The parent of our present book form, the Roman codex, split from an actual block of wood, had a surface hardly as large as the cover of a Little Classic. The vellum Books of Hours were dainty volumes. Even in the period between Gutenberg and Aldus, books of moderate size were not uncommon, and continuously, from the days of the great Venetian popularizer of literature to the present, the small books have far outnumbered their heavy-armed allies. Common sense, indeed, would tell us that this must be so, even if it had not inspired Dr. Johnson, its eighteenth century exponent, to declare: "Books that you may carry to the fire, and hold readily in your hand, are the most useful after all."

Our account properly begins with Aldus. From 1494, the date of his first productions, until 1501 he printed his books in folio and quarto. But in the first year of the new century he began to use his famous cursive type, now called italic. The fineness of the new type, as has been suggested, called for a smaller size of book, which was also favored by considerations of economy and convenience; and so Aldus made up his sheets in a form which the fold compels us to call octavo, but which to-day would be called sixteenmo. Says Horatio F. Brown, in his "The Venetian Printing Press": "The public welcomed the new type and size. The College granted Aldus a monopoly for ten years for all books printed in this manner. The price of books was lowered at once. Didot calculates that an octavo of Aldus cost, on an average, two francs and a half, whereas a folio probably cost about twenty francs. These two innovations on type and on format constituted a veritable revolution in the printing press and in the book trade, which now began to reach a far more extensive market than it had ever touched before. With this wide diffusion of books came the popularization of knowledge at which Aldus aimed. Scholarship began to lose its exclusive and aristocratic character when the classics were placed within the reach of any student who chose to study, meditate, and interpret them for himself. And to Aldus belongs the credit of having, through his new type and size, opened the way to the democratization of learning."

That the taste which Aldus so successfully hit was no merely temporary one, any person will be convinced if he will stand before a shelf full of these little Aldus classics, handle the light, well-proportioned volumes, and take in the esthetic charm of their type and page and form, which, in spite of their four hundred years, by no means savors of antiquity. In these books Aldus achieved one of the greatest triumphs possible in any art, a union of beauty and utility, each on so high a plane that no one is able to decide which is pre-eminent. In a copy which I have before me of his "Rhetoricorum ad C. Herennium Libri IIII," 1546, the fine proportions of the page appear in spite of trimming. Very noticeable are the undersized roman capitals; more curious is the letter printed in the otherwise blank square to indicate what initial the illuminator should insert in color, and the irregular use of capitals and small letters after a period. The catchword appears only on the last page of the signature, not on every page, as was the later practice. Modern usage wisely consigns italic to a subordinate place, but in point of beauty combined with convenience, it may well be questioned if four centuries of printing have made any advance upon this page.

In nearly every library for scholars is to be found a row of plump little books that never fail to catch the eye of the sightseer. If the visitor does not know beforehand what they are, he is little enlightened on being told that they are "Elzevirs," and the attendant must needs supply the information that the Elzevirs were a family of Dutch printers who flourished during the century that closed with the arrival of William III in England, and that these tiny volumes represent their most popular productions. Says George Haven Putnam in his "Books and their Makers during the Middle Ages": "The Elzevirs, following the example set a century and a half earlier by Aldus, but since that time very generally lost sight of by the later publishers, initiated a number of series of books in small and convenient forms, twelvemo and sixteenmo, which were offered to book buyers at prices considerably lower than those they had been in the habit of paying for similar material printed in folio, quarto, or octavo.... These well-edited, carefully printed, and low-priced editions of the classics won for the Elzevirs the cordial appreciation of scholars and of students throughout Europe."

Among the authors who acknowledged their indebtedness to the Elzevirs may be mentioned Galileo, the elder Balzac, and the poet MÉnage. I have before me more than six feet of shelving filled with these tiny books. They are nearly all bound in vellum, and thus retain their antique appearance without as well as within. Their subject-matter is in the fields of literature, ancient and contemporary, and the history, geography, and political constitution of the principal countries. The books of the latter division are known as "RespublicÆ VariÆ." It is impossible to resist the conclusion that this book form was chosen not more to supply cheap books which could be sold to impecunious scholars than to provide portable volumes for travelers. The Elzevir "Commonwealths" were the predecessors of our "satchel guides," and the literary publications in this form were evidently designed to be pocket editions. It was to such books that Dr. Johnson referred when he advised his friends "never to go out without some little book or other in their pocket. Much time is lost by waiting, by travelling, etc., and this may be prevented by making use of every possible opportunity for improvement." When the positive doctor, on his journey to the Hebrides, paid his tribute to George Buchanan at St. Andrews, his acquaintance with the Latin poetry of the Scotch professor may well have arisen from his having thus made a pocket piece of one of the several Elzevir editions of the poet.

The characteristics of the "Elzevirs" are that they range from about four to about five inches in height, are always narrow, 2-1/4 to 2-3/4 inches in width, and are usually thick, in some cases even 1-1/2 inches. It is hardly necessary to say that the esthetic impression of these "jewels of typography" is wholly different from that produced by the "Alduses." It is the beauty of an infant compared with that of a youth, and, as in the case of the infant, plumpness is a part of the charm. The thinnest of the "Elzevirs" (about three-fourths of an inch thick) lack much of the characteristic quality. It is of course granted that no small portion of the charm exerted by these volumes is due to their type, which in artistic excellence and practical effectiveness has hardly been surpassed before or since.

When William Pickering, in 1830, began to issue his Aldine edition of the British Poets in the most beautiful and appropriate form that he could devise, the design which he placed upon the title-page, a dolphin and an anchor, with the words "Aldi discip. Anglus," was an expression at once of pride and of obligation. He had gone back to Aldus for his model, and the book which he produced was in all but its change of type from italic to roman a nearly exact reproduction of the form which Aldus had employed so successfully three centuries before. Even the relative thinness of the volumes was preserved as an important element of their attractiveness to eye and hand. Whoever would learn what an enormous difference in esthetic effect can be produced by slight differences in style and size, especially in thickness, should compare the Pickering "Aldines" with the rival set of British Poets published by Little and Brown. The latter series is a noble one, often showing better presswork than Pickering's, and it was deservedly popular, but it is many degrees removed from the totality of esthetic charm that would entitle it to rank as a favorite.

We said that Pickering went back to Aldus for his model, but he did not travel a lonely road. The book size in question had never ceased to be used, and in the eighteenth century it was in full favor. The writings of the novelists and essayists found ready buyers in this form, as witness, among others, the Strahan Fielding of 1783, the Rivington Idler of the same year, and the Rivington Sterne of 1788. The size of the printed page is usually larger, but that of the Sterne corresponds as closely to that of the two "Aldines" as the difference in the size of type will permit. Pickering's contemporaries and successors in the publishing field recognized the attractiveness of this book size, and the works of the poets generally were issued in this form; hence we have, for example, the Longman Southey, the Moxon Wordsworth, and the Murray Crabbe. The latest series to appeal for popular favor by the use of this book form is Everyman's Library, in which, though much has been sacrificed to cheapness, the outward proportions of the volumes are almost identical with those adopted by Aldus and Pickering.

This stanza from Dr. Holmes's introduction to his "Poems" of 1862 may well be claimed by the Blue and Gold edition of the poets as its passport to the recognition of future generations. But it will need no passport; its own enduring charm is sufficient. The volumes of this dainty series, while larger in all but thickness than the "Elzevirs," yet make their appeal by much the same qualities, compactness and portability, with a suggestion of the Elzevirian plumpness. To the attraction of the size is added the contrasted charm of the blue cover and the gilt stamp and edges. That a Blue and Gold edition, in the absence of its name qualities, becomes something far inferior may be seen from a copy that has lost them in rebinding. In spite of the hardness of their blue and the crudeness of their stamped designs, these little volumes attract every reader and never remain long on the shelves of the second-hand bookstores. We should not expect a publisher to succeed were he now to put them upon the market for the first time or in an exact reproduction. But the publisher who shall so recombine their elements as to produce upon his public the effect which they made upon theirs, and which they still make as reminiscent of an earlier taste, will be the envy of his fellows. It is interesting to note that after fifty years these volumes show no sign of fading, so that Dr. Holmes might well have made his stanza an exclamation instead of a question. They seem likely to last as long as the "Elzevirs" or even the "Alduses" have already lasted, and possibly to outlast the fame, though hardly the memory, of the poet who sang them. The dimensions of the cover are 5-5/8 by 3-3/8 inches; the thickness is about an inch. There was a larger Blue and Gold format, as well as several smaller, but only the standard is now valued.

We cannot bring our list of favorite book sizes much nearer the present without running the risk of confusing the temporary and the permanent in popular approval. We will, therefore, close with a mention of the Little Classics. At about the time when the Blue and Gold series ceased to be published, more exactly in 1874, Mr. Rossiter Johnson designed for the now famous series which he was then editing a book form that sprang at once into a favor that it still retains. In this form, which appears to have no near counterpart in either earlier or later bookmaking, the volumes are closely six by four inches by three-quarters of an inch in thickness. The edges are colored red, whatever the color of the sides. The printed page is relatively wide, and the whole effect of the book is that of a tiny quarto, though in reality the dimensions are those of a rather small sixteenmo of normal proportions. Thus the volume produces upon the eye the charm of daintiness, while the page contains a sufficient amount of matter to make the volume profitable to the purchaser.

This series naturally suggests comparison with the Tauchnitz editions, which consist of volumes only slightly larger. But really no comparison is possible. The Tauchnitz editions are merely convenient carriers of letterpress. The Little Classics are a genuine art product. That the latter book size has not been more widely used than it has, by its own and by other publishers, is perhaps due to commercial reasons. But there can be no question of the esthetic appeal which it makes upon the reader who is looking for compactness and beauty rather than for the greatest bulk for his money. With the modern demand for the saving of space in private libraries we may reasonably look for a revival of this condensed and charming book size.

The adoption of a few standard sizes for all books was urged some years ago at a meeting of American librarians. Commenting on this proposal, a New York publisher remarked that he should be glad to have such standard sizes adopted by others, but he should take pains to avoid them in his own publications in order to gain the distinction of difference. The discussion stopped suddenly under the impact of this unexpected assault. But a second thought shows that the publisher's comment leaves the question still open. It is obvious that if we were to adopt standard sizes based upon nothing more fundamental than the librarian's desire for uniformity or the printer's mechanical convenience, without regard to the tastes and preferences of the reader, who is the final judge, the publisher might well find his gain in disregarding them. But if the standards adopted all represented sizes long tested and approved by popular favor, the publisher who should avoid them would display a confidence in the Spirit of the Perverse as sublime as it would be hazardous. Fortunately no formal standardization of book sizes is likely to be attempted. But, keenly as a publisher would resent any limitation upon his freedom in book design, he is just as keenly desirous that his books shall be favorites. To attain his coveted end he has two resources, experience and experiment, or a mixture of both. While the book sizes that have been discussed in this chapter do not include all the favorites, they certainly include some of the first favorites, and are worthy of study by everyone who is seeking public favor in the design of that complex art product known as a Book.