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olls　by　chance　into　a　saleroom；　will　be　surprised　at　the　spectacle。　　The　chamber　has　the　look　of　a　rather　seedy　〃hell。〃　　The　crowd　round　the　auctioneer's　box　contains　many　persons　so　dingy　and　Semitic；　that　at　Monte　Carlo　they　would　be　refused　admittance；　while；　in　Germany；　they　would　be　persecuted　by　Herr　von　Treitschke　with　Christian　ardour。　　Bidding　is　languid；　and　valuable　books　are　knocked　down　for　trifling　sums。　　Let　the　neophyte　try　his　luck；　however；　and　prices　will　rise　wonderfully。　　The　fact　is　that　the　sale　is　a　〃knock　out。〃　　The　bidders　are　professionals；　in　a　league　to　let　the　volumes　go　cheap；　and　to　distribute　them　afterwards　among　themselves。　　Thus　an　amateur　can　have　a　good　deal　of　sport　by　bidding　for　a　book　till　it　reaches　its　proper　value；　and　by　then　leaving　in　the　lurch　the　professionals　who　bine　to　〃run　him　up。〃　　The　amusement　has　its　obvious　perils；　but　the　presence　of　gentlemen　in　an　auctionroom　is　a　relief　to　the　auctioneer　and　to　the　owner　of　the　books。　　A　bidder　must　be　able　to　mand　his　temper；　both　that　he　may　be　able　to　keep　his　head　cool　when　tempted　to　bid　recklessly；　and　that　he　may　disregard　the　not　very　carefully　concealed　sneers　of　the　professionals。

In　bookhunting　the　nature　of　the　quarry　varies　with　the　taste　of　the　collector。　　One　man　is　for　bibles；　another　for　ballads。　　Some　pursue　plays；　others　look　for　play　bills。　　〃He　was　not；〃　says　Mr。　Hill　Burton；　speaking　of　Kirkpatrick　Sharpe；　〃he　was　not　a　black　letter　man；　or　a　tall　copyist；　or　an　uncut　man；　or　a　roughedge　man；　or　an　earlyEnglish　dramatist；　or　an　Elzevirian；　or　a　broadsider；　or　a　pasquinader；　or　an　old　brown　calf　man；　or　a　Grangerite；　｛1｝　or　a　tawny　moroccoite；　or　a　gilt　topper；　or　a　marbled　insider；　or　an　editio　princeps　man。〃　　These　nicknames　briefly　dispose　into　categories　a　good　many　species　of　collectors。　　But　there　are　plenty　of　others。　　You　may　be　a　historicalbindings　man；　and　hunt　for　books　that　were　bound　by　the　great　artists　of　the　past　and　belonged　to　illustrious　collectors。　　Or　you　may　be　a　Jametist；　and　try　to　gather　up　the　volumes　on　which　Jamet；　the　friend　of　Louis　Racine；　scribbled　his　cynical　〃Marginalia。〃　　Or　you　may　covet　the　earliest　editions　of　modern　poetsShelley；　Keats；　or　Tennyson；　or　even　Ebenezer　Jones。　Or　the　object　of　your　desires　may　be　the　books　of　the　French　romanticists；　who　flourished　so　freely　in　1830。　　Or；　being　a　person　of　large　fortune　and　landed　estate；　you　may　collect　country　histories。　　Again；　your　heart　may　be　set　on　the　books　illustrated　by　Eisen；　Cochin；　and　Gravelot；　or　Stothard　and　Blake；　in　the　last　century。　　Or　you　may　be　so　oldfashioned　as　to　care　for　Aldine　classics；　and　for　the　books　of　the　Giunta　press。　　In　fact；　as　many　as　are　the　species　of　rare　and　beautiful　books；　so　many　are　the　species　of　collectors。　　There　is　one　sort　of　men；　modest　but　not　unwise　in　their　generations；　who　buy　up　the　pretty　books　published　in　very　limited　editions　by　French　booksellers；　like　MM。　Lemerre　and　Jouaust。　　Already　their　reprints　of　Rochefoucauld's　first　edition；　of　Beaumarchais；　of　La　Fontaine；　of　the　lyrics　attributed　to　Moliere；　and　other　volumes；　are　exhausted；　and　fetch　high　prices　in　the　market。　　By　a　singular　caprice；　the　little　volumes　of　Mr。　Thackeray's　miscellaneous　writings；　in　yellow　paper　wrappers　（when　they　are　first　editions）；　have　bee　objects　of　desire；　and　their　old　modest　price　is　increased　twenty　fold。　　It　is　not　always　easy　to　account　for　these　freaks　of　fashion；　but　even　in　bookcollecting　there　are　certain　definite　laws。　　〃Why　do　you　pay　a　large　price　for　a　dingy；　old　book；〃　outsiders　ask；　〃when　a　clean　modern　reprint　can　be　procured　for　two　or　three　shillings？〃　　To　this　question　the　collector　has　several　replies；　which　he；　at　least；　finds　satisfactory。　　In　the　first　place；　early　editions；　published　during　a　great　author's　lifetime；　and　under　his　supervision；　have　authentic　texts。　　The　changes　in　them　are　the　changes　that　Prior　or　La　Bruyere　themselves　made　and　approved。　　You　can　study；　in　these　old　editions；　the　alterations　in　their　taste；　the　history　of　their　minds。　　The　case　is　the　same　even　with　contemporary　authors。　　One　likes　to　have　Mr。　Tennyson's　〃Poems；　chiefly　Lyrical〃　（London：　　Effingham　Wilson；　Royal　Exchange；　Cornhill；　1830）。　　It　is　fifty　years　old；　this　little　book　of　one　hundred　and　fiftyfour　pages；　this　first　fruit　of　a　stately　tree。　　In　half　a　century　the　poet　has　altered　much；　and　withdrawn　much；　but　already；　in　1830；　he　had　found　his　distinctive　note；　and　his　〃Mariana〃　is　a　masterpiece。　　〃Mariana〃　is　in　all　the　collections；　but　pieces　of　which　the　execution　is　less　certain　must　be　sought　only　in　the　old　volume　of　1830。　　In　the　same　way　〃The　Strayed　Reveller；　and　other　poems；　by　A。〃　　（London：　　B。　Fellowes；　Ludgate　Street；　1849）　contains　much　that　Mr。　Matthew　Arnold　has　altered；　and　this　volume；　like　the　suppressed　〃Empedocles　on　Etna；　and　other　Poems；　by　A。〃　（1852）；　appeals　more　to　the　collector　than　do　the　new　editions　which　all　the　world　may　possess。　　There　are　verses；　curious　in　their　way；　in　Mr。　Clough's　〃Ambarvalia〃　（1849）；　which　you　will　not　find　in　his　posthumous　edition；　but　which　〃repay　perusal。〃　　These　minutiae　of　literary　history　bee　infinitely　more　important　in　the　early　editions　of　the　great　classical　writers；　and　the　bookcollector　may　regard　his　taste　as　a　kind　of　handmaid　of　critical　science。　　The　preservation　of　rare　books；　and　the　collection　of　materials　for　criticism；　are　the　useful　functions；　then；　of　bookcollecting。　　But　it　is　not　to　be　denied　that　the　sentimental　side　of　the　pursuit　gives　it　most　of　its　charm。　　Old　books　are　often　literary　relics；　and　as　dear　and　sacred　to　the　lover　of　literature　as　are　relics　of　another　sort　to　the　religious　devotee。　　The　amateur　likes　to　see　the　book　in　its　form　as　the　author　knew　it。　　He　takes　a　pious　pleasure　in　the　first　edition　of　〃Les　Precieuses　Ridicules；〃　（M。DC。LX。）　just　as　Moliere　saw　it；　when　he　was　fresh　in　the　business　of　authorship；　and　wrote　〃Mon　Dieu；　qu'un　Autheur　est　neuf；　la　premiere　fois　qu'on　l'imprime。〃　　All　editions　published　during　a　great　man's　life　have　this　attraction；　and　seem　to　bring　us　closer　to　his　spirit。　　Other　volumes　are　relics；　as　we　shall　see　later；　of　some　famed　collector；　and　there　is　a　certain　piety　in　the　care　we　give　to　books　once　dear　to　Longepierre；　or　Harley；　or　d'Hoym；　or　Buckle；　to　Madame　de　Maintenon；　or　Walpole；　to　Grolier；　or　Askew；　or　De　Thou；　or　Heber。　Such　copies　should　be　handed　down　from　worthy　owners　to　owners　not　unworthy；　such　servants　of　literature　should　never　have　careless　masters。　　A　man　may　prefer　to　read　for　pleasure　in　a　good　clear　reprint。　　M。　Charpentier's　〃Montaigne〃　serves　the　turn；　but　it　is　natural　to　treasure　more　〃Les　Essais　de　Michel　Seigneur　de　Montaigne；〃　that　were　printed　by　Francoise　le　Febre；　of　Lyon；　in　1595。　　It　is　not　a　beautiful　book；　the　type　is　small；　and　rather　blunt；　but　William　Drummond　of　Hawthornden　has　written　on　the　title　page　his　name　and　his　device；　Cipresso　e　Palma。　　There　are　a　dozen　modern　editions　of　Moliere　more　easily　read　than　the　four　little　volumes　of　Wetstein　（Amsterdam；　1698）；　but　these　contain　reduced　copies　of　the　original　illustrations；　and　here　you　see　Arnolphe　and　Agnes　in　their　habits　as　they　lived；　Moliere　and　Mdlle。　de　Brie　as　the　public　of　Paris　beheld　them　more　than　two　hundred　years　ago。　Suckling's　〃Fragmenta　Aurea〃　contain　a　good　deal　of　dross；　and　most　of　the　gold　has　been　gathered　into　Miscellanies；　but　the　original　edition　of　1646；　〃after　his　own　copies；〃　with　the　portrait　of　the　jolly　cavalier　who　died　aetatis　suae　28；　has　its　own　allurement。　Theocritus　is　more　easily　read；　perhaps；　in　Wordsworth's　edition；　or　Ziegler's；　but　that　which　Zacharias　Calliergi　printed　in　Rome　（1516）；　with　an　exmunication　from　Leo　X。　against　infringement　of　copyright；　will　always　be　a　beautiful　and　desirable　book；　especially　when　bound　by　Derome。　　The　gist　of　the　pious　Prince　Conti's　strictures　on　the　wickedness　of　edy　may　be　read　in　various　literary　histories；　but　it　is　natural　to　like　his　〃Traite　de　la　edie　selon　la　tradition　de　l'Eglise；　Tiree　des　Conciles　et　des　saints　Peres；〃　published　by　Lovys　Billaine　in　1660；　especially　when　the　tract　is　a　clean　copy；　arrayed　in　a　decorous　black　morocco。

These　are　bu