Many eminent characters have been biblioklepts. When Innocent X. was still Monsignor Pamphilio, he stole a book – so says Tallemant des Réaux – from Du Monstier, the painter. The amusing thing is that Du Monstier himself was a book-thief. He used to tell how he had lifted a book, of which he had long been in search, from a stall on the Pont-Neuf; “but,” says Tallemant (whom Janin does not seem to have consulted), “there are many people who don’t think it thieving to steal a book unless you sell it afterwards.” But Du Monstier took a less liberal view where his own books were concerned. The Cardinal Barberini came to Paris as legate, and brought in his suite Monsignor Pamphilio, who afterwards became Innocent X. The Cardinal paid a visit to Du Monstier in his studio, where Monsignor Pamphilio spied, on a table, “L’Histoire du Concile de Trent” – the good edition, the London one. “What a pity,” thought the young ecclesiastic, “that such a man should be, by some accident, the possessor of so valuable a book.” With these sentiments Monsignor Pamphilio slipped the work under his soutane. But little Du Monstier observed him, and said furiously to the Cardinal, that a holy man should not bring thieves and robbers in his company. With these words, and with others of a violent and libellous character, he recovered the “History of the Council of Trent,” and kicked out the future Pope. Amelot de la Houssaie traces to this incident the hatred borne by Innocent X. to the Crown and the people of France. Another Pope, while only a cardinal, stole a book from Ménage – so M. Janin reports – but we have not been able to discover Ménage’s own account of the larceny. The anecdotist is not so truthful that cardinals need flush a deeper scarlet, like the roses in Bion’s “Lament for Adonis,” on account of a scandal resting on the authority of Ménage. Among Royal persons, Catherine de Medici, according to Brantôme, was a biblioklept. “The Marshal Strozzi had a very fine library, and after his death the Queen-Mother seized it, promising some day to pay the value to his son, who never got a farthing of the money.” The Ptolemies, too, were thieves on a large scale. A department of the Alexandrian Library was called “The Books from the Ships,” and was filled with rare volumes stolen from passengers in vessels that touched at the port. True, the owners were given copies of their ancient MSS., but the exchange, as Aristotle says, was an “involuntary” one, and not distinct from robbery.
The great pattern of biblioklepts, a man who carried his passion to the most regrettable excesses, was a Spanish priest, Don Vincente, of the convent of Pobla, in Aragon. When the Spanish revolution despoiled the convent libraries, Don Vincente established himself at Barcelona, under the pillars of Los Encantes, where are the stalls of the merchants of bric-à-brac and the seats of them that sell books. In a gloomy den the Don stored up treasures which he hated to sell. Once he was present at an auction where he was out-bid in the competition for a rare, perhaps a unique, volume. Three nights after that, the people of Barcelona were awakened by cries of “Fire!” The house and shop of the man who had bought “Ordinacions per los gloriosos reys de Arago” were blazing. When the fire was extinguished, the body of the owner of the house was found, with a pipe in his blackened hand, and some money beside him. Every one said, “He must have set the house on fire with a spark from his pipe.” Time went on, and week by week the police found the bodies of slain men, now in the street, now in a ditch, now in the river. There were young men and old, all had been harmless and inoffensive in their lives, and – all had been bibliophiles. A dagger in an invisible hand had reached their hearts but the assassin had spared their purses, money, and rings. An organised search was made in the city, and the shop of Don Vincente was examined. There, in a hidden recess, the police discovered the copy of “Ordinacions per los gloriosis reys de Arago,” which ought by rights to have been burned with the house of its purchaser. Don Vincente was asked how he got the book. He replied in a quiet voice, demanded that his collection should be made over to the Barcelona Library, and then confessed a long array of crimes. He had strangled his rival, stolen the “Ordinacions,” and burned the house. The slain men were people who had bought from him books which he really could not bear to part with. At his trial his counsel tried to prove that his confession was false, and that he might have got his books by honest means. It was objected that there was in the world only one book printed by Lambert Palmart in 1482, and that the prisoner must have stolen this, the only copy, from the library where it was treasured. The defendant’s counsel proved that there was another copy in the Louvre; that, therefore, there might be more, and that the defendant’s might have been honestly procured. Here Don Vincente, previously callous, uttered an hysterical cry. Said the Alcalde: – “At last, Vincente, you begin to understand the enormity of your offence?” “Ah, Señor Alcalde, my error was clumsy indeed. If you only knew how miserable I am!” “If human justice prove inflexible, there is another justice whose pity is inexhaustible. Repentance is never too late.” “Ah, Señor Alcalde, but my copy was not unique!” With the story of this impenitent thief we may close the roll of biblioklepts, though Dibdin pretends that Garrick was of the company, and stole Alleyne’s books at Dulwich.
There is a thievish nature more hateful than even the biblioklept. The Book-Ghoul is he who combines the larceny of the biblioklept with the abominable wickedness of breaking up and mutilating the volumes from which he steals. He is a collector of title-pages, frontispieces, illustrations, and book-plates. He prowls furtively among public and private libraries, inserting wetted threads, which slowly eat away the illustrations he covets; and he broods, like the obscene demon of Arabian superstitions, over the fragments of the mighty dead. His disgusting tastes vary. He prepares books for the American market. Christmas books are sold in the States stuffed with pictures cut out of honest volumes. Here is a quotation from an American paper: —
“Another style of Christmas book which deserves to be mentioned, though it is out of the reach of any but the very rich, is the historical or literary work enriched with inserted plates. There has never, to our knowledge, been anything offered in America so supremely excellent as the $5000 book on Washington, we think – exhibited by Boston last year, but not a few fine specimens of books of this class are at present offered to purchasers. Scribner has a beautiful copy of Forster’s ‘Life of Dickens,’ enlarged from three volumes octavo to nine volumes quarto, by taking to pieces, remounting, and inlaying. It contains some eight hundred engravings, portraits, views, playbills, title-pages, catalogues, proof illustrations from Dickens’s works, a set of the Onwhyn plates, rare engravings by Cruikshank and ‘Phiz,’ and autograph letters. Though this volume does not compare with Harvey’s Dickens, offered for $1750 two years ago, it is an excellent specimen of books of this sort, and the veriest tyro in bibliographical affairs knows how scarce are becoming the early editions of Dickens’s works and the plates illustrating them. 4 Anything about Dickens in the beginning of his career is a sound investment from a business point of view. Another work of the same sort, valued at $240, is Lady Trevelyan’s edition of Macaulay, illustrated with portraits, many of them very rare. Even cheaper, all things considered, is an extra-illustrated copy of the ‘Histoire de la Gravure,’ which, besides its seventy-three reproductions of old engravings, is enriched with two hundred fine specimens of the early engravers, many of the impressions being in first and second states. At $155 such a book is really a bargain, especially for any one who is forming a collection of engravings. Another delightful work is the library edition of Bray’s ‘Evelyn,’ illustrated with some two hundred and fifty portraits and views, and valued at $175; and still another is Boydell’s ‘Milton,’ with plates after Westall, and further illustrations in the shape of twenty-eight portraits of the painter and one hundred and eighty-one plates, and many of them before letter. The price of this book is $325.”
But few book-ghouls are worse than the moral ghoul. He defaces, with a pen, the passages, in some precious volume, which do not meet his idea of moral propriety. I have a Pine’s “Horace,” with the engravings from gems, which has fallen into the hands of a moral ghoul. Not only has he obliterated the verses which hurt his delicate sense, but he has actually scraped away portions of the classical figures, and “the breasts of the nymphs in the brake.” The soul of Tartuffe had entered into the body of a sinner of the last century. The antiquarian ghoul steals title-pages and colophons. The aesthetic ghoul cuts illuminated initials out of manuscripts. The petty, trivial, and almost idiotic ghoul of our own days, sponges the fly-leaves and boards of books for the purpose of cribbing the book-plates. An old “Complaint of a Book-plate,” in dread of the wet sponge of the enemy, has been discovered by Mr. Austin Dobson: —5
THE BOOK-PLATE’S PETITION
By a Gentleman of the Temple
While cynic Charles still trimm’d the vane
’Twixt Querouaille and Castlemaine,
In days that shocked John Evelyn,
My First Possessor fix’d me in.
In days of Dutchmen and of frost,
The narrow sea with James I cross’d,
Returning when once more began
The Age of Saturn and of Anne.
I am a part of all the past;
I knew the Georges, first and last;
I have been oft where else was none
Save the great wig of Addison;
And seen on shelves beneath me grope
The little eager form of Pope.
I lost the Third that own’d me when
French Noailles fled at Dettingen;
The year James Wolfe surpris’d Quebec,
The Fourth in hunting broke his neck;
The day that William Hogarth dy’d,
The Fifth one found me in Cheapside.
This was a Scholar, one of those
Whose Greek is sounder than their hose;
He lov’d old Books and nappy ale,
So liv’d at Streatham, next to Thrale.
’Twas there this stain of grease I boast
Was made by Dr. Johnson’s toast.
(He did it, as I think, for Spite;
My Master call’d him Jacobite!)
And now that I so long to-day
Have rested post discrimina,
Safe in the brass-wir’d book-case where
I watch’d the Vicar’s whit’ning hair,
Must I these travell’d bones inter
In some Collector’s sepulchre!
Must I be torn from hence and thrown
With frontispiece and colophon!
With vagrant E’s, and I’s, and O’s,
The spoil of plunder’d Folios!
With scraps and snippets that to Me
Are naught but kitchen company!
Nay, rather, Friend, this favour grant me:
Tear me at once; but don’t transplant me.
Cheltenham, Septr. 31, 1792.
The conceited ghoul writes his notes across our fair white margins, in pencil, or in more baneful ink. Or he spills his ink bottle at large over the pages, as André Chénier’s friend served his copy of Malherbe. It is scarcely necessary to warn the amateur against the society of book-ghouls, who are generally snuffy and foul in appearance, and by no means so insinuating as that fair lady-ghoul, Amina, of the Arabian Nights.
Another enemy of books must be mentioned with the delicacy that befits the topic. Almost all women are the inveterate foes, not of novels, of course, nor peerages and popular volumes of history, but of books worthy of the name. It is true that Isabelle d’Este, and Madame de Pompadour, and Madame de Maintenon, were collectors; and, doubtless, there are other brilliant exceptions to a general rule. But, broadly speaking, women detest the books which the collector desires and admires. First, they don’t understand them; second, they are jealous of their mysterious charms; third, books cost money; and it really is a hard thing for a lady to see money expended on what seems a dingy old binding, or yellow paper scored with crabbed characters. Thus ladies wage a skirmishing war against booksellers’ catalogues, and history speaks of husbands who have had to practise the guile of smugglers when they conveyed a new purchase across their own frontier. Thus many married men are reduced to collecting Elzevirs, which go readily into the pocket, for you cannot smuggle a folio volume easily. This inveterate dislike of books often produces a very deplorable result when an old collector dies. His “womankind,” as the Antiquary called them, sell all his treasures for the price of waste-paper, to the nearest country bookseller. It is a melancholy duty which forces one to introduce such topics into a volume on “Art at Home.” But this little work will not have been written in vain if it persuades ladies who inherit books not to sell them hastily, without taking good and disinterested opinion as to their value. They often dispose of treasures worth thousands, for a ten pound note, and take pride in the bargain. Here, let history mention with due honour the paragon of her sex and the pattern to all wives of book-collecting men – Madame Fertiault. It is thus that she addresses her lord in a charming triolet (“Les Amoureux du Livre,” p. xxxv): —
“Le livre a ton esprit.. tant mieux!
Moi, j’ai ton coeur, et sans partage.
Puis-je désirer davantage?
Le livre a ton esprit.. tant mieux!
Heureuse de te voir joyeux,
Je t’en voudrais.. tout un étage.
Le livre a ton esprit.. tant mieux!
Moi, j’ai ton coeur, et sans partage.”
Books rule thy mind, so let it be!
Thy heart is mine, and mine alone.
What more can I require of thee?
Books rule thy mind, so let it be!
Contented when thy bliss I see,
I wish a world of books thine own.
Books rule thy mind, so let it be!
Thy heart is mine, and mine alone.
There is one method of preserving books, which, alas, only tempts the borrower, the stealer, the rat, and the book-worm; but which is absolutely necessary as a defence against dust and neglect. This is binding. The bookbinder’s art too often destroys books when the artist is careless, but it is the only mode of preventing our volumes from falling to pieces, and from being some day disregarded as waste-paper. A well-bound book, especially a book from a famous collection, has its price, even if its literary contents be of trifling value. A leather coat fashioned by Derome, or Le Gascon, or Duseuil, will win respect and careful handling for one specimen of an edition whereof all the others have perished. Nothing is so slatternly as the aspect of a book merely stitched, in the French fashion, when the threads begin to stretch, and the paper covers to curl and be torn. Worse consequences follow, whole sheets are lost, the volume becomes worthless, and the owner must often be at the expense of purchasing another copy, if he can, for the edition may now be out of print. Thus binding of some sort not only adds a grace to the library, presenting to the eye the cheerful gilded rows of our volumes, but is a positive economy. In the case of our cloth-covered English works, the need of binding is not so immediately obvious. But our publishers have a taste for clothing their editions in tender tones of colour, stamped, often, with landscapes printed in gold, in white, or what not. Covers like this, may or may not please the eye while they are new and clean, but they soon become dirty and hideous. When a book is covered in cloth of a good dark tint it may be allowed to remain unbound, but the primrose and lilac hues soon call out for the aid of the binder.
Much has been written of late about book-binding. In a later part of this manual we shall have something to say about historical examples of the art, and the performances of the great masters. At present one must begin by giving the practical rule, that a book should be bound in harmony with its character and its value. The bibliophile, if he could give the rein to his passions, would bind every book he cares to possess in a full coat of morocco, or (if it did not age so fast) of Russia leather. But to do this is beyond the power of most of us. Only works of great rarity or value should be full bound in morocco. If we have the luck to light on a Shakespeare quarto, on some masterpiece of Aldus Manutius, by all means let us entrust it to the most competent binder, and instruct him to do justice to the volume. Let old English books, as More’s “Utopia,” have a cover of stamped and blazoned calf. Let the binder clothe an early Rabelais or Marot in the style favoured by Grolier, in leather tooled with geometrical patterns. Let a Molière or Corneille be bound in the graceful contemporary style of Le Gascon, where the lace-like pattern of the gilding resembles the Venetian point-lace, for which La Fontaine liked to ruin himself. Let a binding, à la fanfare, in the style of Thouvenin, denote a novelist of the last century, let panelled Russia leather array a folio of Shakespeare, and let English works of a hundred years ago be clothed in the sturdy fashion of Roger Payne. Again, the bibliophile may prefer to have the leather stamped with his arms and crest, like de Thou, Henri III., D’Hoym, Madame du Barry, and most of the collectors of the seventeenth and eighteenth centuries. Yet there are books of great price which one would hesitate to bind in new covers. An Aldine or an Elzevir, in its old vellum or paper wrapper, with uncut leaves, should be left just as it came from the presses of the great printers. In this condition it is a far more interesting relic. But a morocco case may be made for the book, and lettered properly on the back, so that the volume, though really unbound, may take its place with the bound books on the shelves. A copy of any of Shelley’s poems, in the original wrappers, should I venture to think be treated thus, and so should the original editions of Keats’s and of Mr. Tennyson’s works. A collector, who is also an author, will perhaps like to have copies of his own works in morocco, for their coats will give them a chance of surviving the storms of time. But most other books, not of the highest rarity and interest, will be sufficiently clothed in half-bindings, that is, with leather backs and corners, while the rest of the cover is of cloth or paper, or whatever other substance seems most appropriate. An Oxford tutor used to give half-binding as an example of what Aristotle calls Μικροπρέπεια, or “shabbiness,” and when we recommend such coverings for books it is as a counsel of expediency, not of perfection. But we cannot all be millionaires; and, let it be remembered, the really wise amateur will never be extravagant, nor let his taste lead him into “the ignoble melancholy of pecuniary embarrassment.” Let the example of Charles Nodier be our warning; nay, let us remember that while Nodier could get out of debt by selling his collection, ours will probably not fetch anything like what we gave for it. In half-bindings there is a good deal of room for the exercise of the collector’s taste. M. Octave Uzanne, in a tract called “Les Caprices d’un Bibliophile,” gives some hints on this topic, which may be taken or let alone. M. Uzanne has noticed the monotony, and the want of meaning and suggestion in ordinary half-bindings. The paper or cloth which covers the greater part of the surface of half-bound books is usually inartistic and even ugly. He proposes to use old scraps of brocade, embroidery, Venice velvet, or what not; and doubtless a covering made of some dead fair lady’s train goes well with a romance by Crébillon, and engravings by Marillier. “Voici un cartonnage Pompadour de notre invention,” says M. Uzanne, with pride; but he observes that it needs a strong will to make a bookbinder execute such orders. For another class of books, which our honest English shelves reject with disgust, M. Uzanne proposes a binding of the skin of the boa constrictor; undoubtedly appropriate and “admonishing.” The leathers of China and Japan, with their strange tints and gilded devices may be used for books of fantasy, like “Gaspard de la Nuit,” or the “Opium Eater,” or Poe’s poems, or the verses of Gérard de Nerval. Here, in short, is an almost unexplored field for the taste of the bibliophile, who, with some expenditure of time, and not much of money, may make half-binding an art, and give modern books a peculiar and appropriate raiment.
M. Ambrose Firmin Didot has left some notes on a more serious topic, – the colours to be chosen when books are full-bound in morocco. Thus he would have the “Iliad” clothed in red, the “Odyssey” in blue, because the old Greek rhapsodists wore a scarlet cloak when they recited the Wrath of Achilles, a blue one when they chanted of the Return of Odysseus. The writings of the great dignitaries of the Church, M. Didot would array in violet; scarlet goes well with the productions of cardinals; philosophers have their sober suit of black morocco, poets like Panard may be dressed in rose colour. A collector of this sort would like, were it possible, to attire Goldsmith’s poems in a “coat of Tyrian bloom, satin grain.” As an antithesis to these extravagant fancies, we may add that for ordinary books no binding is cheaper, neater, and more durable, than a coat of buckram.
The conditions of a well bound book may be tersely enumerated. The binding should unite solidity and elegance. The book should open easily, and remain open at any page you please. It should never be necessary, in reading, to squeeze back the covers; and no book, however expensively bound, has been properly treated, if it does not open with ease. It is a mistake to send recently printed books to the binder, especially books which contain engravings. The printing ink dries slowly, and, in the process called “beating,” the text is often transferred to the opposite page. M. Rouveyre recommends that one or two years should pass before the binding of a newly printed book. The owner will, of course, implore the binder to, spare the margins; and, almost equally of course, the binder, durus arator, will cut them down with his abominable plough. One is almost tempted to say that margins should always be left untouched, for if once the binder begins to clip he is unable to resist the seductive joy, and cuts the paper to the quick, even into the printed matter. Mr. Blades tells a very sad story of a nobleman who handed over some Caxtons to a provincial binder, and received them back minus £500 worth of margin. Margins make a book worth perhaps £400, while their absence reduces the same volume to the box marked “all these at fourpence.” Intonsis capillis, with locks unshorn, as Motteley the old dealer used to say, an Elzevir in its paper wrapper may be worth more than the same tome in morocco, stamped with Longepierre’s fleece of gold. But these things are indifferent to bookbinders, new and old. There lies on the table, as I write, “Les Provinciales, ou Les Lettres Ecrites par Louis de Montalte à un Provincial de ses amis, & aux R.R. P.P. Jesuites. A Cologne, Ches Pierre de la Vallée, M.DC.LVIII.” It is the Elzevir edition, or what passes for such; but the binder has cut down the margin so that the words “Les Provinciales” almost touch the top of the page. Often the wretch – he lived, judging by his style, in Derome’s time, before the Revolution – has sliced into the head-titles of the pages. Thus the book, with its old red morocco cover and gilded flowers on the back, is no proper companion for “Les Pensées de M. Pascal (Wolfganck, 1672),” which some sober Dutchman has left with a fair allowance of margin, an inch “taller” in its vellum coat than its neighbour in morocco. Here once more, is “Les Fascheux, Comedie de I. B. P. Molière, Representee sur Le Theatre du Palais Royal. A Paris, Chez Gabriel Quinet, au Palais, dans la Galerie des Prisonniers, à l’Ange Gabriel, M.DCLXIII. Avec privilege du Roy.” What a crowd of pleasant memories the bibliophile, and he only, finds in these dry words of the title. Quinet, the bookseller, lived “au Palais,” in that pretty old arcade where Corneille cast the scene of his comedy, “La Galerie du Palais.” In the Geneva edition of Corneille, 1774, you can see Gravelot’s engraving of the place; it is a print full of exquisite charm (engraved by Le Mure in 1762). Here is the long arcade, in shape exactly like the galleries of the Bodleian Library at Oxford. The bookseller’s booth is arched over, and is open at front and side. Dorimant and Cléante are looking out; one leans on the books on the window-sill, the other lounges at the door, and they watch the pretty Hippolyte who is chaffering with the lace-seller at the opposite shop. “Ce visage vaut mieux que toutes vos chansons,” says Dorimant to the bookseller. So they loitered, and bought books, and flirted in their lace ruffles, and ribbons, and flowing locks, and wide canons, when Molière was young, and when this little old book was new, and lying on the shelves of honest Quinet in the Palace Gallery. The very title-page, and pagination, not of this second edition, but of the first of “Les Fascheux,” had their own fortunes, for the dedication to Fouquet was perforce withdrawn. That favourite entertained La Vallière and the King with the comedy at his house of Vaux, and then instantly fell from power and favour, and, losing his place and his freedom, naturally lost the flattery of a dedication. But retombons à nos coches, as Montaigne says. This pleasant little copy of the play, which is a kind of relic of Molière and his old world, has been ruthlessly bound up with a treatise, “Des Pierres Précieuses,” published by Didot in 1776. Now the play is naturally a larger book than the treatise on precious stones, so the binder has cut down the margins to the size of those of the work on amethysts and rubies. As the Italian tyrant chained the dead and the living together, as Procrustes maimed his victims on his cruel bed, so a hard-hearted French binder has tied up, and mutilated, and spoiled the old play, which otherwise would have had considerable value as well as interest.
We have tried to teach the beginner how to keep his books neat and clean; what men and monsters he should avoid; how he should guard himself against borrowers, book-worms, damp, and dirt. But we are sometimes compelled to buy books already dirty and dingy, foxed, or spotted with red, worn by greasy hands, stained with ink spots, or covered with MS. notes. The art of man has found a remedy for these defects. I have never myself tried to wash a book, and this care is best left to professional hands. But the French and English writers give various recipes for cleaning old books, which the amateur may try on any old rubbish out of the fourpenny box of a bookstall, till he finds that he can trust his own manipulations. There are “fat stains” on books, as thumb marks, traces of oil (the midnight oil), flakes of old pasty crust left in old Shakespeares, and candle drippings. There are “thin stains,” as of mud, scaling-wax, ink, dust, and damp. To clean a book you first carefully unbind it, take off the old covers, cut the old stitching, and separate sheet from sheet. Then take a page with “fat stains” of any kind of grease (except finger-marks), pass a hot flat iron over it, and press on it a clean piece of blotting paper till the paper sucks up the grease. Then charge a camel-hair brush with heated turpentine, and pass it over the places that were stained. If the paper loses its colour press softly over it a delicate handkerchief, soaked in heated spirits of wine. Finger-marks you will cover with clean soap, leave this on for some hours, and then rub with a sponge filled with hot water. Afterwards dip in weak acid and water, and then soak the page in a bath of clean water. Ink-stained pages you will first dip in a strong solution of oxalic acid and then in hydrochloric acid mixed in six times its quantity of water. Then bathe in clean water and allow to dry slowly.
Some English recipes may also be given. “Grease or wax spots,” says Hannett, in “Bibliopegia,” “may be removed by washing the part with ether, chloroform, or benzine, and placing it between pieces of white blotting paper, then pass a hot iron over it.” “Chlorine water,” says the same writer, removes ink stains, and bleaches the paper at the same time. Of chloride of lime, “a piece the size of a nut” (a cocoa nut or a hazel nut?) in a pint of water, may be applied with a camel’s hair pencil, and plenty of patience. To polish old bindings, “take the yolk of an egg, beat it up with a fork, apply it with a sponge, having first cleaned the leather with a dry flannel.” The following, says a writer in “Notes and Queries,” with perfect truth, is “an easier if not a better method; purchase some bookbinder’s varnish,” and use it as you did the rudimentary omelette of the former recipe. Vellum covers may be cleaned with soap and water, or in bad cases by a weak solution of salts of lemon.
Lastly, the collector should acquire such books as Lowndes’s “Bibliography,” Brunet’s “Manuel,” and as many priced catalogues as he can secure. The catalogues of Mr. Quaritch, Mr. Bohn, M. Fontaine, M.M. Morgand et Fatout, are excellent guides to a knowledge of the market value of books. Other special works, as Renouard’s for Aldines, Willems’s for Elzevirs, and Cohen’s for French engravings, will be mentioned in their proper place. Dibdin’s books are inaccurate and long-winded, but may occasionally be dipped into with pleasure.