In the first edition this rule was without limitation, and I added the following note “One is strongly tempted to deviate from this rule in the case of writers like George Eliot and George Sand, Gavarni and Grandville, who appear in literature only under their pseudonyms. It would apparently be much more convenient to enter their works under the name by which alone they are known and under which everybody but a professed cataloguer would assuredly look first. For an author-catalogue this might be the best plan, but in a dictionary catalogue we have to deal with such people not merely as writers of books, but as subjects of biographies or parties in trials, and in such cases it seems proper to use their legal names. Besides, if one attempts to exempt a few noted writers from the rule given above, where is the line to be drawn? No definite principle of exception can be laid down which will guide either the cataloguer or the reader; and probably the confusion would in the end produce greater inconvenience than the present rule. Moreover, the entries made by using the pseudonym as a heading would often have to be altered. For a long time it would have been proper to enter the works of Dickens under Boz; the Dutch annual bibliography uniformly uses Boz-Dickens as a heading. No one would think of looking under Boz now. Mark Twain is in a transition state. The public mind is divided between Twain and Clemens. The tendency is always toward the use of the real name; and that tendency will be much helped in the reading public if the real name is always preferred in catalogues. Some pseudonyms persistently adopted by authors have come to be considered as the only names, as Voltaire (see § [23]), and the translation Melanchthon. Perhaps George Sand and George Eliot will in time be adjudged to belong to the same company. It would be well if cataloguers could appoint some permanent committee with authority to decide this and similar points as from time to time they occur.”
I am now in favor of frequent entry under the pseudonym, with reference from the real name. I should recommend the pseudonym as heading in the case of any popular writer who has not written under his own name, provided he is known to the public chiefly by his pseudonym, and in the subject catalogue for any person who is so known. Examples are George Eliot, George Sand, Gavarni, Grandville, Cagliostro, Cham, Pierre Loti, Daniel Stern, in some doubtful cases a card catalogue might profitably make entry both under the real and the false name. This elastic practice will give a little more trouble to the cataloguer than a rigid rule of entry under the real name, but it will save trouble to those who use the catalogue, which is more important.
But entry should not be made under a pseudonym which is used only once or a few times; if the author writes also under his real name, if he is known to the contemporary public or in literary history under his real name, that is to be used for entry. It may sometimes happen that an author is well known under a pseudonym and afterwards is better known by his real name. In that case change the entries from the false to the real name. If any author uses two different pseudonyms enter under each the works written under it, with references both ways, and from the real name, until the real name becomes better known.
It is plain that this practice of entering under the best known name, whether real or false, puts an end to uniformity of entry between different catalogues, leads to inconsistency of entry in the same catalogue, and will often throw the cataloguer into perplexity to decide which name is best known; but for the last objection it must be remembered that the catalogue is made for the reader, not for the cataloguer, and {19} for the first two that references will prevent any serious difficulty; and in the few cases of nearly equal notoriety, double entry is an easy way out of the difficulty.
7. When the illustrations form a very important part of a work, consider both the author of the text and the designer—or in certain cases the engraver—of the plates to be author, and make a full entry under each. Under the author mention the designer’s name in the title, and vice versa.
Such works are: Walton’s Welsh scenery, with text by Bonney; Wolf’s “Wild animals,” with text by Elliot. Which shall be taken as author in the subject or form entry depends upon the work and the subject. Under Water-color drawings it would be Walton; under Wood-engravings, Wolf; under Wales and Zoölogy, the cataloguer must decide which illustrates the subject most, the writer or the artist. E. g., under Gothic Architecture Pugin is undoubtedly to be considered the author of his “Examples,” though “the literary part” is by E. J. Willson; for the illustrator was really the author and the text was subsidiary to the plates. It was to carry out Pugin’s ideas, not Willson’s, that the work was published.
8. The designer or painter copied is the author of engravings; the cartographer is the author of maps; the engraver in general is to be considered as no more the author than the printer. But in a special catalogue of engravings the engraver would be considered as author; in any full catalogue references should be made from the names of famous engravers, as Raimondi, Müller, Steinla, Wolle. An architect is the author of his designs and plans.
9. Enter musical works doubly, under the author of the words and also the composer of the music.
Short and Medium will generally enter only under the composer; Don Giovanni, for example, only under Mozart and not under Da Ponte. This economy especially applies to songs.
10. Booksellers and auctioneers are to be considered as the authors of their catalogues, unless the contrary is expressly asserted.