bound in glossy calf, with a richly gilt back, and bears within the inscription, "From H. S. C. | to her valued friend | Doctor Southey | Febʸ yᵉ 24th, 1813," in a true English lady's hand. This cannot be the poet Southey, who was not made LL. D. till 1821; but it may be his brother, Henry Herbert Southey, M. D.
Next comes a very neat and compact little Seneca, in four 18mo volumes, bound in rich old Russia, and bearing the esteemed imprint, "Amstelodami apud Ludovicum et Danielem Elzevirios, M.D.CLVIII." As the Baskerville classics are the noblest for the library table, so the Elzevirs are the neatest and prettiest for the pocket or the lecture-room. And to their great beauty of mechanical execution is generally added a scrupulous textual accuracy, which the great Birmingham printer did not boast. This edition of Seneca, for instance, is that of Gronovius. His dedicatory epistle, and the title-pages of Vols. II., III. and IV., are all dated 1658, but the general title-page in Vol. I. is 1659, as if, like White's Shakespeare, the first volume was the last published. Contrasting a bijou edition with a magnificent one, it may be noted that in the Elzevir the four words and two stops, "Moriar: die ergo verum," occupy just an inch, exactly the space of the one word "compositis" in the Baskerville; but the printing of each is in its way exquisite.
Just about a century after the Elzevirs, and contemporary with Baskerville, an English publisher of the name of Sandby, who appears to have been, as we should say, the University printer and bookseller at Cambridge, projected a series of classics, which are highly prized on large paper and not despised on small. I possess two of the latter, a Terence and a Juvenal; the second, curiously enough, lettered "Juvenalus," a regular binder's blunder. They are called pocket editions, but are much larger than the Elzevirs, and, though very pretty, just miss that peculiar beauty and finish which have made the former the delight of all scholars. There is a carelessness somewhere—it is hard to say where—about the printing, which prevents their being perfect; but a "Sandby" is a very nice thing.
My next "wanity" is a Virgil,—Justice's Virgil; a most elaborate and elegant edition, in five octavo volumes, published in the middle of the last century. It is noted, first, for the great richness and beauty of its engravings from ancient gems, coins, and drawings, which form an unrivalled body of illustration to the text. But, secondly, it will be seen, on inspection, that the whole book is one vast engraving, every line, word, and letter being cut on a metallic plate. Consequently, only every other page is printed on. The same idea was still more perfectly carried out by Pine, a few years later, who executed all Horace in this way, but only lived to complete one volume of Virgil, choicer even than Justice's. It is well bound, in perfect order, and ranks with the choicest of ornamental classics.
Side by side with this Virgil is another, the rare Elzevir Virgil, and a gem, if ever there was one. It is the corrected text of Heinsius, and thus has a fair claim to rank as the earliest of the modern critical editions of Maro. The elegance of this little book in size and shape, the clearness and beauty of the type, and the truly classical taste and finish of the whole design, can never be surpassed in Virgilian bibliography, unless by Didot's matchless little copies. Elzevir Virgils are common enough; but mine is, as I have said, the rare Elzevir, known by the pages introductory to the Eclogues and Æneid being printed in rubric, while the ordinary Elzevirs have them in black. It dates 1637,—the year when John Harvard left his money to the College at Newtowne, and the first printing-press in the United States was set up hard by.
The books, then, that I have described so far all date within the two hundred and thirty years of our collegiate history. But I have behind three of an earlier—a much earlier date; books which John Cotton and Charles
