Monday, 26 August 2013

Contemporary Reviews of Haywood's The Wife (1756)

Below are transcripts of two contemporary reviews of Eliza Haywood's The Wife (1756), with links to the original texts (now on Google Books). See here for a complete list of early reviews of Haywood's works available online.

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Ab.70 The Wife The Monthly Review 13 (December 1755): 509, Art.9—online here, transcribed below, without the running quotation marks.

IX. The Wife. By Mira, one of the authors of the Female Spectator, and Epistles for Ladies. 12mo. 3s. Gardner.
The title of this work may, perhaps, have induced some to imagine it of the novel kind; it is, however, wholly perceptive, and intended to direct the conduct of wives; who are here advised to discard those fashionable follies, and subdue those dangerous passions, that too often contribute to render the married state of all others the most unhappy. Mrs. Mira, tho' not a very spirited writer, in general, has painted some of the foibles of her sex in striking colours; but to anticipate the resentment she seems to apprehend from the freedoms she has so taken, she concludes this volume with "promising, that If any of them shall think her admonitions too strongly enforced, they will have their full revenge, when they read the duties she has enjoined a husband."—These last are to be the subject of another publication, said to be now in the press.

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Ab.70 The Wife The Critical Review 1 (March 1756): 129–33, Art.6—online here, transcribed below, without the running quotation marks.

Art. VI. The Wife. By Mira, one of the authors of The female spectator, and Epistles for ladies, i2mo. Price 3s Gardner.

THE design of this work is good; it is intended to restore marriage to its ancient honour, to relieve it from the imputations under which it labours, from the general ill-conduct of the parties united. This laudable end is endeavoured at, by examining the various occasions of difference, dislike, or disagreement, that may arise in that state; and adapting |130| proper advice in such circumstances to the wife, whose duty and happiness is the subject of our author’s study.

The principal objects that occasion disputes in life, are religion and politics; with both these, our author advises the wife not to intermeddle; desiring her, in the former case, provided her husband be a Latitudinarian, to endeavour to reclaim him by the regularity of her own conduct, and her attachment to the service of God; in the latter, to be silent, if she chances to be of different sentiments; few women being from their abilities, either natural or acquired, fit to talk upon such subjects; and if they are, discontents may possibly ensue, which may end very much to the disadvantage of the woman, from the rank she holds in the creation.

Our author's sentiments, with regard to dress, are very just; if a man really loves, his esteem will be kept up, by finding his wife always neat: and I believe a neglect of this essential circumstance, contributes much to that indifference, wherewith we see so many husbands daily behave to their wives; and that emulation in dress of the light wanton, or unthinking coquet, which is too much practised, is certainly an extreme that ought to be avoided almost as much as sluttishness. A woman should moreover study the mode of her husband's mind, and avoid talkative impertinence when he is inclined to be serious, as much as damping his gayer hours with an unaccountable gloomy appearance.

Under the article of oeconomy we may rank public diversions, Bath, Tunbridge, &c. on the use of which pleasures our author descants very prettily; but she certainly has never been at Bath, or she would not have introduced company to play at cards in the pump-room; however, it is a mistake of no manner of consequence.

Our author's dissertations upon detraction, secrecy, sloth, and complaisance, are worth being attended to; and she has represented in a just light the folly of a woman's engaging in abstruse and speculative sciences, when her domestic concerns claim particularly her attention.

It is hard for most women to bear peaceably a knowledge of their husband's galantry; and we shall conclude this review of The Wife, with quoting a story concerning a woman in such |131| a situation, in whose conduct there appears something entertaining; tho' a wife, ought to be very certain of her husband's good-nature, before she ventures to probe his failings so deeply before company.

A gentleman of a very ancient family and considerable estate, was married to a lady of beauty, wit, virtue, and good humour; but though he knew and acknowledg'd the merits of his wife, yet he was a man of so deprav'd a taste, that the most dirty dowdy he could pick up frequently supply'd her place within his arms.

It happen'd when they were at their country-seat, that riding one morning to take the air, as was his usual custom, he met a ragged country wench, with a pair of wallets, or coarse linnen-bags, thrown over her shoulder;—he stopp'd his horse and ask'd what she had got there,—to which she reply'd, with a low curtsy after her fashion,—that it was broken victuals,—that her mother and she had no sustenance but what they got from the charity of the cooks at great gentlemen's houses, and that she was now going home with what they had given her.—‘You need not be in haste, I suppose,’ said he;—‘if you will go with me into yonder field I will give you something to buy you a new gown.’

The poor girl needed not much persuasion to bring her to consent, on which he alighted from his horse and threw the bridle over a hedge-stake, and the girl at the same time hung her bags on the pummel of the saddle, to prevent their coming to any harm,—then follow'd the gentleman a little way out of the road, where they soon commenced and finish'd their amour.

The horse not liking his situation, found means to get loose and ran directly home;—the lady by chance was at the window when he came galloping into the court-yard;—she was at first a little frighted to see him without his rider, but perceiving the bags, call'd to have them brought to her, and on their being so, was not long at a loss to guess the meaning of this adventure.

She then order'd the cook to empty the wallets, and put whatever she found in them into a clean dish, and send it up |132| in the first course that day at dinner,—which accordingly was done.

The husband on missing his horse walk'd home, and brought with him two neighbouring gentlemen whom he accidentally met with in his way; but these guests did not prevent the lady from prosecuting her intention;—the beggar's provision was set upon the table,—remnants of stale fowls,—bones half pick'd,-pieces of beef,—mutton, —lamb,—veal, with several lumps of bread, promiscuously huddled together, made a very comical appearance: —every one presently had their eyes upon this dish, and the husband not knowing what to make of it cried out pretty hastily, —‘What's this! What have we got here!’—To which the lady with the greatest gaiety replied, ‘It is a new-fashion Olio, my dear; —it wants no variety, I think there is a little of every thing, and I hope you will eat heartily of it, as it is a dish of your own providing.’

The significant smile which accompanied these last words, as well as the tone of voice in which they were spoke, making him remember where the girl had hung her wallets, threw him into a good deal of confusion; which she perceiving, order'd the dish to be taken away, and said, ‘I see you do not like it, my dear, therefore when next you go to market pray be a better caterer.’—‘Forgive this,’ cried he, ‘and I promise never to go to any such markets more.’

The gentlemen found there was some mystery in all this, but would not be so free as to desire an explanation.—When dinner was over, however, and the lady, after behaving the whole time with all the chearfulness imaginable, had retired to leave them to their bottle, the husband made no scruple of relating to them by what means his table had been furnish'd with a dish of so particular a kind; at which they laughed very heartily, and would have done so much more if their admiration of the lady's wit and good humour had not almost entirely engross'd their attention.


Upon the whole, this work is performed in a loose, familiar manner, the topics being enlivened by short anecdotes, which are natural, and soften the edge of reflection and advice; neither of which can, without alternatives, be easily digested by | 133| minds warm, active, youthful and vigorous: and whatever may be the execution of it, it is much fitter for the hands of young people, than the numbers of novels void of morals, beauty, language or design, which some publisher, every day almost, throws out upon the town.

[NB: This review was reprinted in The Repository, or general Review, consisting of a select Collection of literary Compositions, with occasional Remarks (1756): 163–65.]

Eliza Haywood Reviews, Texts, Links etc

[For Eliza Haywood texts, links etc., and recent criticism of the same, see here; for texts, links etc., specifically related to Haywood's life, contemporary biographical accounts etc, see here. For William Hatchett links see here.]

I listed a number of original, contemporary, or near contemporary, reviews of works by Haywood in my Bibliography of Eliza Haywood (2004). I have subsequently found quite a few early reviews of works by Haywood, especially in translation, and thought I should bring together any links to either original review texts (whether or not they are mentioned in my Bibliography) or my posts with transcribed and translated review texts etc. Where appropriate, I might add the occasional original preface, where that preface engages with Haywood's texts (like this one).

Like my earlier link pages (mentioned above), this page will be updated, added to and corrected, as I find new material. NB also, each section is in the sequence found in my Bibliography (chronological by title) and uses the numbering of my Bibliography.

Facsimile Texts of 18C reviews criticism online

Ab.6.2A Idalia: Or, The Unfortunate Mistress [review in Dutch, of the Dutch translation (from the French translation)] Vaderlandsche letteroefeningen, No. 15 (1804): 656–57—online here.

Ab.9 The Rash Resolve; Or, or the Untimely Discovery [review in French, of French translation] Bibliothèque Française, Vol. 9 (Nivôse An 9 [December 1800–January 1801]): 190–91—online here.

Ab.35.2 The History of Miss Leonora Meadowson, [reviewed in] Critical Review, Vol. 65 (March 1788): 236—online here.

Ab.35.2 The History of Miss Leonora Meadowson, [reviewed in] Town and Country Magazine, Vol. 20 (April 1788): 154—online here.

Ab.41.3 Clementina, [reviewed in] Critical Review, Vol. 25 (January 1768): 59 (Article 14)—online here.

Ab.41.3 Clementina, [reviewed in] The London Review, Vol. 37 (January 1768): 47–48—online here.

Ab.41.3 Clementina, [reviewed in] Monthly Review, Vol. 38 (May 1768): 412 (Article 45)—online here.

Ab.54.3 The Anti-Pamela; or Feign'd Innocence Detected [review in French, of French translation] “L’Anti-Pamela, ou la fausse Innocence découverte dans les Avantures de Syrene” in Bibliothèque Britannique, Vol. 22, no. 2 (January–March 1744): 358–66—online here.

Ab.58.9 A New Present for a Servant-Maid, [reviewed in] Monthly Review, Vol. 46 (April 1772): 463 (Article 59)—online here

Ab.58.9 A New Present for a Servant-Maid, [reviewed in] The Critical Review, Vol. 33 (June 1772): 500 (Art.43)—online here

Ab.60 The Female Spectator [review in French] Bibliothèque Britannique, ou Histoire des Ouvrages des Savans de la Grande, Vol. 23, pt. 2 (July–September 1746): 395–416 (Art 10)—online here.

Ab.66.2 A Letter from H---- G----g [review in French, of French translation] "Lettre sur le Prétendant" in L’Année littéraire, Vol. 7 (1756): 38–43—online here.

Ab.70 The Wife, [reviewed in] The Monthly Review, Vol. 13 (December 1755): 509, Art.9—online here.

Ab.70 The Wife, [reviewed in] The Critical Review, Vol. 1 (March 1756): 129–33, Art.6—online here.

Ab.72 The Husband, [reviewed in] The Critical Review, Vol. 1 (March 1756): 133–35, Art.7 here.

Ab.72 The Husband, [reviewed in] The Monthly Review, Vol. 14 (April 1756): 360, Art.3 here.

Transcribed and translated texts of 18C reviews criticism online

Ab.6.2A Idalia: Or, The Unfortunate Mistress [transcript and translation of the Dutch] "A Dutch Review of Idalia (1723)" (posted 2019.11.07 here)

Ab.9.2 The Rash Resolve; Or, or the Untimely Discovery [transcript and translation of the French] "French Review of Haywood's The Rash Resolve (1724)" (posted 2015.01.22 here)

Ab.17.1 and 17.4 Memoirs of a Certain Island Adjacent to the Kingdom of Utopia, short reviews of unauthorised (partial) reprints: Modern Lovers (1756) and Prostitutes of Quality (1757) (posted 2017.10.18 here)

Ab.35.2 The History of Miss Leonora Meadowson [reviews in English] "Contemporary Reviews of Haywood's History of Leonora Meadowson (1788)" (posted 2013.09.09 here)

Ab.41.3 Clementina [reviews in English] "Contemporary Reviews of Haywood's Clementina (1768)" (posted 2013.09.10 here)

Ab.54.3 The Anti-Pamela; or Feign'd Innocence Detected [transcript and translation of the French] "A French Review of Haywood's Anti-Pamela, 1741" (posted 2026.07.22 here)

Ab.58.9 A New Present for a Servant-Maid [reviews in English] "Contemporary Reviews of Haywood's New Present for a Servant-Maid (1771)" (posted 2013.09.12 here)

Ab.60 The Female Spectator [transcript and translation of the French] "Another French Review of The Female Spectator" [in the Bibliothèque Britannique (July–September 1746)] (posted 2013.08.28 here)

Ab.60 The Female Spectator [transcript and translation of the French] "A French Review of The Female Spectator" [in the Mercure de France (April 1751)] (posted 2011.01.22 here)

Ab.60 The Female Spectator [transcript of Italian] "The Female Spectator in Italian" (posted 2013.08.24 here)

Ab.66.2 A Letter from H---- G----g [transcript of French] "A French Review of A Letter from Henry Goring" (posted 2015.03.08 here)

Ab.68 The History of Jenny and Jemmy Jessamy [transcript and translation of the French] "Jemmy et Sophie, 1797" (posted 2011.01.03 here)

Ab.68 The History of Jenny and Jemmy Jessamy [transcript and translation of the German] "A German Review of Jenny and Jemmy Jessamy" (posted 2026.06.07 here)

Ab.70 The Wife [review in English] The Monthly Review, Vol. 13 (December 1755): 509, Art.9 (posted 2013.08.26 here)

Ab.70 The Wife [review in English] The Critical Review, Vol. 1 (March 1756): 129–33, Art.6 (posted 2013.08.26 here)

Ab.72 The Husband [review in English] The Critical Review, Vol. 1 (March 1756): 133–35, Art.7 (posted 2013.08.27 here)

Ab.72 The Husband [review in English] The Monthly Review, Vol. 14 (April 1756): 360, Art.3 (posted 2013.08.27 here)

[UPDATED 22 July 2026]

Saturday, 24 August 2013

The Female Spectator in Italian

La Spettatrice (1752)—Ab.60.15 in my Bibliography of Eliza Haywood—is a translation from the French into Italian of the first six books of Eliza Haywood’s The Female Spectator (1744–46). The “Avvertimento” (the “Advertisement” or preface) of this Italian translation begins by noting that “Questo libro è stato ricevuto in Inghilterra con tale applauso, che fu necessario farne una seconda edizione poco dopo pubblicata la prima” (This book has been received in England with such applause, that a second edition was necessary shortly after the first was published)—which is certainly true.

The Italian preface goes on to say that the author of The Female Spectator is unknown, but repeats the assessment of the “Biblioteca Britannia”—that The Female Spectator is a worthy sister of Joseph Addison and Richard Steele’s The Spectator.

When I compiled my Bibliography I was unable to locate this glowing assessment of Haywood’s Female Spectator in the Biblioteca Britannia. But I am now able to do so, thanks (once again) to Google Books, who have published online the volume of Bibliothèque britannique in which this review appears. (See Bibliothèque Britannique, ou Histoire des Ouvrages des Savans de la Grande, vol.23, pt.2 (July–September 1746): 395–416 (Art 10)—online here.)

When I was at Harvard I made a transcription of the preface (the “Advertisement”) and the authorisation (the “privilege” to print) so that I could get a translation of them. At the time, the Harvard copy was the only one I could locate, but I have since found two more, at Biblioteca della Fondazione Querini Stampalia, Venice, Italy [I. G. 747] and at the National Library of Malta [F-III-36] (my discovery of this copy was the subject of this blog entry).

Since, the Advertisement” and “privilege” are not online, and since I have recently been contacted by a scholar interested in these texts, I thought I should publish it online here. (The scholar is involved with the “Moralischen Wochenschriften” project at the University of Graz—described in English here).

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[Judging from the number of words that Google cannot translate, it appears that there are quite a few transcription errors below—if anyone fluent in 18C Italian would like to correct the text I will very happily adopt their corrections and credit them here!]

AVVERTIMENTO.

Questo libro è stato ricevuto in Inghilterra con tale applauso, che fu necessario farne una seconda edizione poco dopo pubblicata la prima: han creduto in quel paese di scoprire gli originali, du chi l'Autore fa il ritratto, e pubblica gl avvenimenti, ma sono sempre incerte le discoperte di tal natura, e per gli stranieri di poca importanza. Il libro non ha bisogno di questo soccorso, è stimabilissimo per sè stesso, tanto per le riflessioni morali eccellenti che contiene, quanto per le storie, che fervono di fondamento ad esse, narrate in una maniera la più semplice, e la più naturale. L'Autrice ha lasciato il meraviglioso a i compoitori di Romanzi, e si è contentata di dipingere i costumi, e le usanze della propria Nazione. Ecco il giudizio che dà di quest' Opera l'Autore della Biblioteca |4| Britannia nel tomo XXIII. parte II.

L'Autrice di quest' Opera ha rischiato assaissimo di comparir sotto un titolo, che immantinente risveglia l'idea d'un libro eccellente, il cui confronto potevasi temere molto disavantaggioso. Per sostenere il carattere di SPETTATRICE, e non far disonore allo Spettatore, di cui si dice sorella, vi bisognano de' talenti particolari. Senza di questi è da temersi, che uno Scrittore, il quale con sì giusta ragione si è acquistata tanta riputazione. non rinunzj questa parantela, e non faccia conscere questa sua pretesa sorella per una siglia supposta, e non mai della sua samiglia. E'probabile, che la SPETTATRICE medesima abbia fatti questi riflessi, che tanto facilmente si presentanto allo spirito, ed abbia preveduto il pericolo della sua impresa. Ma se la cosa è così, bisogna ch' ella piena d' una nobile considenza abbia creduto di poter sostenere un Nome sì grande, e fare un' Opera, se non eguale a quella di suo Fratello, almeno che se le avvicini, con quella proporzione che passa tra i talenti, e la capacità d'un uomo, il cui spirito è reso colto dagli studj, e quella d'una, |5| che manca di questo vantaggio.

Se fi considera la SPETTATRICE in questo punto di vista, bisogna confessare, ch'ella non si è ingannata nella idea vantaggiosa, che ha concepito di sè medesima, e della sua abilità. Il suo Libro non solamente è degno della sorella dello Spettatore, ma vi si trovano in oltre molti pezzi, che suo fratello avrebbe per gloria di aver composti, e che gli farebbero onore del pari a quelli, che abbiamo di lui. Potrebbe forse sospettarsi, ch'ella avesse gli scritti del Defonto, e che non abbia fatto altro, che mettere in opera, alla sua maniera, i materiali di gi¡a raccolti dallo Spettatore per continuare la sua Opera. E'però cosa certa, che la Sorella, ed il Fratello hanno pescato nell'acqua medesima. Quegli si è proposto di correggere de' suoi disetti l'uno e l'altro Sesso, ma quella prende particolarmente di mira quei del bel Sesso.

Per ottener questo effecto tutti e due mettono in opera tutto il buono, e tutto il dilettevole, che può fornire del Mondo; con questa differenza, che negli scritti del Fratello si trova piu di sapere, e che la Soella pare meglio |6| istruita di tutte le piccole storie, the racconta in una maniera molto graziosa, senza nominare gli Originali, e le accompagna con Riflessioni giudiziose egualmente che delicate. Pare che l'Opera vade sempre più diventando perfetta, e si vede, che in vece di decadere, come fanno la maggior parte de'Scrittori periodici, l'ultime parti sono piu eccellenti delle prime.

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NOI REFFORMATORI

Dello Studio di Padoa.

Avendo veduto per la Fede di Revisione, ed Approvazzione del P. F. Paolo Tommaso Manuelli, Inquisitor General del Santo Officio di Venezia nel Libro intiolato: La Spettatrice ec. Opera scritta in Inglese, e tradotta dal Francese, non v' esser cosa alcuna contro la Santa Fede Cattolica, e parimente per Attestato del Sgretario Nostro; niente contro Principi, e buoni costumi, concediamo Licenza a Giovanni Tevernin Stampator di Venezia, che possa essere stampo, osservando gli ordini in materia di Stampe, e presentando le solite Copie alle Pubbliche Librerie di Venezia, e di Padoa.

Dat. li 10 Maggio 1752.

Barbon Morosini Pr. Riff.
Alvise Mocenigo 4. K. Pr. Riff.

Registrato in Libro a carte 24 al Num. 256.

Gio: Girolamo Zuccato Segret.

Adi 19. Maggio 1752.
Registrato nel Magistrato Eccellentiss.
degli Esecutori contro la Bestemmia.
Alvise Legrenzi Segret.

Wednesday, 10 July 2013

American Book-Prices Current, Book-Prices Current, Book Auction Records etc

Most of the early volumes of American Book-Prices Current (ABPC) are available online, some of them many times over, thanks to the Internet Archive. Unfortunately, the Internet Archive suck at cataloguing, so it is hellishly difficult to find a specific volume. I made the following list to simplify the task for myself. I am probably re-inventing the wheel, but I hope other people will find it useful.

Despite the title of this post, I have not yet gone looking for the original, British Book-Prices Current (BPC) and Book Auction Records (BAR)—the other two standard sources for information on book sale records and the second-hand trade in books in general, but I will. And, if I find any, I will add them below.

[UPDATE 11 July 2013: I have added BPC and BAR now. The Internet Archive has outdone itself in trying to hide some of these files, many of which are catalogued as A Winter in North China (!). I was only able to locate some of the below by guessing URLs based on sequences of correctly-catalogued files. As I use the files I will re-arrange them so that, where there are duplicates, the best files appear first. (Best being the cleanest colour scans, with text and pdf files available.) I have reluctantly included a few Hathi Trust files, which combine appalling catalogue layout with an even worse user interface.]

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NB: final four volumes of ABPC in this list probably should not be available for download, and may not be available for download for long, for copyright reasons. (On the Hathi Trust catalogue page these files are described—when you can find them—as "Limited (search only).")

ABPC 1 (1895) here
ABPC 2 (1896) here; here; here
ABPC 3 (1897) here; here; here
ABPC 4 (1898) here; here; here
ABPC 5 (1899) here; here; here; here
ABPC 6 (1900) here; here
ABPC 7 (1901) here; here; here
ABPC 8 (1902) here; here; here; here
ABPC 9 (1903) here; here; here; here
ABPC 10 (1904) here; here
ABPC 11 (1905) here; here; here; here; here; here
ABPC 12 (1906) here; here
ABPC 13 (1907) here; here
ABPC 14 (1908) here; here; here
ABPC 15 (1909) here
ABPC 16 (1910) here
ABPC 17 (1911) here; here
ABPC 18 (1912) here; here
ABPC 19 (1913) here; here
ABPC 20 (1914) here; here
ABPC 21 (1915) here; here
ABPC 22 (1916) here
ABPC 23 (1917) here; here; here
ABPC 24 (1918) here; here; here
ABPC 25 (1919) here; here; here
ABPC 26 (1920) here; here
ABPC 27 (1921) here; here
ABPC 28 (1922) here [NB Hathi Trust]
ABPC 29 (1923) here
ABPC 30 (1924) here
ABPC 35 (1930) here
ABPC 38 (1933) here
ABPC 48 (1943) here

ABPC Index for 1916-1922 (1925) here [NB Hathi Trust]
ABPC Index for 1941-1945 (1946) here

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BPC 2 (1889) here
BPC 3 (1890) here
BPC 4 (1891) here; here
BPC 5 (1892) here
BPC 6 (1893) here
BPC 7 (1894) here; here; here
BPC 8 (1895) here
BPC 9 (1896) here
BPC 10 (1897) here; here; here
BPC 11 (1898) here; here
BPC 12 (1898) here; here; here
BPC 13 (1899) here; here
BPC 14 (1900) here; here
BPC 15 (1901) here; here
BPC 16 (1902) here; here
BPC 17 (1903) here; here
BPC 18 (1904) here; here; here; here
BPC 19 (1905) here
BPC 20 (1906) here; here
BPC 21 (1907) here; here
BPC 22 (1908) here; here; here; here
BPC 23 (1909) here
BPC 24 (1910) here; here
BPC 25 (1911) here
BPC 26 (1912) here
BPC 27 (1913) here; here
BPC 28 (1914) here
BPC 29 (1915) here
BPC 31 (1917) here
BPC 32 (1918) here
BPC 33 (1919) here
BPC 34 (1920) here
BPC 35 (1921) here
BPC 36 (1922) here

BPC Index 1887–96 here
BPC Index 1897–1906 here

* * * * *

BAR 1, pt.2 (1904) here
BAR 2 (1905) here
BAR 3 (1906) here
BAR 4 (1907) here
BAR 5 (1908) here
BAR 6 (1909) here
BAR 7 (1910) here
BAR 8 (1911) here
BAR 9 (1912) here
BAR 10 (1913) here
BAR 12 (1915) here
BAR 13 (1916) here
BAR 14 (1917) here
BAR 15 (1918) here
BAR 16 (1919) here
BAR 17 (1920) here
BAR 18 (1921) here
BAR 19 (1922) here

* * * * *

Auction Prices of Books; A Representative record … of the English Book-prices current in 1886 and the American book-prices current in 1894 to 1904, and including some thousands of important auction quotations of earlier date (1905):
  Vol.1 here; here
  Vol.2 here; here
  Vol.3 here; here
  Vol.4 here; here

[LAST UPDATE 11 July 2013]

Sunday, 30 June 2013

Good Paper, Crappy Paper, Large Paper etc

I have been examining eighteenth-century auction catalogues and was puzzled by an abbreviation I found in one of them: "Ch. opt." After a lot of faffing about online I established only that this was an abbreviation of "Chart. opt."—which my little Latin suggested was Paper + Best [optima/optimal].

What isn't clear is what exactly this implied beyond "best." Thomas Frognall Dibdin writes (here), of different editions, that "the chart, opt. is barely as good as the common paper of the Latin Bipont classics" (93), “The charta optima is only a better sort of charta cacata” (297) and “The charta optima is little better than ballad paper” (511).

Having looked into this a little further—with the help of Jane Wickenden, Boris Bruton, Donald W. Krummel and John P. Chalmers from the EXLIBRIS list—I have compiled a very short list of some of the Latin abbreviations used concerning different types/grades of paper. I am publishing it here in the hope that, if anyone else on the planet were to Google "Ch. opt."—they will find the answer to their query on this page.

Charta optima [Ch. opt. or chart. opt.] = best paper
Charta maxima [Ch. max. or chart. max.] = large paper
Charta cacata = crappy paper or toilet paper
Charta scriptoria = fine paper
Charta velina = vellum
Charta membranacea = vellum

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Charta optima is glossed as papier supérieur [superior paper] here.

The British Magazine 30 (1 October 1846): 362: “The small-paper leaf measures eleven inches and three-eighths by seven; and many of the leaves are marked with an obelus †, which is not seen in either the large paper or the charta maxima, nor can I explain the cause of this variation.”

Max Brod, Tycho Brahe's Path to God (2007), 92: “Perhaps that would have been better; for, if I may say so, the book is a collection of refuse, a charta cacata.”; Joseph William Moss, Manual of Classical Bibliography (1827), 1.205: “There are copies on large paper, which are very rare and beautiful; those on common paper cut a very indifferent figure; the paper is extremely bad, and, to use Dr. Harwood’s words, truly is ‘Charta cacata’”; Thomas Fuller, The Church History of Britain (1837), 159: “Nor stops he here, but useth so slovenly an expression, (it is well it is in Latin,) calling his book Charta cacata, which, saving reverence to the reader may be returned on the foul mouth of him who first uttered it”; George Richard Crooks et al., A new Latin-English school-lexicon (1861), 131 sv Cado: "to emit from one's self at stool, odorem: … to besmear with excrement, charta cacata”

Moss, Manual of Classical Bibliography (1827), 1.[ix]: “It has not, in general, been deemed necessary to cite the varieties of fine and vellum paper copies, because it may be taken as a rule, that all the principal German editions are printed on three kinds of paper, of which the second in quality, called charta scriptoria, is usually published at a third or fourth more than the common, and the best or charta velina (i. e. membranacea,) at about double.”