sum for a few books that had been in the library of Speusippus. Did not a Latin philosopher go great lengths in a laudable anxiety to purchase an Odyssey “as old as Homer,” and what would not Cicero, that great collector, have given for the Ascraean editio princeps of Hesiod, scratched on mouldy old plates of lead? Perhaps Dr. Schliemann may find an original edition of the “Iliad” at Orchomenos; but of all early copies none seems so attractive as that engraved on the leaden plates which Pausanias saw at Ascra. Then, in modern times, what “great allies” has the collector, what brethren in book-hunting? The names are like the catalogue with which Villon fills his “Ballade des Seigneurs du Temps Jadis.” A collector was “le preux Charlemaigne” and our English Alfred. The Kings of Hungary, as Mathias Corvinus; the Kings of France, and their queens, and their mistresses, and their lords, were all amateurs. So was our Henry VIII., and James I., who “wished he could be chained to a shelf in the Bodleian.” The middle age gives us Richard de Bury, among ecclesiastics, and the Renaissance boasts Sir Thomas More, with that “pretty fardle of books, in the small type of Aldus,” which he carried for a freight to the people of Utopia. Men of the world, like Bussy Rabutin, queens like our Elizabeth; popes like Innocent X.; financiers like Colbert (who made the Grand Turk send him Levant morocco for bindings); men of letters like Scott and Southey, Janin and Nodier, and Paul Lacroix; warriors like Junot and Prince Eugène; these are only leaders of companies in the great army of lovers of books, in which it is honourable enough to be a private soldier.
CHAPTER II.
THE LIBRARY
The Library which is to be spoken of in these pages, is all unlike the halls which a Spencer or a Huth fills with treasure beyond price. The age of great libraries has gone by, and where a collector of the old school survives, he is usually a man of enormous wealth, who might, if he pleased, be distinguished in parliament, in society, on the turf itself, or in any of the pursuits where unlimited supplies of money are strictly necessary. The old amateurs, whom La Bruyère was wont to sneer at, were not satisfied unless they possessed many thousands of books. For a collector like Cardinal Mazarin, Naudé bought up the whole stock of many a bookseller, and left great towns as bare of printed paper as if a tornado had passed, and blown the leaves away. In our modern times, as the industrious Bibliophile Jacob, says, the fashion of book-collecting has changed; “from the vast hall that it was, the library of the amateur has shrunk to a closet, to a mere book-case. Nothing but a neat article of furniture is needed now, where a great gallery or a long suite of rooms was once required. The book has become, as it were, a jewel, and is kept in a kind of jewel-case.” It is not quantity of pages, nor lofty piles of ordinary binding, nor theological folios and classic quartos, that the modern amateur desires. He is content with but a few books of distinction and elegance, masterpieces of printing and binding, or relics of famous old collectors, of statesmen, philosophers, beautiful dead ladies; or, again, he buys illustrated books, or first editions of the modern classics. No one, not the Duc d’Aumale, or M. James Rothschild himself, with his 100 books worth £40,000, can possess very many copies of books which are inevitably rare. Thus the adviser who would offer suggestions to the amateur, need scarcely write, like Naudé and the old authorities, about the size and due position of the library. He need hardly warn the builder to make the salle face the east, “because the eastern winds, being warm and dry of their nature, greatly temper the air, fortify the senses, make subtle the humours, purify the spirits, preserve a healthy disposition of the whole body, and, to say all in one word, are most wholesome and salubrious.” The east wind, like the fashion of book-collecting, has altered in character a good deal since the days when Naudé was librarian to Cardinal Mazarin. One might as well repeat the learned Isidorus his counsels about the panels of green marble (that refreshes the eye), and Boethius his censures on library walls of ivory and glass, as fall back on the ancient ideas of librarians dead and gone.
The amateur, then, is the person we have in our eye, and especially the bibliophile who has but lately been bitten with this pleasant mania of collecting. We would teach him how to arrange and keep his books orderly and in good case, and would tell him what to buy and what to avoid. By the library we do not understand a study where no one goes, and where the master of the house keeps his boots, an assortment of walking-sticks, the “Waverley Novels,” “Pearson on the Creed,” “Hume’s Essays,” and a collection of sermons. In, alas! too many English homes, the Library is no more than this, and each generation passes without adding a book, except now and then a Bradshaw or a railway novel, to the collection on the shelves. The success, perhaps, of circulating libraries, or, it may be, the Aryan tendencies of our race, “which does not read, and lives in the open air,” have made books the rarest of possessions in many houses. There are relics of the age before circulating libraries, there are fragments of the lettered store of some scholarly great-grandfather, and these, with a few odd numbers of magazines, a few primers and manuals, some sermons and novels, make up the ordinary library of an English household. But the amateur, whom we have in our thoughts, can never be satisfied with these commonplace supplies. He has a taste for books more or less rare, and for books neatly bound; in short, for books, in the fabrication of which art has not been absent. He loves to have his study, like Montaigne’s, remote from the interruption of servants, wife, and children; a kind of shrine, where he may be at home with himself, with the illustrious dead, and with the genius of literature. The room may look east, west, or south, provided that it be dry, warm, light, and airy. Among the many enemies of books the first great foe is damp, and we must describe the necessary precautions to be taken against this peril. We will suppose that the amateur keeps his ordinary working books, modern tomes, and all that serve him as literary tools, on open shelves. These may reach the roof, if he has books to fill them, and it is only necessary to see that the back of the bookcases are slightly removed from contact with the walls. The more precious and beautifully bound treasures will naturally be stored in a case with closely-fitting glass-doors. 2 The shelves should be lined with velvet or chamois leather, that the delicate edges of the books may not suffer from contact with the wood. A leather lining, fitted to the back of the case, will also help to keep out humidity. Most writers recommend that the bookcases should be made of wood close in the grain, such as well-seasoned oak; or, for smaller tabernacles of literature, of mahogany, satin-wood lined with cedar, ebony, and so forth. These close-grained woods are less easily penetrated by insects, and it is fancied that book-worms dislike the aromatic scents of cedar, sandal wood, and Russia leather. There was once a bibliophile who said that a man could only love one book at a time, and the darling of the moment he used to carry about in a charming leather case. Others, men of few books, preserve them in long boxes with glass fronts, which may be removed from place to place as readily as the household gods of Laban. But the amateur who not only worships but reads books, needs larger receptacles; and in the open oak cases for modern authors, and for books with common modern papers and bindings, in the closed armoire for books of rarity and price, he will find, we think, the most useful mode of arranging his treasures. His shelves will decline in height from the lowest, where huge folios stand at case, to the top ranges, while Elzevirs repose on a level with the eye. It is well that each upper shelf should have a leather fringe to keep the dust away.
As to the shape of the bookcases, and the furniture, and ornaments of the library, every amateur will please himself. Perhaps the satin-wood or mahogany tabernacles of rare books are best made after the model of what furniture-dealers indifferently call the “Queen Anne” or the “Chippendale” style. There is a pleasant quaintness in the carved architectural ornaments of the top, and the inlaid flowers of marquetry go well with the pretty florid editions of the last century, the books that were illustrated by Stothard and Gravelot. Ebony suits theological tomes very well, especially when they are bound in white vellum. As to furniture, people who can afford it will imitate the arrangements of Lucullus, in Mr. Hill Burton’s charming volume “The Book-hunter” (Blackwood, Edinburgh, 1862). – “Everything is of perfect finish, – the mahogany-railed gallery, the tiny ladders, the broad winged lecterns, with leathern cushions on the edges to keep the wood from grazing the rich bindings, the books themselves, each shelf uniform with its facings, or rather backings, like well-dressed lines at a review.” The late Sir William Stirling-Maxwell, a famous bibliophile, invented a very nice library chair.
Mr. William Blades, in his “Enemies of Books” (Trübner, 1880), decries glass-doors, – “the absence of ventilation will assist the formation of mould.” But M. Rouveyre bids us open the doors on sunny days, that the air may be renewed, and, close them in the evening hours, lest moths should enter and lay their eggs among the treasures. And, with all deference to Mr. Blades, glass-doors do seem to be useful in excluding dust.
