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    The Library
    The Library
    The Library
    Ebook149 pages2 hours

    The Library

    By Andrew Lang

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    'The Library' by Andrew Lang is a late 19th-century guidebook published as part of the "Art as Home" series. Continuing the tradition of Richard de Bury's The Philobiblon and Thomas Dibdin's Bibliomania, The Library is a half-serious look at the craft of book-collecting for the amateur bibliophile. Lang begins with Dibdin's quote that, 'All men like to be their own librarians" and offers great insight as to how men may go about setting up a library at home.
    LanguageEnglish
    PublisherDigiCat
    Release dateJul 20, 2022
    ISBN8596547103042
    The Library
    Author

    Andrew Lang

    Andrew Lang (1844–1912) was a Scottish scholar and writer, best known for his folklore and mythological tales. After college, he moved to London and began working as a journalist. He began collecting fairytales and folklore stories for his first collection, The Blue Fairy Book. The Fairy Books contained hundreds of pages of folklore stories, which Lang edited while his wife helped translate. Receiving acclaim, the books totaled in 427 stories combined in twelve collections. Lang also produced his own original writing, including novels, literary criticism, and poetry, but his work did not attain the same literary recognition.

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      Book preview

      The Library - Andrew Lang

      Andrew Lang

      The Library

      EAN 8596547103042

      DigiCat, 2022

      Contact: [email protected]

      Table of Contents

      CHAPTER I. AN APOLOGY FOR THE BOOK-HUNTER

      CHAPTER II. THE LIBRARY

      CHAPTER III. THE BOOKS OF THE COLLECTOR.

      TO KNOW IF A MANUSCRIPT IS PERFECT.

      CHAPTER IV. ILLUSTRATED BOOKS

      CHAPTER I.

      AN APOLOGY FOR THE BOOK-HUNTER

      Table of Contents

      "

      All

      men, says Dr. Dibdin, like to be their own librarians. A writer on the library has no business to lay down the law as to the books that even the most inexperienced amateurs should try to collect. There are books which no lover of literature can afford to be without; classics, ancient and modern, on which the world has pronounced its verdict. These works, in whatever shape we may be able to possess them, are the necessary foundations of even the smallest collections. Homer, Dante and Milton Shakespeare and Sophocles, Aristophanes and Molière, Thucydides, Tacitus, and Gibbon, Swift and Scott,—these every lover of letters will desire to possess in the original languages or in translations. The list of such classics is short indeed, and when we go beyond it, the tastes of men begin to differ very widely. An assortment of broadsheet ballads and scrap-books, bought in boyhood, was the nucleus of Scott’s library, rich in the works of poets and magicians, of alchemists, and anecdotists. A childish liking for coloured prints of stage characters, may be the germ of a theatrical collection like those of Douce, and Malone, and Cousin. People who are studying any past period of human history, or any old phase or expression of human genius, will eagerly collect little contemporary volumes which seem trash to other amateurs. For example, to a student of Molière, it is a happy chance to come across La Carte du Royaume des Prétieuses—(The map of the kingdom of the Précieuses)—written the year before the comedian brought out his famous play Les Précieuses Ridicules. This geographical tract appeared in the very Recueil des Pieces Choisies, whose authors Magdelon, in the play, was expecting to entertain, when Mascarille made his appearance. There is a faculty which Horace Walpole named serendipity,—the luck of falling on just the literary document which one wants at the moment. All collectors of out of the way books know the pleasure of the exercise of serendipity, but they enjoy it in different ways. One man will go home hugging a volume of sermons, another with a bulky collection of catalogues, which would have distended the pockets even of the wide great-coat made for the purpose, that Charles Nodier used to wear when he went a book-hunting. Others are captivated by black letter, others by the plays of such obscurities as Nabbes and Glapthorne. But however various the tastes of collectors of books, they are all agreed on one point,—the love of printed paper. Even an Elzevir man can sympathise with Charles Lamb’s attachment to that folio Beaumont and Fletcher which he dragged home late at night from Barker’s in Covent Garden. But it is another thing when Lamb says, I do not care for a first folio of Shakespeare." A bibliophile who could say this could say anything.

      No, there are, in every period of taste, books which, apart from their literary value, all collectors admit to possess, if not for themselves, then for others of the brotherhood, a peculiar preciousness. These books are esteemed for curiosity, for beauty of type, paper, binding, and illustrations, for some connection they may have with famous people of the past, or for their rarity. It is about these books, the method of preserving them, their enemies, the places in which to hunt for them, that the following pages are to treat. It is a subject more closely connected with the taste for curiosities than with art, strictly so called. We are to be occupied, not so much with literature as with books, not so much with criticism as with bibliography, the quaint duenna of literature, a study apparently dry, but not without its humours. And here an apology must be made for the frequent allusions and anecdotes derived from French writers. These are as unavoidable, almost, as the use of French terms of the sport in tennis and in fencing. In bibliography, in the care for books as books, the French are still the teachers of Europe, as they were in tennis and are in fencing. Thus, Richard de Bury, Chancellor of Edward III., writes in his Philobiblon: Oh God of Gods in Zion! what a rushing river of joy gladdens my heart as often as I have a chance of going to Paris! There the days seem always short; there are the goodly collections on the delicate fragrant book-shelves. Since Dante wrote of—

      "L’onor di quell’ arte

      Ch’ allumare è chiamata in Parisi,"

      the art that is called illuminating in Paris, and all the other arts of writing, printing, binding books, have been most skilfully practised by France. She improved on the lessons given by Germany and Italy in these crafts. Twenty books about books are written in Paris for one that is published in England. In our country Dibdin is out of date (the second edition of his Bibliomania was published in 1811), and Mr. Hill Burton’s humorous Book-hunter is out of print. Meanwhile, in France, writers grave and gay, from the gigantic industry of Brunet to Nodier’s quaint fancy, and Janin’s wit, and the always entertaining bibliophile Jacob (Paul Lacroix), have written, or are writing, on books, manuscripts, engravings, editions, and bindings. In England, therefore, rare French books are eagerly sought, and may be found in all the booksellers’ catalogues. On the continent there is no such care for our curious or beautiful editions, old or new. Here a hint may be given to the collector. If he picks up a rare French book, at a low price, he would act prudently in having it bound in France by a good craftsman. Its value, when the wicked day of destiny comes, and the collection is broken up, will thus be made secure. For the French do not suffer our English bindings gladly; while we have no narrow prejudice against the works of Lortic and Capé, but the reverse. For these reasons then, and also because every writer is obliged to make the closest acquaintance with books in the direction where his own studies lie, the writings of French authorities are frequently cited in the following pages.

      This apology must be followed by a brief defence of the taste and passion of book-collecting, and of the class of men known invidiously as book-worms and book-hunters. They and their simple pleasures are the butts of a cheap and shrewish set of critics, who cannot endure in others a taste which is absent in themselves. Important new books have actually been condemned of late years because they were printed on good paper, and a valuable historical treatise was attacked by reviewers quite angrily because its outward array was not mean and forbidding. Of course, critics who take this view of new books have no patience with persons who care for margins, and condition, and early copies of old books. We cannot hope to convert the adversary, but it is not necessary to be disturbed by his clamour. People are happier for the possession of a taste as long as they possess it, and it does not, like the demons of Scripture, possess them. The wise collector gets instruction and pleasure from his pursuit, and it may well be that, in the long run, he and his family do not lose money. The amusement may chance to prove a very fair investment.

      As to this question of making money by collecting, Mr. Hill Burton speaks very distinctly in The Book-hunter: Where money is the object let a man speculate or become a miser. . . Let not the collector ever, unless in some urgent and necessary circumstances, part with any of his treasures. Let him not even have recourse to that practice called barter, which political philosophers tell us is the universal resource of mankind preparatory to the invention of money. Let him confine all his transactions in the market to purchasing only. No good comes of gentlemen-amateurs buying and selling. There is room for difference of opinion here, but there seems to be most reason on the side of Mr. Hill Burton. It is one thing for the collector to be able to reflect that the money he expends on books is not lost, and that his family may find themselves richer, not poorer, because he indulged his taste. It is quite another thing to buy books as a speculator buys shares, meaning to sell again at a profit as soon as occasion offers. It is necessary also to warn the beginner against indulging extravagant hopes. He must buy experience with his books, and many of his first purchases are likely to disappoint him. He will pay dearly for the wrong Cæsar of 1635, the one without errors in pagination; and this is only a common example of the beginner’s blunders. Collecting is like other forms of sport; the aim is not certain at first, the amateur is nervous, and, as in angling, is apt to strike (a bargain) too hurriedly.

      I often think that the pleasure of collecting is like that of sport. People talk of book-hunting, and the old Latin motto says that one never wearies of the chase in this forest. But the analogy to angling seems even stronger. A collector walks in the London or Paris streets, as he does by Tweed or Spey. Many a lordly mart of books he passes, like Mr. Quaritch’s, Mr. Toovey’s, or M. Fontaine’s, or the shining store of M.M. Morgand et Fatout, in the Passage des Panoramas. Here I always feel like Brassicanus in the king of Hungary’s collection, non in Bibliotheca, sed in gremio Jovis; not in a library, but in paradise. It is not given to every one to cast angle in these preserves. They are kept for dukes and millionaires. Surely the old Duke of Roxburghe was the happiest of mortals, for to him both the chief bookshops and auction rooms, and the famous salmon streams of Floors, were equally open, and he revelled in the prime of book-collecting and of angling. But there are little tributary streets, with humbler stalls, shy pools, as it were, where the humbler fisher of books may hope to raise an Elzevir, or an old French play, a first edition of Shelley, or a Restoration comedy. It is usually a case of hope unfulfilled; but the merest nibble of a rare book, say Marston’s poems in the original edition, or Beddoes’s Love’s Arrow Poisoned, or Bankes’s Bay Horse in a Trance, or the Mel Heliconicum of Alexander Ross, or "Les Oeuvres de Clement Marot, de

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