nostre dame A lenseigne de lescu de frac_. Without date, 4to. The device
of the printer is at the back of the colophon. This impression is executed
in 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 executed
in the black letter, in long lines. After the colophon, at the end, is a
leaf containing a wood-cut of a man and woman, which I remember to have
seen more than once before.
And now, methinks, you have had a pretty liberal assortment of ROMANCES
placed before you, and may feel disposed to breathe the open air, and quit
for a while this retired but interesting collection of ancient tomes. Here,
then, let us make a general obeisance and withdraw; especially as the
official announce of "deux heures viennent de sonner" dissipates the charm
of 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 THE
MAZARINE 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 the
other side of the Seine; and that, in opposition to the _ancient_ place or
church, so called, there was the _new_ Ste. Geneviève--or the Pantheon. My
present business is with the _old_ establishment: or rather with the
LIBRARY, hard by the old church of Ste. Geneviève. Of all interiors of
libraries, this is probably the most beautiful and striking; and it is an
absolute reproach to the taste of antiquarian art at Paris, that so
beautiful an interior has not been adequately represented by the burin.
There is surely spirit and taste enough in this magnificent capital to
prevent such a reproach from being of a much longer continuance. But my
business is with the _original_, and not with any _copy_ of it--however
successful. M. Flocon is the principal librarian, but he is just now from
home[91]. M. Le Chevalier is the next in succession, and is rarely from his
official station. He is a portly gentleman; unaffected, good-natured, and
kind-hearted. He has lived much in England, and speaks our language
fluently: and catching my arm, and leaning upon it, he exclaimed, with a
sort of heart's chuckle--in English, "with all my soul I attend you to the
library."
On entering that singularly striking interior, he whispered gently in my
ear "you shall be consigned to a clever attendant, who will bring you what
you want, and I must then leave you to your occupations." "You cannot
confer upon me a greater favour," I replied. "Bon, (rejoined he) je vois
bien que vous aimez les livres. A ça, marchons." I was consigned to a
gentleman who sat at the beginning of the left rectangular compartment--for
the library is in the form of a cross--and making my bow to my worthy
conductor, requested he would retire to his own more important concerns. He
shook 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 well
as extensive, appearance. From its extreme length,--which cannot be less
than two hundred and thirty feet, as I should conjecture--it looks rather
low. Yet the ceiling being arched, and tolerably well ornamented, the whole
has a very harmonious appearance. In the centre is a cupola: of which the
elder Restout, about ninety years ago, painted the ceiling. They talk much
of this painting, but I was not disposed to look at it a second time. The
charm of the whole arises, first, from the mellow tone of light which is
admitted from the glazed top of this cupola; and, secondly, from the
numerous busts, arranged along the sides, which recal to your remembrance
some of the most illustrious characters of France--for arts, for arms, for
learning, and for public spirit. These busts are at the hither end, as you
enter. Busts of foreigners continue the suite towards the other
extremities. A good deal of white carved ornament presents itself, but not
unpleasantly: the principal ground colour being of a sombre tint,
harmonising with that of the books. The floor is of glazed tile. It was one
of the hottest of days when I first put my foot within this interior; and
my very heart seemed to be refreshed by the coolness--the tranquillity--the
congeniality of character--of every thing around me! In such a place,
"hours" (as Cowper somewhere expresses it) may be "thought down to
moments." A sort of soft, gently-stealing, echo accompanies every tread of
the foot. You long to take your place among the studious, who come every
day to read in the right compartment of the cross; and which compartment
they as regularly _fill_. Meanwhile, scarcely a whisper escapes them. The
whole is, indeed, singularly inviting to contemplation, research, and
instruction. But it was to the left of the cupola--and therefore opposite
the studious corps just mentioned--that M. Le Chevalier consigned me to my
bibliographical attendant. I am ignorant of his name, but cannot be
forgetful 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 Pope
Pius the Sixth's copy. Indeed the greater number of the more valuable early
books belonged to that amiable Pontiff; upon whom Audiffredi (as you may
well remember) has passed so warm and so well merited an eulogium[92]. The
papal copy, however, has its margins scribbled upon, and is defective in
the 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 also
short. 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 rather
closely cropt.
BIBLIA LATINA. 1462. Folio. 2 vols. I saw only the first volume, which
displays a well-proportioned length and breadth of margin. The
illuminations appear to be nearly coeval, and are of a soft and pleasing
style of execution. Yet the margins are rather deformed by the designation
of the chapters, in large roman numerals, of a sprawling character.
BIBLIA ITALICA. _Kalend. de Octobrio_. 1471. Folio. 2 vols. A perfectly
magnificent copy (measuring sixteen inches three eighths, by ten and six
eighths) of this very rare edition; of which a minute and particular
account will be found in the Catalogue of Earl Spencer's Library.[93] After
a careful inspection--rather than from actual comparison--I incline to
think that these noble volumes came from the press of _Valdarfer_. The copy
under description is bound in brown calf, with red speckled edges to the
leaves. This is a copy of an impression of which the library may justly be
proud.
BIBLIA POLONICA. 1599. Folio. In style of printing and embellishment like
our Coverdale's Bible of 1535. Whether it be a reprint (which is most
probable) of the famous Polish Bible of 1563, I am unable to ascertain.
VIRGILIUS. _Printed by Sweynheym and Pannartz_. (1469.) Folio. FIRST
EDITION; of the greatest rarity. Probably this is the finest copy (once
belonging to Pius VI.) which is known to exist; but it must be considered
as imperfect--wanting the Priapeia. And yet it may be doubted whether the
latter 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 five
eighths in width: but the state of the illumination, at the beginning of
the Bucolics, shews the volume to have been cropt--however slightly. All
the illuminations are quiet and pretty. Upon the whole, this is a very
precious book; and superior in most respects to the copy in the Royal
Library.[94]
PLINIUS SENIOR. 1469. Folio. EDITIO PRINCEPS. A copy from the same papal
library; very fine, both as to length and width.--You rarely meet with a
finer copy. _The Jenson edition_ of 1472 is here comparatively much
inferior.
CICERO. RHETORICA VETUS. _Printed by Jenson_. 1470. Folio. A great
curiosity: inasmuch as it is a copy UPON VELLUM. It has been cruelly cut
down, but the vellum is beautiful. It is also choked in the back, in
binding. 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 and
the preceding book are FIRST EDITIONS. A copy of equal beauty and equal
size with the Suetonius. From the same Collection.
PRISCIANUS. _Printed by V. de Spira_. 1470. Folio. First Edition. We have
here a truly delicious copy--UPON VELLUM--and much superior to a similar
copy in the Royal Library[95] I ought slightly to notice that a few of the
leaves, 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 a
classical bibliographer. It is bound in pale calf, with gilt stamped edges,
and once belonged to the Pontiff from whose library almost every
previously-described volume was obtained.
DANTE. _Printed by Petrus [Adam de Michaelibus.] Mantua_. 1472. Folio. A
large and fair copy of an exceedingly rare edition. It appears to be quite
perfect.
BOETIUS. _Printed by Frater Iohannes_ 1474. 4to. It is for the first time
that I open the leaves of this scarce edition. It is printed in a sharp and
rather handsome roman type, and this copy has sixty-three numbered leaves.
ANTHOLOGIA GRÆCA. 1498. 4to. We have here a most desirable copy--UPON
VELLUM, which is equally soft and white. It has been however peppered a
little by a worm, at the beginning and end; especially at the end. It is
coated in a goodly sort ofGaignat binding.
CICERONIS OPERA OMNIA. _Milan_. 1498. Folio. 4 vols. This is the finest
copy 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 the
reverse of the first leaf of the first volume, is unluckily wanting. There
are, who would call this a _large paper_ copy.
MARSILIUS FICINUS: IN DIONYSIUM AREOPAGITAM. _Printed by Laurentius, the
Son of Franciscus a Venetian; at Florence. Without Date_. Folio. This is
certainly a very beautiful and genuine book, in this particular condition--
UPON VELLUM--but the small gothic type, in which it is printed, is a good
deal blurred. The binding is in its first state: in a deep red-coloured
leather, over boards. I should apprehend this impression to be chiefly
valuable on the score of rarity and high price, when it is found upon
vellum.
The foregoing are what I selected from the _Fifteeners_; after running an
attentive eye over the shelves upon which the books, of that description
are 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 in
such uncommon condition, that I question whether M. Van Praet doth not
occasionally cast an envious eye upon these membranaceous treasures--
secretly, and perhaps commendably, wishing that some of them may one day
find their way into the Royal Collection!... You shall judge for yourself.
HOMERI OPERA. Gr. _Printed by Aldus. Without date_. 12mo. 2 vols. First
Aldine impression; and this copy perhaps yields only to the one in the
Royal Library.[96] These volumes are differently bound; but of the two,
that containing the _Iliad_, gains in length what it loses in breadth. The
vellum is equally soft, white, and well-conditioned; and perhaps,
altogether, the copy is only one little degree inferior to that in the
Royal Library. The Odyssey is bound in old red morocco, with stampt gilt
edges. 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 not
unmindful of the Royal copies here, and more particularly of the _Pindar
and Ovid_ in St. James's Place. But, in truth, there reigns throughout the
rectos and reverses of each of these volumes, such a mellow, quiet, and
genuine tone of colour, that the most knowing bibliographer and the most
fastidious Collector cannot fail to express his astonishment on turning
over the leaves. They are bound in old red morocco, with the arms of a
Cardinal on the exterior; and (with the exception of the first volume,
which is some _very_ little shorter) full six inches and a half, by four
inches. Shew me its like if you can!
I shall mention only three more volumes; but neither of them Aldine; and
then take leave of the library of Ste. Geneviève.
MISSALE MOZARABICUM. 1500. Folio. A fine copy for size and colour; but
unluckily much wormed at the beginning, though a little less so at the end.
It measures nearly thirteen inches one quarter, by nine three eighths. From
the stamped arms of three stars and three lizards, this copy appears to
have belonged to the _Cardinal Juigné_, Archbishop of Paris; who had a fine
taste for early printed books.
VITRUVIUS, _Printed by the Giunti_, 1513. 8vo. A delicious copy; upon
white, 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 cruel
worm, however, has perforated as far as folio 76; leaving one continued
hole behind him. The binding of this exquisite book is as gaudy as it is
vulgar.
TEWERDANCKHS. _Printed in 1517_. Folio. First Edition. This is doubtless a
fine copy--upon thick, but soft and white, VELLUM. Fortunately the plates
are uncoloured, and the copy is quite complete in the table. It measures
fifteen inches in length, by nine inches three quarters in width.
Such appeared to me, on a tolerably careful examination of the titles of
the volumes, to be among the chief treasures in the early and more curious
department of books belonging to the STE. GENEVIÈVE LIBRARY. Without doubt,
many more may be added; but I greatly suspect that the learned in
bibliography would have made pretty nearly a similar selection; Frequently,
during the progress of my examinations, I looked out of window upon the
square, or area, below--which was covered at times by numerous little
parties of youths (from the College of Henry IV.) who were partaking of all
manner of amusements, characteristic of their ages and habits. With, and
without, coats--walking, sitting, or running,--there they were! All gay,
all occupied, all happy:--unconscious of the alternate miseries and
luxuries of the _Bibliomania_!--unknowing in the nice distinctions of type
from the presses of _George Laver_, _Schurener de Bopardia_, and _Adam
Rot_: 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, or
ruffle the temper, of a single Roxburgher. And now, my friend, as we are
about to quit this magnificent assemblage of books, I owe it to myself--but
much more to your own inextinguishable love of bibliographical history--to
say "one little word, or two"--ere we quit the threshold--respecting the
Abbé MERCIER SAINT LÉGER ... the head librarian, and great living ornament
of the collection, some fifty years ago. I am enabled to do this with the
greater propriety, as my friend M. Barbier is in possession of a number of
literary anecdotes and notices respecting the Abbé--and has supplied me
with a brochure, by Chardon De La Rochette, which contains a notice of the
life and writings of the character in question. I am sure you will be
interested by the account, limited and partial as it must necessarily be:
especially as I have known those, to whose judgments I always defer with
pleasure and profit, assert, that, of all BIBLIOGRAPHERS, the Abbé Mercier
St. Léger was the FIRST, in eminence, which France possessed, I have said
so myself a hundred times, and I repeat the asseveration. Yet we must not
forget Niceron.
Mercier Saint Léger was born on the 1st of April, 1734. At fifteen years of
age, he began to consider what line of life he should follow. A love of
knowledge, and a violent passion for study and retirement, inclined him to
enter the congregation of the _Chanoines Réguliers_--distinguished for men
of literature; and, agreeably to form, he went through a course of rhetoric
and 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 he
laid the foundation of his future celebrity as a literary bibliographer. He
met there the venerable CAULET, who had voluntarily resigned the bishopric
of Grenoble, to pass the remainder of his days in the abbey in question--of
which he was the titular head--in the midst of books, solitude, and
literary society. Mercier Saint Léger quickly caught the old man's eye, and
entwined himself round his heart. Approaching blindness induced the
ex-bishop to confide the care of his library to St. Léger--who was also
instructed by him in the elements of bibliography and literary history. He
taught him also that love of order and of method which are so
distinguishable in the productions of the pupil. Death, however, in a
little time separated the master from the scholar; and the latter scarcely
ever mentioned the name, or dwelt upon the virtues, of the former, without
emotions which knew of no relief but in a flood of tears. The heart of
Mercier St. Léger was yet more admirable than his head.