ut meretricious gold or tawdry ornament. Now the
'Globe' editions are fitting in their place as types of right editions
of the cheap kind. I will now take right editions of the more liberal
and expensive kind. The 'Cambridge' _Shakespeare_, the last issue, each
play in a separate volume, is right because (1) The print, paper,
spacing, and simplicity of binding, are suited to the dignity of the
work; (2) The edition has had brought to it fulness of knowledge and
rightness of judgment; (3) Each volume is light to handle and easy to
hold, and flexible in opening.

But it would be misleading to say that these are the only examples of
right editions. In other books which I might name, excellent work has
been brought to play which in the two types already named there was not
scope for. I would like therefore to take another instance, and name the
editions of Pope's _Works_, edited by Courthope and Elwin, of Walpole's
_Letters_, edited by Peter Cunningham, and Boswell's _Johnson_, edited
by Birkbeck Hill. These editions contain excellent and workmanlike
features, such as good arrangement and good indexing, with notes and
elucidations sufficiently ample. The size too of each volume is not
extravagant as in certain _editions de luxe_. Now in order that we may
have good editions, there are, at least, ten people who must work well
together: (1) the Author, (2) the Publisher, (3) the Printer, (4) the
Reader, (5) the Compositor, (6) the Pressman, (7) the Paper Maker, (8)
the Ink Maker, (9) the Bookbinder, (10) the Consumer.[1] When these ten
people are not working in harmony, a book is spoilt. Too often the
author, without technical knowledge of book production, insists on
certain whims and fancies of his own being carried out. Too often the
publisher aims at cheapness and nothing more.

The publications issued by Pickering in the 'forties' and 'fifties' were
models of good workmanship. Pickering published and Whittingham printed,
and it was their custom to first sit in consultation upon every new
book, and painfully hammer out each in his own mind its ideal form and
proportions. Then two Sundays at least were required to compare notes in
the little summer house in Mr. Whittingham's garden at Chiswick. Here
they would discuss size and quality of paper, the shape of the printed
page, the number of lines, the size of the type, the form and comeliness
of the title-page.[2] In all technical details the _Edinburgh_ edition
of R. L. Stev