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or the verses of Gérard de Nerval. Here, in short, is an almost unexplored field for the taste of the bibliophile, who, with some expenditure of time, and not much of money, may make half-binding an art, and give modern books a peculiar and appropriate raiment.

M. Ambrose Firmin Didot has left some notes on a more serious topic,—the colours to be chosen when books are full-bound in morocco. Thus he would have the "Iliad" clothed in red, the "Odyssey" in blue, because the old Greek rhapsodists wore a scarlet cloak when they recited the Wrath of Achilles, a blue one when they chanted of the Return of Odysseus. The writings of the great dignitaries of the Church, M. Didot would array in violet; scarlet goes well with the productions of cardinals; philosophers have their sober suit of black morocco, poets like Panard may be dressed in rose colour. A collector of this sort would like, were it possible, to attire Goldsmith's poems in a "coat of Tyrian bloom, satin grain." As an antithesis to these extravagant fancies, we may add that for ordinary books no binding is cheaper, neater, and more durable, than a coat of buckram.

The conditions of a well bound book may be tersely enumerated. The binding should unite solidity and elegance. The book should open