This week’s war: Armistice

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Statue commemoriating Captain Noel Chavasse and 15 other Liverpool-born recipients of the Victoria Cross, located in Abercromby Square

This Sunday marks both Remembrance Sunday and the centenary of Armistice Day, 100 years since the hostilities of the First World War were brought to an end.

Since August 4th 2014, 100 years since Britain declared war on Germany, we have been posting This week’s war, a series of excerpts from the collections detailing the war as it was, this week 100 years ago. To mark the Armistice centenary and to bring this series to an end, we will be reflecting on the end of war and where some of those mentioned over the last four years were in November 1918 and beyond.

In the 1918 diary of John Bruce Glasier [GP/2/1/25], who was a pioneer of the British Socialist movement and had been opposed to the war from the beginning, he expresses joy at the announcement of the Armistice. It appears that he may have written his entry for November 11th prior to hearing the news, and has added parts along the top and side of the page saying, ‘Great News, Peace Revolution’, and ‘Announced at noon today – Armistice signed. Peace!’.

A page from Glasier’s 1918 diary – GP/2/1/25

That afternoon Glasier found his plans to travel to London disrupted; he was unable to make his way to Manchester Station due to the streets being blocked with people gathering to celebrate the end of the war:

Girls and soldiers dancing, and boys and girls gawfawing and singing silly ditties. … All good humoured however.

[GP/2/1/25]

As those at home began to celebrate and reflect on the end of the war, the cessation of hostilities meant that the long task of repatriating soldiers to their home countries could begin. Repatriating some of the millions of soldiers abroad in Europe began soon after the Armistice, and Cunard vessels were some of those transporting Allied troops before ‘the guns were hardly cool after roaring out their last bombardment of the war’ [D42/PR3/8/4 ‘To the American Legion Cunard’]. The December 1918 edition of Cunard Magazine (D42/PR5/22), produced for staff, reminds readers that their drive for socks for servicemen abroad continues:

We can now look forward to the day when further contributions will no longer be needed, but in the meantime, ladies, the boys still remain at the front – so please carry on.

[D42/PR5/22]

It would take months for many to be returned home. J. H. Forshaw, an Architecture graduate of the University of Liverpool after the war, was in the Royal Engineers during the war and for a number of months following the war. War diaries from his papers [D113] describe the bridging and inspection work that he was carrying out with the Royal Engineers in France and Belgium until his dispersal on the 11th July 1919. On Armistice Day, he made a note of the announcement before carrying on with inspections work in the following days.

War Diary from the papers of J. H. Forshaw – D113/1/2

According to Forshaw’s dispersal certificate, he would leave his Unit on the 11th of July 1919 to return to Ormskirk.

Forshaw’s Dispersal Certificate – D113/1/3

Of course, not all soldiers returned home from fighting, and Remembrance Day is dedicated to those who have served and those who were lost during the First World War and other conflicts. The end of the war appears to have been a time of complicated emotions for many; relief that it had ended but sorrow and grief for those who had been lost.

The January 1919 edition of Cunard Magazine [D42/PR5/23] includes a report of celebrations in Pittsburgh, Pennsylvania, on the announcement of Armistice, but also this reflection of feeling at the end of the war:

The end has come so suddenly that it is hard to realise, all at once, that the unspeakable horror is indeed over. … And now for the first time in four years, brave men are not being killed and maimed by thousands. It gives one a feeling of solemn gladness, that is akin to sorrow.

[D42/PR5/23]

For many, the upcoming festive season would have been coloured with sorrow for those they had lost in the four years since the beginning of the war. This passage from the introduction to the December 1918 Cunard Magazine (D42/PR5/22) is perhaps, then, a fitting way to conclude This week’s war:

For the past four years it has unfortunately been impossible to indulge in our customary felicitations, but with the success of the Allied Arms we are now happily able to revert to our former practice. … It would be idle to attempt to overlook that to many a home the absence of dear ones who have made the supreme sacrifice will cause many a pang of sorrow and regret, but we trust that the kindly hand of time will help to soften the feeling of loss, while keeping ever sweet and fragrant the memory of those who have fallen.

[D42/PR5/22]

The University of Liverpool First World War Memorial, in the entrance hall of the Victoria Museum and Gallery

G is for Gilt and Gold

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Gilt and gold-tooled (or tooled in gold) are terms used to describe the techniques of applying gold decoration to a book’s page edges and its binding.

In gold-tooling, individual engraved metal hand tools are heated and applied through gold leaf to impress the design on the book’s spine and covers. Larger designs use an engraved metal block in a blocking or arming press, for example a centrepiece block or corner blocks.The design is then described as blocked in gold rather than tooled in gold.

If the binder’s tools or blocks are used straight onto the bookbinding material the decoration is described as blind-tooled (tooled in blind), or blocked in blind. A panel-stamp is a single large block used to impress a design onto the book cover; the term is used particularly of ‘blind-stamped’ 16th-century bindings, but the pretty cover designs of 19th-century literary annuals or gift books use essentially the same technique.

Fisher’s Drawing Room Scrapbook for 1852
SPEC Annuals 1c.F333

Whether the material is leather, vellum, or cloth, and the design is tooled or blocked, these techniques have produced some of the most stunning bookbindings from all periods.

Two 18th centiry religious works in a red morocco binding of ‘cottage’ design, inlaid with black, with the leather book-label of Ann Aingel, 1769.

SPEC H85.9 booklabel

Design blocked in gold on cover of Moore’s Irish melodies, 1851
SPEC L8.5

W. B. Yeats, Poems 1895
SPEC J18.15

 

 

 

 

 

 

 

 

 

 

Gilding describes the process of applying gold leaf or gold powder to the trimmed edges of the pages of a book. As well as giving the volume a more luxurious appearance, the smooth shiny surface serves the practical function of resisting dust. Gilt edges may be made more ornate by tooling a design onto the gilded surface, to produce gauffered edges.

Bible ( 1831). In a very elaborate Victorian leather binding; all edges gilt and gauffered.

Resources and further reading:

The Language of Bindings glossary at Ligatus.

The British Library Database of Bookbindings

The British Armorial Bindings database at the University of Toronto

This Week’s War: 223

Aside

‘It is now given out as official that the armistice has been signed; and by the paper we see that the Kaiser has abdicated. These are great happenings, and though peace has yet to be declared we may safely regard them as marking the actual end of the war.’

Entry dated November 11th 1918, War Diary 1917 – 1919, by Aleyn Lyell Reade [ALR. A. 1. 2].

F is for Format

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Anyone who has carefully studied one of our catalogue records may have spotted that the “Description” field contains a symbol that looks something like this – 2°, 4°, 8°, 12°. This number indicates what is called the “format” of the book – a term which refers to the manner in which the sheets of paper (or vellum) of which the book is comprised have been printed and folded.

As indicated in the first post in this series, books produced during the hand-press era (roughly up until early in the ninteenth century) were formed from large sheets of paper, on which several pages were printed in one go. The page would then be turned, and the corresponding pages printed on the other side of the sheet.

Unfolded sheet of printing

Books produced of sheets printed as in the example above, and folded and cut so as to give gatherings of eight leaves, sixteen pages which are then sewn together to create the full text, are called “octavo”, which is represented in the catalogue as 8° (or sometimes 8vo).

When just two pages are printed side-by-side on both sides of a sheet which is later folded once, and then cut, resulting is two leaves, four pages, the book comprised of gatherings of these leaves is called a “folio” (which is written as 2° for short, or sometimes as “fo”). In this instance, each page of the book will be half the size of the sheets used in printing. And where sheets have been printed with the text of four pages per side, and then folded twice, a book has the format “quarto”, 4to or 4°. This sheet, folded one extra time, results in four leaves a quarter of the size of the original sheet.

These are the most common book formats you are likely to encounter; but occasionally you might come across a book composed of leaves made from sheets that have been folded four or more times (duodecimo, 12°, 12mo,16°, 24°, 32°, up to 128°!).

Evidently a folio book is likely to be larger than a quarto, which is likely to be bigger than an octavo, and so on – but beware, the size of the finished product will depend upon the size of the original sheet. During the hand-press period this varied, and there can be quite a bit of variation in size within any single format as a result (we normally say folio books range between about 30.5 cm and 48 cm, for example).

From left to right, a folio, quarto, octavo and sextodecimo.

The format – and therefore size – of a book can provide a clue as to whether the printer was treating the book as a luxury good, or a commercial venture for less-wealthy readers. Smaller format books can be printed more quickly and use less paper and less binding material, so they can be sold more cheaply.

Similarly, the format of a book can provide an indication of its use – a book intended to be shown-off, or read by many people at once, is more likely to be produced in a large format; whereas a book intended to be carried on one’s person would need to be small and portable. To take two examples from SC&A: Inc.CSJ.D13/OS is a two-volume Bible printed in Nuremberg in 1475, which stands nearly half a metre tall, whereas 2017.a.028 is a copy of John Barnes’  The new London chemical pocket-book (1844) “adapted to the daily use of the student” is 17 cm.

Our smallest book, “The Bible in Miniature, or A Concise History of the Old and New Testaments” is a 64mo.

Cataloguers use marks within the paper to help determine how many times a single sheet has been folded, a process we’ll cover in greater detail in later posts – so watch this space!

This Week’s War: 222

Aside

‘Convoy proceeded (in couples) to Reims. All did sightseeing, I with Pim, Sparrow, Harry. The Cathedral of course. Hilarious champagne supper. Sparrow, Rees, Goodall and I occupied a house.’

Diary of Olaf Stapledon, entry dated Saturday 2 November 1918 [OS/A1/20].

 

E is for Edition

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Printing in the hand-press period was time-consuming, involving the setting-up or composition of sheets to be printed from individual pieces of type. As a printer’s stock of type and printing presses was limited, the type would be redistributed once the sheets had been printed. Watch a demonstration of the printing process on the website of the Victoria & Albert Museum (© Victoria and Albert Museum, London).

The copies of books printed at any time from substantially the same setting of type constitute a single edition; if more than half the type is reset, there is a new edition (citing Philip Gaskell  A New Introduction to Bibliography, Oak Knoll Press 2012).

Subsequent editions might follow in rapid succession in the case of popular works, such as Byron’s The Giaour (1813) which appeared in eight editions in its first year.

7th edition in 1813 of Byron’s The Giaour. SPEC J28.26(2)

A long run of editions over a long period indicates the enduring usefulness of a work, for example John Carter’s ABC for Book Collectors (first edition 1952, eighth edition with corrections 2006), to which our ABC of Books pays homage. Successive editions may not be numbered second, third, etc but will often be described as new, improved, corrected, with additions or other inducements. From the later 19th century onwards, the title page may state how many thousands have been printed in place of or in addition to an edition statement:

Ninth thousand ‘edition’ statement
SPEC Y83.3.1442

Parts of an edition might be printed more cheaply, or more expensively, using different paper, to produce a subset for a particular market such as cheap copies for export or copies on higher quality paper (with a price to match) to appeal to collectors. Books produced in a limited edition will have a statement declaring how many copies have been printed and each copy will usually be numbered, often as part of a subset of greater of lesser rarity. The Ashendene Press edition of Thomas More’s Utopia (1906), for example, included 20 copies printed on vellum. Special Collection’s copy collected by William Noble (SPEC Noble A.20.1) is printed on vellum but unnumbered.

Editio princeps, the Latin for first edition (‘princeps’ also conveys the sense of a distinguished leader in the field) is often used to refer to the first printed edition (as opposed to manuscript) of a classical text, for example the edition of Cicero printed in Mainz in 1465.

Editio princeps (Mainz 1465) SPEC Inc.CSJ.F10

This Week’s War: 221

Aside

Now “Top Dog”

Pte. L. Rathgen (K.L.R.), Linen Department, in a letter acknowledging his usual parcel says “I, like many more Cunarders am looking forward to the peace which seems so near, and although more heavy fighting is bound to be our lot, I am quite light-hearted as we can now see our aims are about to be realised. During the past few weeks I had many experiences which I cannot write about, but I can say that one had the feeling that you were ‘top dog,’ and the change was appreciated after the somewhat uncertain times recently passed through.”

Extract from Cunard magazine October 1918 issue [D42/PR5/1].

D is for Device

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A ‘printer’s device’ (also known as a printer’s mark or emblem) is a form of trademark, used widely by early printers from the 15th to the end of the 17th century. Devices were initially employed primarily as a means of differentiating a printer’s work from forgeries and imitations. However, they soon came to be seen, in addition, as a marker of quality, familiarity, and style. In effect then, they represented an early form of logo; a marketing tool and security device.

One of the most instantly recognisable printer’s devices is the dolphin and anchor of the important, innovative Venetian printer Aldus Manutius (this book (EP.B08) was printed in 1523).

Devices are most often found directly above or below the imprint (publication details such as name of printer, and place and date of printing). As very early books were printed without a title-page, it is not uncommon to find these details at the end of the main text, in what is called a colophon, particularly in books printed before 1500.

This is the device of the famous printing partnership of Johann Fust and Peter Schoeffer, printed beneath the colophon in a book of 1473 (Inc.JWH.7/OS). Fust and Schoeffer, who were responsible for printing the Mainz Psalter of 1457, are credited with being the first printers to use a device.

The imagery used in a device can be armorial, or might involve an allegorical vignette, or a pun on the printer’s name or character. Jacques and Estienne Maillet’s device includes a picture of a mallet, for example, whilst Gaillot de Pré used an image of a ship’s galley and both Sebastian and Antonius Gryphius a griffin:

Sometimes devices also includes the printer’s name and/or motto, as in this more modern exmple from the Kelmscott Press:

For more information on printer’s devices see “Printer’s marks” by W. Roberts.

 

 

 

 

This Week’s War: 220

Aside

“Letter from R.R.R. that he had been awarded bar and the M. C.” [Military Cross].

Entry from the diary of Emily Evelyn and Hugh Reynolds Rathbone dated 20th October, 1918 [RP XVA.3.172].

C is for Cancel

Image

Robin Hood, 1820: Oldham 177

A cancel, as the name suggests, is part of a printed book (often a single leaf, or double-sided page) that cancels and replaces what has already been printed, to correct an error in the printing.

A cancel leaf (or cancellans, Latin for the thing that cancels) can often be detected from the stub of the original leaf, the cancelland (or cancellandum, Latin for the thing to be cancelled), which is left in place when the offending leaf is cut away from its partner, or  conjugate, leaf (as illustrated in A is for Alphabet). The corrected single leaf is pasted onto this stub.

Finding a stub, and therefore a cancel, brings out the detective in cataloguers: what was there before, and why did it have to be removed? If the collection contains two copies – before and after – that certainly helps answer the question, as shown in these images.

Dedication leaf: Oldham 177

Dedication leaf: SPEC Y82.3.1056

Spot the difference? The clue – apart from the stub – is in the signature a3 (see A is for Alphabet) and the number of lines, which have been increased from 12 to 13 to accommodate the full splendour of the aristocratic dedicatee’s name.

One of the commonest reasons for printing a cancel leaf was to make a change to the title page: to update unsold copies of a book, or for a new publisher to put their imprint on copies of a title taken over from its previous publisher.

Binding of the Brontës’ first published work

 

A famous example of the latter is the first publication of the Brontës’ poems in 1846. Despite the ruse of disguising their gender to counter anti-female prejudice, the first edition sold only two copies. In 1848, following the success of Jane Eyre, and Anne and Emily’s novels, the publisher Smith, Elder & Co. republished the poems with a new title page (but with the original date). The newly issued books had a leaf added before the new title page advertising ‘Prose fictions by Currer, Ellis, and Acton Bell’ and Smith, Elder, & Co’s May 1848 ‘List of new books by popular authors’ is bound in at the end of the volume.

First edition of the Brontës’ poems 1846

 

Second edition of the Brontës’ poems 1848