The Bodleian Conveyor

Skeletons and sheets in the cupboard

Leviathan; from All Souls College Library At the Seminar on the History of the Book on Friday February 20th, Dr. Noel Malcolm untangled the bibliographical mysteries of the three ‘1651’ editions of Hobbes’s Leviathan.

In working toward a critical edition of Leviathan, Dr. Malcolm wished to identify which of three versions with a London 1651 imprint are actually Hobbesian editions. The three versions are identified by their title page ornaments: ‘Head’ which is the true 1651 edition; ‘Bear’ which some had suspected to be a Dutch pirate edition of the 1670s; and ‘Ornaments’, long supposed to have been printed in London in the 1670s or 80s. But was Hobbes involved in the production of the second and third issues?

By collating dated ownership inscriptions and sale prices, Dr. Malcolm was able to create a picture of the appearance of each version on the market: the ‘Head’ through the 1650s, the ‘Bear’ in the late 1670s and early 1680s, and the ‘Ornaments’ rather later than expected, through the early years of the 18th century.

A fascinating tale of subterfuge emerged around the ‘Bear’ edition, involving the London printer John Redmayne and the Stationers’ Company. In September 1670 Redmayne’s printing house was raided by the Master of the Company and two sample leaves of the Leviathan seized; three days later the Court of the Stationers’ Company was told that Redmayne’s premises were to be raided again in order to seize the remaining sheets of this new edition. A few days later this pre-announced raid took place and Redmayne duly yielded up another 38 sheets. Had this action supressed Redmayne’s intended edition?

Close examination of the type, ornaments, and skeletons (fixed type such as running headers) used in the ‘Bear’ edition showed that there were two distinct sets of sheets, printed with different type and therefore almost certainly in different printing houses. Distinctive spelling and punctuation on one set of these pages strongly points to their Dutch origin. As reconstructed by Dr. Malcolm, the printing of early sheets of the ‘Bear’ had gone smoothly in the London printing house of John Redmayne until the time the intended raid was announced; then there had been a mad scramble to print more sheets, at the expense of careful proofreading. In spite of his apparent cooperation with the authorities, Redmayne evidently made use of the warning he gained from Stationers Company colleagues to cache some sheets off the premises. Finally the remaining quires were printed, also using the first ‘Head’ edition as a model, in the Netherlands. The ‘Bear’ ornament itself, along with a head-piece used in the first quire, were identified as belonging to Christoffel Cunradus, a printer in Amsterdam. The London sheets were combined with sheets printed in the Netherlands to create a new edition for surreptitious sale.

After painstaking work , Dr. Malcolm has been able to identify the type used in the ‘Ornaments’ edition as that of the London printer John Darby. It is a typeface that was not in use before the late 1690s, thus dating the third edition to the late 1690s, and no later than 1702 – long after the death of Hobbes in 1679!

Detailed examination of textual editing and ‘corrections’ made between the three editions support Dr Malcolm’s thesis that Hobbes was involved in the first ‘Head’ edition; made a few significant textual changes via his original publisher, Andrew Crooke, that appeared in the ‘Bear’ edition; but had no involvement in changes seen in the last edition (still dated ‘1651’), the ‘Ornaments’ edition. — Julie Blyth, All Souls College

1-penny survey of English history

At the Seminar on the history of the book, Giles Bergel told us about the Wandering Jew’s Chronicle, a broadside ballad first published in 1634 and updated in at least 14 subsequent editions up to the 19th century. As these were turbulent times for England and the monarchy, the use of an unbroken portrait gallery of monarchs to illustrate most of the versions suggests a royalist theme, and the “Whiggish”, triumphalist view of English history.

Visual representations of history are a fascinating subject in themselves, and Bergel also showed the first use in print of a stemma, much used by historians of texts, in an 1827 publication, Carl Johan Schlyter’s Corpus iuris Sueo-Gotorum antiqui.

Resting books

On a visit to Leiden University Library’s Special Collections reading room, I was happy to see these comfortable- looking bookrests. At the Bodleian our bookrests are all angular grey foam. Also noted, the view from the window of the Leiden reading room …

Benjamin Tabart Harlequinades

veroni1

The Library has recently acquired an album of 89 coloured prints dating from the early 1820s. It may have been issued by William Darton Jr. (1781-1854) and his firm at Holborn Hill during the mid-1820s as a sample album to show potential customers examples of his work. It contains a small number of sheets originally issued in 1800 by William Darton Sr. (1755-1819); 11 harlequinades in unfolded sheets with the imprint of B. Tabart & Co., and some sheets bearing Darton Jr’s imprint with dates ranging from 1821 to 1824. This mix of imprints suggests that Darton Jr. inherited some of his father’s old stock upon his death, including some of Benjamin Tabart’s publications which William Sr. possibly acquired in 1811 when financial difficulties may have forced Tabart to sell off some of his stock.

The harlequinades are especially interesting as very few examples survive generally, and four of the eleven Tabart examples in this album are currently untraced elsewhere. There are certainly difficulties locating harlequinades in library and museum catalogues around the world as they can be treated equally as toys, books, ephemera or prints, but as some titles were not located by Marjory Moon in her bibliography of Tabart’s Juvenile Library it seems likely that some of the Bodleian copies may be unique survivals. It is also possible that these eleven titles represent Tabart’s entire output of harlequinades, but that is pure speculation.

Blue Beard. Sold by B. Tabart & Co., June 1st. 1809.
Robinson Crusoe. Sold by B. Tabart & Co. June 1. 1809.
Veroni or the novice of St. Marks. Published by B. Tabart & Co, June 1. 1809.
Mother Goose. Published by B. Tabart & Co., July 1st 1809.
Hop o’ my thumb. Published by B. Tabart & Co., Jany. 1st. 1810..
Black Beard the pirate. Published, by B. Tabart & Co., July 1st. 1809.
Parnell’s hermit. Published, by Tabart & Co., Jany. 31st. 1810.
Exile, as performed at the royal theatres. Published by B. Tabart & Co., June 1st. 1809.
Robin Hood. Published by B. Tabart & Co., June 1st. 1809.
Polish tyrant. Published, by B. Tabart & Co., Aug. 1st. 1809.
A tale of mystery. Published by B. Tabart & Co., Jany. 25th, 1810.
Shelfmark: Vet. A6 c.118

The entire album will be available online in Summer 2009 as part of the John Johnson Collection’s Electronic Ephemera Project. Full records for the harlequinades are available now via OLIS.

Rubrication : articulation, not decoration

‘Rubrication’ can refer to several types of coloured (usually red) elements added to a printed page in order to articulate the text. This practice carried a tradition of handwritten emphasis from the manuscript period into the 15th century and the age of print — but this tradition was later overtaken by typographic innovations.

Dr Margaret M. Smith opened the fifteenth year of the Seminar on the History of the Book, 1450-1830 (convened at All Souls College, Oxford) with a paper presenting observations from her research in progress on ‘Hand rubrication: the mid-fifteenth-century method of textual articulation’.

Was rubrication part of the publication process? Examination of many copies of the same edition suggests that hand rubrication was not done in the printer’s shop and is not uniform across a given edition or text. It was not uncommon, however, for the printer to leave spaces in the printed text for the addition of rubricated elements such as paragraph signs or larger initials at the beginning of major text divisions. Similarly, the existence of printed tables providing the wording for rubricated headings indicates that the printer expected some texts to be rubricated as part of the process of completing the book. The rubrication would have been done by a professional or by a knowledgeable owner.

Dr Smith showed two leaves from 15th-century books bearing five main types of rubrication: large initials, paragraph signs, underlining, initial strokes (single penstrokes that highlight a printed initial), and headlines at the top of a page.

In the page reproduced here (a leaf of Gregory the Great’s Moralia in Job, printed by Kesler in Basel in 1496, part of Book 14, ISTC ig00432000.), large Lombard-style initials mark the beginning of chapters; paragraph signs mark the beginning of extracts from the book of Job (lemmas); underlining highlights chapter numbers, the marginal cue for ‘Tex.’ and some marginal references to other Biblical books; initial strokes mark upper case letters; and the running titles at the top of the page are underlined. In each of these instances the rubrication helps the reader orient themselves in a way that Dr Smith observed is analogous to punctuation.

Dr Smith’s quantitative research suggests that just under 50% of extant incunables received rubrication and that hand rubrication declined from the 1470s to the 1490s. Many of the functions of hand rubrication were taken over by changes in page design and by typographical signals, such as today’s use of italic type to distinguish particulars words in a text.

Finally, cataloguers of antiquarian books were urged to note the presence of hand rubrication in copy notes, to make available the kind of quantitative evidence on which Dr Smith’s work was based. — Julia Walworth

Gregory the Great's Moralia in Job, printed by Kesler in Basel in 1496

Bookbinding competition

The Bodleian’s Seminar Room, Room 132 in the New Library, contained a fresher collection of books than usual this week as judging began for the Designer Bookbinders International Competition, 2009. The judges (Tom Phillips, Faith Shannon, Jeff Clements, Ed Bayntun-Coward, and Richard Ovenden) were selecting from over 250 entries, all of a limited-edition text of poems and images on the subject of water, bound in a variety of materials and styles. Over 100 of the entries will be placed on special exhibition in the Bodleian in June and this exhibition will travel to the Boston Public Library in September, and on to the Grolier Club in New York in 2010. The winning entry will be announced on 11 June 2009.

Peep-show of engineering marvel

Peep show from John Johnson Collection, Bodleian Library

Designed by Marc Isambard Brunel and completed in 1843, the tunnel under the Thames between Rotherhithe and Wapping was constructed using Brunel’s invention, the cast-iron “Tunnel Shield”, enabling thirty-six workmen to excavate in separate cells, the whole device being slowly moved forward as the tunnel grew.

Originally a foot tunnel, it was converted to railway use in 1869, and eventually became part of the London Underground.

This folding paper peep show enables the viewer to see foot passengers promenading in the tunnel. The arches help to indicate perspective. It was probably sold as a souvenir. Even before completion of the tunnel, the canny businessman Brunel allowed visitors to tour the works, at the cost of one shilling.
Wikipedia : Thames Tunnel

Shelley’s ‘Symposium’

Mary Shelley's handwritten restorations of Percy Shelley's original words, in her printed copy of his prose works.

At the second Literary Manuscripts Masterclass, on 10 November, Michael O’Neill made the point that after Percy Shelley’s death, Mary Shelley wished to protect his reputation, promote his popularity, and preserve his words. But in the cultural and moral atmosphere of the time these were not always easily reconcilable goals.

In 1823 she transcribed Shelley’s prose works for publication, and Michael O’Neill showed the press copy (shelfmark: MS. Shelley adds. d.8, ) prepared by Mary, and marked in pencil by Leigh Hunt with suggested amendments. Both Hunt and Mary were concerned about passages in Shelley’s translation of Plato’s Symposium, and in Shelley’s own Essay on Love, describing love between men.

The photograph here shows the printed edition that did appear in 1840, but this is a copy (shelfmark: Shelley adds. e.19) interleaved with blank pages, on which, facing each printed page, Mary Shelley has restored the original words written by Shelley (such as “lover” for “friend”), preserving Shelley’s words despite the demands of publication and the prejudices of the time.

Jane Austen, ‘Volume the First’

At the first of the Literary Manuscript Masterclasses this term, on October 27, we were shown a small, mass-produced notebook, probably bought from a stationer in the mid-1780s, in which the young Jane Austen had set down a series of stories and plays. Kathryn Sutherland, professor of English literature, described the importance of this manuscript, one of three volumes of juvenilia.

Of Austen’s famous six published novels, only two chapters of Persuasion survive in manuscript form. The three juvenile notebooks (which include’ The History of England’, on display from the BL website) and other short pieces, working drafts of two novels and a fair copy of a novella, are all we have left from the author’s own hand

Andrew Honey of the Bodleian’s Conservation Department took the class on a tour of the physical aspects of the volume, including a session of paper folding and paper tearing (using copier paper!), to demonstrate that this was a machine-made notebook, a relatively cheap mass-produced item of stationery – the equivalent, though thank goodness in 18^th-century dress, of a Hello Kitty notepad.

Collection care is priority

“Do no harm” is the conservator’s creed. When books are put on display for exhibition, they are often laid open on a cardboard book cradle. The pages are strapped down, gently, with polypropylene straps. But these need to be cut to remove the book once the exhibition is over. Cut with sharp scissors, so close to the priceless pages of an early printed book or manuscript?! Now the exhibition officers have found a solution: multi-functional round-headed scissors maintain a smooth rounded surface near to the book allowing the sharp cutting edge to sever the temporary strap without endangering the ancient written treasure.