32mo. (6)ff. Second edition. Doubtless a small edition, given its obvious labor-intensive production: Dwiggins drew each of the five initials and designed and executed the decorative border that appears on every page.There was an earlier edition of the same project printed privately by Dwiggins in 1906, without the borders but with the initials and in an entirely different binding. The 1906 edition appears in Agner's bibliography (06.01); this edition, however, does not. That Dwiggins returned to the designs after three years suggests his burgeoning experimentation with classic book design and his impending push toward its modernization. Clear here are the influences of Arts & Crafts and Art Nouveau emphases on naturalism, as well as Dwiggins's experimental attempts to get crisper and sharper impressions, even if the iterations found here are hard-won. Bound in quarter green cloth with ivory laid paper over boards and hand-applied green titling. Stray motes of foxing to rear pastedown and slight rubs to corners, else near fine in original glassine wrapper. With the calling card of Charles Mercer Hall and the bookplate of Emily Post Morrow.