Alfred William Pollard

“ In the 10th century the supremacy which parchment had gradually established was attacked by the introduction from the East of a new writing material made from a pulp of linen rags, and the name of the vanquished papyrus was transferred to this new rival. Paper-mills were set up in Europe in the 12th century, and the use of paper gained ground, though not very rapidly, until on the invention of printing, the demand for a cheap material for books, and the ease with which paper could be worked on a press, gave it a practical monopoly. ”

“ Bibliographers are now more modest. They recognize that the classification of human knowledge is a question for philosophers and men of science, that the knowledge of chemistry and of its history needed to make a good bibliography of chemistry is altogether extrinsic to bibliography itself; that all, in fact, to which bibliography can pretend is to suggest certain general principles of arrangement and to point out to some extent how they may be applied. ”

“ His own age delighted in stories, and he gave it the stories it demanded invested with a humanity, a grace and strength which place him among the world’s greatest narrative poets, and which bring the England of his own day, with all the colour and warmth of life, wonderfully near to all his readers. ”

“ In the second half of the century the leather bindings of Samuel Mearne, to some extent imitated from those of the great French binder Le Gascon, were the daintiest England had yet produced. For trade bindings rough calf and sheepskin were most used, and the practice of lettering books on the back, instead of on the sides or fore-edges or not at all, came gradually into favour. Owing to the increase of money, and in some cases to the action of monopolists, in others to the increased payments made to authors, book-prices rather rose than fell. ”

“ In any attempt to estimate the extent to which the incunabula still in existence represent the total output of the 15th-century presses, a sharp distinction must be drawn between the weightier and the more ephemeral literature. Owing to the great religious and intellectual upheaval in the 16th century much of the literature previously current went out of date, while the cumbrous early editions of books still read were superseded by handier ones. ”

“ Chaucer’s art here again is at its highest. He takes the plot of Boccaccio’s Teseide, but only as much of it as he wants, and what he takes he heightens and humanizes with the same skill which he had shown in transforming the Filostrato. Of the individual characters Theseus himself, the arbiter of the plot, is most notably developed; Emilie and her two lovers receive just as much individuality as they will bear without disturbing the atmosphere of romance. The whole story is pulled together and made more rapid and effective. ”

“ POLYGLOTT (Gr. πολύς, many, and γλῶττα, tongue) , the term for a book which contains side by side versions of the same text in several different languages; the most important polyglot ts are editions of the Bible, or its parts, in which the Hebrew and Greek originals are exhibited along with the great historical versions, which are of value for the history of the text and its interpretation. ”

“ In the last decade of the century wood-engraving was practically killed by the perfection attained by photographic methods of reproduction (see Process) , the most popular of these methods entailing the use of paper heavily coated with china clay. During the century trade-printing, both in England and America, steadily improved, and the work done by William Morris at his Kelmscott Press (1891–1896) , and by other amateur printers who imitated him, set a new standard of beauty of type and ornament, and of richness of general effect. ”

“ The end of a line should be indicated by an upright stroke. [1] It is a considerable gain to indicate to the eye in what types the words transcribed are printed, i.e. whether in roman, gothic letter, or italic, and in each case whether in majuscules or minuscules (“upper or lower case”) . To do this, however, adds greatly not only to the cost of printing, but also to the liability of error. If roman minuscules are used throughout, or roman for the text and italic for the imprint of colophon, the method of transliteration which the printer himself would have used should be adopted. ”

“ When he had no more Italian poems to adapt he had learnt his lesson. The art of weaving a plot out of his own imagination was never his, but he could take what might be little more than an anecdote and lend it body and life and colour with a skill which has never been surpassed.
The most direct example of Chaucer’s French studies is his translation of Le Roman de la rose, a poem written in some 4000 lines by Guillaume Lorris about 1237 and extended to over 22,000 by Jean Clopinel, better known as Jean de Meun, forty years later. ”

“ The “size” of a book is a technical expression for the relation of the individual leaves to the sheet of paper of which they form a part. A book in-folio means one in which the paper has been folded once, so that each sheet has made two leaves. In a book in-quarto, each sheet has been folded twice so as to make four leaves. ”

“ Italics grew steadily in favour during the greater part of the century, and about 1570 had almost become the standard vernacular type of Italy. In France also they were very popular, the attempt to introduce a rival French cursive type (lettres de civilité) attaining no success. In England they gained only slight popularity, but roman type, which had not been used at all in the 15th century, made steady progress in its contest with black letter, which by the end of the century was little used save for Bibles and proclamations. ”

“ The practical identity of Chaucer’s language with that of Gower shows that both merely used the best English of their day with the care and slightly conservative tendency which befitted poets. Chaucer’s service to the English language lies in his decisive success having made it impossible for any later English poet to attain fame, as Gower had done, by writing alternatively in Latin and French. The claim which should be made for him is that, at least as regards poetry, he proved that English was “sufficient.” ”

“ In books which have been rebound help may sometimes be obtained from the fact that between (roughly) 1750 and 1850, a period during which there was much rebinding of early books, the gatherings before being put into their new quires were mostly separately pressed, with the result that the outer pages of each gathering are much smoother than the rest. But the only safe guide to the make-up of an old book without printed signatures is a collation by means of the watermarks, i.e. the devices with which the papermaker as a rule marked each sheet (see Paper) . ”

“ Book-illustration revived with the French livres-à-vignettes, and English books were illustrated by Gravelot and other French artists. In the last quarter of the century the work of Bewick heralded a great revival in woodcut illustrations, or as the use of the graver now entitled them to be called, wood engravings. The best 18th-century binders, until the advent of Roger Payne, were inferior to those of the 17th century, but the technique of the average work was better. In trade bindings the use of sheepskin and calf became much less common, and books were mostly cased in paper boards. ”

“ Interest in books of the last ten or fifteen years of the century is a much more modern development, but with the considerable literature which has grown up round the subject is not likely to be easily checked.
The chief collections of incunabula are those of the Bibliothèque Nationale at Paris, Royal library, Munich, and British Museum, London, the number of separate editions in each library exceeding nine thousand, with numerous duplicates. The number of separate editions at the Bodleian library is about five thousand. ”

“ He had done his duty manfully for the saints “of other holinesse” in Cecyle, Grisilde and Constance, whom he was forbidden by the rules of the game to clothe with complete flesh and blood. In this great love-story there were no such restrictions, and the characters which Boccaccio’s treatment left thin and conventional became in Chaucer’s hands convincingly human. No other English poem is so instinct with the glory and tragedy of youth, and in the details of the story Chaucer’s gifts of vivid colouring, of humour and pity, are all at their highest. ”

“ Huth himself continued to work at his own collection, and at the time of his death on 14 Oct. 1910, from heart failure, while out shooting with a neighbour in Hampshire, he was engaged on a 'Catalogue of the Woodcuts and Engravings in the Huth Library,' which appeared posthumously. He was buried at Fosbury, Wiltshire. His wife survived him without issue. ”

“ In a folio book one of every pair of leaves should have a watermark in the middle of the paper. In a quarto some pairs of leaves will have no watermark; in others it will be found divided by the fold of the paper. As the great majority of books without printed signatures are in folio or quarto, the sequence of watermarked and un-watermarked leaves, if carefully worked out, will mostly reveal the “make-up” of the successive gatherings. ”

“ The printer’s type (see Typography) would as a rule be based on a handwriting considered by the scribes appropriate to works of the same class; the chapter headings, headlines, initial-letters, paragraph marks, and in some cases illustrations, would be added by hand in a style which might closely resemble the like decorations in the manuscript from which the text was being printed; there would be no title-page, and very probably no statement of any kind that the book was printed, or as to where, when or by whom it was produced. ”

“ An unfortunate theory that the reference in the Legende of Good Women to “al the love of Palamon and Arcyte” is to a hypothetical poem in seven-line stanzas on this theme, which Chaucer is imagined, when he came to plan the Canterbury Tales, to have suppressed in favour of a new version in heroic couplets, has obscured the close connexion in temper and power between what we know as the “Knight’s Tale” and the Troilus. ”

“ 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.” ”

“ It was from the name by which they called the papyrus, βύβλος or βίβλος, that the Greeks formed βιβλίον, their word for a book, the plural of which (mistaken for a feminine singular) has given us our own word Bible. In the 2nd century B.C. Eumenes II., king of Pergamus, finding papyrus hard to procure, introduced improvements into the preparations of the skins of sheep and calves for writing purposes, and was rewarded by the name of his kingdom being preserved in the word pergamentum, whence our “parchment,” by which the dressed material is known. ”

“ To borrow his own phrase, his “Englysh was insufficient” to reproduce such difficult Latin. The translation is often barely intelligible without the original, and it is only here and there that it flows with any ease or rhythm.
If Chaucer felt this himself he must have been speedily consoled by achieving in Troilus and Criseyde his greatest artistic triumph. Warned by his failure in Anelida and Arcyte, he was content this time to take his plot unaltered from the Filostrato, and to follow Boccaccio step by step through the poem. ”