No. 1665. The Boke of Jason, printed by CAXTON 5 10 0

No. 1669. The Polychronicon of Ranulph Higden, printed by CAXTON, 1482. _Purchased by Dr. Hunter_ 5 15 6

No. 1670. Legenda Aurea, or the Golden Legende 1483 9 15 0

No. 1674. Mr. Ratcliffe's MS. Catalogues of the _rare old black letter_, and other curious and uncommon books, 4 vols.

7 15 0

This would have been the most delicious article to _my_ palate. If the present owner of it were disposed to part with it, I could not find it in my heart to refuse him _compound interest_ for his money. As is the wooden frame-work to the bricklayer in the construction of his arch, so might Mr. Ratcliffe's MS. Catalogues be to me in the compilation of a certain _magnum opus_!

The memory of such a man ought to be dear to the "_black-lettered dogs_" of the present day; for he had [mirabile dictu!] _upwards of_ THIRTY CAXTONS!

If I might hazard a comparison between Mr. James West's and Mr. John Ratcliffe's collections, I should say that the former was more extensive, the latter more curious: Mr.

West's, like a magnificent _champagne_, executed by the hand of Claude or Both, and enclosing mountains, and meadows, and streams, presented to the eye of the beholder a scene at once extensive, luxuriant, and fruitful: Mr. Ratcliffe's, like one of those delicious pieces of scenery, touched by the pencil of Rysdael or Hobbima, exhibited to the beholder's eye a spot equally interesting, but less varied and extensive. The sweeping foliage and rich pasture of the former could not, perhaps, afford greater gratification than did the thatched cottage, abrupt declivities, and gushing streams of the latter. To change the metaphor--Mr. West's was a magnificent repository, Mr. Ratcliffe's a choice cabinet of gems.]

Thirty years have been considered by Addison (somewhere in his Spectator) as a pretty accurate period for the passing away of one generation and the coming on of another. We have brought down our researches to within a similar period of the present times; but, as Addison has not made out the proofs of such assertion, and as many of the relatives and friends of those who have fallen victims to the BIBLIOMANIA, since the days of Ratcliffe, may yet be alive; moreover, as it is the part of humanity not to tear open wounds which have been just closed, or awaken painful sensibilities which have been well nigh laid to rest; so, my dear Sir, in giving you a further account of this fatal disorder, I deem it the most prudent method _not to expatiate_ upon the subsequent examples of its mortality. We can only mourn over such names as BEAUCLERK, CROFTS, PEARSON, LORT, MASON, FARMER, STEEVENS, WOODHOUSE, BRAND, and REED! and fondly hope that the list may not be increased by those of living characters!

We are, in the SECOND place, to describe the SYMPTOMS OF THE DISEASE.

The ingenious Peignot, in the first volume of his 'Dictionnaire Bibliologie,' p. 51, defines the Bibliomania[48] to be "a passion for possessing books; not so much to be instructed by them, as to gratify the eye by looking on them. He who is affected by this mania knows books only by their titles and dates, and is rather seduced by the exterior than interior"! This is, perhaps, too general and vague a definition to be of much benefit in the knowledge, and consequent prevention, of the disease: let us, therefore, describe it more certainly and intelligibly.

[Footnote 48: There is a short, but smart and interesting, article on this head in Mr. D'Israeli's _Curiosities of Literature_, vol. 1. 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 morocco leather. In vain he shows me fine editions, gold leaves, Etruscan bindings, &c.--naming them one after another, as if he were showing 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."]

Symptoms of this disease are instantly known by a passion for I.

_Large Paper Copies_: II. _Uncut Copies_: III. _Illustrated Copies_: IV. _Unique Copies_: V. _Copies printed upon Vellum_: VI. _First Editions_: VII. _True Editions_: VIII. _A general desire for the Black Letter_. We will describe these symptoms more particularly.

I. _Large Paper Copies._ These are a certain set or limited number of the work printed in a superior manner, both in regard to ink and press work, on paper of a larger size, and better quality, than the ordinary copies. Their price is enhanced in proportion to their beauty and rarity. In the note below[49] are specified a few works which have been published in this manner, that the sober collector may avoid approaching them.

[Footnote 49: 1. _Lord Bacon's Essays_, 1798, 8vo., of which it is said only five copies were struck off on royal folio.

In Lord Spencer's and the Cracherode, collection I have seen a copy of this exquisitely printed book; the text of which, surrounded by such an amplitude of margin, in the language of Ernesti [see his Critique on Havercamp's Sallust] "natut velut cymba in oceano."

2. _Twenty Plays of Shakespeare_ published by Steevens from the old quarto editions, 1766, 8vo. 6 vols. Of this edition there were only twelve copies struck off on large paper. See Bibl. Steevens, No. 1312.

3. _Dodsley's Collection of Old Plays_, 1780, 8vo., 12 vols.

only six copies printed on large paper. See Bibl. Woodhouse, No. 198.

4. _The Grenville Homer._ Graece, 1800. 4to. 4 vols. Fifty copies with plates were struck off on large paper, in royal quarto. A copy of this kind was purchased at a sale in 1804, for 99 15s.

5. _Sandford's Genealogical History_, etc. 1707, fol. Mr.

Arch of Cornhill purchased a copy of this work on large paper, at the late sale of Baron Smyth's books, for 46. If the largest paper of Clarke's Caesar be excepted, this is the highest priced single volume on large paper, that I just now recollect.

6. _Hearne's Works_ on large paper.

Something relating to Hearne will be found in the note at page 7 ante. Here it will be only necessary to observe that the Hernean rage for Large Paper is quite of recent growth, but it promises to be giant-like. When the duplicates of a part of Mr. Woodhull's library, in 1803, were sold, there was a fine set of copies of this kind; but the prices, comparatively with those now offered, were extremely moderate. Mr. Otridge, the bookseller, told me an amusing story of his going down to Liverpool, many years ago, and accidentally purchasing from the library of the late Sir Thomas Hanmer, a _magnificent set of Large Paper Hearnes_ for about 40 Guineas. Many of these are now in the choice library of his Grace the Duke of Grafton. The copies were catalogued as _small_ paper. Was there ever a more provoking blunder?!]

This[50] symptom of the Bibliomania is, at the present day, both general and violent, and threatens to extend still more widely. Even modern publications are not exempt from its calamitous influence; and when Mr. Miller, the bookseller, told me with what eagerness the large paper copies of Lord Valentia's Travels were bespoke, and Mr. Evans shewed me that every similar copy of his new edition of "Burnett's History of his own Times" was disposed of, I could not help elevating my eyes and hands, in token of commiseration at the prevalence of this Symptom of the BIBLIOMANIA!

[Footnote 50: Analogous to Large Paper Copies are _tall Copies_; that is, copies of the work published on the ordinary size paper and not much cut down by the binder. The want of _margin_ is a serious grievance complained of by book-collectors; and when there is a contest of margin-measuring, with books never professedly published on large paper, the anxiety of each party to have the largest copy is better conceived than described! How carefully, and how adroitly, are the golden and silver rules then exercised!]

II. _Uncut Copies._ Of all the symptoms of the Bibliomania, this is probably the most extraordinary. It may be defined as a passion to possess books of which the edges have never been sheared by the binder's tools. And here, my dear Sir, I find myself walking upon doubtful ground;--your UNCUT HEARNES rise up in "rough majesty" before me, and almost "push me from my stool." Indeed, when I look around in my book-lined tub, I cannot but be conscious that this symptom of the disorder has reached my own threshold; but when it is known that a few of my bibliographical books are left with the edges uncut _merely to please my friends_ (as one must sometimes study their tastes and appetites as well as one's own), I trust that no very serious conclusions will be drawn about the probable fatality of my own case.

As to uncut copies, although their inconvenience [an uncut lexicon to wit!] and deformity must be acknowledged, and although a rational man can want 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 "qui n'ont point des pistoles" (to borrow the language of Clement; vol. vi. p. 36). I dare say an uncut _first Shakspeare_, as well as an uncut _first Homer_[51] would produce a little annuity!

[Footnote 51: "Un superbe exemplaire de cette edition _princeps_ a ete vendu, chez M. de Cotte, en 1804, la somme de 3601 livres; mais il faut ajouter que cet exemplaire tres-precieux est de la plus belle conservation; on dirait qu'il sort dessous presse. De plus, il est peut-etre _l'unique dont les marges n'ont pas ete rognees ni coupees_!"

Peignot's _Curiosites Bibliographiques_, lxv-vi.]

III. _Illustrated Copies._ A passion for books illustrated or adorned with numerous prints, representing characters or circumstances mentioned in the work, is a very general and violent symptom of the Bibliomania, which has been known chiefly within the last half century. The origin, or first appearance, of this symptom has been traced by some to the publication of Granger's "Biographical History of England;" but whoever will be at the pains of reading the preface of this work will see that Granger sheltered 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 treatise, and surely "in an evil hour" was this treatise published--although its amiable author must be acquitted of "malice prepense." His History of England[52]

seems to have sounded the tocsin for a general rummage after, and slaughter 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 from their peaceful abodes to be inlaid by the side of some spruce, modern engraving, within an ILLUSTRATED GRANGER! Nor did the madness stop here. Illustration was the order of the day; and Shakspeare[53] and Clarendon[54] 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,[55] yet rages with undiminished force. If judiciously[56] 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[57]; but to possess _every_ portrait, _bad, indifferent, and unlike_, betrays such a dangerous and alarming symptom as to render the case almost incurable!

[Footnote 52: It was first published in two quarto volumes, 1766; and went through several editions in octavo. The last is, I believe, of the date of 1804; to which three additional volumes were published by William Noble, in 1806; the whole seven volumes form what is called an excellent library work.]

[Footnote 53: About two or three years ago there was an extraordinary set of prints disposed of, for the illustration of Shakspeare, collected by a gentleman in Cornwall, with considerable taste and judgment. Lord Spencer's beautiful octavo illustrated Shakespeare, bequeathed to him by the late Mr. Steevens, has been enriched, since it came into the library of its present noble possessor, with many a rare and many a beauteous specimen of the graphic art.]

[Footnote 54: I have heard of an illustrated Clarendon (which was recently in the metropolis), that has been valued at 5000 Guineas! "a good round sum!"]

[Footnote 55: One of the most striking and splendid instances of the present rage for illustration may be seen in Mr. Miller's own copy of the Historical Work of Mr. Fox, in two volumes, imperial quarto. Exclusively of a great variety of Portraits, it is enriched with the original drawing of Mr. Fox's bust from which the print, attached to the publication, is taken; and has also many original notes and letters by its illustrious author. Mr. Walter Scott's edition of Dryden has also received, by the same publisher, a similar illustration. It is on large paper, and most splendidly bound in blue morocco, containing upwards of 650 portraits.]

[Footnote 56: The fine copy of Granger, illustrated by the late Mr. Bull, is now in the library of the Marquis of Bute, at Lutton. It extends to 37 atlas folio volumes, and is a repository of almost every rare and beautiful print, which the diligence of its late, and the skill, taste, and connoisseurship of its present, noble owner have brought together.]

[Footnote 57: In the Memoirs of Mr. Thomas Hollis there is a series of the portraits of Milton (not executed in the best manner) done in this way; and a like series of Pope's portraits accompanies the recent edition of the poet's works by the Rev. W.L. Bowles.]

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, [by means of the scissors, or otherwise by transcription] every page or paragraph which has any connection with the character or subject under discussion. This is a useful and entertaining mode of illustrating a favourite author; and copies of works of this nature, when executed by skilful[58] hands, should be preserved in public repositories. I almost ridiculed the idea of an ILLUSTRATED CHATTERTON, in this way, till I saw Mr. Haslewood's copy, in twenty-one volumes, which rivetted me to my seat!

[Footnote 58: Numerous are the instances of the peculiar use and value of copies of this kind, especially to those who are engaged in publication, of a similar nature. Oldys's interleaved Langbaine 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, besides his Langbaine, his copy of 'Fuller's Worthies' [once Mrs. Steevens's, now Mr. Malone's, See Bibl. Steevens, no. 1799] be alone considered! This Oldys was the oddest mortal that ever scribbled for bread. 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 thence drew up his history." See Noble's _College of Arms_, p. 420.

Of illustrated copies in this way, the Suidas of Kuster, belonging to the famous D'Orville, is a memorable instance.

This is now in the Bodleian library. I should suppose that one Narcissus Luttrell, in Charles the Second's reign, had a number of like illustrated copies. His collection of contemporaneous literature must have been immense, as we may conclude from the account of it in Mr. Walter Scott's Preface to his recent edition of Dryden's works. Luckily for this brilliant poet and editor, a part of Luttrell's collection had found its way into the libraries of Mr.

Bindley and Mr. Heber, and thence was doomed to shine, with renewed lustre, by the side of the poetry of Dryden.]

IV. _Unique Copies._ A passion for a book which has any peculiarity about it, by either, or both, of the foregoing methods of illustration--or which is remarkable for its size, beauty, and condition--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 "_Matchless, and Unique_;" which, "in slim Italicks" (to copy Dr. Ferriar's happy expression) are studiously introduced into Bookseller's 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, when he views the morocco binding, silk water-tabby lining, blazing gilt edges--when he turns over the white and spotless 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 or Mackinlay,[59] "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 59: At page 8, note--the reader has been led to expect a few remarks upon the luxuriancy of modern book-binding. Mr. Roscoe, in his Lorenzo de Medici, vol.

ii., p. 79., edit. 8vo., has defended the art with so much skill that nothing further need be said in commendation of it. Admitting every degree of merit to our present fashionable binders, and frankly allowing them the superiority over De Rome, Padaloup, and the old school of binding, I cannot but wish to see revived those beautiful portraits, arabesque borders, and sharp angular ornaments, that are often found on the outsides of books bound in the 16th century, with calf leather, upon oaken boards. These brilliant decorations almost make us forget the ivory crucifix, guarded with silver doors, which is frequently introduced in the interior of the sides of the binding. Few things are more gratifying to a genuine collector than a fine copy of a book in its _original binding_!]

V. _Copies printed on vellum._ A desire for works printed in this manner is an equally strong and general symptom of the Bibliomania; but as these works are rarely to be obtained of modern[60] date, the collector is obliged to have recourse to specimens, executed three centuries ago, in the printing-offices of Aldus, Verard, and the Juntae. Although the Bibliotheque Imperiale, at Paris, and the library of Count Macarty, at Toulouse, are said to contain the greatest number of books printed upon vellum, yet, those who have been fortunate enough to see copies of this kind in the libraries of his Majesty, the Duke of Marlborough, Earl Spencer, Mr. Johnes, and the late Mr.

Cracherode (now in the British Museum), need not travel on the Continent for the sake of being convinced of their exquisite beauty and splendour. Mr. Edward's _unique_ copy (he will forgive the epithet) of the first Livy, upon vellum, is a Library of itself!--and the recent discovery of a vellum copy of Wynkyn De Worde's reprint of _Juliana Barnes's book_,[61] complete in every respect, [to say nothing of his Majesty's similar copy of Caxton's _Doctrinal of Sapience_, 1489, in the finest preservation] are, to be sure, sufficient demonstrations of the prevalence of this symptom of the Bibliomania in the times of our forefathers; so that it cannot be said, as some have asserted, to have appeared entirely within the last half century.

[Footnote 60: The modern books, printed upon vellum, have in general not succeeded; whether from the art of preparing the vellum, or of printing upon it, being lost I will not presume to determine. The reader may be amused with the following prices for which a few works, executed in this manner, were sold in the year 1804:

NO. _s._ _d._

250. Virgilii Opera, 1789, 4to. 33 12 0 251. Somervile's Chase, 1796, 4to. 15 4 6 252. Poems by Goldsmith and Parnell, 1795, 4to. 15 15 0 253. The Gardens, by Abbe Delille, 1798, 4to. 14 3 6 254. Castle of Otranto, printed by Bodoni, 1791, 4to. 13 2 6 260. La Guirlande Julie, 1784, 8vo. 37 17 6 263. Economy of Human Life, 1795, 8vo. 15 15 0

See "_Catalogue of a most splendid and valuable Collection of Books, Superb Missals, &c._," sold by Mr. Christie, on April 24, 1804. But the reader should procure the Catalogue of Mr. Paris's Books, sold in the year 1790, which, for the number of articles, is unrivalled. The eye is struck, in every page, with the most sumptuous copies on VELLUM, AND LARGE PAPER.]

[Footnote 61: See page 5, ante, for some account of this curious work.]