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illustrated books。 Here it may be said； in passing； that an early copy of
William Blake's 〃Songs of Innocence；〃 written； illustrated； printed；
coloured； and boarded by the author's own hand； is one of the most
charming objects that a bibliophile can hope to possess。 The verses of
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Blake； in a framework of birds； and flowers； and plumes； all softly and
magically tinted； seem like some book out of King Oberon's library in
fairyland； rather than the productions of a mortal press。 The pictures in
Blake's 〃prophetic books；〃 and even his illustrations to 〃Job；〃 show an
imagination more heavily weighted by the technical difficulties of
drawing。
The next class of rare books is composed of works from the famous
presses of the Aldi and the Elzevirs。 Other presses have； perhaps； done
work as good； but Estienne； the Giunta； and Plantin； are comparatively
neglected； while the taste for the performances of Baskerville and Foulis is
not very eager。 A safe judgment about Aldines and Elzevirs is the gift of
years and of long experience。 In this place it is only possible to say a few
words on a wide subject。 The founder of the Aldine press； Aldus Pius
Manutius； was born about 1450； and died at Venice in 1514。 He was a
man of careful and profound learning； and was deeply interested in Greek
studies； then encouraged by the arrival in Italy of many educated Greeks
and Cretans。 Only four Greek authors had as yet been printed in Italy；
when （1495） Aldus established his press at Venice。 Theocritus； Homer；
AEsop； and Isocrates； probably in very limited editions； were in the hands
of students。 The purpose of Aldus was to put Greek and Latin works；
beautifully printed in a convenient shape； within the reach of all the world。
His reform was the introduction of books at once cheap； studiously correct；
and convenient in actual use。 It was in 1498 that he first adopted the
small octavo size； and in his 〃Virgil〃 of 1501； he introduced the type
called Aldine or Italic。 The letters were united as in writing； and the type
is said to have been cut by Francesco da Bologna； better known as Francia；
in imitation of the hand of Petrarch。 For full information about Aldus
and his descendants and successors； the work of M。 Firmin Didot； （〃Alde
Manuce et l'Hellenisme a Venise： Paris 1875）；〃 and the Aldine annals of
Renouard； must be consulted。 These two works are necessary to the
collector； who will otherwise be deceived by the misleading assertions of
the booksellers。 As a rule； the volumes published in the lifetime of Aldus
Manutius are the most esteemed； and of these the Aristotle； the first Homer；
the Virgil； and the Ovid； are perhaps most in demand。 The earlier
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Aldines are consulted almost as studiously as MSS。 by modern editors of
the classics。
Just as the house of Aldus waned and expired； that of the great Dutch
printers； the Elzevirs； began obscurely enough at Leyden in 1583。 The
Elzevirs were not； like Aldus； ripe scholars and men of devotion to
learning。 Aldus laboured for the love of noble studies； the Elzevirs were
acute； and too often 〃smart〃 men of business。 The founder of the family
was Louis （born at Louvain； 1540； died 1617）。 But it was in the second
and third generations that Bonaventura and Abraham Elzevir began to
publish at Leyden； their editions in small duodecimo。 Like Aldus； these
Elzevirs aimed at producing books at once handy； cheap； correct； and
beautiful in execution。 Their adventure was a complete success。 The
Elzevirs did not； like Aldus； surround themselves with the most learned
scholars of their time。 Their famous literary adviser； Heinsius； was full of
literary jealousies； and kept students of his own calibre at a distance。 The
classical editions of the Elzevirs； beautiful； but too small in type for
modern eyes； are anything but exquisitely correct。 Their editions of the
contemporary。 French authors； now classics themselves； are lovely
examples of skill in practical enterprise。 The Elzevirs treated the French
authors much as American publishers treat Englishmen。 They stole right
and left； but no one complained much in these times of slack copyright；
and； at all events； the piratic larcenous publications of the Dutch printers
were pretty； and so far satisfactory。 They themselves； in turn； were the
victims of fraudulent and untradesmanlike imitations。 It is for this；
among other reasons； that the collector of Elzevirs must make M。
Willems's book （〃Les Elzevier；〃 Brussels and Paris； 1880） his constant
study。 Differences so minute that they escape the unpractised eye； denote
editions of most various value。 In Elzevirs a line's breadth of margin is
often worth a hundred pounds； and a misprint is quoted at no less a sum。
The fantastic caprice of bibliophiles has revelled in the bibliography of
these Dutch editions。 They are at present very scarce in England； where
a change in fashion some years ago had made them common enough。 No
Elzevir is valuable unless it be clean and large in the margins。 When
these conditions are satisfied the question of rarity comes in； and Remy
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Belleau's Macaronic poem； or 〃Le Pastissier Francais；〃 may rise to the
price of four or five hundred pounds。 A Rabelais； Moliere； or Corneille；
of a 〃good〃 edition； is now more in request than the once adored 〃Imitatio
Christi〃 （dateless）； or the 〃Virgil〃' of 1646； which is full of gross errors of
the press； but is esteemed for red characters in the letter to Augustus； and
another passage at page 92。 The ordinary marks of the Elzevirs were the
sphere； the old hermit； the Athena； the eagle； and the burning faggot。 But
all little old books marked with spheres are not Elzevirs； as many
booksellers suppose。 Other printers also stole the designs for the tops of
chapters； the Aegipan； the Siren； the head of Medusa； the crossed sceptres；
and the rest。 In some cases the Elzevirs published their books； especially
when they were piracies； anonymously。 When they published for the
Jansenists； they allowed their clients to put fantastic pseudonyms on the
title pages。 But； except in four cases； they had only two pseudonyms
used on the titles of books published by and for themselves。 These
disguises are 〃Jean Sambix〃 for Jean and Daniel Elzevir； at Leyden； and
for the Elzevirs of Amsterdam； 〃Jacques le Jeune。〃 The last of the great
representatives of the house； Daniel； died at Amsterdam； 1680。 Abraham；
an unworthy scion； struggled on at Leyden till 1712。 The family still
prospers； but no longer prints； in Holland。 It is common to add
duodecimos of Foppens； Wolfgang； and other printers； to the collections of
the Elzevirs。 The books of Wolfgang have the sign of the fox robbing a
wild bee's nest； with the motto Quaerendo。
Curious and singular books are the next in our classification。 The
category is too large。 The books that be 〃curious〃 （not in the booksellers'
sense of 〃prurient〃 and 〃disgusting；〃） are innumerable。 All suppressed and
condemned books； from 〃Les Fleurs du Mal〃 to Vanini's
〃Amphitheatrum；〃 or the English translation of Bruno's 〃Spaccia della
Bestia Trionfante；〃 are more or less rare； and more or less curious。 Wild
books； like William Postel's 〃Three Marvellous Triumphs of Women；〃 are
〃