Chapter XXXVI: Part VI: =The Alcove.= (2)

_Lord Bacon's Essays_; 1798, 8vo. There were only six copies
of this edition struck off upon royal folio paper: one copy
is in the Cracherode collection, in the British Museum; and
another is in the library of Earl Spencer. Mr. Leigh, the
book-auctioneer, a long time ago observed that, if ever one
of these copies were to be sold at an auction, it would
probably bring -00_l._--! I will not insert the _first_
figure; but _two noughts_ followed it.----_Twenty Plays of
Shakspeare from the old quarto editions_; 1766, 8vo., 6
vols. Only twelve copies printed upon large paper. See
_Bibl. Steevens_: no. 1312; and p. 581,
ante.----_Dodsley's Collection of Old Plays_; 1780, 8vo., 12
vols. Only six copies struck off upon large paper. Bibl.
Woodhouse, no. 698.----_The Grenville Homer_; 1800, 4to.,
4 vols. Fifty copies of this magnificent work are said to
have been printed upon large paper; which have
embellishments of plates. Mr. Dent possesses the copy which
was Professor Porson's, and which was bought at the sale of
the Professor's library, in boards, for 87_l._, see p. 459,
ante. Seven years ago I saw a sumptuous copy in morocco,
knocked down for 99_l._ 15_s._----_Mathæi Paris, Monachi
Albanenses, &c.; Historia Major; a Wats_; Lond. 1640; folio.
This is a rare and magnificent work upon large paper; and is
usually bound in two volumes.----_Historiæ Anglicanæ
Scriptores X; a Twysden_; 1652, folio. Of equal rarity and
magnificence are copies of this inestimable
production.----_Rerum Anglicarum Scriptores Veteres, a
Gale_; 1684, 91; folio, 3 volumes. There were but few copies
of this, now generally coveted, work printed upon large
paper. The difference between the small and the large, for
amplitude of margin and lustre of ink, is
inconceivable.----_Historiæ Anglicanæ Scriptores Varii, a
Sparke_; Lond. 1723, folio. The preface to this work shews
that there are copies of it, like those of Dr. Clarke's
edition of Cæsar's Commentaries, upon paper of three
different sizes. The 'charta maxima' is worthy of a
conspicuous place upon the collector's shelf; though in any
shape the book has a creditable aspect.----_Recueil des
Historiens des Gaules, &c., par Boucquet_; 1738, 1786;
folio, 13 vols. It is hardly possible for the eye to gaze
upon a more intrinsically valuable work, or a finer set of
volumes, than are these, as now exhibited in Mr. Evans's
shop, and bound in fine old red morocco by the best binders
of France. They were once in my possession; but the 'res
angusta domi' compelled me to part with them, and to seek
for a copy not so tall by head and shoulders. Since the year
1786, two additional volumes have been published.

We will now discourse somewhat of English books.

_Scott's Discoverie of Whitcraft_; 1584, 4to. Of this work,
which has recently become popular from Mr. Douce's frequent
mention of it (Illustrations of Shakspeare, &c., 1806, 2
vols., 8vo.), my friend, Mr. Utterson, possesses a very
beautiful copy upon large paper. It is rarely one meets with
books printed in this country, before the year 1600, struck
off in such a manner. This copy, which is secured from
'winter and rough weather' by a stout coat of
skilfully-tool'd morocco, is probably unique.----_Weever's
Funeral Monuments_; 1631, folio. Mr. Samuel Lysons informs
me that he has a copy of this work upon large paper. I never
saw, or heard of, another similar one.----_Sanford's
Genealogical History_; 1707, folio. At the sale of Baron
Smyth's books, in 1809, Messrs. J. and A. Arch purchased a
copy of this work upon large paper for 46_l._ A monstrous
price! A similar copy is in the library of Mr. Grenville,
which was obtained from Mr. Evans of Pall-Mall. The curious
should purchase the anterior edition (of 1677) for the sake
of better impressions of the plates; which, however, in any
condition, are neither tasteful nor well engraved. What is
called '_a good Hollar_' would weigh down the whole set of
them!----_Strype's Ecclesiastical Memorials_; 1721, _Folio_,
3 vols.----_Annals of the Reformation_; 1725, _Folio_, 4
vols. Happy the collector who can regale himself by viewing
large paper copies of these inestimable works! In any shape
or condition, they are now rare. The latter is the scarcer
of the two; and upon large paper brings, what the French
bibliographers call, 'un prix enorme.' There is one of this
kind in the beautiful library of Mr. Thomas
Grenville.----_Hearne's Works_--'till Mr. Bagster issued his
first reprints of Robert of Gloucester and Peter Langtoft,
upon paper of three different sizes--(of which the largest,
in quarto, has hardly been equalled in modern
printing)--used to bring extravagant sums at book-auctions.
At a late sale in Pall-Mall, were [Transcriber's Note:
where] the books in general were sold at extraordinary
prices, the large paper Hearnes absolutely 'hung fire'--as
the sportsman's phrase is.----_Hudibras, with Dr. Grey's
Annotations, and Hogarth's cuts_; 1744, 2 vols. There were
but twelve copies of this first and best edition of Dr.
Grey's labours upon Hudibras (which Warburton strangely
abuses--) printed upon large paper: and a noble book it is
in this form!----_Milner's History of Winchester_; 1798,
4to., 2 vols. Of this edition there were, I believe, either
twelve or twenty-four copies printed upon large paper; which
brings serious sums in the present general rage for books of
this description.----_Kennet's (Bp.) Parochial Antiquities;
Oxford_, 1695, 4to. The only known copy of this work upon
large paper is in the fine library of Sir Richard Colt
Hoare, Bart. This copy was probably in the collection of
'that well-known collector, Joseph Browne, Esq., of Shepton
Mallet, Somersetshire:' as a similar one 'in Russia, gilt
leaves,' was sold in Pt. II. of his collection, no. 279,
for 7_l._ 17_s._ 6_d._ and purchased in the name of
Thornton.----_The Chronicles of Froissart and Monstrelet_:
translated by Thomas Johnes, Esq. Hafod, 1803, 1810, quarto,
9 vols.: including a volume of plates to Monstrelet. Of
these beautiful and intrinsically valuable works, there were
only 25 copies struck off upon folio; which bring tremendous
prices.----_History of the Town of Cheltenham, and its
Environs_; 1802, 8vo. There were a few copies of this
superficial work printed upon large paper in royal octavo,
and a _unique_ copy upon paper of a quarto size; which
latter is in the possession of my friend Mr. Thomas Pruen,
of the same place. A part of this volume was written by
myself; according to instructions which I received to make
it 'light and pleasant.' An author, like a barrister, is
bound in most cases to follow his instructions! As I have
thus awkwardly introduced myself, I may be permitted to
observe, at the foot of this note, that all the LARGE PAPER
copies of my own humble lucubrations have been attended with
an unexpectedly successful sale. Of the _Introduction to the
Classics_, edit. 1804, 8vo., there were fifty copies, with
extra plates, struck off in royal octavo, and published at
2_l._ 2_s._: these now sell for 5_l._ 5_s._: the portrait of
_Bishop Fell_ making them snapped at, with a perch-like
spirit, by all true Grangerites. Of the _Typographical
Antiquities_ of our own country there were 66 printed in a
superb style, upon imperial paper, in 4to.; these were
published at 6_l._ 6_s._ a copy. The following anecdote
shews how they are 'looking up'--as the book-market phrase
is. My friend ---- parted with his copy; but finding that his
slumbers were broken, and his dreams frightful, in
consequence, he sought to regain possession of it; and
cheerfully gave 10_l._ 10_s._! for what, but a few months
before, he had possessed for little more than one half the
sum! The same friend subscribes for a _large paper_ of the
_present work_, of which there are only eighteen copies
printed: and of which my hard-hearted printer and myself
seize each upon a copy. Will the same friend display equal
fickleness in regard to THIS volume? If he does, he must
smart acutely for it: nor will 15_l._ 15_s._ redeem it! It
is justly observed, in the first edition of this work, that,
'analogous to large paper, are TALL copies: that is, copies
of the work published on the ordinary size paper, and barely
cut down by the binder,' p. 45. To _dwarfise_ a volume is a
'grievous fault' on the part of any binder; but more
particularly is it an unpardonable one on the part of him
who has had a long intercourse with professed bibliomaniacs!
To a person who knows anything of typographical arrangement,
the distinction between _tall_ and _large paper_ copies is
sufficiently obvious. For this reason, I am quite decided
that the supposed large paper copy of _Scapula's Lexicon_,
possessed by Mr. ----, of Caversham, near Reading, is only a
_tall_ copy of the work, as usually printed: nor is this
copy more stately than another which I have seen. The owner
of the volume will suppress all feelings which he may
entertain against my heretical opinions (as I fear he will
call them), when he considers that he may dispose of his
Scapula for a sum three times beyond what he gave for it.
Let him put it by the side of his neighbour Dr. Valpy's
numerous large paper copies of the old folio classics, and
he will in a moment be convinced of the accuracy of the
foregoing remark. FINE PAPER copies of a work should be here
noticed; as they are sought after with avidity. The most
beautiful work of this kind which I ever saw, was _Rapin's
History of England, in nine folio volumes, bound in red
morocco, and illustrated with Houbraken's_ Heads; which Sir
M.M. Sykes recently purchased of Mr. Evans, the
bookseller,--for a comparatively moderate sum. A similar
copy (exclusively of the illustrations) of Rapin's History
of England, which was once in the library of the Royal
Institution, was burnt in the fire that destroyed
Covent-Garden Theatre; it having been sent to Mr. Mackinlay,
the book-binder, who lived near the Theatre.]

LYSAND. I have little to add to what has been already said of this symptom. That a volume, so published, has a more pleasing aspect, cannot be denied. It is the oak, in its full growth, compared with the same tree in its sapling state: or, if you please, it is the same picture a little more brilliant in its colouring, and put into a handsomer frame. My friend MARCUS is a very dragon in this department of book-collecting: nothing being too formidable for his attack. Let the volume assume what shape it may, and let the price be ever so unconscionable--he hesitates not to become a purchaser. In consequence, exclusively of all the _Dugdales_ and _Montfaucons_, upon large paper, and in the finest bindings, he possesses the _Grand Folio Classics_, the _Benedictine Editions of the Fathers_, the _County Histories_, and all works, of a recent date, upon _History_ and the _Belles Lettres_. In short, nothing can be more magnificent than the interior of his library; as nothing but giants, arrayed in the most splendid attire, are seen to keep guard from one extremity of the room to the other.

LIS. Who is this Marcus? I'll rival him in due time!--But proceed.

BELIN. Thus much, I presume, for the first symptom of the Bibliomania. Now pray, Sir, inform us what is meant by that strange term, UNCUT COPIES?

LYSAND. Of all the symptoms of the Bibliomania, this is probably the most extraordinary.[431] It may be defined a passion to possess books of which the edges have never been sheared by the binder's tools. And here I find myself walking upon doubtful ground:--your friend [turning towards me] Atticus's _uncut Hearnes_ rise up in "rough majesty" before me, and almost "push me from my stool." Indeed, when I look around in your book-lined tub, I cannot but acknowledge that this symptom of the disorder has reached your own threshold; but when it is known that a few of your bibliographical books are left with the edges uncut _merely to please your friends_ (as one must sometimes study their tastes as well as one's own), I trust that no very serious conclusions will be drawn about the fatality of your own case.

[Footnote 431: As before, let us borrow the strains of 'An
Aspirant:'

SECOND MAXIM.

Who, with fantastic pruning-hook,
Dresses the borders of his book,
Merely to ornament its look--
Amongst philosophers a fop is:
What if, perchance, he thence discover
Facilities in turning over?
The Virtuoso is a Lover
Of coyer charms in "UNCUT COPIES."

_Bibliosophia_; p. v.

I have very little to add in illustration of Lysander's
well-pointed sarcasms relating to this _second symptom of_
BOOK-MADNESS. I think I once heard of an uncut _Cranmer's
Bible_; but have actually seen a similar conditioned copy of
_Purchas's Pilgrimes and Pilgrimage_, which is now in the
beautiful library of the Honourable T. Grenville.]

As to uncut copies, although their inconvenience [an uncut Lexicon to wit!] and deformity must be acknowledged, and although a rational man can wish for nothing better than a book _once well bound_, yet we find that the extraordinary passion for collecting them not only obtains with full force, but is attended with very serious consequences to those "que n'out point des pistoles" (to borrow the idea of Clement; vol. vi. p. 36). I dare say an uncut _first Shakspeare_, as well as an _uncut vellum Aldus_[432] would produce a little annuity!

[Footnote 432: I doubt of the existence of an uncut _first
Shakspeare_; although we have recently had evidence of an
uncut _first Homer_; for thus speaks Peignot: "A superb copy
of this Editio Princeps was sold at the sale of M. de
Cotte's books, in 1804, for 3601 livres: but it must be
remarked that this copy was in the most exquisite
preservation, as if it had just come from the press.
Moreover, it is probably the only one the margins of which
have never been either 'shaven or shorn.'" _Curiosités
Bibliographiques_, p. lxv. vi.; see also p. 79, ante. Dr.
Harwood, at page 338, of his _View of the Editions of the
Classics_, speaks of an uncut vellum Aldus, of 1504, 8vo.
"Mr. Quin shewed me a fine copy of it printed in vellum with
the _leaves uncut_, which he bought of Mr. Egerton at a very
moderate price. It is, perhaps (adds he), the only _uncut_
vellum Aldus in the world." From the joyous strain of this
extract, the Doctor may be fairly suspected of having
strongly exhibited this second symptom of the Bibliomania!]

BELIN. 'Tis very strange'--as Hamlet says at the walking of his father's ghost! But now for your ILLUSTRATED COPIES!

LYSAND. You have touched a vibrating string indeed!--but I will suppress my own feelings, and spare those of my friend. A passion for books _illustrated_, or adorned with _numerous Prints_[433] representing characters, or circumstances, mentioned in the work, is a very general and violent symptom of the Bibliomania. The origin, or first appearance, of this symptom, has been traced by some to the publication of the Rev. ---- GRANGER'S "_Biographical History of England_;" but whoever will be at the pains of reading the preface of that work will see that Granger shelters himself under the authorities of EVELYN, ASHMOLE, and others; and that he _alone_ is not to be considered as responsible for all the mischief which this passion for collecting prints has occasioned. Granger, however, was the first who introduced it in the form of a history; and surely "in an evil hour" was that history published; although its amiable author must be acquitted of "malice prepense."

[Footnote 433: This third symptom has not escaped the
discerning eye of the Manchester physician; for thus sings
Dr. Ferriar:

He pastes, from injur'd volumes snipt away,
His _English Heads_ in chronicled array,
Torn from their destin'd page (unworthy meed
Of Knightly counsel, and heroic deed),
Not _Faithorne's_ stroke, nor _Field's_ own types can save
The gallant Veres, and one-eyed Ogle brave.
Indignant readers seek the image fled,
And curse the busy fool who _wants a head_.
Proudly he shews, with many a smile elate,
The scrambling subjects of the _private plate_
While Time their actions and their names bereaves,
They grin for ever in the guarded leaves.

_The Bibliomania_; v. 119-130.

These are happy thoughts, happily expressed. In illustration
of v. 123, the author observes,--"three fine heads, for the
sake of which, the beautiful and interesting commentaries of
Sir Francis Vere have been mutilated by collectors of
English portraits." Dr. Ferriar might have added that, when
a Grangerian bibliomaniac commences his ILLUSTRATING CAREER,
he does not fail to make a desperate onset upon _Speed_,
_Boissard_, and the _Heroologia_. Even the lovely prints of
_Houbraken_ (in Dr. Birch's account of Illustrious Persons
of Great Britain) escape not the ravages of his passion for
illustration. The plates which adorn these books are
considered among the foundation materials of a Grangerian
building. But it is time, according to my plan, to introduce
other sarcastic strains of poetry.

THIRD MAXIM.

Who, swearing not a line to miss,
Doats on the leaf his fingers kiss,
Thanking the _words_ for all his bliss,--
Shall rue, at last, his passion frustrate:
_We_ love the page that draws its flavour
From Draftsman, Etcher, and Engraver
And hint the booby (by his favour)
_His_ gloomy copy to "ILLUSTRATE."

_Bibliosophia_; p. v.

At this stage of our inquiries, let me submit a new remedy
as an acquisition to the _Materia Medica_, of which many
first-rate physicians may not be aware--by proposing a

=Recipe for Illustration.=

Take any passage from any author--to wit: the following
(which I have done, quite at random) from SPEED: '_Henry le
Spenser_, the warlike _Bishop of Norwich_, being drawn on by
_Pope Vrban_ to preach _the Crusade_, and to be General
against _Clement_ (whom sundry _Cardinals_ and great
_Prelates_ had also elected Pope) having a fifteenth granted
to him, for that purpose, by _parliament_,' &c. _Historie of
Great Britaine_, p. 721, edit. 1632. Now, let the reader
observe, here are _only four_ lines; but which, to be
PROPERLY ILLUSTRATED, should be treated thus: 1st, procure
all the portraits, at all periods of his life, of _Henry le
Spencer_; 2dly, obtain every view, ancient and modern, like
or unlike, of the city of _Norwich_; and, if fortune favour
you, of _every Bishop of the same see_; 3dly, every portrait
of _Pope Vrban_ must be procured; and as many prints and
drawings as can give some notion of _the Crusade_--together
with a few etchings (if there be any) of _Peter the Hermit_
and _Richard I._, who took such active parts in the Crusade;
4thly, you must search high and low, early and late, for
every print of _Clement_; 5thly, procure, or you will be
wretched, as many fine prints of _Cardinals_ and _Prelates_,
singly or in groups, as will impress you with a proper idea
of _the Conclave_; and 6thly, see whether you may not
obtain, at some of our most distinguished old-print sellers,
views of the _house of Parliament_ at the period (A.D.
1383.) here described!!! The result, gentle reader, will be
this: you will have work enough cut out to occupy you for
one whole month at least, from rise to set of sun--in
parading the streets of our metropolis: nor will the expense
in _coach_ hire, or _shoe leather_, be the least which you
will have to encounter! The prints themselves may cost
_some_thing! Lest any fastidious and cynical critic should
accuse me, and with apparent justice, of gross exaggeration
or ignorance in this _recipe_, I will inform him, on good
authority, that a late distinguished and highly respectable
female collector, who had commenced an ILLUSTRATED BIBLE,
procured not fewer than _seven hundred prints_ for the
illustration of the 20th, 21st, 22d, 23d, 24th, and 25th
verses of the 1st chapter of Genesis! The illustrated copy
of Mr. Fox's Historical work, mentioned in the first edition
of this work, p. 63, is now in the possession of Lord
Mountjoy. The similar copy of Walter Scott's edition of
Dryden's works, which has upwards of 650 portraits, is yet
in the possession of Mr. Miller, the bookseller.]

Granger's work seems to have sounded the tocsin for a general rummage after, and plunder of, old prints. Venerable philosophers, and veteran heroes, who had long reposed in unmolested dignity within the magnificent folio volumes which recorded their achievements, were instantly dragged forth from their peaceful abodes, to be inlaid by the side of some clumsy modern engraving, within an _Illustrated Granger_!

Nor did the madness stop here. Illustration was the order of the day; and _Shakspeare_[434] and _Clarendon_ became the next objects of its attack. From these it has glanced off, in a variety of directions, to adorn the pages of humbler wights; and the passion, or rather this symptom of the Bibliomania, yet rages with undiminished force. If judiciously treated, it is, of all the symptoms, the least liable to mischief. To possess a series of well-executed portraits of illustrious men, at different periods of their lives, from blooming boyhood to phlegmatic old age, is sufficiently amusing; but to possess _every_ portrait, _bad_, _indifferent_, and _unlike_, betrays such a dangerous and alarming symptom as to render the case almost incurable!

[Footnote 434: Lysander would not have run on in this
declamatory strain, if it had been _his_ good fortune, as it
has been _mine_, to witness the extraordinary copy of an
ILLUSTRATED SHAKSPEARE in the possession of Earl Spencer;
which owes its magic to the perseverance and taste of the
Dowager Lady Lucan, mother to the present Countess Spencer.
For sixteen years did this accomplished Lady pursue the
pleasurable toil of illustration; having commenced it in her
50th, and finished it in her 66th year. Whatever of taste,
beauty, and judgment in decoration--by means of portraits,
landscapes, houses, and tombs--flowers, birds, insects,
heraldic ornaments, and devices,--could dress our immortal
bard in a yet more fascinating form, has been accomplished
by the noble hand which undertook so Herculean a task--and
with a truth, delicacy, and finish of execution, which have
been rarely equalled! These magnificent volumes (being the
folio edition printed by Bulmer) are at once beautiful and
secured by green velvet binding, with embossed clasps and
corners of solid silver, washed with gold. Each volume is
preserved in a silken cover--and the whole is kept inviolate
from the impurities of bibliomaniacal miasmata, in a
sarcophagus-shaped piece of furniture of cedar and mahogany.
What is the pleasure experienced by the most resolute
antiquary, when he has obtained a peep at the inmost
sarcophagus of the largest pyramid of Egypt, compared with
that which a tasteful bibliomaniac enjoys upon contemplating
this illustrated Shakespeare, now reposing in all the
classical magnificence and congenial retirement of its
possessor?--But why do I surpass Lysander in the warmth and
vehemence of narration! And yet, let me not forget that the
same noble owner has _another_ illustrated copy of the SAME
BARD, on a smaller scale, of which mention has already been
made in my account of the donor of it, the late George
Steevens. Turn, gentle reader, for one moment, to page 428,
ante. The illustrated CLARENDON, above hinted at by
Lysander, is in the possession of Mr. H.A. Sutherland; and
is, perhaps, a matchless copy of the author: every siege,
battle, town, and house-view--as well as portrait--being
introduced within the leaves. I will not even hazard a
conjecture for how many _thousand pounds_ its owner might
dispose of it, if the inclination of parting with it should
ever possess him. The British Museum has recently been
enriched with a similar copy of PENNANT'S _London_, on large
paper. Prints and drawings of all descriptions, which could
throw light upon the antiquities of our metropolis, are
inserted in this extraordinary copy, which belonged to the
late Mr. Crowles; who expended 2000_l._ upon the same, and
who bequeathed it, in the true spirit of _virtû_, to the
Museum. Let CRACHERODE and CROWLES be held in respectful
remembrance!]

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, [including newspapers and magazines, and by means of the scissars, or otherwise by transcription] every page or paragraph which has any connexion with the character or subject under discussion. This is a useful[435] and entertaining mode of illustrating a favourite author; and copies of works of this nature, when executed by skilful hands, should be deposited in public libraries; as many a biographical anecdote of eminent literary characters is preserved in consequence. I almost ridiculed the idea of an _Illustrated Chatterton_, 'till the sight of your friend BERNARDO'S copy, in eighteen volumes, made me a convert to the utility that may be derived from a judicious treatment of this symptom of the Bibliomania: and indeed, of a rainy day, the same bibliomaniac's similar copy of _Walton's Complete Angler_ affords abundant amusement in the perusal.

[Footnote 435: Numerous are the instances of the peculiar
use and value of copies of this kind; especially to those
who are engaged in publications of a similar nature. OLDYS'S
_interleaved Langbaine_ (of Mr. Reed's transcript of which a
copy is in the possession of Mr. Heber) 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, exclusively of Langbaine, his copy of
_Fuller's Worthies_ [once Mr. Steevens', now Mr. Malone's.
See _Bibl. Steevens_, no. 1799] be alone considered! This
Oldys was the oddest mortal that ever wrote. 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 from thence
drew up his history." See Noble's _College of Arms_, p. 420.
Thus far the first edition of this work; p. 64. It remains
to add that, whatever were the singularities and
capriciousness of Oldys, his talents were far beyond
mediocrity; as his publication of the _Harleian Miscellany_,
and _Raleigh's History of the World_, abundantly prove. To
the latter, a life of Raleigh is prefixed; and the number of
pithy, pleasant, and profitable notes subjoined shew that
Oldys's bibliographical talents were not eclipsed by those
of any contemporary. His _British Librarian_ has been more
than once noticed in the preceding pages: vide p. 51: 468.
There is a portrait of him, in a full-dressed suit and
bag-wig, in one of the numbers of the European Magazine;
which has the complete air of a fine gentleman. Let me just
observe, in elucidation of what Lysander above means by this
latter mode of illustrating copies, that in the Bodleian
library there is a copy of _Kuster's edition of Suidas_
filled, from beginning to end, with MS. notes and excerpts
of various kinds, by the famous D'Orville, tending to
illustrate the ancient lexicographer.]

LIS. Forgive me, if I digress a little. But is not the knowledge of _rare_, _curious_, and _beautiful Prints_--so necessary, it would seem, towards the perfecting of _illustrated copies_--is not this knowledge of long and difficult attainment?

LYSAND. Unquestionably, this knowledge is very requisite towards becoming a complete pupil in the SCHOOL OF GRANGER.[436] Nor is it, as you very properly suppose, of short or easy acquirement.

[Footnote 436: GRANGER'S _Biographical History of England_
was first published, I believe, in 1769, 4to., 2 vols. It
has since undergone four impressions; the last being in
1804, 8vo., 4 vols. _A Continuation of the same_, by the
Rev. MARK NOBLE, was published in 1807, 8vo., 3 vols.: so
that if the lover of rare and curious prints get possession
of these volumes, with AMES'S _Catalogue of English Heads_,
1748, 8vo.; and WALPOLE'S _Catalogue of Engravers_, 1775,
8vo.; BROMLEY'S _Catalogue of Engraved Portraits_, 1793,
4to.; together with Catalogues of English Portraits, being
the collections of Mr. BARNARD, Sir W. MUSGRAVE, Mr. TYSSEN,
Sir JAMES-WINTER LAKE; and many other similar catalogues put
forth by Mr. RICHARDSON and Mr. GRAVE; he may be said to be
in a fair way to become master of the whole arcana of
PRINT-COLLECTING. But let him take heed to the severe
warning-voice uttered by ROWE MORES, in his criticism upon
the Catalogue of English Heads, published by Ames: 'This
performance (says the splenetic and too prophetic critic) is
not to be despised: judiciously executed, a work of this
sort would be an appendage entertaining and useful to the
readers of English biography; and it ought to be done at the
common labour, expense, and charges of these
_Iconoclasts_--because their depredations are a grand
impediment to another who should attempt it: and if this
_goût_ for prints and thieving continues, let private owners
and public libraries look well to their books, for there
will not remain a valuable book ungarbled by their
connoisseuring villany: for neither honesty nor oaths
restrain them. Yet these _fanciers_, if prints themselves
are to be collected, instead of being injurious to every
body, might make themselves serviceable to posterity, and
become a kind of _medalists_ (who, by the bye, are almost as
great thieves as themselves, though the hurt they do is not
so extensive, as it lies chiefly among themselves, who all
hold this doctrine, that "exchange is no robbery;" but, if
they could filch without exchanging, no scruple of
conscience would prevent them): we say they might render
themselves useful to posterity, by gathering together the
historical, political, satyrical, anecdotal and temporal
pieces, with which the age abounds; adding an explanation of
the intent and meaning for the instruction and amusement of
times to come. The misfortune is, they must buy the one, but
they can steal the other; and steal they will, although
watched with the eyes of Argus: unless the valuables, like
some other _jocalia_, are shewn to them through a grate; and
even _then_, the keeper must be vigilant!' _Of English
Founders and Foundries_; p. 85. This extract is curious on
account of the tart, but just, sentiments which prevail in
it; but, to the bibliomaniac, it is doubly curious, when he
is informed that _only eighty copies_ of this Typographical
Treatise (of 100 pages--including the Appendix) were
printed. The author was a testy, but sagacious,
bibliomaniac, and should have been introduced among his
brethren in PART V. It is not, however, too late to subjoin
the following: _Bibliotheca Moresiana. A Catalogue of the
Large and Valuable Library of Printed Books, rare old
tracts, Manuscripts, Prints, and Drawings, Copper Plates,
sundry Antiquities, Philosophical Instruments, and other
Curiosities, of that eminent British Antiquary_, the late
Rev. and learned EDWARD ROWE MORES, F.A.S., deceased, &c.
Sold by auction by Mr. Patterson, August 1779. This
collection exhibited, like its owner, a strange mixture of
what was curious, whimsical, and ingenious in human nature.
There were 2838 lots of printed books. _The rare old
black-letter books and tracts_, begin at p. 52.]

ALMAN. How so? A very little care, with a tolerably good taste, is only required to know when a print is _well engraved_.

LYSAND. Alas, Madam! the excellence of engraving is oftentimes but a _secondary_ consideration!

BELIN. Do pray explain.

LYSAND. I will, and as briefly and perspicuously as possible.

There are, first, _all the varieties of the same print_[437] to be considered!--whether it have the _name of the character_, or _artist_, omitted or subjoined: whether the head of the print be without the body, or the body without the head--and whether this latter be finished, or in the outline, or ghostly white! Then you must go to _the dress_ of this supposed portrait:--whether full or plain; court or country-fashioned: whether it have a hat, or no hat; feather, or no feather; gloves, or no gloves; sword, or no sword; and many other such momentous points.

[Footnote 437: The reader, by means of the preceding note,
having been put in possession of some of the principal works
from which information, relating to PRINT-COLLECTING may be
successfully gleaned, it remains for me--who have been
described as sitting in a corner to compile notes for
Lysander's text-discourse--to add something by way of
illustration to the above sweeping satire. One or the other
of the points touched upon in the text will be found here
more particularly elucidated.

CATALOGUE OF BARNARD'S PRINTS; 1798, 8vo.

7th Day's Sale.

NO. 47. Sir Thos. Isham de Lamport, by Loggan and Valck;
_before the names of the artists, very fine_. £5 5_s._ 0_d._

68. King Charles I. on horseback, with the page, by Lombard;
_very fine and scarce_. 1 14 0

69. The same plate; _with Cromwell's head substituted for
the King's--variation in the drapery_. 3 6 0

70. The same: a curious proof--_the face blank and no
inscription at bottom--drapery of the page different_--and
other variations. 1 2 0

90. Catharine, queen of K. Charles II.; _in the dress in
which she arrived: very scarce_. By Faithorne. 4 16 0

97. Queen Elizabeth; habited in the superb court dress in
which she went to St. Paul's to return thanks for the defeat
of the Spanish Armada--by Passe; from a painting of Isaac
Oliver. 6 12 6

[I have known from 14_l._ to 20_l._ given for a fine
impression of this curious print: but I am as well pleased
with Mr. Turner's recently published, and admirably
executed, facsimile mezzotint engraving of it; a proof of
which costs 1_l._ 1_s._ Every member of the two Houses--and
every land and sea Captain--ought to hang up this print in
his sitting-room.]

Eighth day's Sale.

6. Esther before Ahasuerus: engraved by Hollar; _first
impression; with the portraits at top; curious and extremely
rare_. 16 0 0

199. Jo. Banfi Hunniades; _proof; very fine and rare_. By
the same. 2 7 0

200. The same print, _with variations_. By the same. 3 15 0

202. The Stone-eater; _with his history below_. By the same.
_Very rare._ 4 4 0

248. Sir Thomas Chaloner; by the same. _A proof impression.
One of the scarcest prints in existence._ 59 17 0

[A similar print has been since sold for 74_l._; which is in
the collection of Mr. John Townley; whose HOLLARS are
unrivalled!]

256. Herbert, Earl of Pembroke; _before the alteration_. By
the same. 2 10 0

257. Devereux, Earl of Essex; _on horseback_. By the same. 4
5 0

258. Devereux, Earl of Essex: _standing on foot; whole
length_. By the same. 4 4 0

259. Algernon, Earl of Northumberland; _on horseback_. By
the same. 14 0 0

266. Lady Elizabeth Shirley; _an unfinished proof, the
chaplet round her head being only traced; curious and
extremely rare_. By the same. 10 10 0

267. _A reverse of the proof; very fine_. By the same. 5 5 0

CATALOGUE OF SIR WILLIAM MUSGRAVE'S PRINTS.

Third Day's Sale.

29. George, Earl of Berkeley; oval, _in his robes_, 1679;
_extra fie [Transcriber's Note: fine] and rare_. 10 5 0

45. George, Duke of Buckingham; oval; _cloak over his left
arm, hand on sword, nine lines expressive of his titles,
&c._ Sold by P. Stent: _fine and extra rare_. 4 12 0

109. George, Earl of Cumberland; _whole length, dressed for
a tournament_. By R. White. 11 0 0

Fifth Day's Sale.

94. The Newcastle Family, in a room, after Diepenbeke, by
Clowet; _a beautiful proof, before the verses, extra rare_.
39 18 0

[There is a very indifferent copy of this print. The
original may be seen in the collection of the Marquis of
Stafford and Sir M.M. Sykes, Bart. Nothing can exceed the
tenderness and delicacy of Clowet's engraving of this
naturally conceived and well-managed picture.]

Tenth Day's Sale.

82. Richard Smith; virtuoso and literary character. By W.
Sherwin; _extra rare and fine_. [See my account of this
distinguished bibliomaniac at p. 302, ante. Sir M.M. Sykes
is in possession of Sir William Musgrave's copy of the
portrait.] 7 17 0

Eleventh Day's Sale.

30. Sir Francis Willoughby; _with a view of Wollaton Hall_;
mezzotint by T. Man, _extra rare_. 13 2 6

43. Sir Francis Wortley; 1652, folio: with trophies, books,
&c., by A. Hertochs: extra rare and fine. 29 10 0

Eighteenth Day's Sale.

78. Dr. Francis Bernard; _a touched proof_; _very rare_.
[The reader may recollect this sagacious bibliomaniac, as
noticed at page 316, ante.] 4 14 6

Twentieth Day's Sale.

85. Sir Matthew Lister; M.D. 1646; by P. Van Somer; _fine
proof, extra rare_. 14 14 0

86. Humphrey Lloyd, of Denbigh, Antiquary, ætat. 34, 1651.
By Faber, 1717, _extra rare and fine_. 4 7 0

Twenty-first Day's Sale.

9. Sir John Marsham; ætat. 80. By R. White, _extra rare and
fine_. 6 6 0

19. Martin Master; ætat. 53. 1607. By R. Gaywood, _extra_
rare _and_ fine. 8 8 0

Twenty-seventh Day's Sale.

80. Lady Paston, wife of Sir William Paston, by W.
Faithorne; _extra rare and fine_. 31 0 0

82. Mary, Countess of Pembroke, by Simon Passe, 1618. _Fine
and rare._ 10 0 0

83. Penelope, Countess of Pembroke, in an oval, by W.
Hollar. _Rare._ 3 6 0

84. Anne Clifford, Countess of Pembroke, by R. White:
_extra_ rare _and_ fine. 7 17 6

[The prints at this sale--the catalogue containing 323
pages--were sold for 4987_l._ 17_s._]

MISCELLANEOUS CATALOGUES OF PRINTS.

First Day's Sale.

58. Richard Cromwell, Lord Protector, in a square. "This
portrait was etched by Hollar, but he was afraid to put his
name to it; and the plate was destroyed as soon as Richard
resigned his pretensions to the Protectorship." Note by Mr.
Hillier. _Very rare._ 1 10 0

61. Lord Digby, in armour; after Vander Borcht. _Extra_ rare
_and_ fine. 9 9 0

64. Robert Devereux, Earl of Essex, _standing, whole length:
army in the distance_, 1644, _fine and rare_. 5 5 0

65. The same, on horseback: under the horse a map of
England; 1643: _first state of the plate; extra fine and
rare_. 9 0 0

73. Hollar's own portrait, in an oval, ætat. 40, 1647: _with
variations in the arms_. 3 3 0

Sixth Day's Sale.

53. Sir William Paston, 1659: esteemed Faithorne's finest
portrait: _extra rare_. 10 15 0

56. Carew Reynell, from the Fothergill collection: _extra_
fine _and_ rare. 16 5 6

62. Prince Rupert, in armour, _right hand on the breast_:
after Vandyck. Sold by Robert Peake. _Extra_ fine _and_
rare. 9 0 0

Thirteenth Day's Sale.

54. King and Queen of Bohemia, and five children, by Wm.
Passe, with thirty-two Englishes [qu?]; 1621: _extra fine
and rare_, The same plate; _with the addition of five
children; the youngest in a cradle_. 4 11 0

55. The same, sitting under a tree; with four children; the
youngest playing with a rabbit: fine _and_ rare. 6 6 0

92. James, Duke of York: _with the anchor, proof_; very fine
and rare. (16th day's sale.) 5 2 6

72. Sir Francis Winderbank and Lord Finch; _with Finch's
wings flying to Winderbank_; extra rare. (19th day.) 25 0 0

_A Catalogue of a genuine and valuable Collection of English
and Foreign Portraits, &c., sold by Auction by Mr.
Richardson, February_ 18, 1798.

1ST DAY'S SALE.

34. Princess Augusta Maria, daughter of Charles I. _in hat
and feather_, ætat. 15, 1646: by Henry Danckers, 1640. _Fine
and rare._ 3 3 0

57. Anne, Queen of James I. with her daughter Anne;
_curiously dressed, whole length_. By J. Visscher: _extra_
fine _and_ rare. 6 0 0

41. Mary, Queen of Scotts: "Scotorumque nunc Regina"--_in an
oval: cap adorned with jewels, feather-fan in her hand_, &c.
By Peter Mynginus: _extra_ fine _and_ rare. 6 12 0

53. Prince Frederick, Count Palatine, with Princess
Elizabeth, _whole length, superbly dressed_: By R.
Elstracke: _extra_ fine _and_ rare. 14 0 0

74. Henry the Eighth, _with hat and feather, large fur
tippet_: by C. M(atsis); _very_ fine, _and supposed unique_.
10 10 0

79. Mary, Queen of Scots: _veil'd cross at her breast:
ætat._ 44, 1583: _extra_ fine _and_ rare. 9 2 6

80. Queen Elizabeth; _superbly dressed, between two pillars:
extra_ fine _and_ rare. 15 15 0

_A Catalogue of a valuable and genuine Collection of Prints,
Drawings, and elegantly illustrated Books, &c., sold by
auction by Mr. Richardson; March_, 1800.

143. Henry, Lord Darnley, by Passe; fine _and very_ rare. 16
0 0

186. Sir Philip Sidney, by Elstracke; _extremely_ fine. 3 1 0

263. Thomas Howard, Earl of Suffolk, by ditto, _extra_ fine
_and_ rare. 13 0 0

264. Edward Somerset, Earl of Worcester, by Simon Passe:
rare _and_ fine. 7 15 0

265. Henry Vere, Earl of Oxford, sold by Compton Holland;
_very_ rare _and_ fine. 9 0 0

273. Henry Wriothesly, Earl of Southampton, by Simon Passe;
_most brilliant impression, extra rare_. 13 5 0

278. Thomas Howard, Earl of Arundel, by the same; _rare and
very fine_. 5 0 0

279. Richard Sackville, Earl of Dorset, by the same; _extra
fine and rare_--(with a copy by Thane). 3 0 0

280. John Digby, Earl of Bristol; rare and fine: from the
Fothergill Collection. 13 0 0

281. Robert Sidney, Viscount Lisle, by Simon Passe; _rare
and very fine_. 5 2 6

284. Edmund, Baron Sheffield: by Elstracke; _very fine_. 14
10 0

286. James, Lord Hay, by Simon Passe; _brilliant
impression_, fine _and_ rare. 9 0 0

294. George Mountaine, Bishop of London; G.Y. sculpsit;
_very fine and rare_. 5 10 0

330. Sir Julius Cæsar, by Elstracke; _extra_ fine _and_
rare. 23 12 6

335. Arthurus Severus Nonesuch O'Toole, by Delaram; _most
brilliant impression, and very rare_ (with the copy). 11 11 0

367. Sir John Wynn de Gwedir, by Vaughan; _very rare_. 6 6 0

472. Prince Frederic Henry, by Delaram: _very_ fine _and_
rare. 5 7 6

479. Prince Rupert, by Faithorne; _very_ fine _and_ rare. 7
5 0

567. Sir John Hotham, Governor of Hull; _whole length;
extremely_ rare _and_ fine. 43 1 0

812. Edward Mascall, by Gammon. 7 3 0

946. Edward Wetenhall, Bishop of Corke and Ross; mezzotint,
by Becket; _fine_. 5 0 0

960. Andrew Lortie, by Van Somer. 13 5 0

979. Thomas Cole, large mezzotint. 4 10 0

997. Sir William Portman, mezzotint. 7 10 0

1001. Anthony, Earl of Shaftesbury, by Blooteling;
_exceeding_ fine _impression_. 6 0 0

1013. Sir Patrick Lyon, of Carse, by White. 5 5 0

1033. Sir Greville Verney, by Loggan. 5 10 0

1045. Marmaduke Rawdon, by White; fine. 14 0 0

1048. Slingsby Bethel, _whole length_, by W. Sherwin (with
small copy). 17 5 0

1054. Samuel Malines, by Lombart; very fine. 12 0 0

1057. Thomas Killegrew, _as sitting with the dog_: by
Faithorne. 16 0 0

_A Catalogue of a very choice assemblage of ENGLISH
PORTRAITS, and of Foreigners who have visited England:
serving to illustrate GRANGER'S BIOGRAPHICAL HISTORY; the
property of an eminent Collector_, &c., Sold by auction, by
Messrs. King and Lochée, April, 1810.

But it is time to pause. The present note may have
completely served to shew, not only that Lysander was right
in drawing such bold conclusions respecting the consequences
resulting from the publication of Granger's Biographical
History, and the capriciousness of print-fanciers respecting
impressions _in their various stages_, and with _all their
varieties_,--but, that the pursuit of PRINT-COLLECTING is
both costly and endless. For one 'fine and rare' _print_, by
Hollar, Faithorne, Elstracke, the Passes, Delaram, or White,
how many truly precious and useful _volumes_ may be
collected? "All this is vastly fine reasoning"--methinks I
hear a Grangerite exclaim--"but compare the comfort afforded
by your 'precious and useful volumes' with that arising from
the contemplation of eminent and extraordinary characters,
executed by the _burin_ of some of those graphic heroes
before-mentioned--and how despicable will the dry unadorned
volume appear!! On a dull, or rainy day, look at an
illustrated Shakespeare, or Hume, and then find it in your
heart, if you can, to depreciate the GRANGERIAN PASSION!!" I
answer, the Grangerite is madder than the Bibliomaniac:--and
so let the matter rest.]

Next let us discuss the serious subject of the _background_!--whether it be square or oval; dark or light; put in or put out; stippled or stroked; and sundry other similar, but most important, considerations. Again; there are engravings of _different sizes_, and _at different periods_, of the same individual, or object: and of these, the varieties are as infinite as of any of those attached to the vegetable system. I will not attempt even an outline of them. But I had nearly forgotten to warn you, in your REMBRANDT _Prints_, to look sharply after _the Burr_!

ALMAN. Mercy on us--what is this _Burr_?!

LYSAND. A slight imperfection only; which, as it rarely occurs, makes the impression more valuable. It is only a sombre tinge attached to the copper, before the plate is sufficiently polished by being worked; and it gives a smeared effect, like smut upon a lady's face, to the impression! But I am becoming satirical. Which is the next symptom that you have written down for me to discourse upon?

LIS. I am quite attentive to this delineation of a _Print Connoisseur_; and will not fail to mark _all the_ REMBRANDT[438] _varieties_, and take heed to the _Burr_!

[Footnote 438: All the book and print world have heard of
DAULBY'S _Descriptive Catalogue of the works of Rembrandt_,
&c. Liverpool, 1796, 8vo. The author's collection of
Rembrandt's prints (according to a MS. note prefixed to my
copy of it, which is upon _large paper_ in 4to.--of which
_only fifty_ impressions were struck off) was sold at
Liverpool, in 1799, in one lot; and purchased by Messrs.
Colnaghi, Manson, and Vernon, for 610_l._ It was sold in
1800, in separate lots, for 650_l._, exclusively of every
expense; after the purchasers had been offered 800_l._ for
the same. Some of these prints came into the possession of
the late Mr. Woodhouse (vide p. 441, ante); and it is from
the Catalogue of _his_ Collection of prints that I present
the reader with the following

REMBRANDTIANA;

beseeching him to take due heed to what Lysander has above
alluded to by _all the Varieties and the Burr_!

Lot 5 Daulby 30. Abraham entertaining the three angels;
_very_ fine, _with the burr, on India paper_. £2 18_s._
0_d._

10 43. The Angel appearing to the Shepherds; _very fine,
presque unique_. 6 0 0

14 56. The flight into Egypt, in the style of Elsheimer; _on
India paper, the 1st impression, extremely rare_. 4 16 0

22 75. The Hundred Guilder Piece. This impression on India
paper, _with the burr_, is acknowledged by the greatest
connoisseurs in this kingdom to be the most brilliant
extant. 42 0 0

23 75. Ditto, restored plate, by Capt. Baillie, _likewise on
India paper, and very fine_. 2 12 6

25 77. The Good Samaritan; _the 1st impression with the
white tail_, most beautifully finished, with a light point,
and fine hand; very fine and rare. 6 6 0

27 79. Our Lord before Pilate, _second impression on India
paper_, fine _and_ scarce. 5 15 6

28 79. Same subject, third impression, _with the mask,
extremely rare_: from the collection of the Burgomaster Six.
4 4 0

30 84. The Descent from the Cross. This print is beautifully
executed, the composition is grand, and the head full of
character; _1st and most brilliant impression_. 15 15 0

39 117. The Rat-killer; _a most beautiful impression_. 3 3 0

42 126. The Marriage of Jason and Creusa; _a 1st impression,
without the crown_, on India paper, very brilliant. 4 10 0

45 152. The Hog; a remarkably fine impression, from
Houbraken's collection: _scarce_. 1 14 0

46 154. The Shell. This piece is finely executed, and this
impression, _with the white ground, may be regarded as
presque unique_. 9 10 0

47 178. Ledikant, or French Bed. _This is the entire plate,
and is a very great rarity._ 4 14 6

56 194. The Woman with the Arrow: _very scarce_. 2 15 0

61 204. The Three Trees; _as fine as possible_. 6 10 0

63 209. A Village near a high road, arched: _1st impression
on India paper, before the cross hatchings_: scarce. 4 14 6

67 213. A landscape of an irregular form; _1st impression,
with the burr, very scarce_. 5 0 0

82 232. Blement de Jonge; _1st impression, the upper bar of
the chair is left white, extremely rare_. 2 7 0

83 252. Ditto, _second impression_, very _scarce_. 1 7 0

84 252. Ditto, third impression, _very_ fine. 2 10 0

85 253. Abraham France, _with the curtain, on India paper_.
5 5 0

86 353. [Transcriber's Note: 253.] Ditto: _with the chair_.
3 18 0

87 254. Ditto; _with the figures on the paper which he holds
in his wands_. All these impressions are rare and fine. 5 10 0

88 254. Old Haaring or Haring, the Burgo-master; _beautiful
impression on India paper, with the burr, extremely rare_. 7
7 0

89 255. Young Haaring, beautiful impression from Houbraken's
collection; _scarce_. 6 6 0

90 256. John Lutma; _1st impression before the window_, &c.
_extremely rare_. 4 10 3

93 257. John Aselyn; _1st impression, with the easel,
extremely rare_. 9 2 0

97 259. Wtenbogardus, the Dutch Minister; a most beautiful
and brilliant impression, oval, on a square plate; _proof,
before the pillar, arch, verses, or any inscription: presque
unique_. 9 19 6

99 261. The Gold Weigher; _1st impression, with_ THE FACE
BLANK, _extremely rare_. 10 10 0

100 261. Ditto; _a most beautiful and brilliant impression;
and esteemed the_ finest _extant_. From the collection of
Capt. Baillie. 21 0 0

101 262. The Little Coppenol, with the picture; _the second
and rarest impression, generally esteemed the 1st_; from the
Earl of Bute's collection. 7 7 0

102 262. Ditto; without the picture, very fine. 1 13 0

103 263. The great Coppenol, remarkably fine. 4 14 6

104 265. The Advocate Tol; _a superb impression, extremely
rare with the copy_. 54 12 0

145 265. The Burgo-master Six; _a most extraordinary
impression, the name and age of the Burgo-master are
wanting, and the two middle figures in the date are
reversed: a very great rarity_. 36 15 0

Perhaps the finest collection of REMBRANDT'S PRINTS, in
great Britain, is that in the possession of Lord Viscount
Fitzwilliam, at Richmond; a nobleman of extremely retired
habits, and equally distinguished for his taste, candour,
and erudition. His Paintings and Books are of the very first
class.]

LYSAND. Do so; and attend the shops of Mr. Richardson, Mr. Woodburn, and Mr. Grave, and you may soon have a chance of gratifying your appetite in these strange particulars. But beware of a HOGARTH rage!

LIS. Is that so formidable?

LYSAND. The longest life were hardly able to make the collection of Hogarth's prints complete! The late Mr. Ireland has been the Linnæus to whom we are indebted for the most minute and amusing classification of the almost innumerable varieties of the impressions of Hogarth's plates.[439]

[Footnote 439: The Marquis of Bute has, I believe, the most
extraordinary and complete collection of HOGARTH'S PRINTS
that is known. Of the _Election Dinner_ there are six or
seven varieties; gloves, and no gloves; hats, from one to
the usual number; lemon, and no lemon; punch bowl, and no
punch bowl. But of these _varying_ prints, the most curious
is the one known by the name of _Evening_: with a little boy
and girl, crying, in the back-ground. At first, Hogarth did
_not_ paint _the girl_, and struck off very few impressions
of the plate in this state of the picture. A friend
observing to him that the boy was crying with no apparent
cause of provocation, Hogarth put in the little girl
tantalizing him. But--happy he! who has the print of the
'Evening' _without_ the little girl: fifteen golden guineas
(rare things now to meet with!) ought not to induce him to
part with it. Of the copper-plate portraits by Hogarth, the
original of '_Sarah Malcolm, executed_ 1732,' is among the
very rarest; a copy of this selling for 7_l._ 17_s._ 6_d._
at Barnard's sale. The reader has only to procure that most
interesting of all illustrative works, _Hogarth Illustrated
by John Ireland_, 1793, (2d edit.) 3 vols., 8vo.; and, for a
comparatively trifling sum, he may be initiated into all the
mysteries of Hogarthian _virtû_. The late Right Hon. W.
Wyndham's collection of Hogarth's prints, bequeathed to him
by Mr. George Steevens, was _bought in_ for little more than
300 guineas.]

LIS. I will stick to Rembrandt and leave Hogarth at rest. But surely, this rage for _Portrait Collecting_ cannot be of long duration. It seems too preposterous for men of sober sense and matured judgment to yield to.

LYSAND. So think _you_--who are no Collector! But had you accompanied me to Mr. Christie's on Friday[440] last, you would have had convincing evidence to the contrary. A little folio volume, filled with one hundred and fifty-two prints, produced--

[Footnote 440: If the reader casts his eye upon pages 505-6
he will find that the ardour of print and portrait
collecting has not abated since the time of Sir W. Musgrave.
As a corroboration of the truth of Lysander's remark, I
subjoin a specimen (being only four articles) of the present
rage for 'curious and rare' productions of the _burin_--as
the aforesaid Grangerite (p. 507) terms it.

NO. 54. The Right Honourable and truly generous Henry Veere,
Earl of Oxford, Viscount Bulbeck, &c. Lord High Chamberlain
of England. J. Payne sculp. With a large hat and feather,
small, in a border with many figures. Will. Passo, sculp.
Tho. Jenner exc. On distinct plates. _The most brilliant
impression of a print of the greatest rarity._ £30 9_s._
0_d._

63. Generall (Edward) Cecyll son to the Right Honourable the
Earle of Exeter, &c. In an oval; in armour. Simmon Passæs,
sculp. Anno 1618. Sould in Pope's Head Alley, also by John
Sudbury and George Humble. _Most brilliant impression of a
print of the greatest rarity._ 34 2 6