new series of 'Books about Books,' exclusively English in its aims, may seem to savour of the patriotism which, in matters of art and historical research, is, with reason enough, often scoffed at as a treacherous guide. No doubt in these pleasant studies patriotism acts as a magnifying-glass, making us unduly exaggerate details. On the other hand, it encourages us to try to discover them, and just at present this encouragement seems to be needed. There are so many gaps in our knowledge of the history of books in England that we can hardly claim that our own dwelling is set in order, and yet many of our bookmen appear more inclined to re-decorate their neighbours' houses than to do work that still urgently needs to be done at home. The reasons for this transference of energy are not far to seek. It is quite easy to be struck with the inferiority of English books and their accessories, such as bindings and illustrations, to those produced on the Continent. To compare the books printed by Caxton with the best work of his German or Italian contemporaries, to compare the books bound for Henry, Prince of Wales, with those bound for the Kings of France, to try to find even a dozen English books printed before 1640 with woodcuts (not imported from abroad) of any real artistic merit—if any one is anxious to reinforce his national modesty, here are three very efficacious methods of doing it! On the other hand, English book-collectors have always been cosmopolitan in their tastes, and without leaving England it is possible to study to some effect, in public or private libraries, the finest books of almost any foreign country. It is small wonder, therefore, that our bookmen, when they have been minded to write on their hobbies, have sought beauty and stateliness of work where they could most readily find them, and that the labourers in the book-field of our own country are not numerous. Touchstone's remark, 'a poor thing, but mine own,' might, on the worst view of the case, have suggested greater diligence at home; but on a wider view English book-work is by no means a 'poor thing.' Its excellence at certain periods is as striking as its inferiority at others, and it is a literal fact that there is no art or craft connected with books in which England, at one time or another, has not held the primacy in Europe.
It would certainly be unreasonable to complain that printing with movable types was not invented at a time better suited to our national convenience. Yet the fact that the invention was made just in the middle of the fifteenth century constituted a handicap by which the printing trade in this country was for generations overweighted. At almost any earlier period, more particularly from the beginning of the fourteenth century to the first quarter of the fifteenth, England would have been as well equipped as any foreign country to take its part in the race. From the production of Queen Mary's Psalter at the earlier date to that of the Sherborne Missal at the later, English manuscripts, if we may judge from the scanty specimens which the evil days of Henry viii. and Edward vi. have left us, may vie in beauty of writing and decoration with the finest examples of Continental art. If John Siferwas, instead of William Caxton, had introduced printing into England, our English incunabula would have taken a far higher place. But the sixty odd years which separate the two men were absolutely disastrous to the English book-trade. After her exhausting and futile struggle with France, England was torn asunder by the wars of the Roses, and by the time these were ended the school of illumination, so full of promise, and seemingly so firmly established, had absolutely died out. When printing was introduced England possessed no trained illuminators or skilful scribes such as in other countries were forced to make the best of the new art in order not to lose their living, nor were there any native wood-engravers ready to illustrate the new books. I have never myself seen or heard of a 'Caxton' in which an illuminator has painted a preliminary border or initial letters; even the rubrication, where it exists, is usually a disfigurement; while as for pictures, it has been unkindly said that inquiry whence
