UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON.
FOOTNOTES:
[1] It was fortunately catalogued under the name of "Genlis, Félicité Ducrest, Comtesse de," and so escaped attention. The principal witnesses are Philippe Égalité, Duc d'Orléans, and General Valence. The bride is described as "Citizen Anne Caroline Stéphanie Sims, aged 19, living in Paris, known in France by the name of Pamela, a native of Fago in Newfoundland and daughter of William Brixeij (sic) and Mary Sims." The bridegroom is said to be "Edward FitzGerald, aged 29, generally living in Dublin, Ireland, a native of Whitehall, London, and the son of James FitzGerald de Leinster and Dame Amélie Lennox de Leinster." The Duke of Orléans figures in the deed only as Citizen Louis Philippe Égalité.
[2] Published by order of the Trustees in 1906; price 6d.
[3] Issued every month at a yearly subscription of 10 francs. The office is at 3, Rue de Furstenberg, Paris. Amongst M. Charavay's collaborators are M. Anatole France, of the French Academy, and M. George Cain, of the Musée Carnavalet. Each number contains one or more facsimiles and a list of sale prices.
[4] The publisher of Autograph Catalogues invariably adopts the following convenient abbreviations: A. L. S. (autograph letter signed), A. L. (autograph letter unsigned), A. N. S. (autograph note signed), D. S. (document signed). In France L. A. S. indicates an autograph letter signed and P. S. (pièce signée) a signed document.
[5] Dr. Scott says: "Various suggestions have been offered for the restoration of vanished writing and of ink which has faded, such as a solution of sulphide of ammonium washed over the writing, previously moistened with water or a decoction of nut-galls, but great care must be exercised so as not to injure valuable documents. Indeed, I cannot too often repeat the warning that the less autographs are manipulated or altered from their original state the better. The way in which so many fine old letters have had their margins trimmed to remove the ragged edges years ago is a dreadful eye-sore to the collector, who, of course, likes to see the sheets of paper of the proper orthodox size, with large spaces around the writing. Damping the ink should, if possible, be carefully avoided, for there is something precious and inimitable in the fine, indescribable tint which age alone gives to writing."
[6] See The Country Home, vol. iv., February, 1910, pp. 254-58.