A

BIBLIOGRAPHICAL

_Antiquarian_

AND

PICTURESQUE TOUR. 

PRINTED BY WILLIAM NICOL, AT THEShakespeare Press. 

[Illustration: ANN OF BRITTANY. From an Illustrated Missal in the Royal Library at Paris. ]

London. Published June 1829. By R. Jennings. Poultry. 

A

BIBLIOGRAPHICAL

_Antiquarian_

AND

PICTURESQUE TOUR

IN

FRANCE AND GERMANY. 

BY THE REVERENDTHOMAS FROGNALL DIBDIN, D. D. 

MEMBER OF THE ROYAL ACADEMY AT ROUEN, AND OF THEACADEMY OF UTRECHT. 

SECOND EDITION. 

VOLUME II. 

DEI OMNIA PLENA. 

LONDON:

PUBLISHED BY ROBERT JENNINGS, AND JOHN MAJOR. 

1829. 

CONTENTS OF VOLUME II. 

CONTENTS. 

VOLUME II. 

LETTER I. 

PARIS. _The Boulevards. Public Buildings. Street Scenery. Fountains_. 1

LETTER II. 

_General Description of the Bibliothèque du Roi. TheLibrarians_. 42

LETTER III. 

_The same subject continued_. 64

LETTER IV. 

_The same subject continued_. 82

LETTER V. 

PARIS. _Some Account of the early printed and rareBooks in the Royal Library_. 101

LETTER VI. 

_Conclusion of the Account of the Royal Library. TheLibrary of the Arsenal_. 144

LETTER VII. 

_Library of Ste. Geneviève. The Abbé Mercier St. Léger. Library of the Mazarine College, or Institute. Private Library of the King. Mons. Barbier, Librarian_. 169

_Introduction to Letter VIII_. 209

LETTER VIII. 

_Some Account of the late Abbé Rive. Booksellers. Printers. Book Binders_. 214

LETTER IX. 

_Men of Letters. Dom Brial. The Abbé Bétencourt. Messrs. Gail, Millin, and Langlès. A RoxburgheBanquet_. 251

LETTER X. 

_The Collections of Denon, Quintin Craufurd, and theMarquis de Sommariva_. 279

LETTER XI. 

_Notice of M. Willemin's Monumens Français inédits. Miscellaneous Antiquities. Present State of theFine Arts. General Observations upon the NationalCharacter_. 317

LETTER XII. 

_Paris to Strasbourg. Nancy_. 343

LETTER XIII. 

STRASBOURG. _Establishment of the Protestant Religion. The Cathedral. The Public Library_. 374

LETTER XIV. 

_Society. Environs of Strasbourg. Domestic Architecture. Manners and Customs. Literature. Language_. 413

[Illustration]

_LETTER I. _

PARIS. THE BOULEVARDS. PUBLIC BUILDINGS. STREET SCENERY. FOUNTAINS. [1]

_Paris, June 18, 1818_. 

You are probably beginning to wonder at the tardiness of my promisedDespatch, in which the architectural minutiæ of this City were to besomewhat systematically described. But, as I have told you towards theconclusion of my previous letter, it would be to very little purpose toconduct you over every inch of ground which had been trodden and describedby a host of Tourists, and from which little of interest or of noveltycould be imparted. Yet it seems to be absolutely incumbent upon me to say_something_ by way of local description. 

Perhaps the BOULEVARDS form the most interesting feature about Paris. Ispeak here of the _principal_ Boulevards:--of those, extending from _Ste. Madelaine_ to _St. Antoine_; which encircle nearly one half the capital. Either on foot, or in a carriage, they afford you singular gratification. Avery broad road way, flanked by two rows of trees on each side, withinwhich the population of Paris seems to be in incessant agitation--loftyhouses, splendid shops, occasionally a retired mansion, with a parterre ofblooming flowers in front--all manner of merchandize exposed in the openair--prints, muslins, _kaleidoscopes_, (they have just introduced them[2])trinkets, and especially watch chains and strings of beads, spread in gaycolours upon the ground--the undulations of the chaussée--and a bright bluesky above the green trees--all these things irresistibly rivet theattention and extort the admiration of a stranger. You may have your bootscleaned, and your breakfast prepared, upon these same boulevards. Felicitous junction of conveniences!

This however is only a hasty sketch of what may be called a morning scene. AFTERNOON approaches: then, the innumerable chairs, which have been a longtime unoccupied, are put into immediate requisition: then commences the"high exchange" of the loungers. One man hires two chairs, for which hepays two sous: he places his legs upon one of them; while his body, in aslanting position, occupies the other. The places, where these chairs arefound, are usually flanked by coffee houses. Incessant reports from drawingthe corks of beer bottles resound on all sides. The ordinary people arefond of this beverage; and for four or six sous they get a bottle ofpleasant, refreshing, small beer. The draught is usually succeeded by adoze--in the open air. What is common, excites no surprise; and the streamof population rushes on without stopping one instant to notice thesesomniferous indulgences. Or, if they are not disposed to sleep, they sitand look about them: abstractedly gazing upon the multitude around, or atthe heavens above. Pure, idle, unproductive listlessness is the necessarycause of such enjoyment. 

Evening approaches: when the Boulevards put on their gayest and mostfascinating livery. Then commences the bustle of the _Ice Mart_: in otherwords, then commences the general demand for ices: while the rival andneighbouring _caffés_ of TORTONI and RICHE have their porches of entrancechoked by the incessant ingress and egress of customers. The full moonshines beautifully above the foliage of the trees; and an equal number ofcustomers, occupying chairs, sit without, and call for ices to be broughtto them. Meanwhile, between these loungers, and the entrances to thecaffés, move on, closely wedged, and yet scarcely in perceptible motion, the mass of human beings who come only to exercise their eyes, by turningthem to the right or to the left: while, on the outside, upon the chaussée, are drawn up the carriages of visitors (chiefly English ladies) who prefertaking their ice within their closed morocco quarters. The varieties of iceare endless, but that of the _Vanille_ is justly a general favourite: notbut that you may have coffee, chocolate, punch, peach, almond, and in shortevery species of gratification of this kind; while the glasses are filledto a great height, in a pyramidal shape, and some of them with layers ofstrawberry, gooseberry, and other coloured ice--looking like pieces of aHarlequin's jacket--are seen moving to and fro, to be silently andcertainly devoured by those who bespeak them. Add to this, every one hashis tumbler and small water-bottle by the side of him: in the centre of thebottle is a large piece of ice, and with a tumbler of water, poured outfrom it, the visitor usually concludes his repast. The most luxurious ofthese ices scarcely exceeds a shilling of our money; and the quantity is atleast half as much again as you get at a certain well-known confectioner'sin Piccadilly. 

It is getting towards MIDNIGHT; but the bustle and activity of theBoulevards have not yet much abated. Groups of musicians, ballad-singers, tumblers, actors, conjurors, slight-of-hand professors, and raree-shew men, have each their distinct audiences. You advance. A little girl with araised turban (as usual, tastefully put on) seems to have no mercy eitherupon her own voice or upon the hurdy-gurdy on which she plays: her fathershews his skill upon a violin, and the mother is equally active with theorgan; after "a flourish"--not of "trumpets"--but of these instruments--thetumblers commence their operations. But a great crowd is collected to theright. What may this mean? All are silent; a ring is made, of which theboundaries are marked by small lighted candles stuck in pieces of clay. Within this circle stands a man--apparently strangled: both arms areextended, and his eyes are stretched to their utmost limits. You look moreclosely--and the hilt of a dagger is seen in his mouth, of which the bladeis introduced into his stomach! He is almost breathless, and ready tofaint--but he approaches, with the crown of a hat in one hand, into whichhe expects you should drop a sous. Having made his collection, he drawsforth the dagger from its carnal sheath, and, making his bow, seems toanticipate the plaudits which invariably follow. [3] Or, he changes his planof operations on the following evening. Instead of the dagger put down histhroat, he introduces a piece of wire up one nostril, to descend by theother--and, thus self-tortured, demands the remuneration and the applauseof his audience. In short, from one end of the Boulevards to the other, fornearly two English miles, there is nought but animation, good humour, and, it is right to add, good order;--while, having strolled as far as theBoulevards _de Bondy_, and watched the moon-beams sparkling in the waterswhich play there within the beautiful fountain so called, --I retread mysteps, and seek the quiet quarters in which this epistle is penned. 

The next out-of-door sources of gratification, of importance, are the_Gardens of the Thuileries_, the _Champs Elysées_, and the promenade withinthe _Palais Royal_; in which latter plays a small, but, in my humbleopinion, the most beautifully constructed fountain which Paris can boastof. Of this, presently. The former of these spots is rather pretty thanpicturesque: rather limited than extensive: a raised terrace to the left, on looking from the front of the Thuileries, is the only commandingsituation--from which you observe the Seine, running with its green tint, and rapid current, to the left--while on the right you leisurely examinethe rows of orange trees and statuary which give an imposing air ofgrandeur to the scene. At this season of the year, the fragrance of theblossoms of the orange trees is most delicious. The statues are of acolossal, and rather superior kind ... For garden decoration. There arepleasing vistas and wide gravel walks, and a fine evening usually fillsthem with crowds of Parisians. The palace is long, but rather too low andnarrow; yet there is an air of elegance about it, which, with theimmediately surrounding scenery, cannot fail to strike you very agreeably. The white flag of St. Louis floats upon the top of the central dome. The_Champs Elysées_ consist of extensive wooded walks; and a magnificent roaddivides them, which serves as the great attractive mall for carriages--especially on Sundays--while, upon the grass, between the trees, on thatday, appear knots of male and female citizens enjoying the waltz orquadrille. It is doubtless a most singular, and animated scene: the utmostorder and good humour prevailing. The _Place Louis Quinze_, running atright angles with the Thuileries, and which is intersected in your route tothe _Rue de la Paix_, is certainly a most magnificent front elevation;containing large and splendid houses, of elaborate exterior ornament. Whencompleted, to the right, it will present an almost matchless front ofdomestic architecture, built upon the Grecian model. It was in this place, facing his own regal residence of the Thuileries, that the unfortunateLouis--surrounded by a ferocious and bloodthirsty mob--was butchered by theguillotine. 

Come back with me now into the very heart of Paris, and let us strollwithin the area of the _Palais Royal_. You may remember that I spoke of afountain, which played within the centre of this popular resort. Thedifferent branches, or _jets d'eau_, spring from a low, central point; andcrossing each other in a variety of angles, and in the most pleasing mannerof intersection, produce, altogether, the appearance of the blossom of alarge flower: so silvery and transparent is the water, and so gracefullyare its glassy petals disposed. Meanwhile, the rays of the sun, streamingdown from above, produce a sort of stationary rainbow: and, in the heat ofthe day, as you sit upon the chairs, or saunter beneath the trees, theeffect is both grateful and refreshing. The little flower garden, in thecentre of which this fountain seems to be for ever playing, is a perfectmodel of neatness and tasteful disposition: not a weed dare intrude: andthe earth seems always fresh and moist from the spray of the fountain--while roses, jonquils, and hyacinths scatter their delicious fragrancearound. For one minute only let us visit the _Caffé des Mille Colonnes_: socalled (as you well know) from the number of upright mirrors and glasseswhich reflect the small columns by which the ceiling is supported. Brilliant and singular as is this effect, it is almost eclipsed by theappearance of the Mistress of the House; who, decorated with rich and raregems, and seated upon a sort of elevated throne--uniting great comelinessand (as some think) beauty of person--receives both the homage and (what isdoubtless preferable to her) the _francs_ of numerous customers andadmirers. The "wealth of either Ind" sparkles upon her hand, or glittersupon her attire: and if the sun of her beauty be somewhat verging towardsits declension, it sets with a glow which reminds her old acquaintance ofthe splendour of its noon-day power. It is yet a sharply contested pointwhether the ice of this house be preferable to that of Tortoni: a point, too intricate and momentous for my solution. "Non nostrum est ... Tantascomponere lites. "

Of the _Jardin des Plantes_, which I have once visited, but am not likelyto revisit--owing to the extreme heat of the weather, and the distance ofthe spot from this place--scarcely too much can be said in commendation:whether we consider it as a _dépôt_ for live or dead animals, or as aschool of study and instruction for the cultivators of natural history. Thewild animals are kept, in their respective cages, out of doors, which isequally salutary for themselves and agreeable to their visitors. I was muchstruck by the perpetual motion of a huge, restless, black bear, who hasleft the marks of his footsteps by a concavity in the floor:--as well as bythe panting, and apparently painful, inaction of an equally huge white orgray bear--who, nurtured upon beds of Greenland ice, seemed to be dyingbeneath the oppressive heat of a Parisian atmosphere. The same miseryappeared to beset the bears who are confined, in an open space, below. Theysearched every where for shade; while a scorching sun was darting itsvertical rays upon their heads. In the Museum of dead, or stuffed animals, you have every thing that is minute or magnificent in nature, from thecreeping lizard to the towering giraffe, arranged systematically, and in amanner the most obvious and intelligible: while Cuvier's collection offossil bones equally surprises and instructs you. It is worth all the_catacombs_ of all the capitals in the world. If we turn to the softer andmore beauteous parts of creation, we are dazzled and bewildered by theradiance and variety of the tribes of vegetables--whether as fruits orflowers; and, upon the whole, this is an establishment which, in no age orcountry, hath been surpassed. 

It is not necessary to trouble you with much more of this strain. Theout-of-door enjoyments in Paris are so well known, and have been sofrequently described--and my objects of research being altogether of a verydifferent complexion--you will not, I conclude, scold me if I cease toexpatiate upon this topic, but direct your attention to others. Not howeverbut that I think you may wish to know my sentiments about the principalARCHITECTURAL BUILDINGS of Paris--as you are yourself not only a lover, buta judge, of these matters--and therefore the better qualified to criticiseand correct the following remarks--which flow "au bout de la plume"--asMadame de Sévigné says. In the first place, then, let us stop a few minutesbefore the THUILERIES. It hath a beautiful front: beautiful from itslightness and airiness of effect. The small central dome is the only raisedpart in the long horizontal line of this extended building: not but whatthe extremities are raised in the old fashioned sloping manner: but ifthere had been a similar dome at each end, and that in the centre had beenjust double its present height, the effect, in my humble opinion, wouldhave harmonised better with the extreme length of the building. It is verynarrow; so much so, that the same room contains windows from which you maylook on either side of the palace: upon the gardens to the west, or withinthe square to the east. 

Adjoining to the Thuileries is the LOUVRE: that is to say, a long range ofbuilding to the south, parallel with the Seine, connects these magnificentresidences: and it is precisely along this extensive range that thecelebrated _Gallery of the Louvre_ runs. The principal exterior front, orsouthern extremity of the Louvre, faces the Seine; and to my eye it isnearly faultless as a piece of architecture constructed upon Grecian andRoman models. But the interior is yet more splendid. I speak moreparticularly of the south and western fronts: that facing the north beingmore ancient, and containing female figure ornaments which are palpably ofa disproportionate length. The Louvre quadrangle (if I may borrow our oldcollege phrase) is assuredly the most splendid piece of ornamentalarchitecture which Paris contains. The interior of the edifice itself is asyet in an unfinished condition;[4] but you must not conclude theexamination of this glorious pile of building, without going round to visitthe _eastern_ exterior front--looking towards Notre-Dame. Of all sides ofthe square, within or without, this colonnade front is doubtless the mostperfect of its kind. It is less rich and crowded with ornament than anyside of the interior--but it assumes one of the most elegant, airy, andperfectly proportionate aspects, of any which I am just now able torecollect. Perhaps the basement story, upon which this double columnedcolonnade of the Corinthian Order runs, is somewhat too plain--a sort ofaffectation of the rustic. The alto-relievo figures in the centre of thetympanum have a decisive and appropriate effect. The advantage both of theThuileries and Louvre is, that they are well seen from the principalthoroughfares of Paris: that is to say, along the quays, and from the chiefstreets running from the more ancient parts on the south side of the Seine. The evil attending our own principal public edifices is, that they aregenerally constructed where they _cannot_ be seen to advantage. Supposingone of the principal entrances or malls of London, both for carriages andfoot, to be on the _south_ side of the Thames, what could be moremagnificent than the front of _Somerset House_, rising upon its hundredcolumns perpendicularly from the sides of a river... Three times as broadas the Seine, with the majestic arches of _Waterloo Bridge!_--before which, however, the stupendous elevation of _St. Paul's_ and its correspondentbridge of _Black Friars_, could not fail to excite the wonder, and extortthe praise, of the most anti-anglican stranger. And to crown the whole, howwould the venerable nave and the towers of _Westminster Abbey_--with itspeculiar bridge of Westminster ... Give a finish to such a succession ofarchitectural objects of metropolitan grandeur! Although in the very heart, of Parisian wonder, I cannot help, you see, carrying my imagination towardsour own capital; and suggesting that, if, instead of furnaces, forges, andflickering flames--and correspondent clouds of dense smoke--which give tothe southern side of the Thames the appearance of its being the abode oflegions of blacksmiths, and glass and shot makers--we introduced a littleof the good taste and good sense of our neighbours--and if ... But all thisis mighty easily said--though not quite so easily put in practice. Thetruth however is, my dear friend, that we should _approximate_ a littletowards each other. Let the Parisians attend somewhat more to our domesticcomforts and commercial advantages--and let the Londoners sacrificesomewhat of their love of warehouses and manufactories--and then you willhave hit the happy medium, which, in the metropolis of a great empire, would unite all the conveniences, with all the magnificence, of situation. 

Of other buildings, devoted to civil purposes, the CHAMBER OF DEPUTIES, theHÔTEL DES INVALIDES, with its gilded dome (a little too profusely adorned, )the INSTITUTE, and more particularly the MINT, are the chief ornaments onthe south side of the Seine. In these I am not disposed to pick the leasthole, by fastidious or hypercritical observations. Only I wish that theywould contrive to let the lions, in front of the façade of the Institute, (sometimes called the _Collège Mazarin_ or _des Quatre Nations_--upon thewhole, a magnificent pile) discharge a good large mouthful of water--instead of the drivelling stream which is for ever trickling from theirclosed jaws. Nothing can be more ridiculous than the appearance of thesemeagre and unappropriate objects: the more to be condemned, because theFrench in general assume great credit for the management of theirfountains. Of the four great buildings just noticed, that of the Mint, orrather its façade, pleases me most. It is a beautiful elevation, in puregood taste; but the stone is unfortunately of a coarse grain and of a dingycolour. Of the BRIDGES thrown across the Seine, connecting all the fineobjects on either side, it must be allowed that they are generally in goodtaste: light, yet firm; but those, in iron, of Louis XVI. And _des Arts_, are perhaps to be preferred. The _Pont Neuf_, where the ancient part ofParis begins, is a large, long, clumsy piece of stone work: communicatingwith the island upon which _Notre Dame_ is built. But if you look eastward, towards old Paris, from the top of this bridge--or if you look in the samedirection, a little towards the western side, or upon the quays, --youcontemplate, in my humble opinion, one of the grandest views of streetscenery that can be imagined! The houses are very lofty--occasionally ofsix or even eight stories--the material with which they are built is a finecream-coloured stone: the two branches of the river, and the back groundafforded by _Notre Dame_, and a few other subordinate public buildings, altogether produce an effect--especially as you turn your back upon thesun, sinking low behind the _Barrière de Neuilly_--which would equally warmthe hearts and exercise the pencils of the TURNERS and CALCOTS of our ownshores. Indeed, I learn that the former distinguished artist has actuallymade a drawing of this picture. But let me add, that my own unqualifiedadmiration had preceded the knowledge of this latter fact. Among otherbuildings, I must put in a word of praise in behalf of theHALLE-AUX-BLÉ'S--built after the model of the Pantheon at Rome. It is onehundred and twenty French feet in diameter; has twenty-five coveredarchways, or arcades, of ten feet in width; of which six are open, aspassages of ingress and egress--corresponding with the like number ofopposite streets. The present cupola (preceded by one almost as large asthat of the Pantheon at Rome) is built of iron and brass--of a curious, light, and yet sufficiently substantial construction--and is unassailableby fire. I never passed through this building without seeing it wellstocked with provender; while its area was filled with farmers, who, likeour own, assemble to make the best bargain. Yet let me observe that, owingto the height of the neighbouring houses, this building loses almost thewhole of its appropriate effect. 

Nor should the EXCHANGE, in the _Rue des Filles St. Thomas_, be dismissedwithout slight notice and commendation. It is equally simple, magnificent, and striking: composed of a single row, or peristyle, of Corinthianpillars, flanking a square of no mean dimensions, and presenting fourteenpillars in its principal front. At this present moment, it is not quitefinished; but when completed, it promises to be among the most splendid andthe most perfect specimens of public architecture in Paris. [5] Beautiful asmany may think _our_ Exchange, in my humble opinion it has no pretensionsto compete with that at Paris. The HÔTEL DE VILLE, near the _Place deGrève_, is rather in the character of the more ancient buildings in France:it is exceedingly picturesque, and presents a noble façade. Being situatedamidst the older streets of Paris, nothing can harmonise better with thesurrounding objects. Compared with the metropolis, on its present extendedscale, it is hardly of sufficient importance for the consequence usuallyattached to this kind of building; but you must remember that the greaterpart of it was built in the sixteenth century, when the capital hadscarcely attained half its present size. The _Place de Grève_ during theRevolution, was the spot in which the guillotine performed almost all itsbutcheries. I walked over it with a hurrying step: fancying the earth to beyet moist with the blood of so many immolated victims. Of other HÔTELS, Ishall mention only those of DE SENS and DE SOUBISE. The entrance into theformer yet exhibits a most picturesque specimen of the architecture of theearly part of the XVIth century. Its interior is devoted to every thing ... Which it ought _not_ to be. The Hôtel de Soubise is still a consequentialbuilding. It was sufficiently notorious during the reigns of Charles V. AndVI. : and it owes its present form to the enterprising spirit of CardinalRohan, who purchased it of the Guise family towards the end of the XVIIthcentury. There is now, neither pomp nor splendour, nor revelry, within thisvast building. All its aristocratic magnificence is fled; but the antiquaryand the man of curious research console themselves on its possessingtreasures of a more substantial and covetable kind. You are to know that itcontains the _Archives of State_ and the _Royal Printing Office_. 

Paris has doubtless good reason to be proud of her public buildings; forthey are numerous, splendid, and commodious; and have the extraordinaryadvantage over our own of not being tinted with soot and smoke. Indeed, when one thinks of the sure invasion of every new stone or brick buildingin London, by these enemies of external beauty, one is almost sick at heartduring the work of erection. The lower tier of windows and columns roundSt. Paul's have been covered with the dirt and smoke of upwards of acentury: and the fillagree-like embellishments which distinguish the recentrestorations of Henry the VIIth's chapel, in Westminster Abbey, are alreadybeginning to lose their delicacy of appearance from a similar cause. But Icheck myself. I am at Paris--and not in the metropolis of our own country. 

A word now for STREET SCENERY. Paris is perhaps here unrivalled: still Ispeak under correction--having never seen Edinburgh. But, although_portions_ of that northern capital, from its undulating or hilly site, must necessarily present more picturesque appearances, yet, upon the whole, from the superior size of Paris, there must be more numerous examples ofthe kind of scenery of which I am speaking. The specimens are endless. Iselect only a few--the more familiar to me. In turning to the left, fromthe _Boulevard Montmartre_ or _Poissonière_, and going towards the _Rue St. Marc_, or _Rue des Filles St. Thomas_ (as I have been in the habit ofdoing, almost every morning, for the last ten days--in my way to the RoyalLibrary) you leave the _Rue Montmartre_ obliquely to the left. The houseshere seem to run up to the sky; and appear to have been constructed withthe same ease and facility as children build houses of cards. In everydirection about this spot, the houses, built of stone, as they generallyare, assume the most imposing and picturesque forms; and if a Canalettiresided here, who would condescend to paint without water and wherries, some really magnificent specimens of this species of composition might beexecuted--equally to the credit of the artist and the place. 

If you want old fashioned houses, you must lounge in the long and parallelstreets of _St. Denis_ and _St. Martin_; but be sure that you choose dryweather for the excursion. Two hours of heavy rain (as I once witnessed)would cause a little rushing rivulet in the centre of these streets--andyou could only pass from one side to the other by means of a plank. Theabsence of _trottoirs_--- or foot-pavement--is indeed here found to be amost grievous defect. With the exception of the _Place Vendome_ and the_Rue de la Paix_, where something like this sort of pavement prevails, Paris presents you with hardly any thing of the kind; so that, methinks, Ihear you say, "what though your Paris be gayer and more grand, our Londonis larger and more commodious. " Doubtless this is a fair criticism. Butfrom the _Marché des Innocens_--a considerable space, where they sellchiefly fruit and vegetables, [6]--(and which reminded me something of themarket-places of Rouen) towards the _Hôtel de Ville_ and the _Hôtel deSoubise_, you will meet with many extremely curious and interestingspecimens of house and street scenery: while, as I before observed to you, the view of the houses and streets in the _Isle St. Louis_, from the _Pontdes Ars_, the _Quai de Conti_, the _Pont Neuf_, or the _Quai desAugustins_--or, still better, the _Pont Royal_--is absolutely one of thegrandest and completest specimens of metropolitan scenery which can becontemplated. Once more: go as far as the _Pont Louis XVI. _, cast your eyedown to the left; and observe how magnificently the Seine is flanked by theThuileries and the Louvre. Surely, it is but a sense of justice and a loveof truth which compel an impartial observer to say, that this is a view ofregal and public splendor--without a parallel in our own country!

The _Rue de Richelieu_ is called the Bond-street of Paris. Parallel withit, is the _Rue Vivienne_. They are both pleasant streets; especially theformer, which is much longer, and is rendered more striking by containingsome of the finest hotels in Paris. Hosiers, artificial flower makers, clock-makers, and jewellers, are the principal tradesmen in the Rue deRichelieu; but it has no similarity with Bond-street. The houses are ofstone, and generally very lofty--while the _Academie de Musique_[7] and the_Bibliothèque du Roi_ are public buildings of such consequence and capacity(especially the former) that it is absurd to name the street in which theyare situated with our own. The Rue Vivienne is comparatively short; but itis pleasing, from the number of flowers, shrubs, and fruits, broughtthither from the public markets for sale. No doubt the _Place Vendome_ andthe _Rue de la Paix_ claim precedence, on the score of magnificence andcomfort, to either of these, or to any other streets; but to my taste thereis nothing (next to the Boulevards) which is so thoroughly gratifying asthe Rue de Richelieu. Is it because some few hundred thousand _printedvolumes_ are deposited therein? But of all these, the _Rue St. Honoré_, with its faubourg so called, is doubtless the most distinguished andconsequential. It seems to run from west to east entirely through Paris;and is considered, on the score of length, as more than a match for ourOxford street. 

It may be so; but if the houses are loftier, the street is much narrower;and where, again, is your foot-pavement--to protect you from the eternalmovements of fiacre, cabriolet, voiture and diligence? Besides, theundulating line of our Oxford-street presents, to the tasteful observer, asight--perfectly unrivalled of its kind--especially if it be witnessed on aclear night, when its thousand gas-lighted lamps below emulate the starrylustre of the heavens above! To an inexperienced eye, this has the effectof enchantment. Add to the houses of Oxford-street but two stories, and theappearance of this street, in the day time, would be equally imposing: towhich add--what can never be added--the atmosphere of Paris!

You will remark that, all this time, I have been wholly silent about the_Palace de Luxembourg_, with its beautiful though flat gardens--of tulips, jonquils, roses, wall flowers, lilac and orange trees--its broad and narrowwalks--its terraces and statues. The façade, in a line with the _RueVaugirard_, has a grand effect--in every point of view. But the southfront, facing the gardens, is extremely beautiful and magnificent; whileacross the gardens, and in front, --some short English mile--stands theOBSERVATORY. Yet fail not to visit the interior square of the palace, forit is well worth your notice and admiration. This building is now the_Chambre des Pairs_. Its most celebrated ornament was the famous suite ofpaintings, by Rubens, descriptive of the history of Henry IV. These nowadorn the gallery of the Louvre. It is a pity that this very tastefulstructure--which seems to be built of the choicest stone--should be so farremoved from what may be called the fashionable part of the city. It is inconsequence reluctantly visited by our countrymen; although a lover ofbotany, or a florist, will not fail to procure two or three roots of thedifferent species of _tulips_, which, it is allowed, blow here in uncommonluxuriance and splendor. 

The preceding is, I am aware, but a feeble and partial sketch--comparedwith what a longer residence, and a temperature more favourable to exercise(for we are half scorched up with heat, positive and reflected)--wouldenable me to make. But "where are my favourite ECCLESIASTICAL EDIFICES?"methinks I hear you exclaim. Truly you shall know as much as I know myself;which is probably little enough. Of NOTRE-DAME, the west front, with itsmarygold window, is striking both from its antiquity and richness. It isalmost black from age; but the alto-relievos, and especially those abovethe doors, stand out in almost perfect condition. These ornaments arerather fine of their kind. There is, throughout the whole of this westfront, a beautiful keeping; and the towers are, _here_, somewhat moreendurable--and therefore somewhat in harmony. Over the north-transept door, on the outside, is a figure of the Virgin--once holding the infant Jesus inher arms. Of the latter, only the feet remain. The drapery of this figureis in perfectly good taste: a fine specimen of that excellent art whichprevailed towards the end of the XIIIth century. Above, is an alto-relievosubject of the slaughter of the Innocents. The soldiers are in quiltedarmour. I entered the cathedral from the western door, during service-time. A sight of the different clergymen engaged in the office, filled me withmelancholy--and made me predict sad things of what was probably to come topass! These clergymen were old, feeble, wretchedly attired in theirrespective vestments--and walked and sung in a tremulous and falteringmanner. The architectural effect in the interior is not very imposing:although the solid circular pillars of the nave--the double aisles roundthe choir--and the old basso-relievo representations of the life of Christ, upon the exterior of the walls of the choir--cannot fail to afford anantiquary very singular satisfaction. The choir appeared to be not unlikethat of St. Denis. 

The next Gothic church, in size and importance, is that of St. GERVAIS--situated to the left, in the Rue de Monceau. It has a very lofty nave, butthe interior is exceedingly flat and divested of ornament. The pillars havescarcely any capitals. The choir is totally destitute of effect. Some ofthe stained glass is rich and old, but a great deal has been stolen ordemolished during the Revolution. There is a good large modern picture, inone of the side chapels to the right: and yet a more modern one, muchinferior, on the opposite side. In almost every side chapel, and in theconfessionals, the priests were busily engaged in the catecheticalexamination of young people previous to the first Communion on thefollowing sabbath, which was the Fête-Dieu. The western front is whollyGrecian--perhaps about two hundred years old. It is too lofty for itswidth--but has a grand effect, and is justly much celebrated. Yet the_situation_ of this fine old Gothic church is among the most wretched ofthose in Paris. It is preserved from suffocation, only by holding it headso high. Next in importance to St. Gervais, is the Gothic church of St. EUSTACHE: a perfect specimen, throughout, of that adulterated style ofGothic architecture (called its _restoration!_) which prevailed at thecommencement of the reign of Francis I. Faulty, and even meretricious, asis the whole of the interior, the choir will not fail to strike you withsurprise and gratification. It is light, rich, and lofty. This church isvery large, but not so capacious as St. Gervais--while situation is, ifpossible, still more objectionable. 

Let me not forget my two old favourite churches of ST. GERMAIN DES PRÈS, _and St. Geneviève_; although of the latter I hardly know whether a hastyglimpse, both of the exterior and interior, be not sufficient; the greaterpart having been destroyed during the Revolution. [8] The immediate vicinityof the former is sadly choaked by stalls and shops--and the west-front hasbeen cruelly covered by modern appendages. It is the church dearest toantiquaries; and with reason. [9] I first visited it on a Sunday, when thatpart of the Service was performed which required the fullest intonations ofthe organ. The effect altogether was very striking. The singular pillars--of which the capitals are equally massive and grotesque, being sometimescomposed of human beings, and sometimes of birds and beasts, especiallytowards the choir--the rising up and sitting down of the congregation, andthe yet more frequent movements of the priests--the swinging of thecensers--and the parade of the vergers, dressed in bag wigs, with broad redsashes of silk, and silk stockings--but, above all, the most scientificallytouched, as well as the deepest and loudest toned, organ I ever heard--perfectly bewildered and amazed me! Upon the dispersion of thecongregation--which very shortly followed this religious excitation--I hadample leisure to survey every part of this curious old structure; whichreminded me, although upon a much larger scale, of the peculiarities of St. Georges de Bocherville, and Notre Dame at Guibray. Certainly, very much ofthis church is of the twelfth century--and as I am not writing to ourfriend P*** I will make bold to say that some portions of it yet "smackstrongly" of the eleventh. 

Nearer to my residence, and of a kindred style of architecture, is thechurch of ST. GERMAIN AUX AUXERROIS. The west front or porch is yet soundand good. Nothing particularly strikes you on the entrance, but there aresome interesting specimens of rich old stained glass in the windows of thetransepts. The choir is completely and cruelly modernised. In the sidechapels are several good modern paintings; and over an altar of twistedcolumns, round which ivy leaves, apparently composed of ivory, arecreeping, is a picture of three figures in the flames of purgatory. Thisside-chapel is consecrated to the offering up of orisons "_for the souls inpurgatory_. " It is gloomy and repulsive. Death's heads and thigh bones arepainted, in white colours, upon the stained wall; and in the midst of allthese fearful devices, I saw three young ladies intensely occupied in theirdevotions at the railing facing the altar. Here again, I observed priestsexamining young people in their catechism; and others in confessionals, receiving the confessions of the young of both sexes, previous to theirtaking the first sacrament on the approaching _Fête-Dieu_. 

Contiguous to the Sorbonne church, there stands, raising its neatlyconstructed dome aloft in air, the _Nouvelle Eglise Ste. Geneviève_, betterknown by the name of the PANTHEON. The interior presents to my eye the mostbeautiful and perfect specimen of Grecian architecture with which I amacquainted. In the crypt are seen the tombs of French warriors; and uponthe pavement above, is a white marble statue of General Leclerc (brother inlaw of Bonaparte, ) who died in the expedition to St. Domingo. This, statueis too full of conceit and affectation both in attitude and expression. Theinterior of the building is about 370 English feet in length, by 270 inwidth; but it is said that the foundation is too weak. From the gallery, running along the bottom of the dome--the whole a miniature representationof our St. Paul's--you have a sort of Panorama of Paris; but not, I think, a very favourable one. The absence of sea-coal fume strikes you veryagreeably; but, for picturesque effect, I could not help thinking of thesuperior beauty of the panorama of Rouen from the heights of Mont Ste. Catharine. It appears to me that the small lantern on the top of the domewants a finishing apex. [10]

Yonder majestic portico forms the west front of the church called St. SULPICE ... It is at once airy and grand. There are two tiers of pillars, of which this front is composed: the lower is Doric; the upper Ionic: andeach row, as I am told, is nearly forty French feet in height, exclusivelyof their entablatures, each of ten feet. We have nothing like this, certainly, as the front of a parish church, in London. When I except St. Paul's, such exception is made in reference to the most majestic piece ofarchitectural composition, which, to my eye, the wit of man hath yetdevised. The architect of the magnificent front of St. Sulpice wasSERVANDONI; and a street hard by (in which Dom Brial, the father of Frenchhistory, resides) takes its name from this architect. There are twotowers--one at each end of this front, --about two hundred and twenty feetin height from the pavement: harmonising well with the general style ofarchitecture, but of which, that to the south (to the best of myrecollection) is left in an unaccountably, if not shamefully, unfinishedstate. [11] These towers are said to be about one _toise_ higher than thoseof Notre Dame. The interior of this church is hardly less imposing than itsexterior. The vaulted roofs are exceedingly lofty; but for the length ofthe nave, and more especially the choir, the transepts aredisproportionably short. Nor are there sufficiently prominent ornaments togive relief to the massive appearance of the sides. These sides aredecorated by fluted pilasters of the Corinthian order; which, for so largeand lofty a building, have a tame effect. There is nothing like the huge, single, insulated column, or the clustered slim pilasters, that separatethe nave from the side aisles of the Gothic churches of the early andmiddle ages. 

The principal altar, between the nave and the choir, is admired for itssize, and grandeur of effect; but it is certainly ill-placed, and isperhaps too ornamental, looking like a detached piece which does notharmonise with the surrounding objects. Indeed, most of the altars inFrench churches want simplicity and appropriate effect: and the whole ofthe interior of the choir is (perhaps to my fastidious eye only, ) destituteof that quiet solemn character, which ought always to belong to places ofworship. Rich, minute, and elaborate as are many of the Gothic choirs ofour own country, they are yet in harmony; and equally free from a frivolousor unappropriate effect. Behind the choir, is the Chapel of Our Lady: whichis certainly both splendid and imposing. Upon the ceiling is representedthe Assumption of the Virgin, and the walls are covered with a profusion ofgilt ornament, which, upon the whole, has a very striking effect. In arecess, above the altar, is a sculptured representation of the Virgin andInfant Christ, in white marble, of a remarkably high polish: nor are thecountenances of the mother and child divested of sweetness of expression. They are represented upon a large globe, or with the world at their feet:upon the top of which, slightly coiled, lies the "bruised" or dead serpent. The light, in front of the spectator, from a concealed window, (acontrivance to which the French seem partial) produces a sort of magicaleffect. I should add, that this is the largest parochial church in Paris;and that its organ has been pronounced to be matchless. 

The rival churches of St. Sulpice--rival ones, rather from similarity ofstructure, than extent of dimensions--are the ORATOIRE and St. ROCH: bothsituated in the Rue St. Honoré. St. Roch is doubtless a very finebuilding--with a well-proportioned front--and a noble flight of steps; butthe interior is too plain and severe for my taste. The walls are decoratedby unfluted pilasters, with capitals scarcely conformable to any one orderof architecture. The choir however is lofty, and behind it, in Our Lady'sChapel if I remember rightly, there is a striking piece of sculpture, ofthe Crucifixion, sunk into a rock, which receives the light from aninvisible aperture as at St. Sulpice. To the right, or rather behind thischapel, there is another--called the _Chapel of Calvary_, --in which youobserve a celebrated piece of sculpture, of rather colossal dimensions, ofthe entombment of Christ. The dead Saviour is borne to the sepulchre byJoseph of Arimathea, St. John, and the three Maries. The name of thesculptor is _Deseine_. Certainly you cannot but be struck with the effectof such representations--which accounts for these two chapels being a greatdeal more attended, than the choir or the nave of the church. It is righthowever to add, that the pictures here are preferable to those at St. Sulpice: and the series of bas-reliefs, descriptive of the principal eventsin the life of Christ, is among the very best specimens of art, of thatspecies, which Paris can boast of. 

Very different from either of these interiors is that of _St. Philippe duRoule_; which presents you with a single insulated row of fluted Ionicpillars, on each side of the nave; very airy, yet impressive and imposing. It is much to my taste; and I wish such a plan were more generally adoptedin the interiors of Grecian-constructed churches. The choir, the altar ... The whole is extremely simple and elegant. Nor must the roof be omitted tobe particularly mentioned. It is an arch, constructed of wood; upon a planoriginally invented by Philibert Delorme--so well known in the annals ofart in the sixteenth century. The whole is painted in stone colour, and maydeceive the most experienced eye. This beautiful church was built after thedesigns of Chalgrin, about the year 1700; and is considered to be a purerresemblance of the antique than any other in Paris. This church, well worthyour examination, is situated in a quarter rarely visited by ourcountrymen--in the _Rue du Faubourg du Roule_, not far from the barriers. 

Not very remotely connected with the topic of CHURCHES, is that of theSABBATHS ... As spent in Paris. They are nearly the same throughout allFrance. As Bonaparte had no respect for religion itself, so he had less forthe forms connected with the upholding of it. Parades, battles, andcampaigns--were all that he cared about: and the Parisians, if theysupplied him with men and money--the _materiel_ for the execution of theseobjects--were left to pray, preach, dance, or work, just as they pleased onthe Sabbath day. The present King, [12] as you well know, attempted theintroduction of something like an _English Sabbath_: but it would not do. When the French read and understand GRAHAME[13] as well as they do THOMSON, they will peradventure lend a ready and helping hand towards the completionof this laudable plan. At present, there is much which hurts the eye andear of a well-educated and well-principled Englishman. There is a partialshutting up of the shops before twelve; but after mid-day the shop-windowsare uniformly closed throughout Paris. Meanwhile the cart, the cabriolet, the crier of herbs and of other marketable produce--the sound of the whipor of the carpenter's saw and hammer--the shelling of peas in the open air, and the plentiful strewing of the pod hard by--together with sundry, otheroffensive and littering accompaniments--all strike you as disagreeabledeviations from what you have been accustomed to witness at home. Add tothis, the half-dirty attire--the unshaven beard of the men, and the unkemptlocks of the women--produce further revolting sensations. It is not tillpast mid-day that the noise of labour ceases, and that the toilette is putinto a complete state for the captivation of the beholder. By four or fiveo'clock the streets become half thinned. On a Sunday, every body rushesinto the country. The tradesman has his little villa, and the gentleman andman of fortune his more capacious rural domain; and those, who aspireneither to the one or the other, resort to the _Bois de Boulogne_ and the_Champs Elysées_, or to the gardens of _Beaujon_, and _Tivoli_--or to theyet more attractive magnificence of the palace and fountains of_Versailles_--where, in one or the other of these places, they carouse, ordisport themselves--in promenades, or dancing groups--till

 ... Majores.. Cadunt de montibus umbræ. 

This, generally and fairly speaking, is a summer Sabbath in the metropolisof France. 

Unconscionable as you may have deemed the length of this epistle, I mustnevertheless extend it by the mention of what I conceive to be a veryessential feature both of beauty and utility in the street scenery ofParis. It is of the FOUNTAINS that I am now about to speak; and of some ofwhich a slight mention has been already made. I yet adhere to thepreference given to that in the _Palais Royal_; considered with referenceto the management of the water. It is indeed a purely aqueous exhibition, in which architecture and sculpture have nothing to do. Not so are the moreimposing fountains of the MARCHÉ DES INNOCENS, DE GRENELLE, and theBOULEVARD BONDY. For the first of these, [14] the celebrated _Lescot_, abbéde Clagny, was the designer of the general form; and the more celebratedJean Goujon the sculptor of the figures in bas-relief. It was re-touchedand perfected in 1551, and originally stood in the angle of the twostreets, of _aux Fers_ and _St. Denis_, presenting only two façades to thebeholder. It was restored and beautified in 1708; and in 1788 it changedboth its form and its position by being transported to the present spot--the _Marché des Innocens_--the market for vegetables. Two other similarsides were then added, making it a square: but the original performances ofGoujon, which are considered almost as his master-piece, attract infinitelymore admiration than the more recent ones of Pajou. Goujon's figures aredoubtless very delicately and successfully executed. The water bubbles upin the centre of the square, beneath the arch, in small sheets, or masses;and its first and second subsequent falls, also in sheets, have a verybeautiful effect. They are like pieces of thin, transparent ice, tumblingupon each other; but the _lead_, of which the lower half of the fountain iscomposed--as the reservoir of the water--might have been advantageouslyexchanged for _marble_. The lion at each corner of the pedestal, squirtingwater into a sarcophagus-shaped reservoir, has a very absurd appearance. Upon the whole, this fountain is well deserving of particular attention. The inscription upon it is FONTIVM NYMPHIS; but perhaps, criticallyspeaking, it is now in too exposed a situation for the character of it'sornaments. A retired, rural, umbrageous recess, beneath larch and pine--whose boughs

 Wave high and murmur in the hollow wind--

seems to be the kind of position fitted for the reception of a fountain ofthis character. 

The FONTAINE DE GRENELLE is almost entirely architectural; and gives anidea of a public office, rather than of a conduit. You look above--to theright and the left--but no water appears. At last, almost by accident, youlook down, quite at its base, and observe two insignificant streamstrickling from the head of an animal. The central figure in front is arepresentation of the city of Paris: the recumbent figures, on each side, represent, the one the Seine, the other the Marne. Above, there are fourfigures which represent the four Seasons. This fountain, the work ofBouchardon, was erected in 1739 upon the site of what formed a part of anold convent. A more simple, and a more striking fountain, to my taste, isthat of the ECOLE DE CHIRURGIE; in which a comparatively large column ofwater rushes down precipitously between two Doric pillars--which form thecentral ones of four--in an elegant façade. 

Yet more simple, more graceful, and more capacious, is the fountain of theBOULEVARD BONDY--which I first saw sparkling beneath the lustre of a fullmoon. This is, in every sense of the word, a fountain. A constant butgentle undulation of water, from three aqueous terraces, surmounted bythree basins, gradually diminishing in size, strike you with peculiargratification--view it from whatever quarter you will: but seen in theneighbourhood of _trees_, the effect, in weather like this, is absolutelyheart-refreshing. The only objectionable part of this elegant structure, onthe score of art, are the lions, and their positions. In the first place, it is difficult to comprehend why the mouth of a _lion_ is introduced as achannel for the transmission of water; and, in the second place, theselions should have occupied the basement portion of the structure. Thisbeautiful fountain, of which the water is supplied by the _Canal d'Ourcq_, was finished only about seven or eight years ago. Nor let the FOUNTAIN OFTRIUMPH or VICTORY, in the _Place du Châtelet_, be forgotten. It is acolumn, surmounted by a gilt statue of Victory, with four figures towardsits pedestal. The four jets-d'eau, from its base, --which are sufficientlyinsignificant--empty themselves into a circular basin; but the shaft of thecolumn, to my eye, is not free from affectation. The names of some ofBonaparte's principal victories are inscribed upon that part of the columnwhich faces the Pont au Change. There is a classical air of elegance aboutthis fountain, which is fifty feet in height. 

But where is the ELEPHANT Fountain?--methinks I hear you exclaim. It is yetlittle more than in embryo: that is to say, the plaster-cast of it only isvisible--with the model, on a smaller scale, completed in all its parts, bythe side of it. It is really a stupendous affair. [15] On entering thetemporary shed erected for its construction, on the site of the Bastille, Iwas almost breathless with astonishment for a moment. Imagine an enormousfigure of the unwieldy elephant, _full fifty feet high!_ You see it, in thefront, foreshortened--as you enter; and as the head is the bulkiest portionof the animal, you may imagine something of the probable resulting effect. Certainly it is most imposing. The visitor, who wishes to make himselfacquainted with the older, and more original, national character of theFrench--whether as respects manners, dresses, domestic occupations, andpublic places of resort--will take up his residence in the _Rue du Bac_, orat the _Hotel des Bourbons_; within twenty minutes walk of the more curiousobjects which are to be found in the Quartiers Saint André des Arcs, duLuxembourg, and Saint Germain des Près. Ere he commence his morningperambulations, he will look well at his map, and to what is described, inthe route which he is to take, in the works of Landon and of Legrand, or ofother equally accurate topographers. Two things he ought invariably to bearin mind: the first, not to undertake too much, for the sake of saying how_many_ things he has seen:--and the second, to make himself thoroughlymaster of what he _does_ see. All this is very easily accomplished: and afare of thirty sous will take you, at starting, to almost any part ofParis, however remote: from whence you may shape your course homewards atleisure, and with little fatigue. Such a visitor will, however, sigh, erehe set out on his journey, on being told that the old Gothic church of _St. André-des-Arcs_--the Abbey of _St. Victor_--the churches of the_Bernardins_, and of _St. Etienne des Près_, the _Cloisters_ of _theCordeliers_, and the _Convent of the Celestins_ ... Exist no longer ... Or, that their remains are mere shadows of shades! But in the three quarters ofParis, above mentioned, he will gather much curious information--in spiteof the havoc and waste which the Revolution has made; and on his return tohis own country he will reflect, with pride and satisfaction, on the resultof his enterprise and perseverance. 

To my whimsically formed taste, OLD PARIS has in it very much to delight, and afford valuable information. Not that I would decry the absolutesplendor, gaiety, comfort, and interminable variety, which prevail in itsmore modern and fashionable quarters. And certainly one may fairly say, that, on either side the Seine, Paris is a city in which an Englishman, --who is resolved to be in good humour with all about him, and to shew thatcivility to others which he is sure to receive from the better educatedclasses of society here--cannot fail to find himself pleased, perfectly atease, and well contented with his fare. Compared with the older part ofLondon, the more ancient division of Paris is infinitely more interesting, and of a finer architectural construction. The conical roofs every now andthen remind you of the times of Francis I. ; and the clustered arabesques, upon pilasters, or running between the bolder projections of the façades, confirm you in the chronology of the buildings. But time, caprice, fashion, or poverty, will, in less than half a century, materially change both thesubstance and surfaces of things. It is here, as at Rouen--you bewail thework of destruction which has oftentimes converted cloisters intoworkshops, and consecrated edifices into warehouses of every description. Human nature and the fate of human works are every where the same. Let twomore centuries revolve, and the THUILERIES and the LOUVRE may possibly beas the BASTILLE and the TEMPLE. 

Such, to my feelings, is Paris--considered only with reference to its_local_: for I have really done little more than perambulate its streets, and survey its house-tops--with the important exceptions to be detailed inthe succeeding letters from hence. Of the treasures contained _beneath_some of those "housetops"--more especially of such as are found in theshape of a BOOK--whether as a MS. Or a Printed Volume--prepare to receivesome particulars in my next. 

[1] [Several Notes in this volume having reference to MONS. CRAPELET, a Printer of very considerable eminence at Paris, it may be proper to inform the Reader that that portion of this Tour, which may be said to have a more exclusive reference to France, usually speaking--including the notice of Strasbourg--was almost entirely translated by Mons. Crapelet himself. An exception however must be made to those parts which relate to the _King's Private Library_ at Paris, and to _Strasbourg_: these having been executed by different pens, evidently in the hands of individuals of less wrongheadedness and acrimony of feeling than the Parisian Printer. Mons. Crapelet has prefixed a Preface to his labours, in which he tells the world, that, using my more favourite metaphorical style of expression, "a CRUSADE has risen up against the INFIDEL DIBDIN. "

 Metaphorical as may be this style, it is yet somewhat alarming: for, most assuredly, when I entered and quitted the "beau pays" of France, I had imagined myself to have been a courteous, a grateful, and, under all points of view, an ORTHODOX Visitor. It seems however, from the language of the French Typographer, that I acted under a gross delusion; and that it was necessary to have recourse to his sharp-set sickle to cut away all the tares which I had sown in the soil of his country. Upon the motive and the merit of his labours, I have already given my unbiassed opinion. [A] Here, it is only necessary to observe, that I have not, consciously, falsified his opinions, or undervalued his worth. Let the Reader judge between us. 

 [A] Vide Preface. 

[2] [They have now entirely lost the recollection, as well as the sight, of them. ]

[3] ["The Parisians would doubtless very willingly get rid of such a horrid spectacle in the streets and places of the Metropolis: besides, it is not unattended with danger to the Actors themselves. "--CRAPELET. ]

[4] ["And will continue to be so, it is feared--to the regret of all Frenchmen--for a long time. It is however the beginning of a new reign. The building of some new Edifices will doubtless be undertaken. But if the King were to order the _finishing_ of all the public Buildings of Paris, the epoch of the reign of Charles X. Would assuredly be the most memorable for Arts, and the embellishment of the Capital. " CRAPELET. 1825. ]

[5] [It is now completed: but seven years elapsed, after the above description, before the building was in all respects considered to be finished. ]

[6] [A most admirable view of this Market Place, with its picturesque fountain in the centre, was painted by the younger Mr. Chalon, and exhibited at Somerset House. A well executed _print_ of such a thoroughly characteristic performance might, one would imagine, sell prosperously on either side of the channel. ]

[7] [This building, which may perhaps be better known as that of the _Opera_, is now rased to the ground--in consequence of the assassination of the Duke de Berri there, in February, 1820, on his stepping into his carriage on quitting the Opera. But five years were suffered to elapse before the work of demolition was quite completed. And when will the monument to the Duke's memory be raised?--CRAPELET. ]

[8] [It is now entirely demolished, to make way for a large and commodious Street which gives a complete view of the church of St. Stephen. CRAPELET. ]

[9] The views of it, as it appeared in the XVIth century, represent it nearly surrounded by a wall and a moat. It takes its name as having been originally situated _in the fields_. 

[10] [Two years ago was placed, upon the top of this small lantern, a gilt cross, thirty-eight feet high: 41 of English measurement: and the church has been consecrated to the Catholic service. CRAPELET. Thus, the criticism of an English traveller, in 1818, was not entirely void of foundation. ]

[11] [Our public buildings, which have continued long in an unfinished state, strike the eyes of foreigners more vividly than they do our own: but it is impossible to face the front of St. Sulpice without partaking of the sentiment of the author. CRAPELET. ]

[12] [Louis XVIII. ]

[13] [_read and understand_ GRAHAME. ]--Mr. Grahame is both a very readable and understandable author. He has reason to be proud of his poem called the SABBATH: for it is one of the sweetest and one of the purest of modern times. His _scene_ however is laid in the country, and not in the metropolis. The very opening of this poem refreshes the heart--and prepares us for the more edifying portions of it, connected with the performance of the religious offices of our country. This beautiful work will LIVE as long as sensibility, and taste, and a virtuous feeling, shall possess the bosoms of a British Public. 

[14] See the note p. 20, ante. 

[15] It is now completed. 

_LETTER II. _

GENERAL DESCRIPTION OF THE BIBLIOTHÈQUE DU ROI. THE LIBRARIANS. 

_Hôtel des Colonies, Rue de Richelieu_. 

The moment is at length arrived when you are to receive from me an accountof some of the principal treasures contained in the ROYAL LIBRARY of Paris. I say "_some_":--because, in an epistolary communication, consistently withmy time, and general objects of research--it must be considered only as aslight selection, compared with what a longer residence, and a more generalexamination of the contents of such a collection, might furnish. Yet, limited as my view may have been, the objects of that view are at once richand rare, and likely to afford all true sons of BIBLIOMANIA and VIRTU themost lively gratification. This is a bold avowal: but I fear not to makeit, and: the sequel shall be the test of its modesty and truth. 

You observe, I have dated my letter from a different quarter. In fact, thedistance of my former residence from the Bibliothèque du Roi--coupled withthe oppressive heat of the weather--rendered my morning excursions thitherrather uncomfortable; and instead of going to work with elastic spirits, and an untired frame, both Mr. Lewis and myself felt jaded and oppressedupon our arrival. We are now, on the contrary, scarcely fifty yards fromthe grand door of entrance into the library. But this is only tantalizingyou. To the LIBRARY, therefore, at once let us go. The exterior andinterior, as to architectural appearance, are rather of a sorrydescription: heavy; comparatively low, without ornament, and of a dark anddingy tint. Towards the street, it has the melancholy air of a workhouse. But none of the apartments, in which the books are contained, look intothis street; so that, consequently, little inconvenience is experiencedfrom the incessant motion and rattling of carts and carriages--the Rue deRichelieu being probably the most frequented in Paris. Yet, repulsive asmay be this exterior, it was observed to me--on my suggesting what a finesituation the quadrangle of the Louvre would make for the reception of theroyal library--that, it might be questioned whether even _that_ quadranglewere large enough to contain it;--and that the present building, howeverheavy and ungracious of aspect, was better calculated for its presentpurpose than probably any other in Paris. In the centre of the edifice--forit is a square, or rather a parallelogram-shaped building--stands a bronzenaked figure of Diana; stiff and meagre both in design and execution. It isof the size of life; but surely a statue of _Minerva_ would have been alittle more appropriate? On entering the principal door, in the street justmentioned, you turn to the right, and mount a large stone staircase--afterattending to the request, printed in large characters, of "_Essuyez vosSouliers_"--as fixed against the wall. This entrance goes directly to thecollection of PRINTED BOOKS. On reaching the first floor, you go straightforward, within folding doors; and the first room, of considerable extent, immediately receives you. The light is uniformly admitted by large windows, to the right, looking into the quadrangle before mentioned. 

You pass through this room--where scarcely any body lingers--and enter thesecond, where are placed the EDITIONES PRINCIPES, and other volumes printedin the fifteenth century. To an _experienced_ eye, the first view of thecontents of this second room is absolutely magical; Such copies of suchrare, precious, magnificent, and long-sought after impressions!... It isfairy-land throughout. There stands the _first Homer_, unshorn by thebinder; a little above, is the first _Roman edition of Eustathius's_Commentary upon that poet, in gorgeous red morocco, but printed UPONVELLUM! A Budæus _Greek Lexicon_ (Francis I. 's own copy) also UPON VELLUM!The _Virgils, Ovids, Plinies_ ... And, above all, the _Bibles_--But I checkmyself; in order to conduct you regularly through the apartments, ere yousit down with me before each volume which I may open. In this second-roomare two small tables, rarely occupied, but at one or the other of which Iwas stationed (by the kind offices of M. Van Praet) for fourteen days--withalmost every thing that was exquisite and rare, in the old book-way, behindand before me. Let us however gradually move onwards. You pass into thethird room. Here is the grand rendezvous of readers. Six circular or ratheroval tables, each capable of accommodating twelve students, and eachgenerally occupied by the full number, strike your eye in a very pleasingmanner, in the centre of this apparently interminable vista of printedvolumes. 

But I must call your particular attention to the _foreground_ of thismagical book-view. To the left of this third room, on entering, you observea well-dressed Gentleman (of somewhat shorter stature than the author ofthis description) busied behind a table; taking down and putting upvolumes: inscribing names, and numbers, and titles, in a large foliovolume; giving orders on all sides; and putting several pairs of legs intomotion in consequence of those orders--while his own are perhaps the leastspared of any. This gentleman is no less a personage than the celebratedMonsieur VAN PRAET; one of the chief librarians in the department of theprinted books. His aspect is mild and pleasant; while his smart attirefrequently forms a striking contrast to habiliments and personalappearances of a very different, and less conciliating description, bywhich he is surrounded. [16] M. Van Praet must be now approaching hissixtieth year; but his age sits bravely upon him--for his step is rapid andfirm, and his physiognomical expression indicative of a much lessprotracted period of existence. [17] He is a Fleming by birth; and, even inshewing his first Eustathius, or first Pliny, UPON VELLUM, you may observethe natural enthusiasm of a Frenchman tempered by the graver emotions of anative of the Netherlands. 

This distinguished Bibliographer (of whom, somewhat more in a futureepistle) has now continued nearly forty years in his present situation; andwhen infirmity, or other causes, shall compel him to quit it, France willnever replace him by one possessing more appropriate talents! He doats uponthe objects committed to his trust. He lives almost entirely among his dearbooks ... Either on the first floor or on the ground floor: for when thehour of departure, two o'clock, arrives, M. Van Praet betakes him to thequieter book realms below--where, surrounded by _Grolier, De Thou_, and_Diane de Poictiers_, copies, he disports him till his dinner hour of fouror five--and 'as the evening shades prevail, ' away hies he to his favourite'_Théatre des Italiens_, ' and the scientific treat of Italian music. This Iknow, however--and this I will say--in regard to the amiable and excellentgentleman under description--that, if I were King of France, Mons. VanPraet should be desired to sit in a roomy, morocco-bottomed, mahogany armchair--not to stir therefrom--but to issue out his edicts, for the deliveryof books, to the several athletic myrmidons under his command. Of coursethere must be occasional exceptions to this rigid, but upon the wholesalutary, "Ordonnance du Roy. " Indeed I have reason to mention a mostflattering exception to it--in my own favour: for M. Van Praet would comeinto the second room, (just mentioned) and with his own hands supply mewith half a score volumes at a time--of such as I wished to examine. But, generally speaking, this worthy and obliging creature is too lavish of hisown personal exertions. He knows, to be sure, all the bye-passes, andabrupt ascents and descents; and if he be out of sight--in a moment, through some secret aperture, he returns as quickly through another equallyunseen passage. Upon an average, I set his bibliomaniacal peregrinationsdown at the rate of a full French league per day. It is the absence of allpretension and quackery--the quiet, unobtrusive manner in which he openshis well-charged battery of information upon you--but, more than all, theglorious honours which are due to him, for having assisted to rescue thebook treasures of the Abbey of St. Germain des Près from destruction, during the horrors of the Revolution--that cannot fail to secure to him theesteem of the living, and the gratitude of posterity. 

[Illustration: GOLD MEDAL OF LOUIS XII. From the Cabinet des Medailles at Paris. ]

We must now leave this well occupied and richly furnished chamber, and passon to the fourth room--in the centre of which is a large raised bronzeornament, representing Apollo and the Muses--surrounded by the more eminentliterary characters of France in the seventeenth century. It is raised tothe glory of the grand monarque Louis XIV. And the figure of Apollo isintended for that of his Majesty. The whole is a palpable failure: aglaring exhibition of bad French taste. Pegasus, the Muses, rocks, andstreams, are all scattered about in a very confused manner; withoutconnection, and of course without effect. Even the French allow it to be"mesquin, et de mauvais goût. " But let me be methodical. As you enter thisfourth room, you observe, opposite--before you turn to the right--a door, having the inscription of CABINET DES MEDAILLES. This door however is openonly twice in the week; when the cabinet is freely and most convenientlyshewn. Of its contents--in part, precious beyond comparison--this is theplace to say only one little word or two: for really there would be no endof detail were I to describe even its most remarkable treasures. Francis I. And his son Henry II. Were among its earliest patrons; when the cabinet wasdeposited in the Louvre. The former enriched it with a series of valuablegold medals, and among them with one of Louis XII. , his predecessor; whichhas not only the distinction of being beautifully executed, but of beingthe largest, if not the first of its kind in France. [18]

The specimens of Greek art, in coins, and other small productions, areequally precious and select. Vases, shields, gems, and cameos--the greaterpart of which are described in Caylus's well-known work--are perfectlyenchanting. But the famous AGAT of the STE. CHAPELLE--supposed to be thelargest in the world, and which has been engraved by Giradet in a mannerperfectly unrivalled--will not fail to rivet your attention, and claim yourmost unqualified commendation. The sardonyx, called the VASE of PTOLEMY, isanother of the great objects of attraction in the room where we are nowtarrying--and beautiful, and curious, and precious, it unquestionably is. Doubtless, in such a chamber as this, the classical archæologist will gazewith no ordinary emotions, and meditate with no ordinary satisfaction. ButI think I hear the wish escape him--as he casts an attentive eye over thewhole--"why do they not imitate us in a publication relating to them? Whydo they not put forth something similar to what we have done for our_Museum Marbles_? Or rather, speaking more correctly, why are not the_Marlborough Gems_ considered as an object of rivalry, by the curators ofthis exquisite cabinet? Paris is not wanting both in artists who design, and who engrave, in this department, with at least equal skill to ourown. "[19]

Let us now return to the Books. In the fourth book-room there is an openingin the centre, to the left, nearly facing the bronze ornament--throughwhich, as you enter, and look to the left, appear the upper halves of twoenormous GLOBES. The effect is at first, inconceivably puzzling and evenstartling: but you advance, and looking down the huge aperture occasionedby these gigantic globes, you observe their bases resting on the groundfloor: both the upper and ground floor having the wainscots entirelycovered by books. These globes are the performance of Vincent Coronelli, aVenetian; and were presented to Louis XIV. By the Cardinal d'Etrées, whohad them made for his Majesty. You return back into the fourth room--paceon to its extremity, and then, at right angles, view the fifth room--or, comprising the upper and lower globe rooms, a seventh room; the wholeadmirably well lighted up from large side windows. Observe further--thewhole corresponding suite of rooms, on the ground floor, is also nearlyfilled with printed books, comprising the _unbound copies_--and onechamber, occupied by the more exquisite specimens of the presses of the_Alduses_, the _Giuntæ_, the _Stephens_, &c. UPON VELLUM, or on _largepaper_. Another chamber is exclusively devoted to large paper copies of_all_ descriptions, from the presses of all countries; and in one or theother of these chambers are deposited the volumes from the Library of_Grolier_ and _De Thou_--names, dear to Book-Collectors; as an indifferentcopy has hardly ever yet been found which was once deposited on the shelvesof either. You should know that the public do not visit this lower suite ofrooms, it being open only to the particular friends of the severalLibrarians. The measurement of these rooms, from the entrance to theextremity of the fifth room, is upwards of 700 feet. 

Now, my good friend, if you ask me whether the interior of this library besuperior to that of our dear BODLEIAN, I answer, at once, and without fearof contradiction--it is very much _inferior_. It represents an interminablerange of homely and commodious apartments; but the Bodleian library, frombeginning to end--from floor to ceiling--is grand, impressive, and entirelyof a bookish appearance. In that spacious and lofty receptacle--of whichthe ceiling, in my humble opinion, is an unique and beautiful piece ofworkmanship--all is solemn, and grave, and inviting to study: yet echoing, as it were, to the footsteps of those who once meditated within its almosthallowed precincts--the _Bodleys_, the _Seldens_, the _Digbys_, the _Lauds_and _Tanners_, of other times![20] But I am dreaming: forgetting that, atthis moment, you are impatient to enter the _MS. Department_ of the RoyalLibrary at Paris. Be it so, therefore. And yet the very approach to thisinvaluable collection is difficult of discovery. Instead of a correspondinglofty stone stair-case, you cross a corner of the square, and enter apassage, with an iron gate at the extremity--leading to the apartments ofMessrs. Millin and Langlès. A narrow staircase, to the right, receives you:and this stair-case would appear to lead rather to an old armoury, in acorner-tower of some baronial castle, than to a suite of large modernapartments, containing probably, upon the whole, the finest collection of_Engravings_ and of _Manuscripts_, of all ages and characters, in Europe. Nevertheless, as we cannot mount by any other means, we will e'en setfooting upon this stair-case, humble and obscure as it may be. You scarcelygain the height of some twenty steps, when you observe the magicalinscription of CABINET DES ESTAMPES. Your spirits dance, and your eyessparkle, as you pull the little wire--and hear the clink of a smallcorresponding bell. The door is opened by one of the attendants in livery--arrayed in blue and silver and red--very handsome, and rendered moreattractive by the respectful behaviour of those who wear that royalcostume. I forgot to say that the same kind of attendants are found in allthe apartments attached to this magnificent collection--and, when notoccupied in their particular vocation of carrying books to and fro, theseattendants are engaged in reading, or sitting quietly with crossed legs, and peradventure dosing a little. But nothing can exceed their civility;accompanied with a certain air of politeness, not altogether divested of akind of gentlemanly deportment. 

On entering the first of those rooms, where the prints are kept, you areimmediately struck with the narrow dimensions of the place--for thesucceeding room, though perhaps more than twice as large, is stillinadequate to the reception of its numerous visitors. [21] In this firstroom you observe a few of the very choicest productions of the burin, fromthe earliest periods of the art, to the more recent performances of_Desnoyer_, displayed within glazed frames upon the wainscot. It reallymakes the heart of a connoisseur leap with ecstacy to see such_Finiguerras, Baldinis, Boticellis, Mantegnas, Pollaiuolos, Israel VanMeckens, Albert Durers, Marc Antonios, Rembrandts, Hollar, Nanteuils, Edelincks, &c. _; while specimens of our own great master engravers, amongwhom are _Woollet_ and _Sharp_, maintain a conspicuous situation, and addto the gratification of the beholder. The idea is a good one; but to carryit into complete effect, there should be a gallery, fifty feet long, of aconfined width, and lighted from above:[22] whereas the present room isscarcely twenty feet square, with a disproportionably low ceiling. However, you cannot fail to be highly gratified--and onwards you go--diagonally--andfind yourself in a comparatively long room--in the midst of which is atable, reaching from nearly one end to the other, and entirely filled(every day) with visitors, or rather students--busied each in their severalpursuits. Some are quietly turning over the succeeding leaves, on which theprints are pasted: others are pausing upon each fine specimen, in silentecstacy--checking themselves every instant lest they should break forthinto rapturous exclamations!... "silence" being rigidly prescribed by theCurators--and, I must say, as rigidly maintained. Others again are busiedin deep critical examination of some ancient ruin from the pages of_Piranesi_ or of _Montfaucon_--now making notes, and now copying particularparts. Meanwhile, from the top to the bottom of the sides of the, room, arehuge volumes of prints, bound in red morocco; which form indeed thematerials for the occupations just described. [23]

But, hanging upon a pillar, at the hither end of this second room, youobserve a large old drawing of a head or portrait, in a glazed frame; whichstrikes you in every respect as a great curiosity. M. Du Chesne, theobliging and able director of this department of the collection, attendedme on my first visit. He saw me looking at this head with great eagerness. "Enfin voilà quelque chose qui mérite bien vôtre attention"--observed he. It was in fact the portrait of "their good but unfortunate KING JOHN"--asmy guide designated him. This Drawing is executed in a sort of thick bodycolour, upon fine linen: the back-ground is gold: now almost entirelytarnished--and there is a sort of frame, stamped, or pricked out, upon thesurface of the gold--as we see in the illuminations of books of thatperiod. It should also seem as if the first layer, upon which the gold isplaced, had been composed of the white of an egg--or of some such glutinoussubstance. Upon the whole, it is an exceedingly curious and interestingrelic of antient graphic art. 

To examine minutely the treasures of such a collection of prints--whetherin regard to ancient or modern art--would demand the unremitted attentionof the better part of a month; and in consequence, a proportionate quantityof time and paper in embodying the fruits of that attention. [24] There isonly one other curiosity, just now, to which I shall call your attention. It is the old wood cut of ST. CHRISTOPHER--of which certain authors havediscoursed largely. [25] They suppose they have an impression of it here--whereas that of Lord Spencer has been hitherto considered as unique. HisLordship's copy, as you well know, was obtained from the Buxheim monastery, and was first made public in the interesting work of Heineken. [26] The copynow under consideration is not pasted upon boards, as is Lord Spencer's--forming the interior linings in the cover or binding of an old MS. --but itis a loose leaf, and is therefore subject to the most minute examination, or to any conclusion respecting the date which may be drawn from the_watermark_. Upon _such_ a foundation I will never attempt to build anhypothesis, or to draw a conclusion; because the same water-mark of Bambergand of Mentz, of Venice and of Rome, may be found within books printed bothat the commencement and at the end of the fifteenth century. But for theprint--as it _is_. I have not only examined it carefully, but haveprocured, from M. Coeuré, a fac-simile of the head only--the most essentialpart--and both the examination and the fac-simile convince me... That theSt. Christopher in the Bibliothèque du Roi is NOT an impression from the_same block_ which furnished the St. Christopher now in the library of St. James's Place. 

The general character of the figure, in the Royal Library here, is thin andfeeble compared with that in Lord Spencer's collection; and I am quitepersuaded that M. Du Chesne, --who fights his ground inch by inch, andreluctantly (to his honour, let me add) assents to any remarks which maymake his own cherished St. Christopher of a comparatively modern date--will, in the end, admit that the Parisian impression is a _copy_ of a laterdate--and that, had an opportunity presented itself of comparing the twoimpressions with each other, [27] it would never have been received into theLibrary at the price at which it was obtained--I think, at about 620francs. However, although it be not THE St. Christopher, it is a graphicrepresentation of the Saint which may possibly be as old as the year 1460. 

But we have tarried quite long enough, for the present, within the cabinetof Engravings. Let us return: ascend about a dozen more steps; and enterthe LIBRARY OF MANUSCRIPTS. As before, you are struck with the smallness ofthe first room; which leads, however, to a second of much largerdimensions--then to a third, of a boudoir character; afterwards to a fourthand fifth, rather straitened--and sixthly, and lastly, to one of a noblelength and elevation of ceiling--worthy in all respects of the glorioustreasures which it contains. Let me, however, be more explicit. In the veryfirst room you have an earnest of all the bibliomaniacal felicity whichthese MSS. Hold out. Look to the left--upon entering--and view, perhapslost in a very ecstacy of admiration--the _Romances_ ... Of all sizes andcharacter, which at first strike you! What _Launcelot du Lacs, Tristans, Leonnois, Arturs, Ysaises_, and feats of the _Table Ronde_, stand closelywedged within the brass-wired doors that incircle this and every otherapartment! _Bibles, Rituals, Moralities_, ... Next claim your attention. You go on--_History, Philosophy, Arts and Sciences_ ... But it is uselessto indulge in these rhapsodies. The fourth apartment, of which I spake, exhibits specimens of what are seen more plentifully, but not of morecurious workmanship, in the larger room to which it leads. Here glitter, behind glazed doors, old volumes of devotion bound in ivory, or gilt, orbrass, studded with cameos and precious stones; and covered with figures ofall characters and ages--some of the XIIth--and more of the immediatelyfollowing centuries. Some of these bindings (among which I include_Diptychs_) may be as old as the eleventh--and they have been even carriedup to the tenth century. 

Let us however return quickly back again; and begin at the beginning. Thefirst room, as I before observed, has some of the most exquisitelyilluminated, as well as some of the most ancient MSS. , in the wholelibrary. A phalanx of _Romances_ meets the eye; which rather provokes thecourage, than damps the ardor, of the bibliographical champion. Nor are theilluminated _Bibles_ of less interest to the graphic antiquary. In my nextletter you shall see what use I have made of the unrestrained libertygranted me, by the kind-hearted Curators, to open what doors, and examinewhat volumes, I pleased. Meanwhile let me introduce you to the excellentMONSIEUR GAIL, who is sitting at yonder desk--examining a beautiful GreekMS. Of Polybius, which once belonged to Henry II. And his favourite Dianede Poictiers. M. Gail is the chief Librarian presiding over the Greek andLatin MSS. , and is himself Professor of the Greek language in the royalcollege of France. Of this gentleman I shall speak more particularly anon. At the present moment it may suffice only to observe that he is thoroughlyfrank, amiable, and communicative, and dexterous in his particularvocation: and that he is, what we should both call, a hearty, good fellow--a natural character. M. Gail is accompanied by the assistant librarians MM. De. L'EPINE, and MÉON: gentlemen of equal ability in their particulardepartment, and at all times willing to aid and abet the researches ofthose who come to examine and appreciate the treasures of which they arethe joint Curators. Indeed I cannot speak too highly of these gentlemen--nor can I too much admire the system and the silence which uniformlyprevail. 

Another principal librarian is M. LANGLÈS:[28] an author of equalreputation with Monsieur Gail--but his strength lies in Orientalliterature; and he presides more especially over the Persian, Arabic, andother Oriental MSS. To the naïveté of M. Gail, he adds the peculiarvivacity and enthusiasm of his countrymen. To see him presiding in hischair (for he and M. Gail take alternate turns) and occupied in reading, you would think that a book worm could scarcely creep between the tip ofhis nose and the surface of the _Codex Bombycinus_ over which he is poring. He is among the most short-sighted of mortals--as to _ocular_ vision. Buthe has a bravely furnished mind; and such a store of spirits and of goodhumour--talking withal unintermittingly, but very pleasantly---that youfind it difficult to get away from him. He is no indifferent speaker of ourown language; and I must say, seems rather proud of such an acquirement. Both he and M. Gail, and M. Van Praet, are men of rather small, stature--_triplicates_, as it were, of the same work[29]--but of which M. Gail isthe tallest copy. One of the two head librarians, just mentioned, sits at adesk in the second room--and when any friends come to see, or to conversewith him--the discussion is immediately adjourned to the contiguousboudoir-like apartment, where are deposited the rich old bindings of whichyou have just had a hasty description. Here the voices are elevated, andthe flourishes of speech and of action freely indulged in. 

In the way to the further apartment, from the boudoir so frequentlymentioned, you pass a small room--in which there is a plaster bust of theKing--and among the books, bound, as they almost all are, in red morocco, you observe two volumes of tremendously thick dimensions; the one entitled_Alexander Aphrodiæsus, Hippocrates, &c. _--the other _Plutarchi VitæParallelæ et Moralia, &c. _ They contain nothing remarkable for ornament, orwhat is more essential, for intrinsic worth. Nevertheless you pass on: andthe last--but the most magnificent--of _all_ the rooms, appropriated to thereception of books, whether in ms. Or in print, now occupies a veryconsiderable portion of your attention. It is replete with treasures ofevery description: in ancient art, antiquities, and both sacred and profanelearning: in languages from all quarters, and almost of all ages of theworld. Here I opened, with indescribable delight the ponderous and famous_Latin Bible of Charles the Bald_--and the religious manual of his brotherthe _Emperor Lotharius_--composed chiefly of transcripts from the Gospels. Here are ivory bindings, whether as diptychs, or attached to regularvolumes. Here are all sorts and sizes of the uncial or capital-letter MSS--in portions, or entire. Here, too, are very precious old illuminations, andspecimens--almost without number--admirably arranged, of every species ofBIBLIOGRAPHICAL VIRTÙ, which cannot fail to fix the attention, enlarge theknowledge, and improve the judgment, of the curious in this department ofresearch. 

Such, my dear friend, is the necessarily rapid--and, I fear, consequentlyimperfect--sketch which I send you of the general character of theBIBLIOTHÈQUE DU ROI; both as respects its dead and its living treasures. Itremains to be seen how this sketch will be completed. --- and I hereby giveyou notice, that my next letter will contain some account of a few of themore ancient, curious, and splendid MANUSCRIPTS--to be followed by a secondletter, exclusively devoted to a similar account of the PRINTED BOOKS. If Iexecute this task according to my present inclinations--and with thedisposition which I now feel, together with the opportunities which havebeen afforded me--it will not, I trust, be said that I have been an idle orunworthy visitor of this magnificent collection. 

[16] [Mons. Crapelet takes fire at the above passage: simply because he misunderstands it. In not one-word, or expression of it, is there any thing which implies, directly or indirectly, that "it would be difficult to find another public establishment where the officers are more active, more obliging, more anxious to satisfy the Public than in the above. " I am talking only of _dress_--and commending the silk stockings of Mons. Van Praet at the expense of those by whom he is occasionally surrounded. ]

[17] So, even NOW: 1829. 

[18] In the year 1814, the late M. Millin published a dissertation upon this medal, to which he prefixed an engraving of the figure of Louis. There can indeed be but one opinion that the Engraving is unworthy of the Original. 

 [For an illustration of the _Medallic History of France_, I scarcely recollect any one object of Art which would be more gratifying, as well as apposite, than a faithful Engraving of such a Medal: and I call upon my good friend M. DU CHESNE to set such a History on foot. There is however another medal, of the same Monarch, of a smaller size, but of equal merit of execution, which has been selected to grace the pages of this second edition--in the OPPOSITE PLATE. The inscription is as follows: LUDOVICO XII. REGNANTE CÆSARE ALTERO. GAUDET OMNIS NATIO: from which it is inferred that the Medal was struck in consequence of the victory of Ravenna, or of Louis's triumphant campaigns in Italy. A short but spirited account is given of these campaigns in Le Noir's _Musée des Monumens Français_, tome ii. P. 145-7. ]

[19] ["And it is Mr. DIBDIN who makes this confession! Let us render justice to his impartiality on this occasion. Such a confession ought to cause some regret to those who go to seek engravings in London. " CRAPELET, vol. Ii. P. 89. The reader shall make his own remark on the force, if there be any, of this gratuitous piece of criticism of the French Translator. ]

[20] [And, till within these few months, those of the REV. DR. NICOLL, Regius Professor of the Hebrew Language! That amiable and modest and surprisingly learned Oriental Scholar died in the flower of his age (in his 36th year) to the deep regret of all his friends and acquaintances, and, I had well nigh said, to the irreparable loss of the University. ]

[21] ["This observation is just; and it is to be hoped that they will soon carry into execution the Royal ordonance of October, 1816, which appropriates the apartments of the Treasury, contiguous, to be united to the establishment, as they become void. However, what took place in 1825, respecting some buildings in the Rue Neuve des Petits Champs, forbids us to suppose that this wished for addition will take place. " CRAPELET, p. 93. ]

[22] [M. Crapelet admits the propriety of such a suggested improvement; and hopes that government will soon take it up for the accommodation of the Visitors--who sometimes are obliged to wait for a _vacancy_, before they can commence these researches. ]

[23] [Mons. Crapelet estimates the number of these splendid volumes (in 1825, ) at "more than six thousand!"]

[24] [M. Crapelet might have considered this confession as a reason, or apology, sufficient for not entering into all those details or descriptions, which he seems surprised and vexed that I omitted to travel into. ]

[25] _An enquiry into the History of Engraving upon Copper and in Wood_, 1816, 4to. 2 vol. By W. Y. Ottley. Mr. Ottley, in vol. I. P. 90, has given the whole of the original cut: while in the first volume p. Iii. Of the _Bibliotheca Spenceriana_, only the figure and date are given. 

[26] _Idée générale d'une Collection complette des Estampes. Leips. _ 1771. 8vo. 

[27] Since the above was written, the RIVAL ST. CRISTOPHER have been placed _side by side_. When Lord Spencer was at Paris, last year, (1819, ) on his return from Italy--he wrote to me, requesting I would visit him there, and bring St. Christopher with me. That Saint was therefore, in turn, carried across the water--and on being confronted with his name-sake, at the Royal Library ... It was quite evident, at the first glance, as M. Du Chesne admitted--that they were impressions taken from _different blocks_. The question therefore, was, after a good deal of pertinacious argument on both sides--which of the two impressions was the MORE ANCIENT? Undoubtedly it was that of Lord[B] Spencer's. 

 [B] [The reasons, upon which this conclusion was founded, are stated at length in the preceding edition of this work: since which, I very strongly incline to the supposition that the Paris impression is a _proof_--of one of the _cheats_ of DE MURR. ]

[28] He died in 1824 and a notice of his Life and Labours appeared in the _Annales Encyclopèdiques_. 

[29] "M. Dibdin may well make the _fourth_ copy--as to size. " CRAPELET, p. 115. 

_LETTER III. _

THE SAME SUBJECTS CONTINUED. 

_Paris, June 14, 1818_. 

As I promised, at the conclusion of my last, you shall accompany meimmediately to the ROYAL LIBRARY; and taking down a few of the more ancientMANUSCRIPTS relating to _Theology_--especially those, which, from age, art, or intrinsic worth, demand a more particular examination--we will both sitdown together to the enjoyment of what the librarians have placed beforeus. In other words, I shall proceed to fill up the outline (executed with ahurrying pencil) which was submitted to you in my previous letter. First, therefore, for

BIBLES, LITURGIES, RITUALS, LEGENDS, MORAL TREATISES, &C. 

_Quatuor Evangelia. "Codex Membranaceus, Olim Abbatiæ S. MedardiSuessionensis in uncialibus litteris et auricis scriptus. Sæc. VI. "_ Thepreceding is written in an old hand, inserted in the book. It is a foliovolume of unquestionably great antiquity; but I should apprehend that it is_antedated_ by at least _two_ centuries. It is full of embellishment, of avaried and splendid character. The title to each Gospel is in very largecapital letters of gold, upon a purple ground: both the initial letter andthe border round the page being elaborately ornamented. The letter prefixedto St. Matthew's Gospel is highly adorned, and in very good taste. Eachpage consists of two columns, in capital letters of gold, throughout:within borders of a quiet purple, or lilac tint, edged with gold. It hasbeen said that no two borders are alike altogether. A portrait of eachEvangelist is prefixed to the title; apparently coeval with the time: thecomposition is rather grotesque; the colours are without any glaze, and theperspective is bad. 

LATIN BIBLE OF CHARLES THE BALD. Folio. When this volume was described byme, on a former occasion, [30] from merely printed authorities, of course itwas not in my power to do it, if I may so speak, "after the life, "--foralthough nearly ten centuries have elapsed since this Bible has beenexecuted, yet, considering its remote age, it may be said to be fresh andin most desirable condition. The authority, just hinted at, notices thatthis magnificent volume was deposited in the library by _Baluze_, the headlibrarian to Colbert; but a note in that eminent man's hand writing, prefixed, informs us that the Canons of the Cathedral church at Metz madeColbert a present of it. 

The reverse of the last leaf but one is occupied by Latin verses, incapital letters of gold, at the top of which, in two lines, we make out--"_Qualiter uiuian monachus sci martini consecrat hanc bibliam Karoloipatorj_, " &c. The ensuing and last leaf is probably, in the eye of anantiquarian virtuoso, more precious than either of its decorativeprecursors. It exhibits the PORTRAIT OF CHARLES THE BALD; who is surroundedby four attendants, blended, as it were, with a group of twelve below--inthe habits of priests--listening to the oration of one, who stands nearlyin the centre. [31] This illumination, in the whole, measures about fourteeninches in height by nearly ten and a half in width: the purple ground beingfrequently faded into a greenish tint. The volume itself is about twentyinches in height by fifteen wide. 

PSALTER OF CHARLES THE BALD. This very precious volume was also in thelibrary of the Great Colbert. It is a small quarto, bound in the mostsumptuous manner. The exterior of the first side of the binding has anelaborate piece of sculpture, in ivory, consisting of small human figures, beasts, &c. ; and surrounded with oval and square coloured stones. Theexterior of the other, or corresponding, side of the binding has the samespecies of sculpture, in ivory; but no stones. The text of the volume is ingold capitals throughout; but the ornaments, as well as the portrait ofCharles, are much inferior to those in that just described. However, thisis doubtless a valuable relic. 

PRAYER BOOK OF CHARLES THE BALD; in small 4to. This is rather an_Evangelistarium_, or excerpts from the four Gospels. The writing is asmall roman lower-case. The illuminations, like those in the Bible, arerubbed and faded, and they are smaller. The exterior ornament of thebinding, in the middle, contains a group of ivory figures--taken from the_original_ covering or binding. 

BOOK OF THE GOSPELS, OF THE EMPEROR LOTHARIUS. Although it is very probablethat this book may be of a somewhat earlier date than the MS. Justdescribed, yet as its original possessor was brother to _Charles the Bald_, it is but courtesy to place him in the second rank after the Frenchmonarch; and accordingly I have here inserted the volume in the order whichI apprehend ought to be observed. An ancient ms. Memorandum tells us thatthis book was executed in the 855th year of the Christian era, and in the15th of the Emperor's reign. On the reverse of the first leaf is theportrait of the Emperor, with an attendant on each side. The text commenceson the recto of the second leaf. On the reverse of the same leaf, is arepresentation of the Creator. Upon the whole, this book may be classedamong the most precious specimens of early art in this library. On thecover are the royal arms. 

LATIN BIBLE. Fol. This MS. Of the sacred text is in four folio volumes, andundoubtedly cannot be later than the thirteenth century. The text iswritten with three columns in each page. Of the illuminations, the figuresare sketches, but freely executed: the colouring coarse and slightly puton: the wings of some of the angels reminded me of those in the curious_Hyde-Book_, belonging to the Marquis of Buckingham at Stowe; and of which, as you may remember, there are fac-similes in _the BibliographicalDecameron_. [32] The group of angels (on the reverse of the fourth leaf ofthe first volume), attending the Almighty's commands, is cleverly managedas to the draperies. The soldiers have quilted or net armour. The initialletters are sometimes large, in the fashion of those in the Bible ofCharles the Bald, but very inferior in execution. In this MS. We may tracesomething, I think, of the decline of art. 

PSALTERIUM LATINÈ, 8vo. If I were called upon to select any one volume, ofgiven octavo dimensions, I do not know whether I should not put my handupon the _present_--for you are hereby to know that this was the religiousmanual of ST. LOUIS:--his own choice copy--selected, I warrant, from half ascore of performances of rival scribes, rubricators, and illuminators. Itscondition is absolutely wonderful--nor is the history of its locomotivenessless surprising. First, for an account of its contents. On the reverse ofthe first fly-leaf, we read the following memorandum--in red: "_Cestpsaultier fu saint loys. Et le dona la royne Iehanne deureux au royCharles filz du roy Iehan, lan de nres' mil troys cens soissante et neuf. Et le roy charles pnt filz du dit Roy charles le donna a madame Marie defrace sa fille religieuse a poissi. Le iour saint michel lan miliiij^c. _" This hand writing is undoubtedly of the time. 

A word now about the history of this volume. As this extract indicates, itwas deposited in a monastery at Poissy. When that establishment wasdissolved, the book was brought to M. Chardin, a bookseller and abibliomaniac. He sold it, some twenty-five years ago, to a Russiangentleman, from whom it was obtained, at Moscow, by the Grand DukeNicholas. [33] The late King of France, through his ambassador, the Count deNoailles, obtained it from the Grand Duke--who received, in return, fromhis Majesty, a handsome present of two Sèvre vases. It is now thereforesafely and judiciously lodged in the Royal Library of France. It is inwooden covers, wrapped in red velvet. The vellum is singularly soft, and ofits original pure tint. 

HISTORICAL PARAPHRASE OF THE BIBLE. Lat. And Fr. Folio. If any MS. Of thesacred text were to be estimated according to the _number of theilluminations_ which it contained, the present would unquestionably claimprecedence over every other. In short, this is the MS. Of which Camus, inthe _Notices et Extraits des MSS. De la Bibliothèque Nationale_, vol. Vi. P. 106, has given not only a pretty copious account, but has embellishedthat account with fac-similes--one large plate, and two others--eachcontaining four subjects of the illuminations. After an attentive survey ofthe various styles of art observable in these decorations, I am notdisposed to allow the antiquity of the MS. To go beyond the commencement ofthe XVth century. A sight of the frontispiece causes a re-action of theblood in a lover of genuine large margins. The book is cropt--not _quite_to the quick!... But then this frontispiece displays a most delicate andinteresting specimen of graphic art. It is executed in a sort of graytone:--totally destitute of other colour. According to Camus, there areupwards of five thousand illuminations; and a similar work, in hisestimation, could not _now_ be executed under 100, 000 francs. 

A SIMILAR MS. This consists but of one volume, of a larger size, of 321leaves. It is also an historical Bible. The illuminations are arranged in amanner like those of the preceding; but in black and white only, delicatelyshaded. The figures are tall, and the females have small heads; just whatwe observe in those of the _Roman d'Alexandre_, in the Bodleian library. Itis doubtless a manuscript of nearly the same age, although this may besomewhat more recent. 

LIBER GENERATIONIS IHI XTI. Of all portions of the sacred text--notabsolutely a consecutive series of the Gospels, or of any of the books ofthe Old Testament--the present is probably, not only the oldest MS. In thatparticular department, but, with the exception of the well known _CodexClaromontanus_, the most ancient volume in the Royal Library. It is afolio, having purple leaves throughout, upon which the text is executed insilver capitals. Both the purple and the silver are faded. On the exteriorof the binding are carvings in ivory, exceedingly curious, but ratherclumsy. The binding is probably coeval with the MS. They call it of theninth century; but I should rather estimate it of the eighth. It isundoubtedly an interesting and uncommon volume. 

EVANGELIUM STI. IOHANNIS. This is a small oblong folio, bound in redvelvet. It is executed in a very large, lower-case, coarse gothic and romanletter, alternately:--in letters of gold throughout. The page is narrow, the margin is large, and the vellum soft and beautiful. There is a rudeportrait of the Evangelist prefixed, on a ground entirely of gold. Thecapital initial letter is also rude. The date of this manuscript is pushedas high as the eleventh century: but I doubt this antiquity. 

LIBER PRECUM: CUM NOTIS, CANTICIS ET FIGURIS. I shall begin my account ofPRAYER BOOKS, BREVIARIES, &C. With the present: in all probability the mostancient within these walls. The volume before me is an oblong folio, notmuch unlike a tradesman's day-book. A ms. Note by Maugerard, correcting aprevious one, assigns the composition of this book to a certain Monk, ofthe name of _Wickingus_, of the abbey of Prum, of the Benedictin order. Itwas executed, as appears on the reverse of the forty-eighth leaf, "_underthe abbotships of Gilderius and Stephanus_. " It is full of illuminations, heavily and clumsily done, in colours, which are now become very dull. I donot consider it as older than the twelfth century, from the shield with aboss, and the depressed helmet. There are interlineary annotations in afine state of preservation. In the whole, ninety-one leaves. It is bound inred morocco. 

BREVIARE DE BELLEVILLE: Octavo. 2 volumes. Rich and rare as may be thegraphic gems in this marvellous collection, I do assure you, my goodfriend, that it would be difficult to select two octavo volumes of greaterintrinsic curiosity and artist-like execution, than are those to which I amnow about to introduce you:--especially the first. They were latterly theproperty of Louis XIV. But had been originally a present from Charles VI. To our Richard II. Thus you see a good deal of personal history is attachedto them. They are written in a small, close, Gothic character, upon vellumof the most beautiful colour. Each page is surrounded by a border, (executed in the style of the age--perhaps not later than 1380) and verymany pages are adorned by illuminations, especially in the first volume, which are, even now, as fresh and perfect as if just painted. The figuresare small, but have more finish (to the best of my recollection) than thosein our Roman d'Alexandre, at Oxford. 

At the end of the first volume is the following inscription--written in astiff, gothic, or court-hand character: the capital letters being very talland highly ornamented. "_Cest Breuiare est a l'usaige des Jacobins. Et esten deux volumes Dont cest cy Le premier, et est nomme Le Breuiaire deBelleville. Et le donna el Roy Charles le vj^e. Au roy Richart Dangleterre, quant il fut mort Le Roy Henry son successeur L'envoya a son oncle Le Ducde Berry, auquel il est a present. "_ This memorandum has the signature of"Flamel, " who was Secretary to Charles VI. On the opposite page, in thesame ancient Gothic character, we read: "_Lesquelz volumes mon dit Seigneura donnez a ma Dame Seur Marie de France. Ma niepce. "_ Signed by the same. The Abbé L'Epine informs me that Flamel was a very distinguished characteramong the French: and that the royal library contains several books whichbelonged to him. 

BREVIARY OF JOHN DUKE OF BEDFORD. Pursuing what I imagine to be a tolerablycorrect chronological order, I am now about to place before you thisfar-famed _Breviary_: companion to the MISSAL which originally belonged tothe same eminent Possessor, and of which our countrymen[34] have had morefrequent opportunities of appreciating the splendour and beauty than theParisians; as it is not likely that the former will ever again become theproperty of an Englishman. Doubtless, at the sale of the Duchess ofPortland's effects in 1786, some gallant French nobleman, if not Louis XVI. Himself, should have given an unlimited commission to purchase it, in orderthat both _Missal_ and _Breviary_ might have resumed that close andintimate acquaintance, which no doubt originally subsisted between them, when they lay side by side upon the oaken shelves of their firstillustrious Owner. Of the _two_ performances, however, there can be noquestion that the superiority lies decidedly with the _Missal_: on thescore of splendour, variety, and skilfulness of execution. 

The last, and by much the most splendid illumination, is _that_ for whichthe artists of the middle age, and especially the old illuminators, seem tohave reserved all their powers, and upon which they lavished all theirstock of gold, ultramarine, and carmine. You will readily anticipate that Iam about to add--the _Assumption of the Virgin_. One's memory is generallyfallacious in these matters; but of all the exquisite, and of all theminute, elaborate, and dazzling works of art, of the illuminatory kind, Iam quite sure that I have not seen any thing which _exceeds_ this. To_equal_ it--there may be some few: but its superior, (of its own particularclass of subject) I think it would be very difficult to discover. 

HORÆ BEATÆ MARIÆ VIRGINIS. This may be called either a large thick octavo, or a very small folio. Probably it was originally more decidedly of thelatter kind. It is bound in fish skin; and a ms. Note prefixed thus informsus. "_Manuscrit aqui du C^{en} Papillon au commencement du mois de Frimairede lan XII. De la République. "_ This is without doubt among the most superband beautiful books, of its class, in the Royal Library. The title isornamented in an unusual but splendid manner. Some of the largerilluminations are elaborately executed; especially the first--representingthe _Annunciation_. The robe of the Angel, kneeling, is studded with smallpearls, finished with the minutest touches. The character of ART, generallythroughout, is that of the time and manner of the volume last described:but the present is very frequently inferior in merit to what may beobserved in the Bedford Breviary. In regard to the number of decorations, this volume must also be considered as less interesting: but it possessessome very striking and very brilliant performances. Thus, _St. Michael andthe Devil_ is absolutely in a blaze of splendor; while the illumination onthe reverse of the same leaf is not less remarkable for a different effect. A quiet, soft tone--from a profusion of tender touches of a grey tint, inthe architectural parts of the ornaments--struck me as among the mostpleasing specimens of the kind I had ever seen. The latter and largerilluminations have occasionally great power of effect, from their splendidstyle of execution--especially that in which the central compartment isoccupied by _St. George and the Dragon_. Some of the smaller illuminations, in which an Angel is shewing the cruelties about to be inflicted on thewicked, by demons, are terrific little bits! As for the vellum, it is "detoute beauté. "

HISTORIA BEATÆ MARIÆ VIRGINIS. Folio. This is briefly described in theprinted catalogue, under number 6811. It is a large and splendid folio, ina very fine state of preservation; but of which the art is, upon the whole, of the ordinary and secondary class of merit. Yet it is doubtless a volumeof great interest and curiosity. Even to English feelings, it will begratifying to observe in it the portrait of _Louisa of Savoy_, mother ofFrancis I. That illustrious lady is sitting in a chair, surrounded by herattendants; and is in all probability a copy from the life. The performanceis a metrical composition, in stanzas of eleven verses. I select theopening lines, because they relate immediately to the portrait in question. 

 _Tres excellente illustre et magnificque Fleur de noblesse exquise et redolente Dame dhonneur princesse pacifique Salut a ta maieste precellente Tes seruiteurs par voye raisonnable Tant iusticiers que le peuple amyable. De amyens cite dicte de amenite Recomandant sont par humilite Leur bien publicque en ta grace et puissance Toy confessant estre en realite Mere humble et franche au grant espoir de France_. 

The text is accompanied by the common-place flower Arabesques of theperiod. 

HOURS OF ANNE OF BRITTANY. The order of this little catalogue of a few ofthe more splendid and curious ILLUMINATED MANUSCRIPTS, in the Royal Libraryof France, has at length, my worthy friend, brought me in contact with themagical and matchless volume usually designated by the foregoing title. Youare to know--in the first place--that, of ALL the volumes in this mostmarvellous Library, the present is deemed THE MOST PRECIOUS. Not even thewishes and regulations of Royalty itself allow of its migration beyond thewalls of the public library. There it is kept: there it is opened, andshewn, and extolled beyond any limits fixed to the admiration of thebeholder. It is a rare and bewitching piece of art, I do assure you: andso, raising your expectations to their highest pitch, I will allow you toanticipate whatever is wonderful in FRANCESCO VERONESE and gorgeous inGIROLAMO DEI LIBRI. [35] Perhaps, however, this is not the most happyillustration of the art which it displays. 

The first view of this magical volume is doubtless rather disheartening:but the sight of the original silver clasps (luckily still preserved) willoperate by way of a comforter. Upon them you observe this ornament:

[Illustration. ]

denoting, by the letter and the ducal crown, that the book belonged toAnne, Duchess of Brittany. On the reverse of the second leaf we observe the_Dead Christ_ and the _three Maries_. These figures are about six inches inheight. They are executed with great delicacy, but in a style somewhat toofeeble for their size. One or two of the heads, however, have rather a goodexpression. 

Opposite to this illumination is the _truly invaluable_ PORTRAIT OF ANNEherself: attended by two females, each crowned with a glory; one isdisplaying a banner, the other holding a cross in her hand. To the left ofthese attendants, is an old woman, hooded, with her head encircled by aglory. They are all three sweetly and delicately touched; but there aremany evident marks of injury and ill usage about the surface of thecolouring. Yet, as being _ideal_ personages, my eye hastily glided off themto gaze upon the illustrious Lady, by whose orders, and at whose expense, these figures were executed. It is upon the DUCHESS that I fix my eye, andlavish my commendations. Look at her[36] as you here behold her. Her gownis brown and gold, trimmed with dark brown fur. Her hair is brown. Hernecklace is composed of coloured jewels. Her cheek has a fresh tint; andthe missal, upon which her eyes are bent, displays highly ornamented art. The cloth upon the table is dark crimson. 

The _Calendar_ follows; in which, in one of the winter months, we observe avery puerile imitation of flakes of snow falling over the figures and thelandscape below. The calendar occupies a space of about six inches by four, completely enclosed by a coloured margin. Then begins a series of the mostbeautiful ornaments of FLOWERS, FRUITS, INSECTS, &C. For which theilluminators of this period were often eminently distinguished. Theseornaments are almost uniformly introduced in the fore-edges, or right-sidemargins, of the leaves; although occasionally, but rarely, they encirclethe text. They are from five to six inches in length, or height; having theLatin name of the plant at top, and the French name at the bottom. Probablythese titles were introduced by a later hand. It is really impossible todescribe many of them in terms of adequate praise. The downy plum is almostbursting with ripeness: the butterfly's wings seem to be in tremulousmotion, while they dazzle you by their varied lustre: the hairy insect putsevery muscle and fibre into action, as he insinuates himself within thecurling of the crisped leaves; while these leaves are sometimes glitteringwith dew, or coated with the finest down. The flowers and the vegetablesare equally admirable, and equally true to nature. To particularise wouldbe endless. Assuredly these efforts of art have no rival--of their kind. _Scripture Subjects. Saints, Confessors, &c. _ succeed in regular order, with accompaniments of fruits and flowers, more or less exquisitelyexecuted:--the whole, a collection of peculiar, and, of its kind, UNRIVALLED ART. This extraordinary volume measures twelve inches by sevenand a half. 

HOURS BELONGING TO POPE PAUL III. 8vo. The portrait of the Pope is at thebottom of the first ornament, which fixes the period of its execution toabout the middle of the sixteenth century. Towards the end the pages areelaborately ornamented in the arabesque manner. There are some pleasingchildren: of that style of art which is seen in the Missal belonging to SirM. M. Sykes, of the time of Francis I. [37] The scription is very beautiful. The volume afterwards belonged to Pius VI. , whose arms are worked intambour on the outside. It is kept in a case, and is doubtless a fine book. 

MISSALS: numbers 19-4650. Under this head I shall notice two pretty volumesof the devotional kind; of which the subjects are executed in red, blue, &c. --and of which the one seems to be a copy of the other. The bordersexhibit a style of art somewhat between that of Julio Clovio and what isseen in the famous Missal just mentioned. 

MISSAL OF HENRY IV. No. 1171. This book is of the end of the XVIth century. The ground is gold, with a small brilliant, roman letter for text. Thesubjects are executed in a pale chocolate tint, rather capricious thantasteful. It has been cropt in the binding. The name and arms of Henry areon the exterior. 

Thus much, my dear friend, for the SACRED TEXT--either in its original, uninterrupted state--or as partially embodied in _Missals_, _Hours_, or_Rituals_. I think it will now be but reasonable to give you some littlerespite from the toil of further perusal; especially as the next class ofMSS. Is so essentially different. In the mean while, I leave you to carrythe image of ANNE OF BRITTANY to your pillow, to beguile the hours oflanguor or of restlessness. A hearty adieu. 

[30] _Bibliographical Decameron_, vol. I. P. Xxxi. 

[31] Earl Vivian, and eleven monks, in the act of presenting the volume to Charles. 

[32] Vol. I. P. Lvi. -vii. 

[33] The present Emperor of Russia. 

[34] A very minute and particular description of this Missal, together with a fac-simile of the DUKE OF BEDFORD kneeling before his tutelary SAINT GEORGE, will be found in the _Bibliographical Decameron_, vol. I. P. Cxxxvi-cxxxix. 

[35] For an account of these ancient worthies in the art of illumination, consult the _Bibliographical Decameron_, vol. I. P. Cxlii. -clxiv. 

[36] See the OPPOSITE PLATE. [The beautiful copy of the Original, by Mr. G. Lewis, from which the Plates in this work were taken, is now in the possession of Thomas Ponton, Esq. ]

[37] [It was bought at Sir Mark's sale, by Messrs. Rivington and Cochrane. See a fac-simile of one of the illuminations in the _Bibliographical Decameron_, vol. I. P. Clxxix. ]

_LETTER IV. _

THE SAME SUBJECT CONTINUED. 

Are you thoroughly awake, and disenchanted from the magic which thecontents of the preceding letter may have probably thrown around you?Arouse--to scenes of a different aspect, but of a not less splendid andspirit-stirring character. Buckle on your helmet, ... For the trumpetsounds to arms. The _Knights of the Round Table_ call upon you, from theirrock-hewn, or wood-embowered, recesses, to be vigilant, faithful, enterprising, and undaunted. In language less elevated, and somewhat moreintelligible, I am about to place before you a few illuminated MSS. Relating to HISTORY and ROMANCE; not without, in the first place, making adigression into one or two volumes of MORALITIES, if they may be so called. Prepare therefore, in the first place, for the inspection of a couple ofvolumes--which, for size, splendor, and general state of preservation, haveno superior in the Royal Library of France. 

CITÉ DE DIEU: No. 6712: folio. 2 vols. These are doubtless among the mostmagnificent _shew-books_ in this collection; somewhat similar, in size andstyle of art, to the MS. Of _Valerius Maximus_, in our British Museum--ofwhich, should you not have forgotten it, some account may be read in the_Bibliographical Decameron_. [38] At the very first page we observe anassemblage of Popes, Cardinals, and Bishops, with a King seated on histhrone in the midst of them. The figures in the fore-ground are from fourto five inches high; and so in gradation upwards. The colouring of some ofthe draperies is in a most delightful tone. The countenances have also asoft and quiet expression. The arms of _Graville_ (Grauille?) are in thecircular border. Three leaves beyond, a still larger and more crowdedillumination appears--in a surprising state of freshness and beauty;measuring nearly a foot and a half in height. It is prefixed to the _FirstBook_, and is divided into a group in the clouds, and various groups uponthe earth below. These latter are representations of human beings in allsituations and occupations of life--exhibiting the prevalence both ofvirtues and vices. They are encircled at bottom by a group of Demons. Thefigures do not exceed two inches in height. Nothing can exceed the delicacyand brilliancy of this specimen of art about the middle of the fifteenthcentury:---a ms. Date of 1469 shewing the precise period of its execution. This latter is at the end of the first volume. Each book, into which thework is divided, has a large illumination prefixed, of nearly equal beautyand splendor. 

LES ECHECS AMOUREUX. Folio. No. 6808. The title does not savour of anymoral application to be derived from the perusal of the work. Nevertheless, there are portions of it which were evidently written with that view. It isso lovely, and I had almost said so matchless, a volume, that you ought torejoice to have an account of it in any shape. On the score of delicate, fresh, carefully-executed art, this folio may challenge comparison with anysimilar treasure in the Bibliothèque du Roi. The subjects are not crowded, nor minute; nor of a very wonderful and intricate nature; but they arequietly composed, softly executed, and are, at this present moment, in astate of preservation perfectly beautiful and entire. 

BOCCACE; DES CAS DES NOBLES HOMMES ET FEMMES: No. 6878. The present seemsto be the fit place to notice this very beautiful folio volume of one ofthe most popular works of Boccaccio. Copies of it, both in ms. And earlyprint--are indeed common in foreign libraries. There is a date of 1409 atthe very commencement of the volume: but I take the liberty to questionwhether that be the date of its actual execution. The illuminations in thismanuscript exhibit a fine specimen of the commencement of that soft, and assome may think woolly, style of art, which appears to so much advantage inthe _Bedford Missal and Bedford Breviary_; and of which, indeed, a choicespecimen of circular ornaments is seen round the first large illuminationof the creation and expulsion of Adam and Eve. These illuminations are notof first rate merit, nor are they all by the same hand. 

THE SAME WORK: with the same date--but the hand-writing is evidently moremodern. Of the illuminations, it will be only necessary to mention thelarge one at fol. Iij. C. (ccc. ) in which the gray tints and the gold arevery cleverly managed. At the end is seen, in a large sprawling character, the following inscription: "_Ce Livre est A Le Harne. Fille Et Seur de Roysde France, Duchesse de Bourbonnois et dauuergne. Contesse de Clermont et deTourez. Dame de Beaujeu. "_ This inscription bears the date of 1468; notvery long before which I suspect the MS. To have been executed. 

THE SAME: of the same date--which date I am persuaded was copied by eachsucceeding scribe. The illuminations are here generally of a very inferiorcharacter: but the first has much merit, and is by a superior hand. Thetext is executed in a running secretary Gothic. There are two other MSS. Ofthe same work which I examined; and in one of which the well known subjectof the _wheel of fortune_ is perhaps represented for the first time. Itusually accompanied the printed editions, and may be seen in that of ourPynson, in 1494, [39] folio. I suspect, from one of the introductoryprefaces, that the celebrated _Laurent le Premier Fait_ was the principalscribe who gave a sort of fashion to this MS. In France. 

PTOLEMÆUS, _Latinè_. A magnificent MS. --if size and condition be aloneconsidered. It is however precious in the estimation of Collectors ofportraits, as it contains one of Louis XII;[40]--This portrait is nearly inthe centre of the frontispiece to the book. Behind the monarch stand twomen; one leaning upon his staff. A large gothic window is above. A crucifixand altar are beneath it. There is but one other similar illumination inthe volume; and each nearly occupies the whole of the page--which is almosttwenty-three inches long by fourteen wide. The other illumination is hardlyworth describing. This noble volume, which almost made the bearer stoopbeneath its weight, is bound in wood:--covered with blue velvet, with arunning yellow pattern, of the time of Louis--but now almost worn away. 

TITE-LIVE. Fol. A noble and magnificent MS. Apparently of the beginning ofthe XVth. Century. It seems to point out the precise period when theartists introduced those soft, full-coloured, circular borders--just afterthe abandonment of the sharp outline, and thin coat of colour--discoverablein the illuminations of the XIIIth and XIVth centuries. The first grandillumination, with a circular border, is an interesting illustration ofthis remark. The backgrounds to the pictures are the well-known smallbright squares of blue and gold. The text is in a firm square and shortgothic character. 

L'HISTOIRE ROMAINE: No. 6984: Folio, 3 vols. Written in the Frenchlanguage. These are among the _shew books_ of the library. The exteriorpattern of the binding is beautiful in the extreme. Such a play of lines, in all directions, but chiefly circular, I never before saw. The date, onthe outside, is 1556. The writing and the illuminations are of the latterpart of the XVth century; and although they are gorgeous, and in a finestate of preservation, yet is the character of the art but secondary, andrather common. 

ROYAL BIOGRAPHY OF FRANCE. Fol. This exquisite volume may be justlydesignated as the _nonpareil_ of its kind. It is rather a book ofPORTRAITS, than a MS. With intermixed illuminations. The scription, in asort of cursive, secretary gothic character, merits not a moment'sattention: the pencil of the artist having wholly eclipsed the efforts ofthe scribe. Such a series of exquisitely finished portraits, of all theKings of France (with the unaccountable omission, unless it has been takenout, of that of Louis XII. ) is perhaps no where else to be seen. M. Coeuré, the French artist employed by me, stood in ecstasies before it! Theseportraits are taken from old monuments, missals, and other ancient andsupposed authentic documents. They are here touched and finished in amanner the most surprisingly perfect. The book appears to have beenexecuted expressly for CHARLES IX. --to whom it was in fact presented by_Dutilliet_, (the artist or the superintendant of the volume) in his properperson. The gilt stamp of the two reversed C's are on the sides of thebinding. I should add, that the portraits are surrounded by borders ofgold, shaded in brown, in the arabesque manner. All the portraits are wholelengths; and if my time and pursuits had permitted it, I should, ere this, have caused M. Coeuré to have transfused a little of his enthusiasm intofaithful facsimiles of those of Francis I. --my avowed favourite--of whichone represents him in youth, and the other in old age. Why do not theNoblesse of France devote some portion of that wealth, which may be appliedto worse purposes, in obtaining a series of engravings executed from thismatchless volume?!

ROMANCES, BOOKS OF TOURNAMENT, &c. 

LANCELOT DU LAC shall lead the way. He was always considered among thefinest fellows who ever encircled the _Table Ronde_--and _such_ a copy ofhis exploits, as is at this moment before me, it is probably not very easyfor even Yourself to conceive. If the height and bulk of the knight were inproportion to this written record of achievements, the plume of his helmetmust have brushed the clouds. This enormous volume (No. 6783) is dividedinto three books or parts: of which the first part is illuminated in theusual coarse style of the latter end of the XIVth century. The title tothis first part, in red ink, is the most perfect resemblance of theearliest type used by Caxton, which I remember to have seen in an ancientmanuscript. The other titles do not exhibit that similarity. The first parthas ccxlviij. Leaves. The second part has no illuminations: if we except atenderly touched outline, in a brownish black, upon the third leaf--whichis much superior to any specimen of art in the volume. This second part hascccj. Leaves. At the end:--

 _Sensuit le liure du saint graal_. 

The spaces for illuminations are regularly preserved, but by what accidentor design they were not filled up remains to be conjectured. The thirdpart, or book, is fully illuminated like the first. There is a very drollillumination on folio vij.^{xx}. Xij. At the end of the volume, on folioccxxxiij. , recto, is the following date: "_Aujourduy iiij. Jour du Julletlan mil ccc. Soixante dix a este escript ce livre darmes par Micheaugateletprestre demeurant en la ville de Tournay_. " Just before the colophon, onthe reverse of the preceding leaf, is a common-place illumination of theinterment of a figure in a white sheet--with this incription:

 ICI: GIST. LECORS: GALAHAVT: SEIGNEVR DES. LOINTENES. ILES. ET. AVECQVES. LVI. REPOVSE: MESIRE LANCELOT. DVLAC. MELLIEVR. CHRL. DV. MVDE. APRES. GVALEAT. 

There are two or three more illuminated MSS. Of our well-beloved Lancelot. One, in six volumes, has illuminations, but they are of the usual characterof those of the fifteenth century. 

LANCELOT DU LAC, &C. This MS. Is in three volumes. The first contains only, as it were, an incipient illumination: but there is preserved, on thereverse of the binding, and written in the same character with the text, three lines--of which the private history, or particular application, isnow forgotten--although we learn, from the word _bloys_ being written attop, that this MS. Came from the library of Catherine de Medici--when sheresided at Blois. 

The second volume of this copy is in quite a different character, and mucholder than the first. The colophon assigns to it the date of 1344. Thevolume is full of illuminations, and the first leaf exhibits a fair goodspecimen of those drolleries which are so frequently seen in illuminatedMSS. Of that period. The third volume is in a still different hand-writing:perhaps a little more ancient. It has a few slight illuminations, only ascapital initials. 

LANCELOT DU LAC: No. 6782. This MS. Is executed in a small gothiccharacter, in ink which has now become much faded. From the character ofthe illuminations, I should consider it to be much more ancient than eitherof the preceding--even at the commencement of the thirteenth century. Amongthe illuminations there is a very curious one, with this prefix;

 _Vne dame venant a. C. Chr. Q dort en son lit & ele le volt baisier. Mais vne damoiselle li deffendi_

You will not fail to bear in mind that the history of Lancelot du Lac willbe also found in those of Tristan and Arthur. I shall now thereforeintroduce you to a MS. Or two relating to the former. 

TRISTAN. No. 6957, 2 vols. _folio_. This is a very fine old MS. Apparentlyof the middle of the XIVth century. The writing and the embellishmentsfairly justify this inference. The first volume contains three hundred andfifty-one leaves. On the reverse of the last leaf but one, is the word"_anne_" in large lower-case letters; but a ms. Memorandum, in a laterhand, at the end, tells us that this copy was once the property of "_thelate Dame Agnes" &c_. The second volume is written in more of the secretarygothic character--and is probably somewhat later than the first. It isexecuted in double columns. The illuminations are little more thanoutlines, prettily executed upon a white ground--or rather the vellum isuncoloured. This volume seems to want a leaf at the commencement, and yetit has a title at top, as if the text actually began there. The colophon isthus:

 _Explicit le Romat de. T. Et de yseut qui fut fait lan mille. Iijc. Iiijxx. Et xix. La veille de pasques grans. _

TRISTAN, FILS DE MELIADUS. No. 6773. A folio of almost unparalleled breadthof back;--measuring more than six inches and a quarter, without thebinding. A beautiful illumination once graced the first leaf, divided intofour compartments, which is now almost effaced. In the third compartment, there are two men and two women playing at chess, in a vessel. Whatremains, only conveys an imperfect idea of its original beauty. The ladyseems to have received check-mate, from the melancholy cast of hercountenance, and her paralised attitude. The man is lifting up both hands, as if in the act of exultation upon his victory. The two other figures areattendants, who throw the dice. Upon the whole, this is among the prettiestbits I have yet seen. It is worth noticing that the yellow paint, like ourIndian yellow, is here very much used; shaded with red. The generality ofthe illuminations are fresh; but there is none of equal beauty with thatjust described. From the scription, and the style of art, I should judgethis MS. To have been executed about the year 1400 or 1420; but amemorandum, apparently in a somewhat later hand, says it was finished in1485:--_Par Michean gonnot de la brouce pstre demeurant a croysant. _Some lines below have been scratched out. The colophon, just before, is onthe recto of the last leaf:

 _Explicit le romans de tristan et de la Royne Yseult la blonde Royne de cornoalle. _

TRISTAN: No. 6774. _Folio. _ 2 vols. The illuminations are magnificent, butlightly coloured and shaded. The draperies are in good taste. The border tothe first large illumination, in four parts, is equally elegant incomposition and colouring, and a portion of it might be worth copying. There is a pretty illumination of two women sitting down. A table cloth, with dinner upon it, is spread upon the grass between them:--a bottle isplunged into a running stream from a fountain, with an ewer on one side inthe fore-ground. One woman plays upon the guitar while the other eats herdinner. The second volume has a fine illumination divided into four parts, with a handsome border--not quite perhaps so rich as the preceding. Amongthe subjects, there is a singular one of Lancelot du Lac helping a lady outof a cauldron in a state of nudity: two gentlemen and a lady are quietlylooking on. The text appertaining to this subject runs thus: "_Et quantelle voit lancelot si lui dist hoa sire cheualiers pour dieu ostes moy deceste aure ou il a eaue qui toute mait Et lancelot vint a la aure et prentla damoiselle par la main et lentrait hors. Et quant elle se voit deliureelle luy chiet aux pies et lui baise la iambe et lui dist sire benoite soitleure que vous feustes oncques nes, &c_. " The top of the last leaf is cutoff: and the date has been probably destroyed. The colophon runs thus:

 _Cy fenist le livre de tristan et de la royne yseult de cornouaille et le graal que plus nen va_. 

The present is a fine genuine old copy: in faded yellow morocco binding--apparently not having been subjected to the torturing instruments of DeRome. 

LE ROY ARTUS. No. 6963. Folio. I consider this to be the oldest illuminatedMS. Of the present Romance which I have yet seen. It is of the date of1274, as its colophon imports. It is written in double columns, but theilluminations are heavy and sombre;--about two inches in height, generallyoblong. There are grotesques, attached to letters, in the margin. Thebackgrounds are thick, shining gold. At the end:

 _Explicit de lanselot. Del lac[41] Ces Roumans fu par escris. En lan del Incarnation nostre Segnor. Mil deus cens et sixante et quatorse le semedi apres pour ce li ki lescrist_. 

It is in a fine state of preservation. Mons. Méon shewed me a manuscript ofthe ST. GRAAL, executed in a similar style, and written in treble columns. 

LE MEME. This is a metrical MS of the XIIIth century: executed in doublecolumns. The illuminations are small but rather coarse. It is in finepreservation. Bound in green velvet. Formerly the outsides of this bindinghad silver gilt medallions; five on each side. These have been latterlystolen. I also saw a fine PERCEFOREST, in four large folio volumes uponvellum, written in a comparatively modern Gothic hand. The illuminationswere to be _supplied_--as spaces are left for them. There is also a paperMS. Of the same Romance, not illuminated. 

ROMAN DE LA ROSE: No. 6983. I consider this to be the oldest MS. Of itssubject which I have seen. It is executed in a small Gothic character, intwo columns, with ink which has become much faded: and from the character, both of the scription and the embellishments, I apprehend the date of it tobe somewhere about the middle of the XIVth century. The illuminations aresmall, but pretty and perfect; the backgrounds are generally square, diamond-wise, without gold; but there are backgrounds of solid shininggold. The subjects are rather quaintly and whimsically, than elegantly, treated. In the whole, one hundred and sixty leaves. From Romances, of alland of every kind, let us turn our eyes towards a representation ofsubjects intimately connected with them: to wit, A BOOK OF TOURNAMENTS. No. 8351. Folio. This volume is in a perfect blazeof splendour. Hither let PROSPERO and PALMERIN resort--to choose theircasques, their gauntlets, their cuirasses, and lances: yea, let more thanone-half of the Roxburghers make an annual pilgrimage to visit this tome!--which developes, in thirteen minutes, more chivalrous intelligence than iscontained even in the mystical leaves of the _Fayt of Arms and Chyvalrye_of our beloved Caxton. Be my pulse calm, and my wits composed, as I essaythe description of this marvellous volume. Beneath a large illumination, much injured, of Louis XI. Sitting upon his throne--are the followingverses:

 _Pour exemple aulx nobles et gens darmes Qui appetent les faitz darmes hautes Le Sire de gremthumsé duyt es armes Volut au roy ce livre presenter_. 

Next ensue knights on horseback, heralds, &c. --with a profusion ofcoat-armours: each illumination occupying a full page. On the reverse ofthe ninth leaf, is a most interesting illumination, in which is seen thefigure of _John Duke of Brittany_. He is delivering a sword to a king atarms, to carry to his cousin, the Duke of Bourbon; as he learns, fromgeneral report, that the Duke is among the bravest champions inChristendom, and in consequence he wishes to break a lance with him. 

The illumination, where the Duke thus appears, is quite perfect, and fullof interest: and I make no doubt but the countenance of the herald, who iskneeling to receive the sword, is a faithful portrait. It is full of whatmay be called individuality of character. The next illumination representsthe _Duke of Bourbon accepting the challenge_, by receiving the sword. Hiscountenance is slightly injured. The group of figures, behind him, is veryclever. The ensuing illumination exhibits the herald offering the Duke deBourbon the choice of eight coats of armour, to put on upon the occasion. Astill greater injury is here observable in the countenance of the Duke. Theprocess of conducting the tournay, up to the moment of the meeting of thecombatants, is next detailed; and several illuminations of the respectivearmours of the knights and their attendants, next claim our attention. Onthe reverse of the xxxijnd, and on the recto of the xxxiijd leaf, thecombat of the two Dukes is represented. The seats and benches of thespectators are then displayed: next a very large illumination of theprocession of knights and their attendants to the place of contest. Thenfollows an interesting one of banners, coat armours, &c. Suspended frombuildings--and another, yet larger and equally interesting, of the entry ofthe judges. 

I am yet in the midst of the emblazoned throng. Look at yonder herald, withfour banners in his hand. It is a curious and imposing sight. Next succeedsa formal procession--preparing for the combat. It is exceedinglyinteresting, and many of the countenances are full of natural expression. This is followed by a still more magnificent cavalcade, with judges in thefore-ground; and the "dames et damoiselles, " in fair array to the right. Wehave next a grand rencontre of the knights attendant--carried on beneath abalcony of ladies

 whose bright eyes Reign influence, and decide the prize. 

These ladies, thus comfortably seated in the raised balcony, wear what weshould now call the _cauchoise_ cap. A group of grave judges is in anotherbalcony, with sundry mottos spread below. In the rencontre which takesplace, the mace seems to be the general instrument of attack and defence. Splendid as are these illuminations, they yield to those which follow;especially to that which _immediately_ succeeds, and which displays thepreparation for a tournament to be conducted upon a very large scale. Weobserve throngs of combatants, and of female spectators in boxes above. These are rather more delicately touched. Now comes ... The mixed andstubborn fight of the combatants. They are desperately engaged with eachother; while their martial spirit is raised to the highest pitch by thesharp and reverberating blasts of the trumpet. The trumpeters blow theirinstruments with all their might. Every thing is in animation, bustle, energy, and confusion. A man's head is cut off, and extended by an arm, towhich--in the position and of the size we behold--it would be difficult toattach a body. Blood flows copiously on all sides. The reward of victory isseen in the next and _last_ illumination. The ladies bring the white mantleto throw over the shoulders of the conqueror. In the whole, there are onlylxxiiij. Leaves. This is unquestionably a volume of equal interest andsplendor; and, when it was fresh from the pencil of the illuminator, itseffect must have been exquisite. [42]

BOOK OF TOURNAMENTS: No. 8204. 8vo. We have here a sort of miniatureexhibition of the chief circumstances displayed in the previous and largerMS. It is questionless a very precious book; but has been cruelly cropt. The text and ornaments are clearly of the end of the fifteenth century;perhaps about 1470. Nothing can well exceed the brilliancy and power ofmany of the illuminations, which are very small and very perfect. Theknight, with a representation of the trefoil, (or what is called club, incard playing) upon a gold mantle, kills the other with a black star upon awhite mantle. This mortal combat is the last in the book. Each of theknights, praying before going to combat, is executed with considerablepower of expression. The ladies have the high (cauchoise) cap or bonnet. The borders, of flowers, are but of secondary merit. 

POLYBIUS, _Græcè_. Folio. M. Gail placed before me, in a sly manner--as ifto draw off my attention from the volumes of chivalry just described, --thepresent beautiful MS. Of Polybius. It is comparatively recent, being of thevery commencement of the sixteenth century: but the writing exhibits aperfect specimen of that style or form of character which the Stephensesand Turnebus, &c. Appear to have copied in their respective founts of theGreek letter. It has also other, and perhaps stronger, claims to notice. The volume belonged to Henry II. And Diane de Poictiers, and thedecorations of the pencil are worthy of the library to which it wasattached. The top ornament, and the initial letter, --at the beginning ofthe text--are each executed upon a blue ground, shaded in brown and gold, in the most exquisitely tasteful manner. This initial letter has beencopied "ad amussim" by old Robert Stephen. Upon the whole, this is reallyan enchanting book, whether on the score of writing or of ornament. 

Farewell, now, therefore--to the Collection of MSS. In the _Bibliothèque duRoi_ at Paris. Months and years may be spent among them, and thevicissitudes of seasons (provided fires were occasionally introduced)hardly felt. I seem, for the last fortnight, to have lived entirely in the"olden time;" in a succession of ages from that of Charles the Bald to thatof Henri Quatre: and my eyes have scarcely yet recovered from the dazzlingeffects of the illuminator's pencil. "II faut se reposer un peu. "

[38] Vol. I. P. Ccxx-i. 

[39] See _Bibl. Spenceriana_, vol. Iv p. 421. 

[40] The fac-simile drawing of this portrait, by M. Coeuré--from which the print was taken, in the previous edition of this work--is also in the possession of my friend Mr. Ponton. See note, page 79 ante. 

[41] The words "del lac" are in a later hand. 

[42] What is rather singular, there is a duplicate of this book: a copy of every illumination, done towards the beginning of the sixteenth century; but the text is copied in a smaller hand, so as to compress the volume into lxviij. Leaves. Unluckily, the copies of the illuminations are not only comparatively coarse, but are absolutely faithless as to resemblances. There is a letter prefixed, from a person named _Le Hay_, of the date of 1707, in which the author tells some gentleman that he was in hopes to procure the volume for 100 crowns; but afterwards, the owner obstinately asking 200, _Le Hay_ tells his friend to split the difference, and offer 150. This book once belonged to one "_Hector Le Breton Sievr de la Doynetrie_"--as the lettering upon the exterior of the binding implies--and as a letter to his son, of the date of 1660, within the volume, also shows. This letter is signed by Le Breton. 

_LETTER V. _

SOME ACCOUNT OF EARLY PRINTED AND RARE BOOKS IN THE ROYAL LIBRARY. 

As the ART of PRINTING rather suddenly, than gradually, checked theprogress of that of writing and illuminating--and as the pressman inconsequence pretty speedily tripped up the heels of the scribe--it will bea natural and necessary result... That I take you with me to the collectionof PRINTED BOOKS. Accordingly, let us ascend the forementioned lofty flightof stone steps, and paying attention to the affiche of "wiping our shoes, "let us enter: go straight forward: make our obeisance to Monsieur VanPraet, and sit down doggedly but joyfully to the glorious volumes... Many ofthem

 Rough with barbaric gold, which, through his polite directions, are placed before us. To come toplain matter of fact. Receive, my good friend, in right earnest and withthe strictest adherence to truth, a list of some of those rarer and moremagnificent productions of the ancient art of printing, which I have beenso many years desirous of inspecting, and which now, for the first time, present themselves to my notice and admiration. After the respectableexample of M. Van Praet, [43] I shall generally, add the sizes, ormeasurement[44] of the respective books examined--not so much for the sakeof making those unhappy whose copies are of less capacious dimensions, asfor the consolation of those whose copies may lift up their heads in a yetmore aspiring attitude. One further preliminary remark. I send you thislist precisely in the order in which chance, rather than a preconcertedplan, happened to present the books to me. 

RECUEIL DES HISTOIRES DE TROYE. _Printed by Caxton_. Folio. The late M. DeLa Serna Santander, who was Head Librarian of the public Library atBrussels, purchased this book for the Royal Library for 150 francs. [45] Itis in the finest possible state of preservation; and is bound in redmorocco, with rather a tawdry lining of light blue water-tabby silk. 

THE SAME WORK. _Printed by Verard, without date_. Folio. This copy is UPONVELLUM; in the finest possible condition both for size and colour. It isprinted in Verard's small gothic type, in long lines, with a very broadmargin. The wood-cuts are coloured. The last leaf of the first book is MS. :containing only sixteen lines upon the recto of the leaf. This fine copy isbound in red morocco. 

HORÆ BEATÆ VIRGINIS, Gr. _Printed by Aldus_. 1497. 12mo. Perhaps the rarestAldine volume in the world:--when found in a perfect state. M. Renouard hadnot been able to discover a copy to enrich his instructive annals of theAldine typography. [46] The present copy is four inches and five eighths, bythree inches and a half. It is in its original clasp binding, with stampedleather-outsides. [47]

THE SHYPPE OF FOOLES. _Printed by Wynkyn de Worde_. 1509. 8vo. At lengththis far-famed and long talked of volume has been examined. It is doubtlessa prodigious curiosity, and unique--inasmuch as this copy is UPON VELLUM. The vellum is stout but soft. I suspect this copy to be rather cropt. It isbound in red morocco, and is perfectly clean and sound throughout. 

ROMAN DE JASON. In French. _Printed by Caxton_. Folio. A little history isattached to the acquisition of this book, which may be worth recital. Anunknown, and I may add an unknowing, person, bought this most exceedinglyrare volume, with the _Qudriloge of Alain Chartier_, 1477, Folio, in oneand the same ancient wooden binding, for the marvellously moderate sum of--_one louis_! The purchaser brought the volume to M. De La Serna Santander, and asked him if he thought _two_ louis too much for their value. That waryBibliographer only replied, "I do not think it is. " He became thepurchaser; and instantly and generously consigned the volumes to theirpresent place of destination. [48] You may remember that the collection ofAnthony Storer, in the library of Eton College, also possesses this book--at present wanting in Lord Spencer's library. The present copy contains onehundred and thirty-two leaves, including a blank leaf; and is in a perfectstate of preservation. 

PSALTERIUM, Latinè. _Printed by Fust and Schoiffher_. 1457. Folio. EDITIOPRINCEPS. This celebrated volume is a recent acquisition. It was formerlythe copy of Girardot de Préfond, and latterly that of Count M'Carthy; atwhose sale it was bought for 12, 000 francs. It is cruelly cropt, especiallyat the side margins; and is of too sombre and sallow a tint. Measurement--fourteen inches, by nine and a half. It is doubtless an absolutelynecessary volume in a collection like the present. Only SEVEN known copiesin the world. 

PSALTERIUM, Latinè. _Printed by the same_. 1459: Folio. _Editio Secunda_. The first six leaves have been evidently much thumbed; and the copy, fromthe appearance of the first leaf alone, is as evidently cropt. For thecolophon, both of this and of the preceding edition, examine the catalogueof Lord Spencer's library. [49] Upon the whole, it strikes me, as far asrecollection may serve, that his Lordship's copy of each edition ispreferable to those under consideration. [50] This copy measures sixteeninches and a quarter, by twelve and one-eighth. 

PSALTERIUM, Latinè. _Printed by Schoiffher_. 1490. Folio. A magnificentvolume: and what renders it still more desirable, it is printed UPONVELLUM. Lord Spencer's copy is upon paper. The _previous_ editions are_always_ found upon vellum. Fine and imposing as is the copy before me, itis nevertheless evident--from the mutilated ancient numerals at top--thatit has been somewhat cropt. This fine book measures sixteen inches and fiveeighths, by eleven inches and seven eighths. 

PSALTERIUM, Latinè. _Printed by Schoiffher_. 1502. Folio. This book(wanting in the cabinet at St. James's Place) is upon paper. As far asfolio Cxxxvij. The leaves are numbered: afterwards, the printed numeralscease. A ms. Note, in the first leaf, says, that the text of the firstsixteen leaves precisely follows that of the first edition of 1457. Thepresent volume will be always held dear in the estimation of thetypographical antiquary. It is THE LAST in which the name of _PeterSchoiffher_, the son-in-law of Fust, appears to have been introduced. Thatprinter died probably a short time afterwards. It measures fifteen inchesand one eighth in height, by ten inches and seven eighths in width. 

PSALTERIUM, Latinè. _Printed by Schoiffher's Son_. 1516. Folio. A fine anddesirable copy, printed UPON VELLUM. It is tolerably fair: measuringfifteen inches, by ten inches and three quarters. 

I have little hesitation in estimating _these five copies_ of the earliereditions of the Psalter, to be worth, at least, one thousand pounds. 

BIBLIA LATINA. (_Supposed to have been printed in 1455. )_ Folio. This isthe famous edition called the MAZARINE BIBLE, from the first known copy ofit having been discovered in the library of that Cardinal, in the collegefounded by himself. Bibliography has nearly exhausted itself indisquisitions upon it. But this copy--which is upon paper--is THE COPY _ofall copies_; inasmuch as it contains the memorable inscription, or coevalms. Memorandum, of its having been illuminated in 1456. [51] In the firstvolume, this inscription occurs at the end of the printed text, in threeshort lines, but to the best of my recollection, the memorandum resemblesthe printed text rather more than the fac-simile of it formerly publishedby me. In the second volume, this inscription is in three long lines and iswell enough copied in the M'Carthy catalogue. It may be as well to give youa transcript of this celebrated memorandum, as it proves unquestionably theimpression to have been executed before any known volume with a printeddate. It is taken from the end of the second volume. [52]

THE SAME EDITION. --This is a sound and desirable copy, printed UPON VELLUM;but much inferior in every respect, to another similar copy in thepossession of Messrs. G. And W. Nicol, booksellers to his Majesty. [53] Itmeasures fifteen inches and three-fourths, by nearly eleven and sixeighths. 

BIBLIA LATINA. _Printed by Pfister, at Bamberg_. Folio. Three volumes. Therarest of all Latin Bibles, when found in a perfect state. This was LordOxford's copy, and is not to be equalled for its beauty and soundness ofcondition. What renders it precious and unique, is an undoubted coeval ms. Date, in red ink, of 1461. Some of the leaves in the first volume arewholly uncut. It is in handsome, substantial russia binding. 

DURANDI RATIONALE DIV. OFF. _Printed by Fust and Schoiffher_. 1459. Folio. Here are not fewer than _three_ copies of this early, and much covetedvolume: all of course UPON VELLUM. The tallest of them measures sixteeninches and a half, by twelve and one eighth; and is in red morocco binding. 

BIBLIA GERMANICA. _Supposed to be printed by Mentelin_. _Without date_. Folio. If we except the earlier leaves--of which the first is in ms. , uponvellum, and the three succeeding, which are a little tender and soiled--this is a very fine copy; so large, as to have many bottom rough margins. At the end of the second volume an ancient ms. Memorandum absurdly assignsthe printing of this edition to Fust, and its date to 1472. The paper ofthis impression is certainly not very unlike that of the _Catholicon_ of1460. 

BIBLIA PAUPERUM. A block-book. This is a cropt, but clean and uncolouredcopy. I suspect, however, that it has been washed in some parts. It is inred morocco binding. 

BIBLIA POLONICA. 1563. Folio. This is the famous Protestant Polish Bible, put forth under the patronage of Prince Radziwill; and concerning which agood deal has been already submitted to the public attention. [54] But thecopy under consideration was a _presentation_ copy from a descendant ofPrince Radziwill--to the public Library of Sedan, to be there depositedthrough the intervention of Lord James Russell; as the followingmemorandum, in the Prince's own hand writing, attests: "_Hoc sacrarumLiterarum Veteris Nouique Testamenti opus, fidelissima Cura Maiorum meorumvetustis Typis Polonicis excusum, In Bibliothecam Sedanensem per NobilemVirum Dominum Jacobum Russelium, Ill^{mi} Principis Friderici MauritiiBullionei ad me exlegatum inferendum committo_. 

_H. Radziwill_. "

It is nevertheless an imperfect copy, as it wants the title-page. M. VanPraet thinks it otherwise complete, but I suspect that it is not so. 

BIBLIA SCLAVONICA; 1587. Folio. Of this exceedingly scarce volume--which M. Van Praet placed before me as almost unique--the present is a fine anddesirable copy: in its original binding--with a stamped ornament of theCrucifixion on each side. One of these ornaments is quite perfect: theother is somewhat injured. 

BIBLIA BOHEMICA. _Printed in 1488_. Folio. Among the rarest of theearly-printed versions of the sacred text: and this copy happens to be amost beautiful and desirable one. It is wanting in Lord Spencer'scollection; which renders a minute description of it the more desirable. The first signature, _a i_, appears to be blank. On _a ii_ begins aprologue or prefatory proheme, ending on the reverse of _a vj_. It has aprefix, or title, in fifteen lines, printed in red. The text is uniformlyprinted in double columns, in a sharp secretary-gothic character, with inksufficiently black, upon paper not remarkably stout, but well manufactured. There are running titles, throughout. The last eight leaves upon signature_i_ are printed in red and black lines alternately, and appear to be anindex. The colophon, in nineteen lines, is at the bottom of the secondcolumn, on the reverse of _mm viij_. This book is thought to have beenprinted at _Prague_. The present copy is bound in blue morocco. 

NEW TESTAMENT: _in the Dutch and Russian languages_. This volume, which isconsidered to be unique, and of which indeed I never saw, or heard of, another copy, bears the imprint of "_'T Gravenhage--Iohannes Van Duren, Boecverkoper_. MDCCXVII. " Folio. The Dutch text is uniformly printed incapital letters; the Russian, in what I conceive to be lowercase, and abouttwo-thirds the size of the Dutch. 

The cause of the scarcity of perfect copies is, that very nearly the wholeof the impression was _lost at sea_. The present copy undoubtedly affordsdecided demonstrations of a marine soaking: parts of it being in the mostpiteous condition. The first volume contains 255 leaves: the second, 196leaves. The copy is yet in boards, in the most tender condition. M. VanPraet thinks it _just_ possible that there may be a _second_ similar copy. The _third_ (if there be a second) is known to have perished in the flamesat Moscow. 

THE PENTATEUCH: _in Hebrew_. _Printed in 1491_. _Folio_. A very fine copy, printed UPON VELLUM. The press work has a rich and black appearance; butthe vellum is rather soiled. One leaf presents us with the recto covered byms. Of a brown tint--and the reverse covered by printed text. The last pageis certainly ms. This however is a rare and costly tome. 

TRACTS PRINTED BY PFISTER, _at Bamberg_; Folio. This is really a matchlessvolume, on the score of rarity and curiosity. It begins with a tract, ormoral treatise, upon death. The wood cuts, five in number, are very large, filling nearly the whole page. One of them presents us with death upon awhite horse; and the other was immediately recognised by me, as being theidentical subject of which a fac-simile of a portion is given to the publicin Lord Spencer's Catalogue[55]--but which, at that time, I was unable toappropriate. This tract contains twenty-four leaves, having twenty-eightlines in a full page. In all probability it was the _first_ of the tractsprinted by Pfister in the present volume. The FOUR HISTORIES, so fullydetailed in the work just referred to, immediately follow. This is of thedate of 1462. Then the BIBLIA PAUPERUM, also fully described in the samework. This treatise is without date, and contains seventeen leaves; with aprofusion of wood cuts, of which fac-similes have been given by me to thepublic. These three copies are in remarkably fine preservation; and thisvolume will be always highly treasured in the estimation of thetypographical antiquary. The Latin Bible, by Pfister, has been justdescribed to you. There was a yet MORE PRECIOUS typographical gem ... Inthis very library; by the same printer--with very curious wood cuts, --ofone of which Heineken has indulged us with a fac-simile. I mean theFABLES ... With the express date of 1461. But recent events have caused itto be restored to its original quarters. [56]

LACTANTII INSTITUTIONES, &C. _Printed in the Soubiaco Monastery_. 1465. Folio. This was Lord Oxford's copy, and may be called almost uncut. You areto learn, that copies of this beautifully printed book are by no means veryuncommon--although formerly, if I remember rightly, De Bure knew but of onecopy in France--but copies in a fine state, and of such dimensions as areMr. Grenville's and the one now before me, must be considered as ofextremely rare occurrence. This copy measures thirteen inches, one-eighth, and one-sixteenth--by very nearly nine inches one-eighth. You will smile atthis particularity; but depend upon it there are ruler-carrying collectorswho will thank me heartily for such a rigidly minute measurement. 

STS. AUGUSTINUS DE CIVITATE DEI. _Printed in the Soubiaco Monastery_. 1467. Folio. It always does the heart of a bibliographer good to gaze upon a finecopy of this resplendent volume. It is truly among the master-pieces ofearly printing: but what will be your notions of the copy NOW underdescription, when I tell you, not only that it once belonged to our belovedFRANCIS I. , but that, for amplitude and condition, it rivals the copy inthe library at _St. James's Place_? In short, it was precisely between_this very copy_, and that of my Lord Spencer, that M. Van Praet paused--("J'ai balancé" were, I think, the words used to me by that knowingbibliographer) and pondered and hesitated ... Again and again ... Ere hecould decide upon which of the two was to be parted with! But, supposingthe size and condition of each to be fairly "balanced" against the other, M. Van Praet could not, in honour and conscience, surrender the copy whichhad been formerly in the library of one of the greatest of the Frenchmonarchs ... And so the spirit of Francis I. Rests in peace ... As far asthe retention of this copy may contribute to its repose. It is doubtlessmore brilliant and more attractive than Lord Spencer's--which, however, hasno equal on the _other_ side of the channel: but it is more beaten, and Isuspect, somewhat more cropt. I forgot to say, that there are severalcapital initials in this copy tolerably well illuminated, apparently of thetime of Francis--who, I am persuaded, loved illuminators of books to hisheart. 

I shall now continue literally as I began:--without any regard to dates, orplaces where printed. 

CATHOLICON. _Printed by Gutenburg_: 1460. Folio. 2 vols. This copy is UPONVELLUM; but yet much inferior to the absolutely unrivalled membranaceouscopy in Mr. Grenville's precious library. This copy measures fifteen inchesone eighth, by eleven inches one eighth. It is bound in red morocco. 

GRAMMATICA RHYTHMICA. _Printed by Fust and Schoiffher_; 1466. Folio. Howyou would start back with surprise--peradventure mingled with indignation--to be told that, for this very meagre little folio, somewhat cropt, consisting but of eleven leaves cruelly scribbled upon ... Not fewer than_three thousand three hundred livres_ were given--at the sale of CardinalLomenie's library, about thirty years ago! It is even so. And wherefore?Because only _one_ other copy of it is known:--and that "other" is luckilyreposing upon the mahogany shelves in St. James's Place. The present copymeasures ten inches seven eighths, by eight inches. 

VOCABULARIUS. _Printed by Bechtermuntze_; 1467. Quarto. EDITIO PRINCEPS--one of the rarest books in the world. Indeed I apprehend this copy to beabsolutely UNIQUE. This work is a Latin and German Vocabulary, of which agood notion may be formed by the account of the _second_ edition of it, in1469, in a certain descriptive catalogue. [57] To be perfect, there shouldbe 215 leaves. A full page has thirty-five lines. This copy is in as fine, clean, and crackling condition, as is that of Lord Spencer of the secondimpression. It is eight inches and a half in height, by five inches andfive eighths in width. 

HARTLIEB'S BOOK OF CHIROMANCY. _Supposed to have been printed with woodenblocks_. Folio. You may remember the amusement which you said was affordedyou by the account of, and the fac-similes from, this very strange andbizarre production--in the _Bibliographical Decameron_. The copy before meis much larger and finer than that in Lord Spencer's collection. The figureof the Doctor and of the Princess Anna are also much clearer in theirrespective impressions; and the latter has really no very remoteresemblance to what is given in the _Bibl. Spenceriana_[58] of one of theQueens of Hungary. If so, perhaps the period of its execution may not bequite so remote as is generally imagined: for the Hungarian Chronicle, fromwhich that regal figure was taken, is of the date of 1485. 

HISTORIA BEATÆ VIRGINIS. _Without date_. This is doubtless rather anextraordinary volume. The text is printed only on one side of the leaf: soas to leave, alternately, the reverses and rectos blank--facing each other. But this _alone_ is no proof of its antiquity; for, from the character bothof the wood cuts and the type, I am quite persuaded that this volume couldnot have been executed much before the year 1480. It is not improbable thatthis book might have been printed at _Ulm_. It is a very beautiful copy, and bound in blue morocco. 

VIRGILIUS. _Printed by Sweynheym and Pannartz_. 1469. Folio. EDITIOPRINCEPS. The enormous worth and rarity of this exceedingly precious volumemay be estimated from this very copy having been purchased, at the sale ofthe Duke de la Valliere's library, in 1783, for four thousand one hundredand one livres. The first leaf of the _Bucolics_, of which the margin ofthe page is surrounded by an ancient illumination, gives unfortunateevidence of the binding of Chamot. [59] In other words, this copy, althoughin other respects white and sound, has been too much cropt. It measureseleven inches and six eighths, by nearly seven inches and five eighths. 

VIRGILIUS. _Printed by Vindelin de Spira_. 1470. Here are not fewer than_two_ delicious copies of this exceedingly rare impression--and the mostdelicious happens to be UPON VELLUM. "O rare felicity!... (you exclaim) tospend so many hours within scarcely more than an arm's length of suchcherished and long-sought after treasures!" But it is true nevertheless. The vellum copy demands our more immediate attention. It is very rarely, indeed, that this volume can be obtained in any state, whether upon vellumor paper;[60] but in the condition in which it is here found, it is a veryprecious acquisition. Some few leaves are a little tawny or foxy, and thetop of the very first page makes it manifest that the volume has suffered aslight degree of amputation. But such defects are only as specks upon thesun's disk. This copy, bound in old yellow morocco binding of the Gaignatperiod, measures very nearly twelve inches and three quarters, by eightinches and five eighths. 

The SAME EDITION. A copy upon paper: in the most unusual condition. Thepages are numbered with a pen, rather neatly: but these numerals had betterhave been away. A frightful (gratuitous) ms. Title--copied in a modernhand, from another of the date of 1474--strikes us; on opening the volume, in a very disagreeable manner. At top we read "_Ad usum H. D. HenriciE. C. M. C. _" The first page of the text is surrounded by an old illumination:and the title to the Bucolics is inserted, by the hand, in gold capitalletters. From the impression appearing on the six following leaves, itshould seem that this illuminated border had been stamped, after the bookwas bound. The condition of this classical treasure may be pronounced, uponthe whole, to be equally beautiful and desirable. Perhaps there has beenthe slightest possible cropping; as the ancient ms. Numerals areoccasionally somewhat invisible. However, this is a most lovely book:measuring thirteen inches and one quarter, in height, by nine inches andvery nearly one quarter in width. 

VIRGILIUS. _Printed by Sweynheym and Pannartz_. 1471. Folio. SECOND ROMANEDITION; of yet greater scarcity than the first. This was Politian's owncopy, and is so large as to be almost _uncut_: having the margins filledwith Scholia, and critical observations, in almost the smallesthand-writing to be met with: supposed to be also from the pen of Politian. The autograph and subscription of that eminent scholar meet our eye at thetop of the very first fly leaf. 

Of all ancient editions of Virgil, this is probably not only the mostestimable, but is so scarce as to have been, till lately, perfectlyunknown. According to the ancient ms. Numerals in this copy, there shouldbe 225 leaves--to render the volume perfect. In our own country, it is--with a sigh I speak it!--only to be found (and _that_, in an _imperfect_state) in the library of Dr. Wm. Hunter at Glasgow. [61] This invaluablevolume is preserved in good, sound, characteristic old binding. 

VIRGILIUS. _Printed by Ghering_. 1478. _Quarto_. This impression is perhapsrather rare than valuable; although I am free to admit it is yet adesideratum in the Spencerian collection. It commences with an address bythe famous Beroaldus to I. Francus, his pupil, on the reverse of the firstleaf--in which the tutor expresses his admiration of Virgil in thefollowing manner: "te amantissime mi Johannes hortor, te moneo, et sipateris oro, ut VIRGILIUM lectites. Virgilio inhies: Illum colas; illumdies noctesque decates. Ille sit semper in manibus. Et ut præceptorisfungar officio, illud potissimum tibi pecipia et repetens iterumqueiterumque monebo: ut humanitatis studia ac masuetiores musas avidissimecomplectaris. " This edition is executed in the printer's second (handsome)fount of roman type, upon very thick paper. [62] The present copy, althoughapparently cropt, is sound and desirable. 

PLINII HIST. NATURALIS. _Printed by J. De Spira_. 1469. Folio. EDITIOPRINCEPS:--but oh, ! marvellous specimen--a copy UPON VELLUM! Fair is thecolour and soft is the texture of this exquisite production--bound in twovolumes. I examined both volumes thoroughly, and am not sure that Idiscovered what might be fairly called one discoloured leaf. It is withequal pain and difficulty that one withdraws one's eyes from such abeautiful book-gem. This copy measures fifteen inches and a half, by teninches and three-eighths. 

The SAME EDITION. Upon paper. A remarkably fine copy: well beaten however--and, I should be loth to assert positively, not free from some washing--forthe ancient red numerals, introduced by the pencil of the rubricator, anddesignating the several books and chapters, seem to have faded and beenretouched. I observe also, that some of the ancient illuminated letters, which had probably faded during the process of washing or cleaning, havebeen retouched, and even painted afresh--especially in the blueback-grounds. The first page is prettily illuminated; but there are slightindications of the worm at the end of the volume. Upon the whole, however, this is a magnificent book, and inferior only to Lord Spencer's unrivalledcopy--upon paper. It measures sixteen inches and five eighths, by eleveninches and one sixteenth, and is handsomely bound in red morocco. 

PLINII HISTORIA NATURALIS. _Printed by Jenson_, 1472. Folio. A copy UPONVELLUM: but, upon the whole, I was disappointed in the size and conditionof this book. The vellum has not had justice done to it in the binding, being in parts crumpled. The first page is however beautifully illuminated. This copy measures sixteen inches, by ten and three eighths. 

PLINII HIST. NAT. Italicè. _Printed by Jenson_. 1476. Folio. A copy UPONVELLUM. About the first forty leaves are cruelly stained at top. The lasteight or ten leaves are almost of a yellow tint. In other parts, where thevellum is white, (for it is of a remarkably fine quality) nothing canexceed the beauty of this book: but it has been, I suspect, very severelycropt--if an opinion may be formed from its companion upon paper, about tobe described. It is fifteen inches in height, by ten and a quarter inwidth. 

THE SAME EDITION. _Printed by the same Printer_. I suspect this to beperhaps the finest paper copy in the world: as perfect as Lord Spencer'scopy of the first edition of the same author. Every thing breathes of itspristine condition: the colour and the substance of the paper: the width ofthe margin, and the purity of the embellishments:[63] This copy will alsoserve to convince the most obstinate, that, when one catches more than aglimpse of the ms. Numerals at top, and ms. Signatures at bottom, one hashopes of possessing the book in its primitive plenitude. It is sixteeninches and three quarters in height, by nearly eleven inches and a quarterin width. 

LIVIUS. _Printed by Sweynheym and Pannartz_. 1469. Folio. EDITIO PRINCEPS. A fine copy, in three thin volumes. The margins, however, are not free fromms. Notes, and there are palpable evidences of a slight truncation. Yet itis a fine copy: measuring fifteen inches and very nearly three quarters, byeleven inches one eighth. In red morocco binding. 

LIVIUS. _Printed by Ulric Han_. _Without Date_. Folio. In three thinvolumes. A large copy, but evidently much washed, from the faint appearanceof the marginal notes. Some leaves are very bad--especially the earlierones of the preface and the text. The latter, however, have a very prettyancient illumination. This copy measures fifteen inches five eighths, byten seven eighths. [64]

LIVIUS. _Printed by Vindelin de Spira_. 1470. Fol. A magnificent copy, intwo volumes: much preferable to either of the preceding. The first page oftext has a fine old illumination. It is clean and sound throughout:measuring fifteen inches five eighths, by eleven inches--within an eighth. 

THE SAME EDITION. Printed UPON VELLUM. This copy, if I remember rightly, isconsidered to be unique. [65] It is that which was formerly preserved in thepublic library at Lyons, and had been lent to the late Duke de la Vallièreduring his life only--to enrich his book-shelves--having been restored toits original place of destination upon the death of the Duke. It is both inan imperfect and lacerated condition: the latter, owing to a cannon ball, which struck it during the siege of Lyons. The first volume, which beginsabruptly thus: "ex parte altera ripe, &c. " is a beautiful book; the vellumbeing of a uniform, but rather yellow tint. It measures fourteen inchesfive eighths, by nine and six eighths. The second volume makes akind-hearted bibliographer shudder. The cannon ball took it obliquely, soas to leave the first part of the volume less lacerated than the latter. Inthe latter part, however, the direction of the destructive weapon went, capriciously enough, across the page. This second volume yet exhibits afine old illumination on the first page. 

LIVIUS. _Printed by Sweynheym and Pannartz_. 1472. Fol. 2 vols. A finecopy, and larger than either of the preceding: but the beginning of thefirst volume and the conclusion of the second are slightly wormed. There isa duplicate leaf of the beginning of the text, which is rather brown, butilluminated in the ancient manner. This copy measures fifteen inches and ahalf, by eleven one eighth. 

Let me now vary the bibliographical theme, by the mention of a few copiesof works of a miscellaneous but not unamusing character. And first, for asmall cluster of CAXTONS and MACHLINIAS. 

TULLY OF OLD AGE, &C. _Printed by Caxton_, 1481. A cropt and soiled copy;whereas copies of this Caxtonian production are usually in a clean andsound condition. The binding is infinitely too gaudy for the state of theinterior. It appears to want the treatise upon Friendship. This book oncebelonged to William Burton the Leicestershire historian; as we learn fromthis inscription below the colophon: "_Liber Willmi Burton LindliaciLeicestrensis socij inter. Templi, ex dono amici mei singularis M^{ri}. Iohanis Price, socij Interioris. Templi, 28. Jan. 1606. Anno regni regisIacobi quarto_. " On the reverse is a fac-simile of the same subscription, beneath an exceedingly well executed head of Burton, in pen and ink. 

ART AND CRAFTE TO KNOW WELL TO DYE. _Printed by Caxton_. 1490. Folio. Thisbook was sold to the Royal Library of France, many years ago, by Mr. Payne, for the moderate sum of £10. 10s. It is among the rarest of the volumesfrom the press of Caxton. Every leaf of this copy exhibits proof of theskill and care of Roger Payne; for every leaf is inlaid and mounted, withfour lines of red ink round each page--not perhaps in the very best taste. The copy is also cramped or choked in the back. 

STATUTES OF RICHARD III. _Printed by Machlinia_. Folio. _Without Date_. Aperfect copy for size and condition; but the binding is much too gay. Irefer you to the Typographical Antiquities[66] for an account of thisedition:

NOVA STATUTA. _Printed by the Same_. Folio. You must examine the pages lastreferred to, for a description of this elaborately executed volume; printedupon paper of an admirable quality. The present is a sound, clean, anddesirable copy: but why in such gay, red morocco, binding?

LIBER MODORUM SIGNIFICANDI. _Printed at St. Alban's_; 1480. Quarto. Theonly copy of this rare volume I have ever seen. It appears to be bound inwhat is called the old Oxford binding, and the text is preceded by aconsiderable quantity of old coeval ms. Relating to the science ofarithmetic. A full page has thirty-two lines. 

The signatures _a_, _b_, _c_, _d_, _e_, run in eights: _f_ has six leaves. On the recto of _f_ vj is the colophon:

This copy had belonged successively to Tutet and Wodhull. A ms. Treatise, in a later hand, concludes the volume. The present is a sound and desirablecopy. 

BOCCACCIO. IL DECAMERONE. _Printed by Valdarfer_. 1471. Folio. This is thefamous edition about which all the Journals of Europe have recently "rungfrom side to side. " But it wants much in value of THE yet more famousCOPY[67] which was sold at the sale of the Duke of Roxburghe's library;inasmuch as it is defective in the first leaf of the text, and three leavesof the table. In the whole, according to the comparatively recent numerals, there are 265 leaves. This copy measures eleven inches and a half, by seveninches and seven eighths. It is bound in red morocco, with inside marbleleaves. 

THE SAME WORK. _Printed by P. Adam de Michaelibus_. _Mantua_, 1472. Anedition of almost equal rarity with the preceding; and of which, I suspect, there is only one perfect copy (at Blenheim) in our own country. 

The table contains seven leaves; and the text, according to the numbers ofthis copy, has 256 leaves. A full page has forty-one lines. The present isa sound, genuine copy; measuring, exclusively of the cover, twelve inchesthree eighths, by eight seven eighths. 

BOCCACE. RUINES DES NOBLES HOMMES & FEMMES. _Printed by Colard Mansion, atBruges_. 1476. Folio. This edition is printed in double columns, inMansion's larger type, precisely similar to what has been published in theBibliotheca Spenceriana. [68] The title is in red--with a considerable spacebelow, before the commencement of the text, as if this vacuum were to besupplied by the pencil of the illuminator. The present is a remarkably finecopy. The colophon is in six lines. 

FAIT DE LA GUERRE. _Printed by Colard Mansion_. _Without Date_. Folio. Thisrare book is printed in a very different type from that usually known asthe type of Colard Mansion: being smaller and closer--but decidedly gothic. A full page has thirty-two lines. There are neither numerals, signatures, nor catchwords. On the recto of the twenty-ninth and last leaf, we read

 _Impressum brugis per Colardum Mansion. _

The reverse is blank. This is a fine genuine copy, in red morocco binding. 

LASCARIS GRAMMATICA GRÆCA. 1476. Quarto. The first book printed in theGreek language; and, as such, greatly sought after by the curious. This isa clean, neat copy, but I suspect a little washed and cropt. Nevertheless, it is a most desirable volume. [69]

AULUS GELLIUS. _Printed by Sweynheym and Pannartz_. 1469. Folio. EditioPrinceps. A sound and rather fine copy: almost the whole of the old ms. Numerals at top remaining. It is very slightly wormed at the beginning. This copy measures thirteen inches by nine. 

CÆSAR. _Printed by Sweynheym and Pannartz_. 1469. Folio. Editio Princeps:with ms. Notes by Victorius. A large sound copy, but the first few leavesare soiled or rather thumbed. The marginal edges are apparently uncut. Itmeasures twelve inches seven eighths by nine inches one eighth. 

APULEIUS. _Printed by the Same_. 1469. Folio. Editio Princeps. All theseFIRST EDITIONS are of considerable rarity. The present copy is, upon thewhole, large and sound: though not free from marginal notes and stains. Thefirst few leaves at top are slightly injured. It measures thirteen inchesone eighth, by nine inches. [70]

AUSONIUS. 1472. Folio: with all the accompanying pieces. [71] EditioPrinceps; and undoubtedly much rarer than either of the preceding volumes. Of the present copy, the first few leaves are wormed in the centre, and alittle stained. The first illuminated leaf of the text is stained; so isthe second leaf, not illuminated. In the whole, eighty-six leaves. Thelatter leaves are wormed. This copy is evidently cropt. 

CATULLUS, TIBULLUS & PROPERTIUS. 1472. Folio. Editio Princeps. Of equal, ifnot greater, rarity than even the Ausonius. This is a sound and verydesirable copy--displaying the ancient ms. Signatures. The edges of theleaves are rather of a foxy tint. After the Catullus, a blank leaf. Thiscopy measures eleven inches one eighth, by very nearly seven inches fiveeighths. 

HOMERI OPERA. Gr. 1488. Folio. Editio Princeps. When you are informed thatthis copy is ... UNCUT ... You will necessarily figure to yourself a volumeof magnificent, as well as pristine, dimensions. Yet, without putting onspectacles, one discovers occasionally a few foxy spots towards the edges;and the first few leaves are perhaps somewhat tawny. Upon the whole, however, the condition is wonderful: and I am almost ashamed of myself athaving talked about foxy spots and tawny tints. This copy is bound in redmorocco, in a sensible, unassuming manner. For the comfort of such, whosecopies aspire to the distinction of being _almost_ uncut, I add, that thisvolume measures fourteen inches, by about nine inches and five eighths. 

HOMERI OPERA. Gr. 1808. _Printed by Bodoni_. Folio. 2 volumes. This grandcopy is printed UPON VELLUM, and is the presentation copy to Bonaparte--towhom this edition was dedicated, by Bodoni. [72] Splendid, large, andbeautiful, as is this typographical performance, I must candidly own thatthere is something about it which "likes me not. " The vellum, howeverchoice, and culled by Bodoni's most experienced foragers, is, to my eye, too white--which arises perhaps from the text occupying so comparativelysmall a space in the page. Nor is the type pleasing to my taste. It is toocursive and sparkling; and the upper strokes are uniformly too thin. Inshort, the whole has a cold effect. However, this is questionless one ofthe most magnificent productions of the modern press. The volumes measuretwo feet in length. 

CRONIQUES DE FRANCE. _Printed by Verard_. 1493. Folio. Three vols. Aglorious copy--printed UPON VELLUM! The wood-cuts are coloured. It is boundin red morocco. 

LAUNCELOT DU LAC. _Printed by Verard_. 1494. Folio. 3 vols. Also UPONVELLUM. In red morocco binding. There is yet another copy of the same date, upon vellum, but with different illuminations: equally magnificent andcovetable. In red morocco binding. 

GYRON LE COURTOYS: auecques la devise des armes de tous les cheualiers dela table ronde. _Printed by Verard_. _Without Date_. Folio. Printed UPONVELLUM. This was once a fine thumping fellow of a copy!--but it has lostsomewhat of its stature by the knife of the binder--or rather from thedestruction of the Library of St. Germain des Près: whence it was throwninto the streets, and found next day by M. Van Praet. Many of the books, from the same library, were thrown into cellars. It is evident, from thelarger illuminations, and especially from the fourth, on the recto of _dvj_, that this volume has suffered in the process of binding. In old bluemorocco. 

ROMAN DE LA ROSE. _Printed by Verard_. _Without Date_. Small folio. Indouble columns, in prose. This superbly bound volume--once the property ofH. Durfé, having his arms in the centre, and corner embellishments, inmetal, on which are the entwined initials T. C. --is but an indifferent copy. It is printed UPON VELLUM; and has been, as I suspect, rather cruelly croptin the binding. Much of the vellum is also crumpled and tawny. 

L'HORLOGE DE SAPIENCE. _Printed by Verard_. 1493. Folio. One of theloveliest books ever opened, and printed UPON VELLUM. Every thing is hereperfect. The page is finely proportioned, the vellum is exceedinglybeautiful, and the illuminations have a brilliance and delicacy of finishnot usually seen in volumes of this kind. The borders are decorated by thepencil, and the second may be considered quite perfect of its kind. Thisbook is bound by Bradel l'Ainé. 

MILLES ET AMYS. _Printed by Verard_. _Without Date_. Folio. A copy UPONVELLUM. From the same library as the copy of the Roman de la Rose, justdescribed; and in the same style of binding. It is kept in the same case;but, although cropt, it is a much finer book. The cuts are coloured, andthe text is printed in double columns. I do not at this present momentremember to have seen another copy of this edition of the work. 

IEU DES ESCHEZ. _Without name of Printer (but probably by Verard) or Date_. Folio. [73] This is one of the numerous French originals from which Caxtonprinted his well known moralised work, under the title of the _Game andPlay of the Chesse_. This fine copy is printed UPON VELLUM, in a largegothic letter, in double columns. The type has rather an uneven appearance, from the thickness of the vellum. There are several large prints, which, inthis copy, are illuminated. 

L'ARBRE DES BATAILLES. _Printed by Verard_. 1493. Folio. Another finevolume, printed UPON VELLUM. With the exception only of one or two crumpledor soiled leaves, this copy is as perfect as can be desired. Look from _diiij_. To _ej_, for a set of exquisitely printed leaves upon vellum, whichcannot be surpassed. The cuts are here coloured in the usually bold andbrilliant style. 

LA CHASSE ET LE DEPART D'AMOURS. _Printed by Verard_. 1509. Folio. Thisvolume of interesting old French poetry, UPON VELLUM, which is printed indouble columns, formerly belonged to the abbey of St. Germain des Près--asan inscription upon the title denotes. The work abounds with very curious, and very delectable old French poetry. Look, amongst a hundred othersimilar things, at the _"Balade ioyeuse des taverniers_, " on the reverse_Q_. I: each stanza ending with

 _Les tauerniers qui brouillent nostre vin. _

LA NEF DES FOLZ DU MONDE. _Printed by Verard. Without Date_. Folio. A mostmagnificent copy; printed UPON VELLUM. Every page is highly illuminated, with ample margins. What is a little extraordinary, the reverse of thesixth leaf has ms. Text above and below the large illumination; while therecto of the same leaf has printed text. The present noble volume, whichhas the royal arms stamped on the exterior, is one of the few old bookswhich has not suffered amputation by recent binding. 

THE SAME WORK. _Printed by the Same_. Folio. The poetry is in doublecolumns, and the cuts are coloured. I apprehend this copy to be much cropt. It is UPON VELLUM: rather tawny, but upon the whole exceedingly sound anddesirable. 

L'ART DE BIEN MOURIR. _Printed for Verard_. _Without Date_. Folio. Afragment only of the Work. In large gothic type; double columns: cutscoloured. There are two cuts of demons torturing people in a cauldron, suchas may be seen in the second volume of my Typographical Antiquities. [74]Some of these cuts, in turn, may be taken from the older ones in blockbooks. The present copy is UPON VELLUM, rather tawny: but it is large andsound. In calf binding. 

PARABOLES [de] MAISTRE ALAIN [De Lille] _Printed by Verard_, 1492. Folio. Amagnificent volume, for size and condition. It is printed in Verard's largetype, in long lines. The illuminations are highly coloured. This copy isUPON VELLUM. [75]

Suppose, now, I throw in a little variety from the preceding, by themention of a rare _Italian_ book or two? Let me place before you a choicecopy of the

MONTE SANCTO DI DIO. _Printed in 1477_. Folio. This, you know, is thevolume about which the collectors of early copper-plate engraving are neverthoroughly happy until they possess a perfect copy of it: perhaps a copy ofa more covetable description than that which is now before me. There is aduplicate of the first cut: of which one impression is faint, and miserablycoloured, and the other is so much cut away to the left, as to deprive theman, looking up, of his left arm. There is an exceedingly well executedduplicate of the large Christ, drawn with a pen. In the genuine print thereis too much of the burr. The impression of the Devil eating human beings, within the lake of fire, is a good bold one. This copy is bound in redmorocco, but in a flaunting style of ornament. 

LA SFORZIADA. _Printed in 1480_. Folio. It is just possible you may nothave forgotten the description of a copy of this work--like the present, struck off UPON VELLUM--which appears in the _BibliographicalDecameron_. [76] That copy, you may remember, adorns the choice collectionof our friend George Hibbert, Esq. [77] The book before me is doubtless amost exquisite one; and the copy is of large dimensions. The illuminatedfirst page very strongly resembles that in the copy just mentioned. Theportraits appear to be the same: but the Cardinal is differently habited, and his phisiognomical expression is less characteristic here than in thesame portrait in Mr. Hibbert's copy. The head of Duke Sforza, his brother, seems to be about the same. 

The lower compartment of this splendidly illuminated page differsmaterially from that of Mr. Hibbert's copy. There are two figures kneeling, apparently portraits; with the sea in the distance. The figure of St. Louisappears in the horizon--very curious. To the right, there are rabbitswithin an enclosure, and human beings growing into trees. The touch andstyle of the whole are precisely similar to what we observe in the othercopy so frequently mentioned. The capital initials are also very similar. It is a pity that, during the binding, (which is in red morocco) the vellumhas been so very much crumpled. This copy measures thirteen inches andseven eighths, by nine inches and three eighths. 

I must now lay before you a few more Classics, and conclude the whole withmiscellaneous articles. 

TERENTIUS. _Printed by Ulric Han_. Folio. _Without date_. In allprobability the first edition of the author by Ulric Han, and perhaps thesecond in chronological order; that of Mentelin being considered the first. It is printed in Ulric Han's larger roman type. This may be considered afine genuine copy--in old French binding, with the royal arms. 

ARISTOTELIS OPERA. _Printed by Aldus_. 1495, &c. 6 vols. Would you believeit--here are absolutely TWO copies of this glorious effort of the AldinePress, printed UPON VELLUM!? One copy belonged to the famous _Henri II. AndDiane de Poictiers_, and is about an eighth of an inch taller and widerthan the other; but the other has not met with fair play, from theunskilful manner in which it has been bound--in red morocco. Perhaps theinterior of this second copy may be preferred to that of Henri II. Theilluminations are ancient, and elegantly executed, and the vellum seemsequally white and beautiful. Probably the tone of the vellum in the othercopy may be a _little_ more sombre, but there reigns throughout it such asober, uniform, mellow and genuine air--that, brilliant and captivating asmay be the red morocco copy--_he_ ought to think more than _once_ or_twice_ who should give it the preference. The arms of the morocco copy, inthe first page of the Life of Aristotle, from Diogenes Laertius, have beencut out. This copy came from the monastery of St. Salvador; and theoriginal, roughly stamped, edges of the leaves are judiciously preserved inthe binding. Both copies have the _first_ volume upon _paper_. Indeed itseems now clearly ascertained that it was never printed upon vellum. [78]The copy of Henri II. Measures twelve inches and a quarter, by eight and aneighth. 

PLUTARCHI OPUSCULA MORALIA. _Printed by Aldus_. 1509. Folio. 2 vols. Another, delicious MEMBRANACEOUS treasure from the fine library of HenriII. And Diane de Poictiers; in the good old original coverture, besprinkledwith interlaced D's and H's. It is in truth a lovely book--measuring teninches and five eighths, by seven inches and three eighths; but I suspect alittle cropt. Some of the vellum is also rather tawny--especially the firstand second leaves, and the first page of the text of Plutarch. Thesevolumes reminded me of the first Aldine Plato, also UPON VELLUM, in thelibrary of Dr. W. Hunter; but I question if the Plato be _quite_ sobeautiful a production. 

EUSTATHIUS IN HOMERUM. 1542. Folio. 4 vols. Printed UPON VELLUM--andprobably unique. A set of matchless volumes--yet has the binder done themgreat injustice, by the manner in which the backs are cramped or choked. The exteriors, in blazing red morocco, are not in the very best taste. Agood deal of the vellum is also of too yellow a tint, but it is of a mostdelicate quality. 

ARISTOTELIS ETHICA NICHOMACHEA. Gr. This volume forms a part only of thefirst Aldine edition of the Nichomachean ethics of Aristotle. The marginsare plentifully charged with the Scholia of Basil the Great, as we learnfrom an original letter of "Constantinus Palæocappa, grecus" to Henry theSecond--whose book it was, and who shewed the high sense he entertained ofthe Scholia, by having the volume bound in a style of luxury and splendourbeyond any thing which I remember to have seen--as coming from his library. The reverse of the first leaf exhibits a beautiful frame work, of silverornaments upon a black ground--now faded; with the initials and devices ofHenry and Diane de Poictiers. Their arms and supporters are at top. Withinthis frame work is the original and beautifully written letter ofConstantine Palæocappa. On the opposite page the text begins--surrounded bythe same brilliant kind of ornament; having an initial H of extraordinarybeauty. The words, designating the Scholia, are thus:

 [Greek: META SCHOLIÔN BASILEIOU TOU MEGALOU. ]

These Scholia are written in a small, close, and yet free Greek character, with frequent contractions. Several other pages exhibit the peculiardevices of Henry and Diana--having silver crescents and arrow-stockedquivers. This book is bound in boards, and covered with dark green velvet, now almost torn to threads. In its original condition, it must have been anequally precious and resplendent tome. It measures twelve inches and aquarter, by eight inches and three eighths. 

EUCLIDES. _Printed by Ratdolt_. 1482. Folio. A copy UPON VELLUM. Theaddress of Ratdolt, as it sometimes occurs, is printed in golden letters;but I was disappointed in the view of this book. Unluckily the first leafof the text is ms. But of the time. At the bottom, in an ancient hand, weread "_Monasterii S. Saluatoris bonon. Signatus In Inuentario numero 524. _"It is a large copy, but the vellum is rather tawny. 

PRISCIANUS. _Printed by V. De Spira_. 1470. Folio. First edition, UPONVELLUM. This is a book, of which, as you may remember, some mention hasbeen previously made;[79] and I own I was glad to turn over themembranaceous leaves of a volume which had given rise, at the period of itsacquisition, to a good deal of festive mirth. At the first glance of it, Irecognised the cropping system. The very first page of the text has lost, if I may so speak, its head and shoulders: nor is such amputation to bewondered at, when we read, to the left, "_Relié par_ DEROME dit le Jeune. "Would you believe it--nearly one half of the illumination, at top, has beensliced away? The vellum is beautifully delicate, but unluckily notuniformly white. Slight, but melancholy, indications of the worm arevisible at the beginning--which do not, however, penetrate a great way. Yet, towards the end, the ravages of this book-devourer are renewed: andthe six last leaves exhibit most terrific evidences of his power. Thisvolume is bound in gay green morocco--with water-tabby pink lining. 

BUDÆUS. COMMENT. GR. LING. 1529. Folio. Francis the First's own copy--andUPON VELLUM! You may remember that this book was slightly alluded to at thecommencement of a preceding letter. It is indeed a perfect gem, and doesone's heart good to look at it. Budæus was the tutor of Francis, and Iwarrant that he selected the very leaves, of which this copy is composed, for his gallant pupil. Old Ascensius was the printer: which completes theillustrious trio. The illuminations, upon the rectos of the first andsecond leaves, are as beautiful as they are sound. Upon the whole, thisbook may fairly rank with any volume in either of the vellum sets of theAldine Aristotle. It is bound in red morocco; a little too gaudily. 

CICERONIS ORATIONES. _Printed by Valdarfer_. 1471: Folio. Still revellingamong VELLUM copies of the early classics. This is a fine book, but it isunluckily imperfect. I should say that it was of large and genuinedimensions, did not a little close cropping upon the first illuminated pagetell a different tale. It measures twelve inches and six eighths, by eightinches and a half. Upon the whole, though there be a few uncomfortablylooking perforations of the worm, this is a very charming copy. Itsimperfections do not consist of more than the deficiency of one leaf, whichcontains the table. 

OVIDII OPERA OMNIA. _Printed by Azoguidi_. 1471. Folio. 3 vols. Thesupposed FIRST EDITION, and perhaps (when complete)[80] the rarest EditioPrinceps in existence. The copy before me partakes of the imperfection ofalmost every thing earthly. It wants two leaves: but it is a magnificent, and I should think unrivalled, copy--bating such imperfection. It measuresvery nearly thirteen inches and a quarter, by little more than eight inchesthree quarters. It is bound in red morocco. 

ÆSOPUS. Latinè. _Printed by Dom. De Vivaldis, &c_. 1481. Folio. A mostsingular volume--in hexameter and pentameter, verses. To every fable is awood cut, quite in the ballad style of execution, with a back-ground likecoarse mosaic work. The text is printed in a large clumsy gothic letter. The present is a sound copy, but not free from stain. Bound in bluemorocco. 

ÆSOPUS. Italicè. _Edited by Tuppi_. 1485. Folio. A well known and highlycoveted edition: but copies are very rare, especially when of goodlydimensions. This is a large and beautiful book; although I observe that theborder, on the right margin of the first leaf, is somewhat cut away. Thegraphic art in this volume has a very imposing appearance. 

---- Germanicè. _Without Date or Name of Printer_. Folio. This edition isprinted in a fine large open gothic type. There is the usual whole lengthcut of Æsop. The other cuts are spirited, after the fashion of those inBoccacio De Malis Mulier. Illust. --printed by John Zeiner at Ulm in 1473. The present is a fine, sound copy: in red morocco binding. 

ÆSOPUS. Germanicè. _Without Date, &c_. Folio. This impression, which, likethe preceding, is destitute of signatures and catchwords, is printed in asmaller gothic type. The wood cuts are spirited, with more of shadow. Someof the initial letters are pretty and curious. Some of the pages (see thelast but fifteen) contain as many as forty-five lines. The present is afine, large copy. 

---- Hispanicè. _Printed at Burgos. _ 1496. Folio. This is a beautiful andinteresting volume, full of wood cuts. The title is within a broad boldborder, thus: "_Libro del asopo famoso fabulador historiado en romace_. "On the reverse is the usual large wood cut of Æsop, but his mouth isterribly diminished in size. The leaves are numbered in large romannumerals. A fine clean copy, in blue morocco binding. 

And now, my dear friend, let us both breathe a little, by way of cessationfrom labour: yourself from reading, and your correspondent from theexercise of his pen. I own that I am fairly tired ... But in a few days Ishall resume the BOOK THEME with as much ardour as heretofore. 

[43] In his meditated Catalogue raisonné of the books PRINTED UPON VELLUM in the Royal Library. [This Catalogue is now printed, in 8vo. 5 vols. 1822. There are copies on LARGE PAPER. It is a work in all respects worthy of the high reputation of its author. A _Supplement_ to it--of books printed UPON VELLUM in _other_ public, and many distinguished _private_ libraries, appeared in 1824, 8vo. 3 vols. --with two additional volumes in 1828. These volumes are the joy of the heart of a thorough bred Bibliographer. ]

[44] The measurement is necessarily confined to the leaves--_exclusively_ of the binding. 

[45] See the Art. "_Roman de Jason_"

[46] [There are, now, ten known _perfect_ copies of this book, of which six are in England. M. Renouard, in his recent edition of the _Annals of the Aldine Press_, vol. I. P. 36, has been copious and exact. ]

[47] [Since bound in blue morocco by Thouvenin. ]

[48] [This anecdote, in the preceding Edition of the Tour, was told, inaccurately, as belonging to the Caxton's edition of the _Recueil des Hist. De Troye_: see p. 102 ante. I thank M. Crapelet for the correction. ]

[49] _Bibl. Spenceriana_, vol. I. P. 107, &c. 

[50] [The finest copy in the world of the second edition, as to amplitude, is, I believe, that in the Bodleian library at Oxford. A very singular piece of good fortune has now made it PERFECT. It was procured by Messrs. Payne and Foss of M. Artaria at Manheim. ]

[51] Nine years ago I obtained a fac-simile of this memorandum; and published an Essay upon the antiquity of the date of the above Bible, in the _Classical Journal_, vol. Iv. P. 471-484. Of Mr. J. A. Valpy. But latterly a more complete fac-simile of it appeared in the Catalogue of Count M'Carthy's books. 

[52] "_Iste liber illuminatus, ligatus & completus est per Henricum Cremer vicariu ecclesie sancti Stephani Maguntini sub anno dni Millesimo quatringentesimo quinquagesimo sexto, festo Assumptionis gloriose virginis Marie. Deo gracias. Alleluja_. "

[53] [This copy having one leaf of MS. --but executed with such extraordinary accuracy as almost to deceive the most experienced eye--was sold in 1827, by public auction, for 504_l_. And is now in the collection of Henry Perkins, Esq. ]

[54] _Bibl. Spenceriana_; vol. I. P. 85-89. 

[55] _Bibl. Spenceriana_; vol. I. P. 103-4; where there is also an account of the book itself--from the description of Camus. The work is entitled by Camus, The ALLEGORY OF DEATH. 

[56] This subject is briefly noticed in the _Bibliographical Decameron_, vol. I. 371; and the book itself is somewhat particularly described there. I think I remember Lord Spencer to have once observed, that more than a slight hope was held out to him, by the late Duke of Brunswick, of obtaining this typographical treasure. This was before the French over-ran Prussia. 

[57] See _Bibl. Spenceriana_; vol. Iii. P. 129, vol. Iv. P. 500. 

[58] Vol. Iii. P. 484. 

[59] [I had said "De Rome"--incorrectly--in the previous edition. "M. Dibdin poursuit partout d'un trait vengeur le coupable Derome: mais ici c'est au relieur CHAMOT qu'il doit l'addresser. " CRAPELET; vol. Iii. P. 268. ]

[60] [The very sound copy of it, upon paper, belonging to the late Sir M. M. Sykes, Bart. Was sold at the sale of his library for 100 guineas. ]

[61] That sigh has at length ceased to rend my breast. It will be seen, from the sequel of this Tour, that a good, sound, perfect copy of it, now adorns the shelves of the _Spencerion Library_. The VIRGILS indeed, in that library, are perfectly unequalled throughout Europe. 

[62] [There is a fine copy of this very rare edition in the Public Library at Cambridge. ]

[63] [Fine as is this book, it is yet inferior in _altitude_ to the copy in the Public Library at Cambridge. ]

[64] [There was another copy of this edition, free from the foregoing objections, which had escaped me. This omission frets M. Crapelet exceedingly; but I can assure him that it was unintentional; and that I have a far greater pleasure in describing _fine_, than _ordinary_, copies--be they WHOSE they may. ]

[65] [Not so. There was another copy upon vellum, in the library of Count Melzi, which is now in that of G. H. Standish, Esq. I _know_ that 500 guineas were once offered for this most extraordinary copy, bound in 3 volumes in foreign coarse vellum. ]

[66] Vol. Ii. P. 11: or to the _Bibliotheca Spenceriana_; vol. Iv. P. 385. 

[67] Now in Lord Spencer's Collection. 

[68] Vol. I. P. 281-2. 

[69] [To the best of my recollection and belief, the finest copy of this most estimable book, is that in the Library of the Rt. Hon. Thomas Grenville. ]

[70] [The finest copy of this valuable edition, which I ever saw, is that in the Public Library at Cambridge. ]

[71] _See Bibl. Spenceriana_; vol. I. Page 272. 

[72] [I had called it a UNIQUE copy; but M. Crapelet says, that there was a second similar copy, offered to the late Eugene Beauharnais. ]

[73] [It is the Edition of Verard, of the date of 1504. The copy looks as if it had neither Printer's name or date, because the last lines of the colophon have been defaced. See _Cat. Des Livr. Iniprim. Sur Vèlin de la Bibl. Du Roi_. Vol. Iii. P. 35. CRAPELET. ]

[74] At page 599, &c. 

[75] [See _Cat. Des Livr. Sur Vélin_, vol. Iv. No. 236. ]

[76] Vol. Iii. P. 176. 

[77] [Mr. Hibbert's beautiful copy, above referred to, is about to be sold at the sale of his library, in the ensuing Spring; and is fully described in the Catalogue of that Library, at p. 414: But the fac-simile portrait of Francis Sforza, prefixed to the Catalogue, wants, I suspect, the high finished brilliancy, or force, of the original. ]

[78] [Not so: see the _Introduction to the Classics_, vol. 1. P. 313. Edit. 1827 The _only known_ copy of the first volume, UPON VELLUM, is that in the Library of New College, Oxford. ]

[79] See the _Bibliographical Decameron_; vol. Iii. P. 165. 

[80] [The only ENTIRELY PERFECT copy in Europe, to my knowledge, is that in the library of the Right Hon. Thomas Grenville. ]

_LETTER VI. _

CONCLUSION OF THE ACCOUNT OF THE ROYAL LIBRARY. THE LIBRARY OF THE ARSENAL. 

My last letter left me on the first floor of the Royal Library. I am nowabout to descend, and to take you with me to the ground floor--where, asyou may remember I formerly remarked, are deposited the _Aldine Vellums_and _Large Papers_, and choice and curious copies from the libraries of_Grolier, Diane de Poictiers_, and _de Thou_. The banquet is equallydelicious of its kind, although the dishes are of a date somewhat moreremote from the time of Apicius. 

Corresponding with the almost interminable suite of book-rooms above, is asimilar suite below stairs: but the general appearance of the latter iscomparatively cold, desolate, and sombre. The light comes in, to the right, less abundantly; and, in the first two rooms, the garniture of the volumesis less brilliant and attractive. In short, these first two lower rooms maybe considered rather as the depot for the cataloguing and forwarding of allmodern books recently purchased. Let me now conduct you to the _third room_in this lower suite, which may probably have a more decided claim upon yourattention. Here are deposited, as I just observed, the VELLUM ALDUSES andother curious and choice old printed volumes. I will first mention nearlythe whole of the former. 

HOMERI OPERA. Gr. _Printed by Aldus. Without Date_. 8vo. 2 vols. A whiteand beautiful copy--with large, and genuine margins--printed UPON VELLUM. In its original binding, with the ornaments tolerably entire:--and whatbinding should this be, but that of Henry the Second and Diane dePoictiers? Let me just notice that this copy measures six inches and ahalf, by three inches and six eighths. 

EURIPIDIS OPERA. Gr. 1503. 8vo. 2 vols. A fair and desirable copy UPONVELLUM; but a little objectionable, as being ruled with red lines ratherunskilfully. It is somewhat coarsely bound in red morocco, and preserved ina case. This vellum treasure is among the desiderata of Earl Spencer'slibrary; and I sincerely wish his Lordship no worse luck than thepossession of a copy like that before me. [81]

HECUBA, ET IPHIGENIA IN AULIDE. Gr. And Lat. 1507. 8vo. A very rare book, and quite perfect, as far as it goes. This copy, also UPON VELLUM, is muchtaller than the preceding of the entire works of Euripides; but the vellumis not of so white a tint. 

ANTHOLOGIA GRÆCA. Gr. 1503. 8vo. A very fine genuine copy, upon excellentVELLUM. I suspect this copy to be a little broader, but by no means taller, than a similar copy in Lord Spencer's collection. 

HORATIUS. 1501. 8vo. UPON VELLUM: a good, sound copy; although inferior toLord Spencer's. 

MARTIALIS. 1502. 8vo. Would you believe it?--here are _two_ copies UPONVELLUM, and _both_ originally belonged to Grolier. They are differentlyilluminated, but the tallest--measuring six inches three eighths, by threeinches six eighths--is the whitest, and the preferable copy, notwithstanding one may discern the effects of the nibbling of a worm atthe bottom corner. It is, however, a beautiful book, in every respect. Theinitial letters are gold. In the other copy there are the arms of Grolier, with a pretty illumination in the first page of the text. It is also asound copy. 

LUCRETIUS. 1515. 8vo. This copy, UPON VELLUM, is considered to be unique. It is fair, sound, and in all respects desirable. 

CICERO DE OFFICIIS. _Without Date_. 8vo. This is but a moderate specimen ofthe Aldine VELLUM, if it be not a counterfeit--which I suspect. [82]

CICERONIS ORATIONES. 1519. 8vo. UPON VELLUM. Only the first volume, whichhowever is quite perfect and desirable--measuring six inches and a quarter, by very nearly four inches. But prepare for an account of a perfect, andstill more magnificent, vellum copy of the Orations of Cicero--when Iintroduce you to the _Library of St. Geneviève_. 

HIST. AUGUST. SCRIPTORES. 1521. 8vo. 2 vols. A sound and fair copy--ofcourse UPON VELLUM--but too much cropt in the binding. The foregoing areall the _Aldine, Greek and Latin Classics_, printed UPON VELLUM, which theliberal kindness of M. Van Praet enabled me to lay my hands upon. But herefollows another membranaceous gem of the Aldine Family. 

PETRARCHA. 1501. 8vo. A beautiful, white copy, measuring six inches and ahalf, by three and three quarters. It is, however, somewhat choked in thebinding, (in blue morocco) as too many of Bozerian's performances usuallyare. [83] Close to this book is the Giunta reprint of 1515--ALSO UPONVELLUM: but of a foxy and unpleasing tint. Now for a few LARGE PAPERALDUSES--of a variety of forms and of characters. But I must premise thatthe ensuing list of those upon vellum, is very far indeed from beingcomplete. 

HORÆ. Gr. 1497. 12mo. A beautiful copy, among the very rarest of bookswhich have issued from the Aldine press. Here is also _one_ volume of theAldine ARISTOTLE, upon _large paper_: and only one. Did the _remaining_volumes ever so exist? I should presume they did. 

BIBLIA GRÆCA. 1518. Folio. Upon _thick paper_. Francis the First's owncopy. A glorious and perhaps matchless copy. Yet it is rebacked, in modernbinding, in a manner ... Almost shameful!

PLAUTUS. 1522. Small quarto. A very fine copy; in all appearance largepaper, and formerly belonging to Grolier. 

AUSONIUS. 1517. 8vo. Large paper; very fine; and belonging to the same. 

VALERIUS MAXIMUS. 1534. 8vo. The same--in _all_ respects. 

PRISCIANUS. 1527. 8vo. Every characteristic before mentioned. 

SANNAZARII ARCADIA. _Ital_. 1514. 8vo. The same. 

---- _De Partu Virginis_. 1533. 8vo. An oblong, large paper Grolier, likemost of the preceding. 

ISOCRATES. Gr. 1534. Folio. EUSTRATIUS IN ARISTOT. Gr. 1536. Both upon_large paper_, of the largest possible dimensions, and in the finestpossible condition; add to which--rich and rare old binding! Both thesebooks, upon large paper, are wanting in Lord Spencer's collection; butthen, as a pretty stiff set-off, his Lordship has the THEMISTIUS of 1534--which, for size and condition, may challenge either of the preceding--andwhich is here wanting. 

GALENUS. 1525. Gr. Folio. 5 vols. A matchless set, upon _large paper_. Thebinding claims as much attention, before you open the volumes, as does afinely-proportioned Greek portico--ere you enter the temple or the mansion. The foregoing are all, doubtless, equally splendid and uncommon specimensof the beauty and magnificence of the press of the _Alduses_: and they arealso, with very few exceptions, as intrinsically valuable as they are fine. I shall conclude my survey of these lower-book-regions by noticing a fewmore uncommon books of their kind. 

CATHARIN DE SIENA. 1500. Folio. This volume is also a peculiarity in theAldine department. It is, in the first place, a very fine copy--andformerly belonged to Anne of Brittany. In the second place, it has awood-cut prefixed, and several introductory pieces, which, if I rememberrightly, do not belong to Lord Spencer's copy of the same edition. 

ISOCRATES. Gr. _Printed at Milan_. 1493. Folio. What is somewhat singular, there is another copy of this book which has a title and imprint of thedate of 1535 or 1524; in which the old Greek character of the body of thework is rather successfully imitated. [84]

BIBLIA POLYGLOTTA COMPLUTENSIA. 1516-22. Fol. 6 vols. I doubt exceedinglywhether this be not the largest and finest copy in existence. It maypossibly be even _large paper_--but certainly, if otherwise, it is amongthe most ample and beautiful. The colour, throughout, is white and uniform;which is not the usual characteristic of copies of this work. It measuresfourteen inches and three quarters in height, and belonged originally toHenry II. And Diane de Poictiers. It wanted only _this_ to render itunrivalled; and it now undoubtedly _is_ so. 

TESTAMENTUM NOVUM. Gr. _Printed by R. Stephen_. 1550. Folio. Anothertreasure from the same richly-fraught collection. It is quite a perfectcopy; but some of the silver ornaments of the sides have been taken off. Let me now place before you a few more testimonies of the splendour of thatlibrary, which was originally the chief ornament of the _Chateaud'Anet_, [85] and not of the Louvre. 

HERODOTUS. Gr. _Printed by Aldus_, 1502. Folio. I had long supposed LordSpencer's copy--like this, upon LARGE PAPER--to be the finest first AldineHerodotus in existence: but the first glimpse only of the present served todissipate that belief. What must repeated glimpses have produced?

LUCIANUS. Gr. _Printed by the Same_. 1503. Folio. Equally beautiful--large, white, and crackling--with the preceding. 

SUIDAS. Gr. _Printed by the Same_. 1503. Folio. The same praise belongs tothis copy; which, like its precursors, is clothed in the first mellow andpicturesque binding. 

EUSTATHIUS IN HOMERUM. 1542. Folio. 3 vols. A noble copy--eclipsed perhaps, in amplitude only, by that in the collection of Mr. Grenville. 

DION CASSIUS. Gr. 1548. Folio. APPIANUS. Gr. 1551. Folio. DIONYSIUSHALICARNASSENSIS. 1546. Folio. These exquisitely well printed volumes arefrom the press of the Stephens. The present copies, clothed in theirpeculiar bindings, are perhaps the most beautiful that exist. They are fromthe library of the Chateau d'Anet. Let it not be henceforth said that thetaste of Henri II. Was not _well_ directed by the influence of Diane dePoictiers, in the choice of BOOKS. 

CICERONIS OPERA OMNIA. _Printed by the Giunti_, 1534. Folio. 4 vols. Iintroduce this copy to your notice, because there are four leaves of_Various Readings_, at the end of the fourth volume, which M. Van Praetsaid he had never observed, nor heard of, in any other copy. [86] I thinkalso that there are two volumes of the same edition upon LARGE PAPER:--therest being deficient. Does any perfect copy, of this kind, exist?

POETÆ GRÆCI HEROICI. 1556. _Printed by H. Stephen. _ Folio. De Thou's owncopy--and, upon the whole, perhaps MATCHLESS. The sight of this splendidvolume would repay the toil of a pilgrimage of some fourscore miles, overLapland snows. There is another fine copy of the same edition, whichbelonged to Diana and her royal slave; but it is much inferior to DeThou's. 

The frequent mention of DE THOU reminds me of the extraordinary number ofcopies, which came from his library, and which are placed upon the shelvesof the _fourth_ or following room. Perhaps no other library can boast ofsuch a numerous collection of similar copies. It was, while gazing uponthese interesting volumes along with M. Van Praet, that the latter told mehe remembered seeing the ENTIRE LIBRARY of De Thou--before it was dispersedby the sale of the collection of the Prince de Soubise in 1788--in which ithad been wholly embodied, partly by descent, and partly by purchase. Andnow farewell ... To the BIBLIOTHÈQUE DU ROI. We have, I think, tarried init a good long time; and recreated ourselves with a profusion of RICH ANDRARE GEMS in the book-way--whether as specimens of the pencil, or of thepress. I can never regret the time so devoted--nor shall ever banish frommy recollection the attention, civility, and kindness which I havereceived, from all quarters, in this magnificent library. It remains onlyto shake hands with the whole _Corps Bibliographique_, who preside overthese regions of knowledge, and whose names have been so frequentlymentioned--and, making our bow, to walk arm in arm together to the

LIBRARY OF THE ARSENAL. 

The way thither is very interesting, although not very short. Whether yourhackney coachman take you through the _Marché des Innocents_, or straightforward, along the banks of the Seine--passing two or three bridges--youwill be almost equally amused. But reflections of a graver cast will arise, when you call to mind that it was in his way to THIS VERY LIBRARY--to havea little bibliographical, or rather perhaps political, chat with hisbeloved Sully--that Henry IV. Fell by the hand of an Assassin. [87] Theyshew you, at the further end of the apartments--distinguished by itsornaments of gilt, and elaborate carvings--the _very boudoir_ ... Wherethat monarch and his prime minister frequently retired to settle theaffairs of the nation. Certainly, no man of education or of taste can entersuch an apartment without a diversion of some kind being given to thecurrent of his feelings. I will frankly own that I lost, for one littleminute, the recollection of the hundreds and thousands of volumes--including even those which adorn the chamber wherein the head librariansits--which I had surveyed in my route thither. However, my present objectmust be exclusively confined to an account of a very few choice articles ofthese hundreds and thousands of volumes. 

BIBLIA LATINA. _Printed by Fust and Schoiffher_, 1462. 2 vols. There arenot fewer than _three_ copies of this edition, which I shall almost beginto think must be ranked among books of ordinary occurrence. Of these three, two are UPON VELLUM, and the third is upon paper. The latter, or papercopy, is cruelly cropt, and bad in every respect. Of the two upon vellum, one is in vellum binding, and a fair sound copy; except that it has a fewinitials cut out. The other vellum copy, which is bound in red morocco--measuring full fifteen inches and a half, by eleven inches and a quarter--affords the comfortable evidence of ancient ms. Signatures at bottom. Thereare doubtless some exceptionable leaves; but, upon the whole, it is a verysound and desirable copy. It was obtained of the elder M. Brunet, father ofthe well-known author of the Manuel du Libraire. M. Brunet senior found itin the garret of a monastery, of which he had purchased the entire library;and he sold it to the father of the present Comte d'Artois for six hundredlivres ... Only!

ROMAUNT DE JASON, _Supposed to be printed by Caxton_. Folio. _Withoutdate_. This is a finer copy than the one in the Royal Library; but it isimperfect, wanting two leaves. 

Here is a copy of the very rare edition of the MORLINI _Novella Comoediæ etFabulæ_, printed in 1520 in 4to. :--also of the _Teatro Jesuitico--impressoen Coimbra_, 1634, 4to. :--and of the _Missa Latina_, printed by Mylius in1557, 8vo. Which latter is a satire upon the mass, and consideredexceedingly rare. I regretted to observe so very bad a copy of the original_Giunta_ Edition of the BOCCACCIO of 1527, 4to. 

MISSALE PARISIENSE. 1522. Folio. A copy UPON VELLUM. I do not think itpossible for any library, in any part of the world, to produce a morelovely volume than that upon which, at this moment, I must be supposed tobe gazing! In the illuminated initial letters, wood-cuts, tone and qualityof the vellum, and extreme skilfulness of the printer--it surely cannot besurpassed. Nor is the taste of the binding inferior to its interiorcondition. It is habited in the richly-starred morocco livery of Clauded'Urfé: in other words, it came from that distinguished man's library. Originally it appears to have been in the "_Bibliothèque de l'Eglise àParis_. "

_Mozarabic Missal and Breviary_. 1500, 1502. Folio. Original Editions. These copies are rather cropt, but sound and perfect. 

THE DELPHIN STATIUS. Two copies: of which that in calf is the whitest, andless beaten: the other is in dark morocco. The Abbé Grosier told me that DeBure had offered him forty louis for one of them: to which I replied, andnow repeat the question, "where is the use of keeping _two_?" Rely upon it, that, within a dozen years from hence, it will turn out that these DelphinStatiuses have never been even _singed_ by a fire![88] I begin to suspectthat this story may be classed in the number of BIBLIOGRAPHICAL DELUSIONS--upon which subject our friend * * could publish a most interesting crownoctavo volume: meet garniture for a Bibliomaniac's breakfast table. 

Here is the ALDINE BIBLE of 1518, in Greek, upon _thick paper_, bound inred morocco. Also a very fine copy of the _Icelandic Bible_ of 1644, folio, bound in the same manner. Among the religious formularies, I observed acopy of the _Liturgia Svecanæ Ecclesiæ catliolicæ et orthodoxæ conformis_, in 1576, folio--which contains only LXXVI leaves, besides the dedicationand preface. It has a wood-cut frontispiece, and the text is printed in avery large gothic letter. The commentary is in a smaller type. This may beclassed among the rarer books of its kind. But I must not forget a MS. Of_The Hours of St. Louis_--considered as _contemporaneous_. It is a mostbeautiful small folio, or rather imperial octavo; and is in every respectbrilliant and precious. The gold, raised greatly beyond what is usuallyseen in MSS. Of this period, is as entire as it is splendid. The miniaturepaintings are all in a charming state of preservation, and few things ofthis kind can be considered more interesting. 

This library has been long celebrated for its collection of _FrenchTopography_ and of early _French_ and _Spanish Romances_; a great portionof the latter having been obtained at the sale of the Nyon Library. I shallbe forgiven, I trust, if I neglect the former for the latter. Preparetherefore for a list of some choice articles of this description--in everyrespect worthy of conspicuous places in all future _Roxburghe_ and_Stanley_ collections. The books now about to be described are, I think, almost all in that apartment which leads immediately into Sully's boudoir. They are described just as I took them from the shelves. 

RICHARD-SANS PEUR, &c. "_A Paris Par Nicolas et Pierre Bonfons_, " &c. _Without Date_. 4to. It is executed in a small roman type, in doublecolumns. There is an imposing wood-cut of Richard upon horseback, in thefrontispiece, and a very clumsy one of the same character on the reverse. The signatures run to E in fours. An excellent copy. 

LE MEME ROMANT. "_Imprime nouuelement a Paris_. " At the end, printed by"_Alain Lotrain et Denis Janot_. " 4to. _Without Date_. The title, justgiven is printed in a large gothic letter, in red and black lines, alternately, over a rude-wood cut of Richard upon horseback. The signaturesA, B, C, run in fours: D in eight, and E four. The text is executed in asmall coarse gothic letter, in long lines. The present is a sound goodcopy. 

ROBERT LE DYABLE. "La terrible Et merueilleuse vie de Robert Le Dyable iiiiC. " 4to. _Without Date_. The preceding is over a large wood-cut of Robert, with a club in his hand, forming the frontispiece. The signatures run to D, in fours; with the exception of A, which has eight leaves. The work isprinted in double columns, in a small gothic type. A sound desirable copy. 

SYPPERTS DE VINEUAULX. "Lhystoire plaisante et recreative faisant metiondes prouesses et vaillaces du noble Sypperts de Vineuaulx Et de ses dixsepts filz Nouuellement imprime. " At the end: printed for "_Claude veufuede feu Iehan sainct denys_, " 4to. _Without Date_. On the reverse of thisleaf there is a huge figure of a man straddling, holding a spear andshield, and looking over his left shoulder. I think I have seen this figurebefore. This impression is executed in long lines, in a small gothicletter. A sound copy of a very rare book. [89]

GUY DE VVARWICH. "Lhystoire de Guy de vvarwich Cheualier dagleterre &c. 4to. _No Date_. The preceding is over a wood-cut of the famous Guy and hisfair Felixe. At bottom, we learn that it is executed in a small gothictype, in double columns. The colophon is on the reverse of V. Six. 

MESSER NOBILE SOCIO. "Le Miserie de li Amanti di Messer Mobile Socio. "Colophon: "_Stampata in Vinegia per Maestro Bernardino de Vitali Veneciano_MDXXXIII. " 4to. This impression is executed in long lines, in a fair, good, italic letter. The signatures, from _a_ to _y_ inclusively, run in fours. The colophon, just given, is on the reverse of _z_ i. Of this romance Ifreely avow my total ignorance. 

CASTILLE ET ARTUS D'ALGARBE. 4to. This title is over what may be calledrather a spirited wood-cut. The date below is 1587. It is printed in doublecolumns, in a small roman type. In the whole, forty-eight leaves. Adesirable copy. 

LA NEF DES DAMES. 4to, _Without Date_. This title is composed of one line, in large lower-case gothic, in black, (just as we see in some of the titlepages of Gerard de Leeu) with the rest in four lines, in a smaller gothicletter, printed in red. In this title page is also seen a wood-cut of aship, with the virgin and child beneath. 

This book exhibits a fine specimen of rich gothic type, especially in thelarger fount--with which the poetry is printed. There is rather an abundantsprinkling of wood cuts, with marginal annotations. The greater part of thework is in prose, in a grave moral strain. The colophon is a recapitulationof the title, ending thus: "_Imprime a Lyon sur le rosne par Iaquesarnollet_. " This is a sound but somewhat soiled copy. In torn parchmentbinding. 

NOVELAS FOR MARIA DE ZAYAS, &c. _En Zaragoça, en el Hospital Real_, &c. _Ano 1637_. " 4to. These novels are ten in number; some of them containingSpanish poetry. An apparently much enlarged edition appeared in 1729. 4to. "_Corregidas y enmendadas en esta ultima impression_. "

NOVELAS AMOROSAS. _Madrid_, 1624. 4to. Twelve novels, in prose: 192leaves. Subjoined in this copy, are the "Heroydas Belicas, y Amoras, &c. "_En Barcelona_, &c. 1622. 4to. The whole of these latter are in three-linestanzas: 109 leaves. 

SVCESSOS Y PRODIGOS DE AMOR. _En Madrid_. 1626. 4to. 166 leaves. At theend: "Orfeo, en lengva Castellana. A la decima Mvsa. " By the same author:in four cantos: thirty-one leaves. 

EL CAVALLERO CID. "El Cid rvy Diez de Viuar. "

The preceding title is over a wood-cut of a man on horseback, tramplingupon four human bodies. At bottom: _Impresso con licencia en Salamanca, Ano de 1627_. " 4to. : 103 pages. At the end are, the "_Seys Romances delCid Ruy Diaz de Biuar_. " The preceding is on A (i). Only four leaves in thewhole; quite perfect, and, as I should apprehend, of considerable rarity. This slender tract appears to have been printed at _Valladolid por la viudade Francisco de Cordoua, Ano de 1627_. " 4to. 

FIORIO E BIANCIFIORE. "_Impressa, &c. Ne bologna, Delanno del nostrosignore m. Cccclxxx. Adi. Xxiii. Di decembre. Laus deo. "_ Folio. Doubtlessthis must be the _Prima Edizione_ of this long popular romance; and perhapsthe present may be a unique copy of it. Caxton, as you may remember, published an English prosaïc version of it in the year 1485; and no copy of_that_ version is known, save the one in the cabinet at St. James's Place. This edition has only eight leaves, and this copy happens unluckily to bein a dreadfully shattered and tender state. At the end:

 _Finito e il libra del fidelissimo Amore Che portorno insieme Fiorio e Biancifiore_

Subjoined to the copy just described is another work, thus entitled:

 SECRETO SOLO e in arma ben amaistrato Sia qualunqua nole essere inamorato. Got gebe ir eynen guten seligen mogen. 

The preceding, line for line, is printed in a large gothic type: the restof the work in a small close gothic letter. Both pieces, together, containsixty-three leaves. 

COMMEDIA DE CELESTINA. "_Vendese la presente obra en la ciudad de Anuers_, "&c. 18mo. _Without Date_. I suspect however that this scarce little volumewas _printed_ as well as "_sold_" at Paris. 

MILLES ET AMYS. "_A Rouen chez la Veufue de Louys Costé_. " 4to. WithoutDate. The frontispiece has a wood-cut of no very extraordinary beauty, andthe whole book exhibits a sort of ballad-style of printing. It is executedin a roman letter, in double columns. 

OGIER LE DANOIS. "_On les vend a Lyon_, &c. " Folio. At the end is the dateof 1525, over the printer's device of a lion couchant, and a heart andcrown upon a shield. It is a small folio, printed in a neat and ratherbrilliant gothic type, with several wood-cuts. 

GALIEN ET JAQUELINE. "_Les nobles prouesses et vaillances de Galienrestaure_, " &c. 1525, Folio. The preceding is over a large wood-cut of aman on horseback; and this romance is printed by the same printer, in thesame place, and, as you observe, in the same year--as is that just beforedescribed. 

HUON DE BOURDEAUX. Here are four editions of this Romance:--to which Isuspect fourscore more might be added. The first is printed at _Paris_ for_Bonfons_, in double columns, black letter, with rude wood-cuts. A finecopy: from the Colbert Collection. The second edition is of the date of1586: in long lines, roman letter, approaching the ballad-style ofprinting. The third edition is "_A Troyes, Chez Nicolas Oudot_, &c. 1634. "4to. In double columns, small roman letter. No cuts, but on the recto andreverse of the frontispiece. The fourth edition is also "_A Troyes ChezPierre Garnier_, 1726, " 4to. In double columns, roman letter. A veryballad-like production. 

LES QUATRE FILZ AYMON, Two. Editions. One. "_à Lyon par Benoist Rigaud_, 1583, " 4to. The printing is of the ballad-kind, although there are somespirited wood-cuts, which have been wretchedly pulled. The generality areas bad as the type and paper. 

MABRIAN. &c. "_A Troyes, Chez Oudot_, 1625, " 4to. A vastly clever wood-cutfrontispiece, but wretched paper and printing. From the _Cat. De Nyon_; no. 8135. 

MORGANT LE GEANT. "_A Troyes, Chez Nicholas Oudot_, 1650, 4to. " A prettywood-cut frontispiece, and an extraordinary large cut of St. George and theDragon on the reverse. There was a previous Edition by the same Printer atRouen, in 1618, which contains the second book--wanting in this copy. 

GERARD COMTE DE NEVERS, &C. 1526, 4to. The title is over the arms ofFrance, and the text is executed in a handsome gothic letter, in longlines. At the end, it appears to have been printed for _Philip le Noir_. Itis a very small quarto, and the volume is of excessive rarity. The presentis a fine copy, in red morocco binding. 

CRONIQUE DE FLORIMONT, &C. At "_Lyons--par Olivier Arnoullet_, " 4to. At theend is the date of 1529. This impression is executed in a handsome gothictype, in long lines. 

TROYS FILZ DE ROYS. Printed for "_Nicolas Chrestien--en la Rue neufuenostre Dame_, " &c. Without date, 4to. The frontispiece displays a largerude wood cut; and the edition is printed in the black letter, in doublecolumns. All the cuts are coarse. The book, however, is of uncommonoccurrence. 

PARIS ET VIENNE:--"_à Paris, Chez Simon Caluarin rue St. Jacques_. " Withoutdate: in double columns; black letter, coarsely printed. A pretty wood-cutat the beginning is repeated at the end. This copy is from the ColbertLibrary. 

PIERRE DE PROVENCE ET LA BELLE MAGUELONNE. 1490. 4to. The title is over alarge wood-cut of a man and woman, repeated on the reverse of the leaf. Theimpression is in black letter, printed in long lines, with rather coarsewood-cuts. I apprehend this small quarto volume to be of extreme rarity. 

JEHAN DE SAINTRE--"_Paris, pour Jehan Bonfons_, " &c. 4to. _Without date_. Aneatly printed book, in double columns, in the gothic character. There isno cut but in the frontispiece. A ms. Note says, "This is the first andrarest edition, and was once worth twelve louis. " The impression isprobably full three centuries old. 

BERINUS ET AYGRES DE LAYMANT. At bottom: sold at "_Paris par Jehan deBonfons_, 4to. _No date. _ It is in double columns, black letter, with thedevice of the printer on the reverse of the last leaf. A rare book. 

JEAN DE PARIS. "Le Romat de Iehan de Paris, &c. _à Paris, par JehanBonfons_, 4to. _Without date_. In black letter, long lines: with ratherpretty wood-cuts. A ms. Note at the end says: "Ce roman que jay lu toutentier est fort singulier et amusant--cest de luy douvient le proverbe"_train de Jean de Paris_. " Cest ici la plus ancienne edition. Elle estrare. " The present is a sound copy. There are some pleasing wood-cuts atthe end. 

CRONIQUE DE CLERIADUS, &C. "_On les vend à Lyon au pres de nostre dame deconfort cheulx Oliuier Arnoullet_. At the end; 1529. 4to. This edition, which is very scarce, is executed in a handsome gothic type, in long lines. The present is a cropt but sound copy. 

GUILLAUME DE PALERNE, &C. At bottom--beneath a singular wood-cut of somewild animal (wolf or fox) running away with a child, and a group ofaffrighted people retreating--we read: "_On les vent a Lyon aupres Dame deConfort chez Oliuier Arnoulle_. " At the end is the date of 1552. 

---- Another edition of the same romance, _printed at Rouen, without date, by the widow of Louis Costé_, 4to. A mere ballad-style of publication:perhaps not later than 1634. --the date of our wretched and yet most popularimpression of the Knights of the Round Table. 

DAIGREMONT ET VIVIAN. _Printed by Arnoullet, at Lyons_, in 1538, 4to. It isexecuted in a handsome gothic letter, in long lines. This copy is bound upwith the _first_ edition of the Cronique de Florimont--for which turn to apreceding page[90]. In the same volume is a third romance, entitled

LA BELLE HELAYNE, 1528, 4to. :--_Printed by the same printer_, with asingular wood-cut frontispiece; in a gothic character not quite so handsomeas in the two preceding pieces. 

JOURDAIN DE BLAVE. _A Paris, par Nicolas Chrestien_, " 4to. _Without date_. Printed in double columns, in a small coarse gothic letter. 

DOOLIN DE MAYENCE. _A Paris--N. Bonfons_. _Without date_, 4to. Probablytowards the end of the sixteenth century; in double columns, in the romanletter. Here is another edition, _printed at Rouen_, by _Pierre Mullot_; inroman letter; in double columns. A coarse, wretched performance. 

MEURVIN FILS D'OGER, &C. _A Paris;--Nicolas Bonfons_. " 4to. _Without date_. In the roman letter, in double columns. A fine copy. 

MELUSINE. Evidently by _Philip le Noir_, from his device at the end. It isexecuted in a coarse small gothic letter; with a strange, barbarousfrontispiece. Another edition, having a copy of the same frontispiece, --"_Nouuellement Imprimee a Troyes par Nicolas Oudot. 1649. "_ 4to. Numerouswood-cuts. In long lines, in the roman letter. 

TREBISOND. At the end: for "_Iehan Trepperel demourat en la rue neufuenostre dame A lenseigne de lescu de frac_. Without date, 4to. The deviceof the printer is at the back of the colophon. This impression is executedin the black letter, in double columns, with divers wood-cuts. 

HECTOR DE TROYE. The title is over a bold wood-cut frontispiece, and_Arnoullet_ has the honour of being printer of the volume. It is executedin the black letter, in long lines. After the colophon, at the end, is aleaf containing a wood-cut of a man and woman, which I remember to haveseen more than once before. 

And now, methinks, you have had a pretty liberal assortment of ROMANCESplaced before you, and may feel disposed to breathe the open air, and quitfor a while this retired but interesting collection of ancient tomes. Here, then, let us make a general obeisance and withdraw; especially as theofficial announce of "deux heures viennent de sonner" dissipates the charmof chivalrous fiction, and warns us to shut up our volumes and begone. 

[81] [The only copy of it in England, UPON VELLUM, is that in the Royal Library in the British Museum. ]

[82] [It seems that it is a production of the GIUNTI Press. Cat. _des Livr. &c. Sur Vélin_, vol. Ii. P. 59. ]

[83] [I learn from M. Crapelet that this book is a _Lyons Counterfeit_ of the Aldine Press; and that the _genuine_ Aldine volume, upon vellum, was obtained, after my visit to Paris, from the Macarthy Collection. ]

[84] [I had blundered sadly, it seems, in the description of this book in the previous edition of this work: calling it a _Theocritus_, and saying there was a second copy on _large paper_. M. Crapelet is copious and emphatic in his detection of this error. ]

[85] [I thank M. Crapelet for the following piece of information--from whatever source he may have obtained it: "The library of Henri II. And Diane de Poictiers was sold by public auction in 1724, after the death of Madame La Princesse Marie de Bourbon, wife of Louis-Joseph, Duc de Vendome, who became Proprietor of the Chateau d'Anet. The Library, was composed of a great number of MSS. And Printed Books, exceedingly precious. The sale catalogue of the Library, which is a small duodecimo of 50 pages, including the addenda, is become very scarce. " CRAPELET; vol. Iii. 347. 

 My friend M. GAIL published a very interesting brochure, about ten years ago, entitled _Lettres Inedites de Henri II. Diane de Poitiers, Marie Stuart, François, Roi Dauphin &c_. Amongst these letters, there was only ONE specimen which the author could obtain of the _united_ scription, or rather signatures, of Henry and Diana. Of these signatures he has given a fac-simile; for which the Reader, in common with myself, is here indebted to him. Below this _united_ signature, is one of Diana HERSELF--from a letter entirely written in her own hand. It must be confessed that she was no Calligraphist. 

 [Autographs: Henri II, Diane de Poitiers]

[86] [My friend Mr. Drury possessed a similar copy. ]

[87] It may not be generally known that one of the most minute and interesting accounts of this assassination is given in _Howell's Familiar Letters_. The author had it from a friend who was an eye-witness of the transaction. 

[88] As for the "_singeing_. "--or the reputed story of the greater part of them having been _burnt_--my opinion still continues to be as implied above: I will only now say that FORTUNATE is that _Vendor_ who can obtain _25l. _ for a copy--be that copy brown or fair. 

[89] [My friend, the late Robert Lang, Esq. Whose extraordinary Collection of Romances was sold at the close of the preceding year, often told me, that THE ABOVE was the _only_ Romance which he wanted to complete his Collection. ]

[90] Page 164, ante. 

_LETTER VII. _

LIBRARY OF STE. GENEVIÈVE. THE ABBÉ MERCIER ST. LÉGER. LIBRARY OF THEMAZARINE COLLEGE, OR INSTITUTE. PRIVATE LIBRARY OF THE KING. MONS. BARBIER, LIBRARIAN. 

It is just possible that you may not have forgotten, in a previous letter, the mention of STE. GENEVIÈVE--situated in the old quarter of Paris, on theother side of the Seine; and that, in opposition to the _ancient_ place orchurch, so called, there was the _new_ Ste. Geneviève--or the Pantheon. Mypresent business is with the _old_ establishment: or rather with theLIBRARY, hard by the old church of Ste. Geneviève. Of all interiors oflibraries, this is probably the most beautiful and striking; and it is anabsolute reproach to the taste of antiquarian art at Paris, that sobeautiful an interior has not been adequately represented by the burin. There is surely spirit and taste enough in this magnificent capital toprevent such a reproach from being of a much longer continuance. But mybusiness is with the _original_, and not with any _copy_ of it--howeversuccessful. M. Flocon is the principal librarian, but he is just now fromhome[91]. M. Le Chevalier is the next in succession, and is rarely from hisofficial station. He is a portly gentleman; unaffected, good-natured, andkind-hearted. He has lived much in England, and speaks our languagefluently: and catching my arm, and leaning upon it, he exclaimed, with asort of heart's chuckle--in English, "with all my soul I attend you to thelibrary. "

On entering that singularly striking interior, he whispered gently in myear "you shall be consigned to a clever attendant, who will bring you whatyou want, and I must then leave you to your occupations. " "You cannotconfer upon me a greater favour, " I replied. "Bon, (rejoined he) je voisbien que vous aimez les livres. A ça, marchons. " I was consigned to agentleman who sat at the beginning of the left rectangular compartment--forthe library is in the form of a cross--and making my bow to my worthyconductor, requested he would retire to his own more important concerns. Heshook me by the hand, and added, in English--"Good day, God bless you, Sir. " I was not wanting in returning a similar salutation. 

The LIBRARY OF STE. GENEVIÈVE exhibits a local of a very imposing, as wellas extensive, appearance. From its extreme length, --which cannot be lessthan two hundred and thirty feet, as I should conjecture--it looks ratherlow. Yet the ceiling being arched, and tolerably well ornamented, the wholehas a very harmonious appearance. In the centre is a cupola: of which theelder Restout, about ninety years ago, painted the ceiling. They talk muchof this painting, but I was not disposed to look at it a second time. Thecharm of the whole arises, first, from the mellow tone of light which isadmitted from the glazed top of this cupola; and, secondly, from thenumerous busts, arranged along the sides, which recal to your remembrancesome of the most illustrious characters of France--for arts, for arms, forlearning, and for public spirit. These busts are at the hither end, as youenter. Busts of foreigners continue the suite towards the otherextremities. A good deal of white carved ornament presents itself, but notunpleasantly: the principal ground colour being of a sombre tint, harmonising with that of the books. The floor is of glazed tile. It was oneof the hottest of days when I first put my foot within this interior; andmy very heart seemed to be refreshed by the coolness--the tranquillity--thecongeniality of character--of every thing around me! In such a place, "hours" (as Cowper somewhere expresses it) may be "thought down tomoments. " A sort of soft, gently-stealing, echo accompanies every tread ofthe foot. You long to take your place among the studious, who come everyday to read in the right compartment of the cross; and which compartmentthey as regularly _fill_. Meanwhile, scarcely a whisper escapes them. Thewhole is, indeed, singularly inviting to contemplation, research, andinstruction. But it was to the left of the cupola--and therefore oppositethe studious corps just mentioned--that M. Le Chevalier consigned me to mybibliographical attendant. I am ignorant of his name, but cannot beforgetful of his kind offices. The MS. Catalogue (they have no printed one)was placed before me, and I was requested to cater for myself. Among the_Libri Desiderati_ of the fifteenth century, I smiled to observe the_Naples Horace of_ 1474 ... But you wish to be informed of the _acquired_, and not of the _desiderated_, treasures. Prepare, therefore, for a treat--of its kind. 

LACTANTIUS. _Printed in the Soubiaco Monastery_. 1465. Folio. This was PopePius the Sixth's copy. Indeed the greater number of the more valuable earlybooks belonged to that amiable Pontiff; upon whom Audiffredi (as you maywell remember) has passed so warm and so well merited an eulogium[92]. Thepapal copy, however, has its margins scribbled upon, and is defective inthe leaf which contains the errata. 

AUGUSTINUS DE CIVITATE DEI. _Printed in the same Monastery_. 1467. Folio. The margins are broad, but occasionally much stained. The copy is alsoshort. From the same papal collection. 

CICERO DE ORATORE. _Printed in the same Monastery_. _Without Date_. Folio. A sound copy, but occasionally scribbled upon. The side margins are ratherclosely cropt. 

BIBLIA LATINA. 1462. Folio. 2 vols. I saw only the first volume, whichdisplays a well-proportioned length and breadth of margin. Theilluminations appear to be nearly coeval, and are of a soft and pleasingstyle of execution. Yet the margins are rather deformed by the designationof the chapters, in large roman numerals, of a sprawling character. 

BIBLIA ITALICA. _Kalend. De Octobrio_. 1471. Folio. 2 vols. A perfectlymagnificent copy (measuring sixteen inches three eighths, by ten and sixeighths) of this very rare edition; of which a minute and particularaccount will be found in the Catalogue of Earl Spencer's Library. [93] Aftera careful inspection--rather than from actual comparison--I incline tothink that these noble volumes came from the press of _Valdarfer_. The copyunder description is bound in brown calf, with red speckled edges to theleaves. This is a copy of an impression of which the library may justly beproud. 

BIBLIA POLONICA. 1599. Folio. In style of printing and embellishment likeour Coverdale's Bible of 1535. Whether it be a reprint (which is mostprobable) of the famous Polish Bible of 1563, I am unable to ascertain. 

VIRGILIUS. _Printed by Sweynheym and Pannartz_. (1469. ) Folio. FIRSTEDITION; of the greatest rarity. Probably this is the finest copy (oncebelonging to Pius VI. ) which is known to exist; but it must be consideredas imperfect--wanting the Priapeia. And yet it may be doubted whether thelatter were absolutely printed by Sweynheym and Pannartz for their _first_edition? This copy, bound in white calf, with the papal arms on the sides, measures twelves inches and a quarter in length, by eight inches and fiveeighths in width: but the state of the illumination, at the beginning ofthe Bucolics, shews the volume to have been cropt--however slightly. Allthe illuminations are quiet and pretty. Upon the whole, this is a veryprecious book; and superior in most respects to the copy in the RoyalLibrary. [94]

PLINIUS SENIOR. 1469. Folio. EDITIO PRINCEPS. A copy from the same papallibrary; very fine, both as to length and width. --You rarely meet with afiner copy. _The Jenson edition_ of 1472 is here comparatively muchinferior. 

CICERO. RHETORICA VETUS. _Printed by Jenson_. 1470. Folio. A greatcuriosity: inasmuch as it is a copy UPON VELLUM. It has been cruelly cutdown, but the vellum is beautiful. It is also choked in the back, inbinding. From the collection of the same Pope. 

SUETONIUS. _Printed by I. P. De Lignamine_. 1470. Folio. A magnificent copy;measuring thirteen inches and one eighth in height. The first leaf is, however, objectionable. From the same collection. 

QUINTILIANUS. INSTITUTIONES. _By the same Printer_. 1470. Folio. This andthe preceding book are FIRST EDITIONS. A copy of equal beauty and equalsize with the Suetonius. From the same Collection. 

PRISCIANUS. _Printed by V. De Spira_. 1470. Folio. First Edition. We havehere a truly delicious copy--UPON VELLUM--and much superior to a similarcopy in the Royal Library[95] I ought slightly to notice that a few of theleaves, following the date, are tawny, and others mended. Upon the whole, however, this is a book which rejoices the eye and warms the heart of aclassical bibliographer. It is bound in pale calf, with gilt stamped edges, and once belonged to the Pontiff from whose library almost everypreviously-described volume was obtained. 

DANTE. _Printed by Petrus [Adam de Michaelibus. ] Mantua_. 1472. Folio. Alarge and fair copy of an exceedingly rare edition. It appears to be quiteperfect. 

BOETIUS. _Printed by Frater Iohannes_ 1474. 4to. It is for the first timethat I open the leaves of this scarce edition. It is printed in a sharp andrather handsome roman type, and this copy has sixty-three numbered leaves. 

ANTHOLOGIA GRÆCA. 1498. 4to. We have here a most desirable copy--UPONVELLUM, which is equally soft and white. It has been however peppered alittle by a worm, at the beginning and end; especially at the end. It iscoated in a goodly sort ofGaignat binding. 

CICERONIS OPERA OMNIA. _Milan_. 1498. Folio. 4 vols. This is the finestcopy of this rare set of volumes which it has been my lot yet to examine;but the dedication of the printer, Minutianus, to I. I. Trivulcius, on thereverse of the first leaf of the first volume, is unluckily wanting. Thereare, who would call this a _large paper_ copy. 

MARSILIUS FICINUS: IN DIONYSIUM AREOPAGITAM. _Printed by Laurentius, theSon of Franciscus a Venetian; at Florence. Without Date_. Folio. This iscertainly a very beautiful and genuine book, in this particular condition--UPON VELLUM--but the small gothic type, in which it is printed, is a gooddeal blurred. The binding is in its first state: in a deep red-colouredleather, over boards. I should apprehend this impression to be chieflyvaluable on the score of rarity and high price, when it is found uponvellum. 

The foregoing are what I selected from the _Fifteeners_; after running anattentive eye over the shelves upon which the books, of that descriptionare placed. In the same case or division where these Fifteeners are lodged, there happen to be a few _Alduses_, UPON VELLUM--so beautiful, rare, and insuch uncommon condition, that I question whether M. Van Praet doth notoccasionally cast an envious eye upon these membranaceous treasures--secretly, and perhaps commendably, wishing that some of them may one dayfind their way into the Royal Collection!... You shall judge for yourself. 

HOMERI OPERA. Gr. _Printed by Aldus. Without date_. 12mo. 2 vols. FirstAldine impression; and this copy perhaps yields only to the one in theRoyal Library. [96] These volumes are differently bound; but of the two, that containing the _Iliad_, gains in length what it loses in breadth. Thevellum is equally soft, white, and well-conditioned; and perhaps, altogether, the copy is only one little degree inferior to that in theRoyal Library. The Odyssey is bound in old red morocco, with stampt giltedges. This copy was purchased from the Salviati Library. 

CICERONIS ORATIONES. _Printed at the Aldine Press_. 1519. 8vo. 3 vols. Surely this copy is the _ne plus ultra_ of a VELLUM ALDUS! In size, condition, and colour, nothing can surpass it. When I say this, I am notunmindful of the Royal copies here, and more particularly of the _Pindarand Ovid_ in St. James's Place. But, in truth, there reigns throughout therectos and reverses of each of these volumes, such a mellow, quiet, andgenuine tone of colour, that the most knowing bibliographer and the mostfastidious Collector cannot fail to express his astonishment on turningover the leaves. They are bound in old red morocco, with the arms of aCardinal on the exterior; and (with the exception of the first volume, which is some _very_ little shorter) full six inches and a half, by fourinches. Shew me its like if you can!

I shall mention only three more volumes; but neither of them Aldine; andthen take leave of the library of Ste. Geneviève. 

MISSALE MOZARABICUM. 1500. Folio. A fine copy for size and colour; butunluckily much wormed at the beginning, though a little less so at the end. It measures nearly thirteen inches one quarter, by nine three eighths. Fromthe stamped arms of three stars and three lizards, this copy appears tohave belonged to the _Cardinal Juigné_, Archbishop of Paris; who had a finetaste for early printed books. 

VITRUVIUS, _Printed by the Giunti_, 1513. 8vo. A delicious copy; uponwhite, soft, spotless VELLUM. I question if it be not superior to Mr. Dent's;[97] as it measures six inches and three-quarters, by four. A cruelworm, however, has perforated as far as folio 76; leaving one continuedhole behind him. The binding of this exquisite book is as gaudy as it isvulgar. 

TEWERDANCKHS. _Printed in 1517_. Folio. First Edition. This is doubtless afine copy--upon thick, but soft and white, VELLUM. Fortunately the platesare uncoloured, and the copy is quite complete in the table. It measuresfifteen inches in length, by nine inches three quarters in width. 

Such appeared to me, on a tolerably careful examination of the titles ofthe volumes, to be among the chief treasures in the early and more curiousdepartment of books belonging to the STE. GENEVIÈVE LIBRARY. Without doubt, many more may be added; but I greatly suspect that the learned inbibliography would have made pretty nearly a similar selection; Frequently, during the progress of my examinations, I looked out of window upon thesquare, or area, below--which was covered at times by numerous littleparties of youths (from the College of Henry IV. ) who were partaking of allmanner of amusements, characteristic of their ages and habits. With, andwithout, coats--walking, sitting, or running, --there they were! All gay, all occupied, all happy:--unconscious of the alternate miseries andluxuries of the _Bibliomania_!--unknowing in the nice distinctions of typefrom the presses of _George Laver_, _Schurener de Bopardia_, and _AdamRot_: uninitiated in the agonising mysteries of rough edges, large margins, and original bindings! But ... 

 Where ignorance is bliss 'Tis folly to be wise. 

This is soberly quoted--not meaning thereby to scratch the cuticle, orruffle the temper, of a single Roxburgher. And now, my friend, as we areabout to quit this magnificent assemblage of books, I owe it to myself--butmuch more to your own inextinguishable love of bibliographical history--tosay "one little word, or two"--ere we quit the threshold--respecting theAbbé MERCIER SAINT LÉGER ... The head librarian, and great living ornamentof the collection, some fifty years ago. I am enabled to do this with thegreater propriety, as my friend M. Barbier is in possession of a number ofliterary anecdotes and notices respecting the Abbé--and has supplied mewith a brochure, by Chardon De La Rochette, which contains a notice of thelife and writings of the character in question. I am sure you will beinterested by the account, limited and partial as it must necessarily be:especially as I have known those, to whose judgments I always defer withpleasure and profit, assert, that, of all BIBLIOGRAPHERS, the Abbé MercierSt. Léger was the FIRST, in eminence, which France possessed, I have saidso myself a hundred times, and I repeat the asseveration. Yet we must notforget Niceron. 

Mercier Saint Léger was born on the 1st of April, 1734. At fifteen years ofage, he began to consider what line of life he should follow. A love ofknowledge, and a violent passion for study and retirement, inclined him toenter the congregation of the _Chanoines Réguliers_--distinguished for menof literature; and, agreeably to form, he went through a course of rhetoricand philosophy, before he passed into divinity, as a resident in the Abbey_de Chatrices_ in the diocese of _Chalons sur Marne_. It was there that helaid the foundation of his future celebrity as a literary bibliographer. Hemet there the venerable CAULET, who had voluntarily resigned the bishopricof Grenoble, to pass the remainder of his days in the abbey in question--ofwhich he was the titular head--in the midst of books, solitude, andliterary society. Mercier Saint Léger quickly caught the old man's eye, andentwined himself round his heart. Approaching blindness induced theex-bishop to confide the care of his library to St. Léger--who was alsoinstructed by him in the elements of bibliography and literary history. Hetaught him also that love of order and of method which are sodistinguishable in the productions of the pupil. Death, however, in alittle time separated the master from the scholar; and the latter scarcelyever mentioned the name, or dwelt upon the virtues, of the former, withoutemotions which knew of no relief but in a flood of tears. The heart ofMercier St. Léger was yet more admirable than his head. 

St. Léger, at twenty years of age, returned to Paris. The celebrated Pingréwas chief librarian of the Ste. GENEVIEVE COLLECTION; and St. Légerattached himself with ardour and affection to the society and instructionsof his Principal. He became joint SECOND LIBRARIAN in 1759; when Pingré, eminent for astronomy, departing for India to observe the transit of Venusover the sun's disk, St. Léger was appointed to succeed him as CHIEF--andkept the place till the year 1772. These twelve years were alwaysconsidered by St. Léger as the happiest and most profitable of his life. During this period he lent a helping hand in abridging the _Journal deTrevoux_. In September, 1764, Louis XV. Laid the foundation-stone, withgreat pomp and ceremony, of the new church of Ste. Geneviève. After theceremony, he desired to see the library of the old establishment--in whichwe have both been so long tarrying. Mercier spread all the more ancient andcurious books upon the table, to catch the eye of the monarch: who, withsundry Lords of the bed-chamber, and his _own_ librarian BIGNON, examinedthem with great attention, and received from Mercier certain informationrespecting their relative value, and rarity. Every now and then Louisturned round, and said to Bignon, "Bignon, have I got that book in mylibrary?" The royal librarian ... Answered not a word--but hiding himselfbehind CHOISEUL, the prime minister, seemed to avoid the sight of hismaster. Mercier, however, had the courage and honesty to reply, "No, Sire, that book is _not_ in your library. " The king spent about an hour inexamining the books, chatting with the librarian, (Mercier) and informinghimself on those points in which he was ignorant. It was during thisconversation, that the noble spirit of Mercier was manifested. The buildingof the library of St. Victor was in a very crazy state: it was necessary torepair it, but the public treasury could not support that expense. "I willtell your Majesty, (said Mercier) how this may be managed without costingyou a single crown. The headship of the Abbey of St. Victor is vacant: namea new Abbot; upon condition, each year, of his ceding a portion of hisrevenue to the reparation of the Library. " If the king had had one spark ofgenerous feeling, he would have replied by naming Mercier to the abbey inquestion, and by enjoining the strict fulfilment of his own proposition. But it was not so. Yet the scheme was carried into effect, although othershad the glory of it. However, the king had not forgotten Mercier, nor thebibliographical lesson which he had received in the library of Ste. Geneviève. One of these lessons consisted in having the distinctive markspointed out of the famous _Bible of Sixtus V_. Published in 1590. A shorttime after, on returning from mass, along the great gallery of Versailles, Louis saw the head librarian of Ste. Geneviève among the spectators.. Andturning to his prime minister, exclaimed "Choiseul, how can one distinguishthe _true_ Bible of Sixtus V. ?" "Sire, (replied the unsuspecting minister)I never was acquainted with that book. " Then, addressing himself toMercier, the king repeated to him--without the least hesitation orinaccuracy--the lesson which he had learnt in the library of Ste. Geneviève. There are few stories, I apprehend, which redound so much tothis king's credit. 

Louis gave yet more substantial proofs of his respect for hisbibliographical master, by appointing him, at the age of thirty-two, to theheadship of the abbey of _St. Léger de Soissons_--and hence our heroderives his name. In 1772 Mercier surrendered the Ste. Geneviève library toPingré, on his return from abroad--and in the privacy of his own society, set about composing his celebrated _Supplément à l'Histoire de l'Imprimeriepar Prosper Marchand_--of which the second edition, in 1775, is not onlymore copious but more correct. The Abbé Rive, who loved to fasten his teethin every thing that had credit with the world, endeavoured to shake thereputation of this performance.. But in vain. Mercier now travelled abroad;was received every where with banqueting and caresses; a distinction due tohis bibliographical merits--and was particularly made welcome by Meermanand Crevenna. M. Ochéda, Earl Spencer's late librarian--and formerlylibrarian to Crevenna--has often told me how pleased he used to be withMercier's society and conversation during his visit to Crevenna. On hisreturn, Mercier continued his work, too long suspended, upon the LATINPOETS OF THE MIDDLE AGE. His object was, to give a brief biography of each;an analysis of their works, with little brilliant extracts and piquantanecdotes; traits of history little known; which, say Chardon De LaRochette and M. Barbier, (who have read a great part of the original MS. )"are as amusing as they are instructive. "

But the Revolution was now fast approaching, and the meek spirit of Merciercould ill sustain the shock of such a frightful calamity. Besides, he lovedhis country yet dearer than his books. His property became involved: hisincome regularly diminished; and even his privacy was invaded. In 1792 adecree passed the convention for issuing a "Commission for the examinationof monuments. " Mercier was appointed one of the thirty-three members ofwhich the commission was composed, and the famous Barrère was also of thenumber. Barrère, fertile in projects however visionary and destructive, proposed to Mercier, as a _bright thought_, "to make a short extract fromevery book in the national library: to have these extracts superbly printedby Didot;--and to ... BURN ALL THE BOOKS FROM WHICH THEY WERE TAKEN!" Itnever occurred to this revolutionising idiot that there might be a_thousand_ copies of the _same work_, and that some hundreds of thesecopies might be OUT of the national library! Of course, Mercier laughed atthe project, and made the projector ashamed of it. [98] Robespierre, ratherfiend than man, now ruled the destinies of France. On the 7th of July, 1794, Mercier happened to be passing along the streets when he saw_sixty-seven human beings_ about to undergo the butchery of the GUILLOTINE. Every avenue was crowded by spectators--who were hurrying towards thehorrid spectacle. Mercier was carried along by the torrent; but, havingjust strength enough to raise his head, he looked up ... And beheld his oldand intimate friend the ex-abbé ROGER ... In the number of DEVOTED VICTIMS!That sight cost him his life. A sudden horror ... Followed by alternateshiverings, and flushings of heat ... Immediately seized him. A coldperspiration hung upon his brow. He was carried into the house of astranger. His utterance became feeble and indistinct, and it seemed as ifthe hand of death were already upon him. 

Yet he rallied awhile. His friends came to soothe him. Hopes wereentertained of a rapid and perfect recovery. He even made a few littlevisits to his friends in the vicinity of Paris. But ... His fine fullfigure gradually shrunk: the colour as gradually deserted his cheek--andhis eye sensibly lacked that lustre which it used to shed upon all around. His limbs became feeble, and his step was both tremulous and slow. Helingered five years ... And died at ten at night, on the 13th of May 1799, just upon the completion of his jubilee of his bibliographical toil. Whathe left behind, as annotations, both in separate papers, and on the marginsof books, is prodigious. M. Barbier shewed me his projected _third_ editionof the _Supplément to Marchand_, and a copy of the _Bibliothèque Françoiseof De La Croix du Maine_, &c. Covered, from one end to the other, withmarginal notes by him. [99] That amiable biographer also gave me one of hislittle bibliographical notices, as a specimen of his hand writing and ofhis manner of pursuing his enquiries. [100]

Such are the feelings, and such the gratifications; connected with a viewof the LIBRARY of STE. GENEVIÈVE. Whenever I visit it, I imagine that thegentle spirit of MERCIER yet presides there; and that, as it is among themost ancient, so is it among the most interesting, of BOOK LOCALS in Paris. 

Come away with me, now, to a rival collection of books--in the MAZARINECOLLEGE, or Institute. Of the magnificence of the exterior of this buildingI have made mention in a previous letter. My immediate business is with theinterior; and more especially with that portion of it which relates to_paper_ and _print_. You are to know, however, that this establishmentcontains _two Libraries_; one, peculiar to the Institute, and running atright angles with the room in which the members of that learned bodyassemble: the other, belonging to the College, to the left, on entering thefirst square--from the principal front. 

The latter is the _old_ collection, of the time of Cardinal Mazarin, andwith _that_ I begin. It is deposited chiefly on the first floor; in tworooms running at right angles with each other: the two, about 140 feetlong. These rooms may be considered very lofty; certainly somewhat moreelevated than those in the Royal Library. The gallery is supported byslender columns, of polished oak, with Corinthian capitals. The generalappearance is airy and imposing. A huge globe, eight feet in diameter, isin the centre of the angle where the two rooms meet. The students read ineither apartment: and, as usual, the greatest order and silence prevail. But not a _Fust and Schoiffher_--nor a _Sweynheym and Pannartz_--nor an_Ulric Han_--in this lower region ... Although they say the collectioncontains about 90, 000 volumes. What therefore is to be done? The attendantsees your misery, and approaches: "Que desirez vous, Monsieur?" Thatquestion was balm to my agitated spirits. "Are the old and more curiousbooks deposited here?" "Be seated, Sir. You shall know in an instant. " Awaygoes this obliging creature, and pulls a bell by the side of a small door. In a minute, a gentleman, clothed in black--the true bibliographicalattire--descends. The attendant points to me: we approach each other: "A labonne heure--je suis charmé.... " You will readily guess the remainder. "Donnez vous la peine de monter. " I followed my guide up a small windingstair-case, and reached the topmost landing place. A succession of smallrooms--(I think _ten_ in number) lined with the _true_ furniture, strikesmy astonished eye, and makes warm my palpitating heart. "This ischarming"--exclaimed I, to my guide, Monsieur Thiebaut--"this is as itshould be. " M. Thieubaut bowed graciously. 

The floors are all composed of octagonal, deeply-tinted red, tiles: alittle too highly glazed, as usual; but cool, of a good picturesque tint, and perfectly harmonising with the backs of the books. The first littleroom which you gain, contains a plaster-bust of the late Abbé HOOKE, [101]who lived sometime in England with the good Cardinal----. His bust facesanother of Palissot. You turn to the right, and obtain the firstforeshortened view of the "ten little chambers" of which I just spoke. Icontinued to accompany my guide: when, reaching the _first_ of the last_three_ rooms, he turned round and bade me remark that these last threerooms were devoted exclusively to "books printed in the _FifteenthCentury_: of which they possessed about fifteen hundred. " This intelligencerecruited my spirits; and I began to look around with eagerness. But alas!although the crop was plentiful, a deadly blight had prevailed. In otherwords, there was number without choice: quantity rather than quality. Yet Iwill not be ill-natured; for, on reaching the third of these rooms, and thelast in the suite, Monsieur Thiebaut placed before me the following selectarticles. 

BIBLIA LATINA. _Printed by Fust and Schoiffher: Without Date, but supposedto be in the year 1455 or 1456_. Folio. 2 vols. For the last dozen years ofmy life, I had earnestly desired to see this copy: not because I had heardmuch of its beauty, but because it is the _identical_ copy which gave riseto the calling of this impression the MAZARINE BIBLE. [102] Certainly, allthose copies which I had previously seen--and they cannot be fewer than tenor twelve--were generally superior; nor must this edition be henceforthdesignated as "of the very first degree of rarity. "

BIBLIA LATINA. _Printed by the Same_, 1462. Folio. 2 vols. A fair, sound, large copy: UPON VELLUM. The date is printed in red, at the end of eachvolume--a variety, which is not always observable. This copy is in redmorocco binding. 

BIBLIA ITALICA. _Printed by Vindelin de Spira, Kalend. August. 1471_. Folio. 2 vols. A fine copy of an extremely rare edition; perhaps the rarestof all those of the early Italian versions of the Bible. It is in calfbinding, but cropt a little. 

LEGENDA SANCTORUM. Italicè. "_Impresse per Maestro Nicolo ienson, &c. Without Date_. Folio. The author of the version is _Manerbi_: and thepresent is the _first impression_ of it. It is executed in double columns, in the usually delicate style of printing by Jenson: and this volume isdoubtless among the rarer productions of the printer. 

SERVIUS IN VIRGILIUM. _Printed by Ulric Han. Without Date_. Folio. This isa volume of the most unquestionable rarity; and _such_ a copy of it as thatnow before me, is of most uncommon occurrence. [103] Can this be surprising, when I tell you that it once belonged to Henri II. And Diane de Poictiers!The leaves absolutely talk to you, as you turn them over. Yet why do I findit in my heart to tell you that, towards the middle, many leaves arestained at the top of the right margin?! There are also two worm holestowards the end. But what then? The sun has its spots. 

PLAUTUS. 1472. Folio. Editio Princeps. Although _this_ volume came alsofrom the collection of the _illustrious Pair_ to whom the previous onebelonged, yet is it unworthy of such owners. I suspect it has been cropt inits second binding. It is stained all through, at top, and the threeintroductory leaves are cruelly repellent. 

CÆSAR. 1469. Folio. Editio Princeps. A very fine, genuine copy; in theoriginal binding--such as all Sweynheym and Pannartz's _ought_ to be. It istall and broad: but has been unluckily too much written upon. 

LACTANTIUS. 1470. _By the same Printers_. Perhaps, upon the whole, thefinest copy of this impression which exists. Yet a love of truth compels meto observe--only in a very slight sound, approaching to a whisper--thatthere are indications of the ravages of the worm, both at the beginning andend; but very, very trivial. It is bound like the preceding volume; andmeasures thirteen inches and nearly three quarters, by about nine inchesand one eighth. 

CICERO DE OFFICIIS. 1466. 4to. Second Edition, upon paper; and thereforerare. But this copy is sadly stained and wormed. 

CICERO DE NATURA DEORUM, &c. _Printed by Vindelin de Spiraa_. 1471. Folio. A fine sound copy, in the original binding. 

SILIUS ITALICUS. _Printed by Laver_. 1471. Folio. A good, sound copy; andamong the very rarest books from the press of Laver, in such condition. 

CATULLUS, TIBULLUS, ET PROPERTIUS. 1472. Folio. The knowing, in earlyclassical bibliography, are aware that this _Editio Princeps_ is perhaps tobe considered as only _one_ degree below the first impressions of Lucretiusand Virgil in rarity. The longest life may pass away without an opportunityof becoming the purchaser of such a treasure. The present is a tall, faircopy; quite perfect. In red morocco binding. 

DANTE. _Printed by Numeister_. 1472. Folio. Considered to be the earliestimpression. This is rather a broad than a tall copy; and not free fromstain and the worm. But it is among the very best copies which I have seen. 

 * * * * *

It will not be necessary to select more flowers from this choice corner ofthe tenth and last room of the upper suite of apartments: nor am I surethat, upon further investigation, the toil would be attended with any veryproductive result. Yet I ought not to omit observing to you that thisLibrary owes its chief celebrity to the care, skill, and enthusiasm of thefamous _Gabriel Naudé_, the first librarian under the Cardinal its founder. Of Naudé, you may have before read somewhat in certain publications;[104]where his praises are set forth with no sparing hand. He was perhaps neverexcelled in activity, bibliographical _diplomacy_, or zeal for his master;and his expressive countenance affords the best index of his ardent mind. He purchased every where, and of all kinds, of bodies corporate and ofindividuals. But you must not imagine that the _Mazarine Library_, as younow behold it, is precisely of the same dimensions, or contains the samebooks, as formerly. If many rare and precious volumes have been disposedof, or are missing, or lost, many have been also procured. The latelibrarian was LUCAS JOSEPH HOOKE, and the present is Mons. PETITRADEL. [105] We will descend, therefore, from these quiet and congenialregions; and passing through the lower rooms, seek the _other_ collectionof books attached to this establishment. 

The library, which is more immediately appropriated to the INSTITUTE OFFRANCE, may consist of 20, 000 volumes, [106] and is contained in a longroom--perhaps of one hundred feet--of which the further extremity issupposed to be _adorned_ by a statue of VOLTAIRE. This statue is raisedwithin a recess, and the light is thrown upon it from above from aconcealed window. Of all deviations from good taste, this statue exhibitsone of the most palpable. Voltaire, who was as thin as a hurdle, and a merebag of bones, is here represented as an almost _naked_ figure, sitting: aslight mantle over his left arm being the only piece of drapery which thestatue exhibits. The poet is slightly inclining his head to the left, holding a pen in his right hand. The countenance has neither the fire, force, nor truth, which Denon's terra-cotta head of the poet seems todisplay. The extremities are meagre and offensive. In short, the whole, asit appears to me, has an air approaching the burlesque. Opposite to thisstatue are the colossal busts of LA-GRANGE and MALESHERBES; while those ofPEIRESC and FRANKLIN are nearly of the size of nature. They are all inwhite marble. That of Peiresc has considerable expression. 

This may be called a collection of _Books of Business_; in other words, ofbooks of almost every day's reference--which every one may consult. It isparticularly strong in _Antiquities_ and _History_: and for the latter, itis chiefly indebted to Dom Brial--the living father of Frenchhistory[107]--that excellent and able man (who is also one of theSecretaries of the Institute) having recommended full two-thirds of the_long sets_ (as they are called) which relate to ancient history. Thewritten catalogue is contained in fourteen folio volumes, interleaved;there being generally only four articles written in a page, and those fouralways upon the recto of each leaf. This is a good plan: for you may insertyour acquisitions, with the greatest convenience, for a full dozen years tocome. No _printed_ catalogue of either of these libraries, or of those ofthe Arsenal and Ste. Geneviève, exists: which I consider to be a_stain_--much more frightful than that which marks the copy of the"_Servius in Virgilium_, " just before described!

It remains now to make mention of a _third_ Collection of Books--which maybe considered in the light both of a public and a private Library. I mean, the Collection appropriated more particularly for the _King's privateuse_, [108] and which is deposited beneath the long gallery of the Louvre. Its local is as charming as it is peculiar. You walk by the banks of theSeine, in a line with the south side of the Louvre, and gain admittancebeneath an archway, which is defended by an iron grating. An attendant, inthe royal livery, opens the door of the library--just after you haveascended above the entresol. You enquire "whether Monsieur BARBIER, thechief Librarian, be within?" "Sir, he is never absent. Be pleased to gostraight forward, as far as you can see. "[109] What a sight is before me!Nothing less than _thirteen_ rooms, with a small arched door in the centre, through which I gaze as if looking through a tube. Each of these rooms isfilled with books; and in one or the other of them are assembled theseveral visitors who come to read. The whole is perfectly magical. Meanwhile the nephew of M. Barbier walks quickly, but softly, from one roomto another, to take down the several volumes enquired after. At length, having paced along upwards of 200 feet of glazed red tile, and wonderingwhen this apparently interminable suite of apartments will end, I view myestimable friend, the HEAD LIBRARIAN deeply occupied in some correction ofBayle or of Moreri--sitting at the further extremity. His reception of meis more than kind. It is hearty and enthusiastic. 

"Now that I am in this magical region, my good friend, allow me to inspectthe famous PRAYER BOOK of CHARLEMAGNE?"--was my first solicitation to Mons. Barbier. "Gently, "--said my guide. "You are almost asking to partake offorbidden fruit. But I suppose you must not be disappointed. " This was onlysharpening the edge of my curiosity--for "wherefore this mystery, good M. Barbier?" "_That_ you may know another time. The book is here: and youshall immediately inspect it. "--was his reply. M. Barbier unlocked therecess in which it is religiously preserved; took off the crimson velvet inwhich it is enveloped; and springing backward only two feet and a half, exclaimed, on presenting it, "Le voilà--dans toute sa beauté pristine. " Iown that I even forgot _Charles the Bald_--and eke his imperial brother_Lotharius_, [110]--as I gazed upon the contents of it. With these contentsit is now high time that you should be made acquainted. 

EVANGELISTARIUM, or PRAYER BOOK--once belonging to CHARLEMAGNE. Folio. Thesubject-matter of this most precious book is thus arranged. In the firstplace, there are five large illuminations, of the entire size of the page, which are much discoloured. The first four represent the _Evangelists_:each sitting upon a cushion, not unlike a bolster. The fifth is the figureof our SAVIOUR. The back ground is purple: the pillow-like seat, upon whichChrist sits, is scarlet, relieved by white and gold. The upper garment ofthe figure is dark green: the lower, purple, bordered in part with gold. The foot-stool is gold: the book, in the left hand, is red and gold: thearabesque ornaments, in the border, are blue, red, and gold. The hair ofour Saviour is intended to be flaxen. 

The text is in double columns, upon a purple ground, within an arabesqueborder of red, purple, yellow, and bluish green. It is uniformly executedin letters of gold, of which the surface is occasionally rather splendid. It consists of a series of gospel extracts, for the whole year, amountingto about two hundred and forty-two. These extracts terminate with "_Et egoresuscitabo eum in novissimo die. Amen_"

Next comes a Christian Calendar, from the dominical year Dcclxxv. ToDccxcvii. On casting the eye down these years, and resting it on that ofDcclxxxi, you observe, in the columns of the opposite leaf, this veryimportant entry, or memorandum--in the undoubted writing of the time: "_Inisto Anno ivit Dominus_, REX KAROLUS, _ad scm Petrvm et baptisatus estfilius eius_ PIPPINUS _a Domino Apostolico_;" from which I think it isevident (as is observed in the account of this precious volume in the_Annales Encyclopédiques_, vol. Iii. P. 378) that this very book wascommanded to be written chiefly to perpetuate a notice of the baptism, byPope Adrian, of the emperor's son PIPPIN. [111] There is no appearancewhatever of fabrication, in this memorandum. The whole is coeval, anddoubtless of the time when it is professed to have been executed. The lasttwo pages are occupied by Latin verses, written in a lower-case, cursivehand; but contemporaneous, and upon a purple ground. From these verses welearn that the last scribe, or copyist, of the text of this splendidvolume, was one GODESCALE, or GODSCHALCUS, a German. The verses arereprinted in the _Décades Philosophiques_. 

This MS. Was given to the _Abbey of St. Servin_, at Toulouse; and it wasreligiously preserved there, in a case of massive silver, richly embossed, till the year 1793; when the silver was stolen, and the book carried off, with several precious relics of antiquity, by order of the President of theAdministration, (Le Sieur S*****) and thrown into a magazine, in which weremany other vellum MSS. Destined ... TO BE BURNT! One's blood curdles at thenarrative. There it lay--- expecting its melancholy fate; till a Monsieurde Puymaurin, then detained as a prisoner in the magazine, happened tothrow his eye upon the precious volume; and, writing a certain letter aboutit, to a certain quarter--(which letter is preserved in the fly leaves, butof which I was denied the transcription, from motives of delicacy--) anorder was issued by government for the conveyance of the MS. To themetropolis. This restoration was effected in May 1811. [112] I think youmust admit, that, in every point of view, THIS MS. Ranks among the mostinteresting and curious, as well as the most ancient, of those in theseveral libraries of Paris. 

But this is the _only_ piece of antiquity, of the book kind, in theLibrary. Of modern performances, I ought to mention a French version ofOSSIAN, in quarto, which was the favourite reading book of the ex-Emperor;and to which Isabey, at his express command, prefixed a frontispiece afterthe design of Gérard. This frontispiece is beautifully and tenderlyexecuted: a group of heroes, veiled in a mist, forms the back-ground. Theonly other modern curiosity, in this way, which I deem it necessary tonotice, is a collection of ORIGINAL DRAWINGS of flowers, in water colours, by RÉDOUTÉ, upon vellum: in seven folio volumes; and which cost 70, 000francs. [113] Nothing can exceed--and very few efforts of the pencil canequal--this wonderful performance. Such a collection were reasonable at thefore-mentioned price. 

And now, my good friend, suppose I furnish you with an outline of theworthy head-librarian himself? A. A. BARBIER has perhaps not long "turnedthe corner" of his fiftieth year. Peradventure he may be fifty three. [114]In stature, he is above the middle height, but not very tall. In form, heis robust; and his countenance expressive of great conciliatoriness andbenignity. There is a dash of the "old school" about the attire of M. Barbier, which I am Goth enough to admire: while his ardour ofconversation, and rapidity of utterance, relieved by frequent andexpressive smiles, make his society, equally agreeable and instructive. Heis a literary bibliographer to the very back bone; and talks of what he hasdone, and of what he purposes to do, with a "gaieté de coeur" which isquite delightful. He is now engaged in an _Examen Critique et Complémentdes Dictionnaires Historiques les plus repandus_;[115] while his_Dictionnaire des Auteurs Anonymes et Pseudonymes_, in 4 vols. 8vo. , andhis _Bibliothéque d'un Homme de gout_, " in five similar volumes, havealready placed him in the foremost rank of French bibliographers. Such ishis attention to the duties of his situation, as Librarian, that from oneyear's end to the other, with the exception of Sundays, he has _noholiday_. His home-occupations, after the hours of public employment (fromtwelve to four) are over, are not less unintermitting--in the pursuits ofliterary bibliography. 

It was at this home, that M. Barbier shewed me, in his library, some of thefruits of his long and vigorously pursued "travail. " He possesses MercierSaint Léger's own copy of his intended _third_ edition of the _Supplementto Marchand's History of Printing_. It is, in short, the second edition, covered with ms. Notes in the hand-writing of Mercier himself. [117] He alsopossesses (but as the property of the Royal Library) the same eminentbibliographer's copy of the _Bibliothèque Française De La Croix du Maine_, in six volumes, covered in like manner with ms. Notes by the same hand. Toa man of M. Barbier's keen literary appetite, this latter must prove aninexhaustible feast. I was shewn, in this same well-garnished, butunostentatious collection, GOUJET'S own catalogue of his own library. It isin six folio volumes; well written; with a ruled frame work round eachpage, and an ornamental frontispiece to the first volume. Every book in thecatalogue has a note subjoined; and the index is at once full andcomplete. [118] M. Barbier has rather a high notion, and with justice, ofGoujet: observing to me, that _five_ volumes, out of the _ten_ of the lastedition of Moreri's Dictionary--which were edited by Goujet--as well as his_Bibliothéque Française_, in eighteen duodecimo volumes--entitled him tothe lasting gratitude of posterity. On my remarking that the want of anindex, to this _latter_ work, was a great drawback to the use which mightbe derived from it, M. B. Readily coincided with me--and hoped that aprojected new edition would remedy this defect. M. B. Also told me thatGoujet was the editor of the _Dictionnaire de Richelet_, of 1758, in threefolio volumes--which had escaped my recollection. 

My first visit to M. Barbier was concluded by his begging my acceptance ofa copy of the _first edition of Phædrus_, in 1596, 12mo. ; which contained, bound up with it, a copy of the _second_ edition of 1600; with variousreadings to the _latter_, from a MS. Which was burnt in 1774. This gift wasexpressly intended for Lord Spencer's library, and in a few months fromhence (as I have previously apprized his Lordship) it shall "repose uponthe shelves" of his Collection. [119]

It is now high time to relieve you; as you must begin to be almost weariedwith BIBLIOGRAPHY. You have indeed, from the tenor of these five lastletters, been made acquainted with some of the chief treasures in theprincipal libraries of Paris. You have wandered with me through a world ofbooks; and have been equally, with myself, astonished and delighted withwhat has been placed before you. Here, then, I drop the subject ofbibliography--only to be resumed as connected with an account of book-men. 

[91] [Because I have said that M. FLOCON was "from home" at the time I visited the library, and that M. Le CHEVALIER was rarely to be found abroad, M. Crapelet lets loose such a tirade of vituperation as is downright marvellous and amusing to peruse. Most assuredly I was not to know M. Flocon's bibliographical achievements and distinction by _inspiration_; and therefore I hasten to make known both the one and the other--in a version of a portion of the note of my sensitive translator: "M. Flocon is always at work; and one of the most zealous Librarians in Paris: he has worked twenty years at a Catalogue of the immense Library of Ste. Geneviève, of which the fruits are, twenty-four volumes--ready for press. Assuredly such a man cannot be said to pass his life away from his post. " CRAPELET, vol iv. P. 3, 4. Most true--and who has said that HE DOES? Certainly not the Author of this Work. My translator must have here read without his spectacles. ]

[92] _Editiones Italicæ_; 1793. _Præf. _

[93] Vol. I. P. 63-7. It is there observed that "there does not seem to be any reason for assigning this edition, to a _Roman_ press. "

[94] See page 116 ante

[95] See page 139 ante. 

[96] See page 145 ante. 

[97] [Now the property of the Right Hon. T. Grenville; having been purchased at the sale of Mr. Dent's Library for 107_l_. ]

[98] M. Crapelet doubts the truth of this story. He need not. 

[99] [See the account of M. Barbier, post. ]

[100] It is on a small piece of paper, addressed to M. Barbier: "Cherchez dans les depôts bien soigneusement, tous les ouvrages d'ANDRE CIRINE: entr'autres ses _De Venatione libri ii: Messanæ_ 1650. 8vo. _De natura et solertia Canum; Panormi_, 1653. 4to. _De Venatione et Natura Animalium Libri V. Ibid_, 1653. 3 vol. In 4to. --tous avec figures gravées en bois. Peut être dans la _Bibl. Des Théatres_ y étoient-ils. Je me recommande toujours à M, Barbier pour la _Scala Coeli_, in folio, pour les _Lettres de Rangouge_, et pour les autres livres qu'il a bien voulu se charger de rechercher pour moy. " ST. LEGER. 

[101] The Abbé Hooke preceded the abbé Le Blond; the late head librarian. The present head librarian M. PETIT RADEL, has given a good account of the Mazarine Library in his _Recherches sur les Bibliotheques_, &c. 1819, 8vo. ; but he has been reproached with a sort of studied omission of the name of Liblond--who, according to a safe and skilful writer, may be well considered the SECOND FOUNDER of the Mazarine Library. The Abbé Liblond died at St. Cloud in 1796. In M. Renouard's Catalogue of his own books, vol. Ii. P. 253, an amusing story is told about Hooke's successor, the Abbé Le Blond, and Renouard himself. 

[102] _Bibl. Spenceriana_, vol. I. P. 3, &c. And page 154 ante. 

[103] When Lord Spencer was at Paris in 1819, he told MM. Petit Radel and Thiebaut, who attended him, that it was "the finest copy he had ever seen. " Whereupon, one of these gentlemen wrote with a pencil, in the fly-leaf, "Lord Spencer dit que c'est le plus bel exemplaire qu'il ait vu. " And well might his Lordship say so. 

[104] _Bibliomania_, p. 50. _Bibliographical Decameron_, vol. Ii. P. 493. 

[105] Mons. Petit-Radel has lately (1819) published an interesting octavo volume, entitled "_Recherches sur les Bibliothéques anciennes et modernes, &c. _ with a "_Notice Historique sur la Bibliothéque Mazarine_: to which latter is prefixed a plate, containing portraits in outline, of Mazarin, Colbert, Naudé and Le Blond. " At the end, is a list of the number of volumes in the several public libraries at Paris: from which the following is selected. 

 ROYAL LIBRARY _Printed Volumes_ about 350, 000 _Ditto, as brochures_, &c. 350, 000 Manuscripts 50, 000

 LIBRARY OF THE ARSENAL Printed Volumes 150, 000 Manuscripts 5, 000

 LIBRARY OF ST. GENEVIEVE Printed Volumes 110, 000 Manuscripts 2, 000

 MAZARINE LIBRARY Printed Volumes 90, 000 Manuscripts 3, 500

 LIBRARY OF THE PREFECTURE (Hotel de la Ville) Printed Volumes 15, 000

 ------- INSTITUTE Printed Volumes 50, 000

 This last calculation I should think very incorrect. M. Petit Radel concludes his statement by making the WHOLE NUMBER OF ACCESSIBLE VOLUMES IN Paris amount to _One Million, one hundred and twenty-five thousand, four hundred and thirty-seven_. In the several DEPARTMENTS OF FRANCE, collectively, there is _more_ than that number. But see the note ensuing. 

[106] [Mons. Crapelet says, 60, 000 volumes: but I have more faith in the first, than in the second, computation: not because it comes from myself, but because a pretty long experience, in the numbering of books, has taught me to be very moderate in my numerical estimates. I am about to tell the reader rather a curious anecdote connected with this subject. He may, or he may not, be acquainted with the Public Library at Cambridge; where, twenty-five years ago, they boasted of having 90, 000 volumes; and now, 120, 000 volumes. In the year 1823, I ventured to make, what I considered to be, rather a minute and carefull calculation of the whole number: and in a sub note in the _Library Companion_, p. 657, edit. 1824, stated my conviction of that number's not exceeding 65, 000 volumes, including MSS. In the following year, a very careful estimate was made, by the Librarians, of the whole number:--and the result was, that there were only.... 64, 800 volumes!]

[107] Now, numbered with THE DEAD. Vide post. 

[108] [The translation of the whole of the concluding part of this letter, beginning from above, together with the few notes supplied, as seen in M. Crapelet's publication, is the work of M. Barbier's nephew. ]

[109] [For M. Barbier Junior's note, which, in M. Crapelet's publication, is here subjoined, consult the end of the Letter. ]

[110] See pages 65-7 ante. 

[111] [This conclusion is questioned with acuteness and success by M. Barbier's nephew. It seems rather that the MS. Was finished in 781, to commemorate the victories of Charlemagne over his Lombardic enemies in 774. ]

[112] [This restoration, in the name of the City of Toulouse, was made in the above year--on the occasion of the baptism of Bonaparte's son. But it was not placed in the King's private library till 1814. BARBIER Jun. ]

[113] [Now complete in 8 volumes--at the cost of 80, 000 francs!]

[114] [The latter was the true guess: for M. Barbier died in 1825, in his 60th year. ]

[115] It was published in 1821. In one of his recent letters to me, the author thus observes--thereby giving a true portraiture of himself-- "Je sais, Monsieur, quelle est votre ardeur pour le travail: je sais aussi que c'est le moyen d'être heureux: ainsi je vous félicite d'être constamment occupé. " M. Barbier is also one of the contributors to the _Biographie Universelle_, [116] and has written largely in the _Annales Encyclopédiques_. Among his contributions to the latter, is a very interesting "_Notice des principaux écrits relatifs à la personne et aux ouvrages de J. J. Rousseau_. " His "_Catalogue des livres dans la Bibliothéque du Conseil d'Etat_, transported to Fontainbleau in 1807, and which was executed in a handsome folio volume, in 1802, is a correct and useful publication. I boast with justice of a copy of it, on fine paper, of which the author several years ago was so obliging as to beg my acceptance. [From an inscription in the fly-leaf of this Catalogue, I present the reader with a fac-simile of the hand-writing of its distinguished author. ]

 [Autograph]

[116] [I "ALONE am responsible for this Sin. _Suum Cuique_. " BARBIER, Jun. ]

[117] [These volumes form the numbers 1316 and 1317 of the Catalogue of M. Barbier's library, sold by auction in 1828. ]

[118] [Consult _Bibl. Barbier_: Nos. 1490, 1491, 1861. ]

[119] [The agreeable and well instructed Bibliographer, to the praises of whom, in the preceding edition of this work, I was too happy to devote the above few pages, is now NO MORE. Mons. Barbier died in 1825, and his library--the richest in literary bibliography in Paris, --was sold in 1828. On referring to page 197 ante, it will be seen that I have alluded to a note of M. Barbier's nephew, of which some mention was to be made in this place. I will give that note in its _original language_, because the most felicitous version of it would only impair its force. It is subjoined to these words of my text: "Be pleased to go strait forward as far as you can see. " "L'homme de service lui-même ne ferait plus cette rêponse aujourd'hui. Peu de temps après l'impression du Voyage de M. Dibdin, ce qu'on appelle une _organisation_ eut lieu. Après vingt-sept ans de travaux consacrés à la bibliographique et aux devoirs de sa place, M. Barbier, que ses fonctions paisibles avoient protégés contre les terribles dénonciations de 1815, n'a pu régister, en 1822, aux délations mensongères de quelque commis sous M. Lauriston. 

 _Insere nunc, Meliboee, pyros; pone ordine vites_!

 J'ai partagé pendant vingt ans les travaux de mon oncle pour former la bibliothéque de la couronne, et j'ai du, ainsi que lui, être mis a la retraite au moment de la promotion du nouveau Conservateur. " CRAPELET, vol. Iv. P. 45. 

 I will not pretend to say _what_ were the causes which led to such a disgraceful, because wholly unmerited, result. But I have reason to BELIEVE that a dirty faction was at work, to defame the character of the Librarian, and in consequence, to warp the judgment of the Monarch. Nothing short of infidelity to his trust should have moved SUCH a Man from the Chair which he had so honourably filled in the private Library of Louis XVIII. But M. Barbier was beyond suspicion on this head; and in ability he had perhaps, scarcely an equal--in the particular range of his pursuits. His _retreating_ PENSION was a very insufficient balm to heal the wounds which had been inflicted upon him; and it was evident to those, who had known him long and well, that he was secretly pining at heart, and that his days of happiness were gone. He survived the dismissal from his beloved Library only five years: dying in the plenitude of mental vigour. I shall always think of him with no common feelings of regret: for never did a kinder heart animate a well-stored head. I had hoped, if ever good fortune should carry me again to Paris, to have renewed, in person, an acquaintance, than which none had been more agreeable to me, since my first visit there in 1818: But ... "Diis aliter visum est. " There is however a mournful pleasure in making public these attestations to the honour of his memory; and, in turn, I must be permitted to quote from the same author as the nephew of M. Barbier has done.... 

 His saltem accumulem donis, et fungar inani Munere.... 

 Perhaps the following anecdote relating to the deceased, may be as acceptable as it is curious. Those of my readers who have visited Paris, will have constantly observed, on the outsides of houses, the following letters, painted in large capitals:

 MACL:

 implying--as the different emblems of our Fire Offices imply--

 "M[aison] A[ssurée] C[ontre] L'[incendie]:"

 in plain English, that such houses are insured against fire. Walking one afternoon with M. Barbier, I pointed to these letters, and said, "You, who have written upon _Anonymes_ and _Pseudonymes_, do you know what those letters signify?" He replied, "Assuredly--and they can have but _one_ meaning. " "What is that?" He then explained them as I have just explained them. "But (rejoined I) since I have been at Paris, I have learnt that they also imply _another_ meaning. " "What might that be?" Stopping him, and gently touching his arm, and looking round to see that we were not overheard, I answered in a suppressed tone:--

 "M[es] A[mis] C[hassez] L[ouis]. "

 He was thunderstruck. He had never heard it before: and to be told it by a stranger! "Mais (says he, smiling, and resuming his steps) "voila une chose infiniment drole!"

 Let it be remembered, that this HERETICAL construction upon these Initial Capitals was put at a time when the _Bonaparte Fever_ was yet making some of the pulses of the Parisians beat 85 strokes to the minute. _Now_, his Majesty Charles X. Will smile as readily at this anecdote as did the incomparable Librarian of his Regal Predecessor. 

[INTRODUCTION TO LETTER VIII. ]

Before entering upon the perusal of this memorable Letter--which, in theprevious edition, was numbered LETTER XXX, --(owing to the Letters havingbeen numbered consecutively from the beginning to the end) I request theReader's attention to a few preliminary remarks, which may possibly guidehim to form a more correct estimate of its real character. MONS. LICQUEThaving published a French version of my Ninth Letter, descriptive of thePublic Library at Rouen, (and to which an allusion has been made in vol. I. P. 99. ) MONS. CRAPELET (see p. 1, ante) undertook a version of the_ensuing_ Letter: of which he printed _one hundred copies_. Bothtranslations were printed in M. Crapelet's office, to arrange, in type andform of publication, as much as possible with my own; so that, if the_intrinsic_ merit of these versions could not secure purchasers, the beautyof the paper and of the press work (for both are very beautiful) mightcontribute to their circulation. To the version of M. Crapelet[120] wasprefixed a _Preface_, combining such a mixture of malignity andmisconception, that I did not hesitate answering it, in a privately printedtract, entitled "A ROLAND FOR AN OLIVER. " Of this Tract, "only _thirty-sixcopies were printed_. " "So much the better for the Author"--says M. Crapelet. The sequel will shew. 

In the publication of the _entire_ version of my Tour, by M. M. Licquet andCrapelet, the translation of this VIIIth Letter appears as it did in theprevious publication--with the exception of the omission of the _Preface_:but in lieu of which, there is another and a short preface, by M. Crapelet, to the third volume, where, after telling his readers that his previousattempt had excited my "holy wrath, " he seems to rejoice in the severity ofthose criticisms, which, in certain of our _own_ public Journals, have beenpassed upon my subsequent bibliographical labours. With these criticisms Ihave here nothing to do. If the authors of them can reconcile them to theirown good sense and subsequent reflections, and the Public to their ownINDEPENDENCE of JUDGMENT, the voice of remonstrance will be ineffectual. Time will strike the balance between the Critic and the Author: and withoutpretending to explore the mysteries of an occasional _getting-up_ ofReviews of particular articles, I think I can speak in the language ofjustice, as well as of confidence, of the Author of ONE of these reviews, by a quotation from the _Ajax Flagellifer_ of SOPHOCLES. 

 [Greek: Blepô gar echthron phôta, kai tach' an kakois Gelôn, ha dê kakourgos exikoit' anêr. --]

To return to M. Crapelet; and to have done with him. The _motive_ for hisundertaking the version of this memorable Letter, about "BOOKSELLERS, PRINTERS, and BOOKBINDERS at Paris, " seems to be wholly inconceivable;since the logic of the undertaking would be as follows. BECAUSE I havespoken favourably of the whole typographical fraternity--and because, inparticular, of M. Crapelet, his _Ménage_, and Madame who is at the head ofit--_because_ I have lauded his Press equally with his Cellar--THEREFOREthe "_un_holy wrath" of M. Crapelet is excited; and he cannot endure thefreedom taken by the English traveller. It would be abusing the confidencereposed in me by written communications, from characters of the firstrespectability, were I to make public a few of the sentiments contained inthem--expressive of surprise and contempt at the performance of the Frenchtypographer. But in mercy to my adversary, he shall be spared the pain oftheir perusal. 

[120] [A young stranger, a Frenchman--living near the mountainous solitudes between Lyons and the entrance into Italy--and ardently attached to the study of bibliography--applied himself, under the guidance of a common friend--dear to us both from the excellence of his head and heart--to a steady perusal of the _Bibliographical Decameron_, and the _Tour_. He mastered both works within a comparatively short time. He then read _A Roland for an Oliver_--and voluntarily tendered to me his French translation of it. How successfully the whole has been accomplished, may be judged from the following part--being the version of my preface only. 

 OBSERVATION PRELIMINAIRE. 

 "La production de M. Crapelet rappelée, dans le titre précédent, sera considérée comme un phénomène dans son genre. Elle est, certes, sans antécédent et, pour l'honneur de la France, je desire qu'elle n'ait pas d'imitateurs. Quiconque prendra la peine de lire la trentième lettre de mon voyage, soit dans l'original, soit dans la version de M. Crapelet, en laissant de coté les notes qui appartiennent an traducteur, conviendra facilement que cette lettre manifeste les sentimens les plus impartiaux et les plus honorables à l'état actuel de la librairie et de l'imprimerie à Paris. Dans plusieurs passages, où l'on compare l'éxécution typographique, dans les deux pays, la supériorité est décidée en faveur de la France. Quant a _l'esprit_ qui a dicté cette lettre, je déclare, comme homme d'honneur, ne l'avoir pas composée, dans un systême d'opposition, envers ceux qu'elle concerne plus particulièrement. 

 "Cependant, il n'en a pas moins plu à M. Crapelet, imprimeur de Paris, l'un de ceux dont il y est fait plus spécialement l'éloge, d'accompagner sa traduction de cette lettre, de notes déplacées et injurieuses pour le caractère de l'auteur et de son ouvrage. Par suite probablement du peu d'étendue de ses idées et de l'organisation vicieuse de ses autres sens, ce typographe s'est livré a une séries d'observations qui outragent autant la raison que la politesse, et qui décèlent hautement sa malignité et sa noirceur. Les formes de son procédé ne sont pas moins méprisables que le fond. Avec la prétention avouée de ne répandre que partiellement sa version, (Voulant blesser et cependant timide pour frapper)

 il s'est servi de ses propres presses et il a imprimé le texte et les notes avec des caractères et sur un papier aussi semblables que possible à ceux de l'ouvrage qu'il venait de traduire. Il en a surveillé, a ce qu'on assure, l'impression, avec l'attention personelle la plus scrupuleuse, en sorte qu'il n'est aucune _epreuvé égarée_, qui ait été soumise à d'autres yeux que les siens. Il a prit soin, en outre, d'en faire tirer, au moins, cent exemplaires, et de les répandre. [C] Comme ces cent exemplaires seront probablement lus par dix fois le même nombre de personnes, il y aurait eu plus de franchisé et peut-être plus de bon sens de la part de M. Crapelet à diriger publiquement ses coups contre moi que de le faire sous la couverture d'un _pamphlet privé_. Il a fait choix de ce genre d'attaque; il ne me reste plus qu'à adopter une semblable méthode de défense: si ce n'est, qu'au lieu de cent exemplaires, ces remarques ne seront véritablement imprimée qu'a _trente six_. Ce procédé est certes plus délicat que celui de mon adversaire; mais soit que M. Crapelet ait préféré l'obscurité à la lumière, il n'en est pas moins évident que son intention a été d'employer tous ses petits moyens, a renverser la réputation d'un ouvrage, dont il avoue lui-même avoir à peine lu la cinquantième partie!

 "Par le contenu de ses notes, on voit qu'il a cherché, avec une assiduité condamnable, a recueillir le mal qu'il me suppose avoir eu l'intention de dire des personnes que j'ai citées, et cependant, après tout ce travail, a peine a-t-il pû découvrir l'ombre d'une seule allusion maligne. Jamais on ne fit un usage plus déplorable de son tems et de ses peines, car toutes les phrases de cette production sont aussi obscures que tirées de loin. 

 "Il est difficile, ainsi que je l'ai déjà observé, de se rendre compte des motifs d'une telle conduite. Mais M. Crapelet n'a fait part de son secret à personne, et d'après l'échantillon dont il s'agit ici, je n'ai nulle envie de le lui demander. 

 T. F. D. 

 "J'avais eu d'abord l'intention de relever chacunes des notes de M. Crapelet, mais de plus mûres réfléxions m'ont fait connaitre l'absurdité d'une telle enterprise. Je m'en suis donc tenu à la préface, sans toutefois, ainsi que le lecteur pourra s'en appercevoir, laisser tomber dans l'oubli le mérite des notes. Encore un mot; M. Crapelet m'a attaqué et je me suis défendu. Il peut récommencer, si cela lui fait plaisir; mais désormais je ne lui répondrai que par le silence et le mépris. "

 [C] "M. Crapelet, en sa qualité de critique, a mis ici du raffinement; car je soupçonne qu'il y a eu au moins vingt cinq exemplaires tirés sur papier vélin. C'est ainsi qu'il sait dorer sa pillule, pour la rendre plus présentable aux dignes amis de l'auteur, les bibliophiles de Paris. Mais ces Messieurs ont trop bon gout pour l'accepter. 

_LETTER VIII. _

SOME ACCOUNT OF THE LATE ABBÉ RIVE. BOOKSELLERS. PRINTERS. BOOK-BINDERS. 

I make no doubt that the conclusion of my last letter has led you to expecta renewal of the BOOK THEME: but rather, I should hope, as connected withthose Bibliographers, Booksellers, and Printers, who have for so many yearsshed a sort of lustre upon _Parisian Literature_. It will therefore be nounappropriate continuation of this subject, if I commence by furnishing youwith some particulars respecting a Bibliographer who was considered, in hislife time, as the terror of his acquaintance, and the pride of his patron:and who seems to have never walked abroad, or sat at home, without ascourge in one hand, and a looking-glass in the other. Droll combination!--you will exclaim. But it is of the ABBÉ RIVE of whom I now speak; the very_Ajax flagellifer_ of the bibliographical tribe, and at the same time thevainest and most self-sufficient. He seems, amidst all the controversy inwhich he delighted to be involved, to have always had _one_ never-failingsource of consolation left:--that of seeing himself favourably reflected--from the recollection of his past performances--in the mirror of his ownconceit! I have before[121] descanted somewhat upon probably the mostsplendid of his projected performances, and now hasten to a more particularaccount of the man himself. 

It was early one morning--before I had even commenced my breakfast--that astranger was announced to me. And who, think you, should that stranger turnout to be? Nothing less than the _Nephew_ of the late Abbé Rive. His namewas MORENAS. His countenance was somewhat like that which Sir Thomas Moredescribes the hero of his Utopia to have had. It was hard, swarthy, andsevere. He seemed in every respect to be "a travelled man. " But his mannersand voice were mild and conciliating. "Some one had told him that I hadwritten about the Abbé Rive, and that I was partial to his work. Would I dohim the favour of a visit? when I might see, at his house, (_Rue du VieuxColombier, près St. Sulpice_) the whole of the Abbé's MSS. And all hisprojected works for the press. They were for sale. Possibly I might wish topossess them?" I thanked the stranger for his intelligence, and promised Iwould call that same morning. 

M. Morenas has been indeed a great traveller. When I called, I found himliving up two pair of stairs, preparing for another voyage to Senegal. Hewas surrounded by _trunks_ ... In which were deposited the literary remainsof his uncle. In other words, these remains consisted of innumerable_cards_, closely packed, upon which the Abbé had written all his memorandarelating to ... I scarcely know what. But the whole, from the nephew'sstatement, seemed to be an encyclopædia of knowledge. In one trunk, wereabout _six thousand_ notices of MSS. Of all ages; and of editions in thefifteenth century. In another trunk, were wedged about _twelve thousand_descriptions of books in all languages, except those of French and Italian, from the sixteenth century to his own period: these were professed to beaccompanied with critical notes. In a third trunk was a bundle of papersrelating to the _History of the Troubadours_; in a fourth, was a collectionof memoranda and literary sketches, connected with the invention of Artsand Sciences, with Antiquities, Dictionaries, and pieces exclusivelybibliographical. A fifth trunk contained between _two and three thousand_cards, written upon on each side, respecting a collection of prints;describing the ranks, degrees, and dignities of all nations--of whicheleven folio _cahiers_ were published, in 1779--without the letter-press--but in a manner to make the Abbé extremely dissatisfied with the engraver. In a sixth trunk were contained his papers respecting earthquakes, volcanoes, and geographical subjects: so that, you see, the Abbé Rive atleast fancied himself a man of tolerably universal attainments. It was ofcourse impossible to calculate the number, or to appreciate the merits, ofsuch a multifarious collection; but on asking M. Morenas if he had made uphis mind respecting the _price_ to be put upon it, he answered, that hethought he might safely demand 6000 francs for such a body of miscellaneousinformation. I told him that this was a sum much beyond my means toadventure; but that it was at least an object worthy of the considerationof the "higher powers" of his own government. He replied, that he hadlittle hopes of success in those quarters: that he was anxious to resumehis travels; talked of another trip to Senegal; for that, after solocomotive a life, a sedentary one was wearisome to him.... 

 ... "trahit sua quemque voluptas!"

Over the chimney-piece was a portrait, in pencil, of his late uncle: donefrom the life. It was the only one extant. It struck me indeed assingularly indicative of the keen, lively, penetrating talents of theoriginal. On the back of the portrait were the lines which are heresubjoined:

 _Dès sa plus tendre enfance aux études livré, La soif de la science l'a toujours dévoré. Une immense lecture enrichit ses écrits, Et la critique sure en augmente le prix. _

These lines are copied from the _Journal des Savans_ for October 1779. IeanJoseph Rive was born at Apt, in 1730, and died at Marseilles in 1791. Hehad doubtless great parts, natural and acquired: a retentive memory, aquick perception, and a vast and varied reading. He probably commencedamassing his literary treasures as early as his fourteenth year; and to hislatest breath he pursued his researches with unabated ardour. But hiscareer was embittered by broils and controversies; while the frequent actsof kindness, and the general warmth of heart, evinced in his conduct, hardly sufficed to soften the asperity, or to mitigate the wrath, of a hostof enemies--which assailed him to the very last. But Cadmus-like, he sowedthe seeds from which these combatants sprung. Whatever were his defects, asa public character, he is said to have been, in private, a kind parent, awarm friend, and an excellent master. The only servant which he ever had, and who remained with him twenty-four years, mourned his loss as that of afather. Peace to his ashes!

From bibliography let me gently, and naturally, as it were, conduct youtowards BIBLIOPOLISM. In other words, allow me to give you a sketch of afew of the principal Booksellers in this gay metropolis; who strive, by thesale of instructive and curious tomes, sometimes printed in the blackletter of _Gourmont_ and _Marnef_, to stem the torrent of those trivial ormischievous productions which swarm about the avenues of the Palais Royal. In ancient times, the neighbourhood of the SORBONNE was the great mart forbooks. When I dined in this neighbourhood, with my friend M. Gail, theGreek Professor at the College Royale, I took an opportunity of leisurelyexamining this once renowned quarter. I felt even proud and happy to walkthe streets, or rather tread the earth, which had been once trodden by_Gering_, _Crantz_, and _Fiburger_. [122] Their spirits seemed yet to hauntthe spot:--but no volume, nor even traces of one--executed at their press--could be discovered. To have found a perfect copy of _Terence_, printed intheir first Roman character, would have been a _trouvaille_ sufficientlylucky to have compensated for all previous toil, and to have franked me asfar as Strasbourg. 

The principal mart for booksellers, of old and second hand books, is nownearer the Seine; and especially in the _Quai des Augustins_. _Messrs. Treuttel and Würtz, Panckoucke, Renouard_, and _Brunet_, live within aquarter of a mile of each other: about a couple of hundred yards from the_Quai des Augustins_. Further to the south, and not far from the Hotel deClugny, in the _Rue Serpente_, live the celebrated DEBURE. They arebooksellers to the King, and to the Royal Library; and a more respectablehouse, or a more ancient firm, is probably not to be found in Europe. Messrs. Debure are as straight-forward, obliging, and correct, in theirtransactions, as they are knowing in the value, and upright in the sale, oftheir stock in trade. No bookseller in Paris possesses a more judiciousstock, or can point to so many rare and curious books. A young collectormay rely with perfect safety upon them; and accumulate, for a few hundredpounds, a very respectable stock of _Editiones principes_ or _rarissimæ_. Ido not say that such young collector would find them _cheaper there_, or_so cheap_ as in _Pall-Mall_; but I do say that he may rest assured thatMessieurs Debure would never, knowingly, sell him an imperfect book. Of theDebure, there are two brothers: of whom the elder hath a most gallantpropensity to _portrait-collecting_--and is even rich in portraits relatingto _our_ history. Of course the chief strength lies in French history; andI should think that Monsieur Debure l'ainé shewed me almost as manyportraits of Louis XIV. As there are editions of the various works ofCicero in the fifteenth century. [123] But my attention was moreparticularly directed to a certain boudoir, up one pair of stairs, in whichMadame Debure, their venerable and excellent mother, chooses to depositsome few very choice copies of works in almost every department ofknowledge. There was about _one_ of the _best_ editions in each department:and whether it were the Bible, or the History of the Bucaineers--whether alyrical poet of the reign of Louis XIV. Or the ballad metres of that ofFrançois Premier ... There you found it!--bound by Padaloup, or Deseuille, or De Rome. What think you, among these "choice copies, " of the _CancioneroGenerale_ printed at Toledo in 1527, in the black letter, double columned, in folio? Enough to madden even our poet-laureat--for life! I should add, that these books are not thus carefully kept together for the sake of_shew_: for their owner is a fair good linguist, and can read the Spanishwith tolerable fluency. Long may she yet read it. [124]

The Debure had the selling, by auction, of the far-famed M'CARTHY LIBRARY;and I saw upon their shelves some of the remains of that splendidmembranaceous collection. Indeed I bought several desirable specimens ofit: among them, a fine copy of _Vindelin de Spira's_ edition (1471) of _St. Cyprians Epistles_, UPON VELLUM. [125] Like their leading brethren in theneighbourhood, Messieurs Debure keep their country house, and there passthe Sabbath. 

The house of TREUTTEL and WURTZ is one of the richest and one of the mostrespectable in Europe. The commerce of that House is chiefly in thewholesale way; and they are, in particular, the publishers and proprietorsof all the great classical works put forth at _Strasbourg_. Indeed, it wasat this latter place where the family first took root: but the branches oftheir prosperity have spread to Paris and to London with nearly equalluxuriance. They have a noble house in the _Rue de Bourbon_, no. 17: likeunto an hotel; where each day's post brings them despatches from the chieftowns in Europe. Their business is regulated with care, civility, anddispatch; and their manners are at once courteous and frank. Nothing wouldsatisfy them but I must spend a Sabbath with them, at their country houseat _Groslai_; hard by the village and vale of Montmorenci. I assentedwillingly. On the following Sunday, their capacious family coach, and pairof sleek, round, fat black horses, arrived at my lodgings by ten o'clock;and an hour and three quarters brought me to Groslai. The cherries wereripe, and the trees were well laden with fruit: for Montmorenci cherries, as you may have heard, are proverbial for their excellence. I spent a veryagreeable day with mine hosts. Their house is large and pleasantlysituated, and the view of Paris from thence is rather picturesque. But Iwas most struck with the conversation and conduct of Madame Treuttel. Sheis a thoroughly good woman. She has raised, at her own expense, analms-house in the village for twelve poor men; and built a national schoolfor the instruction of the poor and ignorant of both sexes. She is herselfa Lutheran Protestant; as are her husband and her son-in-law M. Würtz. Atfirst, she had some difficulties to encounter respecting the _school_; andsundry conferences with the village Curé, and some of the head clergy ofParis, were in consequence held. At length all difficulties were surmountedby the promise given, on the part of Madame Treuttel, to introduce only theFrench version of the Bible by _De Sacy_. Hence the school was built, andthe children of the village flocked in numbers to it for instruction. Ivisited both the alms-house and the school, and could not withhold mytribute of hearty commendation at the generosity, and thoroughly Christianspirit, of the foundress of such establishments. There is more good senseand more private and public virtue, in the application of superfluouswealth in this manner, than in the erection of a hundred palaces like thatat _Versailles!_[126]

A different, and a more touching object presented itself to my view in thegarden. Walking with Madame, we came, through various détours, into aretired and wooded part: where, on opening a sort of wicket gate, I foundmyself in a small square space, with hillocks in the shape of _tumuli_before me. A bench was at the extremity. It was a resting place for theliving, and a depository of the dead. Flowers, now a good deal faded, weregrowing upon these little mounds--beneath which the dead seemed to sleep inpeace. "What might this mean?" "Sir, " replied Madame Treuttel, "this isconsecrated ground. My son-in-law sleeps here--and his only and belovedchild lies by the side of him. You will meet my daughter, his wife, atdinner. She, with myself, visit this spot at stated seasons--when we renewand indulge our sorrows on the recollection of those who sleep beneath. These are losses which the world can never repair. We all mean to beinterred within the same little fenced space. [127] I have obtained a longlease of it--for some fifty years: at the expiration of which time, thework of dissolution will be sufficiently complete with us all. " So spake myamiable and enlightened guide. The remainder of the day--during which wetook a stroll to Montmorenci, and saw the house and gardens where Rousseauwrote his _Emile_--was spent in a mixed but not irrational manner: muchaccordant with my own feelings, and most congenial with a languid state ofbody which had endured the heats of Paris for a month, without feelingscarcely a breath of air the whole time. 

ANTOINE-AUGUSTIN RENOUARD, living in the _Rue St. André des Arts_, is thenext bibliopolist whom I shall introduce to your attention. He is among themost lynx-eyed of his fraternity: has a great knowledge of books; adelightful ALDINE LIBRARY;[128]--from which his Annals of the Aldine Presswere chiefly composed--and is withal a man in a great and successful lineof business. I should say he is a rich man; not because he has five hundredbottles of Burgundy in his cellar, which some may think to be of a morepiquant quality than the like number of his _Alduses_--but because he haspublished some very beautiful and expensive editions of the Latin andFrench Classics, with equal credit to himself and advantage to hisfinances. [129] He _debuted_ with a fine edition of _Lucan_ in 1795, folio;and the first catalogue of his books was put forth the following year. Fromthat moment to the present, he has never slackened head, hand, or foot, inthe prosecution of his business; while the publication of his _Annals ofthe Aldine Press_ places him among the most skilful and most instructivebooksellers in Europe. It is indeed a masterly performance: and as usefulas it is elegantly printed. [130] M. Renouard is now occupied in an improvededition of _Voltaire_, which he means to adorn with engravings; and ofwhich he shewed me the original drawings by Moreau, with many of theplates. [131] He seems in high spirits about the success of it, and leanswith confidence upon the strength of a host of subscribers. Nor does arival edition, just struggling into day, cause him to entertain lesssanguine expectations of final success. This enterprising bookseller is nowalso busily occupied about a _Descriptive Catalogue of his own library_, inwhich he means to indulge himself in sundry gossipping notes, criticaldisquisitions, and piquant anecdotes. I look forward with pleasure to itsappearance; and turn a deaf ear to the whispers which have reached me of anintended _brush_ at the Decameron. [132]

M. Renouard has allowed me free access to his library; which also containssome very beautiful copies of books printed in the fifteenth century. Amongthese latter, his VELLUM VALDARFER is of course considered, by himself andhis friends, as the _keimelion_ of the collection. It is the edition of the_Orations of Cicero_, printed by Valdarfer, at Venice, in 1471, folio: amost exquisite book--which may be fairly considered as perfect throughout. It is in its second binding, but _that_ may be as old as the time ofFrancis I. : perhaps about the middle of the sixteenth century. This copymeasures thirteen inches in height, by eight inches and seven-eighths inwidth:--almost, I conceive, in its original state of amplitude. I willfrankly own that I turned over the leaves of this precious book, again andagain--"sighed and looked, &c. " "But would no price tempt the owner to partwith it?" "None. It is reserved as the bijou of my catalogue, and departsnot from hence. " Severe, but just decree! There is only one other knowncopy of it upon vellum, which is in the Royal Library[133]--but which wantsa leaf of the table; an imperfection, not belonging to the present copy. 

The other "great guns, " as VELLUM BOOKS, in the collection of M. Renouard, are what is called the _Familiar Epistles of Cicero_ printed by _Aldus_ in1502, 12mo: and the _Petrarch_ of 1514, 8vo. Also printed by Aldus. Ofthese, the _latter_ is by much the preferable volume. It is almost as largeas it can well be: but badly bound in red morocco. [134] The Cicero is shortand sallow-looking. It was on the occasion of his son starting for thefirst time on a bibliographical tour, and, on crossing the Rhine, andfinding this Cicero and the almost equally rare _Aldine Virgil_ of 1505, that a relation of this "fortunate youth" invoked his muse in some fewverses, which he printed and gave to me. [135] These are little"plaisanteries" which give a relish to our favourite pursuits; and whichmay at some future day make the son transcend the father in bibliographicalrenown. Perhaps the father has already preferred a prayer upon the subject, as thus:

 [Greek: Zeu, alloi te Theoi, dote dê kai tonde genesthai Paid emon ôs kai egô per, .... ]

There are some few noble volumes, from the press of _Sweynheym andPannartz_, in this collection; and the finest copy of the FIRST LUCIAN inGreek, which perhaps any where exists. [136] It was obtained at a recentsale, (where it was coated in a lapping-over vellum surtout) at a prettysmart price; and has been recently clothed in blue morocco. M. Renouard hasalso some beautiful copies from the library of _De Thou_, and a partlyuncut _Aldine Theophrastus_ of 1497, which belonged to Henry the Second andDiane de Poictiers; as well as a completely uncut copy of the first _AldineAristotle_. [137] Few men probably have been luckier in obtaining several oftheir choice articles; and the little anecdotes which he related to me, aresuch as I make no doubt will appear in the projected catalogue raisonné ofhis library. He is just now briskly engaged in the pursuit of _uncutElzevirs_ ... And coming to breakfast with me, the other morning, he mustneeds pick up a beautiful copy of this kind, in two small volumes, neatlyhalf bound, (of which I have forgotten the title, ) and of which he had beenfor some time in the pursuit. M. Renouard also took occasion to tell methat, in his way to my chambers, he had sold, or subscribed, of aforthcoming work to be published by him--just _nine hundred and ninety-ninecopies!_ Of course, after such a _trouvaille_ and such a subscription, herelished his breakfast exceedingly. He is a man of quick movements, ofacute perceptions, of unremitting ardour and activity of mind and body--constantly engaged in his business, managing a very extensivecorrespondence, and personally known to the most distinguished Collectorsof Italy. Like his neighbours, he has his country-house, or rather farm, inPicardy[138] whither he retires, occasionally to view the condition andgrowing strength of that species of animal, from the backs of which hisbeloved Aldus of old, obtained the _matériel_ for his vellum copies. But itis time to wish M. Renouard a good morning, and to take you with me to hisneighbour--

MONS. BRUNET, THE YOUNGER. This distinguished bibliographer, rather thanbookseller, lives hard by--in the _Rue Gît-Le-Coeur_. He lives with hisfather, who superintends the business of the shop. The Rue Gît-Le-Coeur isa sorry street--very diminutive, and a sort of cropt copy--to what itshould have been, or what it might have been. However, there lives JACQ. CH. BRUNET, FILS: a writer, who will be known to the latest times in thebibliographical world. He will be also thanked as well as known; for his_Manuel du Libraire_ is a performance of incomparable utility to allclasses of readers and collectors. You mount up one pair of stairs:--theway is gloomy, and might well lead to a chamber in the monastery of LaTrappe. You then read an incription, which tells you that "in turning thebutton you pull the bell. " The bell sounds, and _Mons. Brunet, Pere_, receives you--with, or without, a silken cap upon his head. He sits in asmall room, sufficiently well filled with books. "Is the Son at home?""Open that door, Sir, you will find him in the next room. " The door isimmediately opened--and there sits the son, surrounded by, and almostimprisoned in, papers and books. His pen is in his hand: his spectacles areupon his nose: and he is transcribing or re-casting some precious littlebit of bibliographical intelligence; while, on looking up and receivingyou, he seems to be "full of the labouring God!" In short, he is just nowdeeply and unintermittingly engaged in a new and _third_ edition of his_Manuel_. [139] The shelves of his room almost groan beneath the weight ofthose writers from whom he gathers his principal materials. "Vous voilà, Mons. Brunet, bien occupé!;" "Oui, Monsieur, cela me fait autant de plaisirque de peine. "

This is a very picture of the man.... "The labour we delight in physicspain, "--said Lady Macbeth of old; and of a most extraordinary kind must thelabour of Mons. Brunet be considered, when the pleasure in the prosecutionof it balances the pain. We talked much and variously at our firstinterview: having previously interchanged many civilities by letter, andmyself having been benefitted by such correspondence, in the possession ofa _large paper_ copy of his first edition--of which he was pleased to makeme a present, and of which only twenty copies were struck off. I told himthat I had given Charles Lewis a carte blanche for its binding, and that Iwould back _his_ skill--the result of such an order--against any binding atthat time visible in any quarter of Paris! Mons. B. Could not, in hisheart, have considered any other binding superior. 

He told me, somewhat to my astonishment, and much to my gratification, that, of the first edition of his _Manuel_, he had printed and sold _twothousand_ copies. This could never have been done in our country: because, doubting whether it would have been so accurately printed, it could neverhave been published, in the same elegant manner, for the same price. Thecharges of our printers would have been at least double. In thetypographical execution of it, M. Crapelet has almost outdone himself. Reverting to the author, I must honestly declare that he has well meritedall he has gained, and will well merit all the gains which are in store forhim. His application is severe, constant, and of long continuance. Hediscards all ornament, [140] whether graphic or literary. He is nevertherefore digressive; having only a simple tale to tell, and that talebeing almost always _well_ and _truly_ told. [141] In his opinions, he isfirm and rational, and sometimes a little pugnacious in the upholding ofthem. But he loves only to breathe in a bibliographical element, and isnever happier than when he has detected some error, or acquired some newinformation; especially if it relate to an _Editio Princeps_. [142] There isalso something very naïf and characteristic in his manner and conversation. He copies no one; and may be said to be a citizen of the world. In short, he has as little _nationality_ in his opinions and conversation, as anyFrenchman with whom I have yet conversed. 

Thus much for the leading booksellers of Paris on the south side of theSeine: or, indeed, I may say in the whole city. But, because the south is awarm and genial aspect in the bringing forth of all species of productions, it does not necessarily follow that ... There should be _no_ bibliopolisticvegetation on the _north_ side of the Seine. Prepare therefore to beintroduced to MONS. CHARDIN, in the _Rue St. Anne_, no. 19; running nearlyat right angles with the _Rue St. Honoré_, not far from the _Eglise St. Roq. _ M. Chardin is the last surviving remains of the OLD SCHOOL ofbooksellers in Paris; and as I love antiquities of almost all kinds, I loveto have a little occasional gossip with M. Chardin. A finer old man, with amore characteristic physiognomy, hath not appeared in France from the timeof Gering downwards. M. Chardin is above the mean height; is usuallyattired in a rocquelaure; and his fine flowing grey locks are usuallysurmounted by a small black silk cap. His countenance is penetrating, butmild: and he has a certain air of the "Old School" about him, which isalways, to my old-fashioned taste, interesting and pleasing. 

In his youth he must have been handsome, and his complexion is yetdelicate. But good old M. Chardin is an oddity in his way. He physics"according to the book"--that is, according to the Almanack; although Ishould think he had scarcely one spare ounce of blood in his veins. Phlebotomy is his "dear delight. " He is always complaining, and yet expectsto be always free from complaint. But Madame will have it so, and Monsieuris consenting. He lives on the floor just above the entresol, and his twoor three small apartments are gaily furnished with books. The interior isvery interesting; for his chief treasures are locked up within glazedcabinets, which display many a rich and rare article. These cabinets arebeautifully ornamented: and I do assure you that it is but justice to theirowner to say, that they contain many an article which does credit to histaste. 

This taste consists principally in a love of ornamented MSS. And printedbooks UPON VELLUM, in general very richly bound. [143] It is scarcely sevenyears ago since M. Chardin published an octavo catalogue, of nearly twohundred pages, of MSS. And printed books ... All upon vellum. He has beenlong noted for rarities of this kind. "Il n'y a que des livres rares" ishis constant exclamation--as you open his glazed doors, and stretch forthyour hand to take down his treasures. He is the EDWARDS of France, but upona smaller scale of action. Nor does he push his _wares_, although he doeshis _prices_. You may buy or not, but you must _pay_ for what you _do_ buy. There is another oddity about this courteous and venerable bibliopolist. Hehas a great passion for making his _Alduses_ perfect by means of_manuscript_; and I must say, that, supposing this plan to be a good one, he has carried it into execution in a surprisingly perfect manner: for youcan scarcely, by candle-light, detect the difference between what isprinted and what is executed with a pen. I think it was the whole of the_Scholia_ attached to the Aldine _Discorides_, in folio, and a great numberof leaves in the _Grammatical Institutes of Urbanus_, of 1497, 4to. Withseveral other smaller volumes, which I saw thus rendered perfect: How anyscribe can be sufficiently paid for such toil, is to me inconceivable: andhow it can answer the purpose of any bookseller so to complete his copies, is also equally unaccountable: for be it known, that good M. Chardin leaves_you_ to make the _discovery_ of the MS. Portion; and when you _have_ madeit, --he innocently subjoins--"Oui, Monsieur, n'est il pas beau?" In a sortof passage, between his principal shew-room and his bed room, is containeda very large collection of tracts and printed volumes relating to the FAIRSEX: being, in fact, nothing less than a prodigious heap of publications"FOR and AGAINST" the ladies. M. Chardin will not separate them--addingthat the "bane and antidote must always go together. "

This singular character is also vehemently attached to antiquarian_nick-knackery_. Old china, old drawings, old paintings, old carvings, andold relics--of whatever kind--are surveyed by him with a curious eye, andpurchased with a well-laden purse. He never speaks of GOUJIN but inraptures. We made an exchange the other day. M. Chardin hath no smallvariety of walking canes. He visited me at the Hôtel one morning, leaningupon a fine dark bamboo-stick, which was _headed_ by an elaborately carvedpiece of ivory--the performance of the said Goujon. It consisted of arecumbent female, (with a large flapped hat on) of which the head wassupported by a shield of coat armour. [144] We struck a bargain in fiveminutes. He presented me the _stick_, on condition of my presenting himwith a choice copy of the _Ædes Althorpianæ_. We parted well satisfied witheach other; but I suspect that the purchase of about four-score poundsworth of books, added much to the satisfaction on his part. Like all hisbrethren of the same craft, M. Chardin disports himself on Saturdays andSundays at his little "ferme ornée, " within some four miles of Paris--having, as he gaily told me "nothing now to do but to make poesies for thefair sex. "[145]

With Chardin I close my bibliopolistic narrative; not meaning thereby tothrow other booksellers into the least degree of shade, but simply totransmit to you an account of such as I have seen and have transactedbusiness with. And now, prepare for some account of PRINTERS ... Or ratherof _three presses_ only, --certainly the most distinguished in Paris. I meanthose of the DIDOT and that of M. CRAPELET. The name of Didot will last aslong as learning and taste shall last in any quarter of the globe: nor am Isure, after all, that what _Bodoni, Bensley_, and _Bulmer_ have done, collectively, has redounded _more_ to the credit of their countries thanwhat Didot has achieved for France. In ancient classical literature, however, Bodoni has a right to claim an exception and a superiority. Theelder, _Pierre Didot_, is Printer to his Majesty. But when Pierre Didotl'ainé chose to adopt his _own_ fount of letter--how exquisitely does hisskill appear in the folio _Virgil_ of 1798, and yet more, perhaps, in thefolio Horace of 1799!? These are books which never have been, and never_can_ be, eclipsed. Yet I own that the Horace, from the enchantingvignettes of _Percier_, engraved by Girardais, is to my taste thepreferable volume. [146]

FIRMIN DIDOT now manages the press in the _Rué Jacob;_ and if he had neverexecuted any thing but the _Lusiad_ of _Camoens_, his name would be worthyto go down to posterity by the side of that of his uncle. The number ofbooks printed and published by the Didots is almost incredible; especiallyof publications in the Latin and French languages. Of course I include the_Stereotype_ productions: which are very neat and very commodious--butperhaps the page has rather too dazzling an effect. I paid a visit theother day to the office of Firmin Didot; who is a letter founder "as wellas a printer. [147] To a question which I asked the nephew, (I think)respecting the number of copies and sizes, of the famous _Lusiad_ justmentioned, he answered, that there were only _two hundred_ copies, andthose only of _one size_. Let that suffice to comfort those who are interror of having the small paper, and to silence such as try to depreciatethe value of the book, from the supposed additional number of copies struckoff. 

I wished to know the costs and charges of _printing_, &c. --from which thecomparative price of labour in the two countries might be estimated. M. Didot told me that the entire charges for printing, and pulling, onethousand copies of a full octavo size volume--containing thirty lines in apage, in a middle-size-letter--including _every thing_ but _paper_--wasthirty-five francs per sheet. I am persuaded that such a thing could not bedone at home under very little short of double the price:--whether it bethat our printers, including the most respectable, are absolutely moreextravagant in their charges, or that the wages of the compositors aredouble those which are given in France. 

After Didot, comes CRAPELET--in business, skill, and celebrity. He ishimself a very pleasant, unaffected man; scarcely thirty-six; and likely, in consequence, to become the richest printer in Paris. I have visited himfrequently, and dined with him once--when he was pleased to invite someagreeable, well-informed, and gentlemanly guests to meet me. Among them wasa M. REY, who has written "_Essais Historiques et Critiques sur RichardIII. Roi d'Angleterre_, " just printed in a handsome octavo volume by ourHost. Our conversation, upon the whole; was mixed; agreeable, andinstructive. Madame Crapelet, who is at this moment (as I shouldconjecture) perhaps pretty equally divided between her twenty-fifth andtwenty-sixth year, and who may be classed among the prettier ladies ofParis, did the honours of the fête in a very agreeable manner: nor can itbe a matter of surprise that the choicest Chambertin and Champagne sparkledupon the table of _one_--who, during the libations of his guests; had thetympans and friskets of _twenty-two Presses_ in full play![148] We retired, after dinner, into a spacious drawing room to coffee and liqueurs: andanon, to a further room, wherein was a BOOK-CASE filled by some of thechoicest specimens of the press of its owner, as well as of othercelebrated printers. I have forgotten what we took down or what weespecially admired: but, to a question respecting the _present_ state ofbusiness, as connected with _literature_ and _printing_, at Paris, M. Crapelet replied (as indeed, if I remember rightly, M. Didot did also) that"matters never went on better. " Reprints even of old authors were inagitation: and two editions of _Montaigne_ were at that moment going on inhis own house. I complimented M. Crapelet--and with equal sincerity andjustice--upon the typographical execution of M. Brunet's _Manuel duLibraire_. No printer in our own country, could have executed it moreperfectly. "What might have been the charge per sheet?" My host receivedthe compliment very soberly and properly; and gave me a general item aboutthe expense of printing and paper, &c. , which really surprised me; andreturned it with a warm eulogy upon the paper and press-work of a recentpublication from the _Shakspeare press_--which, said he, "I despair ofexcelling. " "And then (added he), your prettily executed vignettes, andlarger prints! In France this branch of the art is absolutely notunderstood[149]--and besides, we cannot publish books at _your_ prices!"

We must now bid adieu to the types of M. Crapelet below stairs, and to his"good cheer" above; and with him take our leave of Parisian booksellers andprinters. [150] What then remains, in the book way, worthy of especialnotice? Do you ask this question? I will answer it in atrice--BOOK-BINDING. Yes ... Some few hours of my residence in thismetropolis have been devoted to an examination of this _seductive_ branchof book commerce. And yet I have not seen--nor am I likely to see--onesingle binder: either _Thouvenin, or Simier, or Braidel, or Lesné_. I amnot sure whether Courteval, or either of the Bozérians, be living: buttheir _handy works_ live and are lauded in every quarter of Paris. 

The restorer, or the Father, (if you prefer this latter appellative) ofmodern Book-binding in France, was the Elder Bozérian: of whose productionsthe book-amateurs of Paris are enthusiastically fond. Bozérian undoubtedlyhad his merits;[151] but he was fond of gilt tooling to excess. Hisornaments are too minute and too profuse; and moreover, occasionally, veryunskilfully worked. His choice of morocco is not always to my taste; whilehis joints are neither carefully measured, nor do they play easily; and hislinings are often gaudy to excess. He is however hailed as the legitimaterestorer of that taste in binding, which delighted the purchasers in theAugustan age of book-collecting. One merit must not be denied him: hisboards are usually square, and well measured. His volumes open well, andare beaten ... Too unmercifully. It is the reigning error of Frenchbinders. They think they can never beat a book sufficiently. They exercisea tyranny over the leaves, as bad as that of eastern despots over theirprostrate slaves. Let them look a little into the bindings of those volumesbefore described by me, in the lower regions of the Royal Library[152]--andhence learn, that, to hear the leases crackle as they are turned over, produces _nearly_ as much comfort to the thorough-bred collector, as doesthe prattling of the first infant to the doating parent. 

THOUVENIN[153] and SIMIER are now the morning and evening stars in thebibliopegistic hemisphere. Of these, Thouvenin makes a higher circle in theheavens; but Simier shines with no very despicable lustre. Their work isgood, substantial, and pretty nearly in the same taste. The folio Psalterof 1502, (I think) in the Royal Library, is considered to be the _ne plusultra_ of modern book-binding at Paris; and, if I mistake not, Thouvenin isthe artist in whose charcoal furnace, the tools, which produced this_êchantillon_, were heated. I have no hesitation in saying, that, considered as an extraordinary specimen of art, it is a failure. Theornaments are common place; the lining is decidedly bad; and there is aclumsiness of finish throughout the whole. The head-bands--as indeed arethose of Bozérian--are clumsily managed: and I may say that it exhibits amanifest inferiority even to the productions of Mackinlay, Hering, Clarke, and Fairbairn. Indeed either of these artists would greatly eclipse it. Ilearn that Thouvenin keeps books in his possession as long as does a_certain_ binder with us--- who just now shall be nameless. Of courseCharles Lewis would smile complacently if you talked to _him_ aboutrivalling such a performance![154]

There is a book-binder of the name of LESNÉ--just now occupied, as I learn, in writing a poem upon his Art[155]--who is also talked of as an artist ofrespectable skill. They say, however, that he _writes_ better than he_binds_. So much the worse for his little ones, if he be married. Indeedseveral very sensible and impartial collectors, with whom I havediscoursed, also seem to think that the art of book-binding in France isjust now, if not retrograding, at least stationary--and apparentlyincapable of being carried to a higher pitch of excellence. I doubt thisvery much. They can do what they have done before. And no such greatconjuration is required in going even far beyond it. Let Thouvenin andSimier, and even the _Poet_ himself, examine carefully the choice of tools, and manner of gilding, used by our more celebrated binders, and they neednot despair of rivalling them. Above all, let them look well to themanagement of the backs of their books, and especially to the headbands. The latter are in general heavy and inelegant. Let them also avoid too muchchoking and beating, (I use technical words--- which you understand as wellas any French or English bookbinder) and especially to be square, even, anddelicate in the bands; and the "Saturnia regna" of book-binding in Francemay speedily return. 

[121] _Bibliomania_; p. 79. _Bibliographical Decameron_; vol. I. P. Xxii. 

[122] See the _Bibliographical Decameron_; vol. Ii. P. 20. 

[123] [Consistently with the plan intended to be pursued in this edition, I annex a fac-simile of their autograph. ]

 [Illustration]

[124] [Madame Debure died a few years ago at an advanced age. ]

[125] [Mr. Hibbert obtained this volume from me, which will be sold at the sale of his Library in the course of this season. ]

[126] [Nothing can be more perfectly ridiculous and absurd than the manner in which M. Crapelet flies out at the above expression! He taunts us, poor English, with always drawing comparisons against other nations, in favour of the splendour and opulence of our own Hospitals and Charitable Foundations--a thought, that never possessed me while writing the above, and which would require the peculiar obliquity, or perversity of talents, of my translator to detect. I once thought of _dissecting_ his petulant and unprovoked note--but it is not worth blunting the edge of one's pen in the attempt. ]

[127] [In a few years afterwards, the body of the husband of Madame Treuttel was consigned to _this_, its _last_ earthly resting-place. M. JEAN-GEORGE TREUTTEL, died on the 14th Dec. 1825, not long after the completion of his 82d year: full of years, full of reputation, and credit, and of every sublunary comfort, to soothe those who survived him. I have before me a printed Memoir of his Obsequies--graced by the presence and by the orations of several excellent Ministers of the Lutheran persuasion: by all the branches of his numerous family; and by a great concourse of sympathising neighbours. Few citizens of the world, in the largest sense of this expression, have so adorned the particular line of life in which they have walked; and M. Treuttel was equally, to his country and to his family, an ornament of a high cast of character. "O bon et vertueux ami, que ne peut tu voir les regrets de tous ceux qui t' accompagnent à ta derniere demeure, pour te dire encore une fois à REVOIR!" _Discours_ de M. COMARTIN _Maire de Groslai_: Dec. 17. ]

[128] ["Delightful" as was this Library, the thought of the money for which it might sell, seems to have been more delightful. The sale of it-- consisting of 1028 articles--took place in the spring of last year, under the hammer of Mr. Evans; and a surprisingly prosperous sale it was. I would venture to stake a good round sum, that no one individual was _more_ surprized at this prosperous result than the OWNER of the Library himself. The gross produce was £2704. 1s. The net produce was such... As ought to make that said owner grateful for the spirit of competition and high liberality which marked the biddings of the purchasers. In what country but OLD ENGLAND could such a spirit have been manifested! Will Mons. Renouard, in consequence, venture upon the transportation of the _remaining_ portion of his Library hither? There is a strong feeling that he _will_. With all my heart--but let him beware of his MODERN VELLUMS!!]

[129] [I shall _now_ presume to say, that M. Renouard is a "VERY rich man;" and has by this time added _another_ 500 bottles of high-flavoured Burgundy to his previous stock. The mention of M. Renouard's Burgundy has again chafed M. Crapelet: who remarks, that "it is useless to observe how ridiculous such an observation is. " Then why _dwell_ upon it--and why quote three verses of Boileau to bolster up your vapid prose, Mons. G. A. Crapelet. ?]

[130] [The _second_ edition of this work, greatly enlarged and corrected, appeared in 1825, in 3 volumes: printed very elegantly at the son's (Paul Renouard's) office. Of this improved edition, the father was so obliging as to present me with a copy, accompanied by a letter, of which I am sure that its author will forgive the quotation of its conclusion--to which is affixed his autograph. "Quoiqu'il en soit, je vous prie de vouloir bien l'agréer comme un témoignage de nos anciennes liaisons, et d'être bien persuadé du dévouement sincere et amical avec lequel je n'ai jamais cessé d'être. 

 Votre très humble Serviteur, [Autograph: AulAug. Renouard]

[131] [Now completed in 60 volumes 8vo. : and the most copious and correct of ALL the editions of the author. It is a monument, as splendid as honourable, of the Publisher's spirit of enterprise. For particulars, consult the _Library Companion_, p. 771, edit. 1824. ]

[132] The year following the above description, the Catalogue, alluded to, made its appearance under the title of "_Catalogue de la Bibliothèque d'un Amateur_, " in four not _very_ capacious octavo volumes: printed by CRAPELET, who finds it impossible to print--_ill_. I am very glad such a catalogue has been published; and I hope it will be at once a stimulus and a model for other booksellers, with large and curious stocks in hand, to do the same thing. But I think M. Renouard might have conveniently got the essentials of his bibliographical gossipping into _two_ volumes; particularly as, in reading such a work, one must necessarily turn rapidly over many leaves which contain articles of comparatively common occurrence, and of scarcely common interest. It is more especially in regard to _modern_ French books, of which he seems to rejoice and revel in the description--(see, among other references, vol. Iii. P. 286-310) that we may be allowed to regret such dilated statements; the more so, as, to the fastidious taste of the English, the engravings, in the different articles described, have not the beauty and merit which are attached to them by the French. Yet does M. Renouard narrate pleasantly, and write elegantly. 

 In regard to the "_brush_ at the Decameron, " above alluded to, I read it with surprise and pleasure--on the score of the moderate tone of criticism which it displayed--and shall wear it in my hat with as much triumph as a sportsman does a "brush" of a different description! Was it _originally_ more _piquan?_ I have reason not only to suspect, but to know, that it WAS. Be this as it may, I should never, in the first place, have been backward in returning all home thrusts upon the aggressor--and, in the second place, I am perfectly disposed that my work may stand by the test of such criticism. It is, upon the whole, fair and just; and _justice_ always implies the mention of _defects_ as well as of excellencies. It may, however, be material to remark, that the _third_ volume of the Decameron is hardly amenable to the tribunal of French criticism; inasmuch as the information which it contains is almost entirely national--and therefore partial in its application. 

[133] [Not so. Messrs. Payne and Foss once shewed me a yet _larger_ copy of it upon vellum, than even M. Renouard's: but so many of the leaves had imbibed an indelible stain, which no skill could eradicate, that it was scarcely a saleable article. It was afterwards bought by Mr. Bohn at a public auction. ]

[134] [It was sold at the Sale of his Aldine Library for £68. 15s. 8d. And is now, I believe, in the fine Collection of Sir John Thorold, Bart, at Syston Park. The Cicero did not come over for sale. ]

[135] [In the previous edition I had supposed, erroneously, that it was the Father, M. Renouard himself, who had invoked his name on the occasion. The verses are pretty enough, and may as well find a place _here_ as in M. Crapelet's performance. 

 Je l'ai vu ce fameux bouquin Qui te fait un titre de gloire: Tout Francois qui passe le Rhin Doit remporter une Victoire. ]

[136] [M. Renouard obtained it at a public sale in Paris, against a very stiff commission left for it by myself. A copy of equal beauty is in the Library of the Right Hon. T. Grenville. ]

[137] [The Theophrastus was sold for £12 1s. 6d. And the Aristotle for £40. The latter is in the Library of the Rt. Hon. T. Grenville, having been subsequently coated in red morocco by C. Lewis. ]

[138] [It seems that I have committed a very grave error, in the preceding edition, by making Mons. Renouard "superintend the gathering in of his VINTAGE, " at his country-house (St. Valerie) whereas there are no Vineyards in Picardy. France and Wine seemed such synonymes, that I almost naturally attached a vineyard to every country villa. ]

[139] [It was published in 1820. ]

[140] "The luxurious English Bibliographer is astonished at the publication of the "Manuel" without the accompaniment of Plates, Fac-similes, Vignettes, and other graphic attractions. It is because _intrinsic merit_ is preferable to form and ornament: _that_ at once establishes its worth and its success. " CRAPELET, vol. Iv. P. 88. This amiable Translator and sharp-sighted Critic never loses an opportunity of a _fling_ at the "luxurious English Bibliographer!"

[141] [My translator again brandishes his pen in order to draw _good-natured_ comparisons. "It would be lucky for him, if, to the qualities he possesses, M. Dibdin would unite those which he praises in M. Brunet: his work and the public would be considerable gainers by it: his books would not be so costly, and would be more profitable. The English Author describes nothing in a _sang-froid_ manner: he is for ever _charging_: and, as he does not want originality in his vivacity, he should seem to wish to be the CALLOT of Bibliography. " CRAPELET. _Ibid_. I accept the title with all my heart. ]

[142] When he waited upon Lord Spencer at Paris, in 1819, and was shewn by his Lordship the _Ulric Han Juvenal_ (in the smallest character of the printer) and the _Horace_ of 1474, by _Arnoldus de Bruxella_, his voice, eyes, arms, and entire action ... Gave manifest proofs how he FELT upon the occasion! [It only remains to dismiss this slight and inadequate account of so amiable and well-versed a bibliographer, with the ensuing-fac-simile of his autograph. ]

 [Autograph: Brunet, Libraire, rue Gît-le-Couer, No 10. ]

[143]

 Chardin passe surtout parmi les amateurs Pour le plus vétilleux de tous les connaisseurs; Il fait naître, encourage, anime l'industrie; LES BEAUX LIVRES font seul le CHARME DE SA VIE. LA RELIURE, _poëme didactique_. Par LESNE'. 1820, 8vo. P. 31. 

[144] [This curiosity is now in the limited, but choice and curious, collection of my old and very worthy friend Mr. Joseph Haslewood. The handle of the stick is decorated by a bird's head, in ivory, which I conjectured to be that of an _Eagle_; but my friend insisted upon it that it was the head of an _Hawk_. I knew what this _meant_--and what it would _end_ in: especially when he grasped and brandished the Cane, as if he were convinced that the sculptor had anticipated the possession of it by the Editor of Juliana Barnes. It is whispered that my friend intends to surprise the ROXBURGHE CLUB (of which he is, in all respects a most efficient member) with proofs of an _Engraving_ of this charming little piece of old French carving. ]

[145] Mons. Chardin is since dead at a very advanced age. His mental faculties had deserted him a good while before his decease: and his decease was gentle and scarcely perceptible. The portrait of him, in the preceding edition of this work, is literally the MAN HIMSELF. M. Crapelet has appended one very silly, and one very rude, if not insulting, note, to my account of the deceased, which I will not gratify him by translating, or by quoting in its original words. 

[146] [A copy of the Horace UPON VELLUM (and I believe, the _only_ one) with the original drawings of Percier, will be sold in the library of Mr. Hibbert, during the present season. ]

[147] ["And unquestionably the best Letter Founder. His son, M. Amb. Firmin Didot; who has for a long time past cut the punches for his father, exhibits proof of a talent worthy, of his instructor. " CRAPELET. ]

[148] [The translation of the above passage runs so smoothly and so evenly upon "all fours, " that the curious reader may be gratified by its transcription: "On ne doit pas être surpris que le meilleur vin de Champagne et de Chambertin ait été servi sur la tablé de celui qui, au milieu des toasts de ses convives, avait pour accompagnement le bruit agréable. Des frisquettes et des tympans de vingt-deux presses. ". Vol. Ii. 102. ]

[149] ["Would one not suppose that I had told M. Dibdin that it was impossible for the French to execute as fine plates as the English? If so, I should stand alone in that opinion. I only expatiated on the beauty of the wood-cut vignettes which adorn many volumes of the 4to. Shakspeare by Bulmer. (N. B. Mr. Bulmer never printed a Shakspeare in 4to. Or with wood cuts; but Mr. Bensley _did_--in an 8vo. Form. ) Their execution is astonishing. Wood engraving, carried to such a pitch of excellence in England, is, in fact, very little advanced in France: and on this head I agree with M. Dibdin. " CRAPELET, iv. 104. ]

[150] ["How can M. Dibdin forget the respect due to his readers, to give them a recital of dinners, partaken of at the houses of private persons, as if he were describing those of a tavern? How comes it that he was never conscious of the want of good taste and propriety of conduct, to put the individuals, of whom he was speaking, into a sort of dramatic form, and even the MISTTRESSES OF THE HOUSE! CRAPELET: Vol. Iv. 106. I have given as unsparing a version as I could (against myself) in the preceding extract; but the _sting_ of the whole matter, as affecting M. Crapelet, may be drawn from the concluding words. And yet, where have I spoken ungraciously and uncourteously of Madame?]

[151] [_Bozérian undoubtedly had his merits_. ]--Lesné has been singularly lively in describing the character of Bozérian's binding. In the verse ... 

 Il dit, et secouant le joug de la manie.... 

 he appears to have been emulous of rivalling the strains, of the Epic Muse; recalling, as it were, a sort of Homeric scene to our recollection: as thus--of Achilles rushing to fight, after having addressed his horses:

 [Greek: E ra, kai en prôtois iachôn eche mônuchas hippos]

[152] Some account of French bookbinders may be also found in the _Bibliographical Decameron_, vol. Ii. P. 496-8. 

[153] Cependant Thouvenin est un de ces hommes extraordinaires qui, semblables à ces _corps lumineux_ que l'on est convenu d'appeler _cometes_, paraissent une fois en un siècle. Si, plus ambitieux de gloire que de fortune, il continue à, se surveiller; si, moins ouvrier qu'artiste, il s'occupe sans relache du perfectionnement de la reliure, il fera époque dans son art comme ces grands hommes que nous admirons font époque dans la littérature. P. 117. 

[154] [In the year 1819, Lord Spencer sent over to the Marquis de Chateaugiron, a copy of the _Ovid De Tristilus, translated by Churchyard_, 1578, 4to. (his contribution to the Roxburghe Club) as a present from ONE President of Bibliophiles to ANOTHER. It was bound by Lewis, in his very best style, in morocco, with vellum linings, within a broad border of gold, and all other similar seductive adjuncts. Lewis considered it as a CHALLENGE to the whole bibliopegistic fraternity at Paris:--a sort of book-gauntlet;--thrown down for the most resolute champion to pick up--if he dare! Thouvenin, Simier, Bozérian (as has been intimated to me) were convened on the occasion:--they looked at the gauntlet: admired and feared it: but no man durst pick it up!

 Obstupuere animi:----

 Ante omnes stupet ipse Dares[D].... 

 In other words, the Marquis de Chateaugiron avowed to me that it was considered to be the _ne plus ultra_ of the art. What say you to this, Messrs. Lesné and Crapelet?

 [D] _Thouvenin_. 

[155] This poem appeared early in the year 1820, under the following title. "_La Reliure, poème didactique en six chants_; précédé d'une idée analytique de cet art, suivi de notes historiques et critiques, et d'un Mémoire soumis à la Société d'Encouragement, ainsi qu'au Jury d'exposition de 1819, relatif à des moyens de perfectionnement, propres à retarder le renouvellement des reliures. PAR LESNÉ. Paris, 1820. 8vo. Pp. 246. The motto is thus:

 Hâtez-vous lentement, et sans perdre courage, Vingt fois sur le métier remettez votre ouvrage; Polissez-le sans cesse et le repolissez. 

 _Boileau Art. Poét. _ ch. 1. 

 This curious production is dedicated to the Author's Son: his first workman; seventeen years of age; and "as knowing, in his business at that early period of life as his father was at the age of twenty-seven. " The dedication is followed by a preface, and an advertisement, or "Idée analytique de la Reliure. " In the preface, the author deprecates both precipitate and severe criticism; "He is himself but a book-binder--and what can be expected from a muse so cultivated?" He doubts whether it will be read all through; but his aim and object have been to fix, upon a solid basis, the fundamental principles of his art. The subject, as treated in the Dictionary of Arts and Trades by the French Academy, is equally scanty and inaccurate. The author wishes that all arts were described by artists, as the reader would gain in information what he would lose in style. "I here repeat (says he) what I have elsewhere said in bad verse. There are amateur collectors who know more about book-binding, than even certain good workmen; but there are also others, of a capricious taste, who are rather likely to lead half-instructed workmen astray, than to put them in the proper road. " In the poetical epistle which concludes the preface, he tells us that he had almost observed the Horatian precept: his poem having cost eight years labour. The opening of it may probably be quite sufficient to give the reader a proper notion of its character and merits. 

 Je célèbre mon art; je dirai dans mes vers, Combien il éprouva de changemens divers; Je dirai ce que fut cet art en sa naissance; Je dirai ses progrès, et, de sa décadence. Je nommerai sans fard les ineptes auteurs: Oui, je vais dérouler aux yeux des amateurs: Des mauvais procédés la déplorable liste. Je nommerai le bon et le mauvais artiste;

_LETTER IX. _

MEN OF LETTERS. DOM BRIAL. THE ABBÉ BÉTENCOURT. MESSRS. GAIL, MILLIN, ANDLANGÈS. A ROXBURGHE BANQUET. 

_Paris, June 20, 1818_. 

MY DEAR FRIEND, We have had of late the hottest weather in the memory of the oldestParisian: but we have also had a few flying thunder showers, which havehelped to cool the air, and to refresh both the earth and its inhabitants. In consequence, I have made more frequent visits; and have followed up mymorning occupations among BOOKS, by the evening society of those who are socapable, from their talents, of adding successfully to their number. Amongthe most eminent, as well as most venerable of historical antiquaries, isthe celebrated Dom BRIAL, an ex-Benedictin. He lives in the _RueServandoni_, on the second-floor, in the very bosom, as it were, of hislibrary, and of city solitude. My first visit to him, about three weeksago, was fortified by an introductory letter from our friend * * *. The oldgentleman (for he is about seventy four) was busily occupied at hisdinner--about one o'clock; and wearing a silk night cap, and habited enrocquelaure, had his back turned as his servant announced me. He is verydeaf; but on receiving the letter, and recognising the hand-writing of ourfriend, he made me heartily welcome, and begged that I would partake of hishumble fare. This I declined; begging, on the other hand that he wouldpursue his present occupation, and allow me to examine his library. "Withthe greatest pleasure (replied he); but you will find it a verycommon-place one. "

His books occupy each of the four rooms which form the suite of hisdwelling. Of course I include the bed room. They are admirably selected:chiefly historical, and including a very considerable number in theecclesiastical department. He has all the historians relating to our owncountry. In short, it is with tools like these, and from original MSS. Lenthim from the Royal Library--which his official situation authorizes--- thathe carries on the herculean labour of the _Recueil des Historiens desGaules, &c. _ commenced by BOUQUET and other editors, and of which he shewedme a great portion of the XVIIth volume--as well as the commencement of theXVIIIth--already printed. Providence may be graciously pleased to prolongthe life of this learned and excellent old man till the _latter_ volume becompleted; but _beyond_ that period, it is hardly reasonable or desirableto wish it; for if he die, he will then have been gathered to his fathersin a good old age. [156] But the labours of Dom Brial are not confined tothe "Recueil, " just mentioned. They shine conspicuous in the "_HistoireLittéraire de la France_, " of which fifteen goodly quarto volumes arealready printed; and they may be also traced in the famous work entitled_L'Art de, Verifier les Dates_, in three large folio volumes, published in1783, &c. "Quand il est mort, il n'a point son élevè"[157]--says his oldand intimate friend the ABBÉ BÉTENCOURT; an observation, which, when Iheard it, filled me with mingled regret and surprise--for why is thisvaluable, and most _patriotic_ of all departments of literature, neglected_abroad_ as well as _at home_? It is worth all the _digamma_ disquisitionsin the world; and France, as well as Italy, was once rich in historicalLiterati. 

Dom Brial is very little above the mean height. He stoops somewhat fromage; but, considering his years, and incessantly sedentary labours, it israther marvellous that he does not exhibit more striking proofs ofinfirmity. His voice is full and strong; his memory is yet retentive, andhis judgment sound. His hand-writing is extremely firm and legible. No manever lived, or ever will, or can live, more completely devoted to hislabours. They are his meat and drink--as much as his "bouilli et petitespoies:"--of which I saw him partaking on repeated visits. Occupied frommorning till night in the prosecution of his studies--in a quarter of Parisextremely secluded--he appears to be almost unconscious of passingoccurrences without;[158] except it be of the sittings of the _Institute_, which he constantly attends, on Fridays, as one of the Secretaries. I havetwice dined with him; and, each time, in company with the Abbé Bétencourt, his brother Secretary at the Institute; and his old, long-tried, and mostintimate friend. 

The Abbé BÉTENCOURT was not unknown to me during his late residence inEngland, as an Emigré: but he is still-better known to our common friend* * *, who gave me the letter of introduction to Dom Brial. That mutualknowledge brought us quickly together, and made us as quickly intimate. TheAbbé is above the middle height; wears his own grey hair; has an expressivecountenance, talks much; and well, and at times drolly. Yet his wit ormirth is well attempered to his years. His manner of _rallying_ hisvenerable friend is very amusing; for Dom Brial, from his deafness, (likemost deaf men) drops at times into silence and abstraction. On each of mydinner-visits, it was difficult to say which was the hotter day. But DomBrial's residence, at the hour of dinner, (which was four--for my ownaccommodation) happened luckily to be in the _shade_. We sat down, three, to a small circular table, (in the further or fourth room) on the tiledfloor of which was some very ancient wine, within the immediate grasp ofthe right hand of the host. An elderly female servant attended in theneighbouring room. The dinner was equally simple, relishing, and abundant;and the virtues of the "old wine" were quickly put into circulation by theBenedictin founder of the feast. 

At six we rose from table, and walked in the Luxembourg gardens, hard by. The air had become somewhat cooler. The sun was partially concealed bythin, speckled clouds: a gentle wind was rising; and the fragrance ofinnumerable flowers, from terraces crowded with rose-trees, was altogetherso genial and refreshing, that my venerable companions--between whom Iwalked arm in arm--declared that "they hardly knew when the gardens hadsmelt so sweetly. " We went straight onward--towards the _Observatoire_, theresidence of the Astronomer Royal. In our way thither we could not avoidcrossing the _Rue d' Enfer_, where Marshal Ney was shot. The spot, whichhad been stained with his blood, was at this moment covered by skittles, and groups of stout lads were enjoying themselves in all directions. Itshould seem that nothing but youthful sports and pastimes had everprevailed there: so insensibly do succeeding occupations wear away alltraces of the past. I paused for half a minute, casting a thoughtful eyetowards the spot. The Abbé Bétencourt moralised aloud, and Dom Brial seemedinwardly to meditate. We now reached the Observatory. The Sub-Principal wasat home, and was overjoyed to receive his venerable visitors. He was afellow-townsman of Dom Brial, and we were shewn every thing deserving ofnotice. It was nearly night-fall, when, on reaching the Rue Servandoni, Iwished my amiable companions adieu, till we met again. 

I have before mentioned the name of M. GAIL. Let me devote a little moretime and attention to him. He is, as you have been also previously told, the curator of the Greek and Latin MSS. In the Royal Library, and a GreekProfessor in the Collège Royale. There is no man, at all alive to agenerous and kind feeling, who can deny M. Gail the merit of a frank, benevolent, and hearty disposition. His Greek and Latin studies, for thelast thirty-five years, have neither given a severe bias to his judgment, nor repressed the ebullitions of an ardent and active imagination. Hisheart is yet all warmth and kindness. His fulfilment of the duties of hischair has been exemplary and beneficial; and it is impossible for the mostzealous and grateful of her sons, to have the prosperity of the CollègeRoyale more constantly in view, than my friend I. B. Gail has that of theUniversity of Paris. His labours, as a scholar, have been rather usefulthan critical. He has edited _Anacreon_ more than once: and to theduodecimo edition of 1794, is prefixed a small portrait--medallion-wise--ofthe editor; which, from the costume of dress and juvenility of expression, does not much remind me of the Editor as he now is. M. Gail's greatscholastic work is his Greek, Latin, and French, editions of _Xenophon_ and_Thucydides_, in twenty-four quarto volumes; but in the execution of thisperformance he suffered himself to be rather led astray by the attractionsof the _Bibliomania_. In other words, he chose to indulge in membranaceouspropensities; and nothing would serve M. Gail's turn but he must have aunique COPY UPON VELLUM! in a quarto form. [159] Twenty four quarto volumesupon vellum!.. Enough to chill the ardour and drain the purse of the mostresolute and opulent publisher. 

When I dined with the Editor, the other day, I was shewn these superbvolumes with all due form and solemnity: and I must say that they do verygreat credit to the press of the Elder Didot. Yet I fear that it will be along time before the worthy M. Gail is remunerated for his enterprising andspeculative spirit. In all the duties attached to his situation in theRoyal Library, this worthy character is equally correct and commendable. Heis never so fully occupied with old Greek and Latin MSS. , but that he willimmediately attend to your wants; and, as much as depends upon himself, will satisfy them most completely. Anacreon has left behind some littledeposit of good humour and urbanity, which has continued to nourish theheart of his Translator; for M. Gail is yet jocose, and mirth-loving; fondof a lively repartee, whether in conversation or in writing. He may countsome sixty-two years. 

But it is high time to introduce you to another of these "Confrères" at theBibliothèque du Roi; of whom indeed, hitherto, I have made but a slightmention. You will readily guess that this must be the well-known AUBINLOUIS MILLIN--the Head of the department of Antiquities; or the principal_Archaeologist_ of the establishment. My friend Mr. Dawson Turner havingfurnished me with introductory credentials, I called upon M. Millin withintwenty-four hours of my arrival at Paris. In consequence, from that time tothis, I have had frequent intercourse with him. Indeed I am willing to hopethat our acquaintance has well nigh mellowed into friendship. He is ashort, spare, man; with a countenance lighted up by intelligence ratherthan moulded by beauty. But he is evidently just now (and indeed, as Ilearn, has been for some time past) labouring under severe indisposition. He is the thorough Frenchman both in figure and manners: light, cheerful, active, diligent, and exceedingly good natured and communicative. Hisapartments are admirably furnished: and his LIBRARY does him infinitehonour--considering the limited means by which it has been got together. His abode is the constant resort of foreigners, from all countries, and ofall denominations; and the library is the common property of his friends, and even of strangers--when they are well recommended to him. 

Millin has been a great traveller; but, if the reports which have reachedme prove true, his second voyage to Italy, recently accomplished, have sownthe seeds of incurable disease in his constitution. Indeed: when I look athim, at times, I fancy that I discover _that_ in his countenance ... WhichI wish were not so palpable ... To my observation. His collection ofdrawings, of fac-similes of all descriptions--of prints and of atlasses--isimmense. They are freely laid open to the inspection of any curiousobserver: and I have already told you how heartily M. Millin begged thatMr. Lewis would consider his house as his _home_--for the prosecution ofhis drawings from the illuminated MSS. In the Royal Library, when theregular time of attendance in that place was closed. The other day, we hada superb déjeuné à la fourchette at M. Millin's--about three o'clock. Itwas attended by two Marchionesses, of the _bas bleu_ order; and by thewhole corps of the confrères bibliographiques of the Royal Library. Severalother literary _distingués_ were of the party: and we sat down, a veryagreeable mélange, both to gossip and to eat and drink. M. Langlès was allanimation and all intelligence; and M. Van Praet seemed for a time to haveforgotten VELLUM ARISTOTLES and VIRGILS in alternate libations of champagneand noyeau. Meanwhile, the worthy Gail, by his playful sallies andrepartees, afforded a striking contrast to the balanced attitude and graveremarks of the respectable Caperonnier, the senior Librarian. Poor Millinhimself had no appetite, but picked a little here and there. We sat downabout fourteen; rose at six--to coffee and conversazione; and retiredshortly after: some to the theatre, and others to their country houses. This is pretty nearly a correct picture of the bettermost society of Parisat this time of the year. 

In regard to the literary reputation of MILLIN, I well know that, inEngland, it is rather the fashion to sneer at him; but this sneer mayproceed as often from ignorance, as from superiority of information. Thetruth is, M. Millin does _too much_ to do every thing _well_. At onemoment, he is busied with a dyptych: at another, he is examining a coin ora medal: during the third, he is lost in admiration over a drawing of atomb or statue:--his attendant enters with a proof-sheet to engage hisfourth moment--and so it goes on--from sunrise to sunset; with pen in hand, or blank or printed paper before him, he is constantly occupied in thepursuit of some archaeological enquiry or other. THIS praise, however--andno mean or unperishable praise it is--most indisputably belongs to him. Hewas almost the ONLY ONE in France; who, during the reign of terror, bloodshed, and despotism--cherished and kept alive a taste for NATIONALANTIQUITIES. But for _his_ perseverance, and the artists employed by _him_, we should not now have had those _graphic_ representations of manybuildings, and relics of art, which have since perished irretrievably. Another praise also belongs to him; of no very insignificant description. He is among the most obliging and communicative of literary Parisians; anddoes not suffer his good nature to be soured, or his activity to abate, from the influence of _national_ prejudice. He has a large acquaintanceamong foreigners; and I really think that he loves the English next best tohis own countrymen. But whoever applies to him with civility, is sure to beas civilly received. So much for MILLIN. [160]

This group of literary _whole lengths_ would however be imperfect withoutthe introduction of Monsieur LANGLÈS. The _forte_ of M. Langlès consists inhis cultivation of, and enthusiastic ardor for, _oriental literature_. Hepresides, in fact, over the Persian, Arabic, and other Oriental MSS. And heperforms the duties of his office, as a public librarian, with equalpunctuality and credit. He has also published much upon the languages ofthe East, but is considered less profound than DE SACY: although both hisconversation and his library attest his predilection for his particularstudies. M. Langlès is eclipsed by no one for that "gaieté de coeur" which, when joined with good manners and honourable principles, renders awell-bred Frenchman an exceedingly desirable companion. He loves also thearts; as well of sculpture as of painting and of engraving. His furtherroom affords unquestionable evidence of his attachment to _English Prints_. Wilson, West, and Wilkie--from the burins of Woollett, Raimbach, andBurnet--struck my eye very forcibly and pleasingly. M. Langlès admires andspeaks our language. "Your charming Wilkie (says he) pleases me more andmore. Why does he not visit us? He will at least find here some _goodproofs_ of my respect for his talents. " Of course he could not mean to pun. I was then told to admire his impression of Woollett's _Battle of LaHogue_; and indeed I must allow that it is one of the very best which Ihave seen. He who possesses _that_, need not distress himself about any ofthe impressions of the _Death of Wolfe_; which is also in the collection ofLanglès. 

His library is probably less extensive than Millin's; but it is not lesschoice and valuable. His collection of books (in which are a great numberof our best Voyages and Travels) relating to Asia--and particularly hisphilological volumes, as connected with the different languages of thatcountry, cannot be too much commended. I saw Sir John Malcolm's _History ofPersia_ lying upon his table. "How do you like that work, M. Langlès?" "Sir(replied he) I more than like it--I love it: because I love the author. " Infact, I knew that Sir John and he were well acquainted with each other, andI believe that the copy in question bore the distinctive mark of being "exdono auctoris. " I have had a good deal of interesting conversation with M. Langlès about the history of books during the Revolution; or rather aboutthat of the ROYAL LIBRARY. He told me he was appointed one of thecommissioners to attend to the distribution of those countless volumeswhich were piled up in different warehouses, as the produce of the_ransacked monasteries_. I am not sure, whether, within the immediateneighbourhood of the Royal Library, he did not say that there were at least_half a million of books_. At that time, every public meeting ofParisians--whatever might be the professed object--was agitated, andoften furious. One of the red-hot demagogues got up in the assembly, andadvised "mangling, maiming, or burning the books: they were only fit forcartridges, wadding, or fuel: they were replete with marks of feudalism androyalty--for they had arms or embellishments on them, which denoted them tobelong to Aristocrats. " This speech made some impression: his comrades werefor carrying the motion immediately into execution, by sword and faggot.... But M. Langlès rose ... Calm, collected, and actuated by feelings a littlemore accordant with the true spirit of patrotism. "Citizens, " said theOrientalist, "we must not do mischief, in the desire of doing good. Let thebooks remain where they are. If you set fire to them, can you say how farthe flames shall extend? Our own great national library, so renowned andcelebrated throughout Europe! may become the prey of the devouring element, and _then_ how will you be reproached by posterity! Again--if you convertthem to _other_ purposes of destruction, how can you hope to prevent thesame example from being followed in other places? The madness of themultitude will make no distinction; and as many pikes and swords may becarried within the great library, as within the various depositories of themonastic books. Pause awhile. Respect those collections of books, and youwill both respect yourselves and preserve the great national library. Indue time, we shall make a proper selection from them, and enrich the bookstores of the capital!" So spake M. Langlès; and the Assembly assented tohis contre-projet--luckily for Paris and themselves. [161]

But nearly all these worthy characters, of whom I have just made mention, had an opportunity of exhibiting their social qualities, of whateverdescription, at a sort of FESTIVAL which I gave the other day (lastWednesday) in honour of the _Roxburghe Club_--which met on that same day, Ipresume, at the Clarendon Hotel. This Parisian Roxburghe Banquet went offupon the whole with flying colours. You shall know as much about it as islikely to interest you. Having secured my guests, (Messrs. DENON, GAIL, LANGLÈS, VAN PRAET and MILLIN) and fixed both the place and hour of repast, I endeavoured to dress out a little bill of fare of a _bibliomaniacal_description--to rival, in its way, that of _Mons. Grignon_, in the _RueNeuve des Petits Champs_, (within two minutes walk of the Royal Library, )where we were to assemble, at five o'clock. I knew that Millin would put mytoasts or sentiments into good French, and so I took courage against thehour of meeting. I had secured a ground-floor apartment, looking upon alawn, with which it communicated by open doors. The day was unusually hotand oppressive. After finishing my labours at the Royal Library, I returnedto my hotel, arranged my little matters connected with the by-play of thefestival--dressed--and resorted to Grignon's. Every thing looked well andauspiciously. Our room was in the shade; and a few lingering breezes seemedto play beneath the branches of an acacia. The dark green bottles, ofvarious tapering shapes, were embedded in pails of ice, upon the table: andnapkins and other goodly garniture graced the curiously woven cloth. I hungup, in the simplicity of my heart--over the seat which I was to occupy, --the portrait of _John King of France_, which M. Coeuré had just finished;--not considering that this said John had been beaten and taken prisoner, atthe battle of Poictiers by our Black Prince! Never was a step moreinjudicious, or an ornament more unappropriate. However, there it hungthroughout the day. A dinner of the very best description, exclusively ofthe wine, was to be served up for _twelve francs_ a head. I make no doubtbut the Club paid a _little_ more where they assembled in London!

At length came the hour of dinner, and with the hour the guests. Irequested Brother Van Praet to be deputy chairman; and taking my seatbeneath the unfortunate John King of France, gave the signal for a generalattack--upon whatever was placed before the guests. Monsieur Denon, however, did not arrive till after the first course. He had been detainedby a visit from the Duke of Bedford. M. Millin sat at my right hand, and M. Gail at my left. The first course consisted chiefly of fruit, and slices ofanchovy, crossed. A large paper copy of a _melon_ cut a magnificentappearance in the centre; but all this quickly gave way to fish, flesh, andfowl of a various but substantial description. Poor Millin had no appetite, and would only carve. He looked particularly ill. The rest ate, drank, andwere merry. The desert was of the very best quality: and this was succeededby the introduction of a little of English fashion and manners. We dranktoasts, connected with the object of the day's festival; and never were aset of guests more disposed to relish both the wine and the sentiment whichaccompanied each glass. They even insisted upon a "three times three" for"Lord Spencer and the Club!" But if we were merry, we were wise. Shortlyafter dinner, M. Gail rose, as if in a moment of inspiration, from hisseat--and recited the Latin verses which are here enclosed. [162] They willat least make you admire the good humour of thé poet. He afterwards chanteda song: his own literal version of thé XIXth ode of Anacreon, beginning[Greek: Hê gê melaina pinei]. The guests declared that they had never satso long at table, or were more happy. I proposed a stroll or a seat uponthe lawn. Chairs and benches were at hand; and we requested that the coffeemight be brought to us out of doors. It was now after sun-set; and a luridsky was above our head. Our conversation was desultory as to topics, butanimated as to manner. I had never witnessed M. Van Praet more alive tosocial disquisition. We talked of books, of pictures, and of antiquities... And I happened, with the same witless simplicity which had pinned theportrait of King John over my seat at dinner, to mention that volume, ofalmost unparalleled rarity, ycleped _the Fables of Pfister, printed atBamberg_ in 1461:--which they had recently RESTORED to the WolfenbuttelLibrary! It was "more than enough" for the acute feelings of the devotedhead-librarian. M. Van Praet talked with legs and arms, as well as withtongue, in reply to my observations upon the extraordinary worth andsingular rarity of that singular volume. "Alas, Sir, nothing pained memore. Truly--"Here a smart flash of lightning came across us--whichillumined our countenances with due effect: for it had been sometime pastalmost wholly dark, and we had been talking to each other withoutperceiving a feature in our respective faces. M. Langlès joined in M. VanPraet's lamentation; and the Baron Denon, who (as I learnt) had been themeans of obtaining that identical precious volume, united his tones ofcommiseration with those of his brethren. 

The lightning now became more frequent, and in larger flashes--but neithersharp nor very dazzling. Meanwhile the notes of a skilfully touched harpwere heard from one of the windows of a neighbouring house, with a mingledeffect which it was difficult to describe. _Pfister_, books, busts, andmusic, now wholly engrossed our attention--and we were absolutely envelopedin blue lightning. We had continued our discourse till towards midnight, had not the rain come down in a manner equally sudden and severe. It wasone of the heaviest showers which I remember to have witnessed. The stormwas directly in the centre of Paris, and over our heads. We retreatedprecipitately to the deserted banqueting room; and had a reinforcement ofcoffee. After such a series of melting hot weather, I shall not easilyforget the refreshing sweetness emitted from every shrub upon the lawn. About ten o'clock, we thought of our respective homes. [163] I went intoanother room to pay the reckoning; liberated King John from his secondconfinement; shook hands very heartily with my guests--and returned to mylodgings by no means out of humour or out of heart with the day'sentertainment. Whether they have been more rational, or more _economical_, in the celebration of the same festival, AT HOME, is a point, which I havesome curiosity, but no right, to discuss. Certainly they could not havebeen happier. 

Having come to the conclusion of my account of the ROXBURGHE BANQUET, andit being just now hard upon the hour of midnight, I must relinquish mycorrespondent for my pillow. A good night. 

[156] He died on the 24th of May, 1828; on the completion of his 85th year. See the next note but one. 

[157] The reader may be amused with the following testy note of my vigilant translator, M. Crapelet: the very Sir Fretful Plagiary of the minor tribe of French critics! "Cette phrase, qui n'est pas Française, est ainsi rapportée par l'auteur. M. L'Abbé Bétencourt, aura dit a peu près: "Il mourra sans laisser d'élève. " M. Dibdin qui parle et entend fort bien le Français, EST IL EXCUSABLE DE FAIRE MAL PARLER UN ACADEMICIEN FRANÇAIS, et surtout de rendre vicieuses presque toutes les phrases qu'il veut citer textuellement? L'exactitude! l'exactitude! C'est la première vertu du bibliographe; on ne saurait trop le répéter a M. Dibdin. " CRAPELET. Vol. Iv. 124. Quære tamen? Ought not M. Crapelet to have said "il mourrira?" The sense implies the future tense: But ... How inexpiable the offence of making a French Academician speak bad French!!--as if every reader of common sense would not have given _me_, rather than the _Abbé Bétencourt_, credit for this bad speaking?

[158] [In a short, and pleasing, memoir of him, in the _Révue Encyclopédique, 115th livraison, p. 277, &c. _ it is well and pleasantly observed, that, "such was his abstraction from all surrounding objects and passing events, he could tell you who was Bishop of such a diocese, and who was Lord of such a fief, in the XIIth century, much more readily, and with greater chance of being correct, than he would, who was the living Minister of the Interior, or who was the then Prefect of the department of the Seine?" By the kindness of a common friend, I have it in my power to subjoin a fac-simile of the autograph of this venerable Departed:]

 [Autograph]

[159] The _Thucydides_ was published first; in twelve volumes 8vo. VOL. II. 1807; with various readings, for the first time, from thirteen MSS. Not before submitted to the public eye. The French version, in four volumes, with the critical notes of the Editor, may be had separately. The VELLUM 4to. Copy of the Thucydides consists of fourteen volumes; but as the volumes are less bulky than those of the Xenophon, they may be reduced to seven. The _Xenophon_ was published in 1809, in seven volumes, 4to. The Latin version is that of Leunclavius; the French version and critical notes are those of M. Gail. The vellum copy, above alluded to, is divided into ten volumes; the tenth being an Atlas of fifty-four maps. Some of these volumes are very bulky from the thickness of the vellum. 

 Upon this unique copy, M. Gail submitted to me, in writing, the following remarks. "Of the Xenophon, two vellum copies were printed; but of these, one was sent to the father of the present King of Spain, and received by him in an incomplete state--as the Spanish Ambassador told M. Gail: only six volumes having reached the place of their destination. The Editor undertakes to give authenticated attestations of this fact. " "If, " say M. Gail's written observations, "one considers that each sheet of vellum, consisting of eight pages, cost five francs ten sous, and three more francs in working off--and that skins of vellum were frequently obliged to be had from foreign countries, owing to the dearth of them at Paris--whereby the most extravagant demands were sometimes obliged to be complied with--add to which, that fifteen years have passed away since these sums were paid down in hard cash, --the amount of the original expenses is doubled. " The volumes are in stout boards, and preserved in cases. In one of his letters to me, respecting the sale of his vellum copy--the worthy Professor thus pleasantly remarks: "Je ne veux pas m'enricher avec ce livre qui, lorsque je serai cendres, aura un bien grand prix. Je n'ai que le desir de me débarrasser d'une richesse qui m'est à charge, et ne convient nullement à un modeste et obscur particulier, comme moi. " I subjoin the autograph of this worthy and learned Professor: hoping yet to shake the hand heartily which guided the pen. 

 [Autograph]

[160] M. Millin DIED about the middle of the following month, ere I had reached Vienna. His library was sold by auction in May 1819, under the superintendence of Messrs. Debure, who compiled the sale catalogue. It produced 53, 626 francs. The catalogue contained 2556 articles or numbers; of which several were very long sets. One article alone, no. 866. , consisted of 326 volumes in folio, quarto, and octavo. It is thus designated, "RECUEIL DE PIECES SUR LES ARTS, LA LITTE'RATURE, LES ANTIQUITE'S, _en Latin, en Italien, et en François_. This article produced 4501 francs, and was purchased by the Grand Duke of Tuscany. Millin had brought up from boyhood, and rescued from poverty and obscurity, a lad of the name of _Mention_. This lad lived with him many years, in the capacity of a valet and private secretary. In his second and last voyage to Italy, Millin declined taking him with him, but left him at home, in his house, with a salary of fifty francs per month. Five months after his departure, in February, 1812, a great quantity of smoke was seen issuing from the windows of Millin's apartments. Several people rushed into the room. They found the drawings and loose papers taken from the portfolios, rolled up lightly, and the room on fire at the four corners! A lighted candle was placed in the middle of the room. Suspicion immediately fell upon Mention. They ran to his bed chamber: found the door fastened: burst it open--and saw the wretched valet weltering in his blood ... Yet holding, in his-right hand, the razor with which he had cut his throat! He was entirely dead. Millin's collection of Letters from his numerous Correspondents perished in the flames. 

 This accident, which also deprived Millin of a fund of valuable materials that he was preparing for a _Dictionary of the Fine Arts_, and for a _Recueil de Pièces gravées Inédites_--might have also had an infinitely more fatal tendency: as it occurred _within_ the walls which contain the ROYAL LIBRARY! Millin received the news of this misfortune, in Italy, with uncommon fortitude and resignation. But this second voyage, as has been already intimated, (see p. 260) hastened his dissolution. He planned and executed infinitely too much; and never thoroughly recovered the consequent state of exhaustion of body and mind. As he found his end approaching, he is reported to have said--"I should like to have lived longer, in order to have done more good--but God's will be done! I have lived fifty-nine years, the happiest of men--and should I not be ungrateful towards Providence, if I complained of its decrees?!" And when still nearer his latter moments--he exclaimed: "I have always lived, and I die, a Frenchman: hating no one: complaining only of those who retard the cause of reason and truth. I have never, intentionally, hurt a single creature. If I have injured any one, I ask pardon of him for the error of my understanding. " He died on the 18th of August, and his body was interred in the churchyard of Père la Chaise. His old friend and colleague, M. GAIL, pronounced a funeral discourse over his grave--in which, as may be well supposed, his feelings were most acutely excited. I subjoin a facsimile of Millin's autograph: from the richly furnished collection of Mr. Upcott, of the London Institution. 

 [Autograph: A. L. Millin]

[161] [Mons. Langlès survived the above account between five and six years; dying January 28, 1824. His Library was sold by auction in March, 1825. It was copious and highly creditable to his memory. From the source whence the preceding autograph was derived, I subjoin the following autograph. 

 [Autograph: L Langlès]

[162] Monsieur Millin had been before hand in his description of this day's festival, but his description was in prose. It appeared in the _Annales Encyclopédiques_, for the ensuing month, July, 1818, and was preceded by a slight historical sketch of the Club, taken chiefly from the Bibliographical Decameron. His account of the festival may amuse some of my readers, who have not been accustomed to peruse _English toasts_ cloathed in French language. It is briefly thus:

 "Pendant que les membres du Roxburghe Club célébroient le 17 juin 1818 la mémoire des premiers imprimeurs de Boccace, à Venise et en Angleterre, sous la présidence de sa grâce lord Spencer; M. Dibdin, vice-président, s'unissoit à ce banquet bibliographique par une répétition qu'il en faisoit à Paris. Il avoit appelé à ce banquet M. DENON, à qui la France doit encore une grande partie des manuscrits et des éditions rares dont elle s'est enrichie, et plusieurs conservateurs de la bibliothèque royale, MM. VANPRAET, LANGLE'S, GAIL, et MILLIN. On pense bien que l'histoire littéraire, la bibliographie, devinrent un inépuisable sujet pour la conversation. L'entretien offrit un mélange de gaïté et de gravité qui convient aux banquets des muses; et selon l'adage antique, les convives étoient plus que trois et moins que neuf. M. Gail lut sur cette réunion des vers latins, dont les toasts bruyans ne permirent pas de savourer d'abord tout le sel et l'esprit. Ils doivent être imprimés dans _l'Hermes Romanus_. 

 "M. D. , amphitryon et président du festin, porta, comme il convenoit, les premiers toasts:

 1°. A la santé de milord Spencer et des honorables membres du Roxburghe Club. 2°. A la mémoire de Christophe Valdarfer, inprimeur du Boccace de 1471; livre dont l'acquisition fait par le duc de Marlborough, fut l'occasion de la fondation du Roxburghe Club. 3°. A la mémoire immortelle de Guillaume Caxton, premier imprimeur anglois. 4°. A la gloire de la France. 5°. A l'union perpétuelle de la France et de l'Angleterre. 6°. A la prospérité de la bibliothèque royale de France. 7°. A la santé de ses dignes conservateurs, dont le savoir est inépuisable, et dont l'obligeance ne se lasse jamais. 8°. A la propagation des sciences, des arts, des lettres, et de la bibliomanie. 9°. Au désir de se revoir le même jour chaque année. 

 "Les convives ont rendu ces toasts par un autre qu'ils ont porté, avec les hurras et les trois fois d'usage en Angleterre, au vice-président du Roxburghe-Club, qui leur avoit fait l'honneur de les rassembler. 

 "La Séance a fini à l'heure où le président du Roxburghe-Club lève celle de Londres; et le vice-président, M. Dibdin, a soigneusement réuni les bouchons, pour les porter en Angleterre comme un signe commémoratif de cet agréable banquet. "[E]

 The verses of Monsieur Gail were as follow:--but I should premise that he recited them with zest and animation. 

 Auspice jam Phæbo, SPENCEROQUE AUSPICE, vestrum Illa renascentis celebravit gaudia lucis Concilium, stupuit quondam quâ talibus emptus Boccacius cunctorum animis, miratus honores Ipse suos, atque ipsa superbiit umbra triumpho. Magna quidem lux illa, omni lux tempore digna. Cui redivivus honos et gloria longa supersit _Atque utinam ex vobis unus, vestræque fuissem_ Lætitiæ comes, et doctæ conviva _trapezæ_. Sed nune invitorque epulis, interque volentes Gallus Apollineâ sedeo quasi lege Britannos. 

 Arridet D***: habet nos una voluptas. Me quoque librorum meministis amore teneri, Atque virûm studiis, quos Gallia jactat alumnos: Nam si _Caxtonio_ felix nunc Anglia gaudet, Non minus ipsa etiam _Stephanorum_ nomina laudat. Hic nonnulla manent priscæ vestigia famæ. Nobis Thucydides, Xenophon quoque pumice et auro, Quem poliit non parca manus; felicior ille Si possit ... [F] melius conjungere Musas! [Greek: Koina ta panta philôn] perhibent: at semper amici Quidquid doctorum est: tantis ego lætor amicis. Æternum hæc vigeat concordia pocula firment Artesque et libri, quæ nectant foedera reges, Utramque et socient simul omnia vincula gentem. 

 CECINIT JOAN. B. GAIL, Lector regius in biblioth. Regiâ codd. Gr. Et lat. Præfectus. 

 While one of the London morning newspapers (which shall be here nameless) chose to convert this harmless scene of festive mirth into a coarse and contemptible attack upon its author, the well-bred Bibliomanes of Paris viewed it with a different feeling, and drew from it a more rational inference. It was supposed, by several gentlemen of education and fortune, that a RIVAL SOCIETY might be established among themselves--partaking in some degree of the nature of that of the ROXBURGHE, although necessarily regulated by a few different laws. 

 Taking the regulations of the ROXBURGHE CLUB (as laid down in the _Ninth Day_ of the _Decameron_) as the basis, they put together a code of laws for the regulation of a similar Society which they chose, very aptly, to call LES BIBLIOPHILES. Behold then, under a new name, a _Parisian Roxburghe Society_. When I visited Paris, in the summer, of 1819, I got speedily introduced to the leading Members of the club, and obtained, from M. DURAND DE LANÇON, (one of the most devoted and most efficient of the members) that information--which is here submitted to the public: from a persuasion that it cannot be deemed wholly uninteresting, or out of order, even by the most violent enemies of the _cause_. " The _object_ of this Society of the BIBLIOPHILES must be expressed in the proper language of the country. It is "_pour nourrir, reléver, et faire naître méme la passion de la_ _Bibliomanie_. " I put it to the conscience of the most sober-minded observer of men and things--if any earthly object can be more orthodox and legitimate? The Society meet, as a corporate body, twice in the year: once in April, the second time in December; and date the foundation of their Club from the 1st of January 1820. Whatever they print, bears the general title of "_Mélanges_;"[G] but whether this word will be executed in the black-letter, lower-case, or in roman capitals, is not yet determined upon. One or two things, however, at starting, cannot fail to be premised; and indeed has been already observed upon--as a species of _heresy_. The Society assemble to a "déjeuné à la fourchette, " about twelve o'clock: instead of to a "seven o'clock dinner, " as do the London Roxburghers: whereby their constitutions and pockets are less affected. The other thing, to observe upon, is, that they do not print (and publish among themselves) such very strange, and out-of-the way productions, as do the London Roxburghers. For truly, of _some_ of the latter, it may be said with the anonymous poet in the _Adversaria_ of Barthius, Verum hæc nee puer edidici, nee tradita patre Accepi, nee Aristotelis de moribus umquam Librum, aut divini Platonis dogmata legi. _Edit. Fabri_. 1624, col. 345, vol. I. 

 And why is it thus? Because these reprints are occasionally taken (quoting Caspar Barthius himself, in the xxth chapter of his iid book of Adversaria, _Edit. Ead_. ) "ex libro egregiè obscuro et a blattis tineisque fere confecto. " But, on the other hand, they are perfectly harmless:

 Sweet without soure, and honny without gall:

 as Spenser observes in his _Colin Clout's come home again: edit. _ 1595: sign. E. F. Or, as is observed in _Les Illustrations de France, edit_. 1513, 4to. Litt. Goth. :

 Le dedens nest, ne trop cler, ne trop brun, Mais delectable a veoir... Comme il me semble. _Sign. Cii. Rev_. 

 A genuine disciple of the Roxburghe Club will always exclaim "delectable a veoir" let the contents of the book be "cler, " or "brun. " Nor will such enthusiastic Member allow of the epithets of "hodg-podge, gallimaufry, rhapsody, " &c. Which are to be found in the "Transdentals General, " of Bishop Wilkins's famous "_Essay towards a real character and a philosophical language:"_ edit. 1668, fol. P. 28--as applicable to his beloved reprints! I annex the names of the Members of the Societé des Bibliophiles, as that club was first established. 

 1. Le Marquis de Chateaugiron, _Président_. 2. Guilbert de Pixérécours, _Secrétaire_. 3. Le Chevalier Walckenaer, _Membre de l'Institut, Trésorier. _ 4. Alph. De Malartic, _Maître des Requêtes. _ 5. Durand de Lançon. 6. Edouard de Chabrol. 7. Berard, _Maître des Requêtes_. 8. Le Vcte. De Morel-Vindé, _Pair de France. _ 9. Madame la Duchesse de Raguse, (_par courtoisie_. ) 10. Pensier. 11. Comte Juste de Noailles. 12. Le Baron Hely d'Oisel, _Conseiller d'etat. _ 13. Le Marquis Scipion du Nocere, _Officier Superieur du Garde du Corps_. 14. Hippolyte de la Porte. 15. De Monmerqué, _Conseiller à la Cour Royale_. 16. Coulon, _à Lyon. _ 17. Le Duc de Crussol. 18. Le Comte d'Ourches, _à Nancy. _ 19. Le Chevalier Langlès, _Membre de l'Institut. _ 20. Duriez, _à Lille. _ 21. Le Marquis Germain Garnier, _Pair de France_. 22. Monsieur le Chevalier Artaud, _Secrétaire d' Ambass. à Rome_. 

 It remains to conclude this, I fear unconscionably long, note, as the above letter is concluded, with the mention of ANOTHER BANQUET. This banquet was given by the Bibliophiles to the NOBLE PRESIDENT of the Roxburghe Club, when the latter was at Paris in the Spring of the year 1820. The Vice-President of the Roxburghe Club, who happened at the same time to be at Paris, also received the honour of an invitation. The festival took place at _Beauvilliers'_, the modern Apicius of Parisian restorateurs. About twelve guests sat down to table. The Marquis de Chateaugiron was in the chair. They assembled at six, and separated at half-past nine. All that refinement and luxury could produce, was produced on the occasion. Champagnes of different tints, and of different qualities--_lively_ like M. Langlès, or _still_ like Monsieur ****; fish, dressed as they dress it à la Rocher de Cancale-- poultry, and pastry--varied in form, and piquant in taste--but better, and more palatable than either, conversation--well regulated and instructive--mingled with the most respectful attention to the ILLUSTRIOUS GUEST for whom the banquet had been prepared--gave a charm and a "joyaunce" to the character of that festival--which will not be easily effaced from the tablets of the narrator's memory. Where all shine pretty equally, it seems invidious to particularise. Yet I may be allowed to notice the hearty urbanity of the Marquis, the thorough good humour and bibliomaniacal experience of the Comte d'Ourches, (who, ever and anon, would talk about an edition of _Virgil's Pastorals printed by Eggesteyn_) the vivacious sallies of the Chevalier Langlès, the keen yet circumspect remarks of the Comte Noailles, the vigilant attention and toast-stirring propensities of M. D. De Lançon, the _Elzevirian_ enthusiasm of M. Berard, the ... But enough ... "Claudite jam rivos pueri--sat prata biberunt. "

 [E] These Corks are yet (1829) in my possession: preserved in an old wooden box, with ribs of iron, of the time of Louis XI. 

 [F] The word here in the original is not clear. 

 [G] [They have now published FOUR VOLUMES, in royal 8vo. Of singular beauty and splendour: but the fourth vol. Falls far short of its precursors in the intrinsic value of its contents. The first volume is so scarce, as to have brought £20. At a sale in Paris. I possess the three latter vols. Only, by the kindness of the Society, in making me, with Earl Spencer, an Honorary Associate. ]

[163] [The Reader must not break up with the party, until he has cast his eye upon the autograph of an Individual, of as high merit and distinction in the department which he occupies, as any to which he has yet been introduced. It only remains to say--it is the autograph of Mons. 

 [Autograph]

_LETTER X. _

THE COLLECTIONS OF DENON, QUINTIN CRAUFURD, AND THE MARQUIS DE SOMMARIVA. 

All the world has heard of the famous DENON, the Egyptian traveller; andeditor of the great work of the _Antiquities of Egypt_, published in 1802, in two sumptuous folio volumes. As you possess a copy of the Frenchwork, [164] with choice impressions of the plates, I need say nothingfurther upon the subject--except that I believe it to be one of the veryfinest works of the kind, which has ever appeared ... On the score of art. But the author has other claims to attention and popularity. He was anintimate friend--and certainly the confidential adviser--of Buonaparte, inall public schemes connected with the acquisition of pictures and statues:and undoubtedly he executed the task confided to him with _ability_. He wasverging oh his sixtieth year, when he started with his master upon theEgyptian expedition--a proof at least of energy, as well as of gooddisposition, in the cause. But Denon has been a great European traveller:he has had access to private, as well as to public, cabinets; and hasbrought home some rich fruits of his enterprise and taste. 

His house, on the _Quai Malaquais_, is the rendezvous of all the English ofany taste--who have respectable letters of introduction; and I must do himthe justice to say, that, never did a man endure the _inconveniences_ whichmust frequently result from keeping such open house, with greateradroitness and good humour than does the Baron Denon. I have sometimesfound his principal rooms entirely filled by my countrymen andcountrywomen; and I once, from the purest accident, headed a party of_twenty-two_ ... In which were three British officers, and more than thatnumber of members of either University. I will fairly own that, onreceiving us, he drew me quietly aside, and observed:--"Mon ami, quand vousviendrez une autre fois, ne commandez pas, je vous prie, une armée sinombreuse. Je m'imaginois encore en Egypte. " What was still moreperplexing, we found there a party of English as numerous as ourselves. Itwas thus, however, that he rebuked my indiscretion. 

We had twice exchanged visits and cards before we met. The card of Denonwas worth possessing, from the simple, unaffected modesty which it evinced. You merely read the word DENON upon it!... The owner of the collectionwhich I am about to describe, is certainly "un peu passé" as to years; buthe has a cheerful countenance, with the tint of health upon it; small, gray, sparkling eyes, and teeth both regular and white. [165] He isgenerally dressed in black, and always as a gentleman. His figure, notabove the middle height, is well formed; and his step is at once light andfirm. There is doubtless a good deal which is very prepossessing in hismanners. As he understands nothing of the English language, he can ofcourse neither read nor speak it. 

It is now time to give you some idea of this curious collection. You ascenda lofty and commodious stone staircase (not very common in Paris) and stopat the _first_ floor:--another comfort, also very rare in Paris. Thiscollection is contained in about half a dozen rooms: lofty, airy, and wellfurnished. The greater number of these rooms faces the Seine. The firstcontains a miscellaneous assemblage of bronze busts, and pictures ofTeniers, Watteau, and of the more modern School of Paris. Of these, theWatteau is singular, rather than happy, from its size. [166] The two Teniersare light, thin, pictures; sketches of pigs and asses; but they are verycovetable morsels of the artist. [167] In a corner, stands the skeleton of afemale mummy in a glass case, of which the integuments are preserved in abasket. This is thought to be equally precious and uncommon. M. Denon shewsthe foot of the figure (which is mere bone and muscle) with amazing triumphand satisfaction. He thinks it is as fine as that of the Venus de Medicis, but there is no accounting for tastes. Among the busts is one of West, ofNeckar, and of Denon himself: which latter I choose here to call "_Denonthe First_. " The second room contains a very surprising, collection ofPhoenician, Egyptian, and other oriental curiosities: and in a corner, tothe left, is a set of small drawers, filled with very interesting medals ofeminent characters, of all descriptions, chiefly of the sixteenth century. Above them is a portrait of the owner of the collection--which I choose tocall "_Denon the Second_. " This room exhibits a very interesting mélange. Over the fire place are some busts; of which the most remarkable are thoseof _Petrarch_ and _Voltaire_; the former in bronze, the latter interra-cotta; each of the size of life. Voltaire's bust strikes me as beingthe best representation of the original extant. It is full of character; awonderful mixture of malignity, wit, and genius. [168]

The third room is the largest, and the most splendidly hung with pictures. Of these, the circular little Guercino--a holy family--is, to my poorjudgment, worth the whole. [169] The Rysdael and Both are very second rate. As you approach the fire-place, your attention is somewhat powerfullydirected to a small bronze whole length figure of Buonaparte--leaning upona table, with his right hand holding a compass, and his left resting uponhis left thigh. [170] Some charts, with a pair of compasses, are upon thetable; and I believe this represents him in his cabin, on his voyage toEgypt. Is there any representation of him, in the same situation, upon his_return_? However, it is an admirable piece of workmanship. In this room isalso (if I remember rightly) the original colossal head of the ex-emperor, when a young man, in white marble, by CANOVA. But I must not omit informingyou that here is also another portrait, in oil, of the owner of thecollection--which, if you please, we will call "_Denon the Third_. " Younext enter a narrow, boudoir-shaped apartment, which contains, to my taste, the most curious and precious morsels of art which the Baron Denonpossesses. They are specimens of the earlier schools of painting, commencing with what are called _Giottos_ and _Cimabues_--down to a verystriking modern picture of a group of children, by a late French artist, just before the time of our Reynolds. This latter you would really conceiveto have been the production of Sir Joshua himself. Of the specimens of theearlier schools, I was most struck with the head of PISANI, the inventor ofmedals--of the fifteenth century--painted by _Antonello da Messina_, apupil of John Van Eyk. It is full of nature and of character. I could notget away from it. "Is it possible to obtain a copy of this picture?"--saidI to its owner. "I understand you, (replied Denon) you wish to carry thatcopy to your own country. And to have it engraved there?" ... "Mostunquestionably"--resumed I. "It is at your service (he rejoined); Laurentwill copy it admirably. " I hardly knew how to thank Mons. Denonsufficiently. [171]

[Illustration: PISANI. ]

[Illustration: DENON. ]

There was another head ... But "non omnia possumus omnes. " I mean, one of afemale in profile, by MASACCIO. It was full of expression. [172] "What, (said its owner, ) must you have an engraving of _that_ head also? It isbespoke; by myself. In short, every thing which you behold in these rooms(including even your favourite Pisani) will be _lithographised_ for thepublication of my own collection. " Of course, after this declaration, I wascareful of what I did or said. "But there was yet _one_ thing in thiscollection--of which, as I saw such a variety, he could not refuse me acopy. " "What might that be?" "A portrait of HIMSELF: from marble, from oil, or from enamel. " "Take your choice: he replied: "faites ce que vousvoulez, "--and it was agreed that M. Laguiche should make a drawing of thebust, in white marble, (I think the sculptor's name is Bosio) which isindeed very like him. [173] There is also a large and beautiful enamel ofDenon, full dressed with all his orders, by Augustin; perhaps the mostperfect specimen of that artist which France possesses. It is the work ofseveral years past, when Denon had more flesh upon his cheek, and more firein his eye. We may therefore say that this room contains "_Denon theFourth, and Denon the Fifth_!"

In the same room you observe a very complete specimen of a papyrusinscription; brought from Egypt. Indeed the curiosities brought from thatcountry (as might naturally be supposed) are numerous and valuable. But myattention was directed to more _understandable_ objects of art. Opposite tothe bust of Denon, is one of his late master, the ex-Emperor, in bronze:and above this latter, is a small picture, by _Lucas Cranach_, of a manwith a bag of money tempting a young woman: full of character, andsingularly striking. This room--or the one adjoining, I have forgottenwhich--contains M. Denon's collection of the prints of MARC ANTONIO or ofREMBRANDT--or of both; a collection, which is said to be _unequalled_. [174]Whether the former be more precious than the latter, or whether both besuperior to what our British Museum contains of the same masters, is apoint which has not yet been fairly determined. But I asked, one morning, for a glimpse of the Rembrandts. We were alone; just after we hadbreakfasted together. M. Denon commenced by shewing me two different statesof the _Coach Landscape_, and the two _great Coppinols_ with _whitegrounds_--each varying somewhat!!! "Enough, " cried I--holding up bothhands, --"you beat all in England and all in France!"

From hence you pass into a fourth room, which is M. Denon's bed-chamber. About the fire-place are numerous little choice bits of the graphic art. Two small _Watteaus_, in particular, are perfectly delicious;[175] as wellas a very small _Sebastian Bourdon_; of a holy family. In a corner, toomuch darkened, is a fine small portrait of _Parmegiano_ in profile: full ofexpression--and, to the best of my recollection, never engraved. These are, I think, the chief bijoux in the bed-room; except that I might notice someancient little bronzes, and an enamel or two by Petitot. You now retraceyour steps, and go into a fifth room, which has many fair good pictures, ofa comparatively modern date; and where, if I mistake not, you observe atleast _one_ portrait in oil of the master of the premises. This thereforegives us "_Denon the Seventh_!" It is here that the master chiefly sits:and he calls it his workshop. His drawers and port-folios are, I think, filled with prints and old-drawings: innumerable, and in the estimation ofthe owner, invaluable. You yet continue your route into a further room, --somewhat bereft of furniture, or en dishabille. Here, among other prints, Iwas struck with seeing that of _the late Mr. Pitt_; from Edridge's smallwhole length. The story attached to it is rather singular. It was found onboard the first naval prize (a frigate) which the French made during thelate war; and the Captain begged Monsieur Denon's acceptance of it. Herewere also, if I remember rightly, prints of Mr. Fox and Lord Nelson; but, as objects of _art_, I could not help looking with admiration--approachingto incredulity--upon three or four large prints, after Rembrandt and PaulPotter, which M. Denon assured me were the production of _his_ burin! Icould scarcely believe it. Whatever be the merits of Denon, as a criticaljudge of art, ancient or modern, there is no person, not wholly blinded byprejudice, or soured by national antipathies, that can deny him great zeal, great talent, and great feeling ... In the several pursuits of art, ofwhich his apartments furnish such splendid evidence. 

But, you may be disposed to add, "has this celebrated man no collection ofBooks?--no LIBRARY? At least he must have a _missal_ or two?" 'Tis even so, my friend. Library, he has none: for as "one swallow does not make asummer, " so three or four pretty little illuminated volumes do notconstitute a library. However, what he has of this kind, has been freelyexhibited to me; and I here send you a transscript of some notes taken uponthe spot. 

I was first shewn a small missal, prettily executed in a gothic type, ofthe Italian form, after the models of those of Jenson and Hailbrun. Thecalendar has the paintings injured. On the reverse of the last leaf of theCalendar, we read, in roman capitals, the following impressive annotation:DEUM TIME, PAUPERES SUSTINE, MEMENTO FINIS. On the reverse of the ensuingleaf, is a large head of Christ, highly coloured: but with the lower partof the face disproportionately short: not unlike a figure of a similarkind, in the Duke of Devonshire's Missal, described on a formeroccasion. [176] The crucifixon, on the next leaf but one, is full of spiritand effect. Then commence the _Drolleries_: or a series of subjects mostwhimsically conceived, but most sweetly touched and finished. You cannotimagine any thing more perfect of their kind and for their size, than arethe beasts, birds, insects, fruits, and flowers. The vellum harmonisesadmirably, from its colour and quality. There are several comparativelylarge illuminations: some with very small figures; and two (one of St. Johnthe Baptist, and the other of Christ mocked) are of great beauty in respectto force of colour. The initial capitals are executed with equal attentionto taste in composition, and delicacy in colouring. This diminutive volumeis only four inches high, by about two inches and three quarters wide. Itis bound in red velvet, and mounted with silver knobs, with heads ofcherubim upon them. It is fastened by a silver clasp; upon which ispainted, and glazed, a head of Christ--of the time, as I conceive. M. Denontold me he bought this little gem of a bookseller in Italy, for 400 francs. 

He has another Missal, about half an inch wider and taller, in the bindingof the time, with stamped ornaments. This exhibits flowers, fruits, andbirds, in the margins; touched with great delicacy and truth. Some of theborders have a gold ground, shaded with brown, upon which the fruit isrichly brought out in relief: others have human figures; and the border, encircling the temptation of our first Parents, has nothing superior toit--and is really worth an engraved fac-simile: but not in _lithography!_It is on the forty-fifth leaf. One of the heads, in the border, is likethat of our Edward VI. The third illuminated ms. Volume, in M. Denon'spossession, is probably the most valuable. It is a quarto, written in theSpanish language, and bearing the date of 1553. The scription is in red andblack letters, alternately. This book contains several large illuminations, and coloured borders; and I was told, by its owner, that it was the _verybook_ upon which the OATHS OF INITIATION INTO THE SPANISH INQUISITION wereadministered. Its condition is most perfect. The first large illuminationrepresents a Saint, with his scull divided by a sword, and blood streamingcopiously from him: a palm, with three crowns, is in his right hand; a bookis in his left: at top we read "_Exsurge Domine, et judica Causam tuam_. "The Saint is surrounded by a border of fruits and flowers. It is theprincipal embellishment in the volume. This book is in its original, blackleather, stamped binding, with knobs and clasps. A marginal note thusremarks: "_ynoscan obligados asseruier cargome off^o. De ella salbo side su voluntad loquisier en servi_. "

In my last visit to Denon, [177] I met with ANDRIEU; a name which reflectslustre upon the Fine Arts. As a medallist, he has no equal, nor perhapsever had any, among the French. Our own SIMON enables us to oppose to him arival of great and unquestionable talents; but we have slept soundly, bothin the _medallic_ and _numismatic_ art, since the time of Cromwell: exceptthat we were shook a little out of our slumbers during the reigns of Anneand George I. Andrieu has more of the pure Greek feeling about him, thanSimon ever evinced: and prefers executing his _hair_ more in masses than indetail. He is therefore on this head, a copyist; but he transfuses into thecountenance that soul and intelligence which we delight to contemplate, andwhich we are prompt to own, in the countenances upon Greek coins. Theseries of _Bonaparte-Medals_ are, almost entirely, I believe, the work ofhis hand. But _every_ head is _safe_ with Andrieu. He had just brought amedal of the present King (Louis XVIII. ) to shew Denon. It was about thesize of our half crown, in bronze. The countenance was in profile:--anadmirable, and a very strong resemblance. The reverse was the equestrianstatue of Henri IV. , upon the Pont-Neuf. [178] Upon the whole, quite asgood, as an effort of _art_, as what has been done for Bonaparte. Theartist had well nigh succeeded in drawing me into a sort of half temptationto bespeak an impression of the medal _in gold_. "It was but a triflingsum--some twenty louis, or thereabouts. It would look so sharp and splendidin gold! and.... " "I thank you much Sir, (replied I) but twenty louis willcarry me almost to _Strasbourg_, whither I am to proceed in about a week orten days. " One thing I must add, much to his good sense and pure patrioticfeeling:--he had been indirectly solicited to strike some medals, commemorative of the illustrious achievements of our WELLINGTON: but thishe pointedly declined. "It was not, Sir, for _me_ to perpetuate the name ofa man who had humbled the power, and the military glory, of my _owncountry_. " Such was his remark to me. What is commendable in MUDIE, [179]would have been ill-timed, if not disgraceful, in Andrieu. 

Come with me, now, to a very different exhibition: to a unique collection, of its kind: to a collection, not frequently visited: as little known; butundoubtedly well deserving both of being often visited and described. It isof the _Collection of Paintings_ belonging to MR. QUINTIN CRAUFURD, livingin the _Rue d'Anjou_, no. 21, that I am about to speak:--the fruits of along residence (upwards of thirty years) in France; during the alternatecommotions of republicanism and despotism. A letter of introductionprocured me every facility of access to make repeated examinations of thesetreasures; and during my sojournings I fancied myself holding conversealternately with some of the grandees of the time of Francis I. And LouisXIV. 

Such a collection of _French portraits_--almost entirely of characters whohave cut a figure in _history_--is no where else to be seen in Paris. In myestimation, it is beyond all price. 

Facing you, as you enter, stands--firmly upon his legs, and looking youmanfully in the face--- the gallant and faithful _Comte De Brienne, GrandMaster of the Ceremonies to Francis I. And Henry II. _ A fine picture; andquite perfect. [180] To the left, is a charming whole length portrait, by_Velasquez_: a tender and exquisitely careful specimen of art. Of otherwhole lengths, but subordinately executed, you should notice one of_Christine, Duchesse de Savoie_, daughter of Henry II. And Catherine deMedicis; very curious, and in perfect preservation. There is a duplicate ofthis picture in the Louvre. A much more curious picture is a whole length, supposed to be of _Agnes Sorel_, mistress of Charles VII. One minute'sreflection will correct this designation of the portrait. In the time ofAgnes Sorel, portrait painting, in oil, was unknown--at least in France. The costume betrays the misnomer: for it is palpably not of the time ofAgnes Sorel. Here is also a whole length of _Isabella, daughter of PhilipII. _ and Governess of the Low Countries. There are several small fancypictures; among which I was chiefly, and indeed greatly struck, with awoman and two children by _Stella_. 'Tis a gem of its kind. 

[Illustration: COMTE DE BRIENNE, From an original Painting in the Collection of the late Quintin CraufordEsq. 

London, Published June 1829, by R. Jennings, Poultry. ]

Leaving this room, you turn, to the left--into a small room, but obscurelylighted. Here is a Virgin and Child, by _Sasso Ferrato_, that cannot besurpassed. There is a freedom of design, a crispness of touch, and amellowness of colouring, in this picture, that render it a performance verymuch above the usual representations of this subject. In the same room is aspirited, but somewhat singular, picture of the _birth of Venus_. Itexhibits the conception and touch of a master. The colouring is very sober. The name of the artist is not upon the frame, and as I was generally alonewhen I made my memoranda, I had no one to instruct me. You leave this room, and pass on--catching a glimpse of a lawn richly bedecked with flowers andshrubs--into a long and lofty room, which unites the two enviabledistinctions of LIBRARY and GALLERY. Here you are bewildered for aninstant: that is to say, you are divided in your attention between theadmiration of the proportion and structure of the room, and the alternatecaptivation of books, busts, and pictures. But as you have had enough of_paper_ and _print_ in former despatches, I shall confine myself hereexclusively to the _pencil_ and the _chisel_. 

Let us first walk leisurely about the ground floor, ere we mount thegallery. To begin with the busts. That of the late _Abbé Barthelemi_, inwhite marble, immediately strikes you. [181] It is full of nature and ofcharacter; and the hair has just enough of the antique gusto about it torender the toute ensemble equally classical and individualised--if you willallow this latter expression. Here is a terra-cotta head of _Corneille_, ofvery indifferent workmanship; and much inferior to a similar representationof him at Rouen. The terra-cotta head of _Rousseau_ is considerably better. But the marble bust of _Voltaire_, by Houdon, throws every thing about itinto tameness. It is as fine as is the terra-cotta bust of the same personwhich Denon possesses. Here, however, the poet is in a peruque, ordress-wig. His eyes sparkle with animation. Every feature and every muscleseems to be in action: and yet it is perfectly free from caricature oraffectation. A surprising performance. This head and that of Barthelemi arequite perfect of their kind. And yet I am not sure whether I should nothave preferred the fine bronze bust of _Henri II. _, somewhat larger thanlife, to either of the preceding. But I must not forget the colossal headof _Bonaparte_, when a young man, by Canova. It is of white marble:considered to be the original. Denon has a similar head, by the sameartist. I am not sure if I do not prefer Mr. Craufurd's. Of paintings, onthis floor, the head of _Francis I_. By Titian--(which may be called rathera finished sketch, and which is retouched in parts) is a very desirableperformance; but it is inferior to the same head, by the same artist, inthe Louvre. Here is a charming portrait of a Lady in the time of Louis XV. , who chose to lead the life of a _Réligieuse_: sweetly and naturallytouched. A fine portrait of _Grotius_ is also here; well deserving aconspicuous place in any cabinet of learning. [182]

We will now walk up stairs to the gallery. Of course, in the confined spacebetween the balustrade and the wainscot (not much more than three feet), itis barely possible to appreciate the full effect of the paintings; but Ihere send you a list of the greater part of them, with brief remarks, uponthe general accuracy of which you may rely. 

_Madame Scarron_, with the _Duc du Maine_; apparently by Mignard: in a veryfresh and perfect state. 

A fine head of _Racine_, and similar one of _De La Motte_. 

_Mademoiselle de Guiche, Princesse de Monaco_; in all probability byMignard. Good. 

_Mademoiselle Hamilton, Comtesse de Grammont_; by Mignard. If the Comte deGrammont chose to fall in love only with beautiful women, he couldscarcely, upon his own principles, (which indeed were any thing but moral)have found any one so lovely as was his WIFE. Yet I have seen handsomerportraits of her than this. 

_Anne de Gonzague_. She was Princess Palatine, and daughter of Charles Dukeof Nevers. This is a half length portrait. A garland is in her right hand. A gay and pleasing picture. 

_Le Chancelier d'Aguesseau_. By Rigaud. A fine mellow portrait. 

_Louis XI_. A whole length; supposed to be by Leonardo da Vinci. Not verycredible. It is a fine, bold, horribly-looking portrait: not in the verybest state of preservation. 

_Blaise Pascal_. Very fine. The artist's name is not inscribed; but thereis a Murillo-like effect about this portrait, which is very striking. Pascal holds a letter in his hand. 

Next to Pascal is a prodigiously fine oval portrait (is it of _Fontaine_?)by Rigaud. No name is subjoined. 

_Comtesse de la Fayette_. A fine countenance: hands apparently recoloured. In yellow drapery. 

_Julie-Lucie d'Augennes, Duchesse de Montausier. _ She died in 1671. Theportrait is by Mignard. It represents this celebrated female, when young, _encadred_ by flowers. The carnation tints of the flesh, and the bluelustre of the eye, have nothing finer in the whole circle of Mignard'sperformances. This is a picture from which the eye is withdrawn with nocommon reluctance. It is clear, bright, fresh, and speaking. [183]

The _Wife of P. De Champagne_. She holds a small oval portrait of themother of her husband, the famous painter, in her lap. The picture is by P. De Champagne himself. The head of the mother is very clever: but the fleshhas perhaps too predominant a tint of pinkish-purple throughout. 

_Madame de la Sabliere_. Oval: very clever. 

_Madame Deshoulieres_. Similar, in both repects. 

_Madame Cornuel_. Oval: a stiff performance. 

_Madame la Duchesse d'Orleans_. She is represented as Hebe. A prettypicture; but a little too much "frenchified. "

_Madame de Staal_. Oval. Beautiful and perfect. 

_Madame la Marquise de Rambouillet_. A° 1646. A most beautiful picture. Thehead and shoulders are worthy of Vandyke. The curtain, in the background, is flowered; and perhaps too hard. 

_Madame la Duchesse de la Valliere, mère du dernier duc de ce nom_. She wasthe mother of the Duke de la Valliere who had the celebrated library; anddied in 1782, within three months of reaching her hundredth year! She wasan old woman, but yet very handsome, when this portrait was painted. Hercolour is yet tender, and her features are small and regular. The eyes haveunusual intelligence, for so protracted a period of life. It is a halflength, and I should think by Rigaud. She is sitting in a chair, holding atea spoon in her right hand, and a tea cup in her left. This may have someallusion, of which I am ignorant. The whole picture is full of nature, andin a fine tone of colour. 

The _Duke of Monmouth_. He is sitting: holding a truncheon in his righthand. A helmet and plume are before him. He wears a white sash. This is adark, but may be called a finely painted, picture. Yet the Duke is notrepresented as a handsome man. 

_Turenne_. By P. De Champagne. Fine. 

_Bossuet_. By Rigaud. This is not only considered as the chef-d'oeuvre ofRigaud, but it has been pronounced to be the finest portrait ever executedwithin the last century of the French School. [184] It is a whole length;and is well known to you from the wonderful print of it by Drevet. Therepresentation is worthy of the original; for Bossuet was one of the lastof the really great men of France. He had a fine capacity and finescholarship: and was as adroit in polemics as Richelieu was in politics. Heresembled somewhat our Horsley in his pulpit eloquence, --and was almost aspugnacious and overbearing in controversy. He excelled in quickness ofperception, strength of argument, and vehemence of invective; yet hissermons are gradually becoming neglected--while those of Fenelon, Massillon, and Saurin are constantly resorted to ... For the fine taste, pure feeling, and Christianlike consolation which breathe throughout them. One thing, in this fine whole length portrait of Bossuet, cannot fail to benoticed by the curious. The head seems to have been separately painted, ona small square piece of canvass, and _let into_ the picture. 

There is certainly a _rifacimento_ of some kind or other; which shoulddenote the head to have been twice painted. 

_C. Paulin_. By Champagne. Paulin was first confessor to Louis XIV. ; andhad therefore, I should apprehend, enough upon his hands. This is a fineportrait. 

_William III_. Harsh and stiff. It is a performance (as most of those ofWilliam seem to be) for the model of a head of a ship. 

_Colbert, Evéque de Montpellier_. A fine head. 

_Fléchier, Evéque de Nismes_. A very fine portrait. The name of the painterdoes not appear. 

A fine half length portrait of a _Marshal of France_, with a truncheon inhis hand. Both the hands are beautifully drawn and coloured. 

_Maréchal duc d'Harcourt_. By Rigaud. 

_Eliz. Angelique de Montmorenci, Duchesse de Chatillon_. She died in 1695in her 69th year. This is a fine picture, but injured and retouched. Theleft hand rests upon a lion's head. 

_F. Marie de Bourbon, fille de Madame de Montespan, et femme du Régent_. Astiffish picture; but the countenance is pleasing. 

_Madame la Duchesse de Névers, fille de Madame de Thianges, et nièce deMadame de Montespan_. A bow is in her right hand, and a dog in her left. The countenance is beautiful and well painted. The eyes and mouth inparticular have great sweetness of expression. 

_Duc de Montausier_; in a hat and red feather. By Rigaud. 

_Madame la Duchesse de Sforce: fille cadette de Madame de Thianges_. Asmall whole length, sitting: with two greyhounds in her lap, and a third ather side. 

_Le Ministre Colbert_. By Mignard. A fine picture. [185]

_Marie Leezinska, femme de Louis XV_. A cleverly painted head. 

_Le Cardinal Mazarin_. By P. De Champagne. Whole length. A fine portrait--which I never contemplate without thinking of the poor unfortunate "man inan iron mask!"

_Madame de Motteville_. She died in her 74th year, in 1689. This is merelythe head and shoulders; but in the Vandyke style of execution. 

_Charles Paris d'Orleans, dernier Duc de Longueville. _ He was killed in thefamous passage of the Rhine, at Tolhuys, in 1672. 

_Charles I_. By Vandyke. A beautiful half length portrait. Perhaps toohighly varnished. 

_Le Marquis de Cinq-Mars_. He was beheaded at the age of twenty-two, inSeptember 1642. There is also a whole length of him, in a rich, white, flowered dress. A genuine and interesting picture. 

_Mary Queen of Scots_. Whole length: in a white dress. A copy; or, if anold picture, repainted all over. 

_Don Carlos_, the unfortunate son of Philip II. Of Spain. A beautifulyouth; but this picture, alleged to have been painted by Alfonso SanchezCoello, must be a copy. 

The foregoing are the principal decorations along the gallery of thishandsome and interesting room. In an adjoining closet, where were once twoor three portraits of Bonaparte, is a beautiful and highly finished smallwhole length of _Philip Duke of Orleans_, Regent of France. Also a wholelength of _Marmontel_, sitting; executed in crayon. The curiously carvedframe, in a brown-coloured wood, in which this latter drawing is contained, is justly an object of admiration with visitors. I have scarcely seen amore appropriate ornament, for a choice cabinet, than this estimableportrait of Marmontel. Here are portraits of _Neckar_, and _Clement Marot_, in crayons: the latter a copy. Here is, too, a cleverly painted portrait of_L. De Boulogne_. 

We descend--to a fourth room, or rather to a richly furnished cabinet--below stairs. Every thing here is "en petit. " Whether whole lengths, orhalf lengths, they are representations in miniature. What is this singularportrait, which strikes one to the left, on entering? Can it be so? Yes ... DIANE DE POICTIERS again! She yet lives every where in France. 'Tis astrange performance; but I have no hesitation in calling it AN ORIGINAL ... Although in parts it has been palpably retouched. But the features--andespecially the eyes--(those "glasses of the soul, " as old Boiastuau callsthem[186]) seem to retain their former lustre and expression. This highlycurious portrait is a half length, measuring only ten inches by abouteight. It represents the original without any drapery, except a crimsonmantle thrown over her back. She is leaning upon her left arm, which issupported by a bank. A sort of tiara is upon her head. Her hair is braided. Above her, within a frame, is the following inscription, in capital romanletters: "_Comme le Cerf brait après le décours des Eaues; ainsi brait monAme, après Toy, ô Dieu_. " Ps. XLII. Upon the whole, this is perhaps themost legitimate representation of the original which France possesses. [187]

In the same boudoir is a small and beautifully coloured head of _FrancisI. _ Here is a portrait of the famous _Duchess of Portsmouth_, on horseback, in red; and another of the _Duchess of Nevers_, in a blue riding jacket. But much more estimable, and highly to be prized--as works of art--- arethe TWO MURILLOS: one, apparently of St. Francis, which was alwaysreligiously preserved in the bed-chamber of Madame de Maintenon, havingbeen given to her by Louis XIV. The other, although fine, has less generalinterest. I could hardly sufficiently admire the whole length of _JacquesCallot_, painted by himself. It is delicious, of its kind. There is a verycurious and probably coeval picture representing whole length portraits ofthe _Cardinals of Guise and Lorraine_, and the _Dukes of Guise andMayenne_, [188] The figures are very small, but appear to be faithfulrepresentations. An old portrait of _Louis Roi de Sicile, Père de Réné_, --asmall head, supposed to be of the fifteenth century--is sufficientlysingular, but I take this to be a copy. Yet the likeness may be correct. Awhole length of _Washington_, with a black servant holding his horse, didnot escape my attention. Nor, as an antiquary, could I refuse bestowingseveral minutes attention upon the curious old portrait (supposed to be by_Jean de Bruges_) of _Charlotte, Wife of Louis XI. _ It is much in the styleof the old illuminations. In one of the lower rooms, I forget which, is aportrait of Bonaparte; the upper part of the same representation of himwhich appeared in London from the pencil of David. He is placed by the sideof a portrait (of the same dimensions) of his conqueror, Wellington: but Iam not much disposed to admire the style of execution of our hero. It is astiff, formal, and severely executed picture. Assuredly the present schoolof French portrait painters is most egregiously defective in expression;while ours, since the days of Reynolds, has maintained a most decidedsuperiority. I believe I have now noticed every thing that is moreparticularly deserving of attention in the Collection of Mr. QuintinCraufurd ... But I cannot retrace my steps without again expressing myadmiration of the _local_ of this little domain. The garden, offices, andneighbourhood render it one of the most desirable residences in Paris. [189]

As I happen to be just now in the humour for gossiping about the fine arts, suppose I take you with me to the collection of paintings of the MARQUIS DESOMMARIVA, in the _Rue du Bas Rempart_? It is among the most distinguished, and the most celebrated, in Paris; but I should say it is rather eminentfor sculpture than for painting. It is here that Canova reigns without arival. The early acquaintance and long tried friend of the Marquis, thatunrivalled sculptor has deposited here what he considers to be the_chef-d'oeuvre_ of his art, as a single figure. Of course, I speak of his_Magdalen_. But let me be methodical. The open day for the inspection ofhis treasures is _Friday_. 

When I entered, not a creature was in the rooms. The general effect wassplendid and imposing. I took out my memorandum-book, and went directly towork; noticing only those subjects which appeared, on one account or other, to be more particularly deserving of attention. There is a pretty pictureof CUPID AND PSYCHE, by _Carlo Cignani_; the simple and quiet effect ofwhich is much heightened by being contrasted with the very worstrepresentation of the _same subject_, which I ever saw, by _David_: paintedlast year at Brussels. How the Marquis can afford so many square yards ofhis walls for the reception of such a performance, is almost marvellous. Itis, throughout, in the worst possible taste. The countenance of Cupid, whois sitting on the bed or couch with the vacant grin of an ideot, is that ofa negro. It is dark, and of an utterly inane expression. The colouring isalso too ruddy throughout. Near to this really heartless picture, is one ofa woman flying; well drawn, and rather tenderly coloured. Opposite, is apicture of Venus supported in the air by a group of Cupids. The artist is_Prudhon_. In the general glare of colour, which distinguishes the Frenchschool, it is absolutely refreshing to have the eye soothed by somethinglike an attempt, as in this picture, at a mellow chiaro-oscuro. It hasundoubted merit. It is, upon the whole, finely coloured; but thecountenance of Venus is so pale as to have an almost deathly effect. It isintended to represent her as snatched away from the sight of her deadAdonis. 

In common courtesy I must make but brief mention of a very clumsy, andill-drawn child, by De Broisefremont: and hasten, in the next room, to themagnificent picture of _Diana and Endymion_, painted by Guerin in 1810, andlately engraved. This picture is a very fair illustration of the merits anddemerits of the FRENCH SCHOOL OF PAINTING. The drawing of Endymion is, uponthe whole, good; but a palpable copy of the antique. This necessarily givesit somewhat an air of affectation. The shepherd lies upon a bed of clouds, (terminated by an horizon which is warmed by the rays of a setting sun)very gracefully and perhaps naturally. He seems to sleep soundly. His wholefigure and countenance glow with the warmth of beauty and youth. I will notdisturb his slumbers by finding the least fault--even with the dispositionof the extremities. But his nightly visitor--the enamoured goddess--is, ofall female figures which I have ever seen upon canvass, one of the mostaffected, meagre, and uninteresting. Diana has been exchanged for an operadancer. The waist is pinched in, the attitude is full of conceit, and thereis a dark shadow about the neck, as if she had been trying some previousexperiment with a _rope_! Endymion could never open his eyes to gaze upon afigure so utterly unworthy of the representation of an enamoureddeity. [190] The Cupids must also be condemned; for they are poor in form, and indifferent in execution. The back ground has considerable merit: but Ifear the picture is too highly glazed. In this room also is the famouspicture of _Belisarius_, engraved with so much éclat by Desnoyers. I ownthat I like the engraving better than the painting; for I see no occasionfor such a disproportionate quantity of warm colouring as this pictureexhibits. 

Pope (in his Epistle to Jarvis, I think) says of artists, that, "to paintthe naked is their dear delight. " No artists ever delighted so much in thisbranch of painting as the French. Does not this taste argue a want--notonly of respect, but--of _feeling?_ It was therefore pleasing to me, mydear friend, to turn my attention from the studied display of nakedgoddesses, in the collection of the worthy Marquis of Sommariva, towardsobjects a little more qualified to gratify the higher feelings connectedwith art:--and the first thing which soothed me, when I _had_ so turned myattention, was, the _Terpsichore_ of _Canova_. You know it from the printby Morghen. The countenance, to my eye, is the perfection of femalebeauty:--yet it is a countenance which seems to be the abstract--the resultof study, and of combination--rather than of beauty, as seen "in mortalrace which walks the earth. " The drapery appears to be studiouslyneglected--giving it the appearance of the antique, which had been batteredand bruised by the casualties of some two thousand years. By this, I meanthat the folds are not only numerous, but the intermediate parts are notmarked by that degree of precision and finish, which, in my opinion, theyought to have received. Yet the whole has an enchantingly simple air: atonce classical, pure, and impressive. The Marquis has indeed great reasonto be proud of it. 

But if I pat the right cheek of Canova with one hand, I must cuff his leftcheek with the other. Here is a Cupid by him, executed in 1787. It isevidently the production of a mind not ripened to its fullest powers. Inother words, I should call it "a poor, flat thing. "

We approach the far-famed MAGDALEN. Immediately opposite the boudoir, wherethe last mentioned treasures are deposited, you observe a door, oraperture, half covered with silken drapery of a greyish brown tint. Therewas something mysterious in the appearance, and equally so in the approach. I had no intimation of what it led to; for, as I told you, not a creaturebesides myself was in the rooms. With a gently raised hand I drew thedrapery aside, entered ... And looked before me. There stood the MAGDALEN. There she was, (more correctly speaking) kneeling; in anguish andwretchedness of soul--her head hanging down--contemplating a scull andcross, which were supported by her knees. Her dishevelled hair flowedprofusely over her back and shoulders. Her cheeks were sunk. Her eyes werehollow. Her attitude was lowly and submissive. You could not look at herwithout feeling pity and compassion. 

Such, in few words, is the Magdalen of Canova. For the first five minutes Iwas lost in surprise and admiration. The windows are hid by white curtains;and the interior is hung all over with the same grey silk drapery, beforenoticed. A glass, placed behind the figure, affords you a view of the backwhile you are contemplating the front. This is very ingenious; but it isprobably too artificial. The effect of the room, however--from the silkendrapery with which it is entirely covered--is, although studied, upon thewhole excellent. Of course the minutes flew away quickly in such a place, and before such an object; and I think I viewed the figure, in everypossible direction, for full three quarters of an hour. The result of thatview--after the first feelings of admiration had subsided--I proceededforthwith to impart: and shall be most happy to be set right if I haveerred, in the conclusion which I draw. In truth, there can be only one ortwo little supposed impeachments of the artist's judgment, in thecontemplation of this extraordinary figure. The Magdalen has probably toomuch of the abject expression of _mendicity_ in her attitude; and, for acreature thus poor and prostrate, one is surprised to find her gazing upona _golden_ cross. It is a piece of finery ill placed in the midst of suchwretchedness. But Canova is fond of gilt; yet what is appropriate in _Hebe_may be discordant in the _Magdalen_. This penitent creature, here sotouchingly expressed, is deeply wrapped in meditation upon her crucifiedMaster. She has forsaken the world ... To follow the cross!--but surelythis idea would have been more powerfully expressed, if the cross had _not_been _visible_?. Was this object necessary to tell the tale?--or, rather, did not the sculptor deem it necessary to _balance_ (as is called) thefigure? Nor am I over well satisfied with the scull. It is common-place. Atany rate, if scull and cross must be there, I wish the cross had beensimply of stone--as is the scull. 

My next objection relates to a somewhat more important point. I think the_face_ and _figure_ do not seem to belong to the _same_ human being: theformer is shrunken, ghastly, and indicative of extreme constitutionaldebility: the latter is plump, well formed, and bespeaks a subject in theenjoyment of full health. Can such an union, therefore, be quite correct?In the different views of this figure, especially in profile, or behind, you cannot fail to be struck with the general beauty of the form; but thisbeauty arises from its fulness and just proportion. In gazing upon it, infront, you are pained by the view of a countenance shrunk almost toemaciation! Can this be in nature? And do not mental affliction and bodilydebility generally go together? The old painters, even as far back as thetime of illuminators of books, used to represent the Magdalen as plump, even to fatness, --and stout in all respects; but her _countenance_ usuallypartook of this vigour of stamina. It was full, rosy, and healthful. Theolder artists sometimes placed the Magdalen in a very awkward, and perhapsimpossible, situation; and she was even made to be buried up to the bosomin earth--still exercising her devotions. Canova has doubtless displayedgreat pathos in the wretched aspect, and humiliated attitude, of hisMagdalen; but he has, at the same time, not been inattentive to beauty ofform. I only wish she appeared to be in as good condition as the _torso_indicates. A fastidious observer might say the figure was not _quitebalanced_, and that she must fall backward--if she retained such anattitude for a quarter of an hour. But this is hyper-criticism. The date ofthe execution of this figure is 1796: and parts of it clearly indicatethat, if the sculptor were now to re-execute it, he would have paid evenyet more attention to the finishing of the hair. Upon the whole, however, it is a masterly effort of modern art. 

It is almost fixed that we leave Paris within a week or ten days fromhence:--and then, for green fields, yellow corn, running streams, ripenedfruit, and all the rural evidences of a matured summer. 

[164] It was translated into English, and published in this country on a reduced scale, both as to text and engravings--but a reprint of it, with a folio volume of plates, &c. Had appeared also in 1802. At the time, few publications had such a run; or received a commendation, not more unqualified than it was just. See an account of this work in the _Library Companion_, p. 442. Edit. 1824. 

[165] [M. Denon DIED in 1825, aged 78. The sale of his _Marbles, Bronzes, Pictures, Engravings, &c. _ took place in 1826. ]

[166] [It was sold at the sale of M. Denon's pictures for 650 francs, and is numbered 187 in the Catalogue. ]

[167] [One of these pictures brought 1, 400, and the other 220 francs: prices, infinitely below their real worth. They should have been sold HERE!]

[168] [M. Crapelet says--this bust was modelled after the life by PIGALLE: and was, in turn, the model of that belonging to the figure of Voltaire in the library of the Institute: see p. 195 ante. ]

[169] [The result--judging from the comparative prices obtained at the sale--has confirmed the propriety of my predilection. It brought 5000 francs. In the sale catalogue, is the following observation attached: "On admire dans ce précieux tableau de chevalet la facilité surprenante de pinceau et cette harmonic parfaite de couleur qui faisaient dire au Tiarini, peintre contemporain, "Seigneur Guerchin, vous faites ce que vous voulez, et nous autres ce que nous pouvons. " No. 14. ]

[170] ["This figure was cast from a model made by Montoni in 1809. There were ONLY six copies of it, of which four were in _bronze_ and two in _silver_. " _Cat. _ No. 717. I have not been able to learn the price for which it was sold. ]

[171] The OPPOSITE PLATE will best attest the truth of the above remark. It exhibits a specimen of that precise period of art, when a taste for the gothic was beginning somewhat to subside. The countenance is yet hard and severely marked; but the expression is easy and natural, and the _likeness_ I should conceive to be perfect. As such, the picture is invaluable. [So far in the preceding edition. The sequel is a little mortifying. The above picture, an undoubted _original_--and by a master (the supposed pupil of John Van Eyk) who introduced the art of oil-painting into Italy--was sold for only 162 francs: whereas the _copy_ of it, in oil, by Laurent, executed expressly for the accompanying plate (and executed with great skill and fidelity) cost 400 francs!]

[172] [What a taste have the Virtuosi at Paris! This interesting picture was allowed to be sold for 162 francs only. Who is its fortunate Possessor?]

[173] [The OPPOSITE PLATE, which exhibits the head in question, is a sufficient confirmation of the above remark. ]

[174] [First, of the MARC ANTONIOS. Since the sale of the _Silvestre_ Collection, in 1810, nothing had been seen at Paris like that of M. Denon. It was begun to be formed in the eighteenth century: from which it is clear, that, not only was every proof at least an hundred years old, but, at that period, ZANETTI, the previous possessor of this Collection, sought far and wide, and with unremitting diligence, for the acquisition of the choicest impressions of the engraver. In fact, this Collection, (contained in an imperial folio volume, bound in morocco--and of which I necessarily took but a hasty glance) consisted of 117 _original_ impressions, and of 26 of such as were executed in the _school_ of M. Antonio. Of the original impressions, the whole, with the exception of four only, belonged to Zanetti. "If, says the compiler of the Catalogue, (1826, 8vo. P. Ij. ) some of the impressions have a dingy tint, from the casualties of time, none have been washed, cleaned, or passed through chemical experiments to give them a treacherous look of cleanliness. " This is sound orthodoxy. The whole was put up in one lot, and ... BOUGHT IN. 

 Secondly, for the REMBRANDTS. The like had never been before submitted to public auction. The Collections of _Silvestre_ and _Morel de Vindé_ out and out eclipsed! _Zanetti_ again--the incomparable--the felicitous--the unrivalled Zanetti had been the possessor of THIS Collection also. But yet more ... John Peter Zoomer, a contemporary (and peradventure a boon companion) of Rembrandt, was the original former of the Collection. It is therefore announced as being COMPLETE in all respects--"exhibiting all the changes, retouches, beautiful proofs, on India and other paper: ample margins, unstained, uninjured; and the impressions themselves, in every stage, bright, rich, and perfect. The result of all the trouble and expence of 50 years toil of collection is concentrated in this Collection. " So says John Peter Zoomer, the original collector and contemporary of Rembrandt. It consisted of 394 original pieces: 3, attributed to Rembrandt, without his name: 11, of John Lievens, Ferdinand Bol, and J. G. Villet: 11 copies: and 9 engraved in the manner of Rembrandt. The whole contained in 3 large folio volumes, bound in red morocco. 

 No reasonable man will expect even a précis of the treasures of this marvellous Collection: A glance of the text will justify every thing to follow: but the "Advertisement" to the Catalogue prepares the purchaser for the portrait of _Rembrandt with the bordered cloak_-- Ditto, _with the Sabre--Ephraim Bonus_ with the _black ring_--the _Coppinol_, as above described--the _Advocate Tolling_--the _Annunciation of Christ's Nativity to the Shepherds--the _Resurrection of Lazarus--Christ healing the Sick_; called the _Hundred Guilders_[H]--the _Astrologer asleep_--and several _Landscapes_ not elsewhere to be found--of which one, called the _Fishermen_ (No. 456) had escaped Bartsch, &c. &c. The descriptions of the several articles of which this Collection was composed, occupy 47 pages of the Catalogue. The three volumes were put up to sale--as a SINGLE LOT--at the price of 50, 000 francs:--and there was _no purchaser_. Of its present destiny, I am ignorant: but there are those in this country, who, to my knowledge, would have given 35, 000 francs. 

 I ought to add, that M. Denon's collection of CALLOT'S WORKS, in three large folio volumes, --bound in calf--also once the property of Zanetti--and than which a finer set is supposed never to have been exhibited for sale--produced 1000 francs: certainly a moderate sum, if what Zanetti here says of it (in a letter to his friend Gaburri, of the date of 1726) be true. "If ever you do this country (Venice) the honour of a visit, you will see in my little cabinet a collection of CALLOTS, such as you will not see elsewhere--not in the royal collection at Paris, nor in the Prince Eugene's, at Vienna--where the finest and rarest impressions are supposed to be collected. I possess _every_ impression of the plates which Callot executed; many of them containing first proofs, retouched and corrected by the engraver himself in red chalk. I bought this Collection at Paris, and it cost me 1950 francs. They say it was formed by the engraver himself for his friend M. Gérard an Amateur of Prints. " "It should seem that Zanetti's description was a little overcharged; but in _his_ time there was no complete catalogue of the artists. " Cat. P. 153. 

 [H] It formed No. 345 of the Catalogue; where it is described as being "a magnificent proof upon India paper, with a margin of 15 lines all round it. It was with the bur, and before the cross-hatchings upon the mane of the Ass. " The finest copy of this subject, sold in this country, was that formerly in the collection of M. Bernard; and recently purchased by T. Wilson, Esq. Will the reader object to disporting himself with some REMBRANDTIANA, in the _Bibliomania_ p. 680-2. ?

[175] One of those pictures (No. 188 in the Catalogue) produced 3015 francs: the other, only 180 francs. The Sebastian Bourdon (No. 139, ) was sold for 67 francs, and the Parmegiano, (No. 34) for 288 francs. 

[176] See the _Bibliographical Decameron_; vol. I. P. Clvii. &c. [M. Denon's Missal was purchased by an English amateur, and sold at the sale of the Rev. Theodore Williams's Library for £143. 17s. ]

[177] [Ere we take leave of this distinguished Frenchman, let us dwell for two seconds on his autograph. 

 [Autograph: Denon]

[178] There has been recently struck (I think, in 1819) a medal with the same obverse and reverse, of about the size between an English farthing and halfpenny. The statue of Henry is perhaps the MIRACLE OF ART: but it requires a microscopic glass to appreciate its wonders. Correctly speaking, probably, such efforts are not in the purest good taste. Simplicity is the soul of numismatic beauty. 

[179] The Artist who struck the series of medals to commemorate the campaigns of the Duke of Wellington, from his landing in Portugal to the battle of Waterloo. 

[180] [See the OPPOSITE PLATE, which represents the upper part of the Picture. ]

[181] [I sent a commission for it, for a friend, at the sale of Mr. Craufurd's effects, but lost it. ]

[182] [Purchased by myself: and now at Hodnet. ]

[183] [This picture was purchased for the gallery at ALTHORP. There is an exquisite drawing of it by Wright, for the purpose of a stipling engraving. ]

[184] It was purchased by the late King of France for 10, 000 francs. 

[185] [Purchased for the gallery at ALTHORP. ]

[186] The above quotation is incomplete; for the passage alluded to runs thus. --"Where is the painter so well sorting his colours, that could paint these faire eyes that are the _windows of the body, and glasses of the soul_. " The continuation is in a very picturesque style. See the _Theatre or Rule of the World_, p. 236-7, quoted in a recent (1808) edition of _More's Utopia_, vol. Ii. P. 143. But _Primaudaye's French Academy_, Lond. 1605, 4to. Runs very much in the same strain. 

[187] A little graphic history belongs to this picture. I obtained a most beautiful and accurate copy of it by M. Le Coeuré, on a reduced scale: from which Mr. J. Thomson made an Engraving, as a PRIVATE PLATE, and only 75 copies were struck off. The plate was then destroyed; the impressions selling for a guinea. They are now so rare as to be worth treble that sum: and proofs upon India paper, before the letter, may be worth £5. 5s. Three proofs only were struck off of the plate in its _mutilated_ state; of which my friends Mr. Haslewood and Mr. G. H. Freeling rejoice in their possession of a copy. The drawing, by Coeuré, was sold for 20 guineas at the sale of my drawings, by Mr. Evans, in 1822, but it has been subsequently sold for only _nine_ guineas; and of which my worthy friend A. Nicholson, Esq. --"a good man, and a true"--is in the possession. 

 Subsequently, the ABOVE ORIGINAL picture was sold; and I was too happy to procure it for the gallery at Althorp for _twelve_ guineas only!

[188] [A magnificent whole length portrait of this first DUKE DE GUISE, painted by PORBUS--with a warmth and vigour of touch, throughout, which are not unworthy of Titian--now adorns the very fine gallery at Althorp: where is also a whole length portrait of ANNE OF AUSTRIA, by Mignard. Both pictures are from the same Collection; and are each probably the masterpiece of the artist. They are of the size of life. ]

[189] [Mr. Craufurd died at Paris in 1821. ]

[190] ["Amateurs, connaisseurs, examinateurs, auteurs de revues du Salon, parodistes même, vous n'entendez rien à ce genre de critique; prenez M. Dibdin pour modèle: voila' la _bonne école_!" CHAPELET, vol. Iv. P. 200. My translator shall here have the full benefit of his own bombastical nonsense. ]

_LETTER XI. _

NOTICE OF M. WILLEMIN'S MONUMENS FRANÇAIS INÉDITS. MISCELLANEOUSANTIQUITIES. PRESENT STATE OF THE FINE ARTS. GENERAL OBSERVATIONS UPON THENATIONAL CHARACTER. 

_July 8, 1818_. 

I rejoice that it is in my power once more--and certainly for the lasttime, from hence--to address you upon a few subjects, which, from yourearlier replies to my Paris letters, you seem to think that I have lostsight of. These subjects, relate chiefly to ANTIQUITIES. Be assured that Ihave never, for one moment, been indifferent to them; but in the vastbibliographical field which the public libraries of this place held out formy perambulation, it was impossible, in the first instance, not to takeadvantage of the curious, and probably useful information, to be derivedfrom thence. 

I must begin therefore by telling you that I had often heard of theunassuming and assiduous author of the _Monumens Français Inédits_, and wasresolved to pay him a visit. I found him in the _Rue Babile_ towards theeastern end of the Rue St. Honoré, living on the third floor. Several youngfemales were in the ante-room, colouring the plates of that work; which arechiefly in outline and in aqua-tint. Each livraison contains six plates, attwelve francs the livraison. The form is folio, and about twenty-eightnumbers are printed. [191] There is something in them of every thing:furniture, dresses, houses, castles, churches, stained glass, paintings, and sculpture. Illuminated MSS. Are as freely laid under contribution asare the outsides and insides of buildings, of whatsoever description. Indeed I hardly ever visited the Public Library without finding M. Willeminbusied, with his pencil and tracing paper, with some ancient illuminatedMS. The style of art in the publication here noticed, is, upon the whole, feeble; but as the price of the work is moderate, no purchaser canreasonably complain. The variety and quantity of the embellishments willalways render M. Willemin's work an acceptable inmate in every well-chosenlibrary. I recommend it to you strongly; premising, that the authorprofessedly discards all pretension to profound or very criticalantiquarian learning. 

For himself, M. Willemin is among the most enthusiastic, but most modest, of his antiquarian brethren. He has seen better days. His abode and mannersafford evidence that he was once surrounded by comparative affluence andrespectability. A picture of his deceased wife hung over the chimney-piece. The back-ground evinced a gaily furnished apartment. "Yes, Sir, (saidM. W. --on observing that I noticed it) such was _once_ my room, and its_chief ornament_"--Of course I construed the latter to be his late wife. "Alas! (resumed he) in better days, I had six splendid cabinets filled withcuriosities. I have now--not a single one! Such is life. " He admitted thathis publication brought him a very trifling profit; and that, out of hisown country, he considered the _London_ market as the most advantageous tohim. A large broken phial, containing water and a fleur-de-lis in fullbloom, was the only, ornament of his mantle piece. "Have you no curiositiesof any kind--(said I to him) for sale?" "None--" replied he; but he had_drawings_ of a few. "Have the kindness to shew me some of thesedrawings"--and forthwith appeared the case and _pocket-knife of Diane dePoictiers_, drawn from the original by Langlois. "Where is the original?"observed I, hastily. "Ha, Sir, you are not singular in your question. Anobleman of your country was almost losing his wits because he could notpurchase it:--and yet, this original was once to be obtained for _twentylouis_!" I confess I was glad to obtain the drawing of Langlois for twonapoleons. It is minutely and prettily executed, and apparently with greatfidelity. 

M. Willemin proceeded to shew me a few more drawings for his national work, telling me precisely what he _meant_, and what he did _not_ mean, topublish. His own drawings with a pen are, some of them, of a masterlyexecution; and although of a less brilliant and less classical style thanthose of LE NOIR, M. Willemin is still an artist of whom his country willalways have reason to be proud. I bought several drawings of him. [192] Onerepresents the sculptured figures upon the outside of the _grand portal_ ofthe _Cathedral of Chartres. _ These figures seem to be of the thirteenthcentury. The other drawing is of a rich piece of _fayence_, or of paintedand glazed earthenware dish, and about the middle of the sixteenth century:of which I remember to have seen some very curious specimens at Denon's. But nothing can be more singular, and at the same time more beautiful ofits kind, than the present specimen--supposed to be the work of the famousBernard Palissy. Paris is full of such treasures. 

Of all cities, PARIS is probably that which abounds with rich and curiousrelics of ancient art. Its churches, its palaces, its public buildings--sometimes grotesque and sometimes magnificent--furnish alike subjects foradmiration and materials for collection. But the genius of the French doesnot lie in this pursuit. From the commencement of the sixteenth century, the ANTIQUITIES OF PARIS might have supplied a critical antiquary withmatter for a publication which could have been second only to the immortalwork of Piranesi. But with the exception of Montfaucon, (which I admit tobe a most splendid exception) and recently of MILLIN and LE NOIR, Francehardly boasts of an indigenous Antiquary. In our own country, we have goodreason to be proud of this department of literature. The names of Leland, Camden, Cotton, Dugdale, Gibson, Tanner, Gough, and Lysons, place us evenupon a level with the antiquarians of Italy. It was only the other day thatM. Willemin was urging me, on my return to England, to take _Beauvais_ inmy way, in order to pay a visit to Madame la Comtesse de G. , living at achateau about three leagues from that place. She possesses a collection ofcarved wood, in bas-reliefs, porches, stair-cases, &c. All from aneighbouring dilapidated abbey; and, among other things, one singular pieceof sculpture, descriptive of the temptation of St Anthony. He had reason tothink that the Countess might be more successfully tempted than was theSaint just mentioned; in other words, that these things were to be hadrather for "money" than for "love. "

For specimens of the costume of the lower classes, the _south_ side of theSeine must be chiefly visited. The great streets which lead thither arethose of _St. Victor, St. Jaques_, and _De La Harpe_. Mr. Lewis hadfrequently strolled to this quarter of Paris; and his attention was onemorning particularly directed to a group of _Blanchisseuses_--who werehalting beneath their burdens to have a little gossip with each other. Seehow characteristically he has treated the subject. 

[Illustration]

One of the causes of the want of encouragement in NATIONAL ANTIQUITIES, among the French, may arise from the natural love of the people for what isgay and gaudy, rather than for what is grave and instructive. And yet, whenwill nations learn that few things tend so strongly to keep alive a purespirit of PATRIOTISM as _such_ a study or pursuit? As we reverence thepast, so do we anticipate the future. To love what our forefathers havedone in arts, in arms, or in learning, is to lay the surest foundation fora proper respect for our own memories in after ages. But with Millin, Ifear, the study of Archaeology will sleep soundly, if not expire, among theParisians. VISCONTI has doubtless left a splendid name behind him here; butVisconti was an Italian. No; my friend--the ARTS have recently taken anexclusive turn for the admiration, even to adoration, of portrait andhistorical painters: No LYSONSES, no BLORES, no MACKENZIES are patronisedeither at Paris or in the other great cities of France. I must however makean honourable exception in favour of the direction given to the splendidtalents of MADAME JAQUOTOT. And I cannot, in common justice, omit, on thisoccasion, paying a very sincere tribute of respect to the PRESENTKING[193]--who has really been instrumental to this direction. I havelately paid this clever lady a morning visit, with a letter of introductionfrom our common friend M. Langlès. As I was very courteously received, Ibegged that I might only see such specimens of her art as would give herthe least possible trouble, and afford me at the same time an opportunityof judging of her talents. 

Madame Jaquotot was as liberal in the display of her productions, as shewas agreeable and polite in her conversation. I saw all her performances. Her copies of Leonardo da Vinci and Guido, in black crayons, are beautifulof their kind; but her enamel copies, upon porcelaine, of the _Portraits ofthe more celebrated Characters of France_--executed at the desire andexpense of his Majesty--perfectly delighted me. The plan is as excellent asits execution is perfect. But such performances have not been accomplishedwithout a heavy previous expense, on the score of experiments. I was toldthat the artist had sunk a sum little short of five or six hundred poundssterling, in the different processes for trying and fixing her colours. Butshe seems now to walk upon firm ground, and has nothing but an abundantharvest to look forward to. Indeed, for every portrait, square, or oval, (although scarcely more than _three inches_ in height) she receives ahundred louis d'or. This is a truly princely remuneration: but I do notconsider it overpaid. Some of the earlier portraits are taken fromilluminated manuscripts; and, among them, I quickly recognised that of myold friend _Anne of Brittany_, --head and shoulders only: very brilliant andcharacteristic--but Mr. Lewis is "yet a painter. "

As all these bijoux (amounting perhaps to twelve or fifteen in number) weredisplayed before me, I fancied I was conversing with the very Originalsthemselves. The whole length of _Henri IV_. , of the same size as theoriginal in the Louvre, is probably the chef d'oeuvre of Madame Jaquotot. It is exquisitely perfect. When she comes down to the reign of Louis XIV. , she has necessarily recourse to the originals of PETITOT; of which theLouvre contains a precious glazed case, enclosing about four or five dozen, of them. Here again the copyist treads closely upon the heels of herpredecessor; while her portrait of _Anne of Austria_ comes fully up toevery thing we discover in the original. Upon the whole, I spent a pleasantand most instructive hour with this accomplished lady; and sincerely wishthat all talents, like hers, may receive a similar direction and meet withan equally liberal reward. You must not fail to bear in mind that, in myhumble judgment, this department of art belongs strictly to NATIONALANTIQUITIES. 

For _one_, who would turn his horse's head towards Madame Jaquotot'sdwelling, in the _Rue Jacob_, fifty would fly with rapture to view a wholelength by GÉRARD, or a group by DAVID. In portrait painting, and historicalcomposition, these are the peculiar heroes. None dare walk within theircircle: although I think GIRODET may sometimes venture to measure swordswith the latter. Would you believe it? The other day, when dining with somesmart, lively, young Parisians, I was compelled to defend RAFFAELLE againstDavid? the latter being considered by them _superior_ to the Italian artistin a _knowledge of drawing_. Proh pudor! This will remind you of Jervas'scelebrated piece of nonsensical flattery to himself--when, on Pope'scomplimenting that artist upon one of his portraits, he compassionatelyexclaimed "_Poor little Tit_!"--Surely all these national prejudices are asunwise as they are disgusting. Of Gérard, I would wish to speak withrespect; but an artist, who receives from fifteen to twenty thousand francsfor the painting of a whole length portrait, stands upon an eminence whichexposes him to the observation of every man. In the same degree, also, doeshis elevation provoke the criticism of every man. But, however respectfullyI may wish to speak of Gérard, I do not, in my conscience, consider himsuperior to what may be called the _second rate_ class of portrait-paintersin England. [194] His outline is often hard, and full of affectation of aknowledge of drawing: his colouring is as frequently severe and metallic, and there is rarely any expression of mind or soul in his faces. I saw atLaugier's the other day, his portrait of Madame de Stael--painted from_recollection_. He certainly had _forgotten_ how to _colour_ when heexecuted it. Forster (a very clever, sensible, and amiable young man) isbusied, or rather has just finished, the engraving of a portrait of theDuke of Wellington, by the same painter. What has depended upon _him_ hasbeen charmingly done: but the figure of the great Original--instead ofgiving you the notion of the FIRST CAPTAIN OF HIS AGE[195]--is a poor, trussed-up, unmeaning piece of composition: looking-out of the canvas witha pair of eyes, which, instead of seeming to anticipate and frustrate (asthey _have_ done) the movements of his adversary, as if by magic, betray analmost torpidity or vacancy of expression! The attitude is equallyunnatural and ungraceful. Another defect, to my eye, in Gérard's portraits, is, the quantity of flaunting colour and glare of varnish with which hiscanvas is covered. 

The French cognoscenti swear by "the _swearing of the Horatii_" of David. Isaw a reduced copy of the large picture at the Luxembourg, by the artisthimself--at Didot's: and it was while discussing the comparative merits anddemerits of this famous production, that I ventured to observe thatRaffaelle would have drawn the hands better. A simultaneous shout ofopposition followed the remark. I could scarcely preserve common gravity ordecorum: but as my antagonists were serious, I was also resolved to enact aserious part. It is not necessary to trouble you with a summary of myremarks; although I am persuaded I never talked so much French, withoutinterruption, for so long a space of time. However, my opponents admitted, with a little reluctance, that, if the hands of the Horatii were not illdrawn, the _position_ of them was sufficiently affected. I then drew theirattention, to the _Cupid and Psyche_ of the same master, in the collectionof the Marquis of Sommariva, (in the notice of which my last letter waspretty liberal) but I had here a less obstinate battle to encounter. Itcertainly appeared (they admitted) that David did not improve as he becameolder. 

Among the Painters of eminence I must not forget to mention LAURENT. TheFrench are not very fond of him, and certainly they under-rate his talents. As a colourist, some of his satins may vie with those of Vanderwerf. Hepaints portraits, in small, as well as fancy-subjects. Of the former, thatof his daughter is beautifully executed. Of the latter, his _YoungFalconer_ is a production of the most captivating kind. But it is his _Joanof Arc_ which runs away with the prize of admiration. The Government havepurchased the house in which that celebrated female was born, [196] and overthe door of which an ancient statue of her is to be seen. Laurent'sportrait is also purchased to be placed over the chimney-piece of the room;and it is intended to supply furniture, of the character which itoriginally might have possessed. 

But if France cannot now boast her Mignard, Rigaud, or the Poussins, shehas reason to be proud of her present race of _Engravers_. Of these, DESNOYERS evidently takes the lead. He is just now in Italy, and I shallprobably not see him--having twice called in vain. I own undisguisedly thatI am charmed with all his performances; and especially with his sacredsubjects from Raffaelle:--whom, it is just possible, he may consider to bea somewhat better draftsman than David. There is hardly any thing but whathe adorns by his touch. He may consider the whole length portrait of_Bonaparte_ to be his chef-d'oeuvre; but his _Vierge au Linge, Vierge ditela Belle Jardinière_, --and perhaps, still finer, that called _auDonataire_--are infinitely preferable, to my taste. The portrait has toomuch of detail. It is a combination of little parts; of flowered robes, with a cabinet-like background: every thing being almost mechanical, andthe shield of the ex-Emperor having all the elaborate minutiæ of Grignion. I am heretic enough to prefer the famous whole length of poor Louis XVI, byBervic after Callet: there is such a flow of line and gracefulness ofexpression in this latter performance! But Desnoyers has uncommon force, aswell as sweetness and tenderness, in the management of historical subjects:although I think that his recent production of _Eliezer and Rebecca_, from_Nicolo Poussin_, is unhappy--as to choice. His females have greatelegance. His line never flows more freely than in the treatment of hisfemale figures; yet he has nothing of the style of finishing of ourSTRANGE. His _Francis_ I, and _Marguerite de Valois_ is, to my eye, one ofthe most finished, successful, and interesting of his performances. It isthroughout a charming picture, and should hang over half the mantle piecesin the kingdom. His portrait of _Talleyrand_ is brilliant; but there areparts very much too black. It will bear no comparison with the gloriousportrait of our _John Hunter_, by Sharp--from Sir J. Reynolds. Desnoyersengraves only for himself: that is to say, he is the sole proprietor of hisperformances, and report speaks him to be in the receipt of sometwenty-five thousand francs per annum. He deserves all he has gained--bothin fortune and reputation. 

MASSARD works in the same school with Desnoyers. He is harder in his styleof outline as well as of finishing; but he understands his subjectthoroughly, and treats it with skill and effect. ANDOUIN is lately come outwith a whole length portrait of the present king: a palpable copy, as tocomposition, of that of his late brother. There are parts of the detailmost exquisitely managed, but the countenance is rather too severelymarked. LIGNON is the prince of portrait-engravers. His head of_Mademoiselle Mars_--though, upon the whole, exhibiting a flat, andunmeaning countenance, when we consider that it represents the first comicactress in Europe--is a master-piece of graphic art. It is wrought withinfinite care, brilliancy, and accuracy. The lace, over the lady'sshoulder, may bid defiance even to what Drevet and Masson have effected ofthe like kind. The eyes and the gems of Mademoiselle Mars seem to sparklewith a rival lustre; but the countenance is too flat, and the nose wantselevation and beauty. For this latter, however, neither Gérard nor Lignonare amenable to criticism. Upon the whole, it is a very surprisingperformance. If I were called upon to notice Lignon's chef d'oeuvre, Iwould mention the frontispiece to the magnificent impression of _Camoens'Lusiad_, containing the head of the author, surrounded by an arabesqueborder of the most surprising brilliancy of composition and execution. Youmust however remember, that it is in the splendid work entitled LE MUSÉEFRANÇAIS, that many fine specimens of all the artists just mentioned are tobe found. There is no occasion to be more particular in the present place. 

I must not omit the notice of FORSTER and LAUGIER: both of whom I havevisited more than once. At the same time, I beg it may be distinctlyunderstood that the omission of the names of _other_ engravers is noimplication that they are passed over as being unworthy of regard. On thecontrary, there are several whom I could mention who might take precedenceeven of the two last noticed. Some of Forster's academic figures, whichgained him the prize, are very skilfully treated; both as to drawing andfinishing. His print of _Titian's Mistress_ exhibits, in the face and bosomof the female, a power and richness of effect which may contend with someof the best efforts of Desnoyers's burin. The reflex-light, in the mirrorbehind, is admirably managed; but the figure of Titian, and the lower partsof his Mistress--especially the arms and hands--are coarse, black, andinharmonious. His _Wellington_ is a fine performance, as to mechanicalskill. M. Bénard, the well-known print-seller to his Majesty, living on the_Boulevards Italiens_, laughed with me the other day at the rivalWellington--painted by Lawrence, and engraved by Bromley, --as a piece ofvery inferior art! But men may laugh on the wrong side of the face. Iconsider, however, that what has depended upon Forster, has been done withequal ability and truth. Undoubtedly the great failing of the picture is, that it can hardly be said to have even a faint resemblance of theoriginal. 

M. Laugier has not yet reached his full powers of maturity; but what he hasdone is remarkable for feeling and force. His _Daphne and Chloe_, and _Heroand Leander_ are early performances, but they are full of promise, andabound in excellences. Colour and feeling are their chief merit. The latterprint has the shadows too dark. The former is more transparent, moretender, and in better keeping. The foreground has, in some parts, thecrispness and richness of Woollett. They tell me that it is a rare print, and that only 250 copies were struck off--at the expense of the Society ofArts. Laugier has recently executed a very elaborate print of Leander, justin the act of reaching the shore--(where his mistress is trembling for hisarrival in a lighted watch-tower) but about to be buried in theoverwhelming waves. The composition of the figure is as replete withaffectation, as its position is unnatural, if not impossible. The wavesseem to be suspended over him--on purpose to shew off his limbs to everydegree of advantage. He is perfectly canopied by their "gracefully-curledtops. " The engraving itself is elaborate to excess: but too stiff, even toa metallic effect. It can never be popular with us; and will, I fear, findbut few purchasers in the richly garnished repertoire of the worthyColnaghi. Indeed it is a painful, and almost repulsive, subject. Laugier'sportrait of _Le Vicomte de Chateaubriand_ exhibits his prevailing error ofgiving blackness, rather than depth, to his shadows. Black hair, a blackcravat, and black collar to the coat--with the lower part of the backgroundalmost "gloomy as night"--are not good accessories. This worthy engraverlives at present with his wife, an agreeable and unaffected little woman, up four pair of stairs, in the _Rue de Paradis_. I told him--and as Ithought with the true spirit of prediction--that, on a second visit toParis I should find him descended--full two stories: in proportion as hewas ascending in fortune and fame. 

The French are either not fond of, or they do not much patronise, engravingin the _stippling_ manner: "_au poinctilliet_"--as they term it. Roger istheir chief artist in this department. He is clever, undoubtedly; but hisshadows are too black, and the lighter parts of his subjects wantbrilliancy. What he does "en petit, " is better than what he does upon alarger scale. " In _mezzotint_ the Parisians have not a single artistparticularly deserving of commendation. They are perhaps as indifferent aswe are somewhat too extravagantly attached, to it. Speaking of the FRENCHSCHOOL OF ENGRAVING, in a general and summary manner--especially of theline engravers--one must admit that there is a great variety of talent;combined with equal knowledge of drawing and of execution; but the generaleffect is too frequently hard, glittering, and metallic. The draperies havesometimes the severity of armour; and the accessories, of furniture orother objects, are frequently too highly and elaborately finished. Nor isthe flesh always free from the appearance of marble. But the names I havementioned, although not entirely without some of these defects, have greatand more than counter-balancing excellences. 

In the midst of all the graphic splendour of modern Paris, it wasdelightful music to my ears to hear WILKIE and RAIMBACH so highly extolledby M. Bénard. "Ha, votre _Wilkie_--voilà un génie distingué!" Who could say"nay?" But let BURNET have his share of graphic praise; for the _BlindFiddler_ owes its popularity throughout Europe to _his_ burin. They haverecently copied our friend Wilkie's productions on a small scale, inaqua-tint; cleverly enough--for three francs a piece. I told Benard thatthe Duke of Wellington had recently bespoke a picture from Mr. Wilkie'spencil. "What is the subject to be?"--demanded he, quickly. I replied, inthe very simplicity of my heart, "Soldiers regaling themselves, onreceiving the news of the victory of Waterloo. " Mons. Bénard was paralisedfor one little moment: but rallying quickly, he answered, with perfecttruth, as I conceive "_Comment donc_, TOUT EST WATERLOO, _chez vous!_" M. Bénard spoke very naturally, and I will not find fault with him for such aresponse; for he is an obliging, knowing, and a very pleasant tradesman todo business with. He admits, readily and warmly, that we have greatartists, both as painters and engravers; and pointing to Sharpe's _JohnHunter_ and _The Doctors of the Church_--which happened to be hanging justbefore us--he observed that "these, efforts had never been surpassed by hisown countrymen. " I told him (while conversing about the respective meritsof the British and French Schools of Engraving) that it appeared to me, that in France, there was no fine feeling for LANDSCAPE ENGRAVING; andthat, as to ANTIQUARIAN art, what had been produced in the publications ofMr. Britton, and in the two fine topographical works--Mr. Clutterbuck'sHertfordshire, " and. Mr. Surtees' Durham--exhibited such specimens of theburin, in that department, as could scarcely be hoped to be excelled. [197]M. Bénard did not very strenuously combat these observations. The greatmart for _Printselling_ is the Boulevards; and more especially that of the_Boulevards Italiens_. A stranger can have no conception of the gaiety andbrilliance of the print-shops, and print-stalls, in this neighbourhood. Lethim first visit it in the morning about nine o'clock; with the sun-beamssparkling among the foliage of the trees, and the incessant movements ofthe populace below, who are about commencing another day's pilgrimage ofhuman life. A pleasant air is stirring at this time; and the freshnessarising from the watering of the footpath--but more particularly thefragrance from innumerable bouquets, with mignonette, rose trees, andlilacs--extended in fair array--is altogether quite charming and singularlycharacteristic. But my present business is with prints. You see them, hanging in the open air--framed and not framed--for some quarter of a mile:with the intermediate space filled by piles of calf-bound volumes and setsof apparently countless folios. Here are _Moreri, Bayle_, the _Dictionnairede Trévoux, Charpentier_, and the interminable _Encyclopédie_: all verytempting of their kind, and in price:--but all utterly unpurchasable--onaccount of the heavy duties of importation, arising from their weight. 

However--again I say--my present business is with _Prints_. Generallyspeaking, these prints are pleasing in their manner of execution, reasonable in price, and of endless variety. But the perpetual intrusion ofsubjects of studied nudity is really at times quite disgusting. It issurprising (as I think I before remarked to you) with what utterindifference and apathy, even females, of respectable appearance and dress, will be gazing upon these subjects; and now that the art of _lithography_is become fashionable, the print-shops of Paris will be deluged with aninundation of these odious representations, which threaten equally todebase the art and to corrupt morals. This cheap and wholesale circulationof what is mischievous, and of really most miserable execution, is much tobe deplored. Even in the better part of art, lithography will have apernicious effect. Not only a well-educated and distinguished engraver willfind, in the long run his business slackening from the reduced prices atwhich prints. Are sold, but a _bad taste_ will necessarily be the result:for the generality of purchasers, not caring for comparative excellence inart, will be well pleased to give _one_ franc, for what, before, they couldnot obtain under _three_ or _five_. Hence we may date the decline anddownfall of art itself. I was surprised, the other day, at hearing DENONtalk so strongly in favour of lithography. I told him "it was a bastardart; and I rejoiced, in common with every man of taste or feeling, that_that_ art had not made its appearance before the publication of his workupon Egypt. " It may do well for

 "The whisker'd pandour and the fierce hussar"--

or it may, in the hands of such a clever artist as VERNET, be managed withgood effect in representations of skirmishes of horse and foot--groups ofbanditti--a ruined battlement, or mouldering tower--overhanging rocks--rushing torrents--or umbrageous trees--but, in the higher department ofart, as connected with portrait and historical engraving, it cannot, Iapprehend, attain to any marked excellence. [198] Portraits however--of aparticular description--_may_ be treated with tolerable success; but whenyou come to put lithographic engraving in opposition to that of _line_--the_latter_ will always and necessarily be

 ... Velut inter ignes LUNA minores!

I cannot take leave of A CITY, in which I have tarried so long, and with somuch advantage to myself, without saying one word about the manners, customs, and little peculiarities of character of those with whom I havebeen recently associating. Yet the national character is pretty nearly thesame at Rouen and at Caen, as at Paris; except that you do not meet withthose insults from the _canaille_ which are but too frequent at thesefirst-mentioned places. Every body here is busy and active, yet very few. Have any thing _to do_--in the way of what an Englishman would call_business_. The thoughtful brow, the abstracted, look, the hurried step.. Which you see along Cheapside and Cornhill ... Are here of comparativelyrare appearance. Yet every body is "sur le pavé. " Every body seems to liveout of doors. How the _ménage_ goes on--and: how domestic education isregulated--strikes the inexperienced eye of an Englishman as a thing quiteinconceivable. The temperature of Paris is no doubt very fine, although ithas been of late unprecedentedly hot; and a French workman, or labourer, enjoys, out of doors--from morning till night those meals, which, with us, are usually partaken of within. The public places of entertainment arepretty sure to receive a prodigious proportion of the population of Parisevery evening. A mechanic, or artisan, will devote two thirds of his dailygains to the participation of this pleasure. His dinner will consist of themost meagre fare--at the lowest possible price--provided, in the evening, he can hear _Talma_ declaim, _or Albert_ warble, or see _Pol_ leap, or_Bigotini_ entrance a wondering audience by the grace of her movements, andthe pathos of her dumb shew, in _Nina. _

The preceding strikes me as the general complexion of character of threefourths of the Parisians: but then they are gay, and cheerful, andapparently happy. If they have not the phlegm of the German, or thethoughtfulness of ourselves, they are less cold, and less insensible to thepassing occurrences of life. A little pleases them, and they give in returnmuch more than they receive. One thing, however, cannot fail to strike andsurprise an attentive observer of national character. With all theirquickness, enthusiasm, and activity, the mass of French people want thatadmirable quality which I unfeignedly think is the particularcharacteristic of ourselves:--I mean, _common sense_. In the midst of theirarchitectural splendor--while their rooms are refulgent with gilding andplate-glass; while their mantle-pieces sparkle with or-molu clocks; ortheir tables are decorated with vases, and artificial flowers of the mostexquisite workmanship--and while their carpets and curtains betrayoccasionally all the voluptuousness of eastern pomp ... You can scarcelyobtain egress or ingress into the respective apartments, from thewretchedness of their _locks_ and _keys!_ Mechanical studies orimprovements should seem to be almost entirely uncultivated--for those whoremember France nearly half a century ago, tell me that it was pretty muchthen as it is now. Another thing discomposes the sensitive nerves of theEnglish; especially those of our notable housewives. I allude to therubbishing appearance of their _grates_--and the dingy and sometimesdisgusting aspect of carpets and flowered furniture. A good mahogany diningtable is a perfect rarity[199]--and let him, who stands upon a chair totake down a quarto or octavo, beware how he encounter a broken shin orbruised elbow, from the perpendicularity of the legs of that same chair. 

The same want of common-sense, cleanliness, and convenience--is visible innearly the whole of the French ménage. Again, in the streets--theircabriolet drivers and hackney coachmen are sometimes the most furious oftheir tribe. I rescued, the other day, an old and respectable gentleman--with the cross of St. Louis appendant to his button-hole--from a situation, in which, but for such a rescue, he must have been absolutely knocked downand rode over. He shook his cane at the offender; and, thanking me veryheartily for my protection, observed, "these rascals improve daily in theirstudied insult of all good Frenchmen. " The want of _trottoirs_ is a seriousand even absurd want; as it might be so readily supplied. Their carts areobviously ill-constructed, and especially in the caps of the wheels; which, in a narrow street--as those of Paris usually are--unnecessarily occupy a_foot_ of room, where scarcely an _inch_ can be spared. The rubbish piledagainst the posts, in different parts of the street, is as disgusting as itis obviously inconvenient. A police "ordonnance" would obviate all this intwenty-four hours. 

Yet in many important respects the Parisian multitude read a lesson toourselves. In their public places of resort, the French are wonderfullydecorous; and along the streets, no lady is insulted by the impudence ofeither sex. You are sure to walk in peace, if you conduct yourselfpeaceably. I had intended to say a word upon morals: and religion; but thesubject, while it is of the highest moment, is beyond the reach of atraveller whose stay is necessarily short, and whose occupations, upon thewhole, have been confined rather among the dead than the living. 

Farewell, therefore, to PARIS. I have purchased a very commodioustravelling carriage; to which a pair of post-horses will be attached in acouple of days--and then, for upwards of three hundred miles ofjourney--towards STRASBOURG! No schoolboy ever longed for a holiday moreardently than I do for the relaxation which this journey will afford me. Athousand hearty farewells!

[191] [The work is now perfect in 3 volumes. ]

[192] [I here annex a fac-simile of his autograph from the foot of the account for these drawings. ]

 [Illustration]

[193] Then, Louis XVIII. 

[194] ["Sir T. Lawrence, who painted the portrait of the late Duke de Richlieu, which was seen at the last exhibition, is undoubtedly of the first class of British Portrait painters; but, according to Mr. Dibdin's judgment, many artists would have preferred to have sided with our Gérard. " CRAPELET. Vol. Iv. 220. I confess I do not understand this reasoning: nor perhaps will my readers. ]

[195] [Here, Mons. Crapelet drily and pithily says, "Translated from the English. " What then? Can there be the smallest shadow of doubt about the truth of the above assertion? None--with Posterity. ]

[196] At Domremi, in Lorraine. 

[197] When Desnoyers was over here, in 1819, he unequivocally expressed his rapture about our antiquarian engravings--especially of Gothic churches. Mr. Wild's _Lincoln Cathedral_ produced a succession of ecstatic remarks. "When your fine engravings of this kind come over to Paris we get little committees to sit upon them"--observed Desnoyers to an engraver--who communicated the fact to the author. 

[198] [The experience of ten years has confirmed THE TRUTH of the above remark. ]

[199] [Not so now! Mahogany, according to M. Crapelet, is every where at Paris, and at the lowest prices. ]

_LETTER XII. _

PARIS TO STRASBOURG. 

_Hotel de l'Esprit, Strasbourg, July 20, 1818_. 

I can hardly describe to you the gratification I felt on quitting the"trein-trein". Of Paris for the long, and upon the whole interesting, journey to the place whence I date this despatch. My love of rural sights, and of rural enjoyments of almost every kind, has been only equalled by myadmiration of the stupendous Cathedral of this celebrated city. But not aword about the city of Strasbourg itself, for the present. My description, both of _that_ and of its _curiosities_, will be properly reserved foranother letter; when I shall necessarily have had more leisure and fitteropportunities for the execution of the task. On the eleventh of this month, precisely at ten o'clock, the rattling of the hoofs of two lusty posthorses--together with the cracking of an _experimental_ flourish or two ofthe postilion's whip--were heard in the court-yard of the Hôtel desColonies. Nothing can exceed the punctuality of the Poste Royale in theattendance of the horses at the precise hour of ordering them. Travellers, and especially those from our _own_ country, are not _quite_ so punctual inavailing themselves of this regularity; but if you keep the horses for thebetter part of an hour before you start, you must pay something extra foryour tardiness. Of all people, the _English_ are likely to receive the mostuseful lesson from this wholesome regulation. By a quarter past ten, Mr. Lewis and myself having mounted our voiture, and given the signal fordeparture, received the "derniers adieux" of Madame the hostess, and of thewhole corps of attendants. On leaving the gates of the hotel, the postilionput forth all his energies in sundry loud smackings of his whip; and as wewent at a cautious pace through the narrower streets, towards the _Barriersof St. Martin_, I could not but think, with inward satisfaction, that, onvisiting and leaving a city, so renowned as Paris, for the _first_ time, Ihad gleaned more intellectual fruit than I had presumed to hope for; andthat I had made acquaintances which might probably ripen into a long andsteady friendship. In short, my own memoranda, together with the drawingsof Messrs. Lewis and Coeuré, were results, which convinced me that my timehad not been mispent, and that my objects of research were not quiteundeserving of being recorded. Few reflections give one so much pleasure, on leaving, a city--where there are so many thousand temptations to abusetime and to destroy character. 

The day of our departure was very fine, tending rather to heat. In a littlehalf hour we cleared the barrier of St. Martin, and found ourselves on thebroad, open, route royale--bordered by poplars and limes. To the right, wasthe pretty village of _Belleville:_ to the left, at the distance of somesix or eight English miles, we observed _Montmorenci, St. Germain en Laye_, and, considerably nearer, _St. Denis_. All these places, together with_Versailles, _ I had previously visited--Montmorenci and St. Denis twice--and intended to have given you an account of them; but you could havereceived from me scarcely any thing more than what the pages of thecommonest tour would have supplied you with. We first changed horses at_Bondy_, the forest of which was once very extensive and much celebrated. You now behold little more than a formal avenue of trees. The _Castle ofRaincy_, situated in this forest, is to the right, well-wooded--and theproperty of the Duke of Orleans. _Ville-Parisis_ was the next prettiestspot, in our route to _Claye_, where we again changed horses. The wholeroute, from _Ville-Parisis_ to _Meaux_, was exceedingly pleasing and evenpicturesque. At Meaux we dined, and have reason to remember the extravagantcharges of the woman who kept the inn. The heat of the day was now becomingrather intense. While our veal-cutlet was preparing, we visited the church;which had frequently, and most picturesquely, peeped out upon us during ourroute. It is a large, cathedral-like looking church, without transepts, Only one tower (in the west front), is built--with the evident intention ofraising another in the same aspect. They were repairing the west front, which is somewhat elaborately ornamented; but so intensely hot was thesun--on our coming out to examine it--that we were obliged to retreat intothe interior, which seemed to contain the atmosphere of a differentclimate. A tall, well-dressed, elderly priest, in company with amiddle-aged lady, were ascending the front steps to attend divine service. Hot as it was, the priest saluted us, and stood a half minute without hisblack cap--with the piercing rays of the sun upon a bald head. The belltolled softly, and there was a quiet calm about the whole which almostinvited, us to _postpone_ our attack upon the dinner we had ordered. 

Ten francs for a miserable cutlet--and a yet more wretchedly-preparedfricandeau--with half boiled artichokes, and a bottle of undrinkable vinordinaire--was a charge sufficiently monstrous to have excited the wellknown warmth of expostulation of an English traveller--but it was reallytoo hot to talk aloud! The landlady pocketed my money, and I pocketed theaffront which so shameful a charge may be considered as having put upon me. We now rolled leisurely on towards _La Ferté-sous-Jouarre:_ about fiveFrench-leagues from Meaux--not without stopping to change horses at _St. Jean, _ &c. The heat would not even allow of the exercise of the postilion'swhip. Every body, and every thing seemed to be oppressed by it. Thelabourer was stretched out in the shade, and the husbandman slept withinthe porch of his cottage. We had no sooner entered the little town of LaFerté-sous-Jouarre, and driven to the post-house, when not fewer than fourblacksmiths came rushing out of their respective forges, to examine everypart of the carriage. "A nail had started here: a screw was wanting there:and a fracture had taken place in another direction: even the perch wasgiven way in the centre!" "Alas, for my voiture de voyage!" exclaimed I tomy companion. Meanwhile, a man came forward with a red-hot piece of iron, in the shape of a cramp, to fix round the perch--which hissed as theapplication was made. And all this--before I could say wherefore! or evenopen my mouth to express astonishment! They were absolutely about to takeoff the wheels of the carriage; to examine, and to grease them--but it wasthen for the first time, that I opened a well-directed fire ofexpostulation; from which I apprehend that they discovered I was notperfectly ignorant either of their language or of their trickery. However, the rogues had _four_ francs for what they had the impudence to ask _six_;and considering my vehicle to be now proof against the probability of anaccident, I was resolved to leave the town in the same good humour in whichI had entered it. 

On quitting, we mounted slowly up a high ascent, and saw from thence thevillage of _Jouarre_, on a neighbouring summit, smothered with trees. Itseemed to consist of a collection of small and elegant country houses, eachwith a lawn and an orchard. At the foot of the summit winds theunostentatious little stream of _Le Petit Morin_ The whole of this scenery, including the village of _Montreuil-aux-Lions_--a little onwards--wasperfectly charming, and after the English fashion: and as the sky becamemellowed by the rays of the declining sun, the entire landscape assumed ahue and character which absolutely refreshed our spirits after the heat ofthe previous part of the journey. We had resolved to sleep at_Chateau-Thierry_, about seven leagues off, and the second posting-placefrom where we had last halted. Night was coming on, and the moon roseslowly through a somewhat dense horizon, as we approached our rendezvousfor the evening. All was tranquil and sweet. We drove to the inn called the_Sirène_, situated in the worst possible part of the town: but we quicklychanged our determination, and bespoke beds for the night, and horses forthe following morning, at the _Poste Royale_. The landlady of the Inn was atartar--of her species. She knew how to talk civilly; and, for her, a moreagreeable occupation--how to charge! We had little rest, and less sleep. Bya quarter past five I was in the carriage; intending to breakfast at_Epernay_, about twenty-five miles off. 

The first post-station is _Parois_. It is a beautiful drive thither, andthe village itself is exceedingly picturesque. From _Parois_ to _Dormans_, the next post village, the road continues equally interesting. We seemed togo each post like the wind; and reached _Epernay_ by nine o'clock. Thedrive from Dormans to Epernay is charming; and as the sky got well nighcovered by soft fleecy clouds when we reached the latter place, ourphysical strength, as well as animal spirits, seemed benefited by thechange. I was resolved to _bargain_ for every future meal at an inn: and atEpernay I bespoke an excellent breakfast of fruit, eggs, coffee and tea, atthree francs a head. This town is the great place in France for themanufacture of _Vin de Champagne_. It is here where they make it in thegreatest quantities; although _Sillery_, near Rheims, boasts of champagneof a more delicate quality. I learnt here that the Prussians, in theirinvasion of France in 1814, committed sad havoc with this temptingproperty. They had been insulted, and even partially fired upon--as theypassed through the town, --and to revenge themselves, they broke open thecellars of M ... , the principal wine merchant; and drank the contents ofonly--_one hundred thousand bottles of champagne_!" "But, " said the ownerof these cellars, (beyond the reach of the hearing of the Prussians, as youmay be well assured!) "they did not break open my _largest vault_ ... WhereI had _half as much again!_. "Indeed, I was told that the wine vaults ofEpernay were as well worth inspection, as the catacombs of Paris. 

I should observe to you that the river _Marne_, one of the second-raterivers, of France, accompanies you pretty closely all the way from ChateauThierry to Chalons--designated as _Chalons-sur-Marne. _ From Epernay toChalons you pass through nothing but corn fields. It is a wide and vastocean of corn--with hardly a tree, excepting those occasionally along theroad, within a boundary of ten miles. Chalons is a large and populous town;but the churches bear sad traces of revolutionary fury. Some of theporches, once covered with a profusion of rich, alto-relievo sculpture, areabsolutely treated as if these ornaments had been pared away to the veryquick! Scarcely a vestige remains. It is in this town where the two greatroads to STRASBOURG--one by _Metz_, and the other by _Nancy_--unite. Theformer is to the north, the latter to the south. I chose the latter;intending to return to Paris by the former. On leaving Chalons, we purposedhalting to dine at _Vitry-sur-Marne_--distant two posts, of about fourleagues each. _La Chaussée, _ which we reached at a very smart trot, was thefirst post town, and is about half way to Vitry. From thence we had "tomount a huge hill"--- as the postilion told us; but it was here, as inNormandy--these huge hills only provoked our laughter. However, the wheelwas subjected to the drag-chain--and midst clouds of white dust, whichconverted us into millers, we were compelled to descend slowly. Vitry wasseen in the distance, which only excited our appetite and made us anxiousto increase our pace. 

On reaching Vitry, I made my terms for dinner with the landlady of theprincipal inn--who was literally as sharp as a razor. However, we had acomfortable room, a good plain dinner, with an excellent bottle of _Vin deBeaune_, for three francs each. "Could Monsieur refuse this triflingpayment?" He could not. Before dinner I strolled to the principal church--which is indeed a structure of a most noble appearance--like that of St. Sulpice in form, and perhaps of a little more than half its size. It is thelargest parish church which I have yet seen; but it is comparativelymodern. It was Sunday; and a pleasing spectacle presented itself onentering. A numerous group of young women, dressed almost entirely inwhite, with white caps and veils, were singing a sort of evening hymn--which I understood to be called the _Chaplet of the Virgin_. Their voices, unaccompanied by instrumental music, sounded sweetly from the loftiness ofthe roof; and every singer seemed to be touched with the deepest sense ofdevotion. They sang in an attitude with the body leaning forward, and thehead gently inclined. The silence of the place--its distance from themetropolis--the grey aspect of the heavens--and the advanced hour of theday ... All contributed to produce in our minds very pleasing and yetserious sensations. I shall not easily forget the hymn called THE CHAPLETOF THE VIRGIN, as it was sung in the church of Vitry. 

After leaving this place we successively changed horses at _Longchamp_ andat _St. Dizier_. To our great comfort, it began to threaten rain. While thehorses were being changed at the former place, I sat down upon a roughpiece of stone, in the high road, by the side of a well dressed paysanne, and asked her if she remembered the retreat of Bonaparte in the campaign of1814--and whether he had passed there? She said she remembered it well. Bonaparte was on horseback, a little in advance of his troops--and ambledgently, within six paces of where we were sitting. His head was ratherinclined, and he appeared to be very thoughtful. _St. Dizier_ was thememorable place upon which Bonaparte made a rapid retrograde march, inorder to get into the rear of the allied troops, and thus possess himselfof their supplies. But this desperate movement, you know, cost him hiscapital, and eventually his empire. St. Dizier is rather a large place, andthe houses are almost uniformly white. Night and rain came on together aswe halted to change horses. But we were resolved upon another stage--to_Saudrupt_: and were now about entering the department of LORRAINE. 

The moon struggled through a murky sky, after the cessation of rain, as weentered _Saudrupt_: which is little better than a miserable village. Travellers seldom or never sleep here; but we had gone a very considerabledistance since five in the morning, and were glad of any thing in the shapeof beds. Not an inn in Normandy which we had visited, either by day or bynight, seemed to be more sorry and wretched than this, where we--stretchedour limbs, rather than partook of slumber. At one in the morning, a youngand ardent lover chose to serenade his mistress, who was in the next house, with a screaming tune upon a half-cracked violin--which, added to thenever-ceasing smacking of whips of farmers, going to the next market town--completed our state of restlessness and misery. Yet, the next morning, wehad a breakfast ... So choice, so clean, and so refreshing--in a place ofall others the least apparently likely to afford it--that we almost fanciedour strength had been recruited by a good night's sleep. The landlord couldnot help his miserable mansion, for he was very poor: so I paid himcheerfully and liberally for the accommodation he was capable of affording, and at nine o'clock left Saudrupt in the hope of a late dinner at NANCY--the capital of Lorraine. 

The morning was fresh and fair. In the immediate neighbourhood of Saudruptis the pretty village of _Brillon_, where I noticed some stone crosses; andwhere I observed that particular species of domestic architecture, which, commencing almost at Longchamps, obtains till within nearly three stages ofStrasbourg. It consists in having rather low or flat roofs, in the Italianmanner, with all the beams projecting _outside_ of the walls: which givesit a very unfinished and barbarous look. And here too I began to be moreand more surprised at the meagreness of the population of the _country_. Even on quitting Epernay, I had noticed it to my companion. The humanbeings you see, are chiefly females--ill-featured, and ill complexioned--working hard beneath the rays of a scorching sun. As to that sabbath-attireof cleanliness, even to smartness among our _own_ country people, it is athing very rarely to be seen in the villages of France. At Brillon, webought fine cherries, of a countrywoman for two sous the pound. 

_Bar-le Duc_ is the next post-town. It is a place of considerable extentand population: and is divided into the upper and lower town. The approachto it, along hilly passes, covered with vineyards, is pleasant enough. Thedriver wished to take us to the upper town--to see the church of St. Peter, wherein is contained "a skeleton perforated with worm-holes, which was theadmiration of the best connoisseurs. " We civilly declined such a sight, buthad no objection to visit the church. It was a Saint's day: and theinterior of the church was crowded to excess by women and lads. An oldpriest was giving his admonition from the high altar, with great proprietyand effect: but we could not stay 'till the conclusion of the service. Thecarriage was at the door; and, reascending, we drove to the lower town, down a somewhat fearful descent, to change horses. It was impossible toavoid noticing the prodigious quantity of fruit--especially of currants andstrawberries. _Ligny_ was our next halting place, to change horses. Theroute thither was sufficiently pleasant. You leave the town through rathera consequential gateway, of chaste Tuscan architecture, and commenceascending a lofty hill. From hence you observe, to the left, an old castlein the outskirts of the town. The road is here broad and grand: andalthough a very lively breeze was playing in our faces, yet we were notinsensible to the increasing heat of the day. We dined at _St. Aubin_. Ahearty good-humoured landlady placed before us a very comfortable meal, with a bottle of rather highly-flavoured vin ordinaire. The inn was littlebetter than a common ale house in England: but every thing was "trèspropre. " On leaving, we seemed to be approaching high hills, through flatmeadows--where very poor cattle were feeding. A pretty drive towards _Void_and _Laye_, the next post-towns: but it was still prettier on approaching_Toul_, of which the church, at a distance, had rather a cathedral-likeappearance. We drank tea at Toul--but first proceeded to the church, whichwe found to be greatly superior to that of Meaux. Its interior is indeed, in parts, very elegant: and one lancet-shaped window, in particular, ofstained glass, may even vie with much of what the cathedral of this placeaffords. 

At Toul, for the first time since quitting Paris, we were asked for ourpassports; it being a fortified town. Our next stage was _Dommartin_;behind which appeared to be a fine hilly country, now purpled by the raysof a declining sun. The church of Toul, in our rear, assumed a morepicturesque appearance than before. At _Velaine_, the following post-town, we had a pair of fine mettlesome Prussian horses harnessed to our voiture, and started at a full swing trot--through the forest of Hayes, about aFrench league in length. The shade and coolness of this drive, as the sunwas getting low, were quite refreshing. The very postilion seemed to enjoyit, and awakened the echoes of each avenue by the unintermitting sounds ofnumberless flourishes of his whip. "How tranquil and how grand!" would heoccasionally exclaim. On clearing the forest, we obtained the first glimpseof something like a distant mountainous country: which led us to concludethat we were beginning to approach the VOSGES--or the great chain ofmountains, which, running almost due north and south, separates France fromALSACE. Below, glittered the spires of _Nancy_--as the sun's last raysrested upon them. A little distance beyond, shot up the two elegant towersof _St. Nicholas_; but I am getting on a little too fast.... The forest ofHayes can be scarcely less than a dozen English miles in breadth. I hadnever before seen so much wood in France. Yet the want of water is a greatdraw-back to the perfection of rural scenery in this country. We had hardlyobserved one rivulet since we had quitted the little glimmering stream atChateau-Thierry. 

We now gained fast upon NANCY, the capital of Lorraine. It is doubtlessamong the handsomest provincial towns in Europe; and is chiefly indebtedfor its magnificence to Stanislaus, King of Poland, who spent the latterpart of his life there, and whose daughter was married to Louis XV. Theannexation of Lorraine to France has been considered the masterpiece ofLouis's policy. Nancy may well boast of her broad and long streets: runningchiefly at right angles with each other: well paved, and tolerably clean. The houses are built chiefly of stone. Here are churches, a theatre, acollege, a public library--palace-like buildings--public gardens--hospitals, coffee houses, and barracks. In short, Nancy is another Caen;but more magnificent, although less fruitful in antiquities. The _Place dela Liberté_ et _d'alliance_ et _de la Carriére_ may vie with the publicbuildings of Bath; but some of the sculptured ornaments of the _former_, exhibit miserable proofs of the fury of the Revolutionists. Indeed Nancywas particularly distinguished by a visit of the Marseillois gentry, whochose to leave behind pretty strong proofs of their detestation of what wasat once elegant and harmless. The headless busts of men and women, roundthe house of the governor, yet prove the excesses of the mob; and thedestruction of two places of worship was the close of their devastatinglabours. 

Nancy is divided into the _Old_ and the _New Town_. The four principalstreets, dividing the latter nearly at right angles, are terminated byhandsome arches, in the character of _gateways_. They have a nobleappearance. 

On the first evening of our arrival at Nancy, we walked, after a late cupof tea, into the public garden--at the extremity of the town. It was broadmoon light; and the appearance of the _Caffés_, and several _Places_, hadquite a new and imposing effect; they being somewhat after the Parisianfashion. After a day of dust, heat, and rapid motion, a seat upon one ofthe stone-benches of the garden--surrounded by dark green trees, of whichthe tops were tipt with silver by the moon beam--could not fail to refreshand delight me: especially as the tranquillity of the place was onlydisturbed by the sounds of two or three groups of _bourgeoises_, strollingarm in arm, and singing what seemed to be a popular, national air--of whichthe tune was somewhat psalm-like. The broad walks abounded with bowers, andopen seats; and the general effect was at once singular and pleasing. TheHotel-Royal is an excellent inn; and the owners of it are very civilpeople. 

My first visits were paid to churches and to bookseller's shops. Ofchurches, the _Cathedral_ is necessarily the principal. It is large, lofty, and of an elegant construction, of the Grecian order: finished during thetime of Stanislaus. The ornamental parts are too flaunting; too profuse, and in bad taste. This excess of decoration pervades also the house of theGovernor; which, were it not so, might vie with that of Lord Burlington;which it is not unlike in its general appearance. In the Cathedral, themonument of Stanislaus, by Girardon, is _considered_ to be a chef-d'ouvre. There was a Girardet--chief painter to Stanislaus, who is here called "therival of Apelles:" a rival with a vengeance! From thence I went to an oldchurch--perhaps of the thirteenth, but certainly of the fourteenth century. They call it, I think, _St. Epreuve. _ In this church I was much struck witha curious old painting, executed in distemper, upon the walls of a sideaisle, which seemed to be at least three hundred years old. It displayedthe perils and afflictions of various Saints, on various emergencies, andhow they were all eventually saved by the interposition of the Virgin. Afine swaggering figure, in the foreground, dressed out in black andyellow-striped hose, much delighted me. Parts of this curious old picturewere worth copying. Near to this curiosity seemed to be a fine, genuinepainting, by Vandyke, of the Virgin and Child--the first exhibition of thekind which I had seen since leaving Paris. It formed a singular contrast tothe picture before described. On quitting this old church, I could not helpsmiling to observe a bunch of flowers, in an old mustard pot--on which wasinscribed "_Moutarde Fine de Nageon, à Dijon_--" placed at the feet of astatue of the Virgin as a sacred deposit!

On leaving the church, I visited two booksellers: one of them ratherdistinguished for his collection of _Alduses_--as I was informed. I foundhim very chatty, very civil, but not very reasonable in his prices. He toldme that he had plenty of old books--_Alduses_ and _Elzevirs, &c_. --withlapping-over vellum-bindings. I desired nothing better; and followed him upstairs. Drawer after drawer was pulled out. These M. Renouard had seen:those the Comte d'Ourches had wished to purchase; and a third pile wasdestined for some nobleman in the neighbourhood. There was absolutelynothing in the shape of temptation--except a _Greek Herodian_, by TheodoreMartin of Louvain, and a droll and rather rare little duodecimo volume, printed at Amsterdam in 1658, entitled _La Comédie de Proverbes_. The nextbookseller I visited, was a printer. "Had he any thing old and curious?" Hereplied, with a sort of triumphant chuckle, that he "once had _such_ atreasure of this kind!" "What might it have been?" "A superb missal--forwhich a goldsmith had offered him twelve sous for each initial letter upona gold ground--but which he had parted with, for 100 francs, to the libraryof a Benedictin monastery--now destroyed. It had cost him twelve sous. ""But see, Sir, (continued he) is not this curious?" "It is a mere reprint, (replied I) of what was first published three hundred years ago. " "Nomatter--buy it, and read it--it will amuse you--and it costs only fivesous. " I purchased two copies, and I send you here the title and thefrontispiece. "_Le Dragon Rouge, ou l'art de commander les EspritsCélestes, Aériens, Terrestres, Infernaux. Avec le vrai Secret de faireparler les Morts; de gagner toutes les fois qu'on met aux Lotteries; dedécouvrir les Trésors, " &c_. 

[Illustration]

The bookseller told me that he regularly sold hundreds of copies of thiswork, and that the country people yet believed in the efficacy of itscontents! I had been told that it was in this very town that a copy of _theMazarine Bible_ had been picked up for some _half_ _dozen francs!_--andconveyed to the public library at Munich. 

Towards the evening, I visited the public library by appointment. Indeed Ihad casually met the public librarian at the first Bouquiniste's: and hefixed the hour of half-past six. I was punctual almost to the minute; andon entering the library, found a sort of BODLEY in miniature: except thatthere was a great mass of books in the middle of the room--placed in aparallelogram form--which I thought must have a prodigiously heavy pressureupon the floor. I quickly began to look about for _Editiones Principes_;but, at starting, my guide placed before me two copies of the celebrated_Liber Nanceidos_:[200] of which _one_ might be fairly said to be _largepaper_. On continuing my examination, I found civil and canon law--pandects, glosses, decretals, and commentaries--out of number: togetherwith no small sprinkling of medical works. Among the latter was a curious, and _Mentelin_-like looking, edition of _Avicenna_. But _Ludolphus's Lifeof Christ_, in Latin, printed in the smallest type of _Eggesteyn_, in 1474, a folio, was a volume really worth opening and worth coveting. It was inits original monastic binding--large, white, unsullied, and abounding withrough marginal edges. 

It is supposed that the library contains 25, 000 volumes. Attached to it isa Museum of Natural History. But alas! since the revolution it exhibits afrightful picture of decay, devastation, and confusion. To my eye, it waslittle better than the apothecary's shop described by Romeo. It contained anumber of portraits in oil, of eminent Naturalists; which are palpablecopies, by the same hand, of originals ... That have probably perished. Themuseum had been gutted of almost every thing that was curious or precious. Indeed they want funds, both for the museum and the library. It was nearnight-fall when I quitted the library, and walked with the librarian in apleasant, open space, near one of the chief gates or entrances beforementioned. The evening was uncommonly sweet and serene: and the moon, nownearly full, rose with more than her usual lustre ... In a sky of thedeepest blue which I had yet witnessed. I shall not readily forget theconversation of that walk. My companion spoke of his own country with thesincerity of a patriot, but with the good sense of an honest, observing, reflecting man. I had never listened to observations better founded, orwhich seemed calculated to produce more beneficial results. Of _our_country, he spoke with an animation approaching to rapture. It is only theexercise of a grateful feeling to record this--of a man--whose name I haveforgotten, and whose person I may never see again. On quitting each other, I proceeded somewhat thoughtfully, to an avenue of shady trees, wheregroups of men and women were sitting or strolling--beneath the broad moonbeam--and chanting the popular airs of their country. 

The next morning I quitted Nancy. The first place of halting was _St. Nicholas_--of which the elegant towers had struck us on the other side ofNancy. It was no post town: but we could not pass such an ecclesiasticaledifice without examining it with attention. The village itself is mostmiserable; yet it could once boast of a _press_ which gave birth to the_Liber Nanceidos_. [201] The space before the west front of the church isabsolutely choked by houses of the most squalid appearance--so that thereis hardly getting a good general view of the towers. The interior struck usas exceedingly interesting. There are handsome transepts; in one of whichis a large, circular, central pillar; in the other, an equally large one, but twisted. One is astonished at finding such a large and beautifulbuilding in such a situation; but formerly the place might have been largeand flourishing. The west front of this church may rival two-thirds ofsimilar edifices in France. 

_Domballe_ was the next post: the drive thither being somewhat picturesque. _Luneville_ is the immediately following post town. It is a large andconsiderable place; looking however more picturesque at a distance than onits near approach: owing to the red tiles of which the roofs are composed. Here are handsome public buildings; a fountain, with eight jets d'eau--barracks, a theatre, and the castle of Prince Charles, of Lorraine. A gooddeal of business is carried on in the earthenware and cotton trade--of bothwhich there is a manufactory--together with that of porcelaine. This placeis known in modern history from the _Treaty of Luneville_ between theAustrians and French in 1801. From hence we went to _Bénaménil_, the nextstage; and in our way thither, we saw, for the first time since leavingParis, a _flock of geese!_ Dined at _Blamont_--the succeeding post town. While our cutlets were preparing we strolled to the old castle, now in astate of dilapidation. It is not spacious, but is a picturesque relic. Within the exterior walls is a fine kitchen garden. From the top of whatmight have been the donjon, we surveyed the surrounding country--at thatmoment rendered hazy by an atmosphere of dense, heated, vapour. Indeed itwas uncommonly hot. Upon the whole, both the village and _Castle ofBlamont_ merit at least the leisurely survey of an entire day. 

On starting for _Héming_, the next post, we were much pleased by the sightof a rich, verdant valley, fertilized by a meandering rivulet. The villageof _Richeval_ had particular attractions; and the sight of alternate woodsand meadows seemed to mitigate the severity of the heat of the day. AtHéming we changed horses, opposite a large fountain where cattle werecoming to drink. The effect was very picturesque; but there was no time forthe pencil of Mr. Lewis to be exercised. In less than five minutes we wereoff for _Sarrebourg_. Evening came on as we approached it. Here I saw_hops_ growing, for the first time; and here, for the first time, I heardthe _German language_ spoken--and observed much of the German character inthe countenances of the inhabitants. The postilion was a German, and couldnot speak one word of French. However, he knew the art of driving--for weseemed to fly like the wind towards _Hommarting_--which we reached in halfan hour. It was just two leagues from Sarrebourg. We stopped to changehorses close to what seemed to be a farm house; and as the animals werebeing "yoked to the car, " for another German Phaeton, I walked into a verylarge room, which appeared to be a kitchen. Two long tables were coveredwith supper; at each of which sat--as closely wedged as well could be--agreat number of work-people of both sexes, and of all ages. Huge dogs weremoving backwards and forwards, in the hope of receiving some charitablemorsel;, and before the fire, on a littered hearth, lay stretched out twotremendous mastiffs. I walked with fear and trembling. The cooks werecarrying the evening meal; and the whole place afforded such an_interior_--as Jan Steen would have viewed with rapture, and Wilkie havebeen delighted to copy. Meanwhile the postilion's whip was sounded: thefresh horses were neighing: and I was told that every thing was ready. Imounted with alacrity. It was getting dark; and I requested the good peopleof the house to tell the postilion that I did not wish him to _sleep_ uponthe road. 

The hint was sufficient. This second German postilion seemed to have takena leaf out of the book of his predecessor: for we exchanged a sharp trotfor a full swing canter--terminating in a gallop; and found ourselvesunexpectedly before the gates of _Phalsbourg_. Did you ever, my dearfriend, approach a fortified town by the doubtful light of a clouded moon, towards eleven of the clock? A mysterious gloom envelopes every thing. Thedrawbridge is up. The solitary centinel gives the pass-word upon theramparts; and every footstep, however slight, has its particular echo. Judge then of the noise made by our heavy-hoofed coursers, as we neared thedrawbridge. "What want you there?" said a thundering voice, in the Frenchlanguage, from within. "A night's lodging, " replied I. "We are Englishtravellers, bound for Strasbourg. " "You must wait till I speak with thesub-mayor. " "Be it so. " We waited patiently; but heard a great deal ofparleying within the gates. I began to think we should be doomed to retraceour course--when, after a delay of full twenty minutes, we heard ... To ourextreme satisfaction ... The creaking of the hinges (but not as "harshthunder") of the ponderous portals--which opened slowly and stubbornly--andwhich was succeeded by the clanking of the huge chain, and the letting downof the drawbridge. This latter rebounded slightly as it reached its level:and I think I hear, at this moment, the hollow rumbling noise of ourhorses' feet, as we passed over the deep yawning fosse below. Our passportswere now demanded. We surrendered them willingly, on the assurance given ofreceiving them the following morning. The gates were now closed behind us, and we entered the town in high glee. "You are a good fellow, " said I tothe gatesman: come to me at the inn, to-morrow morning, and you shall bethanked in the way you like best. "

The landlord of the inn was not yet a-bed. As he heard our approach, hecalled all his myrmidons about him--and bade us heartily welcome. He was agood-looking, sleek, jolly-faced man: civilly spoken, with a readyutterance, which seemed prepared to touch upon all kinds of topics. After Ihad bespoken tea and beds, and as the boiling water was getting ready, hebegan after the following fashion: "Hé bien Mons. Le Comte ... Comment vontles affaires en Angleterre? Et votre grand capitaine, le DUC DE VELLINGTON, comment se porte il? Ma foi, à ce moment, il joue un beau rôle. " I answeredthat "matters were going on very well in England, and that our greatCaptain was in perfectly good health. " "Vous le connoissez parfaitementbien, sans doute?"--was his next remark. I told him I could not boast ofthat honour. "Neanmoins, (added he) il est connu par-tout. " I readilyadmitted the truth of this observation. Our dialogue concluded by anassurance on his part, that we should find our beds excellent, ourbreakfast on the morrow delicious--and he would order such a pair of horses(although he strongly recommended _four_, ) to be put to our carriage, asshould set all competition at defiance. 

His prediction was verified in every particular. The beds were excellent;the breakfast, consisting of coffee, eggs, fruit, and bread and butter, (very superior to what is usually obtained in France) was delicious; andthe horses appeared to be perfect of their kind. The reckoning was, to besure, a little severe: but I considered this as the payment or punishmentof having received the title of _Count_ ... Without contradiction. It fellon my ears as mere words of course; but it shall not deceive me a secondtime. We started a little time after nine; and on leaving the place I feltmore than usual anxiety and curiosity to catch the first glimpse of the topof _Strasbourg Cathedral_, --a building, of which I had so long cherishedeven the most extravagant notions. The next post town was _Saverne_; andour route thither was in every respect the most delightful and gratifyingof any, and even of all the routes, collectively, which we had yetexperienced. As you approach it, you cross over a part of the famous chainof mountains which divide OLD FRANCE from Germany, and which we thought wehad seen from the high ground on the other side of Nancy. The country sodivided, was, and is yet, called ALSACE: and the mountains, just mentioned, are called the _Vosges_. They run almost due north and south: and form acommanding feature of the landscape in every point of view. But forSaverne. It lies, with its fine old castle, at the foot of the pass ofthese mountains; but the descent to it--is glorious beyond allanticipation!

It has been comparatively only of late years that this road, or pass, hasbeen completed. In former times, it was almost impassable. As the descentis rapid and very considerable, the danger attending it is obviated by thehigh road having been cut into a cork-screw-shape;[202] which presents, atevery spiral turn (if I may so speak) something new, beautiful, andinteresting. You continue, descending, gazing on all sides. To the right, suspended almost in the air--over a beetling, perpendicular, rocky cliff--feathered half way up with nut and beech--stands, or rather nods, an oldcastle in ruins. It seems to shake with every breeze that blows: but thereit stands--and has stood--for some four centuries: once the terror of thevassal, and now ... The admiration of the traveller! The castle was, to myeye, of all castles which I had seen, the most elevated in its situation, and the most difficult of access. The clouds of heaven seemed to be restingupon its battlements. But what do I see yonder? "Is it the top of the spireof Strasbourg Cathedral?" "It _is, _ Sir, " replied the postilion. I pulledoff my travelling cap, by way of doing homage; and as I looked at my watch, to know the precise time, found it was just ten o'clock. It was worthmaking a minute of. Yet, owing to the hills before--or rather to thosebeyond, on the other side of the Rhine, which are very much loftier--thefirst impression gives no idea of the extraordinary height of the spire. Wecontinued to descend, slowly and cautiously, with _Saverne_ before us inthe bottom. To the left, close to the road side, stands an obelisk: onwhich is fixed, hi gilt letters, this emphatic inscription:

_ALSATIA. _

Every thing, on reaching the level road, bespoke a distinct nationalcharacter. It was clear that we had forsaken French costume, as well as theFrench language, among the common people: so obvious is it, as has beenremarked to me by a Strasbourgeois, that "mountains, and not rivers, arethe natural boundaries of countries. " The women wore large, flat, strawhats, with a small rose at the bottom of a shallow crown; while theirthroats were covered, sometimes up to the mouth, with black, silk cravats. Their hair was platted, hanging down in two equal divisions. The faceappeared to be flat. The men wore shovel hats, of which the front partprojected to a considerable distance; and the perpetually recurringresponse of "_yaw yaw_"--left it beyond all doubt that we had taken leaveof the language of "the polite nation. " At length we reached Saverne, andchanged horses. This town is large and bustling, and is said to containupwards of four thousand inhabitants. We did not stop to examine any of itswonders or its beauties; for we were becoming impatient for Strasbourg. Thenext two intermediate post towns were _Wasselonne_ and _Ittenheim_--andthence to Strasbourg: the three posts united being about ten leagues. FromIttenheim we darted along yet more swiftly than before. The postilion, speaking in a germanised French accent, told us, that "we were about tovisit one of the most famous cities in the world--and _such_ a CATHEDRAL!"The immediate approach to Strasbourg is flat and uninteresting; nor couldI, in every possible view of the tower of the cathedral, bring myself tosuppose it--what it is admitted to be--the _loftiest ecclesiastical edificein the world_!

The fortifications about Strasbourg are said to afford one of the finestspecimens of the skill of Vauban. They may do so; but they are very flat, tame, and unpicturesque. We now neared the barriers: delivered ourpassports; and darted under the first large brick arched way. A deviouspaved route brought us to the second gate;--and thus we entered the town;desiring the post-boy to drive to the _Hôtel de l'Esprit_. "You judgewisely, Sir, (replied he) for there is no Hotel, either in France orGermany, like it. " So saying, he continued, without the least intermission, to make circular flourishes with his whip--accompanied by such ear-piercingsounds, as caused every inhabitant to gaze at us. I entreated him todesist; but in vain. "The English always enter in this manner, " said he--and having reached the hotel, he gave _one_ super-eminent flourish--whichthrew him off his balance, and nearly brought him to the ground. When Ipaid him, he pleaded hard for an _extra five sous_ for this concludingflourish!

I am now therefore safely and comfortably lodged in this spacious hotel, bythe side of the river _Ill_--of which it is pleasing to catch the lingeringbreezes as they stray into my chamber. God bless you. 

 * * * * *

P. S. One thing I cannot help adding--perhaps hardly deserving of apostscript. All the way from Paris to Strasbourg, I am persuaded that wedid not meet _six_ travelling equipages. The lumbering diligence and steadyPoste Royale were almost the only vehicles in action besides our own. Norwere _villas_ or _chateaux_ visible; such as, in our own country, enliventhe scene and put the traveller in spirits. 

[200] A folio volume, printed at St. Nicolas, a neighbouring village, in 1518. It is a poem, written in Latin hexameter verse by P. Blaru [P. De Blarrovivo]--descriptive of the memorable siege of Nancy in 1476, by CHARLES THE RASH, Duke of Burgundy: who perished before the walls. His death is described in the sixth book, _sign_. T. Iiij: the passage relating to it, beginning

 "Est in Nanceijs aratro locus utilis aruis:"

 A wood cut portrait of the commanding French general, Renet, is in the frontispiece. A good copy of this interesting work should always grace the shelves of an historical collector. Brunet notices a copy of it UPON VELLUM, in some monastic library in Lorraine. [Three days have not elapsed, since I saw a similar copy in the possession of Messrs. Payne and Foss, destined for the Royal Library at Paris. A pretty, rather than a magnificent, book. ]

[201] See page 362. 

[202] When this 'chaussée, ' or route royale, was completed, it was so admired, that the ladies imitated its cork-screw shape, by pearls arranged spirally in their hair; and this head dress was called _Coiffure à la Saverne_. 

_LETTER XIII. _

STRASBOURG. ESTABLISHMENT OF THE PROTESTANT RELIGION. THE CATHEDRAL. THEPUBLIC LIBRARY. 

_Hôtel de l'Esprit, July 26, 1818_. 

MY DEAR FRIEND;

It is Sunday; and scarcely half an hour ago, I heard, from a Lutheranchurch on the other side of the water, what I call good, hearty, rationalpsalm-singing: without fiddles or trombones or serpents. Thus, althoughconsiderably further from home, I almost fancied myself in old England. This letter will touch chiefly upon topics of an antiquarian cast, but ofwhich I venture to anticipate your approbation; because I have long knownyour attachment to the history of ALSACE--and that you have Schoepflin'sadmirable work[203] upon that country almost at your finger's ends. Thecity of Strasbourg encloses within its walls a population of about fiftythousand souls. I suspect, however, that in former times its population wasmore numerous. At this present moment there are about two hundred-and fiftystreets, great and small; including squares and alleys. The main streets, upon the whole, are neither wide nor narrow; but to a stranger they have avery singular appearance, from the windows being occasionally covered, onthe outside, with _iron bars_, arranged after divers fashions. This givesthem a very prison-like effect, and is far from being ornamental. Theglazing of the windows is also frequently very curious. In general, thepanes of glass are small, and circular, confined in leaden casements. Thenumber of houses in Strasbourg is estimated at three thousand five hundred. 

There are not fewer than forty-seven bridges in the interior of the town. These cross the branches of the rivers _Ill_ and _Bruche_--which emptythemselves into the _Rhine_. The fortifications of Strasbourg are equallystrong and extensive; but they assumed formerly a more picturesque, if nota more powerful aspect. [204]

There are _seven parishes_; of which four are catholic, and threeprotestant. This brings me to lay before you a brief outline of the riseand progress of PROTESTANTISM in this place. Yet, as a preliminary remark, and as connected with our mutual antiquarian pursuits, you are to knowthat, besides parish churches, there were formerly _fourteen convents_, exclusively of chapelries. All these are minutely detailed in the recentwork of M. Hermann, [205] from which indeed I have gleaned the chief of theforegoing particulars. A great many of these convents were suppressed inthe sixteenth century, upon the establishment of the protestant religion. 

But for a brief outline of the rise and progress of this establishment. Itmust indeed be brief; but if so, it shall at least be clear and faithful. The forerunner of Luther (in my opinion) was JOHN GEYLER; a man of singularintrepidity of head and heart. He was a very extraordinary genius, unquestionably; and the works which he has bequeathed to posterity evincethe variety of his attainments. Geyler preached boldly in the cathedralagainst the lax manners and doubtful morality of the clergy. He exhortedthe magistrates to do their duty, and predicted that there must be analteration of religious worship ere the general morals of the communitycould be amended. They preserve a stone chair or pulpit, of very curiousworkmanship, but which had nearly been destroyed during the Revolution, inwhich Geyler used to deliver his lectures. He died in 1510; and within adozen years after his death the doctrines of LUTHER, were sedulouslyinculcated. The ground had been well prepared for such seed. The court ofRome looked on with uneasiness; and the Pope sent a legate to Strasbourg in1522, to vent his anathemas, and to raise a strong party against the growthof this new heresy--as it was called. At this time, the reformed doctrinewas even taught in the cathedral; and, a more remarkable thing to strikethe common people, the RECTOR of the church of St. Thomas (the secondreligious establishment of importance, after that of the cathedral)VENTURED TO MARRY! He was applauded both by the common people and by manyof the more respectable families. His example was followed: and thereligious of both sexes were allowed to leave their establishments, to gowhere they would, and to enter upon the married state. In 1530 the mass wasgenerally abolished: and the protestant religion was constantly exercisedin the cathedral. 

The spirit both of Geyler and of Luther might have rejoiced to find, in1550, the chapter of St. Thomas resolutely avowing its determination toperform the protestant--and nothing but the protestant--religion within itsown extensive establishment. The flame of the new religion seemed now tohave reached all quarters, and warmed all hearts. But a temporary check toits progress was given by the cautious policy of Charles V. That wary andheartless monarch (who had even less religion than he had of the ordinaryfeelings of humanity) interfered with the weight of his power, and thedenunciations of his vengeance. Yet he found it necessary neither wholly tosuppress, nor wholly to check, the progress of the protestant religion:while, on the other hand, the Strasbourgeois dreaded too much the effectsof his power to dispute his will by any compact or alliance of opposition. In 1550, therefore, the matter stood thus. The cathedral, and thecollegiate and parish churches of St. Peter the Elder and St. Peter theYounger, as well as the Oratory of all Saints, adopted the _catholic_ formof worship. The other parish churches adopted that of the _protestant_. Yetin 1559 there happened such a serious affray in the cathedral churchitself--between the Catholics and Protestants--as taught the former theobvious necessity of conceding as much as possible to the latter. Itfollowed, that, towards the end of the same century, there were, in thecathedral chapter, _seventeen protestant_, and _eight catholic_ canons. Among the _latter_, however, was the celebrated Cardinal de Lorraine:--oneof the most powerful, the most furious, and the most implacable of theenemies of Protestantism. The part he took in the massacre of St. Bartholomew's day, consigns his name to everlasting ignominy anddetestation. 

In 1610 a league was formed for the adjustment of the differences betweenthe Catholics and Protestants: but the unfortunate thirty years warbreaking out in 1618, and desolating nearly the whole of Germany, preventedthe permanent consolidation of the interests of either party. All this timeStrasbourg was under the power, as it even now speaks the language, andpartakes of the customs and manners, of GERMANY: but its very situationrendered it the prey of both the contending powers of Germany and France. At length came the memorable, and as I suspect treacherous, surrender ofStrasbourg to the arms of Louis XIV, in September 1681; when the respectiverights and privileges of the Catholics and Protestants were placed upon adefinite footing: although, before this event, the latter had considerablythe ascendancy. These rights were endeavoured to be shaken by therevocation of the edict of Nantes in 1685--not however before the Jesuitshad been striving to warp the feelings of the latter in favour of theformer. The catholic religion was, by the articles of the surrender of thecity, established in the cathedral, in the subordinate churches of St. Peter the Elder and St. Peter the Younger, and in the Oratory of AllSaints: and it has continued to be exercised pretty much in the sameproportion unto this day. The majority of the inhabitants are howeverdecidedly Protestants. Such is a succinct, but I believe not unfaithful, account of the establishment of the PROTESTANT RELIGION at Strasbourg. 

This subject therefore naturally brings me to notice the principal _Templeof Worship_ in which the rites of either religion seem, for a long time, tohave been alternately exercised; and this temple can be no other than _theMinster_--or, as we should say, the _Cathedral. _ Ere I assume the office ofthe historian, let me gratify my inclinations as a spectator. Let me walkround this stupendous structure. At this moment, therefore, consider me asstanding in full gaze before its west front--from which the tower springs. This tower seems to reach to heaven. Indeed the whole front quiteoverwhelms you with alternate emotions of wonder and delight. Luckily thereis some little space before it, in which trees have been recently planted;and where (as I understand) the fruit and vegetable market is held. At thefurther end of this space in approaching the Cathedral, and in running theeye over the whole front, the first thing that strikes you is, the red orcopperas colour of the stone--which I presume to be a species of sandstone. This gives a sort of severe metallic effect. However you are rivetedto the spot wherein you command the first general survey of thisunparalleled front. The delicacy, the finish, the harmonious intricacy, andfaery-like lightness, of the whole--even to the summit of the spire;--whichlatter indeed has the appearance of filigree work, raised by enchantment, and through the interstices of which the bright blue sky appears with alustre of which you have no conception in England--all this, I say, perfectly delights and overwhelms you. You want words to express yourideas, and the extent of your gratification. You feel convinced that themagnificent edifice before you seems to be the _ne plus ultra_ of humanskill in ornamental gothic architecture. Undoubtedly one regrets here, asat Antwerp, the absence of a corresponding tower; but you are to form yourjudgment upon what is _actually_ before you, and, at the same time, to bearin mind that this tower and spire--for it partakes of both characters--isfull _four hundred and seventy four_ English feet in height![206]--and, consequently, some twenty or thirty feet only lower than the top of St. Peter's at Rome. One is lost in astonishment, on bearing such an altitudein mind, considering the delicacy of the spire. There is no place fittingfor a satisfactory view of it, within its immediate vicinity. [207]

This western front, or facade, is divided into three stages orcompartments. The bottom or lower one is occupied by three magnificentporches; of which the central is by far the loftiest and most ornamental. The period of their execution is from the year 1270 to 1320: a period, whengothic architecture was probably at its highest pitch of perfection. Thecentral porch is divided into five compartments on each side--forming anangle of about forty-five degrees with the door-way. The lower parts ofthese divisions contain each a statue, of the size of life, upon itsrespective pediment. The upper parts, which blend with the arch-likeconstruction, are filled with small statues, upon pediments, having a sortof brilliant, fretted appearance. All these figures are representations ofcharacters in Scripture. Again, above this archway, forming the centralornaments of the sharper angles, are the figures of the Almighty, theVirgin and Child, and Solomon. In front, above the door way, upon a flatsurface, are four sculptured compartments; devoted to scriptural subjects. The same may be said of the right and left porch. They are equallyelaborate, and equally devoted to representations of scriptural subjects. They will have it, that, according to tradition, the daughter of Ervin deSteinbach, the chief architect of the western front, worked a great deal atthis central porch, and even sculptured several of the figures. Howeverthis may be, the _tout ensemble_ is really beyond any thing which could besatisfactorily conveyed by a written description. 

We now cast our eye upon the second division of this stupendous facade; andhere our attention is almost exclusively devoted to the enormous circularor marygold window, in the central compartment. It is filled with stainedglass--and you are to know that the circumference of the outer circle isone hundred and sixty-English feet: or about fifty-three feet in diameter;and I challenge you to shew me the like--in any building of which you haveany knowledge!

Perhaps the most wonderful part of this structure is the open filigree workof the tower, immediately above the platform: though I admit that the_spiral_ part is exceedingly curious and elaborate. Of course there was noexamining such a wonder without mounting to the platform, and ascending thetower itself. The platform is about three hundred feet from the pavement. We quitted this tenement, and walked straight forward upon the platform. What a prospect was before us. There flowed the RHINE! I felt anindescribable joy on my first view of that majestic river. There itflowed ... Broad and rapid ... And apparently peaceful, within its lowbanks. On the other, or eastern side of it, was a range of lofty hills, of a mountainous character. On the opposite side of the town ran the greatchain of hills--called the VOSGES--which we had crossed in our routehither; and of which we had now a most extensive and unobstructed view. These hills were once the abode of adventurous chieftains and powerfulnobles; and there was scarcely an eminence but what had been formerlycrowned by a baronial castle. [208] Below, appeared the houses ofStrasbourg ... Shrunk to rabbit-hutches--and the people ... To emmets!

It remained to ascend the opposite tower. At each of the four corners thereis a spiral stair-case, of which the exterior is open work, consisting ofslender but lofty pillars; so that the ascending figure is seen at everyconvolution. It has a fearful appearance to the adventurer: but there isscarcely the possibility of danger. You go round and round, and observethree distinct terminations of the central work within--forming threeroofs--of which, the _third_ is eminently beautiful. I could not helpexpressing my astonishment at some of the exterior columns, which could notbe much less than threescore feet in height, and scarcely twelve inches indiameter! Having gained the top of one of these corner spiral stair-cases, I breathed and looked around me. A new feature presented itself to my view. About one hundred feet beneath, was the body of this huge cathedral. Immediately above, rose the beautifully-tapering and curiously ornamentedSPIRE--to the height of probably, one hundred and twenty-five feet! Itseemed indeed as if both tower and spire were direct ladders to the sky. The immortal artist who constructed them, and who lived to witness thecompletion of his structure, was JOAN HÜLTZ, a native of Cologne. The dateof their completion is 1449. Thus, on the continent as well as in England, the period of the most florid style of gothic architecture was during thefirst half of the fifteenth century. 

I essayed to mount to the very pinnacle; or _bouton_ of the spire; but theascent was impracticable--owing to the stair-case being under repair. Onthe summit of this spire, there once stood a _statue of the Virgin, _ abovea cross. That statue was taken down at the end of the fifteenth century, and is now placed over the south porch. But, what do you think supplied itsplace during the late Revolution, or in the year of our Lord 1794, on the4th day of May? Truly, nothing less than a large cap, made of tin, andpainted red--called the _Cap of Liberty!_ Thank heaven, this latter waspulled down in due time--and an oblong diamond-shaped stone is now thefinishing piece of masonry of this wonderful building. In descending, Istopped again at the platform, and was requested to see the GREAT BELL; ofwhich I had heard the deep-mouthed roar half a dozen times a day, since myarrival. It is perhaps the finest toned bell in Europe, and appeared to meterrifically large--being nearer eight than seven feet high. [209] Theybegin to toll it at four or five o'clock in the summer-mornings, toannounce that the gates of the town are opened. In case of fire at night, it is very loudly tolled; and during a similar accident in the day time, they suspend a pole, with a red flag at the end of it, over that part ofthe platform which is in a line with the direction of the fire. 

A grand defect in the structure of this Cathedral, as it strikes me, is, that the nave and transepts do not seem to belong to such a western front. They sink into perfect insignificance. Nor is the style of their exteriorparticularly deserving of description. Yet there is _one_ feature in theexternal architecture of this Cathedral--namely, a series or suite ofDROLLERIES ... Of about four or five feet high ... Which cannot fail toattract the antiquary's especial notice. These figures are coarsely butspiritedly cut in stone. They are placed upon the bracket which supportsthe galleries, or balcony, of the eastern side of the facade of the tower, and are about sixty-five English feet from the ground. They extend tothirty-two feet in length. Through the kind offices of my friend Mr. Schweighæuser, junior, (of whom by and by) I have obtained drawings ofthese droll subjects, [210] and I am sure that, in common with many of ourfriends, you will be amused with the sight of a few of them. They areprobably of the date of 1370;

[Illustration]

[Illustration]

The common people call this series the _Sabbath of Demons, _ or _the Danceof the Witches_. You are to know, however, that on the opposite side of thecathedral there is a series of figures, of the same size, and executednearly in the same style of art, descriptive of scriptural events, mixedwith allegorical subjects. Having now pointed out what appears to me to bechiefly interesting in the _exterior_ of this marvellous building, it isright that I give you some notion of its _interior_: which will howeveroccupy but a short portion of your attention. Indeed--I grieve to speakit--both the exterior and interior of the _nave_ are wholly unworthy ofsuch a magnificent west-front. 

The nave and choir together are about three hundred and fifty-five Englishfeet in length; of which the nave is two hundred and forty-four--evidentlyof too scanty dimensions. The width of the nave and side aisles is onehundred and thirty-two feet: the height of the nave is only seventy-twofeet. The larger of the nine clustered columns is full seventy-two feet incircumference; the more delicate, thirty feet. There is really nothingstriking in this nave; except that, on turning round, and looking up to thepainted glass of the circular or marygold window, you observe the coloursof it, which are very rich, and absolutely gay, compared with those of theother windows. There is a profusion of painted glass in almost all thewindows; but generally of a sombre tint, and of a correspondent gloomyeffect. Indeed, in consequence of this profusion, the cathedral absolutelywants light. 

The choir is sixty-seven feet wide, without side aisles, and is much lowerthan the nave. It is impossible to speak of this choir without indignation. My good friend--the whole of this interior has recently undergone rather amartyrdom than a metamorphosis. The sides are almost entirely covered with_Grecian_ pilasters and pillars; and so are the ornaments about the altar. What adds to the wretched effect of the whole, is, a coat of _white-wash_, which was liberally bestowed upon it some forty years ago; and which willrequire at least the lapse of another century to subdue its staring effect. There are only three chapels in this cathedral. Of _altars_ there are notfewer than twelve: the principal being in the chapels of St. Lawrence andSt. Catharine. 

It was near the chapel of _St. Catharine_, that, on the morning of ourfirst visit, we witnessed a group of country people, apparently from theneighbourhood of _Saverne_--from their huge, broad, flat hats--engaged indevotion before the image of some favourite saint. The rays of a bright sundarted through the windows, softened by the varied tints of the stainedglass, upon their singular countenances and costumes; and the effect wasirresistibly striking and interesting. 

In the centre of the south transept, there rises a fine, slender, clusteredcolumn, reaching to its very summit. On the exterior of this column--placedone above another, but retreating or advancing, or in full view, accordingto the position of the spectator--are several figures, chiefly females;probably five feet high, with labels or scrolls, upon each of which is aninscription. I never saw any thing more elegant and more striking of itskind. These figures reach a great way up the pillar--probably to the top--but at this moment I cannot say decidedly. It is here, too, that the famousStrasbourg _Clock_, (about which one Dasypodius hath published a Latintreatise in a slim quarto volume[211]) is placed. This, and the tower, werecalled the _two great wonders of Germany_. This clock may be described infew words: premising, that it was preceded by a clock of very extraordinaryworkmanship, fabricated in the middle of the fourteenth century--of which, the _only_ existing portion is, a _cock_, upon the top of the leftperpendicular ornament, which, upon the hourly chiming of the bells, usedto flap his wings, stretch out his neck, and crow twice; but being struckby lightning in the year 1640, it lost its power of action and of sendingforth sound. No modern skill has been able to make this cock crow, or toshake his wings again. The clock however is now wholly out of order, andshould be placed elsewhere. It is very lofty; perhaps twenty feet high: isdivided into three parts, of which the central part represents _OurSaviour_ and _Death_, in the middle, each in the act as if to strike abell. When, in complete order, Death used to come forward to strike the_quarters_; and, having struck them, was instantly repelled by our Saviour. When he came forward to strike the _hour_, our Saviour in turn retreated:--a whimsical and not very comprehensible arrangement. But old clocks used tobe full of these conceits. 

Upon throwing an eye over what I have just written, I find that I haveomitted to notice the celebrated STONE PULPIT, in the nave, enriched withsmall figures--of the latter end of the fifteenth century. In fact, thedate of 1485, in arabic numerals, (if I remember rightly) is at the bottomof it, to the right of the steps. This pulpit, my good friend, is nothingless than the very ecclesiastical rostrum from which the famous _JohnGeyler_ thundered his anathemas against the monkish clergy. You mayremember that some slight notice was taken of it at the beginning of thisletter, in which the progress of Protestantism at Strasbourg was attemptedto be traced. I will frankly own to you, that, of all pulpits, throughoutNormandy, or in Paris--as yet examined by me--I have seen none whichapproaches to THIS; so rich, varied, and elaborate are its sculpturedornaments. [212] The Revolutionists could only contrive to knock off thefigure which was upon the top of the canopy, with other contiguousornaments; all of which might be easily restored. 

[Illustration: STONE PULPIT, STRASBOURG CATHEDRAL. ]

A word now about the great _Organ_. If Strasbourg have been famous forarchitects, masons, bell-founders, and clock-makers, it has been not lessso for organ builders. As early as the end of the thirteenth century, therewere several organs in this cathedral: very curious in their structure, andvery sonorous in their notes. The present great organ, on the _left side_of the nave, on entering at the western door, was built by Silbermann abouta century-ago: and is placed about fifty feet above the pavement. It hassix bellowses, each bellows being twelve feet long and six wide: but theyare made to act by a very simple and sure process. The tone is tremendous--when all the stops are pulled out--as I once heard it, during theperformance of a particularly grand chorus! Yet is this tone mellow andpleasing at the same time. Notwithstanding the organ could be hardly lessthan three hundred feet distant from the musicians in the choir, it sentforth sounds so powerful and grand--as almost to overwhelm the human voice, with the accompaniments of trombones and serpents. Perhaps you will not beastonished at this, when I inform you that it contains not fewer than twothousand two hundred and forty-two pipes. This is not the first time youhave heard me commend the organs upon the Continent. 

One of the most remarkable features belonging to the history of Strasbourgcathedral, is, the number of _shocks of earthquakes_ which have affectedthe building. It is barely possible to enumerate all these frightfulaccidents; and still more difficult to give credence to one third of them. They seem to have happened two or three times every century; and, latterly, yet more frequently. Take one recital as a specimen: and believe it--if youcan. In the year 1728, so great was the agitation of the earth, that thetower was moved one foot out of its perpendicular direction--but recoveredits former position presently. "What however is _quite certain_--(saysGrandidier)--the holy water, contained in a stone reservoir or basin, atthe bottom of a column, near the pavement, was thrown by this sameagitation, to upwards of _half the height of a man_--and to the distance of_eighteen feet!_ The record of this marvellous transaction is preserved ina Latin inscription, on a slab of black marble, fastened to the lower partof the tower, near the platform. "[213] In 1744 a severe tempest of thunderand lightning occasioned some serious injuries to portions of thecathedral; but in 1759 it suffered still more from a similar cause. Indeedthe havoc among the slighter ornamental parts, including several delicatelycarved figures, is recorded to have been dreadful. 

Of the subordinate churches of Strasbourg, the principal, both for size andantiquity, is that of _St. Thomas_. I visited it several times. Theexterior is one of the most tasteless jumbles of all styles and ages of artthat can be imagined; and a portion of it is covered with brick. But Iquestion if there be not parts much older than the cathedral. The interiorcompensates somewhat for the barbarism of the outside. It is large andcommodious, but sadly altered from its original construction; and hasrecently been trimmed up and smartened in the true church-warden style. Thegreat boast of this church is its MONUMENTS; which, it must be confessed, are upon the whole exceedingly interesting. As to their antiquity, Inoticed two or three of the thirteenth century; but they pretend to run upas high as the tenth. Indeed I saw one inscription of the eleventhcentury--executed in gothic letters, such as we observe of the latter endof the sixteenth. This could not be a coeval inscription; for I doubtwhether there exist, any where, a monumental tablet of the eleventh centuryexecuted in _coeval gothic_ letters. The service performed here is afterthe confession of Augsbourg; in other words, according to the reformedLutheran church. A small crucifix, placed upon an altar between the naveand the choir, delicately marks this distinction; for Luther, you know, didnot wage an interminable war against crucifixes. 

Of _modern_ monuments, the boast and glory of this church is that of thefamous MARSHAL SAXE; who died at the age of 55, in the year 1755. While Iwas looking very intently at it, the good verger gently put a printeddescription of it into my hands, on a loose quarto sheet. I trust to beforgiven if I read only its first sentence:--_Cette grande compositionréunit aux richesse de l'art des Phidias et des Bouchardon, les traits dela grande poésie. _" "Take any shape but this"--thought I to myself--and, folding it up as gently as it had been delivered to me, I put it into mypocket. My good friend, I do beseech you to hear me out--when I preface myremarks by saying, that, of all monuments, _this_ is one of the mosttasteless and uninteresting. Listen to a brief but faithful description ofit. 

An immense pyramidal-shaped gray marble forms the background. Upon such aback-ground there might have been a group of a _dozen_ figures at least. However, there happen to be only _four_ of the human species, and three ofanimals. These human figures are, the Marshal; a woman weeping lustily--Ihad almost said blubbering; (intended to represent France) Hercules; and alittle child--of some order or degree, not less affected than the female. The animals are, a lion, a leopard, (which latter has a bear-like form) andan eagle. I will now tell you what they are all doing. Before the Marshal, is an opened grave; into which this illustrious hero, clad in completearmour, is about to march with a quiet, measured step--as unconcernedly, asif he were descending a flight of steps which led to a conservatory. Thewoman--that is France--is, in the meantime, weeping aloud; pointing to thegrave, and very persuasively intreating the Marshal to enter--as his mortalmoments have expired. I should add that death--a large formidable-lookingfigure, veiled by a piece of drapery, is also at hand: seeming to implythat hesitation and reluctance, on the part of the hero, are equallyunavailing. Next comes Hercules; who is represented as stationary, thoughtful, and sorrow-stricken, as France is agitated and in motion. Thelion and leopard (one representing Holland, and the other England--intending to convey the idea that the hero had beaten the armies of bothcountries) are between the Marshal and Hercules: the leopard is lying uponhis back--in a very frolicksome attitude. The lion is also not lessabstracted from the general grief of the figures. And this large, ugly, unmeaning composition--they have the temerity to call the union of art byPhidias and Bouchardon--with the inspiration of sublime poetry! I will makeno comments. [214] It is one of those _felicitous_ efforts which have theenviable distinction of carrying its own text and commentary. Below thisvast mural monument, is a vault, containing the body of the Marshal. Idescended into it, and found it well ventilated and dry. The coffin isimmediately obvious: it contains the body of the chieftain enclosed in twocases--of which the first is _silver_, and the second _copper_. The heartis, I believe, elsewhere. 

Forming a strikingly happy contrast to this huge, unmeaning production--arethe modest and unassuming monuments of _Schoepflin_, _Oberlin_, and _Koch_:men, of whom Strasbourg has good reason to be proud. Nor let the monumentof old _Sebastian Schmidt_ escape the notice and commendation of thepensive observer. These were all "fine fellows in their day:" and died, including the illustrious Marshal, steady in the faith they had espoused--that is, in the belief and practice of the tenets of the reformed church. Ihave no time for a particular description of these monuments. Schoepflin'sconsists of a bronze bust of himself placed in the front of a white marbleurn, between two cinnamon-colour columns, of the Corinthian order--of freestone. The head is thought to be very like. Oberlin's is in better taste. You see only his profile, by Ohmacht, in white marble--very striking. Theaccompaniments are figures in white marble, of which a muse, in rilievo, islarger than life. The inscriptions, both for Schoepflin and Oberlin, areshort and simple, and therefore appropriate. The monument of Koch is notless simple. It consists of his bust--about to be crowned with a fillet ofoaken leaves--by a figure representing the city of Strasbourg. Below thebust is another figure weeping--and holding beneath its arms, a scroll, upon which the works of the deceased are enumerated. Koch died in hisseventy-sixth year, in the year 1813. Ohmacht is also the sculptor ofKoch's monument. Upon the whole, I am not sure that I have visited anychurch, since the cathedral of Rouen, of which the interior is moreinteresting, on the score of monuments, than that of St. Thomas atStrasbourg. 

I do not know that it is necessary to say any thing about the old churchesof St. Stephen and St. Martin: except that the former is supposed to be themost ancient. It was built of stone, and said to be placed upon a spot inwhich was a Roman fort--the materials of which served for a portion of thepresent building. St. Martin's was erected in 1381 upon a much finer planthan that of _St. Arbogaste_--which is said to have been built in themiddle of the twelfth century. Among the churches, now no longer _wholly_appropriated to sacred uses, is that called the _New Temple_--attached towhich is the Public Library. The service in this church is according to theProtestant persuasion. I say this Church is not _wholly_ devoted toreligious rites: for what was once the _choir_, contains, at bottom, theBOOKS belonging to the public University; and, at top, those which werebequeathed to the same establishment by Schoepflin. The general effect--both from the pavement below, and the gallery above--is absolutelytransporting. Shall I tell you wherefore? This same ancient choir--nowdevoted to _printed tomes_--contains some lancet-shaped windows of _stainedglass_ of the most beautiful and exquisite pattern and colours!... Such asmade me wholly forget those at _Toul_, and _almost_ those at _St. Owen_. Even the stained glass of the cathedral, here, was recollected... Only tosuffer by the comparison! It should seem that the artist had worked withalternate dissolutions of amethyst, topaz, ruby, garnet, and emerald. Lookat the first three windows, to the left on entering, about an hour beforesun-set:--they seem to fill the whole place with a preternatural splendor!The pattern is somewhat of a Persian description, and I should apprehendthe antiquity of the workmanship to be scarcely exceeding three hundredyears. Yet I must be allowed to say, that these exquisitely sparkling, ifnot unrivalled, specimens of stained glass, do not belong to a place now_wholly_ occupied by _books_. Could they not be placed in the chapel of St. Lawrence, or of St. Catharine, in the cathedral?

As I am now at the close of my account of ecclesiastical edifices--and asthis last church happens to be closely connected with a building of adifferent description--namely, The PUBLIC LIBRARY--you will allow me to_colophonise_ my first Strasbourg epistle with some account of the_contents_ of this library. 

The amiable and excellent younger Schweighæuser, who is head librarian, andone of the Professors in this Gymnase, was so obliging as to lend me thekey of the library, to which I had access at all hours of the day. Thepublic hours are from two till four, Sundays excepted. I own that thisaccommodation was extremely agreeable and convenient to me. I was under norestraint, and thus left to my own conscience alone not to abuse theprivilege conceded. That conscience has never given me one "prick" sincethe conclusion of my researches. [215]

My researches were usually carried on above stairs, at the table where thevisitors sat. Of the MSS. I did not deem it worth while to take anyparticular account; but there was _one_, so choice, so splendid, socurious, so interesting, and in such an extraordinary state ofpreservation, that you may as well know it is called the famous _HortusDeliciarum_ of _Herarde, Abbess of Landsberg_. The subjects aremiscellaneous; and most elaborately represented by illuminations. Battles, sieges, men tumbling from ladders which reach to the sky--conflagrations, agriculture--devotion, penitence--revenge, murder, --in short, there ishardly a passion, animating the human breast, but what is represented here. The figures in armour have _nasals_, and are in quilted mail: and I thinkthere can be little doubt but that both the text and the decorations are ofthe latter end of the twelfth century. It is so perfect in all its parts, and so rich of its particular description, that it not only well merits thelabour which has been bestowed upon it by its recent editor Mr. Engleheardt, but it may probably vie with any similar production inEurope. [216]

However, of other MSS. You will I am sure give me credit for havingexamined the celebrated _Depositions in the law-suit between Fust andGutemberg_--so intimately connected with the history of early printing, andso copiously treated upon by recent bibliographers. [217] I own that Iinspected these depositions (in the German language) with no ordinarycuriosity. They are doubtless most precious; yet I cannot help suspectingthat the _character_ or letter is _not_ of the time; namely of 1440. Itshould rather seem to be of the sixteenth century. Perhaps at thecommencement of it. These documents are written in a small folio volume, inone uniform hand--a kind of law-gothic--from beginning to end. The volumehas the following title on the exterior; "_Dicta Testium magni consilijAnno dni m^o. Cccc^o. Tricesimo nono_. The paper is strong and thick, andhas a pair of scales for the water-mark. The younger Schweighæuser thinksmy doubts about its age not well founded; conceiving it to be a coevaldocument. But this does not affect its authenticity, as it may have been anaccurate and attested copy--of an original which has now perished. Certainly the whole book has very much the air of a _Copy_: and besides, would not the originals have been upon separate rolls of parchment?[218]

I now come to the PRINTED BOOKS: of which, according to the MS. Catalogueby Oberlin, (who was head librarian here) there are not fewer _than fourthousand three hundred, printed before the year 1520_:--and of these, again, upwards of _eleven hundred without dates_. This, at first hearing, sounds, what the curious would call, promising; but I must say, that of the_dated_ and _dateless_ books, printed before the year 1500, which I tookdown, and carefully opened--and this number could not be less than four orfive hundred--there was scarcely one in five which repaid the toil ofexamination: and this too, with a thermometer frequently standing ateighty-nine and ninety, in the shade in the open air! Fortunately for myhealth, and for the exertion of physical strength, the public libraryhappened to be very cool--while all the windows were opened, and throughthe openings was frequently heard the sound of young voices, practising thefamous _Martin Luther's Hymn_--as it is called. This latter wasparticularly grateful to me. I heard the master first sing a stave, and hewas in general accurately followed by his pupils--who displayed thewell-known early tact of Germans in the science of music. But to revert tothe early printed books. 

FIRST GERMAN BIBLE; supposed to have been _printed by Mentelin_; withoutdate: Folio. Towards the latter half of this copy, there are someinteresting embellishments, in outline, in a bistre tint. The invention andexecution of many of them are admirable. Where they are _coloured_, theylose their proper effect. An illumination, at the beginning of the book of_Esther_, bears the unequivocal date of 1470: but the edition was certainlyfour or five years earlier. This Bible is considered to be the earliestGerman version: but it is not so. 

LATIN BIBLE, BY MENTELIN: in his second character. This Bible I saw for thefirst time; but Panzer is decidedly wrong in saying that the types resemblethe larger ones in Mentelin's _Valerius Maximus_, _Virgil_ and _Terence_:they may be nearly as tall, but are not so broad and large. From a ms. Note, the 402d leaf appears to be wanting. This copy is a singularly fineone. It is white, and large, and with rough edges throughout. It is also inits first binding, of wood. 

LATIN BIBLE; _printed by Eggesteyn_. Here are several editions, and aduplicate of the first--which is printed in the second smallest characterof Eggesteyn. [219] The two copies of this first edition are pretty muchalike for size and condition: but _one_ of them, with handsomeilluminations at the beginning of each volume, has the precious coeval ms. Date of 1468--as represented by the fac-simile of it in _Schoepflin's Vind. Typog. Tab. V. _ Probably the date of the printing might have been at leasta year earlier. 

LATIN BIBLE: _printed by Jenson_, 1479. Folio. A fine copy, upon paper. Thefirst page is illuminated. 

To this list of impressions of the SACRED TEXT, may be added a fine copy ofthe SCLAVONIAN BIBLE of 1584, folio, with wood cuts, and another of theHUNGARIAN Bible of 1626, folio: the latter in double columns, with acrowdedly-printed margin, and an engraved frontispiece. 

As to books upon miscellaneous subjects, I shall lay before you, withoutany particular order, my notes of the following: Of the _Speculum Morale_of P. Bellovacensis, here said to be printed by Mentelin in 1476, in doublecolumns, roman type, folio--there is a copy, in one volume, of tremendouslylarge dimensions; as fine, clean, and crackling as possible. Also a copy ofthe _Speculum Judiciale_ of Durandus, _printed at Strasbourg by Hussner andRekenhub_, in 1473, folio. Hussner was a citizen of Strasbourg, and hisassociate a priest at Mentz. Here is also a perfect copy of the LatinPTOLEMY, of the supposed date of 1462, with a fine set of thecopper-plates. 

But I must make distinct mention of a _Latin Chronicle, printed by Gotz deSletztat_ in 1474, in folio. It is executed in a coarse, large gothic type, with many capital roman letters. At the end of the alphabetical index of 35leaves, we read as follows:

 DEO GRATIAS. _A tpe ade vsqz ad annos cristi 1474 Acta et gesta hic suffitienter nuclient Sola spes mea. In virginis gracia Nicholaus Gotz. De Sletzstat. _

The preceding is on the recto; on the reverse of the same leaf is anaccount of Inventors of _arts_: no mention is made of that of _printing_. Then the prologue to the Chronicle, below which is the device of Gotz;[220]having his name subjoined. The text of the Chronicle concludes at pageCCLXXX--printed numerals--with an account of an event which took place inthe year 1470. But the present copy contains another, and the concludingleaf--which may be missing in some copies--wherein there is a particularnotice of a splendid event which took place in 1473, between Charles Dukeof Burgundy, and Frederick the Roman Emperor, with Maximilian his Son;together with divers dukes, earls, and counts attending. The text of thisleaf ends thus;

 _SAVE GAIRT VIVE BVRGVND. _

Below, within a circle, "Sixtus quartus. " This work is called, in a ms. Prefix, the _Chronicle of Foresius_. I never saw, or heard of, anothercopy. The present is fine and sound; and bound in wood, covered withleather. 

Here are two copies of St. _Jerom's Epistles, printed by Schoeffher_ in1470; of which that below stairs is one of the most magnificent imaginable;in two folio volumes. Hardly any book can exceed, and few equal it, in sizeand condition--unless it be the theological works of ARCHBISHOP ANTONIUS, _printed by Koeberger_, in 1477, in one enormous folio volume. As aspecimen of Koeberger's press, I am unable at the present moment to mentionany thing which approaches it. I must also notice a copy of the _SpeculumHumanæ Salvationis, printed at Basle, by Richel_, in 1476, folio. It is aprodigious volume, full of wood cuts, and printed in double columns in ahandsome gothic type. This work seems to be rather a _History of theBible_; having ten times the matter of that which belongs to the work withthis title usually prefixed. The copy is in its original wooden binding. 

JUNIANUS MAIUS. _De Propriet. Priscor. Verborum, printed at Treviso byBernard de Colonia_, 1477, folio. I do not remember to have before seen anyspecimen of this printer's type: but what he has done here, is sufficientto secure for him typographical immortality. This is indeed a gloriouscopy--perfectly large paper--of an elegantly printed book, in a neat gothictype, in double columns. The first letter of the text is charminglyilluminated. I shall conclude these miscellaneous articles by the notice oftwo volumes, in the list of ROMANCES, of exceedingly rare occurrence. Theseromances are called _Tyturell_ and _Partzifal_. The author of them was_Wolfram von Escenbach_. They are each of the date of 1477, in folio. TheTyturell is printed prose-wise, and the Partzifal in a metrical form. 

We now come to the Roman CLASSICS, (for of the Greek there are _few ornone_)--before the year 1500. Let me begin with _Virgil_. Here is_Mentelin's_ very rare edition; but cropt, scribbled upon, and wantingseveral leaves. However, there is a most noble and perfect copy ofServius's Commentary upon the same poet, _printed by Valdarfer_ in 1471, folio, and bound in primitive boards. There are two perfect copies of_Mentelin's_ edition (which is the first) of VALERIUS MAXIMUS, of which oneis wormed and cropt. The _other_ Mentelin copy of the Valerius Maximus, without the Commentary, is perhaps the largest I ever saw--with the ancientms. Signatures at the bottom-corners of the leaves. Unluckily, the marginsare rather plentifully charged with ms. Memoranda. 

Of CICERO, there are of course numerous early editions. I did not see the_De Officiis_ of 1465, or of 1466, of which Hermann speaks, and to which heaffixes the _novel_ date of 1462:--but I did see the _De Oratore_, printedby _Vindelin de Spira_ without date; and _such_ a copy I shall probablynever see again! The colour and substance of the paper are yet moresurprising than the size. 

It is hardly possible to see a finer copy of the _Scriptores Hist. Augustæ, printed by P. De Lavagna_ in 1475, folio. It possesses all the legitimateevidences of pristine condition, and is bound in its first coat of oak. Here is a very fine copy of the _Plutarchi Vitæ Paralellæ_, printed in theletter R, in two large folio volumes, bound in wood, covered by vellum ofthe sixteenth century. But, if of _any_ book, it is of the first edition of_Catullus Tibullus et Propertius_, of 1472, folio--that this Library hasjust reason to be proud. Here are in fact _two_ copies, equally sound, pureand large: but in _one_ the _Propertius_ is wanting;[221] in lieu of which, however, there is the first edition of JUVENAL and PERSIUS by V. De Spira--in equal purity of condition. The perfect copy has the SYLVÆ of STATIUSsubjoined. It should seem, therefore, that the Juvenal and Persius hadsupplied the place of the Propertius and Statius, in one copy. You are wellaware of the extreme rarity of this first edition of Catullus Tibullus etPropertius. 

I now take leave of the _Public Library of Strasbourg_; not however withoutmentioning rather an amusing anecdote connected with some of the books justdescribed; nor without an observation or two upon the present state of thelibrary. The anecdote is thoroughly bibliographical. After having examinedsome of the finer books before mentioned, and especially having dwelt uponthe Latin Bible of Mentelin, and a few copies of the rarer Classics, Iventured to descant upon the propriety of _parting_ with those for whichthere was _no use_, and which, without materially strengthening their owncollection, might, by an advantageous sale, enable them to enrich theircollection by valuable modern books: of which they obviously stood in_need_. I then proposed so many hundred francs, for such and such volumes. Messrs. Schweighæuser, jun. Dahler, and several other professors werestanding round me--when I made this proposition. On the conclusion of it, professor Dahler put his hand upon my shoulder--stooped down--(for I wassitting the whole time)--and looking half archly, replied thus: "Monsieurle Bibliographe, vous raisonnez bien: mais--nous conserverons nos ancienslivres. " These sturdy conservators were not to be shaken; and none but_duplicates_ were to be parted with. [222]

The next observation relates to the collection. Never did a collectionstand in greater need of being weeded. There are medical books sufficientto supply six copies for the library of every castellated mansion along theVosges[223]--should any of them ever be repaired and put in order. Schoepflin's library furnishes many duplicates both in history andtheology; and in _Classics_ they should at least make good their series ofthe more important _first Editions_. The want of a perfect _Virgil_ by_Mentelin_, and the want of a _first Terence_, by the same printer--theirboasted townsman--are reproachful wants. At any rate, they should not letslip any opportunity of purchasing the first _Ovid, Horace, Ausonius_, and_Lucretius_. No man is more deeply impressed with a conviction of thesewants, than the present chief librarian, the younger Schweighæuser; but, unfortunately, the pecuniary means of supplying them are slender indeed. Ifind this to be the case wherever I go. The deficiency of funds, for thecompletion of libraries, may however be the cry of _other_ countriesbesides _France_. 

As to booksellers, for the sale of modern works, and for doing, what iscalled "a great stroke of business, " there is no one to compare with thehouse of TREUTTEL and WÜRTZ--of which firm, as you may remember, veryhonourable mention was made in one of my latter letters from Paris. Theirfriendly attention and hospitable kindness are equal to their highcharacter as men of business. It was frequently in their shop that I metwith some of the savants of Strasbourg; and among them, the venerable andamiable LICHTENBERGER, author of that very judicious and pains takingcompilation entitled _Initia Typographica_. I was also introduced to diversof the learned, whose names I may be pardoned for having forgotten. Thesimplicity of character, which here marks almost every man of education, isnot less pleasing than profitable to a traveller who wishes to make himselfacquainted with the literature of the country through which he passes. 

[203] _Alsatia Illustrata_, 1751-61, folio, two volumes. 

[204] In the middle of the fifteenth century there were not fewer than nine principal gates of entrance: and above the walls were built, at equal distances, fifty-five towers--surmounted, in turn, by nearly thirty towers of observation on the exterior of the walls. But in the beginning of the sixteenth century, from the general adoption of gunpowder in the art of war, a different system of defence was necessarily adopted; and the number of these towers was in consequence diminished. At present there are none. They are supplied by bastions and redoubts, which answer yet better the purposes of warfare. 

[205] This work is entitled "_Notices Historiques, Statistiques et Littéraires, sur la Ville de Strasbourg_. " 1817, 8vo. A second volume, published in 1819, completes it. A more judicious, and, as I learn, faithful compilation, respecting the very interesting city of which it treats, has not yet been published. 

[206] I had before said 530 English feet; but a note in M. Crapelet's version (supplied, as I suspect, by my friend M. Schweighæuser, ) says, that from recent strict trigonometrical measurement, it is 437 French feet in height. 

[207] The _Robertsau_, about three quarters of a mile from Strasbourg, is considered to be the best place for a view of the cathedral. The Robertsau is a well peopled and well built suburb. It consists of three nearly parallel streets, composed chiefly of houses separated by gardens--the whole very much after the English fashion. In short, these are the country houses of the wealthier inhabitants of Strasbourg; and there are upwards of seventy of them, flanked by meadows, orchards, or a fruit or kitchen garden. It derives the name of _Robertsau_ from a gentleman of the name of _Robert, _ of the ancient family of _Bock_. He first took up his residence there about the year 1200, and was father of twenty children. Consult _Hermann_; vol. I. P. 209. 

[208] "The engineer Specklin, who, in order to complete his MAP of ALSACE, traversed the whole chain of the VOSGES, estimates the number of these castles at little short of _two hundred_: and pushes the antiquity of some of them as far back as the time of the Romans. " See _Hermann_; vol. I. P. 128, note 20: whose compressed account of a few of these castellated mansions is well worth perusal, I add this note, from something like a strong persuasion, that, should it meet the eye of some enterprising and intelligent English antiquary, it may stimulate him--within the waning of two moons from reading it, provided those moons be in the months of Spring--to put his equipage in order for a leisurely journey along the VOSGES!

[209] This was formerly called the bell of the HOLY GHOST. It was cast in 1427, by John Gremp of Strasbourg. It cost 1300 florins; and weighs eighty quintals;, or 8320 lb. : nearly four tons. It is twenty-two French feet in circumference, and requires six men to toll it. In regard to the height, I must not be supposed to speak from absolute data. Yet I apprehend that its altitude is not much over-rated. Grandidier has quite an amusing chapter (p. 241, &c. ) upon the thirteen bells which are contained in the tower of this cathedral. 

[210] It was necessary, on the part of my friend, to obtain the consent of the Prefect to make these drawings. A moveable scaffold was constructed, which was suspended from the upper parts--and in this _nervous_ situation the artist made his copies--of the size of the foregoing cuts. The expense of the scaffold, and of making the designs, was very inconsiderable indeed. The worthy Prefect, or Mayor, was so obliging as to make the scaffold a mere gratuitous affair; six francs only being required for the men to drink! [Can I ever forget, or think slightly of, such kindness? Never. ]

 Cicognara, in his _Storia della Scultura_, 1813, folio, has given but a very small portion of the above dance; which was taken from the upper part of a neighbouring house. It is consequently less faithful and less complete. [In the preceding edition of this work, there are not fewer than _eleven_ representations of these Drolleries. ]

[211] I think this volume is of the date of 1580. CONRAD DASYPODIUS was both the author of the work, and the chief mechanic or artisan employed in making the clock--about which he appears to have taken several journeys to employ, and to consult with, the most clever workmen in Germany. The wheels and movements were made by the two HABRECHTS, natives of Schaffhausen. 

[212] [The Reader may form some notion of its beauty and elaboration of ornament, from the OPPOSITE PLATE: taken from a print published about a century and a half ago. ]

[213] See Grandidier, p. 177: where the Latin inscription is given. The _Ephémérides de l'Académie des Curieux de la Nature_, vol. Ii. P. 400, &c. Are quoted by this author--as a contemporaneous authority in support of the event above mentioned. 

[214] My French translator will have it, that, "this composition, though not without its faults, is considered, in the estimation of all connoisseurs, as one of the finest funereal monuments which the modern chisel has produced. " It may be, in the estimation of _some_--but certainly of a _very small_ portion of--Connoisseurs of first rate merit. Our Chantry would sicken or faint at the sight of such allegorical absurdity. 

[215] [This avowal has subjected me to the gentle remonstrance of the Librarian in question, and to the tart censure of M. Crapelet in particular. "Voilà le Reverend M. Dibdin (exclaims the latter) qui se croit obligé de déclarer qu'il n'a rien derobé!" And he then quotes, apparently with infinite delight, a passage from the _Quarterly Review_, (No. LXIII. June 1825) in which I am designated as having "extraordinary talents for ridicule!" But how my talents "for ridicule" (of which I very honestly declare my unconsciousness) can be supposed to bear upon the above "prick of conscience, " is a matter which I have yet to learn. My amiable friend might have perhaps somewhat exceeded the prescribed line of his duty in letting me have the key of the Library in question--but, can a declaration of such confidence not having been MISPLACED, justify the flippant remarks of my Annotator?]

[216] [It is now published in an entire state by the above competent Editor. ]

[217] See the authorities quoted, and the subject itself handled, in the _Bibliographical Decameron_, vol. I. P. 316, &c. 

[218] [Here again my sensitive Annotator breaks out into something little short of personal abuse, for my DARING to _doubt_ what all the world before had held in solemn _belief_! Still, I will continue to doubt; without wishing this doubt to be considered as "paroles d'Evangile"-- as M. Crapelet expresses it. ]

[219] Fully described in the _Bibl. Spenceriana_, vol. I. P. 39, with a fac-simile of the type. 

[220] A fac-simile of this device appears in a Latin Bible, without name of printer, particularly described in the _Ædes Althorpianæ_; vol. Ii. P. 41. Hence we learn that the Bible in question, about the printer of which there appears to be some uncertainty among bibliographers, was absolutely printed by Gotz. 

[221] The imperfect copy, being a duplicate, was disposed of for a copy of the _Bibl. Spenceriana_; and it is now in the fine library of the Rt. Hon. T. Grenville. The very first glance at this copy will shew that the above description is not overcharged. 

[222] "These Duplicates related to some few articles of minor importance belonging to the library of the Public School, and which had escaped a former revision. The cession was made with due attention to forms, and with every facility. " Such (as I have reason to believe) is the remark of M. Schweighæuser himself. What follows--evidently by the hand of M. Crapelet--is perfectly delicious ... Of its kind. "That M. Dibdin should have preferred such an indiscreet request to the Librarians in question--impelled by his habitual vivacity and love of possessing books--is conceivable enough: but, that he should _publish_ such an anecdote--that he should delight in telling us of the rudeness which he committed in SITTING while the gentlemen about him were STANDING, is to affect a very uncommon singularity"!!! [Greek: Ô popoi!]

[223] There are yet libraries, and rare books, in the district. I obtained for my friend the Rev. H. Drury, one of the finest copies in England of the first edition of _Cicero's Offices_, of 1465, 4to. UPON VELLUM--from the collection of a physician living in one of the smaller towns near the Vosges. This copy was in its ancient oaken attire, and had been formerly in a monastic library. For this acquisition my friend was indebted to the kind offices of the younger M. Schweighæuser. 

_LETTER XIV. _

SOCIETY. ENVIRONS OF STRASBOURG. DOMESTIC ARCHITECTURE, MANNERS ANDCUSTOMS. LITERATURE. LANGUAGE. 

My last letter, however copious, was almost wholly confined to _views ofinteriors_; that is to say, to an account of the Cathedral and of thePublic Library. I shall now continue the narrative with views of interiorsof a different description; with some slight notices of the _society_ andof the city of Strasbourg; concluding the whole, as well as closing myStrasbourg despatches, with a summary account of manners, customs, andliterature. 

The great _Greek luminary_, not only of this place, but perhaps ofGermany--the ELDER SCHWEIGHÆUSER--happens to be absent. His son tells methat he is at _Baden_ for the benefit of the waters, and advises me to takethat "enchanting spot" (as he calls it) in my way to Stuttgart. "'Twill beonly a trifling détour. " What however will be the _chief_ temptation--as Ifrankly told the younger Schweighæuser--would be the society of his Father;to whom the son has promised a strong letter of introduction. I told you inmy last that I had seen LICHTENBERGER at Treuttel and Würtz's. I have sincecalled upon the old gentleman; and we immediately commenced abibliographical parley. But it was chiefly respecting Lord Spencer's copiesof the _Letters of Indulgence of Pope Nicolas V. _ of the date of 1455, thathe made the keenest enquiries. "Was the date legitimate?" I assured himthere could be no doubt of it; and that what Hæberlin had said, followed byLambinet, had no reference whatever to his Lordship's copies--for that, in_them_, the final units were compressed into a V and not extended by fivestrokes, thus--_iiiij_. As he was unacquainted with my account of thesecopies in the _Bibliotheca Spenceriana_, I was necessarily minute in theforegoing statement. The worthy old bibliographer was so pleased with thisaccount, that he lifted up his eyes and hands, and exclaimed, "one growsold always to learn something. "

M. Haffner, who was one of the guests at a splendid, but extremely sociabledinner party at _Madame Franc's_[224] the principal banker here--is apleasing, communicative, open-countenanced, and open-hearted gentleman. Hemay be about sixty years of age. I viewed his library with admiration. Theorder was excellent; and considering what were his _means_, I could not buthighly compliment him upon his prudence and enthusiasm. This was among thehappiest illustrations of the _Bibliomania_ which I had ever witnessed. Theowner of this well chosen collection shewed me with triumph his copy of thefirst Greek Testament by _Erasmus_, and his copies of the same sacred bookby _R. Stephen_ and _Wetstein_, in folio. Here too I saw a body ofphilological theology (if I may use this term) headed by _Walchius_ and_Wolff_, upon the possession of a similar collection of which, my lateneighbour and friend, Dr. Gosset, used to expatiate with delight. 

Let me now take you with me out of doors. You love architecture of alldescriptions: but "the olden" is always your "dear delight. " In theconstruction of the streets of Strasbourg, they generally contrive that thecorner house should _not_ terminate with a right angle. Such a terminationis pretty general throughout Strasbourg. Of the differently, and sometimescuriously, constructed iron bars in front of the windows, I have alsobefore made mention. The houses are generally lofty; and the roofs containtwo or three tiers of open windows, garret-fashioned; which gives them apicturesque appearance; but which, I learn, were constructed as granariesto hold flour--for the support of the inhabitants, when the city shouldsustain a long and rigorous siege. As to _very ancient_ houses, I cannotcharge my memory with having seen any; and the most ancient are those onthe other side of the _Ill_; of which several are near the convent beforementioned. 

The immediate environs of Strasbourg (as I have before remarked) are veryflat and poor, in a picturesque point of view. They consist chiefly offields covered with the _tobacco plant_, which resembles that of ourhorse-radish; and the trade of tobacco may be considered the staple, aswell as the indigenous, commodity of the place. This trade is at onceextensive and lucrative; and regulated by very wholesome laws. Theoutskirts of the town, considered in an architectural point of view, arealso very indifferent. 

As to the general character, or rather appearance, of the Strasbourgeois, it is such as to afford very considerable satisfaction. The manners andcustoms of the people are simple and sober. The women, even to the class ofmenial servants, go abroad with their hair brushed and platted in rather atasteful manner, as we even sometimes observe in the best circles of ourown country. The hair is dressed _à la grecque_, and the head is usuallyuncovered: contrary to the broad round hats, and depending queues, of thewomen inhabiting the neighbourhood of _Saverne_. But you should know thatthe farmers about Strasbourg are generally rich in pocket, and choice anddainty in the disposition of their daughters--with respect to wedlock. Theywill not deign to marry them to bourgeois of the ordinary class. Theyconsider the blood running in their families' veins to be polluted by suchan intermixture; and accordingly they are oftentimes saucy, and hold theirheads high. Even some of the fair dames coming from the high "countre, "whom we saw kneeling the other day, in the cathedral, with their ruralattire, would not commute their circular head pieces for the most curiouslybraided head of hair in the city of Strasbourg. 

The utmost order and decency, both in dress and conduct, prevail in thestreets and at spectacles. There seems to be that sober good sense amongthe Strasbourgeois--which forms a happy medium between the gaiety of theirwestern, and the phlegm of their eastern, neighbours; and while thisgeneral good order obtains, we may forgive "officers for mounting guard inwhite silk stockings, or for dancing in boots at an assembly--and younggentlemen for wearing such scanty skirts to their coats:"--subjects, whichappear to have ruffled the good temper of the recent historian ofStrasbourg. [225] It seems clear that the morals of the community, andespecially of the female part, were greatly benefited by theReformation, [226] or establishment of the protestant religion. 

In alluding to manners and customs, or social establishments of this place, you ought to know that some have imagined the origin of _Free-masonry_ maybe traced to Strasbourg; and that the first _lodges_ of that descriptionwere held in this city. The story is this. The cathedral, considered at thetime of its erection as a second _Solomon's temple_, was viewed as thewonder of the modern world. Its masons, or architects, were the theme ofuniversal praise. Up rose, in consequence, the cathedrals of _Vienna, Cologne, Landshut_ and others: and it was resolved that, on the completionof such stately structures, those, whose mechanical skill had beeninstrumental to their erection, should meet in one common bond, and chanttogether, periodically, at least their _own_ praises. Their object was tobe considered very much above the common labourer, who wore his apron infront, and carried his trowel in his hand: on the contrary, _they_ adopted, as the only emblems worthy of their profession, the level, the square, andthe compass. All the lodges, wherever established, considered that ofStrasbourg as the common parent; and at a meeting held at Ratisbon in 1459, it was agreed that the ARCHITECT OF STRASBOURG CATHEDRAL should be the_Grand Master of Free-masons_; and one DOTZINGER of Worms, who hadsucceeded Hulz in 1449, (just after the latter, had finished the spire) wasacknowledged to be the FIRST GRAND MASTER. I own my utter ignorance in thelore of free-masonry; but have thought it worth while to send you theseparticulars: as I know you to be very "curious and prying" in antiquarianresearches connected with this subject. 

Strasbourg has been always eminent for its literary reputation, from thetime of the two STURMII, or rather from that of GEYLER, downwards. Itboasts of historians, chroniclers, poets, critics, and philologists. Atthis present moment the public school, or university, is allowed to be in amost flourishing condition; and the name of SCHWEIGHÆUSER alone issufficient to rest its pretensions to celebrity on the score of _classical_acumen and learning. While, within these last hundred years, the names ofSCHOEPFLIN, OBERLIN, and KOCH, form a host in the department of_topography_ and _political economy_. 

In _Annals_ and _Chronicles_, perhaps no provincial city in Europe isricher; while in _old Alsatian poetry_ there is an almost inexhaustiblebanquet to feast upon. M. Engelhardt, the brother in law of M. Schweighæuser junr. Is just now busily engaged in giving an account of someof the ancient love poets, or _Minne-Singers_; and he shewed me the otherday some curious drawings relating to the same, taken from a MS. Of theXIIIth century, in the public library. But Oberlin, in 1786, published aninteresting work "_De Poetis Alsatiæ eroticis medii ævi_"--and more latelyin 1806; M. Arnold in his "_Notice littéraire et historique sur les poëtesalsaciens_, " 1806, 8vo. --enriched by the previous remarks of Schoepflin, Oberlin, and Frantz--has given a very satisfactory account of theachievements of the Muses who seem to have inhabited the mountain-tops ofAlsatia--from the ninth to the sixteenth century inclusively. It is afertile and an interesting subject. Feign would I, if space and timeallowed, give you an outline of the same; from the religious metres of_Ottfried_ in the ninth--to the charming and tender touches which are to befound in the _Hortus deliciarum_[227] of _Herade_ Abbess of Landsberg, inthe twelfth-century: not meaning to pass over, in my progress, theeffusions of philology and poetry which distinguished the rival abbey of_Hohenbourg_ in the same century. Indeed; not fewer than three Abbesses--_Rélinde, Herade, and _Edelinde_--cultivated literature at one and the sametime: when, in Arnold's opinion, almost the whole of Europe was plunged inbarbarism and ignorance. Then comes _Günther_, in the fifteenth century;with several brave geniuses in the intervening period: and, latterly, thecollection of the _Old Troubadour Poetry of Alsace_, by _Roger Maness_--ofwhich there is a MS. In the Royal Library at Paris; and another (containingmatter of a somewhat later period) in the Public library here; of whichlatter not a specimen, as I understand, has seen the light in the form of aprinted text. 

In later times, _Brandt, Wimphelin, Locher, Baldus, Pfeffel_, and_Nicolay_, are enough to establish the cause of good poetry, and thecelebrity of this city in the production of such poets. As to the_Meister-Sængers_ (or Master-Singers) who composed the strains which theysang, perhaps the cities of Mentz and Nuremberg may vie with that ofStrasbourg, in the production of this particular class. _Hans Sachs_ ofNuremberg, formerly a cobler, was considered to be the very _Coryphoeus_of these Master-Singers. At the age of fourscore he is said to havecomposed four thousand three hundred and seventy verses. 

A word or two only respecting the language spoken at Strasbourg. From therelative situation of the town, this language would necessarily be of amixed character: that is to say, there would be intermarriages between theGermans and French--and the offspring of such marriages would necessarilyspeak a _patois_. This seems to be generally admitted. The ancient languageof Strasbourg is said to have been the pure dialect of _Suabia_; but, atpresent, the dialect of _Saxony_, which is thought to be purer as well asmore fashionable, is carefully taught in the schools of both sexes, andspoken by all the ministers in the pulpit. Luther wrote in this dialect, and all protestant preachers make use of it as a matter of course. YetHermann labours to prove how much softer the dialect of High Germany isthan that of High Saxony. There have lately appeared several smallbrochures in the _common language_ of the town--such, of course, as isordinarily spoken in the shops and streets: and among others, a comedycalled; _Der Pfingst-Montag_, written (says Hermann) with much spirit; butthe author of this latter work has been obliged to mark the pronunciation, which renders the perusal of it somewhat puzzling. It is also accompaniedwith a glossary. But that you, or your friends, may judge for yourselves, Isend you a specimen of the _patois_, or common language spoken in thestreet--in the enclosed ballad: which I purchased the other day, for abouta penny of our money, from an old goody, who was standing upon a stool, andchanting it aloud to an admiring audience. I send you the first fourstanzas. [228]

 Im Namen der allerheiligsten Dreifaltigkeit

 das goldene ABC, Neu verfasst für Jedermann, dass er mit Ehr' bestehen kann. 

 Alles ist an Gottes Segen, Was wir immer thun, gelegen, Arbeit aber bleibt doch unsre Pflicht: Der Träge hat den segen Gottes nicht. 

 Behalt' ein weises Maass in allen Stücken; Das Uebertriebne kann dich nicht beglücken. Dies Sprichwort trifft in allen Dingen ein: Das Gute selbst muss eingeschränket seyn. 

 Christ! sey der Rache nicht ergeben, Der Zorn verbittert nur das Leben; Und wer dem Feinde gern verzeiht, Geniesst schon hier der Seligkeit. 

 Der wird verachtet von der Welt, Der das gegebne Wort nicht hält: Drum gieb dein Wort nich leicht von dir; Hast du's gethan, so steh' dafür. 

 _In the name of the most Holy Trinity. _

 THE GOLDEN A B C. 

 _Newly set forth to enable every man to stand fast in honour. _

 _Howe'er employed, we ev'ry nerve should strain On all our works God's blessings to obtain. Whilst here on earth to labour we're ordain'd; The lazy never yet God's blessing gain'd. _

 _In all things strive a medium to procure; Redundance never can success insure: This proverb will in all things be found true, That good itself, should have its limits due. Christian! avoid revenge and strife, For anger tends to embitter life: And he who readily forgives his foe, Ev'n here on earth true happiness shall know. 

 He who the promise he hath given denies, Will find the world most justly him despise; Be cautious then how thou a promise make, But, having made it, ne'er that promise break_. 

DANNBACH is the principal Greek printer of this place; his Greek type(which I cannot too much commend) is precisely that used in the _BipontThucydydes_ and _Plato_. The principal printers, for works in which theGreek type is not introduced, is LEVRAULT _Pere et Fils_: and I must saythat, if even a fastidious author, a resident Strasbourgeois, --whosetypographical taste had been formed upon the beautifully executed volumesof Bodoni, Didot, or Bulmer--chose to publish a fine book, he need not sendit to _Paris_ to be printed; for M. Levrault is both a skilful, intelligent, and very able printer and publisher. I visited him more thanonce. He has a considerable commercial establishment. His shop andwarehouses are large and commodious; and Madame Levrault is both active andknowing in aiding and abetting the concerns of her husband. I shouldconsider their house to be a rich one. M. Levrault is also a very fairtypographical antiquary. He talked of Fust and Jenson with earnestness, andwith a knowledge of their productions; and told me that he had, up stairs, a room full of old books, especially of those printed by _Aldus_--andbegged I would walk up and inspect them. You will give me credit for havingdone so readily. But it was a "poor affair, "--for the fastidious taste ofan Englishman. There was literally nothing in the way of temptation; and soI abstained from tempting the possessor by the offer of napoleons or goldenducats. We had a long and a very gratifying interview; and I think heshewed me (not for the purpose of sale) a copy of the famous tract of St. Austin, called _De Arte prædicandi_, printed by _Fust_ or by _Mentelin_; inwhich however, as the copy was imperfect, he was not thoroughly conversant. They are all proud at Strasbourg of their countryman Mentelin, and ofcourse yet more so of Gutenberg; although this latter was a native ofMentz. Mr. Levrault concluded his conversation by urging me, in strongterms, to visit _Colmar_ ere I crossed the Rhine; as that place aboundedwith "DES INCUNABLES TYPOGRAPHIQUES. " I told him that it was impossible;that I had a great deal on my hands to accomplish on the other side of theRhine; and that my first great stroke, in the way of BOOK-ACQUISITIONS, must be struck at _Stuttgart_. M. Levrault seemed surprised--"for truly, "(added he) "there are no _old_ books there, save in the _Public Library_. "I smiled, and wished him a good day. 

Upon the whole, my dear friend, I have taken rather an affection for thisplace. All classes of people are civil, kind, and communicative: but myobligations are due, in a more especial manner, to the younger Mr. Schweighæuser and to Madame Francs. I have passed several pleasant eveningswith the former, and talked much of the literature of our country with himand his newly married spouse: a lively, lady-like, and intelligent woman. She is warm in commendation of the _Mary Stuart_ of Schiller; which, inreply to a question on my part, she considers to be the most impassioned ofthat Dramatist's performances. Of English she knows nothing; but herhusband is well read in Thomson, Akenside, and Pope; and of course issufficiently well acquainted with our language. A more amiable and zealousman, in the discharge of his duties as a teacher of youth, the town ofStrasbourg does not possess. His little memoir of Koch has quite won myheart. [229]

You have heard me mention the name of OHMACHT, a sculptor. He is muchcaressed by the gentry of this place. Madame Francs shewed me what Iconsider to be his best performance; a profile, in white marble, of herlate daughter, who died in childbed, in her twenty-first year. It is asweet and tender production: executed upon the Greek model--and said to bea strong resemblance of the deceased. Madame Francs shewed it to me, andexpatiated upon it with tears in her eyes: as she well might--for the_character_ of the deceased was allowed to have been as attractive as hercountenance. [230] I will candidly confess that, in other respects, I am avery _qualified_ admirer of the talents of Ohmacht. His head of Oberlin isgood; but it is only a profile. I visited his _Studio_, and saw him busyupon a colossal head of Luther--in a close-grained, but coarse-tinted, stone. I liked it as little as I have always liked heads of that celebratedman. I want to see a resemblance of him in which vulgarity shall be lost inenergy of expression. Never was there a countenance which bespoke greaterintrepidity of heart. 

I am hastening to the close of this despatch, and to take leave of thisplace. Through the interposition of Messrs. Treuttel and Würtz, I havehired a respectable servant, or laquais, to accompany me to Vienna, andback again to Manheim. His name is _Rohfritsch_; and he has twice visitedthe Austrian capital in the rear of Napoleon's army, --when he was only inhis sixteenth or seventeenth year--as a page or attendant upon one of theGenerals. He talks the French and German languages with equal fluency. Iasked him if we needed fire arms; at which he smiled--as if wondering at mysimplicity or ignorance. In truth, the question was a little precipitate;for, the other evening, I saw two or three whiskered Bavarian travellers, starting hence for Munich, in an open, fourgon-shaped travelling carriage, with two benches across it: on the front bench sat the two gentlemen, wrapped round with clokes: on the hinder bench, the servant took hisstation--not before he had thrown into the carriage two huge bags of_florins_, as unconcernedly as if they had been bags of _pebbles_. Theywere to travel all night--without sabre, pistol, or carbine, forprotection. 

I own this gave me a very favourable opinion of the country I was about tovisit; and on recollecting it, had good reason to acquiesce in thepropriety of the smiles of Rohfritsch. Every thing, therefore, is nowsettled: gold ducats and silver florins have been obtained from MadameFrancs; and to morrow we start. My next will be from _Stuttgart_--where a"deed of note" will, I trust, be accomplished. Fare you well. 

[224] [This dinner party is somewhat largely detailed in the preceding edition of this work; but it scarcely merits repetition here; the more so, since the presiding Hostess is NO MORE!]

[225] _Hermann_; vol. I. P. 154. 

[226] _greatly benefited by the Reformation_. ]--Among the benefactors to the cause of public morality, was the late lamented and ever memorable KOCH. Before the year 1536, it should seem, from Koch's statement, that even whole streets as well as houses were occupied by women of a certain description. After this year, there were only two houses of ill fame left. The women, of the description before alluded to, used to wear black and white hats, of a sugar-loaf form, over the veil which covered their faces; and they were confined strictly to this dress by the magistrates. These women were sometimes represented in the sculptured figures about the cathedral. Hermann says that there may yet be seen, over the door of a house in the _Bickergase_ (one of the streets now called _Rue de la fontaine_, which was formerly devoted to the residence of women of ill fame) a bas-relief, representing two figures, with the following German inscription beneath:

 _Diss haus steht in Gottes Hand Wird zu deu freud'gen kindern gennant. _

 which he translates thus:

 _Cette maison; dans la main de Dieu, S'appelle aux enfans bien joyeux_. 

 It should seem, therefore, (continues Hermann) that this was one of the houses in which a public officer attended, to keep order, prevent quarrels, and exact municipal rights. The book, in which the receipt of this tax was entered, existed during the time of the Revolution, and is thought to be yet in existence. Hermann, vol. I. P. 156. 

[227] See p. 401 ante. 

[228] For the English metrical version I am indebted to "an old hand at these matters. "

[229] Since the publication of this Tour, I have received several pleasant and thoroughly friendly letters from the above excellent Individual: and I could scarcely forgive myself if I omitted this opportunity of annexing his autograph:--as a worthy companion to those which have preceded it. 

 [Autograph: Schweighæuser]

[230] [Madame Francs, whose kind and liberal conduct towards me can never be forgotten, has now herself become the subject of a monumental effigy. She DIED (as I learn) in the year 1826. ]

END OF VOL. II. 

 * * * * *

London: Printed by W. Nicol, Cleveland-row, St. James's.