it into books than into any "paying investments," or any horses, clothes, pictures, or opera-tickets. A life passed among books, thinking, talking, living only for books, is the most amusing and improving life; and to make this possible, the acquisition of a library should be the first object of any one who makes any claim to the possession of luxuries. (My madness only allows me to make one exception,—I do acknowledge the solemn duty of laying in a stock of old Madeira.) But so far I have many fellow-maniacs. The special reason why I ought always to stop the Lowell cars at Somerville is, that I consider the reading of books only half the battle. I must have them in choice bindings, in rare imprints, in original editions, and in the most select forms. I must have several copies of a book I have read forty times, as long as there is anything about each copy that makes it peculiar, sui generis. I must own the first edition of Paradise Lost, because it is the first, and in ten books; the second, because it is the first in twelve; then Newton's, then Todd's, then Mitford's, and so on, till my catalogue of Miltons gets to equal Jeames de la Pluche's portraits of the "Dook." "And when," as Henry indignantly says, "he could read Milton all he wanted to, more than I should ever want to, notes and all, in Little and Brown's edition that father gave him, he must go spending money on a parcel of old truck printed a thousand years ago." Mad, quite mad.
Now, to finish the melancholy picture, I am classic mad. I prefer the ancient authors, decidedly, to the moderns. I love them as I never can the moderns; they are my most intimate friends, my heart's own darlings. And how I love to lavish money on them, to see them adorned in every way! How I love to heap them up, Aldines, and Elzevirs, and Baskervilles, and Biponts, in all their grace and majesty. This was what filled that London box. This was all I had to show for twenty-five or thirty guineas of good money; a parcel of trumpery old Greek and Latin books I had by dozens already! Mad, mad.
Will you come in and see them, ladies and gentlemen? Here they are, all ranged out on my table, large and small, clean and dirty. What have we first?
A goodly fat quarto in white vellum, "Plinii Panegyricus, cum notis Schwarzii, Norimbergæ, 1733." A fine, clean, fresh copy,—one of those brave old Teutonic classics of the last century, less exquisitely printed than the Elzevirs, less learnedly critical than the later Germans, but perfectly trustworthy and satisfactory, and attracting every one's eye on a library shelf, by the rich sturdiness of their creamy binding, that smacks of the true Dutch and German burgher wealth. The model of them all is Oudendorp's Cæsar. But there is nothing very great about Pliny's Panegyric, and a man must be a very queer bibliomaniac who would buy up all the vellum classics of the last century he saw. Look inside the cover; read under the book-plate the engraved name, "Edward Gibbon, Esq." What will you, my sanest friend, not give for a book that belonged to the author of the "Decline and Fall"?
The next is also a large quarto, but of a very different character. It is the Baskerville impression of the elegiac poets,—Catullus, Tibullus, and Propertius: Birmingham, 1772. No books are more delightful to sight and touch than the Baskerville classics. This Catullus of mine is printed on the softest and glossiest post paper, with a mighty margin of two inches and a half at the side, and rich broad letters,—the standard n is a tenth of an inch wide,—of a glorious blackness in spite of their ninety-two years of age. The classics of all languages have never been more fitly printed than by Baskerville; and the present book may serve as an admirable lesson to those who think a large-paper book means an ordinary octavo page printed in the middle of a quarto leaf,—for instance; Irving's Washington. My Catullus is
