INDEX

THE END

PRINTED BY OLIVER AND BOYD, EDINBURGH.

Uniform with this Volume

The Coin Collector

By W. Carew Hazlitt

New and Revised Edition

Illustrated with 12 full-page Plates depicting 129 Rare Pieces

Pub 7s. 6d. net

CONTENTS

Introductory—Collectors and Collections—Value of Coins—Unique or Remarkable Coins—Greek Coins—Rome—Continent of Europe—United Kingdom—The Coin Market—Terminology—Bibliography—Description of Plates—Index.

“Mr Hazlitt is an expert in regard to coins; his book from the practical standpoint is trustworthy.”—Notes and Queries.

“We may say at once that we have a very interesting and instructive volume before us. The subject is, of course, only lightly touched upon, and no attempt at dealing with any section of it in detail is made. This is as it should be in a book on coins in general.”—Antiquary.

“Perhaps as excellent an introduction to the study of a delightful pursuit as could have been written.”—Daily Telegraph.

“Abreast of the latest discoveries and theories, and is sure of a welcome from the general reader as well as from the collector.”—Scotsman.

“This admirable volume gives a bird’s-eye view of the whole. It is clear that Mr Hazlitt is not only an enthusiast in the subject of his book, but also a student whose knowledge is at once singularly wide and remarkably accurate.”—Publishers’ Circular.

Uniform with this Volume

Old Violins

By Rev. H. R. Haweis

New Edition

Illustrated by 12 full-page Plates of Violins by Celebrated Makers

Pub 7s. 6d. net

CONTENTS

Prelude—Violin Genesis—Violin Constitution—Violins at Brescia—Violins at Cremona—Violins in Germany—Violins in France—Violins in England—Violin Varnish—Violin Strings—Violin Tarisio—Violins at Mirecourt, Mittenwald, and Markneukirchen—Violin Treatment—Violin Dealers, Collectors, and Amateurs—Postlude—Dictionary of Violin Makers—Bibliography and Description of Plates.

“In matters pertaining to Old Violins he is known as a specialist, and, moreover, one who writes in a pleasant flowing style, which cannot be said of all specialists. His ‘Old Violins’ therefore scarcely needs recommendation. He discourses about Italian, French, and English violins, about varnish, strings, bows, violin dealers, collectors, and amateurs. There are some fine plates, a dictionary of violin makers, and a bibliography. The book is one for reading, and also for reference, and in its lighter pages for recreation.”—Athenæum.

The Book Collector

By W. Carew Hazlitt

A General Survey of the Pursuit, and of those who have engaged in it, from the Earliest Period to the Present Time; with an Account of Public and Private Libraries, and Anecdotes of their Founders or Owners, and Remarks on Bookbinding and on Special Copies of Books, illustrated with a beautiful photogravure of a famous sale of books at Sotheby’s, square cr 8vo, art canvas, gilt top, fore and under edges uncut.

Pub 7s. 6d. net

“As Mr Hazlitt shows, his field of choice is wide enough. Ancient typography fascinates some, but here a long purse is needed. Bibles and Testaments, Liturgies, Books of Hours, or similar devotional works appeal to others. The British Museum Library, for instance, is singularly rich in editions in all languages of the ‘Imitatio Christi.’ Books of travel, of voyages, and on topography, such as county and town histories, have all their devotees, and of late years the search for Alpine literature has become so much keener that some books, printed barely forty years ago, have quite doubled their published price. Yet even the systematic collector, as Mr Hazlitt tells us, often runs risks. Here, as among all things human, fashions and whims exist, and a particular class of literature may have ‘booms’ and ‘slumps,’ like certain ‘stocks’ of a questionable character. The books, for instance, in William Morris’s library were ‘below mediocrity in state,’ and of little intrinsic value, yet they excited keen competition, and went for sums ‘which were simply absurd.’”—Standard.

“The subject abounds with stories, for, indeed, in a sense which the author of the aphorism little imagined, habent sua fata libelli. We might fill columns with curiosities about the buying and selling of books from these pages. Mr Hazlitt, however, is not of the non-literary collectors; no man could write such a book as this about the subject if he were. Readers, therefore, as well as buyers, may find ‘The Book Collector’ to their taste. Then there is the eleventh chapter, with its many interesting anecdotes of inscriptions; often the casual name or note which some purchaser or owner of a bye-gone time has written will be of more interest than the volume itself.”—Spectator.

“There is pleasure nevertheless—nay, much intellectual and sometimes pecuniary profit—in the pursuit, when intelligently pursued. Mr Hazlitt discourses pleasantly on every side of book-collecting, and his book will be valued by all interested in the subject.”—Chambers’ Journal.

Illustrated with upwards of 450 Engravings on Wood

Amateur’s Guide to Architecture

By S. Beale

Embracing Egyptian, Assyrian, Roman, Grecian, Italian, Renaissance, and Early English Specimens of Tombs, Doors, Windows, Arches, Bridges, Aqueducts, Balconies, Roofs, Supports, Porticos, Turrets, Steeples, Pillars, Columns, Ornaments, Capitals, Mouldings, examples of Wood Carving, etc.

Post 8vo. Pub 3s. 6d.

CONTENTS

Part I.: Introductory—General Outlines. Part II.: Trabeated or Beam Architecture—1. Egypt; 2. Chaldæa, Assyria, and Persia; 3. India; 4. China; 5. Japan; 6. Asia Minor; 7. Greece; 8. Sicily. Part III.: Round-Arched Architecture—1. Etruria and Rome; 2. Early Christian Churches; 3. Byzantine Churches; 4. Romanesque Churches; 5. Norman; 6. Saracenic. Part IV.: Pointed, or Gothic Architecture. Part V.: Renaissance Architecture—Architectural Examples which may be studied in London.

“Admirably adapted to fill the position it assumes. It explains in the simplest possible manner the distinctions, not only between the various styles of architecture, but between the different styles of ornamentation; and in every case there is an illustration, which cannot fail to fix in the mind the distinctions of which the author has been talking.”—Scotsman.

Transcriber’s note

Minor punctuation and formatting errors have been changed without notice; otherwise spelling and punctuation has been retained as published. The following Printer errors have been changed.

CHANGEDFROMTO
Page [7]:“Meryon’s Etching”“Méryon’s Etching”
Page [7]:“The Straw-Yard”“The Straw Yard”
Page [33]:“case is it an indispensible virtue”“case is it an indispensable virtue”
Page [44]:“Hollar a compact selecttion”“Hollar a compact selection”
Page [68]:“and his Bécheurs”“and his Bêcheurs”
Page [72]:“Galerie de Nôtre-Dame”“Galérie de Nôtre-Dame”
To face Page [82]:“Meryon: La Morgue”“Méryon: La Morgue”
Page [107]:“Coombe Bottom, First State”“Combe Bottom, First State”
Page [121]:“Lime Burners”“Lime-Burners”
Page [121]:“ghost—desperately over-rated”“ghost—desperately overrated”
Page [144]:“Arms with the Skull”“Arms with a Skull”
Page [147]:“Arms with the Skull”“Arms with a Skull”
Page [159]:“spoilt by the retouching”“spoilt by the re-touching”
Page [170]:“Jean Baptiste Simeon Chardin”“Jean Baptiste Siméon Chardin”
Page [172]:“What French pictorial artist thought”“What French pictorial artists thought”
Page [186]:“La Sortie de l’Opera”“La Sortie de l’Opéra”
Page [243]:“Jacopo de ’Barbarj”“Jacopo de’ Barbarj”
Page [256]:“Buffon and Two Couples”“Buffoon and Two Couples”
Page [256:]“Chemise enlevée”“Chemise en levée”
Page [256]:“Arms with the Skull”“Arms with a Skull”
Page [256]:“Dance by the Water-side”“Dance by the Waterside”
Page [257]:“Epées, Langues de Bœufs,”“Epées, Langues de Bœuf”
Page [257]:“Etude de Jeune Fille”“Étude de Jeune Fille”
Page [258]:“Jeu de Câche-câche”“Jeu de Cache-cache”
Page [258]:“Little Boat-house”“Little Boathouse”
Page [259]:“Mort et le Bucheron, La”“Mort et le Bûcheron, La”

In the Index on Page [259], there is an entry for “Pennell, J., 131”. That name doesn’t appear on that page or anywhere else in the book.

All other inconsistencies are as in the original.