The Bible in Spain (London, 1849); W. Canton, The History of the British and Foreign Bible Society (London, 1904 foll.); J. Ballinger, The Bible in Wales (London, 1906); T. H. Darlow and H. F. Moule, Historical Catalogue of the Printed Editions of Holy Scripture (London, vol. i. 1903, vol. ii. 1908). (T. H. D.)
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
