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BALLADE EN GUISE DE RONDEAU. (The following verses are prefixed to the catalogue of Mr. Locker's Rowfant Library, publishes by Mr Quaritch.)

The Rowfant books, how fair they shew,

The Quarto quaint, the Aldine tall,
Print, autograph, portfolio!

Back from the outer air they call,

The athletes from the Tennis ball,
This Rhymer from his rod and hooks,
Would I could sing them, one and all,

The Rowfant books!
The Rowfant books! In sun and snow

They're dear, but most when tempests fall;
The folio towers above the row

As once, o'er minor prophets,-Saul!

What jolly jest books, and what small
“Dear dumpy Twelves ” to fill the nooks.
You do not find on every stall

The Rowfant books!
The Rowfant books! These long ago

Were chained within some College hall;
These manuscripts retain the glow
Of many a coloured capital;

While yet the satires keep their gall,
While the Pastissier puzzles cooks,
Theirs is a joy that does not pall,

The Rowfant books!

The following highly interesting account of Mr. Frederick Locker's newly published catalogue is slightly condensed from Mr. Smalley's articles in The Tribune. Mr. Locker's Library of old English Poetical and Dramatic Literature is perhaps the richest and choicest in England, and the catalogue of which only two hundred copies have been printed will be a valuable Hand-book of Reference. The full title and collation of every book are most carefully given. The catalogue is a Royal 8vo, Roxburgh binding, and is published by Mr. Quaritch, at the moderate price of a guinea.

To the ordinary reader as well as to the bibliophile a catalogue, be it of books or pictures, is at all times interesting, and the projectors of catalogues have for a long time vied with each other in the production of something rather better than what had gone before by the addition of illustrations, etchings, photographs, etc. Of the fine individual libraries in existence we have had only a few catalogues raisonnés-i. e., catalogues with comments, collations and annotations made by a bibliophile. That of the late Andrew J. Odell, whose books were sold in 1880, was a marvel in its way; but it was so beautifully done by George Philes that the results hardly paid for the cost of cataloguing. “La Bibliothèque d'un Bibliophile” is the title of a small privately printed book, dedicated to the “Amis des Livres” (the French society of that name), by Henri Biraldi. This is a catalogue of books belonging to Eug. Paillet, president of the above-mentioned society, a legal luminary of the French Court of Appeals and a recognized authority on books. This little volume M. Biraldi has made most attractive by adding notes relative to the book-lovers of Paris, especially those who congregate in M. Paillet's library. Their hobbies and idiosyncrasies are freely discussed and commented upon, and queer stories are told of each and all of them. He tells how the books were found and where; what was paid for them, and what the world said about them; he gives minute descriptions of the more important books and falls into ecstatic enthu. siasın over a Tratuz Bauzonnet binding.

The Rowfant books,-ah magical

As famed Armida's golden looks,
They hold the Rhymer for their thrall-
The Rowfant books!


I love my books as drinkers love their wine;
The more I drink, the more they seem divine;
With joy elate my soul in love runs o'er.
And each fresh draught is sweeter than before!
Bouks bring me friends where'er on earth I be,
Solace of solitude,-bonds of society!


Treating most particularly of English books—the poets and dramatists taking up the greater part-comes Mr. Frederick Locker-Lampson's catalogue. (The final name has been added by the poet.) This is without exception one of the most perfect bits of book-making and cataloguing to be found to-day. It is a large 8yo. printed on Holland paper. It looks and is a most attractive book. On the reverse of the bastard title it is stated that this is one of the fifty copies printed for presentation,” also that “The etching by Cruikshank which forms the frontispiece of this volume is one of the first 250 impressions of the plate.” The etching referred to is well-known on this side of the water and has always been a favorite with collectors of Cruikshankiana. It represents “The Fairy Connoisseurs inspecting Mr. Frederick Locker's collection of drawings, etc”;

“That virtuoso whim,
Which consecrates our dim

Long ago.” Besides the Cruikshank etching there are reproductions of three book plates, one of which by H. Stacy Marks appeared in The Century in Mr. Brander Matthews's article on Locker. Of the remaining two here shown, the first one looks very much as if it were the work of Linley Sambourne. These bear the Locker motto, “Fear God, Fear Nought." There is, furthermore, a portrait of Frederick Locker by Du Maurier. It is only a head, made with very few strokes in black on white, but there is a characteristic smile on the lips and a real twinkle in the eye.

Part 1, of the catalogue is devoted to books printed from 1480 to 1700, and the books are arranged alphabetically. Here are wonders indeed. Unique" copies, or “two or three known,” or “the most perfect copy known,"—such comments are to be found on nearly every page of the book. It is a wonderful piece of cataloguing, too; so perfect that the bibliophile can collate his copy of a book by Mr. Locker's notes—that is if the bibliophile be fortunate enough to have the book. It would be impossible in any short space to mention even a small portion of the treasures of this library, and equally impossible to go into any detailed description of the books mentioned. Here is John Barbour's: "The Actis and Lyfe of the maist Victorious Conqueror, Robert Bruce, King of Scotland. Edinburgh, 1571. 8vo. B. L.”-it is supposed to be unique. Here are the original editions of Beaumont and Fletcher-1602– 1661–all of extreme rarity; and Christopher Brooke's The Ghost of Richard the Third expressing himself


1. His Character,
in these 2. His Legend,
three parts, 3. His Tragedie, etc.

1614. Another entry reads thus:

John Bunyan: "The Pilgrim's Progress from this World to that which is to come." London. Printed of Nath. Pouder at the Peacock in the Poultrey near Cornhill, 1679.

This is the first coniplete edition of the “Pilgrim's Progress," and the note says: “Mr. Offor's imperfect copy is the only other known.”

Under the names of John Davies and Thomas Dekker we find mention of a number of first editions, most rare as well as curious, and having additional interest as coming from various collections, such as the Bridgewater, the Duke of Devonshire's, J. P. Collier's, Horace Walpole's etc. Under this entry: “ Michael Drayton, Endiinion and Phæhe,” appears a MS. note by J. P. Collier stating that there is only one other copy known.

Another entry is: John Hall: “ The Courte of Virtue. Contayning Many boly or Spretual) Songes, Sonnettes, psalmes and Shorte sentences as well of holy Scripture as others." London, 1565. B. L. First edition.

There are only three copies of this known, of which this is the most perfect. George Herbert Stephen Hawes, Robert Herrick, John and Thomas Heywood. Ben Jonson, John Lilly, are well represented in first rare editions, many of them having come from the Ouvry collection or the Earl of Jersey's library, or John Hunter's. Here is a gein:

Thomas Lodge: “The Life and Death of William Longbeard, the most famous and witty English Traitor." 1593. 4to, black letter.

This from the Ouvry collection is said to be the only perfect copy known.

Mr. Locker has the first issue of the first edition of “Paradise Lost"; this copy, formerly in the possession of Dr. Bentley and Richard Cumberland, was used by Mr. Pickering for his fac-simile reprint. His autograph letter is inserted. The copy of the first collected edition of Milton's works (1645), being also the first volume bearing his name, has the autograph of Lord Tennyson on the first fly-leaf. Another treasure is a superb copy of the first English edition of Montaigne, which seems to haye been actually ready many years before it was given to be printed.

Here is a first folio of Shakspere, thirteen inches high, and a grand copy, but it grows pale and fades away in importance when followed by the first edition of “Much Adoe About Nothing," 1600 (the first folio is 1623); A pleasant conceited Comedie called “Love's Labors Lost, 1598; “A Midsummer night's dreame,”: 1600; and “The most excellent Historie of the Merchant of Venice. With the extreme crueltie of Shylocke the Jew,” the first and second editions, both bearing date 1600. Under the heading of “Shakspere” there are thirty-six titles-in addition to which appear a number of the first editions of works attributed to Shakspere. The Lucrece. Printed by Richard Field for John Harrison and sold at the sign of the White Greyhound in Paule's Church yard,"' 1594, is a perfect copy, one of five known to exist. Here are also a unique copy of Sir Philip Sidney's “The Defence of Poesie," printed for William Ponsonby, 1595; Spencer's “Faerie Queene,” Daphnaïda,” “Colin Clout, Come Home Again,”-all in the first and superlatively rare editions. The “Poems, etc.," of Edmund Waller are in first editions and bear on page 47 Lord Tennyson's autograph. Did not the laureate imagine that it would enhance the value of the book?

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