It will be evident, on a slight inspection of the present edition, that it is so much altered and enlarged as to assume the character of a new work. This has not been done without mature reflection; and a long-cherished hope of making it permanently useful to a large class of General Readers, as well as to Book-Collectors and Bibliographers.

It appeared to me that notices of such truly valuable, and oftentimes curious and rare, books, as the ensuing pages describe; but more especially a Personal History of Literature, in the characters of Collectors of Books; had long been a desideratum even with classical students: and in adopting the present form of publication, my chief object was to relieve the dryness of a didactic style by the introduction of Dramatis Personae.

The worthy Gentlemen, by whom the Drama is conducted, may be called, by some, merely wooden machines or pegs to hang notes upon; but I shall not be disposed to quarrel with any criticism which may be passed upon their acting, so long as the greater part of the information, to which their dialogue gives rise, may be thought serviceable to the real interests of Literature and Bibliography.

If I had chosen to assume a more imposing air with the public, by spinning out the contents of this closely-printed book into two or more volumes--which might have been done without violating the customary mode of publication--the expenses of the purchaser, and the profits of the author, would have equally increased: but I was resolved to bring forward as much matter as I could impart, in a convenient and not inelegantly executed form; and, if my own emoluments are less, I honestly hope the reader's advantage is greater.

The Engraved Ornaments of Portraits, Vignettes, and Borders, were introduced, as well to gratify the eyes of tasteful Bibliomaniacs, as to impress, upon the minds of readers in general, a more vivid recollection of some of those truly illustrious characters by whom the HISTORY OF BRITISH LITERATURE has been preserved.

It remains only to add that the present work was undertaken to relieve, in a great measure, the anguish of mind arising from a severe domestic affliction; and if the voice of those whom we tenderly loved, whether parent or child, could be heard from the grave, I trust it would convey the sound of approbation for thus having filled a part of the measure of that time which, every hour, brings us nearer to those from whom we are separated.

And now, BENEVOLENT READER, in promising thee as much amusement and instruction as ever were offered in a single volume, of a nature like to the present, I bid thee farewell in the language of Vogt,[2] who thus praises the subject of which we are about to treat:--"Quis non AMABILEM eam laudabit INSANIAM, quae universae rei litterariae non obfuit, sed profuit; historiae litterariae doctrinam insigniter locupletavit; ingentemque exercitum voluminum, quibus alias aut in remotiora Bibliothecarum publicarum scrinia commigrandum erat, aut plane pereundum, a carceribus et interitu vindicavit, exoptatissimaeque luci et eruditorum usui multiplici felicitur restituit?"

T.F.D.

Kensington, March 25, 1811.

[Footnote 2: Catalogus Librorum Rariorum, praef. ix. edit. 1793.]

CONTENTS.

PART I. THE EVENING WALK. On the right uses of Literature p. 3-20.

II. THE CABINET. Outline of Foreign and Domestic Bibliography p. 23-92.

III. THE AUCTION-ROOM. _Character of Orlando. Of ancient Prices of Books, and of Book-Binding. Book-Auction Bibliomaniacs_ p. 103-139.

IV. THE LIBRARY. _Dr. Henry's History of Great Britain. A Game at Chess. Of Monachism and Chivalry. Dinner at Lorenzo's. Some Account of Book Collectors in England_ p. 143-207.

V. THE DRAWING ROOM. _History of the Bibliomania, or Account of Book Collectors, concluded_ p. 211-463.

VI. THE ALCOVE. _Symptoms of the Disease called the Bibliomania. Probable Means of its Cure_ p. 467-565.

SUPPLEMENT.

CHRONOLOGICAL INDEX.

BIBLIOGRAPHICAL INDEX.

GENERAL INDEX.

PUBLISHED BY THE PROPRIETOR (FOR THE NEW EDITION) OF THE REV. Dr. DIBDINS BIBLIOMANIA, 1840.

=The Bibliomania.=

MY DEAR SIR,

When the poetical Epistle of Dr. Ferriar, under the popular title of "THE BIBLIOMANIA," was announced for publication, I honestly confess that, in common with many of my book-loving acquaintance, a strong sensation of fear and of hope possessed me: of fear, that I might have been accused, however indirectly, of having contributed towards the increase of this Mania; and of hope, that the true object of book-collecting, and literary pursuits, might have been fully and fairly developed. The perusal of this elegant epistle dissipated alike my fears and my hopes; for, instead of caustic verses, and satirical notes,[3] I found a smooth, melodious, and persuasive panegyric; unmixed, however, with any rules for the choice of books, or the regulation of study.

[Footnote 3: There are, nevertheless, some satirical allusions which one could have wished had been suppressed. For instance:

He turns where PYBUS rears his atlas-head Or MADOC'S mass conceals its veins of lead;

What has Mr. Pybus's gorgeous book in praise of the late Russian Emperor Paul I. (which some have called the chef-d'oeuvre of Bensley's press[A]) to do with Mr. Southey's fine Poem of Madoc?--in which, if there are "veins of lead," there are not a few "of silver and gold." Of the extraordinary talents of Mr. Southey, the indefatigable student in ancient lore, and especially in all that regards Spanish Literature and Old English Romances, this is not the place to make mention. His "Remains of Henry Kirk White," the sweetest specimen of modern biography, has sunk into every heart, and received an eulogy from every tongue. Yet is his own life

"The more endearing song."

Dr. Ferriar's next satirical verses are levelled at Mr. THOMAS HOPE.

"The lettered fop now takes a larger scope, With classic furniture, design'd by HOPE. (HOPE, whom upholsterers eye with mute despair, The doughty pedant of an elbow chair.")

It has appeared to me that Mr. Hope's magnificent volume on "Household Furniture" has been generally misunderstood, and, in a few instances, criticised upon false principles.--The first question is, does the subject admit of illustration? and if so, has Mr. Hope illustrated it properly? I believe there is no canon of criticism which forbids the treating of such a subject; and, while we are amused with archaeological discussions on Roman tiles and tesselated pavements, there seems to be no absurdity in making the decorations of our sitting rooms, including something more than the floor we walk upon, a subject at least of temperate and classical disquisition. Suppose we had found such a treatise in the volumes of Gronovius and Montfaucon? (and are there not a few, apparently, as unimportant and confined in these rich volumes of the Treasures of Antiquity?) or suppose something similar to Mr. Hope's work had been found among the ruins of Herculaneum? Or, lastly, let us suppose the author had printed it only as a private book, to be circulated as a present! In each of these instances, should we have heard the harsh censures which have been thrown out against it? On the contrary, is it not very probable that a wish might have been expressed that "so valuable a work ought to be made public."

Upon what principle, a priori, are we to ridicule and condemn it? I know of none. We admit Vitruvius, Inigo Jones, Gibbs, and Chambers, into our libraries: and why not Mr. Hope's book? Is decoration to be confined only to the exterior? and, if so, are works, which treat of these only, to be read and applauded? Is the delicate bas-relief, and beautifully carved column, to be thrust from the cabinet and drawing room, to perish on the outside of a smoke-dried portico? Or, is not that the most deserving of commendation which produces the most numerous and pleasing associations of ideas? I recollect, when in company with the excellent DR. JENNER,

----[clarum et venerabile nomen Gentibus, et multum nostrae quod proderat urbi]

and a half dozen more friends, we visited the splendid apartments in Duchess Street, Portland Place, we were not only struck with the appropriate arrangement of every thing, but, on our leaving them, and coming out into the dull foggy atmosphere of London, we acknowledged that the effect produced upon our minds was something like that which might have arisen had we been regaling ourselves on the silken couches, and within the illuminated chambers, of some of the enchanted palaces described in the Arabian Nights' Entertainments. I suspect that those who have criticised Mr. Hope's work with asperity have never seen his house.

These sentiments are not the result of partiality or prejudice, for I am wholly unacquainted with Mr. Hope. They are delivered with zeal, but with deference. It is quite consolatory to find a gentleman of large fortune, of respectable ancestry, and of classical attainments, devoting a great portion of that leisure time which hangs like a leaden weight upon the generality of fashionable people, to the service of the Fine Arts, and in the patronage of merit and ingenuity. How much the world will again be indebted to Mr. Hope's taste and liberality may be anticipated from the "Costume of the Ancients," a work which has recently been published under his particular superintendence.]