  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 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 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. or alternatively Gardner, W. Biscombe (Illus.) See Shore, W. 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 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 Tales from Shakespeare, by Charles and Mary 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; We then give the reference from the artist Rackham, Arthur (Illus.) See Lamb, Charles and Later we get a book, the title-page of which reads The Rhinegold and the Valkyrie, by Richard and on the half-title we find The Ring of the Niblung a trilogy with a prelude so we combine and adapt the two titles, as Wagner, Richard. The Ring of the Niblung; and give the usual references Armour, Margaret (Transl.) See Wagner, "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; 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; 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.; 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 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, 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 RÉmon, Georges. Sixty plates of decorative The subject entries and references required for these books are 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: and the supplementary references are Decoration, House. See 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: 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 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. 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. 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 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. 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 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. 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. 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," Music. 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. 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 Music. 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. 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 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. 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. |
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