"There is a fair collection of classical authors, many of which are of Aldine and Elzevir editions. Among the rarities in this department is a folio copy of Plautus, printed at Venice in 1518, and illustrated with woodcuts."
The author thus coming upon a Roman writer of plays, named Plautus, favours us with an account of him, which it is unnecessary to pursue, since it by no means possesses the interest attached to his still-life sketches. Let us pass on and take a peep at the collection of Chancellor Kent, known in this country as the author of Kent's Commentary:—
"To a lawyer, the Chancellor's written remarks on his books are, perhaps, their most interesting feature. He studied pen in hand, and all of his books contain his annotations, and some are literary curiosities. His edition of Blackstone's Commentaries is the first American edition, printed in Philadelphia in 1771. It is creditable to the press of that time, and is overlaid with annotations, showing how diligently the future American commentator studied the elegant work of his English predecessor. The general reader will find still more interest in the earlier judicial reports of the State of New York, printed while he was on the bench. He will find not merely legal notes, but biographical memoranda of many of the distinguished judges and lawyers who lived at the commencement of the century, and built up the present system of laws.
"In proceeding from the legal to the miscellaneous part of the library, the visitor's attention will, perhaps, be attracted by an extensive and curious collection of the records of criminal law. Not merely the English state trials and the French causes célèbres are there, but the criminal trials of Scotland and of America, and detached publications of remarkable cases, Newgate Calendars, Malefactors' Register, Chronicles of Crime, with ghastly prints of Newgate and Old Bailey, with their executions. The Chancellor is not responsible for this part of the library, which owes its completeness to the morbid taste of his successor, who defends the collection as best illustrating the popular morals and manners of every period, and contends that fiction yields in interest to the gloomy dramas of real life."
The practice attributed to the Chancellor of annotating his books is looked on by collectors as in the general case a crime which should be denied benefit of clergy. What is often said, however, of other crimes may be said of this, that if the perpetrator be sufficiently illustrious, it becomes a virtue. If Milton, for instance, had thought fit to leave his autograph annotations on the first folio Shakespeare, the offence would not only have been pardoned but applauded, greatly to the pecuniary benefit of any one so fortunate as to discover the treasure. But it would be highly dangerous for ordinary people to found on such an immunity. I remember being once shown by an indignant collector a set of utterly and hopelessly destroyed copies of rare tracts connected with the religious disputes of Queen Elizabeth's day, each inlaid and separately bound in a thin volume in the finest morocco, with the title lengthways along the back. These had been lent to a gentleman who deemed himself a distinguished poet, and he thought proper to write on the margin the sensations caused within him by the perusal of some of the more striking passages, certifying the genuineness of his autograph by his signature at full length in a bold distinct hand. He, worthy man, deemed that he was adding greatly to the value of the rarities; but had he beheld the owner's face on occasion of the discovery, he would have been undeceived.
There are in Dr Wynne's book descriptions, not only of libraries according to their kind, but according to their stage of growth, from those which, as the work of a generation or two, have reached from ten to fifteen thousand, to the collections still in their youth, such as Mr Lorimer Graham's of five thousand volumes, rich in early editions of British poetry, and doubtless, by this time, still richer, since its owner was lately here collecting early works on the literature of Scotland, and other memorials of the land of his fathers. Certainly, however, the most interesting of the whole is the library of the Rev. Dr Magoon, "an eminent and popular divine of the Baptist Church." He entered on active life as an operative bricklayer. There are, it appears, wall-plates extant, and not a few, built by his hands, and it was only by saving the earnings these brought to him that he could obtain an education. When an English mechanic finds out that he has a call to the ministry, we can easily figure the grim ignorant fanatical ranter that comes forth as the result. If haply he is able to read, his library will be a few lean sheepskin-clad volumes, such as Boston's Crook in the Lot, Fisher's Marrow of Modern Divinity, Brooks's Apples of Gold, Bolton's Saint's Enriching Examination, and Halyburton's Great Concern. The bricklayer, however, was endowed with the heavenly gift of the high æsthetic, which no birth or breeding can secure, and threw himself into that common ground where art and religion meet—the literature of Christian medieval art. Things must, however, have greatly changed among our brethren since the days of Cotton Mather, or even of Jonathan Edwards, when a person in Dr Magoon's position could embellish his private sanctuary in this fashion.
"The chief characteristic of the collection is its numerous works on the history, literature, and theory of art in general, and of Christian architecture in particular. There is scarcely a church, abbey, monastery, college, or cathedral; or picture, statue, or illumination, prominent in Christian art, extant in Italy, Germany, France, or the British Islands, that is not represented either by original drawings or in some other graphic form.
"In addition to these works, having especial reference to Christian art, are many full sets of folios depicting the leading galleries of ancient, medieval, and modern art in general. Some of these, as the six elephant folios on the Louvre, are in superb bindings; while many others, among which are the Dresden Gallery and Retzsch's Outlines, derive an additional value from once having formed a part of the elegant collection of William Reginald Courtenay.
"But what renders this collection particularly valuable, is its large number of original drawings by eminent masters which accompany the written and engraved works. Amongst these are two large sepia drawings, by Amici, of the Pantheon and St Peter's at Rome. These drawings were engraved and published with several others by Ackermann. Both the originals, and the engravings executed from them, are in the collection. The original view near the Basilica of St Marco, by Samuel Prout, the engraving of which is in Finden's Byron, and the interior of St Marco, by Luke Price, the engraving of which is in Price's Venice Illustrated, grace the collection. There is likewise a superb general view of Venice, by Wyld; a fine exterior view of Rheims Cathedral, by Buckley; an exterior view of St Peter's at Caën, by Charles Vacher; and the interior of St Germain des Prés at Paris, by Duval."
The early history of the American settlements is naturally the object around which many of these collections cluster; but the scraps of this kind of literature which have been secured have a sadly impoverished aspect in comparison with the luxurious stores which American money has attracted from the Old World.[53] Here one is forcibly reminded of those elements in the old-established libraries of Europe which no wealth or zeal can achieve elsewhere, because the commodity is not in the market.