Читать книгу Book-Plates - William John Hardy - Страница 3

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Having vindicated in my introductory chapter the practice of collecting book-plates from the charge of flagrant immorality, I do not think it necessary to spend many words in demonstrating that it is in every way a worthy and reasonable pursuit, and one which fully deserves to be made the subject of a special treatise in a series of Books about Books. If need were, the Editor of the series, who asked me to write this little hand-book, would perhaps kindly accept his share of responsibility, but in the face of the existence of a flourishing 'Ex Libris' Society, the importance of the book-plate as an object of collection may almost be taken as axiomatic. My own interest in this particular hobby is of long standing, and happily the appearance, when my manuscript was already at the printer's, of Mr. Egerton Castle's pleasantly written and profusely illustrated work on English Book-Plates has relieved me of the dreaded necessity of writing an additional chapter on those modern examples, in treating of which neither my knowledge nor my enthusiasm would have equalled his.

The desire to possess a book-plate of one's own is in itself commendable enough, for in fixing the first copy into the first book the owner may surely be assumed to have registered a vow that he or she at least will not join the great army of book-persecutors—men and women who cannot touch a volume without maltreating it, and who, though they are often ready to describe the removal of a book-plate, even from a worthless volume, as an act of vandalism, do infinitely more harm to books in general by their ruthless handling of them. No doubt, also, the decay of interest in heraldry, which is mainly responsible for the eccentricities of modern 'fancy' examples, has taken from us the temptation to commit certain sins which were at one time attractive. Our ancestors, for instance, may sometimes have outraged the susceptibilities of the heralds by using as book-plates coats-of-arms to which they had no title. Yet their offence against the College of Arms was trivial when compared with the outrage upon common-sense committed by the mystical young man of to-day, who designs, or has designed for him, an 'emblematic' book-plate, or a 'symbolic' book-plate, or a 'theoretic' book-plate, in which the emblem, or the symbol, or the theory, is far too mystical for any ordinary comprehension, and needs, in fact, a lengthy explanation, which, however, I am bound to confess, is always very willingly given by either owner or designer, if asked for.

It is, perhaps, needless to say that I am very far from including all modern book-plates under this condemnation. The names of the artists—Sir John Millais, Mr. Stacy Marks, Randolph Caldecott, Mr. Walter Crane, Miss Kate Greenaway, and others—who have found time to design, some of them only one, some quite a considerable number of really interesting marks of ownership, suffice to rescue modern book-plates from entire discredit. Here and there, too, a little-known artist, like the late Mr. Winter of Norwich, has produced a singularly fine plate. Above all, the strikingly beautiful work of Mr. Sherborn, as seen in the book-plates of the Duke of Westminster, in that of Mr. William Robinson, and in many other fine examples, forms a refreshing oasis in the desert of wild eccentricity. But the most ardent admirer of modern book-plates cannot pretend that amid the multiplicity of recent examples any school or style is observable, and as I have aimed at giving in this little hand-book an historic sketch, however unpretentious, of the different styles adopted in designing book-plates from their first introduction, I hope I may be excused for not having attempted to trace their history beyond the early years of the present century, after which no distinctive style can be said to exist.

As I have said elsewhere, it has been no part of my object in writing my book to advocate indiscriminate collecting. But for those who are already collectors I have one word of advice on the subject of the arrangement of their treasures. Some enthusiasts advocate a chronological arrangement, others a genealogical, others a topographical: and the advocates of each theory paste down their specimens in scrap-books or other volumes in adherence to their own views. Now there is a great deal to be said in favour of each of these classifications: so much, indeed, that no system is perfect which does not admit of a collection being arranged according to one plan to-day and another tomorrow—i.e. no arrangement is satisfactory which is necessarily permanent. Let each specimen be lightly, yet firmly, fixed on a separate sheet of cardboard or stout paper, of sufficient size to take the largest book-plates commonly met with. These cards or sheets may be kept, a hundred or a hundred and fifty together, in portfolios or boxes, which should be distinctly numbered. Each card or sheet should also be paged and bear the number of the portfolio to which it belongs. The collector can by this means ascertain, when he pleases, if all his portfolios contain their proper number of cards or sheets, and he can arrange his specimens according to the particular point of interest in his collection which from time to time he may desire to illustrate. In addition to this, the system of single cards has obvious advantages for the purpose of minute study and comparison.

In conclusion, it only remains for me to express my warm thanks to Lord De Tabley and to Mr. A. W. Franks, C.B.; to the former for allowing me to make use, without oft-repeated acknowledgment, of the matter contained in his Guide to the Study of Book-Plates, a second, and much amplified edition of which we may hope will, before long, make its appearance; to the latter, not only for constant advice and assistance, but also for the loan from his collection of nearly all the book-plates with reproductions of which this volume is illustrated.

W. J. H.

1893.