BIBLIOGRAPHY AND BIBLIOLOGY. The word βιβλιογραφία was used in post-classical Greek for the writing of books, and as late as 1761, in Fenning’s English Dictionary, a bibliographer is defined as “one who writes or copies books.” The transition from the meaning “a writing of books” to that of “a writing about books,” was accomplished in France in the 18th century—witness the publication in 1763 of the Bibliographie instructive of de Bure. In England the new meaning seems to have been popularized by the Rev. Thomas Frognall Dibdin early in the 19th century, while Southey preferred the rival form bibliology, which is now hardly used. Present custom inclines to restrict the province of bibliography to printed books as opposed to manuscripts, and on the other hand recognizes as coming within its scope almost everything in which a book-loving antiquary can be interested, including the history of printing (see [Typography]), book-binding (q.v.), book-illustration (see [Illustration]) and book-collecting (q.v.). The present article is only concerned with bibliography as the art of the examination, collation and description of books, their enumeration and arrangement in lists for purposes of information, and further with the literature of this subject, i.e. with the bibliography of bibliography.
Examination and Collation.—Books are submitted to examination in order to discover their origin, or to test statements concerning it which there is reason to doubt, or to ascertain if they are perfect, and if perfect whether they are in their original condition or have been “made up” from other copies. The discovery of where, when and by whom a book, or fragment of a book, was printed, is the most difficult of these tasks, though as regards books printed in the 15th century it has been much facilitated by the numerous facsimiles enumerated under [Incunabula] (q.v.). In the article [Book] (q.v.) a sketch is given of the chief external characteristics of books in each century since the invention of printing. Familiarity with books of different ages and countries soon creates a series of general ideas as to the dates and places with which any combination of these characteristics may be connected, and an experienced bibliographer, more especially if he knows something of the history of paper, will quickly narrow down the field of inquiry sufficiently to make special search possible.
As regards the correction of mis-statements in early books as to their place and origin, glaring piracies such as the Lyonnese counterfeits of the octavo editions of the classics printed by Aldus at Venice, and the numerous unauthorized editions of works by Luther, professing to be printed at Wittenberg, have long ago been exposed. A different variety of the same kind of puzzle arises from the existence of numerous original editions with fictitious imprints. As early as 1499 a Brescia printer, in order to evade the privilege granted to Aldus, gave to an edition of Politian the spurious imprint “Florentiae,” and in the 16th century many controversial books printed in England purported to have been issued in German towns, or with pleasant humour, “at Rome before the castle of S. Angel at the sign of S. Peter.” Only a knowledge of the general characteristics which a book printed at such a place and such a time should possess will secure avoidance of these traps, but when suspicion has been aroused the whole story will often be found in such books as Weller’s Die maskirte Literatur der älteren und neueren Sprachen (1856-1867), and Die falschen und fingirten Druckörte (1864), Brunet’s Imprimeurs imaginaires et libraires supposés (1866), de Brouillant’s La Liberté de la Presse en France; Histoire de Pierre du Marteau, imprimeur à Cologne, &c. (1888); in the various bibliographies of Erotica and in Brunet’s Manuel de l’Amateur and other handbooks for the use of collectors. A special case of this problem of piracies and spurious imprints is that of the modern photographic or type-facsimile forgery of small books possessing a high commercial value, such as the early editions of the letter of Columbus announcing his discovery of the New World. Bad forgeries of this kind can be detected by the tendency of all photographic processes of reproduction to thicken letters and exaggerate every kind of defect, but the best of these imitations when printed on old paper require a specific knowledge of the originals and often cause great trouble. The type-facsimile forgeries are mostly of short pieces by Tennyson, George Eliot and A.C. Swinburne, printed (or supposed to have been printed—for it is doubtful if some of these “forgeries” ever had any originals) for circulation among friends. These trifles should never be purchased without a written guarantee.
When the edition to which a book belongs is known, further examination is needed to ascertain if it is perfect and in its original state. Where no standard collation is available, this can only be ascertained by a detailed examination of the quires or gatherings of which it is made up (see below). In the earliest books these are often very irregular. A large book was usually printed simultaneously in four or six sections on as many different presses, and the several compositors, if unable to end their sections at the end of a complete quire, would insert a single leaf to give more space, or sometimes leave a blank page, or half page, for lack of matter, occasionally adding the note “Hic nullus est defectus.” A careful examination of the text, a task from which bibliographers often shrink, and a comparison with other editions, are the only remedies in these cases.
If a copy contains the right number of leaves, the further question arises as to whether any of these have been supplied from other copies, or are in facsimile. Few collectors even now are educated enough to prefer copies in the condition in which the ravages of time have left them to those which have been “completed” by dealers; hence many old books have been “made up” with leaves from other copies, or not infrequently from other editions. These meddlings often defy detection, but proof of them may be found in differences in the height and colour of the paper, in the two corresponding leaves at either end of a folio quire both possessing a watermark, or in their wiremarks not corresponding, or (in very early books) by the ornamentation added by hand being in a different style.
When it has been ascertained that a copy contains the right number of leaves and that all these leaves are original, the last point to be settled is as to whether it differs in any respect from the standard collation. Owing to the extreme slowness of the presswork for the first two centuries after the invention of printing, there were more opportunities for making small corrections while an old book was passing through the press than there are in the case of modern ones, and on the other hand the balls used for inking the type sometimes caught up words or individual letters and these were replaced by the compositors as best they could. The small variations in the text noticed in different copies of the First Folio edition of Shakespeare, and again of Milton’s Paradise Lost, are probably to be explained by a mixture of these two causes. Where a serious error was discovered after a sheet had been printed off, the leaf on which it occurred was sometimes cut out and a new leaf (called a “cancel”) printed to replace it and pasted on to the rest of the sheet. Variations between different copies of the first edition of Herrick’s Hesperides which have puzzled all his editors are due to the presence of several of such cancels. Lastly, a printer when he had printed part of a book might wish to increase the size of the edition, and the leaves already printed off would have to be reprinted, thus causing a combination of identical and different leaves in different copies. The famous 42-line Bible of c. 1455, variously attributed to Gutenberg and to Fust and Schoeffer, and the Valerius Maximus printed by Schoeffer in 1471, are instances of editions being thus enlarged while passing through the press. As each book was set up simultaneously on several different presses, the reprinted leaves occur at the beginning of each of the sections.
It should be mentioned that there are books of which it is difficult to find two copies in exact agreement. Either to quicken presswork or to comply with trade-regulations made in the interest of compositors, in some books of which large numbers were required, e.g. the Paraphrases of Erasmus, the First Prayer-book of Edward VI., and the “Songs and Sonnets” known as Tottell’s Miscellany, each forme was set up two or more different times. The formes were then used at haphazard for printing, and both at this stage and when the printed sheets came to be stitched almost any number of different combinations might be made. The books named were all printed in the middle of the 16th century, but probably later instances could be produced.
Description.—The ideal towards which all bibliographical work should be directed is the provision in an accessible form of a standard description of a perfect copy of every book of literary, historical or typographical interest as it first issued from the press, and of all the variant issues and editions of it. When such standard descriptions shall have been made, adequately checked and printed, it will be possible to describe every individual copy by a simple reference to them, with a statement of its differences, if any, and an insistence on the points bearing on the special object with which it is being re-described. Only in a few cases has any approach been made to a collection of such standard descriptions. One instance which may be cited is that of the entries of the 15th century books in the Repertorium Bibliographicum of Ludwig Hain (1826-1838), which the addition of an asterisk marks as having been examined by Hain himself in the copies in the Royal library at Munich. The high standard of accuracy of these asterisked entries (save for the omission to note blank leaves at the beginning or end) has been so well established, and the Repertorium is so widely known, that in many catalogues of incunabula the short title of the book together with the number of Hain’s entry has been usefully substituted for a long description. Books printed at Oxford up to 1640 can be equally well described by their short titles and a reference to Mr Falconer Madan’s Early Oxford Press published in 1895. At present the number of works which can thus be taken as a standard is only small, owing partly to the greater and more accurate detail now demanded, partly to the absence of any system of co-operation among libraries, each of which is only willing to pay for catalogues relating exclusively to its own collections. It may be hoped that through the foundation of bibliographical institutes more work of this kind may be done.
A standard description of any book must, as a rule, consist of the following sections, though in the case of works which have no typographical interest, some of the details may be advantageously omitted:—(a) A literal transcript of the title-page, also of the colophon, if any, and of any headings or other portions of the book serving to distinguish it from other issues; (b) Statements as to the size or form of the book, the gatherings or quires of which it is made up, with the total number of leaves, the measurement of an uncut copy or of the type-page, a note of the types in which different parts of the book are printed, and a reference to any trustworthy information already in print; (c) A statement of the literary contents of the book and of the points at which they respectively begin; (d) A note giving any additional information which may be needed.