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.