But, to return to our 'Pastissier,' here is M. de Fontaine de Resbecq's account of how he wooed and won his own copy of this illustrious Elzevir. "I began my walk to-day," says this haunter of ancient stalls, "by the Pont Marie and the Quai de la Greve, the pillars of Hercules of the book-hunting world. After having viewed and reviewed these remote books, I was going away, when my attention was caught by a small naked volume, without a stitch of binding. Iseized it, and what was my delight when I recognised one of the rarest of that famed Elzevir collection whose height is measured as minutely as the carats of the diamond. There was no indication of price on the box where this jewel was lying; the book, though unbound, was perfectly clean within. 'How much?' said I to the bookseller. 'You can have it for six sous,' he answered; 'is it too much?' 'No,' said I, and, trembling a little, I handed him the thirty centimes he asked for the 'Pastissier Francois.' You may believe, my friend, that after such a piece of luck at the start, one goes home fondly embracing the beloved object of one's search.
That is exactly what I did."
Can this tale be true? Is such luck given by the jealous fates mortalibus aegris? M. de Resbecq's find was made apparently in 1856, when trout were plenty in the streams, and rare books not so very rare. To my own knowledge an English collector has bought an original play of Moliere's, in the original vellum, for eighteenpence. But no one has such luck any longer. Not, at least, in London. A more expensive 'Pastissier' than that which brought six sous was priced in Bachelin-Deflorenne's catalogue at 240pounds. A curious thing occurred when two uncut 'Pastissiers'
turned up simultaneously in Paris. One of them Morgand and Fatout sold for 400 pounds. Clever people argued that one of the twin uncut 'Pastissiers' must be an imitation, a facsimile by means of photogravure, or some other process. But it was triumphantly established that both were genuine; they had minute points of difference in the ornaments.
M. Willems, the learned historian of the Elzevirs, is indignant at the successes of a book which, as Brunet declares, is badly printed.
There must be at least forty known 'Pastissiers' in the world. Yes;but there are at least 4,000 people who would greatly rejoice to possess a 'Pastissier,' and some of these desirous ones are very wealthy. While this state of the market endures, the 'Pastissier'
will fetch higher prices than the other varieties. Another extremely rare Elzevir is 'L'Illustre Theatre de Mons. Corneille'
(Leyden, 1644). This contains 'Le Cid,' 'Les Horaces,' 'Le Cinna,'
'La Mort de Pompee,' 'Le Polyeucte.' The name, 'L'Illustre Theatre,' appearing at that date has an interest of its own. In 1643-44, Moliere and Madeleine Bejart had just started the company which they called 'L'Illustre Theatre.' Only six or seven copies of the book are actually known, though three or four are believed to exist in England, probably all covered with dust in the library of some lord. "He has a very good library," I once heard some one say to a noble earl, whose own library was famous. "And what can a fellow do with a very good library?" answered the descendant of the Crusaders, who probably (being a youth light-hearted and content)was ignorant of his own great possessions. An expensive copy of 'L'Illustre Theatre,' bound by Trautz-Bauzonnet, was sold for 300pounds.
Among Elzevirs desirable, yet not hopelessly rare, is the 'Virgil'
of 1636. Heinsius was the editor of this beautiful volume, prettily printed, but incorrect. Probably it is hard to correct with absolute accuracy works in the clear but minute type which the Elzevirs affected. They have won fame by the elegance of their books, but their intention was to sell good books cheap, like Michel Levy. The small type was required to get plenty of "copy" into little bulk. Nicholas Heinsius, the son of the editor of the 'Virgil,' when he came to correct his father's edition, found that it contained so many coquilles, or misprints, as to be nearly the most incorrect copy in the world. Heyne says, "Let the 'Virgil' be one of the rare Elzevirs, if you please, but within it has scarcely a trace of any good quality." Yet the first edition of this beautiful little book, with its two passages of red letters, is so desirable that, till he could possess it, Charles Nodier would not profane his shelves by any 'Virgil' at all.
Equally fine is the 'Caesar' of 1635, which, with the 'Virgil' of 1636 and the 'Imitation' without date, M. Willems thinks the most successful works of the Elzevirs, "one of the most enviable jewels in the casket of the bibliophile." It may be recognised by the page 238, which is erroneously printed 248. A good average height is from 125 to 128 millimetres. The highest known is 130 millimetres.
This book, like the 'Imitation,' has one of the pretty and ingenious frontispieces which the Elzevirs prefixed to their books. So farewell, and good speed in your sport, ye hunters of Elzevirs, and may you find perhaps the rarest Elzevir of all, 'L'Aimable Mere de Jesus.'
