Part XIX: Front—4 pp., undated and printed on buff paper as wrapper. Back—8 pp., unnumbered, of which the first four on pale blue paper.
Part XX: Front—4 pp., undated and printed on buff paper as wrapper. Back—Nil. [Note—This part contains half-title, title, contents and list of illustrations (in all 8 pp.) to Volume II.]
1865
MISS MACKENZIE. By Anthony Trollope. London: Chapman and Hall, 193 Piccadilly. 1865. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. vi + 312.
Vol. II. pp. vi + 313 + (3). Advertisement of works by the same author occupies p. (315).
Maroon cloth, gilt, blocked in blind. Yellow end-papers.
Notes—(i) This book was published in March, 1865.
(ii) A binding of dark green cloth is more frequently seen than that of maroon, but it is fairly certain that the latter is really the first issue. I have come to this conclusion after a study of other publications, for binding which the two types of cloth used for Miss Mackenzie were employed. Both are patterned cloths, but differently patterned. That used in maroon for Miss Mackenzie was also used—differently coloured, of course—for Trollope's Tales of All Countries (1861); Ainsworth's Constable of the Tower (1861); Mrs. Gaskell's Round the Sofa (1859) and Right at Last (1860); Charles Allston Collins' Cruise Upon Wheels (1862); and Reade's Love me Little, Love me Long (1859). The pattern of cloth, on the other hand, used in dark green for Miss Mackenzie reappears on Trollope's Belton Estate (1866); Ainsworth's John Law (1864); and Wilkie Collins' My Miscellanies (1863). I think these facts provide sufficiently conclusive evidence that the maroon cloth is of an earlier pattern than the dark green. Publishers were probably inclined, then as now, to use one type of cloth more than another at certain given dates (possibly they tended to adopt novelties as produced by their binders). This is independently suggested by the fact that in the year 1863 alone an identical pattern of cloth was used and by various publishers for Ainsworth's Cardinal Pole, for Mrs. Gaskell's A Dark Night's Work, for George Eliot's Romola, and for Mrs. Oliphant's Perpetual Curate.