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UBBARY
tCHOCL
LIBRARY
OF THE
UNIVERSITY OF CALIFORNIA.
Cl'iiss
A MANUAL OF BIBLIOGRAPHY.
A
MANUAL OF BIBLIOGRAPHY :
an 5ntio&uction to tbc 1^vno^vlc^c}e of JBoof^s, library
/Ifcanagcment, aiiD tbe Brt of Cataloguing,
A LIST OF BIBLIOGRAPHICAL WORKS OF REFERENCE,
A LATIN-ENGLISH AND ENGLISH-LATIN TOPO-
GRAPHICAL INDEX OF ANCIENT PRINTING
CENTRES, AND A GLOSSARY.
WALTER THOMAS ROGERS, F.R.S.Lix.
WITH 37 ILLUSTRATIONS.
LONDON :
H. GREVEL «& CO.,
33, KING STREET, COVENT GARDEN, W.C.
1891.
GENERAL
Printed by Hazell, Watson & Viney, I.d., London and Aylesbury.
PREFACE.
'nr^HE following work is founded ^on a translation
of Sig. G. Ottino's interesting little Mauuale
di Bibliogmfia, Milan, 1885. Numerous additions
and alterations have been made in the body of the
work, and the lists of abbreviations and books of
reference entirely revised and enlarged. A list of
printing centres, an enlarged glossary, and index
have also been added. The illustrations are selected
from M. Bouchot's well-known work The Book,
published by Messrs. H. Grevel & Co.
Although this manual makes no pretence to be
a complete summary of the vast subject on which
it treats, we feel confident that it will be found
sufficiently comprehensive to be of great service
and practical utility to book-lovers, and all others
whose inclination or business leads them to make
a study of Bibliography.
W. T. R.
East Dulwich, S.E.
June 1 89 1.
CONTENTS.
CHAPTER I.
The Invention and Progress of Printing.
PAGE
Xylographic or Block-Books— Typography— Coster, 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 .....•••• ^
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
Vin CONTENTS.
CHAPTER IV.
The Library and the Catalogue.
PAGE
The Library — Inventory, or Accession Book — Book-plates — The
Catalogue — Card Catalogue — The Entry : Author, Title,
Anonyms, Volumes, Pagination, Size, Editor, Printer, Date,
etc. — Rare Works — Specimens of Entries in Catalogue —
Iconographic Catalogue — Periodicals and Works in Progress
— Arrangement — Bibliographical Systems — Brunei's System —
Alphabetic and Systematic Order — On the Superintendence
of Books — Restoration of Books — Books to Consult . . 98
Books of Reference 14 9
Topographical Index 168
Glossary 183
Index ........... 205
MANUAL OF BIBLIOGRAPHY.
CHAPTER I.
THE INVENTION AND PROGRESS OF PRINTING.
Xylographic or Block-Books — Typography — Coster, Castaldi, or
Gutenberg?— Mentz: Fust and Schoeffer — 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 the 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 the
successive appHcation of this art that led to the
discovery of printing.
The earliest products of wood-engraving were
playing cards and single leaf woodcuts, with or
without text, known as Hclgeti, or Saint Pictures.
At first, probably, these latter bore an image alone,,
but as the images closely resembled one another, it
became necessary to add the name of the Saint de-
picted. To the name was soon added a word or a line,
then two lines, and, finally, an entire page of letters
I
2 MANUAL OF BIBLIOGRAPHY.
was engraved. Several of these 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. An author writing his book.
Heineken, Sotheby, 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 ct Novi Tcstamcnti, or Biblia Paupcrum;
in Latin and German. Small folio, about 40 leaves.
THE INVENTION AND PROGRESS OF PRINTING. 3
Histon'a Saudi Johannis EvangcUsta- cjiisquc Visionis
Apocalypticce. Folio, 48 or 50 leaves.
Histon'a sen Providcntia Virginis Marin ex Cantico
Canticorum. Small folio, 16 leaves.
In these three works there are only a few lines of words
scattered here and there among the engraven figure?,
whilst in the following, the words — or, better still, the
text — are engraven on separate blocks. They are : —
Der Entkrist [Historia Antichristi], with an appendix
of the signs which will precede the final judgment.
Small folio, 39 leaves.
Ars Mcmorandi Notabilis per Figuris Evangelistarum.
15 leaves of figures and as many of text, folio.
Ars Moriendi, or De Tentationibiis Moricntiimt, or
Tentationes Damonis^ in Latin, German, or Dutch.
Folio and 4to, 24 leaves partly figures and partly text.
Speculum Humana: Salvafionis, or Spieghcl onser
Bchoudcnissc. Small folio, 5 leaves of preface and 58
leaves of vignettes, with Latin and Flemish sentences
at the 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 palm
still remains 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
three which will give the greatest field for historical
4 MANUAL OF BIBLIOGRAPHY.
or bibliographical studies — Haarlem, Strasburg, and
Mentz ; besides these towns, however, a small number
of persons, blinded probably by great love for their
Fig. 2. — Xylographic figure from the Ars Morioidi, copied in
reverse in the A>-t ati Morier.
country, have attempted to appropriate to Italy the
invention of movable characters, which they attribute
to Pamfilo Castaldi of Feltre.
THE INVENTION AND PROGRESS OF PRINTING. 5
The following is the basis on which the city of
Haarlem founds its claims : —
Hadrianus Junius (Adriaen de Jonghe), in his
Batavia, a description of Holland, published at Leyden
1588, relates the history of one Lourens (son of) Jan,
surnamed Coster. This Lourens Janszoon 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 pre-
pared, 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
of Haarlem. What occasioned great doubt as to their
6 MANUAL OF BIBLIOGRAPHY.
authenticity is, as Meerman points out, that no Dutch
historian makes any mention of Coster until about one
hundred and thirty years after his death. This has
generally caused the story to be considered as the
invention of some fertile brain, but Hessels, in his
Haarlem, not Meiitz, has so strongly advocated the
claims of Coster that the reader should refer to
his work for full particulars.
The titles in favour of Italy, or, to speak more
correctly, of Pamfilo Castaldi, are based on 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 the follow-
ing in his Memorie Istorichc dc Fcltre, of which several
MSS. have survived to the present day : — " At this
time (1456) flourished Pamfilo Castaldi, Doctor and
Poet of Feltre, who discovered the invention 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 off
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 Gutenburg, of the city of Argentina (J.c. 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,.
THE INVENTION AND PROGRESS OF PRINTING. /
but even were it still to exist, would that be a proof of
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 and Mentz are as follows,
and were founded mainly on documents which have
since been destroyed, at the siege of Strasburg in 1870.
Johan Gutenberg, who is supposed to have been born
at Mentz about 1400, went to Strasburg in 1430, or
perhaps even before. In 1438 he formed a partnership
with Andreas Dritzehn, Hans Riffe, and Andreas
S MANUAL OF BIBLIOGRAPHY.
Heilmann, 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 florirns
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 formes 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 depositions of
the five witnesses and of Lorenz Beildeck, a servant of
Gutenberg, agreed, and established that in the work-
shop in Andreas Dritzhen's house there had been a
press furnished with two screws, with pages, formes,
etc., and that Gutenberg always recommended the hiding
of these formes, in order that no one should be able to
discover his secret.
In consequence of this lawsuit the partnership was
broken up, and Gutenberg, not having been able to
accomplish his aims at Strasburg, returned to Mentz
about 1445, 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 advanced
eight hundred guilders to Gutenberg, and later on
another eight hundred, taking as security a mortgage
luQi miD^tn^mf^rim? opuli me
Kto^uotat brETittirquf noa ptcQm
tadta^. %t6.z tUifntott|:^ui c^oDus
flltit(lat.taxiu0 uaQecca:Uj t Imitit?.
fiuattf uaQettoixcrqut mm^ uota^
nmt pnotat.l]iiiIt qufip Ubri nrnHu
}|>idm4p$ai| mDtm{aiiut:tcituitQ«
unt a t^u film namiqm apim tUoa
iormIminuntijtat:^anii£rubtt|ut
Cop^it in tEtiuDiiu libera inmtcm
io{un0ut rudi'tiuta in titto iuinai :
!ra a? natcat Ijiftoria. tmm ftqui*
itur rammtquan noa rcpoi^ pnm i
Idimuitimtliuarc? roaladiim in f
Fig. 4.— Fragment of the Gutenberg Bible, printed in two columns.
Beginning of the text in the second column. Original size.
lO MANUAL OF BIBLIOGRAPHY.
on the press and other printing materials. Gutenberg^
on his part, brought to the fraternity his invention and
experience. Then was it possible for them to under-
take the printing of the Bible, which eventually appeared
about 1455, and from that moment it may be truly said
that printing was invented. The}^ 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 associated
with themselves one Peter Schoeflfer, a skilful cali-
grapher 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.
Finall}', 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 an}' cost, obtained supplies from Dr. Conrad
Homery, and founded a new printing-office. In 1465
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, at the press
of which it is possible were printed the small books
THE INVENTION AND PROGRESS OF PRINTING. I I
which were issued about that time without the names
of either Fust or Schoeffer.
Fust and Schoeffer soon made themselves known by
the pubhcation 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. Psahnonim Codex. Folio. [The first book printed with
a date.]
1459. Ibid. 2nd Edition. FoHo.
,, Guil. Diirandi Rationalis Divinorinn Codex Ojficio7'uin.
1460. Cleme7itis Papa V. Cotistilutiomim Codex.
1462. Biblia Latlna [this Bible is printed in two volumes folio,
with double columns of forty-eight lines each. The
first volume contains 242 ff. ; the second, 239 ff. It is
in Gothic character, and is the first Bible with a
certain date].
1465. Liber VI. Decretaliimi.
,, Officia et Paradoxa Ciccj-onis.
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 chief seat of the new discovery was at 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 every-
where. In consequence of this the working printers
of Mentz were scattered over Germany, Italy, and
France, carrying everywhere the wonderful art of
printing.
Already Dante, Petrarch, and Boccaccio had com-
menced to ennoble their language, and the learned.
12 MANUAL OF BIBLIOGRAPHY.
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 Bessarion, Emmanuel Chry-
soloras, Theodore Gaza, Andronicus Callistus, Demetrius
Chalcondylas, John and Constantine Lascaris, are well
known to the literary world ; by them was awakened
and developed 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 ; Poggio-Bracciolini, Angelo Poliziano, Jacopo
Sannazzaro, Julius Pomponius Laetus, Pontanus, 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 two 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 Maria Visconti and his successors
Francesco and Ludovico Moro Sforza at Milan ; at
Mantua the Gonzaga, and at Rome Pope Nicholas V.,
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
THE INVENTION AND PROGRESS OF PRINTING. I '^
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 stud}^ 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 nearly fifty Italian cities, whilst in the
whole of Germany (as it now is) but eighteen 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 the Abbot, afterwards
Pope Paul II. They set up their presses, instructed
several pupils, and printed three hundred copies of a
Donatiis^ but of this first impression it is believed not
a single sheet has come down to us. It has been
generally supposed, up to the present, that after the
Donatiis the}^ had set to work to print their edition of
Lactantius ; but Fumagalii, in his learned essay, has
■ 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 in use in the schools of the middle ages, and was an
abridgment, in question and answer, of that by Elias Donatus.
14 MANUAL OF BIBLIOGRAPHY.
clearly proved that the Cicero dc Oratorc, libri III. ad.
O. Fratrcm, had preceded the Lactanthis, which had
formerly always been considered the first book of a
ceiiain date printed in Italy. The Lucius Carlius Lac-
tantius Finnianus dc Divinis Instituiionibus Adversus
Gcntcs, 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
in by the pen. In the body of the work some of the
quotations are printed in neat Greek characters.
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 pubhcations 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 Mcditationes Joliannis
dc Turrccrciuata, a work which ranks amongst rarities
of the first order, and of which only three copies are
known. This is the first book ornarnented with
woodcuts.
The cordial reception and the favour which the ponti-
fical government accorded to printers went far towards
exciting amongst them a noble contention of emulation,
either for the beauty of their type, quality of the paper,
or for the correctness and merit of their productions.
The same spirit of emulation arose also in Rome
among the literati who were the protectors, friends,
and heads of the printers, and to them we owe in
THE INVENTION AND PROGRESS OF PRINTING. I 5
great part the reproduction of those subhme works of
the ancient authors, which are to this day the deHght
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 Epistolcv ad Faniiliares. The
Doge granted him the first privilege which is recorded
concerning printing.
In the Cronica Saniida, the date 1469 {cf. Brown's
Venetian Printing Press, p. 5), occurs the following
entry : " . . . fo presso, attento Parte del stampar sia
veniita a luce, chel sia conscesso a Ziianc de Spira stampa
VEpistole di tiillio et plinio per 5 anni altri non stani-
pino." — Translation :**... in consideration of the art
of printing being brought to light, be it conceded to
Johannes de Spira to print the Epistolee of Tully, and
Pliny, for five years, and let none other print them."
Mr. Brown, however, gives an extract of an entry,
also from the same MS., under the date 1461, in favour
of the claims of Nicolas Jenson to be considered the
introducer of printing into Venice. For particulars
the reader should refer to this above-mentioned work.
To Johannes de Spira succeeded his brother Vin-
delin de Spira, and in 1470 Nicholas Jenson brought
the art of printing to a pitch of perfection never before
reached, and in recompense for his merits Pope
Sixtus IV. conferred upon him the title of Count
Palatine.
Other noted printers of Venice beside Nicholas Jenson
were Christopher Valdarfer (printer of the celebrated
first edition of Boccaccio's Dccamerone, folio, 147 1),
1 6 MANUAL OF BIBLIOGRAPHY.
Erhard Ratdolt, Zacherias Calliergi, Ottaviano Scotto,
Alessandro Paganino, and finally those famous masters
of the art, the Aldi.
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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 Raibolim^ da
Bologna, v^hich took the name o{ Aldiiic type (now known
as Italic, and said to have been cut in imitation of the
handwriting of Petrarch, as, according to Mr. Brown,
the Greek characters were copied from that of Marcus
Musurus). This type w'as first used in the Vergil of
1 501, 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 ih^ first Greek book,
viz., the Greek Grammar of Constantine Lascaris, and
in 1 48 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 Johannes de Spira the first
example of a privilege in printing matters, so Milan
presents with Minutianus the first famous example of
the infraction of such a privilege.
2
1 8 MANUAL OF BIBLIOGRAPHY.
Many times had the Annals of Cornelius Tacitus been
printed both at Milan and in \^enice, but always incom-
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 literary' men, did everything he could to
possess him.self 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 ta
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 certainh' 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 Sebastitin Ferrero, prefect-general of
the Royal quarters, in order to be relieved from the
THE INVENTION AND PROGRESS OF PRINTING. 1 9
grievous journey to Rome, offering to justify himself by
means of letters, and supplicating a remission of the
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 15 16, 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.
20 MANUAL OF BIBLIOGRAPHY.
In 1470 Emiliano degli Orsini printed in Foligno
the work of Leonardus Aretinus, dc BelJo Italico. In
the same year at Verona, one Giovanni da Verona
printed the Batrachomyomachia of Homer, translated
into Italian terza riina 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, in order of date, comes Switzerland,
into which country printing was first introduced in 1465
at Basle ; Munster, Canton of Aargau, had it about
1470, Geneva in 1478, but the Canton of Ticino not
until 1746. Printing was introduced into France by
Ulric Gering, Martin Krantz, and Michael Friburger,
who in 1470 printed at Paris the Epistohv Gasparuii
Pcrganicnsis.
In Hungary printing was introduced in 1473, by
THE INVENTION AND PROGRESS OF PRINTING. 2 1
Andreas Hess, expressly called from Italy by King
Matthias Corvinus. The same year printing was
Fig> 6.— William Caxton, from Rev. J. Lewis's Life.
introduced into the Low Countries, in 1474 i"to
Spain, 1476 into Bohemia, into England in 1476-7, into
Portugal, for Hebrew only, 14S7, for Portuguese in
2 2 MANUAL OF BIBLIOGRAPHY.
1495, and finally into Poland, and especially at Cracow,
about 1 49 1.
Printing was introduced into England, it is now
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 succeeded so well that in
1465 he was appointed Governor of the English mer-
chants of that town. About 1470 Caxton entered the
service of Margaret, Duchess of Burgundy, sister of
Edward IV. of England, and in 1471 he completed, at
her desire, a translation of Le Fevre's Rccncil dcs His-
toircs 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 Reaiycll, a transla-
tion of the Rcatcil, 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
at the sign of "The reed pale," in the Almonry at
Westminster, where the first book he printed was The
Dicks and Sayings of the Philosophers, in 1477, a copy
of which work was sold in 1889 for ^^650. From
1477 until the very day of his death in 1491, he was
employed entirely in translating and printing. Among
his early ventures were Chaucer's Canterbury Tah's,
and the works of Lydgate and Gower. Mis industry
THE INVENTION AND PROGRESS OF TRINTING. 23
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
are very rare and expensive. In 1885 a copy of his
Recuycll was sold for iJ" 1,820, and at the same time
the unique perfect copy of his Malory's King Arthur,
printed in 1485, fetched ^^1,950.
Fig. 7. — Mark of W3mkyn de Worde.
Among Caxton's assistants were Wynkyn de Worde,
-who succeeded his master, 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
printing into England. Shortly after the Restoration
a small quarto volume was discovered in the public
library at Cambridge, entitled Exposicio Saudi Hieronymi
in Symbolum Apostoloriim ad Papaui Laurentium. At
the end it bears the words and date hnpresa Oxonie et
24
MANUAL OF BIBLIOGRAPHY.
finita anno domini MCCCCLXVIII. (1468). Now, as
Caxton did not print in England until about 1477, 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
it is now generally believed that an X has been omitted^
purposely or accidentally, from the date, which should
Fie;. S. — Mark of Richard Pvnson.
read MCCCCLXXVIII. (1478), thus placing it ten.
years later, or one year 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 only point out a few among the more celebrated
typographers who ennobled this art.
To Aldus Manutius (b. 1450, d. 15 15), who was the
THE INVENTION AND PROGRESS OF PRINTING. 25
first of his illustrious family, succeeded his father-in-
law and partner, Andrea Torresani, and on the death
of this last, 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
Fig. 9. — The Knight, a woodcut from Caxton's Game and
Playe of the Chcssc.
inherited his tastes, and, coming of age, became like
him accomplished, even surpassing him in learning,
and in the elegance of his typograph}^, illustrating
moreover the text of his editions with learned com-
mentaries. His son Aldus, called the Younger, followed
with honour in the footsteps of his father and grand-
father. At the age of fourteen, endowed with a pre-
26 MANUAL OF BIBLIOGRAPHY.
cocious and elevated genius, he gave to the world the
work entitled Ortliographice Ratio, and at a more mature
age he published the works of his father. At a moment
when he appears to have found himself destitute 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 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 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 have always been highly esteemed.
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 1537, ^^^
afterwards by his heirs up to 1550. In the meantime
Filippo printed in Florence from 1497 to 15 17, the date of
his death ; his heirs who succeeded him continued print-
ing until 1 53 1, when only Bernardo and Benedetto, sons
of Filippo, remained. They followed in his footsteps
most laudably until 1550, in which year Bernardo died.
THE INVENTION AND PROGRESS OF PRINTING. 2/
The various works printed, with rare diligence and
skill, by these successful printers, have been much
sought after in all times, and some are nowadays very
rare, — as, for instance, the Dccamcrone of Boccaccio,
quarto, 1527, published by the heirs of Filippo, which,
although not as rare as the edition of 15 16, is difficult
to find, especially in good condition. Brunet, indeed,
says that this is the best edition of the Decanierone
that has ever been printed.
Contemporaneously with the Giunti, there flourished
at Florence Torrentino, Marescotti, and Sermartelli ; also
in Rome the Baldi ; and in Venice Marcolini, Giolito,
Gardano 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 Josse 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 II. 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
28
MANUAL OF BIBLIOGRAPHY.
equal skill. The works most sought for are those
issued by Abraham and Bonaventure, and by Louis
and Daniel. The Casan's ComDicutaria, 1635 (in
the genuine edition of which p. 149 is marked 153);
Plinii secimdi Historice Naturalis, 1635 y Vergilii Opera,.
Tercntii Cojnadia , 1635, Tcstamcntum (Novum) Grcccum
Fig. 10. — Mark of Etienne Dolet, printer at Lj'ons, 1542.
the Davidis Psaltcrhtni, the Imitatio Cliristi and the
Corps Politique, 1653, printed by the Elzevirs, are to be
considered masterpieces of the typographic art.
At the same period the Dutch reckoned among their
best printers Janson Blaeu and Hackus Boom, who issued
various editions, Greek and Latin, ann notis variorum.
France boasted of \'itre, who executed the printing of
the famous Pol3'glot in six languages, by Lisar, in ten
THE INVENTION AND PROGRESS OF PRINTING. 29
volumes folio, which took from 162S to 1645 ! Cramoisy,
who published the voluminous works known under the
name of the Editions die Louvre^ amongst which was
the greater part of the Byzantinum, in twenty-six folio
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 itsuiii Dclphini.
Fig. II.- — Mark of Bonaventure and Abraham Elzevir,
printers at Le3-den, 1626.
The eighteenth century had also its famous printers.
England and Spain deserve especial mention in this
century for the eminent glory of their beautiful typo-
graphical productions. The first boasts, with justice,
Thompson, Mart3'ns, Baskerville, Brindley, Palmer,
Foulis, 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.
Turning to Italy we find Latta and Albrizzi, at Venice ;
30
MANUAL OF BIBLIOGRAPHY.
Lelio della Voipe, at Bologna ; Tartini, Franchi, and the
Manni, at Florence ; Manfre and Comino, at Padua ;
Remondini, at Bassano ; the Societa Palatina, at Milan,
Fig. 12. — Priiiting-oflice of Josse Badiu; at the
commencement of the sixteenth century.
sustaining with dignity the typographic art, which was
finally brought to the height of magnificence b}' Bodoni,
who, by the beauty of his publications, awoke envy and
admiration in Italy and abroad. His Callimachus and
Homer in Greek, Virgil in Latin, Walpole's Castle of
Otranto, in English, Telemachus and La Fontaine in
French, the Oratio Dominica or Lord's Prayer in
one hundred languages, are worthy a place among the
works of the best artists.
In the midst of such abundance of perfect work, still
France stands prominent. Anisson, Coustelier, Barbou,
THE INVENTION AND TROGRESS OF PRINTING. 3 I
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
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
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 notice : Ulrich
Zeli, Brylinger,Coornhert, Herbst, Hervagius, Koburger,
Palthenius, Quentel, and Plantin, who worked in
the sixteenth century ; Friis, Holma, Moetjens of the
seventeenth century, and Breitkopf and Gesner of
the eighteenth century.
The nineteenth century had, and has, celebrated fol-
lowers of the t3'pographic 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."
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 oj 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 ^2,690, ^^"3,400, and in 1884
for ;!{^3,900 ; the Historic of Troy, printed by Caxton,
reached about the sum of ;^ 1,060 ; 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
saleini8i3,Jby the Marquis of Blandford, sold foriJ"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 Club,
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 printed 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 ivork and an edition. For example, a certain luork 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 BIBLIOGRAPHY.
2. Those which see the hght 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
incnnabulcv) 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 an}' book.
THE BOOK. 37
Distinctions of the First Printed Books. — Jugendre, in
a book entitled Disquisitio in Notas Charactcristicas
Libroruni a Typographico Inciinabulo ab an MD. Im-
prcssoruni, 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. 6o) that the first title-page occurred
in 1476, while the titles of chapters were already to be
found in the Ciccronis Epistolce 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 on.
7. SoHdity and thickness of the paper.
8. Absence of the printer's name, place, and date.
38 MANUAL OF BIBLIOGRAPHY.
9. 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 ct (and), ncq^^ and quibT^ for neqiic and
qiiibiis, q with a stroke across the tail (a) for qiiani
and qiiod^ 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
b}' 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.
a., aus. [G.]
dfr. [F.]
abb., abbild. [G.]
abdr. [G.l
abschn. [G.] ...
abth. [G.]
anc. re I. [F.] ...
atwi. [G.]
antiq. [E.]
rtwy?. [G.]
ausg. [G.]
mit., aiitog. [E., F.]
/>., has. [F.]
B. L. [E.]
bd.,bde.\G.'] ...
bd., bnd. [E.] ...
Mj. [E.]
bg., bog. [G.] ...
'^Z. [G.]
br., brock. [F.] ...
br., geh. [G.] ...
c. d. R. [F.] ...
F= French. G=German. I=Italian.
L=Latin.
ausschnitt (an extract).
a 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).
broche, brochure (stitched).
broschirt, geheftet (stitched).
cuir de Russie (Russia leather).
40
MANUAL OF BIBLIOGRAPHY.
[F-]
c. etfer?n. [F.]
c.f. [L.]
ca. gr. [L]
ca. vcl. [I.]
ca. azz. [L]
carat, got. [I.] .
carat, ton. [I.] ,
cart. [F.]
<:«;-/. (^;-(^rt^.
-^/[E.]
<:A. ;«. [L.]
cl. [E.]
f/. M^. [E.] ...
cl. ex. [E.]
c/.^/. [E.]
t/. //. [E.]
c/^. />/. [E.]
cplt. [F.]
^^'- [E.]
cuts [E.]
rtT. ;r/. [F.]
fl'. J. /. [F.]
de^n., dy. [E.] ...
dent. [F.]
</i'«/. ?■«/. [F.] ...
dor. suifol. [L]
dup. [E.]
<?rtf., ^rrf/V. [E., F.]
einb. [G.]
^«/. [E.]
esenipl. [I.]
^;r. [E.]
f.ds.i.p.\Y:\
f, comp. [F.]
/rt^.y. [E.]
fcp.Jcap. [E.] ...
#[F.]
fig. col. [F.] ...
coins et fermoir (corners and clasj)).
cum figuris (with illustrations).
carta grande (large paper).
carta velina (vellum paper).
carta azzurra (blue paper).
caratteri gotici (Gothic characters).
carattere tondo (circular character).
cartonne (boards).
cartonnage Bradei (bevelled boards).
calf.
charta magna (large paper).
cloth.
cloth boards.
cloth extra.
cloth gilt.
cloth limp.
coloured plates.
complet (complete).
crown (as crown 8vo).
wood-cuts.
demi-reliure (half-binding).
dor6 sur tranche (gilt edged).
demy (as demy octavo).
dentelle, dentelle (lace ornament).
dentelle int^rieure (on inside of cover).
dorata sui fogli (gilt edged).
duplicate.
edited, edition.
einband (binding).
enlarged.
esemplare (a copy).
extra.
filets dor^s (gilt fillets or roll), [side).
filets dor sur Ics plats (gilt fillets on
filets a compartimcnts (gilt fillets in
facsimiles. [panels).
foolscap.
feuillets (folios or leaves).
figure, figurato (engraving).
figures coloriees (coloured illustrations).
THE BOOK
Jig.s.l^.lF.-] ..
/o., infol. [F.] ..
fol [E.]
/<-.[G.]
front.gr. [F.] ..
fro7its. [E.]
fzb.Jzbd.Jrzbd. [G.].
^. .. [E.]
^./.,^./. ..[E.]
^^.,^^^. [G.] ..
^^^/-. [G.]
gldschii. [G.] ..
^/^.,^^. [E.] ..
goth.\^.,Y:\ ..
gr.[G.-]
gr. marg. [F.] ..
gr.pap.\Y:\ ..
hf. bd. [E.]
//.f/or^^, >^(/:[E.]
/{/; 7twr., yi nior. [E.]
/{/^ russ.., %, russ. [E.]
/z/y. [G.]
Jifzbd., hfz., hbfrz. [G.]
hldrbd., hbldr., Jdbld. [G.]
hlwd., hhi., hblwd. [G.]
hlzschn [G.]
hpgt.Jibprgt., Jiperg. [G.]
/zr^^. [G.]
z7/?<'i'. [E.]
h)ip. [E.]
z;?/o/. [F, I.]
z«-40 [F.]
/;2-8o [F.]
iit-i2° [F.]
j/^r^. [G.]
^•/. [G.] ...
kpfrt. [G.]
/^r<5^., Idb., Idr. [G.]
/^^. «;«/. [I.]
figures sur bois (wood-cuts).
in-folio (folio).
folio.
folgende (sequel).
frontispice grave (engraved title).
frontispieces.
franzband (whole French calf).
gilt edges.
gilt top edge.
gebunden (bound).
gedruckt (printed).
goldschnitt (gilt edged).
gilt.
gothique (gothic).
gross (large).
grandes marges (large margins).
grand papier (large paper).
half bound.
half calf.
half morocco.
half russia.
heft, (number or part).
halbfranzband (half boimd).
halblederband (;-< bound leather).
halbleinwandband (>^ cloth bound).
holzschnitt (wood-cut).
halbpergamentband (bound in parch-
herausgegeben (published). [ment).
ibidem (the same).
illustrations, illustrated.
imperial.
in-folio, in foglio (folio).
in-quarto (quarto, 4*°).
in-octavo (octavo, 8^'°).
in-douze (duodecimo, 12°, twelvemo).
jahrgang (annual).
klein (small).
kupfertafel (copperplate engraving).
lederband (whole bound leather).
legatura antico (antique binding).
42
MANUAL OF BIBLIOGRAPHY.
leg. bod. [I.] ...
leg. y, tela \\\..
leg. 1/2 pelle\\.-\
„eg. in pel. [I.]
leg.ol.\\:\ ...
//^.[G.]
Ub. [E.]
//. [E.]
^/•[E.]
Iwd., Iwb., Indb. [G.]
m. [G.]
w. ant. [F.]
w. (^. [F.]
m. cit. [F.]
»z. rt'. d. m. [F.]
w.. rt'. d. t. [F.]...
w. rt'. L. [F.] ...
ni. e. [E.]
?;/. /. [E.]
m. 71. [F.]
;^/. r. [F.]
w. z/. [F.]
m. viol. [F.]
vtacch. [I.]
marb. [E.]
moiiill. et piq. [F.]
WW. [E.]
^6". [K, F., I.]
^6-6-. [E., F., I.]
«. rt'. [E.]
«. ^. [E.]
«./[G.]
«. A[K.]
«. r. [F.]
wfi'j. [E.]
legato alia Bodoniana (Bodonian bind-
ing)-
legato in mezza tela (half cloth binding),
legato in mezza pelle (half leather
binding).
legato pelle (whole leather binding).
legatura olandese (Dutch binding).
lieferung (number).
librarian, librarj".
leaves.
limp.
leinwandband (cloth bound).
mit (with).
maroquin antique (morocco antique).
maroquin bleu (blue morocco).
maroquin citron (citron morocco).
maroquin double de maroquin (morocco
backed with morocco).
maroquin double de tabis (morocco
backed with watered silk).
maroquin du Levant (Levant morocco).
marbled edges.
morocco lined.
maroquin noir (black morocco).
maroquin rouge (red morocco).
maroquin vert (green morocco).
maroquin violet (violet morocco).
macchiato (spotted or stained).
marbled.
mouillures et piqures (damp spots and
worm holes).
morocco.
manuscript, manoscritto (manuscript).
manuscripts, mauoscritti (manuscripts).
no date.
new edition.
ncue folge (new series).
no place or no printer's name.
non rogn6 (uncut).
in ntunbers.
THE BOOK
43
obi [E., I.]
ott. cons. [I.]
A[E.J
P- [E.]
p. d. t. d. R. [F.]
p.deH.\_Y.'\ ...
p.v.[Y.-]
p. vel. [F.]
pag. [F., I.] ...
pap [E.]
pardi. [E., F.] ...
pb., pd., ppbd. [G.]
perg.
pet. f.,p /.[¥.-]
pgmt., pgt., perg. [G.]
//<;<:. [I.]
//•[E.]
/c'/'/j'. [E.]
//•[E.]
_^/^. [E.]
pub. [E.]
^■Wfl^f. [I.]
i^^'. mouill. [F.]
^•[L-]
r. &> g. edges [E.]
r^fl'. [E.]
rev. [E.]
r<y., r^. [E.]
rus., riiss. [E.] ...
s., Slip. [E.] ...
s., ste. [G.]
^. rt. (L., I.] ...
i'. rt. ^//. [L.] ...
s. d. [I.]
s. htip. [L.]
.y. /. [L., F., I.]...
s. I. et a. [L.] . . .
oblong, oblungo. [tion).
ottima conservazione (best preserva-
post, as post 8vo.
page.
peau de truie de Russia (hog-skin).
papier de Hollande (Dutch paper).
papier verge (laid paper).
papier velin (vellum paper).
pagina or pagine (page or pages).
paper, i.e., sewed.
parchemin (parchment).
pappband (bound in paper).
pergamina (parchment). v
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 edges.
reduced.
revised.
ro3'al, 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.
s. I. 11. d. [R] ...
sdvuntl. [G.] ...
sars. [G.]
sc. [E.]
sd., sivd. [E.] ...
sch-wsldrbd. [G.]
sec. [I.]
sec. [E.]
sh., sp., shp. [E.]
•^^ig'- [F.]
^w. [E.]
s. 11. [L.]
.y. /. [L.]
s. t. eta. [L.] ...
sq- [E.]
stahlst. [G.]
■?/«/". [G.]
j'/^j?!'. ex. [E.]
^?///. [E.]
/., torn. [L., L, F.]
Z^/., tfl. [G.] ...
taglio r. [I.]
/«r/. [I.]
///^'. [E.]
/H [G.]
up. [L]
/?V. r. et n. [F.] ...
/r. CIS. [F.]
/r. ^(?r. [F.]
tr. in. [F.]
/r.^. [F.]
/r. r. [F.]
trans. [E.]
«./,;//: [G.] ...
fibers . [G.]
unbesch. [G.] ...
[skin),
ill pig's
sans lieu ni date (no place or date)
sammtliche (all complete).
sarsenet taffeta.
scarce.
sewed.
schweinslederband fbound
secolo (century). '
section.
sheep skin.
signe, signature (signed, etc.).
small.
sine nota (without note).
sine typographo (without printer).
sine typographoet anno {without printer
and date),
square.
stahlstich (steel engraving),
steintafel (lithograph),
super extra,
supplement,
tomus, tomi; tomo, tomi ; tome, tomes
(volume, volumes),
tafel (engraving),
taglio rosso (red edges),
tarlato (wormholed).
thick.
theil (part).
tipografia (typography),
titre rouge et noir (title red and black),
tranche ciselee (tooled edges),
tranches dorees (edges gilt),
tranches marbree (edges marbled),
tranches peignees (trimmed edges),
tranches rouges (edges red),
translated.
und folgende (and following),
iibersetzt (translated),
unbeschnitten (uncut),
verso,
von (by).
THE BOOK.
45
v., vol. [E., F.,
V. b. [F.]
v.f. [F.]
V. ec. [F.]
V. jasp. [F.]
V. in. [F.]
v.p.\_Y:\
V. r. [F.]
v.y. [E.]
vel. [F.]...
w7. rt'^ H. [F.]
vergr. [G.]
zz/Vw. [F.]
•c/o/., Ty^Zy. [E.]
7...[E.]...
ivohlf. [G.]
4t°[E.] ...
t>vo[E.] ...
120, 1 60^ 18°,
640 [E.]
I-]
volume, volumi (volume, volumes).
veau brun (brown calf).
veau fauve (fawn calf).
veau ecaille (scaled calf).
veau jaspe (calf stained or marbled).
veau marbre (calf marbled).
veauporphyre (calf to imitate porphyry).
veau rouge (red calf).
various j-ears.
velin (vellum).
velin de Hollande (Dutch vellum).
vergriffen (out of print).
vignettes (vignettes)..
volume, volumes.
with.
wohlfeil (cheap).
quarto.
octavo.
i2mo or duodecimo, etc.
Collation. — It is indispensable that every volume
placed in a library should be collated, in order to
ascertain if it be complete. It is also necessary to re-
collate the volumes which are given out to re-bind, to
make sure that there is no transposition of folios, that
all the engravings are in their place and protected by a
tissue paper, that the large maps and views are mounted
on jaconette and folded so that they may be easily
unfolded without the risk of tearing them.
The collation of a volume, both before and after
binding, is an operation which ought to be performed
with great care, as from it alone can one be certain
that a book is complete and without defect. This is
not merely a mechanical labour, but often requires a
knowledge of the material composition of books, and it
varies almost with every book.
46 MANUAL OF BIBLIOGRAPHY.
The greater part of the iiiainabiilce present very
great difficulties on collation, from the absence of the
numeration of pages, and signatures, and it is espe-
cially these books that, from their antiquity and rarity,
need the most scrupulous examination, and almost re-
quire careful comparison with a known complete copy.
The simplest method of collating a modern book is to
verify the pagination and the signatures (q.v.). If the
work is in more than one volume assure yourself that
the sheets of one volume do not belong to any other
volume, and that the final volume reaches the finis, and
completes the work ; also be careful to ascertain if there
is a separate index, or introductory volume.
Books with separate engravings require a special
inspection into the number of plates, quality of the
proofs, and their arrangement. Concerning their
number it is well to ascertain exactly that there are no
duplicates substituted for others missing, a thing which
happens almost too often. In cases of doubt, it will be
well to consult the works of Cicognara, Vinet, and
Cohen.
There are also some books which should have cancels.
Cancels are duplicate sheets or quires which are to be
substituted in place of others, either to correct grave
errors in the printing, because they have been suppressed
by the censors ; or because they contain pieces which
have been omitted from the text.
Good booksellers' catalogues indicate which are the
books that ought to have cancels, and on these materials
an interesting special study has been published by
Philomneste Junior (Gustave Brunet), to which it will
be well to refer in the majority of cases.
9QBS
THE BOOK.
47
Siscs of Books. — To exactly determine the size of a
book is not always an easy matter. We have seen wise
booksellers, and [book] learned bibliophiles, commit
errors which after a time gave, and still give, place to
serious contentions on the existence, or even less, of a
book of a given size.
There are a great many recognised sizes of books, of
which the following are the principal : —
A folio is a sheet folded once, and has two leaves, or four pages,
has
A
4to
An
8vo
A
i2mo
i6mo
i8mo
24mo
32mo
36mo
48mo
64mo
72mo
96mo
i28mo
4 leaves .
or .
8pao
es
• 8 „
,,
16 ,
• 12 ,,
,,
24 ,
. i6 „
,,
32 ,
. i8 „
,,
36 .
. 24 „
,,
48 .
■ 32 ,.
,,
64 ,
. 36 „
,,
72 ,
. 48 „
,,
96 .
. 64 „
,,
128 ,
• 72 „
,,
144 ,
. 96 „
,,
192 ,
. 128 „
II
256 ,
These are again subdivided into small, medium, and
large, as sm. 4to, medium 8vo, large folio.
Aldus Manutius first made the octavo size popular ;
the Elzevirs generally used the T6mo and 24mo size ;
in the eighteenth century the i2mo was in common use,
but at the present time we use indifferently all sizes,
the various gradations of the octavo being perhaps
the most popular.
The size of a book is the result of the number of
leaves contained in a printed and folded sheet or folio,
whatsoever may be its original dimensions ; and the
48 MANUAL OF BIBLIOGRAPHY.
book takes its size name from the number of the leaves
or half the number of pages, contained in the sheet.
It is not easy to determine at first sight the proper
denomination of some sizes, in consequence of the printer
having made use of a paper more or less large, and
making of the same book impressions on large, ordinary,
and sm.all paper : for this reason it is easy to mistake
a volume in i2mo for an 8vo, an i8mo for a i6mo, etc.
This confusion need not interfere with the arrangement
of the volumes on the shelves, but grave bibliographical
errors would result from it whenever they should come
to be erroneously described on the cards or in the
catalogue, because one would be, as it were, creating
an edition which had no existence. There are books
without pagination, catchwords, or signatures (of each
of which we shall speak further on), of which it is
extremely difficult to establish the size ; and for these
— as all ancient books were printed on hand-made paper
—it will be necessary to examine the paper attentively,
and to determine the size of it by basing it on the
watermark (if there be one), or observing if the water-
lines are vertical or longitudinal.
The watermark is the semi-transparent ornament or
sign introduced by the paper-maker into each sheet to
mark its quality or size. If this mark be found in the
middle of a page, the book is folio ; if at the bottom, it
is quarto ; if at the top, an octavo.
Waterlines are those transparent lines which cross
the sheet of paper at a distance of about one to three
inches apart, and are produced by the wooden or metal
supports which are put under the wires of the metallic
frame in which the paper is made, so that they should
THE BOOK. 49
not bend under the weight of pulp required to form
the sheet of paper. These waterhnes always cross
the sheet in its narrowest width.
Thus a folio is composed of a sheet folded in
two, containing four pages, and has the waterlines
perpendicular.
A quarto (4to) is composed of a sheet folded in
four, contains eight pages, and has the waterlines
honzontal.
An octavo (Svo) is composed of a sheet folded in
eight, contains sixteen pages, and has the waterlines
perpendicular.
A duodecimo, or twelvemo (12°) is composed of a
sheet folded in twelve, contains twenty-four pages, and
has the waterlines horizontal.
A sixteenmo (i6mo) is composed of a sheet folded in
sixteen, contains thirty-two pages, and has the water-
lines horizontal.
The smaller sizes are as follows : —
Leaves
Pages
Waterlines
Eighteenmo ( iSmo)
18
36
perpe7idicular
Twenty-fourmo (24mo)
24 .
48
perpendicular
or horizontal
Thirty-tu'omo (32mo)
32 .
64
perpendicular
Thirty-sixmo (361110)
36 .
72
horizontal
Forty-eightmo (48mo)
48 .
96 .
horizofital
Sixty-fourmo (64moj
64 .
128 .
horizontal
Seventy-tu'omo (72010)
72 .
144
perpendicular
Ninety-sixmo (96mo)
96 .
192 .
perpendicular
One hundred and
twenty-eightmo (i28mo)
128 .
256 .
perpendicular
In machine-made papers, which at the present time
have almost entirely taken the place of hand-made, the
waterlines are no longer visible ; at the same time
4
50
MANUAL OF BIBLIOGRAPHY.
catchwords and registers have been abolished. Sig-
natures (see p. 54) are now expressed by letters, or
Arabic figures, placed at the foot of the first page of
each sheet, and from the inspection of them the size
of a modern book can be immediately determined;
occasionally, however, signatures are entirely omitted.
When a work is composed of several volumes the
number of the volume is now repeated before every
signature, in order to avoid confusing the sheets of one
volume with those of any other.
The signatures in cipher, etc., correspond to the
number of pages given by a folded sheet. In the
following tables are indicated their correspondence with
the sizes in common use.
Signatures in a FOLIO.
is-
Page
Sig.
Page 1
Sig.
Page
I
;ommences I
21 commences iJi
41 commences 161
2
5
00
85
42
165
3
9
23
89
43
169
4
13
24
93
44
173
5
17
25
97
45
^77
6
„ 21
26
„ lOI
46
181
7
)i -5
27
105
47
185
8
29
28
,, 109
4S
189
9
33
29
113
49
193
lO
37
30
117
50
197
II
41
31
121
51
, 2or
12
45
32
125
52
, 205
13
49
33
129
53
, 209
H
53
34
133
54
213
15
57
35
137
55
217
16
61
36
141
56
, 221
17
65
37
145
57
22 ^
18
69
38
149
58
, 229
19
73
39
153
59
233
20
77
1 40
157
60
237
THE
BOOK.
51
Sig.
Page
^l^
PaRe
Sig.
Page
6 1 commences
241
66
commences
261
71
commences 281
62
245
67
,,
265
72
285
63 n
249
68
»»
269
73
„ 289
64
253
69
M
273
74
293
65
257
70
11
277
75
297
Thus a folio volume of 148 pages will have 37
sheets or signatures, and a folio volume of 60 sheets
will have 240 pages. Frequently one will find folios
with gatherings of six leaves to the signature.
Signatures in a
QUAR
TO (4to).
Sig.
Page
Sig.
Page
I
commences i
26
commences
201
2
9
27
,,
209
3
17
28
i>
217
4
25
29
II
225
5
33
30
II
233
6
41
31
If
241
7
49
32
n
249
8
57
33
tl
257
9
65
34
II
265
10
73
35
II
273
II
81
36
II
281
12
89
37
»»
289
13
97
38
II
297
14
105
39
II
305
15
113
40
II
313
16
121
41
II
321
17
129
42
II
329
18
137
43
II
337
19
145
44
(1
345
20
153
45
l»
353
21
161
46
II
361
22
169
47
II
369
23
177
48
II
377
24
185
49
II
385
25
193
50
II
393
Thus a quarto volume of 232 pages will have 29^
52
MANUAL OF BIBLIOGRAPHY.
sheets or signatures, and a quarto volume of 45 sheets
will have 360 pages. Quartos also frequently have
eight leaves to the sheet, or between each signature.
Signatures of ax OCTAVO (Svo).
Sig,
I
2
3
4
5
6
7
8
9
10
II
12
13
14
15
Paire
lences i
Sig. Page
lb commences 241
17
17
257
33
49
iS
19
273
2S9
65
20
305
81
21
321
97
22
337
113
129
-3
24
353
369
145
25
385
161
26
„ 401
V U7
27
417
193
2S
433
„ 209
225
29
30
449
465
Thus a volume in octavo of 25 sheets will have 400
pages, and a volume in octavo of 36S pages will have
2$ sheets or signatures. Some, and especially American
boots, have two signatures to every 16 Svo pages.
The same rules which serve to establish with exact-
ness the size of a book may also serve to show if the
book be complete. Whilst in modern books it is suffi-
cient to ascertain the number of sheets or signatures,
in incunabula it is necessary to take into consideration
the pagination, signatures, catchwords ; and to have
recourse to the registers when they are to be found.
Paginatioii. — The ciphers or numbers of the pages
were generally omitted by printers of the fifteenth
century. Several bibliographers have affirmed that
Johannes de Spira of V^enice was the first to introduce
THE BOOK. S3
the numeration of the pages, but it is now almost
certain that they were used anterior to his period.
Gar, in his lectures on Bibliology, cites a volume
printed at Cologne by Ther Hoernen in 1470? in
mattna^Q g r^rto efoquctidfTimg
^olu rmmbus conjsxtct* piopi^h^
fcapta tit ^tttcta € ohm' ^rm2
3[rnolbt! t h ^t faoaric bilictetififnme
tmpcgffg'fimta [ub annietom im'
rnaij' ^zquocnfio mam fiho_^
Fig. 14. — Colophon of Arnold Ther Hoernen, printer at Cologne.
-which the folios are numbered. The title of the book
is " Sermo Pradicabilis in Festo Prcescjitatioiiis Bca-
fissimce Marice. Per impressionem multiplicatus, sub
hoc currente anno MCCCCLXX." It is a small 4to
of 12 leaves, and 27 lines to the page.
Shortly afterwards Linhard Holl, of Ulm, improved
54 MANUAL OF BIBLIOGRAPHY.
the form of the numbers or figures, which were ordi-
narily Roman. The Arabic ciphers received the form
which they now have from two printers of Leipsic^
ci)xa 1489.
Signatures. — Signatures are those letters or figures
placed at one of the lower corners of the first page of
each quire or sheet of printing, by means of which
their order is indicated.
The letters are used in the alphabetical order, so
that the capital letter A signifies the first sheet, B
the second, and so on (J, V, and W are generally
omitted). If the volume contains more sheets than
there are letters in the alphabet, the alphabet is com-
menced again at the beginning, adding to each letter its
equivalent small letter ; thus sheet 24 would bear the
signature Aa, sheet 25 Bb, and so on. Occasionally,
instead of the second letter, and indeed generally after
Zz, Arabic numerals are used, which go through the
volume in numerical order; thus, sheet 46 would bear
the signature ZZ or 2Z, sheet 47 3 A, sheet 71 4A, etc.
Letter B, or figure 2, is generally the signature of the
sheet on which the text commences. Signature Aor i,
being used for preliminary matter, is printed last.
In many countries, and more especially in France and
America, the Arabic numerals are used alone instead
of with letters.
For a long time bibliographers disagreed as to the
introduction of signatures, which was generally attri-
buted to John of Cologne, a printer of Venice, 1474; it
has, however, now been almost definitely settled that
the first book with signatures is JoJiaiinis Nydcr Pra-
ceUoriiim Diviiice Lcgis, printed, in folio, at Cologne, by
THE BOOK. 5 5
Johan Koelhof of Lubec, in 1472. This invention of
signatures as a guide for the printer and binder has
also been ascribed to Zarotus of Milan.
CatcJnvords. — Catchwords are the single words placed
at the bottom of a verso page (the verso page is that to the
left of the reader, and the 7-ecto that to the right ), and are
the same as that commencing the following page. The
catchword was usually placed at the end of each sheets
when the book was composed of several sheets, alwa3^s
at the bottom of the last page, under the bottom line.
They are, however, sometimes placed at the bottom
right-hand corner of each page in old books. Their
use was to assist the bookbinder in his work, and to
prevent mistakes when arranging the sheets. When
placed at the bottom of every page they were intended
to facilitate the task of the reader (by giving him a
word to read as he turned over the leaf), and survived
to rectify the errors which might occur in the signatures.
It is generall.y agreed that the first to introduce
catchwords was Vindelin de Spira, who used them in
the first edition of Tacitus, printed by him at Venice^
without date, but believed to be 1468 or 1469. Abbe
Rive has demonstrated, however, that this book could
not have been printed until the end of 1472. If he is
correct, catchwords are found for the first time in the
Confessionale Saudi Antoiiini, printed at Bologna, with-
out name of printer, at the beginning of the same year
1472. They were used at Paris about 1476, and by
Caxton in 14S0.
Before 1480, the period at which catchwords came to
be generally adopted, they are only to be found in five
or six works ; they have now fallen into disuse except
in books printed in the antique style.
$6 MANUAL OF BIBLIOGRAPHY.
Registers. — A register was an alphabetical table of the
first word of every sheet or chapter, repeated in the
form of an index at the end of the book ; by this means
the printer originally indicated to the bookbinder the
order in which the sheets were to be bound.
The register was used for the first time in the books
containing the Commentaries of Caesar and the Pharsalia
of Lucan, printed at Rome in 1469.
Although it is probable that the printers often
employed registers before signatures came into use,
nevertheless they are very rarely to be found at the
end of incunahidci. The reason of this may be, that
it being printed on the last leaf of the book, it was
most exposed to being torn off; or again it is probable
that the bookbinder suppressed it after having made
use of it to collate the volume sent to him to bind.
Date. — The practice of adding the date to printed
works was introduced in the first days of printing ;
nevertheless there are not a few volumes which bear
neither date, indication of place, nor name of the printer ;
the bibliophile has therefore been obliged to divine, as it
were, the one and the others, proceeding by conjectures.
By comparing the customs of the times, the form of the
characters, the marks of the paper, and by examining
with care all the distinctive signs of ancient editions,
they have succeeded in establishing, almost with cer-
tainty, the date, place of printing, and the name of the
printer of the greater part of those books in which
those indications are wanting.
Very often in the dates of the first printed books, one
meets with errors caused by design or mistake, or by
gross typographical inaccuracy. These errors have
THE BOOK. 57
given place to important disquisitions, such as that by
Sardini, who proves that the Decor Piiellarum, printed in
Venice by Jenson, with the date 1461, should be dated
1471 ; or, as the many essays for and against the
date 1469 given by Lavagna to the book Miracoli de la
Gloriosa Verzene Maria, which would take away from
Zarotus the incontestable merit of having introduced
printing into Milan. Again, could the date of the
Exposicio Sandi Hieronyuii, said to have been printed at
Oxford (see p. 23 ante) in 1468, be proved to be true, it
would make our own Caxton the second to introduce
printing into England.
Various, and not seldom very curious, were the forms
in which the early printers put the date to their publica-
tions. Many printers made use of the Roman numerals,
others of the Arabic, and others again would print the
thousands entirely in letters, and sometimes would alter-
nate the letters with numbers, e.g. : —
Anno millesimo CCCC octogesimo . . . . = 1480
Annodomini Millesimoquadringentesimooctogesimo tercio = 1483
Mil qiiatre cens quatre vingtz et XVII . . . . = 1497
Anno quingentesimo sexto supra millesimum = 1506
Freytag, in his Adparatus Littcraniis, and also
Maittaire, in his Annaks Typographici, give a number of
examples of this curious method. Those which differ
most from the generally adopted method belong especially
to the editions executed in Holland in the first century
of printing.
Truly it would seem as if some of the printers of the
fifteenth and sixteenth centuries tried to make their
dates as indecipherable as possible, in order to put to
the proof whoever should wish to explain them. As
these cases do not often present themselves, we have
5^
MANUAL OF BIBLIOGRAPHY.
transcribed several examples with their equivalents
in Arabic numerals : —
MccccLxxz .
1472.
MID .
. 1499-
Mccccyz
1472.
M CD X ci X
1499.
Mcccc. II. & LXX
1472.
MCCCCXCViiij .
1499-
Mccccxxc
1480.
MCDXCIX .
1499-
MCCCCiiijXXVlII
1488.
MD . . .
1500.
Miiii c iiii xx Viij .
1488.
Ml3 . . .
1500.
MCD XCV .
1495-
MCDCII
. 1502.
M iiij D
1496.
M D XL IIX
1548.
M jjj D . .
1497-
MDL .
1550.
MCCCCXCviij .
1498.
Ml3L .
1550.
Colophon. — The subscription, or rather the colophon,
is the formula with which all books printed in the fif-
teenth century were concluded. It generally commences
something after the following form : — Explicit liber qui
diciiur, etc. ; followed by the names of printer and place,
date, and sometimes even the month and day on which
the impression was completed. (This is by no means
an uncommon event in books published by Rouveyre,
Quantin, and other French publishers of Editions des
Bibliophiles.) It, however, often happens, as we have
already observed, that all these indications have been
wanting ; they have then been written in by the pen
of the caligrapher, or rubricator of the initials. As
these copyists often wrote erroneous or supposititious
dates, they thus increased the bibliophile's difficulty
of determining with certainty the exact date of an
incunabulu))!.
Sometimes the printer, justly proud of the accuracy
of his edition, or of having been the first to introduce
the art of printing into a certain city, makes a boast of
it in the colophon.
THE BOOK. 59
In this manner also Johannes de Spira calls himself
the first printer in Venice, and to his first production,
Ciceronis Epistolce ad Familiares, published in 1469,
is affixed a colophon in which the fact is mentioned.
Of this book three hundred copies were printed ; now
not more than a dozen are known to be in existence,
of which six are on parchment.
{^tidbocopufculujltiritiiac coplcm^ctad
curcbta3 Xx\ ttidudric in aiutatc QDagunti)
per^obannc fiift auc*cr (Sctru fctpifflxr b?
gcriiPbgpni clcncu t>iot5p ciurclc5 cO conru?
matui Anno inrarnacois t)nicC' AV«cccc4)cii»
^nvigiliaanumpcots g-fbH^virgnns mane.
Fig. 15. — Colophon of the Liblc printed in 1402 by Fust and Schoeffer,
which is the first dated Bible. There are two difierent 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 Cristophore.
Nunc etiam docti das Commentaria Servi
In quibus exponit carmina Virgilii,
Divulgasque librum, qui rarior esse solebat,
Ut pan-o pretio quisque parare queat.
Hunc emite O Juvenes : opera Carbonis ad unguem
Correctus vestris serviet ingeniis.''
Translation.
[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 in 1472, justi}' proud of his success,
exclaimed :
"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 Calcndariiim 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.
61
After the verses we find these Hnes printed in r©d :
1476.
" Bernardus pictor de Augusta.
Petrus Loslein de Langencen,
Erhardus Ratdolt de Augusta."
We give a facsimile of the title of the Italian edition
Vefta cpva diogni parte e un Utro doio .
Non fupuiprccioUgeinmarmai
Dif kalendario : cfee cratucol'e afu
Con gran fjcilita.: magraulauorc
Qui numeTo'aureo : e cutn 1 Tegni fuorq
Defcripu dil gran polodaognlhr
Qiiandoti fole : eluna ecliplifai ■
CJuantc cene fe re^e a fto tbexora
In iininrrarKltufaiqualbciralu
Qiial faia lanno :giorno ; tempo : e mexe :
Cl^etuta ponn-fon daftrokigu-
loanhe de monte regio quefto lexe ■■
Coghertal huKoacionongrauefiJ
In brcue tempo: e con pocbi pcnexe.
Chi tcmecotal Jpexe ^
Scampaninul noraidumprefTon
Son qui da baffo di lodKijlon -^
Veneujs. 14- 7*.
nt^ 3<y^ Bcmafc'iiis piilor de Augulra
^:^^^§):<!' Petrus lollcin'ilcLanccncen y?v!_
Fig. i6.-Title-page of the Caleitdano, 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 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 Terze Rime di
Dante of 1502, 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. 17).
Fig. 18. — Plantin's mark.
Abel Langelier has the sacrifice of Abel ; Antonius
Bladius of Rome, Rouille or Roville of Lyons, an eagle;
the Stephani, the Elzevirs of Amsterdam and Leyden,
and others, an olive-tree ; Plantin and Moret, of Antwerp,
a compass ; the Commehns 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 OF 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 Phoenix floats a riband, on which
is written De la mia mortc cterna 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
Giuntse, 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 Virlnte duce,
and to the right Comitc fortnna.
Ottaviano Scotto, and many other printers, espe-
cially Italian, had a circle, black or red, divided by a
transverse line, from the centre of which arose a cross
ending above the circle, in which were the initials of
the printers. Sonnius of Paris had the hand of St.
THE BOOK.
65
Paul in the act of casting the viper into the fire, with
the motto, Si 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.
("axton's publications bear the letters \Y. C, with a
^^^^^^^^^
v^^^L§j^tff^^
yrv<
iTPigsi^^jMK^-^^r^
Fig. 20. — Caxton's mark.
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 having a grafted tree
growing through it, with a punning motto, Suscipite
insertum verbum, Jac. I. : " Receive the \r\grafted word "
(Epistle of St. James, ch. i., ver. 21) — a happy allusion
to his name. John Day had as a device a sleeping
man awakened by one who points to the rising sun,
with the motto, Arise, for it is Day. Richard Tottel,
a great printer of law books, had for his sign a hand
holding a star. John Wolf, or Wolfe, took as a device
a fleur-de-lis seeding, which is sometimes accompanied
by the motto Ubiqiie florcscit.
A table of the devices of even the principal printers
would alone occupy a great volume, but should any one
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., Orlandi's Origine
della Stampa, 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 wa}^, that these devices
were not so exclusively their inventors' that they were
never omitted or changed, or that they may not even
be found 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.
^^BaM«,i„i,^
CHAPTER III.
THE ORNAMENTATION OF A BOOK.
Illuminated Initials — Wood Engraving — Copperplate — Steel Engraving
— Lithography — Chromo - Lithography — Zincography— Albertype
— Heliotypc — Zincotype — Binding.
lllnniinatcd Initials. — The first printed books were
issued without printed capital letters at the heads of the
books and chapters. These were afterwards filled in, in
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 the
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.
Wood-Engraving. — In the rapid sketch of the inven-
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 reall}^ unites all the
desirable conditions of the art of wood-engraving is the
Hypnerotomachia Poliphili, published by Aldus Manutius
at Venice 1499, the designs of which are attributed .to
. Fig. 21. -Plate from the Hypticrolouvichia Poliphili, printed by
Aldus Manutius in 1499.
Giovanni Bellino. This book, which is extremeh' 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 ORNAMENTATION 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 i; 1 30. ,
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
^/^
Fi„ 2^ -Title' of the Niircmherg CAromc/., printed by A. Koberger,
' 1493. Folio.
ma-emberg Chronicle 1493, which contains two thousand
en-ravings by Wolgemuth, the master of Albert Durer.
The first book published in Italy with illustrations
on wood was Meditationes reverendissum patns dm
Johanmsdc Turrecnmata, Rome, 1467, an extremely rare
book, of which not more than three copies are known :
one in the Library at Nuremberg, one i^^he Imperial
Library at Vienna, and the third in the library of
yo
MANUAL OF BIBLIOGRAPHY.
Earl Spencer. This last copy was minutely described
by Dibdin in his Bibliographical Decameron, vol. i.,
pp. 384 ct scq.
The second book published in the same country with
Fig. 23. — Wood er.graving in Matteo Past!, for Valturius'
Dc Re Militari (Verona : 1472).
wood-cuts is the edition (the first) of the De Re Militari
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 Bibliothcca SpcJiceriana, vol. iv., No. 793. Only two
copies are known or* vellum.
Until about the middle of the sixteenth century
Fig. 24. — Mark of Simon Vostre, printer at Paris, 1501.
xylography was exclusively used in the illustration of
books of prayers, philosophy, and history. 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 1543 in foUc 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 Vecellio, to
whom we owe the beautiful work Degli Hahiti Antichi e
Moderni di Diverse Parti del Mondo, first printed by
Zenaro at Venice in 1590; reprinted by Sessa 1598,
and again at Venice by Combi in 1664; translated into
French, it was published by Didot at Paris 1859-64,
Fig. 25. — Ornament of Simoa 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.
I ig. z6. — Page of the Grandes Heiires of Antoine Verard :
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'Heiires 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 Officia ; 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 volumes.
Pigouchet, Simon Vostre, Verard, were the first to
THE ORNAMENTATION OF A BOOK. 7 5
publish these Livres d'Hcttres now so much sought
after, and of which Brunet gives a history and descrip-
tion in his Manuel dii Libraire, tome v.
Towards the end of the sixteenth century, at the
very apogee of its brilliant career, commenced the
decadence of 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 timie 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 New Lottery-
Book of Birds and Beasts, 1771, the Child's Titter,
1772, and later on in Gafs 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. J J
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 3^ears 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 that
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-plate 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 Nicolo di Lorenzo, "die x septembris 1477." 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 by Landino,
pubhshed 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 14S1.
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 VL
of the Inferno, is in the possession of Earl Spencer, and
is described in vol. iv. of the Bibliothcca Spcnccriana.
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 Ptokmctiis, Cosmographio, which bears
the following subscription : " Claiidii Ptolemcei . . .
gcographiam Arnoldus Buckinck e Gerrnania Rome
tabulis cencis in picturis formatmn impressit . . . anno
M.CCCC.LXXVIII, VI idus Octobris." 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 BerHnghieri, 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 Herbipolcnse of 148 1 ; France
did not commence until 1488, and then at Lyons with
the Peregrinationes civiiatis sancie Jerusalem, and in
England one of the earliest specimens of copper-plate
engraving is to be found in a book printed in London
in 1540, with the title, The Byrth of Mankynd ; or, The
Woman's Boke, by Thomas Raynald. Amongst the
most important early copper-plate engravers may be
reckoned Abraham Bosse, a French engraver born at
Tours about 16 10, a copy of whose celebrated plate
of a bookseller's shop iemp. Louis XIII. is here given.
He is also known as the author of a little treatise,
entitled La Manicre de Graver a VEau Forte et ait
8o
MANUAL OF BIBLIOGRAPHY.
Fig. 29. — Print by Abraham Bosse, representing the 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 Diirer 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
£1,1^0. This art was always eagerly followed, and
even now, especially in Paris, books are illustrated 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
v^.\^^
vf\
^ . .^Vj
Fig.
30. — ^^Title of the Apocalypse, by Albert Diirer, 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. Cliromo-liiliography, 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 the 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 Grainiuar of Onianiciit,
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 Monninenti di Poinpei
(The Houses and Monuments of Pompeii), by Nicolini,
published at Naples ; // Dtiomo di Monrcale (The Dome
of Monreale), by Gravina, published at Palermo ; and,
above all, / Mosaici delle Chicse 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 Syria cits of the 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, especiall}^ 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 Httle, 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 d'lin
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
P'lorence, 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 Librorum, n. 27), viz., a
copy of the Episiolcc of S. Jerome, on which is written
" Illigatus est anno Domini 1469 per me Johannem
Fig. 31. — Bookbinder's shop in the sixteenth ccntun". Engravins
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 furnish ample materials for the history of the
bindings frequently described in them; and it is from
these records that we know that books of prayer {hvres
d'heurcs), etc., were preferably bound in gold or silver,
either chased or enamelled. One of the earliest speci-
mens is probably the MS. Tcxfus Saudi CuthhcHv in
the Cottonian Library, bound in a silver and gold cover
with precious stones, by a monk of Durham, m 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 rebmd a book
of prayers which the Pope, Paul III., wished to present
to Charles V. . 1 . .u
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-
ments. These bindings were still often enriched witn
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
8S MANUAL OF BIBLIOGRAPHY.
Fig. 32. — Binding lor Francis 1., with the arms ol F" ranee
and the sala-.nander.
THE ORNAMENTATION OF A BOOK. 89
Literature : it liberated it from the heavy ornaments
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.
Bindings bearing the motto of Grolier, the cipher
of Henri II. and Diana of Poitiers, or the arms
of De Thou, Colbert, or Soubise, reach a high price.
A binding having belonged to Maioli would for that
reason alone be worth about ;^ioo, one of Grolier's
from £iSO to i^200, and so on.
It is curious, and to be deplored, that the names of
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, we are told
that one Jeffery, a bookseller, bound a copy of Fox's
historical works in the skin of a fox. A copy of
Turberville 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. Decaju.y ii., 451), that Dr. Askew had a book
bound in human skin.
While the most excellent binders of past and present
00
MANUAL OF BIBLIOGRAPHY
Fip;. 33- — Binding for Grolier in the ccllcciion ot .M, Dutuii
THE ORNAMENTATION OF A BOOK. 9 1
times belong indisputably to England and France — the
former of which boasts the magnificent work, solid
and in good taste, of Roger Pa3'ne, Wier, Baumgarten,
Mackinly, Kalthoeber, Staggemier, Hering, Whittaker,
Charles Lewis, Riviere, Bedford, and Zaehnsdorf ; and
the latter Du Sueil, Pasdeloup, Derome, Bozerain,
Leveberes, Simier, Thouvenin, Courteval, Le Gascon,
Lesne, 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
amateurs 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 The 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,
THE orna:\ientation 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 ma}^ 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 Paiuphlcis.
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 will be found
the most convenient) or drawers, which will permit of
any single pamphlet being used separately.
The British Museum has adopted very carefully-
thought-out rules for its binding. The greater part of
the books of that library are bound in half-morocco,
with cloth sides. Historical works, have a red back,
THE ORNAMENTATION OF A COOK. 95
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. Folios, atlases,
etc., are shod or footed with metal, to minimise the
wear and tear.
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
they cover, 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 and 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. At the same time, strict
instructions should be given as to cutting or trimming
96
MANUAL OF BIBLIOGRAPHY,
Fig. 36. — Mosaic binding of the eighteenth century for the Spaccto de
la Bestia Trionfanie.
THE ORNAMENTATION OF A BOOK. 97
the edges, and also what lettering should be put on
the back. The latter should not be copied slavishly
from the title-page, but should be descriptive of the
contents of the volume, great care being paid to dates,
etc., on historical works.
Modern bindings, as has already been said, are done
in parchment, sheepskin, roan, calf, russia, chagreen*
or morocco, of various colours. The richer bindings
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, moire, 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,
but 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 good 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 indicated in the notes the best works
to consult.
CHAPTER IV.
THE 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— Models of
Catalogue entries — An Iconographic Catalogue — Works in
progress — Periodicals — Arrangement and Classification— Biblio-
graphical systems — Brunet's system — Alphabetical and systematic
arrangement — 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 volumes. 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 the
first or second rather than on the ground floor.
As to the construction of the bookcases or presses, it
100 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 bock
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, i6nios, 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 num.ber 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 alienate 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 bibliophile, who should be the soul of
order, did not keep an inventory of his books !
Book-plates 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 cx-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 Itahan 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.
Z
W
M
O
<
P5
<
Press.
ARMS,
VIGNETTE,
OR
MONOGRAM,
ETC.
Class.
O
r
>
2
n
>
H
O
2:
Branch.
Shelf.
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
I06 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,
when at times the true title of a work is found 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 :—
T The name of the author followed by his christian name.
3. Se ex't me with indications of translators, annotators. etc.
3 The number of volumes.
A Size • number of pages, engravings, etc.
t Mca"i»n of the city in .-hich it was printed, and fte „an,e
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.
%ta:ako.'s na,„c must be written with d.plomattc
precision, as it forms the base of the ^'Ip'-beUc order
of the catalogue ; the christian names should follow
between brackets, and are indispensable '» l-trngutsh
between authors of the same surname. f 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 bracke^.
For example, the early editions of lV<,va*y, 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 : —
[SCOXX (Sir Walter)] Waverley ; or, 'TisSixly Years Since. _^_^^
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
Bihliographiqne. 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 {Etiemie)\, Dictionnaire Bibliographiqicc, etc.
It will be as well to put a cross-reference : —
Psaume {Etienne), 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., Pisistratns 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 : —
Leland (C. G.) and W. T. Rogers. Dictionary of Americanisms,
etc. 2 vols. 4to, Lond. s. a.
[Cross-reference] Rogers (W. T.), sec 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 shp made from the
name of each author who has written m the book,
On^aggio dellaSociet. Storica Lombada ^^ ^II Centenano de a
Battaglia di Legnano, etc. Contents :-Cantu (C.) I Lombard!
e il Barbarossa.-Pii-ovano (G.), Legnano, etc.
Make the principal entry under the word Omaggio,
^vith 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, it
En-lish ; 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 Fenclon
not Sahgnac de Lamothe Fenelon ; 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. :—
Augtistine (Saint, Archbishop of Hippo). Confessions, etc.
Gregorius VII. Epistolre, etc.
Carlo Emantiele I. Letters, etc.
Edward VI. Literary Remains, etc.
no 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 contrar}- 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, Hoio 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 dc, 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 facilitated
in an extraordinary degree.
The Greek and Latin authors should be entered
THE LIBRARY AND THE CATALOGUE. Ill
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 TulHus 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.,
Herodotus, not 'Hp6SoTo<;, which would place it under
E in the alphabet ; Majiialis and Liviiis, 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 Riibeis 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 difference 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
catalogue 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 incunabula, the name of the author should
112 MANUAL OF BIBLIOGRAPHY.
above all things be written in the nominative, as it
will be repeated in the genitive in the body of the entr}',
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 ^eL^ting 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 wliich 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 ar
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 size, 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
incunabula:^ 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 italia/ia. Giornale dell" Associazione Tipografico-
Libraria, etc., etc. Anno xv., 1 88 1.
8vo, pp. Ixxvi. 288. IV., 108; IV., 260. :\IiIano, 1882.
With early-printed and valuable works the indication
of the place of printing, printer's name or pubhsher, 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 there. 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 entr}- we
give the following, copied from the Sunderland Sale
Catalogue : —
114 MANUAL OF BIBLIOGRAPHY.
Vtrgilius. Opera. Old red morocco, with red panels.
Folio. Mediolani Anthon. Zarotthus. Opera et impendio
Johannis Leguano. xx. Januar., 1481.
If the name of the town, pubHsher, 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. noni. imp. (sine inipressore, 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 iyp. 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 15 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 1 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 piacevoh
raccolte 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. 160S.
quarta parte, raccolte da F. Caliari.
4to. Verona. F. dalle Donn-e. 1603.
These would then be followed by the description.
The date is always written in Arabic numerals, except
for iiiciuiabidce, 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 bock 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 Liirline was Edward
Il6 MANUAL OF BIBLIOGRAPHY.
Fitzball, or that Cammarano wrote // 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 Lnrline ; it will be catalogued as
follows : —
Lnrline. Opera by Edward Fitzball. Music bj' W. V. Wallace.
Fol. Lond., i860.
With cross-references : —
Fitzball {Edward), sec Lnrline.
Wallace (JV. 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. II7
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 tmcul, 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 noted, 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.
Il8 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)
Impress! in Venetia, nelle Case d'Aldo Romano nel an- || no
M.DV del mese di Marzo ; Con la concessione || della IIlus-
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 . . . lo ; Class . . . .IV.
Shelf ... 3 1 Branch ... 6
Number ... 41 Division . . . —
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 1 9
If the title and description are not tco 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 godson 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.
Classification.
Class .... III.
Branch . . VII. ..
Division ... 3
Press ... 8
Shelf ... 3
Number ... 6
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,, 4th Earl), Letters, etc.
(That is — Press 8, Shelf 3, from 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 little labour, we recommend the bibliophile 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. 12 1
1st card. 2nd card.
Books and Rats.
Etching, ,
by Jules
Chevrier,
in
Fertiault,
Les
Amoureux
du Livre
p. 12
i
1
Chevrier
{Jules). Books
and Rats. Etching |
1
in
Fertiault,
Les Amoureux
du Livre, p. I2. |
!
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.
n. Mythology, and Greek and Roman antiquities.
III. Historical events.
IV. Heraldry', numismatics, emblems.
\. Feasts, ceremonies, manners and customs, costumes.
VI. Sciences, arts, and trades.
VII. Caricatures.
Vin. 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 : Racinet. Costume Historique.
Supplied by
Press-jnat'k of parts .
volumes
H. Grevel.
Store Room A.
9 • 3-
Volume.
Part.
Plates.
12 March 12, 1S88
12 April 3 —
12 May 10 —
12 June 12 —
12 Nov. 5 —
2 colrd., 10 plain ' Jan. 6, 1889
Mar. 10 —
April 25 —
Received.
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-i7iark of numbers . Store Room B.
volumes . 27 . 6.
1889.
>.
|6 I
S ,Jan.
Reed.; 2nd
2
Feb.
5th
3
Mar.
4
.Apr.
I St
5
May
6
June
I St
7
July
2nd
8
Aug.
9
Sept.
10 II
Oct. Nov.
12
Dec.
Title
and
Index.
I.St
3rd
I St
2iid 5th ISt
1
ISt iDec. 25.
1890.
I
Jan.
2
Feb.
3
Mar.
4
Apr.
5
May
June
7
July
8
Aug.
9
Sept.
10 II
Oct. Nov.
12
Dec.
Title
and
Index.
Reed.
189I.
>>
I
Jan.
2
Feb.
3
Mar.
4
Apr.
5
May
6
June
7
July
8
Aug.
9
Sept.
ID
Oct.
II
Nov.
12 Title
_ and
Dec. Index.
Reed.
1
1892.
cZ
I
Jan.
2
Feb.
3
Mar.
4
Apr.
5
May
6
June
7
July
8
Aug.
9
Sept.
10
Oct.
II
Nov.
12
Dec.
Title
and
Index.
Reed.
1893.
Monthly
No.
P M
a
2
Feb.
3
Mar.
4
Apr.
5
May
6
June
7
July
8
Aug.
9
Sept.
10
Oct.
71
Nov.
12
Dec.
Title
and
Index.
Reed.
1
124 MANUAL pF BIBLIOGRAPHY.
No. 3. Check-list for Bi-Monthly Periodicals.
TITLE: Literary ChtircJunan. ^d. per number.
Supplied by .
Press-mark of mimbers
vohmres
Skeffington, 163, Piccadilly, W.
Store Room B.
50 . 4.
1890.
I
14
2
15
3
16
4
5
18
6
19
7
20
8
21
9
22
10
23
II
24
12
13
25
26
1891.
I
14
2
15
3
16
4
17
5
18
6
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7
20
8
21
9
22
10
II
12
13
23
24
25
26
1892.
I
2
3
4
5
6
7
8
9
10
II
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
1893.
1
2
3
4
5
6
7
8
9
10
II
12
13
14
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17
18
19
20
21
22
23
24
25
26
1894.
I
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
II
24
12
13
25
26
J Directions. — Tick or
cancel each number as received.
THE LIBRARY AND THE CATALOGUE, 125
No. 4. Check-list for Weekly Periodicals.
TITLE : Le Monitcur Diploinatiqitc. 22s. 6d. per
ann.
Supplied by .
Press-mark of n
7ivihers .
oluincs .
H. Grevel, King Street, W.C
Drawer 29.
5 • I-
1890.
I 2
3
4
5
6
7
8
9
10
II
12
13
14 15
27 28
i
40 41
16
29
42
17
30
43
18
31
44
19
32
45
20
21
22
23
24
25
26
33
46
34
35
36
37
50
38
51
39
52
47 1 48
49
1891.
I 2
3
4
5
6
7
8 9 10
II
12
13
14 15
16
17
18
19
20
21 22 23
24
37
25
38
26
39
27 28
40 41
1
29
42
30
43
31
44
32
45
33
34 35 36
46
47 1 48 49
1
50
51
52
D
iW/Z
£7«J.—
-Tick or c
ancel
each
num
ber as
receiv
ed.
126
MANUAL OF BIBLIOGRAPHY.
No. 5. Check-list for Daily Periodicals.
P'ront.
TITLE : The Daily Graphic. \d.
Supplied by . . . Jones & Co., 15, P. N. Sq., E.C.
Pfcss-tnark of mimbers . Store Room F.
vohi77ies . 35 . I.
1890.
I
2
3
4
5
6
7 8
9
10
II
|..
1
13
14
IS
16
17
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20 21
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6r
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lOI
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109
no
III
112
113
114
115
116
"7
118
119 120
121
122
123
124
125
126
127
128
129
130
See other side.
THE LIBRARY AND THE CATALOGUE. 1 27
N
0. 5.
Back
131
132
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28s
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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.
Arra7igeinent. — We have already said elsewhere that
a S3'stematic arrangement is not always imperative J
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, an3'one 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.
Bihliograpliical 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 Librar}' of St. Riquier,
A.D. 831. It is divided into five classes, viz. : —
I. Bibles and Biblical commentaries.
n. Fathers of the Church.
HL 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 Greeci 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
I 30 MANUAL OF BIBLIOGRAPHY.
1 into
catalogue of
Robert Ste
phanus was div
fourteen classes : —
I. Hebraea.
8. Rhetorica.
2. Grseca.
9. Oratoria.
3. Sacra.
10. Dialectica.
4. Prophana.
II. Philosophica
5. Graramatica
12. Arithmetica.
6. Poetica.
13. Geometrica.
7. Historica.
14. Medica.
The first bibliographical system was published in
1548 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 J^ 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 CoUan, Petzholdt, and Viges, 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 stxid 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. I 3 I
Philosophical systems have generally the defect of
presuming in the reader a marvellous aptitude of placing
himself in relation v^^ith 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 divisiojis (pp. 133 ct seqq.).
132
MANUAL OF BIBLIOGRAPHY.
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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. „ ,, Galilean Church.
6. Mozarabic and other special liturgies.
7. Anglican liturgies.
III. Coimcils.
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. Theologiaiis.
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. Singtdar opinions.
1. Ochino, Postel, Bruno-Nolano, Beverland, etc.
2. Illuminati 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 afid nations.
1. General treatises.
2. International law.
3. Special works relating to the law of nations.
II. Constitutio7ial 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. I35
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 authorit}'.
6. French church.
7. Foreign ecclesiastical law, and Statutes of religious
Orders.
8. Appendix. Laws of non-Catholic churches.
SCIENCES AND ARTS.
Introdjiction and Dictiottaries.
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 a7id Chemistry.
1. Physics.
2. Chemistry.
III. Natural science.
1. Miscellaneous, Dictionaries, etc.
2. Geology.
3. Botany.
4. Zoolog>', or Natural history of animals.
5. Miscellanies of Natural histor>' and Physics.
6. Phenomena of nature ; Monsters, Prodigies, etc.
7. Cabinets and collections of Natural histor_v, preparation
and preservation of objects.
8. Appendix to Natural history, Agricuhure, and Rural
economy.
136 MANUAL UF 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 ; tnateria medica,
general and special.
10. Legal medicine.
11. Medical periodicals, journals, etc.
12. Surgery.
13. Pharmacy and Pharmacopoeia. Medical secrets.
14. Veterinary medicine.
V. Mathe7?iatics.
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. Writing and other means of representing speech.
(Caligraphy, polj'graphy, cryptography, stenography,
tacheography, telegraphy, etc. Typography.)
3. Fine Arts. (Introduction, history, dictionaries. Philo-
THE LIBRARY AND THE CATALOGUE. 1 37
sophyof the fine arts, art of design, lithography, etc. ;
photography, painting, engraving, sculpture, and
architecture ; music.)
VHL 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 chalice, etc.
BELLES-LETTRES.
«
L Lingtiistics.
1. Introduction. (The connection of 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.
r. 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, Italian, 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.
15. 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. Illyrian, PoHsh, 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 /F.
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. ItaHan, 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 frojii 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,
philosoph)' of history, historical atlases, dictionaries.
2. Geography.
2.* Travels.
3. Chronology.
II. Universal history, ancient and moderii.
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 a}id 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.
Getteral Histories.
Europe.
Introduction.
1. History of France.
2. History of Belgium, containing the ancient'provinces ot
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.
9. ,, Great Britain and Ireland.
10. Scandinavian history.
11. History of Russia.
12. ,, Poland, Lithuania, and the Ukrain.
13. General history of the Ottoman Empire, with thejhistory
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 modern colonics fonnded
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 historj'.
2. History of Egj'pt 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
t
VI. Historical paraJipoiuoics.
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 of Brunet, 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. (Encyclopsedias, 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 on 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, o, //, in foreign languages, corre-
spond to a, 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. I Poor Rate Valuation.
Poor Law Commission. | Poor Removal Acts.
Vowels and letters which are suppressed or elided
are treated as if they still existed in the words, e.g. : —
Mc as if written Mac. | St. as if written 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
PVhat 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.
It may be well to add, for the information of the
reader, that a very ingenious catalogue and index box
has been lately brought out, called " The Marlborough
Card-Catalogue Case." It is made in the shape of a
book, and when on the shelf might be taken for one.
Preservation and Restoration of Books and Bindings.
— 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
10
146 MANUAL OF BIBLIOGRAPHY.
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 stove moderately, in order to absorb the
natural humidity of the atmosphere.
It is not difficult to banish rats and mice as soon as
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 were the worst enemies which book-
lovers had to combat; they introduced themselves into
the library in the binding of the books, and the wood-
work of the presses produced them. 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. Thanks to the greater interest
and care taken in books at the present time, and (as
Mr. Blades points out in his Enemies of Books, 1880), the
extensive adulteration of modern paper, the bookworm
has fortunately become almost a curiosity. A photograph
of two leaves of a Caxton mutilated by bookworms is
given at p. 57 of the above work. Nothing is more neces-
sary to the welfare of the library than cleanliness. Gently
beat the volumes outside an open window on a fine
day, brush the top edges, wipe them carefully with a
warm dry cloth, 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.
THE LIBRARY AND THE CATALOGUE. 1 47
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 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 very dilute
muriatic acid, and oil stains with lye, but care must be
taken that the chemicals 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 hydrochloric 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, and that without having very satis-
factory results.
Reference Books. — 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
148 MANUAL OF BIBLIOGRAPHY.
learned from manuals alone, but also requires much
stud}^ 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
of books, ahva3^s to be kept hand}', which will facilitate
the research that at any moment he may wish to make.
This special collection should consist of: —
Principal works on Bibliography, Typography, etc.
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 examina-
tion 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.
If possible the book-lover should note up his sale
catalogues in the auction room, as it will serve to fix
the prices on his memory ; but, if this is not feasible,
the prices, etc., should be taken from other copies
of the catalogues, at the British Museum or elsewhere.
Book Prices Current will also be found of the
greatest use for the last few years, as it contains the
purchasers' names, and prices of books sold at all
the principal book auctions since 1887, and has besides
an index for each year.
BOOKS OF REFERENCE. 1 49
BIBLIOGRAPHICAL WORKS OF REFERENCE.*
Allibone (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.
Ames (Joseph) and Herbert (William). — T3'pographical Anti-
quities ; or, A History of Printing in England, Scotland,
Ireland, etc. New edition by T. F. Dibdin.
4 vols. 4to. Lond., 1810-19.
Antonio (N.). — Bibliotheca Hispana vetus at nova, cura Bayerii.
4 vols. Fol. Matriti, 1783-8.
Bandinius (A. M.). — De Florentina Juntarum Typographia
ej usque censoribus. 2 parts. 8vo. Lucse, 1791-
Barbier (A. A.). — Dictionnaire des Ouvrages Anonymes. 3"^^
edition. 4 vols. 8vo. Paris, 1872-80.
Beloe (Rev. W.). — Anecdotes of Literature and Scarce Books.
6 vols. 8vo. Lond., 1807-12.
Berard (A. S. L.). — Essai bibliographique sur les Editions des
Elzevirs les plus precieuses et les plus recherchees, precede
d'une notice sur ces imprimeurs celebres. 8vo. Paris, 1822.
Berjeau(J. Ph.). — Catalogue lUustre des Livres Xylographiques.
8vo. Lond., 1865.
Early Dutch, German, and English Printers' Marks.
8vo. /did., 1866-9.
Berlan (F.). — La Invenzione della Stampa a Tipo Mobile fuso
Rivendicata all' Italia. 8vo. Firenze, 1882,
La Introduzione della Stampa in Milano, a proposito dei
Miraculi de la Gloriosa Verzene Maria, colla data del 1469.
8vo. Venezia, 1884.
* Any of these works can be supplied by H. Grevel & Co.
150 MANUAL OF BIBLIOGRAPHY.
Bernard (A. J.). — De TOrigine, et des debuts de I'lmprimerie en
Europe. 2 vols. 8vo. Paris, 1853.
Les Estienne et les types grecs de Francois 1*^^ comple-
ment des Annales Stephaniennes, etc. Svo. Ibid., 1856.
Bibliophile Francais (Le). — Gazette Illustree des Amateurs de
Livres, d'Estampes et de haute Curiosite.
7 vols. Svo. Paris, 186S-73.
Nombreuses portraits de bibliophiles celebres, facsimiles
de reliures, etc.
Bigmore (E. C). and Charles Wyman. — Bibliography of Printing.
3 vols. 4to. Lond., 1880-6.
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. 8vo. Lond., 1884.
Blades (Robert H.). — Who was Caxton? a monograph. [By
R. H. B.] Svo. Lond., 1S77.
(William). — The Life and Typography of William Caxton,
England's First Printer. 2 vols. 4to. Ibid., 1S61-3.
I vol. Svo, Ibid., 1S77.
Cheap edition. 2nd edit. 8vo. Ibid., \%^2.
A Catalogue of Books printed by (or ascribed to the press
of) W. Caxton, in which is included the press-mark of every
copy contained in the library of the British Museum.
Svo. Ibid., 1865.
A List of Medals, Jettons, Tokens, etc., in connection with
printers and the art of printing. Svo. Ibid., 1869.
Typographical Notes. (The early schools of typography,
from the Bookworm, March, 1S70. The Entschede
type-foundry at Haarlem.) (Privately printed.)
Svo. Ibid., 1870.
• How to tell a Caxton. Svo. Ibid., 1870.
Blades (^W.). — On the present aspect of the question,
" Who was the inventor of printing ? " Being a paper, etc.
(Privately Printed.) Svo. Lend., 1887.
■ • Bibliographical Miscellanies. Svo. Ibid., 1S90.
Some Early Type Specimen Books of England, Holland,
France, Italy, and Germany . . . with explanatory remarks.
Svo. Ibid., 1875.
BOOKS OF REFERENCE. I 5 '
Blades (William).— The Enemies of Books. 8vo. Ibid., 1880.
Numismata Typographica ; or, The Medallic History of
Printing. Reprinted f^om the Printers' Register. Plates.
4to. Ibid., 1883.
Bonnardot (A.).— De la Reparation des Vieilles Reliures.
8vo. Paris, 1858.
Essai sur I'Art le Restaurer les Estampes et les Livres ; ou
traite sur les meilleurs procedes pour blanchir, detacher,
decolorier, reparer et conserver les estampes, livres, et
dessins. 2nd edition. 8vo. Ibid., 1858.
Book Prices Current : a record of the prices at \vhich books
have been sold at auction.
(Pubhshed annually.) 4 vols. 8vo. Lond., 1887-90.
Bouchot (Henri).— Les Reliures d'Art a la Bibliotheque Nationale.
%o plates, classified according to centuries. 8vo. Paris, 1888.
The Book: its Printers, Illustrators, and Binders, from
Gutenberg to the Present Time. New edition, edited by
H. Grevel. ^^y- ^™- Lond., 1890.
. Des Livres Modernes qu'il Convient d'Acquerir.
8vo. Paris, 1891.
Les Ex-libris et les Marques de Possession du Livre.
8vo. Ibid., 1 89 1.
De la Reliure. L'art du siecle, Ihabillement des livres,
ses qualites et sa decoration, exemples a imiter ou a rejeter.
Illustration de planches et motifs INEDITS, d'apres les
dernicres creations des principaux maitres relieurs.
8vo. Ibid., 1891.
Les Livres a Vignettes du quinzieme jusqua la nn du dix-
huitieme siecle. L'histoire et l'art dans les livres, idee
d'une collection de livres documentaires, moyens critiques
d'yparvenir. Illustrations. 8vo. 7^/./., 189 1.
Boulard (M.S.).— Traite elementaire de bibliographic, contenant
la maniere de faire les inventaires, etc.
2 vols. 8vo. Paris, 1804.
Boulmier (T.).— Estienne Dolet, sa Vie, ses CEuvres, son Martyre.
^ 8vo. Ibid., 1857.
Bradshaw (Henry).— Collected Papers, comprising (i) Memo-
randa ; (2) Communications read before the Cambridge
Antiquarian Society, etc. 13 plates. 8vo. Lond., 1889.
152 MANUAL OF BIBLIOGRAPHY.
Bradshaw (Henry). — A Classified Index of the Fifteenth Century
Books in the collection of M. J. de Meyer, which were sold
at Ghent in Nov. 1869. [Memorandum No. 2, April 1870.]
List of the Founts of Type and Woodcut Devices used by
Printers in Holland in the Fifteenth Century.
[Memorandum No. 3, June 1871.]
A list of this author's numerous articles will be found at
pp. 433-37 of Prothero's Memoir of H. Bradshaw. 1888.
British Museum. — List of Bibliographical Works in the Reading
Room of the British Museum.
2nd edition. 8vo. Lond., 1889.
List of the Books of Reference in the Reading Room of the
British Museum. 3rd edition. 8vo. Ibid., 1889.
Brivois (Jules). Bibliographic des Ouvrages Illustres du XIX.
Siecle, principalement des livres a gravures sur bois.
Royal 8vo. Paris, 1883.
(Uniform with Cohen, to which it forms a continuation.)
Brown (H. F.). — The Venetian Printing Press : an historical
study based upon documents for the most part hitherto
unpublished. 4to. Lond., 1891.
Brunet (J. C). — Manuel du Libraire et de I'Amateur de Livres,
contenant : i, Un nouveau dictionnaire bibliographique,
dans lequel sont indiques les livres les plus precieux et les
ouvrages les plus utiles tant anciens que modernes, avec
des notes sur les differentes editions qui en out ete faitcs,
et des remarques pour en reconnaitre les contrefa9ons, etc.
2, Une table en forme de catalogue raisonne, ou sont
classes methodiquement tons les ouvrages indiqu6s dans les
dictionnaires, etc.
5th edition. 6 vols. 8vo. Paris, 1860-65.
At the end of the 5th volume is an important "notice sur
les heures gothiques imprimees a Paris a la fin du
quinzieme siecle et dans une partie du scizieme."
Supplement et Dictionnaire de Geographic, par P. Des-
champs et G. Brunet. 3 vols. 8vo. Ibid., 1870-S0.
(G.). — Recherches sur diverses editions Elzeviriennes
faisant suite aux C-tudes de MM. BOrard ct Picters cxtraites
des papiers de M. Millot, mises en ordre ct complet^es par
G. Brunet. i2mo. Ibid., 1866.
BOOKS OF REFERENCE. I 5 3
Brunet (G.)-— Etudes sur la Reliure des Livres et sur les Collec-
tions de quelques Bibliophiles Celebres.
8vo. Bordeaux, 1873.
Livres payes en vente publique 1,000 fr., et au dessus,
depuis 1866 jusqu'a ce jour. 8vo. Ibid.,1%77.
Les Livres Cartonnes, Essais Bibliographiques.
8vo. Brux., 1878.
Livres Perdus. Essai bibliographique sur les livres devenus
introuvabies. 8vo. Ibid., 1882.
Burton (J. H.)— The Book Hunter, etc.
New edition. 8vo. Lond., 1885.
Campbell (F. A. G.).— Annales de la Typographie Neerlandaise
au XV. Siecle. 8vo. La Haye, 1874.
ler^ 2'"«, et 3"*^ Supplements. 8vo. Ibid., 1878-1889.
Castellani (C.)— Notizia di Alcune Edizioni del Secolo XV con
Conosciute fin ora dai Bibliografi un Esemplare delle quali e
Conservato nella Biblioteca Vittorio Emanuele di Roma.
8vo. Roma, 1877.
Christie (R. C.).— :6tienne Dolet, the Martyr of the Renaissance.
8vo. Lond., 1880.
Cicognara (L.). — Catalogo ragionato dei libri d'arte e d'antichita
posseduti dal Conte Cicognara. 2 vols. 8vo. Pisa, 1821.
Clarke (Rev. A.).— A Bibliographical Dictionary; containing a
chronological account of the most curious, scarce, useful,
and important books in all departments of literature.
6 vols. 8vo. Lond., 1802-4.
The Bibliographical Miscellany ; or. Supplement to the
Bibliographical Dictionary. 2 vols. 8vo. Ibid., 1806.
(William).— Repertorium Bibliographicum ; or, some ac-
count of the most celebrated British Libraries.
8vo. Lond., 18 19.
Clegg (James). — The Directory of Second-hand Booksellers and
List of Public Libraries, British and Foreign, etc.
3rd edition. 8vo. Lond., 1891.
Cohen (H.).— Guide de I'Amateur de Livres a Vignettes (et a
Figures) du XVIII. Siecle. 4th edition. 8vo. Paris, 1880.
CoUan (— .).— Om Bibliografiska Systemer och Biblioteksme-
toder. 8vo. Helsingfors, 1861.
154 MANUAL OF BIBLIOGRAPHY.
Collier (J. P.). — A Bibliographical and Critical Account of the
Rarest Books in the English Lianguage.
2 vols. 8vo. Lond., 1865.
Constantin (L. A.). — Bibliotheconomie : instructions sur I'arrange-
ment, la conservation et I'administration des bibliotheques.
i2mo. Paris, 1839.
Conway (W. M.).— The Woodcutters of the Netherlands in the
Fifteenth Century. 8vo. Camb., 1884.
Cotton (Rev. H.). — Typographical Gazetteer. 2 series.
2 vols, in I. Oxford, 1831-66.
Cousin (Jean). — De I'Organisation et de I'Administration des
Bibliotheques, publiques et privees, etc. 8vo. Paris, 1882.
Cundall (Joseph). — On Ornamental Art, applied to ancient and
modern bookbinding, etc. 4to. Lond., 1848.
On Bookbindings, Ancient and Modern. 4to. Ibid., 1881.
Cushing (W.). — Initials and Pseudonyms: a dictionary of literary
disguises. Series i and 2. 2 vols. 8vo. Lond., 1886-88.
Cutter (C. A.). — Rules for a Printed Dictionary Catalogue.
(Special report on Public Libraries, U.S.A., Part II.).
8vo. Washington, 1876.
De Bure (G. F.). — Bibliographic Instructive ; ou, traite de la
connaissance des livres rares et singuliers, etc.
7 vols. 8vo. Paris, 1763-8.
Supplement. 2 vols. 8vo. Ibid., 1769.
De Bury (Richard). — Philobiblon, edited and translated by E. C.
Thomas. i2mo. Lond., 1S88.
Degeorge (L.). — La Maison Plantin a Anvers.
2nd edition. 8vo. Brux., 1878.
Denis (M.). — Annalium Typographicorum V. CI. Michaelis
Maittaire supplementum. 2 vols. 4to. Vienna, 1789.
De Vinne (Thcod. L.) — The Invention of Printing: a collection
of facts and opinions descriptive of early prints, etc.
2nd edition. 4to. Lond., 1877.
Dewey (Melvil). — Decimal Classification and Relativ Index, for
arranging, cataloging, and indexing public and private
libraries, and for pamflets, clippings, notes, scrap book,
index rerums, etc.
2nd edit., enlarged and revised. 8vo. Boston, U.S., 1S85.
BOOKS OF REFERENCE. I 5 5
Dibdiii (T. F.). — The Bibliographical Decameron ; or ten days
pleasant discourse on illuminated MSS., and subjects con-
nected with early engravings, typography, and bibliography.
3 vols. 8vo. Lond., 1817.
Bibliotheca Spenceriana. 4 vols. 8vo. Ibid., 1814.
QEdes Althorpianoe. 2 vols. 8vo. Ibid., 1822.
The Bibliomania, or Book-madness ; containing some.
account of the history, symptoms, and cure of this fatal
disease. 8vo. Ibid., 1809.
8vo. Ibid., 1875.
Didot (A. F.). — Essai Typographique et Bibliographique sur
I'Histoire de la Gravure sur Bois. 8vo. Paris, 1863.
Dupont (P.). — Histoire de I'lmprimerie. 2 vols. 4to. Paris, 1854.
Ebert (F. A.). — A General Bibliographical Dictionary, translated,
from the German. 4 vols. 8vo. Oxford, 1837.
Edwards (Edward). — Memoirs of Libraries ; including a hand-
book of library economy. 2 vols. 8vo. Lond., 1859.
Libraries and Founders of Libraries. 8vo. Ibid., 1865.
Free Town Libraries, their formation, management, and
history in Britain, France, Germany, and America. Together
with brief notices of book collectors,and of the respective places
of deposit of their surviving collections. 8vo. Ibid., 1869.
: Lives of the Founders of the British Museum ; with notices
of its chief augmentors and other benefactors. 1 570-1 870.
2 vols. 8vo. Ibid., 1870.
Egger (E.). — Histoire du Livre depuis ses Origines jusqu'a nos
Jours. S'"'^ edition. 8vo. Paris, 188 1.
Ersch (J. S.). — Verzeichniss aller anonymischen Schriften in der
vierten Ausgabe des gelehrten Teutschlands fortgesetzt, etc.
8vo. Lemgo, 1794.
Ex-libris (les) Fran9ais depuis leur Origine jusqu'a nos Jours.
Notes sur leur usage et leur curiosite. 8vo. Paris, 1874.
Falkenstein (K.). — Geschichte der Buchdruckerkunst in ihrer
Entstehung und Ausbildung, etc., with fac-similes. 2nd
edition. 4to. Leipz., 1856.
Faulmann (Prof. Karl). — Die Erfindung der Buchdruckerkunst
nach den neuesten Forschungen. Mit 36 in den Text
gedr. Abbildgn. u. e. Stammtafel der Familie Gansfleisch-
Gutenberg. 8vo. Wien, 1891
156 MANUAL OF BIBLIOGRAPHY.
Fischer (G.). — Essai sur les Moiiumens Typographiques de Jean
Gutenberg, Mayen^ais, inventeur de limprimerie.
4to. Mayence, An 10.
Franklin (A.). — Dictionnaire des Noms, Surnoms, et Pseudonymes
Latins de I'Histoire Litteraire du Moyen Age (iioo to 1530).
8vo. Paris, 1875.
Freytag (F. G.). — Adparatus Litterarius, ubi libri partim antiqui,
partim rari recensentur. 3 vols. Svo. Lipsiae, 1752-55.
Analecta Litteraria de Libris rarioribus. Svo. Ibid., 1750.
Fumagalli (C). — Dei Primi Libri a Stampa in Italia e specialmente
di un codice Sublacense impresso avanti il Lattanzio.
Svo. Lugano, 1S75.
Gallardo (B. J.). — Ensayo de una Biblioteca Espanola de libros
raros y curiosos, formado con los apuntamientos de . . .
B. J. G., coordinados y aumentados por . . . M. Remon
Zarco del Valle y . . . J. S. Rayon.
4 vols. Svo. Madrid, 1863-89.
Gamba (B.). — Serie dell" Edizioni de' testi di Lingua italiana
Opera nuovamente compilata ed arrichita di un' Appendice
contenente altre scrittori di purgata favella.
2 parts. i6mo. Milan, 1812.
Serie dei testi di lingua e di altre opere importanti nella
italiana letteratura scritte dal secolo XIV. al XIX.
4th ediz. 4to. Venezia, 1839.
Goedeke (K.).— Grundriss zur Geschichte der deutschen Dichtung
aus den Ouellen. 2nd. edit. 4 vols. Svo. Dresden, 1S86-91.
Goodhugh (William). — The English Gentlemans Librar}' Manual.
Svo. Lond., 1827.
Graesse (J. G. T.) — Tresor de Livres Rares et Precieux, ou
nouveau dictionnaire bibliographique.
7 vols. 4to. Drcsde., 1S58-69.
Grasel (Dr. A.). — Grundziige der Bibliothekslehre. With 33
illust. and 11 formularies. Svo. Leipzig, 1890.
Gruel (Leon). — Manuel Historique et Bibliographique de
I'Amateur de Reliures. Imp. 410. Paris, 1887.
Gnigard (J.). — Armorial du Bibliophile (Fran9ais).
Roy. Svo. Paris, 1873.
Nouvel Armorial du Bibliophile.
2 vols. Roy. Svo. Ibid., 1890.
BOOKS OF REFERENCE. 157
Guild (R A).— The Librarian's Manual: a treatise on Biblio-
graphy, "comprising a select and descriptiv-e ^^t of bibho-
iraphical works, etc. 4to. New York, 1858.
Hain (L ).-Repertorium Bibliographicutn, in quo hbri omnes
ab arte typographica inventa usque ad annum 1500, typis
expressi ordine alphebetico vel simpliciter enumerantur, vel
adcuratius recensentur.
2 vols, in 4. 8vo. Stuttgartise, i826-3b.
Halkett (S.) and Laing (J.).-A Dictionary of the Anonymous and
Pseudonymous Literature of Great Britaui.
4 vols. 8vo. Edm., 1882-89.
Hannett (John ).-Bibliopegia, or Bookbinding.
In 2 parts. 6th edition. 8vo. Lond., 1^65.
Hansard (T. C.).-Typographia : the origin and progress of the
art of printing. 8vo. Lond., 1825.
Heinecken (C. H. von).-Idee Generale d'une Collection Com-
plette d'Estampes, avec une dissertation sur 1 ongme de la
eravure, et sur les premiers livres d'lmages.
^ 8vo. Leipzig, 1 77 1.
Heinsius(W.).-AllgemeinesBiicher-Lexikon: 1700-1815.
5 vols. 4to. Leipzig, 1812-17.
Continued to present time by five yearly instalments.
Herring (R.).-Paper and Paper-making, Ancient and Modern
^ 8vo. Lond., 1050.
Hessels (T H.).-Gutenberg : Was he the Inventor of Printing?
An historical investigation embodying a criticism on Dr.
Van der Linde's " Gutenberg." 8vo Lond., 1882.
The Haarlem Legend of the Invention of Printmg by
L T Coster, critically examined . . . from the Dutch by
T ' H K with an introduction and classified list of the
Costerian Incunabula. 8vo. Idid., 1871.
Haarlem the Birthplace of Printing, not Mentz.
8vo. Il?rer., 1869.
Histoire de la Bibliophilie. Recherches sur les Bibhotheques
des plus Celebres Amateurs, etc.
10 parts. Imp. fol. Pans, 1 86 1-4-
Holtrop (J. W.).-Catalogus Librorum Saeculo XV. Impressorum
quotquot in Bibliotheca Regia Hagana asservantur.
^ ^ 8vo. Hag. Com., 1856.
158 AIANUAL OF BIBLIOGRAPHY.
Holtrop (J. W.). — Monumens Typographiques des Pays-Bas au
XV. Siecle.
130 plates of xylographic and other early impressions.
Atlas 4to. La Haj^e, 1857-68.
Home (T. H.). — An Introduction to the Study of Bibliography,
to which is prefixed a memoir on the public libraries of the
Ancients. Illust. 2 vols. 8vo. Lond., 1814.
Hulst (F. van). — Chr. Plantin. 2nd edit. Svo. Liege, 1846.
Humphreys (H. Noel). — History of the Art of Printing, from its
Invention to the middle of the i6th century.
100 illustrations. Folio. Lond., 1867.
Masterpieces of the Early Printers and Engravers. Fac-
similes from rare and curious books, remarkable for illustr.
devices, beautiful borders, decorat. initials, printers' marks,
elaborate title-pages, etc. 72 plates.
Fol. Ibid., 1870.
Index librorum prohibitorum sanctissimi domini nostri Leonis
XIII. pont. max. jussu editus. Editio novissima in qua
libri omnes ab Apostolica Sede usque ad annum 1S80
proscripti suis locis recensentur. 8vo. Rom^e, 1881.
Inventaire des Marques d'Imprimeurs et de Libraires, avec
chiffres reproduits en facsimile precedee d'une essai d'in-
terpretation de signes speciaux, par P. Delalain.
Fasc. I, Ville de Paris.
,, 2, ,, ,, (suite), Lyon, et autres villes de
France.
,, 3, Allemagne, Alsace, Autriche-Hongrie, Belgique,
Danemark, Espagnc, Grande-Bretagne, Italic,
Paj's Bas, Portugal, Suisse.
4to. Paris, 1888-9.
Jackson (J.) and W. A. Chatto. — Treatise on Wood Engraving,
historical and practical. New edition, witli additional
chapter, by H. G. Bohn. Svo. Lond., iSSi.
Jewett (C.).^ — On the Construction of Catalogues of Libraries,
and their publication by means of separate stereotyped
titles. 8vo. Washington, 1853.
Johnson (John). — Typograpliia ; or, the Printer's Instructor.
2 vols. Svo. Lond., 1824.
Koeler (J. D.). — Sylloge aliquot Scriptorum de bene Ordinanda
et Ornanda Bibliotheca. 4to. Francof., 1728.
BOOKS OF REFERENCE. I 59
Laborde (Leon de). — Debuts de rimprimerie a Strasbourg ; ou,
recherches sur les travaux mysterieux de Gutenberg, etc.
8vo. Paris, 1840.
Laire (Fr. X.). — Index librorum abinventa typographia ad annum
1500; chronologice dispositus cum nolis historiam typo-
graphico-litterariam illustrantibus.
2 vols. Svo. Senonis, 1791.
Lalanne (Lud.). — Curiosites Bibliographiques.
i2mo. Paris, 1857.
Lama (G.). — Vita del cav Gio. Batt. Bodoni, tipografo Italiano.
2 vols. 4to. Parma, 18 16.
La Marche (A. L. de). — Les Manuscrits et la Miniature.
Svo. Paris, n.d.
Lancetti (V.). — Pseudonimia, ovvero tavole alfabetiche de' nonii
finti o supposti degli scrittori con la contrapposizione de'
veri, ad uso de' bibliofili, etc. 8vo. Milano, 1836.
Lempertz (H.). — Typographische Bilderhefte zur Geschichte des
Biicherhandels und der verwandten Gevverbe.
Royal fol. Coin, 1853-65.
Le Roux de Lincy. — Recherches sur Jean Grolier, sur sa vie et
sa bibliotheque, suivies d'un catalogue des livres qui lui ont
appartenu. Svo. Paris, 1866.
Lewis (J.). — The Life of Mayster Wyllyam Caxton, . . . the first
printer in England. Svo. Lond., 1737.
Lichtenberger (J. F.).— Histoire de I'invention de I'imprimerie
pour servir de defense a la ville de Strasbourg contre les
pretentions de Harlem. Svo. Strasb., 1825.
Linde (Dr. A. v. der). — Der Haarlemsche Costerlegende.
Svo. Gravenhage, 1870.
The Haarlem Legend of the Invention of Printing. Trans-
lated by J. H. Hessels. Svo. Lend., 1871.
Geschichte der Erfindung der Buchdruckkunst.
3 vols. 4to. Berlin, 1886.
Gutenberg; Geschichte und Erdichtung, aus den Ouellen
nachgevviesen. Svo. Stuttgart, 1878
Linton (W. J.). — The Masters of Wood Engraving.
Fol. Lond., 1889.
Lippmann(Dr. F.). — The Art of Wood Engraving in Italyin the 15th
Century. (59 reproductions of examples between 1470-1 505.)
Imp. Svo. Lond., 1888.
l6o MANUAL OF BIBLIOGRAPHY.
Lorenz (Otto). — Catalogue General de la Librairie Fran^aise
depuis 1840 (1840 a 1885). 1 1 vols. 8vo. Paris, 1867-88.
In preparation, Vol. XII., containing the French books published I'rom
1886 to 1890.
Lostalot (A. de). — Les Proced<5s de la Gravure. 8vo. Paris, 1882
Low (S.). — The English Catalogue of Books published from
... 1835 to ... 1880. (Continued annually).
3 vols. 8vo. Lond., 1864-S2.
Index to the British Catalogue of Books, 1S37-57. [Vol. i.]
Index to the English Catalogue of Books, 1856-S0. [Vols.
2 and 3.] 3 vols. 8vo. Ibid., 1858-84.
Lowndes (W. T.). — The Bibliographer's 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 in the present century.
New edition, with an appendix relating to the books of
literary and scientific societies, by H. G. Bohn.
13 parts in 6 vols. 8vo. Lond., 1857-64.
Madden (J. P. A.). — Catalogue d'une Collection Importante
d'Incunables, dimpressions Gothiques du XVI. Siecle, etc.
8vo. Paris, 1890.
Lettres d'un Bibliographe (facsimiles).
5 series. 8vo. Versailles and Paris, 1868-78.
Vol. III. contains " Etudes sur Gutenberg et sur Schoiffer."
Maittaire (M.). — Annales Typographic ab artis inventaj origine
ad annum 1664. 5 vols. 4to. Hagae, 1719-41.
Manni (D. M.). — Vita d'Aldo Pio Manuzio. 8vo. Venezia, 1759.
Marius-Michel (MM.).— 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"^ siecle. 4to. Ibid., 1880.
Commercial et Industrielle, etc. 4to. Ibid.,\Z%\.
Meerman (G.). — Origines Typographica;.
2 vols. 4to. Hag. Com., 1765.
Melzi (G.). — Dizionario di Opere Anonime e Pseudonime di
Scrittori Italiani, etc. 3 vols. 8vo. Milan, 1848-59.
Mentel (J. ). — De vera Typographic Origine. 4to. Paris, 1650.
BOOKS OF REFERENCE. l6l
Moreni (D.). — Annali della Tipografia Fiorentina di Lorenzo Tor-
rentino. 2nd edition. 8vo. Firenze, 1819.
Muther (R.) — Die Deutsche Biicher-Illustration der Gothik und
der Friili Renaissance (1460-1530).
2 vols. Fol. Munchen, 1884.
Mylius (J. C). — Bibliotheca Anonymorunj et Pseudonymorum
Detectorum, ultra 4,000 scriptores, etc.
Fol. Hamburgi, 1740.
Namur (P.). — Manuel du Bibliothecaire. 8\'o. Brux, 1834.
Nicholson (J. B.). — A Manual of the Art of Bookbinding, etc.
8vo. Philad., 1878.
Orlandi (P. A.). — Origine e Progressi della Stampa, o sia dell'
arte impressoria ; e notizie dell' opere stampate dall' anno
1457, sino air anno 1500. 4to. Bologna, 1722.
At pp. 228-37 he has the imprints of 94 printers.
Ottino (G.) and Fumagalli (G.). — Bibliotheca Bibliographica
Italica. Catalogo degli scritti di bibliologia, bibliografia,
e biblioteconomia pubblicati in Italia, etc.
8vo. Roma, 1889.
Ottley (W. Y.). — Inquiry Concerning the Invention of Printing,
in which the systems of Meerman, Heinecken, Santander
and Koning are reviewed, including notices of the Block
Books, etc. 4to. Lond., 1863.
Inquiry into the Origin and Early History of Engraving
upon Copper and in Wood, etc. 2 vols. 4to. Ibid., 1816.
Panzer (G. W.). — Annalen der altern Deutschen Litteratur, etc.
4to. Niirnberg, 1788.
Annales Typographic! ab Artis Inventae Origine ad Annum
1500, etc. II vols. 4to. Norimb., 1 793-1803.
Histoire de I'lmprimerie dans les premiers temps, a
Nuremberg, jusqu'en 1500. 4to. Nuremberg, 1789.
Passavant (J. D.). — Le Peintre-graveur, contenant I'histoire de la
gravure sur bois, sur metal, et au burin j usque vers la fin du
XVI. siecle, etc. 6 vols. 8vo. Leipzig, 1860-4.
Peignot (G.). — Dictionnaire Raisonne de Bibliologie.
3 vols, et Supp. 8vo. Paris, 1802-4.
Manuel Bibliographique, ou essai sur les bibliotheques
anciennes et modernes, et sur la connaissance des livres, etc.
8vo. Ibid., 180K
I I
1 62 MANUAL OF BIBLIOGRAPHY.
Peignot (G.). — Manuel du Bibliophile ; ou, Traits du Choix des
Livres, etc. 2 vols. 8vo. Dijon, 1823.
Repertoire Bibliographique Universel, contenant la notice
raisonnee des bibliographies speciales, etc.
Svo. Paris, 181 2.
■ Repertoire de Bibliographies Speciales, Curieuses et
Instructives, contenant la notice raisonnee des ouvrages
imprimes a petit nombres d'exemplaires, etc.
Svo. Ibid., 1810.
Petzholdt (J.). Bibliotheca Bibliographica. Kritisches Verzeich-
niss der das gesammtgebiet der Bibliographie betreffenden
Litteratur des In-und Auslandes in systematicher Ordnung
arbeitit. Svo. Leipzig, 1S66.
Chronologische Uebersicht von Bibliographischen Systemen.
Svo. Dresden, i860.
(See also Edwards' " Memoirs of Libraries," vol. ii., pp.
760-850, for bibliographical systems.)
Katechismus der Bibliothekenlehre. — Anleitung zur Einrich-
tung und Vervvaltung von Bibliotheken. New edition by
Dr. A. Grasel. i8mo. Leipzig, 1891.
Pieters (C). — Annales de I'lmprimerie des Elsevier, ou Histoire
de leur Famille, et de leurs editions.
2nd edition, avec additions. Svo. Gand, 1858-60.
Power (John). — A Handy Book about Books, for book-lovers,
book-buyers, and book-sellers. Svo. Lond., 1870.
Quaritch (B.). — Catalogue of 1,500 books remarkable for the
beauty or the age of their bindings, or as bearing indications
of former ownership by great book collectors, etc.
Imp. Svo. Lond., 1889.
Catalogue of the Monuments of the Early Printers in all
countries ; comprises titles of 2,610 rare books from the Early
Printing presses. Svo. Ibid., 1887.
Facsimiles of choice examples of historical and artistic
bookbinding in the 15th and l6th centuries.
lo'}, -plates tn gold and coIo7i7-s, Imp. Svo. Ibid., iZZ<),
General Catalogue of Books and Manuscripts, about 4,500
pages, containing 40,000 articles,
6 vols. Imp. Svo. Ibid., 1887-8.
[Index volume to follow.]
BOOKS OF REFERENCE. 1 63
Ouerard (J. M.). — La France Litteraire, ou Dictionnaire biblio-
grapliique des savants, historiens et gens de lettres de la
France, etc. 12 vols. Svo. Paris, 1827-64.
La Litterature Fran9aise Contemporaine (1827-49).
6 vols. Svo. Ibid., 1842-57.
Les Auteurs Deguises de la Litterature Fran9aise au XIX.
Siecle. Svo. Ibid., 1845
Les Supercheries Litteraires Devoilees.
2nd edit. 3 vols. Svo. Ibid., 1869-70.
Livres Perdus et Exemplaires Uniques.
Svo. Bordeaux, 1872.
Recherches sur I'origine et le premier usage des registres, des
signatures, de reclames, et des chiffres de page, dans les
premiers livres imprimes. Svo. Paris, 1783.
Reed (T. B.). — A History of the Old English Letter Founders;
with notes, historical and bibliographical, on the rise and
progress of English typograph}-. 4to. Lond., 1887.
Reference-Catalogue of Current Literature, containing the full
titles of books now in print and on sale, with their prices,
and an index containing upwards of 68,000 references.
Svo. Lond., 1889.
Reiffenberg (De). — Des Marques et Devises mises a leurs
Livres par un grand nombre d'Amateurs.
Svo. Paris, 1S75.
Reliure (La), Ancienne et Moderne. Recueil de 116 planches
de reliures artistiques des XVI., XVII., XVIIL, and XIX.
siecles, ayant appartenu a Grolier, Henri II., Francois I.,
Diane de Poitiers, etc., avec Introduction par Gustave
Brunei. 4to. Paris, 1878.
Renouard (A. A.). — Annales de I'lmprimerie des Aide, ou Histoire
des trois Manuce et de leurs editions.
3rd edition. Svo. Paris, 1S34.
Annales de I'lmprimerie des Estienne, ou Histoire de la
Famille des Estienne et de ses editions.
2nd edition. Svo. Ibid., 1843.
Requin (I'Abbe). — L'Imprimerie a Avignon en 1444. 20 pages et
planche fac-simile. Svo. Paris, 1890.
1 64 MANUAL OF BIBLIOGRAPHY.
Requin (I'Abbe). — Les Origines de I'lmprimerie a Avignon.
Note sur les documents decouverts par M. I'Abbe Requin,
par L. Duhamel. 8vo. Paris, 1890.
Richard (J.). — L'Art de Former une Bibliotheque.
Svo. Paris, 1883.
Roth-Scholtzius (Frid.). — Icones Bibliopolarum et Typographorum
de Republica Litteraria bene Meritorum, ac incunabulis
typographias ad nostra usque tempora.
3 parts. Fol. Norimb., 1726-42.
Thesaurus Symbolorum ac Emblematum, id est insignia
bibHopolarum et typographorum, etc. Fol. /l>/d., 1730.
RouvejTe (Edouard). — Connaissances Necessaires a un Biblio-
phile, etc. 3rd edition. 2 vols. Svo. Paris, 1879-80.
Sabin (Joseph). — A Bibliography of Bibliography, or a handy
book about books which relate to books, etc.
Svo. New York, 1877.
Savage (W.). — Dictionary of Printing. Svo. Lond., 1841.
Saxius (J. Ant.). — Historia Literario-Typographica Mediolanensis,
etc. Fol. Mediolani, 1745.
Schetelig (J. and G.). — Ikonographische Bibliothek.
• I vol. in 4 parts. Svo. Hannover, 1795-97.
Schmidt (A. G.) — Gallerie Deutscher Pseudonymer Schriftsteller
vorzliglich des letzten Jahrzehents. 4to. Grimma, 1840.
Schoepflin (J. D.). — Vindiciae Typographicae.
4to. Argent, 1760.
Serna Santander (C. A. de la). — Dictionnaire Bibliographique
Choisi, du XV. siecle, etc. 3 vols. Svo. Brux., 1805-7.
Memoire sur I'Origine et le Premier Usage des Registres,
des Signatures, et des Chiffres dans I'Art Typographique.
Svo. /l>/d., an IV.
Silvestre (L. C). — Marques Typographiques : on recueil des
monogramme-s, chiffres, enseignes, emblemes, devises, rebus
et fleurons des libraires et imprimeurs qui ont exerce en
France depuis I'introduction de Timprimerie en 1470, jusqu'a
la fin du seizieme siecle, etc. 2 parts. Svo. Paris, 1853-67.
Sotheby (S. L.) — Principia Typographica : the block-books, or
xylographic delineations of Scripture history, issued in
Holland, Flanders, and Germany during tlie fifteenth century,
etc. 3 vols. 4to. Lond., 1858.
[Vol. III. is devoted to the paper-marks of that period.]
BOOKS OF REFERENCE. 1 65
Sotheby (S. L.). — The Typography of the Fifteenth Century;
being specimens of the productions of the early continental
printers, etc. Arranged and edited from the collection of
S. Sotheby, by his son S. L. Sotheby. Fol. Lond., 1845.
Tarbouriech (A.). — Les Livres d'Heures au Seizieme Siecle.
8vo. Paris, 1865.
Techener (J. and L.). — Histoire dc la Bibliophilie, Reliures, etc.
Fol. Paris, 1861.
Thomas (Ralph). — Aggravating Ladies, being a list of works
published under the pseudonym of "A Lady," with pre-
liminary suggestions on the art of describing books biblio-
graphically. 8vo. Lond., 1880.
Handbook of Fictitious Names. 8vo. Ibid., 1868.
Timperley (C. H.). — A Dictionary of Printers and Printing, with
the progress of literature, ancient and modern, etc.
8vo. Lond., 1839.
United States. — Public Libraries in the United States of
America : their history, condition, and management. Special
report. Department of the Interior, Bureau of Education.
2 vols. 8vo. Washington, 1876.
Vallee (L.).— Bibliographic des Bibliographies.
2 vols. 8vo. Paris, 1883-87.
Van Praet (J. B. B.). — Catalogue des Livres imprimes sur velin,
avec date, depuis 1457 jusqu'en 1472,
2 parts. Fol. Paris, 1813.
Catalogue des Livres imprimes sur velin de la Bibliotheque
du Roi. 5 vols, and Supp. 8vo. Ibid., 1822-28.
Catalogue des Livres imprimes sur velin, qui se trouvent
dans les bibliotheques tant publiques que particulieres, pour
servir de suite au Catalogue des Livres imprimes sur velin
de la Bibliotheque du Roi.
3 vols, and Supp. Svo. Ibid., 1822-28.
Notice sur Colard Mansion, libraire et imprimeur de la
ville de Bruges en Flandre dans le XV. siecle.
Svo. Ibid., 1829.
Vidal (L. J.). — Conseils pour la Formation des Bibliotheques
speciales administratives, communales, professionelles, etc.
Svo. Paris, 1S64,
l66 MANUAL OF BIBLIOGRAPHY.
Vinet (E.). — Bibliographie des Beaux Arts. Repertoire raisonne
des ouvrages les plus utiles et les plus interessants sur
I'architecture, la sculpture, la peinture, la gravure, etc.
8vo. Paris, 1870-
Warnecke (F.). — Die deutschen Biicherzeichen [ex-libris], von
ihrem Ursprunge bis zur Gegenwart. Mit e. Titelbilde v. E.
Doepler V. J. With 26 illust. in text and 26 plates. Berlin, 1890.
Warren (J. L.). — A Guide to the Study of Book-plates.
8vo. Lond., 1880.
Watt (Robert). — Bibliotheca Britannica, or a general index to
British and foreign literature.
In 2 parts: Authors and subjects. 4 vols. 4to. Edin., 1824.
Weale (W. H. J.). — Bibliographia Liturgica: Catalogus missa-
lium ritus latini ab anno MCCCCLXXV. impressorum
8vo. Lond., 1886.
Weigel (T. O.). — Collectio Weigeliana : die Anfange der Drucker-
kunst in Bild und Schrift : an deren friihesten Erzeugnissen
in der Weigelschen Sammlung erlautert von T. O. Weigel
und Dr. A. Zestermann.
145 facsimiles. 2 vols. Folio. Leipzig, 1S66.
Weller (E. O.). — Repertorium typographicum. Die Deutsche
Literatur im ersten Viertel des 16 Jahrhunderts. Im
Anschluss an Hains Repertorium und Panzers Deutsche
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Wetter (Johann). — Kritische Geschichte der Erfindung der
Buchdruckerkunst, durch Johann Gutenberg, etc.
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Tafeln. Ob. fol.
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How to Form a Librarj'. (Book-lovers' Library.)
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What is an Index ? A few notes on indexes and indexers.
(Index Society, No. i.) Svo. /^>/(i., 1878.
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including also familiar pseudonyms, surnames bestowed on
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New Edit. 8vo. Lond., 1870.
BOOKS OF REFERENCF. I 67
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da R. de Minicis. 8vo. Fermo, 1850.
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Zenker (J. T.). — Bibliotheca Orientalis. Manuel de bibliographic
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TOPOGRAPHICAL INDEX
OF THE
ANCIENT CENTRES OF PRINTING,
WITH DATES OF THEIR FIRST ESTABLISHMENT.
LATIN-ENGLISH.
Abbeville i486.
Aarhusitim, Arluisen or Aarlms
1519.
Abbatia Sorethana, Schussemied
147S.
Abbamico Villa,)
Abbatis Villa, /
Aberdonia, "j
Abredea, 'rAbcydeen 1622.
AbredoniaJ
Ad Calem, Cni^li 1475.
Adrianopolis, Adriaiiople 1554.
.ffisernia, Iseniia 1644.
.Esis, 1
.fflssium, |- J est 1472.
JExium, J
Alatum CSkSivyxm, Edinburgh 1507
Alba, Acqiii 1493
AlbaB
Alba Graeca
Albani (S.)Villa, St. Albans 1480
Alcmaria, Akiuaer 1605.
Aldenarda, Oudcnarde 1480.
Aldenburgum, Aldenbiirg 1522.
Alepum, Aleppo 1706.
Alostum (Alost), Aalst 1473.
Julgarica, 1 „ » j --
, ^ ' (Belgrade 1552.
rraeca, J * -^"^
Alta Villa, r//y/7/^ 1467.
Amstelaedamum, ^ ^
, . , , Amsterdam
Amstelodamum, V
Amstelredamum, J ^ •^'
Andegavum, Angers 1476.
Andreapolis,S/. .(4»f/r«f's 1551.
Aneda, Ediidntrgh 1507.
Angolismum, Angonleme 1491.
Antverpia, Antwerp 1476.
Aquae Bonse, Bonn 1543.
Aquse-Grani, A ix-la-Chapellc 1 5 9 1 .
Aquae Sextiae, Aix 1552.
Aquae Statiellae, Aeqni 1493.
Aquilia, Aqitila 1482.
Aquincum, ^//f/f? (Q/f;/) 1473.
Arse Flaviae, Blanbcuem 1475.
Araugia, Aarau 1672.
Arelas, 1 , ,
, , . (Aries I SOI.
Arelatum, ) -"
Argentina, ^
Argentina Reni, \strasburg\i,(iO.
Argentoratum, j
Arhusium, Arluisen or Aarluis
1519-
Arosia, JVesteras 16 17.
TOPOGRArmCAL INDEX.
169
ASCUlUm, 1 . r , .-r-r
' . fAscoii 1477.
Asculum Picenum,J
Athenae Rauracae, Bask 1462.
Atrebatum, Anas 1528.
Augusta Bracara, Braga 1494-
Augusta Nemetum, Spires 1471.
Augusta Perusia, Perugia 1475.
Augusta Rauracorum,^ /^^5/ 1 606.
Augusta Taurinorum, r?/;/// i474-
Augusta Tiberii, Ratisbon
{Rcgcnsbttrg) 1485.
Augusta Trebocorum, Strasburg
1460.
Augusta Trinobantum, London
1480.
Augusta Vindelicorum, Augsburg
1468.
Auracum, Aurach or Uracil 148 1.
Aurelia, Orleans 1 490.
Aurelia Allobroguni,G^ȣ't/rt 1478.
Austriae Civitas, Cividad di Friuli
1480.
Avaricum, Bourgcs 1530.
Avenio, Avignon 1497.*
Babenberga, Bamberg 1460.
Bacodurum, Passau 14S1.
Bamberga, Bamberg 1460.
Bancona, Oppenhcim 1494.
Barchino, 1 „
_ . {Barcelona 147S.
Barcmo, j ^'-^
Barcum, Barco 1497.
Barxino, Barcelona 1475.
Basilea, iJrt/e or i?rts/«? 1462.
Batava Castra, Passau 148 1.
Bergomum, Bergamo 1556.
Berna, ^tw^f 1525.
Berolinum, Berlin 1540. '
Berona, Mihister 1470.
Bipontium, Dcuxponts or Zivey-
bruckcn 1596.
Bisuntia, ^ „ „„
^. ,. , Besancon 1407.
Bisuntium, .'
Biturigae, Bourgcs 1530.
Blabjnria, Blaubeuem I475'
Bonna, i^o;;;^ 1543-
Bononia, Bologna 1471.
Bracbara, 1 „
Braclara, J^'"''-^" ^^94.
Brangonia, Worcester I54^-
Bransberga, ~\
Braunsbcrg 160 1.
-Brcslau 1475'
Braunsberga, J
Bravum Burgi, Burgos 1485.
Bresla, 'j
Bressavia, j
Brixia, Brescia 1472.
Brugae _ |iJ„,^,. 1475.
Brugse Bearmae, J "^
Brunna, Bri'mn i486.
Brunonia, Brunsiuick 1509.
Brunopolis, Braunsberg 1601.
Brunsviga, Brunsvuick 1509.
Bruxellae, Brussels 1474.
Buda, S/zf/n H73-
Burdigala, Bordeaux 1520.
Burgdorfium, Burgdorf 1475.
Burgi, Burgos 14S5.
Burgum Auracense, Aurach or
Uracil 1 48 1.
Buscoduca, ) Bois-le-Duc{Her-
Buscum-Dueis, j zogenbosch) 1484.
Byzantium, Constantinople 1488.
Cabelia, 1^, ,,. „o
„ , ,. (Cliablis 1478.
Cabelium,J ^'
Cadomum, Crtt;/ 1480.
Caesar Augusta, Saragossa (Zara-
gosa) 1475.
* For an earlier date (/.f. 144+) s^f Requin, " Origines de I'imprimerie en
France " (Avignon 1444). Paris 1891.
I/O
MANUAL OF BIBLIOGRAPHY.
Cassel
1539-
Cale, Oporto 1540.
Caletum, Calais 1582,
Galium, ) ^ ,.
„ ,,. (Caelt 1475.
Callium,J "^ ^'^
Camberiacum, Chanibery 1484.
Camboricum, \ ^ , .,
, . . ( Cainbna£;e 1 521.
Cantabngia, J a j
Cantuaria, Canterbury 1549.
Capitabriga, Cambridge 1521.
Carmanola, Carmagnola 1497.
Carnutum, Chartres 1483.
Caroli Hesychium, ) Karlsruhe
Carolsruha, j 1765.
Casale Majus, Casal-Maggiori
1485.
Casale S. Evaxii, Casal di S. Vaso
14S1.
Caselse, 'I „ ,
Casella, /C«^^«^^ ^75-
Casseletum,
Cassella,
Castellum Cattorum,
Casulae, Casoli 1475.
Casurgis, Prague 147S.
Chalybon, Aleppo 1706.
Christiania, Christiaiiia 1644.
Chamberium, Chauibery 1484.
Chrysii Auraria, Alteubiirg
(Hungary) 1558.
Cibinium, Hemiaunstadt 1575.
Clavasium, Chivasso 14S6.
Cliniacum, \
Cluniacum, / ' 4 j-
Coburgum, Coburg 14S2.
Codania, Copenhagen 1493.
Colla, ■<
Collis, /Co//^M78.
Colonia, "1
„,.... Co/op-Mf 1466.
Colonia Agnppina, J '^
Colonia Allobrogum, Geneva 1478.
Colonia Claudia, Cnlogne 1466.
Colonia Julia Bomana, Seville
1476.
Colonia Munatiana, jB^sfe 1462^
Colonia TJbiorum, Cologne 1466.
Colonia Viriata, Madrid 1499.
Complutum, Alcald de Henares
1502.
Comum, Cotno 1474.
Condivincum, Nantes 1493.
Conimbria, 1 ^ . , ,
„ . , . iLounbra I5^o.
Conimbrica, J -'''
Consentia, Coscnza 1478.
Constantinopolis, Constantinople
1488.
Corduba, Cordova i486.
Coria, Co;7'(f 1489.
Corona, Kronstadt 1533.
Cracovia, Cracoic 1474.
Cremona, Cremona 1472.
Cucufati (S.)Monasterium Vallis
Aretane, Srt« Colgat del Valles
1489.
Culenburgum, Cttlenborg 1483.
Cusentia, Cosenza 1478.
Cutna, Kuitenbcrg 1489.
Damaspo, Damascus 1605.
Darmstadium, Darmstadt 1605.
Daventria, Dcvcnter 1477.
Debrecinum, Debrcczin 1562.
Delfi, 1 ^ ,,
Delphi,P'^'-^'^477.
Derbatum, ) ^
^ . (Dor pat 1632.
Derpalum,J -^ -^
Divio, Z){)o« 1 49 1.
Divodurum, J/c/^ 14S2.
Dola Sequanorum, ZJJ/t' 1490.
Dordracum, "i ,^ , , ^
_ , , ^ Dordrecht or £>or/
Dorarechtum, V
Dorteracum, J -'
Dresda, Dresden 1520.
Duacum, Donay 1561.
Dublin um, Dublin 1551.
Eblana, Dublin 1551.
TOPOGRAPHICAL INDEX.
171
Eboracum, York 1509.
Edimburgum, -j
EdinbrucMum, VEdinburgh 1507.
Edinum, J
Einsilda, Einsicdcln 1686.
Elna, Pcrpigiiait 1500.
Elvetiorum Argentina, Strasbitrg,
ca. 1460.
Emmerani CcBnobium, Ratisbon
{Rcgcnsburg) 1485.
Engolismum, Angoidcmc 1491,
Erfordia, "I ^ ^
Erfurtum,)^'^"''^ ^482.
Ergovia, Mihister (Switzerland)
1470.
Eslinga, EssUtigcn 1472.
Essium, /fs?' 1472.
Etona, Eton 1607.
Eustadium, Eichstcedt 1470-75.
Ezelinga, Esslingen 1472.
Eanum, "| „
FanumFortun*,/^""''^S02.
Fanum S. Galli, 5;-. Gall 1580.
Felsina, Bologna 1471.
Ferraria, Fcrram 147 1.
Fivizanum, Fivissano 1472.
Florentia, Florence 147 1.
Forum Julium, Cividad di Friiili
14S0.
Forum Livii, For/? 1495.
Franccfurtum ad Maenum, Frank-
fort-on-thc-Main 1478.
Francofurtam ad Oderam, Frank-
fort-on-tJie-Oder 1 504.
Freiberga in Misnia, Freiberg
{Frcybcrg) 1495.
Friburgum Brisgoviae, Freiburg
in Brisgan 1493,
Friburgum Helvetiorum, 'Fri-
boiirg {Freiburg) in Switserland
15S3.
Frisia, Fricsland 1488.
Frisinga, "» Freysingen or
Fruxinum, / Freising 1487.
Fulginia, \
Fulginium,l^''''^"^'47o.
Gaietta, Gaeta 1487.
Galgocinum, Galgocs 1584.
Galli Fanum, Sf. Gall 1580.
Ganabum, Orleans 1490.
Ganda, ") _
„ , \Ghent 1483.
Gandavum, J ^ ^
Gauda, Gotida 1477.
Gebenna, ) _ „
Genava, /^''"^^« '478.
Genua, Genoa 1474.
Gerunda, Gerona 1483.
Giennium, /««? 1500,
Gippesvicum, Ipsivich 1542.
Glascovia, ^ „, , „
Glascua, j'Gl^'Sozv 1638.
Goslaria, Goslar 1595.
Gothoburgum, Gothenburg 1650.
Gouda, Goiida 1477.
Granata, Granada 1490.
Gratianopolis, Grenoble 1490.
Gravionarium, Bamberg 1460.
Gronaicum, 'I _ . ,
^ . > Greenwich 1554.
Gronvicum, J ■'•'^
Hadrianopolis, Adrianoplc 1554,
Hafnia, Copenhagen 1493.
Haga, ^
Haga Comitis, |- r/^e Hague 1 500.
Haga Comitum, -»
Hagenoa, Hagenau 1489.
Hala, 1 rr ,,
TT 1 ■!«• J I- • (Halle 1520.
Hala Magdeburgica.J -^
Halebum, Aleppo 1706.
Hamburgum, 1 ,,
„ i Hanibttrsi I49i-
Hammona, J i> -t:?
Harlemum, Haarlem, ca. 1445.
Hasseletnm, Hasselt 1480.
Heidelberga, Heidelberg 1485.
172
MANUAL OF BIBLIOGRAPHY,
Helenopolis, Fravikfort-on-thc-
Main 147S.
Herbipolis, Wurzbiivg 1475-
Hermanopolis, Hennannstadt
1575-
Hesychia Carolina, Karlsruhe
1765-
Hispalis, Seville 1476.
Holmia, Stockholm 1483.
Hyctopolis ad Istrum, Ratisbon
{Regeiisburg) 1485.
Ilarda,'\ ^ . .
Ilerda,,/^"'^"' ■479-
Ingolstadium, Ingolsladt 1487.
Insula, \ J ■,, ,,„,
Insulae, J ^^^
Ispalis, Seville 1476.
Juliomagum, Angers 1476.
Koburgum, Cobiirg 14S2.
Kralia, Kralitz (Moravia) 1579.
Kuttemberga, Kuttcnberg 1489.
Lantenacum, Lantenac 1491.
Lantreguerum, Trcguier 1485.
Lauginga, Laugingen 1473.
Lausanna, Lausanne I493'
Laus Pompeia, Z.0(/? 1587.
Lavinga, Laugingen 1473.
Leida, Ley den 1483.
Leiria, Leiria 1492.
Lemovicense Castrum, ) Limoges
Lemovicum, / 1495.
Leodicum Eburonum, 1 , . ^
^ ,. ] Li tire 1^50.
Leodium, J & ---j
Leopolis, Lcniberg 1586.
Leovardia, Leitivarden 1597.
Lethes fl., £./»/« 1586.
Leuphana, Lnneburg 1493.
Lignicium, Lignils 1481.
Limonum, Poitiers 1479.
Lipsia, Leipzig 1481.
Lobavia, Loban 1651.
Lodeacum, Loude'ac 1484.
Londinium, 1 , , „
I London 1400.
Londinum, J
Londinum Gotborum, Lund 1666.
Londonia, London 1480.
Loudeacum, Loude'ac 1484.
Lovanium, Z,o»ya/';j (Law«;) 1474.
Lubeca, 1 r . , ,
^ , . . (Lubeck 1475.
Lubicensis, J
Luca, L/ran 1477.
Lucerna Helvetiornm, Lucerne
1527.
Lugdunum, Lyons 1473.
Lugdunum Batavorum, Leyden
1483.
Lunda, ~| Lund
Lundinum Scanorum,J 1666.
Luneburgum, Lnneburg 1493.
Lutetia Parisiorum, Pnr/i 1470.
Madritum, Madrid 1499.
Magdeburgiim, Magdeburg 1483.
Mancunium, Manchester 1729.
Manilla, Manila 1590.
Mantoa, ^ ,,
„ ^ ] Mantua 1472.
Mantua, J '
Marionis, Hamburg 1491.
Marionis Altera, Li'ibcck 1475.
Marsiburgum, 1 „ ,
Marsipolis, J ^ t/j
Martini Monasterium, 5/. Maar-
tciisdyke 1478.
Massilia, Marseilles 1594.
Matisco, Macon 1493.
Matritum, Madrid 1499.
Mechlinia, \ ,,^ ,. o
, ,. . -il/a///<cs 1581.
Mecblimum, J
Mediolanum, 7l///rt» 1470.
Meniminga, Meniniingcn 1482.
Mesnium, Brunswick 1509.
Messana, Messina 1473.
TOPOGRAPHICAL INDEX.
173
' > Meissen 1520.
Misna, J
Moguntia, }^ ^^
Moguntiacum, )
MoMlavia, Moliilev 16 17.
Monachium, Munich 1482.
Monasterium, Miins/er 14S6.
Monasterium B. Mariae de Mon-
teserrato, Monasten'o de Nttcstra
Senora de Monserrate 1499-
Monasterium Ergoviae, Mi'tnsfer
1470
Monasterium Tavestok, Tavistock
1525-
Monasterium Wadstenense, Wad-
stcnia 1 49 1.
Mons Regalis, 1 ,. ,
_, ^ ". ' \ Monterey 1494.
Mons Regius, J
Mons Serratus,^
Montis Serrati \Moiisevratc 1499.
Monasterium-'
Monyorokerekinum, Ebcrau
(Hungary) 1589.
Moscovia.) ,.
' \ Moscow 1553.
Moscua, J ^^^
Murcia, Mnrcia 1487.
Mussipontum, Pont-a-Monssoii
15S2.
Mntina, Modena 1475.
Namnetum, "\ ,r . . „,
' }Nantes I49v
NamnetusPortus,J
Nanceium, A^«;?ry 1560.
Nancianum, Nankin 1620.
Neapolis, Naples 147 1.
Ifeapolis Casimiriana,
Neapolis Nemetum,
Neapolis Palatinorum,
Neoburgum Cattorum, Neitbitrg
1545-
Neocomum, Neufchatel 1533.
Neostadium ad Hartam, Ncnstadt
1564.
Neitstadt
1564.
Pelsna,) „., , ^„_
„, ' \Ptlsen 1475.
Plzna, J ^
Ntnicguen
1479-
Nicsea, A^!c<? 1666.
Nonantula, Nonandola 1480.
Nordovicum, Norwich 1568.
Norica, 1 ., ,
„ . ' \Nnrenibcrs' 1470.
Norimberga, J
Nova Pelsna,
Nova
Novi, Novi 1483.
Noviomagus Rhena-
nus,
Noviomagium,
Novum Eboracum, New Fo;-^ 1693.
Nozanum, Noszano 1491.
Ocellodurum, Zamora 1482.
(Enipons, Innsbruck I55^-
OfiFenburgum, Offenburg 1496.
Olomucum, ^ _,
Olomutium,)^^"'"'^ '499.
Olysipo, Lisbon 1489.
Oppenhemium, Oppcnheini 1494-
Othonia, ) , „
„, , . . (Odense 1482.
Otthimum, J
Oxonia, ~l ^ ^ , „o
. ' (Oxford 1478.
Oxouium, J
Palaeopragu, Prague 1478.
Palma Balearia, Majorca 1485.
Pampalona, Pampeluna 1489.
Panormum, Palermo 1477.
Papia, Pavia 1471.
Parisius, Paris 1470.
Parma, Parma 1472.
Parthenopa, Naples 147 1.
Passavium.) „ „.
„ , . J-/^rtssrt?<i4?
Patavia, j
Patavium, Padua 1472.
Pelsna, Pilsen 1475.
Perpinianum, Perpignan I5<jO.
Perusia, Perugia 1475.
Petropolis, S/. Petersburg 171 1.
174
MANUAL OF BIBLIOGRAPHY.
Philadelphia, Philadelphia 1686.
Phorca, Pfortzhciui 1500.
Pictavium, Poitiers 1479.
Pinarolium, Pinerolo 1479.
Pincia, ValladoUd 1492.
Pisa, Pisa 1482.
Piscia, Pescia 14S5.
Placentia, Piacenza 1470.
Plebisacium, Piove di Sacca 1475.
Pollianum Rus, Polliano 1476.
Pompeiopolis, PauipcUina 1489.
Pons ad Monticulum, ( , .
^ __ . . \ Mousson
Pons Moncioms, „
I 1582.
Pons "NewiaBjPuebla de Navia 161 2.
Pons OEni, Innsbruck 1558.
Pontimussum, Poul-n-Moitsson
1582.
Portesium, Porto 1489.
Posnania, Posen 1577.
Praetorium, Kingston 1720.
Praga, Prague 1478.
Probatopolis, Schaffhauscn 1577.
Promontorium, Promenthoux,
14S2.
Provinum, "^
Pruvinum, j
Provins 1496.
Ratiastum Lemovicum, Limoges
1495-
Ratisbona, Ralisbon 1485.
Redones, Rcnncs 1484.
Regiomontium Borussiae, Koin'gs-
bcrg 1520.
Regiopolis, Kingston 1720.
J^^^"'"', .,. )7?.,.^,b 1480.
Regium Lepidi.J ''^ ^
Eeutlinga, Reutlingen 1482.
Rhedones, Rcnncs 14S4.
Rhegium, Rcggio 1480.
Rhodopolis, Rostock 1476.
Richenstenium, Rcichenstcin 1477.
Ripa, /?/Z»c 1504.
Roe Pontes, ^ _, , , ,
Roeskildia, J^^^'^y^ i534-
Roma, Rome 1467.
Romanovia, Romanoff i6ig.
Rostochium, Rostock 1476.
Rothomagum, "I „
^ , fRouen 1487.
Rotomagus, J
Rubeus Mons, Rougcmont
14S1.
Ruotlinga, Reutlingen 14S2.
Sabate, 1 „
Sabatis, 1^"^""" ^^^74.
Saena, S/n/rt 1484.
Salmantica, Salamanca 1480.
Salutiae, Saluzso 1479.
Sarisberia, 1
Sarum, rSalisbnry 1635.
Sarus, J
Sarvarinum, UJ-Szigeth-Sdrvdr
1539-
Savillianum, Savigliano 1 47071.
Savona, Savona 1474.
Scandianum, Scajidiano 1495
Schedamum, Schiedam 1483.
Schoonhovia, Schoenhoven 1495.
Sedinum, Stettin 1570.
Senae, ~| „.
Sena Julia, )-^''"« '484.
Sentice, Zamora 1482.
Singidunum, Belgrade 1552.
Slesvicum, Schlesivig i486.
Smyrna, Smyrna 1658.
Soncinum, Soncino 1484.
Sora, \ <-. . „
- . >So;7rt 1489.
Sona, J ^
Sorethum, ^ _ ,
_ . __ Sc/ntssenricd
Sortense Mouas- r „
terium, ^
Spira, Spires 147 1.
Stockholmia, Stockholm 14S3.
TOPOGRAPHICAL INDEX.
175
Stutgardia, Stuttgart i486.
SublacenseCoenobium,"; ^ ,.
biibtaco
Sublacense Monaster- ;- ^ ,
1465-
lum, J
Sylva-Ducalis, ) „ • , t-, q
•' . ]-Bois-k-Diic 1484.
Sylva-Ducis, J
Szegedinum, Sscgcdin 1567.
Tarraco, Tarragona 1498.
Tarrazono, Tarasona 161 3.
Tarvisium, Trcviso 1471.
Taurinum, Turin 1474.
Ternavia, \ „
„ , YTyrnan 1570.
Ternobum, ) ■"
Thessalonica, Salonika 1515-
Tholosa, Toulouse 1476.
Ticinum, Pavia 1471.
Tigurum, Zurich 150S.
Timalinum, Pucbla dcNavia 16 12.
Tirasso, Tarazona 1613.
Toletum, ro/co'o 14S6.
Tolosa Tectosagum,1 Toulouse
Tolosia Pallidea, ./ 1476.
Tomacum Neviorum, Tournai
1557-
Trajectum ad Rhenum,"\ Utrecht
Trajectum Inferius, J 1472-
Trajectum Mosae, "\ Macstriclit
Trajectum Superius, j 1552.
Trebia, Trc'vi 1470.
Trecse, Troves 1483.
Trecora, ^ _, . . . „ „
vTresruter 14b "5.
Trecorium, ) ^
Trevium, Trc'vi 1470.
Triboccorum, Strasburg 1460.
Tricasses, Troyes 1483.
Tridentum, Trent {Trie nt) 1475.
Troyga, Trogen 1478.
Tubinga, Tubingen 1498.
Turiaso, Tarazona 16 13.
Turicmn Helvetiorum, \Zurich
Turiguir, J 15°^-
Turoni, ) _
„ . )- Tours 1493.
Turonensium, )
Tusculanum Lacus Benaci, Tos-
colauo 1479.
Tyrnavia, Tyrnau 1578.
Tzenna, Zinna or Zenna 1492.
Tzernogavia, Tschernigov 1670
Ubii, Cologne 1466.
Ulma, f//;;/, c«. 1470.
Tlltrajectum, Utrecht 1472.
Ulyssipo, "\ , . , o
_, . ' YLisbon 1489.
XTlyssipolis, J ^
TTpsalia, Upsala 15 10.
Urbinum, U rhino 1484.
Utinum, Udina 1476.
Vadstena, Wadstenia 149 1.
Valentia, Valence (France) 1496.
Valentia, ^ rr , ■ /c- • \
_ , ,. ' , Valencia (hpain)
Valentia Ede- \ y v 1
1474.
tanorum, -'
Vallis Beatse Mariae, Marienthal
or Marihausen 1474.
Vallisoletum, Valladolid 1492.
Varadinum, Grossivardcin 1585.
Varsavia, "^ ^^^ „
. (Warsaw 1578.
Varsovia, J
Venetiae, Venice 1469.
Venta, Winchester 1545.
Vercellae, Vercelli 1485.
Verona, Verona 1470.
Vesontio, Besanfon 14S7.
Viburgum, Viborg 1528.
Vicentia, Vicema 1474.
Vienna Austriae, Vienna 1482.
Vienna in Delphinatu, Vienne
1478. .^
Vigornia, Worcester 1548.
Vilna, rF/7;m 15 17.
Vindabona, Vienna 14S2.
1/6
MANUAL OF BIBLIOGRAPHY.
Yinterberga, Winteybcrg 1484.
Viriathica, Madrid 1499.
Viterbium, Vita-bo 1488.
Vratislavia, Bieslan 1475.
■Westmonasterium,
1476.
U^esiminslcr
Wintonia, IVinchester 1545.
Wirceburgum, Wiirzbiirg 1475.
Zamora, Zamora 1482.
Zamoscium, Zmuosc 1593.
Zinna, Zinna 1492.
Zwolla, ZivoUc 1479.
ENGLISH-LATIN.
Aalst, Alostiiin 1473.
Aarau, Araiigia 1672.
Aarbus, Anrhusiiuu I5I9-
Abbeville, ^i!>6(7;;»co Villa, Abbaiis
Villa 14S6.
Aberdeen, Aberdonia, Abirdca,
Abredoiiia 1622.
Acqui, ^/ifl, Aqtta' Staticlla' 1493.
Adrianople, Adriaiiopolis, Hadii-
anopolib 1554-
Aix, Aqua- Scxtiw 1552.
Aix-la-Chapelle, Aquce Grani
1591.
Alcala de Henares, Coinplidmn
1502.
Alcmaer, Alcmaria 1605.
Aldenburg (Germany), Aldcii-
bnrgiini 1522.
Aleppo, Alepunr, Clia/rboit, Hale-
bum 1706.
Alost, Alostum 1473.
Altenburg (Hungary), Clirysii
Anrarin 155^'
Amsterdam, AiustclctdaniurH,
Ainstclredamuin 1523-
Augers, Aiidcgni'i(iii,Jidiot]!agtttii
1476.^
Angouleme, Aiigolismnni, Eii-
golisiiium 1 49 1.
Antwerp, Anlvcrpia 1476.
Aquila, Aquilia 1482.
Arhusen, Aarhusiuui 1519.
Aries, Arclas, Arclahiui 1501.
Arras, Atrebatuui 1528.
Ascoli, Asctilum, Ascnlmn Pice-
niiiii 1477-
Augsburg, Augusta Vindelicoruui
1468.
Augst, Augusta Rauracorum
1606.
Aurach, Amacuiu, Burgum
Auraccnse 148 1.
Avignon, Avcuio 1497.
Bale (Basle), Atlienw Rainacor,
Basilea, Coloiiia Muiiatiaiia
1462.
Bamberg, Babcnbcrga, Baiubciga,
Giavionariutn 1 460.
Barcelona, Barc/iino, Barciuo,
Baixiuo 1475.
Barco, Barcuin 1497.
Batavia, Batavia 166S.
Belgrade, ^l/iifi Bulgarica, Alba
Gro'ca, Siiigiduiiuiii 1552.
Bergamo, Bcigomum 1556.
Berlin, BcioUinmi 1540.
Berne, Benia 1525.
TOPOGRAPHICAL INDEX.
177
Beron Minster. See Mi'inster.
Besancon, Bistintia, Bisimtium,
i
Vcsoittio 1487.
Blaubeuern, Ara; Flavian Blabyria
1475-
Bois-le-Duc, Bnscoduca, Bttsctiin-
Diicis, Sylva-Ducis, Sylva-
Dtccalis 1484.
Bologna, Bouoiiia, Felsina 147 1.
Bonn, Aqnce Bonce, Boiiiia 1543.
Bordeaux, Burdigala 1520.
Bourges, Avaricum, Bitiirigw
1530-
Braga, Atignsta Bracara, Bra-
chara, Braclara 1494.
Braunsberg, Bransbcrga, Brauns-
berga, BnmopoUs 1 60 1.
Brescia, Brixia 1472.
Breslau, Bresla, Bressavia, Vrati-
slavia 1475-
Bruges (Briigge), Bnigcc, Brttga:
Bcaniice 1475-
Briinn, Bntnna i486.
Brunswick, Bntnonia, Brnnsviga,
Mcsniitiii 1509.
Brussels, Bnixcllcc 1474.
Buda (Ofen), Aqitincnni, Biida
1473-
Burgdorf, Biugdorfiimi 1475.
Burgos, Bnivian Btirgi, Biirgi
1485.
Caen, Cadonimn 14S0.
Cagli, Ad Calein, Caliitm, CalUnui
1475-
Calais, Cakhmi 1582.
Cambridge, Caiuboriatut, Canta-
brigia, Capitnbn'ga 152 1.
Canterbury, Cantuaria 1549.
Carmagnola, Cannano/a 1497.
Casale, Caseice, Casclla 1475.
Casale di S. Vase, Casale S. Evaxii
1481.
Casal-Maggiori, Casale Maj'iis
14S5.
Casoli, Casttla' 1475.
Cassel, Cassclla, Casseletiiut, Cas-
telliiui Cattonini 1539-
Chablis, Cabelia, CabcUuui 1478.
Cbambery, Cmubeviacuui, Chant-
bcriiiin 1484.
Chartres, Carmitnm 1483.
Chivasso, Clavashun i486.
Christiana, Christiana 1644.
Cividad di Friuli, A nstriw Civitas,
Forum Jidintn 1480.
Cluni, CliniacuuiyCliuiiacitin 1483.
Coburg, Cobitrguni, Koburgnni
14S2.
Coimbra, Coniinbria, Commbn'ca
1536-
Colle, Coda, CoUis 1478.
Cologne, Colonia, Colonia Agrip-
pina, Colonia Claudia, Colonia
Ubiortmi, Ubii 1466.
Como, Coniiiiii 1474.
Constantinople, Byzantium, Con-
stnntinopolis 1488.
Copenhagen, Codania, Hafnia
1493-
Cordova, Corduba 14S6.
Coria, Coria 1489.
Cosenza, Consentia, Cuscntia 1478.
Cracow, Cracovia 1474.
Cremona, Cremona 1472.
Culenborg, Culenburguni 1483.
Czernigow, Tzemogavia 1670.
Damascus, Damaspo 1605.
Darmstadt, Darmstadium 1605.
Debreczin, Debrccinnm 1562.
Delft, Delfi, Delphi 1477.
Deuxponts, Bipontium 1596.
Deventer, Daventria 1477.
Dijon, Divio 1 49 1.
Dola Sequanorum, Dole 1490.
12
178
MANUAL OF BIBLIOGRAPHY.
Dordrecht, Dordracum, Dordrech-
iiiin, Dortcrocuni 1 57 1.
'Dor-^a,t,Di'rbatiim,Dcrpatiiui i6t,2.
Dort, Dordracittn, Doidrcchittiu,
Dorteractim 1571.
Douay, Diiacmn 1 56 1.
Dresden, Dresda 1520.
Dublin, Dubliuutn, Eblana 1551.
Eberau (Hungary), Monyorokcrc-
kiiiiun 1589.
Edinburgh, Alatitm Castnnn,
Aiicda, Edinibitrgmn, Edin-
bnichhtni, Ediniini 1507.
Eichstaedt, Ensfadiiini 1470-75.
Einsiedeln, Einsilda 16S6.
Eltville, Alia Villa 1467.
Erfurt, Erfordia, ErfiirUim 14S2.
'S,%%\S.-a.^^n,EssUiiga,Ezclinga 1472.
Eton, Etoua 1607.
Fano, Fannui, Famiiii Fortttiiw
1502.
Ferrara, Fcnaria 147 1.
Fivizzano, Fivizamtui 1472.
Florence, Florcntia 147 1.
Foligno, Ftilgitiiitiii, Fitlgiitia
1470.
Forli, Font III Livii 1495.
Frankfort-on-the-Main, Franco-
fidtiini ad Maiiuiii, Helciiopolis
1478.
Frankfort-on-the-Oder, Fraitco-
furtiiin ad Oder 11 in 1 504.
Freiberg (Freyburg), Frcibcrga
ill Mis Ilia 1 495.
Freiburg in Brisgau, Fiibiiiguiu
Brisgol'ia: 1493.
Freysingen, Frisinga, Fru.xinuin
1487.
Fribourg (Freiburg) in Switzer-
land, Fiibiiigiiin Hilvciioniiii
1585-
Friesland, Frisia 14S8.
Gaeta, Gaictta 1487.
Galgocz, Galgocinimi 1584.
Geneva, Auvclia Allobrogitui,
Coloiiia Allobrogiini, Gebetma,
Gcnava 1478.
Genoa, Genua 1474.
Gerona, Gcrimda 1483.
Ghent, Ganda, Gandaviuii 14S3.
Glasgow, Glascovia, Glascua 1638.
Goslar, Goslaria 1595.
Gothenburg, Gothoburgtim 1650.
Gouda, Gauda, Goiida 1477.
Granada, Granata 1490.
Greenwich, Gro//rt7'«/;;/,Gro;/t'/«//;/
1554-
Grenoble, Gratianopolis 1490.
Grosswardein, Varadiniun 1585.
Haarlem, Harletiiuui, ca. 1445.
Hagenau, Hagcnoa 1489.
Hague, The, Haga, Haga Comitis,
Haga Coiiiitiiiii, ca. 1500.
Halle, //rt/rt, //rt/(7 Magdcbuigica
1520.
Hamburg, Haiiibitrguiu, Haiii-
niona, Marioiiis 149 1.
Hasselt, Hasscktmn 1480.
Heidelberg, Hciddbciga 1485.
Hermannstadt, Cibiniimt, Her-
niaiiopolis 1575-
Herzogenbosch. See Bois-lc-Duc.
Ingolstadt, Iiigolstadiinu 1487.
Innsbruck, CEiiipoiis, Pons CEni
1558.
Ipswich, Gippcsviciint 1542.
Isernia, yEscrnia 1644.
Jaen, Gieiniiiiin 1500.
Jesi, ^sis, AE^ssiiait, yEviinii,
Essinin 1472.
TOPOGRAPHICAL INDEX.
179
Karlsruhe, Caroli Hcsycliiitm,
Caiolsniha, Hesychia Carolina
1765.
Kingston, Pra'/oriiuti, Rcgiopolis
1720.
KonigsheTgyRcgioinonliiimBorns-
sice 1520.
Kralitz (Moravia), Kralia 1579.
Kronstadt, Corona 1533.
Kuttenberg, Ctttna, Kutleinberga
1489.
Lantenac, Lantenacum 149 1.
Laugingen, Lauginga, Lavinga
1473-
Lausanne, Laiisanna 1493.
Leipzig, Lipsia 1481.
Leiria, Lciria 1492.
Lemberg, Leopolis 1586.
Lerida, I tarda, Her da 1479.
Leuwarden, Leovardia 1597.
Leyden, Lcida, Ltigdnmun Bata-
voritni 1483.
Liege, Leodicum Ebttronuiu, Lco-
diimi 1556.
Lignitz, Lignicinm 1 481.
Lille, Insula, Insidce 1595.
Lima, Lethesjl. 1586.
Limoges, Leinoviccnse Castrum,
Leniovicuni, Raiiastttni Letno-
viciiin 1495'
Lisbon, Olysipo, Ulyssipo, Ulyssi-
polis 1489.
Lobau, Lobavia 1 65 1.
Lodi, Laiis Poiiipeia 1587.
Loewen (Louvain), Lovania
1474.
London, Attgttsta Trin'obanhint,
Loiidiniuiu, Londintiin, Lon-
donia 1 480.
Loudeac, Lodeacum, Lojtdeacunt
1484.
Louvain, Lovaniinn 1474.
Lubeck, Lnbeca, Lnbicensis, Mar~
ionis Altera 1475-
Lucca, Liica 1477.
Lucerne, Lticema Hclvctionan
1527-
Lund, Londinuin Gotlwriiin, Lun-
da, Lnndiniiiii Scanornin 1666.
IiUnehuTg, Le!ip/iana,Liineb!irgitin
1493-
Lyons, Lngduniiin 1473.
Macon, Matisco 1493.
Madrid, Cotonia Viriata, Madri-
tiaii, Matrittmi, ViriatJiica 1499.
Maestriclit, Trajeduin Mosce,
Trajedum Siiperius 1552.
Magdeburg, Magdebnrgum 14S3.
Mainz. See Mentz.
Majorca, Patma Balearia 1485.
Malines, Mechtinia, Mechlinimn
1581.
Manchester, Mancuniuni 1729.
Manila, Manilla 1590.
Mantua, Mantoa, Mantua 1472.
Marienthal, Vallis Beatw Marice
1474.
Marseilles, Massilia 1594.
Meissen, Miscna, Mis)ia 1520.
Memmingen, Memminga 14S2.
Mentz, Moguntia, Moguntiacum,
ca. 1448.
Merseburg, Marsiburguni, Marsi-
polis 1473.
Messina, Messana 1473.
Metz, Divodurmn 1482.
Milan, Mediolanuni 1470.
Modena, Mutina 1475.
Mohilev, Moliilavia 1617.
Monserrate (Monasteriode Nues-
tra Seiiora de), Monasterium
B. Marice de Monteserrato, Mans
Serratus, Montis Serrati Monas-
terium 1499.
i8o
MANUAL OF BIBLIOGRAPHY.
Monterey, Mons Rcgalis, Mons
Regius 1494.
Moscow, Moscovia, Mosciia 1553.
Miinchen. Sec Munich.
Munich (Miinchen), Monachiitm
1482.
Miinster, Monasterium i486.
Munster (Switzerland), Berona,
Ergovia, Monasterium Ergovice
1470.
Murcia, Mitrcia 14S7.
Nancy, Nancciian 1560.
Nankin, Nanciannm 1620.
Nantes, Condivincuni, Natiinettts
Partus, Nantiietiim 1493-
Naples, Neapolis,Parthciiopa 147 1.
Neuburg, Ncobtagum Cattorum
1545-^
Neufchatel, Ncocoumnt 1553.
Neustadt, Ncapolis Cnsimiriana,
Ncapolis Ncmctuin, Ncapolis
Palatinorum, Neostadium ad
Hartam 1564.
New York, Novum Eboracum
1693-
Nice, Niccca 1666.
Nimeguen, Noviomagns Rhcna-
)iHs, Noviomagimn 1479.
Nonandola, Nouautula 1480.
Novi, Novi 1483.
Norwich, Nordovicum 1568.
Nozzano, Nozamiiu 149 1.
Nuremberg (Niirnberg), Norica,
Norimboga I470.
Odense, Othouia, Olthinium 1482.
OfFenburg, Ojfenlmrgum 1496.
Olmutz, Olomticum, Olomutitini
1499.
Oporto, Calc 1540.
Oppenheim, Baiicona, Oppcit-
hcmium 1494.
Orleans, Aurclin, Ganabum 1490.
Oudenarde, Aldcnarda 1480.
Oxford, O.xoiu'a, Oxonium 1478.
Padua, Pataviuni 1472.
Palermo, Panormum 1477.
Pampeluna, Pampalona, Pompei-
opolis 14S9.
Paris, Lutctia Parisiorum, Pari-
siiis 1470.
Parma, Parma 1472.
Passau, Bacoditrum, Batava Cas-
tra, Passavium, Patavia 148 1.
Pavia, Papia,'Ticiimm 147 1.
Perpignan, JE'/wrt, Pcrpinianum
1500.
Perugia, Augusta Perusia, Pcru-
sia 1475.
Pescia, Piscia 1485.
Pfortzheim, Pliorca 1500.
Philadelphia, Philadelphia 1686.
Piacenza, Placcutia 1470.
Pilsen, AW(7 Pelsna, Nova Plzna,
Pelsua 1475.
Pinerolo, PiuaroUum 1479.
Piove di Sacca, Plebisacium 1475.
Pisa, /^^Y7 1482.
Poitiers, Limonum, Pictavium
1479-
Polliano. Polliaiium Rus 1476.
Pont-a-Mousson, Mussipoutum,
Pons Moncionis, Pons ad Mon-
ticulutu, Pontiinusson 1582.
Porto, Portesium 1489.
Posen, Posnania 1577.
Prague, Casurgis, Pahvopragti,
Praga 1478.
Promenthoux, Proiuontonum
1482.
Provins, Provinum, Pruvinum
1496.
Puebla de Navia, /'o;/s Nevia;
Tiinalinum 161 2.
TOPOGRAPHICAL INDEX.
I8l
Ratisbon, Augusta Tiberii, Eni-
nicvaiii Caiiobinin, Hydopolis
ad Istntiit, Ratisbona 1485.
Regensburg. See Ratisbon.
Reggio, Reghim, Regiiini Lepidi,
Rhcgiimi 1480.
"RdicheTistQin^Richensicniimi 1477.
Rennes, Rcdoncs, Rhedones 1484.
Reutlingen, Reittlinga, Rnotlinga
1482.
Ribe, Ripa 1504.
Romanoff, Romanovia 1619.
Rome, Roma 1467.
Roskyld, Roe Pontes Rocskildia
1534-
Rostock, Rliodopolis, Rostochhun
1476.
Rouen, Rotoinagitm, Rothomagits
14S7.
Rougemont, Rubens Mons 1481.
St. Albans, S. Albani Villa 1480.
St. Andrews, Andreapolis 1551.
St. Gall, Fannni S. Galli, Galli
Fannin 15S0.
St. Maartensdyke Martini Mon-
asterinni 147S.
St. Petersburg, Pctropolis 171 1.
Salamanca, Sahnantica 1480.
Salisbury, Sarisbcria, Sarum,
Sams 1635.
Salonika, Thessalonica 15 15.
Saluzzo, Sahitia 1479.
San Colgat del Valles, S. Cucitfati
Monasterinin Vallis Arctanc
1489.
Saragossa (Zaragoza), Ccesar
Angtista 1475.
Savigliano, SavilUannni 1470-71.
Savona, Sabaic, Sabatis, Savona
1474-
Scandiano, Scandiamtm 1495.
Schaffhausen, ProbatopoUs 1577.
Schiedam, Sclicdamuni 1483.
Scbleswig, Slcsvicnm i486.
Schoenboven, Sclioonlwvia 1495.
Schussenried, Abbatia Sorethana,
SoyethiuiijSortcnseMonasteyiunt
1478.
Seville, Colonia Julia Romana,
Hispalis, Ispalis 1476.
Siena, Sa-na, Sena Julia, Senae
1484.
Smyrna, Smyrna 1658.
Soncino, Soncinum 1484.
Soria, Sora, Soria 1489.
Spires, Augusta Nemetum, Spira
1471.
Stettin, Sedinnni 1570.
Stockholm, Holmia, Stockholmia
1483-
Strasburg, Argentina, Argentina
Reni, Argentoratuin, Augusta
Trebocoruni, Elvetiorum Ar-
gentina, Triboccorum 1460.
Stuttgart, Stutgardia i486.
Subiaco, Sublacense Ccenobimn,
Sublaccnse Monasterium 1465.
Szegedin, Sscgedinnm 1567.
Szigeth (Uj-Szigeth-Sarvarj, Sar-
variniint 1539.
Tarazona, Tarrazono, Tirasso,
Turiaso 1613,
Tarragona, Tarraco 1498.
Tavistock, Monasterium Tavestok
1525.
Toledo, Tolctum i486.
Toscolano, Tusculanum Lacus
Bcnaci 1479.
Toulouse, Tliolosa, Tolosa Tec-
tosagum, Tolosia Pallidea
1476.
Tournai, Tomacunt Nevioriim
1557-
Tours, Turoni, Turonensiuni 1493.
l82
MANUAL OF BIBLIOGRAPHY,
Treguier, Lantregncnmt, Trccora,
Trccoriimi 1485.
Trent (Trient), Tridentmn 1475.
Trevi, Trcbia, Trcvhiin 1470.
Treviso, Tarvisiuin 147 1.
Trogen, Troyga 1478.
Troyes, Treccc, Tricasses 1483.
Tschernigov, Tzemogavia 1670.
Tubingen, Ttibinga 149S.
Turin, Attgnsia Taiiriiiorimi,
Taiirinum 1474.
Tyrnau, Tcrnavia, Tcrnobtmt,
Tyrnavia 1578.
TJdina, Utinmn 1476.
TJlm, Uliua, ca. 1470.
Upsala, Upsalia 15 10.
TJrach, Auyacum, Bitrgum Aiira-
ceiisc 1 48 1.
TJrbino, Urbinum 1484.
TJtreclit, Trajeduni ad Rheniini,
Trajedum Infcrms, Ultrajcctimi
1472.
TJj-Szigetli-Sarvar, Sarvariniim
1539-
Valence (France), Valoitia 1496.
Valencia (Spain), Vahiitia,Vale7i-
tia Eddanornm 1474.
Valladolid, Pincia, Vallisoktiini
1492.
Venice, VencHce 1469.
Vercelli, Vcrcellce 1485.
Verona, Vcroim 1470.
Viborg, Vibtirgum 1528.
Vicenza, Vkoitia 1474.
Vienna, Vindaboua, Vienna Aus-
tria: 1482.
Vienne, Vienna in Ddphinatn
1478.
Viterbo, Vitcrbiitm 1488.
Wadstenia, Monastcrium IVad-
stcnense, Vadstena 149 1.
Warsaw, Varsavia.Varsovia 1578.
Westeras, Arosia 161 7.
Westminster, IVesfntonnstcritini
1476.
Wilna, F//wrt 15 17.
Winchester, Venta, Winionia
1545.
Winterberg, Vinterberga 1484.
Worcester, Brangonia, Vigornia
1548.
Wiirzburg, Hcrbipolis, U'ircebnr-
giim 1475.
York, Eboracuut 1509.
Zamora, Ocellodtintui, Scniicc,
Zaiuora 1482.
Zamosc, Zautosciunt 1593.
Zaragoza, Ca-sar Augusta 1475.
Zinna, Tzenna, Zinna 1492.
Zurich, Tigitntm, Tiiricitin Hd-
vctiorjiin, Turiguni 1 508.
Zweybriicken, Bipontium 1596.
ZwoUe, ZiL'olla 1479.
GLOSSARY.
ENGLISH AND FOREIGN.
bib.=bibliography. cat. = cataloguing.
bind.=bookbinding. print. = printing.
Addendum, pi. Addenda (Lat.) A thing or things to be added;
an addition, or an appendix to a book.
Advance Sheets (print.) The whole or portion of a work supplied
elsewhere previous to publication ; usually for simultaneous
reproduction. Sometimes also called "early copies."
Adversaria (Lat.) A miscellaneous collection of notes, remarks,
etc., such as one makes in a commonplace book.
Aldlnc (print.) A term applied to the works which issued from
the press of Aldus Manutius and his family, from 1490 —
1590. The Aldine mark was an anchor entwined with a
dolphin.
Allonym (bib.) A false proper name.
Alphabetism (bib.) As A B C, X Y Z, etc., often used. (R. T.)
Ana. An affix used in connection with the names of eminent
men to denote a collection of their memorable sayings or
anecdotes concerning them, as Johnsofi/ana, Scaligcrana ;
or a collection of anecdotes, etc., concerning any subject,
as Typographiana. Also used to denote the sayings, etc.,
themselves, or the work containing them.
Anag7-am (bib.) (Gr. anagraphein, to write back or anew.)
The letters of the name or names arbitrarily inverted with
or without meaning, eg. Angeliis is an anagram of Galeims.
I (bib.) Wanting a name, such as books printed
Anonym ) ^vithout the author's name on the title. Gene-
Anouymous ( ^^,jy abbreviated to anon.
I 84 MANUAL OF BIBLIOGRAPHY.
A7iopisthographic (bib.) A term applied to the earliest printed
block-books, which were printed on one side of the leaf only,
and then pasted back to back. (See also Opisihograpliic.)
. /: . \ (Ger.) Second-hand bookseller.
Antiqiianits \ ^ '
Apoconym (bib.) Name deprived of one or more initial letters.
(R. T.)
Apologue (^Gr. apologos). A moral fable, a story or relation of
fictitious events, intended to convey useful truths.
Appendix (pi. appendixes or appendices). Something appended
or added as a supplement, or treatise added to a book.
Aristony?7t (bib.) A title of nobility used as a proper name.
(R.T.).
Armarian (Lat. Annarins). The librarian of a monastery, whose
duty it was not only to look after the safety and welfare
of the books under his care, but also to superintend the
writing and transcribing of books, in and out of the monas-
tery. He was required also to keep a correct catalogue of
the library.
Asterisk (bib.) Little star. A sign (*) used to direct the reader
to a note in the margin, or at the foot of the page. Two
or more asterisks generally denote the omission of some
letters or words, or else a defect in the manuscript.
Asterisk (print.) A * printed at the bottom of the front page (in
the place of the signature) of duplicate leaves supplied to
replace any which have been cancelled.
Asterisni (bib.) One or more asterisks used instead of a name
on a title-page. (R. T.).
Auflage (Ger.) Edition. Used to designate a new setting up
in type in contradistinction to Aiisgabe, or simple reprint.
Atisgade (Ger.) Edition or reprint. (See A///lage.)
Ausluioige-Bogen (Ger.) Proof sheets.
Auswa/il (Ger.) Selection.
Atitoiiyni (bib.) Book published with the author's real name.
Band, pi. luinde (Ger.) Volume, volumes.
Ini?ids (bind.) 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.
l^asaiie (Fr.) Sheep skin.
GLOSSARY. I 8 5
Bas bleu (Fr.) A blue-stocking, a literary woman.
Bastard title (print.) An abbreviated or short title preceding the
full title-page. Also called a half-title.
Basil (hind.) (Ft, basane). Tanned sheep skin.
Beilage (Ger.) Supplement.
Biblioclas7)i (Gr. biblion, book, and klasmos, breaking). Destruc-
tion of books, or of the Bible.
Biblioclast (Gr. biblion, book, and Hastes, breaker). A destroyer
of books.
(Fr. bibliog/ioste ; Gr. biblion, book, and gnostes,
Bibliog?wst \ one who knows). " One knowing in title-
Bibliognostic i pages and colophons . . . and all the minutiae
\ of a book " (D'Israeli's Ciir. Lit.).
Bibliogony (Gr. biblion, book, and gonia, generation). The
production of books.
Bibliograph (Fr. bibliographc ; Gr. bibliographos). A book
writer.
Bibliographer. A writer of books, a copyist. One versed in
literary history ; having a knowledge of books, their authors,
editions, value, etc. One who writes about books.
Bibliographic. Of or pertaining to bibliography.
Bibliographical. Of, or relating to, or dealing with bibliograph)'.
Bibliographically. With respect to bibliography.
Bibliographizc. To write a bibliography of.
Bibliography (Fr. bibliographic ; Gr. bibliographia. Book-
writing).
1. The writing of books.
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.
Biblioklcpt (Gr. biblion, book, and kleptes, thief). A book-thief.
Biblioklcptojnaniac. A book-thief regarded as insane.
Bibliolatry (Gr. biblion, book, and latrcia, worship). Extravagant
admiration of a book.
Bibliolater. ( One who entertains such excessive admiration or
Bibliolatrist. I reverence.
Bibliolatrotis. Given to, or characterised by bibliolatry.
I 86 MANUAL OF BIBLIOGRAPHY,
Bibliological. Of or pertaining to bibliolog}-.
Bibliologist. A professed student of bibliolog}-.
Bibliology (Gr. biblion, book, and login, discourse). Scientific
description of books, book-lore, bibliograph}'.
Biblio7?ia}icy (Gr. biblion, book, and i?mntcia, divination). Divi-
nation by books, generally by verses of the Bible.
Biblio?nane (Fr. bibliomane, Gr. biblion, book, and manes, mad).
An indiscriminate collector of books. A bibliomaniac.
Bibliomania (Gr. biblioji, book, and mania, madness). A passion
for collecting and possessing books.
Bibliomaniac. One affected with bibliomania. !Mad after books.
Bibliomaniacal. Of, relating to, or characterising a biblio-
maniac.
Biblioinatiian. A bibliomaniac.
Bibliojnanianism. I ^., ,.
„.,,. . ( Bibliomania.
Biblionianism. \
Bibliojnanist. A bibliomaniac.
Bibliopegic. Of or pertaining to bookbinding.
Bibliopegist. A bookbinder.
Biblioiegistic. 1^^ ,. , ,f-,,- ■. i-l-j
T^-i 7- X - .• 7 ■ Of, relating to, or befitting a bookbinder.
Biblwpegistical. \
Bibliopegy (Gr. biblion, book, and pegia from pcg-niaiai, to fix).
Bookbinding as a fine art.
Bibliophagist (Gr. biblion, book, and phagos, devouring). A
devourer of books.
Bibliophagic. Of or pertaining to a bibliophagist.
Bibliophile (Fr. bibliophile ; Gr. biblion, book, and philos, a
friend). A lover of books ; a book-fancier.
Bibliophilic. Of or. pertaining to a bibliophile.
Bibliophilism. The principles and practice of a bibliophile.
Bibliophilist. A bibliophile.
Bibliophilistic. Of or pertaining to a bibliophilist.
Bibliophilous. Addicted to bibliophily.
Bibliophily (Fr. bibliophilic). Love of books ; taste for books.
Bibliophobia (Gr. biblion, book, and phobia, dread). Dread of,
or aversion to, books.
Bibliopocsy (Gr. biblion, book, and poicsia, making). The
making of books.
Bibliopole (Lat. bibliopola; Gr. bibliopoles from biblion, book, and
poles, seller, dealer). A dealer in books, a bookseller.
GLOSSARY. 187
Bibliopolar. \ Qf or belonging to booksellers ; hence Biblio.
Bibliopolic. poUcally.
Bihliopolical. )
Bibliopolism. The principles or trade of bookselling.
Bibliopolist. A bookseller.
Bibliopolistic. Of, pertaining to, or befitting a bookseller.
Bibliopolery. j _ , „.
BibUopoly. \ Bookselling.
Bibliotaph (Fr. bibliotaplic ; from Gr. biblion, book, and tapkos,
tomb). One who buries books by keeping them under lock
and key.
Bibliotapliic. Of or belonging to a bibliotaph.
Bibliotaphist. A bibliotaph.
Bibliot/tec. Belonging to a library or librarian. A librarian.
Bibliothcca (Lat. bibliotkeca, library, collection, and Gr. bibliotheke,
book-case, library ; from biblion, book, and thckc, repository).
A collection of books or treatises, a library. A bibliographer's
catalogue.
Bibliothecal (Lat. bibliotJiccalis). Belonging to a library.
Bibliothecar (Fr. bibliothccaire). A librarian.
BibliotJiecarian. A librarian ; also of or belonging to a library,
or librarian.
BibliotJiecary (Fr. bibliothe'caire ; Lat. bibliothecaniis). i. A
library. 2. A librarian. 3. Of or belonging to a library.
Bibliotiicque (Old Eng. biblyotheke, -thcicke, -thee, -thek; Fr. bib-
liothcqiie ; Lat. bibliotliecd). A library, a collection of
treatises.
Biblus, -OS \ (Lat. bibhts ; Gr. biblos). The papyrus, or paper
Bybhis \ reed ; the inner bark of that plant.
^laCk=letter (print.) The name given to the character of the
type which succeeded the Gothic in the fifteenth century.
Bleed (bind.) A book is said to bleed if the edges are cut down
so as to injure the print. ,
Blind tooli)ig ihiud.) Ornaments impressed on the covers of a
book, but without gilding. Called also antique.
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.
Blue-stocking. A female literary pedant. Said to be derived
from the bluestocking clubs, or meetings of ladies in Johnson's
I 88 MANUAL OF BIBLIOGRAPHY.
time, for conversation with distinguished literary men. Called
in France bas blcn.
Boards (bind.) r. When a book is covered with paper or cloth
covers. 2. The covers of a book.
Boards. Oak boards were used by the early bookbinders.
Bosses. Knobs of metal attached to tlie sides of books for
ornament, or to protect them against injury.
Bouqtdn (Fr. bib.) An old or second-hand book.
Bojcqjiiner (Fr. bib.) To hunt after old books.
Bouquiuerie (Fr.) Old book trade.
Bouquineur (Fr.) One who hunts after old books, a stall-reader.
Bouquiniste (Fr.) One who sells old books, a second-hand
bookseller.
Bowdlerise. To expurgate or eliminate any objectionable or
indelicate words or passages from a book. The term is
derived from the name of Thomas Bowdler, who published
an expurgated family edition of Shakespere in 18 18.
Brmmfieckig (Ger.) Foxed. Spotted with brown.
Broadside. A sheet of paper printed on one side only, or con-
taining one large page without columns. The term is applied
to such works as copies of a "last dying speech" of some
celebrated criminal, and other similar street literature.
Broche (Fr.) Sewed, or stitched like a pamphlet.
Brochure (Fr.) A small book, stitched, not bound ; a pamphlet.
So called from Fr. brocher, to stitch.
Broschirt (Ger.) Sewed, or stitched like a pamphlet.
Broschure (Ger.) Pamphlet, stitched book.
Brimi {Yx.) Discoloured, become brown with age.
Ihich (Ger.) Book.
Biichbmdcrei {Gex.) A bookbinder's, bookbindery.
Bicchdruckerei (Ger.) Printing ofhce.
Buc/thandlcr (Ger.) Bookseller.
IhicJiIiaiidhing (Ger.) Bookselling business.
Cala7}ius (Lat. calamus'). A pen made of a reed sharpened and
split at the point, used by the ancients for writing on paper
or parchment.
Cancels (bind, and i)rint. ) Leaves containing errors, which are
cut out and replaced by others properly printed. Tliey are
generally marked with an asterisk or a dagger.
GLOSSARY. 189
Caput {'L^A.) Headi(or lieading) of a chapter.
Carton (Fr.) A cancel {q.v^
Carto7inc (Fr.) In paper boards.
Catalogue raisoimc {Yi.) A catalogue of books arranged accord-
ing to their subjects.
Catch-word (print.) A term used by early printers for the word
at the bottom of each page, under the last word of the last
line, which word is the first at the top of the following page.
Chalcography (Gr. chalkos, copper, and grapheiii, to scratch or
write). The art of engraving on copper or brass.
Chap-books. The name given to a class of tracts or pamphlets
which, principally emanating from the provincial press, were
hawked about the country by pedlars and chapmen.
Chez le Relicur (Fr.) In the binders' hands.
Chronogram (bib.) (Gr. chronos, time, and gramjfia, a writing.)
An inscription in which a certain date or epoch is expressed
by Roman numeral letters, as in the motto of a medal
struck by Gustavus Adolphus in 1632: ChrlstVs DVX; ergo
trIVMphVs. By collecting together the capitals we obtain
MDCXVVVVII., i.e. MDCXXXII., or 1632.
Circa (Lat.) About, applied to an assumed date of publication
of a book.
Circtiit edges (bind.) Flaps which overlap the edges of some
Bibles and Pra3^er Books, especially those intended for the
pocket ; also called Ribbofi edges.
Clasps (book). The hooks or catches used for fastening the
covers together when a book is closed ; formerly used on
almost all books.
Cliche (Fr.) A stereotype plate, block, cast.
Codex (Lat.) Originally wooden tablets coated with wax for
writing on were so called ; hence when parchment and paper
were substituted for wood and put together in the shape
of a book, the term codex was still used. A manuscript ;
a book.
Codicilli (Lat.) Diminutive of codex {q.v.')
Collate (bib.) To compare, or to examine whether two things
{e.g., books) of a similar kind agree or disagree.
Collation (bib.) The examination of the signatures, pages,
plates, etc., of a book, to ascertain if they follow in order
and are complete.
1 90 MANUAL OF BIBLIOGRAPHY.
Colophon (bib. and print.) (Gr. kolophon, a summit, finishing.) The
device or note at the end of old books, containing the names
of the printer and pubUsher, place where printed, and date.
Colportage (Fr.) Itinerant bookselling.
Colporteur. One who sells and distributes tracts and religious
or secular literature, etc.
Conservation (Fr.) Preservation ; referring to the state of a book
or binding; d'line conscrvaf. mediocre, in middling condition.
Copy. I. Any single book or set of books. 2. The manuscript,
reprint, or proof from which the compositor composes.
Corner-pieces (bind.) Metal covers protecting the corners of books.
Corrigc7idu7n, pi. Corrigenda (Lat.) A word or words to be
corrected.
Costeriana. " A group of early printed books which have, until
recently, been always ascribed to Laurens Janszoon Coster,
the reputed Haarlem inventor of printing." {Hessels.)
Coupe (Fr.) Cut, leaves cut open ; non coupe, not cut.
Cropped (bind.) A book is said to be cropped when the edges
are cut down very much. See also Bleed.
Croquis (Fr.) A rough sketch.
Cross-reference (cat.) A note at the end of an entry in a catalogue
referring the reader to some other author, or book on the
same subject as the entry itself — eg. England. See also
Great Britain.
Ctd-de-lampe (Fr.) Head- or tail- piece.
Cut. An engraved block or plate, an illustration ; a woodcut.
Dccoupe (Fr.) Edges cut off, cropped.
Delineavit, Delt. (Lat.) He drew.
Delpliin classics {ad nsuni Delphi/!?). A set of Latin classics
edited in France (1674-91) by thirty-nine scholars, under the
superintendence of Montausier, Bossuet, and Huet, for the
use of the Grand Dauphin, son of Louis XIV.
Demonym (bib.) Popular or ordinary qualification or description
taken as a proper name, as an Amateur, a Bibliophile, etc.
(R. T.)
Dentelle (Fr. bind.) A style of ornament resembling fine lace-
work.
Dcrelie (Vr.) Unbound. Binding gone.
Desideratum, pi. Desiderata (Lat.) Anything wanted or desired.
GLOSSARY. I 9 I
Device (bib.) Printer's emblem or mark.
Diviiiity calf (bind.) A dark-brown calf, generally used for
theological books.
Do7ium (Lat.) A gift ; ex dono auctoris, a gift from the author.
Dorc (Fr. ) Dore siir tj'ajiches, gilt edges.
Driuk (Ger.) Print, or the printing.
Drucker {G&\.) Printer.
Duodeci??io (bib.) Twelvemo. (Fr. in-douze ; Ger. duo-dez.)
The size of a book composed of sheets folded so as to make
twelve leaves, twenty-four pages ; generally written l2mo.
Dutch paper. Hand-made papers of various sizes, made in
Holland.
Eau-forte (Fr.) An etching.
Ebarbc (Fr.) Edges trimmed.
Editeur (Fr.) Publisher.
Editio pri7iceps (Lat.) The first or earliest printed edition of an
author. Often of great value to critical scholars, as being
a record of readings of MSS., long since lost.
Edition. One impression, or the whole number of copies of a
book published at once.
Edition de luxe (Fr.) An extra large paper, and sumptuous
edition of any high-class book, is so called.
Editorial. A leading article in a newspaper written by the editor.
EiJiband (Ger.) Binding of a book.
Einleituiig (Ger.) Introduction.
Elzevirs. Elzevir editions — i.e. copies of works printed by the
Elzevir famity, at Amsterdam and Leyden, 1595 — 1680.
Enchere (Fr.) Vetite a Vetichere, sale by auction.
Enchiridion (Gr. encheiridion, a manual). A manual ; a book to
be carried in the hand.
End-papers (bind.) The blank leaves at the beginning and end
of a book. Also called Fly-leaves.
Engravitig. The principal varieties of engraving are: — i. Li7te
e7igraving on metal plates, usually of copper or steel, in
which the line is always incised. 2. Etching, usually on
metal, in which the lines are corroded by means of acid.
3. Mezzotint, in which there are no lines whatever, but only
shades produced by roughening the surface of the metal.
4, Woodcut, in which the lines which print black have to
192 MANUAL OF BIBLIOGRAPHY.
be left in relief, while the surface round them is cut away.
{E7icy. Brit. 1878, v. 8, p. 436.)
Epigraph (Gr. 'cpigrapJie). i. An inscription. 2. A quotation
placed before a book or chapter as a motto. 3. The imprint
on a title-page (obs.).
Epitome (Gr. epitojnc'). A brief summary or abstract of the chief
points in a literary work ; an abridgment, a compendium.
Eprcuve (Fr. print.) Proof.
Aptdse (Fr.) Out of print.
Errat7im, pi. Errata (Lat.) List of errors contained in a book,
usually printed on a small slip, and pasted in the book
when bound, by the bookbinder.
Esta?)ipes (Fr.) Prints.
Etching. See Engraving.
Exciidebat (Lat.) He printed.
Exeviplairc (Fr.) | . <• u 1
^ -^ , ,1 I A copy of a book.
Exe^nplar (Ger.) \
Ex-libris (Lat.) Literally froin the books of. A book plate.
Book plates often bear these words with the owner's name,
hence the use of them for the mark itself.
Extra (bind.) The binding of a book is said to be e.xtra when
it has gilt ornaments on side and back, silk head bands, etc.
Facsimile (Lat.) An exact copy of anything, especially hand-
writing or printed work.
^^"^'f'f (^;>, JPartofawork.
Fasciculus (Lat.) |
Fatigtic (Fr.) Worn ; as reliurefatiguce, binding worn.
Fermoirs (Fr.) Clasps.
Feuille, pi. Feuilles (Fr.) Leaf or leaves of a book.
Feuilletoji (Fr.) That part of foreign newspapers devoted to
light literature, etc., and generally marked off from tlie rest
of the page by a thick line.
Figures (Fr.) Plates, diagrams, etc.
Finis (Lat.) The end (of a book).
Fleuron (Fr.) An ornament in tiie form of a wreath of flowers.
Fly-leaf (hm^?^ See End-papers.
Folio (bib.) The size of a book formed of sheets folded into
two leaves or four pages.
Fore-edge (bib.) The front edge of a book.
GLOSSARY. 193
Forel (bind.) Rough undressed skins of beasts used in early
times for binding.
Fonnat (Fr. and Ger.) The size (of a book).
F<?r/(Fr.) Strong or thick. Papier fort, thick paper ; 11 n for
volume, a thick volume.
iv?.ir</(bib.) Foxmarks are light brown stains which appear in
books and on engravings, and are caused by damp acting
on the chemicals used in bleaching the rags of which the
paper is made. A book so marked is said to be " foxey " or
" foxed."
Franzband (Ger.) Calf-binding.
Gathering, a (print.) In making the printed sheets of a work up
into copies, a number of them in orderly succession are
folded together, which is called a gathering; a volume may
be complete in one or more gatherings. (Savage.)
'Geheftet (Ger.) Sewed, or stitched.
Gesammelte Werke (Ger.) Collected works, but not necessarily
all that the author has written.
Gilt (bind.) This term applies to both the edges of a book and
the ornaments on the cover.
Gilt edges (bind.) (Fr. dore sur tranche; Ger. goldsdmitt.)
Leaves of a book gilt on the edges.
Goldschnitt (Ger.) Gilt edges.
Gothic (print.) An antique type similar in character to Black
letter {([.v.]
Grangerite. One who extra illustrates a book or books by the
insertion of plates, portraits, etc., taken from other books,
or elsewhere. A disciple of the Rev. James Granger, who
published a biographical History of England in which he
makes allusion to all the celebrated persons connected with
the chronicles of England, giving a list of their portraits,
etc.
Gravures (Fr. ) Plates, engravings ; gravures sur bois, wood-
engravings.
Grolier (bind. ) A particular kind of ornamental leather binding
introduced by the celebrated bibliophile Jean Grolier,
Treasurer of France (b. 1479; d. 1565). He is said to have
composed the designs for the binding himself, and his
books generally bore the inscription, " lo. Grolierii et ami-
13
194 MANUAL OF BIBLIOGRAPHY.
corum," indicating that they were for the use of his friends
as well as himself.
Guards (book). Strips of paper fixed in the backs of books in
which plates or maps are to be inserted to prevent the book
bulging when filled. Also the name given to the strips
upon which plates, etc., are mounted.
Gussabdruck (Ger.) Cliche, electrotype.
Hagiony?fi (bib.) The name of a saint used as a proper name.
(R. T.)
Halbfrans (Ger. bind.) Half calf.
Half-boioid (bind.) When the back and corners only of a book
are covered with leather, and the sides with paper or cloth.
Half-title (print.) An abbreviated or sub-title printed on the
leaf preceding the full title-page. Called also a bastard
title.
Harleian. A style of binding which took its name from Harley,
Earl of Oxford. It was red morocco, with a broad tooled
border and centre panels (Z.)
Head (bind.) The top of a volume.
Head-band (bind.) The silk or cotton ornament placed at the
top and bottom of the back of a book.
Head-line (print.) See Runiiing title.
Head-piece (print.) Ornaments placed at the top of the page at
the beginning of a chapter.
Heft, pi. Hefte (Ger.) A part or number of a book.
Heluo Libronim (Lat.) A great reader ; lit. a glutton (devourcr)
, of books.
Hera7(sgcgebc7i (Ger.) Edited.
Hieronym (bib.) A sacred name used as a pseudonym.
Holzschnitt (Ger.) Woodcut.
Ibidem (Lat. in the same place) (cat.) Used to express "the
same place" when referring to the place of publication
named in a previous title. Usually abbreviated to ib. or ibid.
Icones (Lat.) Figures, cu7n iconibns, with diagrams.
Idetn (Lat.) The same.
Imperfections (bind.) Sheets or leaves which are rejected on
account of some imperfection, and which are replaced by
others in order to render the book complete.
hnprimatur (Lat. let it be printed). A licence to print a book,
GLOSSARY. 195
granted in countries vvliere the censorship of the press is
rigorously exercised.
Imprinieric (Fr. ) Printing office.
Imp)i7ii (print.) The indication of the place where a book is
printed, either with or without the printer's name, and
sometimes with the date.
Inciinabulum,-a-a (bib.) (Ger. incunabeln ; Fr. inamables.) Book
or books printed before 1500.
Index, pi. Indexes or Indices. A table of the contents of a book
arranged in alphabetical order.
Index Expur gator ins. A catalogue of books, published under
the sanction of the Pope, specifying passages in books
which are to be altered or expunged.
Index Librorum Prohlbitorimi. A catalogue, also published under
the sanction of the Pope, of books which are forbidden to
be read.
India-paper. An exceedingly thin paper of a pale buff colour,
made from the inner bark of the bamboo ; it is imported from
China, and used exclusively for engraver's proofs, as it gives
very clear and delicate impressions from steel and copper
plates, hence sometimes termed Proof paper {Stationers'
Hatid Book).
Inhalt (Ger.) Contents.
Inset (bind.) The inner pages of a sheet cut off in folding
certain sizes, to be inset in the centre of the sheet (Z.)
Interfolie (Fr.) Interleaved.
Intonso (It.) Uncut edges.
Kapitel (Ger.) Chapter.
Kart07i (Ger.) A cancel {q.v^
Kjtpfer (Ger.) Plate, plates.
Lacuna, pi. Iacic7icc (Lat.) A gap, a hiatus, a blank or defect in
a MS. or book.
Large paper (bib. and print.) Books printed on a paper of extra
size with wide margins, the letter-press being the same as in
the small paper copies. See also Tall copy.
Lave (Fr.) Washed (as a stained engraving).
Law calf (}av[i^.) Calf wholly undyed, used principally for law
books.
196 MANUAL OF BIBLIOGRAPHY.
Leder (Ger.) Calf.
Legato (It.) Bound.
Lettered (bind.) Books are so termed when merely the title and
author's name are lettered on the back of a book.
Lettering-piece (bind.) The piece of leather, affixed to the back
of a book, on which the title is lettered.
Libelbcs (Lat.) A small book.
Libi'aire (Fr.) Bookseller.
Libraire-cditeur (Fr.) Publisher.
Lieu (Fr.) Place — e.g. sans lieu et ajtnee, no place or date.
Line engi-aving. See Engraviftg.
Livraison (Fr.) Part.
Livre (Fr.) A book.
Livres d' occasion (Fr.) Second-hand books, or books which a
chance opportunity renders cheap ; as, for instance, " re-
mainders " {q.v.)
Logotypes (print.) Word-characters. An attempt was made to
substitute type cast in complete words or syllables instead
of single letters ; but it was unsuccessful, on account of the
space occupied in the type cases, and also because, if one
letter was damaged, the whole word or combination was
useless. Also a name given to two or more letters cast in
one piece, as^ c, ce.
Macchiato (It.) Spotted.
Manuscript (MS.), pi. Manuscripts (MSS.) (Lat. 7nan7t scriptttm).
A book or paper written by the hand or pen ; not printed.
Maroquin (Fr.) Morocco.
Memorabilia (Lat.) Things remarkable and worthy of remem-
brance ; reminiscences.
Mezzotint. See Engravitig.
Miniatttre (It. miniatura, fr. Lat. miniutn, red lead). The name
is applied to small paintings, initials, etc., which adorn early
MSS. ; also to the red letters or rubrics.
Mouillc (Fr.) Stained by damp.
Nachtrag (Ger.) Appendix, supplement.
Neudruci; (Ger.) Reprint.
Novi (Fr.) Name, e.<g. sans lieu ct notn, without name or place
of publication
GLOSSARY. 197
NoDi'de-pliinie (cat.) Pen name. The assumed name under
which any one writes who does not wish his own name to
be known, as Peter Pindar, the nom-de-phime of Dr. John
Wolcot.
Octavo (bib.) The size of a book formed of sheets folded into
eight leaves or sixteen pages ; shortly written 8vo.
Octo-decinio (bib.) Eighteenmo. The size of a book, composed
of sheets folded so as to make eighteen leaves, thirty-six
pages; generally written i8mo.
Offlcina (Lat.) Printing office.
Old English (print.) Black letter.
Opisthographic (hih.) (Gr. opisthographos ; Lat. opisthographus.
written on the back of.) A term applied to early printed
and block books, printed on both sides of the leaf. See
AnopistJwgraphic.
Orne (Ft.) Ornamented, gilt.
Ort (Ger.) Place, of publication.
Out of print. When the publisher of a book has no copies of it
for sale it is said to be out of print.
Pagina (It.) Page of a book.
Pagination. The paging of a book ; the figures or other signs
used to indicate the number of pages.
PalcEOgraphy (Gr. palaios, ancient, and graphu, I write). The
science or art of deciphering documents or inscriptions,
including the knowledge of the various characters used at
different periods by the writers and sculptors of different
nations, their usual abbreviations, etc.
Palimpsest (Gr. palin, again ; psao, I rub, or efface). A parch-
ment or other writing material from which the original
writing has been effaced and other matter written in its
place. Many valuable ancient works have been lost in this
way, but others have been recovered from the writing by
which they were covered. Also termed a codex rcscriptus.
Pamphlet (bib.) A small book consisting of a sheet or sheets of
paper stitched together, but not bound.
Pamphlet (print.) Any work that does not exceed five sheets
octavo, or 80 pages, is called a pamphlet. They are
usually done up in paper covers.
198 MANUAL OF BIBLIOGRAPHY.
Panels (bind.) The spaces between the bands on the back of a
book.
Pappbafid {Ge.T.) Paper boards.
Papyrus. A writing material made from tlie papjTus reed
which grows on the banks of the Nile ; much used by the
ancient Egyptians.
Papyrus, pi. Papyri. A written scroll or scrolls, formed of sheets
of papyrus, found in various places, but especially in Egj^pt.
Paraitre (Fr.) To appear ; parti, has appeared.
Partie, pi. Parties (Fr.) Part or Parts.
Pelle (It.) Skin, leather.
Percaline (Fr.) Cloth for book covers.
Piqnres (Fr.) Punctures ; piqiires dc vers, worm-eaten.
Planches (Fr.) Plates.
Plotfghed {hind.) Cut down. The instrument with which binders
cut the edges of books is called a " plough."
Polyny?n (bib.) Work by several authors. (R. T.)
Pontuseai/.v (Fr. bib.) Water-lines in paper.
Prachtiverk (Ger.) Edition de luxe.
Preface (Fr. preface ; Ger. Vorwort; Lat. prafatio, procemiu^n.)
Something written as an introduction to a book or essay,
intended to inform the reader of whatever is necessary ta
the understanding of the work. A series of preliminary
remarks.
Press. A bookcase or a portion of bookshelves running round a
library.
Press ??iark (cat.) A mark placed in or on every volume in a
library, showing the press and shelf on which the book
should be placed, e.g., A/6, that is in press A on shelf 6.
A corresponding mark is also placed against the entry of
each book in the catalogue. Some librarians also add the
number of the book as it stands in the Accession Register.
See a7i(e, p. 102.
Printing. Lat. Typographia ; Fr. hnprinicric, typographic;
Ger. Druckerei, Buchdruckcrkunst ; Dutch, Prentcn; Ital.
Siampare, imprijnere ; Span, hnprcnfd.
Prolegonicjion, pi. Prolegomena (Gr.) Preliminary observation
(generally used in the plural) ; introductory remarks or dis-
courses prefixed to a book or treatise.
Prologue (Lat. prologns). The preface or introduction to a
GLOSSARY. 199
discourse or performance ; generally the speech or poem
recited as an introduction to a play or dramatic performance.
Proof (hind.) See Witness.
Proof (print.) An impression of a sheet of a work, to be
examined to see if it be correct. Proofs are termed, accord-
ing to circumstances, first proof clean proof author s proof
revise, and its own paper.
Proofs of engravings. The first proof is called a retnarqne
proof, and has a remarque or device in the margin. The
second proof is the artist's proof and is without engraved
title. The third, proof before letters, is still without title,
but has the artist's and engraver's names engraved at the
bottom. Lettered proofs have the title lightly engraved, and
the final state is called the print state.
Propre (Fr.) Clean.
Pseudonym (bib.) A false or fictitious name placed on the title-
page, or used instead of the author's real name. A pen
name or nof?t-de-plume.
Pseudonymous (cat.) (Gr. pseudos, falsehood, and onotna, a
name.) AppHed to a book or author published or pub-
lishing under a false name or nom-de-phcme .
Quarternion (bib.) Four sheets of paper folded in half quire-
wise, or one inside another. This gives eight leaves or
sixteen pages. {Blades.)
Quarto (bib.) The size of a book formed of sheets of paper
folded so as to each make four leaves or eight pages ;
written 4to.
Quintertiio?i (bib.) Five sheets of paper folded in half quire-
wise, or one inside another. This gives ten leaves or
twenty pages. {Blades.)
Quire (L. Lat. quatcrmnti ; Fr. cahier ; It. quader?io). Section
of a ream of paper consisting of twenty-four sheets.
Quires. Books in sheets, i.e., not bound, are said to be in
quires.
Radiru7ig (Ger.) Etching.
Rand (Ger.) Margin, border.
Kandnotefi (Ger.) Marginal notes.
Raro (It.) Rare, scarce.
200 MANUAL OF BIBLIOGRAPHY.
Ream. An ordinary ream of paper consists of twenty quires of
twenty-four sheets each, or 480 sheets. A printers ream
consists of twenty-one quires and a half, or 516 sheets; the
surplus is to allow for accidents in printing, and waste.
Rcccnsio (Lat.) Revision ; ex rec, edited by.
Recensioti (Lat. reccnsid). i. A review of the text of an ancient
author by a critical editor. 2. A text established by a
critical revision, an edited version.
Recto (bib.) The page to the right hand of the reader, when a
book is open, alwa)'s the odd page. See also Verso.
Redigirt (Ger.) Edited.
Register (Ger.) Index.
Register (print.) When, on looking to the light through a leaf
of printing, one page appears exactly printed on the back
of the other, it is said to register.
Register, or Registrii>?i Cliartanun. (print.) A list of signatures
and first words of the sheets of a book, inserted at the end
of early printed books — now disused.
Registers (bind.) Book-markers fastened to the head band of
a book are so called.
Rcimpression (Fr.) Reprint.
Reliiire (Fr.) Binding ; relie, bound.
Reynainders. Surplus copies of works, in which the original
publishers had no faith, or are getting rid of before issuing
a new edition. They are disposed of to second-hand and
other booksellers, and can be bought by the public at a
very low price.
Reptint, or Excerpt (print.) The whole or part of a book reissued.
Rogue (Fr.) Edges cut ; tiofi rogue, uncut.
Roiisseur (Fr.) Redness. Tachcs de rousseur, fox marks.
Roxburgh (bind.) A style of binding having leather back only,
no corners ; cloth, or paper sides. The back has no raised
bands, and is lettered at the top, without ornament. The
edges are left uncut, except the top-edge, which is gilt.
Rubricated (h\h.) Having certain portions printed or written in
red, as the directions in a prayer-book, or titles of chapters,
and especially the date and place, colophon, etc., of the
book or MS.
Rmming title (print.) The fi.xed or general title of the volume
placed at the top of each page, as distinct from the chapter
GLOSSARY. 201
or section headline, sometimes called tjinning headlines.
(Jacobi.)
Russie (Fr.) Cicir de russie, Russia leather.
Sd?mntlich (Ger.) Complete, as Sammtlich Werke. Complete
works, in contradistinction to Gesmmticlte Werke, or col-
lected works.
Scelta (It.) Selection.
Scholmm, pi. Scholia (Lat.) (Gr. scholion.) A marginal note,
annotation, or remark ; explanatory comment ; specifically, an
explanatory remark annexed to the Latin and Greek authors.
Schriftsteller (Ger.) An author, writer.
Schweinsledef (Ger.) Pigskin.
Script (print.) The name of type cut to imitate writing.
Scriptorium (fr. Lat. scriptor, a writer). A room set apart in a
monastery or abbey for the writing and copying of books.
Sculpsit (Lat.) He engraved, sculptured.
Sclten (Ger.) Scarce.
Sepiuagint (Gr.) A Greek version of the Old Testament, so
called because it is said to be the work of seventy, or rather
seventy-two, interpreters about 270 or 280 B.C.
Sequens (Lat.) Following, as vide p. 351 seqq. ; see p. 351 and
following pages.
Set-off {^^\m^..) Transfer of ink from one page to another, caused
by the sheet being folded, or a book being bound before the
printing ink is thoroughly dry.
Sex-decimo (bib.) Sixteenmo. Size of a book formed of sheets
folded into sixteen leaves or thirty-two pages ; written i6mo.
Signatures (print.) 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 Zarotus, of
Milan (1470), and to Koelhof, of Cologne (1472).
Sine (Lat.) Sine anno, without date.
Stahlstich (Ger.) Steel engraving, steel plate.
Sta}'t (bind.) When the leaves of a book spring from the back,
and project from the edges, they are said to start.
Stereotype (print.) (Stereos, fixed or solid ; ti'tpos, type or form.)
A plate of fixed metallic types, produced from a mould of
plaster or papier-mache, which has been taken from a page
or column of movable type. Much used in newspaper print-
202 MANUAL OF BIBLIOGRAPHY.
ing, and also for books for which it is necessary to keep the
type standing. By this means two or more casts can be
taken from the same mould, and hence several copies of the
same work be printed at the same time.
Stylus (Lat.) A style, an iron pencil, with a sharp point at one
end, used by the ancients to write on wax tablets, plates
of lead, etc. The style being broad at the other end was
also used to obliterate the writing when done with.
Super-extra (bind.) A book finished in the best style, \vith
gilding on both outside and inside of the boards.
Tabula (Lat.) Plate ; cu7?i tabulis, with plates.
TacJies (Fr.) Spots, stains.
Tafelii (Ger.) Plates.
Tall. The bottom of a book.
Taille-douce (Fr.) Copperplate engraving.
Tail-piece (print.) (Fr. fleuron, cul-de-latupc.} An ornament
placed at the end of a chapter to fill up a vacant space.
Tall copy (bib.) A copy of a book on the ordinarj' sized paper,
and barely cut down by the binder. {Honic.)
Tavola (It.) Plate.
Tela (It.) Cloth.
Tanoin (Fr.) Witness iq.v.)\ rough edges.
Ternion (bib.) Three sheets of paper folded in half, quirewise,
or one inside another. This gives six leaves or twelve pages.
{Blades.)
Theil, pi. Theile (Ger.) Part or parts.
Tirage (Fr.) Impression.
Titel (Ger.) Title-page.
Title (bind.) The space or panel, between the bands, on which
lettering is placed.
Titolo (It.) Title-page.
Titre (Fr.) Title-page.
Toile (Fr.) Cloth.
T'l^OTW.s (Lat.), Toi/io ( It., Span.), Tome (Fr.) A volume, as Tome i
Tomus 2.
Tranclics (Fr.) Edges of a book.
Truie (Fr.) Pcau de truic, pigskin.
Uebersetzung (Ger.) Translation.
GLOSSARY. 203
Umriss (Ger.) Outline, sketch.
Umschlag (Ger.) Cover, wrapper of a book.
Uncut. Books that are not cut open with the paper knife.
Uncict edges (bind, and bib.) Edges not ploughed by the
binder.
Unique (bib.) Without a like or equal ; the only one ; used in
booksellers' and other catalogues to indicate books of which
only one copy is known, or of which no copy exists in a
similar condition or state.
Vacchctta (It.) Calf.
Vade inecum (Lat. go with me). A manual, a book which a
person carries with him as a constant companion.
VaricB lectiones (Lat.) Various readings.
Variorimi edition. An edition containing notes by various
commentators {cum notis variorum).
Veau (Fr.) Calf.
Verfasser (Ger.) Author.
Verge (Fr.) Ribbed; papier verge de Hollandc, Dutch hand-
made paper,
Vergeures (Fr.) Wire marks {q.v.)
Vergriffen (Ger.) Out of print.
Verlag (Ger.) Published by (the proprietors).
Verletzt (Ger.) Damaged.
Verme/irt (Ger.) Enlarged.
Verso (bib.) The page of an open book to the left hand of the
reader, always the even page. See also Recto.
Verzeic/iniss (Ger.) Catalogue.
Vient de paraitre (Fr.) Now publishing.
Vigesi??io-quarto (bib.) Twenty-fourmo. A book composed of
sheets folded so as to make twenty-four leaves ; generally
written 24mo.
Vignette, i. The flourishes in form of vine leaves, etc., with
which the capital letters of ancient MSS. and books were
often surrounded. 2. Formerly, any kind of printers' orna-
ments, as heads, flowers, and tail-pieces. More recently,
any kind of woodcut, engraxang, etc., not enclosed within
a definite border.
Volumen (Lat.) A volume ; a roll.
Vorwort (Ger.) Fore-word ; preface ; introduction.
204 MANUAL OF BIBLIOGRAPHY.
Vulgate. Popular name for the authorized Latin edition of the
Bible, or the Biblia Latina Vulgatcc editiotiis.
Wasscrjleckig (Ger.) Damp spotted or stained.
Wassert7iarke (Ger.) Water-lines in paper.
Water-lines (paper). Transparent perpendicular marks on paper,
caused by the supports of the frame in which the paper is
made. Called in French pofituseaux, and German wasser-
marke. Useful in determining the size of old books. See
ante, pp. 48, 49.
Water-mai'ks (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.
Widtmoig (Ger.) Dedication.
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.
Witness (bind.) (Fr. temoins.) When the edges of a book are
cut, leaves which happen to be turned down at the corner
escape the knife. The part which is thus left is called a
witness ov proof oi the size of the original margin.
Woodc2(t. See Engraviiig.
Warmloecher (Ger.) Worm-holes, or " wormed."
Wurmstichig (Ger.) Worm-eaten.
Xylographic books (bib.) (Ger. xulon, wood ; grapho, to write ;
Fr. xylog7'aphie ; Ger. xylographisthe drncke.) Block-books
{q.v.)
Zerrisseji (Ger.) Torn.
Zusactze (Ger.) Additions, addenda.
INDEX
Abbreviations, English and
Foreign, 38, 39-45-
Accession catalogue, 102,
Adolphll., Elector of Nassau,
10, II.
Adriaen de Jonghe, 5.
Albertype, 83.
Albrizzi (A.), printer, 29.
Aldine type, first used, IT;
Aldus family, printers, 16, 17,
24-6, 27, 114-
mark, 62, 63.
see Manutius.
Alphabetical catalogue, lib.
Anderson, binder, 91.
wood engraver, 76.
Anisson, printer, 30.
Anonymous works, 112, 1 13.
Antonio da Siena, El Monte
Sando di Dio, 77. 78.
Aretinus, De Bella Itabco, 20.
Arrangement, 128.
alphabetical, 144, US-
Arrigoni (Luigi), 89.
Ars Moricndi, 3, 4-
Askew (Dr.), 89.
Astle (Thomas), 87.
Augustine (St.), De Uvitate
Dei, 14-
Austin (William), wood en-
graver, 76.
Author catalogue, 105.
Azzoguidi (Baldassare ), printer,
20.
B.
Badius (Conrad), printer, 27.
Baldi, printers, 27.
Baldini (Baccio), engraver, 7b.
Barbou (H.), printer and book-
seller, 30.
Baskerville (John), prmter, 29.
Batracho77iyo7nachia, 1470, 20.
Baumgarten, binder, 91.
Bauzonnet, binder, 91.
Bedford (Francis), binder, 91.
Beildeck (Lorenz), 8.
Bellini (Giovanni), 68.
Beroaldus (V.), i^, i9-
Berryman, wood engraver, 76.
Bessarion (Cardinal), 12.
Bewick (Thomas), 75. 76-
I Biblia Latina, 1455, 10.
1462, II.
, Biblia Paupcrmn, 2.
} Bibliographical systems, I2I,
j 129-44.
Aldus, 129.
Brunet, 131-43-
I Gesner; 130.
i Stephanus, 130.
, Bibliographical terms, 160-6.
Bibliomane. What? 32.
: Bibliophile. What? 32.
j Blackburn, Catalogue Titles,
! 145-
206
INDEX.
Blades, Enemies of Books, 146.
Bladius (Antonius), mark, 63.
Blaeu (Jan.), printer, 28.
Block-books, 1-4.
Boccaccio (G.), 11.
Dccanicro7ie, 15, 27, 33, 59.
Bodoni (G. B.), printer, 30.
Book, first English-printed, 22.
first Greek-printed, 17.
first with woodcuts, 14.
Book-binding, 84-97.
at British Museum, 93-5.
cloth, 91, 92.
curious, 89.
Dutch, 87.
first dated, 86.
good, 95.
in human skin, etc., 89.
modern, 95-7.
Book-bindings, restoration of,
145, 147.
styles of, 87.
Book-case, 99.
Book-plate, specimen, 104.
Book-plates, 103-105.
Book presses, loi, 102.
Prices Cu7rent, 148.
rests, loi.
Books, block, 1-3.
distinctions of first printed,
37, 3«-
good, 34.
of reference, 149-67.
on collecting, 38.
preservation of, 145-7.
rare, etc., 34-6.
relative value of, 34-6.
reference, 147, 148.
restoration of, 145-7.
sizes of, 47-50.
stains in, 147.
state of, 117-20.
to consult, 147, 148.
uncut, 117.
xylographic, 1-3.
Bookseller's shop, temp. Louis
XIII., 80.
Bookshelves, 99-101.
Book-stamps, 103.
Book-worms, 145, 146.
Boom (Hackus), printer, 28.
Bosse (Abraham), engraver,
79. 80.
La Maniere de Graver a
lEaii'forte, 79.
Botticelli (Sandro), engraver,
78-
Bozerain, binder, 91.
Branston (Robert), wood en-
graver, 76.
Breitkopf (J. G. E.), printer, 31.
Brindley, printer, 29.
Brown, Venetian Printing
Press, 15, 17.
Brunet (Gustave). 46.
(J. C), Mamiel dii Libraii'e,
38, 66, 75, 131.
bibliographical system, 131-
143-
Brjiinger, printer, 31.
Byfield (John), wood engraver,
76.
Casar Commentaries, 1469, 56.
1635, 28.
Calcar (John van), 71, 72.
Caliergi (Zacherias), printer,
16.
Callistus (Andronicus), 12.
Cambruzzi (Father Antonio), 6.
Cancels, 46.
Capital letters, 37.
Carbone (Ludovico), 59.
Carchano (Anthonius de),
printer, 20.
Card catalogue, 105, 106, 118.
case (Marlborough), 118.
Castaldi (^Pamfilo), printer, 4,
6, 7.
Catalogue, 98-148.
accession, 102, 103.
INDEX.
207
Catalogue {contd.), —
alphabetical, 116.
author, 105.
card, 105, 106, 118.
case, 118.
dictionary, 105.
iconographic, 120, 121.
sale, 148.
shelf, 105, 106.
subject, 105.
systematic, 116.
Catalogue cards, or slips, 1 1 6.
Catalogue entries, specimens,
118, 119.
Catalogue rules, 107-21.
Catchwords, 37, 55.
Causse, printer, 31.
Caxton (William), printer, 21-5,
55. 57.
mark, 65.
works publishedby, 22, 23, 33.
Cellini (Benvenuto), 87.
Cennini (Bernardo), 20, 60.
(Dominic), 20.
Chalcondylas (Demetrius), 12.
Chapters, 37.
titles to, 62.
Charles V., 87.
Check-lists, 12 1-7.
Chromo-lithography, 83.
Chrysoloras (Emmanuel), 12.
Cicero, De Oratorc, 14.
EpistolcE ad Familiarcs, 15,
59. 62.
Ciphers, Arabic, 54.
Classification, 131-43.
Clement VIII., Pope, 26.
Cloth binding invented, 91, 92.
Codex Syriacus, 84.
Colbert (J. B.), 89.
Colines (Simon de), printer, 27.
Collation, 45, 46.
Colophon, 58-60.
Combi, printer, 72.
Comino (A.), printer, 30.
Commelin (J.), mark, 63.
Compound names, 109.
Confessionale Sancti AntoJiini,
55-
Cook (Capt.), Voyages, curious
binding, 89.
Coornhert, printer, 31.
Copper-plate engraving, 77-81.
first book with, 79.
Corrozet (G.), 27.
Corsellis, printer, 24.
Corvinus (Matthias), 21.
Coster (Lourens Janszoon),
printer, his claim to have
invented printing, 5, 6.
Courteval, binder, 91.
Coustelier (A.), printer, 30.
Cramoisy (S. ), printer, 29.
Crapelet (G. A.), printer, 31.
Crofiica Samida, 15.
Cross references, 108-21, 128.
D.
Damp, 100, 145, 146.
Dante, Contedia, 148 1, 78.
Dates, 56, 115.
curious, 57, 58.
first book with, 57.
mistakes in, 24.
Da Vinci (Lionardo), 85.
Day (John), mark, 66.
Decor Piicllafum, date of, 57.
Denis on rare and good books,
34-6.
Derome, binder, 85, 91.
De Rossi, I Mosaicidclle Chicse
di Roma, 83.
Diana of Poitiers, 85, 89.
Dibden, Bibliographical De-
cameron, 70, 89.
Bibliotheca Spe7iceria7ia, 71,
78.
Dictes and Sayings of the
Philosophers, 1477, 22.
Dictionary catalogue, 105.
Didots (the), printers, 31, 72, 77.
Doctrinale Alcxandri Galli, ;.
208
INDEX.
Dolet (Etienne), printer, 27.
DoJiati/s, 13.
Donatus (Elias), 13.
Dore (G.), 77-
Dritzehn (Andreas), printer,
7,8.
(George), printer, 8.
Diirer (Albert), 69, 81.
title of the Apocalypse^ 82.
Duro-flexilc binding, 97.
Durii, binder, 91.
Dust, 100, 146.
Du Sueil, binder, 91.
Edges, cutting, 95.
Edwards, Memoirs of Libraries,
129.
Elzevir (Abraham), printer, 28.
(Bonaventure), printer, 28.
(Daniel), printer, 28.
(Louis), printer, 28, 114.
family, 27, 47.
mark, 63.
Emiliano degli Orsini, printer,
20.
England, printing in, 21-4, 29.
Engraving, wood, 67-77.
copper-plate, 77-81.
steel, 81.
Este (Borso d'), 12.
(Lionello d'), 12.
Estienne (the), printers, 27.
Etching, 81.
Ex-libris. What? 103.
Exposicio Sancti Hieroiiymi,
23. 57-
Feltre, claims the invention of
printing, 4, 6.
Me?uoric Istorichcdc Feltre, (y.
Ferrcro (Sebastian), 18, 19.
Ficino (Marsilio), 12.
Finiguerra (Maso), goldsmith
and engraver, 77.
France, printing in, 20, 27.
Franchi, printer, 30.
Francis I., 85, 88.
Freytag, Adparatiis Litta-arius,
57-
Friburger (Michael), printer, 20.
Friis (].), printer, 31.
Frontispiece, 60-2, 67.
to TercHce, 1493, 2.
Fumagalli (C), 13.
Fust (Johan), printer, 5, 6, 8,
10, II, 33.
G.
Gallus (Andreas), printer, 20.
Udalricus, printer, 14.
Gar, Letttire di Bibliologia, 34,
53-
Gardano (A.), printer, 27.
Gasparinus Pergamensis, Liber
Epistolarutn, 20.
Gaza (Theodore), 12.
Gering (Ulric), printer, 20.
Germany, printing in, 7-11, 31.
Gesner, printer, 31.
Gille, printer, 31.
Giolito (Gabriel), printer, 27, 72.
mark, 64.
Giovanni da Verona, printer, 20.
Girardus de Lisa, printer, 20.
Giunta (Benedetto), printer, 26.
(Bernardo), printer, 26,
(Filippo), printer, 26.
(Luc'Antonio), printer, 26.
mark, 64.
Giunta family, mark, 64.
Glossary, English and Foreign,
183-204.
Goupil's photogravures, 84.
Grafton (Richard), mark, 66.
Gravina, II Duomo di Monreale,
83.
INDEX.
209
Greek characters first used, 14,
17-
classics first published, 17.
Grolier (Jean), bibliophile, 89,
90.
Gryphi (the), printers, 27.
mark, 64.
Gubitz (F. W.), wood engraver,
76, n.
Gutenberg (Johan), printer, 3,
5, 8, 10, 33.
Gutenberg Bible, facsimile,
9-
H.
Haarlem, claims the invention
of printing, 4-6.
Han (Ulric), printer, 14.
Harding (J. D.), artist and
lithographer, 83.
Heilmann (Andreas), printer,
7.8.
Helgcn, or Saint Pictures, i.
Heliotype, 83.
Henri II., 89.
Herbst, printer, 31.
Hering, binder, 91.
Hervagius, printer, 31.
Hess (Andreas), printer,
21.
Hessels (J. H.), Haarlem^ not
Metitz, 6.
Heures, Livres d\ 73-5.
Holl (Linhard), printer, 53.
Holland, printing in, 27, 28,
31-
Holma, printer, 31.
Homer, Batrachomyomacliia,
1470, 20.
Homery (Dr. Conrad), 10.
Horce, 73-5.
Home, Introductio7i to Biblio-
graphy, 34, 66.
Hypne7-oto7nachia Poliphili,
1499, 68.
I.
Ibarra (J.), printer, 29.
Iconographic catalogue, 120,
121.
Illuminated initials, 67.
Incunabula, 113, 115, 164.
Italic type, 17.
Italy, claims to the invention of
printing, 4, 6, 7.
printing in, 13-20, 25-7, 29,
30.
J-
Jackson (J. B.), wood engraver,
76.
Jeffery, bookseller, 89.
Jenson (Nicolas), printer, 15,
57.
John of Cologne, printer, 54.
Spires, printer, 15, 17, 52, 59.
Jones, Gratmnar of Ornament,
Jungendres, Disquisitio, 37, 38.
Junius (Hadrianus), account
of invention of printing at
Haarlem, 5.
Junta, see Giunta.
K.
Kalthoeber, binder, 91.
Koburger (A), printer, 31, 69.
Koelhof (Johan), printer, 55.
Krantz (Martin), printer, 20.
L.
Lacroix (Paul), IT, 83.
Laxtantius de Divinis histitti-
iionibus Adversiis Getiies, ' 1 3 ,
14.
Laire, Index Librormn, 86.
Landino (C), 78.
14
210
INDEX.
Langelier (Abel), mark, 63.
Large (Robert), 22.
Lascaris {Coiistantme), 12.
Greek Grammar, 17.
(John), 12.
Latour, printer, 31.
Latta, printer, 29.
Lavagna (Pliilippns de), printer,
17, 57-
Lawson (R. E.), binder, 91.
Lee (James), wood engraver, 76.
Le Fevre, Recueil des Histoires
de Troye, 22.
Reaiyell of the Histofycs of
Troye, 22, 23.
Le Gascon (N.), binder, 91.
Lelio della Volpe, printer, 30.
Lemercier (M.), 83.
Leo X., Pope, 18, 19.
Leonard, printer, 29.
Lesne, binder, 91.
Lettering, 97.
Lewis (Charles), binder, 91.
Library (the), 98-148.
Libretti of operas, 115, 116.
Lisa (Girardus de), printer, 20.
Lithography, 81-3.
Lorenzo (Nicolo di), 78.
Lucan, Pharsalia, 1469, 56.
M.
Mackinlay, binder, 91.
Maioli, bibliophile, 89.
Manfre (G.), printer, 30.
Manni (U. M.), printer, 30.
Manutius (Aldus the Elder),
printer, 16, 24, 47, 68, 114,
129.
(Aldus the Younger), 24, 25,
26, 114.
(Paulus), 24, 114.
Marcolini (E.), printer, 27,
Marescotti, printer, 27.
Margaret, Duchessof Burgundy,
22.
Marlborough Card-Catalogue
Case, 145.
Martyns, printer, 29.
Massimi (Francesco), 14.
(Pietro), 14.
Mazarine Bible, 33.
McdUationes JoJiannis de Tiir-
recrcmata, 14, 69.
Meerman (G.), 6.
Mentz, claims the invention of
printing, 4, 5, 7, 8, il.
Milan, printing at, 17.
Minutianus (Alexander), prin-
ter, 17-19.
MiracoH de la Gloriosa Virgine
Maria, 57.
Missalc Herbipolcnse, 1481, 79,
Moetjens, printer, 31.
Montagna (Benedetto), en-
graver, 72.
Monteregio (J. de), CaleJi-
dariu7n, 60, 61.
Morel (G.), printer, 27.
Moret (B.), mark, 63.
Musurus (Marcus), 17.
N.
Names, compound, 109.
foreign, 1 10, 1 1 1.
Greek, in.
Latin, ill.
Nesbit (Ciiarlton), 76.
Nicholas V., Pope, 12.
Nicolini, Le Case e i Monu-
mcnti di Pompci, 83.
Notary (Julian), mark, 65.
Nuremberg Chronicle, 69.
Nyder, Prccceptoritwi Divince
Lcgis, 54.
O.
Orsini (Emiliano degli), printer,
20.
O.xford, printing at, 23, 24.
INDEX.
21 I
Pachel (Leonard), printer, 17.
Paganino (A.)i 16.
Pagination, 37, 46, 52, 53, 112,
113-
Palmer (S.). printer, 29.
Palthenius, printer, 31.
Pamphlets, 93, 95.
Panckoucke (C), printer, 31.
Pannartz (Arnold), printer, 13,
14.
Paravisinus(Dionysius),printer,
17-
Paris, printing at, 20.
Parmigiano (F. A.), 81.
Pasdeloup, binder, 85, 91.
Pasti (Matteo), engraver, 70.
Patisson, printer, 27.
Paul II., Pope, 13.
III., Pope, 87.
Payne (Roger), binder, 85, 91.
Peignot (Gabriel), 38.
Peregrmationes Civitatis Sancti
Jerusalem, 79.
Periodical lists, 121-7.
Petrarch (Francesco), II, 17.
Petzholdt, Katechismzis der
Bibliot]ieiilc]i7-e, 98, 130.
Photography, 83, 84.
Photogravure, 84.
Photo-lithography, 84.
Pico della Mirandola, 13.
Pigouchet (Philippe), 74,
Piranesi (G.), 81.
Pisano (Bonacorsio), 17.
Pius II., Pope, II.
Plantin (Christopher), printer,
31-
mark, 63.
Poggio Bracciolini (G. F.), 12.
Poliphilo, Hypncrotomachia, 68.
Poliziano (Angelo), 12, 13.
Pomponius Lsetus (Julius), 12.
Pontanus (G.), 12.
Potter (P.), 81.
Preservation of books, 145-7.
Press-marks, loi, 102, 104, 107
128.
Printers' marks, 62-6, 71.
name, etc., 37, 1 14.
Printing centres, 168-82.
Printing, first introduced into
Poland, 21.
Spain, 21.
Switzerland, 20.
Printing, first privilege granted,
15-
origin and progress of, 1-3 1.
progress of, in England, 21-4,
29.
France, 20, 27.
Germany, 7-1 1, 31.
Holland, 27, 28, 31.
Hungary, 20.
Italy, 4, 6, 7, 13-20, 25-7,
29. 30.
Spain, 21, 29.
Psahnoriim Codex, 1457, 1459,
II, 33-
Pseudonyms, 108.
Ptolemaeus, Costnogfaplna, 79,
Punctuation marks, 37.
Pynson (Richard), printer, 23.
mark, 65.
O.
Quentel, printer, 31.
R.
Raibolini (Francesco), 17.
Raimondi (M. A.), wood en
graver, 72.
Ratdolt (Erhard), printer, 16
60, 61.
Raynald, The Byrth of Man
kytid, 79.
Reference books, 149-67.
Registers, 56.
Rembrandt, 81.
212
INDEX.
Remondini, printer, 30.
Reni (Guido), 81.
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.
Rive (Abbe), 55.
Riviere, binder, 91.
Rome, 14.
number of printers in 1 500, 1 5.
Rouveyre (E.), 58, loi.
Roville (G. de), printer, 27.
mark, 63.
Roxburghe Club, 34.
S.
Saint Pictures, or HelgeJi, i.
Satuida Cfotika, 15.
Sarzano (Tommaso), 12.
Schoeffer (Peter), printer, 10,
^i) 33-
Scinzenzeler (Ulricus), printer,
17-
Scotto (Ottaviano), 16.
mark, 64.
Senefelder (Aloys), inventor of
lithography, 81.
Sermartelli, printer, 27.
Sermo PrccdicahiUs iiifesto
Pra:sentatio7iis B.M., 53.
Servius, commentary on Virgil,
59, 60.
Sessa, printer, 72.
Sforza (Francesco), 12.
(Ludovico Moro), 12.
Shelf catalogue, 105, 106.
lists, 105, 106.
marks, loi, 102, 104, 107, 128.
Shelving, 100, loi.
Signatures, 17, 37, 46, 50-2, 54,
55-
Simier, binder, 91.
Simon, printer, 31.
Sixtus IV., Pope, 15.
Sizes of books, how to tell, 47-
50, 112, 113.
Slips, catalogue, 106.
Sommariva (Georgio), 20.
Sonnius, mark, 64.
Spain, printing in, 21, 29.
Spira (Johannes de), printer,
15, 17, 52, 59.
(Vindelin de), printer, 15, 55.
Staggemier, binder, 91.
Steel-engraving, 81.
Stephen (Henry), printer, 27.
(Robert), printer, 27.
Stephani (the), printers, 27.
mark, 63.
Strasburg, claims the invention
of printing, 4, 6-8.
Subiaco, 14.
Subject catalogue, 105.
Sweynheim (Conrad), printer,
13. 14-
Systematic catalogue, 116.
T.
Tacitus, Annals, 18, 19.
Tarditi, binder, 91.
Tartagli, binder, 91.
Tartini, printer, 30.
Textiis Sancti Cuthherti, 87.
Ther Hoernen (A.), printer, 53.
colophon of, 53.
Thompson, binder, 91.
printer, 29.
(John), wood engraver, 76,77.
Thou (C. de), bibliophile. 89.
Thouvenin (J.), binder, 91.
Tiepolo (L.), 81.
Title-page, 60-2.
first, 37, 60, 61.
to chapters, 62.
Topographical index of printing
centres, 168-82.
INDEX.
213
Torrentino (L.), printer, 27.
Torresani (Andrea de), 25.
Tottcl (Richard), mark, 66.
Turberville, Art of Venerie, 89.
Turnebus (A.), 29.
Type, 37.
U.
Uncut books, 117.
Ungars (the), 76.
Uzanne, Caprices d'un Btblio-
philc, 84.
Valdarfar (Christopher),printer,
15. 33. 59-
Valgrisi (Vincent), printer, 27.
mark, 65.
Van Dyke (A.), 81.
Valturius, De re Militari, 1472,
70.
Van Calcar (John), 71, 72.
VecelHo, Dcgli Habiti Antichi
e Moderni, 72.
Venice, printing in, 15, 26,
V6rard (Antoine), 73, 74.
Vesalius, De Himiani Corporis
Fabrica, 1543, 71.
Vezzosi, binder, 91.
Vincent, printer, 31.
Visconti (Filippo Maria), 12,
Vitre (A.), printer, 28.
Volpe (LeKo della), printer, 30.
Vostre (Simon), printer, 74.
W.
W'ard (Hugh), lithographer, 83.
Water-hnes, 48-50, 204.
Watermark, 48, 204.
Watteau(J. A.), 81.
Westall, lithographer, 83.
Whittaker, binder, 89, 91.
Wier, binder, 91.
Wire-mark, 48, 50, 204.
Wolfe (John), mark, 66.
Wolgemuth, wood engraver,
69.
Wood engravers, English, 76.
Wood-engraving, 67-77.
iirst book with, 68.
Worde (Wynkyn de), printer,
23-
mark, 23, 65.
Wright (T.), wood engraver,
76.
X.
Xylographic books, 2, 3.
Xylography, i, 67.
Z.
Zaehnsdorf (J.), binder, 91.
Art of Bookbi7iding, 91.
Zarotus (Antonius), 17, 55.
Zell (Ulrich), printer, 31.
Zenaro (D.), printer, 72.
Zincography, 83,
Zincotypy, 84.
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