With the first edition in some bibliographical schemes is a.s.sociated the Best One. The possessor of both may pride himself on being able to show the earliest and latest state of the writer's mind, what he originally conceived, and what he decided to leave behind him as his _ultimum vale_. For the most part, however, first thoughts are treated as better than second, and it may actually be the case that, alike in ancient and modern books, the too fastidious and wavering ancient poet, or playwright, or essayist has done himself in maturer years an injustice by blotting the fresh impulses of his noviciate. It is a case, perhaps, where the public is ent.i.tled to intervene, and taking the two readings, deliver its award--always supposing that the text is that of a man worth the pains, and, again, that both versions are the language of the author, not that of the editor. It is obvious that, as a matter of literary and scientific or technical completeness, the last edition of a work is the most desirable; but it is particularly the case with volumes endeared by personal a.s.sociations, such as Gilbert White's _Selborne_, that one prefers the text as the author left it, even if one has to be at the pains to consult a second publication for up-to-date knowledge. The present point is one to which I have adverted in an earlier place.

Apart from the collector, the first and the best impressions of writers of importance, whose texts underwent at their own hands more or less material changes, are necessarily an object of research to the editor or specialist who has dedicated his attention to such or such a study; and he is apt to pursue the matter still further than the amateur, who does not, as a rule, esteem the intermediate issues. It is this feeling and need which have led, since critical and comparative editions came into fashion, to the acc.u.mulation by their superintendents of an exhaustive array of t.i.tles and dates, with hints of the most remarkable various readings; and the cause of bibliography has gained, whether, in drawing together the series, the book-hunter or the literary worker be the pioneer. From the editorial and bibliographical points of view a complete sequence of the writings of our more distinguished and durable authors is generally practicable; but of excessively popular or favourite books, even of the Elizabethan era, it is imperfect. We refer to such cases as the so far unseen second impression of Shakespeare's _Pa.s.sionate Pilgrim_ and the ostensible disappearance of the original quarto of _Love's Labor's Lost_.

Two questions connected with the present part of the subject before us, now better understood and managed, were under the old system, so far as we can ascertain or judge, permitted to remain in a very loose and vague state. We allude to the law of copyright and the revision for the press. Prior to the inst.i.tution of the Stationers' Company and the existence of a Register, the sole protection for authors and publishers was by the grant of a privilege or a monopoly for a term of years; yet even when registration had become compulsory, and was supposed to be effectual, spurious editions constantly found their way into the market, while books of which the writers might desire, on various grounds, to keep the MSS. in their own hands, found their way into print through some irregular channel. Such was the case with Shakespeare's _Hamlet_, 1603, and (in a somewhat different way) with the third edition of his _Pa.s.sionate Pilgrim_, 1612; and we perceive that of Bacon's _Essays_ during some years two parallel impressions were current without ostensible interference or warrant. There are frequent instances in which authors state that their motive in hastening into type was the rumour that a surrept.i.tious and inaccurate text was threatened, as if there was no legal power to prevent such a cla.s.s of piracy.

The correction of proofs by early writers, if we except books of reference, and those not without qualification, was evidently very lax and precarious. The entire body of popular literature, the drama included, offers the appearance, when we investigate examples, of having been left to the mercy of the typographers, and the faulty readings of old plays are more readily susceptible of explanation from the fact that we owe their survival in a printed form as often as not to the clandestine sale of the prompters' copies to the stationer. The editors of our dramatists have consequently found it an extremely laborious task to restore the sense of corrupt pa.s.sages, and have sometimes abandoned the attempt in despair. Not a few of the pieces in the last edition of Dodsley come within this category; and we may signalise the unique tragedy of _Appius and Virginia_, 1575, as a prodigy of negligent and ignorant execution on the part of the original compositor. But to the same cause is due our still remaining uncertainty as to the true reading of numerous places in Shakespeare himself.

Our collectors, however, are not particularly solicitous to study the present aspect of the matter, and the hunter for First Editions is by no means likely to care an iota about the purity of the text, but may be more apt to congratulate himself on the ownership of the genuine old copy with all the errors of the press as vouchers for its character. Who would exchange a second _Hamlet_ of 1604 for a first one of 1603, simply because the former happens to contain as much more, and the latter is little better than a _torso_?

The long uncertainty and insecurity of authors' rights, whatever may be thought of the present position of the matter, led at a very early date to the adoption of such safeguards against plagiarism as it was in the power of specialists, at all events, to impose. Some time after its original publication in 1530, we find John Palsgrave, compiler of the _Eclairciss.e.m.e.nt de la Langue Francoise_, prohibiting the printer from giving or selling copies to any one without his leave, lest his profits as a teacher of the language should be prejudicially affected; and so it was that preceptors often reserved the right of sale, and dealt direct with buyers, and in one case (only a sample) a treatise on Shorthand by Richard Weston (1770) is delivered to purchasers at eighteenpence on the express condition that they shall not allow the book to leave their own hands or premises.

CHAPTER X

Our failure to realise the requirements of Ill.u.s.trated Books--The French School--La Fontaine's _Contes et Nouvelles_, 1762--Imperfect conception of what const.i.tutes a thoroughly complete copy--The Crawford copy--Comparative selling values of copies--The _Fables_ of the same author--Dorat--La Borde--Beaumarchais--Contrast between the English and French Schools--Process-printing--The _Edition de Luxe_--Its proper destination and limit--The Ill.u.s.trated Copy--Increasing difficulty in forming it--Unsatisfactory character of the majority of specimens--a.n.a.logy between the French taste in books and in _vertu_--Temper of the foreign markets--The Anglo-American collector--The Parisian _gout_--The famous mud-stained volume of tracts in the British Museum--Foreign translations of early English tracts.

OF the _Ill.u.s.trated Book_, the _Ill.u.s.trated Copy_, and the _Edition de Luxe_ we have spoken a few words elsewhere.[2] These are three forms of compet.i.tion, which represent as many sources of danger and disappointment to the inexperienced. When we refer to ill.u.s.trated books we of course signify books with woodcuts and other graphic embellishments from the earliest period, such as the Block Books, the _Game and Play of the Chess_, the Caxton _aesop_, the _Nurnberg Chronicle_, 1493, the _Poliphilo_, 1499, the _Ship of Fools_, 1497, and the _Dance of Death_; collections of Portraits and Views; down to the productions of the modern school, and comprising the popular abridgments of Crouch or Burton, of which an idea may be gained from the list printed at the end of Bliss's _Reliquiae Hearnianae_, 1857, and the cheap editions of romances and story-books brought out by sundry stationers at prices ranging from threepence to a penny in the closing years of the seventeenth century. In the English series, independently of the woodcuts which incidentally occur in the books printed by Caxton and his immediate successors and the _Emblem_ series, there are Roeslin's _Birth of Mankind_, by Raynald, 1540, Braun's _Civitates...o...b..s Terrarum_, Gemini's _Anatomy_, 1545, G.o.det's _Genealogy of all the Kings of England_, 1563, Saxton's _Maps_, Holinshed's _Chronicles_, 1577, Harington's _Ariosto_, 1591, Holland's _Baziologia_, 1618, and _Heroologia_, 1620, the various works ill.u.s.trated by Pa.s.s, Elstracke, Hollar, Barlow, and others, Vicars's _England's Worthies_, 1645, Ricraft's _Survey of England's Champions_, 1647, and other publications by Ricraft with engravings, till we come down to the pictorial histories of England by Bishop White, Kennett, and Rapin and Tindal, Pine's _Horace_, and Buck's _Views_. No doubt among these there are interesting specimens for the respective periods. It is noticeable that in the Holinshed of 1577 the ill.u.s.trations are frequently repeated without regard to the context.

The engravings by Hollar and Barlow are the most pleasing. But the _Basiliologia_, 1618, is the rarest book in the whole range of this cla.s.s of literature. Pine's _Horace_, even in the first edition, 1733, with the _Post Est_ reading, is common enough; and it has been found uncut. So far as we are concerned, we should prefer it in the original morocco. As a text it is of no account.

Coming lower down, we may specify or emphasise a few _chefs d'oeuvre_, such as Hogarth's Prints in the first or best states, Turner's _Liber Studiorum_, Sir Joshua Reynolds' Graphic Works, and Lodge's _Portraits_. But we are neither so wealthy nor so advanced as our French and German neighbours in this direction, and the former may be affirmed to stand alone in the possession of a cla.s.s of books with engravings germane to the national genius and to the feeling and spirit of the time which produced such masterpieces in their way. Of works ill.u.s.trated by copper-plates, that by Roeslin on Midwifery, 1540, above-named, seems to be the first in chronological order; but both this and the Gemini of 1545 probably owed their embellishments to foreign sources.

Our own country is probably weakest in this department; many of the engravings in our early literature are direct copies from the German, Dutch, or French masters; the names of some of our leading artists are those of foreigners; and we have comparatively little to show of strictly original work till the last quarter of the eighteenth century, when we may place our national efforts side by side with uninterrupted Continental series from the middle of the fifteenth. We are also poorly provided with books of reference enabling amateurs to form an idea of the extent of the field and of the relative practicability and costliness of given cla.s.ses or lines, whereas the foreign collector enjoys the advantage of many excellent and fairly trustworthy manuals. We want a General Guide to English Ill.u.s.trated Literature, which should exhibit its sources and inspiration, and the epochs and schools into which it is divisible.

Of course, it stands with the present description of literary monuments as it does with the normal book. An enterprise which should aim at being exhaustive would prove excessively serious in point of outlay, and would hardly be so satisfactory as one either on a miscellaneous or a special principle.

Meanwhile, it is desirable that statements offered in catalogues of various kinds should aim at accuracy as far as possible. It is singular what a vitality resides in errors when they have been pointed out by experts, and ought to be recognised. The auctioneers seem to keep the type of certain notes standing, as they are repeated in catalogue after catalogue without any other gain than that of misleading such as know no better. One familiar acquaintance of this cla.s.s is the _dictum_ that the copper-plates in Hugh Broughton's _Concent of Scripture_, 1596, are the earliest of the kind executed in England, although they had not only been preceded by the prints in Harington's _Ariosto_, 1591, but by those accompanying the _Birth of Mankind_ by Roeslin, 1540, and the _Anatomie Delineatio_ of Thomas Gemini, 1545.

The average collector, who possesses tolerable judgment, and has the authorities at his elbow, cannot go far astray if he buys what pleases him among the ordinary books of medium price, and may acquire examples of every period and place of origin, as opportunities arise. Or he may limit himself to early German, Dutch, Italian, or French books with woodcuts, to the French ill.u.s.trated literature of the eighteenth century, to volumes with engravings by Bewick, Stothard, or Bartolozzi, or to modern works with proof-plates, etchings, and other choice varieties. It is literally impossible to fix any _maximum_ or _minimum_ of cost in this case; so much depends in graphic publications on niceties of difference; and a law prevails here a.n.a.logous to that which governs the Print, that is to say, that a more or less slight point of detail vitally affects values. Let us take such a familiar instance as Lodge's _Portraits of Ill.u.s.trious Personages_. One may have a copy in Bohn's Libraries for a dozen shillings; and one may give seventy or eighty sovereigns for a large-paper copy with india proofs of the four-volume folio edition of 1821. On the whole, the twelve-volume quarto book is almost preferable, as in the folio there is the disadvantage of three volumes having copper-plates and one (the fourth) steel engravings, and the quarto is obtainable for 20 or 25 in morocco.

Very few of the English portraits in the engraved series antecedent to Lodge are trustworthy, as this branch of specialism was not properly studied and understood down to the present century, and even the heads executed by Houbraken are not unfrequently apocryphal. Such a criticism applies less to royal personages than to private individuals, of whom the painted likenesses were apt, after the lapse of years, to be not so easily identifiable.

We have excellent monographs on Bewick and Bartolozzi by Mr. Hugo and Mr. Tuer respectively; and there is the delightful biography of Stothard by Mrs. Bray, 1851, with profuse ill.u.s.trations of his various artistic productions and progressive style. Many of the scarcer examples of Bartolozzi have been imitated. To the collector who limits his interest to artists in book-shape, the first editions on large or largest paper of the _Birds_, _Quadrupeds_, and _Select Fables_ of Bewick are most familiar and most desirable. Stothard is seen to advantage in the engravings to Ritson's _English Songs_, 1783. Much of his work lies outside the mere library. For a general view of that branch of the subject, Jackson and Chatto's _Treatise on Wood Engraving_, 1839, may be recommended, so far as the printed book is concerned.

We do not dwell on the modern ill.u.s.trated literature, which demands less study, and offers few features of interest, especially that produced at home. Too large a proportion of it, however, whatever may be the origin, is indifferent in quality and permanent worth.

Publications are at present, like other commodities, prepared with a main eye to sale; the sense of pride and honour on the part of the producer is dulled; he manufactures in gross. There are the showy volumes of Yriate on Venice, Florence, and other subjects, with letterpress written apparently to accompany blocks and plates in the publisher's warehouse.

Perhaps, if we seek something more elevated and creditable, it will be in certain periodicals conducted on higher lines than those to which the ordinary publisher has from financial exigencies to be bound; and of these there are several both in France and England--nay, in Italy, in Australia.

The Ill.u.s.trated Book, as we are familiar with it here, affords innumerable examples of varied treatment, as the school of design and the public taste differ or fluctuate from century to century, from age to age, and even from season to season. We do not speak of the cheaper literature in this cla.s.s, accompanied by engravings so intolerably poor as to disarm criticism, but to the higher efforts of the artist to respond to the author, and to appeal more directly to the eye. In this country, however, we have not so far been so fortunate, or otherwise, as to attain the Continental ideal of what the graphic portion of a literary performance should be; and the question is intimately a.s.sociated, particularly in France and among foreign buyers of the French school, who are numerous in all parts of the world, with that of binding, inasmuch as a volume possessing pictorial embellishments of whatever kind must fulfil all requirements in that respect no less than in the outward vesture, and what may be termed the complemental book-plate.

One of the eighteenth-century French productions which answers most thoroughly to the just foregoing description, is the "Fermiers Generaux" edition of the _Contes et Nouvelles_ of La Fontaine, 2 vols.

8vo, 1762. The ordinary copies of this work, of which the whole charm lies in the meretricious plates by Eisen (for the text is inoffensive enough), are distinguished by the presence or otherwise of two or three plates in a particular state, those left as originally printed being preferred, because they offer certain unconventional details subsequently modified. But, in fact, to make a perfect exemplar of the work, to satisfy the demand of a rigid connoisseur, you have to combine features in the shape of proofs before letters and vignettes taken off separately, besides extra engravings by other artists not strictly belonging to the edition, until you have a complete alb.u.m of _bijoux indiscrets_, and in the old French morocco by Derome or Bozerian a 200 lot. The Earl of Crawford's copy, which was to have been sold at Sotheby's in July 1896 (No. 493 of catalogue), was a masterpiece of this description; but it was withdrawn. It has since been sold to another n.o.ble lord--the Earl of Carnarvon.

A copy of the normal _decouvert_ type of the _Contes et Nouvelles_, 1762, may be had, according to condition and binding, for between 10 and 50. It has been said of the extra plates to the _Contes et Nouvelles_ of La Fontaine that their rejection as part of the published work ought to be a matter neither of surprise nor of regret, for they are not only flagrantly indecent, but are poor and unsatisfying from an artistic point of view. Another favourite edition of the _Tales_ is that with the plates by Romeyn de Hooge, 1685, 2 vols. 8vo; but you must have it on fine paper in old morocco.

Looking at the ill.u.s.trated editions of the _Tales_ generally, the plates, except the charming head and tail pieces, do great injustice to the text, which the author can hardly have foreseen the possibility of being deformed and discredited by such forced and exaggerated constructions of his meaning.

The edition of La Fontaine's _Fables_ by Oudry, 4 vols. folio, 1755-59, is almost equally sought by connoisseurs, though on somewhat different grounds. Some copies in one of the plates, where there is a tavern sign, have on the board a lion rampant. In the Bibliotheque at Paris is a copy on largest paper bound for Marie Antoinette with original decorations by Oudry himself on the covers; it is only a single book out of thousands which they have there, yet it might make a day's sale, and a remunerative one, in Wellington Street in the Strand! Boccaccio, 5 vols. 8vo, 1757, with plates by Eisen, Gravelot, and others, enters into this series; it is not an uncommon book, and is found with a French and an Italian text, of which the former is generally preferred. It is necessary to secure a copy in all respects faultless. But far more important and relatively costly are the _Baisers_ of Dorat, 1770, printed on _grand papier de Hollande_, with the t.i.tle in red and black, and, above all, Laborde's _Choix de Chansons_, 1773, always a dear publication when the state is right, and excessively difficult to obtain with proof plates; the Magniac copy was bought by Mr. Quaritch at Phillips's a few years since for upwards of 200, and sold by him, we believe, to Lord Carnarvon.

Another copy, with the plates in unlettered proof state, is marked 250 in Pearson & Co.'s Catalogue, 1897-98. _La Folle Journee_, by Beaumarchais, with engravings of the same period and character, is also a charming production, and commands a good price.

The minutiae into which the enthusiasts for the graphic French literature produced in the closing years of the ancient regime permit themselves to enter is rather bewildering to a novice or an outsider, and certainly asks as much study as it can well be worth. The cultivation of the pursuit has naturally brought into existence a small library of monographs, of which that by Cohen is one of the best known and the most frequently quoted. There is an equal degree of difference between the pictorial features of books produced in England and on the Continent during the past and the present centuries. In France there still reigns the spirit of enterprise conducive to the execution of high-cla.s.s work; but among ourselves it is painful to contemplate the decline, not of power, but of encouragement, and the unhealthy tendency to a style of ill.u.s.tration which will not probably be very creditable to the country in retrospect. A collection of modern ill.u.s.trated works of mixed origin may well dispense, except by way of sample and contrast, with much of the fantastic and preposterous creations of some of the latter-day masters.

The _Edition de Luxe_, the _Large_, _Larger_, and _Largest Paper_, the copy on yellow paper, blue paper, writing paper, on _papier de Hollande_, _de Chine_, or _d'Inde_, or on j.a.panese vellum, the very limited impression, are among the fancies and demands of the omnivorous past. A short study of the supplement to Bonn's _Lowndes_ and of Martin's _Privately Printed Books_ will suffice to show that not only a library, but a tolerably extended one, might be formed of these cla.s.ses of literature exclusively; and indeed the thing has been more than once actually done. Utterson, Halliwell, Laing, Maidment, Eyton, Turnbull, and others have contributed to leave to us a voluminous inheritance of now rather neglected and undervalued curiosities of this kind. But even here the discriminating collector may still advantageously pick out items worth buying and holding, for in the case of every artificial _furore_ the good, bad, and indifferent are apt to rise and to fall together, while it is reserved only for the first to experience a revival--the Revival of the Fittest.

The Ill.u.s.trated Copy is an indefinite quant.i.ty as to character and importance or estimation, since no two correspond. Nearly all those which have been formed are more or less unequal, even where there has been no regard to cost, and every care has been exercised in the selection of objects; for there is a chronic tendency to become complete. But so far as the normal undertaking of this cla.s.s is concerned, we usually perceive a few desirable and appropriate prints or drawings as a sort of _piece de resistance_, and the remainder is made up anyhow. Even such a book as the Pennant's _London_ in the Huth Collection strikes us as unsatisfactory on the ground stated; there is a share of merit in the choice of embellishments; there is also too considerable a residuum of comparative rubbish; and if it is so here, the reader may judge how the matter stands with ill.u.s.trated books of the ordinary stamp made up for sale. There is one remark to be offered. The really fine prints and other similar productions are too valuable to treat in this way, as they would necessarily render the work, when it was ready for the client, too expensive. A Pennant, for example, exclusively composed of first-rate material, and tolerably representative in regard to names and localities, would be worth thousands of pounds. The time for securing prizes for this purpose at a moderate figure has gone by. The catalogues advertise copies "extensively and tastefully" ill.u.s.trated with hundreds or thousands of portraits and views; and the bidding or demand, as the case may be, is carried to 20, 50, or 100. Our advice is, Not to touch. It is preferable to have a few chosen examples in a portfolio.

It is not always that the Ill.u.s.trated Copy is restricted to engravings and other works of art. Autograph letters enter into the plan, and facsimiles of t.i.tle-pages or other cognate and more or less relevant objects. One of the most recent enterprises of this nature--a Boswell's _Johnson_--cost the actual possessor about 10,000; it was extended to forty-two volumes, and aimed at having a token of some kind of every one mentioned in the text. So we advance. It was deemed a piece of extravagance when, forty or fifty years ago, the late Sir William Stirling-Maxwell expended about 1000 in forming an ill.u.s.trated copy of his own _Cloister Life of Charles V._

The Nature-printing, Autotype, Photogravure, Collotype, and other processes strike us as hardly falling within the category here contemplated, although that they are material accessions to our resources is undoubted. They are the fruit of a combination between nature and mechanical science; their fidelity for portraiture and technical purposes may be granted; but they do not realise the notion of artistic embellishment or interpretation, nor are they capable of rendering with anything approaching truth the more delicate and subtle touches of the miniaturist.

The _Edition de Luxe_ is dilettantism _in extremis_. It is a movement which seems to rest on a false theory and basis. It should have limited itself to _nugae literariae_, to _bagatelles_, which no mortal sought to read, and which might be harmlessly printed on any material, of any lat.i.tude and longitude, in any type, or else to graphic works where the luxury would more comfortably and more suitably make itself manifest in ill.u.s.trations varied and duplicated to whatever extent it pleased the issuer, or was calculated to gratify his clients. But to apply the principle to books so essentially appealing to practical readers as d.i.c.kens, Thackeray, Scott, and others, was an unfortunate step and precedent, which has thrown on the market a large amount of stock not easily moved even at a heavy discount on the published price.

Merely looking at the _bibliophile_ pure and simple, and shutting our eyes to those phases of book-collecting, where the principle or sole aim is educational or religious, we incline to the conclusion that foreigners, and above all the French, are less practical than ourselves, and lay far greater stress on sentiment.

The French, and we may perhaps add the Anglo-French school of book-collecting, works on lines which to a normal lover of books must at first appear rather mysterious and strange, if not absolutely irrational. The closest a.n.a.logy which it is in our power to suggest is the almost parallel sentiment and policy in regard to other branches of inquiry--china, furniture, numismatics. The Frenchman and his English disciple have no respect whatever as _collectionneurs_ for substantial value, and agree in ignoring everything, good, bad, indifferent, outside a prescribed limit.

The temper of the foreign markets, especially the French one, is so essentially different from that of England, that it demands an almost life-long study of the subject to comprehend the true principles by which they are guided and influenced. In what we are just now urging, we must of course be understood to allude to the _amateur_ pure and simple,--in fact, if it may be said without offence, to the virtuoso.

There are foreign book-collectors, as there are English, who seek copies of works within their lines, whatever those lines may be, for the sake of information and reference. The collector has no such aim.

He aspires to make himself master of so many items answering to certain inexorable postulates laid down by the experts in such matters. His taste has happened to take a bibliographical direction and shape; it is hardly a literary one; and the objects of his pursuit, instead of being pictures, prints, antiquities, gems, or coins, are things in book-form.

Monsieur and his British satellite cultivate exclusively what is French, just as in the numismatic department Monsieur will only buy French coins or Franco-Italian ones, or the money of Monsieur's direct ancestors, the Greeks and Romans. It is the same principle throughout; and the undoubted fact is before us that, if the article to be sold is right in all respects, the price is marvellous. One can understand a high appreciation of some superb or unique example of ancient typography, of a book which has belonged to a famous person, or of a ma.n.u.script like the _Bedford Missal_ or the _Hours_ of Anne of Brittany. One can understand, again, the enthusiasm for an unrecorded old poem, romance, or play, for a production by an eminent author supposed to have perished, or for a precious relic such as the Manesse MS., presented by the German Emperor Frederic to the library at Heidelberg, from which it had been taken by the French during the wars of the Revolution. But the Parisian _gout_ is less intent on such matters than on flimsy and effeminate specialities. A copy of a book, it does not signify how valuable intrinsically it may be, is worth nothing in the eyes of _Monsieur_ and _Monsieur d'Angleterre son ami_, unless it is in a particular vesture, with a particular _ex libris_, and of a particular measurement in _millesimes_. _MM. les amateurs_ reject not merely calf, but that vellum wrapper and that st.i.tched paper envelope so dear to us English--so dear that when one of us has given hundreds of pounds for a book thus clothed, rather than commit it to a binder, we employ him to make us a case for the gem. The volume of tracts which Charles I. borrowed of Thomason the stationer, and let fall in the mud, what could Monsieur do with it? Absolutely nothing. But the British Museum cherishes the relic, and would not on any account, we solemnly believe, suffer the stains to be removed.

They are the credentials, the link between the king and ourselves.

On the subject of French books in regard to their bindings we shall have more to say below.

FOOTNOTES:

[2] _Four Generations of a Literary Family_, 1897, ii. 371.

CHAPTER XI

The extrinsic features in books--Autographs--Inscriptions--Various cla.s.ses of them and of interest in their subject-matter--The Henry VIII. _Prayer-Book_ of 1544--Some account of it--Gabriel Harvey--Spenser--Evelyn--Milton--Hypothetical _grands prix_--Cla.s.sification of inscriptions--Examples--Dramatists--Poets--Jonson, Ma.s.singer, Drayton, Wycherley, Killigrew--Mere signatures--Shakespeare's copy of Florio's _Montaigne_, 1603--The Earl of Ess.e.x's copy of Drayton's _Eclogues_, 1593--Humphrey Chetham--Strays from his library--Beau Nash as a collector--Sir Joshua Reynolds--William Beckford and his _Vathek_--Foreign autographs and memoranda--A whimsical note in a copy of Shakespeare's _Pa.s.sionate Pilgrim_, 1599--Interesting MS. matter in a copy of Stow's _Survey_, 1633--Pepys's binder--Dr. Burney and his verses in _Sandford and Merton_--Napoleon and Josephine--The Lutheran Testament given by the latter to General Buonaparte--A charming presentation copy from Josephine of Voltaire's _Henriade_--What makes the interest in autographs--Inept.i.tudes--The reviewer's copy--Latter-day vandalism--Arms on books--Prefaces and Dedications--_Imprimaturs_.

WHAT may be treated as the casual accessories of books of nearly all periods and countries--the autograph inscription testifying to the ownership or signalising a gift from one possessor to another--have manifold and diversified elements of interest and attraction. These features offer a graduated scale of importance, just as it happens.

The question depends on the donor, or the recipient, or the article given and received; and where all these combine to augment the charm and to complete the spell, the issue is electrifying. No more impressive corroboration of this truth could well be desired or produced than the Henry VIII. _Prayer-Book_ of 1544 on vellum, from the Fountaine Collection, with the MSS. notes and autographs of the King, the Princess Mary, Prince Edward, and Queen Catherine Parr. It fetched about 600 guineas at Christie's in 1894.

In the _Bibliographer_, _Bookworm_, and his own _Collections_, the writer has formerly a.s.sembled together notices of all the most remarkable examples of English books, both printed and in MS., with inscriptions, _marginalia_, and other records of prior and successive possession, brought within his reach during more than thirty years past. There are not unreasonably people who may not see in an ordinary copy of a volume much tangible interest, yet who are prepared to recognise the value, and even importance, of one with the autograph and memoranda of some ill.u.s.trious personage, of some great warrior or statesman, or of a famous man of letters, artist, or sculptor. The accidental and secondary feature in the work takes precedence of the rest; he pays for the sentiment and a.s.sociation. The direct human interest resident in such a relic is apt, in the opinion of many, to surpa.s.s that of the finest binding; for one has here the very characters traced long ago by the holder; one can imagine him (or her) seated at the table engaged in the task of leaving to the times to come this memento. The book is the casual receptacle; perchance in itself it is of inconsiderable worth; but the ma.n.u.script accessions are as an embalmment and a sanctification. The copy is not as others; it has descended to us as a part of a precious inheritance, of which the mere paper and print are the least significant; we are to approach and touch it reverently, as if the individual to whom it appertained were standing by, to reprove an ungentle hand and take back the legacy.

It would be barely possible, were it of essential use, to schedule all the existing presentation or annotated copies of books in our own and other literatures, but we shall here make an effort to offer a general view of what is intended, and what may in some instances become attainable by watching opportunities:--

Monastic or collegiate literature.

Editions of the Bible.