The Library [33]
designs for "La Physiologie de Gout" (Jouaust, Paris, 1879), M. Lalauze has shown himself the worthy rival of Eisen and Cochin. Perhaps it is unnecessary to add that the beauty and value of all such engravings depends almost entirely on their "state." The earlier proofs are much more brilliant than those drawn later, and etchings on fine papers are justly preferred. For example, M. Lalauze's engravings on "Whatman paper," have a beauty which could scarcely be guessed by people who have only seen specimens on "papier verge." Every collector of the old French vignettes, should possess himself of the "Guide de l'amateur," by M. Henry Cohen (Rouquette, Paris, 1880). Among English illustrated books, various tastes prefer the imaginative works of William Blake, the etchings of Cruikshank, and the woodcuts of Bewick. The whole of the last chapter of this sketch is devoted, by Mr. Austin Dobson, to the topic of English illustrated books. Here it may be said, in passing, that an early copy of William Blake's "Songs of Innocence," written, illustrated, printed, coloured, and boarded by the author's own hand, is one of the most charming objects that a bibliophile can hope to possess. The verses of Blake, in a framework of birds, and flowers, and plumes, all softly and magically tinted, seem like some book out of King Oberon's library in fairyland, rather than the productions of a mortal press. The pictures in Blake's "prophetic books," and even his illustrations to "Job," show an imagination more heavily weighted by the technical difficulties of drawing.
The next class of rare books is composed of works from the famous presses of the Aldi and the Elzevirs. Other presses have, perhaps, done work as good, but Estienne, the Giunta, and Plantin, are comparatively neglected, while the taste for the performances of Baskerville and Foulis is not very eager. A safe judgment about Aldines and Elzevirs is the gift of years and of long experience. In this place it is only possible to say a few words on a wide subject. The founder of the Aldine press, Aldus Pius Manutius, was born about 1450, and died at Venice in 1514. He was a man of careful and profound learning, and was deeply interested in Greek studies, then encouraged by the arrival in Italy of many educated Greeks and Cretans. Only four Greek authors had as yet been printed in Italy, when (1495) Aldus established his press at Venice. Theocritus, Homer, AEsop, and Isocrates, probably in very limited editions, were in the hands of students. The purpose of Aldus was to put Greek and Latin works, beautifully printed in a convenient shape, within the reach of all the world. His reform was the introduction of books at once cheap, studiously correct, and convenient in actual use. It was in 1498 that he first adopted the small octavo size, and in his "Virgil" of 1501, he introduced the type called Aldine or Italic. The letters were united as in writing, and the type is said to have been cut by Francesco da Bologna, better known as Francia, in imitation of the hand of Petrarch. For full information about Aldus and his descendants and successors, the work of M. Firmin Didot, ("Alde Manuce et l'Hellenisme a Venise: Paris 1875)," and the Aldine annals of Renouard, must be consulted. These two works are necessary to the collector, who will otherwise be deceived by the misleading assertions of the booksellers. As a rule, the volumes published in the lifetime of Aldus Manutius are the most esteemed, and of these the Aristotle, the first Homer, the Virgil, and the Ovid, are perhaps most in demand. The earlier Aldines are consulted almost as studiously as MSS. by modern editors of the classics.
Just as the house of Aldus waned and expired, that of the great Dutch printers, the Elzevirs, began obscurely enough at Leyden in 1583. The Elzevirs were not, like Aldus, ripe scholars and men of devotion to learning. Aldus laboured for the love of noble studies; the Elzevirs were acute, and too often "smart" men of business. The founder of the family was Louis (born at Louvain, 1540,
The next class of rare books is composed of works from the famous presses of the Aldi and the Elzevirs. Other presses have, perhaps, done work as good, but Estienne, the Giunta, and Plantin, are comparatively neglected, while the taste for the performances of Baskerville and Foulis is not very eager. A safe judgment about Aldines and Elzevirs is the gift of years and of long experience. In this place it is only possible to say a few words on a wide subject. The founder of the Aldine press, Aldus Pius Manutius, was born about 1450, and died at Venice in 1514. He was a man of careful and profound learning, and was deeply interested in Greek studies, then encouraged by the arrival in Italy of many educated Greeks and Cretans. Only four Greek authors had as yet been printed in Italy, when (1495) Aldus established his press at Venice. Theocritus, Homer, AEsop, and Isocrates, probably in very limited editions, were in the hands of students. The purpose of Aldus was to put Greek and Latin works, beautifully printed in a convenient shape, within the reach of all the world. His reform was the introduction of books at once cheap, studiously correct, and convenient in actual use. It was in 1498 that he first adopted the small octavo size, and in his "Virgil" of 1501, he introduced the type called Aldine or Italic. The letters were united as in writing, and the type is said to have been cut by Francesco da Bologna, better known as Francia, in imitation of the hand of Petrarch. For full information about Aldus and his descendants and successors, the work of M. Firmin Didot, ("Alde Manuce et l'Hellenisme a Venise: Paris 1875)," and the Aldine annals of Renouard, must be consulted. These two works are necessary to the collector, who will otherwise be deceived by the misleading assertions of the booksellers. As a rule, the volumes published in the lifetime of Aldus Manutius are the most esteemed, and of these the Aristotle, the first Homer, the Virgil, and the Ovid, are perhaps most in demand. The earlier Aldines are consulted almost as studiously as MSS. by modern editors of the classics.
Just as the house of Aldus waned and expired, that of the great Dutch printers, the Elzevirs, began obscurely enough at Leyden in 1583. The Elzevirs were not, like Aldus, ripe scholars and men of devotion to learning. Aldus laboured for the love of noble studies; the Elzevirs were acute, and too often "smart" men of business. The founder of the family was Louis (born at Louvain, 1540,