILLUSTRATED, should be treated thus: 1st, procure all the portraits, at all periods of his life, of Henry le Spencer; 2dly, obtain every view, ancient and modern, like or unlike, of the city of Norwich; and, if fortune favour you, of every Bishop of the same see; 3dly, every portrait of Pope Vrban must be procured; and as many prints and drawings as can give some notion of the Crusade—together with a few etchings (if there be any) of Peter the Hermit and Richard I., who took such active parts in the Crusade; 4thly, you must search high and low, early and late, for every print of Clement; 5thly, procure, or you will be wretched, as many fine prints of Cardinals and Prelates, singly or in groups, as will impress you with a proper idea of the Conclave; and 6thly, see whether you may not obtain, at some of our most distinguished old-print sellers, views of the house of Parliament at the period (A.D. 1383.) here described!!! The result, gentle reader, will be this: you will have work enough cut out to occupy you for one whole month at least, from rise to set of sun—in parading the streets of our metropolis: nor will the expense in coach hire, or shoe leather, be the least which you will have to encounter! The prints themselves may cost something! Lest any fastidious and cynical critic should accuse me, and with apparent justice, of gross exaggeration or ignorance in this recipe, I will inform him, on good authority, that a late distinguished and highly respectable female collector, who had commenced an ILLUSTRATED BIBLE, procured not fewer than seven hundred prints for the illustration of the 20th, 21st, 22d, 23d, 24th, and 25th verses of the 1st chapter of Genesis! The illustrated copy of Mr. Fox's Historical work, mentioned in the first edition of this work, p. 63, is now in the possession of Lord Mountjoy. The similar copy of Walter Scott's edition of Dryden's works, which has upwards of 650 portraits, is yet in the possession of Mr. Miller, the bookseller.]

Granger's work seems to have sounded the tocsin for a general rummage after, and plunder of, old prints. Venerable philosophers, and veteran heroes, who had long reposed in unmolested dignity within the magnificent folio volumes which recorded their achievements, were instantly dragged forth from their peaceful abodes, to be inlaid by the side of some clumsy modern engraving, within an Illustrated Granger!

Nor did the madness stop here. Illustration was the order of the day; and Shakspeare[434] and Clarendon became the next objects of its attack. From these it has glanced off, in a variety of directions, to adorn the pages of humbler wights; and the passion, or rather this symptom of the Bibliomania, yet rages with undiminished force. If judiciously treated, it is, of all the symptoms, the least liable to mischief. To possess a series of well-executed portraits of illustrious men, at different periods of their lives, from blooming boyhood to phlegmatic old age, is sufficiently amusing; but to possess every portrait, bad, indifferent, and unlike, betrays such a dangerous and alarming symptom as to render the case almost incurable!

[Footnote 434: Lysander would not have run on in this declamatory strain, if it had been his good fortune, as it has been mine, to witness the extraordinary copy of an ILLUSTRATED SHAKSPEARE in the possession of Earl Spencer; which owes its magic to the perseverance and taste of the Dowager Lady Lucan, mother to the present Countess Spencer. For sixteen years did this accomplished Lady pursue the pleasurable toil of illustration; having commenced it in her 50th, and finished it in her 66th year. Whatever of taste, beauty, and judgment in decoration—by means of portraits, landscapes, houses, and tombs—flowers, birds, insects, heraldic ornaments, and devices,—could dress our immortal bard in a yet more fascinating form, has been accomplished by the noble hand which undertook so Herculean a task—and with a truth, delicacy, and finish of execution, which have been rarely equalled! These magnificent volumes (being the folio edition printed by Bulmer) are at once beautiful and secured by green velvet binding, with embossed clasps and corners of solid silver, washed with gold. Each volume is preserved in a silken cover—and the whole is kept inviolate from the impurities of bibliomaniacal miasmata, in a sarcophagus-shaped piece of furniture of cedar and mahogany. What is the pleasure experienced by the most resolute antiquary, when he has obtained a peep at the inmost sarcophagus of the largest pyramid of Egypt, compared with that which a tasteful bibliomaniac enjoys upon contemplating this illustrated Shakespeare, now reposing in all the classical magnificence and congenial retirement of its possessor?—But why do I surpass Lysander in the warmth and vehemence of narration! And yet, let me not forget that the same noble owner has another illustrated copy of the SAME BARD, on a smaller scale, of which mention has already been made in my account of the donor of it, the late George Steevens. Turn, gentle reader, for one moment, to page 428, ante. The illustrated CLARENDON, above hinted at by Lysander, is in the possession of Mr. H.A. Sutherland; and is, perhaps, a matchless copy of the author: every siege, battle, town, and house-view—as well as portrait—being introduced within the leaves. I will not even hazard a conjecture for how many thousand pounds its owner might dispose of it, if the inclination of parting with it should ever possess him. The British Museum has recently been enriched with a similar copy of PENNANT'S London, on large paper. Prints and drawings of all descriptions, which could throw light upon the antiquities of our metropolis, are inserted in this extraordinary copy, which belonged to the late Mr. Crowles; who expended 2000l. upon the same, and who bequeathed it, in the true spirit of virtu, to the Museum. Let CRACHERODE and CROWLES be held in respectful remembrance!]

There is another mode of illustrating copies by which this symptom of the Bibliomania may be known; it consists in bringing together, from different works, [including newspapers and magazines, and by means of the scissars, or otherwise by transcription] every page or paragraph which has any connexion with the character or subject under discussion. This is a useful[435] and entertaining mode of illustrating a favourite author; and copies of works of this nature, when executed by skilful hands, should be deposited in public libraries; as many a biographical anecdote of eminent literary characters is preserved in consequence. I almost ridiculed the idea of an Illustrated Chatterton, 'till the sight of your friend BERNARDO'S copy, in eighteen volumes, made me a convert to the utility that may be derived from a judicious treatment of this symptom of the Bibliomania: and indeed, of a rainy day, the same bibliomaniac's similar copy of Walton's Complete Angler affords abundant amusement in the perusal.

[Footnote 435: Numerous are the instances of the peculiar use and value of copies of this kind; especially to those who are engaged in publications of a similar nature. OLDYS'S interleaved Langbaine (of Mr. Reed's transcript of which a copy is in the possession of Mr. Heber) is re-echoed in almost every recent work connected with the belles-lettres of our country. Oldys himself was unrivalled in this method of illustration; if, exclusively of Langbaine, his copy of Fuller's Worthies [once Mr. Steevens', now Mr. Malone's. See Bibl. Steevens, no. 1799] be alone considered! This Oldys was the oddest mortal that ever wrote. Grose, in his Olio, gives an amusing account of his having "a number of small parchment bags inscribed with the names of the persons whose lives he intended to write; into which he put every circumstance and anecdote he could collect, and from thence drew up his history." See Noble's College of Arms, p. 420. Thus far the first edition of this work; p. 64. It remains to add that, whatever were the singularities and capriciousness of Oldys, his talents were far beyond mediocrity; as his publication of the Harleian Miscellany, and Raleigh's History of the World, abundantly prove. To the latter, a life of Raleigh is prefixed; and the number of pithy, pleasant, and profitable notes subjoined shew that Oldys's bibliographical talents were not eclipsed by those of any contemporary. His British Librarian has been more than once noticed in the preceding pages: vide p. 51: 468. There is a portrait of him, in a full-dressed suit and bag-wig, in one of the numbers of the European Magazine; which has the complete air of a fine gentleman. Let me just observe, in elucidation of what Lysander above means by this latter mode of illustrating copies, that in the Bodleian library there is a copy of Kuster's edition of Suidas filled, from beginning to end, with MS. notes and excerpts of various kinds, by the famous D'Orville, tending to illustrate the ancient lexicographer.]

LIS. Forgive me, if I digress a little. But is not the knowledge of rare, curious, and beautiful Prints—so necessary, it would seem, towards the perfecting of illustrated copies—is not this knowledge of long and difficult attainment?

LYSAND. Unquestionably, this knowledge is very requisite towards becoming a complete pupil in the SCHOOL OF GRANGER.[436] Nor is it, as you very properly suppose, of short or easy acquirement.

[Footnote 436: GRANGER'S Biographical History of England was first published, I believe, in 1769, 4to., 2 vols. It has since undergone four impressions; the last being in 1804, 8vo., 4 vols. A Continuation of the same, by the Rev. MARK NOBLE, was published in 1807, 8vo., 3 vols.: so that if the lover of rare and curious prints get possession of these volumes, with AMES'S Catalogue of English Heads, 1748, 8vo.; and WALPOLE'S Catalogue of Engravers, 1775, 8vo.; BROMLEY'S Catalogue of Engraved Portraits, 1793, 4to.; together with Catalogues of English Portraits, being the collections of Mr. BARNARD, Sir W. MUSGRAVE, Mr. TYSSEN, Sir JAMES-WINTER LAKE; and many other similar catalogues put forth by Mr. RICHARDSON and Mr. GRAVE; he may be said to be in a fair way to become master of the whole arcana of PRINT-COLLECTING. But let him take heed to the severe warning-voice uttered by ROWE MORES, in his criticism upon the Catalogue of English Heads, published by Ames: 'This performance (says the splenetic and too prophetic critic) is not to be despised: judiciously executed, a work of this sort would be an appendage entertaining and useful to the readers of English biography; and it ought to be done at the common labour, expense, and charges of these Iconoclasts—because their depredations are a grand impediment to another who should attempt it: and if this gout for prints and thieving continues, let private owners and public libraries look well to their books, for there will not remain a valuable book ungarbled by their connoisseuring villany: for neither honesty nor oaths restrain them. Yet these fanciers, if prints themselves are to be collected, instead of being injurious to every body, might make themselves serviceable to posterity, and become a kind of medalists (who, by the bye, are almost as great thieves as themselves, though the hurt they do is not so extensive, as it lies chiefly among themselves, who all hold this doctrine, that "exchange is no robbery;" but, if they could filch without exchanging, no scruple of conscience would prevent them): we say they might render themselves useful to posterity, by gathering together the historical, political, satyrical, anecdotal and temporal pieces, with which the age abounds; adding an explanation of the intent and meaning for the instruction and amusement of times to come. The misfortune is, they must buy the one, but they can steal the other; and steal they will, although watched with the eyes of Argus: unless the valuables, like some other jocalia, are shewn to them through a grate; and even then, the keeper must be vigilant!' Of English Founders and Foundries; p. 85. This extract is curious on account of the tart, but just, sentiments which prevail in it; but, to the bibliomaniac, it is doubly curious, when he is informed that only eighty copies of this Typographical Treatise (of 100 pages—including the Appendix) were printed. The author was a testy, but sagacious, bibliomaniac, and should have been introduced among his brethren in PART V. It is not, however, too late to subjoin the following: Bibliotheca Moresiana. A Catalogue of the Large and Valuable Library of Printed Books, rare old tracts, Manuscripts, Prints, and Drawings, Copper Plates, sundry Antiquities, Philosophical Instruments, and other Curiosities, of that eminent British Antiquary, the late Rev. and learned EDWARD ROWE MORES, F.A.S., deceased, &c. Sold by auction by Mr. Patterson, August 1779. This collection exhibited, like its owner, a strange mixture of what was curious, whimsical, and ingenious in human nature. There were 2838 lots of printed books. The rare old black-letter books and tracts, begin at p. 52.]

ALMAN. How so? A very little care, with a tolerably good taste, is only required to know when a print is well engraved.

LYSAND. Alas, Madam! the excellence of engraving is oftentimes but a secondary consideration!

BELIN. Do pray explain.

LYSAND. I will, and as briefly and perspicuously as possible.

There are, first, all the varieties of the same print[437] to be considered!—whether it have the name of the character, or artist, omitted or subjoined: whether the head of the print be without the body, or the body without the head—and whether this latter be finished, or in the outline, or ghostly white! Then you must go to the dress of this supposed portrait:—whether full or plain; court or country-fashioned: whether it have a hat, or no hat; feather, or no feather; gloves, or no gloves; sword, or no sword; and many other such momentous points.

[Footnote 437: The reader, by means of the preceding note, having been put in possession of some of the principal works from which information, relating to PRINT-COLLECTING may be successfully gleaned, it remains for me—who have been described as sitting in a corner to compile notes for Lysander's text-discourse—to add something by way of illustration to the above sweeping satire. One or the other of the points touched upon in the text will be found here more particularly elucidated.

CATALOGUE OF BARNARD'S PRINTS; 1798, 8vo.

7th Day's Sale.

NO. 47. Sir Thos. Isham de Lamport, by Loggan and Valck; before the names of the artists, very fine. L5 5s. 0d.

68. King Charles I. on horseback, with the page, by Lombard; very fine and scarce. 1 14 0

69. The same plate; with Cromwell's head substituted for the King's—variation in the drapery. 3 6 0

70. The same: a curious proof—the face blank and no inscription at bottom—drapery of the page different—and other variations. 1 2 0

90. Catharine, queen of K. Charles II.; in the dress in which she arrived: very scarce. By Faithorne. 4 16 0

97. Queen Elizabeth; habited in the superb court dress in which she went to St. Paul's to return thanks for the defeat of the Spanish Armada—by Passe; from a painting of Isaac Oliver. 6 12 6

[I have known from 14l. to 20l. given for a fine impression of this curious print: but I am as well pleased with Mr. Turner's recently published, and admirably executed, facsimile mezzotint engraving of it; a proof of which costs 1l. 1s. Every member of the two Houses—and every land and sea Captain—ought to hang up this print in his sitting-room.]

Eighth day's Sale.

6. Esther before Ahasuerus: engraved by Hollar; first impression; with the portraits at top; curious and extremely rare. 16 0 0

199. Jo. Banfi Hunniades; proof; very fine and rare. By the same. 2 7 0

200. The same print, with variations. By the same. 3 15 0

202. The Stone-eater; with his history below. By the same. Very rare. 4 4 0

248. Sir Thomas Chaloner; by the same. A proof impression. One of the scarcest prints in existence. 59 17 0

[A similar print has been since sold for 74l.; which is in the collection of Mr. John Townley; whose HOLLARS are unrivalled!]

256. Herbert, Earl of Pembroke; before the alteration. By the same. 2 10 0

257. Devereux, Earl of Essex; on horseback. By the same. 4 5 0

258. Devereux, Earl of Essex: standing on foot; whole length. By the same. 4 4 0

259. Algernon, Earl of Northumberland; on horseback. By the same. 14 0 0

266. Lady Elizabeth Shirley; an unfinished proof, the chaplet round her head being only traced; curious and extremely rare. By the same. 10 10 0

267. A reverse of the proof; very fine. By the same. 5 5 0

CATALOGUE OF SIR WILLIAM MUSGRAVE'S PRINTS.

Third Day's Sale.

29. George, Earl of Berkeley; oval, in his robes, 1679; extra fie [Transcriber's Note: fine] and rare. 10 5 0

45. George, Duke of Buckingham; oval; cloak over his left arm, hand on sword, nine lines expressive of his titles, &c. Sold by P. Stent: fine and extra rare. 4 12 0

109. George, Earl of Cumberland; whole length, dressed for a tournament. By R. White. 11 0 0

Fifth Day's Sale.

94. The Newcastle Family, in a room, after Diepenbeke, by Clowet; a beautiful proof, before the verses, extra rare. 39 18 0

[There is a very indifferent copy of this print. The original may be seen in the collection of the Marquis of Stafford and Sir M.M. Sykes, Bart. Nothing can exceed the tenderness and delicacy of Clowet's engraving of this naturally conceived and well-managed picture.]

Tenth Day's Sale.

82. Richard Smith; virtuoso and literary character. By W. Sherwin; extra rare and fine. [See my account of this distinguished bibliomaniac at p. 302, ante. Sir M.M. Sykes is in possession of Sir William Musgrave's copy of the portrait.] 7 17 0

Eleventh Day's Sale.

30. Sir Francis Willoughby; with a view of Wollaton Hall; mezzotint by T. Man, extra rare. 13 2 6

43. Sir Francis Wortley; 1652, folio: with trophies, books, &c., by A. Hertochs: extra rare and fine. 29 10 0

Eighteenth Day's Sale.

78. Dr. Francis Bernard; a touched proof; very rare. [The reader may recollect this sagacious bibliomaniac, as noticed at page 316, ante.] 4 14 6

Twentieth Day's Sale.

85. Sir Matthew Lister; M.D. 1646; by P. Van Somer; fine proof, extra rare. 14 14 0

86. Humphrey Lloyd, of Denbigh, Antiquary, aetat. 34, 1651. By Faber, 1717, extra rare and fine. 4 7 0

Twenty-first Day's Sale.

9. Sir John Marsham; aetat. 80. By R. White, extra rare and fine. 6 6 0

19. Martin Master; aetat. 53. 1607. By R. Gaywood, extra rare and fine. 8 8 0

Twenty-seventh Day's Sale.

80. Lady Paston, wife of Sir William Paston, by W. Faithorne; extra rare and fine. 31 0 0

82. Mary, Countess of Pembroke, by Simon Passe, 1618. Fine and rare. 10 0 0

83. Penelope, Countess of Pembroke, in an oval, by W. Hollar. Rare. 3 6 0

84. Anne Clifford, Countess of Pembroke, by R. White: extra rare and fine. 7 17 6

[The prints at this sale—the catalogue containing 323 pages—were sold for 4987l. 17s.]

MISCELLANEOUS CATALOGUES OF PRINTS.

First Day's Sale.

58. Richard Cromwell, Lord Protector, in a square. "This portrait was etched by Hollar, but he was afraid to put his name to it; and the plate was destroyed as soon as Richard resigned his pretensions to the Protectorship." Note by Mr. Hillier. Very rare. 1 10 0

61. Lord Digby, in armour; after Vander Borcht. Extra rare and fine. 9 9 0

64. Robert Devereux, Earl of Essex, standing, whole length: army in the distance, 1644, fine and rare. 5 5 0

65. The same, on horseback: under the horse a map of England; 1643: first state of the plate; extra fine and rare. 9 0 0

73. Hollar's own portrait, in an oval, aetat. 40, 1647: with variations in the arms. 3 3 0

Sixth Day's Sale.

53. Sir William Paston, 1659: esteemed Faithorne's finest portrait: extra rare. 10 15 0

56. Carew Reynell, from the Fothergill collection: extra fine and rare. 16 5 6

62. Prince Rupert, in armour, right hand on the breast: after Vandyck. Sold by Robert Peake. Extra fine and rare. 9 0 0

Thirteenth Day's Sale.

54. King and Queen of Bohemia, and five children, by Wm. Passe, with thirty-two Englishes [qu?]; 1621: extra fine and rare, The same plate; with the addition of five children; the youngest in a cradle. 4 11 0

55. The same, sitting under a tree; with four children; the youngest playing with a rabbit: fine and rare. 6 6 0

92. James, Duke of York: with the anchor, proof; very fine and rare. (16th day's sale.) 5 2 6

72. Sir Francis Winderbank and Lord Finch; with Finch's wings flying to Winderbank; extra rare. (19th day.) 25 0 0

A Catalogue of a genuine and valuable Collection of English and Foreign Portraits, &c., sold by Auction by Mr. Richardson, February 18, 1798.

1ST DAY'S SALE.

34. Princess Augusta Maria, daughter of Charles I. in hat and feather, aetat. 15, 1646: by Henry Danckers, 1640. Fine and rare. 3 3 0

57. Anne, Queen of James I. with her daughter Anne; curiously dressed, whole length. By J. Visscher: extra fine and rare. 6 0 0

41. Mary, Queen of Scotts: "Scotorumque nunc Regina"—in an oval: cap adorned with jewels, feather-fan in her hand, &c. By Peter Mynginus: extra fine and rare. 6 12 0

53. Prince Frederick, Count Palatine, with Princess Elizabeth, whole length, superbly dressed: By R. Elstracke: extra fine and rare. 14 0 0

74. Henry the Eighth, with hat and feather, large fur tippet: by C. M(atsis); very fine, and supposed unique. 10 10 0

79. Mary, Queen of Scots: veil'd cross at her breast: aetat. 44, 1583: extra fine and rare. 9 2 6

80. Queen Elizabeth; superbly dressed, between two pillars: extra fine and rare. 15 15 0

A Catalogue of a valuable and genuine Collection of Prints, Drawings, and elegantly illustrated Books, &c., sold by auction by Mr. Richardson; March, 1800.

143. Henry, Lord Darnley, by Passe; fine and very rare. 16 0 0

186. Sir Philip Sidney, by Elstracke; extremely fine. 3 1 0

263. Thomas Howard, Earl of Suffolk, by ditto, extra fine and rare. 13 0 0

264. Edward Somerset, Earl of Worcester, by Simon Passe: rare and fine. 7 15 0

265. Henry Vere, Earl of Oxford, sold by Compton Holland; very rare and fine. 9 0 0

273. Henry Wriothesly, Earl of Southampton, by Simon Passe; most brilliant impression, extra rare. 13 5 0

278. Thomas Howard, Earl of Arundel, by the same; rare and very fine. 5 0 0

279. Richard Sackville, Earl of Dorset, by the same; extra fine and rare—(with a copy by Thane). 3 0 0

280. John Digby, Earl of Bristol; rare and fine: from the Fothergill Collection. 13 0 0

281. Robert Sidney, Viscount Lisle, by Simon Passe; rare and very fine. 5 2 6

284. Edmund, Baron Sheffield: by Elstracke; very fine. 14 10 0

286. James, Lord Hay, by Simon Passe; brilliant impression, fine and rare. 9 0 0

294. George Mountaine, Bishop of London; G.Y. sculpsit; very fine and rare. 5 10 0

330. Sir Julius Caesar, by Elstracke; extra fine and rare. 23 12 6

335. Arthurus Severus Nonesuch O'Toole, by Delaram; most brilliant impression, and very rare (with the copy). 11 11 0

367. Sir John Wynn de Gwedir, by Vaughan; very rare. 6 6 0

472. Prince Frederic Henry, by Delaram: very fine and rare. 5 7 6

479. Prince Rupert, by Faithorne; very fine and rare. 7 5 0

567. Sir John Hotham, Governor of Hull; whole length; extremely rare and fine. 43 1 0

812. Edward Mascall, by Gammon. 7 3 0

946. Edward Wetenhall, Bishop of Corke and Ross; mezzotint, by Becket; fine. 5 0 0

960. Andrew Lortie, by Van Somer. 13 5 0

979. Thomas Cole, large mezzotint. 4 10 0

997. Sir William Portman, mezzotint. 7 10 0

1001. Anthony, Earl of Shaftesbury, by Blooteling; exceeding fine impression. 6 0 0

1013. Sir Patrick Lyon, of Carse, by White. 5 5 0

1033. Sir Greville Verney, by Loggan. 5 10 0

1045. Marmaduke Rawdon, by White; fine. 14 0 0

1048. Slingsby Bethel, whole length, by W. Sherwin (with small copy). 17 5 0

1054. Samuel Malines, by Lombart; very fine. 12 0 0

1057. Thomas Killegrew, as sitting with the dog: by Faithorne. 16 0 0

A Catalogue of a very choice assemblage of ENGLISH PORTRAITS, and of Foreigners who have visited England: serving to illustrate GRANGER'S BIOGRAPHICAL HISTORY; the property of an eminent Collector, &c., Sold by auction, by Messrs. King and Lochee, April, 1810.

But it is time to pause. The present note may have completely served to shew, not only that Lysander was right in drawing such bold conclusions respecting the consequences resulting from the publication of Granger's Biographical History, and the capriciousness of print-fanciers respecting impressions in their various stages, and with all their varieties,—but, that the pursuit of PRINT-COLLECTING is both costly and endless. For one 'fine and rare' print, by Hollar, Faithorne, Elstracke, the Passes, Delaram, or White, how many truly precious and useful volumes may be collected? "All this is vastly fine reasoning"—methinks I hear a Grangerite exclaim—"but compare the comfort afforded by your 'precious and useful volumes' with that arising from the contemplation of eminent and extraordinary characters, executed by the burin of some of those graphic heroes before-mentioned—and how despicable will the dry unadorned volume appear!! On a dull, or rainy day, look at an illustrated Shakespeare, or Hume, and then find it in your heart, if you can, to depreciate the GRANGERIAN PASSION!!" I answer, the Grangerite is madder than the Bibliomaniac:—and so let the matter rest.]

Next let us discuss the serious subject of the background!—whether it be square or oval; dark or light; put in or put out; stippled or stroked; and sundry other similar, but most important, considerations. Again; there are engravings of different sizes, and at different periods, of the same individual, or object: and of these, the varieties are as infinite as of any of those attached to the vegetable system. I will not attempt even an outline of them. But I had nearly forgotten to warn you, in your REMBRANDT Prints, to look sharply after the Burr!

ALMAN. Mercy on us—what is this Burr?!

LYSAND. A slight imperfection only; which, as it rarely occurs, makes the impression more valuable. It is only a sombre tinge attached to the copper, before the plate is sufficiently polished by being worked; and it gives a smeared effect, like smut upon a lady's face, to the impression! But I am becoming satirical. Which is the next symptom that you have written down for me to discourse upon?

LIS. I am quite attentive to this delineation of a Print Connoisseur; and will not fail to mark all the REMBRANDT[438] varieties, and take heed to the Burr!

[Footnote 438: All the book and print world have heard of DAULBY'S Descriptive Catalogue of the works of Rembrandt, &c. Liverpool, 1796, 8vo. The author's collection of Rembrandt's prints (according to a MS. note prefixed to my copy of it, which is upon large paper in 4to.—of which only fifty impressions were struck off) was sold at Liverpool, in 1799, in one lot; and purchased by Messrs. Colnaghi, Manson, and Vernon, for 610l. It was sold in 1800, in separate lots, for 650l., exclusively of every expense; after the purchasers had been offered 800l. for the same. Some of these prints came into the possession of the late Mr. Woodhouse (vide p. 441, ante); and it is from the Catalogue of his Collection of prints that I present the reader with the following

REMBRANDTIANA;

beseeching him to take due heed to what Lysander has above alluded to by all the Varieties and the Burr!

Lot 5 Daulby 30. Abraham entertaining the three angels; very fine, with the burr, on India paper. L2 18s. 0d.

10 43. The Angel appearing to the Shepherds; very fine, presque unique. 6 0 0

14 56. The flight into Egypt, in the style of Elsheimer; on India paper, the 1st impression, extremely rare. 4 16 0

22 75. The Hundred Guilder Piece. This impression on India paper, with the burr, is acknowledged by the greatest connoisseurs in this kingdom to be the most brilliant extant. 42 0 0

23 75. Ditto, restored plate, by Capt. Baillie, likewise on India paper, and very fine. 2 12 6

25 77. The Good Samaritan; the 1st impression with the white tail, most beautifully finished, with a light point, and fine hand; very fine and rare. 6 6 0

27 79. Our Lord before Pilate, second impression on India paper, fine and scarce. 5 15 6

28 79. Same subject, third impression, with the mask, extremely rare: from the collection of the Burgomaster Six. 4 4 0

30 84. The Descent from the Cross. This print is beautifully executed, the composition is grand, and the head full of character; 1st and most brilliant impression. 15 15 0

39 117. The Rat-killer; a most beautiful impression. 3 3 0

42 126. The Marriage of Jason and Creusa; a 1st impression, without the crown, on India paper, very brilliant. 4 10 0

45 152. The Hog; a remarkably fine impression, from Houbraken's collection: scarce. 1 14 0

46 154. The Shell. This piece is finely executed, and this impression, with the white ground, may be regarded as presque unique. 9 10 0

47 178. Ledikant, or French Bed. This is the entire plate, and is a very great rarity. 4 14 6

56 194. The Woman with the Arrow: very scarce. 2 15 0

61 204. The Three Trees; as fine as possible. 6 10 0

63 209. A Village near a high road, arched: 1st impression on India paper, before the cross hatchings: scarce. 4 14 6

67 213. A landscape of an irregular form; 1st impression, with the burr, very scarce. 5 0 0

82 232. Blement de Jonge; 1st impression, the upper bar of the chair is left white, extremely rare. 2 7 0

83 252. Ditto, second impression, very scarce. 1 7 0

84 252. Ditto, third impression, very fine. 2 10 0

85 253. Abraham France, with the curtain, on India paper. 5 5 0

86 353. [Transcriber's Note: 253.] Ditto: with the chair. 3 18 0

87 254. Ditto; with the figures on the paper which he holds in his wands. All these impressions are rare and fine. 5 10 0

88 254. Old Haaring or Haring, the Burgo-master; beautiful impression on India paper, with the burr, extremely rare. 7 7 0

89 255. Young Haaring, beautiful impression from Houbraken's collection; scarce. 6 6 0

90 256. John Lutma; 1st impression before the window, &c. extremely rare. 4 10 3

93 257. John Aselyn; 1st impression, with the easel, extremely rare. 9 2 0

97 259. Wtenbogardus, the Dutch Minister; a most beautiful and brilliant impression, oval, on a square plate; proof, before the pillar, arch, verses, or any inscription: presque unique. 9 19 6

99 261. The Gold Weigher; 1st impression, with THE FACE BLANK, extremely rare. 10 10 0

100 261. Ditto; a most beautiful and brilliant impression; and esteemed the finest extant. From the collection of Capt. Baillie. 21 0 0

101 262. The Little Coppenol, with the picture; the second and rarest impression, generally esteemed the 1st; from the Earl of Bute's collection. 7 7 0

102 262. Ditto; without the picture, very fine. 1 13 0

103 263. The great Coppenol, remarkably fine. 4 14 6

104 265. The Advocate Tol; a superb impression, extremely rare with the copy. 54 12 0

145 265. The Burgo-master Six; a most extraordinary impression, the name and age of the Burgo-master are wanting, and the two middle figures in the date are reversed: a very great rarity. 36 15 0

Perhaps the finest collection of REMBRANDT'S PRINTS, in great Britain, is that in the possession of Lord Viscount Fitzwilliam, at Richmond; a nobleman of extremely retired habits, and equally distinguished for his taste, candour, and erudition. His Paintings and Books are of the very first class.]

LYSAND. Do so; and attend the shops of Mr. Richardson, Mr. Woodburn, and Mr. Grave, and you may soon have a chance of gratifying your appetite in these strange particulars. But beware of a HOGARTH rage!

LIS. Is that so formidable?

LYSAND. The longest life were hardly able to make the collection of Hogarth's prints complete! The late Mr. Ireland has been the Linnaeus to whom we are indebted for the most minute and amusing classification of the almost innumerable varieties of the impressions of Hogarth's plates.[439]

[Footnote 439: The Marquis of Bute has, I believe, the most extraordinary and complete collection of HOGARTH'S PRINTS that is known. Of the Election Dinner there are six or seven varieties; gloves, and no gloves; hats, from one to the usual number; lemon, and no lemon; punch bowl, and no punch bowl. But of these varying prints, the most curious is the one known by the name of Evening: with a little boy and girl, crying, in the back-ground. At first, Hogarth did not paint the girl, and struck off very few impressions of the plate in this state of the picture. A friend observing to him that the boy was crying with no apparent cause of provocation, Hogarth put in the little girl tantalizing him. But—happy he! who has the print of the 'Evening' without the little girl: fifteen golden guineas (rare things now to meet with!) ought not to induce him to part with it. Of the copper-plate portraits by Hogarth, the original of 'Sarah Malcolm, executed 1732,' is among the very rarest; a copy of this selling for 7l. 17s. 6d. at Barnard's sale. The reader has only to procure that most interesting of all illustrative works, Hogarth Illustrated by John Ireland, 1793, (2d edit.) 3 vols., 8vo.; and, for a comparatively trifling sum, he may be initiated into all the mysteries of Hogarthian virtu. The late Right Hon. W. Wyndham's collection of Hogarth's prints, bequeathed to him by Mr. George Steevens, was bought in for little more than 300 guineas.]

LIS. I will stick to Rembrandt and leave Hogarth at rest. But surely, this rage for Portrait Collecting cannot be of long duration. It seems too preposterous for men of sober sense and matured judgment to yield to.

LYSAND. So think you—who are no Collector! But had you accompanied me to Mr. Christie's on Friday[440] last, you would have had convincing evidence to the contrary. A little folio volume, filled with one hundred and fifty-two prints, produced—

[Footnote 440: If the reader casts his eye upon pages 505-6 he will find that the ardour of print and portrait collecting has not abated since the time of Sir W. Musgrave. As a corroboration of the truth of Lysander's remark, I subjoin a specimen (being only four articles) of the present rage for 'curious and rare' productions of the burin—as the aforesaid Grangerite (p. 507) terms it.

NO. 54. The Right Honourable and truly generous Henry Veere, Earl of Oxford, Viscount Bulbeck, &c. Lord High Chamberlain of England. J. Payne sculp. With a large hat and feather, small, in a border with many figures. Will. Passo, sculp. Tho. Jenner exc. On distinct plates. The most brilliant impression of a print of the greatest rarity. L30 9s. 0d.

63. Generall (Edward) Cecyll son to the Right Honourable the Earle of Exeter, &c. In an oval; in armour. Simmon Passaes, sculp. Anno 1618. Sould in Pope's Head Alley, also by John Sudbury and George Humble. Most brilliant impression of a print of the greatest rarity. 34 2 6

90. The true Portraicture of Richard Whitington, thrise Lord Mayor of London, a vertuous and godly man, full of good workes (and those famous) &c. R. Elstracke sculp. Are to be sold by Compton Holland over against the Exchange: First impression with the hand on a skull. Extra fine and rare. 10 10 0

152. Mull'd Sack; a fantastic and humourous Chimney-Sweeper, so called: with cap, feather, and lace band: cloak tuck'd up; coat ragged; scarf on his arm; left leg in a fashionable boot, with a spur; on his right foot a shoe with a rose; sword by his side, and a holly bush and pole on his shoulder; in his left hand, another pole with a horn on it; a pipe, out of which issues smoke, is in his right hand; at the bottom are eight verses (as given in Granger, vol. ii., p. 61). Are to be sold by Compton Holland over against the Exchange, with further manuscript account by a provost of Eton. Considered Unique [but not so]. 42 10 6]

LIS. Perhaps, Three Hundred Guineas?

LYSAND. Just double the sum, I believe.

LIS. O rare JAMES GRANGER—thy immortality is secured! But we forget our symptoms of the Bibliomania.

BELIN. As I am the examiner, I here demand of you, Sir, what may be the meaning of the fourth symptom of the bibliomaniacal disease, which you call UNIQUE COPIES?

LYSAND. A passion for a book of which only one copy was printed, or which has any peculiarity about it[441] by either, or both, of the foregoing methods of illustration—or which is remarkable for its size, beauty, and condition—or has any embellishment, rare, precious and invaluable—which the researches of the most sedulous bibliomaniac, for three and thirty long years, would not be able to produce—is indicative of a rage for unique copies; and is unquestionably a strong prevailing symptom of the Bibliomania. Let me therefore urge every sober and cautious collector not to be fascinated by the terms "Curious and rare;" which 'in slim italics' (to copy Dr. Ferriar's happy expression[442]) are studiously introduced into Booksellers' catalogues to lead the unwary astray. Such a Collector may fancy himself proof against the temptation; and will, in consequence, call only to look at this unique book, or set of books; but—led away by the passion which inflamed BERRYER and CAILLARD[443]—when he views the morocco binding, silk water-tabby lining, blazing gilt edges; when he turns over the white and unspotted leaves; gazes on the amplitude of margin; on a rare and lovely print introduced; and is charmed with the soft and coaxing manner in which, by the skill of Herring, Mackinlay, Rodwell, Lewis, or Faulkener, "leaf succeeds to leaf"—he can no longer bear up against the temptation; and, confessing himself vanquished, purchases, and retreats—exclaiming with Virgil's shepherd——

Ut vidi, ut perii—ut me malus abstulit error!

[Footnote 441: Let us again quote a stanza from the 'Aspirant:'

FOURTH MAXIM.

Who in all copies finds delight— The wrong not scenting from the right— And, with a choiceless appetite, Just comes to feed, ... like Soph, or Templar, Out on his iron stomach!—we Have rarities we merely see, Nor taste our Phoenix though it be ... Serv'd up in the "UNIQUE EXEMPLAR,"

Bibliosophia, p. v.

One of the most curious proofs of the seductive popularity of unique copies may be drawn from the following excerpt from a catalogue of a Library sold at Utrecht in 1776; which was furnished me by Mr. H. Ellis from a copy of the catalogue in the possession of Mr. Cayley of the Augmentation Office.

NO. 6870. Les Avantures de Telemaque, 8o. Rotterd. av. fig. en cart. 'Cet exemplaire est tout barbouille. Mais il est de la main de la jeune Princesse Wilhelmine Auguste de Saxe-Weimar, qui y a appris le Francois en 1701!!!'

I will mention a unique copy of a somewhat different cast of character. Of the magnificent and matchless edition of Shakspeare, printed by Mr. Bulmer and published by Mr. Nicols, between the years 1790 and 1805, there were one hundred copies, of the first six plays only, struck off upon imperial folio, or Colombier paper; in which the large engravings, published at the Shakspeare Gallery (now the British Institution) might be incorporated and bound up. The late George Steevens undertook the revision of the text, intending to complete the entire plays in a similar form; but the trouble and expense attending this part of the undertaking were so great that the further prosecution of it was abandoned. Mr. Bulmer preserved the whole of the proof-sheets of this partial Colombier impression; and to form a 'unique edition' (these are his own words) he bound them up in the exact order in which the plays were printed. On the margins of many of the sheets, besides the various corrections, emendations, and notes to the printer, by Mr. Steevens, there are some original sonnets, a scene for a burlesque tragedy, and other happy effusions from the pen of the same elegant and learned editor. Need I ask the reader, whether he would have the barbouille (unique) copy of Telemaque of the young Princesse Wilhelmine Auguste de Saxe-Weimar (like the Vicar of Wakefield, I like to give the full name) or Mr. Bulmer's similar copy of Shakspeare? The difference would soon be found in King Street or the Strand! I must mention one more example—of a nature different from both the preceding—of what Lysander has above, elaborately, and perhaps, a little confusedly, described as unique copies. It is Colonel Stanley's copy of De Bry (see a superb one before noticed) which is bound in seven folio volumes, in blue morocco, by Padaloup, and is considered superior to every known copy. It contains all the maps and prints, with their variations, according to the Bibliographie Instructive, no. 4230, Cat. de Paris de Meyzieu, 1790; no. 486, Cat. de Santander, no. 3690; and Camus sur les Collections des Grands et Petits Voyages, 1802, 4to.: with both editions of the first nine parts of the West Indies, and duplicates of parts x. and xi. It has also a considerable number of duplicate plates, where a superior impression could be procured at any expense. The owner of this unique copy, of a work unrivalled for its utility and elegance, is distinguished for a noble collection, bound by our choicest binders, in whatever is splendid and precious in the Belles Lettres, Voyages, and Travels. Take two more illustrations, kind-hearted reader!——Goldsmith's Deserted Village, 1802. Mr. Bulmer printed a single copy of this beautiful poem, in quarto, UPON SATIN—picked and prepared in a very curious manner. It was purchased by a foreigner. His impressions UPON VELLUM are noticed, post.——Falconer's Shipwreck, 1804, 8vo. Mr. Miller caused two copies only (is [Transcriber's Note: it] is almost unique!) of this beautiful edition, printed by Bensley, to be struck off UPON SATIN, in imperial 8vo. One of these copies now remains with him for sale.]