BLUE-BOOK, the general name given to the reports and other documents printed by order of the parliament of the United Kingdom, so called from their being usually covered with blue paper, though some are bound in drab and others have white covers. The printing of its proceedings was first adopted by the House of Commons in 1681, and in 1836 was commenced the practice of selling parliamentary papers to the public. All notices of questions, resolutions, votes and proceedings in both Houses of Parliament are issued each day during the session; other publications include the various papers issued by the different government departments, the reports of committees and commissions of inquiry, public bills, as well as returns, correspondence, &c., specially ordered to be printed by either house. The papers of each session are so arranged as to admit of being bound up in regular order, and are well indexed. The terms upon which blue-books, single papers, &c., are issued to the general public are one halfpenny per sheet of four pages, but for an annual subscription of £20 all the parliamentary publications of the year may be obtained; but subscriptions can be arranged so that almost any particular class of publication can be obtained—for example, the daily votes and proceedings can be obtained for an annual subscription of £3, the House of Lords papers for £10, or the House of Commons papers for £15. Any publication can also be purchased separately.
Most foreign countries have a distinctive colour for the binding of their official publications. That of the United Slates varies, but foreign diplomatic correspondence is bound in red. The United States government publications are not only on sale (as a rule) but are widely supplied gratis, with the result that important publications soon get out of print, and it is difficult to obtain access to many valuable reports or other information, except at a public library. German official publications are bound in white; French, in yellow; Austrian, in red; Portuguese, in white; Italian, in green; Spanish, in red; Mexican, in green; Japanese, in grey; Chinese, in yellow.
BLUESTOCKING, a derisive name for a literary woman. The term originated in or about 1750, when Mrs Elizabeth Montagu (q.v.) made a determined effort to introduce into society a healthier and more intellectual tone, by holding assemblies at which literary conversation and discussions were to take the place of cards and gossip. Most of those attending were conspicuous by the plainness of their dress, and a Mr Benjamin Stillingfleet specially caused comment by always wearing blue or worsted stockings instead of the usual black silk. It was in special reference to him that Mrs Montagu’s friends were called the Bluestocking Society or Club, and the women frequenting her house in Hill Street came to be known as the “Bluestocking Ladies” or simply “bluestockings.” As an alternative explanation, the origin of the name is attributed to Mrs Montagu’s deliberate adoption of blue stockings (in which fashion she was followed by all her women friends) as the badge of the society she wished to form. She is said to have obtained the idea from Paris, where in the 17th century there was a revival of a social reunion in 1590 on the lines of that formed in 1400 at Venice, the ladies and men of which wore blue stockings. The term had been applied in England as early as 1653 to the Little Parliament, in allusion to the puritanically plain and coarse dress of the members.
BLUFF (a word of uncertain origin; possibly connected with an obsolete Dutch word, blaf, broad), an adjective used of a ship, meaning broad and nearly vertical in the bows; similarly, of a cliff or shore, presenting a bold and nearly perpendicular front; of a person, good-natured and frank, with a rough or abrupt manner. Another word “bluff,” perhaps connected with German verblüffen, to baffle, meant originally a horse’s blinker, the corresponding verb meaning to blindfold: it survives as a term in such games as poker, where “to bluff” means to bet heavily on a hand so as to make an opponent believe it to be stronger than it is; hence such phrases as “the game of bluff,” “a policy of bluff.”
BLUM, ROBERT FREDERICK (1857-1903), American artist, was born in Cincinnati, Ohio, on the 9th of July 1857. He was employed for a time in a lithographic shop, and studied at the McMicken Art School of Design in Cincinnati, and at the Pennsylvania Academy of Fine Arts in Philadelphia, but he was practically self-taught, and early showed great and original talent. He settled in New York in 1879, and his first published sketches—of Japanese jugglers—appeared in St Nicholas. His most important work is a large frieze in the Mendelssohn Music Hall, New York, “Music and the Dance” (1895). His pen-and-ink work for the Century magazine attracted wide attention, as did his illustrations for Sir Edwin Arnold’s Japonica. In the country and art of Japan he had been interested for many years. “A Daughter of Japan,” drawn by Blum and W.J. Baer, was the cover of Scribner’s Magazine for May 1893, and was one of the earliest pieces of colour-printing for an American magazine. In Scribner’s for 1893 appeared also his “Artist’s Letters from Japan.” He was an admirer of Fortuny, whose methods somewhat influenced his work. Blum’s Venetian pictures, such as “A Bright Day at Venice” (1882), had lively charm and beauty. He died on the 8th of June 1903 in New York City. He was a member of the National Academy of Design, being elected after his exhibition in 1892 of “The Ameya”; and was president of the Painters in Pastel. Although an excellent draughtsman and etcher, it was as a colourist that he chiefly excelled.
BLUMENBACH, JOHANN FRIEDRICH (1752-1840), German physiologist and anthropologist, was born at Gotha on the 11th of May 1752. After studying medicine at Jena, he graduated doctor at Göttingen in 1775, and was appointed extraordinary professor of medicine in 1776 and ordinary professor in 1778. He died at Göttingen on the 22nd of January 1840. He was the author of Institutiones Physiologicae (1787), and of a Handbuch der vergleichenden Anatomie (1804), both of which were very popular and went through many editions, but he is best known for his work in connexion with anthropology, of which science he has been justly called the founder. He was the first to show the value of comparative anatomy in the study of man’s history, and his craniometrical researches justified his division of the human race into several great varieties or families, of which he enumerated five—the Caucasian or white race, the Mongolian or yellow, the Malayan or brown race, the Negro or black race, and the American or red race. This classification has been very generally received, and most later schemes have been modifications of it. His most important anthropological work was his description of sixty human crania published originally in fasciculi under the title Collectionis suae craniorum diversarum gentium illustratae decades (Göttingen, 1790-1828).