or THE

account is given of a colony which had been founded by his Boor in, family namesake, Sir Richard Grenville. The

'Conversant with the Language and Literature of Spain, as well as with that of Italy, the works of imagination by writers of those two countries are better represented in his Library than in any other out of Spain and Italy; in some branches better even than in any single Library in the countries themselves. No Italian collection can boast of such a splendid series of early editions of Akiosto's Orlando, one of Mr. Grenville's favourite authors, nor, indeed, of such choice Romance Poems. The copy of the first edition of Ariosto is not to be matched for beauty; of that of Rome, 1533, even the existence was hitherto unknown. A perfect copy of the first complete edition of the Morgante Maggiore, of 1482, was also not known to exist before Mr. Grenville succeeded in procuring his. Among the Spanish Romances, the copy of that of Tirant lo Blanch, printed at Valencia, in 1490, is as fine, as clean, and as white, as when it first issued from the press ; and no second copy of this edition of a work professedly translated from English into Portuguese, and thence into Valencian, is known to exist except in the Library of the Sapienza, at Rome.

'But where there is nothing common, it is almost depreciating a collection to enumerate a few articles as rare. It is a marked feature of this Library, that Mr. Grenville did not collect mere bibliographical rarities. He never aimed at having a complete set of the editions from the press of Caxton or Alutjs; but Chaucer and Gower by Caxton were readily purchased, as well as other works which were desirable on other accounts, besides that of having issued from the press of that printer; and, when possible, select copies were procured. Some of the rarest,

Rook in, and these the finest, Aldine editions were purchased by him, Tht for the same reasons. The Horce in Greek, printed by TMM aldus in 16°» in 1497, is a volume which, from its lan?"""t" 8ua§e' s'ze> an<^ rarity, is of the greatest importance for the literary and religious history of the time when it was printed. It is therefore in Mr. Grenville's Library. The Virgil of 1501 is not only an elegant book, but it is the first book printed with that peculiar Italic, known as Aldine, and the first volume which Aldus printed, "forma enchiridii," as he called it, being expressly adapted to give poor scholars the means of purchasing for a small sum the works of the classical writers. This also is, therefore, among Mr. Grenville's books; and of one of the two editions of Virgil, both dated the same year, 1514, he purchased a large paper copy, because it was the more correct of the two.

'It was the merit of the work, the elegance of the volume, the "genuine" condition of the copy, &c, which together determined Mr. Grenville to purchase books printed on vellum, of which he collected nearly a hundred. He paid a very large sum for a copy of the Furioso of 1532, not because it was "on ugly vellum," as he very properly designated it, but because, knowing the importance of such an edition of such a work, and never having succeeded in procuring it on paper, he would rather have it on expensive terms and "ugly vellum,'' than not at all.

'By the bequest of Mr. Grenville's Library, the collection of books printed on vellum now at the Museum,and comprising those formerly presented by George II, George III, and Mr. Cracherode, is believed to surpass that of any other National Library, except the King's Library at Paris,of which Van Praet justly speaks with pride,and all foreign competent and intelligent judges with envy and admiration. In justice

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to the Grenville Library, the list of all its vellum books Book in, ought to be here inserted. As this cannot be done, some Th„' only of the most remarkable shall be mentioned. These are—the Greek Anthology of 14(J4; the Book of Hawking of Juliana Burners of 1496 ; the first edition of the Bible, known as the "Mazarine Bible," printed at Mentz about 1454 ; the Aldine Dante of 1502 ; the first Rationale of DuRandus of 1459 ; the first edition of Fisher On the Psalms, of 150S; the Aldine Horace, Juvenal, Martial, and Petrarca, of 1501; the Livy of 1469; the Primer of Salisbury, printed in Paris in 1531; the Psalter of 1457, which supplies the place of the one now at Windsor, which belonged to the Royal Collection before it was transferred to the British Museum; the Sforziada, by Simoneta, of 1490, a most splendid volume even in so splendid a Library; the Theuerdank of 1517; the Aulus Gellius and the Vitruvius of Giunta, printed in 1515, &c. &c. Of this identical copy of Vitrivius, formerly Mr. Dent's, the author of the Bibliographical Decameron wrote, " Let the enthusiastic admirers of a genuine vellum Junta—of the amplest size and in spotless condition—resort to the choice cabinet of Mr. Dent for such a copy of this edition of Vitruvius and Frontinus." The Aulus Gellius is in its original state, exactly as it was p»niizr. when presented to Lorenzo De' Medici, afterwards Duke rZ^ment, of Urbino, to whom the edition was dedicated.'

as above.



'Amidst tablets and atones, inscribed with the straight and angular characters of the Runic alphabet, and similar articles which the vulgar might have connected with the

exercise of the forbidden arts were disposed, in

great order, several of those curious stone axes, formed of
green granite, which are often found in these Islands. . .
. . . There wcrc,"nioreover, to be seen amid the strange
collection stone sacrificial knives . . . and the brazen
implements called Celts, the purpose of which has troubled
the repose of so many antiquaries.'—The Pirate, c. xxviii.

* A Museum of Antiquities—not of one People or period
only, but of all races and all times—exhibits a vast com*
parative scheme of the material productions of man. We
are thus enabled to follow the progress of the Fine and
Useful Arts, contemporaneously through a long period of
time, tracing their several lines backwards till they con-
verge at one vanishing point of the unknown Past.'—

C. T. Newton {letter to Cot. Mure, 1853).

Scantiness of the Notices of some Contributors to the NaturalHistory Collections, and its cause.The Duke of Blacas and his Museum of Greek and Roman Antiquities.Hugh Cuming and his Travels and Collections in South America.John Rutter Chorley, and his Collection of Spanish Plays and Spanish Poetry.George Witt and his Collections illustrative of the History of Obscure Superstitions.The Ethnographical Museum of Henry Christy, and its History.Colonial Archceologists and British Consuls: The History of the Woodhouse Collection, and of its transmittal to the Days.

British Museum.Lord Napier and the acquisition of
the Abyssinian MSS. added in 1868.—The Travels of
Von Siebold in Japan, and the gathering of his
Japanese Library.Felix Slade and his Bequests,
Artistic and Archceological.

No reader of this volume will, in the course of its Book in, perusal, have become more sensible than is its author of a Other want of due proportion, in those notices which have occa- Ttm"*0" sionally been given of some eminent naturalists who have recemt conspicuously contributed to the public collections, as compared with the notices of those many archaeologists and book-gatherers who, in common with the naturalists, have been fellow-workers towards the building up of our National Museum. I feel, too, that my own ignorance of natural history is no excuse at all for so imperfect a filling-out of the plan which the title-page itself of this volume implies. I feel this all the more strongly, because I dissent entirely from those views which tend to depreciate the importance of the scientific collections, in order (very superfluously) to enhance that of the literary and artistic collections. Far from looking at the splendid Galleries of mammals, or of birds, or of plants, as mere collections of 'book-plates,' gathered for the 'illustration' of the National Library, or from sharing the opinion that the books and the antiquities, alone, are ' what may be called the permanent departments of the British Museum' (to quote, literally, the words of a publication* issued whilst this sheet is going to press, words which seem somewhat rashly—considering whence they come—to prejudge a question of national scope, and one which it assuredly belongs alone to Parliament to settle),

* A Handy-Book of the British Museum, for Every-day Readers.' 1870 (Cassell and Co.).

The Inade-
Quacy or


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