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Eighteenth-century Mantua was an important cultural hub and Galeotti appears to have been at the heart of its literary and musical life. His day-job was as 'Direttore delle Poste' (according to the caption of the engraved portrait opening this manuscript) but he was evidently also a prolific writer and member of various Mantuan literary societies, notably the brotherhood of the 'Timidi' who met regularly to share poetry and music. Almost all the pieces in this collection, a mixture of sonnets, 'anacreonics' (poems dealing with friendship, love and wine) and lyrics for sacred and secular music, are occasional pieces. Most were composed during the 1730s and 40s for meetings of the Mantuan Accademia (often held in the numerous city churches) and of the Timidi and also for special occasions such as the carnival, weddings and commemorative services. Explanatory titles are given to many of the pieces which, together, give a wonderfully vivid impression of Mantuan entertainments: 'Per l'Illuminatione fatta alla casa di un musico castrato nella promozione al Cardinalato di Mondignor Silvio Valenti Mantovano, sonetto'; 'Didone abandonata, Cantata per musica fatta ad instanza della Sig[no]ra Genoveffa Landini virtuosa di Camera di S.M.C.C. 22 Agosto 1740' and 'Al Carnval [sic] d'Campagna, Canzonetta; L'Amor nell'Inganno, Intermezzo per musica fra Merlina e Falchetto', and so on. Little is known about Galeotti beyond his published works, but this manuscript opens with a list of his membership of no less than 10 literary academies (including those of Rome, Naples, Siena, Ferrara and Milan) and a short octave entitled 'Descrizione dell'Autore, e suoi Uficii'. While we cannot be sure that the manuscript is in his hand, it certainly has the character of one prepared on his behalf, or perhaps for one of the societies to which he belonged. The Rime Piacevoli were first printed in 1782, at Mantua. see full details...
Buchanan’s translation of the Psalms may fairly be considered one of the representative books of the sixteenth century, expressing, as it does, in consummate form, the conjunction of piety and learning which was the ideal of the best type of humanist” (Cambridge History of English and American Literature). Buchanan, though a Scotsman, travelled widely on the continent. The two plays, Jephthe and Baptistes, which also appear in our edition were composed at Bordeaux during a spell of teaching at the newly founded Collège de Guyenne (where Montaigne was among Buchanan’s pupils). The Paraphrasis was begun at Coimbra (Portugal) where Buchanan had been teaching at the time of the Inquisition. He had gone to teach there in 1547, only to find the university soon overrun with Jesuits who observed his every movement and confined him to a nearby monastery to reform his humanist tendency towards satire (and the eating of meat in Lent). The Paraphrasis was the product of his penance: an unmistakeable triumph of humanist piety and scholarship. The work was dedicated to Mary Queen of Scots (and the dedication is repeated in our Elizabethan edition) who appointed Buchanan tutor to her son, the future James VI. It was first printed by the Estiennes in 1566, but was also printed in England in 1580 and 1583. see full details...
The sermon takes as its text Revelation XVII, 5 “And upon her forehead was a name written, Mystery, Babylon the Great, the Mother of Harlots, and Abominations of the Earth” and gives a detailed consideration of the supposed ceremonies of the masons. Three other editions/issues dated 1768 are known, one with a Robinson and Roberts imprint paginating [iv], 39, [1] (NY Historical Society only) and a stated “Second edition” with the same imprint and pagination (BL and Clark Library, UCLA only), together with a Dublin reprint. All three are recorded by ESTC in single copies only. The Sermon provoked a response from John Thompson, freemason, entitled Remarks on a sermon lately published; entitled, Masonry the way to hell. Being a defence of that antient and honourable order, against the Jesuitical sophistry and false calumny of the author (1768, BL only). see full details...
It enjoyed many editions, ‘even becoming a textbook in colonial American colleges’ (Oxford DNB). Johnson’s contributions are the long Preface to volume I and ‘The Vision of Theodore the Hermit of Teneriffe, found in his Cell’ (II, 516–26), a piece which, by Johnson’s own admission, was ‘the best thing he ever wrote’ (Boswell, Life, I, 192). In this copy, the plate featuring six nudes (‘Drawing No. 9’) has been removed and the numbering of the subsequent four Drawings discreetly altered to avoid suspicion. This was evidently done at an early date. One wonders whether the Archbishop had it removed for reasons of propriety. see full details...
Publication of the 10-volume series was begun by Simon de Colines in 1543 and completed by his stepson Robert Estienne in 1547. Some of the the individual volumes are very rare in themselves, some never having been seen by Renouard, the bibliographer of Simon de Colines. Cicero was the supreme orator of the Roman Empire and was pre-eminent among the classical authors valued by Renaissance humanists: “The ancient writer who earned their highest admiration was Cicero. Renaissance humanism was an age of Ciceronianism in which the study and imitation of Cicero was a widespread concern.” (Kristeller, Renaissance Thought and Its Sources). Such was the stature of Cicero that the word “humanism” was often interchangeable with “Ciceronianism.” In the sixteenth-century Cicero represented several ideals: his language and composition were a model for any use of language, particularly Latin. His works were, for the humanists, the epitome of eloquence. As a philosopher, he combined both wisdom and eloquence, a combination which became the Renaissance ideal. He was also a man of the world, embodying the highest ideals of the renaissance philosopher or politician. Needless, to say his works were at the centre of the university curriculum in the sixteenth-century, and demand for complete and accurate editions of all his works was consistently strong. Few such editions can match the utility and functional beauty of the Paris Colines-Estienne editions. The individual volumes comprise the following: I. [Orations]. Orationum volumen primum [-tertium]. Paris: Simon de Colines, 18 November 1543-1544. Three vols, 1: ff. 424; 2: ff. 348 (misnumbered 356, due to faulty foliation, which skips from 208 to 217), [2] (last blank); 3: ff. 359 (misnumbered 357 due to faulty foliation: ff. 320 and 321 numbered 312 and 319 respectively), [1]. All three titles within Colines’s “Figura architectonica” border. Text in italic; capital spaces with guide-letters. (See Renouard, Estienne, p. 70, note ad 14.). Appended to Part 2 are two Latin elegiac poems by H. Sussannaeus, addressed, respectively, “Ad Ioan. Gelinum Britonem Dioeceseos Briocensis" and "Ad Anianum Samesmynum Aurelium.” II. [De Officiis & other philosophical works]. Officia diligenter restituta. Eiusdem De amicitia, & De senectute... Paradoxa, & Somnium Scipionis. Cum annotationibus Erasmi Roterodami, & Philippi Melanchthonis. Item, Annotation[ibus] Bartholomaei Latomi in Paradoxa. Paris: S. de Colines, 1543. ff. 174, [48] leaves. Title neatly backed, presumably at time of binding. With the comments of Erasmus and Melanchthon. III. [Philosopical works]. De Philosophia, prima pars [Philosophia volumen secundum]. Paris: Simon de Colines, May 1545-10 October 1545. Two vols, 1: ff 317, [3] (last two blank); 2: ff. 256. Colines’s “Tempus IV” device on both titles. Texts in italic, capital spaces with guide-letters. Last leaf torn with loss of blank lower forecorner, neatly repaired by backing at time of binding. The full titles are (Vol. 1): De Philosophia, prima pars, id est, Academicarum quaestionum editionis primae liber secundus, editionis secundae, liber primus. De finibus bonorum & malorum libri V. Tusculanarum quaestionum libri V; (Vol. 2): Philosophia volumen secundum, id est, De natura deorum libri III. De divinatione libri II. De fato liber I. De legibus libri III. De universitate liber I. Qu. Ciceronis de petitione consulatus ad M. fratrem liber I. IV. [Letters to His Friends]. Epistolae familiares, diligentius quam quae hactenus exierunt, emendatae. (Edited by Claude Chaudière). Paris: Simon de Colines, 8 February 1545. Ff. 327, [8] (last blank). Colines’s “Tempus IVb” device on title (being a variant of “Tempus IV”, here signed with the cross of Lorraine). Text in italic, headings in roman, index in smaller roman; extensive use of Greek. A rare book of which we can locate only one other complete copy (Glasgow, an incomplete copy was described in Schreiber’s Colines catalogue [no. 218], then believed to be unique). Renouard, whose note for this edition is particularly garbled and incomplete, states that this is the only Colines imprint to bear Henri [sic] Estienne’s device. The text was overseen by Claude Chaudière, Regnault’s son. In the preface Claude Chaudière emphasizes his position as Colines’s grandson on his mother’s side, and the care he has taken in establishing the text. After Colines’s death, in 1546, Regnault and Claude were to take over his printing house. Ff. TT3-6, comprise Chaudière’s Latin translations of Cicero’s Greek citations: “Graecorum quae in his epistolis sparsim interferuntur, Latina interpretatio”, and some passages concerning Cicero from Catullus, Quintilian, Silius Italicus, and Pliny the younger. V. [Rhetorical Works]. Rhetoricorum ad C. Herennium. lib. IIII. De inventione lib. II. Topica ad Trebatium lib. I. Oratoriae partitiones lib. I. Paris: Simon de Colines, 1545. Ff. 218, [6] (last two blank). Colines’s “Tempus V” device on title (its first [and only?] use: reproduction in Renouard, p. 404). Text in italic; use of Greek. VI. [De Oratore]. De Oratore ad Quintum fratrem lib. III, etc. Paris: Robert Estienne, 1546. Ff. 281, [3]. Estienne device on title. VII. [Letters to Atticus & Brutus]. Epistolae ad Atticum [Epistolarum ad Brutum liber]. Paris: Robert Estienne, 1 April 1547. Two parts in one volume: ff. 336 and 142, [2] leaves (last blank). Estienne device on title. see full details...
It had first appeared as a preface to Les crimes de l’amour (1799) and sought to trace the origins and development of the modern or psychological novel from classical literature to the eighteenth-century works of Rousseau, Voltaire, De Graffigny, Marivaux and Crébillon fils and in de Sade’s own Aline et Valcourt. De Sade identifies Richardson and Fielding as the masters of the genre (‘C’est Richardson, c’est Fielding qui nous ont appris que l’étude profonde du coeur de l’homme, véritable dédale de la nature, peut seul inspirer le romancier...’) and he prefers Lewis to Radcliffe among gothic novelists. He also denies his authorship of Justine, attributed to him by contemporaries, writing ‘jamais je n’ai fait de tels ouvrages, et je n’en ferai sûrement jamais.’ Uzanne adds a bio-bibliographical preface, the latter portion providing a checklist of de Sade’s works and a critical overview of nineteenth-century studies. see full details...
Reymes saw active service in the Royalist armies, and was appointed to various lucrative offices on the Restoration. He was also a noted diarist and was nominated a Fellow of the Royal Society in 1667 by his friend John Evelyn. ‘Reymes seems to have been built for friendship: among those in this category he numbered Pepys, Evelyn, Thomas, Lord Clifford, Sir Charles Cotterell, and Sir William Coventry. Despite a passionate temper, he seems to have earned the respect of nearly all who came into contact with him. Contemporaries valued him for his loyalty, honesty, probity, and wry good humour. He was tolerant of the full spectrum of Restoration belief, but died a staunch Anglican. He was also highly cultivated, skilled in music as a youth, an avid theatre-goer and gardener’ (Bucholz, ODNB). The text ofUtopia here is a reprint of the 1629 Amsterdam edition, edited by Pierre Gillis. see full details...
Dating from the end of the thirteenth century, MS 1830 in the Library of Saint Germain (now Bibliothèque nationale MS 19152), is the largest corpus of popular medieval poetry from this early date, containing numerous familiar beast fables (some derived Aesop) and longer narrative poems such as Piramus et Tisbé. The original manuscript comprises 61 different texts of different genres including popular proverbs, translations from Latin, fabliaux, courtly tales, moral poems and burlesque recitations. The anonymous nineteenth-century editor of our manuscript pursues a rather disruptive method of copying much of the original text verbatim, but interpolating his own prose for sections he believes to be repetitive or uninteresting. While frustrating for the medievalist, such a method is interesting as an example of contemporary scholarly method. The editor adds a significant number of additional fables drawn from other manuscripts in the Library of Saint Germain. A 4-volume manuscript copy of the entire codex, apparently made in the eighteenth century, is held by the British Library (Additional MS 15210-15213). A printed edition appeared in 1930. see full details...
1731). “The tragedy, which dramatizes the struggle of George Castriot to defend Albania from Turkish conquest, takes as its source the 1721 English translation of Scanderbeg the Great by Anne de La Roche-Guilhem. In the light of the patriot whig opposition to Walpole, Whincop’s dramatic portrait of the Albanian hero whose ‘conqu’ring sword / Oppos’d the torrent of the tyrant’s power’ (Scanderbeg, 16) may well have been intended as a propaganda piece. However, Whincop’s play was never performed...” (Brayne in Oxford DNB). It also contains a “Compleat list of all the English dramatic poets, and of all the plays ever printed” [pp. 87-320] probably compiled by John Mottley, which includes Shakespeare, Milton, Dryden, Marlowe, Jonson, Beaumont, Fletcher, Otway, Waller, Cibber, Addison, Steele, and Garrick. “The Compleat List of All the English Dramatic Poets of 1747, appended to Thomas Whincop’s play Scanderbeg, appears to be by Mottley and is therefore his last known work: in the spirit of a reckoning up, he claims his portions of various collaborations and paternity of theretofore unacknowledged works; the entry on himself he made his own memorial” (J. M. Rigg, rev. Yvonne Noble, Oxford DNB). The list is illustrated with attractive portraits. see full details...
This immensely popular juvenile novel emphasises thrift and hard work through the character of Simon, a travelling salesman. It was published by La Société pour l’instruction élémentaire following a competition, with a prize of 1000 francs donated by an anonymous benefactor, for a work of no more than 250 pages in which were ‘tracés avec simplicité, précision et sagesse, le principes de religion chrétienne, de morale, de prudence sociale’, for the improvement of everyday town and country people. There were numerous subsequent editions in France, as well as translations into Spanish, Italian, German, Dutch, Greek and even Breton. A nephew of the Jussieu brothers of botanical fame, Laurent Jussieu became director of police to the French minister for the interior in 1837. see full details...
This is an interesting group of association copies and letters from his family collection: the most significant among them being the first edition of Trilby (1894) by his friend and colleague, George Du Maurier. The three volumes contain significant, candid and often critical annotation by Burnand: 'So far, end of vol 1 a novel without a story' [in pencil to final blank of vol. 1]; 'This is slang Americanism'; 'I remember how he sketched all these characters in Punch, years ago….' Additionally, Burnand has preserved in the volumes of Trilby four letters to him by Du Maurier, two of which contain small ink sketches in characteristic style: one a self-portrait, the other depicting famous Punch contributors: Du Maurier himself, John Tenniel, Burnard, Harry Furniss, Linley Sambourne and Charles Keene. The volumes were evidently passed to Burnand's second daughter Margaret Mary, who preserved them along with the other copies of her father's books, at her house in Ramsgate. see full details...
Keynes suggests that the work was first published in 1647, since although it is undated, it first appears in the Stationers' Register in the autumn of 1646. The second issue uses the unsold sheets of that first issue with a cancel title. Donne frankly admits his fascination for the act of suicide in his Preface “...whensoever any affliction assailes me, mee thinks I have the keyes of my prison in mine owne hand, and no remedy presentes it selfe so soone to my heart, as mine own sword." He chose not to publish his meditations on the subject and only circulated the Biathanatos among friends in manuscript. He sent a copy to Sir Edward Herbert, and, in 1619, another to Sir Robert Karre, writing: "It was written by me many years since; and because it is upon a misinterpretable subject, I have always gone so near suppressing it, nor many eyes to read it: onely to some particular friends in both Universities, then when I writ it, I did communicate it: And I remember, I had this answer, That certainly, there was a false thread in it, but not easily found: Keep it, I pray, with the same jealousie; let any that your discretion admits to the sight of it, know the date of it; and that it is a Book written by Jack Donne, and not by D. Donne: Reserve it for me, if I live, and if I die, I only forbid it the Presse, and the Fire: publish it not, but burn it not; and between those, do what you will with it'”(cited by Keynes). It was published posthumously by John Donne the younger, and dedicated by Lord Herbert's sone Phillip. see full details...
![[CAREW, Bampfylde-Moore.]](/photos/342/main/342.jpg "[CAREW, Bampfylde-Moore.]")
This is one of two editions printed for Buckland, Bathurst and Davies in 1793. The final 5 pages contain a notable cant dictionary. Carew fell in with a band of gypsies as a wayward young boy. “After a year and a half Carew returned home for a time, but soon after resumed a career of swindling and imposture, which saw him deceive people to whom he had previously been well known. Eventually he embarked for Newfoundland, but stayed only a short time. On his return to England he passed as the mate of a vessel, and eloped with the daughter of a respectable apothecary from Newcastle upon Tyne, whom he later married. Carew soon returned to the nomadic life, and when Clause Patch, a Gypsy king or chief, died Carew was elected his successor. He was convicted of being an idle vagrant, and sentenced to be transported to Maryland. On his arrival he attempted to escape, but was captured and made to wear a heavy iron collar; he escaped again, and encountered some Native Americans, who removed his shackles. On departure he travelled to Pennsylvania. He was then said to have swum the Delaware River, after which he adopted the guise of a Quaker, and made his way to Philadelphia, then to New York, and finally to Boston, where he embarked for England. He escaped impressment on board a man-of-war by pricking his hands and face, and rubbing in bay salt and gunpowder, so as to simulate smallpox” (John Ashton, rev. Heather Shore in Oxford DNB). This biography is variously attributed to Bampfylde Moore Carew himself, to Robert Goadby and also to his wife, Mrs. Goadby. see full details...
The Subterranean Voyage of Nicolas Klim is one of the classics of speculative and utopian fiction, written fifteen years after Swift’s Gulliver’s Travels and often compared favourably with that work. It is the first fully developed novel to
be set in the earth’s interior, a setting which has been utilised countless times in later science fiction. Klim, a poor student, falls through a hole in the earth just outside the Norwegian town of Bergen and finds himself on the inside of the earth’s crust. He lands on the planet Nazar (which orbits a sun at the centre of the earth’s cavity) where he finds a nation that lives according to the laws of reason and nature. The peasantry are considered very highly and therefore are the most distinguished class in the state; many of the highest offices are held by women, who are in every way equal to the men. Nazar presents an enlightened utopia, very much in the mould of the ideals of Montesquieu and Voltaire (who Holberg admired enormously) but Klim also travels to other states where the perfect state of society is not so fully developed or is perhaps degenerate, allowing a vivid comparison of political, social and philosophical systems. Holberg (like his hero Klim) was a native of Bergen at a time when Norway and Denmark existed as a twin kingdom. He saw himself as a fully European writer and the equal of the French philosophes. The majority of his works, including the present, first appeared in Latin, the universal language. The adventures of Nicolas Klim were immediately popular and were rapidly translated into all the major European languages. see full details...
Edward Carpenter was an influential campaigner for sexual freedom, especially in same-sex relationships. Strongly influenced by Walt Whitman (who he visited in 1877) he pursued a utopian socialism, setting up his own working community near Sheffield. He worked with John Addington Symonds, who was preparing a major study of homosexuality with Havelock Ellis, supplying case studies from his private circle of friends. ‘In the course of 1894–5 the Labour Press, Manchester, published four of Carpenter’s pamphlets on sex: Sex-Love, and its Place in a Free Society; Woman, and her Place in a Free Society; Marriage in Free Society; Homogenic Love, and its Place in a Free Society... Among those who were influenced by his works were Siegfried Sassoon, Robert Graves, E. M. Forster, and D. H. Lawrence’ (Chushichi Tsuzuki in ODNB). see full details...
Gower is chiefly remembered as a friend of Geoffrey Chaucer and his Confessio Amantis is frequently cited as the origin of William Shakespeare’s play Pericles (who’s story is taken from book 8 of the Confessio) but he should be accepted in his own right as one of the great pioneers of English literature. The plan of the Confessio was doubtless borrowed from the Roman de la Rose, and consists of a dialogue first between the poet, in the character of a lover, and Venus, and afterwards between the poet, in the character of a penitent, and Genius, whom Venus assigns to him as a confessor. In the conversation between the penitent and the confessor the seven deadly sins are discussed and illustrated from Gower’s encyclopaedic knowledge of Ovid, Josephus, Vincent de Beauvais, Statius, the Gesta Romanorum, the Bible, and other sources. In the eighth book, having described the duty of a king and prayed for England, the poet bids farewell to earthly love. The work is a profound meditation on human love and morality and in Gower’s own words in the Prologue it was “a boke for Englondes sake”. The work survives in numerous early manuscripts (attesting to its immediate popularity) and was first printed by Caxton in 1474. Thomas Berthelet’s edition of 1532 is considered textually superior to Caxton. Pforzheimer notes that the “edition was printed from a manuscript, resembling MS. Bodley 294, but inferior in correctness, collated with Caxton’s edition from which several passages lacking in the manuscript were supplied. In the prefatory note ‘To the reader’ Berthelet included the alternative form of the introductory lines Prologue 24-92, also from Caxton’s edition, so that on the whole this edition is textually an improvement over the earlier one. It is also a good example of workmanlike printing much above the average English work of the period” (Pforzheimer). The third edition of 1554 is merely a paginary reprint of the present. The early ownership inscription of William Sotheby is dated 1532. This copy is handsomely bound in the style of Mackinley for the Earl of Stafford, among the richest men in England at the opening of the nineteenth-century. The Earl was himself a latter-day member of the Gower family (he claimed descent in the male line from Sir Alan Gower of Stittenham, supposedly sheriff of York at the time of the conquest). Several antiquaries had previously suggested that the poet’s origins lay in the same place, so this would have been a fitting acquisition for the Earl. see full details...
![[HOLBERG, Ludvig, Baron].](/photos/188/main/188.jpg "[HOLBERG, Ludvig, Baron].")
The Subterranean Voyage of Nicolas Klim is one of the classics of speculative and utopian fiction, written fifteen years after Swift's Gulliver's Travels and often compared favourably with that work. It is the first fully developed novel to be set in the earth's interior, a setting which has been utilised countless times in later science fiction. Klim, a poor student, falls through a hole in the earth just outside the Norwegian town of Bergen and finds himself on the inside of the earth's crust. He lands on the planet Nazar (which orbits a sun at the centre of the earth's cavity) where he finds a nation that lives according to the laws of reason and nature. The peasantry are considered very highly and therefore are the most distinguished class in the state; many of the highest offices are held by women, who are in every way equal to the men. Nazar presents an enlightened utopia, very much in the mould of the ideals of Montesquieu and Voltaire (who Holberg admired enormously) but Klim also travels to other states where the perfect state of society is not so fully developed or is perhaps degenerate, allowing a vivid comparison of political, social and philosophical systems.Holberg (like his hero Klim) was a native of Bergen at a time when Norway and Denmark existed as a twin kingdom. He saw himself as a fully European writer and the equal of the French philosophes. The majority of his works, including the present, first appeared in Latin, the universal language. The adventures of Nicolas Klim were immediately popular and were rapidly translated into all the major European languages. see full details...
M’Quhae, though unprolific in published work, had been a major influence on the young James Boswell, who had written his early “Journal of My Jaunt, Harvest 1762” for M’Quhae and John Johnston. The 21-year-old Boswell had met M’Quhae in 1761 and found in him a firm and sympathetic friend. “Only three years Boswell’s senior, he had come into Lord Auchinleck’s household as domestic tutor... By that time Boswell himself had passed beyond the need of a tutor’s ministrations, and was able to associate with the new governor on purely social and friendly terms, M’Quhae’s manliness pleased him greatly. At the University of Glasgow he had been a favourite pupil of Adam Smith; he was well educated, loved polite literature, and, though he had decided to be a clergyman in the country, was not without a relish for the scenes of active life” (Pottle, Boswell, Earlier Years, p. 75-6). The friendship did not however survive Boswell’s European tours and M’Quhae lived a relatively quiet life as minister of St Quivox from 1764. He became, however, a respected member of the “New Licht” faction within the Church of Scotland, a movement which reflected the liberal attitudes of the Enlightenment against the conservative and Calvinsist “Old Licht faction”. Burns humorously referred to him in “The Twa Herds” as “That curs’d rascal ca’d M’Quhae”, and mentioned also “M’Quhae’s pathetic manly sense.” see full details...
![LOVEDAY, R[obert].](/photos/187/main/187.jpg "LOVEDAY, R[obert].")
The letters and poems of Robert Loveday were published posthumously by his brother Anthony in 1659 and subsequently reprinted several times. Loveday’s education at Peterhouse, Cambridge, was interrupted by the Civil War and he became a secretary in the Clinton family; in this capacity he travelled extensively throughout England, spending time at the Clintons' seat, Tattershall Castle, Lincolnshire, and at the Clares' residence, Thurland House, Nottinghamshire.
Loveday was an accomplished translator whose most notable work was a three-volume translation of La Calprenède's Cléopâtre; however it is arguably his letters which remain his greatest legacy. By all accounts an unusually charming and attractive personality (even the running title reads 'Loveday's Letters. The Perswasive Secretary'), Loveday's agreeable style may be illustrated by a touching display of fraternal love which he pays his brother: "I am deep in your debt for abundance of loving expressions, and want words to tell you how tenderly I entertained them; the task is too big to let you know how dear you are to me; do me but the Courtesie to fancy an affection, pure, unbiassed, unreserved, that scorns limits, loaths change, and is onely less excellent than that which makes Angels clap their wings". see full details...
![[CHOUDARD]-DESFORGES, [Pierre Jean Baptiste].](/photos/291/main/291.jpg "[CHOUDARD]-DESFORGES, [Pierre Jean Baptiste].")
![‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.]](/photos/527/main/527.jpg "‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.]")
![(THEATRE.) [SMITH, John and Robert SAYER, publishers].](/photos/457/main/457.jpg "(THEATRE.) [SMITH, John and Robert SAYER, publishers].")
![‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.] ‘VAN MAELE, Martin’ pseudonym of Maurice François Alfred Martin.](/photos/528/main/528.jpg "‘CHAMBLEY, Edmond sire de’ [pseudonym of Edmond Haraucourt.] ‘VAN MAELE, Martin’ pseudonym of Maurice François Alfred Martin.")
![[PEACOCK, Thomas Love.]](/photos/192/main/192.jpg "[PEACOCK, Thomas Love.]")
![[JOHNSON, Samuel, contributor].](/photos/438/main/438.jpg "[JOHNSON, Samuel, contributor].")
![[COURTILZ DE SANDRAS, Gatien de.]](/photos/135/main/135.jpg "[COURTILZ DE SANDRAS, Gatien de.]")
![LAMOTHE-LANGON, E[tienne] L[eon], Baron de.](/photos/321/main/321.jpg "LAMOTHE-LANGON, E[tienne] L[eon], Baron de.")
![[VOLTAIRE, François-Marie Arouet de.]](/photos/433/main/433.jpg "[VOLTAIRE, François-Marie Arouet de.]")
![JUSSIEU, L[aurent]. P. de.](/photos/299/main/299.jpg "JUSSIEU, L[aurent]. P. de.")
![DOYLE, A[rthur]. Conan.](/photos/314/main/314.jpg "DOYLE, A[rthur]. Conan.")
![(SADE, Donatien Alphonse François, marquis de). [BRUNET, Pierre Gustave.]](/photos/549/main/549.jpg "(SADE, Donatien Alphonse François, marquis de). [BRUNET, Pierre Gustave.]")
![[DAMOURS, Louis.]](/photos/434/main/434.jpg "[DAMOURS, Louis.]")
![LOUVET DE COUVRAY, [Jean-Baptiste].](/photos/429/main/429.jpg "LOUVET DE COUVRAY, [Jean-Baptiste].")
![[AULNOY, Madame d’.]](/photos/24/main/24.jpg "[AULNOY, Madame d’.]")
![COTTIN, [Sophie Ristaud.]](/photos/336/main/336.jpg "COTTIN, [Sophie Ristaud.]")
![DOYLE, A[rthur]. Conan.](/photos/312/main/312.jpg "DOYLE, A[rthur]. Conan.")
![[SMITH, Horatio.]](/photos/318/main/318.jpg "[SMITH, Horatio.]")
![[FIELDING, Sarah, attributed to.] Mr. de la PLACE.](/photos/295/main/295.jpg "[FIELDING, Sarah, attributed to.] Mr. de la PLACE.")
![[LONGUE, Louis Pierre de.]](/photos/256/main/256.jpg "[LONGUE, Louis Pierre de.]")
![STEVENSON, R[obert] L[ouis].](/photos/354/main/354.jpg "STEVENSON, R[obert] L[ouis].")
![[COURTILZ DE SANDRAS, Gatien de.]](/photos/186/main/186.jpg "[COURTILZ DE SANDRAS, Gatien de.]")
![[OLIVIER, Abbé Jean.]](/photos/254/main/254.jpg "[OLIVIER, Abbé Jean.]")
![[FIELDING, Sarah, attributed to.]](/photos/121/main/121.jpg "[FIELDING, Sarah, attributed to.]")
