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,

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.]

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 LESNÉ'. 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:

Ε ρα, και εν πρωτοις ιαχων εχε μωνυχας 'ιπποσ

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;

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:]

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.

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.

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.

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!
Κοινα τα παντα φιλων 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.

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 GuildersH --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.