[57] In the Memoirs of Mr. Thomas Hollis there is a series of the portraits of Milton (not executed in the best manner) done in this way; and a like series of Pope's portraits accompanies the recent edition of the poet's works by the Rev. W.L. Bowles.

There is another mode of illustrating copies by which this symptom of the Bibliomania may be known: it consists in bringing together, from different works, [by means of the scissors, or otherwise by transcription] every page or paragraph which has any connection with the character or subject under discussion. This is a useful and entertaining mode of illustrating a favourite author; and copies of works of this nature, when executed by skilful[58] hands, should be preserved in public repositories. I almost ridiculed the idea of an Illustrated Chatterton, in this way, till I saw Mr. Haslewood's copy, in twenty-one volumes, which rivetted me to my seat!

[58] Numerous are the instances of the peculiar use and value of copies of this kind, especially to those who are engaged in publication, of a similar nature. Oldys's interleaved Langbaine is re-echoed in almost every recent work connected with the belles-lettres of our country. Oldys himself was unrivalled in this method of illustration; if, besides his Langbaine, his copy of 'Fuller's Worthies' [once Mrs. Steevens's, now Mr. Malone's, See Bibl. Steevens, no. 1799] be alone considered! This Oldys was the oddest mortal that ever scribbled for bread. Grose, in his Olio, gives an amusing account of his having "a number of small parchment bags inscribed with the names of the persons whose lives he intended to write; into which he put every circumstance and anecdote he could collect, and thence drew up his history." See Noble's College of Arms, p. 420.

Of illustrated copies in this way, the Suidas of Kuster, belonging to the famous D'Orville, is a memorable instance. This is now in the Bodleian library. I should suppose that one Narcissus Luttrell, in Charles the Second's reign, had a number of like illustrated copies. His collection of contemporaneous literature must have been immense, as we may conclude from the account of it in Mr. Walter Scott's Preface to his recent edition of Dryden's works. Luckily for this brilliant poet and editor, a part of Luttrell's collection had found its way into the libraries of Mr. Bindley and Mr. Heber, and thence was doomed to shine, with renewed lustre, by the side of the poetry of Dryden.

IV. Unique Copies. A passion for a book which has any peculiarity about it, by either, or both, of the foregoing methods of illustration—or which is remarkable for its size, beauty, and condition—is indicative of a rage for unique copies, and is unquestionably a strong prevailing symptom of the Bibliomania. Let me therefore urge every sober and cautious collector not to be fascinated by the terms "Matchless, and Unique;" which, "in slim Italicks" (to copy Dr. Ferriar's happy expression) are studiously introduced into Bookseller's catalogues to lead the unwary astray. Such a Collector may fancy himself proof against the temptation; and will, in consequence, call only to look at this unique book, or set of books; but, when he views the morocco binding, silk water-tabby lining, blazing gilt edges—when he turns over the white and spotless leaves—gazes on the amplitude of margin—on a rare and lovely print introduced—and is charmed with the soft and coaxing manner in which, by the skill of Herring or Mackinlay,[59] "leaf succeeds to leaf"—he can no longer bear up against the temptation—and, confessing himself vanquished, purchases, and retreats—exclaiming with Virgil's shepherd—

Ut vidi, ut perii—ut me malus abstulit error!

[59] At [page 8], note—the reader has been led to expect a few remarks upon the luxuriancy of modern book-binding. Mr. Roscoe, in his Lorenzo de Medici, vol. ii., p. 79., edit. 8vo., has defended the art with so much skill that nothing further need be said in commendation of it. Admitting every degree of merit to our present fashionable binders, and frankly allowing them the superiority over De Rome, Padaloup, and the old school of binding, I cannot but wish to see revived those beautiful portraits, arabesque borders, and sharp angular ornaments, that are often found on the outsides of books bound in the 16th century, with calf leather, upon oaken boards. These brilliant decorations almost make us forget the ivory crucifix, guarded with silver doors, which is frequently introduced in the interior of the sides of the binding. Few things are more gratifying to a genuine collector than a fine copy of a book in its original binding!

V. Copies printed on vellum. A desire for works printed in this manner is an equally strong and general symptom of the Bibliomania; but as these works are rarely to be obtained of modern[60] date, the collector is obliged to have recourse to specimens, executed three centuries ago, in the printing-offices of Aldus, Verard, and the Juntæ. Although the Bibliothéque Imperiale, at Paris, and the library of Count Macarty, at Toulouse, are said to contain the greatest number of books printed upon vellum, yet, those who have been fortunate enough to see copies of this kind in the libraries of his Majesty, the Duke of Marlborough, Earl Spencer, Mr. Johnes, and the late Mr. Cracherode (now in the British Museum), need not travel on the Continent for the sake of being convinced of their exquisite beauty and splendour. Mr. Edward's unique copy (he will forgive the epithet) of the first Livy, upon vellum, is a Library of itself!—and the recent discovery of a vellum copy of Wynkyn De Worde's reprint of Juliana Barnes's book,[61] complete in every respect, [to say nothing of his Majesty's similar copy of Caxton's Doctrinal of Sapience, 1489, in the finest preservation] are, to be sure, sufficient demonstrations of the prevalence of this symptom of the Bibliomania in the times of our forefathers; so that it cannot be said, as some have asserted, to have appeared entirely within the last half century.

[60] The modern books, printed upon vellum, have in general not succeeded; whether from the art of preparing the vellum, or of printing upon it, being lost I will not presume to determine. The reader may be amused with the following prices for which a few works, executed in this manner, were sold in the year 1804:

NO. £s.d.
250.Virgilii Opera, 1789, 4to.33120
251.Somervile's Chase, 1796, 4to.1546
252.Poems by Goldsmith and Parnell, 1795, 4to.15150
253.The Gardens, by Abbé Delille, 1798, 4to.1436
254.Castle of Otranto, printed by Bodoni, 1791, 4to.1326
260.La Guirlande Julie, 1784, 8vo.37176
263.Economy of Human Life, 1795, 8vo.15150