(12) There is a class of books rarely found in any reputable book shop, and which ought to be much rarer than they are-namely, those that belong to the domain of indecent literature. Booksellers who deal in such wares often put them III catalogues under the head of facetiae, thus making a vile use of what should be characteristic only of books of wit or humor. Men of prurient tastes become collectors of such books, many of which are not without some literary merit, while many more are neither fit to be written, nor printed, nor read.
(13) There is a large variety of books that are sought mainly on account, not of their authors, nor for their value as literature, but for their illustrators. Many eminent artists (in fact most of those of any period) have made designs for certain books of their day. The reputation of fin artist sometimes rests more upon his work given to the public in engravings, etchings, wood-cuts, etc., that illustrate books, than upon his works on canvas or in marble. Many finely illustrated works bear prices enhanced by the eagerness of collectors, who are bent upon possessing the designs of some favorite artist, while some amateurs covet a collection of far wider scope. This demand, although fitful, and sometimes evanescent, (though more frequently recurrent,) lessens the supply of illustrated books, and with the constant drafts of new libraries, raises prices. Turner's exquisite pictures in Rogers's Italy and Poems (183034) have floated into fame books of verse which find very few readers. Hablot K. Browne (''Phiz'') designed those immortal Wellers in Pickwick, which have delighted two whole generations of readers. The "Cruikshankiana" are sought with avidity, in whatever numerous volumes they adorn. Books illustrated with the designs of Bartolozzi, Marillier, Eisen, Gra:velot, Moreau, J ohannot, Grandville, Rowlandson, Bewick, William Blake, Stothard, Stanfield, Harvey, Martin, Cattermole, Birket Foster, Mulready, Tenniel, Maclise, Gilbert, Dalziel, Leighton, Holman Hunt, Doyle, Leech, Millais, Rossetti, Linton, Du Maurier, Sambourne, Caldecott, Walter Crane, Kate Greenaway, Haden, Hamerton, Whistler, Dore, Anderson, Darley, Matt Morgan, Thos. Nast, Vedder, and others, are in ccnstant demand, especially for the early impressions of books in which their designs appear.
(14) Finally, that extensive class of books known as early Americana have been steadily growing rarer, and rising in commercial value, since about the middle of the nineteenth century. Books and pamphlets relating to any part of the American continent or islands, the first voyages, discoveries, narratives or histories of those regions, which were hardly noted or cared for a century ago, are now eagerly sought by collectors for libraries both public and private. In this field, the keen competition of American Historical Societies, and of several great libraries, besides the ever increasing number of private collectors with large means, has notably enhanced the prices of all desirable and rare books. Nor do the many reprints which have appeared much affect the market value of the originals, or first editions.
This rise in prices, while far from uniform, and furnishing many examples of isolated extravagance, has been marked. Witness some examples. The "Bay Psalm Book," Cambridge, Mass., A. D. 1640, is the Caxton of New England, so rare that no perfect copy has been found for many years. In 1855, Henry Stevens had the singular good fortune to find this typographical gem sandwiched in an odd bundle of old hymn books, unknown to the auctioneers or catalogue, at a London book sale. Keeping his own counsel, he bid off the lot at nine shillings, completed an imperfection in the book, from another imperfect copy, had it bound in Bedford's best, and sold it to Mr. Lenox's library at £80. In 1868, Stevens sold another copy to George Brinley for 150 guineas, which was bought for $1,200 in 1878, by C. Vanderbilt, at the Brinley sale.

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