Illustrated Books. Music.
=Authors and Illustrators. Translations of Foreign Titles of=
=Books of Illustrations and of Music. The Cataloguing= =of
Music. Librettists. "Indexing" Miscellaneous= =Music. Dates
of Publication.=
In these days of cheap processes of reproduction of illustrations,
particularly in colour, the cataloguer is called upon to decide whether
the author (that is, the writer of the text) or the illustrator is the
more important person in connection with a book.
The real occasion of a book's existence may be that an artist has
produced a series of pictures considered to be worth reproduction, and
the author has been engaged to write appropriate text for them. To put
it another way, the former custom was for the artist to illustrate
an author's text, whereas nowadays an author may write text for
illustrations. This does not by any means imply that the text in itself
is not valuable apart from the illustrations, and therefore most of
such books need double entry, or at least references, as in the case of
joint-authors. The following three books are of this class:
Hampshire, painted by Wilfrid Ball, R.E., described
by Rev. Telford Varley, M.A., B.SC. 1909
Kent, by W. Teignmouth Shore, painted by W.
Biscombe Gardner. 1907
The Channel Islands, painted by Henry B. Wimbush,
described by Edith F. Carey. 1904
In each of these examples the first-named, whether artist or author,
should be taken for the main-entry, but the mode of entry does not
follow that for joint-authors; the share of each in the book must be
shown, as
BALL, Wilfrid (_Illus._) Hampshire; described by
Telford Varley. pp. xii., 316, 75 col. illus.,
map. 1909
VARLEY, Telford. Hampshire described; [illus.]
by W. Ball. 1909
=Hampshire=:
Ball, W., &c. Hampshire painted and described.
1909
For short-entry catalogues, or as an economy, the "added entry" for the
second of the persons named may be reduced to the reference, as
VARLEY, Telford. _See_ Ball, Wilfrid.
Where the artist's name appears in the secondary place, as in the
second book, a reference like this meets all reasonable requirements,
though the same cannot be said when the writer of the text occupies
that place, as in the first instance, and an entry is preferable to the
reference if the trifling additional space can be afforded. In reality
it does not resolve itself into a question of sparing space for the
entry of a particular book, but of finding room for many similar cases.
The second book is
SHORE, W. Teignmouth. Kent; [illus.] by W.
Biscombe Gardner. pp. x., 240, 73 col.
illus., map. 1907
GARDNER, W. Biscombe (_Illus._) Kent; [described]
by W. T. Shore. 1907
or alternatively
GARDNER, W. Biscombe (_Illus._) _See_ Shore, W.
Teignmouth.
=Kent=:
Shore, W. T., &c. Kent. 1907
The abbreviation "illus." is used equally to mean illustrator,
illustrated, and, in the collation, illustrations, without any
likelihood of confusion of idea by a person of ordinary intelligence,
the position and context denoting the meaning. Sometimes this
abbreviation is curtailed to "il.", or "ill.", with a loss of
clearness, and as no real saving of space results, it cannot be
recommended.
The third book is
WIMBUSH, Henry B. (_Illus._) The Channel
Islands; described by Edith F. Carey. pp.
xiv., 294, 76 col. illus., map. 1904
CAREY, Edith F. The Channel Islands; [illus.]
by H. B. Wimbush. 1904
=Channel Islands, The=:
Wimbush, H. B., &c. The Channel Islands
painted and described. 1904
As a rule there is no occasion for the cataloguer to notice the
illustrator, except for books of this special character. Where the
artist is famous and his illustrations lend value to a book, or where
books are likely to be required because illustrated by a notable
artist, it is well to mark the fact either by entry or reference. Such
illustrators as Bewick, Beardsley, Blake, Brangwyn, Crane, Cruikshank,
Dulac, "Phiz," Rackham, Rowlandson, Hugh Thomson, Turner, to name a
dozen among the best known, should be noticed, either by entry under
their names, or after the manner shown in the following entries.
Suppose the first book received is
Tales from Shakespeare, by Charles and Mary
Lamb, illustrated by Arthur Rackham. 1909
we proceed to write our main-entry, taking care to note that the book
is illustrated by this particular artist,
LAMB, Charles and Mary. Tales from Shakespeare;
illus. by Arthur Rackham. 1909.
We then give the reference from the artist
RACKHAM, Arthur (_Illus._) _See_ Lamb, Charles and
Mary.
Later we get a book, the title-page of which reads
The Rhinegold and the Valkyrie, by Richard
Wagner, with illustrations by Arthur Rackham,
translated by Margaret Armour. 1910
and on the half-title we find
The Ring of the Niblung a trilogy with a prelude
by Richard Wagner translated into English
by Margaret Armour. I.
so we combine and adapt the two titles, as
WAGNER, Richard. The Ring of the Niblung;
transl. by Margt. Armour; illus. by Arthur
Rackham. I. 1910
I, The Rhinegold. The Valkyrie.
and give the usual references
ARMOUR, Margaret (_Transl._) _See_ Wagner,
Richard.
RACKHAM, Arthur (_Illus._) _See_ Wagner, Richard.
"Transl." is a perfectly clear abbreviation for either translated or
translator--the shorter form, "tr.", may mean anything, and is to be
avoided.
Later still we get another book, the principal entry for which is
BARRIE, Jas. M. Peter Pan in Kensington Gardens;
illus. by Arthur Rackham. 1910
when we make another reference
RACKHAM, Arthur (_Illus._) _See_ Barrie, Jas. M.
Last of all we receive the second part of "The Ring of the Niblung,"
which we embody in the former entry, converting it into
WAGNER, Richard. The Ring of the Niblung;
transl. by Margt. Armour; illus. by Arthur
Rackham. 2 v. 1910-11
v. 1. The Rhinegold. The Valkyrie.
v. 2. Siegfried. The twilight of the gods.
If we have forgotten that the former reference was made, which is
unlikely, we make another, as before
RACKHAM, Arthur (_Illus._) _See_ Wagner, Richard.
When the time comes for printing the catalogue, if it has not already
been done, these references are all amalgamated into:
RACKHAM, Arthur (_Illus._) _See_ Barrie, Jas. M.;
Lamb, Chas. and Mary; Wagner, Richard.
A certain amount of knowledge and discretion is required in cataloguing
the illustrators of books; cheap modern reprints of standard books with
illustrations by Cruikshank or "Phiz" hardly call for notice by the
cataloguer.
Although it is the duty of the cataloguer to adhere to the language
of the title-page in transcribing a title, it is conceivable that the
usefulness of books in foreign languages, when they consist altogether
or mainly of illustrations, may be extended in popular libraries, if a
free explanatory translation of the title or a note is attached to the
entry, after the manner shown in the following three entries:--
SÉGUY, E. Les fleurs et leurs applications décoratives
[Flowers and their application in ornament].
pl. 30. fº _Paris_, [1903]
RÉMON, Georges. Soixante planches de peintre
décorative. fº _Dourdan_, n.d.
Sixty plates in colour for house decoration.
LEHNER, Jos., und Ed. MADER. Neue Dekorations-Malereien
im modernen Stil. pl. 60.
fº _Wien_, [1904]
Original ornamental designs in colour.
So far as the orthodox rules for cataloguing are concerned, it is
something of a heresy to suggest that, as these books contain no text,
the original titles might be ignored, and a translation alone be given
if space is a consideration, but if so catalogued, they would make a
larger appeal in many libraries, and, after all, books are catalogued
for the purpose of ensuring that they shall be used. The entries might
be
SÉGUY, E. Flowers and their application in ornament,
pi. 30. fº [1903]
It must be understood that this translation is not a recommendation,
but is only by way of suggestion, as there are not many books similar
in character. If the suggestion is adopted, it must be carried out
uniformly through all entries.
RÉMON, Georges. Sixty plates of decorative
painting [house]. fº n.d.
LEHNER, J., and E. MADER. New painted decorations
in the modern style, pl. 60. fº [1904]
The subject entries and references required for these books are
=Ornament=:
Séguy, E. Les fleurs et leurs applications
décoratives. 1903
Decoration. _See_ Ornament.
Design, Ornamental. _See_ Ornament.
Flowers in ornament. _See_ Ornament.
The first two references are for synonymous terms for the subject. The
last is required for two reasons. Firstly, there are sure to be other
books in the catalogue in which floral design will form the principal
feature without any reference to flowers on the title-page; secondly, a
book of the kind is better placed under the subject-word "Ornament" or
whatever term is taken for the decorative arts, rather than "Flowers",
to prevent it being mistaken for a work on botany or gardening.
The next book is on ornament as applied to house decoration only,
and the designs are not meant for other purposes, certainly not for
ornament generally, therefore the entry is
=House Decoration=:
Rémon, G. Soixante planches de peintre
décorative. n.d.
and the supplementary references are
Decoration, House. _See_ House Decoration.
Ornament. _See also_ House Decoration.
If the title of this book were printed "60 planches de peintre
décorative", and the title had to be transcribed in full, the language
of the original must be followed, and not a hybrid title given, as
"Sixty planches de peintre décorative".
The third book, being upon ornament in general, receives an entry
accordingly
=Ornament=:
Lehner, J., &c. Neue Dekorations-Malereien
im modernen Stil. [1904]
No further references are needed beyond those already given to the
first of these three books. It would be literally correct but none the
less pedantic to convert the "&c." of the above entry to "u.s.w." (und
so weiter), as
Lehner, J., u.s.w.
and such a procedure is not recommended.
The entries of the first and third of these books would be marked for
the classified catalogue 745 (Art. Ornamental Design), and the second
729.4 (Art. Architectural Design and Decoration. Painted Decoration),
the index-entries being
Séguy, E. Les fleurs décoratives, 745
Ornament, 745
Floral Ornament, 745
Decoration, Ornamental, 745
Rémon, G. Peintre décorative, 729.4
House Decoration, 729.4
Decoration, House, 729.4
Lehner u. Mader. Dekorations-Malereien, 745
The foregoing suggestion for the translation of title-pages, where the
text of the book is nonexistent or immaterial, is also applicable in
the case of music, more especially instrumental music, as many persons
understand music without understanding continental languages, and
therefore to give a translation of the title-pages of musical works
(not works _upon_ music, which is a different matter) in a catalogue
may serve a most useful purpose. Take these as examples:--
BEETHOVEN, Ludwig van.
Sämmtliche Sinfonien für das Pianoforte zu
zwei und vier Händen; arrangirt von F. W.
Markull. No. 8-9, vierhandig. 4º _Wolfenbüttel_,
n.d.
JADASSOHN, S.
Sechs Clavierstücke. 4º _Leipzig_, n.d.
LECLAIR, Jean M.
Le tombeau: sonate à violon avec la basse
continue; arrangée pour le violon avec accompagnement
de piano par Gustav Jensen. 4º
n.d.
There is no great reason why these and similar works should not be
usefully adapted for the catalogues of popular libraries at any rate, as
BEETHOVEN, Ludwig van.
Collected pianoforte symphonies; arranged by
F. W. Markull. Nos. 8-9, Piano duet. 4º
_Wolfenbüttel_, n.d.
JADASSOHN, S.
Six pianoforte pieces. 4º _Leipzig_, n.d.
LECLAIR, Jean M.
Le tombeau: sonata, with continued thorough-bass;
arranged for the violin, with piano
accompaniment by Gustav Jensen. 4º n.d.
As "Le tombeau" is the distinctive title of this particular piece, it
is as well to give it in the original form, or, if in translation, as
"Le tombeau (The tomb)." It should be unnecessary to add that, where
space is of no consideration, the above titles can be given in the
original with the translation following enclosed within brackets; to do
this would conform with literal accuracy.
As music is introduced here in connection with translated titles, we
may also at this place consider the whole question of cataloguing
it. Usually the catalogue of music is printed apart from the general
catalogue of a library, in the form of a class-list, the entries being
sub-divided into sections and divisions, according to the amount of
material.
Whether in a separate publication or in the general catalogue, the
composer occupies the place held by the authors of other works, and his
surname is taken for the main-entry, as shown in the following examples
of operas. The title-pages read:--
Maritana. Opera in three acts, the music composed by W. Vincent
Wallace. The words by Edward Fitzball. Edited by Myles B.
Foster. Boosey & Co.
The Bohemians (founded upon "La vie de Bohème" by Henry
Murger.) An opera in four acts by Giuseppe Giacosa and
Luigi Illica. Music by Giacomo Puccini. English version
of Acts I. and II. by William Grist, Acts III. and IV. by
Percy Pinkerton. Arranged by Carlo Carignani. G. Ricordi &
Co. Copyright 1897. (Printed in Italy.)
and these we proceed to condense and adapt after this manner:--
WALLACE, W. Vincent. Maritana: opera; words
by Edward Fitzball; ed. by Myles B. Foster.
(_Royal ed._) pp. ii., 284. n.d.
PUCCINI, Giacomo. The Bohemians: an opera by
Giuseppe Giacosa and Luigi Illica; English
version by Wm. Grist and Percy Pinkerton;
arranged by Carlo Carignani. pp. viii., 204.
4º 1897
In the first entry the added words denoting the edition are taken from
the printed cover of the book.
The above represent the full form for the dictionary catalogue. Any
additional entries would be in the way of references from the names of
the writers of the libretti, the translators, editors, or arrangers, as
FITZBALL, Edward. _See_ Wallace, W. Vincent.
FOSTER, Myles B. _See_ Wallace, W. Vincent.
It may be considered that the writer of the libretto is of equal
importance with the composer in such work, both often being named
together in connection therewith, as "the Gilbert-Sullivan operas."
It must be remembered, however, that in musical works like these the
libretto as given seldom represents the complete work of the author,
the spoken words being omitted; therefore, not only is his place
secondary, but his share in the work is incomplete. For this reason
even the reference can be dispensed with, except in full catalogues,
where every name is taken into account. In the contrary case, where
the words of an opera are published without the music, the reverse
method would be followed, and the name of the composer ignored for
cataloguing, because his work is not included.
Besides references as above, there is the possible usefulness of
title-entries (in the dictionary catalogue only), as
Maritana: opera. Wallace, W. V. n.d.
Bohemians, The: opera. Puccini, G. 1897
If the collection of music in a library is not sufficient to warrant
the publication of a separate catalogue, it is desirable to embody
in the dictionary catalogue a class-list of music under the heading
"Music", treated as subject, although this is not strictly in
accordance with the principles governing the compilation of such a
catalogue. The entries under the heading would be sub-divided as
required, in this way
=Music.=
_Operas_.
(_Vocal scores, with pianof. accom._)
Puccini, G. The Bohemians. 1897
Wallace, W. V. Maritana. n.d.
Music and musical works fall logically into place as part of a
classified catalogue, and are as readily dealt with there as in a
separately published Catalogue of music. The two principal entries of
the above operas are marked 782.1 (Music--Dramatic Music--Opera.)
When a library contains an extensive or comparatively large selection
of music, there are sure to be included volumes of "albums," "gems,"
"selections," and other miscellaneous collections, which in the
ordinary way are catalogued after this manner:--
=Music.=
_Pianof. solos._
Klassiker-Perlen: Gems from the classics.
(_Conservatoire ed_.) Bk. 1. 4º n.d.
Bk. 1. Prelude, C major, by Bach. Largo, by
Handel. Gavotte, by Gluck. Träumerei, Warum?
and Summerlied, by Schumann. Nocturne, by Field.
The song of the lark, Chant sans paroles, and
Bacarolle, by Tschaikowsky. Moment musical and
Menuett, by Schubert. Melody in F, by Rubinstein.
Unless the contents of such volumes are at least set out as above they
cannot be regarded as properly catalogued. If the library had any one
of these pieces as a separate publication, it would, no doubt, receive
individual treatment, and be dealt with in this way (to take the last
item in the above book):--
=Music.=
_Pianof. solos._
Rubinstein, Anton. Melody in F. (Op. 3,
no. 1.) n.d.
For this reason, when the number of books is large, and the separate
catalogue, therefore, of considerable size, such miscellaneous
collections should be dealt with ("indexed") as if each item were a
separate work. If it is essential to index the contents of other books
of a miscellaneous character, it is doubly necessary for miscellaneous
music, more especially as it brings all the works of a composer
together according to the nature of the compositions. If this course is
pursued, then, as a counter-balancing economy, the contents need not
be set forth under the principal entry, the separate "indexing" being
sufficient, as
=Music.=
_Pianof. solos._
Bach, J. Sebastian. Prelude. (Gems from
the classics, Bk. 1.) n.d.
This recommendation of separate entry is for a class-list of music
(that is, a separately-published catalogue of music), and only applies
to volumes containing works by several composers. Separate entries
are not required in the case of a collection of pieces by a single
composer. One entry only is needed, as
=Music.=
_Pianof. solos._
Menynski, M. Esquisses russes pour piano.
pp. 48. 4º n.d.
This contains six pieces, each with a distinctive title, and these
titles can be set out, if thought well, as contents _under the above
entry_. No further entries should be given, even in the dictionary
catalogue, as title-entries for the items in works of this kind are
superfluous.
There are, also, many collections of miscellaneous music much too
comprehensive to allow of the separate cataloguing of each item, and
these must, of necessity, be simply catalogued, even without the
contents being set out. Examples of collections of this type are:--
HATTON, J. L. (_Ed._) The songs of England: a
collection of 200 English melodies, including
the most popular traditional ditties, &c., of
the last three centuries. (_Royal ed._) 2 v. n.d.
PAUER, E. (_Ed._) March-album: a collection of
the most celebrated Italian, French, and German
marches. pp. 114. n.d.
In either the music or the classified catalogue, these would be
respectively allotted to the divisions Music--Vocal Music--Ballad and
Song (Dewey 784.3) and Music--Pianoforte Solos--Marches (Dewey 786.44).
In a short-entry catalogue, they can be condensed to
HATTON, J. L. (_Ed._) The songs of England. 2 v.
n.d.
PAUER, E. (_Ed._) March-album: Italian, French,
and German marches. n.d.
Experience proves that no useful purpose is served by giving the dates
of publication of modern music in an ordinary catalogue; in fact, it
can only be given in exceptional cases, the majority being "n.d.", as
the above examples testify. The works of the classic masters appear in
so many forms and editions that the dates, when ascertained, are of no
particular help.