( ; (Cornell Imocraitg ffiihrarg Jltlram, ^ttu fork FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERSITY Cornell University Library Z1001 .R73 1891b olin 3 1924 029 538 752 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029538752 H.ORATII OPERA. 1855. SOUND BY ZAEHNSDORF. MANUAL OF BIBLIOGRAPHY, BEING AN INTRODUCTION TO THE KNOWLEDGE OF BOOKS, LIBRARY MANAGEMENT, AND THE ART OF CATALOGUING. WALTER THOMAS ROGERS, F.R.S.Lit. WITH 37 ILLUSTRATIONS AND A COLOURED FRONTISPIECE. NEW YORK: scribner and welford. PREFACE " I ""HE following work, compiled from various •*- sources, English and foreign, is offered as an introductory guide to the knowledge of books. It does not pretend to be a complete summary of that vasj; subject, but merely a key to open other works. Should it awaken in the reader a desire to know more of those friends of man, the aim of the compiler will have been accomplished. East Dulwich, S.E. August 1890. to SIR PATRICK MacCHOMBAICH DE COLQUHOUN PRES. R. S. LIT., Q.C., LL.D., K.C.M., ETC., ETC., A BENCHER OF THE HON. SOC. OF THE INNER TEMPLE, THIS WORK IS RESPECTFULLY DEDICATED BY WALTER T. ROGERS. CONTENTS. CHAPTER I. The Invention and Progress of Printing. PAGE Xylographic or Block-Books — Typography — Koster, Castaldi, or Gutenberg ? — Mentz : Fust and Schoeffer — Italy : Subiaco, Rome, Venice, Milan, etc. — France — England : Westminster, London, St. Albans — Other Nations — Progress in the Six- teenth, Seventeenth, and Eighteenth Centuries — The Nine- teenth Century . i CHAPTER II. The Book. Bibliophile and Bibliomane — Rare Books and Good Books — Distinctive Signs of the First Printed Books — On Collecting Books — Abbreviations in English, French, German, and Italian Catalogues —Collation — Cancels — Size — Pagination — Signatures — Catchwords — Register — Date— Colophon — Title- pages — Imprint • 3^ CHAPTER III. The Ornamentation of a Book. Illuminated Capitals— Wood-engravings— Copper-plate Engravings — Steel Engravings — Lithography — Chromo-lithography — Zincography— Albertype — Heliotype — Zincotype— Binding . 67 VIU CONTENTS. CHAPTER IV. The Library and the Catalogue. PAGi The Library — Inventory, or Accession Book — Book-plates — Tlie Catalogue— Card Catalogue — The Entry : Author, Title, Anonyms, Volumes, Pagination, Size, Editor, Printer, Date, etc. — Rare Works — Periodicals and Works in Progress — Specimens of Entries in Catalogue — Iconographic Catalogue — Arrangement — Bibliographical Systems — Brunet's System — Alphabetic and Systematic Order— On the Superintendence of Books — Restoration of Books — Books to Consult . . 98 Books of Reference ......... 149 Glossary 160 Index 167 MANUAL OF BIBLIOGRAPHY. CHAPTER I. THE INVENTION AND PROGRESS OF PRINTING. Xylographic or Block-Books — Typography — Koster, Castaldi, or Gutenberg ? — Mentz : Fust and Schoeifer — Italy : Subiaco, Rome, Venice, Milan, etc. — France — England : Westminster, London, St. Albans — Other nations — Progress in the Sixteenth, Seven- teenth, and Eighteenth Centuries — ^The Nineteenth Century. Without attempting to trace the origin of printing among tlie Chinese, Persians, Greeks, or Romans, we may assume it as certain that typography, or the art of printing with movable types, had as a forerunner xylography, or engraving on wood; and it was thfe successive application of this art that led to the discovery of printing. i Playing cards were, from the early part of the four- teenth century, engraved on wood. At first each card bore an image alone, generally of a saint, but as the images closely resembled, one another, it became necessary to add the name of the Saint depicted. To the name was soon added a word or a line, then two lines^ and finally, an entire page of letters was engraved. Several of these i 2 MANUAL OF BIBLIOGRAPHY. pages, printed on one side only of a piece of paper, were placed together in continuous order in the form of a book, thus forming what is now known as a xylographic or block-book, — one of the greatest of bibliographical rarities. Fig. I. — Frontispiece to Terence, published by Treschel at Lyons in 1493. The author writing his book. Heineken and others have described the various block-books, indicating the different editions of each and the libraries in which they are to be found. The most notable are the following :— Historia Veteris et Novi Testamenti, or Biblia Pauperum; in Latin and German. Folio, about 40 leaves. THE INVENTION AND PROGRESS OF PRINTING. 3 Historia S.Joannis Evang. ejusque Visiones Apocalyp- ticce. Folio, 48 or 50 leaves. Historia seu Providentia Virginia Marice ex Cantico Canticum. Quarto, 16 leaves. In these three works there are only a few lines of words scattered here and there among the engraven figurtes, whilst in the following, the words— or, better still, the text — are engraven on separate blocks. They are^: — Der Entkrist [Historia Antechristi], with an appendix of .the signs which will precede the final judgment. Small folioj 39 leaves. Ars Memorandi Notabilis per Figuris Evangelistarum. 15 leaves of figures and as many of text, folio. Ars Manendi, or De Tentationibus Morientium, or Tentationes Dcemonis, in Latin, German, or Dutch. Folio and 4to, 24 leaves partly figures and partly text. Speculum Humance Salvationis, or Spieghel onser Behoudenisse. Small folio, 5 leaves of preface and 58 leaves of vignettes, with Latin and Flemish sentences at fhe foot. Die Kunst Cyromantia of Hartlieb, partly printed on both sides. There remained but one step to be made, and movable types and typography were discovered. Who made this step ? Several cities have contested the honour of having been the cradle of the typographical art, but the paltri has remained as incontestably to Mentz, as to Guten- berg remains the honour of having been the inventor of Printing. Among the towns which dispute this glory there are 4 MANUAL OF BIBLIOGRAPHY. three which will give the , greatest field for historical or bibliographical studies-r-Haarlem, Strasburg, and Mentz ; and, lastly, a small number of persons, blinded Fig. 2.— Xylographic figure from the Ars Moriendi, copied .in reverse in the Art au Morier. probably by great love for their country, have attempted to appropriate to Italy the invention of movable charac- ters, which they attribute to Famfilo Castaldi of Feltre. THE INVENTION AND PROGRESS OF PRINTING. 5 The following are the facts on which, the city of Haarlem founds its claims: — Meerman, in his Origines Typographicce, relates the history of one Lourens Janszoon Coster, which he found in the Batavia, a description of Holland by Hadrianus Junius (Adriaen de Jonghe). This Lourens Janszoon, surnamed Coster, walking one day in a wood near Haarlem, split off several pieces of bark from a beech tree, and for amusement fashioned letters from them, which, being placed in order, formed words. It then occurred to him to make a complete alphabet, and to reproduce it on .paper with an ink which he had specially prepared, thicker than that generally used ; but as by this means he. was only able to print the words on one side of the paper, he stuck two leaves back to back, in order to hide the blank pages. He eventually exchanged his wooden type for leaden, and finally tin or composition type, making of his discovery an immensely lucrative branch of commerce. He then engaged some workmen, whom he placed under an oath to preserve his secret. One of these workmen, named Jan, or Johan, and who is supposed to have been Fust (the associate of Gutenberg), had hardly learned the working of the in- vention, when, one Christmas Eve, he fled from Haarlem, carrying off the type and printing implements of his master. By way of Amsterdam and Cologne he reached Mentz, where he was -able to draw abundant remunera- tion from his theft. At Mentz he. printed, about 1442, with the type of Lourens Janszoon Coster, his late em- ployer, a grammar (at that time much used) entitled Dodrinale Alexandri Galli. These, then, are the claims 6 MANUAL OF BIBLIOGRAPHY. of Haarlem. What makes one greatly doubt their authenticity is, as Meerman points out, that the Dutch historians do not make any mention of Coster until about one hundred and thirty years after his death, which has generally caused this story to be considered as the invention of some fertile brain. The titles in favour of Italy, or, to speak more correctly, of Pamfilo Castaldi, are certainly not better based, they having a like foundation in a chronicle of the seventeenth century, but which refers the reader back to a still more ancient chronicle, which unfortu- nately has never been forthcoming. Father Antonio Cambruzzi has chronicled in his Memorie Istoriche de Feltre, of which several MSS. have survived to the present day, the following facts : — "At this time (1456) flourished Pamfilo Castaldi, Doctor and Poet of Feltre, who discovered the inven- tion of printing books, the most noble art and the most worthy that has ever been discovered in the world ; which having taught to Fust, who lived at Feltre in his house in order to learn the Italian language, he carried it ofT to Germany and practised it in the city of Mentz, and soon acquired the title of the first printer. . . . Others attribute the invention of this art to a German called Gutenberg, of the city of Argentina {i.e. Stras- burg), but the first inventor, as is clearly shown in the Feltrine chronicle, was Pamfilo Castaldi, and being learned from him by others, was carried into Germany, and from there," etc., etc. The Feltrine chronicle, from which Cambruzzi had extracted the above notice, has unfortunately been lost, but even were it still to exist, would that be a proof of THE INVENTION AND PROGRESS OF . PRINTING. 7 the fact ? Others have even gone the length of insist- ing that Castaldi had started a printing-office at Milan, but this assertion has even less foundation than that which is limited to attributing to him the invention of movable type. Fig. 3. — Portrait of Gutenberg, from an engraving of the sixteenth century. The claims of Strasburg are much more serious, since, if the first book was not printed there, at least the first attempts were made in that city. Johan Gutenberg, who is supposed to have been born at Mentz in 1400, went to Strasburg in 1424, or perhaps even before. In 1435 he formed a partnership with Andreas Dritzehn, Hans Rifie, and Andreas Heilmann, 8 MANUAL OF BIBLIOGRAPHY. citizens of Strasburg, and pledged himself, to divulge to them an important secret which would ensure them a fortune. By the agreement, each partner was to disburse the sum. of eighty florins, and shortly after, a further sum of one hundred and twenty-five florins was added. The workshop was in the house of Andreas Dritzehn, who died soon after the second amount was paid. Gutenberg sent to tell the brother of Andreas, because he did not wish any stranger to enter the workshop. He intended to hide the forms which were about the place, in order that no one might discover his secret ; but they had already disappeared. This fraud, and the claims of George Dritzehn, who wished to succeed to the partnership rights of his brother Andreas, gave rise to a lawsuit between the partners. The deposi- tions of the five witnesses and of Lorenz Beildeck, a servant of Gutenberg, agreed, and established that in the workshop in Andreas Dritzehn's house there .had been a press furnished with two screws, with pages, forms, etc., and that Gutenberg always recommended the hiding of these forms, in order that no one should be able to discover his secret. In conseqiience of this lawsuit the partnership was broken up, and Gutenberg, not having been able to accomplish his aims at Strasburg, returned to Mentz in 144S, and again occupied himself there with singular assiduity in the art of printing. In 1449 he concluded an agreement of partnership with Johan Fust, an opulent citizen, who twice provided one hundred gold florins, and assigned another eight hundred to Gutenberg, who on his part brought to the fraternity his invention and experience, with all THE INVENTION AND PROGRESS OF PRINTING. 9 Blm*D0iac1mrnb:qm ntm genodim iqfiiMJmm uagccraim t Imitit^* totxatt? oagclialB::t|m nutmi^ uom^ inu9.Ciu&^ iHia&tEdBcim r^mitotto^ nou pnQmt J]iji It qulip libu nrnrO: tltttiQ,)]^ d(Otad||^j^fi^aHdlar. S)rlim^a]^ miitolviutrQ: jftm|^^ unt am film namrqm apu& tlloia iiAt£bmtmmfitdt*2San&£fiibtc|ut fiipdp^ti&iOttu0itutib)|:£tiniulcm tSiun0ut rudr^qma in taste iuinai: im a^^natrat i^tOoria. Tmm Kqut^ tur ramiutquciti 1100 xtsmri 9m ^ &dm didm^.l^uatt? ma{ad|im in f Fig. 4.— Fragment of the Gutenberg Bible, printed in two columns. Beginning of the text in the second column! Original size. the necessary instruments. It was certainly about this ^ lO MANUAL OF BIBLIOGRAPHY. time that Gutenberg and Fust published some of the xylographic books mentioned above, but for this process Gutenberg soon substituted the more ingenious one of movable types, at first cut in wood, and afterwards cast in lead. Then was it possible for them to under- take the printing of the Bible, which eventually appeared about 1456, and from that moment it may be truly said- that printing was invented. They had barely finished printing the third sheet of their Bible before they had incurred an expense of four thousand florins, and other grave obstacles impeded the progress of the workmen ; the imperfection of the print, metal, ink, presses, the inequality and disproportion of the type, all contributed to delay them in their undertaking, when they asso- ciated with themselves one Peter Schoeffer, a skilful caligrapher and a man of genius, who invented the matrix and punches, casting of type, and printing ink. Fust was so fully aware of his talents that he gave him the hand of his granddaughter Christina in marriage. Finally, the expenses not diminishing, and Gutenberg being unable to pay Fust the interest on the sum borrowed, the latter brought an action against Guten- berg, who was obliged to quit the partnership, and the possession of the printing office was adjudged to Fust. Gutenberg, who still wished to advance the art of printing at any cost, obtained supplies from Dr. Conrad Homery, and founded a hew printing-office. In 1464 he was admitted among the courtiers or chamberlains of the Elector Adolph II., and he must have died some time before the 24th of February, 1468, as on that day Homery delivered to the Elector a receipt for the resti- tution of the furniture of the printing-office, with which THE INVENTION' AND PROGRESS OF PRINTING. 1 I it is possible were printed the small books which were issued about that time without the names of either Fust or Schoeffer. Fust and Schoeffer soon made themselves known by the publication of several remarkable works in folio, all of which bear the names of the printers, with the in- dication of the place and year in which they were printed. Chronologically arranged, they are as follows : — 1457. Psalmorum Codex. 1459. Ibid. 2nd Edition. „ Guil. Durandi Rationalis Divinorum Codex Offidorum 1460. dementis Papa V. Constitutionum Codex. 1462. BibliaLatina [this Bible is printed in two columns of forty-two lines each in the full pages, except the first eleven, which have only forty or forty-one. It is in Gothic character, without pagination, signatures, or catch words ; the whole of the work, which was divided into two, three, or even four volumes, accord- ing to the taste of the owner, is 637 folios]. 1465. Liber VI. Decretalium. „ Offlcia et Paradoxa Ciceronis. 1466. Ibid. In 1466 Fust died, and from this time until 1503 we find the name of Schoeffer alone on the books which he printed. The new discovery was kept secret in Mentz until 1462; but in that year Adolph, Elector of Nassau, supported by Pope Pius II., attacked and took the city by assault, carrying devastation everywhere. In con- sequence of this the working printers of Mentz were scattered over Germany, Italy, and France, carrying everywhere the wonderful art of printing. From Italy, wonderfully prepared during the mediaeval 12 MANUAL OF BIBLIOGRAPHY. period, there arose, towards the middle of the fourteenth century, a beautiful aurora, which was to illuminate with its brilliant light the entire world. Already Dante, Petrarch, and Boccaccio had com- menced to ennoble their language, and the learned Greeks, flying from the power of the Turks, were re- pairing to Italy, there to spread the arts and sciences, either by "the emanation of their own talents or by the ■communication and translation of the classical works of their great predecessors. The names of Cardinal Bessarione, Emanuele Criso- lara, Theodore Gaza, Callisto, Demetrio Calcondila, John and Constantine Lascaris, are well known to the literary world ; by them was awakened and deve- loped the love for the study of the Greek language, and the desire to learn the treasures which it enclosed. Not alone, however, did they learn the perfection of the ancient Greek and Latin writers, for not a few men of the West wished likewise to know those works ; Francesco Poggio, Angelo Ppliziano, Jacopo Sannazzaro, Giulio Pomponio Leto, Pontano, and others, soon sought to enlighten their minds by a knowledge of these masterpieces. The Medicean princes established in Florence the first Academy, founded a library, sent the Lascaris into Greece and Asia to make purchases of MSS., and caused the works of Plato to be translated by Marsilio Ficino. Other Italian princes quickly followed this noble example, as, for instance, Lionello and Borso d'Este at Ferrara ; Filippo Mario Visconti and his successors Francesco and Ludovico Moro Sforza at Milan ; at Mantua the Gonzaga, and at Rome Pope Nicholas V., THE INVENTION AND PROGRESS OF PRINTING. 1 3 already celebrated, as Tommaso Sarzano, for his zeal and science as librarian of the Biblioteca Fiorentina, and who, though head of Christianity, drew his greatest glory from the foundation of the inestimable collection of books in the Vatican. The richest among these princes, Pico della Mirandola, divested himself of his dignity and inheritance in order to be able to give himself up freely to study, 'and daily conversation with the learned, who formed his habitual companions ; and transmitted to Angelo Poliziano the results of his endless researches and assiduous study. Favoured by such circumstances, printing found among the Italians such a reception as hardly any other nation had accorded to it ; and in fact in 1480 it was already introduced into eighty Italian cities, whilst in the whole of Germany but nine cities had received it. Printing was introduced into Italy in 1465, by Conrad Sweynheim and Arnold Pannartz, who, making their way to Rome, stopped for a short time at the monastery of Subiaco, where they had not only shelter but all manner of encouragement from the monks who lived there ; besides the patronage of Pope Paul II. They set up their presses, instructed several pupils, and printed three hundred copies of a Donatus,^ but of this first impression it is believed not a single sheet has come down to us. It has been generally supposed ' Donatus was a grammarian of the fourth century, and one of the masters of St. Jerome. He composed a treatise on reasoning, in eight parts, which Cassiodorus considered to be the most methodical and the best adapted for beginners. The Donatus mentioned above was a grammar iniise in the schools of the middle ages, and was an abridgment, in question and answer, of that by Elias Donatus. 14 MANUAL OF BIBLIOGRAPHY. up to the present, that after the Donatus they had set to work to print their edition of Lactantius; but Fuma- galli, in his learned essay, has clearly proved that the Cicero de Oratore, libri III. ad. Q, Fratrem, had preceded the Lactantius, which had formerly always been con- sidered the first book of a certain date printed in Italy. The Lucius Ccelius Lactantius Firmianus de Divinis Institutionibus Adversus Gentes, etc., is an excessively rare book, printed in semi-Gothic character. At the beginning there should have been a rather long Greek, sentence, but, probably from want of type, a blank space was left to be filled up by the pen ; while towards the end of the volume the few Greek words are printed in Greek characters, although a little misformed. After having printed, in 1467, the work of St. Augustine, De Civitate Dei, Sweynheim and Pannartz abandoned the monastery of Subiaco, and at the invi- tation of the illustrious Pietro and Francesco Massimi, they transported their press to Rome, where the fame of their publications had already preceded them. Here in the same year came also a rival to establish himself, Udalricus Gallus, or Ulric Han, of Ingoldstadt, who soon (December 1467) published the Meditationes dej. de Turrecremata, a work which ranks amongst biblio- graphical rarities of the first order, and of which only three copies are known. This is the first book orna- mented with wood-cuts. The joyful reception and the favour which the pontifical government always accorded to printers, went far towards exciting amongst them a noble con- tention of emulation, either for the beauty of their THE INVENTION AND PROGRESS OF PRINTING. IS type, quality of the paper, or for the correctness and merit of their productions. The same emulation was observed also in Rome among the literati who were the protectors, friends, and heads of the printers, and to them we owe in great part the reproduction of those sublime works of the ancient authors, which form even now the delight of the scholar. In the year 1500 there were altogether working in Rome thirty-seven printers. Johannes de Spira is generally believed to have introduced the art of printing into Venice, and in 1469 he published Cicero's Epistolce ad Familiares. The Doge granted him the first privilege which is recorded concerning printing. This curious document was issued by the Venetian Senate, and is as follows : — " Nel MCCCCLXIX. di settembre fu preso, che atteso che I'arte dello stampare e venuta alia luce, sia conceduto a Giovanni di Spira lo stampare I'Epistole di Tullio e di ' Plinio per cinque anni, e che altri nolle stampino." — Trans- lation : In 1469, commencing with September, in consideration of the art of printing being brought to light (by him), be it conceded to Johannes de Spira to print the Epistol^ of Tully, and Pliny, for five years, and let none others print them. To Johannes de Spira succeeded .his brother Vindelin de Spira, and in 1470 Nicolas Jenson brought the art of printing to a pitch of perfection never before reached, and in recompense for his merits he was made Count Palatine by Pope Sixtus IV. Other noted printers of Venice beside Jenson were Christopher Valdarfar (printer of the celebrated edition of Boccaccio's Decamerone, a copy of which was sold c 1 6 . MANUAL OF BIBLIOGRAPHY. at the Roxburghe Library sale for £2,260), Erhard Ratdolt, Zachery Calliergus, and finally those famous masters of the art, the Aldi. 3 K^ I—I > •^ !i ^ &.^ ^ ^ '^ >< n 1 ^ ^ ? ?^ c i^ ^ H Oi rj '^ ci g fe gp^..^ ■rnrrt s W 3 S t-l til "^ *« 3 o 3 S[),o i;^ o s - ^' 15 US >-j H ^ Aldus Manutius the elder, the head of this illustrious family of typographers, opened his office in Venice in 1494, founding in his house a small academy of learned men for the purpose of judging the value of manuscripts, THE INVENTION AND PROGRESS OF PRINTING. 1 7 collating the variations of texts, and correcting the printed proofs. He succeeded by this means in printing twenty- eight Greek classics, the first ever published ; perfected various characters ; cast successively nine founts of Greek and fourteen of Latin type ; and finally adopted the character invented by Francesco RaiboUni da Bologna, which took the name ofAldine type (now known as Italic, and said to have been cut in imitation of the handwriting of Petrarch). This type was first used in the Virgil of 1501, and was afterwards brought to its present state of perfection and beauty. It is to Antonius Zarotus of Parma that Milan owed the introduction of the art of printing. In 1470 he commenced the long series of his editions with Terence, and in the same year he is believed to have introduced the use of signatures. In 1472 he contracted a partner- ship which resulted in two authentic documents which are also the first concluded for the exercise of printing. After Zarotus comes Philippus de Lavagna, Dionysius Paravisinus, who in 1476 printed the first Greek book, viz., the Greek Grammar of Constantine Lascaris, and in 148 1, at the expense of Bonacorsio Pisano, he also printed the Psalms in Greek. Then we have Ulricus Scinzenzeler, and Leonard Pachel, and finally Alexander Minutianus, who by his singular ability made the Milanese printing famous. As Venice presents with Vindelin de Spira the first example of a privilege in printing matters, so Milan presents with Minutianus the first example of the infraction of such a privilege. Many times had the Annales of Cornelius Tacitus been printed both at Milan and in Venice, but always incom- 2 1 8 MANUAL OF BIBLIOGRAPHY. plete, since they began at the sixth book; but in the sixteenth century, the first five books of the same were recovered in Germany. The fame of this discovered treasure soon reached Rome, and Pope Leo X., a patron of letters and hterary men, did everything he could to possess himself of the manuscript. At last he acquired it for five hundred gold scudi, and entrusted it to Beroaldus, who at that time stood high at Rome for profound learning. Leo charged him to publish it, and gave him the exclusive privilege of printing and' selling the works of Tacitus for ten years, and he also announced a penalty of two hundred pieces of gold, with excommuni- cation, against any other person who should dare to print it. It happened that Minutianus was informed by friends that an edition of it was being made at Rome. Desirous of having it, he begged that it might be lent to him just to read. He eventually obtained the concession of receiving the work sheet by sheet as it issued from the press. From thence seems to have sprung up a strong desire in his soul to honour his press with the publica- tion of the same work ; so, unconscious certainly of the threatened anathema, he commenced to print it, and ardently prosecuted his work. When this came to the knowledge of the Pope, he, full of just anger, called Minutianus suddenly to Rome. Minutianus, frightened by the unforeseen order, and intending to fly from the sight of the exasperated Pope, or to mitigate his con- ceived indignation, had recourse to men in high authority, and especially to Sebastian Ferrero, prefect-general of the Royal quarters, in order to be relieved from the grievous journey to Rome, offering to justify himself by means of letters, and supplicating a remission of the THE INVENTION AND PROGRESS OF PRINTING. 1 9 heavy penalty inflicted. He then caused to be presented to the Sovereign Pontiff a humble supplication, in which he first excuses himself on account of his small fortune, and protests that to be the cause of his not drawing near to his Holiness, adding further : — " Now as the interests of family oppose to this my desire, and the smallness of means prevents it, since I cannot personally, I ask pardon for my error by letter ; which I do not doubt to obtain from his Holy Clemency, as my sin was not caused by any cupidity, but by ignorance; since from this city being sent to me, not the whole body of Cornelius Tacitus, but piece by piece, and having seen how much diligence has been employed by Beroaldus, a learned man, since it issued to light as corrected as was possible, suddenly I bethought myself this year to ex- pound to my auditors this history concerning Augustus, and in order that they should have it more promptly, I consigned it to my bookseller to be transcribed." His prayers were not fruitless, since Leo X., in a letter of the year 1516, not only gave him absolution from the ecclesiastical censure, but beyond that gave him permis- sion to complete the printing of the same book, and when printed to put them into circulation and sell them in all parts, provided that he made arrangements with Beroaldus. These two letters are to be found at the end of the Annals of Tacitus, printed in the same year by Minutianus, who published not only the first five books, as Beroaldus had done at Rome, but also all the others, dedicating the edition to Sebastiano Ferrero, to whose patronage he owed the happy issue of his sad difficulty. In 1470 Emiliano degli Orsini printed in Foligno 20 MANUAL OF BIBLIOGRAPHY. the work of Leonardus Aretinus, de Bella Italico. In the same year at Verona, one Giovanni da Verona printed the Batrachomyomachia of Homer, translated into Italian terza rima by Georgio Sommariva. In 1471 printing was introduced into Treviso by Girardus de Lisa ; at Bologna by Baldassare Azzoguidi ; at Ferrara by Andreas Gallus; at Naples by Sixtus Riessinger; Pavia by Anthonius de Carchano, and at Florence by Bernard and Dominic Cennini. These were followed in 1472 by Cremona, Fivizzano, Padua, Mantua, Mondovi, etc., until there were eighty cities in Italy which had the art of printing before the end of the fifteenth century. To mention every one who has practised the art of printing, even succinctly, would exceed the task which' we have set ourselves, which is to compile a practical manual of bibliography, and not to explore the vast field ' of typographical history. Therefore, if by desire or necessity the bibliophile should wish to study the his- tory of printing in this or that city, or special memoirs of various printers, he will find a list of books on the subject, by English and foreign authors, at the end of this work. Next to Italy, printing was introduced into France by Ulric Gering, Martin Krantz, and Michael Friburger, who in 1470 printed at Paris the Epistolm Gasparini Pergamensis. Next in order of date comes Switzerland, into which country printing was introduced in 1470 at Munster, Canton of Aargau ; Basle had it about 1474, Geneva in 1478, but the Canton of Ticino not until 1746. In Hungary printing was introduced in 1473, by Andreas Hess, expressly called from Italy by King THE INVENTION AND PROGRESS OF PRINTING. 21 Matthias Corvinus. The same year printing was introduced into the Low Countries, in 1474 into Spain, Fig. 6. — William Caxton, from Rev. J. Lewis's Life. 1476 into Bohemia, into England in 1477, and finally into Poland, and especially at Cracow, about ijoo. Printing was introduced into England, it is now 2 2 MANUAL OF BIBLIOGRAPHY. generally agreed, by William Caxton, but this honour has been disputed, even as the invention by Gutenberg was disputed. William Caxton was born in Kent about 1422. He was apprenticed to one Robert Large, a mercer of London, and Lord Mayor. On the death of his master (1441) he went to Bruges, and, according to his own account, he " contynued for the space of xxx yere" in the Low Countries. At Bruges he went into business for himself, and suc- ceeded so well that in 1465 he was appointed Governor of the English merchants of that town. About 1470 Caxton entered the service of Margaret, Duchess of Burgundy, sister of Edward IV. of England, and in 1 47 1 he completed, at her desire, a translation of Le Fevre's Recueil des Histoires de Troye, which he had commenced in 1468-9. Finding copies of the work very much in request, he resolved to learn the then newly-invented art of printing, in order to meet the demand. The Recueil was printed about 1474, and was the first English book printed. Caxton left Bruges in 1476 to practise his new art in England, and settled in Westminster in 1477, where the first book he printed was The Dictes and Sayings of the Philosophers. From that date until his death in 1491 he was em- ployed entirely in translating and printing. Among his early ventures were Chaucer's Canterbury Tales, and the works of Lydgate and Gower. His industry was marvellous, for he himself mentions that he had translated no less than twenty-one books ; and in the fourteen years he lived in England he printed more than 18,000 pages, nearly all of them folio size, and nearly eighty separate books. The works of this printer THE INVENTION AND PROGRESS OF PRINTING. 23 are very rare and expensive. In 1885 a copy of his Recuyell was sold for ;^i,820, and at the same time the unique copy of his Malory's King Arthur fetched ;^ 1,950- Among his assistants were Wynkyn de Worde, and Richard Pynson, both of whom became celebrated printers. As we have remarked above, Caxton has not been left in peaceable possession of the honour of introducing Fig. 7. — Mark of Wynkyn de Worde. printing into England. Shortly after the Restoration a small quarto volume was discovered in the public library at Cambridge, entitled Exposicio Sanctt Hieronymi in Symbolum Apostolorum ad Papam Laurentium. At the end it bears the words and date Impresa Oxonie et finita anno domini MCCCCLXVIII. (1468). Now, as Caxton did not print in England until 1474, many writers have declared Corsellis (the printer of the above) to be the first English printer. Without going into the controversy, it will suffice to say that 24 MANUAL OF BIBLIOGRAPHY. it is now generally believed that an X has been omitted purposely or accidentally from the date, which should read MCCCCLXXVIII. (1478), which would place it ten years later, or four years after Caxton's first book. Let us now follow the progress of printing in later times, not only in our own country, but also in other countries of Europe ; but for the sake of brevity we will Fig. 8. — Mark of B^ichard Pynson. only point out a few among the more celebrated typographers who ennobled this art. To Aldus Manutius, who was the first of his illus- trious faihily, succeeded his son Paulus Manutius, and then Aldus Manutius, a son of this last. Paulus, who lost his father at the tender age of four years, had nevertheless inherited his tastes, and, coming of age, became like him accomplished, even surpassing him in THE INVENTION AND PROGRESS OF PRINTING. 2$ learning, arid in the elegance of his typography, illus- trating moreover the text of his editions with learned commentaries. His son Aldus, called the Younger, followed with honour in the footsteps of his father and grandfather. At the age of fourteen, endowed with a Fig. 9. — The Knight, a woodcut from Caxton s Game and Playe of the Chesse. precocious and elevated genius, he gave to the world the work entitled Orthographice Ratio, and at a more mature age he published the works of his father. At a moment when he appears to have found himself desti- tute of means, he abandoned Venice and repaired to Bologna, and from thence to Pisa, where he taught belles-lettres; he afterwards went to Rome, where 26 MANUAL OF BIBLIOGRAPHY. Clement VIII. confided to him the direction of the Vatican press. During the few years he remained at Rome he printed many works ; but finally, being unable to support his rather laborious condition, he returned to Venice, where he issued many beautiful editions, amongst others the works of M. T. Cicero, in ten vols, folio, with the notes and commentaries of his father. The editions of the three Aldi almost always unite a quiet elegance to a scrupulous correctness, for which reason they are much sought after by ardent bibliophiles. Whilst the Aldi were immortalising themselves in the city of Venice, the Giunti were also rendering themselves illustrious in the same city, and in Florence. Those of this name who exercised the typographic art were many, and all of the same family. The most celebrated, how- ever, are those who printed in the two above-mentioned cities, and, above all, Filippo. They commenced to distinguish themselves in Venice with the numerous editions issued by Luc' Antonio from 1482 to IS37, and afterwards by his heirs up to 1550. In the mean- time Filippo printed in Florence from 1497 to 1517, the date of his death ; his heirs who succeeded him carried it on to 1531, when only Bernardo and Benedetto, sons of Filippo, remained. They followed in his footsteps most laudably until the year iSSO> when Bernardo died. The various works printed, with rare diligence and skill, by these successful printers, were much sought for in all times, and are nowadays very rare, — as, for instance, the Decamerone of Boccaccio, quarto, 1527, published by the heirs of Filippo. THE INVENTION AND PROGRESS OF PRINTING. 2/ Contemporaneously with the Giunti, there flourished at Florence Torrentino, the Marescotti, Sermartelli ; also in Rome the Baldi ; and in Venice the Marolini, Giolito, and Valgrisi ; all printers of high rank. During the same period of time France was also rich in famous printers, who to great learning united that passionate love and delicate taste which would naturally bring the art of typography to a rare perfection. The principal were Badius, Simon de Colines, Corrozet, Etienne Dolet, the Gryphi, Morel, Patisson, Roville, and the celebrated Estiennes or Stephani, of which numerous family Robert I. and Henry XL were the most celebrated. The exactness and magnificence with which these two last ornamented their publications, was not inferior to that attributed to publications of the Aldi, who may be styled their masters. The New Testament in Greek, printed by Robert I. in 1536, and again in 1543, are considered to be perfect models of the art. The history of the seventeenth century is very glorious for Holland, where the Elzevirs published a long series of good works, elegantly printed, which are the delight of the bibliophile. There were twelve printers of this name, but not all of them printed with equal skill. The works most sought for are those issued by Abraham and Bonaventura, and by Louis and Daniel. Their Vergilii Opera, Terentii Comcedice, Testamentum (Novum) Grcecum, 1633 ; the Davidis Psalterium, i6$6; the Imitatione Christi and the Corps Politique, printed in red and black, are held to be so many masterpieces of the typographic art. At the same time the Dutch reckoned among their number Janson Blaeu and Hackus Boom, who issued various editions, Greek and Latin, cum notis variorum. 28 MANUAL OF BIBLIOGRAPHY. France boasted of Vitre, who executed the printing of the famous Polyglot in six languages, by Lisar, in ten volumes folio, which took from 1628 to 1645 ; Cramoisy, who published the voluminous works known under the name of the Editions du Louvre, amongst which was the greater part of the Bisantina, in twenty-six folio Fig. 10. — Mark of Etienne Dolet, printer at Lyons, 1542. volumes ; Turnebus, who printed many works, in great part written by himself or translated into French, and all diligently corrected and learnedly annotated by him- self ; and finally Leonard, to whom is owing the greater part of the classics ad usum Delphini. The eighteenth century had also its famous printers. Latta and Albrizzi, in Venice; Lelio della Volpe, in THE INVENTION AND PROGRESS OF PRINTING. 29 Bologna ; Tartini, Franchi, and the Manni, in Florence ; Manfre and Comino, in Padua ; Remondini, in Bassano ; the Societa Palatina, in Milan, sustained with dignity the typographic art, which was finally brought to the height of magnificence by Bodoni, who,, by the beauty of his publications, awoke envy and admiration in Italy and abroad. Callimachus and Homer in Greek, Virgil in Latin, Telemachus and La Fontaine in French, the Oratio Dominica or Lord's Prayer in Fig. J I. — Mark of Bonaventure and Abraham Elzevir, printed at Leyden, 1620. one hundred languages, are worthy a place among the works of the' best artists. England and Spain also deserve especial mention in this century for the eminent glory of their beautiful typographical productions. The first boasts, with justice, Thompson, Martyns, Baskerville, Brindley, Palmer, and many other worthy successors of Caxton. The second may be equally proud of the typographical glory shed by the superb editions issued by the cele- brated Ibarra. His Sallustius, Don Quixote, and the Mozarabic Missal, are veritable masterpieces. 30 MANUAL OF BIBLIOGRAPHY. In the midst of such abundance of perfect work, still France stands prominent. Anisson, Coustelier, Barbou, Latour, Simon, and Vincent, in the first part of the century ; and in the second part, Gille, Causse, Panc- koucke, Crapelet, printed the works of classic authors, Latin and French, with such good taste as to leave Fig. 12. — Printing-office of Josse Badius at the commencement of the sixteenth century. little to be desired ; but the printers to whom should be given the greatest praise are the Didots, who enriched the republic of letters with the most elegant, correct, and splendid editions. Their Virgil of 1798, Oration of 1800, and the Racine in three vols, folio, are most praiseworthy. Germany and the Low Countries, which furnished to Italy and France the first masters of the art, also had THE INVENTION AND PROGRESS OF PRINTING. 3 1 printers who obtained the highest renown for pro- found learning, and for the great skill exhibited in their works. Besides the printers of the fifteenth century, the following merit especial praise : Ulrich Zell, Brylinger, Coornhert, Herbst, Hervagius, Koburger, Palthenius, Quentel, and Plantin, who worked in the sixteenth century ; Friis, Holma, Moetjens of the seven- teenth century, and Breitkopf and Gesner of the eigh- teenth century. The nineteenth century had, and has, celebrated fol- lowers of the typographic art both in Europe and America ; and it has at the present time reached such a pitch of perfection that it would be almost impossible to surpass this " Wonderful art which perpetuates The fleeting thought and word." ^k^ CHAPTER II. THE BOOK. Bibliophile and Bibliomane — Rare Books and Good Books — -Distinctive Signs of the First Printed Books— Book-collecting — Abbreviations in English, French, German, and Italian Catalogues — Collation — Size — Pagination — Signatures — Catchwords — Register — Date — Colophon — Frontispiece or Title-page — Imprint. Bibliophiles and Bibliomanes. — Bibliophile is the appel- lation which belongs to persons who love books, and who do not seek them merely by profession or from a mania, but with the sole desire of instruction, and who only acquire those books which they consider the most suit- able to form a collection which shall be valuable for the number and variety of its contents. A bibliomane is one who, possessed of a mania for collecting books, either buys at random or gives chase to the greatest rarities, with the sole object of possessing them. The collection of books is a mania, like many others, and the booksellers deplore that it is not more fully developed ; yet, as Mr. Ruskin justly observes in one of his works, it is a harmless mania, for whereas many a man is ruined by his passion for horses, a passion or mania for books but leaves him a better man. If the scarcity of a book has sometimes made it reach in commerce a fabulous price, it is more often the case that this price is rather owing to the bibliomane than to the intrinsic value or rarity of the book. THE BOOK. 33 A great many books have at sales exceeded the price of ;^ioo, and among these several have exceeded ;£^ 1,000; as, for example, the Psalmorum Codex of 1457, printed at Mentz by Fust and Schoeffer, a copy of which was sold at Sotheby's, in Sir John Thorold's sale, 1884, for ;^4,950, being the highest Fig. 13. — The Bibliomaniac. Engraving from the Ship of Fools price ever paid, for a single book. Copies of the Bible printed by Gutenberg and Fust in 1450-55, and known as the Mazarine Bible, have been sold at various times at sales for £2,6go, £zA'^i ^nd in 1884 for ;^3,900; the Historic of Troy, printed by Caxton, reached about the sum of ;^i,o6o ; and, finally, the De- camerone of Boccaccio, printed by Valdarfer of Venice,. 3 34 MANUAL OF BIBLIOGRAPHY. 1 47 1, which was purchased at the Roxburghe Library sale in i8i2, by the Marquis of Blandford, sold for;£'2,26o. This price, which was without equal at that time for a single volume, appeared so extraordinary to the biblio- maniacs that, in order to commemorate the event, a literary society was formed, called the Roxburghe Clnb, the members of which agreed to dine together on the 17th of June, that being the anniversary of the above- mentioned sale, and in turn each was to present a volume pririted for the special occasion. Rare Books and Good Books. — Psaume, Denis, Gar, Home, and many others who have written on biblio- graphy, have consecrated special chapters to the defini- tion of the rarity of books, making a distinction between rare, rarer, and rarest books. Following Denis, we will give a few practical rules. First of all it will be necessary to distinguish between a work and an edition. For example, a certain work may be very common, but this or that of its various editions may be very rare; thus, a Virgil is a very common book, and can be purchased for a few pence, whilst the edition of Virgil printed by Aldus in 1501 is worth many pounds. If of a book, or an edition, only a few copies are known to have been printed, or to still exist, its rarity will be absolute; if, however, there are many copies of it, but they are rarely met with in commerce, their value will be relative. Both one and the other of these species of rarity have their grades, and vary according to the time and place in which the book is sought for, and often also according to the fashion, — for the fashion of book-collecting often changes, causing a class of THE BOOK, 35 literature to be much sought after to-day, which to- morrow will be neglected. A work which is very rare may cease to be so when it is reprinted. It is often very difficult to procure a book in one country, when it can be obtained with great facility in another ; thus, the cause of the rarity of a book is also that which determines the degree of rarity of the same. The following then are rare :— 1. Great works, published in many volumes, often illustrated, which, from their high price, are rarely ever acquired by private persons. 2. Pamphlets and all ephemeral publications, which are soon lost if they do not find a home in safety in public libraries. 3. Works of which only a few copies are printed. 4. Works which turn on subjects treated but by few writers, and are only sought for and read by a few. To this class belong books written in little known languages or dialects ; , the histories of particular ' cities. Academies, etc. ; genealogies of private families ; catalogues of libraries ; and, finally, the private con- troversies and polemics of authors. 5. Works which are left imperfect by their authors, and of which the part printed is generally lost. 6. Works published in parts, at different periods of time, and in various places. So much for rare works; now let us consider books -which are rare as works, and as editions. The following works or editions are rare : — I. Those which do not come into commerce, i.e privately printed books. 36 MANUAL OF BIBLIOGKAPHY. 2. Those which see the light in distant countries, and of which often only the title is known. 3. Those of which the copies have been for the greater part destroyed by fire, water, etc. 4. Those which from motives of religion, morals, or politics have been prohibited, confiscated, suppressed, or burnt. Finally, the following editions are rare : — 1. Those issued from the invention of printing up to 1500. The value of these (which are known as incunabulce) increases almost as rapidly as the years pass by. 2. The editions of the classics published by the Aldi, Giunti, Stephani, Gryphi, and others of the sixteenth century; these editions are still more pre- cious when containing marginal annotations in the autograph of celebrated men of the period. 3. Uncastrated or. unmutilated editions of works which have since been issued corrected and mutilated. 4. Editions printed with special type; copies on parchment, or on special or coloured paper, of which only a few copies are printed. Without entering into a discussion of what con- stitutes the intrinsic goodness of a book, it is sufficient to say that its beauty consists in its being a good size, with large margins ; the letterpress being perfectly squared, whether in a folio or a 24mo ; in the quality of the paper, which should be thick, solid, and white; in the printing, which should be bright, easy to read, proportionate, and with a proper distance between the lines and words ; and in a diligent correction, — the highest necessity of any book. THE BOOK. 37 Distinctions of the First Printed Books. — Jugendre, in a book entitled Disquisitio in Notas Charaderisticas Librorum a Typographico Incunabulo ab an MD. Im- pressorum, indicates the various signs which distinguish the first typographical productions. These are : — 1. The absence of titles printed on a separate leaf. This sign does not admit of any doubt, since we shall see further on (p. 60) that the first title-page occurred in 1476, while the titles of chapters were already to be found in the Ciceronis Epistolm of 1470. 2. The absence of capital letters at the beginnings of chapters, books, or divisions of a work. It is a noticeable fact that in the first printed books a space was left blank in which to place the capital letters, which were painted or illuminated by the caligraphers. 3. The rare occurrence of chapters or divisions in a work. 4. The absence of the comma and semicolon. This sign is equivocal, since the comma is found in the first printed books, represented by an oblique stroke, and probably Jugendre only intended to allude to the' form of the comma. 5. The inequality and rude shape of the letters. This defect only lasted a short period, as the shape of the characters was soon perfected ; and there exist editions of the fifteenth century which on this score compete with, if they do not surpass, the best modern productions. 6. The absence of- pagination, signatures, or catch- words. Of these we shall speak later 6n. 7. Solidity and thickness of the paper. 8. Absence of the printer's name, place, and date. 38 MANUAL OF BIBLIOGRAPHY. g. The great number of abbreviations. Gabriel Peignot adds other distinctive signs of the editions of the fifteenth century, such as the square instead of the round full-stop; an oblique stroke instead of a dot over i ; the peculiar signs of abbrevia- tion, as 5 for e( (and), neq^ and qmb^ for neque and quibus, q with a stroke across the tail {q) for quam and quod, etc. Generally, however, these signs are not of sufficient certainty to determine the period of an incunabula ; and again, if one thinks of the immense progress made in bibliographical studies from 1740 (the period at which Jugendre wrote) to our day, it will appear evident that we shall have less difficulty in assigning the date of an incunabula than if we were unable to consult the works of Brunet, Graesse, Hain, or of the hundred others who have published special works on the typography of the fifteenth century. On Collecting Books. — Whoever desires a book should, if possible, acquire it himself, especially when it is an ancient, rare, or illustrated book, and thus have an opportunity of examining the state of preservation, the uniformity of the impression, the beauty and goodness of the binding, and seeking for the other requisites which belong to a good copy. It happens, however, that the greater part of the books required must be selected from the booksellers' catalogues, and their worth based only on the information which is furnished by the catalogue itself. This information is generally imparted bj' abbreviations. We give a table of the most used of these abbreviations, selected from English, French, German, and Italian catalogues, in order that the col- THE BOOK. 39 lector may be able to insure that the copy of a work which he has ordered, and which has been sent to him, is actually that which he found described in the catalogue, and that it corresponds with the state of preservation and binding as indicated in the catalogue ; because, in the contrary case, he would always have the right to refuse the copy sent. The abbreviations given are by no means half of those used, but have been selected from booksellers' catalogues which have passed through the compiler's hands within the last six months. Note.— E = English. F=.French. G=German. I=:Italian. L=Latin. a., aus. [G.] ... dfr. [F.] aili., abbild. [G.] dbdr. [G.] abschn. [G.] abth. [G.] anc. re I. [F.] ... anm. [G.] antiq. [E.] at^. [G.] ausg. [G.] aut, autog. [E., F.] b., bos. [F.] ... B. L. [E.] bd., bde. [G.] ... bd., bnd. [E.] ... bds. [E.] bg; bog. [G.] ... bl. [G.] br., brock. [F.] ... br., geh. [G.] ... c. d. R. [F.] ... ausschnitt (an extract). ^ froid (blind tooled). abbildung (copy). abdruck (impression). abschnitt (section or part). abtheilung (division). ancienne reliure (antique binding). anmerkung (note, annotation). antique. auflage (edition). ausgabe (reprint). autograph, autographe. basane (basil or sheep skin). Black letter. band, bande (volume, volumes). bound. paper boards. bogen (sheet). blatt (sheet). brochg, brochure (stitched). broschirt, geheftet (stitched). cuir de Russie (Russia leather). 4P MANUAL OF BIBLIOGRAPHY. [F-] c. etferm. [F.] .. ^./[L.] ca.gr.S}.?^ ca. vel. [I.] ca. azz. [I.] carat, got. [I.] .. carat, ton. [I.] .. cart. [F.] cart. brad. cf. [E.]. ch. m. [L.] t/. [E.] cl. bds. [E.] c/. ex. [E.] rf.^^.[E.] ... ., in/ol. [F.] in-folio (folio). fol. [E.] folio. /olg-lG."] folgende (sequel). front, gr. [F.'] frontispice grav6 (engraved title). fronts. [E.] .. ... frontispieces. fzb.,fzbd.,frzbd. [G.]... franzband (whole French calf). g.e.[F.^ gilt edges. g. t, g. t e. {£..1 ... gilt top edge. gb., geb.\QP\ gebunden (bound). gedr.\G.'] gedruckt (printed). gldschn. [G.] goldschnitt (gilt, edged). git, gt.\F.:\ gilt. goth.\F..,F7\ gothique (gothic).. gr.\Q>^. gross (large). gr. marg.\F?\ grandes marges, (large margins). gr. j>ap.\F.'\ grand papier (large paper). hfbd.\F.:\' , half bound. hf cf. or elf, yi rf- [E.] half calf. kf mor., yi, mor. [E.] ... half morocco. hf. russ., % russ. [E,] ... half russia. hft. [G.] heft, (number or part). kfzbd., hfz., hbfrz. [G.] halbfranzband (half bound). hldrbd., hbldr., hlbld. [G.] halblederband (^ bound leather). hlwd.,hln.,hblwd.\G.'\ halbleinwandband {yi cloth bound). hlzschn[G^ holzschnitt (wood-cut). hpgt.,hbprgt.,hj>erg.\Qr\ halbpergamentband (bound in parch- hrsg. [G.] herausgegeben (published). [ment). ib.,ibid.\\^.\ ... ... ibidem (the same). illus. [E.] illustrations, illustrated. imp. [E.] ... ... imperial. infol.[F.,I.'] in-folio, in foglio (folio). z«-4'> [F.] in-quarto (quarto, 4'°). 2«-8o [F.] in-octavo (octavo, 8™). ?«-i20 [F.] in-douze (duodecimo, 12°, twelvemo). jArg. [G.] jahrgang (annual). kl. [G.] klein (small). kpfrt.[G.^ ... ... kupfertafel (copperplate engraving). Idrbd., Idb., Mr. [G.] ... lederband (whole bound leather). leg. ant. {i?^ legatura antico (antique binding). 42 MANUAL OF BIBLIOGRAPHY. leg. bod. [I.] leg. yi tela [I.]... leg. yi pelle [I.] ,,eg. in pel. [I.] leg. oL [I.] ... Ifg.iG.-] lib. [E.] //. [E.] IP- [E.] Iwd., Iwb., Indb. [G.] m. [G.] m. ant. [F.] m. b. [F.] »z. cit. [F.] »2. «^. -[E.] p. d. t. d. R. [F.] p.deH.\Y?^ ... p. V. [F.] p. vel. [F.] Pag. [F., I.] ... pap. [E.] ^ar^A. [E., F.] ... pb., pd, ppbd. [G.] /«/./,i>./[F.] pgmt, pgt, perg. [G.] _^zc(;. [I.] i>/. [E.] /or& [E.] PP- [E.] /& [E.] pub. [E.] y«flfl?. [I.] qq. mouill. [F.] ^■[L-] r. Gf g. edges [E.'] red. [E.] rev. [E.] ray., r)/. [E.] rus., russ. [E.] ... J., jz<^. [E.] J., j/«. [G.] s.a.\L.,i:\ ... s. a. ett. [L.] ... s. d. [I.] s. imp. [L.] J. /. [L., F., I.]... J. /. «^ia!. [L.] ... oblong, oblungo. [tion). ottima conservazione (best preserva- post, as post 8vo. page. peau de truie de Russie (hog-skin). papier de Hollande (Dutch paper). papier verg6 (laid paper). papier vSlin (vellum paper). pagina or pagine (page or pages). paper, i.e., sewed. parchemin (parchment). pappband (bound in paper). pergamina (parchment). petits fers (fillets or rolls). pergamentband (bound in parchment). piccolo (small). plate or plates. portraits. pages. in parts. published. quaderno (a quire of paper). quelques mouillures (several damp recto. [stains). red and gilt edge's. reduced. revised. royal, as royal 4to. russia leather. super (as super royal 8vo). seite (page). sine anno, senz'anno (without year). sine anno et .typographo (without year and printer), senza data (without date), sine impressore (without printer), sine loco, sans lieu, senza luogo (without place), sine loco et anno (without place and date). 44. MANUAL OF, BIBLIOGRAPHY. A /. 71. d. [F.] ... sammtl. [G.] ... sars. [G.] sc. [E.] sd., swd. [E.] ... sckwsldrbd. [G.] sec. [I.] sec. [E.] sh., sp., shp. [E.] ^2:r- [F-] .s»?. [E.] s. n. [L.] J. i [L.] s. t. eta. [L.] ... m- [E.] stahlst. [G.] j/»/. [G.] j«/. ex. [E.] «ioccF cturdc5 cfl- conril:: niatil.An»o incarnacois X>mc^^^(C*tccc^)ir\' nnvigiHa aniimpcois g-forc-virgnns manv. Fig, 15. — Colophon of the Bible printed in 1462 by Fust and Schocifer, which is the first dated Bible. There are two different editions with this date. The above is from the second edition. Christopher Valdarfer, the printer of the celebrated edition of Boccaccio's Decameron, who from Germany had gone to Venice, and from Venice to Milan, printed in that city in 147 1 a Commentary of Servius on Virgil, and in the colophon commends the accuracy of the text. Ludovico Carbone was corrector of this volume, and 6o MANUAL OF BIBLIOGRAPHY. was probably also author of the colophon, which runs thus : — " In commune bonum mandasti plurima formis Ratisponensis gloria Crlstophore. Nunc etiam docti das Commentaria Servi In quibus exponit carmina Virgilii,. Divulgasque librum, qui rarior esse solebat, Ut parvo pretio quisque parare queat. Hunc emite O Juvenes : opera Carbonis ad unguem Correctus vestris serviet ingeniis.'' Translatioji. [Oh, Christopher, glory of Ratisbon, thou hast published many- things for the common weal ; now thou givest the Commentaries of the learned Servius, with which he illustrates the verses of Virgil. Thou spreadest a book which was wont to be rare, in order that each one may possess it at small cost. Buy it, oh young men, diligently corrected by the labour of Carbone ; it will revive your learning.] Again, Bernardo Cennini, the distinguished Florentine goldsmith, who, from simply hearing printing spoken of, or having seen some printed book, cut punches, coined matrices, cast type, and printed the Commentary of Servius to Virgil, justly proud of his success, ex- claimed : "Florentinis ingeniis nil ardui est." Frontispiece and Title-page. — The first printed books had no title-pages. A title is found for the first time in the edition of the Calendarium of Joan de Monteregio, printed in quarto by Ratdolt at Venice in 1476. It is a wood engraving, which, besides the date and name of the printer, contains twelve Latin verses, which commence — " Aureus hie liber est." THE BOOK. 6l After the verses we find these lines printed in red : 1476. " Bernardus pictor de Augusta. Petrus Loslein de Langencen, Erhardus Ratdolt de Augusta," We give a facsimile of the title of the Italian edition , Veftac^iad.iognipaTteeunlibrbdoi'O' Non nj piu precioUgeinmJfnai l3il kalcndano : d}c cratcacole-afii C on j;ranfaci'lica; magraalauoro Qui numeToaureo : ecum ifcgrrt fuoro DeTcnpci dil gran psto da ognflar Quando n lole ; e luna eclipli hi ' <^ancccerrefere^a (locbexora. Iniininftami^hiraiqualboraria. Qual fara tanno : gi'orno ^cempo : e mexe : Cliec'ucQ ponn (on dafhulogu. loanne de monCe regio quello fcKe < Cogliercal Biitcoacid non graue fi9 In breuecempo: econ pochi penexe > Chi ccmecouirpexe 5cimpa oirtu. i -nomidi imprcdbh Son qui'da balTodi raflicolon ^ ^ . Vcncujs.i4-y*\ \ Bermfdiis piilor de Aogulra . PcCi-as'IoflcnTclcLangcnoeh ' Eabartlasi'JErdoL UcAugui)'^ Fig. 16, — Title-page of the Cakndarto^ first ornamental title known. Printed in 1476 at Venice published the same year, which contains 17 Italian verses in place of the 12 Latin verses. Authors would often make use of the title-page or frontispiece to have engraved there a portrait of them- selves, accompanied by some verses, generally in their 62 MANUAL OF BIBLIOGRAPHY. praise. About the same time the device, or printer's- mark, concerning which we shall speak later on, was adopted by the principal typographers. The title-page was in early days printed on the first leaf of the book, and as such was, and is, most subject to be torn or spoiled ; hence it happens that the early title-pages are to be found but rarely, or in a deplorable condition. Fig. 17. — The anchor and dolphin, mark of Aldus Manutius, after the original in the Terve Rime of 1520, where it appears for the first time. Later on they were printed on the second leaf, leav- ing the first blank ; then, on this first was printed an abbreviation of the -title, creating thus that which is now in general use, and which is known as a half, or bastard, title. Titles to chapters were first used in the Epistles of Cicero, printed in 1470. Printers' Devices. — The early printers made use of a particular sign to distinguish their productions; this The book. 63 would sometimes be a motto, an ornamental letter, or a monogram, but more often a device or emblem. The Aldi of Rome and Venice used a dolphin twining itself round an anchor, and sometimes A.M.R. [Aldus Manutius Romanus], or even Aldus, as in the facsimile (fig. 1 7). Fig. 18. — Plantin's mark. Abel Langelier has the sacrifice of Abel; Antonius Bladius of Rome, Rouill6 or Roville of Lyons, an eagle y the Stephani, the Elzevirs of Amsterdam and Leyden, and 'others, an olive-tree ; Moret, and Plantin of Antwerp, a compass; the Commelins have Truth seated nude, holding in the right hand a sun, and in the left a book and a bough ; to the right is Religion, to the left is Justice. 64 MANUAL DF BIBLIOGRAPHY. Gabriel Giolito has two satyrs seated, who hold raised in the air a vase on which is seen a Phoenix in the flames; above the Phcenix floats a riband, on which is written De la mia morte etema vita io vivo, and an- other riband floats around the flames with the motto, Semper eadem. On the vase are the initials G.G.F. The Giuntae, or Juntas, have a lily, ornamented with their Fig. 19. — Mark of Lucantonio Giunta, of Venice. initials ; the Gryphii had a square surmounted by a griffin, beneath which is chained a winged sphere ; sometimes there is to the left the legend Virtute duce, and to the right Comite fortuna. Ottaviano Scotto, and many other printers, espe- cially Itahan, had a circle, black or red, divided by a transverse line, from the centre of which arose a cross ending above the gircle, in which were the initials of the printers. Sonnius of Paris had the hand of St. THE BOOK. es Paul in the act of casting the viper into the fire, with the motto, St Deus pro nobis, quis contra nos ? Vincent Valgrisi has two hands which issue from a cloud and sustain a cross, about which is twisting a serpent, and on both sides is written Vincent. Caxton's publications bear the letters W. C, with a Fig. 20. — Caxton's figure 8 device. mark between them, the meaning of which, we believe, has never been satisfactorily explained (see fig. 20). Wynkyn de Worde, his successor, adopted his device with some slight alterations, generally adding his own name. Richard Pynson adopted Adam and Eve holding a shield, on which are the initials, and surmounted by a bird perched on a- helmet. Julian Notary has a circle surmounted by a double cross, on a shield, and the 5 66 MANUAL OF BIBLIOGRAPHY. initials J. N. in the lower part of the circle. Richard Grafton, to whom we owe the first edition of the English Bible, has a rebus. It is a tun with a grafted tree growing through it, with a punning motto, Suscipite insertum verbum, Jac. I. : " Receive the vagrafted. word " (Epistle of St. James, ch. i., ver. 2i) — a happy allusion to his name. John Day (1549-84) had the device one man pointing to the sun and awaking another man, with the motto, Arise, for it is Day. Richard Tottel, a great printer of law books (1SS3-93), had for his sign a hand holding a star, with the legend Cum privilegio. John Wolfe (i 581-1600) took the device a fleur-de-lis seeding, which is sometimes accompanied by the motto Ubique florescit. A table of the devices of even the principal printers would alone occupy a great volume, but should anyone desire to make a special study of them he will find a great many reproduced in Brunet's Manuel, Home's Introduction to Bibliography, vol. ii., etc., and will also be able to consult the works indicated in the list of books at the end of this work. It may be observed, by the way, that these devices were not so exclusively their inventory' that they were never omitted or changed, or that they may not even be foimd in publications of other printers, in conse- quence of permission received, or alliance, succession, by acquisition of the type, etc., or even by simple imitation. CHAPTER III. THE ORNAMENTATION OF A BOOK. Illuminated Initials — Wood Engraving — Copperplate — Steel Engraving — Lithography — Chromo - Lithography — Zincography— Albertype — Heliotype — Zincotype — Binding. Illuminated Initials. — The first printed books were issued without printed capital letters at the heads of th^ books and chapters. These were afterwards filled in, iri colour, red or blue. Often in these initials is found the most beautiful miniature work, and sometimes they nearly fill the whole page. Where a blank was left at the beginning of the book or chapter the letter which was intended to be painted was printed very small in the centre of the space, as a guide to the miniaturist. The state of preservation, the lesser or greater accuracy of the -work on the. miniature, adds greatly to th^ value of the book, and these letters are often very valuable ornaments. In many cases we find the early printed books without any initials, the artist, or owner, having failed to put them in, JVood-Engraving. — In the rapid sketch of the inven-r tion of printing we have referred to Xylography, by which it was preceded ; we will now briefly describe a few of these ornaments of the Book. The first frontispieces, as we have already said (p. 60), were engraven on wood, with occasionally an attempt 68 MANUAL OF BIBLIOGRAPHY. at an illustration, especially to those of the romances of chivalry, but the first book which really unites all the desirable conditions of the art of wood-engraving is the Hypnerotomachia Poliphili, published by Aldus Manutius at Venice 1499, the desighs of which are attributed, to Fig. 21.— Plate from the Hypnerotomachia Poliphili, ■printeA by Aldus Manutius in 1499. Giovanni Bellino. This book, which is extremely curious for another reason than its illustrations, viz., that though it has a Latin title it is written in macaronic Italian, mixed with Greek and Hebrew, has a print representing a sacrifice to Priapus, which should be found on the sixth folio of signature (or sheet) M, but generally it is torn or spoiled, or, worse, destroyed, from which reason THE OIINAMENTATION OF A BOOK. 69 perfect copies are very rare, and of great value. A copy of this valuable book sold at the Beckford Library sale for ;£^I30. Wood-engravings were at first purely linear; then came the figure shaded by parallel strokes ; the cross hatch is found for the first time in -a print in the 3^^i Fig. 22. — Title] of the /'Nuremberg Chyonicle, printed by A. Koberger, 1493. Folio. Nuremberg Chronicle 1493, which contains two thousand engravings by Wolgemuth, the master of Albert Diirer. The first book published in Italy with illustrations on wood was Meditationes reverendissimi patris dni Johanmsde Turrecremata, Rome, 1467, an extremely rare book, of which not more than three copies are known : one in the Library at Nuremberg, one in the Imperial Library at Vienna, and the third in the library of ?o MANUAL OF BIBLIOGRAPHY. Earl Spencer. This last copy was minutely described by Dibdin in his Bibliographical Decameron, vol. i., pp. 384 et seq. The second book published in the same country with ^LflnJCn-d^j Fig. 23. — Wood engraving in Matteo Pasti, for Valturius' De Re MilUari (Verona : 1472). wood-cuts is the edition (the first) of the De Re Militart of Valturius, published at Verona in 1472. This is remarkable from the fact that the engravings (eighty- two) of this volume were designed, and perhaps also engraved, by Matteo Pasti, whom Valturius himself mentions as a skilful painter and engraver. Dibdin THE ORNAMENTATION ,OF A BOOK. 71 has described this precious volume at great length in the Bibliotheca Spencerigna, vol. iv., No. 793. Only two copies are known on vellum. Until about the middle of the sixteenth century Fig. 24. — Mark of Simon Vostre, printer at Paris, ijoi. xylography was exclusively used in the illustration of books of prayers, philosophy, history, or literature. About that time scientific works began to make a little headway, and suddenly a masterpiece appeared, the De Humani Corporis Fabrica, by Andreas Vesalius, pub- lished at Basle 1 543 in folio, with designs by John van 72 MANUAL OF BIBLIOGRAPHY. Calcar, a pupil of Titian ; a work which was afterwards imitated at Strasburg, Paris, and other places. The chief Italian wood-engravers in the fifteenth or sixteenth centuries were, Marc Antonio Raimondi (1488- 1546), Benedetto Montagna and Cesare Vercellio, to whom we owe the beautiful work Degli Habiti Antichi e Modemi di Diverse Parti del Mondo, first printed by Zenaro at Venice in 1590; reprinted by Sessa 1508, and again at Venice by Combi in 1664 ; translated into French, it was published by Didot at Paris 186063. Fig. 25. — Ornament of Simon Vostre. The wood-engravers who worked in Venice towards the middle of the sixteenth century excelled for a long time all the other engravers of Italy, and by the fineness of their execution competed with the Lyonese artists, who exhibited great skill, especially on small subjects. The engravings executed at this period in Germany and Flanders are somewhat inferior. Gabriel Giolito stands at the head of the Venetian printers for the number and value of the wood-engravings used in his publications, some of which are inclosed in engraved borders. O^ne it} (iSiutomti) mean; inth S^Oomine aS aSiananStl me feftina.enb2K»patrirtfifto et fpfli fanrto^iait erat t»j prijv ripioetnnncetfemper.(a. (I'^pmnwe 65tec;pceff?te.ffetir SefopantccrarKp Fig. 26. — Page of the Grandes Heures of Antoine V^rard : Paris, fifteenth century. 74" MANUAL OF BIBLIOGRAPHY. Germany and France had, from the first days of the printed book, artists of high renown, who occupied themselves with wood-engravings for book ornamenta- tion. The most rare and sought-after of their pro- ductions are the celebrated Livres d'Heures published at Paris by Simon Vostre and others. It is curious to observe how for a long time the printers did not produce any book of prayers which appears to have had so great a success as had later the Horce and the Officium; so great indeed was the • sale of these last that they constituted a special branch of production and commerce. The reason appears to consist in the fact, that the books of prayers used up to that time were all written on parchment, ornamented with initials painted in gold and colours, and almost all enriched with a number of miniatures, more or less carefully executed ; in these admirable works, more- over, are rich and varied borders, generally repre- senting flowers, birds, and graceful arabesques, in which gold is mingled with the most brilliant colours. These rich volumes justly came to be considered as veritable jewels, and were transmitted in the family by succession from generation to generation. Having been accustomed to read one's prayers in books ornamented in this manner, how could one possibly even see them in the simple typographic productions, deprived of all ornament ? In order to succeed in this class of work, it became indispensable to have recourse to wood-engrav- ing, which was being brought to perfection, and repro- duce by its means the designs scattered in the MS. books of prayers, in order to adorn the printed volupies. Pigouchet, Simon Vostre, Verard, were the first to THE ORNAMENTATION OF A BOOK. 75 publish these Ltvres cPHeures now so much sought after, and of which Brunei gives a history and- descrip- tion in his Manuel du Libraire, tome v. Towards the end of the sixteenth century, at the very apogee of its brilliant career, commenced the decadence pf the art of wood-engraving ; but not for long, for, like the Phoenix, it was to rise again, and to England belongs the honour of having revived it in modern times. In 1771 the Royal Society of London offered a prize for the best engravings on wood ; four years after, this prize of seven guineas was unanimously awarded to the engraver Thomas Bewick, of Newcastle. At the time this engraver entered as an apprentice (1767), the art of wood-engraving can hardly be said to have existed, except in its rudest form. Hence he has been justly styled the restorer of wood-engraving in England. He was the first to cut on the end of the wood instead of along the grain, and was also the inventor of what is technically known as the white line in engraving. He certainly revived a great art, and up to 1828, the date of his death, he did not cease to signalize himself by the execution- of exceptional works. His first efforts appeared in the Neia Lottery- Book of Birds and Beasts, 1771, the Child's Tutor, 1772, and later on in Gays Fables. He also illus- trated an edition of the Poems by Goldsmith and Parnell in 1795. The illustrations of this work were considered so fine at that period, that George III. ordered his bookseller to procure him the blocks of the engravings, that he might convince himself they were wood, and not copper. But of all his works those that principally deserve our attention are the 76 MANUAL OF BIBLIOGRAPHY. illustrations to the- History ' of British Birds, published 1 794-1 804. At the end of the last century Germany followed the example of England, and in order to encourage the increase of this art instituted a special chair of instruc- tion, in which Unger, father and son, signalised themselves, and later on Richter and Gubitz, who, adding practice to theory, produced veritable master- pieces. Fig. 27.— Wood block from Bewick's British Birds. The common duck. In France in 1805 a similar society offered a pre- mium, 2,000 francs, for specimens of wood-engravings applied to the illustration of books ; but while England rendered herself celebrated by the publications illustrated by the Nesbits and Anderson (all pupils of Thomas Bewick), as well as those of Branston, Byfield, Berry- man, Austin, Jackson, Lee, Wright, and Thompson, it was not until after the first period of the Napoleonic War that France succeeded in distinguishing herself in wood-engraving, notably in the works published by the publisher Didot, which, however, were engraved on wood 'THE. ORNAMENTATION OF A BOOK. TJ by Gubitz of Berlin, Thompson also being called to Paris from London for the same purpose. Very soon, however, arose a school of French engravers, who may well awake our admiration by their innumerable and accurate productions. In America in late years the art has been carried to a very high state of perfection. Some of the finest specimens may be seen in Harper and other American magazines. In Italy, as in England and Spain, wood-engraving is now dedicated almost exclusively to the illustration of periodicals, and in this class of work Spain is espe-, cially distinguished. In Germany it is still applied to the illustration of books, but the true fountain-head of illustrated books is France, where engraving on wood is treated with greater taste and delicacy than in any other country, except perhaps America. The volumes of Dore published by Hachette, those of Lacroix published by Didot, seem almost to say that it is impossible to improve it further. At the present day, in order to save the wear and tear of the wood-block, it is usual to make an electro- type facsimile of it, which is used for printing. This •has been brought to such a state of perfection thai none but an expert could tell the difference. By means of these electrotypes, the cost of printing is reduced, as a number of copies can be taken of the same wood block. Copper-plqle engraving, which was discovered by acci- dent by a goldsmith of Florence named Finiguerra, is less applied to the illustration of books than wood-engraving. It is to be met with for the first time in El Monte Sancto di 78 MANUAL OF BIBLIOGRAPHY. Dio, by Antonio (Bettini) da Siena, printed at Florence, by Nicole di Lorenzo, "die x septembris I477-" This work has three engravings, which are attributed to Sandro Boticello, and are said to have been engraved by Baccio Baldini. To the same artists are attributed the designs of the Dante, with commentary jpy Landino, published at Florence in 1481 by the same Nicolo di Lorenzo. The number of the engravings in this Fig. 28. — Metal engraving by Baccio Baldini, from the Dante of 148 1. volume should be nineteen, besides a duplicate for Canto VL of the Inferno; two only, however, were printed with the text, the other seventeen were printed separately, and were intended to be pasted in the spaces left blank for that purpose. It has happened, however, that the greater part of these engravings have gone astray, and the only copy known which has the nineteen engravings as well as the duplicate to Canto VI. of the Inferno, is in the possession of Earl Spencer, and is described in vol. iv. of the Bibliotheca Spenceriana. THE ORNAMENTATION OF A BOOK. 79 The British Museum, the Bibliotheque National at Paris, and the Biblioteca Magliabecchiana at Florence^ have also copies with the nineteen engravings, but without the duplicate. Other copies are known having seven- teen, eleven, and nine engravings, but the number is generally found reduced to the two printed in the text. The first book with a geographical chart engraved on copper is Ptolemceus, Cosmographia, which bears the following subscription : " Claudii Ptolemcei . . . geographiam Arnoldus Buckinck e Germania Rome tabulis ceneis in picturis formatam impressit . . . anno M.CCCC.LXXVIII, VI idus Odobris." It is a very precious and rare book, and should contain twenty- seven geographical charts, viz., i general map, 10 for Europe, 4 for Africa, and 12 for Asia. The geographical poem ,of Berlinghieri, printed at Florence about 1480, also contains geographical charts engraved on copper. The first book with a copper-plate engraving printed in Germany is the Missale Herbipolense of 148 1 ; France did not commence until 1488, and then at Lyons with the Peregrinationes civitatis sancte Jerusalem, and in England one of the earliest specimens of copper-plate engraving is to be found in a book printed in London in I S40, with the title, The Byrth .of.Mankynd; or, The Woman^s Bake, by Thomas Raynald. Amongst the most important early copper-plate engravers may be reckoned . Abraham Bosse, a French engraver born at Tours about 1610, a copy of whose celebrated plate of a bookseller's shop temp. Louis XIII. is here given. He is also known as the author of a little treatise, entitled La Maniere de Graver a I'Eau Forte, et au 8o MANUAL OF BIBLIOGRAPHY ^ '.'■'.« ,■:-! ';-■■"-■' ■■■' 1 .■■ ■'■■ '*'! Fig. 29. — Print by Abraham Posse, representing tlie booksellers of the Palace under Louis XIII. ' Burin, which was afterwards republished by M. Cochin, with additions. THE ORNAMENTATION OF A BOOK. 8 1 There are books, oftentimes very voluminous, in which the text is only an accessory ; of this category are the galleries, descriptions of funeral ceremonies, relations of princely weddings, representations of public festivals. To this class of work copper-plate engraving has been almost exclusively confined, and there still are many skilful workmen employed in the art. Etching and Steel Engravings. — Engraving by means of aquafortis is the rival and successor to copper-plate engraving. This acid was used in early times by the armourers to damascene sword-blades, and appears to have been first applied to the engraving of prints by Albert Durer in 1 5 1 2 for his S. Jerome. The engravings by aquafortis of Rembrandt, Van Dyke, Guido Reni, Parmigiano, Potter, Callot, Watteau, Tiepolo, Canaletti, Piranese, etc., all artist-engravers, are greatly sought for. Rembrandt has always been considered the re- presentative etcher, and one of his works known as the " hundred-guilder print " has been sold for ;^i,i8o. This art was always eagerly followed, and even now, especially in Paris, books are illiistrated by engravings of this process which are truly marvellous. Steel engraving is also used in the ornamentation of books, but from its cost, and the long labour required to prepare a plate, it is more rarely used ; nevertheless some sacred histories with steel engravings preserve a great value. The most careful and accurate engravings on steel are executed in England. Lithography and its Derivatives. — Lithography (Gr. lithos, a stone, and grapho, to write) is a modern dis- covery, and is due to Aloys Senefelder of Munich, who discovered it about 1798, and called it chemical printing 6 Fig. 30.— Title of the Apocalypse, by Albert DUrer, printed, in 1498. First edition without text. THE ORNAMENTATION OF A BOOK. 83 on paper. It was a most useful invention in its simple state, but greater benefit was afterwards received from its derivatives, and above all from chromo-lithography. The lithographic productions of English firms have been of the highest order, especially in landscapes. The house of Ackermann in London was long famous for its fine work, including the productions of Hugh Ward, Westall, Harding, etc. Chromo-lithography, or litho- graphy in colours, has been brought to great perfection in London, Vienna, and Paris, especially by Lemercier of Paris, Day and Sons of London, and Prang in America. The illustrations contained in tht: volumes of Lacroix, published by Didot, are truly splendid. We have mentioned Lemercier as one who, while being very accurate in his work, is also the greatest producer of this class of illustration. We must not, however, fail to mention the German, and more espe- cially the English chromo-lithography, of which we have a splendid specimen in the Grammar of Ornament, by Owen Jones, published by Day & Sons, who ex- pended a considerable sum of money on this colossal work. Much beautiful and good work has been pub- lished in Italy, viz., Le Case e i Monnmenti di Pompei (The Houses and Monuments of Pompeii), by Nicolini, published at Naples ; // Duomo di Monreale (The Dome of Monreale), by Gravina, published at Palermo; and, above all, / Mosaici delle Chiese di Roma (The Mosaics in the Churches of Rome), by De Rossi, published by SpithOver of Rome, who was obliged to build suitable studios and offices for the work. The Application of Photography. — Photography itself, as also its derivatives Zincography, Albertype, Heliotype, 84 MANUAL OF BIBLIOGRAPHY. etc., neither have nor will have any general application to the illustration of books, while on the contrary Photo- lithography, Photogravure, and Zincotypy have greatly contributed to the beautifying of our volumes. Photo- lithography is generally reserved for the reproduction of ancient codices, and gives results more than satisfactory. The Codex Syriacus ofthe Ambrosian Library, revised by the famous Abbate Ceriani, and reproduced by photo- lithography by Delia Croce of Milan, is as beautiful as can be desired. With photogravure, especially by Goupil of Paris, are reproduced in a perfect manner on a reduced scale the most celebrated engravings. A great many books are now illustrated by Zincotypy. It being the quickest and cheapest method of having an exact reproduction of an engraving, or of a pen and ink sketch, it has a vast application in the illustrated journals. In England, Germany, and France there are establish- ments which devote themselves exclusively with great success to Zincotypy ; but in Italy, where most printers do a little, but few have, up to the present, obtained good results. Binding. — Besides the illustrations, and indeed independent of them, the binding is certainly the most beautiful ornament of a book, but it needs certain qualities, which are derived, from the good taste of the bibliophile. Octave Uzanne, in his Caprices dJun Bibliophile, p. 109, says, "A book ought to be bound according to its subject, the epoch in which it has seen the light, according to the value which one attaches to it and the use which one intends to make of it ; it should proclaim its contents' by its exterior covering.'' THE ORNAMENTATION OF A BOOK. 85 To attach excessive importance to the binding alone is folly, and unless the bibliophile collects bindings as well as books, nothing can justify the enormous prices paid for books, themselves of no value, simply because they have been bound by Derome, Pasdeloup, Roger Payne, and similar binders. The bibliophile should especially endeavour to have his books bound according to their importance, and above all he should always preserve the original binding of an old book, if in a good condition, or have it copied by a new binding. Binding, limited at first to clumsily repairing missals and books of prayers, only became developed with the invention of printing, and like it the quickest and greatest growth was in Italy, where the bindings under- went the first modifications, and became an important branch of artistic industry. There they soon aban- doned the wooden boards, the clasps, and other ancient usages to which England and Germany remained faithful, and commenced, especially at Venice and Florence, to reproduce the covers in mosaic leather richly gilded, such as ornamented the Arabic MSS. This binding soon came to be imitated and surpassed in France, into which country artistic bindings were imported from Italy. It is a notable fact that besides Leonardo da Vinci, Primaticcio, and other artists, Francis I. procured from Italy and elsewhere several bookbinders, to whom probably are owing the cele- brated bindings with the salamander of Francis I. and the emblems of Diana of Poitiers. Before the reign of this king, most of the books in the Royal Library were bound in velvet, or other precious stufFs; 86 MANUAL OF BIBLIOGRAPHY. The most ancient binding which bears a date is that mentioned by -Laire (Index Librorunt, n. 27), viz., a copy of the Epistolce of S. Jerome, on which is written " lUigatus est anno Domini 1469 per me Johannem Fig. 31. — Bookbinder's shop in tlie sixteenth century. Engraving by Jost Amman. Richenbach capellanum in Gyclingen." At the sale of the books of the learned Kloss of Frankfort, held in London in 1835, there were two works of St. Augustin printed in 1469, and bound in 1470 by this same Johannes capellanus. The inventories of ancient libraries of kings and THE ORNAMENTATION.. OF A BOOK. 87 princes fufnish aihple materials for the history of the bindings frequently described in them ; and it is from these records that we know that books of prayer Qivres ^'heures), etc., were preferably bound in gold or silver, pither chased or enamelled. One of the earliest speci- mens is probably the MS. Textus Sancti Cuthberti in the Cottonian Library/ bound in a silver and gold cover with precious stones, by a monk of Durham, in the time of the Saxons, Mr. Astle also mentions two books in silver and gold covers, which he believes to have been bound before the discovery of printing. Benvenuto Cellini executed two covers in massive gold to rebind a book of prayers which the Pope, Paul III., wished to present to Charles V. . The art of binding books, now attained to such perfection, had already made wonderful progress in the sixteenth century. Extraordinarily magnificent Were the bindings in hog-skin, which from its thickness lent itself to the impressions of most beautiful orna- inents* These bindings were still often enriched with ■finely-worked gold or silver clasps. At that time also there were executed in Italy very rich bindings in velvet ■with gold lace, or in tortoise-shell ornamented with gold, silver, pearls, or cameos. The Dutch bindings were also celebrated. They were in parchment with a fine ornament in blind tooling on the sides; an elegant and solid binding which formed the best ornament of the volumes of large size, to which it was almost exclusively dedicated. The splendid" period of the Renaissance was to binding that which it was to the Fine Arts and 88 MANUAL OF BIBLIOGRAPHY. Fig. 32. — Binding for Francis I., with the arms of France and the salamander. THE ORNAMENTATION OF A BOOK, 89 Literature : it liberated it from the heavy prnaments and from the tinsel which had overburdened it in the Middle Ages. Light and elegant lines of gold, and sober arabesques, became the most beautiful ornament, and were united to monograms or armorial bearings artistically designed, A binding bearing the motto of Grolier, with the cipher of Henri IL or Diana of Poitiers ; with the arms of De Thou, Colbert, or Soubise, reaches an incredible price, A binding having belonged to Maioli would for that reason alone be worth about ;^ioo, one of Grolier's from ;£'iSO to ;^200, and so on. It is curious, and to be deplored, that the names ot the artists who executed these splendid works should for the most part be unknown. The history of binding also presents us with various examples of originality. For instance, the father of the celebrated James Fox caused a copy of his historical works to be bound in the skin of the fox. A copy of Tuberville on Hunting was bound by Whittaker in deer-skin, and a silver stag was placed on the side. Bougainville had the history of the third voyage of Captain Cook (interrupted by the tragic end of that celebrated navigator) bound in black morocco, sprinkled over with silver tears. Bindings have been done in skins of all sorts of animals, and even in human skin. A volume bound in human skin was exhibited at the typographic exhibition at Brera in 1879, by the anti- quary Luigi Arrigoni. It is also related by Dibdin {Bib. Decam., ii., 451), that Dr. Askew had a book bound in human skin. ^ While the most excellent binders of past and. present go MANUAL OF BIBLIOGRAPHY. Fig. 33. — Binding for.Grolier in the collection of M. Dutuit. THE ORNAMENTATION OF A BOOK. 9 1 times belong itidisputably to England aad France — the former of which boasts the magnificent work, solid a4d in good taste, of Roger Payne, Wier, Baumgarten, Mkckinly, Kalthoeber, Staggemier, Hering, Whittaker, Charles Lewis, Riviere, Bedford, and Zaehnsdorf ; and the latter Du Sueil, Pasdeloup, Derome, Bozerain, Liveberes, Simier, Thouvenin, Courteval, Le Gascon, Lesnd, Bauzonnet, Duru, Thompson, and others: — it cannot be denied that Germany and Italy had also a great part in the increase and perfection of this art. To those who are interested in bookbinding, either as ariiateurs or .technically, it may be useful to know that Zaehnsdorf, the recognised head of the book-binding art in England, has -lately written a work entitled Th6 Art of Book-binding, in which clear rules are laid down for the novice. Germany is distinguished at the present time for the commercial binding in whole cloth, with or without gilding on the boards ; and artistic binding is still laudably cultivated in Italy, as may be seen from the productions, executed with the finest art and taste, of Fratelli Binda of Milan, Vezzosi and Tarditi of Milan^ Tartagli of Florence, Anderson and Staderini of Rome, and by not a few others who to their . industry know how to couple the best traditions of the art. Binding in cloth was originated by Mr. R. E. Lawson^ of Stanhope Street, Blackfriars, and the first book bound in this manner was a MS. volume of music. Mr. Pickering seeing this volume about the year 1823, was pleased with the idea, and had one hundred copies of his Diamond classics bound in this manner. It is now more used than any other style of binding.. 92 MANUAL OF BIBLIOGRAPHY. Fig. 34. — Le Gascon binding. THE ORNAMENTATION OF A BOOK. 93 The best English cloth work (and a great deal of it is highly ornamental and artistic) is turned out by W. Bone & Son, Hazell, Watson, & Viney, Matthew- Bell, Smith Brothers of Paternoster Row, Messrs. Straker, Kelly, and others, in a state of finish never before reached. Up to the end of the eighteenth century only two kinds of binding were in general use, viz., in leather and in parchment ; at the present time three kinds are used, whole leather, half binding (both of these being either in morocco, russia leather, parchment, calf, or roan, the latter having cloth or paper sides), and boards, i.e., covered with paper, cloth, or linen.' Half-binding with corners when well done unites solidity with elegance, and has the advantage of costing much less than whole binding. For treatises or pamphlets cloth boards may be adopted, but only on condition that they are well done. A mistaken economy often induces bibliophiles, and librarians even, to have a number of pamphlets bound together in one volume, generally lettered Pamphlets. This is a system which should be absolutely repudiated ; if the owner of the library has not sufficient means to have each single pamphlet bound in cloth, sooner than bind a lot together in a volume, let him place them in boxes (the Marlborough pamphlet cases ^yill be found the most convenient) or drawers, which will permit of any single pamphlet being used separately. The British Museum has adopted' very carefully^ thbught-out rules for its binding. The greater part of the bobks of that library are boiind in half-morocco, with cloth sides; Historical works have a red back, m i i' Li : l^-^W t*ar. LiZ '4.^ K^ r^*^"*^^ ^t -. *■' -2 M THE ORiSTAMENTATlON OF A BOOK. pS- Theology blue, Poetry yellow ; green is reserved for books on Natural History, and so on. Thus the binding alone facilitates the classification, simplifies the operation of putting books away by the assistants; and gives a varied and bright aspect to the library. Dictionaries and works in continual use are solidly bound in russia leather ; rare and precious works are bound with a certain luxury, while pamphlets are bound singly in half-roan, with paper sides. The wealthy bibliophile Should have a care that his bindings are rich without ostentation, solid without being heavy, always in harmony with the book which it covers, the work well finished, of exact execution in the smallest details, the lines clear, and design well conceived. A binding is good if it unites solidity to elegance ; if the volume will open easily, and remain open at any page ; if in closing it does not leave any trace of the place at which it was opened ; if the back margins are perfectly visible on opening the book, and if the other margins are equal and but the slightest possible cut with the binder's knife. The regularity of the folding, the solidity of the sewing, and of the back, with the elasticity of the joints arid back, are also conditions indispensable in a good binding. In order to obtain these results the books should be confided to a skilful binder, and the necessary time given him in which to perform the various operations carefully and thoroughly. Modern bindings, as has already been said, are done in parchment, sheepskin, roan, calf, russia, chagreen, or morocco, of various colours. The richer bindings 90 MANUAL OF BIBLIOGRAPHY. £i Z^i^tttm . linL Fig. 36..^Mosaic binding of the eighteenth century for the Spaccio de la Bestia Trionfante. THE ORNAMENTATION OF A BOOK. 97 in morocco have generally ornaments on the side, a pattern in mosaic of coloured leathers, or gilding with small tools or lines ; and also on the back, especially if in morocco, moir6, or silk. Books bound in sheep or roan have a good appear- ance, but quickly wear out. Bindings of morocco, russia, and parchment are adapted for books in con- tinual use, as dictionaries, etc. Calf bindings are solid, tut spoil with gas, as will also russia leather. Morocco, the most brilliant, should be reserved for editions de luxe and works of great value. Chagreen has not the same solidity as morocco, but bindings are done in it which are equally handsome. A new style of binding has been introduced by Mr. Chivers of Bath, known as the Duro-Flexile, which will be found first class for books in continual use. It can be done in any leather, but we believe the inventor recommends hog-skin. For those who wish to obtain further information as to the history of bookbinding, or to study its techni- calities, we have ii;idicated in the notes the best works to consult. IV. IHE LIBRARY AND THE CATALOGUE. The Library-^Accession Book — Book-plates — The Catalogue — The Entry : Author, Title, Anonymous works. Volumes, Pagination, Size, Edition, Printer, Date, etc. — Rare Books— Works in progress — Periodicals — Models of Catalogue entries — An Iconographic Catalogue — Arrangement and Classification — Bibliographical systems — Brunet's system — Alphabetical and systematic ar- rangement — Preservation and restoration of books — Books of reference. Without entering deeply into the duties of a librarian and the administration of a library, — subjects which the reader will find skilfully treated in Petzholdt's Katechismus der Bibliothekenlere, — it will suffice to say that these operations, which require to be learned by all who collect books, must not be neglected by the bibliophile if he wishes to obtain enjoyment and profit from his books. Since the possession of beautiful and rare books gives one great pleasure, the possessor of them ought to neglect nothing in order that these books may be useful to himself and to his friends. Whether the bibliophile possesses few or many books, he will not be able to avoid the routine of numbering them, entering them in their alphabetical or systematic order, arranging, and carefully looking after them, for without these operations his collection would be almost THE LIBRARY AND THE CATALOGUE. 99 useless. Should he possess but few books it will be sufficient to give them shelter in one of those pieces of furniture commonly known as a bookcase, with glass doors, and which would probably hold two or three hun- dred volume^. In time, as the collection increases, the owner will require a small room, and by those fortunate ones, who to the love of books unite the means of pro- curing them in quantities, more rooms will eventually oe required ; these then create the private library. However, whether the library be composed of one or more rooms, the bookcase with glass doors should never be banished, since it will always be a useful piece of furniture in which to collect and preserve the rarest editions of books, and the most splendid specimens of binding. The Library. — In its literal sense, the word library indicates a place destined to receive books, a saloon more or less vast, with shelving or bookcases all along its walls, in which the books are to be found, classified according to sizes or subjects. Private libraries are naturally circumscribed by the fortune, taste, or special studies of those who form them. A most important thing to consider in the establish- ment of a library is its aspect and situation. The library should, if possible, be exposed to the east, as the south wind favours the birth and development of insects, while damp, natural to the west, is most hurtful to books. The locale reserved for the library ought in all cases to have plenty of light, to be protected from too much heat, or damp, and should be placed on thfe first or second rather than on the ground floor. As to the construction of the bookcases or presses, it lOO MANUAL OF BIBLIOGRAPHY. is as well to make use of a close-grained wood, such as oak, because it is less subject to be worm-eaten. The distance between the supports must not be too great, at the most three feet six inches, in order that the appearance of the shelves may not be spoiled by their bending in the middle, owing to the excessive weight of the books. The shelves should be movable, so that they may be shifted to suit the sizes of the books. In order to preserve the books from any possible damage from damp it will be as well for the presses (each division or partition of the bookshelves is so called) to be some little distance from the wall, and backed with thin sheets of wood closely joined. Every day in fine weather the windows of the library should be opened for a few hours, and also the doors of the glazed bookcases ; it is necessary to avoid having the windows open on a wet day, and above all in the evening. The books, bookcases, and shelves should be cleaned from the dust at least twice a year, as dust spoils the bindings and favours the growth of insects. It is as well to remove all dust from the top edges of a book with a small brush, or by blowing it, before opening. A systematic arrangement of the books is not always absolutely necessary, that being supplied by the cata- logue. They may, if not too numerous, be arranged according to size, in order to economise space, as, for instance, the folios in the bottom shelves, the quartos above them, then the octavos, i6mos, and so on. Great care should be taken that there is sufficient dis- tance between the upper edge of the volumes on one shelf and the underside of the shelf above them, so that THE LIBRARY AND THE CATALOGUE. 10 1 the books can be removed without difficulty or scraping. The books should not be squeezed too tightly together on a shelf for fear of spoiling their sides by rubbing them against each other when withdrawing them ; and also because it is necessary for their preservation that the air should circulate freely round them. If a shelf is not full from end to end, the books (especially if they are not bound in cloth or .leather) quickly spoil by tumbling on one another, or leaning against the side of the shelf, causing the dust to get Fig. 37. — Book-rest. into the insides. To avoid this inconvenience, and give a neat appearance to the library, the bibliophile should provide himself with a few book supports. These book supports are now made very light and neat. Messrs. Braby & Co., of Euston Road, London, and M. Edouard Rouveyre of Paris, advertise a large assortment of them ; as they cost but little, no book- lover should be without them. When the library is ready to receive the books, the presses and shelves should be marked, the former with letters of the alphabet, A to Z, the latter with 102 MANUAL OF BIBLIOGRAPHY. numerals i to lo (or higher if required), beginning on the edge of the shelf above the bottom row of books. These letters and numbers, called the Press-mark, are repeated on the cards and in the catalogues, and are marked at the end of each book, generally on the last fly-leaf, as we shall explain later on ; thus reducing the finding of any book in the library, and. returning it to its place when no longer required, to a simple mechanical operation. Accession Register. — The first operation to be per- formed as soon as one has come into the possession of a book, of course after having collated it, is that of entering it in the accession register. Against the entry will be its number in progressive order ; this should be repeated in the book itself. A short description of the book should be given, if it is not fully expressed in the printed title, and also indications from whence it was procured and the price paid for it. This register is of greater importance than it seems at first sight, because it always presents, up to a given date, the numerical status and the approximate value of the library, and it will in many other cases assert its absolute necessity. Suppose, for instance, that you discover that one of your books is imperfect, a fault which had escaped you on the first examination ; by recurring to the number of order in your accession register you will see at once from whom you had the book, and will be able to make your claim. Again, suppose a propitious occasion presents itself to ahenate a volume, or to make an exchange; refer to the number marked in the book, and you will know at once how much the THE LIBRARY AND THE CATALOGUE. IO3 volume cost which you wish to sell or exchange. In fine, as in every well-ordered house there is an inven- tory of all the household goods, it would be at least curious if the bibUophile, who should be the soul of order, did not keep an inventory of his books ! Bookplates and Stamps. — The new acquisition hav- ing been entered in the accession register, the owner should affix to, or in it, some sign to testify that it belongs to him. For this purpose he will do well to make use of a book-plate, and absolutely avoid all stamps with greasy ink, seals and sealing wax, or signatures in writing ink, which will destroy all the beauty of a title-page, and often stain other leaves and plates if the ink be greasy, or corrode the leaf if •common ink is used. A stamp is useful in a public library, but should be absolutely banished from a private collection. Book-plate, or ex-libris, are words, consecrated by use, with which one indicates the vignette or mark of proprietorship, with or without a name or legend, affixed to the inside of a book. In the more restricted sense of the word it indicates a subject of art, coat-of- arms, monogram, emblem, etc., printed on a small piece of paper, and pasted on the inside of the cover of a book as a sign of possession. Book-plates had their origin in Germany at the beginning of the sixteenth century, and almost con- temporaneously were used by the Italian bibliophiles. In France they are not met with until the beginning of the seventeenth century. Like all other things apper- taining to " the Book," book-plates have their history and recollections. 104 MANUAL OF BIBLIOGRAPHY, Postponing for a moment the artistic part for the utilitarian, we venture to suggest to the reader a form of book-plate which will serve at the same time four ends. s O 2 < Pi < Press. ARMS, VIGNETTE, OR MONOGRAM, ETC. Class. n o o Shelf. Branch. Number. Division. No. In the centre space will be placed (printed or en- graved) the vignette, coat-of-arms, or emblem which really constitutes the book-plate. Under this will be the number of the book as entered in the accession register, to the left the press-marks showing its place on the shelves, and to the right its place in the classification. Should it ever be necessary to know the cost, or when and from whom the book had been acquired, refer to the accession number in the register. Do you wish to replace a book which is lying on your table ; the numbers in the arrangement column will indicate in which press and shelf it ought to be placed. Should you THE LIBRARY AND THE CATALOGUE. 105 be desirous to consult other books on the same subject as that which you are reading, the marks in the classifi- cation column will tell you at once to what class, branch, and division you have to refer in your systematic catalogue.- If the library consists of several rooms it will be easy to surmount the book-plate by a small ornament with a blank space in which to place the progressive order of the rooms. An artist with but very little ingenuity will be able to draw a very useful book-plate from our model. Catalogues, Card, Shelf, etc. — The order, utility, and importance of a large library, as of a small collection of books, have for their base the perfection, or otherwise, of the catalogues. There are various kinds of catalogues, such as the Author catalogue (alphabetical), the Subject catalogue (alphabetical, systematic, or both combined), and the Dictionary catalogue, which has the authors and subjects arranged together in alphabetical order. Besides these there are the Shelf lists, and the Card catalogue. The Shelf Lists are an inventory of the contents of every press, and hence of the entire library. They give the shelf number or press mark at the top, and below, the author, brief title, number of volumes, and date. These will be found very useful for checking the collection after it has been dusted, or moved. Again, if a gap is noticed on, say. Shelf A 5> by ■ referring to the shelf list of that press one can at once ascertain what book is missing. The library ought to be checked by these at least once a year. In large libraries these lists are generally written on 106 MANUAL OF BIBLIOGRAPHY. loose sheets, but for a small collection they can be bound in a volume. When making the catalogue of a library write each entry or title on a separate card or slip. After the whole collection is thus entered the cards should be arranged in any order required, and placed in drawers for preservation. This will form what is technically known as a Card catalogue. The advantage of this system, even for a small collection, is, that the cards being loose, they can be re-arranged at any moment, and additions can be made without interfering with the ■existing arrangement. Also, should a printed catalogue be required, these cards can be sent to the printer, while the fair copy of the catalogue remains in the library. As we have said above, the catalogue should first of all be written out on cards or slips. In the com- pilation of these slips, especially of ancient books, one meets with many difficulties, as, for instance,: Tvhen at times the true title of a work is fou,nd not on the title-page, or where it should be, but in the preface, in the body of the work, or at the end of the book in the Colophon. Before writing out the shp of an early printed work which presents some such difficulties, it will be as well to consult some one of the works which describe these first productions of the printing press, in order to avoid errors in the true title or in the author's name, and also so as not to lose time in a long examination of the book itself, which often- times only ends in uncertainty. With modern books the difficulties are much less; nay, once establish with precision the rules to be followed, and one may say that all the difficulties disappear. THE LIBRARY AND THE CATALOGUE. 10/ The transcription of a title requires a minute exact- ness, and the card should contain : — 1. The name of the author followed by his christian name. 2. The exact title with indications of translators, annotators, etc. 3. The number of volumes. 4. Size ; number of pages, engravings, etc. 5. Indication of the city in which it was printed, and the name of the publisher or printer. 6. The date. The card should bear besides the letters or ciphers indicating the locality of the book, and also those indicating its classification in the systematic order. The author's name must be written with diplomatic precision, as it forms the base of the alphabetic order of the catalogue ; the christian names should follow between brackets, and are indispensable to distinguish between authors of the same surname. If the name of the author does not figure on the title-page of a book, but the work is known to have been written by a certain author, it should be entered in the catalogue under that author's name between brackets. For example, the early editions of Waverley, by Sir W. Scott, do not bear the author's name on the title-page, nor indeed do some of his later works, which are described as "By the Author of Waverley." As the author's name is known these should be entered in the catalogue as follows: — [ScoTT (Sir Walter)] Waverley ; or, 'Tis Sixty Years Since. 3 vols,, i2mo. Edin., 1814. If the name of the author is abbreviated, or even indicated by a single letter, that will be the word which will supply the name of the author on the slip ; and I08 MANUAL OF BIBLIOGRAPHY. when the author's name is known it should be entered between [ ], e.g., p*** is the author of the Dictionnaire Bibliographique. It is well known that P*** is the first letter of the name of the author Psaume ; the slip will therefore be written thus : — P *** [Psaume (Etienne)'}, Dictionnaire Bibliographique, etc. It will be as well to put a cross-reference : — Psaume {Eiienne), see P***. If, however, the name of an author, expressed by a single letter or abbreviation, is unknown, the work will be considered as anonymous, until some accident reveals the true name of the author. Pseudonyms, or anagrams, may be considered and treated as the name of the author ; and if this is known it should be written on another slip, and a reference made to the pseudonym or anagram. If, however, the same author has adopted several pseudonyms at various times, they should all be brought together under the author's real name ; e.g., Pisistrafus Caxton was the pseudonym of Lord Bulwer-Lytton, who under this pseudonym published My Novel. The first slip should read " Caxton (Pisistratus), My Novel," etc. ; the second should be a cross-reference slip — " Lytton (E. G. Bulwer-Lytton, Lord), see Caxton (P.)." If several authors have collaborated in a work it should be entered under the name of the first on the title-page, with cross-references from the other or others ; for example : — Lelakd (C. G.) and W. T. Rogers. Dictionary of Americanisms, etc. 2 vols. 4to, Lond. *. u. [Cross-reference] Rogers (W. T.), see Leland (C. G.). THE LIBRARY AND THE CATALOGUE. IO9 But if the work does not bear the names of the authors on the title-page it should be considered as anonymous, and a cross-reference slip made from the name of each author who has written in the book ; thus : — Omaggio della Societa Storica Lombada al VII. Centenario della Battaglia di Legnano, etc. Contents :— Cantii (C.) I Lombardi e il Barbarossa. — Pirovano (G.), Legnano, etc. Make the principal entry under the word Omaggio, with a list of the contents of the volume or volumes, then make as many cross-reference entries as there are authors who have collaborated ; e.g. — Cantu (C), I Lombardi, etc., see Omaggio della Societa Storica. When an author has two or more names, or if it is difficult to distinguish the surname from the christian name, make the entry under the latter part of the name, and a cross-reference entry from the first part, if English ; but if foreign names, enter under the first part with a cross-reference from the latter part. There are a few exceptions to this rule regarding foreign com- pound names, as, for instance, we should write Fe'ne'lon, not Salignac de Lamothe F^ndlon ; Voltaire, not Arouet de Voltaire, etc. The greater- part of the writings of saints, popes, kings, etc., and of persons belonging to any religious order, only bear their christian name, and should con- sequently be entered with that as the first word of the entry, e.g. :— Augustine (Saint, Archbishop of Hippo). Confessions, etc. Gregorius VII. Epistolse, etc. Carlo Emanuele I. Letters, etc, Edward VI. Literary Remains, etc. I I O MANUAL OF BIBLIOGRAPHY. Next arises a grave difficulty. How should we enter a name preceded by an article, or combined with a preposition ? There is on this subject some diver- gence of opinion among the principal bibliographers and no system has yet been proposed which has obtained general approval. In many cases use makes the rule ; thus Camillo di Cavour is entered under Cavour because he is generally known by that name ; whilst on the contrary De Rossi or De Amicis cannot be entered under Rossi or Amicis, because their names are always pronounced united with the prefix. Other names have received modification in course of time, so that in the last century Jean de la Fontaine was cata- logued by all bibliographers under Fontaine, whilst now the name Lafontaine, or La Fontaine, is generally used. See on this point Wheatley, How to Catalogue, etc. The same observations suffice for German names preceded by the preposition von, and Dutch names preceded by van. This preposition, which corresponds to the French and Italian de, di, and our of, may, except in rare cases, be abolished in German names ; thus the speeches of Bismarck would be entered under Bismarck and not under von Bismarck. In Dutch names the same rule should be observed, and in both cases a cross-reference slip should be made. Thus the works of Van der Hoeven would be entered under Hoeven, with a cross reference, " Van der Hoeven, see Hoeven." The bibliographer should never be afraid of making too many cross-references ; they will, it is true, augment the number of entries, but research will be facihtated in an extraordinary degree. The Greek and Latin authors should be entered THE LIBRARY AND THE CATALOGUE. I I r under the names by which they are best known, as, for instance, Horatius, whose complete name was Quintus Horatius Flaccus, and again Cicero, whose name was Marcus TuUius Cicero, but who was called Tully in the Middle Ages. The Latin form should be used for both Greek and Latin names, and not the English, e.g.y Herodotus, not 'HpoSoro';, which would place it under E in the alphabet ; Maiiialis and Livius, not Martial and Livy. In cases of doubt reference should be made to Smith's Dictionary of Greek and Roman Biography. The works of an author who has written a work or works in another language than his own, translating even his own name, should be entered under the name which figures on the title, with a cross-reference from the original name when it is known ; thus the works of De Hubeis would be entered under that name with a cross-reference from the original name, e.g., De Rossi, see De Rubeis. If, however, the author has written other works in his own language, they should all be entered together under the name in the vernacular form, with a cross-reference from the Latin or foreign translation. There "has been some diiference of opinion among bibliographers as to whether the names of authors, especially Latin, should be written in the nominative or genitive. It is best always to adopt the nominative, since it is hardly reasonable that Gregorius VII., author of the Epistolce, should figure in the alphabetical catalogiie as Gregorii, simply because the Latin con-, struction of the title requires the name of the author to be written in the genitive. Again, in treating very rare books and incunabulce, the name of the author should I I 2 MANUAL OF BIBLIOGRAPHY. above all things be written in, the nominative, as it will be repeated in the genitive in the body of the entry, which will be the exact transcription of the whole title. For such books as these the entry requires special treatment, it being necessary that ■ even the disposition of the title should be exactly indicated, dividing line from line by a transverse sign. We shall give further on a few examples of the method of compiling these entries. Having passed in review the various ways of treating the name of the author, let us now see how we should catalogue anonymous works. Anonymous Books. — All works are anonymous, or are considered as such, when the name of the author is not indicated on the title-page. For the treatment of such works whose real authors are known, although not stated as above, see ante, p. io8. The simplest rules for dealing with those whose authors cannot be ascer- tained are those laid down by Mr. Wheatley, viz. : — No. 17. Anonymous works relating to a person or a place to be registered under the name of that person or place. No. 18. Anonymous works with a catch-title, such as the title of a novel, to be registered under the first word of that title. No. 19. Other anonymous works to be registered under the name of the subject which is prominently referred to on the title-page and in the language of the title-page. An adjective is frequently to be preferred to a substantive as a heading. The number of volumes should be in the entry in Arabic figures, directly after the title ; a careful dis- tinction being made between volumes and parts. The S2se, number of pages, and of engravings, should THE LIBRARY AND THE CATALOGUE. I I 3 be placed next after the number of volumes. We have already spoken about the sizes of books (p. 47) and the method of determining them ; we will therefore simply repeat that it is imperative that the size should be indicated with great precision, and the same may be said of the number of pages, noticing if they have been originally numbered or not (as often happens in incunabulce, where the pagination is sometimes put in with a pen or omitted altogether), and observing if there are more than one set of pages in the volume. Thus the pagination of a volume which consists of several parts, separately numbered^ and each with a preface also numbered in Roman figures, should be registered as follows : — Bibliografia italiana. Giornale dell' Assogiazione Tipografico- Libraria, etc., etc. Anno xv., 1881. 8vo, pp. Ixxvi. 288. IV., 108 ; IV., 260. Milano, 1882. With early-printed and valuable works the indication of the place of printing, printer's name or publisher, re- quires no less care. In Latin works these should be transcribed, not in the nominative, but in the same case in which they are found on the title-page; one can thus easily ascertain if the book has been published in the city or by the person indicated, or if it has merely been in sale thei-e. For some modern works, and especially high-priced ones, it is as well to indicate separately the town and name of the publisher, and the town and name of the printer. This rule, however, is more observed abroad than in England. As an example of a Latin entry we give the following, copied from the Sunderland Sale Catalogue : — 8 I r 4 MANUAL OF BIBLIOGRAPHY. Vtrgilitis. Opera. Old red morocco, withred panels. Folio. Mediolani Anthon. Zarotthus. Opera et impendio Johannis Leguano. xx. Januar., 1481. If the name of the town, publisher, or printer is wanting on the title-page, the same should be indicated in the entry by a horizontal stroke, or better by the letters s.l. (sine loco, without place), and s. imp. or s. nom. imp. (sine impressore, without printer). If, however, the indications wanting on the title-page are known to the bibliophile, because they have already been discovered by some bibliographer of authority, then they should be written in the entry, but between brackets, as s.l. (but London), s.a. (but 1569), s. imp. (but typ. de Propaganda Fide). The place of printing, and name of printer or pub- lisher, even if known to be false, may be copied just as they are, provided that when the true ones are known they are put between brackets just after the false. To the name of the printer, especially in ancient books, should be added his christian name or names, or at least the initial letters of them, in order to avoid con- fusion between two printers of the same name. If this is not sufficient, some distinction should be made, as in the case of the Aldi. In this family we have : — Aldus Manutius (called the Elder) .... 1447 — 1515. Paulus Manutius 1 5 12 — 1594. Aldus Manutius (called -the Younger) . . . 1547 — 1597. besides others of the same name. Again, in the Elzevir family we have Louis Elzevir, 1595 — 1616; and Louis II., 1640-62. Works printed in various towns, by different or by THE LIBRARY AND THE CATALOGUE. I I 5 the same printer, should have in the entry the names of the various towns and printers, e.g. : — Allegri (Alessandro), La prima parte della Rime piaCevole r&ccolte da Orazio Morandi. 4to. Verona. F. dalle Donne. 1605. ' seconda parte, raccolte da Jacopo Gneci. 4to. ibid. 1607. terza parte, raccolte da Agnol Minerbetti. 4to. Firenze. A Caneo e F. Grossi. 1608. quarta parte, raccolte da F. Caliari. 4to. Verona. F. dalle Donne. 1603. These would then be followed by the description. The date is always written in Arabic numerals, except for incunabulce, for which they are written in Roman ciphers, repeating them in Arabic numerals between brackets. The omission of a date should be indicated by a horizontal stroke, or better still by the letters s.a. (sine anno). In cases where the date of a book has been omitted, but is known to a certainty, it should be indicated between brackets, e.g., s.a. (but 1473). For works which will require a long period of time for printing, and of which consequently the volumes bear various and successive dates, it would be a grave error to indicate the date of the first volume only, or even that of the last ; they require the date to be indicated " of both the first and the last ; as, for example, 1806-14, which will show that the first volume was published in 1806, and the last volume of the work in 18 14. An exception to bibliographical rules may be made for the libretti of operas, of which the catchword will be the title of the work, rather than the name of the author of the libretto, or the composer of the score. Who remembers that the author of Lurline was Edward Il6 MANUAL OF BIBLIOGRAPHY. . Fitzball, or that Cammarano wrote II Trovatore ? The entry of libretti of operas will therefore be made with the title of the opera as principal entry, and two cross- references ; one from the author of the libretto, and the other from the composer of the music. For instance, take Lurline; it will be catalogued as follows : — Lurline. Opera by Edward Fitzball. Music by W. V. Wallace. Fol. Lond., i860. With cross-references : — Fitzball {Edward), see Lurline. Wallace {W. V.), see Lurline. The full score of operas and other musical works can be entered doubly ; under the author of the words and also the composer of the music, with a cross- reference from the title of the opera or work. Two copies should be made of every entry, one being on a card of a different size and colour to the other; one copy will then serve for the alphabetical, and the other for the systematic catalogue. The card which is used for the systematic catalogue may even have the title abbre- viated, provided it is so done as not to cause confusion. Even when the cards or slips have been compiled, bearing all the particulars as suggested above, still the cataloguer's work is not finished, for he must not replace the volume without having examined it, nor the card without having added to it, in a note, the result of the examination. He ought, above all, to indicate the condition of the book, since the different states of preservation- cause the value of a book to vary enormously. When dealing with any very rare book the height and breadth of the page, including the THE LIBRARY AND THE CATALOGUE. It/ margins, should be given in millimetres, aS a very small difference in the height of a copy over and above the usual size of the volume will greatly increase its value. Such copies are commonly known as " tall copies." No notice need be taken of the size of the covers. If the book is uncut, i.e., untouched by the binder's knife, or at least, so little as hardly to do away the inequality of the deckle or rough edge of the paper, this ought to be Jioted, as the rough edges testify to the original size of the paper. Note ought also to be taken of defects or stains of any kind, and mention made if the book has MS. notes, and by whom, as this will tell us who was its original ' possessor. The binding should be described, observing if it is the work of any celebrated binder, or merely a copy. State also if the book has belonged to any celebrated bibliophile or library, and if it bears arms, etc., on the back or sides, book-plates, or autograph. When the book con- tains comments or prefaces by persons not mentioned on the title-page, this should be pointed out, or if the text is in a different language from the title. Besides this, for modern books, the cataloguer must notice how many copies have been printed, and whether numbered or not ; how many on special paper, coloured paper, or on vellum ; if the work was printed in parts ; if numbered copies, the number of the copy possessed ; and, for illustrated works, he will state if with copper- plate engravings, wood or steel engravings, or litho- graphs — whether black or coloured, or if proofs before letters, or in what state ; and, if possible, complete the description by giving some characteristic literary anecdote Concerning the work of which the title is transcribed. I i 8 MANUAL OF BIBLIOGRAPHY. We give below a model of an entry for a rare,book,as it would be written on the card when preparing a cata- logue, or for preservation in the card-catalogue case. FRONT. BEMBO (PiETRo). Gli Asolani di messer || Pietro Bembo. || (In fine) Impressi in Venetia, nelle Case d'Aldo Romano. nel an- || no M.DV del mese di Marzo ; Con la concessione || della lUus- trissima Signoria nostra ; che per X || Anni ne luoghi al Venetiano Dominio sotto- || posti nessuno altro gli possa impri || mere, o impressi uendere, || sotto le pene, che || in lei si con- || tengo- || no. Sm. 4to, pp. 97, not numbered. Press-mark. Classification. Press Shelf Number lO 3 41 Class .... Branch Division IV. 6 BACK. Good copy, with large margins. Red morocco, gilt edges (Cape).' Editio princeps, with the dedication to Lucrezia Borgia (daughter of Pope Alexander VI.), which dedication was afterwards suppressed when the differences between Pope Julius II. and Alfonso d'Este determined Bembo and Aldus, both of whom were devoted to the Pope, to destroy the homage rendered to the wife of a prince who had become an enemy to the sovereign Pontiff. In order to do this it was found necessary to reprint the title-page. Copies, with the dedication and the errata, are, according to Brunet, Founier, Gamba, and Renouard, extremely rare. THE LIBRARY AND THE. CATALOGUE. I 19 ^ If the title and description are not top long they . can both be written on one side of the card or slip, as in the following entry of a modern book. CHESTERFIELD (Philip Dormer, 4th Earl of). Letters to his godgon and successor; now first edited from the originals, with a memoir of Lord Chesterfield, by the Earl of Carnarvon." 4to, pp. xci, 320; ports, and illus. • Oxford, 1890. Edition of 525 copies numbered. Copy No. 117. Press -MARK. Press . 8 Shelf ... 3 Number ... 6 Classification. Class .... III. Branch . VII. Division ... 3 When these are finally copied into the catalogue it will be sufficient to put the number of the press and shelf only against each, these cards being used for reference only, and not to supersede the regular catalogue. Example : — 8 — 3. Chesterfield {P . D., /i,th Earl), Letters, etc. (That is — Press 8, Shelf 3, front the'bottom.) While thus making the slip with great care, the bibliophile has imbibed, as it were, a certain and useful, knowledge of the book, which will greatly simplify and determine its arrangement in the library and systematic catalogue. The cataloguing of a manuscript requires even greater 120 MANUAL OF BIBLIOGRAPHY. care. One should indicate whether it is on parchment, vellum, papyrus, charta bombycina, or paper ; the form of the characters, whether they are Gothic, semi-Gothic, circular, or Roman, cursive or chancery ; enumerate the illuminated letters and miniatures, searching for their probable author, or, at least, the school to which they belong ; determine the approximate date from the characters, writing, miniatures, and not pass over even the most minute detail which may serve to identify the MS. possessed. Before the book is finally placed in the library, we would suggest to the bibliophile to make a third card, absolutely special, which will deal exclusively with the illustrations; with these he may create an iconographic catalogue of great utility. Ancient and modern books contain sketches, views, plans, and illustrations of thousands of various objects. Often these prints are anonymous, but not rarely they bear the name or mark of celebrated artists. To know where to find at once a portrait of this or that person, a view, a plan, or an engraving of this or that artist, may be on many occasions a necessity, or one may wish to identify a certain picture merely from simple curiosity. Now, as one may obtain this result with but httle labour, we recommend the bibhophile not to neglect this card. This card also should be made in duplicate, but on different systems ; one will have for its catchword the subject of the print, followed by the name of the artist ; the other, the name of the artist, followed by the sub- ject of the print ; on both will be the name of the book in which the print is to be found. THE LIBRARY AND THE CATALOGUE. 121 1st card. , 2nd cardi Books and RatSi Etching, by Jules Chevrier, Fertiault, Les Amoureux du Llvre, p. 12. Chevrier {Jules). Books and Rats. Etching | in Fertiault, Les Amoureux du Livre, p. 12. These cards should be arranged in two ways : No. 2 cards in alphabetical order, No. i in systematic and alphabetical order. The systematic arrangement may be conveniently divided into nine classes, viz. : — L Religion and sacred subjects. II. Mythology, and Greek and Roman antiquities. III. Historical events. IV. Heraldry, numismatics, emblems. V. Feasts, ceremonies, manners and customs, costumes. VI. Sciences, arts, and trades. VII. Caricatures. VIII. Geographical charts and maps, plans of towns. IX. Portraits. Special slips or check-lists should be made for works in progress of printing, and for reviews and periodicals of every nature. These publications are only placed in the library, (and consequently in the alphabetical and systematic catalogues) in complete volumes. It is necessary, therefore, to use special slips, of which we present several models. For works in progress of publishing one will mark on the slip No. i the day each part is received, to what volume it belongs, the number of the part itself, and of the plates it contains. For periodicals it will be sufficient to cancel time after time, on slips Nos. 2-5, the number corresponding with that of the part of the periodical received. 122 MANUAL OF BIBLIOGRAPHY. In order to illustrate the use of the following slips we have added an entry on each one as a specimen :' — ~ No. I. Check-list FOR Works in Progress. TITLE : Radnet. Costume Historique. ■ Supplied by Press-mark of parts . volumes 1 H. Grevel. . Store Room A. 9 • 3- Volume. * Part. Plates. Received. 2 'I 2 I 2 3 4 5 I 2 3 12 12 12. 12 12 2 colrd., lo plain M Jt March I2, i888 April 3 — May lo — June 12 — Nov. 5 — Jan. 6, 1889 Mar. 10 — April 25 — THE LIBRARY AND THE CATALOGUE. 1 23 No. 2. Check-list for Monthly Periodicals. TITLE : Blackwood's Magazine. 2/6 per month. Supplied by . . . Hill & Co., 52, Key Street, E.C. Press-mark of numbers . Store Room B. volumes . 27 . 6. 1889. I. Reed I Jan. 2nd 2 Feb. Sth 3 Mar. ISt .Apr. ISt 5 May 3rd 6 June ISt 7 July 2nd \ 8 Aug. ISt 9 Sept. 2[id 10 Oct. Sth II Nov. ISt 12 Dec. rst Title and Index. Dec. 25. 1890. 5. r Reed. I Jan. 2 Feb. ■3 Mar. 4 Apr. 5 May 6 June 7 July 8 Aug. 9 Sept. 10 Oct. 11 Nov. 12 Dec. Title and Index. 189I. Reed. I Jan. 2 Feb. 3 Mar. 4 Apr. 5 May 6 June ? July 8 Aug. 9 Sept. 10 Oct. II Nov. 12 Dec. ' Title and 'Index. 1892. s Reed. c Jan. 2 Feb. 3 Mar. 4 Apr. 5 May 6 June 7 July 8 Aug. 9 Sept. 10 Oct. II Nov. Dec. Title and Index. 1893- Reed. z Jan. 2 Feb. 3 Mar. 4 Apr. S May 6 June 7 July 8 Aug. 9 Sept. 10 Oct. II Nov. 12 Dec. Title .and Index. i 1 124 MANUAL OF BIBLIOGRAPHY. No. 3. Check-list for Bi-Monthly Periodicals. TITLE: Literary Churchman. /^. per number. Supplied by . . . SkefBngton, 163, Piccadilly, W. Press-fnark of numbers Store Rooip B. volumes . 50 . 4. 1890. I 14 2 IS 3 16 4 17 5 18 6 19 7 20 8 21 9 22 10 23 II 24 12 13 2S 26 1891. I 14 2 15 3 16 4 17 S 18 6 19 7 20 8 21 9 22 10 II 12 13 23 24 25 26 1892. I 14 2 15 3 16 4 17 5 18 6 19 7 20 8 21 9 22 10 23 II 24 12 13 2S 26 1893. I 14 2 IS 3 16 4 17 S 18 6 19 7 20 8 21 9 22 10 23 II 12 : 13 24 25 26 1894. . I 14 2 15 3 16 4 ■ 17 s 6 7 8 9 10 II 12 13 18 19 20 21 22 23- 24 25 26 1 Directions. — Tick or cancel each number as received. THE LIBRARY AND THE CATALOGUE, 1 25 No. 4. Check-list for Weekly Periodicals. TITLE : Le Moniteur Diplomatique. 22s. 6d. per ann. Supplied by . . . H. Grevel, King Street Press-mark of members . Drawer 29. : volumes . 5.1. W.C. 1890. I 2 3 4 S 6 7 8 9 10 II 12 13 14 IS 16 29 42 17 30 43 18 31 44 19 32 20 21 22 23 24 25 26 1 27 1 28 i 33 34 35 36 37 38 39 52 40 41 45 46 47 48 49 SO 51 1891. I 2 3 4 S 6 1 7 8 9 1 10 ! 11 12 13 14 IS' 16 17 18 j 19 i 20 21 22 23 1 24 25 26 27 28 29 42 30 43 31 44 32 33 34 1 35 36 37 50 38 39 40 j 41 45 46 t 47 48 49 51 ; 52 Directfons.- -Tic! 'Cox cancel each num ber as "receiv ed. ' 126 MANUAL OF BIBLIOGRAPHY. No. 5. Check-list for Daily Periodicals. Front. TITLE : The Daily Graphic, id. Supplied by . . Jones & Co., 15, P. N. Sq., E.G. Press-mark of numbers . Store Room F. volumes . 35 . i. i8go. I 14 27. 40 53 2 15 28 41 54 3 16 29 42 55 4. 17 33- •43 56 5 18 31 44 57 6 19 32 45 58 7 20 33 46 59 8 21 34 47 60 9 22 35 48 61 10 23 36 49 62 n 24 37 50 63- 12 25 38 SI 64 77 90 103 116 129 13 26 39 .52 65 78 91 104 117 130 '66' 79 92 105 118 67 80 93 io5 119 68 81 94 107 120 69 82 95 108 121 70 83 96 109 122 71 84 91 no 123 72 85 98 III 124 73 86 99 112 125 74 87 100 "3 126 75 88 lOI 114 127 76 89 102 "5 128 See other side. THE LIBRARY AND THE CATALOGUE. 127 N 0. 5. I Jack 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 •47 148 149 ISO 151 152 153 154 155 156 IS7 158 159 1 60 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 i8i 182 183 196 184 197 185 198 186 199 187 200 188 201 189 202 190 203 191 204 192 205 193 194 195 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 .228 229 230 231 232 233 234 23s 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 284 272 2S5 273 286 274 275 276 277 278 279 280 281 282 283 287 288 289 290 291 292 293 294 29s 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 3" 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350. 351 352 353 354 355 356 357 358 359 360 361 362 363 364 128 MANUAL OF BIBLIOGRAPHY. "Now that the book has been examined under -all aspects; let us pass on to the arrangement of books- in the library. Arrangement. — We have already said elsewhere that a systematic arrangement is not always imperative i indeed, in a small library it is preferable, for economy of space and for the general appearance, that the books should be disposed according to sizes ; but whether arranged according to size or subject, the bibliophile must never forget that a book ought not to be sought for, but merely to be taken at will. To obtain this result the place of a book on the shelves should be marked on the two copies of the catalogue card, and in or on the book itself; thus, anyone finding the title of a book among the cards of the alphabetic or systematic catalogues, will see at once where the book is to be found ; while the indication of the arrangement marked in the book (technically called the press-mark) will show where the book is to be replaced, when done with, without necessitating a fresh reference to the catalogue. And now it only remains to fix the class to which the book' belongs, and mark this classification on the card and repeat it in the volume itself. This last operation is but little used, but we believe we have proved its utility when speaking of book-plates. Our examination ,of the book has already taught us to what class or category it belongs, and in doubtful cases we can always have recourse to the large bibliographies mentioned in the list of books at the end of this volume. When a book contains works on several subjects, a cross- reference card must be made for each. THE LIBRARY AND THE CATALOGUE. 1 29 Let us now consider a few of the bibliographical systems, and see which will be the best to adopt. Bibliographical Systems. — The first days of bibliography carry us back to an epoch antecedent to the invention of printing. It was first employed for manuscripts, as is proved by, among other documents, the catalogue of the library of Saint Emmeran at Ratisbon, compiled in 1347. This library was so rich in MSS. that the cus- todians were obliged to compile the catalogue according to a systematic order, dividing it into seven classes, and thus forming one of the first bibliographical systems known. Mr. Edwards, however, in his Memoirs of Libraries, vol. ii., gives a still earlier system, which was employed in the Monastic Library of St. Riquier, A.D. 831. It is divided into five classes, viz. : — I. Bibles and Biblical commentaries. II. Fathers of the Church. III. Grammarians. IV. Historians. V. Service Books. It then became customary to call the order observed in any classification whatsoever, of works, printed or MS., forming a library or catalogue of books, a bibliographical system. The first catalogue of printed books which approaches the character of a bibliographical classification is that which Aldus Manutius in 1498 gave on a single sheet ; a list of Libri Greed impressi, which contains fourteen articles divided into five classes : — 1. Grammatica. 4. Philosophia. 2. Poetica. 5. Sacra Scriptura. 3. Logica. ' In the middle of the following century (1546) a 9 I30 MANUAL OF BIBLIOGRAPHY. catalogue of Robert Stephanus was divided into fourteen classes : — I. Hebrsea. 8, Rhetorica. 2. Grseca. 9. Oratoria. 3. Sacra. 10. Dialectica. 4. Prophana. II. Philosophica. 5. Grammatica. ' 12. Arithmetica. 6. Poetica. 13. Geometrica. 7. Historica. 14. Medica. The first bibliographical system was published in I S48"by Conrad Gesner, and was in later years brought to perfection by him. There are about 130 bibliographical systems known belonging to all ages : i to the fourteenth century, i to the fifteenth century, 10 to the sixteenth century, 17 to the seventeenth century, 25 to the eighteenth century, and "jt to the nineteenth century. Of this number 46 are German, 41 French, 14 English, 14 , Italian, 4 Spanish, 2 Belgian, 2 Arabic, 2 Russian, i Swiss, I Dutch, I Danish, and several American. A critical enumeration of the most important biblio- graphical systems, up to the first year of the present century, was attempted by several bibliographers, as Peignot, Achard, Home, Constantin, Edwards, and more recently by Collan, Petzholdt, and Vigfes, all of which authors it may be useful to consult. The bibliographical systems which have appeared up to the present may be divided into two categories — philosophical and utilitarian; but none have yet reached the perfection to be desired, perhaps because it is impossible to reach it. In most cases it has proved difficult to obtain an agreement between the divisions and the innumerable subdivisions. THE LIBRARY AND THE CATALOGUE. 131 Philosophical systems have generally the defect of presuming in the reader a marvellous aptitude of placing himself in relation with the spirit of the author ; that is, a force of intelligence superior to the common level, whilst, although the utilitarian systems do not perhaps preserve a strictly scientific arrangement, at least they present in a clearer order the succession of ideas methodically classified. Among all the utilitarian systems we firmly believe _ that by Brunet to be the best arranged, since it can be applied either to a large library or to a small collection of books, easily lending itself to the enlargement or con- densation of its divisions according to the requirements of the bibliophile who adopts it. In England, for ex- ample, it would not be necessary to have so many subdivisions for the History of France as are, assigned to it by Brunet, whilst more would be required for the History of Great Britain. Thus, also, the bibliophile who collected works of art would create many sub- divisions for Pictures, Sculpture, Architecture, Engrav- ings, etc., in place of the single subdivision given by Brunet to Fine Arts. Brunet's system is divided into five large classes, as in the table given on p. 132. These five classes are divided into branches, as in the table ; these branches have divisions and subdivisions. The subdivisions will only be of use in the arrange- ment of a large library, or of a special collection ; for these the reader should refer to the sixth volume of Brunet's Manuel du Libraire (edit. 1860-65) ; -we shall limit ourselves to presenting the order of the classes, with their branches and divisions (pp. 133 et seqq.). 132 MANUAL OF BIBLIOGRAPHY. i en 1. Historical pro- legomena. II. Universal his- tory, ancient and modern. III. History of reli- gions and of superstitions. IV. Ancient history. V. Modern history. VI. Historical para- lipomena. VII. Miscellanies and encyclopaedic dictionaries. VIII. The principal lite- rary, scientific, and political periodicals, etc. I. Linguistics. II. Rhetoric. III. Poetry. III.* Dramatic poetry. IV. Prose fiction. V. Philology. VI. Dialogues,etc. VII. Letters, epis- tles. VIII. Polygraphy. IX. Collection of works and of extracts from dif- ferent au- thors. Mis- cellanies. i < a w u a u to I. Philosophical sciences. II. Physics and Chemistry. III. Natural science. IV. Medical science. V. Mathematics. VI. Appendix to science. VII. Arts. VIII. Mechanics and trade arts. IX. Gymnastic exer- m tiiD o 1 (4 u Q Introduction. 1. Law of nature and of nations. II. Constitutional law. III. Civil and crim- inal law. IV. Canon or ec- clesiastical law. i 3 o 1. floly Scriptures. 11. Liturgies. III. Councils. IV. Fathers of the Church. V. Theologians. VI. Singular opin- ions. VII. Jewish religion. VIII. Religions of the East. IX. Appendix to Theology. THE LIBRARY AND THE CATALOGUE. 1 33 THEOLOGY. L Holy Scriptures. 1. Texts and versions. 2. Interpretations, and commentators of the Scriptures. 3. Sacred philology. II. Liturgies. 1. Treatises on the rites and ceremonies of the Church, and especially the Divine offices. 2. Liturgies in various languages. 3. ,, of the Greek and Eastern Churches. 4. ,, „ Latin Church. 5. „ „ Gallican Church. 6. Mozarabic and other special liturgies. 7. Anglican liturgies. III. Councils. 1. Treatises concerning the Councils and Synods. 2. Collections of Councils. 3. Councils, general. 4. „ national, provincial, and diocesan. IV. Fathers of the Church. 1. Introduction to the study of the Fathers. 2. Collections, extracts, and fragments of their works. 3. Works of the Greek Fathers. 4. „ „ Latin Fathers and other ecclesiastical writers. 5. „ „ Armenian Fathers. V. Theologians. 1. Scholastic and dogmatic theology. 2. Moral theology. 3. Catechetical theology. 4. Parenetic theology, or sermons, homilies, etc. 5. Ascetic and mystic theology. 6. Polemic „ ,, 7. Theologians of other than the Roman Cathohc Church. VI. Singular opinions. 1. Ochino, Postel, Bruno-Nolano, Beverland, etc. 2. lUuminati and other fanatics. 134 MANUAL OF BIBLIOGRAPHY. VII. Jewish religion. Doctrines, cult, institutions. VIII. Religions of the East. (The history of Paganism and of Oriental religions form an appendix to the history of religions.) 1. Sacred books of various peoples. 2. Mahometanism. 3. Magism, or religion of the ancient Persians ; Brahman ism, or religion of the Indians. 4. Buddhism and Taouism, or religions of China. 5. Sabeism, etc. IX. Appendix to Theology. Philosophical work on the Divinity, etc. 1. Deists, etc. 2. Atheists. JURISPRUDENCE. Introduction. (a) History of legislation and tribunals. (b) Study of jurisprudence. (c) Philosophy of the law. (d) Dictionaries and general treatises. I. Law of nature and nations. 1. General treatises. 2. International law. 3. Special works relating to the law of nations. II. Constitutional law. III. Civil and criminal law. 1. General treatises. 2. Laws of ancient nations, other than the Romans. 3. Roman law. 4. Law of France. 5. Maritime law. 6. Law of England, Italy, Germany, etc. THE LIBRARY AND THE CATALOGUE. 1 35 IV. Canon or ecclesiastical law. 1. Introduction. Elementary treatises, dictionaries, etc. 2. Papal letters, canons, decretals, and bulls. 3. General treatises on ecclesiastical law. Special works on canonical matters, etc. 4. Ecclesiastical jurisdiction of the Papal Court. 5. Treatises for and against ecclesiastical authority. 6. French church. 7. Foreign ecclesiastical law, and Statutes of religious Order^. 8. Appendix. Laws of non-Catholic churches. SCIENCES AND ARTS. Introduction and Dictionaries. I. Philosophical sciences. 1. Introduction. History and dictionaries. 2. Philosophy, general, and miscellanies. 3. Logic. 4. Metaphysics. 5. Moral philosophy. 6. ,, ,, , application of. (Economy. Politics, political economy, with applica- tion of this science to Social economy.) II. Physics and Chemistry. 1. Physics. 2. Chenaistry. III. Natural science. 1. Miscellaneous, Dictionaries, etc. 2. Geology. 3. Botany. 4. Zoology, or Natural history of animals. 5. Miscellanies of Natural history and Physics. 6. Phenomena of nature ; Monsters, Prodigies, etc. 7. Cabinets and collections of Natural history, preparation and preservation of objects. 8. Appendix to Natural history. Agriculture, and Rural economy. 136 MANUAL OF BIBLIOGRAPHY. IV. Medical science. 1. Introduction. 2. General treatises. 3. Anatomy. 4. Physiology. 5. Hygiene. 6. Medical pathology. 7. Semeiology, or works on the signs of maladies. 8. Special diseases. 9. Therapeutics, or the art of healing,; materia medica, general and special. 10. Legal medicine. 11. Medical periodicals, journals, etc. 12. Surgery. 13. Pharmacy and Pharmacopoeia. Medical secrets. 14. Veterinary medicine. V. Mathematics. 1. General treatises. 2. Pure mathematics. 3. Applied mathematics. (Calculation of probabilities : mechanics, astronomy, optics, perspective naviga- tion, etc., military art, engineering.) VI. Appendix to the Sciences. 1. Occult philosophy. (Introduction, history, dictionaries, cabala, magic, apparitions, demons, the possessed, exorcisms, sorcery, etc. Divination by dreams, palmistry, and cards.) 2. Alchemy. (History and collections. Ancient and modern alchemists, chemical medicine.) 3. Astrology. Astrological predictions and other prognos- tications. VII. Arts. 1. Mnemonics, or art of memory, natural and artificial. 2. V\^riting and other means of representing speech. (Caligraphy, polygraphy, cryptography, stenography, tacheography, telegraphy, etc. Typography.) 3. Fine Arts. (Introduction, history, dictionaries. Philo- THE LIBRARY AND THE CATALOGUE. 1 37 sophy of the fine arts, art of design, lithography, etc. ; photography, painting, engraving, sculpture, and architecture ; music.) VIIL Mechanical arts and trades. 1. Dictionaries and general treatises ; collections, industrial exhibitions. 2. Pyrotechny : fireworks, iron founding, glass, etc. 3. Art of turning ; industrial manufactures. Needlework, trades. 4. Treatises on cookery. IX. Gymnastic exercises. 1. Wrestling and fencing. 2. Horse riding, bicycling. 3. Swimming. 4. Dancing. 5. Hunting and fishing. X. Games of chance, etc. BELLES-LETTRES. I. Linguistics. 1. Introduction. (Theconnectionof writing with language, origin and formation of languages, etymology, gram- mar and grammatical essays, comparison of languages, alphabets, polyglot grammars and dictionaries.) 2. European languages, ancient and modern. 3. Asiatic languages. 4. African „ 5. American ,, II. Rhetoric. Rhetoricians. 1. Introduction. 2. Greek. 3. Ancient Latin, and modern rhetoricians who have written in Latin. 4. English, French, Italian, and Spanish. 5. Oriental. 138 MANUAL OF BIBLIOGRAPHY. Orators. 1. Greek. 2. Ancient Latin. 3. Modern orators who have written in Latin. 4. Enghsh, French, ItaUan, and Spanish. 5. Oriental. III. Poetry. Introduction and general treatises. 1. Collections of poetry in various languages 2. Greek poets. 3. Latin „ 4. French „ 5. Italian ,, 6. Spanish „ 7. Portuguese poets. 8. German „ 9. Flemish and Dutch poets. 10. Scandinavian poets. 11. English poets. 12. Scotch and Irish poets. 13. Illyrian, Servian, Roumanian, Hungarian, Bohemian, Lithuanian, Esthonian, Polish, and Russian poets. 14. Oriental poets. 1 5. Hebrew and Syriac poets. 16. Arabic, Persian, Armenian, and Turkish poets. 17. Sanscrit, Pali, Hindustani, Cingalese, Chinese, and Malay poets. III.* Poetry (2nd part). Dramatic Poetry. 1. General theatrical history, writings for and against the theatre, and general treatises on the dramatic art. 2. Greek dramatic poets. 3. Latin dramatic poets, ancient. 4. Dramatic poets of the Middle Ages and of modern times who have written in Latin. 5. French dramatic poets. 6. Italian „ „ 7. Spanish „ „ 8. Portuguese „ ,, THE LIBRARY AND THE CATALOGUE. 1 39 9. German and Dutch dramatic poets. 10. Danish and Swedish „ „ 11. English dramatic poets. 12. lUyrian, Polish, and Russian dramatic poets. 13. Turkish, Indian, and Chinese „ ,, IV. Prose fiction. 1. Apologues, or fables in different, languages. 2. Romances, tales, and novels. Appendix to Title IV. 1. Facetiae and burlesques. 2. Dissertations, curious, humorous, etc. V. Philology. 1. Philology. 2. Satires, general and personal. 3. Gnomics, sententise, apophthegms, adages, proverbs. 4. Bon mots, ana, pens^es, etc. 5. Symbols, emblems, devices, enigmas. VI., Dialogues and Conversations. VII. Epistolary writers, 1. Greek. 2. Latin, ancient. 3. „ modern, — who have written in Latin. 4. French. 5. Italian, Spanish, and Portuguese. 6. English and German. 7. Oriental. VIII. Polygraphic writers. 1. Greek. 2. Ancient Latin. 3. Modern Latin, or moderns who have written in Latin. 4. French. 5. Italian. 6. Spanish and Portuguese. 7. German. 8. Danish, Swedish, Russian, and Hungarian. 9. English and Anglo-American. 140 MANUAL OF BIBLIOGRAPHY. IX. Collections of works and extracts from various authors, miscellanies, etc. 1. Ancient Greek and Latin. 2. Modern „ ,, 3. French. 4. Italian, Spanish, and Portuguese. 5. German 6. English and Anglo-American. 7. Hebrew, Arabic, and Persian. 8. Different dialects of India, Indo-China, China, etc. HISTORY. I. Introduction. 1. Treatises on the manner of writing and studying history, philosophy of history, historical atlases, dictionaries. 2. Geography. 2.* Travels. 3. Chronology. II. Universal history, ancient and m,odern. 1. Ancient chronicles. 2. Works on universal history, written since the com- mencement of the sixteenth century. 3. Special treatises on universal history : habits and customs. III. History of religions and superstitions. 1. General history of religions. (History of the Christian Church : general and special histories of heresies and schisms.) 2. General history of religions, Part II. Pagan religions (Polytheism and Pantheism) considered from a mythological point of view. IV. Ancient history. 1. Origin of nations. 2. General and special histories of various ancient peoples. 3. Historical miscellanies : civilization, government, etc. 4. History of the Jews. 5. History of the Phoenicians, Babylonians, Egyptians, Persians, and other ancient peoples. THE LIBRARY AND THE CATALOGUE. 141 6. General and special histories of Greece. 7. History of Italy before the time of the Romans. 8. General and special history of the Romans and their Emperors. IV.* Appendix to ancient history. 1. Byzantine Empire. 2. Historyof the migration of the Scythians, Goths, Vandals, Visigoths, Huns, etc., and of their invasions in Europe during the first ages of the Christian era. V. Modern history. General Histories. Europe. Introduction. 1. History of France. 2. History of Belgium, containing the ancient'provinces 01 Brabant, Flanders, Hainault, Namur, Luxembourg, Limbourg, Liege, and Holland. 2.* Belgian history. Part II. : Holland. 3. History of Italy. 4. ,, the Ionian Isles, Sardinia, Corsica,'and Malta. 5. ,, Switzerland. 6. ,, Spain. 7. „■ Portugal. 7.«' ,, ■ the Balearic Islands, etc. 8. ,, Germany. g. „ Great Britain and Ireland. 10. Scandinavian history. 11. History of Russia. 12. ,, Poland, Lithuania, and the Ukrain. 13. General history of the Ottoman Empire, vyith theihistory of the Turkish possessions in Europe, and comprising Moldavia, Bulgaria, and Servia. 14. History of Greece and its islands. 15. „ the nomadic hordes, commonly called Bo- hemians, or Gipsies, who overrun Europe, and whose origin is supposed to be Indian. 142 MANUAL OF BIBLIOGRAPHY. Collections relating to the history of Asia, Africa,\ and America, including the history of modem colonies founded by Europeans. Asia. 1. General history. 2. History of the Arabians and of Islamism. 3. „ Turkish possessions in Asia, and comprising Syria and Armenia. 4. History of a part of the coast of the Caspian Sea, and of the Caucasian countries. 5. History of Persia, Cabul, Turkestan, etc. 6. ,, India. 7. „ the Indian archipelago : Ceylon, Sumatra, Java, Philippine Islands, etc. 8. History of a part of Central and Northern Asia, com- prising India beyond the Ganges, Thibet, Mongolia, and Tartary. 9. History of China and Corea. 10. „ Japan. 11. ,, the Russian possessions in Asia. 12. Appendix to the history of Asia: Australia, New Zea- land, and Polynesia. Africa. 1. General history. 2. History of Egypt and Nubia. 3. „ the barbaric states, including Algeria. 4. ,, the central, western, and eastern regions ot Africa. 5. History of African islands. America. 1. General history. 2. North America. 3. The Antilles. 4. South America, THE LIBRARY AND THE CATALOGUE. 1 43 VI. Historical paralipomenes. 1. History of chivalry and noblesse. 2. „ public solemnities, pomps, and ceremonies. 3. Archaeology. 3.* ,, Part II. Archaeography. 4. Literary history. 5. Biography, specially that of literary men and artists. 6. Bibliography. Collections and encyclopaedic dictionaries. The principal literary, scientific, and political journals. As we have said, among all the bibliographical systems we counsel the book-lover to give preference to that orBrunet, and we have given our reasons for doing so; nevertheless in practical work some bibliophiles have preferred systems which, by enlarging the number of the classes, render superfluous the branches, divisions, and subdivisions. The following, which from among these systems seems to us to suit all the exigences of the bibliophile, is divided into eighteen classes. I. Religion. II. Jurisprudence. . III. Philosophy and Morals. IV. Occult Sciences. V. Moral and political science. VI. Military science. Marine and navigation, VII. Mathematical sciences. VIII. Natural sciences. IX. Medicine, surgery, hygiene. X. Agricultural sciences. XI. Industrial arts. XII. History. XIII. Geography and travels. XIV. Literature, ancient and modern. A. Prose. B. Poetry.' c. Drama. 144 MANUAL OF BIBLIOGRAPHY. XV. Fine arts. XVI. Philology. XVII. Education and pedagogy. XVIII. Miscellaneous. (Encyclopaedias, academic statutes, bibliography, hunting, fishing, games, etc.) When once you have decided to what class, branch, and division the book belongs which you have been examining, it should be marked oh the catalogue card, and also on the book itself (the final blank flyleaf will be found convenient), and then at last the book is ready to be placed in the library, and the cards (or slips) con- taining the name, etc., of the book can be placed, one in the general alphabetical order, and the other in the systematic arrangement. Alphabetical Arrangement. — Alphabetic classification presents no difficulties whatever,, merely requiring a little attention in the rigorous following of the alphabetic order in the syllabic composition of the names. In order to obtain this result commence by separating the catalogue cards into as many divisions as there are letters in the alphabet. The first heap will then be composed of all the cards which commence with words beginning with A, the second heap with those which commence with B, and so on. Then take the A division, and arrange it according to the second letter of the first word, thus : — Aa, Ab, Ac, Ad, etc. ; repeat the same operation for the third letter, e.g., Aab, Aac, Aad, etc., and so on. The diphthongs a, 6, u, in foreign languages, corre- spond to ce, a, ue. The alphabetical order of the cards should be followed THE LIBRARY AND THE CATALOGUE. 1 45 Strictly, not only for the first, but also for the second and following words. For example : — Poor. Poor Law Commission. Poor Rate Valuation. Vowels which are suppressed or elided are treated as if they still existed in the words, e.g. : — , Mc as if written Mac. St. „ j, Saint. But, as we have said, the alphabetical arrangement requires but little attention, and after the first attempts the work will become easy and expeditious. Many useful hints on this subject will be found in Wheatley's What is an Index? and Blackburn's Catalogue Titles, full particulars of which are given in the list of books .at the end. As to the systematic catalogue, the cards which com- pose it should be first divided into classes, the classes into branches, these branches into divisions ; then the cards resulting from each division should be arranged alphabetically according to the above system. Preservation of Books. — The principal and indeed almost the only true requisites for the preservation of books are fresh air and cleanliness. The greatest damage to books and bookbindings pro- ceeds from damp, rats, mice, bookworms, and other vermin. To combat damp, heat and air are necessary, to obtain which one can always open the windows on fine warm days, while in the winter it will be necessary to use the stpve moderately, in order to absorb the natural humidity of the atmosphere. It is not difficult to banish rats and mice as soon as 10 146 MANUAL OF BIBLIOGRAPHY. their presence is observed, by seeking and stopping up the holes by which they introduce themselves into the library, and by using some kind of poison, vermin killer, or traps. It is as well, however, not to call in the aid of a cat, as unless well trained the remedy might be worse than the disease. Bookworms are the worst enemies with which we have to combat ; they introduce themselves into the library in the binding of the books themselves, the woodwork of the presses produces them, and they find in the- dust on the shelves a means of subsistence ; besides which it is in the dust that the butterfly and beetle deposit their eggs, as it facilitates their preserva- tion and hatching. He who has not seen great volumes partly destroyed by these minute insects, cannot form any idea of the amount of damage they are able to cause. Unhappily we cannot banish, but only guard against them, by the spreading of camphor along the backs of the shelves, or by placing on the shelves small vessels containing a strong infusion of tobacco ; but, as we have said, these are merely palliatives, and nothing will succeed better against bookworms than cleanliness, cleanliness, and always cleanliness. Gently beat the volumes outside an open window on a fine day, brush the top edges, wipe them carefully with a warm dry clqth, and clean out the dust from the presses and shelves. This repeated twice, thrice, or four times in the year, is the only true remedy for the preservation of books. Restoration of Books and Bindings. — By using care one may easily preserve books in a good state ; cases often occur, however, when one wishes to restore some volume which has been soiled, or perhaps to put into a THE LIBRARY AND THE CATALOGUE. 1 47 good .state some book which was imperfect or torn when bought. The art of restoring books consists in bleaching the paper on which it is printed, washing out of it all species of stains, repairing the damages caused by worms, tears, etc., and then restoring the paper to its original strength. Ink stains are easily washed out with oxygenated muriatic acid, and oil stains with lye, but care must be taken that they do not touch the printed part, as they may wash out the printing. The stains of fruit or tobacco juice may be simply washed in a bath of pure water containing a few drops of oxygenated muriatic acid. The art of restoring books, even when one knows all the formulae and processes, always requires much practice, much prudence, and much patience ; so we advise any one who has books or engravings which require washing, to hand them over to some specialist in the art, rather than run the risk of spoiling a book, perhaps very valuable ; for by sparing a few shillings in the first instance one may at the end of the account outrun the saving. Books to Consult. — In order that the library may not want an essential part of its , completeness, a collection of books of reference should be formed by the biblio- phile for use on occasions when further information is required on a subject than is furnished by the owner's knowledge. In point of fact bibliography is not to be learned from manuals alone, but also requires much study and time spent in carefully examining a great quantity of books of all kinds and all ages. For this reason the bibliophile cannot dispense, with a collection 148 MANUAL OF BIBLIOGRAPHY. of books, always to be kept handy, which will facilitate the research that at any moment he may wish to make. This special collection should consist of: — Principal works on Bibliography. Catalogues of all kinds, of libraries, booksellers, sales, etc. Dictionaries of Biography, ancient and modern. „ Geography „ „ „ „ History „ „ Languages „ The bibliophile cannot possess too many catalogues, be they old or new ; simply a list of names or illustrated with notes ; priced or unpriced, they often serve as a guide to the finding of a book, and furnish information as to editions and prices. From the careful examination of many catalogues one may acquire that knowledge of books and their commercial value which is one of the most indispensable requisites of the bibliophile. BOOKS OF REFERENCE. 1 49 A FEW BOOKS OF REFERENCE ON THE SUBJECTS DEALT WITH IN THE TEXT. I. Printing and Printers. Ames (Joseph) and Herbert (William). — Typographical Antiqui- ties, or a history of printing in England, Scotland, Ireland, etc. New edition by T. F. Dibdin. 4 vols. 4to. London, 1 8 10-19. Bandini (A. M.). — De Florentina Juntarum Typographia ejusque censoribus. II. partes. 8vo. Lucae, 1 791. Berlan ( — ). — La Invenzione della Stampa a Tipo Mobile fuso rivendicata all' Italia. Svo. Firenze; 1882. Bigmon & Wyman. — Bibliography of Printing. 3 vols. 4to. 1870. Blades (W.). — The Life and Typography of William Caxton, England's first printer. 2 vols. 4to. London, 1861. ■■ — I vol. Svo. London, 1877. Cheap edition. 8vo. London, 188 1. How to tell a Caxton. 8vo. London, 1870. Boulmier (].). — Estienne Dolet, sa vie, ses oeuvres, son martyr. Svo. , Paris, 1857. David (E.). — Notice sur la vie et les ouvrages de Firmin Didot. Svo. Paris, n.d. Degeorge (L.). — La Maison Plantin k Anvers. 2nd edition. Svo. Paris, 1878. De Vinne (Theod.). — The Invention of Printing : a collection of facts and opinions descriptive of early prints, etc. Sq. Svo. London, 1877. Dupont (P.). — Histoire de I'lmprimerie. 2 vols. 4to. Paris, 1854. Falkenstein (K.). — Geschichte der Buchdruckerkunst in ihrer Entstehung und Ausbildung, etc. 4toi Leipzig, 1840. ■ — — 2nd edition. 4to. Leipzig, 1856. ISO MANUAL OF BIBLIOGRAPHY. Fumagalli (C.)- — Dei primi Libri a Stampa in Italia e special- mente di un codice Sublacense impresso avanti il Lattanzio. 8vo. Lugano, 1 87 5. Hansard (J. C.)— Typographia : the origin and progress of the art of Printing. 8vo. London, 1825. Hulst (F. van).— Chr. Plantin. 2nd edition: 8vo. Lifege, 1846. Humphreys (H. Noel). — History of the Art of Printing. 100 illustrations. Folio. London, 1867. Johnson (John). — Typographia, or the printer's instructor. 2 vols. l2mo and 8vo. London, 1824. Lama (G.). — Vita del cav Gio. Batt. Bodoni, tipografo Italiano. 2 vols. , 4to. Parma, 18 16. Lewis (J.). — The Life of Mayster Wyllyam Caxton, . . . the first printer in England. 8vo. London, 1737. Maittaire (M.). — Annales Typographici ab artis inventse origine ad annum 1664. 5 vols. 4to. Hagse, 1719-41. Manni (D. M.). — Vita di Aldo Pio Manuzio. 8vo. Venezia, 1759. Meerman (G.). — Origines Typographicse. 2 vols. 4to. Hagse Comitum, 1765. Moreni (D.). — Annali della Tipografia Fiorentina di Lorenzo Torrentino. 2nd edition. 8vo. Firenze, 18 19. Orlandi (P. A.). — Origine e progressi della Stampa, o sia dell' arte impressoria ; e notizie delle opere stampate dall' anno 1457, sino all' anno 1550. 4to. Bologna, 1772. dttino (G.) — Biblioteca Tipographica. 8vo. Firenze, 1 871. Panzer (G. W.). — Annales Typographici ab artis inventae origine ad annum 1536, etc. II vols. 4to. Norimb., 1793 — 1803. Pieters (C). — Annales de I'lmprimerie des Elzevirs, ou Histoire de la famille des Elzevirs, et de ses editions. 2nd edition. ' ' 8vo. Gand, 1858. Renouard (A. A.). — Annales de I'lmprimerie des Allies, ou Histoire des trois Manuces et de leurs editions. 3rd edition. 8vo. Paris, 1834. Annales de I'lmprimerie des Estienne, ou Histoire de la famille des Estienne et de ses editions. 2nd edition. 8vo. Paris, 1843. Savage (W.). — Dictionary of Printing. 8vo. London, 1841. Saxius (J. Ant.). — Historia Literario-Typographica Mediolanen- sis, etc. Fol. Mediolani, 1745. BOOKS OF REFERENCE. I S I Schoepflin (J. D.). — Vindicise Typographicse. 4to. Argent, 1760. Silvestre (L. C). — Marques typographiques ou recueil des mono- grammes, chiffres, enseignes, embl^mes, devises, r6bus et fluerons des libraires et imprimeurs qui ont exerc6 en France depuis Tintroduction de rimprimerie en 1470, jusqu'^. la fin du seizi&me sifecle, etc. 2 parts. 8vo. Paris, 1853-67. Sotheby (S. L.). — Principia Typographica : The block books, or xylographic delineations of sacred history issued in Holland, Flanders, and Germany during the fifteenth century, etc. 3 vols. 4to. London, 1858. [Vol. III. is devoted to the paper-marks of that period.] Timperley (C. H.). — A Dictionary of Printers and Printing, with the progress of literature, ancient and modern, etc. 8vo. London, 1839. Van der Linde (Dr.). — The Haarlem Legend of the Invention of Printing. Translated by J. H. Hessels. 8vo. London, 1871. Zaccaria (G.). — Catalogo ragionato di opere stampate, per Francesco Marcolino da Forli, con memorie biografiche . . . da R. de Minicis. 8vo. Fermo, 1850. Inventaire des marques d'imprimeurs et de libraires, avec chiffres reproduits en facsimile pr6c6d^e d'une essai d'interprfitation de signes sp6ciaux, par P. Delalain. Fasc. I, Ville de Paris. „ 2, ,, „ (suite), Lyon, et autres villes de France. „ 3, Allemagne, Alsace, Autriche-Hongrie, Belgique, Danemark, Espagne, Grande-Bretagne, Italie, Pays Bas, Portugal, Suisse. (All published.; , 4to. Paris, 1888-9. [See also Brunet's Manuel (edit. 1860-65), Tome V., pp. 1 696- 1 707, and in text ; Home's Introduction to Biblio- graphy, App. pp. lx.-lxxxi.] Orlandi, Origine e Progressi della Stampa, at pp. 228-37 has the imprints of 94 printers. Thieny-Poux (O.), — Premiers monuments de I'lmprimerie en France au xv» Siecle. Folio. Paris, 1890. I 52 MANUAL OF BIBLIOGRAPHY. IL The Book. Bouchot (Henri). — The Book: its printers, illustrators, and binders, from Gutenberg to the present time. New edition, edited by H. Grevel. Roy. 8vo. London, 1890. De Bury (Richard). — Philobiblon. Edited and translated by E. C. Thomas. i2mo. London, 1888. Home (T. H;).— An Introduction to the Study of Bibliography, to which is prefixed a memoir on the public libraries of the Ancients. Illustrated. 2 vols. 8vo. London, 1814. Rouveyre (Edouard). — Connaissances nScessaires k un Biblio- phile, etc. Third edition. 2 vols. 8vo. Paris,' 1879-80. Power Oohn). — A Handy Book about Books, for book-lovers, book-buyers, and book-sellers. Bvo. London, 1870. Burton (J. H.). — The Book-Hunter, etc. New edition. 8vo. London, 1885. Bottiaud-Mermet( — ). — De la Bibliomanie. 8vo. Paris, 176 1. Breitkoff (J. G. J.). — Ueber Bibliographie und Bibliophilie. 4to. Leipzig, 1793. Gar (T.). — Letture de bibliologia. 8vo. Torino, 1868. Dibdin (T. F.).^The Bibliographical Decameron ; or. Ten Days' pleasant discourse on Illuminated MSS., and subjects con- nected with early Engravings, Typography, and Biblio- graphy. 3 vols. Roy. 8vo. London, 1817. ■ The Bibliomania, or Book-madness ; containing some account of the history, symptoms, and cure of this fatal disease* 8vo. London, 1809 ■■ '■ 8vo: London, 1875. Techener (J. and L.). — Histoire de la Bibliophilie. Fol. Paris, 1861. Book Prices Current: a record of the prices at which books have been sold at auction. (Published annually.) — volSi 8vo. London, 1887. Philomneste (jun.).—- Livres pay6s en vente publique 1,000 ft., et au dessus, depuis 1866 jusqu'a ce jour. 8vo. Bordeaux, 1877. La Serna' (C. de). — Memoire sur I'origine et le premier usage des registres, des signatures, et des chiffres dans I'art typo- graphique. 8vo. Bruxelles, an IV. BOOKS OF REFERENCE. 153 Recherches sur I'origine et le premier usage des registres, des signatures, des reclames, et des chiffres ide page, dans les premiers livres imprimis. 8vo. Paris, 1783: Philomneste (jun.). — Les livres cartonnes, essais bibliograph- iques. 8vo. Bruxelles, 1878. Querard (J. M.).— Livres perdus et exemplaires uniques. 8vo. Bordeaux, 1872. Lalanne (Lud.), — Curiosit6s Bibliographiques. i2mo. Paris, 1857. Wheatley (H. B.).— What is an Index ? A few notes on indexes and indexers. (Index Society, No. I.) 8vo. London, 1878. . Blades (William). ^The Enemies of Books. 8vo. London, 1880. IIL The Ornamentation of Books. La Marche (A. L. de). — Les Manuscrits et la Miniature. 8vo. Paris, n d. Bouchet (Henri). — Les Reliures d'Art k la Biblioth^que National. 80 plates, classified according to centuries. Svo. Paris, 1888. Brunet (G.). — fitudes sur la Reliure des Livres et sur les Col- lections de Bibliophiles C^lebres. Svo. Bordeaux, 1873. Gruel (L6on). — Manuel Historiq\ie et Bibliographique de 1' Ama- teur de Reliures. Imp. 4to. Paris, 1887, Hannett (John). — Bibliopegia, or bookbinding. In 2 parts. 6th edition. 8vo London, 1865. Histoire de la Bibliophilie. Recherches sur les bibliothSques des plus c6lebres amateurs, etc. 10 parts. Imp. fol. Paris, 1 861-4. Marius Michel (-^). — Essai sur la decoration exterieure . des Livres. 8vo. Paris, 1878. La Reliure Fran9aise, depuis I'invention de I'imprimerie jusqu' a la fin du 18^ sidcle. 4to. ibid., 1880. La Reliure Franjaise, commerciale et industrielle, etc. 4to. ibid., 1 88 1. 154 MANUAL OF BIBLIOGRAPHY. Nicholson (J. B.). — A Manual of the Art of Bookbincjing, etc. 8vo. Philad.; 1878. Ouaritch (B.) — Facsimiles of choice examples of historical, and artistic bookbindings in the 15th and i6th Centuries. Imp. 8vo. London, 1889. Zaehnsdorf (J. W.) — The art of bookbinding. Illustrated. 8vo. London, 1880. Guigard (J.). — Armorial du Bibliophile (Fran9ais). 2 vols, in I. Roy. 8vo. Paris, 1873. Nouvel Armorial du Bibliophile. 2 vols. Roy. 8vo. Paris, l8go. Reiffenberg (De). — Des Marques et Devises mises k leurs Eivres par un grand nombre d' Amateurs. 8vo. Paris, 1875. Tarbouriech (A.). — Les Livres d'Heures au seizi^me siecle. 8vo. Paris, 1865. Brunet (see post) has at the end of the 5th volume an im- portant " Notice sur les heures gothiques imprimSes a Paris k la fin du quinzieme siecle et dans une partie du seizi^me.'" Cohen (H.). — Guide de I'Amateur de livres k Vignettes (et k figures) du XVIII, siecle. 4th edition. 8vo. Paris, 1880. Didot (A. F.). — Essai typographique et bibliographique de la gravure sur bois. 8vo. Paris, 1863. Doyen (C ). — Cenni suUa Litografia. 8vo. Torino, 1874. Heineken (C. H. de). — Id6e g6n6rale d'une collection complete d'Estampes, avec une dissertation sur I'origine de la gravure, et sur les premiers livres d'images. 8vo. Leipzig, 1771. Iconographie des Estampes k sujets galants, . . . par M. le C. de J * * *. 8vo. Geneve, 1868. Lostalot (.A. de). — Les Proced6s de la Gravure. 8vo. Paris, 1882. Peignot (G.) — Essai historique sur la Lithographie. 8vo. Paris, 1819. Bonnardot (A.). — Essai sur I'Art de restaurer les Estampes et les Livres, on traite sur les meilleurs proced^s pour blanchir, detacher, d^colorer, reparer et conserver les estampes, livres, et dessins. 2nd edition. 8vo. Paris, 1858. De la Reparation des vieilles Reliures. ^vo. Hid., 1858. BOOKS OF REFERENCE. 155 IV. The Library and the Catalogue. Constantin (L. A.). — Bibliotheconomie : instructions surl'arrange- ment, la conservation et I'administration des bibliothfeques. l2mo. Paris, 1839. Cousin (Jean). — De I'organisation et de I'administration des Bibliotheques, publiques et privies, etc. 8vo. Paris, 1882. Edwards (E.). — Memoirs of Libraries, including a handbook of library economy. 2 vols. 8vo. London, 1859. Goodhugh (William). — The English Gentleman's Library Manual. Svo. London, 1827. Koeler (J. D.). — Sylloge aliquot scriptorum de bene ordin'anda et ornanda Bibliotheca. Svo. Francof, 1728. Namur (P.). — Manuel du Biblioth6caire. Svo. Brux, 1834. Petzholdt (J.). — Katechismus der Bibliothekenlehre Anleitung zur Einrichtung und Vervvaltung von Bibliotheken. i8mo. Leipzig, 1S56. Richard (J.). — L'Art de former une BibliothSque. Svo. Paris, 1S83. Vidal (L. J.). — Conseils pour la formation des Bibliotheques sp^ciales administratives, communales, professionelles, etc. Svo. Paris, 1864. Wheatley (H. B.). — How to form a Library. (Book-lovers' Library.) Fcap. Svo. London, 1S86. Collan ( — .). Om Bibliografiska Systemer och Biblioteksmetoder. Svo. Helsingfors, 1861 Petzholdt (J.). — Cronologische uebersicht von' Bibliographischen Systemen. Svo. Dresden, i860. [See also Edwards's Memoirs of Libraries, vol. ii., pp. 760-850.] Blackburn (C. F.). — Hints on Catalogue Titles and Index Entries, with a rough vocabulary of terms and abbreviations, chiefly from catalogues, and some passages from journeyings among books. Svo. London, 1S84. Cutter (C. A.). — Rules for a printed Dictionary Catalogue. (Special report on Public Libraries, U.S.A., Part II.) Svo. Washington, 1876. — ' — Second edition. Svo. ibid., 1SS9. 156 MANUAL OF BIBLIOGRAPHY. Jewett (C.) — On the construction of Catalogues of Libraries, and their publication by means of separate stereotyped titles. 8vo. Washington, 1853. Wheatley (H. B.). — How to Catalogue a Library. (Book-lovers' Library.) Fcap. Svo. London, 1889. Barbier (A. A.). — Dictionnaire des ouvrages Anonymes. 3""= edition. 4 vols. 8vo. Paris, 1872-80. Gushing (W.). — Initials and Pseudonyms : a dictionary of literary disguises. Series i and 2. 2 vols. 8vo. London, 1886-88. Ersch (J. S.).— Verzeichniss aller anonymischen schriften in der vierten Ausgabedes gelehrten Teutschlands fortgesetz, etc. Svo. Lemgo, 1794. Franklin (A.). — Dictionnaire des Noms, Surnoms, et Pseudonymes Latins de I'Histoire Litt6raire du Moyen Age (1100 to 1530). Svo. Paris', 1875. Halkett (S.) and Laing Q.). — A Dictionary of the Anonymous and Pseudonymous Literature of Great Britain. 4-vols. Svo. Edinb., 1882-89. Lancetti (V.). — Pseudonimia, ovvero tavoli alfabetiche de' nomi fintio supposti degli scrittori con la contrapposizione dei veri, ad uso dei bibliofili, etc. Svo Milano, 1836. Melzi (G.). — ^Dizionario di opere Anonime e Pseudo'nime di scrittori Italiani, etc. 3 vols. Svo. Milan, 1B48-59. Mylius - (J. C.).— Bibliotheca Anonymorum et Pseudonymorum Detectorum, ultra 4,000 scriptores, etc. Fol. Hamburgi, 1740. Querard (J. M.). — Les Auteurs d6guis6s de la Litt6rature Franfaise au XIX. siecle. Svo. Paris, 1845. Les Supercheries litt^raires d6voil6es. 2nd edition. 3 vols. Svo. Paris, 1869-70. Thomas (Ralph). — Handbook of Fictitious Names. Svo. London, 1868. Aggravating Ladies, being a list of works under the pseudonym of " A Lady," with preliminary suggestions on the art of describing books bibliographically. Svo. ibid., iSSo. Schmidt (A. G.). — Gallerie Deutscher Pseudonynfer schriftsteller vorzuglich des letzten Jahrzeheuts. 4to. Grimme, 1840. Wheeler (W. A.) — A Dictionary of the Noted Names of Fiction, including also familiar pseudonyms, surnames bestowed- on BOOKS OF REFERENCE, I 57 eminent men, and analogous popular appellations often referred to in literature and conversation. New edition, 8vo. London, 1870. Ex-libris (les) Franfais depuis leur origine jusqu'^ nos jours. Notes sur leur usage et leur curiosite. Bvo. Paris, 1874. Warren (J. L.).— A Guide to the Study of Book-plates. 8vo. London, 1880. Bibliographies. AUibone (S. A.). — A critical Dictionary of English Literature, and British and American Authors, living and deceased, from the earliest accounts to the middle of the 19th century. 3 vols. 8vo. Lond. and Philad., 1859-71. Biblioteca Italiana, o sia notizia dei libri rari Italian!, divisa in quattro parti. Edizione corretta, etc. 4 vols. Bvo. Milano, 1803. Brunet (J. C). — Manuel du Libraire et de I'Amateur de Livres, contenant : I, Un noveau dictionnaire bibliographique, dans lequel sont indiqu^s les livres les plus pr6cieux et les ouvrages les plus utiles tant anciens que modernes, avec des notes sur les diffSrentes editions qui ont €t€ faites, et des remarques pour en reconnaitre les contfefafons, etc. 2, Une table en form de catalogue raisonn6, ou sont classes methodiquement tons les ouvrages indiqu6s dans le dictionnaire, etc. 5th edition. 6 vols. Bvo. Paris, 1860-65. Catalogue des ouvrages condamnfis comme contraires k la morale publique et aux bonnes mceurs du P' Janvier, 1814, au 31 D6cembre, 1B73. Bvo. Paris, 1874. Cicognara (L.). — Catalogo ragionato dei libri d'arte e d'antichita posseduti dal Conte Cicognara. 2 vols. 8vo. Pisa, 1B21. Collier (J. P.). — A bibliographical and critical account of the rarest books in the English language. 2 vols. Bvo. London, 1865. Drujon (F.). — Catalogue des ouvrages, Merits et dessins de toute nature, poursuivis, supprimfe ou condamn^s 1B14-77. Nouvelle edition. ' Bvo. Paris, 1879. I S 8 MANUAL OF BIBLIOGRAPHY. Ebert (F. A.). — A General Bibliographical Dictionary, translated from the German. 4 vols. 8vo. Oxford, 1837. Freytag (F. G.). — Analecta litteraria de Libris rarioribus. 8vo. Lipsia, 1750. Adparatus litterarius, ubi libri partim antiqui, partim rari recensentur. 3 vols. 8vo. Lipsiae, 1752-55. Graesse (J. G. T.). — Tr6sor de livres rare et pr6cieux, ou nouveau dictionnaire bibliographique. 7 vols. 4to. Dresde, 1858-69. " A very valiiable work." Hain (L.). — Repertorium Bibliographicum, in quo libri omnes ab arte typographica inventa usque ad annum 1500, typis express! ordine alphebetico vel simpliciter enumerantur, vel adcuratius recensentur. 2 vols, in 4. 8vo. Stuttgartie, 1826-38. Index librorum prohibitorum sanctissimi domini nostri Leonis XIII. Pont. Max. jussu editus. Editio novissima in qua libri omnes ab Apostolica Sede usque ad annum 1880 proscripti suis locis recensentur. 8vo. Roma, 1881. Laire (Fr. X.). — Index librorum ab inventa typographia ad annum 1500; chronologicse dispositus cum notis historiam typographico-htterariam illustrantibus. 2 vols. 8vo. Senonis, 1791. Lowndes (W. T.). — The Bibliographers' Manual of English Literature, containing an account of rare, curious, and useful books, published in, or relating to, Great Britain and Ireland, from the invention of printing ; with bibliographical and critical notices, collations of the rarer articles, and the prices at which they have been sold. New edition, with an appendix relating to the books of literary and scientific societies by H. G. Bohn. 13 parts in 6 vols. 8vo. London, 1857-64. Ottino (G.) and Fumagalh (G.). — Bibliotheca Bibliographica Itahca. Catalogo degli scritti di bibliologia, bibliografia, e biblioteconomia pubblicati in Italia, etc. 8vo. Roma, 1889. Petzholdt (J.). — Bibliotheca Bibliographica. Kritisches Verzeich- niss der das gesammtgebiet der Bibliographie betreffenden Litteratur des in-und Auslajides in systematicker Ordnung. 8vo. Leipzig, 1866. Sabin (Joseph). — A Bibliography of Bibliography, or a handy book about books which relate to books, etc. 8vo. New York, 1877. BOOKS OF REFERENCE. 159 Schetelig (J. and G.). — Ikonographische Bibliothek. i vol. in 4 parts. 8vo. Hanover, 1795-97. Serie delle edizioni per ordine cronologico ed alfabetico. 3rd edition. 8vo. Firenze, 1803. Vallee (L.). — Bibliographie des Bibliographies. 2 vols. 8vo. Paris, 1883-87. Vinet (E.). — Bibliographie des beaux arts. Repertoire raisonn6 des ouvrages les plus utiles et les plus interessants sur I'architecture, la sculpture, la peinture, la gravure, etc. 8vo. Paris, 1870. Watt (Robert). — Bibliotheca Britannica, or a general index to British and foreign literature. In 2 parts : Authors and Subjects. 4 vols. 4to. Edinburgh, 1824. Zani (P.). — Enciclopedia metodica critico-ragionata delle belle arti. 29 vols. 8vo. Parma, 1819-28. l6o MANUAL OF BIBLIOGRAPHY. *A SHORT GLOSSARY OF TERMS USED IN BIBLIO- GRAPHY, ETC., SELECTED FROM VARIOUS SOURCES. bib. = bibliography. cat. = cataloguing, book. = bookbinding. print. = printing. AllonyTTi {c'aX.') A false proper name. Anagram (cat.) (Gr. anagramma, a transposition of letters). The letters of the name or names arbitrarily inverted, with or without meaning. Anonymous {cz.t.') Books printed without the author's name on the title. A^oconym (cat.) Name deprived of one or more initial letters. Autonym (cat.) Book published with the author's real name. Bands (book.) The strings on which the sheets of a volume * are sewn. If these project from the back of the book they are called raised bands. Bazil (book.) (Fr. basane). Tanned sheep skin. Biblioclasm (Gr. biblion, book, and klasmos, breaking). De- struction of books, or of the Bible. Biblioclast (Gr. biblion, book, and klastes, breaker). A de- stroyer of books. '(Fr. bibliognoste, Gr. biblion, book, and gnostes, one who knows). " One knowing in title pages and colophons . . . and all the minutiae' of a book" (D'Israeli's Cur. Lit.) Bibliogony (Gr. biblion, book, and gonia, generation). The production of books. Bibliognost Bibliognostic GLOSSARY OF TERMS. l6r Bibliogra^h (Fr. bibliogra;phe } Gr. bibUogra;phos). A. book writer. Bibliographer. A writer of boojss, a copyist. Bibliogra;phic. Of, or pertaining to, bibliography. Bibliographical. Of, relating to, or dealing with biblio- graphy. Bibliogra^hically. With respect to bibliography. Bibliographize. To write a bibliography of. Bibliography {¥r. bibliogrq.ihie ; Gx. bibliogra^hia. Book- ^^Titing. ) 1. The writing of bopks. 2. The systematic description and history of books, their authorship, printing, publication, editions, etc. 3. A book containing such details. 4. A list of the' books of a particular author, printer,. or country, or of those dealing with any particular theme ; the literature of a subject. Biblioklepi (Gr. biblion, book, and kleptes, thief). A book- ' , thief. Bibliokleftonianiq.p. A book-thief regarded as insane. Bibliolatry (Gr. J)iblion, book, and latreia-, worship). Ex- travagant admiration of a book. Bibliolater. I One who entertains such excessive admiration Bibliolatrist. I or reverence. Bibliolatrous. Given to, or characterized by, bibliolatry. Bibliology (Gr. biblion, book, and logia, discourse). Scientific description of books, book-lore, bibliography. Bibliological. Of or pertaining to bibliology. Bibliologist. A professed student of bibliology. Bibliomancy (Gr. biblion, book, and manteia, divination). Divination by books, generally by verses of the Bible. Bibliomane (Fr. bibliomane; Gr. biblion, book, and m.anes, mad). An indiscriminate collector of books. A biblio- maniac. Bibliomania (Gr. biblion, book, and mania, madness). A rage for collecting and possessing books. Bibliomaniac. One affected with bibliomania. Mad after ' books. Bibliomaniacal. Of, relating to, or characterizing, a biblio- 1 1 102 MANUAL OF BIBLIOGRAPHY. JBibliomanian. A bibliomaniac. Biblioinanianism.. Bibliomania. Bihliomanism. Bibliomania. Bibliomanist. A bibliomaniac. Bibliopegy (Gr. biblion, book, and fegia from feg-nunai, to fix). Bookbinding as a fine art. jBibliopegic. Of or pertaining to bookbinding. SibUo;pegist. A bookbinder. Bibhofegisttc. I Qj relating to, or befitting a bookbinder. Biblw^egtstical. \ " ° Bibliofhagist [Gr. biblion, book, and/^a^oj, devouring). A devourer of books. Biblio^hagic. Of or pertaining to a bibliophagist. Bibliophile (Fr. bibliophile ; Gr. biblion, book, axidL philos, a friend). A lover of books ; a book-fancier. Bibliojihilic. Of or pertaining to a bibliophile. Bibliofhilism. The principles and practice of a bibliophile. Biblioj>hilist. A bibliophile. Bibliophilislic. Of or pertaining to a bibliophilist. Biblio;philous. Addicted to bibliophily. Bibliophily (Fr. biblio;tihilie). Love of books ; taste for books. Biblioj>hobia (Gr. biblion, book, and phobia, dread). Dread of, or aversion to, books. Bibliopoesy (Gr. biblion, book, and poiesia, making). The making of books. Bibliopole (Lat. bibliopola ; Gr. bibliopoles; from biblion, book, and poles, seller, dealer). A dealer in books ; a bookseller. Bibliopolar. \ ^,. , , . , , ,, , „-, ,- Biblio'holir ( Of or belongmg to booksellers ; aence Bibho- Bibliopolical. ) Bibliopolism. The principles or trade of bookselling. Bibliopolist. A bookseller. Bibliopolistic. Of, pertaining to, or befitting a bookseller. Bibliopoly. \ Bookselling. Btbhopolery. \ Bibliotaph (Fr. bibliotaphe ; from Gr. biblion, book, and taphos, tomb). One who buries books by keeping them under lock and key. GLOSSARY OF TERMS. ' 163 Bibliota;phic. Of or belonging to a bibliotaph. Bibliota;pMst. A bibliotaph. Bibliothec. Belonging to a library or librarian. A librarian. Bibliotheca (Lat. bibliotheca, library, collection-, and Gr. bibliotheke, book-case, library; from biblion, book, and theke, repository). A collection of books or treatises, a library. A bibliographer's catalogue. Bibliothecal (Lat. bibliothecalis). Belonging to a library. Bibltothecar (Fr. bib'lioiMcaire). A librarian. Bibliothecarian. A librarian ; also of or belonging to a library, or librarian. Biblioihecary (Fr. bibliothecaire ; Lat. bibliothBcarius). I. A library. 2. A librarian. 3. Of or belonging to a library, or librarian. . Bibliotheque [OXA. Eng. biblyotheke, theicke, thee, thek ; .'^t. bibliotheque ; Lat. bibliotheca). A library, a collection of treatises. Biblus, -OS ) (Lat. biblus ; Gr. biblos). The papyrus, or paper Byblus j reed ; the inner bark of that plant. ^Iacft=Iettec (print.) The name given to the character of the type which succeeded the Gothic in the fifteenth century. Bleed {book.) A book is said to bleed if the edges are cut down so as to injure the print. Blind tooling (book.) Ornaments on the cover of a book, but without gilding. Block books (bib.) Books printed from engraved blocks of wood on one side of the leaf only. Executed in Holland, Flanders, and Germany, early in the fifteenth century. Boards (book.) i. When a book is covered with paper or cloth covers. 2. The covers of a book. Cancels (book, and print.) Leaves containing errors, which are cut out and replaced with others properly printed. Catch-word (print. ) A term used by early printers for the word at the bottom of each sheet, under the last word of the last line, which word is the first at the top of the following sheet. Circuit edges (book.) Flaps which overlap the edges of some Bibles and Prayer Books, especially if for the pocket. I 64 MANUAL OF BIBLIOGRAPHY. Collate (bib.) To compare, or to examine whether two things of a similar kind agree or disagree. Collation (bib.) The examination of the signatures, etc., of a book, to ascertain if they follow in order and are complete. Colojihon (bib. and print.) The note at the end of old books containing the names of the printer and publisher, place where printed, and date. Cro^^ed (book.) A book is said to be cropped when the edges are cut down very much. See also Bleed. End-facers (book.) The blank leaves at the beginning and end of a book ; also called Fly-leaves. Extra (book.) The binding of a book is said to be extra when it has gilt ornaments on side and back, silk headbands, etc. Fly-leaf i^ioo^i.) See End-Wafers. Fore-edge (bib. and book.) The front edge of a book. Forrell (book.) Rough undressed skins of beasts used' in early times for binding. Gilt (book.) This term applies to both the edges of a book and the ornaments on the cover. Half-bound (book.) When the back and corners only of a book are covered with leather, and the sides with paper or cloth. Head-band (book.) The silk or cotton ornament placed at the top and bottom of the back of a book. Head-fiece (print.) Ornaments placed at the top of the page at the beginning of a chapter. Imfrinti^rmX..') The indication of the place where a book was printed, either with or without the printer's name. Incunabula, ce (bib.) Book or books printed before 1500. Large fafer (bib. and print.) Books printed on a paper of extra size with wide margins, the letterpress being the same as in the small paper copies. See also Tall cofy. Lettered (book.) So called when merely the title and author's name are lettered on the back of a book. GLOSSARY OF TERMS. 1 65 Nom-de-^lume (cat.) The assumed name under which any- one writes. Out of print. A book is said to be out of print when the publisher has no copies for sale. /'awzjSA/eif (bib.), " Any work that does not exceed five sheets octavo is called a pamphlet " {Savage, Diet.) Printing. Fr. ImpriTnerie, typographie ; Ger. Druckerei, Buchdruckerkunst ; Dutch, Prenten ; Ital. Stampare, imprimere. P^oo/" (print.) "An impression of a sheet of a work, . . . , to be examined to see if it be correct. Proofs are termed, according- to circumstances,- _/frj/ proof, cleaTi proof, its own paper, and revise" {Savage, Diet.) Psetidonymous (cat.) (Gr. pseudos, falsehood, and onoma, a name). Applied to a book or author published or publish- ing under a false name or nom-de-plume. „ Recto (bib.) The page to the right hand of the reader when the book is open ; always the odd page. See also Verso. Register, or Registrum Chartarum (print.) A list of signatures and first words of a sheet, at the end of early printed books ; now disused. Register (print.) A term used in printing when one page is exactly printed on the back of the other. Registers (book.) Book markers fastened to the headband of a book are so called. Reprint, or Exeerpt (print.) The whole or part of a book re-issued. Running Title (priijt.) Words placed at the top of the page to indicate the subject of the text,' sometimes called head-lines. Set-off (print.) Transfer of ink from one page to another, caused by the sheet being folded before the ink is dry. Signatures [iptiTA.) The capital letters or figures under the bottom line of the first page of each sheet, to indicate their order in binding. The invention has been attributed to Zarot of Milan, 1470, and to Koelhoff of Cologne, 1472. l66 MANUAL OF BIBLIOGRAPHY. Start (book.) When leaves of a book spring from the back and project from the edges, they are said to start. Su;per-extra (book.) A book finished in the best style, with gilding on both outside and inside of the boards. Tail. The bottom of a book. Tail-^iece (print.) An ornament placed at the end of a chapter to fill up a vacant space. Ta.ll copy (bib.) "A copy of a book on the ordinary sized paper, and barely cut down by the binder ' ' {Home). Uncut (book, and bib.) Books that are not cut open with the paper-knife. Uncut edges (book, and bib.) Edges not ploughed by the binder. Verso (bib.) The page of an open book to the left hand of the reader, always the even page. See also Recto. Water-lines (paper). Transparent perpendicular marks on paper, caused by the supports of the frame in which the paper is made. Called in French ;pontuseaux, and German wassermarke. Useful in determining the size of old books. See ante, pp. 48, 49. Water-marks (paper). Semi-transparent ornamental figures representing the size of the paper, or the maker's mark or name, to be found on all hand-made papers. The size of old books can be fairly judged from these. See ante, p. 48. Wire-mark (paper). Semi-transparent lines on paper, caused by the wires forming the frame in which the paper is made. Called in French vergeures. Xylograiphic books (bib.) (Gr. xulon, wood; grafho, to write. Fr. xylogra;phie ; Ger. zylographische drucke). Block books, q.v. ^^mmm INDEX, A. Abbreviations, 38-45. Accession catalogue, 102, 103. Albertype, 83. Albrizzi (A.), printer, 28. Aldine type, first used, 17. Aldus family, printers, 16, 17, 24-6. mark, 62, 63. see Manutius. Alphabetical catalogue, 116. Anderson, binder, 91. wood engraver, 76. Anisson, printer, 30. Anonymous works, 1 12, 113. Arrangement, 128. alphabetical, 144, 145. Austin (William), wood en- graver, 76. Author catalogue, 105. Azzoguidi (Baldassare), printer, 20. B. Badius (Josse), printer, 27. Baldi, printers, 27. Barbou (H.), printer, 30. Baskerville (John), printer, 29. Baumgarten, binder, 91. Bauzonnet, binder, 91. Bedford (Francis), binder, 91. Beildeck (Lorenz), 8. Berryman, wood engraver, 76. Bewick (Thomas), 75, 76. Biblia Pauperum, 2. Bibliographical systems, 121, 129-44. Aldus, 129. Brunet, 131-43. Gesner, 130. Stephanus, 130. Bibliographical terms, 160-66. Bibliomane. What? 32, 161. Bibliophile. What ? 32, 162. Binda, binder, 91. Bladius (Antonius), mark, 63. Blaeu (Jan.), printer, 27. Block-books, 1-4. Bodoni (G. B.), printer, 29. Book, first English-printed, 22. first Greek-printed, 17. Book-binding, 84-97. at British Museum, 93-5. curious, 89. first dated, 86. in human skin, etc., 89. modern, 95-7. Book-bindings, restoration of, 146, 147- styles of, 87. Book-plate, specimen, 104. Book-plates, 103-105, Book presses, loi, 102. rests, loi. stamps, 103. Books, distinctions of first printed, 37, 38. good, 34. i68 INDEX. Books (fontd.), — of reference, 147-59. on collecting, 38. preservation of, 145-47. rare, etc., 34. ifelative value of, 34-6. restoration of, 146-47. sizes of, 47-50. state of, 117-20. to consult, 147-48. uncut, 117. Boom (Hackus), printer, 27. Bosse (Abraham), engraver, 79. 80.' Bozerain, binder, 91. Branston, wood engraver, 76. Breitkopf Q. G. E;), printer, 31. Brindley, printer, 29. Brunei's bi'bliograpliical sys- tem, 131-43, Brylinger, printer, 31. Byfield, wood engraver, 76. C. Calcar (Jan van), engraver, 72. Calliergus (Zachery),printer, 16. Cancels, 46 Carchano (Anthonius de), printer, 20 Card catalogue, 105, 106, 121. Castaldi (Pamfilo), printer, 4, 6,7- Catalogue, 98-148. accession, 102, 103. alphabetical, 116. author, 105. card, 105, 106. dictionary, 105. iconographic, 120, 121. shelf, 105, 106. subject, 105. systematic, ii6. Catalogue cards, or slips, 116. Catalogue entries, "specimens, 118, 119, 121. Catalogue rules, 107-21. Catchwords, jiTt 55- Causse, printer, 30. Caxton (William), printer, 21-5, 55, 57. mark, 65. Cennini (Bernardo), 60. Chapters, 37. Check-lists, 121-27. Chromo-lithography, 83. Classification, 131-43. Cloth binding invented, 91, 92. Colines (Simon de), printer, 27. Collation, 45, 46. Colophon, 58-60. Comino (J.), printer, 29. Commelin (J.), mark, 63. Compound names, 109.' Coornhert, printer, 31. Copper-plate engraving, 77-81. first book with, 79. Corrozet (G.), 27. Corsellis (F.), printer, 23. Coster (Lourens Janszoon), printer, 5. Courteval, binder, 91, Coustelier (A.), printer, 30. Cramoisy (S.), printer, 28. Crapelet (G. A.), printer, 30. Cross references, 108-21. D. Dates, 56, 115. curious, 57, 58. first book with, 57. mistakes in, 24, 57, 58. Day (John), mark, 66. Derome, binder, 85, 91. De Thou (J. A.), bibliophile, 89. Dictionary catalogue, 105. Didots (the), printers, 30. Dolet (Etienne), printer, 27. Dritzehn (Andreas), printer, 7,8. (George), printer, 8. JNDEX. 169 Durer (Albert), 81, 82. Duro-Jlexile binding, 97. Duru, binder, gi. Du Sueil, binder, 91. E. Eizevir (Abraham), printer, 27. (Bonaventura), priiiteri 27. (Daniel), printer, 27. (Louis), printer, 27, 114. mark, 63. Engraving, copper-plate, 77-81. steel, 81. wood, 67-77. Estiennes (the), printers, 27. Etching, 81. Feltre, claims the invention of printing, 6. Franchi, printer, 29. Friburger (Michael), printer, 20. Friis (J.), printer, 31. Frontispiece, 60-2. Fust (Johan), printer, 5, 6, 8, 10, II. G. Gallus (Andreas), printer, 20. (Udalricus), printer, 14. Gering (Ulric), printer, 20. Gesner (Conrad), printer, 31. Gill6, printer, '30. Giolito (Gabriel), printer, 27, 72. mark, 64. Giovanni da Verona, printer, 20. Giunta (Benedetto), printer, 26. (Bernardo), printer, 26. (Filippo), printer, 26. (Luc'Antonio), printer, 26. mark, 64. Giuntae family, mark, 64. Grafton (Richard), mark, 66. Greek characters first used, 14, 17- Grolier (Jean), bibliophile, 89. Gryphi (the), printers, 27. mark, 64. Gubitz (F. W.), wood engraver, 76, 77- Gutenberg (Johan), printer, 3, 5-7, 8, 10. Gutenberg Bible, 9. H. Haarlem, claims the invention of printing, 5, 6. ,Han (Ulric), printer, 14. Heilmahn (Andreas), printer, 7. Heliotype, 83. Herbst, printer, 31. Hering (Charles), binder, 91. Hervagius, printer, 31. Hess (Andreas), printer, 20. Heures, Livres d', 73-75. Holl (Linhard), printer, 53. Holma, printer, 31. Homery, Dr. Conrad, 10. I. Ibarra (J.), printer, 29. Iconographic catalogue, 120, 121. Illuminated initials, 67. Incunabulae, 113, 115, 164. Italic type, 17. J- Jackson (J. B.), wood engraver, 76. Jensop (Nicqlas), printer, 15, 57. John of Cologne, printer, 54. 170 INDEX. K. Kalthoeber (C), binder, 91. Koburger (A.), printer, 31. Koelhof (Johan), printer, 55. Krantz (Martin), printer, 20. Langelier (Abel), mark, 63. Latour, printer, 30. Latta, printer, 28. Lavagna (Philippus de), printer, 17, 57- Lee, wood engraver, 76. Le Gascon (N.), binder, 91. Leonard, printer, 28. Lesng, binder, 91. Leveberes, binder, 91. Lewis (Charles), binder, 91. Library (the), 98-148. Libretti of opergs, 115, 1 16. Lisar (Girardus de), printer, 20. Lithography, 81-3. M. Mackinly, binder, 91. Maioli (Thomas), bibliophile, 89. Manfrg, printer, 29. Manni (D. M.), printer, 29. Manutius (Aldus the Elder), printer, 16, 24, 47, 114, 129. (Aldus the younger, 24, 25, 26, 114. (Paulus), 24, 114. Marescotti, printer, 27. Marcolini, printer, 27. Martyns, printer, 29. Mazarine Bible, 33. Mentz, claims the invention of printing, 5. Minutianus (Alexander), prin- ter, 17-19. Moetjens, printer, 31. Montagna (B.), engraver, 72. Morel (G.), printer, 27. Moret (B.), mark, 63'. N. Names, compound, 109. foreign, no, iii. Greek, in. Latin, in. Notary (Julian), mark, 65. O. Orsini (Emiliano degli), printer, 19- Pachel (Leonard), printer, 17 Pagination, 37. first introduced, 52, 53, 112, "3- , Palmer (S.), printer, 29. Palthenius, printer, 31. Panckoucke (C), printer, 30. Pannartz (Arnold),printer, 13,14- Para visinus (Dionysius), printer, 17- Pasdeloup, binder, 85, 91. Pattison, printer, 27. Payne (Roger), binder, 85, 91. Periodical lists, 121-27. Photography, 83, 84. Photogravure, 84. Photo-lithography, 84. Pigouchet (P.), printer, 74. Plantin (Christopher), printer, 31- mark, 63. Preservation of books, 145-47. Press-marks, 104-107. Printers' marks, 63-6, 71. name, etc., 114. INDEX. 171 Printiug, first introduced into Poland, 21. Spain, 21. Switzerland, 20. Printing, first privilege granted, 15- origin and progress of, 1-31. progress of, in England, 21-4, 29. France, 20, 27, 30. Germany, 7-1 1, 30. Holland, 27. Hungary, 20. Italy, 1 1-20, 24-8. Spain, 21, 29. Pseudonyms, 108. Pynson (Richard), printer, 23. mark, 65. Q. Quentel (H.), printer, 31. R. Raibolini (Francesco), 17 Raimondi (M. A.), wood-en- graver, 72. Ratdolt (Erhard), printer, 16, 60. Reference books, 147-59. Registers, 55. first used, 56. Remondini, printer, 29. Restoration of bindings, 146, 147. books, 146, 147. Richenbach (Johannes), binder, 86. Richter (C. A.), engraver, 76. Riessinger (Sixtus), printer, 20. Riffe (Hans), printer, 7. Rivifere, binder, 91. Roville (G. de), printer, 27. mark, 63. Schoeffer (Peter), printer, 11, 12. Scinzenzeler (Ulricus), printer, 17. Scotto (Ottaviano), mark, 64. Senefelder (Aloys), inventor of lithography, 81. Sermartelli, printer, 27. Shelf catalogue, 105, 106 Shelving, 100, loi. Signatures, 17, 37, 502, 54, 55- Simier, binder, 91. Simon, printer, 30. Sizes of books, 47-50, 112, 113. how to tell, 48, 49. Sonnius, mark, 64. Spira (Johannes de), printer, 15. 52, 59- (Vindelin de), printer, 15, 17, 55- Staggemier, binder, 91. Stephani (the), printers, 27. mark, 63. Stephanus (Henry), printer, 27. (Robert), printer, 27. Strasburg, claims the invention of printing, 7. Subject catalogue, 105. Sweynheim (Conrad), printer, 13- H- Systematic catalogue, 116. Tarditi, binder, 91. Tartagli, binder, 91. Tartini, printer, 29. Ther Hoernen (A.), printer, 53- Thompson, binder, 91. printer, 29. wood engraver, 76, 77. Thouvenin (J.), binder, 91. Title-page, 60-62. first, 37, 60. Torrentino (L.), printer, 27. Tottel (Richard), mark, 66. Turnebus (Adrian), printer, 28. 1/2 INDEX. U. Ungers (the), 76. V. Valdarfer (Christopher), printer, 15. 59- Valgrisi (Vincent), printer, 27. mark, 65. Valturius (K.), 70. V6rard (A/), printer, 73, 74. Vercellio (C.), engraver, 72. Vezzosi, binder, 91. Vincent, printer, 30. Vitre (A.), printer, 28. Volpe (Lelio della), printer, 28. Vostre (Simon), printer, 7 1 -4. W. Water-lines, 48-50, 166. Watermark, 48, 166. Whittaker (John), binder, 91. Wier, binder, 91. Wire-mark, 166. Wolfe (John), mark, 66. Wood engravers, English^ 76. Wood-engraving, 67-77. first book with, 60, 68. Worde (Wynkyn de), printer, 23- mark, 23, 65. Wright (T.), wood engraver, 76. X. Xylography, i. Z. Zaehnsdorf (J.), binder, 91. Zarotus (Anthony), 17, 55. Zell (Ulrich), printer, 31. Zincography, 83. Zincotypy, 84. Royal 8w, White Vellum Cloth, extra. Price 87.50. The BOOK: ITS Printers, 3inustrator0, anD TBinoers, FROM GUTENBERG TO THE PRESENT TIME. BY HENRI BOUCHOT, Of the National Library, Paris. WITH A TREATISE ON THE AND A LATIN-ENGLISH AND ENGLISH-LATIN TYPOGRAPHICAL INDEX OF THE EARLIEST PRINTING PLACES. Edited by H. G REVEL. CONTAINING ONE HUNDRED AND SEVENTY-TWO FAC-SIMILES OF EARLY TYPOGRAPHY, BOOK-ILLUSTRATIONS, PRINTERS' MARKS, BINDINGS, NUMEROUS BORDERS, INITIALS, HEAD AND TAIL PIECES, AND A FRONTISPIECE. [P.T.O. The Book. CONTENTS. CHAPTER I. 14 . . TO 1462. Origin of the Book — Engravers in relief — The St. Christopher of 1423 — Origin of the Xylographs — The Xylographs, Donatus and Spemlum — The Laurent Coster Legend — From block books to movable characters — John Gensfleisch, called Gutenberg — The Strasburg trial — Gutenberg at Mayence — Fust and Schoeffer — The letters of indulgence — The Bible — The Catholicon — The Mayence Bible — Causes of the dispersion of the first Mayence printers — General considerations. CHAPTER IL 1462 TO 1500. The Book and the printers of the second generation — The German workmen dispersed through Europe — Caxton and the introduction of printing into England — Nicholas Jensen and his supposed mission to Mayence — The first printing in Paris ; William Fichet and John Heinlein — The first French printers ; their installation at the Sor- bonne. and their publications — The movement in France — The illustration of the Book commenced in Italy — The Book in Italy ; engraving in relief and metal plates — The Book in Germany : Cologne, Nuremberg, Basle — The Book in the Low Countries — French schools of ornament of the Book ; Books of Hours ; book- sellers at the end of the fifteenth century — Literary tastes in titles in France at the end of the fifteenth century — Printers' and book- sellers' marks — The appearance of the portrait in the Book. CHAPTER III. 1500 TO 1600. French epics and the Renaissance — Venice and Aldus Manutius — Italian illustrators — The Germans : Theuerdanck, Schaufelein — The Book in other countries — French books at the beginning of the century, before the accession of Francis I. — English printers and their work — Engraved plates in English books — Geoffroy T017 and his works — Francis I. and the Book — Robert Estienne — Lyons a centre of bookselling : Holbein's Dances of.Death — School of Basle — Alciati's emblems and the illustrated books of the middle of the century — The school of Fontainebleau and its influence — Solomon Bernard — Cornelius de la Haye and the Fromptuaire — Jean Cousin — Copperplate engraving and metal plates — Woeriot — The portrait in the book of the sixteenth century — How a book was illustrated on wood at the end of the century— Influence of Plantin on the Book; his school of engravers— General considerations — Progress in England — Coverdale's Bible. CHAPTER IV. 1600 TO 1700. Tendencies of the regency of Marie de Medici — Thomas de Leu and Leonard Gaultier — ^J. Picart and Claude Mellan — Lyons and J: de Fornazeris — The Book at the beginning of the seventeenth century in Germany, Italy, England, and Holland — Crispin Pass in France — The Elzevirs and E!hschede and their work in Holland — Sebastian Cramoisy and the Imprimerie Royale — Illustration under Callot, Delia Bella, and Abraham Bosse — The publishers and the Hotel de Rambouillet — The reign of Louis XIV., Antoine Vitre syndic at his accession — His works and mortifications ; the Polyglot Bible of Le Jay — Art and illustrators of the grand century — Sebastian, Leclerc, Lepautre, and Chauveau — Leclerc preparing the illustra- tion and decoration of the Book for the eighteenth century. CHAPTER V. The Book ik the Eighteenth Century. The Regency — Publishers at the beginning of the eighteenth century — Illustrators in France ; Gillot — The school of Watteau and Boucher — Cars — The younger Cochin ; his principal works in vignettes — French art in England ; Gravelot — Eisen — Choffard — The Baisers of Dorat ; the Conies of Lafontaine — The publisher Cazin and the special hterature of ihe eighteenth century — The younger Moreau and his illustrations — The Revolution — The school of David — Duplessi-Bertaux— The Book in Germany ; Chodowiecki — In England ; Boydell and French artists — Caslon and Baskerville — English books with illustrations —Wood engraving in the eighteenth century ; the Papillons — Printing o6fices in the eighteenth century. CHAPTER VI. The Booic in the Nineteenth Centhryj The Didots and their improvements — The folio Racine — The school of Didot — Fine publications in England and Germany — Literature and art of the Restoration^Romanticism — Wood engraving — Bewick's pupils, Clennell, etc. — The illustrators of romances-!-The generation of 1840 — The Book in our days in Europe and America. Type, Presses, and Paper. Bookbinding. Early bindings ; superiority of English work — Panel-stamps invented in the Low Countries — The binding of the first printed' books — . French binding in the time of Louis XII. — Influence of German , and Netherlandish binders on the art in other countrlcs^Italian bindings — Aldus — Maioli — Grolier — Francis I. — Henry II. and Diana of Poitiers — Catherine de Medici»— Henry III. — The Eves — The "fanfares" — Louis XIII. — Le Gascon — Florimond Badier — Lopis XIV. — Morocco leathers — Cramoisy — The bindings of the time of Louis XIV. — The Regency — Pasdeloup — The Deromes — Dubuisson — Thouvenin^Lesni — The nineteenth century — English binders — Roger Pay^ie — Francis Bedford — Blocking. Libraries. The Art of Describing and Cataloguing Incunabula. The Method of Collecting Them. Latin-English and English-Latin Typographical Index. General Index. New York : SCRIBNER & WELFORD.